NYC 4/21 - UNSOUND BASS MUTATIONS w/ 2562, Distal, Sepalcure

[dq]

Percussion Lab & Dub War NYC present
UNSOUND FESTIVAL BASS MUTATIONS


flyer by Sougwen Chung

Limited $20 advance tickets available now from Resident Advisor!

Lineup
2562 Live (Tectonic, 3024, Clone)
Sepalcure Live (Hotflush)
Nguzunguzu (Fade To Mind)
Distal (Tectonic, Soul Jazz, Grizzly)
Teeth Live (502 Recordings, Ramp)
Throwing Snow (Local Action, Ho Tek, Sneaker Social Club)


WHEN:
Saturday, April 21
10pm - 5am

WHERE
Indie Screen
289 Kent Ave (corner S 2nd St)
Williamsburg, Brooklyn
MAP

21+ (bring ID!)
$20 advance tickets at http://www.residentadvisor.net/event.aspx?355008
Don't forget to PRINT YOUR TICKET and bring to the venue!

Event page on Facebook: http://www.facebook.com/events/324485034273247/

BASS MUTATIONS IS A LEGENDARY SERIES AT BOTH KRAKOW AND NEW YORK UNSOUND EDITIONS THAT EXPLORES THE LATEST EVOLUTIONS IN BASS MUSIC

ABOUT 2562
Dutchman Dave Huismans aka 2562 - the number referring to his former zip code in The Hague - is on a journey. Having played an early pioneering role in bridging the gap between house/techno and dubstep, his passion to keep reinventing himself is reflected in his third long-player as 2562, "Fever." Released last year, it is currently showing up in many best-of-2011 lists and offers an extreme reworking of late seventies disco and early eighties boogie into genuinely new contortions of beat-freakery.

Previous 2562 releases include a string of highly influential EPs and full lengths on Bristol stronghold Tectonic Recordings and fellow Dutchman Martyn¹s 3024 imprint. Huismans has also produced freak-techno and oddball club tracks under the name A Made Up Sound since 2005, releasing a string of sought after singles on esteemed house and techno labels like Philpot, Subsolo and Clone.

Tonight Huismans plays his first-ever live show in the USA.

http://www.twitter.com/2562amus


ABOUT SEPALCURE
The duo of Praveen Sharma (Braille) and Travis Stewart (Machinedrum) caught people by surprise with their debut self-titled album on Hotflush Recordings. It earned them the #1 slot on Amazon¹s Best Dance & Electronic Music of 2011 list; a slot on iTunes Best Electronic of 2011; a slot on Pitchfork¹s Top 50 albums of 2011 list; a slot on XLR8R¹s Best of 2011 list, amongst many other accolades.

Sepalcure incorporate a strikingly diverse and very American set of influences into their unique take on bass music. The duo are at the forefront of an ever-expanding bass music scene in New York - and have been prolific on solo projects as well. Stewart released a much-heralded album as Machinedrum (last year's "Rooms" on Planet Mu). Sharma, meanwhile, let loose a flurry of EPs under the alias Braille on Hotflush and Rush Hour.

Together as Sepalcure, their music explores intelligently gathered emotional histories of dance music movements in New York, Chicago, Berlin and London. A new single "Eternally Yrs" from the duo will be released on Hotflush the same week as this show. Tonight Sepalcure bring their live show complete with a special audio-visual component created by visualist Sougwen. They are the only act to have performed at all three New York editions of Unsound Festival and for anyone in attendance at this event it will be clear to see why.

http://www.twitter.com/sepalcure


ABOUT NGUZUNGUZU
Nguzunguzu's (pronounced en-goo-zoo-en-goo-zoo) bubbling, otherworldly productions stitch percussively forward experimental sounds into a club-friendly framework. Alongside kindred spirits in the Fade To Mind crew (Kingdom, Total Freedom, Mike Q), Nguzunguzu seamlessly cross genres, tempos, and atmospheres to create a new emotive electronic club realm that immerses body and mind.

Raised on 90s R&B/hip-hop radio and underground club music, the Los Angeles based duo (Asma Maroof and Daniel Pineda) revere contemporary, radio-friendly producers like The Dream. While they reference the modern sounds of footwork and house-inflected UK Bass, Nguzunguzu dig deep to compliment those sounds finding some of the freshest urban pop happening anywhere.

Pitchfork Media called their recent Perfect Lullaby Mix "the most unique and evocative DJ mix of the year", while publications like The FADER, XLR8R, Stereogum, LA Times, and the NY Times have sung their praises.

http://www.twitter.com/nguzunguzu


ABOUT DISTAL
Taking influences from his early childhood love of techno, jungle and hardcore, the Atlanta native has taken a booty-centric approach to producing dubstep and Chicago footwork that have earned him signings on some of the UK's most revered bass music labels. After founding his own Embassy Recordings label in 2010, Distal has in a short time amassed releases on Soul Jazz, Tectonic, and Grizzly, and bookings alongside artists like Pearson Sound and Africa Hi Tech, and at Fabric in London. His debut album arrives on Tectonic Recordings at the end of April.

http://www.twitter.com/distaldub


ABOUT TEETH
Helsinki based Matti Pentikäinen, who records as Teeth, has been actively recording for quite some time firstly as a leftfield rapper (It should be noted quickly his language skills also led to him translating Saul Williams, Jeff Chang and Gary Steyngart into Finnish). His poem book Techno infected album Aavaavaa released on Finnish imprint Katusea in 2005 saw him collaborate with Vladislav Delay, Samuli Kosiminen and others.

