Let me Tellier all about it

It’s not hard to expect Sebastien Tellier will assist you in getting tail. And I’m not saying it's for the first time in a long dry spell, I’m talking about being laid for the next 72 hours. I’m talking about dusting off the record player and closing the blinds for a few days. I’m talking about phenomenal neon cosmic orgasms and body melds like you’re fucking in a waffle-maker.

Mezzanine played host to the beginning of my Sexuality-inspired weekend with a man that is personified by the essence of pillowtalk foreplay and 80’s soft touch porno-pop-sex. As I slowly unzipped and opened myself up to new things, I heard men croon more than women, experienced wasted 20-something hipsters overexaggerate their relationship insecurities with “just pull out” inhibitions, all the while watching Mezzanine turn into a French bisexual disco Jacuzzi cootie party.



I don’t speak the French language, but I’ve always secretly wanted to be French. Screw Sylvester the Skunk, I’m the pastel blazer-wearing, true school electroblazing, Filipino version of Don Johnson from Miami Vice…but I’d have a Tagalog/French accent - find me as the token bad guy in the next Bond movie.

The song that really hit the G-spot at the Mezz show was “Kilometer” - filtered Korg synths missionary-style over Miami callgirl sex moans is WAY more amazing than His & Her KY Jelly.

Don’t get me wrong, the beard and Jesus locks make Tellier looks like The Dude or Tommie Sunshine; not so much the ideal “take me home cause I’m naughty type.” But game recognizes game, and even though Jenz thinks I’m lothario, Tellier's solar-shield sunglasses and charming French tickler persona gave me lockjaw. During track “L’amour et la violence,” I swear it felt like I was in the middle of a Power Exchange orgy. If you’ve ever been into American Apparel, where Tellier has his own line of V-neck hipster sex shirts, then you know what I’m talking about.

I’ve had Sexuality ebbing from my apartment since I got home Thursday night, and I’m sure I’ll be getting noise complaints from the landlord about how much my bed squeaks. The only time I saw the sun was when I turned on the weather channel to try and drown out my own verses to “Une Heure.”


Show review by Ryan Rosario

Photo thru Google

In his Relm

DJs are a lot more creative than people give them credit for. The shitty ones, of course, stand there and just pretend to do something (a la celebrities who think throwing on an iPod and hitting "shuffle" is sufficient). The more advanced use vinyl, mashups, stage antics and beer to make their sets stand out.

City native Mike Relm decided to go down the latter route while also throwing down his mixing skills live, in time, to video screens looming behind him on Friday night. Not a bad idea for one with nimble fingers.

I'll admit it is sort of odd to stand there and watch someone behind a turntable. I couldn't decide whether I wanted to dance or observe, but I was glad I did both. One of the things I like about Relm is that he seems to be and practice being a pretty cool guy, which includes intersplices footage of movies, videos, and random shit alongside his scratching; the infamous "O" face video did make an appearance as well as some homemade short films Relm did, communicating with audience via a tablet of paper and nothing else.

The dude definitely knows to mix; we heard some 90s grunge with some Ladytron, some hip-hop followed by indie, all done live in tune with the video images flashing around. Relm also dropped new single from his new album Spectacle called "Everytime" with the video he directed behind it. The slow-motion stop imagery, going backwards, and shot in a gorgeous black and white feel made it a neat watch.



Thanks for being a cool guy, Mr. Relm.


Photos by Kapshure/Berderp

GET SCHOOLED :: Sébastien Tellier

The 33 year old French multi-instrumentalist is no stranger to being erotic, from having fellow French friends like Air as well as making this year's album Sexuality, an "11-track meditation on lovemaking." After having his song featured in this year's Eurovision Song Contest (which is sort of like an American Idol between European countries), Tellier is landing in San Francisco Thursday, December 4 to bring his take on the new Parisian pop, as well as sitting down with us to talk about soft sex and V-neck shirts.

