MI, Detroit - 12.26. - PhilanthroFest (Free!) - JIMMY EDGAR, K-HAND, KRIS WADSWORTH++

paranormal.tek · Dec 16, 2010

Day After X-Mas, December 26th
philanthroFest
(quantum tunnel appreciation event)
**a GIFT from US to YOU**

f e a t u r i n g

JIMMY EDGAR
Warp Records, !K7, Berlin, Germany. Glitch Funk.
http://www.jimmyedgar.com

Lover. Fighter. Prophet. Freak magnet. Time-traveler. Musician, photographer and designer Jimmy Edgar is a wayward star-child streaking across the cosmic dance-floor. Endowed with a supernatural feel for futuristic funk, the Detroit native has been bleeping and grinding about the Milky Way since he was a teenage humanoid. While his peers were worrying about their grades and popularity Edgar was spinning alongside his hometown's DJ heroes and programming intricate beats that were unquestionably interplanetary communication disguised as dance music.

In 2001 at the tender of 18, his hyper-sexed microchip stylings caught the ear of Warp, where he cranked out his brand of amped-up laptop funk for the next eight years, culminating in the full-length classic Color Strip. Now 26, Edgar is shaking things up at German beat boutique !K7. "When I was 18 and signed with Warp, my next goal was !K7 for some reason. I believe I attracted !K7 to me through the 'Law of Attraction'. I think this is going to be an incredible journey." The new album XXX is out June 21 and its New Jack Swing winks as much at Minneapolis, Compton and Paris as it does Detroit or Berlin.

On new turf, Edgar's sonic prowess takes on a leaner, more radio-ready shine. "Function of Your Love" zips and struts about like something Andre Cymone might have cooked up for Jody Watley in their chart-topping heyday. On "Hot Raw Sex" Edgar lets the synth stabs and hand claps fly fast and loose. "In My Color" has the percolating, crystalline bounce of I:Cube's late 90's French Touch. "Midnight Phone Call" is the kind of lush Quiet Storm that Alex Gopher might kill for. "Push", with its staccato rhythm and come-hither incantations would make Timbaland blush. The instrumental interlude "One Twenty Detail", runs Kraftwerk through a low-rider worthy break-beat filter and "Vibration" sounds like pornographic Morse Code tapped out by Egyptian Lover.

While the album is largely a one-man show, XXX is not without accomplices. A Russian girl named Anet sings on "Physical Motion" and a rising new R&B singer from NYC signed to XL recordings Azealia ad libs on the same track. "Whenever I have worked with women and art, they have this way of putting balance into everything." The album's sophistication should come as no surprise, considering the mix of elements that factored in its creation. "Celibacy. Love and Loss. Two relationships. Home studio on mostly analog equipment, finished digitally. Some recorded on tape. Some recorded frustrated, sick, broke, pissed off, in love." Referring to other influences, Edgar adds, "I learned piano from black dudes at the Baptist church in Detroit. They taught me to extend my fingers and play from the heart." As for Kraftwerk, the Belleville Three and the rest of the early electronic pioneers he says, "Those guys were tryin to make Stevie Wonder more danceable. They were tryin to make Prince with that equipment. That is what I do essentially." What Edgar does essentially and very well is make your body move. Incapable of standing still for very long himself, the ever-restless Edgar is eager to take his musical peep show on the road this summer. "I designed 12 florescent neon tubes to make an "XXX" on stage."

Ultimately, the best thing about Jimmy Edgar's intergalactic funk is that for all its mystical kink, it's solidly the kind of music you could easily imagine today's pop tarts making. If Beyonce, Lady Gaga or Fergie had any sense, their million dollar booties would have Jimmy Edgar on speed dial already.

KRIS WADSWORTH
Get Physical, Morris/Audio, NRK, Poker Flat, Studio !K7
http://www.myspace.com/thedepthsof

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Outed on the rave scene at the age of 12, Kris Wadsworth qualifies as one of the most interesting producers to be coming out of the United States right now. Having offered up a barrage of stunning EP’s in 2009, including ‘Mainline’ on Hypercolour, dubbed ‘one of the best tracks to be released this year… absolutely essential’ by Resident Advisor, 2010 looks set to be the same.

