MOVEMENT ELECTRONIC MUSIC FESTIVAL REVEALS 2015 STAGES and PERFORMANCES SCHEDULE

MEMORIAL DAY WEEKEND
MAY 23 – 25
HART PLAZA, DETROIT

“Movement Detroit celebrates every facet of techno in the city that gave birth to it.” – THUMP

“Widely embraced by the city where techno was born, Movement remains one of the longest-running independent music festivals in the country.” – Billboard

3-Day Weekend Passes, 3-Day VIP Weekend Passes & Single-Day Passes now on sale at www.Movement.us

DETROIT, May 6, 2015—Movement Electronic Music Festival is excited to finally announce this year’s stage lineups, featuring over 140 performances across six stages inside Detroit’s legendary Hart Plaza on Memorial Day weekend, May 23-25, 2015.
Over the years, Movement has been globally recognized for its unique talent curation and programming, showcasing artists from a wide-spectrum of up-and-comers, local luminaries, pioneers and trailblazers in Techno, House, Hip-Hop and more.

The Movement Main Stage will feature headlining performances by Techno darling Richie Hawtin, legendary Hip-Hop artist Snoop Dogg as DJ Snoopadelic and Boys Noize and Skrillex as the enigmatic duo, Dogblood.
Fans can also expect to see Kenny Glasgow and Jonny White perform together one-last time as the famed Canadian duo, Art Department.

Movement Main Stage lineup highlights:
Richie Hawtin, DJ Snoopadelic, Dog Blood, GRiZ, Art Department, Loco Dice, Dixon, Luciano, Recondite – live, Bob Moses – live, Maceo Plex, Ten Walls – live, Patrick Topping + many more.

For the past eight years, Red Bull Music Academy has infused new acts to the festival while showcasing groundbreaking artists. This year’s RBMA Stage lineup includes a headlining performance by chart-topping duo Disclosure as part of their traveling Wild Life showcase, featuring Eats Everything, Method Man, Octave One and Kerri Chandler, just to name a few.

“We are so happy to be going back to one of the most important cities in music, Detroit, for Movement Festival!” says Guy Lawrence of Disclosure. “We look forward to having the Wild Life showcase and headline the Red Bull Music Academy stage with some legendary acts, including Method Man, Eats Everything, Octave One, Kerri Chandler and many more.”

Techno pioneer Juan Atkins will celebrate 35 years of his illustrious career with a special performance under his iconic alias, Model 500. To mark this milestone, the legend will also bring longtime collaborator Eddie Fowlkes as well as first-time festival performers Kimyon and Milan Ariel to commemorate 30 years of Metroplex Records – Atkins’ iconic label whose catalog reaches back to over three decades of futuristic sounds and releases.
The incomparable Squarepusher will make his way back to Hart Plaza for another mind-blowing live performance to close out Monday night.

Red Bull Music Academy Stage highlights:
Disclosure, 30th Anniversary of Metroplex Records with Juan Atkins’ Model 500 and Eddie Fowlkes, Squarepusher – live, Kenny Larkin – live, Octave One – live, Kerri Chandler, Eats Everything, Method Man, Hudson Mohawke, Danny Brown, JETS (Jimmy Edgar + Machinedrum), Joy Orbison, Ben UFO, + many more.

The Beatport Stage will once again feature some of electronic music’s most celebrated DJs and producers, including headliners Tuskegee (Seth Troxler b2b The Martinez Brothers), Joseph Capriati and Joris Voorn.
Beatport Stage highlights:
Tuskegee (Seth Troxler b2b The Martinez Brothers), Joseph Capriati, Joris Voorn, Henrik Schwarz – live, Soul Clap, Maya Jane Coles, Hot Since 82, Dubfire, Nicole Moudaber, Paco Osuna + many more.

In a nod to the festival’s continuous support of local talent and luminaries, the Made In Detroit Stage presented by THUMP will feature a series of showcases curated by some of Detroit’s most celebrated names and figures, such as ORIGINS by Techno legend Kevin Saunderson; the highly acclaimed touring showcase Detroit Love by hometown hero Carl Craig; and The Movement Ghostly Showcase by the revered Ann Arbor music collective, Ghostly International.

