In last week's Music Monday blog, I mentioned Rolling Stone's â€œDance Takeoverâ€ mini-feature. Black-Eyed Peas producer David Guetta kicks off the section and LCD Soundsystem scores the majority of ink, but half of one page is dedicated to â€œFresh Beatsâ€, a chart-like breakdown of popular emerging electronica genres or â€œClubland's Latest Soundsâ€. Dubstep sits at number two on the list. Duh.
Rolling Stone is a rock among print publications. It's also one of the few that I actually subscribe to. Comprehensive music industry coverage and no-holds-barred political reporting is a recipe that regularly sates my IQ appetite. Imagine my surprise when the newest issue arrived--and I found myself inside it.
My dad is rad. Sure, he accepted a job transfer that significantly minimized his role in my adolescence, but he left behind vintage Playboys and a comic book called "Where Did I Come From?" Also, he's been so much more than a mere sperm donor since. Allow me to stroke his ego for a few.
Metropolis is in trouble. A secret society known as The Great Divide is using time travel to suppress freedom and love among its citizens. Thankfully, heroic ArchAndroid Cindi Mayweather is here to save the day. If this all sounds like the plot of a science fiction flick, that's because it's inspired by the godfather of science fiction flicks, Fritz Lang's Metropolis.
March Fourth Marching Band is a guaranteed blast. March Fourthâ€”M4 for short--is the Boba Fett and The Americans of Portland. Actually, more accurately, Boba Fett is the M4 of Denver, as they long preceded the bounty hunter-clad drum major and his guerrilla marching band brainchild. Anyone who's witnessed Boba and company in action will understand what exactly I'm talking about. Last July, Boba and company descended on an already lively Double Daughters anniversary soiree I was hosting, instantly transforming it into a full-on raucous ruckus.
Ratatat first appeared on my â€œrad radarâ€ when they opened a Faint show at The Ogden a few years ago. Opening acts can be hit-or-miss sometimes, but I retrospectively regret arriving late that particular night. The NYC-based instrumental act quickly became a hit with hipsters and even hip hippies via festival bookings including Bonnaroo. Widespread appreciation of the duo was overdue, though, until doing bootleg hip hop remixes on the sly side project tip finally culminated in cutting tracks â€œAliveâ€ and MGMT co-production â€œSoundtrack to my Lifeâ€ with Kanye protege Kid Cudi.
Kostas Kouremenous has been searching The Mile High City high and low for the perfect set of pipes. Kostas isn't a plumber, though, he's a producerâ€”a DJ and dance music producer, to be exact. Although he's had his fingers in many different Denver pots over the yearsâ€”a shoe store, a modeling agency and a number of nightclubs now (Amsterdam, Pure, Lotus, DC10, Zen)--partnering with Triad Dragons' Ha Hau on Global Dance Festival at Red Rocks was his single most in-the-black business decision to date.
Broken Bells, a collaboration between Shins' singer James Mercer and aural harlot Danger Mouse, breaks its Mile High cherry tonight at The Gothic Theatre. Best known as one half of Gnarls Barkley, DMâ€”born Brian Burton--is easily one of the most sought-after producers in the game. The left field is his field of expertise, though, as evidenced by his track record: Beck, The Black Keys, Gorillaz, Sparklehorse and Beatles/Jay-Z mash-up masterpiece The Grey Album.
Playing with words is in Lea Luna's blood. Little is known about the Denver DJ/songwriter's biological fatherâ€”she was conceived in a Manhattan sperm bankâ€”except that he was a graduate student in the writing department at Yale. And apparently hard up for cash. Although her mother just recently revealed this, Luna's been putting pen to paper for as long as she can remember.
The Glitch Mob ain't no one-trick pony. â€œGlitch hopâ€, a genre they're often credited with inventing (or at least popularizing), may have put them on the map, but they refuse to churn out cookie cutter, assembly line club bangers. Drink the Sea, their first fully original full-length, is bound to confound expectations. On the one hand, there are certainly distinctive characteristics that make the record recognizably Glitch Mob. On the other, Sea sees them abandoning many of their signature bells and whistlesâ€”most notably the stutter edits suggested by their moniker.