Video from our show with A$AP Rocky at the Corona Theatre, in Montreal on January 29, 2012. Vid features the harlem hero killing the sold out show with 'Wassup', 'Demons', 'Purple Swag', 'Bass.'
Shout to Handlebar for the insane footage and editing.
LOOKOUT, LuckyMe & Dirty Gold present:
After an incredibly breakthrough 2009 that saw the massive critical and popular success of Hudson Mohawke, Rustie and Mike Slott with releases on Warp, All City and more, it seemed unlikely that Glaswegian label LuckyMe could top the level of excitement in the year to follow. However in the last year, they've expanded the label worldwide, adding several North American acts that have become some of the most talked about in the electronic music world, including Jacques Greene, Lunice, Ango, Machinedrum, and Cubic Zirconia. On February 11th, all of this monumental talent will be on display under Club Lambi's roof.
Friday, February the 11th
Club Lambi, 4465 St-Laurent
CUBIC ZIRCONIA (Live)
JAQUES GREENE (DJ)
Seriously, this band will destroy your club, your concernt hall, your living room. It's acid inflected pop music that hints towards a tradition of great new york loft parties and the vacious structure of punk bands like ESG and Liquid Liquid. But you know, Cubic's music is more than that. It's not trying to be anything else than Nick Hook, Tiombe Lockhart & Daud Sturdivant going in as hard as they can. I mean, what shall we call it? We have to call it something -- that's the way of music journalism. Let's go for ethnic disco.
New label mate Machinedrum will be present as well, riding off his stellar new releases on LuckyMe and on Hotflush as his new garage/future dubstep project Sepalcure. With a combination of the songwriting skills of Timbaland, the huge club sounds of Daft Punk and the crafty experimentation of Aphex Twin, Machinedrum will take us all on quite the musical ride.
Jacques Greene hails from Montreal, Canada, and you may or may not have heard some music he made under a previous guise. It doesn't really matter. His current focus is glistening house music with the perfect balance of reverence and idiosyncrasy, and an unashamed devotion to R'n'B. Releases with LuckyMe and NightSlugs have announced his arrival in the house music world in fine style, and hint at a pretty good year to come.
Lunice is just THAT dude. So cool, so easy. But at night he’s a monster making bedroom dance videos to Footcrab and Sex Intelligent (remix stoopid). It was just over a year ago that Lunice started bumping his own beats at the Turbo Crunk nights. To think that he’s since played two European tours and attended Red Bull in London, cheeeez, Dude is doing those big things already.
Joining Montreal's community of influential DJs and Producers, this R&B beat maker has just begun to do his part to help rebuild the landscape of alternative dance music in North America. Ango's music is uniquely melodic and hopeful, bringing boogie-era synth and drum sounds into context with contemporary R&B bangers, electro and bass music.
MIX FOR LUCKYME: http://luckymedia.s3.amazonaws.com/_MIXTAPES/81.mp3Read Less ↑
Cubic Zirconia's Nick Hook was kind enough to send over a mix full of jams that spell out why LuckyMe and Night Slugs were the labels that ruled 2010. The tape comes just in time for Cubic Zirconia's live performance alongside Jacques Greene, Lunice, Machinedrum, and Ango at the LuckyMe label showcase at Club Lambi Friday February 11th. Without further delay, the tracklist and mix is below:
mr. fingers- beyond the clouds
kim ann foxman- creatures
julio bashmore- battle for middle you
cassius- shark simple (l-vis and the neon dreams rmx ft shadz & cubic zirconia )
martyn and mike slott- all nights
jacques greene- (baby i don't know) what you want
kingdom feat tiombe lockhart- remember
panteros 666- x lova (cubic zirconia rmx)
lunice- fancy fortie (rustie rmx)
A common rebuttal by those fatigued and jealous of Montrealer's constant evangelizing on the vibrancy and community of their home is the assertion that the island goes dead during the brutal winter months. If that's truly how the rest of the world sees the city, consider Igloofest Montreal's extended middle finger, an outdoors electronic music fest that shows a joie de vivre in subzero temperatures most cities couldn't manage in perfect conditions. With too many acts to count packed into the fest's three weekends, here's our guide to what's worth seeing.
Thursday, Jan. 13:
Start the fest off easy and pace it right by checking out Rilly Guilty at the Virgin Mobile Igloo at 8.
