...this is what an Xbox 360 looks like on its side

After deliberating between the PS3 and the Xbox 360 for well over a year, I finally caved in a bought a 360. Depending on which console you own, you might be thinking that I wasted a bunch of money. Give me a minute, and I’ll give you my reasoning why I feel that the $300 was well spent. (No, I will not mention the Wii from here out because I think it’s a sick joke Nintendo is playing on the world right now. I’m sorry if you bought one.)

The Games

First and foremost, the games that Microsoft and its third-party developers have created are some of the best out right now. From first person shooters (Halo 3), third person shooters (Gears of War), arcade games (Geometry Wars), puzzle games (PuzzleQuest), racing sims (Forza 2), and sandbox games (Grand Theft Auto 4), nearly every genre of game is covered multiple times by the 360’s library.

The Xbox Live Arcade only strengthens the long list of games going for the 360. While the Microsoft Points system is initially annoying, once you realize that 800 MSP equals $10, 800 MSP for a game doesn’t sound so bad. While the XBLA doesn’t offer extremely deep titles like GTA4, games like Geometry Wars and the recent Braid make up for their shortcomings with ingenuity and fresh innovation.

In comparison to the PS3, it wouldn’t be fair to say that the games on the PS3 are bad, there just isn’t nearly as many great games as on the 360. Yes, Metal Gear Solid 4 looks amazing, and yes, LittleBigPlanet will blow everyone’s mind when it comes out, but the games on the PS3 are coming too little too late for me.

I wanted to buy a console that is playable now, not one that might be more playable come Christmas.

Xbox Live (Online)

I’m not the best at sitting down for a day by myself and playing through a game start to finish. I can usually play for an hour or two, but after that I just want to put the game down and do something else for a while; it just gets monotonous. This is why the ability to play games with my friends online is a huge deal to me.

Since the original Xbox, Microsoft has worked very hard to build the infrastructure of LIVE and keep the community thriving. Their efforts have payed off, and the LIVE system is light-years ahead of where the PSN is or will be any time soon. Whether it’s through simple leaderboards where I can see my friend’s top scored in plain sight for me to beat, of if I can play a real-time 16 player match, Xbox LIVE has done nothing but boost my enjoyment of playing video games.

The ease of using Xbox LIVE is something that I didn’t take into consideration when buying the Xbox, but I’m very glad that it has worked out in my favor. The integration of LIVE into Xbox games is great. For example, in Halo 3 after my friend has invited me to play with him, I hit two buttons, and I’m sent to the correct waiting room where we can set up a group game.

The Price

This is pretty straightforward. The Xbox 360 Pro/Premium (20gb) is only $300 right now, so compared to the PS3’s $400. While it’s true that a feature-by-feature comparison of the two systems reveals that the PS3 is a better value, I simply don’t need the features that the PS3 is touting as making it next-gen.

After paying for the console, I had the games to consider. Because I was working for Microsoft at the time, I received a discount on first-party games like Gears of War and Halo 3. Ignoring those games, the Xbox has been around long enough that there are many quality titles that’s prices have dropped significantly. All in all, the Xbox delivers the features and games that I want at a price that works best.

The Fall Update

The current “Blade” UI design on the 360 works fine, but with the massive amounts of recently added content (movies, games, etc.), it is clear that a more scalable design is needed.

At this year’s E3, Microsoft showed off its brand new uer interface for the Xbox 360 that will be rolled out this Fall. Along with the UI overhaul, features like Netflix integration and new genres of XBLA games piqued my interest. It’s pretty clear that the 360 won’t have the 10 year lifespan that Sony says the PS3 will, but it gives me hope to see that Microsoft has been really working on improving an existing product rather than pushing out a new console every three or four years like they could.

Basically, I love my Xbox 360. It fits all of my wants/needs out of a current gaming console.

This is the first of a two part post/review on NIN’s starting and ending dates (Seattle & L.A.) on their Lights In The Sky Over North America 2008 tour.

a fairly glamorous photo of crystal castles

Crystal Castles

I’ll admit that I’m into indie music, but not THAT into indie music. I still enjoy some pop music, hip hop isn’t all bad, and I can appreciate classical and jazz music. That being said, Seattle’s NIN fans made me look like the most hipster of all hipsters when Crystal Castles came on stage. How does no one in this city know who the biggest name in rising indie/electro/8-bit/screaming music is?

As you might be able to tell, I love Crystal Castles. I saw them for the first time about a year ago at the Neighborhood Festival, and I loved what they brought to the table. Since then, they have released their self-titled LP and have been touring around like crazy.

Obviously, I loved them at this show. Though their set was pretty short at about 25 minutes, they are just an opening band, and they fit in all the greats. For me, the standout song was Crimewave. I know it’s not an entirely original song and that Alice sings the same chorus over and over, but when the opening synths start up, nothing else really matters. Of course, I also loved Courtship Dating, but I wish that she had actually sung the song instead of screaming and whispering it all (it kind of goes back and forth).

nine inch nails front man: trent reznor

Nine Inch Nails

I’ll admit that I looked at the setlist from the NIN show the night before the Seattle show, but it was just so that I could prepare myself for the amazingness that I knew I’d be in front of. I didn’t watch any videos, and didn’t try to find any bootlegs. I don’t think that knowing the setlist beforehand is cheating, and I didn’t really want to spoil what I knew would be come insane visual effects.

To say that I wasn’t let down would be a grave understatement.

This show was what I consider to be the epitome of what a electronically infused rock show should be. First you have the music. NIN has been around for almost twenty years and has seven LPs worth of music to pick and choose from as a result. This set is nothing short of a best hits compilation fused with the key parts of NIN’s more recent releases; songs from each and every album were present. But while the songs played are important, they are nothing if they don’t sound good.

Trent Reznor has consistently written songs that fit his voice. He doesn’t stretch it in the studio to hit those high notes that everyone know could only be hit once. As a result, his live vocals are always on point. In addition, this NIN lineup is arguably the best in history. It consists of Trent Reznor, Alessandro Cortini, Robin Finck, Josh Freese, and Justin Meldal-Johnsen. Aside from Trent, the standout here is Robin Finck, who has been playing with Guns ‘n Roses as Slash’s sporadic replacement for the past twelve years. It’s great to have him back, and his dred-hawk is pretty damn sick. Every musician is spot on, and the only hiccups all night where technical ones, not musical mistakes.

So the music was great, what about these visuals that everyone has been buzzing about? I read an interview with Reznor from the New York Times that reads:

“What I’m trying to do is use the stage as an interactive instrument,” Mr. Reznor said. “I’m in the world of science fiction now.”

