[Audio] John Foxx & The Maths reMixes Adult.’s ‘Tonight, We Fall’

 

ADULT.

Here we end the week with an absolute synthesizer legend remixing another, not-quite-so-legendary–but-still-pretty-legendary artist. SynthPop pioneer and electronic music foundation John Foxx, alongside long-time collaborator Benge as John Foxx & The Maths have reworked the new single from Detroit ElectroClash originators Adult.’s new single, Tonight, We Fall with unsettling results.

What Foxx and cohorts present for you here is five minutes of growling synths, icy arpeggios and machine beats. Factory floor filtered electronic rhythms and hypnotic melodies pin the track down into a relentless march of synthetic sounds broken only by an epic, soaring, middle eight and Adult.’s Nicola Kuperus post Post-Punk vocals. The original version of the track is surprisingly jolly in comparison, after listening to the John Foxx mix, the originals beats seem skippy, the lead lines playful, the harsh drones positively welcoming.

♫ Adult. – Tonight, We Fall (John Foxx & The Maths reMix)

♫ Adult. – Tonight, We Fall

Adult.’s Tonight, We Fall is released 27th August.

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[Video] Capital X’s ‘Superleague XXX 666’

 

SUPERLEAGUE XXX 666   YouTube

Superleague XXX 666 is the raucous new single from UK ElectroPunks Capital X. A borderline Electroclash tune that wouldn’t have been out of place on 2002’s coolest dancefloors. A massive, energetic, slab of electronic nostalgia right here.

Check out the video, which is as early 2000’s as the track. Seeing as how no-one is really doing this shtick anymore, these girls have a nice little niche for themselves, and one that definitely puts a smile on our faces.

Capital X’s Superleague XXX 666 is out now.

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[Audio] Miss Kittin reMixed by Mock & Toof

Miss Kittin

House champion and the voice of ElectroClash Miss Kittin’s Bassline/Come Into My House single was released earlier this month with a reMix package due to drop in March. Amongst the reMix collection is this hypnotically Acidic version from UK duo Mock & Toof.

For almost all of the tracks seven minutes we were having ‘white gloves’ moments. The track is loaded with melodic, arpeggiated, synth percussion and 303 burbling which, when coupled with a deep bass grove, makes for a perfect warehouse flashback experience. Miss Kittens smokey vocal just adds an extra layer of entrancement. Prepare to get lost in music.

♫ Miss Kitten – Come Into My House (Mock & Toof reMix)

Miss Kitten’s Come Into My House reMixes are released in March.

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[MP3] Oxford reMixes Felix Da Housecat & Miss Kittin

Felix Da Housecat

reMixing Felix Da Housecat and Miss Kittin’s ElectroClash classic Silver Screen (Shower Scene) is not for the faint hearted. The track springs to mind as an untouchable piece of electronic music legend. But things have moved on, and maybe it is time for someone to bring Silver Screen along with it. We’re grateful that that someone was French Nu-Disco producer Oxford, who has treated the track with the respect it deserves, but dropped a completely original five minutes of captivating Disco too.

Kitten’s deadpan vocals remain, but this time around they are riding on the sweetest of Beach Funk grooves. Perfectly produced, Oxford words every last drop of groove he’s got to deliver a rolling bassline, sweeping synths and and a laid back beat, all nicely tied together with some smooth electric piano. If asked, we would have probably advised against trying to reMix Silver Screen, but we would have been astoundingly glad Oxford didn’t heed our nonsense.

Felix Da Housecat (Feat. Miss Kittin) – Silver Screen (Shower Scene) (Oxford reMix)

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[MP3] Miss Kittin’s new single

Miss Kittin

Fresh from her stint on Kris Menace’s new single, ElectroClash legend Miss Kittin has just released a brand new single, Life Is My Teacher, in anticipation of a new double album, Calling From The Stars, coming in April next year.

