Love him or hate him, Skrillex is coming to St. Louis’ Chaifetz Arena next Tuesday, along with his whole caravan of industry heavyweights. Next Tuesday, June 17, prepare for a balls-to-the-wall evening with Skrill, Dillon Francis, What So Not, and Milo & Otis. If you haven’t heard the news, our strapping Connector artists Filibusta and Pleasure have been approved by Skrillex’s management to open up for the damn thing, so send them some love as they ascend on their first arena performance.
My first introduction to California native Skrillex (aka Sonny Moore) was in his post-hardcore band From First to Last when I was in high school. It took me awhile to grasp him moving from that to an electronic music producer, but hey, you gotta do what makes you happy. His influence has grown exponentially since he began producing, having claimed six Grammys in addition to founding OWSLA records. The label is now home to artists like Rusko, Figure, Koan Sound, and Skream. In the dust of his most recent release “Recess,” he is taking The Mothership all over the country this summer while continuing to work on new material. His heavy sound and monstrous production will no doubt be mind blowing, and we can’t wait to see what he and his motley crew do to our ears.
Dillon Francis took to the scene as one of Diplo’s discoveries. He is credited as a pioneer of moombahton and his unique take on trap, dubstep, and beyond is refreshingly crispy. His tracks make their way into the sets of the likes of Rusko and Major Lazer, and his influence in the industry is continuing to grow.
Aussie producers What So Not got scooped by OWSLA a couple years ago. Their tracks have a melodic synth intertwined with gritty drops and a smooth, full bodied sound weaving all the way through. Fellow Sydney, Australia natives Milo & Otis are an indubitable duo of heavy bass music with a trap accent. You have to give props to this group of individuals who are all between the ages of 22-26. Pretty good age to be playing arena shows…wouldn’t you say?
After the madness, get on over to the after party, which will be kickin’ until dawn. Since the Connector crew will be there in full force, prepare for things to get weird. Located at OZ Nightclub, we’ll have plenty of room (and plenty of bass) to continue the shenanigans. Our boys Filibusta and Pleasure will be throwing down alongside Taste of Bass, Goodness Gracious, and Quasar Camp. See you all there!
Doors 5:30 PM
Music 6PM – 11PM
$52.80 + Fees
Are you all ready for some heavy ass bass tomorrow or what? Seriously, we’re bringing in the big guns on this one, and by big guns, I mean PK subs – the best of the best when it comes to sound systems – to provide optimal, full-bodied sound. This is a lineup people in San Fran and Denver are begging for folks. Come get in on this.
Hope you are ready for some strange liquid bass from a hooded bandit. Liquid Stranger (aka Martin Stääf) is an industry heavyweight, having founded several record labels and collectives, all while releasing a total of eight albums over the course of his career.
Stääf just released his EP Renegade Crusade on Interchill Records, which he describes as a collision of dubstep sorcery and Rastafarian dance grooves. The mindblowing video below was made for one of the songs. The man is unstoppable and has more material, an album titled Anomaly, coming out on May 12th. Music has been in this Swedish producer’s blood from a young age, and it’s been impressive to see how his style has metamorphosized over the years.
We will also be welcoming KJ Sawka to our stage. He is an insanely talented drummer, having just spent two years touring with Australian electronic rock band Pendulum. He is also the drummer for Destroid, a heavy metal meets heavy bass supergroup with Excision and Downlink. He really doesn’t do too many solo sets, so this is going to be a treat.
Part Human (aka Brad Vorbeck) is a rising Connector artist. His debut EP, Neural Distortion, is being released at this event and we’re looking forward checking out what he has in store for us.
DJ Werk (aka Adam Burmeister) is a dubstep and drum and bass artist from St. Louis. He’s worked in every aspect of live music from promotion to production, and founded his own label, Wreckn Records. He’ll be getting the party started for us.
It’s going to be a night of some wonderfully heavy sounds, and you will probably look like this most of the time.
