The peak of his performance was towards the end, when he brought up collaborator Danna Ghafir (Martel ‘18) and treated the crowd to a sultry performance between the two.
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As festival goers wind down after this past weekend’s Freaky Deaky, Houston’s Halloween electronic dance music festival, the Thresher offers the highlights and flops of the weekend.
The whole point of a music festival is to walk around and explore the acts around you to discover more artists to love. However, for festival goers looking for a sure way to enjoy themselves, these three artists are going to deliver a ticket money’s worth and then some.
Maps don’t just show location in the Asia Society of Texas’ newest exhibition. “New Cartographies” showcases four artists and their exploration of the nuances associated with creating a physical representation of an entire region. In these works, the artists find new ways to create maps by incorporating the regions’ personal subjectivity, political struggles and colonial pasts.
Rating: 4.5/5Pluko’s first album, “Sixteen” is relatively short, with a collective 36 minutes of new music.
In a summer where electronic music seems to be shifting toward pop, there are a few artists whose unique tracks introduce new electronic styles and push the boundaries of the genre.
In their installation for the Museum of Fine Arts, Houston, “Mike + Doug Starn: Big Bambú,” the Starn brothers use 3,000 bamboo poles tied together with rope to depict a dynamic sea, described by the MFAH as “an emblem of great age, continually new and changing.” The size and complexity of the piece is certainly astounding, as bamboo stalks rise in a wave 30 feet above Cullinan Hall, a large single-room gallery space at the center of the museum, and crash into the Upper Brown Pavillion.
Now on his debut EP, Melvv first came to my attention two years ago through his remix of Alison Wonderland’s “Back It Up.” It perfectly captured the loud, punchy future bass sound that I crave so much.
If he keeps tapping into his Swedish roots and letting artists like Petit Biscuit and ODESZA guide his sound, then he may earn a place among other “chillwave” greats.
The album makes What So Not’s work more accessible to “beginner audiences” and cements the Australian producer’s place in electronic music.
“Death to Genres, Vol. 3” features a lot of collaborations with some pretty noteworthy electronic artists but these do not produce the dynamic music that they had the potential to.
All of the tracks on “Honey” are very repetitive, using the same drop twice in each song, a common structure in electronic music that cries out for some type of vocalist.