So I’ve recently been telling everyone I know about two artists I believe will blow up soon: Drake and Janelle Monae. This post is about Janelle Monae.
I do believe that she will blow up soon, and this week has given you a few more reasons to believe me. Monae’s album dropped yesterday, and it’s incredible. It deftly bounces between soul, pop, funk, and experimental sounds with contributions from Big Boi, Of Montreal, and Saul Williams. The lead single from The ArchAndroid (Suites II and III of IV) is “Tightrope (feat. Big Boi)”, and last night Monae performed the song to perfection on The Late Show with David Letterman.
Honestly, if that performance doesn’t make you say “wow,” I don’t know what can.
Hello everyone! Coachella was two weeks ago, and as this is the last week of the semester, I’ve been overloaded with homework and group projects as of late. Today I finished a project a little earlier than expected, so I finally got around to writing this first of three (or four) posts on Coachella 2010! It was an amazing year, and here’s the first little bit of it. This review covers what I saw of Kate Miller-Heidke, Alana Grace, Jets Overhead, Baroness, DJ Lance Rock, Sleigh Bells, Perry Ferrel, Proxy, The Dillinger Escape Plan, Passion Pit, Them Crooked Vultures, LCD Soundsystem, Vampire Weekend, Fever Ray, and Jay-Z:
Kate Miller-Heidke and her amazing voice
Kate Miller-Heidke
Whoever made the executive decision to put Kate Miller-Heidke first on the very long list of artists playing at Coachella this year made the right choice. She was by FAR the best opener since I’ve been going to Coachella (2007). Her music was pretty simple folksy pop – it was just her with a keyboard and her husband with a guitar up on stage – but her voice was incredible! Every once in a while, she’d flip a switch and this operatic voice would kick in. She used her voice to perfection and didn’t overdo the novelty of it. The Gobi tent was packed for being that early in the day, and the crowd was eating up everything she was giving us. This was an amazing start to the Coachella weekend.
kill me now, it's Alana Grace
Alana Grace
Wow, how’d I decide to catch this?! My friends and I walked over to the Outdoor Stage, sat down for a song and a half, and then promptly left. As we were leaving, a friend mentioned that it sounded like a horrible Flyleaf cover band (because that’s exactly what the world needs more of.) Truer words were never spoken.
the stardardly pleasing Jets Overhead
Jets Overhead
Don’t have a ton to say about this band. They were good. The lead singer has a nice voice, and he can hit some pretty high notes. That’s about it.
Baroness tearing it up early in the day
Baroness
First metal band of the weekend! I don’t think I’ve caught much metal at Coachella in the years past, but I made sure to change that this year. Baroness was a great start to the day (this was where I started seeing bands I was familiar with.) They shredded through their set. Unfortunately, they had some sound troubles with an amp about midway through, but they fixed it and trekked on. They’ve been getting some great press as of late and for good reason. These guys play sludgy progressive metal like nobody’s business.
talk about a great time! it's DJ Lance Rock!
DJ Lance Rock
Are you familiar with Yo Gabba Gabba? No? It’s a kid’s TV show on Nickelodeon created by one of the guys in The Aquabats, and it’s pretty great! DJ Lance Rock is the main character of the show, and this year at Coachella, he brought along all of his friends from the show: Muno, Foofa, Brobee, Toodee, and Plex. I wouldn’t have caught this show if it wasn’t for some of my friends back at home texting me that I couldn’t miss it, and I’m glad I didn’t. It was totally immature and playful, but it was fun. In summary, it was a bunch of people far too old to watch the TV show singing along to songs like “Party in my Tummy”, “I Like To Dance”, and “Get The Sillies Out.”
the band that wins the "most hype without a release" award: Sleigh Bells
Sleigh Bells
M.I.A.’s label Need Records has been collecting a pretty interesting roster lately, and part of that includes Sleigh Bells. This duo consisting of Derek Miller on guitar and Alexis Krauss on vocals is one part The Kills, one part M.I.A. (imagine that), and another part Atari Teenage Riot. These guys are loud, raw, and want to rip your face off (in the nicest indie rock sort of way.) I enjoyed their set overall. Krauss has a very strong stage presence, and she loves to scream. Their songs are all pretty short and speed along mixing killer distorted beats with killer distorted guitar riffs. The only thing to watch out for with this band is repetitiveness.
