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Telefon Tel Aviv announces extensive North American tour

• Published Tue, Jan 28, 2020, 01:10
• Words Matt McDermott
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• Steve Hauschildt and Chasms will join on respective legs of the 24-date jaunt.

Telefon Tel Aviv

Telefon tel aviv, steve hauschildt, james friedman & max pask, [postponed] telefon tel aviv, telefon tel aviv live.

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Telefon Tel Aviv  

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• New York (NYC) (11)
• Los Angeles (LA) (10)
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• Steve Hauschildt (14)
• The Race (8)
• Apparat (7)
• Ellen Allien (3)

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Telefon Tel Aviv

Telefon tel aviv concert setlists & tour dates, telefon tel aviv at the novo, los angeles, ca, usa.

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Telefon Tel Aviv at Gray Area Art & Technology Theater, San Francisco, CA, USA

• a younger version of myself,
• standing at the bottom of the ocean;
• mouth agape,
• What It Is Without the Hand That Wields It
• Something Akin To Lust
• not breathing,
• arms aloft,
• I dream of it often:

Telefon Tel Aviv at Holocene, Portland, OR, USA

Telefon tel aviv at lincoln hall, chicago, il, usa, telefon tel aviv at el club, detroit, mi, usa, telefon tel aviv at rec room, buffalo, ny, usa, telefon tel aviv at the drake underground, toronto, on, canada, telefon tel aviv at bar "le ritz" p.d.b, montreal, qc, canada, telefon tel aviv at great scott, boston, ma, usa, telefon tel aviv at gasa gasa, new orleans, la, usa.

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• Something Akin To Lust ( 7 )
• The Birds ( 7 )
• a younger version of myself, ( 3 )
• I dream of it often: ( 3 )
• mouth agape, ( 3 )

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Ellen Allien

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BaityFish KindredCoda michaelz rachael_akasha snichols dsuckstorff irregularmatt aphorism Orbaddict TheMeac silent_space RJK99 rratnaya korosu jegriff chophaus Shedao chesyek creccateal KotBegemot noogenesis KidAmnesiac02 neverclever whoisrobmay Soulsfrik RevaSharkbait ocharles wuselwatz twoism morse igorfedorov1966 Rshepherd antoinedoinel ericservo inkyface0 Rageaholic barbramtz Blue_Meany stephaniedltc zbraunz banezah DolanYorke98 BySoft tamasvirag laszlo_reszegi kosarka_gabor willgaspari ineversaid SarahKrusemark rrramy

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We sit down with Josh Eustis to dissect the sounds and techniques behind Dreams Are Not Enough

Telefon Tel Aviv, until recently, was a fondly remembered electronic duo with a catalogue of critically acclaimed releases spanning from glitchy, ambient IDM to synth pop and industrial. Following the untimely passing of Charles Cooper in 2009, bandmate Josh Eustis wound-up the project and spent the next several years embarking on a series of new collaborations and solo efforts. First reactivating Telefon Tel Aviv for a one-off live show in 2016, Josh went on to tour extensively under the moniker, eventually releasing Dreams Are Not Enough last year – a full decade after previous album Immolate Yourself .

Since the release, a hectic touring schedule has seen Josh criss-crossing Europe and the US for weeks on end. During a recent stop in Berlin, we invited the Ghostly International signee and one-time Nine Inch Nail to stop by and talk about his approach to sound design, show us the go-to tools behind his latest record, and explain why the ‘wrong’ way is often the best way.

You’ve been incredibly busy these past few years – solo projects, collaborative releases, touring both as Telefon Tel Aviv and with various bands… You released Dreams Are Not Enough in September, and you’re touring that right now. How does it not descend into chaos?

Oh, it descends into chaos, believe me. It does. I don’t really know. I’m not really good at anything except for the act of making the music. I’m terrible at anything else in life. You take me out of the studio and I’m completely useless. So I don’t really know how to manage it. I just do stuff. Sometimes, I’ll sit down and work without even any clear idea and it might get put in this folder, that folder or whatever. As I catalogue ideas, I’ll go, “Oh, this is a Second Woman thing,” or, “Oh, this is a Telefon thing. This is too weepy for Second Woman.”

Then the label, Ghostly, came to me and said, “Hey, dude, are you going to actually do this record or are you just going to fuck around forever? It would be really cool if you did it, especially if you did it now so you’d have time to tour on it next year.”

“Oh, yes, okay.” “Alright, that means we need it by March. Mid-March, you’ve got to get this thing done.” Then, I had a fire in front of my ass. I’d never been given a deadline for a record, and I made it this time. I handed it in a week early.

