Boombox Music Magazine

Kanye West Barbara Palvin Hard Summer 2012 Cover Story

boombox The Music Magazine

r u mine ?

Behind the new single of THE ARCTIC MONKEYS

The Top 25 Best Albums Of 2012 So Far

The Strokes

Return of New Yorks finest Boombox 1

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Boombox 2

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Boombox 3

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Boombox 4

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Boombox 5

Cover Story

CONTENT SEPtember 2012

36THE STROKES augue eget diam. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Morbi lacinia molestie dui. ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae;psum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Morbi lacinia molestie dui. ipsum primis in faucibus orci luctus et ultrices posuere cubi

Boombox 6

87 all timelow

58 ARctic monkeys

60 Kanye west

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62 Album reviews

69 palvin barbara

49 tom yorke

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26 dried cassava

32 the 47 the black keys adams

58 ARctic monkeys

58 adam green

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Boombox 7

editor's note

e's N o t e s BOOMBOX INDONESIA

F

orty-three years ago this week, the first issue of Boombox Magazine hit stands. “You’re probably wondering what we are trying to do,” founder, editor and publisher Jann Wenner wrote in the first editor’s note. “It’s hard to say: sort of a magazine and sort of a newspaper. The name of it is Rolling Stone, which comes from an old saying: ‘A Rolling Stone gathers no moss.’ Muddy Waters used the name for a song he wrote; The Rolling Stones took their name from Muddy’s song, and “Like A Rolling Stone” was the title of Bob Dylan’s first rock and roll record.”

The first cover was a still image from John Lennon’s movie How I Won the War, where he first wore his iconic round eyeglasses. The front-page story was an investigation into what happened to the profits from the Monterey Pop Festival.

The first cover was a still image from John Lennon’s movie How I Won the War, where he first wore his iconic round eyeglasses. The front-page story was an investigation into what happened to the profits from the Monterey Pop Festival.

The first cover was a still image from John Lennon’s movie How I Won the War, where he first wore his iconic round eyeglasses. The front-page story was an investigation into what happened to the profits from the Monterey Pop Festival

Publisher: MPD Media Chairman: Andira Pramanta Commisioner: Resya J. Napitupulu Editorial Editor: Shirley Setiadi Editor-in-Chief: Yoga Waleleng Managing Editor: Febrian Nindyo Associate Editor: Maudya Ayunda Editorial Stuff: Radite Suraningtyas Fashion Editor: Adi Sutanto Photographer: Reindhardt Reeves Writer: Josha Y. Ponggawa Art Director: Benny Gold Senior Graphic Designer: Rico M. Graphic Designer: Irfan Bachdim Group Sales Manager: Renatasya N. Senior Account Executive: Bill Gates Account Executive: Cliff Adam Sales Support: Jemima X. Wyaneth Subscription: Jerremy Jordan PT. RJ&KAMIKAZE Thamrin City Office Park Blok AA No. 08-09. Jl. Kebon Kacang Raya Jakarta Pusat 10350 Telp. (021) 319 91193

Yoga Waleleng Editor In Chief

Boombox 8

BOOMBOX.CO.ID

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Boombox 9

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Boombox 10

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Boombox 11

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Boombox 12

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THE STROKES

“We did F--ck all for five years. and as soon as we got back together, people want to pay us more money than we’d ever seen. Jesus, if that’s the lesson...”

Boombox 13

Cover Story

"People want a rock band of their generation they can trust. That's the vibe i'm getting."

Julian Cassablancas

S

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Boombox 14

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diam. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Morbi lacinia molestie Suspendisse in justo eu magna luctus suscipit. Sed lectus.

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Cover Story

"i'd say the album is like a prostitute i hope everyone has a nightwith it."

Boombox 16

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Vestibulum ante ipsum primis in Suspendisse in justo eu magna luctus suscipit. Sed lectus. euismod lacus luctus magna. Quisque cursus.

Curabitur sodales ligula in libero.

Sed dignissim lacinia nunc. Curabitur tortor. Pellentesque nibh. Aenean quam. In scelerisque sem at dolor.

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Nam nec ante. Sed lacinia, urna Boombox 17

Cover Story

"People want a rock band of their generation they can trust.

That's the vibe i'm getting."

Albert Hamond jr.

L

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Nam nec ante. Sed lacinia, urna

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non tincidunt mattis, tortor neque adipiscing diam, a cursus ipsum ante quis turpis. Nulla facilisi.