BTW: the band just released their first song today. Check it out over at Pitchfork. I think my notes will make perfect sense after listening to this song.
the crapfest that was perry ferrel
Perry Ferrel
So I put this picture up for Perry Ferrel for a reason: it perfectly summarizes what I saw. I walked into the Sahara for a last 5 minutes of the set, which was enough time to catch a horrendous remix of Superhero by Jane’s Addiction. I know Perry is the lead singer of Jane’s Addiction, but how someone could ruin their own creative work like this is beyond me. It was pretty bad. It ended with some stupid remix of an infomercial for a chopping appliance.
Proxy tore the Sahara up!
Proxy
My first serious set in the Sahara tent of the weekend started with Proxy. I’d liken my relationship to this set in the same way that I approached Erol Alkan’s set in 2008. While I knew one or two songs and had an idea of what his sound was, I didn’t know too much else. Regardless, he tore the place down. His songs have these sick synth/bass lines that rip everything apart. I don’t mean that in a Justice/distorted sense; I mean that his synths are incisive and sharp. It’s a pretty unique sound that really only lines up with what Boys Noize and the Boysnoize Records crew is doing (makes sense that he’s on the label.) The tent was going crazy throughout the whole set. Someone smuggled in a blowup alligator, and people were crowd surfing with the alligator the whole time. Some people have said that the Sahara’s volume was down during this set. Maybe they are right. I don’t really remember that.
The Dillinger Escape Plan wants to rip your face off
The Dillinger Escape Plan
Time for metal show #2! When the lineup for this year’s Coachella came out, The Dillinger Escape Plan (DEP) was one of the bands I was most excited to see on the list. I’ve heard so much about their live shows, and I’ve wanted to go to one for a while. For those who don’t know, DEP are about has hardcore as you can get. Their music is insane. They’ve got a singer who can power through every song while screaming at the top of his lungs the whole time, time signature changes happen about forty times per song, and everything they do feels like a runaway train is about to crash and burn. But somehow they keep it on the rails.
Their live shows are known for their intensity and violence. This reputation has spread in part because of a little YouTube video in which vocalist Greg Puciato runs offstage and into the crowd, well, he more runs onto the crowd. He quite literally runs out, stepping on the heads of the audience. Crazy.
Fortunately (or unfortunately?), I don’t think feet met anyone’s head this year at Coachella, but the show was just as intense. After fixing some early mic problems, DEP sped through their set. Like any good metal show, a pit opened up early on, and kept going at a pretty full force throughout the set. I was surprised at just how many people in the crowd knew the lyrics to the DEP songs. I’m familiar with what some of the songs sound like and how they progress, but I have never been able to understand a single thing said in the songs. I guess I’m just not that hardcore of a fan Near the end of the show, Puciato decided to climb the stage structure and hang upside down by his knees for a while. It was a great show to say the least.
Passion Pit at the Outdoor Stage at sundown
Passion Pit
Passion Pit… So I think I should start of by saying that I do not love Passion Pit. I think that they have written some great pop songs and that they’re pretty good at picking the best parts of today’s electro/indie/pop scene and making it their own. My problem with them stems from their singer. I cannot get past his voice! I find it grating and imprecise and unnecessary. And when you sing entirely in falsetto, you should be none of these things.
Other than the singer’s voice (which sounded the same live as it does on record), Passion Pit put on a great show this year. They were lucky enough to get Friday’s coveted “sunset at the Outdoor Stage” slot., which should have been given to Grizzly Bear, but I digress. I really enjoyed their light show, and all of their songs were executed spot-on. I had a good time dancing with the crowd throughout the set, and loved when they played Sleepyhead – my favorite song of theirs. So maybe I’m not the best person to ask about a Passion Pit show, but I still think that they did a good job translating their material live.
