Coachella Valey Music & Arts Festival 2014

*Free
APRI L 201 4
Photo: Andrew Jorgensen
History of Set Times / Preserving the Grounds /
Resource Recycling / Message Board Super Users
/ Pharrell Williams / Expert Coachoosers / DJ Set
Deciphered / Find Your New Fave Act / The Art of
Philip K. Smith III / Coachella Insiders / Festival
Sound / Mysteries of the Desert / Outkast Reunion
/ Terrace Food / Lucent Dossier Experience / The
Elements Of Coachella / The Glitch Mob
Camp Issue No. 5
Concept I Paul Tollett, Skip Paige, Bill Fold
Creative Director I Raymond Leon Roker
Editorial Director I Joshua Glazer
Editorial Assistant I Phil Nacionales
Art Director I Aerosyn-Lex Mestrovic
Design & Production I rivasgrax
Proofreading I Maria Wheeler
Big Thanks I Gopi Sangha and Isaac Garcia
Words: Jolene Borelli, Jason Chang, Anthony Gordon,
Leslie Madill, Jeff Miller, Liz Ohainsian, Brandon Perkins,
Nicolas Stecher, Scott Sterling
Photos: Michael Ivankay, Andrew Jorgesen, Daniel Jung,
Edward Ma, Ryan Mastro, Chris Miller, Brian Moghadam,
Dan Monick, Gabriel Olsen, Dove Shore
Illustrations: John Felix Arnold III, Alland Byallo, Isabelle K,
Amy Kett, Andrew Zhbyjhi
Thank You: Nic Adler, Lauca Beckwith, Jessica Bloom,
Cameron Cramer, Asa Moore, Nick & Mike Rivas, Calina
Salgado, Ben Sorofman, Lizzy Stradler, Russell Ward, Kevin
Wolff, Melissa Wynne-Jones, Stacy Vee, Sioux Z
Cover & Back Cover Photography I Mike Ivankay
Back Inside Cover Photography I Brian Moghadam
Masthead Photography I Brian Moghadam
CAMP is hand-crafted for Coachella by
Urbdotcom
8149 Santa Monica Blvd No. 263
West Hollywood CA 90046
Say hello: info@coachella.com
Coachella may only take place in April,
but the spirit of music and discovery buzzes 365
days a year on the Coachella Message Board. With
almost 2.8 million posts on over 65,000 (mostly)
musical topics, the board is a place where Coach-
ella enthusiasts from around the world can connect
and discuss the things that interest them. It also
serves as a great way for Goldenvoice to communi-
cate with fans to give them exactly what they want
from each festival experience.
Among the 4,000 active members who make up
a majority of the boards trafc, there lies a com-
munity of seriously devout enthusiasts who make
the digital connections part of their everyday
lives. We spoke to a few of these super users to
nd out how their online passion crosses over
into their real world lives.
Cara Diehl (Guedita) and Bryan Mack (BMack86)
are two of the boards most active users. Cara
is a house and techno head who attended her
rst Coachella in 2009. Bryan attended his rst
Coachella a decade ago, drawn by the Pixies
reunion in 2004. Both 28-year-old fans from
Northern California credit the board with helping
them to keep up on new music and more.
What keeps me coming back is the group of
people passionate about music, concerts, lm,
food and general culture, says Bryan.
More than just a virtual hub, both users have
developed dozens of IRL (In Real Life) connec-
tions with other board members. These meet-ups
include road trips to concerts, a vinyl listening
club, and even the occasional baseball game. But
the ultimate meet-up happened for Cara when
she met her boyfriend on the board.
We arent the only ones, either, she reveals.
The message board is a love machine.
Tom Snook (TomAz) and Bob Rimac (gaypalm-
spring) are not only two of the boards most active
members, they are also two of its oldest. Concerts
might be inevitably dominated by a young demo-
graphic, but there is no age limit for loving music, as
is proven by two of the boards senior participants.
One might not expect the average 50+ year old to
have an opinion on Portishead or Daft Punk, but
these two frequent the message board regularly
in order to talk about topics they cannot discuss
with their age-similar peers.
by Jason Chang | Photos by Michael Ivankay
Because Im old, very few of my friends or col-
leagues share my interest or passion for music,
explains Tom. The board is a very important
source for me to learn about new stuff.
Several of the super users we spoke to joke
about the compulsive nature of spending so
much time on a message board. But all agree
that it has enriched their real lives.
I check it every morning and every evening,
Bob admits. It is rather addicting, but not in a
bad way.
No one spends more time on the message board
than its moderator, Dani Lindstrom (Psychic
Friend). Dani actively participates in real world
meet-ups as well, in the past showing up with
tickets and other goodies. She also takes time
on Coachella weekend to attend the group
photo sessions, although you wont nd the
enigmatic moderator actually in any of the pics.
Its become a fun part of the Psychic Friend
persona, she explains.
Danis involvement dates back to a time before
Coachella existed, working on the Goldenvoice
message board that pre-dates the festival. She
admits that while its a great job, 15 years of over-
seeing such a strong community has made it part
of her personal life as well. One she wouldnt give
up, even were her professional duties to disappear.
Id still be posting on the board even if I didnt
work at Goldenvoice, she admits. Its been in
my life for over a decade. Its hard to give it up.
The message board
is a love machine.
Cara Diehl (Guedita)
Coachella message
board meet-up 2011.
I n memory of Travis Nornerto (Eski mo951),
board member since 2008.
Travis (left) at the 2011 Coachella Message Board meet-up.
Online fans become real life friends on the Coachella Message Board.
Solange
Pharrell and Solanges collaborations date back to her frst two
studio albums. The two have since been spotted in the studio
working on her next release.
Kid Cudi
Pharrell posted a pic of himself in the studio with
Kid Cudi around the time the latter was recording
his second album, Cudder.
Lorde
In an interview shortly after this years Grammys, Pharrell
spoke about meaningful music catching fire on its own,
referring to Lorde as one of his favorite artists at the moment
Empire of the Sun
Originally seen in the studio with the band, Pharrell and
Empire of the Sun member Nick Littlemore assisted UK singer-
songwriter Mika on the single Celebrate, which came out in
the summer of 2012.
Aloe Blacc
Pharrell lent his production skills to the
crooner on Love Is Not The Answer, off
Blaccs latest album, Life Your Spirit.
Beck
Becks new solo album, Morning Phase,
may still be fresh, but hes already teasing
a collaborations album featuring Pharrell
for later this year.
Nas
The Queens emcee rapped over the Neptunes produced, Nas
AngelsThe Flyest off the Charlies Angels: Full Throttle soundtrack.
The two would later appear on Jay-Zs posse cut BBC off Magna
Carta Holy Grail, alongside Beyonc, Swizz Beatz, Timbaland and
Justin Timberlake.
Disclosure
The Grammy-nominated electronic music
duo sampled Robin Thickes Wanna Love
You Girl, which featured Pharrell, on one
of their early tunes, My Intention is War!
Little Dragon
The always-infuential Williams said in a 2012 inter-
view that he was getting bored with music, but high-
lighted Little Dragon as one of the incredible things.
Trombone Shorty
Pharrell kicked off this years NBA All-Star Game in
New Orleans, performing many of his career hits, while
Trombone Shorty provided the hometown special
halftime performance.
Woodkid
Pharrell delivered a rare remix last year, add-
ing his own touch to Woodkids I Love You.
OutKast
Pharrell and OutKast member Big Boi were featured
on Dungeon Family member Sleepy Browns Mar-
garita in 2006.
Duck Sauce
Pharrell appeared in the video for their 2010 hit Bar-
bra Streisand, along with Kanye West, Andre 3000,
?uestlove, Diplo and many more.
By Jason Chang
Few artists can claim as many collaborations as Pharrell Williams. With or without the hat,
the multi-talented musician has had his fngers on more hit records than almost any other
artist of his generation. This years Coachella line-up alone offers a litany of acts connected
to the Grammy winner. Heres who is in his orbit.
Cant decide? Ask an expert
Ellie Goulding
Ms. Goulding entered the pop world as yet another English songbird,
but she has successfully transitioned into something more edgy and
interesting via her taste in producers. This could be a star-making
performance for heror a beautiful disaster.
Michael Brun
At 22, this Haitian-born DJ is tipped to be huge. His performances are
still too fresh to predict, but it will be cool to see what he decides to
do, and say you saw him when.
Banks
Everything you wanted from Lorde but never got, Banks delivers
and then some. Her material is fresh and her live delivery is pitch-
perfect. If there is justice, Banks will be a headliner by 2016.
Holy Ghost!
Festivals arent their milieu, but the Coachella crowd is this duos
bread and butter. A dance party in the desert twilight with these New
Yorkers will make you glad you came.
MAKJ
Mash-ups and remixes are the cornerstone of MAKJs come up, but as
this electro producer has moved towards his own productions, he has
established a distinct voice for himself. Also, hes fucking handsome.
Rudimental
Their record can be underwhelming, but as a band, Rudimental is
tight. From their taste in vocalists, to their intuition about when to
hit it hard and when to stay in the pocket, this UK quartet will ride
their 50 minute set until it explodes in the desert sand.
Krewella
The future of EDM is not only ferce and pop-song catchy, but hair-
band wild and even palatable for the non-dance music set. This will
be an electrifying and life-affrming moment for millennials (and
those who can relate to them).
Classixx
Everything about Classixx says California. Last year, they DJd some
Palm Springs pool parties, and this year, theyve moved up to the big
show. Like their friends Holy Ghost!, they know how to make an out-
door dance party that festivals were designed for.
Anna Lunoe
With a string of edgy, techy-house singles in the past year, Lunoe has
established herself as an artist to watch. This is a big booking for her,
and every indication is that shell make the most of it.
Chromeo
Not since Hall and Oates can I remember such an infectious and
guilt-inducing synth-pop duo. Dave One and Pee Thug are musicians
and party starters, and they share my vision for a future prophesied
by the adventures of Marty McFly.
Bonobo
No Prius commute would be complete without a down-tempo chill
out session by Simon Greens Bonobo project. The layers of Bono-
bos sprawling and hypnotic soundscape will have you reaching
bliss in the California desert.
Bo Ningen
Did you say, Japanese, four-piece, acid-punk band? Well sign me up!