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Q: We are very thrilled to have you back in the States. I went into American Apparel a month or so ago and noticed ads for your new album, Sexuality. How did you get involved with the brand name to do a promotion which essentially released your album before record stores, [at] at a clothing store?

A: It was by chance. American Apparel and I share the same aesthetic for soft sex and easy color, and that links us with a similar philosophy. They even made a Sébastien Tellier t-shirt for me and started the promotion in July.

Q: I totally felt a perfect pairing. I have a bunch of friends who purchased the Sébastien Tellier tee. It's an ultra-deep V [neck], oversized tee, right?

A: Yes, you're correct.

Q: Speaking of your new album, Guy-Manuel de Homen-Christo [that also did Daft Punk] produced it. How did you connect with him?

A: Guy-Manuel is the best producer. He's really clever and doesn't use his brain when it comes to music; Guy feels the music. As for me, I'm a composer of the music and don't see some things that Guy does, so he's very good and does everything that I don't see. I'm a composer and I'm always thinking about the music from the beginning until the end of the day. It's always on my mind and he's a producer, always, and coming up with new things.

Q: He's brilliant, and your new album is great as well. Can you tell us about your live shows? Does it only feature you on stage?

A: It's a really intimate setting. I do have a band; there's four of us on stage. I've been on tour for the last year so this is a new band for this tour. I play guitar and channel. I want to see kisses in the crowd and have everyone excited to hear the songs.

Q: What about lights, visuals, projections? Do you have all of that stuff?

A: Lights are important to mood. We use soft pink lights that remind us of the 70's; it's a very natural setting, but also electronic. I want it to feel more real as if the spirit is "woody" so sometimes there's not too much light.

Q: Your video for "Divine" (which was also iTunes "Video of the Week" for New Music Tuesday) puts you in various venues like a library, liquor store, a ferris wheel, a police lineup. What was going through your head, or does it have meaning?

A: It wasn't trying to be hip; the video has no meaning. I just made it because I don't live just one life. If you're going to be happy, you got to live your life how you want to.

Interview by Shahim Ali

Pictures courtesy of management

MezzanineIV :: Identity crisis with the Dewaele brothers

Soulwax, aka 2 many djs, aka two dudes from Belgium, discuss the "painful" process in making their documentary The Weekend Never Dies, their remix superstar friends, and contest the notion of brotherly love.

SHOTS OF AWESOME :: Q-Tip

The gospel of Q-Tip, as caught by Kapshure at the R2K Sports Bounce tour.

"Sleeper Hits," by Ryan Rosario

Ryan Rosario reports on Saturday's Dirtybird show:

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After a serious herbal detox (not the drinking kind) from last Thursday night’s waxing, I plowed through for Saturday’s storm to catch Claude VonStroke and Switch blowout some bassbins. I’ve been a Dirtybird and Dubsided fanatic for a good minute, so my expectations of the show were that of a die-hard, dance-harder fan. I loaded my copper-colored Shuffle with all the songs that make me fidget, wobble, techno-juke, blip-slide, and ghetto-tech in anticipation of the night.

[VonStroke picture by Kapshure]

Now, I don’t know how many of you have been to a Dirtybird party in Golden Gate Park, or their occasional Friday night at Shine, but these guys bring it like a Benadryl and Vodka Red Bull uppercut in the gut. Techno squirrel squeaking on top of deep house baselines and sodapop drums at 130 bpm’s would make everyone from candy-ravers to hyphy soldiers bob their heads and tap their feet. Then there’s Switch, aka Dave Taylor, aka one half of Solid Groove, aka one half of Induceve, aka Modeler, aka shall I keep geekin’ out!?!

Nevertheless, Switch’s remix catalog is equally rivaled by his original production work with artists like Santogold, M.I.A., Diplo, Crookers, and fellow Dubsiders Jesse Rose, Sinden, Herve, and Trevor Loveys - all of which have been in SF over the past four months with the exception of Herve , who is yet to cross the pond.

