Spirit of '68 Presents
El Ten Eleven
123 S. Walnut St
Bloomington, IN, 47401
Doors 8:00 PM / Show 9:00 PM
This event is 18 and over
Watch & Listen
El Ten Eleven
- El Ten Eleven gained notoriety through film & TV, featuring their music in various commercials from the likes of Lexus, to the MTV awards
- Licensing partnerships with Gary Hustwit’s award-winning design documentary trilogy, Helvetica, Objectified and Urbanized
- Toured with artists such as Bonobo, with touring support coming from Baths, Peter Hook & The Light, Globes, and Races. They have performed at festivals such as Fun Fun Fun Fest, North Coast Music Festival and more.
“tightly wound tunes with plenty of punch.” – SPIN
“The impression they’re capable of leaving on listeners is akin to that of watching two guys stuff themselves into a tiny box, and then forcibly push the walls outward until it’s a large box” – Consequence of Sound
“They drive somewhere between a roughed-up version of Sigur Rós and Ratatat you wouldn’t dare bring home to your parents” – FILTER
“the duo incorporates a thematic quality of transitioning through enough styles and sounds to make the listener feel more than satisfied with the material heard” – CMJ
Dallas Observer has called El Ten Eleven the 4th best instrumental band of the past 20 years.
“Watching El Ten Eleven play is something like watching two superheroes do their thing.” – SF Weekly
“On For emily, band members Kristian Dunn and Tim Fogarty prove that there is better living through musical experimentation.” – MXDWN
After more than eight years of global touring, seven solo albums, countless collaborations, label-head tastemaking and vital artist-incubator in the USA's most critical beat-making cities (SF, Chicago, NYC), Eliot Lipp's status as an electronic music pioneer is known to scene connoisseurs and weekend warriors alike. Lipp's omnivorous tastes are apparent, from the obvious funk and myriad manifestations of hip-hop though less explicit reference points as jazz fusion, folk and techno. His well-earned reputation as a producer's producer stems, in part, from his craftsmanship. Never content with well-worn breaks and effects, his work incorporates a fetishistic love of analogue gear with sampledelic flourishes, intricate rhythmic patterns and more than a few leftfield surprises. But his melodic instincts and tunefulness are what have earned him such wide appeal, his songwriterly connection to music's storytelling possibilities, even without words.
When Eliot Lipp first arrived on the scene with his self-titled solo album in 2004 (Eastern Development), he seemed to have a fully formed aesthetic out of the gates. Lipp displayed an intuitive knack for teasing earwormy melodies out of rhythmic bangers, and drew from a remarkably mature sonic palette - two qualities that immediately set the young instrumental producer apart from his oft-indistinguishable beatmaking brethren. Since that promising debut, Lipp has played to his strengths while creating an imposing body of work with a style uniquely his own.
After spending formative, collegiate years in San Francisco, Lipp found his next home of Chicago—along with label Hefty Records and the fertile, exploratory music scene that surrounded him—to be an indisputable font of inspiration that resulted in two full-lengths in 2006. Lipp's Tacoma Mockingbird record—named in homage to his boyhood home in Washington State—is a study in contradictions, as back-to-basics hip-hop and electro breaks underpin a more nuanced approach. He soon followed with Steele Street Scraps, a record that makes great use of some of his many collaborators. While it can't be said that his Chicago years resulted in the post-rock phase one might expect from his associates, it seems to have laid the groundwork for greater compositional maturity to come.
After time immersed in Los Angeles' vibrant community of producers, Lipp crossed the continent to set up shop in Brooklyn. His 2007 album, City Synthesis (Metatronix), is notable for its relaxed tempo, while the following year's The Outside (Mush Records) proved to be a thorough artistic breakthrough, his most formally complex and emotionally engaging work yet. Lipp's irrepressible creativity found another outlet in his Old Tacoma Records label, offering the opportunity for more diverse collaborations and a greater range of expressiveness. That freedom yielded 2009's Peace Love Weed 3D: a release that upped the electronic ante and supplemented his boom-bap instincts with futurefunk details. He followed this with collaboration from long-time friend and producer Jasia 10 for How We Do: Moves Made (2011).
2012 has been a year of milestones for Eliot. He signed with internationally renowned Pretty Lights Music, through which he released his most recent album, Shark Wolf Rabbit Snake, digitally and on vinyl. Shark Wolf Rabbit Snake is a bubbling cauldron filled with anything and everything—from 80’s synthpop jams through jazzy funk to hiphop, with underlying electro breakdowns throughout. As Urb magazine puts it, “this album is for the listener who’s as passionate about different music as he is.” His savant-like creativity earned Eliot recognition by Jay-Z in his blog “Life and Times”, with a premier of Eliot’s latest track “Wonderland”. As Eliot continues to share his signature sound you can count on the unpredictability of what you’ll hear from him next.