I Just Can't Get You out of My Head: Otto Von Schirach's Tipo Tropical

I've been meaning to do a big feature on this guy for a while, and I still will and you will be astounded.  In the meantime, however, magnificent weirdo Otto von Schirach has just dropped a sick new release, and I can't stop singing the first single, the title track "Tipo Tropical."

Otto has been warning us since about 2010 that one day he would just go full-on Miami Bass on our asses, but previous ventures such as the epic Supermeng have given glimpses but not full-fire Booty Bass, save for the title track.  Supermeng did a lot of combo work: there was a subtle reggaeton beat in "When Dinosaurs Ruled the Earth," "Gravitron" had a sort of backwards, flipped-inside-out breaks backing track (commonly used in amen structures in Florida breaks), and the opening track, "Salpica," was exceedingly Bootytastic, exceedingly Cuban, and exceedingly loved by Chongas the world over (real and ironic).  Take a look here:



Weird enough for you?  That's nothing.  Supermeng also reintroduced Otto as a downloaded being from the Bermuda Triangle, here to teach us about "Mind Power," show us the gifts and dangers of "Quasar," and knock us over with the Triangle Forcefield of his own "Portal Prayer" for humanity.  All these tracks are nowhere near Booty Bass, but are weird, experimental, and, without being to blatantly breakcore about it, gave his old fans what they wanted.

Speaking of old fans, critics of Supermeng may also be critical of Tipo Tropical as it's an even farther cry thematically from the first 10+ years of his work.  Otto is credited with bringing the most evil and gross breakcore and dubstep (before it was dubstep) to those communities, and this is coming from GERMANS.  I would say to those naysayers, however, that it seems like a natural progression.  As a young, weird, intense producer, Otto explored his angrier namesake and German roots through creepy shit like "The End of the World" and "Teabagging the Dead" (one of my favourites).

Supermeng and the accompanying singles he collaborated with Pepe Billette were transtional, bridging the gap between the hardcore corpse-fucking and meat-fisting breakcore and his Miami Cuban side, and giving way for the full-on colourful flourish that is Tipo Tropical.  It seems counterintuitive that maturation would be defined as going from one's German side to one's Cuban Miami party side, but in this case, it kind of is.

Whether you agree with themes, triangles, or vampires, one thing is for sure.  Otto von Schirach still has pretty much the cleanest production values and most on-point style in the underground world.  I really can't even come up with another artist whose levels and the tightness of transitions are as accurate and well-planned in any genre or scene.  Whether you're listening to a track like "Mind Power," which is perceived experimental noise, or something more structured like "Salpica" ("structured" is a relative term in Otto's world), it's always clean, lean, and absolutely no beat or crazy sample out of place, yet it's all thoroughly emotive and fun.  With Otto it's not just the cache of weird, but truly some of the best-written, best-produced, and most interesting music you'll ever hear, and the videos get crazier and crazier.  So, for all these reasons, I'll be singing, quoting, and posting Tipo Tropical ad nauseum all summer.

You've got a streaming clip of the title track above, but if you're ready for purchase (I know I am), the whole album is available for download on his label page, MonkeyTown records.  Also be sure to check the tour dates and pick up a kickass Triangle Forcefield Necklace on OttovonSchirach.com

4/15 Reveal: Whose Art is it Anyway? Meet Matt Forderer!

Photo by LKL Studios

Ok so I'm late, so sue me, but none of you bothered to guess and get points toward hipsterprize 2014, so whatevs @ you too.  Either way, aren't you glad you tuned in?  Matt Forderer showed his amazing zooscapes (my own words) at a group show back in February, and this piece is now my desktop background.  It's that great.

Matt's ability to great mythical, spliced together, science project-like creatures which are photorealistic but then live in a surrealist backdrop is just such a great nose-thumbing to adherence to genres is just brilliant (and has caused this run-on sentence because now I'm gushing).

He's also got wacky collages which you can check out on his portfolio and keep up with news on www.matforderer.com, and I've provided a slideshow below that should speak for itself.  Love him or lose cool points!

New Interactive Feature! I Just Can't Get You Out of My Head: Sombear

This will be the first installment of this category, so I get to suggest the first one because it's my blog.  What I'll be doing going forward is allowing y'all to submit a New(ish) Artist or favorite that you'd like a writeup on this blog.  You can even submit yourself (but not in a kinky way)!  Just email us at laylamk1@gmail.com or submit your idea on our Facebook Page or Twitter, and we'll choose a winner each week, posting a piece about that artist the following Wednesday.  So come up with some ideas - I can't be this brilliant all the time.

New Artist Sombear - Ooh, Look at the Sparkly Dubstep!

As a Drum and Bass Oldschooler and jaded Junglist of the very strictest order, I generally regard Dubstep and Trap music as my two slow-witted, completely amoral, and utterly disappointing children (Trap may also have a mild case of retardation).  This new generation, pretending EDM is a thing, stealing helicopter samples and heavy bass for their own sellout purposes, and slapping Lana Del Rey vocals on it like that’s at all ok really makes my blood boil.  Whenever I hear a shitty dubstep track I always find myself thinking “where did we fail you, my poor lost children?”  After all, ultimately a kid that turned out shitty is at least partially the parents’ fault.

Quite often lately, however, I’ve found myself stumbling across shining beacons of hope amongst the literal ocean of crap dubstep, and I see a glimmer of hope.  Kid Unicorn, 501, even the odd Flux Pavilion track will make me smile, and possibly even stick around for at least a third of a dubstep or trap set which is inevitably and awkwardly jammed somewhere into the timeline of one of my Dnb parties.  I don’t know if I’m just getting used to it, or there is some actual talent out there, but really if the music is good, who cares?  As long as they don’t say “EDM” at or around me, I can learn to coexist.

Enter Sombear, given name Bradley Hale, from Minneapolis.  He certainly looks like a Dubstepper, with his well-coifed hair and hopeful millennial smile.  His beats are largely dubstep and dubstep-adjacent, but he also has a healthy dose of ambient Europop along the lines of M83, but a little more concrete and American.  His SoundCloud Page actually has quite a diverse collection of beats and sounds, and you can check and find your favorite here: https://soundcloud.com/sombear.  He has a little something for everyone, including pretty remixes of some pretty dirty rap songs.  Interesting stuff.

