Sampling Culture http://samplingculture.posterous.com Most recent posts at Sampling Culture posterous.com Thu, 05 Aug 2010 06:02:00 -0700 Montreal: The place to be for Mutek http://samplingculture.posterous.com/2010/08/05/mutek http://samplingculture.posterous.com/2010/08/05/mutek

Each year in early June throngs of electronic music fans descend upon Montreal for the Mutek festival - a unique program of experimental music and visual art installations. This year the festival delivered a high quality program that techno aficionados have come to expect. Many excellent genre-crossing acts performed and, despite relentless rain, attendees revelled in danceable music and learned about exciting new musical groups from North America and Europe.

Half-way into the week long festival, Mutek's Friday night showcase offered up two acts that remain relatively under the radar but are worthy of more attention. Christina Sealey and Richard Oddie make up the dark electro-pop duo Orphx. In their mid-thirties, they live in the Hamilton area and play in Toronto, Montreal and Europe whenever they get the chance. Sealey is a talented painter and Oddie is a university teacher, specializing in social science, geography and politics. The duo got to know each other well while producing many of their 20-plus record catalogue from which they perform songs at their live gigs. The Orphx show at Mutek included material from the group's latest EPs (Blacklight and Division) that came out on the hard techno label Sonic Groove of New York. Oddie said that their intention at Mutek was “to give people a sense of our different styles and influences.” Their set revealed their flare for combining of techno and house, electro and dub. I interviewed Oddie about their creative process. “We make music with a lot of tension. It's music with darker feelings. We explore [those feelings] and work through them,” says Oddie. Their music is dark and industrial and on one of their records Orphx explored places they liked in their city. “We used sounds from the city [of Hamilton]. I suppose [the city] does shape our music a lot,” says Oddie. “[Hamilton] is a city that has struggled with poverty and the decline of the steel industry,” he explains. “There are feelings that come with that – [both] negative [ones] with social problems and positive [ones] as people try to... recreate themselves,” says Oddie. Oddie figures that their music may be paralleled by living in the post-industrial environment, but he reflectively adds, “Perhaps we mirror [our environment] self-consciously.” “We like Detroit techno – [which was borne out of] similar conditions. [It's] futuristic but relatively dark music. They [Detroit techno artists] were shaped by what was going on in their city.” With song titles like Burning Flags and Simulacrum one wonders what inspires Orphx thematically. “A lot of it is in response to things I'm reading, or things I hear about in the news,” says Oddie. “Other times [a song title] is in reference to something I am reading, or a psychological concept,” Oddie says. He is most excited about artists making music on the fringes of techno. “They have a concept, and psychological and emotional weight to their music. It's not just party music. There's something else going on and for me that is going back to the origins of techno. The [early] material from Detroit had a lot of emotional weight and depth to it. I like the idea of taking techno seriously,” explains Oddie. Orphx started out making music in the early 1990's and they were heavily influenced by Japanese ‘noise’ and industrial music. Since then they've connected with a small but global audience of music fans, record labels and galleries who enjoy their sound. “More recently we've been doing techno music more overtly... and foregrounding that structure and we seem to be reaching a new audience which is exciting,” says Oddie. “It's hard to get shows [in Hamilton] unless you put a lot of effort in. In Toronto there is a techno scene – and we'd like to play some of those gigs,” says Oddie. For now, Mutek was a real treat for them. “Mutek is one of the rare exciting places to play,” says Oddie. Following Orphx, Actress was next on the Mutek bill performing an Ableton Live set that included sound effects and samples. Darren Cunningham (a.k.a. Actress) says he writes all of his tracks visually – “I want to create a visual experience in the sound and generate a mood so I can immerse people in the texture of the sound.” When I interviewed Cunningham at Mutek about the origins of his creative process, he told me he was once a footballer for West Bromwich Albion in London, but had to stop playing at the age of 19 because of an injury. When he lost his dream to be a footballer, he says he was heartbroken. “It was a devastating time.” However he says, “The upside of that is that I've always had music – Even when I was playing football I was dabbling in music.” “What you're hearing in my music is losing a dream that I worked hard to achieve,” explains Actress. “I put all of that into my music. My music is now an expression of that,” he says. Actress finds some similarities between his former career and his new one. “To be a sports person and musician you have to be a hundred per cent devoted to your art. The skills I put into my tracks are similar to the level of devotion I would put into playing football in the past,” he says. Today he is a music producer and the owner of the Brixton based record label Werk Discs. Asked why he chose the name Actress, he explains, “An actress performs a role... and creates a persona for that part. So I re-contextualize that idea within my music.” Judging by his stage presence at his Mutek performance, which was very low-key and authentic, acting may be something that Cunningham jokes about, but never entertains seriously. Most Mutek attendees would probably be inclined to agree with Actress when he said after his show, “It's a great program they have in Montreal...Mutek was brilliant and well-organized.” If you've never attended Mutek festival, you're advised to book it into your calendar early for next year. See you on the dance floor!

