GETTER – MOONSHINE FEATURING ANDY MILONAKIS

Remember Andy Milonakis? ‘Member? Getter does and he’s got the hip hop aficionado/comedian spitting fire on his latest track, “Moonshine.” The Los Angeles based, OWSLA , entertainer is prolifically minded and continually demonstrates you don’t have to ignite an entire field to be on fire. Even though the song isn’t long–standing at a whopping 1 minute and 16 seconds, it’s good to the last drop. Proving you don’t need to drag out a good thing to make a statement. I mean, how can you go wrong with lyrics like, “Never had the clap/but applaud?”

It’s short, hard, and heavy just like Milonakis himself.

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Getting the Low Down on “Low End Landscape” EP With SOSAY

Aaron Keysor Sosay–or So$ay, as he goes by artistically–is a Santa Cruz producer and DJ who knows what he wants. After releasing a string of singles, last week he dropped his debut EP, Low End Landscape. While So$ay is steeped in bass culture, Low End finds the artist exploring a wide range–or landscape, if you will, hehe–of music and sounds. Hip hop, glitch hop, and more make up the auditory view that rides the boarder between catchy and introspective.  We were able to get an email interview with him about  who he is, how he came to make  Low End Landscape,  and what we can look forward to from him in the near future.

 

How long have you been making music and what influenced you to start? 

SO$AY: I have always had a passion for music and I consider myself to have pretty good taste when it comes to track selection. One thing I love about performing onstage is having the being able to cultivate the vibe and take the crowd on a journey of sorts. You gotta be able to read the energy of the crowd and figure out on the fly which way to steer the music. A “choose your own adventure” type of thing.  I have always had a vision of what I wanted to create, but  DJing was much harder than I thought it would be, especially without using what I call a safety net. That refers to auto sync or others means to have the computer do the beat matching for you. I never use this. It’s kind of like this: There are two tightrope walkers, each with their own tightrope stretched across the Grand Canyon. One has a safety net underneath them; the other has no net and would surely die if they fall.  They both make it across. Which one is the more impressive feat? That’s how I feel about DJing.  Being that there are so many out there, I didn’t want to be “just another DJ”. I wanted to set myself apart so I thought it was important to make my own tunes. It’s fairly easy to make a beat, but it’s incredibly difficult to make a full track that’s good. That’s what I’ve been trying to do now for about the last 4.5 years.

