289 Kent Avenue
Brooklyn, NY, 11249
Doors 8:30 PM
This event is 21 and over
If you'd spent the last few years of your life wrapped up in an album like Star Of Love, you'd go looking for a little respite, too. Crystal Fighters' debut was the product of minds made manic by a deluge of fresh experience, both in the studio and on the road. It was inspired by an opera written by a man whose sanity disintegrated before he could finish it. It seemed to be influenced just as much by traditional Basque music from the 18th century as it was modern-day clubland, and contained residual traces of every genre, scene, style or party that had existed in-between.
But if album one was the sound of haywire electronic loops frantically kept spinning like plates on sticks, then album two is the story of Crystal Fighters mastering control of those rave repetitions, withdrawing from the chaos of the club to carve their music into the shape of songs.
To write the album, Crystal Fighters retreated to the Basque hills that they consider to be their spiritual home. Their music has always born traces of the local sound –traditional instruments like txalapartas and txistus vying in the mix with razor's edge guitars and percolating techno synths – but the purpose of this mission was different. Immersed in their creative cradle, they wanted to tap into something beyond their immediate experience, to uproot themselves from temporal bounds in order to write timeless songs.
These methods proved to be spectacularly successful – Crystal Fighters wrote Cave Rave in its entirety during this two-month spell. There followed a quick detour to Los Angeles to produce the tracks, but after this it was still the songs written in the Basque country that remained most audible – only now the melodies found there had been sharpened into hooks, songs exploded into towering anthems. This revelatory process also exposed the band to a new way of thinking: a realisation that even the cultures they considered traditional are comparatively new. The album draws deeper into universal, history-permeating themes of love, death, insanity and hope; using Basque culture as a stepping stone backward to the spiritual and primal.
The musical influences have widened too. Star Of Love was a manic, genre picking rush yet Cave Rave expands the sound palette even further. The beating hearts of Hispanic and African dance and Mexican electronic music 3bal now sit alongside folk and psychedelia, each artfully interpreted and united by the band's unconfined vision.
If Crystal Fighters have surrendered to the power of the song, they haven't run up the white flag in terms of energy. What's here is still an adrenal rush, and there is an awful lot here: the grandstanding of American road rock, the sweat of disco, the fervent initiative of punk, the house of Iberian twilights that anticipates everything coming very soon, all at once. What's changed is Crystal Fighters' ability to control those surges – and as such Cave Rave feels a considerably more thoughtful and contemplative album than its predecessor.
Nevertheless, it has at its heart the same tension that provides all great records their emotional traction. Sebastian Pringle, Gilbert Vierich, and Graham Dickson are the three core members of Crystal Fighters, around whom a larger cadre of vocalists and instrumentalists revolve. They're the kind of people whose brains seem to be bubbling pots, all intensely preoccupied with anthropology, time travel, spirituality and their place in the universe, even as they're attempting to create the kind of cohesive sonic pieces that really connect and move people. They seem passionate about creating music that can make people dance, but that is equally adept at finding its way beneath a listener's skin.
With Cave Rave, they Pringle, Vierich and Dickson have managed just that. The melodies, hooks and refrains of the album are so compelling it's almost as if Crystal Fighters had to devise them simply to navigate a way across the landscapes of their own avid genrelessness, to remain as masters of music that itself seems to be a disputed territory. Here you have a band hell-bent on locating their own musical heaven, a place beyond petty genre parameters, where all that remains, finally, is song, rhythm and sentiment, bursting in vivid colour from the dark of the silent Basque night.
Lemonade formed in San Francisco, initially crafting visceral, psychedelic and vaguely tropical musical journeys that pulled from the group’s myriad influences. In 2010 they released Pure Moods as an effort to steer their schizophrenic palate through pop waters. Combining warped rave, R&B, grime, a variety of global rhythms, and other styles too numerous to list, the record was an important stepping stone for an act only beginning to discover the emotional potency of out-and-out pop songwriting. Two years later, that transformation was complete with Diver, showing Lemonade operating as a focused unit, one more interested in speaking to your heart than blowing your mind.
Lemonade now return with their third studio album, Minus Tide, which finds inspiration in the beloved 80’s sophisti-pop of Prefab Sprout, the melodic ambience of Gigi Masin, the Ibiza-informed electronic forays of Primal Scream and the windswept, Balearic disco of mid-2000’s Gothenburg heroes, Studio. The band’s serene, cerebral sounds have reached a new apex on Minus Tide – the songwriting undeniably more mature and sophisticated. Still living in North Brooklyn and contributing to the community’s cultural patchwork, a sense of urban-itchiness is present in the music, as well as a growing environmental concern for the coastal regions of their Bay Area youth. Additionally, Minus Tide is a celebration of all forms of wanderlust and the eternal pursuit of pleasure through exploration.
Lemonade is Callan Clendenin, Ben Steidel and Alex Pasternak. Minus Tide is out September 9 on Cascine.