Celebrate the Onset of Summer with a Sweat-Speckled Mix from Lindstrøm

Coming from the chilly city of Oslo, Norwegian producer Lindstrøm doesn’t take good weather for granted. As the Northern Hemisphere prepares for the onset of summer, the Feedelity head has shared a new sunbaked mix exclusively on THUMP.

The hour-long session, Lindstrøm tells THUMP over email, is a rare live set, taken from his performance last year at Trópico Festival in Acapulco, Mexico, where he performed alongside artists including Todd Terje, Pachanga Boys, Greg Wilson, and Session Victim. “Walking around and seeing turtles, flamingos, and just enjoying the tropical climate of Mexico…there’s something special about that because I’m from Norway and we just had snow two weeks ago.”

Despite his cold-climate roots, the man’s music evokes images of clear waters and beaming sun rays, and he especially takes to the environment with glistening, sweat-speckled selections made even livelier by the appreciative roars of the crowd.

“This is a mix of my own material,” says Lindstrøm. “Most of songs are rearranged or edited a little bit to work better in a live set context. I usually select some old songs, some new ones, and some unreleased material, then try different things in the live mix. I don’t usually share my live sets because they don’t feel as exciting to me after the fact, though they do feel really great when playing live.”

Listen to Lindstrøm’s live set from Trópico Festival below.

Venue's Crumbling Ceiling Leads to Evacuation at Dixon's Amsterdam Show

Amsterdam concert hall The Royal Concertgebouw was evacuated last night when parts of the ceiling began to crumble, Dutch news service RTL Nieuws reports. Hometown DJ Job Jobse and Innervisions head Dixon were deep in a seven-hour back-to-back set when the incident occurred around 1 AM, approximately two hours before the event was scheduled to end.

Following the evacuation, the venue staff posted a statement on Facebook:”Last night during a dance event in the Concertgebouw we found that grit had come loose from a plaster moulding above the stage in the Great Hall. We decided to end the event prematurely due to the safety of the visitors. The house is now clear. An inspection found that a small part of the stucco is damaged; this section has now been removed. No one is in danger.”

The historic venue, considered one of the finest concert halls in the world, was built in 1886 and is revered for its near-perfect acoustics. According to the official website, Concertgebouw hosts over 900 events (most of them classical music concerts) and 700,000 people per year.

According to the venue, the cause of the damage is under investigation. All upcoming shows and rehearsals are expected to proceed as planned.

The Avalanches Say New Album is Coming “Definitely Soon”

Good news for Avalanches fans: the sample-loving Australian group is working on a follow-up to their last album Wildflower, and we won’t have to wait 16 years to hear it.

Speaking with Sydney’s FBI Radio, band member Robbie Chater shared that he and Tony Di Blasi have been spending the last few weeks writing since returning home from tour. “It’s flowing so quickly. I think getting Wildflower out of the way and following up Since I Left You feels like a weight’s been lifted,” he said. “The [new] music is really light, it’s some of the best stuff we’ve done.”

When asked as to when fans can expect to hear said new music, Chater replied, “We’ve got eight songs we’re playing to the label on Monday. Who knows when [they’ll be out]? Next year? It’s definitely soon.”

The as-yet-untitled album will be The Avalanches’ third, following last year’s Wildflower, which included singles “Subways” and “Frankie Sinatra.” They also recorded an Essential Mix last summer.

7 Tips for Starting Your Own DIY Music Festival

This article appeared originally on THUMP Canada.

Since starting in 2007, Halifax’s OBEY Convention has established itself by continuously rallying behind artists and sounds that exist along the periphery. Despite being based in a relatively isolated Atlantic Canadian city best known for its contributions to Celtic music and indie rock, that sees fewer touring bands throughout the year, the festival will celebrate their tenth anniversary May 25-28.

