Mixology 2022 / Night Three: Speaker Music (AKA DeForrest Brown Jr.) presents new music and a talk that follows the release of his book Assembling a Black Counter-Culture. vhvl (Veronica Lauren) “exercis[es…] presence in the ever-transitional now,” performing work from her recent release hem/sew (RVNG).
Set two: Speaker Music (DeForrest Brown Jr.)
Set one: vhvl (Veronica Lauren)
Roulette’s annual Mixology Festival of electronically engaged artists returns with purveyors of the multidimensional. Taking inspiration from the great multi-instrumentalist Jerome Cooper’s description of his extended drum kit performances as “multidimensional drumming,” Mixology 2022 brings artists working in similar multiplicities, layers and multi-rhythms, for whom instrumentation, medium, and even genre—from techno to noise to hip hop beat tapes to synth folk blues—are, utilizing Cooper’s words, “…synthesized into one instrument.” Guest curated by artist and arts-worker Matt Mehlan.
DeForrest Brown, Jr. is an Alabama-raised, Ex-American rhythmanalyst, writer and representative of the Make Techno Black Again campaign. He produces digital audio and extended media as Speaker Music. His work explores the links between the Black experience in industrialized labor systems and Black innovation in electronic music. He has lectured at Spotify for Artists: Co.Lab, Brown University, Yale University, and has written for Artforum, NPR, Mixmag, and Afropunk. He recently taught a studio course titled (alt) reality at Parsons School of Design | The New School with Jazsalyn Nachelle of black beyond. He was also the inaugural Suzanne Fiol Curatorial Fellow at Issue Project Room, and an artist-in-residence at the Rauschenberg Residency. On Juneteenth of 2020, he released the album Black Nationalist Sonic Weaponry on Planet Mu, and Primary Information will soon publish his first book, Assembling a Black Counter-Culture.
vhvl is the invention of New York City musician and producer Veronica Lauren. True to form and function, vhvl is an acronym for “very high, very low,” a mantra that informed Lauren’s sound spatialization on early productions, beginning with 2013’s album myrrh. A slow-burning fuse of subsequent releases composed and created on the Roland SP-303 and 404 made Lauren’s corner of the NYC cosmos a parallel dimension to the west coast constellation of beatmaking. But whereas her Cali counterparts coalesced in style and over collaborations, Lauren operates outside of context and expectations, never inside someone else’s idea of where her music belongs.