The Liberation of CSS
Published: July 17, 2013
“For the most part, the record plays like a jumbled pile of synth lines and drum loops thrown haphazardly into a ProTools session, with a Lovefoxxx vocal pasted at random on top,” Swerzenski wrote in June, before adding the album is “not outwardly grating or annoying, but then again creating the equivalent of electro-wallpaper shouldn’t count for much.”
While Pitchfork called it a “one-trick sameness” and Rolling Stone gave it only two stars, others were more enthusiastic. TheQuietus.com called it the best Sitek-produced album this year and Time magazine described it as “catchy, smart electro-pop that manages to stay true to their indie dance roots, while exploring new ground.” Most online comments suggest their legions of fans are happy with the record, while it failed to impress their less avid followers.
“It’s funny, because some critics love the record and said, ‘Great, Adriano left and it sounds better,’ and others would go, ‘Oh, Adriano left and now it sounds terrible!’” laughed Sá. “But there are so many more facts to liking a record or not. The producer is an important fact, but it’s not all the facts. Of course [Planta] was a big change. Adriano was the producer and the main writer, so [recording it] was challenging but also refreshing and fun.”
The one thing everyone agrees on is that, in a live setting, CSS hasn’t lost any of its charm—if Brazilians know anything, it’s how to throw a party. Believe it or not, if it’s in Texas, all the better.
“Texas is a polarizing subject,” Sá said. “Some people have the idea that, besides Austin, [Texas is] very square. But every time we go, [it] is really a lot of fun and I don’t feel bad at all in Texas, ever.”
In a story for Modern Drummer in August, touring drummer J.R. Kurtz (whom Sá calls a “permanent member”) sheds light on the new CSS live show.
“I wouldn’t go as far as to say [CSS’] music is simple—just more straightforward,” Kurtz said in the interview. “You have to learn to keep your cool and play what fits the songs. Some tracks can allow me to let loose a little, but maintaining the feel for the song is key. Playing with them has not only made my internal metronome more precise, but it’s required me to become more savvy with Ableton Live, a program used for triggering samples and click tracks live. You have to be spot-on with Ableton, like triggering a sample on the offbeat right after a snare hit.”
A CSS show is fun and unpredictable, and I’m intrigued to see how this new, liberated incarnation of the band answers the question that many have been asking lately: does CSS still have it? Did they ever really have it? Sá couldn’t care less.
“We just want to make music, something that we like,” Sá said. “Being technically amazing never was something we ever worried about. That’s not the kind of band we are.”
CSS feat. MDNR, Feathers
Doors at 8pm Sat, July 20
2410 N St. Mary’s