Category Archives: NEWS

Roman Flügel’s lost 1994 IDM collab with Jörn Elling Wuttke reissued on Apollo/R&S

Apollo / R&S are delighted to welcome back The Primitive Painter, aka the duo of Roman Flügel and Jörn Elling Wuttke for a timely reissue of their 1994 lost classic self-titled album of sonorous IDM.

Growing up in Frankfurt, in the 80s and 90s the duo met at an indie rock club in their home town of Darmstadt, bonding over their shared obsession with the first wave of acid, Chicago house and early Detroit techno as well as their patronage of now iconic Frankfurt club nights like The Omen or Dorian Gray or the infamous Delirium Record shop run by scene stalwarts Ata (Robert Johnson) and Heiko MSO (Playhouse). Taking inspiration from the likes of The Black Dog and Transmat as well as seminal compilations such as Planet E’s Intergalactic Beats and Warp’s Artificial intelligence compilation the duo honed their inventive take on the Detroit techno blueprint under the moniker Acid Jesus, debuting on their freshly minted Klang Elektronik label. The label was started in conjunction with Ata and Heiko after Fluegel & Wuttke (regular patrons of the Delirium store) pressed a demo on them, muttering the immortal line; “Please listen to the tape, we are big Mr. Fingers fans.”

Through the mid ’90s the project flourished giving rise to a classic album and a brace of singles that number amongst the best of the era’s techno, winning them influential fans most notably Sven Väth, David Holmes and Andrew Weatherall who invited them to play live at one of the legendary Sabresonic parties in London. Alongside the success of the Acid Jesus project, the duo found great inspiration in outside of the club, including an ambient happening when the KLF came to play Frankfurt; “There were live sheep eating grass on stage while they played at Mark Spoon’s club XS”, as well as cinematic influence from the likes of Jim Jarmusch and Wim Wenders. It was however the euphonic IDM grandeur of Apollo Recordings self titled compilation of 1993 that really got their creative juices flowing:

“It was a ten track compilation with artists like David Morley, Model 500, Aphex Twin which still sounds so good today,” Jörn enthuses. “ It was really the trigger to go away from the Detroit sound and more towards the big melodies of B12 etc.”

Deciding to make their tribute to this style of music the duo turned out 10 tracks of gauzy, melodious electronica in a white hot fever, one after another over the ensuing months. Settling on a name for the new project they picked ‘The Primitive Painters’ taking inspiration from the band Felt. “We are both children of the C86 movement,” explains Jörn. “this attitude of noisy art school influenced rock like Primal Scream, MBV, The Jesus & Mary Chain really inspired us to take a DIY approach to our music.” They sent the resulting demo cassette to Renaat at R&S / Apollo. “We really had no expectations,” Jörn explains. “So we were shocked and delighted when we received a fax saying that he wanted to release it”

The resulting release was bungled by an R&S mix up that attributed the album to the duo’s own Klang Elektronik label which confused both fans and distributors alike, denying the release the critical boost and attention that it so richly deserved. Accordingly the release slipped out without much fanfare, with a chastened Fluegel & Wuttke returning to their Acid Jesus activities which would eventually lead to their blockbusting success as Alter Ego. Over the ensuing years the reputation of The Primitive Painter album has only grown, with second hand copies (only 500 vinyl were pressed) changing hands for exorbitant amounts on Discogs, leading us to this opportune moment of a richly deserved ‘first’ release on the label for which the project was started, Apollo / R&S.

“This really brings us full circle,” says Jörn. “Apollo / R&S meant and means so much to us as artists and so it was bittersweet to not have the official release – to put that right all these years later feels really good.”

This new vinyl release comes in re-created original gatefold artwork and includes all original 10 tracks (Stoned Soul Picnic was previously on the CD only). It also contains an exclusive previously unheard track ‘Testing’ on the digital release.


