Album review: The Field, "Yesterday and Today"

With the release of his 2006 single “Over the Ice,” Kompakt recording artist Axel Willner (AKA the Field) galvanized the global techno community. Combining minimal aesthetics with a crafty sample of Kate Bush song “Under the Ice”) into a lush, hypnotic groove, the song signaled a genuine and inspired new voice in electronic music, landing on many influential year-end ‘best of’ lists.

Willmer expounded on his trance-inducing template with the 2007 full-length “From Here We Go Sublime,” crafting dreamy, propulsive instrumentals out of even more unassuming sample sources, rendering the likes of Lionel Richie, Coldplay and Fleetwood Mac into his tactile, emotionally-charged tracks.

For his second LP outing, Willmer continues to mine unlikely sources to create mesmerizing tracks while expanding his palate to include live instrumentation. In this case, it’s the ten-minute-plus title track, a sprawling collaboration with Battles drummer John Stanier, whose muscular trap work ignites the last half of the song. For first single “The More That I Do,” Willner chops up obscure Cocteau Twins tune “Lorelei” into a thick, almost cacophonous cluster of percussive bliss.

Like an electronic Kevin Shields of My Bloody Valentine, Axel Willner’s music as the Field uses rhythm, repetition and unexpected melodies to make a captivating sound that can be too much for some listeners. But to fans of top-flight techno craftsmanship, it’s nothing less than spellbinding.

--Scott T. Sterling

The Field
“Yesterday and Today”
(Kompakt/Anti-)
4/5 stars

Kid Rock knows beer

Oh, Kid Rock. When he’s not mashing up Lynyrd Skynyrd with Warren Zevon to produce a massive hit ("All Summer Long"), pimping babes decked out in decidedly non-P.C. Confederate flag bikinis for said song's video or enticing young men to think about joining the National Guard, the self-proclaimed “Son of Detroit” is trying his hand at creating the next great American beer.

“It’s going to be called ‘Bad Ass Beer,’ '' Rock boasted to Rolling Stone magazine recently from his suburban Detroit studio, where he’s hard at work recording the follow-up to his multi-platinum 2007 release, “Rock N Roll Jesus.”

“It just tastes like good American light beer…an everyday beer,” he raves, extolling the fact that his brew will be an all-American endeavor, right down to the hops. “It’s creating jobs in Michigan at the brewing company. We know people are hurting here so we’re trying to take that whole approach.”

While we wait to see if Bad Ass Beer will come to usurp the likes of Natural Light and Coors as the beer of the American working man, what’s even more intriguing to us is the series of competitor-mocking advertisements Rock is working on to promote his new golden dew.

“There’s one where it looks like the Budweiser horses, and they’re all up in the air, just freaked out, like they went haywire, and whatever they ride on is smashed up, and it just has my beer sitting in the front. It says, ‘Bad Ass. And ‘…and the horses they rode in on,’ ” Rock tells the rock mag. “There’s another one where we [mess] with Corona. We have an old rusty truck with no tires on it and it’s sitting on the Bad Ass beer, and it says, 'The only way you’ll ever see a lemon on it.' "

But for Rock, it all boils down to flavor: “It’s good, and there’s no aftertaste,” which sounds like as good a tagline as any -- definitely better than meaningless marketing boasts such as "triple-hops brewed" or "beachwood aged."

Expect Bad Ass to hit shelves in time for Labor Day festivities. Beer run, anyone?

(Originally published in the L.A. Times)

Today’s obsession: New Boyz: “You’re a Jerk”

Thanks to Detroit homegirl Kathy Rivkin giving me the heads up, I’ve found my new favorite song. In the grand tradition of Soulja Boy, teen L.A. hip-hop duo New Boyz has delivered “You’re A Jerk.”



It’s reminiscent of the Neptunes minimal era, when they were cooking up classics like “Grindin’” for the Clipse and “Nothin’” for N.O.R.E. mixed with some of that Cool Kids retroism (note their super-trendy style profile, heavy on bright colors and plaid. I guess kids in the 'hood ARE shopping at American Apparel).
This spacious hip-hop jam also comes with a new dance, “the Jerk.”

Yes, “You’re A Jerk” is totally ridiculous. It’s also pretty awesome. Watch your back, Soulja Boy. L.A. is comin’ atcha!

Here's a brief clip of the Boyz getting the kiddies all riled up at a SoCal high school show:


UPDATE: I couldn't resist. I wrote about the New Boyz for the L.A. Times.

Coachella 2009 preview: Cloud Cult

Why they will make you want to relocate to a small cabin in northern Minnesota and live a simple, more meaningful life: Grand, orchestral, cinematic — Cloud Cult makes music that really wants to be the soundtrack to your life. What started in the mid-‘90s as a solo project for singer Craig Minowa has exploded into a sprawling, multimedia experience. In concert, the band conjures its intimate and emotional indie epics while painters Scott West and Connie Minowa (Craig’s wife) collaborate on a large canvas behind them. The resulting piece usually gets auctioned off at the end of the show.

The band received much exposure last year by scoring a widely seen Esurance TV commercial with their song “Lucky Today.” The aggressively green outfit used the opportunity to push an environmental message within the spot. Craig Minowa, who lives on a remote farm powered by geothermal energy in the woods of Minnesota with Connie, also runs the band’s eco-conscious Earthology record label, and works with organizations such as Reverb and American Forests while on tour.

Still supporting their 2008 album "Feel Good Ghosts (Tea-Partying Through Tornadoes)," the next Cloud Cult release is a DVD. “No One Said It Would Be Easy” is scheduled to come out the Tuesday after Coachella. It's an up-close documentary that explores the band’s unusual but inspiring dynamics, both personal and creative.

Lucky Today - Cloud Cult

(Originally published by L.A. Times)

Peter Saville on the Manchester revolution

Peter Saville is a rock star. One of the co-founders of the famed Manchester, UK, record label Factory, his stark, often re-contextualized images have become iconic. From Joy Division’s seismic logo to the notorious “floppy disc” design for New Order’s “Blue Monday” 12-inch single, Saville’s visual work for Factory challenged convention and reinvented how the world looked at record covers.

Now the creative director for his home city of Manchester, Saville received a hero’s welcome when he spoke to a packed Paley Center for Media audience in Beverly Hills on “Use Hearing Protection,” in a Q&A format moderated by Christopher Mount, an art professor and former editor-in-chief of i-D Magazine.

Dressed in a white suit (“I can only wear this in L.A.,” he deadpanned), Saville thoughtfully touched on a wide range of topics while images of his many pieces flashed behind him (his cover for Pulp’s “This Is Hardcore” even elicited a squeal from the crowd). He said Factory owed its success to the fact that no one in the loosely defined “company” knew what they were doing. Attributing the enduring power of Joy Division to the band’s democratic approach as opposed to being a vehicle for Ian Curtis, he said it was Curtis’ death that allowed Factory to become such a cultural force.

