Local Wire

Drop the Lime @ Monarch Theatre

Right now, some kid is listening to Enter the Night, the 2012 release from Drop the Lime (NYC-based producer/DJ/pop artist Luca Venezia), and it's blowing their dubstep-addled mind. They're pressing play on his cover of Bruce Springsteen's stark 1982 classic "State Trooper" and thinking, "Oh, my God, this is brilliant. No one has ever combined reverb-drenched house rhythms and spartan rockabilly guitars and howled at the moon like this before." Make no mistake — someone imagines the wheel being reinvented when listening to Drop the Lime. Of course, that's not the case. Drop the Lime isn't redefining or reinventing or reconfiguring anything. Suicide, Eurythmics, The Clash, Soft Cell — each figured you could run a black comb through some slicked-back hair and do it on the disco dance floor. So, no, Drop the Lime isn't revolutionary. But it is good, isn't it? It's damn good, a hard-edged sound with a cold blank stare, tapping into that eternal 1950s cool, the kind that's sort of hokey and probably never existed anyway but is mythical nonetheless. That's why you buy it, because records like Enter the Night are gateway records, the sort of thing that won't get you kicked off the dance floor but will lead you down a back alley behind the club, where you'll be rewarded with copies of Nebraska and the Rockin' Bones: 1950's Punk & Rockabilly box set, where some greaser punk makes you chain the back axle of a police car and laughs as it yanks off, and afterward you get jumped into a gang and they send you Zip files of Lux and Ivy-curated mixtapes and you start scrounging around record stores for Ace and Norton compilations. You can — and will — keep dancing, but you're in for some mind expansion. If you're doing it right, anyway. — Jason P. Woodbury

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Jason P. Woodbury is a music and pop-culture writer based in Phoenix. He is a regular contributor to the music blog Aquarium Drunkard and co-host of the Transmissions podcast.