MY LIFE EVERY DAY USA MAY 26 (DAY 2)
LED Presents: MY LIFE EVERY DAY USA
Axwell, Diplo, Martin Solveig, TOTALLY ENORMOUS EXTINCT DINOSAURS, Clockwork, TJR, Hook n Sling, Destructo
3500 Sports Arena Blvd.
San Diego, CA
8:00 PM (event ends at 4:00 AM)
This event is 18 and over
Axwell (born as Axel Hedfors, 18 December 1977 in Lund, Sweden) is a DJ, remixer, record producer and record label owner from Sweden. He is part of a three person group dubbed the Swedish House Mafia...
Known internationally as a curator amongst the world's most cutting edge DJs, producers, and musical movements Wesley Pentz (better known as DIPLO) has experienced a variety of successes. The last few years have been spent running through the club circuit and having chart-topping hits with refreshing irreverence. Born in Tupelo, Mississippi, in 1978, Pentz spent most his childhood in Florida working in his fathers bait shop and being turned onto music through then new mediums like MTV. Drifting North through the state came Miami Bass and from the West came the sounds of Southern hip-hop artists. The musical influence and variety coalesced, and at 18, Pentz moved to Philadelphia for college at Temple University to study Film & Music. While a student he took a job in the South Philadephia community as a social worker and created the influential Hollertronix club night, which was the beginning of his fledgling career as DIPLO.
In 2004 Pentz released his debut album as Diplo called, Florida. It received praise and accolades in the underground community. The music embodied on this album led to an introduction via an A&R man at XL Records to M.I.A. In 2004 he partnered with M.I.A. for the mixtape Piracy Funds Terrorism. Pentz's cultural impact had started to snowball. Together they worked on her first album Arular and much of her second Kala, including the 2008 mega-hit "Paper Planes," which reached No. 3 in the US Charts and earned him a Grammy nomination for Record of the Year. His production credits have evolved since to include Santigold, Lil' Jon and Missy Elliot, while remixing works by Beck, Radiohead, Britney Spears and countless others. In 2009 Pentz teamed with frequent collaborator Dave Taylor (aka Switch) to release the futuristic dancehall album Guns Don't Kill People… Lazers Do under the guise of Major Lazer, a Jamaican militant at war with an evil army of zombies, mummies and vampires.
Meanwhile, his record label Mad Decent has helped to introduce Brazilian baile funk, Angolan Kuduro and other marginalized music to clubs around the world, developing as a trendsetting force with which to be reckoned. With the same mission in mind, some of the varied acts Pentz has signed or produced include Rye Rye, Bonde do Role, Crookers, Blaqstarr, Boy 8-Bit, Buraka Som Systema, and Rusko, allowing Mad Decent to act as a launching pad or home base for many others while spreading its influence across the globe. Through the label, Pentz has founded a charity called Heaps Decent as a social relief program to help children in Australia as well as with additional efforts internationally. In early 2009 Pentz debuted his film Favela on Blast, a five-years-in-the-making documentary exploring the Brazilian slum favelas of Rio de Janeiro and the thriving baile funk music scene that exists within. He is currently developing a TV show.
Through a widespread assortment of releases and artists' works – from cumbia to dubstep to punk and beyond – Diplo has shown dynamic range with interests that span far beyond any singular culture or musical realm, standing as a working model for the truly 21st Century artist.
Martin Solveig has sharply risen from being a well-respected DJ, to one of the most formidable producers and performers in the world. His music has sold well into the millions, his music videos are renowned as by far the best in their class and his performances continue to electrify audiences in every corner of the globe. With his fourth studio album "SMASH", Martin draws us into a world of pure and unparalleled fun...but just how did he get here, right to the pinnacle of crossover dance success?
In some ways, the answer for many people is simple, "Hello". It has singlehandedly become one of the biggest success stories of recent years. What started as a humble club track soon exploded into one of the biggest crossover dance records in the world. It has gone on to sell over 1.3 million copies, achieve platinum status in four countries and the accompanying music video has been viewed in excess of 35 million times and counting. "Hello" catapulted its creator towards immediate stardom, but there are years of work behind the man who made this record. Let's indulge in L'histoire du Solveig.
