The post Machine Listening: Movement 2018 appeared first on Detroit Music Magazine.
]]>
The heat was assertive even before noon. A light rain fell as I checked in. Grandma Techno was in line on her phone—I didn’t want to interrupt. By the time I walked into the festival, Clark Warner had already initiated the steady pulse of music that would persist until Tuesday morning (at least). Hart Plaza, just recently a skeleton of stages and concrete, was teeming with life.
The first set I saw in earnest was Black Noi$e at the Red Bull stage, who ended a house/techno/trap mix with shout out to his parents in the form of a Luther Vandross song. His set was followed by a powerful performance by Detroit’s own Bevlove, whose undeniable presence on stage is usurped only be her vocal dexterity. This flurry of hip-hop and R&B at the Red Bull stage was capped off by Count Mack, whose set was DJ’d by none other than Nick Speed and featured appearances by local artist Sheefy McFly and APX’s Prada Leary, among others.
The only thing that could pull me away from such a block of quality music was Waajeed’s set at Stargate, which offered a seasoned live alternative to Red Bull’s fresh crop of young, local talent. A set from Dez Andrés soon brought me back to Stargate, which featured vocals from Monica Glenn as well as musical accompaniment from Sam Beaubien and Ian Fink. Andrés proved to be just as comfortable behind the congas as he is behind the decks. Helena Hauff then prompted my first visit to the underground stage, bringing heavy synth lines laced with light, airy sounds that flowed in and out of the mix.
After a short break to explore the scene, I caught Stacey Pullen at Stargate for a set reminiscent of his stellar performance at the Movement 2017 Appreciation Party at TV Lounge. Meanwhile, Ida Engberg’s set at Pyramid offered a very different vibe, complimented by eery visuals and the cooling night air. DJ Hype b2b Hazard proved to be a jarring transition, with intensely psychedelic backdrops coupled with fast-paced drum loops. Here I saw the dancing Reptar for the first time, a scene which only made the experience more remarkable.
I circled back just in time to catch the second half of Carl Craig’s set, which featured him donning his signature party hat and celebrating “Detroit Love” with a headlining set on the stage he curated. Before settling in at the Main Stage for the first day finale from Detroit’s own Claude VonStroke, I had to sneak back to Pyramid for one last dose of heaviness courtesy of Maceo Plex. It was a stretch for time but turned out to be a clutch decision, as I ended up catching one of my favorite sets of the festival. Day 1 proved to be a whirlwind of music and energy. It took everything in me to rally even a meager after-show effort. Disappointed I didn’t take full advantage of the nightlife, I found some consolation in this thought: If a day well spent requires a night of good rest, it was probably worth it.
There are few things more pleasantly surprising than a weather forecast changing for the better. Of course, we’ve all developed a certain skepticism when it comes to predictions here in Michigan, but when preparing for an 11-hour festival you can never be too careful. As I entered the festival for Day 2, the sun shined in assurance that it would be a beautiful (and very hot) day.
Stargate’s Saturday lineup was a sight to behold. At Redbull, DJ Holographic brought the heat with an energetic mix best summed up by the apt vocal sample, “this is what you want, love is what you need.” Nastia’s set at Pyramid was equally exciting, though the two expressed similar feelings through the use of two pretty distinct sonic vocabularies. At the Main Stage, John “Jammin” Collins was brilliant in a way that only experience can enable. Next door at Stargate, the Saunderson Brothers displayed their growing prowess behind the decks, channeling fatherly inspiration while also defining their own sound.
While it’s impossible to escape the reach of sound while inside the festival grounds, certain areas offer a form of reprieve that can help cleanse the auditory palate. The Beer Garden is perhaps the furthest you can get from any stage, with a wide expanse of river absorbing much of the sound, but surprisingly the center fountain can be a good spot as well. While its location puts it at the mercy of sound from almost every stage, the combination of all of that output at once almost has a subtractive effect (I’m prioritizing personal experience over scientific reasoning in this case).
After a few deep breaths and a re-up on water, I ventured to Red Bull once again for a double-dose of live music goodness. Shigeto’s musical output has varied widely in the past year, and he put much of it on display with the help of Marcus Elliot, Ian Fink, and special guests like Dez Andrés and Zelooperz. Will Sessions & Amp Fiddler, featuring the impeccable vocals of Dames Brown, was a powerfully emotive experience. With the solid and music capable support for the Will Sessions crew, Fiddler was given the freedom to let loose through both voice and instrument, channeling a special kind of funky soul that left listeners in awe. Modeselektor then initiated a change in scenery that was well-timed with the sunset, pumping out a driving mix that returned the stage to an electro-centric sound.
As expected, Seth Troxler’s set at Main Stage was solid, filled with an energy that was perhaps motivated in part by the regretful cancellation of the annual Old Miami party this year. He was followed by an incredible set by Loco Dice b2b Martinez Brothers that put their exhilarating chemistry on full display, combined with impressive visuals that featured beams of white spotlights and blurred luminescent mists coinciding with fuzzy synth walls engulfing the crowd. Thankfully I was able to catch a bit of Nina Kraviz at Pyramid, as she laid down a stellar set that included a dictation of the poem “Nasty Women.” At Stargate, a live set from KiNK was followed by the one and only Kevin Saunderson. His set was an extension and logical conclusion for his Origins lineup, a day of music that paid tribute to family, artistic comradery, and musical legacy.
