Neighborhood Festival 2007

kid sister
Melisa Young aka Kid Sister

I have never been to a concert/festival like the Neighborhood Festival, but I can assuredly say that I will go again next year. Here’s the premise: Steve Aoki puts together this indie festival of artists on his label and his friends who just put on amazing shows. I’ll just give a rundown of the artists I saw and listened/danced/rocked/jumped to.

Starting off the day (around 3:30) was Funeral Party. I’ve never heard of them before, but they are the epitome of an indie scene punk band, complete with synths and a great bassist. They have great style and put on a great show. For opener, they started things off on the right foot.

Next up were Andre Legacy and Dirt Nasty. Two rappers who couldn’t write a serious verse if their lives depended on it. Then again, no one was in the mood to listen to some hardcore deep rap, so they fit in perfectly. Hilarious and off-color.

I believe that Squeak E Clean followed. Again, an artist (actually a DJ) who I’ve never heard of. Simply stated, starting off with MIA is a sure way to my heart. Following with some Justice, Daft Punk, Klaxons, Hot Chip, and other great electro kept me all ears throughout his entire set. First real DJ set I’ve watched and paid attention to, it was a great mix.

It got confusing here because I thought that Guns ‘n Bombs was up next, but only Johnny Love came out and started to spin some heavy noise glitch stuff when something went wrong with the needles. They weren’t playing something right and when he’d fade to one of the tables, it’d cut out. Odd, annoying.

Har Mar Superstar. What a show. I’m not saying I liked it, I’m still not sure. It was outlandish to say the least. I’ll leave it at that.

Here’s where the good stuff comes in (read: the DJs/rappers/artists who I’m familiar with). Flosstradamus came out and the crowds gathered (it was around 5/6ish). How they mix electro with hip hop and mainstream tech house is beyond me, but it works perfectly and the crowd loves it. I forget what the mix was, but they just went straight into Big Pimpin’ from an electro song. WHO DOES THAT? Pure genius.

So J2K stayed on the decks and Autobot went out onstage to meet Kid Sister who put on an amazing performance. Kid Sister is an amazing rapper and she puts on an incredible show wherever she goes (at least thats what I’ve read and seen). Following in the footsteps of MIA (as many female rappers are right now), the energy in her shows is so high and she’s all over the whole stage the entire time.

Moving away from hip hop/rap, we go to Crystal Castles. I don’t know who did the lineup, but I guess they had to throw them in somewhere. This 8-bit massacre tore the crowd to shreds. Probably the most hardcore artist here, even though their genre/classification falls somewhere in-between electropop and 8-bit industrial.

Back to the DJs. Steve Aoki (the creator of all of this) was up next. Again, mixing the electro with mainstream tech and some Yo Majesty! (I’m pretty sure it was Aoki who threw them in there). Somewhere amid Daft Punk’s Television Rules the Nation and Steam Machine, Aoki become possesed by some DJ gods and decided to stage dive into the crowd, something I’ve never seen a DJ do. It was amazing, he got passed over me, and like a good crowd, we got him back up onstage just in time for the next song to come in. Incredible. And as a side note, it was pretty cool seeing all of the artists playing at the festival come onstage for Aoki just to show their support for him.

Wrapping up the DJ set was DJ AM who kept the electro going for his 40 minutes. Good mix, not too eventful though.

And the heavy hitters are now ready to perform. Chromeo was next to take the stage openning with the intro to their latest album, it was obvious that this would be the funkiest performance of the night. They kept the crowd dancing for their entire set and it was sweet when we all started chanting “2 step, 2 step, 2 step” for the best song: Fancy Footwork. It took a couple more songs to get there, but they finally closed with it, and every just went insane. I’ve never really been in a crowd where the intention is dancing, not moshing. It’s a nice change of pace.

Wrapping up my night (I left a bit early) was a knockout lineup of Spank Rock, Amanda Blank, and Santogold. Amanda Blank and Santogold are two girls who are also following in the path the MIA has laid down for indie female rappers. Spank Rock got big at the same time as MIA, so I figure that they are equals in terms of innovative sounds. Yet another great set that kept the crowd going until their 40 minutes were up.

