XXYYXX is the moniker of Orlando's Marcel Everett.
XXYYXX is one among a promising stable of young beat makers and musicians on East Coast label Relief in Abstract, grabbing attention from some high-visibility blogs including XLR8R and Earmilk. Not bad for a 16-year-old just getting his feet wet (feel old yet?)
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SBTRKT at the Orpheum was a rousing success. Besides being molested by security for taking photos of an unmasked Aaron Jerome during sound check, there were no snags – albeit the obvious hiccups brought on by our severe agoraphobia and fear of girls.
For Brasky, our highlight was our first in-show table. Always taking our marketing very seriously, we handed out copies of Bedroom Beats, Vol. 1 and offered polite mannerisms to passers by (who were consistently disappointed we didn’t have SBTRKT merch).
There isn’t much to say besides that. The show was brilliant – Jerome managed to keep his visuals to a minimum, forcing us to focus on what really mattered, the music. After all, through his lack of pomp and circumstance, he’s always kept it that way to begin with.
Local up-and-comer Spies on Bikes seized his moment and captured the support of an audience mostly unfamiliar with his music. Cheers, Nate!
SBTRKT’s stage presence included his amazing ability to shoot sunlight from his toes.
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Friday, February 10th & Saturday, February 11th – Join us for huge sales and promotions from many of the shops on The 600 Block, from 10AM – 6PM. Also, don’t miss Rock ‘n’ Roll Marathon on Sunday!
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Brasky.org officials found themselves in a unique spot this week. Brasky is offering Tampa denizens an exciting PREVIEW of a well-hyped upcoming show… The Mountain Goats, the indie superstars behind one of the most emboldened and passionate acts in music today, have shows in Central Florida on back to back nights. Brasky staff attended the show in Orlando on Tuesday night and are fully prepared to simultaneously discuss the proceedings and TOTALLY SPOIL the Wednesday night show in Tampa. Read on if you dare…
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After critically evaluating a few hundred albums in one year (for our best albums of 2011 selections), I found myself developing surprisingly precise, abstract ideas about how everything fit together and what that “means” about the state of all creative music. It was a long year but I finished the whole thing (with a little help from my Brasky frands).
Here is an accurate summary of what’s going on:
Right-brained thinkers should feel satisfied and can stop reading.
For the restless and curious, here are a few more thoughts on the past year in music.
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When I found out I had a list spot at Skrillex’s show, I was surprised by how intrigued I became with the show. The Brasky forums know that I’ve been critical of Skrillex since his Deadmau5/Youtube-fueled emergence, but:
Upon arrival at the show I started ravenously observing the diversity of showgoers that were rolling in. It was clear that Skrillex was reaching a lot of different audiences within the electronic world, with most everyone represented.
| 1. | Those half-naked rave girls, decorated with fluorescent doodads/trinkets/gewgaws – specifically, those Clydesdale ankle muff things. They are on drugs, but I’m not sure which ones. |  |
| 2. | “Getting laid guys” (credit: Louis CK) in collared shirts, hooting at the fluorescent dancer girls (who of course are immensely detached from the people around them). |  |
| 3. | Awkward computer nerds with Skrillex tees (I think these are the guys who relish the Transformer/dubstep correlation. Note: This correlation has been a terrible thing for dubstep. Also terrible: Zealous YouTube comments about “the drop” or “filth” that are so slobbery you can almost feel the mist) |  |
| 4. | Suburban hipster looking people dressed very randomly with the jean shorts and wayfarer sunglasses and whatnot. I was wearing suspenders so I think that automatically lumps me here. |  |
| 5. | Goth/metal couples on dates. (preemptive correction assuming this class may care greatly about this distinction: “cyber-goth”) |  |
| 6. | People on ecstasy. And weird dudes in masks giving them nose-grazing neon hand jives while they sucked on lollipops and pretended to be rolling hard enough not to notice how REALLY WEIRD THIS LOOKS. IN PUBLIC. |  |
| 7. | Vintage (2000-2005) screamo kids |  |
| 8. | Clusters of white girls who appear to be dressing up to mimic the possibly-sincere fashion guidelines of any combination of the preceding. Most are unfamiliar with Skrillex but they’ve heard of dubstep and they like that band. |  |
Now that I’ve judged 99% of the people in the building, let’s judge the final 1%–the performers.
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Sugar nights is Khadija Bhuiyan and Michael Donaldson. The high-school friends, having high musical compatibility and an affinity for a variety of instruments, decided to form an eclectic electronic group under the name Sugar Nights. For their sultry track, “Untitled”, the two teamed up with Richard Vergez to put together a time-synced video collage that seems to perfectly translate the song’s dark moods:
If you like what you hear, hop over to the Sugar Nights’ Soundcloud. Most of their tracks tease with seductive moods, fluctuating between dark/witchy trip-hop and more Miami-flavored house music (hints of the 90s?). Their recent self-titled EP dropped this year under Overthrow Music Authority, and has been well received both by Miami’s indie/electronic scene as well as the interweb’s blogger underground.
In usual Brasky fashion, we got after them with some questions.
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Circuitree Records is back with the part 3 of 4 in their Universus compilation series.
Universus Vol III takes the campaign in a new direction, with more artists–13–and a greater variety of styles. The prevailing theme? You guessed it: The description-less “post-dubstep” (Remember when I sheepishly described Mount Kimbie as post-dubstep? Hint: there is no such thing as post-dubstep. Or dubstep.)
Circuitree is letting us share a highlight track from the mix – a hi-fi heater with FlyLo-esque soundscapes from Aligning Minds.
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Brasky had the chance to pelt Cameron Bird from Architecture in Helsinki with a few questions before their show this Thursday night at Crowbar.
It’s been more than a decade since you’ve started – what’s the biggest change in your attitude to your music?
Cameron Bird: “I don’t know that there’s been a huge change at the core. We are still the same people with the same attitude. It’s more how our music has changed with experience. We have gotten more and more into arrangement and production with each record.”
Does being Australian have a big influence on your sound?
Cameron Bird: “Without Doubt. If you make honest music, it will always have an element of your surroundings in it. The geographic isolation of Australia means that we are less worried about where we ‘fit’. “
Which albums have been piquing your interests this year?
Cameron Bird: “Metronomy’s ‘English Riviera’, Cut Copy’s ‘Zonoscope’, everything that Johnny Jewel makes.”
Bird Watching?
Cameron Bird: “Too many great memories. Touring in the U.S. is the best. I only wish we had documented our experiences more.”
Your last three albums were 67, 30, and 12 respectively on the ARIA charts. So, your next one should place in the negative. Break out the champagne. Did you ever expect this sort of success when you began?
Cameron Bird: “We never intended to play outside of Melbourne. The band was just something we did for fun. People liked it so we kept recording songs. Somehow it’s been able to sustain itself!”
Short, but sweet. Be sure to catch Architecture in Helsinki’s delicious indie-pop dancey-ness this Thursday. Sure, they’re Australian, but no one’s perfect.
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Let’s be honest: music geeks like to parade the most exclusive, unknown music they can find, a process that often means friends of said geek must endure mediocre tunes. I’m probably as guilty as anyone. Truth is, even the indiest of indie music comes into our awareness through the marketing efforts of small labels, so it’s rare that we can offer something truly fresh and un-hyped. Today we offer local newcomer looking to self-publish his first EP – Spies On Bikes.
Home by Spies On Bikes
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