“When Ian died, we suddenly sold more records than we could keep up with,” he remembered, adding that they sunk a majority of the profits into their famous club Hacienda in Manchester, a practice that would continue with New Order.

Touching on his panoramic post-Factory work, he told amusing tales about working with George Michael and Stella McCartney ("I'd worked with her dad, so I never felt obliged to take her seriously"), getting particularly scathing when discussing the fashion industry, which he finds “useless.” He garnered laughs when deconstructing what he called “the current culture of handbags, which is fashion moving off of the body.”

Particularly animated about his new role as the creative director of Manchester (which sponsored the event), Saville talked about the challenges of re-envisioning his city to be perceived as more than just a football town, in reference to the world renowned Manchester United squad. “We were the first modern city at the start of the Industrial Revolution,” he challenged while explaining the current “Original Modern” campaign.

Afterward, Saville mingled easily during the reception, posing for pictures and signing autographs for fans while Tim Burgess of the Charlatans spun actual vinyl records, including New Order’s “Blue Monday,” of course.

(originally published by the L.A. Times).

Live review: Ladyhawke at the Troubadour

if there’s any consolation for bitter music fans stuck in town while SXSW rages on in Austin, it would have to be the stream of bands that stop in L.A. on their way either to or from Texas. Case in point: Tuesday night’s show at the Troubadour by New Zealand blog sensation/’80s revivalist Ladyhawke.

It was a quick warm-up gig before facing the indie elite for three shows at this year’s SXSW, including Perez Hilton’s much-discussed "One Night in Austin" showcase Friday night, and one that singer Pip Brown and her bandmates definitely needed.

While there are countless new acts pillaging the '80s for inspiration, Ladyhawke’s ace is that she emulates songs and artists that most serious rock fans consider hopelessly uncool. From the booming drums that Phil Collins made famous to piles of analogue synthesizers, Brown’s music captures FM radio circa 1985 perfectly. Early singles such as "Back of the Van" and “Paris Is Burning” sparkle with the same teen dream drama of prime Bananarama and Kim Wilde’s “Kids in America.”

But Ladyhawke’s L.A. debut opened with a sputter, not a bang. Brown and her pinup-ready all-boy band took the stage and kicked into a moody instrumental opener amid a sea of fog, only to have a technical issue with her monitors force them to stop. They started again — and stopped. Brown unceremoniously took off her guitar and fled the stage.

After a few minutes of roadies frantically trying to remedy the situation, Brown returned and apologized to the sold-out and supportive crowd. Shielded by voluminous bangs and her guitar, she was finally able to charge through a couple of songs from her self-titled debut album, but it was obvious she wasn’t having much fun — yet.

As the band persevered, the show started to come together. The bouncy melody of “Manipulating Woman” prompted dancing down front, which only spread with the poppy march of “Dusk Till Dawn.” Brown has a knack for writing insidiously catchy melodies, deftly combined with a thick, dance-rock pulse not heard since Billy Idol’s “Rebel Yell” album.

Tossing out non-LP B-side “Danny and Jenny” for the hardcore fans, Ladyhawke wisely saved the best for last, closing with the killer one-two punch of “Back of the Van” and “Paris Is Burning.”

By the time she encored with her latest single, the uptempo Pat Benatar homage “My Delirium,” any earlier technical transgressions had long been forgotten. “Thanks for putting up with all of that,” Brown smiled at last. “It was worth it to finally play L.A.”

It was a touch of the SXSW “experience," in SoCal instead of Austin: Catching a new band still finding its legs, stumbling toward that first big dance, and somehow making it work.

(Originally published on L.A. Times)

Prince announces LOtUSFLOW3r details and three L.A. shows on March 24

Hardcore Prince fans have been all a-twitter lately, with the Purple One releasing three new albums (“LOtUSFLOW3r,” “MPLSoUNd” and “Elixer,” the latter the debut from current protégé Bria Valente) through an exclusive deal with Target.

Much of Prince’s recent online activity has stemmed from the launch of his latest Web venture, the customarily mysterious LOtUSFLOW3r.com. So far, the site has only offered a handful of teases, such as snippets of new songs “Disco Jellyfish” and “Colonized Mind," but little else.

According to the latest press release, the site goes fully live on March 24 as a subscription-based portal, offering fans access to the new music, as well as unleashing a torrent of extremely rare concert footage from his entire career. Ranging from early shows to his already-mythologized appearance at Coachella 2008, Purple People who ante up the annual $77 fee can download all three of the new albums and all of the requisite goodies that come with them (lyrics, photos, etc).

But for L.A-area Prince fans, March 24 will be especially juicy, with the artist planning on performing no less than three different shows in the city at three different locations, and with a unique band at each stop. Details are promised on LOtUSFLOW3r.com over the days to come.

Prince’s promo blitz continues after the 24th. He'll appear on "Tonight Show With Jay Leno" as musical guest for a three-night stand beginning March 25, returning on May 28 to perform on Leno’s penultimate show as host.

This is not the first time Prince has dabbled with a subscription Web service -- his NPG Music Club lasted five years and closed in 2006.

(Originally published on L.A. Times)

Live: Cut Copy's blizzard of Oz

Cut Copy was just full of surprises during its recent two-night stand in L.A. After having the LAFD unceremoniously shut down a beyond sold-out gig at the Music Box @ Fonda on Tuesday night, the Australian dance mob wisely moved the whole operation to the much larger and more comfortable confines of the Club Nokia downtown for the second show.

Any danger and lawless excitement of the previous night’s proceedings was drastically muted by Club Nokia's plush “new car smell.” Still, Cut Copy and their able support acts worked just that much harder to fire up the impressive crowd, which packed the main floor all the way to the bar and well into the balcony.

Matt & Kim’s spastic nerd-punk missives went over well with the bobbing heads down front, thanks to rapid-fire rhythms and over-caffeinated charm (not to mention a well-placed cover of '80s pop-metal nugget “The Final Countdown” by Europe).

Fellow Australian DJ Knightlife played a somewhat wobbly set of digital dance re-edits on CD, picking up steam with the In Flagranti remix of the Rolling Stones’ “Emotional Rescue” before settling into a straightforward, thumping, rave-approved groove.

But the night was all about Cut Copy, which is proving to be the most formidable Australian export since INXS.

Cut Copy ably combines an inherent penchant for pop melodies with infectious dance beats (and an encyclopedic knowledge of the dance-rock greats that came before them), and their nuanced sound kick-started the crowd almost immediately. Led by freshly bearded singer Dan Whitford (who made a sincere apology for the previous night’s debacle), the act plied the crowd with sunny, Split Enz-meets-Daft Punk pop-hop (“Feel the Love”) next to pristine, '80s-tinged synth-pop seduction (“Hearts on Fire,” “Lights & Music”).