Mickey Avalon took the stage next, but I had had enough. My feet were killing me, and Avalon isn’t really up my alley of musical tastes. I decided to call it a night, it was time.

Continue reading “Neighborhood Festival 2007”

M.I.A. – Kala

M.I.A. - Kala
cover art for what could be the year's best album: Kala

So now that you have all had access to get M.I.A.’s latest offering legally (although it seemed like the people at her concerts chose differently), here’s my take on it. After just one listen, anyone could recognize that it is very different from Arular. It’s not so much of an experimental electronic/hip-hop album as a more developed hip-hop album with electronic synths mixed with various beats. Where Arular was glitchy and pounding throughout, Kala is more calculated with its hits coming at more opportune times. The beats on Kala remain a mixture of drum machines and found objects being banged together, unique to say the least.

The songs that stand out the most to me are Bird Flu, Boyz, Jimmy, and Paper Planes. I understand that many people find Bird Flu to be annoying, but I firmly disagree. I don’t see how this song could stand out as annoying when compared to her other work. Boyz is just a great song with an infectious beat. Jimmy is a slower love song that doesn’t leave the M.I.A. style behind. And Paper Planes is both politically and stylistically powerful; definitely a step forward in my opinion. So that’s about it, I really do like Kala, just in a different way than I love Arular.

And I thought Daft Punk couldn’t live up to the hype…

Daft Punk Alive ‘07 T-Shirt Logo

I almost feel bad writing this, almost sorry for you. But I also feel that I would be doing you a disservice by not letting you in on the most revolutionary concert I have ever been to. I can honestly say that the full 5 hours that I (and a friend) spent at the LA Sports Arena were well spent. Here is a rundown of the experience (because it was an experience).

We arrived at the arena at around 6:15 pm, and we were definitely surprized by the number of people who were already in line. It seemed like we had shown up for the wrong concert. There was only about 20 people in the Loge/Concourse line (our line) and probably about 40 in the Floor line (not our line). I know that the show didn’t start until 8, but I honestly thought that there would be way more people.

So we go in around 7 when the doors opened and got prime seats in the Loge section with barely anyone around us. We sat around ’till 9:15 when SebastiAn and Kavinsky started spinning. There was a fair amount of people inside now, but it was clear that most people weren’t too interested in the openers. I need to say that I love SebastiAn, and I am glad that they played more of his material than Kavinsky’s (not my favorite).

Oddly, I noticed that I actually recognized a fair ammount of the songs that were mixed between their two sets (it was a DJ set to open and fill time between Ratatat and Daft Punk). Here’s what I recognized:

  • Justice – D.A.N.C.E., Waters of Nazareth (Justice Remix), Let There Be Light (DJ Funk’s Bounce Dat Ass Remix), Phantom Pt. II, and Genesis.
  • Uffie – Ready To Uff
  • The Prodigy – Smack My Bitch Up
  • SebastiAn – RossRossRoss, Head/Off, Walkman, Killing In The Name (SebastiAn Remix), Greel
  • Kavinsky – (I don’t know the song, but it was obviously his, he has a distinct style)
  • Busy P – Rainbow Man

Let me say that the music was up so loud that every one of SebastiAn’s songs hit like a knockout punch. His Killing In The Name remix was a song that my friend and I wanted to hear, and the crowd went insane when it was played near the end of the set (obviously Coachella kids in the crowd). Sadly, the remix ends before the “FUCK YOU, I WONT DO WHAT YOU TELL ME… MOTHERFUCKERRRRR!” part… I found the number of Justice songs being played to be kind of odd, but I love Justice, so it was welcome; I don’t have a problem with inter-label promotion at all.

On to the actual live performances. Ratatat obviously had less stage space than Daft did (that pyramid doesn’t appear out of thin air), but they don’t really need much of a stage. Their music is amazing at that high of a volume. The bass really hits and the guitars whine all night long. Their DVD playing behind them was kind of cool, but their music is so unique that it blows me away every time I hear it. Great set. SebastiAn and Kavinsky spun again, and our attention was split between the DJs and the flashing test lights emmitting from behind the huge curtain pulled around the pyramid.

