LA CANVAS got the ultimate VIP experience hanging out and getting down at Desert Hearts ’15. Not only were the vibes and love on point all weekend long, but we got the chance to catch up with two of our favorite artists who played this year, Atish & Deep Jesus, who gave us the low down their fave moments and sets from this years festival.

LA CANVAS: What were some of the most uplifting moments of the fest for you?

ATISH: Getting that chance to play sunrise Sunday morning was something really special for me. Every DJ has their own take on how to play a sunrise and the moments leading up to it. I personally like to play gorgeous, emotional, melodic, hopefully not cheesy music that speaks to the soul. Music that makes people feel good. I was smiling the whole time during me set, I saw lots of smiles on the dance floor, and the crowd and I were just vibing off each other’s energy, which was really uplifting to me and everyone else who stuck it through to 7am. In a word, we felt synchronicity, which is really my ultimate goal as a DJ.

LAC: Three favorite sets?

A: Rodriguez Jr absolutely blew me away. He was already one of my top 3 favorite producers in the world, so I had high hopes going in, and he just knocked it out of the park with his live act. I think he may have played best set I’ve heard in the last 12 months.Ben Annand was totally on point with his Saturday daytime set. Ben’s a veteran DJ so he was busting out these old school west-coast house records that most of us newer generation DJs don’t have access to or know where to begin. Those records he played were from an era where it wasn’t out of bounds for house music to make you feel good in that way, which couldn’t have been any better for his daytime timeslot. I was inspired to go home and dig.I have a tie for third, between Justin Campbell and Bells + Whistles. I’d been wanting to catch Justin for quite some time now and he was totally on point. Bells + Whistles have just been on fire as of late, and they were slotted after Rodriguez Jr. Rodriguez Jr is a tough act to follow, but they nailed it so with class and style.

LAC: What elements if any gave you a note of growth with the fest?

A: The obvious one is the dance floor was fuller the entire time, perhaps too full at points. But from a DJ perspective, it means no matter what your timeslot, you don’t have to stress about playing to an empty floor, which is really nice. For a bunch of acts, it was impossible to get in the DJ booth backstage due to overcrowding. This is by no means a complaint – I actually think this is a good thing since it’s a subtle reminder to why we’re here. We are part of this scene because we love music, so we should spend most of our time hanging out where the music is designed to be heard: on the floor.

LAC: What do you have going on next, and will you play again at DH?

A: The next two months are pretty exciting since I’m playing Coachella, Lightning in a Bottle, and Cityfox in New York – 3 really huge gigs for me, then just finalizing dates for a summer Europe tour with Hoj. It’s pretty crazy how lucky I’ve been with good things coming my way as of late, so I’m just trying to have as much fun as I can and meet as many awesome people as I can throughout this whole journey. I was recently added to the Desert Hearts family as one of their resident DJs, which means you’ll be hearing me at most if not all the future Desert Hearts festivals, which I couldn’t be happier about. I’m just so happy to be a small part of what these guys are doing, and I couldn’t be prouder of everything they’ve accomplished.

And now, Deep Jesus:

LA CANVAS: What were some of the most uplifting moments of the fest for you?

DEEP JESUS: Some uplifting moments for me from our Spring Festival… There are to many to say but the one that really stood out was when all the Desert Hearts boys closed out the festival and played long past we were supposed to. It’s pretty rare to have 5 different DJs from different walks of life with different sounds come together and be able to all go back to back and create the energy that was the closing set. Super uplifting feeling!

LAC: Three favorite sets?

DJ: My three favorite sets… the top one in my opinion was our good friend DiNK! He is literally labeled as the “track master” because he has soooo much good music but never has the ideal opportunity to share it. We decided it was time for him to have that opportunity and when we had him play saturday afternoon he just completely crushed the dance floor and set the vibe for the rest of the Desert Hearts Block. Next up is another underdog by the name of Justin Campbell. He opened before Marbs and I and couldn’t have set us up better. It was amazing to see such a talented individual with such a big crowd being responsive to his vibe. Well deserved. Last but not least, Rodriguez Jr. was one of my favorites, and that should be pretty self explanatory.

