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

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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...

The Polyphonic Spree, The Fragile Army (Warner Bros.)

Texas big love cult is still guided by voices
Up to 27 members strong, the sprawling collective known as the Polyphonic Spree has blazed a singular path through the recent musical landscape. Emerging from the ashes of Tripping Daisy in Dallas, Texas, the band was formed by singer/conceptualist Tim DeLaughter and his wife, Julie Doyle. Outfitted in matching robes, the large symphonic sound produced by so many people on stage (including a 10-person choir) turned them into concert favorites, attracting hordes of fans to their "Up With People" perspective. But the band's unorthodoxy has also been a hindrance, from the impracticality of touring to accusations of contrivance.

For their third full-length release, DeLaughter and company face the reality of the modern world with their brightly-colored robes replaced by matching black uniforms emblazoned with hearts and crosses. The Fragile Army finds the Polyphonic Spree still preaching the power of the positive ("Running Away"), set to grand, orchestral productions that recall the Fifth Dimension if they'd been produced by Electric Light Orchestra's Jeff Lynne. They pull out a few new tricks, like the clunky disco of "Mental Cabaret," which plays like the Go! Team covering the Brady Bunch's "Sunshine Day."

At times reminiscent of an even more zealous Flaming Lips (thanks to DeLaughter's yelping voice and vocal inflections similar to the Lips' Wayne Coyne), grandiose productions like "Guaranteed Nitelite" bring the album to an emotional peak before down-shifting into the minimal electro swing of "Light To Follow." It gets even more interesting with the urgent piano crescendos of "Watch Us Explode (Justify)," and the Bowie-esque emoting of "Overblow Your Nest."

Ending the album on the galloping exuberance of "The Championship" keeps the Polyphonic Spree's M.O. intact: Big productions, big ideas, big sounds, and big big love.