Enter Kiwi. The freshest signing to Duke Dumont’s Blasé Boys Club imprint already has a string of gigs in the diary as well as other releases coming up on the mighty Defected Records. With fingers in all the right pies we asked the genre wandering DJ/producer to delve into the mix to showcase whats inspiring him right now. With big balearic summer vibes, press play on Kiwi’s exclusive i-D mix.
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We are happy to announce: Female pioneers in electronic music: An ode to pioneers with an extensive all-female line up including the previously
We have spent the last six years closely watching the lives and careers of the biggest names in the field of electronic music, as well as the promising upcomers. As organizers and promoters, we constantly strive to showcase artists that incorporate in their music the new, fresh and avant-garde ideas and influences and have the power to reach and inspire a huge audience.
Throughout the years we had the privilege and joy to host some of the hottest and biggest tars such as: Autechre, DJ Krush, Prefuse 73, Jamie Lidell, Amon Tobin, Flying Lotus, Battles, Bonobo and Fever Ray, just to name few. For most of them it was the first time they have ever performed in Poland.
Nowa Muzyka has also become the first and only outdoor festival to be staged in a post industrial surrounding of a closed down coal mine with its entire infrastructure pretty much intact and available for all visitors.
New York based conceptual artist James Hoff returns to PAN with ‘Blaster’, a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated results as building blocks for seven new compositions.
Hoff’s interest in computer viruses lies in their ability to self distribute through (and ultimately disrupt) networks of communication and Hoff’s agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. BLASTER is a timely exploration of the infectious qualities of sound, and how it too, as a carrier, makes it’s way through social networks, reduced to bits and programmed to infiltrate and replicate.
“Viruses, like art, need a host. Preferably a popular one.”
Interested in ways in which the virus works could mutate and spread socially, the first side of ‘Blaster’ contains these sonic presentations, and the second houses all of the artist’s infected samples and serves as a scratch record for DJ’s, an object of utility, and ultimately a provoca- tion, mobilizing its new hosts as a point of potential transmission.
Blaster is a logical progression from Hoff’s PAN debut LP “How Wheeling Feels when the Ground Walks Away”, which dealt with aural documents of riots and disruptions and the record is part of a larger body of work by the artist that also includes virus paintings.
The LP is mastered and cut by Rashad Becker at D&M. The artwork was constructed using viral images from the artist and typography by Bill Kouligas.