Big Up Fourteen - Multifaceted Issue by Big Up Magazine

TUNNIDGE • PIXELORD JESSE BOYKINS • OLI-B TYCHO • ALEX TROCHUT USD 6.99

2003

2013

SECOND WAVE OF ARTISTS ANNOUNCED ZEDD DE NEON INDIAN DJ US WAX TAILOR FR CAJMERE US JETS US/DE SHABAZZ PALACES US AME DE KINK BG CYRIL HAHN CH/CA HELIO SEQUENCE US RYAN HEMSWORTH CA PILLOWTALK US ALEX METRIC UK OREN AMBARCHI AU TEEBS US SHIGETO US MIDLAND UK EJECA IE WAIFS & STRAYS UK LUSINE US PEZZNER US OLIVER US LUKE ABBOTT UK ARCHIE PELAGO US OLIVERAY DE/US KID SMPL US VOX MOD US

SEPT

PETER HOOK & THE LIGHT PERFORMING POWER CORRUPTION & LIES AND MOVEMENT UK

SPEEDY J NL HENRIK SCHWARZ DE OLAFUR ARNALDS IS NOSAJ THING US BLOCKHEAD US KODE9 UK MAXXI SOUNDSYSTEM UK LITTLE PEOPLE CH/UK PHAELEH UK MACHINEDRUM US /DE SLOW MAGIC US TIGER AND WOODS IT LAPALUX UK GIRAFFAGE US TEEN DAZE CA AMINE EDGE FR BEACON US DJ RASHAD US DAUWD UK PETER BRODERICK US/DE NICK MONACO US J. ALVAREZ US D TIBERIO US

25-29

2013

THE ORB UK /DE GOLD PANDA UK BEN KLOCK DE LITTLE BOOTS UK XXYYXX US THE MARTINEZ BROTHERS US HAUSCHKA WITH SAMULI KOSMINEN DE/IS ACTRESS UK DUSKY UK JIMMY EDGAR US/DE MATIAS AGUAYO CL /DE MAX COOPER UK NILS FRAHM DE MOSCA UK MANO LE TOUGH IE/DE KYLE HALL US JOHN TEJADA US ADULT. US YOUNG GALAXY CA LIGHT ASYLUM US TOMAS BARFOD DK MORRI$ US SLAVES OF VENUS US + DOZENS MORE

SEATTLE,WA WWW.DBFESTIVAL.COM

CELEBR ATING 10 YE ARS OF ELEC TRO NIC MUSIC PERFOR M ANCE & VISUAL ART

big up fourteen

TUNNIDGE "When I read that the three foot cube of concrete I'm looking at in

T h e m u lt i fa c e t e d i s s u e

a gallery represents the eternal struggle of good and evil, I just want to piss on it."

OLI-B

Editor-in-Chief Katya Guseva

TYCHO

"I love creating color combinations,

"it just felt like we were playing

I want to make colors talk and

in this sea of moving bodies.

dance!"

Really

18 JESSE BOYKINS

made

connected."

everything

feel

ALEX TROCHUT

"you fantasize about all the things

"I believe creativity is a matter of

you want to achieve, who you want

persisting on not falling into the

to be, how you want to be looked at

obvious, and always challenging

by the society. At the end of the day

yourself."

Cover Artist Oli-B Contributing writers Luke McCann, Bryan Bacock, Jochem Daelman, Ryan Sterling Art Direction Katya Guseva Photography Anthony Blasko, Mel D Cole, Tim Navis, Seher Sikander, Catharina Gerritsen Advertising and Marketing Jochem Daelman Publishing Big Up Magazine

none of that shit matters, if you don't know who you are."

Printing Heidel Print Distribution Ubiquity Distributors

PIXELORD "Sometimes I just buy vinyls only because I like the artwork, then I listen to it and more often than not it's good."

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Writing Contributions: katya@bigupmag.com

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I donâ&#x20AC;&#x2122;t consider myself a musician. I think we have to re-think certain terms in this age, because of the technology available and the platforms it provides. TUNNIDGE interview by Luke McCann

Nowadays it’s just not enough to be good at one thing. Nope, we need not to be jacks of all trades, masters of nothing, but diversity and flexibility is essential for anyone to stay sane, and stay relevant. After all you're only as good as your last work. Hailing from South London, Tim Langridge is definitely an outlier. He’s been busy making powerful music and drawings to match. His caricature illustrations offer an amusing impression of the artists and have become a trademark since Kromestar's "Kalawanji" (Deep Medi's first release). Prolific and well-spoken, we had a sec to catch up with Tunnidge and discuss pursuing a career in finance, psychedelic experience, and what he considers true art. Music (as a form of art) and visual art are hard to separate. To find someone gifted in more than one method of creative expression is refreshing. I’ve witnessed you hold court on the dance floor as your DJ sets reflect the music you produce, full of energy and surprise. Do you put the same into your visual art? For me visual art has a much subtler energy than music. I think there is an immediacy and impact in music, which I enjoy, especially with the bass heavy genres of dance music. Art, I believe, has a longer and more subtle delivery. But my motivations and themes which I am inspired by transcend both mediums. I enjoy both for what they are and try to exploit and explore both art and music through the different approaches they offer. there is an immediacy and impact in music, which I enjoy, especially with the bassheavy genres of dance music. Art, I believe, has a longer and more subtle delivery. Do you consider yourself more of a musician or an artist? I don’t consider myself a musician. I think we have to re-think certain terms in this age, because of the technology available and the platforms it provides. My real grasp of music has come through perhaps not the traditional method of musical theory, but the ability to be assisted with the new software platforms to work very much more visually. I can literally draw in the music 10

and color it accordingly. In that way I almost have in my mind visually what a piece of music needs to look like on the screen. I have set colors, which I attach to drums, bass and mid-range etc... So it gives me a greater view of the composition of a tune. So perhaps I would describe myself as an artist more than a musician. Your Medi Heads are well known and recognized for showcasing more than just the characters behind the music. Long before I met any of the artists personally or heard any of their music, your portraits gave way to an idea of not only to how one looked but also how one sounds. Do you listen to their music when creating the portraits? I always try when possible to listen to the release of the producer I am drawing. Whether or not people take something more from the artwork I don’t know, but I certainly would hope that there is something more than just a caricature. I think it always helps to know the artists, as more often than not people are themselves when animated or talking. I hope a little of the metaphysical permeates it, that is what any artist strives for I think. But also with portraits the prime function is recognition, so that is what my main goal is. Is your creative process different for music (digital) and drawing (physical)? Are you equally satisfied after finishing an art piece or exhibition like when you finish a piece of music or show.

Where would you say they overlap? To me the feeling of a completed tune and a finished painting is very much from the same place. I believe that all that we really are is what we create. So for me it’s a real sense of achievement when I have completed a project. To me the feeling of a completed tune and a finished painting is very much from the same place. I would never say that I am ever fully satisfied with any tune or painting. The whole process is often a mutually beneficial one, where engrossing yourself in an attempt to purvey or capture a mood often acts as a catalyst and opens up other avenues of ideas for exploration. My starting point for everything is to be positive, create positively... My starting point for everything is to be positive, create positively, which probably to the viewer or the listener seems contrary to the dark music or imagery that I use. But for me the combination of the deeper darker energy and ideas, whether it be through samples or visual symbolism, can create an almost strange euphoric atmosphere or intensity which makes me feel that ideas are easier to transmit. I'm not quite sure why I feel that, but again that is part of the process, to investigate and dig a little deeper. I feel like it all feeds off itself and I try to allow things to flow.

