'Extinction' is the 7th independent album by Audio Pervert. The album [duration 34:10] is dedicated to Climate Justice and the 6th Mass Extinction. The sound is a reactionary outcome to the on-going sacrifice of the ecosystem and the planet for the continuation of industrial civilisation (human progress). An audio-narrative, call it Post-Techno, using minimal resources made of analog instruments, field recordings and virtual processing. Splitting the attention between tone, modulation, rhythm and space. Voice samples of Greta Thundberg (Climate Activist) and Ilhan Omar (First Black Muslim Congresswoman in America) inject the truth, albeit from the outer margins of society. 'Extinction' is composed and recorded in Cullera, a sea-side town in Comunidad Valencia, Spain. Proceeds from the sale of this album will be directed to Climate Justice and Environment Activism. As Greta Thunberg stated, outright "I am not scared of being honest or unpopular. After all, you were never mature enough, to tell it like it is... "

"Consistently put out mature, far-reaching material... Audio Pervert's new album, perhaps none more politically-driven than Extinction..." ahummingheart.com

"Omincide, Gently twisted...We like it!" DJ MAG UK

"A beautiful album with airy electronic sounds that sound deceptively cheerful, which hopefully makes us think... " Holland Music Radar 'Subjectivisten'

"We are swept upwards and along with Extinction, in a way that seems almost uncontrollable, again mirroring the end of life as we know it... " The Waveform Transmitter

"Rippling arpeggiated sequences, thumping 4/4 kicks and wavering pitch-bent analogue synths that’s a more than fitting atmospheric closer... Polished and refined without ever being too smooth, ‘Extinction’ is worth investigation" Cyclicdefrost.com

"The sound of 'Extinction' is playing on the energy of light versus dark, grooving and floating at the same time. One of the emerging narratives in post-techno, that too from a tiny corner of Spain..." Tailored Berlin

SUPERBOOTH is Berlin's most happening synthesizer and modular systems festival as of now. Since 2016, the annual event has grown exponentially, as the article at reverb.com states "a long weekend full of performances, workshops, and other programming, established companies and independent builders alike buzzing with activity and exchange". By 2019 SUPERBOOTH had hosted well over hundreds of brands and artists via workshops, concerts, lectures and showcases. The festival has clearly created a big splash in the ever growing field of synthesis, modular systems and electronic sound. In 2016, leading industry journal MusicTech announced that SUPERBOOTH  was "The Coolest Show On Earth". Though industry hype can hardly be trusted, given almost every large music-technology based media-outlet is controlled by various competing brands and their look-alike marketing agenda. The modular and experimental electronic music scene remains dominated by white men, with beards, sporting look-alike characteristics and equipment. However at SUPERBOOTH, there is ample space to discuss, showcase, listen and learn, especially for small brands and synth-makers. A range of experimental artists at par with given industry stalwarts and brand ambassadors. The festival's audience is also pretty diverse in age, background and nationalities. Growth and diversity being the keywords in context of the festival, SUPERBOOTH is rising from the hiatus of the 'super-city' whose electronic music hay-days seem long gone. Over the last three years, SUPERBOOTH has widened it's horizons to attract the younger segment of society (teenagers and kids) - towards synthesis, DIY ethics and music technology. The festival now offers curious short courses for teenagers and young enthusiasts entering the field of synthesis and experimental music. SUPERBOOTH 2019 featured a whopping 231 exhibitors and almost 7500 visitors! We recently spoke to Andreas Schneider about the formation, participation and on-going plans of SUPERBOOTH.



How was SUPERBOOTH founded? Who were the founding members?
SUPERBOOTH was founded by Thomas Brandes and myself. We used to play in a local band decades ago, in our home town... and after so many years we connected again in Berlin. Later on we invited Andre Kaumann to join the group, as he eventually stepped in as managing director. He made all the bookings and arrangements for this year's event.



What does SUPERBOOTH as an institution stand to achieve?
The vision of the festival has always been to create a meeting point. For those who are into electronic music and electronic instruments, those who push the technology, the trade and the promotion of synthesis. SUPERBOOTH also stands to include 'experienced users' to let their experience be seen, shared and communicated to the 'engineers'. We are creating networks of all kinds via our festival.

