Five years ago, Excision couldn’t destroy the soundsystem in your buddy’s Buick if he tried. Five years ago, the monstrous yet catchy womp-womp of Excision’s dub-step DNA was nothing more than ambitious strands left fossilized, yet to be discovered. In fact, if it wasn’t for the sparse dub-step rumble of British duo Vex’d , Excision would be drooling over a desk, trapped in a cubicle, chasing a paycheck that would help pay for the cost of dry cleaning his business casual wardrobe. Vex’d would release Degenerate in 2005, an 18-track LP that many music critics and critical bloggers claim to be one of the first “official” dub-step albums to be released. British writer Mary Anne Hobbs went as far to call the album the “single most accomplished and important record in album form of the genre.” To Excision (born Jeff Abel), the transformative Degenerate was all that lofty praise and more — it would forever change his life that very same year.
Author Archives: Ryan Patrick Hooper
Featured Gallery Music A-Trak: Mild-Mannered Turntable Maniac
In the middle of the afternoon in the Red Bull Lounge at Movement 2010, A-Trak quietly weaves his way through a wave of photographers clamoring for a photo. He smiles, turns his head on command, doesn’t give much fuss if a particular shot takes longer than expected. His handler is just as tame, glancing up every now and then from his Blackberry back-and-forth to make sure everything is running on schedule (or at least running in the right direction). At the age of 28, this is already a well-rehearsed routine for A-Trak. For the past 12 years, A-Trak (born Alain Macklovitch) has flown in, enjoyed the array of catering, accommodated the press, smiled for the photographers, grabbed his paycheck and flown out. The only (and most important) part of this routine that refuses to follow a set path is when the articulate, calm yet expressive A-Trak hits the stage, combining the most appealing parts of house and hip-hop with technically savvy takes on turntablism (read: wild card, bitches!).
Music Bassnectar Drops Details Backstage at Lollapalooza
Since the launch of ChinaShop, we’ve publicly worn a certain fascination with Lorin Ashton and the intense wall of bass he’s built brick-by-brick as Bassnectar. From our first encounter under the Austin sun during South By Southwest to our days spent in Detroit at the Detroit Electronic Music Festival and soaking up the Chicago sights with the California-based deejay at Lollapalooza, we’ve always sported our fan patch with pride. After catching up with Ashton’s manager and everything man, Elliott Dunwody (who informed us about the fantastic Playboy bunny brunch he enjoyed earlier than morning), we finally ran into the man himself. Within minutes, Ashton began dropping articulate bombs about his upcoming release, Cozza Frenzy, due in the first week of October on Amorphous Music.
Music The Raveonettes Rave On
A very strange thing happened on Sunday afternoon happened when The Raveonettes took the stage. Not only did those gigantic dragonflies make a matinee appearance, swirling over the heads of sweat-drenched patrons and frightening the small ones, but also as the band began to perform, a surplus of sexuality spilled into the crowd. Perhaps it was the two-piece Raveonettes (consisting of Danish guitarists Sune Rose Wagne and Sharin Foo) transformed into a magnetic five-piece, complete with a minimalist drummer simply banging upon a stand-alone tom and snare. Perhaps it was the tension of a weekend spent watching gorgeous patrons, both vivaciously female and chiseled male, fondle and eye-fuck each other until someone went numb and blind.
Music Pop, Drop & Glitch
If Glitch Mob were a well-dressed boy band parading around a 20-feet-high stage, we would be the droves of screaming girls in the audience throwing our training bras on the stage in hopes of getting noticed among the flashing lights and pubescent mayhem. At Lollapalooza at Perry’s stage, as the sun burnt us to a crisp, we really couldn’t tell the difference between Glitch Mob members edIT (“The Crunkmaster Himself”), Boreta (“The Iceman”) and Ooah (“The Mob Boss”) and their boy band alter egos because we were … er … screaming like little girls from the sweaty, gyrating crowd. We’ve had the pleasure of becoming freaks in the night to Glitch Mob’s notoriously bass-heavy sets with the moon suspended in the air (along with covering the boys on ChinaShop when they performed on the Red Bull Music Academy Stage at this past year’s Detroit Electronic Music Festival), but in the middle of the afternoon with the Chicago skyline all around us, the vibe took on a different feeling and meaning — one that reminded us of those midday warehouse raves we used to frequent in our teens (which, you know, is a good thing). Perhaps it was the amount of ineffective glow sticks floating around in the crowd, or the rows of passed out humans creating a sort of flesh border around the dancing perimeter — we can’t quite put our finger on it. But when the electronic trio, who are noted as some of the more accessible deejays around considering their innovative performance set-up, dropped their initial nugget of drum-and-bass splintered jams, we knew we shouldn’t have taken the blue pill … or was it the red one?
