Browse 73994 Reviews & Comments (Page 3637)

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 Ignatius I really loved Cloudchord. Definitely belonged on a lineup with Big Gigantic, but his music was so versatile and original that I feel like he could open for Ookay, Gramatik or GRiZ. I would even go so far as to say he would fit in collaborating with Daft Punk on Random Access Memories, that's how impressed I was with him. Fun samples and full mastery of his guitar tone, whether using gain, harmonics, wah or reverb. Definitely adding him to my Pandora and watching his tour dates from now on. Shallou had a big, confident sound, energetic and carefree. One song had a sick glitchy drop. Was very enjoyable but didn't leave much to talk about. I liked all the drum machines along with the kit. It was just your basic 4/4 house beats I've been waiting to see Big G since like before my first EDM shows, back when the only EDM artists I knew were Moon Hooch and the local talent, I saw that Big Gigantic also made dance music with a saxophone. I never got hooked on their albums but I've enjoyed them on Pandora and saw live pics and footage on their Instagram. The euphoria set in for me when they played Got The Love, which they followed up with Good Times Roll and I was just living for it. I like stage presence and sound quality and I like a good light show but having everything at the same time can be a challenge, and these boys pulled it off tonight. The encore was mind-blowing. A harmonic effect on the sax leading into The Little Things. An older song called Nocturnal and some absolutely filthy drops in the last song, finally transforming into pure soul for the road Shallou / Big Gigantic / Cloudchord Feb 23, 2019
 Ignatius Balkan Bump was fun. Great trumpet playing, nice selection of songs, and he joined Gramatik for quite a bit of time and held his own up there. Jump Around faded into a Turn Down For What buildup, but just went back to Jump Around instead of dropping. Also Drop It Like It's Hot, Talk Dirty To Me and Somewhere Over the Rainbow. I would complain about how much playback was used. It's like the sources of his sound were a glorified spacebar and sometimes a trumpet too, leaving him to be his own hype man half the time. Kinda weird. OH MY GOD Haywyre! Dude can play a keyboard! He had so many great synth tones including a mo'fuckin' slap bass solo. I saw him hitting an arpeggio in perfect time as if it was an arpeggiator but it was those magic hands. He had his keyboard sloped down away from him so that the audience could clearly see the keys, and a camera pointed at them which would display on two sets of screens, to make damn sure you could see the magic happen with your own eyes, and it was flawless. In a weird way I feel like he is the EDM version of Franz Liszt. Definitely going straight on my Pandora, probably on my iTunes soon and I'll count the days until he blows my mind in person again. I recognized the song I Am You, and the Smooth Criminal remix was hitting me like lightning strikes, with power and precision. Thank you for that, Haywyre. See you again soon. So yeah. As I expected, Future Crypto does much more for me live. Still a quirky one but I'll probably go ham to it more often from now on. Was living for Satoshi Nakamoto. LOVED the GRiZMATiK songs, (Digital Liberation Is Mad Freedom!!!) Expect Us with Balkan Bump, (that's where the mood REALLY started to hit me. Loved the Guy Fawkes masks which lent meaning to the song title) the call/response section of Good Times Roll, Aymo, Illusion of Choice, and topping it off with Voyager Twins, which I was most looking forward to. I also had no idea that the sample in War of the Currents is "Learn bout somethin", and now I love that song even more. Gramatik / Haywyre / Balkan Bump Feb 23, 2019
