Kana Broadcasting

Dino Sabatini meets Donato Dozzy

Kana — Sat, 15 Jun 2013 08:56:39 +0000

ARTIST(S): Dino Sabatini, Donato Dozzy
TITLE: Journey back to Ithaca
LABEL: Outis Music
RELEASE DATE: JULY 10 2013

“After the Trojan War, Odysseus, overcoming various hurdles tries to return home and reassert his place as rightful king of Ithaca; this took him 10 years. I’m not a king and I’m just trying to bring back the ship with my old crew of friends, with whom I shared emotions and experiences.”

Soundtracks to these thoughts dig a little deeper into your conscious. Dino’s recent tour of Australia made sure of that. “Telemacus” is the pick on this EP and it reinforces those trojan gates a little more than what their engineers originally anticipated. “Penelope” is an associated imagine of a Soviet submarine pen. Conclusive satellite images would support it – Preview

Ryuichi Sakamoto “THREE” – Digital International Release

Kana — Fri, 14 Jun 2013 22:36:53 +0000

His work alongside Fennesz stands as some of the most amazingly haunting music you’ll come across, so putting some time aside for this release certainly wouldn’t be a waste of time irrespective of your own reflective conclusion. This record gave birth in autumn 2011 whilst on tour with cellist Jacques Morelenbaum, and violinist Judy Kan. Shortly afterwards recording commenced in Porto, Portugal. The album “THREE” will be released digitally Monday June 17th on Decca Records except in France, Germany, Australia, U.S.A., and Japan.

Run sheet -

1. Happy End
2. The Last Emperor
3. Bibo No Aozora
4. High Heels
5. Seven Samurai
6. A Flower is not a Flower
7. Still life in A
8. Nostalgia
9. Tango
10. Merry Christmas Mr. Lawrence
11. Ichimei (Harakiri – Death of a Samurai)
12. Tamago 2004
13. Parolibre

Staffan Linzatti – View From The Collapsing Centre – BALANS011

Kana — Thu, 13 Jun 2013 10:27:56 +0000

ARTIST(S): Staffan Linzatti
LABEL: Balans Records
RELEASE DATE: JULY 8 2013

The drugged out future that rests with every deep space satellite lives here. No surprise that Jeff Mills has thrown his support out at this one – it has Axis written all over it. I can’t even really pick out any particular track that sits better with me so I hope you’ve got an image in your mind before you even listen to the preview. One of the best records I’ve heard this year – Preview

Run sheet -

A1 Opening
A2 The Contraption
B1 View From The Collapsing Centre
B2 Control

Mr. Mau – Black Lion EP

Kana — Thu, 13 Jun 2013 03:09:40 +0000

ARTIST: Mr. Mau
LABEL: Orbis Records
RELEASE DATE: JUNE 17 2013 (Vinyl & Digital Formats)

This is a great record. ‘Black’ is a straight up reminder of what Warp was, and what it still should be. The Michaelangelo remix is a darker and deeper cut that you may associate with the likes of Prologue. They’re both monster tracks that pull out the spirit of early morning graffiti raids on metro subways. Lion fronts a more straight up rolling contribution, a good one at that. It’s getting a lot of support from the likes of Ben Sims, Garnier and Troy Pierce.

Get onto this – Preview/Pre-Order

Paris & Berlin. And everywhere else.

Kana — Sat, 08 Jun 2013 15:58:41 +0000

I don’t live in Paris or Berlin. Neither are my home and neither are for most of us. This is more of a response aligned with relevant commentary, than of a systematic deconstruction and review of the media that I received in an email last week from Amélie Ravalec. It was regarding a documentary she directed – “Paris/Berlin: 20 Years Of Underground Techno”. It delineates a clarion contrast, and in many ways a consistent comparison, between Berlin and Paris and their respective circuitry evolutions. There’s nothing that hasn’t already been said about Berlin, and this documentary doesn’t change that. I didn’t expect it to and ultimately that’s not the point. For me this isn’t really about Berlin or Paris. Or Detroit. Or London. Or Chicago. That’s an implied accomplishment that sonic citadels accept in all their passive modesty and it’s their success that reverberates globally.

This is about taking away what you can from the social experiments that act as the foundations for cultural freedom, and reflecting on how you can formulate a relevant local response, where ever your place of residence in the world. I think that’s what this piece of film achieves, deliberately or not.