Its loud and fun, and their videos are badass. Tokyo really knows how
to rock, and it has convinced me to visit Fuji Rock Festival this summer.
Little Dragon
Yukimi [is] my dearest love and deepest infatuation. Little Dragons
sound will turn any space into the sexiest lounge of its era. I watched
them in 2010 as a fan amongst my closest friends in the Gobi Tent
and found myself working with Coachella just a few weeks later.
Bombino
He sings an earthy desert blues like none other, [with] a sound most
recently crafted by Dan Auerbach of Black Keys. Im very thank-
ful for Coachella. Over the years, it has exposed me to wonderful
international acts, [with] some notables [being]: Le Butcherettes,
Mano Chao, Tinariwen, Jake Bugg, Tokyo Ska Paradise Orchestra
and Ghost BC.
Blood Orange
I wonder how many reviews Devont Hynes of Blood Orange has read
comparing his presence to the Purple One? His creative energy as a
musician has fueled collaborations with Solange and Theophilius
London among others. Itll be all sex on stage.
Duke Dumont
If you want to see something cool, watch Duke Dumont drop Need
U (100%), and witness an army of cute Coachella girls singing at the
top of their lungs while grooving away. Disclosure are not the only
producers to master the British two-step. Next time I visit London, I
wont leave without one of those slick haircuts.
Chance the Rapper
The only way you may have heard Chances music is if youve visited
some shady space on the Internet to download his mix tape. Hopeful-
ly, you didnt accidentally click the wrong button and install a virus,
because youd be losing out on one of hip-hops most creative efforts
in recent memory. Also, if you go through that much effort to listen to
your music, youre all right in my book. Shoutout to LiveMixtapes.com.
ALISON SWING
Coachel l a Camper Si nce 2010
RICH THOMAS
15 Year Coachel l a Attendee
Blood Orange
I instantly fell in love with Blood Orange the frst
time I heard his single, Champagne Coast. Hop-
ing to take in the mellow, sexy tunes under the
beating Coachella Valley sun!
Neutral Milk Hotel
My little brother frst introduced me to this band
about fve years ago with their album In the Aero-
plane Over the Sea. Seeing front man Jeff Mangum
play solo last year was a complete dream come true
and surpassed all of my expectations!
Dixon
For me, its an absolute given to catch a set from the
Berlin-based Innervisions label founder. Ive seen
him DJ a few times now, and each set has taken the
room on a newer, spaced-out journey.
Cajmere
Whenever I think of Cajmere (aka Green Velvet), the
frst word that comes to mind is BOSS. I recently
saw him DJ...no...slay a room of dancers with a
stone-cold demeanor.
Factory Floor
Im a huge DFA fan and have been swooning over
the industrial disco jams theyve been putting out.
Really looking forward to this dance party!
Solomun
Ive been following him for so long, waiting for him
to fnally touch down on the West Coast. The day
has fnally come!! Solomun is a deity of house (and
label boss of Diynamic and 2DIY4), so theres no
way I will be missing this.
Ty Segall
The frst time I saw Ty Segall was in a grungy
little back-alley venue called The Smell. Ive been
a huge fan ever since. They have never failed in
bringing anything less than a brute force of me-
lodic noise rock.
Bicep
These guys have been a tour-de-force within the
house scene. I saw them play with Simian Mobile
Disco recently, and they totally wrecked it! Cant
wait to see what they do for Coachella.
Hot Since 82
The frst time I put on Little Black Book, I was driv-
ing to a family dinner. I ended up taking a different
(and longer) freeway routeand arrived 20 minutes
latejust so I could fnish listening to the album all
the way through.
Wye Oak
Andy Stack and Jenn Wasner can go from dreamy to
raucous in seconds. Their latest, Shriek, doesnt drop
until after Coachella, so be prepared for a smatter-
ing of unknown jams, but a golden hour slot would
be the perfect setting.
The Jon Spencer Blues Explosion
Rough, sloppy, sexy, brash, Jon Spencer is every-
thing rock & roll should be. Even though Jack White
would get top billing these days, the White Stripes
wouldnt be what they are without the infuence of
this 90s New York trio.
Fatboy Slim
Norman has caught each unique wave of dance music
the past three decades [and] ridden themlike a champ.
He looks like hes having more fun onstage than you are
on the foor. Pay homage to the original party rocker.
Laurent Garnier
Search YouTube for a track called Crispy Bacon, then
throwon some headphones and crank the volume. If,
after seven minutes, you feel like you want the other
side of your brain fried, showup for his Coachella set.
Daughter
If You Leave was a Top 10 of 2013, and Youth is
nothing short of an anthem for spurned romantics.
Not to be missed if youve got a soft spot for female
vocalists like Sharon Van Etten. Positively haunting.
Preservation Hall Jazz Band
Rock, hip-hop, techno, synth-pop, folk, electro: all
of these are noble pursuits, but theres something
about jazzin any formthat stirs the spirit like no
other music. Reward your soul this weekend.
Nas
If you dont have Illmatic in your catalog, youre miss-
ing out on one of the best combinations of lyrical forti-
tude and classic boom-bap production ever released.
[Nas is] a true storyteller, who recently helped to es-
tablish the Nasir Jones Hip-Hop Fellowship at Harvard
University. School will be in session.
GOPI SANGHA
Gol denvoi ce/Coachel l a
ZEL MCCARTHY
Edi tor-In-Chi ef @ THUMP
SYMBOL RECORDS HEAD KASTLE RETURNS TO THE DO LAB FOR ITS 10TH YEAR AT COACHELLA, AND
WITH HIM COMES HIS UNIQUE MIX OF R&B SAMPLES, BOUNCY HOUSE AND PLENTY OF BASS. CAMP
ASKED KASTLE TO BREAK DOWN HIS DO LAB SET FROM 2013 TO GIVE US A TASTE OF WHAT HE HAS IN
STORE FOR THIS YEAR. HERE ARE THE HIGHLIGHTS.
THE PERFECT OPENER: IT WAS REALLY SOMETHING
TO SEE PEOPLE DRAWN IN BY THOSE HORNS!
PROBABLY MY FAVORITE DAFT PUNK SONG.
I REMEMBER THE BASS LINE SHAKING MY
BRAIN WHILE ON STAGE.
I CANNOT HELP BUT MOVE TO THIS TUNE.
PROBABLY THE MOST PERSONALLY
MEANINGFUL SONG IVE EVER WRITTEN.
MUCH LOVE FOR THE CAT!
JANET JACKSON
THE CROWD ALWAYS GOES OOOOOOOH
WHEN THAT BASS REALLY SINKS IN.
WILLY JOY AND I ARE OFTEN MISTAKEN FOR
EACH OTHER. NEAR TWINS
IF I HAD A DOLLAR EVERY TIME IVE BEEN ASKED
TO DO ANOTHER WEEKND REMIX, ID HAVE
PROBABLY DONE IT!
PHOTOS: (ABOVE) DANIEL ZETTERSTROM, (RIGHT) THESUPERMANIK
WEST COAST!
KASTLE @ THE DO LAB
Friday April 19, 2013 (11:30 PM)
DJ SE T DE CI PHE RE D ~ K A ST L E
S E A R C H
OUR RECOMMENDATIONS FOR FINDING YOUR NEXT FAVORITE BAND
Every year, Coachella rolls out a dizzying array of artists that cover a vast range of musical
styles and genres. While the headliners are household names, dozens of the acts that play
the festival are less well-known, but never short on talent.
Nothing beats discovering your new favorite act while running around the polo grounds.
Taking a fne-toothed comb to this years line-up, we match some acts you know with some
new artists to check out.
This British duo has brought a classic house
music sound back to the world of EDMwith
their debut, Settle.
IF YOU LIKE: MOTORHEAD
YOU MIGHT ALSO LIKE:
CLAUDE VONSTROKE
YOU MIGHT ALSO LIKE: CAJMERE
Like Disclosure, NewYorks Chris and Steve Martinez
caught the house music bug at a young age, releasing
their debut single, My Rendition, when the brothers
were 15 and 18, respectively. Their deep, soulful beats
recall the glory days of legendary NewYork clubs like
the Paradise Garage.
This Chicago house music legend has been releasing
seminal underground hits for years under a variety
of guises, including Green Velvet. Born Curtis
Jones, Cajmeres spaced-out take on dance tracks
has resulted in such classics as Percolator and
Brighter Days.
This Midwest native bumps out gritty, techno-
meets-house beats far more reminiscent of Detroit
and Chicago than his San Francisco home base.
Spreading these tough, party-starting sounds on his
Dirtybird label, Claude VonStroke moves the dance
oor like a true master.
The Scottish DJ/producer became one of EDMs
biggest stars by matching sing-along pop choruses
with shiny dance oor beats.
IF YOU LIKE: LORDE
This rising dance music star mines classic 80s
house and techno sounds to propel nely crafted
singles like Need U (100%) straight to the top of
the UK charts, while also securing his rst Grammy
nomination in 2014.
This San Francisco DJ/producer creates a panoramic
dance music mix that touches on a wide range of
sounds, from progressive house to trance, and even
traces of dubstep. His high-energy sets are packed
with feel-good anthems guaranteed to make you move.
YOU MIGHT ALSO LIKE:
JOHN BEAVER
YOU MIGHT ALSO LIKE:
THE MARTINEZ BROTHERS
YOU MIGHT ALSO LIKE:
UNLOCKING THE TRUTH
YOU MIGHT ALSO LIKE:
GRAVEYARD
YOU MIGHT ALSO LIKE: THE CULT
YOU MIGHT ALSO LIKE: DAUGHTER
YOU MIGHT ALSO LIKE: BANKS
YOU MIGHT ALSO LIKE:
JHENE AIKO
YOU MIGHT ALSO LIKE:
DUKE DUMONT
YOU MIGHT ALSO LIKE: TIGA
The pride of Montreal, Canada, Tiga is known for
his glamorous take on techno and house, bringing
high drama to dance oors around the world with
cheeky covers like his notorious take on Nellys Hot
in Herre.
Bruising British hard rock pioneers led by
legendary front man Lemmy have become icons,
with enduring, metal-tinged classics like the
eternal Ace of Spades.
