Miike Snow

FYF Presents

Miike Snow

Bob Moses

Thu, April 21, 2016

Doors: 7:00 pm / Show: 8:00 pm


Sold Out

Sold Out

Miike Snow - (Set time: 9:00 PM)
Miike Snow
P+H will open at 4pm
No Dinner Reservations for this show.
We Will take first come first served.
Delicious menu available by the outdoor grill outside during
the show!

NO BACKPACKS thank you!

This show is Sold Out, Thank you!

Tickets are General Admission and Non Refundable

Doors at 7pm
NO Outside Alcohol allowed.
Set times subject to change.

Miike Snow is – are – in a playful mood.  The second, somewhat orchatronic, album by the three-headed-band with the one-man-name and mysterious Jackalope symbol is called Happy To You. Why?
"It's a sign in the studio," shrugs tattooed Swedish producer Christian Karlsson. "An old mis-spelt phrase postcard from Thailand. Nothing to do with any of the songs…but it sort of stuck."
The band that should never have worked have turned a new corner, and turned myriad new tricks. Miike Snow's second album is a triumph of tunes, set to burn up airwaves and dancefloors and festival-fields through 20 12 and beyond.
"Before this album, we were an idea," reflects Pontus Winnberg. "This time we were a band. And this time, we had paid our dues – we'd toured in 27 countries for 18 months. When we came in to make Happy To You, we came in as a unit, and emotionally for us that makes a huge difference. And hopefully you can hear it."
"Miike Snow is kinda like this playground," says long-haired American singer-songwriter Andrew Wyatt. "I don't think Miike Snow functions inside of a genre. A few people wanted us to be more properly in the dance world, but I don't think this record is. Even our 'dance' songs aren't really clubby…"
So how do they define the follow-up to 2009's 200,000-selling self-titled debut?
"Fun-da-mental," suggests Wyatt with an arched eyebrow. " 'Cause it's da mental." (Not pictured: hip hop hand gesture.)
Breaking from a secret session designing the new live show, band member, producer and keys player Pontus Winnberg commented... "It's like much of our stuff – we don't really wanna tell people what the titles are about, or the lyrics, or what our thoughts are about. We'd prefer them to put them in their head and their lives and make their own interpretation. It's nice to keep a little bit of mystery."
Happy To You and happy to be here: Miike Snow are back with a big, bold, bright, colourful album bristling with tunes and (break)beats and ideas and more tunes – yes, that is an orchestra, and fo' sure, that is a marching band – and it's not so long since they were last here. They had started the band as an ad hoc side-project between other jobs – Wyatt had been working with Mark Ronson; as producer-writers Bloodshy & Avant, Winnberg and Karlsson had been cranking out the dancefloor hits such as Britney Spears' 'Piece Of Me' and 'Toxic.' They ended up with an album that was synced over 200 times in Hollywood and beyond.
But the out-of-the-box success of the ubiquitous 'Animal,' 'Black & Blue' and 'Silvia' – still playing on a radio or computer game or film soundtrack near you now – kinda took them by surprise. They toured the world for 18 eye-watering months in support of the album, their global performance schedule stretching endlessly before them, a yellow-brick-road of adventure, as the Jackalope galloped away with them. Miike Snow did some 260 shows, initially lugging their own gear into a shitty van but eventually gliding round the world with crates of cutting-edge gear in a shiny hover-bus with wings (or something).
The trio went from the dizzy foothills of Later… With Jools Holland. "The first time on the show we played with Smokey Robinson," recalls Wyatt, "and you can't get higher up on the mountain than Smokey. Then there was Yoko Ono, Eric Clapton, The Dead Weather, Basement Jaxx. Now that was competition.
They scaled the giddy heights of 3000 capacity clubs in Columbia and Chile, "hundreds of people singing along to every song," remembers Karlsson. "And that was before the record was even out!"
And they crested the peaks of some of the world's greatest festivals, from Coachella to Glastonbury.
But finally, Miike Snow came off the road last spring, and went straight into the studio in Stockholm. They thought it would take a year. They didn't care.
"We were starving to be in the studio again," says Karlsson, "because before Miike Snow we were in the studio every day for ten years. So being on the road was very new to us."
