Episode 11

Enjoy a mix of electronic and indietronic songs. Time to dance, sweat, and be cool.

Tracklist

  • 01. Makeup and Vanity Set - Hand in Hand [Makeup and Vanity Set]
  • 02. Brett - On Account of Your Love (Club Mix) [Chill Mega Chill Records]
  • 03. Postiljonen - L.I.E [Hybris]
  • 04. Choir of Young Believers - Perfect Estocada [Ghostly International under exclusive license from Tigerspring]
  • 05. Len Sander - Places [Mouthwatering Records]
  • 06. Xul Zolar - Slow Gleam [Asmara Records]
  • 07. Emmecosta - Brontos [Icons Creating Evil Art]
  • 08. Bambooman - Skip [Sonic Router Records]
  • 09. Pascäal - Drowning In You [VRESH]
  • 10. Samaris - Wanted 2 Say [One Little Indian Records]
  • 11. Beacon - Backbone [Ghostly International]
  • 12. Pantha du Prince - The Winter Hymn (feat. Queens) [Rough Trade Records Ltd.]
  • 13. Wax Stag - Night Trek [Old Habits]
  • 14. Martin Kohlstedt - GOL (Hundreds Rework) [Edition Kohlstedt]

Artist Information

Makeup And Vanity Set

Makeup and Vanity Set is a musician who specializes in chiptunes, a style of music monikered by the use of the NES chips of old Nintendo games.
His sound revolves around repetitive arpeggios and sounds like handclaps. He has been affiliated with The Protomen, doing an eight-bit remix of their first album. He has released other albums, Aesthetically Speaking, Charles Park, the self-titled, Makeup and Vanity Set, Charles Park II, The Final Fire, and Never Let Go. He's also released M&VS Presents: The Protomenon vinyl, along with an accompanying T-shirt. M&VS has composed the soundtrack for a film called 88.88.
He is also a ninja.

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Wilderness (iTunes)

Brett

Brett = dance beats + synthesizer keyboards + old drum machines+ hazy gazy guitars + some melodies
Brett is from Washington, DC.

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On Account of Your Love - EP (iTunes)

Postiljonen

Postiljonen is a dream pop band from Stockholm, Sweden, formed in 2011 by Mia Bøe (Norwegian), Joel Nostrum Holm (Swedish), and Daniel Sjörs (Swedish). The group has released two albums, Skyer and Reverie, and one remix EP titled All That We Had Is Lost. In addition to original lyrics, the band incorporates sound bites from a variety of films, including The Princess Bride and Breakfast at Tiffany's.

Postiljonen has managed to create a characteristic sound, where ethereal and alluring vocals are interwoven in a mystical, ambient, dreamy and lovable expression. Postiljonen is often compared to the likes of M83, Sigur Rós, JJ and Cocteau Twins.

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Choir of Young Believers

Choir of Young Believers is the musical project of singer, writer and guitarist Jannis Noya Makrigiannis from Copenhagen, Denmark. The band, which consists of Makrigiannis along with a rotating cast of supporting players, has had multiple No 1 hits in their home country of Denmark and was named the "Best New Act" at the 2009 Danish Music Awards. COYB’s music combines folk melodies, orchestral instrumentation, and dark lyrics.

After the breakup of his previous band, Lake Placid, in 2006, Makrigiannis moved to the Greek island of Samos and began developing his own solo material. Upon his return to Copenhagen, Makrigiannis gathered musicians and friends to form Choir of Young Believers. The group released the EP Burn the Flag in 2007, with the single "Sharpen Your Knife" receiving heavy play on Danish Radio. In September 2008, the band released its first full length album, This Is for the White in Your Eyes, which was nominated for six Danish Music Awards and won the "Best New Act" category.

COYB performed at the 2009 SXSW music festival, after which it was signed to US label Ghostly International who released This Is for the White in Your Eyes in North America on 18 August 2009. The next album released was Rhine Gold in March 2012. The band's third studio album, Grasque, was released on February 19, 2016.

The song "Hollow Talk", from the debut album, was used over the opening and the closing credits of the Scandinavian police series The Bridge (2011, 2013, 2015).

