It’s been almost a year since I’ve been to the social, my attention diverted to club acts and Djs. It felt nostalgic and new at the same time, nice to see the place still packed beyond capacity, no one dancing, just like the good old days of music. My friend and I stood there, at the edge of the stage, reminiscing over the waiting periods between bands, watching the stage hands set up for Black Kids.
They bring out halogen lights, pink and blue and a silver glitter drum set with hot pink lettering. We Stand there fascinated at the guy in the flamingo print shirt and horn rimmed glasses, fine tuning the sound. As I watched the set come together, I sensed my anticipation growing as the crowd danced along to Jackson 5, Run DMC, filler music. But then the lights drop, and you see the band file onto the stage. They take their positions, and when the lights come back on, there is Reggie Youngblood, in all his black kid glory. Big hair, tight pants, stage presence.
The big halogens flickering on and off behind them, I held my breath. After spending so much reading so much hype for the darling little feature I did, I was genuinely curious to see if the black kids would live up to the hype. And sure enough, it became clear, quickly enough, that they had been doing this for a while. On the road for the majority of their careers, Black Kids were, by the time of their Orlando show, tenured performers, keen to the audience’s needs and expectations. Hell, there was even a birthday chant midway through the performance, and the whole audience helped the band honor a crew member before slices of cake were spread throughout the crown packed into the Social. All in all, the show was void any big fiasco exhibit of grandeur that most larger scale performances have, there were no fancy lights, just four halogen sticks and the house lights, there were no fancy instruments, just drums, guitars and keyboards and the world’s smallest maraca. But here was a band that stood defiant to the expectations set for them, here was a band dripping with sweat midway through an 11 song set, dancing barefoot onstage, here was a band out to have fun, give out fun, and make fun. Now, we just to see how long it lasts.
All in all, the show was void of any big fiasco exhibit of grandeur that most larger scale performances have, there were no fancy lights, just four halogen sticks and the house lights, there were no fancy instruments, just drums, guitars and keyboards and the world’s smallest maraca. But here was a band that stood defiant to the expectations set for them, here was a band dripping with sweat midway through an 11 song set, dancing barefoot onstage, here was a band out to have fun, give out fun, and make fun. Now, we just to see how long it lasts.
Showing posts with label mgap. Show all posts
Showing posts with label mgap. Show all posts
Monday, September 22, 2008
Thursday, September 18, 2008
Exclusive Black Kids interview for Orlando Weekly!
Our head writer, Melanie, who writes for the Orlando Weekly, got a chance to have a phone interview with Dawn Watley of Black Kids, in anticipation of their upcoming Orlando performance.
READ THE EXCLUSIVE Q & A over at O Weekly.
Unfortunately, they only had enough content space for the interview, which means weeeeeee get the feature story!
Black Kids and The Blog
How a little bit of buzz took a band a long way from home.
by Melanie Gapany
It began with an idea, a couple of friends, and some time. A couple of years ago, a little-known band called themselves Black Kids. They lived in Tallahassee, and dreamed of being able to play music for a living. The practiced hard and began to play some shows. Soon they decided to make an EP, and when they did, they watched as their fame skyrocketed beyond their farthest expectations. In all honesty, the Black Kids story sounds like it could be the plot of the high school musical 18.
The problem with Black Kids, is that even though almost everyone knows who they are, and even those that don’t know the words to their hit song, no one can really figure out how they got where they are, so quickly, and almost effortlessly.
People blame the blogs for Block Kids’ fame. But blogs are run by people, and the very people who criticize Black Kids for being a blog phenomenon are the ones that created the fad (If that’s what Black Kids actually are). Fact is, it is easier than ever to find an outlet to voice your thought and opinions. With blogging platforms all over the interwebs, anyone with DSL, something to say and the ability to write (and not necessarily write well) can join the blogosphere. Each of these bloggers are trying their best to be the best, to be on top, to get the most hits.
And so Black Kids have climbed the ranks of music’s food chain faster than anyone could ever have imagined. Primarily made up of a few big hitters and tons and tons of little guys, blogging about music has turned into an arena of file sharing, link listing, and name dropping beyond what anyone could’ve ever expected. With the words “Black Kids” on everyone’s lips, with a million remixes to boot, the question that has arisen is whether or not Black Kids deserve the hype.
The short answer is yes. When Black Kids released their EPs, the "Wizard of Ahhhs", as a digital download in 2007, there was a distinct need that needed to be met in the current indie scene. As Indie music became more saturated, Black Kids arose to meet a need in the scene. Here was a band whose music was incredibly mixable, whose songs could be reshaped over and over and over again, a band who able to break the barriers of Indie-land and launch a surprise attack on anyone listening. Blogs pick it up and help move it along. A name like Black Kids only helps that even more.
Idolator wrote an impressive piece on how the Black Kids super-speed rise to fame ultimately created yet another tour-lagged undeveloped one hit wonder. Signed even before their first major performance, Black Kids were quickly thrown into a serious touring schedule. The Band’s keyboardist, Dawn Watley, admitted that the band was somewhat worried that they would, in fact, end up becoming another blog phenomenon, seeing themselves in “magazines and read all these things and it happened so fast [they] were worried that [they] wouldn’t be able to make a career band of out Black Kids”.
But they braved on, destined to stay in the scene and take the throne as the new reigning indie kings and queens. The band soon went into the studio to record their full length album, "Partie Traumatic". With the help of former Suede guitarist Bernard Butler, whom the band really enjoyed working with, they succeeded in reaching the #5 spot on the UK charts. They emerged from the studio back into their brutal tour schedule. Recently when Dawn took a minute to talk to me, she was in London having just finished the Leeds Festival-Leeds and The Last Days of Summer, mid tour. The light at the end of the tunnel being that the Jacksonville band will soon be making their return to the States, and for the first time, will get to tour their home state of Florida.
