#Hoya:Hoya

[joemuggs]

Drexciya’s Kitsch Sublime

Apropos of a conversation about Drexciya’s odder Euro electropop influences, I was reminded of a WIRE review I did for the Neptune's Lair reissue in 2010.

Could Drexciya be the most perfectly-realised project ever to come out of Techno? The consistency of the huge body of work between 1992 and James Stinson’s death in 2002 makes almost any other artist in the field look like a woolly-minded dilettante in comparison. During Stinson’s lifetime, Drexciya’s anonymity was total: despite occasional (masked) interviews, his and his primary musical partner Gerald Donald’s names and identities were never publicly revealed, and their individual roles in the music and ever-developing mythos are still unclear. Their musical practice was severe, with every track’s sparse electronic groove relentlessly linear in structure and seemingly recorded live and without edits. The mythos was Afro-Futurism in excelsis, combining fierce working-class pride and engagement with racial issues with cosmic and utopian thinking, scientific and technological obsessions, and most importantly the creation of Drexciya itself: a black Atlantis peopled by aquatic descendents of drowned slaves, and a fluid imaginitive space where a play of identities and futures could take place.

1999’s Neptune’s Lair was the first Drexciya album proper following the compilation The Quest and also their first release for Tresor, and at the time, thanks to the Berlin label’s dominance, was a leap into the Techno mainstream. What is striking now, though, is how playful it is, even to the point of being wilfully silly in places. The methodology may be austere and the back-story dense, but the music is neither. For every moment of sublime cosmic scope or intense physical funk, there are kooky Star Trek special FX bleeps (“Species Of The Pod”, “Habitat O Negative”) or out-and-out kitsch B Movie sci-fi synths (“Quantum Hydrodynamics”). There’s also a strain of European cabaret camp to the synth pop of “Surface Terrestrial Colonisation” or “Oxyplasmic Gyration Beam” whose place in the post-Kraftwerk lineage is closer to Jimi Tenor or Felix Kubin than to Cybotron or Bambaataa. It’s this which has been taken to ultra-deadpan extremes in Donald’s later work as Dopplereffekt and Arpanet, and which perhaps most directly influenced Electroclash-era acts like Adult. and Peaches (Stinson went on record as being pleased with Drexciya’s influence on these artists, whereas he had criticised white Techno artists like Richie Hawtin for co-opting black musicians’ styles).

But the kitsch never undermines the lofty aims of the Drexicya project, and the reason is simple: behind the mystery and technology, they were ultimately a funk band. It’s explicit in the strangely dainty P-Funk squiggles and slick cyborg jazz-funk, and even the Belgian-style rave of “Devil Ray Cove” has drum fills and voice snatches that are unadulterated funk. Of all Detroit’s Techno artists, Drexciya were the ones with most overlap with the city’s speedy, resolutely non-cerebral Ghettotech sounds. Like James Brown, like George Clinton, like Sly Stone, they were able to short circuit any opposition between foolishness and seriousness, to bring dense layers of history, imagination and futurism into the party without succumbing to the po-facedness that dominated Techno in the late 1990s.

All of which explains why Drexciya are more relevant now than ever: electronic club music is currently undergoing a spectacular resurgence of The Funk. Their influence is obvious in the Glasgow’s Numbers/LuckyMe scene, most notably via Rustie whose early Voltaic releases were pure Drexciyan Electro and who has been remixed by Gerald Donald in his Heinrich Mueller guise. But whether it’s in LA’s Low End Theory or Manchester’s Hoya:Hoya club or Alexander Nut’s Rinse FM show, you can hear the crisp and witty sounds of Drexciya rising from the deep once again. It’s hard to say that this is the definitive Drexciya release – the EPs that preceded it had more raw soundsystem charm, and the deluge of releases that followed (no less than eight albums under different aliases in the final year of Stinson’s life) further finessed their techniques creating ever more immersive soundworlds and moments of overwhelming beauty. But as a centrepiece between these phases of their work, as their breakthrough record, and as one which feels as if its time has finally come, it couldn’t be a better way into their world.

[shemakesnoisefestival]

LOTIC

LOTIC presenta por primera vez en Madrid el show audiovisual Endless Power creado junto al escenógrafo Emmanuel Biard donde actuará dentro de una corona reactiva de luz prismática.

El compromiso con la investigación, la evolución de los sonidos electrónicos y la comunidad afrodescendiente y queer son las temáticas en las que se basa el trabajo de J’Kerian Morgan aka Lotic desde sus inicios. Su nombre significa de, relativo o que vive en el agua y resume estos 10 años de trayectoria artística, primero como DJ y después como productora trabajando una evolución del R&B distorsionado. Su primer largo, Power, editado en 2018, transformó miedos y vulnerabilidades en la consolidación de una gran fuerza individual. Su nuevo y liberador disco, Water, suma a la experimentación electrónica, su propia intensidad vocal reflexionando acerca de la construcción de género, la realidad racial y migrante y la globalización.