“Movement is at the forefront of high-quality electronic music and has been a leader in pushing this standard throughout the US,” says Joel Flower, Channel Manager for THUMP, VICE’s online electronic music and culture platform. “We’re thrilled to be a part of their amazing programming on the Made In Detroit stage.”
Made In Detroit Stage presented by THUMP highlights:
Carl Craig feat. Mike Banks, Stacey Pullen, Matthew Dear, Ryan Elliott, Kevin Saunderson & Derrick May present “Hi-Tech Soul,” MK (Marc Kinchen), Lee Foss, Floorplan, PHUTURE – live, Shigeto – live, Paul Woolford + many more.

This year’s Underground Stage will feature performances by some of Techno’s elite talent, featuring headlining performances by Regis, Ben Klock and Ben Sims.
Underground Stage highlights:
Regis, Ben Klock, Ben Sims, Paula Temple, Marcel Dettmann, Nina Kraviz, Sterac aka Steve Rachmad, Matador – live + many more.

Some of Detroit’s hottest up-and-comers will perform at the festival’s Sixth Stage – a newly added stage dedicated to the city’s rising stars. This year’s lineup features a headlining performance Detroit’s own, Sinistarr as well as a special Konkrete Jungle Detroit showcase from Mark 8EN Moss, Dilemma and Calico just to name a few.
Sixth Stage highlights:
Sinistarr, Mark 9EN Moss, Earl “Mixxin” McKinney, Bruce Bailey, 313 The Hard Way (DJ Seoul b2b DJ Psycho b2b T.Linder), Shawn Rudiman, Dilemma, Calico, Andy Garcia + many more.

The Movement Electronic Music Festival takes place every Memorial Day weekend inside Hart Plaza – Detroit’s legendary riverfront destination. The festival features: six technologically-rich outdoor stages; more than 140 artists; a posh VIP setting located behind the main stage; dozens of official afterparties; an interactive technology center featuring the hottest gear in the industry; and several art displays to stimulate the senses. Over 107,000 people from around the globe attended the 2014 festival.

Awards and accolades received by the festival and producer include:
· #2 on Beatport’s “15 Incredible Techno Festivals to Hit in 2015”
· Resident Advisor’s “Festival of the Month” for May 2015, 2014, 2013, 2012, 2011, 2010, 2008 and 2007
· #2 on THUMP’s “10 North American Festivals That Won 2014”
· #5 on inthemix list of “12 Festivals You Don’t Want to Miss in 2014”
· #6 on Magnetic Mag’s list of “Most Life-changing EDM Festivals”
· #8 on Rolling Stone list of “Summer 2014’s Must-See Music Festivals”
· #14 on Pulse Radio’s “Must Do Festivals Before You Die” 2014
· “Best Festival” by Metrotimes reader’s survey in 2015, 2014, 2013, 2012, 2011 and 2009.
· #2 on Details “Hottest Summer Music Festivals of 2013”
· #2 on Beatport’s “20 Most Anticipated Dance Music Festivals Around the World” 2013
· #10 on Do Android’s Dance? “Best Festivals of 2013”
· #18 on inthemix list of “25 Festivals to Discover Before You Die” 2013
· “Best Niche Festival” 2011 Rolling Stone

To learn more, visit www.movement.us.

Facebook: www.facebook.com/movementdetroit
Instagram: @movementdetroit
Twitter: @movementdetroit


Monty Luke and Black Catalogue

Monty Luke and Black Catalogue

Recently we got together with Monty Luke, owner and curator of Detroit-based electronic music label Black Catalogue. Originally from San Francisco, Monty moved here several years ago to work with Carl Craig and Planet E Communications.

We talked weather for a minute, winter’s like this can easily make someone think about goin’ back to Cali’. As I asked Monty if this was the most eff’d up winter he’s seen out here, he laughingly asked me (Michigander my whole life) the same question.
Yes. Yes it is.

Let’s get to the music.


How do you try to get your sound and message to the people? Does the music curation and artistic duties take up most of your time, or is it the marketing and everyday responsibilities of a running business?

“It could be a general music industry thing, it’s tough man. The whole game of PR and trying to get that publicity and awareness. There are so many other labels, and so many people making music, you got to get above the fold. It can be really tough, especially when so much of your day is trying to run the label, doing day-to-day stuff and talking to artists, especially when you’re an artist yourself, it’s a grind…”

“I have to set time aside for each aspect, otherwise it’ll never get done. If I have a remix that’s due, I have to focus on that. If I have a deadline for a release, I have to schedule studio time and finish that track. I have to set separate office hours aside to meet with designers, and production related stuff. If I don’t do that, something is going to fall by the wayside. It’s some of the hardest work I’ve ever done but also some of the most gratifying.”