Despite my 3-paragraph tirade, I’m sticking with the most heavily dubstep track on Sombear’s page, “Incredibly Still.”  This is where his dubstep stands out from the crowd.  Clean, not-too-slow beats with really pretty sampling (again, think M83 or Passion Pit), and, something heretofore unmentioned in this article, some really beautiful vocals.  We have a video on this one, so check the hair and the pretty here: 

With the addition of these vocals which are not only almost pitch-perfect but lyrically mature and thoughtful, Somebear emerges in my mind as not just a dubstepper, but a multi-talented real musician who can compose, produce, and perform at a level we’re just not used to in indie-pop land anymore. 

The video for “Incredibly Still” also connotes this artistic sensitivity, showing a beleaguered-looking Sombear in a room contemplating his navel and the wide world, juxtaposed against television images of various television image feeds, and then what I think is film of himself as a kid.  If it’s not him, they found a pretty good lookalike with the same deep, pensive, searching eyes.  Either way it makes for some powerful imagery to go along with a very pretty and meaningful song.

“Incredibly Still” is the 2^nd single off of Sombear’s most recent album, Love You in the Dark, which came out last July via Trans-Records.   There’s also a title single which is just as pretty but not quite as heavy on the dubstep.  It’s also on his Soundcloud , or if you prefer audio and visual, Youtube’s got you covered: .  Both the videos were directed by Sombear himself, proving my point that he’s more than just a young EDM punk, but a true renaissance man/Mohawk owner. 

Love You in the Dark is available on itunes, or to stream on Albumstreams, but he’s put out tons of singles since then so I say putter around his Soundcloud and find your favorites, or check him out on the BitCandy player, player!

DWS Relaunch! October '13 Brewery Artwalk Wrap-Up OR April '14 Prequel

Well, I've been sitting on this piece and rotating, as I have with my entire writing career (how did it all fit up there?) lo these 6 months, but I'm happy to see that many of you are still checking in with DWS, and I really appreciate it.  With all the apathy and self-loathing through which I wring myself, it's awesome to know there is an audience for this stuff.  I don't believe in resolutions, but it is a sincere goal for me to take this unapologetically Po-Mo/Pop Fuck to new heights this year, and I'm glad that some of you are sticking it out with me.  And so with that, I bring you the unofficial re-launch of (Dropping) Weird Science with, unsurprisingly, a wrap-up of the last Brewery Artwalk in October 2013.  It was a doozie, so strap in.

Ok, I feel like I've been on my soap box for long enough; if you are in Southern California and haven't made it to the LA Brewery for their semi-annual artwalk, I don't even know what to do with you.  Luckily I have this blog, so I shall once again spend hours trying to summarize and sell this wonderful phenomenon and convince you to go to the next one on April 26-27, 2014.  Please, for the sake of your own cool points, listen to me this time!

I'm not going to spend much time on the history of the LA Brewery or the nature of artwalk, I think those are covered pretty well in my three previous harangues: the Artwalk Preiew, the April '13 Review, and my Interview with the Brewery's Press Director, Kristine Schomaker.  I also want to spend more time featuring the many and sundry artists who opened their doors to the public this time around; they are the true heroes of the Brewery.

"Hole" image from randihokettfineart.com

Randi Hokett     On first glance, Randi's Hokett's work seems simplistic and modern, but as so often is the case, it's all in the details.  Multimedia takes on a different meaning than usual in the many materials Randi uses to create different textures, shadows, and effects in her pieces.  However the real interest in Randi's work, for me anyway, are the ridged, textured rifts and holes which look like prisms and feature often in the center of each piece but also appear on the sides in more recent works.  On largely blank backdrops, these topographical features, for lack of a better term, spring out with sparkling reds, graduated blues and purples, even black.  One could make the obvious vaginal reference here (keep it classy, San Diego), but the holes and chasms seem to represent more in my opinion.  An emptiness that comes form the human condition here on earth;  a gaping wound, a blind jump into a deep abyss.  Looking at them, one is able to re-connect with the heart of what makes us what we are; fear, beauty, pain.  It's all right there, not to be covered up or sterilized by man-made materials; the glaring fact that we are organic, perishable, fallible.  Check out her portfolio at www.randihokettfineart.com and see her unique take on textures, found materials, and the nature we can't escape.

Image used by permission from artist.

Christina Ramos     My friends and I had a differing of opinions on thought-provoking artist, Christina Ramos.  I thought her featured images of G'd out nuns throwing up gang signs and other fun poses were interesting, charming, even - dare I say - quaint.  My friend, not so much; she found them offensive and possibly a little racist, stating that we should go out and get some real cholos and see what they thought about their "quaintness."  Personally, I think most of my friends who are ex-bangers would think they were cool.  I'm not sure, however, how a nun would feel about them, but that point was not raised at the time.  What I think we can agree on (arguing friend has not been asked for further comment, so I'm positing here), is that the juxtaposition of religious piety with imagery generally associated with urban culture in these pieces is definitely meant to raise some eyebrows, and it's a cool commentary on the paradox of many criminals' seemingly extreme devotion to the Catholic faith.  I see it as a reversal of the tattoos many of these guys have all over their bodies: instead of a big dude in a wifebeater with the Virgin Mary slapped on his back, does it still look cool when an archetype of faith and chastity is playing poker while smoking a spliff?  I say yes, but I'm not part of either of those archetypes, so until we are able to drag a cholo and Sister Sassy to Ramos' studio, my friend and I will have to agree to disagree, but which one of us has a blog, hmmmm?  Check and mate, graciously unnamed buddy.  Christina Ramos' full portfolio, which includes some not-not-so-pop portraits, can be seen on her website at www.christinaramosart.com.  Title of image shown is "You Can Take the Sister out of the Hood, but You Can't Take the Hood out of the Sister." 

"Fly" image used with permission from the artist.