Josh Homme of Them Crooked Vultures taking a swig
Them Crooked Vultures
What can you do when you put three rock legends together into one band? You can rock pretty fucking hard, that’s what. And that’s exactly what Them Crooked Vultures’ Josh Homme (Queens of the Stone Age, Eagles of Death Metal), David Grohl (Nirvana, Foo Fighters), and John Paul Jones (Led Zeppelin) did on Friday night on the Main Stage.
I haven’t really given their debut album the time it deserves, but after the few time I’ve gone through it, I’ve been left with the impression that, while there are some great songs on it, nothing really matches up to the greatness of its members’ previous bands. And while I still believe this to be true, it does nothing to take away from the fact that this show was amazing. I mean, this is the kind of music that the Main Stage was made for (same with Muse, who you’ll read about later.) Their sound is simply really loud rock that is both pummeling and sharp. Grohl is perfect on drums, Jones can somehow play every instrument known to man, and Homme’s vocals are as solid but haunting as ever.
Of all the artists I was excited to see at Coachella on Friday, LCD Soundsystem was my #1. They’ve toured a ton in the past, but I’ve been stupid and missed all of their past shows. This year, their first year on the Main Stage, they turned Coachella into their own disco complete with an oversized disco-ball.
I absolutely loved this show, but it was way too short. When a band has songs that are about 7 minutes long, and they have three full LPs out, at 50 minute set won’t suffice. From the outset, James Murphy let us know that it was short, and that they were going to play a much as they could. Murphy seemed sort of blown away at the fact that he was playing the show, but that just made it all that much better. The emotion that comes through the repetitive nature of LCD’s rhythms and the extraordinarily pointed lyrics in every LCD song really made this a special performance.
I know some people object to Murphy’s vocal style that at times becomes spoken-word, and others don’t really latch on to the LCD song structure, but I’m thankful not to be one of those people. To be honest, I cried a little during All My Friends. I mean, I knew I would; I do nearly every time I listen to the song. But it became so much more alive Friday night. They played a great mix of old songs and new songs (two new songs back-to-back as a matter of fact), but at the end of the set, they had to cut out two songs (presumably Daft Punk Is Playing At My House and North American Scum). They closed with Yeah (Crass version) and New York I Love You. I mean, they have so many great songs that any setlist would blow me away, and I loved this show. Loved this show.
For those wondering, here’s the complete setlist: Us v. Them, Drunk Girls, Losing My Edge, All My Friends, I Can Change, Pow Pow, Yeah (Crass version), New York I Love You
The always spot-on Vampire Weekend
Vampire Weekend
I was in transition at this point, but I caught the end of Run and saw (and danced to) A-Punk. I’ve seen ’em a few times before, so I didn’t feel too badly about missing them this time around. They sounded great as always.
Karin being her haunting self at Coachella 2010
Fever Ray
I finally get to write a review for Fever Ray. I saw her/them last October at the Henry Fonda here in LA, but I never got around to writing anything about it.
Let’s start with me saying that Karin Dreijer Andersson is (in my mind) one of the most creative people right now. She and her brother Olaf (collectively known as The Knife) make music that is haunting and dangerous and bone-rattling and like nothing else in existence. Shit, the fact that I missed Jay-Z to see this show for the second time should tell you how much I love her music. But the music is really only one aspect of the greatness that is Fever Ray. The second part is why I was in the Mojave Tent Friday night at Coachella: the live show.
The live show is the embodiment and physical realization of Fever Ray and the world in which it exists. Take a look at someofthesephotos. Fever Ray is this mystical experience that might look like Halloween but more closely resembles some pagan cult. I’m having trouble finding words to describe how great it was to see the live show again and to hear the organic sounds coming from the incredible sound system that exists at Coachella. I honestly think I had my eyes closed for a quarter of the set because I was so lost in the music.