 Ignatius Luttrell was dope. Uplifting but bassy. Super, super chill. Nice arpeggiator work. Great to see a full 90-minute set from an opener as well. For Above & Beyond, I'm gonna put my favorite songs here and then just put all the texts that stood out to me. It really is a show that you have to experience, no write-up of mine will do it justice. Songs: My Own Hymn, Happiness Amplified, (!!!) All Right Now, Northern Soul, We're All We Need, Blue Sky Action. And whatever the funky, chocolate sweet song from the Anjuna treasure chest was THIS PLACE LOOKS ACE // BUT EVEN BETTER // ARE YOU // SO MUCH KINDNESS, LOVE AND RESPECT IN THIS ROOM ALREADY // THAT'S WHAT IT'S ALL ABOUT // WE ARE THE ANJUNAFAMILY // WE DO IT TOGETHER SO, UNDER YOUR FEET IS A FLOOR THAT'S SUPPORTED BY GROUND // IT'S COMMON GROUND DALLAS... YOU'RE SO COOL // (so cool, so cool, so cool) // AND YOU KNOW IT // SO DANCE LIKE NO ONE'S WATCHING ELECTRICITY IS INSIDE YOU // YOU RUN ON ELECTRICITY IT'S TIME FOR A LITTLE BLUE SKY ACTION // IT MAY BE GREY AND MISERABLE OUT THERE, BUT IN HERE, YOU SHINE NEVER BE AFRAID TO SHOW OTHERS WHO YOU REALLY ARE MAKE 2018 THE YEAR YOU BECAME THE REAL YOU YOU SHINE, DALLAS // FEELS LIKE GROUP THERAPY // THIS IS A GOOD DAY SOMEONE CAME TO THIS SHOW ALL BY THEMSELVES, ALONE // GO FIND THEM AND WELCOME THEM TO THE FAMILY // WE ARE ANJUNAFAMILY // THANK YOU DALLAS TAKE THAT FEELING AND SHARE IT // LIFE IS MADE OF SMALL MOMENTS LIKE THIS Above & Beyond / Luttrell Feb 23, 2019
 Ignatius It opened with Beethoven's fifth and the moment washed over me right away. I'm not too familiar with all the movements in Fantasia or Fantasia 2000, so this was like the perfect setting to experience it with relatively fresh eyes. The percussion section was the highlight of the orchestra, for me. During the thunderstorm of the Pastoral Symphony, throughout the Firebird suite, even in the Waltz of the Flowers, those were the elements that had the most immersive impact. The Firebird suite was particularly special. Again, I didn't recognize the piece or the animation but I'm just so glad that was a thing. Dance of the Sugar Plum Fairies was exquisite as well. Major props to the conductor, Keitaro Harada. Matching the tempo of the visuals, based on recordings from The Philadelphia Orchestra is clearly no easy task. And he kept it light and relaxed throughout with trivia, like how Clair De Lune (dedicated to the 6-year-old attending their first symphony today) was only in the home video, not the 1940 theatrical release, so it was a unique experience for us to see it showcased in the performance hall. And I'm gonna go ahead and place my bets here that come the end of the year, The Sorcerer's Apprentice will have been THE most impressive performance of live music that I will have experienced in 2018. Keitaro's metronome kept going from fast to slow and back, and I mean FAST. That poor orchestra followed his lead to the letter, it was a sight to see and a piece to hear. Wow. Fort Worth Symphony Orchestra Feb 23, 2019
 Ignatius Blüd Bröthers were the local warmup act. They did the fun, bright sounds and then got trippy in the second hour. Overall they hit my tastes better than most generic club DJs I've heard. Also, Cantina song remix. Oh hell yeah. Then Woolymammoth flipped my headbanger switch :D during his intro I was thinking of Squnto's set at South Side last year. That intro was a full-on dragon attack and Wooly's was like a massive prehistoric stampede. So both artists were right on with the flavor of their music. I dig. MMMMMM BLEEP BLOOP! I lost my shit when Humanoid dropped. It seemed fitting to me as Zeke Beats played the first time I went to Lizard Lounge. Then there was a collab with Woolymammoth and that track was so delicious. I'm about to look it up and see if I can download it, I need it in my life. Dallas loves you, Bleep Bloop. Thanks for making this happen. As always I stand there thinking about the genre and comparing it to others I'm familiar with. I certainly prefer listening to the funkier lowtemp-type stuff, but bass is ALWAYS basically the most impressive subgenre to me. The sounds these guys can produce are just absurdly good. Bleep Bloop / Woolymammoth / Blüd Bröthers Feb 23, 2019
 Ignatius One of the first songs, "Improv 2" (from the Cathedral DVD. I'm so familiar with the song I assumed it was on Red Sky...) was on point with Mike disintegrating the moog. Then he decided to take off and throw around his shoes and socks lol. Dig Wenzl's synth sweeps on St Louis, Mike's high note on Growing Up, Wenzl's groovy EWI basslines, the dueling jam where Wenzl was fucking unleashed for his 2nd turn on the sax. Everything about Red Sky, the way they started Milk and Waffles in the middle of the song, the bass tone on Number 9, the headbanging feels during Bari 3, the FX added to Tubes, and OMG, Jiggle was the encore :D James' drum solo sounded particularly good tonight. Like I never doubted his ability, but the complex rhythms he throws together are just clearly insane to do without it coming off as