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<p class=MsoNormal><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>Streaming of the 2003 edition of MUTEK continues tonight at </span></font><st1:time
Hour="21" Minute="0"><font size=2 face=Arial><span style='font-size:10.0pt;
 font-family:Arial'>9PM EST.</span></font></st1:time><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'> <o:p></o:p></span></font></p>

<p class=MsoNormal><span class=GramE><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>hit</span></font></span><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> the stream
@ www.mutek.ca or www.piratetv.net <o:p></o:p></span></font></p>

<p class=MsoNormal><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=MsoNormal><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>METROPOLIS 1: <o:p></o:p></span></font></p>

<p class=MsoNormal><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'>This program marks the greatly anticipated return of RICHIE
HAWTIN, here to showcase his record labels MINUS / PLUS 8. <span class=SpellE>Hawtin</span>
is one of the pioneers and founders of the minimal techno movement. Initially
an ultra minimalist that went under the guise of <span class=SpellE>Plastikman</span>,
he relegated production to the backburner for several years to become one of the
most sought after and technologically innovative techno DJs on the planet.
Having achieved success, <span class=SpellE>Hawtin</span> is now seizing the
moment to <span class=SpellE>relaunch</span> his labels, welcome unknown
talents, and return anew to the creative path. This stop at MUTEK constitutes
the ideal moment to reveal his new ways of working, and to herald <span
class=SpellE>Hawtin&#8217;s</span> return to his first love: creating and
exploring minimalist rhythms. Enriched with the talents of MATTHEW DEAR (<span
class=SpellE>aka</span> FALSE) and MAGDA, the night combines the pleasures of
dancing and sophisticated exploration for what will surely be one of the
festival&#8217;s most moving moments. Opening the night is JEREMY P. CAULFIELD,
director of the DUMB-UNIT label, whose effective minimal techno has the weighty
task of warming up the audience. <o:p></o:p></span></font></p>

<p class=MsoNormal><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=MsoNormal><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=MsoNormal><font size=2 face=Arial><span style='font-size:10.0pt;
font-family:Arial'><o:p>&nbsp;</o:p></span></font></p>

<p class=MsoNormal><span class=GramE><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>more</span></font></span><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> info at
www.mutek.ca<o:p></o:p></span></font></p>

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From: "tobias c. van Veen" <tobias@xxxxxxxxx>
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Subject: [Xchange] mutek 2003 .[2]: navigating noise & nausea
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Date: Sat, 31 May 2003 19:23:19 -0400

[by request from david @ No Type ... for the Mutek stream, check
http://www.mutek.ca ; here's some words on Day Two .. tV]



--.




[mutek 2003] : [2] : navigating noise & nausea

 .. ok, coffee time .. heading into day three .. on three hours sleep .. my
feet are beginning to kill me .. time to hunt out chairs .. drink .. drugs
of all kinds & sorts .. this year is a cold Mutek: the first in which
sudden, 30 degree heat waves have not dominated the atmosphere, lending to
increased drinking and all around heat exhaustion. Although the cooler
temperatures make for increased energy, the colder weather has also
detracted, it seems, from event attendance of the cinq-a-sept, and from the
drive of the festival in general .. there is something about Montréal heat
the puts the city IN heat, adss a life to the terasse, the sweat, the
discomfort, the brain turns mush and the sound sets in ..


--. Yesterday began with missing both panels; as usual, attempting to do
anything during the day while attempting to write and sleep has quickly
become impossible... I am currently missing the panel on digital
distribution, featuring, among others, his Eminence Richie Hawtin and the No
Type crew, but I am satisfied in the fact that the panels are being recorded
& archived. Nonetheless, panels beginning at 11am  -- and this after being
shifted from 10! -- are all but impossible to make on a regular basis when
one is out until 4am the evening previous... By far it would have made more
sense to put this panel--probably one of the most fascinating of the
festival, as well as pertinent in so many ways, political, economic, and by
lieu of the panelists involved--on in the afternoon.

Speaking of the No Type-ers ... After what has been some public critique of
Mutek, even on this list, No Type presented a label showcase at the Studio
yesterday that enraptured the crowd, sucking them into a vortex of noise and
improv electronic performances. Again, the venue did not have that special
touch that has made the SAT label showcases the highlight of a few
festivals, given the street-level access, windows, and monster sound of that
demised space [RIP] -- I am thinking especially of the Orthlorng Musork
showcase last year & AGF/Dlay's surreal invocations...  And what is with the
sound? At both Studio and Ex-Centris it did not reach nearly sufficient
levels.. we are hear to listen, to hear and be absorbed. If I can hear
myself breathing, if a neighbour opening his backpack overrides the noise
emanating from the speakers, then shit needs to be turned up.

No Type held attention despite the soundsystem's relatively quiet range,
with Sambiland travelling a wealth of minimalist and dub territories, from
sparse and deep broken beats to ambience, leading into the madness that was
to follow: two sets of collaborative & improvised performances featuring
A_Dontigny, first with the precise workings of veteran improvisational
artist Diane Labrosse--on what appeared to be a theramin device, at times;
this performance was intricate, yet harsh in its metallic clamouring of
sound-events. Then came Morceaux_de_Machines who, after an enthusiastic
shout-out from Aimé, did not disappoint with his collaboration: vitriolic
improvised noise from strange devices, high-pitched and jagged waves, from
this real beast of a man, getting down and into it-- Morceaux grabbed the
crowd and spun them round degree by degree. To end was Vancouver's coin
gutter, the enigmatic duo of Graeme and Emma carving out one of their more
delicate and restrained sets, and, although improvised, moving through a
taste of their sound, from experimental electro-acoustic to noise, field
recordings, media samples, and dark soundscapes.