FACT Magazine Earl Sweatshirt cancels string of festival dates, hints at new album @ Musique Non Stop

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1. Earl Sweatshirt cancels string of festival dates, hints at new album
2. FACT’s weekly radio show returns on Friday, with special guest suicideyear
3. Mosaic
4. Robin Thicke’s new album Paula sells just 530 copies in the UK
5. Listen to Palmistry’s latest low-key dancehall single, ‘Protector SE5′
6. Boston’s Black EL drops Durkin-produced new single ‘White ’95 Maxima’
7. A beginner’s guide to snd
8. Why Do the Heathen Rage?
9. Stream Jackmaster and Oneman’s Can U Dance Essential Mix from Glastonbury Festival
10. Photo Gallery: Hideout Festival 2014 by Georgina Cook
11. Berghain celebrates 10 years with art exhibition featuring Carsten Nicolai and more
12. Police searching for body of Ghanaian hiplife star Castro
13. My Favourite Record: Gilles Peterson
14. Richard H. Kirk’s early solo experiments revived on Minimal Wave
15. Punch Drunk announces new Worth the Weight compilation; Kowton remixes Peverelist’s ‘Roll with the Punches’
16. Stream Seven Davis Jr’s refix of Purple Music’s ‘So High’
17. First RBMA Tokyo 2014 participants announced, including Mumdance, WIFE and Ossie
18. Death From Above 1979 unveil comeback single ‘Trainwreck 1979′ and European tour dates
19. The CIA have been tweeting about Tupac’s location

Earl Sweatshirt cancels string of festival dates, hints at new album Posted: 08 Jul 2014 12:53 PM PDT It’s not deja-vu, the Odd Future rapper has cancelled his the remainder of his summer tour. Earl Sweatshirt was due to play a slew of festival dates for the rest of the summer, but today cancelled all of them, citing ill health as the reason. In a series of Tweets, Earl apologized to fans, saying his “lack of self maintenance” was to blame, adding that he is “physically and mentally at the end of my rope,” and weighs only a fraction of what he’s supposed to. It’s not all bad news though, in his closing Tweet, Earl revealed that now he was back at home, he could “get this album out to y’all while it’s still fresh,” which make us assume that the eagerly-awaited followup to last year’s Doris could be just around the corner. [via Pitchfork]

FACT’s weekly radio show returns on Friday, with special guest suicideyear Posted: 08 Jul 2014 09:58 AM PDT For those of you missing the weekly installments of FACT’s radio show, don’t fret – we’ve found a new home. The very fine folks over at Brooklyn’s BBOX Radio have stepped in, and starting this Friday July 11, John Twells, Chris Kelly and Walker Chambliss will be hosting a two-hour show each week from 3-5pm (Eastern Time), playing the absolute best new music, talking to guests and forcing local music journalists, DJs and general troublemakers to engage in the weekly flaying of flesh known as FACT Singles Club. If you managed to catch the show in its previous home at the sadly departed East Village Radio, you’ll know we managed to get guest spots from Rome Fortune, Dominick Fernow, Nick Catchdubs, Pete Swanson, Bill Kouligas, L-Vis 1990 and loads more. Well to celebrate the move to BBOX, we’ve invited rap producer and FACT favorite suicideyear to come along and play some tracks. The Baton Rouge-based producer is about to blow up, so now would be a great time to swot up on his material – last year’s mixtape Japan would be a great place to start. He’s due to play MoMA’s PS1 Warm Up series on July 26, so if you’re in the New York City area, we suggest you take a peep. All you need to do to tune into the show is head over to the BBOX Radio site and click listen at 3PM ET on Friday, and if you’re locked in, make sure you let us know on Twitter and we’ll shout you out.