Sarah Jane Hardt Photography     Do you like pubes?  As many of my friends know, I'm not much of a fan, but Ms. Hardt got me to care about them again in two of her photo series, "The Skin Series" and "Redhead Fetish".  There's body hair aplenty in "The Skin Series," and one of the photos from "Redhead Fetish," featuring a closeup of a ginger pubis, has earned quite a lot of attention.  From the artist, "As a photographer and Celtic-born redhead, I'm curious with the preoccupation some men and even women have with us 'gingers'...And naturally it (the series) took a slightly provocative course."  In my opinion, provocative is an understatement.  Beyond the shock value (many of us have taken pics of our parts mid-coitus, but few of us have the balls to immortalize them in lacquer and show them to the public), it's the lighting, the colors (or lack thereof), and the sense of illicit movement in these pieces which really stun.  Both gritty and pretty, Sarah's eye for the interesting art that can be found right in our own bodies makes her a truly stand-alone talent.  Sarah has put "The Skin Series" up on her professional Facebook page, and it'll be available for a limited time via this link.  If you want to view more of the "Redhead Fetish" series or are interested in purchasing her work, she can be contacted via email at memorieswithhardt@gmail.com.  Sarah also takes her unique eye and techniques to her commercial work, and if you are looking for very high-end event photos, check out her commercial website at http://www.memorieswithhardtphotography.com/.

Image from www.kevinflint.com

Kevin Flint/Dystopia     Termed by the artist as "apocalypse chic," Kevin Flint's Dystopia studio jumps out at visitors from a corner as they first enter the Brewery.  Hooks, chains, industrial surfaces, gas masks, and much more adorn every inch of this loft, so "apocalypse chic" seems a very apt descriptor, indeed.  Flint also has a line of "functional art," which includes coffee makers, water coolers, and other architectural features with which to adorn one's kitchen or office.  I usually find my way to the actual paintings and photos in the Dystopia studio, however, most likely because these pieces cross the border separating apocalyptic architectural oddities and just plain kink.  While the photos of nudes with gas masks are obvious, there's also something to the flat, textured pieces with surfaces being rended apart by hooks and chains that has something vaguely (or not so vaguely, in my case) shows kinship with BDSM imagery.  The deep blues, reds, and purples of this "industrial flesh" with hooks in it being dragged apart by some unseen force - it just seems inescapable.  The victim without a body, the sadist pulling at the rope just out of view.  The industrial wasteland feel of the studio is haunting enough, but when you add this layer to it. it's downright sexy.  Kevin has a brand new Etsy store at which you can purchase his curious pieces, and it's linked to his website, www.kevinflint.com, where you can view all his work.

Image taken from www.artexture.com

Keith Collins/Artexture     What do you do when you're walking around an art city and you see a huge, photorealistic image of Siegfried and Roy with their white tiger hanging in a window and it's a fucking CARPET?  I'll tell you what you do - you get your ass into the adjoining studio as fast as your fat little legs can carry you.  Upon entering Keith Collins' studio, wonders abound.  It's set up like a high-end furniture shop, and most of those gorgeous furniture pieces are also for sale, but the show-stoppers of course are the tapestries; Marilyn Monroe in life-like detail, Muhammed Ali after knocking out Joe Fraizer, a stunning Martin Luther King mural.  They even have T2!  Even more amazing is where you think these would be woven tapestries, they're really hook rugs, and all of them are made from found/recycled yarn scraps.  If you think it's possible to get any more awesomely hipster than that, you're delusional.  This guy should be featured on Portlandia immediately, and if I ever win the lottery, my first unreasonable purchase will be the Siegfried and Roy piece.  Keith Collins also does home installations of more modern carpet pieces as well as floor mats, and they're all pretty sick.  Check out the crazy stuff this guy can do with yarn on his website, www.artexture.com but save the tiger rug for me!

Tuki Lucero     Tuki Lucero's business card titles her as an "Artistic Recycler."  This is true; she does create tiny sculptures in found objects, mostly old tin cans.  The label she gives herself, however, belies the full emotive scope of her tiny sculptures.  Part Dia De Los Muertos, part religious imagery, part sparkle, these tiny vignettes are usually only about 2"x4", but pack a huge visual punch nonetheless.  The tin cans are all vintage, and it looks like the pieces inside are done collage-style, with images of the Madonna and child, disembodied masks, etc.  One would think these pieces are meant to be gruesome or some sort of tiny phantasmagoria, but I don't think that's Tuki's aim, though some of them do seem to make a comment on the true nature of organized religion.  There is definitely an element of the past; somewhat Victorian and somewhat Mexican religious imagery, but to me the ultimate goal is whimsy with a deeper meaning and a connection to those past ways of making found objects or items around the house into folk art (think those weird hair sculptures from the Victorian and Edwardian eras).  I think Tuki's creations are far from folk art, but there is definitely a nod to it there.  Tuki Lucero's Etsy store is currently under construction, but if you're interested in viewing more of her pieces or purchasing, you can email her at tukilucero442@gmail.com.

MNKR Clothing     It didn't take much for me to know I would be featuring MNKR in this post.  When I walked into Designer Matt Fellows' studio, there was a podium with a poster glued on in the style of those annoying inspirational paperweights which read "Be the Change, Sucka."  Sold!  I'm a sucka for tongue-in-cheek satire that's done so simply and eloquently.  At that point I didn't even really care what this place was selling.  Luckily, this would not simply be fleeting hipster lust.  MNKR's website advertises itself as "t-shirts and other weirdness," and both t-shirts and weirdness are on point.  Most of the t-shirts do indeed contain weirdeness, continuing the irreverent wit I saw on the podium into wearable art.  You might have seen some of these before: "Helvetica is Awesome," for example, or an outline image of the state of California with the word "home" inside.  These clothes hit me right where I live and if I don't snap them all up, visit MNKR's website and Be the Change to your wardrobe, Sucka!  The site also has a list of vendors in case you're 80 years old and prefer going to stores to shop over online shopping.  "Like" MNRK on their Facebook Page or follow them on Instagram for news and product updates and - I'm sure - more weirdness.

Dave Lefner Reduction Linocuts     Well, nothing says "Pop Art" more than a linocut of a Tootsie Pop wrapper with a large yellow overlay that reads "POP!"  With so many permutations of Pop Art and street art these days, it's nice to see a literal translation of the form, whatever "literal" might mean in the Pop Art world (I can feel Andy Warhol's smug glare bearing down on me from the ether over a pair of sunglasses as I write this).  Literal or not, I really enjoy Dave Lefner's purist commentaries on pop culture and advertising, and his linos are some of the cleanest you'll ever see.  Now these aren't photographs, mind you or even paintings.  They're carefully etched linocuts which are made to look somewhere between a photo and a litho, but the tiny cuts create a greater dimension to the image.  In the example above, the wrinkles in the candy wrapper do look photorealistic, but it's literally cut out of a template.  Lefner's website is awash with examples from his Pop! series, as well as a number of old theatre marquis and some more abstract pieces.  Many of the Pop! series are sold out, so if you want to know how many cuts it takes to get to the center of a Tootsie Pop, contact Lefner on his site.

Wyatt Mills - Just Badass Art     I hope you're still with me here, because Wyatt Mills was one of my favourite finds this time around, and I'm not the only one who thinks this retro skater-looking kid is going to blow up.  The image to the left here is actually a self-portrait (awesome) which I believe was to be featured in his most recent show, "Phantasmagoria."  In a YouTube video about the show, he says that his style is mean to shock, and meant to wake people in up out of their computer realities and look around.  His technique is great - oils slapped onto various media with a trowel or other unconventional instrument so that he gets crazy textures, shadows, and sweeping madness.  It's a very modern or Dadaist approach, and I always marvel when artists can slam paint on a canvas (or door, in the case of this portrait) seemingly haphazardly, and pull not only a clear face or shape out of it, but something so emotive and full of perspective and depth.  There's not many of those around anymore, save David Choe and a handful of other street artists.  In keeping with the Dadaist theme the pieces in this show and that I saw at The Brewery also incorporate news clippings, headlines from gossip mags and other verbal pieces set up in a collage format either over or under the oils.  If you didn't get an emotion from the haunting, twisted faces, the words and nods to the brutality of our screwed up media system will strike a nerve on that tip.  Mr. Mills has probably the most kickass website I've seen in a while as well, and you can take a look at his other pieces or hit him up about pricing at www.idoesart.com.  Good God, I hope he shows at the next one!

Rob Silverman Photography     My obvious inclination toward the strange, the weird, and the avant-garde of the art and music scenes would imply that I also lean that way when it comes to photography.  With all the options for different washes, digital manipulation, and lacquering, one can make a photo look like pretty much anything else.  While I do love a good surrealist photo, I actually tend more toward the classic in both my own photography and in other artists.  Working almost exclusively in black and white yet somehow able to capture shading and light grades expertly, Rob Silverman is an excellent example of all that is awesome about classic photography technique.  The ability to capture the beauty we find all around us in the real world in all of its stark, unpixelated reality is, in my opinion, something only photography can wholly do as an artistic medium.  Not so easy to do, especially in black and white, is the ability to capture the emotions and true feeling of the subjects of this photography; the forlorn energy of a dog in front of an old gas station, the stern and enduring countenance of a Navajo brave in full headdress.  Turning motion and light into still life and back while not losing any of the emotive quality and without digital covering is what separates good technique and good eye from good photography, and Mr. Silverman is a good photographer.  I don't even feel the need to make the requisite reference to Ansel Adams here.  Silverman has a solid, deeply emotive style and technique all his own.  Though I've prattled on about his black and whites quite a bit, Rob Silverman has a whole array of photo styles, including commercial and event photos, on his website www.robsilverman.com.  You can also contact him via the site for pricing on current works or bookings.

So, there we have it.  Ten of the great artists making me jealous by living at The Brewery and doing what they love.  Now the next Brewery Artwalk is upon us, just two weeks from today, and I am once again planning to wander through it in awe, bumping into more weird and wonderful art and people, wistfully wishing I could live there as well but also gaining hope for the future of art.  Ironically, San Diego's much more commercial and therefore LAME artwalk takes place in San Diego on the same weekend, April 26-27 and it's literally outside my doorstep.  I will choose, however, to drive 2 hours up to downtown LA to the LA Brewery and support my new friends and idols in the pursuit of truth, love, and beauty in art.  Pardon me as I'm waxing extremely sappy at the moment, but I think The Brewery is really important in sustaining a real art culture in America, and that makes this event important, because for two weekends a year, the general public and unartistic schmoes like you and I can be a part of it.  How can you not get sentimental about that?  Do yourself a favor and take that weekend to go do something good for your soul and witness a living, breathing art community at its very best.

Review: Photek at SD Union

Well, SD Union has barely given us 2 weeks to recover before another installment is coming up this Saturday, `10/12 at The Merrow in San Diego.  I guess you have to take FREAKING ADAM F when you can get him!  This has got to be his first appearance in SoCal in a hot minute, at least at a small venue.  That being said, I'd better get this review of the more than comparable Photek before this one rolls out.

First, let's talk about The Merrow.  The venue used to be The Ruby Room but has recently changed management/ownership, so not much has changed for the SD Union Denizens.  I do miss the graffiti on the wall outside the club, and the bar staff still needs to work out a few timing kinks, but otherwise the drinks are still a great price, the new decor is nice and they have some great local craft beer options, so for the most part it's pretty much the same, just classed up a bit.

So Photek (along with Adam F) is what I call a "second tier" producer; this is the group of DnB talent who came out with releases within a year after the first tier/inventors Hype and Goldie, with his first release out in 1992.  What this means to me is that these guys are OG to the thousandth power, and have done more than most of us can comprehend to shape the scene that we've all come to know, and you can also go ahead and frigging give them credit for Dubstep while you're at it.  Something I didn't know is that he's also been nominated for 2 Grammys.  So, while I never doubt SD Union's ability to pull big names (especially since J Majik 18 months ago), I was still surprised, if for nothing else than he hasn't been in SoCal since about 2006.  We're taking it next level this year!

As is my horrible jaded scenester custom, I didn't get to The Merrow until around midnight, missing Will Guise, Evlo, and resident Ghost MD.  I'm sure they laid it down, however, and one of these days I will have to stop being a dickhead and come early.  I did catch the end of Adia Break's set, and that definitely got the crowd going and ready for Photek.  MCs CSD, Subliminal, and resident/founder/birthday boy along with Eric Yo, Ridda, were also on hand to amp the crowd and host.

