Daktyl warms up a packed Observatory crowd
Daktyl and Petit Biscuit
If North Korea makes good on it’s threats and Trump makes good on his continued jackassery and resulting apocalyptic stuff goes down, at least we have a glut of choices when it comes to what soundtrack we’d want to accompany us as we hunker down awaiting our fate.
Personally, I think the bass-heavy soundscapes and tropical house that came out of French DJ/Producer/multi-instrumentalists Petit Biscuit and Daktyl, a recent L.A. transplant from London at The Observatory last night would be in the running for my world’s ending soundtrack.
It’s interesting that at a time when terrorist activity has leveled up in Europe, especially in Petit Biscuit’s native France, that the newer sounds emerging out of electronic and house music, seeping into mega-hits like Bieber’s “I’m Sorry” are dreamy and solidly escapist.
It makes sense that artists raised on technology with a native ability to shut out the world around them offer us worlds of fantasy, and imagery to a thumping, tribal beat that effectively closes the door on social detriment.
And although it’s easy especially if you listen to commercial radio, to dismiss this kind of music as feel-good fluff–psychedelic background music, scratch a tiny bit below the surface and there are loads of talented young artists bringing texture, dimension and introspection to their work, balancing out the thumpy good vibes.
When I say young, I mean young. Petit Biscuit, (direct translation “Little Cookie”) is an alias for Mehdi Benjelloun, of mixed…
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