SOPHIE, Arca, Jlin, Ryoji Ikeda to participate in Red Bull Music Academy Festival’s Los Angeles debut

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Red Bull Music Academy Festival holds events all over the world, including one annually in New York. But did you know that Red Bull Music Academy is making its West Coast debut this year by bringing the festival to Los Angeles? And that it’ll happen through a series of events occurring throughout October? And that it’ll feature “world premieres” from SOPHIE and St. Vincent; “multimedia performances” from Arca, Jlin, Total Freedom, Yves Tumor, and Silent Servant; a performance by Ryoji Ikeda using a synthesizer orchestra with 100 cars; conversations with Ice-T and Edgar Wright; and much, much more??

Well, in you case you didn’t know and, more importantly, to fatten up this news story: Red Bull Music Academy is making its West Coast debut this year by bringing the festival to Los Angeles. It’ll happen through a series of events occurring from October 6-29 and will feature “world premieres” from SOPHIE and St. Vincent; “multimedia performances” from Arca (in collaboration with Taran Allen), Jlin, Total Freedom, Yves Tumor, and Silent Servant; a performance by Ryoji Ikeda using a synthesizer orchestra with 100 cars; conversations with Ice-T and Edgar Wright; and much, much more.

Full event details and ticket information are expected August 22. For now, l◕◕kie below for a list of other performers, clicky here for some website FUN, and stay tuned for more hard-hitting journalism from your friends at Tiny Mix Tapes.

Red Bull Music Academy Festival Los Angeles performers:

Arca
Christoph De Babalon
Disgorge (MX)
Dâm-Funk
Eartheater
Jlin
Katie Gately
Kode9
Motohiro Kawashima
Nguzunguzu
Ryoji Ikeda
SADAF
SOPHIE
Silent Servant
St. Vincent
The Ecstatic World of Alice Coltrane Turiyasangitananda
Total Freedom
Transmetal
Tygapaw
Uncle Jamm’s Army (Egyptian Lover, Ice-T & The Glove, Bobcat, Arabian Prince, Alonzo Williams, L.A.
Dream Team AKA Snake Puppy and General Jeff, Dr. Funkenstein)
Yuzo Koshiro
Yves Tumor
+ More

CONVERSATIONS WITH:
Alice Bag, Bappi Lahiri, Edgar Wright, Floria Sigismondi, Ice-T

STUDIO SCIENCE WITH:
Bernie Grundman, Sylvia Massy, Benjamin Tierney

SOPHIE, Arca, Jlin, Ryoji Ikeda to participate in Red Bull Music Academy Festival’s Los Angeles debut

This post was originally published on this site

Red Bull Music Academy Festival holds events all over the world, including one annually in New York. But did you know that Red Bull Music Academy is making its West Coast debut this year by bringing the festival to Los Angeles? And that it’ll happen through a series of events occurring throughout October? And that it’ll feature “world premieres” from SOPHIE and St. Vincent; “multimedia performances” from Arca, Jlin, Total Freedom, Yves Tumor, and Silent Servant; a performance by Ryoji Ikeda using a synthesizer orchestra with 100 cars; conversations with Ice-T and Edgar Wright; and much, much more??

Well, in you case you didn’t know and, more importantly, to fatten up this news story: Red Bull Music Academy is making its West Coast debut this year by bringing the festival to Los Angeles. It’ll happen through a series of events occurring from October 6-29 and will feature “world premieres” from SOPHIE and St. Vincent; “multimedia performances” from Arca (in collaboration with Taran Allen), Jlin, Total Freedom, Yves Tumor, and Silent Servant; a performance by Ryoji Ikeda using a synthesizer orchestra with 100 cars; conversations with Ice-T and Edgar Wright; and much, much more.

Full event details and ticket information are expected August 22. For now, l◕◕kie below for a list of other performers, clicky here for some website FUN, and stay tuned for more hard-hitting journalism from your friends at Tiny Mix Tapes.

Red Bull Music Academy Festival Los Angeles performers:

Arca
Christoph De Babalon
Disgorge (MX)
Dâm-Funk
Eartheater
Jlin
Katie Gately
Kode9
Motohiro Kawashima
Nguzunguzu
Ryoji Ikeda
SADAF
SOPHIE
Silent Servant
St. Vincent
The Ecstatic World of Alice Coltrane Turiyasangitananda
Total Freedom
Transmetal
Tygapaw
Uncle Jamm’s Army (Egyptian Lover, Ice-T & The Glove, Bobcat, Arabian Prince, Alonzo Williams, L.A.
Dream Team AKA Snake Puppy and General Jeff, Dr. Funkenstein)
Yuzo Koshiro
Yves Tumor
+ More

CONVERSATIONS WITH:
Alice Bag, Bappi Lahiri, Edgar Wright, Floria Sigismondi, Ice-T

STUDIO SCIENCE WITH:
Bernie Grundman, Sylvia Massy, Benjamin Tierney

Katie Gately – “Lift” Video

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katiegatelyliftvidThe wormy, weird pop music on Katie Gately’s debut full-length, Color, led us to include the LA-based musician on our Best New Bands Of 2016 list, and today, “Lift,” the opening song of her debut, has a new video to go along with it that matches the track’s frenetic pace with a rush … More »