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Len Sander

“These fluttering lights, rules that keep changing all the time” sind Blankas ersten Worte auf “Phantom Garden”, dem Debutalbum von Len Sander. Das Sextett aus Zürich arrangiert in abgestimmter Zusammenarbeit seit 2015 ganz offiziell mal zärtliche, mal wuchtige elektronische Songs, die sich immer wieder gerne im Pop bedienen, stets aber eine Eigenwillikgeit, etwas Unbekanntes behalten. Den- noch bleibt Blanka Inauen das Gesicht, die Frontfrau der Truppe und erfüllt die Songs mit Leben. Ihre Aussage hat denn auch etwas allumfassendes. Woran orientieren wir uns, wenn die Regeln ständig ändern? Wie finden wir uns zurecht in einer Welt voller (Ver)blend- ung und in sich differenzierenden Ansichten? Blanka Inauen bedient sich stets aus ihrer reichen Erfahrungswelt, erzählt Geschichten von Scheitern und Leiden, aber auch von Hoffnung und Aufbruch.

Die Geschwister Inauen und ein Trip nach Island änderte so vieles, und bedeutete nichts weniger als der Startpunkt in einer von musikalischen Experimenten geprägten Schaffenszeit. Da wurden Steine aneinander geschlagen, das Rauschen des Meeres durch den Federhall geschickt oder das Klappern der Muscheln in der Branding tonal festgehalten. Dass sich die 6 Mitglieder der Band schon seit Jugendtagen kennen ist nicht weiter überraschend, setzt man sich mit der Arbeitsweise des Gespanns auseinander. Doch erst ein Gig – wir schrieben das Jahr 2011 – als Eröffner für das Urgestein Morcheeba im ausverkauften Xtra in Zürich, formte aus dem Projekt Len Sander die Band, die sie heute ist.

Aus dem munteren Grüppchen, das sich in Kellern und Räumen ihrer Heimatstadt zu spontanen Sessions getroffen hat, ist eine Formation gereift, die sich in ihrer Musik einer Transzendenz zwischen Pop und Indie hingibt, ohne sich festnageln zu lassen. Wohin die Reise nach ihrem Erstling geht, lässt sich nur schwer erahnen, und das ist auch gut so. Denn ihre Musik bleibt für die Band ein Produkt, welches sich erst in ihrer Entstehung entwickelt. So war es schon bei “Phantom Garden” und so wird es auch beim zweiten Album sein.

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Places (iTunes)

Xul Zolar

Xul Zolar are a trio from Cologne.
Xul Zolar founding members Ronald Rottel and Marin Geier met in Cologne’s infamous Club Scheiße (Club Shit) back in 2011. They bonded over a mutual love of The Smiths and Talking Heads and decided to start writing songs together.

The trio was completed by drummer Dennis Hofmann and subsequently Xul Zolar were invited to play c/o Pop Festival, Immergut Festival, Appletree Garden Festival, Reeperbahn and Dockville before they had released any music at all. While all three members have previously played in punk and hardcore bands, Xul Zolar play melancholic pop music with just a touch of post punk.

Thus far Xul Zolar have released a pair of DIY 7’’ singles, both of which sold out. ILAJALY, the first official from the Tides EP, was revealed last year. The remainder of the EP was finished earlier in 2015 and produced by Jochen Naaf (Polarkreils 18, Maxim) and Sven Ludwig (OK Kid) and is set for release 16th October via their own imprint and Jakarta Records sub label ASAMRA Records.

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Tides - EP (iTunes)

Emmecosta

“We celebrate intimate landscapes through a melancholic stream that merges with dreamy vocal narratives.
Emmecosta is the new soul act of electro-writing.
We were born at dawn.”

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Untied - EP (iTunes)

Bambooman

Hailing from Yorkshire, the Leeds based Bambooman constantly has his fingers dipped in a lot of concurrent projects. The Sonic Router signed producer keeps his creative-self fed, producing tracks for vocalists and collaborating under various guises whilst writing his own material.

His three EPs for Sonic Router (the latest of which, Rusted, was released in May) outline his strikingly clean but intricately layered production style perfectly and his deft production touch was captured and widely commended on London vocalist Segilola’s serene debut EP Somewhere Along The Line.