Life Is My Teacher is wonderfully hypnotic mixture of Deep House, Techno, Acid and 80’s SynthPop. Imagine the beats from a dimly lit Berlin Electro club mixed with Gary Numan lead synths and an Acidic Burbling and you;re starting to get close. Add to this Miss Kittin’s sultry vocal and you’ve got yourself an involving slice of electronica that draws you in and swirls round your head until it’s done.

Miss Kittin – Life Is My Teacher

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[MP3] Maethelvin reMixes Kris Menace & Miss Kittin

krismenace

So, we dropped Kris Menace’s new single, Hide, featuring the voice of ElectroClash, Miss Kittin, a couple of weeks ago. The single is out now and the surprise track of the reMix package is the return of Valerie mainstay Maethelvin. It’s been a long long time since we heard from this guy. He dumped a few new/old track on his soundcloud early in 2012 but hasn’t released anything since 2009.

The remix kinda’ makes us miss the pure Valerie sound. SynthWave/Outrun has moved on a little since those days, become more bombastic, and Dreamwave morphed into a more Indie inclined synth nostalgiafest. Here, though, Maethelvin delivers three and a half minutes of pure French, 80s influenced, teen movie soundtracking, Italo-Disco rocking, synth brilliance. Laidback and groovy, this reMix lets Miss Kittin’s vocal become a bit more musical as it glides over Maethelvin’s washes of electronics.

Kris Menace (Feat. Miss Kittin) – Hide (Maethelvin reMix)

Kris Menace’s Hide is out now.

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Kris Menace & Miss Kittin’s ‘Hide’ video

This week German Electro Disco don  Kris Menace released an album of collaborations, Features, that included a track with ElectroClash icon Miss Kittin. Hide is a hypnotic slice of AcidPop brilliance that has just been released in video form.

Check out the clip, directed by Mathieu Bétard for some really stunning animated visuals.

Kris Menace’s Featuresis out now.

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An interview with Arnaud Rebotini/Black Strobe

Arnaud Rebotini

An imposing figure in electronic music, Arnaud Rebotini has seen it all. A legend amongst producers who has never been afraid to walk a different path, and the path Rebotini walks usually ends up being emulated by the masses a year or so later.  An analog experimentalist who has ploughed through EBM, Detroit Techno, Acid House, ElectroClash through to and French Electro and Disco leaving a trail of ground-breaking 12” in his wake.

Whether in his solo synthesizer noodlings or as part of ElectroClash come Electro-Rock pioneers Black Strobe, Rebotini continues to push boundaries and inform, rather then follow, current dance music, and even Indie,  trends. He’s latest output being a return to Black Strobe for an ungodly Electro/Swamp Rock hybrid that is as grimy as it is funky.

Amidst all this pioneering and ground-breaking, Arnaud took some time to chat with us about just where the madness comes from.

ER: So, I think you came onto our radar back in 1998/99 with Black Strobe and since then played around with electronic music styles both as Black Strobe and with solo releases. But we get the feeling there’s a lot more going on in your past. Can you fill us in on your musical background, what influenced you to start writing music, and what your musical journey to the point we are at now was?

AR: I starting music in Noisy band influence by band like The Jesus And Mary Chain, My Bloody Valentine and Sonic Youth, after that I was singer in Death Metal band, in the same I’m starting electronic music, I released my first 12” around 1995 it’s pretty Experimental Techno. I was influence by early Warp Records and Detroit Techno. I always listen some very different kind of music, was I was teenager my favorite records was Herbie Hancock Head hunter, New Order’s Power, Corruption And Lies, and Muddy Waters: fathers and sons. I don’t thinks that’s changed that much.

ER: From the electronic side of things, as well as the obvious House influences, we hear a lot of old school EBM in your music. What electronic styles have influenced you over the years?

AR: I like all good electronic music, from early Electro Funk stuff, to old school EBM, Detroit Techno Chicago House and Krautrock have a great influence on me. And form Techno a mix between ambient Krautrock band like Cluster or Tangerine Dream and Disco.

ER: And the, of course, there’s the Southern Blues. Especially with the new releases there is a big Swamp Rock vibe going on. There’s a kind of darkness, a kind of seedy sexuality and a kind of lost souls feeling, that this kind atmosphere. When did you decide you wanted to try to combine that with electronic music, was it something you always had in mind?