Mosaic Posted: 08 Jul 2014 09:55 AM PDT Available on: Houndstooth Pathfinder, Ross Tones's last release as Throwing Snow, was crafted specifically for the purpose of being listened to on journeys. Running to a slight but impactful four tracks, the EP kept its gaze firmly ahead with some of Tones' most progressive work yet. It also raised the question, implicitly, of whether such drive and focus would be achievable on a Throwing Snow full-length. Mosaic answers this question in its title. It's not as streamlined as Pathfinder, which took the listener by the hand from point A to point B, but while it's more fractured, it's also more adventurous, delving into all its fragments with the kind of love and attention we've come to expect from the Houndstooth producer. Articles about Tones frequently reference his workload, and it's worth bearing in mind that while working towards this album he was also making music under the various aliases of Alight, Snow Ghosts (with Augustus Ghost) and Vellico (with his brother); even Mosaic itself started off as over 90 tracks, eventually pared down to 11. But even without considering how far he stretches himself (there's also his Left Blank imprint and his stint at the Red Bull Music Academy in 2013), Tones' ambition is overwhelmingly apparent in the tracks that made the final cut. The album itself is a crystal stared at from many angles, shedding fractured light on different aspects of Tones' work, from the looming darkened edges of his dubstep days to his d'n'b influences and even, most surprisingly, shades of pop. There are a lot of vocal collaborators on this record, which could be read as an attempt to elevate beyond the typical production LP to something more universally accessible; from track to track, this goal feels at times bold and masterful, and at others, slightly cynical. On 'The Tempest', Adda Kaleh drifts over a string-assisted, clattering beat to bring some order to the chaos with the feeling of a disembodied cry echoing out from a maze. London singers Py and Russell Morgan make similarly off-kilter and arresting appearances on 'As You Fall' and 'All The Lights', the latter of which takes only a hook and riffs on it with erratic, unravelling d'n'b matched with solemn piano chords. This is where Tones excels – in taking elements that shouldn't even fit together in a sentence, let alone a track, and pulling them off with an ease that means the result feels smooth and yet never too pristine. There are occasions, though, where he seems too concerned with sticking to the rulebook, such as on the Kid A-featuring 'Hypnotise', where the conventional song structure means the production scarcely deviates from its path. 'The Void', too, is cut through with glitches and glimmers that give it that familiar Throwing Snow aura of rough-hewn ambience, but stagnates a little before Tones rips in with a bass-driven thunderstorm around the three-minute mark. Where Tones lets go, as with the closing minute of 'The Void', he's as great as ever; it's the meandering and the contrasts of this record that make it a thoroughly absorbing listen, as much for late introspective nights as it is for sweating out a dance floor. His production has always been distinguished by an earthy, chaotic quality which, as he told FACT back in 2012, comes from his tendency to "embrace mistakes and things that are a little bit wrong." 'Pathfinder' is still the stand-out here for this reason, a gravelly monster woven over acoustic guitar loops and thick bass, but the fact it can co-exist with a chime-filled dream like 'Linguis' and a radio-baiting pop song like 'Hypnotise' is a part of this record's charm as much as it is its weakness. It's an honest album, and while you may not skip back to all of it, its jagged pieces all have their place.

