ALISA NIZHNIY
ALISA NIZHNIY COVERS HARD FESTIVAL FOR FLAUNT.COM
FLAUNT.COM
MUSIC: HARD
November 1, 2009
TEXT BY ALISA NIZHNIY
"This past weekend, the Nitrus folks proved that despite strict city codes and regulations, among other modern obstacles, the “let’s blow it out” attitude prevails, and they still throw a remarkable party."
This Halloween in L.A. had a lot of young electro fans hesitating, “Do I see Deadmau5 and Justice at HARD or Felix Da Housecat and Crystal Castles at Monster Massive?” Kids were frantically trading tickets as final set times were being distributed outside the neighboring venues on Saturday night. HARD Haunted Mansion 2009, the 2-day electronic music event presented by Destructo’s record label Nitrus, went all out, directly competing against well-established Los Angeles promoters Go Ventures of Monster Massive.
HARD was founded in ‘07 by the accomplished ‘90s rave promoter Gary Richards (aka Destructo), who was responsible for throwing some innovative parties, including Rave America at Knotts Berry Farm in 1993 (40,000 kids + 7 stages + fireworks) and the rave at Wild Rivers water park.
Regarding Rave America, Richards told Spin Magazine in 2001, "The scene was getting too commercial, getting the wrong elements, the wrong vibes. I decided to have one last hurrah and just blow the whole fucking thing out. I’m like, ‘Fuck it, let’s get cheesy, and if it’s going to be cheese, let’s make it fucking Velveeta.’” Last weekend, the Nitrus folks proved that despite being bound by strict city codes and regulations, among other modern obstacles, the “let’s blow it out” attitude prevails, and they still throw a remarkable party.
Gina Turner (pictured left) and Louisahhh of Staccato were dressed to kill in leather and lace, launching the evening with a seamless set of minimal techno and tech house, which was a pleasant departure from the norm on Friday, a night that seemed to be overfilled with safe remixes of beloved American pop hits.
Known for their mash-ups, 2ManyDJs (aka Soulwax) played remixes of the Gossip, the Eurhythmics, MGMT, and the Clash’s "Rock the Casbah." Photo by Timothy Norris.
A-Trak’s (pictured left) energetic performance carried heavy crossover appeal, from ‘90s hip-hop to a fresh remix of the hook from “Show Me Love” by Robin S. A-Trak completed the set with his (amazing!) remix of “Heads Will Roll” by the Yeah Yeah Yeahs.
The Bloody Beetroots (Dim Mak), masters of side-chain compression in the name of bass saturation, blasted layers of noise, flipping frantically through their CD books to plug the next track, which was generally indistinguishable from the previous, due to the deafening volume of their set. “Did that dude in the mask just spill a beer on his audience? Oh my God. He just spilled his other beer on the audience.” I was mobbed by jumping, shrieking teenagers who worship the Bloody Beetroots for their punk inclinations. I have to give props to the younger generation for its obsessive devotion to music that is entirely void of lyrics. The Bloody Beetroots particularly charmed me when they dropped a Proxy track.
Nuelectro French touch producer Danger (Ekleroshock) played a whimsical DJ set filled with chiptune-inspired arpeggios, bright, textured, modulating, ‘80s synth pad arrangements, and peculiar yet perfectly aligned beat drops, “11h30” being the most exciting. Danger also played at Control at Avalon in Hollywood on October 30, along with Hot Chip, and Drop the Lime.
The duo Classixx (pictured left) set was slower-paced and dreamier than most, filled with symphonic pads, signature pre fader reverb breakdowns, and a memorable drop of Fred Falke’s “Golden Cage” remix.
Shinichi Osawa (Southern Fried UK, Dim Mak US, Avex JP), the outstanding, 80s new wave-inspired producer was greeted with shrieks from a concentrated group of loyal admirers, myself included, as soon as he triggered the first kick drum. His set consisted mostly of tech house and hard techno and signed off with fast-paced electro. Photo by Timothy Norris.
The king tastemaker himself, Dim Mak label owner Steve Aoki, wore a mummy mask around his face that kept unwrapping and eventually got caught in the turntables, which only added to his set’s authenticity. He played a remix of NASA’s “Gifted,” which I experienced while dancing in a clear paper tent structure that was created by the Fantastic Nobodies (pictured left). Bird feathers formed a layer on the floor, severed limbs were handing from chains and seemingly floating, and a busted, green piñata was positioned on a table in the center of the tiny, fog-loaded, strobe-lit space. Aoki dropped the track “Right Hand Hi,” and Kid Sister delighted the crowd with a performance, wearing black leggings made entirely of sequins, in case anyone’s wondering. Photo by Timothy Norris.
Modeselektor (Bpitch Control) blasted edgy and outrageously resonant bass lines (I like them too much!), playing the final set of the weekend on the HARD stage, with visuals by the Fantastic Nobodies (including the official video for “Art&Cash”). Photo by Timothy Norris.
Headliners Justice (Ed Banger Records) and Deadmau5 (pictured left) impressed everyone with their highly anticipated sets and extravagant systems of colored lights. Photos courtesy of Timothy Norris.
Last but not least, remember - events like this are so popular and so busy that you will have to make some wardrobe sacrifices and style compromises. Things that may cause you to have issues with beefcake bouncers at concert entrances include glow sticks, purses, and overall just things that boys with big muscles (and their bosses - the concert administrators and managers, as well as venue owners) forgot about, don't like, or can't understand. Remember - their job is to protect you, among other things.