Nicolas Jaar

FYF Presents

Nicolas Jaar

Floating Points, Pond

Mon, April 17, 2017

Doors: 7:00 pm / Show: 8:00 pm


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This event is all ages

Outside Show

7pm doors

8pm Floating Points

9:30pm: Nicolas Jaar



POND 1130pm

Nicolas Jaar - (Set time: 9:00 PM)
Nicolas Jaar
tickets are general admission and non refundable.

No Outside Food or Beverages.

Set Times are Subject To Change

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For nearby lodging, look under "Places To Stay"
on Pappy's links page

Jaar is a Chilean electronic music producer, mixing engineer and DJ based in NYC.

He spent his teenage years in NYC Dance music circles, contributing Dance records to label Wolf+Lamb from 2007 to 2010.

In 2011, he released his debut album Space Is Only Noise on French house label Circus Company.

In 2012, he debuted a live concept called From Scratch at MOMA PS1 in Queens, NY. It was a five hour, chance-based concert where Jaar sampled records he had never heard. He was accompanied by a diverse crew of artists that improvised along with him. Since then, he has performed From Scratch at the Museum of Modern Art in Denver, Colorado and Montreal.

In 2012, Jaar made his BBC Radio 1 Essential Mix' debut, which was voted Radio 1's Essen­tial Mix Of The Year of 2012. In 2013, Matador released the debut album from Darkside, Jaar's project with his friend Dave Harrington. The band toured the record for the entirety of 2014. The show was based around a giant cir­cular mirror that only rotated clockwise. In 2015, Jaar released an ambient record entitled Pomegranates, which he intended as an al­ternate soundtrack to Armenian film The Color of Pomegranates.

Later that year, Jaar scored the soundtrack to Dheepan, a thriller by French filmmaker Jacques Audiard about a family of Sri Lankan refugees living in the suburbs of Paris. It was the winner of the Palme d'Or at Cannes 2015.

Throughout 2015, he released three Dance 12" records entitled Nymphs II, III and IV. Nymphs IV was released on belgian techno label R&S.

Jaar is the founder of the New York based imprint Other People. OP has released spoken word by Lydia Lunch, juke by DJ Slugo and VTGNIKE, and ambient by Ezekiel Honig.

The label also features a number of recordings by Jaar's close friends including Har­rington, Epstein (High Water), Solpara and Valentin Stip.

Sirens is his second full length solo LP. It features 9 songs and was released on the 30th of September 2016.
Floating Points - (Set time: 8:15 PM)
Floating Points
It was the arrival of a Studer A80 master recorder at the front door of Sam Shepherd – otherwise known as Floating Points – that caused him to begin building the studio that led to the creation of his debut album, Elaenia (due out via Pluto in the UK and Luaka Bop in the US on 6 November). After a slight miscalculation meant that he could not physically get the thing inside his home, what happened next can only be described as a beautiful example of the butterfly effect. Breaking away from making electronic music on his laptop, the DJ, producer and composer spent the next five years engineering Elaenia, all the while deejaying in cities across the globe and working towards his PhD in neuroscience. An incredibly special album that draws inspiration from classical, jazz, electronic music, soul and even Brazilian popular music, Elaenia – named after the bird of the same name – is the epitome of the forward-thinking Floating Points vision in 2015.

From an early age, Shepherd's mind has always been musically inclined. As a chorister at Manchester Cathedral, he developed his musicianship through performing up to six services a week whilst at the same time studying piano and composition at Chetham's School of Music. There, he undertook lessons which not only improved his technical knowledge but developed his love of electronic and jazz music too. "That time was crazy – I was listening to Bill Evans and Morton Subotnick, Kenny Wheeler and Toru Takemitsu amongst many others all on the same day," Shepherd recalls. "These inspirations have stuck with me all the way through to making this record."

Growing up in Manchester, Shepherd was constantly upheaving his parents' house, turning it into a makeshift studio that allowed his highly curious mind to do as it pleased. There would be a drum kit in the living room – a cello in the kitchen – wires trailing every nook and cranny all the way up to his bedroom. When he eventually moved to London to attend university, he lost that creative freedom, yet refused to let the ensuing years of limitation affect his work by making idiosyncratic electronic music on his computer – a move that put him firmly on the radar with records like 'Vacuum' and 'Shadows'. "The first stuff I put out was around that time," he explains. "All this time, I wanted to be sharing my other, live music – but recording was prohibitively expensive."