And speaking of The Cult, the British band rocked
the 80s with full-throttle classics like She Sells
Sanctuary and Love Removal Machine, which
teetered on the edge of post-punk, before the group
charged straight into the American mainstreamwith
larger riffs (Fire Woman) and tours alongside Guns
N Roses.
This pint-sized Brooklyn tween trio cranks out
massive, heavy metal riffs that belie their relatively
young age. Building their growing reputation with
free shows in NewYorks Times Square and glowing
online profiles, Unlocking the Truth righteously
represents the next generation of heavy metal.
This hard rock outt out of Sweden pairs fuzzed-out
guitar licks with caterwauling vocals that bridge
the gap between Jim Morrison of the Doors and Ian
Atsbury of the Cult. The bands trippy, psychedelic
sound is both heavy and hypnotic.
New Zealands teenage prodigy-turned-superstar
exploded around the world with minimal and moody
goth-tinged anthems like Royals and Team.
This Britishbandhas beencomparedto contemporaries
like The xx and London Grammar, thanks to warm,
impassioned anthems like their single Youth, which
plumbs the emotional depths of heartbreak via singer
Elena Tonras smoky vocal styling.
This Los Angeles natives brooding, sparse sounds
broke through to a wider audience when her song
Waiting Game was used in a Victorias Secret TV
ad, before reaching even more listeners with a plum
opening spot on The Weeknds Kiss Land tour.
Best known for high-profile col laborations with
rappers like Drake and Childish Gambino, Jhene Aiko
has come into her own with emotional, atmospheric
singles like The Worst, exploring the outer reaches
of alt-R&B and hip-hop on the stellar Sail Out EP.
IF YOU LIKE: CALVIN HARRIS
E N G I N E
IF YOU LIKE: DISCLOSURE
Located alone in a desert clearing just outside of Joshua Tree, a 70-year-old
wooden homestead stands as a monument to modern art among the still, yet
shifting environment around it.
Created by acclaimed artist, sculptor, and designer Phillip K. Smith III, the
desert installation, titled Lucid Stead, is a visually haunting interaction cre-
ated by combining slats composed of both one- and two-way mirrors within
the existing structure. By incorporating its surroundings into the work by way
of these refective surfaces, the piece lets the desert itself becomes a part of
the experience. The story is further enhanced by the custom LED lights and
electronics, which help to create a truly ephemeral dynamic between instal-
lation, viewer, and the environment surrounding both.
Its really about four ideas: light and shadow, refected light, projected light,
and change, Smith says of the installation.
The light and shadow is about the interaction of the sun. The refected light
is within the mirrors itself, using the desert as both material and medium. The
projected light comes from the inside out. He continues that the piece stands
as a monument to the quiet and pace of change of the desert. It is about stop-
ping and being quiet so that you can truly see and listen.
A native of the Coachella Valley and a graduate of the Rhode Island School
of Design, Smith was drawn back to the California desert, where the ideas of
change and pace play a huge role in the fabric of his visual language. His return
led to a stint as 2010 Artist in Residence at the Palm Springs Art Museum. He
has also been commissioned to build large-scale public works in Kansas City,
Nashville, Oklahoma, Arlington, Phoenix, and across California, in addition to
an exhibition at the UNTITLED Art Fair in Miami this past December.
Thanks to Smiths growing reputation, Lucid Stead drew over 400 art lovers from
as far as Canada and New York to its remote desert location during its single
weekend open to the public. Perhaps more signifcant, however, was the Inter-
net reaction to Lucid Stead, which drew over 350,000 views of the offcial Vimeo
clip, which was posted on media outlets as diverse as Slate and High Snobiety.
Yet, a video clip cannot do complete justice to any work of art, especially art
that plays with dynamics of time and scale like Smiths. That is one of the
reasons why Coachella 2014 will bear witness to a completely new piece, one
with seeds sown from Smiths earlier Lightworks series, cross-pollinated with
the forms of Lucid Stead. With Refection Field, Smith brings his ideas of material
and internal refection, environmental connection, and modernist minimal art
spaces, to the grass-foored, open-air gallery of Coachella.
Smiths descriptionof the piece, By day, the monumental, mirroredvolumes are
prisms of earthandsky, wrappedby the surrounding environment. By night, they
become monolithic felds of color that blend and layer through echoes of refec-
tion. Spaces become simultaneously infnite and fnite, while hues push and pull,
saturating and dissolving the surroundings and your periphery into pure color.
After experiencing Refection Field through its planning stages, the installation
is a place of thoughtful respite among the hustle and bustle of the Coachella
felds. Be sure to check it outyou defnitely wont miss it.
Reflection Field brings artist Phillip K Smith IIIs vision to the polo grounds.
ARTIST
Art photos courtesy Royale Projects: Contemporary Art. This page: Torus 5, 2013,
Opposite page: Lucid Stead, 2013 Artist photo by Paulo Von Borries
by Phil Nacional es
Two thousand fourteen marks the twelfth year that Coachella has offered
camping as an option for festival fans. What started with a small lot for tents
as an alternative to hotels (which quickly fll up every year), has become a
major event of its own, with 20,000-plus sun-drenched souls treated to every-
thing from a pinball tournament and nighttime roller-skating to an arts and
crafts studio and a custom-made magazine (the one youre holding right now!).
Much of that expanded activity can be attributed to Justin Ferreira, who acts
as both Camping Director as well as Property Manager for the Eldorado Polo
Grounds, where the camping takes place. Along with Activities Director Katie
Bellinger, Justin is constantly looking for new ways to entertain the campers.
The coolest new thing thats happening is the Thursday night snowball fght,
reveals Justin with a laugh. People in their swimsuits throwing snowballs!
Suchinspiredideas are only possible whenone spends a lot of time out inthe
desert, whichis why this year, Justinwill spendover three months working inthe
Coachella Valley. It gives himthe time to discover newways to improve the camp-
ers experience, ways that wouldseemimpossible unless youstumbledinto them.
It allows me to have the time to go have a tour of the ice factory. I was hanging
out with the owner and he had a trailer that crushes ice blocks and turns it into
snow, tells Justin of the happy accident that lead to his latest, wild idea. Just
being out here, especially in the non-showtime when its not so hectic, gives me
more time to slowdown and think about stuff and look at everything differently.
Besides more fun, Justin wants to give campers the chance to look their best
as well. Four nights in a tent might not make for the best grooming regimen,
but after listening to what the campers ask for, Justin and his team decided to
give them what they want.
Were going to have a salon-type tent where the girls can get ready, put on their
make-up, blowdry their hair, he reveals. The campsites themselves dont have
power, and theyre always looking for places to plug in fat irons and stuff.
[Coachella] is a fashion show, he proclaims. And we give them a place to get
their fashion on. Joshua Glazer
Colleagues come together to
create Coachella
B O U T I Q U E C A M P I N G
The Coachella Boutique offers more than simple souvenirs. Full-on fun from the moment you leave your tent.
The coolest new thing is the
Thursday night snowball fight.
I NSI DE E DI T I ON
Surely, at this moment, youre forging indelible memories that will last a life-
time. Building mnemonic postcards that youll trigger in future days, to relive
some of the happiest moments of your life. The whiff of a Spicy Pie might
take you back; an old selfe from the Sahara Tent resurfacing on Instagram; a
Shlohmo track streaming on Pandora.
But lets be honest: the lifespan of some of those gilded memories can be
cut short by, oh, I dont knowlets call it the heady cocktail of desert
heat, dance-inflicted dehydration, and a healthy does of sleep deprivation.
Thats why its a good idea to pick up a souvenir of your world-class week-
end. Its almost as good as inking a Coachella 2014 tattoo, without the
risk of infection.
Enter the Coachella Boutique, a purpose-built sanctuary of custom-crafted
goods designed especially for the Coachella Festival. James Allen was frst
entrusted with shepherding the merch at the Coachella Boutique last year,
and hes returned for another tour of duty. Coming from a background that
is half high-end retail, and half DJ/producer/promoter, the melding of these
worlds seemed as tailor-made for Coachella as the palm tree-studded lunch-
box sold in the shop.
We just fnd people whose work we like and ask them. It sounds simple, but
its true! says Allen, describing the Boutiques laissez-faire approach to fnd-
ing collaborators. On his team is Jon Halperin, who works as a conduit to the
visual artists community. Together, they simply fnd people they like to work
withlike graffti legend SEEN, whom they met at an art opening. We just
cornered him and basically pestered him into doing a shirt for us. Were polite,
but persistent.
Artists contributing this year include street-art heavyweights like D*Face, as
well as Kii Arens, Us vs. Them and Chris Shary. Some contribute printslike
D*Faces work, featuring a crying girl clutching a zombie motorcyclistthat
are limited to only 100 pieces (50 for each weekend). Other items include t-
shirts, pajamas, socks and wool beanies. Wait, a beanie? It makes next to
no sense, on paper, to sell a beanie at a music festival in the desert, Allen
admits sheepishly. But if youve been to Coachella, you know how chilly it
can get at night.
Standard actor gear aside, a lot of thought and craftsmanship goes into all of
the items, to create a carefully-curated sundry of exclusive gear that will far
outlive your star-dusted weekend. Allens favorite: a gorgeous metal-bodied,
limited edition Lomography camera.
Its incredible. The level of detail kind of blew me awayI really hope to
provide items that are as unique as Coachella. I dont feel that its a hyper-
bole to say there is no other experience like Coachella in the world, so the
items we create need to match that uniqueness, explains Allen. I want
people to walk away with something that takes them right back to the mo-
ment when they bought it. You know, because Spicy Pies just dont keep
that long. Nicolas Stecher
Illustration by John Felix Arnold III
Many of Coachellas most buzzed-about appearances have never been listed
on the iconic concert poster. They dont make it onto any ten-bests list, and
you cant buy their t-shirt at the merch stand. Yet, they will appear in more
photos than any of the musicians on the bill.
Were talk about the amazing art pieces that turn the polo grounds into an
annual pop-up museum, where fans can gasp, gawk and point their cam-
era phones at these outstanding installations that make the Coachella
Valley Music and Arts Festival stand out from any other music gathering in
the world.
