featuring / birdsmakingmachine

bmm

let diego “pior” martin tell you something about the birds and the bees. playing live as birdsmakingmachine, he gets intimate with his gear; leaning in close, hips swaying, feet pounding on the stage, twisting knobs with a certain kind of sensuality reserved for the release, the ecstasy that comes with performance. he dances wildly on stage, completely giving in to the sounds he’s created, cracking faces that are a mix of concentration and climax, entirely lost in the music.

by the time pior sits down with me at the convent st agusti in barcelona, he has been working for hours already, setting up the stage at club nitsa. during mutek spain, he lends his time to the team as a stage hand and production assistant, expertly balancing his self-proclaimed handyman status with his work as birdsmakingmachine. a music project that began as an anonymous artist collective, pior represents the crew when playing live — an embodiment that pior takes very seriously. music, as far as he’s concerned, is not just for the birds, so to speak. he would later tell me that he feels like his most true self when he’s on stage, playing music, a fact that his live set at mutek spain made clear. in person, though, it’s not all that austere: pior laughs loud, taking care to note that our talk was the most fun he’d had in an interview in ages. herewith, pior and i talk barcelona, the power of anonymity, and the magic of performance.

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music monday / pearl

there’s something to be said about the appeal of anonymity. certainly in dance music, mystery has become a bit of a signature in and of itself. masks a la daft punk or zomby, pseudonyms or aliases, burial’s entire persona, the ubiquitous “special guest” slot on every bill. secrets are the new black, so much so that it’s not really a secret anymore. for that reason, i tend to shrug off these kinds of anonymous producers, but every so often comes an artist like pearl.

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