Finally the lights went out and the place erupted. Daft Punk opened just as they did in Coachella two years ago with the “HHUUMMAANN RROOBBOOTT” slowly gaining pace to preface Robot Rock. Much of what they did was the same as their recent concerts pertaining to the progression of songs and eventual introduction to different uses for their lights.

The first major change came came at Around the World (Harder Better Faster Stronger Remix) when the first “around the world” came and the entire floor lit up with the lights that were placed encircling the entire arena! It was amazing how perfect it seemed. The lights seemed to be the same kind of lights they have as the grid on either side of the pyramid. Watch the video at the end of the post and you will see what I mean. They look white in the video, but the can do every color just as the grid can.

From there on, it was nonstop dancing and French Touch killing everyone’s preconceived notions about what a “show” should be. Because of the extended set time, Daft Punk played (what seemed to me to be, but wasn’t…) an extended version of Too Long. Maybe they didn’t, but I thought it was longer than the Coachella set (I have the full audio on my computer, it was normal). Oh yeah, there was one other reason why it was longer…

The encore. It was amazing. I didn’t think that there would be an encore, and boy was I wrong. For a while, it seemed pointless standing there shouting for what seemed forever, but when the lights never came on, it was apparent that something was going to happen. Eventually they came back on stage and played what people have said was a remix of Music Sound Better With You. Then the new suits came out. They were amazing, and so was the way that they presented them (with the red light leading up to them through the stage. That topped it all off. If there was a question that Daft Punk is the best, there is no such question anymore.

Please, everyone, if you get the chance to see Daft Punk, do not pass it up. It will be an event that you will never forget. Also, if you were there, or have anything to say, leave a comment!

Update: I added a few songs I remembered (re-recognized) were played during the SebastiAn/Kavinsky set.

Continue reading “And I thought Daft Punk couldn’t live up to the hype…”

Daftbastianvinskatatat Concert

Concert Montage

In case you don’t get it (I don’t expect you to), the title is to be translated to be Daft Punk/SebastiAn/Kavinsky/Ratatat Concert. This is the concert a friend and I will be going to on July 21 in LA. Words cannot really express how excited I am about this.

I will start with Daft Punk. I really do love their music. As much as it pains me that they are very close to stealing material and slapping their name on it, I feel that they are innovative in their sampling ways and deserve as much praise as they get. They have succeeded at not disappearing as so many electronic fad artists do. Why? Because they are more than their music.

Daft Punk has become a level of quality in persona and live shows on top of their amazing music that other artists can only strive for. One of the big reasons that electronic music isn’t big in the States is because of the difficulties of putting together entertaining live sets with real visuals. Just watch a YouTube video of a recent Daft Punk concert and you will see that this isn’t a problem for them.

SebastiAn is my favorite electronic artist in terms of music right now. Everything of his, from his albums to his remixes, blows me away. Just read my latest assessment of the Ed Banger crew for more on SebastiAn.

Kavinsky is still a bit mysterious to me. He is the artist who’s music I have heard the least of. I have his two EPs but I don’t feel that they do him justice. His sound is a retro-house electro type thing. Old 80s synths are all over the place in his songs. I like it, but I hope there’s something more for me to grasp at the concert.

Ratatat is the ugly duckling of this group. Not because I don’t like them (I LOVE them) but because they actually play instruments. I’m really looking forward to hearing their very unique sound blasted at me through a huge sound system. To me, Ratatat is a sort of a Dueling Banjos funneled through the electronica scene with a drum machine thrown in for size. I have never heard anything like them, and I love it.

So there you have it, a short assessment of the artists I will see on Saturday, July 21, 2007 at about 9pm. Jealous?