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Hollowed (iTunes)

Pascäal

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Samaris

Samaris consists of Jófríður Ákadóttir singer, Þórður Kári Steinþórsson computer musician and clarinet player Áslaug Rún Magnúsdóttir.

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Black Lights (iTunes)

Beacon

Beacon is Thomas Mullarney III and Jacob Gossett.

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Escapements (iTunes)

Pantha du Prince

The name Pantha Du Prince came to Hendrik Weber in a dream. It would have had to: The Berlin-based techno composer-producer (whose moniker is French for “the panther of the prince”) makes some of the otherworldly electronic music around. It’s dreamy, but not somnambulant: The new Pantha album, The Triad, pulsates hypnotically, drawing the listener into a rich, uncanny whole that keeps revealing new layers with each listen.
“It’s a fantasy character,” Weber explains of the alias. “For me, the name is an open metaphor for a certain atmosphere I want to transmit — a poetic transporter for the concept behind the music. There is a certain romanticism in it. I try to find something that combines ear, eye, body, feet, and all the other senses, and also transcends these senses and brings them back into a holistic experience. It’s an entry into a world that is fantastic, but also very down-to-earth.”

Weber has carved out a unique space, not only in electronic music, but also the indie world generally. An early star of the influential Berlin dance label Dial thanks to the stunning one-two of Diamond Daze (2004) and This Bliss (2007), Pantha Du Prince made the leap to Rough Trade for 2010’s breakthrough Black Noise, which featured a notable cameo from Noah Lennox, a.k.a. Panda Bear of Animal Collective, on the single “Stick to My Side.”
The collaboration made a wider audience aware of what dance fans already knew: For all his floor-ready beats and theoretical approach (“A rave party for me is a psychosomatic organism,” offers Weber, whose background is in art history), Pantha Du Prince’s makes deliciously, approachably melodic music, full stop. “It’s layered and cinematographic,” says Weber. “I enjoy dancing very much, and I enjoy going through certain experiences of physical expression. At the same time, it’s not brainy music. It should work on all levels.”
That’s what The Triad does, in part due to a key decision that helped shape the feel of the album. “I wanted to use more voice,” Weber says. “The album is much more personal than the one before. Yes, it’s very heavily instrumental. But to give a space for this very direct, human appearance is also a liberating thing. It gives you the possibility to express more, and not be as self-contained. It’s a human touch — something that is soulful and more connected to a social environment. Black Noise was very much about me being alone in a small room in Berlin and composing. The Triad opens the structure to more human ways of interacting, not digitized ways of interacting. It’s not about Facebook; it’s about meeting up and jamming. I wanted to cut through the digital dust that surrounds us.”

Weber does most of his own singing on The Triad, and a handful of close collaborators also got on the mike. Though he’d been working on several of the tracks since 2012, recording in Berlin and L.A., the music began opening up once he headed to Swabia, in southwestern Germany, to record at the studio of friend and collaborator Joachim Schütz, whose setup included a full complement of vintage analog gear.

“They have all these amazing synthesizers there, from the CS-80 to the Synthi 100 to an ARP to various modular synth setups,” says Weber. “For Black Noise it was more about little snippets and samples, this combination of nature sounds and computer sounds. For The Triad, it’s not so much computer music; it’s more analog electronic music.” This studio’s natural surroundings provided inspiration, respite, and the occasional snack: “We were jamming and playing, and going for hikes in the woods, collecting and eating apples,” Weber says with a laugh.

The “we” was, you guessed it, a triad: Weber with Scott Mou, a.k.a. Mr. Queens, and Bendik Kjeldsberg of the Bell Laboratory, with whom Pantha Du Prince collaborated on 2013’s Elements of Light. “Three beings generated this album,” says Weber. “Most of the tracks come from my inner processes, but it was very important to have the other two. I worked in several setups, and you always end up with three people: Two people jamming and one person recording; or three people jamming and one recording. It was always this power structure of three. The cover art is something that is a basic structure in nature as well, and in digital reproduction. This is why you have these symbols and atmospheres on the cover that work with this energetic state.”

