Rhythmism.comQ&A with Traversable Wormhole @ Movement | Mutek | NYC
by rhythmism
Monday, May 23rd 2011, 01:01 PM
The mystery of Traversable Wormhole began in 2009, when a series of five ink-stamped vinyl records under the name popped up in the global techno scene, featuring a distinct sci-fi stamped sound with signature gaps of time and bass. Volume 2 was released to massive buzz and rampant theories on who was behind the project. Finally, with his sixth release in 2010, Traversable Wormhole revealed himself to be Adam X, a 20-techno veteran known for his genre-crossing mix of post-modern techno and industrial music. He took some time out to talk to Rhythmism about his upcoming appearance at Detroit’s Movement Festival, the value of vinyl, and hints of another anonymous project in advance of his performances at Movement in Detroit, Mutek in Montreal and his NYC homecoming date on June 4.
Why did you choose the name Traversable Wormhole?
Actually it was just sort of random. I was reading about quantum physics on the Internet. I just kept backpaging through different pages on Wikipedia and I saw the name Traversable Wormhole and I was like, ‘wow that’s a really cool name.’ It just stuck in my head for some reason. ‘Cause usually when I’m reading things, if I see something that’s cool for a track title, I’ll write it down. But I wanted to do another project and I was thinking about a name for it, and I just came across the name reading, and I was like, ‘this is definitely a name I want to use.’ I looked it up on Discogs and no one ever used it before, so I was like, ‘this is it.’
How did you get into quantum physics? Why were you reading about it?
I’m interested in astronomy and stuff, but I think I was reading something about the linear accelerator in Geneva, CERN. I think from there I wound up in something about exotic matter and a bunch of stuff, and reading more in depth.
Are there other kinds of reading material that influences your music?
Well, my music is always very science fiction oriented, a lot of it. So if I’m reading stuff about science, not necessarily fiction, but just about science in general, I’ll use it for track names if I see something that’s cool. But it can be other things too. I’m not really set on one thing when I’m naming tracks -- it doesn’t have to be sci-fi, it can be things that are more relative to the moment.
Now that you’re no longer anonymous under this name, do you ever wish you could go back to anonymity? Did you enjoy being anonymous?
Well, that’s why you have other projects (laughs). Yeah, I mean, you know, I have no regret on doing what I wanted to do with that. It was exactly…I never planned something out so well, because I never intended to stay anonymous with it. I was really about to say who I was after the third one. But then I kept it under wraps because I thought I could get away with doing two more before saying something. From the beginning I never planned on staying anonymous. But I can always do other projects that are anonymous and not reveal myself.
Do you have any plans to do another anonymous project?
Maybe I already have one out!
But I never say these things, so… I make a lot of music. I make a lot of different styles of electronic music, so not everything fits under Adam X for me, and not everything is fitting under Traversable Wormhole, so…the stuff could be out, it could be coming out, I’m not really saying much about it.
You grew up in New York City but moved to East Berlin in ‘07. What, if anything, do you miss about New York -- the music scene and in general?
Ooh…I don’t really miss much in New York. I have to admit. I’m living in techno-polis here. This is the place to be for techno music. The ‘90s in New York for me was amazing, when we were having such a great warehouse party scene and there were a lot of bigger raves and there were a lot of people who were, you know, pretty prominent in the European scene that were playing in New York at the time, like Neil Landstrumm and Electric Indigo. It was a good time period in the mid-90s.
I like where the scene is now more than its been in the last 10 years. When I come back to New York, it’s cool to have Bunker and Blkmarket and Octave. There’s a nice network of promoters that are doing good gigs and bringing a lot of talented people in from Europe. It’s definitely been better in the last few years when I’ve come back to visit than it was in the beginning part of the Millennium to the middle of the Millennium, up to the point that I left.
But there’s still comparison between what goes on there and what goes on in Berlin. Berlin is still just on another level. Anytime I even go out and play in the rest of Europe, it still just never compares to Berlin to me, ‘cause the parties are open ended here, and they just go on and they go on and they go on. But there’s not a peak here, like an influx of when people just come out for two or three hours like in New York. People just go out all day, all night, especially in , like, Berghain. I mean, I was in Berghain on Sunday, and we got we got there at 5 o’clok in the afternoon, and it was like being in a club on a Saturday night.
