Late last year I started a project working-titled Sparklers that crosses post-apocalyptic dystopia with teenage angst. Think Mad Max: Fury Road meets Mean Girls.
I’m still shocked no one has thought of this yet. If you know about something like it out there, let me know in the comments.
Anyway, projects I work on always have a musical element behind them. Most of the time, it’s a set of movie and TV scores — Omaha was written to selections from Westworld, Man of Steel, Penny Dreadful and Interstellar, for example. Currently I’m penning Nobody’s Hero to a mix of A Tribe Called Quest and the Legion series soundtrack (as well as The Heavy’s song, “Nobody’s Hero,” of course).
But Sparklers is the first project I’ve worked on to only one artist: noise-pop powerhouse Sleigh Bells. The attitude and volume of their music fits the demolition diva derby vibe I’m going for with the characters and environment, so they provide perfect audio inspiration.
But then I saw them live.
I’m a concert-going animal, but I usually stay out of the fray. Thanks to getting to Chicago’s Metro early, we had third-row standing spots for the show, which quickly became third- to first-row moshing spots, as the crowd never stood still. (I did capture this video of “Rainmaker.” And this one of “Blue Trash Mattress Fire.”)
Like I said, I usually refrain from getting too up-close-and-personal because I enjoy listening and watching bands more than participating in hand-to-hand combat with those around me. But this show was different, in that the sweat, screams and jumps fit perfectly into the mania of the world that Sleigh Bells’ music has helped me begin to create. You better believe that when the end of the world comes and the majority of survivors are teenage girls, there will be raves like these.
There will be neck-breaking headbanging to “Infinity Guitars.”
There will be group-hug swaying to “Rill Rill.”
And “Rule Number One” will be that pop rocks and coke make your head explode.