13 Sep 2014 — Evelyn Malinowski
Last year Kelsie and I had the pleasure of attending Seattle's beloved and rather large Decibel Festival. While the overall curation of this event was and will continue to be professionally executed, one thing that stuck out as a negative was the line-up's startling lack of female artists. This year, however, there are more than a handful female artists, as well as a wide range of acts that use electronic instruments in various ways to relay diverse messages. By presenting an expansive line-up, Decibel ends up appealling to all types of music lovers, whether techno and club music agrees with them or not, which is a deed that affectively and somewhat diplomatically assists in adjusting the North American attitude toward electronic music. Starting small and intimate, dB has turned into a crucial beacon for techno advocation and forward thinking in the States. It is put on yearly by passionate fans and strong believers in the many assets offered by this world of music and sounds.
Below is a list of NFOP-recommended artists who are playing this year. Some of them you will know, some of them might be new to you. Some we have collaborated with and reviewed, others we will be supporting, or continuing to support, in the years to come. I'll post a recap post-festival.Read more →
Natasha Kmeto – Portland (Dropping Gems/Federal Prism)
Natasha has made several appearances on NFOP. For proudest example, she contributed a guest post last year in response to our feelings on Decibel's 2013 line-up. Apart from proving to be a reliable voice in political matters within the arts, Natasha's music is compelling, bold, successful in blurring the lines between genres, which helps blurs the lines of conventions, and, yes, it is sexy. With its hues of r-n-b, otherwise clubby grooves and understatedly fantastic beat work, there is something for everyone in her grooves. Further, her live sets are brilliant, full of energy and sweat. She works the crowd like an MC, like a DJ, like a back-up singer taking center stage for thirty minutes or more, like a professional performer. I've seen her live twice now, and I imagine the third time will be even sweatier.
Natasha's performance will be part of the commencing showcase, or Opening Gala, Sept. 24th at the EMP Sky Church. Accompanying her groove will be visual work from EFFIXX, whose aesthetic consecrates the place where all tricksters hang out, that nexus of unlikely components. In this case, its technology, mysticism and mythology.
Ana Sia – San Francisco (Frite Nite)
With Ana Sia, you can experience both some minimal techno attitude and comprehensive, animated percussion. The tracks are filtered through aberration, equipped with frequent swells and corresponding perigees, and embedded with archetypal vocal samples, Detroit style - it's nastily delicious. It's upbeat but semi-dark, breakbeat-ish, and demonstrative of Ana's playful command. Take “Imma Boss” for example, where a warehouse melody greets us with cadenced drums, which transform around more than that rave melody. Isn't it usually the opposite? Ana Sia runs appropriately with the Bay's Frite Nite crew.
Sassmouth - Chicago (God Particle)
Sam Kern aka Sassmouth has been behind the wheels for years upon years, actively pursuing the challenge of connecting songs as seamlessly as possible, without ever dropping the mood. Sometimes, such a task requires smaller bits and bolts, neutral ground, and suggestive, repetitive flare. As the founder of the God Particle label, which operates solely to manufacture, release, and promote simple, straightforward bits and bolts to fill and level out mixes, Kern can be considered a conduit for the house DJ continuum, a clever fan and musician who has augmented and celebrates the side of DJing that requires "filler" songs. She is also somewhat of an icon for the neverending pure, midwestern house mix, even though the mix does end.
Total Freedom – Los Angeles (Fade To Mind)
I've had two random club-drop-ins where Total Freedom was in overwhelming command of the crowd. Both times, I freaked out dancing uncontrollably, throwing away the idea that I was only going to be there for thirty minutes. Ashland Mines' authority is accomplished and maintained by frequent song-changing and a fast-but-not-too-fast tempo. Additionally, there's some kind of appetite for noise afoot in his sets as well as productions. It isn't dubstep, it isn't d-n-b throwback either: it's Total Freedom. Additionally, Mines is an active and influential collaborator, and has worked with Kelela, Gang Gang Dance, Nguzunguzu and many others.
