DJs reunited with missing record collection after 10 years

Bristol DJ duo The Kelly Twins have shared the story of how they came to be reunited with a set of missing records a decade after they were originally assumed long gone.

The story begins with the brothers DJing an eight-hour set of UK garage, house and disco at The Bell near Stokes Croft in their base of Bristol in 2011, for which they packed a number of rare records along. After finishing up and taking a taxi home, they later realised that one bag of the three they had taken with them was missing, and it contained around 80 records.

Speaking to the Bristol Post, Sean Kelly said: “We had cherry-picked our record collection for the choice cuts and that was the bag we lost so we were particularly gutted as it contained a lot of rare white labels which are hard to find.

“When we realised we’d lost it, we started to phone around cab companies, retraced our steps back to The Bell and called friends. We eventually had to accept they had gone for good. It still feels pretty fresh actually – it’s always really sad if you lose records as they cost money but also because they all have memories attached to them.”

Taking to Twitter earlier this week, the brothers revealed that the records had incredibly recently turned up, 10 years after they were assumed lost, after an old friend contacted them to say he had found a bag of records in a garage he had been clearing.

“I got a call from my friend Vicaas, who I know from the Bristol scene, and he was at his cousin’s house in St Werburgh’s sorting out the garage,” Sean told the Bristol Post. “He came across this bag of records and had a look through them. Vicaas saw a Mary J. Blige record in the bag and thought there were only a certain number of DJs who would play that sort of thing including us.”

Also in the bag was a letter with Sean’s name on it, and a drawing that his nephew had done for him when he was aged just one.

Though some of the lost records have been replaced in the years since they were believed forever lost, Sean is grateful to have been reunited with them and speculated: “I can only assume that this was the taxi driver who took us home and he had obviously just put them in his garage for safe-keeping.

“The weirdest thing is that I’ve probably walked past that garage loads of times over the past ten years not realising my records were in there!”

Steve Aoki teams up with Marvel on new fashion collection

Steve Aoki’s fashion and record label Dim Mak has teamed up with Marvel Entertainment for a new fashion collection, ‘Venom vs. Carnage’.

Dropping today (24th September), the collection combines some of Marvel’s darker characters with Dim Mak’s punk-influenced visual aesthetic. Venom is a sentient alien symbiote who commonly appears in Marvel comics associated with Spiderman, regularly sitting on the cusp between good and evil as he navigates his simultaneous want to protect humanity and destroy it. Carnage, however, is a more outright evil Marvel character. As the spawn of Venom, he eventually proves to be more powerful than his creator, forcing Venom to team up with his usual enemy, Spiderman, in order to defeat him.

Speaking about his decision to draw on the two characters for the collection, Aoki said: “Everyone has a dark side and Venom truly represents the paradigm of overcoming one’s inner-demons. When you can put your struggles aside for the betterment of others, you are a hero.”

The six-piece collection includes T-shirts in black and gradient tie dye (priced at $38-45), and Hoodies in slime green and blood red tie dyes (priced at $75-85). It’s available now via Dim Mak’s webstore.

The collection drop follows on from the unveiling earlier this week of a new collaboration between Aoki and Armin van Buuren.

Aoki also collaborated with Bulgari on a £3,050 luxury watch, “made for raves”, in July.

Rejoice, for Destroy FX has updated their free plug-ins, including legendary glitchy Buffer Override

The sacred timeline has been restored. The greatest, strangest, glitchiest, most destructive plug-ins of the early 2000s are here with 64-bit support for Mac and Windows, Apple Silicon support on Mac, and UIs that look even more horrible than before. And they’re still free.

Kids, ask your parents about “Destroy FX” and watch their IDM-dork eyes mist up with tears of pure glitch.

Sophia and Tom 7, the devs, are pure genius.

And these plug-ins did all sorts of incredible things for music. No one can forget that first moment when they loaded up Buffer Override and … okay, possibly just crashed their system. But after that? Magic.

Skeuomorphic? S****ymorphic is better. Thanks, Tom 7!

