“As the song continued, it seemed like everyone who was backstage came flooding out resulting in a crowded dance party on stage.”
Each week, a guest on Sloppy Seconds with DJ Mystery Meat adds one new record to our music library. This week, Hello DJ recommends a classic zouk 12-inch.
NPR Tiny Desk Concert Review @ The Fonda
Gary Clark Jr. @ Harrah’s Resort SoCal
The artists in the playlist come from a whole variety of backgrounds.
We start out with some bops from NYC-based Korean American DJ, Yaeji, and an underground Korean American rapper, Uzuhan. While both are born and raised in the States, a quarter of their songs are in Korean.
Then we move onto some 88rising artists — 88rising being, of course, one of the hottest Asian labels today. Even within 88rising, the artists come from all over the globe: Joji (previously known as Pink Guy on Youtube) was born in Japan, Higher Brothers are Chinese, while NIKI is Indonesian. I cannot emphasize just how good 88rising is at finding undiscovered Asian artists then making them the stars they were born to be. I mean, their biggest rapper, Rich Brian, was born and raised in Indonesia and learned English through listening to rap music. Imagine the awesome songs the world would have never gotten to hear if 88rising did not pick this talented man up.
I’ve also included our favorite actress-rapper, Awkwafina (she does not need further explanation), a former K-pop artist Tiffany Young who just started her solo career in the States, Parekh & Singh, a pop duo from India, and Yuna, the most famous female vocalist in Malaysia. We end strong with some throwback tune from the group that redefined electronica — Far East Movement.
These amazing artists come from all over the place: some were born and raised in America, some spent a decade as a K-pop girl group member, while others had to learn English on their own through music. But they are all connected by two things — their amazing musical talent and their awesome Asian background.
— Jiwon Lee
Though L’Impératrice has often said they aren’t fond of genre labels, founding member Charles de Boisseguin once described theirs as “cosmic-pop-slash-space-disco.” Last Thursday night, L’Impératrice transformed the Regent Theater into a sparkling discothéque straight out of the Le Marais in the 1980s.
L’Impératrice comes from Paris, where de Boisseguin’s bedroom project evolved into a sonically sprawling six-piece group that draws influence from a variety of genres: 1990s French house, new wave, Eurodisco, jazz, funk, and more. After releasing a series of EPs, the group’s first full-length, Matahari, dropped in France last year to critical acclaim, with an English version following earlier this year.
The concert at the Regent was the first of this North American tour, as well as their first ever show in Los Angeles. As L’Impératrice took the stage in matching blue-and-white jumpsuits, looking like members of the USS Enterprise about to hit the club, frontwoman Flore Benguigui addressed the crowd - “They told me no one dances in Los Angeles. Are you ready to dance tonight?”
When the band launched into their opener, “Ma Starlight”, it was immediately obvious that the answer was yes. The playful electro-pop number was tinged with nervous energy - completely understandable for a tour’s first show - but if nerves were present, they didn’t detract from the band’s incredible musicality, and the audience was hooked.
It’s clear that each member of L’Impératrice is not only a proficient player but also takes great joy in performing. Much of the ninety-minute set was made up of long instrumental jam sessions that allowed the band to flaunt their technique. A particularly popular track was “Vanille Fraise,” a 2015 single that the crowd immediately recognized. It featured a slap solo by bassist David Gaugué, who made his intricate bass lines seem effortless throughout the entire set. Gaugué and drummer Tom Daveau work especially well together, and their ability to hold down the pocket enabled the band to navigate a variety of moods without losing the crowd.
The slow, seductive synth-pop typical of the early EPs was showcased in “Dreaming Of You” a track off Matahari. It’s a heavily syncopated track with a catchy falsetto hook, and since it’s written in English, lots of audience members could sing along. “Erreur 404,” is another track from Matahari about curving a would-be lover, in which L’Impératrice kicked up the laid-back tempo and attitude to match the energy of the crowd.
It’s difficult not to be engaged when a performer is having the time of their life. The band’s high spirits animated the audience, and every time the crowd’s reaction got bigger, the band would up the ante. I’ve never seen an audience so excited; every little thing drove them to riot, whether it was the disco ball switching on, Tom casually flipping a stick during a drum breakdown, or even the band smiling and waving while they switched instruments.
Both the band’s and audience’s enthusiasm reached a fever pitch during the performance of title track “Matahari.” The recorded version is already a lively, highly danceable disco track, but this performance had a certain spark that can only be found in live music. I was standing in the back of the room, and even in the far reaches of the theater, every single person was wildly dancing.
The energy in the room was electric. When the band left the stage after performing another number, throwback instrumental “1998,” the crowd yelled and applauded for three-and-a-half minutes straight (I started timing after about a minute) without losing a decibel of volume or an ounce of passion. I sincerely believed it couldn’t get any louder, but when L’Impératrice took the stage for an encore, I was proven wrong.
The final song, “Aqua Danse,” was an eight-minute psychedelic disco freak-out, featuring an auxiliary percussion breakdown, two crowd surfers, and guitarist Achille Trocellier abandoning his instrument to vogue in the middle of the stage with Flore. As the audience roared for what would unbelievably end up being five full minutes (I timed again), Flore told the audience that whoever said no one dances in Los Angeles had no idea what they were talking about.
L’Impératrice is by far the best live act I’ve ever seen. Their charisma and skill are unmatched, and I can only hope they return stateside soon.
- Anna Podkowski