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Frieze New York 2016 recommendations, May 5 – 8

2 May 2016

Frieze New York is running May 5 to 8, with a number of projects, talks and exhibitors converging around the main exhibition, along with fringe and off-site events, including NADA and the Off Vendome gallery share, as well as Dream Fair running online concurrently from May 3.

Below are some recommendations inside and outside the official Frieze programme in New York over the coming three days and beyond:



dépendance, Seventeen, Société, The Third Line, The Breeder, Truth and Consequences, Clifton Benevento, Freedman Fitzpatrick, Gavin Brown’s Enterprise, High Art, Kraupa-Tuskany Zeidler, Mathew Gallery, Martos Gallery, Night Gallery, Overduin & Co., Peres Projects, Pilar Corrias, Antenna Space


Anthea Hamilton, David Horvitz and Heather Phillipson.



American Medium, bitforms gallery, Bodega, Cooper Cole, Hester, ICA, Glasgow International, Invisible-Exports, Ltd. Los Angeles, Minerva, Space in Between, Spinello, Tomorrow Gallery


SPF15, Daata Editions, Et Al., Evelyn Yard, Kimberley-Klark, Public Exhibitions, Shoot the Lobster, Transfer Gallery



Chewday’s, Bridget Donahue, Jenny’s, Galerie Max Mayer, Real Fine Arts



Galerie Allen, Arcadia Missa, Galerie Emanuel Layr, Exile, Grey Noise, LambdaLambdaLambda, Limoncello, Rob Tufnell, Sabot, Galeria Stereo, SVIT


Monica Devertebrae @ La Caverna, May 5

Ghe20g0th1k x Play With My Pussy @ AVIV, May 6

Mykki Blanco & Friends @ Good Room, May 6


American Medium, bitforms, Silvershed + Postmasters @ Bowery Storefront, May 3

Return Policy @ Howard Street, May 5

Borna Sammak, Town Crier @ American Medium, May 7 


Cally Spooner On False Tears and Outsourcing @ New Museum

Priscilla Jeong + Rob Chavasse @ Interstate Projects**

Header image: Cooper Jacoby, Stagnants (2016). Installation view. Courtesy Mathew Gallery, Berlin.

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Art Fairs in New York, March 3 – 6

4 March 2016

New York plays host to two large art fairs this weekend, Independent New York and The Armory Show with other smaller fairs happening around them at the same time, opening March 3 and running to March 6.

Independent New York invites over 40 galleries worldwide such as Project Native Informant and is held in Spring Studios, while Armory hosts over 100.

Booths and works on show during the weekend that aqnb recommendations as follows:

Ed Fornieles @ London’s Carlos Ishikawa (Armory)

Lorna Mills‘ animated GIF, ‘Mountain Light/Time’, with Transfer Gallery (Moving Image Fair)  

Sorry Archive‘s group show, No Gains on Sacrifice (SPRING/BREAK Art Show)

Brenna Murphy @ American Medium (VOLTA NY)

Maria Hassabi @ The Breeder (Armory)

Petra Cortright, Josh Kolbo & Kaspar Müller Société (Independent) 

See the respective websites (above) for details.**

Ed Fornieles, Modern Family (2014). Installation view. Commissioned by Chisenhale Gallery. Photo by Andy Keate. Courtesy Carlos/Ishikawa, London.
Ed Fornieles, Modern Family (2014). Installation view. Commissioned by Chisenhale Gallery. Photo by Andy Keate. Courtesy Carlos/Ishikawa, London.
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Mediums @ Ace Hotel New York, Feb 22

22 February 2016

New York’s Ace Hotel will host a private event with Zeljko McMullen as a part of their new Mediums residency programme on February 22.

The programme takes place inside the hotel each month and invites clairvoyants and mediums for a single night’s stay to practice their work -loosely based around the Full Moon calendar. This month’s medium is psychomagic guide, McMullen.

