Surprisingly enough there doesn’t seem to be to many great ways to stay up on the festival schedule besides carrying around a paper version, or pinching and zooming the large, obnoxious pdf that every website seems to be displaying.
Surprisingly enough there doesn’t seem to be to many great ways to stay up on the festival schedule besides carrying around a paper version, or pinching and zooming the large, obnoxious pdf that every website seems to be displaying.
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.
The Phase 2 line-up includes:
! ! !
313 The Hard Way (DJ Seoul b2b DJ Psycho b2b T.Linder)
Carl Craig featuring Mad Mike Banks – live
Darkcube – live
Dink & TK
DJ Godfather featuring Good Money
Earl “Mixxin” McKinney
Gaiser – live
JETS (Jimmy Edgar + Machinedrum) – live
Kenny Larkin – live
Kevin Saunderson b2b Derrick May
Loner.9 – live
Marissa Guzman – live
Mark 8EN Moss
MCs Bombscare & Flow
Model 500 – live
Octave One – live
PHUTURE – live
Shawn Rudiman – live
Squarepusher – live
The Saunderson Brothers
The Valley and The Mountain
Old Tacoma Records and Young Heavy Souls present Shapeshifter. An 11-track LP combining elements of hip-hop, jazz, and electronica from Chicago-based producer, Nunca Duerma will be released on Tuesday, July 22. The full-length album will be available for purchase on iTunes and on 12” vinyl records through the Young Heavy Souls store for a limited run. Nunca Duerma was originally discovered by Eliot Lipp when the two appeared on concert bills together. Duerma’s first release on Old Tacoma was a 3-track EP, Dilated. After his debut, he produced a track that was featured on the Pretty Lights Music release of Eliot’s Shark Wolf Rabbit Snake remix album. “Each track is carried by the depth of these beautiful melodies, and the raw soul that went in to creating them. The rhythms function in a way that gives every tone its own purpose. Nunca Duerma is musically one of the most thoughtful producers I’ve come across in recent years,” said Eliot Lipp. There will be release shows in both Chicago and Detroit to celebrate. On July 18 at New Dodge in Detroit Nunca Duerma will play along with special guests Jaws That Bite, Pastel Arsenal and Heavy Color. On July 26 at the Double Door in Chicago, Nunca Duerma will be accompanied with Vapor Eyes, Nortroniks, and Hongry Bogart. About Nunca Duerma: Detroit born, Michigan-raised producer Nunca Duerma currently resides in Chicago. Nunca Duerma has created his own brand of original, sample-based hip-hop and electronica; a natural byproduct of his life in the city. His live sets include original productions, live keyboards, and drumming accompaniment by TJ Devoe. Nunca Duerma is affiliated with both Old Tacoma Records and Young Heavy Souls. Old Tacoma Records is a Brooklyn-based record label founded by Eliot Lipp. Previous releases include Dark Party, Ben Samples, Sir Charles, Eliot Lipp, and Leo 123. Young Heavy Souls is a Detroit-based record label and artist management collective. – via Young Heavy Souls Press Release
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.”
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…
It”s 2014 now and we’re reelin’ in the big fish in celebration of Sexual Tension Detroit owner, Jerry Downey’s birthday – Detroit style.
with DJ set by Acid & Techno legend…
JARED WILSON (7777, Dixon Avenue Basement Jams, Skudge)
“Jared Wilson is of a new Detroit lilt. He has not been eclipsed by the gravitas that comes with the Motor City, instead he uses it as a bedrock from which to bring forth his own take on techno. Wilson, armed with his analogue arsenal, forces a new rawness; an unashamed baring of teeth to those who think that Detroit has had its day.”
Opening set by STD resident DJs – Jerry Downey and Dustin Alexander.
Kyle Hall + Jay Daniel / 1217 Griswold. Please scroll to bottom for live recording of set! One of the last parties to happen at this location. 1217 Detroit will never forget you.
I sit here in this brightly-colored classroom, as my teacher pulls up a file on his computer screen and suddenly he asks, “Do you see that big phallic thing at 200?” My eyes focus on the projected image before me. “Yeah, we gotta get everything out of its way.”
That’s when I realized this was no ordinary classroom. This was what the guys at FyouNK Collective in Royal Oak call a “Meat & Produce” session: an event in which musically-minded people come together to discuss the production process. As the Facebook page says, “Producers of any genre are welcome – electronic, hip hop, pop, rock, etc., as long as you are open-minded. Musicians, singers, and rappers who are looking to collaborate are also very welcome to join in on the fun.” Essentially, as the men in charge state, “Anyone with a dedicated interest in music production is welcome to join.” Such a vast invitation can properly explain the fact that when I walked through the doors at FyouNK Collective, the place was pretty nearly packed. And rightly so.
The professors on the eve of the twenty-first day of October were some of my favorite musicians in Detroit, so I simply could not miss my chance to explore this learning opportunity for myself. This faculty included Detroit’s very own guitar-driven-bass master, OCTiV, the Detroit-raised beat manipulator, Freddy Todd, and the electronic mastermind/party-starter, ill.so.naj. I was a little late for class and I dropped my pencil twice, but my teachers made me feel right at home and worthy of their profound lessons.
First, OCTiV came up to the desk at the front of the classroom and told us all about the importance of equalization, or balancing sounds in music. He summarized much of this tweaking mechanism, saying that what was most important was “getting unnecessary things out of the way of stuff you want.”
