(09.28.07) Imagine a genie grants you one wish. And although you know you should wish for infinite wishes, what you really want is to be transformed into Dr. Lektroluv – green-skinned doctor of dance, surgeon of sleaze, European electro sensation, mixing razor-sharp bass with indie-rock vocals and offbeat rhythms. Wish granted, and here you are, doctor, at the Belgian music festival Rock Werchter, about to go onstage as the Beastie Boys jump around, yes y’all-ing and taking their bows.
The stage is suddenly dark. You stride to the decks, but you’re caught in a long, muddled between-set lull. People are pushing their way to the gates. What now? How can you get this fickle mob on your side?
Consider this:
You straighten your tie, adjust your glasses, clear your throat, and press play. There’s a massive synth swell, and a robotic voice says: “Welcome to Dr. Lektroluv’s performance at Rock Werchter. Enjoy the ride.” It’s stark and simple; people cheer. You put on Feist’s “My Moon My Man (Boys Noize Classic Remix),” an irresistible indie-pop bon-bon. Its sad, willowy vocals and guttural electronics mix smoothly into another vocal tune, Acid Jacks’ “Awake Since ’78.” Gradually, this dance-punk swagger gives way to more angular rhythms. You start throwing on brooding electro, coked-out techno, icy disco. You see heads rocking back and forth, bodies bouncing in time, a blurry human dynamo. You play Tiga, The Subs, LFO, The Klaxons. The Sebastian remix of Kavinsky’s “Testarossa” really gets them moving. The Boys Noize remixes, too. Okay, but, for the final track, why do you choose Moby? Granted, it’s a fucked-up remix of “Go” by Trentemoller, and it provides some melodic resolution to all the banging rhythm and noise. But, admit it: you choose it at least party because, well, it’s a track by Moby. It’s got those powerful stadium rock vibes, perfect for a European massive. And this version is far nastier than Moby’s been since, I dunno, puberty. Whatever, it works. The crowd is yours. There’s cheering, and you wonder if the crowd noise will be on the recording. (It will).
Suddenly it’s the future. You’re in the record store checkout line, about to buy a copy of Live – Recorded at Rock Werchter. But something holds you back, a little voice in your head: “What you did there, that set of freaky electro hits, was really fucking rad, but… Do you really need a CD of it?”
Well, not really. Live – Recorded at Rock Werchter is a dark trip along the border of techno and electro-house. Its reworked classics and unexpected indie touches are accessible yet raw. And, really, it’s fun. But, as with so many DJ mixes, you probably won’t listen to this more than a dozen times. Even the greatest performances often make forgettable CDs. A shame, but the better the DJ, the less likely a recorded mix will capture the live experience. On the other hand, if you don’t have a genie to take you there, and you’re either a) some kind of freak for the new electro or b) a diehard fan of the good Dr. Lektroluv, then this CD is worth a listen. Otherwise, do us all a favor, and help us settle this once and for all. If a genie ever grants you one wish, see if it’ll let you wish for infinite wishes.
Live – Recorded at Rock Werchter is out now on Lektroluv. [Purchase
