ARTIST: PROTECT-U TITLE:  MOTORBIKE LABEL:  PLANET MU  FORMATS: 12”/DIGITAL CAT#: ZIQ322 RELEASE DATE: 28TH MAY 2012
A: MOTORBIKE B1: LAWNDOG B2: INVISIBLE HALOProtect-U is the studio project of Mike Petillo and Aaron Leitko, who are associated with the new breed of dance music producers from in and around Washington DC, coming from a  similar background as Ital, Innergaze and Beautiful Swimmers, with a history of playing alongside Mi Ami, Blues Control, Slava, Steve Moore & Pissed Jeans, among others. Mike is also co-owner of the very cool record label Future Times, alongside Andrew Field-Pickering a.k.a. Maxmillion Dunbar, who is also one half of Beautiful Swimmers. The music they make is a bottom up take on dance music created out of sessions jamming on analog gear that got serious, resulting in a brittle, but soft & exuberant house music, thoughtfully paired down to the fundamentals and kissed by sunshine and good times. Their first two EPs on Future Times have attracted lots of the right kind of attention, and this three tracker follows in the same trajectory. Motorbike starts with a bassline that reminds one of early Jellybean-era Madonna, before the track is all but buried in woozy, psychedelic strings that seem to physically bend and vibrate around the rhythm. Lawndog is a tougher beast – with tight syncopated tropical rhythms underpinning light and breezy synths seemingly borrowed from Dare-era Human League. Invisible Halo is hazier and slower, bumping along in a drowsy fashion, like a slow accompaniment to the sunrise after the night before.
STREAM / LISTEN - http://www.planet.mu/discography/ZIQ322

ARTIST: PROTECT-U
TITLE:  MOTORBIKE
LABEL:  PLANET MU 
FORMATS: 12”/DIGITAL
CAT#: ZIQ322
RELEASE DATE: 28TH MAY 2012

A: MOTORBIKE B1: LAWNDOG B2: INVISIBLE HALO

Protect-U is the studio project of Mike Petillo and Aaron Leitko, who are associated with the new breed of dance music producers from in and around Washington DC, coming from a  similar background as Ital, Innergaze and Beautiful Swimmers, with a history of playing alongside Mi Ami, Blues Control, Slava, Steve Moore & Pissed Jeans, among others. Mike is also co-owner of the very cool record label Future Times, alongside Andrew Field-Pickering a.k.a. Maxmillion Dunbar, who is also one half of Beautiful Swimmers.

The music they make is a bottom up take on dance music created out of sessions jamming on analog gear that got serious, resulting in a brittle, but soft & exuberant house music, thoughtfully paired down to the fundamentals and kissed by sunshine and good times. Their first two EPs on Future Times have attracted lots of the right kind of attention, and this three tracker follows in the same trajectory.

Motorbike starts with a bassline that reminds one of early Jellybean-era Madonna, before the track is all but buried in woozy, psychedelic strings that seem to physically bend and vibrate around the rhythm. Lawndog is a tougher beast – with tight syncopated tropical rhythms underpinning light and breezy synths seemingly borrowed from Dare-era Human League. Invisible Halo is hazier and slower, bumping along in a drowsy fashion, like a slow accompaniment to the sunrise after the night before.

STREAM / LISTEN - http://www.planet.mu/discography/ZIQ322

Sepalcure follow up last year’s critically acclaimed LP on Hotflush Recordings with a new EP featuring remixes from Kevin McPhee and Trevino (a.k.a. Marcus Intalex), alongside one previously released album cut and one original track. Out April 17th in USA

Catch them at Unsound Festival New York that same week with a special live A/V show at Bass Mutations night April 21st in Brooklyn.

Ill BluClapper EP 1. Clapper / 2. Clapper - Traxman Remix HYPERDUB HDB062  Release Date: April 30th 2012 UK / May 1st 2012 USAIll Blu return to Hyperdub for their second single with ‘Clapper’, which contrasts deceptively swinging claps and funky but martial drums with crazy pitched up and down synth stabs and shrieks that sound like psychotically angry birds, it’s an incredibly infectious and energising club banger that manages to retain its swagger without losing its sense of humour. On the flip - West Chicago’s juke and footwork Veteran Traxman takes the bpm up to 160bpm with his energetic mix, which takes the mood darker, switching from 4 / 4 kicks to 808 electro claps, with jittery punched in stabs giving the track a nervous energy.

Ill Blu
Clapper EP
1. Clapper / 2. Clapper - Traxman Remix
HYPERDUB HDB062 
Release Date: April 30th 2012 UK / May 1st 2012 USA

Ill Blu return to Hyperdub for their second single with ‘Clapper’, which contrasts deceptively swinging claps and funky but martial drums with crazy pitched up and down synth stabs and shrieks that sound like psychotically angry birds, it’s an incredibly infectious and energising club banger that manages to retain its swagger without losing its sense of humour.

On the flip - West Chicago’s juke and footwork Veteran Traxman takes the bpm up to 160bpm with his energetic mix, which takes the mood darker, switching from 4 / 4 kicks to 808 electro claps, with jittery punched in stabs giving the track a nervous energy.

