überlin

Music Montag: WILDE

by James Glazebrook

WILDE

Such feels. Part-time Berliner Giselle Mapp has been splitting her time between here and her hometown of Toronto for two years now. Back in Canada, she works on crystalline productions with the remainder of WILDE, Brandon Merenick and Olutobi “Nyra” Akinwumi, while she spends her time in Berlin seemingly collecting experiences and, yes, more feels. At the risk of projecting, we can hear the self-reflection imposed by time spent abroad in Mapp’s introspective lyrics:

When I wrote this song, I was going through a lot of feelings, and emotions about who I was, where I am going. There were so many colours and shades of myself layering each other. So I wanted to be reminded, and when I was I felt sure again. I felt the best part of myself that kept me going, coming back, ready to help and love the rest of me. You’ll find the best part of yourself flashing by you, and in an instant, it’s gone again. But it will be there, and it will always come back. Like a whisper in the ear, you’ll remember it, like soft words.

Submerge yourself in “Flashlight”, and go to WILDE’s website for updates on the forthcoming EP, which includes remixes by Nick Catchdubs and Esta of Soulection. Should be deep.

Music Montag: André Uhl, “Black Box/Outside”

by James Glazebrook

André Uhl live

André Uhl is one of Berlin’s most gifted electronic producers. Since we last featured him, he’s been working on getting his live performance tight, as evidenced by these shots of his moody audiovisual sets. His latest release, out today on Bad Panda records, is typical of his meticulous style, with darkly cinematic synthscapes woven through with deep, intricate percussion. Listen to “Black Box” and “Outside” right here, and visit André Uhl’s Bandcamp to download the tracks. Start off your Monday mean and moody!

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Music Montag: Ballet School vs. Madonna vs. Beyoncé

by James Glazebrook

Since Ballet School dropped this a couple of weeks back, it hasn’t left our virtual turntable: their cover of Madonna’s “Justify My Love” and Beyoncé’s “Partition”. Something of a statement of intent ahead of the band’s US tour, their dream pop mashup of Ms Ciccone’s critically-panned creative peak and undeniable, world-domination Bey comes with good reason. Here’s singer Rosie Blair:

When “Justify My Love” came out, it made perfect sense because it is the sound of the world’s most powerful woman reaching her early thirties sexual peak. Like, it figures. For about five years after this Madonna released nothing but explicitly sexual music and was totally punished for it. She rarely refers to it now but it was the lowest period of her career, critically speaking. Every time she did an interview one of the questions would invariably be “Do you think your career is over?” I mean, how rude. Beyonce’s “Partition” is the same vibe, a woman in her early thirties reaching maximum velocity with her sexuality except this time, Beyonce was critically acclaimed for her work. The juxtaposition between the two songs is one that is just as important for me culturally as it is musically. It makes me think that it’s worth putting your ideas and perspectives out there as a female even if you get a kicking, ’cause there’s always a bigger picture. This is the definition of “influence.”

Music Montag: Ghettozoid

by James Glazebrook

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Berlin is the adopted home of an almost unbelievable number of formidable female performers and producers. Just a week after XOSAR’s none-more-black metal mix, we discovered some equally dark, but more pointedly danceable music from Sophie Ruston AKA Ghettozoid. She seems to have been laying low for a year or so, so we’re dusting off some classics that remind us of peak-time Miss Kitten being sternly told off by Anne Clark. If you’ve got the good sense to like your synth music shrouded in smoke, and your bass be-bootied, then get more Ghettozoid right here.

Giveaway: win 2 tickets to EYEHATEGOD!

by James Glazebrook

EYEHATEGOD

EDIT: this competition is now closed. Click here to see if we’re running any open competitions]

EYEHATEGOD are fucking legends! A cornerstone of the New Orleans metal scene, their caustic fusion of breakneck hardcore and crushing sludge spawned a generation of crusty-ass, iconoclastic riff monsters. Next Monday, the boys from the bayou are back in Berlin, knocking our socks/cocks off at Cassiopeia – and we have 2 pairs of tickets to give away! For a quick education on EYEHATEGOD, watch this stellar short documentary from Noisey, and scroll down to find out how to win two tickets to next week’s show!

HOW TO WIN 2 TICKETS FOR EYEHATEGOD AT CASSIOPEIA ON MONDAY APRIL 13TH (full event details):

Just leave us a comment below with the answer to this question:

(apart from EYEHATEGOD) What’s the best thing ever to come out of New Orleans?

You have until midnight on Friday 10th April to enter. GOOD LUCK!

The Boring Bit (yawn, RULES):

1. You must be 18 years or older to enter.
2. ONE ENTRY PER PERSON!
3. We will keep a record of each comment in a database and then a random number generator picks the winner.
4. Remember to include your full (real) name and email address, so we can contact you if you win.
5. We will notify the winner via email on Saturday 11th April.

Music Montag: XOSAR

by James Glazebrook

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What could be better than a techno producer who listens to a ton of black metal? XOSAR grabbed our attention with this TRVE KVLT mix for Red Bull Music Academy, which presents curios like Italian one-man band Tony Tears and black metal canon from the controversial Burzum, alongside the Californian’s own productions – blackened techno that goes bump in the night. If you like your electronics twisted into nightmarish shapes and smeared with dark mascara, check out XOSAR’s influences below, and listen to her own music on her SoundCloud.

Music Montag: Josh the Cat

by James Glazebrook

Josh_the_Cat---Let's-Start-cover-Web

Here’s a little something chill to ease you into the week: “Let’s Start” by Josh the Cat. Josh has appeared on überlin before, once as his Mez Medallion alter ego, and again as Phia’s long-time “collaborator” (that’s what me and Zoë call it too!). This time, the catman is back, with some serious Erlend Øye vibes and a track that he tantalisingly describes as ” a slowed-down early Twin Shadow meets a lo-fi Death Cab for Cutie, but produced by Childish Gambino”. Have a listen to “Let’s Start” below, and download it for free here. Have a good week :)