Electronic Music NewsA Dance Music Parade and Festival
The News Review:
- A Dance Music Parade and Festival
- 4 out of five
- Music Review | John McLaughlin
- Leap of faith – Arts – Entertainment – theage.com.au
A Dance Music Parade and Festival
SFStation.com – Sep 29, 2007
This free Electronic Music Parade and Festival will not bear the name Loveparade this year as the Loveparade Berlin organization did not renew any of their worldwide licenses not already under contract so they could focus on their own event this July the first Love Parade Berlin in 2 years. We wish them all the best! Not content to let the incredible success of the American counterpart event of the last 2 years go quiet we bring you a new event: SAN FRANCISC LVEFEST. A Dance Music Parade and Festivalnce again we’ll be hosting the city’s country’s and world’s best Electronic Music DJ’s and Producers with a free parade down the heart of San Francisco beginning at 2nd and Market with the end of the parade route culminating into a festival at the Civic Center Plaza. We will be taking over City Hall and hosting a 10000 capacity official after party at the Bill Graham Civic Auditorium produced by Skills and Spundae. And as all festivals do there will be more parties; pre-parties after parties and after-after parties this side of WMC!.
4 out of five
Edmonton Sun – Sep 29, 2007
Rooted in Baltimore San Serac is unquestionably influenced by David Bowie throwing his voice through more loops than a furry circus creature. Smashing his digital keyboards with sweaty purpose his act is solo surfing backbeats that force you to breakdance. It’s a total sunglasses-inside funk throwback that runs sunset jetboats across your spine. “They don’t even see how deep our nihilism runs” San Serac sings over ironically energizing congas and synth.
Music Review | John McLaughlin
New York Times – Sep 29, 2007
McLaughlin has usually toured with an acoustic guitar over the last decade but this was an electric jazz-fusion show straight up and down with speed and density and virtuosity. It included a keyboardist (Gary Husband) who played passages with flutelike or guitarlike sounds; a young bassist (Hadrien Feraud) who is inspired by Jaco Pastorius; and a drummer (Mark Mondesir) who hit hard on a big set with a lot of cymbal crashes. The band’s rhythms taking cues from Indian music were long sequences subdivided in different ways so that counting through the pieces was difficult; the melodies lay atop those long babbling streams of beats. (At times there were similarities between this approach and some modern Cuban jazz too. ) This tour’s repertory includes Mr. McLaughlin’s music going back more than 20 years as well as a brief roll through… Feraud only 23 was given a lot of solo space and for many in the audience the show served to introduce jazz’s latest champion sprinter. Behind most of his wickedly fast harmonically adept electric bass solos usually run through an electronic filter that gave them a watery sound Mr. Husband switched from keyboards to drums which he played standing up and furiously bashing on a light-toned cymbal interacting with Mr. Mondesir’s patterns. It felt strange to pile so much more on top of what was already too much. Finally in fact rather quickly the music became oppressive.
Leap of faith – Arts – Entertainment – theage.com.au
The Age – Sep 29, 2007
“It’s the time whenelectronics began. And the thing about electronic sound is that youcan’t count it in the way you can a pulse” Cunningham says. “A pulse music to a beat is like a muscle. Electronic sound ismore like a nerve. It brought in a possibility that hadn’t beenutilised before and it created the possibility of including anykind of sound in a musical situation. And for the way I work itwas something you didn’t have to count out. You could but that’snot what it was.