But I do miss New York. I miss the food and stuff like that. I miss going to the diners with my newspaper and ordering a breakfast or dinner or whatever. I miss my friends that I grew up with of course, all the people I used to paint graffiti art with that still paint. I come back and paint with them occasionally. There are some things I miss, but I’m not gone all the time. I’ve been back kind of once every two to three months in the last year. I’m going to be back in June actually.
Any parties you’re going to do in June in New York?
Yeah, I’m playing for Oktave as Traversable Wormhole. The night before I play at Mutek.
Having been part of the evolution of techno for the past two decades or so, how do you see the genre changing with the growth of the Internet (Soundcloud, etc) and new technology (like Serato, Ableton, etc)?
It’s obviously a lot different coming from the vinyl perspective. I’m on both sides of the fence with it, because I DJ with Serato, I make music with Ableton, but when I play with Serato, I don’t like to use…I have the very first version of Serato. It has no automatic beatmatching or any of that. So when I play, I actually use it more because its convenient to play stuff that’s unreleased. But I still use it in the same way as I DJ If I was playing vinyl. I only use the turntables and the pitch control. I’m not into all the MIDI controls and stuff. But I think its opened up a lot of doors to be able to play music that other people aren’t playing. And you can have very unique sets by doing that. You can actually play a whole set of music from people, tracks that are just friends of yours. You’re just able to do a lot more with music itself. You get to a gig and you have Serato and you never never forget a record at home, basically. When I used to play vinyl, I’d be like “aw shit I forgot to bring that record with me.” When I have Serato, everything is with me, so I can play anything that comes off the top of my head. And also its better for traveling purposes. Especially in Europe where they only allow you one bag at like 8 kilograms. You can’t really bring records on the plane and it’s always stressful checking records in. I don’t remember how that used to be back in the day.
It’s got its pluses and its downs. I still do my label on vinyl. I still do Traversable Wormhole on all vinyl. Even the five, six and seven, which have been out for years, there’s still no digital on it. I think vinyl is an artform. I think if you’re not releasing your music on vinyl, then you’re not really respecting your music as art. There’s still an artform in having a physical product and being able to give people who want a physical product a product of your music. And I think that that’s missing. I pretty much don’t have any interest in making music if there’s not physical product. It’s a shame that record sales are really as low as they are now, but maybe it’ll gets better, we’ll see. So I’m caught in the middle a bit. There’s the pluses and the negatives with the digital. It is evolution. I’ve been playing now...this is my 21st year, so…techno’s about the future and about change. So I can’t argue with technology. There’s definitely a lot of other people from my era that are like, “argghhh, these digital DJs…” and I just can’t do that. You gotta go with the times. I don’t want to be a luddite, you know?
As far as the music production is concerned, for me personally, I like a cleaner, crisper sound now. I definitely like that a lot more than a lot of the raw stuff from the ‘90s. For me, that’s progression. But again, you have a lot of the old school guys and even new people who weren’t even around back then that like a more dirtier, raw, rougher, grittier distorted sound. I say to each his own, really.
How many times have you played Movement Electronic Music Festival? What’s your favorite memory?
This will be my third year. I played in 2002. And then in 2006 and now 2011.
The first time in 2002 was incredible. It was my brother, Frankie Bones and Heather Heart, and we still had Sonic Groove, the shop in Manhattan. And they booked us all to play. T-1000 was actually the curator that year. We played a kind of small area. It was really good actually, during the day. But on Monday night, the last night of the festival, I happened to be on the main stage . I forget which band was playing, it was one of the hip hop bands, I don’t know if it was like The Roots or Mos Def – one of the bands did not show up. I heard the guys who organized the festival, and they were like “what are we gonna do, we don’t have anybody who’s gonna play right now.” It was literally 20 minutes before this band was supposed to play. And I said “I can play.” And they were like “You wanna play? Can you get your brother? Can you get Heather?” and I was like “How long do I got?” and they were like “You got 15 minutes.” I remember, I just ran to the hotel. I got Heather on the phone but I couldn’t get my brother. I found them and we wound up playing for like 2 hours on the main stage. That was the prime time. It was the next to last set. And that was just mindblowing because it was in the ring, where everybody is in the middle. It was totally jam packed. That was definitely a key techno moment for me, one of the top moments in my career for sure.
Why did you choose to perform as Traversable Wormhole at this year’s Movement Festival as opposed to another one of your other aliases?
That was really their choice, actually. Everybody’s jumping on that. I seem to be playing more as that than Adam X in the last year, but that’s what people want and that’s what they’re gonna get I guess! I have no problem with it.