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Laurent Garnier’s experience at Hacienda and how he incorporated it into his life in Paris is an appropriate illustration on successful urban assimilation. Perhaps authorities perceived it as his sequel to compulsory French military exercises and dealt with the cultural movement accordingly. Irrespective of the analogy, Paris wasn’t ready to acknowledge the freedoms its counterpart resided in. It takes a certain degree of decadence and carelessness to foster that kind of society, and outside of Europe the situation deteriorates substantially. It’s the perception of a lack of personal responsibility that facilitates adverse law enforcement strategies and with that you start to realise that Berlin is one of the few cities without a wall. Ironic or not, combating the scenario is the source of our creative insurgencies, and the byproduct is the identity you contribute to that effortlessly transgresses any movements vitality.

At an individual level, you can only do the best you can to incite the deliberate audaciousness that drives innovative advances. Christophe, Garnier and Adam X reinforce this better than anyone else in the film. You can immediately tell when someone is freely speaking from their heart because it stops your own heart momentarily. That’s just enough time to reinforce your own impetus and deduce a plan that’s worthy of execution. Even with that motivational ideology, it’s your environment that harbours broader success.

The identity of your city is important. It’s your actions that define it and it has a consequence on not only yourself, but everyone in your life. It inspires them to adjust their focus accordingly, and if you want to change the way people perceive the world they live in for the better, it requires a unique presence. Maybe every city requires a reenactment of the events that transpired throughout May 1968 in France to discern it’s true character, though realistically the scale of that revolution isn’t easily imitated. The illegal street and warehouse parties that relentlessly littered Europe would be a more realistic approach to encouraging the spirit of electronic music, and as that last party you attended recedes, albeit with police assistance, you would like to think it leaves an impression that catalysis the contribution of others.

With that though, there are some obstacles we often find ourselves trying to navigate aside from local law enforcement policy, and that’s primarily ourselves and it’s discussed in the film. It’s no secret that some techno artists have completely lost sight of what this music is about. For me, living in Australia, the fees that are sometimes sought are questionable at best when tours are undertaken outside of Europe, especially when they traverse smaller scenes. Aside from the artist, it’s the artist’s booking agent(cies) who can accept a portion of responsibility. Primarily though, it’s the promoters and tour companies who actually pay disproportionate fees elsewhere. It sets an unwarranted expectation that’s to the detriment of the wider techno community. With that said, none of this should have an effect on anyone’s vision for tomorrow. Changing the cultural attitude of your local community certainly doesn’t require flagship artists to be booked week in and week out, in fact it’s better off without that routine. It’s a costly exercise that doesn’t provoke the necessary passion of attendees if they’re not across the music to begin with.

Furthermore, promoters only have themselves to blame if they insist on providing repetitive club experiences. If people are aware of a platform that’s contrary to their expectations, they’ll attend. It may take some time, but without perseverance it only assists in disheartening and alienating the people they want to influence. I’m sure both Paris and Berlin would coordinate their own support of that concept as those caustic lights drift off with your own thoughts. Those thoughts and the story of these two cities matter. Not because it should change your perspective on electronic music and what it means to you, but despite the most sincere of calculated intentions, they only shadow the achievements of their residents. Just like everywhere else in the world given the opportunity and stimulus.

It’s now 11:50 AM Monday here in Brisbane Australia, and 3:50 AM in Berlin Germany along with Paris France. At any given moment there’s nothing I’ve said that isn’t resting heavily on someone else’s mind. Maybe those walls aren’t so big after all.

–

Paris/Berlin: 20 Years Of Underground Techno (Trailer)

Elliot Clarke, Monday June 10 2013

Photo credits: Hacienda, Manchester. Laurent Garnier.

Claudio PRC & Ness — The World Outside

Kana — Fri, 07 Jun 2013 06:28:23 +0000

ARTIST(S): Claudio PRC & Ness
LABEL: Phorma
RELEASE DATE: JULY 3 2013 (Vinyl only)

Both Claudio PRC and Ness have guided their takes on what establishes the basic structures of a journey so it’s good to see two old friends reconvening on Phorma 003. ‘Alchemist Of The Planet X’ would appropriately shadow a dense underground reconnaissance with the signature duress that both artists employ. ‘Nocturne’ resides in it’s own space on a similar tangent with a perhaps a sparse take on planetary system analysis.

Preview ‘Alchemist Of The Planet X’
Preview ‘Nocturne’

Kana Broadcast 041 Cosmin TRG

Kana — Thu, 06 Jun 2013 18:54:23 +0000

Romania has featured fairly heavily on our mix series since its commencement and this time around their flagship export coordinates a two hour special broadcast live from Trouw on the door step of his debut Australian showing. Cosmin Nicolae began constructing serious aural facilities that were more so apparent to the broader techno community after the release of “Put You Down”/”Broken Hearts” – a record that instigated the success of not just his own catalogue, but also that of it’s host, Hessle Audio. Since then, and what’s been two of the more definitive works on Modeselektors 50 Weapons, the two longer players “Stimulat” and “Gordian” have filled a void that no one else has really implemented with any decisive attainment of late. Despite a raw approach to analogue atmospheres, the product in it’s own modest dominance, reminds us how important it is to reinvent the basic foundations of circuitry accession. The story of aural progress and the engrained disposition of electronica’s pioneers would make appropriate company, I would like to think.