But Cut Copy, performing as a four-piece, was most impressive when the act all but abandoned its comfort zone to dig into “So Haunted,” pulling out guitars to bash out a discordant dirge of shoe-gazing chords more reminiscent of Sonic Youth or Nirvana than New Order. But the magic happens during the song’s chorus, which sparkles with layered harmonies that could've been left over from Electric Light Orchestra’s “Out of the Blue.”

Given the rapturous response when the foursome finally took their bows around midnight, it’s clear they'll need plenty of space when they eventually find their way back to town. They've earned it.

(originally published in the L.A. Times)

Dan Auerbach: Black Keys singer goes solo and gets primal

If Akron, Ohio’s Dan Auerbach sounds particularly groggy during a recent phone interview, it’s for good reason. The Black Keys singer/guitarist just survived a 30-hour drive straight through from Minneapolis to Seattle for a gig on his current solo tour, which hits L.A. at the El Rey on Saturday night.

“Man, I felt like we were in Montana for-ever, he moans woefully. “We had to get a second bus driver, because we’d already burnt out the first one on this tour, and the guy deserved a break."

Auerbach is touring in support of his recently released solo turn, “Keep it Hid." Instead of moving away from the organic Midwestern blues that marks his day job, with drummer Patrick Carney, in the Black Keys, Auerbach has expanded on the template, creating an album that explores the outer reaches of classic rock and vintage blues.

At what point did you decide to do a solo album and tour?

I just had this block of free time and a bunch of songs I’d recorded, so I decided to just go for it. It’s really nothing deeper than that.

I’m intrigued by the album title of “Keep it Hid.” It has an underground, almost outsider feel.

Part of me just thought it was a cool title. But also, I’ve been recording on my own without Pat since I was 15. I’ve just never had the opportunity to release anything. I’ve thankfully been too busy writing, recording and touring with the Black Keys. It definitely took over, so in a lot of ways a lot of these songs and ideas have literally been hidden.

Over the past couple of weeks, I’ve had two different women mention how much they like your solo album. Do you think there’s a sensual quality to your solo work that might not be so apparent in the Black Keys?

We definitely did it for the ladies (laughs). I don’t know, man. I’m definitely attracted to music that I think could be considered sexually motivating. I’m in love with that primal beat and wild-man sound. Songs like “The Prowl” and “I Want Some More” are so jungle and completely primal. It’s the same reason I’ve always loved artists like Junior Kimbrough and Alice Coltrane. Music that’s circular and hypnotic.

You did some really interesting things when sequencing “Keep it Hid.” It sounds like you were going for a classic album feel.

Absolutely, yeah. I thought about it once we had all of the songs together. I really wanted it to flow. The idea was for it to be a headphone album. I don’t find many new records where the songs flow like a movie. It’s not even like I’m especially fond of old records just because they’re old. I gravitate towards music that sounds timeless.

A common thread through many of the live reviews on this solo tour is how much fun you and your backing band (San Antonio’s Hacienda and My Morning Jacket’s Patrick Hallahan on percussion) are having on stage.

Yeah, it’s a blast. It’s insanely fun. With the album, I wanted the songs combined to equal something greater than its parts. It’s sort of like that on stage. Together, we’re creating something bigger than ourselves, and it’s just really great. Everyone is completely into it.

What’s it like being on a big tour without Patrick?

I’ve never done a tour without Pat. So this is a totally new experience for me. There are six people on stage. Everybody is such a great musician, and we can re-create every little sound from the record. I’ve never been the kind of person that wants to perform a record note for note. I usually find that boring. But with these guys with me, we can capture all of the subtle nuances.

What do you have planned once this U.S. tour is finished?

This band is going to tour Australia and Europe. I’ll come home for a couple of months, and then Pat and I go into the studio to start the next Black Keys record. We’ve got some festival dates this summer, both solo and with the Black Keys.

It doesn’t sound like you do very well with down-time.

Well, yeah. It’s a blessing and a curse. I don’t know what it is, man. I pretty much think about making music constantly, so why not just do it? I’m sure there will be a day when I wake up not wanting to play music. But until then, I’m just going to keep plugging away.

(originally published in the L.A. Times)

Yeah Yeah Yeahs: Hell yeah!

It was only a week ago that Yeah Yeah Yeahs fans were buzzing over “Zero,” the first single from the act's highly anticipated, exclamation-point-enhanced new album, It’s Blitz!

Loaded with swirling, colorful synthesizers that could have been lifted from a Little Boots song, “Zero” plays like the perfect soundtrack to a raucous, beer-fueled dance party, ultimately driven by a propulsive beat and singer Karen O’s signature yowl. And then bright and early this morning, the full-length album made its way onto the Internets, revealing a revitalized band -- one bouncing back from its contentious and far more eclectic sophomore effort, Show Your Bones.

With It’s Blitz! not due to hit retailers until April 14 (!), the rumors of guitarist Nick Zinner all but abandoning his six-string for keyboards seem to have been greatly exaggerated. While analog synth sounds are everywhere, Zinner’s dexterous ax-slinging appears to be in ample evidence here.

But more than anything, the YYY’s new LP finds the trio taking their sound directly to the heart -- and the heart of the dance floor. A mission statement: “Dance 'til you’re dead / Off with your head!” Karen O howls on “Heads Will Roll,” another floor-mover that shares plenty of DNA (and melody) with New Order’s classic “Blue Monday.”

Dreamy romanticism marks numbers like the bouncy “Soft Shock” and “Hysteric,” but it’s with the sweet electro-ballad “Skeletons” that the band finally produces a worthy heir to their breakout single “Maps.” Yet fans of the caustic riot-blues that marked most of the YYY’s debut, Fever to Tell, will be as disappointed with It’s Blitz! as they were with "Show Your Bones," as the Yeah Yeah Yeahs are obviously not interested in revisiting their own past.

Instead, they’re making like Blondie, and seeing just how far they can stretch the boundaries of their sound without snapping.

(Originally published in the LA Times)

The Best of the '80s: Dif Juz, "No Motion"

When people talk about music in the '80s, they usually reference popular but fleeting stuff from bands like A-Ha.

But underneath the surface churned all sorts of amazing music that never really saw the light of day outside of specialty radio shows way down at the end of the dial that would come on late at night, a few import magazines and of course, the one or two indie record stores that existed in most major cities.

Dif Juz is one such band. As part of the 4AD roster alongside the likes of Bauhaus and Cocteau Twins, their dreamy, atmospheric instrumentals were stunningly gorgeous.

The band's biggest moment was having their song "No Motion" appear on the 4AD compilation album Lonely is an Eyesore. This chiming slice of sonic heaven is a timeless wonder. Enjoy.

Ludacris: Don't sweat the technique

Lil’ Wayne, Jay-Z, T.I. and Kanye West. These are the usual suspects mentioned when the conversation moves towards your big-money rappers. Why Ludacris is consistently overlooked in that conversation is a mystery and just plain wrong.

While the wildly successful Atlanta rapper/actor has sold millions of records and starred in Oscar-nominated movies (Crash), he rarely if ever shows up in tabloids or paparazzi shots. And on the same day that Kanye West’s much-ballyhooed 808s & Heartbreak had the masses scratching their heads to Tears For Fears samples, Ludacris dropped the much sturdier Theater of the Mind.

