It's Been Exactly A Year Since The Now-Infamous Avicii, MDMA, Dead Dad Tweet

This article was originally published on THUMP UK.

A lot can change in a year, can’t it? History marches ruthlessly forward, stopping for no man, sweeping us away in its current like sewage. A year ago David Cameron wasn’t a known pig-fucker, no one had thought about moths for decades, and the only place that Pokemon were going was in the annals of history. Solid ground turns into societal quicksand. Still, some things are fixed, rooted, set to remain forever there. This is an article about one of those things.

A year ago today, a young man named Nathan Henderson tweeted the following:

Henderson, like thousands of other young Scots, had made the journey to Strathallan Castle for T in the Park, the biggest festival of the season up there above Hadrian’s stoney dividing line. Festivals, by their very nature, are hedonistic affairs, chances to slide out of life’s rigor and rules into a gloopy pool of sweaty, stinking, sordid debauchery. People wake up and drink cans of lager! In tents! Before midday! The point is that Henderson was at an event where emotionsand blood alcohol contentrun high. Anything can happen.

Is Avicii the Bob Dylan of EDM?

Avicii found himself headlining the main stage on the Saturday night of the festival. He followed sets from the likes of Seasick Steve, Jessie J, and the Libertines. Watching the Swedish EDM lynchpin’s set back now in gloriously grainy quality on YouTube, I’m struck by the sheer banality of it all. It’s a thudding spectacle that seems like it’s dazzling, seems like it’s really doing something when in actual factto these eyes, these ears, at leastit’s stuck in stasis, a long, dry, wank that never culminates in even the most embarrassingly adequate of climaxes. Still, the now-infamous ‘boy at avicii’ must have felt very, very differently. For him this was monumental, this was cathartic, this was what his dad died for.

We’ll never know if Henderson had any awareness that his tweet would attain the kind of viral attention that every ad agency in the world would literally slaughter toddlers for, but it was the kind of tweet that grows into the sort of hulking beast that stalks the TL for months, years even. This is Scottish Twitter, and on Scottish Twitter, pretty much any tweet about anything at all”ma ma dinnae take the dug oot”, “smudy giz a wee haggis fae am pure hungry”, “am actually gonty go tesco buzzin”can go fucking mad.

Part of me wonders whether or not The Avicii Tweetas I think of it, and think of it oftenwould have had as much power had it been written in boring old plain English. “A boy at Avicii told me that his dad had died because of MDMA and when the beat dropped he was properly crying his eyes out and shouting “my dad died for this,” is still a good tweet, but it lacks that deep fried pizza pizzaz. The dialectical twist that Henderson garnishes the story with takes it to a level of narrative brilliance that Alasdair Gray or Irvine Welsh could only dream of.

What you’ve got is a whole life, two lives really; the life of a father and the life of a son, in 30 words. It is the most touching and succinct rumination on that funny relationship that dads and lads have with one another since Kingsley Amis wrote the following lines in his poem “In Memoriam W.R.A”

I’m sorry you had to die
To make me sorry
You’re not here now.

Henderson, you have to assume, just so happened to be privy to this moment of intense personal reflection, and was blessed with the eavesdropper’s ear for the miniature dramas of daily life. We will never know how MDMA took the life of this boy’s dad, we’ll never fully grasp the significance of watching Avicii in the grounds of a castle in Scotland on a Saturday night, we know not what this boy, wet-eyed and incredibly emotional, did later that night, or is doing now. But we’ll always have the tweet.

Josh is on Twitter

Theo Parrish Criticizes The Dance Music Community's Response To Recent Police Brutality

This article originally ran on THUMP UK.

Detroit based DJ and producer Theo Parrish has posted a brief statement on his official Facebook page, indicating his disappointment in the dance music community’s response to recent police brutality against black victims in America, describing himself as “Embarrassed at the lack of overt commentary”.

Criticizing those who value dance music simply as a form of escapism and nothing more, Parrish asks “How do you dance when we still swing from trees, when we still are murdered in front of our loved ones, murdered while subdued and harmless?” He goes on to make a resounding call for solidarity within the community going forward. In his words, “You better learn to listen with your body, you better play from your heart. It was a preference before, now it’s essential.”

His full post is below.

Theo Parrish is on Facebook.

