Lars Behrenroth's Next DJ Gigs
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Stomp the House 4 presents 10 years Deeper Shades Of House | Bookies Rooftop, 2208 Cass Avenue, Detroit, MI
May 27Sunday, 27 May 2012 08:00
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Actress, R.I.P
In his book Retromania, Simon Reynolds writes about the shapeshifting tendencies of Darren Cunningham’s Actress project: “Actress… describes certain of his tracks as ‘studies’: ‘Hubble’, for instance, is a ‘study’ of Prince’s ‘Erotic City’, while ‘Always Human’ is almost completely made out of sounds from The Human League’s ‘Human’” (Reynolds, 178). This is hardly surprising. Last year’s “Rainy Dub” was described by its label Honest Jon’s as the “Son Of Sleng Teng,” and the list of comparisons extends well into the hypothetical, through to Gemini, Shake, or Pan Sonic. And as common as it is to read mention of unconventional sampling techniques or gritty fidelities, this, thus far, has been the project’s true focus. Cunningham may cite overt signifiers, but it’s the almost amateurish way he covers them that’s been so charming. Still, it should only take one listen to the rippling crackle-beats (Jan Jelinek circa Loop-finding-jazz-records gone hip-hop?) of “I Can’t Forgive You” from his first album, Hazyville to be assured of his technical prowess. I’ve come to picture his back-catalog as the work of a producer who, obsessed with, say, Juan Atkins, quixotically sets about trying to recreate various Model 500 tracks in his bedroom using only samples and a broken groovebox. And then somehow, before each track is finished, Atkins himself manages to drop by to whisper the slightest advice, or give it a friendly nudge away from pastiche. Thus far, he’s walked the tightrope between crudeness and polish.
Cunningham claims Milton’s Paradise Lost — a book that arguably takes the ultimate shapeshifter, Satan, as its hero — as a primary influence on his latest LP, R.I.P. However, the results show him eschewing these mélanges of ramshackle genre studies in favor of a record that is considerably more precise in its geometry. It’s imbued with a purity of focus first glimpsed on tracks from Hazyville — “Again the Addiction,” “Crushed,” “Green Gal,” in particular — and which was mostly lost on its longer, hookier follow-up, Splazsh. The latter record was widely characterized as somewhat scrappy, and Cunningham seems to have taken these descriptions (though they were rarely intended as slights) to heart. Certainly, many of his sonic trademarks remain — pumping side-chain compression, silvery digital crustiness — but R.I.P is primarily dictated by airy, clean-cut melodic motifs, which give the impression it was composed as a suite. The record’s title suggests rest and peace as well as the ultimate gravity of death, and many of its tracks seem to strive for a combination of these auras.
“Marble Plexus,” for example, mixes chugging, squashed buzzes and hisses — some as hi-hats, some as background static — with tranquil, warbling pop lines. “Jardin” lives up to its title; its incredibly delicate, plinking piano lilts like manicured flowers, while minute, treated static squelches approximate a broken antenna, or maybe just wind, in the background. “Raven” is a gentle joy whose kicks are immaculately cushioned, and its glinting melody is surely one of the album’s prettiest moments, while the segment that precedes it — running from “Serpent” through “Tree Of Knowledge” — is suffused with a queasy sense of foreboding.
Apart from his 2004 debut, No Tricks, Cunningham has never specifically made music for the dance floor, but if R.I.P is “missing” something — if we’re operating under the foolish pretense that every album should contain all facets of its creator — it’s the kind of clipped, tunnel-vision dance tracks that populated Splazsh. The scuffed, strutting drama of “The Lord’s Graffiti” sounds like a holdout from those sessions, and “IWAAD,” with its destroyed house bass line and chopped rave-diva vocal, sticks out like a sore thumb. Perhaps the forthcoming Ghettoville LP, a promised release on Cunningham’s own Werk Discs, will provide more of these kinds of moments. At any rate, it is a foolish pretense. The record’s overall austerity is frankly refreshing. And if R.I.P proves anything, it’s that Actress has moved beyond “genre study” and into a serene, engulfing style of abstraction that’s wholly his own.