What track would be your tribute to Detroit?
Something that I’ve written or something that I like?
Either.
I guess my all time favorite Detroit track is a Kevin Saunderson track under the name “Reese” called “The Heavens” That’s probably one of my favorite tracks of all time out of Detroit. Every time I’m there it kind of reminds me of it because it’s a very melancholic track. It just kind of fits the city really well.
And then, I dunno, with my music, I never really think Detroit…maybe probably some of my older stuff when I was going for more of a Detroit sound. I don’t think my stuff is very Detroit-sounding these days. But I guess it all can fit because it’s all very, hmm….i dunno. It kind of fits the background and the backdrop of urban decay and stuff there.
What’s the best record you recently purchased?
At the moment I think one of my favorite records is Perc from the UK. It’s a remix 12-inch that has Ancient Methods and Chris Carter from Chris & Cosey remixes. It’s definitely one of the hottest tracks of the year that I’ve found so far.
Finally, other than Movement Festival, what’s next for Traversable Wormhole?
Well, I don’t really reveal that. I still want to have a little bit of secrecy with the project. But things are happening. It’s not finished. But I don’t really reveal the future. I don’t mind coming out of anonymity, but I still want to keep it a little bit not so publicized.
Do you have anything to add?
I guess I’ll see everybody at Detroit that I haven’t seen in a while in the U.S. I’m looking forward to it.
Saturday-Monday, May 28-30, 2011
Paxahau presents
MOVEMENT 2011
69 (Carl Craig) – live, Adam Beyer, Al Ester, Ambivalent, Ana Sia, Anthony Attalla, Aril, Brikha - live, Art Department, Ataxia - live, Aux 88 - live, B. Bravo - live, Beardyman – live, Ben Klock, Boo Williams, Brian “Starski” Gillespie, Bruce Bailey, Calvertron and Figure, Chuck Daniels, Cio D'or, Clark Warner, Claude Young, Com Truise - live, Dabura, Daedalus - live, Dam-Funk & Master Blazter – live, Delano Smith, Deniz Kurtel - live, District 909 - live, DJ Cent, DJ Godfather, DJ Harvey, DJ T-1000, DJ Three, DJ X-Change, Dr. Atmo, DTM 5x5 (DJ Seoul, T.Linder, Neil V, Darkcube, DJ Psycho), Dubfire, Echospace – live, Elliot Lipp – live, Eric Johnson, Erika Sherman, Fatboy Slim, Felix Da Housecat, Flying Lotus - live, Franki Juncaj aka DJ 3000, Gaiser - live, Gaslamp Killer, Glenn Underground, Goldie, Green Velvet – live, Guti - live, Heartthrob - live, Hudson Mohawke – live, James Zabiela, John Collins, JPLS - live, Justin Martin, Kero – live, Kerri Chandler, Little Dragon - live, Livio & Roby, Loco Dice, Marc Houle - live, Marcel Dettman, Margaret Dygas, Mark Flash, Martin Buttrich – live, Matt Clarke, Matthew Hawtin, Metro Area, Michael Geiger, Mike Brown, Mike Servito, Mimosa, Minx, Monolake - live, N-Ter - live, Nospectacle with Markus Guentner - live, Paranormal Tek, Paul Kalkbrenner - live, Pulshar - live, Ramadanman, Reference, Richard Devine - live, Richie Hawtin, Ryan Elliott, Sammy Dee, Scuba, Secrets - live, Shlomi Aber, Skrillex – live, Soul Clap, Space Dimension Controller - live, Space Time Continuum - live, Steve Rachmad, Sven Väth, Terrence Parker, The Dirtbombs – live, The Siege – live, Tini, Tortured Soul - live, Traversable Wormhole aka Adam X - live, Venetian Snares - live, Victor Calderone, Visionquest – live/DJ
Hart Plaza
Detroit, MI
12-12, all ages
$70 in advance while supplies last.
Friday, June 3, 2011
MUTEK 2011
Nocturne 3 – PARALLEL SPACES
Presented by XLR8R, in collaboration with Rdio
11pm | Métropolis
The most coveted names in techno take over the Metropolis for what is expected to be a deep and echo-heavy evening. Detroit dub-techno duo DEEPCHORD presents ECHOSPACE arrives for a rare Montreal appearance. MUTEK is incredibly proud to present PLASTIKMANLIVE on home turf, a concert that constitutes the Canadian premiere of the highly prized audio-visual performance Hawtin originally envisioned for his debut live performance at MUTEK 2004. Finally, industrial-strength techno veteran Adam X will be on hand to take us through his TRAVERSABLE WORMHOLE.