PC Music's A. G. Cook Shares New Single, "Superstar"

Photo by Hannah Diamond

PC Music founder, A. G. Cook, shared a discomfortingly high-fructose single “Superstar” today, marking the first original material under his own name since February 2015’s “Drop FM” with Hannah Diamond. The track sees the English musician stay largely true to form, delivering a slightly uneasy, bedroom fantasy version of stadium pop, stylized with a self-aware and awkward approach to performance. For those that want to sing along, the label has even uploaded a lyric video.

Cook has also been appointed Creative Director for pop star Charli XCX.

Felicita was the last artist to release music on PC Music, and his “Heads Will Roll / I Will Devour You” is like eating delicious, poisonous bubble gum. Have you ever thought about ripping your workplace to shreds? If so, you might find a little bit of catharsis in Danny L Harle’s “Broken Flowers” video.

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Hidden Spheres' "Well Well" Will Make You Want To Stick Your Feet In The Sand

Photo courtesy of the artist.

Capturing the feeling of Summer is a pretty clich way to describe, well, just about anything. But to hell with it, the Manchester-based DJ and producer Hidden Spheres has done it…again. Following one of last summer’s most ocean-breezy tracks Waiting,” the debut release of Lobster Theremin’s Distant Hawaii off-shoot, the artist is back with a new 12″ on UK house label Rhythm Section, entitled Well Well. Sticking to his M.O. of airy synth noodling, creamy basslines, and the occasionally soft-spoken word, the title track ebbs and flows like the waves on your local stretch of sandy beach. So hit play on the title track below and go get your feet deep into the the sand. If you live somewhere that’s landlocked, then just fill up a kiddie-pool or something like that. Embrace the warm summer air.

Pre-order Well Well on Bandcamp.

Krewella Open Up About Their Breakup With Kris “Rainman” Trindl: “The Truth Is Very Ugly”

Photos by Erez Avissar

It is one of those comically beautiful afternoons in May when the sidewalks of Manhattan are drenched in gold and somehow don’t smell like piss. Even the two chronically grouchy men outside a corner store in the East Village have uncrossed their arms and are smiling at the stream of sun-drunk pedestrians walking byincluding Krewella bandmates and sisters Jahan and Yasmine Yousaf, both dressed in body-hugging, all-black outfits from a recent shopping trip to VFILES. Aged 26 and 24 respectively, they’ve just stepped out from the shadows of a restaurant next door, and are scanning Avenue A for a scenic spot where our photographer can take some pictures for this interview. Suddenly, Yasmine’s eyes light up.

“Tompkins Square Park! It’s like the Mumford and Sons song!” she says, pointing at a metal placard with a hand covered in snaking tattoos, her brown eyes wide with childlike glee. Without a hint of self-consciousness, she starts singing sweetly, “Oh babe, meet me in Tompkins Square Park…” Jahan, whose angular cheekbones stands in contrast to Yasmine’s baby-faced features, joins in with a sardonic grin: “I wanna hold you in the dark…” Clutching each other’s elbows, the sisters double forward in contagious laughter.

Learning to laugh at themselves hasn’t always been easy for Jahan and Yasmine, who for the last two years have been subject to intense online scrutiny due to a highly publicizedand very uglylegal battle with former bandmate Kris “Rainman” Trindl, who left the group in 2014. (Trindl and Jahan also dated from 2006 to 2011.)

Back in 2012, Jahan, Yasmine and Kris were the new faces of the burgeoning EDM movementcharismatic poster kids for rolling face to nasty dubstep drops, thrashing your wet hair against thousands of sweaty strangers, and giving in to every impulse. The Yousafs acted as the group’s vocalists and songwriters, while Trindl produced the beats. Together, they developed a trademark sound that hijacks every nerve in your body and blasts you into a confetti cannon of mindless euphoria: sweet and synthetic pop hooks floating over chainsaw basslines that sound like Transformers kicking each other in the testicles. The video for one of their early hits, “Alive,”which currently has 53 million views on YouTubefollows a group of hot teens hooking up amidst an apocalyptic demolition derby. It perfectly sums up their visual brand: dirty, playful, sexy, unstoppable.