Admittedly, I was a little late starting Day 3. While a long night on Sunday is inevitable, so is the slight feeling of remorse about wasting the final day of this special event that only happens once a year. With that in mind, I did my best to fight through days of fatigue to make the most out of a spectacular end to an awe-inspiring festival.
Stacey “Hotwaxx” Hale was the perfect way to start off the day. While early crowds are generally sparse, the Main Stage was filled with enthusiasm thanks to her earnest and heartfelt offerings that afternoon. Golf Clap provided an inviting atmosphere, once again demonstrating the merit of quiet hustle and dedication to craft. Todd Osborn’s fulfilled expectations with his set at Red Bull with deep cuts from his impressively curated collection. The Underground Stage serves both aesthetic and practical purposes, and on the hottest day of the weekend I appreciated the shade while enjoying steady streams of bass broken up by short melodic spurts courtesy of Mike Huckaby.
Hito’s carefully considered record selections were the soundtrack to the early evening at Pyramid. DJ Premier’s set at Red Bull was a haven for hip hop heads, featuring one of the best producers of all time turning classic tracks into familiar samples in real time. Charlotte de Witte was a crowd favorite among my friends in attendance, and the raving masses in the fully packed Underground. Mija’s genre-defying set culminated in a signature medley of feverish drum and bass, the perfect energizer for anyone in need of a last minute pick-me-up.
As the night drew to a close, tough decisions were made in the midst of overlap. With hesitance, I missed what was surely an incredible set from BADBADNOTGOOD for the sake of Inner City, which turned out to be a highlight of the weekend. As die-hard fans claimed their spots for the festival’s grand finale, I quickly made my way to Underground for the end of DJ Stingray. If I didn’t know any better, I would have still caught the set based only on the name (which I might argue wins “best moniker” on this year’s lineup), but prior knowledge had drawn me to stay for a heavy and danceable session from an artist described as, “a menacing node in the vast tangle of electronic music’s history, present, and future.”
I decided to make a final pilgrimage to the Pyramid, where Dubfire provided an assertive conclusion the biggest music celebration in our city. This year’s lineup was yet another experiment in how far organizers could veer from the core genres that have carried the festival since its inception. While the Pyramid was the place to be for those seeking one last dose of techno, droves of fans opted to end their weekend at the Main Stage to catch a universally-recognized force in music.
With a cohesion earned through almost 30 years of collaboration, the surviving members of one of hip hops most notorious collectives—Wu-Tang Clan—proved once again why their place in music history remains practically unchallenged. Under a Flower Moon, the group cruised through hit after hit with ease, provoking nostalgia and reverence with each syllable. I understand why some were confused by the choice to have a hip hop act close a festival that pays tribute to Detroit’s legacy in electronic music. Perhaps such an eclectic lineup is only appropriate for a city such as this. A place with a musical legacy unlike any other, with an ever-evolving identity that eludes definitive characterization, Detroit may be the only city where such a unique festival makes sense.
All photos by @sidd__finch:
The post Machine Listening: Movement 2018 appeared first on Detroit Music Magazine.
]]>The post The DMM Guide to Movement 2018 appeared first on Detroit Music Magazine.
]]>
Memorial day weekend in Detroit is a special time for lovers of techno. The city hosts thousands of festival goers from around the world as they converge on Hart Plaza for a weekend long celebration of electronic music. For those of us who call Motor City home, it’s affirmation that our city is thriving. For those who are visiting, it’s their chance to see once-in-a-lifetime sets and revel in our greatest musical export since Motown.
Movement not only brings together iconic local artists and high-caliber international acts at this premiere North American electronic music festival, but all walks of life. No matter who you are or where you hail, all dance in harmony at this techno homecoming. Make sure to clear your schedule and take Tuesday off so you don’t miss a beat.
While the festival may only last 3 days, the city of Detroit starts celebrating Movement well in advance. First-timers and veterans alike are faced with a staggering amount of crucial decisions in the face of overlapping sets and afterparties. To help you sort through the preparties, afterparties and can’t-miss festival sets, Detroit Music Magazine returns with our annual guide to Movement.
For more information on Movement, including set times, tickets, and FAQs, visit movement.us.
Friday Pre-Parties:
Patio Loco 2 : Pre-Festival Edition Day Party
Ryan Dahl, Aboudi Issa, Pilar Cote, Prgrm, Fracesco DeMarcello
Third Street Bar | 12:00 p.m. – 8:00 p.m.
$10.00 DOS
DJ Dan
DJ Dan, Sonya Alvarez, Players Club, Daniels Jack, Just Alexander, Ghita Sisters, Mr. Falcon, Mike Clark, Food Fight, Dav, Adam Westing, Henry Brooks, Pigpen, Pressed & Proper, and Mona Black
TV Lounge | 3:00 p.m. – 4:00 a.m.
$10.00 -$20 via Eventbrite
Bang Tech 12 Anniversary
Presented by Detroit Techno Militia and Detroit Artist Agency
Bookies Bar | 4:00 p.m. – 2:00 a.m.