"The studio is kinda like our home," adds Winnberg. "Prior to touring with Miike Snow, from about 15 years old I think I was in the studio pretty much every day – more than I was at home. So it's a little bit of a safety zone. And also, after touring with the band, it felt we had so many ideas about how to move on musically. So we had that added urge to begin fucking around with that."
The writing and recording of their debut had taken place in fits and starts. Wyatt would fly back and forth between Stockholm and New York for a few snatched weeks at a time. "Nobody really had any expectations with the first album," admits Wyatt. "We knew we wanted to make a record but we didn't know anything beyond that. We didn't know if we would find anyone who would want to manage us as a band or put our record out."
But this time, buoyed by the success of that accidental album, things would be different. Wyatt relocated to Stockholm. The move made sense musically, and also personally.
Bunkered in their own studio – named Robot Mountain, and housed in the stables of a hundred-year-old former fire station – Miike Snow were fired by the spirit of inventiveness. The songs came thick and fast. They worked together, and alone, and in rotation.
"We passed the torch in a different way this time," says Karlsson. "We were working on more than one song at a time, and working together on everything. I liked that – then you're able to experiment when no one else is around. I'd get there in the morning and Andrew had been there all night, and I could continue. Then when I leave he comes back… It definitely changed the dynamic of the songs and the songwriting."
Says Winnberg: "For all three of us, it's a very vague difference between songwriting to production to mixing to recording – everything is just happening in a big blur. So there was definitely action going on all around the clock."
Another factor adding to the carnival whirl of inventiveness: Miike Snow actually had three recording studios on which to work, including an old place used by ABBA in the Seventies. Winnberg: "It was full of old recording equipment, and we recorded the drums and acoustic instruments in there. It added a kind of classic environment to the whole album. And it was vibey; we hung out there a lot."
The wee-hours after-party vibe of all those months on tour fed into the rippling Italo-house piano of two giant tracks. The punchy, dramatic 'Devil's Work' was aired by Zane Lowe on Radio 1 in early December, and instantly shot to Number One on the Hype Machine chart. The infectious, shouty 'Paddling Out,' set to be the first single, from Happy To You, is, according to Winnberg, an homage to a kind of dancefloor disco-inferno he's not heard in too long. Similarly, the early Nineties breakbeat of 'Pretender' was a nod to the music Karlsson grew up with.
They called in strings and brass and woodwind, and they called in a marching band – the mighty 'Devil's Work' might also be called "orchtronica", 'Bavarian#1' has an irresistible percussive pound, and 'God Help This Divorce' possesses a rich classical sweep to match a devastating lyric. "It talks about what actually happens when a couple split," says Wyatt of a song that marks the closest Miike Snow have ever come to a ballad. "It's the slowest song we've ever done."
A notch up the bpm scale is 'Vase,' a quietly epic techno-soul singalong. There's more inventiveness in 'Black Tin Box,' a burst of songwriting brilliance so robust it effortlessly marshals dark, throbbing beats, steel drums, ghost-in-the-machine singing from Wyatt and a "witchy" guest vocal from Swedish pop-sorceress Lykke Li.
"We know how to do a lot of different things, so why do the things that you've already done?" says Wyatt, explaining the ceaseless sense of adventure on Happy To You – organic meets electronic, whistling meets raving, and no guitars allowed. "I think sometimes you can gain from taking away options… And it's nice to try do some weird things – juxtapose things that shouldn't work on paper."
Maybe not. But Miike Snow's "song" songs are epically, tunefully wonderful. The jackalope is back, with extra horns (and strings and trumpets and glockenspiels and the rest).
Bob Moses - (Set time: 8:00 PM)
Bob Moses
"We were never happy just making music on acoustic guitars," says Tom Howie of the organic-electronic sound of Bob Moses, the Brooklyn-by-way-of-Canada duo he formed with partner Jimmy Vallance. "Our live show combines what a DJ does with a rock band," Vallance adds. "Everything flows together in a continuous mix for the dancefloor, but it's all our own original music, with live vocals and guitar. Then again, we came out of a scene that was trying to change what dance music is – that pushed beyond the expected sonic spectrum."