Saturday, Jan. 15:
Saturday night definitely has the heaviest concentration of Montreal's own sons and daughters and it's probably the night we're most excited about. For a constant stream of Montreal's best artists, start the night at the Main Stage to catch the Night Trackin DJs' 6:30 set, then head over to the Igloo for SHAYdakiss & A-Rock's set at 8, before sprinting back to the Main Stage at 9 for Lunice's epic swagfest.
Thursday, Jan. 20:
Friday, Jan. 21:
One of Igloofest's absolute-can't-miss-shows is Toronto native and Night Slugs warrior Egyptrixx. Do whatever you can to be front and center at his 8:00 Main Stage set.
Saturday, Jan. 22:
The shows at Igloofest don't run too late, but MTL native Hatchmatik's 10:00 Igloo set ought to capture the late night loft aesthetic to a T.
Thursday, Jan. 27:
The safe bet for a great show is to stake out the Main Stage all night for Jordan Dare and the legend Carl Craig. Those more daring, or perhaps desperate for a change of scenery, might take a chance on venturing to Robyn's 10:00 show at Metropolis. Either way, there are no losers at Igloofest.
Friday, Jan. 28:
Let it never be said that fest isn't going out swinging. Once again, stake out the Main Stage all night for climactic sets by Ikonika and MTL's natural born riddim killer, Poirier. Miss any part of the night at your own peril.
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More photos of Delorean at Goldzmine
Barcelona's Delorean mine a territory between dance music and independent pop, producing a sound that is distinctly theirs. This is the record it took Delorean 10 years to evolve into, a fusion of dance music (including their native Spanish Balearic house) and contemporary pop music. The dance-club rhythms and airy melodies they've toyed with in the past are fused and textured, making for a deeply obsessive, hypnotic album that retains the easy appeal of great pop music. Looking at 30+ years of club music history with fresh eyes, Delorean have made an album that is dense and soulful. Our first listen to Subiza was exhilarating, every subsequent listen is a revelation.
10.63$ +tx +sv
MOOG AUDIO 3828 Saint-Laurent 514.284.7434
ATOM HEART 364-B Sherbrooke E 514.843.8484
OFF THE HOOK 1021a Sainte-Catherine O 514.499.1021
Y'know, I struggled for a while trying to find the perfect way to describe Blue Hawaii. It was going to be perfect; a transcendent revelation on one of my new favorite bands, featuring one of the members of another of my favorite groups, Braids. I poked my head around curtains and through doors of obvious descriptions. There were going to be subtle tweaks of wordplay that would alter the flow and content of the piece in ways invisible to the eye yet inseparable from the comprehension. After all that, I found that I couldn't do any better than the short piece on the Arbutus Records website. Sometimes perfection is right in front of you. Enjoy that, a fully expository interview, and a new song and video below!
"Blue Hawaii tells the story of a lush paradise. The way begins ambient and uncertain, but beautiful white shell beaches and carefree sunshine parties await and nourish those travelers with love in their hearts; their peace thus raised above the arguments found along the rocky road. The duo consists of Raph and Agor; they use voice, guitars, synths, drum machines, and other electronics to create a kind of tropical-pop with love ache melodies and experimental club rhythms."
There hasn’t been much press surrounding Blue Hawaii and your new album Blooming Summer. Who is Blue Hawaii?
Raph: Blue Hawaii is Alexander Cowan and myself. It’s a project that we started when we first met each other. We’ve been dating for the last while, so it’s kind of been, I don’t know, I don’t how I feel about saying it’s like a “love project,” but it kind of is, I guess.
It could be a project of love.
R: Yeah, I think so. The album that we just created is all love songs and revelations I’ve come to with being committed and being good to somebody and respectful of them. It’s a project of love.
Speaking of the album, it was recently released on Arbutus Records, though there’s been very little press behind it. Is that indicative of how quickly it came together or did you decide to embrace the anonymity of the project?
R: We just wanted to release something. Alex definitely had a real urge to finally release something because he was the type of musician who just did it in his bedroom while he was going to university. He had hundreds and hundreds of tracks on his laptop of him just strumming around and some of it was pretty good. He just really, really pushed for us to finish it. At time I didn’t want to finish it, I didn’t really have to do it. I was trying to balance Braids’ album, but he really pushed forth and I’m happy that it happened the way it did. We weren’t really expecting anything to come of it, but now that we have this piece of art in front of us we’re very proud of it. Now we feel the urge to really support it and get it out there. We didn’t know what Blue Hawaii was going to be it was just us jamming around, and now people like it. It’s fun.