There really isnt another music festival, from what I understand, that is
spending the kind of money on art that we are, says Paul Clemente, a former
visual effect professional who worked on summer blockbusters like The Matrix
and Titanic before becoming Coachellas art director in 2009. The reason for
this expenditure is that for the past three to four years, Coachella has com-
missioned almost all entirely new pieces of art for each event.
That wasnt always the case. Art has always been a major priority for Coach-
ella. Right up there with the bands, insists Clemente. But in the early years,
with all budgets smaller than they are now, most of the art was recycled from
the previous years Burning Man gathering.
Burning Man was the obvious place to look for people who were capable of
delivering those pieces, Clemente explains. Not just the idea, but actually
manifesting and delivering that reality, on budget and on schedule. All those
things are very important.
Today, Coachella still works with many Burner artists, including Charles Gade-
ken and Keith Greco, who have had previous pieces at both events, and each of
whomwill be creating newpieces for Coachella this year. They will be joined by
several newartists, including Philip K. Smith and James Peterson, who have had
previous success at marquee art world events such as Art Basel.
In fact, as Coachella solidifes its place as not only a music destination, but
also one for exclusive large-scale art displays, the festivals artistic goals be-
come more ambitious year after year. We want to have work at our show that
you wouldnt be surprised to see if you walked into the courtyard at LACMA or
MoMA, or any great museum, say Clemente.
But, unlike these cultural institutions that preserve art as much as they pres-
ent it, Clemente admits that theres a good chance many of the pieces shown
at Coachella will never be seen again. In the end, the ultimate goal is making
a memorable impression on the fans.
To make sure that the kids who are coming to the show year after year are
getting a unique experience each time, is how Clemente describes his aim.
So, as you step onto the Coachella grounds, remember to take time and really
look at the art on display. For two weekends a year, every kid at the concert is
more in the know than any art collector in the world. Joshua Glazer
Community building, not just concert building.
Original installations are a visual feast for the
Coachella faithful.
There really isnt another music
festival, from what I understand,
that is spending the kind of money
on art that we are
P R O D U C T I O N A R T
Whats changed about your job since you frst started?: Ive been certifed to
drive a forklift, so now I actually get to help build the festival!!
What will you be doing after the gates close for 2014?: Id like to say enjoying a
glass of whiskey! But that always has to wait.
Describe one of your unrealized (as of yet) visions for Coachella: Ive wanted
to see the festival expand their gourmet food options. Weve got some great
people making that dream a reality this year, and I cant wait to try everything!
KEVAN WILKINS (Production Manager/15 years with Coachella)
Responsibilities: I oversee everything that goes on at the venue and all the
surrounding land, which is roughly 1 square miles.
What will you be doing the moment the Coachella gates open this year?:
First, I check with the stages to make sure that they are ready. Then security,
then fre, then police and medical crews. Its a procedure that takes 20 30
minutes prior to opening.
Are you the guy who says, Open the gates?: I am, yes.
What will you be doing after the gates close for 2014?: Get to sleep. Then
wake up early and start taking down the main stage to move it across the feld
for Stagecoach.
Describe one of your unrealized (as of yet) visions for Coachella: Get the
bands running order earlier.
BRYAN BISHOP (Crew Chief, aka The Pirate Captain/15 years with Coachella)
Responsibilities: Im in charge of all the labor that builds stages, lights, sound,
light towers, and all things that have to do with production of the festival
Whats changed about your job since you frst started?: Ive gotten an as-
sistant. I use to do everything myself. Second, we have fnally gotten quality,
overnight meals. In the early years, it was cold-ass burritos and pizza.
Describe one of your unrealized (as of yet) visions for Coachella: Having a
bigger effect on the local community as well spreading the message of togeth-
erness. Its really amazing to see the local community get health care and
dentistry done when Goldenvoice holds outreach programs.
JESSYCA ESTRADA (Venue manager/14 years with Coachella)
Responsibilities: Oversee all operations in venue, make sure things are running
smoothly and fx problems.
Whats changed about your job since you frst started?: The amount of people it
takes to build and run this showis incredible. I feel a little responsible for help-
ing make 90,000 peoples weekend the best ever!
What will you be doing the moment the Coachella gates open this year?: One hun-
dreddifferent things! But once they open, I usually fnda quiet place for about 15
20minutes to sit andlet out a big breath, andprepare for the funweekendahead.
What will you be doing after the gates close for 2014?: I fnd my Goldenvoice
family, exhausted and hopefully celebrating. Usually some crazy shenanigans
follow to blow off steam.
B-TEC (Festival Architect/7 years with Coachella)
Responsibilities: Consolidating the information from all departments to form
the site map, our bible, on the festival grounds of what goes where and why.
Whats changed about your job since you frst started?: The site as a canvas
has grown, allowing more creativity. Not only on my part, but the expansion
of land has vastly opened for more thought into the festival grounds.
Describe one of your unrealized (as of yet) visions for Coachella: I would like
to continue to see architecture as part of the art or live art. I believe we have
taken a step in that direction. Our partnership with Modernism Week has
made this vision that much closer to reality.
If you werent working for Coachella, what would you be doing?: Most likely,
teaching architecture and design at a university, continuing to do design build
architecture, and traveling the world attending music festivals as a patron.
DRE HANNA (Production Supervisor/3 years with Coachella)
Responsibilities: I help hire the vendors who provide stages, sound, lights and
video, tents that provide shade, heavy equipment to help build the festival,
fence and bathrooms, offces for staff, trailers for artists In a nutshell, I
help build the city that our staff works in and our guests play in.
Once upon a time, hearing your favorite band often meant fghting to
the front of the stage and subjecting your ears to potentially damaging
volumes to get the full effect. Today thats changed, and working
pros in the live sound industry universally agree that we are living in
a golden age for concert sound. Coachella strives to be one of fnest
example of how great the sound at a festival can be, thanks to the
expertise of longtime soundman and audio entrepreneur Dave Rat.
Dave Rat photographed at the Rat Shop in Camarillo, CA on February 27, 2014.
Daves explanation for why concerts sound better now than ever before has as much to do with the state of the current
music industry as it has to do with modern sound reinforcement technology. Physical sales of music have dropped in
recent years due to MP3s and other digital formats replacing CDs. While this has placed pressure on struggling record
companies, its also shifted focus back to making live music a more important revenue driver. Says Rat, That disruption
in the record business has had a profound effect on the live music industry. Budgets for making records are going down,
but budgets for live sound production are going up. In a way, the troubles in the recorded music business have had an
inverse effect on the live music business.
Its not just a shift in priorities for the music business thats driven these improvements in concert audio quality, however.
Weve also experienced some major advancements in live sound technology, explains Rat. For example, line array (loud-
speaker systems) were a denite game changer (see sidebar). Its not just that they sound better than older loudspeaker
systems, its that the amount of accuracy needed to set one up is crazy. We have to use precision equipment like laser
inclinometers to set these up properly. This development alone upped the caliber of people working in the live sound
business, since its such highly technical, challenging work now.
The quality of the audio experience being
presented to the audience is better than it
has ever been before, says Rat, who is the
president and founder of Rat Sound, the audio
company that has been providing sound for
Coachella since 2001. (Coachella promoter)
Goldenvoice has always put sound quality
and audience experience rst. They really
try to make Coachella the best festival in
the world, and deliver[ing] top quality sound.
(That), to me, is paramount.
FRONT OF HOUSE ENGINEER This is the audio engineer
responsible for creating the sound mix that you, in the
audience, are listening to. Hell adjust the volume of each
instrument on his mixing console until the music sounds as
good as it possibly can. Ironically, the bands themselves
dont ever hear this mix from the stage.
Pro tip: The best sounding seat in the house is always right in
front of or behind the front of house mixer. Just dont try asking
the sound guy for more rhythmguitar while hes working.
MIXINGCONSOLE Also knowas the board or the desk,
this is the most important piece of gear for live sound. It
takes all of the various inputs frommicrophones and musical
instruments onstage, and mixes themtogether into the fnal
music you hear coming out of the speakers. The mix engineer
can adjust each audio elements EQand volume, and apply
hundreds of different effects, such as reverb and delay.
Modern mixing consoles are literally more sensitive and
complex than the instruments NASAused to land on the
moon. Its not unusual for a band to have 60 70 inputs run-
ning through the console for a show.
MONITOR ENGINEER The Monitor Engineer is respon-
sible for creating the stage mix that the performers
themselves hear coming out of the monitor speakers facing
the band onstage. This job is crucial because its nearly
impossible to give a great performance if the musicians
cant hear themselves properly.
Fun game: Drink every time a musician gives the monitor
engineer the thumbs up sign. They are not congratulating him.
Theyre telling him to turn their stage volume up.
LINE ARRAYS A line array is a loudspeaker system that
is made up of a number of identical loudspeakers that are
typically mounted in a vertical line when used to amplify
sound at a concert. These systems can be suspended from
a structural beam or a specially constructed tower. The line
array frst came into wide use at concerts in the mid-1990s,
and has been widely accepted as heralding a massive leap
forward in live sound quality. Get one installed in your
home if you really want to impress people.
FESTI VAL SOUND 101
To give you an idea of what a massive challenge it really
is to provide sound for a festival as large as Coachella,
think about thisRat Sound will roll in with a total of
18 semi trucks packed full with audio equipment, bring
along as many as 70 crew people, and will be ultimately
responsible for the audio needs of more than 180 bands
and DJs. In addition to trucking in, setting up and operat-
ing the audio equipment used to power all six days of the
festival, Rats team also has to make sure theyre working
in coordination with all of the audio teams that each of the
performers brings with them to the gig.
Every band that is playing the festival will have their own
sound crew, anchored primarily by two sound peoplethe
front of house and monitor mixing engineers (see sidebar).
Both of these engineers will have their own large mixing
consoles, and each stage will have two sets of mixing
consoles set up at any given time. Why the redundancy?
Its to make sure we can have a quick changeover. We
only have 20 30 minutes between each performance, so
instead of setting up another console between each act,
we have redundant systems already set up so the next
band is ready to perform almost immediately after the
last band has struck their gear from the stage. Its not a
lax environment at all, and its hard work, but we have a
very high success rate of getting it done right.