Photek holds a special place in my heart not only for shaping DnB as a whole but being instrumental in creating darkstep and techstep, which readers have seen me laud in other posts and with which I identify more than any other sub-genre.  In this area, he did not disappoint.  Photek's set consisted of many of his own classics, current sick tracks which also had lots of dark flavor, and dubplates that I bet we couldn't even date because none of us will get our grubby little hands on them.  Not just tracks, Photek's set had a nice overall dark n' grimy feel, and with me still on such a high from Wreckignition, it was like methadone to help me come down.

It was also Ridda's birthday as I mentioned, and what better way to celebrate - jeez.  Apparently there was a little cake mishap, but who needs a frigging cake when you've got Photek on your birthday?  Pssh, not me!  Beyond that there was a great chill vibe and everyone seemed to have tons of fun.  Great party as always.

So now we have Adam F (Breakbeat Kaos), jump-up OG, coming in on Saturday and I'm barely over September's parties.  The event will be at The Merrow once again, and cover is $10.  For more information, go to the SD Union: Adam F event page or SD Union's Facebook page.  Be there or be frigging stupid!

Wreckignition is Back! For me, it's Like they Never Left

Ahh Wreckignition, how do I love thee?  As I've said an annoying number of times on Facebook, as a devout Junglist in the 90s who tended towards the dark beats, Wreckignition was my church.  I would liken it, however, to more of a Thesomophoria; an ancient and secret hedonistic Pagan festival dedicated to celebrating the darker, more dangerous elements of life.  Bass music is definitely in this category; respect and use it properly, and it will be there for you in a way nothing else can.  Exploit or disrespect, well, anyone who went to underground parties back in the day knows exactly what could happen.  Truly Tantric, baby.

Now that I've waxed spiritual for a moment, let's sum it up in laymen's terms: Wreckignition was probably the most badass monthly underground event stateside that you can think of in the late 90s-early 00s.  It started in 1997, and I believe it was the first all-dnb party I went to on the West Coast.  It sadly ended in 2003 but I think many of us stopped going in 2001-02, or at least I did.  Adulthood, careers, desire not to go to jail, etc. took over for a while, but I remember when it was announced that it was ending, and I definitely got choked up.  I remember thinking something along the lines of "this is the watchword of the decline of dark drum and bass in the US," as we knew it, anyway.  Wreckignition straddled a period in SoCal and in jungle and dnb in general that saw the darkest, ground-out beats and sounds in its history.  This was a period from whose grumpy, glowering womb sprung the Usual Suspects "Killa Bees," Krust's "Warhead."  All the classics: "Scorpion," "Cops Don't Like Us," I could go on.  All the staples that every self-respecting basshead should know came out of there, as well as some of the best dark and ragga pieces out of RAW, CRS?, and APX-1's crew.  It was quite polarizing back then, actually; you really had a much clearer divide between jungle and drum and bass in the first case, and then very clear divisions between jump-up, darkstep, hardstep, ragga, liquid, etc. in the second.  I honestly don't even recognize DJs like SS and Loxy from where they were in this period.  I remember a lot of us fought against merging genres, to the point of heated arguments and actual physical fights.  Now, looking back, it really was a natural progression/evolution of the genre, and I feel we're all united and just dedicated to making good music.  I do miss those days though, or at least the music and the parties, and Wreckignition was a place for all of us darkstepper/ragga heads to go where we knew we would hear exactly what we liked.

But again, adulthood happened, and while I still listen to classic dark dnb more than any of the new stuff, I've quite content to go to smaller events at bars and clubs: Respect, SD Union, The Rhythm Lounge, etc. gave us legit places to hold our 21+ all-dnb events, and while I was happy to be free of any drama associated with the old parties, something was lost in translation.  It got so lost, in fact, that I didn't even realize how much I missed it.  So, it might be understating to say I was excited when I saw in about May of this year that Wreckignition would be coming back.  I instantly recognized what I was missing: excellent SoCal djs spinning classic darkstep and ragga somewhere under a freeway in downtown LA.  That was the other great feature of Wreckignition: it was almost always exclusively local talent.  Wreck crew Don and founder Deacon, E-Sassin, Machete, RAW, CRS?, APX-1, Devas, Hazen, Havok Mega.  We have some crazy good talent here in Southern California, and it seems lately that you can't pull the kind of heads you used to with that kind of lineup.  I know we're all old and tired and pregnant or whatever, but if the only names that get you out of your jammies lately have to come from England or Europe, examine your conscience; there's plenty to piss yourself over right here.

The first installment of the recently resuscitated Wreckignition was on August 31, and as I remember most of them in the past, it was located under a freeway overpass in downtown LA, but it was also totally legit and secure.  The neighborhood wasn't too bad either, so it was nice to see they classed it up a little.  That seemed to be the overall feel of the night as well: still capturing the old feeling and the old culture, but also making sure things were updated and not too over-the-top or too ghetto, adapting to current times and our more adult sensibilities.  For example, there were still art pieces by jungle art legend Spectr, but an absence of any of the old military accessories we used to use to mark DnB parties (Wreck used to be champion at that).  There were two areas of sound and the lineup included everyone I mentioned above as well as Heretic, Sixfootunda, Direct Feed, Circut, Prime Mover, Clutch, Caelum, and Impostor as well as Kemst, Werd, and a number of other MCs.  I unfortunately got there quite late so I missed many of my favourites, but the sets I did see; Machete, Deacon, CRS?, APX-1, and RAW were all bangers.  Some did fully darkstep sets, while others spliced in ragga and even some full-on reggae.    It was also 21+ (thank God) with a bar and Wreckignition t-shirts for sale, and Drumz clothing rolled out as well with a new line and the revival of the gasmask tshirt (!)  There was even a massage station (which I meant to avail myself of) and a food car magically showed up at around 1:30.  Perfect. The whole night had a classic feel with a thoroughly modern bent.  It was so nice to re-connect with this shared reality all of us oldschool SoCal heads have, and also bring newcomers into the fold and see them experience a part of being a junglist  that they may not ahve heretofore experienced.

