On Wednesday, March 20, 2013, Los Angeles was given a special presentation of some of the best modern electronic and hip hop music at the always packed Low End Theory. Including Baths, Dauwd, Ta-Ku, Dark Time Sunshine, special guest Busdriver and all of the Low End residents (Nocando, GLK, D-Styles, Daddy Kev and DJ Nobody), the evening was filled with an entirely different atmosphere than usual. The connectivity power was activated right from the beginning and a deep sense of passion swept through the Low End audience with superb sets from everyone on the bill. As the official return of Baths to the Low End Theory, this Anticon artist has been canvasing the world with his musical craft and Low End Theory was a must stop event for this visionary. Everyone on the bill that night was in full stride with various projects, highlighting one very small pocket of the collective artistic momentum that is existing in the 2010′s.
Baths has been promoting material off his upcoming album scheduled to release with Anticon in May of this year and anticipation has been raised with the type of set he gave to the city of LA for Low End. London’s Dauwd is also in promotion of new material with the February release of a bass heavy and experimentally electro EP by the name of Heat Division (Pictures Music Records). The vibe of the room changed entirely for his set, defining why he has been creating the type of buzz there is around him. Ta-Ku is one of the hardest working individuals in modern producer culture, claiming a large body of networks that include Project: Mooncircle, Soulection, HW&W, Sunday Records, Mushroom Music and much more. Low End Theory is an evolving platform for many different producer types and Ta-Ku brought his unique presence to the night without flaw. He has the kind of presence and sonic type that fit seamlessly with the past foundations of some of the best sets at Low End. The moment he got on the Low End stage, you could just feel what was about to happen.
Dark Time Sunshine is on the last leg of their US tour with Void Pedal and Moodie Black and stopped by Low End Theory for this one off date. Members Onry Ozzborn and Zavala create a very progressive and unique type of hip hop that is mind blowing in lyrical form. The beats are full of color and life, with deviations to the norm that are starting to become the norm in hip hop. Experimentally driven, the music is large and taps into a completely new type of atmosphere for the genre. There set was yet another completely unique experience that was highlighted by the contagious good vibes that were in the crowd. Busdriver was a special guest for the evening and displayed his technical and creative prowess on the mic for LA.
Low End Theory became a very different experience on March 20th, 2013 then ever before and was a night we feel honored to have captured with the photo collection that is below. The residents of Low End Theory have constantly been sharpening their skills over the life span of Low Ends existence and it’s astonishing to see it all continue to elevate on the level it did this last week.
Baths, Ta-Ku, Dauwd & Dark Time Sunshine + All Residents
March 20, 2013 @ Low End Theory Los Angeles, CA
All photography by Oliver Walker
Astronautica premiers “Cruise” from her Alpha Pup Records debut full length Replay Last Night | Music News
The mighty XLR8R are in every corner and pocket of electronic music and have become a daily source of inspiration to the staff over here at SCV. Today, the organization has brought to light the premier of “Cruise”, the first of new material from new Alpha Pup Recording artist Astronautica. We were fortunate enough to interview this young producer and instrumentalist based out of Los Angeles about her drive, ambition and dedication to music and she is a very focused individual in terms of what she wants to achieve. Her drum breaks and bass lines are hard hitting rhythmically but the top sections are dreamy and elegant in the value of how they are layered, a beautiful combination that helps set her a part from many of her contemporaries.
Astronautica has forged an alliance with the Daddy Kev’s Alpha Pup imprint and has set a release date of February 26th for her first full length on the label Replay Last Night. With Daddy Kev on the mixing and mastering team for this project, Astronautica’s sound is more crisp and more pronounced. This new track “Cuise” contains that special glow, radiance and euphoria you could tell was slightly dormant in her previous material from the way it was mixed. The intricate layers of string instruments process around brightly lit mazes of emotional resonance and beautiful bursting bass swells. Tightly placed analog driven drum work and a sophistication in textural synth based composition rise to the surface in perfect view and shine with a meditative purpose that is already becoming Astronautica’s “sound”.
