Mar 4, 2015

MIX: Notsosilent Live 002 – Move D B2B Axel Boman

With events in Glasgow, Edinburgh and London, Notsosilent have made a real name for themselves over the past three years, and with live mixes like this doing the rounds, it’s easy to hear why. With consistently on-point bookings, the guys have arranged some pretty special back-to-back sessions, with many of them hosted in Glasgow’s intimate sweat den, La Cheetah. Inviting two of house music’s most exquisite DJs, Move D and Axel Boman, to play alongside each other at Notsosilent’s second birthday, we now have five hours of quality club action to listen to and perhaps one of the finest ‘taps-aff’ moments in recent memory.

Notsosilent set the scene…

"Here's a recording from our 2nd birthday at our intimate basement home, La Cheetah Club in Glasgow. We invited two of our favourite selectors from the last couple of years, Move D and Axel Boman, back to help us celebrate and, as anticipated, shit got crazy. David & Axel went to town on the basement - which felt like the sweatiest place on earth - for an insanely fun five hours. As always, success was measured in the number of bare torsos on show and our two DJs went into ‘taps aff’ mode for the last 30 minutes, swiftly followed by at least 80% of the club. Crazy scenes, crazy fun."

Keep an eye on Notsoilent's Facebook page for announcements on new events.

Notsosilent on Soundcloud
Notsosilent on Twitter

Mar 3, 2015

COMPETITION: Numbers Presents Anthony Naples

Like a great DJ, Numbers know how to both entertain and educate. With past parties boasting everyone from Rustie to Dance Mania stalwart Paul Johnson, it’s hard to guess who the collective will invite to Glasgow’s dancefloor next - and we like it that way. This Friday, Numbers return with a debut appearance from Berlin-based American, Anthony Naples, a producer who's been steadily dropping tech-tinged house for the last three years, attracting an impressive fan-base in the process.

Without much in the way of an online presence, this is someone who lets the music do the talking. Naples’ debut release on achingly hip New York label, Mister Saturday Night, introduced to us to a sound which is hedonistic, textured and moody. His music is built for the dancefloor but also sounds equally impactful on your headphones, with subsequent releases on The Trilogy Tapes and Rubadub’s in-house label transcending the club. Having just released his debut album, 'Body Pill', on Four Tet’s Text Records, Naples has entered a new stage in his career, and much like Numbers, we’re not sure what is coming next.

Check out a track from Anthony Naples ‘Body Pill’ LP below, as well as his debut release on Mister Saturday Night and our competition:

COMPETITION: We’re lucky enough to have two tickets to giveaway to this Friday’s party with Anthony Naples courtesy of Numbers, and as much as we’d like to keep them for ourselves, you probably deserve them more. If you want to grab them, simply head over to the SynthGlasgow Facebook Fanpage and type NUMBERSxNAPLES on the wall. We’ll select a winner at random this Thursday afternoon.

Terms & conditions: Please note that this prize is for two places on the guestlist for Numbers this Friday (6th March). There will be one winner. The competition closes at 5pm on Thursday 5th and the winner will be notified via Facebook comment (please check your Facebook entry in the hours following the closure of the competition). The winner must be 18 years or older. After we have passed on the winner’s details to the event organisers we then pass on responsibility for entry on the night.

Anthony Naples plays alongside Spencer this Friday at the Sub Club. Advance tickets are available from Resident Advisor priced at £10.00.

Anthony Naples on Resident Advisor
Numbers on Facebook
Numbers on Twitter

Mar 2, 2015

NEWS: Sub Club Announces Sub Hub For City Centre Loft Space

The Sub Club will be celebrating Glasgow’s vibrant electronic music, clubbing and creative scene this spring with a new venture called Sub Hub. Set to take place in a unique loft space above the city’s bustling Buchanan Street, the month-long programme taking place from March 26th to April 26th will aim to showcase “world-class heavyweights and some of the city’s most cultural, musically relevant and cutting edge artistic institutions for a unique pop up experience."

So far Red Bull Music Academy have confirmed a live breakfast broadcast from the ‘Hub’ with the likes of Harri & Domenic, Optimo, Nightwave and Inkke taking to the airwaves on March 29th, while Glasgow’s influential Subcity Radio (who celebrate 20 years of broadcast this year) will also be streaming live throughout April. There will also be an on-site café with food from one of the city’s finest local establishments as well as a fully licensed bar.

