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No Type has blossomed from one of the first Net-based labels to a solid platform for experimental music, touching upon minimalist and improvisational electronics, noise, musique actuelle, renegade electro-acoustics - and with Headphone Science, sliced and diced hip-hop. Exploring cut-and-paste, rough-hewn beat tangents that bear reference to the sampledelia of Scott Herren (PreFuse 73), the slices of Anticon and the dark surrealism of Sixtoo (and possible other Spooky DJs as well), the Science (Dustin Craig) nonetheless also nods to the emotive feel that governs Boards of Canada. Craig recombinates classical melodies with contemporary digital techniques. Microscopic particles are embedded deep within rumbling breaks while traditional piano melodies hold the refrain, a hard-hitting approach that buoys its melancholia. Comparisons in this case are futile, and unnecessary - the Science expands upon sonic directions that are bubbling in the air today, and performs it well enough that the disc fades not, etching into one’s head with repeated listenings. That said, We Remain Faded crossfades its uniqueness into the vagaries of its predecessors and thus orbits the same demons and inspirations that guide the genre’s conventions. Breakout begins to rumble in the Science’s treatment of low, basstone-lines and the use of microsound and inventive percussion. Larcenous demonstrates flashes of inspiration with complicated programming and abstract samples, while the opening instrumental establishes the disc’s watermark. But it is To Dine in Distance that is the soft risk, incorporating a guy-girl break-up conversation alongside acoustic guitar. What saves Craig from indulgence is the supremely disjointed dub-treatment to the instruments and delicate trumpet - a successful experiment.


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Ad un anno dalla pubblicazione di We Remain Faded (produzione interessante e acclamata dalla critica - nonostante la modestia del suo artefice - sotto l’ombrello del suo progetto idm Headphone Science), ci siamo fatti una chiacchierata con Dustin Craig, che di seguito pubblichiamo integralmente.
Hi Mr.Craig. How are you?
I’m pretty good. Thank you for asking.
I’ve heard your nice album We Remain Faded. How could we
consider it? A concept album or an exercise on the artistic path already walked by
artists such Michael Franti, Funkstorung…? Or a sort of document of people “living in
debasement”?
Thanks for the compliments. I’m always amazed that people enjoy that cd because, to me,
it sounds outdated. Those songs were all created, I think, back in 2002 and the cd
wasn’t released until sometime 2003. So they were already a year old when people heard
em. Compared to the stuff I was doing at the time when We Remain
Faded was released, or even now for that case, the music on that cd just seems
really old when I listen to it.
But how would I consider this release?
I just wanted to make a good debut cd that was good to put on and smoke to. This was
going to be my first legit disc and I wanted it to be something that represented me
well and since I’m a smoker hence the title. I don’t think many people got that
though.
What about your audio equipment?
Just a laptop & pc with a bunch of software. I do have a Korg Trinity and a Yamaha
SU700 sampler that I used to use a lot when I was first starting out… but now they’re
just collecting dust, which is sad, but it just became too much to carry all this stuff
out when I would play a show. So I eventually went the laptop route which is a lot
easier and now I find myself using mainly that and a pc when creating; but soon I’m
gonna pull all that stuff out again. I’ve got some ideas on how to incorporate all that
stuff together and get some pretty interesting results.
You seem to refer to scientific matters. What do you think about science and
technology?
In your viewpoint, what are the relation between art and science?
To be honest I never really think about any of this and I don’t really want to come up
with some pretentious answer to try and sound intelligent. My main concern is just to
make music that sounds good and original. Sure the instruments I use are all
electrical, so technology is obviously a part of this music; but what is the relation
between art and science?
That’s like a Richard Devine type question. My music’s not that complicated. Maybe I
can answer this like this though, as technology evolves sounds evolve… but that also
goes for everything in life. Man, that question makes me feel like I’m back in
school.
Let’s folk! What’s your favourite formula? Did you still try to apply it on your
workouts?
Hehehe, what’s let’s folk? I’ve never heard that before. I’m not really sure what you
mean here. I think you’re asking how do I go about making this music? And that’s
simple. I just start with a sound. Could be a drum sound. Could be a glitchy little
pop. Could be a sample from a movie. Could be anything. And then I just build off that
and let everything just shape itself. I try to not give anything too much thought
really. I just focus on the sounds and then you can hear what’s needed or what
direction the song should go.In my opinion, To Dine in Distance
is the apex of The already mentioned We Remain Faded. A sort of
balance between hiphop and abstract jazz, a bit like Dj Krush and Dj Spooky.