AR: This sound come may because now I listen a lot of Nu disco stuff and southern rock and blues. At I think it’s really cool to mix it with disco. Like Johnny ‘Guitar’ Watson have done in certain way. And the biggest success of Black Strobe are Italian Fireflies and I’m a man, so tried to mix its all in a on one and unique style.

♫ Black Strobe – Italian Fireflies

ER: When do you tell if a track is going to be a Rebotini track or a Black Strobe track?

AR: Rebotini is pure electronic music, and a solo project in studio and on stage. Black Strobe is a band and not only electronic music, you have drums, guitars, vocals.

ER: And your style switches from Bluesy to more electronic and back again. Does that happen organically, naturally, or do you set out to make a particular type of record?

AR: I think it came naturally it’s base on classical chords and melody, everybody all ready know it, and it was funny to me have no classical bluesy production, to make some kind of electronic Blues.

♫ Arnaud Rebotini – Few More Minutes Of Love

ER: So what’s the Black Strobe studio? Do you have a favourite bit of studio kit? Any favourite synths?

AR: I have a nice studio with a lot of hardware stuff, a lot synth, and effects. May be my favorite is one of my first synth, not the most rare, but probably the most versatile, and easy to carry for the live, it’s the Roland SH 101.

ER: If money was no object, what piece of studio gear would be your dream to own?

AR: Probably a Buchla 200 series.

ER: Your music particularly, in the electronic arena, lends itself well to a live situation. What’s your preference, live or studio?

AR: I like both. Studio is the composition and production time, you feel alone with the music. Live it’s the opposite it’s the execution time, and you feel close to the ground

♫ Black Strobe – White Gospel Blues (Extended Version)

ER: Speaking of playing live. Any crazy rock ‘n’ roll stories from your tour adventures?

AR: Playing live spending time on the road, waiting for the soundcheck, waiting for to play, waiting for the next gig. And for the rest what happened on tour stays on tour.

ER: Any nightmare shows? What’s the worst?

AR: I always forget my nightmares.

♫ Arnaud Rebotini – My Life In House Music

ER: What’s your breakfast preference? Cereal or a proper continental breakfast? Would your answer change the day after a show?

AR: My favorite Breakfast is the Proper English Breakfast! After a show I need bean eggs sausage and mushroom !

♫ Black Strobe – Boogie In Zero Gravity (Extended Version)

Black Strobe’s Boogie In Zero Gravity EP is out now.

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Some words from Digitalism

Digitalism

German Electro duo Jens Moelle and İsmail Tüfekçi are pretty legendary. As Digitalism they lead the vanguard of mid-2000’s Electro resurgence, riding the high point of, and contributing to, Kitsuné’s cool and generally paving the way for modern Electro-House and Indie/Electro crossover. With raucous songs and an energetic live show, Digitalism showed the world that electronic music could rock…hard. Seven years and two studio albums later, Digitalism have consistently proved they are not only masters of rocking a crowd with high-octane Electro, but also deft songwriters, effortlessly mixing Indie and Electro amongst melding pot of styles that encompasses Disco, ElectroClash, Punk and Techno. Big beats and great songs, what more could you ask for?

Recently the duo were asked by Studio !K7 to curate and mix the latest in the long, prestigious line of DJ-KICKS albums. Released next month Digitalism’s DJ-KICKS through some of the best, punchiest, Electro around with the two Germans both paying respect to their career since 2004 and dropping some brand new exclusive tracks of their own. The likes of Vitalic, TWR72, WhoMadeWho and The Rapture rub shoulders with fresh tunes and reMixes from Digitalism in possible the best DJ-KICKS album for a while.

Jens and İsmail were kind enough to take some time out of their busy promotion schedule to put up with our waffle and fill you guys in on some of the inner workings of an Electro legend.

ER. Interviews tend to start by asking about influences, but in this case we’re really interested to know what your influences and music backgrounds are. Digitalism has always been such a melting pot of sounds, from Electro and ElectroClash, to Punk and Indie, to House and Techno. Where does that all come from?

