IDM Mailing Archive

I've had a handful of people email me offlist asking about some things along the microhouse path, so here's one of my replies, slightly edited. Delete it if you think it's OT or sacrilege, love me if it isn't. Correct me if I'm wrong and fill in the many gaps you'll find. I am not an expert, I'm a junkie. Thanks and have a nice day. Carry on. jeff (I do more than post FA notices :-) np: Rumbazumba 1 (Lorber/Sikora) When this track opens up, it's deadly. <snip> Okay - fresh in at my desk and not quite awake yet (and since I've been up 4 hours, there isn't much chance I will be today!), but here goes... Lets's get the "givens" out of the way first, which Im sure you're up on. Perlon- virtually eeverything on the label. They've pretty much written the book on microhouse, which you can read clearly after the first few releases. Klang (ran by Alter Ego guys, Flugel & Wuttke) also contributed (with the qualifier that they're usually more minimal and idm leaning) as did Playhouse (usually more housey) and certainly Kompakt, but Perlon is the giant and most consistent in the field. Raum...musik is sotra between Playhouse and the micro thing, but I see they have recently released some new things I haven't heard. They used to be one to watch. Perhaps the old Thule label stuff had something of an influence as well - icy, often minimalist techno. Perlon certainly took cues from Detroit, and specifically the now defunct 7th City label (ran by Dan Bell). Of course, when you mention Dan Bell, you invoke his old partnership with Hawtin and Minus has been a player here too (the THX series, the new "Minimize to Maximize" comp, Matthew Dear's "False" moniker,to name a few instances). It's easy to hear Detroit behind a lot of this, as well as Germany. Some more 'standard' labels would include Sub Static (I'd highly recommend the "Odd Pieces" 12"s), Trapez (the "Selection" CD series are great samplers) Dial (anything Lawrence touches, although he can move into a dark housey mode, it's always a great ride). Onitor, Sender, Triebstoff, Platzhirsch, Boxer deserve honorable mentions, although the styles vary - Traum would be in this list as well. An often overlooked and excellent label is Morris Audio.Ware is another which has some choice tracks. A few hot 'newcomers' (at least in terms of not being as well known yet) would include Scheinselbstandig (love the Brant 12"), Echocord (usually dubby stuff), Karloff, Italic, Boogizm (watch out for this one), Freude Am Tanzen, Mule (Dublee is on this one), Festplatten, and the brand new Clone offshoot, Frantic Flowers. Spectral Sounds (Ghostly sublabel) has shown that they can play this game as well with releases by Matthew Dear and Jamal Moss (Hieroglyphic Being - deep house, but excellent and a tech edge. I am not a deep house hater, btw. There may be some bad house, but there is some really, really good house). I didn't mention the French input above and I should have, as they are also crafters of the sound - especially vis as vis Cabanne, who has releases on 7th City, Perlon, Karat and Telegraph. The last 2 are major French movers/shakers here; check out the Post Office comps on Telegraph and track down the latest Krikor and Krikark (= Krikor + Ark) on Karat. I will buy anything by Cabanne, Ark or Krikor. Canadian stuff is had to get lately - dunno what's up with distro for them. Mathew Jonson is someone else who's output is entirely 'must-have' - he has releases out on too many labels to count, and his Wagon Repair label (as well as It Is What It Is) material is diffcult to get.I haven't heard the tracks on those 2 labels, but I have them ordered - finally. You'll find stuff by him on Perlon, Minus and a host of others. Speaking of Canada, the Mutek label is another which has gone scarce and has a lot to offer...the new Marc leClair (aka Akufen), Deadbeat, some Brinkmann (all 'must have' artists, I'm sure you know) included. Other than the things I've already mentioned, some other artists I buy on sight include Luciano, Fym, S-Max, Benjamin Wild, and Rene Breitbarth. That's what comes to mind this second, but it's morning :-) Hopefully this is helpful and will give you some fodder for thought. There's so much music these days - it's impossible to keep track of a little corner. Like any other genre, once "inside" you can hear the variation - "outside" you mainly hear the repitition. And like any techno oriented genre, I find that it works best "mixed in" with other styles or for a particular kind of flow once a set gets moving. It's nice because it has elements of a lot of different styles and can make for good transitions. jeff

On Thu, 24 Mar 2005 therealmxyzptlk@comcast.net wrote:

quoted 2 lines Like any other genre, once "inside" you can hear the variation -

> Like any other genre, once "inside" you can hear the variation - > "outside" you mainly hear the rep[e]tition.