$45 in advance while supplies last.
Saturday, June 4, 2011
Oktave presents
Cio D'or
Traversable Wormhole
Jeff Derringer
National Underground
159 East Houston Street
New York, NY
$15 RSVP to wormhole@oktave.org or $20 at the door
www.oktave.org
Why did you choose the name Traversable Wormhole?
Actually it was just sort of random. I was reading about quantum physics on the Internet. I just kept backpaging through different pages on Wikipedia and I saw the name Traversable Wormhole and I was like, ‘wow that’s a really cool name.’ It just stuck in my head for some reason. ‘Cause usually when I’m reading things, if I see something that’s cool for a track title, I’ll write it down. But I wanted to do another project and I was thinking about a name for it, and I just came across the name reading, and I was like, ‘this is definitely a name I want to use.’ I looked it up on Discogs and no one ever used it before, so I was like, ‘this is it.’
How did you get into quantum physics? Why were you reading about it?
I’m interested in astronomy and stuff, but I think I was reading something about the linear accelerator in Geneva, CERN. I think from there I wound up in something about exotic matter and a bunch of stuff, and reading more in depth.
Are there other kinds of reading material that influences your music?
Well, my music is always very science fiction oriented, a lot of it. So if I’m reading stuff about science, not necessarily fiction, but just about science in general, I’ll use it for track names if I see something that’s cool. But it can be other things too. I’m not really set on one thing when I’m naming tracks -- it doesn’t have to be sci-fi, it can be things that are more relative to the moment.
Now that you’re no longer anonymous under this name, do you ever wish you could go back to anonymity? Did you enjoy being anonymous?
Well, that’s why you have other projects (laughs). Yeah, I mean, you know, I have no regret on doing what I wanted to do with that. It was exactly…I never planned something out so well, because I never intended to stay anonymous with it. I was really about to say who I was after the third one. But then I kept it under wraps because I thought I could get away with doing two more before saying something. From the beginning I never planned on staying anonymous. But I can always do other projects that are anonymous and not reveal myself.
Do you have any plans to do another anonymous project?
Maybe I already have one out!
But I never say these things, so… I make a lot of music. I make a lot of different styles of electronic music, so not everything fits under Adam X for me, and not everything is fitting under Traversable Wormhole, so…the stuff could be out, it could be coming out, I’m not really saying much about it.
You grew up in New York City but moved to East Berlin in ‘07. What, if anything, do you miss about New York -- the music scene and in general?
Ooh…I don’t really miss much in New York. I have to admit. I’m living in techno-polis here. This is the place to be for techno music. The ‘90s in New York for me was amazing, when we were having such a great warehouse party scene and there were a lot of bigger raves and there were a lot of people who were, you know, pretty prominent in the European scene that were playing in New York at the time, like Neil Landstrumm and Electric Indigo. It was a good time period in the mid-90s.
I like where the scene is now more than its been in the last 10 years. When I come back to New York, it’s cool to have Bunker and Blkmarket and Octave. There’s a nice network of promoters that are doing good gigs and bringing a lot of talented people in from Europe. It’s definitely been better in the last few years when I’ve come back to visit than it was in the beginning part of the Millennium to the middle of the Millennium, up to the point that I left.
But there’s still comparison between what goes on there and what goes on in Berlin. Berlin is still just on another level. Anytime I even go out and play in the rest of Europe, it still just never compares to Berlin to me, ‘cause the parties are open ended here, and they just go on and they go on and they go on. But there’s not a peak here, like an influx of when people just come out for two or three hours like in New York. People just go out all day, all night, especially in , like, Berghain. I mean, I was in Berghain on Sunday, and we got we got there at 5 o’clok in the afternoon, and it was like being in a club on a Saturday night.
But I do miss New York. I miss the food and stuff like that. I miss going to the diners with my newspaper and ordering a breakfast or dinner or whatever. I miss my friends that I grew up with of course, all the people I used to paint graffiti art with that still paint. I come back and paint with them occasionally. There are some things I miss, but I’m not gone all the time. I’ve been back kind of once every two to three months in the last year. I’m going to be back in June actually.
Any parties you’re going to do in June in New York?
Yeah, I’m playing for Oktave as Traversable Wormhole. The night before I play at Mutek.
