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Throughout the weekend, the Red Bull Music Academy brought a variety of polarizing acts into Movement 2010’s growing spotlight. On Sunday evening, as the heat subsided and the Detroit River sat calm and picturesque to the south of the stage, local emcees Guilty Simpson and Phat Kat took to the stage with 8-piece funk group Will Sessions (think Detroit’s Dap Kings) to rock the mic and rock the crowd. Running through a catalog of music — from Guilty Simpson’s recently released full-length OJ Simpson (produced by Madlib) to Phat Kat’s legendary hip-hop album Carte Blanche (including a guest cameo on “Cold Steel” by Slum Villages’ Elzhi) along a selection of classic cuts from legendary producer J Dilla — the two emcees set out to translate their rhymes from written lyric to live, fluid poetry while Will Sessions brought recorded sounds live to the stage. It didn’t take long for those unfamiliar in the crowd to wave their hands on command nor did it take long for Guilty Simpson, Phat Kat, Elzhi and Will Sessions’ Sam Beaubien to dish on the experience of performing together on one stage and the state of Detroit hip-hop while relaxing post-show in the Red Bull Lounge.

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“Sometimes, there aren’t a lot of people” at the show, explains Thomas Turner, the caped crusader behind the menacing electro-pop and rock of Ghostland Observatory, “but those people go off and tell their friends and it just keeps growing, you know?” As Austin, Texas-based Ghostland Observatory closed the Red Bull Music Academy on Sunday night, the word had spread to Movement 2010. Over 3,000-plus rabid festivalgoers refreshed themselves in the waves of guitar and synths working together to redefine just what “electronic music” means at the start of a new decade. Fueled by the classic rock theatrics of a laser lightshow and a barrage of smoke, lead singer Aaron Behrens brought his fierce, unfiltered energy to the Red Bull Music Academy stage (especially apparent on the duo’s raw cover of Prince’s “Darling Nikki”), turning the DJ decks into his own private catwalk. Meanwhile, Turner was lost in the fog manipulating an array of knobs and synths. “We’re never the average rock band,” laughs Thomas when asked how it felt to be performing at an electronic music festival built around mostly understated electronic deejays. “We always stick out like sore thumbs everywhere we go. After a while, people either get it or they don’t. Obviously, the people who do get it end up having a really good time.”

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From the time the gates opened at Hart Plaza, ushering in a single-day record attendance of 35,000-plus patrons, anticipation filled the festival grounds. Perhaps it was raw excitement for the weekend ahead — dozens upon dozens of international electronic musicians from all genres were represented and ready to take the stage at Movement 2010. Perhaps it was the smell of carnie-style corndogs simply upsetting stomachs. Perhaps it was the idea that even as Detroit’s economic woes plagued the city’s day-to-day existence, Memorial Day weekend was going to be blessed with something that actually worked for once. In the end, it was all those reasons plus one more. After taking a year off, Richie Hawtin was returning to Movement and bringing his alter ego back to the stage for the first time in six years. The reason behind the crowd’s collective eagerness was unveiled — Plastikman was set to close the festival that very night.

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It’s not easy to describe the sounds of Tokimonsta. An initial impression could you leave in a world as “melodic and sentimental” as the artist herself is cute (see above picture). And even though the 24-year-old Tokimonsta’s catalog is somewhat brief, that initial impression could leave you locked into the wrong idea. Within seconds, this Los Angeles-based, self-proclaimed “jack-of-all-genres” can pull a rough, rugged and hip-hop heavy dose of remixed beats out of her bag and no, she won’t hesitate to use ‘em. “I love listening to varied genres,” says Tokimonsta, “so I wanted something with guitars. I wanted something with soul. I wanted lots of hip-hop in it mixed with that electronic, sonic value. As you create, you realize that the years and years of listening to music expel themselves into whatever music your making.” Kicking things off on Monday afternoon, this is the sort of eclectic thrill that Tokimonsta brought to yet another unique weekend performance on the Red Bull Music Academy stage. ChinaShop caught up with the 2010 Red Bull Music Academy attendee to grab up all the details on how this young deejay came to hone her craft and gain some notoriety with some help from Flying Lotus, the adversity she faced early on in the LA hip-hop community and the broad musical tastes that help keep the audience always guessing.  We had a chance to catch up with Tokimonsta at this year’s Movement Festival and this is what she had to say:

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Words by Ryan Patrick Hooper, photos by Dustin Downing, Additional photos by Joe Gall

For the past ten years, Detroit’s Movement festival has been notoriously fond of after parties. Whether they be of the renegade rave, abandoned factory sort or the most official, posh push-pop you can come by, the entire city becomes blanketed in non-stop nightlife until the sun comes up and the festival grounds once again reopen. Saturday was no exception as the Magic Stick (regularly voted in the top ten best venues in the country by Rolling Stone and Paste, home to the oldest bowling alley in the country) in Midtown Detroit welcomed nationally renowned electronic label Ghostly International’s 10-Year Anniversary to a packed house after tearing apart the Red Bull Music Academy stage earlier that day with the likes of The Sight Below, Lusine, Kate Simko and Ryan Elliott.

“It has been ten years of the festival, and it’s our ten-year anniversary,” points Sam Valenti, owner and founder of Ghostly International, hours before the showcase at the Stick backstage in the green room.  “It’s fun to run into friends that Ghostly has had for six, seven years all day at Movement.” And with Ghostly International Tycho by his side, it’s easy to see just what Valenti is getting at. “It’s exciting to be back where it all started over ten years ago,” adds Tycho. “To be right in the middle of it all…”
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It’s not like we love Neil Landstrumm — it’s like the man lives inside of our ear drums, pounding out his innovative, hybrid cocktail of dub and grime powered auditory awesomeness. His Sunday set at Movement ’09 was certainly no exception. Although the poor dude was set up to the side of the stage, he made up for his lack of strategic positioning that lives in the world kick snare, kick snare — but stands tall in an ocean of imitators who chase his sound but continually fall flat. When you’ve been it for as long as Landstrumm has, you’ll run it into that … but you’ll also learn how to run directly over it, reverse and repeat a few times until you stand adjacent to only your own legacy and a long line of DJ road kill. For what seemed like an eternity (but was probably closer to an hour if we settle down and face the facts), Landstrumm transformed his daytime set into a time bending performance that turned the audience into midnight marauders of the sexist sort, Landstrumm’s often space age slugtone beats unleashing some of the weirdest, most sensual dance moves we’ve seen in quite sometime.

Words by Ryan Patrick Hooper, photos by Joe Gall

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