|
Richie Hawtin @ Roxy Blu on October 30th
|
View this Thread in Original format
| starsearcher |
| That's awesome!!! But...why roxy blue? It doesn't really like the venue for that kinda music unless of course it changed? :rolleyes: |
|
|
| crazedcanuck |
I'm equally excited about seeing Magda play.. The Village Voice in NYC voted her best new DJ in their scene as well as her night he best night in NYC
Her DEMF set was one of the best all festival, not to mention Mr. Hawtin has released some sick tracks under his pLastikman moniker lately.
Roxy isn't that bad a setup size wise, however everytime I'm there the soundsystem makes the bass sound like a coffee can. |
|
|
| dallasstar |
This will be another Dancin' Evening... The eve all Eve's Hallowe'en
See you there on the dancefloor
Cheers - much love and respect and ttyl!
DallaStar
Closer to the hurt
PLASTIKMAN
Closer M_nus/Paper Bag/Universal
Richie Hawtin isn't spaced out -- he's spaced in. Whether Canada's foremost techno innovator is printing album covers on fake sheets of acid (Sheet One), exploring the sounds between sounds (Concept 1) or getting downright obsessed with tension (Consumed), Hawtin has always concerned himself with delving creatively into the mind's darkest inner regions. One can picture Hawtin in a nightmarish remake of The Monkees' Head -- being chased in slow motion by a crowd of thin, shorthaired and bespectacled (black rims, of course) techno-idolizing boys, and hurling himself off a bridge into the waters below.
It's deep within these metaphorical waters that Hawtin assumes his infamous Plastikman persona. He's said that Closer brings him as close as ever to expressing the sounds embedded within his head, and it's vibrantly apparent. Snatches of his trademark snares, distorted handclaps and vibrating bass pulsate and move throughout the mix as though they were organic entities of their own; mysterious synth lines traverse with atonal ambience while the rhythms keep on keepin' on. These are the sounds of a mind wrestling with itself, consciously pushing its awareness further without losing sight of the grand scheme.
So is Closer worth the five-year wait Hawtin took to deliver it? Yes, it's the natural progression from Consumed -- an emancipation of that magnum opus' pent-up tension. (In fact, Closer's second track, "Mind Encode," could pass for an update of the Consumed lead-off, "Contain.") And some of the sounds Hawtin dreams up here (those vibrating snares on "I Don't Know," for instance) are truly innovative.
The most glaring difference with Closer, however, is the unnecessary addition of vocals. Not that Hawtin attempts to sing -- it's more of a phlegmatic, guttural growl. But when this "inner voice" intones something like, "I tried in vain / To disconnect my brain" (on the first single, "Disconnect"), you kind of wish he'd lay off the Special K. That is, until the madly ing intense 909 reverberations rise up and disintegrate any previous semblance of reality you might have had. Closer is the sound of one mind clapping. KEVIN HAINEY
Out Oct. 21. Plastikman appears Oct. 30 at Roxy Blu |
|
|
| dallasstar |
eye
a trippy picture none the less |
|
|
|
|
