Not ones to rest on their laurels during their triumphant return, LCD Soundsystem have created the Beach Vibesmusic festival in Riviera Maya, Mexico. Tickets go on sale to the general public July 11th, but you can get early sales on July 8th if you register for their mailing list. A word of caution for your wallet: The only way to attend is to buy a three-day package at one of the host resorts, and packages for even one person cost upward of three grand. You can put 30% down on a package and then pay it off over five months to make it a little easier.
Some of the resorts are all-inclusive, however, so that helps a bit. Airfare is not included in your price, but cheap airfare to Mexico from the U.S. isn’t hard to find.
LCD Soundsystem have announced they will headline two nights of the festival, and the lineup is already good. Hot Chip, Holy Ghost!, Juan MacLean, and Shit Robot are personal favorites, and more are to be announced.
Start planning now. This would be a great winter getaway.
Keep your mind open.
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I showed up at Chicago’s City Wineryin plenty of time to get a good free parking spot a block away and order a Right Bee cider before the show started. The City Winery is a nice, small venue not much bigger than a couple campground pavilions, and Brazilian siren Ceu was playing that night. I’ve been a fan of hers since stumbling onto her self-titled first record back in 2005. I’d missed all her previous Chicago dates, and now I was seeing her from about twenty feet from my table while I munched braised duck tacos.
Her opening band was an electro two-piece called Kauffrom Los Angeles. They got the show off to a fine start with a groovy set that had people nodding their heads and drumming on their tables. One man behind me said, “They’re like an 80’s synth kind of thing.” That’s true, but a bit of a simplistic description. Add a bit of dark wave and Caribou and you’re there.
Kauf bringing fine electro to the City Winery.
By now I’d learned that the couple across from me (named, I kid you not, Tom and Jerry) were seeing Ceu for the fourth time and hadn’t missed one of her Chicago dates yet. This was the first time they’d seen her with a guitarist in the band. We had a great time being wowed by her and sharing flatbread pizza.
She came out in a dark orange dress with light sparkles throughout it and a pair of bad-ass silver sequined high heels. It was at this moment that I realized Ceu looks like Jane Russell, and I about fainted in my chair. I almost fainted again when she started singing and her gorgeous voice filled the room.
“Wow! She looks like Jane Russell!”
She played a lovely, intimate set with her sharp as a tack backing band. They played many cuts from her fine new album, Tropix, as well as cuts going all the way back to 2005. She was dancing by the second song, “Perfume Invisibel,” and people were already breaking the “candle rule” to stay quiet during the show (Tom, Jerry, and I included). They were dancing in one corner by the end of her main set and all through the encore.
She and her band spanned multiple music styles. They played stuff ranging from bossa nova, electro dance songs, reggae, and modern disco cuts to early 80’s synth tracks you might hear on a Berlin album.
Ceu rocking those sequined high heels.
As good as her voice is on her albums, it is even better live. I won’t miss her if she comes through the Midwest again, and neither should you.
Ceu’s set list for the night. Sadly, I didn’t get a physical copy of it, but thanks to the man who let me take this photo of his copy.
[Thanks to Andre Bourgeois for making press pass arrangements for me for this show. He rules.]
What do you do when you’re one of the biggest electronic acts in the world and you decide to return from a six-year hiatus? If you’re Underworld, you drop what could be the comeback record of the year – Barbara, Barbara, We Face a Shining Future.
It’s perfectly timed; because Underworld’s newest record is also one of the most optimistic records of the year. We need optimism right now in this bleak political atmosphere. “I Exhale,” the first track from the record, is over eight minutes of them telling us to take a deep breath and let go of all the molehills we’ve built into mountains. In the wake of the Orlando Pulse nightclub shooting, it’s good to hear a song that tells us that “everything is golden” and to look toward “the light…a globe on the horizon.” “If Rah,” with its thumping beats, acknowledges that everyone suffers, but “Life isn’t shit.” It encourages us to “Have a good time.”
The opening synths of “Low Burn” could be something from a John Carpenter film score, but the dance floor percussion reminds us to “be bold, be beautiful, free, totally, unlimited.” The song bounces and soars, as if the low burn in the title references a lift-off from the planet.
The Spanish-style acoustic guitar on “Santiago Cuatro” is an interesting surprise and instantly intriguing. It borders on Middle Eastern rhythms and becomes a meditative piece with minimal percussion and odd, slightly fuzzed radio transmissions.
“Motorhome,” with its “Baba O’Riley”-like synths, gives the bluntest advice on the whole record. “What don’t lift you drags you down. Keep away from the dark side.” Life would be better for all of us if we spurned negativity and embraced compassion. “Ova Nova” is light-hearted, highly danceable, and ready for your Summer of 2016 playlist. “Nylon Strung” is a bold love song with Depeche Mode-like synths and simple, giddy-love lyrics like “I wanna hold you, laughing.”