Are there any artists or projects comparable to your opus?
Thanks. People seem to really like this one. I think it’s because of that trumpet
sample. It’s pretty perfect. What’s weird is that was the easiest song to make that’s
on that disc. I believe it was all done in just one night. So it’s funny that that’s
the most favorite. Strengthens my belief even more that you shouldn’t try to over think
your music just create and let it develop naturally.
Are there any artists or projects comparable to that song?
There’s probably tons…but I can’t think of any off hand at the moment.
You’re very young. But your debut has been critically acclaimed. We hope the
opinion skilled journalists will not go to your head… What about your future
project?
Well, I always have projects that I’m working on but I don’t really like to talk about
anything until it’s definitely going to be heard. I also don’t want to say I’m going to
do something and then not do it and then have people wonder whatever happened to this
thing that I said I was going to do. It’s just better not to reveal so much you know. I
can talk about a couple things that are coming out soon though. The first would be the
long awaited release of the “Consider the Problems” cd on Skylab Operations. Similar
sound as We Remain Faded… maybe a bit more idm. Then there are
some great comps that’ll have a Headphone Science track on em. The “MD8” comp on N5MD
and the “Fuzzy Boombox v.2” comp on FuzzyBox. Both of these look like they’re going to
be great. I’m a fan of a lot of the other artists that are on those comps so it’s great
to have a song amongst theirs. I can’t wait till I get my copies of these to hear. And
I think that’s basically it. Also, if anyone wants, I just released an ep over at our
own illmatik vibes_delete:thought
titled “Sun Sets Digital” that people can download for free.
What are the differences between your projects Headphone Science and
Elasticlego?
Elasticlego is all the microsound/ambient/electroacoustic/4/4/techno-ish stuff and
Headphone Science is the hip-hop/idm stuff.
As you "promoted" your work through netlabels, it could be interesting to know
from you your opinion on theire future. Finally we could say netlabels are
demonstrating that artistic purposes are overwhelming commercial ones in music
biz?
Well, I think that’s pretty apparent, netlabels aren’t in it for the money. I can’t
speak for everyone but I can talk about ivdt and some of the other ones I’ve been a
part of like No Type, Observatory & Subverseco. And the main focus for each of
these is that it’s all about the music; not the money or fame. It’s about releasing
quality music from talented artists that probably would never get heard due to the over
saturation of mediocre artists out there that flood the other sites like mp3.com and
such. It’s also about giving music away for free. There’s nothing better than getting
some great music without having to pay for it. It can really turn a bad day into a good
one. And for the future of netlabels… I think more and more will pop-up. It seems each
year we gain 50 more; but that’s a good thing, means more music for free.
blogue@press-669_7
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No Type a sans doute marqué un tournant dans son approche musicale autant qu’une petite révolution dans la ligne directrice de sa production, en sortant l’an passé des références aux pourtours «mélodiques». Fers de lance dans des domaines autres, essentiellement la musique improvisée et la création électroacoustique, David Turgeon a ouvert le champ des possibles du label en offrant une alternative musicale qu’on qualifiera de «narrative et rythmique»; l’occasion pour des formations tel qu’Œuf Korreckt, et à présent Headphone Science de laisser libre court à une imagination débridée.
Une aventure que ce Headphone Science, barrée par le capitaine du navire.
Pour ambient que soit le ton général de l’album, s’affiliant auditivement à des formations expertes et trop rares tels que The Orb (et ses premiers chef-d’œuvres) ou FSOL (période Dead Cities), cet album reste profondément marqué par le hip-hop et l’essence de son rythme.
Une atmosphère obscure et ombrée, qui garde pourtant une visée optimiste; un climat sur lequel vient s’agglomérer une formidable foule de rythmiques énergiques, saccadées, finement ciselés comme une exégèse / une interprétation personnelle des travaux mis en avant par Scott Herren voire quelquefois d’Autechre (Air Bubble Material). Dustin Craig (Headphone Science), résident d’Oakland en Californie réalise pour No Type, après divers albums en ligne sur Subverseco et Observatory un We Remain Faded d’une grande lucidité et attractivité (le très jazzy To Dine in Distance). De l’abstract hip-hop qui aurait sombré dans les limbes d’un océan d’ambient. Un excellent moment.
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