Pretty Lights

What’s up dance fiends?  In this show, we bring to you one of the hottest acts to rock the late night dance scene:  Derek Vincent Smith, otherwise known as Pretty Lights!

Derek has had one hell of a first year hitting the festival circuit, and blew up the crowds at Bonnaroo, Rothbury, Camp Bisco and more.  His live performances along with his drummer Corey are an absolute must see.

Pretty Lights has been releasing free albums (with option to donate) on PrettyLightsMusic.com, so you definitely need to grab yourself some of his albums.  If you need a great soundtrack to drive around to on a beautiful sunny day, Pretty Lights is the way to go!

Be sure to check out the new MoeTrainsTracks.com for an all new Tracks experience…  So we bring to you… The man who moves the feet…  Derek Vincent Smith, from Pretty Lights.

Derek Vincent Smith (Pretty Lights) Interview on Moe Train’s Tracks

Monty Wiradilaga and Brian Kracyla (MTT)

Moe (MTT):  This is your first festival season right?  How’s it treating you?

Derek (Pretty Lights):  I had no idea what to expect coming into it.  I was very excited about it.  And to be honest, I’ve received nothing but love at all, it’s been really cool.  Even fifteen minutes before the show, when the tent’s empty and I’m feeling kinda nervous about if people are going to come check out the set, they’ve never let me down.  Everyone has been really cool, it’s been packed, lots of energy.  People obviously come to festivals to listen to music and dance and get down and I’m glad that I can help them do that.

M:  You guys run an interesting improv angle with your music, you always have an evolving sound.  How do you work to create an evolving musical journey throughout your set?

PL:  That’s a cool question.  A lot of people look at me behind a table and think that I’m a DJ, and to be honest, I’ve never spun a record in my life.  I could probably match beats with records, but I’ve never even tried it.  All the music is original, using original productions I should say.  I’m using software and different devices to trigger different parts and arrange it on the fly and to affect it and manipulate it and play some of the layers live on top, like melodies and samples and stuff like that.  But back to your question, how do I look at it as a set, as a whole, I try to think of it more as how a DJ would as far as tempos.  I really try to bring the energy up and back down smoothly.  Even if it’s a real hype hip-hop speed track, I don’t like to play it after some more up-tempo electric track because it just doesn’t feel right.

M:  Don’t want to burn people out?

PL:  Yeah.  Also I like to produce a lot of different styles of music, of a lot of electronic kind of music, but they also vary in energy a lot.  But rather than just have my live shows be all high energy dance music, I like to bring in some of the more organic down-tempo, more emotional kind of tracks.  It does take some consideration of where to bring that in and where to play it or not to play it.  Honestly, as I play more and more, I’m getting better at being able to do that. Because I never have a set list, the songs have a level of improvisation, but the sets are always improvised as far as the order.  Like last night, these people had grabbed a set list off the stage and I could see people were kinda arguing over it and I went down and said, ‘That’s not even my set list!  That’s the set list for the band that hasn’t played yet.  You better put that back up there, they’re not gonna know what songs to play.’

M:  Well you and Corey worked together in another band before this, so I guess you guys have a good chemistry going.

PL:  Yeah, we worked together before Pretty Lights in a band and actually when that broke up, when that kinda ceased to exist, that’s when I started writing the first Pretty Lights album.  There was really a period of time for about two years between when that band ended and when the first Pretty Lights show that I actually invited the drummer up to play with me.  I wanted that element live and I feel like it brings a certain kind of hands-on, live energy to the show.  Also, I like to be able to play off another individual.  So that’s when I collaborated with him and started doing the shows with a live kit.

M:  You basically formed a sort of sign language on stage, sort of tipping each other off on what’s going on?

PL:  Yeah.  When we first started playing it pretty much was only two hand signals, like ‘cut out’and ‘come back in’.  But as we played together more and I’ve written more music in a way that it can be performed differently each time, utilizing the different technology like Abelton Live with the different kind of features…

M:  Is that what you use?

PL:  That’s what I use live, yeah, in conjunction of a device called a monomer.  We use signals like, I have different hand signals to switch drum beats, or switch high-hat speeds, or switch to ride signals, or we’ve got one for switching to an off-beat snare pattern, or losing the snare and keeping the kick and high-hat, or different things for bringing the energy up or bringing the energy back down, and things like that.  It’s definitely evolved, the way in which we communicate on-stage.