Mediums is curated by Brooklyn-based Bruno Coviello, who is making waves in the city with his tarot reading practice. Coviello is also part of duo Light Asylum, whose  self-titled LP aqnb reviewed back in 2012.

This may well be a welcome thought about mediums in an art context that is not wholly tied to the internet and technology.

See the Ace Hotel website for details.**




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Frieze New York, May 9 – 12

8 May 2014

Frieze Art Fair New York is running in the US city, May 9 to 12.

Aside from the sadly emblematic union with a clothing brand, there are still things potentially worth seeing at the art fair if you’re planning on going anyway.

There’ll be talks from Masha Alekhina and Nadya Tolokonnikova of (but not of) Pussy Riot, poet, author and founder of ubuweb, Kenneth Goldsmith and artistic director of documenta 14
Adam Szymczyk.

Some gallery booths and potential artworks to see include Artists Space, representing the likes of Bernadette Corporation, Metahaven, Loretta Fahrenholz, Ed Atkins and DUOX, Gallery Hyundai with YOUNG-HAE CHANG HEAVY INDUSTIRES and Nam June Paik and Bortolami.

Other artists potentially scattered across booths include Ned Vena at White Columns, Xu Zhen with Long March Space, Camille Henrot at Galerie Kamel Mennour, Tabor Robak and Cory Arcangel for team (gallery, inc.), as well as Sophia Al-Maria, Slavs and Tatars, Shirin Aliabadi and Hassan Hajjaj at The Third Line and Ian Cheng and Emily Wardill of Standard Oslo.

Artists from Carlos/Ishikawa, Clages, Kraupa-Tuskany Zeidler, Tanya Leighton and Société will also be represented, as well as a booth for Bidoun with publications and a “10th anniversary Donkey-Ouroboros-Nasreddin tote bag” available to buy.

See the Frieze Art Fair website for details. **

Header image: Camille Henrot, ‘Grosse Fatigue’ (2013).

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Moving Image New York, Mar 6 – 9

6 March 2014

The New York edition of Moving Image is on at the Waterfront New York Tunnel in Chelsea, running from March 6 to 9.

Things to check out include videos by Lorna Mills and Rollin Leonard from TRANSFER gallery, Daniel Canogar from Bitforms in New York, Liisa Lounila of AV-aarki in Finland and Vincent Broquaire from XPO gallery in Paris.

Plus there’s a world premiere by DataSpaceTime from Microscope Gallery and a screening of video art pioneer Nam Jun Paik‘s ‘Dog’.

See the Moving Image New York website for details. **

Header image: Moving Image New York 2013. © Etienne Frossard

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Maxmillion Dunbar – ‘Woo Daps’ mixtape

19 November 2013

Following the release of his sonically dense House of Woo LP, on RVNG Intl in February, emcee, musician and stylistic dilettante Andrew Field-Pickering, aka Maxmillion Dunbar dropped his ‘Woo Daps’ mix today, free to download from the RVNG Intl Bandcamp.

Featuring unheard mixes, edits and reinterpretations by fellow crate-digger Aaron Coyes of Peaking Lights and Baltimore producer Co La, among others, Field-Pickering still manages that idiosyncratic ebb that carry his diverse points of reference.

See the track list below and download the Woo Daps mix on RVNG Intl Bandcamp. **

01. Coins For The Canopy (Dolo Constellation Dub) + Kangaroo brass
02. For Mozy (OG Ambience) + spare drums
03. For Mozy (Original Electro version)
04. Inca Tags (Trumpet Sludge) + spare drums
05. Inca Tags (Remix feat. Peter Zummo, Co La, Sami Yenigun)
06. Calvin & Hobbes (ECM Mix)
07. Loving The Drift (Ttam Renat Remix)
08. Untitled I
09. Slave To The Vibe (Cathedral 808 Mix) + drum work
10. Untitled II
11. Kangaroo (Live Jam Mix w/ Protect-U, and Aaron Coyes from Peaking Lights)
12. Untitled III
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Future Brown – ‘World’s Mine’ (ft. Prince Rapid, Dirty Danger & Roachee)

15 November 2013

It’s feeling like we’ve talked too much about Future Brown lately but this happened and it’s the best. A new track featuring vocals from a cast of London grime emcees Prince Rapid, Dirty Danger of Ruff Sqwad and former Roll Deep member Roachee, just dropped in advance of their debut live performance at MoMA PS1 on Sunday.

