Darek Mazzone: spinning tracks that span the globe.

Happening the first Saturday of every month at Baltic Room (1207 E Pine St in Seattle’s Capitol Hill neighborhood, 9 pm, 21+, $5), Juice offers a spicy banquet of what promoter/DJ/KEXP Wo’ Pop host Darek Mazzone calls “modern global music.”� He elaborates on the night’s contents on Juice’s flier: “filthy beats from all over the world: afro, latin, asian, brasil, dancehall, planetary hip hop”¦”� Anup (Tandev, I Heart Shiva) and Rhythma (Basement Productions) join him behind the decks. Tomorrow is also Mazzone’s birthday, so come through and wish him well. He looks very good for a 100-year-old.

Funny that Donte gave some love for the Sun Tzu today, because I was just about to do the same. This recording of last week’s City Soul made my morning, especially through the ultra-ravey first twenty minutes. (Many thanks to the crew for making their Friday night radio show (1-3am on KBCS 91.3) available as a podcast for people like me who have trouble with appointment listening.)

They’ve also got a new free weekly, every Friday at the Bad Juju, alongside their monthly at the Baltic Room. Along with their frequent guest spots on Mondays at the War Room. Then there’s the SZ/JL battle tomorrow, with the monkey. And then there’s their record label, which is getting critical love from all around the globe. Any day of the week, any time of the day, at least one of these guys is playing records somewhere, working on a track or a remix, or out supporting other people’s nights.

Basically, what I’m saying is that Sun Tzu are total underachievers who appear to have no enthusiasm for sharing great broken beat and nu-jazz with Seattle and really should be doing much more. What about 3-6am Fridays, for instance? What are you guys doing, sleeping or something? Christ, pull it together.

The gray skies are no reason to stay inside and mope all weekend (well, they are, but fight the urge). Tomorrow night at Des Amis is a one-off that should be well worth leaving the house, with an evening of Jacob London vs. SunTzu Sound. No, they’re not going to wrestle each other into submission (but with these crews and a few drinks anything’s possible), they’ll be trading off on the decks, looking to best one another with beats. It’s likely you weren’t there a few months back at the Baltic Room when these two crews had an impromptu battle, but it was enthralling, with each crew digging deep into their crates to make their “opponents” and the crowd go apeshit. The night involved a lot of raised hands and exclaimed “Ohhhhhh!”s as people got excited over a newly dropped track. With more time to prepare, each crew should arrive with nothing but their best cuts, leaving the audience the real winners in this competition. Plus, there’s a good chance that Jacob London will bring “the monkey,” which is worth the price of admission alone.

A violently funny, animated view of classic album covers to brighten (and bloody) your day, dear Line Out readers. Thanks to Kyla Fairchild for the link.

So, could it get any gloomier out there? This weather is the sole reason why I love the NW. Today, the gray skies have moved me to throw on Sibylle Baier’s Colour Green. If you haven’t yet been turned on to Baier’s story, the tracks from Colour Green were recorded by Baier in Germany between 1970 and 1973. Apparently, she wrote these songs for her friends and family and never intended for them to be publicly released. In 2004, her son lent the recordings to J Mascis who then recommended them to the people at Orange Twin Records, who then gave them a proper debut earlier this year. The result ““ a bone chilling collection of some of the most melancholy songs I’ve ever heard. The music itself is very quiet and dour ““ just Baier and a guitar. But there’s also a great poignancy in her hushed vocals. Like a watchful mother lulling her children to bed with a gentle lullaby, Baier’s singing is so incredibly comforting.

I’m actually quite surprised that the Stranger never reviewed this re/first issue of Baier’s work. I was even more surprised to find that even Pitchfork managed to overlook this gem of a record. Seeing as how it was released on Orange Twin, I thought it would surely blip on everyone’s radar. It should have, but it didn’t. This is a beautiful album.

