Tanner Petulla–otherwise known as the artist Getter–has been having a great 2016. The San Jose born, turned Los Angeles, producer has been signed to Skrillex’s OWSLA label for about a year and has released a slew of music. Earlier this year he released the Radical Dude! EP and produced Underground Underdog by Pouya along with $uicideboy$, Radical $uicide, both slamming bodies of work on their own accord. Not to mention the numerous singles, remixes and guest appearances he’s done throughout the year. On top of all that, last month the prolific artist released a high-budget, high-resolution, beautiful and creepy video for “Forget It,” featuring Santa Cruz born artist, TREE.


Never one to wait on the sidelines, Getter recently dropped his latest original track, “Wat the Frick,” a 4.5 minute journey back to his dubstep roots. But this is no ordinary bass fest. Getter combines the wompiness of dubstep with high energy and happy, Tetris-like melodies for a track as bizarre and colorful as the track’s art.


After a few listens, it’s plain to see the song’s title is spot on.
Keep checking back to see the latest happenings with Getter as the year is only half-way over and it’s sure to bring a helluva lot more from this rising producer. 



Tell me if you’ve heard this one: Simpsonwave. Yup, that’s right. The iconic, decades long-running cartoon show now has its own musical genre.


Combining clips from the series with chillwave and vaporwave beats to bring you the best soundtrack of the summer. After 10 minutes of meditating with these bad boys, you’ll feel like Lisa when she found Buddhism. Think about it: what’s better than smoking a bone in the sun with mellow beats washing over you to quintessential Simpsons moments?

When the movement began, nobody was sure if it was a joke, one-time thing or the beginning of something bigger. But after a little while, artists like FrankJavCee, Lucien Huges, Lilo XG and BlankBanshee have continued to push the genre quicker than Homer can scarf donuts.

Set the volume on high, grab a Duff and relax with your favorite disfunctional family from the 90’s.






I think it’s safe to say, 2016 has been fucking weird. From Donald Trump’s winning campaign to grown-ass adults catching Pokemon, there has been no aspect of this year that hasn’t raised an eyebrow and the music world is no different.

So far, this bizarro reality of a year has taken from us (RIP Nicholas “Pumpkin” Alvarado, Bowie, Prince and others) and delivered a plethora of  “what in the actual fuck?” moments. In this vein I present to you: Banks & Steelz, one of the strangest, never-would’ve-thought-would-happen-or-work-but-if-Trump-is-winning-anything-is-possible collaborations this year.




Banks & Steelz is none other than Paul Banks of Interpol and RZA. Yeah, straight from the Wu-Tang, aka Prince Rakeem aka Bobby Digital (or did he drop that one?).  Now, I’m all for strange collaborations and recently wrote on here about the Claypool Lennon Delirium. Hell, Sam Working’s review of the new Blink 182 even had me check out a few songs (discovered I still can’t stomach them, but I realized this is the territory Skiba wishes he could take Alkaline these days). However, when I first heard about Banks & Steelz, I raised a very doubtful eyebrow.

Oh me of little faith.

My first exposure to their music was driving to Arcata from the Northern Nights Festival. I was still trying to input, decipher and understand what-in-the-hell had just happened the previous weekend when this track came on.


Not only is the music on point with a mix of guitars and electronic beats–the best of both Wu and Interpol–but RZA sounds better than he has in years. After 4 minutes of having my mind blown, the XM DJ mentioned they have already dropped two previous tracks, “Giant” and “Love + War,” so I had to listen.

Holy shit, you guys.

I must admit, RZA is lyrically more on point and spitting fire on these two tracks compared to “Speedway Sonora,” but that doesn’t take away from the fact that all three tracks are bangers. Each will be featured on the forthcoming album, Anything But Words dropping August 26.







Fresh off the producer’s board and straight to your earholes we present Labrat’s latest track, “Lemon Tree.” The 29 year old Santa Cruz producer broke into the scene six years ago with his remix of XX’s “Crystalized,” which went viral on YouTube, earning him an international audience. In 2011 he dropped his debut EP, “Test Subject,” and has continued pushing the boundaries of the EDM scene to last year’s three song EP, “Break The Cage.”

“Lemon Tree” is Labrat’s freshest and most organically local material, named after the Santa Cruz medicinal strain turned brand. The track itself is a euphoric high of reggae with dubstep break downs and electronic build-ups. Floating over and throughout are mellow vocals reminding the listener to take a breath and chill in a cloud of the citrus goodness. Trust me, homie. You’re gonna wanna hear this shit.

Hit play on this fire track and prepare for Labrat’s sets at Northern Nights, this weekend on the–you guessed it–Lemon Tree stage,  and Organic Fest (August 12-14) in Wilseyville, California. Don’t be that person who won’t have anything to talk about with your crew because you slipped.