Robin Thicke’s new album Paula sells just 530 copies in the UK Posted: 08 Jul 2014 08:41 AM PDT Robin Thicke‘s new album Paula sold just 530 copies in the UK this week. For the unfamiliar, Paula is the album Robin Thicke made to win back his wife Paula Patton, who left him in the wake of a turbulent 2013 that not only featured the year’s most controversial song ‘Blurred Lines’, but – we’d wager of more pressing concern to Paula – paparazzi shots of Thicke getting familiar with the inside of a fan’s dress, and two highly embarrassing suits. Those 530 copies equal a lowly #200 spot in the UK albums chart. Some fall from grace, when you consider that ‘Blurred Lines’ was the UK’s best-selling song of 2013. In other Thicke news, former Arab Strap vocalist and solo artist Aidan Moffat has posted a series of tweets questioning whether ‘Blurred Lines’ is actually that bad. Here’s Moffat’s tweets, collected: I’m fucking sick of “quality” newspapers attacking Robin Thicke. “I know you want it” isn’t any kind of misogynist creed, it’s THE LANGUAGE OF FLIRTATION. Listen to the rest of the song – and if you’ve never said or never been told “I know you want it” then you’ve either never had sex or you’re a fucking liar. It’s bold, it’s cocky, it’s confident, it’s wanky, it’s crass but it in no way suggests, hints at, or endorses rape. He might be shite, but his career’s been ruined by bullies who haven’t but it in no way suggests, hints at, or endorses rape. He might be shite, but his career’s been ruined by bullies who haven’t bothered to listen to the rest of one song. Real misogyny is everywhere and all around, and Robin Thicke’s just a harmless tit who wrote a song about trying to get off with someone in a club and said something anyone – male or female – who’s ever tried to get off with someone in a club would say. I’m not ashamed to say that I’ve said “I know you want it” to many girls in my life – or rather ”I know you want me” – and many girls have said the same to me too (when I was younger and thinner, I mean). THAT’S HOW PEOPLE SPEAK AND FLIRT. Nothing more, nothing less. Man, woman, boy, girl – and everything in between – we all say daft things to get in someone else’s pants. Fortune favours the bold. Confidence is sexy. I know you want it. Now fucking grow up and fight some real battles.

Listen to Palmistry’s latest low-key dancehall single, ‘Protector SE5′ Posted: 08 Jul 2014 08:40 AM PDT The South London artist follows up last year’s slept-on ‘Catch’. Palmistry has spent the last few years quietly releasing solo material and collaborating with Hippos In Tanks eccentric Triad God. Last fall, he released the excellent ‘Catch’, an understated dancehall ballad that was released by Brooklyn’s Mixpak label. His latest single, ‘Proector SE5′, picks up where ‘Catch’ left off: sparse, synth-washed dancehall with Palmistry’s romantic, gentle vocals. Stream it below; it’s due out on July 15 via Mixpak. For more Palmistry, he’s also produced the new Triad God song, ‘So Pay La’ (also below).

Boston’s Black EL drops Durkin-produced new single ‘White ’95 Maxima’ Posted: 08 Jul 2014 08:30 AM PDT Boston newcomer Black EL has shared another killer new cut. Black EL might not be a name you’re familiar with right now, but all that’s set to change. Teaming up with local producer Durkin (who we’ve featured before on FACT), EL confidently utters smart truths over a beat that sounds as if it’s taken the back door out of Studio 54. ‘White ’95 Maxima’ follows last week’s sizzling ‘Olde English 800‘, and we’re hoping the flurry of activity has at least something to do with a more substantial drop in the coming months. Black EL’s definitely got the chops to handle the attention, and there’s no doubt that Boston needs him right now. Stream and download the track in full below.

A beginner’s guide to snd Posted: 08 Jul 2014 07:32 AM PDT There's minimal, and then there's snd. Named after a Macintosh file extension, snd were founded in Sheffield, by ex-art students Mat Steel and Mark Fell. It was August 1998, and the two quickly set about deconstructing club music that, at the time, was almost impossible to ignore. It wasn't cynical though; Steel and Fell dragged the rhythms from garage simply because they were feeling them, and wanted to take them to their natural conclusion. They were just as intrigued by complex sound design, and their first record, 1998's genre-bending Tplay (which is finally available again), was a softly-spoken collision of minimalist restraint, virtuoso processing and Midlands club energy. They never expected that the sound would catch on – the 12" (and its two followups) was hugely limited, and was blessed with very little info – there was just Mat Steel's home phone number (he didn't have a mobile) hand-stamped on the back of the sleeve. As the scarce pressing made its way around the globe, it slowly gained traction and reached the ears of Mille Plateaux boss Achim Szepanski. Szepanski called the number, and asked Steel if he could nab a track for the label's upcoming compilation Modulation & Transformation 4, which inadvertently positioned the duo in amongst a growing throng of experimental music heavyweights – from Alva Noto to Ryoji Ikeda. The successful Clicks + Cuts compilations followed, and though they were typified by a certain beardy seriousness, snd were somehow able to inject the sound with the grit and grime of the British urban club scene, almost without trying. As the bespectacled eyes of the experimental electronic scene were squinting at almost everybody capable of generating a glitch in Max/MSP, Fell and Steel simply operated at their own pace, dropping album after album and avoiding the following series of fads (micro-house, click-hop, glitchy dub) without so much as a stumble. snd have continued to work in the shadows to this day, and their records are just as crucial and, weirdly enough, just as out-of-time as they were when they first dropped. As they embark on a comprehensive reissue campaign this summer, we thought it would be a good idea to put together some of the duo's defining moments, from the skeletal garage of their early material to the ear-bending DSP of Atavism.

