The programming will include various keynote speeches and open conversations to discuss how music can take a more future-forward approach through the use of new technologies. The developers of IPx also hope to keep the conference open source, meaning that the participants will collectively drive the discussions and the programming of the event as a whole.

IPx is helmed by former Amsterdam Dance Event (ADE) director Richard Zijlma, who was also behind the Eurosonic Noorderslag conference serving as general manager.

“After my journey at ADE, I started working on several projects, all of them of course music-related. I always like the process of starting new projects, as well joining them from the beginning and to slowly bring them to life,” Zijlma said in a statement. “There is a global movement that works towards a fairer revenue stream for every artist. With IPx we are aiming to accelerate this process, in order to shape the future of the music industry together.”

More details are still to come on the multi-venue IPx gathering in Zurich’s city center, including how to apply for attendance. Visit IPx’s official website for more details.

Rave One! is Walsh’s first solo publication in his 30-year photography career; he previously contributed work to IDEA publications like Spike Island, which documented fans attending a Stone Roses concert on the eponymous island. The same approach is taken with Rave One!, which highlights occasions experienced by Haçienda attendees during the club’s glory days.

Hundreds of photos shot within the iconic venue have been compiled in Walsh’s latest work, giving readers a glimpse of the “Madchester” years and the bustling acid house scene that came about during that period.

1,500 copied of Rave One! have been printed. At the time of writing, IDEA’s official website is sold out of the book, however there are alternative sources listed where U.K., U.S., and E.U. customers can find a copy.

Visit IDEA’s blog to look at more photos from Rave One!, and Peter J. Walsh’s official website for more from the photographer.

Selector’s Sounds series follows a procedure that puts music quality before status or industry relationships. Learn how it works.

Lower tempos and breathing room might not be in high demand in the current techno market, but Bleepazoid by Mike Parker challenges that paradigm. With his full EP debut on Kynant Records, Parker dispatches a fresh supply of psychedelic soundscapes that don’t shy away from experimentation.

Mayhem ensues off the bat as the the exquisite “Heat Inducer” opens the release with saturated cymbal work and a delayed clap over the the rising bass line. Its metamorphosis from a low-key introductory elements to the highlight of the arrangement comes about through clever modulation and filtering. As the bass line develops through repetition, the atmosphere builds itself through reverberation in the alarm-like synths and expert drum work.

“Bleepazoid (Part 1)” brings the energy down with a lower tempo, still very much focused on modular synthesis and off-time repetition. The star of the show remains the acid-tinged synth work, but the cadences and pauses between leave plenty of room to take it all in. “Bleepazoid (Part 2)” flips that notion on its head, trading in the upfront synth lines for a deep and full-bodied, yet subdued ambience elevated by a dark and broody lead and rumbling kick drums.

The EP closer, “Kinetic Statues,” mirrors that sentiment. It retains all the deep elements of the previous track and ties in a low tempo and jarring bass elements that feel like the culmination of all of Bleepazoid‘s offerings. A cheeky sub sweep adds to the subtlety of the groove, but “Kinetic Statues” feels more about introspection and reflection than dance floor presence.

A compelling Kynant Records debut, Mike Parker’s Bleepazoid serves as a reminder that experimentation can provide truly stunning results. Parker’s signature sound is more than evident on the release, and Bleepazoid furthers an already impressive catalogue in the producer’s next chapter.

Bleepazoid is available for purchase in digital and 12-inch vinyl record format via Kynant Records Bandcamp.

Selector’s Sounds series follows a procedure that puts music quality before status or industry relationships. Learn how it works.

Los Angeles DJ and producer Truncate has celebrated the 10th anniversary of his eponymous record imprint with the release of a techno EP titled First Phase. With the help of techno royalty James Ruskin and Luke Slater (A.K.A. Planetary Assault Systems), the effort delivers two original Truncate works alongside an array of remixes.

First Phase‘s namesake track sees Truncate experiment with a hypnotic, shuffling sound as the tune progresses through a percussion-driven rhythm laced with a morphing, siren-like synth and jarring toms at the base of the groove. Planetary Assault Systems serves up three unique remixes of the original, taking the percussion even further on his first rendition with intricate drum work and precision shakers.

The first of two “PAS Jams” dials back that drum work to give way to arpeggiated synths in a higher register, as a rolling, reverberated accent synth gives an eerie ambiance to this space-age rework. The second takes the concept even deeper, retaining focus on the arpeggios in a more subdued fashion that emphasizes the low end of the frequency spectrum. The groovy rhythm remains throughout each of Planetary Assault System’s offerings, but every one of his remixes is characterized by a sound all its own.