What state was the record in when you got this deadline?

I had three songs finished as I had been working on this Max patch, cataloguing ideas, saving sound-design patches and stuff like that. Then, I just sat down and went back through all of my catalogued ideas and realised how bad they were, and then started mostly about 95% from scratch at the beginning of this year. I think I was done at the end of March.

How do you know when a record’s done?

You’re done when you give up on it. It could never be finished. I still hear things on the record now where I’m like, “Oh, I wish I hadn’t done that,” or, “I would change that now.” There’s a Driver plugin on a kick drum there on the record at one point and it’s bothering me so much that I don’t bypass the Driver at this point. That’s a plugin that I love.

Driver doesn’t really do subtle.

No, it doesn’t, or it’s hard to get subtle. You’ve really got to hold the reins on it. There’s one point where I really wish I had bypassed it, but I didn’t, so it’s still a little messy at this one point. There’s stuff like that all the time where I change it for the live show. I’ve fixed it. For the live show, I go back and correct all those problems.

The distortion in particular is something that really stands out on this record. Was there a specific approach to it?

Yes, it’s not actually distortion. It’s almost a kind of clipping. There are two things that I like to do. Move the DC offset all the way north and things just crater. Then, another thing that happens several times on the record is distortion with theta waves. You just have a sine wave between 4Hz and 7Hz and just push it into the limiter. It’ll just chew everything to pieces. This kind of stuff.

On “Not Seeing,” it seems like the kick drum is triggering the disintegration of the tracks around it. Is that the technique you used there?

In the front part, right? The kick drum is tuned to a theta frequency. It’s just tuned so low that it’s below audio rate. You just hear the beats. It’s a little too loud, and I’ve got a soft-clip thing on the two-mix for the front part of that song to get these inter-sample peaks happening. When that kick drum hits, it breaks the mix.

It’s not so much a kick drum as the absence of everything else, which is one of the themes of the record. It’s not so much about the thing that it is, it’s about what’s not there.

Sure. Compared to previous Telefon Tel Aviv stuff, this record sticks a lot closer to the ‘three things-at-once’ approach.

Yes, a friend of mine, Greg Puciato, told me that and I thought it was a really cool way to think about musical ideas, so I started not really holding myself to it, but keeping in mind that I can trim things down. I like it. I like this idea of self-censorship. I think it’s a lot of fun.

There’s a whole other version of the record with a whole lot of songs which got deleted from the hard drive. Everything got winnowed down to just what it needed to be, hopefully. The track counts are really low on the record. Previously, some Telefon songs would have 60, 70, or 80 tracks, maybe. This one, I think the biggest one has maybe 20 tracks. I kept it really minimal. I started realising that things started sounding bigger the fewer of them that I had.

On every single Telefon Tel Aviv track since 1999, we have used Reaktor. Every single one – all the remixes, everything.

So there’s never been a set recipe for a Telefon Tel Aviv track?

No, and that’s been the big problem for me since the beginning. People would always ask, “What’s your process? How did you make ‘Fahrenheit Fair Enough’?” I was like, “Well, we would sit around and make sound design for a bunch of days. Then, we’d get bored of making sound design. Then, one of us would make a beat and the other one would play bass over it.

But, you could definitely say this: On every single Telefon Tel Aviv track since 1999, we have used Reaktor. Every single one – all the remixes, everything. Reaktor is on every one. Maybe it just generated a kick drum, maybe it did a whole bunch of granular processing…

There’s quite a definite sound-world to this record – a consistent sonic flavor. Was that a conscious choice?

It wasn’t necessarily a conscious choice of, “Oh, I want things to sound glassy or metallic,” but I think in giving myself space to self-censor and to discriminate against my own ideas, anything that was sounding really analog in a way was getting put aside, and these other-worldly, glassier sounds started making the cut.

The last record was so analog and so warm, that I went in the other direction. I started to get bored with my analog gear, and I eventually just got rid of it. Now I’m asking myself, “What do software synthesisers excel at?” It’s those types of things.

Which software are you using? I know you’ve gone deep into Max on this album.

Yes. But the sound generation is mostly Form, honestly. A lot of Form and a lot of Maschine. A lot.

I love FORM. I think people don’t always realise how much it can do.

Form was my baby on this record. You, literally, can drop anything into it and it instantly sounds cool.

Was it a ‘drag-and-drop, trial-and-error’ sort of situation?