WALTON “ALL NIGHT EP” (HYPERDUB HDB061)
A: All Night AA1: Mallet AA2: Cush 
Release Date: 23rd April 2012
Young Mancunian Walton drops his second EP ‘All Night’ for Hyperdub after his 2011 Hyperdub debut ‘The Walton EP’. ‘All Night’ kicks it off with warm plucked strings, diva moans and lazer-like synths stretched to the point of anticipation over cracking grime handclaps and bass drums, until the track drops into a blocky bass line playing hide and seek with low arpeggios that spiral in and out of the mix, over a giant pounding metallic kick drum before layering on the warmth again, the whole track plays with a fine balance between warm, exuberant disco-like lushness and exuberant roughness. ‘Mallet’ is driving and darker, building detuned, bell-like tones over a 4/4 beat accented by breaks and fills and gaps, dropping into a big bass line and syncopations that disrupt the beat and bring the drama. ‘Kush’ is different, taking the pace down with low end, synth hip hop with glassy chords, running over woozy pitch shifting Rhodes chords fed through a layer of crackly gauze.
Promo is available now for US editors and writers

WALTON “ALL NIGHT EP” (HYPERDUB HDB061)

A: All Night AA1: Mallet AA2: Cush 

Release Date: 23rd April 2012

Young Mancunian Walton drops his second EP ‘All Night’ for Hyperdub after his 2011 Hyperdub debut ‘The Walton EP’. 

‘All Night’ kicks it off with warm plucked strings, diva moans and lazer-like synths stretched to the point of anticipation over cracking grime handclaps and bass drums, until the track drops into a blocky bass line playing hide and seek with low arpeggios that spiral in and out of the mix, over a giant pounding metallic kick drum before layering on the warmth again, the whole track plays with a fine balance between warm, exuberant disco-like lushness and exuberant roughness. 

‘Mallet’ is driving and darker, building detuned, bell-like tones over a 4/4 beat accented by breaks and fills and gaps, dropping into a big bass line and syncopations that disrupt the beat and bring the drama. 

‘Kush’ is different, taking the pace down with low end, synth hip hop with glassy chords, running over woozy pitch shifting Rhodes chords fed through a layer of crackly gauze.

Promo is available now for US editors and writers

THE RETURN OF INTERDIMENSIONAL TRANSMISSIONS 
BMG & Derek Plaslaiko  ”Is Your Mother Home?” EP
(Interdimensional Transmissions IT 29) Out April 9th
A1 Daydreaming About Your Mom / A2 Is Your Mother Home?  * B1 When Is She Coming Back? (BMG Dub) / B2 Are You Sure? (Derek Plaslaiko Dub) /B3 Is Your Mother Done?
Limited hand painted sleeves
Derek Plaslaiko: Too long one of Detroit’s best kept secrets, a core pillar of The Bunker in Brooklyn, now with a residency at Club De Legionaires in Berlin.  An indie rocker inspired by Techno, a speaker fucker from the original Detroit Rave scene, last name stolen from someone he was often confused for, a top midwestern deep mixing DJ turned record producer and remixer.
BMG: Brendan M Gillen is a founding member of Ectomorph and Interdimensional Transmissions. Brendan enjoys playing Ableton like a video game and making analog equipment growl like an acid motorcycle. His DJ sets combine studio production techniques with his lifelong obsession with Detroit radio mix shows to achieve a truly psychedelic deep listening post-Music Institute post-Music Box post-Music Aquarium experience. 
The Story of Your Mother:
BMG & Derek met while they both worked at Record TIme, Brendan later hiring Derek to work for his Star 67 Distribution.
Shortly after moving to Detroit in 2006, an era of Ectomorph ended. To find the inspiration to forge a new direction we began throwing a specific type of Detroit underground party. Initially conceived of in a phone call between BMG and Derek Plaslaiko, we wanted a party that seemed endless but that still only had 4 DJs, the others being our favorite unsung heros - master DJs of the Midwest, the likes of Carlos Souffront, Patrick Russell, and Mike Servito. 
So Interdimensional Transmissions switched its focus to producing these underground events and in early December 2007, we threw No Way Back, a 12 hour party (that lasted 17) in a disused Detroit bank with a leaky roof. The leaky roof didn’t stop anybody though, and Derek took that as inspiration to run through an unfinished wall. There’s a you tube video of that.
Reclaiming old spaces and transforming them with installations (parachutes, netting, amorphous lighted structures and abstract cosmic spray paint art) and major audiophile soundsystems were core elements of this underground party system. Derek talked IT into producing No Way Back during the DEMF, to share this rare thing with the world. By 2010 we had partnered with The Bunker to produce a No Way Back DEMF and also Brooklyn, which continues to this day.
We wanted to created some music would hit sound system right at one of our parties. So in between Plasaiko’s move from New York City to Berlin, we took a day out to make some music. We had effortlessly created the basic groove when Erika came over for a brief visit and noted the baseline was saying “get in the van”. With that thought we took a little walk to the local convenience store, where we found more inspiration. 
We were able to quickly write the lyrics and record all the pieces, and a raw mix was made that day that made it to tumblr, but the song was further refined in the mix over time and  both BMG and Derek have made additional DJ tool dubs. The halftime intro / outro pieces were recorded at the beginning of the session. 
The record is mastered at Prairie Cat Mastering, pressed at Archer Records in Detroit, and the first copies have sleeves hand painted by the installation artist for No Way Back, Infinite Dimensions.
Contact Backspin Promotions for all press requests (worldwide)
DJ promo / Derek Plaslaiko Management / Booking requests - PullProxy

THE RETURN OF INTERDIMENSIONAL TRANSMISSIONS 

BMG & Derek Plaslaiko  ”Is Your Mother Home?” EP

(Interdimensional Transmissions IT 29) Out April 9th

A1 Daydreaming About Your Mom / A2 Is Your Mother Home?  * B1 When Is She Coming Back? (BMG Dub) / B2 Are You Sure? (Derek Plaslaiko Dub) /B3 Is Your Mother Done?

Limited hand painted sleeves

Derek Plaslaiko: Too long one of Detroit’s best kept secrets, a core pillar of The Bunker in Brooklyn, now with a residency at Club De Legionaires in Berlin.  An indie rocker inspired by Techno, a speaker fucker from the original Detroit Rave scene, last name stolen from someone he was often confused for, a top midwestern deep mixing DJ turned record producer and remixer.

