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ARTIST: Macha + Bedhead
TITLE: Macha Loved Bedhead
LABEL: Jetset Records
It was May, 2001, and two friends named Greg, my brother Eric and I were on our way to the Coachella Valley Music Festival outside Palm Springs, CA. We had just flown into LAX and had rented a green convertible Mitsubishi Eclipse to make the drive to Palm Springs, which only should have been about three hours. It being a Friday afternoon in Southern California, of course we hit a snarl of traffic, and it took us a long while to get going.
By the time the roads had cleared - such that we could drive at a speed where we could actually feel the wind in our hair with the top down on the car - we were already approaching the Coachella Valley.
The sun was just beginning to set, the sky was transforming into darker and more vivid shades of blue, with tinges of pinks and oranges and reds on the Western horizon. Whatever CD we had just been listening to ended, and as I was sitting in the passenger seat, I had radio control. So I put in
Macha Loved Bedhead.
I had just picked it up not long before this trip. Why I bought it, I don't remember - a record store recommendation, perhaps, or maybe I had read about it somewhere online. I didn't know too much about either Macha or Bedhead, only having vaguely heard of Bedhead, yet never hearing anything by them before.
So this collaboration between them was my first real introduction to both of these bands. I hadn't listened to Macha Loved Bedhead more than once before we left, but I liked what I heard enough to want to hear it again, and figured everyone else in the car would probably enjoy it, too.
Right from the beginning, this album grabbed our attention. It had almost a Stereolab feel to it, with a droning backing noise, organs, whispered female singing and lots of unusual instrumentation.
For whatever reason, this just fit the scene perfectly - We all felt it, and we all fell instantly in love with this album.
As we drove further into the valley, we came across the strange sight of endless lines of futuristic-looking windmills. This is the source of electricity in the area, and for miles all you could see across the desert were these thin metallic structures moving along to the wind.
Driving past them, listening to songs like"Never Underdose" or "Hey Goodbye," with slow pacing and weird instruments, made the experience that much more eerie. It was that much more like we were living in a really cool science-fiction movie.
I don't listen to this album all the time anymore. But every once in a while, I end up talking about that really great concert in the desert where I saw Iggy Pop and The Roots and Jane's Addiction. Talking about it makes me want to relive it - I know that if I ever want to think back to that glorious weekend spent in the sun and the desert with good people and good music, I just have to put on Macha Loved Bedhead.
Once I hear the first note, it takes me right back to the green convertible Eclipse, the desert sun setting over the windmills while I looked at my friends and nodded in agreement for this truly excellent record.
Dan Filowitz is Toronto-born, New-Jersey-raised, Indiana-University-educated, and Chicago-residing. In addition to his Lost At Sea contributions, Dan is a senior staff writer for political humor site TalkStation.com and the president of ChicagoImprovAnarchy (The CIA) a Chicago-based improv theatre company. We are not mentioning the 9-5 corporate job. Apparently, Dan does not sleep much. Dan Filowitz is the perfect dinner party guest - fun, witty, intelligent, with wide-ranging interests, ecclectic tastes and a winning smile. Just make sure you have coffee available.
See other articles by Dan Filowitz.
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