I'd like to personally invite you to NOW-ID's next interdisciplinary stunner... 'NOWHERE,' with performances happening this July 17th & 18th (Fri/Sat) at Libby Gardner Hall at the UofU. I enjoy being on the board of NOW because it's the only arts organization of it's kind in the city, always looking for ways to collaborate and create transformative work through movement and art together. 'NOWHERE' features contemporary and ballet dancers with guest artist Adam Bateman, international guest musicians, original music, site specific film, lighting, sound and a very large, interactive 'Infinite Wheel.' The entrance will feature a sound installation created by Gary Vlasic, myself and guest artists Colour Maisch and Stefanie Dykes.
If you've seen our other work, you'll know it's daring, intellectual and otherworldly. Also, performances are under 60 minutes... always! Please join us for NOW-ID's concert hall spectacle this Friday & Saturday at Libby Gardner Hall. Tickets available online (preferred) or at the door. More information at now-id.com/current.
Wow! I can't say enough about how much fun was had this past weekend in Park City. The weather was perfection, food fantastic (Thank you Maxx at Vinto!), our USA ladies won the World Cup, ...strangers invited us into their homes while others gave us free rides... and to top it off, Thievery Corporation put on a bangin' show Sunday night at PCL. Basically, everyone we came in contact with was incredibly generous and good natured.
I've got a few snippets of video up to give you a sense of the energy at O.P. Rockwell, who were incredible to work with might I add. Thank you to Damian Ardenne for opening the party up with his impeccable taste in the deepest of the deep, and thanks to everyone who came, for bringing the love in a serious way. We look forward to returning soon. July 4th in PC could be a new tradition...?
Saturday, July 4th (& 5th)
UNOFFICIAL THIEVERY CORPORATION APPRECIATION WEEKEND
This Independence Day Weekend NCM is planning an breezy Park City music escape, beginning Saturday, July 4th with a luxe dance party feat. DJ's Jesse Walker and Damien Ardenne at O.P. Rockwell, the dynamite speakeasy/concert hall housing one of the best lighting/sound systems in Utah.
Stay the night and join us the following Sunday for Thievery Corporation's show at Park City Live. Tell your friends, find accommodations and don't miss this explosive weekend of entertainment!
Saturday, July 4th
BLAST OFF! @ O.P. Rockwell
Doors at 9PM, FREE admission till 10PM, $5 after
Address: 268 Main Street, Park City, Utah 84060
Sunday, July 5th
Thievery Corporation @ Park City Live
Doors at 8PM, Pre Sale Tix $79.50 GA
Address: 427 Main Street, Park City, Utah 84060
LIKE SNAPSHOTS IN TIME, RED SPECTRAL TAKES NCM ON A MELODIC TECHNO JOURNEY
1. Dextro "Inside the Wormhole” [Tanira] 2. Aggero "If I Could Ask" (Poison Pro Future Love Mix) [Intricate] 3. Inner Square "Made In Black" (Alexander Harris Remix) [Thunderlab] 4. Dop’q “Snorkeling In Space" (Anjei v. PP Remix) [Slowdance] 5. Andre Sobota "Morning Lust" (Microtrauma Remix) [microCastle] 6. Stephan Bodzin “Sungam" (Patrice Baumel Remix) [Systematic] 7. Guy J "Stolen Memory" [Plattenbank] 8. Metodi Hristov "The Road" [Witty] 9. Henry Saiz “Anubis" (Tentacle Remix) [Natura Sonoris] 10. Uto Karem “Reflective" (Paride Saraceni Remix) [Agile] 11. Cid Inc. “Response" [Sudbeat] 12. Gorje Hewek & Izhevski “Calinerie" [All Day I Dream] 13. Gorje Hewek & Izhevski “Calinerie" (Ambient Version) [All Day I Dream]
Where are you from and how did you end up in Salt Lake City?
I was born and raised in Huntsville, Alabama, but made the move to Utah years back when I attended and graduated from Brigham Young. After graduating, I shed the cocoon of Mormonism, fell in love with a boy, and began a life here in SLC. Nowadays I’m still around because honestly, I’m falling in love with this place.
Which bands or artists inspired you when you were in high school?
Jam bands were my thing in high school—specifically Widespread Panic and Phish. I remember following Widespread around the South and I would just get completely lost in these spontaneous, lengthy psychedelic jams they would create. Looking back, those Widespread and Phish shows were my introduction to the psychedelic mindset that influences what I do today with Red Spectral. I get really nostalgic when I think back to that period in my life.