He then explained that, though some sounds need to be made less powerful for the sake of more important ones, all is not lost in doing so. In fact, often times those sounds that are diminished for the sake of others can still be felt in the song and have an enormous presence in the overall vibe of the piece. Thus, OCTiV showed the importance of knowing the difference between hearing sounds and feeling them. As OCTiV revealed, however, extra sounds can sometimes be distracting. “You need to make sure people can pay attention,” he declared, reminding composers to make cuts whenever necessary for the listener’s benefit. Of course, it is okay to be sad about these cuts for a bit. I mean, we are all still mourning for those sounds which were demolished by the aforementioned “phallic thing.”
After OCTiV offered a new perspective on making positive changes to songs, Freddy Todd took the reigns. The musician began by highlighting his philosophical approach to music, a quality which separates him from many of his composing counterparts. Todd told his students that when you are creating music, “step one is your brain.”
For Todd, focusing on one’s mindset is an essential part of what he called, “starting right and starting proper,” and it is a step in the music production process which simply cannot be skipped. Todd then detailed what that meant for his own music, telling us that he needs to be inspired and in a clean room when he begins to create his sounds. He encouraged students to develop their own rules for getting in the correct music-making mindset.
Todd admitted that producing quality music, however, ultimately requires more than just a positive mental state. “You can get inspired and write a whole track on your headphones, but typically if you want to put out an album you need a good pair of studio monitors.” Thus, while the mind is the strongest tool at a musician’s disposal, it is also critical that he or she has the necessary tools available to them and knows how to use them properly.
After explaining the process for beginning a song, Todd left the floor open for ill.so.naj to give some technical advice for the later parts of production. The electronic artist focused his lesson on the idea of personalizing the musical experience. He did this by showing students how to use programs, such as Ableton Live, to make improvised edits to tracks. He encouraged everyone to take their iPods, iPads, or other beloved gadgets and “then assign them customized ‘MIDI mappings’ and touch screen layouts, creating unique ways to trigger effects or blend sounds.”
This process allows performers to create their own unique set-ups, which cater to their individual needs and styles. Ill.so.naj told us that, with these tools, he was even able to use a Guitar Hero controller to perform his songs on stage at one point. The musician proceeded to play many of his own clips for the students to give them an idea of where improvisational tools might be applied. Though he emphasized using the computer programs to be prepared for any show, he declared that:
Most importantly you gotta leave room for those happy accidents to happen. That’s where the magic is.
Here, the artist’s technical approach highlights both the immense dedication required to produce such music, and the importance of allowing for freedom in its performance. Ill.so.naj showed us that even this freedom, however, requires much focus and effort beforehand.
The three musician/producers took their students behind the scenes into many aspects of their artistic processes, and it was truly an educational experience for all involved. The teachers were able to reach both the dedicated producers in the crowd as well as the beginners who had just fiddled with their friends’ computers during study hour. In fact, each speaker made the intricacies of his musical processes seem approachable and comprehensible, even for any woefully ignorant music journalists in the building.
All of that, of course, is to say that the environment at this Meat & Produce event was ideal for many different people with vast ranges of experience and interests. Obviously October’s teachers brought a great deal of information to the table, and for that we were sincerely grateful. But I know for sure that all other producers who take the time to share their wisdom in the future will do so just as admirably. For my part, I know that I will be back at the FyouNK Collective often for more music education, and I am certain that the seats will fill just as quickly with musicians who are eager to learn.
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.
This weeks Track of the Week comes out of M1 Session artists Dial 81 & Todd Modes of Cosmic Handshakes. Cosmic Handshakes recently released an EP entitled “The Delicate Detail,” back in mid July off of the label M1 Sessions. To read a review and find out more about the album click here.
Have a nice week Detroit!
To purchase “The Delicate Detail” Click Here!
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.
One of the best parings of newer folks in the electronic scene (YourEDM calls them “unstoppable,” and we’d be hard pressed to disagree) is Detroit’s own GRiZ and Gramatik, who originally hails from the country of Slovenia, and now in the New York borough of Brooklyn). Under the moniker “Grizmatik” their new track, “My People,” is now available free to play and download.
If you don’t know GRiZ, you should. He’s a talented 22 year old from Southfield, who has quickly become a force in the game. He has amazing skills for any age, and when he pulls out the saxophone during a performance, from personal experience I can tell you that it gets insane. And Gramatik? He’s a star of the well-known “Pretty Lights” and has moved over 100,000 tracks on Beatport.. no small feat. From a young age, he was influenced by American funk and soul.
These beat brothers are something to sonically behold, if this electro-soul genre is your type of thing.
As of this writing, “My People” has only been out for a couple hours and it’s already racked up more than 8,000 plays on Soundcloud, and the numbers keep spinning up. If you’re into beats, check out this sound above. It’s more full than dubstep, has serious funk influences, and one could imagine a Hart Plaza full of people moving in unison to this.
Originally posted at hellyeahdetroit.com
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.
Recently local electronic producer Kyle Hall released his full length album entitled “The Boat Party.” It is a vinyl only release and features many great house tracks and my personal favorite “Crushed.”
Artist: Kyle Hall
Album: The Boat Party
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 (blAiR fRench)
emcee turned producer + visual artist
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 .
COSMIC HANDSHAKES – “the delicate details” (Todd Modes + DIAL.81)
DIAL.81 – “memory.fossils.”
(Available now for Free)