Ed Banger Records (Part 1)

Ed Banger Crew
the heavy hitters of the Ed Banger crew

There is no use in disputing the point: Ed Banger Records is the king of electro. EdRec’s superb lineup consists of (left to right in the picture) Feadz, SebastiAn, Vicarious Bliss, Uffie, Busy P, So Me, DJ Mehdi, and Justice (not pictured: Krazy Baldhead and Mr. Flash). As of now, I cannot say that there is a single artist that I dislike. Each artist has a unique sound that doesn’t attempt to mimic any other artist on the label (or any other artist in general). Enjoy! (Part 1 consists of Busy P, Feadz, Justice, Mr. Flash, and SebastiAn)

in alphabetical order… also, please click on the artist’s names to go to a HypeMachine search for their music…

Busy P
Busy P: owner of Ed Banger Records

Busy P: How fitting he is the first on this list. Busy P, aka Pedro Winter, is a DJ/producer, manager of Daft Punk and Justice, and owner of Ed Rec. It is safe to assume that whatever Busy P touches turns, not to gold, but to platinum immediately. While I could speak on Daft Punk for pages (and I will in a coming post), Busy P’s music is more important right now. He sticks alongside what the label is known for: French electro house. It’s not as grimy or as disco as Justice, not as punch-you-in-the-face as SebastiAn, but the sound definitely holds its own against P’s label-mates.

Feadz
Feadz: member of Ed Recs crew & boyfriend of Uffie

Feadz: Aside from being Uffie’s love interest, he is also her producer. The majority of his current material has been released through Uffie. Pre-Uffie, he worked with Mr. Oizo on Analog Worms Attack (a sweet album if I may say so). The beats he lays down for Uffie are characterized by their stuttered distorted nature. It sounds as if Feadz takes each and every sample and cuts/chops/pastes them into any mashup that resembles a semi-ordered form to create his music.

Justice
Justice: do you need an explanation? they're huge.

Justice: The constant praise coming from all sides about this DJ duo hasn’t seemed to slowed down since their first EP Waters of Nazareth was released a little over a year ago in June of 2006. They take whatever material they are given (or make up) and filter it to sound like heavy metal had a head on collision with disco funk. Like many of Ed Rec’s artists, Justice are amazing remix artists as well as superb at creating original material. Their recently released debut LP titled † is varied and remains true to Justice’s signature style resulting in an album that will stay in rotation for quite some time. Reading about Justice in popular magazines signifies that electronic music might be able to become mainstream once again.

Mr. Flash
Mr. Flash: member of Ed Recs

Mr. Flash: From what I’ve heard (which isn’t much), Mr. Flash mixes electro with tweaked hip hop and a tad of disco thrown in for flavor. The song Disco Dynamite which is featured on Ed Rec Vol. 2 is one of my favorite songs on the compilation album. He’s been producing music for TTC since about 1999, and had an mix-comp titled Monsieur Sexe come out in 2005. A slew of EPs and remixes have followed, but I haven’t been able to get my hands on much.

SebastiAn
SebastiAn: amazing remixer

SebastiAn: My favorite artist on Ed Rec. His album RossRossRoss is something I put on only when I can’t be uninterrupted with the volume at max. He is probably the best remixer I have ever come across, and Daft Punk has said that his remix for Human After All was the best remix that they had ever commissioned. What he does to songs isn’t really fair. In terms of remixes, he makes the original artist sound like an amateur. In terms of his own music, it’s so aggressive that you might have to have stitches after listening to just one track. It’s glitchy, distorted, stuttered, and sounds like he took each sample and filtered out the highs and lows leaving the mids (and then ripped them to shreds). Please listen to anything of his.

There you have it, Part 1 of the two part series on Ed Banger Records.

Kanye West’s Daft Punk-aided Stronger video

I am no fan of Kanye West. Let it be known before you dive headfirst into this intriguing column of mine. He is cocky and irreverent of any other musical artist on the scene. Remember when he ran onstage to ruin Justice and Simian’s award for “We Are Your Friends”? No? Well that was my last straw, and the video is after the jump.

So, this new video for Kanye West’s song “Stronger” has been talked about for a long time. It has a Daft Punk sample! It’s an expensive video! It’s off his new album! Directed by Hype Williams! Too bad the video amounts to some eye candy and a plot just as confusing as Justin Timerlake’s “SexyBack”… Putting Daft Punk in BOTH your song and video is quite a feat, but it won’t get you video of the year.