I think the processes of creativity overlap in the emersion of yourself with the medium. You have to surround yourself with it and breathe it, for it to really become something that will stand on its own and hold its own energy. That’s why perhaps I have pushed my music more than my art over the past years, but the last few months my ideas and subject matter have started to pass more into the art as well. I feel the creative processes are starting to come from the same place, which I am pleased and excited about. Unfortunately, it’s a system that we all have to actively participate in to function and live, but it’s a participation I personally try to do on my own terms as much as possible, and also with a sense of morality. Have you ever considered a career in finance? No, mainly because I am not motivated by money. To me people are what is important. I think a lot of the financial careers are at the core based on the accumulation of wealth from other people, to hoard for a select few and again use to usurp people of what’s really important in life. I don’t have a problem with people making a living, but I think with that comes an ethical responsibility and one which few large corporations take on voluntarily. Unfortunately, it’s a system that we all have to actively participate in to function and live, but it’s a participation I personally try to do on my own terms, as much as possible, and also with a sense of morality. Part of these terms for me are not to use my energies to provide for unethical elements in our world, and the majority of financial corporations unfortunately fall into this unethical category. Galleries and museums in New York and London are saturated with aimless, self-absorbed art. Agree or disagree? I have to say I agree with this statement in regards to modern contemporary art. I think modern art in the context of the gallery has become for the elite. It seems more and more to be an investment opportunity for the rich or a money making opportunity for insurers. Without a doubt I think art should be valued and protected, but I feel modern art is aiming for the market of the rich investor rather than to speak to the people or to really say something. Whenever I visit a modern art gallery all I see is an artist's greed or ego vented in obnoxious works of art designed to shock or bewilder people into thinking they are something important. It's like they hide in the realm of the vague because people assume that there is a hidden depth there. If you really have strong subject matter it will stand out and should

be prominent and evident to people, that’s the point of it for me. When I read that the three foot cube of concrete I'm looking at in a gallery represents the eternal struggle of good and evil, I just want to piss on it. What makes the situation worse is the hoard of self-important critics ready to attach vast abstract ideas and importance on generic and pointless works to again sustain and affirm their positions. It's like it's turned into a big incestuous orgy of financial sustainability. When I read that the 3 foot cube of concrete I'm looking at in a gallery represents the eternal struggle of good and evil, I just want to piss on it. It’s a pattern I see everywhere these days, people try and become these simplified caricatures of the person they think they should be. There is a fine line between subtle explorations of ideas in art and crude blurtings of ideas, but I really feel that this line is often way-way off in modern art. And to be honest I have this idea affirmed when I see how quickly these modern artists assimilate themselves into the art world elite. It's like being an artist, dressing like an artist, mixing with arty people has become the thing to strive for. It’s a pattern I see everywhere these days, people try and become these simplified caricatures of the person they think they should be. Where do you draw the line between aimless selfexpression and really thought-provoking art? We all have an idea of what art is, what is yours? Art to me is honest, and has an agenda and ideology, or a driving force behind it. If your prime motivation is money then you are swayed by forces that are not of your own, and you will ultimately render yourself under their power. what I consider true art is a complex mix of the need to create and the effective execution of the sublime. What is art? We could be here all day with this one, but I think it comes down to personal motivation. Some people paint pictures because they want to, some people make music because they want to, some people do it because they have to, and I think the outcome of all is by definition art. But what I consider true art is a complex mix of the need to create and the effective execution of the sublime. If you translate those feelings that we have no names for, yet all share, or are able to get people to tune in to an idea or concept and realize and understand it on their own terms then you have cracked it.

It sounds horrendously difficult and it is, and sometimes you fail, but if you can succeed once with one person then you have done something worthwhile. Over the years I have seen the mainstream descend again and again on independent fledgling dance music genres, scooping it up, watering it down, pacifying it for the mainstream audience, and selling back what is theirs for profit. In a real sense, experiencing a full live set of yours, as in dancing and skanking with total strangers, can turn untried beginners into temporary warriors, like that of a camaraderie that exists between soldiers that have experienced the crucible of combat together. Would you say warrior spirit is laced in your works? Is there a message or direction you seek to provide us with? I definitely hope so. Although I do produce more abstract or experimental music, I am primarily known for my dark dance floor energy, and this is the side I definitely focus on when I'm playing In a club. I have very strong views on independent dance music, I grew up with the illegal pirate radio stations and raves of the early '90s when music, rebellion and anti-establishment sentiments were intertwined, and that fusing has never left me. Over the years I have seen the mainstream descend again and again on independent fledgling dance music genres, scooping it up, watering it down, pacifying it for the mainstream audience, and selling back what is theirs for profit. I suppose I have taken on the responsibility to remind people that independent music is essential, in these times more than ever. Artists have to take responsibility for this mainstream lobotomy of music also. Too may have been quick to buckle at the offer of the big music industry companies and curtail what they do for a cash advance. Even writing this makes me angry and I do put that in my music. I see it as us versus them, and I am contributing to a counter culture where you donâ&#x20AC;&#x2122;t have to buy anything or look a certain way to belong, you just have to come and dance and bring a good attitude. As a producer it's something I think about a lot. Why do I produce music? And I think at the bottom of it all is a need to connect with people. I believe that being together and dancing with strangers you share something intangible, that sense of camaraderie that the consumer culture we are drowning in is trying to knock

out of us all. There is, I suppose, a loss of self that I found opens you up to alternative ideas and thought patterns. Not everyone will feel this but I'm glad a lot do. As a producer it's something I think about a lot. Why do I produce music? And I think at the bottom of it all is a need to connect with people. For me the real message is you have to look for your own direction. If you had the keys to your own gallery space and a generous backer, what would you do with it. Have you ever imagined doing something completely different or something next level? What would it be? What would it be called? Every time I get on a train from my train station and head up to Victoria station in London, I go past an iconic London building known as Battersea power station which has fallen into ruin. It's well-known landmark to Londoners and has featured in many many films and even as cover art for Pink Floyds Animals album. If I had the opportunity, I would buy it and turn it into a multi floored art centre with independent film screenings, education lessons, lecture halls, debating competitions, breweries, dance venues, art galleries, and studio spaces of all sorts. That would be amazing, and it's right near the centre of London, so it would stand out as huge example of positive independent creativity. That would be great. It would be called Anti Bullshit Institute... The reality is it will probably be turned into a massive shopping complex or left to decay. There is no doubt in my mind about a cathartic element of art and music, and I think that many people feel that. Do you think or perhaps have a theory about how music and art have a way of blocking out worries and stress and ease us, usher us into just enjoying the moment as it is. There is no doubt in my mind about a cathartic element of art and music and I think that many people feel that. Iâ&#x20AC;&#x2122;m not sure I could generalize the experience so that all people would agree with what I am saying as relevant though. For me I enjoy the sense of community and the interaction of different ideas, but there is a loss of self when you really connect with a piece of music and an intangible connection with the person that created that. It's very intimate on some levels and perhaps that connection is what we are lacking in our everyday lives. A deeper sense of community, a spiritual element to our existence that is unquenched in our current world.

In the context of drugs, no, I don’t do drugs and never have experimented with psychedelics. Throughout history, rhythm has been used to stimulate us, perhaps it’s the prominence of sound and the deprivation of our more physical based senses. There is research to show how different frequencies can trigger different emotional reactions within the brain. Like I say I'm not sure, I don’t have many answers but I enjoy exploring the questions and complexities that music brings to us. I know you're a Huxley fan. In his Doors of Perception he writes about his experience with mescaline, with visuals intensified and afterwards he finds himself in agreement with philosopher CD Broad, that the brain and nervous system eliminate unessential information from the “totality of the mind at large”. Do you ever open such doors? Have you had an experience that has changed (or devastated) your past ways of seeing the world. In the context of drugs, no, I don’t do drugs and never have experimented with psychedelics. I do believe in thinking and logic in combination. I think you can attain the same paradigm shifts and acceptance of paradox, which people like Huxley talk about, through thought processes. To me, music can definitely set the mood and assist in opening new doors of perception, but ultimately I think everyone has a responsibility to research their own understanding and ideas about life. We all come from very different backgrounds and have different experiences, but I think if you start and keep positivity and a belief in people at the heart of your meditations we will all ultimately reach the same conclusions about our experience here. Whether or not people choose to look is up to them. It’s a very personal journey. Perhaps there is a piece of music or art that has made an impact on you lately? I have been a bit introverted with my music and art and have been really focusing on a project. It's part of the process of emersion that I mentioned earlier, so none spring to mind at the moment. I've really been drawing inspiration from what I've been reading more than anything. There is a lot of interesting material regarding new scientific understanding of brain functions and alternative philosophies on the nature of existence which I've been delving into. It’s a fascinating area but again you have to be vigilant to apply rational logic and evidence to your thought processes and theories or you can For more info: tunnidge.com

disappear down the rabbit hole without any real basis in reality. You can reach with your music and art, explicitly and implicitly, for a wide reception of people with different origins, cultures, and languages. Is there a certain freedom you feel when creating? Yes, as an independent artist I do feel a great deal of freedom, and I'm lucky to have people like Distance, who owns Chestplate records, and Mala, who runs Deep Medi, to give me a platform to explore my chosen genre. To have two people who you respect as artists to give you a free platform is a privilege, and I show my appreciation of this by being as honest as I can with my music. I'm going to keep my artistic direction and hopefully improve and progress without seeking external approval. I also feel a sense of responsibility for this artistic freedom and worldwide audience to contribute to alternative thought and culture. I often see artists who grow in success and popularity become mute or less dangerous with their music because they want to maintain their status quo and be as available to everyone as possible. For me the music and art is more important than a vast fan base. I'm going to keep my artistic direction and hopefully improve and progress without seeking external approval. I feel like I have a dialogue established through my music with certain people who support me and I want to maintain that and cultivate it. If more people want to join the conversation and the exchange, even better, but I'm not going to change it or dumb it down. The real freedom I have is not giving a shit about money to be honest. That has to be taken in context, I need to make a living, but it's not everything to me. In fact it's pretty far down the list. The music and art for me is a means of self exploration, and when you realize certain paradoxes you understand that this means ultimately an exploration into everything. Art has always been used to circumvent, to be the voice of reason and from what I see there is silent assault on authentic art worldwide, so I salute and encourage you to continue no matter how challenging, keep pushing yourself. Anything else you want to say to those out there itching to get their rocks off and knock our socks off? I think I've said enough, I'll let the music do the talking. Thanks for the interesting questions.