Hey Jeff, thanks for this writeup..definitely some new nooks to dive into there. I wanted to pull this sentence out because you really nailed a subtle and important point here. I noticed this most recently with some of the 'deeper' Chain Reaction releases (Substance, Porter Ricks) which did nothing for me when I first bought them back in '96 -- unlike, say, Monolake which grabbed me from the outset. But when I picked them back up for some long-distance driving music last year, it was revelatory. I've heard the adjective "repetitious" applied to hip-hop, electronic (house, techno, and trance variants), jazz, classical (Steve Reich and Phil Glass, in particular) as the reason why somebody didn't like it. I'm curious about how the process works whereby we (as you put it) go "inside" a particular genre and start hearing the differences instead of the sameness. -- - Eric Sorenson - N37 17.255 W121 55.738 - http://eric.explosive.net - - Personal colo with a professional touch - http://www.explosive.net - --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

On Mar 24, 2005, at 12:34 PM, cutups wrote:

quoted 4 lines Awesome topic. I think its one that can be applied to any music

> Awesome topic. I think its one that can be applied to any music > or idea really, but it works really well for certain styles that have > that > repetitious noteriety.

Interestingly enough, I read a paper on just this topic last fall at the meeting of the Society for Music Theory (yes, such a thing exists). Essentially, I tried to historicize the bad rap that repetition has developed (in music, that is) and then theorized about the pleasures of listening to "repetitive" music (my examples included Plastikman, Tony Rohr and Akufen/M.Leclair). Anyway, it seems to me that the bias against repeating/repetitive music is a relatively new thing. On the one hand, 19th and 20th century composers were increasingly interested in deconstructing traditional musical forms (which were really large-scale repetitive schemes). In addition, Freud added fuel to the fire by pathologizing repetition as regressive and childlike (Schoenberg picks up on this in his didactic writings on composition). And then Adorno probably made the most aggressive attack on repetition in music, linking it to fascism, social control, loss of the self, and pseudo-individuation/individualism. So, there's been an ongoing discourse against repetition since the late 1800s at least. When you consider IDM's efforts to align itself with "avant-garde" aesthetics, the bias against repetition becomes less puzzling... nap time! Luis --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Well, I'm no expert (but if Mr. Lockett is on this list, I do believe he wrote a thesis or dissertation applying structuralist critical theory to ambient music - Alan? You there?), but it seems to me to be about being in a certain "place" or frame of mind when you hear something. Any genre has those stylistic coneventions which mark it as such, and I feel like familiarity with the genre decreases the focus on the repetitive "planks" of the style and allows attention to be placed on the smaller scale variances. I used a disjunct ("or") on purpose, because sometimes the variance will hit you just because - for whatever reason - you happen to hear something in a different way which reveals the subtleties. I remember one evening when I was in the throes of a sleep disorder burnout and one of Slater's Planetary Assault Systems (The Drone Sector) hit me like a ton of bricks. It was like I had never really 'understood' it until then. Hearing electronic music "live" (I recall a Spacetime Continuum show specifically) has done this as well for me; I just had to be in a certain "place" for my attention, ears, mood, whatever to be aligned in order to be inside of it or have it get inside of me. Call that what you will. And having listened to electronic music for years, I now hear the variations and not so much the repetition. Of course, in techno, etc., repetition is a big, positive part of what makes it. The Basic Channel/Chain Reaction groove is an excellent example. Once you get inside of it, it's like heroin (maybe there's more than one reason it used to be called "heroin house!). Especially in electronic stuff (as it tends to rely heavily on variance in many cases), it takes either the patience to investigate a genre or whatever it may be for you to be in that attention shifting place where your ears are open. I believe it's the same for any genre, though. If you think about it, the common criticism by anyone who stands outside is "it all sounds the same". What do you think of when someone mentions Blues, Country, BeBop or ______ (fill in the blank)? Not having read Mr. Lockett's work, not having any idea about his argument (but having some clues about structuralism), I'd suggest that acquaintance with the certian genre specifics or signature motifs becomes a 'rosetta stone', allowing one to interpret and reference within the genre - like a language. Avoiding the entire quagmire of subjectivity and built-in threads of deconstruction when it comes to such a notion (which, of course, is why there IS poststructuralist theory), all I can say is that's where this thread has led me. I may find myself in a different place tomorrow :-). I normally do not talk like this. What we we talking about, again? jeff > > > Like any other genre, once "inside" you can hear the variation - > > "outside" you mainly hear the rep[e]tition. > --------------------- > Hey Jeff, thanks for this writeupI wanted to pull this sentence out because you really > nailed a subtle and important point here. I noticed this most recently > with some of the 'deeper' Chain Reaction releases (Substance, Porter > Ricks) which did nothing for me when I first bought them back in '96 > -- unlike, say, Monolake which grabbed me from the outset. But when > I picked them back up for some long-distance driving music last year, > it was revelatory. > > I've heard the adjective "repetitious" applied to hip-hop, electronic > (house, techno, and trance variants), jazz, classical (Steve Reich and > Phil Glass, in particular) as the reason why somebody didn't like it. > I'm curious about how the process works whereby we (as you put it) go > "inside" a particular genre and start hearing the differences instead > of the sameness. >