D. It probably all started with growing up with 1980s computer games. They had amazing 8-bit soundtracks, and they were sometimes all about diving into weird different worlds made of bits and bytes. There were amazing compositions, and they sounded a bit new wave and punk sometimes. We love soundtracks in general, also the classical ones from John Williams, Vangelis and Ennio Morricone. Some people said we sound quite ‘Nordic’, pretty atmospheric and melodic like Röyksopp and Björk for example. Maybe true – we live close to Skandinavia in Germany. In the 1990s we started listening to Dance Music, especially House, and got hooked up by a weekly radio show that played the top ten tunes, vinyl, 10-minute versions. It was the first insight into nightlife and a totally different formula of music. We then met twelve years ago in a record store and started DJing House. After a while we got bored of the regular new releases, everything sounded the same. That’s when we started going more leftfield and alternative in our sets, like with Disco Punk, ElectroClash and Breaks. It was more fun. Of course we also had our years listening to early U2 and even Trance (in Germany, unavoidable in the 90s), and we share a love for Hip-Hop. We absorbed a lot of music and made it into a very broad dough if you want. We don’t like concentrating on just one genre too much, we get bored too easily. But what combines all of our music is that it’s electronic, it’s riff-heavy and it’s cinematic. And cheeky.

ER. And so how do you see yourselves? I would say most people we know who are fans of Digitalism are Electro fans, but some the time you are straight up Indie. Where would you say you fit and do you see yourselves bringing, say Indie to Electro fans, or Electro to Indie fans?

D. We reside within the two poles of Techno and Indie music. Ever since we started making music, we did it in a DIY way. So even when we make something that’s more techno, it might have that garage band attitude shining through. We didn’t care much about flawless production, that’s why our music sounds pretty raw in general. At the end, we’re electronic artists, because we don’t have a band background and we don’t play guitars and all that. We use those sounds, and we have those instruments lying around in the studio, but at the end we work with electronic gear, and we come from a Dance Music background, so even our more songy tracks are still danceable.

Our home base was always the electronic scene, so you could probably say we’re bringing Indie to them. But then again – we’ve played so many festivals with band line-ups programmed around us, that we sometimes also gave an insight into Electro to those live-band audiences. It’s great to have them all aboard.

♫ Digitalism – Simply Dead

ER. So what’s the story with you two coming together? Did you decide to make music with a bit of everything you liked because no-one else was?

D. We met in a record store in Hamburg twelve years ago. Jence was working there in the afternoons after school, and Isi came round as a frequent customer. It was a place to hang out like in ‘Hi-Fidelity’, and they were specialized on House and Techno vinyl, so it was more for DJs only. We spent a lot of time there, practicing mixing on the turntables and browsing vinyls. We were just old enough to go to clubs, and we started DJing. The owner of the store did parties every now and then, and he put us on the bill together. Since then we’ve played together every time. Having spent so much time in the store, we started to get bored of the releases that would come in every week. They all sounded the same, and we didn’t want to play stuff that 99% of the others would be playing. So we started making our own edits at home to have something unique, and later on when we had more gear, like a keyboard and stuff, we made our own first tracks. We felt like there wasn’t really the type of music that we’d love to play, so we had to make it ourselves – a mix between techno, punk and electro. Back then, we were the only ones in our home town. That’s why we played mostly abroad at the beginning. Now it’s thriving with lots of young and really talented producers.

ER. ‘Idealism’, and the singles that came before it, were some of of the biggest records that were part of the 2005-2007 resurgence of Electro, how much was that a pressure when recording ‘I Love You, Dude’? You must have felt like all eyes were on you.

D. It wasn’t too bad to be honest. We had a couple of years of touring-only after the release of our first album, and we got more experienced in playing live, and collected lots of impressions from travels and being on the road. All that went into the second album. We knew we didn’t want to repeat ourselves, that was clear for us. Everything else was basically freestyle. Like with the first album, we started making quick ideas, tested them in DJ-sets and then had some favorites that we later on turned into full songs and tracks. We loved them, so we just stuck to them. This time we wanted to get deeper into songwriting for a change, so lots of the track on ‘I Love You, Dude’ are shorter and more structured, and have vocals on them. It was just something we felt like doing when we made the album.