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Wed, 03 Jun 2009 03:34:09 -0700 Mutek_10 Festival http://samplingculture.posterous.com/2009/06/02/videos-from-mutek http://samplingculture.posterous.com/2009/06/02/videos-from-mutek
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Mutek’s tenth edition line-up was a reflection of where dance music continues to push the boundaries and maintain its solid foundation. Annually, according to the festival, over 54 per cent of Mutek attendees travel from places outside of Quebec - Chicago, Edmonton, Los Angeles, New York, Vancouver and Europe - for an experience that Time Out New York has called “North America’s leading electronic-music event.” Thus, it should come as no surprise then, that Mutek recently won Quebec’s Tourism Grand Prize for 'Festivals and Touristic Events'. I was one of many avid techno tourists who attended Mutek’s 10th edition. Saturday afternoon, after a six-hour drive into Montreal from Toronto, the Strawberry Fields Forever piknic electronique on Île Ste-Hélène was an energizing respite. Partiers reveled under the remnants of Expo 67 in Montreal - the impressively large and expressive sculpture entitled 'Man' by the great modern sculptor, Alexander Calder. Generous in its appeal, the music of Saturday afternoon was full of dub, deeper house, funky disco rhythms and techy hooks. Starting things off was the Canadian premiere of Berlin's Thomas Fehlmann, an early collaborator with the Orb. His set was groovy and gentle on afternoon ears. He made djing to the crowd look easy, and with so many years in the business (his first work was completed for early UK house labels in the 1980's) he definitely knows how to get a party started.
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The sun shone moderately on those who danced. Up next was the Manchesterite, Trus'Me, whose signature deep house sounds pleased those in attendance and left no one wondering why he is, today, an internationally renowned talent. Finally, former Montrealer and British Colombia born favourite, The Mole was back in town from Berlin, and he closed out the piknic to a fully pumped crowd. As the sun came down, the Mutek crowd looked ready for the evening festivities ahead.
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Saturday evening came quickly and Metropolis was the place to be. Upon arrival, Canadian Public Transit Recordings label head, Moonstarr, had a small but growing crowd engaged. He performed with Tony Ezzy, and DJ'd a hip-hop infused set. The beats were deep and the synths, keys and vocals by Ezzy blended well together. Their stage presence was fantastic and the energy between the performers was amicable. In conversation with Moonstarr prior to his Mutek performance he explained that he would play tracks from his new single called 'Farfisa 45', which is named after the organ that Ezzy plays. Moonstarr's latest full length, Instrumentals Forever, was also showcased in his set. While he's better known for hip hop and breaks with jazz and funk samples, his set fit in perfectly with the line-up that the festival curators built that night. [wpvideo HA7KHRok] Up next, the French trio, dOP, played a great set with very playful lyrics and beats in a collaborative stage show. However, as nearly a full bottle of vodka disappeared from the stage, as it was drunk, the frontman’s verses became sparser and the set lost a bit of its earlier finesse. But after dOP’s very successful I’m Just a Man EP in 2008, the audience looked eager to experience the live incarnation of the recognizable group. The funniest point in their set was when they invited four ladies onto the stage to dance. Although not particularly musical, it was entertaining never-the-less.
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After dOP, Mathew Jonson and Dandy Jack came along. Their collaboration has apparently been an item for months behind the scenes, and they unleashed a fairly pounding and experimental techno set on the crowd. It was interesting to speculate how the two artists, both into musical fusion – techno and jazz, and techno and latin – came together. Maybe it was their love for experimentation or the fact that both artists are living in a home away from home, Berlin, and perhaps sharing the expatriate experience. Jonson is from Victoria, Canada, and Dandy Jack is from Santiago de Chile. In any case, their music was enchanting and exciting – with an energy that is unparalleled by other live techno acts. [wpvideo nIRK6YYH] Next, tobias. from Berlin, performed in an exclusive North American premiere. His set was surprisingly refreshing, not because one could underestimate the aptitude of an artist who put out his first single in 1989 and who collaborated with Ricardo Villalobos (as Odd Machine), but more because after such a hard experimental techno set, tobias. brought the atmosphere back down from its cerebral tones. His set was elegantly constructed and made a nice arch toward a great finale performance by Detroit techno icon, Carl Craig. Craig’s set was danceable and superb, taking festival-goers well into the early morning hours. Perhaps, nothing better can be said about Mutek's production than the visuals. They were done to perfection, beautifully crafted with amazing hues on the artists and the crowd in front of them. From almost any vantage point in the multi-level concert venue, the visual spectacle could not be downplayed. Wrapping up a 24 hour stint in Montreal for Mutek’s tenth year of international experimental sound and digital creativity, we found ourselves back at Parc Jean-Drapeau on Île Ste-Hélène. A short subway ride away, the island oasis with its view of Montreal, was a pleasure, even in the cooler rainy weather that day. For the final piknic, Zip and Ricardo Villalobos played a marathon set. Starting out with dubby low-key minimal vibes, the energy only grew as more people arrived in the later afternoon to listen to the kind of quality electronic music so rarely found in any abundance in North America. The atmosphere was bohemian and hip without being over-done, making this event a real treat for those in attendance.
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The 10th anniversary year of Mutek once again showcased the range of international and domestic talent that can only be expected from a festival that has techno tourists roaming the continent for it. -- To see the article on Urb Magazine's website visit: http://www.urb.com

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