By the time I reached the Powell MUNI station, the diphenhydramine and highball combo I consumed before leaving turned my reality into the music video for "Pest - Pat Pong (Solid Groove Remix)" as it was playin’ in my headphones. I walked into Mezzanine feeling like a wet dog on acid while anxiously anticipating the physical warmth from other bodies dancing the rain away.

SHOTS OF AWESOME :: Claude VonStroke

Captured by Kapshure over at Berderp. Can't you feel him feeeeeeeeeel the music?

GET SCHOOLED :: Claude VonStroke

Claude VonStroke is a busy cat. The Detroit transplant who cites San Francisco as home now is working on three separate projects while also balancing being a dad and a self-professed hater. But at the end of the day, it’s nice to see someone with a refreshing sense of honesty. Check out our Get Schooled edition with him below. Mr. VonStroke plays Mezzanine on Saturday, November 1.

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Q: Tell me a little about what’s on your plate at the moment.

A: For Mothership, we have a new album for Catz n Dogz for promoting. As for Dirtybird, we just got a new girl and her record is coming out in a couple weeks. I’m also working on an album, and Justin Martin has one too.

What is the process like for remixes? Do you approach that any differently?

Some people just try to do a different version of a song. I tend to make a new track each time. I go about it in the same way, though.

How did you make it out to the City? It seems San Francisco is sorta a long call from Detroit.

You know…I was dating this girl who wanted to move out here, and then she didn't end up going out here. [laughs] I didn't want to go back to L.A., and I didn’t want to go back to Detroit, so I stayed. I don’t know how I got out here sometimes.

With so much new music out there, how do you keep track of everything? Do you have friends or publications you have faith in?

Now it’s getting to be hard. We get over 100 promos a week and 30 download offers. It takes several hours of work. I try to listen to everything, but sometimes it takes me a little while. There’s going to be chances I will miss something. There are labels I usually trust, but with magazines, I don't really listen to at all [due to advance nature of reviewing releases].

On your MySpace page, you list yourself under “ghettotech.” I’m trying to wrap my head around that, especially since what I’m finding includes a lot of pornographic imagery.

It’s also a sound from Detroit that's usually called “booty;” it's just a style of music that is faster that my genre, but the beat of it is really funky in the pocket – big bass, the spirit of it…it's really dirty, yes, but it’s not only the lyrics, but the vibe on how the beats are done.

What can people who haven’t seen you live expect?

It kinda depends on how it’s going to go, what time I end up on. If I play before Switch, it will be one way; if I play after, I'll play another way. He plays gigantic, so I’m going to work with that.

What was the last song you got stuck in your head?

This track on Kindisch Records, “Thrill” by Philip Bader and Sascha Braemer.

So no, like, Hall & Oates or anything?

Oh, you mean regular music?

[laughs] Or whatever gets stuck!

Maybe Dora the Explorer – I hear it all the time with my two year-old around.

If you had the chance, would you pick a different name? Maybe VonTouch, or VonCaress?

It was just a total joke at first, but it caught on. My first track somehow got into lots of people’s hands and then I went with it. It's interesting how many Europeans don't get it, but people in America do it. Europeans really think it's a real name.

Is there anything you refuse to play?

Almost everything. I'm not even kidding. I'm really kind of a hater.

Really? [laughs]

There's just a lot of bad stuff that's out there. Less that half of one percent of it is good – and then maybe half of that. Certain bass patches – as soon as I hear it, the big room electro, [that] will just get shut off, I'll just put in the trash. Some people like it, but I definitely know what I like. I will go into any genre if the song is amazing, but I don't play any music that is bad.

Interview by Jenz

Pictures courtesy of Dirtybird

One year ago today

This hotness graced our stage:


WHERE HAVE YOU BEEN, PATRICK WOLF? I miss your face. And you subliminally humping shit. And even when you fight with Mika.

Photo courtesy of aidenbordner.

