Scion A/V Dance 4

7/31/2019 Scion A/V Dance 4

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Staff

Scion Project Manager: Jeri Yoshizu, SciontistEditor: Eric Ducker

Creative Direction: ScionArt Director: malbonGraphic Designers: Nicholas Acemoglu, Cameron Charles, Gabriella Spar tos

Contributors

Writers: Lloyd Cargo, Maud Deitch, Peter Macia, Julianne Escobedo ShepherdPhotographers: Shane McCauley, Chris Phelps, Aaron Richter, Josh Sisk, Colin

Young-Wolff

Contact

For additional information on Scion, email, write or call.Scion Customer Experience

19001 S. Western AvenueMail Stop WC12

Torrance, CA 90501Phone: 866.70.SCION

Fax: 310.381.5932Email: Email us through the Contact page located on scion.com

Hours: M-F, 6am-5pm PSTOnline Chat: M-F, 6am-6pm PST

Scion Dance Zine is published by malbon.For more information about malbon, contact [email protected]

Company references, advertisements and/or websites listed in this publication arenot afliated with Scion, unless otherwise noted through disclosure. Scion does notwarrant these companies and is not liable for their performances or the content on

their advertisements and/or websites.

2011 Scion, a marque of Toyota Motor Sales U.S.A., Inc. All rights reserved.Scion and the Scion logo are trademarks of Toyota Motor Corporation.

00430-ZIN04-DN

Cover Illustration: MFG Productions
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September

Scion A/V Presents: Dam-Funk -September 13Scion Presents: A Product of Design curated by Gluekit at Installation LA - September 17 to October 8

Scion A/V Presents: Switch - September 27

October

Scion A/ V Presents: Dam-Funk & Master Blazter TourCrowbar in Tampa, FL (October 1)

Club Downunder at Florida State University in Tallahassee, FL (October 2)One Eyed Jacks in New Orleans, LA (October 4)The Drunken Unicorn in Atlanta, GA (October 5)

Lola in St. Louis, MO (October 7)Grinnell College in Grinnell, IA (October 8)Pyramid Cabaret in Winnipeg, MB (October 10)7th St. Entry in Minneapolis, MN (October 12)The Empty Bottle in Chicago, IL (October 13)

Magic Stick in Detroit, MI (October 14)Shadow Lounge in Pittsburgh, PA (October 16)

Grog Shop in Cleveland, OH (October 17)Wrongbar in Toronto, ON (October 19)

Le Belmont in Montreal, QC (October 20)Highline Ballroom in New York, NY (October 25)

Sonar in Baltimore, MD (October 28)Voyeur in Philadelphia, PA (October 29)

Rock N Roll Hotel in Washington, D.C. (October 30)

Scion A/ V Presents: Nadastrom Moombahton- October 11

Scion Presents: Use Me curated Yuri Psinakis at Installation LA - October 15 to November 5

November

Scion Presents: From Here to Eternity curated by Kenton Parker at Installation L ANovember 19 to December 17

Currently Available

Scion A/V Presents Music Videos

The 87 Stick Up Kids, All the GirlsB.C. x Delivery, Return to Me

Big Freedia, ExcuseCubic Zirconia, Take Me High

Dan Sena ft. Del the Funky Homosapien, Song of SirenThe Death Set, Its Another Day

SCION A/V SCHEDULE

Scion A/V Remix: Sheen Bros.

(4th Pyramid & Cosmo Baker

ft. Greg Nice), Its So Hot

Scion A/V Presents:

Omar S High School Grafti

Scion A/V Presents:

Midnight Magic


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scionav.com

ExclusivE intErviEws & pErformancEs from

plus frEE music downloads, EvEnt info,

scion strEaming radio & much morE

Moodymann

Hype WilliamsChristian Martin

Eddie Fowlkes

Jacques Renault
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Set It Out from FXHE 002(2003)FXHE 002was the record that brought Omar S tothe attention of the worldwide electronic musiccommunity. Pressed with an etching on one side

and Omar S DETROIT stamped on the other, theunderstated DIY packaging captures the sameblunt soulfulness as the captivating, Midway-sampling standout track, Set It Out. Omarsproductions wouldnt always be as austere oraccessible as this ethereal anthem, but they allfollow the blueprint established here.

Day from FXHE 004(2004)Day snags a snippet of the Supremes Come

See About Me and stretches it out over anassembly line of kicks, hi-hats and snares. Thishouse jam burrows deep into an irrepressiblegroove while lter cut-offs give the track a semi-psychedelic feeling, like body-surng waves ofsinusoidal frequencies while Diana Ross callsout from a faraway beach.