With the focus very much on interaction, you can expect workshops, events and socialising to punctuate the programme, with some of Glasgow’s most respected creative and cultural brands taking part to make Sub Hub an invaluable experience. For those who think they might have something interesting and relevant to offer the programme, whether it be from a musical, artistic or journalistic background, you’re invited to send full detail of your ideas to for consideration.

Sub Hub will take place in a Glasgow city centre loft space from March 26th to April 26th, running from Tue-Sun. Keep an eye on the Sub Hub Facebook page for announcements on events, entry and tickets. Further detail can be found on the Sub Club website

Sub Club on Facebook
Sub Club on Twitter
Sub Club on Instagram

Feb 26, 2015

SYNTHGLASGOW RADIO 007: The Nuclear Family

We’re all in agreement that it’s been a solid start to the year in terms of new music, and February’s radio show certainly stands testament to that. Sampling a cross-section of Glasgow’s electronic spectrum, we have tracks from Debukas, Kevin McKay, Jetsam and S-Type to bring you this month, as well as a hypnotising guestmix from The Nuclear Family. Having just released a new EP, ‘Come Dine With Us’, on their own label, this is the perfect time to delve deeper into the Nuclear sound, with 30mins of pure unadulterated groove.

Listen to the show and check out the tracklisting below:

1. Debukas – LBMA (2Sox)
2. James Johnston – After Everything (Alex-Ander Remix) (No Matter What)
3. Kevin McKay – Check It (Toolroom)
4. The Burrell Connection – Malines Avenue (West End Communications)
5. Imami – Iridescent (DJ Milktray Remix) (Tessier-Ashpool)
6. S-Type ft/ Inkke – Ice (LuckyMe)
7. Arm Watches Fingers – Mori Kara (Crater Cove)
8. Jetsam – Shore (Soundcloud)

- The Nuclear Family in the mix –

9. Merwyn & Inkswel ‎- Eternal Freedom [Linkwood remix] (Hot Shot Sounds)
10. The Nuclear Family - CDWJ Dub (The Nuclear Family)
11. Cloudface - Reduction (Opal Tapes)
12. Hashman Deejay - Mercury (Future Times)
13. Wavescape - Retropolis (Animal Instinct)
14. Joe Europe - Out of the Park (Bokhari)

The Nuclear Family ‘Come Dine With Us’ is out now via Rubadub. Check out the previous edition of SynthGlasgow Radio featuring a guestmix from Bessa, here.

SynthGlasgow on Facebook
SynthGlasgow on Twitter
SynthGlasgow on Instagram

Feb 25, 2015

GET TO KNOW: Becoming Real
WORDS: Alex Caslano

It’s probably every producer's worst nightmare, but when asked about losing his debut album in a gut-wrenching hard drive crash, Toby Ridler aka Becoming Real is surprisingly accepting. “Losing loads of music is no biggie” he says without a hint of resentment, “I have no real reason to make music; I only make it as it’s like an addiction. The process of making and what you learn from it - that’s what’s exciting for me.” After a string of acclaimed EPs which started with 2010’s ‘Fast Motion’ and saw the experimental producer draw on his love of grime and punk to create warping, abstract beats, Ridler’s debut long-player was highly anticipated. Its demise however, would arguably prove part of the plan.

In the aftermath Ridler split his time between Glasgow, London and Norway, setting up the Zone collective and label with visual artist and ex-Divorce bassist Vickie McDonald; electronic music meanwhile (and particularly bass-driven and experimental music), was also becoming less insular. “Even when the London scene seemed experimental and producers were trying new things, it was always confined to a certain scene” he tells us of his formative years. “It’s only recently that all these borders have more or less dissolved. That’s probably why I started thinking about releasing stuff again.”

Collaborating with Vickie McDonald on new project, MOURN, Ridler has also just released a solo EP called ‘LQD OIL’ which finds him at his sonic-booming best, delivering both jungle-infused hyper rhythms and beatless soundscapes (“‘Grime Lord’, for me, sounds like a fine neon green silk being draped over a cathedral” he suggests). With his debut album rescheduled for release on Transgressive, the old adage ‘everything happens for a reason’ has never been so appropriate.

Listen to the ‘LQD OIL’ EP below and check out our full interview with Becoming Real in which we talk more about his attitude towards making music:

SG: It’s been two years since your last release, punctuated by a very unfortunate incident with your hard drive in which you lost your debut album. What were the implications in terms of writing music after that happened? Was it hard to pick up where you left off?

