Polish dance music is an endless fount of weirdness, at least to those of us who aren’t Polish. One of these days we’ll devote an entire post to the accordions-on-ecstasy subgenre called disco polo, but in the meantime, we’d like to share with you another Polish dance-pop artist called MC Diva. We discovered her via an online article called “Short Guide to Four Decades of Disco” (warning: it’s not actually that short) on the very cool website Culture.pl, a guide to all things artsy in Poland. (Shout-out to Kasia from Culture.pl, who wrote to us and shared the article.) That article describes MC Diva’s sound as “power dance”:
No one made [power dance] more popular than MC Diva (Krystyna Stolarska). Her music brought together European hi-nrg from the label ZYX Records and American dance hits. She was a Polish star but she also had followers in the U.S. She performed with DJ Bobo, Fun Factory and E-Rotic. The Polish element in “Dziewczyna z St. Pauli (Girl from St.Pauli)” is the subversive violin.
I don’t know if I’d call the violin on this track (played by Stolarska herself) “subversive,” but it sure is fun. And the video, in which the Diva dances around with buff shirtless dudes, looking like the Polish Sandra Bernhard, is even more fun. (The song and video, by the way, appear to be from around 1994 or ’95, although we couldn’t pin down the exact release date.)
Back in late June, we got to interview our current No. 1 Weirdest (One-Man) Band in the World, Dr. Reecard Farché, better known to his penis-loving minions as Anklepants. Reecard—or, more accurately, the man behind Reecard/Anklepants, [name redacted]—chatted with us for over an hour from his home in Berlin about everything from how he got interested in animatronics to why the Berlin music scene kinda sucks right now.
The interview was originally conducted as part of an article I wrote about breakcore for Insomniac.com, an electronic music site run by the folks behind such massive EDM festivals as Electric Daisy Carnival. But only a few Anklepants quotes made it into that piece, so I decided to transcribe the whole thing (well, most of it, anyway—an hour-long interview adds up to a LOT of words) and post it here so you weirdos could learn more about the man behind the mask.
We began by talking about what was, back in June, still the hottest Anklepants-related topic of conversation: his mind-blowing live set for the Boiler Room DJ video series.
WB: So let’s talk about that Boiler Room set. It got quite the response when it first came out.
A: Yeah, man, it’s completely nuts. In that first period, it was just ridiculous. I was getting emails every five seconds…it was just streaming in. It’s been less ridiculous since then, which is good. It’s hilarious to see what people write now that it’s getting more mainstream coverage.
My voice was completely fucked at that gig. That was my seventh show in a row, and I blew it out like three nights before that. I really fucked it up. And then I smoked a cigarette. I don’t smoke often, but sometimes when I drink, I smoke. I smoked one cigarette and my voice was fucked. I couldn’t even really talk before that gig—so that’s how much I was straining my voice.
WB: When you booked the Boiler Room show, did you have any inkling that it was going to be such a big deal?
A: No, I knew that would happen. It’s got the biggest captive audience for something of that nature, with people who are completely sedated by the DJ standing there playing tracks. That’s the thing it’s brought to my attention: I didn’t really realize how many people have been born into the world where DJing is the normal for music. People still think I’m DJing. I’m not DJing. People still don’t understand what I’m doing. You’ve never seen bands? People manipulating machines? Some of the haters’ comments are just so stupid: “I’ve never seen someone doing that on the decks.” There’s no fucking decks. There’s nothing like that. And they think that I’m just singing over the track for the hell of it or something. They don’t realize that it’s my music.
So I’m definitely not DJing. I don’t know if there’s a name for it, really. With the equipment that I use, there’s definitely no name for it, because it doesn’t exist [outside of my shows].
WB: Do you think that’s why people at the Boiler Room set were kind of just standing around? Because they didn’t really understand what they were seeing? Or they were afraid of the mask, maybe?
A: Usually when I play it’s completely fucking rammed and people aren’t afraid of it. Probably since the Arte thing, that interview…
WB: Oh yeah, the German TV show. [Note: We were thinking of this show. But he’s actually talking about this one.]
A: Yeah, it’s Germany and France. I don’t know if you know of this thing, but it’s the biggest arts show in Europe, really. It’s on mainstream, pay TV. So after that, my next few shows sold out straight up—in Germany, in Switzerland. They were fucking packed.