Monty Luke

What’s going to be happening for you and Black Catalogue in the next couple years?

“As an artist myself, I want to push myself beyond my current boundaries. I want to help push the boundaries of Detroit electronic music. I’m really happy with what I’m doing with the label right now, but I want to focus on finding underground artists, not only from Detroit, but from all over the place. Finding someone really dope that you’ve never heard of before and makes you say “Damn! Who the fuck is this?” is something I want to continue to do. But in general, I really want to push myself to get better at music production, push what is known as Detroit techno, and house, further.

To me it’s all about progress. I think the history is amazing and great, and really rich, but it’s time to push this to the next level. I think the time to rely on the history of Detroit techno is over, it’s time to push this shit forward.

That’s what I like to focus on. If you come to my house, I have all the Detroit classics, all the hot shit, and I love all that stuff to death. But, it’s time to make some new classics.”


You recently released some tracks vinyl only, and digital releases weren’t released for several months. Was that by design?

“Yes. I believe in that format really strongly. From a practical standpoint it’s more expensive, so I have to focus more on selling that more. The bottom line is I’m dedicated to that format, it’s a labor of love. They’re both beneficial; I’m not one of these people that don’t believe in the digital realm. Tangible art to me is real important.”


By the sound of your music, I can tell your heavily inspired by science-fiction. Just how deep does that run?

“This is gonna sound crazy. There is this Dutch organization called Mars 1. They want to send 4 people to Mars in 2022. Last year they had an open application process, you had to submit a 70 second video. I entered this, and out of 200,000 applicants I made it to the second cut of about 1,058 people. At the end of this year they select the next round, then it’s a seven-year training process. “I want to be the first brother to go to another planet” I actually put that in the video haha. It’s not a trip, it’s like a one way ticket, which is kinda wild. I haven’t told my mom yet, I don’t know how that conversation is going to go.”

Yea, Detroit was probably hard enough…


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Saving R&B with B Williams

B Williams

While only in his early thirties, Grammy Award nominee Brandon “B” Williams has been sharing music with us for a while. As a direct protégé of super producer Michael J. Powell, Brandon has lent his production skills to many artists: Janet Jackson, Pharoahe Monch, Bobby Creekwater, Vickie Winans, Jadakiss, Lin Rountree, Anita Baker, Jay Electronica, Jeymes Samuel, Ryan Leslie, and Amp Fiddler to name a few.

As an artist, Brandon stays busy touring and gigging locally with his group, The B Williams Experiment. But the next big thing for Brandon is his upcoming debut solo project, titled XII. We just saw the first single released, “Stronger”, which has been climbing the charts and acquiring accolades. With the album  slated to drop in 2014, we caught up with the hard-to-catch musician/producer for an in-depth conversation:


  • Brandon, you’ve worked with producer Michael Powell and have been touching various artists albums throughout the past few years, accumulating Grammy nominations and other production awards. How have these building blocks been essential for producing your upcoming solo album XII ?
  • It’s been an absolute blessing to work with and be mentored by him. I’ve been listening to his music literally all my life, so I jumped at the chance when he asked me to collaborate with him on some music. I was actually very surprised. In my mind, I’m thinking… this is Michael J. Powell. The man who produced all of Anita Baker’s hits. He wants me to work with him? It’s been a great relationship ever since. Working with him taught me how to make records versus just making songs.
  • “is on a mission to bring back Classic R&B by any means necessary”. In your opinion what happened to Classic R&B? Why does it need saving and how are you planning on doing it?
  • I’m not exactly sure what happened, but it’s on life-support right now for sure!!

    Most of the artists people are calling R&B (Chris Brown, Trey Songz) are really Pop. You have Frank Ocean and The Weeknd around, but that’s a very different kind of R&B. I’m not a big Miguel fan, but he’s definitely doing it right now. Brandy, Usher, Brian McKnight, Tank, and some others are still around, but you hear much from them.

    Robert Glasper has a new album out that’s VERY R&B!! Brandy and Faith Evans are on there killin’. It needs saving because people miss that 80’s and 90’s R&B sound. People are longing for it. We miss groups like Blackstreet, SWV, Jodeci, Janet (Jackson), etc. I’m just going to continue to do music that “feels “ like that.