Psychotic Photosynthesis single (2007)Throughout his career, Omar S has maintained

a steadfast refusal to use computers, insteadrelying on physical hardware for a more tactilesound. Psychotic Photosynthesis leans heavilyon the Poly Evolver keyboard, giving the track awarm analog veneer that would be impossibleto reproduce digitally. Inspired by Bootsy Collinscalls of Its psychotic, baby, Omar lls the trackwith oscillating, multi-timbral vocals blanketingelephantine bass lines. Basically, it sounds likezombie funk.

Fabric 45mix (2009)Omars mix for Fabric is his only release on a labelother than FXHE. Compiled from special edits ofpreviously released material, the mix works asboth an overview of his varied discography and asits own statement on the versatility of his music.From the video-game sampling Striders Worldto the rugged deep house of The Maker through

the eerie robo-funk of Blade Runner, Omar proveshis idiosyncratic oeuvre is multi-dimensional.

Heres Your Trance, Now Dance single (2011)At his best, Omar S is like an architect repurposingmaterials from a crumbling metropolis to build amore vibrant future. The loping, twelve-minuteHeres Your Trance, Now Dance is its ownself-contained universe, populated with earthybasslines and heavenly synths.

omarsdetroit.us

Listen to Scion A/V Presents: Omar S HighSchool Grafti atscionav.com/omar_s

Omar S is an elusive gure, releasingand distributing his own recordsexclusively through his FXHE imprint.Still you can hear the soul of Detroitin his music. Below are some of his

essential releases.

Story: Lloyd Cargo

Photography: Colin Young-Wolff

omar s
http://www.scionav.com/omar_shttp://www.scionav.com/omar_s


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Story: Julianne Escobedo Shepherd

For nearly ve years, Falty DL has been quietly

releasing excellently ne-tuned electronic music

from his apartment in Park Slope, Brooklyn.

There, he hunkers down with the focus of a

perfectionist with an ear for voluminous melody.

Though his heart is in New York, planted rmly

in hip-hop, his sound usually ventures across the

globe, mining British club beats from sources

like Aphex Twin and 2-step. It lends an itinerant

vibe to carefully produced tracks like Open

Space, a mind-bender from his latest album,

You Stand Uncertain, that parlays tubular bells

into impeccable jungle and a classic house bridge

overlaid on a clamoring breakbeat.

If it sounds complicated, it is. Faltys proclivities,

which are now expanding to include afrobeat

inuences, thanks to obsessive Fela Kuti

consumption, break down genre bounds to let

everything ow together. Im denitely in a

conscious, hyper-aware state when Im making

music, he says. Im thinking a lot about

soundnot so much where its going to land, or

if people are going to like it, or if its going tobe released, or what kind of music it is. When

Im making music its like I can almost hear the

whole song in my head. And I have to get it out of

my head and onto the computer.

It sounds like transcendental meditation, but

Faltys wide open range has left some wily

journos in a pickle, wondering what to call it, thus

sparking the perpetual tug-of-war between music

writers trying to describe what theyre hearing

and producers wanting not to be boxed in. I think

I got sort of labeled as making dubstep, which I

didnt think was accurate but I didnt really mind

that much, he says. Wonderful journalists will

come up with something new and fresh, but once

that conversation starts about what something is,

its sort of over the moment it starts.

Dance fans have seen it a million times, most

recently in dubsteps inevitable transition to

brostep and the complicated issue of whether

future garageanother term Falty DLs been

pegged withis in fact future if its being

made in the present. And isnt garage just

garage anyway? Music journalists need useful,

communicative terms, but in genres that

evolve practically nightly and with countless

producers trying to push the narrative, how

does a guy like Falty DL, who truly traversesstyles, keep himself interested?

I have this insatiable hunger to make music, he

says. I also just sort of feel like there are tons of

producers who make amazing music, but I dont

think anyone can say theyve heard anything

entirely new in a number of years. Sure, dubstep

was very different and cool, but it also sounded

a little bit like grime, and a little bit like slowed

down jungle. Theres nothing thats just totallyforeign and alien that I hear on a day-to-day

basis. So I feel like Im searching for that sound. I

dont even think Im gonna make it, but I just get

sort of bored with everything I hear, so I want to

just keep making more and more and more. A

solution we can all agree on.

faltydl.tumblr.com

To watch a video interview with Falty DL, check out

scionav.com
http://www.faltydl.tumblr.com/http://www.scionav.com/http://www.scionav.com/http://www.scionav.com/http://www.faltydl.tumblr.com/


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When Sound Pellegrino began as the Frenchhouse baby of TTCs Teki Latex and Orgasmic,it was obvious that the label was going to havea strong, dened soundthose two dudesare party-minded and impeccable curators ofeverything from the beats for their raps to theclothes on their backs. Slightly less expectedwas the impact of the labels visual aesthetic:

a clean, zig-zagging logo in tropical yellowstamped atop each sleeve, with bright archivalphotography splashed across the front, oftenconnecting the music to the most primordialelements in nature (also: kittens).

