Santigold (DJ Set), White Denim, Wajatta, DāM-FunK, Cherry Glazerr, Shannon Shaw, Brothers Griiin, Lucent Dossier, KCRW DJs, and more!
KCRW announced today the line-up for the 2018 Masquerade, L.A.’s iconic Halloween extravaganza, featuring Santigold (DJ Set), White Denim, Wajatta, DāM-FunK, Cherry Glazerr, Shannon Shaw, Brothers Griiin, Lucent Dossier, as well as KCRW DJs Gary Calamar, Raul Campos, Chris Douridas, Jose Galvan, Marion Hodges, Travis Holcombe, Anne Litt, Liza Richardson, Jeremy Sole, Anthony Valadez, and Dan Wilcox, on Saturday, October 27, from 9:00 p.m. to 2:00 a.m., at the historic Los Angeles Theatre. KCRW’s Masquerade, dubbed “legendary” by Time Out, and “the best costume party in town” by Edge is a feast for the senses, a glamorous and gritty mash-up of eccentricity, featuring DJs, bands, special musical guests, performance artists, and much more.
Tickets are on sale today for $89.9. For more details visit: http://www.kcrw.com/masquerade
More about the artists:
In the decade since her classic eponymous debut, Santi has revealed herself to be the most eclectic artist of her generation with a broad influence. She has collaborated with Jay Z, Kanye West, The Yeah Yeah Yeah’s Karen O & Nick Zinner, Beastie Boys, David Byrne, Amadou & Mariam, Q Tip, MIA, Mark Ronson, Pharrell, Julian Casablancas, Lykke Li, Basement Jaxx, Matt & Kim, Major Lazer, Asap Rocky, Diplo, Lil Yachty, Devo, and The Lonely Island. Her songs have been sampled by Drake & Lil Wayne and Future among others. She’s written for Gza of Wu-Tang Clan, Lily Allen, and Christina Aguilera. Santi has been handpicked for tours by Bjork, Kanye West, Jay Z, Coldplay, Red Hot Chili Peppers, and the Beastie Boys. She’s a singular artist beloved by her peers across genres. On July 27th through Downtown Records, Santigold released I Don’t Want: The Gold Fire Sessions – a summer-inspired spontaneous mixtape-style project recorded with Mixpak Records producer Dre Skull.
In his 1942 essay The Myth of Sisyphus, Camus wrote that “All great deeds and all great thoughts have a ridiculous beginning. Great works are often born on a street corner or in a restaurant’s revolving door.” 15 years later Richard Wayne Penniman wrote “Wop bop a loo bop a wop bam boom”, an undeniably powerful vocalization that on any given Wednesday in any given situation, civilized or otherwise, is still fully capable of setting somebody’s stuff aflame. Over ten years and seven long-players into their career, White Denim are still in the relentless pursuit of a thread- in other words, a wick. The Austin, Texas band have carefully and continuously studied the greatest records ever made, but they write songs just dumb enough to drink, dance, and fight to. Theirs is a music that aims for the whole body, while equally satisfying the mind. While it has morphed, expanded, and even burst apart, White Denim’s sincere and human drive and ability to spark true exhilaration have been unerring constants of the band’s 10-year existence.
Wajatta – the new group formed by beat-boxer/comedian/musician Reggie Watts and electronic music artist/DJ/producer John Tejada recently released its debut album, Casual High Technology. Presented as a cosmic collection of funk-infused techno, Casual High Technology is the culmination of decades’ worth of Watts and Tejada’s favorite electronic music shaped to fit a new dance sensibility. Wajatta (pronounced wa-Ha-ta), as the name suggests, is a mash-up of the artist’s last names. Having grown up with similar musical influences, Austrian-born Tejada and German-born Watts draw from their love of urban, electronic music. Exploring the intersection between influences and innovation, the two describe Wajatta’s music as “electronic dance music with its roots in Detroit techno, Chicago house, ’70s funk, and New York hip-hop.” Tejada’s deep, the melodic production makes the perfect backing for Watt’s wide vocal range and live looping skills.
Damon “Dām-Funk” Riddick grew up in the Los Angeles city/suburb of Pasadena. A ’70s baby, he came of age in the era of the Uncle Jamm’s Army parties, of electro-pharaoh Egyptian Lover, of Prince’s purple reign. His parents nurtured his musical talents as a child and by his teens, he mastered the drums, then the drum machine. A chance encounter led to an apprenticeship under funk songwriter/producer Leon Sylvers III (SOLAR Records) and by the mid-90s G-Funk era in hip-hop, Dām found his musical skills in high demand by rappers such as Mack 10 and MC Eiht. In 2006, Dām-Funk and a few friends launched the popular Funkmosphere party in L.A., bringing the boogie back. It’s around then that Dām drew the attention of Stones Throw. Dām’s partnership with the label has seen the release of his debut Toeachizown (2009) and Invite the Light (2015), as well as an anthology of early productions, Adolescent Funk (2010), to Higher(2013) with Steve Arrington and 7 Days of Funk (2013) with Snoop Dogg.