Yours truly is comin’ down from Peoria and am ready to get my brain rattled. But more importantly, it is Pleasure’s birthday so ladies, please see me if you’re interested in giving him a birthday lapdance and I’ll put you on the list if you meet the requirements. Fellas, buy him drinks all night; I’ll be enforcing this.
See you all tomorrow night.
Saturday, May 10, 2014
2720 Cherokee Performing Arts Center
2720 Cherokee Street
St. Louis, MO 63118
Music 9PM – 1:00AM
$17 adv | $20 dos + $5 surcharge for under 21
It’s a proud week for Connector. Our man Filibusta claimed victory in The Untz Challenge V. The competition among 75 finalists was fierce, but after 3,700 votes were cast, Filibusta (aka Troy Probst) was the top recipient of votes. Here’s the fresh future funk song that led him to the win.
Winning the contest means he gets to play at the top festivals across the U.S. this summer. You can catch him at any of the below festivals.
- Summer Camp Music Festival in Chillicothe, IL
- Lightning In A Bottle in Bradley, CA
- Infrasound Music Festival in Black River Falls, WI
- Wakarusa in Ozark, AR
- Sonic Bloom in South Park, CO
- Electric Forest in Rothbury, MI
- ARISE Music Festival in Loveland, CO
I got the opportunity to chat a little bit with Troy about his win, as well as what lies ahead in his very bright future…
Ellie Salrin: Congratulations on winning The Untz contest! Can you tell me a little bit about the song you selected, and the experience of the competition as a whole?
Troy Probst: This year was my 3rd and final year in the Untz Challenge, so I’m definitely glad I could go out with a bang! The song I selected for the contest is a glitch hop track w/ a funky vibe that will be released on my upcoming album, “Set Lasers to Funk!” Even though I wasn’t quite finished with it, I chose it because it’s a good sample of the musical direction I’ve been going in lately.
One thing I’ve learned about the contest over the years is that it isn’t over until its over. The first year I entered I was up by 50-100 votes in the second week, and lost by 200-300 in the last week. This year I made sure I got a good lead early on and kept it going by getting new people to vote every day and making sure they followed the directions to vote.
ES: You recently debuted another instrument into your set…the keytar. How did you end up learning how to play that, and are there any other instruments or equipment you’d like to incorporate into your production in the future?
TP: In the studio I use the keyboard to produce probably 90% of the time. I recently started incorporating the keyboard in my live sets, but because I found myself picking it up and playing it like a violin, I decided to purchase a keytar. It’s not much different from a regular keyboard, except you wear it like a guitar. In the near future, I plan to add electric guitar to my live set…and possibly someone to play live drums…but we’ll see what happens within the next year.
ES: What are some of the main inspirations for you when making music?
TP: Honestly, listening to music outside of electronic music is what inspires me the most. To me, its all about bridging the gap between bands and EDM. It’s that new sound thats attractive to both sides, thats makes the people dance.
ES: What advice do you have for aspiring musicians looking to break into the industry?
TP: Produce music that’s pleasing to the ear, learn how to network, and STAY HUMBLE.
ES: Is there anything else about yourself we don’t know that we should?
TP: Wouldn’t be much of a secret if I told you, would it?
The man is clearly on the right path, so keep you eyes and ears out for this cat at whatever festival you end up at this summer, in addition to the rest of his tour dates.
THANK YOU to all that took the time to vote. Without all of our bitchin’ teamwork, we wouldn’t be here right now. Much love – The Connector Crew
It’s no secret that Detroit’s financial mishaps within the last 50 years have been the topic of discussion any time the city is mentioned in the news, on TV or airwaves. For a countless number of unfortunate individuals that never get the chance to escape their situation they were most likely born into, their neighborhood filled with similar stories of depression and hard times become their lifetime reality. Living in a city riddled with problems completely out of control for most of it’s working class citizens doesn’t always come with a negative ending. Where some see desperation, others withdraw inspiration and Detroit’s music scene is rich with history, citing numerous success stories throughout a myriad of music genres. Spin the wheel with all the music genres plastered upon it, and it’s guaranteed there is inspiration from the great Motor City. It should come to no surprise all this information preludes the introduction of yet another proud Detroit born musician surfing through the music scene with both a brand new album release and a nationwide tour to boot. World, meet Grant Kwiecinski. We’re sure you most likely know him as the Detroit repping, saxophone toting, soul/funk/jazz/electronic music producing phenomenon “Griz”.