LAC: What elements if any gave you a note of growth with the fest?

DJ: The main element that I took note about the growth of our festival is the fact that it practically ran itself. Friday night a few of us were talking and we honestly felt like we were a little in over our heads. The dance floor was already jam packed and we heard there was a 2 hour line to get in. But through all the dust everything worked out flawlessly. There was no major incidences or negative situations. Everyone came, danced, loved, and because of the community the festival completely ran itself. A very spectacular sight…

LAC: What’s next for you and DH, I heard it’s going to set off in DC + Brooklyn.

Beautiful girls slideshow

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Brick quiz whangs jumpy veldt fox. Bright vixens jump; dozy fowl quack. Quick wafting zephyrs vex bold Jim. Quick zephyrs blow, vexing daft Jim. Sex-charged fop blew my junk TV quiz. How quickly daft jumping zebras vex. Two driven jocks help fax my big quiz.

Quick, Baz, get my woven flax jodhpurs! “Now fax quiz Jack! ” my brave ghost pled. Five quacking zephyrs jolt my wax bed. Flummoxed by job, kvetching W. zaps Iraq. Cozy sphinx waves quart jug of bad milk. A very bad quack might jinx zippy fowls.

Few quips galvanized the mock jury box. Quick brown dogs jump over the lazy fox. The jay, pig, fox, zebra, and my wolves quack! Blowzy red vixens fight for a quick jump. Joaquin Phoenix was gazed by MTV for luck. A wizard’s job is to vex chumps quickly in fog.

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‘We had the best of educations—in fact, we went to school every day—’ ‘I’VE been to a day-school, too,’ said Alice; ‘you needn’t be so proud as all that.’ ‘With extras?’ asked the Mock Turtle a little anxiously. ‘Yes,’ said Alice, ‘we learned French and music.’ ‘And washing?’ said the Mock Turtle. ‘Certainly not!’ said Alice indignantly. ‘Ah! then yours wasn’t a really good school,’ said the Mock Turtle in a tone of great relief.

Now at OURS they had at the end of the bill, “French, music, AND WASHING—extra.

‘You couldn’t have wanted it much,’ said Alice; ‘living at the bottom of the sea.’ ‘I couldn’t afford to learn it.’ said the Mock Turtle with a sigh. ‘I only took the regular course.’ ‘What was that?’ inquired Alice. ‘Reeling and Writhing, of course, to begin with,’ the Mock Turtle replied; ‘and then the different branches of Arithmetic—Ambition, Distraction, Uglification, and Derision.’

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Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean.

A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar.

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The European languages are members of the same family. Their separate existence is a myth. For science, music, sport, etc, Europe uses the same vocabulary.

The languages only differ in their grammar, their pronunciation and their most common words. Everyone realizes why a new common language would be desirable: one could refuse to pay expensive translators.

To achieve this, it would be necessary to have uniform grammar, pronunciation and more common words. If several languages coalesce, the grammar of the resulting language is more simple and regular than that of the individual languages.



Filmmaker Colin Rich has written a love letter to L.A. in the form of a haunting visual poem that captures what is scenically mesmerizing about our often-overlooked city of lights. The short time-lapse video is a disorienting montage of glimmering landscape images of our tinsel town fittingly set to the grandiose score of M83’s “Outro.” Colin’s video is a disagreement to the cliché that L.A. is a lonesome place – it’s a reminder that within the intricacies of freeways, buildings, and our own hectic lives, we’re all in this city collectively. And whether you live in it as if it’s your own long-stay playground or just a temporary place while you coast – seeing the city breath so vividly in such unison will leave any Angeleno awestricken to call this place what it is, their home.

The video had originally been made for M83 to use as their visual for a Hollywood performance. However, that was a slightly different version. Seeing how impressive the official and final video is, LAC had to ask Colin a few questions about the making of it.

LA CANVAS: How long did it take to shoot?