sloppy, and this time I could just tell every beat was intentional and tight. It was a sight to behold. James is just godlike, man. There were like two new songs, and they were freaking great, but I will say I'm starting to recognize a strong majority of the set, which was not so much the case at the Gas Monkey or Granada shows. I could say they're refining their sound, but the constant innovation is something I'm gonna hope sticks around awhile longer. That being said, I made tonight more about listening than participating (left the gloves at home, went by myself) and I really love how the set is a complete and exciting musical journey. A lot of the same flavors throughout, yes, but the use of the moog, of ableton, the various saxes, the well-executed gimmicks like screaming into the pickups. There's a dynamic flow to these setlists, and never a dull moment Moon Hooch Feb 23, 2019
 Ignatius The New Trust wasn't too memorable for me. Just kind of your run of the mill bass-driven indie rock band. Worthy openers though, nice clean rhythms and tempo changes. Oh and the songs were a bit short, like hardly ever more than 3 minutes. Not sure how I like that; it avoided being over-indulgent, but some of those jams I would have liked to indulge in. Anyway they seemed like nice people, one of their songs was described as being about how in indie rock you're basically drowning, but then you find can breathe underwater... Planet of Ice, man... This was my first show where a band played straight through an album of theirs, start to finish. And Planet of Ice was the first Minus the Bear album I heard. It's just a sonic masterpiece. Great blend of synths/effects with guitars and drums, insane leads and rhythms. This show was just a dream come true. The lead guitarist was sooo good. For White Mystery he spent most the time kneeled over his pedalboard essentially sampling his guitar. Frikkin innovative. Of the non-PoI songs my favorite was Secret Country. And like halfway through the show (I think after finishing Planet of Ice) the guitarists and keyboard player all knelt down for an extended 4-pedalboard jam. It was a delicious way of setting the tone for the second act. But what I was most looking forward to was Dr. L'Ling. Since the first time I listened to it I knew it would be one of the very few songs I absolutely needed to hear in person one day, and that moment finally came at 9:29 PM tonight, and it was the best 6 minutes and 52 seconds of my summer. God damn. Minus the Bear / The New Trust Feb 23, 2019
 Ignatius Not a fan of all the Disney music they played first. Star Wars fans have a pretty poor relationship with Disney when it comes to the franchise. Whatever The light show was not what I had hoped for. I can see they tried but there could have been a better direction, very rarely did anything sync with the music or make sense with the musical motifs, it just felt like it was unrelated eye-candy for the kids that hadn't seen anything like it before. That being said the fireworks for the ANH End Title was phenonemal The winners for me both titles from A New Hope, Across the Stars, Princess Leia's Theme, and Rey's Theme. Most everything else sounded decent but wasn't as immersive. Duel of the Fates was trash, if you're not gonna use a choir then pick a different song... Fort Worth Symphony Orchestra Feb 23, 2019
 Ignatius I always love being blown away by opening artists I've never heard of. Holy hell, Elohim was so freaking good. Breathtaking orchestral intro, (Why Am I Like This) sick bass drops, amazing voice, simultaneously both sexy and adorable, (strong Krysten Ritter vibes, oh my god) and she showed some piano chops during one of her transitions. I pretty much loved every song, but some lyrics stuck out to me; "I just wanna go where love is alive", "kiss me with your eyes open, they dilate when you hold me close", "now all the butterflies have turned to vultures in my stomach", "I got love, fuck your money", and "don't half love me, love me all the way" Yeah. Usually the mix is a little screwy for the opener and I can't hear what they're singing at all, but the sound was perfect for Elohim, and I was hooked. Really danceable beats, solid transitions, and sweet use of like a text-to-speech voice between and during songs, kind of like Bo Burnham's "what.", in the intro to Left Brain, Right Brain. I absolutely cannot wait to see her play again. Okay fanboying over, sorry