Sorry you missed it yet?  You should be.  Luckily there will be another installation soon, on October 19.  Lineup TBA.  I highly recommend getting signed up for their email list at www.wreckignition.info.  That's the way to get the most up-to-date information including chances for guest list, early venue info, etc.  More info also on the Wreck Ignition facebook page, and get ready to have your brains blown out with bass.  I'm so happy it's back (as if you couldn't tell)!

 

Weekend Art Wrap-Up: What You Missed, and What You Can Still See

This weekend saw the openings of 3 off-the-radar art shows, sponsored by Subtext Gallery, Thumbprint/Lombardo, and Suicidal Octopus, respectively.  Featuring cool, digitally manipulated photos, eclectic mixed media, and street art on miniature garbage bins (!), each show had something new to offer the San Diego art community and should not be missed.

Though I generally avoid Kettn
er Nights like the plague, when Subtext announced a special photography show on Friday, 9/13 called ANIUM, featuring the unique digitally manipulated photographs and short films of Charles Bergquist, I had to go.  I missed his last public showing, and now that I'm working on my own portfolio, I'm always up for new ideas.  Bergquist is known for his unique digital overlays and psychedelic colour choices, as well as his bright, robust photography direction in music videos, short films, and his own art film pieces.  The focus of his art photography is definitely on the art, and I wish I could have spoken to him more about how he does some of his photo tricks.  The show itself was sparsely hung, none of the still shots framed and they were attached to the walls with magnets, making them look as if they were hanging to dry in a darkroom.  There were also several film pieces for sale in individual TV boxes which ran on loops of 5-10 second short films, including one stand alone box that was about 8' high.  The films were beautiful and had varying speeds to showcase each subject in a unique way.  The show at Subtext runs until October 13 with with gallery hours on Saturdays from 12-3 and viewing appointments available if you email info@subtextgallery.com.  Thanks to Dylan (suddenly beardless!) and John for bringing this unique show to us.

Also on Friday 9/13 was "Lucky 13," an event run by local legend-cum-desert flower, Guy Lombardo and hosted by 57 Degrees.  57 Degrees is a new wine and craft beer bar and retailer in Middletown, where the Pier 1 Outlet used to be.  It's a really cool spot, and I think it's a great idea to have shows there.  I didn't even know the place existed until I heard of this show, so the art is doing its job promoting the venue.  57 Degrees has a great selections of rare wines and what looks like some good food.  The art show was a mixes bag that night; everything from Picasso-esque modernism to haunting Native American to abstract pieces to Guy's own more Pop Art selections on found objects (my favourites, unsurprisingly).  The event also featured live music from
Mantis, a band put together in part by Thumbprint Gallery's Johnny Tran. Mantis is sort of an experimental EDM hybrid, very cool.  A video of part of the performance is featured below.  I believe the show is still up at 57 Degrees, but I'm not sure how long it will be on so stop by soon, get drunk, buy some wine, and check out all the varied art.  For more info, go to the 57 Degrees website or contact Guy Lombardo on his blog.

Lastly on Saturday, 9/14 we had "Deconstruction of Art" at Thumbprint Gallery, guest curated by Suicidal Octopuss.  Don't know who Suicidal Octopuss is?  Well, you should.  For shame.  Suicidal Octopuss is an

independent urban art collective started by two prolific street artists, snak3oil and pid.  Their ranks have since grown to include the illustrious likes of Bobby Draws Skullz, Lord of Stink, We Are Zombies, and Grumpus.  All these and more have works in the Thumbprint show.  I'm not exactly sure what the name of the show means; perhaps it's a nod to the fact that many of the pieces are done on mini-trash bins, spray paint cant, and broken skate decks.  I guess you can't get any more deconstructed than that, but despite the media used, the pieces are all bright and well-composed.  Constructed well for being so deconstructed.  Either way its a great street art collection, and best of all it's portable!  The show will run at Thumbprint Gallery  until October 6.  Gallery hours are Weds., Thurs., Saturday, and Sunday from 12-4 or by appointment.  Thumbprint Gallery is

owned and run by Johnny Tran of Mantis - this guy is everywhere!  For more information about the show, go to www.thumbprintgallerysd.com or to the Suicidal Octopuss Blog or Facebook page.

So, this is my last plea: get out and see some shows, and maybe buy yourself a mini trashcan with a rat spray painted on it or a piece of particle board with a crazy Pac Man ghost figure.  The San Diego street art scene, though alive and well, isn't going to support itself!

Review: New Label Shoot Recordings to Release first Tracks on Limited Edition Transparent Vinyl September 16

If you've been following the trajectory of Calculon n' friends via Rubik Records and their other independent releases and mixes over the last year or two, you may have noticed a trend away from your standard Drum and Bass. Initially, releases and mixes from Calculon, Sinistarr, Austin Speed, and Chrissy Murderbot looked like they were moving with the trend towards Dubstep, Juke, and Trap beats, but after listening to a number of these pieces, I think that may be oversimplifying a little, and cramming these artists towards a box into which they don't quite fit. The new tracks and mixes coming from the stateside faction of Rubik seem to be more experimental than just your standard Trap or Juke, but I don't really like that term, either, as it can be even more limiting than the more specific genres I just mentioned.

 That very quandary seems to be the impetus for Calculon's creating this new label, Shoot Recordings. "The sound is way different. We released a Juke Jungle EP on Rubik recently, but it's better to do a new label," said Calculon today when I was bugging him about all things Shoot. Rubik is still alive and kicking, in case you're wondering, and I agree with Calculon's reasoning here. Rubik is already such a brand, especially in England, and while Calculon has certainly taken it in some new directions, this new indefinable format is probably suited to a separate label.

 Now on to the actual tracks. The first release from Shoot Recordings will feature two tracks on a cool transparent record, and are available today exclusively on Triple Vision Records' website, and it will be available from all other major retailers on September 30.

