Slower Expectations doesn’t lower expectations by any means. Christoph Woerner, responsible for one of my favorite sets of the year has just released a follow up set that is a little more down-tempo yet doesn’t lack detail and keeps you engaged all the way through.
I asked Christoph where the inspiration for his sets comes from, what would he say his influences are and where he seeks out his music.
“I try to play friends, artists that I know, and where I can feel the person when I listen to their music.”
One of the countless reasons that I connect with this culture is the fact that influence and inspiration can pass so easily and un-selfishly through hands and ears to friends and beyond. The ability to reach across the ocean and impact people through these curated pieces of music allows me to fall deeper in love with this genre.
Listen to more from Christoph on his Soundcloud and stalk him until you can go see him live when he plays next.
This set is fucking incredible. I can’t thank Kassel, Germany born Christoph Woerner enough for mixing one of the most brilliant sets I’ve heard. Mixed for Klangextase, this set manages to dance amongst the heavy hitting minimal house that we love, and the heartfelt melodies that elevate the genre. “This is so Berlin.” I say to myself, closing my eyes for a moment and I am transported to the floors of Zur wilden Renate, or the late smoke filled Kater Holzig.
Please take the time to enjoy this absolutely fantastic set from Christoph Woerner, and download the set below for free.
But first things first: Acid Pauli is one of Berlin’s most sophisticated electronic DJ/producers. When going by his real name, Martin Gretschmann, you even have to change the label on his door from ‘DJ’ to ‘musician’ as his musical genius has sparked many projects of which the most famed ones might be ringing a bell by the names of The Notwist and 13&God. Martin’s music is no fast food – he wants you to engage with it. So if you are looking for easy listening you can stop reading here as his art is of a challenging kind (in a good way).
With aforementioned set he has been recently killing it from the Robot Heart which mysteriously moved from Black Rock City to NYC.
Seriously. What is this guy doing there. ‘Electronic world music’ is what the man himself calls it but whatever it is – it’s fuckin GOLD for creativity and depth of musical understanding. He is referencing so many genres and elements from tribal to disco to acid to deep house to techno to dub to instrumental to singer/songwriter, and combines them in harmony…
Get ready for a horde of lunatic space horns, an electronic-chanson-esque (!) reinterpretation of the 80ies new wave classic ‘Major Tom’, and a guitar folk ending that rides on top of a jog-trotting drum. Seriously, what the F*?/. This one will keep your little human brain busy for a while. Acid Pauli puts it nicer than what I could come up with:
‘Life, love and light, all in one set.’
Either way, please enjoy two hours of great music. This is the state of the arts.
This Monday we are bringing you a mixtape from Nick Angelillo. Nicks music taste has always been fresh air at any party, dinner, or car ride and we found it only right to begin to feature his mixtapes on the blog.
Our first “Nix” is called Old Paths Lead to New Places
A playlist for any path with music to set your pace. When this playlist ends so will the path and I’ll meet you there. See you on the other side…. Enjoy. – Nick
This is the set of the year so far for me. Live from the Boiler Room Berlin, David August takes us on a journey through deep space. We start with a dreamy building soundscape that quickly develops into a jaw-dropping series of mixes. He plays the synth live, while mixing in everything from a segregation RFK speech on vinyl, to some of the funkiest move-your-fucking-body beats to come across Soundcloud.
Please take the time to watch the set below, as well as listen to it on Soundcloud.
I asked a handful of friends a very simple question yesterday – “First thing that pops into your head – what do you think is super underrated?” The answers were interesting, weird, nonsensical and generally awesome. I giggled, I judged, and I gained new insight into the complex mind’s of many whom I thought I knew so well. What i quickly realized is this was just a way better way of asking them what they are thankful for. I learned that by tweaking a basic question and asking it in a different way, the responses were way more entertaining and even unexpected.
Answers below, in no particular order…
missing the lunch rush.
clean drinking water and fresh air.
smiles from strangers. Patricio.
jean jacket vests.
a perfectly ripened nectarine.
exercising at lunch time. (followed by an, “I was just thinking about how lame and old that sounds”)
Riesling. (apparently it’s the most versatile grape and it pairs with everything – despite the misconception that’s it’s always sweet)
baby wipes for adults.
the feeling of cleaning your ears with Q-tips.
almond butter and weed. weed should be legal highly praised. (word for word)
pregnancy jeans – don’t know why all jeans aren’t made with a belly band.
dance routines with friends.
deep friend cauliflower.
pickles and cheese.
My personal favorite answer? “No doubt, spiderwebs.”