A legendary fgure in the live sound industry, Dave Rat is no
stranger to hard work and getting it done right. He recollects,
I started Rat Sound back in 1980. I used to record live perfor-
mances of bands at small shows, and Id make copies of the
shows for bands. I started getting requests to supply sound
systems for these shows, so I built some little speaker rigs
and drove them around to the gigs in my van. Thats really
how the company got started.
It was just around this time that a new concert production
company called Goldenvoice was starting up and began
working with Rat Sound to provide sound systems for their
shows. Rat Sound and Goldenvoice kind of came up togeth-
er, so weve enjoyed a long and really natural partnership
since the beginning, explains Dave.
In addition to running one of the top sound companies in
America, Dave Rat personally holds two patents for audio
technology that he invented. While this would be enough
work for most men, Dave still fnds the time to do what hes
always truly lovedmixing live sound for bands.
What really got me started in the touring business was mix-
ing for Black Flag, he says. We did three tours together.
After that, I was hooked. I mixed the Red Hot Chili Peppers
for many years, I mixed the Offspring, and I just came off the
road mixing the last Soundgarden tour. I still love it.
Its this passion for music and live sound technology that has
made Dave exactly the right manto take onwhat has to be one
of the toughest jobs in audio. He says its worth the hard work.
The live music experience is human and natural. And this is,
without a doubt, the best time ever to experience live music.
Have you ever wondered what it would
be like to go on the road with your
favorite band, live out of a suitcase
and make out with the groupies that
the band has passed on? Then get
a job on the audio team! These guys
are responsible for making sure
the band sounds great. Blow it, and
youre fred. Kill it, and youre an
honorary member of the band (until
you blow it, and the band fres you).
Youll need to know a few things about
live sound frst before you get the gig.
Check it out.
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Mysteries and Oddities of the California Desert By Liz Ohanesian / Photography by Chris Miller
Were heading down a near-empty desert highway, maybe a half-hour or
so outside of Indio. A large, blue expanse creeps into the corner of our
eld of vision. We look through the passenger side window. My husband,
the driver, wonders if, after three hours and change on the road from Los
Angeles, weve nally hit the Salton Sea. I jokingly counter that it could
be a mirage. As real as this body of water in the middle of the desert is,
it warrants a triple-take. The salty lake, butting up against mountains, is
outlined by a thick haze. It looks like a TV dream sequence.
The Salton Seas history is ancient. Its terrain has historically uctu-
ated between wet and dry. However, its current incarnation is the result
of a spectacular mix of 20th-century innovation and human error. After
massive ooding in 1905, the Salton Sea morphed into a lake supported
by irrigation run-off from the local farms. It is the largest body of water in
California and home to a diverse ecosystem teeming with birds and sh.
Its also home to one of the great legends of the desert.
Google lost ship desert and youll nd a couple pages of results concern-
ing purported shipwrecks hidden far from Californias coastline. Its the
sort of tale that is immediately suspect. How could a boat wind up sub-
merged hours away from the Pacic Ocean?
Inside the Salton Seas Visitor Center, a gray-haired gentleman sits behind
the counter. I hesitate and stumble through a question that seems prepos-
terous. Is there any truth to the stories about a ship at the bottom of the
Salton Sea?
A woman in a park uniform laughs when she hears this. Good question,
she says.
The man pauses before he answers. Possibly, he says. He walks toward a
rack of books and hands me a copy of The Periscope, a magazine fromthe
Coachella Valley Historical Society. The story of the lost ship(s) is in here. I
buy the issue and read it in the car. Legends have persisted for well over a
century. One is said to have been a ship abandoned during a trek across land
towards the Colorado River. Another may have been a boat-like vehicle built
for sand. The most convoluted saga, involving seafaring travelers of varying
origins, was reported expos-style by the Los Angeles Star newspaper in
1870. The actual existence of these shipwrecks remains an unknown.
"In the desert, artists and musicians have come to find
their muses. Not all lived to tell the tale."
Salvation Mountain by folk artist Leonard Knight.
Slab City
With the scorching summer heat and harsh landscape, the desert of inland
California is fertile ground for strange legends and unusual sites. In the
desert, artists and musicians have come to nd their muses. Not all lived
to tell the tale. Its also a place where generations of seekers have come
to nd gods or aliens, and where that communion can lead to impressive
feats of art and design that exist outside of big-city establishments. For
two Sundays, we crisscross the desert in search of some of its best-known
mysteries and oddities.
Our next stop is a couple dozen miles away from the Salton Seas main hub.
We pass the remains of a former snack shack (a reminders that the lake
was once a popular vacation spot), and cross the line into Imperial County,
entering a ramshackle town called Niland. We turn left onto its tiny Main
Street marked by dilapidated structures. All too quickly, the buildings are
gone and the space widens. The iPhones sense of direction comes into
question. Eventually, RVs, and even a teepee, dot the landscape. A brightly
colored hillside looms ahead of us. Weve made it to Slab City.
Formerly called Camp Dunlap, this military outpost lost its usefulness
after World War II. Eventually, the Marines who trained here gave up their
space, and long-term campers gradually moved to the grounds. Today,
Slab City is a base for travelers, known as snowbirds, who escape chillier
climates during the winter months. In February, when we visited, the
landscape is dotted with residences spread far enough apart to create
some semblance of privacy.
Its not just migratory people here. There are a few longtime residents of
the Slabs as well. The most famous, folk artist Leonard Knight, died less
than two weeks before our arrival. At Slab City, Knight worked for decades
on Salvation Mountain, a mix of religious sentiments and obsessively
maintained, populist art.
The mountain is a small hill lled out with haystacks and adobe. Its
facade is covered in layers of paint so thick that it looks like frosting.
Rough-edged paintings of owers are applied on top of blue and white
stripes. A yellow dirt road winds through the enchanting scene. Prayers,
bible citations and reminders that Jesus loves you are scrawled across
the piece in big letters. Beneath the facade are a series of alcoves sup-
ported by pastel-painted trees. One section holds trophies. Another boasts
the partial shell of a car.
The mountain is bustling. People climb the hillside and wander through
the corridors. Salvation Mountain is a spectacle, one that clearly excites
travelers as a colorful respite from the endless monochrome desert. Despite
all the joy that comes from exploring this monumental piece of art, theres
an air of sadness. Salvation Mountain is incomplete. There are buckets of
adobe and errant stacks of hay off to the side of the installation. Now that
Knight is gone, will it ever be nished?
I spoke to Bob Levesque by phone about this. Hes the Vice President
of Salvation Mountain Inc., as well as Knights nephew by marriage.
Levesque, who lives in Florida, says that completing the project isnt their
intention. We dont feel that it is our job to nish it, he says. It is our job
to preserve it.
Maintaining Salvation Mountain is a daunting task of its own. Rain can
cause collapses. Thats happened in the past, so this is a major concern,
particularly for a site that brings in several hundred people a day on winter
weekends. There are teams who work on maintenance and repairs, as well
as caretakers. The preservation will be an ongoing process for years and
years to come, says Levesque. The desert is brutal. Even a beloved piece
of art isnt safe from the elements.
On the way back to Los Angeles, we stop at the Cabazon Dinosaurs. If
you travel across the I-10 freeway between Los Angeles and Coachella,
you have likely seen two large beasts off the side of the freeway. Theres
Dinny, an apatosaurus (or brontosaurus), and Mr. Rex, a tyrannosaurus.
Constructed by Knotts Berry Farm sculptor Claude K. Bell in the 70s and
80s respectively, these giant lizards are a testament to the grand road trip
and B-movie culture celebrated around these parts. Built to draw attention
to Bells roadside diner, the beasts became screen stars when they were
featured prominently in the 1985 cult hit Pee-Wees Big Adventure. But
thats just the rst half of the dinosaurs tale.
In the shadow of Mr. Rex sits a small statue of a lamb. A fake lion hides
under a nearby palm tree. Lambs, lions and dinosaurs are an unusual jux-
taposition, but all becomes clear once we enter the gift shop located inside
Dinnys giant belly. Evolution teaches that dinosaurs lived millions of years
before man, reads one of the signs inside this tiny museum. However,
science and the Bible tell us a different story. They tell us that dinosaurs
and man lived at the same time. Since the mid-00s, the Cabazon Dino-
saurs are one part playground, one part creationist museum.
We return to the desert the following Sunday morning. This time, the
destination is near Joshua Tree National Park, to a white dome-shaped
building surrounded by open space and post-storm clouds.
"The sounds that we were about
to hear would shake us into some
greater state of consciousness."
George Van Tassels alien-inspired Integratron
Joshua Tree Inn
The Integratron was the brainchild of George Van Tassel, who had worked
in the Los Angeles aviation industry before moving to the desert with
his family, where they lived in a one-room cave dug out underneath Giant
Rock, a seven-story tall freestanding boulder, believed to be the largest in
the world. It was there where Van Tassel allegedly encountered aliens in
the early 1950s. This sparked his involvement in the UFO sighting com-
munity. It also inspired the development of the Integratron, whose unusual
design and superior acoustics are said to harness local energy and, es-
sentially, reboot the human body via sound baths that take place inside
the upstairs dome.
For two weekends every month, the Integratron hosts No Reservation
Baths. During this time, anyone can show up at the facility and pay $20 for
an hour-long group session, so long as space is available. There are only 40
spots open for each of the group sessions. Ours is sold out.
We each grab two thick, Southwest-print blankets and lay themout on whatever
small share of oor we can secure. One blanket functions like the yoga mat.
The other becomes a makeshift pillow. We will be lying down for the next hour.
The leader of our session sits surrounded by crystal bowls. He tells us
about George Van Tassel and the aliens, asking if we believe in extrater-
restrial life forms. He talks about spirituality and energy and what we can
hope to accomplish in the next hour. Im not sure I completely understand
the lecturea mishmash of metaphysical ideas that boil down to vibra-
tions. Essentially, the sounds that we are about to hear will shake us into
some greater state of consciousness.
There are a fewrules. If you must cough, sit upright. Also, dont snore. This
last point is stressed repeatedly before the sound bath begins. Do not snore.
We take three deep breaths before the bath begins. The clang of a mallet
against a crystal bowl ricochets across the room. These are bullet beats,
startling sounds whose origins and destinations are unclear. Together, they
form an overpowering rhythm. It is unlike anything that has ever excited a
dance oor. Each pulse hits a different part of the bodyright ear, left ear,
gutbut quickly travels across skin and muscle. The body-rattling clamor
becomes a lullaby. My feet dont want to move. I close my eyes.
