Michael Taylor (DJ HuEx), who's been living in SLC via Chicago turned us on to this loving tribute mix series by Oscar McMillan, a long time buyer for Gramaphone Records and, in his words, is one of the unsung heroes of Chicago's house scene. I haven't heard better than these classic deep mixes as of late. This is what it's all about.
Don't miss UMOCA's museum-wide unveiling this Friday. I'm excited to see what they have in store. From their press release today:
UMOCA is very excited to present a newly refreshed museum with exhibitions throughout each of our five galleries and our Ed. Space.
It will be a lively evening mingling with artists, exploring new ideas presented through artwork, and enjoying our cash bar. *Receive a free exhibition graphic button with your $8 donation while supplies last.
"Ideologue" is a group exhibition that brings together international and national contemporary artists who employ humor and hyperbole to reimagine platforms of ideology. Through text, print, video, and sculpture, the projects in Ideologue playfully map out how contemporary artists poke fun at the political universe and its pointed claims to social truth.
DAVID BROTHERS: ROLITHICA
Incorporating both the beautiful and the wretched, David Brothers creates elaborate, fantastical and sublime staged worlds as the palette for his photographic compositions. Through installation and photography, this solo exhibition will take the viewer into Brothers’ surreal world that is at once both hell and paradise. An accompanying publication will be available for purchase.
YOSHUA OKÓN: ORACLE
Oracle references the name of the eponymous small town in Arizona that was the site of one of the largest protests in the U.S. against the migration of unaccompanied minors from Central America. In Oracle, Okón attempts to give voice to the multiple and often widely dissenting positions surrounding the migration of tens of thousands of children, a phenomenon that reached unprecedented numbers in 2014.
ANDREW MONCRIEFF: A STRANGE FEELING
In Andrew Moncrief’s A Strange Feeling, the artist appropriates images of male wrestlers to unravel dichotomies of violence and intimacy, stoicism and submission, tolerance and taboo. Rendered in thick layers of oil paint, Moncrief’s striking figures evoke tensions between classical representations of the ideal form and contemporary understandings of the gendered body.
PAUL CROW: HERE
Paul Crow's photographs are records of his movement through places with the aim of being as fully present there as he is able. With the camera recording the trajectories of his attention, Crow puts aside traditional notions of composition, framing, and subject in order to represent both moving through, and being in, at once.
Andrei Shapran: The purpose of the project "Extreme Earth" - talk about the territories, which are outside the attention of ordinary people. It is always the northern territory of the Russian Federation - are closed to visits and classified in the Soviet period. Now they are no less difficult to access, though for different reasons - the purely technical. A four-month trip to Chukotka in 2015 was another milestone in my project. North Cape - the name given territory in person, James Cook, drifted here in 1778.It was the most northerly point achieved by the mainland. In Russia it was then on the throne of Catherine II, and the land stood out only on maps of the white spot.
"The entire room lit up with daylight. It was this epic moment of, “Oh my god, I’m in Germany dancing in arguably the best club in the world on a SUNDAY IN THE MIDDLE OF THE DAY.” – Ann-Michelle Neal aka ARTEMIS.
1. Max Richter, Ben Russel “Sublunar” [Deutsche Grammophon]
2. Philip Badar “Blue Frog” (PAWSA Remix) [Lost Records]
3. Sabb “One of Us feat. Forrest” (Dennis Ferrer Remix) [Toolroom]
4. Butch, Hohberg “Thai Cubensis” [Otherside Music]
5. Stephen Bodzin “ Singularity” (Fur Coat Remix) [Herzblut Recordings]
6. Oscar Mulero “Ascension” [PoleGroup]
7. Krissky “Talking People” [Natura Viva]
8. Traumer “Tirade” [Get Physical]
9. Pleasurekraft “Andromeda” [Octopus Records]
10. Adrian Hour “Again, Faster” (Alberto Ruiz Remix) [Natura Viva]
11. Ben Coda, Meat Katie “Dog Eat Dog” [LOT49]
12. Felix Krocher “Catena” (Wigbert Remix) [Deeperfect Records]
13. Susanne Vega “Tom’s Diner” (Rampue Remix + Artemis Re-Edit) [unreleased]
14. Deepbass “Themis” [Soma Records]
15. Hot Since 82 “The Core feat. Alex Mills” [Knee Deep in Sound]
16. Klunk, Terry Francis “Relax” (Tigerskin Deep Mix) [Wiggle Records]
17. Cosmic Cowboys “If You Leave Tonight” (Kollektiv Turmstrasse Remix) [Musik Gewinnt Freunde]
18. Rampue “Sephiroth” [Recovery Tech]
19. PAWSA “The Shapeshifter” [Solid Grooves Records]
20. &Me “Woods” (Reda Briki Re-Edit) [unreleased]
Where are you from, how did you end up in SLC?
