Future Islands + Javelin + Ed Schrader's Music Beat: 25 October 2011 - Washington, D.C.

Baltimore's Future Islands -- one of the greatest live bands around -- triumphantly kick off their fall tour with a barnburning set at DC's Black Cat.

It’s been wonderful watching Future Islands climb the ranks of DC music venues, playing to larger and larger clubs with each consecutive tour. From starting at house shows and tiny rooms like the Red Palace, to the coup of moving from the Black Cat’s backstage to its mainstage in one fell swoop, the Baltimore-based trio finally seems to be getting more of the recognition it so clearly deserves. The band played its largest headlining show yet in the nation’s capital on October 25th, 2011, at the venerable Black Cat’s mainstage.

Baltimore cohorts and friends Ed Schrader’s Music Beat began the night, entertaining a small, early crowd with its stripped down, minimal no-wave. Schrader stands before a floor tom, illuminated by a light within the drum, banging out brutal rhythms, while Devlin Rice provides scuzzy accompaniment on bass. Schrader’s voice alternates between a low, Ian Curtis-esque bellow and a frenetic bark that recalls Andy Falkous of McClusky and Future of the Left. In other words, this is aggressive music, even in its quieter moments. The duo blasted through a large number of songs, most hitting under the two-minute mark. By the time it finished its set, the crowd around the stage had grown significantly as people abandoned their barside seats to see who was responsible for the noise onstage.

Brooklyn’s Javelin, Future Islands’s Thrill Jockey labelmates, are on the rise as well. Another duo, cousins Tom van Buskirk and George Langford play a brand of electro-pop that lifts from contemporary R&B and indie synth-rock in equal parts. Its live set-up is impressively eclectic: drum-pads and synths intermingle with a dizzying array of pedals and what looks like a kazoo jury-rigged to a mixer. Javelin features, yes, a white guy rapping -- but stay with me, here. First, think less Marky Mark and more Girl Talk, but a more interesting version of the latter. Now, go ahead and think Marky Mark: the band’s “Vibrationz” self-consciously recalls The Funky Bunch’s contributions to the world of the early ‘90s, and the rapping that happens onstage is a means of live remixing. Bits of Jay-Z, Lil Wayne, Beastie Boys, and Ludacris pop up above Javelin’s sunny melodies and massive beats. But unlike supposed mash-up wizards who merely cut-and-paste seemingly disparate tracks together, Javelin creates entirely new songs out of this source material. You wouldn’t know “Sabotage” is happening, unless you pay enough attention to pick apart the lyrics; otherwise, the song onstage could be another in Javelin’s apparently endless supply of breezy, carefree summertime jams.

When Future Islands took the stage, the crowd surged forward. You can’t blame them -- anyone familiar with the band’s live show knows the place to be is as close to frontman Sam Herring as physically possible. The silver-throated vocalist brings a physicality to his shows that is absolutely contagious and unforgettable. He slaps himself in the face, throws his sweat onto the audience, punches at the floor, springs from a crouch to prowl like an animal around the stage -- all in the same verse. The guy is a born performer, a natural frontman. His presence, thick and stocky like a young Brando, would be almost frightening if it weren’t so immediately apparent that Herring is having fun exorcising his demons onstage. Between songs, when he bursts into a belly laugh, he reveals the sweetness that makes him so likeable to roomful after roomful of complete strangers.

Future Island’s latest record, On the Water, has garnished gushing praise from critics and fans alike, and the band’s set relied heavily on that new material. It has been playing these songs live for quite a while now, with “Before the Bridge” and “On the Water” live staples long before they saw release. Still, Herring and his bandmates, keyboardist J. Gerrit Welmers and bassist William Cashion, play these tracks as if they’re brand new, not losing a lick of passion or drive. The trio opened the set with On the Water’s stately, restrained closer, “Grease”, allowing Herring to warm up the crowd with his theatrical gestures and maniacal grin.

Fan favorites “An Apology”, “Inch of Dust”, and “Long Flight” -- all from the band’s breakout record, In Evening Air (2010) -- followed next, in close succession. “Long Flight's” place early in the setlist was particularly revealing; a year ago, the band would’ve waited until the end of the set to play the song, its most cathartic and one of its most famous. Future Islands believes in its new material enough to let the songs bear the weight of a live show. And rightly so -- tracks like “Before the Bridge” and “Balance” brought the crowd to a sweaty, bouncing furor just as well as anything the band played. However, it was during the quieter songs from Water that the band’s new level of confidence and accomplishment really came to light.

On record, Wye Oak’s Jenn Wasner joins Herring in a duet on “The Great Fire”. At the Black Cat, Herring took on both vocal parts, hitting Wasner’s high notes with thrilling results. Similarly, his voice shined on the quietly epic “Give Us the Wind” and the unreleased favorite, “Tomorrow”. Herring always brings an even more dynamic touch to his vocals live, growling more deeply and shooting for the rafters more readily, but his voice sounds better than ever now. It’s the sound of a man feeling completely at ease with his instrument. He and Future Islands have achieved a level of steady brilliance most bands never reach. Live, the band communes with its audience: join us in all this sweat, they say, and we will repay you times ten.



An Apology

Inch of Dust

Before the Bridge

Long Flight

Walking Through That Door


Give Us the Wind

The Great Fire

Close to None

Tin Man


Old Friend

Vireo’s Eye

The Happiness of Being Twice

In the Fall

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

Next Page
Related Articles Around the Web

Subverting the Romcom: Mercedes Grower on Creating 'Brakes'

Noel Fielding (Daniel) and Mercedes Grower (Layla) (courtesy Bulldog Film Distribution)

Brakes plunges straight into the brutal and absurd endings of the relationships of nine couples before travelling back in time to discover the moments of those first sparks of love.

The improvised dark comedy Brakes (2017), a self-described "anti-romcom", is the debut feature of comedienne and writer, director and actress Mercedes Grower. Awarded production completion funding from the BFI Film Fund, Grower now finds herself looking to the future as she develops her second feature film, alongside working with Laura Michalchyshyn from Sundance TV and Wren Arthur from Olive productions on her sitcom, Sailor.

Keep reading... Show less

People aren't cheering Supergirl on here. They're not thanking her for her heroism, or even stopping to take a selfie.

It's rare for any hero who isn't Superman to gain the kind of credibility that grants them the implicitly, unflinching trust of the public. In fact, even Superman struggles to maintain that credibility and he's Superman. If the ultimate paragon of heroes struggles with maintaining the trust of the public, then what hope does any hero have?

Keep reading... Show less

The Paraguay-born, Brooklyn-based indie pop artist MAJO wraps brand new holiday music for us to enjoy in a bow.

It's that time of year yet again, and with Christmastime comes Christmas tunes. Amongst the countless new covers of holiday classics that will be flooding streaming apps throughout the season from some of our favorite artists, it's always especially heartening to see some original writing flowing in. Such is the gift that Paraguay-born, Brooklyn-based indie pop songwriter MAJO is bringing us this year.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.