I’m interested to hear some thoughts and reviews”¦

The cantankerous James McMurtry walked off with both the Song of the Year and Album of the Year trophies at the 2006 Americana Music Association Awards, thanks to the grass roots success of his protest song “We Can’t Make It Here.” (He’s the guy who was at Toostie’s Orchid Lounge when his second win was announced, as I mentioned in “Border Radio” last week. ) McMurtry has just posted a rough mix of a new tune, “God Bless America,” on the web; you can check it out here. Lyrics? We got your stinking lyrics right here:

“God Bless America”� By James McMurtry

Look yonder comin’, mercy me
Three wise men in a SUV
Corporate logo on the side
Air-conditioned quiet ride

That thing don’t run on french fry grease
That thing don’t run on love and peace
Takes gasoline make that thing go
Now bring your hands up nice and slow

Take us to the land of milk and honey
Sing and dance all night long
Whatcha gonna do with all that money
Whatcha gonna do when that money’s all gone

Negotiation’s just no fun
And it don’t serve our interests none
Gonna turn up the heat till it comes to a boil
So we can go get that Arab oil

And we’ll suck it all up through the barrel of a gun
Everyday’s the end of days for some
Republicans don’t cut and run
Tell me ain’t you proud of what we’ve done

Take us to the land of milk and honey
Sing and dance all night long
Whatcha gonna do with all that money
Whatcha gonna do when that money’s all gone

You keep talking that shit like I never heard
Hush, little President, don’t say a word
When the rapture comes and the angels sing
God’s gonna buy you a diamond ring

Take us to the land of milk and honey
Sing and dance all night long
Whatcha gonna do with all that money
Whatcha gonna do when that money’s all gone

El-P: One tough cat.

That’s the clever, cheerful title of Definitive Jux boss/producer extraordinaire El-P’s forthcoming album, out March 6, 2007. (You may need five months to prepare for it.) Known for his densely layered, psychedelic production style and stentorian, caustic verses, El-P has roped in some stellar (and unexpected) collaborators for his next joint: Trent Reznor, the Mars Volta, Aesop Rock, Mr. Dibbs, and Cat Power.

Ex-Company Flow member El-P (AKA Jaime Meline) has been keeping a blog detailing the final stages of his progress with I’ll Sleep When You’re Dead. Go there for frequent updates and El’s trenchant thoughts on other topics.

As a bonus, here’s Definitive Jux’s 2007 release schedule.

Jan - V/A Definitive Jux Presents vol. 4 - ltd. edition full length 2xLP
March - El-P I’ll Sleep When You’re Dead CD & 2XLP
April - Rob Sonic Sabotage Gigante CD
May - Aesop Rock TBA Full Length Album CD & 2XLP
June - Camutao TBA Full Length Album CD & 2XLP
July - Cage TBA Full Length Album CD & 2XLP
August - Company Flow Funcrusher Plus 10 Year Anniversary and Concert DVD CD+DVD
October - Cannibal Ox TBA Full Length Album CD & 2XLP

Basically, anything with detuned DX basslines on it kinda turns me on, even if it happens to be a Robbie Williams remix.

I wish bands would tour in this configuration more often. I realize the logistics of setting up in the middle of a venue are cumbersome, but there’s something about in-the-round staging that makes shows so memorable. Enjoy.

Ah, the Smoking Gun archives yet another critical piece of our cultural heritage that might otherwise be lost or recycled. The Stooges’ Rider, at 18 pages is an amusing look at how to make sure that your rider and all its listed requirements actually gets read. Well, at least it’ll be read by a bunch of people online who are wasting time at work.

Some excerpts:

3 x MARSHALL JCM 800 100WATT AMPLIFIERS That have been tested recently. And when I say “recently”, I don’t mean “Sometime in the three weeks preceding the occasion when it fell 5 metres off the top shelf in the warehouse’ as we were fork-lifting it back up, after it came back from that Inane Clown Pussy gig where they had the Piss On The Live Marshall Amplifier Competition’ (If you make smoke and sparks come out, and you are still alive aferwards, we’ll give you a bottle of M***er Lite. And a go on the band’s skateboard. And some clown make-up.)’ The sound it made as it hit the concrete!! BAD-OI-OI-OING!!! How we laughed”.

2 x HEAVY DUTY FLOOR MOUNTED FANS. So that I can wear a scarf and pretend to be in a Bon Jovi video

We need: one (1) monitor man who speaks good English and is not afraid of death… We do not have our own monitor man, because in the future robots will work for us and make the world a better place.

Bear with me. Not a real bear, of course.
By the way, our guitar roadie, Chris, assures me that the panda is not of the genus “Bear”, but is actually a part of the “Pig” family. Could this possibly be true? And if not, why would he risk telling me, so that I can tell the whole world his half-baked theory? Unbelievable.

Mix 5 - Guitar wedge. Stage left
SNARE BOTTOM. [I know it’s always bottom. I’m obsessed with bottoms. I make no apology for that.]

