ELLLL Is Back On First Second Label With A New 12-Inch, Housebreaker

Irish producer ELLLL has a new three-track EP coming out. Housebreaker, due out on February 5th via Dublin-based First Second Label, features three versions of the title track, including a remix courtesy of Parris. This is ELLLL’s first EP since 2019.

The Berlin-based artist and Gash Collective cofounder released three 12-inches that year, including Febreeze on First Second Label and Glisten via Paralaxe Editions.

Her most recent release was a remix for Copenhagen-based producer Erosion Flow, along with a track on Gash Collective’s first compilation. Listen to clips of Housebreaker.

[Resident Advisor]

Listen to snippets of each track below.

Grammy-Nominated Electronic Music Prodigy “Ford.” Shares “In My Eyes”

Grammy-nominated electronic music prodigy ford. today shares “In My Eyes”, the fourth and final single from his highly anticipated sophomore album The Color of Nothing — out October 16, via ODESZA’s Foreign Family Collective.

“In My Eyes” is another sonically expansive track from the hotly tipped artist, blending minimal synth waves with a midtempo beat and acoustic-electronic sounds. The track features vocals from Canadian streaming sensation and close friend VERZACHE, who is one of the hottest rising names and was due to go on tour with mxmtoon this year before COVID-19 hit. 

Speaking on the track, ford. shared I began writing this track back in February of 2019. A year later, I finally had a flushed-out demo. Quarantine had gone into full effect and one of the things keeping me grounded was Facetiming my friends. I would check in with Zach (Verzache) and we would have these long conversations about mental health, missing touring, and how quarantine was affecting our writing processes, etc. I remember sending him this demo on one of our calls and he sent back a full finished verse the next day. The lyrics and melodies channelled a lot of the themes we had been talking about and it immediately resonated with me. Immensely grateful for dudes like Zach and every opportunity I get to make music with close friends; nothing quite like it.”

Check out the music video for the ‘In My Eyes’ below, and let us know what you think:

Oscar Jerome – Breathe Deep

Oscar Jerome’s dynamism as an artist, and instrumentalist has been exciting to see in the last year. From catching my attention with the stunning single ‘Do You Really’, to his debut album, ‘Breathe Deep’ feels like a culmination of his noteworthy EPs and singles. Oscar began the year strongly with what appeared like a short three-track EP, titled ‘ Your Saint’ ,but instead, all three tracks would later feature in his debut album. The energy infused with the long winded, enduring single, ‘Gravitate’ is one my stand out tracks in the album. The broken drum pattern, and slow burning congo drums, accompanied by the steely resonating guitar sits beautifully with Oscar’s vocals, and gentle backing vocals.

Oscar Jerome oozes with emotion for the track, ‘Give Back What U Stole From Me’. Beginning with a momentous introduction with the drummer making full use of every drum piece from the cymbals, hi-hats, and kicks. The drums create a captivating start for Oscar Jerome to take on different style with his vocals than I’ve heard before. Seemingly taking some inspiration from The Kooks’ lead singer, the track still feels very much like his own, with his vocals developing more passion as the it goes on.

‘Timeless’ sees Oscar Jerome team up with the amazing Lianne La Havas. Beautifully dreamy and moving, hearing their vocals harmonize with each other throughout is really special to hear, as the stripped back production allows their vocals to take center stage with each instrument gradually accompanying their vocals as the track unfolds. London based spoken word artist, Brother Portrait joins Oscar Jerome in an unlikely link up for the track, ‘Your Saint’. Brother Portrait uses vivid imagery and metaphors to provide an excellent interlude in between Oscar’s first and second verse. It’s great to hear Oscar experiment with different styles with his vocals and overall composition for his debut album. He is an impressive songwriter and guitarist, and should be someone you look out for!

You can listen to ‘Breathe Deep’ below. Please let us know what you think:

The Electronic Music Exhibition At London’s Design Museum Is Opening July 31st

A programmed exhibition about the history of electronic music is opening at London’s Design Museum on 31st July as art spaces begin to reopen.

The exhibition, titled ‘Electronic: From Kraftwerk to The Chemical Brothers’, was originally scheduled to take place from 1st April to 26th July, but was postponed in March as exhibition spaces closed their doors due to the spread of coronavirus. 

It will explore the “hypnotic world of electronic music” and “discover its global impact from underground movements to the mainstream,” and features appearances from the likes of Jeff Mills, Ellen Allien, Jean-Michel Jarre and more. It will also feature a 3-D experience surrounding electronic pioneers Kraftwerk, with the installation sound tracked by legendary DJ and producer, Laurent Garnier.

It will be compulsory to wear face masks, and to remain socially distanced whilst the exhibition is taking place

Tom Misch – What Kinda Music

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One of the UKs most exciting drummers in Yussef Dayes has collaborated with the forward-thinking multi-instrumentalist and composer, Tom Misch, to release the pulsating new album ‘What Kinda Music’. The opening single, ‘What Kinda music’ is a slow burning beginning to an album which Yussef on the drums nicely sets the tone to, whilst Misch creates an eerie mood with the heavily reverb bassline which lines up perfectly behind his vocals.

