Canadian bass music producer ill.Gates will headline tonight’s “For the Music” party to celebrate Slipmat Science’s ninth anniversary. I spoke with the man about how and why he immersed himself in the world of electronic composition.
Two decades ago, Lane was that upstart kid. He played guitar and piano, but got his first sampler at age 7, went to his first rave at 13, and liked the wide-open horizons of electronic music.
“It just sounded so new and different and fresh,” he said. “At that point, I had learned guitar, but I just felt like guitar music didn’t really need me. I felt like what I was doing was just kind of a commentary on the history of guitar music.
“I got a sampler and thought, ‘These instruments are new. These … have a lot of history left to unfold. This is something I can be a part of,’” Lane said. “I felt (guitars) had been so explored that I was going to have to really struggle to find something new, and I just didn’t want to sound like anyone else. I wanted to do something entirely different. I wanted to have my own thing.”
I also talked to one of the guys behind Slipmat to get the skinny on that crew’s origins. Click here to read them both. (The Slipmat story is on the right, in smaller print.)
Feedback this week is on last Saturday’s wonderful Gregory Alan Isakov concert at the PoetHouse in downtown Bend. What a night. Here’s an excerpt.
Isakov’s set was a blend of old (the downcast “The Stable Song,” the throwback jazz of “Salt and the Sea”) and brand new (he said he’s working on his next album now), plus a stark cover of John Hartford’s “In Tall Buildings.”
Then there was plenty from Isakov’s wonderful 2009 album “This Empty Northern Hemisphere.” The Ryan Adams-esque sway of “That Moon Song” got the biggest response of the night, “Virginia May” rode a likable shuffle, and “Evelyn” gave Isakov’s crack band — drums, keys, cello and violin — a chance to rock out in their own gentle, orchestral style.
The highlight of the night, though, came mid-set when Isakov did a warm, resonant and drop-dead gorgeous song about the universe’s beauty and bruised feet, and then followed it with the title track from “This Empty Northern Hemisphere,” which crescendoed into a swarm of strings and falsetto oohs and ahhs. Isakov’s band has a firm grip on the power of dynamics, and those two songs showcased every inch of their range.
I hope you’ll read the whole thing by clicking here.
Elsewhere in this week’s music section: David Jacobs-Strain’s rootsy blues, Noise-A-Tron’s dark, heavy rock, McMenamins’ ’80s-themed “prom” and the Blues, Amuse & Brews benefit for Westside Village school. Plus there are a bunch of local acts with good gigs this week, including The Prairie Rockets, OpenFate, Jones Road, Kylan Johnson, Clair Clarke, JazzBros, Concave Perception Chamber and the Brian Hanson Band.
Tags: Brian Hanson Band, Clair Clarke, Concave Perception Chamber, David Jacobs-Strain, Fairchildren, Gregory Alan Isakov, ill.Gates, JazzBros, Jones Road, Kylan Johnson, Lo and Behold, Noise-A-Tron, OpenFate, Slipmat Science, The Prairie Rockets