A few weeks ago Nick Butler posted this track, which directly challenged my manhood when it came to filthy, grimy, disgusting dubstep. What Butler doesn’t know is that I carry trash bags with me on a regular basis. Enjoy this particular overseas artifact, which proves that everything in Japan is indeed dirtier.
One of my great regrets from this year’s Coachella was not being able to catch Swedish-American electro trio Miike Snow Sunday evening, but I wasn’t going to miss Spoon on the main stage and Phoenix’s ridiculously energetic set. God bless Los Angeles, then, for hosting four (!) separate dates by the pop uber-producers, whose only non-sold out show was the one I made it to a half-hour away in Pomona last night. I was worried that this would be the band’s weakest set coming at the tail end of more prominent shows in Hollywood, but they put on a four-hour set that might crack my Top 3 concerts of all time once my ears finally stop ringing.
Although there were still tickets available at the door, the Fox Theatre, a mid-sized theatre with a sizable balcony, was still packed almost to the brim by the time openers Canon Blue headed off and Miike Snow arrived to the tribal beat of “Cult Logic.” Along with singer Andrew Wyatt and DJs Christian Karlsson and Pontus Winnberg, the band had enlisted another keyboardist, bassist, and drummer to put on their entirely live show. The band’s superb eponymous debut, released last summer, was a largely electronic one, but the group played everything live through what looked like some very expensive sets of synthesizer and DJ equipment. They also came out inexplicably decked in Jason-esque masks that weren’t removed until the charged wall-of-sound guitar solo that ended “Black & Blue” about halfway…
We’re generally encouraged to post new tracks here, but as I haven’t quite given Sunderland four-piece the Futureheads’ fourth record, The Chaos, a proper listen yet, I didn’t really have any relevant options. Then I remembered this supremely unique, supremely awesome Kate Bush cover (listen to the original here), which pretty much launched the band’s career back in 2004. It’s everything a cover should be – fun, tongue-in-cheek with the proper amount of respect, and arguably better than the original. The only shame is that the band still hasn’t come close to topping it six years later.
The Chaos comes out this Tuesday.
If there’s a band that better embodies summer than Philadelphia-based five-piece Free Energy, I haven’t found it. Driving with the windows open, hitting up the beach, lazing away on the couch with absolutely nothing to do or plan other than doing whatever the hell you want – summer is just as much a feeling as it is a season. And Free Energy’s superb debut, Stuck on Nothing, encapsulates that indescribable sense of freedom better than anything I’ve heard all year. Summer’s here: don’t let it go to waste.
After solo albums by practically every member in this indie supergroup, Canadians (and Virginian fox Neko Case) the New Pornographers released their fifth album today, the aptly named Together. I wanted to pick a lesser known song then their first single for this Track of the Day, but damn! it’s just too good. One of the most propulsive melodies on the record lit up by a killer lead vocal by Case and surprisingly apocalyptic lyrics coming from one of music’s sunnier bands. After her strong performance on this album and last year’s Middle Cyclone, I’d have to consider Case in my top 3 female indie vocalists.
“The ruins were wild / Tonight will be an open mic.”
Dutch DJ trio Noisia have long been fixtures in the drum ‘n bass scene, but new album Split The Atom is way too filthy for any one genre. Electro, house, breaks, dubstep; all and more are incorporated on the sickest party record of the new decade, and single “Machine Gun” is perhaps the best representation of this mish-mashing of styles. There are plenty of excellent remixes of the song as well (YouTube the 16Bit version if you don’t mind showering afterwards), but the original is still the most guaranteed to kick any party into high gear. Like if Darth Vader DJed a rave.
Waking up from a generous two hours of sleep on Sunday didn’t really do wonders for my outlook on the day, and it was obvious from the moment I entered back onto the festival grounds that a lot of people felt the same way. The whole vibe on Sunday was entirely different from the rest of the festival, a feeling of comedown shaded with “I can’t believe this is almost over.” It was sort of depressing, but the lineup more than made up with it with more of my favorite bands than either of the two previous days.
I first proceeded to the Sahara to see English dubstep producer Rusko, despite my earlier promise that I couldn’t handle any more wobble in my life. Rusko has always been more accessible than the darker dubstep that many of his countrymen prefer, injecting elements of house and dance with an upbeat sound that had the mid-afternoon crowd shaking off any Tiesto hangover they might have brought along. Following that I hustled over to the Outdoor Stage to see a bit of Deerhunter’s trippy live act, a frenetic set unfortunately marred by numerous technical difficulties. Bradford Cox’s unveiling of a new Deerhunter song that name-dropped “Coachella 2010” in the chorus was the clear winner amongst the crowd.
Florence and the Machine had the Gobi tent packed far past capacity by the time the redheaded songstress finally made it on stage fifteen minutes past…
Woke up at seven in the morning, went to the communal showers at the campgrounds, finally succeeded in showering by 9:30. Did I mention camping was a terrible idea? Although I had marked down Portugal. The Man as my likely first set of the day, the intense heat at the campgrounds had me headed for any shade I could find at the festival. I decided to hit up Rx Bandits on Sputnik’s recommendation and was presently surprised – despite the rather small showing thanks to the early (12:30) set time, the band played their hearts out on the Outdoor Stage, causing a number of passerby to question who they were. The guitar dueling between Matt Embree and Steve Choi was a particular highlight, the group making a good case for a later time slot next year with a high-energy set that leaned heavily on the group’s newest album Mandala.
Portugal. The Man predictably tore it up over at the Gobi stage shortly after two, playing to a crowd that was already spilling far out of the tent by 2:30. The band was expansive and appropriately psychedelic in the desert heat, with frontman John Gourley leading the way with memorable guitar lines and a confident vocal performance that the crowd took to immediately. The best received were those off The Satanic Satanist, particularly the sing-a-longs of “The Sun” and “People Say,” and the feedback-drenched jam session that they closed with set the bar quite high for the…
Even several days after the end, it’s hard for me to talk about Coachella in very many concrete terms. I saw a lot of artists; I met a bunch of people and even more freakshows; I spent my nights and mornings in campgrounds that would have called for UNICEF intervention in a 3rd world country; my sobriety was tested early and often; and I had more fun than I ever would have expected possible in such a short period. Those are the facts as I can see them now, and I certainly have plenty of opinions below. But as a whole? Coachella is difficult to conceptualize and even harder to summarize, a three-day festival that transforms a white-collar polo field into a musical oasis under the blazing hot desert sun. There were really only three constants over the three days: heat, drugs, and music. I was ready for the first, unsurprised but a little shocked at the overwhelming prevalence of the second, and (for the most part) utterly floored by the latter. Coachella is an experience, and anyone who tries to describe it in words will be doing a disservice. It’s more than just who played what and how well they played it, but it’s also so evasive a feeling that it’s hard to explain to someone who hasn’t been there. So please, if you ever have a chance, be it to make it to Coachella or Bonnaroo or Lollapalooza…