This weekend at the St. Petersburg Museum of Street Art will host the second festival of electronic music Present Perfect. On the night of Saturday to Sunday, 40 musicians and bands will perform on four stages. A small garden will be set up on one stage, and a Boiler Room party and broadcast supported by adidas Originals will take place on the other. Life around talks about festival headliners and musicians worth paying attention to.
King midas sound
22:00, the main scene
Three people play King Midas Sound - musician Kevin Martin (aka The Bug), vocalist Kiki Hitomi and poet Roger Robinson - and it looks more like a creative association rather than a musical group. First, they reviewed the bass music of the late 2000s, showing that it has no boundaries: it can be a song with fragile vocals, trip-hop, rude recitative. Then King Midas Sound went as far from electronic music as possible, and became a creative association even more. The trio began recording a series of four albums, each with a new guest musician. The first is with Austrian guitarist Christian Fennesch, who taught King Midas Sound to make songs even quieter.
20:30, the main scene
Travis Stewart made a name for himself when, in the early 2010s, he figured out how to rethink juke, broken rhythm and bass music. He did this under the main pseudonym, and as part of the Sepalcure duo. Machinedrum sounds like a Chicago juke record was dug up at a music fair in the distant future, and then made a dub remix on it. The music was slowed down, added noise and melodies from some other genre. Stewart did not let go of this idea - his last work makes the juke even stronger, mixes it with the surf and sounds like a remix of itself. If the techno and direct barrel are not interested, then it is worth going to the Stuart set.
Plaid & the bee
23:00, the main scene
The duet of Andrew Turner and Ed Handley for the past ten years has been not only about music, but also about experiments with it. How does she interact with the video (the album "Greedy Baby", which is associated with the video art of Bob Jeyrok), what can it do for animation and cinema (soundtracks for the anime "Reinforced Concrete" and the film "Heaven's Gate"), can it be taken apart, and then Re-assemble IDM standards (last two albums). Even if you forget about it, Plaid are important musicians who created IDM in the 1990s and played with Björk. Their performance is for those who do not want fast music, but are going to listen and think. At the festival, the duo will perform with multi-instrumentalist Bennett Walsh, who recorded the last album with them.
In aeternam vale
01:00, scene Boiler Room
Frenchman Laurent Prot recorded almost all of his things 30 years ago, but most of the listeners found out about it only after 20 years. In 1983, he coined In Aeternam Vale (a phrase that is abbreviated as Iav, the pronunciation of which matches the name of the god Yahweh in French) and began to compose at home. Prot liked to work fast and in six years he recorded 200 tapes with a ghostly minimalist techno. He did not know what his colleagues were playing and improvised, so his sound was different from everything that was done then. But then he abandoned the music. Ten years ago, Veronika Vasika found her recordings, which collects unknown electronics from the 1980s and reissues it on the Minimal Wave label. The prot is still rarely speaking - does not want to repeat itself.
01:30, the main scene
If you choose the most honorable musicians with a long history at the festival, then you should stop at the duet of Tommy Hamilton and Keith Tucker. They have been playing since 1985, during which time they managed to scatter and form bass techno. Aux 88 sounds good perky and crazy. At the festival, there is simply no other group that can give a powerful, danceable and nostalgic set.
00:00, scene Boiler Room
For 15 years, Finn Tatu Metsatahti has done two important things for his native scene. In the late 1990s, along with Tatu Peltonen, he played in the popular duo Mr Velcro Fastener and influenced the northern electro. And in the late 2000s, along with Randy Barracuda, he became responsible for the development of the Squee genre, the Nordic slow-motion R&B with overloaded synthesizers. Their collaborative label Harmönia released collections with promising newcomers and releases defining the future of style. Both Squi and Harmönia no longer exist, but Metsatahti seems to still be experimenting with that sound: it slows down the rhythm, winds up the synthesizers, and ironizes with the electro. But his sound went far ahead.
00:00 - the main scene,
03:00 - scene Boiler Room
The German Rene Pavlovic invented so many names (about ten) that he seems to not remember everyone. At the festival, he will perform twice. First, under the main pseudonym Shed, under which he writes a peppy techno and was released on the 50 Weapons labels of the duet Modeselektor and Berghain. And then with his relatively new project Head High with memories of breakbeat and British hardcore. Two projects became opposites of each other: the first - more serious, the second - about unstoppable tracks for dancing.
20:00, DIY scene
Muscovite Yana Kedrina is so fond of Russian pop music of the 1990s that her songs are easily confused with things recorded at that time. Pitchfork compared Kedrina to the early Boards of Canada and Grimes, 2MR released her debut album, and she recently toured the United States.
06:00, scene Boiler Room
27-year-old German Helena Gauf loves to complicate. She is afraid of losing touch with reality, writing in music editors, so she bought herself analog synthesizers. She would prefer a conversation in a pub at five in the morning on Facebook. She would rather perform in a small club a stone's throw from the audience, and not at a large festival. She travels a lot, but never got a credit card. Gauf made her debut with a viscous and sometimes psychedelic techno on Werkdiscs, the label of the musician Actress. On her sets, she puts what she writes herself: mechanical and dirty things. Gauf speaks after Dasha Rush, and since there is a lot in common in their music, the two sets are interesting to compare.
04:30, scene Boiler Room
Rush has such a biography that it is difficult to imagine it as a musician of one country: she grew up in the USSR, met raves in Russia, in the 1990s she became a model in France, in 2004 - she opened two labels (Hunger to Create and Fullpanda) and started record techno in Berlin. If you listen to her latest album and recordings five years ago, it seems like they are two different people. Then there was music for the dance floors, now - a slow and monochrome sound that hangs between the ambient, techno and trip-hop.
Cover: Ninja Tune