After winning an International Dance Music Award in 2012 for “Best Breakthrough Artist,” the trio headlined major festivals like Ultra, Electric Daisy Carnival, and Stereosonic. Their 2013 debut album, Get Wetwhich mixed hardstyle, electro, and dubstep with stadium rock, and featured guests like Blink-182’s Travis Barker and Fall Out Boy’s Patrick Stumpreached #1 on Billboard’s US Dance charts. At a time when main stages were dominated by Tiesto, Hardwell, Martin Garrix, Zedd, Avicii, and Disclosure, the Yousafswho proudly talk about growing up in a Muslim family with a Pakistani fatherfelt like refreshing outlier next to the brigade of bland white men in black V-necks. They were also one of the few female-fronted acts in a male-dominated scenelike Nervo, but more raw.

Krewella’s fiery rise sputtered out in March 2014, when Trindl missed a flight to headline at Electric Daisy Carnival in Mexico City. According to Jahan and Yasmine’s countersuit, this final straw prompted them to stage an intervention in an attempt to curb a drinking problem they said Trindl had developed in tandem with the band’s rising profile. Per court documents THUMP obtained, Trindl refused to enter a treatment program, and in September 2014, he sued Jahan and Yasmine for $5 million, alleging that he’d been unfairly removed from the group and cut out of his equal share of their future revenue. In the transcript from his lawsuit, Trindl admitted he drank to deal with the pressure of success, and accused the sisters of not being supportive of his sobriety following an earlier stint in rehab in 2013, stating that they “didn’t like the new, sober Kris” and “thought he was depressed.” Trindl also claimed that the girls only wanted him to check into a facility so so they could establish themselves as a duo, squeeze him out of the group, and make more money for themselves going forward.

In November 2014, the Yousafs countersued, claiming in their lawsuit that it had been Trindl’s choice to resign. They also noted that Trindl had refused to learn how to DJ for their live shows, wasn’t holding up his end of production duties due to missed studio sessions, and had acted belligerently on tour due to his alcohol abuse. The spat quickly got messy after the court documents circulated by the Hollywood Reporter. The media started obsessively scrutinizing every new development in the story, with TMZ salaciously reporting that Trindl had been “forced out” for “being too sober.” At one point in 2014, the fallout became the number one trending topic on Facebook. Deadmau5 jumped in with a sexist Tweet, advising would-be trios like Krewella not to “fire the guy who actually does shit.”

In December 2014, Jahan penned an op-ed in response to Deadmau5’s tweet, writing, “It’s almost as if being the female in the group, it’s assumed that you are purely there as a puppet and completely void of any musical abilities, creativity, or vision… I am asking for everyone to think about girls who are looking at this public reaction who might now be discouraged to pursue an authentic place in a male-dominated industry.”

However, other than the op-ed and their first single as a duothe not-so-subtly-titled “Say Goodbye,” where the girls sing, “Read my lips and shut my face/Maybe you’re the one to blame… The truth is going to find you”the Yousafs refrained from commenting further on the breakup. In fact, they practically disappeared from the limelight, taking a hiatus from their (normally very active) social media accounts. They declined interview requests from the media, including my own attempts to find out their side of the story, explaining via their publicist that they had been advised by their lawyers not to talk about the ongoing lawsuit.

In August 2015, both sides reached an undisclosed settlement. Meanwhile, Trindl had embarked on a solo career, releasing music on Borgore’s label Buygore with Grammy Award-winning rapper Sirah in March, followed by a mini US tour that spring. The Yousafs were also planning their own comeback, and in May, they dropped an EP as a duo called Ammunition, to rave reviews.

In late April, a publicist from Sony Music reached out to me, saying that the sisters were finally ready to tell their side of the story, with the hopes that this would help both themselves and the public to move on. We arranged a Skype interview from their home in LA, and a few weeks later, when the girls were in New York for a press trip, we met in person for a second conversation.

Which is how I found myself walking around the East Village with Jahan and Yasmine that afternoon in May. Earlier, leaning across the wooden table over a brunch of scrambled eggs and beet salad, with their Sony Music publicist and manager Nathan seated across the room, Jahan had explained why it’d taken them so long to open up: “I wanted to make it seem like we were just having fun, because we didn’t want to disappoint our fans, she said. “But it’s like living a lie, and when the lawsuit happened, it all unraveled. To fans it seemed like something new, but this downward spiral was something we had been dealing with for years.”

She held my gaze and continued: “I’m going to say it point blank: the truth is very ugly. We don’t want to make him look badwhen someone is dealing with a mental illness, you don’t want put them in a situation where they feel like they’re being attackedso we’ll try to put everything in the nicest way possible.” In the following interview, which combines our Skype and brunch conversations and has been edited and condensed for clarity, Jahan and Yasmine discuss what they experienced behind-the-scenes during the fallout, their tearful last encounter with Trindl, and how they’re reinventing their sound as they return to the spotlight, this time on their own terms.