It was these prohibitions (and a lack of space for his ever-growing collection of equipment) that led Shepherd to relocate to a London-based studio. Having more room allowed Shepherd's music to reach much grander and ambitious heights, his work with the Floating Points Ensemble paving the way for things to come. Shepherd's collection of equipment continued to bloom, and on Elaenia, the range of instruments he played himself is astounding: the Oberheim OB8, Arp Odyssey, piano, Fender Rhodes, vibraphone, marimba, Rhodes Chroma, Buchla 101, 200e and100 series modular synthesizers were all performed by him, resulting in a distinct and personable sound that echoes throughout the whole record. "I was lucky enough to spend some time in Vancouver with Richard Smith, who has the most formidable early origin Buchla setup," he says, 'For Marmish' came from there, but a lot of the noises that came out of the sessions ultimately bent my mind and served to refresh my use of electronics. The Mood Hut guys introduced us – spending a few days at his recording studio was a dream."

The more time he spent in London and DJing around the world, the more friends Shepherd made and recruited for the current incarnation of his band. On Elaenia, Tom Skinner and Leo Taylor contributed drums (Skinner playing on 'Silhouettes I', 'II' & 'III'), with Susumu Mukai taking up bass, Qian Wu and Edward Benton sporting violins, Matthew Kettle on the viola and Joe Zeitlin on the cello. Help was also on hand for vocals, with Rahel Debebe-Dessalegne and Layla Rutherford both lending their voices alongside Shepherd's own. Every moment on Elaenia is intricately and meticulously executed – every noise finely tweaked and tuned to perfection. "I got the Rhodes Chroma in the middle of recording," he remembers. "It's a funny machine, since it only works properly for thirty minutes every six months. When it's working though, it's phenomenal! I had bits on the record I was waiting months to record just because there was a particular sound I wanted from the Chroma."

Like his contemporaries and good friends Caribou and Four Tet, Shepherd has nurtured the Floating Points name into one renowned for ambitious and forward-thinking DJ sets, having performed all over the world at events and clubs such as Output NYC, Trouw, Sonar, Unit Tokyo, Panorama Bar and, of course, Nuits Sonores (which lent its name to his seminal track from summer 2014); as well as the much-missed Plastic People, where he held his monthly residency for five years. His love for digging through recordings from around the world is just as huge as the venues themselves – Shepherd has an ear for everything from Brazilian legends such as Jose Mauro, Gal Costa and Hareton Salvagnini right through to the 1970's Embryo Records band Air. Overall, influences on Elaenia run wide and deep and are charmingly eclectic – Shepherd names Laughing Stock by Talk Talk as a critical influence in the making of the record, for example, as well as the leftfield leanings of Circles by William S. Fischer.

For the past ten years, all roads Shepherd has followed have slowly been leading to Elaenia – an album with roots deep in his formative years that draw upon everything Shepherd has done to date. His debut album proper, Elaenia is the culmination of all things Sam Shepherd: the Eglo label boss, the ensemblist, the producer, scientist and visual artist – and that's only scraping the surface. He created the artwork for Elaenia himself by making a harmonograph from scratch, and set it to various light sources that responded to the album track 'For Marmish'. "I saw a harmonograph on display at the science museum in London a few years ago, as well as a couple of drawings produced by the machine," he explains. "The shame of it though was that you didn't get to see it actually in action. So I built one" Like much of Elaenia itself, the artwork is meticulously crafted – Shepherd used fibre optic cables, photograph paper, even a modular synthesizer to generate light pulses. He gave the same attention to detail to the artwork as he did every moment Elaenia, an album that is almost a hundred percent hand-crafted from compositions right down to its instruments.

The mesmerising ebbs and flows of Elaenia span moments of light and dark; rigidity and freedom; elegance and chaos. There is the lush, euphoric enlightenment of 'Silhouettes'', a three-part composition that acts as a testament to those early days Shepherd spent playing in various ensembles – complete with an immensely tight rhythm section that ends up providing a cathartic, blissful release. Elsewhere, Shepherd's knack for masterful late night sets bare fruition to the hypnotic, electronic pulse of 'Argenté', a welcome change of pace. "I certainly like pauses in DJing," he explains. "Especially in all night sets where I assume dancers would welcome moments of calm… why not! Plastic People taught me that. When I think of the forty or so minutes of this album, there are moments of dance, and moments of utter stillness. I've found that with my dancefloor productions, patience with build ups can make that release all the sweeter." Elaenia draws upon the many parts of Sam's life, from DJ to artist to inventor, and provides the clearest context of his musical skills to date – it's the end result of the direction he has always been moving in.

By the time the final track 'Peroration Six' comes around, that release is sweet indeed. Building euphoria upon layers of driving basslines, untamed drums and soaring electronics, the result is one of the biggest tension-and-release moments in music this year – a skyrocketing end to a mammoth five-year journey that sees Shepherd play all of his cards at once; eschewing spiritual 3am electronics with the jubilation of his previous dancefloor-ready singles and the intricate and highly ambitious essence of his DJ sets. Elaenia is a series of suites designed to be devoured in one sitting that has its own unique voice, with only one track – the title track – speaking a direct and tangible story, relating to a dream Shepherd had about a migrating elaenia's life being absorbed by a forest.