Mix 6 - Bass guitar wedge.
SNARE BOTTOM.
IGGY’S VOCAL
Oh, and during the show, could you just catch his eye and mouth the words ‘I love you’.? Thanks.

There is much, much more to the rider.

Thanks to my buddy Jay for the link.

All he wants to do is play his funky flute for you! Now, do you want to blow it or what?

I wonder how much Dr. Dre got paid for being a part of this bullshit.

(Sorry I don’t have anything more, uh, worthy to say right now. My friend Mac sent me this this morning. I’m not sure if he was being funny or trying to punish me, but I suppose he was successful either way. I just had to share.)

I have a bias when it comes to the Scissor Sisters—hey, that’s my little boy up there showing his ass at the crowd—so can’t really review the show. Or shows, I should say, as I was at both the Monday and Tuesday night performances.

So take it away, MetroBlogging Seattle…

Jake Shears arrived wearing a skin-tight, near-holographic, ruby sequined tuxedo. From the moment he strutted onto the stage, the crowd was in the palm of his hand. The band played a mix of songs from their self-titled debut and the just-released / leaked-a-while-ago Ta-Dah, gradually working the showgoers from fevered anticipation to borderline dance party.

Despite the glam presentation, the impromptu kicklines, the refusal to accept tiaras thrown from the crowd, and the way Jake occasionally yet inadvertently channels Elton John, the band knows its way around rock and funk conventions. They dedicate “Laura” to the First Lady, compliment the northwest fashion in the audience, and call upon the audience to dance like nobody’s looking at them (“the future of human kind is wearing our souls on the outside”). This, combined with unleashing “Comfortably Numb” tips the audience into jubilant mayhem…. By the time they’re playing “Land of a Thousand Words”, Jake’s shirt is long gone and he’s on his back doing bicycle execercises in front of the drum kit. The floor is bouncing like a trampoline, and everyone’s really really happy, dancing with friends and strangers.

And what did Seattlest think of the show?

Tuesday night’s Scissor Sisters show was an absolutely incredible sight to behold. The Showbox didn’t feel like part of Seattle at all, transformed into den of debauchery, glamorous but with slightly sleazy undertone. The sort of place to feature both marble floors and gloryholes. It was the holistic experience that most shows strive to be, with a charismatic headliner, amazing sound, and a crowd as flamboyant and energetic as the performers on stage….

Onstage, Scissor Sisters dandied and fopped around the stage, with Jake Shears bounding this way and that in an shimmering vinyl ensemble, looking straight out of either the Studio 54 heyday or the NYC club kids scene. Ana Matronic was equally vibrant in a flowing gown, occasionally pointing out the dance and fashion successes she observed from the stage. The rest of the band was a bit more subdued, but that is definitely a relative statement.

It took a song or two for the crowd to get warmed up, but “Tits on the Radio” turned up the show’s energy, which set the tone for the night. They had the crowd in the palm of their hands after that, using songs as knobs to control the room’s energy level and ensure it didn’t peak too early. That was hardly a concern however, as they closed out the show on the highest of notes, with an encore featuring a costume change, a vagina-decorated birthday cake for Jake, and crowdpleasers “I Don’t Feel Like Dancing” and “Filthy/Gorgeous.” They earned every bit of applause they received, and considering the energy in the room and the glances being exchanged around the room, we’re sure they were thanked later as people “came together” with their new friends.

120 Days: Avid Marquis de Sade fans.

Above please find the nubile Norwegian group 120 Days. Recently signed by Vice Records, 120 Days are one of the better bands on that haven of hipster-bait music. Already getting airplay on KEXP, 120 Days ply a pleasurable hybrid of gauzy shoegazer atmospherics, krautrockin’ motorik propulsion, and understated tech-house beats. NME not entirely inaccurately described 120 Days thus: “[A]ll their songs sound like the trippy bit at the end of the Roses’ “I Am The Resurrection” played by Kevin Shields-era Primal Scream with added Doctor Who- style synth buffoonery.”

120 Days play Seattle’s Chop Suey Nov. 8. In a perfect world, Vice label mates Boredoms would accompany them on this tour, but this world is far too flawed for that scenario to transpire.

I’ve posted about this previously, but this health insurance reference page for musicians always bears a second mention. Don’t wait until your friends throw you a benefit, please—know your options as an artist.

I was one of a dozen people at last night’s all-ages show at the Crocodile with Supersystem and Zombi.