The striking art was the doing of Paris designhouse Ill-Studio, a collective started in 2007by former skateboarders Leonard Vernhetand Thomas Subreville, and the scope of theirwork expands far beyond music. Ill-Studio

translate their playful, Dada-inspired aestheticto typography, graphic design, video work and,notably, large scale installations that haveincluded a huge geodesic dome crafted inhomage to Buckminster Fuller and a geometricreimagining of a half-pipe. We considerourselves art directors more than artists, whichmeans that we need to adapt our aesthetic

depending on the project we work on and theparameters that we have to deal with, says Ill-Studio, collectively via email. Each project isan occasion to try something different. This iswhat makes our job exciting. Still, there is anunderlying sense of unity in Ill-Studios workthat reaches beyond their proclivities for brightcolors and geometryyou could call it a senseof hope mixed in with a fondness for the absurd.

For Sound Pellegrino, they were looking to minethe disconnect between the labels sophisticatedkeyboard fantasia and their own interests. Wetried to imagine what would be the exact oppositeof club music in term of image, Ill-Studio says.We really wanted to come up with somethingunexpected, so we decided to play around withthe classic Deutsche Grammophon logo and withold science books images. The rupture betweenthe artwork and their music works quite well.

ill-studio.com

Ill-Studios work has been featured in several shows at

Scions Installation LA gallery, including the recent The

Big Idea exhibit curated by Monsieur LAgent. For more

information, go to scionav.com/space. Ill-Studio also

created the album art for Scion A/V Presents: Sound

Pellegrino Straight From the Spring, available at

scionav.com

Ill

stud IoStory: Julianne Escobedo Shepherd

Each projEct Is

an occasIon to try

somEthIng dIffErEnt.

thIs Is what makEs

our job ExcItIng.
http://www.ill-studio.com/http://www.scionav.com/http://www.scionav.com/http://www.ill-studio.com/


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http://www.scionav.com/


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dillon francisAs moombahtons marriage of Dutch housetwerks and reggaeton-inspired badonkadonkinfects Soundcloud streams throughout theglobe, there are still only a few producers whoare consistently doing it right. Built on an easyconcept, the genre took hold in less than a year,but as producer/DJ Skinny Friedman recentlywrote on the Facebook group MOOMBAHTON& MOOMBAHCORE!, Yall need to stop puttinghalf-nished tracks and rough sketches inhere. If its not done, dont share it. Touch.Beyond moombahtons top purveyorsincludingDave Nada, the genres hapless inventor;Dominican Dutch wunderkind Munchi; andAmerican Southerner David Heartbreaktherehavent been too many producers who primarily

make moombahton and have risen to thecreativity that sparked its accidental invention.

Enter Dillon Francis, the kind of dude who doesntupload rst drafts of tracks. A bright-eyed23-year-old from Los Angeles, hes only beenproducing for two years, but his hype melodiesand tidy sense of production have already landedhim a coveted spot with Diplos crew (alongsideFrancis mega idol, Rusko). The Mad Decent-

released Westside EP is like moombahtonconcentrate: packed-in rave synths escalate tolittle explosions over loping syncopation, yet the

parts are pieced together so well youre temptedto think of them as clean lines. What really gotme into moombahton was Munchi, says Francis.When I rst heard his stuff, I was completelyconfused, like, How is this person making mefeel like its 140 BPM when its at 110? Thats whatreally drew me to it.

Now on the docket are remixes for Gym ClassHeroes, Calvin Harris and Bassnectar, plus anEP on Chase & Status label, MTA. The latter duousually specializes in drum & bass and dubstep,Francis rst love, which lends a sense of wherehe wants to take moombahton and its beeerhomeboy, moombahcore. I love what Skrillex isdoing with it, he says, and thats what Im trying

to domake it more of like a jump-up type thingand experimenting with different BPMs. I wastalking to Diplo about my new stuff and he said,This doesnt sound like moombahton anymore,its like youre making another genre.

facebook.com/dillonfrancismusic

To watch a video interview with Dillon Francis,check outscionav.com

Story: Julianne Escobedo ShepherdPhotography: Shane McCauley
http://www.facebook.com/dillonfrancismusichttp://www.scionav.com/http://www.scionav.com/http://www.facebook.com/dillonfrancismusic


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One might expect the man behind spooneristpseudonym Com Truise to be a joker, but SethHaley is serious business. Sitting in the back

of a bustling Italian restaurant in ManhattansEast Village, the former pharmaceutical adman pitches his latest project as if it were justthe newest cog in his complex media machine.Branding, product design and partnershipsare as frequently the topic of discussion as themusic itself. And all of it is done by Haley, rightdown to the banner ads that appear on blogs. Itssurprising to hear the amount of forethought andrigor Haley puts into Com Truise, considering the

musics most frequent descriptor is chillwave,a genre known for its devotion to apathy.