Loaded with club bangers (“One More Drank”) and radio hits (“What Them Girls Like”), it’s the class of big-money commercial rap albums (debuting to sales of over 213,000 copies) that are fewer and further between. Theater of the Mind culminates with an incendiary four-track suite of songs (including an amazing beat from DJ Premier, “MVP”) where Ludacris trades verses with Nas, Jay-Z, Lil’ Wayne and Common, and should all but insure it a Best Rap Album Grammy nomination in 2010.

Speaking from his home base of Atlanta the day after the 2009 Grammys, Ludacris seems unconcerned about the lack of scandalous headlines in his life. He does, however, have a new album that’s already done and can recommend a great Singaporean restaurant.

So what did you think of the Grammys this year?
I watched it as a fan, and found it pretty boring. There were a couple of exceptions. I was really glad to see Lil’ Wayne perform with Allen Toussaint in honor of New Orleans. I loved that.

Considering the November 2008 release date, do you expect to see Theater of the Mind in the running for Best Rap Album next year?
Ah, I’ll have another album out in time for that one! I’m on the move. The next album is called Battle of the Sexes and should be out around August of this year.

That’s the one with Shawnna, the female rapper signed to your Disturbing Tha Peace label, correct?
It’s my album, but yeah, it features Shawnna representing for the ladies. My whole point is to do things in hip-hop that have never been done before and to fill a gap. There’s never been an album with a male and female MC touching on different relationship issues. It’s 80% done already.

What inspires you after having already achieved so much success in rapping as well as acting?
I’m driven by the desire to touch on things that have yet to be done. I want to be a pioneer in the game. Theater of the Mind is more of a hip-hop oriented album. I didn’t feel like hip-hop was being represented enough in today’s music, and that’s where that came from. I want to inject that same energy into Battle of the Sexes. There are no female MCs representing right now.

I know you’re already onto the next album, but Theater of the Mind is a really great album that’s been completely underrated
Some of the best albums are, man! I’m happy with the feedback I’ve gotten from it. It puts me in the position to keep moving forward. I feel like I’ve done my duty.

There’s no reason you couldn’t have two albums competing for the same award
Yeah, that would be dope!

A lot was made about collaboration between yourself and Good Charlotte. Whatever came of that?
I’m still working with them. What we came up with just didn’t fit the theme of Theater of the Mind. But that doesn’t mean we won’t be coming with something soon. So far, it sounds like the perfect gel of alternative rock and rap.

Are you any closer to a duet with Eminem you’ve spoken about in the past?
I had a chance to speak with Em recently. He let me know that he’s hard at work on his new album, and that once he gets that handled we’ll definitely be getting together in the future. That’s something I’m really looking forward to.

You’ve had more success at acting than most rappers. Why do you think that is?
I love what I do. I love rapping and acting, and I’ve been blessed.

Who are some of the producers on Battle of the Sexes?
In the same way you say that Theater of the Mind is underrated, let’s just say that a lot of underrated producers are working on this next one! Guys you might not expect.

With all of the economic strife and the inauguration of a new President, how are things at home in Atlanta?
Man, we’re pulling through. We’re going to sustain either way. Of course it is hard for a lot of people, but in the end we’re going to be OK. I still have my restaurant Straits open, and the food is good enough to keep it going, and I’m proud about that.

Strait serves Singaporean cuisine. How did you get into that?
It’s no different that my music. I like to do things that are different and unique. I wanted to introduce something hot and exotic to that part of Atlanta. I can bring people in for the first time, but the food has to bring them back. Thanks to my chef and partner Chris Yeo, the food does bring them back. I knew the restaurant business would be hard, but we’re making it happen.

Little Boots makes bold strides

With the cacophony of central London roaring behind her, Victoria Hesketh -- the burgeoning 25-year-old electro-pop sensation known as Little Boots -- is insisting she’s more than just another blog-driven flash in the pan.

“My new songs are even more commercial,” she says of her forthcoming debut album, which does not yet have a release date. Of course, her previous material isn't exactly old.

Hesketh rode to Internet prominence late last year with “Stuck on Repeat,” a throbbing dance-floor anthem that alternates massive synth melodies with ominous sleigh bells. Through it all, Hesketh’s clear, higher-register bell-like voice stands front and center.

And yet, she says "Stuck on Repeat" isn't an indication of where she's heading.

“My music is brighter and more colorful than that," she says via cellphone. "To me, ‘Stuck on Repeat’ is kind of disco-y and dark. The other songs are more varied. There are slow songs, some weird ones, it’s a real mix. I really hate two-dimensional albums ... I want to be more like early Madonna albums, where she would do all sorts of different things, but her voice is what tied it all together.”

Hesketh is currently spending a lot of time in Los Angeles, putting the finishing touches on the album with producer Greg Kurstin of L.A. band the Bird and the Bee. “He’s just so talented and really gets me," she says. "He’s got such a broad range of experience. He and I co-wrote and produced all of the tracks. But I also did some things with a new guy called Kid Gloves, and Joe Goddard from Hot Chip.”

Hesketh’s Little Boots moniker is taken from English translation of the Latin “Caligula,” the notorious third Roman emperor who inspired the infamous 1979 movie of the same name. She's been a mini YouTube sensation, where she posted videos of herself performing original songs as well as covers, such as Haddaway’s “What Is Love” and, more well-known, Hot Chip’s “Ready for the Floor.” The latter is striking in its simplicity, as she's accompanied only by a Yamaha Tenori-On, a hand-held music sequencer that lights up in time with the music it produces.

“I just borrowed it from a friend, and picked up it pretty quickly,” she says of the device, “because quite honestly, I’m really quite nerdy. I love getting new things to sit and geek out on until I totally understand it. But they are a bit tricky at first. I use one in concert. It’s a great visual aid with all of the lights, so much better than just another laptop. We’re working with Yamaha to create a special one to take out to festivals and things.

“So often people think it’s all just robots and machines, and that’s not the case," Hesketh continues, the sounds of the city still churning in the background. "To me, it should be just as exciting as seeing a great guitar player. That’s what I’m trying to do, anyway.”

(Originally published in the L.A. Times.)

I went to Prince's house

Yes, it's true. I was in the man's house. It was one of the greatest musical experiences of my life. My official recount of the evening can be found here on the L.A. Times website.

Something that was omitted from the piece was a mention of his current harmonica player, Frederic Yonnet. The guy is simply amazing. I haven't heard someone blow a harp this well since the glory days of Magic Dick and the J. Geils Band. When Prince and the band tore through a version of the Rolling Stones classic "Miss You," he positively ignited the room with his immense talent.

I had a chance to chat with Mr. Yonnet at the event, and he was as kind and humble as they come. A true gentleman and class act.