Why Do the Heathen Rage? Posted: 08 Jul 2014 07:19 AM PDT Available on: Thrill Jockey In a 2011 essay on queer sound for The Wire, Drew Daniel describes the reaction he once had to 'French Kiss' by Lil' Louis on entering a gay bar. Rather than the sense of community the song was meant to engender, he writes, its effect was the opposite, an "oppressive experience". He goes on to advance that "reassuringly gay" music, with the anthem at its peak, is a construct that reinforces the "dead end… the bagging and tagging of identities on behalf of a celebration of difference". All sound, as opposed to some music, is queer, as "The fact of the sound of the world – its universality, not its difference – ruptures the common sense of normative, 'straight' life." It makes for an instructive introduction to Why Do the Heathen Rage?, subtitled Electronic Profanations of Black Metal Classics. An album of black metal covers – corruptions, really – Why Do the Heathen Rage? reinterprets music from a genre renowned for homophobia, racism and hate as club music to embody Daniel's argument that, ultimately, all sound is queer. Of course, none of this theoretical underpinning would be worth much if the music weren't up to scratch. By and large, the songs on Why Do the Heathen Rage? are brilliantly executed hybrids that manage to subvert received ideas even once you've processed the album's premise, thanks to superb transposing and Daniel's knack for lashing together motifs from utterly different styles. He finds an unexpected analogue for the howls and guitars of Venom's 'Black Metal' with the ecstatic violence of gabber's abrasive saws and punishing tempos; the drum 'n' bass version of 'Maniac' harnesses the frenetic rush of the Hellhammer original, and the cover of Darkthrone's 'Beholding the Throne of Might' is ingenious, its sleazy groove offset by chattering synths and Jennifer Walshe's throaty whisper. The offbeat sense of humour prevalent in Matmos's work also courses through these crossbreed covers, along with the same parodic stance you'd expect from someone who calls an ambient Burzum cover (not on the album) 'Rundgang (Fuck Varg's Racist, Anti-Semitic Bullshit Politics Forever!)'. Take 'Satanic Black Devotion', which features Terrence Hannum of Locrian. Daniel recasts the howling riffs of the Sargeist song as folky guitars that descend into a barrage of buzzing synths, counterpointing Hannum's gravelly scream perfectly with a mangled 'I've Got The Power' sample. The pummeling pace of the original is reimagined as a monumental breakdown whose colossal drops and ugly blunted synths are only a hair's breadth from stadium EDM, and almost as obnoxious. Admittedly, the massive drops and cornier rave motifs do grate after a while – even in the context of critique – but there's enough range in the styles, textures and dynamics on the album to prevent that being a serious issue. If the premise of queerifying black metal with a series of covers seems straightforward enough, Daniel's nuanced critique soon puts paid to that idea. The album closes with a searing cover of a pastiche by spoof black metal band Impaled Northern Moonforest, which speaks volumes of the layered, self-referential complexity at work, in a similar way to that irreverently deployed sample in 'Satanic Black Devotion'. Likewise, 'Ready To Fuck' undermines the sound of female orgasm ubiquitous in those "reassuringly gay" anthems (including 'French Kiss') with vocal roars, Jenn Wasner of Wye Oak's genuinely sensual vocals and euphoric synths that culminate in an ominous growl. It's details such as these that make Why Do the Heathen Rage? seem more than a middle finger raised up to extremism; it's also an inquiry into the differentiating effect of so-called gay music, and a celebration of the universality of queer sound.