Apart from glitching out audio like you have an early 2000s driver problem, this lineup is capable of some wild timbres and genuinely useful stuff you can’t get anywhere else. It holds up. And incredibly, it’s now kinda, well, stable – up to 2021 stability expectations, even.

The full suite runs on 64-bit Windows and 64-bit Macs – and there’s a native Apple Silicon build, too.

Each plug-in now boasts new contextual menus for loading up documentation and help, randomizing parameters or setting defaults, and generating parameter automation snapshots.

You can save and load preset files, copy and paste.

There’s easy MIDI learn, and now even MIDI channel aftertouch assignment so you can kind of play these plug-ins expressively – ideal for live use.

There’s more, too – also across the whole line:

  • All parameter value text displays are editable.
  • Control surface support (parameter short-name variants).
  • Parameter value change smoothing/dezippering nearly everywhere possible.
  • Most of the Audio Unit versions can process any number of audio channels.
  • Many minor enhancements and bug fixes.

MIDI Gater now has a low-pass gate, separate attack and release, and audio input floor.

Monomaker offers more control.

Rez Synth adds new resonance algorithm options, full DASR envelopes, and tons of additional parameters.

Scrubby has separate dry and wet plus audio improvements.

Transverb has freeze.

Loads of other improvements, too.

You kids today with your shiny new M1 MacBooks. You don’t know how it was trying to load these up on a new build of Mac OS X where basically nothing worked. Channel aftertouch assignment – ha!

“But grampa, what does a buffer override do?”

I mean, this:

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And this (cool but grampa who is that strange puppet I’ve never seen him on Instagram):

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Here’s kind of a better view:

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Here’s what we get:

  • Buffer Override 2.7.
  • EQ Sync 1.1.
  • Geometer 1.2.
  • MIDI Gater 2.0.
  • Monomaker 1.1.
  • Polarizer 1.1.
  • Rez Synth 2.0.
  • Scrubby 1.1.
  • Skidder 2.0.
  • Transverb 1.5.1.


KVR is the herald of the good news:

Destroy FX updates Buffer Override, EQ Sync, Geometer, MIDI Gater, Monomaker, Polarizer, Rez Synth, Scrubby, Skidder, & Transverb – incl. 64-bit & Apple Silicon

And wow, even the site hasn’t changed – optimized for what I can only guess is an 800×600 display?

Young and old alike, go forth and destroy things.

Polyphonic noise generation from Indonesia, in squaresolid’s Chaosbyte synth

We live in a chaotic world; only Chaosbyte and – I think that might be a wind-up chicken etched into the front – can truly express the entropy.

From Yogyakarta, Java and Andreas Siagian – aka squaresolid – we get a new instrument, with a first batch ultra-limited to eleven units. (That means hate it if you want; Andreas can still sell out.)

It’s a “polyphonic noise synthesizer,” starting with a drone but then utterly demolishing the bytes through some kind of datamosh/decimation process as a sound generation trigger, according to its engineer. Here’s version 1.0 “genesis” in action, which I guess is sort of the kind of genesis that kills planets and makes Spock relive some violent puberty way too fast. At least I felt the burning of my Vulcan blood:

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2 modes: drone and chaos (chaos is polyphonic…)

Wide range of frequencies and textures

And obviously a very cool metal chassis with some serious controls – that prototype is non-final but gives you the general idea.

“Live code” is “consecutively rewritten” from the analog drone sound. Uh… whoa. And yeah that gives you all these glitches and textures.

Preorder form and timeline

Great to see what Andreas is up to; we had the pleasure of getting to host MusicMakers Hacklabs (along with Lintang Radittya) both in Yogya and Berlin, and I dream of one day getting our noise trio back together again after an impossibly fun debut in Berghain. (Honestly, who needs techno when you have noise? In fact, consider this pedal your chance to get into Berlin’s best lineups, clearly.)

All the best to Indonesia from all of us here, I’m sure.