What began as a DIY showcase for founder Darcy Spidle’s label DIVORCE Records, has grown into an annual multi-venue gathering that’s seen performances from Canadian and international artists including Mykki Blanco, Tim Hecker, Julianna Barwick, Le1f, RP Boo, and more. For the 2017 edition, the organizers have put together yet another incredible lineup, featuring Philadelphia noise producer Moor Mother, Virginia-based experimental artist Elysia Crampton, Montreal avant-garde composer Kara-Lis Coverdale, and New York industrial duo Uniform.

We recently spoke with Spidle by phone, and creative director Andrew Patterson and executive director Kat Shubaly via Skype, to learn about OBEY’s humble beginnings and the secrets to their success.

Tropic of Cancer, OBEY Convention VII

1. Have a strong premise and build on a community that exists.

The festival was born out of DIVORCE Records, the experimental and noise punk label Spidle started in 1999, as a place for “weirdos to converge.” “When OBEY started it was the hangover from the ‘Halifax-is-the-next-Seattle’ thing. There was a lot of big acts like Sloan and Thrush Hermit, and there was this culture that you could really make it as a pop rock band in Halifax,” says Patterson. “I think the really rich underground punk scene of bands like Be Bad and Torso were responding to that culture.”

While experimental music often gets a bad name for being too academic or elitist, points out Spidle, the convention’s goal was to present another side to the genre. “With the festival I wanted to show things that were exciting and weird, not stuffy or boring,” he explains. “OBEY was trying to present another side of that: people making weird music in their bedrooms, not in universities.”

2. You don’t have to do it alone.

After four years of the festival, Spidle took a break and admits he wasn’t sure he was going to come back. But spurred on by a friend, he registered OBEY as a non-profit, and started handing the reins over to people like Patterson and Shubaly, who both got involved around 2013. He says he still helps out where he’s needed, but is “very, very grateful that they stepped up and took it over, and I’m excited to see where it goes.

Bing & Ruth, OBEY Convention VIII

3. Be adaptable to change.

Over the years, Spidle says OBEY has evolved from a punk and noise festival to bigger, soft-seater shows, graduating from venues like Gus’ Pub to Fort Massey United Church. “We’ve had people like [free jazz saxophonist] Peter Brötzmann. I see the connection between what he does and punk music and noise music,” he says. “Whether it’s a New Age zither player or [power electronics act] Bastard Noise, there’s a subversive element, I see it as a part of a similar rejection of the mainstream.

Shubaly adds that with the exodus of Halifax artists in recent years, they’ve looked to other Canadian scenes like Montréal, while including more international artists. “The term I like to use is ‘underrepresented music,’ which sort of allows for an openness of genre and identity, and culture,” explains Patterson. “It isn’t about punk music specifically or electronic music specifically, it’s a platform for voices that otherwise go underrepresented in Halifax.”

4. There will always be setbacks, but they’ll help define you.

Even after building up its reputation, all of the organizers admit it can be difficult drawing acts to play at the festival. “There’s a risk too. It’s a catch-22. Do I spend the money on an artist, knowing I’ll make half of it back? Will this person come, do I have enough money to entice this person to come, is there somewhere nearby for them to stop after?” says Shubaly. “You try and make it worthwhile for people that come here.”

“Because we don’t get a lot of touring bands, there’s a lot of support for local music and the bar isn’t set so high,” Patterson says. “You’re never going to see Brian Eno, but you can see Laraaji, and that’s pretty amazing.” Spidle explains the city’s size and the experimental scene’s size relative to that haven’t hindered the festival at all, since “half our audience is typically out of province,” which he credits to their marketing. “Logistically it’s a very difficult festival to pull off, but it’s a labour of love in a lot of ways,” he says.

Special Costello, OBEY Convention VII

5. Don’t repeat yourself.

“There’s so many festivals,” sighs Patterson. “A lot of the major festivals here, and even some of the indie ones all have the same headliners, every other year. They have this stable of artists because they know they’ll sell tickets, just playing it safe on the business side at the cost of the aesthetic or the audience’s experience. With us, someone always says ‘God who else would book that band?’ I think we have a role and are obligated in a way, but also feel grateful to hold that space.”

