Kwes. – Tickets – Cameo Gallery – Brooklyn, NY – March 19th, 2012

Kwes.

Event Off Sale: Tickets no longer available

Kwes.

CHLLNGR, Beacon

Mon, March 19, 2012

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

Cameo Gallery

Brooklyn, NY

$10.00

Off Sale

This event is 21 and over

Kwes.
Kwes.
“Driving past a music instrument shop in my granddad’s car. Friday evenings at my grandparents with chip-shop food and toys to hand, watching Top Of The Pops…the two-tier Yamaha Electone organ at their house. The first toy keyboard my grandmother gave me for my 7th birthday and my radio and tape recorder with built-in microphone, which my parents gave me for my 10th birthday. Probably hearing Rick James’ writing/production on the Mary Jane Girls album whilst in primary school.”

A brief, nostalgic jaunt through a musical adolescence that probably feels quite familiar to many. Growing up in South London holds a special kind of cache´ at the moment, what with its proclivity for breeding forward-thinking electronic producers – however it was the precious humdrum of home that inspired Kwes’ approach to his craft. “As a kid, I watched television, I listened to the radio a lot, read magazines, listened to loads of vinyl, CDs, tapes, and I was a teenager when the internet became faster and online music outlets became more widespread. In short, I didn’t get out much.”

All that studious pop-culture intake wouldn’t take long to manifest itself as Kwes quickly excelled as a masterful musical multitasker, honing his approach to producing, songwriting, DJing and playing a handful of instruments. Soon came a precocious debut single for XL, “Hearts In Home/Tissues” was a startling combination of Kwes’ lilting melancholic vocals and unassumingly virtuosic leftfield production. Surveying the current musical landscape shows just how far ahead of its time the single would be. Next came Kwes’ production and remix work for a host of peers: Micachu, The xx, Elan Tamara, Hot Chip, Damon Albarn’s Monkey Opera and The Invisible to name but a few. Says Kwes on his production endeavors, “producing for another is essentially interpreting for a wider audience to grasp and experience. I suppose I do the same thing for myself. Another constant is putting my all and passion into anything I work on.”

All these studio hours plus time spent on the road playing live with Ebony Bones, Jack Penate and Leftfield meant that it would take some time for the next solo release from Kwes, but it was well worth the wait. Last year’s No Need To Run EP on Young Turks was an instrumental mini-epic drawing on moody ambient pop and hyper-melodic beat compositions and while showing yet another side to the young producer, shined the spotlight ever closer to Kwes’ own creations. “I feel my music fits around many heads of many sizes and mental dispositions. I make my own music for myself first and then of course for anyone who wants to listen to it.”

On the heels of the EP came a pair of exciting production projects with two of the most exciting young voices in UK hip-hop. Along with Joe Goddard of Hot Chip and Micachu, Kwes produced the lion’s share of breakout MC DELS’ full-length debut, a feat followed by producing Speech Debelle’s follow-up to the Mercury Prize winning Speech Therapy. Now, with his debut Warp release in the works, in addition to the genre-spanning second volume of he and Micachu’s “Kwesachu“ mixtape series and ever more production sessions, Kwes has another busy year lined up – albeit one that should see that spotlight squarely upon him.
CHLLNGR
CHLLNGR
Denmark's Steven Jess Borth, aka CHLLNGR, is climbing the ranks in the IDM and electronic communities thanks to an approach that incorporates R&B, dub and African rhythms with a Scandinavian sense of the bleak . Noted for collaborations with Cubic Zirconia, Spoek Mathambo and his remixes for MIA, The xx and Teachers, CHLLNGR has received much praise for 2011's debut LP Haven, of which the Slant zine, "At this point, you might not think you need another dubstep record, but I can guarantee you don't have one that sounds quite like this."
Beacon
Beacon
Thomas Mullarney and Jacob Gossett, aka Brooklyn duo Beacon, introduced themselves to the world with the No Body and For Now EPs, both released last year on Ghostly International. The EPs were united by minimalist, R&B-influenced instrumentation, and also by a lyrical theme, with both serving as meditations on the darkness that underpins the most intense of human emotions: love.
The duo's debut album The Ways We Separate both consolidates and develops these ideas. The album focuses, as the title suggests, on the idea of separation — both within the context of relationships and in a more intimate, psychological sense. As Mullarney explains, "The narrative contained inside The Ways We Separate deals with two kinds of separation: one where two entities grow apart, and the other where we grow apart from ourselves. Over the course of a relationship, the two sometimes happen together, one being the result of the other."

Desires, passions and regrets are central to the songs on The Ways We Separate, which take a variety of perspectives to construct a nuanced reflection on the album's central theme. 'Between the Waves' draws a clever analogy between relationships and soundwaves falling out of phase: "I know all the ways we separate/ Where we start to fade at different frequencies." 'Overseer' catalogues a parting of the ways with discomfiting clarity: "Isn't it fine?/ Taking it slow?/ Watching you watch me walk out your door." And album closer 'Split in Two' explores how th extremes of love and loss can take you far away from being the person you thought you were, making explicit the connection between the two ideas of separation: "What I'd do for you?", sings Thomas Mullarney, "Split myself in half/ Divided into two."

Musically, The Ways We Separate finds Beacon working with a richer sonic palette than ever before —as Gossett says, "The production on this album is much more expansive than anything we’ve done thus far. We spent a lot of time exploring new gear and experimenting with how to pull a wide range of sound out of various instruments. Some of the key sonics that shaped this LP are analogue synthesis, lots of heavily processed guitar work, and vocal layering/processing." While the abiding mood remains that of late-night introspection, the production draws from elements of hip hop and a wide gamut of electronic music, marrying intricate beats and subtle textures to honeyed pop melodies that belie the album's conceptual depth. Rarely has bleakness sounded so pretty — this is a record that's deceptively, compellingly beautiful, an exploration of a place both discomfiting and darkly seductive.
Venue Information:
Cameo Gallery
93 N. 6th St.
Brooklyn, NY, 11211
http://www.cameony.com