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Wednesday
Mar092011

한국 대중음악 미주 소개 Korean Pop Music Intro to the USA

‘서울소닉’이라는 프로젝트 명으로 북미 투어에 나선 락밴드 갤럭시 익스프레스, 일렉트로닉 그룹 이디오테입, 비둘기우유(LOS ANGELES CA) LA·뉴욕 등 투어도

“‘K-Pop’의 다양성을 미국 뮤직 매니아 층에 제대로 보여주겠습니다”

텍사스 오스틴에서 개최되는 세계적인 뮤직 페스티벌 ‘사우스 바이 사우스웨스트’(SXSW)에 한국 출신의 인디 밴드가 최초로 특별초청 공연을 선보일 예정이어서 화제가 되고 있다. ‘서울소닉’이라는 프로젝트 명을 가지고 북미 투어에 나선 락밴드 갤럭시 익스프레스, 일렉트로닉 그룹 이디오테입, 비둘기우유 등이 바로 그 주인공.

‘서울소닉’이라는 프로젝트 명으로 움직이는 이들 밴드(이하 서울소닉)는 “이번 프로젝트는 그 동안 전례가 없는 것으로 마침내 국내 대중음악의 활력과 저력을 미 현지에 소개하고 미래의 전망과 가능성을 타진할 수 있게 됐다”며 “탄탄한 재정과 공고한 스타덤을 바탕으로 해외에 진출하는 주류 가수들과는 다르지만 라이브 무대에서 관객들과 직접적인 교감을 통해 철저히 현지화해 갈 것”이라고 강조했다.

오늘부터 12일까지 캐나다 토론토에서 열리는 ‘CMW 케나디안 뮤직위크’에 특별 게스트로 초청돼 토론토 현지에서 공연을 준비 중인 ‘서울소닉’은 16~20일 SXSW에서 특별초청 무대를 통해 한국의 락, 메탈, 일렉트로닉 등의 장르로 ‘한국 대중음악’(K-POP) 알리기에 나선다. 이후 뉴욕의 ‘니팅 팩토리’와 LA의 라이브 극장 ‘락시 디어터’에서 공연을 가질 예정이다.

‘서울소닉’은 “LA투어에는 싱어송 라이터 빅 포니와 미 힙합가수 덤파운드데드가 스페셜 게스트로 출연한다”고 한인들의 성원과 관심을 당부했다.

자세한 사항은 웹사이트(http://www.seoulsonic.kr)에서 확인할 수 있으며 LA 공연 또한 별도의 웹사이트(http://on.fb.me/gdzq4G)를 통해 확인할 수 있다. 

By Yang Seung-Jin (Reporter)

Wednesday
Mar092011

Spinning Platters Picks Six: International Bands Worth Seeing at SXSW That I’d Never Heard Of Before


(SAN FRANCISCO CA) Suggesting bands to check out at SXSW can be really easy if you want it to be. There’s some definite winners in the “Been there done that” category this year: Friendly Fires, Matt & Kim, and Wallpaper come to mind. Then there’s the “buzz bands worthy of buzz” category, which this year includes Geographer, The Naked & Famous, and my personal faves The Joy Formidable. But that’s a bit boring; these bands will come to (or are from) San Francisco.

What’s fun for me is to find bands from outside North America that I’d never heard of before seeing them on the SXSW schedule. A few clicks and I hear a song, a few more and I’m hearing an album. Finally, I’m looking forward to seeing them live in a couple of weeks. Feel free to give me crap if I “should have heard of” one of these artists. I wish I had! Now, on with the list: 

Art vs. Science (Australia) -- At the very beginning of the alphabet, I was blown away by a single that sounded somewhat Devo and somewhat MSTRKRFT. As I’m finding myself leaning into rock bands that mix EDM elements into their sound, this was a perfect band to discover. An EP, Magic Fountain, featuring the killer single of the same name, is coming out in the U.S. on March 15. For enterprising individuals, their Australian full-length debut is already out there. And it’s great. (I’ve been listening to it daily for a couple of weeks now; I’m enterprising.) It mixes stupid-fun dance songs with more relaxed pop songs, and is never boring. The only downer is that their official showcase is at Maggie Mae’s Rooftop, traditionally one of the worst stages at the festival, but they’re playing a few day parties as well, so make sure to see them!

