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.

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.

JeanGa & George's "Universal" Remix Will Make You Feel Better

Earlier this year, electronic-pop band Safetalk shared their debut single “Universal” via a generative music video directed by Boston-based artist Christopher Konopka. Today, they’re sharing a remix from UK duo JeanGa & George that takes the track right on into summer. The twosome, who are recent signees to Joe Goddard’s Greco Roman label, switch out the original’s swirling, psychedelic sound for a more dancefloor-friendly, Balearic version that chugs softly along like an ocean breeze. Perfect for playing in the open air, its ethereal lyrics also offer a few minutes of much-needed optimism and catharsis.

Speaking to THUMP over email, Safetalk say of the remix,”[JeanGa & George] have this way of working we love that creates this really distinct sound and that’s translated so well here. A global remix for a global message. We’re keen to see more of our songs re-imagined by other acts from all over the world, but it’s great to start that conversation with these London-based boys. We just need to all keep on talking, transmitting on all frequencies and some day we’ll find a universal language, maybe even universal happiness.”

Listen to JeanGa & George’s “Universal” remix below ahead of its release tomorrow, May 26.

Gila Turns Owl Hoots Into an Ode to the Night

Denver, CO-based producer Gila has been turning heads across the pond in the U.K., but he’s a producer audiences in the good ol’ US of A should be aware of, too. Gila makes rap-inspired club music—including one track called “shawty wanna fuck” tagged as #healingmusic on Soundcloud—that the folks of BBC Radio 1 have taken an interest in. After catching the eye of Benji B, Gila will release his second EP Pick Six on Benji B’s Deviation label.

Pick Six EP is a unique melange of club, trap, and spacey sounds. From the EP Gila has previously released the thizz-face-inducing Psycho Dabber; today, he shares the mellower selection “Hoot Hoot,” which turns the cries of a literal owl into a sleepy dub roller. A warbling melody chases mellow UKG beats, which coalesce in celebration of the pre-dawn hours.

“I was clearing up space on my hard drive when I came across 34 gigabytes of high fidelity deciduous forest field recordings,” said Gila in an email to THUMP. “After several weeks of listening to all of them I finally located the perfect owl hoot and created a simple melody using it. This one is for all my owls out there, but definitely not ‘for the birds’.”

All feathered and unfeathered friends can have a listen to “Hoot Hoot” and look out for Pick Six out on Deviation on June 2, 2017, which you can pre-order on iTunes now.

Steven B.C's New Album 'Heartaches' Is an Intoxicating Lo-Fi House Trip

If you like distorted house melodies littered with inspired and nostalgic samples, gritty kicks, and fuzzy synths, you better know Australian producer Steven B.C., a.k.a. Steven Be Calm. Also known under his other moniker Stephane 1993, B.C’s been turning vertebrates throughout the last year with releases on celebrated lo-fi house hotbed Shall Not Fade, gracing proper EPs and curious white labels with his trademark pitched up R&B samples, simple yet effective kicks drums, and an easy going charm that less chin stoke and more ear-to-ear grin. His latest work, a double album on DJ Haus’ House Crime Imprint, continues his project with eight of his most intriguing tracks to date.

Over the course of two discs, B.C lets us into his wonky mind. There’s cheeky Isley Brothers (no, Biggie didn’t invent this beat, kiddos!) sampling, smokey hip-house, and a few lazy numbers that sound like they’ve been marinated in promethazine. Along with a full stream of the record, we had a chat with B.C below about the record’s concept, the whole craze around lo-fi, and how he makes his tracks sound so dope.

THUMP: How’d this record come together?
Steven B.C:
The record was a bit of a long process. I worked on it in bits and pieces over a year without the intention of ever making it into an LP. I’d say the lifestyle behind it consisted of eating pizza, phõ, and ramen as well as drinking black coffee while watching Twin Peaks, Peep Show, and most importantly late night Arsenal games, all of which helped me capture a sense of dread and depressing overtones in the record. My inspiration ranged from old Memphis hip-hop tapes to those hour long “Detroit Techno Megamixes” on YouTube. When I grouped the finished tracks together I started arranging them in an order that made sense, bounced a few of them to tape, bounced them back to the computer and sent them to DJ Haus. He loved the tracks and believed they would work as an LP so he made some suggestions on the order and we went with it.