Trust me, NIN delivers, and here’s what I gathered from the Seattle show. There are three massive dot screens (the ones made up of tons of tiny round lights that work like a TV screen). They are all at different depths of the stage, so they can all be layered on top of one another. There is one wall of 112 lights that rotate around and change color. There are a ton of hanging fluorescent lights that flash on and off during a portion of the show. Finally, the massive dot screens have some sort of light/heat sensor to tell when the musicians step up to them and dynamically change what they show depending on where the musician is. So how is this an instrument? For the Echoplex encore, one screen is used as a drum machine. Yes, a drum machine. It is one of those scream-out-loud-because-this-is-so-amazing moments. This is why I payed for presale tickets to get on the floor.

So if you can’t tell, I loved this concert. NIN was able to combine stunning musicianship with brand new high-tech visuals to create one of the best rock shows I’ve ever been to. Remember, this is only part one of two. Don’t expect part two to be this long, but I’ll be back to mention if the show gets any better on the last North American tour date (L.A.).

Here’s a rundown of the 28 (!!!) song setlist:

1. 999,999
2. 1,000,000
3. Letting You
4. Discipline
5. March of The Pigs
6. Head Down
7. The Frail
8. Closer
9. Gave Up
10. The Warning
11. The Great Destroyer
12. 1 Ghosts I
13. 25 Ghosts I
14. 19 Ghosts III
15. Piggy
16. Wish
17. Terrible Lie
18. Survivalism
19. The Big Come Down
20. 31 Ghosts IV
21. Only
22. The Hand That Feeds
23. Head Like A Hole
24. Echoplex
25. The Beginning of the End
26. The Good Soldier
27. Hurt
28. In This Twilight

Also, that sick picture of Trent is from laura musselman’s flickr account.

This whole “give music away for free” distribution method is really catching on! Next up: Girl Talk’s Feed the Animals. After mentioning the album multiple times in recent interviews, Gregg Gillis has finally released the latest Girl Talk album, and it definitely carries on right where Night Rippers left off.

For those who are new to Girl Talk, the music is best described as a mashup of many other songs that combine to create entirely new songs. Essentially Gillis takes 10-20 samples from old and new songs, arranges and layers them ontop of one another, and spits out some genius concoction that is Girl Talk. His ability to take music from nearly every genre and weave them together so flawlessly is amazing.

Getting back to Feed the Animals, please take a look at the album’s Wikipedia page. Scroll down to the tracklist and be blown away at how many songs were sampled from to make this record. In a single song, Gillis takes from Kraftwerk, Genesis, Michael Jackson, The Velvet Underground, and Justin Timberlake.

One thing that I’ve noticed from Night Rippers and Feed the Animals (not so much with Secret Diary or Unstoppable) is that the songs blend into each other, and each song isn’t extremely separate from the songs adjacent to it. I think this is due to the massive number of samples used and the quick twists and turns taken in each song. Don’t get me wrong, I still love both of the two latest albums, but they play as an hour long mashup instead of individual song arranged to fit together.

Many of the songs are constructed through trios of samples layering one songs beats, another’s instruments, and yet another’s vocals. Here are a few of my favorite trios from the album:

• BLACKstreet, Kanye West, and Radiohead
• Busta Rhymes, The Police, The Cure
• Timbaland, Stardust, Yo Majesty
• Salt ‘n Pepa, Deelite, Nirvana
• Fergie, Kraftwerk, Earth Wind & Fire

So all-in-all, I love this album. It’s a great piece to put on with headphones and just test your music knowledge skills to see exactly how many songs you can recognize (more points for beats than vocals). While I know that most music that is good takes some time to create, I really am blown away at how well all of these samples mix together.

These ads break everything down to basics, while staying far away from any abstraction. The black and white photographs are perfect and just further the idea of simplicity that the ads convey. But the thing that really sends it over the edge (and makes them shoe ads) is the overlapping of each icon’s feet. It might be cliche, but it’s very fitting that what connects these artists is their shoes.

When showing other people these ads, they don’t seem to recognize most of the icons. Regardless, each person’s pose and composition lets any viewer know that they are bad-ass. No one dislikes the images, and as they follow their figures down to their feet, that last connection of the spread legs leading to the shoes hits every time.

Finally, a song supporting these ads has been released featuring Santogold, Julian Casablancas, and Pharrell titled “My Drive Thru.” It’s a nice summer song and perfectly captures what this concept wants to say.

Thus far, here are the artists that have been featured in the many mix-mashed combinations:

• Santogold
• Bradford Cox (Deerhunter, Atlas Sound)
• Common
• Joan Jett (Joan Jett and the Blackhearts)
• Billie Joe Armstrong (Green Day)
• Kid Sister
• M.I.A.
• Sid Vicious (the Sex Pistols)
• Pharrell (N.E.R.D., the Neptunes)
• Karren O (Yeah Yeah Yeahs)
• James Dean
• Hunter S. Thompson
• Ian Curtis
• Julian Casablancas (the Strokes)
• Jona Bechtolt (YACHT)
• Frank Carter (Gallows)
• Eleanor Friedberger (Fiery Furnaces)
• Sophie Kasakove (Care Bears on Fire)
• Morgan Quaintance (Does It Offend You Yeah)

Update (7/9/08): A video has been released for this song. Sick 2D special effects.

Saturday

Institubes (Para One, Orgasmic, Surkin)

A record label full of electro DJs is always a nice way to start a chock-full Coachella day. One nice thing about getting to Coachella near to opening (aside from the short lines) is that you have the ability to lay down in the tents and just listen to music. No more worrying about keeping your spot. Para One, Orgasmic, and Surkin served up the Institubes flavored electro for about an hour and a half, but I didn’t stay for the whole time, I had other stuff to get to.

The Teenagers

I’d say that I was pretty excited to see The Teenagers. The new album is interesting. It’s not really full of songs, but I can’t think of a good noun to apply to what they make. Too bad this sounded like crap. Maybe it was because I was sitting at the back of the tent, but the boring backing tunes with the annoying/incomprehensible voice didn’t make for pleasent listening. But this is Coachella where music is everywhere all the time, so I left.

Uffie feat. DJ Mehdi

Leaving The Teenagers for Uffie & DJ Mehdi was a bad idea, but it was my only choice. Uffie really is the odd girl out on Ed Rec, and she sounds like crap live. She isn’t much of a rapper, and there isn’t any stage presence. One thing that was interesting was the guys running around the stage with Uffie and rapping along with her. Don’t know who they were, but I hope that they don’t try to ride up with her, they won’t get anywhere.

Dredg

Talk about a stark change in pace. Dredg was the fresh gust of wind that I needed, and their show was one of my favorites for the weekend. I was introduced to Dredg about a year ago, and I’ve been hooked on their progressive rock style ever since. The lead singer of the band has an amazing voice, but I was worried that it would be a studio voice and he’d be all over the place live. Not so. I couldn’t have asked for a more solid performance.

Unfortunately, there wasn’t too many people watching the show at the Outdoor Stage. This is Dredg’s first year at Coachella (performing at least) even though they have 4 LPs already out. They really do deserve more attention than they get; they just don’t have a marketable edge even though their music is amazing. I hope that their upcoming album stays true to their honest sound, they’ve been at it for a long time and I hope they get a break soon.