COLIN RICH: I had been shooting on and off for about a year but really began to ramp up shooting in the past couple of months. I was asked by the band M83 to create some visuals for their Hollywood Bowl show where they were accompanied by the LA phil. It blew my mind that they wanted me to be a part of the experience especially for the song Outro, which in my mind is an emotionally tuned euphony that literally gave me goosebumps when I first heard it. I really wanted to create an homage to LA (and also a final piece in my trilogy of light,and the song fit so perfectly). Anthony truly is one of the most talented musicians out there. Unfortunately I was in the North Pole working on my next project when they asked me to cut the piece together (I’ll get to that in a bit) so I literally had like 3 days to put something together and upload it (the interweb is so amazing).

LAC: Most difficult shot to take?

CR: They’re all equally challenging. I would say the crown shot of LA was especially difficult to do because the the lens was such a long focal length (1200mm) that any slight vibrations (wind or impact) would greatly affect the shot. Couple this with the long exposure time needed to bring out the rich colors of the city… I was 27 miles away from downtown LA and needed to wait for the perfect night to get the clarity I required. I ended up going up into the Angeles National Forest when it was about 27 degrees out so the air was ideal for shooting. When the shot came out, I was pretty happy with it but it took about 3 attempts to get it perfect.


LAC: Your personal favorite location?

CR: Its hard to say because each one offers their own perspective on the city. I think getting to the spots are the best experiences. Its all about the journey.

LAC: Are you staying in LA?

CR: I am staying in LA! I love my city. But I do travel a lot for work and pleasure.


LAC: What’s next?  

CR: I recently came back from a five week excursion from Svalbard, an archipelago located above the arctic circle (near the north pole) where I was working on my first documentary about energy policy in the 21st century and how it will affect the Arctic. The place is amazing but is also ground zero when it comes to global warming. The first day in, I was required to get a polar bear rifle to protect myself from said creatures so it was one of the more interesting shoots. We spent time with Russian and Norwegian miners and folks who live up there regarding the changes they are seeing and exploring what the 21st century will bring to the arctic (changing sea routes due to melting ice, pollution, energy exploration in the Barents Sea). I’m currently looking to raise some money and return to Svalbard to finish the piece.



Downtown Los Angeles and menswear are coincidently, and a benefit to us, both going through a revival. Daniel Patrick, the L.A. based menswear designer, recently opened his flagship on Broadway. The store’s orderly industrial appeal with its 18’ ceiling, polished concrete floor, modern office loft, and all around white walls, provides a gallery-like shop that reflects Daniel’s own super clean monochromatic clothing.  The store is a much-welcomed addition to downtown. Located only a stone’s throw away from Acne Studios and the Ace Hotel, Daniel’s visually minimal flagship compliments the now hip Historic Core.


With the current popularity of “avant-garde” menswear being acknowledged as acceptable every-day wear, Daniel has position himself among the style-forward Gothic designers, using mostly soft black leather, rigidly cut to create comfortable loosely-fitted essential but unique items for guys. With an already established celebrity clientele, his dark clothing recently appeared in the post-apocalyptic movie The Hunger Games. As a former rugby player, his items’ ease and sturdiness borrows from sportswear. The versatility of his clothing perhaps stems from the fact that the Australian born designer doesn’t release full collections, instead he creates items the moment he’s inspired to draft and design them. With online-stores being the way most people purchase their clothing, Daniel’s ambitious ingenuity gives buyers a reason to frequent his brick-and-mortar. Daniel sat down with LAC to talk to us about his choice to leave his homeland, his creative process, and his optimism for menswear in L.A.


LA CANVAS: When did you start designing?

Daniel Patrick: Around 2007. Originally I was playing rugby, semi-professionally. Then I was about to go to France and play but I didn’t.

LAC: What happened?

DP: Well I told my manager I wanted to do fashion and I just quit.

LAC: How did he take it?

DP: He was like, “Well, there’s lots of fashion in France. You can do that there.” I was at that point I wanted to do something else, so I enrolled in school.

LAC: What school?

DP: FBI (Fashion College), a small boutique fashion school in Sidney, it taught me the basics. For me, mostly just going out and doing it, is how I pretty much learned.

LAC: How’s menswear in Australia?

DP: It’s very good – it’s out there. I mean, it’s still casual and laid back but there are a lot of good designers.

LAC: Do you think that you add that Australian vibe into your clothing?

