parallel dimensions / an interview with rrose

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rrose inhabits a parallel dimension. at least, that’s what she’d have you believe. her music is grounded in the kind of thoughtful electronic elements that make her a perfect fit for lucy’s stroboscopic artefacts label, but at the same time, she is outlandish enough that her transportive 2015 album, never having written a note for percussion (comprised solely of a one-gong percussion piece) made perfect sense. she’s one of electronic music’s more mysterious figures, an artist that flits between not only genres, but between pronouns and perhaps even personalities.

it’s with this in mind that i accept rrose’s offer to meet at a sound bath meditation session hosted by stoboscopic boss, lucy. taking place one a month at the studio sonne in neukölln, it’s almost too fitting a setting for our talk. lucy helms the meditation session, starting out with breathing exercises before the sound bath — accomplished with a 90 cm handcrafted nepalese gong and three different mallets — begins. it’s true what they say about gong baths; it’s mere minutes before things really start to bend. the experience overall is more soul-shaking than i would have thought: once you let go and give in to the sound, you start to understand what rrose means by “parallel dimensions.”

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things we learned at unsound toronto

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who says a music festival can’t also be a learning experience? the team at luminato partnered up with the incomparable boutique electronic music festival, unsound, (based in krakow, poland) to bring the critically acclaimed event to toronto, its second north american pilgrimage in new york last year. this in itself was a lesson; as someone who is decidedly critical of toronto’s treatment of dance music culture and the scene that goes with it, it was already a welcome surprise that the city was hosting an event that seemed worlds away from its usual field. in fact, the entire weekend brought something fortuitous, musically and otherwise. here are some things we learned at unsound toronto.

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osheaga 2014 / review

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i have a strange relationship with osheaga. this is my seventh year taking to montreal’s parc jean drapeau for the three day music and arts festival. you might say i’m a veteran. you might also say i have not ever learned my lesson. true, i know how to come prepared, dress for the weather, sneak in booze, and maneuver through the crowd, but i have not yet learned how to party in such a way that i don’t hate myself for the entire week following the festival. maybe some things are just unavoidable.

this year, like last year, i spent most of july shrugging that i was “not even that excited for osheaga” (that didn’t stop me from spending a whopping $250 on the full weekend pass), but i always change my mind when i arrive on site. i have a pretty well documented love of music festivals, but there’s something special about osheaga — sun shining, with my friends, in the city that taught me how to love music. the weekend was definitely not without its lows, though, so my coverage this year will cover both.

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music monday / vancouver sleep clinic

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after what has been a pretty insane easter weekend, i thought about not posting today. it’s monday. it’s the day of…you know…jesus and whatever, so i figured i could give myself a break. but, seeing as i skipped out on music monday last week, here’s a little easter egg for you guys, in the form of this track from vancouver sleep clinic.

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LC018 / jackie spade

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this particular mix has been a long time coming. a certain fembot and i have been in talks about a mix since the inception of littlecity speaker sessions some time ago, so i’m thrilled to announce that we’ve finally gotten our shit together enough to deliver this banger, just in time to celebrate LC’s 2 year anniversary. consider this preface a fair warning that when you press play on jackie spade‘s mix for littlecity, you won’t be able to turn it off. infamous for a sound that will inevitably make your booty shake, jackie’s mix will infect you with the insatiable move’n’groove that she emanates with the turn of every dial and the push of every button.

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