While Com Truises debut LP, Galactic Melt, doesbear some of chillwaves touchstonesretrosynths, leisurely melodies, languid tempoHaley openly admits that he hadnt even heard ofthe genre until a friend played him a Neon Indianalbum, and he doesnt appear too attached tothe tag. The most notable difference, though,

between Haley and chillwave is in Haleys obviousdedication to technique and craft, borne from anatural afnity for getting inside the machine.

Way back before I was even writing music, I stolemy sisters keyboard and completely destroyed it,he says, before detailing his current constructionof a custom modular synth unit for future music.If anything, Galactic Melt sounds like chillwavetorn apart and rebuilt into something moreambitious. It ostensibly tells the tale of the rstrobot astronaut and his journey to space, but itssongs are just as apt for a nighttime blast up thePacic Coast Highway. We test every song in the

car rst, Haley says. If it doesnt work there, itsnot going to work. Spoken like a man who knowshis target audience.

comtruise.com

To watch a video interview with Com Truise, check outscionav.com

Story: Peter MaciaPhotography: Aaron Richter

COM TRUISE
http://www.comtruise.com/http://www.scionav.com/http://www.scionav.com/http://www.scionav.com/http://www.comtruise.com/


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http://www.rhondasays.net/http://www.foolsgoldrecs.com/


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Interview:J

ulianneEsco

bedoSheph

erd

CUBIC

ZIRCONIA


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Your Cubic Zirconia videos seem like a trilogy.I didnt think of them as a trilogy when I first started,but I did kind of think of them as three connectedthings. With Hoes, I went from being born to beinga gluttonous teenager to being a woman. And thenNight or Day was kind of like going into the woods,I wanted it to be where I come out of Central Parkand Im living this life in the city and have it be thisthrowback to Sade and 9 Weeks, like all these great,

weird, mysterious women. And with Take Me High, Iwanted it to be about ladies.

In all those videos, theres a certain representation ofsexuality, I feel like its subversive in a way that youre almostchallenging. Its not a typical Im a hot girl performance.The women that are hot to me are women like PJHarvey or Toni Morrison. That is power. Its strongand so alive. Heres how I feel about this: If you havea whole bunch of people that are just loud in a room,

you should be the quietest. Because theres weight inwords. I feel like I took this road that is less traveled,and I understand my worth and my power and I dontneed to fake it.

So, Take Me High.I feel like Im giving birth to a baby with every video,but with this one definitely more. [Cubic Zirconiabandmates] Daud [Sturdivant] and Nick [Hook] arecool, they just let me do what I want, which is amazing.I feel like with every video Im learning crazy lessonsand Im being challenged, like Im supposed to behere and Im supposed to be doing this, but...whothought I could edit?

What was the initial concept?Black musical theater. It was just like, Why is nobodydoing this?

It seems to reference School Daze, the scene withTisha Campbell doing the torch song.Spike Lee has a lot of influence, being the only blackfilmmaker in like, 98 years. Well, Tyler Perrys cool

when youre with your family, but I wanted it to be athrowback to black musical theater, church plays, thattype of feeling. I wanted it to be this soulfulness, notdownplaying anything and just being like, This is what

we are. This auntie vibe, ladies. Like, Im gonna put an

outfit on right now and were gonna go out. This wholetype that doesnt really understand the concept of self-deprecation at all. Its like, I just got off work, gonna gohome and take a shower, come over to my house and

were gonna drink some champagne, were about to goto a club, 80s-style. With gentlemen. And were gonnadance, but were not gonna pop it. With the furs andstuff, I kind of felt weird, because I dont really believein that, but I was like, Im trying to represent this eraof black people.

Do you love movies?When I was younger I did some acting and when I wentto college at the New School I wanted to be a musicengineer or some other behind-the-scenes thing. Ialways wanted to be a part of the boys thing and havethat respect. But I never did film. I always loved womenlike Millie Jackson and Teena Marie who were veryallowed to wear their sexuality and talk s***, but at thesame time they were women and they were songwritersand doing very masculine jobs. I mean, Toni Morrison

was a beauty pageant winner! You can still be feminineand be in control with what youre doing and roll withthe men and have people respect you.

cubiczirconia.tumblr.com

Watch the Scion A/V video for Cubic ZirconiasTake Me High atscionav.com/musicvideos