I’m originally from Utah, then moved to Seattle when I was 19 for my undergraduate degree. Living in Seattle for 5 years in my early 20’s was definitely a definitive experience in my life. After college I moved to Flagstaff, Arizona, which is this scrappy little mountain town full of artists and hippies. A lot of people don’t realize Flagstaff is a lot like Eugene or Fort Collins – quite progressive and full of creative, interesting, outdoorsy people. Both places were hugely influential to who I am. I moved back to Utah several years ago for graduate school and have found Salt Lake City to be a really cozy balance.
How did you become interested in music and electronic/dance music?
I went to Berlin! I’d been following indie-tronica bands like the Postal Service for several years and knew a little about electronic music. Going out dancing with my friends was awesome and therapeutic. After grad school I spent a month in Europe and went to some of the best clubs in the world – Fabric, Paris Social Club, Watergate, and of course Berghain and Panorama Bar - and I came back completely obsessed and bought some equipment. A place like Berghain will change your life forever. I was there once for 9 or 10 hours and heard sets from Gunnar Stillar, Answer Code Request, Marcus Meinhardt; I’d never heard anything like it in my life. I stood at the decks in the Panorama Bar for a 3+ hour minimal tech house set by the producer duo The Cheapers. I’d say that was the pivotal moment for me. They’re still on my list of favorite producers of all time and the minimal aesthetic, regardless of genre, is something that I really seek out and love. I didn’t want to leave! But I guess you have to eat at some point. There’s a reason “Don’t forget to go home” is spray painted on the wall there.
What kind of art, music or scenes inspired you when you were younger?
Ha! I was kind of a nerd mostly, and listened to a lot of NPR. I was never really obsessed with one particular music scene before being consumed by House and Techno. One thing that I consider to be very influential for me as a DJ is my background as a modern dancer. I was in modern dance classes through my whole childhood and early in college. Even though it’s not something I do anymore, I feel the musicality, ability to express emotion, and create a story through movement and music that I learned as a dancer are hugely important to me as a DJ. I can also count bars and measures in my head without really thinking about it, which is really useful.
What is your favorite dance floor memory?
At Berghain/Panorama Bar, the weekends start on Thursday night and end in the dawn hours of Monday morning. I was on the dance floor in the Panorama Bar on a Sunday afternoon; the place was nicely packed with mostly local kids and the energy was really good. After a breakdown in the music the DJ dropped in the baseline and the panels that cover the windows opened. The entire room lit up with daylight. It was this epic moment of, “Oh my god, I’m in Germany dancing in arguably the best club in the world on a SUNDAY IN THE MIDDLE OF THE DAY.” You aren’t supposed to take any photos inside Berghain, but I took a photo of that moment.
How did you come up with your DJ name?
I think this is a weird story! I had a dream about it. I kind of thought DJ names were cheesy and I wasn’t really sure I even wanted one, but one day my friend Al insisted that I needed one. That night I had this dream that my DJ name was Artemis. In my dream the letter A was a triangle; specifically it was the Greek delta I tattooed on my arm in London. Delta is mathematical symbol for “change”, and that seems fitting given that was where this all started.
How would you describe the scene here vs. the one you came from or grew up in?
The biggest thing I’ve noticed is the dramatic shift in the scene here over the last year or so. Mainstream clubs are booking great house and tech house DJ’s and packing dance floors. This is a big change from the EDM that dominated everything when I started playing (with you) a few years ago. There’s also a really thriving underground scene and incredible local talent that I’m lucky and proud to be a part of.
What's surprises you the most about living in Salt Lake and Utah in general?
This place is cool – it has a lot more in common with the other places I’ve lived than when I left Utah at 19. It’s full of incredibly creative and interesting people. I love that.
What do you think could be improved?
The conservative politics.
What equipment do you use for DJing (or producing)?
I play on an Allen & Heath Xone:92 mixer with a Native Instruments X1 and Traktor software. I’ve recently started experimenting with a guitar delay pedal to replace digital effects.
What is your dream setup?
