Madeon – Twitter Soundcloud Facebook
– Jimi Jaxon
One thing you won’t see on this blog, or in my life as an artist is an attitude of exclusivity. Through the years I’ve gone through the rave scene, the Decibel scene and everything in between. I notice that in every group there can be this territorial mindset, that their community is over here and everyone else is over there. I don’t think about scenes at all, and would be happy if it all just went away. It’s all music, it’s all people dancing, feeling and creating art. There’s bad shit in every scene, and my goal is to connect the dots across the entire musical spectrum and pull the best from everything.
I was going to raves a little before the term “EDM” appeared. I saw first hand a lot of fantastic performances over time, and collected unique tracks from various producers. At this point though, that area seems to be struggling. Too much monotony, not enough imagination. To me, there’s currently a small group of innovative artists that are associated with this community. And these people may feel disillusioned with the environment their music is usually heard in. One of those people seems to be Feed Me.
After coming to prominence, on a constant incline since I first heard about him a few years ago, he’s taking the reigns and pushing his independence as an artist. It’s a smart move. He’s taken his debut album, Calamari Tuesday (Digital Release / Physical & Vinyl Release) and released it on his own new label, Sotto Voce. He’s stepped back from mau5trap, the label responsible for the bulk of Feed Me releases up to now. He’ll be investing in a group of like-minded artists for the SoVo label, building from the ground up. He’s also said that he will not tour with his new album, waiting for the proper inspiration and expanded live show.
Now, I would’ve shaved a few tracks off Calamari Tuesday. Overall though it’s confident and funky, with a fun sense of exploration. His use of melody, balance of emotion and orchestral vibes are highly inspiring.
His new mix for Mixmag is super rad, with lots of unreleased material. He’s got intense control over his tunes, and weaves around just like the badass I remember seeing at EDC Vegas 2012.
Feed Me – Soundcloud Facebook Twitter
Sotto Voce – Facebook
– Jimi Jaxon
Clark, Clark, motherfuckin’ Clark. It’s surreal to say that just last year I played alongside this revolutionary producer for Decibel Festival 2012. Alongside Jimmy Edgar and Machinedrum, we represented the Warp Records Showcase. I tried with all my might to create a mix that would compliment these awe-inspiring artists, and the experience helped my art evolve to new heights in a very short period.
Fresh off the press, I was so excited to see Clark in charge of the latest XLR8R podcast. I’m always curious about what this dude is up to, and now I have new insight. It’s a bizarre, adventurous mix, demonstrating Clark’s wonderfully twisted perspective that I’ve come to love dearly.
For those of you living in the Seattle area, Decibel will be bringing Clark back towards the end of November. Jon Hopkins headlines with support from Nathan Fake. No way in hell I’m missin’ this.
– Jimi Jaxon
It’s been a month since I saw the world debut of Machinedrum’s Vapor City album for Decibel Festival 2013 in Seattle. I still haven’t recovered.
I want to delve into the ridiculously impressive and varied delivery of Travis Stewart’s newest album but first..
I feel like that live show didn’t get the proper credit it deserved. After searching through over 50 reviews of Decibel Festival this year, Machinedrum’s Vapor City performance was mentioned 5 times. This is a travesty to me. Everyone is entitled to their opinions, but many of the reviews/mentions or lack thereof add to my frustration when it comes to music journalists. The way of writing used by many who about music can be boring as hell to me. Saying the bass was “heavy” for one, so dry. Aren’t there more ways to describe the bass? How does it make you feel? It just comes across as lazy to me. Now, it’s not that all these reviews were bad, I just had trouble connecting with them. I’m no expert when it comes to writing, but my approach here is to be more personable and speak from the heart, instead of this sometimes distant, analytical place.
Many journalists probably don’t take nearly as much time thinking about their writing, as the artists spend creating their art. They pour their lives into music, just to have it regurgitated back online in a less imaginative way.
So here’s my perspective on the Vapor City show from someone that was IN IT; goin’ wild in the crowd as an ecstatic fellow fan, artist and music journalist for Disco Droppings. There was absolutely no way my roommates and I were going to miss this. We got there early and saw Giraffage open. Really kool dude, his set was uplifting with it’s own personality. He seemed to understand the weight of importance, playing alongside a titan like Travis Stewart. When it was time for the main event, Travis quietly came on stage, picked up the guitar and started playing the chords to “Center Your Love”. I had heard the whole album many times already via a leak (shh), so I knew every track. I was dumbfounded to see drummer Lane Barrington feverishly playing alongside Travis. I would be lost in the music, freakin’ the fuck out and would forget the drummer pounding out these super fast, meticulous rhythms. Then I would look over at him, and just freak even more. Travis was also singing throughout the set, demonstrating his versatility as a performer.
I knew what kind of visuals I was in for after watching the futuristic/cray “Eyesdontlie” music video, directed by Weirdcore. A press release states, “The video, directed by Weirdcore, was developed from visual references and art work for the album and the upcoming live tour. Weirdcore worked with the midi data from the track and used the track stems to create the video. The neon images react to the midi and some of the distortion is reactive to the sound as well.” Watching the show, we got to witness an expanded display of the Vapor City districts. The visuals cut out early, but just that small amount of imagery was powerful enough to say the least.
I’ve never heard it that loud in Showbox Market. I’ve also rarely experienced a performance that pushed the crowd to such a rapturous and primal place. The only other time I’ve felt this utter abandon of the self, was at Daft Punk’s Alive 2007 show in Seattle. The crowd became a pack of wild apes, and Machinedrum alongside his drummer and visuals were the monolith.
A friend came up to me right after the Vapor City show and said something like, “that was everything I wanted from music and so much more.” About as big of a compliment as you can get as an artist I’d say.
Ok, I got that off my chest.
A piece of this release that isn’t getting much recognition (besides the music itself, which is beautiful from beginning to end) is the website. If you head over Machinedrum.net you’ll see a gray landscape with the Vapor City districts colored in black. All the pieces together resemble Africa to me, and as you move your cursor over each section you’ll see things like “Gunshotta Ave”. Click, a small quiet loop plays “Gunshotta” with the music video embedded.
The “Njord District” is also available now, coinciding with the release of Machindrum’s RA Podcast mix, centered around the same location. All the other districts are currently offline, saying “‘Vizion Centre’ will be unlocked in Dec 2013”, “‘Vapor Park’ will be unlocked in Jan 2014” etc. It’s a magnificent idea; spreading out the release and giving people additional content and deeper understanding of this world Travis has dreamed up. Become a citizen of Vapor City through the site for updates on the districts, and Citizen-only bonus downloads.
In addition to all this we have the Vapor City tour itself. Boiler Room did a 3-part series for the album in NYC, London and Berlin. We got to see the first ever performance of Dream Continuum (Om Unit + Machinedrum), plus Lando Kal, Fracture, Braille, Mike Slott, Jimmy Edgar, Scuba and of course Machinedrum among others. The tour runs until December 14th, with upcoming stops in Belgium, France, Ireland, England, Italy, Canada and the USA. It would be a sad, sad thing to miss.
Machinedrum – Facebook Soundcloud Twitter
– Jimi Jaxon
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