Tiombe Lockhart is best known as the enigmatic and bodaciously talentedvocalist in New York future-funk band Cubic Zirconia. Shes a mesmerizingfrontwoman who bends the jazz styles she studied in school into seductive,hip-hop influenced power runs. But lately shes been stretching her creativewings behind the scenes, developing her vision for the band through a series

of videos shes conceived, directed andnow that shes taught herself FinalCutedited. Her first, Hoes Come Out at Night, was a Toni Morrison-inspired birth narrative; the second, for Night or Day, captured the isolationcity girls sometimes go through; and the latest clip, for Take Me High, isa sultry homage to classy 1980s black nightclub culture, with self-possesseddancing, white gloves and fancy furs. As she begins her foray into directingother peoples videosones for rapper Yak Ballz and jazz drummer Jemireare on deckwe discussed her process thus far.
http://www.cubiczirconia.tumblr.com/http://scionav.com/musicvideoshttp://scionav.com/musicvideoshttp://www.cubiczirconia.tumblr.com/


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http://www.scionav.com/partners


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Story:

MaudDeitch

swimming

with


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During daylight hours, high above DowntownLos Angeles on the rooftop of the Standardhotel, you can usually nd the citys young andfabulous languidly sunning themselves, glasseslled with exotically colored cocktails. But onSaturdays during the summer, the scene is takenover by water gun spraying masses, courtesy

of Matt Goldman and James Outlaw, two kingsof the citys music scene and masters of theart of throwing great parties, and their event,Swimming With Sharks.

Goldman and Outlaw started Swimming WithSharks to break up the monotony of overly coolL.A. nightlife with some daylight water ghtingand chilled out, low-BPM disco. Its a sound manyof their friends were playing and what they think,is the sound of L.A. itself. This music has startedto catch on nationally, and this year SwimmingWith Sharks has brought its West Coast vibe tothe Standards northeast home in New York.

Swimming With Sharks is also the partyembodiment of Matt Goldmans design skilland taste. Goldman, though perhaps bestknown around the city for the weekly parties hepromotesDance Right and School Night!isrst and foremost a graphic designer, and his

visual direction has steered the ship of SwimmingWith Sharks aesthetic since the partys inception.

Also essential to understanding the SwimmingWith Sharks concept is the way the parties arebooked. Rather than piling together a bunch ofDJs without much connection to one another,Goldman and Outlaw decided to partner withartists and record labels that they knew couldhandle the type of party that they wanted to throw.

They call each participant a curator and theirselected DJs teams. So far they have hosted thelikes of IAMSOUND Records, Trouble & Bass andDJ/jewelry designer Han Cholo. Of Cholos team,Outlaw says, A lot of these people arent in musicspecically, but music is such a huge part of whothey are. Han Cholo is a team weve had almostevery year. He has a jewelry line but hes also a DJand will come and play metal and its awesome.

For their recent EP, released through Scion

A/V, Goldman and Outlaw looked to some oftheir favorite DJs and collaborators from pastSwimming With Sharks. They had a largergoal in mind as well: to make it known thatalthough many of the artists who play the partyare constantly touring all over the world, theyrepresent Los Angeles in something that isnt

just them, but that is more of a community of DJsand a musical style thats a part of our culturehere, says Outlaw.

Goldman and Outlaw broke down the songs on thecompilation and explain why they chose each artist.

Poolside, Do You Believe (Amen Brother Remix)James Outlaw: I guess the idea [for thecompilation] started initially when I approachedFilip Nikolic from Poolside. Hes a reallyincredible bass player and producer, andPoolside is his project with Jeffrey Paradisefrom San Francisco, the guy behind the Blow Upparty. I approached him initially because theyreleased a single in the last year called Do YouBelieve. The whole identity behind Poolside isto do California cool summertime disco music,and thats verbatim what we want this comp tobe about. Also theyre called Poolside, which is aperfect match.

Superhumanoids, Mirrors (Cosmic Kids Remix)Outlaw: Weve known the Cosmic Kids sincebefore they were called the Cosmic Kids, andtheyve been becoming my favorite DJs tocome to the pool. Their selection is so good forit, and theyve recently started doing remixes

and making their own tracks with Filip [fromPoolside] as the overseer and producer for mostof their work. They submitted a Superhumanoidsremix that was actually perfect.Matt Goldman: Superhumanoids are a cool L.A.-based band. I went to high school with Max [St.John] in the band and theyre a part of the samescene. But theyre denitely a band and so theydont usually play the same kind of parties.

Pools, Mervins Emerging UrgencyOutlaw: Coachella weekend, our friends (thee)Mike B and Morse Code put out a mixtape calledPools. The mixtape was downloaded like 2,000times in the days before Coachella. It was beingpromoted as music for your drive to the festival,and I guess it worked. Its a two-and-a-half-hourmix in that same kind of slowed-down tempo discosound, with a couple of originals. So I called themand asked if they were going to have stuff they wouldbe interested in releasing for the compilation. This

was all kind of serendipitous.