Not that much trial and error – a little bit of that. Basically, I would take old TTA sound design and drop it in. It’s all named. Every sound is named, tagged, and categorized. So I would just grab longer pieces, drop them into Form, and then see what it did. I came up with some things that sounded cool to me, accidentally, without really knowing what I’m doing or what it’s doing.

Can you tell us about any specific sounds that were done with Form?

Oh, the first track [“I dream of it often”]. It’s all Form. In track two [“a younger version of myself”], it’s LazerBass and FORM.

We love LazerBass here too. Especially because it’s free.

LazerBass is the wildest shit I’ve ever heard. It’s so crazy. That’s what I made the beat on for track two. That, and then distorted a little. I programmed what I thought was going to be a bassline, then started putting a little chain together. I had a LazerBass thing, and then I had some MIDI notes playing it. Then, I spit out a whole line of it and moved the loop points in Live and got to this point where I was like, “Oh, that’s cool. It’s like a shuffle thing. Alright, that’s it.”

And the rest of the track flowed from that?

Yes, then I had this patch in Form that I’d been working on that I liked. Actually, I think that was a preset where I dropped my own thing in, then changed some stuff and took it somewhere else. It’s like a piano in a way but not a piano. There’s that, and then there’s just the pad that comes in halfway. There’s really not that much in that song.

And this is all running off your custom Max patches?

Yes. I mean, basically, the general framework for this record is very simple. Live is open. A whole bunch of Native Instruments tone generations are open. Then Max is just sending clouds of MIDI to it. Then I sing over it. It’s extremely primitive.

Generally, there’s one thing in the song that’s the main thing, and that’s usually Form. With a couple of exceptions, but it’s usually Form. Then Max is doing this sort of time-compression/expansion thing with the MIDI notes.

I understand you’re also using MASCHINE?

Yes. I end up using that a lot because I find the percussion sound design gets done really quickly. Also, you can go from one thing totally to the other end of the spectrum in a matter of seconds. I open up a bunch of stuff in it and get a bunch of different sounds happening, and then use LFOs to modulate them so they’re never exactly the same. Then, just send tons of MIDI to it from Max.

What’s your process for designing percussion?

The kick drum ensemble is amazing. I use it all the time. All the time. It’s one of the most used things I have in my toolkit. I use that a lot. I like making hi-hats and stuff like that. I don’t really have a set process. I just mess around with it until I have something cool.

Do you allocate time specifically for designing sounds?

Yes. I think I wrote a tip about this. It’s a conscious effort to honour your ideas with effort. If it fails, that’s fine, but the effort is important. That effort means that I need to allow myself space to just wander off into a sound-design world.

So you’re a ‘different hat, different day’ kind of person?

Yes. But when it comes to Telefon Tel Aviv, not for any record at any point was there ever a mix process. There wasn’t ever like, “Okay, time to mix the record.” We get to the end of the song and it’s done. I mix as I go. Of course, when I’m working with other people, it’s totally different, but with Telefon, I’m constantly making little EQ moves. All of that stuff is one process to me.

The mix process is absolutely part of the composition process. Where you play something in the stereo field, how loud it is, how much top end it has, whether it’s intentionally out of phase or in phase… All of the decisions to me are compositional decisions. I don’t really see them as mix decisions.

Maybe I’m not being totally accurate about this, but there are two ways of thinking about mixing or music production in general. There’s ‘make it as good as you can to present the idea’, and then there’s the way that I do it, which is, sometimes, I make it wrong because it’s more compositionally appropriate for the music.

I mean, it’s funny. The other people that deal with audio a lot are like, “Oh well, this is wrong and that’s out of phase. That’s one distorted.” It’s like, “Yes, it, literally, sounds exactly the way I want it to sound,” so that’s a compositional decision.

If it sounds good, it is good?

Yes, I mean Selected Ambient Works Volume I by Aphex Twin was mastered off a cassette tape. It sounds like dog shit, but it’s perfect. I wouldn’t change anything about it. That’s part of the charm and part of the beauty of it.

There are points on this record where things go completely out of phase… My mastering engineer was like, “Oh, what are you doing, man? You’re killing me.”

But in the end, it sounds great.

I don’t know if it sounds great. But it does sound the way I want it to sound.

Photo credits: Larissa Matheus

Listen to Dreams Are Not Enough below.

Before you go…

Take a deeper dive into FORM with this video from Deru – grab the demo here and follow along. And if you don’t have LazerBass yet, what are you waiting for? The full version is free as part of KOMPLETE START .