So the show was incredible, again. I really hope that Karin produces more material as Fever Ray, or that The Knife comes out with another proper LP (I know they have the opera soundtrack, and it’s great, but I want a studio album dammit.) Another thing that was awesome is the Fever Ray fans that turned up for this show. Because it was against Jay-Z, the people who were in the tent were fully committed to Fever Ray. There were even some people who brought their own homemade masks and wore them during the show. I saw one that resembled The Knife’s crow beaks. Fans are awesome, and it really makes a show when the people surrounding you are as invested in the music as you are.
Setlist: If I Had A Heart, Triangle Walks, Concrete Walls, Seven, I’m Not Done, Mercy Street (Peter Gabriel cover), Now’s The Only Time I Know, Keep The Streets Empty for Me, Dry and Dusty, Stranger than Kindness (Nick Cave cover), When I Grow Up, Here Before (Vashti Bunyan cover), Coconut.
Shit, I made the yankee hat more famous than a yankee can: Jay-Z
Jay-Z
Sadly, because Fever Ray was on at the same time as Jay-Z, I did not catch his entire set. But that’s OK for two reasons:
1: I saw him earlier this year in New Jersey as the All Points West festival. It was an amazing show.
2: I DID see the encore which featured Beyonce singing Mr. Hudson’s part in “Forever Young.” This is one of those things that makes Coachella special. Yes, we get great headliners and subs. And yes, we get unique acts that no other festival has. But when you put the biggest rapper and biggest pop star on the same stage in the middle of the desert, magic happens. Magic happened Friday night with Jay-Z and Beyonce.
While I write up my posts for this year’s Coachella Valley Music and Arts Festival, here’s something to tide you over. I wasn’t able to see Sly Stone on Sunday, but from what I’ve read, I missed quite a show! Not that it was full of music or anything…
This had been the rumor, and suddenly it was true: the original Family Stone back together again. But the original band included Sly, and Sly wasn’t playing along. “Fuck rehearsal,” he said, sitting behind a keyboard at the front of the stage.
This post by Ben Greenman at The New Yorker summarizes his experience watching the webcast of the “performance” in pretty entertaining detail. One of the guys who I went to the fest with mentioned that this might happen, that Sly is known for pulling this stuff. But I just brushed it off thinking back to how everyone doubted Aphex Twin would actually come in ’08, but he showed up and gave us quite the sonic pummeling. Looks like my friend was right.
Last night I headed over to the Henry Fonda Theater in Hollywood to check out Holly Miranda, The xx, and Friendly Fires. I’d seen Friendly Fires before at Coachella, and I’ve been in love for The xx since seeing their Basic Space video. Here’s a rundown of the night:
Holly Miranda playing her guitar
Holly Miranda
Before last night, I had never heard of Holly Miranda, but I can definitely see her name popping up more and more now that she has an EP coming out soon. Miranda plays a guitar along side a guy named Timmy. The slow pace of her songs and the ambient textures they create float along with her voice perfectly. Here’s my quick summary of what you can expect from Holly Miranda: slow, two guitars, harmonizng, Sigur ros vocal style, pretty, spacious.
Romy Madley Croft of The xx
The xx
As I said, The xx has been on my radar since I saw their music video for Basic Space on Pitchfork a few months ago. The trio (that was a quartet just a month ago) has this unique quality about themselves and their music in the same way that Ratatat does. Both bands have a sound that doesn’t seem to be like anything else out there.
Most of what I’ve read or heard about The xx’s live show is that they play their record note for note standing still like statues. I’m happy to report that this isn’t entirely true. Yes, they do just stand there intently focused on playing their songs, but they didn’t quite play exact replicas of what’s on their album. Maybe they just started doing this, but “Basic Space” had an extended remixed ending as did Infinity, and “Crystalized” had some new drums thrown in there. Because Jamie Smith plays their drums live on finger drum pads, it’s probably very difficult to improvise much of anything as far as percussion goes. Regardless, I was pleasantly surprised when they went into the new sections of the songs.
