Gigamesh, Psychic Twin
Wed, November 30
Doors: 7:00 pm9:30 Club
STRFKR - (Set time: 10:00 PM)
Being No One, Going Nowhere. The title of STRFKR’s fourth album may seam bleak at frst. But hold it in your head a minute, feel its weight, and you may recognize the phrase for what it is: a goal. In the era of the personal brand—amid the FOMO Age—it’s increasingly hard to shed a stifing sense of self, or to just be in the moment that you’re in. Well, consider this an invitation to get blissfully insignifcant. That’s what STRFKR founder Joshua Hodges aimed to do when he exiled himself to the desert to create this record, but he returned with his most signifcant work yet: a set of darkly glistening dance songs rife with sticky beats, earworming hooks, philosophical heft, and bittersweet beauty.
The album opens on “Tape Machine,” and the difference is readily apparent. On 2013’s Miracle Mile, STRFKR refned a full-band sound, but this doubles down on and completely reimagines the project’s electronic and pop roots. The initial synths could fuel a rave, and the ensuing groove could score a Drive sequel, but the song is richer still, with cosmic effects fying overhead and a psych-folk earthiness below. It isn’t that the band sat this LP out—drummer (etc.) Keil Corcoran penned the thick astral disco of “In the End,” and he and bassist (etc.) Shawn Glassford both pitch in throughout. But Being No One, Going Nowhere was born in Joshua Tree after Hodges packed up his Los Angeles apartment and moved to that tiny Mojave outpost under the great big sky. “It came together for me in the desert,” he says. “Out there, it’s easy to feel small and slow.”
When Hodges started STRFKR in 2007, it was designed to be success-proof. The name was both unft for radio and a jab at fame-chasers. But the project was also meant to be bright, playful and brimming with energy. He stumbled upon a winning juxtaposition that’s a STRFKR staple to this day: dark (or heavy) lyrics set to happy music. Hodges credits that to Elliott Smith’s infuence, although Being No One, Going Nowhere has closer sonic kin in Italo-disco, kosmische musik and Tony Hoffer’s work with Phoenix, Beck and M83. English thinker/writer Alan Watts, a scholar of Eastern philosophy, was another muse for Hodges—his voice appears on nearly every STRFKR release, including this one. That’s him on “interspace,” talking about sloughing off preconceived identity to fnd one’s place in the universe, which is the story of Hodges’ eventual career: stop trying—no, start not trying—and succeed.
This album’s name actually paraphrases the title of a book by Ayya Khema, a Buddhist nun, but the concept came to Hodges in a less chaste setting. “I had an experience at a BDSM club that was really freeing,” he says. “I realized that the appeal is letting go of your mind and stress. You can be super present with the pain, and then the pain isn’t even pain. It’s a gateway to freedom.” In a way, each song on Being No One, Going Nowhere seeks that end. There’s the reality-refracting fantasy of “Never Ever,” the hard truths about addiction’s ravages on “Tape Machine,” a death-defying coming of age tale on “Open Your Eyes,” and references to Hermann Hesse’s 1919 novel of self-realization, Demian, on “When I’m With You.” If the words don’t set you free, the music—exuberant, enveloping, incredibly catchy—should do so handily.
None of which is to imply that STRFKR is drifting along aimlessly. To the contrary, Hodges crafted this album’s dance bent with the stage in mind. The live setup these days includes a custom-made LED wall and a homemade light show that syncs with the rhythm of the songs (also, the occasional crowd-surfng astronaut and band-in-drag). Plus, he camped out at the house of producer Jeffrey Brodsky (Yacht, RAC) for a week and a half, working all hours to ensure Being No One, Going Nowhere sounds as crisply booming over PAs as it does in headphones. Even if Hodges is too busy pushing the future of indie dance-pop forward to possibly attain his goal of unplugging, his aspiration is everything: “Existing is it. This moment is enough.”
Gigamesh - (Set time: 8:45 PM)
Matthew Masurka was lucidly dreaming one morning in high school as Prince’s sonic masterpiece, I Would Die 4 U, danced from his clock radio and embedded in his soul. Already an avid music-lover, it wasn't until that pivotal moment that Matthew began to channel his nascent love into what would eventually become the alias for which he is known the world over, Gilgamesh.
A Minnesota native, Gigamesh couldn't resist the infectious influence of the Minneapolis Sound. He even briefly interned under the tutelage of one of Prince's engineers, an experience which helped him acquire additional tools he needed to perfect his synth-driven style. In addition to classic pop, his early influences included Daft Punk, The Chemical Brothers, DJ Shadow, Aphex Twin, and Radiohead.
After graduating with a bachelor's degree in music, Gigamesh released a series of popular bootlegs. His first paid project, a remix of Mike Posner's Cooler Than Me, peaked at #6 on the Billboard charts and made Gigamesh a two-time, multiplatinum-selling producer in the process. With the wind in his sails, Gigamesh went on to make other viral remix hits for artists like Radiohead, Fleetwood Mac, Foster The People, Donna Summer, and several others. He also produced two critically acclaimed EPs: the self-titled Gigamesh on Our Label Records, and All My Life on Kitsuné. Fast forward to 2015, and Gigamesh was lighting up the airwaves again with his euphoric cut, The Music, following it up with a Caroline Smith collaboration on Control.
Gigamesh is now set to release his debut full-length album, Time Travel. Due later this summer, the long-anticipated LP will introduce fans to a more expansive and modern musical palette. Liberated from stringent genre categorization, Time Travel infuses a variety of electronic styles underpinned by classisc song structure and lyricism. It promises to be Gigamesh’s most exciting and multi-faceted pieces of work to date.
Psychic Twin - (Set time: 8:00 PM)
In dreams, we rarely know what we are running from or toward. We only know we must keep running, continue searching. Psychic Twin’s debut album, Strange Diary, lives in that state of surreal urgency. What’s in front of us or behind us can’t be described, but we are sure in our bones that what we are searching for exists just a few steps away. These songs are “dreamlike” in a more fundamental sense than that overused descriptor implies. They reflect the emotionally arduous and unpredictable journey that singer, songwriter, and composer Erin Fein took to creating them.
The making of Strange Diary spans four years and two states. Fein began writing and composing solo material in Champaign-Urbana, Ill. amid the dissolution of her marriage. Following the divorce, she relocated to Brooklyn, N.Y. and continued to write and record-despite lineup changes and the lonely disorientation that comes from shedding an old life and starting over. The album contains songs written before, during, and after the divorce, from both New York and Illinois. The subject of each song is an unnamed “you,” who she alternately pleads with and flees from. “These songs are 100% a diary of my life over the last four years,” says Fein.
Today, Psychic Twin’s evolution includes drummer Rosana Caban and Fein’s absorption of several sources of inspiration. While rooted in the avant pop of The Cocteau Twins, Siousxie, and Annie Lennox, contemporary production flourishes lend each song the clarity and buoyancy of modern pop. The music balances languid, dark melodies and atmosphere with propulsive rhythms and soaring vocal lines. It’s beautiful and catchy. It’s like the sound of someone reaching the end of that dream, finding what they’ve been searching for through all the haze.
815 V St. NW
Washington, DC, 20001
815 V St. NW
Washington, DC, 20001