Dino Felipe's Discography Hits the Big Five-Oh!
|Dino Felipe celebrates the release of his 50th album.|
In this age of instant access and oversharing, demos are pressed on vinyl and every piss, moan, and fart ends up streaming on the internet. Across genres -- from nü-Fonz garag to table noise, and blog micro-genres like witchhouse and chillwave -- lazy practitioners smudge the distinction between being prolific and an inability to filter.
While the volume of his output may resemble that of a narcissistic home-taper with wireless, the dynamic quality of Dino Felipe's catalog positions itself comfortably above the over-released lo-fi fray.
Dino is known in the South Florida experimental music scene for being a shapeshifter capable of summoning a manifold bouquet of genres and influences. He made his first recording at the age of six years old. Of course, it's on a cassette. And of course, he's still got it.
Since then, as a solo artist and in collaboration with groups like FKTRON and Finesse and Runway, amongst others, Dino has released an avalanche of fully realized, worthy-of-documenting snippets and statements. On the eve of his 50th release, Please Enjoy This, Crossfade sat down with Dino to get the story on some of our favorite moments from his discography.
At 17, Dino became pen pals with Wolf Eyes member Aaron Dilloway, and the pair quickly struck up a regular exchange of music and words. When the industrial/power electronics pioneers had a last minute venue cancellation in Atlanta, Dino invited the group to perform at his then-residence for what we can only assume was a completely deafening breakfast nook session. Old Bombs was Dino's snail mail project with No Fun Production's honcho Carlos Giffoni and FKTRON collaborator Vanessa Payes. Giffoni would record on a four track and mail the material to Dino and Payes for their contributions. Dino describes the band as "experimental vacuum cleaner soundscape" music.
His sophomore release for Miami's benchmark electronic label, Schematic, Xanaxconversex is a twitchy laptop record that encases breakcore freneticism within a chewy electro-pop wrapper. Dino describes the music on his first release for Schematic, As Flim Toby, as "impressionistic moods" and initials experiments in "sound design", while Xanaxconversex is a more unified statementn. "It's pronounced ZANA-CONVERSEX," he explains. "The second 'x' is silent."
Dino sent Carlos Giffoni a CD-R loaded with harsh vibes, hoping the noise impresario would be moved to release the material through his No Fun imprint. He never heard back, so he sent Giffoni another album's worth of material, only this was one of his most analog, pop-rock oriented recordings in years. Giffoni took the bait, Pitchfork took notice and all of a sudden Dino was onstage opening for Glass Candy and Ariel Pink at Studio A.
This record is Dino's first "beat-free" album. It's also his return to Schematic after seven years. He describes the music as electro-acoustic, utilizing tangible instruments as well as synthetic sources. The album is the most recent chapter in his ongoing experiments with concurrent interrogations of digital and analog sound. P.S. Dino highly recommends the accompanying YouTube videos by Damian Rojas.
The inaugural release on Otto Von Schirach's Triangle Earth imprint, Dino's final release of 2010 found him improving upon the pop-rock template of No Fun Demo. He says people have told him it sounds like a darkwave album, even though he personally considers it "celebratory" and "nostalgic." Its recent release may have something to do with Dino's outrageous claim that it's the only one of his 50 releases he's proud of.
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