The revered DJ-Kicks DJ mix series will begin 2017 with Matthew Dear at the helm. The notable DJ/producer/co-founder of Ghostly International and Spectral Sound, who records under a slew of aliases including Audion, says, “There are snippets of friends and family strewn throughout the mix. A lot of the vocal interludes you hear are from a portable recorder I’ve carried with me over the years.”
Dear contributes three exclusive tracks — one under his own name and two as Audion — to the set due out January 27 featuring cuts by Matrixxmann, Randomer and Simian Mobile Disco.
“I wanted to create a mix that could be listened to anywhere, and reflect a little bit of everything that I play. Whether you’re in your car, preparing to open the club, or having a bottle of wine with friends at home, this mix is for you.”
Brooklyn’s Bear In Heaven have been carefully carving out their post-everything sound since forming in 2004. Electronic music has been an underlying element of the triumvirate’s evolving sound, with vocalist/guitarist/keyboardist Jon Philpot and guitarist Adam Wills often moonlighting as DJs. What’s more is that over the years they’ve had a select few BIH tracks masterfully reinterpreted for the dance floor by masters Matthew Dear (“Autumn”) and Lindstrøm (“Lovesick Teenagers”).
While on their just concluded international trek supporting their acclaimed fourth album, Time Is Over One Day Old, featuring kick-ass singles “Time Between” and “Autumn,” we connected with Jon Philpot over e-mail and found out more about Bear In Heaven’s passion for DJing.
Tiga and Matthew Dear have released their collaborative effort “Fever” culled from Tiga’s upcoming follow-up to 2009’s Ciao! produced under Dear’s Audion alias. A remix package featuring reworkings by Maetrik, Acid Arab, Tom Trago and Kink will drop on April 7.
Obligatory press gush from Audion (a.k.a. Matthew Dear) about the techy single: “Tiga and I worked on ‘Fever’ for an entire day, running it through various tempos, styles and arrangements, but nothing would stick. Then, sometime around 2am, it all clicked. We moved out of the way and the song essentially wrote itself. The vocal hook commanded the new direction, and after it was laid out, we slept. What you hear is that 2am perfection; only reachable when the world and your mind is asleep to all things conscious.”
Tiga vs Audion’s will embark on a mini tour, playing Berghain in Berlin on on April 30,Pressure & Electric Fog: The Riverside Festival, Glasgow, Scotland on May 2 and Oval Space in London on May 4.
Koze through the looking glass is a reading of bedtime stories for cosmic disco romantics. A follower of its own path and bringing an enchantment honored by the album cover’s mediaeval superhero impersonation, its light-fingered grip holds firm throughout. Heavy is the path less travelled, winding up like clockwork until the springs go loco when it does, with sighing vocals indicative of the reassurances Koze consistently offers.
Deep house settlers keep things simple, working a little heartening charm that lets you reach your own woozy highs and joys, whether by long unbroken background synth lines (“Royal Asscher Cut”), the impeccably preened (“Ich Schreib’ Dir Ein Buch”) or just by knowing that Koze will take his time until you’re soul-deep in the beats, with a plinking set of chimes here or a Beams-worthy appearance by Matthew Dear there.
“Magical Boy” notifies that spring has sprung, complete with the sound of bounding bunnies and a cast of quirks. “Das Wort” holds a flashlight to the face of Dirk von Lowtzow, but becomes a cuddly folk-in-toytown detour, part of another facet that Koze might spring something new at any moment despite gambolling down a pretty preordained yellow brick road. “Homesick” is more a neo-soul format with a Susanne Vega-style lead, and “Marilyn Whirlwind” jumps out at you with a rare lack of sensitivity but plenty more funk and electricity compared to the headswims Koze coaches.