Oh man, I remember this

Our New Year's Eve party at end of 2006, entering good ol' 2007 - god, was that really two years ago I had a normal hair color? Wow. Sadly, I left after Scissors For Lefty and Shiny Toy Guns played, totally missing out on Blonde Redhead. I decided I wanted to be with all my friends instead of just one, and I and my friend Jeremy booked it from downtown to the outer Richmond, double-parked, and dashed up my friend Charlie's stairs at "SIX, FIVE, FOUR, THREE, TWO, ONE." Just in time. Crazy I even remember.

STG live shot courtesy of I-V.

Lasers! Yay!

MSTRKRFT last week in between strobing, taken by Kapshure over at Berderp. Sexy mouth on the monitor, no?

"MSTRKRFT - They're Safer Than Bees" by William Oliver Hart

We sent our good friend Will over to witness some lasers last week, and here is what he had to say.

There's plenty of things that want to kill you in 2008; terrorists, bored children, bees, the Chipotle Chicken Ciabatta sandwich at Jack-N-The-Box, that Black Hole Machine thing in Switzerland. MSTRKRFT don't want to kill you though. Thus begins my first blog for Mezzanine, entitled "MSTRKRFT - They're Safer Than Bees." I hope you enjoy reading this as much as I enjoyed writing this on the back of a paper plate at Fuddrucker's and giving it to my girlfriend to transcribe.

Seeing that I quit my job, I saw MSTRKRFT mid-week. Really, what else am I gonna do with my free time? Get kicked out of the library some more? Please. Annnyways, the two opening DJs, Congorock and Felix Cartel, both subscribed to the same vague aesthetic of EVERY SOUND EVAR (car alarms, sirens, the cries of hungry babies) that has the potential to be the crux of some hardcore booty-quaking dance anthem. This, like anything else cool, kind of requires a sort of Kirkegaardian leap of faith to appreciate.

When MSTRKRFT hit the stage around midnight-ish, it was totally satanic panic. Do you think you like lasers? MSTRKRFT like lasers at least 5,000 times more than you. MSTRKRFT sounds like lasers. Okay, imagine Xanadu plus rave-action, divided by American Apparel, times epilepsy, and you might have an idea what the MSTRKRFT experience entails. Let's just say I'm pretty sure that the people that decided not to gorge themselves on Dimethyltryptamine before the show felt pretty solid about their decision. It could've been a bad scene. Not surprisingly, these brosephs' mastery of iconography probably rivals their oft-cited peers Justice, but it's not exactly surprising, seeing that a KRFTR himself, Jesse Keeler, cut his teeth with Death From Above 1979, a short-lived band whose music is wholly forgettable but whose striking elephant-schnoz imagery from their first CD is forever burned into my brain. Oh, and I think they had some sort of semi-epic beef with DFA stalwart Jamie Stewart 3 years ago. I remember thinking, "This could be a dance-punk Jay-Z versus Nas." But alas, no cool dis songs were produced. We all lost.

Wait - what was I talking about? Ah, right.

There is a sort of hamfisted horror show schlock to MSTRKRFT's presentation, from the Jason mask imagery to the blatantly metal (re: verging on illegible) font that proudly adorns a grip of their new merch. Their face-melting brand of electro strum und drang is offset perfectly by videos of explosions, fire, guns, and boobs, a display that is artsier than I'm letting on, and that I can assure you is supposed to be postmodern. But like their music, it works just as well (if not better) on a very superficial level: it's all icing, all the time. Subtlety is cruel mistress. These guys probably get super pissed when they're bored. I've never heard MSTRKRFT outside of a live setting, and I can't help to feel that you'd be missing the point if you just listened to them otherwise. Omygaw, I just noticed we have a Pitchfork link. Seriously, guys?

Who are you people?

Making the dance floor shake under my feetsies and having a raucous time at 12:30 in the A.M. on God's day...

Shame on you.

But seriously, how fucking phenomenal was last night's show? I swear to God I'm gonna marry an Australian. In Ghost Colors is one of my favorite albums of this year, and Cut Copy killed it. Haters aside, beezy. Plus, I think my ears are still ringing from The Presets' bass-heavy, drum-drooling "My People." How do two dudes make so much noise between them?