Stream Jackmaster and Oneman’s Can U Dance Essential Mix from Glastonbury Festival Posted: 08 Jul 2014 06:44 AM PDT Hear the hell-raising tag-team live and direct from Worthy Farm. Oneman and Jackmaster's Can U Dance summer festival tour stopped off at Glastonbury Festival last month to raise the spirits of mud-caked ravers at the late-night Shangri-La stage. Broadcast live for BBC Radio 1's Essential Mix, their wildly eclectic set – which travels from INXS to Robin S via Prince, Dark Sky, The Streets and more – is now available to stream and download. You can still catch Can U Dance at a few more festivals this summer, including Bestival on the Isle of Wight on September 4. Jackmaster recently marked the launch of his XOYO residency by picking 10 Glasgow classics guaranteed to raise the roof in his hometown. Tour dates: 10th July – Exit Festival, Serbia 17th July – Dour Festival, Belgium 1st August – Dekmantel Festival, Amsterdam 29th August – Dimensions Festival, Croatia 4th September – Bestival, Isle of Wight

Photo Gallery: Hideout Festival 2014 by Georgina Cook Posted: 08 Jul 2014 06:37 AM PDT Georgina Cook runs the excellent Drumz of the South blog, and takes photos for FACT and more. Turn to page 2 to view Georgina’s photos from Hideout 2014. I spent the first 24 hours walking around Croatia’s holiday brochure-beautiful Island of Pag thinking it was Topshop by Sea, dodging the new wave Brits abroad and slipping on bits of kebab. New wave Brits abroad: naked and sun burnt as usual, but in the case of those visiting for Hideout Festival – buff not beer-bellied, muscles on muscles as opposed to wobble on folds. I overheard Stamina MC say that when he was young, guys were either skinny or they were fat. Times have changed. I’d never seen as much skin or vanity as this before: bikini-clad ladies with false eyelashes and platform jellies; lads topless amidst the “Please do not take your shirt off” signs cos they’re too ‘ard to care. The Hideout festival site is Zrce beach, a bay cocooned by blue mountains, cartoon clouds, bright skies and a clear turquoise sea. It’s home to a handful of 24 hour bars, four of which, Aquarius, Papaya, Europhia and Kalypso – as well as a load of boat parties – host the week’s programme of dance music. The embarrassment of being a Brit abroad dies off on Zrce; a hedonistic bubble of cheap cocktails and laughing gas, where girls walking around in their knickers doesn’t feel as weird as it does in town. For me, the party started on Tuesday, during Oneman’s set at Kalypso – ‘Let me be your Fantasy’ and a blissed out TOWIE crowd. Skream’s boat party the next day was fun too: a girl pretended to be a horse, MK chatted to the crowd, the boat disembarked. I headed back to Zrce for the FACT party, snapped some pics of Joy Orbison and a crowd dancing to the setting sun, caught up with some friends and heard stories of whats-his-name k-holing and of Skream pretending it was his birthday at a local restaurant. Other highlights included Dismantle’s set at Europhia and Rodigan’s Ram Jam, largely because they, like Oneman, played something other than 4×4, which dominated the week. It was those moments that prevented me from feeling like a rave granny the entire time. A conversation with a fellow journalist about the origins of the festival and how the music and target audience are purposefully niche made me feel better about the whole surreal affair though. The 12,000 people in attendance are, for the most part, house lovers aged 20-30 and it’s nothing less than an admirable operation to contain them on a small beautiful beach for a week with permission to have the time of their lives – with or without their clothes.