Battle Circus (New Zealand) -- Here’s the band I should have known. I read Classic Rock Presents Prog magazine, for goodness sakes! And this is a prog band, with a few 10-minute songs to their name after only one album. Remember when everyone used to say that Muse sounded like Radiohead? And they did for a little while, but then they created their own sound? Battle Circus sounds like Muse in that same way. You can hear the influence, but they’re creating their sound as they go. The new single is a leap ahead of their first full length; it’s practically cabaret prog, which is definitely a new genre.

Chateau Marmont (France) -- If you like late 70s/early 80s cheesy sci-fi or action music, then you like Chateau Marmont. They sound like the rejected outtakes from the soundtrack to Flash Gordon and an unused theme to the TV “classic” Airwolf, all while praying at the altar of synth legend Giorgio Moroder. If that sounds appealing to you, then you’ll love this band, whom I know very little about. All I know is I want to make a cool movie, just to use their music. Someone give me a script; I’ve got the score ready.

Idiotape (South Korea) -- Let me tell you how much I like this music. I actually bought this on iTunes. If you don’t know me, you’re thinking “big deal.” If you do know me, you know that it is, truly, a big deal. This is electronic dance music, but played live with live drums. There are videos of these guys playing in their home country, and whoa … I wanna go! I’ve got two videos here: one’s an album trailer, and the other shows them live. I can’t imagine these guys get to the U.S. all that often, so take your opportunity to check them out.

Kvelertak (Norway) -- Every once in a while in a man’s life, he just needs some fuckin’ metal. And this is one of those times. Kvelertak (I have NO idea how to pronounce that) will fill that jones in your life for the foreseeable future. This band is aggressive, yet oddly hooky. The lyrics are in Norwegian, but are screamed in the international language of intensity. If the pit is even close to as lethal as the one in their video, everyone who survives is out for a great time. You can catch them at Full Metal Texas, as well as their official showcase.

Pacific! (Sweden) -- If Chateau Marmont is the theme to cheesy 80s movies, Pacific! is the theme to the fantasy movie of your dreams, It’s dramatic and intense, like I’m riding a magical horse through a far off land to defeat the evil sorceror, yet it’s also completely danceable at most times. Their album, Narcissus, takes you on a musical journey. Oh, that sounds like PR bunk, but I’m saying that myself, I swear. There are quiet songs with angelic vocals (she must be the woman I love who I’m trying to save from the dastardly evil), there’s straight-up europop songs (sung by our hero?) and then there’s the all-out fighting music. I dig this sort of cheese. I haven’t been able to find them on any day party lists, so make sure to hit them up at their showcase gig.

For official SXSW scheduling, you can visit the official SXSW site. For day parties, I recommend Show List Austin.

Article by Gordan Elgart

http://spinningplatters.com

Wednesday
Mar092011

Party at SXSW with South Korea’s Idiotape

(NEW YORK USA) If Cut Copy (not from Zonoscope but from Lights & Colours) , Daft Punk, and Chromeo had a South Korean baby, they would beget the SXSW-bound, funkatastic, celebratory disco house trio Idiotape.

IdiotapeOf course, Idiotape just  begat itself in Seoul without their help. The bespectacled crew has been getting audiences jumping manically on their feet in Korea for awhile, and now they’re prepping for global domination. (You can tell they’re serious by their glasses.)

They’ve dropped five singles, which you can hear below. My favorite banger is the chromatic bliptastic “Even Floor,” but they have a chill one called “League” that could easily join the ranks of Yeasayer psych pop.

Check out Idiotape’s tracks below, and don’t miss them at SXSW this year (or take a look at their other tour dates).



Monday
Feb282011

ROK Heavy

South Korean post-rock band Apollo 18.

(LOS ANGELES USA) This spring, some of Seoul’s finest indie sensations will leave Hongdae to plug into America. Not only will four Korean bands play at the South by Southwest (SXSW) Festival in March, there will be a Korean act at the renowned Coachella Festival (April) for the first time. Oliver Saria introduces you to the most popular bands you probably don’t know and takes you inside Korea’s indie music scene.

THIS MONTH, a handful of prominent South Korean music acts will tour the United States for the first time. And none of them will perform choreographed dance pop numbers with multiple costume changes. And “rock hard” won’t describe the band members’ abs, but rather what they do on stage. K-pop might be Korea’s biggest export besides economy cars, cell phones and female golfers, but an established indie rock scene is using social media to expand beyond Seoul’s eclectic Hongdae district to prove to the world that there is more to Korean music than just bubblegum ballads.

