Datsik | 11.03.12

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datsik 75The greatest display of Mac-mastery came with his mashup of DJ Logic’s “French Quarter” and Skrillex’s “Reptile,” complete with a dash of “Insane in the Membrane.”

 

The Pageant, St. Louis

An innocent bystander might walk in and say, “What on God’s green Earth is going on? Why is everyone praising this glorified soundboard masturbation?” Though, this could be avoided easily with a simple screening process at the door: One, are you over the age of 21? Two, are you on drugs? And three, do you enjoy a good, ol’ fashioned aural assault? If they answer no to all of these, then a Datsik show is not the place for you, but if you answered yes to just one, then come on in and have seat. Not literally, however, because there are no chairs—this crowd isn’t allowed to have thing they can throw. (If you are wondering, I answered “yes” to question number three; gotta love that rattling noise you get inside your ears for the next three days.)

So your next question must be, “What kind of crowd is this?” These are the bass fiends, the wobble whores, and the dressed-up Axe -covered douchebags (in no particular order). We’ve seen candy ravers and we’ve seen chemical ravers, but now are there the swag ravers. They are characterized by the flat-bill caps with bold lettering, the striped tank tops, neon fishnets, and most importantly, glow-in-the-dark sunglasses that serve no purpose at all. Datsik knows them well, and he knows what they are here for. Incorporating massive hip-hop bass fluidly throughout his set, he is able to help them achieve the emotional high they came for. Whether it’s a remix of 2Pac’s “California Love” or freestyle interludes, Datsik kept the floor bouncing all night.

By the time I arrived, Xkore was about halfway through his set. He got people moving, mostly using hits by the big boys; Skrillex, Zedd, and Foreign Beggars, and not doing a whole lot of remixing. Terravita was next, with an arguably unnecessary number of people onstage. Nevertheless, they played more of their own material and really knew how to work with the crowd. They had a much more hip-hop-influenced sound, similar to Datsik, but with the help of a vocalist. One of my particularly favorite lines, “Fuck the G6, I feel like a stealth bomber,” definitely puts the night into perspective.

Fists and cameras raised all around me as Datsik warmed his engines. His booth, encompassed by a vortex of screens, displayed a journey through the stars, as some movie producer perceives hyperspace to look. Diving into a remix of “Swagga Back” was the best way to start the night, obviously blowing the crowd’s collective mind. The unpredictability of its tempo had the pit falling into spells of slow-motion fist pumps, jerking back to life in sync with the red-hot strobes. One of the critical moments in the night was “Bonafide Hustler.” A couple of guys came out with water for the dehydrated maniacs, which was uncapped and went flying in all directions. I don’t think they realized it was for drinking…

Some of the more unexpected moments came when he actually decided to slow things down with SBTRKT’s acclaimed “Wildfire,” a traditional dubstep track, as well as a tad bit of MGMT, I believe. He quickly brought things back to life with a completely ransacked mix of Dada Life’s “Kick Out the Epic Motherf*****,” complete with Bruce Willis yippee ki yay samples. “Bass Cannon” was the song of the night, from all three sets, as well as every other show this year. Would you guess he played “Golddust,” too? But I’m not complaining; these are really a necessity nowadays. The greatest display of Mac-mastery came with his mashup of DJ Logic’s “French Quarter” and Skrillex’s “Reptile,” complete with a dash of “Insane in the Membrane.” Upon first break of DJ Logic, everyone was a bit confused, but it all came together with the “F-f-f-fight!”

A stage dive was in order during “Fully Blown,” and I must say: It takes a special kind of musician to be able to keep the song going without even being on stage. One might call these the perks of being a DJ. Finally, he ended things with a whole lot of his fellow Canadian, Excision, some of which was relatively new and I unfortunately didn’t recognize…but it’s always nice to hear something new. That’s exactly what we got on his final song, which he appropriately described as “some random house song I just wrote.” As the show ended, the weary minors made their way out the doors into the crisp night and commenced their exodus down Delmar, looking far too underdressed for the weather. | Brian Cheli

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