Berghain celebrates 10 years with art exhibition featuring Carsten Nicolai and more Posted: 08 Jul 2014 05:33 AM PDT Artists explore club culture, non-elitism, tattoos and more in art show. Berghain/Panorama Bar will celebrate a decade of hedonism and world-class techno with a visual art exhibition this August. Titled 10, the exhibition in the Halle am Berghain will focus on the club’s long-running connections to the wider arts scene, with featured artists including Raster-Noton founder Carsten Nicolai, AKA Alva Noto, and the club’s famously foreboding doorman, Sven Marquardt. With several works specifically commissioned for the show, 10 will explore “club culture, the phenomenon of mass, non-elitism, cult of the body and tattoos, neoclassicism and the ruinous rawness of the building,” according to a press release. “Since the opening of Berghain in 2004, the triumvirate of music, arts and clubbing has been a central aspect and adds up to an entity,” it continues. “Many of the artists involved in the exhibition are closely associated with the club since its launch. Some also know Berghain as their workplace, with close connections and interactions resulting from the relationship with the venue.” Other artists on show include Norbert Bisky, Marc Brandenburg, Ali Kepenek, Piotr Nathan, Friederike von Rauch, Sarah Schönfeld and Viron Erol Vert. The show will run daily, except Mondays, from August 7-31 in the Halle Am Berghain, which can be located behind the main club. [via RA]

Police searching for body of Ghanaian hiplife star Castro Posted: 08 Jul 2014 04:59 AM PDT Afrobeats musician reportedly died while trying to rescue a woman in a boating accident. Police in Ghana are searching for the body of hiplife star Castro, who is believed to have drowned on the Volta river estuary on Sunday afternoon. Castro, who gained recognition in the UK as a key figure in the rising Afrobeats sound, was reportedly attending a boat cruise organised by Ghanaian footballer Asamoah Gyan when he and a woman, named as Janet Bandu, went off alone on a jet ski. A witness claims to have seen Castro attempting to rescue Bandu after she fell into the water. His manager DJ Amess told BBC Newsbeat that Bandu had jumped onto the watercraft with Castro. “She jumped into the boat to cruise with Castro,” he said. “Castro refused her but the girl said that she would go. “When they took off, the bystanders were calling for them to return so that the girl would put on her life jacket. Castro was already wearing his.” Despite his death not being officially confirmed, many of his friends and collaborators have paid tribute to him on social media. Tinchy Stryder wrote: “My thoughts go out to Castro, his friends & family! Words can’t even explain the shock I got when I heard the news! You’re with the angels!” Castro released his debut album in 2003 and scored hits in Africa with hiplife songs ‘African Girls’ and ‘Seihor’. His remix of Sarkodie’s track Adonai is currently No 1 on DJ Edu’s 1Xtra Destination Africa chart. [via Guardian; BBC; Mirror; Ghana Broadcasting Corporation]

My Favourite Record: Gilles Peterson Posted: 08 Jul 2014 04:44 AM PDT Few people’s record collections sport the same heft as Gilles Peterson‘s. Through his radio shows on BBC Radio 1 and 6 Music, his record label Brownswood and various projects and collaborations that draw the links between the soundsystem cultures of the UK, Brazil, Cuba and more – see 2012′s Mala in Cuba for a recent example – he regularly showcases it with insight, grace and just the right amount of dad humour. This May, Brownswood released the latest in its Electr*c series of compilations. Watch Gilles tell FACT TV about his Favourite Record above, and find out more about Brownswood Electr*c Vol. 4 here.