Free cover
Trip Metal Fest 3
The Art Ensemble of Chicago, Martin Rev, Wolf Eyes, Guttersnipe, Puce Mary & Drew McDowall, and Gashrat
El Club | 4:00 p.m. – 7:00 p.m.
$20.00+ via Ticketfly
Smartbar Opening Party & BBQ
SDJs Ariel Zetina, Bruce Bailey, Dez Andres, Garrett David, Harry Cross, Mister Joshooa, Olin, Palms Trax, Remote Viewing Party, Sassmouth, Sevron, Dold, and Tin Man
TV Lounge | 4:00 p.m. – 4:00 a.m.
$20.00+ via Resident Advisor
nfiltr8:Celebr8 and [something clever] present Prelude Detroit
Atnarko, Dax Lee, Punisher, Tim Baker, Sergio Santos, Finley, Andy Warren, Jeremy Ismael, Sutter, Jeremy Poling, Nesto, Lola B, SuperDre, Nat Black, Travis Poling, and Alex Morrison
Norther Lights Lounge | 7:00 p.m. – 2:00 a.m.
Free cover
Rock Steady Disco presents Viva La Resistance IV
DJs Blair French, Haz Mat (live), LaFleur, Moonlighter, Peter Croce, and Pontchartrain
Motor City Wine | 8:00 p.m. – 2:00 a.m.
Free until 9:00 p.m., $10.00 after 9:00 p.m. via Resident Advisor
Modern Cathedrals presents Eden IV
Anastasia Kristensen, Headless Horseman (live), Deepchord (live), Evigt Mörker, Clay Wilson (live), The debut of Uun’s new project Araceae (live), and Altstadt Echo
Tangent Gallery | 9:00 p.m. – 5:00 a.m.
Tickets via Resident Advisor
Frequenza Showcase
DJs Wolf Story, Soul Goodman, Jason Patrick, Chris Hughes, Classic Roots, and Francesco E Marcello
Whiskey Disco | 9:00 p.m. – 4:00 a.m.
$15.00 DOS
Paxahau and Ghostly International presents Matthew Dear
Matthew Dear, Tadd Mullinix as X-Altera, Osborne, Mike Servito b2b with Derek Plaslaiko, Shigeto, ZGTOboyz (live) with Bruiser Brigade MC Zelooperz, Kim Ann Foxman, Recloose, Russell E. L. Butler, and Pablo R. Ruiz
Marble Bar | 9:00 p.m. – 4:00 a.m.
$15.00 DOS
Tickets via Resident Advisor
Unforgiven and Modular Techno Alliance present Live Modular Showcase
Komprezzor (live), Monix (live), Amnesiac (live), and Victims Of Silence (live)
The Apparatus Room | 9:00 p.m. – 2:00 a.m.
RSVP required
Paxahau presents 10 years of No. 19 Music
Art Department, Kenny Larkin, Terrence Dixon, Ryan Crosson, Nitin, and Teeloo
Magic Stick | 9:30 p.m. – 3:00 a.m.
Tickets via Ticketweb
Saturday | May 26
Key Detroit Artists
Waajeed: Stargate Stage 3:30 p.m. – 4:30 p.m.
Detroit born producer Waajeed is known not only for his techno tracks, but for his deep hip-hop roots as well. The Dirt Tech Reck label head made his first beats on an broken MPC gifted to him by the late J Dilla.
Bevlove: Red Bull Music Stage 4:00 p.m. – 4:30 p.m.
RnB singer and Detroit native Bevlove is arguably one of the hardest working artists in the city right now. Coming hot off of a headlining spot at the Hamtramck Music Festival and with a new EP on the way, Bev’s dreamy style has earned her a set that should not be slept on.
Stacey Pullen: Stargate Stage 7:30 p.m. – 9:00 p.m.
While Stacey Pullen may be considered a “second wave” techno artist, today his presence in the Detroit music scene is as ubiquitous as The Belleville Three. Expect big things from the Blackflag label head as he makes his annual return to Movement.
Carl Craig: Stargate Stage 9:00 p.m. – 11:00 p.m.
If you’re not familiar with Carl Craig, you might be at the wrong festival. As a founding father of DEMF, the original inception of Movement, he is among techno’s most prolific artists. His Planet E label boasts a collection of releases from legendary Detroit DJs and producers. Don’t miss set as he closes out his own Detroit Love showcase.
Ectomorph (Live): RA Underground Stage 10:00 p.m. – 11:00 p.m.
Ectomorph is an Interdimensional Transmissions supergroup composed of Erika & BMG. They forego the luxury of using a laptop and decks, instead opting to play live, pure analog sets off modular synthesizers.
Claude VonStroke: Movement Stage 10:30 p.m. – 12:00 a.m.
Dirtybird label head Claude Von Stroke will be hitting the main stage hard this year, bringing the heat with his familiar, upbeat electro-house style. Be sure to catch the Dirtybird Players after party at the Masonic Temple after the fest to hear sets from the whole Dirtybird lineup.
Key International Artists
Helena Hauff: RA Underground Stage 7:00 p.m. – 8:30 p.m.
German born Helena Hauff holds the title of being the first ever female DJ to be named BBC Radio 1’s Essential Mix of the year. Her gritty, stripped down style is guaranteed to tear the Underground Stage apart in a set that you won’t want to miss.