Dawn says that they didn’t go into the studio to prove anything to anyone. In the three short weeks, between tours, that they recorded "Partie Traumatic", they did it simply to make a party album. In Dawn’s words, they “wanted to make people dance and just have a good time”.
With talking to one of the Black Kids, it becomes perfectly clear that they have an advantage that had helped them get to the top of European and dance music charts: The band members’ individuality, their tenacity, and their serious dedication to lead their band to success. They are serious about their work, but they still play simply for the entertainment of it, and as they become more and more comfortable performing together and as their relationships with one another continue to evolve, so does their sound. Dawn agrees that there was blog hype, but she also says that blogs can’t possibly understand the intensity of having a tour schedule like the one that they have. She and the rest of her band mates know that they are paying their dues, and gaining knowledge that will help them grow as musicians.
Now much of the buzz has quieted down, but the Black Kids are still touring, still chasing their goals. Every so often, a new remix of “I’m Not Gonna Teach Your Boyfriend How to Dance with You” pops up on the blogs. It has become clear that it's very possible that the very blog hype that initially threatened to destroy them instead has helped launch them towards becoming what end up as the Beatles of a new generation. And if not, at least maybe the Monkees.
Black Kids have been writing new material while on the road. They hope to be back in the studio soon and plan to release a sophomore album in the summer of 2009. They perform in Orlando at the Social on September 20th.
www.myspace.com/blackkidsrock
Buy their music on itunes!
Listen to these two remixes by one of my favorites, The Twelves:
Black Kids - Hurricane Jane (The Twelves Remix)
Black Kids - “I’m Not Gonna Teach Your Boyfriend How to Dance With You” (The Twelves Remix)
Then go see them perform at the Social with opening act, The Virgins @ The Social THIS Saturday (the20th).
Event and ticket info.
I'm listening to their CD as I make this post, and goddamn their songs are fucking catchy. I'll be taking photos at the show, along with fellow Smiler, Dani D! Check back here for a review and tons of fun photos!
READ THE EXCLUSIVE Q & A over at O Weekly.
Unfortunately, they only had enough content space for the interview, which means weeeeeee get the feature story!
Black Kids and The Blog
How a little bit of buzz took a band a long way from home.
by Melanie Gapany
It began with an idea, a couple of friends, and some time. A couple of years ago, a little-known band called themselves Black Kids. They lived in Tallahassee, and dreamed of being able to play music for a living. The practiced hard and began to play some shows. Soon they decided to make an EP, and when they did, they watched as their fame skyrocketed beyond their farthest expectations. In all honesty, the Black Kids story sounds like it could be the plot of the high school musical 18.
The problem with Black Kids, is that even though almost everyone knows who they are, and even those that don’t know the words to their hit song, no one can really figure out how they got where they are, so quickly, and almost effortlessly.
People blame the blogs for Block Kids’ fame. But blogs are run by people, and the very people who criticize Black Kids for being a blog phenomenon are the ones that created the fad (If that’s what Black Kids actually are). Fact is, it is easier than ever to find an outlet to voice your thought and opinions. With blogging platforms all over the interwebs, anyone with DSL, something to say and the ability to write (and not necessarily write well) can join the blogosphere. Each of these bloggers are trying their best to be the best, to be on top, to get the most hits.
And so Black Kids have climbed the ranks of music’s food chain faster than anyone could ever have imagined. Primarily made up of a few big hitters and tons and tons of little guys, blogging about music has turned into an arena of file sharing, link listing, and name dropping beyond what anyone could’ve ever expected. With the words “Black Kids” on everyone’s lips, with a million remixes to boot, the question that has arisen is whether or not Black Kids deserve the hype.
The short answer is yes. When Black Kids released their EPs, the "Wizard of Ahhhs", as a digital download in 2007, there was a distinct need that needed to be met in the current indie scene. As Indie music became more saturated, Black Kids arose to meet a need in the scene. Here was a band whose music was incredibly mixable, whose songs could be reshaped over and over and over again, a band who able to break the barriers of Indie-land and launch a surprise attack on anyone listening. Blogs pick it up and help move it along. A name like Black Kids only helps that even more.
Idolator wrote an impressive piece on how the Black Kids super-speed rise to fame ultimately created yet another tour-lagged undeveloped one hit wonder. Signed even before their first major performance, Black Kids were quickly thrown into a serious touring schedule. The Band’s keyboardist, Dawn Watley, admitted that the band was somewhat worried that they would, in fact, end up becoming another blog phenomenon, seeing themselves in “magazines and read all these things and it happened so fast [they] were worried that [they] wouldn’t be able to make a career band of out Black Kids”.
But they braved on, destined to stay in the scene and take the throne as the new reigning indie kings and queens. The band soon went into the studio to record their full length album, "Partie Traumatic". With the help of former Suede guitarist Bernard Butler, whom the band really enjoyed working with, they succeeded in reaching the #5 spot on the UK charts. They emerged from the studio back into their brutal tour schedule. Recently when Dawn took a minute to talk to me, she was in London having just finished the Leeds Festival-Leeds and The Last Days of Summer, mid tour. The light at the end of the tunnel being that the Jacksonville band will soon be making their return to the States, and for the first time, will get to tour their home state of Florida.
Dawn says that they didn’t go into the studio to prove anything to anyone. In the three short weeks, between tours, that they recorded "Partie Traumatic", they did it simply to make a party album. In Dawn’s words, they “wanted to make people dance and just have a good time”.