Boys Noize

Beginning my last 2008 Sahara Tent run was Boys Noize, and I was fully prepared to have my face melted off. After the best DJ set of the weekend, it sufficiently was. I find it really interesting how France has such a firm grip on electro right now with Ed Banger and Institubes throwing out DJ after DJ, and here we have this single German guy who’s killing all of their efforts. I don’t mean to make it sound like a war of sorts, but Boys Noize is the dictator of all things electro right now.

His set consisted heavily of material from his album Oi Oi Oi, but he threw in some Bloc Party and Daft Punk for size. I must say that his remix of Feist’s My Moon My Man is one of the best remixes (more like a re-interpretation) that I’ve ever heard, and I was so glad that he played it during his set. He did his trademark move where he puts the headphone-strap over his eyes and continues DJing a few times. All in all, it was just a electro set to rule all electro sets.

Erol Alkan

I don’t know too much about Erol Alkan other than he doesn’t tour in the US too much, so it was pretty cool to see him here. Following up Boys Noize is no easy task, and considering Alkan didn’t really play any recognizable songs, I think of his set as a way to wind down from Boys Noize. It was a pretty high energy show, but you can’t really top the best. I enjoyed the show, but I was really waiting around for Hot Chip.

Hot Chip

I saw Hot Chip last year at Coachella for the first time, and they blew my socks off. They have such a high energy show that it’s impossible not to love every moment that they are on stage. Lets consider a few things that changed this year from last: 1) Sahara Tent baby! 2) New album out 3) Later set time. All of these things contributed to an great performance that (by my standards) topped last year.

I think the biggest component of their live show that made it so incredible at Coachella is that they have a ton of material to play and a very short time to play it in. This means that they forego all of their slow-mid tempo songs for the raving mad ones. All of Made In The Dark translates perfectly to a live performance, and the seamless flow from song to song doesn’t let the energy drop at all. It was pretty clear that they’ve worked on tidying up the loose ends over the past year. So much damn fun.

Kraftwerk

Admittedly, Kraftwerk isn’t really my favorite band/group. I completely understand the massive impact that they have had on every genre of music that uses any kind of electrical instruments (they formed back in the 70s), but their music hasn’t aged well in my opinion. While I’m sure some people were blown away, I guess it was cool. It was exactly what every YouTube video makes it out to be any nothing more. The screen behind them was nice, but again, exactly what’s happened at every single one of their tour dates for the past 5+ years. I will concede that their music translates amazingly to a setting like Coachella. Their sound is so big that it just fills the fields with the electronic bleeps and pops of the past. Good, I guess, didn’t wow me.

Portishead

This is where my night turns golden. Portishead hasn’t done much of anything (as a group) for the past 10/11 years, and I’ve listened to Dummy countless times since discovering the group as my interest in Massive Attack grew. Some music is awesome because of the great show that goes along with it (Daft Punk), some music is great because of its intensity (Rage Against the Machine), and some music is great because of the emotions that pour out of it (Portishead).

Portishead was by far my favorite act at Coachella 2008. Regardless of the fact that I probably won’t ever see them again and any other factor other than the music that makes the existence of their performance at Coachella great, it really was the music that got me. Beth has said in interviews that lyrics are her way of communicating to people, and it really shows. In between songs, you could hear her faintly saying to Adrian and Geoff, “Say something… just say something into the microphone…”

Their twelve-song set consisted of the best songs from Dummy, Portishead, and Third. It really was a hauntingly moving experience. As a fan, it’s nice to know when artists acknowledge some sort of connection with you, and as Geoff was walking off stage, he shot out, “Thanks for waiting so long.” As anyone who’s listened to Third all the way through, it was well worth the 10 years.

Prince

The surprise headliner for Saturday night was Prince, as everyone knows. Following Portishead isn’t an easy thing to do, but really, this is Prince we are talking about. I wish that I had more to say about his show other than it was what a perfect funk/soul/R&B show is. He played about 20 songs in total over 2 hours (he ended at 1am, not midnight). The set was made up of 80s songs, plenty of covers, and some of his more recent singles.

Here are some of the highlights from the performance: Morris Day and Sheila E. opened with a few songs with Prince on guitar, Prince covered Radiohead’s Creep (perfect choice for the Coachella crowd), he also covered the Beatles’ Come Together, and the encore was a double dose of Purple Rain and Let’s Go Crazy.

Seriously people, Portishead brought the melancholy, and Prince brought the party. It was one of the best nights of music I’ve been to.

These incredible pictures of the Coachella weekend are from Mick 0, Caesar Sebastian, and Jevon Feinblatt.

(thank you for your continued and loyal support over the years - this one’s on me)

As a long time fan of NIN, I headed right over to the download page, got my copy of The Slip in FLAC, threw it into iTunes, admired the album art (though I still don’t understand what it means), and played through the new material. 

Album Review

The first thing I noted about the album was its relatively short length. At 43:45 it’s well under an hour, which is fine by me. If there’s one thing that I’ve recently noticed it’s that I don’t really have the patience or time to sit still through a full album if it lasts longer than an hour. Whether an hour genuinely is a good marker for an album or if I’m just abnormally impatient isn’t too important, I’m just glad that The Slip can be taking in from start to finish is one sitting. 

On to the actual musical contents of The Slip. The album opens with the intro track “999,999″, which leads into “1,000,000″. “999,999″ is a fairly generic building of an ambient industrial sound-scape that Reznor seems to be enjoying more and more these days. 1,000,000 is a more traditional NIN song with a distorted guitar, a simple drum line, and Reznor’s vocals all layered on each other once for verses and reverbed back on each other for choruses. The rest of the album follows in similar fashion with a few more “single-quality” songs, a piano ballad, and a 7 and a half minute sound-scape arriving near the end of the album. 

One feeling that I got from The Slip is that Reznor isn’t so much interested in straightforward industrial music anymore. I guess the feeling has been building since With Teeth, but The Slip is the first full NIN album that I could almost categorize as alternative metal. I don’t think I like this feeling, but I loved Year Zero, and I sorta like The Slip. Hopefully this feeling is only coming on because The Slip feels like a promo for the upcoming tour that NIN will be embarking on (which I already have tickets for). 

The main reason why I don’t have the hots for The Slip like I did for Year Zero is because it’s relatively predictable. Year Zero was so varied and unexpected, yet it flowed perfectly. To me, The Slip seems like an extension of some Year Zero songs where fresh material should be instead. 

Beyond the Music

I started to get into this in the review section, but The Slip doesn’t feel like a full NIN album to me. Maybe it’s because of the fact that I didn’t have to (or even get to) pay for it, but the album seems like a promo for the upcoming tour. Getting away from the fact that The Slip isn’t my cup of tea, Reznor is truly putting his money where his mouth is when it comes to his views on the record industry. 