The South by Southwest (SXSW) Media and Music Conference in Austin, Texas, slated for March 16 to 20, will showcase the largest contingent of Korean acts in the event’s history. Four bands are scheduled to perform, including the atmospheric shoegaze of Vidulgi OoyoO, the electro-dance, high-energy rock hybrid of Idiotape, the wild party-rock of Galaxy Express, and the post-punk, post hardcore sonic assault of Apollo 18. Additionally, in April, the electronic performance art duo EE will be the first Korean act to perform at the renowned, days-long Coachella Valley Music and Arts Festival in Indio, California.

Vidulgi OoyoO, Idiotape and Galaxy Express will visit various cities as part of the Seoulsonic North American Tour, which kicked off in Toronto on March 9 during Canadian Music Week. Meanwhile, the ballsy band Apollo 18 plans to independently tour the South with stops in Texas, Louisiana, Arkansas and Oklahoma.

In other words, for the first time, American audiences from coast to coast will have a rare opportunity this spring to sample some of the best live acts in Korean indie music today. Depending on how well they’re received, the eyes (and ears) of the music world might very well turn towards Hongdae, the mecca of Korean indie.

Shoegaze indie band Vidulgi OoyoO, photographed last month at Club Mansion in Seoul.

THE MECCA

For all intents and purposes, “Korean indie” means anything outside the mainstream K-pop idol factory that dominates South Korea’s music industry. And there’s really only one place to find it. On any given night in the arty Hongdae neighborhood of northwest Seoul, one can find a club that caters to almost any musical taste.

According to Hyunjoon Shin, a professor at the Institute for East Asian Studies at Sungkonghoe University, the music scene in Hongdae started to take off in the mid-1990s as a result of globalization and increased access to Western culture. Bands like Nirvana in the States and Oasis in the U.K. influenced a generation of young musicians; soon, rehearsal spaces, recording studios and music venues began to spring up in the area, where rent was relatively cheap. The students attending Hongik University—arguably the country’s most prestigious art school and the area’s namesake (Hongdae is short for Hongik Daehakgyo)—provided a ready and eager audience as well as a fair number of budding musicians. Hip-hop and electronica spawned an explosion of nightclubs, and soon, the expats, artists and young people came flocking.

Unlike here in the United States, Hongdae has largely escaped the “hipster-fication” that has overrun indie music hotbeds such as the Silver Lake section of Los Angeles and Williamsburg in Brooklyn, where the streets are rotten with skinny jeans and hipsters sipping on Pabst Blue Ribbon. In Hongdae, hip-hop heads, jazz fans, rockers, ravers, salsa dancers and clubbers co-exist. Mark Russell, who in 2008 launched koreagigguide.com, an English-language blog about the Korean indie music scene, notes that Hongdae embodies an interesting aspect of Korean culture that he observed during his 10-plus years as a Canadian expat there. “One thing Seoul is very famous for is clustering,” says Russell, who is also the author of Pop Goes Korea: Behind the Revolution in Movies, Music, and Internet Culture (Stone Bridge Press, 2009). “If you want to buy bathroom fixtures, all the bathroom fixture stores are in one part of town. And it seems to have happened with the arts as well.”

So while the concentration of arts and music gives Hongdae its unique vibrancy, it also can make Hongdae feel very claustrophobic. And bands are often eager to break out beyond its confines, driven by both want and necessity.

Electro-punk trio Idiotape. Photo Courtesy of Vu Entertainment & Records

THE MAVERICK

It’s two weeks prior to the start of the Seoulsonic tour and Bernie Cho, the president of DFSB Kollective, the creative agency producing the tour, is “crazy stupid busy” figuring out travel visas and work permits. On top of that, DR, Idiotape’s drummer, has just given himself whiplash from head-banging too hard during a recent performance. Ever the optimist, Cho insists, “The neck brace actually doesn’t look too bad as part of his stage outfit.”

Over the past two years, Seoulsonic has evolved from a quarterly concert series to an international tour and now a hub for Korea’s breakthrough music via the newly launched website, seoulsonic.kr. As Cho states, “These dynamic and diverse music acts have a wide range of options and opportunities to break out and break through whether it’s in Seoul or Korea or beyond.”