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Praesent blandit dolor. Sed non quam. In vel mi sit amet augue congue Ut fringilla. Suspendisse potenti.

Nunc feugiat mi a tellus consequat imperdiet. Vestibulum sapien. Proin quam. Etiam ultrices. Suspendisse in justo eu magna luctus suscipit.

Sed lectus. Integer euismod lacus luctus magna. Quisque cursus, metus vitae pharetra auctor, sem massa mattis sem, at interdum magna augue eget diam. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Morbi lacinia molestie Suspendisse in justo eu magna luctus suscipit. Sed lectus. Integer euismod lacus luctus magna. Quisque cursus, metus vitae pharetra auctor, sem massa mattis sem, at interdum magna augue eget diam. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Morbi lacinia molestie dui. Praesent blandit dolor. Sed non quam. In vel mi sit amet augue congue elementum.

Cover Story Lorem ipsum dolor sit amet,consectetur adipiscing elit. Integer nec odio.

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Nunc feugiat mi a tellus consequat imperdiet. Vestibulum sapien. Proin quam. Etiam ultrices. Suspendisse in justo eu magna luctus suscipit. Sed lectus. Integer euismod lacus l

uctus magna. Quisque cursus, metus vitae pharetra auctor, sem massa mattis sem, at interdum magna augue eget diam. Vestibulum ante ipsum primis iaucibus orci luctus et ultrices posuere cubilia Curae; Morbi lacinia molestie Suspendisse in justo eu magna luctus suscipit. Sed lectus. Integer euismod lacus luctus magna. Quisque cursus, metus vitae pharetra auctor, sem massa mattis sem, at interdum magna augue eget diam. Vestibulum ante ipsum primis in faucibus orci luctus et

Nikolai Fraiture ultrices posuere cubilia Curae; Morbi lacinia molestie dui. Praesent blandit dolor. Sed non quam. In vel mi sit amet augue congue elementum. Morbi in ipsum si. Suspendisse in justo eu magna luctus suscipit. Sed lectus. Integer euismod lacus luctus magna. Quisque cursus, metus vitae pharetra auctor, sem massa mattis sem, at interdum magna augue eget diam. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Morbi lacinia molestie dui. Praesent blandit dolor. Sed non quam. In vel mi sit amet augue congue elementum. Morbi in ipsum si. suscipit. Sed lectus. Integer euismod lacus luctus magna. Quisque cursus,

metus vitae pharetra auctor, sem massa lacinia molestie dui. Praesent lacinia molestie dui. Praesent Curabitur sodales ligula in libero. Sed dignissim lacinia nunc. Curabitur tortor.

Pellentesque nibh. Aenean quam. In scelerisque sem at dolor. Maecenas mattis. Sed convallis tristique sem.

Proin ut ligula vel nunc egestas porttitor. Morbi lectus risus, iaculis vel, suscipit quis, luctus non, massa. Fusce ac turpis quis ligula lacinia aliquet.

Mauris ipsum. Nulla metus metus, ullamcorper vel, tincidunt sed, euismod in, nibh. Quisque volutpat Curabitur sodales ligula in libero.

Sed dignissim lacinia nunc. Curabitur tortor. Pellentesque nibh. Aenean quam. In scelerisque sem at dolor.

Maecenas mattis. Sed convallis tristique sem. Proin ut ligula vel nunc egestas porttitor. Morbi lectus risus, iaculis vel, suscipit quis, luctus non, massa.

Fusce ac turpis quis ligula lacinia aliquet. Mauris ipsum. Nulla metus metus, ullamcorper vel, tincidunt sed, euismod in, nibh. Quisque volutpat condimentum velit. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos.

Nam nec ante. Sed lacinia, urna non tincidunt mattis, tortor neque adipiscing diam, a cursus ipsum ante quis turpis. Nulla facilisi. .

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Cover Story

Cover Story

Cover Story

“MY REIGN IS AS FAR AS THE EYE CAN SEE”

K

anye West had long had a reputation as a venter, a rap performer whose public persona was refreshingly unchecked. When he proclaimed that “George Bush doesn’t care about black people” on a telethon after Hurricane Katrina, he helped galvanize the hip-hop world.

But when he upstaged the teenage country/pop singer Taylor Swift at the Video Music Awards in Sept. 2009, Mr. West was no one’s hero.

Onstage to accept the award for best female video, Ms. Swift had her microphone taken by Mr. West, who told the audience that Beyonce’s video in the same category was “one of the best of all time” and should have won the award instead. A stunned Ms. Swift stood by in shocked silence, unable to continue her acceptance speech.

