Musexpo 2009: Garnering Greatness

This is my second review for Redefine Magazine of Seattle, WA. It is an independent and alternative music magazine printed quarterly as well as updated daily online. I hope to do several more reviews over the summer for them including Voxhaul Broadcast, Treasure Island Music Festival, and Austin City Limits.

Garnering Greatness

It is likely that most of you reading this have never heard of the United Nations of Music and Media, also known as Musexpo. Birthed into the world of music by a group originally know as A&R (Artists & Repertoire) Network in Los Angeles -- now A&R Worldwide -- Musexpo is a four-day meet and greet for the movers and shakers in the music industry. Founded in 2001 by A&R Worldwide's Sat Bisla, the event now spans several cities across the globe, including Los Angeles, London, New York City, and Berlin. Musexpo is filled with lectures and social events featuring the biggest names in the industry, but the greatest part is in the evening, when all is focused on the musicians themselves.

This year, the artist showcase was held at not only one, but two of the most legendary venues in rock music history. The Viper Room, opened and formerly owned by actor Johnny Depp, is most famous for being the location of the unfortunate overdose and resulting death of actor River Phoenix, the eldest brother to actor Joaquin Phoenix. The other venue used for Musexpo 2009 is perhaps the most well-known of any nightclub in the world, the Whisky A Go Go, which is renowned for being the birthplace of the "go-go dancer" and for giving rise to some of rock music's most prominent genres throughout the later 20th century, including punk, heavy metal, new wave, and grunge.

The musicians themselves had traveled from across the far reaches of the world as well as the far side of town, all for a chance to be noticed by record companies, advertising gurus, and the most successful club owners across the Los Angeles Basin. Of the four day event here are my list of favorites for the 2009 edition of Musexpo.

The Lovebugs are a quintet from Basel, Switzerland who have graced the Land of the Alps with their dance-inspired form of Britpop for over fifteen years now. Riding on a wave of nine extremely successful studio albums in their native land and with a tenth album fresh off the cutting table, The Lovebugs are looking to expand into the New World with their own European version of Shock and Awe. Their live performance was as unique as every show over the course of the event, which shows that diversity works great in more than just teenage tele-dramas.

One of the most nostalgic acts of the night was Stockholm, Sweden's own Salem. Despite the stigma of such a name and the reputation which the city of Salem, Massachusetts has for itself, this bewitching young lad has proven himself a great amongst artists of the highest degree. Beginning at a very early age, Salem left an emerging career as a touring violin soloist to pursue his love of jazz piano. After a stint playing with electro-dance group Robyn and Snook, Salem released his debut album, This Is Who I Am. With hints of Krautrock artists such Neu!, Salem is sure to enchant even the most discriminating of judges.

The Blue Van from Copenhagen, Denmark, known for their song "Silly Boy" which was featured on a recent Samsung phone commercial, has already been causing a stir over the past couple years with three albums and an extended stay in New York City playing the club scene throughout Brooklyn. The Blue Van is slang in Denmark for the ambulance services for mental institutions, and, as the name suggests, you'll have to be taken away kicking and screaming from their energetic stage performance.

Bigelf is a Los Angeles group that has been on the scene for some time now with one of the greatest cult followings in the Greater Los Angeles Area, not to mention legions of fans in Europe and Scandinavia. Formed in 1991, Bigelf has since conjured up four studio albums and pioneered the "Psychedelic Doom Movement," later inspiring much of the Stoner Rock of the mid to late nineties. With striking resemblances to Pink Floyd and Black Sabbath, Bigelf is a force to be reckoned with and deserving of a far grander stage than even the likes of the legend that is the Whisky A Go Go.

To finish off the list, I would like to be the first to introduce most of you to Purple Melon. These dashing young Red Coats (the bass player actually wears one) moved to Los Angeles only just over a month ago from three years together playing clubs in London and Birmingham, UK. They are currently recording their debut album with producer Paul Stacey who has worked with greats such as Oasis and The Black Crowes. Purple Melon has an amazingly technical delivery of grassroots rock sprinkled with hints of glam and dirty southern bands reminiscent of AC/DC, Paul McCartney, Queen, and Lynard Skynard. Yet only one member of the group has been of legal drinking age for more than a year. Ranging in age from 20 to 24 years old, these superb musical talents are not to be missed when given the chance, and are proof in point of the great contribution that Musexpo has given to the emerging class of tomorrow's greatest musicians.

Reviewed on Apr 29, 2009 by MATTHIEU DUQUETTE.

Coachella 2009:A Pilgrimage of Lofty Souls

I wrote this Review of Coachella 2009 for Redefine Magazine out of Seattle, WA.

A Pilgrimage of Lofty Souls

The current state of our world in crisis has reminded many that, in the most difficult of times, the most basic human principles again become the quintessential leg on which we all stand on together -- for the good of not only one's self, but for all of humanity as well. One of these core principals is typified by our inalienable right of the pursuit of one's own happiness, and this past week I was privileged enough to be part of one of the finest examples of this basic principle so often neglected in our modern lifestyles. What I am describing to you is nothing more complicated than the act of celebration, and the celebration I experienced was shared with thousands of others from across the world at the Coachella Valley Music and Arts Festival. A gathering of jubilant souls in commemoration of artistic expression, regardless of any differences we hold one from another.