Richard H. Kirk’s early solo experiments revived on Minimal Wave Posted: 08 Jul 2014 03:50 AM PDT Electronic pioneer looks back on early blueprints. Richard H. Kirk has been back in the spotlight this week after announcing a performance at Berlin Atonal later this year, where he’ll be bringing Cabaret Voltaire material to life for the first time in 20 years. The founder member of the seminal Sheffield outfit has been releasing solo material since the early ’80s under a bewildering array of aliases, and now a batch of his very early experiments will see light of day on Veronica Vasicka’s electronic reissue label Minimal Wave. Never Lose Your Shadow compiles four tracks originally recorded between 1978 and 1987, none of which has appeared on vinyl previously. “None of the tracks were outtakes for Cabaret Voltaire, they were always solo tracks, although I think ‘Never Lose Your Shadow’ was vey much a blueprint for the material that Cabaret Voltaire recorded for Virgin/Some Bizarre between 1983-85,” explains Kirk. “The minimal sequencer/drum machine lockdown that I used later for Cabaret Voltaire was pioneered on this track. Lyrically, ‘Never Lose Your Shadow’ was inspired by the 1971 speed freak road movie ‘Vanishing Point,’ among other things.” Hear the title track below and listen to clips of the rest on the Minimal Wave website. Never Lose Your Shadow is released on August 26 and limited to 999 copies, with the first 500 pressed on solid grey vinyl and the remainder on black. [via RA] Tracklist: 01 Never Lose Your Shadow 02 Public Fun 03 L.D. 60 04 Magic Words Command

Punch Drunk announces new Worth the Weight compilation; Kowton remixes Peverelist’s ‘Roll with the Punches’ Posted: 08 Jul 2014 03:32 AM PDT Bristol dance music hub Punch Drunk will release its second Worth The Weight compilation. Titled Worth The Weight Vol.2 – From The Edge, it showcases several artists from Bristol’s “new school”, many of whom (Kahn, Tessela, Andy Mac, Bass Clef, Ekoplekz) either debuted on Punch Drunk or have become vital parts of the label’s stable. It also features a Kowton remix of Peverelist‘s ‘Roll with the Punches’, which will be released as a standalone 12″ single on September 8 (the B-side is a dub version of the mix). Worth The Weight Vol. 2 will be released on September 15. Stream Kowton’s take on ‘Roll with the Punches’ below. Tracklist: 1. Hodge – Resolve 2. Tessela – Channel 3. Kahn – Helter Skelter 4. Andy Mac – Asteroid Belts 5. Peverelist – Roll With The Punches (Kowton Linear mix) 6. Zhou – I Remain 7. Kahn – Tehran 8. Zhou – Locust Dub 9. Bass Clef – Stenaline Metranil Solar Flare (Pev mix) 10. Ekoplekz – Vanishing Land intro 11. Pev & Hodge – Bells (dream sequence) 12. Bass Clef – A Rail is a Road and a Road is a River

Stream Seven Davis Jr’s refix of Purple Music’s ‘So High’ Posted: 08 Jul 2014 02:43 AM PDT Enjoy this week’s FACT mix from Seven Davis Jr? The former gospel singer-turned-underground house producer (via a stint spent ghostwriting) makes dancefloor soul food like few others at the moment, and on July 14 he’ll contribute to a new various artists 12″ on somethinksounds. Titled The Love Below #3, the EP sees Eliphino refix Will.i.am, REKChamps edit Jimmy Bo Horn, and Seven Davis Jr take on Purple Music’s ‘So High’. We’re streaming Davis Jr’s contribution below; you can pre-order the 12″ here. The Love Below #3 Tracklist: A1. will.i.am – Lay Me Down  [Eliphino Remix] B1. Purple Music – So High  [Seven Davis Jr's Rework] B2. Jimmy Bo Horn – Spank  [REKchampa Edit]