XLR8R has a free download and stream of the new Astronautica single premier “Cruise”, listen to/grab the mp3 and check out the article by Clicking Here
Now for more gems from the Astronautica archives at her Soundcloud page
All photography by Ashley Strong | www.ashleystrongphotography.com
When we heard word of a costume only Low End Theory Halloween event, we couldn’t resist but request access for photo coverage as we knew this would be a very special Low End Theory that landed directly on this special night. With the headlining of Stones Throw multi-instrumentalist, DJ and producer Karriem Riggins and west coast producer NastyNasty of the Rwina, Frite-Nite, Planet Mu, Robox and Neo-Tech imprints, all of the Low End residents and a last addition of Dot set the anticipation high for what to expect. The announcement of a surprise guest at Low End means you are in for a treat, a big treat and the Halloween Special Edition of this special weekly event proved to be no less rewarding than any of the past illustrious special guests.. We couldn’t have been more shocked and pleased with the guest announcement in legendary musician DJ Shadow. The entire evening was filled with the most exotic types of sounds from every resident and headliner, with each performer putting that personal stamp of theirs into their sets.
DJ Shadow (Josh Davis) is widely credited as a key figure in developing the experimental instrumental hip-hop style associated with the London-based Mo’ Wax label. Inspired by hip-hop’s early years, he then grew to absorb the heyday of crews like Eric B. & Rakim, Ultramagnetic MCs, and Public Enemy; groups which prominently featured DJ’s in their ranks. His true talents and love for hip-hop shined as the “special guest” for Low End Theory’s Halloween night as he took to the tables and worked his magic. If it wasn’t amazing enough, he then added in the drum pad to intensify the night and even more so blow the minds of those groovin’ in the crowd.
At one point, DJ Shadow took a step back from the tables simply to observe the crowd and take in all the energy around him. What an honor it was to witness him fully appreciating and respecting his audience. DJ Shadow goes the extra mile for his performances and the same was true on Wednesday night.
Ashley Strong of Sound Colour Vibration was on site for several resident DJ’s and the special guest DJ Shadow and captured the following photo set for inclusion into our archives. Below is a batch of photos to scroll through in our recent event coverage gallery. Enjoy!
All words and photography from Oliver Walker | http://olivermwalker.com/
Another hot august night another blistering evening of the best of the LA beat scene at Low End Theory. It was so hot at the airliner that Nocando was giving shout-outs to “that guy in the hoodie” and Nobody got a haircut, though on second thought maybe he didn’t want to compete with the other legendary afro coming to play that evening: Questlove was in the house. Before he got down to business Questlove mentioned the studio that was The Roots dressing room over on Fallon and that this was the kind of set he dreamed about. Throughout his extended set he proceeded to stack beats on beats on beats, letting some play through for only 15 seconds before cutting away just because of the sheer volume of drops he had to get through.
Low End new comer and team supreme member Colta picked up the evening after presidential nominee Daddy Kev, who treated us to an excellent set including a fresh transition from cover to original while keeping the emotion and beat. Usually X’s on the hands mean that someone is going to be having an epic 21st birthday sometime soon, but in the case of Cazal Organism he has only recently had his sweet 16. You wouldn’t know it from the way he handled the room though, playing through some well crafted joints and even getting on the mic for a little. Scoop Deville (from SD, get it?) began with a boom with some raw hip hop performed live, and Nobody was lights-out though it could have been the fresh hair.
Questlove’s announcement of an all-Beiber set brought some laughter, and he did bookend his set with a “Call Me Maybe,” but in between it was all business. In his short time with us, he premiered more beats then most mere mortals could ever hope to produce in their lifetime and as his vast record collection would indicate that did not even scratch the surface. I still have not seen Colta not wearing that raiders shirt, but I have seen Questlove.