 The A side of this record is a tune by Chrissy Murderbot called "The Original," and it certainly is. With a pseudo-trap beat laying down the bassline, the track samples some chopped-up Old School DnB snares as well as some classic 808 tick-beats and Dancehall vocals. If that wasn't enough, there's a Darksteppish (I am spell-check's worst nightmare right now,) descending chord progression throughout the track, which, oddly enough, ties it all together.
 The B side is by Pawn, normally known for his work with Smog Recordings in LA, called "Your Words." This track also has a core beat that sounds pretty Trappy to me, but the slower tempo could push it into Dubstep territory. The opening of the track is highly syncopated, but it smooths out after about a minute, and by the middle there is literally nothing but the base beat and more 80s-inspired ticks. It ends abruptly, leaving the listener wanting something more, but the only option is to re-play the track? Did someone say rewind?

 Confused yet? You should be. These new sounds are designed to push the boundaries of all those different specific genres and pigeon-holes that have been created out of the emergence of Dubstep, Trap, etc. in the past few years. But a label for this stuff? They don't have one yet. "I don't know what to call this music," said Calculon. Good, so that makes two of us. It also makes Shoot Recordings the only label you can give these tracks, and that's exactly what this crew have done.

 For more info on this new sound, check this interview Calculon just did with Kraar UK, which includes an exclusive mix by Chrono.

New Review: Thumbprint Gallery Presents Anarchy in Artistry at Basic

I'm not sure how they do it, but Thumbprint Gallery manages to consistently come up with new and interesting themes for its group shows to showcase local talent at Bar Basic in the East Village.  Just this week there was another show (which I unfortunately missed) called "Lions, Tigers, and Bears oh $h!t!", and there have been a number of others in the 6 weeks or so since "Anarchy in Artistry."  In addition to

Iggy looking beautiful in a stunning photo.

Thumbprint's solo shows at its permanent location in La Jolla, these 1-off event mini-shows at Basic help keel Thumbprint present in the San Diego art scene while promoting hometown talent and interesting ideas.

Though it's been a while, I just had to review the "Anarchy in Artistry" show, because this is a subject near and dear to my heart: punks and the people who love them.  The images in this show ranged from classic anarchic symbols to photographs of my long-lost love, Iggy Pop, to more artsy interpretations of punks, such

Mr. Potatohead as angry punk.

as a "Mr. Popunkohead", as I'm calling him.  Some pieces were a bit pedestrian or, in my grumpy punker's mind, sort of missed the mark, but overall a good collection, and you can't argue with the theme.  My only real disappointment was in not seeing any sculptures of creepy dolls dressed in trash bags with safety pins holding them together, but you can't have everything.  Maybe I'll make one of those myself for the next show!

Thummprint Gallery's next show at Basic will be a group show held from September 14-October 6 called "Deconstruction of Art" and will be guest curated by Suicidal Octopuss, another heavy hitter on the SD Pop Art Scene.  The show will feature snak3oil, Lord of Stink, Grumpus, We Are Zombies, Bobbydrawsskullz, and quite a few more insanely talented artists.  There will be an opening reception on 9/14 at Thumbprint's La Jolla location.  Go to www.thumbprintgallerysd.com  for more info and all upcoming shows, or check out the Deconstruction of Art facebook event page.  Should be a good one!

Sid Vicious looking a little more like Gary Oldman than he probably should.

The Beatkillerz "Sheep Killerzzz" EP out September 12 on itunes - Not Smart to Miss this One

Beatkillerz TM Logo used with permission.

Weed rap? Eh, not exactly. SoCal underground Hiphop? I guess technically that's what were dealing with, but The Beatkillerz new EP, "Sheep Killerzzz" contains so many complexities and transcends so many genres that labeling on this new EP seems academic. What is certain is that this bass-driven, lyrically complex assembly of tracks may be the best underground release of the summer, so you're welcome for this piece. As you can tell, I'm having a hard time categorizing the ubiquitous Beatkillerz sound, but don't get me wrong; that's a good thing. With so many strong influences in the DnB, HipHop, Funk, and yes, even Punk scenes, this trio still manage to come up with a unique and uncharacterizable style which doesn't sound frenetic or confused but rather completely different and just plain good.

 Founded in 2007 by main MC Catfish and Havok Mega, who mastered this EP, The Beatkillerz then brought in Ethyx soon after to lend his MC and production style, and have been writing and performing since that time.  If you've seen their energetic and chest-thumping live shows wherein all 3 emcee (Catfish prefers the term "emcee" to "rap", though it'll probably kill me to use "emcee" as a verb throughout this article), man the decks and tweak the sound, then you've been anticipating this EP drop for a while like I have.

Album art used with permission.

Catfish has named a gallery of influences to Beatkillerz sound in general: everything from Shapeshifters and Awol One to Gramatik and Pretty Lights. On this EP the beats also have lashings of mid-90s Wu-Tang and almost all of the tracks sample heavily from 60s soul, funk, do-wop, and even a scratchy-sounding 1920s calliope.  The beats, however, as would be expected of 3 kids who grew up in the DnB and Grime scenes, are anchored in heavy bass and this EP should only be listened to on a set of good headphones or properly woofered-out speakers. All these elements make for an interesting musical track to be sure. Another refreshing thing on the EP is that of the 10 tracks, only 5 actually have lyrics.  The rest are full instrumental and showcase Ethyx's unique style as he did most of the beats and instrumentals. For me and many others who have always gravitated to the clean production values and a solid core bass and drum structure of a song before any lyrics, spoken or otherwise, have been added, we have been oft disappointed by some underground groups' inability to pull off a good backing track.  It's a welcome feature of "Sheep Killerzzz" that the group showcases just how important it is to have a track stand on its own without help or need of lyrics, and indeed tracks like "Sinatra" and "MPCxyz" do just that.

This is not to say, however, that the lyrical stylings of Catfish and Ethyx are just tacked on for good measure, or are somehow boring and not important to the album - far from it.  The MC skills of these two are featured heavily either as a tag-teaming duo or separate, and Catfish and Ethyx's styles, like the beats, are a many-splendoured thing.  Catfish's vocal timbre is young, fun, and a little nerdy sounding - kind of like a white Humpty but with tighter enunciation which allows him to spit really quick circles around the beats, creating another layer to the track (though I'm not sure if he likes his oatmeal lumpy).  Content-wise, his writing ranges in topic from fun, silly jabs at the ridiculousness of social conventions in "Table Manners", to the more serious, psychedelic, and intellectual musings of "Dementia" (easily my favourite track on the EP), to the joys and perils of growing up SoCal in "Cali Sun", where Catfish identifies himself as "a modern-day Spicoli": probably a better description of his lyrical style and attitude than I've attempted to present in this whole article.   Ethyx's lyrical style sounds a little more conventional, but whether he's backing up Catfish or they're tag-teaming, his vocal  weight and speed can easily stand up to whatever Catfish is putting down.  It makes for a great duo, and they complement each other stylistically quite well.

