TIN MAN
Global A // Acid Test
Producing music for more than a decade, the named master of the neo acid scene, Vienna’s Tin Man continues to evolve and invigorate with each and every release.
Tin Man is an artist in the truest sense of the word. Over the last decade now the man born Johannes Auvinen has explored an ever evolving sound palette that touches on house, techno and ambient. Much like his namesake’s character in the Wizard of Oz, he has been on a mission to find his true self, except this Tin Man’s medium has been music.
Most recently the California born producer and live act has been responsible for reinvigorating the acid scene with his unique and cerebral manipulations of real Roland 303s. His tracks have been laced with slow and subtly shifting patterns that are infused with a very real machine soul and exude captivating warmth. The finest proof of this yet was his slowly unfolding and tender LP, Neo Neo Acid on Absurd: it was his sixth full length to date and was arguably his most coherent and comprehensive work.
Taking influences from “Chicago and radio pop rock as well as melancholic UK electronics and Sahkö” Tin Man’s extensive discography also explores less sublime and seductive sounds on labels like Keys of Life and Acid Acid, and plenty of raw sonics on albums like Scared. He is also part of The Acid Symphony Orchestra (a live super group that features artists playing on ten 303, 707 and 808) and has turned out a standalone neo-classical and ambient work, Vienna Blue, which proves he does so much more than pure dancing music.
“I started fiddling with music when I was in college,” he says. “I was collecting records, anything electronic; from ambient to techno to computer music. When I was out of school, and had steady work, I bought some gear and then tried imitating the music I liked with mixed results.” Before long though he found a sound that was truly his own and has continued to do so over and over again ever since.
In 2014 this modern acid master plays live on 303s, 707s and plenty more bits of hardware, always creating textured soundtracks on the flying using a range of FX and skills built up over the last decade. He never fails to make people dance to his beat whether he’s playing festivals in Japan, influential clubs in Europe or dirty back rooms across America and puts most similar acts to shame.
LDY OSC
The Bunker NY
Alyssa Barrera Auvinen, who would become LDY OSC, grew up in Laredo, Texas on the conflicted border between the United States and Mexico. “I learned at a young age that you don’t have to follow the system” she tells us. Her musical trajectory began in her teen years with an older brother who played in an Industrial band and feeling a connection to the rage of heavier sounds. By late adolescence she was immersed in electronic music and would travel to Monterrey, Mexico to see DJs play. She began to DJ with encouragement from her father, a rooster breeder and cockfighter who drove her to play gigs in Mexico, landing her at clubs such as Aura, Topaz and Bar Americas. Teaching herself electronic music production techniques, Alyssa eventually moved to New York City to attend school, earning a BFA in Liberal Arts and Science with a Major in Music and Sound Engineering. While in school her classmates called her Lady Oscillator because she was always geeking out, building synthesizers and modular kits, and thus LDY OSC was born.
Alyssa’s artistic trajectory really began to coalesce when she connected with future bandmates Todd Sines and Charles Noel in 2015. Their project evolved to become a band called Artefactos de Dolor (which has a double LP coming out in November 2018 on Helic.al records). While she has long been a collaborator on synth pop and punk projects, LDY OSC says that one of her vocal techniques for the “Magic² of 8” EP for The Bunker New York, was a different process: “I record all the tracks first, and then once I am ready to record the vocals I listen to the overtones and harmonics that the synth lines have created. I then can catch with what is already there, the tone and rhythm for the vocal. I also do other strange things like playback the vocal, open the window, and let the vocal combine with natural air. “ The result is a record that breathes and hits hard on a dancefloor, retaining the humanity of LDY OSC’s vocal explorations alongside the machine soul of her synthesizer manipulations.
Harmon Giddles
Domelandia // Austin TX
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