FORGETTING IT WITH TREE ON GETTER’S LATEST VIDEO

It’s Saturday, the weekend is here and we have an EUPHORIC EXCLUSIVE for you!

This week, San Jose native now Los Angelino, Getter, released a video phis tune “Forget It,” on Skrillex’s OWSLA label. The song is heavy-hitting and beat-filled, but also has an eerie thread of melancholy sewn throughout which becomes not-so-subtle in the video. With a budget for production and a song that combines such contradictory elements in a genre that praises optimism to the point of ignorance, it’s easy to see why the video has 152,000 views in under a week.

One of the elements that gives the song such a dark twist, comes from another Bay Area artist and one of our favorite local producers, Tree. While the 22 year old is currently a Los Angelino himself, finishing his Bachelor of Fine Arts degree at the infamous California Institute of the Arts (pretty much every one of your favorite Disney movies in the past 30 years were created by CalArts grads),  Tree hasn’t forgotten his Cruzan roots.

We met up with Tree on a hot, L.A. day for some cold coffee and deep thoughts on the “Forget It” video, his current projects and embracing pop music as a whole and not  just a genre.

Euphoric: So your Tree concept came about when you were a teenager on acid at Burning Man, right?

Tree: That’s when I had an outlet to pour all that energy into, instead of being reckless and doing/selling drugs. It gave me an opportunity to see that I have a chance to showcase what I do, to a large amount of people. I’m lucky to have found an outlet to do that.

E: And you did it well, too. You were signed right away.

T: For the first year, yeah, but that’s brought about a whole headache of issues, now. Whatever. I’m grateful to still be making art and nothing’s stopping me. I did take a break from music for a while, but I never stopped making art.

E: Let’s talk about the music video with Getter.

T: It should be out on tv–MTV–in America and the UK. I actually got this bowl cut because of the video and wanted to talk about that. It’s a statement for me. Everyone on the mainstream platform really take themselves seriously. They want to be sexy and pretty and all that. I got the bowl cut to make a statement that we should be able to laugh at ourselves. So I wanted to do something that would separate myself from everyone else. I thought, “How can I make myself look as ridiculous as possible?” and I think I accomplished that. We got some good shots of the haircut, too, even though it’s not about me at all. I play a cash register clerk. It’s a story about this guy who gets in a car crash with his wife and she dies. However, he’s a scientist so he tries to recreate her through cloning but he never gets the formula right. So the clones are bleeding and deformed. In the end, he realizes he won’t get her.

gettree

E: You can’t go back

T: Exactly. And it ties in with the theme of the song which is called, “Forget It.” It’s about moving forward and letting go and the guy has that realization over the process. It was awesome to be part of a big production like that. I’ve never had the opportunity to be a part of something where they could flip cars or rent out stores to film. It’s on Skrillex’s label, OWSLA, which Getter is signed too. He recently moved to L.A. because it really is the Mecca of electronic and pop music. If you want to be in the recording industry, you need to be here. When I lived in San Francisco there was no scene anywhere close to this.

E: Will you be collaborating more with Getter?

T: Yeah, we have some work in the process now. I’m not sure if it will be an EP or album. He’s also helping me some new music I’ve been doing. We push each other into genres neither has really done before. Which is what happened with Forget It. If you listen, it’s all heavy-hitting EDM music with my light break in the center to cleanse your pallet. Actually I have a bunch of albums I’m trying to finish and some will be coming out this summer. At least one, called Squirt. It’s all old-school hip hop. It’s a tribute to J-Dilla so everything on it is inspired by him and that era of hip hop: old school and soulful. I’m excited about it. It’s in the middle of being mastered right now, so it’s almost finished.

E: Who’s mastering it?

T: My friend, Clay. Another student at CalArts.

E: Being there, you’re surrounded by so many people doing awesomely creative things. It must be rad being able to help each other out.

T: Totally. I think the biggest thing is knowing what you want to do, when you go to that school. A lot of people know they want to do art, but not in which field, exactly. At least a large percent say, “I know I want to do this, but where do I fit in?” So for me to have an exact idea where I fit in the spectrum and what I need to do, it propels me forward. I only have a very limited time at this school anyways, two years. It’s essential for me. I’m finishing up my BFA because, halfway through, I was offered the job to be a recording artist. I couldn’t skip that opportunity, that’s the dream job.

