Bound for hell in a homemade vessel the UK may be, but at least this month gives us plenty of opportunities to go out dancing.
Having first started raving as a student in New York, Abd’s love and dedication to the art of DJing has seen her make considerable strides in the past year. 2019 has found her touring Europe and North America, playing parties by Room 4 Resistance and Omnidisc, and bringing her mum along to a Gamut party at Paris’ La Station De La Gare Des Mines.
Looking to the future, Abd has a lot in the works. Having started a new party series, 3AFAK, co-curated with her friend Sanna, Bergsonist also has an LP landing soon on Optimo Music as well as an EP on Hypercolour. With plans to tour Europe again, she is also heading back to Morocco for the first time in four years, intending to make the most of the trip by working with local artists and capturing field recordings to use in her music.
"For us it was... where everything started from. It was in the middle of mountains, so you have that view from the stage. The first time they did a party for two days, there were people with caravans, tents — it was that kind of rave.”
“Everything that is around you influences you. Think about Berlin — it’s very dark, the city is quite like that. In Napoli, we have sun, sea... it’s more Latin. So maybe we are bringing that through,” Madonna says, explaining how the lush-yet-gritty landscape might impact the city’s aural output. He seems to have forgotten industrial might.
We’re told Neapolitans have a phrase — wherever you go, there is always Coca-Cola, Martini and someone from Naples. As much as the port brings in, it puts out, leading to a roaming band of dedicated local disciples at any date in the world, that books someone from the city. But a trade deficit has also emerged. The demise of clubs such as Old River and the 5,000-capacity indoor Metropolis betray a wider struggle in the dance community.
Markantonio, meanwhile, is still in Naples’ charmingly crumbling centre. Like Madonna, he’s proud of the city and its identity, but agrees there are issues. “Everything we do here is 10 times more difficult than in Holland or Germany or wherever.” Genny Mosca also understands. After two decades in the Neapolitan promotions game, while running a label and artist agency, he’s seen all sides of the dance industry.
Maceo Plex has revealed plans to open a studio for young producers in Barcelona, according to a post on Twitter.
The techno don, whose Mariel Ito electro alias was re-activated last year, made the statement this morning— although details are thin on the ground.
"Might be putting a ton of my gear into a studio for aspiring new producers to use and be inspired. In BCN. more details later on."
Dekmantel has released a new documentary on the seminal Dutch techno label, Djax Up.
The Amsterdam crew hit the Dutch city of Eindhoven, where the imprint was founded in 1988, to speak with bosswoman Miss Djax, who appeared in our rundown of electronic music's most influential female pioneers. Producers Random XS, Wladimir M and Stefan Robbers— AKA Acid Junkies— also make appearances.
Berlin techno collective SYNOID will throw a four-day rave next weekend.
The SYNOID weekender will be held at Griessmuehle, one of Berlin's beloved music venues in the Neukölln district.
The party will run from 19th July to 22nd July, with music from Rebekah, Regal and Clouds.
SYNOID have welcomed the likes of I Hate Models, Kobosil, Lucy, Marcel Fengler and Truncate to previous events, at venues such as Berlin's Tresor and Closer club in Milan.
A year on from his debut album, and a year after moving from Australia to London, the latest Air Max ‘97 project has landed, the four-track ‘Falling Not Walking’ EP. The release features two collaborations with artists also impressing with their own distinctive shades of club music — Italian producer TSVI on ‘Paroxysm’, and Manchester’s LOFT on ‘Xhrinicibles’.
Decisions is a label founded on the basis of releasing idiosyncratic “music to move people”. With past releases from the likes of DJ Plead and Oroboro, van der Lugt is excited about the label’s upcoming projects. The first, from Avbvrn, due later this month, and later Isamov, a producer from New York City whose tracks feature in recent Air Max ‘97 sets (including his Recognise mix).
With upcoming shows in London, New York, Glasgow and Madrid, Air Max ‘97 also recently played a show in Hangzhou, China, in a venue called Loopy, behind the food court on the third floor of a mall. “It’s a concrete cube with a huge Funktion-One soundsystem,” he says. “I was so gassed to finally go there, the crowd was amazing, creative, young and free.” Travelling the world is an “indescribable privilege” for van der Lugt, who will never miss an opportunity to meet local people, eat in their favourite restaurants, and explore local scenes.
Amsterdam-based techno promoter Intercell will be taking over the city's relatively intimate H7 Warehouse for four nights this October to mark this year's Amsterdam Dance Event, and they've locked in some of the biggest names in techno to join them.
Since the end of World War II, Western culture has loomed large over everyday life in Japan. The decades since have brought about a wide variety of American influenced subcultures, from Rockabilly gangs to biker tribes. Fashion designers have gone to great lengths to import American looms to recreate famous US denim. Distillers have done their best to perfect bourbon whiskey, city streets are lined with fast food restaurants and chain stores, and techno has long been the late night soundtrack of cities across the nation.
Before house music, though, there was techno. As soon as the late ’70s, soon-to-be Yellow Magic Orchestra members Haruomi Hosono, Ryuichi Sakamoto and Yukihiro Takahashi were already experimenting with electronic sounds, thanks to early access to Japan’s newly arrived music making machines. They mixed lounge exotica with Kraftwerk style keys, robotic rhythms and the edgy, futuristic style that defines techno, and in the process became unwitting godfathers of the Japanese scene.
Arguably in light of that compilation, attention has turned to Japan in earnest. As a result, Bitta label boss and Future Terror party promoter DJ Nobu has gone from being one of Tokyo’s local heroes to now being well established on the global circuit and a regular at festivals such as Dekmantel. “His rapid advance overseas has taught me that we Japanese can play a bigger role in the world,“ says new school artist Masafumi Take, who runs exciting new label Katharsis Recordings out of his native Tokyo and put out his first production just last year.