Porter Robinson + Madeon

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SHELTER LIVE TOUR

OPENING ACT(s): Danger , Robotaki

Fri 11/11

Doors 7:30 / Show 8:30
Electric Factory
$39.50 ADV - $45.00 DOS | All Ages | SOLD OUT
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Biography

PORTER ROBINSON “Two years ago,” remembers Porter Robinson, “I only had the inkling of the idea that I wanted to do something different. I needed to do something that was honest and real,” Porter explains. So he turned down countless DJ offers in 2013 to spend the entire year devoting himself to a process of introspection and reinvention. “I figured that one way to develop a unique identity as an artist would be to combine all my favorite things in music — it would result in something that is really personal, a collective expression of my taste and experience. Something nobody else has.” And thus begat worlds (Astralwerks/Virgin EMI), a cinematic excursion that commingles Porter’s technological prowess with his love of evocative melody. His first studio album, it finds an unlikely common ground for Porter’s diverse inspirations: Kanye West’s Graduation, Daft Punk’s Discovery, The Postal Service, and an array of orchestral movie scores. “Sea of Voices,” for instance, is just that: gauzy, feather-light vocals that float above an ethereal-shoegaze soundscape. That track trickles into the “Years of War,” which transfers those levitating vocals onto radiant synth pop propelled by a fuzzy beat. He prolongs that pop euphoria with the anthemic “Lionhearted,” which pushes-and-pulls between ambient sighs and power chords, further rewarding the listener with the glitched-out “Fellow Feeling,” an avant centerpiece that swells from violin-driven sentiment to industrial static, before settling into palpitating chords. Not surprisingly, there’s never been anything conventional about Porter’s introduction to music. The artist’s first foray into music came through the arcade-stomping game Dance Dance Revolution. (These days, he’s graduated to StepMania, which, yes, he totally dominates.) “A huge amount of music that I listened to for a long time, like 200 people have probably ever heard these songs,” he says. “And a lot of it was bad, C-grade emulations of dance music being made in Europe. But something about the tempo was super-interesting to me.” MADEON Born in Nantes 20 years ago, Hugo Leclercq aka Madeon was introduced to electronic music aged 11, when he came upon a documentary about Daft Punk. A year later, he began learning how to make music. He posted some of his tracks online, but declined label requests to release them and other artist’s offers of remix work. Instead, he entered an online remix competition for drum’n’bass band Pendulum. His repositioning of their ‘The Island’ as tough, sparkling house won whilst his remixes on the Yelle “Que Veux Tu” and Deadmau5 “Raise Your Weapon” singles further raised his profile with support from of Annie Mac, Axwell, Sebastian Ingrosso, Steve Angello, Pete Tong, Deadmau5, Alan Braxe, Chase & Status, Skrillex, Knife Party, Porter Robinson, Zedd, Diplo, Martin Solveig etc.. As well as these breathtaking remixes there was the excitement caused by his Pop Culture video that he uploaded to YouTube in July 2011, which featured him performing with his Novation Launchpad controller, as he live mixed 39 samples from pop tracks from the likes of ELO’s Mr Blue Sky and the Gorillaz ‘Dare’ to Britney Spears’s ‘Baby One More Time’ – into three and half minutes of music that has currently had nearly 23 million views. His first official single which he released on own popcultur label, Icarus, was taut electro-house, but its follow-up, Finale also released on popcultur/Columbia Records was “a 92 bpm anthem rock track”. “This was very important for me,” he notes, “because I wanted to test the water of people’s open mindedness.” Madeon’s third single ‘The City’, was he says “a conclusion of a type of style I’ve been exploring and is one of my favourite tracks.”

Videos

  • Danger

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    As a child, I grew up sitting in front of a computer by myself. That is where I learnt about music; playing video games and watching endless reruns of cartoons and American TV shows. Television gave me shelter when I was alone, nursed me with Hollywood’s mythologies. It guided me through nameless countries; with it I brought down colossuses and climbed mountains. I preached its beliefs. But when I grew up, all my heroes died. Today, I still come to mourn in deserted movie theatres. There, lights flash before my eyes. But I don’t feel anything in face of the latest blockbusters and their visual explosions, these chaotic clusters where Mechas and Kaijus pile up in between fights under the rain, tsunamis and apocalyptic scenes… Yet I feel numb, except for the roaring sub-basses that fill the void of cinemas. My music is for those who, like me, have grown up amongst the ruins of blockbusters. For them my bass trembles and my synths screech. But I know that beyond this digital coldness lie other horizons, other possibilities.

  • Robotaki

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    Robotaki: There is a lot more behind the name and the mask than most people may perceive. Coming in to the spotlight with his top-tier remix work, and being recognized for his impeccable sounds, Preston Chin, the man behind the moniker has prepared himself to take on a much greater task. A task that entails enveloping the world with a powerful new take on funk and disco. A responsibility to brighten peoples days and to make people dance. A quest to bring a fresh musical experience to humans that has never been done before. After months in the studio crafting and harnessing forward thinking new sounds and ideas, Robotaki is now armed with an arsenal of exciting original material. Material that will change the world with its superior production. Records and experiences that will lead listeners to question, is he super human?

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