How long have you lived in Santa Cruz and how has the city or scene affected your music
I’ve lived in SC for about 8 years total. When I was younger I lived here for about 4 years but this time around 6-7 moved away for a while but ended up moving back. It’s a helluva town. Expensive , but a helluva town. A Beautiful environment and chill vibe without the hustle and bustle of the city is really conducive to making music. That might be one of the reasons why there are a lot of producers that live here.
 As far as I can tell, “Low End Landscape” appears to be your first, multiple track EP, despite dropping many singles. What made you decide to drop an EP this time? 
I think it’s just the natural progression in the evolution of an artist. It requires a couple things – a little bit more vision to see the EP as a whole work instead of just individual components. It brings it all together as a finished product that delivers a representation of what Sosay is about and sounds like. I also use it as a tool of sorts to launch myself and my music career. More exposure equals more chances to be in front of–or in– the ears of peeps who are dig my style. Hopefully turn a couple heads along the way too. That’s the goal anyway. Half the battle is getting heard. Not just heard, but being heard by the right people .
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 What does “Low End Landscape” mean to you? 
In a visual sense, I kind of view it – like low end implies there’s bass- the low end of the frequency.  But the low end landscape I view as I’m your tour guide through this dark grimy wasteland – landscape like a patchwork of different terrains. I feel this EP is pretty diverse yet has cohesion overall. Its not just a playlist. It has an overall vibe which is important to portray without a neon blinking sign. The Low End Landscape is an alternate dimension that’s kind of menacing – Mordor meets the Matrix with some Salvador Dali-esqu imagery. It takes you on a journey but instead of using a visual medium, it uses an auditory one.
The EP has a wide mix of hip hop samples, glitch hop, bass and more. Was that a conscious decision or just the product of messing around in the studio? What is your writing process like?
+I kind of go where the track takes me. I have a general idea of what I want to do and take an element that I like and just go with that. I usually I start with the drums because it is the foundation of the track and you have to have that solid before you go forward. Trying to do something else first and then come back to the drums is kind of challenging because they are the blueprint and the concrete. So if the drums suck, the track will suck .
If you could collaborate with one artist, who would it be and why? 
Just one artist? That’s kind of a tough one… In the history of all mankind, I would probably say, just for the outrageousness of it, I’d probably work with Beethoven or someone like that because it would be just so crazy. But for the more realistic modern take from my era some of the producers I look up to like J Dilla, Dr Dre, any of those super elite producers – and from the electronic community, Lorn, Eprom, or Mr. Carmack,
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What’s been your favorite club gig? Your favorite festival show you’ve played?
One that stands out is one of my first ones actually. It was at the Bordello. For those that don’t know, the Bordello is this old Winchester mystery type house speakeasy sort of thing with legendary underground parties- Shout out to Christian ! This was one of the first time I ever slayed a dance floor. It was out of control. People were dripping from the ceiling. I had more people in the room I was playing in than the headliner in the other room.
AS far as festivals go, I’d say this year at Raindance . I got a 530 am time slot, which at first I was a little nervous about because it could go two different ways-The vibe could still be hyphy with the people still in party mode so you play bangers and such, or it could go the other way and be super chill and mellow as people are winding down. It ended up being perfect. A bit of both and it was a beautiful morning. The whole squad was there so that made it even more special. Definitely one of my most fun sets ever where I was really able to curate the vibe.
Who are you currently listening to?
 Well I’m always digging for new tunes for DJ sets but I don’t always like to listen to the shit I play because it gets a bit monotonous. I tend to get sick of the tracks after a while if I’m listening to them when I’m driving, practicing for shows, and working. But some of my favorites right now are Ivy Lab, Schoolboy Q, Eprom, Hucci, Kendrick Lamar, A$AP Rocky, Mr. Carmack, and always go back to the classics of hip hop and gangsta rap circa 1992 – 2005.
Name one artist that makes your ears bleed. 
 I try and stay positive and not knock others’ art, but if I have to pick something, it would have to be whack rappers. I can’t stand whack rappers. It’s astonishing that these dudes get to such a level of notoriety when they are straight garbage. If Tupac and biggie were alive today they would eat these fools alive.
With 2016 coming to a close, what do you have in store for us in 2017? 
I’ve got a couple more shows before bringing 2016 to a close. Trap City @ 1015 Folsom on 11.11 is gonna be big. Ending the year with a show in Salt Lake City with the homie, VNDMG, on the Dec. 23rd. It’s become a bit of a tradition and shit always pops off. In 2017 expect to hear a ton of new music, more collaboration, and another solo EP by years end. There’s a HIGH NOON EP or compilation in the works. I’ve already got some festival bookings for the summer. I’ll have a track on the new Shadow Trix compilation as well as the upcoming WE GOT THIS compilation, which should be dropping soon. It looks to be a big year and I can’t wait!

The Journey Tour Live At the Catalyst

I only first heard the name Seven Lions a month ago when I agreed to work the up-coming (now past) The Journey Tour  show at the Catalyst Club. In all honesty, I didn’t even hear his–aka Jeff Montalvo’s–music until I wrote that last article about him the day of the show. Shit, I was missing out. But of course, you all probably already know that .

Seven Lions
Seven Lions

The 28 year old producer and DJ is one of the most talented on the scene today. Much like his hometown of Santa Barbara, Montalvo blends a concoction of different influences into a sound that’s glaringly rare and undeniably catchy. Since he hit the scene in 2010, the DJ who once told YourEDM.com “I’m too weird for the mainstream,” has torched his way through the underground by drawing from all aspects of the Electronic arena: trance, house, bass, dubstep, trap and many, many more. He might not be mainstream in the sense of Drake or Kanye, but he’s a big raft on a different stream altogether. And after all, isn’t one of the attractive aspects of this culture the fact that it’s something entirely on it’s own, unattached to the shit shoved down our ears on the radio?

Seven Lions Throwing Down
Seven Lions Throwing Down

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Anyway, I digress.

Needless to say, I was amped going to work last Tuesday (10/18/16). Even after I heard it was sold out–which usually means a shit show–I was still amped. Surprisingly, it wasn’t a shit show at all because–not surprisingly–everyone there was looking for a good time of dancing, tripping and fun.

 

Scottish musician, GRUM, opened the night with a striking set, followed up by Unlike Pluto. Danish and Norwegian duo, Pegboard Nerds, rounded up third with their poppy and chaotic, video game sounds. Even after hours of solid dancing, the 800 person crowd went nuts as Seven Lions took over the deck. For an hour and a half he flowed a solid set in his signature style and busted out many crowd pleasing remixes. The Journey Tour  continues until Dec. 2, so treat yo self to a ticket if it passes through your town. After all, don’t you think you deserve it?