E: And to do it at such a young age, too.

T: But that allowed me to see where I sat in the spectrum, to find out what I’m good at and what I want to do. Which, in turn, has made my time at CalArts more directed. I’m very grateful for that even if it’s led to some headaches.

E: Well so much of what we do ends up stressing us out, anyway. I think it’s best to be stressed doing something you love than have a job you hate and wonder why you constantly put yourself through shit.

T: You definitely need to set the goals and you’ll reach them when you get there. You know? But you have to set some deadline and who cares if you reach it or not. Be ambitious. Do something that may not be realistic at all.

E: Talk about your last performance in Santa Cruz at the Kuumbwa.

T: I built two trees–one on each side of the stage–and had a 12×8 foot projector in the middle so we could do visuals from behind it. We also had bushes and stuff, it was cool because it was almost like a children’s playset. It was all beautifully painted and put together, but it definitely separates us from other acts. That’s also what I’ll be using with my thesis and touring.

oliver
E: What’s your thesis?

T: This latest was a lot more psychedelic/hip hop and dance oriented. The next one will be more pop oriented but it will still be geared towards getting people to dance. This one was more live drumming and beats, but it was really big because I had to overcome the technical stuff.  I have two laptops set up, one with audio and the other with visuals. I run them through one MIDI and then send that into a patch so I can trigger audio and visuals at the same time. So I was really in control. Having the freedom to overcome the technical aspects was really essential, so I can take the show in different directions each night and I don’t have to play the exact same set.

E: So it’s not a pre-recorded video. You’re actually creating the visuals as you go along?

T: The videos were all pre-edited. A lot of the music I was working with had samples from the 1940’s and 50’s but merged with a modern spin. I found old school footage of people dancing and made it–it was almost like an old-school hip hop video, but from the 1950’s. So it had an older feel but still very modern. It wasn’t hip hop at all, but what I’m saying is, when you sync it with modern beats it creates the feel.

E: It shows that if it’s hip hop, big band, jazz or whatever. That’s the music of the time and ultimately it boils down to people enjoying life and having a good time.

T: Exactly. Especially with having samples, from the original source, in the music. It  syncs up and you think, “Oh, this makes sense.” It’s all part of one, consistent thing. It’s everyone contributing to an ongoing conversation.

E: It really is.

T: My goal is to take the mainstream platforms and inject them with art that inspires others. I want to breakthrough the mainstream and still put out work that I think is filled with art, love and passion. No matter what time frame we’re looking at, there’s always 5-10% of that mainstream that is incredible. Amazing things are happening but it’s hard to see that when there’s so much garbage. People always say, “Mainstream music sucks” but there’s always incredible stuff happening. It’s about being open to the idea that pop CAN be great. It’s not a genre, it’s literally just making something for the masses.

The intention behind your work has a really big part of this. Why are you doing this? Are you trying to make a bunch of money or are you trying to inspire people? That’s what makes the difference between the 5% and the other 95% of pop music that’s watered down. But there IS a time and place for all music. You don’t need to work your brain out 24/7 and you can listen to bad, fun music to relax. But you can also tell when the music has passion behind it.

E: Like punk rock. Half of the originators couldn’t play, but they had the passion.

T: People latch onto confidence. Be your biggest fan and your biggest critic. That’s the key.

karma

 

 

 

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AABO – “WORK WORK WORK” COVER FEAT. LAFA TAYLOR

Can’t stop, won’t stop. Basically, that’s exactly what Rihanna’s “Work” track has been doing since it was dropped earlier this year. Anyone with working hearing  knows you can’t go to a club, turn on a radio, or search the net without hearing at least the original version, let alone the plethora of remixes.

Can’t stop, won’t stop also seems to be the motto of long collaboration duo, Aabo and Lafa Taylor. The two recently released the a Feel EP earlier this year, along with a 3 hour freestyle on Aabo’s Soundcloud, last month.

Today, the team dropped their  own remix of “Work,” although “cover” might be a better label. Not only does it feature Lafa Taylor on vocals, but Aabo’s version takes a grinding club beat and lightens it up to an atmospheric level. Much more ambient than the original, Aabo  shakes things up by ending the track with a soft, jazzy guitar that sounds more like baby-making music than a corporate radio hit.