This special recording acts as an ambassador to what’s going to be a heavy party across Australia this weekend before the focus shifts to the United States. We’re looking at hosting an interview with Cosmin in the thick of the tour, so we’ll keep you across that as soon as we complete it. In the meantime, Cosmin TRG directs Kana Broadcast 041.

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TOUR DATES

FRI 07 JUN New Guernica, Melbourne, Australia
SAT 08 JUN Good God, Sydney, Australia
SUN 09 JUN Sugar, Adelaide, Australia
THU 27 JUN Make It New, Middlesex Lounge, Cambridge, United States
FRI 28 JUN VIA, 6119, Pittsburgh, United States
SAT 29 JUN ReSolute, TBC, New York, United States

Cosmin TRG // Facebook // Whatpeopleplay

Hironori Takahashi / Claudio PRC Remix – Sr-Ltd 001

Kana — Thu, 30 May 2013 06:08:33 +0000

ARTIST(S): Hironori Takahashi, Claudio PRC
RELEASE DATE: Unknown, Pre-order available now
LABEL: Shapeless Records

Only recently we threw up Takahashi’s showing on Informa alongside Echologist and Deepbass. Everything he’s doing of late puts across an intent of sincere quality and this continues the trend. Shapeless Records will host this release which also features a complimenting contribution from Claudio PRC. Deep broken charges rattle the original whilst the remix refracts a driving interpretation. It should have a few fans – Preview

Tracklist -

Hironori Takahashi – Parza
Hironori Takahashi – Parza (Claudio PRC remix)

M_Rec LTD – Grey Series 05

Kana — Mon, 27 May 2013 18:25:02 +0000

ARTIST(S): Donor, Truss
LABEL: M_REC LTD.
RELEASE DATE: JULY 1

“It was fate,” she said. “Inevitable,” he replied.
“Us meeting like this…”
“…Against all the odds.”
“I mean. We’re so different, you and I.”
“Worlds apart,” he agreed. “It should never have worked.”
“And yet, here we are.”
“In transition.”
“In transit,” she quipped. “Always together, even when apart.”

And with that M_Rec LTD’s latest churns into fruition. It’s the next instalment in an evolving series that houses the theme of distorted surveillance equipment. It’s with that, in the condensed synergy of tomorrow and the day after, that best encapsulates the work of labels and artists that are willing to incorporate visual media – Preview

Kana Broadcast 040 Ness

Kana — Mon, 27 May 2013 15:36:16 +0000

It takes a lot to impress people in this scene as the years pass us by but Andrea Deplano has done it seamlessly of late, more so than ever. It’s even harder to find someone with a warm outgoing attitude, and the ability to convey it goes a long way to securing a kind of exposure that’s derived from having a genuine love for building the community, as opposed to tiring grabs for attention. It’s an event in it’s own modest way, and it’s this perspective that’s been the uncompromising basis for his success across Phorma, Synewave, M_Rec Ltd., Informa & Prologue. That’s even before touching on his own imprint Mono as well as a fresh project alongside Scam. and Alessio Pili titled ‘Frames of Thought’.

Above all the noise and traffic of mediocrity, inbound collaborations alongside Claudio PRC, Deepbass, Jeroen Search as well as remix duties will litter the remainder of the year. We’d also strongly advise getting yourself along to the Artmospheric Festival where he’ll line up with Donato Dozzy, Monolake and Brando Lupi & others in the West Balkans mountains. Deep space exploration and subterranean tunnel surveillance would be an accurate summary.

Ness drives Kana Broadcast 040.

** Tracklist

01. Michael Mantra – A Stream Version III ( Sonitus Eco Remix )
02. Akamoi – Enki III
03. Exium – Novakron
04. Traversable Wormhole – Worldline (Orphx Remix)
05. PVS – Rome Is Burning
06. Manu C. – Afraid Of Reality
07. Attemporal – Att4 (Future16 Remix)
08. Abdulla Rashim – Semien Terara 2
09. Claudio PRC & Ness – Alchemist Of The Planet X
10. Vatican Shadow – There Was A Black Banner On The Floor
11. Kangding Ray – Tempered Inmid
12. George Paar & Giorgio Gigli – Life Is Not Dead Yet (Giorgio Gigli Variation)
13. Kirk Degiorgio – Borel (NX1 Remix)
14. The Parallel – Epoch
15. Hironori Takahashi – Jazert

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Kn: There’s quite a lot of you guys who have been making big waves in the heavy space fuelled techno from Italy in recent years. How’d you get to where you are musically?

