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Beacon’s spare, dreamy electronic music lights up the Social

The sub-bass sounds of Beacon add texture to the Brooklyn duo’s live show

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They started collaborating around the end of college, circa 2010, and No Body, their debut EP as a duo, hit in fall 2011. The first six months were dedicated primarily to live performances, doing as many shows as they could around the NYC area.

Influence-wise, they come from two different ends: Gossett is big into the output of hip-hop producers like Pete Rock, J Dilla and Ayatollah, while his counterpart is a major fan of 1990s dance-oriented releases from pivotal British electronic label Warp. The chilly, experiment-friendly sounds of April’s The Ways We Separate, Beacon’s first record, reflect the reality of this convergence.

As for their name, it stems from various sources, and though this all might be the power of suggestion, to me, Beacon develops sound in a way that mirrors its namesake – musical flashes like a lone source of light in a field of darkness.

But the notion of minimalism that’s so important to the band now, Gossett says, is of a malleable sort. If a track calls for them to beef things up, they’ll do it. In the place of sparseness, he identifies another of their early stylistic staples.

“The one thing that’s been constant that will probably remain is this really intense low end in our music. I’m really interested in a lot of sub-bass sounds – sounds that are kind of visceral. Those have a huge impact in a live setting where people can really feel that low end in their body,” he says.

“The bass in our music really grounds a lot of the stuff we do. Everything else is kind of hairy and floating around.”

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