Jon Hopkins – Tickets – 9:30 Club – Washington, DC – April 24th, 2019

Jon Hopkins

Jon Hopkins

Matthew Dear DJ Set, Ela Minus

Wed, April 24, 2019

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

9:30 Club

Washington, DC

$25

Jon Hopkins
Jon Hopkins


Domino is very proud to mark the return of Jon Hopkins and his new album, Singularity, released 4th May 2018, his first since 2013’s Immunity.

Singularity begins and ends on the same note: a universe beginning, expanding, and contracting towards the same infinitesimal point. Where Immunity – his hypnotic breakthrough LP – charted the dark alternative reality of an epic night out, Singularity explores the dissonance between dystopian urbanity and the green forest. It is a journey that returns to where it began – from the opening note of foreboding to the final sound of acceptance.

Shaped by his experiences with meditation and trance states, the album flows seamlessly from rugged techno to transcendent choral music, from solo acoustic piano to psychedelic ambient. Its epic musical palette is visceral and emotionally honest: with a destructive opener full of industrial electronics and sonic claustrophobia and a redemptive, pure end on solo piano, this album reflects the psychological states Hopkins lived through during the writing process.

Exploring the connectivity of the mind, sonics and the natural world, Singularity is intended to be listened to in one sitting, as a complete body of work.

Hopkins has been incredibly busy since the release of Immunity with nonstop touring and projects including scoring the prestigious Barbican production of Hamlet, collaborations with Natasha Khan of Bat For Lashes and Bonobo. Prior to Immunity’s release, Hopkins was known as an expert producer and remixer of artists including David Lynch, Disclosure, Four Tet, Wild Beasts and Purity Ring. Both Immunity and Diamond Mine (his collaboration with King Creosote) were nominated for the Mercury Prize, and his Monsters film score attracted an Ivor Novello nomination.
Matthew Dear DJ Set
Matthew Dear DJ Set


Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its dancefloor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He's had remixes commissioned by The XX, Charlotte Gainsbourg, Spoon, Hot Chip, The Postal Service, and Chemical Brothers; he's made mixes for DJ Kicks, Get Physical's Body Language, and Fabric mix series. He maintains four aliases (Audion, False, Jabberjaw, and Matthew Dear), each with its own style and distinct visual identity. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with five albums and two dozen EPs plus millions of miles in the rearview of his biography.

Dear's 2003 full-length debut, Leave Luck to Heaven, is a suite of sparse, wickedly funky house laced with Dear's deep, distinctive vocals, and includes the much-loved single "Dog Days" (voted one of Pitchfork's Top 100 Songs of the Decade). The record was met with rapturous acclaim from both the dance-music establishment and the critical press, including a four-star review in Rolling Stone. The 2007 follow-up, Asa Breed, is a considerable departure from Heaven's dancefloor excursions, incorporating the polyrhythms of Afrobeat, the irreverent pop sensibilities of Brian Eno, and the austere beauty of Krautrock. More four-stars reviews followed, and Dear subsequently began touring with a live three-piece band, Matthew Dear's Big Hands, in which Dear acted as frontman, commanding the stage with a Bryan Ferry-like swagger and a gentleman's grace.

2010 saw the release of Dear's watershed third album, Black City, a darkly playful sound-world that envelops the listener like the arms of a malevolent lover. Black City was met with near-unanimous critical praise, earning top marks from Mojo, Uncut, Q, URB, and the Village Voice, ending up on countless year-end lists, and earning Pitchfork's coveted Best New Music nod. A worldwide tour followed, in which Dear and a newly expanded band continued to hone their live chops with vicious focus, as well as a remix EP in 2011 and a run of live dates with Interpol.

In 2012, Dear released Beams, a collection of weird and wild rhythm-driven pop songs. Equal parts optimistic and uneasy, it was both a drastic departure from and a worthy successor to Black City's gothic masterwork. "A forward-looking moment that also serves as the closing on the latest chapter in Dear's evolution," said Resident Advisor in their 4.0/5 review. Over the next five years, Dear would tour internationally with Depeche Mode and Hot Chip, DJ and release music under his Audion alias, and embrace a life of studio tinkering and family time back home. He also accepted a lecturing position at the University of Michigan School of Music and explored creative partnerships with General Electric (a music experiment sampling thousands of their machines, bundled by BitTorrent) and Microsoft (a Cannes Lions award-winning installation called DELQA, premiered at New Museum).

In the summer of 2017, he shared two slyly different singles under his own name: the moody, urgent "Modafinil Blues” and the buoyant, blithe, Tegan and Sara-featuring “Bad Ones." Next came a tour with MGMT and the announcement of Bunny — his fifth full-length released October 2018 — which follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. A dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered. Bunny further confirms that Dear occupies a rarified corner of the musical universe: no longer tethered to any one genre, respected by his peers, and blessed with a bottomless well of creative energy.
Ela Minus
Ela Minus


Colombian (Brooklyn based) multi instrumentalist Ela Minus is a humble rebellion to the overly produced-laptop driven electronic music scene. Ela is a one-woman all hardware electronic orchestra. Following a strong desire to maintain the essence of improvisation both in recorded as well as on live music, she does not use any laptops in absolutely any stage of her production or live performances. She does everything herself and performs live using only hardware machines and her voice.

Originally a drummer, Ela has had a long career as a multi instrumentalist for countless projects. Born and raised in Bogotá, Colombia, she moved to Boston to attend Berklee College of Music where she graduated with a dual major and moved to Brooklyn, NY. She worked there at the synthesizer company Critter & Guitari alongside her career as a touring drummer, as well as her solo career.

Ela’s debut LP will be released in 2019.
Venue Information:
9:30 Club
815 V St. NW
Washington, DC, 20001
http://930.com