If you’d asked me a year ago which artists best exemplified the state
of the contemporary avant-underground, I’d have said Daniel Lopatin and
James Ferraro, and left it that. No doubt about it. Today, I’d want to
add Daniel Martin-McCormick to the list.
While mainstream pop is busy converging on a single mutant mega-genre
— euro-dance, feat. R&B, feat. hip-hop, feat. rock, feat.
euro-dance, feat. R&B — elsewhere the name of the game is radical
eclecticism and artistic self-difference. Multiple projects and
personae. #keeponmoving @changenotevolution. N E V E R S E T T L E. And
the attitude always seems very deliberate, studied. The musical
sensibility I’m getting at here always seems to have an agenda. This is the era of the concept musician, the PhDJ and their necessary foil the academicritic.
Look how perfectly Daniel Martin-McCormick fits this bill. He first
made a name for himself between 2001 and 2004, releasing two excellent
records with the post-hardcore turned free-improv and general freakout
five-piece Black Eyes. After that, his next project was Mi Ami. Initially Mi Ami did post-punk, though with more than a passing interest in dub. But by 2011’s Dolphins,
the group had discarded the paraphernalia of rock entirely, trading in
their guitars for “ancient drum machines, a sampler that runs on floppy
disks, and the simplest keyboard presets imaginable” (TMT Review). The result was a kind of dystopic, ultra lo-fi electro-pop
that, although it was clearly indebted to old-school house and disco,
nevertheless wore its own lack of roots in the dance tradition firmly on
its sleeve. And if this were true sonically, it was even more obvious visually. When Mi Ami made the shift to Not Not Fun offshoot 100% Silk for their most recent effort Decade, it made perfect sense.
In fact, Martin-McCormick’s association with Not Not Fun had already been established for some time as Sex Worker, probably his weirdest project to date (which is saying something). And when the Ital
moniker emerged in 2011 on a series of EPs for 100% Silk, there were
mumblings right from the very start that maybe this was an artist we’d
heard from before. If it was hard to tell, that’s because this was the
first time Martin-McCormick had abandoned his trademark squawk, hitherto
the only continuity between the various projects. Moreover, this wasn’t
just a surface level difference. It signaled that for the first time
Martin-McCormick might be interested in making straight-ahead dance
music rather than some sort of semi-ironic commentary on it. Not
“hipster house,” just house. And by 2012, he had duly made the move to
the estimable Brighton-based electronic label Planet Mu.
In another era, that’s probably where this brief synopsis would have
ended. In 2012, it’d be wrong of me not to mention Martin-McCormick’s
regular (and high-quality) output as a critic for Dusted magazine as
well. Look at the records he’s reviewing. Look at his favorites of 2010 and 2011. This is a guy who’s not just listening to but theorizing
exactly the same stuff we are. Which is to say E V E R Y T H I N G:
noise, dubstep, techno, punk, footwork, hip-hop, African disco, reggae,
Colin Stetson, Matthew Herbert, Cooly G, Laurel Halo, Hype Williams, and
plenty of Oneohtrix Point Never. And it’s fascinating to notice, for
instance, that Martin-McCormick reviewed Planet Mu’s superb original Bangs & Works compilation shortly before signing to the label and suddenly injecting a heavy dose of footwork into his own sound. The result, “Doesn’t Matter (If You Love Him)” from February’s formidable Hive Mind (TMT Review)
is for my money one of the standout tracks of 2012. The fact that
“Privacy Settings” follows only two tracks later is testament both to
the depth of Martin-McCormick’s talent and to the breadth of his
artistic vision. “Privacy Settings” offers four of the darkest, most
unsettling minutes you’re ever likely to experience. Footwork this
ain’t.
It’s this diversity that makes Martin-McCormick such a tantalizing
proposition. You get the sense that anything goes with him; that’s he
totally unalloyed to genre; that he could go anywhere or do anything
next; that none of the rules apply except when he wants them to, except
when he’s deliberately invoking and exploiting them; that having already
tried his hand at punk, noise, and improv — and admirably so — on his
next album he might simply abandon electronica entirely and move on
again.
He didn’t. Not this time at least...
head here for the rest of the review.
and i did a bit of an artist focus on dmm on my radio show here if you fancy some high quality listening
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