Mr. West’s comment provoked wide contempt and he apologized soon after in a phone call to Ms. Swift.

Ms. Swift said, “Kanye did call me and he was very sincere in his apology. And I accepted that apology.”

A native of Chicago, Mr. West, born June 8, 1977, emerged on the hip-hop scene as a traditionalist producer, resurrecting the dusty sounds of early 1990s New York-style rap and polishing them to a pop sheen. But while clearly steeped in hip-hop’s sonic traditions, he was an outsider to its lyrical ones, rapping on “The College Dropout,” his 2004 debut, about higher education,

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class struggle and his own self-doubts in ways particular to his middle-class upbringing. (His mother was a college professor, his father a photojournalist.)

The result was a success with both hiphop’s mainstream and its alternative (or “backpacker”) wing. (Mr. West wore a backpack, but it was by Louis Vuitton.)

“Late Registration,” his follow-up from 2005, tackled similar subject matter and was more musically adventurous and ostentatious.

His chart-topping fourth album, “808s & Heartbreak,” released by Roc-A-Fella/ Def Jam in November 2008, is the product of a tumultuous year in his personal life. His mother, Donda West, died in 2007 following complications from plastic surgery; in April 2008 he and his fiancé split. In this latest recording, Mr. West has made bluntness the goal: his productions are skeletal, and he has largely traded bombastic rapping for vulnerable singing.

For years, Mr. West had to fight against the notion that he was a producer trying to rap. Now that he’s become one of hiphop’s most inventive and consistently surprising lyricists, he’s hobbled himself once more, becoming a rapper who wants to sing. At the moment, as demonstrated on his latest album, Mr. West can’t sing and instead relies on AutoTune, the pitch-correction software with the robotic vocal effect.

Mr. West takes a keen interest in fashion. In the hope of better understanding the design process, Mr. West announced in December 2008 his wish to take time off from his career to intern at a fashion

house. For years, he has been a frontrow fixture at many of the major shows and a first-rate fashion editor for his blog (kanyeuniversecity.com), where he often spotlights new brands and products well before many of the top magazines.

A native of Chicago, Mr. West, born June 8, 1977, emerged on the hip-hop scene as a traditionalist producer, resurrecting the dusty sounds of early 1990s New York-style rap and polishing them to a pop sheen. But while clearly steeped in hip-hop’s sonic traditions, he was an outsider to its lyrical ones, rapping on “The College Dropout,” his 2004 debut, about higher education, class struggle and his own self-doubts in ways particular to his middle-class upbringing. (His mother was a college professor, his father a photojournalist.)

The result was a success with both hiphop’s mainstream and its alternative (or “backpacker”) wing. (Mr. West wore a backpack, but it was by Louis Vuitton.)

“Late Registration,” his follow-up from 2005, tackled similar subject matter and was more musically adventurous and ostentatious.

His chart-topping fourth album, “808s & Heartbreak,” released by Roc-A-Fella/ Def Jam in November 2008, is the product of a tumultuous year in his personal life. His mother, Donda West, died in 2007 following complications from plastic surgery; in April 2008 he and his fiancé split. In this latest recording, Mr. West has made bluntness the goal: his productions are skeletal, and he has largely traded bombastic rapping for vulnerable singing.

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“The man behind “The College Dropout” says he wants kids to stay in school. Kanye West filmed a public service announcement Friday for an advocacy group trying to make education the top priority for the next president.”

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R

M U

?

E IN

W

ith their 2012 Black Keys support tour only two weeks in, Arctic Monkeys have been impressively making their way across the greater part of the United States.

We caught up with drummer Matt Helders when the Sheffield quartet were in D.C. to talk tour, new single “R U Mine?” and future plans.

Paste: You’ve got some intensive dates for this tour, as seasoned as you all are, does it ever get overwhelming?

Helders: We have a lot of fun on tour.

We’re quite used to it now I think. In terms of preparing, I don’t know, it’s just kind of all I know, you know?

Paste: The video for “R U Mine?” is pretty hilarious. Where did the idea originate?

Helders: The idea was… sometimes

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when were messing around driving we film ourselves singing stupid songs on the radio, people do that I think, and in a way we wanted to do a video we could put out straight away without any promotion which is what we did with “Brick By Brick.” We didn’t tell anybody we were releasing it, we just put it out.