At the end, we had something that was obviously different to the first album, but also was pure Digitalism, and we loved the finished songs, so we just released it. You know, as long as you love what you are doing there, you’re good. If you have doubts then you should reconsider. We weren’t doubting, because we make music out of passion in the first place, not to please people. But of course, you never really know how to handle that follow-up record. You establish a certain profile with the first LP and then you can only extend the spectrum with the second one. We felt like that was the case, so all good.  Now that we’re through the notorious ‘album 2′, we feel free to do anything. Looks like exciting times are ahead!

ER. So now you’ve been asked by Studio !K7 to put together their latest DJ-KICKS album. That’s quite an line-up to follow, how did you go about compiling your playlist?

D. For us it was very clear that we wanted to present our sonic universe and history as DJs to the people. So we started by writing down all our favourite records, labels and producers from back then, and added more new music by those people or a few new favorites by upcoming artists and friends. We wanted to make sure that the list covers our whole musical spectrum, from techno via electro, house and disco to new wave and indie music, and that people know us better after they’ve had a chance to listen to the mix. At the end we added a lot of new tracks that we’ve been working on, and we had a perfect compilation. It’s like when we started making music for our DJ-sets. Now it’s a DJ-mix with ups and downs, waves, time to breathe and harder bits, and again we’ve added new music. It’s like going back to the roots, but at the same time it’s a next step for us.

ER. And the new Digitalism tracks on there, would you say they were leftovers from ‘I Love You Dude’ era Digitalism or a peek at Digitalism’s next era, what the future holds?

D. Who knows? A lot of the new tracks were made earlier this year, without a plan. We then got asked to do a DJ-kicks in the middle of that process, so we just went: ‘Yeah let’s put all this stuff on it to make it even bigger!’. Two tracks are a bit older (‘The Pictures’ and ‘Simply Dead’), the rest are all new, and the remix for The Rapture was made exclusively a few days before the deadline for the DJ-kicks. We were just jamming around in the studio, so we don’t know what’ll come out of it next when we’re back there.

Digitalism – A New Drug

ER. Having reMixed the likes of Depeche Mode (and Dave Gahn) and The Cure, would you say you had a fondness for old SynthPop and New Wave? Sometimes, in some of your arrangements, we get the feeling that might be influences coming from there. I always hear a lot of New Order in your more Indie-Electro songs.

D. That’s correct, we like the mix of live bass, edginess, amateurism and synthesizer sounds ever since the 80s video games that we’ve mentioned earlier. A lot of New Wave and Post Punk music had that kind of vibe – it was a bit colder and darker, they used the first drum machines and sequencers, and they had warm basslines with icy synths. Something really appealing. People should check out that era (end ‘70’s ‘till mid ‘80’s).

ER. Your reMixes tend to be pretty different to the original. what’s your process when deconstructing and reconstructing a track you’ve been asked to remix.

D. We approach a remix usually the same way we deal with our own original material: We make a Digitalism track out of it. That’s the same with our music: We have one idea and remix it about 20 times.

ER. So what’s in Digitalism’s studio? Do you have a favourite bit of kit?

D. The heart of it, since we started, is a computer. We have a huge analogue mixing desk that’s wired up with all sorts of hardware synths, new and old ones. We have a guitar there, even though we’re really bad in playing it, but we compensate that with the use of samplers and other tricks. From day one we always found our own ways of production and of making things happen and getting the results we wanted. Back then we didn’t have any money so our first computer was so slow that we were forced to get creative when it came to multiple tracks and all that. That’s when we started sampling ourselves a lot.

We love our Korg Electribes (we even had them on stage until last year, our studio is full of them) and old Teisco synths, and we have an EMS Synthi A. That’s a super rare one from the 70s. Its ‘brother’ synth the Putney was used by Brian Eno all the time. You can patch anything through it and it has nice real spring reverb..