How did you become interested in music and electronic/dance music and which artists influence you today?
I have always created music in my head for as long as I can remember—but I’ve always lacked the patience and work ethic to become “trained” in any particular instrument. In 2006, I discovered a band named STS9 that would fuse traditional jam band structure with electronics. They would use electronica created in Ableton to accentuate their live instruments and I was hooked. I went out and purchased the software and I have been addicted ever since. Today I’m influenced by the Israeli melodic techno scene that includes artists like Sahar Z, Khen, Guy J, and Guy Mantzur. There is also a niche Russian techno scene I’ve discovered that produces a lot of slower, retro 80’s deeper house that creates a lot of nostalgia for me as someone who grew up in the 80’s and 90’s. I’ve included both styles in this mix.
What is the origin of your DJ name Red Spectral?
According to the Mayan Calendar, everyone has a specific name given to them based on their birth date and year—mine is Red Spectral Serpent. So Red Spectral is just another way to say “Cody Layton.” Which I guess begs the question, “Why the Mayan Calendar?” The Mayans predicted a major shift in collective consciousness around 2012 (not a doomsday!) and I want to be a part of that shift as humans shirk dogma, violence, and bigotry in exchange for truth, peace, and universal acceptance. Red Spectral is just an external manifestation of that desire.
What equipment do you use for DJing (or producing)?
I’ve been using Ableton for 8 years, though currently I’m trying to become proficient with Traktor so that I can jam with buddies more often. I use my APC40 for hardware and an M-Audio Fast Track Pro for sound.
Tell us about your particular style of selecting and mixing?
There is a lot of intention that goes in my selecting. Sometimes I’ll spend hours/days preparing for a mix or a live set so that I’m sure it conveys the emotions I want. If I were to describe my art form from 30,000 feet, I’m simply creating collages of sound—nothing more and nothing less. Realizing that keeps me humble. Sometimes I hear people boast about mixing on the fly and coming up with sets and mixes spontaneously as a way to lift themselves up and put others down. For me, quality trumps quantity every time. I’d rather put together a well-thought out collage that conveys meaning, than a hot mess of jumbled tracks. I try very hard to disguise transitions to ensure the smoothest mix possible. Mixing in key is important! I wish more folks kept that in mind. It makes such a huge difference.
How would you describe the underground dance music scene in Utah to an outsider?
As some of my fellow New World crew members already know, I can talk about this subject for hours. I think Salt Lake is an incredible breeding ground for creativity in the underground. Most outsiders equate Utah as a place where spirituality is important—yet, I have sensed many here are becoming disillusioned with religiosity. They see beautiful towering temples strategically visible from every point in the valley and instead of feeling sacredness and a longing for something greater, they see buildings that for them symbolize divisiveness, inequality, and hollow spirituality. Underground movements I’m involved in like "New World,” as well as newly-formed “Undergrowth" seek to rescue the concepts of sacredness and universal consciousness that have been hijacked and redefined by orthodoxy. For literally thousands of years, humans have been able to tap into universal consciousness using rhythm and dance, and New World and Undergrowth for me have truly recreated that sacred experience. When you attend one of their events, race, gender identity, age, and sexual orientation no longer have the same divisive meaning as the real world. They are places where you celebrate the unique manifestation of the universe that you truly are. It’s incredible, and it’s what is keeping me here in this city.
What do you think could be improved?
Intention! You obviously need capital to continue to throw events and supplement your income if that’s what you need. But when that becomes your sole focus, your project tends to disappear quickly in this city I’ve found. People here are spiritually hungry …help them reconnect to the universe through rhythm and dance and the money will follow that allows you to keep doing what you’re doing.
Outside of music, what’s surprises you the most about living here?
The resistance that is growing to the de facto theocracy we live in here in Utah is very surprising to me. When you look at the various theocracies around the world …they almost always have an incredibly vibrant counter-culture. Utah is no exception. The progressive mindset is growing here and its presence here will surprise any visitor with preconceptions that everyone in Utah is ultra-conservative.
What can you share about the exclusive mix you've made for NCM?
This is a musical journey that is a snapshot into my current internal state—it almost mimics the traditional “past-present-future” tarot card reading. The first half of the mix is nostalgic and ethereal until you reach the hallmark track of the mix—Guy J’s “Stolen Memory.” That track, down to its essence and even its name, describes a lot of the feelings I’m experiencing at the moment. It sort of jolts you out of the ethereal state you thought you were in and reminds you of the reality you’re really in. The rest of the mix brings feelings of the future I want to cultivate and eventually experience as my reality. That’s how these mixes are with me… snapshots in time. I hope you enjoy the journey.