I can cum with the mask now. And at lots of gigs I’ve got guys and girls just lining up for me to cum on them. I’m not exaggerating. This happens all the fucking time. This Boiler Room gig is the first gig where you would see people standing like this in over a year. It’s usually people jumping up trying to grab me.
WB: So wait, the mask shoots liquid now?
A: Yeah, yeah, it has for quite a long time. It’s hard to see. There’s some photos where you can see when it’s fluoro coming out, because I put like glowstick fluid in there. It’s a button on the microphone I can just press at any time. There’s a small pump and a small tank. But anyway, this is the thing: People go crazy normally. This is why it kind of annoyed me. I was like, “Fuck, come on.” It was just a shame that when it finally gets a lot of coverage, it looks like people are scared. I think a lot of people thought that was the first gig, or normally I do something else. But it’s been happening for five years.
WB: Was the jester outfit new?
A: I’ve worn it on and off for awhile. But I wore it that whole tour. The black one is really, really hot. It kills me. It’s so nasty. I see stars easily five times a show when I wear that. I mean, I do anyway most of the time, because it’s so hot.
WB: In the mask?
A: Yeah. When I have the black [costume] on, the only thing exposed to the air is my eyes and my hands and my mouth. It does up really tight around my neck. Which I could loosen up, but I like that suit because you can’t see any skin. So the illusion of the head being my head looks a bit better from a distance. But it gets so hot. The pants come up to my armpits and it’s all wool. So when the jacket’s on, there’s two layers of wool around my chest. So yeah, I’m completely drenched and the suit is completely wet by the end. It takes days for it to dry out.
WB: Did the music for Anklepants come first, and then you designed the mask? Or did it start with the mask?
A: Well, the mask was originally an idea for this stupid porn film me and my friend came up with. It was these two characters driving around space in a beat-up old spaceship, beaming girls up from different places and seducing them on the spaceship and having weird orgy parties. I mean, we still might make this film. But this is where the character came from. And at the time, I was making a lot of music with a friend. I was in bands with him and also making lots of electronic music with him. And I was like, “Hang on, maybe we should use this as a character for a music project.” ‘Cause I was already using the bear. I don’t know if you’ve ever seen this teddy bear that I used to use? There’s videos of it around.
WB: No, I don’t think so.
A: The first animatronic thing I ever used at a gig was an animatronic teddy bear, which straps around my upper torso—and that goes with a whole different music. There are some Anklepants releases that are called Le Bear, but eventually it will be a separate thing. It was a pretty shit animatronic, but the new one is gonna be crazy. So yeah, that was the first one, and then I was like, “Well, there’s this penis character, maybe we should use this.” And at the time, we were making a lot of really slow, strange techno. There’s a handful of tracks that are from that but I don’t ever really play them. But it was like 110 BPM and really slow, and I dunno, I don’t even know how to explain it.
WB: Just slowed down techno?
A: Yeah, but this really kinda wonky thing with these really sleazy-sounding vocals, all pitched down. Just stupid, weird, joke kind of tracks. And I was like, “Well, that character would fit perfectly. The dicks would be moving in time.” Because at first, there was two of them.
WB: That’s right, I’ve seen some of those where you have a dancer in a mask, as well.
A: No, that’s a different one. The very first gig was two of us singing and two of us operating machines. So there were two animatronic cocks like in time, doing all different moves like synchronized. It just looks hilarious when they’re moving together. That was the first gig, but after that, he never wanted to play again. I don’t know what it was—he never said. He was kind of my best friend but he’s pretty weird with communication. I haven’t spoken to him in like a year now. Though I haven’t been back to Australia in five years, mind you. I’m going back soon and I’ll see him. But anyway, it was definitely a different idea at first and then—I mean, the music existed way before the cock face.
When I first worked on films and saw animatronics being built and started to learn a bit about the control systems and realized I already knew a bit about the electronics already, because I was really into radio-controlled cars and shit like that. I used to race them. So I was like, “Hang on, I can kind of understand this.” And I always wanted to do animatronics. I used to ask the electronic engineers questions. And then I found out a lot of the old animatronics were MIDI sequenced and I was like, OK.
The systems I use are far superior to [film work animatronics] now, as well. It’s kind of overtaken what I was first trying to emulate. Because you can’t manipulate audio when you’re programming for films. You can’t slow it down very easily with the systems they use. And they’re so expensive. What they pay a hundred grand for I can build for like 200 Euros.
