THURSDAY 18th MAY
SPECTRAL SOUND and
GHOSTLY INTERNATIONAL
featuring
JAMES T. COTTON
BODYCODE / PORTABLE Live
JEFF SAMUEL

JAMES T.COTTON (aka TADD MULLINIX)
Upcoming releases: www.ghostly.com/press/pdf/SPC35onesheet.pdf

Under his many aliases (Dabrye, James T. Cotton, SK-1, etc.), Tadd Mullinix has created his own world of unique sounds, from hip-hop to acid techno to abstract electronics.

Mullinix's recording career began with a series of releases on the legendary underground imprint Rewind! Records, along with Todd Osborn. Together, under their aliases Soundmurderer & SK-1, the two created a string of ragga jungle 12"s (which were eventually picked up by Richard D. James's label Rephlex).

But it was a chance meeting and a demo pass at a local record store with Ghostly founder Sam Valenti that took Tadd's career in an entirely different direction. Originally an A-side demo geared to fit in with the house tracks that Ghostly had released thus far, Valenti flipped to the second side of the demo tape and found a series of beautifully crafted abstract beats fused with classically inspired melodies. These demos became the foundation for Winking Makes a Face, the first full-length release for Ghostly International. The album was received with international praise from both music fans and publications alike.

Mullinix's profile further rose in the summer of 2001 when he was selected by Carl Craig to be a live performer in the second Detroit Electronic Music Festival. It was during his live performance that people were treated to the birth of Mullinix's newest persona, Dabrye, and the techno cut-ups of James T. Cotton.

While pursuing various other styles of electronic music, Mullinix keeps the music of his birth name in the experimental canon of sound. From Winking to 2002's heady Panes, Mullinix continues to keep listeners guessing. Indeed, he is one of the few artists with the diverse talent and ability to successfully fill not just one musical career, but many.

Dabrye (pronounced "DOB-ree") is just one alias of Ghostly artist Tadd Mullinix, who shifts through various guises with a refreshing competency and sophistication. As Dabrye, Mullinix explores hip-hop, creating head-nodding beats with saw-tooth bass lines that explore hip-hop forms with a keen eye to forward-thinking production and rhythms. It is a combination that has earned Dabrye considerable praise from both the hip-hop underground (Jay Dee, Jurassic 5) and the electronic music press, earning him a Next 100 mention from URB in 2002 and praise from publications as diverse as Rolling Stone to The Wire.
The debut Dabrye LP, One/Three, appeared in 2002 to major acclaim and was quickly followed by Instrmntl for Scott "Prefuse 73" Herren's Eastern Developments label. Both albums earned glowing reviews for their rhythmic innovation and minimalist execution. Dabrye began work on his next release, Two/Three, in early 2003 with the song "Game Over," featuring Jay Dee and Phat Kat. He also collaborated on two tracks for Prefuse 73's One Word Extinguisher.

James T. Cotton. At the same time that Dabrye emerged from Tadd Mullinix's mind, so did the James T. Cotton alias. The debut single Mind Your Manners (fall 2001) came out like a strange techno oddity with a title track teaching kids good manners in Mandarin Chinese. Tracks from the 12" found their way on to many a mix CD, from John Tejada to Magda.
Not one to be pigeonholed, Cotton's work became darker with the monolithic EBM monster of "I Seek" from Spectral's State of the Union EP. His follow-up Buck! EP is like a shot of caffeine, bathed in classic techno and Belgian new beat influence. The Press Your Body EP paved the way for his dark and hypnotic debut full-length, The Dancing Box.

James T. Cotton represents Mullinix's deep love of techno, the sensation that is evident Mullinix's powerful DJ sets.

BODYCODE LIVE
Alan Abrahams has earned a lot of attention lately - a native South African now living in Lisbon, Portugal, his albums as Portable for the Background and ~scape imprints have garnered near-universal acclaim for their deft fusion of tribal rhythms and a modern micro-house sensibility. For his first LP as Bodycode, Abrahams focuses on the more dancefloor-oriented aspects of his style, yielding a gorgeous album born from the belief that the psyche can be unlocked via the body.

Bodycode also came from necessity - while on tour playing club dates, Abrahams was compelled to seek the most fitting sound for that environment. Fittingly, the coy female vocal samples of "Gene Patch" and "Hand Free Computer Interface" suggest disco divas while a signature attention to detail underscores their powerful central rhythms. Tracks like "Local Traffic", on the other hand, build graceful rhythmic webs upon dozens of digital squelches, fully conscious of their capacity for psychological manipulation. Remarkably adept at its task, Bodycode's mesmerizing percussive arrangements and subtle melodic flourishes create an immediately engaging sound that lingers in the mind long after the club has closed.

JEFF SAMUEL - www.jeffsamuel.com
Discography:
www.ghostly.com/press/pdf/SPC-23onesheet.pdf
www.ghostly.com/press/pdf/SPC25-onesheet.pdf

Jeff Samuel's foray into electronic music began in 1995 when he first witnessed a DJ set by Detroit's Claude Young in Columbus, Ohio. He was then introduced to that city's ele_mental collective, an inspiring core of artists including Titonton Duvante, the Archetype, and Todd Sines among others. Through their concept-oriented events which showcased the finer points of electronic music, Samuel became enthralled and began to DJ in 1996. Soon after, he purchased his first synth and drum machine.

While attending college in 1997, Jeff began exploring the possibilities of software-based music production where he saw greater possibilities for creativity and workflow. He encountered much scrutiny for attempting to make techno using only a computer. Nevertheless, by 1998 he had started to create his own completed tracks using an early version of Fruityloops (now FL Studio). Music from his first demo was signed to the German label Lo-fi Stereo. The Bidooba single was released in 1999 and featured a remix from Kompakt's Michael Mayer. Other tracks from the same demo found their way to minimal techno pioneer Daniel Bell, who released them on his 7th City label in 2001.

Jeff pushed into the new millennium continuing his DJ career, releasing more music, and completing his college degree in Audio Production simultaneously. 2002 proved to be a significant year which saw his Digital Self EP on Tektite remixed by Ricardo Villalobos, his abstract material released by UK label Emoticon, and the beginning of a long relationship with Cologne-based Trapez Recordings. He also left Ohio for Seattle where he pursued a career as a Sound Designer in the videogame industry.

Today, Jeff Samuel is a sought-after remixer with a heavy DJ and production schedule who still finds the time to make SFX for videogames. His records are played by a diverse range of the world's most talented DJ's including: Richie Hawtin, Sven Vath, Ricardo Villalobos, Francois K, Steve Bug, Akufen, Craig Richards, Mazi, Claude Young, Timo Maas, Josh Wink, Electric Indigo, Michael Mayer, and John Tejada. He is also currently the only American DJ represented by the elusive Kompakt organization. Plans for the future include a mix CD and debut LP.


For Info regarding tickets, show time and upcoming Robot Love May events go to www.wearerobots.net

For this show we are offering people a special reduced $10 entrance B4 Midnight!!!

Please sign up here.

We are also reducing the after midnight price to $20, not $25 as it says on the flyer.

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