Supersystem. were energetic and it was sad watching them play to an empty room, but I have to concede that people are pretty much right about them. They’re really talented musicians playing fun music, but their song writing is pretty bad. The Rapture have done an outstanding remix of their song “Miracle”, though. I recommend tracking it down if you like that sort of thing.

Zombi, on the other hand, are fantastic! Like Hella or Lightning Bolt scoring some George Romero shit, but with a little Giorgio Moroder. thrown in for good measure. They cluttered the stage with a an impressive array of vintage analog synths, drums pieces, effects, and laptops, and it was a pleasure to see them work all that gear. Next time these guys shuffle through town, go see them.

Correction: Zombi are like Zach Hill playing drums while Giorgio Moroder scores some George Romero shit. My apologies for the confusion.

Grizzly Bear. Tonight. With TV on the Radio at The Showbox. If I weren’t leaving town tomorrow morning I’d write a massive gush about Grizzly Bear, the boys who count Arthur Russell and T. Rex among their influences, but as it is I’ve a million things to do. But I will be there tonight, so help me…

The percussion is a din above their bitter-swoony voices, but it’s still worth a watch:

Did you catch the Scissor Sisters’ fucking brilliant performance last night at the Showbox? It was lead singer Jake Shears 28th birthday, and the band presented him with a cake before their final number. Here’s a close-up of the cake for those that weren’t close enough to the stage to get a good look…

And, yes, it says “Happy Birthday, Beyonce.”

Should you listen to music at work? Hell yes.

Janet Weiss apparently is a drummer babe. She performed with Stephen Malkmus and the Jicks at the “Affair at Jupiter Hotel” last Friday in Portland. Whether her position is permanent is unknown at this point. However, the role is clearly up for grabs, given the fact that original Jicks drummer John Moen is currently occupied with the very exaulted Decemberists.

Slim Moon is leaving Kill Rock Stars to work in A&R at Nonesuch. He’s undoubtedly going to get a great deal of grief, but if he can bring more unique acts and lobby for better artist deals at a major label, then he gets my blessing.

The Who are older and wiser, and according to many, better. The idea of anything ever sounding better than “Baba O’Reily” is hard for me to swallow, but I’m intrigued. Should you care to explore that yourself (and if you have the cash), they’ll be in Seattle one week from today.

Sia Michel smacks up her bitch, the Killers’ Brandon Flowers. I actually like one (and one only) song from your last record, but sorry dude, you sorta had it coming. On a related note, rumours are a-flying that Michel might soon be tapped to be a new music critic for the New York Times.

The Apple vs. Zune debate rages on. And on.

OK, so it’s not hipster girls making out or anything, but:

So I’m catching up on some back-logged magazine reading and come across Dream Magazine’s issue #6 (I’m also paging through a few Forced Exposures courtesy of my homie Matt Howe ““ one of which features an awesome interview with Chris Knox and the other, an equally awxsome interview with psych-auteur Alejandro Jodorowsky). If you’re not familiar with Dream Magazine, it’s a quarterly publication dedicated to folk, experimental and psychedelic music. It always features great articles, interviews, comics and reviews (Check out the very thorough analysis of Digitalis Industries’ Gold Leaf Branches) ““ very no frills stuff, simple and stark. Anyway, issue #6 includes insightful interviews with Bridget St. John, Jeremy Barnes of A Hawk and a Hacksaw (and formerly of Neutral Milk Hotel), Ben Chasny and Robert Lowe (Lichens). The mag also features a sweet compilation that includes cool stuff from Bridget St. John, My Cat is an Alien and the Swans provocateur in question, Michael Gira.

If you’re not familiar with Gira, his work with the Swans is considered some of the harshest, most brutal rock ever recorded. He also founded Young God Records, the label responsible for essentially exposing the music of Devendra Banhart to the world. Anyway, in the Q & A, a very mature and pensive Gira is asked by the interviewer George Parsons, Dream Mag’s papa, “Do you have a ghost story?” It’s kind of a strange and possibly loaded question that may have effloresced through some coaching on Gira’s part when you consider the elaborate and frightening tale that follows (Although, most likely, the question sprouted from Parson’s fascination with dreams and dreaming). Gira’s response after the jump:

Continue reading "Scary Shit From Michael Gira" »

Serge Gainsbourg: Gallic Jew, charmingly sleazy motherfucker, and father of Charlotte, who’s quite winning in The Science of Sleep, which I recommend.

If, as some have theorized ad nauseam, Jews run the world, then it’s not surprising that they also dominate the music industry. Of course, you’ll find many Jewish record-company execs, but there’s also been plenty of exceptionally gifted talent among the Chosen People. For starters, try Bob (Robert Zimmerman) Dylan, Lou (Louis Firbank) Reed, Marc (Rolan Seymour Feld) Bolan, Paul Simon, Serge Gainsbourg, Leonard Cohen, Randy (Randy Wolf) California, Al Kooper, Mike Bloomfield, Gene (Chaim Witz) Simmons, Richard (Richard Meyers) Hell, the Beastie Boys, 3rd Bass’ MC Serch (Michael Berrin), Van Halen’s David Lee Roth, Rush’s Geddy Lee, Perry (Simon Bernstein) Farrell, Mix Master Mike, Anthrax’s Scott Ian, John Zorn, Beck, Kramer (Butthole Surfers, Bongwater). And then there are Kenny G, Sammy Davis Jr., and Madonna (cough). Surely I’ve forgotten some key players; please fill in the gaps, if you’re so inclined.

If you’re interested in exploring this fascinating topic further, go to jewsrock.org. The site describes itself as “a non-profit group devoted to illuminating the intersection of rock and roll and Jewish culture.”� One of its editors is named David Segal. As far as I know, that’s not me. Mazel tov.

The Black Angels

…who also love the Hold Steady. If you hadn’t bought tickets for either show on October 21 because you were conflicted about which one to attend, your dilemma has been solved: Neumo’s has wisely added a second show on October 23. Get your tickets here.

I’ve often felt my share of disillusionment with hip-hop. For as much quality material is coming out, it’s hard to not feel that it’s getting lost under the crushing weight of a bunch of crap. Our local scene is certainly doing it’s part to right the ship, and I give props to everyone more involved with that scene than myself, but I’m still left reminiscing over the Golden Era, the late 80s early 90s period when bragging was respected not expected, when doing something different could get you more than just haterade from the “heads.” I’m not sure if that period will ever be matched again.

This month’s issue of the Utne Reader features an open letter with someone else’s thoughts on hip-hop. While at times reading a bit like spoken word (it is the Utne Reader), I found it to be a good read. Recommended listening: The Roots’ “Act Too…The Love of My Life,” one of my favorite anthems to hip-hop.

Yeah, you coulda been a leader for a people who will lead themselves, a real synonym for black power, the anti-nigga machine, the Moses for the massive, the true king (and better) of New York. Man, you was beautiful, full of innovation and inspiration, rebellion and redemption, energy and possibility, but never beyond belief. Because you were something to believe in, in a world with nothing left to believe in.

Give me a minute, this isn’t easy.

Okay…

Deep breath….

The new My Chemical Romance single doesn’t suck.

Now wait just a mall-punk minute! Before you fill that envelope with anthrax and address it to me, let me explain myself…

Continue reading "I'm Going to Regret Saying This" »

Tonight the Circle Jerks are playing at El Corazón (7:30 pm, $23). The Circle Jerks! If this were 26 years ago, when they released their first and best album, Group Sex, this would be unbearably exciting news, but, alas, it is not. And, be forewarned that they are opening for Pennywise. Ugh. Regardless, in honor of tonight, here is some Circle Jerks trivia:

In 1979, Keith Morris left his job as vocalist for Black Flag, a band he started with Greg Ginn, and started up the Circle Jerks. To repeat, their first album, Group Sex, is great (fuck you, whoever stole my copy) and should be immediately purchased.

Particularly awesome songs on the album are “Live Fast, Die Young”� and “Deny Everything”� (which clocks in at 28 seconds). A particularly crappy song is the title track. Two songs on the album, “Wasted”� and “Don’t Care,”� are songs that Morris wrote with Black Flag, and that he took with him to the Circle Jerks, without crediting his Black Flag (former) buddies.

So what did Black Flag do about this? They got pissed. Then they took the song “Don’t Care”� and rewrote the lyrics, turning it into “You Bet We’ve Got Something Personal Against You!”�—opening with the line, “We know you stole our song”�—which they added to their Jealous Again LP. Burn.

Speaking of Black Flag:

The comp The First Four Years, which chronicles Black Flag’s first four years, is a terrific album. There’s no Henry Rollins on this disc—instead it features the vocals of Morris, his replacement, Chavo Pederast, and Pederast’s replacement, Dez Cadena. That’s right: three singers, four years. (Morris and Pederast are my personal favorite Black Flag vocalists.) Here you get such classics as “Nervous Breakdown,”� “Jealous Again,”� “No Values,”� the aforementioned “You Bet We’ve Got Something Personal Against You!”� and Morris’s Black Flag version of “Wasted.”� Before my Group Sex CD was stolen, I used to listen to these two short albums one right after the other—for all the drama between these two bands, they really do complement each other nicely.