Tras su paso por los festivales Sónar, CTM y Rewire, esta es la primera vez que presenta en Madrid este espectáculo acompañado de todo un referente internacional en el juego de luces, Emmanuel Biard, artista que trabaja regularmente en las puestas en escena de clubs como Fabric o con promotores como Hoya:Hoya. Ha colaborado también en los montajes visuales de Evian Christ y Koreless.

Lotic, estudió cine y música en la Universidad Americana de Austin, en 2011 debutó con el oscuro y complejo EP More Than Friends. Al año siguiente se mudó a Berlín, huyendo del conservadurismo de su Texas natal y enseguida destacó en la escena nocturna como DJ residente en clubs como Berghain y junto al colectivo artístico, Janus, también con la salida de distintas mixtapes, llamando la atención de Björk, que llegó a afirmar; "Lotic es la DJ más salvaje que he escuchado jamás", colaborando con elle en las remezclas de Vulnicura e invitándola a abrir su concierto de 2015 en Berlín. Una artista mutante y sorprendente que experimenta la electrónica desde su activismo trans.

Fotografía de Helena Verheye

[nikeadidas123]

Les bottes ne se démodent jamais

Et Narciso Rodriguez à la mule est le parfait plat throw-sur-et-aller shoe, soit pour le bureau ou votre trajet du matin.Ceux qui ont accept�� que les premières et le plus rapide, déplacé vers l'avant. Ils seront disponibles chez certains revendeurs et par l'intermédiaire de l' bottine bottes enfant a confirmé l'app à Los Angeles, New Bottes d'hiver Homme Soldes York et Chicago. J'ai hâte de travailler avec notre équipe que nous inviter un plus grand nombre de consommateurs à ‘trouver leur fort. Loué par plusieurs comme le plus grand jamais de l'air, la coloris crème' était la verte colorway cette silhouette emblématique d'abord frappé les étagères. ‘Je pense que nous rend beaucoup plus unique lorsque vous considérez que nous travaillons dans une grande industrie dominée par les hommes. Marni métallique du Oxford est sûr d'être un parti staple - Une bonne chaussure brillant ne passe jamais de mode. 100 et a diminué de moins de Caleres Inc.L'Broncos était dirigée par son infraction rushing attaque, avec exécution Retour Ronnie Hillman revenant 117 mètres sur 15 et un touchdown. fonction fois affordabilityFinally fashion fois, quelle Botte De Neige Femme En Ligne est la prochaine étape pour gourmet. OnlineComing bientôt - Membres ummer Pack du refroidisseur vieux dans tous les asins.Dans les premiers jours comment active ont été Vous deux. Vous pouvez voir notre dernière collection du supra ici.et habitués de Manchesters célébré Hoya:Hoya nuit Jon Illumsphere K et qui a produit de la partition musicale pour le 'Donnez-moi votre classiques, et je vais vous montrer l'avenir' film.Pour plus de London Fashion Week's best 2015 bottes euro hiker, par la galerie.l'orange, rappelant la palette utilisée tout au long de dangers de sécurité et d'alerte, s'exécute sur le même thème, à l'aide de solides, résistants à l'usure des matériaux. Un style balistiques mesh lignes le toe box et talon, offrant une couche de protection le long de la colonne vertébrale du. 90 uits Botte De Neige Femme En Ligne lunaire liens' Pack (x4)Disponibles dans toutes les tailles.

www.botteshiver.com/

[affairesasuivre]

War - Fox - Produced by Chimpo - Estate Recordings

Manchester born, Jamaican educated MC Fox regularly hosts nights like Swing Ting, Hit & Run and Hoya:Hoya, to name but a few.

He recently released a genre spanning, thought-provoking and sometimes just plain funny six-track EP on Estate Recordings. With the curious title Shiddleywiddleyskangdangdiddleywoi, the collection was produced by Chimpo and is a kind of follow up to the duo’s 2012 classic Harder which they produced under the name of The Eyes.

Real name Philip Box, the MC has also recorded with people like Zed Bias, The Mouse Outfit, My Nu Leng and the aforementioned DRS. What’s more, he’s the most senior member of Manchester rap supergroup Levelz.

Described as a mix between Happy Mondays and The Wu Tang Clan, Levelz are the most hotly-tipped act in Manchester having clocked up several appearances on Radio 1, Radio 1Xtra and London’s Rinse FM as well as riotous appearances all over the UK.

