Yes, that’s right, James Holden is appearing for a special extended set at Output in Brooklyn, NY at the end of next April, courtesy of The Bunker. The acoustically arousing, Funktion-One equipped venue is a perfect fit for an artist of this caliber. Selling out basically every show he books in the US, this will probably be no different, so we advise getting tickets immediately. Did we mention this is the only show he has announced in the US? We’d also like to say it one more time in big letters, EXTENED SET. In fact, posting this article will probably aid in our staff not being able to get tickets. Holden will be joined by Bryan Kasenic, Timothy J. Fairplay & Scott Fraser, and Mike Servito. You can find the link to tickets below.
Where as James Murphy used LCD Soundsytem to celebrate music in it’s entirety, James Holden examines the chronicle of technology in music, and it’s particular attributes in different contexts. He’s really similar to Roger Waters in the sounds that he designs, and that’s probably no coincidence. He’s been known to showcase synth-based tracks in his mixes ranging from the 60’s, to present day. His finesse with careful, expansive, psychedelic layering, is distinct to say the least. He’s also a shining example that you don’t need a heavy drum beat or bass line to make digitally produced music (that’s your Que, Pitchfork). Once acquainted, you’ll be able to identify his style anywhere. Last year saw the release of his album ‘The Inheritors’ on Border Community which sealed his canonization into both electronic albums and as a legend alike. It’s hard to truly fathom that this musician first made his mark on the charts in 1999. We could vaguely refer to him as a Minimal producer, and that would only serve the purpose of catering to human nature’s need to understand what’s being presented. I’m sure James could relate to that. The man is certainly on a different plane. If there was a subject deserving of the label “existential techno”, his music would inherently fit. This is because every sound, note, and effect, every instrument used to produce it, is being implemented for a specific reason. If you read some of his interviews, you’ll find that there is a unique method behind each of his releases.
Although we may not understand him, we can at least get closure in understanding his live methods/instrumentation. On stage and in studio (in which he typically records live) he uses a history lesson worth of equipment, including but nowhere near limited to, modular analogue synthesizers, effects pedals, MIDI and DOWO controllers, and various software. His performances are done with either a live band, which is comprised of him on synths, a drummer, a bass player, and other altering roles, or as a DJ set. Both have equal reward in experience. For a (likely) short window of time, you can seize the opportunity to see what all the fuss is about. What’s it gonna hurt to possibly see some genuine, unique talent perform in one of the most proper sounding nightclubs in New York City? The link to tickets is there if you want to click it 🙂
Yes, it is true! Juan Maclean has been given the honor of hopping on the decks for the latest Radio 1 Essential Mix ladies and frogs. For those unaware, Juan Maclean is simply a master of music production. As one of the first artists to be signed to DFA Records, and longtime colleague and collaborator of James Murphy, he is the label’s secret weapon for house music. You may recall his sudden and epic appearance as an astronaut DJ during LCD Soundsytem’s final performance at Madison Square Garden, which you can view on the Shut Up And Play The Hits DVD. Reaching far beyond the boundaries of an ordinary DJ/producer, this bearded beast is adept in playing multiple instruments and records all his tracks himself. He fully embodies the “Too old to new, too new to be classic” motto of DFA.
The mix ignites with a fierce smack to the face and extends into the flawless perpetuity one craves with old fashioned club house. Slide some Dr.Scholls into your shoes and enjoy the…
LCD Soundsystem frontman and co-founder of DFA Records James Murphy filed suit against former label partner Tim Goldsworthy. On March 1st Murphy appeared in the Manhattan Civil Supreme Court along with the interests of DFA Records to seek almost $100,000 from his ex-partner.
Tim Goldsworthy allegedly left the country in a breach of contract three years ago neglecting to inform his business partners of his departure. He is being sued for outstanding debts to the company, deliberate misuse of the company’s funds, as well as the legal costs of the lawsuit in progress. Murphy and third party founder Jonathan Galkin claim that they attempted to resolve the situation on multiple occasions with fruitless results and no cooperation from Goldsworthy. In a statement that Galkin made, they had no word from the defendant and moved on with business in his absence, but Goldworthy still attempted to claim rights as a co-founder of the label.
Goldworthy claims that he went back to Britain to be with his family and had no idea of the issues at hand. We’ll see what happens in court I suppose.
Were back at Dim Mak Studios this week for performances by Justin Miller, Yacht, and Sneaky Sound System of DFA’s record label. DFA has long cast a shadow over New York’s underground disco scene, and tonight Hollywood got much needed look into their talents. Justin Miller has been tearing it up with the record label for some time now, but recently left to pursue his own interests and create his own label. The New York resident took the stage for an hour and forty minute set this past Tuesday.
Definitely taking a new direction with his music since the departure from DFA. Miller has cast aside the disco soaked mixing and taken on much more minimalistic attitude with the turntables. The set started out slow, although down tempo, his transistions were virtually flawless. Abundant in saturated bass lines, evolving slowly over very dark synths and decending pad. The rythms were so simple, yet meticulously calculated, and the drops form in blitzkriegs, with an almost gentle but heavy execution. What I love about Minimal Techno is that you think your in a place so for so long time until suddenly you realize your somewhere else completely. This crafted genre of calculated progression accents Justin’s expertise in turntablism perfectly. The mood of the mix had so much depth, but never lacked in intensity. Steady space travel indeed. Can you say “Miller-mal”?
Still, the track selection had a vintage flow. You could tell he worked with former colleagues James Murphy and Juan MacLean for some time. The years he’s spent on club floors were very present on stage Tuesday, even to one not familiar with his work. I suspected he couldn’t stray from his roots for too long and he finished the last thirty minutes of his set with a small array of disco floor fillers.
Despite the lacking disco nostalgia I had hoped for, I was pleasantly ambushed by his talent in the minimal niche. There were some undoubtedly dull moments in the set he laid down, but the potential in this direction is limitless, and I hope to see him persevere. I would not be surprised to see him succeed with this, and playing the streets of New York alongside Simian Mobile Disco someday.