With talking to one of the Black Kids, it becomes perfectly clear that they have an advantage that had helped them get to the top of European and dance music charts: The band members’ individuality, their tenacity, and their serious dedication to lead their band to success. They are serious about their work, but they still play simply for the entertainment of it, and as they become more and more comfortable performing together and as their relationships with one another continue to evolve, so does their sound. Dawn agrees that there was blog hype, but she also says that blogs can’t possibly understand the intensity of having a tour schedule like the one that they have. She and the rest of her band mates know that they are paying their dues, and gaining knowledge that will help them grow as musicians.
Now much of the buzz has quieted down, but the Black Kids are still touring, still chasing their goals. Every so often, a new remix of “I’m Not Gonna Teach Your Boyfriend How to Dance with You” pops up on the blogs. It has become clear that it's very possible that the very blog hype that initially threatened to destroy them instead has helped launch them towards becoming what end up as the Beatles of a new generation. And if not, at least maybe the Monkees.
Black Kids have been writing new material while on the road. They hope to be back in the studio soon and plan to release a sophomore album in the summer of 2009. They perform in Orlando at the Social on September 20th.
www.myspace.com/blackkidsrock
Buy their music on itunes!
Listen to these two remixes by one of my favorites, The Twelves:
Black Kids - Hurricane Jane (The Twelves Remix)
Black Kids - “I’m Not Gonna Teach Your Boyfriend How to Dance With You” (The Twelves Remix)
Then go see them perform at the Social with opening act, The Virgins @ The Social THIS Saturday (the20th).
Event and ticket info.
I'm listening to their CD as I make this post, and goddamn their songs are fucking catchy. I'll be taking photos at the show, along with fellow Smiler, Dani D! Check back here for a review and tons of fun photos!
Friday, April 4, 2008
KIssy Sell Out @ Club Firestone 03.27.08 - Review by MGAP
view original article here
WMC Spring Training Day 4: Kissy Sell Out @ Firestone
March 27, 2008 - Orlando, FL
by Melanie Gapany
The day for Kissy Sell Out must’ve started out rather poorly. For starters, the airline lost Kissy’s luggage. Getting by with nothing but the clothes on his back and some flip-flops on his feet, an undoubtedly annoyed tall lanky man made his way to Firestone. Thankfully, Kissy had his CD’s with him, so the show could go on.
This Thursday began like any other at Firestone. Ge3on was manning the tables upon our arrival, and while this particular Dj is often overlooked, or missed by the fashionably late crowd, he still constantly churns out an incredible set, always starting the night off in high gear, and never ceasing to amaze me. Miss Fit and Justin Scott, formerly Bodywerx, kept it going, getting the floor moving with house favorites and showcasing their emerging, different styles.
Kissy took the stage in his flip-flops, poor guy, wearing sweat shorts and a wife-beater. He looked a little worn, and beaten, a side-effect of being on the road which is, unfortunately an occupational hazard for traveling Dj acts. He still killed it with his high-powered catchy songs, and fed the audience just what they wanted: a myriad of recognizable songs that we could all sing along.
Dancing comes naturally when the music is good, and people seemed lost in movement, covering the dance floor. It was a strange night though, with so much going on in Orlando, the overall turnout for the night could’ve been better, but these things are always win/lose. The people that were there made the best of the night and it was enjoyable, and entertaining.
‘Kissy kills’ was the catchphrase for the day. That Thursday, despite having no typical dj clothes and killer shoes and the pj-clad DJ definitely delivered, Bringing Orlando’s Spring training to a close.
WMC Spring Training Day 4: Kissy Sell Out @ Firestone
March 27, 2008 - Orlando, FL
by Melanie Gapany
The day for Kissy Sell Out must’ve started out rather poorly. For starters, the airline lost Kissy’s luggage. Getting by with nothing but the clothes on his back and some flip-flops on his feet, an undoubtedly annoyed tall lanky man made his way to Firestone. Thankfully, Kissy had his CD’s with him, so the show could go on.
This Thursday began like any other at Firestone. Ge3on was manning the tables upon our arrival, and while this particular Dj is often overlooked, or missed by the fashionably late crowd, he still constantly churns out an incredible set, always starting the night off in high gear, and never ceasing to amaze me. Miss Fit and Justin Scott, formerly Bodywerx, kept it going, getting the floor moving with house favorites and showcasing their emerging, different styles.
Kissy took the stage in his flip-flops, poor guy, wearing sweat shorts and a wife-beater. He looked a little worn, and beaten, a side-effect of being on the road which is, unfortunately an occupational hazard for traveling Dj acts. He still killed it with his high-powered catchy songs, and fed the audience just what they wanted: a myriad of recognizable songs that we could all sing along.
Dancing comes naturally when the music is good, and people seemed lost in movement, covering the dance floor. It was a strange night though, with so much going on in Orlando, the overall turnout for the night could’ve been better, but these things are always win/lose. The people that were there made the best of the night and it was enjoyable, and entertaining.
‘Kissy kills’ was the catchphrase for the day. That Thursday, despite having no typical dj clothes and killer shoes and the pj-clad DJ definitely delivered, Bringing Orlando’s Spring training to a close.
Thursday, April 3, 2008
Digitalism @ Club Firestone 03.26.08 - Review by MGAP
view original article here
WMC Spring Training Day 3:,Digitalism, Summerbirds in the Cellar, Guns n Bombs March 26, 2008 - Orlando, FL
by Melanie Gapany
On day 3 of spring training in Orlando, obviously tired and beaten already, I arrived at Firestone a little late. An inside source let me know that that night’s headliner, Digitalism, wasn’t going on until later in the evening, around 11:30 pm or so, so I wasn’t too worried about getting there early enough to listen to the opening band that I had never really heard of.