Ultimately, Elaenia packs performances that are at times delicate and intense – the first full-bodied, complete Floating Points work so far, and provides context to the music that Shepherd has been making to date. Every DJ set he's performed, every talent he has produced, every composition he has written are thought of as precursors to Elaenia – a dazzling score which puts Shepherd in the spotlight as a composer who has produced an album that bridges the gap between his rapturous dance music and formative classical roots.
11:30 pm

What do you call a group of psychedelic songsters all grown up? A group who were often considered the younger sibling, who have come into their own? Artists who just released their best piece of work yet, and musicians who unleashed one of the rowdiest and strongest live touring sets 2014 witnessed? You call them POND.

2014 unveiled the full-formed POND and the Northern Hemisphere barely survived. POND supported the Arctic Monkeys throughout Australia and then jumped on the next plane to Europe. There, POND stunned audiences at Primavera Spain + Portugal, UK festival Field Day, and brought the house down, every night, across their UK/EU headlining tour. Touring with Nick Allbrook (Vocals / Guitar / Astronaut), Jay Watson (Drums / Vocals / Dad Jokes), Joseph Ryan (Guitar / Bass / Vocals / Actual spaceman), Jamie Terry (Keys / Good vibes) and with barely a breather between, POND tore through North America, with sell-out shows ranging from one coast to the next, bouncing between countries like a pogo-stick. Pond's 6th album "Man, It Feels Like Space Again" hit the shelves January 23 (AUS) / January 26 (UK/EU) / January 27 (US) 2015, with more festivals and headline tours booked around the globe to showcase the new tunes and support this stellar album release.

"Man It Feels Like Space Again" was recorded in Melbourne Australia and once again mixed by buddy Kevin Parker. The band showcased "MIFLSA" songs throughout their first headline tour of the US in October. Starting at a festival in Mexico, heading to New England, traipsing through Canada, and back down the west coast, POND pondered, why stop there? After their sold-out Los Angeles Halloween show, POND ventured south to play music festivals in South America, where audiences exploded upon hearing "MIFLSA"'s hits and partied-hard with the melodious entertainers.

Hailing from Perth, Australia's POND formed in 2008 after good friends Joseph Ryan (Mink Mussel Creek), Nick Allbrook (Mink Mussel Creek, Allbrook/Avery, Tame Impala, Peter Bibby & His Bottles of Confidence), and Jay Watson (Tame Impala) hit upon the idea of an all inclusive, ego-free collaborative, so the boys immediately recorded their debut album "Psychedelic Mango" with a little help from good friend Kevin Parker (Tame Impala).

Since the beginning, POND wrote music and produced records faster than a label could release them. POND followed up "Psychedelic Mango" within months, releasing "Corridors of Blissterday," a frenzied effort recorded live with an eight-piece band in 2009. A year later, their third album "Frond," a kaleidoscopic classic, dripping with funk and falsetto, loosely inspired by a diet consisting only of Prince and Fleetwood Mac, delighted audiences Australia-wide. "Frond"'s release finally realised industry attention and praise, solidifying the band and their music in its own right. "Beard, Wives and Denim," their 4th album, was recorded on a farm a few hours South-West of Perth. "Beard, Wives, Denim" is a triumph of the eclecticism and good humor that drives POND.

Upon "Beard, Wives, Denim" release in March 2012, global attention shined its light upon the Perth gang. A North American tour ensued, smashing through 31 shows -- including 8 at South by South West -- where they were one of the most talked about bands of the festival. From there, they returned home to Australia and sold out a national tour before storming UK and Europe, causing NME to tout them as the "hottest band in the world right now" as well as proclaiming "Beard, Wives, Denim" as "quite possibly the best album released so far this year."

In August 2013, POND gifted to the world their 5th LP in as many years, "Hobo Rocket." "Hobo Rocket" is 40 minutes of perfectly imperfect emotion, challenging veteran listeners and music reviewers with an evolved and vigorous sound. Singer Nick Allbrook describes the release as the "...kind of mindset of finding our own little place in music, and being more of a functioning band, which is what makes it noisier and denser. This one we went as brutally hard as we would at a show. We wanted the songs to sound loose and live."

Enthusiasts and music aficionados world-wide agree MIFLSA is POND's most focused composition to date. This mirrors their touring efforts, dynamic and enthralling live show, media buzz and essentially, the maturation of a musical career a long time in the making. Maybe it's not such a bad thing growing up, especially when it's this much fun!
Venue Information:
Pappy & Harriet's
53688 Pioneertown Road
Pioneertown, CA, 92268