Upon arrival to the Empire Polo Fields of Indio, CA, there was an unsurpassed air of amazement and revelry. Despite the troubling times we live in, with unemployment rates soaring and varied degrees of uncertainty in the minds of people everywhere, the dusty field was brimming with excitement and optimism. As I made my way to the front entrance, the sights, sounds, and smells were already filling the deepest reaches of my heart with wonderment, exhilaration, and unadulterated joy. I had only just passed the security check point and gazed at the small guide to the events happening throughout the weekend when I realized that I was in for a weekend truly unlike any other.

The Coachella Festival this year consisted of over one hundred bands playing from the five main stages, and as if that was not enough, there were smaller happenings at over ten other locations within the sun scorched polo fields. Music spanning all interests could be heard at any given moment from a dizzying array of artists. Paul McCartney, Morrissey, M.I.A., Yeah Yeah Yeahs, The Cure, Leonard Cohen, Band of Horses, Lupe Fiasco, and Peter Bjorn & John were but a few of what Coachella 2009 had to offer.

Now, the most obvious drawback to such a large event is the unfortunate inability for human beings to be in more than one place at a single point in time. Yet in spite of such a limiting reality, there were some groups I managed to see throughout the three day event that truly deserve mention for their performances.

The Kills, consisting of vocalist/guitarist Alison Mosshart and guitarist Jamie "Hotel" Hince, performed at the third largest stage on the final night of Coachella. The Kills had much to contend with as they performed between the sets of My Bloody Valentine and The Cure, but they held command over an audience that flooded far outside the tent they performed in. Given the fact that The Kills' albums have a very garage band production and sound to them, they can often be overlooked by the majority of people who are accustomed to our current mainstream productions which don't allow for anything but perfection. Yet, on stage is where musicians are truly tested, and The Kills stood tall when compared to any of the headlining bands of the night.

The Horrors, keeping with the slasher-flick theme of my first pick, put on a show completely their own yet fittingly nestled between the "dance" tent known as the Sahara and the "indie" tent known as the Gobi. Hailing from London, this group pulls obvious influence in their look and stage presence from groups like The Sonics, The Kinks, The Byrds, and other Mod groups of the 1960s. But with gritty DJ samples similar to that of Prodigy backing teeth-clenching death-rock and lyrics straight out of a zombie movie similar to The Murderdolls, The Horrors are an experience not to be missed.

I was virtually unfamiliar with Fleet Foxes before Coachella, aside from hearing their name here and there. As they took the stage, I wasn't sure how well I would enjoy the music of a bunch of guys dressed like a Paul Bunyan lumberjack quintet, but as soon as the delicate vocal harmonies and guitar styling's of Robin Pecknold and Skyler Skjelset filled the cool desert air at almost precisely sundown, I was sucked in. The next thing I remember was that they were tearing down the set as I regained control of my own senses which had been willingly not my own for the previous forty minutes.

Antony and the Johnsons vocalist Antony Hegarty was in unique form for Coachella 2009. Though normally seated behind a piano during performances, the ivory keys were completely left out for this mid-day showing to instead leave room for a small mixing station and keyboard. Antony stood in front of the audience as the loudspeakers blared with enchanting electro beats as he sang in his infamous haunting voice. There were some technical issues that interrupted moments of the performance, but all in all, it was a completely different experience and not one likely to be offered again any time soon by the group.

Finally, Devendra Banhart makes my list of shining stars. Devendra, immediately after arriving on stage, passed a bottle of Patron Tequila out into the audience and asked for it to be passed around, as is his usual tradition. That is just a small example of the brotherly love mentality the group carries wherever they go on and off the stage with other musicians and fans as well and that makes them my favorite pick for Coachella 2009. It was not unusual to see fans and celebrity figures on stage watching musicians perform during Coachella, but the Devendra Banhart stage was different. From everyday music lovers and devoted fans to Flea, bassist of the Red Hot Chili Peppers, and even David Hasselhoff, Devendra Banhart's stage with filled with people cheering on the psychedelic folk rockers.

His show was not the only example, but certainly the most apparent of the way music can bring us all together to celebrate life and togetherness, a feeling which rang true throughout the entire three day affair. Shining brightly as a genuine illustration of how similar we really are, despite all our many differences.

Reviewed on Apr 19, 2009 by MATTHIEU DUQUETTE

Tales of the Wicked Hare

I worked on Telekinesis Cabaret: Tales of the Wicked Hare early in April. I worked with someone I revere as the most influential living artist of my work, Douglas Little. Douglas is the Artistic Director and Founder of D.L. & Co. We worked alongside many of the players of the Cabaret for three long days on the set that was made for the most part of rolled brown paper. The show ran for three days and sold out each night. To see a review of the Cabaret click here: LA Times LA Weekly Black Book

More Pictures of Telekinesis Cabaret