Ida Endberg: Pyramid Stage 9:00 p.m. – 10:30 p.m.
Hailing from Sweden, the Scandinavian techno queen has held club residencies since she was 18. Along her career she has collaborated with such high profile artists as Bjork to her husband Adam Beyer, founder of Drumcode Records.
DJ Hype b2b DJ Hazard: Red Bull Music Stage 9:00 p.m. – 11:00 p.m.
While Detroit might be the birthplace of techno, the city has always appreciated hardcore jungle. If you’re seeking BPM upwards of 180, check out pirate radio’s finest selecta b2b the winner of 2017’s best DJ at the Drum and Bass Awards.
Maceo Plex: Pyramid Stage 10:30 p.m. – 12:00 a.m.
Drawing inspiration from Detroit techno’s finest, Maceo Plex has developed a brand of tech house sound some would call interplanetary funk. If you want a taste of Ibiza in Detroit, check out the Balearic island resident’s set.
Sunday | May 27
Key Detroit Artists
Shigeto: Red Bull Music Stage 6:00 p.m. – 7:00 p.m.
Born and raised in Ann Arbor, Michigan, Shigeto melds deep Motown and jazz influences into rich, beat-driven electronic music. His live set at the festival will be a highlight of the weekend; or for a different pace, catch his DJ set at the Ghostly International Movement pre party at Marble Bar Friday night.
Eddie Fowlkes: Movement Main Stage 5:30 p.m. – 7:00 p.m.
A founding father of Detroit Techno, Eddie Fowlkes has been moving feet on dance floors across the globe for over 30 years with his unique “techno soul” style. Immerse yourself in Fowlkes’ open book of techno history and get down with one of the greats.
Will Sessions & Amp Fiddler feat Dames Brown: Red Bull Music Stage 7:00 p.m. – 8:00 p.m.
Will Sessions, funk night heroes, reunites with ex Funkadelic member/Jay Dilla mentor Amp Fiddler, and Dames Brown to debut original music from their LP, “The One.”
Seth Troxler: Movement Main Stage 8:30 p.m. – 10:00 p.m.
After a move from Detroit to Berlin in the early 2000s, Michigan native Seth Troxler was able to find his sound in minimal techno and cement himself as one of underground electronic music’s most iconic figures. Sadly, his legendary “Need I Say More” Monday morning party at Old Miami is no longer happening (it’s not a rumor people, party’s cancelled), so don’t miss your chance to catch him at the fest.
Kevin Saunderson (& Family): Stargate Stage 10:30 p.m. – 12:00 a.m.
Kweku Saunderson: Stargate Stage 1:00 p.m. – 2:00 p.m.
The Saunderson Brothers: Stargate Stage 4:30 p.m. – 5:30 p.m.
As one of the notorious Belleville Three, Kevin Saunderson changed the future of electronic music. Now, he passes the torch to his family as they carry on techno’s legacy.
Key International Artists
Modeselektor: Red Bull Music Stage 8:00 p.m. – 9:30 p.m.
German duo Modeselektor has been breaking genre barriers since the late 1980s, inspired by the artistic rebirth of Berlin following the fall of the Berlin Wall. It’s really tough to describe their seriously mind bending sound. Check them out for yourself and you decide.
Kink (Live): Stargate Stage 9:30 p.m. – 10:30 p.m.
This Bulgarian producer is best known for his eccentric live sets, which have earned him his spot as one of house music’s most in demand producers. You’ll never see anything like a KinK set. If you’re not familiar with KinK, check out his Moscow Boiler Room set and you’ll soon understand.
Loco Dice b2b The Martinez Brothers: Movement Main Stage 10:00 p.m. – 12:00 a.m.
Two of Ibiza’s biggest headliners join forces for a rare mainstage b2b set. The last time these DJ’s went b2b was with Seth Troxler at Printworks in London for an epic 6+ hour journey.
Laurent Garnier: Red Bull Music Stage 9:30 p.m. – 11:30 p.m.
With over 25 years behind the decks, Laurent Garnier brings his passion and love for music to every performance. His upbeat style is sure to get any dance floor moving.
Nina Kraviz: Pyramid Stage 10:00 p.m. – 12:00 a.m.
The most recognizable name in Russian techno makes her eagerly awaited return to Movement. As a singer, songwriter, producer, DJ, label head, feminist, with a doctorate in dental medicine – the sky’s the limit for her scintillating talent.
DMM will be updating this guide, so come back for more!
The post The DMM Guide to Movement 2018 appeared first on Detroit Music Magazine.
]]>The post DIA’s free Friday Night Live! series to host Matthew Dear appeared first on Detroit Music Magazine.
]]>
In partnership with local non-profit Detroit Bureau of Sound, the Detroit Institute of Arts will host Matthew Dear (as Audion) as part of its Friday Night Live! music series on Friday, March 30.
DBS — which is supported by Michigan ArtShare, through grants from the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts — announced that the free performance will take place at the DIA’s famed Rivera Court, promising “music that’s minimal, hypnotic, and all made by living composers.” In addition to Dear, the event will feature performances of original works for percussion quartet by David T. Little, Elliot Cole, Steve Reich, and DBS founder Zac Brunell.