I kind of have my dream setup, honestly. The Xone:92 is a beautiful mixer. It’s fully analog so it has a warmth that is irreplaceable, and the filters are truly incredible. I sort of feel like my mixer found me, not the other way around, and now I’m lucky enough to have the same tools at my disposal as some of best producers/DJs in the world. If anything, I’d love to get my hands on a Roland TR-8. That would really open up a lot of creative possibilities.
How would you describe your style of selecting and mixing?
First, I use Mixed in Key religiously. Second, I rarely plan out a set track-by-track ahead of time (unless I’m really nervous), so keeping my files organized by genre or context is huge for me. The organization I do ahead of time allows me to pick the mood or vibe I’m going for and then have freedom to experiment in the moment, and to really respond to the dance floor. It allows me to be creative while staying cohesive.
How did you approach your mix for NCM?
I’ve been really inspired over the last several months traveling and going to festivals. Hearing some of the best DJs in the world play at places like Burning Man and Time Warp New York has caused me to reflect and really try to define my sound. As a result I currently have hundreds of new tracks. I was exploring my library and I hit really this moment of creative flow – so I started recording. I think this mix is really representative of what it is I am trying to achieve.
Where do you see yourself with music or DJing in the future?
Oh, God. Who can tell? Three years ago I never could have imagined that I’d be where I am now. For me, DJing has been one of those things that just fell into place and continues to so. Good things keep happening, I’ve been given really amazing opportunities, and I’m surrounded by the most amazing people. I’ve always said I don’t really know how big to dream, so I just keep saying “yes” to opportunities that present themselves.
The University of Utah presents Cirque Alfonse and Timber! at Kingsbury Hall on Thursday February 4th. Bearded men log dancing, jumping over saws and and juggling axes sounds pretty fun doesn't it? Video >
You can almost smell the fresh-cut pine logs and the sweat of lumberjacks as you watch them jiving to a traditional folk soundtrack. The young circus troupe hails from a small town called Saint-Alphonse-Rodriguez and they have clearly drawn upon their country roots to find inspiration and energy for this unique creative project. Timber !, is clearly off the beaten track. The show’s creators designed unusual acrobatic apparatus inspired directly from the forestry resources available on their real-life family farm. The experience feels and smells authentic. The artists perform incredible feats of aerial acrobatics that are directly inspired by the natural raw materials of the forest and the equipment used on the farm. The atmosphere is hyper-festive. The talented acrobats and musicians create a colourful, energetic scene where we can witness epic feats of agility and strength, inspired by the exploits of the first North-American lumberjacks, loggers and farmers.
Sometimes I just put one of these RA Exchange interviews on to soak up some knowledge from legendary DJ's and promoters. You can really learn a lot about the past and present history of the electronic music scene if your open to it. https://soundcloud.com/ra-exchange
The world lost an art hero yesterday. So what better time to brush up on some classic David Bowie. I love this early performance of Starman. (Watch for the bass guitarist with amazing facial hair at 1:05). You may be an alien if the original of 'Under Pressure' by Queen and David Bowie doesn't make you feel something. Bowie never performed it until 1992 at The Freddie Mercury Tribute Concert (London, 1992) with Annie Lennox which is incredible in it's own right.
And who can forget the loving tribute to all things Bowie from this classic episode of Flight of the Conchords? May he rest in space. Long live Bowie!
Check this out over the weekend. Get lost in film.
CUAC and Salt Lake Film Society are pleased to co-present Matthew Barney's and Jonathan Bepler's RIVER OF FUNDAMENT in Salt Lake City at Salt Lake Film Society's Tower Theater January 8-14, 2016
Salt Lake Film Society's Tower Theatre
876 East 900 South, Salt Lake City, Utah 84105
Matthew Barney is one of America's leading contemporary artists known for his epic films and immaculate sculptures and performances.
In collaboration with composer Jonathan Bepler, Matthew Barney combines traditional modes of narrative cinema with filmed elements of performance, sculpture, and opera, reconstructing Mailer’s hypersexual story of Egyptian gods and the seven stages of reincarnation, alongside the rise and fall of the American car industry.
The film’s central scene is an abstraction of Mailer’s wake, set in a replica of the late author’s apartment in Brooklyn Heights and featuring Maggie Gyllenhaal, Paul Giamatti, Elaine Stritch, Ellen Burstyn, Joan La Barbara, and jazz percussionist Milford Graves. Alluring and intense, this epic, multidimensional experience is a sprawling allegory of death and rebirth within the contemporary American landscape.