Finally, make sure you’re following Josh on Twitter . Come for the political commentary and memes, stay for the no-nonsense production tips you’ll wish someone told you sooner.

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DJ Dials and Gray Area presents Telefon Tel Aviv Live

•  Jul 30 2022 - 9:00 PM
•  Gray Area
• Get Tickets

This event was previously postponed due to concern for the health and safety of our community. Your already purchased tickets are still valid for the upcoming show on July 30.

Telefon Tel Aviv Chasms DJ CZ

Saturday, July 30, 2022

Standing performance

ADA Seats available upon request. View our FAQ page for more info, or contact us at [email protected] with your accommodation requests.

Proof of vaccination is required for all attendees over 12 year of age. Learn more

After the untimely cancellation of their performance last March, Telefon Tel Aviv returns to Gray Area to perform a new live audiovisual performance. Josh Eustis combines atmospheric soundscapes with visceral, ambient visuals touring on the album “Dreams Are Not Enough,” released in September 2019 on Ghostly International. The album and performance are seen through the lens of a dream, both in terms of its sound and its emotional content. Fears are processed and long-held desires are realized. The album and track titles refer to a recurring dream Eustis has, based on a "murky incident during a family vacation to a remote Alabama coastline."

Telefon Tel Aviv is an experimental electronic duo formed in 1999 by two New Orleans high-school friends, Joshua Eustis and Charles Cooper. Following years of playing in various local bands and learning the ropes of electronic music production, Eustis and Cooper wrote the demos for what would become Telefon Tel Aviv in 1999. After sending them to John Hughes III, who operated the Chicago-based Hefty Records, they were offered an album deal in January 2000. They spent the rest of that year writing their debut album, Fahrenheit Fair Enough, released in September 2001, as well as the soundtrack for the movie New Port South, written by Hughes’ brother James and released the same year.

Shaped by a diverse set of influences that included British electronic music (Autechre, Aphex Twin, Jega) and Black American music (house, techno, bounce rap), Telefon Tel Aviv were the latest in a growing lineup of American musicians that sought to carve their own lane and add something meaningful to a growing international conversation about what the meeting point between hip-hop, soul, and electronic music could be. But while Eustis and Cooper emerged within a specific context that provided their continuing work with a solid foundation, they spent the next decade taking risks and grappling with the idea of what an electronic duo could be.

In 2004, they released their second LP, Map Of What Is Effortless, a bold attempt at solidifying the romantic elements of their debut into a modern r&b sound and featuring vocal contributions from Damon Aaron and Lindsay Anderson. Three years later, Hefty released a compilation of Telefon Tel Aviv remixes that included their take on Nine Inch Nails, Ammoncontact, Slicker, and Apparat among others.

In 2009, ten years after they first began working together, the duo returned with Immolate Yourself, via Ellen Alien’s BPitch Control label. Darker and synth-driven, this third album took yet another dramatic left turn, this time towards a more unabashedly pop-minded sound.

In between the German and U.S. release of Immolate, Charles Cooper passed away unexpectedly. Following Cooper’s death the Telefon Tel Aviv project went on hold. In 2014, Eustis released a solo album on Audraglint Recordings as Sons of Magdalene called Move To Pain. After years of self-doubt, Eustis decided to revive the Telefon Tel Aviv alias in 2016. This return coincides with a reissue of the debut album on Ghostly International and Eustis’ first live shows under the name, which began in the spring of 2016 with a North American tour alongside Moderat. New material under the Telefon Tel Aviv moniker is currently being written.

Noah Cunningham is a talented DJ, concert promoter, editor, animator, cinematographer, and video artist. Noah spins music under the name DJ Dials, and for the last 14 years he’s been mixing songs from genres such as dubstep, ‘90s rap and throwback electronic, playing alongside well-known artists Thom Yorke, The Roots, SBTRKT and several others.

Chasms was formed by Jess Labrador and Shannon Madden. Following 2016's On the Legs of Love Purified and the recent "Divine Illusion" single, The Mirage pushes the band's ethereal sound into the murky depths of dub. Marking a sonic shift for the project, The Mirage finds the duo trading in chaotic bursts of noise for understated minimalism that's still characteristically melancholic and potent with emotion. Labrador's drum production is as deft as ever with an expanded range of electronic samples and tape-delay-induced polyrhythms. Layered with Madden's persistently dubby bass, Labrador's sparse guitar and gliding soprano float above a labyrinth of hypnotic sequences. These dub-laced dirges signify growth within the band, heard in their command of repetition, space, and effects to build a pervasive mood that's often utterly heartbreaking.