It’s lyrics speak directly to the “movement” that the Future BRown project points toward. The announcement that Tink, Shawnna, 3D Na’tee, Maluca, Riko Dan, Ian Isiah, Kelela and more TBA will be on the upcoming album makes you think said change could be rather dramatic.

Listen below. **

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Future Brown @ MoMA PS1, Nov 17

14 November 2013

After dangling two incredible tracks in front of us over the last few months, NYC hyper-group Future Brown will present their debut performance in collaboration with DIS Magazine at MoMA PS1, Nov 17.

The group, consisting Asma Maroof and Daniel Pineda of Nguzunguzu, Fatima Al Qadiri and Lit City Trax‘s J-Cush , have already dropped the brilliantly grimy super club number ‘Wanna Party‘ featuring vocals from Tink, at the beginning of August, as well as instrumentals from ‘Marbles’ on Babak Radboy’s trailer for Telfar Clemens‘ 2014 clothing line. Extending their interactions from Telfar’s “extremely normal” fashion to “extremely normal” past times, the performance will involve a choreographed basketball game, organised by Dis, at the PS1 VW Dome. Of course it will. **

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An interview with Alexis Penney

5 November 2013

“I don’t mean to sound like a hokey but it’s like he’s here in very clear ways”, says Alexis Penney, two months on from the sudden death of his friend and soul mate, Grant. Last I spoke to him it was less than a week since the news, Penney’s debut album, Window (on which Grant also plays), recently released, and his general outlook a significantly bleak one. The shell shock was apparent and the conversation equally as self-exposing when, by some weird twist of fate, the hour-long recording was corrupted and the file lost. I could have said it was Divine Providence –given the sensitive nature of the conversation –if not for my own scepticism regarding all things mystical, as well as the fact that Penney isn’t exactly one for self-censoring, generally.

If it isn’t his active twitter feed of sharing what feels like every waking moment of his life, loves and, in this case, personal tragedies, with thousands of followers, it’s his book, also called Window and published by Peradam Publishing Group, that is an open, sometimes confronting, account of the 26-year-old’s many lives, across cities, countercultures and, most importantly, relationships that have shaped the person we see today.

A non-linear collection of vignettes constructed into a logical “stream of heartache”, as Penney calls it, Window lives up to its promise of transparency by providing a bare-bones account of what it’s like growing up on the queer margins, across middle America, San Francisco and finally New York, where he’s now based. A drag queen, musician, writer and performer, Penney doesn’t only play with labels by mixing and matching gender signifiers but also the idea of performance –applied liberally to everything he does, from his tweets and writing, to his choice of friends and sex life –but he also questions the very idea of human experience as something limited to the individual.

Alexis Penney.
“I think it’s indicative of a lot of changes that are happening within our society and even within the human organism”, Penney says, making the connection between what he feels is the continued (meta)physical presence of Grant in his life and an emerging collective consciousness, spurred on by globalisation. “I think we are becoming even closer, approaching this emotional singularity and becoming a lot more in tune with the energy and stuff that we’ve kind of turned away from”. That’s how a conversation around Window and its stark observations across fluidity, intolerance and his all-too-numerous sexual encounters with “straight-identified guys”, that reveals Penney to be less the “anti-parent”, “anti-heterosexual”, “anti-human” as argued, drunkenly, with his parents in Window, and more deeply sensitive to injustice on a global scale.

Window is such an apt title for the book. You’re really opening up a world that is outside a heteronormative scope of understanding. It provides an insight into a whole world of masculine sexual interactions that I, for one, wasn’t aware of.

