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In one of her first major interviews, with The Quietus back in 2014, Karen Gwyer talked at length about her struggle to balance a desire to make dancefloor-ready techno, and a constant desire to make her music sound “weirder”. In the article, she seemed conflicted – as if focusing on making people dance was somehow an affront to her experimentalist roots – yet balancing these two contrasting demands has become her musical trademark.
Earlier this year London-based all-female DJ collective Siren unveiled a poster that bluntly addressed the facile suggestion from club promoters, “there just aren’t enough women DJs.” Starting with Resom and ending on Nightwave, the poster lists out a whole host of talented female selectors using a variety of fonts to deliver a simple yet powerful slap to the chops for the laziest of excuses to cover up the lack of gender diversity in club line-ups. This is as good an example you need of the rise in discussion and action aimed at making clubbing – and electronic music in general – more inclusive.
The two highly-regarded artists go head to head on the latest release from the London label.
Over time the layers and layers that comprise Karen Gwyer’s work seem to be getting thicker and denser still, pushing away from the airy accessibility of her Needs Continuum debut and towards a deeper, darker recess that cites Low Jack, other Opal Tapes artists, and harder forms of techno in general as its influence even as it wriggles away. 2014’s New Roof might be the most remarkable and accessible result of these interactions, a push away from using her voice as a leading instrument and into synth-focused elongated expressions with two tracks ‘Lay Claim to My Grub’ and ‘Missisissipippi’ each pushing a Villalobosian 17 minutes.
Where does Berlin operation Nous fit into the current label landscape? A straight talking George Mavrikos sits down with Rose Mardit to discuss the label’s emergence.
The Bouloman EP will arrive through the Berlin label in June – stream the opening track here.
Preview the Berlin label’s upcoming record from the unknown artist which features a remix from Karen Gwyer.
Scott Wilson and Chloe Frieda report on the events of this year’s Unsound festival in Krakow, with Powell, Grouper, Cyclobe and Karen Gwyer among the many highlights.
The Opal Tapes and No Pain In Pop musician speaks to Red Bull Music Academy Radio on Iggy Pop, Autechre, Moroder and more – tune in here.
Firmly entrenched in the new wave of outboard racket-makers, Karen Gwyer has already given us a considerable body of work to consume considering the fact that in 2012 she had but one cassette release to her name. Buffeted on the winds of No Pain In Pop she has since issued a debut album (the excellent Needs Continuum), a long-form cassette for Opal Tapes, and collaborated with Luke Wyatt (in his Torn Hawk guise) for some reworking of her own material. Now she’s back on No Pain in Pop with a ranging EP that shirks edited-down focus in favour of broad strokes as two seventeen minute tracks sandwich a brief interlude in a fit of electronic abandon.
The London-based producer will release the New Roof 12″ through the label next month.
Once again we end our annual round-up by asking a selection of our favourite DJs, producers and record label owners to ruminate on their own personal favourites from 2013. Looking to keep things fresh, we have chosen a largely new selection of individuals without any sacrifice in standards, with contributions from Ben UFO, Helena Hauff, Paul Woolford, Anthony Parasole, Powell and more. It’s a typically diverse selection too, with rare Mala dubs, underscore-loving Philitronics and EVOL amongst the picks.
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When sitting down to discuss and finalise the albums worthy of inclusion on this list, it soon became apparent just how many great long players were released over the course of the past twelve months. In fact, it felt that this year saw the LP as a medium for electronic producers really come into its own, realising through the course of our discussions just how many artists used the album format as a means to explore concepts or themes that go far beyond collecting a series of tracks aimed at getting people on the dance floor. With the number of 12-inch singles being released on a weekly basis continuing to rise, and a increasingly unfavourable signal-to-noise ratio, the electronic LPs of the year largely offered us an opportunity to step outside the rising number of uninspired dance singles and see things through new eyes.
Although this is a selection of albums that covers many of this year’s more prevalent narratives in the underground – contemporary grime, the jungle revival, industrial techno, and the fringes of house music being some of the most notable – these albums were the ones that took those concepts and stretched them to breaking point. For those fatigued by the near-constant revisitiation of the past in 2013, there are plenty of albums on this list that offer a tantalising suggestion as to where dance music could be going next, as well as a selection of albums who didn’t try too hard to do anything massively different, but instead focused on just doing it well. In fact, this year was so good for albums, that we felt it justified to expand the list to 25 to accommodate those the editorial team just could not countenance missing out on the recognition they deserve.
No Pain In Pop will issue three final reimaginations of Needs Continuum – stream in full here.
As a multimedia adventurer with many years experience behind him, only in the last couple of years has Luke Wyatt started to take shape as an artist in his own right with choice releases in interesting places. Appearing on L.I.E.S. has no doubt helped his profile, with last years’ Tarifa EP drawing plenty of heat for a performer whose preoccupation with the absurd had previously led to creative energy expended on such ventures as the Weenus Training Loop series.
Karen Gwyer, Bleaching Agent and Phork are among those joining the cassette label.
Scott Wilson looks at heat-warped kosmische, sweaty deep house, precise, cooling electronics and alternative takes on dub for hot summer’s nights in this month’s Scratching The Surface.