Colors are my therapy, I love all of them. and they’ll always be a part of my work and my life. It’s kind of a love affair… Oli-B interview by Jochem Daelman

Spray paint on wall

Olga by Oli-B & RoseStudio.eu

Oli-B loves the hustle and bustle of big cities and their crowds. the urban jungle is his playground. The painter, illustrator, and street artist from Brussels, Belgium, is in a constant love affair with colors. Creating paintings which consist of organic characters living in a colorful universe, he constantly aspires to 'make colors dance.' and judging by this issue's front cover he is definitely doing a damn good job! Oli-B sat down for a chat to talk about the music he dances to, his aspirations, and his colorful therapy. What was your first interaction with art that moved you to create your own? I started out very young, and I was interested in pretty much all forms of art back then: album covers, CDs... The whole music universe in general fascinated me. When I was a teenager I turned to graffiti, and it became something I practiced until my early '20s. After that I took a five-year break, until I decided to contribute to the streets again, but this time through my colorful collages. I just kept on doing what I loved: creating shapes and colors in all their combinations. My personal style was born without having any second thoughts about it. What was the hardest challenge when you started off? Nothing really! I have always genuinely loved creating. And my transition from graffiti to contemporary painting came in a fairly natural way too. I just kept on doing what I loved: creating shapes and colors in all their combinations. My personal style was born without having any second thoughts about it. How do you go about self-promotion? Do you still need it? Or do people just approach you with projects? I mainly use my website as a promotion tool. I always liked communicating with other people or possible clients, it never really feels like a job to me. One of my friends, Julien Mourlon, is a new media consultant and also the founder of Laid Back (www.ldbk.eu).

He played a vital role in my use of social networks. It’s his knowledge that has led to the position where I’m in now: being spontaneously contacted by a large panel of customers or other people who are interested in my work. There are hardly any moments when I’m not listening to music whilst painting. And naturally it influences my work. I feel that music makes everything in my work more fluent. Would you count certain artists, people or anything else as a major influence on your work? Definitely! I’m inspired everyday by all sort of things: my life, my soul, my surroundings, all the different colors I see… Regarding visual artists, I like predecessors, those ones who were the first to do new things. From a pictorial point of view, I love Joan Miró, Jean Dubuffet, Pablo Picasso, Henry Matisse, Jean Helion... but also guys like Jean-Michel Basquiat and Keith Haring. In general I am a fan of more melancholic music, I like songs with a bitter edge to them. How important is music in your creative project? What do you listen to when working? Music is always around when I’m working. There are hardly any moments when I’m not listening to music whilst painting. And naturally it influences my work. I feel that music makes everything in my work more fluent.

A lot of producers and musicians can be a bit selfish just making music for themselves, but I believe in sharing that enjoyment with other people, making music that other people can feel as well as you feel it. That helps you stay afloat and gives you longevity.

Hand painted collage

Even though it’s a part of the game, I don’t like it when it’s purely business, it’s great to discover the human side of all those projects.

I mostly listen to old hip hop (Pharcyde, De La Soul, Pete Rock, Gangstarr, Tupac, Dr. Dre…). But I also really dig the typical UK sounds like garage and grime. Most recently I discovered some great British singers like Mike Skinner and Ghostpoet. I’m really into that sound. In general I am a fan of more melancholic music, I like songs with a bitter edge to them. Are there any things you really hate and/ or love during a project? I’ve always had a lot of discipline when it comes to my work and I like it when people I work with have the same mindset. So I guess I hate all the crappy projects, haha! Everyone is an artist in my eyes, it’s just about discovering yourself and letting all of that out. Education is just a plus, but it's not necessary. Seriously though, I really like it when I get a really good vibe or feeling from people I’m working with. Even though it’s a part of the game, I don’t like it when it’s purely business, it’s great to discover the human side of all those projects. How important is a formal education for visual artists nowadays? How important was it to you?

What Magnetic Man have done is open the doors for more dubstep producers to come onboard and gain more respect on the mainstream level.

Everyone is an artist in my eyes, it’s just about discovering yourself and letting all of that out. Education is just a plus, but it's not necessary. In my case, I studied graphic design, not painting. I just learned how to paint as an autodidact and I used my skills as a graphic designer on this level of communication. Your work is so colorful. How did this infatuation with color came about? I don’t really remember when I fell in love with colors, it feels like it has always been like that.

I love creating color combinations, I want to make colors talk and dance!

Colors are my therapy, I love all of them and they’ll always be a part of my work and my life. It’s kind of a love affair… I love creating color combinations, I want to make the colors talk and dance! Should we know about some interesting drug experiences? Haha... Only dreams! I like to create a story by integrating everyday objects, but I want the interpretation to be very wide, very open. I want the viewer to start dreaming, just like I do all the time. What are your paintings about? Do they express feelings, certain themes? How would you say you approach them? My paintings are at the frontier of the contemporary abstract and figurative. They exist out of organic characters living in a colorful universe. I like to create a story by integrating everyday objects, but I want the interpretation to be very wide, very open. I want the viewer to start dreaming, just like I do all the time. Are there any projects or dreams you hope to fulfill in the future? Yes, the more the better!! I want to work on 3D, furniture, clothing, collaborations with designers, … as much as possible really! Some of those projects are getting shaped already! If you could direct a documentary, what would it be about? COLORS! What's in the pipeline for Oli-B? Any big projects you've got lined up? My second solo show is coming soon! Oh, and tell me, when I’m in Brussels which are the three places I should definitely visit? Le Botanique (Concert hall), Le Supra Bailly (Bar), and Peinture Fraiche (Library). collaboration with LMBRJK.com

For more info: oli-b.be

Hand painted canvas

If you can't find reasons to love yourself you're fucked. And if you can't find reasons to better your flaws, you're fucked.

Jessie Boykins III

interview by Katya Guseva

photo by Anthony Blasko

I know you've been working on your new documentary about women for a few years now, where you combine interviews with 300 women asking them the same eight questions. What stage is the documentary at right now? We're now going to the editing process. Actually, I initially wanted to interview only a hundred women, but I was learning so much, while doing it, and it was right around the time when I was going on tour to all these different places, so I thought I might as well interview all these women from different cultures and backgrounds. So it ended up being 300 interviews. It's very interesting to interview women, whose first language isn't English, 'cause they have to translate the question in their heads first and then answer it in English. I actually had some women answer questions in Spanish, or in Dutch, or German, and then I went in and translated it to English. Now I think if I could speak all these languages, I would go back and interview them in their native tongue, it would be a lot more informative. Right, some languages don't even have certain words, or have a few ways to translate the same word.

Singer, poet, creative visionary, Photographer and now the director of his own documentary about women, the independent free spirit jesse boykins is one of the most multifaceted artists I've come across. AT the very first encounter with Jesse, I've heard a really good story, laughed at a few clever jokes, and learnt a valuable life advice, all within the first five minutes. It's no wonder we extended our conversation to the whole hour of contemplating about Balance, Patience, and acceptance...

