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“Nothing stays the same.”Īnd don’t be surprised to see him out on the floor, recharging with the crowd. Cave is that, in its long run, “The Let Go” can be transformed.
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“I want a hug!” he called as the Soundsuited performers filed past him. “It’s magical.” At a rehearsal earlier in the week, attended by schoolchildren, there were cartwheels and chants of “rock it out!” A 9-year-old Brooklyn boy named Jayden showed off a fast move he called the Twister, which he created for the room (another was inspired by Fortnite, the video game). “We wish all openings were this engaging,” said Juan Hinojosa, a mixed media artist, as the tinsel curtain twirled past him and a friend. On Wednesday night, well-heeled patrons and young creative types declared themselves dazzled. “I had this woman who was like, ‘I can’t dance, I can’t dance,’ and I said, O.K., can you walk with me? We walked around the Chase, and I took her hand, and we were laughing by the end.” “We want to include all people, even people that are shy,” she said. Harper, the movement director, created the “Let Go” line dance and a few other distinct phrases, she also wanted her dancers to improvise, and stay connected to the crowd. In “The Let Go,” the colors of the curtain, which he titled “The Chase,” represent gay pride and minorities being chased by police. Cave, a gay artist whose projects have recently become more personal - he also has an exhibition, “ Weather or Not,” at Jack Shainman Gallery in Chelsea this month - can sneak depth into even the most lightweight elements of his work. HATED: Soundsystem was suffering a little by the end of the night.Mr. The token chant for an encore is short-lived but a guy up the front echoes my sentiments when he yells, “Seven more songs!” But the stage is quiet and we all slowly exit the foggy cave of the Workers Club bandroom. Then he leaves the stage with as little fuss as he entered, while we whistle and applaud heartily.
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He closes with a track that I have noted down merely as “COCONUT PERCUSSION SOUNDS” I’m unable to shed any further light on the matter. Nonetheless, it’s a great track and the audience respond well. He also throws some choir-like chimes into the mix, but they make things a little too crowded. He gets a big cheer dropping Touch, although it’s too slowed down for my liking and lacks the punch of the album version. makes his segues with huge slabs of drifting tundra bass or keening eldritch wails. I’m astutely taking notes but there are times when I lose track (pardon the pun). works through a few more tracks on Held, including Inpouring, Tense Past and possibly Past Tension. By now the fog is everywhere and it’s hard to see the person next to you. The rest of us just kinda sway and rock gently back and forth. Dancing to this stuff isn’t obvious - couples seem to have it the easiest, melting into each others’ arms as if during a high-school social slow dance number. Around me, the crowd is starting to find a groove. is playing things slightly pitched down, and his already super-slo-mo vocal samples become even more stretched and languid as a result. Next up is Held, from last year’s album of the same name.
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As a quick aside - it’s definitely a thing in witch house 2 spell yr track names in text-speak (see also: any track by How to Dress Well). He begins with a few songs from 2011’s breakthrough EP With U - first the title track, then Know Where and Yr Love. There’s no onslaught of applause or anything - he’s quite a small man and doesn’t exactly swagger on bursting with stage presence. comes onstage amidst scattered whoops and cheers. can put on when he’s a bit more in his element. After a slightly disappointing Laneway appearance on Sunday - the result of an ambivalent crowd and weather that was inappropriately sunny for cave music - it’ll be good to see what kind of show H.O. It’s not quite music for dancing instead we’re being prepared for Holy Other’s thick waves of witch-bass. He’s laying down some really cool natural-sounding tunes: dense waterfall-walls of sound and lush forest beats. JPS is on decks, playing from the back of the room as covertly as only a master Operative can. The fog machines are working on overdrive, pumping dense plumes into the equally-dense crowd who, not yet limber and loosened-up for dancing, line the floor like spooky stalactites. The ambiance when I walk into the bandroom at Workers Club is certainly cave-like.