DP: Definitely. I feel like your brand is always a reflection of yourself. Where you’ve been, where you live, what you see, and what you do – definitely translates into the designs.

LAC: What about rugby, do you put that into your clothing?

DP: Oh yeah, I was thinking about that today. I mean like leggings under shorts, and layering some of the sleeveless tank tops, it feels very sporty and also avant-garde.



LAC: Do you see your brand as avant-garde?

DP: Yeah. I like to be avant-garde, but I also try to get it to someone who doesn’t dress like this. You can come in and pick up a piece and it’s not too crazy, but it’s something that is based on the direction of this avant-garde. There’s a few of us doing this type of aesthetics and doing a good job at it. I feel people are getting on board on that. I don’t feel like I’ll always stay stagnant, because I’m always evolving as a person.

LAC: What materials do you like working with?

DP: Leather, that’s my favorite. But French Terry is something I do make a lot of my stuff out of. It’s very easy to work with. But leather is my favorite.

LAC: What brought you to L.A?

DP: Originally I came for New York, but I just took a trip to L.A. and I quickly gained a lot of friends. I just liked the weather and the state. I mean, basically, I found it a little bit more accessible when it came to fashion. I know a lot of people always talk about New York as being the fashion capitol, but to me I’d rather get in my car and drive around. I prefer to be here, it’s similar to Australia. I also moved over because I met my wife over here.

LAC: What were you doing before the shop?

DP: I was coming back and forth between here and Sidney and working on developing my brand. I had my first accounts here.

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LAC: When you are designing is there a particular kind of guy you are designing for?

DP: I design for myself, what I would like to wear. That’s always been successful for me. All the stores I’m selling to are doing well with my product. The people that come here, it’s a mix: some are older, some are younger. It’s not limited to one particular kind of guy.

LAC: What stores can you find your items?

DP: H. Lorenzo, Traffic, Atrium, and Machus.

LAC: Are you sticking to only menswear?

DP: Well I already sell some pieces to women. My pieces are very unisex

LAC: When you create some unisex items, do you feel your menswear loses some of its masculinity?

DP: Not really. I feel it just depends on who’s wearing it and how they’re wearing it. I don’t mind having a feminine appeal to it. It’s still about what I want to wear.


LAC: What are you working on right now?

DP: A new bomber jacket. I’m just trying to figure out what material to make out of. I’m always creating new pieces and just dropping them.

LAC: Do you release collections?

DP: I have core pieces that I run, and I run those in new colors,  or I’m doing tweaks on older models. But I’m able to create new pieces when I get an idea. I have no time restrains.

LAC: What designers are you looking at now?

DP: I don’t tend to look at others. I like to keep focus on what I’m doing. But there are good people: Skingraft, KTZ, Damir Doma, Rick Owens – those are the tops.

LAC: Do you feel you belong to that group now?

DP: I don’t know. I’d like to feel included one day.


LAC: Why did you choose this building?

DP: This is the first place I looked at. I saw it and thought this could work. You have so much coming to this area now. You got Urban Outfitters, Acne, Ace – Oak and APC will be opening up too. It’s all nice. I wanted to be in downtown because I’m interested to be part of the renaissance down here.

1039 S Broadway
Los Angeles, CA 90015



In 1977, at the peak of the Sex Pistol’s popularity, Sid Vicious gave an interview, saying, “I will probably die by the time I reach 25. But I’ll have lived the way I wanted to.” The band would break up in 1978 and Sid would continue to work on his solo projects up until his death from a heroin overdose on February 2nd, 1979 at the age of 21.

If Johnny Rotten was the voice of the Sex Pistols, Sid was the face. As the brashest member, he was known to perform covered in his own blood as audience goers physically assaulted him – such was the case in the now famous Longhorn Ballroom performance in Dallas, T.X. where he had written “GIMME MY FIX” on his chest. It’s safe to say, Sid was punk as fuck. Only a few get to be an international notorious figure at his age by simply being obscene, and only a very few help spark a revolutionary subculture because of it. Not only was he one of the main radical stylish icons who defined the punk look – he lived it. He lived it way before he joined the Sex Pistols, before he played with Siouxsie & The Banshees; he had always been the exact type of person that would eventually follow his counter-culture lifestyle – a rebellious problem child. Behind his attitude and self-destructive choices, he was an enigma. Whatever happened on the night his girlfriend Nancy Spungen was found dead from a knife wound at his apartment will forever remain a mystery. A note found on Sid the morning he was found lifeless read, “We had a death pact. I have to keep my half of the bargain. Please bury me next to my baby in my leather jacket, jeans and motorcycle boots. Goodbye.”