LOL Boys, PorteilsGoldman: LOL Boys just put out an EP that Ithought was very tting. Out of all the artists, itsthe most out-there. It has a different audience,a different kind of sound, but it still works with


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this. I also really like the aesthetic from a designstandpoint. Not just the music, but the graphicsand the website and brand that supports the music.Outlaw: The music is slightly different becauseits a little more uptempo, a little more tropical. Itsa little cumbia-based or samba-based, so its justa little busier and gives a little more diversity. Its

not like a mixtape, its more like a bunch of songs.

Cosmic Kids, Reginalds Grove (M/B Remix)Outlaw: M/B is the new embodiment of Acid Girls.Theyre changing their sound and happen to bemoving closer to what were doing. Cosmic Kidswere really eager to get this M/B remix of theirrecord out. Cosmic Kids did an EP with Throne ofBlood and the M/B remix didnt make it on that EPbut they thought it was really good so they cameto us and asked if it could make it on the comp. Itwas perfect. Greg and Jamie have been playingour party as Acid Girls for years, so we werereally stoked to have them on board.

swimmingwithsharks.com

Hear the Swimming With Sharks compilation,Scion A/V Presents: Swimming With Sharks, atscionav.com/swimmingwithsharks
http://www.swimmingwithsharks.com/http://www.scionav.com/swimmingwithsharkshttp://www.scionav.com/swimmingwithsharkshttp://www.swimmingwithsharks.com/


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Bloc Party, Helicopter single (2006)This has a Weird Science remix, which is thevery rst remix I ever did, and the other side hasDiplos remix. We started talking to Bloc Party in2003, then in 2004 we released a bunch of theirmusic and in 2005 I did a deal with Vice. We hada Dim Mak imprint on their album, Silent Alarm.That record went on to sell like 350,000 albums

with our logo on there.

Throughout 2011, Southern California label Dim Mak is celebrating their fteenth birthday. Eventhough Dim Mak started as a punk label with the modest ambition to just release music made byfounder Steve Aokis friends, it has grown into a trusted purveyor of new and ambitious sounds.To commemorate their recent milestone, Dim Mak has collected some of its notable and unfairly

overlooked releases for a series of digital, genre-themed Vault compilations. Aoki, whose DJcareer has blossomed alongside the success of his label, led us through some of Dim Maks keydance music releases.


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MSTRKRFT, Fist of God(2009)Its really rare to nd dance artists that releasealbums. But we came from the rock and punkrock worlds, and those worlds are based on EPsand albums, not singles. So we came into thedance community guns blazing. MSTRKRFTsFist of God was a really big deal for us. Thereare a couple singles on there that crossed over,

one of which was Heartbreaker, featuring JohnLegend, that did really well for us.

Various Artists, Dim Mak Records ElectronicVault: Volume 1 (2011)Its a compilation the covers the inception of DimMaks involvement in dance music. It is a prettygreat compilation. It features remixes from guyslike A-Trak, DJ AM, LA Riots, Laidback Luke,Mixhell, Congorock and Don Diablo. It is all prettystrong names on there. Its a good retrospectiveof the past decade.

Bloody Beetroots, Romborama(2009)Before we are even in talks with artists forsigning album deals, I always want to get a clearpicture of the vision and direction. Romborama isa 17 song anthemic album. Its like 70 minutes ofmusic. That was a big crossover global successfor us. As far as their live shows, it was likeunderground artists took over globally. That

dened Dim Mak for a period of time.

Dirtyphonics, Tarantino(2011)Dirtyphonics are the only artists that have beenOKed by Bloody Beetroots to remix Warp.Bloody Beetroots dont let anybody remix theirmusic. They loved it and just let it happen. Wegave it away on RCRD LBL. Then I talked toDirtyphonics and we decided to put out their EP.Its Dim Maks rst dubstep release.

dimmakrecs.com
http://www.dimmakrecs.com/http://www.dimmakrecs.com/


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http://www.scionav.com/radio


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THE

SOUNDTABLEStory: Maud Deitch

I should probably begin, I was born says Karl Injex.The DJ and owner of Atlantas club/restaurant theSound Table is joking, but hes not, really. Hes been onthis journey for a long time. After moving from Atlantato New York after art school, Injex didnt know what todo with himself. I couldnt really nd the right creative

outlet, he says, but all the while I was searching, Iwas collecting records. Partially inspired by histhen-roommate, LCD Soundsystems Pat Mahoney,Injex decided to put his record collection to good useand became a DJ. This led to the monthly party RudeMovements at tastemaking New York venue APT, andthen national and international tours. When I startedto travel oversees for the music, I started to learnabout and appreciate food, wine and spirits, Injexsays. The music was a gateway for experiences that Iwouldnt have otherwise been able to have.

