At the end of electronic musician Skrillex’s pummeling dance throb, “Rock and Roll (Will Take You To the Mountain),” a whining voice barks out, “You have technicians here making noise. No-one is a musician, they’re not artists because nobody can play the guitar.” It’s one of the few intelligible phrases in the song – or, for that matter, on Skrillex’s entire recent EP, “Scary Monsters and Nice Sprites.”
If your definition of musicianship demands proficiency on the guitar – or any other instrument that existed prior to about 2005 – then next week’s local concert by Skrillex and a handful of other dance-music producers of his ilk probably won’t turn your crank.
But if your mind is open to new definitions of music in this new millennium, then get down to the Wilma on Wednesday to hear one of today’s trickiest electronic-music trailblazers crank up the jams.
Known to his mother as Sonny Moore, Skrillex burst onto the electronic music scene in 2007, after making something of a name for himself as lead singer with the Southern California post-hardcore band From First to Last, which appeared on two Vanns Warped Tours and released a couple of albums on the Epitaph label. At the time, Moore’s leap to the electronic music scene seemed perhaps a little convenient, as he had developed problems with his vocal cords.
But with the release of his 2010 debut EP, “My Name is Skrillex,” it was apparent that Moore had found his groove. By the end of the year, he had signed a deal with Mou5trap Records, the imprint run by electronic music guru DeadMau5.
Since then, the world has seemed to bounce to his beats. “Scary Monsters and Nice Sprites” debuted at number 1 on iTunes’ dance music chart in December; one of his tunes has already made its way into popular culture as the soundtrack on television commercials for the videogame, “Mortal Kombat 9.”
Looking like a height-challenged Geddy Lee, the long-haired, bespectacled Moore cuts a profile that is a far cry from the larger-than-life presence – and larger-than-love hooks – of DeadMau5.
But in between the occasional stage-dives, Moore gets busy blowing minds via aggressive dance mixes layered so deep with odd sounds, it’s hard to tell if you’ve heard any of them before. And just when you start to get your mind wrapped around it all, he busts out one of his signature breakdowns – extended riffs that sound like a building collapsing in perfect rhythm.
The effect is jarring and jaw-dropping, whether you’re listening intently or just trying to keep your knees bouncing to the beat.
So moan about the demise of instrumental music if you must. Skrillex is already moving on to the next groove.
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