01. Hope
02. Disfigured Phantasy
03. Levitation
04. Psycho Kinesis
05. Cathedral
06. Invisible Landscapes
08. A Pagan Place
09. Orgon Akkumulator
10. Stoned Soul Picnic
11. Testing

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Matador presents new ambient & electronica album

Matador returns to the foreground of electronic music’s vast landscape with Tuesday; his debut album contribution to the ambient realm. Offering an immersive montage of stories that pay tribute to Ireland’s idyllic vistas, the multifaceted producer’s breath-taking LP echoes a tenacious dedication to his craft. Following its soft launch in March, Tuesday now celebrates its official release – available to stream and download via Matador’s esteemed RUKUS imprint.

Following Matador, aka Gavin Lynch’s recent Astralwerks Records White Label release ‘Bush’ and vinyl-only ‘Cyclone’ series, the talent’s Tuesday project presents as a seminal down-tempo addition to his ever-flourishing back-catalogue. Proposing a fresh perspective on both concept and sonic sensibilities, the ambient-led electronica opus takes an alternative stylistic route from its predecessors, welcoming nature as its muse.

Perched in a tucked-away spot mere metres from the water, Matador’s Dublin-based workspace is enveloped by an abundance of nature and wildlife that serves as an endless source of inspiration for his production output. Harnessing field recordings from the untainted seascape, the album’s 20 cuts are replete with organic sentiment; from indigenous birdsong, to breaking waves and blustery storms; each composition stimulates a period of reflection for the listener, serving as an intimate retreat from every-day noise. Founded on a love for the free-flowing progression of music and an authentic composition process, Tuesday is designed for start-to-finish listening and is available as a continuous mix.

“My idea was to create a soundscape that connects and fills in the spaces; the physical spaces around us, the silences in between, and the space amongst our thoughts, actions and reactions” – Matador

The conceptual anthology of productions highlights a new dimension of scope for the Irish musician, as he references a myriad of musical styles from his repertoire. Restless in his forward momentum and pursuit of news sounds, Matador’s tastemaker qualities and deep-rooted musicality are firmly on display in this compilation, as is his long-standing love affair for modular synthesizers and drum machines. Galvanised by sublime melodies and delicate percussion, the rich sonic tapestry is a compelling and thought-provoking study of life’s own soundtrack, capable of soothing, exciting and reinvigorating in equal measure. With an approximately three-hour runtime, the sonically entrancing album, in its entirety, stands as a firm testament to Lynch’s pioneering musical vision and artistic vibrancy.

A true artist in every aspect of the word, the Model 1 ambassador’s wholly versatile and refined approach to producing riveting house and techno has propelled him into a league of his own, attracting continued support from the likes of Adam Beyer, Carl Cox, Jamie Jones, and Richie Hawtin. With pivotal performances at venerated dance destinations like DC-10, Sonus Croatia, Space Ibiza, and Stereo Montreal, and releases on benchmark labels Cocoon, Minus, and Perc Tracks, it’s safe to say that Lynch’s dedication to his craft is palpable. Just four years after launching his RUKUS imprint, the genre-defying producer’s label has chartered releases from industry titans like ANNA, ARTBAT, Coyu, Hot Since 82, and Skream to name a few.

‘Tuesday’ Album Tracklist:Stream

1. Leaf (Original Mix) – Matador
2. Duster (Original Mix) – Matador
3. Ruffles (Original Mix) – Matador
4. Boing (Original Mix) – Matador
5. Mars (Original Mix) – Matador
6. Opal Fruit (Original Mix) – Matador
7. Boarders (Original Mix) – Matador
8. Seven (Original Mix) – Matador
9. Inserts (Original Mix) – Matador
10. Doyley (Original Mix) – Matador
11. Bankers Gout (Original Mix) – Matador
12. The Final Staple (Original Mix) – Matador
13. Marathon (Original Mix) – Matador
14. Solo (Original Mix) – Matador
15. Levelled (Original Mix) – Matador
16. Bracketman (Original Mix) – Matador
17. Shoestrings (Original Mix) – Matador
18. Kitmen (Original Mix) – Matador
19. Palms (Original Mix) – Matador
20. Divil (Original Mix) – Matador

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London Modular launch new record label Longhaul…

The Hackney Wick-based music shop is world-renowned and the go-to for everything modular synth. For the last five years, owners Simon Lynch and Phil Ventre have regularly joined forces as London Modular Alliance, performing their signature electro sound at some of the world’s biggest clubs and festivals.

