88 Music Blog

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Joel Zimmerman, aka deadmau5

If you haven’t heard of deadmau5 yet, you’ve probably been living under a rock. He’s something of an iconoclast, provoking either intense adoration or unwavering hatred from virtually everyone familiar with his work. He’s been in a few high-profile spats, including a notorious (and ironic) fight with Felix Da Housecat (over a cheese board, no less) and a recent bout of internet muck-raking with Rusko (is it such a crime to like dubstep AND electro?) Regardless of your feelings about him as a person, however, this guy is a consummate performer. We here in DC were privileged to have deadmau5 schedule not one, not two, but THREE shows in a row at 9:30 Club – all of which sold out post-haste.

I was lucky enough to score a press pass (to write this very review, ahem) and what follows are my impressions of the show, as well as some totally bitchin’ stills and video shot by yours truly. (Sorry about the horrible audio quality – it was entirely too loud in there for my D90′s dainty afterthought of a mic.)

Will Eastman
But let me back up for a minute, and discuss the openers, who were both excellent as well. First up was Will Eastman, a local DC fixture who has been a key player in the scene here for over a decade. Most notably, he has run the Blisspop dance party since its inception in 2000 (at that time it was at the Black Cat, but it has now taken up residence at U St. Music Hall, a club he co-owns with another local giant, Tittsworth) He played an interesting mix of house, synthpop, big beat, and darkwave. Check him out here, playing some Chemical Brothers (“Swoon”, the new single, followed by oldie-but-goodie “Star Guitar”):

Kalle Ronngardh of Pleasurekraft
Next on the decks was Pleasurekraft, spinning a blend of tech house, electro, and techno. 2010 has treated Pleasurekraft – the brainchild of Kaveh Soroush & Kalle Ronngardh – very well; when their hit single “Tarantula” landed, it quickly became the number one track on Beatport and stayed there for an entire month. This quickly earned them the attention of big names like Sasha & Digweed, Dubfire, Michael Mayer, and of course deadmau5, who invited them to open up for him. (Incidentally, it was around this time that I quite serendipitously ran into fellow blogger and music fan Liz Douglas! Check out her deadmau5 review as well.) Here’s a crowd’s-eye view of Kalle playing some nice grooves:

deadmau5
Onto the main event: deadmau5. By the time he was getting ready to come on, the place was packed to the brim with glowstick mouse-ear-wearing fans. The crowd was a very strange mix: sixteen-year old candy ravers, baseball-cap-wearing bro-dudes (can someone explain to me why deadmau5 is so popular with this demographic?) and, of course, 20-something hipsters (such as yours truly.) Some people were in fairly elaborate costumes, including one guy who had a very realistic recreation of deadmau5′s signature mouse head. (See image below.) When deadmau5 finally came on, everyone, predictably, went apeshit. Here’s a video of the opening track, “Some Chords,” his new release now on Beatport:

As you can see, not only is his performance impressive musically, it’s a downright jaw-dropping visual feast. His setup uses, aside from the usual motorized stage lights, a huge array of LED panels, including several built into his epic mega-podium-thinger. LED panels, while significantly lower resolution than projectors, produce incredibly bright, high-contrast images with ultra-vivid colors. As impressive as it may look in these videos, it was much more beautiful in person. It really must be seen to be believed. The visuals, as with the music, continued to intensify as the performance progressed.

Musically, deadmau5 played mostly his own tracks, a unique style of electro house full of bleeps, bloops, zaps, buzzes, and other fun sounds. This sounds really great over a properly calibrated PA. It was hard to tell exactly how much work he was doing on his laptop to perform his tracks (I hear he uses the session view in Ableton Live to playback multitracks of his songs) but he definitely suffered from a case of laptop-itis, an unfortunate condition that plagues most electronic live-PA acts to come out in the past ten years. However, the dazzling visuals really were the focus of the show, so I didn’t mind that much that he was essentially pressing buttons every few bars and fist pumping. The two high watermarks of the show, I think, were “The Reward Is Cheese” and “Ghosts N Stuff” featuring vocals by Rob Swire from the Drum & Bass band Pendulum:

Unfortunately, it was an ill-fated affair – Joel, aka deadmau5, had fallen ill on Thursday, and had to cut the second two shows short. On Friday night, his show was cut in half, and he was rushed to the hospital, where upon orders from his doctors, he cancelled the other nine tour dates for the remainder of the summer. The official release from his representative stated that he passed out on stage; this was greatly exaggerated. He was, however, discreetly puking in a bucket during the show (delightful! thanks Mike from Dance Addicts for the tip.) I am glad to say that the latest info is that he’s relaxing at home, recuperating. I think I speak for everyone when I say, get well soon, Joel! Check out this video of Strobe, the last track he played and had to cut short, including the end when he leaves the stage:

Ultimately, aside from the obvious misfortune of Joel’s illness, it was an awesome show. Even if you don’t consider yourself a huge deadmau5 fan, the live show is so well done, it’s worth checking out anyway. Just make sure you get tickets early, as his shows almost always sell out! A good way to stay in the loop is to follow deadmau5 on Facebook and/or Twitter. I leave you with some great stills from the evening:

Kidkut, AKA Adam Jackson
I was excited to check out the new Applepips release – Laurie Osborne, AKA Appleblim, the founder of the dubstep/electronica imprint, is a fixture in the Bristol music scene, having released music from Martyn, Ramadanman, Instra:mental and of course, himself. It’s especially exciting considering the release itself is from none other than fellow Bristol music titan Kidkut, AKA Adam Jackson, the founder of Immerse Records, which has itself released records from such heavyweights as Benga, Kontext, and Late & Planas. These guys are crucial to the scene as promoters, so it’s very cool to see Kidkut’s first outing as a producer be so strong.

Kidkut – iLove04 / Lilt on Boomkat

Side A, iLove04, is a very special blend of dirty breaks, early dubstep, and 90′s britronica, with a dash of secret sauce. An infectious rhythmic vocal hook, “I want you,” is sliced to pieces, driving the track forward with a distinctly old-school vibe. This is filled in with groovy, smooth-yet-edgy keyboard lines, reminiscent of early Jimmy Edgar. If the chopped-up vocal samples and synth lines aren’t enough to get you moving, the funky-skunky syncopated wobble bass surely will make you lose control – this recalls the pre-Skream dubstep days in all the right places. The Pacific State sample, aside from balancing out the track with some lush chords, will make anyone in the know crack a smile. All in all, a perfect mix of nostalgia and fresh, forward-looking electronica.

Kidkut – iLove04 by kidkut

The B Side, Lilt, is an entirely different affair. This one kind of sneaks up on you – it’s somewhat unassuming at first, but by the end of the track you won’t be able to stand still. A hyper-syncopated calypso beat drives the track forward, accented by almost steel drum-esque synth keys, giving the track a funky Caribbean feel. Ultra oldschool percussion samples, (including the venerable TR-727 latin whistle, which makes an appearance at the end) give way to brilliant synth work, with bright, springy timbres and razor-sharp filter sweeps. Very slick indeed. This is one to keep an eye on for those who like something a little different on the dancefloor.

Kidkut – Lilt by kidkut

The release will be available soon on Boomkat, here. Check it out!

John Tyson

In anticipation of his lucky seventh visit to DC we were very pleased to catch up with Mr. Stacy Kidd. In twenty short minutes we got a taste of his magnificent aura, his love for his fans, and how he developed the underground sound we attach with his name. Read on for a closer look into the prolific, talented, bold and magnanimous Mr. Kidd. The answers below are paraphrased from Mr. Kidd’s responses. We will encourage every reader to meet him tomorrow night because, as he explains, he loves his fans and the vibe he gets from each of them.

88: Tell us what inspired (your new production company) “House 4 Life”?

SK: For years “House for Life” was my motto and kind of how I carried myself from day to day. Over the years House 4 Life developed into my focus and how I define myself. By March of this year it was inevitable that I put my catch phrase,behind my name and make a production company from it. Right now all of my focus and energy is dedicated to House 4 Life and its output.

88: Compare “House 4 Life” with the other production company you own Underground Elements?

SK: Underground Elements began in 2002 as a joint venture with a few really good friends: Matthew Yates and Joi Williams. We still make tracks and this company still runs right out of Chicago. Underground Elements was my first experience in running a company and both it and House 4 Life still exist. The companies do different things and have different vibes. I still really enjoy working Underground Elements and love those guys.

88: Besides your production company what else is coming out for you?

SK: I was signed to a three EP deal off of Defected and the first track “Movement” really went off for me. I have a few other EPs planned one of which will hopefully feature a remix by DJ Sneak. The next release might be a remix comp for “In The House” series. As to the Defected 3 EP deal, watch for the next release to come out very soon. I am really excited for this series and think this release really has something to it similar to the “Movement” track.

88: When you are in the club, tell us what you like about playing your own records?

SK: Well I do not have a certain sound which does not dictate what I play. I love the vibe in a club from people who really love house music. I love communicating with everyone through my music and seeing so many happy faces out there. I’ve been to DC 6 times before and always had a great time. I always show a lot of respect for my house fans who come to see me and message me all of their love and support. I really look forward to seeing you guys!

88: We could not find a way to order “House 4 Life” Tee Shirts from your website. Will you have any with you?