6. Don’t be afraid to dream (literally).

Patterson admits that at least several of the organizers’ best ideas have come from the depths of their imaginations. Last year, they made OBEY free for everyone under 19, an objective that came to the founder in a dream. “It started with Darcy calling me and saying ‘I had a dream last night where we did this, and I woke up and posted it on Twitter,'” recalls Patterson, who adds they hope to continue the policy for years to come.

7. Make it accessible to people outside your immediate audience.

“This year we were able to realize one of the dreams Kat and I have had for awhile, getting our festival posters printed in multiple languages,” says Patterson. Through a friend at Common Roots Urban Farm, a Halifax community garden which attracts new Canadian immigrants as plot owners and volunteers, they were able to arrange the translation of a show flyer to Arabic, Swahili, and Nepali. The creative director views reaching out to these communities—who might not be familiar with the music—as underlooked opportunities to reach new audiences.

“There’s something special about OBEY happening in this town that’s not totally tuned in to what we’re doing,” he says. “If you can convince someone to walk into a Moor Mother show, you’re going to blow their mind.”

To get tickets and find out more info about OBEY Convention X, head over to their website.

Michael Rancic is on Twitter.

Enter the Psychedelic Techno Wormhole of No Way Back with Jasen Loveland's Mix

Each year, Detroit label Interdimensional Transmissions hosts a Midwestern techno reunion of sorts in the form of their beloved Movement afterparty No Way Back. Hosted at the city’s two-room Tangent Gallery, the party adorns itself in low light and a tapestried ceiling of large parachutes that create a vibe somewhere between a womb and psychedelic wormhole. This year the crew celebrates their tenth anniversary with their usual cast of characters, including IT label heads BMG and Erika, The Bunker’s Bryan Kasenic, Derek Plaslaiko, Patrick Russell, and Mike Servito, acid connoisseur Carlos Souffront, as well as ambient specialists Scott Zacharies, Outer Space (live), and Grant Aaron. While they’ve long featured this core group of characters, the label also devotes focus to nurturing a new class of selectors, often via their actual releases.

In tandem with the anniversary, they’re launching an acid-focused release series inspired by the sound of No Way Back, featuring a couple of producers who in part found their sound while attending the party as regular dancers: Brooklyn’s Justin Cudmore and Los Angeles DJ and producer Jasen Loveland. To help celebrate the party, which kicks off 13 straight hours this Sunday, May 28, as well as the sense of community they’ve instilled over their history, Jasen Loveland made THUMP a mix.

“This is a compilation of forthcoming releases and unfinished studio work presented together in the form of a DJ mix,” said Loveland over email. “While I generally leave the mixing to professionals, I thought this would be an interesting opportunity to showcase the sound, as it currently exists, which is deeply indebted to No Way Back and the Interdimensional Transmissions ethos.” “When I work in the studio, I’m actively trying to recreate, or make real, certain experiences I’ve collected over my decades of raving,” he continued.

“It is for this reason I find the NWB parties to be such a joy; the party always offers something challenging and new, despite a remarkably consistent lineup year to year. The DJs always push themselves and each other, Amber’s decor is always on point and the sound system won’t let you get away. When you roll in, you can expect to be immersed into a world with one purpose: to make you lose your fucking mind.” Check out Loveland’s meditative, unsettling, and acidic mix below, as well as an interview with IT heads Erika and BMG below the embed.