Are you ready? Because the new Schoolboy Q album dropped two days ago and South Central L.A. artist pulls no punches.

The 29 year old rapper started writing rhymes when he was 16 but didn’t become serious about his career until around 2008. A year later he joined forces with Kendrick Lamar, Ab-Soul and Jay Rock to form Black Hippy and released his first solo album, Setbacks in 2011.

However, it wasn’t until 2014  with the release of  his first major label debut, Oxymoron, that the press HAD to pay attention.  In Q’s own words, “Kendrick [Lamar] left me no choice but to drop a classic.” Four years later, it’s hard to find anyone who wouldn’t put it on a list of best hip hop albums released this decade. Of course everyone was wondering what else Schoolboy had waiting.


Blank Face is here and goddamn, it’s good. I’m usually wary of modern hip hop albums with a list of guest artists, but this one includes E-40, Kendrick Lamar, Kanye West, Jada Kiss and others that masterfully add icing to this cake of an LP.

Musically, the beats are fresh and the lyrics are as dark, introspective and as real as anything on Oxymoron. Go listen to it now on Spotify. Seriously. It’s not just what hip hop needs right now, but could supply some of the soundtrack for what’s currently happening in the streets of America.



Fans of Drum & Bass, get ready for this one. San Francisco DJ, Snafu, recently remixed Herobust’s “Pipette Up” and it sounds like the most insane night on drugs I’ve had in a while.

While the original is more on the lean side, as in sizzurpy slow, Snafu injects the track with a dose of molly and quicker timing.

The track comes a month before his appearance at the debut, Organic Fest, in Northern California. Click on the link but make sure you get to a safe place with some comfort food before you do.


He might have trap beats, but don’t call Troyboi a “trap producer.” In an interview 2 years ago on, the 28 year old Londoner said:

“I feel I’m still evolving, and I can’t wait to take it a step further. I couldn’t think of anything worse than being labeled as a ‘Trap Producer’ in a non-evolving genre, stuck making the same old beat pattern, same drum kit, same 808, same synths with the same old formula. I don’t believe in being a one-trick-pony; I’d rather be a five-trick-platypus.”

and over the past two years he’s pulled out more than five tricks.


Taking inspiration from the entertainment media–along with his India, Nigerian, Chinese and Portuguese heritage, the platypus of EDM creates intricate and strange beats that flow with Middle Eastern influence for a modern world.

His latest track, “Sensei,” is three and a half minutes of uncommon sounds stirred to electronic perfection. True, the foundation lies on a trap beat, yet Troyboi builds the structure out of flutes, violins and rhythmic chanting culminating in a track that shows he still has a lot to teach the rest of the music world. Smoke some sensimilla, and listen to “Sensei” in that euphoric state of mind.


Caaaaalliiiffoorrrnniiaaa loooooooove!!!! Fresh off the producer’s table comes a  new California anthem for the 21st Century from four natives.  Zion I (Oakland), The Grouch (San Francisco) and Eligh (Los Angeles)   joined forces for the tranqued-out, slow jam, “I Love California Like You.”


The jam is packed with all the things we Californians love: weed, cars, cultural diversity, sunshine and shout-outs to every place from Humboldt to the Bay to L.A. Live in the San Fernando Valley? They’ve got you covered. Spent some time hanging in Echo Park? You’ll hear a familiar name. San Jose and Fresno even get a nod towards the end because goddammit, they still Cali too.

Admittedly, one of our favorite parts of the song is the beginning sound clip of Will Farrell with the tranquilizer dart stuck in his neck from “Old School.” Classic!


The song drops just in time for anyone in or near Flagstaff, Arizona to catch Zion I, The Grouch AND Eligh at the Green Room. We know, it’s not Cali. However, Zion I will be back in the state with Slightly Stoopid on July 9th in Chula Vista.




“My idle hands lead to evil thoughts, that’s what I was told,” begins the latest track from Sacramento hip-hop duo, Hippie Sabotage. “Options” is a slow jam, track with more balls than Hillary Clinton facing indictment. Which makes sense after a video was released two weeks ago of the band fighting security at Portland’s, What The Festival.

The song continues with lines, “So let the demons hang me up, ’cause motherfucker I ain’t dead ’til I say so. Cause I’ve been fighting all my fucking life, so I’m gonna say it til the fucking end.” Abrasive words that speak volumes to anyone who has felt down-and-out, or whoever had someone tell them they’re on the wrong path by following their dreams.

But keep in mind, even if you have options and give the middle finger to the world, that also means having to deal with the fall-out. Hippie Sabotage knows. Yesterday,  the Low End Theory Festival tweeted Hippie Sabotage WILL NOT be playing the Los Angeles music fest, although the tweet failed to divulge the specific reason.