SK: Sadly no, but look for them on the website very soon.

88: With so much Chicago House music revival, tell us would you re release a vinyl only comp of your own rarities?

SK: Well I released a Greatest Hits compilation on my own label “House 4 Life” earlier this year. This comp was designed to showcase all of my early work with the raw Chicago House sound coming back right now. I also wanted to offer something to digital fans who do not have access to the really old vinyl that is so hard to find. While I play with both [formats] I know the digital age has arrived and want to offer my fans access to all of their favorites. I will also release a Dance Mania EP strictly on digital format next month. This EP will also be designed to provide access to the music once only available on limited run vinyl in the ever competitive Chicago House music market.

88: Tell us about your favorite environments to play in and a favorite style of venue (if any)?

SK: I play everywhere and have played all over the world. Sometimes in a city like DC I will play four gigs a night and all in different settings with entirely different songs and vibes. I play soulful, vocal, deep, funky, whatever. Whatever the vibe feels like I will play it. Until a few years ago I did not like electro whatsoever but nowadays I love music so much that if the production is good I get into it. That’s what keeps me motivated. Meeting friends and producers, vibing with them inside a club, learning what they do and where their passions lie, and then taking inspiration into my own production.

88: So events like WMC are really exciting to you?

SK: I love WMC and every year I get to hang out with old friends, listen to their new music and meet new friends. Every year I draw huge inspiration which I take right to the studio and right now I am always in the studio and am generally really happy. To me, playing this music and sharing it with people I consider family is so wonderful I can’t wait to do it again the next night. Since March House 4 Life has put out so much new music and there are maybe three albums that could be released tomorrow if I wanted. I take away a lot from that weekend and I make music absolutely year round as well.

88: Anything your fans can expect tomorrow night?

SK: I will take you on a journey. I know everyone says that but a lot of people have been telling me about this venue and I am really excited. You will hear some new stuff and believe me I always carry a ton of old gems with me to make the heads go crazy. So long as there are no thunderstorms I will be all set. Look forward to it DC!

Stacy Kidd success is one of those fairy tail stories in the music industry. Not many people know that Stacy’s uncle is Paul Johnson, yea yea that dude with the ultra club hit “get get down” from ’99.

Stacy was born in Chicago and started djing when he was 15. Having limited equipment he was mixing house beats using two tape decks. After a few years, he started buying new records and progressed to mix with one tape and one turntable. By the time he landed his first gig, where he played on two turntables, he already mastered the pitch and key mixing skills. That night he played with Paul Johnson, who was impressed by the unfamiliar tracks Stacy was playing. They were playing back to back for the whole night and it helped trigger Stacy’s success.

Stacy Kidd’s style moves between retro disco samples to fresh Chicago house beats with soulful vocals. Since 1992 Stacy has released his tracks on different labels, Riviera, Dance Mania, Defected and many others respectful labels. However, it was his “Underground Elements” project, developed in 2002, that awarded him with the wide public recognition, as the most respected and versatile Chicago house artist and won him in acclamation from DJ mag.

Stacy’s various tracks fit anytime of the day. You can start the preparation for the night listening to the joyful funky beats of “thank you”

Drive to the club with the Chicago beat infused “Let Love Enter” and “Common Sense”

and rock the dance floor with the hot vocals and killer kicks of “The Movement” and “Dance mania”.

End the night, begin the morning with “the real thing” while enjoying the breeze on a balcony with a beer in your hand.

More recently Stacy has created his own label “House 4 Life” working with the infamous Matthew Yates, Brian Harden and Trax Trixter. Together they are in charge on few of the greatest jazzy house and Chicago house tracks.
“where did it go”:

“house music”:

and “work it out”:

They also release a series of sexy, jumpin sets that can pump you up anytime of the day, especially during the summer.

For those of you in DC, don’t miss a great opportunity to have a wiggle and get sweaty with one of the best, Stacy Kidd with 88 and ELM at THE DIG, Friday July 23. U street Music Hall.

By day three, the wheat is separated from the chaffe in terms of who will continue and who is left behind to attend the family barbecue. Unlike the previous ten years, this reviewer was ready willing and able to cover a near essential string of artists. At least for a few hours. Arriving well rested and treated by the capable and highly recommended staff of the Book Cadillac Westin, this reviewer walked into a perfect Francesco Tristano set. For those in the know Francesco is a live artist and pianist who caught the attention of Carl Craig several years ago when CC remixed Francesco’s “the melody”. For his set Tristano kept in the 4/4 realm (although he did not really need to) and definitely catered to his wearily swaying crowd. Keeping the rhythm tight his delicate piano touches were perfect for the holiday sun. As his set built up in rhythm and the crowd shook off some cobwebs he absolutely dropped a rendition of Strings of Life. Carl Craig was now on stage ready to sit in the trio and showing off his ear to ear grin. Ending on the high note the crowd was very much ready for the Moritz von Oswald Trio to take the stage. MVO quietly sat backstage looking a bit out of place though nonetheless very relaxed. He waited probably 20 minutes with his Chanteuse (who could have been a daughter). When he was ready he entered the stage with cohorts Sasu Ripatti and Max Loderbauer. For ten minutes the trio, joined by Carl Craig, built up a Pattern 1 sounding rhythm (in otherwords 4/4) to a sure footed level ready to improvise. Almost at this moment the power shut down. Instruments off, Carl Craig’s scarf now in a tither, your reviewer promptly exited the backstage area searching for more positive vibrations.

And he found them in the roguish, brash tripartite crew known as DOP. After watching the blokes wander about the TV Bar in various states of sobriety no less able to carry a part english part german dialog with me this reviewer had confidence their performance would be excellent regardless of their mental state. This reviewer was correct. Each of the three had full liter bottles of absolute next to them throughout their performance. The most charismatic being the MC who over the course of the set completed his vodka bottle, outfit changed to an olde english D tee shirt, rode a stage storage box like a horse, let an audience member take the vocals, stage dove and smoked about five cigarettes. Sure it was off putting for a Monday at 3pm but it was an absolute blast. The trio played many of their most loved tracks and even if rain impacted the unsheltered audience everyone was dancing free of inhibition.

DOP despite their efforts drained this reviewer of near all of his energy and early Tuesday work agenda began to creep into his mind more than Booka Shade and Model 500. We provide several videos offering evidence that these sets were up to par although 88 totally wussed out.

Notably and throughout the weekend Detroit revealed itself to be less than prepared or perhaps decay is simply running its course throughout the city. Mr. Steve Mizek offers an excellent overview and conclusion that Paxahau needs to offer more to get the faithful to return next year with absent headliners and related problems. This reviewer will offer that at several points throughout the weekend Detroiters and their loyal public servants seemed overwhelmed by visitors. Primarily, a police force which can only react to crimes not prevent them. As to the private sector, businesses are overwhelmed. Cab drivers collude for the fictitious rate of 10 dollars anywhere within a 10 block radius. In Jimmy John’s in the heart of the city lines grew as a staff of 20 could not handle sandwich orders. Within the downtown area no breakfast spot seemed to exist until noon outside of la plaka cafe. Bar staff everywhere seemed drained and tired. Granted these businesses might not make money enough to justify the effort however it is a sad realization of a decaying city. That realization makes the justification to return that much harder. This reviewer will go again and come March 15 will begin to oggle detroitluv.com for an initial lineup. Mayor Dave Bing is wise to gear Detroit for life as a small midwest city and that gear shift is quite depressing. The conclusion becomes then could a city now set up as Detroit handle a festival like Movement. Should it?

Ultimately it must. It is North America’s biggest electronic music festival and even if Mutek gets the true artists and if this Electronic Zoo seems to attract “the people” it will always be the cultural home of techno and with it a yearly party to enjoy at any cost. Paxahau did a better job this year than 2009 and with Carl Craig the lineup will continue to improve. While I am confident this festival will continue to occupy Memorial Day to 100,000 Americans and travelers from around the globe every year it will need to continue to bring the special magic of Mutek to bring in Electric Zoo like numbers.

Adam Ross aka DJ Associate

Burbling bubbles at around 6AM in the Westin hot tub, attempting in vain to lure women to join me means only one thing: realize what your humble reviewer was put here to do and keep moving. To arrive at an all night event wide awake is a secret fetish for this reviewer because people watching is never better. Sure half the people will be in a near catatonic state but for those still going it is a sight. Women hump speakers, DJs shotgun beers, laughter always seems a bit more intense. TV Bar, unlike Old Miami, caters to the weirdness with decorations meant to confuse and create surrealism all at once. Why does that trophy have an antler coming out of the crotch? Must that child’s toy really hang in the hot sun painted that way? Small intestines made from petrified peeps candies? Gary Springs Hunting Club promotion crew probably take all of it into account when designing what became a near flawless day party.

The first advantage Gary Springs Hunting Club had was to run over top of the epic “I love you but I’ve chosen techno” party. That said many of its participants, Three, Seth Troxler, and others, could be seen mingling and enjoying their day. While this sort of thing may happen at Old Miami, the energy level is still riding high and with about half the people conversation is not inhibited by someone running up to an artist to make out with them. Also special to this party and thanks to the visa issues, Visionquest (of sorts) made an additional appearance to a very up for it audience. While beer flew out of Derek Plaslaiko’s mouth, Lee Curtiss’s deep bassy disco house hung in the air. Altogether with the DC contingent about 20 strong by 10AM it was a pretty sight indeed. By 2pm however the $2.00 dollar High Life’s had taken their toll and mental reminders that this reviewer will be on a boat in the evening began to drown out the Soul Clap playing to outstretched arms and jacking bodies.

The festival Day Two seemed about half empty upon arrival. No one by the VIP tent, main stage about half full with few dancers up front. Many avoiding the heat in the shade, but not nearly the number of people present 14 hours earlier for Plastikman. Making my through the tech heavy (at least at that moment) set of Ryan Crosson I discovered most festival attendees conscious at the time were probably at the Red Bull Stage for the spectacle that is Ghettotech.

Ghettotech, like the antecedent “mind eff techno”, is a mislabeled genre. The name ghetto enforces ideals of poverty, struggle, destitution. While as an aesthetic and desired connotation it’s simply not true. DJs who spin it are among the busiest in Detroit. The skill it takes to play probably 300 songs on vinyl requires near virtuoso like DJ skills. Moreover, can it really be that “ghetto” if every woman who enjoys dancing clings to it like a moth to a flame. All the same it remains an underground genre by virtue of its title and maybe its purveyors like it that way. All the same entering the Red Bull Stage affirmed my previous experiences. Women leaping in the air to “Hoes take off your clothes” and nearly everyone getting down. At the end, the hip hop style announcementof who played to thunderous applause and helicopter neckerchief swinging. A hometown DJ Godfather set is becoming a rarity these days and to see such a warm reception warms this reviewers heart.

Looking at the iphone, I became alarmed when it was 5:30PM and I had missed Hudson Mohawke, one of the few bass artists to be imported from the UK. All at once the festival discovery objective hit the saturation mode. There was Larry Heard on the main stage or Anthony “Shake” Shakir on the Underground Stage. Is that Cassy warming up? After a quick loop your humble reviewer rested his ears on Cassy. Full of smiles while in her mental capital of the United States, Cassy switched it up as only she can playing DJ Qu against breaks against deep house all to an audience that could not stop leaping in the air. As this energy became utterly infectious, discovery mode now hit full throttle as your reviewer attempt to cover every stage.

Take a full gander at her peak time set.

Watch her close it out

The underground stage still felt like a party and related certainly had the records to keep it that way.

About 3/4 full with many filtering in and out for several minutes the Spanish Speaking UR member continuing to pound the crowd into submission. As related entered with his live setup many stood at attention and stayed transfixed as he began to warm things up.

10 minutes. 20 Minutes………still about the same. It’s not to say this minimalism cannot affect it’s just with a festival set you get about 5 minutes to grab your audience and Bobby didn’t see it necessary. Now the decision to attend Ghostland Observatory seemed an easy choice. Inner City would be good but discovery ruled the day. Several Youtube clips make this band seem like Austin, TX’s answer to Queen or maybe the White Stripes. All the same to catch an electronified rock show in the middle of a techno festival was something in which your reviewer relished. Complete with laser lights, bass solos and top heavy women in front, this reviewer felt a bit like he was at the shows of his youth. That was until the music began. Ghostland Observatory is Dntel on way too many poppers. There is a lot going on, much of which is jarring, albeit a developed style appealing to any fan of the Ghostly label or the new breed of electronic music ala Alvin Risk. The spectacle went for 70 minutes ending with a vigorous guitar strum rock ending sending the witnesses into the night.

This reviewer will guardedly say he was one of few who went from Ghostland Observatory to the infamous Boat. This year the Boat party was meant to be a three floor saturation of genres all different and all equally talented similar to last year. With the last minute lineup changes of RV to Richie and Magda to Richie and Marco Carola the second floor became the question mark indeed. Also the sound was not governed by the same burly gentleman from Void. The fact that floors were no longer distinct impacted the night to a certain degree.

The top floor provided the easiest choice to start the evening. Lights still on, DJ Sneak very accessible style of house getting many of the dancers ready for the night ahead. As the lights went down, hand to hand exchanges promised an enjoyable evening ahead. Your humble reviewer already drained was not so confident. DJ Sneak, Derrick Carter and Gene Farris kept the top floor a consistently enjoyable choice to escape either the technical problems of the second floor or the enigmatic sound journeys of the first floor. As to the first floor, DJ Stacey Pullen began his night as strong as his appearance last year with a colorful and sturdy blend of tech house he’s developed leading into his excellent mix for 20:20 Vision earlier in the year. As he shifted into Agoria the sonic journey began albeit somewhat light and not as honest sounding as the glorious MK Kinchen set last year. On the second floor, Cassy played her typical flawless selection however the three record tag with Richie (who sounded really rusty on vinyl) and Marco Carola was a bit taxing. Coupled with system failures and effed up poo butts insisting on providing your reviewer back rubs the floor became very unsettling. As the iphone (and my own) battery began to wind down the evening took on more of a role of endurance than enjoyment. All aspects considered it was a great night but left about half the impression as 2009.

Wearily laboring towards a cab, this reviewer, despite his mental vows, could not possibly make the Mike Servito party without rest and a spa treatment.

It takes until March 15 of every calendar year since 2000 to realize four things: 1) Your humble reviewer is going to the FEST; 2) this reviewer is now excited; 3) This reviewer does not care who is playing; 4) This reviewer prefers to leave the FEST loving this music more than the year before (even if the feeling is actually mild nausea and ambivalence). This year that mixture of feelings all came like clockwork and with it the endless ventures to detroitluv.com to join in the brethren in speculation as to lineup, stage placement, sound quality, and for some reason corndog quality. This year, call it ten years of DEMF intuition, was going to be special and it was just a matter of patience before it came to fruition. This intuition was furthered by a recent discussion with a PR exec close to the Movement Festival who told me Carl Craig will bring back the credibility of the first two years. In some regards this exec was right but to many others DEMF remains a dance music celebration of techno to the Electronic Music and experimentation festival which is MUTEK in Montreal.

And then the weekend of April 24 hit. That Friday a relatively obscure blog leaked the story that Ricardo Villalobos would perform at DEMF. On Monday the Paxahau hype machine confirmed the speculation with a full press release. Beyond his absence from US soil due to visa issues, his visit would bring some much needed appeal to the true artists whose seldom see this side of the Atlantic. In addition is the appeal of DEMF’s accessibility. A ticket is roughly half of what the same type of festival might cost anywhere else on the planet. Second, Ricardo would play at reasonable hours by techno standards to an already electric crowd. The Beatport stage with its width and simplicity seems similar to all of the settings US fans longingly watch on youtube videos. So the setting, timing and significance were a perfect move for DEMF and seemed a very good indication how the second Carl Craig era would develop.

Big announcements aside, little story lines started to develop. Why again were Detroit’s torchbearers of original electronic music stuffed in an underground cement slab? Why are the stages announced over on the Movement Torino site? Great to see dubstep talent but who are they? Where are the standout acts who came out of performance retirement just for Carl Craig? All of these stories ultimately whithered under Paxahau’s effort to design a true celebration of dance music. Even the most experimental of performers for the year still had a 4/4 beat somewhere ( MVO pattern 1?).

This party aesthetic is really what distinguishes DEMF from Mutek. The premise since its inception is to do what you always had to do at night over the course of three days in the center of a city. To born and bred Detroiters it was a novel idea, tried again and again without success. While most who read this article cannot imagine a time when DEMF was not a well oiled machine, it’s very existence usually hung in the balance from February til about the end of April every year. Before DEMF existed incarnations celebrating techno took many forms all of which never came together like the inaugural year. As a result, it is a special celebration and usually a release for many involved, particularly Paxahau.

Paxahau, for the tenth year celebration, took a huge risk on Ricardo. Even after his announcement, many said they will not believe it until he hits the stage. For those who did believe it would have been affirmation that the US could host worldwide talent and pall cast by the last Republican administration was finally erased. This affirmation was hinted at last year during the Wighnomy Brothers set in which they played the entire Obama acceptance speech. That the track was played by a reclusive duo whose roots stem from East Germany became significant as this years lineup took shape. While Ricardo’s absence did not ultimately hinder the party it is yet to be seen whether artists of his caliber and enigmatic tendencies make the journey.

All of the above swirled in this reviewers head as he traveled along Interstate 70 until a subtle vibration came through his phone. Earlier in the week Circus Company artist Sety and later Greek techno DJ K.atou canceled on visa issues. While disappointing it could not kill a weekend like a canceled headliner who has not been to the states since his meteoric rise in the minimal era. And the car’s passengers took Mr. Villalobos’s evident absence very hard indeed. It was no longer a dream weekend but something now to be salvaged mentally. Then the email of Marcel Dettmann’s absence would dampen spirits even further. Suddenly the weekend became focused on discovery and not seeing the favorites.

And to commit to discovery became a near herculean task. Hitting the festival well rested, thanks to the Westin’s Heavenly bed and spa, the festival began with an unfamiliar brother Hawtin as observed by the familiar “Grandma Techno”. Seated in her familiar Rascal electronic cart she firmly clasped her handlebars revealing several nondescript tattoos. She certainly reminded us it was a party and that we are here to enjoy the music and smile (for heaven’s sakes).