Jeff's right in what he says about the whole variation within a genre account (though he overdignifies my 'academic' credentials - I never finished the research and it never touched on anything outside purist ambient). A guy called Middleton (f**k references this is a mailing list ;-)) used the term 'microvariativity' to describe a phenomenon I think occurs in a lot of this stuff. Listening to something like Fluxion's 'Vibrant Forms', (I take this because it's my favourite minimal post-tech/post-house blah disc, and it's a great example too), the Average Joe will turn to you and say it's 'stuck in a loop', will typically hear e.g. doof-doof 4/4 kickdrum, offbeat hi-hat chokes, syncopated two-note basslines, diminished minor 7th keyboard stabs, etc and skim the surface hearing only repetition and nonsense. The 'inducted' listener will take these elements 'for granted'; as it were, and within that will then note nuances, accents, combinations, tweakages within this framework. It's like when you know a language you pick up on the heterogenous peculiarities of lexical choice, the individual intonational inflections, the 'idiolect' within a structure which to an outsider sounds like a homogeneous entity. I'll risk it and invoke pomo-discourse and say that it's like bricolage/pastiche, where the 'author' knowingly draws on existing forms as his/her raw material and recontextualises them rather than starting from a 'blank canvas'. Yeah, anyway, where were we? Ah yeah , ummm... Microhouse, yeah. Villalobos kicks serious buttage ;-) And if there's any Expert Knowledge in this area to invoke here on the list, Jeff is clearly the man. alan Quoting therealmxyzptlk@comcast.net:

quoted 3 lines Well, I'm no expert (but if Mr. Lockett is on this list, I do believe

> Well, I'm no expert (but if Mr. Lockett is on this list, I do believe > he wrote a thesis or dissertation applying structuralist critical > theory to ambient music - Alan? You there?), but it seems to me

to be

quoted 2 lines about being in a certain "place" or frame of mind when you hear

> about being in a certain "place" or frame of mind when you hear > something. Any genre has those stylistic coneventions which

mark it

quoted 2 lines as such, and I feel like familiarity with the genre decreases the

> as such, and I feel like familiarity with the genre decreases the > focus on the repetitive "planks" of the style and allows attention

to

quoted 1 line be placed on the smaller scale variances. I used a disjunct ("or")