  • You do a great job of blending genres, like you do with your band , the B. Williams Experiment, citing influences from Coltrane, Dilla and Radio Head. Is XII going to showcase this side of you, or is XII going to be more strictly a classic R&B project?
  • Thanks!! XII is definitely not an R&B album. I don’t quite know what to call it because there are so many different genres on it. I’m a student of all music, and I’m influenced by it all. Soul, R&B, Jazz, Pop… it’s a wide range of music on the album, but it all still works together. If I had to categorize it, I would simply call it a “soul” album, because that’s where the music is coming from.
  • Tell me about your songwriting process. What do you start with? An idea, guitar lick, bass line? What’s the creative process like and when do you start thinking about which artists to include in your music?
  • Man, I start with any and everything. I remember one time hearing a succession of cars horns and that became a melody. Lol! I play multiple instruments, so I can write on them all. Sometimes I’ll be out and a melody will pop into my head so I’ll just record it into my phone until I can get back in the studio. Normally though, I start with either some chords on piano or a drum pattern.

    I just finished the last song idea for XII, and for that one, I had my keyboard player and good friend Tony Gordon over. I told him to just play some chords. I picked out what I want, then picked up the guitar and started going around those. Came up with a drum pattern, and BOOM! A song was born. It’s feels heavenly too.

    When it comes to picking artists for song, I normally just go with who would work best on the song. Like, for the new single “Stronger”, it’s has a stronger 90’s R&B feel, so, who better to pair with on that than Jean (Baylor). Her group Zhane was huge in the 90’s. All of their music felt great. I’m so honored to have worked with her on that song. Shout out to Marcus Baylor as well, who had a huge part to play in that song. He did her vocal production, and played live drums. It’s a great tune!!

The Big 3:
Detroit musicians that have inspired you, past or present:

• Stevie Wonder,  Karriem Riggins, Charles Wilson III

Other musicians that have inspired you, national or international, past or present:

• Joe Sample, George Duke, Ivan Lins

Ways Detroit has influenced you as a musician:

• Detroit has such a rich musical history. I’m simply inspired to do what I do from that. Lots of greatness has come before me, and I’m planning on continuing with that.

If I had to categorize it, I would simply call XII a “soul” album, because that’s where the music is coming from.


Stay connected with B Williams,

http://www.bwilliamsmusic.com/


New EP and video from Tiny Hearts

Tiny Hearts

Tiny Hearts, comprised of Waajeed (Detroit), Dede Reynolds (Wisconsin) and Tim K (Seattle, WA), formed within the inspirational confines of Brooklyn, return.

The new EP “Stay” continues to bring us deep and edgy beats, intriguing melodic configurations, and angelic yet haunting vocals that resonate through it all.

Director Aron Kantor has stepped to the plate to deliver a stunning visual for “Centerfold” that draws artistic inspiration from Dario Argento, providing a solid introduction for the uninitiated. There is nothing small about the sound of Tiny Hearts. Check the footage below to get a taste of “Centerfold” from Tiny Hearts.
Tiny Hearts


Robert Glasper Experiment Helping Detroit Sound Beautiful

Robert Glasper

If I would’ve been told in advance, I’m pretty sure I would have been skeptical on hearing a jazz rendition of Daft Punk’s “Get Lucky” at the recent Detroit Jazz Festival. But then again the Robert Glasper Experiment is known for providing an interesting spin on popular music, check out their “Smells Like Teen Spirit” cover if you haven’t yet. The Experiment kicked off the cover super-slowed up, with that melancholic charm and voice a la vocoder they incorporate so well. Genre defying music, jazz is of course the key component, but refreshingly gets edgy in all the right places. From Robert’s website, we’re given a little insight into Black radio 2, that will be dropping in late October, and among a list of killer guest artists, will also feature Detroit’s own Dwele.

“On October 29, RGE ups the ante with the release of Black Radio 2 (Blue Note), another genre-defying effort that takes the Black Radio blueprint and builds to even greater heights. The core remains the Experiment, as astoundingly versatile a band as has ever existed, featuring Robert Glasper on keyboards, Derrick Hodge on bass, Mark Colenburg on drums, and Casey Benjamin on vocoder and saxophone. Providing the vocals throughout is another jaw-dropping roll call of vocalists including CommonPatrick StumpBrandyJill ScottDweleMarsha AmbrosiusAnthony Hamilton,Faith EvansNorah JonesSnoop DoggLupe FiascoLuke JamesEmeli SandéLalah Hathaway, and Malcolm-Jamal Warner.”