M:  So how do you think the live performance brings your audience a different experience than what’s on your albums?

PL:  It’s all about the energy, about hearing the music in a different sort of setting.  It’s good car music, I think it’s good bedroom music but a lot of…

M:  Bedroom music, huh!  Getting the beds rockin’?

PL:  That’s what I’m saying, man! People have told me that I’ve gotten them laid.

M:  There you go, to your credit…  Put that on your resume, ‘Getting People Laid!’

PL:  (Laughing)  Back to that question, what I was trying to say was that it’s not all me, or us, the people on-stage, creating that live experience.  It has so much to do with everyone coming together and experiencing the difference of the live show energy but also within a congregation of people.  And it also has a lot to do with, nowadays, the light show and bringing the visual medium.  Which has evolved, but I’m looking to take it a lot further.

M:  Just an all encompassing experience.

PL:  Exactly, a multi-media experience.  A lot of people think that when I named it Pretty Lights that I named it exactly for that, some crazy laser light show, but that definitely wasn’t in my mind at all when that name kinda came to be.  It was more about personal experiences of pretty lights, I’m always on the look at for that kind of thing.  But I’m definitely trying to bring the whole live light/video aspect of the show to a whole ‘nother level, and just keep pushing that, keep pushing the production so that people can really have a cool experience that’s far different than listening to the record.

M:  We are doing a show on Michael Jackson.  How did he affect you, if at all?  With his passing, it hit us all in the music industry in one way or another.  Did he affect you at all?

PL:  Yeah, he did.  Not maybe at the same time that other people, especially at my age, might have been exposed to it or hit by it because, honestly, I grew up in a family that, when I was a kid, I wasn’t really exposed to a lot of music.  Being born in the eighties, I think a lot of people my age heard a lot of Michael Jackson growing up but it was a different experience for me because it didn’t get into to it until I was able to find it myself as a late teenager.  In junior high I was like ‘Oh, I know who Michael Jackson is, he’s the King of Pop’ but I wasn’t really exposed to his music.  When I really started getting into music, and getting into production, and really going back and listening to it with fresh ears, a lot of it is just unbelievable.  It’s just incredible music.  The records he did specifically with Quincy Jones, who’s one of my icons as a producer, have been very inspirational, not only in how I create music but also in a personal way.  That combination of artists was really able to create some pieces of music that made you feel.  And that’s what music has always been about for me, creating emotion and always having people be able to feel something from the music, inside.

M:  Where do you see Pretty Lights evolving to in the near future?

PL:  I have a lot of ideas that I want to manifest and to make happen in my career, wherever it goes.  Right now, and in the recent past, I’ve been doing a lot of collage sample producing, where I’m taking different snippets from vinyl and bringing them together to create pieces of music.

M:  Like Girl Talk style?

PL:  Not like Girl Talk at all.  Actually, nothing like that.  More like DJ Shadow, a big influence for me.  The whole idea is more obscure pieces of music and just little pieces of it.  So you can still really implement melodic creativity and create feelings and emotions that didn’t exist in the song that the sample was taken from because you’re getting pieces from all these different not only artist but different decades.  As far as pushing the project and the show and the music in general, I feel like the sampling phase of my career is kind of dwindling because I have the means to create that stuff on my own.  Before, in that two year period I mentioned between the prior band and Pretty Lights, I worked as an audio engineer in a professional recording studio and did a lot of records with, not only local bands, but some bigger artists.  I did some work with Lyrics Born and Greyboy Allstars and stuff like that.  I want to be able to capitalize on my experience as an audio engineer and working in the studio producing other musicians, just how we were talking about Quincy Jones.  I’m actually already looking into getting my own vinyl press and buying analog tape machines, so I can really create the sound that I want, which right now I’m getting by taking it from vinyl from other decades.  But I want to be able to create that in the present day.  As far as future records, I’m looking to work with networks of musicians and really utilizing recording techniques to hang on to that golden age of music where everything sounded so warm and awesome.  As far as my records, that’s where I’m looking to take things, but also I’m looking to make it very multi-media.  I do a lot of video editing and stuff on the side and haven’t been able to really bring that to the show yet.  So one thing that I’m looking to work on in the near future is also realizing audio/video compilation things, not just records but records and video accompaniments and the same time.  But, anyway, you’re letting me babble on, which I appreciate.