Total Freedom will appear at the rather enthralling Optical 1: Kinesthesia Showcase on Sept. 24th at the EMP Sky Church. Basically, it's important that you make it to this session, because Arca will be performing with Live/AV from Jesse Kanda followed by more live/av from Max Cooper and The Sight Below. Optical 1 is likely to be a comprehensive experience in where noise, post-pop hip-hop, and techno mysticism all collide.
Rrose – New York (Eaux/Sandwell District)
Deliberately obfuscating and somewhat politically satirical via dark yet rich textures, Rrose is doubtlessly one of today's most innovative producers. Spiritual and avant-garde, Rrose emerges from the Sandwell District realm, a place revered for poignantly perfect techno packaged by images of skulls, dead birds, and other Halloween-all-year tokens. Despite this tone, the sounds of Rrose are extremely healing by way of their intrinsic softness, gradualism, and unapologetic repetitiousness. Parts of what is represented through this act touch on the same ethos that Nik Void of Factory Floor and Chris & Cosey evoke, however with less colors: a history of techno before techno gestated, combined with modernity's industrial weariness, all in the language of contemporary techno.
Cock & Swan – Seattle (Hush Hush)
Our own Kelsie Brown noted Cock & Swan's musical longevity half a year ago. Their sound can be described as indie dreamscape with soothing lyricism, as it uses just enough electronics to get to where they need to go. At times they display inclination toward old school downtempo, Lamb-like or Alpha-like structures. As part of the Hush Hush label, where Slow Year and Chants likewise reside, Cock & Swan stand out as perhaps the more organic act available on the roster; that isn't to say they don't fit harmoniously in what the overall atmosphere of Hush Hush is. I find Hush Hush a bit nostalgic for the early Leaf Label, with solemn and well-garbed artists. It's music that channels the sound of rain against the window on most days.
Cock & Swan will play the Hush Hush Showcase Sept. 27th at the JBL Theater with Slow Year, Hanssen, and Kid Smpl.
Braids/Blue Hawaii – Montreal, CA (Arbutus/Full Time Hobby/Flemish Eye)
Braids and Blue Hawaii are NFOP all-stars, and their commonality, Raphaelle Standell-Preston, can be regarded as one of our favorite singers. Braids are originally Calgary and now Montreal-based production geniuses, touching on glitch, experimental, and pop. Their rather devoted international fan base speaks a volume or two to the quality and emotionality of their live performances. It's indeed fascinating to watch drummer Austin Tuffs play the piano part in the gorgeous, rainy track “Girl” on his drum pad (which he isn't doing in this video); it's stimulating to witness their detailed electronic songs deconstructed and played by physical movement. Braids are an exemplary and literal electronic music band.
Blue Hawaii is made of Standell-Preston and her dear friend Alex Cowan. Their second release “Untogether” caused quite a ruckus within the NFOP community as well as the neo-pop subculture. Its dancey, sentimental complexity, seen by the cover image of the two members embracing and disappearing as they do, reflects on the contemporary attitude toward relinquishing youth, physical distance, and confusing friendship for romance. Check out NFOP's BCR show with Alex here.
Definitely catch Braids do their spectacular thing at The Crocodile on the 24th for The Haunted Pop Showcase, which also will host Son Lux, Manatee Commune and Helado Negro. Blue Hawaii will play the Sines Of Life Showcase on the 26th at Showbox alongside El Ten Elevent, Yppah, and Vox Mod.
Andy Stott – Manchester, UK (Modern Love)
Stott is the prince of slow disco, or perhaps by now, the king. Drawing on UK bass, ambient, dub and some other kind of divine but not cheesy force, Stott's work engenders that we silently contemplate ephemeral matters, impermanence, and wet dreams about time travel as the music washes over us. Frequently coded over with striking vocals while the melodic aspects throbbingly waver in and out of clear earshot, this is the music of the death of summer as well as truths about where the big 2012 cultural shift is leading us – not to an apocalyptic place, I'd say. That's too singular of an answer.