I’ve also heard that the bass in the live show drowns out the vocals. Not true. If anything, I would have liked for the bass to be a bit more present in the mix. I know that The xx wasn’t headlining the show, so it might be expecting too much for the audio to be perfect. All in all, The xx gave me pretty much everything I wanted out of their live show.
Setlist
Intro
VCR
Basic Space
Shelter
Crystalized
Islands
Night Time
Infinity
Ed Macfarlane of the Friendly Fires
Friendly Fires
The last time I saw the Friendly Fires I had to squeeze my way in to the back of the Mojave tent at Coachella because I got there after the first song had started. Last time I had tried that (w/ MGMT) I hated the sound so much I left after the next song and just laid down on the grass. Not so with Friendly Fires. I stayed the whole time and enjoyed one of my favorite pre-sunset shows of the weekend.
The Friendly Fires’ music is so danceable and upbeat, it still amazes me that they are signed to XL Recordings and not to DFA. This brings me to one problem I have with LA audiences: no one moves. Everyone is so worried about their dresses/shoes/shirts/hats that they’re paranoid that something is going to spill on them if they move any part of their body. It drives me insane. At Coachella everyone is dripping sweat dancing/jumping/moshing and you can do whatever you want because everyone else is too. But I digress.
Last night, aside from the dead audience, was a great night for the Friendly Fires. They played through their entire debut album, and thew their more recent single off of the reissue “Kiss of Life” in for size. What I really commend the band for is recreating the joy of the record onstage. They had two guys as a brass section last night, and those two guys did wonders for the sound. So many of the elements in the Friendly Fires’ songs are sparkling and fighting for your attention that the sound of them live is sensory overload. The drums are less a drum kit and more of a percussion lineup, the bass pounds songs like “White Diamonds” and “Lovesick” forward, and Ed Macfarlane’s voice tops it all off jumping back and forth from belting out power notes to sliding out his falsetto every once in a while.
I think I’m almost ready to put Friendly Fires up there with Hot Chip as one of my favorite upbeat poppy bands to see live. Both groups know exactly what to do with their songs in a live setting and walk the line separating funk, electro, and rock very well.
Setlist
Lovesick
Jump in the Pool
Skeleton Boy
In the Hospital
White Diamonds
Strobe
Kiss of Life
Photobooth
On Board
Paris
Encore: Ex Lover
Thanks to flickr users jcbehm and Kmeron for their photos.
I’ve picked out a few commercials that aren’t half bad and have great music accompanying them. In this first installation, we have songs by Phoenix, New Young Pony Club, and Nina Simone remixed by Felix Da Housecat.
Phoenix – 1901 in Cadillac’s SRX Commercial
Phoenix’s latest album Wolfgang Amadeus Phoenixhas received quite a bit of critical acclaim since it’s release about six months ago. The entire album is great, but I really love the groove this song has. The simple drums, prancing guitars, and striking synth stabs all fit together perfectly. Not that I’ll be buying a Cadillac anytime soon, but the ad uses this song effectively with the lighting flares and mechanical movement of the car parts. Just as a visual, I basically start dancing every time this commercial comes on TV.
New Young Pony Club – The Bomb in AT&T’s SlideIt Commercial
This commercial isn’t exactly new, and neither is the song (it came out in 2007), but it stuck in my head because it’s so catchy. The pulsating beat with the arped synth seem to get me everytime (probably why I also like CSS). Aside from the fact that the song is great, it doesn’t hurt that it says “you really have to display information,” which is essentially what AT&T wants you to hear. The commercial is pretty cool too. I think more could have been done with the moving-parts-of-the-city idea, but 30 seconds isn’t a lot of time to work with.
Nina Simone – Sinnerman (Felix Da Housecat’s Heavenly House Mix) in HTC’s You Commerical
What I really appreciate about this commerical is that it puts the song to perfect use when it says
“And then you realize, you don’t need to get a phone. You need a phone that gets you, and you, and you.”