Read more: http://www.littlewhiteearbuds.com/review/actress-r-i-p/
Label Mates- Marc Houle
Label mates with Marc Houle who runs Items and things with Magda and Troy Pierce . . .Continue Reading >>
Read more: http://feedproxy.google.com/~r/bodytonicmusic/~3/qjOhrg3p26g/
Prize Draw: 10 Pairs Of #MixInLondon Tickets Up For Grabs
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MP3: Harlesden Housin Authority, Britain – The HHA Show 11th May 2012
We love this set by the HHA crew. Deep house and soulful house for your listening delight.
Read more: http://bouncefm.com/mp3-harlesden-housin-authority-britain-the-hha-show-11th-may-2012/
Retina.it is Descending Into Crevasse
Read more: http://www.residentadvisor.net/news.aspx?id=16584
D-Edge
When we think of Brazil, we think samba, carnivals, beaches and total football. However for the past 15 years there has been this building aura and slowly evolving electronic music presence developing in the beautiful backdrop of the major cities in the country. According to a recent survey in Forbes magazine, Brazil is now the go-to country for beloved electronic music, whether it be techno, house, disco or drum and bass, the masses flock from all over the world and the percentages just seem to increases year on year. With this in mind Brazil will soon celebrate a World Cup in 2014 and an Olympics in 2016, thus making Brazil’s economy the 6th largest in the world.
The musical outlook of South America’s largest country is now so impressive every agency wants their DJs playing there. They don’t come because they have to, they play here because they want to. Of course, the surroundings of the country are not to be frowned upon either – this isn’t a rainy Saturday night in Wigan with all due respect – the whole country has an ethos of beauty, from the people to the sites. The growing e-music industry in the country of Carnival is also good news for international DJs such as David Guetta, Ferry Corsten, Sven Vath, Erick Morillo, Fatboy Slim, Bob Sinclair, Armin van Buuren, The Prodigy, Kaskade and Nalaya, all of whom have performed there recently, commanding fees of up to $100,000 per gig. In total, the collective sum paid to DJs who performed in Brazil in 2011 was $57.2 million, 79.9% more than 2010. It’s also worth noticing that Brazil’s nightclubs are among the top rated worldwide.
Ten years after its opening, Sao Paulo’s Disco club is still one of the favourite destinations for the city’s sailing, polo- playing smart set, also attracting international celebrities such as supermodels Gisele Bundchen and Naomi Campbell. Isay Weinfeld, one of Sao Paulo’s most sought- after architects, designed the club’s futuristic interior and it includes a 20 sq.-meter panel by the Campana brothers. Those who favour the slightly grimier, more underground end of the clubbing spectrum are habitués of the D-Edge club, also located in Sao Paulo. With LED panels synced to the beats, Daft Punk decor and doors that stay open until noon, D-Edge, which was opened in 2003, became the ultimate clubbing address for the city’s discerning e-music aficionados. I was lucky enough to spend a few weeks there earlier in the year, co- ordinating my travels around the Rio Carnival and an extended stay in Sao Paolo, where I spent most of my time in the amazing D-Edge.
The poignant essence of the lights that have become arguably the most talked about system in the clubbing community and were in full effect when I landed at the club. Warung in Santa Catarina also blew me away, and of course how could I forget to mention the Rio Carnival, arguably the most notorious event in the country’s history. While trekking across the country finding what makes this place tick I managed to catch a few words with D-Edge owner Renato Ratier, who is one of the figureheads in the music scene there and is one the major factors the country can attract their favourite and most respected artists.
While out there Renato acted as my tour guide and was a true gentleman through out my whole visit. Having being involved in the industry for over 15 years Renato had a shear presence and like most club owners of this calibre was a true Delboy in terms of knowing everyone that he crossed paths with. He is a true inspiration for anyone perusing a career in club management or ownership. On the back of this he has now turned D-Edge into arguably the most notorious venue in South America and has even developed a respected agency to look after the artists. With this in mind it was very hard not believe every word he so powerfully spoke to me about. Brazil is officially, well and truly, on the map.
Music is in his blood, and it shows as we spoke: “‘Electronic music has been there all my life, from when I was a kid, but I never really ever tried to separate music into electronic or dance or acoustic. I started to work in electronic music, as in dance music, in 1996, when I first did some parties and was a DJ and it was always a natural thing”.
Like previously mentioned, the club was re-opened in 2003 by Renato himself. The reasons simply for that the other clubs in the area weren’t fitting into his musical tastes, stating ”there were some clubs in Sao Paolo, but at that time they worked with a very different type of music [from in Campo Grande], like hard techno, drum ‘n’ bass and trance. At the time, I liked house and techno too but not the harder stuff. So anyway, a lot of resident DJs from Sao Paolo who came to play in Campo Grande were saying to me ‘hey, you have to open a club in Sao Paolo’’ While there I was lucky enough to catch a couple of the soirees held at the club, with Solomun and Lees Foss headlining separate events.
As I strode through the doors, the DAS Soundsytem that adorned the main room, with lighting designed by Muti Randolph, hit me immediately. The thousands of LEDs that line the walls are extra special too, and add an extra mind-melting dimension to the sleek interior. Said interior is made up of futuristic designs and a tasteful mélange of classic and avant-guard aesthetics, making a sensual and sensory superlative setting for the DJs and performers who pass through each week. The crowds in Brazil are very open minded with their music tastes but also feel they pay good money to see the artist perform, generally most sets that are played in the clubs are at the highest level. This was put across very vigorously as we landed at Warung, where Renato is 25% owner of also. ”I started to be a resident last year and the owners thought it was important to have a partnership, so we started looking at artists together and working through the D-Edge agency. They know they can trust me because I like the music and I like the party”.
To add another feather in the bow, D-Edge will branch to Rio later in the year, so that will cover most bases for Renato and will surely be able to attract the artists that that he so longs for. Further more, recently Renato asked good friend and legendary artist Luke Solumon to mix a D-Edge compilation aptly titled ‘Cutting Edge.
“It’s the first CD I have done for a while” says Luke “and has been a long one in the making. I have had time to gestate, ruminate and alternate. I have had time to select and re-select, and eventually reach a point where I felt I could make the CD flow from beginning to end. The hardest part of that is being restricted to 78 minutes. I play broad spectrum of house that I generally have a couple of hours to expose to people. “ My personal opinion is the CD is remarkably mixed and seriously well thought out. It has a global reach, which is entirely what Luke was looking for and translates a perfect sound and is a great promotional tool for anyone visiting Brazil’s underground scene.
The Green Valley club, which is listed by the publication DJ Mag as the third best club in the world, occupies a gigantic tarpaulin- covered arena at the foot of a giant valley dense with lush rainforest and surrounded by numerous bars on wooden platforms. Handpicking only the most internationally recognized DJ talent, Green Valley can pull in up to $1.6 million per night. The other club previously mentioned is Warung, which is actually located in the division between Balneario Camboriu and its neighbouring city of Itajai. Filled with to the brim with VIP areas, Warung consistently delivers something more refined hosting residencies from the world’s biggest underground club brands just like D.Edge.
When looking back electronic music has been taking over the hearts and minds of youths all over the world for some time now. Originating over 30 years ago in urban Chicago and Detroit, the concept was designed to reassemble mundane disco tracks and give them greater appeal to those tired of listening to music about heartbreak, and looking to feel liberated as an individual.
In Brazil, as the numbers and the events prove, the party’s just begun and Renato and the clubs of Brazil will make sure it keeps on growing.
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Tin Man trips on Neo Neo Acid
Read more: http://www.residentadvisor.net/news.aspx?id=16622
