Mount Analog presents
Nuit Noire VII
exclusive engagements with
TIMOTHY J FAIRPLAY (Crimes Of The Future -UK)
SCOTT FRASER (Crimes Of The Future – UK)
RAUDIVE (aka Oliver Ho, Klang / Macro / Cocoon – UK)
DREAMWEAPON (Live PA – Opal Tapes)
SILENT SERVANT (Live PA – Downwards / Jealous God)
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Saturday May 3 2014
10PM.
21+
Los Angeles
RSVP is required for details:
RSVP@CLIMBMOUNTANALOG.COM
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Event powered by Funktion-1 / Funkworks
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$15 advance tickets available via Mount Analog and Resident Advisor
Mount Analog Ticket Link:
HERE
Resident Advisor Event / Ticket Link:
http://www.residentadvisor.net/event.aspx?588540
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Flyer by
CHRISTOPHER NORMAN
http://www.christopher-norman.net/
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Timothy J Fairplay & Scott Fraser BIO
Crimes of the Future is a new label from Timothy J Fairplay & Scott Fraser, and follows on from their night of the same name at the Berkeley Suite, Glasgow and in Plastic People, London. Timothy and Scott both work out of Andrew Weatherall’s ‘Basement Bunker’ studio on Scrutton Street and are part of a group of dh’s becoming known as ‘The Scrutton Street Axis’. Timothy is also one half of The Asphodells with Andrew Weatherall who released their first album ‘Ruled by Passion, Destroyed by Lust’ this year on Rotters Golf Club. Over the last few years between them Scott & Timothy have released music on BIrd Scarer, World Unknown, Astro Lab, Emotional Response/Relish, Magic Feet among others. Crimes of the Future’s output is going to be harder edged and more up tempo than many of the labels both have generally been associated with, they want to express their love for leftfield house & techno.
Raudive (Oliver Ho) BIO
From the beginning on Blueprint records Oliver Ho has explored techno and house in its many different styles, ranging from the deep tribal sounds of the “Universal” album, to the dark abstract noises of his Veil album, to the funkier house sounds of his Birdland project.
All these ideas and sounds have been distilled down into the current project, Raudive. The sound of raudive takes the percussion of his earlier releases over the last 15 years and mutates it into a slower deeper sound, fusing the funk of house and the electronics of techno. The debut record on Klang Elektronik, “Audio ep” was closely followed by many releases featuring the Raudive sound evolving on record labels such as Klang, Music Man, Pokerflat, Cocoon, We Are and Macro.
Oliver’s unique sound has gained praise from many djs such as Trevor Jackson, Chloe, Laurent Garnier, Ricardo Villalobos and Sven Vath. In 2010 Oliver launched Wires, his new label which explores the areas in-between techno, experimental, post-punk and industrial new wave. The label continues to develop and embrace new style ideas and diversity, which is also reflected in the band, The Eyes In The Heat, signed to Ivan Smagghe’s Kill The Dj, a new project where Zizi Kanaan joins Oliver to create punk/disco/electro songs featuring guitar, synth, and vocals.
This attitude for bringing together the different dynamics of various genres is reflected in the deep and funky DJ sets Oliver plays at clubs around the world from New York to Tokyo to Paris and back to London.
Dreamweapon (review for recent release, Living Hell On Earth)
Although the newly announced batch of Opal Tapes cassettes includes expansively abstract techno from heavy hitters like Personable and Lumisokea, the assemblage also includes a slew of new names, including the likes of Manse, COIN and Body Boys. But one of these newcomers immediately caught my eye, with a name referencing an early spaced-out Spacemen 3 live jam and the Angus MacLise drone pieces that inspired the session. Dreamweapon’s experimental techno may not resemble the dreamlike runs of celestially sustained tones of MacLise or Sonic Boom & J. Spaceman, but the propulsive tones certainly do play up the “weapon” half of the phrase. With its debut offering, the project deploys obliterated runs of bleak techno and severely maimed electronics. Tracks like “When Blood Runs Thin” and “Living In Hell On Earth” plod through serrated plains of 4-4 rhythms while “A Sequence to Death” and “777″ splatter gray-scale canvases with muted, barely-present color and melody. It may not be what you came for, but the crushed sonics within leave nothing for want. It’s a buzzed spasm of callous grooves.