Can you describe your studio process a bit and how you go about finding and arranging your samples?
I don’t really have a set process for my music. I use a combination of hardware synthesizers, drum machines, and samples. Sometimes I sample from a record, sometimes I rip a YouTube video. Whatever works. I often flip between Live and Logic and sometimes record stuff onto tape. It’s a bit of a mess but it keeps things interesting.

When it comes to selecting samples, I try to use something that I’ve never heard in a house style. Barring the Shall Not Fade White Label series of course. Someone will no doubt find a tune with the same sample I used now that I’ve said that…

You’ve been a part of the whole lo-fi crazy as of late. How does that feel?
Well I’ve always made music that has been saturated or crushed. Even my Stephane 1993 stuff has always had a bit of a raw edge so it doesn’t feel all that much different to anything I’ve done before. In regards to the notoriety the style has gained in the press lately, I don’t pay too much attention to it. I’ve always felt a little detached from the music scene in general. Not that I don’t respect or appreciate everyone involved, it’s just I do this for enjoyment and would rather not waste time worrying about politics or if someone wrote a bad article about a particular scene or musician. It’s much more enjoyable this way.

What’s next for you?
At the moment I’m putting music out under a couple of different names and projects and while it’s fun, it’s pretty draining. At some stage I’d like to merge and just go with one. We’ll see. I’m going overseas for a holiday soon with my partner too which I’m super excited about. My agent and I discussed possibly doing a tour as we received a lot of interest from various promoters overseas but I kinda just felt like holidaying so we put that idea on ice for now. I’m still working a 9-5 and concentrating on studying as well as doing some web design stuff so I’m keeping busy.

Doldrums Let Their Freak Flag Fly on 'Tweakers V' Mix

For the better part of a decade, Airick Woodhead’s project Doldrums has been churning out some of the most dystopian, experimental electro-pop to ever come out of Canada, including his stellar 2015 album The Air Conditioned Nightmare. Now the Montreal-based producer and singer is set to release a new LP, Esc, recorded last year during the city’s unforgiving winter months with a small cast of like-minded artists.

Reflecting his shift towards metallic textures while making the “diabolically focused melodrama,” today Woodhead’s shared an exclusive 50-minute mix, which is heavy on industrial noise, techno, and UK garage. Titled Tweakers V, he gives top billing to Montreal acts (Pelada, Odil Myrtil, Valeda), alongside THUMP favorites like Mike Simonetti, Pharmakon, and Yves Tumor. There’s also a brand new track from Woodhead and frequent collaborator Guy Dallas.

Describing his selections, the artist said, “90% of them have been released recently. Hopefully they share a feeling of going to shows that I love experiencing, many of them drift towards punk gone ambient, or electronic, the beautiful and noisy elements counterbalance each other.”

Listen to the mix below and pre-order Esc before it comes out June 30 via Bande Dessinée.

Tweakers V Tracklist:

Radio Brovold – Beethoven’s Symphony # 7
Valeda – Sore
Rabit – Oc
J Da Flex & El-B – When I Fall in Love (Dub Mix)
Pelada – No Hay
Mike Simonetti – Release Your Body To The Best
Person Of Interest – Boost The Whip (I-95 Mix)
Yves Tumor – Histrionic II
Esc (Doldrums & Guy Dallas) – Most Gross
Pharmakon – Transmission
Minimal Man – Now I Want It All
Gioia – Circling
Odile Myrtil – Rise From Darkness

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J. Albert’s Ambient “aiwtdipms” Is a Warm Meditation on Suffering

On Thursday, May 25, the label 38 will release their first compilation album, titled Compilation 1 . In advance of the drop, J. Albert a.k.a. Jiovanni Nadal shares his contribution, a swirling ambient track called “aiwtdipms.” The title is an acronym for “All I Want to Do Is Play My Synth,” and what results is something gentle but dark; a nearly 13-minute experience that is more akin to classical than to dance, although it’s entirely electronically produced.

J. Albert is the co-founder of the Queens label and creative hub Exotic Dance Records. In the past he has turned out beat-driven soulful tunes as well as grimey underground techno. So with an ambient track imbued with the dolor of a summer storm, “aiwtdipms” shows us a new side of the dextrous producer. J. Albert describes the song as “concept driven synthesizer work-outs that then became meditations on suffering.”

