Electric Flurry Comes to St. Louis

July 4, 2014 | Posted in Events | By

Renowned entertainment company Electric Flurry is joining forces with Connector to bring a taste of their intimate, extrasensory experience to STL. Join us on Saturday for an evening of rowdy bass, dubstep, glitch hop and more, taken to an even deeper level of epicness by things like pyrotechnics, go-go dancers, acrobats and aerial artists, 40 ft 3D video screens, and foam cannons that create state-of-the-art blizzard. Not your typical foam party, folks. The foam is light and airy, and adds a fourth dimension to the Cirque de Soleil-esque spectacle.



The roll call of musicians is a perfectly collated lineup from all over the map. 12th Planet has been doin’ his thing for years. I’m talking making dubstep since 2006. He’s also a king of collaboration, having made tracks with Protohype, Antiserum, Datsik, Kill the Noise, and Skrillex just to name a few. His dabbling in other genres like trap has led to him developing a distinct and robust sound. “L.A.’s Dubstop God,” according to Rolling Stone…should be an entertaining night.



Flinch is another L.A. bass sorcerer that will be gracing the giant stage at this spectacle. His dubstep and drum and bass fusions have made an impact on audiences and fellow producers alike. He has worked with a unique range of industry heavyweights like Diplo and Ellie Goulding.



We also have our boys Filibusta (who will be doing two sets) and Pleasure lighting this night up with some sexytime beats. Filibusta has been blowing up fests like Sonic Bloom and Electric Forest and is bringing his blossoming funky glitch-hop beats to the stage on Saturday. Pleasure, our producer of baby making bass, is on the heels of his second EP of the summer. Our friends at The Untz are doing a series called The Summer of Pleasure and there are three more coming as months get hotter.

Our lineup doesn’t stop. We have HODJ to throw some bass in your face, our own Jon Metz doing a set, as well as my favorite master of the smooth grooves – Danny Grooves. We also have MedusA, Taste of Bass, DJ Sinaman, and DJ Merf.

See what happens when the toast of L.A. dubstep meets the bass of STL, all while our friends Electric Flurry ensure pristine production and lighting as well choreographed acts and state-of-the art snow machines. See you all there!

Saturday, July 5, 2014
Old Rock House Parking Lot
1200 S 7th Street
St. Louis, MO

Doors 6:00 PM
Music til 2 AM
$44.00 + Fees
VIP – $69.00 + Fees



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The Mothership Tour – Skrillex + Dillon Francis + What So Not + More Event Preview

June 12, 2014 | Posted in Event Previews | By

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!


after partyeventSHOW INFO:
Tuesday, June 17, 2014
Chaifetz Arena
1 South Compton Ave
St. Louis, MO 93103

Doors 5:30 PM
Music 6PM – 11PM
Ages 16+
$52.80 + Fees







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XXYYXX and Shlohmo Event Review


November 7, 2013 | Posted in Event Reviews | By

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.


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.

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Pleasure discuess his latest venture the “Trill Kill Kult” with The Untz

September 3, 2013 | Posted in Uncategorized | By


Date: Aug 30, 2013 (Friday)

By: Natty Morrison

The concept of a collective is not something new in the dance music scene. In fact, with the regularity of remixes upon remixes and the popularity of sharing stems between labelmates, it could be suggested that the entire industry is one large collective, trying to make something new out of found materials. But as crews like L.A.’s Team Supreme and Chicago’s Push Beats grow larger with each weekly compilation drop, it seems that the concept of a “beat cypher” is becoming the new standard for artists looking to produce outside-the-box.  Last week, Trill Kill Kult released its first volume and quickly jumped to over 1,000 plays on Soundcloud.  Headed up by Sean McCarthy, aka The Car Thief, aka Pleasure, the collective is looking to do something different. I sat down with McCarthy for a strange, albeit enlightening discussion on the new collective known as Trill Kill Kult.

What was the genesis for the Trill Kill Kult? Who was initially involved in its inception?