Alexis Penney: It’s interesting you say that because so many of the reactions, even from my close friends, are like, ‘you’re full of shit, you’re making something out of nothing’. My mother is perpetually coming back to this, ‘I’m sorry, if they’re hooking up with you, they’re not straight,’ but I think what it really brings to light is the fact that our sexuality is so mutable and so fluid. Whether we’re super-binary straight or gay, it’s actually all a very performative, social thing and it really has nothing to do with your biology or even your personality. People are very adaptable and they do crave connections and those connections will definitely transcend whatever physical boundaries you thought you had.

Do you mean ‘performative’ in terms of playing a role?

AP: Yeah, men are so performative. Men, in this society, are such peacocks. They have as many weird rules and social things as we typically associate with femininity, or with women, and they reinforce them even stronger but they have no way to talk about it. There’s no Cosmo for men. Dudes just don’t talk about this stuff at all. It’s really crazy.

We’re not really given an appropriate way to express affection for other men, even for women. Like, in India, dudes that are friends walk around holding hands. Men cannot do that in our culture. I think that drives us to not be able to express ourselves beyond very specific things, like sex. I’ve definitely had an experience of having sex with someone who identified as straight and later they would kind of feel weird about it. I’d be like, ‘I feel like, maybe, you didn’t even want to have sex, you just didn’t have any other way to say that you really like me’.

The flipside of that is sex is a really valid tool of expressing your affection. It’s just that it becomes pathologised by all these other cultural things that we attach to it. It’s definitely a weird situation.

Alexis Penney1 copy

It’s interesting you say that, especially when you consider there are cultures outside a Western one that seem to, in one way or another, make allowance for deviation from that gender binary, however symbolic…

AP: It’s funny because we have this cultural hegemony that we think that we’re the most accepting ones because we’ve studied sexuality, that we know more. But we’ve had our heads so far up our asses scientifically, even with the distinction between homo- and heterosexual. Our culture is so binary and so dualistic in that way. But, actually, that’s a really recent distinction that basically is pseudo-science that was invented by post-Victorian propagandisers; people that would masquerade as scientists, that really just have a political or religious agenda. It just doesn’t make any sense to me.

People’s bodies, their physiology and the way that they express themselves, personality-wise, will really fall into step with the way that society says they should. I even look at myself and I think it’s such bullshit that I’m gay and I don’t have sex with women. I love women and I have such amazing connections with women. I really wish I could step out of that binary that I’m in and just really be totally all-encompassing with my affection but, for whatever reason, I’ve had to fit that role of a gay person.

There’s a very sound political reasoning in activism that maintains this idea of ‘nature’ over ‘nurture’ but you do wonder why the choice isn’t there.

AP: Yeah, along with the other idea, that once you go through puberty, the way that you end up in your late-teens, early-twenties is how you have to end up for the rest of your life. People change so much. Every seven years you have a completely new body, on a cellular level, and yet you have this idea that you find this one career you like, you find this one partner you like and you find this one place you want to live in for 70 years and then you die. That’s so unnatural and it sort of mirrors how sedentary we are, physically; where we just don’t move. There’s no physical activity like there should be and everyone just gets fat and sad.

It’s just one of our cultural failings and it’s a hurdle that we have to overcome if we want to make it as a species, to the next stage of our development into this global thing. We’re going to have to get over these ideals that we’ve imposed on each other because they’re not working. They worked to a point but then there are all these people that are bleeding out of the edges.

Alexis Penney2

That’s what I like about Window. It gives voice, not only to people across the sexual and gender spectrum but a whole lot of people on the margins.

AP: I think it’s important as a culture, as a globalised world, that we really need to step away from the idea of ‘that person over there is very different and we can’t relate to them so much that we have to shoot that person or a drop a bomb on them’. That’s an idea that’s keeping most of the world in some pretty shitty living situations.

