Anticon Anniversary Party

Come celebrate the 15 year Anniversary of Anticon Records

Three years ago, Baths dropped his startlingly beautiful debut, Cerulean. Released on Anticon, the record blurred the line between post-modern pop and the LA beat scene with devastating emotional clarity. Its tone was as celestial as its album title, taken from a shade of blue typically used to describe the sky.

Cerulean earned year-end “Best Of” recognition from Pitchfork and The Onion’s A.V. Club and established Chatsworth-raised Will Wiesenfeld as one of the finest young composers (and falsettos) in Los Angeles. His sophomore album, Obsidian finds him emerging as one of the most complete artists of his generation. As you might expect, the name hints at darker overtones. The mood is shimmering and pitch-black, the lovely blood flow has turned into lava.

“I’ve always been inspired by really dark material and from the beginning I knew I wanted the songs to be much darker, both musically and lyrically,” Baths says.

Following the success of his first album, Baths spent much of the next year touring to progressively larger audiences. He also released an ethereal ambient project under the Goetic name. When he returned home in July of 2011 to record his sophomore effort, he was bedridden for months because of the E. Coli bacterial virus, barely able to digest solid food and bereft of creative energy.

Obsidian understandably has these scars etched into its imprint. The first song is called “Worsening,” subsequent cuts include “Ossuary,” “No Past Lives” and “Earth Death.” While the mood is often bleak, it’s never bloated. “Miasma Sky” balances being “swallowed alive by the sky” with a gorgeous piano groove and levitative croon that could detonate a disco club night. The album is unusually cohesive, suffused with heavenly choirs, head-nodding percussion, erotic lyrics, and wry humor

“The songs and lyrics all came out of a pretty fucked and arduous process of trial and error,” Baths says. ”But I hope people understand that I’m not the depressed, suicidal, and death-obsessed person the record may paint me as being. These are just darker areas that I wanted to explore.”

The areas of exploration include reading and research into the Dark Ages and the black plague, different versions of Hell as spied through Dante’s Inferno, the Bible, and old world illuminated manuscripts and paintings. These noirish fascinations met the virtuosic chops of a 24-year old who has been playing piano for 20 years.

“Anything I found that felt like a unique vision of darker emotions or atmospheres, I tried to absorb,” Baths says. “Being a positive and outgoing guy made it that much more difficult getting into that mindset. It was a matter of tapping into that and returning with songs that felt genuine and somehow from my own personal experience.”

This is the power of Obsidian. It combines universal questions with personal pain. On just his second album, Baths exhibits what only a few artists are capable of: painting in any shade they desire.

WHY? is a trio of handsome Cincinnati-born men who fiddle with skins, strings, bells and microphones and present their findings to the listening public. Singer Yoni Wolf grew up the second son to an art book editor and a rabbi. He got his start recording bad poems and sloppy beats on the family synagogue's 4-track. In junior high he discovered hip-hop. At art school, he learned how to drop out. Yoni's brother Josiah played drums at Rabbi Wolf's worship service as a kid, became a band geek as a teen, and fell in love with Thelonious Monk on his way to study music at University of Cincinnati. Doug McDiarmid would eventually get expelled from that same school for carrying a stun gun, but first he was raised by two French teachers and taught piano while in kindergarten. He also went to high school with the Wolfs, where he played in Steve Miller cover bands.

In various permutations together and with other now-notables (i.e. Doseone, Odd Nosdam, Mr. Dibbs, Atmosphere's Slug), these three created and/or contributed to several freewheeling rap and lo-fi rock-related projects including Greenthink, Miss Ohio's Nameless, Reaching Quiet, and the seminal cLOUDDEAD outfit. Their wildest dreams were achieved when they relocated to Oakland to make pop-inflected psychedelic folk-hop.

For four years, two EPs and 2003's cult classic LP, Oaklandazulasylum, WHY? comprised Yoni Wolf alone. He honed his trademark delivery – a sickly sweet, half-rapped, singsong style – shined up his wry, picturesque poetry, and developed a clip-and-collage aesthetic using keyboards, toys, guitars, samplers and anything worth banging on. When Doug and Josiah moved west to join Yoni, they brought with them a hoard of instruments and the ability to wail on every last one. By chops and imagination, WHY? grew into a thing of flesh, bones and fully fledged songs, resulting in 2005's Elephant Eyelash album. Critics swooned; ladies lauded; WHY? neither resisted nor rested. They toured – with Silver Jews, Yo La Tengo, and Islands. They collaborated – with Danielson Family, Department Of Eagles, and Subtle (Yoni also recorded with Fog's Andrew Broder as "Hymie's Basement"). They put out yet more

The brand new album Eskimo Snow is something of a companion piece to last year's celebrated Alopecia LP. In February of 2007, the WHY? trio temporarily relocated to Minneapolis and officially inducted Fog players Andrew Broder and Mark Erickson. Recording live as a five-piece, WHY? created two distinct albums from those sessions:
Alopecia, with its taut rhythms and biting wit, and Eskimo Snow, a shadowy and sprawling set that finds Yoni resigned to and ever-awed by those infinite erring bits of existence that make WHY? what it is.