New label Longhaul is their latest venture and will focus on physical releases right across the electronic music spectrum. Electro, IDM, techno, bass, garage, as long as it’s got quailty, it’ll get a look in. The first release is a cheeky, forward-thinking electro EP. No artist or track titles are listed and the artwork is a simple white label. But there’s a heartfelt reason for this understated approach. All proceeds will go to the Red Cross, who provide vital support to those most affected by the Covid-19 pandemic. The emphasis of the release is about the amazing work they’re doing during this crisis. Limited to 250 units on heavyweight, 180g vinyl, Longhaul #001 will be released on 27th May via the longhaul bandcamp page.

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Frame Adapt HDR optimiert das Tone Mapping von JVCs 4K-Projektoren DLA-N5, N7 und NX9.

JVCs native 4K-Projektoren DLA-N5, N7 sowie das Topmodell NX9 analysieren seit dem letzten Update jedes einzelne HDR-Bild in Echtzeit. Wir informieren hierüber im Detail, beleuchten aber auch die generellen Unterschiede der drei Modelle bezüglich Technik und Ausstattung. Rund zwei Jahre beherrschten die nativen 4K-Projektoren der N-Reihe von JVC statisches HDR10. Wahlweise nutzten sie zudem Metadaten ...

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Rødhåd shares ambient album as free download

RØDHÅD has continuously pushed the boundaries of modern techno to new hypnotic and theatrical heights on his Dystopian party-turned-label imprint, where he released his debut Anxious back in 2017. This time, RØDHÅD tunes into a place of reflection and reformation on his most avant-garde project to date: WSNWG – BACK TO ZERO. Intended to provide a space for solo releases, the imprint comes at a crucial turning point, as society circles in on itself during the pandemic.

RØDHÅD christens the label with MOOD, his first ambient experimentalist release, comprised of his own solo archival material mostly from 2017/2018, working on a plane of spontaneity, devoid of set structures. The result is a life-giving, intimate and solipsistic work. Awash with field recordings, droning loops and subtle granulations, the sparse soundscapes on the 18- track album are deeply profound and satisfying. Crafting emotive textures through detailed layering of ethereal pads and simple synth melodies on ‘When They Returned After Midnight’ reflects the producer’s meditative sensibilities, whilst more beat-driven tracks such as ‘He Didn’t Seem The Kind of Guy Who Would’ and ‘Pigeons Dancing On The Roof’ employ trip-hop beats atop washed synths and textural loops for a more downtempo affair. The album often has the dynamics of a sci-fi film score; the slow-building distortion on ‘A Huge Plume of Ash Rose From a Volcano’ carries a profound weight and substance, whilst the eerie ‘Like Sleepwalkers Ghosting Through A Dream’ breathes as if it had a life of its own.

Collating a myriad of emotions through this sonic venture, RØDHÅD demonstrates his kaleidoscopic nature as a producer of atmospheric and ambient soundscapes, as well as his legacy provider of dance floor energies. The album will have unique artwork contributed by DJ & producer Silent Servant.

MOOD will be available to download digitally for free on May 7th, with a vinyl pressing following later on July 10th. As an illuminating gesture in these times, this album will be free to download for all, ensuring a sense of unity through the release.

