The Echo & Buzzfeed Present
BuzzFeed Presents: KAMP KONA w/ Dan Deacon
Fat Tony, J.F. Harris, and surprise special guest
1822 W. Sunset Blvd
The Echoplex is located below The Echo, enter through the alley at 1154 Glendale Blvd
Los Angeles, CA, 90026
Doors 7:00 PM / Show 8:00 PM
This event is 18 and over
With the success of Dan Deacon’s 2007 album Spiderman of the Rings, came an opportunity for the electronic-music iconoclast to increase the breadth and depth of his entire musical project. Deacon moved from self-contained computer music to orchestral epics. His interactive live show, honed in DIY spaces, was taken to museums and concert halls. He frequently expanded his performances to include a horde of side musicians. Gliss Riffer, an entirely self-produced record of almost all electronic sounds, is a return to Deacon’s Spiderman of the Rings-era process. He calls it “easily the most fun [he’s] ever had making a record.” After a string of large ensemble projects (including 2009’s Bromst and 2012’s America) Deacon longed for the “simplicity” of the days when he did nearly everything himself. So he made plans to sequester himself in his studio and conjure an album from the sketches and songs he had begun in the back of the van on the European leg of the America tour. Those plans were upended when he received a last-minute invitation to tour with Arcade Fire in August. Rather than lose momentum by pushing back his recording schedule, Deacon continued to make the record on the road. “I was mixing and arranging in the green room before sound check and each night back at the hotel.” Deacon said, “On days off I’d find a studio to track vocals or mix. When a studio couldn’t be found I dismantled a hotel bathroom, sealing the vents with towels and using all the bedding to turn it into a control room.” This is his first record to showcase his newfound appreciation for his vocal cords, an appreciation he gained after going through an extended bout of laryngitis. “I started thinking about how the voice is an instrument that expires,” he said, “and that made me want to make an album with the voice more exposed.” And that he did. While Gliss Riffer contains all the instrumental layering we’ve come to expect, the vocals are mixed with a prominence (“Feel the Lightning,” “Learning to Relax”) and, at times, a clarity (“When I Was Done Dying”) that have never been heard on a Dan Deacon record before. All the vocals are performed by Deacon himself, even the female voice on “Feel the Lightning” is the product of vari-speed recording techniques. This album also marks the first time Deacon replaced his digitally realized parts with analog synthesizers, giving Deacon the opportunity to experiment with synthesizers in the same way he experimented with strings and wind instruments on America. Deacon travelled to Asheville, N.C., to record with Moog’s at-the-time-unreleased Sub 37 analog synth. Gliss Riffer is the first record in the world to feature the instrument. Despite being predominately electronic, Gliss Riffer’s sonic palette is informed by his post-Spiderman material. The Disklavier, a MIDI-fed player piano first heard on Bromst, is present here. (This time around, Deacon ran it so hard it broke.) Cross-rhythms suggestive of America’s orchestral opus “USA” and Deacon’s art music work (including a Carnegie Hall performance and film score for Francis Ford Coppola) are also in evidence. What Gliss Riffer shares with Spiderman of the Rings as a musical experience is an aesthetic directness and ecstatic energy. Gliss Riffer trades in exuberant, uncontained fun. Lyrical images of lightning, oceans, lakes, and roads crop up frequently as stand-ins for freedom and self-realization. The tracks were started on the ever-changing landscapes that greet a touring musician. The lyrics, on the other hand, were mostly written in Deacon’s studio, a room with no windows and no air conditioning in Baltimore’s sweltering summer where it was easy to imagine being somewhere else. So while Gliss Riffer is all about fun, it’s figured dramatically. It’s a euphoria tempered by yearning and set in defiance of life’s nagging anxiety. “Happiness takes time,” we are reminded by tremolo vocals in the middle of the supremely danceable “Mind on Fire.” The bliss on this record is well-earned.
Fat Tony stands at the forefront of new generation of young rappers who get it themselves—a DIY hustler who's built his burgeoning career on a foundation equal parts smarts and swagger. The Houston MC owns the mike with a casual confidence, workmanlike in his delivery whether laidback or lyrical, embodying a new brand of enlightened Southern that's as likely to tip back some lean on your front porch as sit down and school you on Dadaism. Through his simmering solo work and boundary-busting collaborations with Das Racist and A$AP Rocky, among others, Fat Tony has already launched a legacy.
As a first-generation Nigerian-American raised in his city's historic Third Ward, heritage has always been important to Fat Tony. One of his earliest memories is of a parade of black cowboys riding down the local main street on MLK Day, blaring the good doctor's speeches over zydeco tracks. His childhood home was filled with records—King Sunny Adé and Jimmy Cliff from his father's collection, his mother's jazz and soul, Granny's gospel. He watched countless hours of music television as a kid, got his first drum kit at 8, and pummeled it to pieces shortly after seeing Nirvana on MTV.
