One wouldn’t think that giant, razor sharp, light pulsing teeth would be synonymous with the essence of a Beethoven arrangement. But one also wouldn’t think that a British guy could have people hangin from the rafters on a Wednesday night in Denver. Think again.
Kill the Noise opened and did everything but that. For a guy spinning with no visuals to back him up, he didn’t have any problems illuminating the place. Bass heavy dubstep anthems had people doin the modified thizzle dance all over the venue. The darkness of his set nearly captured how ominous of a DJ Kill the Noise is when he’s behind the decks. At the very least, he was the very best opener that Feed Me could have had.
With an extended build up to open his tunes for the night, Feed Me’s symphonic sounds made it easy to get wrapped up in the moment and forget I was even at a concert.
I can see why Deadmau5 signed Feed Me to Mau5trap now, he puts on a stunning production just like his big brother, but with bigger teeth than he has ears. If I had to describe his show in one word, it would be “seamless.” I felt like I was in the midst of an orchestra, and every person around me had an instrument in their hands.
Feed Me’s sounds cascaded over everybody as if we were surfing at the beach. He washed us around with his sounds, took us up and down, and left everybody flying in the clouds before his encore. Every time I looked around me, I could see the fruit of Feed Me’s labor; Hands up, eyes closed, heads shaking side to side. It was like a slow motion promo vid for EDC.
I imagine the same feeling resonated throughout the audience during a Mozart production in the late 1700′s; a connection between listener and musician that transcended the music itself. Looks like I’ll be making a stop at the Sahara tent to see Feed Me again at Coachella this weekend. My advice? See this show.
I won’t lie to you guys. Marina is my guilty pleasure. Its also pretty apparent that I’m not the only one. My love stems from the fact that she hasn’t sold out yet for fame, and shes writes all of her own music, which seems to be an anomaly in the world of popular music. Check out the official remixes of “Primadonna” below, that range in style from dance to experimental.
Plz call me Marina. I’m sad to the core.
Perhaps my favorite track yet from A$AP which is saying a lot. The instrumental is out of this world. Produced by Hit-Boy, who is best known for his work on “N*ggas In Paris”.
Here is another recently released track from A$AP Rocky with Theophilus London: