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It's 3/03 at Midnight, watch out!
313 451 0144 INFO LINE
The Rabbit Hole Phenomena
COME FEEL THE ACID
What is acid? The Albert Hofmann stuff? No, Acid House. What is that? How did that happen? I think it began in Chicago as a musical reaction to the deep hypnotic state that Ron Hardy would take you to at the Muzic Box, especially with his mind bending heavily repetitious edits, and the feeling you got around 5 am from his incredibly skilled programming that eventually released the pure beast in you. There was an element of the psychedelic built in there, natural euphoria from dancing, but certainly assisted through a portion of the party people's chemical intake, creating an overall vibe of losing it. It is like a musical abstract take on that feeling, and that's why there is so much more in acid than just the 303.
Acid is more than the vibe of the Muzic Box from 83 to 85, more than the equipment used to fuel the original Acid House craze, more than the artists that made it, more than the records. Acid is a feeling. I wouldn't say any one region owns it, or owns what it's become, but I would say it is most at home in the Midwest.
Interdimensional Transmissions invites you to COME FEEL THE ACID on Saturday, March 2nd at 1515 Broadway, once home to the Music Institute. At midnight on the night of COME FEEL THE ACID, the date becomes 3/03 and all should become clear. We have the finest purveyor of true Acid House music today, Tin Man, performing live with his 303, making his Detroit debut. We have Carlos Souffront, perhaps the true lord of acid returning from the depraved depths of the San Francisco underground to unleash his unique moody vision, and BMG providing proper context.
Carlos Souffront is a music gourmet, a true DJ's DJ. His taste is rich and vast and he has the unique ability to create deeply rhythmic narratives that offer unexpected and exotic spices. He mastered his deep mixing skills with a cassette deck and a belt drive turntable in his father's den in Troy, home of contemporaries such as Mike Servito, Tadd Mullinex and Matt Dear. Equally entrenched in indie rock, post punk, experimental music, ambient, rock, house, and techno, Carlos was always a man of many worlds - with an ability to traverse though them with an unique imagination. There is a mood to his search within sound, something that is heavy, deep yet gritty. Like many Caribbean transplants that ends up in northern colder climates, he wonders where our rhythmic complexity is. For him it is effortless and endlessly surprising to the listener.
Carlos is an important component of the Interdimensional Transmissions parties, bringing a loose yet tight moody deepness and an ever unexpected edge. At the original No Way Back party, he demanded truth in advertising, pushing us to and then past the 12 hour mark. He has participated in the studio with Ectomorph, and also performed alongside some of their live performances.
It is all too rare to find someone within the electronic music spectrum that can be called an original, that you can only really explain to someone who experienced them on the dance floor, usually just by saying "that's so" and saying their name. Carlos is one of those rarities.
Brendan M Gillen is a founding member of Ectomorph and Interdimensional Transmissions. Brendan enjoys playing Ableton like a video game and making analog equipment growl like an acid motorcycle. His DJ sets combine studio production techniques with his lifelong obsession with Detroit radio mix shows to achieve a truly psychedelic deep listening post-Music Institute post-Music Box post-Music Aquarium experience.
The reclusive Tin Man has re-surfaced in North America, bringing with him a suitcase full of analog hardware. His 90-minute live set spans the acid maestro’s incredible sonic range. It’s a throwback to older times, with a streak of the neo and a hint of the auteurish, all tied in with his brand of 303 and 707 finesse.
The last years sees Tin Man touring around the world sharing his style in many venues. Some highlights include his first appearances in China and Japan, and also in some very respectable international house and techno clubs including Rex in Paris, Panorama Bar in Berlin, and Bunker in New York to good reception. Also, in the last years, Tin Man has produced a slew of records and remixes. "Non Neo" from March 2011 was something of an underground dance hit and the new full length album "Perfume", has drawn quite some attention. Recently, he also has made remixes for Hit Safe, Donato Dozzy, and Obtane and Gorgio Gigli. Tin Man has also received press, interviews, great reviews, and featured mixes the last year in Groove and De:Bug magazines, as well as online via Pitchfork, Resident Advisor, and Little White Earbuds to mention a few.
Flying low under the radio the last years, TIN MAN has been stirring some interest in a variety of musical circles. His Acid Acid record, while not being too old or too scarce, already fetches hundreds of dollars. This is perhaps because TIN MAN maintains a kind of rawness in his approach to making music and resists the troupes of image based music promotion. Still after more than ten releases in different genres there is no image on his album covers. They still come in a standard format package with varied color shades and hardly varied text formatting. TIN MAN also has established and maintained an individual sound in his production, and that confounds and appeals to just about everyone. Tin Man has released records on divese underground labels including Sähko, Cheap, Absurd, Salon, White Denim, and Global A.
Of Finnish descent, but born and raised in California, TIN MAN now has a home in Vienna, a town perfectly suited to his deep and moody productions. TIN MAN launched his Global A label project in 2004. The first two releases, 'Places' and 'Acid Acid', weighed in at three pieces of vinyl each, and showcased his two major musical passions: fragile deep electronica and acid house. TIN MAN has acclaimed releases on the Finnish record label Sähkö / Keys of Life, Cheap Records from Vienna, and continues with new releases on his own imprint, Global A . While TIN MAN's output is diverse in its references, certain underpinnings can be heard throughout. There is always a strong reference to Acid House music, as well as a strong reference to Ambient and Electronic Pop music from the past 30 years. TIN MAN's newer output features his voice and follows a "concept album" format. Thus, complete records are as important as individual songs. The songs tend to follow a simple structure with changes that grow slowly within motifs. Mood construction and story telling are both equally important. And with each new record, there are new historical references to tell different stories. TIN MAN also continues with his passion for Acid House by continuing to produce retro-acid tracks and playing live shows regularly. These live shows celebrate early house music, its hypnotic charm, and its blissful raw energy.
Tin Man makes music rooted in Acid House. What is Acid House? Depending on where your interests lie, there are quite a few different angles you could approach the subject from. Tin Man comes from the the raw side of the early days of Acid House; the formative years when Acid House broke from Disco and New York House music to focused on a harder funk groove and heavy jacking binary beats. Beyond that, with the introduction of the 303 into the mix, Acid House broke from the musical constraints of other popular dance musics. A constantly modulated, organically developing bass groove caused a major shift in what the focus of electronic dance music could and would be. Some twenty odd years later, this shift is still an exciting root aspect to focus on in dance music.
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