Yes! When I was in Tokyo, I was interviewing this one woman, and she told me that the word 'green' means nature, but it also means relationship, and it also means love! Things like that opened my mind to wanting to learn another language and study different cultures and woman's history in different places. I know a lot about woman's history here in the States, but anywhere else I'm not that informed. ON BALANCE I know you don't want to disclose the questions, but what is the general theme of the conversations with these women? Most questions are focused around balance. I feel like everything in our lives works as an evolving cycle. Every time you're presented with a certain situation, you might have already experienced it and you know how to handle it this time, or your perspective might be different, based on your

present circumstances. And what I found is that going through all of these cycles and learning about yourself, you are getting closer and closer to peace and balance. If you're open-minded, knowledgeable and aware of what's going on in your present while having a conscious idea of what happened in the past, enough to compare and contrast it to this moment, you can make the right decisions. When I was coming up with the questions, it was from my relationships and experiences that happened to me more than one time. Every time I kinda figured it out, and slowly but surely I grew from that. I found that the only way it could happen is through balance. When you're asked a question by a complete stranger about things you don't usually think about, and you have to go inside yourself and think about yourself, it's a challenge. What many people believe is that they have to think a certain way. "I can't be a Buddhist, and Christian and Hindu at the same time, 'cause it's just not right." But I believe I can take what I want from Hinduism and what I want from Christianity, and that's balance. So the questions I asked these women were to ignite this thinking of "does it really have to be a certain way? Does it have to be black or white? Or is it both?" A lot of the times I found that it was both. For example, one of the questions was "beauty or danger?". Some of them go, "beauty! Because I don't like to be scared." And some say, "Danger, because beauty dies, and danger is something that excites and causes you to adapt." And some go, "beauty is danger." When you're a beautiful woman, you're constantly in danger because of the attention you're getting, and you yourself are dangerous to a man. I see the balance in it. And that's pretty much how every question went... I learnt so much about being closer to balance by interviewing these women and seeing both sides of the spectrum.

Do you feel like these women also learnt from the experience? Absolutely. When you're asked a question by a complete stranger about things you don't usually think about, and you have to go inside yourself and think about yourself, it's a challenge. And when people are challenged, or intrigued, it sparks their curiosity. Or they close up and don't want to answer, which happened too, but not a lot. The majority of women actually expressed their deepest thoughts and feelings.

I feel like being a man asking these questions also helped. It's different when you know a woman, or in a relationship with her, it's hard for her to express herself, 'cause she might worry that you pass a judgement on her. And when there's none of that involved, it's just a conversation, and she can say whatever she wants. What was the most interesting or memorable answer? Everybody had something inspiring to

say, but there were a couple of people who said what I feel, but I couldn't verbalize it as poetically as they did. This one woman said "There's no big deal. Everyone here is stressing about things, worried about how they look... But honestly, you're alive, and you're breathing, and you can do what you want if you really want to. I know it's really morbid, but we're all gonna die. So the best thing to do is find what you love and do that. Focus on that, grab that string and hold on". When she told me that I almost teared up.

photo by Mel D Cole 31

When I was doing these interviews, I was also having trouble in my creative process, trusting myself with my music, and I was being unappreciative of all these great things happening to me in the moment. I was loosing sight of the reason why I was doing it in the first place, which is I make music to make myself happy, and to get myself through whatever I'm worried about in a therapy sense. I also have to realize that it does the same to whoever listens to this music as well. I have to realize the spiritual power that it has. I have to appreciate that I was given the gift to be able to express it through music. So when I heard what she said to me, I had to humble up... And there were a lot more insightful things they said, that you don't usually think about, cause you get so caught up in all material things. Do you think you would get the same effect if you interviewed men? No. As men we are more prone to lying or not expressing our deepest emotions. That's why male artists get praised the way that they do, because a regular man construction worker is not going to sit after work and write a poem about his feelings. He's not gonna tell his wife how he feels about this person at work, he's not gonna be able to share the depth of his feelings, because he simply doesn't like to take himself there. Because that's more of a feminine thing. And a lot of men are just masculine, and don't want to be caring and compassionate, 'cause they think it's weak. It's a complete opposite for a woman. Femininity symbolizes power for a woman. A woman can be both masculine and feminine. And that's the balance. a lot of men are just masculine, and don't want to be caring and compassionate, 'cause they think it's weak. A lot of times when I showed the interviews to my male friends, we watched them and they would be impressed. They never wanted to get deep with a woman on that level, 'cause they didn't know that they could do that. If they tried, it wouldn't be a sharing thing. It would probably be one-sided thing, where she would tell him how she felt, and he would be tired of it. And that's what usually happens. We are not prone to telling the truth, especially to the woman that we love, because there's a lot of pressure. Women have a lot of expectations, they fantasize about family and having a child, they want security... And it's understandable, but it's different for us, men. My hormones don't go crazy, I don't have to have a child at a certain age. I don't have to think about all these things... Men don't have the patience, they're not ok with being vulnerable. I could be emotional in my music, but in my real life, I've had a hard time dealing with women's emotions, or acknowledging them as that, and being like "Ok, I understand why she's having an irrational moment right now. As a man, I'm going to console her, and support her through this and not make her feel like it's a negative thing, because it's nature, it's natural..."

You mentioned that while making a documentary you were having difficult time with your music. Does that mean working on your visual art helped you pick up with your music? I feel like all my creative expressions are one thing. It's like when you go to the store and want to get some milk for your cereal, you walk around and pick up some cashews and q-tips and you leave with this big bag full of all this stuff and all you wanted in the beginning was milk. It's the same thing. You wake up in the morning "damn, I gotta write a song. What can it be about? What am I feeling this moment? I just went on a tour and I met this person, and did that with that person. That reminds me of this experience back in the day, that reminds me of this photograph, that photograph can inspire the artwork, that artwork reminds me of this movie..." And by the time I'm done with the song, I've got the concept, the artwork, the pitch, marketing plan, the promotion... I like brave women. I like confident women. I like curious women. I like open-minded women. I like women who like to travel. And I like a woman who can express herself comfortably at any environment, around whoever, no matter what. Also being an artist, you're naturally visual. Even if visual arts is not what you do, you're bringing out what you envision to melody, to pen and pad, sculpture, whatever it is. I feel that's the process when it comes to being multifaceted with arts. If you ask any artist, they're interested in more than one field of art. Even back in history most artists were multitalented, Van Gough played instruments, Beethoven painted. It would be dope to interview Beethoven. What would you ask him? I'd ask him what kind of women he likes. What kind of women do you like? I like brave women. I like confident women. I like curious women. I like open-minded women. I like women who like to travel. And I like a woman who can express herself comfortably at any environment, around whoever, no matter what. At any setting, in any country, she's always gonna be who she is. And she's always going to try to be bettering herself. Woman who is not afraid of evolving, but comfortable with who she is while she's evolving. I'm glad you didn't say something like "blonde" or "skinny" There's no longevity in that. If you're going somewhere with some expectation or a criteria, most of the time you don't even live up to that criteria yourself. I'm not going to sit here and say this is what I deserve. No, I want you to want all these things for yourself and me to be a part of that.

If I interviewed men, it would be a very short documentary.

photo by Jesse Boykins

Did you figure it all out through your personal experience? Not only my experience, also my friends' experience, having conversations with people who are older than I am, and hearing about how their lifestyle and generation was compared to mine. Just being open to talk to people. And show my flaws while I'm having these conversations. 'Cause I find, when you're having conversations, it's ok to express that you made mistakes in your life. A lot of people don't do that. They try to act like they're this perfect version of themselves, which is bullshit. And that makes the conversation a lot shorter. It's just like my music or art. They cause conversations, because I'm showing you the vulnerable side of me.

Sometimes the lack of patience throws things out of balance. How do you accept that? ON ACCEPTANCE

Do you actually appear in the documentary yourself?

That's the only way you can learn from your experiences. Regardless of whether it's good or bad. Nobody is perfect. Nobody can plan everything in their life and have it all happen perfectly. Some things that I don't expect are always gonna happen, and I'm gonna have to accept them all. Acceptance and letting go are the hardest things for people. There's a lot of fear that comes with it.

No, just my voice behind the camera. Cause it's not about me.

If you were to settle in one place in the world for the rest of your life, where would it be?

Ok, let's talk about your new album. Is it going to come out on Ninja Tune or your own label?

It's not cool... Don't put boundaries on me! I can't answer that question. I would like to spend a lot of my time in the Bay Area, it's beautiful, or Italy, but I can't stay in the same place forever. I don't understand people who stay in the same place their whole lives. The world is too big. There's too much to see. You're only here one time, that you know of. Even if that means you gotta walk or take a bus somewhere, go somewhere different! You don't know who you're gonna meet or what you gonna see.