 

 

 

Hopsin Live at the Catalyst

If you don’t know Hopsin, you apparently don’t listen to hip hop. No, not that shit the radio, television and the clubs force down your throat. I’m talking about real hip hop, raw and straight from the underground. The type of rap that calls out the bullshit, questions reality and tells it like it is.

Anyone who is familiar with the Los Angeles artist knows that Hopsin tells it like it is. From  his critical “Ill Mind of Hopsin” tracks to his “Kill Her” track–about Eazy-E’s widow after Hopsin’s falling out with former record label, Ruthless Records–, he holds no punches and says whatever the fuck he wants. And afterall, isn’t that what hip hop is supposed to be?

 

Birthed in the run-down streets of New York and Los Angeles, it emerged 30 years ago as a public awareness announcement about how life really was for millions of people in this country. After decades of mainstream co-opting, the genre has turned into a glorified commercial, promoting alcohol, partying and acquiring material possessions most Americans will never be able to afford. Thankfully, Hopsin rejects all of it. This is the same dude that once tweeted, “I can’t stand Hollywood bitches. Show your worth through your mind not your jewelry, fake friends and your fake tits.”

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On October 7, 2016, Hopsin played a killer show at the Catalyst Club in Santa Cruz to fans excitement. This was my second time seeing him live and once again, he did not disappoint. His energy and anger was in full form and he blazed through a set of fan–and his own–favorites throughout his career. He’s easily one of the best rappers performing today, even if the radio won’t play his tracks. Shit, that just makes him more credible.

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SEVEN LIONS X ILLENIUM X SAID THE SKY – “RUSH OVER ME” FEAT. HALIENE

Sometimes a song is perfectly named and “Rush Over Me” by Seven Lions,  IlleniumSaid The Sky and featuring Haliene is just that: a rush of melodic beauty.

I find it an interesting track because normally you don’t see that many producers on one song. The old saying, “too many cooks spoils the soup” easily translates to music as the medium is filled with collaborations that look good on paper but make your ears want to commit hari kari (Metallica and Lou Reed, anyone?).

However, “Rush Over Me” is different.

It flows softly, building up to a powerful rush guided by the producers and captured with Haliene’s voice. Even the image chosen for the track encompasses the song nicely. It would be the perfect track to play at a fest under the Northern Lights.

Seven Lions–aka Jeff Montalvo from Santa Barbara–has built his career blending trance and dubstep for a personal style that resonates with listeners. His second EP, Days To Come made it to number 10 on the Billboard Electronic Chart and he was named “America’s Best DJ” in 2014 by DJ Times.

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It makes sense that he would work well with Illenium (aka Nick Miller), a bass producer from Colorado who got his start after seeing once Santa Cruz DJ, Bassnectar, at Red Rocks in 2012. Earlier this year, Illenium dropped his debut album, Ashes, which received critical acclaim from Rolling Stone, Billboard and others.

While not much could be found about Said the Sky (aka Trevor Christensen), I was able to find out he is also a Colorado native (maybe that’s how Illenium knows him?). It seems he’s still coming up in the scene  but has already released a grip of remixes and original tracks on his soundcloud.

Haliene is an amazingly powerful and seductive singer who made her break with Seven Lions, last year. Since then she has gone on to work with Illenium (separately from this track), Breathe Carolina and other award-winning artists. Definitely someone we will be seeing more of in the very, very near future. Especially if “Rush Over Me” is just a taste of her talent.

But wait, there’s more! If you’re in Santa Cruz, Seven Lions will be playing at the Catalyst Club TONIGHT for you to get your trance on. See you there!

Tennyson – “Your Eyes feat. Njomza”

The future belongs to the youth and Tennyson is proof.  Although they hit the scene four years ago, Canadian brother and sister duo–Luke and Tess–are currently only 20 and 18, respectively. Since their self-titled debut, Tennyson has taken the scene by storm. People like Flying Lotus have praised them and  mainstream media outlets like NPR and the British Guardian have featured their raw, jazzy music.

 

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Three days ago the prolific group dropped “Your Eyes (feat. Njomza)” on OWSLA.  In true Tennyson fashion,  Luke’s creative and feral production with Tess’ steady drumming for a track infused with one-of-a-kind energy. But what sets this track apart is Njomza’s visceral singing, softly sinking her teeth just enough to draw blood from the music.

It’s the perfect song to sit back and contemplate the meaning of it all while the rain drizzles down on a grey day like the one we’re having in Santa Cruz, Ca. Some might even call it euphoric.

Be sure to check out their North American tour happening now!!!! For you Bay Area folks, they play San Francisco on 10/27/16

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STICK FIGURE – FIRE ON THE HORIZON (LABRAT REMIX)

 

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At this point, LabRat has become a familiar name with Euphoric readers. The Bass producer and DJ is not only a Santa Cruz local artist, but also easily one of our favorites. Throughout the years we’ve kept a chronologue of Labrat’s happenings, from when we first met up with him in , to Northern Nights, to his latest release, Hold The Phone.