Well I was born and raised West Philadelphia. Most of my days were spent on the playground where we’d chill out, max, relax and shoot some baskets. Just kidding, you see what I did there? Sorry I was watching The Fresh Prince of Bel-Air a little while ago. The genesis was something strange. It happened out of nowhere. I awoke one night to five cloaked figures in my bedroom. They levitated me from the bed and teleported to what I would guess would be another dimension outside time itself. They sat me down and spoke a in a strange tongue that I had never heard before but somehow understood every word. The conversation went on for what seemed liked hours. Before I could speak a single word I was rushed back into the teleportation tunnel of sorts and landed with a thud back into my bed. I was given a plan and it was time to carry out my orders. Did I mention I got to meet Jay-Z and Riff Raff that night too? Jokes on jokes. Initially, the producers involved in the project were Crimes!, Dark Grey, Durt Russell, Ghost Science, Have That, Richie August (Formally of Hulk) Young Live, Zombass, and both of my production aliases Pleasure and The Car Thief. Then each artist was allowed to select or “anoint” another producer into the creative collective that they felt would be a good fit for the family.

What makes a Trill Kill artist?

That’s a tough question. Each artist is very different in how they sound and approach music. I’d guess what makes a Trill Kill artist is a total love for music and pushing sound in the present as far into the future as possible. I hate to talk for everyone on this one. I believe we all have a different view of this but if you asked anyone this question each artist would fall into the answer given by the artist asked.

Can you define the Trill Kill sound? Not only musically, but perhaps aesthetically?

Aesthetically I’d say it’s the DeLorean from back to the future plated in gold, stretched out into a limo sitting on triple dipped gold Daytons with a few Spanish girls wearing bikinis working it in the hot tub popping bottles of champagne.

Are you solely in charge of curating the artist list, or is it a collectively driven decision? Can you describe the process for assembling the TKK team?

This is one of the few things I can’t really talk about. It’s very secretive how the creative collective was formed. It was a very strict and vigorous selection and initiation process Lots of time travel and teleporting went on. Jet lag has nothing on how you feel after that, trust me.  I talk a little about this in the first question. I hope the elders aren’t upset with me for that one.

Trill Kill Kult

Which artists are you most excited to hear submissions from?

Honestly I’m excited for every single musical composition. Each artist has their own unique and amazing sound and approach to music. It’s going to be so awesome to hear everything together. One single idea with so many different approaches.

How does the sample selection process usually work? Is it decided week-by-week, artist to artist?

The sample selection is a weekly thing. Each week a different producer picks a set of 5 samples and 2 vocals samples along with a BPM. They have total freedom on their choices for the week.

Do you see this more as a beat cypher kind of situation? Or is this a collective you could see joining forces to start a label?

For now it’s going to be a beat cypher thing much like the Team Supreme movement. That’s where a lot of the inspiration came from for this idea. I was recently in California and was lucky enough to attend one of their events. I was blown away by their sense of family and the vibe they all gave off up together; just feeding off of each other’s energy in a beautiful way. I came back to the Midwest extremely inspired, to say the least. I mean, if this idea takes off and people like what the collective is doing I’d love to see it become an avenue for the artist to release music out to the masses. We’ll see how everything goes. Right now we just want to have some fun and make some cool music.

What do you think are the merits of collaborative work like this? Do you feel it heightens creative output? Or is it simply a way to work outside the box?

I think collaboration like this is going to create some awesome experiences for everyone involved. I feel like the people selected are going to vibe off each other’s energy and creative juices so much. I hope everyone just blows the roof off each beat created. I picture kind of like playing basketball with your friends and doing trick shots. It’s kind of like of “Check this out!” You hit a half-court shot and, boom, everyone goes nuts and now it has to be upped with, say a half-court shot over the rafters or something. Everyone’s juices get flowing and progress and production happens.

Do you think there are any live performance implications for this collective (i.e. Do we have a Trill Kill Kult concert series our tour to look forward to?)

Oh man that would be so sick! Right? I mean this idea just came out of the womb. But in the future that would be awesome. A few artists on stage with some MPCs, APCs, Keyboards and their laptops full of their sounds and just freestyle and vibe off each other; everyone switching instruments and playing off each other sounds. A bit of practice but almost all improv. How rad would that be? Anything is possible. It’d be cool to see that one day.

If you could select any artist, no matter how impossible he or she may be to contact, to join the collective, who would it be?

Oh man this is such a tough one. I love so much music, past present and future. I’m going to go with Prince. You can never go wrong with Prince.


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