The album is done now, but I'm not sure what's going to happen. I like being an independent artist. I think I'm fortunate to be able to do what I do independently, to be making music, meeting people, having relationships. But there's couple dilemmas. Some things could be easily handled by people who have been dealing with it for 20 years... But I'm pretty patient. ON PATIENCE Are you? So let me pick your brain. How do you deal with emotional situations when your brain is telling you one thing, but your heart is pushing you to do another? It's interesting, I've been studying emotions, and the process of falling in love. Your blood cells have pores, and depending on how you feel emotionally, the pituitary gland releases a certain hormone, which attache to the pores in blood cells and flow through your entire body. That's how you fall in love. And your heart is what pumps your blood, so you think that you love with your heart, but the love apparatus is actually your whole body. And it's all connected with your mind and soul and subconsciousness. So when I feel a certain way in a moment, I accept it for what it is. Even if I'm angry and about to curse somebody out I have to accept it, cause if I hold it in, it's gonna hurt myself. All I can do in that moment is acknowledge it for what it is, and be in the moment. And if it's not the moment I want to be in, I leave and come back with a new perspective. I never do anything with bad intention, but if you live your life, you're gonna hurt somebody. People are always gonna feel differently from you, there will always be some kind of clash. It's natural, because we all have different experiences, backgrounds etc... 34

But trust me, I talk to myself on a regular basis. Is this what you really wanna do right now? Does this feel right? How are you gonna feel after this? If the answers to these three questions are yes, yes, and doesn't matter, then I just do it.

If you were to open a restaurant, what cuisine would it serve? It would be a fusion of Thai, Jamaican and Italian. And all of the dishes would be infused with fruit. I love cooked fruit, cooked bananas, hot mangos, pineapples... Yumm Is there any question that I didn't ask you that you always ask yourself? Who am I? You know, you fantasize about all the things you want to achieve, who you want to be, how you want to be looked at by the society. At the end of the day none of that shit matters, if you don't know who you are. You're still gonna be lost, even if you've accomplished these things, even if people praise you. If you can't find reasons to love yourself you're fucked. And if you can't find reasons to better your flaws, you're fucked. So I always ask myself who are you right now in this moment? What did you do to get here? What are you trying to do now? What do you need to do to be who you want to be? I never try to live my life based on what other people can do for me. I don't want anybody to do anything for me that they don't want to do, and I don't expect it. So I ask myself what can you do to make yourself better? If I were the last person on this Earth and I had nobody to talk to, would I be ok?

you fantasize about all the things you want to achieve, who you want to be, how you want to be looked at by the society. At the end of the day none of that shit matters, if you don't know who you are.

photo by Seher Sikander

I Never thought of quitting. Why should I? I'm having fun. I rather dig even deeper in my music and animation. PIXELORD interview by Katya Guseva

photo by Catharina Gerritsen

Siberian-bred muscovite Alexey DEvyanin, a.k.a. pixelord, has been constantly recreating and transforming his sound from one moniker to the next. often times surprisingly on the opposite sides of the sound spectrum, Alexey's music is just as colorful as his artwork. Producer, Art director, motion graphic designer, record label owner, and avid gamer, Pixelord fit our short chat into his hyperactive schedule.

Let's take it way back. What came first for you, when you were just a kid back in Siberia â&#x20AC;&#x201D; making music or art? First it was art as animation. When I was a child I would make some simple animations using retro camera and hand drawings. And how did you transition from there to music?

We listen to a very diverse range of music between the four of us and this exposure helps us feel liberated enough not to feel too tied to conventions when writing.

I used the same techniques to make my first sound compositions. You couldn't even call it music, more like collages of found sounds. I used tape recorders and a microphone, recording loops from radio and TV. It was just fun to play with this stuff. Plus I guess it was natural to complete my animations by creating sounds for them. So now when you are making music, do you have any images in your head?

No, I don't visualize usually... It's just because I try to focus on the sounds more, and all my concentration and power goes to my ears. How did your Gultskra Artikler project start off, and why did you transition to Pixelord? It all started off playing with recorded sounds, recording samples from TV, FM radio, and messing with cassette 39

No, I don't visualize usually... It's just because I try to focus on the sounds more, and all my concentration and power goes to my ears. tapes and old music-making programs. That was Gultskra Artikler. Then I had a break from that, and wanted to move on to more regular and popular types of music, with beats and loops. So I could play it in clubs and have fun. That's how Pixelord came about.

Do you have any formal education in either art or music fields? And do you think it's crucial for today's artists and musicians? I have very little education in art as a graphic designer, and no formal education in music at all. I think education might be handy, but not so important. We have plenty of tools for all kinds of people to play with and make something unique and original.

Did your move from Siberia to Moscow affect your art and music? Yes, definitely. It made me more active. Since I moved to Moscow, I met a lot of great people and played lots of gigs. It would be hard to manage that from Siberia. How much attention do you pay to artwork

for your own releases, for your label's releases and when checking out other people's music? Do you think the artwork is just as important as the music itself? Yes, artwork is very important for me. Sometimes I just buy vinyls because I like the artwork, then I listen to it and more often than not it's good.

Sometimes I just buy vinyls only because I like the artwork, then I listen to it and more often than not it's good.

I like bright colorful artwork mostly, but some music has to have dark, empty or even eerie visuals. In any case people look at the artwork first, then they decide if they go and listen to the record or skip it, if they are not familiar with the musician. I've had lots of arguments back and forth with my labels before we confirmed the artwork for my 12" releases. What is your least favorite part of making music or working on an art piece? My least favorite part is finishing things that I don't want to work on anymore. Or doing things under pressure. Did you ever consider trying yourself in another art form? Cinematography? Photography? Animation? Yeah! I used to do animation. And I'm still doing 3D motion graphics from time to time for commercial projects, just to make some money on the side. Nothing particularly interesting though, adverts and stuff... If you were to direct a film what would it be about? I think it would be about dreams or something like that. Maybe about human relationships, about human versus nature. I also want to make a movie about Siberia and mix it with digital art. If you could play your music in any place in the world, where would it be? In Antarctica! If you could display your art in any place in the world, where would it be? On Egyptian Pyramids. What do your parents think about your music? My mother always listens to my new stuff when I upload it. She likes it. I was in my hometown Novosibirsk recently, playing DJ set on the same beach where

people look at the artwork first, then they decide if they go and listen to the record or skip it, if they are not familiar with the musician. I was spending a lot of time with my family as a child! Interesting experience. One advice to an aspiring musician who is looking up to you.

I have a boring common advice: never give up, don't stop doing your own thing. But it works! Did you ever have thoughts about quitting? Never thought of quitting. Why should I? It's fun. I rather dig even deeper in my music and animation.

I guess I don't truly enjoy listening to my own music until about six or so months after it's been released. TYCHO interview by Bryan Bacock

he that we know as Tycho for his music and ISO50 for his visual art, creates worlds of beauty, hope, and endless inspiration through his numerous talents. Scott Hansen, San Francisco's electronic producer, whose music is equally beautiful to his art creations, thinks he is more naturally suited for visual art, but considers himself more of a musician. With Three albums under his belt, tycho is preparing for his new album release this fall, while working out the final version of the live show, which will exhibit both of his talents. Let's start from the top. When you were a child, what were your first interactions with art and expressing yourself artistically? Do you remember the point in your life when you realized â&#x20AC;?oh man, I can make a career out of this!â&#x20AC;?? I've been drawing and doing designrelated stuff since I was really little, but I never considered it as a potential career until maybe mid-way through college. Around that same time I started getting into making music; up until that point I had just consumed a lot of it. It's a balancing act; maybe spend the morning on design and the evening on music. Being a multi-talented artist, it must be hard to juggle different hats. Do you create visual art and music simultaneously, within the same day, or do you focus on just one medium for a period of time? These days music is the focus, but with Tycho there's always a lot of visual stuff to be done â&#x20AC;&#x201C; with album covers, posters, the visuals for the live show, etc... So I keep busy on that end too. It's a balancing act; maybe spend the morning on design and the evening on music. Do you consider yourself more of a musician or an artist? If we're going straight off of hours spent, I'm more of a musician, I spend the majority of my time working on music. But in general I think I'm more naturally suited for visual art, it comes much easier to me. I think that's why I've shifted to music, it's a challenge and something I have to continually work at and learn more about.