I love this woman. Damn. I was sixteen when the video for “Human Behavior” began circulating MTV. Hmm… 1993. And ever since I have admired Bjork for her ability to manipulate conventional pop music with relentlessly imaginative experimentation, while keeping in the confines of accessibility. This live performance at Canal Studios in France features the awesome beatboxing of Razhel… and I dig that funky girl and her tribal growling… she happens to be Tanya Tagaq Gillis, an Inuit throat singer.

This weekend I bought some new CDs:

Ted Leo & the Pharmacists - Shake the Sheets
Anathallo - Floating World
Jawbox - Savory +3

I already had the Anathallo record, but it was just a CD-R copy, so I finally scored a real copy, which has beautiful artwork.

It’s hard to see here, but the brown part is actually a seperate piece of cardstock that is cut out to reveal the layer of airbrushed paper under it. Just like their music, it’s so delicate and pretty.

I wish Singles Going Steady had a copy of Army of Ponch’s So Many You Could Never Win, but alas they had to put one on order. Oh well. It’ll be worth the wait.

What records did you buy this weekend?

This just in:

Due to medical reasons (the guitarist has tendinitis), The Futureheads have canceled off the bills this Wednesday at Neumos.

Cold War Kids will now headline both of those shows with Delta Spirit and local support TBA.

Tickets for the Cold War Kids shows are $10. The show is all ages.

Refunds are available at the point of purchase for ticket buyers that do not wish to attend the show. Ticket buyers that do attend the shows will be given a $3 refund when they present their ticket for admission.

After having my sense of what’s sexy raped by the stupid hipster orgy in that Simian Mobile Disco video, I set out to regain my senses. Here’s a little sexual ballast for others scarred by that totally silly display…

But I also couldn’t stand that Autechre video shown at the Decibel Festival. I hate all that ditsy, cutesy crap. I’m not comparing her to Nico, but Chan Marshall’s got more sex in one self-conscious swipe of bangs than all the predictable porn that could ever be staged by Paris Hilton and her ilk.

For any of you techno producers out there, you could buy the equipment used to make some of your favorite classics, as Underground Resistance (or someone affiliated with them) is selling a bunch of gear used by the legendary collective. Check out the auctions here (consider the VW van dashboard a bonus).

A listing of what’s available:

Novation KS Rack Hypersync Synth Module
Kurzweil K2500RS Synth Module/Sampler
Korg KP2 KAOSS Pad
MOTU Midi Timepiece AV-USB for mac
Boss VT-1 Voice Transformer
Roland D-50 Patch Data Memory Card PN-050-04
Sequential Circiuts Prophet 600 Prog Cass #2596

[via UR]

This post goes out to DJ Trendy Wendy, natch.

I’ve mentioned this track, “Hustler” by Simian Mobile Disco on Line Out before, but the new video they’ve made for it, directed by Saam Farahmand bears some renewed examination.

I love this song. I love the weird monologue about shoplifting records, I love the acid-damaged synths, I love the classic drum machines. But I’m not sure how I feel about this video. I imagine that if I were 18 I’d be rather smitten with its American Apparel-style faux lesbianism, but as it is I just find it kind of predictable—they’re obviously going to be making out by the end of the video.

But I still hope it blows up huge for Simian Mobile Disco’s sake. They consistently turn out dance floor killers, and I’d be thrilled to see them continue to do so.

I do appreciate that it’s a single shot video, that always makes me stoked, but for a better example of that trick, check out this one by LCD Soundsystem:

Damn! That is how you make a music video.

Speedy J brings Decibel to a resounding climax.

A Live Journal member by the name of basic_sounds praises to the heavens Seattle’s recently concluded Decibel festival here, claiming it was better than Mutek. He/she (who lives in Toronto) also posts several striking photos that give those who weren’t at the four-day digital-arts fest an idea of what it’s about. basic_sounds writes:

Decibel is put on by a superb group of friends that decided to pull together to make their vision come true. The Decibel crew is an incredibly welcoming, modest group of individuals that radiates talent. Their selfless, hard work paid off. Dreams are possible and Decibel was the best Festival I have experienced to date.

Thanks to Ario for the tip.