Hype/Genius/Flood – Metaphorically Representing 4/10 @ the Echoplex

It’s about 5 a.m right now, what that means is beyond me.

*This first part is probably not true to our readers, but I had to get it off my chest, you may relate.

First off, LA step this shit up. If there’s one thing going to raves in High School taught me it’s that everybody looks funny dancing, but no one cares. These DJs are bringing it with all they got, why are you standing around like it’s a fucking zoo? I understand not every concert is meant for this, but when it’s an electronic showcase you shouldn’t come unless you’re ready to dance (or bring something positive to the atmosphere).

To all those who were standing smack dab in the middle of the crowd,
A) You don’t look cool standing there acting like you’re too cool to get your feet moving, against all logic it does work against you.
B) If you’re standing in the middle bobbing your head – you’re hording prime dancing territory only to get a better view of a DJ – whilst making people around you self conscious… you’re a disease, how does it feel?
C) Why does it look like you’re having no fun? … Maybe it’s ‘cuz you aren’t?

All ranting aside, last night’s show at the Echo fulfilled my quota of brass and bass for the weekend, bringing out the informative set of ‘Mother Fucking’ Gaslamp Killer, the carefully planned and articulated set of Kode 9, and the white water rapid that was Flying Lotus.

I arrived a little late, catching Gaslamp mid set. I immediately tried to pick up on a flow, the heavy bass and stuttering drums would lead me towards a road – only to flip around on me or crash into a silence of some name drop or album plug. (Not to say that name-dropping and album plugging are wrong, I merely felt that it was an excessive act, kinda like Flava Flav.) Gaslamp mixed genres well, giving his set an eclectic edge that seemed to enjoy the placid crowd more than a dance driven set.

The Dr. was in. Kode 9 (Steve Goodman) has a Ph.D in Philosophy, explaining where the articulation and planning of his set came from; while others have to speak to actually speak, the only thing Kode 9 had to say came through the form of a party favor – a simple yet affective way to prove your worth. The planning in 9’s set was genius, he started us off slow, introducing a soulful number that lead into more upbeat almost trance-like (but still bass driven) songs that included a taste of the world and sent it back to tribal times. He used this as a step ramp, jumping further into a more dub oriented set that ended with ten folds the amount of energy it began with.

And then the rain cometh, flooding the mountains with so much water the river could barely contain the frothing liquid. Metaphorically speaking, Flying Lotus’ set was a gushing rapid, careening downstream without a care, knocking boulders like they’re the one’s who should be worried, and taking a break in the small pools below the powerful rapids. Each time Lotus stopped and took a minute to unwind, a moment for us to catch our breathe, he would guide us back headlong into the rapids of bass-ic rocks, and sonic whitewater. I heard some Wayne (A Milli) and some Madvillian (Shadows of Tomorrow) in there as well, though there were more mash ups, those two were my highlights.
Thank you LA.

Flying Lotus – Camel

Flying Lotus – Beginners Falafel

Flying Lotus – Parisian Goldfish