> be placed on the smaller scale variances. I used a disjunct ("or")

on

quoted 1 line purpose, because sometimes the variance will hit you just

> purpose, because sometimes the variance will hit you just

because -

quoted 1 line for whatever reason - you happen to hear something in a

> for whatever reason - you happen to hear something in a

different way

quoted 1 line which reveals the subtleties. I remember one evening when I

> which reveals the subtleties. I remember one evening when I

was in

quoted 1 line the throes of a sleep disorder burnout and one of Slater's

> the throes of a sleep disorder burnout and one of Slater's

Planetary

quoted 5 lines Assault Systems (The Drone Sector) hit me like a ton of bricks. It

> Assault Systems (The Drone Sector) hit me like a ton of bricks. It > was like I had never really 'understood' it until then. Hearing > electronic music "live" (I recall a Spacetime Continuum show > specifically) has done this as well for me; I just had to be in a > certain "place" for my attention, ears, mood, whatever to be

aligned

quoted 3 lines in order to be inside of it or have it get inside of me. Call that

> in order to be inside of it or have it get inside of me. Call that > what you will. And having listened to electronic music for years, I > now hear the variations and not so much the repetition. Of

course, in

quoted 2 lines techno, etc., repetition is a big, positive part of what makes it.

> techno, etc., repetition is a big, positive part of what makes it. > The Basic Channel/Chain Reaction groove is an excellent

example. Once

quoted 2 lines you get inside of it, it's like heroin (maybe there's more than one

> you get inside of it, it's like heroin (maybe there's more than one > reason it used to be called "heroin house!). Especially in

electronic

quoted 2 lines stuff (as it tends to rely heavily on variance in many cases), it

> stuff (as it tends to rely heavily on variance in many cases), it > takes either the patience to investigate a genre or whatever it

may

quoted 1 line be for you to be in that attention shifting place where your ears

> be for you to be in that attention shifting place where your ears

are

quoted 3 lines open. I believe it's the same for any genre, though.

> open. I believe it's the same for any genre, though. > If you think about it, the common criticism by anyone who > stands outside is "it all sounds the same". What do you think of

when

quoted 1 line someone mentions Blues, Country, BeBop or ______ (fill in the

> someone mentions Blues, Country, BeBop or ______ (fill in the

blank)?

quoted 2 lines Not having read Mr. Lockett's work, not having any idea about his

> Not having read Mr. Lockett's work, not having any idea about his > argument (but having some clues about structuralism), I'd

suggest

quoted 4 lines that acquaintance with the certian genre specifics or signature

> that acquaintance with the certian genre specifics or signature > motifs becomes a 'rosetta stone', allowing one to interpret and > reference within the genre - like a language. Avoiding the entire > quagmire of subjectivity and built-in threads of deconstruction

when

quoted 7 lines it comes to such a notion (which, of course, is why there IS

> it comes to such a notion (which, of course, is why there IS > poststructuralist theory), all I can say is that's where this thread > has led me. I may find myself in a different place tomorrow :-). I > normally do not talk like this. What we we talking about, again? > jeff > > > > > Like any other genre, once "inside" you can hear the

variation

quoted 4 lines - > > "outside" you mainly hear the rep[e]tition. >

> - > > "outside" you mainly hear the rep[e]tition. > > --------------------- > Hey Jeff, thanks for this writeupI wanted to > pull this sentence out because you really > nailed a subtle and > important point here. I noticed this most recently > with some of

the

quoted 1 line 'deeper' Chain Reaction releases (Substance, Porter > Ricks)