Minutes pass and crystal thuds continue to bounce across the room. I can
hear everything; it sounds like a wind tunnel now, but my mind has left
the building. Im acting out another situation, somewhere back home. Its
recognizable as a work dream. My eyes pop open. I stare at the ceiling
until the lids grow heavy once again, and I return to the world of banal
fantasies. A nudge to the side pushes me to oat and fall, or so I think. Are
the aliens trying to communicate with me? In truth, I havent moved so
much as a fraction of an inch. My husband leans over and whispers in my
ear, Dont snore.
George Van Tassels interest in aliens was the impetus for building the
Integratron, but music is what helps keeps this place in the public eye.
Josh Homme (Queens of the Stone Age) famously took Anthony Bourdain
here for an episode of No Reservations. In recent years, that TV moment
has become a big selling point for the Integratron.
Music spills from far across this section of the Mojave Desert. Theres a long history
of artists choosing to visit, record and live in the area. One highly inuential musi-
cian died here, and his memory is kept alive in a small hotel along the highway that
leads to Twentynine Palms.
Its easy to speed by the Joshua Tree Inn & Motel. We did. Its a quaint structure
trimmed in desert shades of turquoise and red. A young man named Marsu, an
employee at the inn, lets us inside and offers us chai tea made by his pal in Mon-
tana. He tells us to wander around the premises. Joshua Tree Inn has served as a
temporary home for plenty of noteworthy people. Sixties folk singer Donovan had a
favorite room here, and there are rooms named for country star Emmylou Harris and
actor John Barrymore, father of Drew Barrymore. However, the major draw is Gram
Parsons, the famed eccentric musician best known for his work with The Byrds
and Flying Burrito Brothers. In 1973, the then 26-year-old Parsons succumbed to an
overdose in one of these rooms.
Today, concert posters and other memorabilia line the lobby and dining areas. The
memorial which once stood at nearby Cap Rock, where Parsons ashes were dis-
persed, is nowin the motels courtyard. His roomis still available for use as well. Its
frequently booked, but today, it is vacant. Marsu loans me a key so that we can sneak
a peek. It is an otherwise ordinary hotel room, save for the Parsons-related posters
hanging over the bed.
As we head out of the desert, back toward the lush green of Los Angeles, clouds
darken above us and a community radio station plays a litany of American musicians
who worked against convention. It is a tting end for our excursion to a place where
the odd legacies of outsiders continue to thrive long after theyve left this planet.
In 1973, the then 26-year-old Parsons succumbed
to an overdose in one of these rooms.
Dual
The two decades, two universes, two minds, and one legacy of OutKast
OutKasts story is best told in two decades. Between 1994 and 2004, the duo of Andr Benjamin
and Antwan Patton put out fve albums, with each subsequent release exponentially garnering
more critical fawning and unprecedented sales than the last. From the moment that two
unknown teenagers submitted a remix for TLCs hit single What About Your Friendswhich
landed them a record dealOutKast started on a path that would forever change music. Their
debut single, Playas Ball, rocketed up the charts on the momentum of Atlantas famed
Freaknik weekend, and OutKast began a decade of innovation and dominance. Ten years later,
Andr 3000 and Big Boi reached an apex of cultural saturation rarely seen with the simultaneous
release of The Way You Move and Hey Ya! from their double album Speakerboxxx/The Love
Below, pulling in a coronation at the Grammys and a diamond plaque from the RIAA.
Then, the momentum suddenly shifted. Andr, who never really liked touring
to begin with, refused to hit the road in support of the duos magnum opus. His
distaste for hip-hop was apparent on The Love Below (there are only two rapped
verses on the entire record), but the onslaught of new OutKast music, hip-hop
or not, slowed to a trickle. It hasnt been a complete drought of OutKast music
in the 10 years since, but the Idlewild soundtrack, two Big Boi solo releases, and
a handful of mind-blowing guest verses from Andre were a far cry from the
prolifcacy displayed in the duos frst decade. While its easy to see they were
busy with other projectsacting, painting, running an award-winning pitbull
kennelthe every-other-year release of classic OutKast albums stopped.
by Brandon Perkins | Illustration by Andrew Zbihlyj
In 2014, at the start of OutKasts third decade in the public sphere, Andr 3000 and
Big Boi are touring again, beginning with the hotly anticipated headlining gig at
Coachella, but no one really knows what that means. Like OutKasts entire canon,
the public may empathize with their lyrics and feel their music on a soul-shaking
level, but no one truly understands OutKast.
Sometimes its hard to imagine that Andre 3000 and Big Boi were actually born
humans of this Earth. Its not just the awe of multi-platinum celebrity or undeniable
talents that changed the dominant culture of the last 20 years, nor is it the pink fur
boots, slicked-silver hairstyles or the counterbalanced interstellar pimpisms. Even
as OutKast sounds like an amalgamation of everything, theres nothing that sounds
like OutKast (and many have tried).
OutKast are psychedelic space aliens with radioactive wigs and a sexually adventur-
ous wardrobe, British publication NME said. Look again, and theyre playas from
the Dirty South with a titty bar in their basement. Aboard the intergalactic cruiser
once manned by George Clinton and his Parliament Funkadelic, OutKast has pushed
through the orbits of hip-hop and pop with enough matter to generate its own grav-
ity. Science fction philosophies, a speakeasy-set concept album, rapid-fre war cries
for peacenothing is off limits. From drum-less rap tracks (E.T. (Extraterrestrial))
and rap-less rap albums (The Love Below) to stoner songs about productivity (Git
Up, Git Out) and dance tracks about civil rights leaders (Rosa Parks), everything
is on the table. Entertainment Weekly called OutKast the most innovative partners
in hip-hop, but plenty of people have suggested that the duos innovation extends
beyond just hip-hops tiny corner of the universe. The weirdest part of OutKasts
bizarre bonanza however, may be that the music is so universally enjoyed.
Theres an OutKast song for nearly everyone (and over 25 million records sold proves
that). Theres Wheelz of Steel for the hip-hop purists, Hootie Hoo for the pot-
heads, B.O.B for the moshers, The Whole World for the pop fanatics, Ms. Jack-
son for the committed baby-daddies, Da Art of Storytellin for the lyrics-obsessed
and, of course, Hey Ya! for your mom. There are pieces of these musically advanced
beings in every single song, moments that actual people can relate to; so much so,
its hard to think of Andr Benjamin and Antwan Patton as anything but human.
Their individual successes and vulnerabilities are so blatant and right there on record
that, even through the excess of weirdness, a listener cant help but experience a
kinship with these extraterrestrial visitors. For all the etherealness, Andr and Big
Boi are two artists who got their break while recording in a home studio aptly called
The Dungeon. They are truly of this earth: All the equipment was secondhand, some
of it old. The basement itself was completely unfnished, the foor Georgia red clay,
with dust everywhere, Chris Nickson details in Hey Ya! The Unauthorized Biography
of OutKast. The only furniture was some beat-up patio chairs; if you wanted to sit,
there were the basement steps.
The world doesnt need to be one thing or another, its everything and nothing at the
same time. OutKast is both alien and humanand neither one. At different points
of observation, its all the same. A brain cell measured in micrometers looks exactly
like billions of light years worth of the universe. Synapses of the mind fre off with
the energy of thousands of galaxies. OutKast is the wormhole between everything
that makes us human and everything that makes up the impossibly vast system of
stars, planets, space dust and black holes.
SOUTHERNPLAYALISTICFUNKYMETEORICRISE
OutKast did not have to toil away at their art in obscurity for very long. Born just four
months apart in 1975, Dr and Big Boi began rapping as Two Shades Deep shortly
after meeting outside of the Ralph Lauren store in Atlantas Lennox Square Mall at
the tender age of 16. Before they even left their teenage years, the duo changed their
name to OutKast and had Atlantas frst nation-wide hip-hop hit. That Players
Ball was ostensibly a Christmas song, spurred on by its anthemic presence at At-
lantas storied Freaknik spring break party destination, proves that OutKast was
never going to be just another hip-hop duo. After the party dispersed, people took
OutKasts debut album, Southernplayalisticfunkycadillacmuzik, home with them to
every part of the country.
In 1994, there was a gulch of difference between the East and West Coasts hip-
hop heroes and the local legends found in the South. The booty bass of Miami
had its share of attention and even scored a few hits, but 2 Live Crew felt like an
isolated incident rather than a movement. OutKast was not the only act from
Atlanta that was making moves on a national scale, as Jermaine Dupris roster
was crossing over into pop radio. But that didnt necessarily translate into a last-
ing impact on hip-hop.
We find reasons not to like the South. If it aint afro-pretentious Arrested Devel-
opment, its Kris Kross, says Rob Marriott in his review of Southernplayalisticadil-
lacmuzik in The Source. If it isnt Kris Kross, its all them country pork-chop-eatin
niggas havin fun with their bug-legged women. But if you are a victim of this
rural/urban southern/northern schizophrenia, then OutKast may be the antidote
you seek.
OutKast was able to achieve the rare balance between positivity and coolness. The
duo addressed real issues in their lyrics without sounding like preachers on a pulpit.
When Andr snidely raps, I never smelled the aroma of a diploma, hes just sharing
his storynot boasting about it. The line serves as the subtle bit of autobiography
that keeps OutKast from pushing a positive outlook on the listener and merely dis-
playing it. With a critical and commercial success under their belts, the bar was high
for Dr and Big Bois follow-up.
ATLIENS MEET AQUEMINI MEET STRATOSPHERE
No one knew what to expect when OutKast turned in their sophomore offering, AT-
Liens, in early 1996. Always the adventurous dresser (even how he wore his Braves
jersey in the Puffy-directed Playas Ball video was different), Andr had completely
left the fashion map in the two years between albums. Channeling Jimi Hendrix and
rave fashion through a twisting wormhole of hip-hop credibility, Dr wore turbans
and psychedelic prints (and in much smaller sizes than the rest of hip-hops norm).
The sprawling weirdness was certainly present on ATLiens, but OutKast was also
able to detail the struggles of daily life in catchy, hook-laced song form.