After a few minutes of the German Woody Guthrie (1/2 rhythm and sound Mark Ernestus) this reviewer entered the fray. Patrice Scott was the first stop. As tension always run high about the Underground Stage’s sound, this year, just as Kid Rock promised,t the sound was improved however much it can never be perfected. A carpet adorned the ceiling. The stage seemed to be set up to absorb refractory sound. Still it’s not the Sydney Opera House. Up front you get the energy but not much of the thump. Along the sides you get the thump but often with it the pervs trying to spot the kandi ravers. Along the outer rim was much improved this year as Mr. Rock authorized a string of speakers to lie along the little ramp which leads from the bathroom lines to sound booth at the back of the stage. All that said Patrice built up the still gathering audience with his metallic type of craft house released semi annually via his imprint Sistrum. As the crowd gathered the Prescription records came out. From this moment on this stage became, for better or worse, an authentic Detroit warehouse. Here’s a great Patrice Scott mix!

Soldiering on this reviewer and his media badge landed him right behind the lanky mop top Turk we know as Mr. Onur Ozer. A resident of Berlin his calm demeanor must be fronted by a brash publicist as he frequents all of the world’s best clubs on just a handful of releases. All the same the beatport stage still had its usual only behind the velvet rope collection of women, Ray Banned swarthy men with wide smiles hugging each other with red bull vodka cups in their hands, figures pacing everywhere with massive camera bags and even bigger lenses snapping from every angle. Mr. Ozer had them all swaying in his usual hypnotically paced well selected house perfect for day time. He, among about 6 other not to be missed Djs, played the In My System (Chez, Ron and Chris Carrier as the Gathering) jam whose beat certainly caters to the haze of a daytime party but repetition of In My System tends to wear on the third or fourth listen. Nonetheless Onur got to us early and more power to him. As the beautiful and talented Ida Engberg made her way to the stage the thoughts of discovery led me to flee to catch the weekend’s only festival offering of bass music at the Red Bull Stage.

All due credit due to Paxahau for bringing bass music to the festival, however name recognition was not on the top of the list in prioritizing who to bring. A quick glance through the artists seemed like a flyer for a drum and bass weekly. In other words many names few to be recognized all playing about 30 mins apiece. All too often amid this reviewers penchant for the pure continental European up to the minute house, he forgets others come here to party for their favorite genre. And arrive they did with neckerchiefs, handstands and sweaty, happy faces. Most significantly the heavy bass carried very well through the Red Bull’s excellent sound. As the six DJs stood on the stage arms defiantly raised, the crowd reacted with yips and yells from three hours of bass punishment. Thankfully, Martyn, the Dutch ‘step techno Dulles area resident, came out immediately to catch the crowd trying to leave. He poured out banging choons before easing the crowd into a bit of his off kilter hard hitting techno. As he brought this shift some stood still while roughly one quarter broke into a break dance circle. Truly a beautiful sight to see others caught this whole discovery bug. With an outstretched iphone, this reviewer quickly realized DC favorite Kyle Hall was back underground.

At 19, Kyle’s resume reads like that of someone twice his age. 20 releases and remixes with dozens more on the way, appearances in continental Europe and London’s most famous clubs and parties. To enter to the Underground Stage you would think Kyle phoned up 50 of his closest friends and set up shop in one of Detroit’s [too] many vacant warehouses. This reviewer saw the opportunity to completely let loose, approaching the white angled cubes to yelp and holler at the world’s best DJ still in braces. To this reviewers surprise nearly 15 of his DC cohorts approached from different areas of the stage. At this moment the party began to take full swing and the stage to stage fury took shape leading up to his royal highness, Mr. Plastikman.

Woody McBride also know as ESP is a techno legend in the Minnesota area. Producing records for more than 20 years he braved the vitamin water stage still in daylight to a very receptive audience, many of whom showing gray speckles in their hair. An all vinyl set without even the slightest of hiccups he set up Josh Wink flawlessly. As to Josh Wink, it wasn’t that he or his music were off however Deja Vu of Loco Dice and Luciano set in as younger patrons began crowd surfing to a repetitive beat. Again the private conversation with PR close to Movement stated that Carl Craig’s selection prowess lies in his ability to find superior live acts for the main stage.