How does the feeling of creating art compares to the feeling you get when making music? They come from a similar place, but with music I feel I am better able to express these ideas. Design is a little one-dimensional in that it's just this snapshot. With music you have this open space where you can freely flow from one idea or place to another, all within the context of a single work. Is your creative process different when you're working in the studio on music and when making art for ISO50? They're pretty similar processes, I'm in the same mindset usually. But music is a lot more open-ended for me, whereas when I sit down to design there is always a specific goal or requirement, so that definitely effects the process. With music you have this open space where you can freely flow from one idea or place to another, all within the context of a single work. Are you equally satisfied when you finish a design or a track? I would say the satisfaction is the same; the feeling of completing something you've put a lot of time and work into is always a nice mix of fulfillment and relief. How do you usually know when it's finished? Knowing when it's finished is always the difficult part. For music it's more obvious, but with design I'm always second-guessing things, thinking how this or that could be changed.

photo by Tim Navis 49

I think I'm more naturally suited for visual art, it comes much easier to me. I think that's why I've shifted to music, it's a challenge and something I have to continually work at and learn more about.

What do you feel when you listen to your own music? At the beginning it's a big mix of emotions. On one hand I'm excited about this new idea and it's fun to listen to, but at the same time there is a lot of anxiety and unanswered questions about what direction the track should take or whether I feel like I can take the concept to its logical end. I don't really hear my music the way I listen to other people's music. Then during the production and arrangement stage it's all about work, you have little inspirations here and there when new things develop out of the process, but in general it's just a lot of trying to serve the concept as best as I can. I don't really hear my music the way I listen to other people's music. I guess I don't truly enjoy listening to my own music until about six or so months after it's been released. At that point I can finally drop all my hang-ups and fears about whether I did everything I could for a song, because it's beyond my control, it's out in the world. That's when I can truly relax and listen to it with new ears. Do you believe in the physical need of creating art or making music? Do you consider yourself such person who wouldn't be able to go by without expressing yourself artistically? I think it's really just about being creative in general. I used to do a lot of coding and that was a similar thing for me, as was building things; it doesn't have to be music or visual art necessarily, but those are my favorite mediums.

Do you foresee any kind of exhibit developing that promotes and puts together all of your art forms in one? If so how do you envision it? The live show is that exhibit. I'm still working towards the final vision for that, but the show is about combining my visual work via the video with the music and performance. What are your favorite Bay Area spots for inspiration? Point Reyes is a special place for me, but there are so many great areas like that around here. I feel really lucky I grew up in Northern California; it's just a generally inspiring place. it just felt like we were playing in this sea of moving bodies. Really made everything feel connected. Do you read books? If so, what book is next to your bed right now? Sadly, these days I mostly just consume articles online. I want to get back to books, but for whatever reason I haven't found anything that's hooked me lately. Any crazy fan stories or stories from shows that really stick out? I have a lot of great memories of shows, but one in Australia definitely sticks out for me. We were playing the Strawberry Fields festival way out in the woods, and the people there just had all this energy... The stage was setup so we were kind of in the middle of the crowd, and it just felt like we were playing in this sea of moving bodies. Really made everything feel connected.

photo by Tim Navis

ALL inspiration comes from others. it's the era of exchange, and we all depend on each other to keep things evolving. ALEX TROCHUT interview by Ryan Sterling 54

This year at s贸nar music festival Renowned Spanish designer and illustrator Alex Trochut displayed his work Binary Prints. portraits of Four Tet, John Talabot, Acid Pauli, Caribou, James Murphy and Damian Lazarus showed two completely different images, depending on the light or darkness

of the room. The unique printing technique was developed and executed by Alex himself. We asked Alex to speak with us about the project, without unveiling the secret recipe of course...

How was the idea of Binary Prints born? Can you pinpoint that one 'a-ha' moment?

Does the kind of music you're listening to while working affect the final outcome of your project?

It came about after working on the cover of my book More is More, where I hid a glow-in-the-dark graphic on a blank surface. After that I thought it would be great to be able to have two images at once, instead of one image appearing in the dark. I started to work with grids and finally I found a way... The technique is quite simple actually.

I very much believe that music is an essential component of my process. There is a certain "let go" that happens while I work, that is closely related to the music I listen to. Especially with electronic music, as it has a flow and continuos movement into concentration. I see it as a vehicle that sets up the right mood for certain kind of lateral thinking.

Why did you pick to portray musicians for your print series? After discovering this way of printing I looked for an idea that could work well with the dual nature of this process, so portraits of people was the very first idea to pop into my head. The second step was thinking about what people and subject I wanted to work on. I decided to focus on a nonmoral subject for this series, and just put my attention to the creative side of musicians, and build up a bridge that connects the sound and the image. Do you intend on doing similar work featuring people from different fields like politicians, visual artists, etc...? This process has so many possible applications with so many different subjects. I'm thinking of continuing to do portraits of people (from any field) and also work on other formats. How did you pick the artists? What was the process of working with each of them? As this was a 100% personal initiative project, I made a wishlist of my favorite artists. The connections have been different in each case. With John Talabot it was easy as we are good friends. With Acid Pauli I passed my cell phone to him at the DJ booth, saying "Hi, my name is Alex, I'd like to invite you to a personal project, can I get your email?" With Damian Lazarus I contacted him by email, and met him in the Get Lost party in LA... My whole professional career has been A roller coaster of ups and downs! I also put together a photo booth backstage at Creamfields Andalucia for this project, where we were shooting many of the artists after their shows. The project has been a great deal of help from all sides, from the musicians that believed in the idea and wanted to participate, and from many many friends that pulled time from their tight schedules to give a hand to the project.

For more info: alextrochut.com

I believe creativity is a matter of persisting on not falling into the obvious, and always challenging yourself. Did you ever try to make music yourself? My friend SuperExpresso introduced me to deejaying with vinyl a few years ago. I enjoy mixing records a lot, it's one of my passions! Although I know it's not my best talent haha. If I had time I'd love to study a bit of music, but for now I'm really happy just enjoying new music and more or less being able to put it together in a mix. Do you have creative ups and downs and how do you deal with them? My whole professional career has been a roller coaster of ups and downs! Just like anyone else I guess. I feel the things that interested me three years ago are no longer appealing to me right now. You're always looking to experience the feeling of being "right" about what you're doing, whatever that "right" is. It's always changing, especially if you're trying to move away from your own formulas, looking for a perfect error. This attitude always puts you in a creative crisis. But I believe creativity is a matter of persisting on not falling into the obvious, and always challenging yourself. Have you noticed your work being imitated? Yes, but I think it's a good thing. It puts me in a certain pressure to move away from what I did yesterday and think about what's next. Whatever that is, gotta go to the crisis zone to find out. But also, being honest, we are living in a time of complete remix where I don't see this going only in one direction: some create - others imitate. All inspiration comes from others. It's the era of exchange, and we all depend on each other to keep things evolving. I feel happy that what I did has been spotted by others. Who would you like to Big Up? I want to give an EPIC Big Up to all my friends, girlfriend and family for their enormous support on the Binary Prints project. Props to ya'll! I'm so lucky to have you.

emotionally profound and open-minded with a variety of influences and a complete disregard for any limitations musical genres could possibly represent. NEW MUSIC

drumcell – sleep complex

Paul Woolford – untitled / Overload

moderat – ii

Jon hopkins – immunity

Label: CLR Records

Label: Hotflush Recordings

Label: Monkeytown / Mute

Label: Domino

Release Date: August 30

Release Date: August 5

Release Date: August 6

Release Date: June 4

For the fans of: early Detroit Techno, sophisticated, complex sonic landscapes, bass-heavy records.

For the fans of: Ibiza anthems, timeless piano lines, thumping bass stabs, jungle and techno.

For the fans of: Modeselektor + Apparat, German techno, atmospheric vocals, epic collaborations.

For the fans of: achieving euphoric states through music.

Stand out tracks: "Disturbance", "Speak Silence", "Frame Shifter", "Empty", "Fragmenter".

Favorite track: "Overload".

Stand out tracks: "Bad Kingdom", "Let in the Light", "Milk", "Therapy", "Damage Done".

They say: An emotionally profound, openminded approach to current techno with a variety of influences and a complete disregard for any limitations musical genres could possibly represent.

They say: Fresh from producing an impeccable run of singles under his Special Request guise, Paul Woolford returns to the Hotflush camp on ferocious form, providing two spectrum-spanning cuts, one of which has already been certified as a bona fide Ibiza anthem.

They say: After spending six quite intense months in the studio we just finished our second album. It‘s simply called Moderat II and we aged about 10 years while making it. We still think it was worth the trouble.

Stand out tracks: "Collider", "Immunity", "Breathe This Air", "Sun Harmonics". They say: Immunity is a confident, dramatic record defined by an acute sense of physicality and place. It feels like the hypnotic accompaniment to a journey of creativity, a trip inside Hopkins' mind, using analog synthesis alongside manipulations of physical, real-world sounds to make dance music that feels as natural and unforced as possible.