In a way, that worked better than any other video we’ve put out. And “R U Mine,” more people have watched that than any other video on this album. So obviously it worked.

Paste: You’re being modest, It’s had 2 million views within a few weeks. Is “R U Mine?” a part of a new album?

Helders: It’s a standalone thing. Mainly because we kinda needed something new to put out for this tour I suppose.

We’d already done four singles for Suck It And See so we decided to do something new. So yeah, we haven’t really started writing officially, a record or

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anything, but there’s a few things we’re playing around with in sound checks. responding to “R U Mine?”

Helders: Good I think. It’s weird because it’s not particularly our fans in the front row or whatever, not as far as I can see, but some of them seem to know the words. It’s a lot of fun for us to play because we can really get into it.

Paste: That’s encouraging. It just dropped and people already know the words.

Helders: Yeah, it was. It’s really good to see.

Paste: Did James Ford produce the single?

Helders: No, no. It was our friend who did it. He’s done “Evil Twin” with us and stuff like that as well. We recorded “R U Mine?” in Sheffield when we were between tours.

Cover Story

Paste: How’s the tour going now? Are you enjoying it?

Helders: Oh yeah, absolutely. We’re really big fans of Black Keys, kind of always have been. It’s a great tour to be able to watch them as much as you want as well. We’ve never done a support tour so it’s quite a lot of excitement and fun to just go on for an hour and you’ve got the rest of your night to enjoy as well.

The song also comes with a black and white video courtesy of Focus Creeps, the crew responsible for all of their videos from the “Suck it and See” era.

The video shows the band posturing like everyone’s childhood idea of a rock star. Lead singer Alex Turner and drummer Matt Helders speed around in a car, playing Wair drums, with Turner eventually getting out of the car to play some wicked air guitar.

The video shows the band posturing like everyone’s childhood idea of a rock star. Lead singer Alex Turner and drummer Matt Helders speed around in a car, playing air drums, with Turner eventually getting out of the car to play some wicked air guitar. The video shows the band posturing like everyone’s childhood idea of a rock star. Lead singer Alex Turner and drummer Matt Helders speed around in a car, playing air drums, with Turner The singer also cites the new album’s “Chained” as a particularly ripe fruit of the band’s new approach.

“Oliver and I just wrote together in a room,” eventually getting out of the car to play some wicked air guitar. Turner eventually getting out of the car to play some

wicked air guitar. white video courtesy of Focus Creeps, the crew responsible for all of their videos from the “Suck it and See” era.

The video shows the band posturing like everyone’s childhood idea of a rock star. Lead singer Alex Turner and drummer Matt Helders speed around in a car, playing Wair drums, with Turner eventually getting out of the car to play some wicked air guitar.

The video shows the band posturing like everyone’s childhood idea of a rock star. Lead singer Alex Turner and drummer Matt Helders speed around in a car, playing air drums, with Turner eventually getting out of the car to play some wicked air guitar. The video shows the band posturing like everyone’s childhood idea of a rock star. Lead singer Alex Turner and drummer Matt Helders speed around in a car, playing air drums, with Turner The singer also cites the new album’s “Chained” as a particularly ripe fruit of the band’s new approach.

“Oliver and I just wrote together in a room,” eventually getting out of the car to play some wicked air guitar. Turner eventually getting out of the car to play some wicked air guitar.

The video shows the band posturing like everyone’s childhood idea of a rock star. Lead singer Alex Turner and drummer Matt Helders speed around

a car, playing air drums, with Turner eventually getting out of the car to play some wicked air guitar. The video shows the band posturing like everyone’s childhood idea of a rock star. Lead singer Alex Turner and drummer Matt Helders speed around in a car, playing air drums, with Turner. Paste: You’ve got some intensive dates for this tour, as seasoned as you all are, does it ever get overwhelming?

Helders: We have a lot of fun on tour.

We’re quite used to it now I think. In terms of preparing, I don’t know, it’s just kind of all I know, you know? something new to put out for this tour I suppose. We’d already done four singles for Suck It And See so we decided to do something new. So yeah, we haven’t really started writing officially, a record or anything, but there’s a few things we’re playing around with in sound checks. responding to “R U Mine?”

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Cover Story

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REVIEWS

New Albums Cover Story36 Singles 38 Movies 39

Top 25 album of 2011 so far..