ER. If money was no object, what piece of studio gear would be your dream to own?

D. Some massive modular synth probably. And The best high-class valve hardware compressors. Couldn’t afford them so far.

ER. How’s the Hamburg music scene, when I think of Germany my mind goes straight to Berlin, Sell Hamburg to me?

D. Hamburg’s been big for House music in the 90s, with people like Boris Dlugosch (who used to produce with Moloko f.i.) and Knee Deep (big in the Miami scene back then). Our record store boss even is good friends with Masters At Work, Dimitri From Paris, Roger Sanchez and all those people. There was a legendary club called ‘Front’ that gave birth to underground and acid House in Germany back then.

You’re right, people first think of Berlin when they hear the word Germany, but now Hamburg has a big electronic scene doing its own thing and making some really good music. Tensnake, Solomun and Stimming for instance are all from Hamburg. There’s a lot of stuff happening – and it’s much more beautiful than Berlin, like a huge park with lots of canals.

Oh, and Hamburg is famous for its redlight district, the Reeperbahn. Nearly everyone’s heard of it. It was the place where The Beatles started, and it’s got so many venues, clubs and bars that many close after a few months due to competition, then re-open and so on… It’s a very dynamic and interesting place.

ER. So you’ve played around a few places. Any crazy rock ‘n’ roll stories from your adventures?

D. Of course, but we don’t even want to get started with that – it’s like opening Pandora’s box. There’s no artist that’s been touring for a while without any crazy stories.

ER. What would be your preference, to perform as a DJ team or as a musical outfit?

D. We like to switch back and forth between playing live and DJing. Since last summer we’ve played about 120 live shows, and at the moment we’re on a DJ-tour through the States. It’s good to have that for a change every now and then, so we can test out new ideas and drop some favourites in the sets. When we play live, we it’s more physical and we can get rid of lots of energy on the other hand. We use a lot of sweat usually, performing.

♫ Digitalism – 2 Hearts

ER. What’s coming up for Digitalism after DJ KICKS is out?

D. There’s be music releases around the DJ-Kicks of course, and we’ll be touring more, as DJs and live. Everything else is under wraps – we like to surprise.

ER. Is Digitalism a Cereal or a Full Continental Breakfast kinda’ band? Would your answer change the day after a show?

D. We love cereal but the next day after a show is always good with bacon and eggs. We’re not big fans of continental breakfast.

So, there you have it.

Many thanks to Jens and İsmail for taking the time to share their thoughts with our readers.

Digitalism’s ‘DJ-KICKS’ record is out 10th July. You can pre-order the record here.

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Black Strobe’s ‘Italian Fireflies’ is back, with a Reflex reMix

black_strobe

Black Strobe’s ‘Italian Fireflies’ is a bit of a modern classic. Released in 2033 in Kitsuné it had a riff that stuck in everyone’s head and the opening bars of the track, when the riff kicked in, would destroy dancefloors. Now Blackstrobe Records are re-releasing the track with a whole package of awesome reMixes featuring some serious talent bring the track into 2012.

Amongst that talent you’ll find one of our current faves, French SynthPop duo Reflex, who pull the track from it’s dark post-Electroclash resting place into the sunlight with a huge ElectroPop workout. Turning that evil, edgy riff into soaring retro lead line with some choice chords underneath full to give it more of a rousing kick, Reflex have done the impossible and turned the track into something bright and uplifting., which makes a really nice contrast to the growling, moody original. Both takes on the tune are ace and it;s nice to have the choice. The rest of the EP features reMixes from Munk, Yan Wagner, Second Date, Richy Ahmed & Corey Baker, Hey Today! and Mr. Arnaud Rebotini himself. that’s a hell of a reMix package and one we await excitedly.

Black Strobe – Italian Fireflies (Reflex reMix)

♫ Black Strobe – Italian Fireflies

The ‘Italian Fireflies’ reMix package is released 7th March in Blackstrobe Records.

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