Search results for: dubstep

Treasure Island Music Festival, San Francisco

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MSTRKRFT: Photo by Paige K ParsonsTreasure Island Music Festival
Saturday, October 17th on Treasure Island

It couldn’t have been a more beautiful day for a music festival. The sun shined brightly and the wind uncharacteristically abated long enough to give us San Franciscans the rare sense that summer is not yet over. Upon entering the festival grounds, even at the early-ish hour of 2pm, it was clear that more people were in attendance than in years past, the first day having sold out earlier in the week. Due to the sunny weather and nature of the music, the festival had a full-on party atmosphere. Even in the early afternoon, it was clear that this was a really fun crowd.

By the time I settled in at a chosen spot to take in the scene, Passion Pit was kicking into their set. I very much enjoyed the debut EP, a collection of sanguine synth-pop made by singer Michael Angelakos as a Valentine present for his girlfriend, which was then was passed around virally before FrenchKiss decided to officially release it. But the charming polish sealed on the record in the studio was, obviously, absent and the high-pitched synth of his sound made the live translation of his set a bit grating. Next up on the Tunnel Stage was Dan Deacon, who had a large ensemble with him to get the energy going. Apart from some issues with his sound getting all washed out on one side of the stage, his music was really fun in a live capacity. He builds on his compositions by adding elements such as dual xylophones to effectively make sound collages, and he fully integrates the audience—he started a human tunnel from the stage that snaked way through the festival grounds.

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published: October 20, 2009 in column: It Shows

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Burial: Untrue

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Burial: UntrueBurial
Untrue
(Hyperdub, 2007)

I blame LCD Soundsystem, frankly. I was mad at James Murphy’s effortless ascent to the top scrap of the techno heap for the first half of the decade. So what if this aging hipster could program his 808? He couldn’t bring it to life. Then he did, with Sound of Silver, which has five good songs in a row: A funny, rave-wise David Byrne impression, a typical DFA cowbell jam, a typical Murphy sarcastic rant with an actual hook, a sappy earbud ballad, and one classic, “All My Friends”—seven minutes of Steve Reich-like bliss that could’ve been groomed into a Killers hit. Then Murphy gave up the deep cuts and set his studio on auto-masterpiece before sitting back in for the mediocre “New York, I Love You But You’re Bringing Me Down”, a wan piano ballad out of his métier which helped sour techno for me in 2007. But then everyone started exclaiming, “Burial! He’s done it again.” I didn’t look up until the word “Maxinquaye” was being thrown around. Suddenly, I needed to know everything about dubstep—who was this guy that dare challenge the champion on my desert island of trip-hop?

Sure enough, I threw on Untrue and was underwhelmed. I loved the title and the great drum sounds, but what else was there? Any anonymous studio tech could fashion such a pristine clockwork tick from his rhythm makers, but like the case of Mr. Murphy, I didn’t hear them sing. And after a month of pressure, on-off tries, and contrarian dares, I left Untrue—which I ultimately found repetitive and underdeveloped—off my year-end list and filed it.

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published: June 24, 2009 in column: Ex Post Facto

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Rock Art Rock: Issue 2.41d

Santogold
Fillmore Auditorium, San Francisco
October 7, 2008
By Kapshure

Now, if you are not a one-stop-shopper, and prefer a multitude of sounds in the overall package, then Santogold is for you: Some hip-hop, indie rock, dubstep, and disco-electro ‘80s pop. She’s done collaborations with Spank Rock, Mark Ronson, Lily Allen, and her work can already be found in two video games.

Check out Kapshure at berderp.com

published: March 3, 2009 in column: Rock Art Rock

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