THUMP: Let’s start with your matching tattoos “6.8.10”the date you guys took an oath to dedicate your lives to the band. Can you tell me more about what those early days were like?

Yasmine: June 8, 2010 was a couple of days after I graduated from high school. Kris had already dropped out of college, and Jahan had decided not to go back to college. The four of us, , and produced it out with our buddy Chaz.

Jahan: Michelle, there will always be another project. Yasmine and I will never stop working. The work ethic Kris set up for us is still in our bonesI feel like it’s in our musical DNA.

Ammunition is out now on Columbia Records

Michelle Lhooq is THUMP’s Features Editor. Follow her on Twitter.

Inside Hardvapour, An Aggressive, Wry Rebellion Against Vaporwave

The cover of DJ Vlad’s scene-defining compilation Hardvapour.

It’s been years now since vaporwave’s slowed, looped sound collages started their stretch out toward a hazy horizon. Famous for warping 80s muzak and fuzzy VHS nostalgia into blissed-out assemblages, the short-lived movement, per music critic Adam Harper, sought to “, NOISE, DISTORTED BEATS, SCHIZOPHRENIA,” while remaining rooted in a “conceptual projected framework” similar to vaporwave’s. The group locates a link between vaporwave and gabberwith its adrenaline rush of quick kicks and garish, disorienting synthsin their shared “punk” origins. Describing hardvapour’s conception, the labelhead remarks in the same note, “In the Fall of 2015 WOLFENSTEIN envisioned these Eastern European thug kids becoming inspired by how ‘punk’ putting your music on Bandcamp could beespecially all these imaginary vaporwave aliasesexcept these kids hated all the slowed down shit and thought it was ‘for pussies’so they launched HARDVAPOUR.”

Indeed, Hardvapour hits with a raging ecstasy unheard in vaporwave circles to datealbeit one present in the early music of Fatima Al Qadiri, Gatekeeper, and other artists associated with distroid, another, related microgenre Harper discussed in the second installment of his Virtual Plaza piece. If distroid, as Harper suggested, was “hi-fi to the point of actively fetishizing the hi-frequency hisses and twinkles that lo-fi was unable to produce,” hardvapour sat somewhere in between distroid and vaporwave, hi-fi without fetishing hi-fi tools (laptops, DAWs, VST synths). With vaporwave, most acts relied on simple edits and effectsnamely reverb, delay, and frequency band-pass filtersnative to digital software. Hardvapour uses these tools not out of any special fixation with them, but simply because they’re now the cheapest and most accessible tools around.

The literary and cinematic movement known as cyberpunk, which was marked by “science fiction dealing with future urban societies dominated by computer technology,” feels particularly relevant to hardvapour’s fascination with Gabber/hardcore sounds, Slavic imagery, and hacker aesthetics. Flash’s Hacking for Freedom, for example, channels clear iconography from The Matrix, a film widely cited as a “cyberpunk triumph,” while other hardvapour releaseslike Chinese Hackers’ Visions and Bannik Krew’s embrace grainy security footage and imagery of digital surveillance, another common cyberpunk theme.

Hardvapour’s Eastern Europe fascination is a bit hard to parse. Japanese text was an inescapable attribute of vaporwave’s visual identity, but most producers were often young white men in the West, channeling a language they, troublingly, associated with 80s tech affluence. With hardvapour, a small minority of producers do seem to actually be based in Eastern Europe; the J-card included with Antifur’s Hardvapour compilation, for example, marks each track contribution with the respective flag of the DJ’s country of residence, linking about a quarter of the compilation from Russia, Ukraine and Croatia, even if the overwhelming majority of the tracks stem from the US, the UK, and Western Europe. Producers on the compilation like wosX and HKE are based in Canada and the UK, while otherslike Flash, DJ Alina, and Krokodil Hunter are all labeled as Russian and Ukrainian. With so many unrecognized names surfacing at all once, of course, it’s difficult to determine the legitimacy of these designations. But then again, is geographical legitimacy really all that that meaningful in the post-internet era, a time where where “place” seems to matter so little anyway? Could hardvapour’s Eastern European roots be something of a hoax?