Almost immediately upon walking in, I regretted my decision. Summerbirds in the Cellar is an amazing little trio hailing from our very own O-town and definitely deserved more of my time and my attention. They had a minimal set up on the lower stage at Firestone. It wasn’t even really the stage, to be honest, but more just a roped off area of the floor. It was relatively unexpected to see a dj group that played events as big as SXSW and WMC open their show with a three piece band based out of the southeast United States, and even more so surprising that the band be really really good.
But they were. Their moody, atmospheric lighting was the perfect accompaniment to their ‘The Cure’ meets ‘Placebo’ with a dash of ‘Volta’ sound. And as they performed their set, lead singer Brad Register wooed the crowd with his droning, heart felt delivery. They are a far and much needed cry from the world of Mickey and family fun that made Orlando what it is today. If their emergence and popularity can be taken as a sign of things to come, Orlando’s cultural music scene is in good shape. Which is nice, because opening for International super group Digitalism is kind of a big deal.
As soon as Summerbirds finished their set, Johnny Love from Guns n Bombs took over from the makeshift DJ boot set up in what is usually the heart of Firestone’s VIP area. The Guns n Bombs’ sound can be compared to a lot of DJs currently in circulation, but at the same time remains uniquely distinctive in many ways. Their sound is dirty, edgy and bassy. Although often compared to Justice, they use fewer catchy hooks and a significant amount of samples. Having just come off the rock trip that Summerbirds had sent them on, the audience didn’t immediately jump on the bandwagon for this one. It took a good portion of his set before anyone really took notice of Johnny love, but as the crown grew for the main act, more and more people could be seen dancing and enjoying the performance.
Then the lights dropped and the curtains opened. A giant screen lined the front of the dj set-up, the microphone and electric drums; stacked one on top of the other, two more screens lined the back of the stage. The word ‘digitalism’ in that patented digital display font suddenly formed across them, and two men walked onto the stage. They went right into it. The German duo played all their greatest hits, including their single "Pogo" which is featured in the official soundtracks for Need for Speed: ProStreet and FIFA 08 video games from Electronic Arts as well as Idealistic.
Now, it is well known that what makes a live performance a success is not only the actual musical performance, but the visual impact is has on the audience. Successes such as The Rolling Stones, U2, Tool, Gwar, hell, even wrestling, excel in the live arena because they put on such memorable shows, and Digitalism, though not as big as the aforementioned groups took a page from their books when putting their live set.
With a laptop as their main tool, Jens "Jence" Moelle and İsmail "Isi" Tüfekçi, the two members of the band layered their performance with live vocals and drums. Jence’s distinctive voice is only more powerful heard live, and the drumming was a nice touch to get the crowd moving. The electro house gods definitely made their mark in Orlando, and the show was definitely not one worth missing.
WMC Spring Training Day 3:,Digitalism, Summerbirds in the Cellar, Guns n Bombs March 26, 2008 - Orlando, FL
by Melanie Gapany
On day 3 of spring training in Orlando, obviously tired and beaten already, I arrived at Firestone a little late. An inside source let me know that that night’s headliner, Digitalism, wasn’t going on until later in the evening, around 11:30 pm or so, so I wasn’t too worried about getting there early enough to listen to the opening band that I had never really heard of.
Almost immediately upon walking in, I regretted my decision. Summerbirds in the Cellar is an amazing little trio hailing from our very own O-town and definitely deserved more of my time and my attention. They had a minimal set up on the lower stage at Firestone. It wasn’t even really the stage, to be honest, but more just a roped off area of the floor. It was relatively unexpected to see a dj group that played events as big as SXSW and WMC open their show with a three piece band based out of the southeast United States, and even more so surprising that the band be really really good.
But they were. Their moody, atmospheric lighting was the perfect accompaniment to their ‘The Cure’ meets ‘Placebo’ with a dash of ‘Volta’ sound. And as they performed their set, lead singer Brad Register wooed the crowd with his droning, heart felt delivery. They are a far and much needed cry from the world of Mickey and family fun that made Orlando what it is today. If their emergence and popularity can be taken as a sign of things to come, Orlando’s cultural music scene is in good shape. Which is nice, because opening for International super group Digitalism is kind of a big deal.
As soon as Summerbirds finished their set, Johnny Love from Guns n Bombs took over from the makeshift DJ boot set up in what is usually the heart of Firestone’s VIP area. The Guns n Bombs’ sound can be compared to a lot of DJs currently in circulation, but at the same time remains uniquely distinctive in many ways. Their sound is dirty, edgy and bassy. Although often compared to Justice, they use fewer catchy hooks and a significant amount of samples. Having just come off the rock trip that Summerbirds had sent them on, the audience didn’t immediately jump on the bandwagon for this one. It took a good portion of his set before anyone really took notice of Johnny love, but as the crown grew for the main act, more and more people could be seen dancing and enjoying the performance.
Then the lights dropped and the curtains opened. A giant screen lined the front of the dj set-up, the microphone and electric drums; stacked one on top of the other, two more screens lined the back of the stage. The word ‘digitalism’ in that patented digital display font suddenly formed across them, and two men walked onto the stage. They went right into it. The German duo played all their greatest hits, including their single "Pogo" which is featured in the official soundtracks for Need for Speed: ProStreet and FIFA 08 video games from Electronic Arts as well as Idealistic.
Now, it is well known that what makes a live performance a success is not only the actual musical performance, but the visual impact is has on the audience. Successes such as The Rolling Stones, U2, Tool, Gwar, hell, even wrestling, excel in the live arena because they put on such memorable shows, and Digitalism, though not as big as the aforementioned groups took a page from their books when putting their live set.