At this point, the sample of the song is played repeatedly with the “and you” bits. It’s a simple trick, but it works so well. I think the impact comes from the repetition of the shorter sample even when the whole song is a repetition of a sample. Felix Da Housecat has been around for a while, and has never really been someone I listen to. Regardless, he is a force in the house music scene, and this remix is quite a gem. HTC makes great phones from what I read, but they aren’t well known (like Samsung, Sony, and LG are). It’s good to see a great ad to be coupled with a great company.
On a recent trip to Amoeba Records, in addition to the records I wanted, I picked up a few $.50 singles sitting on the ground in the clearance bins to see what I’d get. The first of those singles is this horrible remix of Destinys Child’s “Say My Name”. As you can see, this record’s label only had the song’s title printed, and the sleeve it came in was plain and white.
Because I grew up with top 40 radio in the 90s, I knew the song, but I had no idea there was so many remixes and edits of it (one of which features Kobe Bryant rapping.) Because the label only says “Say My Name,” I tried listening to every remix of the song I could get my hands on to find the remixer but to no avail. Here it is for your listening horror: Destinys Child – Say My Name (Unknown Remix)
a less crappy remix of Kelis' "Trick Me" by Basement Jaxx
Kelis – Trick Me (Jaxxbackclash Rerub)
I also picked up this single of a Basement Jaxx remix of Kelis’ “Trick Me.”As you can see, whoever owned this record before me wanted to make sure that no one ever played this single as a 33 (which I did) and kindly wrote “45” on the label.
The original song is a highlight of its album, but I feel that this remix doesn’t do Kelis or Basement Jaxx justice. If it had been done some no-name DJ, I might say it’s an acceptable remix clearly just meant to make the original playable on the dancefloor, but this is Basement Jaxx we’re talking about here. The single came out fairly soon after Kish Kash, so I’ll brush this off as the Jaxx having used all their creativity at the time on their own album: Kelis – Trick Me (Jaxxbackclash Rerub)
Willner’s productions are as minimal techno as early-’90s Field precursors Seefeel were minimal rock; they’re not the least bit minimal, at least not sonically, and his approach to techno continues to sound like that of a dream pop/shoegaze freak
four man band, bass/drums, really only needed two people though
about five songs, more from new album (two old, three new)
when the song I love kicks in, it’s amazing, rave-like (ie. over the ice)
people need to calm down when listening to it, you can dance, but please stop spazzing out
played a good mix of new and old songs (I’ll admit I haven’t listened to the new album that much)
great groove “happy house” stretched to about twenty minutes long (from it’s typical twelve), rises and falls, tempo changes, as good of pacing as Daft Punk’s live show, really put the show over-the-top
Last Friday I went to see the Kills opened by the Horrors and Magic Wands at the Music Box at the Fonda Theater in LA. I didn’t care too much for Magic Wands (but they aren’t bad by any means), so here are my thoughts on the Horrors and the Kills (both of whom I’m enamored with).
The Horrors' lead singer Faris Badwan in LA at the Music Box
The Horrors
What do you do after you are one of the most hyped bands of 2006 with the world on your fingertips? If you are the Horrors, you lay low for two years after touring and in the meantime record an album that is incredible but sounds nothing like your debut.
I was hooked after my first listen to the Horrors’ debut album Strange House three years ago. I loved that while there was something familiar in their songs, they sounded like nothing else I was listening to. Quite a bit has changed in the musical landscape since 2006, but the Horrors’ new sophomore album Primary Colors somehow instills the same feeling as Strange House.
The five piece put on a great show for being an opening band. Ferris, their lead singer, has a great presence on stage. After going from nothing to the cover of NME, he still seems pleased that people are interested in the music his band makes. Luckily, the Horrors are impeccable live and have no trouble recreating the dense punk sound that Primary Colors contains. There wasn’t much banter in between songs, they played pretty straight through their set.