1. A Huge Plume Of Ash Rose From A Volcano
2. Flying Between The Clusters Of Trees Without Buoyoant, Floating Wing Beats
3. He Was Beginning To Despair Of Ever Knowing
4. Like Sleepwalkers Ghosting Through A Dreamscape
5. Lions In The Supermarket Don‘t Sound Like Humans
6. Misty Fog Covering The Side Window
7. That Appeal Has Been Put Into Suspense By Reason
8. He Or She Will Then Drill Into The Pulp To Reach The Root Canal
9. Into Your Brain – A News Report Said The Line Carried 13,000 Volts of Electricity
10. No Forms To Fill Out, No Instant Check, No Waiting Period
11. The Film is About A Clown Who Leaves His Circus And Lives In A Building Near The Railway Station
12. She Wanted Her To Grow Up In A Nice House With A Backyard, So She Could Play
13. The Drawings Were Rearranged, As If By Magic
14. He Didn‘t Seem The Kind Of Guy Who Would Just Get Talking To A Stranger
15. Pigeons Dancing On The Roof
16. When They Returned Home After Midnight
17. I Wanted To Hold Her Close And Whisper In Her Ear That She‘d Be Fine
18. Good Bye My Love

Download here

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WEISS drops retro-tinged new single ‘First Sight’

UK DJ and producer WEISS marks his first release of 2020 with new single ‘First Sight’, out 1st May via Island Records.

An infectious 80s-infused house cut, ‘First Sight’ brings new life to retro-tinged synths, delivering a sound that’s simultaneously nostalgic and fresh-sounding. It acts as the first installment of a multi-track story exploring themes of creative expression, unity, love, and positivity inspired by memories and impressions of formative raving years with good friends, new friends and strangers alike.

After emerging onto the scene in 2013, WEISS has ascended through the dance music ranks at an impressive rate, releasing hit records such as ‘You’re Sunshine’ and ‘My Sister’, receiving support from a host of legends ranging from Armand van Helden, Eats Everything and Carl Cox to Elton John. His 2018 hit single ‘Feel My Needs’ took the world by storm, reaching #1 in both the BBC Radio 1 Dance Chart and ARIA Club Chart (also being voted the #1 track for the year), and winning ‘Best Track’ at the DJ Mag ‘Best of British’ awards.

WEISS has circled the globe countless times to complete tours worldwide, in the latter part of 2019 he embarked on his biggest ever tours of North America and Oceania covering 30 dates across 7 weeks including performances at EDC in Mexico City, Electro Zoo in New York, All My Friends in Los Angeles, Harbour Life in Sydney, Petting Zoo in Melbourne and many more, ending the year at London’s coveted Brixton Academy on New Years Eve.

Marking the start of a new chapter, ‘First Sight’ is a masterful release that sees WEISS delve further into his musical roots. With plenty more music (and easter eggs) to come, watch this space in the coming months as WEISS’ story unfurls.

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Black to Techno, artist and filmmaker Jenn Nkiru talks about techno

Directed by Jenn Nkiru, the fourth and final film in the ‘Second Summer of Love’ series in collaboration with Frieze, traces the lineage of techno via its birthplace in Detroit and later innovation in Berlin.

Opening with a series of vignettes of long-forgotten archive film paired with original shot footage by Jenn Nkiru, ‘Black to Techno’ explores the roles played by history, technology, geography and race that lead to the creation and emergence of techno as a sound. The film is ushered in by a series of voice-over interviews with leading academics and musicians. ‘Black to Techno’ presents an original and fresh narrative on the most influential sound in modern electronic music.

Artist and filmmaker Jenn Nkiru talks about techno and the making of her documentary in a new episode of the Gucci Podcast. Listen on:

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Podcast ‘The Big Swing’ Connects with MXL Mics

Houston, TX (May 7, 2020)—MLB may be MIA due to the coronavirus pandemic, but that hasn’t stopped Ross Stripling and Cooper Surles as they produce The Big Swing podcast. For Stripling, it’s one of many balls he keeps in the air—he’s also a financial advisor and, more importantly, a right-handed pitcher for the Los Angeles Dodgers. As a result, when he and Surles get on the mic, they chat about everything from baseball to Netflix to finance to you name it. The show kicked off in January, 2019, and after some initial audio issues, the pair settled in on MXL BCD-1 broadcast mics to help clean up their sound.