Matthew Dear’s influence in Detroit electronic music can be traced back to the formation of Ghostly International, a record label based in Ann Arbor, and Dear’s (and the label’s) first single release “Hands Up For Detroit” (co-produced by Disco D). Since then, Dear has released six albums, four EPs and countless remixes. Audion X was released in 2013 to celebrate the 10-year anniversary release of his first release under the alias Audion, which has been responsible for Dear’s more sharpened projects.
The Detroit Institute of Arts’ Friday Night Live! series is supported by the tri-county millage investment in the DIA, which means it’s free to all residents of Wayne, Oakland, and Macomb counties. The show will run from approximately 7:00 pm to 10:00 pm. Visit the Detroit Institute of Arts website for more details.
The post DIA’s free Friday Night Live! series to host Matthew Dear appeared first on Detroit Music Magazine.
]]>The post Bonny Doon release “Long Wave” video, new album appeared first on Detroit Music Magazine.
]]>
Adding to their lackadaisical mystique, Bonny Doon’s new video features idyllic countryside and band members lolling about. The song is “Long Wave,” taken from the band’s brand new LP of the same name. The video is an apt visual accompaniment, elevating the most contemplative qualities of the band’s music and this song in particular. “You are who you’re supposed to be / You are who you’re supposed to be,” singers Bill Lennox and Bobby Colombo chant repeatedly, a free meditation session for aimless individuals. You can watch the whole thing below.
Bonny Doon also just released their whole “Long Wave” LP, which you can also stream below as well. Purchase via Woodsist, the group’s Bandcamp page or at the multitude of record stores in our fair city.
The post Bonny Doon release “Long Wave” video, new album appeared first on Detroit Music Magazine.
]]>The post Baron Crooks Tangle Parade – “Belly Ache” (Video) | DMM Premiere appeared first on Detroit Music Magazine.
]]>
Detroit experimental pop act Baron Crooks Tangle Parade is gearing up to drop its first project From Anybody, For Everybody. But first, the one-man show is gracing listeners (and viewers) with a video for “Belly Ache” – one of the upcoming project’s singles.
Baron Crooks (born Joshua Cook) is the music scholar and skilled percussionist behind the madness. His interest in alternative pop was born from the lack of visibility for experimental music in the city, after he explored Detroit’s underground percussion community firsthand. Baron Crooks Tangle Parade represents a more approachable arm of the city’s avant-garde, relying heavily on synths and loop pedals to create playful melodies with ambient qualities. Crooks credits his use of the Roland SP555 and the Roland SPD-S, in addition to a Casio SK-5 and a Septavox synth, to create his distinct sound.
In the video for “Belly Ache,” a group of gowned figures “sit down” to a chaotic meal of batteries, tinsel, cotton, and champagne. It’s abstract, but also of this world. The four-minute, lo-fi video is shot with a grainy filter, further warping the bizarre storyline and calling attention to Crooks’ psychedelic sound. The concept for “Belly Ache” is fantastical, but once the creatures head outside, the world is unmistakably winter-in-Detroit.
For more Baron Crooks, follow along on Soundcloud.
Watch Baron Crooks Tangle Parade’s video for “Belly Ache” below:
The post Baron Crooks Tangle Parade – “Belly Ache” (Video) | DMM Premiere appeared first on Detroit Music Magazine.
]]>The post Mo Pop 2018 lineup: Bon Iver, St. Vincent, The National, Vince Staples, more appeared first on Detroit Music Magazine.
]]>
Mark you calendars for July 28th and 29th, because you’re not going to want to miss the stacked lineup of artists heading to Detroit’s West Riverfront Park for this year’s Mo Pop Festival.
Mo Pop comes in harder than ever this year, with a strong and diverse line-up including Bon Iver, The National, Portugal. The Man, St. Vincent, Vince Staples, Brockhampton and more; with local support from Detroit’s own Empty Houses, Shortly, Curtis Roach, and Michigan’s own Joe Hertler and the Rainbow Seekers.
Other attractions include the Craft Bazar’s wide assortment of local and talented craftspeople, free play on vintage video games at Mo Pop Arcade, and plenty of food and beverage options to match anyone’s taste.
Tickets go on sale Friday, March 9th at 10:00 am EST, you can grab them at www.mopopfestival.com or pick up fee-free tickets in a handful of locations around Michigan (check the website for a complete list of Fee-Free locations). A weekend pass will cost you $100, with a day pass selling for $75. Grab Friday before the price goes up or it sells out.
See full lineup below:
The post Mo Pop 2018 lineup: Bon Iver, St. Vincent, The National, Vince Staples, more appeared first on Detroit Music Magazine.
]]>The post Asklepius — “Circulation” | DMM Premiere appeared first on Detroit Music Magazine.
]]>
Ahead of the group’s debut EP Four Shadows the Past and release party on February 9, percussionist duo Asklepius is teasing the first of four new tracks titled “Circulation.”
The Detroit-based partnership of Justin Groppuso-Cook and Matt Smiley highlights the city’s mostly-untapped percussionist community, which strays from dependence of drum kits, in an attempt to add more adventurous instrumentation. On a previous release by Groppuso-Cook, A Life Forever Once, listeners were exposed to the sounds of the vibraphone and the upper register of the German-rooted glockenspiel, mixed with the familiarity of piano and the creativity of the early-2000s Korg MS2000 synthesizer.