The models (or experiments) that he has been going through are fairly unprecedented. Please don’t give me any crap about Radiohead, because I don’t think that the release of In Rainbows holds any weight against the release of Ghosts I-IV and The Slip. In Rainbows was amazing, don’t get me wrong, but if Radiohead was serious about trying out new models of selling and marketing their music, they wouldn’t stop after one go around. 

My best guess right now is that Reznor is playing mind games with his fans, and that we are all too willing to play along. Not only is he building loyalty through producing good music, he is now giving us gifts for participating in his experiments. Reznor made well over a million dollars of pure profit with Ghosts I-IV, so in return he’s giving us a full NIN album for free. With the antics that surrounded the release of Year Zero and the distribution methods being used now, Trent Reznor, who is already one of history’s greatest musicians, is soon to be one of the great marketers and business men of the music industry.

PS: Upcoming Tour

Here’s a few random notes about the upcoming NIN US tour. I have my tickets for the Seattle date because I’ll be up in Redmond this summer interning for Microsoft. A friend and I are hoping to snag tickets for the LA date when the presale goes up. The supporting acts this go around include Crystal Castles, Does It Offend You Yeah?, Deerhunter, A Place To Bury Strangers, and White Williams. I’ll be seeing Crystal Castles up in Seattle and Deerhunter in LA! Two amazing openers if you ask me. So exited!

Photos below are from the nineinchnails flickr feed.

I believe that this whole ordeal earned a bit of back-story, so here goes. Back way before February, I bought tickets to a tiny Hot Chip show at the El Rey. It was one of two shows that they were going to be doing in the states, and the other was out in New York. I was so pumped, but the day of the show, it was cancelled due to an illness in the band. After a few weeks, the Goldenvoice email went out announcing a makeup date at the Mayan in APRIL. Talk about a long wait.

Free Blood

So the end of April rolled around, Coachella happened, and I was ready for another dose of Hot Chip (my first dose away from a festival setting). Opening the night was a New York duo called Free Blood. I’d never heard of them before, but I really enjoyed their set. Their sound consisted of pre-recorded tribal/heavy/electronic beats with the guy playing bass and singing along with the girl. While it was a high energy show for a lesser-known opener, one thing that I was impressed by was the fact that they timed their set perfectly. It’s always nice when openers have figured out the right time where you’re enjoying what you’re hearing and you’re not tired of it yet, but you will be in about two songs. They stopped before the two songs. Good set all around.

Hot Chip

I guess I should start the Hot Chip portion of this by saying that seeing Hot Chip in a hot, sweaty, packed Coachella tent is a far different experience from seeing them at a nice LA venue. To be completely honest, I prefer the Coachella environment. It’s something about everyone being packed together and completely in love with what they are experiencing at Coachella that makes it that much better. Then again, seeing Hot Chip at the Mayan was great because of the much longer set time, and it’s just a more intimate setting.

Look down at the set list, it pretty much sums up the fact that their latest album Made In The Dark is amazing live. So many of the songs translate perfectly to Hot Chip’s live performance which is pretty far removed from the sound of their records. The live show is so high energy that it’s hard to recognize that the live songs are the same ones on the albums.

My personal favorites when performed live are “Boy From School”, “Out at the Pictures”, “Shake a Fist”, and (of course) “Over & Over”. There’s something to be said about a band that can recreate the sound of their songs so that they flow together but stay distinct when played live. Hot Chip has perfected this art. 

As I said before, this show was the replacement show for what should have been their first stop in the US back in February, and they acknowledged the fact by saying that they would play their asses off. Honestly, I think they put more effort into the Coachella show. Maybe the shorter set time puts pressure on bands to filer out any sort of filler, but it just had more energy in the air than the Mayan show.

Set List

1. Shake a Fist
2. Boy from School
3. Hold On
4. Bendable Poseable
5. Touch Too Much
6. Over & Over
7. Out at the Pictures
8. Wrestlers
9. Crap Kraft Dinner
10. One Pure Thought
11. Ready for the Floor
12. Made in the Dark
13. (encore) Don’t Dance
14. No Fit State / Nothing Compares to You
15. Privacy of Our Love

The three photos below are from riotphotography on flickr.

Friday

Battles

We arrived at the polo fields a little later than we wanted to, but Battles was a great band to start the weekend off with. Seeing as their songs are well over the typical 3-4 minute mark, they only played 5 songs I think. Regardless, the buildup that Battles is so great at accomplishing made every song well worth it by the end. My obvious favorites were Atlas and Tonto (the two songs that everyone knows best), but they did play a few others off of their LP. Great music, but not too much in terms of show.

Dan Deacon

I had such high hopes for Dan Deacon. After listening to his music and kinda liking it, after hearing and reading about his mind-blowing live shows, after having my heart set on being amazed… this was a downer. Don’t get me wrong, running around in circles and making a massive tunnel in a hot tent is fun, but the whole playing on the same level as the audience doesn’t work. If you aren’t right next to Deacon, or obliviously gone on E, there isn’t too much other than loud, high-pitched electronic sounds peaking the speakers. Sorry, I know that everyone loves his live shows. I must have missed something.

The Breeders

This doesn’t really count as a full set because I came and left midway because there were other bands I wanted to see, but for the few songs I stopped, sat, and listened to, the Breeders impressed me. This doesn’t come as much of a surprise, seeing as (just like the Pixies) tons of major artists site the Breeders as being big influences.

Vampire Weekend

From what I’ve read this week, everyone thought that Vampire Weekend was boring. I must respectfully disagree. I’m not sure what everyone was expecting, but this band is full of Ivy-Leaguers, and their music sounds as such. I don’t know how they could have made the show entertaining other than by playing their music flawlessly, which they did. I thoroughly enjoyed the show and danced a bit. One thing that I did find odd was when they said that they were going to play a “new” song, and proceeded to play something that consisted of dog barks. I hope it was a joke. They played another new song that was pretty darn good. Vampire Weekend is probably the most mainstream indie band right now, well deserved.

Diplo

Walking into the tent preparing for the amazement of Pendulum, Aphex Twin, and Fatboy Slim, Diplo was a past-time for me. I expected to hear some stuff similar to what I’ve heard from his original material, and it was nothing like that. He played a good mix of electro, a sick remix of Smells Like Teen Spirit, and other stuff that I enjoyed. Another plus? When he played Paper Planes, MIA herself came out onstage and danced a bit. The only part I disliked was when he started to play Burial’s Archangel and one of the massive balloons floating around the Saraha Tent hit one of his turntables. It completely knocked the needle off of the vinyl. I love that song, so it sucked that I didn’t get to hear it through. Good set nonetheless.