“In our first few months of podcasting, audio was the biggest challenge for us,” said Stripling. “Once we were able to deploy the MXL mics and put them in front of each speaker, our audio went up twofold [compared] to the previous solution we were using.”

How Pros Are Livestreaming During the Pandemic

Some of that is due to noise-rejection features on the mic, said Surles, noting, “Not only do the mics pick up audio well, but they also do an awesome job of rejecting outside noise. This is a particularly helpful feature when we record in our home studio set up, where my dog might be barking in the other room. Also, we frequently have guests that have no previous microphone experience, so they often won’t speak directly into the mic, and the BCD-1 does a solid job of capturing their voices off-axis.”

An end address dynamic microphone, the BCD-1 sports a tuned grill intended to help eliminate internal reflections and a built-in shock mount that prevents unwanted noise. The mic is designed for capturing audio in a variety of settings, which comes in handy for Stripling. While many podcasts are recorded in the same spot show after show, his day job understandably finds him on the road a lot, so the pitcher often has to record in new spaces instead of the same studio show after show. “When we travel, I keep the mics in my carry on, which gets thrown around a great deal, and while my luggage takes a real beating, the MXL mics remain in perfect working condition no matter what,” he said. “They’re definitely durable and they’ve been exactly what we need.”


The Big Swing •

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Rethinking Podcast Sound Design with APM’s Byers

Rob Byers on location in Aspen, CO.
Rob Byers on location in Aspen, CO. Suzanne Schaffer

St. Paul, MN (May 7, 2020)—As podcasting continues to grow at a blistering pace, its production needs are likewise maturing. For audio pros like Rob Byers, American Public Media’s director of broadcast and media operations, the medium represents not only a technical challenge, but a creative one as well, providing a venue where podcast sound design and audio technologies like ambisonic and binaural sound can be used as exciting tools for storytelling.

After graduating the Peabody Conservatory at Johns Hopkins University with a Master’s in recording arts, Byers began working at NPR, eventually joining the NPR Training team, training reporters about audio production. Now at American Public Media and Minnesota Public Radio, his team provides the production platform for podcasts like Marketplace, Make Me Smart and In the Dark. He also works separately as an audio mixer on podcasts like the long-running hit Criminal and Fiasco.

Byers, whose work has contributed to a Peabody and Pulitzer, talked with Podcast Pro about how his efforts in both radio and podcasting inform each other, and the importance of sound design in the future of podcasting.

You work with both broadcast radio and podcasts disciplines. How are they alike and different in your experience?

Broadcasting has brought me a real appreciation for systems [and] workflows. In broadcasting, you’re always keeping an eye on the clock. You only have X amount of time to tell your story. All of those things provide this nice framework for telling the story that doesn’t exist in podcasting. I think that leads to a real efficient way of working, and the boundaries that sets can be really helpful for creativity.

What’s really unique about podcasting is that the audience is there to listen to your story, and that’s it. They are making a conscious choice to listen to that thing at that time, whereas the radio you can put on in the background. Knowing your audience is there, they are a captive audience, they might even be listening on headphones—that opens up some really interesting possibilities in terms of podcast sound design, mix and the way you tell your story.

Live on KEXP Podcast Blurs the Lines Between Live and Studio Recording

What does that mean for the audio production side?

You know what the end user is getting. I think this is one of the untapped opportunities of podcasting. I know the file that I export from my production system is pretty much the same file that you’re going to listen to. I know you’re going to hear the panning, and the way that I use the panning. I know you’re going to hear the levels, and the way that I use the levels. If I want to start experimenting with other technologies, like ambisonic or binaural, I know it’s going to make its way to the end user. I’m super excited to see where podcasting goes from here. I have a feeling we’re only scratching the surface.