BMG: Brendan M Gillen is a founding member of Ectomorph and Interdimensional Transmissions. Brendan enjoys playing Ableton like a video game and making analog equipment growl like an acid motorcycle. His DJ sets combine studio production techniques with his lifelong obsession with Detroit radio mix shows to achieve a truly psychedelic deep listening post-Music Institute post-Music Box post-Music Aquarium experience. 

The Story of Your Mother:

BMG & Derek met while they both worked at Record TIme, Brendan later hiring Derek to work for his Star 67 Distribution.

Shortly after moving to Detroit in 2006, an era of Ectomorph ended. To find the inspiration to forge a new direction we began throwing a specific type of Detroit underground party. Initially conceived of in a phone call between BMG and Derek Plaslaiko, we wanted a party that seemed endless but that still only had 4 DJs, the others being our favorite unsung heros - master DJs of the Midwest, the likes of Carlos Souffront, Patrick Russell, and Mike Servito. 

So Interdimensional Transmissions switched its focus to producing these underground events and in early December 2007, we threw No Way Back, a 12 hour party (that lasted 17) in a disused Detroit bank with a leaky roof. The leaky roof didn’t stop anybody though, and Derek took that as inspiration to run through an unfinished wall. There’s a you tube video of that.

Reclaiming old spaces and transforming them with installations (parachutes, netting, amorphous lighted structures and abstract cosmic spray paint art) and major audiophile soundsystems were core elements of this underground party system. Derek talked IT into producing No Way Back during the DEMF, to share this rare thing with the world. By 2010 we had partnered with The Bunker to produce a No Way Back DEMF and also Brooklyn, which continues to this day.

We wanted to created some music would hit sound system right at one of our parties. So in between Plasaiko’s move from New York City to Berlin, we took a day out to make some music. We had effortlessly created the basic groove when Erika came over for a brief visit and noted the baseline was saying “get in the van”. With that thought we took a little walk to the local convenience store, where we found more inspiration. 

We were able to quickly write the lyrics and record all the pieces, and a raw mix was made that day that made it to tumblr, but the song was further refined in the mix over time and  both BMG and Derek have made additional DJ tool dubs. The halftime intro / outro pieces were recorded at the beginning of the session. 

The record is mastered at Prairie Cat Mastering, pressed at Archer Records in Detroit, and the first copies have sleeves hand painted by the installation artist for No Way Back, Infinite Dimensions.

Contact Backspin Promotions for all press requests (worldwide)

DJ promo / Derek Plaslaiko Management / Booking requests - PullProxy

PLANET MU ZIQ313 out March 26th 

This three tracker from the aptly named ‘Dream Continuum’ is a collaboration between Travis Stewart a.k.a. Machinedrum and Jim Coles a.k.a. Om Unit, who was behind the Philip D Kick ‘footwork jungle’ tracks in 2010.

The meeting came about when Travis and Jim realised they were working in parallel on the same concept of finding the sweet spot between mid-90’s euphoric jungle and footwork, so naturally they set about working out how to find it together.

ARTWORK

The ‘Reworkz EP‘ moves backwards and forwards in time with ‘Be Free’ treating Jungle’s diva samples with footwork pitch bending and repetition while adding huge uplifting chords that capture the euphoria of rave perfectly. It’s then laid over tough, rolling 808 kicks and snares at 160bpm with a carpet of pumping, rhythmic sub-bass resulting in a new hybrid that is both fresh and energetic.

‘Give a Lil Luv’ is, if anything, even more euphoric, like rolling thunder with an intense, melodic use of samples and chord stabs with metallic breaks building into a spiky mesh of rhythms.

On side B ‘Set it’ draws classic dancehall, soul and reggae samples across a perfect mix of fast juke cymbals and jungle amens, each part casually camouflaging the other, tempering footwork’s sometimes intimidating sparseness and filling it with rich, warm and sincere rave energy.

First HYPERDUB single of 2012
King Britt presents Fhloston Paradigm HYPERDUB - HDB060- March 26th
 Hyperdub start the year of single releases off with a brilliant, and subtle curveball courtesy of Philly’s finest; King Britt in his new guise as Fhloston Paradigm.
Built from drum machines, analog keyboards and 303’s, and edited in the computer, these 3 lean and mean tracks, have an unadorned feeling that build on Hyperdub’s love for old John Carpenter style electronics, combined with Dr Patrick Gleason’s ear for the abstract, and bouncy drum machine syncopation that sounds like they’re aiming for an alternative present where analogue synths are still king.
Chasing Rainbows, is first off, with a dark tone that reminds of the opening theme to the film ‘Escape from New York, a wavering 303 bassline and tough kicks and snares giving away to heavy, moody chords.
The Chase works rough rolling drum machine beats that stutter and build into strange fills that threaten to stop the track dead if it wasn’t for the strange stumbling bassline and gently building acid line that resolve into a super funky melodic duel with some stuttering synth strings.   
Liloos Seduction is intense, quiet and abstract; a flickering 303 bass line is joined by barely there drums and reflective keys, everything shimmering in a dramatic fashion with gentle echoes giving the track a deep, watery sense of perspective as each part gently and gracefully builds and twists into a tender and effecting melody.
Catch KING BRITT DJ sets
02/23     Soda Bar, San Diego 
02/25     King King, Los Angeles
03/01     Beauty Bar, Austin    
03/02     Lola, St Louis
03/04     The Empty Bottle, Chicago     
03/05     Electricity, Detroit    
03/09     E Villa, Baltimore      
03/10     Shakedown 10th Anniversary @ The Trocadero, Philadelphia

First HYPERDUB single of 2012







King Britt presents Fhloston Paradigm
HYPERDUB - HDB060- March 26th


Hyperdub start the year of single releases off with a brilliant, and subtle curveball courtesy of Philly’s finest; King Britt in his new guise as Fhloston Paradigm.