The fact of the matter is, Korean indie bands—in particular “alt-rok” bands, as they are dubbed in Korea—practically need to build an international audience in order to succeed beyond Hongdae. In Korea, the rock genre is still the obscure cousin of pop, dance and hip-hop, and other revenue streams such as product endorsements and television appearances aren’t readily available to its musicians.

More importantly, Korea’s dirty little secret is that the music industry often chews up its artists before spitting them out. In January, three of the five members of the hugely popular female idol group Kara announced they were suing their management agency over exploitative contracts. And South Korea’s Fair Trade Commission has recently ordered one agency to shorten the length of its 13-year contracts. The FTC has also investigated the country’s largest music portals amid allegations of price fixing. Sadly, the recent death of indie folk rocker Lee Jin-won from a brain hemorrhage in his tiny apartment has underscored how difficult it is for Korean musicians to survive off their art.

Cho and his fellow cohorts at DFSB’s wanted to do things differently, and hopefully better. They unabashedly formulated an artist-friendly, export-focused business model, squarely targeting international audiences through iTunes, which allows DFSB to pay artists a larger percentage of the profits. “The reality is,” states Cho, “we’re paying 15 times more per profit per download per artist.”

The key to success therefore is global exposure, but in the end the music speaks for itself.

Jeehye Ham, guitarist and vocalist of Vidulgi OoyoO.

THE MUSIC

The members of Apollo 18 have attacked their self-produced regional tour the same way they’ve attacked their music: fearlessly. Bassist Daeinn Kim has said in previous interviews that the band wants to experience a bigger musical playground. When asked if they’re worried there might be bullies in the bigger playground, Kim states emphatically of his fellow band mates, guitarist Hyunseok Choi and drummer Sangyun Lee, “We’re not afraid of anything. On stage we enjoy our music, our sound. We don’t care about anything else, so we’re not afraid of anything.” They have reason to be confident. Last May they won Rookie of the Year at the 2010 Korean Music Awards. And Anna Lindgren of music blog indiefulrok.com has said of their virtuoso live performance and aggressive post-punk/math rock sound, “If there’s one Korean indie act that could tour the world today, Apollo 18 is it.”

They were actually invited to play SXSW last year, but could not afford to go. This year, however, they’re doing something a bit unprecedented in Korea: throwing a fundraiser. Korean culture generally frowns upon asking for money, but Apollo 18 has embraced a do-it-yourself approach, raising funds any way the band can, booking its own tour and finding innovative ways to promote its music. At SXSW, the band plans to hand out 500 iPhone covers with their band logo and contact information. Kim hopes to inspire others. “Any band in Korea can do this,” he advises. “Don’t be afraid!”

Idiotape

Dguru of Idiotape has a similar sense of bravado. The band’s deejay says of their North American debut, “Americans will be shocked! We are not K-pop. Americans won’t think there is anything like us. It will be raw.” As the only electronic group on Seoulsonic’s rock-heavy line-up, he’s not worried that audiences won’t dance. They’ve proven their mettle opening for luminaries like Fat Boy Slim at the outdoor Korean music fest Global Gathering and impressing SWXW organizers at the Pentaport music festival with their brand of live electronica complete with full drum set and six or seven thoroughly thrashed synthesizers. Dguru is unapologetic when he states that he’s bored with Hongdae and ultimately wants to tour the world with his band mates, DR on drums and ZEZE on synth. But in the meantime, he’s content to have the North American crowds go completely crazy.

Galaxy Express knows a thing or two about going nuts. The party rockers pride themselves on playing each show as if it will be their last. Cho, of the DFSB Kollective talent agency, describes them this way: “They bring the sex appeal of The Killers with the slight psychosis of Spinal Tap.” They are considered the wildest live band in Korea. “When we take these guys abroad,” Cho states, “people were just floored. They do some sh-t on stage that people are just like, what the f-ck?”

Stage antics notwithstanding, the trio—JuHyun Lee (vocals/bass), JongHyun Park (vocals/guitar), and HeeKwon Kim (drums)—has also garnered a ton of critical praise. They won Rock Album of the Year at the 2009 Korean Music Awards, and this year they’re nominated for three more: Musician of the Year, Rock Song of the Year and Rock Album of the Year.