> 'deeper' Chain Reaction releases (Substance, Porter > Ricks)

which

quoted 1 line did nothing for me when I first bought them back in '96 > --

> did nothing for me when I first bought them back in '96 > --

unlike,

quoted 1 line say, Monolake which grabbed me from the outset. But when > I

> say, Monolake which grabbed me from the outset. But when > I

picked

quoted 1 line them back up for some long-distance driving music last year, > it

> them back up for some long-distance driving music last year, > it

was

quoted 3 lines revelatory. > > I've heard the adjective "repetitious" applied to

> revelatory. > > I've heard the adjective "repetitious" applied to > hip-hop, electronic > (house, techno, and trance variants), jazz, > classical (Steve Reich and > Phil Glass, in particular) as the

reason

quoted 2 lines why somebody didn't like it. > I'm curious about how the process

> why somebody didn't like it. > I'm curious about how the process > works whereby we (as you put it) go > "inside" a particular genre

and

quoted 1 line start hearing the differences instead > of the sameness. >

> start hearing the differences instead > of the sameness. >

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This sentence should have read "repetition" and not "variance": ---------- Especially in electronic stuff (as it tends to rely heavily on variance in many cases), --------------- I hate it when that happens. Oh one more thing (and example, really) - if anyone's ever gotten into drone, that makes the point very clearly. It's quite alluring once you get into it, but sounds quite 'unintelligible' if you haven't. I think maybe some of this speaks to the divide (for lack of better terms) between idm purists and people who have no aversion to the "d" in idm. Thing is, an AE track sounds "all the same" to people unused to it - possibly because of the similarity of the sounds and not the specific patterns of their employ. How "random" is sequencing which is generated by a machine programmed to sequence randomly? (another fun worm-can). jeff

quoted 3 lines I'm curious about how the process works whereby we (as you put it) go

> > I'm curious about how the process works whereby we (as you put it) go > > "inside" a particular genre and start hearing the differences instead > > of the sameness.

quoted 4 lines Awesome topic. I think its one that can be applied to any music

> > Awesome topic. I think its one that can be applied to any music > or idea really, but it works really well for certain styles that have that > repetitious noteriety.

------------- Oh yeah - broaden it to any "movement"...in art, philosophy, literature, architecture and it's really interesting. Great point. Also, I think it has interesting application for styles which aren't that repetitive - is it a reaction against formula/repetition? (probably) If so, it's still shaped BY repetition and formula (like any 'movement/school' in the arts which rises from the ranks of another and, in turn , becomes some kind of bulwark which shapes a future convention/anticonvention. It's hard to get away from the old structuralist/poststructuralist binary). -------------- I think actually stuff like jazz/noise/metal are

quoted 4 lines more

> more > slated with the "difficult" categorization, which i think is a different > reason people are turned off, but you can probably apply some of the > same thoughts.

Indeed. ------------------

quoted 3 lines I don't really know the answer to these questions, but I'd definitely

> > I don't really know the answer to these questions, but I'd definitely > like to hear people's theories.

Ditto ------------------ . In the end it breaks down into being willing or being shaped by forces which can be contrued as 'the will' (I'm not a fatalist, but thought that would be another interesting node to pursue as long as the can is open) to break

quoted 6 lines away from the standard kind of attentionspan/consciousness that we

> away from the standard kind of attentionspan/consciousness that we > are used to where we'd get bored with just "listening" to something > repetitive. One way is through dance. Another is through drugs. > I think people with naturally very active imaginations can break through > also, because it can be effective background music, and it isn't trying > to tell your brain a particular story like lyrics-based music is.

-------------- I don't want to wax elitist - but maybe some people are more prone to being imaginative. It's impossible to be objective in defining what makes me "me" - maybe it's more to do with that which has shaped me (experiences, culture, etc) than what there is to shape. I tend to think it's both and thank God I'm not responsible for not pronouncing the proportions :-) jeff