Keep digging and you’ll find that there are no objective answersjust a lot of producers online churning out album after album of some of the strangest, most exhilarating music happening right now. And in a climate already as unfathomably fractured and convoluted as this one, the uncertainty may speak to our times more than we realize.

Dave Clarke Speaks Out About Car Accident In Serbia

Photo by Marilyn Clark

Brighton-born, Amsterdam-based techno DJ, Dave Clarke, is currently monitoring his health after being involved in a car crash in Serbia this weekend, according to a post on his public Facebook page. Clarke was travelling back from Exit Festival in Novi Sad where he had performed, when the car he was a passenger in crashed.

After the car landed on the other side of the highway, Clarke said he flagged a ride to the Belgrade airport. It was only after arriving back in Amsterdam and trying to go home that he went to the hospital, being in too much pain. In his Facebook post about the incident, he said that “life has the possibility of changing before you know it.”

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Adrian Sherwood On The Record That Introduced Him To Drum Machines And Why He Thinks Grime Rocks

British DJ and producer Adrian Sherwood’s may be best known over the years for his dubby solo productions, iconic collaborations with Lee Perry, remixing Depeche Mode, and for founding London’s On-U Sound record label, a hotbed of dub-focused productions in 1979. But as with any boundary pushing artist working over decades, there’s also a handful of lesser known curious projects that populate his wide-reaching discography. Shortly after starting his label, Sherwood followed one of the many interesting rabbit trails he’d encounter over the course of his career. After a fortuitous trip to New York City in the early 80swhere he got exposed to the blossoming world of hip-hop and drum machineshe joined up with drummer Keith LeBlanc and bassist Doug Wimbish of Sugar Hill Records, as well blues guitarist Skip McDonald (AKA Little Axe), to form short-lived industrial hip-hop group Tackhead.

Though the group only released two albums over four years, and reunited briefly in 2014 for a short tour, their work combining oddball vocal samples with hard-hitting percussion and razor-sharp basslineshas contributed to their lengthy influence on a variety of stylesfrom dubstep to grime. It was also an early demonstration of Sherwood’s knack for bringing talented artists from different spheres together in one studio, to craft new and innovative sounds. Now nearly three decades after their prime, Sherwood has re-released Tackhead’s well-received second single, “Mind at the End of the Tether”a low-slung beat that samples H.G Wells reading his final book‘Mind at the End of Its Tether’ (1945)on his latest retrospective compilation ‘Sherwood At The Controls, Vol 2’ (released June 24 on On-U Sound). For our latest installment of Diggin, we asked Sherwood to reminisce on the history of the project, as well as how he thinks the three decade-old track fits into today’s musical landscape.

I got brought out to New York for the first time in 1983 by Tom Silverman of Tommy Boy Records when the whole hip-hop thing was going off. It was here that I got to meet Keith LeBlanc, who was doing a drum-dub for Edgar Winter. Keith had just put out “No Sell Out” from his Malcolm X record on the label. I was fascinated by all of the beats and grooves that were coming out of the city then, and to see to a current sound, I think what we were doing was quite underground and edgy, and I think the most underground, edgy stuff around at the moment is the UK Grime. I’m friends with quite a lot of people in the whole scene. Obviously my kids are all into that stuff so they cringe when they hear that their dad likes it as well.

There’s an excitement to the raw, don’t-care-at-all kind of level, and it’s quite exciting. It’s not pandering or trying to copy Americans, it’s very British. I think with Tackhead we also had a very unique relationship with the tradition of the great American musicians. The evolution of music just happens. There’s a Jamaican saying “Each one takes one”you pick up influences that you like and then you go and make a record and become a fan and make it your own. The idea is that the spirit lives on, it carries on, and lots of people influence each other.

As told to David Garber.

Berlin Techno Museum Opening In Former Power Plant

Photo courtesy of Kraftwerk

Dimitri Hegemann, founder of Berlin’s preeminent techno club Tresor, has shared the location of his forthcoming techno museum in the German capital. It will be housed in Kraftwerk, which he owns, a former power plant-turned-cultural complex that currently hosts the Tresor club and the less dance music-focused, experimental-leaning Ohm venue.

In an interview with Star2, he explained that he’s designing the museum to convey the feeling of clubbing in post-wall Berlin: “I think of a place where visitors will come inside: suddenly, it gets dark, the fog machine gets going, a DJ appears in the distance, a bar rises up from the ground, the bass resonates and then the party’s started,” he said. “A museum of the senses for those who don’t go to the club.”