Rob Byers, American Public Media’s director of broadcast and media operations.
Rob Byers, American Public Media’s director of broadcast and media operations. Bria Granville

Do you see the opportunity as akin to something like the adventurous growth seen in the early days of multi-track recording?

I think I do see it like that. The barrier to entry is really low, and that allows for a lot of experimentation. [But] in order for podcasting to fully realize its potential, especially on the sound design front, the budgets have to be there. There are many great examples of low-budget, well-sound-designed content, but those productions, in my mind, don’t tend to last. Maybe they’re not bringing in the money, maybe it’s too much work, [or] it was a passion project. But I’m hoping those who are making audio content are going to be more willing to budget money into sound design.

You’re been very vocal about loudness in radio. How does that relate to podcasters?

Loudness, loudness tools and loudness meters are so helpful for one reason: consistency. Consistency of level, consistency from episode to episode, consistency between one voice and another voice in the podcast.

There are different opinions right now about what levels should your podcast episode target. The AES, a couple years ago, made some recommendations, and they’re pretty spot on. It’s a range, but they tend to gravitate toward -18 LUFS for podcast episodes. [Byers was an author on the report. —Ed.] One of the nice things loudness allows you to do [is] mix at a lower level, so you can use the -24 LUFS broadcast target to do your mix of your podcast. That provides quite a bit of headroom for the spoken word, and it’s much easier to mix without having to know about compressors.  Then, when your show is mixed and it sounds good to your ear, use a loudness normalization tool to bump it up to -18.


You’ve trained audio journalists whose technical experience varies. What are the most common questions they ask?

I think the single-most-asked question is some variation of, “What gear should I get?” I really wish the question were more focused towards, “What should I record? What should I be pointing my microphone at?” Something that will help tell the story, that will put the listener in the space, that they need to be in to hear the story.

You put more emphasis on the sound needed to tell the story rather than the tools you use to get there?

100%. If all you’ve got on you is your smartphone, you’re going to have technical challenges, no doubt. But you can still come back with a recording that will help you tell a story, that will help you put a listener in someone’s living room or someone’s kitchen or the side of the street. And depending on the kind of storytelling you’re doing, that may be the most important thing. I could give you a $3,000 Schoeps CMIT 5U. That’s a beautiful mic and I’ve recorded opera with that. It’s glorious. But it doesn’t mean you’re going to tell a great story if I put it in your hands, right?

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60 Seconds with Jonathan ‘JP’ Parker of Danley Sound Labs

Jonathan “JP” Parker
Jonathan “JP” Parker

What is your new position, and what does it entail?

Jonathan “JP” Parker: In my new role as director of global sales and marketing, I will focus on global expansion of the Danley brand and business development into new market segments for our company, including product offerings in touring sound, studio recording, home theater, luxury cinema and safety warning systems divisions.

How has your background prepared you for your new role?

I have been very fortunate to have held a variety of positions over the last 30-plus years in domestic and international sales and marketing management, product management, front line sales, general management and procurement. Working for both small and large corporations (Aviom, ASPI, Harman, Bose, Martin Audio and others) has helped sharpen my understanding of how all the important pieces of a business must fit together to work effectively.

What new marketing initiatives are we likely to see from the company?

There will be an emphasis on bolstering our brand awareness to the markets we serve, especially at the user level.

Tweed Recording Goes All-In with Danley, April 15, 2020

What are your short- and long-term goals?

Short-term, our goal is to provide the best support possible for our customers, providing education, design support, and getting them the best solution for their projects. We have doubled our support staff to accomplish this. Long-term, my goal is to expand production overseas so we can provide faster turnaround and reduce some of the absorptive costs of shipping by air and sea to our international distribution.

What is the greatest challenge you face?

One of our biggest challenges is to get resellers and customers to open their minds to our technology and take the leap forward to a different and very viable approach! We are all human and become comfortable using the same things over and over that we know will work, even when there might be a better solution.

Danley Sound Labs •

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