Pendulum

Last year, one of the members of Pendulum played a DJ set in the Dome. This year, they were playing a live set, and I was psyched. Pendulum does one of my favorite remixes (the Prodigy’s Voodoo People), and I knew that their mix of drum ‘n bass and rock would turn the Sahara Tent into a pit. I really don’t consider them a drum ‘n bass group anymore. They perform with a full drum set, an electric guitar, a bass, a set of synths, and an MC. Their sound hits so hard, and their set was great. They played Voodoo People and all of their other hits as well as some other newer songs off of their album that will be released soon. They had their wall of lights behind them; it was a complete live performance.

Aphex Twin

Pendulum -> Aphex Twin. Really? Incredible. There were a number of surprises through Mr. Richard D. James’ set. One was that he actually showed up. Back in 2001, he was billed to play, but cancelled at the last minute and got Squarepusher to replace him. Needless to say, when I saw his face on stage, I breathed a sigh of relief. Surprise #2, he didn’t play his own material. Well, I guess it wasn’t that big of a surprise, but I was kinda naive going into this set.

This hour-long set became the ideal example of how a set should progress. The first half consisted of some ambient techno, hip hop, and other electronic stuff. As the set moved out of this, RDJ moved into more IDM/glitch material. The lazers started to kick in, and the house lights were beginning to freak. Around the 45 minute mark, the full on thrash glitch stuff switched on and the “Come To Daddy”-Aphex Twin I know was blaring through the speakers blowing everyone’s mind. This was when the animal dancers came on stage and completed the out-of-this-world psycho performance that Aphex Twin is famous for. At the end, RDJ looked up, gave us a thumbs up and an ear-to-ear smile. Wow.

Fatboy Slim

It was good that Aphex Twin was as great as he was, because Fatboy Slim came on about 30 minutes late. At Coachella, a festival known for tight set times, that’s not OK. So when the curtains finally unveiled Fatboy’s huge displays, we were kinda tired and pissed. My mood didn’t really change. He didn’t really play any of his own original material; the set was much of the same that I’ve seen in YouTube videos of his other live shows. He has one of the best back-catalogues of any electronic artist, and I don’t quite understand why he wouldn’t exploit that. It’s a great light show, but I left early because it was past 12 and the music wasn’t anything that I couldn’t hear from any other average DJ.

These incredible pictures of the Coachella weekend are from Mick 0, Caesar Sebastian, and Jevon Feinblatt.

I have a love/hate relationship with Pitchfork. Their features and interviews are the best of any indie music blog, or maybe of any music blog in general, but their album reviews can be so off topic and elitist that I’ve stopped reading them. That’s all fine, whether or not I read their album reviews isn’t a big deal, what bothers me is the influence that one writer can have over the future of a potentially talented band. Leaving their album reviewing out of the picture and turning to their latest venture: Pitchfork.tv, I’m thoroughly impressed. The site features many different high-quality videos about music and the artists that make it, here are the sections it’s broken down into:

Featured

The featured section serves as the most-recent/best-of content gathered from all the other sections. It it basically a collection of the week’s (or maybe more, it’s only been live for two weeks) videos. Because it’s pretty basic, the featured section should be used as the first place you go to see new content (and it’s the first place the website takes you to).

Shows

These “shows” are what make Pitchfork.tv resemble a TV station rather than just a hodge-podge collection of music videos. Right now, the shows include Interview, Don’t Look Down, Juan’s Basement, Daytripping, and Special Presentation. Interview is self-explanatory; they interview an artist. For Don’t Look Down, an artist simply plays a few of their songs on top of a building roof. Juan’s Basement is both very similar and completely opposite to Don’t Look Down because here the artists are playing in… yes, Juan’s Basement. Daytripping is my favorite so far, it’s where a Pitchfork camera crew follow a band around for a day and engage in all the crazy things that go on. Special Presentation is just a section for Pitchfork to throw all their random features; there isn’t much organization here.

Pitchfork Live

For Pitchfork Live, you get to watch a concert at your desk. If you’ve ever bought a live DVD of your favorite band playing at some fancy (or grimy) venue and sat for an hour basking in the glory while wishing you were there, Pitchfork Live is the same thing.

One Week Only

While the other sections are cool, it’s the One Week Only section that really makes Pitchfork.tv worth-while. Here you can watch a video that is SO special Pitchfork can only show it for one week. Thus far, the videos have been documentaries (one about the Pixies and the other about AIR), and both were amazing. I’m not sure if these videos are rare, but I am sure that these will all be high-quality videos worth your 30-60 minutes.

Music Video

You really don’t need an explanation for this section. It’s full of music videos.

In review, I love Pitchfork.tv. I’ve always loved watching interviews and other shows about artists (XLR8R TV anyone?), and this is just feeding my obsession. Even if you’ve never heard of the bands featured on the site, go check them out; you’ll probably begin to expand your musical horizons, which is always good.

COMPANY

55 DSL is a subsidiary company of Diesel, and it has focused its market to young adults who are closely tied to what’s new in pop culture (ie. me). 55 DSL has been around since 1994 and identifies itself as an “experimental spin-off” from Diesel that “both complements and defies its parent.” Taking one look at 55 DSL’s website is a good way of quicly getting aquainted with the attitude that the company exudes.

Bright colors and flashing images pop out at you just as the clothes do. Pushing their college-esque risque appeal is an ad for 55 DSL’s summer internship program called Junior Lucky Bastard. The image is simply a naked guy who looks to be in his late-30’s standing over a 20-something naked girl both smiling. Further down the page is a banner for 55 DSL’s t-shirt celebrating the 30th anniversary of Space Invaders. It’s obvious that the company knows who it’s targeting, and they don’t pretend to be anything other than a place for hipster culture & clothes.

SPRING/SUMMER ‘08 COLLECTION

Getting back to the clothes, 55 DSL’s Spring/Summer ‘08 collection takes fairly conventional pieces and put a bit of a flare onto them. On the guy’s side (the side that I paid the most attention to), you have your typical subdued shorts, pants, and shirts that aren’t too unique but would look good on anyone. Apart from these normal pieces, there’s some stuff thrown in that doesn’t really fit with the rest, but I find to be the most interesting. These pieces are what make the collection stick out, and in my opinion, fit best with the 55 DSL attitude.

On the girls side, I found the collection to be more forward-looking, but not to the point of being runway clothes (you know that stuff that comes down and looks like a costume). These pieces are much more identifiable at 55 DSL than the majority of the male collection.

In addition to the male/female collections, the Spring/Summer lineup also includes a good number of “eyewear” and “props” (sunglasses/hats/backpacks/belts).

In summary, the Spring/Summer ‘08 collection from 55 DSL has its strong points, but I feel that the company’s image lacks a cohesiveness with its clothes. Maybe it was the informal (bordering immature) tone of the website or the scattered thoughts of the guy’s collection, it just didn’t all come together for me.