Having been part of the evolution of techno for the past two decades or so, how do you see the genre changing with the growth of the Internet (Soundcloud, etc) and new technology (like Serato, Ableton, etc)?
It’s obviously a lot different coming from the vinyl perspective. I’m on both sides of the fence with it, because I DJ with Serato, I make music with Ableton, but when I play with Serato, I don’t like to use…I have the very first version of Serato. It has no automatic beatmatching or any of that. So when I play, I actually use it more because its convenient to play stuff that’s unreleased. But I still use it in the same way as I DJ If I was playing vinyl. I only use the turntables and the pitch control. I’m not into all the MIDI controls and stuff. But I think its opened up a lot of doors to be able to play music that other people aren’t playing. And you can have very unique sets by doing that. You can actually play a whole set of music from people, tracks that are just friends of yours. You’re just able to do a lot more with music itself. You get to a gig and you have Serato and you never never forget a record at home, basically. When I used to play vinyl, I’d be like “aw shit I forgot to bring that record with me.” When I have Serato, everything is with me, so I can play anything that comes off the top of my head. And also its better for traveling purposes. Especially in Europe where they only allow you one bag at like 8 kilograms. You can’t really bring records on the plane and it’s always stressful checking records in. I don’t remember how that used to be back in the day.
It’s got its pluses and its downs. I still do my label on vinyl. I still do Traversable Wormhole on all vinyl. Even the five, six and seven, which have been out for years, there’s still no digital on it. I think vinyl is an artform. I think if you’re not releasing your music on vinyl, then you’re not really respecting your music as art. There’s still an artform in having a physical product and being able to give people who want a physical product a product of your music. And I think that that’s missing. I pretty much don’t have any interest in making music if there’s not physical product. It’s a shame that record sales are really as low as they are now, but maybe it’ll gets better, we’ll see. So I’m caught in the middle a bit. There’s the pluses and the negatives with the digital. It is evolution. I’ve been playing now...this is my 21st year, so…techno’s about the future and about change. So I can’t argue with technology. There’s definitely a lot of other people from my era that are like, “argghhh, these digital DJs…” and I just can’t do that. You gotta go with the times. I don’t want to be a luddite, you know?
As far as the music production is concerned, for me personally, I like a cleaner, crisper sound now. I definitely like that a lot more than a lot of the raw stuff from the ‘90s. For me, that’s progression. But again, you have a lot of the old school guys and even new people who weren’t even around back then that like a more dirtier, raw, rougher, grittier distorted sound. I say to each his own, really.
How many times have you played Movement Electronic Music Festival? What’s your favorite memory?
This will be my third year. I played in 2002. And then in 2006 and now 2011.
The first time in 2002 was incredible. It was my brother, Frankie Bones and Heather Heart, and we still had Sonic Groove, the shop in Manhattan. And they booked us all to play. T-1000 was actually the curator that year. We played a kind of small area. It was really good actually, during the day. But on Monday night, the last night of the festival, I happened to be on the main stage . I forget which band was playing, it was one of the hip hop bands, I don’t know if it was like The Roots or Mos Def – one of the bands did not show up. I heard the guys who organized the festival, and they were like “what are we gonna do, we don’t have anybody who’s gonna play right now.” It was literally 20 minutes before this band was supposed to play. And I said “I can play.” And they were like “You wanna play? Can you get your brother? Can you get Heather?” and I was like “How long do I got?” and they were like “You got 15 minutes.” I remember, I just ran to the hotel. I got Heather on the phone but I couldn’t get my brother. I found them and we wound up playing for like 2 hours on the main stage. That was the prime time. It was the next to last set. And that was just mindblowing because it was in the ring, where everybody is in the middle. It was totally jam packed. That was definitely a key techno moment for me, one of the top moments in my career for sure.
Why did you choose to perform as Traversable Wormhole at this year’s Movement Festival as opposed to another one of your other aliases?
That was really their choice, actually. Everybody’s jumping on that. I seem to be playing more as that than Adam X in the last year, but that’s what people want and that’s what they’re gonna get I guess! I have no problem with it.
What track would be your tribute to Detroit?
Something that I’ve written or something that I like?
Either.
I guess my all time favorite Detroit track is a Kevin Saunderson track under the name “Reese” called “The Heavens” That’s probably one of my favorite tracks of all time out of Detroit. Every time I’m there it kind of reminds me of it because it’s a very melancholic track. It just kind of fits the city really well.