Like so many, Martin's love affair with music began at an early age, influenced by luminaries such as Prince, Lenny Kravitz, Stevie Wonder and Serge Gainsbourg. His eccentric taste and non-conformist attitude have been the backbone to what he is today - a multi faceted artist. He sings, he produces, he deejays, he acts and occasionally he dances too.
Aged 21, Solveig started his own label called Mixture Stereophonic & released 'Heart of Africa'. The track went on to sell 10,000 copies that offered a clear signal to Martin that a career in music was well worth pursuing. Martin's first album, 'Sur La Terre' released in 2002, achieved critical acclaim and enabled the Parisian to work with Salif Keita for whom he remixed 'Madan', one of 2003's biggest club anthems. The afro-disco bomb as well as Martin's new funk driven 'Rocking Music' both helped to catapult his career to a whole new level.
Next up came the Hedonist album, packed with a ream of hit singles such as 'Everybody', 'Jealousy' and 'Rejection', and indicating quite clearly that Martin Solveig had well and truly arrived. His most recent album "C'est La Vie" was his biggest album to date, selling in excess of 300,000 copies and winning fans over from far and wide.
In 2009 Martin was presented with two of the most prestigious accolades any Frenchman could hope to win - the 'Chevalier Des Arts et Des Lettres' for his contribution to the arts, and the 'Artiste de Musiques Electroniques de l'Annee' award at the French Victoires de la Musique - further testament to his ever-growing popularity and truly forward-thinking music style and creativity.
As 2010 was in its final months "Hello" became his biggest career landmark to date. The genius creation that is the SMASH YouTube series came to define a new breed of music videos, signalling Martin as a creative force much more powerful than most of his contemporaries - regularly described by many critics as being "in a league of his own".
First came the legendary Roland Garros stadium, then the incredible Stade De France, a rooftop pool in Singapore and upcoming episodes from Japan and Australia. There really is nothing to halt the series from going on to achieving so much more. And this is without touching on the soundtrack that accompanies each episode.
Each video is accompanied by snippets of his latest creation, "SMASH". A modern day masterpiece, bursting at the seams with pure fun, frivolity and all capped off with timeless trademark sounds. Involving the undeniable talents of Dragonette, Bloc Party front man Kele, up and coming UK sensation Sunday Girl plus US whirlwind DEV - it brings Martin to new and dizzying heights.
Martin continues to be one of the worlds most in demand performers, whether it's headlining festival stages, playing intimate clubs or performing on national TV for millions of viewers. Everything he approaches, he does with the same intensity and flare that has spanned his entire career; he has an innate ability to make each and every person in a room feel welcome, invited and free of inhibitions. At the end of the day this boils down to one thing, Martin Solveig is one of the most exciting and talented performers in the world. Are you ready to SMASH?
TOTALLY ENORMOUS EXTINCT DINOSAURS
Totally Enormous Extinct Dinosaurs makes music at the central point between pop, electro, house and melodic, tuff rave - and his debut album 'Trouble' is just more proof that TEED's Orlando Higginbottom is one of the most fascinating, brilliant and musically kaleidoscopic artists in the world right now. And he's about to stomp all over everywhere.
When Orlando Higginbottom was four or five he worked out how to work his Dad's CD player and soon had three favourites on repeat: Rossini's 'Overtures', Holst's 'The Planets' and Gershwin's 'Rhapsody In Blue'. "Classical music was 99% of my listening until I was about ten. I thought Mozart was really cool. I had a book, an A-Z of composers, that I read every night. They were like rock 'n' roll stars to me."
This remained the case until the boy chorister (his father is the conductor of the choir at New College, Oxford) hit 13, at which point he absorbed another culturally deep and musically exciting musical genre: jungle.