If all that isn’t enough, Taylor is getting ready to play Northern Nights in roughly 3 weeks, but only after he does the FREE EUPHORIC show at the Catalyst–in Santa Cruz, Ca–on July 2. With Aabo only 70 miles away, fans just might be in for a collaborating treat.

Just make sure you get the night off and don’t have to work, work, work.

 

 

 

WIWEK – LIVE AT ULTRA MIAMI 2016, OWSLA STAGE

Even though today marks the first, official, day of summer, every music lover knows the summer festival season has already been in full-swing. Unfortunately, not everyone can jump in a van and hit every beat-dropping experience on the circuit.

Luckily, the internet has your back.

Skrillex’s label, OWSLA, recently posted the ENTIRE, hour long, Wiwek set from last March’s, Ultra Music Fest in Miami. Since 2013, the Dutch artist has been dropping singles and remixes that span the electronic genres, dubbing his sound, “jungle terror.” Last February he announced he was signing to OWSLA and dropped his debut EP,  The Free And Rebellious.

His Ultra Music Fest set displays the quirky Netherlander’s eclectic tastes with a number of bangin’ tracks that are not for the faint of heart. Hell, they aren’t even for the casual electronic listener. Wiwek is for the true believers that breakdown in orgasmic dancing and spiritual ecstasy when the music–or the drugs– hit.

You have been warned.

 

https://soundcloud.com/wiwek

DRUGS OF THE FUTURE – “SOLSTICE”

Here at Euphoric, we try to bring to you the hottest artists with the freshest material. And it doesn’t get much fresher than this!

Out of nowhere comes Drugs of the Future. Their latest–and so far, only–track on Soundcloud is barely two hours old but it’s one of the chillest ambient tracks we’ve heard in a while. “Solstice” puts the listener in a mellow mood while stimulating the senses with enough excitement so you won’t fall asleep.

With a song and account so new (after all, they currently only have six followers), it begs the question–Who is/are the Drugs of the Future? Intuition suggests some fresh up-and-comers, but with production and quality music like “Solstice,” we might discover a familiar name when more information comes out.

Stay tuned, Euphoric fans, and blast “Solstice” to pre-game for tonight’s Strawberry Moon.

 

BASSNECTAR & G. JONES – “MIND TRICKS” FEAT. LAFA TAYLOR

As Santa Cruz bass producer, G. Jones, gets ready for his What The Festival performance in Oregon tonight, we’re give YOU  a listen to his latest banger, “Mind Tricks.”  This four minute track finds Jones teaming up with two other NorCal alumni, Bassnectar and Lafa Taylor for an existential dive down the rabbit hole–well, earholes really. With piercing whistles and drugged-out, tripped-out loop vocals, it’s easy to see why this badboy already had over 40,000 listens in 72 hours.

This all begs the question: is “Mind Tricks” an indication of more tasty collaborations to come? With the festival season in full-swing there are a lot of chances for artists to meet-up over a few beers and discuss upcoming tracks. So, we’ll just have to keep our ears to the ground and eyes peeled because 2016 is only half-way done and a lot of our favorite artists are just getting started.

Make sure to check out our FREE, LAFA TAYLOR show at the Catalyst in Santa Cruz on July 2nd before he rocks the Northern Nights festival 7/15-17.

 

 

 

LAFA TAYLOR – LIGHTNING IN A BOTTLE 2016 RECAP VIDEO

In case you haven’t noticed, Los Angeles based producer and rapper, Lafa Taylor, has been murdering the music scene lately. Earlier this month he dropped not one, but TWO collaborations he’s featured on. One with major acts Beats Antique (“Killer Bee”)  and the other with a producer who got his start in Santa Cruz,  Bassnectar (“Speakerbox”). This comes after a string of constant touring and playing some of the year’s biggest festivals, like Serenity Gathering, Envision and Lightning In a Bottle.

For those who might’ve missed it due to poor decision making, Lafa just dropped a LIB 2016 Recap video, produced by Michael Daniel. Featuring the Starro remix of his and Aabo’s song, “Run To Me,” the two minute feature transcends the festival’s feelings of community and love.

Wide, aerial drone footage sweeps across the screen, landing on Taylor’s set that’s clearly a party for the audience and performers. Dancers, back-up singers and a stage full of fans, Lafa’s energy is clearly contagious as slow-motion shots capture the sea of smiles. Look closely and you might even see a familiar face or three.

