Loud, fast and out of control: The Blipster About Town cranks it up to 11 and blasts about the best in new and emerging music and the scenes that surround it, from the deep sonic underground to the guiltiest of guilty pleasures. Turn it up. By Scott T. Sterling
I'm on fire. Literally
Oh, laborious. How you tortured me so. The last true party weekend of the season decides to do double duty as the hottest weekend of the year, too. Would that stop me from making my appointed rounds? But of course not, my sexy friends.
Saturday morning equaled an excuse to hit Pasadena and stuff my face with the soul-enriching macadamia nut pancakes at Marston’s. Oh, sweet, delicious glory.
Sunday night brought the big Chromatics show at the Echo. Way more people are into these Portland art-rockers than I realized. Maybe it was our DJ buddies at Part Time Punks pulling the crowd. Either way, by the time Ruth and the boys hit the stage, there were a lot of people queued up to watch them play.
Staying true to the monotonic ice hipstress persona she’s cultivated on Chromatics recordings, Ruth (that's her in the picture) stood stock still the entire time. Dressed in a purple dress, black belt and stilettos, she would occasionally sway from side to side and maybe stare blankly at someone in the crowd. But that’s it. The band (guitar, bass, drums—what, no synth player?), faithfully cranked out the tunes, with “In The City” and “Hands in the Dark (Dark Day)” standing as their strongest numbers (you can find both on the awesome “After Dark” compilation, released on the equally sweet Italians Do It Better label).
I wish I could quote Jessie’s infuriated rant about the show verbatim. But to paraphrase, the general idea is that as a performer, you have to give the audience something more than blank stares and static stage (non)presence.
The crowd, on the other hand, ate it up. I definitely enjoyed a sizable taste of my own. On the way out, I eagerly snapped up a copy of a special limited edition 12-inch of “In The City.” Getting it home, I was so excited to discover that it comes with an a cappella version, a killer minimal remix that’s borderline ghetto, and then, the piece de resistance: A deadpan cover of Springsteen’s 1985 single “I’m on Fire.” The perfect soundtrack for the hottest weekend I’ve ever had to endure in L.A. Keep burnin', y'all.
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