Sydney Brownstone

Sydney Brownstone

Senior Editorial Fellow

Sydney used to cover things like music, environmental justice and Occupy for The L Magazine in Brooklyn. She has also contributed to the Washington Square News, Brooklyn Magazine and NPR's All Songs Considered. Outside of writing, Sydney is an ardent fan of sunflower seed butter and the old version of Final Cut Pro.

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Solar-Powered Concert Stages? Yep, They Really Work

| Wed Aug. 15, 2012 12:40 PM PDT
Dr. Dog on Outside Lands' solar stage.Dr. Dog on Outside Lands' solar stage.

It's after dark on a Saturday when San Francisco's preeminent garage rockers Thee Oh Sees take the stage for their Outside Lands music festival set. Frontman John Dwyer and his guitar send shuddering distortion through the packed pit; crowd-surfers hurl themselves from one set of hands to the next. My own limbs rattle from the bass. But while the sound is forceful, those of us in the audience are at the mercy of no ordinary stage system—instead, this one runs on solar.

To skeptics, solar-powered stages might sound like a gag, a green washing hijink for mild-mannered acoustic bands at best. But Mark McLarry of Alternative Power Productions, the company running Outside Lands' solar stage, has been in the business of providing music festivals with real, concert-grade sound since 2005, and his stages keep getting bigger.

Outside Lands: Crusty Feet & Flamethrowers & Rock and Roll

| Mon Aug. 13, 2012 3:06 AM PDT

At the pinnacle of Outside Lands crowdsurfing. Deanna Pan/Mother JonesAt the pinnacle of Outside Lands crowd-surfing. Courtesy of Ben CristOnce a year, the Outside Lands festival takes over San Francisco's Golden Gate Park and turns it into a music-lover's playground. This year, big-name acts like Jack White, Beck, and Neil Young graced its several stages, along with a roster of smaller, impeccably chosen indie up-and-comers. Here's our report on a weekend featuring, among other things, Metallica flamethrowers and Tame Impala's crusty feet.

DAY 1 — Friday, August 10

Sharon Van Etten
Sutro Stage, 1:15 p.m.

"This song is about moving to New York City for love," a shy-eyed Van Etten announced to the afternoon crowd who came out to hear her set. There was a brief, tense pause before she continued. "You can throw up now." What followed was "Give Out," one of the most pinpointedly achy, heartbreaky songs on her new record, Tramp. No one throws up, but more than a handful are mouthing all the words—an audience of rapt listeners eager to hear her inimitable voice mourn and swoon. But Van Etten isn't all vulnerability—one of the highlights of her set was the first song she ever wrote on an electric guitar, the standout single "Serpents." The raw thrash of distortion and Van Etten's sharp wail flaunt the songwriter's fiercer side. She should do it more often—the effect left me torn to pieces and wanting more. —Sydney Brownstone

The Thrilling Musical Machine of Micachu and the Shapes

| Mon Jul. 30, 2012 3:00 AM PDT

The album Never begins with a clamor. Discordant, metallic beats clang on a loop before Mica Levi’s ghoulish vocals sweep in. "Just leave the rest for me/Just leave the rest for me," she pleads. A wind-down, and then a bluesy refrain: "I’m easy to please/I’m easy to plea…" But before I can anticipate a proper verse-chorus, someone’s flipped the switch. Bashing ensues, as does synthetic screeching. White noise streams on high while something rolls, crunching over broken glass. There’s the suck of a vacuum cleaner, a manic crescendo, a halt.

In 1913, 27-year-old Italian futurist Luigi Russolo expressed his boredom with the state of music.* In a world made newly complex by industry and the roar of machines, accepted "musical sound," Russolo wrote in a letter to his friend Francesco Balillo Pratella, "has become to our ears what a too familiar face is to our eyes."

"Noise, on the other hand," he argued, "comes to us confused and irregular as life itself."

British trio Micachu and the Shapes' second album, Never, fully embraces noise for all of its shock and harshness. Much of it has to do with frontwoman Mica Levi's affinity for vacuum cleaners and homemade instruments, like her chu (a guitar she adapted to be hit with a stick), or the xylophone she constructed out of lightbulbs. A classically trained musician (as well as the youngest person to become an artist-in-residence at London’s prestigious Southbank Centre), Levi spent her early years making grimy beats and mixtapes with local London rappers, another influence that’s clearly stamped itself on the latest Shapes release. While the group's first album, Jewellery, also toyed with abrasiveness, Never breaks away from the cuteness and quirk of those songs. "What matters is whether you're genuinely excited by it," Levi told the Guardian about the Shapes' use of unconventional sound earlier this month. "The braver you are, the more careless you are with it, the better it is."

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