Before “Griz” was known as “Griz”, Grant started to play the saxophone at a ripe age of six years old. Technically speaking, his first instrument was an Oboe, but that was shortly lived after some performance complications persuaded his parents to place him with a more user friendly instrument. Although heavily overshadowed by his live performances involving the saxophone, he continued to expand his instrumental proficiencies to include the guitar and piano. After graduating high school, Griz pursued a degree in Arts and Humanity. Due to his hectic travel schedule only allowing him to be at home at maximum a couple days of the week, he decided to channel his focus on touring and music production. Regardless of deciding to split ways, he is thankful for his college experience and utilizes the knowledge obtained with his current endeavors. In an extremely short period of time, Griz has managed to solidify his position in the music scene with countless numbers of performances and two stellar album releases sporting soulful melodies, cleverly sampled vocals, and breathtaking basslines. To celebrate his latest release “Rebel Era”, Griz is amidst a fall tour spanning the United States showcasing a brand new visual experience and is scheduled to be at 2720 Cherokee November 30th.
Griz does an excellent job of intertwining uplifting and soulful melodies with crunchy sounding electronic breakdowns. Switching back and forth from each element keeps you wanting more and more without growing weary too quickly of one genre. “Hard Times”, featured on the newest album “Rebel Era”, is a shining example of Griz’s ability to unearth of a rainbow emotions throughout the course of roughly five and a half minutes. While the title “Hard Times” may hold a relatively universal interpretation amongst all the listeners, you’ll quickly find yourself reminiscing of all your hard times and be briefly reminded that your past is just that;another page in the book we call life. “Hard Times” reminds us that we must overcome all future obstacles no matter the task, because life sure won’t stop for us.
We’re all different, but listening to this track reveals unity even in the hardest times imaginable. Beautiful, isn’t it? “Feel the Love” further encompasses the outcome of carefree, passion filled life could provide even if it’s just for the duration of six minutes of the song. Improvement is just that, correct? Small, progressive steps that’ll hopefully lead to a better outcome? We could go on and on about the rest of the album, but I feel I’m getting my point across pretty clear: “Rebel Era” is beautiful music that invokes emotional discovery. Admittedly, throughout the course of reading interview after interview in preparation of this article, I began to form a trust that the further I dug, the more I’d love his music without even beginning to explore “Rebel Era”. Griz’s humanitarian approach to life is a direct precursor to his music’s message.
Other supporting talent:
.:| SuperVision |:.
SuperVision, has been working super hard to step up his production game with his latest EP release “Telekinetic” out June 4.
With a background on turntables spanning over 16 years, the Dallas, TX native paired his love of collecting music with harder hitting drums, advanced effects, fills, builds, drops, heavier sub bass, and texturized synth bass. The end result is
an EP of superior production quality and musical vision.
With “Telekinetic”, SuperVision picked premiere samples he uncovered while crate-digging all over the country during tour. “Ancient Souls” introduces sampling that could only be used with his newfound production techniques. “Until The Last Hours” has multiple samples from 70’s country vinyl dug up at Bill’s Records in Dallas, but the production remains completely electro hip hop. This record has heavy sub bass throughout, but “Play It Funky” is the truly the hardest hitting and will likely be an audience favorite.
“My intention with my music, is to make futuristic electronic hip hop beats. The process I use comes from the school of thought from early hip hop, more specifically the late 80’s early 90’s – digging up old records and chopping them up to make something entirely new. That period influenced my beat making more than any. I then give my tracks that powerful electronic build out because it’s fun, great for the dance floor, and I love doing it.
