We’re taking a trip back to the Olive Grove, this time with Rubi & Cleymoore. We’re delighted to share the recording of their opening set from a hazy Saturday afternoon last summer; The perfect balance of soothing sounds, downtempo selections, through to deeper house sounds that set us up perfectly for the night ahead.
Recorded live at Dimensions 2022, Olive Grove, Saturday 3rd September.
After several releases on European imprints such as System Error, Burbi, and Griffé.
The irreverent and cleaver Swiss producer takes his sound across the pond for the Nashville Based Imprint. With a brilliant Ep titled
The Ancient Benefits of Rythmm and Repetition.
An Irrefutably club tool four-tracker that can sound haunted and dark but also provides that tint of light, deeper into mental wizardry, Bolstering electro/progressive that transforms into a sonic blitz but also keeping a cinematic and darker side of drum ‘n’ bass and broken beats. A story tale that sublimely phases into multiple layers of rhythm that infuses a HI-NRG sound that traverses the trance-techno-rave intersection.
Through the trials and tribulations of life. Music has been my refuge, my sanctuary. A space to heal and grow, to feel and express.
I stand proud, a daughter of music and femininity.A warrior of light, a storyteller of truth.My music, my art, my essence, my voice.
Here’s to all the women out there, with strength and power beyond compare. May we always rise above the strife, and embrace the beauty of our womanly life.
This episode will be a tribute to International Women’s Day – in the company of none other than Marie K:
Marie K is a Dutch DJ and producer based in Rotterdam. Coming from a classical background, she always strives to tell an emotional story while at the same time creating an energy that makes people want to move. Her richness in facets shows by how she expresses herself via live sets and DJ sets while staying groovy, dreamy, yet dance-oriented in both, as she believes dancing is therapeutic for the soul.
Eversines returns to Pieter Jansen’s yeyeh/ninih platform with his second solo album, Dwang, an evocative sonic exploration of the themes of inner struggles and personal growth. Sequenced like a DJ set, Dwang traverses dreamy ambient, breaks, acid techno and trance over four sides of vinyl, telling a compelling story about the peace we can find when we yield to a higher flow.
Four years on from Bloei EP (ninih002) and his bewitching collaboration with Theremin soloist Carolina Eyck, Waves (yeyeh002), Eversines returns to Pieter Jansen’s yeyeh/ninih platform with his second solo album, Dwang.
The intervening period has seen the Dutch producer release a string of EPs on dancefloor staples like De Lichting, Kalahari Oyster Cult and Wex, all while performing his particular brand of cross-genre dreaming music in DJ and live sets at clubs and festivals across Europe.
The ‘Dwang’ album will have 500 copies pressed and is out 20th of April at your fav record web/store.
Pre-order: https://yeyehninih.bandcamp.com/album/dwang
“Heavy Meadows”
Sound mixed and compiled by Clovis
Visual interpretation by Max Binski
Welcome to the Planetary Interscapes podcast series. 10 years after its debut on Pluie/Noir and 90 audio-visual podcasts later, the series is reborn in collaboration with Rings of Neptune. Planetary Interscapes will follow the same motto and feature audio collages, mixes, live interviews, and live recordings from artists, friends, and other collectives we admire, visually interpreted by our favourite graphic wizards.
Hiatus over, Pluie/Noir podcasts are back, this time with a name little name change, in anticipation of a new collaboration with Rings of Neptune. This podcast has been ready for over a year, but the series was put on pause due to the uncertainty of Pluie/Noir’s next steps.
We’re delighted to welcome Clovis to the series. Clovis’s music selection is remarkably timeless and perfect for the last moments of Winter (in the Northern Hemisphere, mind us). Artwork by Cleymoore himself, signed as Max Binski, giving the honours to the fresh reboot. You can scroll down for interviews, serve a nice cup of tea, press play and enjoy.
INTERVIEW — CLOVIS
Hi Clovis, welcome to the Planetary Interscapes series. How have you been?
Thank you. I am finally feeling back to life again after the strange time warp of the last two years.
You recently moved back to Berlin? Is this a long-term goal? Why Berlin?
I left Berlin for Bucharest during the pandemic in search of a change of scenery and to make music with my close friend Herodot in his amazing studio. Nothing much was happening in Berlin for me during the lockdowns, and I felt I needed to move somewhere to challenge myself and try something different. It was a very interesting experience, and I grew a lot in the new spaces I discovered there, but I always aimed to return to Berlin.