Make sure to catch Lafa Taylor in July at the Catalyst Club in Santa Cruz and at the Northern Nights Music Festival in Cooks Valley between Humboldt and Mendocino Counties.

 

FOALS – NIGHT SWIMMERS (MURA MASA REMIX)

At only 20 years old, producer Mura Masa has been taking the electronic world by storm for several years now. Born in the Channel Islands, at age 16 he discovered Ableton Live and dropped his first tracks in 2013. The following year his label, Anchor Point Records was picked up by Polydor and Interscope for distribution and he subsequently released his first mixtape, Soundtrack to a Death.

After leaving the Islands to study in the United Kingdom, Masa began performing live and quickly sold out such infamous British clubs like the Green Door Store and Elektrowerkz. Last year, he dropped his first EP, Someday Somewhere, with the lead track, “Firefly,” getting significant airtime on BBC1.

Euphoric is excited to spread his latest track, a remix of indipop band–Foals’– “Night Swimmers.” Only hours old, Mura Masa’s vision is a bass-filled and beat-driven track that keeps the integrity of the original with a burning twist. Utilizing looped vocals and spaced-out timing, Masa reinvents “Night Swimmers” as an introspective and carnal trip through the mind.

Sit back, pop in some headphones and let your thoughts wander. Mura Masa  is in control, now.

 

 

 

OLIVER TREE – SOULMOTHER, I LOVE YOU (FEAT. GETTER)

H-O-L-Y SHIT. Oliver Tree–the Santa Cruz artist formerly known just as Tree– is K-I-L-L-I-N-G it!!!! A homegrown musician who expanded his creativity on darkly dreamy lyrics and odd sounds found in the strangest of places is fresh off a song collaboration and video–“Forget It”–with Bay Area DJ, Getter. Then, two days ago, the college-age, now Los Angelino, artist drops another introspective and banging track. “Soulmother, I Love You,” of course, featuring Getter.

The track features familiar Tree sounds–distant voices, introspective lyrics–combined with faster beats and more layers than he has stacked in the past. It’s a return to his electronic roots with the age and experience of someone who knows what their doing. Don’t believe me? Give it a couple of plays and try picking out all the different sounds. At under 3 minutes, Tree keeps the punk ethic while growing within his art.

We can’t wait to see what he does next.

 

MACHINE GUN KELLY – 4th COAST FREESTYLE

Machine Gun Kelly is at it again. The Ohioan artist–by way of Texas–first earned his stripes in 2006, while still a teenager, with the release of his first mixtape, Stamp of Approval. Since then he has collaborated with Wacka Flocka Flame, Juicy J, Bone Thugs -n-Harmony and others; signed to Sean Combs’ BAD BOY RECORDS label and has appeared in several feature films like SLC Punk 2 and Beyond the Lights. Dude even appeared as himself on WWE, a childhood dream of many, am I right?

 

“4th Coast Freestyle” finds MGK doing what he does best, spitting fire lyrics over beats as syruppy as lean. Does it indicate more music from Kelly in the near future? Stay tuned, Euphoric fans!

 

THE CLAYPOOL LENNON DELIRIUM – BUBBLES BURST

Anyone familiar with the works of Les Claypool know the Sonoma County resident’s mind is a psychedelic experience all on its own. From the wonderful and weird world of Primus to Oysterhead, Frog Brigade and even Duo de Twang, Claypool manages to top his strangeness with each passing album.

That’s why it was no surprise to hear he teamed up with Julian Lennon and released a psychedelic-garage inspired album called The Claypool Lennon Delirium. For you youngsters out there, Julian is the son of this guy, John, who was in a little known band called The Beatles (Julian is also the namesake for one of the Beatles’ more infamous songs, “Hey Jude”).

But Holy Hell. Even I wasn’t quite ready for this delirious trip despite one of my favorite concert memories is frying balls on acid while watching Primus play the entire “Willy Wonka & the Chocolate Factory”  complete with Oompa  Loompas and giant mushrooms on stage (or at least I think that was real). After all, nobody expected these two to collaborate, ESPECIALLY not on a song–or video–about the King of Pop’s chimpanzee companion, Bubbles.

If you have a solid mind or just like to fuck with the boundaries of your reality, then check out The Claypool Lennon Delirium’s first video, dropped today.  But be careful, some things can’t be unseen.