In 2010 Saturday night’s live act was Plastikman in a home town show that will not be forgotten. In the weeks since the first Time Warp show Plastikman radically changed his set from individual slower tracks like “I Don’t Know” from 2003′s Closer to a dance floor friendly mesh of songs like “Slak”, “Panik Attak” and “Plonk”. For Detroit he would dig even deeper and with the live all encompassing sound and light show in full swing it was absolutely stunning. Little touches such as Plastikman spot lights beaming across Detroit’s skyline gave the opinion that a Detroit hero had come home. For 70 minutes he awed his crowd until he added the final and most memorable hometown touch to his show. Words cannot describe it to this old raver so check it out yourself!

In the hustle towards the exits the city again showed its unpreparedness for 95,000 people. Bars with nervous doormen refused entry to anyone seeking “the facilities”. Other bars shut their door entirely even if their appeal could catch some of the foot traffic. One place chose to play Bob Marley and Hall and Oates as they had no electronic music available whatsoever. This inevitability pales in comparison the Detroit Police on Saturday May 29, 2010. As this reviewer’s near sole focus in light was the Centre Street Special at the moment. Police already swarmed the party as this reviewer arrived. A hearty hug from Mr. Alland Byallo and a welcome from Luke Hess let me know whatever was going on outside would not likely come inside as the friendly vibe of five of the country’s best techno promoters put together an outstanding techno party. Catching up with friends, admiring the old Centre Street Lounge was fun but the wait for Levon Vincent and Ben Klock became harrowing for whatever tired reason this reviewer had.

So deciding to leave, knowing with a text we could get right back in, was an easy one. Sure enough, the phone vibrated again en route to the hotel this time the Police inexplicably shutting the party down for an undetermined amount of time. Sucking the energy out of this reviewer to head to the Works, this reviewer opted for an early date with a ShXt Show.

John Tyson & X created Tabula Rasa, an interactive visual art installation for last Friday’s Wonder Emporium event. The installation was a huge success, as people clamored and played around it all night. Below are a selection of our favorite screen grabs captured throughout the night.

In honor of the forward thinking nature of Sonar 88 is proud to present Wonder Emporium. If you are into digital wonderlands, futuristic technology, good times and unable to attend Sonar in Barcelona…you’ll want to be at this event Friday. For ADVANCE TICKETS! CLICK:

In honor of this year’s Mutek festival, one of our favorite festivals – not to mention inspiring – in beautiful Montreal, we decided to do an expose on one of the City’s finest electronic musicians.

Canadian producer, Marc Leclair, better known as Akufen, is a forward thinking producer who has constantly experimented and explored new sounds throughout his career. No specific superlative can define the man and his creativity.

Many say Akufen’s story began at the 2000 Mutek festival. Prior to the festival, he was well known as a techno and house dj in the Canadian districts but while playing at Mutek, a few of his releases got into the hands of the minimal German producer Thomas Brinkmann. Brinkmann spread Akufen’s goodies all around Europe and after two years of momentum and worldwide anticipation, Akufen rewarded the world with his debut CD – My Way.

Akufen’s – My Way did to the techno and house scene what DJ Shadow did to the hip-hop and trip-hop scenes with his classic debut album Endtroducing….. .
Akufen mastered the micro sample skill to create an innovative and full-of-hits minimal house and techno CD.

To grasp Leclair’s powerful art work, take Gel Abril’s, one microsample based anthem hit track, Spells of Yoruba, and multiple it by 2,000!

Yes, the legendary producer spent ridiculous amounts of hours next to FM radio stations recording over 2,000 samples to create My Way, which include the mega hits Skidoos:

Jeep Sex:

and the unforgettable introduction for Deck the House.

The revolutionary CD, became a classic and elevated Akufen’s status as an artist who keeps pushing the sound limits; continuously succeeding to open unrealized sound doors.

Since the release of My Way, Akufen has been a coveted artist all over the world, seeing more dance floors than daylight. “I’m touring like crazy, I’m gone three weeks out of every month.”

Although he does not release new music constantly, his live sets are a once in a lifetime experience. Come open minded to the dance floor and he will take your brain on an incredible – sometimes unexpected – sound trip as we experienced at last year’s Mutek.

Setting such high of a bar with a debut album almost always creates a hard time for artists in the following years. Since the release of his debut, Akufen released one more artist CD, Musique pour 3 Femmes Enceintes (French, Music for 3 Pregnant Women). Leclair’s main goal in that album was to escort his wife and her friend, who got pregnant at the same period, through the pregnancy process. Each track symbolizes a different stage and progress in the experience. In between, during 2004, he also released a compilation CD, Fabric 17, where he mixes dark yet funky beats in his own unique style.

Akufen now is working on new material for the Perlon label, as Horror Inc, which seem to be energizing him. “The new Horror Inc. stuff is totally cinematic, jazzy and really dark” he says.

After a five year hiatus, Akufen is going to be back at the place where it all began, Mutek 2010, armed with a new CD. Don’t miss it!