Having first heard the sounds of dance music from mix tapes his sibling would bring home from local nightclubs, he luckily found electronic music to be his ultimate creative medium after first beginning music production at age 14 and then spending years experimenting with various genres. Now, his intricate, genre-defying and deceptively dense no-nonsense style is easily recognisable and bears the stamp of authenticity.

Further laudable productions followed ‘Mainline’, for labels including Morris/Audio, Adult Only, Fresh Meat and NRK, notching up a stylish catalogue. Furthermore, in late 2009 Kris had the pleasure of remixing Steve Bug’s striking ‘Swallowed Too Much Bass’ track for Poker Flat. One of a dying breed of vinyl junkies, as a DJ it is fair to say that he knows his art, moving freely between dub-esque textures and wanderings, to larger peak-time records.

One of the fastest rising careers in the techno circuit. (Resident Advisor). Kris may be somewhat new to the limelight; however, his buzz has already reached almost every major dance floor on the globe. Although considered the "new kid on the block", this certainly isn't the case when it comes to his years of musical training. From age eleven he was studying blues and rock guitar, painting graffiti, listening to hip hop, jazz, and the dance sounds of Detroit, Chicago and New York. Anyone could have guessed this kid would have been an artist from an early age. Now at age 25, he has numerous internationally acclaimed recordings to his credit and shows no sign of stopping. Kris is in this for the long haul, as it were, and his nostalgic, yet forward-thinking productions ought to spell that out loud and clear.

A person who definitely stands out in an era of over-saturation and pretentiousness, Kris offers you a bold introspective and retrospective look at “why you fell in love with this music in the first place.” (Resident Advisor). KW does genre-defying, dense, lush, emotive, sexy music that is instantly recognized. From dub-esque textures and wanderings, to square bass rockers, to large peak-time destroyers; the young blood undoubtedly knows what he is doing. Some call it house; some call it techno. To those who know, it ‘s called dance music. “a timeless quality … if Garnier is happy to put his name on the growing list of Wadsworth fans, so should we be." – iDJ
“Kris Wadsworth is an artist we can buy anything from practically blindfolded” De:Bug.

K-HAND
Acacia, Third Ear, Warp, Kerohand, Detroit. techno set.
http://acaciarecordsdetroit.com/kelli-hand.html

K-Hand’s musical development began at a very early age in Detroit. At just six years old Kelli was already embracing the study of voice, piano, and bongos and went on to play the drums and a variety of percussion instruments throughout High School. In college she studied Music Theory and frequented legendary clubs such as “The Paradise Garage” as well as started her own inspirational Classic House vinyl record collection that her mentors Larry Levan and Timmy Regisford were playing in the early to mid 80’s. In 1990, with Kelli’s enthusiasm and knowledge for this musical sound, she was quickly recruited by the late Ken Collier to DJ for “Zippers” club in Detroit as well as started collaborating with the Collier brothers, Greg and Ken. Within the same year, she released her 10th twelve inch release,”Everybody”, and “Freak them Hoes”, while launching what is now known as one of the most remarkable record labels in electronic music history; Kelli Hand’s own “Acacia Records”.

Hand decided to release her 1st music license “Mystery” under the pseudonym “K-HAND” to avoid gender stereotyping in 1991, which is known today as her darker Techno side (with “Kelli Hand” being her soulful House side, as well as her now well known Live Public Appearance surname). With fervent passion and drive, Hand had started forging her highly regarded and respected path, and was professionally and publicly acknowledged as the very first woman to ever release electronic music in the world.
Additional 12″ hits like “Candlelights,” “Flash Back” and “Think About It” cemented her career and by 1994 her name took off in earnest with equally strong Techno and House releases throughout the early and mid-90’s breaking her name overseas, appearing on Warp (UK), Distance (France), Reload (UK), Studio !K7 (Germany), Ausfahrt (Germany), Tresor (Germany) alongside various high-profile compilation appearances and a downpour of music licensing worldwide. This was, of course, in addition to maintaining her own stellar Acacia Records recordings. Kelli Hand’s first full-length album was released in 1995 on the highly-regarded Studio !K7 imprint in Germany, which in turn was also the very first album to ever be released on this label.

In addition, Hand launched the careers of many now prestigious and internationally well-known artists, which first appeared on the Acacia label. These artist’s include Claude Young (1990 to 1993), and Wamdue Kids now aka Wamdue Project/Chris Brann (1995-96) just to name a few.

DJ PSYCHO
Detroit Techno Militia, Detroit. techno set.