The current exhibit SID: SUPERMAN IS DEAD, showing at Subliminal Projects in Echo Park, is a collaborative retrospect between graphic artist Shepard Fairey and English photographer Dennis Morris on the short-lived but ultimately impactful career of Sid Vicious. For its opening this past Friday, an all-star line up of of musicians including Billy Idol (Generation X), Steve Jones (The Sex Pistols), Leigh Gorman (Blondie), and Clem Burke (Adam and The Ants), performed together as a band, calling themselves Ritchie Love. Inside the gallery, separate rooms contained works by Dennis and Shepard. The focal point was a life size replica of a hotel room trashed by Sid in 1977.

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In Fear of God’s first collection, Chi-town native/L.A. transfer, Jerry Lorenzo took on 90s grunge. For his second collection, BROTHER’S KEEPER, Jerry and his creative partner Ceeje Sargent went a decade further and took inspiration from another subculture, this time from across the pond – designing clothing similar to the type of uniform any 80s English skinhead would’ve worn.

These working-class, British exiled mods not only had awesome taste in dub music – they had a striking, intimidating, hard look starting from the top of their shaved heads down to their steel-toed boots – and every must-have crisp-cut apparel in between. FOG’s collection carries the old street-tough attitude while revising the skinhead image to appeal to a more fashion savvy and politically open-minded guy.

The video released with FOG’s new collection was shot by cinematographer Christian San Jose and it features a gang of three tattooed male models, Micky Ayoub, Josh Scroggins, and Luk Magil, layered in Lorenzo’s modern approach to the iconic British rude boy look: puffy bomber jackets, bloody red button-downs, side-zipped hoodies, long draped tees, cream and grey dropcrotch shorts, and white cozy thermals. If this was England, it is now Los Angeles. The items were made for L.A.’s always changing winter weather. The video is accompanied by an in-studio look book shot by Cameron McCool

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You can pre-order the clothing starting December 16th.




L.A. based menswear designer Elliott Evan single-handedly designs and creates all of his items at his secluded studio located in the edges of downtown’s Art District. There he meticulously and painstakingly constructs his pieces, primarily his one-of-a-kind leather jackets made out of thick animal skin, e.g. buffalo and horse. Additionally, his studio doubles as a garage where he also quietly works on restoring classic two-stroke motorcycles. His discreet and solitary way of working on both his clothing line and street bikes reflects not only the kind of guy Elliott is, but the type of person he designs items for – the lonesome road warrior.


As a graduate from San Francisco’s Academy of Arts University with a Bachelor’s Degree in Fashion Design, the 27-year old’s rigid architectural clothing also shows his readiness to artfully experiment. Elliott’s Gothic pieces are usually well tailored with prominent large collars (that at times convert into a hoodie), sleeves that are fitted with constricted elbows, and shoulders with sharp edges. However, even with a flare for dark distinctly shaped pieces, he also instills a level of masculinity, high craftsmanship, and functionality to his well-constructed garments – something that stems from assembling machines.

His second collection premiered early this year at NYFW, his third collection recently had a soft release, and he just  celebrated the launch of some of his items at Church Boutique. We visited Elliott at his studio so he could tell us more about his approach to menswear, his creative process, and the moral obligations of using leather.


LAC: What’s your approach to menswear?

When I approach menswear there are obviously confines to what a guy is willing to wear. If it becomes too crazy then it becomes just out-there fashion. Although with my stuff, I will go out there and make these crazy shapes – but at the end, it’s about masculinity and making a guy feel like a guy. Usually the places that I focus on are the sleeves and the shoulders. If you don’t have strong shoulders, it’s like all elements of a man are lost. Some of the things I have been striving for are these accentuated shoulder points. You can see the articulation in the sleeves as well. For me it’s important to get that strong arm shape. That kind of element is super important. It’s tech within fashion. I build motorcycles, and it’s all the same. I approach a jacket with the same mind set. I like stripping it down and re-assembling with crazy construction.