What distinguishes this record from the materialistic hedonism of much East Coast
rap, and the gunplay and pimpism of its West Coast counterpart, is more than Out-
Kasts Southern roots, Kevin Polowy says in his Rolling Stone review. Andr and
Big Boi display a unique ability to describe ghetto life while offering up life-affrming
possibilities, something all too rare in todays hip-hop nation.
From the ear-worm blues on lead single Elevators (Me & You) to the chill-inducing
breakdown on the title trackSoftly, as if I played piano in the dark, Andr intones
OutKast was able to hit people on a gut-level with concepts that would normally fy
over the average listeners head. The album debuted at #2 on the Billboard charts
and has since been certifed double-platinum by the RIAA, proving that Andrs pen-
chant for strange outfts couldnt hurt the commercial prospects of good music.
If ATLiens furthered the chasm between OutKast and the rest of hip-hop, Aquemini
created more space between the styles of Big Boi and the newly-christened Andr
3000. While the former tightened his street proverbs to be among the best in hip-
hop history, the latter followed his fashion senses path into a realm of rapid-fre
abstraction. Big Bois stickin together like four and water to make that slow dough
on the album-opening Return of the G is counterweighted with Andrs Lets talk
about time traveling, rhyme javelin/Somethin mind unravelin, setting the tone for
Aqueminis glorious meld of two distinct styles.
The albumreceiveda coveted5-mic rating fromThe Source andwent onto not only top
several year-endlists, but also landedonmany Best-of-the-90s lists at the endof the
decade. Despite a contentious lawsuit fromthe famed civil rights leader, Aqueminis
Rosa Parks became OutKasts biggestand weirdesthit yet. The thrilling combi-
nationof distinctly Southernblues (witha harmonica breakdown!), epiphany-worthy
churchmusic, andindustry-damning condemnations not only propelledOutKast into
the national consciousness, but also set the table for what was still to come.
ENTER STANKONIA, EXIT SPEAKERBOXXX/THE LOVE BELOW
The heartfelt apology isnt exactly a typical hip-hop topic. All too often, confessing
fault means admitting defeat. Yet, Ms. Jackson catapulted OutKast from critical
darlings with platinum plaques to a pop culture force that had people who hated
hip-hop humming the hook. Dedicated to all the babys mommas, mommas mommas,
baby mommas mommas, the song detailed the struggles faced by both Big Boi and
Andr 3000 with the mothers of their respective children, over a delicate piano and
airy synth line.
Uplifting in outlook while honest about lifes mistakes, Ms. Jackson was the frst
OutKast song to top the Billboard 100. The lead single from Stankonia was decidedly
less angry than the rest of the record, as songs like the bombastic B.O.B. and
guitar-fueled Gasoline Dreams better depicted the albums overall mood, but still
marked another leap in OutKast ascension up pop cultures gilded staircase. Four
albums in, OutKast had increased its visibility and artistic viability with each release.
Many assumed Stankonia to be the peak for a pair of kids from Atlanta. Thats not
what happened, though.
Big Boi and Andr 3000 recorded two solo albumsthe former not even hearing
his partners effort until it was already masteredand packaged them together as
the next entry of OutKasts discography. Big Bois Speakerboxxx stayed in OutKasts
ever-expanding, always-twisting lane, but expanded the highway to include more
political lyrics. The record showed that Big Boi could carry the OutKast torchfunky
beats, fun hooks, full ideaseven without much of Andrs input (he only contrib-
uted two beats and one vocal appearance to Speakerboxxx). Big Boi even released
the years second biggest single without his partners help, but it was Andrs half of
the double album opus, The Love Below, that spawned the biggest song of 2004.
Ten years ago, there was no avoiding Hey Ya!, It was in heavy rotation on every
format of mainstream radio, save for country and classical, and was one of the
few videos that MTV actually played. Theres no point in discussing its charms
every neighbor everywhere has plenty of that sugar. By the time OutKast closed
the MTV Video Music Awards at the end of August that year, it was apparent that
even Andr was sick of Hey Ya! Perhaps, especially Andr, who had lip-synched
the song 23 times in the making of its unforgettable video. At the end of OutKasts
medley, Andr introduced the song with a mumbled damn it and practically sang
his mega-hit with his hands in his pockets. His performance lacked all of the energy
that made Hey Ya! so special. In hindsight, it was apparent that OutKast had
reached a breaking point.
MORE IDLE, LESS WILD
Rumors of OutKasts break-up had persisted since the recording of Aquemini. The
stranger that Andr dressed, the less he decided to tour, the louder they got. By the
time the distinctly splintered Speakerboxxx/The Love Below dropped, it was a forgone
conclusion that the OutKast of that frst decade was no more. The 2006 flm Idlewild
(written and directed by long-time OutKast video director Bryan Barber), as well as
its accompanying soundtrack, did little to suggest that a full-blown OutKast album
was on the way. It also marked the frst time that an OutKast record failed to build
upon the success of the last, both in sales and garnering critical accolades. The flms
mixed success also blurred the vision of their future together.
In the years since, very little has cleared up. Big Boi released two spectacular solo
recordsSir Lucious Left Foot: The Son of Chico Dusty in 2010, Vicious Lies and Dan-
gerous Rumors in 2012staying both relevant and consistent. Andr, however, has
eschewed prospects of a solo album almost entirely. With a bigger focus on acting
and his on-again, off-again clothing lines, Andrs rare musical offerings turned into
event listening. In 2007, his contributions to Unks Walk It Out Remix and UGKs
International Players Anthem were light-years ahead of what (and how) everybody
at the time was rapping. Frustratingly tantalizing, it showed that Andr still had
the ability to be one of the games greatesthe just didnt want to show too much.
It was what he did reveal on another scene-stealing guest appearance, however,
that injected some hope into the idea that there was still some music left in Out-
Kasts future. On T.I.s 2012 album cut Sorry, Andr directly addressed his groups
hiatus and even more so, Big Boi himself: And this the type of shit thatll make you call
your rap partner/And say Im sorry Im awkward, my fault for fuckin up the tours. It felt
like a declaration or even an olive branch, but it still took two additional years before
anything happened. Even now, as people await the frst performance from OutKast
in over a decade, no one really knows what this all means. Both Andr and Big Boi
are publicly stating that there are no plans for another OutKast album, nor is there
any commitment to tour after their summer run of 40 festival dates. But we live in a
world where Beyonc can release an album without fve minutes of forewarning, so
anything is possible. Only one thing is certain: OutKast has a proven track record
of doing whats least expected of them. It isnt up to the fans to determine whats
next for Andr and Big Boi, we just need to sit back and enjoy the show while its here.
Stankonia-era steez.
T A S T E O F T H E
T E R R A C E
POP- UPS
CROSSROADS KITCHEN
Named restaurant of the year by VegNews, Tal Ronnens Mediterranean-inspired
small plates are perfect for the vegan in your Coachella crew.
MEXICALI
Latino food is an undeniable part of Southern Cali culture. Mexicali brings the
Baja favor to the polo grounds with fame-grilled meats and amazing salsas.
NIGHT + MARKET
Ever yone from obsessi ve food bl oggers to Pul i tzer-Prize winning
food critic Jonathan Gold has lauded this Silver Lake spot for owner
Kris Yenbamroongs regional Thai recipes.
STRIPPEDBACK
Imported from England like some of your favorite bands, Ben Spalding mixes
unexpected favors the way OutKast blends genres.
Y URT S
STUMPTOWN COFFEE BAR
Get the ultimate pick-me-up in a cup from Portlands infamous caffeine delivery
system (i.e. coffee).
SALT & STRAW ICE CREAM
Another Portland fave that will cool you down while it fres up your taste buds
with favors like Almond Brittle with Salted Ganache.
BON PUF
Cotton candy isnt just for clowns anymore, with all-organic favors like mango
chili and salted caramel.
CLOVER
Hydration is essential in the desert, so grab a cold-pressed juice for an extra
dose of wellness.
CRAZY GO NUTS
Local, vegan and gluten free, Courtney Carini and David Wolfes six custom walnut
favors are inspired by Courtneys family recipe, which they still serve as well.
CRME CARAMEL LA
Insanely popular baked goods from Kristine de la Cruz, from savory stratas to
super-sweet custard pies.
DRIED & TRUE BEEF JERKY
True protein power, handcrafted jerky from 100% lean beef, with none of the bad
stuff like nitrates or MSG.
THE FANCY BOYZ
Celebrate the no-GMO movement with these amazing cakes.
LE BON GARCON
Is that a French-style caramel in your pocket, or are you just delicious?
SWEET CLEMENTINES HANDMADE POPSICLES
Lick quickly before these fruit-packed ice pops melt down your arm.
YES BAR
Gluten-free and paleo positive, these high-energy granola snacks will power your
run from the Terrace to the Main Stage, then back to the Yuma Tent.
Z CONFECTIONS
Saltedcaramel cornis perfect for poppinginyour mouthfor asweet andsavory snack.
Fantastic New Food On The Field
We all love Spicy Pie, but its still not advisable to eat only pizza for three days.
The Terrace area of Coachella has expanded this year to offer a wide range of
artisanal eats that are healthy, local and sustainable. Take a taste!
ARE YOU EXPERIENCED?
AFTER A DECADE AT THE Do LaB, THE LUCENT DOSSIER EXPERIENCE IS READY FOR THE BIG STAGE.
Turn the right corner, though, and youll come across a non-descript industrial
building. From the outside, it looks like the others, with a wrought-iron gate
and an air of illegal irresponsibility. Inside, however, theres evidence that
this two-story spot belongs to a different segment of societys fringe: an
artistic, wanderlust-y side that nds function in a dangling sphere that
looks like a happy lunatics dream of a jungle gym; a crazy-looking pyramid
thing. Hanging art that seems as if its been transported from some alternate
steam-punk galaxy.
In a way, this is an alternate galaxy. This building is the home of the Lucent
Dossier Experience, the crew of misfit aerialists, athletes and artists
whove transformed themselves into a cant-miss Coachella attraction for
the last nine years, performing throughout the weekend in the outdoor
Do LaB village, entrancing passersby to the point where theyre not really
passersby anymore.