THUMP: No Way Back and IT clearly have a longstanding relationship with the acid sound. It seems to me in the last couple years there’s a new trendiness to the word “acid” and it’s thrown around a bit more frivolously. What’s your take on how the word and genre have grown and changed with time?
Erika and BMG: Acid is directly descended from disco and especially disco edits, you can feel it coming in the intro to Rose Royce’s “Is It Love Your After” from 1979 or the break in Kikrokos “Life Is a Jungle” 1978 that Ron Hardy brought to fame. But really it was the hypnotic way that Ron Hardy played at the Muzic Box at five in the morning that made this genre begin. If you’ve ever heard [Hardy’s] edit of “Peaches and Prunes”—that insane mind bending repetition—it’s the same concepts that inspired La Monte Young,Terry Riley, Phillip Glass, and Steve Reich, but in a soundsystem-inspired blend of mind and body. That is what acid is.

Words come and go in our consciousness. The word boogie has so many meanings, and I’ve lived through so many takes on the word “electro.” None of this matters, ideas are ideas. Once this music became an industry, those playing the game are exhausted of their own ideas from having to take care of so many other details, so they scan the underground for inspiration. I only really care about the underground. I only care when this thing is actually real, in environments and contexts that actually inspire you.

Throwing parties gets tricker each year with new laws, spaces closing (and opening), and changes in government. How have you guys—and the city of Detroit—learned to adapt to that?
We only work with safe and legal venues. The Tangent Gallery has a rare license that allows them to stay open 24 hours with music and dancing, they are one of only a few of those licenses left. Thankfully the owners really care about safety too, and this year we’ve added another exit off the No Way Back room to make going outside so much faster.

The new acid series got kicked off with two “fresh” faces that are a bit newer to the IT family. How do you guys work to nurture new talent, being such a tight knit group, and how important is change and reinvention to the team?
Erika and BMG: The whole process is so organic. Things must constantly evolve, just as you yourself do, or you would tire of them. Everyone involved with No Way Back is on this quest. I met Jasen Loveland and Justin Cudmore through No Way Back, out on the floor. That’s how we connected. Some artists I release and work with kept showing me Jasen Loveland’s work, and it really connected. He sent me the multi tracks for a song I wanted to play overseas, and it all grew from there.

Justin Cudmore I first heard of through his HNYTRX release for Honey Soundsystem, which had a Mike Servito mix, and I was like what? How did you get him to do something in the studio?? Justin told me about making Mike chili, so it was easy to get him to come over! He’s an amazing guy, a great DJ, and a great artist. He started sending me new compositions and once we got to the point of the Acid Series, he gave me stuff tailor made for that lost in it vibe of No Way Back. It was exactly the music I was looking to play.

Tell me a bit more about what you saw in Jasen Loveland and Cudmore and why they were two good artist to kick of the series?
Erika and BMG: Jasen Loveland is a mercurial force, he has a very active mind and is a very skilled artist in multiple mediums. His dedication is constantly inspiring. Acid Series Vol 1 is Jasen Loveland’s debut release, and is perfectly fitting for the inaugural release for this series. He brought the tunes to my studio to mix, and we couldn’t’ be happier with how it came out. All killer, no filler.

Justin Cudmore was at No Way Back for Dekmantel in Amsterdam and I was asking for a copy of a secret mix of his HNYTRX release that I had heard Mike Servito and Derek Plaslaiko play because it had been stuck in my head. When he sent that he showed me a few other unreleased pieces to DJ with, and I did some quick mastering to them and started playing them in my sets. With the demos from him and Jasen Loveland and Romans and a few others, the idea just clicked that I should do an acid series to celebrate 10 years of No Way Back, and these newer artists were the way to start. It kind of is a full circle statement. Behind the parachutes, we would always say that we would continue these parties until we found the inspiration on how to go forward. Now it’s a whole new generation.