Low End Theory
August 29, 2012
On the evening of February 29th, 2012, Low End Theory came together for yet another out of this world set of artists on the bill. Brainfeeder’s Jeremiah Jae, Alpha Pup’s Dot and Warp’s Gonjasufi, you have three of the best modern experimental electronic labels coming together under the spirit and energy of the Low End Theory family. Daddy Kev, D-Styles, Nocando, DJ Nobody and The Gaslamp Killer are always presenting something new with the old and a drastic shift in every nights presentation. You never know what you will get but you always get something worthwhile and memorable. On this particular February evening, the opening sets of Daddy Kev and D-Styles brought back a very reminiscent feeling of the past, with deep cuts in the passage of raw hip hop and electronic music. D-Styles is one of the few turntablist and dj’s who actively pursues that area of his craft during the Low End Theory nights, always dicing in scratches that slide over his signature experimental voyages through wax in the most seamless ways. Sometimes you don’t even realize he is manipulating sound with vinyl until you see what he is doing. DJ Nobody always brings a level of excitement to the crowd when his sets start and this night was no different. DJ Nobody has a bag of goods in his selections for each Low End Theory night that might be the most unpredictable out of anyone from the Low End Theory crew. Deep bass heavy psych songs to music that is in the top 40, DJ Nobody assured the crowd that the experience would be getting heavy very quickly with the headliners on the bill from how heavy his own set was. The bar was raised very high at this point. One thing you can expect with Low End Theory is anyone headlining can expect the bar to be set very high before anyone outside of the residents have even graced the stage.
Dot, Jeremiah Jae and Gonjasufi stretched the limitations of music on this February Wednesday evening and bridged 3 major electronic labels all under one roof (Warp, Brainfeeder and Alpha Pup). Each artist had their own energy and wave length of existence that they pulled from to make the night one of the most abstract and beautiful. Gonjasufi felt like the apex with The Gaslamp Killer and himself sharing the stage, bringing the crowd to a funneled connected grid of energy with the way he was controlling the crowd and his own impulsive behaviors. It is truly inspiring to watch Gonjasufi become engulfed inside of the music and the freedom that transpires outward was endless in visual representation during his set. Gonjasufi has a power and presence on stage that you could tell affected everyone right away. The charismatic nature of his being really embodied itself int his Low End set as you could really feel every word he was singing and saying. Jeremiah Jae has this really heavy, fat and dusty vinyl sound that presented some of the most soulful yet raw music for the Low End night. Lyrically, he has a very unique style that transcends normality and pushed itself into a region nobody else on the bill could tap into besides Nocando. Wordplay that moved around like a hypnotic dream swirled in the most abstract soundscapes, there is flight to his rhymes that push it much past the suspect musings of most mc’s out today. In terms of production, there is an intricate balance between atonal sounds and a very smooth bass and drum section on most of his songs, where melodic ideas cross the two mediums and shift in scope during the set. Dot, the opener of the three and who was celebrating the release of her new EP with Alpha Pup might have been the most shocking out of the three, thundering in bass tones that glided into the tiniest crevices of the Airliner, home to the Low End Theory Los Angeles nights. With lush tones and a muscular divergence, Dot’s music was some of the most vicious and wild music of the night. Daddy Kev, Nocando, D-Styles, Nobody and The Gaslamp Killer have aligned together to bridge so many styles of modern music with electronics at the connecting points and it feels like every week gets better and better.
Low End Theory is preparing another exclusive tour of Japan very soon along with a new San Francisco first Saturdays of the month residency. We are very happy to present a window into the the foundations of this world with the Los Angeles Low End Theory experience by our head photographer Oliver Walker.
All photography by Oliver Walker
‘Artichoke’ by Dot from the EP “Calliope” on Alpha Pup Records
Sound Colour Vibration has been following the new releases from Alpha Pup Records for years now and the arrival of new artists in the development of experimental electronic music tends to find a tentacle or two back to Alpha Pup. Dot, a 20 year opera singer, composer and now beat maker is one of the newest artists to sign with the Los Angeles based imprint. Rooted heavily in the expanding Low End Theory scene that now encompasses showcases in Los Angeles, San Francisco, New York and Japan, Dot is one of the few female producers to emerge in these circles and her first electronic works carry a vigor and power that is going to raise a lot of eye brows this year. Most of Dot’s musical history background bridges deep studies in classical music and vocal acrobatic skills through opera. Her arrival into the beat scene has an endless amount of potential to shed light on worlds that have been rarely touched upon in modern electronic music.
