
Miike Snow are six on stage, and they all wear matching shiny black track jackets. One, obstructed by stacked trunks bearing equipment, wears a cowboy hat. Their music is complex and dancy, all synth and keyboard and a thousand unnameable gadgets, a little guitar and drums that sound like a machine. Everything is arranged in a neat arch on Music Hall of Williamsburg’s wide stage, organized in little stations for each member.
Somewhat surprisingly, Miike Snow’s songs are about sadness and depression – songs to walk alone in the rain to, lyrics-wise. Their music is music to get down in the club to, unthinking and unconsidered. The bald man twisting dials on the synth in front of me bobs his head excitedly – “he looks like he belongs DJing in a club,” my friend insists – to lyrics like “don’t forget to cry at your own burial.” The crowd dances more than I had expected them to. Depressing lyrics don’t matter – for Miike Snow, words are an afterthought, something to provide added rhythm, to layer with fuzz and xylophone. They are good words, often, but unnecessary. What matters is music – sound, loud and echoing and varied and ecstatic, regardless of anything else. Continue reading →