LAC: What is masculinity to you?

I have in mind this perfect guy who is looking for freedom, he’s looking for escapism, and at the end of the day he still has to be a man with a perfect jacket. A perfect jacket can change how you feel and act, and I want to be responsible for that; for someone to wear one of my jackets and feel masculine.

LAC: Do you think it’s still masculine to be into fashion?

When I was going to design school there was a strong stereotype and that was something that I was constantly approached with. In our day and age it’s changing. If you are dressed a certain way you can exude power, confidence, and feel maybe a little bit more manly. For me with clothes it all comes back to this feeling of insecurity when I was a kid. Now, if I’m wearing a certain something, the clothes speak for me. I don’t have to do anything. That is a powerful thing for me.

LAC: When did you start becoming interested in fashion?

I always knew I wanted to be involved in artistic things. At 16 I was interning at a store then I moved to the bay area for business school. That didn’t work out so then I ended up in art school.


LAC: Where do you think your clothing falls into, everyday wear or more costume because it’s so unique?

I’m always evaluating. That’s one of those things, especially because the art school side can make me fall into the costume’ish area but in the end it needs to be worn. I still have to maintain a level of well constructed jackets. There’s that great quote by Bill Cunningham, “Fashion is the armor to survive everyday life.” I create the armor.

LAC: What do you think of the fashion in LA?

Well there’s a strong sense of this LA fashion scene, and I just don’t want to be a part of the same type of silhouettes that they are doing. I want to experiment with something a little different. I just had a release at Church. They have a few selected pieces. They’re the only ones who have my stuff right now. Church has been the biggest step forward.

LAC: Do you feel like an outsider with the other designers here?

With me I do feel a little outside of the circle just because of the way I construct. But everyone here does such great work.

LAC: Let’s talk about your second collection that showed at NYFW…

That collection was closest to my heart. It really showed the guy I have in mind. It was a lot of fun, first time in New York.


LAC: Who are the designers you are looking to right now?

Carol Christian Poell. He has a message to what he is doing. I strive to have my construction like his.

LAC: Your image is so dark, how intentional is that?

It’s just expressing that darkness a lonely artist often feels.

LAC: How did you get into building bikes?

Again, it’s all about that ideal badass guy. If you’re a rider, your jacket is a necessity. So, I had this archetype for what a cool guy was. I just started hoarding and building bikes. It’s just another art project.


LAC: The motorcycles you work on are classics. Do you intend to also make timeless clothing or are they of the times and are you going to change as time passes?

I want everything I make to last, especially when using animals. You want to make sure you are using it correctly. The leather pieces I use are left over pieces. They’re not perfect and I like to integrate those imperfections into my jackets.

LAC: Do you feel you have to respect the animal when using its leather?

Oh yeah. I hope I’m doing it justice because I want for it to come to life. And I’m not doing a mass production. I’m doing a single jacket out of scrap leather from a different production who had no use for it.

LAC: What’s next?

Well NYFW is just around to the corner again, so I want to refine my work.


Robert DeLong is changing the paradigm for performing electronic dance music. In a world where superstar DJs perform from behind a booth (unless you’re the stage-diving, cake-wielding Steve Aoki), it’s supremely refreshing to encounter DeLong, a one-man dance party who performs his music live with a setup of up to 20 instruments ranging from drums and guitar, to a hacked Wii remote and flight simulator joystick mapped to midi controllers and gyros which control voice distortions. Ahead of his performance at the Getty’s “Off the 405” series tomorrow, we speak to Robert about science and what it takes to put on such intricate and hyperactive performances.


LAC: You’re originally from Seattle but are now based in LA. How would you compare the music scenes in both cities? What about electronic music in particular?

