Justin Carter and Eamon Harkin live at Mister Sunday in Industry City on Sunday, July 20. Completely independent of the mixing desk, this set was captured by a microphone perched in a tree just off the dancefloor.
As has become tradition, Eamon and I attempt to wrap a bow around the musical year that was with our Best Of lists. As usual, I had a hard time limiting my list to things that came out in 2013, or even limiting it to just music; that Turrell piece made me feel like I’d just heard a symphony, and Herbie Hancock’s use of the vocoder on Sunlight is still yet to be matched. (No matter how hard Daft Punk tried this year.)
Dirg Gerner’s Dirg Gerner EP on Eglo
I can’t say enough about this record. Beautiful melody after beautiful melody, warm production, amazing songs. I played it and played it, but it never got old.
James Turrell’s Aten Reign at the Guggenheim
Last year I waxed on about Philip Glass and Robert Wilson’s Einstein on the Beach. At the time Wilson said, “You don’t have to understand anything. It’s a work where you can go and get lost. That’s the idea.”
Aten Reign, James Turrell’s all-encompassing light installation inside the Guggenheim rotunda, was the visual art equivalent. There was no focal point, which is kind of like having an opera with no plot. It was beautiful and impossible to capture in photo, video or anything else – nothing but experience. A total inspiration in terms of what I want for our parties.
A little note: This show is over, but Turrell has a career retrospective at the LACMA until early April, and here’s a map of all of his installations around the world.
Continue reading “Looking Back On 2013: Justin Carter”
There are never enough opportunities to hear new things from Maurice Fulton. The Sheffield-based, Baltimore-raised producer and DJ is one of the most prolific and talented around, but sadly, his creations see the light of day too infrequently.
Lucky for us, there’s Bubbletease Communications, his monthly podcast, which previews things that are yet to come: tracks from Tungi, the Mim Suleiman album he produced, were getting aired out about two years before it got released. And that’s a rarity. Most of what you hear on Bubbletease will never come out: Maurice is known to hold onto secret stompers without ever sending them to market.
We’ll deal, though. As long as they’re recorded on the thirty-minute Bubbletease mixes, we’ll be able to hear them in exactly the way we should.