Deadbeat & Tikiman Live in Melbourne!

Written by  //  November 15, 2016  //  Local News  //  Comments Off

deadbeat-tikiman

Grumpy’s presents: DEADBEAT feat TIKIMAN – LIVE

Supported by:
Matt Radovich
C:1
Caspian
SK

$20 on the door. Will reach capacity.

Deadbeat feat. Tikiman
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Deadbeat is Scott Monteith, a long time Montrealer and recent Berlin ex-pat who has been releasing his own special blend of dub laden, minimal electronics since 2000, for labels such as Cynosure, Musique Risquée, Scape, and Spectral to name but a few. His work has been met with consistent critical acclaim from the industry’s leading publications and websites, and drawn regular performance invitations for some of the world’s most respected festivals, including Barcelona’s Sonar, Berlin’s Transmediale, and Montreal’s own Mutek.

Having now moved on to pursue his own musical efforts full time, the experience left him with a passion for the development of new creative interfaces, and a strong grasp of some the most cutting edge technology in the industry. A certified music technology junkie, his knowledge in such matters has been occasionally called upon at various events, most notably the 2007 edition of the Red Bull Music Academy in Melbourne, Australia.

Whether crafting kaleidoscopic house and techno, snap-clap digital dancehall, or impossibly heavy dub, Scott continues to search for his own unique voice between the ones and zeros.

If Berlin’s deep space dub techno scene has a voice, then Paul St Hilaire is surely the one most entitled to claim its title. The artist that first made his mark as Tikiman, but who reverted to his given birth name following a legal dispute, has been responsible for some of the most noteworthy vocal forays in a genre largely dominated by non-human circuitry. Best known for his frequent collaborations with Rhythm & Sound, the most dub-inspired of the city’s many technological music masters, St Hilaire’s hypnotic voice has lent their work its greatest share of human intrigue.

Rhythm & Sound’s False Tuned subsidiary has been a consistent home for St Hilaire’s self-produced work, but he has also slowly been expanding his horizons to collaborate with a range of likeminded practitioners, keeping his hand in the techno pool, even as his own issues draw him ever closer to the traditional roots reggae format. He’s done the odd spot of remixing as well, as heard on his harshly disjointed reconfiguring of Salif Keita’s “Here.”

Anyone that has had the pleasure of meeting St Hilaire will already know that the legendary reticence of Rhythm & Sound has apparently rubbed off on him. Attempts at securing an interview are likely to prove fruitless, and in person, like his colleagues, he is a man of few words, apparently preferring to let the music do the talking – especially when journalists are around. The few interviews that have actually appeared in print are marked by short replies that give little away, a textual mirroring of the understated vocal style that has graced his most impressive output. Consider, for instance, the following response to a question from a journalist about whether the music on his album Unspecified reflected its title: “Everything is everything.”

To say that Tikiman burst onto the scene during the mid-1990s would be misleading; his was more of a slow ascent, like that of a paper lantern sighted momentarily in the sky, the breeze blowing it in unexpected directions.

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