The coolest thing for me, is that I am with a crew who shares very similar views and is arguable the best at this style. I’m beyond thrilled to take part in the PLM movement.”
SuperVision plans on following up this record with a steady flow of remixes, collaborations, and singles this summer and fall. Fans can count on him to continue to push to new levels of skill, to grow as any master would, forever improving.
.:| Manic Focus |:.
Manic Focus is the musical conception of John “JmaC” McCarten that breaks the bounds of the typical electronic music realm. Being classically-trained on piano at an early age, his musical talents have brought him through the realms of hip-hop beats and electronic music, having now evolved into the dynamic, bass-induced sounds of Manic Focus. A Minnesota native and recent transplant to Chicago, this producer is blowing up the EDM scene.
Manic Focus isn’t your typical electronic dance music. His first album, Definition of the Rhythm, provides a broad array of tracks, from energized electro hip-hop to tranquil, melodious grooves. His deep bass lines and popping beats drive the tracks along, while spellbinding melodies and carefully-chosen vocal samples entrance the listener. The essence of Manic Focus lies within his flawless production, weaving together rhythms and effects to create a sheer masterpiece every time.
His second album, Expanding Mind, showcases how Manic Focus is broadening his spectrum, going from dark, majestic sounds toward a funky, bass-laden dance vibe. Now dipping into the realms of house, drum & bass, and glitch-hop, Manic Focus is exploring new genres and continuing to produce pure musical magic along the way.
With continuous new releases and dates stacking up across the country, Manic Focus is on pace to take the music industry by storm. The talents of this producer create a spell-binding effect that only further showcases the evolution of his undeniable musical ability.
with local support from:
^Part Human ^
^Jon Metz ^
Saturday, November 30, 2013
2720 Cherokee Performing Arts Center
2720 Cherokee Street
St. Louis, MO 63118
Music 9PM – 1:00AM
$15 adv | $20 dos + $5 surcharge for under 21
For as long as journalism and the entertainment industry have been alive, it’s seemed the main focus for interviews have always been the actors, artists, and people of importance. How many times as children (and some even as adults) have we thought to ourselves “Man, I’d really love to be the person being interviewed!” Times are changing and companies are starting to change marketing tactics. In fact, even the gargantuan producers “Insomniac Events” responsible for the 200,000+ attendee, three day music festival “EDC: Las Vegas” are shifting their marketing approach to cater towards the audience versus the traditional artist headliner method. I like to think that for every artist that is on the stage, there are hundreds, if not thousands, of people in the crowd that have arrived with their own untold story. We feel there’s no better way to begin this segment than to introduce “Astro Blackus”, aka Gregory Tooles, whom we met at our recent XXYYXX + Shlohmo event at 2720 Cherokee.
Although technically “Astro Blackus” in considered to be his alter-persona, Gregory is often greeted and recognized as “Astro Blackus” by his friends and colleagues. Originally inspired by Sun Ra’s record “Astro Black”, Gregory adopted the monicker soon after a moment of clarity that has lead to his current pursuit of music production. What was originally supposed to be a night in the trippy kingdom (lol) quickly transformed into a discovery of the magic of synthesized tunes after playing with a Micro Korg. Quickly after dabbling with this instrument, Gregory continued to explain that he has since purchased other production equipment. Since as early as 2005, Gregory has constructed a palate of distinctive genres including experimental electronic, jazz, trap/trippy, hip-hop and even death metal.
Living relatively close to the city of Saint Louis, he enjoys traveling to see shows from his born and raised hometown of Belleville, Illinois. Most recently he got to meet one of his favorite producers “Shlohmo”(see: XXYYXX and Shlohmo event review) at an event here at 2720 Cherokee. Greg cites this show one of his favorites, as he has maintained a love for Sholohmo’s production for five years and running. His ideal itinerary for an event includes good music, fun times and chilling with friends. After being asked, barring no restrictions, which artist he’d love to see, Blackus quickly answered Flying Lotus. When not being enveloped by music, Greg appreciates skating and working.
