BBC Radio 6 - Mix Premiere
“An exclusive 30 minute guest mix from California-raised, New York-honed, Berlin-based music producer and DJ Ani Klang, followed by an upfront 30 minute mix from Tom himself. Expect techno, drum and bass, afrobeat, rap, minimal, house, experimental and pretty much every other possibility!”
Ani has has carved her own space in experimental club music since her 2017 debut EP Worst of All Time. She is a graduate of the prestigious Clive Davis Institute of Recorded Music in New York.
She's just released her 'Burn The Empire' EP via Hyperboloid, a powerful statement piece seeking to disprove the pervasive belief that womxn and queer people are primarily working and creating music to “empower others.”
Boiler Room 4:3 - Music Video Premiere
“Spiced with anxiously rapid flashes, stark silhouettes and floods of demonic expressions, the video follows her process of self-accusation and inner struggle, as if she’s been possessed by a corrupt ideology. She flees to a basement as her black clothes invert to white - has she been reborn into a new womb or found an alternate afterlife? Bursting with a twisted, frenzied energy, she escapes the suffocation of her torment and finds ecstasy in insanity - celebrating the uneven textures of existence in hysterics.”
DJ Mag - Track Premiere
“Ani Klang’s ‘Power Of 100’ is a Jersey club-inspired rocket that blasts off and doesn’t stop for its four-minute run. Propelled by rattling percussion, sub-bass throbs that bounce between dubstep depth and hardstyle intensity, and a cyborg vocal sample that feels like sheer system overload, it’s a frankly dangerous piece of rave artillery.”
GPU Audio - Interview
“I sought to explore the fine line between club music and experimental electronic music. I often ask myself, what is the purpose of electronic music? Especially experimental electronic music. What and who is it for and what is it actually doing in the world? This music is considered fringe and for some, quite hard to listen to. So why does it exist if it’s constantly met with such a difficult response? Does it exist to simply be felt and experienced like an audio massage, or a subtle presence to aid an existing experience? Is it just interesting background noise? If no one ever gathers to dance or listen to music ever again, will this music still serve a purpose, and does it have the potential to be timeless? So it’s an amalgamation of experiments meant to fit many moods, settings and hopefully, lifetimes. Time will only tell.”
Boomkat - Album Review
“Her self-titled debut album, released on London's New Scenery imprint, is the best example yet of Klang's meticulous, fwd thinking style. The unstoppable momentum of her early releases and core remixes - like her corrupted psystep-cum-footwork remodel of Bell Curve's 'Fahk' - is intact, and built out over the course of ten thoroughly mutated, ruthlessly bio-engineered headmelters. She introduces us with a burst of DSP shrapnel courtesy of the aptly-titled 'elastic drumplay', obscuring looped vocal tags beneath rolling thumps and gravel-scraping SFX. It's maximalist, but barely prepares us for the chattering, blotter-strength onslaught Klang has prepared for the rest of the album; 'daddyo' is the first indicator of Klang's brickwall brutalism, a track that skims the gender flex'd plasticity of SOPHIE's iconic 'Faceshopping' and sprinkles the dust into tempo wonked framework that's got more in common with Failed Units boss Daniel Ruane's cement mixer 'ardkore.”
Beat Radar - Track Review
“And while tumbling around the citadel of the experimental side of town, in the chaos state of mind we are in, we somehow stumble down an alley and into an underground club where faceless voices are surrounding us softly, seductively luring us into the deepest corner of the cave.
Burlesque shadows are performing on stage while we sip the drinks we are served. Am I still awake? Are you? Does it matter?”
The Fader - Track Premiere
“I loved Alan's beat poetry-esque delivery, so I wanted to dissect my favorite phrases and accentuate them with impactful, spastic drums and rhythms,” Klang said. “Bass music is alive more than ever right now, so I wanted to incorporate a few of my favorite styles and sounds into a mix that would both respect and modernize Alan's original composition.”
Threads - Interview
“There’s a heightened connection now between performer and participant. The participant can directly ask the DJ for the Track ID or ask for their Soundcloud, Paypal/Venmo, or Instagram to offer immediate support. The spike in followers after a virtual rave is almost as valuable as getting paid! 🙂 “
Soul Feeder - Album Review
“After growing frustrated with commentators deeming every bold piece of womxn-made art as an “outspoken feminist act” and forcing political causes on female/non-binary compositions when none are intended, Klang has challenged this trend and created a piece of work that is emphatically not an “empowering anthem for womxn everywhere.
Klang believes the notion of empowerment through music – especially between womxn in the music industry – has begun to feel forced and inauthentic, not to mention largely ineffective and burdensome. What’s the most effective way to enable other womxn in 2020? BURN THE EMPIRE of bogus, commodified empowerment.”
Inverted Audio - Mix Premiere
“After appearances on platforms such BBC Radio 6 and FACT, Klang beams up a terrific tapestry of a guest mix for Newtype Rhythms - moving between tempos effortlessly and constructing a sonic narrative that is packed with selections tha challenge the perceptions of club music going forward. Check out the astounding set yourself at 47 minutes in, with resident Sheepshead warming things up per usual”
DJ Mag - Track Review
“Today is the penultimate fee-free Friday on Bandcamp, with 100% of proceeds from sales going straight to artists. With that in mind, we've collated essential tracks, compilations, EPs, and albums from the likes of A.G, Girls Of The Internet, Klein, Lil Silva, Itoa, Machine Woman, Overmono, and more.”
Juno Download - Album Review
“Hyperboloid have provided us with a super heavyweight selection next as Ani Klang delivers a monstrous six track delight. We begin with title track 'Burn The Empire', a hardcore crunch of relentless kick pulses and moogy subs, with 'The Problem =' continuing this compositional theme with even more progression and intensity. We then jump into the eerie, twisted soundscaping of 'Us' before the remixes take hold of the release, with Daniel Ruane Relapse giving 'Burn The Empire' an even more industrial relick. We also see A.Fruit give 'The Problem =' a top quality drum and bass overhaul before Pixelord twists 'Us' into an arpeggiating acid epic. Fabulous work!”
Mixmag - Track Review
“Tune in to hear material from the likes of Iglooghost, Lunice and Ani Klang and more, as well as a track from Zomby's new EP 'GASP!'. Teetering off into techno-inflected territory, our pick from the release is a distinctly dark and dangerous cut packed full of delicious drama.”
No Taste - Interview
“My best gig was probably in this city called Brno in the Czech Republic, it’s a few hours outside of Prague. I played there in mid-2018 at this party called SOfT and it was absolutely insane. I didn’t really know what to expect since it was one of the first times someone hit me up and asked me to play a gig in another country, offering to pay for my travel, housing accommodation, and pay my DJ fee.”
Fact Mag - Mix Review
“A few hat tips, first: Manchester’s Reform Radio brought in Berlin-based club producer Ani Klang for a session of high-octane club picks, and column MVP Teki Latex uploaded his sweat-dripping set from London’s Keep Hush basement party.”
Fact Mag - Mix Premiere
“Eventually though, the mix dissolves into a contemporary stew of uptempo pulses and industrial clanks (recorded by Ani herself in an abandoned Berlin warehouse), ending on a sneak preview of Ani’s forthcoming EP, THIS IS NOT POLITICAL. “I really wanted to illustrate the journey I took from an anti-social hip-hop/dubstep/trip-hop producer at boarding school in Canada to the experimental club artist I am today,’ explains Klang. “It’s a tribute to the past, present, and future of my love affair with electronic music.”