Asklepius’ newest track is robust, building its strong percussion upon a bed of keys with rising intensity. Taking influence from jazz’s flexibility and blues’ rhythm-driven structure, “Circulation” shows the undeniable range of Groppuso-Cook and Smiley’s musicality. Once listeners cross the three-minute mark, the melody shifts into a lively breakdown, creating a momentum that lasts until the track’s final, lingering low-end note.
DMM is excited to premiere Asklepius’ “Circulation.” Stay tuned for the group’s release event on Friday, February 9, at Hamtramck’s Ghost Light, and find more music on the duo’s BandCamp.
The post Asklepius — “Circulation” | DMM Premiere appeared first on Detroit Music Magazine.
]]>The post Bonny Doon release single, announce new album Longwave appeared first on Detroit Music Magazine.
]]>
With their self-titled debut (DMM’s seventh favorite album of 2017), Bonny Doon introduced listeners to their penchant for wandering melodies and poetic lyricism. Now the band have announced a follow-up album, Longwave, to be released March 23 via their new label home Woodsist (Real Estate, Kevin Morby, Woods). Given Bonny Doon’s steadfast guitar lines and devil-may-care attitude, the title seems apt.
“I Am Here (I Am Alive)” is the first preview they’ve shared, a meditative track about time’s imminent passage, that takes inspiration from a week spent in the middle of Michigan near Mystic Lake. Listeners can expect much of the album to be equally subtle, while also showcasing more improvisational and intimate sessions from the band. You can read much more about Longwave and Bonny Doon’s production process on the new album’s Bandcamp page.
Listen to “I Am Here (I Am Alive)” below, and catch Bonny Doon on February 18 at El Club. Admission to the show is free.
The post Bonny Doon release single, announce new album Longwave appeared first on Detroit Music Magazine.
]]>The post The Year in Music 2017: Detroit’s 10 Best Albums appeared first on Detroit Music Magazine.
]]>
10
ZGTO
A Piece of the Geto
When two equally innovative artists team up as a duo, it’s exciting; when an infamously talented producer and instrumentalist pairs up with one of the city’s most eccentric hip-hop artists, it’s ZGTO. Ghostly pioneer and producer Zachary Saginaw, better known as Shigeto, has been a powerhouse of local sounds since his 2010 debut album Full Circle, with roots in jazz, electronic music, and as a percussionist. His counterpart, ZelooperZ, who disrupted Detroit hip-hop with projects such as Bothic and HELP, is a visual artist and the prodigy of Bruiser Brigade leader Danny Brown. Together, these two push the boundaries of hip-hop and electronic music through a refreshing left-field lens. —P.Y.
9
Laurel Halo
Dust
Laurel Halo’s early work brought the producer notoriety for drawing her voice to the fore, her lithe delivery all the more impressive for the hoops it jumped through atop a bed of endlessly shifting, frantically animated synths. But slowly her vocals dissipated into the ether, the electro-pop lost some of its sparkle, and by 2013’s Chance of Rain Halo had gone purely instrumental, leading to cries that it had an “absence of authentic human presence.” Dust is a necessary corrective to that misconception, but it’s so much more than a counterargument. It’s also an example of a musician taking what seem like familiar sonic ideas and reconstructing them into startlingly original shapes. The drum machines shake and rattle like a washer that’s on the fritz, congas spread out over tracks with an unusual grace, and the spirit of Arthur Russell hangs over tracks like “Sun to Solar.” In its refusal to settle, Dust is nothing like its namesake, but in the way it works itself into the most arcane corners of the musical universe, the LP earns its title. Then again, you could also call it one giant leap for humankind. —Khalid
8
Supakaine
Scholastica Park
Scholastica Park is one of the most playable and modestly significant rap projects to come out of Detroit this year. The touches of wisdom are selectively veiled by beats and bravado, leaving the insights apparent yet strikingly unassuming. With its aux-cord readiness, on first listen heads may nod too hard to pay close attention, but through repeated plays the acuity proves undeniable. —Broccoli
7
Bonny Doon
Bonny Doon
The lackadaisical mood of “slacker rock” has gained new life over the last couple of years. Artists like Homeshake and the increasingly popular Mac DeMarco are flanked by troves of twentysomethings clad in dad hats and vintage Levi’s. When the opening chords of Bonny Doon hit, this lethargic tone is front and center, but perhaps a bit more country or punk. As the record plays on, it reveals itself as more substantial, chewier, and heartfelt than most. It’s not something to play softly in the background while making breakfast (though that would be delightful), but rather a bold statement of friendship and time that pays dividends to those who listen closely. The guitars weave together like two hands clasped, the lyrics are warm and giving, and you’ll want to call all your friends immediately after “What Time Is It in Portland?” ends. This LP is a strong mission statement from Bonny Doon, and hopefully it’s a sign of things to come. —Joe
6
Deadbeat Beat
When I Talk to You
A reincarnation of a cassette-only 2011 release, When I Talk to You is a quick-moving project. Subtle punk sentiments are combined with ’70s California pop sounds and reflective melodies to create a story of change — the story of a wilting relationship. The trio consists of Alex Glendening, Zak Frieling, and Maria Nuccilli, who masterfully tackle themes of loss, queer identity, the perils of social living, and more through catchy snippets and quintessentially lo-fi vocals. —P.Y.