By the way, don’t miss these resources:

Indonesia Netaudio Forum

Lifepatch “citizen initiative” project

and Lintang’s own site on hardware projects from around Indonesia:

Sheffield’s No Bounds Festival finalises line-up for 2021

No Bounds festival has finalised the line-up for its 2021 edition, taking place next month.

Lorenzo Senni, RP Boo, Space Afrika, The Black Dog and an audiovisual show from Rian Treanor, with visual artist Leila Ziu, are among the additions completing the bill for this year’s edition of the Sheffield event, which will take place across multiple venues in the city. 

It’s also been confirmed that Mark Fell will debut a new commission called ‘Interchange’, in collaboration with the Maltby Miners’ Welfare Band. In keeping with Fell’s recent works, a press release explains, “this piece evolves over a palindromic time structure, with overlapping and intersecting patterns drawn from [Sheffield’s] many bus routes – developed with the help of Fell’s long-term collaborator, Italian composer Sandro Mussida. The players will be distributed around the bus station and for a duration of 3-hours guests are welcome explore the space.”

No Bounds previously confirmed sets from the likes of Loraine James, Ben UFO, Kode9, Joy Orbison, Batu and Andy Stott, among many others, for this year’s event, which takes place from 15th-17th October. Find more information, and get tickets, here.

Hope Works, No Bounds’ main home, recently revealed that Nkisi, Rian Treanor and 96 Back were joining the club’s residents roster.

Last year’s No Bounds took place virtually due to the COVID-19 pandemic.

Calling all underground aficionados—stream San Pacho’s ‘Mandala EP’

Calling all underground aficionados—stream San Pacho’s ‘Mandala EP’61629810 673976823045723 1742646851087106048 O E1575037813666

San Pacho first turned heads at Dancing Astronaut when he aligned with Matroda for an underground sizzler known to streamers as “La Pasion.” Well, our heads are turning once more in the Croatian producer’s direction, inching our ears closer to the dance-worthy sounds of his Mandala EP. Titularly, Mandala EP is a nod to San Pacho’s belief that house music has inherently spiritual aspects, and the project is his translation of these components into his own sound. It also pays tribute to his intrinsic motivations, he said in an official release, stating,

“When I was creating this EP, I really wanted to implement some of the inspirations from my daily life into it. I named it Mandala EP because I got a mandala-inspired tattoo when I was first starting to take music seriously, and it gave me the drive to keep on grinding and making a name for myself.”

The three-pack of candidates for heavy rotation contains a San Pacho standout, “The Pressure,” which gained traction thanks to its singular release ahead of the Mandala EP‘s full-fledged arrival. The crepuscular character of this opening number and its “advanced sound design” give way to “Set Me Free,” an inclusion that “dives into the classical house side of me but still contains the same elements that make it a San Pacho track,” the up-and-comer remarked.

At the Mandala EP‘s close comes “Spicy Mama,” a “fun tech-house tune with trippy topliners over a catchy disco vocal,” per San Pacho. “I really had fun doing it because the vocal just sits so well in the track and the synths are all just my usual BS,” he added.

The Mandala EP is out now via Matroda’s Terminal Underground, so break out the dancin’ shoes and get stomping to San Pacho’s latest offering below.

Featured image: San Pacho/Facebook

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ISOxo takes us to the ‘Nightrealm’ in breathtaking debut EP

ISOxo takes us to the ‘Nightrealm’ in breathtaking debut EP242466260 159906749656613 5047835606013264482 N 1

ISOxo continues his mission to tear up the trap world by unleashing his ID-filled Nightrealm EP on RL Grime’s Sable Valley. The native San Diego DJ was one of Dancing Astronaut’s Artists to Watch in 2021 and his growth since getting that nod has been overwhelming. The budding trap star is building on the success of his April career-altering collaboration with RL Grime, “Stinger,” which debuted as the intro to the latter’s “Halloween IX” mix. ISOxo impressed as one of the openers for RL Grime’s Halloween event with his KIDSGONEMAD set that also served as a method to usher in a new era of ISO. The ID-laden set featured all five of the tracks now on his the Nightrealm EP and now, almost a full year later, we get the official release of the producer’s biggest project to date.