On Aug 20th, JEL will release his long anticipated return to form on Anticon, entitled 'Late Pass'. Over the last
decade plus JEL has proved himself time again as the unheralded pioneer of live performance on the MPC sampler.
Trailblazing a path for the likes of Arabmuzik and more, wowing audiences across the globe time again & again with
his live-fingering of the machine. As a producer JEL has created over 30 commercially released LPs (for himself,
Themselves, Mike Patton, Subtle, 13&God, and more). Last year JEL toured the country supporting SLEIGH BELLS,
WHY? as well as extensive headline Summer run w/ DJ Abilities.

In the hands of producer Djavan Santos, a.k.a. D33J, what should be computer-quantized or staid is given light and life. Aquatic textures overlap with bedroom clicks, muffled vocals & vacuous guitar to form hazy late night jams with just enough rhythm for a syrup-drenched dancefloor. Colors change over the course of a song — cool blues melt to hearthy reds — and melodies wind their way through shifting textures while new forms are created at every turn. Though D33J is a solo sound technician, his sound is variegated. It is lush and large and it is alive.

Of course, the 22-year-old’s pedigree demands as much. Los Angeles born and bred, D33J attended the city’s prestigious yet public Hamilton High alongside Anticon’s Baths, OFWGKTA’s Syd the Kid, the FIDLAR boys, and Friends of Friends bit-bender Groundislava. While there, he studied both guitar and electronic music, and caught friends’ shows after-hours when he wasn’t experimenting with software at home.

When D33J moved north to study experimental audio and visual design at the San Francisco Art Institute, he was initiated into the WEDIDIT mafia (via Shlohmo, Ryan Hemsworth, RL Grime), with whom he nurtured a strongly weirdo cult lifestyle and further developed his unique approach to crafting instrument-infused, R&B-touched bedroom techno.

D33J recently returned to L.A. to claim his rightful place among the city’s vital noise-makers. While he continues to seed the Wedidit BlogSpot with bold R3MIX3S — see clutch reinventions of Brandy, Sigur Rós, and Drake — Anticon is giving his Tide Songs EP the debut it deserves. The five tracks contained therein offer an inventive, brightly budding intro to an artist who’s only just begun to blow the eff up himself.

Daedelus has dedicated his musical career to the war against cliché. Like his mythological namesake, Alfred Darlington is an inventor, a craftsman, a constructor of labyrinths. Others get trapped in the maze; he knows how to build wings.

For 15 years, Oakland's Adam "Doseone" Drucker has been spearheading the unfound sound, lassoing it,
and wrestling it to the ground. Through hard work and hand craft, the rapper/producer/poet has built up a
body of work of both striking quality and impressive quantity, rising through the ranks of '90s battle rap
to become a celebrated solo artist and collaborator. Whether crushing genre through flagship projects like
Themselves, cLOUDDEAD, and Subtle, or carving out his own brand of strange pop via self-produced
albums like G Is For Deep, the Anticon cofounder remains endlessly inspired and utterly fearless.

Though born in Napa, Idaho, Dose honed his mile-a-minute wit and rapidly expanding imagination
while splitting time between his parents' respective homes in New York and New Jersey. He relocated to
Philly in his late teens, and then attended college in Cincinnati. There, he made it to the final round of the
annual Scribble Jam competition, battling a then unknown Eminem, but the experience left him wanting
something more. A year later, in 1998, he got it. At school, he'd begun experimenting with a pair of locals
calling themselves WHY? and Odd Nosdam. Their freewheeling Greenthink group would morph into the
much lauded psych-hop of cLOUDDEAD.

Meanwhile, a series of fortuitous tape trades resulted in the landmark collaborative project, Deep Puddle
Dynamics, which brought together several soon-to-be titans of the indie rap world (Dose, Sole, Alias, Jel,
DJ Abilities, Atmosphere) and inspired the growing family of musicians to start their own label, Anticon.
In the process, Dose discovered his beat-making better half in Jeffrey "Jel" Logan and their partnership
was unveiled with 1999's seminal Themselves debut, Them. As their collective star began to rise in the
hip-hop underground, the crew moved west, to Oakland, to mine out a place of their own.