After returning from tour, Injex and Jeff Meyers, hisfriend and fellow DJ, decided to combine their lovesof food and music and dive head-rst into the darkand twisting maze that is owning a club. Looking todo something extraordinary, they pulled from whatthey knew from playing their favorite venue, APT: thesize (big enough to throw a proper party), the sound(excellent) and the design (clean). From there, theybuilt the Sound Table.

In the year its been open, the Sound Table has hostedsuch legendary and innovative DJs as Dam-Funk,Moodymann, Cosmo Baker and Eric Duncan, to namea few. Many of them have been drawn back more thanonce, thanks to Injex and Meyers understandingof what DJs want and need out of a venue, and theirdedication to making the experience of playing theSound Table as pleasant as possible.

Over the past year, Ive probably learned more and lostmore moments of my life from stress, but I wouldnttrade it for anything, Injex says. When you actuallydo something, you gain a profound respect for theprocess. With this in mind, the Sound Table is going tokeep growing, and will keep sounding better and better.

thesoundtable.com

The Sound Table is part of the Scion Partners network. Tolearn about deals and discounts available to Scion Partnersmembers, go to scionav.com/partners


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http://troubleandbass.com/http://www.soundpellegrino.net/


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The State of the CityDC is going through a renaissance. It used to have somany thriving music scenes from the late 1990s toearly 2000sit had a great hip-hop scene, a great punkand hardcore scene and a huge rave scenebut dueto venue closings and economic realities, those scenesstarted having a really hard time. DC music had a goodcouple of years of struggle. But the opening of the UStreet Music Hall last spring made DC a destinationpoint for a lot of acts, both big and small.

MoombahtonI spent a whole summer doing a weekly calledMoombahton Mondays and that kind of planted theseeds for it. Now the commercial radio in DC hasstarted playing it, and its grown a lot. Moombahtonis a DC sound. It was born in DC, bred worldwide andtheres a pride in that.

U Street Music Hall

Basically its this 300-capacity basement room, with acouple of booths and two huge barsbut its all aboutthe sound system and all about the vibe. No matterif you go in and are a punk rock kid or a downtownballer executive dude, you can have a good time andfeel comfortable. I remember Will Eastman andTittsworth, who run the club, were really focused onmaking it comfortable for everybody and having thebest sound system in the country. The music reallycuts through, and not just because of whos playing

but because of how the music translates onto the dancefloor. Other clubs in DC are really taking notice. WhenU Street opened in the spring of 2010, it was a reallycrucial moment for DC because it allowed a lot ofartists to stop by and expose the city to tons of greatnew sounds in a great environment. It also gave a lotof local DJs and promoters a chance to throw eventsin their own backyard. Everything grew stronger andstronger throughout the summer and the year. U StreetMusic Hall is bar none the best venue in DC right now.

Record StoresThere are a couple cool shops in DC, like Smash, whichis a legendary punk rock record shop. They sell vinylthere. Theres also Crooked Beat, which is all vinyl, newand used, for the heads who want to get their fingersdirty. Besides that, there are the flea markets.

Billy the Gent & Cam JusThey do a party called Tropixxx and theyre kind ofholding the torch for the moombahton movement inDC, since me and Matt [Nordstrom, Nadas partnerin Nadastrom] are based in L.A. now. They DJ andproduce moombahton and they do it right. They dont

just play the music, but they mix it with dancehall,they mix it with cumbia, they mix it

with hip-hop, and they throw theirTropixxx party once a month.Its become the biggestmoombahton party in DC.

As told to Maud Deitch

moombahton.tumblr.com

Hear Nadastroms new EP,Scion A/V Presents: Nadastrom,atscionav.com/nadastrom

washIngton d.c.Scene Report

Its not often that you can equivocally say that someone invented an entire genre, but in the case ofDave Nada, you can. Stemming from a slowed-down version of the Afrojack remix of Silvio Ecomo& DJ Chuckies song Moombah he played for a group of high schoolers, moombahton has beensteadily growing over the past year into a major force in the dance music landscape, in Nadashometown of Washington, DC and beyond. And though he recently relocated to Los Angeles withhis producer/DJ project Nadastrom, Nada still knows whats up back home.
http://www.moombahton.tumblr.com/http://www.scionav.com/nadastromhttp://www.scionav.com/nadastromhttp://www.scionav.com/nadastromhttp://www.moombahton.tumblr.com/


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blog roll

Interview: Maud Deitch

What was the initial inspiration to start a dance

music site?The blog started as a hobby. I was working in aretail store and decided to start a music blog,and then I decided to bring on more writers andfriends, and then it progressed into a collectiveof DJs and event promoters. Its blossomed intoa whole lifestyle brand now.