5
Tee Grizzley
My Moment
2017 was undeniably Tee Grizzley’s moment. One of the most interesting new names in national hip-hop, let alone Detroit, Grizzley made a splash right from his “First Day Out.” Since then, his eagerly awaited debut My Moment has already become Detroit hip-hop canon. Grizzley knows that he is poised to do great things. The energy in his voice is infectious. Although he may follow in the footsteps of artists such as Blade Icewood and Dej Loaf, his style is no less authentic. And despite his rise to stardom, he remains loyal to his homies and hometown. Next year, they’re gonna need more than 10 for this feature. —Inchaus
4
Shigeto
The New Monday
If you’ve spent any time in Detroit’s electronic music scene, you’re well aware that Shigeto is a regular fixture. He performs so often that it’s surprising he’s found the time to create such a complete production on his latest album, The New Monday. Track by track, he takes us on a tour of great Detroit venues. One minute you could be in Southwest at El Club after enjoying a meal at Flowers of Vietnam. Moments later, you feel the ambience of Corktown, reminiscing while sipping sake at Motor City Wine. With each listen, you’ll find yourself discovering a new layer or a new favorite track. The album is a testament to Detroit’s rich musical heritage and blends techno, jazz, soul, and hip-hop into a sui generis opus. The New Monday helps us appreciate the classics while reaffirming hope for the future of Detroit music. —Inchaus
3
Nolan the Ninja
YEN
YEN is perhaps Nolan the Ninja’s most sincere and cohesive project to date. Showcasing both his lyrical command and beat-making prowess, the tracks present a stylistic range — from the dense, charged delivery of “Calisthenics” [ft. Royce 5’9″] to the more somber, calculated aesthetic of “Schoolcraft.” The result is a well-rounded sound that it as once deliberate and natural, a commitment to Detroit rap’s history as well as an embrace of the modern landscape. —Broccoli
2
Stef Chura
Messes
To Stef Chura, it seems music is meant to be one big, beautiful mess. The aptly titled Messes offers up punchy singles, with “Slow Motion” and “Spotted Gold” showcasing Chura’s commanding voice and love of ’90s indie fuzz. But the album really shines during the chaotic guitar clashes and dirge-like drum lines that push Messes into a class all its own. No other release out of Detroit this year wore as much tender and raw emotion on its sleeve. Chura takes her listeners on on a personal, slow-burning journey, navigating twists and turns with eagerness and purpose. She’s riding a strong wave into the new year (having recently signed to Saddle Creek for an LP reissue), so be on the lookout for even bigger and better things. —Joe
1
Protomartyr
Relatives in Descent
During the final month of 2017, photos and videos of the largest wildfire in California’s history circulated throughout the internet with alarming speed. We sat agape at these depictions of the Thomas Fire engulfing Ventura and Santa Barbara Counties and shared the horrific images from the safe remove of social media. This devastating inferno seemed to be the perfect metaphor for an awful year, and it wasn’t just going viral — it was en fuego. But for Detroit’s Protomartyr, the fires of Armageddon have long been smoldering. Over the course of four albums, the post-punk outfit have fixed their eyes on the growing number of inequities all around us with an increasing sense of despair. On their latest LP, the hair-raising Relatives in Descent, lead singer Joe Casey’s everyman demeanor careens from world-weary spoken word to hot-under-the-collar screams and shouts. His bandmates are every bit his equal, and for as rich with allusions a Protomartyr album can be, Relatives in Descent may be the first to match its lyrical density in the complexity of arrangements. Unlike the quick hits the all-consuming SoCal conflagration was racking up online, Relatives in Descent takes several spins to really digest. But once you’ve listened to Protomartyr, it’s impossible to ignore these modern-day soothsayers. —Khalid
The post The Year in Music 2017: Detroit’s 10 Best Albums appeared first on Detroit Music Magazine.
]]>The post The Year in Music 2017: Detroit’s 10 Best Tracks appeared first on Detroit Music Magazine.