Dot is presenting her first collections of electronic works with the Calliope EP on Alpha Pup Records. Seven tracks that all find a new origin and foundation of sound serve as the first glimpse of what’s to come in the future from this young Los Angeles producer. Calliope is one massively heavy ride into a new ideology of electronic music. You can hear many sounds from her colleagues in the Calliope EP but she pulls it together in her own way. Hearing her bass tones through the Low End sound system is proof of this when seeing the crowd react. The title for this new EP sources itself from a popular steam whistle in 19th century circuses and there is a lot of sound on Calliope that represents this odd time in history. The influences spread wide and far and by the ending of Calliope, the works come full circle and a breath of light and elegant beauty through sound ends the album.
We contacted Dot to conduct an interview to ask about her new record, her background, Low End Theory and more. We are also presenting the exclusive premier of the track ‘Desert Storm’ that Alpha Pup released a little bit ago with this interview. Dot is surrounded by some of the best producers and Calliope feels like a true snapshot of this world with the unique nuances that make it all her own. Dot will be doing a record release show at Low End Theory tomorrow, February 29th with Gonjasufi, Jeremiah Jae and all the residents of the Low End Theory Los Angeles nights.
Sound Colour Vibration presents the exclusive premier of ‘Desert Storm’ from Calliope (Alpha Pup Records).
SCV Interview with Dot of Alpha Pup Records
Conducted by Erik Otis
SCV: We wanted to first say thanks for your time. Shilo of Alpha Pup sent us the new EP Calliope you have coming out soon and whenever she sends of stuff we know we are in for a treat. I have to tell you, I really fell in love with this record on the first listen. In the press release it stated that these are among your first collection of beats ever created. Knowing that you are an opera singer and have a background in composition, was there fundamental teachings from this world that you tried to instil into your first album Calliope or is this a separation of the mediums?
Dot: Calliope is really one of my first writing attempts to bridge the gap between my classical composition background and more recent music interests. I hate how there seems to be an uncomfortable divide between the “classical music” and “popular music” worlds, so I tried to approach my writing from both angles. I started taking piano lessons when I was 6 years old, and was lucky enough to have teachers that also taught me music theory and composition. Since these are some of my first beats, I relied heavily on my previous composition and orchestration knowledge to make up for my initial lack of production experience.
SCV: I wanted to ask about the tones, instrumentation, hardware and other devices you utilized for Calliope as every song notches out a completely new sense of colors and foundations in my opinion. Did you sequence a lot of your material or is it a mixed bag of layered recordings, sequenced sections, programmed beats and so forth?
Dot: I mostly work in Ableton Live with a lot of Native Instruments plugins, although some of the earliest beats that I made were done in Reason (like ‘Calliope,’ ‘Artichoke,’ and ‘Simple Simon’). I like to use a wide variety of timbres and textures in my music, so I try to maintain a sense of consistency in my music through the style of my writing instead of my sound palette. I created Calliope entirely with software and without sampling, but I’m currently working on incorporating more live elements into my music and shows.
SCV: For Calliope, did you see a lot of the pieces before you created them or was this something that you had to fight for to see the final vision after production had begun?
Dot: The title track was the first beat that I made on the record, so it more or less set the stage for the rest of the EP that I envisioned. A lot of ideas for the rest of my beats definitely stemmed from that first track.
SCV: With the title of the album coming from the same name as the steam whistle that populated circuses in the 19th century and artwork reflecting that as well, did you have this concept in place before you created the music or was this a choice made after the music was created? Was there particular books, films, dreams, stories or other sources of inspiration for the concept used on Calliope?
Dot: The concept for the EP started to come together as soon as I began experimenting with the steam whistle sound. That style of music seemed to translate to beats fairly easily, so I decided to keep exploring it. I pulled from a range of sources of inspiration – mostly psychedelic imagery from films by Gaspar Noé and Tim Burton. Although a lot of my music is dark, it’s always done with a slight sense of humor.
SCV: When I listen to Calliope, I feel like I am inside of Jodorowsky’s Santa Sangre with The Gaslamp Killer providing soundtrack music. Beautiful in some respects and mind altering in almost every other. I finally listened to it on a good sound system and it really blew me away. Who recorded, mixed and mastered the album and are you really happy with how all the levels came out?