Clem, a 19-year-old teen Queen with a headstrong resolve like her hero Patti Smith dreamed up Cherry Glazerr in her LA bedroom. Bolstering Clem’s vision is the loud-in every-way-possible drummer Tabor Allen and the level-headed but bad-ass, multi-instrumentalist Sasami Ashworth who plays synths and notably French Horn (Clem is still scheming on how to incorporate that into Cherry Glazerr’s sound). The band’s newfound self-discipline and motivation have evolved Cherry Glazerr into a wildly complex, hugely guitar heavy, and unapologetically loud machine. When it comes to sweating the major shit, Cherry Glazerr live like they want to see others live. They don’t want to preach certain politics, they’d rather hold court for an open discourse. The subject of equality among the sexes, however, holds a special, unavoidable place for Clem, torchbearer for feminism in its most rad forms.
Shannon Shaw, the captivating vocalist, bassist, and founder of Shannon & the Clams, released her first solo album, Shannon In Nashville in June 2018. A nod to Dusty Springfield’s 1969 classic Dusty In Memphis, Shaw made her own pilgrimage down South to collaborate with The Black Keys’ Dan Auerbach and a congregation of revered old-school session musicians. Evoking the tear-jerking intonations of Brenda Lee and Patsy Cline, Shaw’s mastery of the instrument she was born to use leaves no doubt that she belongs squarely on the throne of whatever she cares to belt out. The record’s lush orchestration seamlessly melds the Nashville Sound with the Motown Sound—both known for crossing a type of roots music over into pop—and provides the wings for Shaw’s naturally anguished, torchy voice to soar. Shaw truly arrives in Nashville sounding like a woman who has learned to embrace who she is and where she came from.
You may recognize the Brothers Griiin as the fearless drumming duo behind The Flaming Lips, but after the show, these international DJ destroyers bring the party to the people. Matt Duckworth (Stardeath and White Dwarfs) and Nicholas Ley (Colourmusic) got the call to join the Flaming Lips in early 2014. The plan was to alternate drumming duties for the Lips in between their other tours at first, but after a few shows with both drummers it was decided that the Lips would only play with the “Brothers.” When you catch the Brothers Griiin live, they have no genre or playlist, they just spin what the party needs, all night long. Mixing funk, hip-hop, pop, indie and dance, these gladiators of style and taste keep the drinks full and the dance floor packed. Go party with them, you’re all invited. It will be loud. It will be wild. It will be Griiin.
This world-renowned, pioneering performance collective combines spellbinding performances, interactive service stations, haute couture costumes, and avant-garde concepts to welcome their audience into an other-worldly experience. Lucent Dossier has been recognized as the pioneers of an artistic revolution, with a strong focus on performances of the heart and a completely innovative fashion style that can now be seen woven into the hip cultural landscape that is enchanting the mainstream of America and the world. Prepare for a transformative experience as you’re staggered and spellbound by the cirque stylings of this ancient-futuristic creative revolution, Lucent Dossier Experience.
SATURDAY, OCTOBER 27, 2018
9:00 p.m. – 2:00 a.m.
The Los Angeles Theatre
615 S. Broadway, Los Angeles, CA 90014
Ticket price: $89.9
Tickets On-Sale Today at kcrw.com/masquerade
About KCRW: KCRW creates and curates a unique mix of content centered around music discovery, NPR news, cultural exploration and informed public affairs. We are driven by the spirit of LA and deliver in innovative ways — on the radio, digitally and in person — to diverse, curious communities around the corner and around the world. A community service of Santa Monica College, KCRW can be found on the air in LA, Santa Barbara, Ventura, Mojave, Palm Springs, via the newly-redesigned KCRW smartphone app, and online at kcrw.com.
Creem – America’s Only Rock ‘n’ Roll Magazine, Reviewed Issue By Issue – June 1975 (Volume 7, Number 1)
Smith’s final freelance contribution to Creem.
putting Nigeria on the map
back at # 1 for a third non consecutive week
not a dreamer but a steely eyed businessman and pop musician
Willie Nelson will play at the Palomino fest on Saturday
Creem – America’s Only Rock ‘n’ Roll Magazine, Reviewed Issue By Issue – May 1975 (Volume 6, Number 12
Elton John came across as completely engaging
by episode nine, season four, the bastards finally got me sick of Kate!
some hooky and wildly inspired tune
Harry has the summer of his career!