First Fridays @ Natural History Museum with The Gaslamp Killer

Spaceland Presents

First Fridays @ Natural History Museum with The Gaslamp Killer

ADVENTURE TIME, DJ Sodapop, Inka One with violinist Paul Dateh

Fri, February 1, 2013

5:30 pm

Natural History Museum

Los Angeles, California

This event is all ages

The Gaslamp Killer
The Gaslamp Killer
LA’s William Bensussen, aka The Gaslamp Killer, is many things at once. The San Diego native is a bonafide one-off; an artist and human being that can never be repeated. With an unparalleled energy, the DJ, producer, promoter and curator brings a different level of performance and showmanship to electronic music.

“I always felt drawn to party time ever since I was little. Any kind of opportunity; a wedding, bar mitzvah, holiday. Whatever kind of event that was going on in my little community in San Diego, if there was music, I was dancing. It’s just the way it was. I’ve always been into the energy and the happiness that it brings.”

Being a true music lover, and a complete obsessive, as a DJ/selector Bensussen has opened minds around the world to music that wouldn’t otherwise get heard. In his own words: “As artists, it’s our job to entertain as well as educate.” Alongside co-founder Daddy Kev, GLK has put Southern California on the music map for years to come, with their beat mecca Low End Theory and the vibrant creative

community they’ve built around it. The weekly Wednesday club night has brought together different scenes and generations, breaking new artists while also getting the likes of Thom Yorke and Erykah Badu to play DJ sets to the fevered Low End crowd, who often wait hours to get in.

Over the last ten years, Gaslamp Killer’s iconoclastic attitude has led him beyond LA to far-reaching corners of the globe, one stage at a time: from Pitch in Amsterdam, to Sonar in Barcelona, to Austin Psych Fest, to Roskilde in Denmark, to Coachella. Holding a collection of well over 13,000 vinyl records, GLK’s untamed, unpredictable sets take traditional genres of rock into the outer reaches of hip-hop and the deep into the cosmic pressure of the heaviest electronic beats, with plenty of obscurity and bizarreness in-between.

The now rare, GLK collectables “I Spit On Your Grave” (Obey) and “All Killer” (Finders Keepers) inspired a new generation of DJs to appreciate the art of a mixtape. Dusted Magazine described his follow-up mix, “Hell And The Lake Of Fire Are Waiting For You” (self-released), with words that describe GLK as a DJ in general: “Trying to figure out what’s going on is half the draw.”

“The music that I grew up with influences me today enormously still. I love classic rock, I still love Dub and I still love Rap. Real rap. Gansta rap. I love bands, live bands, it’s the music I grew up with. I don’t think there are that many bands that can compare to Jimi Hendrix, Led Zeppelin, Pink Floyd, The Doors. They’re not popular for no reason. I play The Beatles in my sets all the time still. Their music is a huge influence on me. I still play Dr Dre in my set all the time. His beats and the rhymes, the energy, they just affect me so much. They are a part of me. As well as Hip Hop, as well as Rock, and Blues, and Soul, and Jazz, and Reggae, and Dub. That kind of music I think lends to everything that we are all into today. All of us are fueled by that. The formulas that they laid and

the foundations that they laid are used by musicians forever and will continue to be used forever.” interview with Serato:

As a producer, The Gaslamp Killer has worked with artists such as Gonjasufi, Prefuse 73 and Flying Lotus. His own experimental solo material pushes the borders of genre as much as his performances, particularly with his heavy-weighted EP ‘My Troubled Mind’ (Brainfeeder) and the monster ‘Death Gate‘ EP (Brainfeeder), which featured Gonjasufi, Computer Jay and Mophono.

Forthcoming on Brainfeeder in September 2012, ‘Breakthrough’ will mark the debut full-length album from the Gaslamp Killer. Blending California-inspired psych with widespread global influences, on ‘Breakthrough’ GLK brings together a potent cast of friends to contribute to the album, with guest appearances from Gonjasufi, Adrian Younge, Dimlite, Daedelus, SAMIYAM and more. A musical anachronism and unconstrained compilation from a wandering spirit.
Adventure Time is (was? pretty sure "was" is more appropo) Frosty and Daedelus; I'm not sure what Frosty was up to, but Dae turned out to be a total beat strangler, releasing record after record packed with sampledelic instrumental bliss-bliss. My fave is Of Snowdonia (will somebody put that out on vinyl, please GOD!?!?) …

Back to Adventure Time: They put out, that I know of, one spectacular album called Dreams of Water Themes, two 7-inches that are likely hard to find (guess it's time to do some Gumshoe-in') and the "Glass Bottom Boat" 12-inch, which I was thrilled to encounter — and subsequently cozy up to — in Austin recently.