Mike City – When I Luv (Kenny Dope Remix) / BBE

RELEASE: When I Luv (Kenny Dope Remix)
ARTIST: Mike City
REMIXERS: Kenny Dope
GENRE: House
RELEASED: 2017-05-26
BITRATE: 320Kbps


  1. Mike City – When I Luv feat. Faith Evans (Instrumental) (03:41) / 122bpm/Dmin
  2. Mike City – When I Luv feat. Faith Evans (Kenny Dope Remix Instrumental) (07:53) / 122bpm/Dmin
  3. Mike City – When I Luv feat. Faith Evans (Kenny Dope Remix Keyapella) (04:48) / 122bpm/Dmin
  4. Mike City – When I Luv feat. Faith Evans (Kenny Dope Remix) (07:53) / 122bpm/Dmin
  5. Mike City – When I Luv feat. Faith Evans (Original Mix) (03:41) / 122bpm/Dmin

Total Playtime: 00:27:56 min


Metodi Hristov – Not a Human Being / Set About

RELEASE: Not a Human Being
ARTIST: Metodi Hristov
LABEL: Set About
GENRE: Techno
RELEASED: 2017-05-26
BITRATE: 448Kbps


  1. Metodi Hristov – Facing Assault (Original Mix) (05:04) / 125bpm/Amaj
  2. Metodi Hristov – Facing Assault (Whyt Noyz Remix) (07:10) / 126bpm/Amin
  3. Metodi Hristov – Not a Human Being (Original Mix) (06:24) / 125bpm/Emaj
  4. Metodi Hristov – Not a Human Being (Shosho Remix) (10:55) / 124bpm/Emin

Total Playtime: 00:29:33 min


Matteo Bruscagin, Visnadi – Triptico / Drps Classic (+Guy J Remix) / Lost & Found

RELEASE: Triptico / Drps Classic
ARTIST: Matteo Bruscagin, Visnadi
LABEL: Lost & Found
GENRE: Progressive House
RELEASED: 2017-05-26
BITRATE: 320Kbps


  1. Matteo Bruscagin, Visnadi – Drps Classic (Guy J Remix) (09:29) / 122bpm/D#min
  2. Matteo Bruscagin, Visnadi – Triptico (Original Mix) (10:33) / 120bpm/Dmin

Total Playtime: 00:20:02 min


Emery Warman – Godzilla EP / VIVa MUSiC

RELEASE: Godzilla EP
ARTIST: Emery Warman
GENRE: Tech House
RELEASED: 2017-05-26
BITRATE: 320Kbps


  1. Emery Warman – Godzilla (Original Mix) (06:27) / 124bpm/Fmaj
  2. Emery Warman – Keep The Fire Burning (Original Mix) (06:33) / 122bpm/Emaj
  3. Emery Warman – Pressure (Original Mix) (07:36) / 0bpm/Dmin

Total Playtime: 00:20:36 min


Felix Bernhardt – MoDope / Snork Enterprises

ARTIST: Felix Bernhardt
LABEL: Snork Enterprises
GENRE: Techno
RELEASED: 2017-03-15
BITRATE: 320Kbps


  1. Felix Bernhardt – Drangeln (Original Mix) (06:35) / 128bpm/Amin
  2. Felix Bernhardt – Dripin (Original Mix) (06:32) / 128bpm/Amin
  3. Felix Bernhardt – Modop (Original Mix) (06:46) / 128bpm/Amaj
  4. Felix Bernhardt – No Sleep (Original Mix) (07:10) / 127bpm/Dmaj

Total Playtime: 00:27:03 min


DJOKO – Tabula Rasa / NastyFunk Records

RELEASE: Tabula Rasa
REMIXERS: Erik Christiansen, Waitz
LABEL: NastyFunk Records
GENRE: Tech House
RELEASED: 2017-04-24
BITRATE: 320Kbps


  1. DJOKO – Tabula Rasa (Erik Christiansen Remix) (07:57) / 125bpm/A#min
  2. DJOKO – Tabula Rasa (Original Mix) (05:31) / 125bpm/Cmin
  3. DJOKO – Tabula Rasa (Waitz Remix) (06:49) / 124bpm/Amin

Total Playtime: 00:20:17 min