Built from drum machines, analog keyboards and 303’s, and edited in the computer, these 3 lean and mean tracks, have an unadorned feeling that build on Hyperdub’s love for old John Carpenter style electronics, combined with Dr Patrick Gleason’s ear for the abstract, and bouncy drum machine syncopation that sounds like they’re aiming for an alternative present where analogue synths are still king.

Chasing Rainbows, is first off, with a dark tone that reminds of the opening theme to the film ‘Escape from New York, a wavering 303 bassline and tough kicks and snares giving away to heavy, moody chords.

The Chase works rough rolling drum machine beats that stutter and build into strange fills that threaten to stop the track dead if it wasn’t for the strange stumbling bassline and gently building acid line that resolve into a super funky melodic duel with some stuttering synth strings.  

Liloos Seduction is intense, quiet and abstract; a flickering 303 bass line is joined by barely there drums and reflective keys, everything shimmering in a dramatic fashion with gentle echoes giving the track a deep, watery sense of perspective as each part gently and gracefully builds and twists into a tender and effecting melody.

Catch KING BRITT DJ sets

02/23     Soda Bar, San Diego 

02/25     King King, Los Angeles

03/01     Beauty Bar, Austin    

03/02     Lola, St Louis

03/04     The Empty Bottle, Chicago     

03/05     Electricity, Detroit    

03/09     E Villa, Baltimore      

03/10     Shakedown 10th Anniversary @ The Trocadero, Philadelphia

upcoming JIMMY EDGAR single “This One’s For The Children” (Hotflush Recordings) - snippets

Jimmy Edgar reveals details of new single “This One’s for the Children” (from upcoming spring / summer album) for Hotflush Recordings 

Jimmy Edgar reveals details of new single “This One’s for the Children” (from upcoming spring / summer album) for Hotflush Recordings 

Venetian SnaresFool The Detector TIMESIG  TIMESIG004  March 5th 2012
 
Venetian Snares a.k.a. Winnipeg’s Aaron Funk follows up last year’s acclaimed ‘Cubist Reggae’ with another 4 track EP. In the words of the man himself:
One of these tracks is about my 2 friends. I really love them, they are good people and really great friends. After I recorded the track, I had a vision that they became the same entity, like some kind of human spider hybrid, which I really didn’t like as I don’t think of them like that at all. The tune is not about that whatsoever but I kept thinking about that for a a good 2 or 3 days. It was chilling. See if you can guess which song it is! Another, I wrote using only tweeters so it was hard to make out anything other than hi-hats. Still, it sounds much better than most music that has been recorded. See if you can guess which one it is! There is a track that mainly uses analog devices to control digital devices. It seems laughable that most people want to control their analog synths with midi, imposing their ridiculous choice of notes on the music. They are pretty much rapists. I have enabled these devices to communicate in a mutually respectful, consensual embrace. See if you can guess which track is 100% free of blatant narcissism! The final tune is a ramp, an inclined plane, or a crescendo of sorts in music, stretched out over a number of minutes. It’s like a pyramid wall made from every thought you’ve ever thought of becoming immeasurably more discernible, yet built upon a river of everything you’ve tried to forget. The river is grey and all thoughts you’ve ever had are all other colors but mainly maroon and silver. See if you recognize your thoughts in this one! 

Venetian Snares
Fool The Detector
TIMESIG
TIMESIG004 
March 5th 2012

Venetian Snares a.k.a. Winnipeg’s Aaron Funk follows up last year’s acclaimed ‘Cubist Reggae’ with another 4 track EP. In the words of the man himself:

One of these tracks is about my 2 friends. I really love them, they are good people and really great friends. After I recorded the track, I had a vision that they became the same entity, like some kind of human spider hybrid, which I really didn’t like as I don’t think of them like that at all. The tune is not about that whatsoever but I kept thinking about that for a a good 2 or 3 days. It was chilling. See if you can guess which song it is! Another, I wrote using only tweeters so it was hard to make out anything other than hi-hats. Still, it sounds much better than most music that has been recorded. See if you can guess which one it is! There is a track that mainly uses analog devices to control digital devices. It seems laughable that most people want to control their analog synths with midi, imposing their ridiculous choice of notes on the music. They are pretty much rapists. I have enabled these devices to communicate in a mutually respectful, consensual embrace. See if you can guess which track is 100% free of blatant narcissism! The final tune is a ramp, an inclined plane, or a crescendo of sorts in music, stretched out over a number of minutes. It’s like a pyramid wall made from every thought you’ve ever thought of becoming immeasurably more discernible, yet built upon a river of everything you’ve tried to forget. The river is grey and all thoughts you’ve ever had are all other colors but mainly maroon and silver. See if you recognize your thoughts in this one! 

GOTH-TRAD “Air Breaker / Cosmos” from the upcoming album “New Epoch” for Mala’s Deep Medi Musik imprint http://www.backspinpromo.com/gothtrad.html

ARTIST: PROTECT-U TITLE:  MOTORBIKE LABEL:  PLANET MU  FORMATS: 12”/DIGITAL CAT#: ZIQ322 RELEASE DATE: 28TH MAY 2012
A: MOTORBIKE B1: LAWNDOG B2: INVISIBLE HALOProtect-U is the studio project of Mike Petillo and Aaron Leitko, who are associated with the new breed of dance music producers from in and around Washington DC, coming from a  similar background as Ital, Innergaze and Beautiful Swimmers, with a history of playing alongside Mi Ami, Blues Control, Slava, Steve Moore & Pissed Jeans, among others. Mike is also co-owner of the very cool record label Future Times, alongside Andrew Field-Pickering a.k.a. Maxmillion Dunbar, who is also one half of Beautiful Swimmers. The music they make is a bottom up take on dance music created out of sessions jamming on analog gear that got serious, resulting in a brittle, but soft & exuberant house music, thoughtfully paired down to the fundamentals and kissed by sunshine and good times. Their first two EPs on Future Times have attracted lots of the right kind of attention, and this three tracker follows in the same trajectory. Motorbike starts with a bassline that reminds one of early Jellybean-era Madonna, before the track is all but buried in woozy, psychedelic strings that seem to physically bend and vibrate around the rhythm. Lawndog is a tougher beast – with tight syncopated tropical rhythms underpinning light and breezy synths seemingly borrowed from Dare-era Human League. Invisible Halo is hazier and slower, bumping along in a drowsy fashion, like a slow accompaniment to the sunrise after the night before.
STREAM / LISTEN - http://www.planet.mu/discography/ZIQ322