The video features some futuristic looking animation with Kanye being reborn by some kind of a Matrix-type machine. It looks cool, but it’s a bit literal of a translation of the song title. Like I said, Daft Punk is sweet anywhere they are placed. Kudos for that one. The sun(?)glasses are equally awsome; I wish I had some. Here is the part that frustrates me: the lack of continuity. There are some great scenes, but they don’t amount to anything. The video for “Jesus Walks” was amazing because it told a story (all three versions were powerful). I don’t feel that there is anything holding “Stronger” together.

The Horrors make me blend in

The Horrors

Fuckin hipsters. It’s their fault that I’m one who blends into the crowd. Too bad I listen to their music.

Just look at that picture for another second. Where do you get the idea to dress/do your hair/put on makeup/etc… like that?! It’s a damn good thing that The Horrors play amazing music, or else they’d slip under my hipster radar like so many others do. Maybe it’s something in the British blood. If that’s the case, I’m nothing but screwed.

So, back to the music. The Horrors play a mixture of lofi indie garage punk. The sound quality is equivalent to The White Stripes, but their style is closer to the punk bands of about 20+ years ago. Need something more recent as a comparison? Think Klaxons sans electro plus scenester clothing.

What makes the Horrors different from any other band in the British punk wave going on right now? For me, it’s the electric organs. Nothing is too complicated with the Horrors, and nothing about them pretends to be (other than their hair). Their chord progressions are repetitive, as are the organ riffs, drums, and vocals. They are simple, original, and … they have really tight jeans.

Success is coming to the Horrors as of now. Their latest (and first) LP Strange House has received very good reviews that basically agree with everything that I’ve said thus far. Check them out.

Bonde Do Role parties with their baile funk music

Bonde Do RoleLadies and gentlemen, we have another entrant into the indie/foreign/dance punk/electro musical niche. Bonde Do Role is a Brazilian baile funk band whose music complements other musicians such as M.I.A. and CSS, and their oversexed attitudes seem to mirror Peaches. Their sound, while not completely unique right now, is definitely uplifting and danceable (seeing as their genre means dance funk).

The band currently consists of MCs Pedro D’Eyrot and Marina Vello, and DJ/MC Rodrigo Gorky. All three bring massive amounts of energy to the already insane beats laid down by Gorky. They have released one EP and one LP so far, both of which clearly state what style of music they are aiming for. Their LP With Lazers is right alongside of CSS’s Cansei de Ser Sexy in terms of music made with fun in mind. Mild singing, loud yells, and lyrics in a language I don’t understand are all pluses for me. While other dance punk acts are coming to the point of breaking into the mainstream market, Bonde Do Role is sure to stand out and make it past the “Pitchfork hype” which seems to come and go with the tides…

SebastiAn’s Rage remix is pure joy to my ears

SebastiAn DJ

Please, before you read anything here, click on that link below and listen to the song. It is a remix of Rage Against the Machine’s Killing In the Name Of by SebastiAn.

http://www.zshare.net/audio/1843902427628a/

Now that you have been blown away by yet another artist signed by Ed Banger Records, let me elaborate on my feelings/reactions to the song. Let me begin by saying that I love Rage Against the Machine (RATM). You probably know this if you have read any other stories here about RATM (notably at Coachella). Secondly, I love SebastiAn. Ross Ross Ross is a record that I can listen to start to finish and love every track on it.

In no way, shape, or form is turning a funk metal track into a dirty electro track an easy task. But somehow, SebastiAn does exactly that without compromising the track’s original style or his goal of making an amazing electro song. Even though the lyrics are replaced by different sources (there are only 6 lines of lyrics in the original song anyways), the sources he uses are very fitting, complementing the track throughout. The distortion is appropriate and calculated. Thank you SebastiAn for making one of my favorite metal rebellion songs into a great electro track. I hope to hear it played at the Daft Punk/SebastiAn/Kavinsky concert I will be going to in LA next month.