I apologize if you now think that I spoiled the movie, but rest assured that I haven’t. The great thing about Gone Baby Gone is that, while the plot is incredibly grabbing and outlandish, the movie has so much more depth than just the plot-line.

The characters in Gone Baby Gone achieve some level of relate-ability (unlike everyone in Juno…) that allows for an even greater level of like-ability or hate-ability (are those words?). Regardless, by the end, you are attached to everyone. Because of the characters personalities, what they fight for, and the situations they are placed in, the idea of Good vs. Evil isn’t applicable here. The choices that must be made aren’t black and white. These choices make the movie an extremely personal experience for each viewer, and what you think is right and wrong will probably be questioned by the end.

The impressive cast that includes Casey Affleck, Morgan Freeman, Ed Harris, and Michelle Monaghan delivers one hundred percent. As I said, if you speak to someone who has seen this about which characters were right and which were wrong, there is a good chance that you will wind up arguing because of the discrepancies in your opinions. I’m not sure that any view is better than the next; it’s all relative to who you are and what roles you play in life.

If you have the chance, please see this incredible film. In my opinion, it was definitely overshadowed by some other great movies that came out in last-2007 (ie. There Will Be Blood and No Country for Old Men). While those other movies were great, Gone Baby Gone is much better.

MGMT falls into the category of new hipster bands making music that combines punk, electro, and pop. There’s nothing wrong with this, Klaxons won a Mercury Prize for doing the same, but at a certain point, it’s hard to differentiate between the many bands taking up this formula. MGMT has been able to differentiate itself not by progressively pushing the genre’s boundaries, but by perfecting the art of making an old-sounding new style with keyboards, guitars, and drums.

I’m sure that what you just read is probably a cliche description of many bands now-a-days, but it’s the best I could come up with. Essentially, MGMT is a duo with playful sound that captures what the indie-electro-punk-retro style is all about. Their sound might be psychedelic pop, but not so much as Of Montreal. I think just really good music.

This year they will be playing at both Coachella and Bonnaroo, and it’s probably safe to say many other festivals as more and more dates and lineups are announced daily. As for the Coachella lineup, they are part of what make the midline bands amazing this year. If you miss them this year, don’t come crying to me next year when you’re kicking yourself in the butt.

MGMT Videos

• MGMT - Time To Pretend
• MGMG - Kids
• Letterman Performance - Time To Pretend

After having visited the various museums around LA (the Getty, Norton Simon, Huntington, and the various museums here at Exposition) over the past couple years, I finally made it to LACMA. Visiting museums presents a mild catch-22 for me: I don’t like going without a group of other people, but I don’t like to walk around with that group. I’d much prefer to go on my own and sit in one spot for a half hour if I want to without worrying about if the rest of the group is getting annoyed. Luckily, I’ve found that plenty of people feel the same way and don’t really care if we stick together as a group or not.

On another “freshman outing” coordinated by the grad Radomir, about 10 of us headed down to check out the latest addition to LACMA: the BCAM (Broad Contemporary Art Museum). We started off the night at Souplantation, which turned out to essentially be a step up from college cafeteria-style dining. After wondering why a Frank Lloyd Wright quotation was on the wall and having our fill of soup, salad, bread, and desserts we embarked on the traffic-packed journey that was 3rd/Fairfax/Wilshire to LACMA.After 5pm, everyone gets in free, so being the cheep college students we are, that’s exactly what we went for.

Starting off, the BACM goes top down (kinda like the Guggenheim I guess) and each of the three floors is massive. The first floor (which is actually the third) opens up to the exhibition that all the press in focusing on. The pieces are very large, metallic, incredibly shiny, balloon-shaped objects by Jeff Koons. These include dogs, an egg, and other things that are just big and colorful and reflective. Also in this exhibition are a few pieces by Andy Warhol. After spending a good part of a month focusing on Pop Art last semester, I’ve done a bit of reading on him and was very surprised to see his Elvis at LACMA. While only one copy was on display, it reminded me of the fact that they used to be displayed repeatedly overlapping across an entire wall. Very Pop and very gay, as was Warhol.

Of the three floors, the first had the largest pieces, the second had the most pantings/photography, and the third was all (I think) Richard Serra pieces. Again, last semester we spend quite a bit of time on installations and public art. Serra’s Tilted Arc was the focus of our discussions, but his two pieces at LACMA are far more interesting in my opinions. While Tilted Arc is clearly a prime example of how public art can be received by its audience (and I agree that it was very intrusive), these two were not out in public, and I think that their place in a large hall is perfect.  Both pieces rise up about 10-15 feet and are made of rusted steel. One piece is a massive figure eight and the other (which we didn’t spend much time at) was similarly contoured, but I’m not sure what its shape is.

After we left the BACM, we headed over the main part of LACMA, but our time was limited. In about an hour and a half, I saw some great Southern Californian pieces, a Rothko, two Pollocks, some Picassos, a Braque, and countless others. At 9, we were kicked out and LACMA closed. Naturally, we spend another hour driving aimlessly around LA and eventually wound up back on campus. It was a good night.

This post is a celebration of electronic music and the city of Los Angeles, or maybe just of music in general. Regardless, MSTRKRFT’s show last night at the El Rey Theatre was insane. Being the second sold-out show of MSTRKRFT’s two night stand in LA, it was obvious that the packed (and tiny) venue was full of people who share a love of hard-hitting electronic music.

Speaking quickly on the El Rey, this was my first time see a show there. I was supposed to see Hot Chip there about three weeks ago, but a sick band member postponed the show until April 28th (the day after Coachella). After looking at pictures online, it was obvious that the El Rey was pretty small, but catered perfectly to the pit people as well as the I-wanna-sit-down-and-just-listen people. Comparing, I’d say it’s a bit more than half of the size of SOMA in San Diego. So there’s my bit about the El Rey, and I will definitely be back soon.

So after my most sketch bus ride yet and arriving a half an hour before door time, we were finally let into the venue with LA Riots already spinning. I find it pretty interesting how venues ramp up the volume as the night goes on. Is it for the benefit of our ears, or because they want the headliners to hit that much harder? Anyways, I didn’t really dig LA Riots’ set. I love their online mixtapes, but this set wasn’t anything like that. I consisted of a lot of tech-house, and only in the last 10-15 minutes did they throw in one or two of their original remixes or any contemporary stuff. Also, why did only one half of the duo do any spinning? Eh.

After LA Riots was finished (around 9), Z-Trip immediately stepped up to the tables on the opposite side of the stage (a definite perk of electronic music is the lack of downtime). Opening with Justice’s Genesis probably isn’t the best way for a hip-hop DJ to introduce himself to house crowd, but it at least got us excited. Unfortunately, his set didn’t continue is that direction. Z-Trip is known as a pioneer of mashups, and it showed. He is a talented DJ/turntablist, and does far more than mix individual tracks together. While I wasn’t completely into his entire set, credit must be given for his deft ability to blend Johnny Cash, Guns ‘n Roses, Rage Against the Machine, Justice, the Beastie Boys, and Pink Floyd into one set.