How did you get involved in the nightlife scenein Los Angeles?A year after we started the blog, we would drivedown to L.A. from Santa Barbara a lot and goto one of the best club nights in the city, whichis called Control at the Avalon. They ended upbringing us on to help promote the night, and thatwas our rst experience promoting a weekly.From that we decided to start a party on the westside of L.A. called Versus, and we do that everyThursday now at a great little hole in the wall

called the Central in Santa Monica.

Jonah Berry started Gotta Dance Dirty as a way to share music with hisfriends, but it has rapidly grown into one of the premier destinationsfor dance music on the internet. The GDD brand has also expanded toinclude party promotions and will soon take on a micro-label projectin collaboration with Nitrus records. We spoke with Berry about thepast, present and future of the site.

How do you keep on top of whats happening in

the vast world of dance music?A mix of everything. I get 300 to 400 emails a dayfrom artists and labels and publicists, but itsalso word of mouth from friends. Im not a DJ,but we have a bunch of DJs working on the siteand theyre always talking to artists and visitingdifferent sites. We also just look at artists that welike and look through their mixes. We have a verycurious mindset towards this music and if we likeit, were going to delve into it more.

Whats next for Gotta Dance Dirty?Were really concentrating on continuing to buildour trafc on the website and starting a forum,emulating what the Erol Alkan forum is doingjust a place for music fans to come and chatabout new sounds and production techniques,really whatever interests them.

gottadancedirty.com
http://www.gottadancedirty.com/http://www.gottadancedirty.com/


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Emalkay, EclipseEmalkays debut album just came out on Dub

Police Records, and I think its probably one ofthe best things Ive heard, dubstep-wise, thisyear. Its a very current sound, all later dubstep,although hes got a couple tracks that have anolder, jungle vibe as well. The whole things got alot of guest artists who are vocalists, so theresa lot of house-y tunes. Its a great album, andweve played a couple of those tracks on theradio show already.

Noah DSMOGs hopefully doing an album with Noah D.Hes also got a lot of guest vocalists, everyonefrom people like P-Moneywhos a grime artistin the U.K.to the Grouch and Eligh from theLiving Legends, who are West Coast rappers.He also worked with people like Anti Serum.The whole record is real funky and it goes frombeing aggressive dubstep to really kind of outthere, spacey, what they call the purple sound.

Egyptrixx, Bible EyesI love the new Egyptrixx album, Bible Eyes. Itskinda house-y, but its got that dubstep bassinuence. Im a huge fan of his stuff, and thatwhole record label Night Slugs in general.Its run by Bok Bok, and those guys have beenmaking some really great records. Its houseand techno music, but its all dubstep and grimeinuenced, and its a fresh sound.

SCIoN STrEAMINg rADIo ToP PICKS

In 2011, its hard to imagine Los Angeles without a dubstep scene. With regular parties, localDJs and relocated sound legends, it can feel like its always been this way. Drew Best, foundingmember of SMOG, remembers a bass-less time in the city and how he and his cohorts went aboutchanging that. SMOG now has an impressive roster of DJs, puts out records and hosts legendarydubstep events on the regular. We caught up with Best, host of a monthly show on Scion StreamingRadio, to nd out what music has been rattling his bones recently.

12th Planet and SPL, Lootin 92We just did a single with 12th Planet and SPL,whos a new member of our team. Hes from

Portland, but we signed him to our label. Theyjust did a single thats been well received, alot of DJs are playing it. Its called Lootin 92and knowing 12th Planet, Im guessing its anL.A. riots reference.

smogla.com

Listen to SMOG Radio every month on ScionStreaming Radio atscionav.com/radio/channel7
http://www.smogla.com/http://www.scionav.com/radio/channel7http://www.scionav.com/radio/channel7http://www.scionav.com/radio/channel7http://www.smogla.com/


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Teppei Kaneuji at thePacic openingat Installation LA

Megumi Matsubara at the Pacicopening at Installation LA

Guests at the Pacicopening at Installation LA

A guest at the Pacicopening at Installation LA

House of House at Scion A/V Presents:A Club Called Rhonda in Chicago, IL

Ill

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LA

Guests

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Big

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opening

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about town

Kid Color at Scion A/V Presents:A Club Called Rhonda in Chicago, IL

Guests at The Big Ideaopening at Installation LA

Metro Area at Scion A/V Presents:A Club Called Rhonda in Chicago, IL

GODDOLLARS

atScion

A/V

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Club

Called

Rh

onda

YuriSuzukiatthe

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opening

atInstallation

LA


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Documents

Scion A/V Dance 4