Happy coincidence would introduce Dose to Dax Pierson, the Berkeley-based keyboardist whose vision
inspired the creation of the Subtle sextet. Taking pages from Can and This Heat, they'd shape their
otherworldly, rap-addled post-rock from extended improvised jams, and go on to create a triptych of LPs
whose vivid and expansive sound was matched by Dose's lyrics—an ornate set of characters and concepts
embodying a mythology equal parts Buckminster Fuller, Dylan Thomas, and The Neverending Story.
Similarly, the transatlantic 13&God was born, comprising Themselves and German plinkerpopists the

As the dynamic voice of all of these and a live performer with a flair for the theatrical, Dose has gone on
to collaborate with everyone from avant-rock mogul Mike Patton and TV on the Radio's Tunde Adebimpe
(collectively the Nevermen), to Watchmen author Alan Moore and members of Mogwai (the Unearthing
LP box set). Meanwhile, his solo output has run the gamut from left field rap (Hemispheres) to spoken
poetry (Soft Skulls) to books of illustrated verse (The Pelt). Experiments with animation have led to a
cartoon called Mars Safari, a potential series produced by Cartoon Network. Working closely with creator
Ghostshrip (Adventure Time), Dose is doing voices, music and sound effects in the funniest of company:
Dana Snyder (Aqua Teen Hunger Force), Steve Little (East Bound & Down) and Carl Jones (Boondocks).

Raised by a church organist/hobby store clerk and a fire-fighting jazz drummer on six acres in rural Hollis, Maine, Brendon Whitney didn't have cable growing up. With only three stores in town, the musical pickings were slim, so he'd stay up late and fuss with the TV antenna until he picked up NBC's now defunct Friday Night Videos. During one episode, Cosby kid Malcolm-Jamal Warner curated a batch of rap clips including Special Ed's "I'm the Magnificent." Young Bren's mind was blown. He bought every hip-hop magazine he could find, covering the walls of his bedroom with pictures of mean-mugging rappers. His parents were unsure about the imagery, but supportive of his passion, so on Christmas of 1992 they gave him his first drum machine.

In 1993, a trip to Portland's Maine Mall brought Alias, 17, to the feet of a real life Karl Kani-fitted hip-hop scholar. He listened to the wisdom spoken through this guru's then-patchy red beard, and soon began battle-rapping in the ciphers he'd only read about. He learned to use an MPC and to find the drum breaks on records, and three years later joined Sole (whose beard had filled out) as a member of the Live Poets crew. In 1998, these two teamed up with Doseone and Atmosphere's Slug to record the seminal Deep Puddle Dynamics LP. Upon hearing the finished product, Alias and his wife Jenn sold their car, quit their jobs, rented a U-Haul and headed west, moving into an old East Oakland warehouse with the rest of Anticon's founding members.

There, Alias made his first album -- a rap-heavy, brooding introspective called The Other Side of the Looking Glass (2002). But after producing tracks for Sole's Selling Live Water and watching Dax Pierson play keyboards in Themselves, Alias began to focus on crafting instrumentals. His Eyes Closed EP and Muted LP (2003) wedded rich, frigid atmosphere to guitar, keys, synth and drums (both live and programmed) -- a fresh take on left-field electronics. He then stretched out over collaborative albums with his jazz-playing younger brother Ehren (Lillian, 2005) and New York chanteuse Rona "Tarsier" Rapadas (Brookland / Oaklyn, 2006), and gathered up his remix work for folks as diverse as John Vanderslice and Lali Puna with Collected Remixes in 2007.

Later that year, partly as an attempt to shake off creative stagnation (which seems absurd all things considered), Alias and wife Jenn once again packed for a one-way, cross-country trip. He announced his return to Portland, Maine, with 2008's Resurgam, a celebrated venture into wordless hip-hop and electronic pop whose title comes from that city's motto -- Latin for "I will rise again." Fittingly, after producing B. Dolan's modern boom-bap masterpiece Fallen House, Sunken City (Strange Famous Records, 2010), Alias returned with Fever Dream in 2011. That album, a stylistic reboot, is his most inspired and dynamic to date, owing in no small part to fact that in the course of its creation, Brendan Whitney became a father.