So about half way through is 90 minute set, Z-Trip told us that he was trying out some stuff with drums included in the show, and a drummer came out and began to play along with Z-Trip spinning on the decks. It took a bit of getting in to, but eventually the mix got into the crowd. The sound of live drums layered against a DJ’s scratching was fairly inventive, but it got really interesting when Z-Trip stepped away from the deck to play along with the drummer. It was just a crazy show of two guys banging on a single drum set and simultaneously switching positions (standing/sitting) while playing nonstop. After this, Z-Trip stepped back up and spun for about 15 more minutes before putting together a nice short speech about how hip-hop DJs and electro/house DJs touring together is a good thing for music. It was more a little announcement about appreciation of music in all of its forms. Thumbs up.

Onto the show we were all waiting for: MSTRKRFT. If you look down to the bottom of this post, you will see a few images, check out the one of the crowd. That’s the Coachella 2007 crowd for MSTRKRFT’s set, and I was in that crowd for about 10 minutes until I (foolishly) got bored of the end of DJ Heather’s set mistaking it for MSTRKRFT. While I was walking away, Easy Love started, and I felt my stomach drop. I was already a ways away, so I kept walking. I vowed not to make that mistake again.

After the massive hockey mask was unveiled against the back wall, the music started. The great “thump” that MSTRKRFT is known for played throughout the entire set, save for the buildups and breakdowns of course. Getting off to a solid start, they threw in VUVUVU right off the bat, and while the song kills, I don’t get why it would be a huge MIDI problem (as AL-P has said), unless the tempo was difficult to keep steady. Continuing on, the set was solid, and it was apparent that they can control a crowd almost as well as Daft Punk can; mixing the big hits with some newer (read: nonpopular) material is something they do well.

After throwing down a great set consisting of the Bloody Beatroots, Daft Punk, the Chemical Brothers, Stardust, and some original material,  the part of the show that I had been praying for finally arrived. This section of the set consisted of D.A.N.C.E (MSTRKRFT Remix), Wow (MSTRKRFT Remix), and I believe that Paris was played here as well. Justice’s D.A.N.C.E. was 2007’s club hit that went mainstream, and MSTRKRFT’s remix of it is by far my favorite remix (out of the 27193 remixes that are floating around the blogs). So that knocked it out of the park. Then Wow was played, which is yet again, another MSTRKRFT remix fav. Kylie Minogue’s original song is alright, but I don’t think it’s anything special. This remix is a perfect example of what Kylie+MSTRKRFT equals. This part of the set is what put the show over the top for me.

After announceing that they would be heading over to LAX after the show because they were getting kicked out of the El Rey, they ended with Daft Punk’s One More Time as followed by Justice’s Phantom Pt. II (Soulwax Remix). It was a great finale, and I left satisfied. If you need an example of what this duo does to a crowd (and you haven’t followed my directions from above), click on the Coachella 2007 crowd, it’s one of my favorite Coachella pictures.

So what did I say last year about Justice?

Anyone up for a French house DJ duo? No, I’m not talking about Daft Punk; I’m talking about Justice. Of the entire artist lineup being pushed by Ed Banger Records right now, Justice is getting the best and most press attention (guess I’m feeding the flame.) Gaspard Augé and Xavier de Rosnay are the current heroes of French house music.

Back to now: all of the above is still true (and more). These two are still the kings of electro, but they are anything but alone in the genre. This past year we have seen DJs like Boys Noize, Para One (and the rest of the Institubes crew), SebastiAn & Kavinsky (and the Ed Banger crew) all tour nonstop and put out some great remixes. Justice is no longer the unique sounding duo that they were last year, but the release of their debut LP Cross has kept them on top.

Instead of relying on the distorted electro sound that brought them up, Justice has become a genre-crossing mix of disco, electro, pop, and rock. The worldwide phenomenon of electro has contributors popping up all over the globe, and the backlash has been just as great as the support.

This year at Coachella, look forward to a brand new live show (remember last year? they played Cross in its entirety)… Busy P sounds pretty pumped for these guys, and I will not be missing them this year (unless they are pitted against Roger Waters).

Justice Music Videos / Live Stuff

• DVNO
• D.A.N.C.E
• We Are Your Friends (Justice vs. Simian)
• Waters of Nazareth Official Release Party
• D.A.N.C.E. Live on Jimmy Kimmel

Hailing from Bristol, England, Portishead (pronounced with a hard “s”) has been pioneering the genre of trip-hop since the mid-90s when they released their first album “Dummy.” While comparisons of artists can sometimes degrade one’s opinion of them, I think that Portishead is a mashup of Massive Attack and Everything But the Girl (both of which I love).

Portishead’s most recent release, 1998’s Roseland NYC Live was published with a VHS (the DVD came in 2002). The video was (obviously) a live recording of material from “Dummy” and “Portishead” (their sophomore release) played by a massive orchestral enseamble plus drums, a turntable (possibly Geoff Barrow), and a Beth Gibbons. The shear size of the total number of musicians was astounding and created a sonic quality completely different than Portishead’s LPs.

While I love Portishead and am avidly awaiting their third album (titled “Third”), I can’t help but be apprehensive of their live performance. I doubt that they will put a full orchestra onstage, and downtempo probably don’t make for the best shows. Regardless, the sound will undoubtedly be incredible, and I fully plan on seeing them closing Saturday.

• Their site design is horrible. Apart from the Google.com search hub, the minimal approach is unnecessary. Some might argue that this style is the best kind of UI. I argue that it isn’t intuitive, and that the lack of any design doesn’t do any good.
• Adsense seems to be getting worse at judging what content to base the ads off of. Contextual ads aren’t revolutionary anymore.
• Innovation on projects like Google Docs has seemed to slow down. I loved Writely, but since Google acquired it, the plain UI has left is barren.

As you can probably tell, these problems aren’t issues that Google has actively done. They are all things that have occurred because of the expansion of this online ad company to encompass everything that an online service provider could offer. My problems with Google have been passively incured, until now.

Since Microsoft’s announcement of a hostile $44.6 billion offer for Yahoo Inc., Google has gone on the offensive and issued a public statement criticizing the offer. The post from Google’s official blog titled “Yahoo! and the future of the Internet” is a blatant attempt to bring negative attention to the situation.

In the post, Google states that while the internet has been about the principles of “openness and innovation,” Microsoft might try to “exert the same sort of inappropriate and illegal influence over the Internet that it did with the PC.”

“In addition, Microsoft plus Yahoo! equals an overwhelming share of instant messaging and web email accounts. And between them, the two companies operate the two most heavily trafficked portals on the Internet. Could a combination of the two take advantage of a PC software monopoly to unfairly limit the ability of consumers to freely access competitors’ email, IM, and web-based services? Policymakers around the world need to ask these questions — and consumers deserve satisfying answers.”

