Tomorrow evening, January 14th, we are pleased to once again have our good friends at the legendary Ed Banger Records in the house for Feadz’s album release party where he’ll be promoting his latest LP Instant Alpha. Joining Feadz on the decks will be Sydney-based tech house producer Light Year, up and coming production duo Phantoms whose self-titled EP is out now on OWSLA’s Nest, LA-based producer Mike B, and our trusty resident Bones! This isn’t the first time Feadz has brought the beats to our beloved #DimMakTuesdays – last March, he tore up the decks with Oliver Twizt and gave LA a rare taste of what he and the Ed Banger crew have been cooking up over in Paris. Recently, we had the opportunity to chat directly with Feadz before the big event tomorrow and, needless to say, this producer is one game-changing BADASS.
Enjoy an exclusive preview of Instant Alpha (100% satisfaction guaranteed) which is now available for purchase exclusively on Beatport!
[highlight style=”default”][highlighttext title=”Get schooled on all things Feadz in our exclusive interview with him!” titlesize=”h6″ subtitle=””][/highlighttext][/highlight]
1. What can people expect from your set this week at #DimMakTuesdays?
I hope the unexpected.
2. This isn’t your first time playing #DimMakTuesdays – in fact, you played here last March with Oliver Twizt! What do you think about #DimMakTuesdays?
I had a warm welcome and reaction and I love the fact that it is on a Tuesday. For me it represents people’s concern about music and not a random crowd who is going out on the weekend.
3. You’ve been referred to as “a child of hip hop,” can you tell us some of the artists who’ve influenced your music from the beginning? How do you feel your sound has evolved throughout the years from hip hop style turntablism to more techno-sounding productions?
Public Enemy has been the major influence in my life – so much room for scratching and so much great music, pitched down or up or manipulated in extreme ways for a result that is unexpected and not regular in a classic music eye. I think hip hop is becoming more & more techno over the years – it’s more minimal, it’s more synthetic, and I think my sound has followed the same path unconsciously.
4. You were in a scratch band in the early 90’s, what was that like?
It was a lot of guys, of lot of smoke, a lot of sweat, and a lot of technical practice. It was great for a while.
5. You’ve been with the legendary Ed Banger Records since 2005, how did that partnership first come about?
Paris is small and Pedro Winter has always been an influential DJ, so from my first records, I was giving them to him and he was liking my sound. As soon as he created the label, he offered to release my music.
6. It’s been awhile since you’ve been in LA, what are you most looking forward to while being out here? What’s your take on the LA music scene?
Of course i’m looking for better weather than here, and I’m very glad to show LA the music that I consider to be the best . I feel very far from the scene, being at the Hard Festival last year in LA I couldn’t believe the amount of horrible music I heard. For a country who invented techno music, I can’t believe the direction it went in and the music that is popular out there. I’m sorry to say that but I think Americans have terrible taste when it comes to electronic music. But on the other hand, it’s never been that popular so it’s still good and I got faith on many U.S. producers who are gonna level it up.
7. You’ve done remixes for Boys Noize, Cashmere Cat, Surkin, & Mr. Oizo to name a few. What have been some of your favorite collaborations so far?
All those mentioned here are collabs that have made me very happy . I couldn’t really choose a favorite amongst them.
8. What’s your take on the evolution of djing and what do you see as the future of edm?
DJing is turning more and more has a producer representation. It’s a little sad that the original job of the DJ – finding great music for you to discover and dance to – is thought less of than your average entertainer (who is gonna play easy and raise his hands on every track to put you in the mood). And as I was saying, I think the music can only get better as I think it’s pretty horrible right now – just my opinion though, I’m known to be pretty critical but it’s just because it’s important to me.
Tuesday, January 14th
$5 w/ RSVP before 11 p.m. ($10 after) | RSVP to GuestList@DimMak.com (hurry because the guest list is filling up fast!)
Or purchase presale tickets here to ensure entry.