Overall, the EP really has a great flow to it, moving seamlessly from song to song and telling a story on the way and hearkens back to the days when an EP or LP would be seen as a whole body of work, not just the random fragmented songs which comprise it.  Remember those days when you would go to the store and purchase a record or CD and listen to the whole thing all the way through, expecting the artist to take you on a journey through his or her world and what he or she was going through at the time?  Remember when you couldn't mention "Mother" without talking about "The Wall" in all its greatness, or talk about "Let Me Ride" without thinking of the whole new genre Dre's "The Chronic" ushered in?  Remember when every track was a banger, and you weren't constantly flipping through you ipod or Pandora to get to a track you really liked?  Ok I know I'm waxing jaded old lady nostalgic now, but that's what this EP does, and it's really a nod to Havok Mega's mastering skills but also to the way I know all 3 of these guys wanted the record to sound and make the listener feel.  Each track can stand on its own, but the body of work that is "Sheep Killerzzz" deserves to be listened to as it's own playlist on your ipod.

As mentioned, "Sheepkillerzzz" will be out on itunes on September 12 and is available for pre-order now.  The EP is also available for sale on The Beatkillerz website, and I recommend that method because all profits go straight to the group where, as you know, on itunes there is a significant cut taken.  They've made it convenient on the website to pay by Paypal or by credit card in the Beatkillerz shop.  While you're there you can listen to clips from the EP and buy yourself a cooler-than-everything Beatkillerz tshirt (both women's and men's styles and sizes available), and if you want to book the guys (who wouldn't), booking contact info is on the site as well.  I've also got some links below to their Soundcloud page, Savageland, because I feel I've done a rubbish job of fully explaining this album but hopefully I've piqued your interest enough to want to listen for yourself and say "that bitch doesn't know what she's talking about.  This is way better than she described," because it is.







**All website images and track links used with permission from artist.**

Pics from the Unadvertised Fixdie Race and Art Show Last Night at Us vs. Them

This is a little informal, especially considering the bafflingly long hiatus I've taken from posting, and I also apologize for the article-jumping I'm doing here.  I'm still recovering, and I consider this a baby step.  Self-deprication notwithstanding, I wanted to at least post these pictures from the cool show last night, featuring art painted directly onto fixed-gear bike frames at Us vs. Them last night in their show, "Aerosol & Aluminum".  The likes of  Exist 1981, Insa, and Honkey Kong created pieces for the show, and  here was also a race, which meant the place was rife with hipsters, both art and bike.  There were also some great flat toonish pieces in the tattoo shop.  Enjoy the album, and I promise that some real reviews and articles will be coming soon.

Rewiew: Monstro and the Kelp Kids at Thumbprint Gallery

As Thumbprint Gallery's current solo exhibition from Kreemworks, "Werkaholic," closing today, I'm just catching up to talk about the previous long-term exhibit, "Monstro and the Kelp Kids."  I urge you to use the rest of your Sunday afternoon to check out "Werkaholic" at the La Jolla location, as it's really a great show as well.  Info is on the event page, or at www.thumbprintgallerysd.com. 

I was excited to see "Monstro and the Kelp Kids" because I've been a big fan of Monstrinho for a while now.  Just a word of advice if you're not used to the private gallery scene: if you're going to see a show outside of the opening or closing parties, gallery hours are usually subject to change.  Thumbprint's regular hours are Weds/Thurs/Sat/Sun from 12-4pm, but if there's not a lot of traffic, they may close early.  Thumbprint is basically run by one guy also, so I just think things probably come up.  The first time I tried to go, we got there at around 3pm on a Thursday, and it was a no-go.  No judgement on this, but plan your trips accordingly for any smaller gallery.  Below are a few pics of me trying to shoot through the windows, and my friend left a kiss mark for the owner.  Timing digression aside, I was able to go take a look and take real pictures the following Thursday at the closing party. 

For those of you not familiar, Monstrinho is a New York artist who is and should be known for his bright and colourful open-air and street murals.  Reminiscent of children's books but with an adult flair, his works and shows often contain their own grouping of characters and stories.  The Kelp Kids are no exception.  In Monstrinho's own words, "The 'Kelp Kids' are a family of a diverse group of kids, that embrace each others differences and have a profound love for the sea and adventure. They possess characteristics and qualities that can be found within ourselves and others we have met and will meet on our separate life journeys, making it relative to both adults and children."  Sounds great to me!

The colours and materials used are also childlike and whimsical in this series - most of the technique looks like watercolour, but upon closer inspection, it looks like special acrylics and inks that created this effect.  Monstrinho says of his technique in this series, "This approach has been extremely liberating in that it has given me the opportunity to truly find beauty in imperfection. The pieces are loose, multi layered and have hidden messages and icons within."  Both the technique and the message seem multi-layered and complex, however the pieces can be appreciated on simply an aesthetic level, and I think it would be likely that kids would like this show and hopefully be inspired by the bright colours and fun characters.

My favourite piece at this show - rappin' kelp kid!

 

"The Kelp Kids" apparently premiered in Miami, and we definitely have Thumbprint to thank for bringing this exhibit to San Diego.  You can learn more about Monstrinho, check out some of his murals, and if you are interested in purchasing any of the pieces you see here, go to www.monstrinho.com.  Prices are reasonable and vary based on the piece.  I've got my eye on a couple myself.  Enjoy the pics! 

After the Kreemworks show closes today, the next event from Thumbprint will be a one-night group show called "Anarchy in Artistry" at Bar Basic in Downtown San Diego on Tuesday, 7/23 .  It looks like a punk rock theme and will surely be great.  Check out www.thumbprintgallerysd.com or the Facebook event page for info.