When Hegemann announced his plans to make the museum back in November, he said that he would call it “the Living Archive of Elektronika, ’cause techno here in Berlin is still a living, inspiring and vivid movement.”

Tresor is celebrating its twenty-fifth birthday this year, and later this month Robert Hood, Juan Atkins, and Moritz von Oswald will headline a festival commemorating the anniversary. In 2014, Hegemann announced plans to open a Berlin-style club in Detroit.

Dusky Announce Long-Awaited Second Album, 'Outer'

Album art courtesy of the artist.

London house duo, Dusky, today announced that they will release their second record, Outer, on September 30. The album will feature 11 tracks and include collaborations with synth pop pioneer Gary Numan, grime MC Wiley, English band Solomon Grey, and more. It follows their debut LP Stick By This, released five years ago on Anjunadeep.

Read More: Dusky’s First Club: Fake IDs and Amsterdam’s Finest Ecstasy

Two weeks ago, the duo shared the Wiley collaboration “Sort It Out Sharon” as the record’s second single, following the previously released “Ingrid Is A Hybrid.”

Outer tracklist:

1. All We Ever Wanted
2. Tiers
3. Runny Nose
4. Trough
5. Sort It Out Sharon feat. Wiley
6. Long Wait feat. Solomon Grey
7. Songs Of Phase
8. Swansea feat. Gary Numan
9. Marble (vocals by Alfie Granger-Howell)
10. Ingrid Is A Hybrid
11. Spruce feat. Pedestrian

Outer will be released on September on 17 Steps/Polydor.

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Hieroglyphic Being Shares His Vision Of Spiritual Harmony On New Single

Photo by Matthew Avignone

Cybernetically spiritual Chicago producer, Hieroglyphic Being, has shared “Spiritual Alliances,” the agitatedly vivid second single off his forthcoming album The Disco’s Of Imhotep. The melodic register of the track is lush and peaceful, but in typical fashion, Jamal Moss voices everything in acerbic distortion, giving it a highly personal and tactile feel. Its relation to something like utopia feels less like abstract contemplation, and more like the lived pursuit of visceral yearning.

Speaking to THUMP about the track via email, he explained: “‘Spiritual Alliances’ is about bringing all faiths and spiritualities together in harmony across the world and dismantling the concept of division.”

For an oral history of his We Are Not The First LP with the J.I.T.U. Ahn-Sahm-Buhl, Moss told THUMP that it’s up to artists to “re-educate people to excel to a higher level of understanding.” In June, he remixed Detroit mainstay Keith Worthy’s “Rarified Air” into an combusting site of fizz and fuzz.

The Disco’s Of Imhotep is out on Ninja Tune‘s Technicolour sublabel on August 5.

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DJ Earl Announces New Album 'Open Your Eyes' Featuring Oneohtrix Point Never

Photo by Eric Zaworski

When we spoke to DJ Earl at the end of last year, the Chicago-born, New York-based footwork producer discussed his upcoming full-length album, saying, “I’m working with a couple artists on secret things, so it’s like we’re trying to really flex my creativity to its fullest potential.” Today he’s announced Open Your Eyes, which will be the second release on Teklife‘s in-house label, following the posthumous DJ Rashad album Afterlife.

It features Oneohtrix Point Never on three tracks and mixing duties, as well as contributions from fellow Teklife artists DJ Manny, DJ Taye, and MoonDoctor. In April, Earl released the four-song EP Reggie Sackz, via NYC producer and songwriter Suzi Analogue’s label Never Normal Records.

Pre-order Open Your Eyes here before it comes out Aug. 19, and check out the tracklist and cover art by OBEY founder Shepard Fairey below.

Open Your Eyes Tracklist:

A1. Smoking Reggie (feat. MoonDoctor & Oneohtrix Point Never)
A2. Smoke Dat Green feat. Taso
A3. Lotta A$ (feat. DJ Manny & DJ Taye)
A4. Fukk It Up (feat. DJ Manny & DJ Taye)
B1. RacheTt (feat. MoonDoctor & Oneohtrix Point Never)
B2. Drumatic (feat. MoonDoctor)
B3. Let’s Work (feat. MoonDoctor & Oneohtrix Point Never)
B4. All INN (feat. Suzi Analogue)

Max Mertens is on Twitter.