Illinois native David Cohn, a.k.a. multifaceted rapper Serengeti, experienced two distinctly different childhoods growing up. Half of his time was spent in Chicago’s then all-black South Side with his mother — a secretary, atheist, and devout communist. The other half was clocked in the then all-white suburbs of Olympic Fields with his father — a stressed, middle-class business-owner. Though Serengeti is the great nephew of Sonny Cohn, Count Basie’s trumpeter of thirty years, music wasn’t passed down freely in the family. Instead, young David kept his musical obsessions in his head, and by the time he was ready to loose them, his skull had accumulated several album’s worth of left- field hip-hop detritus. Geti has since released fourteen albums in ten years. He made his first two nearly by accident, on the way to completing his so-called “debut,” Gasoline Rainbows. That triptych created a hefty rumble in the underground, showcasing stylish, heady raps intertwined with thick threads of soul, pop, rock and psychedelia. With 2006’s Dennehy — a character-based concept album loaded with Chi-town signposts and sports references — Geti established himself as the missing link between Kool Keith, Common Sense and Bill Swerski’s Superfans. Since, he’s been following a stream of consciousness through the darker corners of society and his psyche over an increasingly adventurous musical trajectory. In 2008 alone, Geti debuted two new projects: Yoome, an intimate electronic collaboration with a New Zealand chanteuse, and Friday Night, an exercise in deconstructed party rap with emcee Hi-Fidel. In 2009, Adam “doseone” Drucker (Subtle, themselves, 13& God) signed Geti and his sometimes production partner Polyphonic to Anticon. The pair released their sophomore collaboration on the label that same year, Terradactyl, which found the emcee’s bleak verbiage delivered in both rhyme and free-floating sing-song over an intricate and glitchy expanse of experimental electronics. Fifteen months later came Serengeti & Polyphonic’s double EP, Bells & A Floating World, which featured six brand new songs and as many remixes, including inspired reworkings by artists as diverse as WHY?, Bracken, Jel, Son Lux, Greetings From Tuskan and Epstein Y El Conjunto. 2011 is looking to be one of Geti’s busiest years yet, thanks to Anticon’s release of Tha Grimm Teachaz’ long-lost cassette-only classic There’s a Situation on the Homefront (Geti helped bring the formerly shelved 1993 album to the label) and his contribution to Asthmatic Kitty’s ongoing 7-inch series. His latest Anticon release is Family & Friends, a refreshingly upbeat full-length produced by WHY?’s Yoni Wolf and Advance Base, formerly known as Casiotone For The Painfully Alone.

David P. Madson was born deep in the Reader's Digest belt of middle America—Cincinnati, Ohio—in the bicentennial year of 1976 to a Catalonian belly dancer and a farm-raised Iowan engineer. Just the kind of auspicious incongruity needed to promise a life free of predictability. He played trumpet in elementary school and hoops on Porkopolis side streets, drew constantly and skateboarded in between, but it was an unassuming plastic rectangle that stole his heart in eighth grade...after he stole it (a copy of De La Soul’s 3 Feet High and Rising) from a house party.

A young Odd Nosdam began meddling with machines in the mid- ’90s, looping his favorite Nirvana riffs and Black Moon beats on a Sega Genesis and filling tapes with noise collage. In his early 20s, his visual fixations brought him to the Art Academy of Cincinnati, where he studied fine art and photography, while his more recent aural obsession necessitated a Dr. Sample and a Tascam cassette 8track. Here, a new romance began with fellow found souls Doseone and WHY?, as well as a fertile run of projects and tapes sound-designed by Nosdam (Greenthink, Reaching Quiet, Plan 9) that culminated in cLOUDDEAD’s hallowed eponymous debut. His work there done, David dropped out of art school, left home in March of 2001, and relocated to the Oakland Bay Area Anticon settlement.

For five years Odd Nosdam was Anticon’s art director (establishing the look of the label by designing album art, clothing, posters and ads) and to this day he’s the collective’s in-house audio advisor (arranging, engineering, mixing or otherwise contributing to records by Sole, Jel, Telephone Jim Jesus, Sage Francis, WHY?, Dosh and Thee More Shallows). In 2002, Nosdam released No More Wig for Ohio—a collection of beats and mini-opuses recorded in the so-called short-attention-span style—and hence, the methods of a modern maestro of collage were revealed. His is a sound that emerges from the many intersecting lines of chance, wonder, and dedication. Ever the dirty-fingered vinyl junkie, he scours dumpsters, thrift stores, swap meets and yard sales across the U.S. and Europe for long-forgotten musical duds, keeps his Dictaphone handy should a choice field recording present itself, and hones his own capabilities to create inspired moments with occasional live instrumentation. And the results are devastatingly good.