Music Alberta Cross
On Sunday morning, before Lollapalooza had gained its legs and started running full steam towards complete insanity, a booming rock ‘n’ roll showcase could be heard in the distance. After a mid-morning journey across the festival grounds, side-stepping festivalgoers who had somehow managed to drink themselves beyond recognition within the matter of an hour, we discovered that Alberta Cross was braving the morning humidity to their bring their brand of swaggering six-string chops to the stage. From our position, only the sweet sounds of distorted indulgence could be heard. Upon closer inspection, Alberta Cross unveiled to us the inner workings of their delightfully retro-heavy set and their perceptions on the bliss of the American festival lifestyle.
Music Care Bears on Fire
Standing in the shadow of Yeah Yeah Yeah’s Karen O. in the Lollapalooza media tent on Saturday afternoon, Care Bears On Fire are relatively giggly and notoriously shy as the punk rock youngsters declare their admiration for the flamboyant front woman. “We haven’t said hi to her yet, but we will,” announces Sophie, the braces-sporting 13-year-old guitarist and lead singer for the Brooklyn-based Care Bears On Fire. “She is my absolute role model.” The rest of the girls — 15-year-old bassist Jena, 13-year-old drummer Izzy — quickly agree, coolly glancing over to the Yeah Yeah Yeah’s as they endure their own interview a few feet away.
Music Blind Pilot at Lollapalooza: Sweetly Seductive
The BMI Stage, located on the north side of Grant Park and therefore the north side of Lollapalooza, was a relaxing escape from the set up of the other seven stages at this year’s festival. Completely submerged in the shade of surrounding trees, the stage became home to droves of patrons seeking out a rest from wandering around Grant Park, but also served as a weekend haven for artists bound by the genres of folk, bluegrass and beyond. Blind Pilot, who closed the stage on a windy Saturday afternoon, played into the majestic feeling of being surrounded by the natural elements at one of the most successful urban festivals in the country.
Music Band of Horses and The Battle for Grant Park
On Sunday night, the headliners were set to collide and split Lollapalooza patrons straight down the middle — some would venture over to Jane’s Addiction for Perry Farrell’s flashy arrival in a helicopter (never happened, but a helicopter did awkwardly hover over the audience during the band’s opening song) while others would kick it with The Killers. What wasn’t expected was Lou Reed’s piss-poor performance (reading lyrics from the monitors, relishing in his drawn out 3-minute, dad-rock intros, generally sounding more geriatric than grabbing) would run a solid 20 minutes over the allotted time, leaving Band Of Horses to endure the heat off stage, waiting for their turn. Eventually, Reed had to empty his colostomy bag and Band Of Horses quickly took the reigns, launching into organ-soaked versions of fan favorites “First Song” and “The Great Salt Lake” from 2006 debut Everything All The Time.
Music Chairlift Going Up
Just north of Wicker Park, at the vibrant nightlife trisect of Milwaukee, North and Damen Avenues, Friday night was just beginning. TV On The Radio’s bearded guitar guru Kyp Malone coolly strolls by with a generous posse of publicists and friends, greeting fans as he passed (dually noted — Malone still carried his own bags). Electro-pop front man Michael Angelakos of Passion Pit was wide-eyed and taking in the sights with lovely lady in tow as the late night Mexican eatery Flash Taco turns drunken grubbing into a visceral performance piece. And inside Debonair Social Club, whose décor borders between raw basement hangout and sophisticated dance club, Chairlift’s Aaron Pfenning is manning the decks (read: shredding the dance floor) fresh from the multi-instrumentalist’s band’s opening set for TV On The Radio’s “healthcare benefit show” for Malone’s sister, Colleen, across the street at legendary Double Door. Lollapalooza truly knows no limits … and Pfenning is amazed it happened at all.