For me, it’s my small contribution to be like, ‘hey, housewives in Kansas, I know that you’ve never had a drug fuelled orgy with drag queens but the fact is the reasons that I did that, is the reasons that you got married and settled down in Kansas’. We’re all just trying to be happy; were’ all just trying to do what makes sense for us. We could just get out of focussing on those external differences and out of that idea. It sounds so basic to be almost inane bit it’s such a big deal [laughs].

Speaking of how restrictive the Western perspective can be, it’s quite worrying when you think about it in terms of this ‘New Imperialism’ within a globalised culture.

AP: Yeah. It’s really just like European, American, Western everything is sort of fuelled and disseminated all over the place and we do kind of drive the innovation of all of these technologies that are spreading, allowing us to be so connected. But at the same time, yeah, we do have a dominance of sorts and it is an imperialism, culturally, but it’s such a two-way street. The fact remains that, as much as a coloniser, or a conquering nation, impresses itself on whoever it’s conquering, there’s so much exchange within that and that’s inescapable. It’s interesting, in an abstract way, that that effects everyone within all these cultures. From me to the slave in Africa that’s growing the chocolate that goes into my chocolate bar, we’re all weirdly affected by that and we’re all connected in ways that we don’t understand.

There are a lot of people getting the shit end of the stick and I’m not really sure what the next phase is. Yeah, I can show you, or whoever in this country, that I’m no different than they are but what we really need to do is approach the fact that, not only are you no different to the child slaves in the Congo that are mining the minerals that go into your cell phone but you’re actually connected to that person’s pain. There’s a really huge karmic payload of guilt and we all feel it.

It’s not just ‘white guilt’. It goes farther than that. So much of what we think of as this Western, pervasive anxiety and depression and all these problems, even if you can’t articulate it to yourself, it’s almost like you’re feeling the anguish.

Personally, I feel that everyone is super-psychically connected and you are feeling the anguish that another person doesn’t have the privilege to feel. That stuff gets shuffled around. No person is separate. Everybody’s pain diffuses throughout the world and we’re all hurting together right now. **

Alexis Penney’s book Window is out now through Peradampublishing, as well his album of the same name on Ecstasy Records.

All images courtesy of Alexis Penney from his Sore blog.

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Lauren Devine – ‘Try Sexual’

2 October 2013

An absolute banger from the new face of “trysexuality” Lauren Devine, where the ‘This is How We Do Dubai’ post-pop star takes the smoky-sexy vibes of ‘Just a Little Ready’ up a notch with this new track, featuring Nick Weiss‘ Nightfeelings and Adaron.

Pure hedonism and good fun, there’s a bit of the weird vocal pitching of artist and friend Ryan Trecartin‘s PASTA days and no sign of credits to past  collaborator Laurel Halo. As one of the few artist we at aqnb have on Google Alert, we can only eat, pray, fuck for an album. **

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Gardland – ‘Syndrome Syndrome’

23 September 2013

Getting a release on eminent independent label RVNG Intl., Australian duo Gardland (aka Alex Murray & Mark Smith) will be releasing their album, Syndrome Syndrome, on Oct 28 in the UK. Harnessing the weird energy of the Australian desert during a ten-day, hardware-based wigout, the outcome exists outside of time -a temporal shift only someone from the empty Southern continent could truly understand.

Lead-single and title track ‘Syndrome Syndrome’ is probably one the album’s most primal, moving over arhythmic percussion, the odd hollow metallic crash and bass bounces that peak with a cheesy impression of a dance buildup. The duo also play Krakow’s Unsound festival in October.

See the RVNG Intl. website for more details. **

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String Literal @ TRANSFER Gallery, Sep 20

17 September 2013

Artist Carla Gannis and poet Justin Petropoulos of <legend></legend> orchestrate two artist/ writer collaborations,  String Literal, over two dates at Brooklyn’s TRANSFER Gallery. Following up Anthony Antonellis + Anthony Tognazzini’s ‘Closer.mp4‘ last week, ‘Chelsea Manning’s Pussy’ celebrates women in computing. Having already wowed us with her own Credit Card Curation number porn recently, artist Faith Holland joins forces with Sarah Jane Stoner in recognising Manning in her achievements in dropping a database of the US government’s ‘third world’ exploitations at the expense of her freedom and coming out as a woman the day after being sentenced to 35 years in prison for the deed.

