Cut Chemist’s show at the Mezzanine was billed as ‘Tunnel Vision,’ and it may as well have had an accompanying Playbill, handed out at the door. The show—indeed, the whole night—was like hip-hop theater, with scripted scenarios and stage blocking, culminating in the Los Angeles DJ’s uncharacteristically thick, dense set.
As one of the last of the dedicated vinyl DJs, Cut Chemist brought sharp skill to his own Act II called The Sound of the Police. A vinyl-only set of African breaks played on one turntable and with loops controlled by various footswitches, it was the technical highlight of the night. Elsewhere, on his laptop-assisted setup, he cut up “Bunky’s Pick,” “A Day at the Races,” and Tune-Yards’ “Gangsta”—fluidly blending each into breaks both new and old—and hosted Edan, Paten Locke and Mr. Lif on “The Storm.”
Cut Chemist is in a tough position these days. Most of the tricks he’s honed over the years as one of the world’s greatest and most innovative DJs can now be easily faked; he has no Jurassic 5-type group to provide constant work; turntablism as we once knew it is a niche instead of a phenomenon, etc. So when he had to point out to the crowd that his Sound of the Police segment was especially hard, or stopped the set to chastise the Mezzanine about the monitors, or seemed perturbed that the crowd didn’t stir for a J5 break. . . well, it’s forgivable. “You’re the best crowd on the tour so far,” he said to a half-full house at the end, at 1:45am. “You beat the fuck out of L.A. . . and that hurts.”
Edan’s set was nonstop entertainment, and not just because he wore a wig over his already-large hair. He delivered tracks from Beauty and the Beat, like “Colors,” completely on his own, holding a mic in one hand and juggling the beat with the other. He unreeled a lightning-fast acapella with Paten Locke. He had Locke flip through each and every record mentioned in “Rock and Roll” to the crowd while rapping. He cut up “Femme Fatale” with Run-DMC. Hell, he played kazoo and guitar. Echo Party was fun and all, but here’s hoping he puts out a proper follow-up to Beauty and the Beat.
Mr. Lif stretched out a segment about getting a corporate job, being paid $6.50/hr., smoking five blunts and killing his boss. It wasn’t nearly as stupid as it may sound, because Mr. Lif defines “on point”—he’s deliberate, precise and enunciates with a dedication matching his suit and hat. His long acapella about McDonald’s committing genocide on the nation killed, and he paid tribute to Tribe, Gangstarr and GZA. A consummate performer, Mr. Lif, and a perfect MC to kick off a night of hip-hop theater.
These DJ Shadow Handmade records really are something special. They come in die-cut sleeves with hand-stamped titles. They’re pressed thick with textured, wrap-around covers. And yes, they come Sharpie-personalized and numbered with your name written on the back cover.
Better yet, they’re great mixes. I once saw DJ Shadow at the Fillmore in 2000 spinning a short, dark set that included a nice vocal loop of “Quality Control.” It was cut short by an overflowing bill (try keeping 28 DJs on schedule, including Invisibl Skratch Piklz last show), and a VHS tape of the show was released, but without Shadow’s set. Lost to the gods.
Or so I’d thought. Skratchcon Rehearsal Mix is that set, recorded at home the night before the show, and the unheard second half is killer, based around the Zack de la Rocha collaboration “March of Death.” (Also keen for clicking the cart is Evening Session Mix, the long-rumored Miami booty bass set Shadow spun during one of Mark Herlihy’s Future Primitive Sound Sessions at the Japantown bowling alley in San Francisco.)
If you want to see DJing at its finest, check out the video below of Shadow and Cut Chemist at the Fillmore later that same night, re-creating, from original sources, Double Dee & Steinski’s famous “Lesson” series. It’s almost ten years old, but since Serato has come along and threatened to eliminate this type of skill entirely, it’s more relevant than ever.
It’s no secret that one of my favorite concert-going experiences is the Treasure Island Music Festival, a two-day soirée with an incredible lineup and a beautifully scenic setting out in the middle of the San Francisco Bay. With the organizers planning the gigantic Outside Lands Festival in Golden Gate Park this year, I expected that a second year out the island might be a sinking prospect. I needn’t have worried. This year’s lineup was announced today:
Saturday, September 20:
JUSTICE | TV ON THE RADIO | GOLDFRAPP | HOT CHIP | CSS | ANTIBALAS | AESOP ROCK | AMON TOBIN | FOALS | MIKE RELM | NORTEC: BOSTICH + FUSSIBLE
Sunday, September 21:
THE RACONTEURS | TEGAN & SARA | VAMPIRE WEEKEND | SPIRITUALIZED | OKKERVIL RIVER | TOKYO POLICE CLUB | THE KILLS | DR. DOG | JOHN VANDERSLICE | THE DODOS | FLEET FOXES
It’s $65 per day, $115 for a two-day pass. Tickets go on sale Friday, May 30, but make sure to visit the festival website for mailing list signups and presale passwords.
So what makes the festival so great? I’ll tell you.