Beyond working out musical ideas, Mou and Kjeldsberg offered other kinds of inspiration. “Bendik is much younger than me, and it’s a very refreshing input,” says Weber. Mr. Queens, meantime, lends his ghostly croon to the glacial album opener and first single “The Winter Hymn,” and to “In an Open Space,” whose plucked strings and fuzzy low end slowly accrete sonic mass. Those tracks typify a wide-eyed vastness, intricate layers generated electronically but organic in feel, that permeates The Triad. Not to mention a newfound playfulness that adds light to the densely arranged tracks.

The title of “You What? Euphoria!” was borne of a studio misunderstanding. (Weber: “Wow, this was really euphoria!” Engineer Kassian von Troyer: “You what?”) “Chasing Vapor Trails” was written in a “classic painter apartment” with large windows overlooking Berlin that Weber, Mou, and Kjeldsberg lived in together while working on the album. “When you look into the sky it’s like you’re hovering like a massive spaceship,” says Weber. “Every day you have different vapor trails in the sky. It’s a formation that constantly changes, that you have breakfast to, listen to music to. It’s a visual and atmospheric environment that the record has.” “Lions Love” is named in homage to Agnes Varda’s film of the same title — which also ties into the album’s concept. “It’s about a triadic relationship between a woman and two men in Los Angeles,” says Weber, who caught the movie at a Varda exhibit while living and working in the Pacific Palisades. “I wanted to have this vibe: Agnes Varda, this strong person in film history — Godard called her the originator of the Nouvelle Vague. She was together with Jacques Demy, and I also love his movies.”

Weber’s love of film shows up as well in the title of “Frau im Mond, Sterne laufen.” “Frau im Mond is a movie by Fritz Lang,” he says. “The album is a lot about concrete utopia, and Frau im Mond is basically about a concrete utopia. It’s one of the first science fiction movies ever — they are building a rocket. I love the movie’s style: Germany in the 1920s, so much of this new-age vibe of end of the 19th century and beginning of the 20th century, where you had these spiritualist movements.”

To support The Triad, Pantha Du Prince will be hitting the road—in a much different environment than that which greeted Black Noise.
“At first it was really an underground thing. In New York ten years ago, it was for a hundred people,” says Weber. This time around, he’ll be concentrating on festivals. “It’s basically a production that comes with a visual aspect: costumes, with us wearing masks and different objects on our heads, a light show, and video — and, of course, a trio onstage,” says Weber. “I will always play my solo sets. I’m already working on a club setup now, a small solo setup where I can also play for 500 or 600 people. But these will be very rare this year.

“We try to keep it limited,” Weber concludes. “We’ll be playing mostly festivals. As soon as the album’s out, we will see the way it goes and what kind of audience it will generate. I think it’s opening us up to a new category of festivals. You don’t know what happens with an album like this. It can go anywhere.”

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The Triad (iTunes)

Wax Stag

Like Boards of Canada, Vector Lovers or Border Community's old guard, Rob Lee's work as Wax Stag exists in a British lineage of pastoral electronica. In its warm retro sound and its wide-eyed, awestruck melodies, II, his new album, evokes an '80s British childhood of newly exciting Atari video games, summers spent outdoors and, on the TV, a diet of David Attenborough documentaries and the pop-science futurism of the BBC's Tomorrow's World. It is a record steeped in the sounds of early computer technology, but one similarly inspired by the natural world.

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II (iTunes)

Martin Kohlstedt

Intuitively Martin Kohlstedt feels his way through this body of wood, felt hammers and steel strings. The young composer, who grew up in the forests of Thuringia, doesn’t just put on an anonymous fingerplay – he perpetually opens himself up with each and every moment, with every stroke of the keys. An attempt to create something close and personal – beyond sophisticated classics or artificial pathos. Kohlstedt isn’t reenacting a play, he’s holding a musical conversation with his instruments. At times he might even lose his self-control and get carried away. Particularly in a concert setting, one might take note of this kind of aggressive straightforwardness, perhaps making him seem vulnerable. If you were standing off to the side, you could even find it cheesy. Nevertheless, the argumentation between character and piece is so fierce, that you just can’t get around it. Consider yourself lucky under these circumstances – because that’s exactly what Martin Kohlstedt needs, this soundbox, his audience.

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Nacht Reworks (iTunes)