ARTIST: PROTECT-U
TITLE:  MOTORBIKE
LABEL:  PLANET MU 
FORMATS: 12”/DIGITAL
CAT#: ZIQ322
RELEASE DATE: 28TH MAY 2012

A: MOTORBIKE B1: LAWNDOG B2: INVISIBLE HALO

Protect-U is the studio project of Mike Petillo and Aaron Leitko, who are associated with the new breed of dance music producers from in and around Washington DC, coming from a  similar background as Ital, Innergaze and Beautiful Swimmers, with a history of playing alongside Mi Ami, Blues Control, Slava, Steve Moore & Pissed Jeans, among others. Mike is also co-owner of the very cool record label Future Times, alongside Andrew Field-Pickering a.k.a. Maxmillion Dunbar, who is also one half of Beautiful Swimmers.

The music they make is a bottom up take on dance music created out of sessions jamming on analog gear that got serious, resulting in a brittle, but soft & exuberant house music, thoughtfully paired down to the fundamentals and kissed by sunshine and good times. Their first two EPs on Future Times have attracted lots of the right kind of attention, and this three tracker follows in the same trajectory.

Motorbike starts with a bassline that reminds one of early Jellybean-era Madonna, before the track is all but buried in woozy, psychedelic strings that seem to physically bend and vibrate around the rhythm. Lawndog is a tougher beast – with tight syncopated tropical rhythms underpinning light and breezy synths seemingly borrowed from Dare-era Human League. Invisible Halo is hazier and slower, bumping along in a drowsy fashion, like a slow accompaniment to the sunrise after the night before.

STREAM / LISTEN - http://www.planet.mu/discography/ZIQ322

Sepalcure follow up last year’s critically acclaimed LP on Hotflush Recordings with a new EP featuring remixes from Kevin McPhee and Trevino (a.k.a. Marcus Intalex), alongside one previously released album cut and one original track. Out April 17th in USA

Catch them at Unsound Festival New York that same week with a special live A/V show at Bass Mutations night April 21st in Brooklyn.

Ill BluClapper EP 1. Clapper / 2. Clapper - Traxman Remix HYPERDUB HDB062  Release Date: April 30th 2012 UK / May 1st 2012 USAIll Blu return to Hyperdub for their second single with ‘Clapper’, which contrasts deceptively swinging claps and funky but martial drums with crazy pitched up and down synth stabs and shrieks that sound like psychotically angry birds, it’s an incredibly infectious and energising club banger that manages to retain its swagger without losing its sense of humour. On the flip - West Chicago’s juke and footwork Veteran Traxman takes the bpm up to 160bpm with his energetic mix, which takes the mood darker, switching from 4 / 4 kicks to 808 electro claps, with jittery punched in stabs giving the track a nervous energy.

Ill Blu
Clapper EP
1. Clapper / 2. Clapper - Traxman Remix
HYPERDUB HDB062 
Release Date: April 30th 2012 UK / May 1st 2012 USA

Ill Blu return to Hyperdub for their second single with ‘Clapper’, which contrasts deceptively swinging claps and funky but martial drums with crazy pitched up and down synth stabs and shrieks that sound like psychotically angry birds, it’s an incredibly infectious and energising club banger that manages to retain its swagger without losing its sense of humour.

On the flip - West Chicago’s juke and footwork Veteran Traxman takes the bpm up to 160bpm with his energetic mix, which takes the mood darker, switching from 4 / 4 kicks to 808 electro claps, with jittery punched in stabs giving the track a nervous energy.

WALTON “ALL NIGHT EP” (HYPERDUB HDB061)
A: All Night AA1: Mallet AA2: Cush 
Release Date: 23rd April 2012
Young Mancunian Walton drops his second EP ‘All Night’ for Hyperdub after his 2011 Hyperdub debut ‘The Walton EP’. ‘All Night’ kicks it off with warm plucked strings, diva moans and lazer-like synths stretched to the point of anticipation over cracking grime handclaps and bass drums, until the track drops into a blocky bass line playing hide and seek with low arpeggios that spiral in and out of the mix, over a giant pounding metallic kick drum before layering on the warmth again, the whole track plays with a fine balance between warm, exuberant disco-like lushness and exuberant roughness. ‘Mallet’ is driving and darker, building detuned, bell-like tones over a 4/4 beat accented by breaks and fills and gaps, dropping into a big bass line and syncopations that disrupt the beat and bring the drama. ‘Kush’ is different, taking the pace down with low end, synth hip hop with glassy chords, running over woozy pitch shifting Rhodes chords fed through a layer of crackly gauze.
Promo is available now for US editors and writers

WALTON “ALL NIGHT EP” (HYPERDUB HDB061)

A: All Night AA1: Mallet AA2: Cush 

Release Date: 23rd April 2012

Young Mancunian Walton drops his second EP ‘All Night’ for Hyperdub after his 2011 Hyperdub debut ‘The Walton EP’. 

