Comprised of Pierre Schneider and François Wunschel, 1024 Architecture is a company which specializes in developing installations, exhibitions, performances, urban interventions or micro-architecture projects that interact with the body, space, sound, art, visual stimuli and technology –from the most essential to the most sophisticated–, always in behalf of the experience. Their pieces are characterized by they way they can drive our amazement through unknown roads filled with elements that display an imaginative composition. For their Mutek Montreal presentation last year, for instance, they performed a theatrical show in which lights and electrical pulses engaged in dialogue with a bunch of cardboard boxes, enacting a minimalistic story of corporate life. This year they will visit our Mexican edition with TESSERACT (aka HYPER-Cube), a sculpture mapped with lights that react to sound. The name of the piece alludes to the geometrical figure by the same name (hypercube): a sort of cube within a cube united by their vertices. The audience is invited to enter the structure and witness the light show and the magical transformations that occur inside it. The piece has prompted amazement everywhere it has been, from festivals like Signal, in Prague, to Glow, in Eindhoven, or New Forms, in Vancouver.
Between noise, ambient and machine frolic (which have been described as “artisanal pieces fed by an analogous support), Gabo Barranco’s new project is the estuary of an experimentation that began with an early training in piano, classical harmony and sound engineering. Passing through post-rock noise with D.D.A. –group formed by him, Mauricio, Ramón and Sonny, which sourced images and sounds from the 90s influenced by Sonic Youth or Larry Clark– today, Barranco has decided to focus in the atmospheres one can create with the help of machines, and that can go from stupefaction to absolute delirium.
Alexis Laurence founded studio LEX, specialized in design and multimedia ambient production for TV, for atypical exhibition spaces and for activities which involve stages. Always within the confluence of art and technology, Laurence has been part of the creative team of spectacles such as Cirque du Soleil, Igloofest, Moment Factory, Cirque Eloize and, of course, MUTEK. In our past editions, he’s been in charge of building several platforms that have served as canvas for the projection of our guest VJs, and this year will be no exception.
El sitio de LEX
Finally we’ll be able to listen in Mexico City to Andy Stott’s very particular approach to techno and house. Obscure, textured, and scattered with the most far-fetched musical references, his style has unfettered itself from unnecessary comparisons. Referring to his music today is speaking of intense rhythmic deferrals and post-devastation atmospheres, which have conquered the most demanding dancefloors packed with people willing to let go and travel through their subconscious minds guided by dense, spectral techno. When he released Merciless, his first album, people said it would captivate followers of Ricardo Villalobos, Lawrence or Luciano the same as of Murcof, Carl Craig or Erik Satie. And it did. He also has a facet that signs as Andrea, with which he cultivates rhythms like footwork and other speedy extravagances he doesn’t let out as Andy Stott. That is, when he pulls away from industrial textures and granular reverberations, he pulls closer to desolation landscapes. This year, Stott represents Modern Love at MUTEK.MX (a few years ago he represented Demdike Stare), a label which was born over a decade ago from the debris of a record store now turned into the digital distributor Boomkat.
Andy Stott habla sobre su proceso creativo para Pitchfork.tv
Swede producer Axel Boman keeps the wheels of clubland in Stockholm spinning with his warm, expansive selections. Whether it’s dreamy deep house or pitter-pattering techno, a stint at the Fryhusets DJ school and time spent digging in his brother’s Italo disco collection have clearly influenced his take on a functional dancefloor dynamic. He is the man behind the world-known Holy Love and Purple Drank, both released on DJ Koze’s Pampa Records in 2010. You only need to take a look at his wonderful Family Vacation and the sets that have spread from it –including his participation in Boiler Room– to perceive his abilities to weave and unweave the melodic dynamics he has polished over the years. In our edition this year you’ll be able to feel in your own set of legs the sensibility and elegance with which he can take us for a joy ride.
Jean-Sebastien Baillat creates organic and highly cinematic visuals, both as a solo artist, as Baya, and as part of his state-of-the-art design firm Baillat Cardell & fils, co-founded six years ago in Montreal with Guillaume Cardell. His ideas are always accompanied by his interaction with new technologies in video, web, print and installations for art spaces. In our last year’s edition, Baillat Cardell & fils worked together with Iregular in Echoes and Absence, an immersive installation which allowed visitors to play with its sounds and lights. This year we’ll witness their stage design work as well as their visuals created live that will take music to new dimensions.
Echoes of Absence
Ben Frost was born in Australia, but has had Island as his headquarters for almost ten years now. We suspect that, in his case, geography plays a major role as it serves as a great source of inspiration for his sonic sculptures, which he has achieved though carving with sound-art tools as much as with post-classic electronic music, always conceiving the aural experience as an immersive one. In A U R O R A, his minimalistic, icy-cold approach to drones –those sustained notes he has transformed into passageways to the unconscious– has managed to create a magnetic, intensely luminous piece that has left its audience blind and feeble, this time without the aid of guitars or pianos. With the defiant spirit of metal, synthetic forms and interference of galactic echoes have been conveyed to make a resonance box of the body as a fundamental part of the experience. In 2006, Frost founded the label/collective Bedroom Community along with Nico Muhly and Valgeir Sigurðsson, and collaborates frequently with other musicians and producers: In 1972 he participated in Virgins and Ravedeath with Tim Hacker; in The Seer with SWANS; in New History Warfare with experimental saxophonist Colin Stetson, among many others. If we could somehow express what our audience in this year’s edition will witness, it would be something like the extraordinary combo of sonic, visceral emotions with arid landscapes that we would have believed impossible of moving us.
It is said that Camille Mandoki aka Billie Mandoki has dedicated a great part of her short life to feeling. And still, Camille, at 23 years old, is only beginning to get a feel for herself and her voice in her music and surroundings. And that voice, without doubt, is one of the greatest privileges a young artist could possess. While listening to her we can go from melancholy to ephemeral, imaginary architecture thanks to the beautiful abstractions she has reached through sound experimentation since she was 16. She has recently collaborated in projects like Coyoli or Naff Chusma. For her presentation in MUTEK.MX this year, she’ll unite her best moments in more than 50 draft-songs. She is part of the artists under Mexican label CVMR, which since 2012 has helped broadcasting local talent (Century, Los Rombos, Pettro, Anti Gravity) and some international talent as well (Sleazy, McQueen, Mark E, The Revenge).
Nrmal presentation (fragment)
BORN IN FLAMEZ is introduced as a nightmare of identity, a rhetorical figure, something without a past and without a present, and whose only way to exist is collective, like a kaleidoscope of possible destinies… All that give us clues about BIF intentions of subverting any genre (sexual or musical) with lots of influences, that come from industrial, but also from grime, or futuristic electro. Born In Flamez became famous beyond the Berlin scene with a single that was included in Modeselektion Vol. 3, and has collaborated with Perera Elsewhere, Phon.o, Sinkane, Nils Bech, Glass Eyes y Robot’s Don’t Sleep (Robot Koch). BIF will arrive to our newest edition this year with Polymorphous, an EP recently released by UnReal Audio label, and the Mexican audience is going to hear it live thanks to our collaboration with Berlin Current.
En Boiler Room
It’s been little more than one year since Boundary released his first album, Ghislain Poirier’s most recent project, and it has already become an object of desire at festivals and clubs. A restless, forward-thinking producer, he’s successfully dabbled in synth-infused soca, dancehall, abstract hip-hop and electro. Since the beginning of last decade, Poirier has been responsible for some of Montreal’s most mythical soirees, including the now-defunct Bounce le gros nights, and the ongoing Karnival. Boundary will reach our edition this year with Still Life, his second album, under his arm..