I love the above video. The intro from Dave Chappelle is hilarious, and spot-on. Like Chappelle, I didn't know I liked harmonica music before this guy (Magic Dick not withstanding). Frederic Yonnet is the truth.

Hardcore '84: Prince "Computer Blue"

Prince at his most purple. In the year 1984, he blew the roof off of the music world with the release of Purple Rain. He was melding all sort of sounds that had never been mixed before, and it routinely blew minds—especially when it came to sci-fi funk-rock workouts like "Computer Blue," taken from his masterpiece album. This 1983 live version (well before the release of Purple Rain the following year) is Prince at his best, up close and personal with the crowd, just killing 'em. Awesome.

Hardcore '84: Breakin' (featuring Ice-T)

1984 was no joke. The year stands as one of the greatest 12 months of American pop culture ever. Exhibit A: this amazing dance battle sequence from the hit movie Breakin'. Breakin' was such a box office success that the sequel (the notoriously titled Electric Boogaloo) hit theaters only a few months after the original (both in the calendar year of 1894). The MC hosting the battle is the one and only Ice-T. So the next time someone tries to pop off about Ice-T not being down, throw this clip at 'em. Ice has been representing for years, yo. And he's down with Mariska Hargitay. You can't front on that.

Detroit Flashback: Boblo Island

>

Once upon a time, Detroit had it's very own amusement park. What made it doubly cool was that it was located on its very own island just off the shore of the city, actually in Canadian waters. Which meant that to get there, you had to ride the Boblo Boat, and old-fashioned steamer ferry that would shuttle packs of kids and their harried parents to the park.

Boblo was one of those places that you would go to at least once a summer as a kid. But as one got older, the lure of the then burgeoning "mega-coasters" at nearby parks like Cedar Point overshadowed Boblo's far more meager attractions.

Still, nothing could ever top the party that would always happen on the boat ride, especially coming back in the late afternoon/early evening. The DJ would spin the funky radio hits of the day (Michael Jackson was a perennial), and it was Dance Party USA, Motown style. Boblo ruled.

The day the music died: Indie 103.1-FM R.I.P.

This pretty much says it all. Like we need any more bad news around here...

Flashback: Richie Hawtin, Detroit, early 1990s

So. Facebook is killing me right now. More specifically, a very old and dear friend, Adriel Thorton, is the one blowing my mind. He's started a new Facebook group that revolves around the Detroit party scene of the early '90s.

I was as front and center as humanly possible. I went to every party, checked out every DJ, and pretty much indulged in the scene to a degree that crossed over into unhealthy.

This photo of Rich at St. Andrews Hall (found on said Facebook page) just brought it all rushing back—the thrill involved in making your way to the right place, at the right time, and experiencing something you'll never, ever forget.

Richie Hawtin was often the catalyst of such events in and around Detroit back in the day. The guy just had a knack for a good time. From the music to the setting to, well, you know the rest—it was always something more than just a party. It all seems even more surreal now than it did then...

Under The Radar: Flying Lotus, "Los Angeles"

Who: Flying Lotus (AKA Steven Ellison) is repping Winnetka, a suburb of L.A.’s San Fernando Valley, and he comes with a serious pedigree: his great-aunt is jazz legend Alice Coltrane. His thick swatches of bottom-heavy instrumental beats are relentlessly abstract and dense with enough musical knowledge to make both Coltranes proud.

What: Los Angeles reflects its titular subject through a blunted haze of harsh juxtapositions. Crush-collision sound collages that invoke early Aphex Twin with hard, metallic rhythms are smoothed over with icy synths and the warm, analog tones Madlib is known for (see “RobertaFlack”). From the jumpy space-jazz of “Comet Course” to the quiet atmospherics of “Auntie’s Lock/Infinitum,” the chaotic sprawl of L.A. is accurately captured in these finely tuned songs.

Made for: Progressive hip-hop heads looking for freaky beats that still have serious bump. Anyone that still treasures Aphex Twin’s Selected Ambient Works 85-92 and in need of something new; subscribers to U.K. music mag the Wire.

X-Factor: “FlyLo,” as he’s known to fans, is also a party-rocking DJ, with his remixes of Lil Wayne and Kelis bangers making the blogosphere rounds.

(Originally published on Metromix.com)

REVIEW: Lil Wayne, "Tha Carter II" (Cash Money/Universal)

Rating: 3.5/5 Stars

Backstory: First hitting the hip-hop scene as part of New Orleans Cash Money crew the Hot Boys in the late ‘90s, Lil Wayne has steadily come up through the rap ranks with popular solo releases and a high-profile cameo on Destiny’s Child hit “Soldier” in 2004. After blowing up the charts in 2005 with full-length album “Tha Carter II,” Wayne has spent the past three years on a determined conquest to become “the best rapper alive,” showcasing his increasingly impressive and abstract lyrical flow on a seemingly endless string of mixtapes and cameo verses on other artists’ records.

Why you should care: Currently the “people’s champion” of hip-hop, Wayne’s in-your-face persona (including a high-profile drug arrest and a penchant for “syrup,” a homemade codeine cocktail) and ability to melt microphones with the hottest metaphors and one-liners this side of prime Eminem and Ghostface have made him the ultimate rock star of 2008. Already owning the pop charts and dance-floors with the mainstream R&B of first single “Lollipop,” “Tha Carter III” has the potential of putting Wayne in line with such hip-hop icons as Tupac, Biggie and his mentor/nemesis, Jay-Z.

Verdict: While this uneven effort is far from the defining Lil Wayne album that he’s obviously capable of, “Tha Carter III” is still loaded with exemplary tracks. Hardcore numbers like “A Mili” and the jazzy swing of the Swizz Beatz-produced “Dr. Carter” show Wayne at his best, displaying a lyrical dexterity that’s undeniably brilliant. Kanye West provides a clutch of radio ready beats, like the smooth R&B of “Comfortable” and Motown mood of “Let The Beat Build” (Wayne should seriously consider making a whole disc with West). Sadly, those gems are cast amidst a slew of half-baked beats and meandering melodies, creating an unfortunate ratio of jams to rejects. Still, Lil Wayne is the most exciting rapper in the world today whose masterwork is ahead of him and can make even the wackest tracks at least listenable.

X-Factor: Wayne’s not afraid to take big chances, from teaming up with crooner Robin Thicke on the acoustic ballad “Tie My Hands” to profanely calling out activist Al Sharpton at the end of the politically conscious “Misunderstood” as “just another Don King.” Recently dissing mixtape DJs resulted in one of them leaking this CD a week before official release.

(Originally published on Metromix.com)

15 Minutes with Pharrell Williams

“We know that our fan base is different than fans of Kanye West, Lupe Fiasco or Rihanna,” admits Pharrell Williams on the phone from New York during a rare break before embarking on this summer’s highly anticipated “Glow in the Dark” tour. “We’re going to introduce ourselves to that audience, even though there is a lot of crossover there. But the N.E.R.D. energy is different. We’re there to literally rock the party.”