“The Eve” takes an acid approach, with Truncate’s original still focused on the drum work courtesy of rolling toms and syncopated 909 claps. The hypnotic melodies instill an anxious atmosphere, suiting the track well for peak-time selection. James Ruskin serves a more powerful kick drum to underscore the groove, taking “The Eve” to new heights with a jarring and boisterous remix that puts the stereo field to the test.

Truncate’s First Phase is a testament to the strength of his own imprint, and a pure reflection of the reason he’s become a respected techno act over the years.

First Phase is available for purchase in digital and limited splash color 12-inch vinyl record format via Truncate Bandcamp.

Selector’s Sounds series follows a procedure that puts music quality before status or industry relationships. Learn how it works.

Glasgow-based techno producer and DJ b.mod has made his Liberta Records debut with a techno EP titled Colombre. The Italian native has delivered a diverse and exciting expansion on his sound with three groovy, rhythmic offerings.

The title track opens the release, serving up an unsettling noir atmosphere spearheaded by modulated synth work and saturated percussion. The tension builds to a crescendo midway through the arrangement as the energy waxes and wanes through delay and reverb. “Funk Dealer” provides even more of a groove through a tastefully simplistic bass line that acts nearly percussive, and subdued synth accents drive the track forward alongside cheeky hi-hats and a skillfully processed vocal sample.

Playing Colombre out, “System Reboot” highlights percussion even further with its rolling toms and shakers, while a synth stab jabs its way to a future-forward vocal sample right at the track’s peak. Cleverly placed cymbals and claps give the song a syncopated groove, as b.mod continues to morph the synths and vocal samples to keep things fresh. The playful final track rounds out the stunning Colombre in a memorable fashion.

Already cementing himself as a rising name in techno with three striking Animal Farm releases, Colombre expands b.mod’s repertoire with a more rigid, experimental sound on his Liberta debut. The EP can be purchased in digital format via Liberta Records Bandcamp.

Selector’s Sounds series follows a procedure that puts music quality before status or industry relationships. Learn how it works.

In late 2020, Bulgarian producer, DJ, and singer Gabriella Vergilov‘s “The Love Anthem” was released as part of Northern Parallels‘ Gradual Landscapes compilation to much acclaim. Now, four remixes for the track have been released, each one bringing with it a unique and exciting take on the original. In addition to Lindsey Herbert, Ray Kajioka, and Mike Derer, Vergilov has also put forth her own alternate version of “The Love Anthem” as part of the remix package.

Herbert, who hails from San Francisco, kicks things off with a driving, hypnotic techno spin that employs Vergilov’s vocal samples as a rhythmic element. She repeats them in sync with the rolling bass line and percussive elements to create a perfect peak time atmosphere. Kajioka’s remix highlights syncopation in the drums with a sizzling off-time snare and ride cymbal that change the groove of the track, as it builds toward an airy, pad-laden breakdown that mirrors the melodic elements of the original.

Subdued drums give way to a distorted synth lead in Derer’s minimalistic rework, giving the track room to underscore the vocal samples in a dreamlike fashion. Vergilov herself rounds the release out with her “Acid Bang Remix,” which lives up to its name with a playful arpeggiated synth that evolves throughout the song as a dirty kick drum punches through. The remix is entirely different from its ethereal original, trading in a soothing atmosphere for a more upfront and aggressive approach.

With the help of three skilled techno compatriots in Herbert, Kajioka, and Derer, Gabriella Vergilov’s latest offering only further progresses an already impressive catalogue that includes releases on Enemy Records, PALINOIA, Suara, and more in addition to her previous offerings on the Northern Parallels imprint.

In celebration, 23-year-old Oslo venue Blå held a reopening party the same night, an apparent success judging from their recent Instagram post. Other local clubs like Jaeger had already been open for some time, but also joined in on the festivities, hosting their own parties to mark the occasion.

“It’s been a trying year for everybody in our efforts to find some median between these arbitrary restrictions and the essence of what Jaeger is, and it brings us great pleasure and relief to finally be able to do away with these rules,” the club said in a statement.

Still other venue operators have opted to set back their reopening dates, favoring a more planned approach. The Villa will host a grand reopening on October 15th, nearly three weeks after Norway’s restrictions were lifted.

Without the COVID-19 prevention measures in place, all venues and social spaces will be allowed to operate at full capacity without social distancing measures.

