V.25 No.25 | 06/23/2016
Standing the Test of Time
Paul Oakenfold Remains Electronic Supreme
By Megan Reneau [ Mon Jun 27 2016 4:05 PM ]
Once when discussing clubs and venues in central New Mexico with a young promoter, I asked him what his favorite venue in the area was. “The Stage, probably. That’s the kinda shit they have in Vegas,” he told me. Not that I’ve ever been to a club or a casino in Las Vegas, but I have to admit he’s right. Just a short walk away from the front of Santa Ana Star Casino is their club The Stage is a local club I’ve never been to. I hadn’t ever gone there before because of the price of tickets (usually) and the distance from Albuquerque. I’ve realized the decision has been misguided because the quality of The Stage as a venue is incredible.
The space is beautiful and dark: It has dark flooring, black walls and minimal lighting. The most well-lit areas are the stage, the walking area on the bottom floor, the bar and the bathroom. And it’s all so lustrous and clean! I’ve been to a clean club once in my life and that was in Chicago.
The first opener was playing as I walked in and ordered drinks with my friend. I didn’t know who the openers were, so I asked the bartender who didn’t know either, but found out for me quickly. We went upstairs and set up camp for the evening waiting to see Paul Oakenfold watching and listening to Brandon J, the first act then later GRUM, the second.
Brandon J played atmospheric trance and had interestingly complex buildups and drops. GRUM played more club trance, but overall I found him underwhelming. While I understand openers are there to get the crowd warmed up, that doesn’t mean their sets have to be uninteresting. Near the end of each set the two individual DJs really stepped it up, so I could see that they could do much better though the crowd didn’t get to see much of it. Regardless, the crowd was really into each performer. A direct quote from my notes: the crowd fucking loves it.
As Paul Oakenfold took the stage the crowd applauded and cheered. Immediately I was impressed (although not surprised) by his obvious mastery of his craft. His melodies were intricate and interweaving; I never really noticed when they changed just that they had. At the beginning of the set he wove in a woman saying “I love when we play together,” an obvious nod to his fans thanking them for coming out.
Oakenfold can entwine melodies and genres unlike anyone I’ve heard before. The transition is often flawless for listeners. He started the two hour set with traditional trance then to rave trance house then anthem trance then club trance house then ended with dance trance. The small differences between the sub-genres are small but noticeable; through that he was able to control how the energy of the crowd and how they moved and danced.
The visuals to accompany his music certainly got my attention: videos of him walking, DJing, playing cards, skiing and snowmobiling were the majority, but there were some shorts of him as a lego character DJing which I thought was adorable. This 52 year old man who is critically acclaimed, has scored films and is one of the forefathers of the electronic genre as we know it today is into Legos. Like I said, adorable.
The audience was diverse, containing every type of person from businessmen to ravers. Throughout the show they all went wild. The dance floor was packed with sweaty bodies swaying and jumping every moment, there were few lulls. The energy of the room, even as high as it was, was fairly tame compared to other electronic shows I’ve been to. There were few people who were obviously on some kind of drug or outrageously drunk, and even though I like that there weren't any large disturbances (aside from a few people climbing onto the stage to talk to Oakenfold who always responded by smiling, chatting and touching his fans' hands), it does make for a pretty uneventful night.
Near the end of his set, Oakenfold mixed in a few of his classics like “Otherside,” “Ready Steady Go!” and “Southern Sun.” I was honestly hoping he would play “Starry Eyed Surprise” which was a collaboration with the musician Shifty from 2002 but it's not exactly a club song, so I resentfully understand.
At the last ten minutes of his set, Oakenfold had numerous buildups and drops. After the final, gentle drop at 1:55am, I left quickly, excited to sit down in my car with my friend after standing and swaying for the last four hours.
It was a long night, but the final quality of the show and venue has swayed me to return one day, not just for another show review like this, but as a casual member of the public.
V.24 No.39 | 09/24/2015
Courtesy of the Artist
Ratatat Comes to Sunshine
By Reina Poppy [ Fri Sep 25 2015 12:32 PM ]
On September 26th at 7:00pm, the doors of Sunshine Theater (120 Central SW) open to present two of the most talked about electronica bands in today’s youth culture: Ratatat and Hot Sugar.
On July 17th of last summer, Ratatat released Magnifique, their fifth full-length album and the band members believe this is their strongest album so far. The current tour finds them focusing on their newest songs.
Joining them will be Nick Koenig, AKA Hot Sugar, currently a buzzing topic among teens in the 505. His most popular tunes include "Addictions", "Everyone’s Parents Will Die", "The Girl Who Stole My Tamogatchi", and "No One Will Know Where I Went". You may recognize some of Hot Sugar's work from the TV show Broad City.
After seeing a recent Ratatat and Hot Sugar concert, a fan with the handle @Svbbvtwitch tweeted “'The Girl Who Stole My Tamogatchi' has broke my heart.”
Get your $25 tickets for this 13+ show now before they are all snapped up by the youth of New Mexico!
V.24 No.18 | 4/30/2015
Conquering America One Beat at a Time
By August March
August March pauses “The Mighty Boosh” long enough to read and review Michaelangelo Matos’ EDM treatise The Underground Is Massive: How Electronic Dance Music Conquered America.
V.21 No.1 | 1/5/2012
Monks of the Desert Blessings, Peace & Harmony · Various Artists Red Chilli Samurai Project Vol. 2 · Venus DeMars & All The Pretty Horses 10 Bones
By Geoffrey Plant
We evaluate Monks of the Desert, the Red Chili Samurai Project, and Venus DeMars & All The Pretty Horses.
V.19 No.49 | 12/9/2010
Blog Spot Beats: Teeth, Paniyolo, Asura
By Michael Rucker [ Mon Dec 6 2010 6:01 PM ]
The heavy-hitting synths are relentless! They pump throughout your body profusely for the entirety of the track. Veronica So's vocals are such a pleasant mixture of different styles, purring binaurally, caressing your eardrums. Electro club music is good with my coffee and cigarettes in the morning.
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V.19 No.46 | 11/18/2010
Blog Spot Beats: Mitchell Akiyama, Matthewdavid, Sawako + Daisuke Miyantani
By Michael Rucker [ Tue Nov 23 2010 5:13 PM ]
Mitchell Akiyama If Night is a Weed and Day Grows Less (Sub Rosa, 2004)
"With Hope That (For Steve Reich)"
This track consists of piano loops and cello—with no less than ten chords swarming you immediately—sucking you in for six minutes of heartfelt bliss. You'll hear plucking and bowing of cello and redundant keys set to cross-coordinate patterns. Listening to this song, I feel as though I'm in a surreal world in which futuristic hybrid birds are standing around me in a circle bobbing their heads, with more flying above in a sphere, creating a perfect dome of inconsistent movement circulating in different levels.
[ more >> ]
V.19 No.44 |
Blog Spot Beats: Anne Laplantine's last tracks, Constrobuz's latest, Lil B meets Imogen Heap
By Michael Rucker [ Tue Nov 9 2010 2:24 PM ]
Anne Laplantine, "Spring won't find us" (2009)
Ms. Laplantine is a French musician and video artist who lives and works in Paris. While her previous 11 releases mine the sound-art vein of experimental electronica this release debuts her dreamy vocals, layered into thirteen minutes of soul warming future folk. These haunting voals fused with earth-toned landscapes create the compelling musical language this album. She claims that this is her last release, after 9 years of music crafting, to focus on board games and Facebook.
Chris Papp of Raleigh, North Carolina has been dishing out beat tapes to the web like hot cakes since he was 16. Strictly Beats mention rates Bleep Blorp Remixes as "one of the best tapes ever... on the net." Now he's 19 years old and his followers are hypnotized by his sound. His atypical producing strategies have warped the online hip hop scene.
Glorious Nippon boasts a wirey synth melody, lots of lush, spacey compression, and immaculate drum placement (a Constrobuz signature). This track is based on a sample from the 70's prog rock band CMU.
Lil B is sensibly retarded. He has a fairly large cult of people who idolize him (his YouTube tracks can sport a quarter million views or more). His lyrics are hilarious, vulgar, psychedelic and unexplainable delivered with a deadpan, lewd-emcee crackhead manner. He claims his name 'Lil B' stands for Lil Boss, but then goes by 'Lil Based.' Either way, half the time he goes by "Based God." At one point he had around 122 myspace pages for his music, each one with a different name.
This track, from the "6 Kiss" album, starts off with a sample from Imogen Heap's "Just For Now" --her dreamlike vocals serenading on the beat. He goes on rapping about absolute nonsense. Or maybe there's meaning. Who knows? Some people think Lil B is dragging this ego along to become the next Lil Wayne. Some think he's the new Wesley Willis. Regardless, I think he needs to keep doing what he's doing. Because he's working and producing thousands plus me are hooked.
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