Zeitgeber – Zeitgeber

µ-Ziq – somerset avenue Tracks (1992-1995)

John Wizards – John Wizards

finest ego, faces Vol. 5

Label: Stroboscopic Artefacts

Label: Planet Mu

Label: Project: Mooncircle

Release Date: June 10

Release Date: August 6

Release Date: September 2

Release Date: July 26

For the fans of: most forward-thinking techno, close listening, industrial-sized rhythms, dark dark techno.

For the fans of: early Mike Paradinas.

For the fans of: funk, African music, R&B, South African house, Shangaan Electro and dub.

For the fans of: Quality electronic music and art, field recordings, emotional soundscapes.

Stand out tracks: "Lusaka by Night", "Limpop", "Finally", "Durvs".

Stand out tracks: "I Met A Girl", “Fruition”, “Phreni”.

They say: John Wizards are a band from Cape Town, South Africa. They've written one of the most singular and intriguing records of the year, and one of the loveliest to boot.

They say: The fifth edition of Project Mooncircle / Finest Ego’s “Faces“ series comes with double the amount of producers as usual. On one side you find Greek brothers and production duo Tendts while the other side is shared by the two young artists Daixie and Hanami, from Australia and the UK respectively. Artwork comes from Bioniq is a designer, DJ and producer from St. Petersburg in cold Russia and Project: Mooncircle’s special KGB agent.

Stand out tracks: "Closely Related", "None Of Their Defects", "From Here", "Now Imagine". They say: It's an album that doesn’t often let the light in, but when it does, it’s all the brighter. You’d expect nothing less from two of the most talented producers in the techno world. The culmination of 18 months of work, Zeitgeber is an album that is a collaboration in the best sense. Two artists urging other to new heights and new sounds.

Stand out tracks: "Spooky Tooth", "Boilig", "Victor's March", "Diala". They say: Carefully compiled, this album reveals his unreleased productions from the start of his career in the early nineties. Curated by his wife and partner in the band Heterotic, Lara Rix-Martin, this exciting glimpse back reveals twenty four tracks that run the gamut of his various styles from the placid, evocative ambient rhodes of "Air" to the syncopated industrial techno of "Toy Gun #2" and lots more in between.

sub:stance compilation

south london Ordnance – he do The Police in different Voices

de Niro – mode

impakt – Be liquid

Label: SUB:STANCE

Label: Aery Metals

Label: NoMad

Label: Hyperboloid Records

Release Date: July 22

Release Date: August 19

Release Date: July 30

Release Date: May 21

For the fans of: Appleblim, SCB, Scuba, Addison Groove, Martyn, Berghain, Sub:Stance

For the fans of: Techno, dark and weird, original South London Ordnance.

For the fans of: "Skeng", MC vocals, The Bug, Spaceape.

For the fans of: synths, eclectic electronic music, diversity.

Stand out tracks: "Obsidian", "Modular Splash".

Stand out tracks: "Aam", "Synththug".

They say: South London Ordnance inaugurates own new label "Aery Metals" with a double pack out this Summer on 10" & digital formats. Features originals, collaborations with Finnish group Femme En Fourrure & vocalist Brolin. Remixes come from Factory Floor, Optimo & Chris Carter of Throbbing Gristle..

They say: In these years we really have finished all the words for describing De Niro's work. Each time he sends us new stuff we always remain open-mouthed. This time the surprise is all about the inclusion of two great vocals: one from a new talented Afghan guy: Talabun, definitely a name that will appear again on NoMad. The other vocal comes from Kwality, the LNRipley frontman, and the main MC of the Bratski Krug nights in Turin. The Athens based electronic/bass music producer Duckem closes this multi-ethnic picture, confirming again that music has no boundaries.

interplanetary Prophets – Zero hour

kromestar – Rhythm On my mind / X files

shigeto – No Better Time Than Now

dJ Rashad – i don't Give a fuck

Label: Planet Mu

Label: Cosmic Bridge

Label: Ghostly

Label: Hyperdub

Release Date: July 16

Release Date: July 22

Release Date: August 22

Release Date: July 23

For the fans of: techno, deep space voyaging, whooshing atmospheres, pulsing bass, slabs of synths.

For the fans of: Kromestar's surprises, 140 and 87 bpm territories.

For the fans of: soul searching, intricate production, jazz-influenced arrangements.

For the fans of: juke, footwork, and not giving a fuck.

They say: This release once again shows Kromestar's ability to morph into different worlds outside of his staple dubstep sound. Continuously one-to-watch, this record once again proves Krome's versatility and ability to inject spirit into conceptual rhythmic structures with ease, creating something that doesn't go over the listener's head, whilst making it look almost too easy.

Stand out tracks: "Detroit Part 1", "Miss U", "Soul Searching", "Safe In Here".

They say: DJ Rashad's second EP from Hyperdub this year, and it's a real killer, a four track explosion of ideas and color at 160bpm.

Stand out tracks: Addison Groove "Forgiven", Appleblim "Darkest Red", Martyn "Memory Hole", SCB "Closer". They say: This compilation has been created especially by some of the most integral musicians to the SUB:STANCE project, all of whom have played the party on multiple occasions. It is not intended to be an exhaustive account of the musical history of the project, merely a snapshot of the experiences each artist has had being involved in the parties.

They say: After their collaboration at last year’s Unsound festival, there were rumors about a recorded EP from Interplanetary Prophets a.k.a. Hieroglyphic Being and Ital. The good news is they were true. These are tracks that mirror their creators, carving techno into new shapes with a nod to the past and a foot in the future.

They say: "I feel when things change so much so fast, you are forced to look at what is right in front of you... [to] look at what's happening in the moment, [which] sometimes helps you embrace that moment. These songs are that for me. Don't sleep on a feeling. If it feels right it is. We say life is 'short,' but [we] know it feels 'long,' so when you have a chance to be honest with yourself, take it — there is no better time than now." - Shigeto

They say: With Be Liquid EP we introduce you to a wide range of modern electronic music from Oslo's Impakt, who came from braindance times and took inspiration in the bass scene of these days. The artwork has been designed by the Pixelord and Elroy Klee.

ikonika – aerotropolis

Yosi horikawa – Vapor

Walton – Beyond

Raffertie – sleep of Reason

Label: Hyperdub

Label: First World Records

Label: Hyperdub

Label: Ninja Tune

Release Date: July 30

Release Date: June 24

Release Date: July 1

Release Date: August 6

For the fans of: Laurel Halo, Cooly G, electro, future retro, game music.

For the fans of: sound design, diverse sample sources, rhythms and melodies, getting lost in music, attention to details.

For the fans of: funky basslines, garage woodblocks and ambient atmospherics.

For the fans of: variety of original themes, moods and textures.

Stand out tracks: "Need To Feel", "Every Night".

Stand out tracks: "Touching", "Build Me Up", "Gagging Order", "Last Train Home".

They say: Vapor is an album in the old-fashioned sense, a tightly-woven sonic journey that benefits from repeated listens. Picking out individual tracks is pointless, as ultimately it’s about the feeling that the songs on Vapor create, despite how cheesy that may sound. You can opt to lose yourself in the music or pay attention to the fascinating details that fly across the sonic spectrum, whichever way you’re in for a ride.

They say: Walton's music is never sombre or angry, but is about subtle combinations, there is an appealing, soulful sensuality to his beautifully crafted and joyous music. He says of the album "I just wanted there to be a contrast between bright and dark, I didn't want to stick to a specific genre either. Just a vibe."

They say: "I wanted to create an album listeners could empathise with," Raffertie says. "Albums I listened to and connected with most when growing up, and indeed still now, were those that made me feel like I wasn't alone. That perhaps sounds quite sad, but that whole process of connection was ultimately what I felt drawing me into a lot of music. Catharsis, it seems to me, is the universal backbone of music. It's a process of coming to terms with our relative daemons."

addison Groove & sam Binga – Bs3

Visionist - snakebite

dirg Gerner – dirg Gerner

Ziro – Pulse

Label: 50Weapons

Label: Leisure System

Label: Eglo Records

Label: Fulcrum

Release Date: July 26

Release Date: July 22

Release Date: July 8

Release Date: July 29

For the fans of: 808, chopped up vocals, epic collaborations.

For the fans of: heady influences in grime.

For the fans of: leftfield blue eyed soul, contemporary RnB and electronica.