Nightrealm features a lone pre-EP single, “Aarena,” along with four previously unreleased tracks. If you’re a fan of trap and bass, you’ll certainly recognize these tracks from the past year’s sets, including those from RL Grime, Ekali, Knock2, and more. ISOxo himself has been playing out parts of the EP going back all the way to at least 2019. In a recent AMA on his Instagram story, he said “Click” had been in the works for almost four years.

ISOxo is proving to be a staple on Sable Valley, with the full EP as well as three of his last four singles having been released on the label. This made him an obvious choice to play in support of the King of Trap on his ongoing Sable Valley: Community Outreach Tour.

The young trap prodigy is sure to start popping up on more and more lineup announcements in 2022 and beyond. After an impressive debut EP, ISOxo is heading to Los Angeles for his official Nightrealm EP premiere, put on by Brownies and Lemonade. The initial venue sold out in under four hours, and was moved to a bigger venue soon thereafter to help accommodate rabid fans’ desire to witness the full EP live.

ISOxo calls Nightrealm an “escape.” “Nightrealm can be anything you want,” but “you just have to wait until the project drops,” he’d said prior to its release. With the project is finally here, all that’s left to do is listen and escape deep into the Nightrealm and all of its trap bliss.

Featured image: ISOxo/Instagram

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Thomas Xavier’s ‘Pussy On A Pedestal’ EP hits platforms

Thomas Xavier’s ‘Pussy On A Pedestal’ EP hits platformsThomas avier

In recent months, the ever-G-house-fluent Thomas Xavier has become one of Dancing Astronaut‘s favorite ascendant acts, a distinction won by his consistency in stocking streamers’ queues with fresh sounds suitable for a** shaking. The pre-Pussy On A Pedestal EP singles “Make That Kitty Purr,” “Can’t Stop Me,” and “Ballin” have all fit this bill, as does the project-completing “Take over the World.” The finale to Xavier’s iamrecords outing caps off Pussy On A Pedestal with bass-gurgling idiosyncrasies. “Trippy”—as the vocal sample woven into “Take over the World” utters—is an apt classifier of the final number, which arrives with distinctive personality, surfacing as a fun, bass-boosted peek into Xavier’s production mind.

Pussy On A Pedestal, available to stream in full below, brings Xavier’s stock of EPs to a total of two, and follows his Go To Church EP, released via User Friendly.

Featured image: Weekend Natives

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Phyphr plays with texture on ‘Into Infinity’ EP

Phyphr plays with texture on ‘Into Infinity’ EPPhyphr CervantesOS 2

Flaunting funk, Phyphr can be found playing with texture on Into Infinity, a fresh three-tracker on which electronic-funk, soul, and glitch-hop converge in a colorful electronic framework. Laden with instrumental flavor (see the horns on “Energy” or the guitar on “Into Infinity,” for instance) and consistently crisp production, Into Infinity feels a flair-ridden, personality-radiating exposition of Phyphr’s electronic creativity.

Evoking a GRiZ-esque approach in certain moments, the EP pays homage to Phyphr predecessors who have—and continue to—experiment with similar elements. Importantly though, Into Infinity is no copy and paste job, nor a direct emulation. The project foregrounds Phyphr’s playful penchants, allowing his own inventive soul to shine through on an offering that would gleam with especial brilliance in a Camp Bisco-like setting.

Assuredly, it’s not the last we’ll hear from the ascendant act, whose track record of support to date boasts Manic Focus, The Floozies, SoDown, Marvel Years, Artifakts, and Jason Leech, among others. Soon, Phyphr will put his wheels up to aid The Floozies on their Nightmare on Funk Street pre-Halloween stint on October 30 in Asheville, North Carolina.

With future tour appearances with Marvel Years and Maddy O’Neal also on the pages of his 2021 playbook, not to mention spring/summer 2022 festival performances already beginning to line up for the year ahead, Phyphr is a name that electronic enthusiasts can expect to hear more of in the near future, so take our recommendation—it’s best to familiarize yourself with his work now. Stream Into Infinity below.