Mark Hofeling, Film Designer (and my lawfully wedded husband), offered to write this short eulogy for NCM lamenting the demise of one of the city's best vintage consignment stores, Elementé on Pierpont ave.
It is with great sadness today that we learned of the loss of a venerable Salt Lake institution, Elementé.
For nearly 30 years Elementé has been the anchor of Salt Lake’s design and home shopping scene for those who had homes worth seeing. Kate and Teresa were as reliable as the sunrise and just as warm. Walking through the creaky front door was always like coming home. As a designer for film, I had more than a few last minute set decoration emergencies, and they were always happy to save my bacon, again and again.
As our fair city evolves and changes, and as capital sniffs out new opportunities, there will inevitably be casualties. The fact that it is Elemente that gets priced out rather than someplace like RC Willey’s proves there is no god, or not one with any taste anyway.
I know I speak for an entire community when I say thank you to two amazing women and mourn the loss of something I can’t imagine Salt Lake without. Best of luck and lot’s of love to you both, Kate and Teresa.
This really sucks.
Elementé closes on June 31st. Everything must go so be sure to stop by to support and give your regrets in person to these wonderful ladies.
Address: 353 Pierpont Ave, Salt Lake City, UT 84101
Tel. (801) 355-7400
Hours: 12:00 – 6:00 pm
SLC based international dance-art-design company NOW-ID is gearing up for some big projects this summer. First of which is our July 17 & 18 performance NOWHERE at Libby Gardner Hall at the University of Utah.
NOWHERE is an exploration of place. The evening will be composed as a collage of dance, installation, film, and original music composition featuring four dancers, an organ player, and Denmark based musician/composer Jesper Egelund performing on double bass. Local artists as well as artists from around the world will create a space of ritual as they examine the intersection of place and body. Save the dates and visit now-id.com for information and to purchase tickets.
SPACE AS COLLABORATOR, a five-day summer intensive workshop from August 17-21st, also at the University of Utah pairing 10 choreographers, 10 architects/designers and 20 dancers together in interdisciplinary teams who will each day solve a unique design/movement problem and then stage their solutions. This intensive creative experience is directed at curious, innovative professionals and advanced students in the fields of dance and architecture or design. For information or to register visit now-id.com/intensive.
In early fall, we're excited to bring you OVER/UNDERGROUND, the NOW-ID annual gala. Prepare for a new kind of party. NOW-ID is growing, evolving... and we're inviting anyone who's ready for this next-level to attend.
Art Meets Fashion 2015 takes place on May 16th featuring a full collection/runway showcase from AMF runway program recipient Davis Hong, a preview of fine artist Mark Seely exhibition for Fall 2015 and collection by Nigerian designer Kinabuti. Also floral installations, special performances and tasting stations from five local restaurants.
From the AMF Facebook: "This year Art Meets Fashion Runway is about being part of a global landscape, culturally responsible business practices and ethical sourcing. We are proud to be presenting the US premiere of Nigerian collection Kinabuti. All garments are made by the women in the villages and Kinabuti has opened a tailoring school, water front cleanup projects and empowering seminars. We will be selling some garments that will help support their on going efforts as well as presenting a full collection on the runway."
Get your tickets in advance > Seats are limited. Tickets are $45 and include admission, a selection of food and beverages. All proceeds will benefit the new Entrepreneurial Artist Mentor program.
Adam Bateman, Executive Director/Curator at CUAC is leaving today for his summer project of WALKING the MORMON TRAIL... 1100 MILES from Nauvoo, Illinois back to Salt Lake City, Utah in modern times. Follow his progress at Facebook.com/adam.bateman.50 where he posted the following artist statement:
For my project I intend to walk from a spot just outside Omaha, Nebraska, historically known by my Mormon ancestors as Winter Quarters, to my current home (and ancestral home) of Salt Lake City, retracing the footsteps of my great ancestor Thomas Bateman who did this four times starting at my same age in 1850. This is a walk of over 1100 miles. I begin on April 28.
