Gunnar Haslam, Faso, Free Magic, JOEY ANDERSON
599 Johnson Ave.
Brooklyn, NY, 11237
Doors 10:00 PM
This event is 21 and over
Dasha Rush is a Russian-born artist who spends her time drifting around the globe, while constructing a rather wide assortment of electronic music and arts projects. Among releases on labels like Sonic Groove and Raster Noton, and collaborations with few others, still majority of her work is released on her own imprint Fullpanda records and more experimental sub-label Hunger to Create.
The beginnings of her musical activity at very young age, had took place in her mother land- Russia. It progresses organically while her move to France, developing as electronic music composer , producer and dj she steps into experimentations with the diverse forms of Arts by creating collaborating with dancers, painters.
Rush sees the genre as a starting place, not a destination. And brings up a mixture of rather rare electronic experimentation's more akin to the brief movement of underground music the roots of such partially go back to the early 20th century and rise to significant Art Movements to this day.
Her last album on Raster-Noton, Sleepstep, could be a metaphor for her musical work: "These 16 pieces are transmissions from that state between sleep and wakefulness," said Tony Naylor, a reflection of the in- between zones her music often inhabits. Dubby but intense, brutal but tender, foggy yet clear—Sleepstep was a wonderful mass of contradictions. Not being one thing or the other is vitally important to Rush, which goes hand-in-hand with her strong independent streak.
Rush likes to push and expand the boundaries of the contemporary music to the limit, still encourages experimentation with various musical (and non-musical) forms and assembling to a thoughtful composition into multidisciplinary projects.
Her audiovisual projects named “Antarctic Takt” in collaboration with the visual artist Stanislav Glaszov, is a monochromatic audio/video performance that sends the audience on an imaginative journey to an abstract Antarctica. Which was premiered at the Atonal festival in 2014, following the presentations at Mutek Montreal 2015, L.E.V Festival (Spain) 2016, Ars Electronica (Austria) 2016, and Resonanz festival Tokyo, Volt Festival Sweden, Alexandrinskii Theater in Saint Petersburg among the others. With the upcoming version for Barbican Center in London.
Also, More recent AV show and installation - “Dark Hearts of Space” exploring poetic and physical nature of a black hole. The performance was Developed in 2016 at the Banff Center for arts and science in Canada, during the Convergence Residency. The Premier of the AV performance version took place at the Salle Pierre-Mercure in Montreal during AV Vision at Mutek festival. Followed by performances at Unsound Festival and At the Lowry Theatre in Manchester. Currently, Dasha with her fellow visual partner Stanislav Glazov are developing the Dark Hearts of Space in form of the Art Installation.
In past years she is enlarging the field of her activities. After the successful participation as performer on the 4D sound in Amsterdam, that created mutual interest in further exchange of the ideas related to sound, Dasha was invited by Spacial Sound institute in Budapest, to be a part of the curatorial board for the current residency which is focused on the new development and experimentation in spatial sound technology. 4DSOUND opens up new possibilities to create, perform and experience sound spatially, based on the very specific sound system called 4D sound.
To sum up, Dasha is a respected and well-traveled Live performer, electronic music composer , sound artist and Dj, but her work is equally focused away from the dance floor, and sometimes away from the music itself.
In her strange and twisted world the machines are the protagonists of a neo -romanticism, weaved with human dreams.
DJ and musician from New York. 1/2 of Romans (w/ Tin Man), 1/3 of Hot Mix (w/ Mike Servito and Justin Cudmore).
New Yorker Gunnar Haslam is a rare talent with a unique intellect. Trained in particle physics and signal processing , he first began DJing and producing music as an undergraduate at NYU. He met Ron Morelli, the founder of L.I.E.S. records, while shopping at A1 Records in the East Village and Ron released Gunnar’s first record in 2013, the highly-acclaimed Mimesiak LP. Since this first release, he’s been highly prolific, putting his career as a physicist on the back burner while going deeper into the world of synths and maintaining a steady outpouring of music spanning acid, techno, ambient and home listening. You have probably heard or danced along to one of his multiple EPs on Delsin, Argot, Mister Saturday Night and Efdemin's Naïf label, or are familiar with his collaborative work with Tin Man as Romans, who released an EP and recent LP on The Bunker New York.
Since he first began playing out locally while still in school, Haslam has quickly become a fixture in New York’s underground scene, frequently playing The Bunker and Bossa Nova Civic Club, while also maintaining a busy schedule of touring as a DJ and a live performer all over the world. Recently, he has been playing alongside Justin Cudmore and Mike Servito in a collaborative, long-form DJ crew known as Hot Mix. Spanning genres in his productions and growing through collaborations with other artists, it’s easy to see that Gunnar’s music is often about the journey, rather than the destination. In his own words: “Music is the one place where I can do whatever feels right, and just let it all happen.”
Faso, also known as Fason, is an ape-like cryptid that
purportedly inhabits forests, mainly in the Atlantic Northwest region
of North America. Faso is usually described as a large, bipedal
humanoid. The term "faso" is an anglicized derivative of the word
"fésoh" which means "stranger" in a Salish Native American language.
It’s been a lengthy wait for fans of the long-dormant Deconstruct Music, but after the telltale revival of Levon Vincent’s solo Novel Sound label last year and a clutch of rumors concerning partner imprint Deconstruct, run in conjunction with The Corner head Anthony Parasole, New York’s house heads can celebrate its return. Fittingly, the subject of the resurrection concerns two tracks already heard on Levon’s Fabric mix from earlier this year, itself a coveted collection of dubplates pressed by Vincent for the occasion and debuting works by many of his colleagues in New York, both famous and unknown. Here, the producer is New Jersey’s Joey Anderson, a longtime friend of DJ Qu who has been making noise since 2008, initially on Qu’s Strength Music Recordings but last year branching out onto his own Inimeg Recordings, which has spotlighted his own work aside that of cohorts DJ Jus-Ed and Qu. His solo debut came strangely enough from London’s UntilMyHeartStops, and the last year has seen his international DJ career begin to blossom with trips to FreeRotation in UK and appearances in Japan. Given Deconstruct’s history, Earth Calls is sure to be his biggest release yet, and the producer makes no compromises with two characteristically gritty, abstract House tracks that slot neatly into the label’s canon.
The title tune that comprises the A-side was also the opener for Levon’s Fabric mix, and it fittingly sets an ominous, driving mood for that record as well as being one of the obvious standouts. Immediately beginning in spaced-out territory familiar to Joey Anderson fans, a shifting kick drum pattern and droning bass form the foundation under the repeating sequence that subtly evolves. Dirty blasts of noisy electronics interject and build, but it’s the sparsely-played piano in the front and center of the mix that draws most of the attention and forms the emotional core of the track. Things really get moving about halfway in when the density of the abstract, rhythmic noises reaches peak intensity and begins to move in conjunction with the piano and other elements; it makes for a powerful conclusion after the tentative, abstract opening. Anderson dedicates the B-side Hydrine to the House dancers by stripping down to bare rhythm tracks and letting the serpentine intertwining of the drum voices move feet in the manner of a snake charmer’s hypnotic performance. Insistent hats on the upbeats accompanied by more of the minimal, rhythmic electronics familiar from the A-side form the only rigid part of the structure here; it’s a Deep House producer’s stab at making a Techno track, but it does so without losing any of the funk or grit that sets his generation of New York-centered producers apart. Joey Anderson already was clearly onto bigger things even before this dropped, but Deconstruct’s reactivation adds fuel to an already-burning fire for him as well as continuing the label’s legacy for top flight, deepest underground