Bonobo (DJ Set) Afterparty, Holy Fuck, Mount Kimbie

Thu, November 1, 2012

Doors: 7:00 pm / Show: 8:00 pm

Terminal 5

New York, NY

$32 Advance / $40 Day of Show

This event is all ages

This show is happening as scheduled. There will be drink specials prior to headliner!!

“I’ve started thinking about pure electronic music again. Something very melodic, very aggressive” - Squarepusher

Squarepusher performs in the US for the first time in 6+ years, with an all new project, “Ufabulum”. The new album releases May 15, 2012.
Bonobo (DJ Set) Afterparty
Bonobo (DJ Set) Afterparty
"With the experimental warmth of '60s French films and the pizzicato flavor of horizontal hip-hop, Simon Green's Bonobo project established the welcome niche of a pretension-free, post-party intellectual chillout. An almost silent figure among Ibizian romanticists, Green began in Brighton, debuting in 1999 with a track on Tru Thoughts Recordings' When Shapes Join Together compilation. Though tempted by offers from Mute and XL after the official issue of "The Scuba EP" and the "Terrapin" single, Green stuck with Tru Thoughts for the acclaimed debut LP Animal Magic. Highlighted by downtempo dub, funk, and an equally likable use of sitars, Animal Magic was an obvious success and plans were quickly made for careful European support appearances, as well as a follow-up album, Dial "M" for Monkey, for Coldcut's Ninja Tune label. A tour to support the record followed and was documented on the 2005 EP Live Sessions. BBC Radio 1 DJ Gilles Peterson's audience voted Bonobo's 2006 effort Days to Come Album of the Year, and two years later the man's live show would be documented on the Live at Koko DVD. After some time off he returned in 2010 with the Black Sands album, featuring the single "The Keeper."" - Dean Carlson, AllMusicGuide
Holy Fuck
Holy Fuck
Holy Fuck blasted out opulent streams of saturated melody, clouds of glitter and confetti, nitrous-boosted dance dynamics…Holy Fuck set the bar awfully high."
-Pitchfork Media

"The sound ranges from Nintendo-ish blips and beeps to space-age-y static and more typical electronic fare: huge freakout breakbeats anchored by swiveling bass guitar. What's surprising about Holy Fuck is the band's range of registers. Though most of the set is upbeat, faux-trad indie-dance music, a few pieces thrown in at the end hit melancholy notes, with Walsh's yearning melodica sliding in and out of a sober five-note backriff. The set ends with a reverb-heavy, sun-is-rising/new-day-is-born meditation on life. It's something that could have been copped from Sigur Ros—it's that earnest and genuine."

"…We joined the entranced crowd and and swiftly got lost in Holy Fuck's otherworldly backdrop video and all of the previously unseen worlds of multi-layered psychedelic mayhem it was revealing. Combine that with the Holy Fuck foursome's pummeling funk bass, rollicking drum-kit and fire-hazard-like tables of wires and effects, and you were looking at two instantly catapulted heads full of rhythm and psych "
-Eye Magazine

"Call them purveyors of unintelligent dance music - the laptop-free Holy Fuck soundsystem couldn't care less. They'll keep tweakin', twistin' and punching their effects pedals, turntables, film synchronizer, bass and drums in an engrossing improv dubwise style."
-Now Magazine

"This Canadian mega-group ply an interesting trade of organic electronica where they shun all usage of laptops, pre-programmed backing tracks in favor of Real Instruments with Real Soul creating experimental improvised songs where not even they know what will happen."
-Drowned in Sound

"Holy Fuck shows are frantic, exuberant realizations of time and place, extemporaneous music-making sessions more open to the possibilities of improvisation than most American acts toting a jamtag"
-Independent Weekly

"You will have the contours of your brain worn down by shards of liquid magma noise and you will embrace every second with the grin of a baby that has just discovered its feet at the end of its legs."
-New-Noise.net UK
Mount Kimbie
Mount Kimbie
Who – or what – is Mount Kimbie, really? "That's a hard question," muses Dom Maker. "The hardest. It's…" "It's hard to say," chimes in Kai Campos. "It's an unspoken thing."

Unspoken, or barely even there at all? The duo's first two EPs – Maybes and Sketch On Glass, both out in 2009 through Hotflush – seemed like explorations of spaces so private that all within earshot were turned instantly into voyeurs. The experience was less like listening to music and more like eavesdropping on the machinations of a lone mind – albeit a lone mind surrounded by and retreating from millions of other minds.

For these were releases ushered into existence in Elephant and Castle, south London – a place where, as Kai puts it, "you can get a bus to anywhere in the world", but is still, ultimately, "the shittest place you could ever live". You imagine the area doesn't become any more endearing when you're forced to sleep within the walls of an old mental asylum.

"That's where we first met," explains Kai, originally from Cornwall. "South Bank University turned the old asylum into student halls. The ceilings were still ridiculously high to stop patients hanging themselves, and there was a brick wall about an inch from the window so they couldn't leap out.

"It was a cold, joyless, concrete building – the sort of building where you'd drop a pen and the sound would just go on and on in an echo." Echoes are important to Mount Kimbie.
Venue Information:
Terminal 5
610 W 56th St
New York, NY, 10019