My art has been an exploration of the aesthetics of the West. I have looked at how we create architectures (physical and cultural) that affect the aesthetic and rhetorical function of the landscape. This has been explored through looks at regional landscape painting, irrigation, and institutional tourism. I have spoken many times about how recreational landscape tourism is a ritualization of westward expansion and manifest destiny. I think the most systematic example of manifest destiny is that of the Mormon settlement of the west. The following is a description of a project I'm looking for help to fund.
Keeping Things Whole
In a field
I am the absence
always the case.
Wherever I am
I am what is missing.
When I walk
I part the air
the air moves in
to fill the spaces
where my body's been.
We all have reasons
to keep things whole.
Travel through space can be an end in itself. The act of walking as art is as much the action of the art-making as it is the product. In a literal sense, the act of walking parts the air and makes a negative-sculpture of the space my body occupies over time. There is a huge precedent for walking as an end. In art there are many examples, most notably Richard Long. Most wilderness/landscape-focused tourism involves travel as an end as do contemporary religious pilgrimages of all types.
My action is an investigation of the rhetorical and sculptural qualities of tourist and recreational travel in the west. It is an exploration of how a sense of place, and more specifically, travel though space is fundamental to experiencing the American West.
In addition to the robust history (and industry) of recreational travel in the west (think motorcycle tourism/ATVs/hunting/national parks/wilderness backpacking/roadtripping), there is a strong literary tradition that ties landscape travel to American Identity. This tradition ranges from books like Blood Meridian andThe Road by Cormack McCarthy to Grapes of Wrath by Steinbeck and On The Road by Kerouac, Angle of Repose by Wallace Stegner and Desert Solitaire by Edward Abby and the list could go on and on. It also includes immigration narratives by lots of people from the Navajo to John Winthrop to Brigham Young to the current wave of Latino immigration.
It is central to my thesis that a reason our literature and recreation so often center around travel in the landscape is because of a ritualization of a romantic relationship we have to founding/pioneering-related travel of the past. When we visit national parks we are ritualizing manifest destiny.
I also have a personal relationship to that historical travel. I have over 60 ancestors who walked the Mormon Trail from Winter Quarters, NE to Salt Lake City, UT. That trail overlaps significantly with the Oregon Trail of video game lore, the Lewis and Clark blazed trail, and the trail used to populate California during the Gold Rush. Among those ancestors is James Morgan Bateman, my namesake and first in a line of six James Batemans of which I am the last (James Adam Bateman). James Morgan was born outside of Nauvoo and lived in Winter Quarters for a couple years then crossed the plains as a child with his father Thomas and mother Mary Street Bateman.
An effect of our ritualization of landscape travel is a romanticization of past landscape travel and mythologies are built up from the nostalgia surrounding those heroic feats. Part of my intention with this action is to de-mythologize previous travels—to reduce them to actions instead of mythologies.
Having no musical boundaries gives CHASEONE2 all the freedom in the world.
1. “Hold Me” Beerlover 2. “Hold it now, Hit it (Acapella)” The Beastie Boys 3. “ILYAF” Anna Of The North 4. “Only Years” Edwick John 5. “On My Mind (Acapella)” Soul IV Real 6. “Funbox Party” Copycat 7. “Can't There Be Love (Pilooski Remix)” Dee Edwards 8. “Gangsta (Cut Chemist Remix)” Tune-Yards 9. “Buggin’ (Pickster’s Trick Rubin Remix)” Justin Martin 10. “MTI (TWRK Remix)” Koreless 11. “Estrelar” Marcos Valle 12. “Laid In Full (Rakim Suite) (Qdup & Sons of Satin Re-Twerk)” Eric B & Rakim 13. “Noir” S Strong & Boogie Belgique 14. “Rich Kind Of Poverty (TREW Edit)” Sam & 15. “Soul Clap (Altered Tapes Rework)” Showbiz & AG 16. “People Everyday (Altered Tapes Rework) Arrested Development 17. “Love & Happy” Copycat 18. “The Mother We Share (Moonboots Remix)” Chvrches 19. “Burn (Leo Kalyan Remix)” Ellie Goulding 20. “Groovin’ (Nobley Nobe Edit)” The Young Rascals 21. “My Lady/The Crusaders” Daigo 22. “Raise It Up (Doc Adam Remix)” Slum Village 23. “The Rain” Oran ‘Juice’ Jones 24. “Stoop Rap (Doc Adam & Nick Bike Break)” Double Trouble 25. “Today (Bladerunners Edit)” Tom Scott & The California Dreamers 26. “ Enjoy The Ride” The Social Lovers
Where are you from, have you always lived in Utah?
