Thievery Corporation: Electronic ‘outernational’ music to move you
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- Thievery Corporation: Electronic ‘outernational’ music to move you
- Jeffrey Jerusalem Saturday April 18
- Sound Affects: Music Reviews and Ratings
Thievery Corporation: Electronic ‘outernational’ music to move you
Aspen Times
Andy LeguzASPEN When Rob Garza performs with his electronica group Thievery Corporation Wednesday at Belly Up Aspen he’ll be one of 14 musicians on the stage. It’s not a sure bet that Garza could have round ed up 14 people who had even heard of the electronica genre when he got his start in the music. At Windsor High in Windsor Conn. the 16-year-old Garza enrolled in Electronic Music Level I a subject virtually unheard of in American public high schools. He followed with Level II and supplemented the classwork with lab sessions at night. The year was 1983 and the digital era was a good decade away. “It was old analog synthesizers drum machines tape decks” said the 39-year-old Garza from his home in Washington D.
Jeffrey Jerusalem Saturday April 18
Willamette Week
[RADI DISNEY] The last thing you’d ever expect to hear at an electronic music show is something from The Lion King. But that’s not going to stop Jeffrey Jerusalem. “Me and my girlfriend were singing ‘The Circle of Life’ and I was like ‘h man I could have a setup where I do the Nants ingonyama! and then push a button and have [it sing] Sithi uhhmm ingonyama! Jerusalem says about his decision to open shows with a call-and-response rendition of the much-derided Elton John hit. nstage Jerusalem—the solo guise of East Coast transplant Jeff Brodsky—does everything he can to eliminate dance-music stereotypes. A bouncing ball of energy he hops between a laptop keyboard and roto-toms creating languid abrasive and downright fun electronic tracks that span from glitch to IDM to downtempo in a matter of minutes.
Sound Affects: Music Reviews and Ratings
California Chronicle
MacLean’s interest in the intersection of human and machine is well known and “The Future Will Come” seems only slightly less concerned with that topic than his “Less Than Human” from 2005. While concepts like future shock and technological singularity are clearly on MacLean’s mind his music does not seem to be advancing in brave new directions. Most mainstream electronic music borrows explicitly from the past in order to introduce something new. MacLean’s attempt to reconnect with the sound of acts such as Human League would be more successful if he served it up as a bona fide period-faithful homage like Zomby’s “Where Were U in 92?” or a complex hybrid such as Burial’s “Untrue. ” Instead “The Future Will Come” sticks too closely to a familiar middle ground that might be functional for the dance floor but ultimately offers diminishing returns in other settings. _ Thomas Britt ___ PopMatters is an international magazine of arts and culture. Find more PopMatters content at www.
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