To wit, 2005’s fuzz, dub and hop masterpiece, Burner is as strikingly visual as music comes—a feat David achieves by alternately fine-tuning and fucking up his found sounds via an arsenal of samplers (E-mu Systems’ SP-1200, Akai MPC2000, Boss’ SP-202 Dr. Sample), the inimitable tape warmth and imprecision of his 8-track, and the exactness of ProTools. Thusly, Nosdam pays homage to his greatest influences (Prince Paul, Flying Saucer Attack, Lee "Scratch" Perry, and Hood) while eschewing imitation.

The last few years have found Odd Nosdam riding high on the crest of hard work and good happenstance. The wild acclaim garnered by cLOUDDEAD’s genre-flouting amalgam of droney wash, surreal wordage and rich sampledelica led to two Peel Sessions for the group, an unforgettable date in Tel Aviv opening for Mad Professor, and one final album: 2004’s pop-perverse Ten. In 2005 Nosdam and Jel wrapped a collaboration with the legendary Mike Patton for his radio-noir project, Peeping Tom. And 2006 saw David continuing his ongoing short-attention span series with the self-released Vol. 8, and joining the ranks of the select few who’ve remixed the work of pioneering electronicists Boards of Canada.

These days, David indulges his inner musicologist by DJing at Bay Area bars and galleries, draws compulsively (cultivating an ultra-dense abstract style beginning to creep its way into art shows), and in 2007 composed the score for Element Skateboards’ video, This is My Element. In 2007, Anticon released Level Live Wires, Odd Nosdam’s latest album-length foray into dynamic audio collage and composition. 2008 celebrated the release of Pretty Swell Explode, an enhanced two-disc collection (one album, one EP) of remixes, B-sides, videos and original songs, featuring Boards Of Canada, Black Moth Super Rainbow, Serena Maneesh, Jessica Bailiff, Bracken, Thee More Shallows, and more.


When Shaun Koplow moved to the Bay Area to study art at UC Berkeley in 2001, he had no idea he'd wind up running his favorite record label, or that he'd eventually relocate its operations to Los Angeles, the city from whence he came. Four years ago, at the age of 23, Koplow became Anticon Records' label manager – the chief wheel-greaser – charged with vetting new talent, developing established acts, conceiving record campaigns and handling the day-to-day. Having come up amongst a crew of West L.A. backpacker kids, Koplow was a longtime devotee of California's outsider rap scene, a movement that saw Anticon at its forefront in the late '90s. He's since made it his mission to preserve that commitment to innovation, artistic license and all-around quality while pushing the label's genre-bending tendencies yet further, helping to bring artists like Baths, Tobacco, Son Lux, Bike For Three!, and Anathallo into the fold alongside Anticon mainstays like WHY?, Themselves, Odd Nosdam and Dosh. Koplow views his role at the label as curatorial, a philosophy that can be witnessed literally when he's DJing under the handle Sodapop, or co-hosting Silver Lake's weekly Calling All Kids night with partner Matthewdavid (Dublab, Alpha Pup, Leaving Records). The pair's duties for C.A.K. are head-to-toe – they're promoters, organizers, song-selectors, and even bartenders – and Koplow's vinyl/Serato sets consistently display an ear for the adventurous: favoring vintage krautrock, contemporary electronic pop and Bay Area rap. C.A.K.'s history of guests is equally diverse: Nite Jewel, Dm-Funk, Lucky Dragons, Flying Lotus, and Ariel Pink, to name a few. Both Koplow and Anticon have been based in L.A. since early 2008. The former creates visual art occasionally and nurses a strong fetish for rare wax, brims and kicks. The latter refuses to be pigeonholed, eternally.

Low Limit

"Bryant Rutledge has come a long way. He moved to San Francisco from his hometown of Portland, OR, took a position at electronic music rag XLR8R, and began work on his music career as a multi-talented DJ and producer.

Once known around our city's clubs as LL Cool DJ, Rutledge now produces and DJs under the name Low Limit. He may be better known at this point, though, as one-half of the electronic glitch-hop juggernaut Lazer Sword, which pairs him with production partner Antaeus Roy (a.k.a. Lando Kal). Lazer Sword has helped put San Francisco's leftfield beat scene on the map with its chopped and screwed, synth-heavy dance tracks." - Patric Fallon, SFWeekly

$17.00 - $27.00


*Event is in both The Echo & Echoplex
**Tickets purchased on day of show at the door will have $1 facility fee applied **

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