Our intrepid pre-TEED also discovered Avid, one of those local record shops that doesn't exist any more with Nicky Blackmarket posters on the wall and a pile of psy-trance flyers on the counter, and where fresh promos would land from London every Thursday and Friday. He careered through the whole junglist spectrum, starting with Zinc and Hype's Tru Playaz crew and getting heavily into Nico's No U-Turn Records. It was only when Bad Company and Pendulum started reducing the creativity beyond nil that he stopped buying the music - although that hasn't stopped him running up a current bill of £360 with Discogs to fill the gaps in his collection.
So how do we get from this evangelical member of the junglist youth wing to the kaleidoscopically vibrant world of Totally Enormous Extinct Dinosaurs? It's a swerving, careering route that turns hard right through an unsuccessful term reading music at Bristol University ("I got messy every night and then dropped out. I knew the course wasn't right for me") and then sharp left to a year in Leeds on a music production course. His time there coincided with the early days of dubstep and DMZ's regular excursions to the West Indian Centre in Chapeltown. "I was seeing all these students taking their first K in this big Jamaican community centre. I found it weird. Why is this suddenly cool? It could have been cool ten years ago. Some of it, I liked, but I was lost, and drum 'n' bass had got so shit, I was like 'fuck it: Totally Enormous Extinct Dinosaurs'. I'm going to dress up as a dinosaur, make weird electro shit and just enjoy it."
And just to clarify, the name doesn't mean anything. It doesn't even really come from anywhere. It's just a great big waving flag that announces, incontrovertibly, that Orlando Higginbottom doesn't give a monkeys what anyone else thinks.
There was one other link in the chain of events: winning a MySpace competition for music to accompany a painting in The Tate, judged by Huw Stephens and Felix from Basement Jaxx. This led to Radio 1 play and some supportive friends in the industry, which it's own way, led him to the label, Greco-Roman. Up until this point, house and techno had barely registered - and he certainly wasn't listening to it. "I was making a style of music I knew nothing about and had no love for. I didn't know what the rules were and I guess that's why it was fun."
It's an attitude that saw him selected to join Oxfam and Damon Albarn in the Congo to make the Warp album 'Kinshasa One Two'. "The influence of the trip was massive. It made me worry less about what people think."
So does he think he's breaking down the boundaries between music and art with the beautiful, riotous headpieces he dons for live shows? Of course not. "I'm just slightly poking fun at the idea of the cool guy in a cap under a bridge with graffiti. There's no thought or theories behind it apart from something entertaining or fantastical that looks good."
If the headpieces and the costumes have any antecedents it's the joyful, ultra-funky carnage of Earth Wind And Fire, although with just one member instead of a stage-full. He's got a neon white set that frames his performance in flowering dino spinal plates and a bugged out portable lighting rig that folds down into what he describes as a 'fucking huge flight case'. It is an improvement on the early days when he'd sweat on overpacked trains with a suitcase and a rucksack to play in Manchester to ten people. His shows, for the uninitiated, are a riot of light, energy and perfectly calibrated musical hedonism that scoops up house, electro, hip hop, UK funky and the compositional chops picked up as a classically-minded pre-teen playing piano and writing scores on manuscript paper.
These are all elements you'll hear singing loud and clear in his debut album, Trouble, and on standout moments Your Love and Household Goods. The former is a joyful, melodic, individual spin through the world of house music, taking the best elements (vibrant synth lines, a chorus as catchy as Starlight's 'Music Sounds Better' and a elastic, 2-steppy bass line) and conjuring them into a modern pop classic of enormous dimensions. And the latter, well, Household Goods is arguably the track that trumpeted his arrival when it was released in November 2010. It was a signal charge: a notice that things had changed and music was sounding colourful again. It's a point that is made repeatedly, brilliantly, through Trouble.