Why is this a ridiculous statement? Because the listed web services (email, IM, and web portals) aren’t where the money is being made. Google is an ad company, so why would an ad company be so concerned with another company that - according to Google - will dominate these web service markets? Because Microsoft and Yahoo have made their attempts at ad-selling departments as well.

What Google fails to point out in this statement is that they are the dominant leader with more than 65% of the ad-sales market. Monopolistic practices by Microsoft? If anything, the monopolistic practices for revenue-generating departments have been on Google’s side.

• Official Google Blog statement
• Microsoft.com response

I don’t mean to come off as a Microsoft fanboy (I own a Mac for my everyday use, but I love my Zune) or as a Google hater (I use Gmail both for personal and USC email accounts). All I’m trying to say is that for too long, Microsoft has been an easy target to yell monopoly around. Just because a company is successful and has a corporate face (as opposed to Google or Apple’s fun-eco-friendly faces) doesn’t mean that its sometimes aggressive, market-upsetting actions are illegal.

Because it was one of the museum’s First Fridays events, the night started with a presentation on the topic of elephant communication. Apparently, elephants have huge brains and are considered extremely intelligent mammals. They communicate not only through vocalizations, but also through vibrations transfered from the ground through their feet similar to how some insects do.

It was sometime during this presentation that I realized that this is how the government should fix the declining education levels in the US: have cheap concerts with up-and-coming indie artists at museums, and require kids to come to the museum an hour early to attend a session like this to get tickets. I really think that most people have a genuine interest in learning, but that school is so boring that learning is associated with a unidirectional lecture (and resultant sleep). But back to the music…

A-Trak came out around 8 and spun some hip hop while flaunting his amazing mixing skills here and there. For those who don’t know, A-Trak is Kanye West’s DJ, he won the DMC World DJ Championship in 1997 at the age of 15 (youngest ever & first Canadian), and he owns Fool’s Gold Records. While his first set was great, it was coming out of some crap speakers, which put a damper on things at first. After standing in front of those speakers (in the front row), my ears were kinda shot, so it didn’t really matter.

• A-Trak cutting up Justin Timberlake’s “My Love” in Vancuver

At around 8:40, Kid Sister came out and put on a great set. She did every song of hers that I know and more. Her songs are so perfect to sing along with because of the simplicity of the hook. After about a half hour set that consisted of Control, Damn Girl, Pro Nail, Beeper, Telephone and others, she finished with Switch Board. It’s neither here nor there, but during Control, she came off the stage, and I happened to hold her hand for a few seconds… That’s how you get fans.

• Kid Sister with “Damn Girl” & “Beeper” in Montreal

After Kid Sis finished up, A-Trak kept the energy up with some great electro that included stuff by Simian Mobile Disco, The Prodigy, Justice, SebastiAn, Spank Rock, and some of his own remixes of Digitalism and Kanye West. He progressed back down into more hip hop, and ended on a solid note. I think of the DJ sets I’ve been to, I’d most liken A-Trak to Flosstradamous. Both spin electro and hip hop superbly.

It was a great night. While I paid a whopping $6.50 for my tickets, it turned out that USC students get into the museums for free, so a friend here paid nothing (I ordered mine early). It was a bargain either way.

Beginning, please find me another electro album that opens with a punk song better than this. You can’t. I say that because track #1, Refused’s “New Noise”, is and has been for quite some time my favorite punk song ever, and because I’ve never heard electro records open with anything but electro. That being said, this is an “indie/electro” album Aoki quickly on to Erol Alkan’s “Durrr Durr Durrrrrr” edit of Justice’s “Waters of Nazareth”.

About half way through track #2 comes the portion of the album that sets it apart from other mixtapes: the guest drops. While other mixes might throw in some creative fading or original remixes by the DJ at hand, Aoki has been able to get some of the biggest up-and-comers (as well as established individuals) to rhyme on top of the songs in the mix. The artists with guest drops on 14 of the 17 tracks include Spank Rock, Amanda Blank, Santogold, Kid Sister, Har Mar Superstar, Uffie, Pase Rock, Mickey Avalon, Todd Fink of The Faint, and Steve Bays of Hot Hot Heat. As Steve has put it, “so when you listen to it, it’s like a party with all these different people.”

As for the progression of the album, the mixing of the tracks isn’t anything special. That being said, the song selection is spot on. One point that Aoki made in an interview was that while there are various talents that DJs can bring to the table, “at the end of the day, it’s the songs you want to hear… the most important part of DJing is selecting records.” Well said sir. The mood or tone of the mix fluctuates throughout, making for a solid hour of indie/electro that flows very well. Of the various remixes to be found in the mix, MSTRKRFT shows face a couple times just as Erol Alkan does. Weird Science, the production team made up of Aoki and partner-in-crime Blake Miller also pops up nicely remixing Peaches’ “Boys Wanna Be Her” and Bloc Party’s “Helicopter”.

All in all, Steve Aoki and friends have made a mix album that certainly rises above the ranks of bootleg live sets. Through the many guest drop contributions and Aoki’s unearthly ability to gauge when to drop the heavy hitters and when to pull back for a bit so that fatigue doesn’t set in, “Pillowface and His Airplane Chronicles” is a solid effort that succeeds as a standalone album to be played both in the clubs and in the privacy of your home.

Extra stuff on Steve Aoki:

• Pillowface Commercial
• SNMag TV Interview
• Steve Aoki’s MySpace
• Weird Science Production’s MySpace

Tracklist:

1. Refused: “New Noise”
2. Justice: “Waters of Nazareth (Erol Alkan Remix)” [ft. Pase Rock]
3. Does It Offend You, Yeah?: “We Are Rockstars” [ft. Naeem (MC Spank Rock)]
4. Services: “Element of Danger (MSTRKRFT Remix)” [ft. Har Mar Superstar]
5. Goose: “Bring It On” [ft. Todd from the Faint]
6. Larry Tee & Princess Superstar: “Licky (Herve Goes Low Remix) [ft. Santogold]
7. Green Velvet: “Shake and Pop” [ft. Kid Sister]
8. Klaxons: “Gravity’s Rainbow (Soulwax Remix)
9. The Mystery Jets: “The Boy Who Ran Away (Riton Re-Dub)
10. Peaches: “Boys Wanna Be Her (Weird Science Remix) [ft. Thunderheist]
11. Datarock: “Fa-Fa-Fa” [ft. Steve from Hot Hot Heat]
12. Yelle: “Je Veux Te Voir”
13. Franz Ferdinand: “Do You Want To (Erol Alkan’s Glam Racket Remix)” [ft. Amanda Blank]
14. Kim (from the Presets): “Wet N Wild” [ft. Mickey Avalon]
15. Bloc Party: “Helicopter (Weird Science Remix)”
16. Justice: “D.A.N.