IMG_0948 P1030962 kc P1040003 P1040014 P1040044 P1040052 P1030984

Detroit Input at Brooklyn’s Output

Output is a new dance club in Brooklyn’s Williamsburg neighborhood that fortunately focuses more on the “Dance” than “Club”. The exterior is nothing to look at, it reminds me of many unused buildings in Detroit, and which is probably why I love it. Set in the old industrial neighborhood, new signs of life, social-gatherings and business are sprouting up every where. As Output proudly states:

Output is open to anyone, but is not for everyone. Output welcomes individuals who value the communal experience of music over cameras and bottle service.

Is very true. Impeccable attention was giving to the sound. The audio was bright, crisp, bass heavy and creamy and left just the right amount of space to hold a quick conversation. Lights? Yea, they got em. Luckily Output was asked to keep them toned down a bit, so when the club started flexing, it actually complemented the music. On Thursday, August 15th, 3 DJ’s from Detroit we’re flown out to headline the Input monthly at Output. Fit, Big Strick and Omar S. performed after the night was opened up by Brooklyn local Turtle Bugg. The night maneuvered like any promoter or DJ would gladly pay for. Music started about 10pm, Fit started playing around 11pm for a few dozen patrons, scattered throughout the two floor space. By 11:30pm, the dance floor was pretty much packed by a sea of house and techno lovers who were getting down and embracing the gritty, yet soulful music we bring to the party.

In actuality, Detroit artists play here frequently. Peeps hanging at Output this past weekend just got turned on to Stacey Pullen.

 


Bankruptcy In The D

After months of speculation, the decision has finally been made. Detroit will file bankruptcy. This article is not about blame, reason or ramifications, it’s actually about renewed self-realizations. It’s no secret that national, and sometimes global media tends to fly circles around Detroit’s doom and gloom like content-deprived vultures. For those living in South East Michigan, we know the deal. The downtown, mid-town and other nearby neighborhoods have seen more growth and prosperity in the past few years than the past few decades. Entrepreneurial endeavors are noticed by glancing in any direction. While it’s true that this is mainly taking place in the city’s core, a small 5% slice of the Motor CIty pie, it is still happening. The reality is this is where it needs to start. Healthy heart, healthy body. There is not the sense of disparity here that some around the country may believe. In fact, some of the renovations happening downtown are kind of annoying to the folks that work and live in these areas! No, this article is to let those outside our great city and state know that, we’re ok. Politicians will do their politician things, but the spirit around here is what matters to anyone I know.

The art. The music. The culture. It’s all here to stay.

DetroitCollage2

34th Annual Detroit Jazz Festival

34th Detroit Jazz Fest

In his second year as the Detroit Jazz Festival Artistic Director, Chris Collins has cultivated another amazing lineup for this year’s Labor Day weekend performances. The vision for 2013 was to bring together artists who represent real jazz in all its forms. World-renowned musicians will come together to give Festival attendees performances they’ve never experienced before. This year’s artistic vision focuses on the language of jazz and the generations of musicians who have dedicated their lives to propagating its many dialects. We will celebrate history and revel in the creative spirit of artists who expand boundaries to create truly unique, engaging and meaningful music.

2013 Detroit Jazz Festival Artist-In-Residence Grammy award winner Danilo Pérez is among the most influential and dynamic musicians of our time. In just over a decade, his distinctive blend of Pan-American jazz (covering the music of the Americas, folkloric and world music) has attracted critical acclaim and loyal audiences. Hailing from Panama, Danilo’s abundant talents and joyous enthusiasm make his concerts both memorable and inspiring. Whether leading his own ensembles or touring with renowned jazz masters (Wayne Shorter, Roy Haynes, Steve Lacy), Danilo is making a decidedly fresh imprint on contemporary music, guided, as always, by his love for jazz.


Tony Ollivierra

Tony Ollivierra

Tony Ollivierra is a Detroit area electronic musician and dj who got started in the late eighties. He was influenced by the Detroit club scene in the 80’s and 90’s in venues like The Shelter with Richie Hawtin, The Music Institute with Derrick May and Alton Miller, and The Majestic with Blake Baxter. He’s currently producing music under his label “Northside District”. We recently asked him a few questions:

I usually start with choosing the right kick drum. If I choose the wrong kick or eq it wrong it seems the track is destined to fail miserably.