DJ CZ (aka Chris Zaldua) is a writer, DJ, party promoter, and music obsessive based in San Francisco, CA. He co-founded two event series (Surface Tension, Vague Terrain) and a record label ( Left Hand Path ), all focusing on the liminal, the interstitial, and the in-between. His writing has been published in Resident Advisor, XLR8R, FACT Magazine, San Francisco Chronicle, SF Weekly, KQED, Red Bull Music Academy, Noisey/Vice, and beyond. Recent DJ mix highlights include recorded podcasts for The Bunker New York, Mysteries of the Deep, and Honey Soundsystem.

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Telefon tel aviv tour dates.

• TECHNO / ELECTRONIC

As of right now there haven't been any notable Telefon Tel Aviv concerts or tours released for North America. Sign up for our Concert Tracker to get notified when Telefon Tel Aviv shows have been announced to the itinerary. For recent announcements for Telefon Tel Aviv concerts, visit our Tour announcements page . In the meantime, take a look at other Techno / Electronic performances coming up by Meute , Ohmme , and Shambhala Music Festival .

Telefon Tel Aviv Concert Schedule

No events =(, about telefon tel aviv tour albums.

Telefon Tel Aviv showed up on to the Techno / Electronic scene with the introduction of tour album "Map of What Is Effortless", released on N/A. The song instantly became a success and made Telefon Tel Aviv one of the top emerging great shows to go to. After the introduction of "Map of What Is Effortless", Telefon Tel Aviv published "Immolate Yourself" on N/A. The album "Immolate Yourself" is still one of the more popular tour albums from Telefon Tel Aviv. The Tour Albums three top singles included , , and and are a fan favorite at every performance. Telefon Tel Aviv has published 8 more tour albums since "Immolate Yourself". With over 0 years of albums, Telefon Tel Aviv most popular tour album has been "Immolate Yourself" and some of the best concert songs have been , , and .

Telefon Tel Aviv Tour Albums and Songs

Telefon Tel Aviv: Map of What Is Effortless

• When It Happens, It ...
• My Week Beats Your Year
• Bubble and Spike
• Map of What Is Effor...
• Nothing Is Worth Los...
• What It Is Without t...
• What It Was Will Nev...
• At the Edge of the W...
• Jouzu Desu Ne
• Sound in a Dark Room
• Sound In A Dark Room...

Telefon Tel Aviv: Immolate Yourself

• Helen of Troy
• Mostly Translucent
• Stay Away From Being...
• I Made a Tree on the...
• Your Every Idol
• You Are the Worst Th...
• Immolate Yourself

Telefon Tel Aviv: Fahrenheit Fair Enough

• Fahrenheit Fair Enough
• Lotus Above Water
• John Thomas on the I...
• Life Is All About Ta...
• Your Face Reminds Me...
• What's the Use of Fe...
• Introductory Nomencl...
• Fahrenheit Far Away
• Reak What - Archive '99
• Fahrenheit Fair Enou...
• Cliccum - Archive '99

Telefon Tel Aviv: Immediate Action #8

• ttv (slicker new arr...
• 8 Track Project Cut

Telefon Tel Aviv: DJ-KiCKS

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Telefon Tel Aviv

Telefon Tel Aviv is a New Orleans–derived, Chicago-based American electronic music act.

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• Pennsylvania
• Rhode Island
• South Carolina
• South Dakota
• West Virginia
• British Columbia
• New Brunswick
• Nova Scotia
• Saskatchewan
• Asheville, NC
• Atlanta, GA
• Atlantic City, NJ
• Baltimore, MD
• Buffalo, NY
• Calgary, AB
• Charlotte, NC
• Chicago, IL
• Cleveland, OH
• Columbus, OH
• Detroit, MI
• Edmonton, AB
• El Paso, TX
• Grand Rapids, MI
• Houston, TX
• Kansas City, MO
• Las Vegas, NV
• Los Angeles, CA
• Madison, WI
• Milwaukee, WI
• Minneapolis, MN
• Montreal, QC
• Nashville, TN
• New Orleans, LA
• New York City, NY
• Orlando, FL
• Philadelphia, PA
• Phoenix, AZ
• Pittsburgh, PA
• Portland, OR
• Richmond, VA
• Sacramento, CA
• Saint Louis, MO
• Salt Lake City, UT
• San Diego, CA
• San Francisco, CA
• Santa Barbara, CA
• Seattle, WA
• Toronto, ON
• Vancouver, BC
• Washington, DC
• Twice a week
• Twice a month