Torche

Harmonicraft

T

Traxman

Beak

P

A

Planet Mu

lanet Mu’s two Bangs & Works compilations did a heroic job of sifting through to find the standalone gems in Chicago footwork. Even in that select company, the inclusions

by Traxman stood out. His debut album builds on the musicality of those Bangs & Works contributions — the Dilla-worthy ethereality of “The Comeback” is thankfully repeated here.

The first sound you is the idyllic tinkling of a kalimba; for a moment, you start to imagine Traxman doing a Burial or Bukem, becoming an ambassador for his genre, the architect of footwork’s coffee-table-ization. But like the sugar in hot sauce, all the additional soulful and jazzy flavors.

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time on their sophomore album. Specifically, they slap that bastard in the face and burn wheelies on his lawn before heading out for the best bender ever. As an old Pavement seven-inch sleeve put it, They Are Made of

>> (Invada)

mysterious, groggy post-punk fidget from Portishead’s Geoff Barrow and his two studio-rat pals (from Team Brick and Fuzz Against Junk), Beak> is a band that insists on antiquated limitations (all recording in one room, no overdubs, using tape) even though one-third of the

Japandroids Celebration Rock

V

ancouver drum-andstrum duo Japandroids confront the passage of

he sound of The Only Place sticks to what has already become Best Coast’s signature recipe — Cosentino’s insanely catchy tunes and her sweet, winning voice, shaped by the precise pop-rock embellishments of multi-instrumental sidekick Bobb Bruno. They’re rendered more clearly than before, thanks to Jon Brion’s undistorted production, but

Sleigh Bell Reign of Terror

F

Mark Lanegan Blues Funeral

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he musical influences on the seventh solo album from the ex-Screaming Trees frontman are surprising match for his smokescarred, death-haunted baritone. Several tunes pulse with electronic beats and prominent synths. “Ode to Sad Disco” is roughly what its title promises: a woozy meditation on the emptiness of club culture. The effect is oddly invigorating, injecting an uncharacteristic lightness

or all their retroreverence, Sleigh Bells aren’t a nostalgia act — they’re the future-perfect and imperviously eternal now of pure teenage dissonance.

The duo’s sophomore effort, the blaring Reign of Terror, is a long, blank stare that signifies little more than a wish to live fast and die pretty. Katy Perry’s teenage dreams are some puerile Cinderella shit compared to these 11 tracks of casual hate served in a pearly-pink candy shell. The only sentimentality lies in Derek Miller’s guitar tone, its shimmery whine a love letter to circa-1985 cheese metal.

reviews

M

The XX Coexist

uch has changed for the xx since they released their self-titled debut in 2009. The moody, moonlit English trio has graduated to bigger venues and won both critical and popular acclaim, but on the upcoming Coexist, due out September 11, singer-guitarist Romy Madley Croft, singer-bassist Oliver Sim, and DJ-producer Jamie Smith have achieved the seemingly impossible.

They sound even more intimate. “Oliver and I used to write lyrics by exchanging ideas over e-mail,” says the soft-spoken Madley Croft. “This time we actually worked together live in a room. I think that means there’s more of an openness and vulnerability on the new album.” brought a rhythmic twist that I would have never have thought of. It really happened very organically.” We need si-

lence and time along to do it, and we’re going to try and find a way to make that happen.”

Brought a rhythmic twist that I would have never have thought of. It really happened very organically.”

They sound even more intimate. “Oliver and I used to write lyrics by exchanging ideas over e-mail,” says the soft-spoken Madley Croft. “This time we actually worked together live in a room. I think that means there’s more of an openness and vulnerability on the new album.”

Brought a rhythmic twist that I would have never have thought of. It really happened very organically.” We need silence and time along to do it, and we’re going to try and find a way to make that happen.”

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Cover Story

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HARD SUMMER 2012 Boombox 32

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F

or two nights, a broad swath of green parkland in Los Angeles’ Chinatown was converted into EDM Valhalla. The city’s fifth HARD Summer Music Festival was a smashing success, and a blur of bright lights, outrageous outfits, brilliant stage productions, and unapologetically heavy electronic music. You’ll find no David Guettas here. No Tiëstos, Fergies or Pitbulls.

Headlined by Skrillex, Boys Noize, Bloc Party, and Nero, the beat-based bacchanal leaned heavy on dubstep American-style, with notable detours for the occasional rock band or rapper with enough moxie to throw their hat into the heaving, bass-addled ring.

SPIN was there to report on all the madness; here are the 20 craziest things that we witnessed.