That scene grew around the Marcy Hotel – the revered venue that, in its half decade of existence, proved as important for New York's contemporary underground dance/electronic music world as CBGBs was for the '70s punk era. The acclaimed likes of Soul Clap, Wolf + Lamb, and Nicolas Jaar all gravitated around Marcy's infamous parties, reimagining dance music in their own groundbreaking image. "We were totally inspired by what was happening at the Marcy. It was a small room, could only hold a couple hundred people tops, but it proved to be such a pivotal place," Vallance says. "Alongside what other promoters like Resolute and Blackmarket were doing in abandoned warehouses in Brooklyn, New York was an inspiring place to be at the turn of the decade." Also present was Francis Harris, the iconoclastic DJ/producer and co-founder of tastemaker label Scissor & Thread, which fostered a more personal, homemade take on electronic sounds. After meeting at a studio session for techno mavericks M.A.N.D.Y., Harris, Howie, and Vallance found they shared common ground. "Francis set the road map for the sound we needed to find," Howie says.

Howie and Vallance started writing hooks for Harris' Frank & Tony project, furthering their collaboration. "We didn't think much of it until we played Marcy with Frank & Tony in 2012," Vallance recalls. "Tom sang live to the tracks we'd written, and people went insane! We'd never expected that reaction, which made us think we were on to something," Howie says. "We woke up the next day thinking 'We have to become our own act.' We came up with the songs for our first EP, Hands to Hold, and Francis agreed to put it out."

Hands to Hold's infectious title track appeared in two vastly different versions: an electronic mix that combined subtle grooves and tweaked sound design with Howie's moody vocals, and a drumless acoustic take. Bob Moses upped the anti-genre ante on its next EP, 2013's Far From the Tree: one track, "Interloper," was the kind of dark, fractured 4/4 instrumental one might hear at 5:00am on a Berlin dancefloor, while "Stealing Fire" proved a psychedelic downtempo confessional with eerily catchy vocal melodies; the title song, meanwhile, split the difference between those styles. "Out the gate, we wanted to make clear we weren't just a dance act," Vallance says.

Bob Moses received its oddball moniker from Francis Harris in homage to Robert Moses, the urban planner behind iconic New York landmarks like Shea Stadium and the Brooklyn-Queens Expressway. But while NYC is definitely in Bob Moses' DNA, its members actually met as high school students in Vancouver, Canada. The pair reunited randomly years later when, bumping into each other in a Lowe's parking lot, they discovered they had studios across the street from each other in Brooklyn's Red Hook neighborhood. Howie had arrived there after a stint at Boston's Berklee College of Music, on a partial scholarship as a singer-songwriter. Vallance, meanwhile, had found some success as a producer/engineer/DJ creating commercial dance music – his remix of Sia's "Buttons" brought him some early attention – but "I'd fallen out of love with making cheesy big-room tracks," he laughs. "We booked a couple days to write at my studio for fun, and by the end of the week, I told Tom, 'Come live at my place and let's do this every day.'"

Bob Moses is currently crafting its debut album for the group's new label, Domino. That's preceded by a new EP, First to Cry: taking its title from Bob Moses' blues-meets-deep-house take on "I Ain't Gonna Be the First to Cry" by R&B legend Bobby 'Blue' Bland, it marks Bob Moses as a characteristic addition to Domino's maverick stable. "We're massive fans of Domino artists like Four Tet, Caribou, Hot Chip, and Animal Collective, so it just seemed like a natural home for us," Vallance says. "We feel lucky to be starting this relationship – it's a big new world."
Venue Information:
Pappy & Harriet's
53688 Pioneertown Road
Pioneertown, CA, 92268