[lanawork-blog]

[dl0lb]

Blue Daisy - An Emperor's Loss

"An Emperor's Loss" EP (Hoya:hoya - Oct 2013)

[crayondundee-blog-blog]

For this Halloween on Thursday we've got Jon K ( HOYA:HOYA )

"He’s your favourite DJ’s favourite DJ, we guess – one of those guys." - FACT magazine

FB Event | http://goo.gl/DXIeO2

[jonphonics]

MANCHESTER, SOUP KITCHEN 06.04.13

[rhythmicclicking]

Straight out of Manchester, Hoya:Hoya head Illum Sphere is killing it. This is like two records in one. I can't wait to play it out.

[joemuggs]

Uncle Techno in Neptune’s Lair

I’ve been reading the anonymous Uncle Techno Instagram account avidly... No, it’s not me. But it does capture a pure, unashamed techno nostalgia really well. It is not ashamed to say “this stuff matters”. Because it does. And the appearance of Drexciya’s Neptune’s Lair on the Instagram today sent me scurrying back to find what I’d said about the album’s re-release in 2010. 

I said this:

Could Drexciya be the most perfectly-realised project ever to come out of Techno? The consistency of the huge body of work between 1992 and James Stinson’s death in 2002 makes almost any other artist in the field look like a woolly-minded dilettante in comparison. During Stinson’s lifetime, Drexciya’s anonymity was total: despite occasional (masked) interviews, his and his primary musical partner Gerald Donald’s names and identities were never publicly revealed, and their individual roles in the music and ever-developing mythos are still unclear. 

Their musical practice was severe, with every track’s sparse electronic groove relentlessly linear in structure and seemingly recorded live and without edits. The mythos was Afro-Futurism in excelsis, combining fierce working-class pride and engagement with racial issues with cosmic and utopian thinking, scientific and technological obsessions, and most importantly the creation of Drexciya itself: a black Atlantis peopled by aquatic descendents of drowned slaves, and a fluid imaginitive space where a play of identities and futures could take place.

1999’s Neptune’s Lair was the first Drexciya album proper following the compilation The Quest and also their first release for Tresor, and at the time, thanks to the Berlin label’s dominance, was a leap into the Techno mainstream. What is striking now, though, is how playful it is, even to the point of being wilfully silly in places. The methodology may be austere and the back-story dense, but the music is neither. For every moment of sublime cosmic scope or intense physical funk, there are kooky Star Trek special FX bleeps (“Species Of The Pod”, “Habitat O Negative”) or out-and-out kitsch B Movie sci-fi synths (“Quantum Hydrodynamics”). There’s also a strain of European cabaret camp to the synth pop of “Surface Terrestrial Colonisation” or “Oxyplasmic Gyration Beam” whose place in the post-Kraftwerk lineage is closer to Jimi Tenor or Felix Kubin than to Cybotron or Bambaataa. It’s this which has been taken to ultra-deadpan extremes in Donald’s later work as Dopplereffekt and Arpanet, and which perhaps most directly influenced Electroclash-era acts like Adult. and Peaches (Stinson went on record as being pleased with Drexciya’s influence on these artists, whereas he had criticised white Techno artists like Richie Hawtin for co-opting black musicians’ styles).

But the kitsch never undermines the lofty aims of the Drexicya project, and the reason is simple: behind the mystery and technology, they were ultimately a funk band. It’s explicit in the strangely dainty P-Funk squiggles and slick cyborg jazz-funk, and even the Belgian-style rave of “Devil Ray Cove” has drum fills and voice snatches that are unadulterated funk. Of all Detroit’s Techno artists, Drexciya were the ones with most overlap with the city’s speedy, resolutely non-cerebral Ghettotech sounds. Like James Brown, like George Clinton, like Sly Stone, they were able to short circuit any opposition between foolishness and seriousness, to bring dense layers of history, imagination and futurism into the party without succumbing to the po-facedness that dominated Techno in the late 1990s.

All of which explains why Drexciya are more relevant now than ever: electronic club music is currently undergoing a spectacular resurgence of The Funk. Their influence is obvious in the Glasgow’s Numbers/LuckyMe scene, most notably via Rustie whose early Voltaic releases were pure Drexciyan Electro and who has been remixed by Gerald Donald in his Heinrich Mueller guise. But whether it’s in LA’s Low End Theory or Manchester’s Hoya:Hoya club or Alexander Nut’s Rinse FM show, you can hear the crisp and witty sounds of Drexciya rising from the deep once again. It’s hard to say that this is the definitive Drexciya release – the EPs that preceded it had more raw soundsystem charm, and the deluge of releases that followed (no less than eight albums under different aliases in the final year of Stinson’s life) further finessed their techniques creating ever more immersive soundworlds and moments of overwhelming beauty. But as a centrepiece between these phases of their work, as their breakthrough record, and as one which feels as if its time has finally come, it couldn’t be a better way into their world.