ASC – San Diego (Auxiliary/Silent Season)
Really excited to see James Clements on the line-up. I've liked his sparse, beautiful music for some years, as it can go into either aggressive jungle territory or back to childlike wondering-what-it's-like-to-fly curiosity. With plenty of indication of UK hardcore and drum-n-bass in his work, ASC also manages to bring something timeless and personal to the world of ambient pad music. It's a pastoral, overcast, chilly place, which makes one think, “Just five more minutes, then back inside for tea.” Clements' latest Truth Be Told is Bvdub-esque, meditative lamentation for something perpetually out of reach. It was released by Vancouver's Silent Season imprint, which lauds the vastness of foggy temperate rainforests and the creatures that dwell therein. As opposed to some of his older work, Clements' fresher sound is coded with genuine praise for all things beautiful and the human experience. Such declaration correlates with the growing cultural trend of using technology and digitally produced sounds to better commune with the natural world. There is so much to learn from this seeming paradox, and I'm not just saying that because it's been important to me for most of my life.
Oneohtrix Point Never + Nate Boyce - New York (Warp)
DID YOU KNOW that OPN recently went on tour with Soundgarden and the Nine Inch Nails? It's true, shocking, and pretty profound. This tidbit probably settles with most of us agreeably, for OPN's music implies a type of laziness and Nintendo Peter Pan personality, who still has Soundgarden posters up in his bedroom, above the dirty clothes bin. Boyce's early 90s, glistening apartment aesthetic fits OPN's melted video game cartridge sound. Need I say more?
OPN + Boyce will be performing at Optical 3: Playful Discord alongside Kangding Ray and Atom TM's HD/AV at the EMP Sky Church. Really looking forward to this - it'll be an event that re-centers its audience about where/how the recent exhumation of interest in walking through dissonant, atonal spaces originated.
Nordic Soul – Seattle (Decibel/Studio 4//4)
Nordic Soul is Sean Horton's DJ guise. As the founder of dB, Horton commonly plays showcases, which is doubtlessly one of the ways for Horton to more fluently interact with attendees, attendants, and artists. I had the pleasure of first catching a Nordic Soul set here in Missoula, Montana during the inaugral DAT Music Conference. Horton threw down classics new and old, covered a range of styles but never with any kind of strain, confusion, or lack of vividness. There remained a certain amount of dreaminess throughout those two hours. It was wholesome, devoted, and somewhat transcendental.
Isis Graham – Calgary, CA (Substation)
There's been more and more substantial material being broadcasted out of Alberta. Apart from Normals Welcome, an Edmonton-based label, Calgary's Substation Recordings has the goods. Isis Graham, a considerably prolific producer and remixer, gets the job done with cadenced house and easily consumable clubby grooves. As an integral part of the Girls On Decks collective, Graham can be treated as a succeeding advocate for quality techno plus gender awareness in Canada. Such a revival in Canada surely speaks to a greater North American call-to-arms for forward thinking electronic music. At it since the late 90s, Graham is a hand of perseverance and stylistic wisdom.
Vatican Shadow – Los Angeles (Hospital Productions/Blackest Ever Black/Modern Love)
Complete with Reich referencing, black and white color scheme, and dark, hypnotic, and militant tracks, Dominick Fernow's project concurringly affliates with Blackest Ever Black as well as Modern Love, but mostly releases on his own Hospital Productions, along with work by Silent Servant, Ron Morelli, and Kevin Drumm. Since the late 90s, Fernow has been busy working to bring industrial techno and meandering, dark dance music together in unqiue ways, and so far, we're barely touching the tip of the iceberg. His latest, Death Is Unity With God, is an extensive release bearing several apposite titles for the moniker created only to comment on and convey post-Catholic apocalypse esoterica.
Catch VS Sept. 24 for the Pitchblack Showcase at Re-Bar.