girl, feel free climb off that pedestal now. Glitch Mob was everything I could have hoped for. Their sound is too thick and repetitive for me to get hooked when I'm casually listening, but it is mind blowing in person. I like how the show kind of expanded over time, like for the first several songs the touchpads stayed in black/white and then starting with Elohim's track they went through all kinds of other colors. And how most everything was scripted and barely changed from studio versions until after the encore, when they each took a pad solo and generally added more variation to the pads. Favorite songs were Derezzed, (not sure how I wasn't expecting that one) Come Closer, We Are The Wild Ones, Fortune Days and We Can Make The World Stop. The Glitch Mob / Elohim Feb 23, 2019
 Ignatius Cellogram is a cello and cajon/bongo. Nice, thick sound, fun arrangements and stage presence. They brought out Jen Majura of Evanescence to do Sweet Child O' Mine, I liked her shirt, "Ego Kills Talent". Lindsey absolutely killed it tonight. From the Warmer in the Winter tour I knew her sets were theatrical but it was great to see the theatrics in a non-Christmas context and it blew me away. The subtlety that caught my attention the most was during Take Flight and Roundtable Rivalry, (and possibly others) the main screens showed the same choreography that was happening on stage, but in a pro-shot and edited version. It felt like a live concert film and was so effective. I've seen similar prerecorded gimmicks, (Muse's Uprising and TOP's Josh v Josh drum battle) but this was an instant favorite for me. Mirage was amazing, but even more amazing was Shatter Me. With Amy Lee. And no dubstep. Holy crap that was the perfect version of the song. Also really appreciated the voiceover extended outro to Crystallize Compared to Lindsey, I wasn't too taken with Evanescence this time around. Of course the sound was incredible. Surprisingly the orchestra held up well with the outdoor venue, barely any worse than last year's show. The percussive combination of kit + pads stole the show all the same. And having Lindsey on Hi-Lo was a bonus. But... Lindsey's set was energetic and goddamn fun. Evanescence was dark, dramatic, ethereal, and therefore, boring. It sounds pretty, and even sounds better than I could ever experience at home, but other than that there was nothing to hold my attention. In fact, the lady in front of me started up a game of Bejeweled on her phone... They brought it back around with Lindsey collabing on Ozzy's No More Tears, that was badass. But then it was over :/ so I'm glad to have seen some good Evanescence shows in my time but from now on they're very skippable and overpriced Cellogram / Lindsey Stirling / Evanescence Feb 23, 2019
 Ignatius Tha Magistrate was your typical local opener, fitting for the show, nothing to write home about. HiLow by Minnesota is always welcome Conrank has earned his spot right up there with the rest of the ticket. He turned up the energy from the first drop, throughout the whole set and the b2b2b at the end. I even caught a smug grin on his face right before a particularly nasty drop. (like "HE KNOWS") He did an unreleased Emalkay remix of When I Look At You, which he said will only ever be in his live sets. Closed it out with Mac Miller's Best Day Ever in tribute to him. Fuck Fentanyl. That meant a lot to me in that moment even if I wasn't too familiar with Mac or the situation Zeke Beats. Turntables. Scratching. Humanoid. This Is America. Yuck. HiLow. Sampling. Dirty Audio. Bleep Bloop. Sir Mixalot. Meltdown. Rave booty. Yeah I love this guy so much. Especially how he showcases stellar physical rhythm in his scratching and sampling. Just raw talent, and sick bass. Space Jesus opened it up with his Dragonhawks collab with Liquid Stranger. This guy is the true Lord of Bass. Lol at one point he said "Yo my girlfriend wrote this song, what's up". Space Jam, of course. Stage lights going crazy. Then he did that fakeout thing hyping up the biggest drop of the night and dropping into a chill reggae beat lol. B2B2B Space Jesus / Zeke Beats / Conrank was everything I could hope for. They were just enjoying themselves up there, dropped Basscannon and I Can't Stop. So much fun. Space Jesus / Conrank / Zeke Beats / Tha Magistrate Feb 23, 2019