Adding to the list of unheralded women documented in Sadie Plant’s Zeros + Ones, Holland and Stoner celebrate Manning’s role with the exhibition on Friday, September 20, as well as the opportunity for attendees to write, draw or create something to be sent to Manning at the United States Disciplinary Barracks in Kansas.

See the TRANSFER events page for more details. **

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FKA Twigs – ‘Papi Pacify’

16 September 2013

Two of the more intriguing, elusive and thus exciting artists to really rise this year, FKA Twigs (nee just ‘Twigs’) and Arca present another excellent video to follow last month’s ‘Water Me‘, an uncanny valley contribution from director, designer and animator Jesse Kanda. This time it’s photographer and film maker Tom Beard working with the Gloucestershire artist’s vision on ‘Papi Pacify’, in anticipation of her EP2 release out tomorrow, September 17, on Young Turks.

This video features imagery that complements the heavy-physicality-meets-the-‘feminine’-ephemeral that FKA Twigs’ trip hop roots, morphed and mingled with Arca’s bass undertow creates, in generating a sublime and sensual whole. **


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TELFAR X Future Brown

12 September 2013

In a match made in utopia fashion designer Telfar Clemens and our favourite ‘fake capitalist’ Babak Radboy echo the mainstream fetishism of the day by introducing the forthcoming TELFAR line. It’s a collection of customizable sportswear that they describe as neither conceptual nor practical; “highly polished, eminently accessible, yet stranger than any underground production”.

The backing instrumentals come from a track called ‘Marbles’ by none other than 2020 hyper-stars Future Brown. As a band named after an inorganic colour, its an ideal complement to the creepy grins reminiscent of Shanzhai Biennial‘s Yue Minjun-inspired branding campaign, as well as DIS’ ‘Watermarked I Kenzo Fall 2012′. Mind is blown.

See the video below and read a recent interview we did with Radboy. **

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‘Image Employment’ @ MoMA PS1, Sep 5 – Oct 7

10 September 2013

More corporately-driven conundrums from co-curators Andrew Norman Wilson and Aily Nash who follow up to their recent Dream Factory with Image Employment, now running at MoMA PS1, from September 5 to October 7.

Featuring works by artists exploring labour, consumption and what propels them, works like Kevin Jerome Everson‘s ‘Quality Control’ observes the unremitting workload of workers in an Alabama dry-cleaning factory in real time, as well as a typically paradoxical commercial collusion by DIS with its ‘Watermarked I Kenzo Fall 2012’ commission for said fashion label’s menswear collection.

See the MoMA PS1 website for more details. **

Header image: Mark Leckey, ‘GreenScreenRefrigerator’ (2010). Courtesy of the artist and Gavin Brown’ enterprise, New York City

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Huerco S. – ‘Prinzif’

4 September 2013

For house music that sounds as if its been played through a melted cassette tape, look no further than Kansas City born young one, Huerco S. (aka Brian Leeds). He carries on his hybridised Detroit techno and fetishistic focus on the sounds of the distant past, on his album Colonial Patterns, out on Daniel Lopatin’s Software Label, September 24.

Snapping and crackling through its warped sound scape, ‘Prinzif’ is not so much nostalgic as it is a terrifyingly apt representation of just how far and degraded the notion of ‘music as object’ truly is. With Lopatin’s own preoccupations with materialised sounds appearing on his forthcoming Oneohtrix Point Never release, R Plus Seven, on Warp, September 30, the two could very well play foil to each other, adding to the growing discourse around the amorphous nature of materiality in the new millennium. **

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A look into NA, Fade to Mind and the future