WB: Would you ever want to get back into doing animatronics for film?
A: Oh, I still do. I’m doing two film jobs at the moment. But it’s not the same as if I was in Australia working for the same people—or being in the U.K. When I was in the U.K., it was just non-stop. But in Germany, it’s not as often and it’s not as much money.
WB: But it sounds like you’re too busy now with Anklepants anyway.
A: But it’s been like this. I’ve been gigging most weekends since I’ve been in Europe, since 2010. There haven’t been many months I haven’t played at least one gig in another country. This is the thing that’s hard to notice from the outside. I mean, yeah, it’s getting more popular in Europe, but at the same time, I think most of the coverage at the moment is from America and Australia. In Europe, I’ve played in most places multiple, multiple times.
A lot of the traffic I’m getting at the moment is from America. I think it’s the biggest surprise for America. I dunno—it’s not that strange. Fucking weird shit goes on in Europe all the time. I mean, yeah, it’s a robot dick face. But the music is not that weird. I could go out right now and 100 meters from my house, I bet you there’s something more obscure going on.
WB: How would you describe your music these days?
A: The newest stuff, the next Anklepants music is going into different microtonal ideas and more ethnic scales, different tunings, and more acoustic instruments, custom-built things. Really different. But I dunno, it’s parodying different things, critiquing things. A lot of different people might like different bits of it, and then maybe realize that they shouldn’t be so concerned about what’s good or bad about it.
I don’t think anything I do is that strange at all. And nothing is new. Animatronics is from the fucking ‘60s. Everything I use is old. Even the technology—it might be new combinations of things, but the sensors and stuff have been around for fucking ages. So it’s just mixing all different things together.
WB: As a writer, I find “breakcore” useful to describe your music. But it’s also a bit arbitrary. I’ve heard Otto Von Schirach’s music described as breakcore, Venetian Snares, your stuff. But really, if you put all three of you side by side, your music is pretty different.
A: Yeah, if it’s got breakbeats in it that are sped up and chopped up—I mean, I do have some songs that have this.
WB: Yeah, like “Ilikeyourfaceheadshoesanddick”…
A: Yeah, of course, but this is about the generic breakcore scene in Sydney. I was involved in this scene a bit when I first started Anklepants. I did listen to [breakcore] but I was really just fascinated with the technicality of it. I was never into chopping up pop tracks and speeding them up. That infuriates me, to be honest. Not many things infuriate me, but when people just get a Britney Spears song and speed it up and put a distorted gabber kick under it…this just infuriates me. It’s literally just turning a knob.
This is where society’s getting so fucking lazy. I’ve met people who do this stuff and some of the attitudes are just unbelievable. They think they’re crazy and wild. But I’ve had quite a few of them tell me what I should change. It’s pretty weird. They’re supposed to be rebels that don’t care about what anyone else does. But then—this is when I [came up with] this stupid thing, the übergrunde, a direct inversion of the mainstream. All they’re doing is the exact same thing. They have their own clique. They’re the same. So this kind of breakcore—I just think it’s stupid.
WB: So when you do a track like “Ilikeyourfaceheadshoesanddick,” it’s a parody of that scene?
A: Yeah, the lyrics are, “When I come to the bowels of the party, I really like to look at your dick at the party.” It’s just saying, when I go to the shittiest party—and it’s all guys, mind you—we just look at each other’s dicks. That’s what the lyrics are. They’re so stupid, but I just made them one day when I was so pissed off after I played one those gigs, with these assholes who pride themselves on being so completely open, and then you play their gig and they just give you a bunch of attitude and tell you what you should change in your music.
WB: What have they said you should change?
A: “It’s good but after you see it’s a dick, it’s like, whatever.” People just always try and put shit on it, because usually, what the problem is, if I play a gig with them, no one fucking watches them, they watch me. This is obviously the problem. It’s a weird thing with Anklepants, because obviously some people might not want to look at it, or they want to see the funny side. But a lot of the time, all people want to talk about is the dick face. They forget there’s even music there. And if they talk about the music, they just say it’s horrible.
