Everyone, this is a reminder that Daft Punk tickets will go on sale
this saturday at 11am for Aug 9th, Keyspan Park in Brooklyn.
Also opening for them are the Rapture, Sebastian, and my favorite Ferrari-driving zombie, Kavinsky. Some may think $50 is a lil steep. But just ask yourself: “Is the Happiest Moment in your life worth $50?”
Make sure to get General Admission.
Flaunt Magazine and Dewars Presents:
Cocktails afterwork or just waking up at this Bedford Hotspot.
Supreme Trading
213 N. 8th St
Williamsburg
L Bedford Stop
Celebrate PAPER’s 10th Annual Beautiful People issue!
PAPER’s 10th Annual Beautiful People party presented by GUESS?
Hiro Ballroom
371 W. 16th St. (at 9th Ave)
March 27, 2007 8-10 PM
Party with the beautiful people while sipping on Dos Equis and Svedka as you search the room to see if Charlotte Gainsbourg shows up.
It’s about time these two forces merge. Cut Copy’s Bright Like Neon Lights debuted back in 2005 and became my obsession for a couple months. Their bouncy dance-centered synth pop made me pay attention to the electro scene emerging out of Australia. Along with Van She Tech, and new Avalanches, Melbourne may very well become the next epicenter for dance. Luckily, the Cut Copy boys will inject a lil brooklyn dance flavor into their sound by bringing their Aussie synth-pop magic to DFA Studios under the helm of Tim Goldsworthy. You can follow the progress with their recording blog where they gush very enthusiastically about using theremins and shredmasters. The first finished song to emerge from the DFA compound is Hearts on Fire, which Cut Copy has previously posted on their myspace but rerecorded in Brooklyn.
Can I say the results are amazing. You can hear their collaboration with Tim Goldsworthy clearly in the grand synth fueled intro and the multitudes of arpeggios that bubble through out the entire song. When the vocals kick in, you know you’re in for one great Cut Copy song. But the clincher is this classic Salt N’Pepa-ish Diva sample intermixed with the bounciest synth hook you’ll hear this year. Similiar Gui Boratto’s It’s a Beautiful Life, a Peter Hook bass solo emerges in the outro to cap of a perfect song.
This is how fun SXSW was. My brother Long and I could only emphasize the sheer ridiculousness of this festival by using a moonbounce at a Simian Mobile Disco Party.
The Pipettes
Fate predestined that the first SXSW band the Le-Khac brothers should lay their eyes upon was The Pipettes. And what a truly comfortable resting place to set our eyes on indeed. We saw The Pipettes no less than THREE times at SXSW. Everytime was enjoyable as the first. From their loose hand jive choreography to noting the importance of One Night Stands in their lovely Brighton accents.
Girl Talk
Girl Talk killed it at the Pitchfork Party. I noticed that he incorporated saran wrap into his extensive list of equipment–besides a Laptop and Confetti. The saran is to prevent his copious amount of sweat to ruin his computer as he freaks out at every transition on stage. Alan Braxe and Hustlin was an amazing sequence.
Bonde De Role
Bonde De Role had some incredible energy on stage. Although they had the same Baile Funk beat for every song they did, the crowd completely went nuts for them.
Beach House
Beach House’s languid style was perfect for an afternoon set where everyone was still recovering from hangovers from last night or earlier in the morning.
Fujiya & Miyagi
Fujiya & Miyagi got kids dancing even in the afternoon. They reminded me of a funky Stone Roses.
Peter, Bjorn, and John
Peter, Bjorn, and John. They’re set was not as good as the time I saw them at Mercury Lounge due to a couple factors: Bjorn’s Bass was stolen prior, No John, and No Victoria cameo for Young Folks.
Never leave home without your Tron Adidas. You’ll never know when there’ll be a “who has the coolest shoes at the party” competition that offers a sweet ass Aqua Teen Hunger Force Skateboard as a prize.
SXSW was outta this world.
rsvp here to get in for free.