The iconic producer, fashion designer and cultural flash point is excited to talk about the forthcoming third album from his eclectic rock outfit, N.E.R.D., titled “Seeing Sounds” and tentatively scheduled for a June 10 release.

“The title is in reference to a phenomenon called synesthesia, which is when one of your senses sends electric impulses to unintended parts of the brain,” he explains in his raspy drawl. “So for some people, when they hear music, it also stimulates them visually. We wanted people to recognize that and see the sounds of this album.”

“We’ve always had a hybrid sound, so there are a lot of different things going on,” he says of the band’s new record. Williams speaks of drum-and-bass influences, citing the mosh-pit-ready tune “Spazz” as an example. He continues: “The album is definitely hard, guitar-driven and angst-ridden. We recorded the record with the live show in mind. We want people to be up and having a good time at our concerts. If you interview any of the kids that were at any of our warm-up shows in secondary markets like Pittsburgh, they’ll tell you how crazy it’s been. I’d bet those parking lots are littered with empty Red Bull and Monster energy-drink cans everywhere. The shows have been filled with intelligent kids letting go and having fun.”

N.E.R.D. made a huge splash at this year’s SXSW festival in Austin, playing high-profile shows such as the controversial Perez Hilton showcase.

“It was incredible,” Williams raves about the trip. “Our fan base has really grown. It’s wonderful to see how culturally diverse our crowd has become. Our fans are intelligent, have a strong individuality and distinctive opinions about life. At our shows, the skaters don’t mind hanging with the hipsters, who don’t mind hanging with the fashion students, who are cool with the b-boys and the punks. They’re all there, and it’s all love. It’s this patchwork army of kids that are all on a similar wavelength. It’s incredible the energy they send us onstage. I promise not to abuse this position that they’ve put me in.”

That position includes helming the Star Trak record label, which recently signed R&B upstart Tayanna Taylor and preppy pop outfit Chester French.

“I think Chester French are geniuses. To me, they sound like Brian Wilson singing over Motown tracks,” Williams enthuses about the recent Harvard graduates. “We’re so lucky to have them on our label.”

There’s also his successful run in the fashion industry, with Williams behind the Billionaire Boys Club and Ice Cream clothing lines, creating limited editions that command top dollar from obsessive streetwear collectors around the globe.

“The fashion has been fun,” he says casually. “I’ve been studying under Marc Jacobs over at Louis Vuitton for the past couple of years, which has been invaluable.

“It’s all about establishing a relationship with our audience,” he stresses finally. “I want to give them things they really want, be it a pair of shoes, a sweatshirt or a record.”

(Originally published on Metromix.com)

STONE TEMPLE PILOTS REUNION KICKOFF @ HARRY HOUDINI MANSION

SXSW 2008: Peace, TX

SXSW 2008: KATY PERRY @ PEREZ HILTON

SXSW 2008: CHESTER FRENCH @ PEREZ HILTON

SXSW 2008: N.E.R.D. @ PEREZ HILTON

Grizzly Bear: Brooklyn indie orchestra

Quietly cool quartet makes classical concert safe for hipsters

With hauntingly familiar melodies and vocal dexterity akin to TV on the Radio multiplied by the Mormon Tabernacle Choir, Brooklyn’s Grizzly Bear leads a one-band revolution of quiet cool. Sounding like the Beach Boys produced by a really stoned David Sitek, their 2006 magnum opus, “Yellow House,” propelled Daniel Rossen, Ed Droste, Chris Taylor and Christopher Bear (hey!) to the upper reaches of the digital stratosphere. But not without good reason, as their dreamy, atmospheric compositions still seethe with a simmering tension and are as meticulously constructed as the finest pop songs.

Instead of diving right into the inevitable stress of following up “Yellow House,” the members of Grizzly Bear have been enjoying the fruits of their labor. After last spring’s rapturously received tour with Feist, they released the “Friend” EP, an intriguing compilation featuring everything from Deerhunter’s Bradford Cox (in his Atlas Sound guise) reconstructing “Knife” to GB applying their delicate reverence to a version of “He Hit Me” by the Crystals.

While their jaunt last fall with Maryland’s equally dreamy Beach House sadly never touched down in L.A., Grizzly Bear will bring us something even more special with a one-off performance pairing them with the L.A. Philharmonic at Downtown’s Walt Disney Concert Hall . The L.A. Phil open the show with a selection of music in part picked by Grizzly Bear, who are sure to make the most of the ornate space’s dynamic acoustics. We caught up with GB songwriter/guitarist Daniel Rossen for some thoughts behind the collaborative concert.

How did you go about picking the classical pieces that you wanted the LA Phil to perform at the show?
The LA Phil chose the music in conversation with the band, but I wouldn't say we are curating the concert exactly. The director of the Phil listened to our records and came to us with some suggestions of what he thought would fit, and we gave them a couple of our favorite pieces as a starting point. Mostly we chose pieces that we don't know but sounded interesting. I hardly ever get to go to a symphony so it seemed more exciting to ask them to introduce us to a couple new things.

How has classical music influenced Grizzly Bear's sound?
We have pretty varied taste in this band. Composers are in there somewhere. We use a lot of instruments and layer a lot in recording, which is kind of like creating parts for an orchestra except that it's much more textural and intuitive and a lot less deliberate.

Do you have any particular expectations and/or aspirations for the evening as a whole?
I'm looking forward to hearing the orchestra play through the amazing acoustics of Disney Hall, and I hoping we don't sound like complete amateurs when we play right after them.

Who are a couple of your favorite composers and why?
For years I've been a fan of Olivier Messiaen, a French composer with a duel obsession with exotic birdsong and Catholicism. He’s a pretty timeless character. I also like Shostakovich and Penderecki. For the most part I just find their music incredibly affecting, and that's enough reason for me.

Grizzly Bear and the L.A. Phil regale the Disney Concert Hall on Saturday, March 1

The Watch: Casxio

L.A. quartet channels Nile Rodgers, Nick Rhodes and dance the night away

What’s their sound? Funky dance-pop with a sexy scent of yacht rock

What the hell does that mean? Think lots of snappy, New Wave-inspired tunes with melodic, walking bass lines reminiscent of classic Duran Duran and even Level 42 (bass players will know what I’m talking about).

Like both of those bands, Casxio’s primary objective is to make people move. It’s not often a live band can whip up as healthy as dance floor (especially in Los Angeles) as they did at their Metromix showcase at Spaceland.

Is their game tight? They really won me over by handing out free copies of their album “Inside Out” for anyone that wanted to take one. They’re the five best songs I’ve gotten for free in a very long time. In fact, they leap-frog over Duran Duran and go straight for a classic Chic-styled disco groove on “Seventeen.” The quirky afro-funk of “Dance” features keyboards that swirl like Nick Rhodes fronting the Neptunes. Straight up, these guys are the right producer away from being Hall & Oates: The Next Generation. Casxio has got it going on.