With a laptop as their main tool, Jens "Jence" Moelle and İsmail "Isi" Tüfekçi, the two members of the band layered their performance with live vocals and drums. Jence’s distinctive voice is only more powerful heard live, and the drumming was a nice touch to get the crowd moving. The electro house gods definitely made their mark in Orlando, and the show was definitely not one worth missing.
Saturday, March 29, 2008
Pase Rock @ Dancers Royal 03.25.08 - Review by MGAP
view original article here
WMC Spring Training Day 2: Pase Rock @ Dancer's Royale
March 25, 2008 - Orlando, FL
by Melanie Gapany
We get three to four hours of sleep on Monday night, stumble out of bed and drive to work in a drunken daze. From nine to five, we sit at our desks, our cubicles, our counters, and try our hardest to keep our foreheads from slamming onto our keyboards or registers or whatever. We count the minutes till we sit in I-4 traffic, eyes glazed over, and dream of the nap we desperately need to take while a puddle of drool from forms at our chins. We wake up and it’s Tuesday night, and day two of Orlando’s spring training week.
MySpace was all-abuzz during the day. Everyone was looking forward to what was undoubtedly going to be, to say the very least, the most interesting show of the week. Now, while it’s common knowledge that taking your panties off and showing that baby rat is the right thing for a lady to do in a strip club, it’s also recently become the phrase that has made Pase Rock a name that is synonymous with what can only be termed as “dance-rap”. The two go hand in hand and so it only made sense that Pase Rock’s Orlando performance took place at one of Orlando’s most reputable, adult entertainment venues, Dancers Royale.
A constant collaborator with the Spank Rock crew Pase Rock made his way onto the scene from Cincinnati, where while attending high school, the met the men that would come together to make the Five Deez crew, Fat Jon, Kyle David and Sonic. His style is versatile, and quite interesting, and seemed almost too perfect for the setting that night.
This was a night unlike any other. For starters neither Pase Rock, nor his opener, Saturday/Thursday resident Dj Miss Fit were spinning for a group of sweaty drunk dancing fools from behind turntables, and instead, sitting in the strip club’s sound booth, were providing the soundtrack for the bevy of boobs gyrating on the club floor. Regardless both made their presence strongly felt, breaking away from regular, tried and played strip club musical rotations, to give the girls a soundtrack that is a little more colorful and flavorful to make their money to.
Of course, the girls took over the night. The only thing that could be argued, is whether it’s fair to consider this entertainment for boys only. While the look on most of their faces were those of kids at Christmas morning, the girls, all the girls, not just the almost naked ones, made their own fun, and claimed the night for themselves. While it’s one thing to party with the scantily clad women who pour downtown every week, that night, there was much more to be admired, obviously, and, even with Orlando’s ban on all nude dancing, the room was erotic, excited and ecstatic.
The party continued outside, and Pase Rock’s big city influence must’ve had an effect on all of us. After correcting the spelling of Pase Rock’s name on the bill outside, we made our way to an after party that didn’t last very long. It is, after all, only Tuesday, and the majority of us ‘downtown kids’ have actual jobs.
WMC Spring Training Day 2: Pase Rock @ Dancer's Royale
March 25, 2008 - Orlando, FL
by Melanie Gapany
We get three to four hours of sleep on Monday night, stumble out of bed and drive to work in a drunken daze. From nine to five, we sit at our desks, our cubicles, our counters, and try our hardest to keep our foreheads from slamming onto our keyboards or registers or whatever. We count the minutes till we sit in I-4 traffic, eyes glazed over, and dream of the nap we desperately need to take while a puddle of drool from forms at our chins. We wake up and it’s Tuesday night, and day two of Orlando’s spring training week.
MySpace was all-abuzz during the day. Everyone was looking forward to what was undoubtedly going to be, to say the very least, the most interesting show of the week. Now, while it’s common knowledge that taking your panties off and showing that baby rat is the right thing for a lady to do in a strip club, it’s also recently become the phrase that has made Pase Rock a name that is synonymous with what can only be termed as “dance-rap”. The two go hand in hand and so it only made sense that Pase Rock’s Orlando performance took place at one of Orlando’s most reputable, adult entertainment venues, Dancers Royale.
A constant collaborator with the Spank Rock crew Pase Rock made his way onto the scene from Cincinnati, where while attending high school, the met the men that would come together to make the Five Deez crew, Fat Jon, Kyle David and Sonic. His style is versatile, and quite interesting, and seemed almost too perfect for the setting that night.
This was a night unlike any other. For starters neither Pase Rock, nor his opener, Saturday/Thursday resident Dj Miss Fit were spinning for a group of sweaty drunk dancing fools from behind turntables, and instead, sitting in the strip club’s sound booth, were providing the soundtrack for the bevy of boobs gyrating on the club floor. Regardless both made their presence strongly felt, breaking away from regular, tried and played strip club musical rotations, to give the girls a soundtrack that is a little more colorful and flavorful to make their money to.
Of course, the girls took over the night. The only thing that could be argued, is whether it’s fair to consider this entertainment for boys only. While the look on most of their faces were those of kids at Christmas morning, the girls, all the girls, not just the almost naked ones, made their own fun, and claimed the night for themselves. While it’s one thing to party with the scantily clad women who pour downtown every week, that night, there was much more to be admired, obviously, and, even with Orlando’s ban on all nude dancing, the room was erotic, excited and ecstatic.
The party continued outside, and Pase Rock’s big city influence must’ve had an effect on all of us. After correcting the spelling of Pase Rock’s name on the bill outside, we made our way to an after party that didn’t last very long. It is, after all, only Tuesday, and the majority of us ‘downtown kids’ have actual jobs.