 Ignatius Metaphysic 基本原理 Nice thick, low key bass. HAL 9000 sample. ("I feel much better now, I really do") Loving all the flow arts and the venue lights setup Bassline Drift A guitarist, a female vocalist and hype bass on playback. Rachel Lindsay is giving me Poe vibes :D Really liked Swingin' Ten, Give + Take and ESPECIALLY "Pull Me Under" (having trouble confirming the song title but that was the repeated lyric. Sudden tempo increase and a killer bass drop. Love it so much) Tor Welcome to Dallas, Tor. Ambient vibes, constant rhythm throughout his set with naturally evolving loops, semi-industrial percussion. Great music to just sit back and soak in. Every new artist I experience is giving me more and more appreciation for bass music. World bass, future bass, all of it, such a vibrant genre Thriftworks Arpeggiatic assaults. Many blips and bleeps. Pitch-shifted mic; Demonic hip hop? Perfect for Halloween, I guess... Absurd interludes from rednecks, Boyd Rice and Friends and Smokey the Bear. Sponsored by Campbell's Chicken Noodle Soup, corrective hearing surgery, and Mike Pence. 0% of this paragraph was made up... God damn, Thriftworks. Good to see you again. Clozee Her first Halloween in the USA. Hype sound. Not nailing my taste buds for creativity like Thriftworks and Bassline Drift, but the lasers and bass are still hitting me hard. I also got to catch a solid light show and check out some hoop and poi spinners :D Nice close to an incredible Halloween. Best Halloween in years. Thriftworks / CloZee / Tor / Bassline Drift / Metaphysic Feb 23, 2019
 Ignatius Max Frost Funky lo-fi machine, one-man multi instrumentalist multitasking. Sometimes, Money Problems and Good Morning. Very funky loops Awolnation Run, Hollow Moon and Sail were all just nuts. Wasn't loving the back and forth with high and low energy songs, but sometimes it be like that tho. We did a "wave" with our lights up and it was epic. I also didn't know that a Texas radio station was one of the first to start playing Sail. I'd put my money on The Edge or The Eagle, I think one of the radio guys at How the EDGE Stole Xmas said they'd been playing Sail since the beginning. Also I think having AWOL open is a good sign that TOP is definitely moving out of the boyband/middle-school-girl-fanbase status of the Blurryface era, solidifying themselves as a fucking indie rock band. The crowd was noticeably more mature this go around Twenty one pilots Okay so I gotta start with Fairly Local. Man, in previous tours they just played the hook as an intro to HeavyDirtySoul. So I'm just enjoying my first time hearing the song live and had no idea Tyler came up 10 feet behind me. You got me good, boy. THANK YOU! Everything about the stage was incredible. the car, the matrix of lights, the risers, the square rigs that would rotate around and at the end of Lane Boy they enveloped Josh's drumset, the BRIDGE THING which played host to two of Tyler's raps, the B stage screen and "icicles" which played perfectly into the time-stop gimmick of Pet Cheetah. Every moment brought something fresh to appreciate, visually and sonically. Wardrobe changes, a progression from start to finish with various intros and outros, particularly the voiceovers before Lane Boy and We Don't Believe What's On TV. Great banter, Josh Dun basking in the praise of his glorious Dall-Abs... For Morph there was an arpeggio going with some kind of alternate time-signature, I didn't want to try to count it out but could tell it was a major break from the studio version, and I always love weird rhythmic tricks like that. Tyler's rapping prowess makes me feel like he's a modern day Eminem. Surely not as much raw rhyming ability, but in the emotions and the authority with which he speaks, what's great about both artists is they stand for something when they take the mic, something other than cash and pussy. Neon Gravestones definitely held my attention in that regard. Best tour so far, their hiatus was 100% worth it, they came back and raised the bar through the roof, this is simply how you do shows when you're one of the biggest names on the scene. Twenty One Pilots / AWOLNATION / Max Frost Feb 23, 2019