X-Factor: I know a band is good when I want their T-shirt. I really want a Casxio T-shirt.

Steve Aoki: living well is the best revenge

As much as his countless detractors hate to admit it, Steve Aoki is a star. He’s a globe-trotting DJ who hobnobs with everyone from Lindsay Lohan to Justice. His record label, Dim Mak, is among the most influential indie imprints in the world, boasting releases from U.K. post-punks Bloc Party and local anthem-rock heroes Foreign Born.

Still, hating on Steve Aoki is on the verge of becoming an Olympic sport. Music bloggers and journalists roast him regularly, with snarky sites taking every opportunity to diss him. His former partner and current nightlife nemesis, Franki Chan, recently accused Aoki of professional backstabbing via an e-mail blast. His heritage as the son of Benihana founder Rocky Aoki is a constant source of critical fodder, not to mention a splashy, multi-page exposé on the Aoki family (including his model/actress sister, Devon) in New York magazine a few years ago. He's even being sued by a blogger that goes by "The Arab Parrot" for allegedly stage-diving onto his head at the HARD New Year's Eve party--twice.

All the while, his high-energy DJ sets, which border on full-on performances given Aoki’s penchant for rock-star moves like head-banging and the aforementioned stage-diving, attract larger and larger crowds of party people amped on his bombastic blend of underground electro hits and social celebrity. Add photographer Mark “Cobrasnake” Hunter and any number of Aoki’s extended family of cool-kid friends, and the resulting scene is like nightlife crack to his growing legion of neon-clad fans.

I spoke to a jet-lagged Aoki on a crackling cell phone somewhere in Nova Scotia, Canada, a few days before his Pillowface mix officially hit stores. His haters will be bummed to know that through it all, he’s still having the time of his life. And with the potential mass-market popularity of his mix CD, the rocket ride might just be getting started.

Pillowface and the Airplane Chronicles has been finished for months now. How does it feel to finally have it in stores?
I’m so happy. We just had a bunch of retail meetings, and I’m so impressed at how many huge chains are picking it up. It’s so hard to sell CDs now, given the downfall of the music industry. I’ve been running Dim Mak for 10 years, and the mom-and-pop shops have always been my bread and butter. But to ship thousands of CDs to stores like Best Buy and Target for those kids that don’t have access points besides online is so cool.

Are you still happy with the mix?
I love how it came out, from the artwork to working with all of the great artists that guest on it. This mix to me is more of an introduction to a lot of the kids that have just found electro. There has always been a gap between the culture of DJs like Paul Oakenfold and Tiesto to the culture of electro. It’s like two different worlds. It’s an exciting time, with what acts like Justice and MSTRKRFT have been producing. I picked the most obvious and popular tracks on purpose. Having people like Amanda Blank and Naeem from Spank Rock rapping over “We Are Rockstars” is a pretty cool concept if you ask me.

Why do you think your Cinespace Tuesday parties are still so popular after almost four years?
I think it’s just the consistency of quality. We’ve always had great artists come play, and we maintain strong relationships. We got to a point where it became the global satellite for many of the new international acts that want to play L.A. for their first time. It’s been a great home for our scene. The scene has changed a lot, though. Those changes come from the artists, though, like Justice. Those guys are the image of what this culture is right now. Without them, there wouldn’t have been as much of a change.

So for you, it always comes back to the music
Absolutely. But the sound has changed. Three or four years ago, we were more excited to have someone like Nick Zinner of the Yeah Yeah Yeahs and Carlos D of Interpol come DJ. I’m sure that in a couple of years, it’ll evolve from where it is now.

Do you have any response to the recent diatribe Franki Chan issued about you in his IHEARTCOMIX e-mail blast?
No, I don’t. It doesn’t really affect me. People are going to have their opinions. I have no reason to backlash or talk negatively on him or what he’s doing. I don’t care to put the energy or time into something like that.

People seem to really enjoy hating on you. Does it ever get to you?
It used to affect me. But for the most part, the stuff would be untrue. It’s easier for people to assume that rumors and gossip are true when you don’t know the person they’re about. I’m not trying to put myself anywhere near her fame, but it’s a lot like how the press treats Britney Spears. You read in Us Weekly that she has mental illness or whatever, when maybe she just had a really bad day. What can you do? I just want to continue doing the work I’m doing with the label, clothing line and DJing.


Pictures of you DJing with Lindsay Lohan are all over the Internet. Have her skills improved due to your coaching?
Her main job is not being a DJ, so it’s not really relevant. But the most important thing about anyone playing records at a party is what songs they choose. To me, Lindsay has some of the most eclectic tastes out of anyone I know. She’d be a great DJ if she really wanted to be.

What advice can you give to aspiring superstar DJs who want to do what you do?
Have fun. I’m serious--just enjoy what you’re doing. After that, the rest is just icing on the cake.

I'm on fire. Literally

Oh, laborious. How you tortured me so. The last true party weekend of the season decides to do double duty as the hottest weekend of the year, too. Would that stop me from making my appointed rounds? But of course not, my sexy friends.

Sunday night brought the big Chromatics show at the Echo. Way more people are into these Portland art-rockers than I realized. Maybe it was our DJ buddies at Part Time Punks pulling the crowd. Either way, by the time Ruth and the boys hit the stage, there were a lot of people queued up to watch them play.

Staying true to the monotonic ice hipstress persona she’s cultivated on Chromatics recordings, Ruth (that's her in the picture) stood stock still the entire time. Dressed in a purple dress, black belt and stilettos, she would occasionally sway from side to side and maybe stare blankly at someone in the crowd. But that’s it. The band (guitar, bass, drums—what, no synth player?), faithfully cranked out the tunes, with “In The City” and “Hands in the Dark (Dark Day)” standing as their strongest numbers (you can find both on the awesome “After Dark” compilation, released on the equally sweet Italians Do It Better label).

Jessie was not feeling it at all. "Infuriating" was the word she used.

"Performing is like sex," she fumed. "It's her responsibility to give the audience something more. She's supposed to fuck them back."

The crowd, on the other hand, ate it up. I definitely enjoyed a sizable taste of my own. On the way out, I eagerly snapped up a copy of a special limited edition 12-inch of “In The City.” Getting it home, I was so excited to discover that it comes with an a cappella version, a killer minimal remix that’s borderline ghetto, and then, the piece de resistance: A deadpan cover of Springsteen’s 1985 single “I’m on Fire.” The perfect soundtrack for the hottest weekend I’ve ever had to endure in L.A. Keep burnin', y'all.

Deerhunter don’t want to hurt you

Indie’s most controversial new heroes only want to have some fun

When it comes to the Atlanta band Deerhunter, there’s precious little sentiment left to express, positive or negative, that hasn’t already been heaped on their narrow little shoulders. Christened by fans and critics alike as one of the most important new acts in years, Deerhunter is just as passionately derided as a shock-fueled sham, with sheep-like hipsters on their team only because it’s the cool thing to do.