Justice – †

Justice - † This might be completely ridiculous on my part, but I still haven’t decided (for myself) whether Justice really is Christan or if they are just playing the part. Now as to this new LP coming out in about a month titled “†”, I think I might have found a bootleg floating around somewhere, and I might have a review right here for you! A song by song review can be found about 1 centimeter below:

  1. Genesis (7/10): A nice opening track. The intro to the song was what they opened Coachella with (I believe). The beat is strong throughout, it could have done with a bit more variation or development of the samples used. Good track, not their best.
  2. Let There Be Light (8/10): Once again, good track. I’m glad that they put one of the tracks that develops with an industrial edge right up front on the record. This track was released on the Waters of Nazareth EP.
  3. D.A.N.C.E. (9/10): The current single floating around right now. Probably the most catchy song to be found by Justice. I don’t know where they found this sample, but it is genius. The way that they can mix a catchy beat perfectly with a chopped vocal sample is amazing. Hints of disco or funk tidbits begin to show themselves here.
  4. New Jack (6/10): This song just doesn’t do too much for me. The samples seem too mix/matched; there isn’t any continuity among them. It has all of the driving forces that Justice is known for, but their choice of samples here falls short. The warble comes in at an inappropriate time, and it stays too long. Not a fav.
  5. Phantom Pt. 1 (10/10): Following New Jack with Phantom Pt. 1 brought my spirits up. Phantom Pt. 1 was released on the D.A.N.C.E. EP, and it is by far my favorite track on †. Just turn it up in your best pair of headphones, and you will see why I say this. Talk about a rockin’ electro track. The sample used here has been identified as being from Goblin’s Tenebre. After comparing the original track to Phantom Pt. 1, it is safe to say that this is in no way a rip off of another artist’s work. The sample has been chopped to pieces and put together in a truly Justice-esque manner.
  6. Phantom Pt. 2 (9/10): The first time listening to this track, you will probably be confused. It seems overly random. The good news? Once you actually get the tune, this song rocks. It carries over the industrial overtones of Pt. 1 and adds some disco flavor into the mix. Great track.
  7. Valentine (7/10): “Valentine”, to me, seems like a very long intro to “The Party”. It is a good track, but doesn’t seem to serve much of a purpose. It’s stuck in here. Not needed. Also, is it just me or does it sound like they sampled Britney Spears’ “Me Against the Music”? I speak of the airy noise at the beginning. I know it could come from anywhere, it just that it reminds me of that song.
  8. The Party (7/10): A song with actual lyrics that don’t sound like they are sampled (because they aren’t). I’m not sure who sings, but the lyrics are meant for a party song (hence the title). The problem is that there isn’t too much music to go along with the fun lyrics. The music seems like a continuation of “Valentine”. It could use a bit more of a kick. Sounds like Three 6 Mafia is sampled here.
  9. DVNO (6/10): While so many people are praising the vocals of this track, I can’t stand them. Don’t get me wrong, I don’t reject vocals off the bat if they are falsettos. I reject them if they don’t sound good. Compiling this problem is the fact that they drop the music out in the middle of the track; now I have nothing to distract me from the horrible vocals. The music itself isn’t half bad. It’s a mixture of their signature distorted beats and disco stabs. Least favorite track on the record.
  10. Stress (8/10): The title of this song is really evident is the music. The tension of the song is heightened by the high pitched strings that can be heard throughout the track. I really do like this song though. The last strands of disco are evident here. They are minor, but they contribute all the same.
  11. Waters of Nazareth (10/10): Second favorite track on the record. This was the first song by Justice that I ever heard. After hearing it, I had Justice categorized as an industrial group. Definitely wrong. This song rocks from start to finish. The distorted samples kill your ears without relenting for a second. If you can’t stand the first 10 seconds, get out, the song just compiles on top of itself from there on. Pure electro joy.
  12. One Minute To Midnight (9/10): A great closing track; “One Minute to Midnight” closes much better than “Genesis” opened. A slight downer track with a sweet baseline that makes you rock back and forth. It lets you calm down after the massive electro explosion that happened during the previous track. Continuous and true to Justice, it is a nice way to end this musical journey.

† is set to be released on June 11, 2007 on Ed Banger Records.