As a festival, are you guys aware about female participation and inclusion of female talent?
We have supported (in ways preferred) female artists, handicapped persons and also small manufacturers for a few years now. We also created introductory workshops for female and non-binary participators for two years now. I feel we are already in the process of change, shifting the currently male dominated situation - It may appear a bit niche, as we still exclude pure “software acts” which makes it difficult to achieve equality immediately. Off the three nights, one of the nights we curated more female artists ... We had seven visitors in wheelchairs (from what I know) this year... so this is not famous yet, but we will keep working on it.


What is the most exciting aspect of SUPERBOOTH, in terms of participation?
This year we had a much higher number of professionals joining the show. It is often veteran players like Daniel Miller or Jean-Michel Jarre... However the new generation of musicians and nerds that were present at the festival, I see the reflection in the thousands of youtube clips about SUPERBOOTH 2019. It means a lot to us!

A colourful new Indo-French electronica compilation titled Around The World is the result of a collaboration between Mixtape from Mumbai and Nowadays Records from France. The 11 song compilation features 13 Indian artists, emerging from the current zeitgeist of electronic music in India. Around The World, is a mix-bag of groovy, moody, synth-heavy tunes, with sparse and maudlin voices, invoking a post-nightclub after-hours state of mind. The order of the tunes cascading between artists who are mostly based in Mumbai, Bangalore and New Delhi. This first-of-it's-kind venture between the two agencies based in India and France, is an attempt to showcase Indian electronic music to a wider, alternative audience - especially injecting the sound of the compilation into the European region. Something seldom attempted outside institutional funding and limits. India and France, two nations connected in myriad ways via cultural, institutional and economic ties, still has a long way to go in terms of creating dynamic exchange, and space for emerging music and artists. Around The World skilfully points at the scope of exchange and untapped markets, as well as present a colourful diverse bunch of tunes, from emerging and not-so-known Indian talent. The compilation, dominantly made of male artists and content, albeit contains a diverse and forthcoming appeal. We recently spoke to Sainath Bhagwat about the compilation and the various facets of the project...

How did the compilation come about?
We (Mixtape) had booked La Fine Equipe for their debut India tour in 2017 as a part of the Bonjour India Festival. While on tour, Chomksy who is part of La Fine Equipe and also the co-founder at Nowadays Records was deep into exploring the whole artist community in the country. Once the tour ended, the guys had a few days off and over dinner we were figuring how we could possibly get homegrown artists to put music out through Nowadays Records as the potential was already there. The label already has an ongoing compilation series about focussing on electronic music communities from around the world and that's how it all fell in place.

'En Directo' is a locally motivated DIY scene in the making. From Valencia - the sound and collective flow of energy is fun, is liberating is just for the sake techno! From the landscape of the erstwhile 'Ruta de Bacalao', dotted along Valencia's coastline, through the 1990s, was home to native electronic music, raves, clubs and talent. A new resurrection of the same spirit by a bunch of nerds (anonymous). "We go back to the synthesizers, drum machines, noise generators, circuits, the odd voice and guitar..". So does that impact the near dead-techno music scene of Valencia? Hard to say. However, As the locals often say 'Amunt' (up)!









Bon Dia ! València Electrònica - "En directe" es un moviment local en procés de creació. El moviment Valencians, anònim, presentarà una serie d'actuacions de música electrònica en dirècte que van desde la música techno, ambient, abstracta i mínimal. Segueix-nos!

Plastic Parvati is an artist based in Kolkata, India. She is a composer, producer and guitarist leaning on the ambient, glitchy, left-field, lyrical side of electronic music. At times haunting, lilting, ghostly and sometimes skipping along funky synth-lines, beats and ranting introspective lyrics. Her music contains many aspirations and influences, situated somewhere between an experimental and pop sensibility. A brash and bright voice, as is the case with some emerging composers in the Indian electronic music scene. We spoke to Suyasha (Plastic Parvati) recently, about her background, music and views about the Indian scene. Her Soundcloud profile reads "I sing/write songs/play terrible guitar for a band called The Ganesh Talkies which is based in Kolkata, India. This is my collection of random ideas and impulsive decisions..."



What inspired you to take up music? Why Plastic Parvati?