Stereogum’s 40 Best New Bands Of 2016

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40bestNew2016We listen to a lot of music here at Stereogum — it’s sort of our job! — and every year, we attempt to codify all of that listening through lists that take stock of what’s kept us engaged throughout. There are still a few weeks until the hectic year-end list season descends, but we’ve made … More »

Stream Katie Gately Color

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Katie Gately - ColorKatie Gately’s most memorable early work came in the form of long, shapeless compositions like “Pipes” and “Pivot,” two tracks that contain a bunch of fragmentary ideas threaded together by an alluring string of tension and noise. “Pivot,” which was released in 2014, is a particular marvel: Gately pieces together a rich tapestry … More »

Music Review: Katie Gately – Color

This post was originally published on this site

Katie Gately

Color

[Tri Angle; 2016]

Rating: 3.5/5

Robin Carolan’s Tri Angle Records has played an important role in the politics of style and relevance of the time after blogwave — say, after the death of Altered Zones. To its credit, the label never fell into the step of any idiom in spite of plenty of attempts to pin it down under the suffocating term “witch house.” It always acknowledged the tension between the imperatives to highlight singularity and to have integrity as a large-scale cultural tastemaker, beginning with its first release — Let Me Shine For You, a mixtape explicitly inspired by Lindsay Lohan (who appeared on the cover) — and featuring a few acts that would become important to the electronic music of the first half of the 2010s, like Laurel Halo, Autre Ne Veut, and Oneohtrix Point Never. One of the things these artists have in common is an interdisciplinary brand of electronic music, dramatically shifting shapes between releases and even between tracks. These kinds of relations have been sustained between the figures that emerge within Tri Angle’s orbit, including How to Dress Well, who sold out elsewhere, and more recently Rabit, who went for broke with his own Halcyon Veil imprint. Still, somehow, I’m convinced that Carolan’s real project is concentrating all this marginal energy into Top 40 starpower. The empirical fruits of this mission, limited as they are, can be found in the ascent of How to Dress Well, AlunaGeorge (who ditched Tri Angle for Interscope), and The Haxan Cloak, who contributed to Björk’s dreary and intimate Vulnicura not long after his own groundbreaking album Excavation came out on Tri Angle. It’s been a long six years for the label, which is still awaiting its own big crossover record.

Color isn’t that record, though it bears traces of the bigger mission. Its lyrical vocals and sometimes hook-centered arrangements are a novel development in Katie Gately’s discography, which, according to Discogs, now spans seven releases: Color, the Pipes cassette on Blue Tapes, her equally great self-titled EP on Public Information and split with Tlaotion in the FatCat Split Series, a single, and a couple DJ mixes (including one for TMT). There isn’t much continuity in her discography, with a range of projects from the vocal-only “Pivot” to the cinematic, textural Katie Gately. While it has predictably little in common with anything else she’s done, Color shares the cinematic quality of the latter. Where her self-titled EP could soundtrack body horror or seismic intensity, Gately’s debut Tri Angle LP is darkly whimsical, with some of the same musical theater resonances as Julia Holter’s virtuosic Loud City Song, sometimes melting here into those of Gobby’s cartoonish reverie. It evokes, in other places, Holly Herndon’s exercises in hypnogogic sound, film, and sound for film, and in others still Björks of various eras. It even has a ballad of sorts in “Color,” and a song that is mostly affected string samples (“Rive”). It is a surprisingly eclectic debut, though it could still be thought of as a concept record when considered in the context of Gately’s elusive and kinetic oeuvre. She hasn’t rescaled her practice to the production of pop songs, but has rather selectively acknowledged a psychic inheritance. The music is elaborate and orchestral, but also deeply indebted to intuition.

With Color, Gately doesn’t move from an emphasis on the ambient and affected voice to lyrics, but loosely circumnavigates the space in between those; she herself has written, at the end of the lyric sheet for “Lift,” “OOOH/ huh huh/ GIDDY-UP!/ *this is just a fuckload of vocables onwards….” So we know she didn’t get too picky about words, which is definitely not to say that the words and the functions they perform throughout Color are not interesting. “I will dream of you,” she sings on “Tuck,” “in a glistening showcase of world.” On the creeping and elegantly descending strings track “Rive,” the lyrics “The wind’s gonna break all wires insulate/ The wind’s gonna break your house is not safe darling” carry their sense powerfully, in spite or more likely because of their improvised character. Same goes for “Color” and its lamenting discourse on “my rock-based heart.” Lyrics aren’t a textually demanding force on this record, but they take their place in a framework with an evocative goal.

A common theme of Color is the frenetic, saturating accumulation of sound. There’s “Pivot,” which consistently amazes me, as well as the chilling “Dead Referee” and “Left Half” from Gately’s other releases, for days on which I don’t feel up to “Tuck” with its synthetic horn flourishes and distorted drums, or the blown-out arpeggios of “Sire.” But Color is, first, a thing of intrigue and frenzy, as deserving of your undivided attention as it is confounding mixed with almost any other sense perception; second, it’s an exercise with a few robust rewards. An artist whom those in the know already considered to be an odd and excellent sound designer has chosen the debut album not as a platform for affirming what we already knew, but for a bright and noisy flirtation with convention.