311 E. Congress St.
Tucson, AZ, 85701
This event is 18 and over
For mercurial L.A. music-maker Will Wiesenfeld, Baths has been a long time coming. The 21-year-old has spent the better part of his days living amidst "pleasant" and "unremarkable" in the suburbs of the San Fernando Valley, so perhaps it's due to a general lack of local inspiration that Wiesenfeld's own work has never fit into a prefab box of its own. Over the last six years, under the handle of [Post-Foetus], Wiesenfeld has gainfully explored the intersections and outer reaches of both electronic and acoustic music. With Baths, his eclecticism finds its greatest focus yet, in a hail of lush melodies, ghostly choirs, playful instrumentation and stuttering beats.
Wiesenfeld's trip began at age 4, when he willed his parents into enrolling him in piano lessons. (The family upright, purchased that same year, sits in his bedroom today.) By 13, he'd begun recording his own music using Digital Performer and a MIDI keyboard - a brief, ill-advised foray into Eurobeat that was set right when Wiesenfeld heard Bjork for the first time. Mind blown, he quickly boned up on viola, contrabass, and guitar and took the name [Post-Foetus], stringing together countless live configurations to execute his increasingly inimitable compositions. [Post-Foetus]' fourth album - a Dntel-ish, song-based melange dubbed The Fabric - was released on Mu-Nest in January.
Though Baths represents the next evolution in Wiesenfeld's oeuvre - which also includes the excellent ambient project Geotic - it came together under nigh-opposite circumstances. Last September, [Post-Foetus] was invited by L.A. electronicist Daedelus to share a bill with a handful of local Beat Music luminaries. Witnessing a burgeoning movement firsthand sparked something in Wiesenfeld that the 'burbs never could. In a fit of inspiration, Baths was born, though not into a preexisting scene. As is to be expected, this music goes its own way: fueled by spontaneity, tempered by Wiesenfeld's background in classic songwriting. Those two influences collide in glorious ways on Cerulean, Baths' stunning debut.
Originally from Chicago, Houses is Dexter Tortoriello and Megan Messina. They formed in 2010 after a 3 month stint in Papaikou Hawaii living off the land . With no modern conveniences the couple worked for meals during the day cultivating indigenous microorganisms and learning the basics of sustainable living. They drank, showered and cooked with rain water applying the basics of grassroots, cultivated reality known to few. This was the inspiration behind their first album All Night put out on Lesfe Records. In the time since the couple have moved to Los Angeles, signed to Downtown Records (Major Lazer, White Denim, Cold War Kids, Miike Snow, Santigold) and written their sophomore album A Quiet Darkness with an equally if not more beautiful process. Recorded over the course of 2012 splitting time between their new home and Sonic Ranch, A Quiet Darkness's narrative tells the story of a husband and wife separated in the midst of a nuclear disaster and their attempt to reunite with one another along the Highway 10 in California before their inevitable deaths, each song taking place in different abandoned houses along the way. Tortoriello and Messina made the same trek a couple of times themselves to record sound and video at these abandoned houses that are featured in the album. The album's celestial ambiance and wanderlust concepts are conveyed throughout the recording with techniques employed by Tortoriello's production and the stark contrast between the minimal electronic pulses, found sounds and meandering and melancholy harmonies. The ethereal sound on which Houses was built is woven through A Quiet Darkness, the 2013 release shows a deep and pensive side to a band who clearly encompass a darker side of bliss; a bold new bravado that will resonate with anyone who has ever experienced love and loss.
In the hands of producer Djavan Santos, a.k.a. D33J, what should be computer-quantized or staid is given light and life. Aquatic textures overlap with bedroom clicks, muffled vocals & vacuous guitar to form hazy late night jams with just enough rhythm for a syrup-drenched dancefloor. Colors change over the course of a song — cool blues melt to hearthy reds — and melodies wind their way through shifting textures while new forms are created at every turn. Though D33J is a solo sound technician, his sound is variegated. It is lush and large and it is alive.
Of course, the 22-year-old's pedigree demands as much. Los Angeles born and bred, D33J attended the city's prestigious yet public Hamilton High alongside Anticon's Baths, OFWGKTA's Syd the Kid, the FIDLAR boys, and Friends of Friends bit-bender Groundislava. While there, he studied both guitar and electronic music, and caught friends' shows after-hours when he wasn't experimenting with software at home.
When D33J moved north to study experimental audio and visual design at the San Francisco Art Institute, he was initiated into the WEDIDIT mafia (via Shlohmo, Ryan Hemsworth, Jonwayne, RL Grime), with whom he nurtured a strongly weirdo cult lifestyle and further developed his unique approach to crafting instrument-infused, R&B-touched bedroom techno.
D33J recently returned to L.A. to claim his rightful place among the city's vital noise-makers. While he continues to seed the Wedidit BlogSpot with bold R3MIX3S — see clutch reinventions of Brandy, Sigur Rós, and Drake — Anticon is giving his Tide Songs EP the debut it deserves. The five tracks contained therein offer an inventive, brightly budding intro to an artist who's only just begun to blow the eff up himself.
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