[ibby90]

Incredible funky disco-house mix from Hoya:Hoya resident, Krystal Klear.

01 Henry Mancini "Lujon" (BMG) 02 Jocelyn Brown "Somebody Else's Guy" (Vinyl Dreams) 03 Double Exposure "Everyman" (Salsoul) 04 Richard Jon Smith "Love Is What I'm After (Macello Giordani Edit)" (Jive) 05 Gino Soccio "You Move Me" (Atlantic) 06 Delegation "Heartache No.9 (Extended Version)" (Mercury) 07 The Limit "Crimes of Passion (Extended Version)" (Portrait) 08 Cornelius Oliphant "I Love You" (Knockout Records) 09 The O'Jays "Put Our Heads Together" (Philadelphia International) 10 Raydio "Still In The Groove (Woody a.k.a. il Bosco Find)" (Arista) 11 Henderson & Whitfield "Dancin' to the Beat" (Park Place) 12 Le Knight Club "Holiday on Ice" (Crydamoure) 13 Justice "Helix" (Ed Banger) 14 Pitchben "Stand Up (Tiger & Woods Remix)" (Compost) 15 Todd Terje "Inspector Norse" (Olsen/Smalltown Supersound) 16 Metro Area "Caught Up" (Environ) 17 Guy Cuevas "Obsession (The Nassau Mix)" (Balearica) 18 Krystal Klear "The Message Part One" 19 Staygold "Justified" 20 Krystal Klear "No Sweat" 21 Krystal Klear "Soho Spritz" 22 Prince "Erotic City" (Warner Bros) 23 Secret Ingredients "Chicago Chicago" (Evolution) 24 Kenny Dope "I Wanna Know" (Henry Street) 25 Nightcrawlers "Push the Feeling On (The Dub Of Doom)" (Great Jones) 26 Krystal Klear "We're Wrong" (All City) 27 Secret Ingredients "Takin Over Me" (Evolution) 28 The Doobie Brothers "What a Fool Believes" (Warner Bros.) 29 Storm Queen "Look Right Through" (Defected) 30 Robin S. "Show Me Love (Kerri Chandler Remix)" (Rhythm) 31 Krystal Klear "From the Start" (All City) 32 Wale feat. Miguel "Lotus Flower Bomb" (Maybach) 33 Jimmy Edgar "Switch Switch" (Hotflush) 34 Lone "Crystal Castles 1991" (R&S) 35 Krystal Klear "Clove Dagger"

[thisis180grams-blog]

New Krystal Klear EP We're Wrong drops today on All City Records. The above track From The Start is a certified killer with We're Wrong on the flip sure to do just as much damage. 

This is of course high quality shit, as we have come to expect from the Hoya:Hoya affiliated Irish man. 

[talesfromthebassside]

fabriclive: Hessle Audio x fabriclive 61 Release Party x Hoya:Hoya

On January 13th Fabric will be hosting Hessle Audio in Room 1, with the release party of fabriclive 61 taking place in Room 2 and Hoya:Hoya playing in Room 3. For more info visit the Facebook event page and Click here to listen to Pinch's promo mix.

[second-sight]

Lock in to Hoya Hoya x Groovement ustream tonight at 7pm, to catch the incredible Dabrye back to back with Illum Sphere. Also check this brief video of Dabrye at Hoya:Hoya last night.

[norbertschiegl]

Jonny Dub - Hoya:Hoya Podcast 2 (Stream/Download) (3.10.2011)

via Soundcloud hoyahoya

Tracklist:

1. Floating Points- Truly

2. Fingathing- Bolus

3. Dorian Concept- Clap Beep Boom

4. Domu- Hypnotized (Umod Remix)

5. Senay- Dalkavuk (Baris K Edit)

6. The Salsoul Orchestra- Getaway

7. Kelpe- Same New Era

8. Floating points- Argonaut

9. Bonobo- Transmission 94

10. Waajeed- Tron

11. Drexciya- Habitat ‘O’ Negative

12. Daft Punk- Son of Flynn

13. Notorious B.I.G- Nasty Boy

14. Fulgeance- Chico

15. Doshy- Lazor Blaster

16. Frank N Dank- Pimp Strut

17. Mosca- Tilt Shift

18. Method Man- Release Yo’self (Prodigy Remix)

19. Om Unit- The Corridor

20. Raymond Scott- Melonball Bounce

Download the Podcast over here:

http://bit.ly/peh32W