Archives for posts with tag: NIN

I remember the first time I interacted with Machinedrum aka Travis Stewart. I was given the opportunity to perform at Decibel Festival 2012’s Warp Records Showcase, opening up the night for Jimmy Edgar, Clark and Travis. It was the highest profile show I had played so far, and the challenge was just what I needed to think bigger and further develop my own voice. I remember him coming on stage towards the end of my set when I was playing some Slick Shoota, bobbing his head and singing along. From then on, I become more and more enamored by this man, both for his hefty amount of quality productions, and his friendly demeanor. Daft Punk are still my main dudes, but I watch them from afar. It’s just a pure gift to cross paths with Machinedrum over the years since that Warp show. He is truly one of the most talented and visionary artists around. I was there at the Vapor City Live debut at dB Fest 2013, the Jets show that same year, Vapor City live in Portland in 2014, and now this Machinedrum show at Crocodile in 2015. Once again, I felt like this was a culmination of everything I had learned, and another challenge to better myself and add my own energy into the night. This wouldn’t have happened if it weren’t for the artists creating these songs. Followers of this site should recognize a few friends that have come through in interviews over the years. Big shout-out to my favorite producer to come thru Disco Droppings, XI, whose on the very first track of the mix. Shout-outs to Embassy Recordings, Broodlings, Slick Shoota, HxdB and WD4D, who you’ll also hear. And respect to DJ Rashad and the Teklife family, who you’ll see represented..

It was a total joy to work with The Crocodile on this show. Thank you to all the staff, and especially Shaina for allowing my intern Beck Ninneman and I to bring in additional lights, and granting us some brand new subs. The vibes were fierce and rowdy. It was that show I’ve dreamed about since I started, where everything just clicks.

Tracklist

XI – Trinary

The Bug – Skeng (Kode9 Remix)

Broodlings – Two, Three (Embassy Recordings)

Stray – Chatterbox (Original Mix)

WD4D & Suttikeeree – Up On Something (Unreleased)

At The Drive-In – Pattern Against User

Ital Tek – Challenger Deep

Nine Inch Nails – Survivalism (Jimi Jaxon Remix) (Version 1)

DJ Rashad – Ride Dis Dikk (DJ Earl Remix)

HxdB & DJ Cure Feat. MC ThinkTank – Sound The Alarm (Firestar Soundsystem Remix)

Mincha & Ghost Town – Aberdeen (Howie Lee Remix)

Drake – All Me (DJ Paypal x DJ Taye)

Fracture – Loving Touch (Original Mix)

Rvdical The Kid – Tokyo

DRJ – With You

Etherwood – Unfolding (feat. Laurelle Robichaud)

SpectraSoul – Light In The Dark (Feat. Terri Walker)

DJ Jy – Kesha Wif The Fatty ;] (Drippin x Slick Shoota Remix)

Pascal – P-Funk Era (Original Remix)

DJ Rashad, DJ Spinn, Alix Perez – Make It Worth (Original Mix)

DJ Earl, DJ Taye – Wurkinn da Bass (Original Mix)

Shy FX – Bambaata (Dillinja Remix)

 Video Credit: Cameron Jessup

Mix also available on Mixcloud, Video also on Vimeo

– Jimi Jaxon

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There is so much to be said about Trent Reznor and Nine Inch Nails. For now though, I’ll focus attention on his new album Hesitation Marks and Tension 2013 tour. It’s a joy to listen to; especially on a loud soundsystem, bumpin’ car stereo or quality headphones. The detail, the effects and the ultra clear productions takes you on quite the trip.

 

The album opens with “The Eater of Dreams”, a droney production that makes me picture some dead thing swingin’ in the wind…or maybe a creepy rusty swingset, I dunno. “Copy Of A” follows, with a punchy techno-ish, electro-ish beat, signaling that this album will have a more percussive, dance-oriented feel. Reznor acknowledged a connection between this album and his debut Pretty Hate Machine. Here’s an exert from his recent Fader interview..

It seems like the new album is the closest you’ve come to making full-on dance music since Pretty Hate Machine. What was your inspiration? It wasn’t a plan. Usually, before I start any new record or collection of stuff, the first chunk of time is spent feeling around in the dark to see what feels inspiring. With The Slip, for example, what was inspiring was this kind of rule where we said, Let’s make it sound like garage electronics. Nothing gets fixed, there are no double-takes, there’s no tuning of vocals. Put mics on everything, nothing direct. We’d check those rules before we’d start a new song. Everything was done quickly and 
it was fun.

This record, I gravitated toward writing everything on an MPC-type composer, this Native Instruments machine that I had set up in my office. I had so much fun that it became my self-imposed limitation. I’m not gonna use 
a keyboard; I’m not gonna use guitars because they’re boring. I’m gonna use pads. Let me start the songs that way. And probably a hundred separate ideas came out from that phase. Then [I’d] bring those downstairs into the real studio and flesh them out a bit with my guys, Atticus Ross and Alan Moulder.

Maybe it’s a reaction to my [work scoring films], which was all about texture and studies in different moods and ambiences and atmospheres. Rhythm sounded more interesting to me. It wasn’t a situation where I was listening to a lot of EDM—not consciously anyway. I wasn’t trying to make a record people could dance to.”

 

 

I wouldn’t say I’m a Nine Inch Nails super fan. I don’t know everything about Trent’s work, and haven’t listened intensely through his very dense discography. That being said I’ve heard a lot and enjoy the variety of sounds and instruments used in each album. He seems to be about evolution and trying new things, this is nothing new. In regards to his current sound on Hesitation Marks, I think it’s perfect for both the time and Reznor’s natural progression as an artist. The worldwide dance community could take a lot of notes from Trent’s aesthetic; a hybrid of hardware, band oriented instruments, live vocals and digital technology. He isn’t known for club oriented music for the majority of his career, but if I heard about a late night place with the vibes of Nine Inch Nails, I’d be there in an instant.

In addition his fresh perspective on music, I like the parallels between NIN’s lyrics and the real world we find ourselves in. My favorite song on the new album for instance, “Satellite”. There’s a line that goes..

“Better watch,what you think

What was that, you said?

Everywhere, and everything And every word, you say.”

 

Drones and massive spying on citizens have become major issues; killer robots send missiles from above, leaving many civilians dead around the world. Other robots and technologies have the task of conducting massive surveillance on anyone they please.

Instead of being the early Nine Inch Nails prophet of a world just around the corner, this new album arrives right in the middle of it. It’s a world of government control, surveillance, drone warfare, Monsanto and unsustainable pollution. It’s also a world on the edge of new human consciousness, with the potential for positive growth. NIN is highly advanced, for its ability to vividly show reality, express emotion and open up discussion for possibilities, both positive and negative.

 

While some longstanding artists seem totally comfortable with sounding like shit, so long as their making a lot of money, Trent holds the torch for live performance mastery two decades in. I saw the last Nine Inch Nails show in Portland, and thought that would be my only chance to witness this genius. Thankfully, Trent has returned. As I type, the NIN crew is setting the stage for tonight’s Seattle show. A huge thank you to Patrick Cronin for giving me his ticket. I’ll use it well.

Here’s the crew themselves, talking about the Tension 2013 Tour. Obviously, they do a much better job explaining the set up than I could. Enjoy.

 

 

 

Nine Inch Nails – Soundcloud Twitter Facebook Tumblr

nin.com

Trent Reznor – Twitter

– Jimi Jaxon

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