Hopscotch Music Festival Featuring: Matthew Dear
Dauwd, Lapalux, DJ Paypal, Body Games
224 S. Blount
Raleigh, NC, 27601
If you've followed Matthew Dear over the years, then you know he doesn't like to stay in one place for very long. Even as a primarily electronic artist in the early 2000s, Dear hopped from label to label, switched aliases often, and made everything from steely microhouse to harder Detroit techno. But his biggest departure was 2007's Asa Breed, the record where he stepped out from behind the decks and reached for the mic. Singing on tracks and leaning more heavily on song structure, he built strange hybrid music that had one foot in techno and the other in pop.
Dear's latest album, Black City, follows this path but pulls a pretty drastic shift in tone. Where Asa Breed was bubbly and squeaky and ultimately dancefloor-bound, this record is dark as night. The music brings to mind blown-out warehouses, desolate alleys, and seedy basement nightclubs; it's some real threatening, grimy shit. The production is as inventive and immersive as ever, but what separates this album from the last is that Dear mostly sticks with one theme all the way through. Asa Breed was all over the place at times, but this album has a cohesive thread to follow and smaller vignettes within it.
Dauwd creates music with a complexity most contemporary producers shy away from. Found sounds are thickly laden over multi-timbred synths, vocal and instrumental stabs punctuate organic and evolving passages guided always by driving percussion and immaculate bass production. The method, "make a noise, make it my noise,then give it some rhythm" certainly seems to work for Dauwd.
"I have collected quite a large archive of sound, from sampling, recording and rummaging through the net. Mostly the samples I use are fairly random, I will audition all kinds of things; if it sounds right it stays, otherwise it goes."
After a year DJing at some of Europe's best clubs and festivals, Dauwd returns this autumn with a four track co-released by Ghostly International and Pictures Music (UK). His sound, leaning now further towards house and techno, incorporates elements of soundscape and showcases and obsessive attention to detail within his production world.
In a world in which upstart DiY talent is flooding the gates of electronic music, a few recent voices have been so strong as to be startling. Lapalux – AKA 25-year-old Stuart Howard – is certainly one such. As singular as a brilliant artist always should be, his instinctive understanding of the atmospheric power of texture grips the ear immediately on listening.
Lapalux was raised in rural Essex, midway between countryside and town; the classic, isolated hinterland that's produced many a distinctive British voice. There's a yearning sense to the record that it's tempting to relate to the young Howard's dreams about what his eventual escape into larger life might be. He certainly had a dream start when a shot-in-the-dark email to electronic hothouse Brainfeeder was immediately answered by label head Flying Lotus himself, who quickly moved on to sign him. To this day, Lapalux remains the only British artist on the Los Angeles based label.
Having made fans out of Diplo and SBTRKT, remixed everyone from Lianne La Havas via Crystal Fighters to Bonobo, Tawiah, AlunaGeorge and Speech Debelle, as well as supporting FlyLo and playing the main stage at Sonar and in Japan with Clark, it's prime time for Lapalux's debut full length on BRAINFEEDER.
One of the ten essential summer festivals in North America 2012—Pitchfork "One of the best and most eclectic music festivals in America."—Spin "Incredibly diverse"—The New York Times With more than 450 bands performing and 60,000 fans attending since 2010, Hopscotch Music Festival is one of America's most talked-about weekends for music lovers. This year, Hopscotch brings 175 bands to 15 venues in downtown Raleigh. Intended to highlight the Triangle's music scene by pairing exciting local talent with notable national and international artists, Hopscotch offers choices in just about every genre imaginable—rock, hip-hop, alt-country, metal, dance, punk, classical, noise, drone, folk, and more. It is a festival that thrives on the variety and quality of its lineup, and with roughly 35% of the musicians hailing from Raleigh, Durham, Chapel Hill and other nearby locales, it's a testament to both this region's musical diversity and its national relevance.
The Pour House Music Hall
Sun, December 21
Mon, December 22
Tue, December 23
Thu, December 25
Fri, December 26
Sat, December 27
Wed, December 31
Fri, January 2
Sat, January 3
Wed, January 7