I’m not familiar with the timeline of the project’s development. Did it progress fluidly?
R: From the time that we met, we met in January of 2008, we both just started jamming together. He was in the Lab Synthese art studios. He ran it with Sebastian. We started jamming out and doing a lot of improv.. We did a set together and then I left for Calgary for two and a half months. When I came back we wanted to make it more structured and it just went down the drain. We were making such shitty music for like three months or maybe four or five months. We were trying to make it structured. We were writing music on a laptop and it wasn’t going anywhere.
Then we went to Guatemala and we became really close friends and got to know each other really well. When we got back we started fully recording the album. It’s a work that’s been in progress for quite a long time.
The sound you’re producing is quite distinct from your other projects. Was it a decision to move away from that or was it just a natural influence?
R: It was just a natural influence. Every project that I do really takes on its own sound. Except for a few of the tracks my voice doesn’t sound like it does for Braids. It’s such a different art form in itself that I become a part of the music. This one was very romantic and wispy, whereas Braids is very urgent and angsty. It was a different part of me, just like Indiensoci is. Indiensoci is very feminine and ethereal.
From the name of the group, Blue Hawaii, to the veneer of the sound you’re playing to some of the imagery you’ve adopted, it seems like there’s a very specific aesthetic that you’re going for. Do you have a description for what it could be?
R: We spent a lot of time in Belize when we were traveling. We were traveling for about 2 months and it became about seeing as many oceans as possible and going swimming in as many places as we could. I think that really influenced our music, that feeling of happiness that we got by being by water and hot, warm climates and people bustling around and everyone being excited. When we came back we wanted to have something that felt like that, because our trip was so amazing. We wanted the record to feel really tropical and really lush and watery and stringy. I think that’s kind of where the sound came from.
The name Blue Hawaii came from our friend Trevor. I remember we were sitting around a table and we were playing with some band from New York. We were sitting at the kitchen table at Lab Synthese and we were like, “What should we be called?” Some one suggested the name Black Indian, which would be so bad,
That would be the trendiest name possible.
R: Yeah, exactly, We were like, no, we can’t be called Black Indian. Then we thought of Black India and I was like, “No, I can’t have a ‘Black’ name, I don’t make ‘Black’ music.” Then our friend Trevor suggested the name Blue Hawaii. The album is called Blooming Summer, but we thought maybe we could make another pop reference, like Primitive Vacation, which is an Aerosmith album, but we decided to dump it.
The sound on the album is really unique. What kind of hardware did you use to produce it?
R: We did a lot of it through Ableton. The whole thing was recorded on Ableton and then we brought it onto tape with Sebastian. Sebastian is an amazing producer. He went to school in London, the same school as Aphex Twin, which is pretty cool He graduated at the top of his class and he has a studio at La Brique now, where his studio has been moved to. He has a reel-to-reel, so we transferred everything to reel-to-reel and then we brought it back onto the mixing board. We did really drastic things with compression just to get a sound that’s really unique. A lot of people don’t go so overboard with compression. The sound of the songs are as though they’re breathing. Some of the songs sound like they’re really alive.
The live performances of Blue Hawaii feature stylistic elements that are absent from your other projects. Is that adoption part of achieving the blissful aesthetic?
R: For sure. Especially lately, coming into my twenties and performing for the last three years, I’ve become intrigued by the amount of control and freedom that you have as the performer. With Braids, if I were to put on face paint and stuff like that I would just stand out like a sore thumb, and that’s not really what Braids is. With Braids, everybody is just wearing jeans and get out of the van and play the show. Blue Hawaii is a bit more of an outlet for the urge in me to explore what it really is to be a performer and to have face paint and to bring all the artistic elements into the performance. I’m excited about it. I want to go even crazier if possible. I want to bring projections and jellybeans.
R: Yeah! I really love jellybeans. I love when you put jellybeans in water and the really beautiful way the color diffuses. Luckily, we got Taylor and Austin [of Braids] to wear blue eyeshadow for that Blue Hawaii performance. I’ve never, ever seen Taylor wear blue eyeshadow in all my life, so it was a real treat to see everyone done up in blue eyeshadow for the Blue Hawaii show. It’s been really fun. I want to definitely get some outfits in there at some point.
I recently saw the video some one made for you around the single “Dream Electrixra.”
R: Yeah! Rosie made that and it has jellybeans in it! When it’s a closeup and there are flowers. Rosie Aiello makes amazing sculptures and she takes pictures of it. What is that called?