But then there’s the other kind of breakcore I got interested in because of different kinds of software. For me, when it comes to anything you might call breakcore—this fast, heavily programmed music—it’s just the technical side I’m interested in, really. There’s just so many techniques trying to create contrast between different hits, different notes. The more contrast there is, the more your brain is being triggered that it’s a new thing that it’s hearing. This part of it I’m really interested in: tricking the brain, so when you’re listening to it, your brain feels like it’s constantly being shown something new. I like hearing all the techniques and people using all different hardware and software all mixed together. It’s still kind of exciting. And it’s like a challenge as well, because you have to use a lot of tricks with production to make all the sounds come through in the mix. It’s kind of like a weird jigsaw puzzle, and it’s kind of like a game, and it’s kind of problem solving.
WB: I think that’s what interests me about it, as well. Just the production skills involved with something like what Igorrr does, for example, taking classical and metal and breakbeats and stitching it all together….
A: I mean, Otto and Venetian Snares, those guys, they’ve been doing it way longer than me. I was playing in bands and stuff for a long time. I’ve played guitar since I was nine. Jazz theory and all kinds of stuff. I was doing that and I suppose they were making electronic music. I’ve been making electronic music for probably 15 years, but Anklepants is only since 2008. I was into all kinds of music, but a lot of metal when I was younger. I really only ever got into electronic music to add it to a band. Anklepants will be a band eventually. Not this new thing—Clock_yange is like a one-off thing. Anklepants will be a full band that’s got all these crazy instruments and all kinds of things going on.
WB: Is that the goal with something like the face-tar?
A: Yeah, and as soon as I start getting big enough bookings, where I can afford to have other people…the first person I want to bring in is a drummer. I’ve always wanted to use this guy in Australia who I’ve played in two bands with. And he’ll be using a mixture of conventional rock drums, but also triggered and strange electronic percussion, weird instruments that are electronic and acoustic and moving, as well. And he’ll have some character. But yeah, the main focus is to get the guitar built. Although that instrument is based on a guitar, it’s gonna have a lot of sensors and things.
I used to manipulate the music a lot more, especially arrangement-wise, before I had the wireless microphone. When I built that microphone, it started to be more about the microphone vocal manipulation. When the guitar comes, the music will be as manipulated as the voice. When it joins together, everything’s just gonna be way more free.
If you heard a loud cheer in the distance on Monday intercut with what sounded like a skipping CD player, you heard the sound of Richard D. James’ fans rejoicing at the news that, for the first time in 13 years, there will be an official new album from Aphex Twin, the production alter ego through which the reclusive, mercurial man from Cornwall released some of the most game-changing electronic music of the ’90s.
True to form, James didn’t make the announcement with a simple press release. Instead, he launched a goddamn blimp with the Aphex Twin logo inside the zero of “2014” over London, then sent fans treasure-hunting into the deep web to uncover the new album’s title and track list. Turns out the new disc will be called Syro; no word yet on a release date. (If you, like us, have no idea how to get to the deep web, some kind soul mirrored the hidden Aphex Twin page here. But you might still need some help deciphering it.)
James has never really done anything conventional over the course of his 20-plus-year career. After first making a name for himself primarily as a producer of ambient music, James helped invent a twitchier, more experimental style of electronica that came to be known as “Intelligent Dance Music” or IDM (a term James himself has disavowed). His many forays into other new sounds and styles also influenced everything from glitch to breakbeat to drill ‘n’ bass. Just in terms of the sheer number of genres he helped shape or invent, he’s arguably the most influential electronic music artist since Kraftwerk.
Towards the end of the ’90s, James’s Aphex Twin releases began to take on a more satirical bent, especially when accompanied by a pair of groundbreaking videos he made with director Chris Cunningham. 1997’s “Come to Daddy” began, by James’s own account, as a death metal piss-take, before evolving into one of the first and most influential glitchcore tracks. Most of you have probably seen it before, but for those of you who haven’t, fair warning: It’s genuinely disturbing.
The creepy Richard James masks are a recurring motif in many Aphex Twin videos, as well as much of his album art (the cover of 1996’s Richard D. James being the most famous). For his second video with Chris Cunningham, 1999’s “Windowlicker,” they took an even more unsettling turn. (Most of you have seen this video, too, but another warning for those who haven’t: the first four minutes feature more N-bombs than Samuel L. Jackson’s entire filmography).