‘All Night’ kicks it off with warm plucked strings, diva moans and lazer-like synths stretched to the point of anticipation over cracking grime handclaps and bass drums, until the track drops into a blocky bass line playing hide and seek with low arpeggios that spiral in and out of the mix, over a giant pounding metallic kick drum before layering on the warmth again, the whole track plays with a fine balance between warm, exuberant disco-like lushness and exuberant roughness. 

‘Mallet’ is driving and darker, building detuned, bell-like tones over a 4/4 beat accented by breaks and fills and gaps, dropping into a big bass line and syncopations that disrupt the beat and bring the drama. 

‘Kush’ is different, taking the pace down with low end, synth hip hop with glassy chords, running over woozy pitch shifting Rhodes chords fed through a layer of crackly gauze.

Promo is available now for US editors and writers

THE RETURN OF INTERDIMENSIONAL TRANSMISSIONS 
BMG & Derek Plaslaiko  ”Is Your Mother Home?” EP
(Interdimensional Transmissions IT 29) Out April 9th
A1 Daydreaming About Your Mom / A2 Is Your Mother Home?  * B1 When Is She Coming Back? (BMG Dub) / B2 Are You Sure? (Derek Plaslaiko Dub) /B3 Is Your Mother Done?
Limited hand painted sleeves
Derek Plaslaiko: Too long one of Detroit’s best kept secrets, a core pillar of The Bunker in Brooklyn, now with a residency at Club De Legionaires in Berlin.  An indie rocker inspired by Techno, a speaker fucker from the original Detroit Rave scene, last name stolen from someone he was often confused for, a top midwestern deep mixing DJ turned record producer and remixer.
BMG: Brendan M Gillen is a founding member of Ectomorph and Interdimensional Transmissions. Brendan enjoys playing Ableton like a video game and making analog equipment growl like an acid motorcycle. His DJ sets combine studio production techniques with his lifelong obsession with Detroit radio mix shows to achieve a truly psychedelic deep listening post-Music Institute post-Music Box post-Music Aquarium experience. 
The Story of Your Mother:
BMG & Derek met while they both worked at Record TIme, Brendan later hiring Derek to work for his Star 67 Distribution.
Shortly after moving to Detroit in 2006, an era of Ectomorph ended. To find the inspiration to forge a new direction we began throwing a specific type of Detroit underground party. Initially conceived of in a phone call between BMG and Derek Plaslaiko, we wanted a party that seemed endless but that still only had 4 DJs, the others being our favorite unsung heros - master DJs of the Midwest, the likes of Carlos Souffront, Patrick Russell, and Mike Servito. 
So Interdimensional Transmissions switched its focus to producing these underground events and in early December 2007, we threw No Way Back, a 12 hour party (that lasted 17) in a disused Detroit bank with a leaky roof. The leaky roof didn’t stop anybody though, and Derek took that as inspiration to run through an unfinished wall. There’s a you tube video of that.
Reclaiming old spaces and transforming them with installations (parachutes, netting, amorphous lighted structures and abstract cosmic spray paint art) and major audiophile soundsystems were core elements of this underground party system. Derek talked IT into producing No Way Back during the DEMF, to share this rare thing with the world. By 2010 we had partnered with The Bunker to produce a No Way Back DEMF and also Brooklyn, which continues to this day.
We wanted to created some music would hit sound system right at one of our parties. So in between Plasaiko’s move from New York City to Berlin, we took a day out to make some music. We had effortlessly created the basic groove when Erika came over for a brief visit and noted the baseline was saying “get in the van”. With that thought we took a little walk to the local convenience store, where we found more inspiration. 
We were able to quickly write the lyrics and record all the pieces, and a raw mix was made that day that made it to tumblr, but the song was further refined in the mix over time and  both BMG and Derek have made additional DJ tool dubs. The halftime intro / outro pieces were recorded at the beginning of the session. 
The record is mastered at Prairie Cat Mastering, pressed at Archer Records in Detroit, and the first copies have sleeves hand painted by the installation artist for No Way Back, Infinite Dimensions.
Contact Backspin Promotions for all press requests (worldwide)
DJ promo / Derek Plaslaiko Management / Booking requests - PullProxy

THE RETURN OF INTERDIMENSIONAL TRANSMISSIONS 

BMG & Derek Plaslaiko  ”Is Your Mother Home?” EP

(Interdimensional Transmissions IT 29) Out April 9th

A1 Daydreaming About Your Mom / A2 Is Your Mother Home?  * B1 When Is She Coming Back? (BMG Dub) / B2 Are You Sure? (Derek Plaslaiko Dub) /B3 Is Your Mother Done?

Limited hand painted sleeves

Derek Plaslaiko: Too long one of Detroit’s best kept secrets, a core pillar of The Bunker in Brooklyn, now with a residency at Club De Legionaires in Berlin.  An indie rocker inspired by Techno, a speaker fucker from the original Detroit Rave scene, last name stolen from someone he was often confused for, a top midwestern deep mixing DJ turned record producer and remixer.

BMG: Brendan M Gillen is a founding member of Ectomorph and Interdimensional Transmissions. Brendan enjoys playing Ableton like a video game and making analog equipment growl like an acid motorcycle. His DJ sets combine studio production techniques with his lifelong obsession with Detroit radio mix shows to achieve a truly psychedelic deep listening post-Music Institute post-Music Box post-Music Aquarium experience. 

The Story of Your Mother:

BMG & Derek met while they both worked at Record TIme, Brendan later hiring Derek to work for his Star 67 Distribution.

Shortly after moving to Detroit in 2006, an era of Ectomorph ended. To find the inspiration to forge a new direction we began throwing a specific type of Detroit underground party. Initially conceived of in a phone call between BMG and Derek Plaslaiko, we wanted a party that seemed endless but that still only had 4 DJs, the others being our favorite unsung heros - master DJs of the Midwest, the likes of Carlos Souffront, Patrick Russell, and Mike Servito. 

