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CD Reviews
MSTRKRFT
The Looks | Last Gang
By
MATTHEW GASTEIER
| July 18, 2006
Most dance punk is just a shower and a missing guitar away from straight dance music, so it’s not such a surprise that aggro-electronicist Jesse F. Keeler of Death from Above 1979 and his group’s producer, Al-P, would go house. To judge by their remixes of everything from of-the-moment neo new wave like Bloc Party to dance-pop sensation Annie, their debut disc would seem destined for the ironic-hipster section of the dance floor. But no — turns out that these two love letting squiggly synths run wild around programmed drums and the occasional hyped-up vocoder. Opener/highlight “Work on You” sums it all up with its robot protagonist’s simple refrain: “I’m gonna work on you/Until you’re feeling right/I’m gonna make you right/Under the disco lights.” It’s the kind of promise Daft Punk would have taken to (metallic) heart if they hadn’t turned out to be, uh, human after all, and don’t we all need to listen to our inner robot every once in a while?
On the Web
MSTRKRFT:
http://www.mstrkrft.com/
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On the racks: July 18, 2006
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On the racks: July 18, 2006
Plus MSTRKRFT and Lily Allen
Ding Ho home
Opening a comedy club in a Cambridge Chinese restaurant was a laughable idea unto itself.
Theater of war
Director Scott Ellis doesn’t call David Rabe’s Streamers a play about war.
Dance, monkey: Renata Tutko
I’m just doing stand-up to try and get noticed for my other skills.
Point to Point Navigation: A Memoir by Gore Vidal
Doubleday, 288 pages, $32
Absolute Wilson
Back in 1991, in the American Repertory Theatre production of When We Dead Awaken , Robert Wilson’s musical based on the dour Henrik Ibsen play, there was a moment when the cast, led by Honey Cole, started a cakewalk line while chanting the play’s title over and over again. Watch the trailer for Absolute Wilson (QuickTime)
Cold + comfort
Unlike last year’s lingering Indian summer, this autumn seems downright classical, so far, in its quintessential early chill.
Broken Glass
“The scene is memory,” Tennessee Williams writes in his opening notes to The Glass Menagerie, and then: “Memory takes a lot of poetic licence.”
Watch your back
The stage is set for surveillance.
Ponying up
The backdrop of the late '60s hangs in contrast to the stack of rugged childhood furniture that Victor Franz must finally dispose of in Portland Stage Company's production of Arthur Miller’s The Price.
Mood swings
As national defining traits go, the reputation of Americans for giddy optimism, whistling through the boneyard of existential adversity, is probably better than France’s rep for producing rude waiters.
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ARTICLES BY MATTHEW GASTEIER
UGK
| September 18, 2007
Underground Kingz is not quite an instant classic, but it would be hard to deny that UGK have reclaimed their throne.
TALIB KWELI
| August 20, 2007
Ear Drum doesn’t reach the highs of that far more ambitious and sprawling album, but it’s a welcome return to form.
SKILL RIDE
| July 17, 2007
All it took was a Godzilla sample and a simple, forceful “Simon says get the fuck up” for Pharoahe Monch to leave his mark on hip-hop history.
THE HATE-LOVE-HATE CYCLE
| June 18, 2007
The field is already packed with newcomers and veterans alike, all aiming to knock down my standards of good taste and respectability . . .
DIZZEE RASCAL
| June 12, 2007
Boy in da Corner may be the classic Dizzee will be forced to chase for the rest of his career.
See all articles by:
MATTHEW GASTEIER
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