Robyn and Röyksopp at Pier 97, New York City

Over at AudioFemme, I reviewed Robyn and Röksopp’s New York stop on their Do It Again tour. Here’s a few extra pictures, including warm-up act, Zhala. Continue reading “Robyn and Röyksopp at Pier 97, New York City”

Hypnopompic by Kustaa Saksi

Hypnopompic at Artifact
Hypnopompic at Artifact

Finnish-born, Amsterdam-based graphic artist Kustaa Saksi creates abstract, dream-like, and fantastical illustrations that, as well as gracing gallery walls across the world, have been featured in campaigns for brands such as Nike, Lacoste, and Issey Miyake. His work has appeared in the pages of the New York Times and even on the stamps of the Finnish Post. Continue reading “Hypnopompic by Kustaa Saksi”

Station to Station

IMG_4250

.. Is the title not only of one of my favourite Bowie albums, but also a Nomadic Art Happening taking place across the United States this month — kicking off in Brooklyn last night.

Multimedia artist, Doug Aitken somehow convinced Amtrak to loan him a train that, adorned with multi-coloured LED panels and loaded with artists, will travel cross-country. From Pittsburgh tomorrow night and on to Chicago, Minneapolis, Santa Fe, Winslow, Barstow, Los Angeles, and finishing up in Oakland on September 28th.

At each stop along the way, an event is hosted inside old train stations, and a in a vintage drive-in movie theatre in Barstow. The multi disciplinary events will feature performances from the likes of Patti Smith, Thurston Moore, Beck, Cat Power, Savages and Eleanor Friedberger, as well as art by Kenneth Anger, Urs Fischer, Ernesto Neto, and Carsten Höller.

Last night’s event at the Riverfront Studios in Williamsburg began with multi-coloured smoke bombs bursting from an  Olaf Breuning installation and then a drum line and a popping of pink and grey pom-poms and silver sequins: The Kansas City Marching Cobras.

Olaf Bruening, Station to Station
Olaf Bruening. Photo by author.

While guests (the show was sold out but not crowded) explored the installations, including a yellow Ernesto Neto yurt, and Liz Glynn explained the theory of relativity in her black yurt; No Age, Free-Kitten member, Yoshimio, Hisham Akira Bharoocha and Ryan Sawyer; and Ariel Pink’s Haunted Graffiti played on the stage in front of a bold film backdrop running shorts from the likes of Yayoi Kusama and Nicolas Provost, whose spliced up film of endless cinematic kisses was my favourite.

The night ended loudly: Suicide. A band that, given the singer, Alan Vega, is 75 years old, I never thought I’d see live. Vega stumbled on, cane in one hand, drink in the other and screamed into the mic; Martin Rev, in shiny vinyl trousers, palmed and hammered the synth. Pretty damn delightful.

Suicide. Photo by author.
Suicide. Photo by author.
Suicide. Photo by author.
Suicide. Photo by author.

Here’s an interesting comment from Aitken to the Washington Post:

“The train system runs across the American landscape like untapped arteries,” Aitken wrote in an email. “Much of our journeys have been replaced by interstates and highways. I was interested in using the train to become a nomadic broadcast tower, broadcasting new and experimental culture while tapping into unknown and amazing creators from the locations in which the train stops.”

Pulp at Radio City Music Hall

Radio City. All photographs by author.

As much as I loved them, I never got the chance to see Pulp during their early-mid-nineties heyday. Even when they announced they would be reforming to play a few dates last year, it seemed like it was just not meant to be — the first summer in three years that I didn’t spend time in Sweden, and they played there, at the Way Out West festival.

I might have missed out again if my friend Strippertweets hadn’t posted a link to their website announcement that they would play San Francisco and New York City. I agonised over whether to see them in SF or NY; furiously battled Ticketmaster’s website to get a ticket for a show that sold out within one minute, booked a flight and ultimately spent way too much money to see one band. It was worth it. I was not going to miss Pulp again.

While the all-seated space of Radio City doesn’t much lend itself to crowd participation, it was a treat to be inside of the venue. I was standing in the line for a glass of champagne (socialism?) when green letters began flashing across the stage: “You’re looking good.” “Shall we do it?” A couple of lines from Mis-Shapes spoken in a mechanical voice, then the those spacey, synth-y first bars of Do You Remember the First Time? (my first favourite Pulp track) struck up and hung in the air for a minute. Then there was Jarvis: stalking sleazily across the stage; bouncing and kicking as the song built — the whole crowd seemed to leap at that part near the end that goes “oh yeah, you wanna go home; you wanna go home. Hey!”

Between songs Jarvis regaled his audience with stories, musings, “interesting facts,” the riff from Louie Louie and London Soho/Charing Cross geography. “you haven’t come here for a night of spoken word have you? Sorry.’

During This is Hardcore he fell to his back and scissored his legs in the air; in F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E he dashed and posed his way up the sides of the hall, followed by a spotlight.

Even songs that might have sat awkwardly out of their mid-nineties home sounded just about as relevant as they were then. Sorted for E’s and Whizz, a song I haven’t listened to for probably 10 years but still know all the words to, sounded great accompanied by green lasers swooping across the crowd; and I sang along to the chorus of Disco 2000 (“Let’s all meet up in the year 2000”) with neither shame nor regard for the passage of time.

The first encore ended, inevitably, with Common People, and the night finished with Mis-Shapes — a song I don’t care much for, but danced and sang along to regardless. Post-match analysis, however, centered on the unexpected inclusion of Bad Cover Version, from 2002’s much-maligned We Love Life.

In the end, I only missed Lipgloss, but I didn’t even notice it was missing until a few hours later, so… This was everything I wanted from a Pulp show and more. And I don’t mean just for a reunion tour; Pulp could have been proud of this show in 1995.

Setlist via Brooklyn Vegan:

Pulp @ Radio City Music Hall, NYC 4/11/12 – SETLIST
Do you remember the the first time?
Monday Morning
Razzamatazzz
Pencil skirt
Something Changed
Disco 2000
Sorted For E’s and Wizz
F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.
Feeling Called Love
I Spy
Babies
Underwear
This is Hardcore
Sunrise
Bar Italia
Common People
//
Like a Friend
Bad Cover Version
Misshapes

Related: apparently the mid-nineties Hole line-up was back on stage last weekend. Reunion tour please?

Hawaii Music Monday: GRLFRNDS

GRLFRNDS at Anna Bannanas 2/26

“It’s a long and complicated story about how the punks took over the dance floor and the dance floor took over the punks.” So says the blurb on GRLFRNDS’ Myspace page, which also lists some very tasty influences: The Clash, Joy Division, New Order, M83 and the Yeah Yeah Yeahs.

Anyway, GRLFRNDS are Nick Ross (guitar), Alex Kaiser (vocals), Jake Achitoff (synth), Nate McCurdy (drums), Ryan (bass) and, I think, one of the most exciting bands playing in Honolulu right now. Their synth-heavy, high-energy, dancey, punky sound brings to mind the neon-saturated days of British post-punk, New Wave–the lead singer even adopts a convincing British accent when he sings. GRLFRNDS’ live shows will make you want to dance. They will dance. Alex throws some moves on stage while wrapping the mic cord around his neck and Ryan looks like he might hurt himself he’s bouncing around so furiously. Nick plays so hard his fingers bleed (see above photo) but Jake, well, he just chills with his synth by the side.