Friday, March 28, 2008
Riot In Belgium @ Crush 03.24.08 - Review by MGAP
view original article here
WMC Spring Training Day 1: Riot In Belgium @ Crush - Backbooth
March 24, 2008 - Orlando, FL
by Melanie Gapany
Miami’s annual Winter Music Conference brings the biggest and the best of electronic music to the south. But for those that don’t want to or can’t make to the drive/flight/train trip to the sweaty way south, good news! Orlando got lucky this year and is blessed to serve as a pit stop for a few of the finest making their way down. The result: The week of WMC, Orlando is a party destination like it’s never been. No mouse, no theme park, no movie studio could make for a bigger load of fun.
A regular Monday night, for most regular people, usually involves television and rest to prepare oneself for the week, de-stress from returning to work. These are the kind people that wake up extra early to clean their house and the kind that coordinates their shoes with their belts. These are the people who have big IRA’s, who don’t drink, who don’t raise their voices above a three, who don’t own dancing shoes. To spice things up, they drink a glass of wine with dinner, maybe. But Every Monday night, for the past two years, Backbooth opens its door for Crush, and anyone who wants to break the mold of regularity and party like rock stars at the beginning of the week is invited.
Crush on this very special week was no exception, and for a select hard headed, dedicated group of individuals, the perfect start to 6 days of total non stop action in two cities. Day one of spring training, the semi-official name for the aggregation of a week’s worth of amazing parties, was a kick in the balls delivered by Beni Single, one half of Australian dance music sensation Riot in Belgium.
In 2006, the duo sprung onto the scene with the release of their album "The Acid Never Lies" on Relish Recordings (formerly known as Relish Records). If you’ve gone to an indie dance night anytime in the past year, you know Riot in Belgium. You’ve heard their song "The Acid Never Lies", or their powerhouse hit "La Musique". You've no doubt also been privy to their remix work for the likes of Yelle, Surkin, Sneaky Soundsytem, K.I.M. Headman, and Chromeo.
The duo is made up of Joel Dickson & Beni Single. Individually, Joel also puts out fantastic music with Tim from Cut Copy as Comets, and Bennie is one fifth of the banging (pun intended) Sydney based DJ collective the Bang Gang Deejays. Regardless, of whether they are playing alone or not, both the boys have the experience they need to back up their talk with impressive game.
Beni’s set was amazing, he comes on all of a sudden, full throttle with a noticeable and very audible warning. “Oh my God, there’s a riot in Belgium” and the entire crowd wants to be a part of it. Beni makes his performance look easy. He is dancing, throwing his hands in the air, wooing the audience and passing out stickers while tweaking the knobs and buttons that make his characteristic funky electro noise. He even has time to put a bandana over his face to look extra cool for his photo ops. It is action from beginning to end from this man, and the slew of drunk 20 something’s and underagers (your humble reviewer included in the former group) are shaking and moving to his music, and don’t seem to care to focus on what individual songs he mixes, because the overall effect is just too strong. The entire set is electric and everyone moves with every single drop and pound of his bass heavy sound. People seem drawn to him, there are almost more people on the stage than there are on the dance floor. It almost broke out into a Riot, but they all just want to get as close as possible to the source.
All in all, The Aussie delivered from start to finish and sent us home reeling, pumped and ready for the sleep-deprived week ahead.
WMC Spring Training Day 1: Riot In Belgium @ Crush - Backbooth
March 24, 2008 - Orlando, FL
by Melanie Gapany
Miami’s annual Winter Music Conference brings the biggest and the best of electronic music to the south. But for those that don’t want to or can’t make to the drive/flight/train trip to the sweaty way south, good news! Orlando got lucky this year and is blessed to serve as a pit stop for a few of the finest making their way down. The result: The week of WMC, Orlando is a party destination like it’s never been. No mouse, no theme park, no movie studio could make for a bigger load of fun.
A regular Monday night, for most regular people, usually involves television and rest to prepare oneself for the week, de-stress from returning to work. These are the kind people that wake up extra early to clean their house and the kind that coordinates their shoes with their belts. These are the people who have big IRA’s, who don’t drink, who don’t raise their voices above a three, who don’t own dancing shoes. To spice things up, they drink a glass of wine with dinner, maybe. But Every Monday night, for the past two years, Backbooth opens its door for Crush, and anyone who wants to break the mold of regularity and party like rock stars at the beginning of the week is invited.
Crush on this very special week was no exception, and for a select hard headed, dedicated group of individuals, the perfect start to 6 days of total non stop action in two cities. Day one of spring training, the semi-official name for the aggregation of a week’s worth of amazing parties, was a kick in the balls delivered by Beni Single, one half of Australian dance music sensation Riot in Belgium.
In 2006, the duo sprung onto the scene with the release of their album "The Acid Never Lies" on Relish Recordings (formerly known as Relish Records). If you’ve gone to an indie dance night anytime in the past year, you know Riot in Belgium. You’ve heard their song "The Acid Never Lies", or their powerhouse hit "La Musique". You've no doubt also been privy to their remix work for the likes of Yelle, Surkin, Sneaky Soundsytem, K.I.M. Headman, and Chromeo.
The duo is made up of Joel Dickson & Beni Single. Individually, Joel also puts out fantastic music with Tim from Cut Copy as Comets, and Bennie is one fifth of the banging (pun intended) Sydney based DJ collective the Bang Gang Deejays. Regardless, of whether they are playing alone or not, both the boys have the experience they need to back up their talk with impressive game.
Beni’s set was amazing, he comes on all of a sudden, full throttle with a noticeable and very audible warning. “Oh my God, there’s a riot in Belgium” and the entire crowd wants to be a part of it. Beni makes his performance look easy. He is dancing, throwing his hands in the air, wooing the audience and passing out stickers while tweaking the knobs and buttons that make his characteristic funky electro noise. He even has time to put a bandana over his face to look extra cool for his photo ops. It is action from beginning to end from this man, and the slew of drunk 20 something’s and underagers (your humble reviewer included in the former group) are shaking and moving to his music, and don’t seem to care to focus on what individual songs he mixes, because the overall effect is just too strong. The entire set is electric and everyone moves with every single drop and pound of his bass heavy sound. People seem drawn to him, there are almost more people on the stage than there are on the dance floor. It almost broke out into a Riot, but they all just want to get as close as possible to the source.