The experimental dynamic throughout the track with his vocals and guitar is a direction in which Misch didn’t do much of, for his previous album, ‘Geography’, where he seemed to be trying to make more classically structured music and arrangement. Titling the track, ‘What Kinda Music’ adds to the experimental, instinctual natural relationship between Yussef Dayes and Tom Misch for the track, and the synergy between the two is continued throughout.

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Stand out single, ‘Nightrider’ has a wonderfully relaxing tempo which is difficult to skip past as it seamlessly blends from the previous track. American Hip Hop artist, Freddie Gibbs blesses the track with a bumping up-tempo freestyle, casually ebbing and flowing around snares. 

Lift Off’ has an amazing momentous build started with the smooth leading bassline permeating throughout the track, the combination of the lead bass and drums took me back to moments during Mansur Brown’s previous album ‘Shiroi’. Similar to how Mansur Brown would let his bold imposing guitar provide the unwavering presence for his standout track, ‘Mashita’, Misch turned the focus to allow space and time to show off his guitar string play. The Following track, ‘I Did it For You’ sees Misch and Dayes coming together for a funk fuelled groove which slowly encapsulates Tom Misch’s ethereal, echoing vocals resonating around Yussef Dayes’ drums as the track develops. 

Coming towards the end of the album, the stunning stand out track, ‘Last 100’ elevates the wistful, dreamy mood created from the previous track, ‘I Did It For You’. The piano chords brighten the spirit, all the while, Misch’s raspy soft vocal line glides with the quick guitar finger play throughout. 

Misch’s seems to create a nostalgic mood towards the end of the album for the last two tracks; ‘John Mangos’ and ‘Storm Before The Calm’. With the latter, featuring a memorable conversation around from his manager about the album as well as, whilst ‘Storm Before The Calm’ invites Kaidi Akinnibi on the saxophone which provides settling tone and switch from illustrious build from the drums and guitar. 

Tom Misch’s fearless change in direction from ‘Geography’ is a bold move which will entice new listeners to work and strengthen his already loyal fanbase. Known to have spent some time producing beats on Ableton by himself, linking up with Yussef Dayes on the drums seemed to allow him to put those ideas into a live album which he was not able to do in previous albums, and i think it’s definitely paid off. The album is terrific from start to finish

You can listen to the spotify stream here:

What the video for Kyiv here:

Q&A: Have You Met.. Number

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Where are you from? Describe the kind of creative culture within the city you were raised in?

ALI: I was born and raised in Bishops, Stortford about 30 miles north of London – it was a commuter town with very little cultural output.

Bands played in local pubs or occasionally in the one club there was called Triad – which became the juicy Duck. It was here I saw my first live band when I was about 12; Shakatak, who were just starting and who were from the town.  We followed some local bands around the pubs of the town and local villages as well. There was one record shop in the town which was always full of interesting looking kids; I bought my first ever single in there – No more heroes by The Stranglers. But with not much on offer in the town, me and my brother or mates would take the train into London to see bands.

What made you guys into music, who were the people around you who influenced you?

ALI:  My older brother Jez was a big influence in getting me into music. He had a knowledge which I didn’t have and a growing record collection which I started to listen to. A mate of mine called Chris was into punk and new wave and would come round to play me new singles he had bought – that gave me the confidence to go and buy my own. I loved it.

I learnt guitar as a kid but hated it – I ran away from home to avoid a lesson once. Then at school I was picked out to learn double bass because I was tall and because I had a grounding of guitar. Free music lessons then. So I learnt classical double bass but soon started learning bass lines from records and playing along. My bass teacher was great – Mr Jobson –  my parents tried to match make him with my auntie once. It didn’t work out.

We had music in the house a lot but also at Church and my first experience playing with a band came with a group who played choruses and modern hymns regularly at the Sunday services.

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Are there any producers/artists you work with really well, what makes your relationship work?

RICH:  Working with Dean Thatcher, Jagz Kooner and Gary Burns (The Aloof) , David Holmes and Andrew Weatherall in the 90s had a huge influence on me and how I developed as a musician and producer.

We have worked with many great sound engineers over the years. In the 90s..Tim Holmes (Death in Vegas), Luke Gordon (Spacer), Hugo Nicholson and more recently Shuta Shinoda at Hackney Road studios.

In terms of Number it has been great working with Dan Carney (Astronauts) and Louisa and Heloise from Landshapes, Byron Wallen and John Metcalf…inspiring.

Most importantly for me is having worked with Ali since 1993. he is a really creative musician, patient and open minded. As a rhythm section we work really well together and seem to have our own way of immediately understanding what the other person means. It doesn’t always work but as a musician you learn by making mistakes. Often we hear things differently to the other person that that is often when the really inspired music comes from.