M:  That’s cool.  I asked the question.  Hey man, thanks a lot for being with us.  I appreciate it.  We look forward to your set tonight.

PL:  Yeah, me too!  It’s been a pleasure.   Thank you so much.

The Weeknd – House of Balloons (9.2/10) *KinG B’s Pearl Pick*

The 21 year old Toronto-based artist presents a daunting and experimental take on a genre that traditionally lacks diversiveness.  It’s R&B with textured with forlorn stories and painted on an electronic canvas.  Easily one of the best albums of 2011.

–B.

Iron & Wine – Kiss Each Other Clean – 8.8/10

Sam Beam’s fourth full-length studio album is an easy-flowing folk portfolio.  The album can effortlessly warm you up during this shitty winter; get excited  about the prospect of popping it into your headphones and laying out under a tree this summer.

 

 

Bonnaroo Top 5 Activities: #4 – Shakedown Street

Hippies rejoice!  You can find all the wares you need (and would never need) on “Shakedown Street.”  According to Wikipedia, Shakedown Street is defined as: “In the Deadhead community, and other likeminded musical scenes, an interesting tailgating culture has evolved. More than just a party for fans, it is a way for the faithful to sell wares which in turn fund their tickets and gas to the next concert in order to spend weeks, months, or even entire tours on the road. Along with the more traditional fare, there is a large selection of vegetarian food such as egg rolls, burritos, pizza, and falafel. Certain illicit foods like hash brownies and “ganja gooballs” are also often found among the foods in the parking lots. Other products available for the tailgaters include handmade jewelery, bumper stickers, t-shirts, or certain types of paraphernalia.”  Yeah.  That’s it in a nutshell.

There’s a main Shakedown as you make your way into Centeroo by the arch.  As you walk through this bustling center of free enterprise and opportunism at its finest, you’ll be surrounded by tons of interesting sights, sounds, and smells… Some good, some bad, and some that are downright repulsive.  Drum circles, tons of music (sometimes live), squishy ground, big slices of pizza, rings, hats, artfully created glass, and an myriad of wares are available for your sampling.  (Excelsior highly suggests that you sample each locations local wares!)  Rumor has it that there are other areas on the farm which have their own independent Shakedowns, but they’ve been known to move from year to year.

Do yourself a favor, and remember that Bonnaroo isn’t just a music festival.  It’s a music AND arts festival.  Go check out the many booths around the farm, and bring yourself home a few souvenirs!

A final tip:  If you really want to save a shitload on any purchases you make, hold off either until the last night of the festival, or the day you drive out.  You won’t believe how much money you’ll be able to save, since many vendors are desperately trying to unload as much product as possible!

Keep an eye out for King B and The Train, as we always hit up Shakedown several times during the festival!

- Moe

LMFAO – Party Rock (7.5/10)

Music isn’t and shouldn’t always be mind-blowing, nor should it always be ground breaking or poetic. At times, even the most discriminant listener needs to let their guard down and enjoy certain albums for what they are: A good time. Party Rock by LMFAO is one of those rock/rap/old school/club albums.

Music isn’t and shouldn’t always be mind-blowing, nor should it always be ground breaking or poetic. At times, even the most discriminant listener needs to let their guard down and enjoy certain albums for what they are: A good time. Party Rock by LMFAO is one of those rock/rap/old school/club albums.

Party Rock, produced by The Black Eyed Peas’ Will.i.am is a party wrapped into an album. True, it may be filled with tracks like “I Am Not A Whore” (which has got a killer beat), and “Shots (with Lil’ Jon.. Yyyeaaah!!)”, but this album is loaded with ridiculous and fun songs that will get the asses movin.

Is this album extremely niche-y? Sure.

Is it very well produced and catchy? Hell yeah…

So take this album at face value, pour a few shots of Patron, and have a good time.

- The Train

Related articles:

• LMFAO’s Sky Blu, Redfoo Talk Work And Play On The Road (mtv.com)
• LMFAO “Party on the Rock” returns to St John’s, Nfld, live April 13th 2010 (newswire.ca)

NEW MIA Track: XXXO (Listen Here!)

