In just a little over two days the Pitchfork Music Festival’s horde of disheveled, breezily attired patrons will again descend on Chicago’s Union Park. Held over the course of three delightful (albeit extremely hot+loud) days and nights, Pitchfork is hands-down the most anticipated independent outdoor music event of the summer. As a returning sponsor of the festival Incase will again be on hand gifting performing artists and festival attendees with a barrage of helpful goodies.

As always, please remember to bring a hat, ear plugs and comfy shoes. Eat something. Drink water. Perhaps even have a nap. Maybe bring a sheet or small blanket for lurking with pals on the lawn. We look forward to seeing you in Chicago soon!

We are excited to premiere a new installment of Room 205 with Ted Leo, who brings us an intimate, stripped down rendition of “One Polaroid A Day” from the album The Brutalist Bricks.

We’re elated to present the third and final installment of Room 205 with Daedelus, featuring a macabre “Haunted Dub” reworking of the seminal track “Sundown” from the 2006 album Denies The Day’s Demise (Mush Records). Daedelus’ vision for his Room 205 project was to “…perform at a séance in a Victorian parlor… Conjuring the music, so to speak.” Is it spooky? Indeed it is, admirably so.

As an awe-inspiring live performer, gifted producer and in-studio session player, Alfred Darlington shapes the disparate elements of sound with a single-minded vision, chopping and splicing seemingly incongruous acoustic sources into works of staggering resonance. His new album Bespoke, is out now on Ninja Tune worldwide.

With great joy, we present to you the second installment of Room 205 Episode Seven, featuring Daedelus (with Young Dad) performing “One & Lonely (Lost Remix)” from the new album Bespoke.

With great joy, we present to you the second installment of Room 205 Episode Seven, featuring Daedelus (with Young Dad) performing “One & Lonely (Lost Remix)” from the new album Bespoke.

Born Alfred Weisberg-Roberts in Santa Monica, CA, producer/instrumentalist Daedelus wanted to be an inventor from an early age. Despite the fact that he was formally trained on double bass and bass clarinet, had studied jazz at USC, and could play instruments such as the guitar and accordion, Daedelus chose to create electronic music, often incorporating samples from the ’30s and ’40s into his IDM and elliptical hip-hop.

An abundant composer, Daedelus has released several acclaimed albums as well as countless singles and side projects. In addition, he has been remixed by (and produced tracks for) many of his peers in the Los Angeles music community including Flying Lotus, Baths, The Gaslamp Killer, and numerous others from further afield.

Look for the third and final performance, “Sundown (Haunted Dub),” to premiere April 18th.

Throughout his prolific career Daedelus has released singles and EPs for Brainfeeder, All City, Magical Properties, Alpha Pup Records, Warp, and Stones Throw. He’s regarded by many as a producer’s producer and a musician’s musician, frequently collaborating with fellow artists and audiophiles to explore new sounds and techniques in the realm of electronic music.

For his Room 205 episode, Daedelus wanted to re-imagine our space as a Victorian-era séance. So, with a bit of help from director Michael Reich and set designer Tamarra Younis, that’s exactly what he did.

With genuine kid-like enthusiasm we present the first installment of Room 205: Episode Seven with Daedelus. “Scaling Snowdon (Slow Climb Version)”. The second and third installments will be available April 11th and 18th respectively.

“When It Comes” marks the final video of our Room 205 visit with High Places. Forming their artistic partnership in May 2006, Rob Barber and Mary Pearson have produced numerous recordings, including two long players. The most recent of which, High Places vs. Mankind (Thrill Jockey Records), marks the first release since the band’s relocation from New York City to Los Angeles, California. Serendipitously, partnering the dense atmospherics and dark beats of High Places with Room 205’s rainbow arrayed yarn sculpture = perfect fun. Enjoy.

“When It Comes” marks the final video of our Room 205 visit with High Places. Forming their artistic partnership in May 2006, Rob Barber and Mary Pearson have produced numerous recordings, including two long players. The most recent of which, High Places vs. Mankind (Thrill Jockey Records), marks the first release since the band’s relocation from New York City to Los Angeles, California. Serendipitously, partnering the dense atmospherics and dark beats of High Places with Room 205’s rainbow arrayed yarn sculpture turned out to be wonderfully fun.

Thanks again to Rob and Mary, and to director Otto Arsenault and set designer Sophia Rubio. Enjoy.

Visual art plays an important role in Mary Pearson and Rob Barber’s collaboration. The two make video projections for their stage shows and create their own album artwork. In this way and others, High Places challenge the conventional parameters of a rock band and instead give us a multi-sensory aesthetic partnership that continually defies expectations. Today we’re excited to present “On Giving Up”— video #2 from the band’s recent visit to Room 205.

Visual art plays an important role in Mary Pearson and Rob Barber’s collaboration. The two make video projections for their stage shows and create their own album artwork. In this way and others, High Places challenge the conventional parameters of a rock band and instead give us a multi-sensory aesthetic partnership that continually defies expectations.

Today we’re excited to present “On Giving Up”— performance #2 from the band’s recent visit to Room 205.