3 September 2013

Releases from Fade To Mind, the US sister of the Night Slugs label, manage to be both perfectly contemporaneous and yet simultaneously futuristic, at least in the classically dystopian sense of the word. Absolutely now, they present a music which is overwhelmingly born from, fed and fuelled by information noise. This refers equally to the genre-transcending sounds and also the way they are presented: released in byte-sized chunks – single tracks, remixes, EPs at best, and revealed via SoundCloud in rapid bursts, a swarm of inspirations that result in a high-speed, vertiginous club mix built from grime, garage, hip hop and bass music components. It’s a music born of contemporary modes of exchange and diffusion – Fade To Mind displays an extraordinary level of collectivity and osmosis between the artists, who often tend to team up or remix each other. And yet in the work of Kingdom (the label’s founder), Nguzunguzu, Fatima Al Qadiri and others, there also hovers the older conception of dystopian future; the sense of stimulus-fatigue, the friction of co-existence with alienating mass technology.

Forthcoming weeks bring new additions to the Fade To Mind catalogue. The first of these will be by NA (Daniel Pineda), half of label leading-lights Nguzunguzu, whose ‘sad, sexy, scary’, RnB-meets-footwork sound quickly became a point of reference rather than, as is usual, being compared to other artists, after the duo emerged in 2010. As if Nguzunguzu’s works weren’t foot-friendly enough, Pineda announced that the upcoming EP ‘Xtreme Tremble’ will be more ‘dancefloor oriented’. Listening through the three impactful tracks resolves this seeming-paradox: compared to Nguzunguzu, NA’s solo recordings are further stripped-down, confronting the listener with a sound hi-tech, heavy and minimalist at once, thus moving Pineda closer to the territory usually occupied by Kingdom, and thereby cabling another connection between the Fade To Mind roster.

Meanwhile, yet more osmosis occurs beyond the label – for instance, Nguzunguzu have produced two tracks for Kelela, she’s collaborated with Kingdom and will be dropping her Vocalist mix on Fade to Mind soon, while the spirit of cooperation extends beyond the limit of the label itself. Future Brown –a collective project consisting of Pineda, his original band mate Asma Maroof, long-time collaborator Fatima Al Qadiri, and J-Cush of Lit City Tracks -have released just one track so far (independently from Fade To Mind). The surprisingly simple, hooky, club-friendly ‘Wanna Party’ features Chicago rapper Tink and production from (inevitably!) another Fade To Mind artist, vogue/ballroom-house DJ and producer MikeQ. The slightly trappy track provides a sneak-peek of Future Brown‘s full album, which will also feature Shawnna, Maluca, Ian Isiah and Kelela. Even though there has been little revealed about the project (and the record itself is still in the making), what we know about the project so far suggests it will function as a summary of a certain aesthetic: unashamed genre cross-pollination, a collaborative working policy, and the implicit idea of Web-driven club music.

The imagery Future Brown choose to employ reveals the latter explicitly: they share both their initials and their logo font with Facebook, reinforcing the fact of the Web as an environment in which their brand of music thrives, as much as it does on the dancefloor. The aesthetic employed by Fade To Mind-related artists seems to acknowledge the point that, no matter where the artist ideally imagines their work being played out, in reality it is all-too-often heard through ubiquitous white ear buds or tinny laptop speakers. This may actually have informed the label’s signature sound palette; as per Kingdom’s work, his label’s output teems with the nag of ringtone-synths, a hyper-bright, brittle 8-bit aesthetic and a certain plasticity, which can evoke a Fisher-Price version of Raster-Noton.

Future Brown’s forthcoming LP will most likely be an interesting detour taken by these artists, both when it comes to sound (more hip hop-influenced), as to the shape and length of the album. Fade to Mind’s policy, on the other hand -small doses of singles, EPs and unaccompanied tracks -may have yet more method to it, understood after an extended encounter with their output: whilst many of them are thrillingly heady, attention-grabbing and intense, sometimes their chiptune-on-steroids, cropped and distorted edges make them easy to overdose on. The future, unless taken in moderation, is (as it turns out) a disorientating place to be. **

NA’s Xtreme Tremble EP is out on Fade to Mind September 2, 2013.

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