XLR8R+ Submissions Roundup: November

XLR8R+ Submissions: November

Sunset tracks🔥

Produced by @Quizzik
Mastered by Moustache Mastering
Artwork by Quizzik

6 Plusten Records
Release date sep 30th 2021

Quizzik - Dodging Bullets 101 (Original mix)

Marigold

Blutch unveils a new track from his forthcoming debut album ‘Terre Promise’ (January 2022) with ‘Poplar’, one of the most eclectic track from the album.

After breakbeat and UKG explorations on ‘Cobalan’ and ‘River’, Blutch unveils a new colours palette on ‘Poplar’: an introduction sounding like a tribute to Boards of Canada’s ‘Dayvan Cowboy’ or ‘Baba O’Riley’ by The Who, mixed with one of the cultures that has animated him the most since his teen years, hip-hop. At the crossroads of styles, Blutch signs a new libertarian and borderless piece, fundamentally contemporary.

‘Poplar’ refers to the street where he grew up. As a nod to the youth, a piece thought to give strength and energy through its great piano’s chords, sublimated by Fabien Lahaye and recorded at Brest’s Conservatory in France.

Airy and melancholic, smooth and organic, a meticulous production with great alchemy between plenty of influences, from hip hop to electronic or pop.

Two remixes of ‘Poplar’ will be released in November by two well respected French producers: Correspondant label head Jennifer Cardini and Maud Geffray, member of Scratch Massive.

Terre Promise

PREMIERE : Blutch - Poplar

Buy/stream: https://kompakt.fm/releases/pop_ambient_2022

With the cover artwork for Pop Ambient 2022, longtime KOMPAKT graphic artist Veronika Unland has once again outdone herself. Following the almost baroque, blood-red and jet-black, extremely physical sculptures of Pop Ambient 2021, which emerged from a dark, floral sea like bodies erect for dancing, the front of 2022 is adorned with a pastel-white form, intertwined, folded many times and crisscrossed with delicate shading, which seems to float on a pale pink background; soft, gentle waves woven from Venetian colors that leave the viewer puzzled: Is it a flower, a coral, a mollusk? 

Again, the current edition of the tradition-steeped compilation series curated by Wolfgang Voigt is about the persistent and ever-necessary definition of beauty, of reduction, of electronic music of heavy lightness and light heaviness, of ambient's eternal promise of a state of physical and acoustic weightlessness and Pop's of redemption. And about the question why a never arbitrary combination of soundscape, drones, samples and loops, put together in a certain way, can create this feeling of warmth, depth and space, - something three-dimensional, where the imagination feels at home as a fish in the water or a bird in the sky. A key aesthetic stimulus that sends all the senses into a slow glide and drift, after which your synapses feel like they've been bathed in essential oil. Next to Soul, Ambient is probably the most effective musical healing plant of mankind. 

Behind the aural test tubes, the who's who of Pop Ambient is once again at work, led for the first time by the highly trafficked Californian duo Blank Gloss, whose debut album "Melt" this year was certified by The Guardian as nothing less than "heartaching beauty". Yui Onodera's "Chrome" as well as "Kari", a cooperation of Markus Guentner and Joachim Spieth, could also be imagined in the score of Denis Villeneuve's new film version of DUNE - however, colleague Hans Zimmer managed that quite well without the three. After such wonderful and stylish contributions by Reich & Würden, Triola and Thomas Fehlmann, the ear then lingers a bit longer on the ghostly "Weiht" by Morgen Wurde feat. Maria Estrella, a track like a temple of sound, a deep electronic immersion in a Japanese onsen. In this sea of unnameable time you could sink forever, but with the tracks of Andrew Thomas, Thore Pfeiffer and Max Würden & Pepo Galán the journey slowly comes to an end.

Yui Onodera - Cromo 6

Instate

Turbo 50
Tiga & Zyntherius
Sunglasses at Night Remixes

In Tiga’s Words:

Luck is everything, and it only takes an instant for your life to become your dreams. The fact that my life was changed, altered, and ultimately bettered by covering an MOR Canadian rockers 80's pop tune is a quirk of destiny that gives me faith in the magical comedy that we call existence. This is the short story of how the shit went down.

It was the winter of my discontent. I was supposed to travel to India with my family for Christmas 2000, but was unable to go for personal reasons. Upset but determined to make the most of the situation I invited Jori Hulkkonen to DJ with me at my club (SONA) for a NYE party. Jori had done a
mixCD for Turbo and we had cultivated a fine friendship based on ridicule, shared 80's obsessions and ridicule. I had a small home studio that was gathering dust and producing nothing more than frustration; and I threw out the idea (I think I did, although maybe he did) of "making some tracks". I didn't know what I was talking about.  My own creative career had followed a typical early 90's trajectory: houseclubs-ectasy-techno-rave-DJ-travel-raver-promoter-radio-recordstore-nightclub impresario etc... all successful ventures that, at the turn of the
millennium, had led me to a position of relative affluence and respect. But the elusive jewel in the crown was production; and this block  was slowly destroying me. Then came the J-fool.

My memory is bad. In school it was perfect, but it's been eroded by a potent cocktail of reefer, airports, timezones, sleeplessness, computers and time. Now, my memory is not to be trusted. I'll try my best: i think the show went ok. Jori probably played a few records I loved, and a lot that iI hated. It was very cold. New Years Day came, I think he was sleeping at my place. I had an MPC, a Nord Modular. an 808 and a JUNO, and a puppy named Uma. Recently, at a small record store in Calgary of all places, I had bought a copy of 'Sweet Dreams' by Miss Kittin & The Hacker. I thought it was incredible. It's hard to imagine now, but at the time the idea of covering a pop song in a techno style seemed interesting. This is before the world went crazy and eclectic. So we decided to try a cover.