So Interdimensional Transmissions switched its focus to producing these underground events and in early December 2007, we threw No Way Back, a 12 hour party (that lasted 17) in a disused Detroit bank with a leaky roof. The leaky roof didn’t stop anybody though, and Derek took that as inspiration to run through an unfinished wall. There’s a you tube video of that.

Reclaiming old spaces and transforming them with installations (parachutes, netting, amorphous lighted structures and abstract cosmic spray paint art) and major audiophile soundsystems were core elements of this underground party system. Derek talked IT into producing No Way Back during the DEMF, to share this rare thing with the world. By 2010 we had partnered with The Bunker to produce a No Way Back DEMF and also Brooklyn, which continues to this day.

We wanted to created some music would hit sound system right at one of our parties. So in between Plasaiko’s move from New York City to Berlin, we took a day out to make some music. We had effortlessly created the basic groove when Erika came over for a brief visit and noted the baseline was saying “get in the van”. With that thought we took a little walk to the local convenience store, where we found more inspiration. 

We were able to quickly write the lyrics and record all the pieces, and a raw mix was made that day that made it to tumblr, but the song was further refined in the mix over time and  both BMG and Derek have made additional DJ tool dubs. The halftime intro / outro pieces were recorded at the beginning of the session. 

The record is mastered at Prairie Cat Mastering, pressed at Archer Records in Detroit, and the first copies have sleeves hand painted by the installation artist for No Way Back, Infinite Dimensions.

Contact Backspin Promotions for all press requests (worldwide)

DJ promo / Derek Plaslaiko Management / Booking requests - PullProxy

PLANET MU ZIQ313 out March 26th 

This three tracker from the aptly named ‘Dream Continuum’ is a collaboration between Travis Stewart a.k.a. Machinedrum and Jim Coles a.k.a. Om Unit, who was behind the Philip D Kick ‘footwork jungle’ tracks in 2010.

The meeting came about when Travis and Jim realised they were working in parallel on the same concept of finding the sweet spot between mid-90’s euphoric jungle and footwork, so naturally they set about working out how to find it together.

ARTWORK

The ‘Reworkz EP‘ moves backwards and forwards in time with ‘Be Free’ treating Jungle’s diva samples with footwork pitch bending and repetition while adding huge uplifting chords that capture the euphoria of rave perfectly. It’s then laid over tough, rolling 808 kicks and snares at 160bpm with a carpet of pumping, rhythmic sub-bass resulting in a new hybrid that is both fresh and energetic.

‘Give a Lil Luv’ is, if anything, even more euphoric, like rolling thunder with an intense, melodic use of samples and chord stabs with metallic breaks building into a spiky mesh of rhythms.

On side B ‘Set it’ draws classic dancehall, soul and reggae samples across a perfect mix of fast juke cymbals and jungle amens, each part casually camouflaging the other, tempering footwork’s sometimes intimidating sparseness and filling it with rich, warm and sincere rave energy.

First HYPERDUB single of 2012
King Britt presents Fhloston Paradigm HYPERDUB - HDB060- March 26th
 Hyperdub start the year of single releases off with a brilliant, and subtle curveball courtesy of Philly’s finest; King Britt in his new guise as Fhloston Paradigm.
Built from drum machines, analog keyboards and 303’s, and edited in the computer, these 3 lean and mean tracks, have an unadorned feeling that build on Hyperdub’s love for old John Carpenter style electronics, combined with Dr Patrick Gleason’s ear for the abstract, and bouncy drum machine syncopation that sounds like they’re aiming for an alternative present where analogue synths are still king.
Chasing Rainbows, is first off, with a dark tone that reminds of the opening theme to the film ‘Escape from New York, a wavering 303 bassline and tough kicks and snares giving away to heavy, moody chords.
The Chase works rough rolling drum machine beats that stutter and build into strange fills that threaten to stop the track dead if it wasn’t for the strange stumbling bassline and gently building acid line that resolve into a super funky melodic duel with some stuttering synth strings.   
Liloos Seduction is intense, quiet and abstract; a flickering 303 bass line is joined by barely there drums and reflective keys, everything shimmering in a dramatic fashion with gentle echoes giving the track a deep, watery sense of perspective as each part gently and gracefully builds and twists into a tender and effecting melody.
Catch KING BRITT DJ sets
02/23     Soda Bar, San Diego 
02/25     King King, Los Angeles
03/01     Beauty Bar, Austin    
03/02     Lola, St Louis
03/04     The Empty Bottle, Chicago     
03/05     Electricity, Detroit    
03/09     E Villa, Baltimore      
03/10     Shakedown 10th Anniversary @ The Trocadero, Philadelphia

First HYPERDUB single of 2012







King Britt presents Fhloston Paradigm
HYPERDUB - HDB060- March 26th


Hyperdub start the year of single releases off with a brilliant, and subtle curveball courtesy of Philly’s finest; King Britt in his new guise as Fhloston Paradigm.

Built from drum machines, analog keyboards and 303’s, and edited in the computer, these 3 lean and mean tracks, have an unadorned feeling that build on Hyperdub’s love for old John Carpenter style electronics, combined with Dr Patrick Gleason’s ear for the abstract, and bouncy drum machine syncopation that sounds like they’re aiming for an alternative present where analogue synths are still king.

Chasing Rainbows, is first off, with a dark tone that reminds of the opening theme to the film ‘Escape from New York, a wavering 303 bassline and tough kicks and snares giving away to heavy, moody chords.

The Chase works rough rolling drum machine beats that stutter and build into strange fills that threaten to stop the track dead if it wasn’t for the strange stumbling bassline and gently building acid line that resolve into a super funky melodic duel with some stuttering synth strings.  

Liloos Seduction is intense, quiet and abstract; a flickering 303 bass line is joined by barely there drums and reflective keys, everything shimmering in a dramatic fashion with gentle echoes giving the track a deep, watery sense of perspective as each part gently and gracefully builds and twists into a tender and effecting melody.