  • You’ve been making music for quite some time. How has your style changed throughout your career? What about production and tools, has the way you start and compose tracks undergone any changes?
  • I started producing in the late 80’s with Alesis and Yamaha drum machines, an Akai s-900 sampler and a Yamaha DX-100 keyboard. I continued using hardware until 2006 when I went fully in the box with Propellerhead Reason which I used until last year. Since then I’ve been a Logic user recently upgrading to version X. I usually start with choosing the right kick drum. If I choose the wrong kick or eq it wrong it seems the track is destined to fail miserably. It many times can be the driving force in techno and house.
  • You have been on a roll lately and seem to have a new EP every month, what’s your inspirational secret?
  • My inspiration comes from God through Jesus Christ. I owe it all to him.
  • Recently you kicked off your record label Northside District. What were some hurdles you overcame and what was learned in this process?
  • I had to start a new label when others started using the Ibex name. It took months of pondering a label name as pretty much everything is being used. One day someone came into my job wearing a company shirt with Northside something or other on it and something clicked. It seemed marketable so I went with it. I think I learned that branding is crucial in this business.
  • What was your main reason and focus on starting the label?
  • I needed a platform to release my music pretty much. It started off with two vinyl releases which didn’t do well at all. So it was disappointing realizing vinyl may no longer be conducive to getting the material out there. I had to figure out how to market digital releases which is even more challenging.
  • What’s on the horizon for you and what can we expect musically?
  • I’m currently at work on the next release with one track finished. The track is called Good vs Evil and it really summarizes the theme. It starts out like a Detroit techno track and then gets full on angry progressive about three minutes in. You can really hear that there is a battle taking place which is just what I wanted to exemplify. I’m excited to get working on the other tracks, I think this ep will make some noise for sure. It will be called The Regeneration.
  • How would you describe your sound?
  • My sound is constantly changing based on what I’m feeling. I try to keep it as real as possible by only releasing what truly sounds good and provocative to my ears. It’s not easy because your ears can fool you! The tracks that stand the test of time, when you can come back three weeks later and still appreciate the track you know you have something.

http://www.tonyollivierra.com/


Damon Warmack On Bass And Beyond

Damon Warmack

Chatting with born and raised Detroiter – “east side by the grace of God” – bass player Damon Warmack is always a good time. We get in depth with Damon about his musical journey.

Unsurprisingly, Damon had aspirations to be a jazz musician. So the Fender Precision bass he first received just wouldn’t cut it. Most of his heroes were playing the Jazz Bass, so making that exchange was the first step.

The humble beginnings, mentors and inspirations that paved the path along the way are far from forgotten.

Detroit is one of the bass player towns… so there’s always competition here… There’s always a ton of guys who can play, and play really well.

Detroit is this huge proving ground, as far as musicians are concerned. Playing with musicians from around the states and the world is only half the story. Check out the video for more…


Weird Art in the Market

The Weird

A group of artists, graphic artists, illustrators and lecturers from Germany and Austria are currently on vacation in Detroit, and loving the large blank canvases available in Eastern Market. “The Weird” is comprised of Look, Cone, Dxtr, Frau Isa, Herr Von Bias, Nychos, Vidam, Rookie, Nerd and QBRK, the last two are known collectively as Low Bros. Here some mobile shot’s of their work from local chef John Miller:

The Weird, a group of artists from Germany and Austria are painting large murals in the Eastern Market area. The Weird, a group of artists from Germany and Austria are painting large murals in the Eastern Market area. The Weird, a group of artists from Germany and Austria are painting large murals in the Eastern Market area. The Weird, a group of artists from Germany and Austria are painting large murals in the Eastern Market area. The Weird, a group of artists from Germany and Austria are painting large murals in the Eastern Market area. The Weird, a group of artists from Germany and Austria are painting large murals in the Eastern Market area. The Weird, a group of artists from Germany and Austria are painting large murals in the Eastern Market area. The Weird, a group of artists from Germany and Austria are painting large murals in the Eastern Market area. The Weird, a group of artists from Germany and Austria are painting large murals in the Eastern Market area. The Weird, a group of artists from Germany and Austria are painting large murals in the Eastern Market area.