I don't remember details of the day. I had no intention of "singing" but I couldn't really do anything else, so that became my job. I also had to walk Uma, make tea, take phone calls, make jokes. Jori did most of the work. We tried a criminally poor cover of "When Doves Cry" which thankfully is lost
to all mankind. We did a version of "Small Town Boy" with falsetto singing so bad that if you could distill the sound into a liquid it would be the pure essense of "embarrassing". We did a midi-file based cover of New Years Day, which I still love, that came out on an old Turbo comp. And then (I think it was last) we did Sunglasses At Night. Corey Hart was a Montrealer, it seemed fitting. Our lack of sample memory in the MPC combined with my hesitancy to sing complex notes (or ANY notes for that matter) is what resulted in the "genius" of eliminating the bridge and pre-chorus. I remember Jori thought it was amazing. I didn't really like it. Score one for Zyntherius.

I remember going to my record store , DNA, which was just on the corner and playing it: the first of hundreds of "listen to my new track" sessions..... my first taste of the cold sweat of public testing, and the sheer horror of hearing MY voice on speakers. I hated it.

A few months before that day in studio i had done a mixCD called Mixed Emotions, which is still one of the best things I have ever done: it featured an "electro-funk" cd and my face on the cover. Both attracted the attention of DJ Hell in Munich, who of course at the time was a hero of mine. I had a contact thru licensing a song from them, so I think I sent him the sunglasses demo. He fell in love as well. I still didn't like it.

The rest of the story is like a montage in a movie, albeit a small film, Hell came to montreal, burned dubplates, played 6 times at Love Parade,  SAN got huge in germany, , ended up selling a quarter million, doing TOTP,  and being one of the big "electro" anthems of the period. I got to ride my own
coatails  all the way to where i am now. All my dreams came true, including the one about being voted #41 on the DJ top 100 list.

I still marvel at how easily it could’ve NOT happened: My dog stepping on the power switch a little earlier, or Jori getting tired, or the phone ringing at the wrong time. And I cant help but wonder how different my life would have been. While I was never a huge fan of the record I will say that
it was a very pure creative effort, in its own way a real punk track: two friends making something without any label or plans or scene......and crucially without any expectations. To spend 90 minutes on that, in a vacuum, and to then feel your entire life altered by the results.... that
is the magic of pop culture, and testimony to the awesome transformative power of ....... the Roland Juno-60.

Love from Montreal, and love to Jori Z and a special shout out to Hell and Josef.

In Zyntherius’ words:

When I was a child I dreamt about being a god.
When I grew up I realized I could become one.
In 2000 I noticed that the post for the god of synthesizers was not taken. I didn't even have to apply for the job. No real god would have to do that. I just declared myself as ZYNTHERIUS - the god of synthesizers.
Nowadays I'm feeling much better, but occasionally I still get the urge.
Which is why you should be aware of the wrath of Z and respect the holy Oscillators.


Sunclasses at Night Remixes

Tiga & Zyntherius - Sunglasses At Night (Original 12  Version)

1000 followers special

Motivation of perpetrators
The intention of the attacker is often to humiliate rather than to kill the victim. In Britain such attacks, particularly those against men, are believed to be underreported, and as a result many of them do not show up in official statistics. Some of the most common motivation of perpetrators include:

- Personal conflict regarding intimate relationships, and sexual rejection
- Racial motivations
- Sexual related jealousy and lust 
- Socially, politically, and religiously motivations
- Gang violence and rivalry
- Attacks against minorities
- Conflicts over land ownership, farm animals, housing and property
- Revenge for refusal of sexual advances, proposals of marriage and demands for dowry.
Acid attacks often occur as revenge against a woman who rejects a proposal of marriage or a sexual advance. Gender inequality and women's position in the society, in relation to men, plays a significant role in these types of attacks.

Acid Attack

Tresor Records celebrates the return of Psyk on its catalogue, with his new album “A Moment Before”.

This is Psyk’s first long player since his debut album "Time Foundation" on Luke Slater’s Mote Evolver imprint.

The Spanish producer released his first single for Tresor, the “Works” EP, in 2015. Four years later, the production of “A Moment Before” comes as natural progression for Psyk within the cosmos of the Berlin techno mothership.

The album is undoubtedly Psyk’s most advanced piece of work to date. It dialogs with practices in reduced forms of techno, as originated by artists like Robert Hood on Tresor Records., through the recently re-released "Internal Empire".

"A Moment Before" releases March 22nd, 2019, on 2LP vinyl and digital.

A Moment Before

Psyk - Artemis (taken from 'A Moment Before' - Tresor.308)

Taken from edition 10 of XLR8R+, an Icelandic special curated by Bjarki and featuring tracks from Volruptus, EVA808, and Kuldaboli, and a sample pack from Bjarki.

Get the package: http://bit.ly/XLR8Rplus010

@eva808

XLR8R+010

Get the Track

XLR8R+010: EVA808 - Low Hoe

Taken from edition 10 of XLR8R+, an Icelandic special curated by Bjarki and featuring tracks from Volruptus, EVA808, and Kuldaboli, and a sample pack from Bjarki.

Get the package: http://bit.ly/XLR8Rplus010

@volruptus

XLR8R+010: Volruptus - Shake That Butt! (Bass Vessel)

Slow Motion

Brazilian label focused on experimental music, IDM, ambient, electro and synthwave. 

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6plusten@gmail.com