Fat Tony became a key player in the Houston music scene as a young teen. Inspired by the independent spirits he looked up to—from the Ramones and the Germs to UGK and Slum Village—he began throwing
shows at local venues and friends' houses. He booked bands of all types from all over, hand-made flyers and mailed them to addresses nabbed from the student directory. Meanwhile, he toured regionally and
earned a rep as a fierce performer, eventually racking up three consecutive annual "Best Underground Hip-Hop" awards from the Houston Press while studying communications at the University of Houston.
In 2010, Fat Tony self-released his debut album, RABDARGAB, a sharply stylish set named after a local literacy campaign from his youth: "Read a book, do a report, get a buck." In keeping with the theme, he offered to send a dollar bill to anyone who listened to the record and wrote it up. (He wound up sending out $27.) Shortly thereafter, Das Racist reprised and rapped over the Murs-featuring "Luv it Mayne" for their Sit Down, Man mixtape, and legendary screw DJ OG RON C offered his "chopped up, not slopped up" version of the record, SCREWDARGAB, in 2011.
A veteran at 24, Fat Tony comes to Young One Records knowing the two most important principles of creativity: 1) no matter where his music takes him or what others may say, he alone is responsible for the quality of his work, and 2) in the man's own words, "It's good to be good." With that in mind, he has two full-lengths poised for 2012. First up is Double Dragon, a Cuban Linx-style rapper-producer pairing that finds Fat Tony's go-to beatmaker Tom Cruz sharing mike duties. Second will be Smart Ass Black Boy, which will no doubt be aptly named. -Christopher Martins
J.F. HARRIS IS A STAND UP COMIC & WRITER WHO GREW UP IN BLUE COLLAR STATEN ISLAND NY. HE GOT HIS START IN IMPROV AND SKETCH COMEDY IN THE WINDY CITY WHERE THE CHICAGO TRIBUNE NAMED HIM ONE OF THE “COMICS TO SEE BEFORE THEY ARE FAMOUS.” IN CHICAGO J.F. WORKED REGULARLY AT THE FAMED IO AND ANNOYANCE THEATERS. AFTER HIS TIME IN CHICAGO HE HEADED BACK HOME TO NEW YORK CITY WHERE HE BEGAN TO CUT HIS TEETH AT STAND UP COMEDY AND HONE HIS CRAFT OVER SEVERAL YEARS BEFORE TAKING HIS ACT ON THE ROAD. J.F. NOW HEADLINES CLUBS ACROSS THE U.S. AND CANADA AND HAS THE PLEASURE OF PLAYING THEATERS AND ARENAS WITH HIS GOOD FRIENDS TRUTV'S IMPRACTICAL JOKERS AND JOEL MCHALE. HE HAS PREFORMED IN SUCH FESTIVALS AS THE KENNEDY CENTER'S DISTRICT OF COMEDY, THE NEW YORK COMEDY FESTIVAL, THE WILD WEST COMEDY FESTIVAL, GILDA'S LAUGHFEST AND THE JUST FOR LAUGHS FESTIVAL IN BOTH CALGARY AND WINNIPEG. YOU MAY HAVE SEEN HIM ON ADULT SWIM OR TRUTV. J.F. NOW CALLS LOS ANGLES HOME. IF YOU ARE IN TOWN YOU CAN CATCH HIM HOSTING HIS MONTHLY NEW MATERIAL SHOW, WORKSHOP, AT THE WORLD FAMOUS COMEDY STORE THE LAST WEDNESDAY EVERY MONTH. ALSO AT HIS WEEKLY COMEDY SHOWCASE, COMEDY BOWL, TUESDAY NIGHTS AT HIGHLAND PARK BOWL. THIS SHOW INCLUDES SOME OF THE BIGGEST NAMES IN STAND UP COMEDY, IN THE HIP HIGHLAND PARK NEIGHBORHOOD HE CALLS HOME.
and surprise special guest
NOT ALL FESTIVALS ARE THE SAME. KAMP KONA IS A 3-STOP TOUR THAT IS FOCUSED ON ARTISTS PUSHING THE BOUNDARIES OF WHAT’S POSSIBLE IN ART, CULTURE, FOOD AND MORE. EACH VENUE OFFERS A UNIQUE JOURNEY WITH A LOCAL POINT OF VIEW, AND PLENTY OF PHOTO-OPS TO FILL YOUR FEED AND EXPERIENCES TO FULFILL THE PASSION INSIDE EVERY WANDERER’S HEART.
Percentage of ticket revnue donated to Lunch On Me
Fri, January 18
Sat, January 19
Sun, January 20
Mon, January 21
Wed, January 23