Last month, 38 shared with THUMP The Life’s creative, looping electro-pop ballad “I Wanted to Tell You,” which will also feature on Compilation 1. Though different in nearly every way from “aiwtdipms,” strong artistic vision and deep emotional roots unite the two tracks.

Listen below to let the radial synth of “aiwtdipms” envelop you. If you’re in New York, you can catch J. Albert alongside Zomby, Nolife, Mack, and Doss at 38’s event at Brooklyn Bazaar on Friday, May 26—where you can even pick up a limited edition copy of the album, too.

Jabu's Cobwebby R&B Track Will Haunt You

The throughline that unites all the deep, dark, and otherworldly ephemera that’s come out of Bristol, England’s Young Echo collective is a sort of subtle creep. Whether its Vessel‘s creaking techno takes, or the shuddering drones and busted dub that filled their Nexus compilation—there’s a slow-moving, darkness that ties together even their most disparate work.

The trio of Amos Childs, Alex Rendall, and Jas—who record together as Jabu—have always had an interesting place in that universe. Their music is still haunted by that same sort of gloom, but its brightened by their affinity for the lilt and yearning of R&B, which produces a sort of soulful chiaroscuro. Their new single “Fool If” is their most sophisticated take on that sound yet.

Built around a ghostly loop of swooning vocals, the track sort of oozes along, caught in a swamp grief and loss. There’s not a lot of instrumental variation, but that’s sort of the thing when you feel left behind—there’s no escaping those feelings, and not a lot that can bring color to your surroundings when you’re all alone.

The track’s taken from their debut full length album Sleep Heavy, which’ll be out this summer on Blackest Ever Black—though they haven’t nailed down an exact release date just yet. Listen here.

Ducky Remixes Modest Mouse and Meek Mill on Riotous New Bootleg Pack

Los Angeles DJ and producer DUCKY today shared an unrelenting new pack of bootlegs called Ugh Just Rave. The six-tracker arrives via her own RAVE TOOLZ imprint, and it achieves its style of breathless, serotonin-depleted fervor by mining the most intense features from styles such as American dubstep and glistening EDM. She leads it off with reworks of two previously-released originals—”Bliss” and “Work”—and follows with eclectically-minded edits of tunes by Lapalux, Modest Mouse, and Meek Mill, as well as Porter Robinson and Madeon.

“Ugh Just Rave is a collection of edits I made for my live sets,” she said. “I grew up raving, and losing myself in the music was an escape for me. I see producing and DJing as an opportunity to shape the world I want to lose myself in, so I’m really excited to share some pieces of that world with you today.”

Ugh Just Rave will be released this Wednesday, May 24, and DUCKY is kind enough to be giving it away for free.

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Listen Back to Yet Another Out of this World Mix by Teki Latex

This article appeared originally on THUMP UK.

There’s a new Teki Latex mix out! And yes, as you’d expect, it is another cracker from the self-styled King of the Blends. Latex, who was in London for the Peckham Rye Festival, made an appearance on Naina’s must-listen Motion show on Reprezent. The big man slammed through half an hour of low-and-slow-rolling rap, crystalline R&B heaters, and an audacious Carly Simon/J-Kwon mash-up that’ll be in your head all year.

Tuck in below. We promise it’s tastier than the couscous. Honestly.

John Tejada's All Vinyl Mix Is a Deep Trip Down the Rabbit Hole

Few work a pair of turntables and mixer better than Vienna-born, LA-based DJ and producer John Tejada. Like many, Tejada, who’s been spinning plates since the early 90s, has something of a special kinship with the electronic music epicenter of Detroit. It was here that a series of early releases—and a visit to the inaugural year of Detroit Electronic Music Festival—helped solidify his place in dance music lore.

Next Sunday, May 28, a moment when many of Detroit’s Movement week parties—and partiers—gear up a final go into the wee hours of Memorial Day, Tejada will be making an exclusive appearance at beloved event Ok Cool, at the city’s TV Lounge venue. To help us get ready for the festivities, Tejada laid down a seamless, hour-long all-vinyl mix that showcases some of his currents favorites, and a couple forthcoming releases of Los Angeles imprint Acid Camp and Playground. We also caught with John for a short chat about his relationship with the Motor City below the mix. Tickets for Ok, Cool are available here.