What were your early experiences in music, did you start with playing instruments?

ALI: I learnt guitar from an early age and then had double bass lessons and was part of a youth orchestra for a brief moment. There was music in my home and everyone in the family learnt how to play the piano except me…..I still can’t play it. I picked up the electric bass and played in school performances for a while and then at University I was in various bands playing Velvets and Bowie like stuff. I eventually chose P funk as my thing with the Freakin Habit Forms

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What equipment did you use to produce your forthcoming album? 

ALI: We had wanted to try new sources for writing music together, and Number allowed us to experiment with sound and process again. The foundations for most tunes were from the Volca Beats and electric bass put through various fx. At my studio I tended to record the acoustic elements of the sound like the gato drum and xylophones etc. using a Protools set up with Neve preamps.

The Moog Taurus pedals and Casio keyboards were also well thumbed. Most of the live drums and some of the bass was recorded in an old industrial incinerator in west London; that gave the sound a particular flavour. Otherwise, a fair amount came from working post-production with Shuta Shinoda in his Hackney Road Studios. He uses some great analogue compressors and puts everything through a 2 inch tape machine and we get to use his old Eventide as well…..

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Are you signed to a label, if so what’s your relationship like, if not, has that been out of choice?

RICH: We are signed to Sunday Best Recordings, Sarah Bolshi and Stan Watson have done a great job for us, they have been very understanding of our high expectations and are really creative with their limited budget. It is very hard for Independent labels these days, especially when trying to promote a new act.

How have you changed your approach from your previous project to your forthcoming album?

ALI: Number is about Rich and myself plus friends who we have got involved as vocalists or instrumentalists. Dan, Heloise and Luisa gave a lot of themselves and lifted the tracks enormously. John created a beautiful patchwork of his strings and Byron came up with some suitably skewed trumpet for us. We have had to adopt a different approach in that we haven’t been able to work in the same physical space that much, and this, together with financial restrictions has definitely had an impact on the shape of the music.

The sound and focus of the album has shifted as we’ve written and recorded it – its cool to have that going on. I’ve enjoyed playing a lot of other instrumentation on it and feeling in the right mindset to try vocal ideas without fear of being laughed at – I’m over that. Lyrics also allow for another layer of meaning to the music for me.

Rich and I first started recording disco and hip hop drums and bass ideas onto a simple tape recorder in 1993. That spirit of putting things together in a slightly ad hoc way and revelling in the simplicity and experimentation of it has returned to us on this album I would say.

Have a listen to their new album, and purchase through bandcamp:

 

 

Playlist Update: Electronic Dance Music #3

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We’ve updated our new Electronic Dance music playlist, which is a blend of our favourite and recent music from deep house, techno, future beats, garage, as well as, more. We have new music coming from deep house, and techno producer COMPUTER DATA, DJ Kush Boogie, Little Dragon, Dark Comedy, and Larry Heard to name a few

Check out the playlist below, and let us know what you think:

 

News: Stamp The Wax Cleverly Work To Help Artists’ Capitalize During Difficult Times

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In an effort provide artists with financial support as quickly as possible, royalty splits have been increased and accounting periods have been reduced to fortnightly during Coronavirus restrictions. The LP features the likes of Autarkic, Anna Wall, Desert Sound Colony, Hector Plimmer, Lily Haz, Prequel, Tom Blip, and more.

In an effort to alleviate both, Stamp The Wax launches ‘Isolation Therapy’, an emergency compilation built from scratch at lightning speed. They reached out to as many friends of the site as they could who may need a hand, and gave them three days to make a track from scratch in isolation. 27 artists rose to the challenge.

‘Isolation Therapy’ is available to Pre-order via Bandcamp now and will be released Friday 3rd April across digital platforms. 

New Music: Moroccon Based Afro-Electronic Producer, Guedra Guedra Announces New Album

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Guedra Guedra is DJ/Producer exploring tribal polyrhythms of the past and dancefloor innovations from the underground. Based in Casablanca, Morocco, his productions are defined by high energy tribal bass, psychedelia that is rooted in the cadence and mystery of ancient rhythms.

His earth trembling debut forthcoming EP Son of Sun for London-Global label On the Corner is a relentless barrage of euphoric, high-energy, genre-defying future dance music.

Have a listen to the new single below, and let us know what you think:

 

EP Tracklist
1. Uggug
2. Anlo Kinka
3. Black Wax
4. Juke Lockstep
5. Ourun
6. Aiït Crossing

Electronic Music Spotify Playlist Update 1#

We’ve updated our electronic dance music playlist with new music from Sweely, Harrison BDP, Channel Tres, Steve Spacek, Ralf Gum, Jesse Bru, FYI Chris, Marquis Hawkes, as well as, plenty more! 🙂

Let us know what you think!