Since 2009 he¹s taken a new direction with the Funky / Dubstep / Garage project Teeth which captured a lot of attention in 2011, firstly with the Shawty EP on Oneman's 502 Recordings in May  (featuring a remix from Falty DL), and two 10"s on the much-respected Ramp label (also home to acts like Zomby) in September. Described as being "somewhere between early DMZ & Source Direct," his unique sound has landed him performances at Boiler Room, Rinse FM, DMZ, and Unsound in Kraków. This will be the Finland native's US debut, with a special live set.

http://www.twitter.com/teethmattip


ABOUT THROWING SNOW
London based Ross Tones makes music under the ever so pertinent moniker Throwing Snow. He has received consistent support from some of the UK's top radio show players including Gilles Peterson, Benji B, Sinden, Kiss FM and Ministry of Sound. In December, he released the "Too Polite" EP on Local Action records, which perfectly encapsulates the emotive widescreen atmospheres of his sound, counterbalanced by moments of rhythmic intensity that will appeal to fans of Sbtrkt, Hessle Audio, or James Blake.

http://www.twitter.com/throwingsnow


About Unsound Festival
http://www.unsound.pl/en

Presented by Unsound Festival New York with Dub War NYC and Percussion Lab
Unsound Festival New York 2012 is presented by Fundacja Tone, the Polish Cultural Institute New York and the Goethe-Institut New York

LINKS
http://percussionlab.com/
http://dubwarnyc.com
http://www.residentadvisor.net/event.aspx?355008
http://www.facebook.com/events/324485034273247/

[wobbles]

[seckle]

april is getting ridiculous already!

[llennnn16]

You should put in that flyer and in the info that this event is using the Tsunami Bass Experience Sound System. I was on the fence about that night between this and Natural Selection with Paradox, but when i saw on FB that they were providing the sound system i said 'i know where im headed to now!'

[hirshi]

There.

[brockolio]

out to all my bass mutants!

[tacospheros]

all killer / no filler

[darknes]

This is 2562's first ever live date in the US, and the only live date on this tour! Very excited for this one.

[llennnn16]

im kinda confused. what does that mean by live? is he playing straight out of his production software?

[dq]

im kinda confused. what does that mean by live? is he playing straight out of his production software?

I'm not sure what his exact setup is, whether it's Ableton + controllers or includes hardware as well. But it will definitely be a live set rather than a dj set.

[llennnn16]

im kinda confused. what does that mean by live? is he playing straight out of his production software?

I'm not sure what his exact setup is, whether it's Ableton + controllers or includes hardware as well. But it will definitely be a live set rather than a dj set.

better bring my ear plugs then, this would mean the music hes gonna play wont be mastered.

[Today]

if anything that might mean it's quieter? either way, shit hits a limiter on the system, no?
i wear earplugs either way tbh

[llennnn16]

Well mastering is more than just making it sound loud, it's about making each sound and frequency sound clear to our ears on an end medium like a sound system. Idk if u ever seen the dubstep documentary 'Bassweight' but there's a scene in there that explains mastering well.

[Today]

i haven't caught it yet i guess i should buy it cuz looks dope and i dunno if there's a legit (licensed) stream avail. so basically sounds are not gonna be attenuated properly for the system and will be raw/potentially harsher than average?

[llennnn16]

In theory, yes, it could damage your hearing, however the audio engineer for that night should have every signal running through the equalizer, compressor and other equipment to catch any imperfection that might make the audio clip (that's when u see on the mixing board the channels showing red).

What I'm expecting is either sounds will appear flat or they are gonna be piercing your eardrums. On the plus side, he's playing live so I expect new material and new arrangements.

Hopefully someone can clarify more on this.

[tacospheros]

i've seen plenty of live sets, live PA's whatever you want to call them and i never even thought twice. if it's too loud, you step away from the speaker, if it's too quiet, you step closer. never been an issue for me.

[wobbles]

yea i dont get da fuss

[llennnn16]

Again, not about the decibel level. You all have heard the Tsunami Bass Sound System (Reconstrvct). Never used ear plugs and I always stand next to the bass speakers in the front. Never had my ears ring when I leave. They crank that music very loud, yet the sound remains clear.

Even a top notch sound system like the Tsunami Bass would not deliver crystal clear sound and bass weight if the primary signal (the music) was not first mastered. There's only so much the audio engineer at an event can do.

You said to step away from the speakers. My point of going to an event is to hear the music loud and clear. That's what I was trying to prove with Reconstrvct. If you find that you have to step away from the speakers at any event u paid then you know the system is shit.

Again, I wish someone that knew more about live performances would comment on this.

[hellfire machina]

llennn16 -

The system you like is made by Yorkville, Andrew uses Yorkville units for the Tsunami Sound System which is where the character is coming from that is attractive to your ears.

They have a very warm and powerful sound on the bottom end and lots of clarity on the mids/tops. (They are very popular in New York)

In regards to your comments about mastering and performing live - There is a lot of romanticism and misinformation around about mastering and other aspects of post production. There is no one way to do it, some artists do it themselves others use mastering services which obviously vary in quality of product (just like anything else). Most mastering services will state that they are the best so as to win your business. A lot of edm is mastered poorly compared to large production houses making million dollar records.

In regards to what your saying about performing live (from a daw and controllers etc), your assuming a lot of things. Your assuming the the artist won't be using any limiters/compressors to regulate the end signal which is a little bit ridiculous to suggest. Your assuming the artist knows nothing about sound. Your assuming the artist will be only be playing raw material etc etc etc.

When it comes to protecting your ears, it is about decibels as well as about harsh frequencies. Harsh tops and mids on a system are what usually blow your ears out and give you that omg feeling the next day, it has very little to do with mastering of the music your listening to.

I hope this helps.

[hellfire machina]

I just noticed I missed an n from your name, don't hold it against me please