I was born in Tampa Bay, Florida, then moved to Sacramento, California, then moved to Phoenix, Arizona. I moved to Salt Lake in 2000 and have moved around a bit (New York, California, New Zealand), but I always find my way back to Utah.
How and when did you become interested in music, was there a specific event or time in your life that made you want to start DJing?
I think my Dad had a lot to do with that. He introduced me to jazz and soul music at an early age. He had a killer 8-track collection we would always listen to in the car. So when I was 16 I basically stole his entire record collection and that's when I started buying records also. My friend had just bought turntables and a mixer so that's what we did everyday. When I was 17 I had finally saved up enough money to buy my own turntables and mixer, and a few months after that I bought my first sampler, an Akai S-20. Around this time is when I was introduced to Z-Trip and Radar, Pickster, Tricky-T, Dj Entrification, and Dj Element (who was a fellow high school classmate). I always loved hip hop, but I was mainly fascinated on what was going on behind the scenes, the producer, the dj, the records they were sampling to make these songs.
Which bands or artists inspired you when you were younger?
Stevie Wonder, War, Dj Shadow, Cut Chemist, Mark Farina, Jurassic 5, Freestyle Fellowship, Fugazi, KRS One, Richard "Groove" Holmes, The Beastie Boys, Dj Premier, Z-Trip are a few that come to mind.
How did you come up with your DJ name?
This is kind of a funny story actually. So in the early-mid 2000's there were two local deejays going under the name Chaseone, myself and Chase Jensen, aka Street Jesus. It started to get confusing on flyers and the weekly newspapers after a while so I just added a 2 to my name and shortly after Chase Jensen became Street Jesus. Haha.
What do you like (or don’t like) about living in Salt Lake?
There's only one thing I don't like about Salt Lake and that's our terrible air quality in the winter months. I love the people here, the small, but incredibly talented groups of artists and musicians. Salt Lake is a true gem. It often gets overlooked by people, but for the ones that know, it's one of the best kept secrets of the west.
How would you describe the scene to an outsider?
A tight-knitted group of incredibly talented individuals, artists, bands, musicians who all pretty much know each other.
What equipment do you use for DJing (or producing) including for this mix?
For deejaying I normally play off of two Technics 1200's MKII's or two Numark TTX's, a Pioneer DJM-400 or a Rane TTM 54. For producing I've had my share of machines over the years including an Akai S-20 sampler, an Ensoniq ASR-X Pro, an MPC 1000, an MPC 500, but as of lately I enjoy using the Roland SP-404 sampler. I really enjoy analog machines if you couldn't tell. For this mix I used two Numark TTX turntables, a Pioneer DJM-400 mixer, Serato Scratchlive program, a Tascam DP-02 digital 8-track recorder.
What goals do you have for yourself when it comes to music and in life?
I have one basic motive in life and music and that is the tendency to self-actualize, to fulfill one's potential and achieve the highest level of "human-beingness" I can. Basically, I try to put my best food forward in everything I do in life.
What kinds of activities do you like to do when you’re not playing out?
I enjoy record shopping, skateboarding, reading, homework,painting, watching James Bond movies.
How would you describe your style of selecting and mixing?
I tend to be all over the place at times. I honestly have a hard time staying within the lines or genres. To me deejaying has no lines or boundaries, that's the reason I love it so much you know, you can just take it anywhere you want. I tend to play a lot of loops in my mixes also. That's where the production aspect comes into my mixing.
What is a favorite gig (or two) you've played during your DJ career?
I always have a blast playing in Phoenix with Dj Entrification, But honestly, anytime I get to play alongside my friends Godina, Sneeky Long, Finale, Flare, Matty, and you of course, will always be my favorite.
Anything else you want to share about the mix you made for NCM?
I pieced the songs together in a Psychology class last Thursday afternoon and when I got home I setup and hit record. This is a live one-take mix recorded at my house in the Avenues. It has a little bit of everything on it. After listening to it I realized it has a good spring time vibe to it. Hope you enjoy it.
Of Course Vol. 2 is this Sunday the 19th of April. Chefs from SLC POP, Pallet, Made by Tom, Sweet Salt Lake Fresh Mint Limeade, and us are all serving up six courses of incredible food, with drinks by Uinta Brewing. All the proceeds are being donated. Read more about it at Cityhome Collective and Even Steven's Facebook page. Or just go ahead and Make Reservations before it's sold out... any minute now.