Detroit Rock From The 50s

Detroit has a long and rich history associated with rock and roll. In 1954 Hank Ballard & the Midnighters crossed over from the R&B charts to the pop charts with “Work With Me, Annie.” The song nearly broke into the elite top 20 despite being barred from airplay on many stations due to its suggestive lyrics. In 1955, Detroit-native Bill Haley ushered in the rock and roll era with the release of “Rock Around The Clock.”
In the late 1950s rockabilly guitarist Jack Scott had a string of top 40 hits. First, in 1957 with “Leroy”, then in 1958 with the hits “My True Love” and “With Your Love” and then twice again in 1959 with the hits “Goodbye Baby” and “The Way I Walk.” Scott was one of the first musicians to marry country music’s melodic song craft to the dangerous, raw power of rock and roll.

 


Kevin Reynolds

Kevin Reynolds

Born to two Irish-American Detroit autoworkers/civil rights activists, Kevin Reynolds’ musical ear was trained by the soundtrack to the late night drives decidedly put on the car stereo by his parents: none other than the urbane and otherworldly voice of celebrated Detroit radio dj, Electrifyin’ Mojo…

While his mother attended medical school at Michigan State University, Kevin and his family lived in student housing that housed families from around the globe, with neighbors blaring insistent sounds of such diverse backgrounds as Afropop, music from China’s urban centers, Tejano music, and spaced melodic sounds from the Middle East. Kevin was self taught when it came to making music with machines; obsessed with being able to create the music he was being exposed to on a daily basis, he approached and helped design the first Music Technology class in his high school…

Reynolds’ first foray into a professional music career was a call to work at Derrick May’s seminal classic label Transmat Records. Initially signed on as an audio engineer fresh out of college in the dry deserts of Arizona, Derrick saw other plans for Reynolds and pushed him to develop knowledge in all aspects of music. While at Transmat, Reynolds was given the opportunity to manage all the audio production functions of the pioneering label. Working as an engineer and tour manager of Derrick May’s Hi Tech Soul band Time: Space including Aril Brikha, John Beltran, Neil Olliverra, Tony Drake, Jeremy Ellis he travelled throughout North America, Europe and Japan. Among the many projects executed during his tenure at Transmat, he also curated the official music compilation for “Movement,” Detroit’s 2004 electronic music festival.

Kevin’s music draws hints from a wide spectrum of artists. In his music you can hear the steely mechanics of Kraftwerk, the powerful blasts of John Coltrane, the emotive synths of Carl Craig, the social commentary of A Tribe Called Quest, the rawness of Jeff Mills, and lush waves of Sergio Mendes. On record, balance is key to his music: “You must have the light with the dark, day with night, and it’s a natural balance of opposites. ”

Since his initial steps at Transmat, Kevin also had the opportunity to be the US tour manager for Neo Soul artist Amp Fiddler. Founding his own label, Todhchai (which translates to “future, or things to come” in Gaelic), he has composed music for Lexus of America , Blue Cross Blue Shield, Red Bull and the Mayor of Detroit. This lead to the privilege of remixing The Detroit Symphony Orchestra’s Stravinsky’s riotous “Rite of Spring”. In 2006, Reynolds released his first record “Afrik” to critical acclaim and championed by the likes of Gilles Peterson, Osunlade, Jazzanova, DJ Karizma and Masters At Work. The UK’s BBC Radio One dubbed Reynolds the “new sound of Detroit Techno.” His live performances have been showcased at Detroit Electronic Music Festival in 2001 and 2004. Most recently his live sets where noted in Resident Advisor as highlight of the Movement 2009 Detroit Festival and called “fresh, evocative deep house tunes that never stopped evolving” by littlewhiteearbuds.com Most recently, Kevin composed an original song for Microsoft Ford Sync web launch called “playit4ward.msn.com


Dial 81

Dial 81

DIAL.81 (blAiR fRench)
emcee turned producer + visual artist

Brief Background:
Composed the lo-fi score for the award winning documentary, DETROPIA with ‘Best Original Score’ from Cinema Eye Honors. Released on vinyl/digitally.
The release of ‘DETROPIA’ was followed up with “Luminous Stasis” feat. Paul Randolph, A Setting Sun, and Szymanski .

Upcoming Releases:
COSMIC HANDSHAKES – “the delicate details” (Todd Modes + DIAL.81)
DIAL.81 – “memory.fossils.”
(Available now for Free)