First RBMA Tokyo 2014 participants announced, including Mumdance, WIFE and Ossie Posted: 08 Jul 2014 02:31 AM PDT Congrats to this year’s batch of freshers heading to Red Bull Music Academy in Tokyo. The selected applicants were contacted by RBMA last night, and a quick scour of celebratory tweets reveals that the class of 2014 includes Irish producer WIFE, who released his debut album on Tri Angle last month, and the grimey Jeff Mills himself, UK talent Mumdance. Hyperdub alumnus and UK funky stalwart Ossie and Berlin-based producer Palms Trax, who inaugurated the Lobster Theremin label this year, have also been picked for the annual electronic music jamboree, alongside Laura J Martin (UK), Torus (Netherlands), Ekali (Canada), Silva (Brazil), Toll Crane (Pakistan), Krizzli (Switzerland), Nischay Parekh (India), Watercolours (New Zealand), Haioka (Japan) and Uio Loi (USA). The full list will be revealed later this week – we’ll have all the names then. The 16th annual academy finally arrives in Japan’s capital this year after the planned 2011 event in the city had to be relocated to Madrid in the wake of that year’s massive earthquake. Last year’s RBMA in New York featured the likes of Afrika Bambaataa, Prurient, Oren Ambarchi, DJ Rashad and DJ Spinn, Giorgio Moroder and Brian Eno alongside a host of younger musicians brushing up their skills over the month-long series of workshops, talks and live events.

Death From Above 1979 unveil comeback single ‘Trainwreck 1979′ and European tour dates Posted: 08 Jul 2014 01:26 AM PDT A catchy, crunchy new single from the reunited duo. Death From Above 1979 will finally follow up their 2004 debut You’re A Woman, I’m A Machine this September, and last night the Toronto dance-punk furies unveiled the first single from The Physical World. Premiering on Zane Lowe’s Radio 1 show last night, ‘Trainwreck 1979′ can be heard at 1 hour and 53 minutes – listen again via BBC iPlayer. Not that Jesse F Keeler and Sebastien Grainger seem that fussed about the hyped reunion. Speaking to NME about their reformation recently, Keeler said: “It quickly became apparent that if we tried to do this again, we could make a record that would satisfy us more.” “The goodwill of reuniting doesn’t sustain you. People wanted more music and we wanted to provide it for them,” said Grainger. “It was that same, ‘Oh yeah, he writes these great riffs that I can write songs over’ feeling.” The band will head out on a European tour this autumn, including three gigs in the UK – tickets go on sale this Friday, July 11, at 10am. See the album tracklist underneath. Tour dates: Oct 07 Luxor, Koln, Germany Oct 08 Badaboum, Paris, France Oct 09 Botanique, Brussels, Belgium Oct 11 Melkweg, Amsterdam, Netherlands Oct 12 Hafenklang, Hamburg, Germany Oct 13 Cassiopeia, Berlin, Germany Oct 15 Flex, Vienna, Austria Oct 16 Orangehouse, Munich, Germany Oct 18 Mascotte, Zurich, Switzerland Oct 20 Electric Ballroom, London, United Kingdom Oct 21 Gorilla, Manchester, United Kingdom Oct 22 Garage, Glasgow, United Kingdom Tracklist: Cheap Talk’ Right On, Frankenstein! Virgins Always On Crystal Ball White Is Red Trainwreck 1979 Nothin' Left Government Trash Gemini The Physical World

The CIA have been tweeting about Tupac’s location Posted: 08 Jul 2014 12:00 AM PDT …and there’s not much to be hopeful about, we’re afraid. Last month, the CIA launched its official Twitter account, proving that spooks need their social networking fix as much as the next civilian. To toast one month of activity (a ‘#twitterversary', apparently), the account spent yesterday morning responding with answers to "5 of the top questions you've asked." Alongside some fairly prosaic answers ("YES, we are hiring"; "No, we don't know your password"), the account fired out one tweet that will be of particular interest to rap fans "No, we don't know where Tupac is. #twitterversary" So there you have it – straight from the horse’s mouth. At least they’re not trolling people, we suppose. [via USA Today]