We appreciate Greg’s willingness to discuss HIS story with us over the phone. If you’re interested in being featured on the website or know someone who would be, email me your story at steven(at)connectorpresents.com
Who is Ana Sia?
Repping her home town of San Fransisco, Ana Sia is infiltrating one dance floor, festival ground, and ear bud at a time with her soulful, sensual, energetic and upbeat musical adventures. From more intimate club gatherings to worldwide music festivals such as Coachella, Lollapalooza, Detroit Electronic Music Festival, Electric Daisy Carnival, Ana Sia is blazing through performance after performance with style and vigor. Regardless of whether you’re listening to her live or at home, you can’t help but feel confident about yourself and ready to
fuck some shit up at the same time. ¡Woah!, a little violent – I agree;however, this beautiful bundle of emotions you experience while she’s laying down tracks is the exact reason she’s a yearly veteran of 2720 Cherokee. In fact, while I’m typing this, a colorful mix 40 minute mix on behalf of VICE’s sister company THUMP is blazing through my speakers. Blending the sounds of a Squarehead’s remix of 2003’s “Never Leave You” by Lumidee and the mysterious Jean Nipon’s “Coming At You”, Ana Sia manages to construct an elegant mental image of her bouncing and juking on the stage, directing the speeding traffic otherwise known as the dance floor. And that’s only the first ten minutes of the mix. Did I mention this is the third time I’ve rinsed through the entire mix in two hours? “Time flies when you are having fun.”
Who is Haywyre?
Another seemingly perfect fit for this birthday celebration show, Haywyre’s production widely varies from glitch, classical, funk, soul, jazz, and much more. Haywyre’s music is a flamboyant composition of high energy and genre-bending experimentation, all while maintaining a certain sophistication that could only be achieved with a jazz and classical musical background. In fact, during his “A Song Per Week” project, Haywyre released 11 distinctive tracks that ranged from new singles, remixes and even authentic piano compositions leading up to his full-length album “Two Fold”. Although the project has since been completed, it is a shining example of his relentless work ethic and respect for perfection. Even with Facebook comment after comment praising his production quality, Haywyre’s devotion to self improvement solidifies our affirmation for his powerful popularity uprising.
Interview with Ana Sia
[CONNECTOR] Thank you so much for taking the time to answer a couple questions before your arrival this weekend! Saint Louis has been a yearly celebration on your behalf quite some time now. A new performance each year in the same city unleashes the possibility of growing with your crowd and gaining the ability to create your own “niche market” as you please. How have you utilized this advantage to sculpt your experience for our (Saint Louis, MO) audience each year?
[Ana Sia] It really allows me & my fans to build a strong trust system, like within any relationship. Having people return to my shows, allowing them into my weird world of music, & asking them to trust me w/ their time & attention is really the core of touring. So again & again as I frequent these markets annually, the relations only get stronger & I trust that everyone who knows me through this medium, is down for exploring all the boundary-pushing music that I love to play & they know I will never let them down.
[CONNECTOR] It’s no secret 2013 was jam packed with a slew of hi capacity performances ranging from Electric Forest, to the most recent Symbiosis Gathering in California. Combine that with a countless amount of club and small venue appearances, you stay on the grind year in and year out. As with any profession, there are some unintended lessons bound to arise throughout your journey. What is one incident, small or large, that has stuck with you each year?
[Ana Sia] I really try to not get carried away w/ the party, I hold a lot of responsibility at all the dates I’m on! So … waking up in an airport 3 hours past my flight slumped over in a chair was not the look. That has never happened again.
[Ana Sia] I’ve had the same mission statement since day one; I want to entertain people, get everyone out of their head & into their bodies & create a space to play & explore.
[CONNECTOR] A couple of weeks ago you released two new originals and remixes to be released on Hot N Heavy Recordings titled “the Glass Delusion” and “Ad Out”. I’m really terrible at describing music, but both tracks sort of paint an early “1990’s club” picture in my head. I Envision strobing lights, terrible hair cuts, and brightly colored clothing. And yet, I can’t wait to hear the tracks on a decent sound system. Regardless of how terribly off I may be (lol), what were your inspirations towards these releases?