IA IS BACK!! HEFTY RECORDS returns with another one of our amazing IA events over at Sonotheque this Saturday night. ?We?ve been receiving great coverage in TIME OUT CHICAGO (full page review), CHANNEL 2 NEWS, FLAVORPILL, and UR CHICAGO (label profile). ?Keep an eye out for all that. ?This event is gonna be a scorcher...hope to see you there at the party!! take care -Ray // HEFTY Saturday, 26.MARCH.2005 ?- CHICAGO, IL ?? HEFTY RECORDS presents IMMEDIATE ACTION ! featured guests: JIMMY EDGAR -live + DJ sets- ??(from Detroit) ???[WARP, M3rck, Audio.nl, Detroit.Underground, Pokerflat labels] SAMADHA -live- ??(from Atlanta) ???[HEFTY Records] SLICKER -DJ set- ??(from Chicago) ???[HEFTY Records] JOSHUA EUSTIS of Telefon Tel Aviv ??-DJ set- (from New Orleans/Chicago) ???[HEFTY Records] visuals by: ?CREATIVE CHAOS @ SONOTHEQUE ?// ?1444 W. Chicago Ave. ?// ?CHICAGO, IL ? 21+ ?// ?9PM-3AM ?// ?$15 co-sponsored by: ?MEIOTIC PROMOTIONS ?. ?STOP SMILING Magazine ?. WLUW.ORG/88.7-FM ?. ?ABSTRACTSCIENCE.NET ?. ?GOOSE ISLAND for more event + artist information, please visit... www.heftyrecords.com ?????www.sonotheque.org - www.weallhaveaplan.com ????www.telefontelaviv.com ????www.heftyrecords.com/myspace - www.jimmyedgar.com ?????www.warprecords.com - www.creativechaos.net www.meioticpromotions.com ? - www.stopsmilingonline.com ????www.abstractscience.net ????www.wluw.org ? ? FUTURE . ROOTS . MUSIC IA is the HEFTY RECORDS residency of adventurous music, showcasing our label?s roster and special guests we respect and admire. ?Hope to see you there. ==== JIMMY EDGAR ?-live PA + DJ sets- ?(Detroit) ????[WARP Records] http://www.jimmyedgar.com http://www.efaminfashion.com http://www.warprecords.com - Chicago is finally seeing the triumphant return of JIMMY EDGAR, the Detroit-based producer, musician, DJ, programmer, fashion/graphic designer known and loved the world over, and we?re quite pleased to have him out as our special guest. ?With two great EP releases under his belt for WARP Records, JIMMY has been touring the world non-stop bringing his unique hybrid sound of jiggy r&b, electronica and glitch hop. ?In addition to his musical efforts, he?s been busy with other artistic endeavors like art installations and a recently launched fashion line/website (E?FA?MIN fashion). ?JIMMY?s sound is infectious -- it?s catchy, it?s sexy, it?s dangerous. ?It?s no wonder why folks are nuts for this kid and his now legendary live and DJ sets. ?For this rare Chicago appearance, JIMMY EDGAR will play a live PA with a bunch of gear (synths, laptop, effects), self-produced video installation, as well as a special DJ set to close out the night. ?Be prepared to be stunned. ?Not to be missed, folks... Currently, EDGAR is hard at work on a full-length album which is scheduled for release in late 2005. ?EDGAR has hinted that we may hear some of that new material during his live PA at our IMMEDIATE ACTION event! ? JIMMY EDGAR BIO Poster child of sound couture JIMMY EDGAR, who dropped studies in fashion and design to concentrate on making music, has a background of art production and style which reads much like an urban landscape dissertation. Snatching all kinds of influences from his Detroit dwelling: the city's decay, urban fashion, and the city's eclectic music scene, EDGAR manufactures unique and provocative ultra modern sound environments. The alleged young prodigy 19-year old EDGAR has been stitching beats since he was 10, when he started producing sounds electronically and fashioned his first analogue pieces. Influenced mostly by jazz, funk, street beat and r&b in these early years, He began his musical pursuit by playing the drums in experimental bands and by making tape recordings. By the time he was 15, he started performing at Detroit raves with contemporaries and techno pioneers such as JUAN ATKINS, KEVIN SAUNDERSON and DERRICK MAY. In 