The label, who released some of Smith’s most beloved albums like Think! and Turning Point, confirmed the news with a statement. “We’re deeply saddened to announce that Hammond B3 organ legend Dr. Lonnie Smith passed away today at 79 years old,” it reads.

Others took to social media to pay tribute to the influential musician.

Dr. Lonnie Smith, an NEA Jazz Master known for his dynamism and wizardry on the Hammond B3 organ, died Tuesday at the age of 79. https://t.co/GYfFN2Ulfq pic.twitter.com/PGLerZrQlB

— NPR Music (@nprmusic) September 29, 2021

Just got the very sad news about my friend and one of the Legends of The Organ, Dr. Lonnie Smith has made his final transition. He’ll be missed dearly, but never forgotten. He brought much joy to the world with his music. Love you Doc!! RIP pic.twitter.com/6vn4hbO3rt

— Joey DeFrancesco (@JoeyJazzOrgan) September 29, 2021

"I let my body play what’s in my heart. I play life instead of notes."

-Dr. Lonnie Smith

pic.twitter.com/3KTt3m7eR4

— Moog Synthesizers (@moogmusicinc) September 29, 2021

“Doc was one of the funkiest and most inventive organists to ever walk the earth and we were proud to bring this remarkable man’s joyous music to fans all over the world,” Blue Note Records continued in the statement.

“Goodbye to grandmaster Dr. Lonnie Smith who was nothing but pure soul and the best musician I ever played with,” said Dr. Smith’s friend and recent collaborator, Iggy Pop, in his own tribute. “Thinking of you and yours.”

Dr. Smith and Iggy Pop had released a cover of “Sunshine Superman” and a collaborative track called “Move Your Hand” this year.

In 2017, Dr. Lonnie Smith was awarded the title of NEA Jazz Master. He passed away from a heart condition called pulmonary fibrosis.

Selector’s Sounds series follows a procedure that puts music quality before status or industry relationships. Learn how it works.

Spanish producer ORBE has landed his first EP release on Token Records: the hypnotizing Transhuman. Tying together intelligent sound design and a taste for the warehouse aesthetic, ORBE’s debut on the Belgian label is set to stun.

The EP opens with “FM-2030,” a trance-inducing dark techno offering with a rich and boisterous soundscape driven by a nearly liquid lead. As the rhythm moves the track along, the splashy lead exhibits impeccable sound design against a glassy, atmospheric pad.

“Extropy” takes the same approach. Albeit more subdued than the EP opener, the track follows the same formula complete with booming bass and clever percussive elements and effects.

Transhuman‘s namesake offering is more acid tinged, building suspense through an ever-evolving lead synth that morphs across the six-minute arrangement. A powerful kick drum moves things along as “Transhuman” continues to mutate through off-kilter modulated synth work.

A warping synth lead also rounds the release out on “Posthuman Being,” a peak time roller whose sound design mirrors the aquatic inspiration that opens Transhuman. At times, the lead feels submerged, letting the calculated percussion float above – but it returns with a vengeance again and again throughout.

Transhuman sees ORBE (real name Fernando Sanz) wonderfully follow up his Abstract Reasoning release, Retrofuture, with a sonic delight that capitalizes on his futuristic and ever-improving style. His eponymous imprint, ORBE Records, has seen the producer cultivate a large following and faithful community, garnering the support of acts like Rødhåd and Marcel Dettmann.

ORBE’s Transhuman EP can be purchased in both digital and 12-inch vinyl record format via Orbe Bandcamp.

Aptly hosted by Electronic Church, and in collaboration with Tresor, TAG DER CLUBKULTUR, and Unbox, the event will pay homage to the late tastemakers as part of a weekend-long event called Safer Spaces – Build Bridges, Not Walls! K-HAND, Loveland, and Huckaby all passed away within the last 18 months. Oldham will perform a set of K-HAND tracks, with Mareena paying tribute to Huckaby, and finally Plaslaiko honoring Loveland.

“Whether you’ve been to a church or electronic music club all the time or never before, or you’re just curious about all the worlds in between, everyone is invited to come and open your eyes and ears at this peace-loving meeting place,” reads the Safer Spaces event description. “To build bridges and tear down walls. To be united through the language of music.”

The free weekender also includes DJ sets, live music performances, and dance as the city’s nightlife begins to spring back to life after the lockdowns instituted for safety in response to the COVID-19 pandemic. Recently, famed Berlin club Berghain announced that its Klubnacht events will return beginning October 2nd.