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Pockets of subtlety

RAPPING OGRE

R

ed-bearded man-monster Action Bronson left the stage early in his set to rap amongst the people, which included Odd Future’s weed-rap specialist Domo Genesis, his eyes reduced to reddish slits. After trading spliff hits with his pal, the hulking Queens MC tossed a young female festivalgoer over his shoulder and rhymed between slurps from a red Solo cup he’d kept clutched in his other hand.

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HARD attendees aren’t exactly seeking subtlety, but those after respite found their pied piper in LCD Soundsystem’s James Murphy. The scruffy DJ skipped on theatrics and kept his head low, focused on the bounty of rare groove disco and post-punk vinyl he’d brought with. The best track, however, came from L.A. noobs Poolside for their wavy cover of Neil Young’s “Harvest Moon.” attendees aren’t exactly seeking subtlety, but those after respite found their pied piper in LCD Soundsystem’s James Murphy. The scruffy DJ skipped on theatrics and kept his head low, focused on the bounty of rare groove disco and

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L.A.-bred Skrillex signee Dillon Francis avoided the obvious choices in favor of unusual edits — i.e., throbbing, circuit-bent versions of War’s “Low Rider” and Bell Biv DeVoe’s “Poison” — but it was the slow-seething reggaeton of his own “Masta Blasta” that caused one particularly stoked kid to throw down his crutches (just like in the movies!) and grind, one-footed, against his date.

I

n the midst of his Hypercolor carnival of brain-bashing beats — folding in standout cuts from Wolfgang Gartner and Martin Solveig — A-Trak took a moment to get in touch with his roots. The former DJ champ launched into a furious scratch solo, cutting fast and sharp over trunk-eviscerating bass (that’s boom, not wub) while the suddenly still crowd watched in equal parts awe and confusion.

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REAL BASS

English IDM (remember those letters?) innovator Squarepusher also showed off some old school chops by whipping out his actual bass guitar and delivering a handful of punishing solos whose guttural rumblings were run through a seemingly endless array of audio-warping effects. Some plugged their ears, but others fawned over the new dubstep-damaged material coming from the LED-masked man.

English IDM (remember those letters?) innovator Squarepusher also showed off some old school chops by whipping out his actual bass guitar and delivering a handful of punishing solos whose guttural rumblings were run through a seemingly endless array of audio-warping effects. Some plugged their ears, but others fawned over the new dubstep-damaged material coming from the LED-masked man. English IDM (remember those letters?) innovator Squarepusher also showed off some old school chops by whipping out his actual bass guitar coming from the LED-masked man.

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hose eagerly awaiting their TSA-style security pat-down were treated to a half-serious promo video that included a list of banned items (including, in all seriousness, Paris Hilton and raver paraphernalia) and performances of note.

Among the latter were James Murphy, billed as “the oldest living yodeler,” and raunchrap kingpin Danny Brown, “doing his famous Jerry Seinfeld impression.”

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K C O R

E I D D N

I

THE FASHION

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unglasses at night. An iridescent leopard-print catsuit. A girl with plastic googly eyes stuck all over her body. So, so many “Sex, Drugs & Dubstep” tees. Painted nipples. Tough guys with their faces bedazzled. A dude in a tie-dyed karate gi. Oompa Loompas. The Hulk. A six-and-a-half-foot man completely covered in stars-andstripes spandex. Girls who look like Skrillex.their faces bedazzled. A dude in a tie-dyed karate gi. Oompa Loompas.

The Hulk. A six-and-a-half-foot man completely covered in stars-and-stripes spandex. Girls who look like Skrillex.

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on’t get us wrong. We were as happy as the next person (over the age of 25) to see Bloc Party. They crushed it, especially on “Positive Tension,” whose Gang of Four-like kick and noisy punk climax succeeded in stirring up the pacifier-suckers. But going up against the wall-to-wall bluster and skronking circuitry of pretty much every other performer, the band didn’t stand a chance.

We were as happy as the next person (over the age of 25) to see Bloc Party. They crushed it, especially on “Positive Tension,” whose Gang of Four-like kick and noisy punk climax succeeded in stirring up the pacifier-suckers. But going up against the

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WHAT IS FUNK?!

“What is funk?” asked the spangly-suited ‘70s icon before answering his own question: “Funk is making something outta nothing!” He and the Funk Unity Band did just that, ignoring the glaring fact that most of the fest had forgotten them, and instead playing a horn-blazing, bass-slapping, utterly outsized set complemented by dancers whose style was, we think, stripper alien meets cyber-flapper.

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Cover Story

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