Well today, he does it again. Hypem.com just posted his remix of fellow California, reggae artist’s,  Stick Figure,  “Fire on the Horizon” off their Set in Stone EP. And readers, it burns evenly to the last beat. Dreamy beats remixed with Stick Figure’s clean and introspective lyrics lightly glide the song’s embers deep in to the mind’s dry brush. An inferno is ignited and after 4 consecutive straight plays, we still can’t get enough. Enjoy this one, burners!

 

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Peaches – Live at the Catalyst Club 10/4/16

After being a fan for years, I finally had a chance to learn the teaches of Peaches in person. Friends, let me tell you, it was everything I’d hoped for and more.

For those of you who haven’t listened to new music in twenty years, Peaches was born in Canada and cut her teeth in the underground electronic scene before moving to Germany where she was signed to Kitty-Yo. It was here that she released her iconic second album, The Teaches of Peaches. 

Brash, unapologetically sexual, catchy and smart, Peaches music decimates boundaries and questions everything. Since writing such hits like “Fuck the Pain Away,” she has gone on to take the world by storm. This year she released her sixth album, Rub and set off on a world tour.

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Peaches opened up with the title track off her new album, complete with a giant fury suit that could’ve been a second-hand Sesame Street costume and it only got more fun from there. Throughout the show a male and female dancer would accompany her through outfit changes of giant vaginas, multiple breasts, leather harnesses and then full-blown on-stage masturbation at the end. For the first encore, opener Christeene–with her own sexually charged and envelope-pushing ways–joined Peaches before she closed the show with “Light in Places” complete with the house lights off and laser-flashing buttplugs inside all three performers.

Throughout the entire show the audience was wildly dancing and free, celebrating themselves and the gift of being alive. Liberation is a wonderful thing, my friends. Never be afraid to push your boundaries or else you’ll never know if your unbreakable. Peaches is a testament to that. If you can catch her on the remaining part of her tour, we euphorically suggest you do so.

 

 

The Pirate & Smasheltooth: Booms & Claps Mix Series 19

The Booms And Claps mix series is the brainchild of BoomsAndClaps.com, self-described “bass nerds” who realized they wanted to show listeners a new world of bass, trap and electronic music. So far they’ve featured artists such as Aztek, Shiny Things and Tiger Fresh and the websites features interviews with Euphoric favorites like Lafa Taylor and G Jones.

Mix Series 19 features another two of our personal favorites: The Pirate and Smasheltooth. For years this DJ couple has dropped beats throughout the Bay Area along with festivals like Northern Nights and the Santa Cruz Music Fest. While they don’t always perform together, the rare times I have seen them co-DJ at Motiv in Santa Cruz, it’s a musical treat to be heard. Lucky for you, this is just what they did for the latest Booms And Claps installment.

 

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First and foremost, the mix kicks-off with an adorable intro by their neighbor’s child that can make even the coldest of hearts giggle with innocence. Smasheltooth starts first with the two switching between 15 minute sets, gracefully transitioning into each other’s music.

“Smash mixed in a lot of well curated club bangers including trap and Southern hip hop” Pirate says. “So I came in with the booms and claps of the Northwest Bass Scene.”

 

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But don’t expect this to be your run-of-the-mill bass set because these two always have something new up their sleeve.

“The last track is BSN Posse out of Milagro, Spain,” Pirate explains. “It has this beauty to it and sounds like what you’d expect to be playing on European beaches.”

 

 

LABRAT – CALIFORNIA CONDOR

For those who have been paying attention in a euphoric manner, Santa Cruz DJ and Producer, LabRat, isn’t a new name. The 25 year old Bass engineer has been rocking the scene since 2010, when he released his remix of the XX’s “Crystalized” to great acclaim. Since then, he has crafted his own unique style of dubstep and EDM, blowing up the Bay Area and festival scene.

Yesterday he dropped his latest track, “California Condor,” a three and a half minute flight through his trippy brain on  MalLabel Music. Unlike the track’s namesake, the Bass scene is in no way close to being labeled “critically endangered,” especially if Labrat has anything to say about it.

“California Condor” soars through the musical genre, with pockets of  high-pitched electronic glitchiness guiding the track through an open space of heavy bass. There are no low valleys here, just peaks of happiness to gaze down upon while the instrumentals. So get comfy, place your tray tables and seats in the upright position, and brace yourself for a sonic adventure through the mind’s sky.