And then, I dunno, with my music, I never really think Detroit…maybe probably some of my older stuff when I was going for more of a Detroit sound. I don’t think my stuff is very Detroit-sounding these days. But I guess it all can fit because it’s all very, hmm….i dunno. It kind of fits the background and the backdrop of urban decay and stuff there.
What’s the best record you recently purchased?
At the moment I think one of my favorite records is Perc from the UK. It’s a remix 12-inch that has Ancient Methods and Chris Carter from Chris & Cosey remixes. It’s definitely one of the hottest tracks of the year that I’ve found so far.
Finally, other than Movement Festival, what’s next for Traversable Wormhole?
Well, I don’t really reveal that. I still want to have a little bit of secrecy with the project. But things are happening. It’s not finished. But I don’t really reveal the future. I don’t mind coming out of anonymity, but I still want to keep it a little bit not so publicized.
Do you have anything to add?
I guess I’ll see everybody at Detroit that I haven’t seen in a while in the U.S. I’m looking forward to it.
Saturday-Monday, May 28-30, 2011
Paxahau presents
MOVEMENT 2011
69 (Carl Craig) – live, Adam Beyer, Al Ester, Ambivalent, Ana Sia, Anthony Attalla, Aril, Brikha - live, Art Department, Ataxia - live, Aux 88 - live, B. Bravo - live, Beardyman – live, Ben Klock, Boo Williams, Brian “Starski” Gillespie, Bruce Bailey, Calvertron and Figure, Chuck Daniels, Cio D'or, Clark Warner, Claude Young, Com Truise - live, Dabura, Daedalus - live, Dam-Funk & Master Blazter – live, Delano Smith, Deniz Kurtel - live, District 909 - live, DJ Cent, DJ Godfather, DJ Harvey, DJ T-1000, DJ Three, DJ X-Change, Dr. Atmo, DTM 5x5 (DJ Seoul, T.Linder, Neil V, Darkcube, DJ Psycho), Dubfire, Echospace – live, Elliot Lipp – live, Eric Johnson, Erika Sherman, Fatboy Slim, Felix Da Housecat, Flying Lotus - live, Franki Juncaj aka DJ 3000, Gaiser - live, Gaslamp Killer, Glenn Underground, Goldie, Green Velvet – live, Guti - live, Heartthrob - live, Hudson Mohawke – live, James Zabiela, John Collins, JPLS - live, Justin Martin, Kero – live, Kerri Chandler, Little Dragon - live, Livio & Roby, Loco Dice, Marc Houle - live, Marcel Dettman, Margaret Dygas, Mark Flash, Martin Buttrich – live, Matt Clarke, Matthew Hawtin, Metro Area, Michael Geiger, Mike Brown, Mike Servito, Mimosa, Minx, Monolake - live, N-Ter - live, Nospectacle with Markus Guentner - live, Paranormal Tek, Paul Kalkbrenner - live, Pulshar - live, Ramadanman, Reference, Richard Devine - live, Richie Hawtin, Ryan Elliott, Sammy Dee, Scuba, Secrets - live, Shlomi Aber, Skrillex – live, Soul Clap, Space Dimension Controller - live, Space Time Continuum - live, Steve Rachmad, Sven Väth, Terrence Parker, The Dirtbombs – live, The Siege – live, Tini, Tortured Soul - live, Traversable Wormhole aka Adam X - live, Venetian Snares - live, Victor Calderone, Visionquest – live/DJ
Hart Plaza
Detroit, MI
12-12, all ages
$70 in advance while supplies last.
Friday, June 3, 2011
MUTEK 2011
Nocturne 3 – PARALLEL SPACES
Presented by XLR8R, in collaboration with Rdio
11pm | Métropolis
The most coveted names in techno take over the Metropolis for what is expected to be a deep and echo-heavy evening. Detroit dub-techno duo DEEPCHORD presents ECHOSPACE arrives for a rare Montreal appearance. MUTEK is incredibly proud to present PLASTIKMANLIVE on home turf, a concert that constitutes the Canadian premiere of the highly prized audio-visual performance Hawtin originally envisioned for his debut live performance at MUTEK 2004. Finally, industrial-strength techno veteran Adam X will be on hand to take us through his TRAVERSABLE WORMHOLE.
$45 in advance while supplies last.
Saturday, June 4, 2011
Oktave presents
Cio D'or
Traversable Wormhole
Jeff Derringer
National Underground
159 East Houston Street
New York, NY
$15 RSVP to wormhole@oktave.org or $20 at the door
www.oktave.org