As for the songs they played on this tour, you wouldn’t know that they ever had a debut album if you just saw the setlist. They essentially play Primary Colors start to finish save for two songs. It’s perfect – if you love Primary Colors; songs from Strange House are nowhere to be found.
Alison "VV" Mosshart, one half of The Kills
The Kills
My new obsession. In the weeks leading up to Coachella 2009, I listened to their most recent album Midnight Boom start to finish and remembered how much I liked a few songs on their previous album No Wow. Since seeing the later half of their Coachella performance (and being completely mesmerized throughout), I’ve been watching/listening/reading everything I can get my hands on relating to the Kills.
The duo often gets compared to the White Stripes, but Meg White hasn’t got a single thing on Alison “VV” Mosshart. And since the White Stripes haven’t done much of anything lately, I’ll take the Kills without complaining.
Hotel and VV might be the most compelling people I’ve ever seen on stage. It might be VV’s long black hair as its own performace, or it maybe its the “chemistry” they have with each other while playing, or most likely, it’s just the fact that the two exude coolness. It’s not hipster snobbery; it’s a feeling of not giving a fuck, but having everything line up perfectly that reels everyone in.
Now that they have three LPs out, finding solid material to play isn’t much of an issue. Well over half of the songs on the setlist are hits with simple lyrics that can be sung along to. It was a great show all around (save for the tall ass with wiry blond hair who did nothing but instigate fights all night long). The last song of the encore was especially great as they invited the Horrors back out to do their 8+ minute version of Screamin’ Jay Hawkins’ “I Put A Spell On You.” The song involved every wire on stage getting tangled around VV and the Horror’s guitar player as they lay on the floor rolling around. It was great.
All in all, the show proved to me that the Horrors aren’t going anywhere, the Kills are even cooler live than on record, and that I absolutely hate LA audiences.
“They tried to make me do the Oscars, I said ‘No, No, No’.” Of all the banter M.I.A. threw into her hour-long set on the Main Stage at this year’s Coachella, this was probably the most pointed. When Amy Winehouse dropped off the lineup because she couldn’t get a Visa to the United States (surprise, surprise), M.I.A. was quickly announced to be her replacement. In my mind, there could be no better choice. I’ve missed the chance to see M.I.A. twice now, and I made sure not to pass her up again.
I’ve been an M.I.A. fan since Arular came out, and likeeveryoneelse, Kala was one of my favorite albums of 2007. I know all the words to all her songs (well, at lease those that are audibly decipherable). You can imagine my disappointment when I found out that there aren’t as many people like me as I thought. Apparently, tons people are willing to stand around for an hour to hear one song. I really hope that the masses can get over “Paper Planes” and realize the true genius in all of M.I.A.’s songs.
Aside from that, the show was one of my favorite all weekend. Six neon glow-in-the-dark dancers started things off and led right into M.I.A.’s entrance at a podium rapping “World Town.” The party went on from there as she flew threw Rye Rye’s new song “Bang”, “$20”, “Boyz”, “Bingo”, “Sunshowers”, “Pull Up the People”, and “Galang”. A perfect set list.
M.I.A. at the end of her show coming out into the crowd
Also included in her set was “Bird Flu”. Last year, M.I.A. only got through six songs in the Mojave tent because she wanted people to get up on stage, but the security guards thought otherwise. This year, she would get people up if it was the last thing she did. She called out, “I’ve already been banned from Coachella once, let do it. Hey hey, let ’em up! Let ’em up!” And something clicked in my brain.
In short, I jumped over the center barrier, ran as fast as I could towards the stage, got body checked into another barrier by a 300 lb. security guard, ran so as to not get thrown out, and jumped over another barrier back into the crowd. I didn’t make it onstage, but I did make it to the front row of the show. To those people who did make it onstage, good on ya; I hope you enjoyed yourself. I know I enjoyed my fleeting moment of excitement.