2002-2003, EDGAR released music with labels like ISOPHLUX, POKER FLAT, M3RCK, AUDIO.NL seeing a lot of positive press attention and tours throughout the US and abroad. ?Eventually, a deal was signed with WARP Records who have released two EPs to date from this shining young talent. ?The WARP releases have been well received from press rags like TOKION, XLR8R, URB (?Next 100? pick), RES, BPM, GROOVES, BOOMKAT, JUNKMEDIA, REPELLENT, etc. The new EP releases are very funky and Detroit sounding, yet reveals a transition into a polished version of the kind of music Edgar always wanted to create. Managing to remain fresh and unique in its eclectic nature yet retaining his minimal aesthetics of breaking the rhythm and melody down to its prime components creating a tight ultra-modern r&b glazed feel. Combining a variety of genres such as funk, r&b, soul, hiphop - even classically influenced tracks - this album carries superb character and a whole lot of attitude. EDGAR's music carries much Detroit techno influence yet it goes beyond that as to create a Detroit ambience. He's fascinated by the thought of creating urban feeling through his music. As with other forms of his creative expression, he develops new ways to express what he wants by researching and experimenting , in this case is to capture inner city life with his songs - which is essentially the feel that came out of his second WARP EP Bounce, Make, Model (2004). Likewise, and another distinct element of this record is - the movement - composed of a lot of changes and surprises expected from Edgar and adding to the anticipation he himself makes as a person. . When speaking of his music, EDGAR says ?this music is a little bit of everything, but a whole lot of me. ?This music describes me, and my environment, like nothing ever will." ?? ?? ==== SAMADHA ?-live PA- ?(Atlanta) ????[HEFTY Records] ? http://www.heftyrecords.com - Founded in 1999, SAMADHA (formerly ?Samadha Trio?) is the uncanny instrumental ensemble spearheaded & directed by CHRIS ?CASE, infamous for his veteran contributions within the hot Atlanta underground scenes of jazz, rock and electronic music. ?CHRIS CASE has also collaborated in the past with SCOTT HERREN (SAVATH+SAVALAS, PREFUSE73), as well as SLICKER (HEFTY Records). ?Dodging simple categorizations, SAMADHA creates a unique sound that melds together pre-cheese, pre-noodle jazz of the 1960?s and 70?s, while incorporating modern production, electronics and out-rock/post-rock elements. ?Always melodic, entrancing and highly listenable, SAMADHA blends organic instrumentation and fierce musicianship (piano, Rhodes, flute, acoustic guitar, stand-up bass, traps, laptop) with sampled textures and subtle electronic flourishes. ?Pulling influence from contemporaries and teachers such as ALICE COLTRANE, PHAROAH SANDERS, MILES DAVIS, AACM, TORTOISE, SAVATH+SAVALAS, TIED+TICKLED TRIO... the SAMADHA sound is deep, soulful, and completely stimulating. ? HEFTY?s relationship with SAMADHA started when SCOTT HERREN turned us on to the band way back in 2000. ?SAMADHA?s debut EP was released in conjunction with our new IMMEDIATE ACTION vinyl series at the time. ??Entitled IMMEDATE ACTION #5, that EP is now out-of-print and a highly sought after collector?s item. ?Eventually, three of the four SCOTT HERREN-produced compositions were immortalized on the now classic IMMEDIATE ACTION 2xCD compilation (2001), collecting the majority of the yellow color coded EPs. ?More recently, SAMADHA resurfaced with one brand new song on the IMMEDIATE ACTION #9 (2004) vinyl EP. ?Now, SAMADHA is touring for the first time ever (some select dates with STS9) and playing new songs from their upcoming debut studio album, which is due out later in 2005 on HEFTY Records. ?SAMADHA are just now returning from a scorching, powerful performance at SXSW where they played at our HEFTY Records Showcase in Austin, Texas. ?Be prepared for fireworks during their live set!! ?Impressive, powerful, moving stuff...no doubt. ??? RECENT/UPCOMING LIVE SHOWS 18.MARCH.2005 @ Copa / Austin, TX ?(HEFTY RECORDS Showcase w/ Telefon Tel Aviv, L?altra, Slicker) 30.MARCH @ Orange Peel / Asheville, NC ?(w/ Sound Tribe Sector 9) 01.APRIL @ Georgia Theatre / Athens, GA ?(w/ Sound Tribe Sector 9) ==== SLICKER ?-DJ set - ?(Chicago) ????[HEFTY Records] ? http://www.heftyrecords.com http://www.weallhaveaplan.com - SLICKER is John Hughes, owner of the bustling Chicago imprint HEFTY Records. ?Having grown up on hip-hop's collages, indie-punk's bedroom DIY-isms and the beat fantasias of electronic composers, SLICKER has grasped something most producers haven't in his knitting together of something old and something new. We All Have A Plan, SLICKER?s fourth album, is a fantastic ride of a listen. ?Definitely track it down at all costs. ?It?s a wonderful release. ?For SLICKER, the common chord on We All Have A Plan (HEFTY Records, 2004), his fourth album and a pan-global, soul-jazz masterpiece made out of bits and pieces, is elemental and spiritual. ???The album is a fusion of soul, hip hop, pop, jazz, funk, electronica ? all making for a great album which has been compared to the best moments of MASSIVE ATTACK. ?NEW CITY calls it ?genius from start to finish?. ??SLICKER?s DJ sets play out in similar fashion...always hard hitting, deep, soulful, engrossing and lots of fun. ?For this IA event, SLICKER is digging deep into his collection and planning a burnin? DJ set of party jams and white label beats for your enjoyment. ? As for upcoming SLICKER-related news, look for a brand new collaborative release to drop in June ?05 from SOME WATER AND SUN, which is the project of JOHN HUGHES (Slicker) and SHIN TASAKI (Spanova). ?A soulful, gorgeous electronic pop album that is sure to create waves of excitement. ?In addition, HEFTY Records is planning a 10 year anniversary celebration starting at the end of 2005 and continuing well into 2006!! ?Stay tuned. ? ==== JOSHUA EUSTIS (of TELEFON TEL AVIV) -DJ set- ?(Chicago / New Orleans) ?[HEFTY Records] http://www.heftyrecords.com http://www.telefontelaviv.com ? JOSHUA EUSTIS is one half of TELEFON TEL AVIV, our most popular band on HEFTY Records. ?Renowned worldwide for their burnin? albums, Fahrenheit Fair Enough (2001) and Map Of What Is Effortless (2004), TELEFON TEL AVIV have created a strong buzz for their captivating songwriting and great live performances. ?Critically hailed by the likes of ROLLING STONE (?Hot List? & ?Fresh Faces? pick), ESQUIRE, NEW YORK TIMES, BILLBOARD, FLAUNT, ENTERTAINMENT WEEKLY, XLR8R, URB (?Next 100? pick) and locally by NEW CITY (?Chicago?s Top 45? pick), CHICAGO READER, UR CHICAGO, TTA remain a band to watch with every move they make. ?Since the release of Map Of What Is Effortless, TTA have been touring constantly, producing albums for L?ALTRA (Josh Eustis), THE RACE (Charlie Cooper), and MARC HELLNER (TTA), and churning out brilliant remixes for the likes of BEBEL GILBERTO, OLIVER NELSON (Impulse! remix series), SLICKER, APPARAT (Shitkatapult), AMMONCONTACT (Soul Jazz/Plug Research), MARC HELLNER (pulseprogramming), RADIOHEAD. ? Rumor has it that TTA will release new music soon enough, but in the meantime the core TTA duo are working on side projects...most notably a solo album by JOSHUA EUSTIS, which is scheduled for release on HEFTY later in 2005. ?Infamous for his engaging, fun, party-rockin? DJ sets, JOSH EUSTIS makes yet another IA DJ appearance where he always delivers a brilliant, varied set of classic beats and plenty of new gems. ?For this event, he?s promising to drop some ?acid? bombs. ?Watch out y?all, always a hot party with this kid there. ? _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar ? get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org