]]>
10
Karriem Riggins [ft. Jessica Care Moore]
“Suite Poetry”
With Headnod Suite, Karriem Riggins has given his fans another lesson on how to make drums talk. Booms, baps, and rimshots clang together throughout the album’s 29 tracks as Professor Riggins throws buckets of paint on an oversize canvas. Halfway through the album the picture becomes clearer, as poet Jessica Care Moore hops on the mic, and a portrait of Detroit begins to take shape. Moore’s voice does the job of percussion here, accompanied by a looped piano and scant trumpet bursts. Her delivery is buttery, and her story is vital. It may not have been her most heard piece this year, but there’s no denying the chemistry between her words and Riggins’ foundation. —Joe
9
Supakaine [ft. Payroll Giovanni and Guilty Simpson]
“Black & Blue”
Supakaine seems to effortlessly combine his influences with his ambitions, as witnessed in this standout from Scholastica Park. “Black & Blue” sees the rapper bringing out Guilty Simpson in an act of tribute and appreciation. And when they connect with Payroll Giovanni, someone who bridges a sort of stylistic and temporal gap between the two, what follows is a provocative and aux-cord ready anthem of tradition and progress. —Broccoli
8
Sufjan Stevens
“Wallowa Lake Monster”
Carrie & Lowell, Sufjan Stevens’ 2015 stirring, haunting album about his early childhood and his emotional morass in the wake of his mentally ill mother’s death, had a rich, expansive sound that belied the “return to folk” narrative associated with its pre-release rollout. This became evident in live shows, which played up the spacious qualities of tracks like “All of Me Wants All of You.” The Greatest Gift, a companion record to Carrie & Lowell, mostly comprises live renditions of those songs as well as early iPhone demos of the final album cuts. But it also includes four new tracks, of which “Wallowa Lake Monster” is the best. Accompanied by acoustic guitar, Stevens reflects on the complicated relationship he had with his mother, but it’s filtered through the prism of a mythological aquatic creature. It’s childlike, but it’s no fairy tale, especially when he sings, “She left us in Detroit in the rain with a pillow case.” —Khalid
7
Kyle Hall
“Teacher Plant”
Over the past few years, Kyle Hall has entrenched himself as one of Detroit’s best young talents in electronic music. His latest 7-inch, Eutrophia Sevan, is yet another chapter in KMFH’s growing legacy of house and techno. Hall’s production features unshakeable grooves that, when heard at home, force you to bob your head in rhythm, and heard live, make you break out in dance. Listening to “Teacher Plant” delivers those same feeling of dancefloor euphoria, while making you long for his next hometown set. —Inchaus
6
Bonny Doon
“Relieved”
As the opening track of their self-titled LP, “Relieved” is Bonny Doon’s most immediate offering. It showcases some of the band’s best parts: gorgeous guitar tones, intermingled drum beats that ooze with character, and heartfelt lyrics delivered with care and frankness. By the end of the track, you’re primed for the rest of the album, ready for more melodic punk songs that make you yearn for your faraway friends and appreciate those close by. “Relieved” feels like a warm embrace, one that continues for the entirety of Bonny Doon and one you wish would go on forever. —Joe
5
Big Sean [ft. Migos]
“Sacrifices”
One of Detroit’s biggest names teams up with Atlanta’s supergroup Migos (Quavo, Offset, and Takeoff) for “Sacrifices.” The track appeared on Big Sean’s February release I Decided. and features production from Metro Boomin and Allen Ritter, making this one of Detroit’s most high-profile tracks of the year. The anthemic nature of this mega-feature might seem like a turnkey solution for Top 40 consumption, but pairing ATL’s best and the D’s most prominent is a natural fit. Big Sean’s signature flow dances like a jazz improvisation, while Offset’s offbeat tackles today’s premier hip-hop sound, making for a Detroit-born turn-up classic. —P.Y.
4
Protomartyr
“A Private Understanding”
This song manifests an underlying theme in Protomartyr’s music: Truth is what you get when you beat life into the dogged rock of reality. With hints at presumably universal intuitions and vain attempts at self-preservation that are collectively disregarded (a subject astutely addressed in the visuals for the song), “A Private Understanding” reaffirms Protomartyr’s commitment to the genuinely raw and the painfully familiar. —Broccoli
3
Nolan the Ninja [ft. Jaye Prime]
“Exodus”
In 2017, an identity crisis in America’s favorite genre resulted in new avenues, sounds, and lively debates over what it means to make hip-hop. Meanwhile, Nolan the Ninja has refined the sound that once inspired today’s artists to experiment. There is no question of Nolan’s supreme lyricism and flow on this year’s YEN, but his knack for production is what puts him in a league of his own. Themes of self-confidence, authenticity, and upward mobility are heavy on “Exodus,” which features fellow Detroit vocalist Jaye Prime. This is Detroit hip-hop at its most raw, its most honest, and its most accessible. —P.Y.
2
Dej Loaf
“No Fear”
Not everything can be a “Try Me,” and what a great thing that is. “No Fear” is all feel-good sunshine and sweetness. It’s the sound of new love, or just-for-the-summer love, and it’s a sound that looks good on Dej Loaf. She’s proven that she can drop diss tracks, spit bars, and sing the hook of a posse cut. Now she’s making time for romance, and the encouragement she gives her beau are true words of wisdom: “So let’s live our life, more than one night/Promise if I could, I’d do it twice.” Until we see the release of Liberated, we’ll be bumpin’ “No Fear” with no care in the world. —Khalid
1
Tee Grizzley
“First Day Out”
There was no song more anthemic in 2017 than Tee Grizzley’s “First Day Out.” It’s been bumped daily out of every car stereo and club in the metro area since it been dropped. Just hearing the first chord of the introduction is enough to make even the most reserved listener turn up. This breakout track that propelled Grizzley’s career is as quintessentially Detroit as the man himself. It details the story of someone who, against all odds, overcame poverty and incarceration to beat the system on his path to fame. Now, after paying his time and his dues, Grizzley is set to write the next verse of his life — and he couldn’t be more excited. —Inchaus
The post The Year in Music 2017: Detroit’s 10 Best Tracks appeared first on Detroit Music Magazine.
]]>