Published on April 5th, 2012 | by Alessandra Calderin0
The Big Bangarang Theory: Skrillex & 12th Planet at UMF 2012 (Full Review)
Full disclosure: There is no artist in the world that I have ever loved more than I currently love Skrillex. I can’t even explain it. This was the fourth time I’ve seen Sonny Moore live, and I was so overcome with happiness for both the chills I experience when he plays as well as pride for all his success. It’s really weird. Whatever.
Regardless of my personal mania, the man is a brilliant performer. He gives so much energy and power from that spaceship and the hordes that flocked to the main stage gave it all right back. He possesses this uncanny gift with making everything flow seamlessly from dubstep to electro to reggae and old school rap. I sometimes wonder if a genre he can’t incorporate exists. Plus, his visuals are always beyond stunning. While most people adore his Cinema remix and Bangarang (during which he featured footage from Hook so as to shout to all the lost boys), My mind was blown by the sweet Mortal Kombat footage playing and a blank screen for the beloved “Toasty!” Easter egg. (Did any gamer nerds get as excited as I did?)
After an amazing Day 1, Skrill was not quite done and surprised an enthusiastic crowd the next afternoon. When Skrillex joined 12th Planet completely unannounced for his Saturday afternoon Ultra set, the dubstep dynamos practically collapsed the UMF Brazil tent over a convulsing mass of sweaty raving lunatics. Less than 15 minutes into the set, the bass gods gave a nod to the haters, sampling this young fool’s preteen tirade against dubstep which is apparently not music. Such an original argument. Haters gone hate.
Perhaps the greatest tragedy at UMF 2012 was that the Korea/Brazil/Ibiza tent, which hosted most of the bass heavy acts, was TOO DAMN SMALL. I seriously thought that thing was going to collapse whenever I ventured inside it. It seemed more people wanted bass in their face than anticipated so they crammed in and around the allotted space and danced harder than any other stage’s audience. Despite one minor setback the two played off each other with mind numbing fluidity perfectly interweaving some of the most brain melting bass wobbles and skull shattering drops I’ve ever heard. Particularly outstanding were the mixes involving Squid Attack, Scary Monsters, Promises and Ruffneck (FULL Flex). There’s this sensation where your bones sort of rattle and you’re dancing so intensely that you’re not even in control of your body anymore. I’ve taken to listening to the live set on the subway and I can only imagine what people think when they see a girl bobbing her head with a stupidly huge grin suddenly shiver with chills. That is the power of dubstep and why bitches love bass.
Article by: Alessandra Calderin