All in all, The Aussie delivered from start to finish and sent us home reeling, pumped and ready for the sleep-deprived week ahead.
Thursday, March 13, 2008
Justice / DJ Mehdi Orlando Club Firestone Review
JUSTICE / DJ Mehdi - MySpace Music Tour 08
Club Firestone & Saturday/Thursday - 03.06.08
by Melanie Gapany & Kevin Collier
If it weren’t for high tech cell phones and digital cameras, a typical Thursday night at Club Firestone would have most people running to check their calendars to make sure that they haven’t somehow traveled into the eighties. Surrounded by latex, sequins, and hairspray, it’s easy to get confused. Filled to capacity (around 1500-1600 people), however, this Thursday was different. The day-glo was still present and the pants were just as tight, but it was the only Florida stop on the Myspace Music Tour, and the club felt distinctively different.
On a regular basis, there are plenty of musical acts to get the crowd going (Residents Pauly Crush, Miss Fit, Justin Scott, Ge30n, and Y-Not along with international acts and DJs such as Flosstradamus, Kid Sister, Girl Talk, Tommie Sunshine, Felix Cartal, and Boys Noize just to name a few), but with a lineup that includes international sensation DJ Mehdi and electro-superstars Justice, there seemed to be a particularly intense amount of energy inside Firestone.
Two of Saturday/Thursdays residents, Justin Scott and Miss Fit (formerly Bodywerx) started the night, soon followed by Mehdi, who took the floor by surprise, quickly fueling the floor with energy, spinning tracks that are both recognizable to the usual S/T crowd and some previously unheard. With the dance
floor completely covered, there were still a few brave souls who did their best to dance where they could. While everyone appeared to be enjoying Mehdi's selection and mixing for the evening, it was obvious; the crowd was there for Justice and were aching to turn their feet and ears to the main stage behind them...waiting for that big black curtain that hid Justice's impressive stage display to open up.
The curtain opens; a giant cross adorns the middle of a huge sound board with stacks of giant amplifiers on both sides. The main act rightly deserved that attention. Looking at the stage, anyone could easily assume they were about to witness a great rock band blow their minds. The DJs, Gaspard Augé and Xavier de Rosnay, collectively known as Justice, walk out and immediately whip the room into frenzy. There is barely standing room, but everyone is dancing. As they play the songs that have made them popular, including "Waters of Nazareth", "We Are Your Friends", and Grammy nominee for electronic song of the year "D.A.N.C.E.", you can barely hear yourself think, but the entire room is singing along. The room is electric, the people are ignited.
They finish their set and perform their encores, which included various remixes of their hits (everyone sang along to each and every one no matter how many times a remixed song was already played).
Justice (Xavier, at least) moved away from the giant stage to the turntables back on the other side of the room. Mehdi, once again enters the VIP-area-turned-DJ-booth, to tag team with Xavier until almost the end of the night with Pauly Crush hopping on to close the night out and send everyone home with memories of a pretty freaking amazing night!.
Thank you Firestone, Saturday/Thursday, Pauly Crush, Mike Feinberg, and all else involved for bringing in one of the biggest current electronic acts right now for their only FL tour stop and for putting on a perfect production and awesome show!
Click photo to view Justice / DJ Mehdi gallery
Club Firestone & Saturday/Thursday - 03.06.08
by Melanie Gapany & Kevin Collier
If it weren’t for high tech cell phones and digital cameras, a typical Thursday night at Club Firestone would have most people running to check their calendars to make sure that they haven’t somehow traveled into the eighties. Surrounded by latex, sequins, and hairspray, it’s easy to get confused. Filled to capacity (around 1500-1600 people), however, this Thursday was different. The day-glo was still present and the pants were just as tight, but it was the only Florida stop on the Myspace Music Tour, and the club felt distinctively different.
On a regular basis, there are plenty of musical acts to get the crowd going (Residents Pauly Crush, Miss Fit, Justin Scott, Ge30n, and Y-Not along with international acts and DJs such as Flosstradamus, Kid Sister, Girl Talk, Tommie Sunshine, Felix Cartal, and Boys Noize just to name a few), but with a lineup that includes international sensation DJ Mehdi and electro-superstars Justice, there seemed to be a particularly intense amount of energy inside Firestone.
Two of Saturday/Thursdays residents, Justin Scott and Miss Fit (formerly Bodywerx) started the night, soon followed by Mehdi, who took the floor by surprise, quickly fueling the floor with energy, spinning tracks that are both recognizable to the usual S/T crowd and some previously unheard. With the dance
floor completely covered, there were still a few brave souls who did their best to dance where they could. While everyone appeared to be enjoying Mehdi's selection and mixing for the evening, it was obvious; the crowd was there for Justice and were aching to turn their feet and ears to the main stage behind them...waiting for that big black curtain that hid Justice's impressive stage display to open up.
The curtain opens; a giant cross adorns the middle of a huge sound board with stacks of giant amplifiers on both sides. The main act rightly deserved that attention. Looking at the stage, anyone could easily assume they were about to witness a great rock band blow their minds. The DJs, Gaspard Augé and Xavier de Rosnay, collectively known as Justice, walk out and immediately whip the room into frenzy. There is barely standing room, but everyone is dancing. As they play the songs that have made them popular, including "Waters of Nazareth", "We Are Your Friends", and Grammy nominee for electronic song of the year "D.A.N.C.E.", you can barely hear yourself think, but the entire room is singing along. The room is electric, the people are ignited.
