Karius Vega
Karius Vega began the night to a sparse but appreciative crowd. Vega played an interesting mix of more pop friendly sounds as opposed to the world electric influences of the later acts. He reminded me of a friendlier version of Chronicles of the Land Squid. I feel as if Vega was victim to being the first act of the night and if he had played earlier more people would have been on the floor, however, this didn’t phase Vega. He was just as into it, as if he was playing to a packed house.

Mexicans with Guns
I looked to the stage and was shocked to see the Mexican version of Mankind at the table. As I grew accustomed to the fuchsia Mexican wrestling mask with a gold trim, the heavy club beats with a tranquil sound massaged my chest. The next thing I noticed was that people were no longer idly there, but rather spilling onto the dance floor to partake in Mexicans with Guns self described sound of, “Nasty booty shakin’, down south stuff.”
Now, I admittedly zoned out on the multi-colored rising suns and prisms shooting onto the ceiling when a friend brought me back to the Planet Rock remix. My childhood friend and I grew close during that time when every young boy is enamored with professional wrestling. Remembering the nights we would buy events off of Pay Per View he said, “It’s like Mr. Socko, Mankind’s imaginary friend that was a sock on his hand, found some rolls and a mix table and went to work.”

Mux Mool
Following Mexicans with Guns was Mux Mool’s chill electronica sound. Mux Mool accomplished a sound that is reminiscent to walking through a surreal portrait of New York, and if you want to see what I am envisioning then find the cover of the 2004 Scribner Trade paperback edition of “The Great Gatsby”.
I later found out that the surreal description is quite fitting to Mool’s upbringing. His mother was a folk guitarist and his father was a painter. It is only fitting that I would find my description of his sound in a piece of art, however, I digress. Mool’s beat was not a heart throbbing experience but rather something along the lines of the best sinus infection imaginable. My sensual sinus infection was due to Mool’s mixing of seemingly R&B beats with ambient organ filled backgrounds. Mux Mool entertained the crowd by flowing from trippy sounds, to ambient, cool sets, to a mature jazz influenced sound.

Bluetech
Bluetech’s ambient, tribal mantras seemingly reverberated off of the chairs, tables, and glasses surrounding me, while the beat enveloped my ears. The blue and green lighting creates the feeling of being trapped in an Aztec temple deep in the Rain Forrest. Even with all the illusions I have made to nature with Bluetech’s sets, his music represents the middle ground of various projects, the accumulation of challenging his classical roots, and intertwining them into an electronica sound. My friend John described Bluetech’s transition as, “If you shrank yourself and rode a rollercoaster inside your computer.” As I am contemplating the mixture of nature and technology, that means I was checking out the chick next to me, the crowd catches my eye. The blob has become an indistinguishable mass of groovin’, as the trancy feel hypnotizes all who fell victim to the lights and sounds.

Ott
I know a lot of bands have been adapting to a more “dub step” style and that these bands are getting more and more coverage. However, Ott was completely different. It seemed as if the great Robert Marley had manifested himself into an electronica flow. The island vibe dominates over the heavy beats, yet is crocheted with an eastern influence. Eventually, an image of Xerxes’s army stumbling on an opium abyss on the moon crept into my mind, that’s what it sounds like.

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