RD: Definitely. I left Seattle when I was 18, about 9 years ago. I kind of grew up in the indie scene there. In junior high and early high school, I was kind of in the pop/punk/ hardcore scene still. I’m not real familiar with the Seattle electronic scene and certainly wasn’t back then. Going back there, I’ve played 3-4 times in the last 6 months. It’s definitely growing, but it’s not like it is here on the West Coast in LA and SF, which are, you know, kind of hubs for dance music. Seattle definitely has a lot of niche electronic stuff going on and the dance scene is growing. It’s interesting seeing people in Seattle, they respond differently to dance music than they do here. A lot more crossed arms (laughs) but I think people enjoy it.


LAC: How did you get into electronic music? Were you ever a “raver”?

RD: Well, I was always listening to heavily-electronic influenced stuff like Boards of Canada and trip-hoppy type of stuff. When I came here [to California] it really was the first time I’d gone to an electronic event. I’d always heard house and trance but I’d never experienced it in a live setting. It’s a communal event more than anything, and seeing that is kind of what got me into it. Of course shortly after that, the wave of dubstep hit LA and a lot of people who weren’t into electronic music kind of understood it more because of that. I was never really a “raver” but a lot of my friends went to events. So I went to raves and stuff. Well, I guess I did get “dressed up” a couple times (laughs)



LAC: You have a really interesting setup. What’s the highest # of instruments you’ve ever had on stage with you? I’m sure it varies from show to show.

RD: What you saw at Coachella is pretty typical; it’s pretty much the same setup all the time. Sometimes I’ll have guitar on stage for longer sets and different pieces of percussion. As time goes on, it’s always growing a little here and there, I imagine it’ll grow more.

LAC: I think I noticed a Wii Controller on stage. Can you tell us a little bit more about how you’ve integrated non-traditional tools into your set up?

RD: Yeah, I have a joystick like from flight simulator. I have a Wii remote and a gamepad and software that converts it to midi. The Wii is hooked up to Bluetooth so I can just wave it around it has a gyro in it and I can control the delay in my vocal. I have this toy that these guys in SF make that’s called a Midi Fighter, that you can wave left and right. I didn’t use it much at Coachella but I use it more for my longer sets.


LAC: What’s next on your list of technological “hacks”? Do you have plans to add other non-traditional things to your arsenal?

RD: The next step for me, I kind of want to get people to help me design custom controllers designed for a very specific purpose in my set. But right now what I’m working on, I’m touring a lot, so we’re kind of redesigning the computer aspect of my rig. So I should have new laptops on stage. It’s kind of nerdy and technical.

Robert DeLong Hi Res Photo

LAC: Let’s circle back to Coachella. What was it like to play there?

RD: It was fun! Although, I’d kind of come off of playing a lot of festivals, and of course when I heard, I was freaking out, you know, Coachella’s such a milestone. But it kind of was like any other festival, except very hot. It was super fun, and it was super cool to see the tent packed so early in the day.


LAC: I actually think I spotted you inside the Yuma. Did you go exploring much at Coachella? Who were some of your favorite acts? Best memories?

RD: I got to explore a bit more the 2nd weekend. I spent some time in the Yuma and that was definitely fun. It was fantastic. Tame Impala was great, and I caught a bit of James Blake, he was really good. I’ve seen him a few times before. There were some others that really stood out to me, but my memory’s a little fuzzy.



LAC: Did you see any acts during the windstorm?

RD: I think I was doing interviews and stuff. The windstorm–that was madness. We actually ended up driving back a little bit early because I had to fly up the next day. That was pretty brutal. God, the roads were like zero visibility.


LAC: You were into science growing up. Are you still into science? What gets you geeking out nowadays?

RD: As a kid my dad would read me National Geographic as my bedtime story. I was always into Popular Science. I always figured I’d go into physics or music. I chose music… I’m probably dumber for it, but, you know, it’s more fun. Now I pretty much just read Popular Science, blogs and watch TED Talks. I just kind of go on the internet… I don’t keep up too much but I read an article a day.


LAC: Your show was like a non-stop dance party. How do you keep from passing out during your performances? Do you work out to build stamina or does the Adrenaline keep you going?

RD: I practice a lot. If I can do that set three times in a day, then I can definitely do it once. I do a lot of running. It’s really important to stay in shape if you’re doing that much jumping around. But yeah, the adrenaline can definitely make you feel like a bit of a machine and then afterwards you’re really tired.