This is a tremendous return for Underworld, and for all of us, to a world of bliss that is ours for the taking whenever we want it. We just have to be bold enough to live it.
Roger Sellers, otherwise known as Bayonne, is an electro artist from Texas who makes great soundscapes of sunrise synths, dance club beats, and drifting cottonwood vocals. He’s a one-man show and his beautiful Primitives album is inspiring. It will make you consider, as LCD Soundsystem once put it, selling your guitar to buy a synthesizer and starting your own music career. I know I am…and I don’t even have a guitar.
“Intro” has a simple title for the first track, but it’s far from simple. Big drums combine with pulsing synths and distant vocals. The percussion keeps building until it cuts to a sparkling wall of sound. It flows into “Appeals,” a peppy song with racing electric piano bringing a happy sound to a tune about a lost love.
“Spectrolite” is not only one of the best electro songs of the year, it’s one of the best songs of the year – period. Sellers sings vocals that barely push out of the background from his synth bass and bouncy tones while his pal Matt Toman lays down house music drums. This should be on your summer playlist if it isn’t already there.
“Marim” is thumping bass and clockwork beats with more vocals that almost disappear. I love how Sellers doesn’t let his vocals overpower his soundscapes on most of the tracks. He knows when to back off the vocals and let the sounds take the song in the right direction. He also knows when to put the vocals in front, like when he sings about his yearning for someone far from him on “Waves.”
The beginning of “Steps” reminds me of the beginning of “Baba O’Riley” with its repeating synth motif. “Lates” is a beautiful ballad with simple piano chords, beats, and synths wrapped in lush reverbed vocals. The beats build to a simmer and then a rolling boil. It’s delightful.
“Omar” starts off quirky but soon morphs into a pulsing, toe-tapping, shimmering song about shattering one’s illusions. It’s ideal for the first rays of daylight coming into your car after a long drive all night.
Primitives is quality stuff. Don’t be surprised if you see Sellers headlining music festivals before too long. Sounds this rich can’t stand hidden for long.
Keep your mind open.
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Avant-garde music master Gary Wilson‘s new album It’s Friday Night with Gary Wilson is now available for pre-order on his Bandcamp page. The full album is due out in mid-July. The first single, “Linda,” is available for your listening pleasure there. It’s great, but would you expect anything else from Mr. Wilson?
The new record is available for pre-order on vinyl ($20.00) or a digital download ($9.00 for thirteen tracks!). I know where part of my paycheck is going this Friday night.
German electro-duo Klaus Johann Grobe’s (Daniel Bachmann and Sevi Landolt) newest record, Spagat Der Liebe (The Balancing Act of Love), is forty minutes of groovy neo-lounge music perfect for late night drinks, clubbing, lovemaking, driving, or all four. Just don’t mix the driving with the drinking or the lovemaking. Safety first.
“Ein Guter Tag” (“A Good Day”) kicks off the record with groovy bass and space synths. It’s a perfect way to start your day, really. “Wo Sind” (“Where Are”) has catchy bold synths and crisp drumming throughout it. “Rosen Des Abschieds” (“Roses of Farewells”) will get you dancing with its groovy bass and snappy percussion. The vocals, despite being about a break-up, are wonderfully light and help the song bounce.
“Pure Fantasie” (You can guess the translation.) is pretty much a lounge version of a slow jam. It’s meant to inspire you to get your freak on, so put it on your latest make-out playlist. “Heut Abend Nur” (“Tonight Only”) sounds like something you’d hear in a 1960’s European art film.
“Geschichten Aus Erster Hand” (“Stories Firsthand”) has some of the few English lyrics (“Come on, baby.”), but the chorus of “tanzen, tanzen, tanzen” (“dance, dance, dance”) is what will stick in your head. “Ohne Mich” (“Without Me”) has synths straight from a 1980’s OMD record, or so it seems.
If this record hasn’t hooked you by now, the flute solo by Roman Weissert on “Liebe am Strand” (“Love on the Beach”) will not only hook you, it will yank you out of the water. “Springen Wie Damals” (“Jump as Then”) has a killer drum and bass breakdown in it that will make you stop what you’re doing and listen. The closer, “Gedicht” (“Poem”), would make a fine addition to the soundtrack for a movie about a retiring private eye.
Don’t worry that nearly all the lyrics are in German. You won’t care because the music on this album is so groovy and cool. Euro-lounge music needs to be played everywhere now and then, if you ask me, and Klaus Johan Grobe are fine ambassadors for it.
Keep your mind open.
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[Rewind Reviews are reviews of albums over a year old that I haven’t heard until now.]
Groove Armada’s Vertigo is one of those records that I’ve been meaning to pick up for years but kept forgetting to seek out whenever I was in a wrecka stow or visiting an online music sales site.
