Tonight Tonight in Music: The Sword, Hot Chip, Sasha and Digweed, Yelle, the Death Set
posted by April 22 at 10:25 AMon
Eric Grandy wrote a great piece in this week’s paper about Hot Chip and No Kids. Read that here. He also suggested tonight’s show even though it’s completely sold out:
Hot Chip, Free Blood at Showbox at the Market
Yes, it’s sold out, but The Stranger suggests you do what it takes to get into this show—hit up a scalper, walk in the front door backward, pretend you’re the dude from Free Blood, whatever. Hot Chip’s latest, Made in the Dark, isn’t their strongest, but it’s spiked with some of the best songs in their deep party repertoire. Their live shows are out of control, adding live percussive shake to their nasty thump. And don’t miss !!! exes Free Blood, who were an unexpected highlight at this year’s SXSW. (Showbox at the Market, 1426 First Ave, 628-3151. 8 pm, $15 adv/$18 DOS, all ages.) by Eric Grandy
Hot Chip - “One Pure Thought”
Also happening tonight:
Sasha and John Digweed, Kazell
(Showbox Sodo) From the UK come Sasha and John Digweed, DJs at the center of a progressive house and trance scene that had its moment in the sun in the mid-’90s. To go to this show is to go back to a time when the future seemed so promising. The ’90s was a happy decade—America was making loads of money, the World Wide Web represented the universal mind that would finally realize utopia, and globalization promised to end poverty. Then came WTO, then came WTC, then the reelected regime of Shock and Awe, then the housing crash. Sasha and John’s beat-positive spirit does not speak to this world of endless wars and relentless economic catastrophes. But reengaging with their music, dancing to it, allows one the opportunity to return to a time when things were bright and progressive. CHARLES MUDEDE
Yelle playing live in New York back in February:
Yelle, Panther, Starfucker
(War Room) I took two and half years of high-school French (my senior year was kind of a bust), but unless French electro-popster Yelle decides to rap very slowly about the location of la bibliothèque, I’m going to be lost. Which is just as well, as being lyrically lost doesn’t deflate the giddy joy of her club-friendly singles “Je Veux Te Voir” or “A Cause De Garcons.” Yelle’s pogoing cadences work fine without their literal meaning, becoming just more melodic and rhythmic decoration for her tracks’ elastic bounce. Still, if you’re fluent and familiar enough with French pop, Yelle delivers some zingers—”Je Veux Te Voir” playfully disses Paris hiphop crew TTC, cracking jokes about the size of rapper Cuizinier’s penis and a bunch of other stuff that Babel Fish has no idea how the fuck to translate. ERIC GRANDY
The Death Set photo by Rebecca Smeyne
The Death Set, Check Minus, PWRFL Power
(High Dive) The Death Set are originally from Australia, but they’re now based out of Baltimore, where they fit in nicely with the town’s current crop of art-stained noise-pop bands, even snagging Ecstatic Sunshine shredder Matt Papich to replace original guitarist Beau Velasco. Musically, the Death Set spring up in the void left by Japanther’s recent relative inactivity (dudes used to tour through Seattle every three weeks—what happened?). Like that band, the Death Set combine tin-can beats and Casio presets with undeniable punk sing-along and distorted guitar. But the Death Set’s new album, Worldwide, is less stubbornly lo-fi; their recordings are still clearly scraped together in the DIY style, but they’re a little less messy. Their live shows look to be totally spaztastic. I’m stoked, but why aren’t these guys playing in a basement? ERIC GRANDY
Listen to the Death Set:
And finally, the Sword will be at Neumo’s tonight. In this week’s paper, Jeff Kirby gave their new album, Gods of the Earth, three and a half stars.
And if there’s one thing Gods of the Earth succeeds in, it’s staying the course. Their second release dutifully follows, but never manages to surpass, the niche carved by Age of Winters. The heavily distorted riffs are huge; the songs are epic and brutal, with lyrics about axes and frost giants. The production purposefully lacks the slick sheen of Scandinavian metal, opting instead for a thicker, burlier sound. The single “Fire Lances of the Ancient Hyperzephyrians” sounds like early Metallica scoring the movie Wizards. The climbing riff of “Under the Boughs” might have originally existed as a boss theme in the original NES Contra. Something somewhere is being conquered with every song.
Listen to the Sword:
“Fire Lances of the Ancient Hyperzephyrians”
If none of this makes you pee your pants with excitement, though, you can find your own idea of a good time in our searchable online calendar. Click here to do it!