Vidulgi OoyoO (which means “pigeon milk”) is also a critical darling. JiHae Ham’s lush vocals and soaring guitar compliment her bandmates’ aural sound, which include JongSeok Lee (guitar/vocals), Ok Jihoon (bass/vocals) and YongJun Lee (drums). Their shoegaze style might be a bit more subdued than the other bands on the Seoulsonic tour, but their live music is mesmerizing. Though the band has recently hit a string of bad luck—(JongSeok broke his wrist slipping on some ice, and JiHae’s guitar was stolen days before her father was hospitalized)—they’ve bounced back with an even fuller sound for the Seoulsonic tour with the addition of backup guitarist Seunghoon Choi.

The electronic duo, EE, (E. Hyun Joon and E. Yunjung) blurs the line between music and performance art. The husband-and-wife team often presents surreal works with gaudy fashion and strange theatrics. But don’t expect Lady Gaga. Their work is a bit more challenging à la Grace Jones or Yoko Ono, but with more danceable beats.

Korean indie will perhaps never eclipse K-pop, but these bands, which represent some of the best of Korea’s independent music scene, will plug in for some of the most renowned music festivals and events worldwide. Though it remains to be seen if any band can make it beyond Hongdae on a grand scale, this spring, some could very well blossom on the American stage. And a slew of great bands in Hongdae are itching for a turn. As Bernie Cho puts it: “This is the first wave of cream of the crop artists that will have an opportunity to turn stereotypes inside out.”

* * *

Every scene needs its blogs.

For K-pop, there’s allkpop.com and soompi.com, among others. For Korean indie music, the two most informative English-language blogs are indiefulrok.blogspot.com and koreagigguide.com. Arguably, the most comprehensive Korean indie music blog is indiefulrok.com, created and maintained by a 20- something Swedish woman, Anna Lindgren. According to Bernie Cho, “She has scary insider knowledge of the Hongdae music scene” despite only infrequent trips to Korea and limited Korean language skills.

Other blogs worth checking out include koreanhomesickblues.podbean.com, which currently contains over 30 indie music podcasts created by British expat Dave Chandler, a journalist living in Seoul.

Also, Joseph Kim, vocalist/guitarist of Kite Operations, occasionally posts some of the most entertaining and insightful interviews of fellow musicians for his zine at K.O.A. records (www.koarecords.com).

SOURCE : www.iamkoream.com
ARTICLE BY: Oliver Saria

Thursday
Feb172011

Korean Indie Bands to Rock North America


Galaxy Express(WEEKENDER EDITION) It’s the ultimate band roadtrip. Except this isn’t your typical, Americana garage-band straight from Smalltown, U.S.A., it’s post-rock indie group Apollo 18 from the capital of South Korea.

“We’re nervous in general about going to the U.S., playing at South by Southwest (SXSW), the clubs, the venue ambiance and the people inside those venues,” bassist Kim Dae-inn laughed. It will be the first time any of the band members have stepped foot on North American soil.

This spring, Apollo 18 and four of the country’s most-buzzed underground names will enter the American scene by touring some of the most prestigious festivals this March and April, shattering the idea that Korean music holds a mere wisp of a presence worldwide.

Apollo 18Kim and his bandmates, Galaxy Express, Vidulgi OoyoO, Idiotape and EE will go west to make a stand for Korean music either by DIY or with corporate backing. The move records both the marked increase of local bands at SXSW (March 16-20) and the official debut of Korean music at Coachella (April 15-17).

“This (rock) sound is originally from the U.S., so if you’re in a band, it feels right to go to America and experience it firsthand, be inspired by it,” Choi Hyun-seok, the guitarist for Apollo 18, said. The three-man group managed to expand their initial festival performance into a five-state, 14 gig roadshow using only their knowhow, Googling skills and an abundance of e-mail.

Previous years have seen one or two Korean mainstream bands play at the acclaimed Texas music event, one of the largest in the country with nearly 2,000 acts. This year, a total of four indie bands will play SXSW out of the 13 Korean groups that applied.

“This will take a lot of money, so if we go, we want to go for more than just the festival,” Kim said, referring to their decision to turn the showcase into a tour. Apollo 18, ever the hard rockers, took the grassroots approach so they could customize their own schedule independently. A rental van is in the works.

Though the group was originally invited to the 2010 showcase, a lack of funds and preparation delayed the band for a year. But their determination saw a rapid comeback as fundraising and money out of their own pockets will send them on their first overseas trip.