It’s a masterpiece of late 1990’s techno, house, and lounge. The opener, “Chicago,” is a perfect anthem for late night clubbing in the Windy City – fat beats, luscious synth grooves, and kinky guitar. “Whatever, Whenever” starts off sounding like something from a grindhouse horror film trailer before rapper M.A.D. slides in with smooth rhymes to save us all from whatever horror was about to pounce on us.
“Dusk, You & Me” is one of the best make-out songs of 1999. If Roddy Lormiar’s trumpet doesn’t get things moved into the naked zone, you only have yourself to blame. I don’t know if the “63” in the title of “Pre 63” refers to the year 1963, but you could put this fly song of heavy bass, playful flute, and crisp beats into any early 1960’s Euro-crime film or sex comedy.
“If Everybody Looked the Same” weaves a great use of a sample from A Tribe Called Quest through a song about bigotry. “Serve Chilled” is perfectly titled, as it’s great for relaxing after late night parties. “I See You Baby” is the opposite, however, and will get the party jumping again as soon as you start it. I mean, the chorus is “I see you, baby, shakin’ that ass.” What more do you need?
“A Private Interlude” has great scratch work from Dominic Betmead. “At the River” is weird, almost sounding backward at some points, and creeps out of the speakers like something from a bad print of a Fellini movie. In other words, I like it. “In My Bones” is a sweet house track about how a good groove gets inside you and can only escape by taking temporary control of you. It has some of the best synth work on the record and probably is one of their best “unknown” hits.
“Your Song” isn’t a cover of the Elton John tune. It’s a funky track with sexy vocals by Sophie Barker. “Inside My Mind (Blue Skies)” is a song you’ve probably heard in dozens of movies, TV shows, and commercials and not realized it. It’s ambient lounge grooves instantly put you in a mellow state of mind. It’s impossible to be depressed during this song. It chills you out like few songs can. The album ends with a saucy remix of “I See You Baby” by Fatboy Slim.
It’s a solid house music record. Pick it up if you’re looking for some good late night grooves for your next party.
Brazilian songstress and soon-to-be your new favorite singer Ceu’s new album Tropix is a nice blend of bossa nova, electro, and lounge pop that’s like a breath of fresh air in the nasty political landscapes both here and in Brazil right now.
“Perfume Do Invisivel” is the first single, and it’s a lovely electro song that blends bossa nova beauty with club banging beats during the chorus. I’m sure it’s inspired a hundred remixes in clubs across South America and Europe by now. “Arrastarte-Ei” gets quirky with its beats, but Ceu’s voice remains a constant smooth groove throughout it. “Amor Pixelado” (“Pixelated Love”) is haunting and lovely as Ceu’s voice drifts around you like a heartbroken ghost until the computer beats drop and turn the song into something Thom Yorke probably has on an iPhone playlist.
“Varanda Suspensa” (“Suspended Balcony”) will get your hips moving with its synth horns, and the synths are even more prominent on “Etilica / Interludio” (“Ethyl / Interlude”). It’s a good track, and sounds like something the Pet Shop Boys would’ve created in the early 1990’s.
“A Menina E O Monstro” (“A Girl and a Monster”) starts with a music box and then a synth beat that sounds like a skipping record before it turns into a wonky warbled thing that is as catchy as it is bizarre. “Minhas Bics” has neat, crisp guitar that taps out the beat before the dubstep bass wanders into the room like a fat guy eyeing a buffet.
“Chico Buarque Song” is the first time I’ve heard Ceu sing in English, and it’s a stunning piece. It has a big, bold chorus, spooky synths that border on goth music, and Ceu’s voice at its sexy best. “Sangria” is a lovely ballad that I’m guessing is more about actual blood than the booze.
“Camadas” (“Layers”) is even sexier than “Sangria.” Sade wishes she had a song like this. The drums are exquisite, the bass is smooth, the synths are groovy, and Ceu’s voice is sultry. I’m fairly certain scores of Brazilians are shagging to this song even now. “A Nave Vai” has sharp funky guitar throughout it, and “Rapsodia Brasilis” has the funkiest drums on the record.
It’s a good close to this lovely album of electro-bossa nova, which should be an entire genre if you ask me.
Chicago’s Mamby on the Beachmusic festival is July 02-03rd this year on Oakwood Beach. It’s a lovely festival of electronic dance music, electro, and even a bit of psychedelia. I won’t be surprised if there are more additions before the festival gets here, but I’d love to see Tycho, Santigold, and Derrick Carter for starters.
Electro master and multiple music award-winner Caribou will be closing the Levitation Tent at Levitation Austin on May 1st. I’ve been keen on checking him out live since I heard a few snippets of his material and learned his album Our Love was considered among the best of 2014. I think his set will be a great way to close the festival.