Dot: I recorded the EP, both Elvin Estela (DJ Nobody) and I mixed it, and Kevin Moo (Daddy Kev) did the mastering. Being able to test some tracks on the Low End sound system helped me out a lot during the mixing process, and I’m extremely happy with the way it turned out.
SCV: ‘Simple Simon’ is a song on the record that I can’t get enough of. It has that very open, dreamy, fresh and vibrant feeling, one that makes me feel like I am inside of one of Nobody mid 2000 era LP’s or a Teebs record. It really ends the album on an incredible note for me. Was it really hard sequencing the album or did that shape together pretty fast?
Dot: The sequencing happened pretty naturally… I think I only switched around one or two tracks after initially putting it together. It’s nearly in chronological order of when the beats were created (except for ‘Simple Simon,’ which was made earlier).
SCV: What is the song from Calliope that you love to hear the most in a good sound system, like the one Low End has?
Dot: Probably ‘Freakshow’ because the bass is so gnarly. Plus, it’s fun to watch the look on people’s faces when they realize a girl is playing that shit.
SCV: I wanted to ask you about your background before the electronic scene took place in your life. What were some of the biggest musical accomplishments of your life leading up to this point and do you see yourself introducing your vocal work into later Dot records or other projects?
Dot: Before I started studying at Chapman’s Conservatory of Music, I was very focused on classical singing and piano, and I had my heart set on becoming an opera singer. I had been in a number of summer opera programs at different conservatories and universities across the country, but once I got to Chapman and started taking more advanced music theory classes, I realized that I was more passionate about creating my own music instead of performing works by other composers. So I switched my major to music composition, and eventually discovered beat music (and Low End Theory) through Steve Nalepa’s music technology class. I’m currently working on incorporating vocals into some of my new music in non-traditional ways, but the bulk of my work will remain instrumental.
SCV: You have had the privilege of seeing Low End Theory and all of its artists expand in a way unlike most, how much time do you spend with the Low End Theory family outside of the gigs and so forth and what have been some of the wildest and fun times with them?
Dot: I can’t really measure how much time I spend with them, but I can say that they’re some of the most inspiring (and hilarious) people I’ve ever met. I feel so fortunate to be surrounded by artists that are truly supportive of one another, because I hated the competitive atmosphere that I felt in the classical music world.
SCV: Do you have any mixes, tours, radio appearances or other activity that will coincide with the release and promotion of Calliope that you can share with us?
Dot: Yes! My record release party will be at Low End Theory 2/29 with Gonjasufi and Jeremiah Jae, and on March 2nd I’ll be playing Low End SF with Daedelus, Slugabed, and Low Limit (and of course all Low End residents).
Other future shows include:
4/3 Beat Cinema (Claremont, CA)
4/7 Resonate (Stockton, CA)
4/19 Dillon’s Tavern (Palm Springs, CA)
SCV: We are really looking forward to your performance with Gonjasufi, Jeremiah Jae and the residents of the Low End Theory on the 29th of this month. We wish you the best of success in this coming year and the future and look forward to meeting in person very soon. Calliope is something I really love, take care and thank you again.
Dot: Thank you, peace.
Order the new EP from Dot here: Calliope (Alpha Pup Records)
*All photos by Theo Jemison
Henry Allen and Preston Walker are Virtual Boy. Their self-titled first full-length album was released February 7th off of L.A.’s heavy-hitting Alpha Pup Records. Virtual Boy expresses a side of electronic music that is constructed without the need for laptops or other mediums that dominate the current landscape. There is a homage to so many areas of sound that Virtual Boy is breaking out from their contemporaries to breath completely new energy into what’s new. Mastered by Daddy Kev, this album pushes extremes but never looses a sense of taste, beauty, composure and forward momentum. Even with complex harmonies and instrument placement, there is a powerful level of resonance that is a part the entire record in the name of simplicity. You are never left without a vibrant and strong feeling on Virtual Boy and dancing is as much a part of this record as analyzing. The release of their debut full length album on Alpha Pup Records comes at the perfect time with the electronic beat scene seeing yet another cycle of growth. Scientist say it takes 7 years for human DNA to completely regenerate itself and it feels like Virtual Boy is that new layer of molecules that represents the overall grid of the electronic beat scene.