Art performance duo EE, who will debut at the legendary Coachella, was brought to the attention of the Western industry through Seoulsonic, a now-defunct concert series that was transformed into a multi-faceted music organization that aims to be the Korean Pitchfork Media.

Parent company DFSB Kollective refurbished Seoulsonic to focus on both local and international activities through “packaged” band tours, and Galaxy Express, Vidulgi OoyoO and Idiotape will comprise its first North American venture.

IdiotapeThe trio of bands will hit up Canadian Music Week, SXSW and hold a variety of shows from New York (The Knitting Factory) to Los Angeles (The Roxy).

“During the day, we would speak about and hear about how hip and how hot the Korean music scene was perceived overseas. But at night, perception and reality didn’t really mix too well at cocktail parties,” said Bernie Cho, president of the DFSB Kollective, a digital music distributor and promoter.

“Whenever we attended showcases sponsored and hosted by different countries’ governments, we were amazed by the live performances of international artists hailing from music markets comparable to and far smaller than Korea. Time and time again, we kept asking and were being asked the same questions. ‘Why is there no Korean night? Why are there no Korean bands here? Where is this cool Korean music people are talking about?”’

DFSB decided to take the matter into its own hands and, after studying other music promotion methods, decided to take Seoulsonic into the direction of group tours.

“Rather than have each act play on its own and get lost in the shuffle, we felt there would be strength and safety in numbers by bundling the bands together under the Seoulsonic brand,” Cho said. “All the bands represent a distinct style and flavor that show the diversity and dynamism of the AltROK scene.”

"It was never a matter of ‘if’ but more of a matter of ‘when’ Korean music acts would step onto the biggest music stages worldwide,” Cho said. “Spring 2011 seems to now answer the ‘when.’”

Vidulgi OoyoOPrevious Korean guests at the Texas festival are less optimistic about Western acknowledgement.

“Actually, there’s still not that much interest about Korea,” said Song Kyoung-kun of Gong Myoung, who performed at SXSW in 2009.

The group, who entered in the fest’s world music category, was featured on prevalent national radio network PRI during their stay in Austin, and regularly attends art markets in Europe to garner international recognition.

Though they often play abroad, Song said that many people still believe Korea to be somewhere between Japan and China, culturally. Indeed, this year’s SXSW will see nearly 20 bands from Japan and eight from Taiwan.

But whether it’s this year or not that Korea will rise from the trenches of the unknown, the experience for the collective bands touring will prove to be a learning one — particularly for other musicians here.

Lee Sang-yun, the drummer for Apollo 18 and the quietest of the three, said: “We want to go and show others that ‘Hey, we did it, so you can do it too.’”

Seoulsonic will hold a pre-tour party today at Club Mansion with Crying Nut, Rock Tigers, Telepathy and more. Visit www.seoulsonic.kr.

Apollo 18 will be holding a fundraiser concert at Live Club Ssam Feb. 26. To support their upcoming tour and catch guest performances by Art of Parties, Vassline, Smacksoft and others, visit www.ssamnet.com. Tickets cost 20,000 won.

For more information on EE’s upcoming show at Coachella, visit www.coachella.com.


Meet the bands

Apollo 18: The three-piece post-rock group will make you sweat, roar and jump in their intense live performances. Their DIY tour carries all the makings of a true band road trip, down to the scouring of Craigslist for empty beds and their enthusiasm for good eats while traveling the American South.

Galaxy Express: Arguably one of the more well-known indie rock groups in Korea, Galaxy Express has done it all: leave their record label, perform to thousands of fans at both Jisan Rock Valley Festival and Pentaport and, of course, won the 2009 Rock Album of the Year at the Korean Music Awards.

Vidulgi OoyoO: Literally translated into “Pigeon Milk,” Vidulgi OoyoO’s ambient, shoegaze rock will slip you into a rhythmic trance by the time you’re halfway done with your first drink. With such track titles as “Mosquito Incognito,” who wouldn’t be taken?

Idiotape: The pulsing electronics of Idiotape are irresistibly grabbing, with slow builds that reach a climactic intensity before falling back into a simplistic lull. Hints of disco funk add to the entertainment, resulting in an all out dance party.

EE: This art performance duo will not only don skintight costumes and sing in your face during their shows, they’ll make you love them. From residencies at the alternative culture space Platoon Kunsthalle to hitting up this year’s Coachella, this pair is not one to miss.

By Ines Min

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