My connection to Berlin is much deeper. All of my favourite friends and musical peers are here, mostly revolving around Club Der Visionaere, a fantastic musical hub where I feel very much at home. I’m very excited for what is to come now that we are normally back open for what seems like a much-needed proper Berlin summer.
As an American, how stark are the differences in the musical panorama and mindset of people post-pandemic? Did something change?
The energy I felt at parties even last year after the end of the first round of restrictions was incredible. There is a whole new generation of people going out after two years of restrictions now. While many trends are exactly the same, there is an openness to fresh sounds and possibilities in the USA.
We have a new crop of DJs and DIY crews building their own communities that are extremely important to any healthy scene. We still live under a capitalist grind and a very rigid gridlocked political system, but there is a lot of hope and gusto going around. The pandemic has really made many of us, myself included, realize the value of our cherished musical spaces and communities and how much we need them, and seemed to spur a strong reinvestment in them so that they may continue to endure against whatever obstacles come in front of them.
You’ve recently created a label of your own. What’s Understory about, and how has the project been developing?
Understory was born out of myself and my best friend, and great American, Matt Foley, realising we have a very similar music ethos. We like a lot of different music styles but have very strong singular taste. We started collecting music from friends that we felt needed a home, as any label starts. The pandemic was obviously a difficult time to release your first two records….but they did well, and we are going to continue. We have a large 20+ track bandcamp compilation that just released. We collected it slowly over the last two years, and I am very happy about it, having become a big fan of this format for bandcamp during the last two years. The proceeds will be used to fund our next vinyl releases!
Are you thinking of investing more or your own productions too? Will we see a solo Clovis release anytime soon?
Some of the music I made during the pandemic with Herodot will be released on his label Unanim. Some has already come out on our Understory compilation and elsewhere, like Trommel’s large Christmas charity compilation. As far as my own work, I plan to finally build my own studio in Berlin as I settle into a permanent place.
Tell us more about “Heavy Meadows”: How, why and when was it recorded?
This mix was recorded in early December 2021 in Bucharest when the 2nd winter of lockdowns hit everyone quite hard. During the whole pandemic, I had been collecting a lot of more ambient and experimental music to help me relax and tune out of the hysteria and madness of the world and take my mind elsewhere.
Putting the puzzle together for this seemed daunting at first because any direction is possible, but in the end, it came together quite quickly and naturally. I think it goes through a full spectrum of emotions and feelings and is a dear collection of artists and pieces I love, put together in a way that makes sense to me. It was mixed as a collage in Ableton, without pitching any music and arranging and letting tracks work together naturally and harmonically. The title comes from something a friend said to me as a joke at CDV, and in the absence of any better idea, it seemed to fit.
Are you performing such mixes live anytime soon?
I’ve been enjoying exploring this kind of music live at Kranut in Bucharest during the past 2 years and elsewhere. There are a lot of new venues and events that are giving this kind of music a space to be properly presented, it’s nice that “experimental chill-out floors” and whole festivals based around this like Intrinsic are coming back!
8) Short, medium and long-term goals?
All three: Eat more ramen.
Tracklist:
Anton Kubikov – Levitation
The Dead Texan – The Struggle
Hugo – Eone 1
Pan•American – The Cloud Room
Yo La Tengo – Acera Or The Witches’ Dance
Ryan Crosson – Anniversary
Harold Budd – Down The Slopes To The Meadow
Hotel Neon – Monolith
Max Richter – Infra 1
Brian McBride – Beekeepers vs Warfare Criminals
The Soft Pink Truth – Shall
Harold Budd – Abandoned Cities
Ground Tactics – Drealms
Shcaa – Until We Meet
Daisy Moon – Halcyon
Huerta – Plant Memory
Jon Hassell – Manga Scene
Daniel Pemberton – No Wisdom
Dan Berkson – Unity
Lenny – Making To Me
Rithma – Ambien after Vicodin
Nikolaienko – Ambianta IV
Jon Hassell – Dreaming
Mike Shannon – Her Everything
Kamran Sadeghi – Unknown Hour Of Feedback
Terry Riley, Kronos Quartet – One Earth, One People, One Love
Jonny Greenwood – Sandalwood II
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INTERVIEW — MAX BINSKI (aka CLEYMOORE)
Coming Soon
Orakel Cast brings a peek into the online video viewing habits of artists and friends.
Episode #79 comes from Wicked Bass Records founder Noizar.
His selection unintentionally reflects his new reality away from his home in Kyiv – including an excerpt from the film ‘Shadows of Forgotten Ancestors’ from 1965, a documentary from 1989 about the Amsterdam airport Schipol and Prinx Hashime’s set from Strichka Festival 2020.
