Daniel Avery Vinyl, CD & Tape 9 Items

I am proud to present Together in Static, a new album out 24th June on Phantasy + Mute. The track Endless Hours is online now.

As with many things this past year, the project took on a power and a life of its own right in front of me. The original idea was to simply play a couple of small gigs at Hackney Church during the last lockdown. I started to make music specifically for the shows yet, as plans continued to shift, I fell deeper into the waves. I considered a 12” or maybe an EP but by the time I came up for air, I realised I had a complete record I wanted to share. I feel it’s some of my best work and I’m gassed for you all to hear it.

As the music evolved, I also felt it was only fair to shine a brighter light on the live gigs themselves especially during a time when travel continues to feel like a distant dream. So, on Wednesday 23rd June we will be presenting a Together in Static global live stream from Hackney Church. It’s been a tough year for everyone so we’ve kept tickets at five pounds. These tickets are up today along with pre-orders for the album plus some very limited prints and t-shirts designed by Brad Mead. There is even a bundle for the most ardent heads out there. I see you and I salute you. Tickets for the global stream are on sale now via Dice: link.dice.fm/together-in-static

I have such huge love and appreciation for all of the support this year. Thank you. Our time is now.

DA xxxx

Only 1 per customer!

Two key figures in electronic music pay tribute to the legacy of a major influence, as pioneering producer Chris Carter remixes ‘Lone Swordsman’, Daniel Avery’s seminal tribute to friend and mentor, Andrew Weatherall.

BIOG FROM 2013
The 12 track album was written and produced since the turn of 2013 and mixed with Erol Alkan at 'The Phantasy Sound', the label's own studio in London. A difficult trick to master but like Carl Craig's 'More Songs About Food And Revolutionary Art', Plastikman's 'Consumed' or more recently the work of Four Tet, the album works as a cohesive whole rather than a disparate collection of tracks. Innovative and forward thinking, Drone Logic manages to draw influences from beyond the dancefloor via My Bloody Valentine, NEU! and Chris Carter while still having the techno pulse to scale the walls of any club. The wide array of plaudits and early adopters of Avery's music is proof of this, ranging from acid house legends like The Chemical Brothers, Andrew Weatherall and Richie Hawtin to the best of the new breed in Maya Jane Coles, James Holden and Factory Floor.
Firmly established as one of the UK's most exciting new DJ / producers having cut his teeth in Weatherall's Shoreditch studio bunker, Drone Logic follows up Avery's universally acclaimed mix CD for London clubbing institution Fabric where he remains a resident, recent remixes for Primal Scream, The Horrors & Django Django and last year's Need Electric and Water Jump EPs on Alkan's Phantasy label. This summer sees him play at Bestival, Festival No.6 and the Green Man festival.

"The one thing I knew was that I wanted this record to be a trip. All my favourite artists and DJs, they take the audience with them when they play; people lock into their world for a few hours and can't easily step out again. You're with them for the ride. When I go out, I want to give myself up to music. That was the idea for the album."
If the main motivation whilst making Drone Logic was to take the listener on a hi-fidelity trip for the duration of his debut album, then Daniel Avery has emphatically succeeded. From Water Jump's hypnotic pulse and punch through to the crystalline click of closer Knowing We'll Be Here via the title track's elemental acid swirl and New Energy's take on Neon Lights relocated to a post-midnight cab ride through London, Avery's debut pushes and pulls at the senses and blurs the boundaries between dancefloor and home listening experience. Thoroughly modern, utterly 'now', it's a record that justifies Andrew Weatherall's selection of Avery as 'one to watch' in Time Out - adding that he that made "gimmick-free machine-funk of the highest order". Drone Logic is indeed that: an album confident enough to sit comfortably next to the genre's classics.
"Although I wanted to make something very current, something that could only have been made in 2013 - I found myself going back to records like the Chemical Brothers' Surrender and Dig Your Own Hole as well as albums by Four Tet and Underworld. Records with a real dynamic; records that take you with them. None of those albums sound like 'computer music'. That was definitely something I wanted to avoid. I wanted the album to have a real life to it; it needed to be much more than just a bloke in a bedroom on a laptop making tracks."
Sonically, Drone Logic doesn't really fit expected templates of what a dance record in 2013 should sound like. There are no set piece vocals; when voices emerge on tracks, they are invariably disembodied, odd. And as distortion whips across techno-based backing tracks, it splices modern club music with the kind of sounds that forward thinking guitar bands might conjure up. The result is wholly compelling, gloriously transcendent and, yes, trippy. And much like Avery's lauded FABRICLIVE 66 compilation, Drone Logic follows the path of a precision DJ set.

It's been a big year for the acclaimed !K7 series, following entries from Marcel Dettmann, Dâm-Funk, Jackmaster and Moodymann. Avery's instalment is meant to capture the moment "your watch stops ticking" in the club and you get lost in the music. Avery includes tracks from Svreca, Rrose, Iori, Post Scriptum and Planetary Assault Systems. The mix also features three new originals—an ambient cut called "Space Echo," a DJ-Kicks exclusive called "A Mechanical Sky" and a new tune from Rote, his collaboration with Volte-Face.