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UID:8025d740-65e0-42ce-935a-46f9732a5676@360exp.net
SEQUENCE:29843118
DTSTAMP:20260928T155710Z
LAST-MODIFIED:20260928T091804Z
DTSTART:20261028T010000Z
DTEND:20261028T050000Z
SUMMARY:Dummy + American Culture + Golomb + Precocious Neophyte
LOCATION:Hi-Dive
DESCRIPTION:There has long been an obsession with what the “future of mus
 ic” looks like. How it will be constructed\, perceived\, analyzed\, inte
 racted with. So much brainpower is put into what’s next\, because we alw
 ays want to be one step ahead. Culturally prescient\, enlightened\, on the
  cutting edge. But what if you sidestep all that noise? What if a band\, f
 reed from the rat race and trendiness\, embraces insularity to the point i
 t somehow becomes the future? With do you love the color of the sky?\, Dum
 my crafts the perfect anti-zeitgeist record\, freezing you into their inco
 rporeal moment of time.\n\nIf 2024’s Free Energy (and its subsequent rem
 ix album\, Bubbelibrium DLC) evoked the spirit of Madchester and the optim
 ism of the rave\, then Dummy’s newest couches itself in a lyrical skepti
 cism that recalls the best of post-rock and drone—think Seefeel\, Windy 
 and Carl\, Laika\, or Disco Inferno—while playfully adorned in jubilant 
 pop hues of early Björk\, The Sundays\, and Madonna's Ray of Light.\n\nWi
 th songs that touch on Earth’s climate degradation (as heard on the prop
 ulsive album opener “April Limousine”)\, A.I. and the devaluation of a
 rt (on lead single “Full Spectrum Dominance”)\, and how we’ve been c
 onditioned into accepting the surveillance state (on the penultimate album
  track “N of 1”)\, do you love the color of the sky? is their most pol
 itically trenchant record\, and yet their most inviting. Breakbeats and th
 e captivating voice of keyboardist Emma Maatman belie a sleight hand—as 
 the listener becomes enveloped by Dummy’s unshakable grooves\, they’ve
  subconsciously accrued a vision of a new radical politic. As Maatman expr
 esses\, “A.I. could not exist without the harvesting of our data and usi
 ng all of humanity’s intellectual property and collective work.”\n\nDo
 n’t worry about the heavy themes though\; DYLTCOTS? straight up rips.\n
 \nGuitarist Joe Trainor and drummer Alex Ewell are specific in their commi
 tment to reverence for the form\, while the melodic toplines of Maatman\, 
 Ewell\, and guitarist Nathan O’Dell stick to your brain without being ro
 te or facile. When “Alluvial Fan” starts with its stretched chord\, it
  thrusts into an arrested mode of effortless cool a la A.R. Kane’s dream
  pop\, Goldie’s jungle (courtesy of O’Dell’s vocals)\, or “Squeaky
  Wheel\,” where sampled guitar feedback recalls Tricky’s Maxiquaye in 
 its assertion of intent\; this is what music\, according to Dummy\, can/sh
 ould/will be.\n\nDespite all the allusions to futurism\, Dummy are a class
 ic band. Not in the retrofetishist\, nostalgia- trapping sense\, but in th
 eir work ethic and commitment to the music. As Trainor recalls of their ti
 me since the release of Free Energy\, “We toured a lot\, around 150 days
 \, and played approximately 113 shows\,” with numerous treks around the 
 US and two trips to Europe\, “...and on larger stages than ever before\,
 ” adds Ewell. “Touring has had a huge impact on us and our music.”\n
 \nThat is a staggering amount of touring and roadtripping\, a feat that ca
 n only be achieved if you truly believe in your art and the power of music
  itself. It stands to reason\, then\, that their latest release has also c
 ompletely shucked the idea of being recreated cleanly in the live setting.
  Ewell acknowledges that performances might go “off the rails” with th
 e amount of samples\, loops\, delays\, and pedals strewn throughout do you
  love the color of the sky?\, but that they also “want to push the limit
 s” of what’s achievable. As Trainor observes\, studio recordings and l
 ive performances are “different sides to the same Dummy coin\,” noting
  that while future touring will “involve more tech\,” their vehemently
  “anti-laptop on stage” stance celebrates precision and letting their 
 frayed edges show.\n\n“Making music shouldn’t be fun.” It’s a haug
 hty claim\, but when Dummy jokingly asserts this\, it comes from a sentime
 nt of earnestness and true love for the game. Contributions that touring b
 assist-turned- full-time-member\, Lance Umble\, imprints onto album closer
  “Heaven’s What You Make of It” suggests a band culture of togethern
 ess and reciprocity\; inclusion for the sake of better art. The blood\, sw
 eat\, and tears of ‘putting in the work’ is what propels do you love t
 he color of the sky? to a triumph—a byproduct of shedding skins through 
 live performance. It’s not a vast departure from their discography\, unm
 istakably them\, and yet constitutes a creative leap forward which almost 
 sounds effortless from the group. It’s a treat to witness a band this cr
 eatively in-tune with themselves\, whose experiments and ideas always hit
 \, who\, when they describe a concept\, actually stick the landing. Maybe 
 the future of music comes with the type of deep self-actualization Dummy p
 ossesses.\n\nWhat a time to be alive\, indeed.\n\nBoletos: https://dice.fm
 /event/q2qwmp-dummy-american-culture-golomb-precocious-neophyte-27th-oct-h
 i-dive-denver-tickets
URL;VALUE=URI:https://360exp.net/events/8025d740-65e0-42ce-935a-46f9732a567
 6
STATUS:CONFIRMED
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