 Ignatius Roy Montez Feel My Needs (Weiss) remix. Disco/piano vibe Get Get Down (Paul Johnson) sounds like Daft Punk At Night (Shakedown) super upbeat Feel My Needs and At Night were both a Purple Disco Machine remix, according to Soundhound. Google says his genre is Deep Funk. I like. Randy Seidman Great synths, nice thick Tron Legacy sound. Constant buildups and bass drops, just incredibly danceable and freeing music, with some surprising twists here and there. One of the tracks sounded to me exactly like Around The World/Harder Better Faster Stronger from Alive 2007, but Soundhound came up with Armin van Buuren's Tomorrowland 2014 Mix? I'm gonna have to look into that Infected Mushroom Explosive beginning. The kind of bass that shakes your pants off. One of if not the most talented keyboard players I've ever seen. The tempo changing build-ups are indescribable. Filthy vocoder at one point. Several variations of Becoming Insane, then Special Place later. Great to see these guys again. And not as packed as I could have expected, enough room to breathe maybe 15 feet from the stage Infected Mushroom / Roy Montez / Randy Seidman Feb 23, 2019
 Ignatius Tera Melos was a gem for sure. Dynamic set, the main guy had some kind of effect that made his guitar growl with some kind of synthy, distorted feedback. Hard to describe but every time it fired off was sick. Absurd rhythms and unique time signatures, with all band members in sync perfectly. I counted 13/8 for one song, with extra eighth notes here and there which would make that section effectively 4/4. He had some white figurine of an NPC and interacted with it in different ways. Pretty sure the first time was just physically accenting his playback, not actually triggering the sample by touching it. Clever gimmicks regardless. Lots of creativity and passion in this music. It was definitely a journey; can't say exactly where the journey went, but it sure did go there. I stood in the center section this time, which gave me a pretty damn good view, I was pretty fixed on Dave Knudson and his wonderful fingertapping and solid guitar tones throughout. Then for My Time they brought out a Suzuki Omnichord (from what I could tell...) for Dave to play the lead synth and he rocked that thing. Aside from the mainstays of Cold Company, Invisible, White Mystery, Knights, Into The Mirror, The Game Needed Me really stuck out to me. It's been a good run, I'll try to keep exploring this band's albums from time to time, but all good things must come to an end, as they say, and I am happy to see them make the best choices for their lives. Godspeed. Tera Melos / Minus the Bear Feb 23, 2019
 Ignatius Elena Shirin (of Aramboa) Great harmonies, delicious sub bass, many different samples to catch my attention. Really enjoyed the clockwork xylophone vibe near the end. This was all from her unreleased solo album, From A to Be. I need it. Scott Stanley I'm really conflicted here. They were some funky sounds, once the synth-wah bass came in I was sold on the music. But the stage presence was the worst I've seen in a long time. He mostly used his laptop, I think there was also some DJ pad on the table, but for the most part he could freely walk away from the setup, talk to the sound booth, get his SO to buy him a drink, just stand there smoking, no interaction with the audience or with his music. I don't really know why he was there, he wasn't on the original lineup. So I'm disappointed that Moon Hooch's set got pushed back for that Moon Hooch Dope bassline on Contra, Mike covering one of Alena's parts Always love the scratchy part with Wenzl's dance break Wenzl pulling some absurd sounds out of the Moog on St Louis Moshing to Growing Up and Light It Up is just a great feeling. I later learned the kids next to me were part of Big Sax, a student band from up north of McKinney Nice section with Wenzl centerstage for a few songs, including the first song from the Jefferson Public Radio set. Vocoder through the sax pickup because of course it is James Muschler continues to have complete command of rhythm. He takes it in so many directions I can't even keep up. This show in particular had so many improvements to the studio versions from start to finish. Definitely the best Moon Hooch show yet. I say that every time, but I do remember it started to feel stale during the Irving show. Moon Hooch / Scott Stanley / Elena Shirin Feb 23, 2019
 kodisir If I remember correctly La Luz wasn't able to perform after a car accident? Or were their instruments stolen? I can't recall who played instead... of Montreal / La Luz Feb 23, 2019
 aquint James Bob Mould / Titus Andronicus Feb 22, 2019
 tehiv My 7th and final Pantera show. :( Black Sabbath / Pantera / Deftones Feb 22, 2019
 DarkHorse2160 This was my wife’s favorite Rush concert. Rush Feb 22, 2019