Really? I was intrigued. What part of spiderwebs does he love so much? Is it how they look? How they’re made?
“Oh god no”, he responded. “The song ‘Spiderwebs‘ by No Doubt. And socks.” Right, I thought to myself. Of course.
So now I must ask you – What do you think is super underrated? Don’t think too hard, first thing that pops into your head.
Tim Sweeney brings forth another epic set as he hosts John Talabot and Jamie XX (from the XX) in playing a non-stop 2 hour set, playing 2 and 2. The soundscape provided by these two breaks away from any pre-conceived notions I had on what their sound would be. It’s glorious in the way it leads you through a schizophrenic tempo forest without being harsh or unsettling and the fact that they are able to combine so many genres and sounds into one cohesive piece is beyond impressive.
Enjoy the two part set below and make sure to check out more from Beats in Space here.
When I die,
I want to fall in my bed exhausted,
covered in scars,
stories buzzing in my head,
of memories and inside jokes,
from a lifetime of misadventure.
My broken bones barely healed,
my weathered skin and matted hair,
A body running on fumes.
And I will lay there,a room full of grand children,
minds alive with curiosity,
for a world waiting to be explored.
And a beautiful wife, with soft hands in mine,
smiling because she knows me best,
and then she would look at me,
and see the stories sparkling in my eyes,
and she would squeeze my hand, as I left,
on one last adventure.
I saw Miami Horror as a bunch of Aussie’s that lived to get loose and specialized in fueling the best dance parties on earth. After meeting up with them in Silverlake, Los Angeles for an afternoon photo shoot, I quickly realized that there was much more to these guys then summer festivals, dream synth, and skinny jeans.
We are late for the shoot as it takes us 45 minutes longer than we had planned to get across the city. When we arrive, we see Josh Moriarty sitting on the porch. He’s smoking a cigarette and due to a big one out the night before, he seems thankful that we brought a few beers along. Miami Horror are as close to rock and roll as I’ve ever seen and ironically they don’t play rock and roll. They look like a new-age Led Zeppelin, and they are all living together in a massive house in Silverlake.
As we scramble to set up, I notice there are girls literally sleeping on the floors of their house. They saunter in and out of bedrooms and it’s hard to tell who they are, or where they are from. The house is huge, and beautiful. It’s a furniture mash up of the decades, and punctuated with records from every era; Heart, BeeGees, Yes, and Todd Rundgren. I like to think that the records on display in the house in some way have found themselves, perhaps subconsciously, into Miami Horror’s music. Even Donna Summers watches over the living room, framed in a poster, front and center on the mantle of the fireplace. There is a mint condition Wurlitzer organ in the corner of the room and as the sun creeps in through a pained glass window and dances across the keys, I can imagine Benjamin eyes closed, a harem of young girls surrounding him as he dreams up the newest Horror song.
Benjamin Plant – Production, Synths, Bass
Benjamin Plant, the originator of Miami Horror, sits outside on the front porch with his laptop out on his lap, he’s watching the first cut of their newest music video for Real Slow. “What do you think?” I ask him, leaning up against the house next to him. Benjamin is a bit shy, he seems a skeptical of who we are and what we are doing in his house, and I find myself questioning if I’m imposing on their world. How many times have they had to hang out with journalists or photographers whom they don’t know or frankly probably don’t give a shit about, they’re rock stars after all, right? “I like it.” he says quietly, “It has a sort of 60′s or 80′ s vibe, with long takes that I’m really feeling.”
I respond, “cool” but feel far from it.
I realize quickly that I’m a bit intimidated by this crew. Is it because of their close to 5 million views of I Look to You on Youtube? Or because their massive hit album Illumination was the soundtrack to my summer for so many years, or perhaps it’s because they look like they are famous, with their tight fitted jeans, their ‘I don’t give a fuck’ hair, that I still can’t figure out how to replicate, or maybe it’s because of their accents and the way that everyone in the electronic world knows who they are, or because they look cooler smoking cigarettes than Dennis Hopper?
Aaron, Ben, Daniel, and Josh at their home in Los Angeles.
Aaron, Ben, Josh, and Daniel sit in the living room of their shared home. Photographer Dean Bradshaw is set up across the room and snaps off shots of the guys. We all laugh as Aaron strikes a pose sitting awkwardly with is legs straddled out in front of him. Dean fires away and it seems the more that he allows them to interact with each other the more powerful the images become. I feel there is something nostalgic about this scene, it’s an image that feels very real. Coming off of three years of touring, and in the new year kicking off their Australian tour, this down time together at home seems to be a special time for the guys as well. They play in an local psychedelic rock band called Wunder Wunder, they are writing songs together as a collaboration in their attic, and Daniel is even attending meditation retreats. “I’m the happiest I’ve been in a long time.” Daniel says, “I feel like we are more grounded and centered, more creative. We are more balanced than we were on tour and we are making music that we all love.”
