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COMPRESSION 12/30: Egyptian Lover, Arabian Prince, SOTEG....
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| robtronik |
Robtronik presents:
COMPRESSION - Fri, December 30th w/
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Egyptian Lover vs. Arabian Prince [N.W.A.] - Original Electro Set 2X4 Turntable Set [LA]
Son of the Electric Ghost [Bless Records | Texas]
edIT vs. Ooah, The Turntable Junkie [Planet-Mu | LA]
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21 & Over | Full Bar | 9:00 p.m. to 4:00 a.m.
@ King King Hollywood
6555 Hollywood Boulevard, Hollywood, CA
$15 Presale Tickets @ http://www.wantickets.com
$20 admission, night of event
Visuals: Triggermotion
Sound: Mekka Sound System
More info @: http://www.compressionla.com
Flyer coming soon.
:)
rob. |
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| |Thrax| |
Rob, I attended the inagural compression event on the 26th.
here are my pics.
http://www.csoltis.com/gallery2/v/w...mpression051126
This was my first time to the King King and it's a pretty chill place.
As you can tell from the pics the lighting is ing DARK DARK!
PERFECT for those dark, gritty, badass hard beats and breaks that the DJ's throw down. Seriously, if this place had strobes I would love to compare it to the opening scene from Blade without the crazy vampires and . ;)
seriously, that place is dark and it's a great change of scenery from all the normal venues i've been too. Drink$$ are reasonable too.
everyone should check it out at least once, support the scene and get a taste of a different style of tunage! |
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| robtronik |
thanks for going and the nice words of support! Just trying to do something that reps our dance music history in a proper way as well as paying respects to the new jacks coming up.
Hence Juan Atkins w/ John Tejada. And now - EGYPTIAN LOVER and ARABIAN Prince with SOTEG and edIT w/ Ooah. Past, Present, and Future accounted for across the board. :)
Here is some interesting reading as well:
http://www.lacitybeat.com/article.p...06&IssueNum=112
| quote: | Smaller clubs like One Nation, Jam City, and Radiotron gave energy to early L.A. hip-hop, but Uncle Jamm’s Army – named, of course, after the P-Funk classic – was the granddaddy of this enormous underground scene. Its stars were Roger Clayton, who bankrolled the events, and DJs Bobcat, Arabian Prince (who would go on to contribute to N.W.A’s Straight Outta Compton), and the inimitable Egyptian Lover, who would spin on as many as five turntables at a time. “Egypt,” whose biggest hits – “Girls” and “Egypt, Egypt” – were collected in the 1984 album On the Nile, tended to play fast dance music that confounded out-of-town clubgoers from the East but drove local hip-hoppers into a frenzy.
Run-D.M.C. made a heralded early Southern California visit then, and, as Luv remembers, “We were so on our own stuff, we didn’t give it up for them. They were breaking up our dance time. If you weren’t doing something 120 beats per minute, we weren’t tryin’ to feel you.”
The DJs from hip-hop’s birthplace embraced non-hip-hop records by groups Maze and the Incredible Bongo Band, and that music played well in the Los Angeles of the Uncle Jamm’s Army Era. But here, groups like Kraftwerk and Art of Noise – especially the 120-beats-per-minute and higher tracks – were taken to heart just a bit more.
“We got electro-hop and embraced it,” Luv recalls. In time, that music would undergo contortions that became the foundation of contemporary rap music. The sound is reflected in Bay Area legends Too Short and E-40’s specific uses of the Roland drum machine. “We would slow down ‘Planet Rock,’ keeping the 808 bass drum and snare. You can hear that on songs such as the [Toddy T’s] ‘The Batter Ram,’ which was same sort of beat slowed down to 88 bpms.
“It did come from the time of us loving music that wasn’t hip-hop,” Luv continues insistently. “We were able to go both ways ’cuz we still called it hip-hop, and no one else was. It was so easy because we had no hang-ups. We were so innocent about it at the time.”
For music that now seems almost quaint in its clean content and simple, uptempo rhythms, L.A. hip-hop between the early and middle 1980s was remarkably insulated, just barely, from hardcore nefariousness – from the DJ booth out to the dance floor.
“A lot of people who were doing their dirt – selling, banging, seeing their homies get killed – they got a break in their lives at these clubs,” says Luv of both performers and crowd. “That music used to make us happy as hell. Why? Because back in the day we were going through way more gang than we are now. People got jumped on the bus over shoelaces and jewelry or the wrong color Kangol, emulating the wrong album cover and just trying to survive the Reagan era. The only way we had fun was with that ‘corny’ music.”
Hip-hop, especially in Southern California, isn’t so good at taking care of its history. In recent months, commercial radio has been censoring the line “Remember KDAY” from Tupac’s “To Live and Die in L.A.” because a Florida-based corporation has revived those glorious call letters. But let’s not assign one more crime to radio. Hip-hop long ago lost its innocence, maybe more. As Danyel Smith asks in her new novel, Bliss, “hip hop is over, dead, finished, and we’re still in costume, in denial?”
What this means to a series of evenings expressly about celebrating a time before mean-mugging at the House of Blues is up for debate, although we all have our opinions.
“The era of having just straight fun is pretty much dead,” says Luv. “I don’t think a lot of people are gonna be there. Egyptian Lover should pack the place, but he won’t. People out here will break their neck to see someone from the East Coast before they’ll come and take part in our history, because they’ve been convinced we don’t have a history. They don’t look at him as a pioneer. They just look at him as an old-school DJ from L.A.”
Yet, there does exist another market for the music, the DJs, the iconography of rap. About the only question that remains is whether, in the spirit of the Europeans who have supported, say, Egyptian Lover’s last four albums, these mature native hip-hop people – who understand that, 25 years from now, Lil Jon and T.I. will sound hella corny – might come out and represent. |
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| robtronik |
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| robtronik |
Everyone, I have a $10 list now that is good until midnight the night before the event (12/29). It will be $15 the night of the event (if you don't do presales), so its a pretty good deal considering who is playing that night. :)
Send an email with your name and how many will be coming with you to:
[email protected]
The $10 entry price is good until midnight the night of the event, so get there early!
:)
rob. |
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