MIA is slowing getting tracks out for her new album, and Tracks brings you her latest… XXXO!  She’s got 2 great albums to follow up on, and it sounds like she’s bound to put out another club banga!  If you haven’t seen her live yet, she’s a must see. Her dancing is a bit suspect, but she puts out incredibly danceable tunes!

Usher – Raymond vs Raymond (6.9/10)

To be fair, Raymond v Raymond never claims to be something it’s not; it simply strives to be a top five Billboard album, which it will be.  Its chalk full of cheesy ballads and sweet-sweet love-making music, but that can be fun sometimes.

Usher – Raymond v Raymond (6.9 out of 10)

There’s a difference between an entertainer and an artist.  Usher is undeniably a really good performer and singer, artist not so much.  To be fair, Raymond v Raymond never claims to be something it’s not; it simply strives to be a top five Billboard album, which it will be.  Its chalk full of cheesy ballads and sweet-sweet love-making music, but that can be fun sometimes.

Stats: The word “baby” is used 61 times and the endearment “girl” is employed 66 times, yet the ever-dynamic “baby girl” is surprisingly utilized only once.  (Yes I actually counted)

Peak: OMG is a good time

Valley: The track Lil Freak contains quite possibly the worst rap verse of all time courtesy of Nicki Minaj: “I keep a couple of hoes, like Santa I keep a vixen.  I got that Dasher, Dancer, Prancer, Dixen, Comet, Cupid, Donner, Blisten.” …wow.

- B.

Train’s Strawberry Mango Habanero Hot Sauce Recipe

Since it’s about 90 degrees out right now, I felt it was about time to break out my Strawberry Mango Habanero Hot Sauce recipe!  Excelsior certainly dominates the kitchen as well as the microphone, so it’s time to sweat!  Here are the ingredients to make a large batch of hot sauce.

(Fair warning:  This sauce is hot as hell, so be careful when handling the peppers.  DON’T TOUCH YOUR EYES OR ANY OTHER PARTS THAT COULD FEEL THE WRATH!!)

INGREDIENTS

3/4 lb Fresh Habanero Peppers

1 lb Fresh Strawberries

1 Tablespoon Salt

1 1/4 Cup Apple Cider Vinegar

3/4 Cup Mango Nectar

1 Tablespoon Honey

1. Take your fresh habaneros, wash and remove the stems.  If you don’t want the sauce to be as hot, remove the seeds.  (No removing seeds here.)

2. Dice the peppers.

3. Place them in a pot and add the 1 1/4 cup of apple cider vinegar and tablespoon of salt.  Cook on high for 7-8 minutes till the peppers are soft.

4.  Place mixture into a blender, and add a pound of fresh strawberries (no stems), 3/4 cup of mango nectar and 1 tablespoon of honey (natural sugars).  Puree the hell out of it till it is smooth.

5.  If sauce is still too hot for you, add more mango nectar to cool the heat a bit.  Keep tasting to test for flavor.  When finished, place in fridge or bottles.  Some people add oil to the top of the sauce to help preserve it.

6.  ENJOY THE BURN!  Let us know if you try out the recipe!

- Moe

(Side note:  The best hot sauce out there is Tuong Ot’s Sriracha Hot Sauce.  It’s a must have at all times!)

Related articles:

• Coconut Mango Pancakes! (craftzine.com)
• Recipe for Mango Salad with Black Beans, Avocado, Mint, and Chile-Lime Vinaigrette (kalynskitchen.blogspot.com)
• Feel the heat with the Scoville app (tuaw.com)
• SFist Eats: Asian Chili Sauces at New May Wah Market (sfist.com)

Lifehouse – Smoke and Mirrors (6.5/10)

Although it’s lyrically shallow, a handful of songs are perplexingly enjoyable.  Might have to chalk this one up to a guilty pleasure listen and let everyone else agree to disagree.

Lifehouse – Smoke and Mirrors (6.5 out of 10)

An undeniably generic American rock album that should sell competitively in Walmarts throughout the Midwest.  Although it’s lyrically shallow, a handful of songs are perplexingly enjoyable.  Might have to chalk this one up to a guilty pleasure listen and let everyone else agree to disagree.

*Expect to hear Halfway Gone during NFL games as they transition in and out of commercial breaks.

- B

Jónsi – Go (9.3/10)