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Another one for the record books- Skrillex (and friends) took over the entire floor plan of Dim Mak Studios, as the kicker to his 6-stop “Mothership” LA-tour. As Skrillex shouted to the swarm of fans, this is his way of giving back to all the clubs he partied at over the years.
LA Weekly was present at Dim Mak Studios, surprising us all with an in depth review of the event:
Better than… Seeing Skrillex at a festival” ~ Liz Ohanesian, LAWeekly
Head over to LAWeekly here to read the full article.
Click here to check out the Facebook page.
“From L.A. To The Bay” Dim Mak and Vessel S.F. team up every Wednesday to bring you “Obey The Kitty”, a weekly party at the award winning Vessel San Francisco. The inaugural party will be Wednesday, July 27 and then continue every Wednesday after that on August 24.
Located at 85 Campton Pl, San Francisco, CA 94108. Beneath Giorgio Armani and Niketown in the heart of San Francisco’s Union Square District, Vessel represents a luxurious nightclub in signature San Francisco style. Vessel is partnering with Dim Mak Records, the most distinguished name in West Coast nightlife to bring you a weekly party San Francisco has never seen. With Vessels award winning Funktion One sound system, state of the art LED lighting, and the infamous Dim Mak party posse behind the decks, do yourself a favor and change your day off to Thursday ahead of time!
The first Dim Mak Obey The Kitty event will feature the musical stylings of Dim Mak’s Them Jeans, Blake Miller of Moving Units (DJ set), Richie Panic and Aaron Axelsen. For complimentary admission, email your name to ObeyTheKitty@DimMak.com.
Steve and Travis Barker recently collaborated on a track titled “Misfits,” for Travis’ new album Give The Drummer Some.
Along with the release of their track, Steve and Travis will be hosting the official launch party for the “Misfits” t-shirt at Travis’ store in LA, The Fast Life, on June 28th from 5PM to 8PM. Details in the flyer below.
“To Live & Ride in L.A.” has been widely received as the freshest movie on fixed-gear culture since Rowe’s Fast Friday. Shot entirely on the streets of L.A. To Live & Ride in L.A. has been called an “authentic look into the what, where, and now of aggressive urban biking” by URB Magazine. The film was chosen as official selections at both the 2010 Hawaii International Film Festival and the 2010 Los Angeles Bicycle Film Festival and has toured the world on a screening circuit that included stops in Melbourne, Shanghai, Taipei, Las Vegas, Honolulu, Perth and Adelaide, Australia.
Check Out More Info on “To Live & Ride in L.A.“
Music video by Pac Div performing Anti-Freeze. (C) 2011 Universal Motown Records, a division of UMG Recordings, Inc.
Dim Mak and Drai’s team up every Sunday night to give you “Cannonball” at The New W in Hollywood. Together, we bring a level of refinement with a mixture of alternative culture that is unified and unchallenged all for the sake of good music.
For More Information On Cannonball, Visit Cannonball.
Pacific Standard Time is a collaboration of more than fifty cultural institutions across Southern California, which are coming together for six months beginning October 2011 to tell the story of the birth of the Los Angeles art scene and how it became a major new force in the art world. Each institution will make its own contribution to this grand-scale story of artistic innovation and social change, told through a multitude of simultaneous exhibitions and programs. Exploring and celebrating the significance of the crucial post-World War II years and beyond, Pacific Standard Time encompasses developments from modernist architecture and design to multi-media installations; from L.A. Pop to post-minimalism; from the films of the African-American L.A. Rebellion to the feminist happenings of the Woman’s Building; from ceramics to Chicano performance art, and from Japanese-American design to the pioneering work of artists’ collectives. Initiated through $10 million in grants from the Getty Foundation, Pacific Standard Time involves cultural institutions of every size and character across Southern California, from Greater Los Angeles to San Diego and Santa Barbara to Palm Springs.
(via Laguna Art Museum: Vimeo)