Ben Browning (of Cut Copy) DJ Set
Joel Ford (DJ Set), Napolian (DJ Set)
93 N. 6th St.
Brooklyn, NY, 11211
This event is 21 and over
Ben Browning (Cut Copy/ DJ Set)
A pulsating solo effort from electronic pop crooning man-child and Cut Copy bassist Ben Browning is the shiniest, newest addition to the Cutters stable of artists.
Prior to starting on Cut Copy's most recent album Zonoscope, Ben Browning dug into his trusty mind-hole and began penning tracks for a solo release, culminating in the new 12-inch EP which is to be released by Cutters Records. I Can't Stay is the lead single, taken from Browning's forthcoming EP on Cutters records.
It opens with an almost calypso guitar lead, before opening up into bouncing bass driven club-pop, the likes of which wouldn't have been entirely out of place on the recent Cut Copy album. The vocal is trademark Ben Browning: delicately strained melodic and harmonic stylings, with a seeming fragility which belies its true versatility.
The talents of Architecture In Helsinki's Gus Franklin and Haima Marriott were enlisted to add production and shimmer, with Franklin even laying down live-drums on the final recording. Meanwhile, Cut Copy's own Dan Whitford reached into his collection of vintage synths to provide keyboard programming, producing some of the the classic keyboard tones herein.
What's that you say? You wanna dance? Never fear, the single is rounded out by two energetic remixes of the lead track I Can't Stay. Cutters' own Knightlife, who has made spacey disco bliss his stock in trade, has transformed this into and epic, infectious melodic house gem. And DFA's Juan Maclean opts for an energized version, more faithful to the original, much like classic expertly finessed dance mixes of old.
Joel Ford (DJ Set)
Joel Ford is one of the most fascinating and difficult-to-define characters in the relatively new-ish American outsider synth movement. Ford and sonic cult colleagues Laurel Halo, James Ferraro, and Daniel Lopatin, like Octo Octa and Ital from the 100% Silk imprint, occasionally pop out of their underground microcircus when invited to the indie mainstream party by heavy hitters who love their outsider sounds. The throughlines of these concentric circles of artists include their reverence for the late ’70s and ’80s (the period during which many of them entered the world), a preference for analog synths (or software that approximates such tones), and the mysterious veil that surrounds them all. But none are more mysterious than Ford, an avatar of all-over-the-place whatness.
Napolian (DJ Set)
Software Recording Co. is proud to introduce Napolian, 19-year-old producer and chief visionary behind LA-based production crew Renaissance Music Group. His debut release, Rejoice, is stately, direct, and stylistically interwoven. Rejoice runs the gamut of computer funk, ambient, and trance, but always retains a hard, synthetic R&B core. The same way Napoleon III urged porcelain designers to reflect the historic images of the day as opposed to generic landscapes and classical nudes, our Napolian's commanding dionysia of electronic music histories are dream-coated in digital resins and fabricated in the manner of a visionary metal worker. What's immediately evident in Napolian's craft are the anthemic leads that tear across the conductor rod of 21st century hardware-based production. Napolian's cyclonic smack of disparate yet logical influences sets him apart from the contemporary sidechain scene. The Harald Faltemeyer / Dr. Dre continuum on Rejoice's "False Memories" or the wormhole connecting Marcus Miller to Alice DeeJay on "Rejoice" represent a couple of the Napolian's unprecedented stargates. The songs of Rejoice aren't fleeting screen grabs, rather riffs hard-ripped by hand on time-tested, Ikutaro Kakehashi-approved gear. It made us cry and it shook our skulls. Expect an LP from Napolian later in the year on Software and grip the blueprint now. It's ridiculous!
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