Catch KING BRITT DJ sets

02/23     Soda Bar, San Diego 

02/25     King King, Los Angeles

03/01     Beauty Bar, Austin    

03/02     Lola, St Louis

03/04     The Empty Bottle, Chicago     

03/05     Electricity, Detroit    

03/09     E Villa, Baltimore      

03/10     Shakedown 10th Anniversary @ The Trocadero, Philadelphia

upcoming JIMMY EDGAR single “This One’s For The Children” (Hotflush Recordings) - snippets

Jimmy Edgar reveals details of new single “This One’s for the Children” (from upcoming spring / summer album) for Hotflush Recordings 

Jimmy Edgar reveals details of new single “This One’s for the Children” (from upcoming spring / summer album) for Hotflush Recordings 

Venetian SnaresFool The Detector TIMESIG  TIMESIG004  March 5th 2012
 
Venetian Snares a.k.a. Winnipeg’s Aaron Funk follows up last year’s acclaimed ‘Cubist Reggae’ with another 4 track EP. In the words of the man himself:
One of these tracks is about my 2 friends. I really love them, they are good people and really great friends. After I recorded the track, I had a vision that they became the same entity, like some kind of human spider hybrid, which I really didn’t like as I don’t think of them like that at all. The tune is not about that whatsoever but I kept thinking about that for a a good 2 or 3 days. It was chilling. See if you can guess which song it is! Another, I wrote using only tweeters so it was hard to make out anything other than hi-hats. Still, it sounds much better than most music that has been recorded. See if you can guess which one it is! There is a track that mainly uses analog devices to control digital devices. It seems laughable that most people want to control their analog synths with midi, imposing their ridiculous choice of notes on the music. They are pretty much rapists. I have enabled these devices to communicate in a mutually respectful, consensual embrace. See if you can guess which track is 100% free of blatant narcissism! The final tune is a ramp, an inclined plane, or a crescendo of sorts in music, stretched out over a number of minutes. It’s like a pyramid wall made from every thought you’ve ever thought of becoming immeasurably more discernible, yet built upon a river of everything you’ve tried to forget. The river is grey and all thoughts you’ve ever had are all other colors but mainly maroon and silver. See if you recognize your thoughts in this one! 

Venetian Snares
Fool The Detector
TIMESIG
TIMESIG004 
March 5th 2012

Venetian Snares a.k.a. Winnipeg’s Aaron Funk follows up last year’s acclaimed ‘Cubist Reggae’ with another 4 track EP. In the words of the man himself:

One of these tracks is about my 2 friends. I really love them, they are good people and really great friends. After I recorded the track, I had a vision that they became the same entity, like some kind of human spider hybrid, which I really didn’t like as I don’t think of them like that at all. The tune is not about that whatsoever but I kept thinking about that for a a good 2 or 3 days. It was chilling. See if you can guess which song it is! Another, I wrote using only tweeters so it was hard to make out anything other than hi-hats. Still, it sounds much better than most music that has been recorded. See if you can guess which one it is! There is a track that mainly uses analog devices to control digital devices. It seems laughable that most people want to control their analog synths with midi, imposing their ridiculous choice of notes on the music. They are pretty much rapists. I have enabled these devices to communicate in a mutually respectful, consensual embrace. See if you can guess which track is 100% free of blatant narcissism! The final tune is a ramp, an inclined plane, or a crescendo of sorts in music, stretched out over a number of minutes. It’s like a pyramid wall made from every thought you’ve ever thought of becoming immeasurably more discernible, yet built upon a river of everything you’ve tried to forget. The river is grey and all thoughts you’ve ever had are all other colors but mainly maroon and silver. See if you recognize your thoughts in this one! 

GOTH-TRAD “Air Breaker / Cosmos” from the upcoming album “New Epoch” for Mala’s Deep Medi Musik imprint http://www.backspinpromo.com/gothtrad.html

About:

New York independent PR company BACKSPIN PROMOTIONS was established in 1999 to promote independent artists and labels. Over the course of the last twelve years we have helped both new and established artists reach a wider audience. Our projects have included albums from artists such as AMP FIDDLER (debut), ANNIE, ROY AYERS, BOOKA SHADE, TERRY CALLIER, CARL CRAIG, COLDER (debut), DABRYE, DARKSTAR (debut), MATTHEW DEAR (debut / sophomore), DJ JAZZY JEFF, DJ SPINNA, DETROIT ELECTRONIC MUSIC FESTIVAL (debut), DENNIS FERRER, DIXON, FOREIGN EXCHANGE (debut), ?UESTLOVE, HERBIE HANCOCK, HOT CHIP, IKONIKA (debut), JAZZANOVA (debut), J DILLA (debut and final), JOAKIM, KING MIDAS SOUND, KODE9 and SPACEAPE, LOCO DICE (debut), LOUIS VEGA, LUCIANO (debut), THE MARTINEZ BROTHERS, PLAYGROUP, PETE ROCK, THE RAPTURE, FRANCESCO TRISTANO, TRAXX (debut), UNSOUND FESTIVAL NEW YORK (debut and 2011), THE WHITEST BOY ALIVE (debut / sophomore) and releases on labels such as BBE, BLUE NOTE, CADENZA, DEEP MEDI MUSIK, DESOLAT, DFA, GET PHYSICAL, GHOSTLY INTERNATIONAL, GIANT STEP, HYPERDUB, !K7, LO RECORDINGS, MAHAGONI, OUTPUT RECORDINGS, PLANET E, PLANET MU, STONES THROW, STRUT, WARP, VERVE and many more

Backspin Promotions remains dedicated to exposing new and developing talent.

For the most up to date information check our website: http://www.backspinpromo.com

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