BR: Hello, the implications were just keep making stuff. I have no real reason to make music; I only kinda make it as it’s like an addiction almost; I love the finesse of honing what you’re making and I make a lot of music, so losing loads of music is no biggie because the process of making and what you learn from it (production/composition/synthesis etc) remains. That’s what’s exciting for me: tightening the design, focussing and condensing ideas - minimalism basically; so I think I have a way of thinking that suits losing a load of tracks.

SG: Your new release, ‘LQD OIL’, is superbly engaging; do you write music with a firm idea of how you'd like it to sound, with a concept in mind?

BR: When making stuff I don’t plan for it to be of a certain ilk, it’s just a natural thing; I like to think of the process as an investigation. When you produce for a certain amount of time a dream like relationship or dialogue builds up between you and sound, when you are completely in the moment nurturing an idea and experimenting. After that point it becomes much more like an equation, so it becomes less abstract, and really quite formal; you’ve got the bones of an idea, and you now need to figure out how to convey this idea within the architecture of a song. I do always want the music to be onomatopoeic to sound, like you can taste it - really bright hues that you can roll around in your mouth. The track ‘Grime Lord’, for me, sounds like a fine neon green silk being draped over a cathedral.

SG: We read a few interviews from around 2010 in which your music is described as everything from dubstep to warped RnB; when you first started writing music did you think about where it would fit in? Was that ever an issue for you?

BR: There are elements of the genres you mentioned that were probably in my work at that point; I was more from a grime background though - grime and punk - so it was a weird combination of things to bring to the table at that time in the music scene. As to where something would fit in, is that ever an issue for anyone? Back then it wasn’t really about anything for me except making and experimenting; I was never part of any club scene back then, I was just kinda orbiting on my own. Even back then when the London scene seemed experimental and producers were trying new things (rhythmic structures, tempos etc), it was always confined to a certain scene; there where perimeters to work within and I think it’s only recently that all these borders have more or less dissolved. That’s probably why I started thinking about releasing stuff again.

SG: Generally, when most artists start making music they tend to be influenced by other producers, but when you’ve been making music for a few years you tend to grow into your own skin; is there anyone who has really intrigued you over the last couple years or had an impact on your sound?

BR: I listen to music, so yeah things creep in; but you’re right, after a couple years your agenda becomes stricter, I suppose. I became fascinated by marching bands for a while; I bought loads of 7"s with recordings of lectures being given about experimental medicines which really made me think about what it is to sit and listen to something without seeing its sound source - diegetic and non diegetic music. Music-wise, I’ve been enjoying Sophie, Earth, AFX and the Haswell/Hecker/Mego crew; but mainly it’s been joining up dots between different design elements/styles/motifs/rhythms I’m interested in.

SG: You moved to Glasgow from Norway, setting up a label and collective called Zone with Vickie McDonald; can you tell us a little about the origins of Zone and what you promote?

BR: My time is split between Norway, Glasgow and London for the time being. I did a lot of growing up in Norway; that’s actually where I came up with the name Becoming Real. There was a guy I met when I was trekking in the North, and he called himself ‘Lord Real' - my Norwegian is terrible, but I think his real name was Varg or Varns or something; either way, I had been studying a lot of Lacan (controversial French psychoanalyst, Jacques Lacan) and the name just kinda sprang from that. Zone came about a bit before Glasgow, but yeah, I basically wanted to set up a collective/label, and had done so for a while; I approached Vickie with the idea and she too was looking to get something started, so we took it from there. Zone for now is a creative hub; we have a couple different projects going on, and as a collective we've just signed some new folks to release and have a couple non-audio projects coming up as well.

SG: You’ll be playing live alongside Design A Wave at a Night School Records event this Saturday; do you like to experiment and manipulate your music in the live environment? And what can we expect from your forthcoming album?

BR: Yup, live will be fun! The album is like a quilt patchwork, comprised of tracks I’ve made over the last 4 years or so; I think of it as a document, but it’s more fun than a document. Rashad Becker actually mastered it; he's someone I've been trying to work with for a while.

Becoming Real ‘LWD OIL’ is available now via Bandcamp. He plays alongside Design A Wave, Tippex Days and Wilt Wagner at a Night School Records party this Saturday at The Flying Duck.

Becoming Real on Soundcloud
Becoming Real on Facebook
Becoming Real on Twitter