THUMP: Can you tell us a bit about your relationship with Detroit?
John Tejada: I first visited the city in 1997, and started working with Seventh City Records right around that time. I got to experience the first year of DEMF which was quite amazing, too. My wife is from the Detroit area and I still visit frequently to see family.

Who are some artists from the city that have mentored you or you’ve learned from in some way?
There’s been so many great varieties of music that have influenced me over the years from Detroit since I was a child. With my own work, Daniel Bell gave me a big push by releasing five singles of mine on his Seventh City imprint. Through [Dan] I got to know Anthony Shakir and Claude Young. Mike Grant also was a big help releasing my collaborations with Arian Leviste. Through Mike I got to meet Kenny Larkin who lives quite close to me in LA. I also had the pleasure of remixing my favorite Kevin Saunderson tune “Just Another Chance.” I think over the years I got to meet many of my Detroit music heroes and had great experiences meeting them.

Any Detroit memories you’d like to reflect on?
I’ve played a variety of parties since the festival started in 2000. A real highlight was playing Daniel Bell’s moving party that first year at his office space for Seventh City on Gratiot. There was a real who’s who of people piled into that space. Many I didn’t know were there till years later. That was a really fun memory.

What have you noticed happening with the acid sound these days?
It seems to be a thing again. Although more the name than the sound? I’ve got a collaboration with Tin Man who’s doing great things with silver boxes. It’s been nice to explore that sound with him and collaborate.

Tell us a bit about the mix and what we’re going to hear in it.
I recorded the mix at home, in real time on 2 turntables and a mixer. It starts with a few

John Tejada’s mix tracklist:
Vulva – Funk Star – Reflective
Braccio d’Occo – Baby Steps – Atavisme
Logic Systems – Ultranet – 89:Ghost
Brawther – Visions – Cabinet
John Tejada & Arian Leviste – Machine Of Marley – The Playground
Varhat – Ban – Varhat
Makcim & Levi – 1055ML – We Are Hoche
Dana Ruh – Make You – Cave
John Tejada & Justin Maxwell – The Name Rolls In – Acid Camp
John Tejada & Arian Leviste – Rock The Transport – The Playground
John Tejada – Therapy (A1) – Palette
John Tejada & Justin Maxwell – I’ve Got Acid (on my brain) – Acid Camp
John Tejada & Justin Maxwell – Mindbend (feat. Daniel Bell) – Palette
John Tejada & Arian Leviste – Switched Mode – Areal

Listen to Robert Hood's Utterly Astonishing New Album in Full Right Now

You might have worked out by now that we’re into Robert Hood. Like, really into Robert Hood. We’re into Robert Hood so much that there’s been periods where we’ve strongly considered binning every non-Hood record we owned.

The reason why we’re so besotted with the bloke is simple: he’s spent the last two decades making some of the most original dance music ever produced. Wether it’s the grindingly minimal techno he makes under his own name, or the luxuriously OTT house he produces with his daughter Lyric as Floorplan, you know a Hood track as soon as you hear one. The tell-tale sign is simple—it’ll be the record that blows everything else the DJ’s played that night out of the water.

Given that, it’s no surprise that when we say we’re excited to be bringing you an exclusive listen to the master’s latest release, we really, really mean it. Paradygm Shift , which arrives on Dutch label Dekmantel today, is yet another stone cold classic. Keeping things relatively raw, this set of stripped-back dancefloor detonation devices sees Hood doing his thing with aplomb. These are techno tracks that sound bigger and stronger than anything else out there. They are hulking, swirling, monsters, primed to turn any decent nightclub inside out, and happily they sound just as great at home, too.

“The idea behind it is just a shift in our focus. We can become complacent; we are so comfortable with our surroundings. I think this is the time for electronic music to find a new mindset,” Hood himself says in the album’s press release. “I felt it was necessary to reiterate as an electronic music artist who is bringing minimalism back in the forefront, and not to get lost in the melody. I want to get back to the simple repetitive programming that I’m known for, and to me it was returning to that and shifting the listeners’ focus.”

The result is an absolute triumph from start to finish, and a powerfully potent reminder that you can do techno albums well. Brilliantly in fact. Listen below.

<a href=”https://roberthood.bandcamp.com/album/paradygm-shift”>Paradygm Shift by Robert Hood</a>

Paradygm Shift is out now on Dekmantel.