Let's not even talk about how ____ Heartbreak was. I'm still recovering.

More commentary to follow, but here are some snaps we found over on Flickr:

From MakeYouSick:
The Presets

Cut Copy

From Ario:
Cut Copy

I was standing about here, and the sound still was seamless. Bravo, dear Aussies.

I almost took off my clothes

So before I get into the insanity of this weekend, I'm going to gloat (I mean, be extremely modest): I already had tickets to see Janet Jackson of the Saturday of Mezzanine's Nelly show, but as we all know, it was canceled so that dude could open for her in Oakland. And let me tell you - I could see that guy's pecks from a mile away (well, the back row of section 105 at least). No "Country Grammar," but "Hot In Herre" is still a fun jam to visualize getting naked too, as evidenced by a crazy old white guy in a pinstripe suit who was dancing to this song in front of us.

Nelly also came on stage with the Goddess herself to do their duet "Call On Me," and they hugged after. So cute.

The Treasure Island Music Festival this past weekend was a success - I danced, I drank, I rode a fucking Ferris Wheel. I also met my new boyfriend:



Isn't he adorable? You can read more about that here if you're inclined.

The free afterparty at Mezzanine was really late, I admit, but I think worth it: I got to hear "Cassius" by Foals a second time, and my friend Morgan got a really nice screenprinted T-shirt outside in the smoking area, courtesy of the folks over at Antics. We were only able to stay for a song or two of Tilly and the Wall, as our healthy and nutrious dinner of Del Taco was starting to catch up to us. And, I still think "The Beat" sounds like Gloria Estefan being contracted to write a song for Disney. Does that make it bad?

Partying with hippies and bowlers is actually more fun than you think

Herro! I'm back, lovelies. Apologies that it's been a bit quiet around the Mezzy bloggy, I stalked some band for a while and just am now over my birthday hangover. Will you take me back?

Of course you will. You need a drinking buddy.

So! Saturday! Power to the Peaceful afterparty! I knew I should have eaten that special truffle before I went over. But seriously, even though I was one of the few people who'd actually washed their hair that morning, I was really pleased to see everyone having a wonderful time. I saw lots of people hugging, dancing, drinking, and trying to touch those blown-up balloon creatures that were perched on the rafters. And while I can't say I have a full discography on reggae and jamband music, I was also pleasantly surprised to really like Michael Franti's Spearhead and All-Star Jam Band - I just couldn't do the 19-minute guitar solos. I felt like partying and falling asleep simutaneously.

Kinda hilarious that the night before was the big Lebowski party, no? I wonder if the bar staff ran out of White Russian ingredients. There would have been mutiny.

Anyway, if you have any pictures, stories, love letters, or snips to gripe with me on, send 'em my way to jenz.mezzanine@gmail.com. There's lots in store in the next few weeks on the blog...keep your eyes peeled for free stuff (yeah, I said it).

The Human League is still, well...human + Hey British guy, way to be lame

I was pleasantly surprised to discover that the dude of THL still sounds excellent live. And although I completely was the youngest person in attendance at Mezzanine Saturday (seriously...), I will always love "Human" unconditionally because it sounds like a love song and dancefloor anthem mashed together accidentally, and it was so completely perfect that it was the song that played as I walked up.

Iconic gems like "Don't You Want Me Baby" and "Fascination" also still are superb in all its synthpopnuwavetastic glory. And although the lineup as changed throughout the years and the art of the blips of synth has evolved, the Human League still showed me that my The Ladytrontatat Faints Chip would not exist without them. Plus, blonde backup singer Sharon was so fucking sassy with her sequined dress, I wanted to put her in my pocket.