The debut album was recorded in his parent's Oxford garage, where he'd been playing records, rehearsing with bands and making tunes since he was a kid. It starts with an unexpected minute of ambience on the positivity-drenched opener Promises, which also offers another surprise: sunshine-tipped hi-life guitars. The title track was, he says, the first track that was shaped into a full song and thus provided a turning point, a kind of
sonic ramp into the making of the album. If you're looking for the artist's personal favourite, start here. Garden is another friendly, colourful gem amongst gems that features more of Higginbottom's warm and understated vocals, a duet with Luisa that was picked up for a global Nokia campaign and has helped take his sound around the world. "I write a lot about the Wednesday after, and that feeling that is everywhere in life, where you hope for great stuff, you hope for something meaningful and special, but at the same time you always know it's going to come to an end and there's something really sad and really glorious about that."
Then there's a song like Panpipes which sees Orlando taking an interest in UK funky and adds something soft and gentle. Solo is his self-confessed 'dark' tune. "When I do it live people stand there for three minutes when it does its second drop everyone suddenly goes woooo". He made Closer with his friend Ed, although it actually started when they were 17 and recorded some humming. "It's a bit slightly 'scared in the dance' vibe. Feeling a bit sad in the club. I reckon loads of people feel a bit sad in the club sometimes." Closing track Stronger sums up the whole record, that emotion of feeling great but knowing that there's going to be a payback somewhere down the line. "It's half hands in the air, and half hankies in the air," says Orlando only half joking. "There are relationship tunes on there, there are tunes about having it out with the music industry. They're my lyrics. I did have to struggle with them, and some of them are cheap as fuck. I think I just about get away with it."
Totally Enormous Extinct Dinosaurs: getting away with it, and some.
Los Angeles-born, New York City-based DJ/Producer Clockwork is no stranger to the world of electronic music. The young producer was one of the many 18 year olds circulating the dance music blogospehere with various bootleg remixes. But in 2011, armed with support and guidance from fellow young guns Felix Cartal and AutoErotique, Clockwork emerged from the throng of bedroom producers. His single "Squad Up", an original track that was played out at festivals around the world, quickly caught the attention of internationally renowned DJ, and Dim Mak chief, Steve Aoki. Aoki signed Clockwork immediately, making him the youngest artist ever signed to Dim Mak's prolific roster. Since the signing, Clockwork has officially remixed work for artists across the dance music spectrum, from Steve Aoki to Dimitri Vegas. His bootleg remix of Avicii's notorious big room anthem "Levels" reached over 80,000 plays on Soundcloud, 2 million views on Youtube, and garnered international radio play.
Clockwork's distinctive bass-heavy, big room sound has helped him gain support from the likes of Tiesto, Steve Angello, Laidback Luke, Steve Aoki, and everyone in between. His DJ sets are always as high energy and innovative as his productions, helping earn him an upcoming international tour as well as a spot on the line-up at the 2011 Hard Haunted Mansion Festival. With 2011 emerged the unique, big-room sounds that define Clockwork, but it truly is just the beginning. With a prolific propensity to create, a progressive production style, and a genuine love for the performance, Clockwork's future is looking bright.
TJR has built a formidable catalogue of remixes and original tracks since broadening
out from his acid house and techno roots in 2008. He has consistently been cooking up
big room bangers that have received massive support from prominent DJ's around the
world. Originally from the little state of Connecticut, a move to Los Angeles in 2010
saw him embrace the benefits of America's hot spot for electronic dance music.
Destructo (Gary Richards) began DJing and producing undergrounds in the early 90s in Los Angeles, most notably creating RaveAmerica at Knotts Berry Farm. Rick Rubin subsequently handpicked Gary for A&R in electronic music at Def American Recordings, launching a noteworthy career with such acts as Lords of Acid, Messiah, David Holmes, Basement Jaxx, Dub Pistols, God Lives Underwater and founding 1500 Records and Nitrus Records. After carrying his success to the metal world with No Name Mgmt, Destructo returned to his roots in 2007 by creating HARD. HARD events such as the HARD Haunted Mansion have become synonymous with cutting edge electronic music and unforgettable experiences, where the talent rosters reflect Destructo's own impeccable DJ sets.