Mysterious electronic alchemists are the order of the night here. Oneohtrix Point Never’s queasy ambient music will go down (un)easily alongside the bewitching hip hop sampling sketches of Tri Angle’s Evian Christ. Additionally the London-based post-industrial outfit Factory Floor will play an exclusive DJ set. Setting the mood will be PAN Records visionary Bill Kouligas as well as Seattle bass music producer Kid Simpl and Dutty Artz beatmaker ANNALOVE.
Oneohtrix Point Never
Brooklyn-based, Soviet-born writer and musician Daniel Lopatin is a fixture on the electronic-music circuit’s left-of-center regions. As Oneohtrix Point Never he has been cranking out tapes and CDRs like a man possessed for the last couple of years; they range from demented meditation drones to straight-up noise. His first release on Editions Mego, Returnal (2010), made him more of a household name, landing him collaborations with Antony Hegarty and Tim Hecker. Lopatin also records with his friend and fellow Software label-honcho Joel Ford as Ford & Lopatin (formerly Games), who released their first joint LP, Channel Pressure, to much critical acclaim in 2011.
Evian Christ’s mixtape Kings And Them was an eerily apt encapsulation of the postmodern condition in a single artist. From a moniker that rides the line between evocative and ironic to the collage of ideas in the music itself—cloud rap and footwork dovetails seamlessly—Evian Christ has struck a nerve that resonates loudly. His career has been short but speedy: he put some tracks on YouTube in December 2011, signed to Tri Angle in January 2012, played his first gig to a thousand people a few weeks later, released his mixtape to much acclaim in February, and did his first remix in March. The end of the year saw the young producer tour the US with 4AD’s electronic duo Purity Ring while also graduating as a reception teacher— it becomes apparent that Evian Christ makes his own fortune. Coupled with the knowledge that he’s won five-figure profits in online poker, and we know who Lady Luck is smiling on.
Factory Floor are a three-piece post-industrial wrecking crew who use technology against themselves to create some of the hardest-hitting funk around. “Funk” is the odd word out there, but Gabriel Gurnsey, Dominic Butler, and Nic Colk Void seem to have an uncanny knack for making the sort of tunes that are so straight they begin to swing. Nic joined the group in 2010, and she’s become their not-so-secret-weapon, adding her distinctively morose vocals to the mix on their untitled album for Blast First Petite. With Gabriel keeping things lockstep and Dominic’s modular synth given room to squeak and squall at will, they’ve become a deadly combo. Last year they released their first record on DFA, a tune called “Two Different Ways.” The NYC label seems like an obvious home—both DFA and Factory Floor have a dedication to bringing together different sounds under one roof, surprising you with how easily they fit together.
Bill Kouligas grew up in Athens, Greece, on a steady dose of hardcore, post-punk, and new wave, and had already gotten his hands deep in the European noise scene before arriving in Berlin. He initially started his acclaimed PAN label to document the music of his friends while also setting up a platform to explore his graphic interests. PAN shines a light on today’s musicians as well as digging out seminal inspirations, joining the dots from electro-acoustic theorist Trevor Wishart to free-blowing sax man Evan Parker via NHK’s rave re-imaginations, and Heatsick’s Casio marathons. Bill and PAN are also responsible for all kinds of thought-provoking material, from reprints of the Great Bear pamphlets and lost avant-garde magazines to special-edition fanzines and their own resonant record sleeves. Bill’s insistence on following his own path and passion has won acclaim from thinkers, collectors, and dancers alike, and has put PAN at the forefront of a new electronic vanguard.
Citing William Gibson’s Neuromancer as a source of inspiration, Seattle’s Kid Smpl concocts music perfectly suited as the soundtrack to impending digital dystopia. His experience crafting hip hop, angsty hardcore punk, and dubstep lends itself perfectly to his most recent moody, atmospheric, and rain-soaked productions, extending the concept of ambient UK bass into the afterlife.
With all the interspecies breeding between genres, Austin’s ANNALOVE is a self-described purveyor of “trill-wave” and “dripstep”; her music exudes a whiff of bass-filled gangsterism, but in the most sophisticated way possible, akin to fully tinted windows and neon undercarriage lights on a stately Rolls. A drummer and student in Audio Engineering, as a producer she combines dubby, subtle, rhythmic syncopations with ethereal fog-filled atmospheres and R&B phantasms to concoct a syrupy stew. This is night-drive music at its finest.