There’s claymation and stop-motion photography.
R: Yeah, stop-motion. She did a time-lapse of jelly beans melting into the water. There’s an ice cube in there too and it cracks. That was for “Dream Elctrixra.” I tried as hard as I could to write something that stuck in my head for a really long time. Braids is catchy but it’s also difficult.
Blue Hawaii seems to me to be a fundamentally pop enterprise.
R: Yeah, we tried really hard. I really wanted to make a pop album. I really wanted to learn how to write love pop songs, and I tried.
It’s unique in its construction, but the sensibilities are definitely pop-oriented.
R: The songs have all been ripped apart like three times. For “Castles of Clouds,” you know, it’s a really slow song. When we first did it, it was a funk song. It’s the same with “Katie.” “Katie,” was a soul song. We just ripped everything apart three or four times. It’s hilarious listening to the stuff beforehand.
Do you still have the original masters?
R: Oh yeah. I made Katie and Austin listen to it and we were all laughing so hard. Braids has gone through many different stages as well. We have to the recordings to prove it. From our early songs like “M is for Matrioshka” and the Set Pieces EP. Blue Hawaii had to do it very quickly so that we could put an album out that was up to speed.
Obviously you’ll be on the road for the next few months with Braids, but what are the future plans for Blue Hawaii?
R: That’s kind of hard. We’re going to figure it out. I know that next year Braids is going to be touring an awful lot. Alex and I have gotten some interest from people in Europe. The Europeans love it. The equivalent of CBC in Sweden did an interview with Alex today. They’re digging it over there and we’ve definitely had some interest. Maybe we’ll tour over there, maybe go to Japan or something like that. We’ll make it work. It’s going to be a lot of on-the-road for me next year but I’m looking forward to it. I want to see places.
Are you an Elvis fan? Blue Hawaii was the title of one of his greatest films, and one that would suit the aesthetic you’re going for.
R: You know, my mom is, and she would always sing him in the kitchen. I’ve seen clips from the film. I don’t know how everything came together, with Blue Hawaii sounding like Blue Hawaii, but it’s nice when things come together like that.Read Less ↑
In 2007, Holy Ghost! (DFA Records) burst onto the scene with only one record to speak of. Now, three years and a few remixes later, HG! are back with an EP, an extensive multi-city tour with LCD Soundsystem, and an album on the way. In anticipation of their first appearance in Montreal, LOOKOUT recently got the chance to wax poetic with the group about their remixes, their new sound, and dangerous endangered species.Read More ↓
LOOKOUT: There were some fantastic HG! remixes over the last while. How does your approach to remixing other artists differ to your approach to your solo creations?
NICK (HOLY GHOST!): Sometimes it's similar, but in general as we've been working on our record there's overall concern with making something that is aesthetically cohesive. With remixes we're not thinking about a larger body of work. Each remix only has to function as a single, one time piece of work because they are for a different artist every time, are usually for stand alone singles, etc. So with remixes I think we often to go to certain sonic and/or aesthetic extremes that we don't necessarily go to with our own solo stuff.
How do you feel the new EP compares sonically to the music you were making when you first signed to DFA?
HG!: When we first "signed" to DFA the only completed song we had was "Hold On." There were a bunch of very rough demoes but nothing finished really, so there isn't a lot to compare it to. We've spent our time since then trying to figure out what we wanted Holy Ghost! to be. However, a song like "Static On The Wire" has been more or less done for almost two years now and doesn't differ drastically from the demo version that we did way back when. Sonically all the same elements are there - big, live, drums, poppy vocals, synths galore, heavily delayed guitars, etc.
Have you had any experience with Montreal before? How do you think it fits in with your overall idea of this select cities tour?
HG!: We haven't as Holy Ghost! actually, though our old band Automato played our last and perhaps best show there in the 2005. I've been through there a couple times with The Juan and we always had a good time.
Is it true you guys were among the pandas in LCD's "Drunk Girls" vid? If so, what was your favorite part of terrorizing your labelmates?
HG!: True. Alex and I are the first two pandas you see on screen. The whole day was really fun but the worst/best part for me was spraying Pat in the face with fire extinguisher. Worst because when I first did it I really thought I'd hurt him and almost ruined the video by taking my mask off to check on him (which you can see if you look closely). Best because he was fine and, well, I got to spray him in the face with a fire extinguisher. Payback for years of being made fun of for how softly I play drums.
Interviewed by Rowan Spencer (Paper Route)