[Coachella 2009] Gang Gang Dance Bring a Slightly Tweaked Sound to the Indio Desert

Structurally Sound
Gang Gang Dance bring a new, tighter sound to the Indio desert

Fans of the tribal-meets-punk racket of early Gang Gang Dance may still be settling into the Brooklyn quartetNs most recent album, last yearNs Saint Dymphna. Spectral and sleepy, itNs a clear departure from the free-jazz violability of past efforts GodNs Money and Retina Riddim, although thereNs still plenty of lurid moans and madcap drumming. According to keyboardist/percussionist Brian DeGraw, the next record may find the band embracing traditional songwriting more than ever.

“WeNre only halfway into it,” he says, “but so far, itNs definitely even more [about] song structure than the last one. ItNs on a pretty mellow tip. ItNs smoother jams and not so raw. In a way, itNs more, like, ambient. So far, it has a really chilled out mood.”

He points to “Vacuum” as an example: “That moody, ethereal kind of thing, but not necessarily ambient.” The song is groggy and lathered in a familiar pedal effect that canNt help but recall My Bloody Valentine circa Loveless, only slowed down and unmoored. “It does kind of sound like them,” DeGraw admits, “but it wasnNt conscious. I just really like that kind of mood to a song. ItNs less about My Bloody Valentine and more about the mood they create. ThatNs what INm talking about with the new record.”

Another striking highlight of Saint Dymphna is “Princes.” It pairs the buried vocals of drummer/singer Lizzi Bougatsos—who, with drummer Tim DeWit and guitarist Josh Diamond, completes the band—with an energetic guest turn by rapper Tinchy Stryder, a young but inveterate member of the East London grime scene. DeGraw had been a fan of StryderNs for years, and when Gang Gang Dance did a day of recording in London, some mutual acquaintances arranged the ear-popping collaboration.

Despite the band growing savvier with their recording and less reliant on improvisation, DeGraw still thinks of Gang Gang Dance as more of a live unit than a studio entity. “WeNve been recording again, and every time we do that, it makes me want to just play shows instead,” he says, laughing. “I donNt know . . . the magic just happens when weNre jamming live. When we get in the studio, itNs a much different experience.”

Just as the live show remains the band membersN chosen mode, theyNve made a smooth transition from the DIY basement gigs of their early days to top-tier outdoor festivals such as Coachella. “We were so used to these raw little spaces that didnNt even have a PA system,” explains DeGraw. “But lately, weNve been more into bigger shows. ItNs nice to hear this gigantic sound coming out into the audience.”

Gang Gang Dance thrive on such potential conflicts—stage vs. studio, improv vs. structure, insular vs. huge—to the point where everything blurs into one arty whole. Thanks to BougatsosN squealed vocals and so much competing percussion, that whole can sometimes sound like Tom Tom Club doing acid jazz. As for the balance between heady electronics and live instruments, DeGraw doesnNt see them as being at odds with one another. That makes sense, considering he juggles percussion and keys.

“We donNt like it to be too tight, I guess, and too perfect,” he says. “ThatNs the only real conscious thing we try to think about. But all the electronic sounds are kind of our favorite. We donNt try to control that in any way. INd say the more electronic sounds, the merrier, especially right now.”

So it looks like Saint Dymphna is pointing the way toward Gang Gang DanceNs future, but then again, leave it to them to keep us guessing.

Gang Gang Dance play Saturday. For set time, visit www.coachella.com.