After “Bird Flu” came “Paper Planes.” And of course the crowd went wild for the one song they’d heard on TV and on the radio. While I’m still bitter that M.I.A. hasn’t received the mainstream success she deserves, I’m appreciative that anyone knows her music at all. It’s not everyday that a Sri Lankan girl with paternal ties to the Tamil Tigers makes it onto American radio waves.
I had a great time during M.I.A.’s third Coachella performance, and in the end, that’s what counts. That being said, if you ever go to one of her future shows, please listen to some songs that aren’t “Paper Planes” before heading out.
the official cover art for the prodigy's - invaders must die
The Prodigy – Invaders Must Die
Unfortunately, Invaders Must Die isn’t the return to hardcore techno greatness that Fat of the Land begun… But don’t let that get you down, because there are some damn good bangers in there. Invaders Must Die is a vast improvement compared to their/his (Liam Flint was the only member to contribute) album, Always Outnumbered Never Outgunned (AONO).
As the first Prodigy album with all three members in 15 years, it’s nice to hear Maxim & Keith’s voices on many of the tracks. I think Liam went overboard with the guest vocalists last time around (Juliette Lewis, Liam and Noel Gallagher, Kool Keith, and The Magnificent Ping Pong Bitches), but it’s clear he’s reeled himself back in with IMD.
Starting with my favorite track on the album, Take Me To The Hospital knocks it out of the park. The traces of rave are clear in the synth stabs from the get-go, and the hard beat is brought in right after a short intro. What separates this track from the rest is that it doesn’t sound like an attempt to recapture some lost glory, it takes what the Prodigy is known for (knock-out beats & rave synths) and pushes it forward.
Immediately after Take Me To The Hospital comes Warrior’s Dance which is probably my #2 song on IMD. Instead of having ravy synths, it’s the vocal sample that gives the listener the hints. The bass line in this song is one that makes you wish you had a wall of subs because it would shake you to your core. It has a nice breakdown about 2/3 of the way through, and as expected, the buildup and climax are spot-on.
Jumping down four tracks, Piranha has the best groove on the album. I seriously can’t stop dancing to this one; it gives me the same feeling as Hot Chip’s Out At The Pictures (I just wanna dance). I could do without the lyrics though… “Teeth, grip, razor sharp / Bites hi-power, tear you apart.”
When I was listening to IMD for the first time, I was getting very worried before I hit Take Me To The Hospital and Warrior’s Dance (they are #5 and #6 respectively). Why? Because the first song Invaders Must Die is good, but all I can think about when I listen to it is how much it sounds like The Prodigy trying to be Pendulum. Not a great first impression. Next is Omen, which is OK and doesn’t sound like Pendulum but just doesn’t sit right.
Then came Thunder, which shouldn’t have any vocals at all. The beats are sick, but I can’t stand Maxim on the track. I also feel that they could have made much more with the synths; they don’t fit with the rest of the song at all. Finally comes Colours, which I thought what going to be the redeemer when it started (sound like Hotride at first), then came in the worst synth line on the album. I hate the synths.
Now that you know the songs I loved and hated, the rest sort of fall into the middle. Run With the Wolves is an excuse to have live drums on a hardcore techno track, World’s On Fire is forgettable (but brings the rave back again), Stand Up confused the hell out of me, and Omen Reprise is just a +1 to the total track count (completely unnecessary).
Look before for a simple breakdown of what I rate each track and what my average would be. I enjoyed this album, and there is no doubt in my mind that I’ll be buying tickets when the Prodigy next comes around to LA.
Song Ratings
Here is a simple breakdown of what I’d rate each track on a 5 point scale. The average/mean (when converted to a Pitchfork scale) comes to 7.8, which I’d say is pretty respectable (even though I was praying it’d be a perfect 10). But I’m pretty sure that when the Pitchfork review comes out, it’ll be quite a bit lower than what I gave it (update: they gave it a 5.8).
Near the end of the show, Puciato decided to climb the stage structure and 