N: Yes, I can say that nowadays I find a lot of interesting producers. The field in which I move on now is the result of several years of exploration and experimentation which led me to have a more refined sound and in which I rely completely. I looked out to Techno music relatively late, the first approach to production dates back to 2005-06, but I’ve listened to a lot of music even before throwing myself into djing. I also believe that staying within a certain musical context you always need to invest time and energy in listening to many tracks, especially those coming out from the pioneers in this genre. There are many artists who have influenced me through the years and also discovering new talents occasionally motivates me to push forward and contribute to the growth and evolution of the Techno scene.

Kn: We had a brief chat last week and the topic came up about the importance of a “family orientated” professional environment. What model do you think works best as far as dealing with labels and agencies is concerned?

N: Being able to work with people I know personally definitely has advantages. But I think it’s very important not to mix friendship with work because often you find yourself taking difficult choices that go beyond being friends. I’m lucky enough to cooperate with people whom I have a great respect and the important thing is that for any problem we find ourselves discussing it calmly and intelligently. In response to the original question honestly do not know what is best, I think it’s a personal choice.

Kn: There’s also a number of quality techno producers who have a background in sound engineering in the context of study, which doesn’t come as any surprise. A lot of younger punters may consider it a viable path. What did it teach you that you use in your own music now?

N: Although for a short time, I believe that the studies I’ve done in sound engineering have helped me to approach music according to certain criteria. When it comes to electronic music, there are theories which are not fully applicable as they are for example in pop music. However in electronic music you have more space for experimentation and you are able to push yourself into unexplored territories, which is one of the strengths of this music.There are a few basic rules you should know when you open a sequencer or when you turn on a synthesizer, awareness also to know what you are going to modulate, boost or cut … but there is also one component of unconsciousness which often brings unexpected results … one of the reasons I love doing this music!

Kn: …while we’re on production, how are you feeling at the moment with any fresh tools and/or gear that’s around?

N: Given the fact that my current setup is very small at the moment (Ableton Live / Akai APC40 / Maschine), I think it’s always an extra motivation to deal with new tools and technologies. Over the years I’ve tried to optimize my resources to the maximum with the digital tools that I use. In the past I had few analogue equipment however now I work exclusively in digital and overall I am quite comfortable with that, but I think that soon I’ll go back using some synths or grooveboxes. I’m considering this if I would ever perform a live set, I’d get something more than just a computer and a controller to tweak.

Kn: Looking out a bit further too – any visual projects, tools and/or ideas you’ve been playing around with? Does it have an important role with techno as we continue to push forwards with presentations?

N: Currently I have no projects related to visual arts that concerns me personally. I can say that it has always been something that interests me but I didn’t have the time and chance to explore it properly. I think that combining music with visuals is something that enhance both and strengthen the message coming out. I can say that even in Techno lately a good video preview for a new release creates expectations around the project. What my friends NX1 are doing is an example of what I mean – for every new record they have conceptualized a video that fully represents their aesthetics.

Kn: …any thoughts on music for film? Any ideas of your own you’ve harboured?

N: Music for film…for a while I thought of this as a new challenge, something pretty exciting, but I think it requires an effort truly remarkable. Let’s see in the future … who knows?

Kn: The important stuff. Any news we should know about regarding tours, music and life in general?

N: Yes, at the moment I’m still busy with collaborations which I started some time ago, and I have as upcoming releases 2 Ep with Claudio PRC on Cannibald and Phorma , 1 album as The Gods Planet on On2sides, 1 track in a V/A with Deepbass/NX1/Jeroen Search on Informa Records, then several remixes for Alessio Pili on Gynoid, Sonitus Eco on his new label Haar Records, Gianluca Angelini on C.R.S. and for Woo York made together with Deepbass on Planet Rhythm. About gigs there are two important nights in the schedule, I’m going in Barcelona for the night managed by my agency Rising during the Sonar Week on 13 June playing on a special back to back with Deepbass, and I’m really looking forward to 12/13/14 July for my first appearance at Artmospheric Festival near Sofia in the West Balkans mountain where I will share the dj booth with some nice guys as Donato Dozzy, Monolake, Brando Lupi and Eric Cloutier among the others!

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