Allen and Walker met freshman year at college as trained prodigious classical musicians. They began making music together and discovered their penchant for electronic synthesizers and lo-bit gaming sounds. In time, they formed Virtual Boy, a name derived after an earlier Nintendo® console from the mid-90′s. It was also the first console to boast 3-dimensional graphics. The beauty of this music is Allen and Walker’s appreciation for a vast range of music and is enhanced by their capabilities as artists. Their inspirations from these sources are fused to create signature music that is supremely unique, which is hard to pull off, but these guys do. They are seriously talented and their use of electronic tonality approaches from different decades of the electronic movement is superb and right on point.
Virtual Boy takes you on a crazy journey of playful lo-fi that meets pop-spastic, grit-nitty glitch. Throw in some crafty auto-tune and highly complex instrumental compositions of style — you get a flurry of creative wealth. One of the songs that had immediate power on my first listen was the piece ‘Empty Place’. With a tape reverse loop section that brings the songs dark intro to a very abrupt halt as soon as it sounds like it will extend more, the beauty, complexity and crafting of picturesque sound paintings that follows is heavenly. There is a dreamy world that shades itself in, measure after measure. The drum patterns groove to the outer stretches of this world and never let go of the pocket. As soon as this builds, a complete break down occurs and the vocals change the mix completely. The subtle keyboard parts, the nuance of the vocals, tightly laced drum machine work, it’s all something that shows so much integrity and beauty. ‘Let Go’, is simply amazing. The minimal snap rhythm just gets me, it keeps the follicles of my ears perky. The droney Auto-Tune graces my frontal lobe – stimulating such good juices. ‘Memory of a Ghost’ is my personal favorite from Virtual Boy. As it unfolds, the track reveals the mastering of their talent and artistry. Even when you first hit play and ‘Mission Control’ comes on, the synth based crescendo of notes sounds courageously massive, with a tone that is all too fat and ready to blow your speakers out. Once the intro is over and the drum track drops, it feels like the seeing a 50 foot wave about to crash. As the auto tune vocals come in and the song progresses, a spanish style guitar part shatters all notions of what occurs in this setting and the electronic heaviness slides back in just as this new shade of pictures takes shape. Cycles and movements, no song stays in one place but always comes back to where it came from.
The pieces that I really feel pushe this album forward into the next age of electronic derived music is the piece ‘Viking’ and the song that follows it immediately, ‘Corrales’. With lush and organic usage of alluring instrumentation, the intro makes me feel as if I were snapped back into a different era of time, a time when there was no electronic instruments. The bass tones that supplant the piece back into the future send shock waves into the posture of the being known as ‘Viking’. Slight vocal interjections jump forward as the music romantically dances through the entire piece. Diabolical almost, the setting of the stringed instruments breathes an entirely new breath into the electronic scene. Classical has met the beat world in a way I don’t think anyone could have predicted. ‘Corrales’ bridges ‘Viking’ and has string work that builds on this same ideas and shows the same merging of electronic and acoustic tones. This entire record shows this meeting ground, a place where everything is now possible and innovation has become the focal point because of it on Virtual Boy. The piece ‘The Tower’ was a number that I felt like completed the record and shed light to the influence of one of my favorite producers, the RZA. Cinematic in touch and feeling, the intro is another reversed section that comes to a beautiful stop as a classic hip hop style beat and bass melody provide infinite space for the keys and overtones to dance as they please. The violin that follows really takes me to a lot of the production RZA was doing with the Wu-Tang in the 90′s. There is an eerie yet poignant feel, one of understanding and weight associated.
Allen and Walker have come a long way since their freshman dorms at Chapman University’s Conservatory of Music and the group signing with Alpha Pup Records has put a big smile on the faces of everyone at Sound Colour Vibration as we know the duo is going to have the right label to help bring the vision of Virtual Boy to more of the world. There is nothing like Virtual Boy.
Alpha Pup Records
- Motion Control
- Go Johnny, Yeah!
