Lost Lake Presents
TWINKIDS, Traps PS
Doors: 8:30 pm / Show: 9:30 pmLost Lake
$10 - $12
This event is 16 and over
All sales are final. Review your order carefully, there are no refunds for any reason. Tickets are non-transferable. No tickets are mailed to you, your name will be on the will call list night of show. Night of show (1) bring a valid government issued ID and (2) print your confirmation e-mail and bring with you night of show.https://www.lost-lake.com/event/1694258/
Their 2014 debut Voyage revealed De Lux as an outfit matching post-punk sentiment and the-sociopolitical-is-personal perspective to joyfully indulgent analog synthesizer soundscapes and a deliriously transportive musical joy. 2015’s Generation added an almost-documentary aspect to their dance music, delivering clearly personal stories of anxiety and aspiration. And 2015 also saw their first major festival appearance at Bonnaroo, the prelude to their hotly tipped Coachella debut in 2016 and then sharing a bill with Arcade Fire at New York City’s Panorama fest.
Now More Disco Songs is a stream-of-consciousness tour through De Lux’s reality. (With New York City dance-punk legend Sal P. of Liquid Liquid and the Pop Group’s maniacal Mark Stewart as guests, of course.) Though the title might seem like some kind of clever reference, it’s really simple and direct. The disco is the sound—in the most innovative way, of course—and the love is the sentiment: “It's all literal to us but we realize that it might not be for others,” they say. “We like the idea of giving listeners something to question. But there's love in there.”
They’ve always been unafraid to do what needed to be done, this practically telepathic trio of Wintner, bassist/backing vocalist Danny Miller and singer/guitarist Andrew Jeffords. They recorded and released records on their community-oriented/community-involved label Papermade and played any space they’d fit—lost all ages institutions like L.A.’s Pehrspace or not-exactly legal “guerilla” shows on city streets and in dusty Inglewood oil fields. But with their first full-length in three years coming into focus, they found L.A. independent label Innovative Leisure ready to amplify that DIY capability: “We’ve done so much in our own bubble that it was exciting to explore another aspect,” says Jeffords. “I’m enjoying inviting people into our family.”
By the time they walked into Long Beach’s Jazzcats studio—where labelmates like Hanni El Khatib and the Molochs recorded with producer Jonny Bell—they had more than twenty songs nearly fully finished, trimmed to their most necessary components and rehearsed only enough to sharpen the original inspiration. That was the most important part, says Jeffords, to capture that ecstatic lightning-strike instant that sparked a song in the first place, and to make sure it never fizzled out. “If we didn’t have that feeling,” he adds, “the song would have never made it out of the rehearsal studio.”
Their last full-length was about energy, says Jeffords, an echo of the helicopters that shook the walls in his old apartment and the car crashes in the street. New Chants would be darker in tone and color, he thought—about people and their machines, and the blurring relationship between them. Like the way you can sometimes see your reflection in a TV screen—maybe you lose track of where the media starts and you begin. If “Fourth Walls” didn’t make it obvious, the black border around their cover art does: Traps PS knows there’s always a frame around the image.
This is where the real spirit of that first wave of post-punk is at work on New Chants. It’s that uneasiness with the future and the unpredictable effects it brings, and an effort to make an unpredictable new music to meet it. (Possibly related: there’s actually one of the Jazzcats studio cats playing piano on this album, but not where you’d think.) New Chants is an album about watching and being watched, about white noise and negative space, about how what’s undone or unplayed or unsaid is just as deliberate and meaningful as everything else. Jeffords even perforated his lyrics sheet with “…” ellipses—negative space in the language itself.
So think Wire’s precision minimalism, antidote to the over-the-top spectacle of punk and pop both. You’ll hear it in “Seven Voices” or the album’s title track. Think Public Image and that caustic, corrosive—and purer for it—dissonance. You’ll hear it in “Two Truths,” with its ragged semi-chorus of “Emmmmmmbrace …” Think the Contortions, who tore out everything in their songs except the rhythm and discovered there wasn’t much else they’d needed anyway, except for some saxophone used more as flamethrower than musical instrument. You’ll hear that as “Fourth Walls” falls in on itself. And then think about Traps PS, who thought about what they didn’t need and then threw it out, and who made an album only out of what they felt mattered most: “Let it be what it is,” says Jeffords. New Chants is barely twenty minutes long—but it’s got everything.
- Chris Ziegler
3602 E. Colfax Ave
Denver, CO, 80206