via Mike Taylor:
quoted 150 lines Thursday, May 3rd, at the Detroit Contemporary Gallery:
>Thursday, May 3rd, at the Detroit Contemporary Gallery:
>
>Current Presents The Involve Records North American Tour: Detroit
>
>Aspen(Involve Records, New Zealand) Live PA
>Signer(Involve Records, New Zealand) Live PA
>Isol(Involve Records, New Zealand) Live PA
>Bill Vanloo(Chromedecay, Detroit) Live PA
>
>Doors are at 8pm, and admission is $7, this is an all ages show.
>
>The Detroit Contemporary Gallery is located at:
>5141 Rosa Parks Boulevard, Detroit USA
>
>For directions and gallery information call, write or visit:
>(313)898-4ART
>http://detroitcontemporary.com/
>info@detroitcontemporary.com
>
>The Press Release for this tour is presented below.
>
>Thanks,
>Michael Taylor
>
>
>Involve Records (NZ) North American Tour May 2001
>
>Who are Involve?
>
>Involve records bring the brightest stars of New Zealand electronica,
>offering a fresh perspective of non-glitch pop beauty and electro-melodics.
> Involve was set-up in 1998 in harbour capital Wellington by Bevan Smith,
>who pulled together a bunch of friends and self confused geeks. Involve has
>quickly established a reputation as a label to watch along side the likes
>of City Central Offices (Berlin, Manchester), Morr Music and Carpark
>Records (NYC) Artists on Involve share a love of warmth and intensity in
>music whether that be a major 7 chord on a 1972 Gibson les Paul or minor
>stab on a 1999 Waldorf Microwave XT.
>
>Label boss Bevan Smith (Aspen and Signer) and mastering technologist
>Clinton Mitchell Francis (Isol, All the Pretty Things) are interested in
>the subtleties of the modern sound of electronica and it's fusion with
>current popular styles, Pop, Indie, Dub and Techno. That's not to say
>you'll hear explicit copying, but the process or treatments used in these
>genres.
>
>Their live show consists of synced Laptop Hijinx combined with lush vocal
>treatments and simultaneous feedback mutation of samples and rhythms.
>Elements of groove, improvisation, soundscapes and manipulation tweaked in
>real-time.
>
>Current Releases
>
>The latest Aspen release 'Music from Passing Cars" has been welcomed with
>loving arms by the electronic music communities both in his resident UK,
>Europe and the US.
>
>Following a successful tour of Europe late last year, with dates in Berlin,
>Hamburg, Netherlands, Antwerp, and France with Jake Mandell and Maurmari,
>Aspen is now working in the UK and has appeared at one of London's leading
>showcases for electronic music (Smallfish.co.uk) and is preparing to play
>at the UK's most credible festival the Big Chill's Enchanted Garden.
>
>
>What the Press Say????
>
>ASPEN: Music From Passing Cars CD (INVOLVE)
>New Zealand's Involve label (on temporary exile in the UK at the moment)
>return with yet another eye-opener from label boss Bevan Smith. This is the
>second LP from Aspen and comes not long after the fantastic 'Sugar and
>Spice' EP for Emanate. This is downtempo territory - lush multi-layered
>harmonies with a signature electroid sound. While Involve's blinding
>'Mandrake' LP went into slightly housey territory, Aspen returns to more
>electronic listening atmospherics. Surely it must have occured to some of
>you by now that with a catalogue as varied as the works of Signer, Isol,
>Mandrake, Aspen and Jet Jaguar, that there is a serious talent on display
>here...one that requires your attention. RECOMMENDED.
>
>Pelicanneck.com, Manchester UK
>
>LOVELY SUBTLE AND MINIMAL SOUNDS FROM ASPEN (AKA BEVAN SMITH). LUSH
>MELODIES, WARM BEATS, AND AN OVERAL DEPTH - SHINE THROUGH. THIS IS QUITE
>BEAUTIFUL. (IT'S A CRYING SHAME THAT THE PASSING CARS ON OLD STREET DON'T
>HAVE SOUNDS LIKE THESE EMINATING FROM THEM!)
>
>Smallfish.co.uk, London
>
>
>
>Aspen 'Music from passing cars' 2001
>
>Both regular and uncertain, the rhythms that caught aspen's ears during
>those long drives from Wellington to Titahi Bay (Porirua) and beyond (New
>Plymouth, Taranaki). During this time aspen composed himself a soundtrack
>to drive by. 'Music from passing cars' isn't an exact representation of
>this, but it evokes the same feelings of escapism/release. Phrases and
>melodies are overrun and
>cycled endlessly as trees, pastures, and curves pass by. Rhythms and space
>don't quite match up. Sometimes a phrase lasts for too long, other times
>things pass before they might be noticed. There's a live feel throughout
>and evidence that aspen can't really play, but then you who can when you're
>stuck in that place between home and destination and home.
>
>NZ Pavement Magazine
>
>"Harmonies that make your heartflaps flap in a jolly rythm, a guitar here
>and there, aspen's electronic drumkit, lots of funny turned backwards
>sounds, and great piano bits. Music from passing cars is a fantastically
>layered and laid-back piece of music. Everybody needs it."
>
>Thaddi Hermman. De:Bug Magazine (translated from German)
>
>"Music from passing cars' continues an ongoing fascination of the
>relationships between landscape, memory, maps and journeys. A musical
>expression that goes way back to earliest compositions. Proof, as if any
>were needed, that while the tools may have changed we still look to music
>to make sense of the world around us."
>
>Andy Greenman. Skinny, Xlr8R, On Magazine
>
>All the pretty Things Involve05
>
>All the pretty things 2000
>
>What has emerged is a truly deep, intricate and moving body of music which
>rewards with patience. Comparisons can be made from the ambience of Thomas
>Heckmann, Jocham Papp to the modal stirrings of Seefeel and shoegaze bands
>such as Slowdive. This is another monumental release on NZs most important
>electronic label.
>
>Grant Smithies. NZ Sunday Star Times.
>
>Never judge a book, or CD, by its cover, unless it looks like this. The
>Pretty Things cover hints at that liminal zone somewhere between
>techno-graphics and organic structures. Its an apt representation of the
>sounds which New Zealand's Clinton Francis crafts. Pretty things is part
>informed by processed silicon overkill and perfect production values
>(Francis is studying for an MA in production) and partly comprised of deep,
>textural forms one can only find in nature. Francis creates a unique
>beauty built using the tools that generate the promise of a technological
>future, but ultimately conjures up sometimes only too human feelings and
>thoughts. Are we evolving or involving?
>
>Andy Greenman. Skinny, Xlr8R, On Magazine.
>
>
>
>
>
>
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