Prior to the announcement of Syro, the last proper Aphex Twin album was 2001’s Drukqs, a double album that alternated between pretty ambient works performed mostly on a computer-controlled piano and glitchier tracks featuring lots of intricate drum programming and melodic synths. He followed that up in 2003 with a remix compilation with the brilliantly cynical title 26 Mixes for Cash, and a 2005 collection of 42 acid house tracks released under the name Analord (he loves aliases; AFX, Polygon Window, GAK and Bradley Strider are among his others). Then, for the most part, he fell silent.
In the decade since, James has surfaced occasionally, at one point even claiming that he had six completed albums’ worth of Aphex Twin material. He’s rumored to be behind an anonymous glitch group called The Tuss, which released some music on James’s Rephlex label in 2007, but he’s never copped to it. He’s definitely behind an odd release earlier this year under the name Caustic Window—odd because the album, a relatively restrained foray into ambient techno and tech-house, was never really meant to be released. Recorded in 1994 but scrapped after just a test pressing, only a few vinyl copies of Caustic Window ever found their way into circulation, occasionally trading hands for thousands of dollars. Finally, some enterprising fans raised the necessary money to buy a copy and release it digitally (with James’s blessing) via a Kickstarter campaign this past June.
But all this activity aside, Syro is still the first official release of new Aphex Twin material in over a decade, which makes it a Very Big Deal in electronic music circles.
One other interesting thing to note about Richard James is that he’s really into hiding images inside his music—literally. At the end of track two of the Windowlicker EP, “Equation” (or as it’s officially titled, “ΔMi−1 = −αΣn=1NDi[n][Σj∈C[i]Fji[n − 1] +Fexti[n−1]]”), he conceals his trademark creepy grinning visage inside the last few seconds of the track’s spectrogram (which you can see here). And on the 2001 EP 2 Remixes by AFX, what sounds like a bunch of piercing, test-signal high frequencies is actually an SSTV transmission, which can be decoded with the appropriate software into what we’re told is an image of James sitting on a couch, along with some text listing all the software used to make the EP (although we couldn’t find this image online anywhere).
While we’re all anxiously awaiting the arrival of Syro, we’ll leave you with another of Aphex Twin’s greatest weird videos, from a 1995 EP called Donkey Rhubarb. Chris Cunningham did not direct this one, so it’s not quite as artful as “Windowlicker” and “Come to Daddy,” but the Teletubbie-like creatures cavorting around with James’s illustrated face (from the cover of his 1995 album I Care Because You Do) are pretty entertaining. Apparently he brought them out on tour for awhile and used them to mess with the audience before shows. He’s a prankster, that Richard D. James.
In fact, come to think of it, we probably shouldn’t believe he’s releasing a new Aphex Twin album until the day it actually arrives. There’s a good chance he could just be punking us. Or it’ll arrive, but it’ll be in binary code, or embedded in a microchip that can only be played via Apple IIc. Or maybe he’ll drop the only copies out of a blimp. Who knows?
Or, knowing Mr. James and his perverse sense of humor, maybe he’ll pull the ultimate prank on his audiophile fans and only release it via iTunes.
Since our last bit of weirdness from South Africa was an Apartheid-era piece of Euro-pop nonsense called “It’s Amazing (The Incredible Dance),” we figured we’d balance the books this week with something more contemporary and more representative of South Africa’s melting-pot mix of black and white musical influences. Spoek Mathambo is a rapper/producer from Johannesburg who calls his mix of hip-hop, electro and Afrobeat rhythms “township tech.” Here, he covers Joy Division’s “She’s Lost Control” and turns it into a throbbing techno assault, made all the more ominous by the stark imagery of this video.
Remember when we told you that Drew Daniel of Matmos was releasing an all-electronic album of black metal covers through his solo project, The Soft Pink Truth? Well, the album arrived this past week, and it’s even more hilariously batshit than we could have hoped for. You can hear the whole thing via Spotify and other fine streaming sites, or watch this extremely gay and frostbitten video for his hardcore techno version of Venom’s “Black Metal” for a taste of the project’s highly irreverent approach to its source material:
Daniel, who is gay, loves black metal but hates its politics, which tend to be a wee bit racist, homophobic and, y’know, white supremacist. So he meant for Why Do the Heathen Rage? to be equal parts homage and piss-take. “I wanted to be a kind of Satanic serpent that sneaks in the Garden of Eden of black metal and fucks with it,” he said in a recent interview with XLR8R, “takes the sacred bands, like Mayhem and Darkthrone, and trashes them. I mean, it’s a trashing that’s born out of love, but it’s also born out of a desire to provoke and piss off.”
