she could have been either a wild female chimpanzee escaped from her cage, or a girl being electrocuted, I am not sure, but soon it was over. People clapped at the end of her horror movie, which, I have read, is influenced by Artaud’s Theater of Cruelty
Blacc had so much charm and charisma, it was difficult to not like him, he was communicating constantly with his audience, was constantly moving with the same grace and ease, and was taking the pause, arms spread apart, athletic body slightly bent.
They seemed to mix the bright and the dark in the middle of the day at the Silverlake Jubilee, and since these two opposites don’t usually seem to go together, it was a little weird and interesting at the same time.
Their songs were nevertheless going from a straightforward foot-tapping pop-folk evoking bands of the past, whereas others had a more modern feeling, a little too complex to be qualified of ‘commercial’, but still exuberant and catchy.
Their delicate indie pop was alternating between repetitive and monotonous swirling synths, borderline experimental at time, waken up by electric guitars, but overall their music was the type difficult-to-catch-at-the-first-listening. They played songs form their latest release, and said they would play a song from ‘their old record that bombed’,… was that ‘Cocoon of Love’?
The band was impressive despite the young age of its members, it was good vibes all over the place, with a light touch of surf guitar on certain songs, a constant dynamism over their light upbeat pop, and sometimes a little more darkness hardly perceptible behind all this poppiness.
Their joyous energy was an important part of their performance, and their rowdy-moody pop-rock music was exploding all over the place on the sunset stage of the Jubilee at the end of this beautiful sunny afternoon.
Most of their slick songs had hypnotic repetitive loops with a light touch of Dick-Dale-ish surf riffs, and were installing a druggy-psychedelic ambiance,…. But over everything, all this had a catchiness you couldn’t miss
Their songs have this curious and surprising construction, as they are animated by sudden catchy outbursts separated by quiet moments isolating Sean Solomon’s youthful and whining vocals. With them, the violin became the most punk instrument
If there was a lot of shoegazing in this dreamy indie pop experience, there was also a lot of foot-tapping, and that would seem totally contradictory at first view but somehow they managed to do it with grace. The build-up in the music, filled with nervous beats
The five guys threw about everything in their electronica-techno-rock-en-Espanol, and this is without talking about their exhilarating presence on stage, full of sexy dance moves,… well they have to live up to their moniker! Yeah, these Mexican guys are not really into traditional mariachi, fuck no!
never being too adventurous or too sinister
Saturday night fever disco revivals with a darker side
exhausting dance numbers, full of aggressive moves and dark vibes.