For the fans of: humping synthetic drums and menacing atmospherics.

Stand out track: "Thr3id".

Stand out tracks: Snakebite", "Poison".

Stand out tracks: "What A Life", "Before It's Over".

They say: “Bouncing 808s at 170, but it's not jungle... chopped up vocals but it's not footwork... all I can say is - first we lean widdit, then we rock with it!” (Sam Binga)

They say: This 3-tracker on Leisure System is some of Visionist's strongest work to date, with starry breaks, jittery gunplay, and belching smokestacks accompanying Visionist's journey from the tunnels of South London to the belly of Berghain.

They say: Nearly a year on from his debut on Crazylegs, Ziro's devastating second EP reveals a level of maturity and skill way beyond his years — backed with an innate ability to programme dance music as surprising as it is exciting.

Stand out tracks: "Mr Cake", "Let a smile be (y)our Umbrella", "Backhand Winners". They say: According to Ikonika “The word 'Aerotropolis' comes from being a DJ living in one. I'm haunted and infatuated by it. Watching "Gattaca" for the first time, I found myself relating to Vincent Freeman's ambition of reaching space and travelling somewhere better, getting high. I'm constantly watching planes take off and twitching that I didn't get a booking this weekend, needing to play out."

Stand out tracks: "Bump", "Splash".

They say: Dirg Gerner's unique blend of leftfield blue eyed soul, contemporary RnB and electronica has placed him in a lane of his own. Warm worldly rhythms meet sweet, bass infected pop. Joining the dots between Sade, Drake, Jeremih and Quadron, in a way that only Dirg knows how.

lrusse & Bleecker – dot Product / stairwell

facing Jinx – Remixes

hodge – holographic Prose

RJd2 – more is Than isn't

Label: Apple Pips

Label: Peer Pressure

Label: Well Rounded Housing Project

Label: Electrical Connections

Release Date: July 22

Release Date: July 29

Release Date: October 8

For the fans of: echo, depth, swing and bass, Wedge, Sam Baobinga.

For the fans of: drum & bass, emotive soundscapes and intelligent rhythms.

For the fans of: science fiction novels, sub-bass, feeling of weightlessness.

For the fans of: soulful, melodic, beatoriented music.

Favorite track: "Dot Product".

Stand out tracks: "Monster", "Slowing Behaviour"

They say: This record is a decisive step forward for both Lrusse and Bleecker, staying true to their past achievements whilst showcasing the vitality and imagination inherent in both their shared studio adventures and their individual forays to come.

They say: Working with producers from the full spectrum of drum & bass, Facing Jinx always anchors his sound in emotive soundscapes and intelligent rhythms. In an industry cluttered with club tunes and soulless, identical buildand-drops, his sounds are vital. A breath of fresh air. “Remixes“ EP takes a closer look at some of his most famous tracks, now re-worked by three of the scene's most exciting rising stars.

They say: "In ways, all of my previous albums were in some fashion striving to achieve something more than being 'just instrumental music'; this is the first RJD2 album I've made that actually revels in a relative lack of vocals," he states.

Bodyjack – Bodyjack

dBridge – move Way

scanone – scenes

ambassadeurs – Trouble

Label: Bodyjack

Label: R&S Records

Label: Yellow Machines

Label: Pilot Records

Release Date: September 16

Release Date: August 12

Release Date: August 5

Release Date: July 8

For the fans of: funky basslines, dance floor assaults, techno.

For the fans of: Jamaican dread wisdom, d'n'b parallel to dubstep, exquisite production.

For the fans of: dubstep 2012, big drops, rave-influenced vocals.

For the fans of: dub, hip-hop, chillwave, bass, jazz, leftfield, bass-heavy electronica.

They say: In summer 2012, Chris Finke made a track called "Bodyjack", combining a funky bassline with classic Dance Mania & Relief style beats. He then passed it onto five DJs: Jackmaster, Paul Woolford, Dave Clarke, L-Vis1990 & Rolando whose support in the clubs brought in Chris more messages about the track then anything he had done before...

They say: "If you tune in - there is always a sense of gradual ascension. We're heading for the next level. Can you feel it? We hope to take you with us as we break free from certain dance floor constraints."

Stand out tracks: "Scene 7", "Darklight". They say: With the half‐step/double time thing going on, it's simply a piece of awesome electronica: a love letter to vintage electronic drum sounds yet utterly modern, rich in slowly unfolding layers of synth melody and harmony, and the perfect counterpart to the other two tracks on this perfectly structured EP.

They say: The whole EP is a journey in itself covering 33 mins. From the magical melodies contrasted with dark brooding synths of "Moon 2" to "Scene 7"'s own narrative commencing on an unknown planet, walking amongst eroding space debris, distant lights flicker as we approach our destination.

Stand out tracks: "Peace of Youth Pt.1", "Colour Show". They say: A six track work of fractured psychedelic funk futurism, the Trouble EP is Ambassadeur’s most comprehensive, revealing release to date.

Brandt Brauer frick – Broken Pieces / skiffle it up

helena hauff – actio Reactio

house Of Black lanterns – You, me, metropolis

deft – Voight kampff

Label: !K7

Label: Werkdiscs

Label: Houndstooth

Label: Project: Mooncircle / hhv.de

Release Date: July 22

Release Date: August 6

Release Date: August 12

Release Date: September 6

For the fans of: techno without the technology, using classical instruments in preference to synthesizers and computers.

For the fans of: dirty acid, Chicago, electro and wave mixed in an obsessive way.

For the fans of: dub-inflected techno textures and sprawling drum & bass soundscapes.

For the fans of: Downbeat, electronica, leftfield, instrumental hip hop.

They say: "I could explain the name of the record and the tracks, but I don't really wanna. I wanna leave that to the people, I want them to make up their own ideas about it..." Helena Hauff

They say: "There were a few loose themes I tried to stick to, with space and texture being two that are important to me and they’re something that becomes increasingly lost in modern productions." Dylan Richards (House Of Black Lanterns)

lockah x Taste Tester – higher learning

The Big – filthy

femme en fourrure – 3626-36

Ras G – Back On The Planet

Label: Activia Benz

Label: Ninja Tune

Label: Convex Industries

Label: Brainfeeder

Release Date: July 1

Release Date: August 6

Release Date: June 3

Release Date: August 6

For the fans of: infectious vocals stuck in your head, uptempo, juke, weird rap/ house party.

Stand out tracks: "Kill Them" ft. Daddy Freddy, "Louder".

For the fans of: slick, minimal, bass-heavy aesthetic, velvety spoken female vox, and an undercurrent of alone-in-my-penthouse melancholy.

For the fans of: dusty, ethereal and bugged out.

Stand out tracks: "Broken Pieces (Dollkraut Rework)", They say: “We synthesized every sound bit from our organic friends BBF and tuned Jamie's voice to the wrong pitch. Then we slowed down the tempo and had the washing machine do the arrangement. The final edit was made in a car while being on tour in the US, somewhere between the red woods and Salt Lake city. May the promise live forever“ Andi & Jan (M.O.M)

They say: These Trans-Atlantic talents have put together a fantastic record of heavy hip hop, R&B inspired cuts, ready for the club and/or picnic with your friend.

For the fans of: "Skeng", Danny Brown, soundclashes. They say: This is prep work for the forthcoming Angels & Devils full length... featuring the likes of Death Grips, Gonjasufi, Grouper, Warrior Queen, Inga Copeland, Flowdan, Daddy Freddy, and more.

Stand out tracks: "Golden Sssh", "Pretty Boy", "Letter To My Brother". They say: Not much is known about the duo, other than that their homebase is in Finland. Sometimes they group is credited as just Juuso Malin, and sometimes it includes Bianca. Their debut album is a stark and minimalist affair, with prominent and sexually-charged spoken word vocals. 36-26-36 features first single "Pretty Boy," which was given a rather memorable video treatment back in February.

They story: The year is 2140, Earth’s resources have almost entirely been used up to fuel the final World War, which resulted in a thermo-nuclear holocaust that left most of the planet uninhabitable. Most animals and many plants extinct, the planet is darkened by thick clouds of debris and pollution, almost impenetrable to the sun’s light. The high degree of radiation forces the population to live in huge bunker like superstructures in massive overcrowded agglomerations.

Stand out tracks: "Asteroid Storm", "Natural Melanin Being", "Back On The Planet". They say: Back On The Planet, Ras G's first Brainfeeder release in years, finds the blunted master of the beat guiding his Afrikan Space Program further out than ever.

$208 +BF