This five-cut mini-LP offers a glimpse of the glee of Water Themes but not the mind-empowering OOF! Plus there's a guest spot from Ellay Khule that hasn't aged well; not well at all. (Remember when indie-rap was all the rage and a ton of boring couplet-tossers like Living Legends and Jurassic 5 were everywhere? That's what "Whetting Whistles with Pigeon John" reminds me of with its bravadocious beat and bodacious low end. Not what I came to the Adventure Time party to hear … )

Much like Antipop Consortium records, with "Glass Bottom Boats" you have to skim the surface a bit for the creamiest bits, like beef from tallow (or something; not much of a tallow enthusiast). I just mentioned how there was a glut of standard-ass indie-rap, right? Well there also was a glut of instrumental hip-hop bands back then (2003-2005), and luckily it was of higher cloth, outfits like Alias, Blockhead, personal fave Odd Nosdam, Nobody, Deceptikon (which was a pretty rad group), RJD2 — don't try to tell me he's an "electronic" musician; I don't buy it — setting a standard that proved to be tough to follow (though I guess you could say Flying Lotus did a good job of futurizing it, along with Daedelus and a select-few others).

I can only imagine what Adventure Time might have accomplished had they kept at it. They took gloomy jazz samples and put them in a context that not only rebooted my sense of what good music could be at the time, but extended the root works into better environs than they originally existed in. It was fascinating, and the cover art to their albums — watery, squishy, eternally aqua-blue, cartoonish, etc. — is a perfect example of the Album As Art ethos in full effect. None of Daedelus' subsequent records look this good, playa!

Only on Side B does the Adventure Time duo set things right. Quick-skippin' "Crazy, Crazy Like a Fox" is vintage AT (though it is in fact a remix of a Shakeyface song), setting a head-nodding tempo from the giggety get-go and dosing the listening with a kaleidescopic array of sax flutters and doubled-up xylophone sprinkles (at least I hope they're double-tracked).

"Basil Bossy Never" is one of the brand new tracks on here and it's middling yet intriguing with its Cuban piano overtones and stuttering drums. Daedelus leaned heavliy on this track for one of the cuts from Snowdonia, that's fo' sho'. Another disappointment, WHAT'LL I DO? WHAT'LL I DOOOOO?

"Whetting Whistles" (Nobody remix) is another curious mix, teeming with elements that just don't interest the ear and more of those big-city bass lines that don't match up with my high expectations for Adventure Time, even if it is a Nobody remix.
DJ Sodapop
DJ Sodapop
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.
Inka One with violinist Paul Dateh
Inka One with violinist Paul Dateh
Los Angeles native, Inka One has been busy. As a 17-year old hip hop head, his turntable fixation began in 2000 with mixing at its core. While attending college in Colorado, he ran the syndicated college radio show “Basementalism” for 3+ years. That experience led to North American tours DJing for The Procussions, Pigeon John, and others. Upon returning to L.A. he began rocking select spots with his unique blend of boom bap hip hop, progressive beats, and dusty breaks. In 2006 he joined the renowned SoCal-based DJ collective known as the Beathackerz. That same year he founded Boombox, a monthly event that has booked legends from Pete Rock to Flying Lotus in route to becoming L.A.’s premier destination for both classic and future sounds. A testament to his unique taste and strong ties to the underground, Inka was selected to be one of the Los Angeles representatives for the renowned Red Bull Music Academy in 2009. Between projects with artists like Paul Dateh and Cook Classics, guest sets at parties like The Do-Over and The Get Back, as well as crafting his own mixes and producing his own events, Inka’s always working on something special.

Paul Dateh is a musician, composer, educator, and new media artist from Los Angeles, California. His work has been seen by millions on the web, through television, and inprint. He recently made his international debut as a composer with the short film “NANI“, directed by Justin Tipping and co-scored by Ken Belcher. The film was chosen as an official selection of the 2012 Berlin Film Festival. Dateh is currently working on an EP titled “Invisible World”. You can keep track of his progress at
Venue Information:
Natural History Museum
900 Exposition Blvd.
Los Angeles, California, 90007