Featured image: Cervantes OS

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Anonymous production outfit AVNU (A Virtual New Universe) blast off with debut single, ‘Satellite’ [Q&A]

Anonymous production outfit AVNU (A Virtual New Universe) blast off with debut single, ‘Satellite’ [Q&A]Avnu Spotify Banner Final

“Music is a guide to make people feel emotions and we’re always challenging ourselves to create the best experience possible,” say AVNU, an anonymous Swedish-American outfit that, with the revelation of “Satellite,” beckon streamers to see just what an AVNU “experience” embodies.

It’s worth noting that although “Satellite” surfaces as the debut single affixed to AVNU’s name, it’s far from the producers’ first stab at a formal release—and this is audible. Press “play,” allow “Satellite’s” seconds of runtime to rise, and you’ll find a topline-led progressive house production that flaunts the type of polish conferred only by time and experience. That’s no coincidence, considering that the elusive entities behind AVNU boast electronic expertise dating back to 2015. In the six years since, it’s earned them looks from a smattering of dance marshals, such as The Chainsmokers, Proximity, and Makj, AVNU tell Dancing Astronaut.

Little is known about them, and the aforementioned comprises the brunt of the available details on AVNU. In a Q&A interview with Dancing Astronaut, the “Satellite” makers emphasized their intent to preserve their anonymity for the quite singular focus on the music that such a move allows. And unsurprisingly, there’s a wealth of detail to direct one’s attention to in the three minutes that “Satellite” spans. Perhaps the most interesting, though, is the single’s titular tie to AVNU’s overarching outer space thematics.

“We came up with the name AVNU thanks to our love for space films and trying to create a place where there were no limitations or boundaries. We constantly thought about what A virtual new universe would look and sound like and so that’s what we created,” AVNU explained.

The bevy of unreleased AVNU music presently in the vault but soon to come can be expected to delve deeper into space-guided symbolization across forms—titles, lyrics, perhaps samples and sound constructions, and artwork, as “Satellite” does. Attention to the theme is AVNU’s way of maintaining the “childlike sense of wonder” that they identify as a signature facet of their sound, and in “Satellite,” it materializes in a decidedly upbeat fashion that enables an escapist sonic fantasy out of one’s individual world and into AVNU’s, A Virtual New Universe where all are welcome. Blast off.

The landmark must-stream can be heard in full below to soundtrack Dancing Astronaut‘s interview with an enigmatic group that, judging by “Satellite” alone, is sure to shake up not only the electronic context, but also the progressive house scene. In the meantime, listeners can keep pace with AVNU by following them on Instagram and Twitter.

“AVNU” translates to “A Virtual New Universe,” aligning with the project’s overall orientation around outer space thematics. How did the idea for this name arise and how specifically does it relate to the music you make?

AVNU: “We came up with the name AVNU thanks to our love for space films and trying to create a place where there were no limitations or boundaries. We constantly thought about what A virtual new universe would look and sound like and so that’s what we created!”

You’ve stated that “Satellite,” your first original of 2021, is meant to “express the loneliness, heartbreak, and exhaustion of the past year.” What was the creative process for this record like and at what point in the COVID-19 evolution did you begin working on it?

AVNU: “‘Satellite’ means a lot to us both because we started this record right at the beginning of the pandemic. Both of us were in lockdown, halfway across the world from each other, and one of us just got out of a relationship. The idea originally came from a voice memo and once we transposed the vocal melody, we started to produce around it and lay the foundation. This was also the first record that we ever wrote ourselves and believe it or not, one of us is singing the final vocal too.”

In your choice to maintain your anonymity, you place the focus exclusively on the music that you make. With several more releases to come in 2021, what would you like listeners to know about your unique sound and approach to electronic production?

AVNU: “We’ve always made music because we love it and keeping the project anonymous let’s us focus on just that! This year you can expect a lot of new music from us as well as some collaborations and maybe a live show or two! For anyone who feels left out, you’ll always be welcomed to A Virtual New Universe <3.”

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