It’s both a queer and punk-rock way to tackle black metal, which is so hidebound in rigid conventions and notions of “authenticity” that even some of the genre’s purveyors have grown sick of it. When we interviewed current Mayhem guitarist Teloch and asked him about experimental black metal bands like Deafheaven, he had this to say: “To me, when you say experiment and black metal together in a sentence, it’s no longer black metal. To me black metal has strict rules and codes to follow for it being black metal, but that’s also the reason why I quit playing/listening to black metal years ago.”
Lest there be any doubt that Daniel was casting a queer eye on black metal, he premiered one of the album’s tracks, “Ready to Fuck,” on the website of BUTT, a British gay magazine.
The rest of Why Do the Heathen Rage? is in a similar glitchy, electronic vein, but with definite touches of black metal’s death rasp vocals and pounding, relentless sense of doom. It’s dark music that will put a smile on your face. You can order up a copy of the album from Thrill Jockey Records or via Amazon.com.
It’s Flashback Friday here at Weird Band HQ. We’re taking the Wayback Machine to 1992, when rave music dominated the British pop charts and random groups like The Shamen could have a chart-topping hit with a silly dance song about taking drugs. Our British readers no doubt remember “Ebeneezer Goode,” a song that generated much controversy and was even banned briefly by the BBC because the chorus sounded like frontman Mr. C was chanting, “E’s are good”—”E” being British slang for the drug Ecstasy. But what probably seemed like just another dance choon at the time sounds pretty out there today, especially when accompanied by a frenetic black-and-white video starring a dude in a Victorian attire with a thing for setting shoes on fire.
We were reminded of the existence of “Ebeneezer Goode” this week because Mr. C announced that he’s auctioning off an important piece of Brit-rave memorabilia for charity: the harness and codpiece he wore when The Shamen performed “Ebeneezer” on Top of the Pops. He’ll even throw in the negative articles about the band with which he stuffed said codpiece. Now that’s a collector’s item.
If you’re into electronic music, you’re probably familiar with Boiler Room, a roving dance party that sets DJs up in the middle of the crowd and then films them at work while people dance behind them trying really hard not to look at the camera. It’s a simple but really effective setup that’s captured some of the best DJ sets now available on YouTube from big names like Richie Hawtin, Carl Cox and the late, great Frankie Knuckles. But apparently, nothing could have prepared Boiler Room fans for the dick-nosed aural assault that is Anklepants.
Anklepants recorded his Boiler Room set in Berlin back on May 20th, where he was actually opening for another Weird List alumnus, breakcore guru Otto von Schirach. But since videos of both sets hit YouTube on May 29th, Anklepants has totally upstaged the headliner. The man behind the dick-nose, [name redacted]—or Dr. Reecard Farché, as he likes to be called—clearly knew that Boiler Room was his opportunity to reach a wider audience, and he rose to the occasion with a funky, frenetic set of techno, breakcore, glitch, drum-n-bass and dubstep, all slathered with distorted, pitch-shifted vocals sung into his custom mic/vocal controller with the intensity of Chris Brown picking a fight at a strip club. And he did it all dressed in a head-to-toe jester costume and terrorizing the polite German dancers by running around like a monkey with its hair on fire. Well-played, Reecard!
At first, no one seemed quite sure what to make of the penis-nosed one. “Behold, the Boiler Room set that will haunt your nightmares,” ran a one headline from the electronic music blogosphere. “It’s like a car wreck that I can’t stop looking at,” read a typical YouTube comment. But in recent days, the positive comments seem to be outweighing the negative ones. And certainly, based just on how much traffic our original Anklepants post is getting, a lot more people are seeking out the mysterious Dr. Farché and his not-so-dulcet tones.
So here, to haunt your nightmares, is the Boiler Room set that’s caused all the fuss. Is it too soon to say that the folks who were there witnessed a legend being born? Probably, especially since most of them look more terrified than enthralled. But hey, most births are messy and terrifying. At least you can dance to this one, if you try hard enough. [Note: For reasons we can’t quite figure out, the video automatically starts 38 minutes into his set, but you can just manually rewind it to the beginning—which we highly recommend.]