A listen to their most recent releases, including full-length “Cryptograms” and the “Fluorescent Grey” EP would bear out the band’s champions. Dense, sprawling, and overrun with more ideas than many band’s come up with their entire careers, both discs are loaded with raw, visceral songs that work double-time to maintain an equal balance of chaos and beauty.

But it’s the band’s live shows that have made them the talk of the American indie scene. When I caught them open up for the Ponys at a packed Echo club earlier this year, I saw something I hadn’t seen in a very long time: an audience genuinely shocked by what they were seeing.

When they took the stage, Deerhunter’s imposing frontman Bradford Cox appeared wearing a flowered housedress and a massive, spidery black wig that looked like an exaggerated take on Patti Smith’s haircut from the cover of “Horses.” The music was nothing short of a maelstrom; a whipping whirlwind of layered drones and Cox’s reverberated incantations. The Patti Smith wig seemed apt, as I could easily imagine this band playing a set between her and say, Television at CBGB’s in 1977.

With Deerhunter headlining this year’s most impressive Fuck Yeah Fest line-up, it was imperative that I get with Mr. Cox for the truth behind one of the year’s most provocative contenders.

The most recent news out of the Deerhunter camp is the story of you and guitarist Lockett Pundt getting robbed at gunpoint outside of a show at Atlanta club Lenny’s. Is it that bad of an area, or were you guys just in the wrong place at the wrong time?
It was wrong place, wrong time. It is a bad part of Atlanta, but the club Lenny’s itself is not unsafe, and ever since the robbery they’ve had cops patrolling every single night. I don’t blame the club. The show was sold out, and we had to park far away.

Does Deerhunter stand out in the Atlanta music scene, or do you have other kindred spirit bands to run around with?
We run around with the Black Lips, make out with them and stuff.

Your live shows have become quite notorious. What’s your inspiration to get onstage every night?
Someone like Patti Smith. A lot of times it’s just personal stuff that I dredge up. It’s like when I go bowling with Lockett, which we do every Sunday night. Before we bowl, I’ll think of something that really hurts my feelings. It gets me all emotional, and I’ll usually throw a strike.

It’s funny that you mention Patti Smith. When I saw you at the Echo, the wig you had on reminded me of her.
That wig was my Patti Smith homage. I’ve stopped wearing the dresses and wigs, though. I want to see if people are still interested in seeing me perform just as myself.

What inspired you to wear the dresses and wigs in the first place?
It was just fun. I’ve always worn dresses, ever since I was a little boy. I just like how tall, awkward boys look in dresses. Plus one of my best friends Kristen and I would go shopping for the dresses, and it was just a fun thing to do with her. It wasn’t about shocking people or anything.

What surprised me was just how shocked that Echo audience was by your show
It’s really funny how easy it is to shock people. I think it’s overestimated how much joy I get from it, though. It’s not my life’s work to be a freak, you know?

That must be a powerful feeling though
It can be. I’m usually thinking too much about myself to notice. I mean that in a self-critical sense. I’m so absorbed in my own mental drama to see the crowd. I love the audience, and I love meeting them afterwards. I even like the people that hate us. They help make it fun, too.

I hear from lots of your fans that it took them awhile to “get” your music. Do you feel like Deerhunter is difficult?
I think it’s easy to not get us. I don’t try to make it that way. People think we’re going for one thing, when actually we’re going for something else. Plus what I’m going for changes all the time. We’re an ADD-type band, with so much happening at once. I can understand why people can have a hard time with it. People like things that are easier to digest.

How would you characterize Deerhunter’s sound?
I think it’s pop music.

What is it that you’re going for that you feel people are missing?
The pop element. The friendliness and fun of it. We’re not trying to be pretentious rock star dickheads. We’re just awkward kids. I’m not shy, but the other guys are. But they’re cute, and I’m kind of not, so it’s weird. If the cuties weren’t so shy, we’d be mega-taking shit over. I’m totally just kidding, by the way. It kind of keeps us in check.

It does sound like you’re getting into prettier, more melodic music
We’re doing more covers, and I’ve started to do DJ mixes, just to show people better where we’re coming from.

What do you play when you DJ?
The Everly Brothers, old doo-wop records. It gives people more of an idea of…

Yes?
Oh, sorry. I’m playing online poker while I talk to you.

Are you good at it?
Oh, yeah. I just made bank a few minutes ago.

Do you win real money?
I have before, but I had to stop because I had an addiction. I get addicted to things really easily. You win a few times, and it’s hard to stop.

Are you a big internet person?
Yeah, I am now, ever since Deerhunter became my full-time job. After the first big tour behind “Cryptograms,” my job was like “We love you to death, but it’s time that you move on.” I just wasn’t around enough. I worked at a graphic design firm. I’m a designer. I’m really proud of the packaging (of “Cryptograms”). It was done with my friend Susan Archie. I just did all of the art for the Atlas Sound record (Cox’s solo side project). It should come out early next year. I’ve put together a band and we’re going to tour behind it.

I was just going to ask you about Atlas Sound. How did that come about, and how is it different than Deerhunter?
Atlas Sound has been going on forever. I love Deerhunter. It’s my pride and joy, and it pays my rent. But like, I have a different way of approaching bass lines or beats or whatever, so with Atlas Sound I get to do more of a hybrid, with ambient electronics next to some 1960s garage pop. It’s an opportunity for me to be more schizophrenic in my songwriting, and to have fun with recording techniques.

What are your impressions of L.A.?
I love Los Angeles. I’ve been out there a lot lately, working on a project with a friend.

Is it something you can talk about?
Not really. I can say that I’ve been helping my friend out on a film score, but that’s all I can say.

How would you characterize the typical Deerhunter fan?
It goes without saying, awesome people! Awesome, sweet kids looking for something that a little scarier than someone like the Arcade Fire.

I’d never heard of Marfan Syndrome (characterized by elongated limbs and cardiovascular issues), which you were diagnosed with as a child. Is it rare?
It’s not rare at all. Lots of people have it. I have it pretty severely, though.

Is it something you deal with on your own, or do you talk to other people that have it?
Since it’s come out that I have it, lots of fans have come up to tell me that they found out they had it because of me. This one kid emailed me to say that after reading about me, both he and his dad got tested and they both had it. So that kind of thing has been pretty gratifying. Joey Ramone had it, too.

Is it difficult to live with?
It hurts your self-esteem. I look pretty ugly because of it. There are heart issues, too. I don’t feel sorry for myself.

There have got to be plenty of people that find you attractive
I’ve never met them. Maybe someday, you know? There are people attracted to the conceptual me, the character. But the way I am onstage is not how I am in real life. I’m definitely not a sociopath sitting around my house in a dress jerking off to child porn.

Close Encounters of the Disco Kind

The Daft Punk show at the Los Angeles Sports Arena on 7/21/07 was quite possibly the greatest concert event of my life. For once, words fail me. Kind of like everything awesome you could possibly think of all happening at once? All hail the kings of robot disco. Simply amazing...