Absent on Friday were the dreadlocks, glowsticks, and furry hats (sorry, Burners), and the hordes of kids acting like their parents let them leave the house unsupervised for the first time ever (sorry, party bros). What remained were people who can handle their alcohol, have fun, and most importantly, enjoy good music. This is my type of party.
When I arrived a little before midnight, Low End Theory founder Daddy Kev and resident MC Nocando were already in command of an energetic crowd that seemed like it had been waiting for this day since the first Low End Theory party took place in LA. While Nocando flexed the mic skills that won him the Scribble Jam freestyle competition, Daddy Kev threw together a neck-snapping DJ set using an iPad as his weapon of choice. And you have to give the man credit for working in a Cody ChestnuTT edit that had the crowd moving.
When Gaslamp Killer took the stage, things got weird, in a good way. Known for his eclectic DJ sets and a giant head of hair that sways like a palm tree in the wind, GLK lived up to his reputation, basically playing whatever the fuck he felt like. '60s psych-rock? Yup, there was some of that. Late-'90s Busta Rhymes? Got some of that, too. Jam City's "Magic Drops"? He even knows what's hot in the streets. And for good measure, Gaslamp Killer threw some filthy dubstep on top of it all, because even I can admit that it's great in moderation.
By the time Baths went on at around 12:40, the party was still in good shape. Shitshows were kept to a minimum and everyone seemed to be having a good time. Unlike the previous two acts, Baths came through with a live set of his own material. For the first part of his set, he seemed to have a few issues with his mic volume. but once that got sorted out, Baths kept the crowd entranced with the emotional intensity of his music, which he refreshed for the Low End crowd with plenty of stutters, rolls and edits to his beats, adding just the right amount of dirtiness to his sound.
Seeing as Baths' debut album stayed on the quieter side of things, it was interesting to see how he and the crowd would both adapt to the change in pace. And herein lies the beautiful part of the Low End Theory mentality: more than just "keeping the party going," these guys are mostly just about playing good music, regardless of what form, tempo, or volume it comes in. And for the most part, the crowd was okay with that, which was refreshing to see.
In between Baths and Daedelus
, Nobody and Gaslamp Killer made sure the crowd remained engaged, throwing together a set of some of my favorite hip-hop out right now. We're talking Lil Wayne's "6'7'," Hudson Mohawke's remix of Tweet's R&B jam "Oops," and my personal favorite of the night, Lil B's "Wonton Soup" (never underestimate the power of hearing that on a big soundsystem). There was no shortage of swag, that's to be sure.
By the time Daedelus went on at 2:45 in the morning, there was still a surprisingly large bloc of people there, waiting to see one of the godfathers of the L.A. beat scene. And like pretty much everyone else who stepped up in the booth that night, his set was not lacking in variety. Setting the tone with an uptempo edit of T-Pain's "Chopped and Screwed" that bordered on ghetto house, Daedelus freaked his Monome MIDI controller like a man possessed. Making it perfectly clear that he was there to party, he ran through a flurry of house, dubstep, and bass tracks that had people huddled around the DJ booth like flies near a fluorescent light. And nobody was spared from his vicious edits and remixes. Both Toro Y Moi and M83 popped up in his set, as well as Drake, who was the recipient of the most sinister reinterpretation of all time ("Fancy" was chopped, screwed and backed with loads of bass). He even remixed himself.
By the time his set was over around 3:30, I don't think there was a person in the crowd who could complain about not hearing at least a little of what they wanted. And really, that's what you should want out of any party. I'm looking forward to seeing what the Low End Theory crew comes up with next time around.
Crowd control: Most of the Low End crew could have easily kept among themselves backstage if they wanted to, but over the course of the night, I saw them all working their way through the crowd, not at all above talking to those in attendance. It made Low End Theory feel all the more like a party.
Shlohmo -- get familiar with him: The S.F.-based whiz kid (who has also performed at past Low End Theory parties) was a popular guy Friday night, not only having his track "Tomato Smash" make it into Daddy Kev's set, but also receiving a shoutout from Baths, who then launched into a remix of Shlohmo's "Spoons." I bumped into the always-humble producer, who mentioned he's almost finished with his full-length debut album. Get excited.
Not-Chillout Room: I'm not sure what was going on in the front room of 1015 Folsom after 2 a.m., but whatever music was coming through on those speakers was putting everyone on edge. Sounding like paranoid ambient drone that would have been at home in the last half-hour of Kubrick's 2001: A Space Oddyssey, I heard multiple people comment about the fact it was putting them on edge. Not cool.
About The Author
clipping at Brava Theater Sept. 11
Sub Pop recording artists 'clipping.' brought their brand of noise-driven experimental hip hop to the closing night of 2016's San Francisco Electronic Music Fest this past Sunday. The packed Brava Theater hosted an initially seated crowd that ended the night jumping and dancing against the front of the stage. The trio performed a set focused on their recently released Sci-Fi Horror concept album, 'Splendor & Misery', then delved into their dancier and more aggressive back catalogue, and recent single 'Wriggle'.
Opening performances included local experimental electronic duo 'Tujurikkuja' and computer music artist 'Madalyn Merkey.'"