At the end of the festival, one year, someone came up to us. They had the big
acts all circled (on their schedule), and said, This is what we were supposed
to do all weekend. But what we really did was see every single one of your
shows, recalls Dream Rockwell, one of Lucents co-founders, sitting in her
cozy ofce to the side of their practice space, along with a few other key
members of the ensemble.
Theres a part of downtown Los Angeles that youre not really supposed to go to if youre a
functioning member of society. A sort-of confusing cavalcade of dead-end streets and tent city
pop-ups that is where the fringe lives, just a mile from the classy bars and high-end restaurants
that have revitalized some of that section of downtownand marginalized others.
Its not an isolated incident. Each year, an uncountable number of Coachellans
are drawn in by the spectacle of Lucent Dossiers indescribable shows
(Cirque De Soleil on acidand a lot more interesting is about the closest
one of the performers can come to summing it all up).
In the past, that has meant performers doing death-defying ying stunts,
breathing re, and dancing in ways that very few can dancecontorting
non-contortionists, stunt-walkers and stilt-walkers, dressed as 50s greasers
or sinister clowns or any number of deep-minded characters from the mind
of Rockwell and her co-conspirators. We play with reality and sur-reality,
says Lucent member Linda Bornini. We make the real unreal, and vice versa.
This years Lucent shows appeal is no different: Rockwell, inspired by an
obscure Chinese movie, explains that the plot, loose as it is, focuses on
good and evil: [In the movie], all of the characters who are evil, you also have
compassion for them. And all the victims have a dark side. She pauses for
effect: Theres no goodand theres no evil.
It sounds impossibly grand, and thankfully, it can be: for the rst time ever,
Lucent Dossier will not only perform on the Do LaBs outdoor stage, but
on Sunday night, theyll shine in the Gobi tent, opening up an enormous
amount of possibilities to enhance the performance. Each year, as the festival
approaches, the LDE team goes into a meeting with the heads of Coachella
to pitch their plans; this year, Coachella pitched Lucent Dossier.
by Jef f Mil l er
Photography: Live shot by Andrew Jorgensen, Portraits by Daniel Jung
I pulled a computer up to do a slide show, says Rockwell. The pictures were
running, and they were like, You knowwhat? Weve been supporting you guys
for so long, and we really feel like weve championed you fromthe beginning,
and we think its time to take you to the next level. We want to put you on one
of the stages, and give you a nighttime slotand let you really do what you do.
What Lucent Dossier does is both grandiose and intimate. They might have
legions of fans around the world, but the group is just as happy to perform for
small gatherings in the studio space were currently occupying. Were used
to one-on-ones, with us and a few people having a really intense experience
together, says Rockwell. Now, its us and thousands of people having an
intense experience together. Its nuts!
Lucent Dossiers roots, unsurprisingly, can be traced back to Burning Man.
All of us are Burnersevery single one of us, says Rockwell. When youre
at Burning Man, theres this sense of freedom. Anything is possible, and
everything you do will be accepted no matter how weird or crazy it is.
She continues. When I got to Burning Man [the rst year], it was the rst
time in my life where I was like: I can do whatever I want. The idea of
bringing that worldthat possibilityback to people is what inspired us.
That means a no-rules and no-judgment approach to performance. The
groups shows are both carefully choreographed and intended as an
anything-goes orgy of movement. We work really hard at unzipping the
suit, Rockwell explains. The suit that we all wear so that were acceptable
for society. In here, theres a trust factor that builds between all of us. We
can unzip our suits and become the raw person we are inside. [When the
performers are on stage], youre not seeing a fake character that theyre
putting on. You are actually seeing them being themselves, because no one
is saying to them, Okay, smile here. Okay, heres where youre sad.
That openness to true self has guaranteed Lucent a legion of devoted fans,
many of whom are inspired to pursue similar artistic dreams. Weve had so
many people over the years send us pictures of themselves in crazy outts
and crazy makeup, and theyre like This is what Im doing now.
People have sent us videos over the years of their dance companies that
were inspired by Lucent, Rockwell says, and Im likeyes! The troupe
has had multiple hardcore fans get married at their shows, usually after
years of following Lucent around, and sometimes, even becoming part
of their operation. One longtime fan met the group when she was 14 at a
Panic! At The Disco show and imbedded herself in the organization as an
intern. Eventually, she went to Italy with them, and got engaged at one
of their performances.
Lucents free-wheeling spirit has led to a myriad of other festival calls. This year,
they are booked at the Do LaBs own Lightning in A Bottle festival, as well as
a Canadian festival they cant announce just yet. There is talk about going to
Ireland and Australia for shows, and the troupe is also planning their rst real
tour, which will hit out-of-the-way markets like Detroit and Milwaukee for an
experience the Lucent Dossier members call the boxessentially, guring
out a way to take what feels unhinged in the middle of a desert in California
and conveying that vibe in a more-traditional theater. Were in every nook and
cranny, and thats really the easiest and most playful way for us to be.
Though the groups become something of a sensation, they know that
Coachella is where their launch pad really is, and Dream and company have
had some exceptional experiences here. Members tell stories of being forced
(in a sort of happy way) to cancel their show, as Paul McCartney went past
curfew, watching his reworks burst in the air, as they tore down their set.
They talk of watching Roger Waters headlining set from the front of the
stage, then running back to get in position to close the night out. They get
giddy when talking about roaming the eld in costume, getting regularly
stopped by concertgoers for photo opps, or just to tell them how much their
performance meant to their Coachella experience.
[Were talking to engineers] because we want to rig things off the tent,
Rockwell exclaims, glowing as she speaks. We want to have stuff ying in
from the back of the tent to the front and things ying from the front to the
back. Were trying to get in the audience because, well, thats our thing. I want
to get face to face with someone. I want to look into someones eyes. So, the
only way to do that is for us to have little stages out in the audience, to have
zip lines carrying performers out, and to have aerial points. We gave them a
wish list, and hopefully theyll approve at least one thing on it.
Assuming permission is grantedand given Coachellas love for Lucent
Dossier, thats a safe assumptionthe end result will be something surreal
and magical, dark and light, concurrently. The showis being worked on, still.
Itll be worked on even more between the two weekends, as they perfect the
movements and the uidity and howto work with their newsurroundings. But,
the performers knowthe overall vibe, and its a romantic notion.
This year, we just entered the Age of Aquarius, says Lucent member Jen
Shields, getting as heady as youd expect. Its all very feminine, and things
are just turning into beauty. [The years] 2012 and 2013 came and went, and
now we can focus on the good things in life. Beauty is just seeping in.
She nishes, and the troupe members head to that dangling jungle gymsphere.
They barely talk as they dangle on it fromall sides, lifting themselves up, and
over, and through, seamlessly operating both individually and as a unit.
Its going to look amazing in costumes, with re blowing by them, amid the
magic of Coachella.
Hell, it looks pretty amazing in a back-alley industrial building in downtown LA.
"I want to get face to face with someone. I want to look into someones eyes."
CREATe
BY RYAN MASTRO
Coachella through the lens
TECHNOLOGY
BY ANDREW JORGESEN
SWEAT
BY DOVE SHORE
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Glitch Mob performing in the Sahara Tent, 2010 Photo by Edward Ma
CAMP: Can you talk about your Coachella experience and how it and you have grown?
Ed: Coachella has been an interesting marker in our musical journey. Our friends, the Do
LaB, do the stage in the middle. Before we ever got offered to play the Sahara Tent, we
would go and play on their stage.
At the time, 2008, there was not a ton of electronic music in or around the festival. Especially
like us, stuff that is a little weirder and off-kilter. It has been interesting to grow along with
the Los Angeles beat scene and beat-driven music. By 2010, we played the Sahara Tent.
Justin: I think we played in between all the Ed Banger guys and Rusko.
Ed: Yeah, it was Busy P and Justice, which was a huge honor, because we love those guys.
It has been interesting to be part of that trajectory. Now, you will see acts that make pretty
weird electronic music on just as big of stages as some of the other guys.
Los Angeles beat scene veterans The Glitch Mob came up with Coachella, graduating from attendees
to performersfirst at The Do LaB, then later in the Sahara Tent. This year, they bring their amazing new
stage show to Coachella after dark.
Ed, Justin and Josh explain to CAMP how their groups growth has paralleled the rise of electronic music,
and the death of the music genre.
By: Phil Nacionales
Festivals are helping diversify everything.
You see FlyLo at the Mojave Tent; its just a huge fucking stage.
Justin: Steve is one of our homies and he is arguably one of the most critically acclaimed elec-
tronic musicians of our time. To be able to do what he does and be able to make weird, trippy
electronic jazz stuff andbe onthose size stages is incredible. People are a lot more open-minded.
THE GLITCH MOB
Why do you think that is?
Justin: I think the Internet has had a really big hand in that. It used to be, if you are into
drum & bass, or indie hip-hop, or whatever, then you didnt listen to mainstream rap.
You didnt listen to anything four-to-the-foor. That was heresy. Now, you can be into
pop music, you can be a big Drake fan, and still be into FlyLo.
Ed: I defnitely give big props to these festivals that are helping diversify everything,
because they are taking risks by putting different types of DJs in one tent. Rusko, into
Ed Banger, into Glitch Moball three are very different.
Justin: Coachella has become a festival by which all other festivals are measured.
Josh: They have had a big part in making people take a ton of music seriously. There was
a point in time, back in 2007 and 2008, when I remember feeling like we almost had to
apologize [for our music]. The rave scene was very much looked down upon.
You had cats like LCDSoundsystemand The Rapture who were starting to mesh things to-
gether, but kids who were pure hardcore electronic heads were almost not around anymore.
Ed: A lot of those bands helped bridge a lot of the stuff. Even MGMT and acts like
that. A lot of those type bands helped me get back into band music. Miike Snow was a
perfect example. I was like, Oh, cool. Electronic sounds, with drums and guitar and
a singer.
Everything from the festivals, to these bands, to the Internetit is all this big mix-
ing pot of music. People are like, Who fucking cares anymore. Im just going to make
10 different tempos of music and Im going to add a guitar on one of them, Im going
to sing on one of them. People are tired of calling a genre a genreyou know what I
mean? All that stuff is just mashing together, and its just music.