They finish their set and perform their encores, which included various remixes of their hits (everyone sang along to each and every one no matter how many times a remixed song was already played).
Justice (Xavier, at least) moved away from the giant stage to the turntables back on the other side of the room. Mehdi, once again enters the VIP-area-turned-DJ-booth, to tag team with Xavier until almost the end of the night with Pauly Crush hopping on to close the night out and send everyone home with memories of a pretty freaking amazing night!.
Thank you Firestone, Saturday/Thursday, Pauly Crush, Mike Feinberg, and all else involved for bringing in one of the biggest current electronic acts right now for their only FL tour stop and for putting on a perfect production and awesome show!
Click photo to view Justice / DJ Mehdi gallery
Wednesday, December 19, 2007
Art Basel in Miami Review by MGAP (Moby / Princess Superstar @ Studio A) for URB MAGAZINE
View article on URB here or just read it down below :)
Posted Wednesday, December 19, 2007 @ 02:22 in Events by Melanie Gapany
Posted Wednesday, December 19, 2007 @ 02:22 in Events by Melanie Gapany
- Presented by Music Loves Fashion, theCompany, Jeff Duke & Adam Frankel Productions and Going.com -
Tucked into a city block in the heart of downtown Miami, Studio A is your typical Miami nightclub, with a decently sized dance floor and an impressive display of liquor gathered around a circular, freestanding bar, modern decor, and a large stage. The bartenders are well apt in entertaining their crowd with fire blowing and bottle tricks. Unlike Miami nightclubs, there is no line to get in, its nice and cool inside, there are people dancing and the lineup for the evening is incredibly diverse.
It's midway through the night and the entire room is a thriving mess of sweat and movement, packed with an eclectic mix of people that you can only find in port cities. Holy Ghost!(www.myspace.com/holyghostnyc) and Princess Superstar (www.princesssuperstar.com) have both finished amazing sets, and pumped the crowd full of energy. But now there is a small framed DJ wearing a large brimmed blue sunhat at the tables, casually sipping what one must assume is a screwdriver. He dances almost as intensely as the people on the floor. He is the man behind everyone's current state of madness: the reason why no one can really stop dancing. He is Moby (www.moby.com). The same Moby that has released pop chart hits such as "South Side" and soothing lullaby melodies such as "Porcelain", behind the decks, expertly wooing the crowd into frenzy.
Moby's biography is a timeline of incredible achievements almost as diverse as the pop star himself and if this performance was any kind of a preview of what listeners can expect from Moby's new release Last Night, due out in March of 2008, then listeners can expect something that is much more dance oriented than any of his previous releases. Much more indie, way less pop.
Despite the high price of drinks and lack of parking, everyone seemed incredibly pleased as the night ended with the Afrobots (www.myspace.com/afrobots) who, much like Princess Superstar, were able to effortlessly mix rhyming skills over intense beats. At the close of the night, Studio A cleared out quickly, and it was back outside for more downtown Miami traffic and heat.
For exclusive pics from the event, by Kevin Collier, check out http://www.urb.com/media/images/art_basel1
Saturday, December 15, 2007
Art Basel in Miami Review by MGAP (MSTRKRFT / LA Riots @ The Pawn Shop) for URB MAGAZINE
View article on URB here or just read it down below :)
Posted Tuesday, December 18, 2007 @ 03:56 in Events by Melanie Gapany
Posted Tuesday, December 18, 2007 @ 03:56 in Events by Melanie Gapany
- Presented by Music Loves Fashion, theCompany, Jeff Duke & Adam Frankel Productions and Going.com -
Miami is a strange and beautiful city. The people are unique, the buildings are deco, and there is a certain "je ne sais quoi" that lingers in the air at all times. Downtown, with the recent birth of its newest addition, The Center for Performing Art, is changing slowly but surely. The angles keep getting sharper, the buildings grow taller and taller, and the houses become more expensive. Still in the face of all this change, is a lone yellow building on 13th Street. The pawn shop, at first glance seems an unlikely place to be a lounge. It looks, in fact, exactly like a pawn shop...dilapidated, yellow paint, and metal roll down doors. Once inside, though, everything changes.
The night started early with local DJ, Johnny The Boy, who pumped the crowd, led by a very animated group of Chicago dancers and attentive bartenders, into a frenzy of dance and sweat on a dancefloor surrounded by odd, old items that you would expect to find in a pawn shop; an old scoreboard, bikes, an airblower, even a school bus?
Aptly named Los Angeles locals, LA Riots (www.myspace.com/lariotsofficial) then took over inside the DJ booth, which was uniquely constructed inside the cab of a flatbed semi truck that also served a dual purpose as a VIP area. The crowd immediately tripled, responding faster than teeny-boppers at a Timberlake concert. Even with the minor audio glitch, which temporarily forced LA Riots to perform with minimal bass, the DJ duo (Daniel Le Disko and JOB) had hopped into their drivers' seats to rev the engine of that monster truck. Before they were through, everything in the room was in third gear.
And then MSTRKFT (http://www.mstrkrft.com) was there to guide us all into a sweaty utopia, a feat that was accomplished with relative ease by the pair of Canadians. DJs AL-P and JFK gave Miami exactly what is was asking for: enough bass to start a pacemaker, hip-possessing beats, sounds that would put even the sorest of feet into a dance frenzy, and the style to keep it going well into Miami's famously warm night, where the only thing white that covers the ground in winter are the napkins on the dance floor.
Check out pics from the show, shot by Kevin Collier, exclusively at http://www.urb.com/media/images/art_basel2
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