[Ana Sia] These tunes are out next week, i think.. It’s nothing new, I’m not re-writing genre’s. These tunes are just my informed takes on house & techno. The remixes present a slightly edgier finish. My tastes are ever evolving & these tunes are a product of where my mind was just at. Sort of bored w/ all the knock-off trap & wanting to hear & create tunes that make you bounce upright instead of hand swatting.
[CONNECTOR] Furthermore, what is the oddest place inspiration came knocking at your door?
[Ana Sia] Inspiration births from a lot of places. Not to sound all sad-girl, but a lot of mine comes from traveling solo & just being alone or even lonely w/ all the shit that’s running through my head.
[Ana Sia] I only ever hope people are stoked that they heard something different & feel moved even if they didn’t like it. That’s art, isn’t it?
Finally, we’d like to thank you for answering these quick questions before your arrival Saturday 🙂
Saturday, November 16, 2013
2720 Cherokee Performing Arts Center
2720 Cherokee Street
St. Louis, MO 63118
Music 10:30PM – 1:00AM
$10 adv | $12 dos + $3 surcharge for under 21
Where do I start with this article.. Perhaps with a nifty introduction describing how I finally encountered what I imagine to be “writer’s block”. The gruelling timespan of the last couple months that have left with me almost little-to-no inspiration to continue to write that arose from virtually nowhere. Usually after I’m presented the challenge of dissolving these visual and music journeys we’ve accepted to understand as “events” into a clear and precise written interpretation, it all -just- comes together. I’ve never had a rhyme or reason as to why my writing appealed to the masses. It – just- did (or does, hopefully). Whether it was accepting that my previous catalog of experiences had reached it’s last twig, upon the last limb, of the decaying tree I knew as moardubstep.com or finally relocating to the beautiful metropolis Saint Louis with the two beautiful ladies that have graced my presence the last year – I was stumped. I was frustrated. How do you re-obtain a talent you never understood how you possessed? Where do you search for “X”, “Y”, and “Z” in the equation if you never comprehended there were such variables? After nearly four months of stagnant writing behavior, cue the picturesque autumn night of November 2nd, 2013 at the illustrious galleria 2720 Cherokee.
Before we get ahead of ourselves, «« REWIND TO November 1ST (Day before event)
Admittedly, upon receiving my invitation to see both XXYYXX and Sholohmo, I had almost zero knowledge of who they were (beyond their aliases), what type of music they produced, where they’ve traveled along their tour, or even their originating countries. Were they Canadian? Did they traverse across the Atlantic to get here? Or was it the Pacific… Do they produce dubstep? Or was it another up-and-coming trap artist? Seeing as how I’ve neglected to attempt follow any new acts within the last year, there is a good chance I’ve allowed lot of good music to fly under the radar. My ignorance presented a challenge that required some homework. Luckily, my homework is in the form of music and the weather was wonderful outside so I loaded up the trusty Samsung S4 with a three month old Soundcloud mix entitled “FADER MoMA PS1 Warm Up Mix: XXYXX” and did what I do best when I need to think clearly: jogged.
I immediately understood that every thought process that transpired within the last couple of hours was completely wrong. The distinctive sounds emanating from my ear buds were nearly impossible to place within a genre. This hodgepodge of music was synonymous with the rhythm of my exercise. As I continued to push further around Tower Grove Park, Marcel Everrett, or musically recognized as “XXYYXX” laid new tracks that breathed light to my knowledge of music much like oxygen did to my lungs for my exercise. It almost seemed as if each progressive bassline and funky melody barely nudged the leaves out of the trees, cascading into their new resting home on the pavement. Of course, as quickly as I got lost into the mix, I found myself fading back to reality as the mix reduced to the black nothingness. Within this 30 minute mix, I was introduced to a completely new to me sound and all the hype surrounding this event made sense – XXYYXX’s music is BEAUTIFUL.