But the highlight of the night was at the bar; being hungover as hell from the previous night, my friend Vroo and I ordered orange juices to sip on as we took a break from the dancing that started after The Human League took off. We got approached by a tall Brit in a suit who began working out his lines, and as I was trying to politely tell him we weren't interested ("Hey...it's a valiant effort, man, but no thanks"), he insisted he was actually trying to set us up to get to meet his friend. Having never been subjected to a wingman scenario, my interest was piqued and I nodded to have him bring his (presumably hotter) friend over.

"No, really! He's very cool, I think you'll like him. Be right back," he insisted. The Brit then grabbed Vroo and I's shoulders to face the wall, and we waited in silence side by side before we were tapped on the back to pivot around.

It was the same guy.

And I couldn't help but laugh.

Hysterically.

The Brit looked mad hurt, and leaned in between us with his arms around us as his face fell rapidly.

"Are you fucking kidding me?" I asked as I wiped tears away. "That was the worst set-up ever, dude."

"What's your comeback?" Vroo inquired.

The Brit seriously stood there for about 15 seconds and then said, "I don't have one."

Burn!

Maybe he listened to "Human" too many times...

Is the Dirty South still dirty?

We just announced the Nelly show in September (on a Saturday, no less - party on, Wayne) - does this mean I have to go buy a box of new white Band-Aids? Wear jerseys in the middle of SF's Indian summer? Or should I just take off all my clothes?

So many questions...

If you go to his MySpace, you'll see an uber-classy picture of said man in a slideshow of pictures of him in front of a bridge, reclining on a chair, and these sweet superghetto spotlights moving back and forth about as fast as caterpillars. Very excellent.

And although I'm not sure I can fully endorse someone with such bad takes at spelling, look at those "knuckles" on the 'Space that are being used to represent Nelly's aptly-named Brass Knuckles tour; are they diamond-encrusted? Super ass shiny? Topaz?

So many more questions...

I'm so fucking excited about tonight - also, thanks Oprah!

Mr. Thicke, please don't be upset I said these things about you...

EXCLUSIVE :: Interview with Andy of Hercules and Love Affair

Look at this! A brand spankin' new feature of wonder!

And what else you ask? Why, a new YouTube channel full of derangement and love. This will be the spot for interviews, audio clips, your bootlegs, and all kinds of unknown fun. Bookmark us - you may see yourself one of these days in the crowd.

Our first interview for MezzanineTV is here; check it out!

Lasers?? Where??

I will be the first to admit that music without vocals never used to tickle my fancy. I grew up on a plethora of music (classic rock, alternative, country, R&B, hip-hop, rap), but the farthest extend to my exposure of voiceless pieces was when my dad would play this album during Christmas. Tragic.

(Actually. I have fond memories of that composition...sorry Dad.)

It wasn't until I took some music courses in my first year in college that I really gained a huge appreciation for opera and classical music, even seeing Philip Glass three times in one weekend (cue nerd music, I know). Since then, I gotta hand it out to musicians who create in a variety of mediums and with instruments-or-not, and even to the DJs who tour exclusively just to mix beats live.

Two of my favorite albums this year, Ratatat's LP3 and the soundtrack to The Assassination of Jesse James by the Coward Robert Ford (done by Nick Cave and Warren Ellis), are all noise and no vox. I am pleased to add Booka Shade to that list of favies, because German homeboys threw it down two weekends ago. I've struggled with how to write a review for them (how to describe two dudes on stage...hmmm); but I think to say that I walked in with no reference to the duo and walking out a fan is enough. Thankfully I had my good friend Charlie to provide me with hilarity and background ("These guys are like the Michael Jackson of German techno"), and we danced the whole time to the sounds of Water and Arno. Some highlights from the guys:

• Beating the shit out of a drum kit that looked like they picked up for Rock Band at Best Buy
• Hiding behind a DJ booth with what looked like a call center service rep's headset
• Lots of fist pumping
• Lots of jumping
• German accents

Also, when we walked in, there was a sign posted on the Mezz door that stated "Please note this show will have lasers." I don't know about you, but any show with some fucking lasers has got to be good.

And completely gratuitous, but here is what I thought the whole time because of that sign:

Booka, please be my boyfriends...