Walking into the Aggie on Saturday the 2nd was a magnificent feast for the eyes, and few, if any, left hungry. Phutureprimitive with Andreilien, Goldyloxx played a feature set for the Fort Collins crowd.
Upon entering the building, to the left is a table scattered with opals, geodes, and any other crystal you could think of, whether ragged or smooth, sparkling or bold in a single color. To your right, an artist paints vibrant and dark colors on canvas, with other works on display: images both stark and psychedelic. Aside from this, the patrons of the concert swirl around you, some in garbs reminiscent of a reductionist bohemian style, some wrapped in dreadlocks, all a happy sight to behold.
ELCTRX, the first act of the evening, adorned an outfit that was quite eye-catching and vibrant himself, with a Christmas jacket covered in gingerbread men, and proclaiming “Oh Snap!”. This fun-loving style in clothing entirely carried over into his music as well. ELCTRX used a variety of instruments in his music, dropping in sounds of drumming (perhaps bongo?), some Spanish-influenced acoustic guitar, and even managed to fit in a remix of what I believe was the theme to The Nutcracker. ELCTRX’s set had some heavy dub sounds, but always with up, bouncing beat in the background, and it was quite impressive how he was able to mix these disparate qualities of sound to make tracks that were so easy and fun to dance to.
Goldyloxx then emerged donning a massive mane of dreads—perhaps appropriate considering his name—and imbued the night with a more primitive, feral feeling. Goldyloxx incorporated a lot of, what sounded like, tribal drumming, and ethereal, ghostly noises to back the beats. The sound effects gave his music a beautifully haunting aspect, but this hardly extended his musical range; he was able to throw in remixes of Outkast’s B.O.B. and even some Rick James, and none of this felt out-of-place with all the other styles which he displayed.
The third act, Andreilien, dropped the crowd into some heavy beats that almost felt like the dripping of a large body of water, in that they felt virtually oppressive in how they drenched the crowd, but in a way that kept us grounded and dancing. A dancer joined him on stage. Her face covered in blue paint and exhibiting an impressive amount of fluidity in her dance moves, despite the more structured nature of the beats. Although Andreilien began with some heavy beats, he also exhibited a right amount of range in style, moving towards more prolonged, fast-paced builds, making for energy that was consistently high, and almost tense, to create an active atmosphere.
Phutureprimitive let you know, straight from the offset, that he was wholly invested the crowd’s experience. Remarking on his pleasure to return to the city. His music evokes a positive and beneficial source in the lives of the audience. He urged all to “dance the people we wish to be into existence.” Phutureprimitive exhibited a wild diversity of musical styles, sometimes using his beats to complement a more instrumental backing, before moving into a more beat-centric area of jam. Many of his songs exhibited large builds that gave the audience an exciting, rising sense of anticipation, accompanied by large, cinematic pauses between the songs. He even managed to give a lively rendition of “Mad World” by Gary Jules, that still felt upbeat and energetic enough to make you want to dance (and those of us who are familiar with the original can appreciate how that is no small feat). All of his musical endeavors incorporated three-dimensional turret of screens and surfaces which emitted complex patterns, and if that did not impress, he was also fortunate enough to share the stage with a dancer who moved beautifully along to the music in a style close to that of ballet.
It’s safe to say that one entered with a sense of awe in a visual sense, and left with that same awe ringing in your ears.