- Empty Place
- Let Go
- Memory of a Ghost
- The Tower
- Only One
All photography by Oliver Walker
Arrived in time to catch Boombaptist. The name makes some sense of this gruesome duo, one half plays the hype-man while another lays down the bass. They come from texas and are prepared to take the left coast by sword.
Natasha Kmeto is a beat-maker and vocalist heralding from Portland, Oregon, her sound produced from a bewitching brew of computer clicks and tribal influences. When she sings (and boy can she) the personal and enchanting addition of live vocals lathers up her wet and crunchy sound with a coat pure flavor, tasting great until it is drowned out by a symphony of tribal drum clicks. Some well timed head-banging got the crowd involved with some of the bigger sounding beats of the evening.
FREE THE ROBOTS is the stage name of Chris Alfaro. This incendary fellow took to the stage, releasing chunky lethargy with a baptismal of bass on top. Harmonies of psych jazz blend with the digital and analog to create flowing electronic jazz compositions. Running bass, breakbeats, and free-form piano titillate the ear before the crunchy electronics really hit. Oliver Walker
FREE THE ROBOTS
FREE THE ROBOTS, GASLAMP KILLER, and NOCANDO
DADDY KEV and NOCANDO
SCV visits the infamous Low End Theory
Mux Mool, Mike Eagle, dirtRAID + All Residents
(DJ Nobody, Gaslamp Killer, D-Styles, Nocando and Daddy Kev)
Visuals by Major Gape
August 3, 2011
All photos by Oliver Walker
Check out the full set at our FB page HERE
DJ Nobody and Gaslamp Killer got the speakers buzzing Wednesday night. Gaslamp Killer’s taste in music is definitely free-range. A strange mix of Beatles and spaghetti western bass, 808 thump and B-movies, Ozzie classics and xXx. Not to mention world music from Istanbul and ‘No Quarter’ from Tool and a little brand new Hudson Mohawke. “This is Low End Theory,” he announces to a screaming house.
Daddy Kev then rocked out some new Jonwayne before D-Styles took to the stage. D-Styles is incredible and smooth with quick mixes. I do believe I heard a little ‘Trouble On My Mind’ and some Bassnectar.
dirtRAID came on and got real raw. Straight from the monitor, crunchy filth personified. It must take some talent to make such objects sound so good.
DJ Nobody’s set was preceded by an announcement from Nocando that someone was about to get pregnant. The cuts were slick, the breaks were head-bangable. I heard a little Weeknd and a little Drake so the pregnancy rumors were perhaps true; that’s real baby-making music right there.
Mike Eagle definitely makes you think with his lyrics (“I bend the same laws that put a monkey on the moon”) but he also has some treats for the common man striving for success (“High IQ but no credit score”). The ‘Party People Get a Chorus’ and ‘Pop Culture’ is represented with an Aqua-Teen Hunger Force reference. I like his music because I have to listen to it again and again, it’s crafted that well to demand it.
Then Daddy Kev came at us again, select cuts and precise slices dazzling the ear. I think he got the biggest rise of the night from the crowd with his signature slinging of digital aggregate. Summoning sounds out of an iPad, he rocked back and forth like I imagine Hendrix would with a guitar. He even brought a little classic rock sound to the party when he cut into The Entrance Bands ‘Grim Reaper Blues‘ for a little bit, which was a personal highlight for me. The Entrance Band + Daddy Kev = Madness.
Mux Mool should make movie soundtracks as his pacing is incredible. His set was a performance as opposed to fitting as many fist raising anthems into his time slot as possible. But when he is ready for it to hit, he lets it hit hard.
After that, Gaslamp Killer came back with more of his eclectic selections, but we shouldn’t have been surprised because he warned us via twitter earlier in the day. Gaslamp Killer was still up there destroying it with NoCanDo when I had to jet out. Select clips from Alejandro Jodorowsky’s ”Holy Mountain” played on the projector screen as as my sweat solidified in the cool Los Angeles air. – Oliver Walker
Check out the full set at our official FB page HERE
NOCANDO and GASLAMP KILLER
DJ NOBODY and NOCANDO
MIKE EAGLE + FRIENDS