DINO FELIPE – DESKTOP DRAMAS.
“Dark-like,and some are just more Nostalgic.All “Quirky” & Melodic as usual.” – DINO FELIPE.
Dino Felipe (born February 27, 1978) is a Miami-based recording artist of Cuban descent. Deemed a “sound wizard” by Pitchfork, he is known primarily for the varying textures of his music, which can simultaneously resemble experimental noise, post-punky cold wave, lo-fi pop, digital bebop  and danceable rhythms. He has also recorded with FKTRN, Finesse & Runway, Hair & Nails, Old Bombs, and several other collaborative projects. He generally makes music using home recording techniques and electronic drums, guitars, bass guitar, a Korg SH-202, FX Processors, Vocals, and various computer software.
His cassettes were discovered by Schematic Records in 2001 which eventually led to his first official release, Dino Felipe : As Flim Toby, on Schematic, prompting Dusted Magazine to refer to him as the “enfant terrible of the Atlanta-Miami bass glitch axis”. After four releases and compilation appearances on Schematic, he began to work with other labels such as Rolax, No Fun Productions,Soft Abuse, Recession Recordings, and Bananas Eat Girl.
Notoriously prolific, Felipe has released and made appearances on 49 albums as of 2010, only half of which are catalogued at his Discogs page. Since 1999, he has collaborated and released with a number of musicians including Otto Von Schirach, Nick Forté  (as Felipe and Forté), Carlos Giffoni  (as Old Bombs), and Wolf Eyes. In 2010, musician R. Stevie Moore recorded a cover of Dino Felipe’s “Been Waiting” on his 2010 album, Space Bar.
1. Dino you’ve…
2. Bahn Bahn
5. Glocks & Shit
6. Her trouble eating
7. Physical Barrier and A Mixer
Totally experimental, atmospheric soundscape track featuring really loud, abrasive, disorienting sound samples expertly mellowed in a breath, tuning our ears, making us airborn and light, waking us up to new opportunities for listening, social interaction and body movement.
Made airborn we land among sunny skies, Palm trees, grass, sand and infinite expanses of blue water. Tropically glitchy, pretty summer synth sounds remind us it is always sunny somewhere, especially in Miami further yet in Dino’s chilled-out backyard where we are invited to rest and spread our wings. Flowing, bright production facilitate multiple dance flight lines.
Super squelchy track with beautiful, weird undefinable guitar-synth (?) lines, structured via unique cuban-asian rhythm patterns precisely cut, inviting us to swim, to frolic, to play. Trains take us away, back into the tunnel of audio noise experimentation via train sounds populated by us hollowed out passengers. A track that grows and melts into your soul quickly upon subsequent playings.
For many of us the telos (or aim) of experimental music is to explore new ways of bringing people together. The whole beat of this track is taken from a sample Dino did rubbing a mic on the face of a dear, longtime friend. We hear her go “uh” and weird monsters grunting emerge, cavernous mongoloid groaning, very detailed low frequency sounds, graphic torturous metallic liquid movements suggesting insects worming into space, travelling, eating. Maximal destruction achieved we’re right there, ears tripping hard, getting close.
5.Glocks & Shit
Then, sinister new Miami Bass dark noise appears catapulting us into some other dimension. Skin-Musculature- Viscera shredding sounds penetrate ear membranes, firing the mind’s eye to conjure explosive, abject, cinematic images. We’re left contemplating the impossibility of a return to normal life after a murder ride. Wicked and intense experimental electronic music.
6.Her Trouble Eating
Things don’t let up as the mis en scene changes exploring the sounds of isolated, solitary psychological states. Few male audio artists are brave enough to attempt to tackle the lived experience of bulimia and anorexia but Dino Felipe appears fearless, concerned and compassionate. Depressing melodies, synth lines tell the story of the dark side, perhaps after those evenings out when moderation is cast to the wind, further fleshing out the Desktop Dramas album title, offering hope and guidance.
7.Physical Barrier and a Mixer
Rounding out and concluding the journey is an all electroacoustic set; an intense assemblage of ambient atmosopheric sound providing space for reflection and breathing, prompting active listening, reminding us to listen to our aural environment as if it were an acoustic composition and to take responsibility for that composition.
Desktop Dramas embraces Detroit Underground’s ethical substance, demanding experimental sound operate as a political force, as an ethical domain where the mysterious power of sound is made free to deterritorialize stratified configurations, this time mapping new sonic geographies linking Detroit to Miami.