Who IS XXYYXX?
Otherwise known as “XXYYXX“, Marcell Everrett is an extremely talented electronic music producer from the beautiful state of Florida. More impressive than his alias is the fact that he began pursuing his passion at the ripe age of 15. Of course, he was in a band for two years before that. Fast forward three birthdays, several EPs, and a successful self-titled album “XXYYXX” (amongst other album releases), he’s managed to establish a worldwide phenomenon surrounding his critically acclaimed production values. Combine all of these accomplishments with a US fall tour spanning the midwest, we feel as if this is all a major precursor to something much more “lavish”.
Or is “lavish” the correct word? Even if you only took five minutes to sift through his Soundcloud page showcasing tracks such as “Pay Attention”, or the newly added “Angel”, you’d realize this word may not be so fitting. A production style so diverse and unfitting of any genre can only conceived by a person equally as interesting. Blazing through the internet for information surrounding this seemingly mysterious character will only present you information as abstract as his music. Nothing too revealing – only enough information to keep you wanting more.
Who IS Shlohmo?
Shlohmo, a.k.a Henry Laufer, is yet another artist that releases music that is extremely tricky to place within a set of boundaries. It’s no secret as to why this California native is amidst a tour with “XXYYXX”;both artists produce sensual, baby making music and both derive inspiration from each others’ work. Over the course of a number of emotional remixes, EPs and a successful full length album entitled “Bad Vibes”, Shlohmo has established himself as a default character within this recent uprising of R&B/hip-hop remixes and future bass sounds.
Now this all makes sense. »» Fast Forward to November 2nd, 2720 Cherokee
Having arrived at around 10 P.M. and unfortunately missing most of the opening act’s performances, I immediately noticed the air was already thick and the dance floor was surprisingly packed. Considering it was so young in the night and having a dance floor mostly comprised of a younger, “hipper” audience hinted towards one thing and one thing only: this show was going to be as good as the hype led up to believe. Shortly before the show, Pleasure (opening artist, Connector Presents) could be found boasting about the fact that he had 72 tracks that needed to be condensed in half for his performance. Low and behold as usual, Pleasure kept to his word and unleashed an energetic set comprised of 35 originals, including a few unreleased entitled “How I feel 4 u” and “emotionally intertwined”. The beautiful nature of a Pleasure performance is unpredictability. While his repeated presence in the midwest has concreted excellence next to any project Sean McCarthy decides to mingle with, you’re still kept wondering what tricks he’s got up his sleeve every time he’s on the stage.
All the hype and anxiety (yes, I had slight anxiety -.-) about discovering this new-to-me music was shortly dissolved after a brief introduction and bid of reassurance from the man himself, Shlohmo. Thick, robust and pulsing bass lines quickly entered the atmosphere as Shlohmo laid the foundation for the therapeutic melody to follow. Slow, articulated brightly colored mechanical moving heads assisted in creating a atmosphere suited for discovery, love, and more importantly – baby making. Shlohmo continued to relentlessly fill the room with an extremely elongated, trappy chopped and screwed R&B sensual seduction that sounded all the more impressive with 2720’s responsive sound system. My perception of time proved inconsistent with reality because before I knew it, XXYYXX already began to make his presence known. After a short Based God introduction on behalf of a Lil B sample, the crowd ascended into the universe of XXYYXX’s artistic impression as his fans know it. Back and forth, heads and bodies wobbled to their best of their ability to maintain synchronicity with a constant fluctuation of tempo ranging from slow and rhythmic downtempo, to an upbeat, percussion-laced trance behind psychedelic female lyrics. Usually I’m pretty excited to be able to recognize certain tracks an artist throws down throughout the night;however, on this night I was completely content with now knowing the name of a single track. November 2ND was filled with a night of discovery and unearthed a passion for this new-to-me music. Every act, from Pleasure to XXYYXX, brought their “A” game and was greatly appreciated. Until next time, Shlohmo and XXYYXX stay saved into my musical archives.