We are all sitting on the porch and the sun is deep in the sky, beginning to set behind the hills of Silverlake. It’s the golden hour and the light could not be more beautiful. The cameras have been put away, and I’ve stopped worrying about how to gain credibility with the guys. In fact, I’ve stopped asking them questions and everything feels so different. The random girls sit with us and they aren’t so random anymore, they are just friends, or long time girlfriends, not just groupies from the night before as I had assumed. We talk about life before Miami Horror and getting outside into nature, how the sun of LA has influenced the new album they are working on, and how exciting it is to be an artist in this city at this moment. Nothing had actually changed except for my own perspective.
It’s a wondrous study in the human condition, the way that we tend to project our assumptions into a situation. The guys are cool yes, but they don’t consider themselves rock stars, they are as grounded as they come, and my intimidation wasn’t initiated by the band, instead it is my own idea of how well-known musicians should act. They don’t expect people to be able to list all of their songs or to prove how cool they are, it seems that they are more interested in authenticity and the music rather than impressing people or the scene. The more that I relax and allow myself to listen, the more the conversation comes alive and my appreciation grows for what Miami Horror represents.
It grows quiet for a moment as we glance off towards the last bit of light slipping behind the Los Angeles hills. It’s the calm before the storm. Josh leaves that night to go back to Australia, and the rest of the boys will only be in LA a few more weeks before they start their next tour back in Australia for the first time in years. The welcome home will be massive as will the release of their next album and something tells me that the next time we will see them we’ll be be surrounded by thousands of their fans.
Special thank you to Isabel Secas, Laura Mckellar, Benjamin Plant, Josh Moriarty, Daniel Whitechurch, Aaron Shanahan, and Sam Luna.
Inspired by my move to Berlin and the time I spent lost in the city. There is no other place on earth that can evoke such a powerful, lonely, wondrous, state of mind. I lived for part of the time on Torstrasse in Mitte, sleeping on the floor of a friends study. During that time, I fell in love with deep house as it became the soundtrack to my explorations throughout the city. This is my attempt at sharing a part of that story.
FM Attack creates soundtracks to another era, his albums speak to another time and place in such a manner that I find myself gazing off into the distance, imagining myself ripping off down the road next to Ryan Gosling in Drive, or throwing parties with Cruise in Risky Business. Shawn Ward is the man behind FM Attack, whom we’ve featured in our Genius section a few years back. With the release of the new album Deja Vu, I had a chance to sit down with Shawn while we listened to the album on a Fall evening in San Diego.
This album for Shawn seems to be an extension of the last, not only in style and sound, but in the way he collaborated with Kristine from Athens Greece. “I thought about singing on the track, but then after I sent it to Kristine, she sent be back the first version and it was perfect.”
The play between Shawn and Kristine throughout the album really feels like a lost-in-space love story, his vocals intertwine with hers on tracks like Runaway and add another layer to the song.
“What’s your goal, what are you aiming for?” I ask Shawn as we sit listening to the last track on the album Lost Angeles. “I think I have reached it in a way already.” Shawn thinks for a moment. “It’s not about blowing up and being massive for me. I’m so happy where I am and what I’m doing right now.”
He lives in Mazatlán Mexico, making music in his studio next to the ocean, he has a tight group of friends that all make music, and in play shows all over the area. He has a gorgeous local girl whom they have been together for years now. He tours when he wants to, and gets to make the music that has inspired him his whole life. To Shawn it seems that it is more about the experience and for lack of better terms, the path. He’s enjoying his steps, and Deja Vu is another step that he enjoyed all the way through. I sense a sort of peace in Shawn as he sits next to me at the table. “I feel lucky to be able to make money doing what I love, that’s what matters for me right now.”
Make sure you check out FM Attack’s newest LP Deja Vu here and purchase it here.
The first single from Shadows, Opium, one of our favorite albums from 2011, finally has a video to go along with the amazing track. The music video is directed by Keegan Wilcox, starring Avan Jogia and Zoey Deutch, and produced by Dersu Rhodes and Steven Bender. Filmed in Mammoth CA in 2 full days, the finished product tells a story of love and addiction. You can find the song here and make sure to check out more from the New Division and Keegan Wilcox.