LAC: What’s next? Any big festivals/shows this summer?

RD: I’m playing the Getty this Saturday and I’ve got a bunch of festivals. I just did Governor’s Ball in New York; that was really great. It was madness with all the mud! I have a few other big US festivals then I’m off to Australia and off to Europe for a while.

See Robert DeLong perform live tomorrow evening at 6pm at the Getty for their “Off the 405” series. This is a free concert series, so arrive early to ensure space.




What happens when filmmaker Grant James collaborates with dynamic folk rock savant, Josh Tillman? A plane crash, evidently. Tillman’s alter ego, Father John Misty emerges from the wreckage dazed, well dressed and sardonically crooning, per yuse in the singer’s new video for Funtimes in Babylon off his most recent album, Fear Fun.

LAC decided to bugaboo Grant James, in lieu of observing our print deadlines. Here’s what the video’s co-director had to say:


So, what’s up?

Debating if I should go on a hike or keep working…

Can we get you something to drink?

Hair of the dog, please.

What are you wearing?

Flannel and shorts

Are you single/taken/heartbroken/hopeful/bored?

Taken, but apparently I got black out drunk last night and my girlfriend and I fought about chicken sandwiches.

Are you interested in anyone right now?

I don’t get this question.

Do anything last night?

Went to Tom Petty + Jumbos, stellar combo.

How late did you stay up?


Meals or snacks?


How often do you consume alcohol?

Few times a week, but I go hard.

You kissed a girl and liked it?

Yes, indeed.

Please don’t touch that.


What’s on your feet?


Blue or black ink?


Ever sit down in the shower?

Only to pee.

When was the last time you really froke out at someone?

Last night, over chicken sandwiches. We’ve made up since then.

What was the first thing you said aloud this morning?

“Why are you apologizing?” and “What happened?”

Are you listening to music right now?

Yep, Pond.

Will you text the person you like today?

Suppose so.

If we gave you $50, what would you buy?

Parking in Los Angeles

Last 3 google searches?

When will people stop using #’s?

Bonnaroo Set Times

What is Twee?

What are you doing later?

Hiking, Drinks, Turning 30.

Can we come?

All are welcome.

photo by Emma Garr via Filter Magazine


This Cigarette from LG on Vimeo.


You know that friend of yours who is insanely creative, clever, driven and gorgeous? The one who only wears ripped black jeans and puts her her modeling contract on the back burner cause she’s too busy documenting bands on tour? And there’s no way you can’t  want to be her friend cause all she does with her free time is stay in, get high and talk about life/ her cat?

That’s my personal favorite multi-hyphenate ingenue,  Lauren Graham.  Take a peek at her first short film, This Cigarette, starring another magnetic lady, Model/Blogger/Stylist/Actress/Girl Crush Jenny Parry. If you’re a gal living in LA, this one hits home #struggles.

LG took a break from Final Cut Pro to late night email us, here’s the proof…

So, what’s up?

Not much.


Can we get you something to drink?

Sure. I kinda want a skinny mocha. Feeling those lately.


What are you wearing?

Unfortunately, SpongeBob Squarepants shorts.


Are you single/taken/bummed/indifferent/hopeful?



Are you interested in anyone right now?



How late did you stay up last night?

Like 3am


Meals or snacks?

Before I went out? I made pizza and tricked my brother into eating veggie pepperoni. There was also a tomato salad involved.


How often do you consume alcohol?

Depends what I’m doing in my life. I’ll go for weeks or months without drinking. If I’m on vacation or touring with a band making a doc, that’s another story…


You kissed a girl and liked it?

Saving that for the memoirs.


Please don’t touch that

My camera gear?


What’s on your feet?



Blue or black ink?



Ever sit down in the shower?

Only if its a fancy one with a shelf.


When was the last time you really froke out at someone?

Not for awhile. I kinda wish I could freak on people more.


What was the first thing you said aloud this morning?

Probably “Monkey” that’s what I call my cat.


Are you listening to music right now?



Will you text the person you like today?

Like 1000 times.


If we gave you $50, what would you buy?



Last 3 google searches?

They were all editing questions for final cut pro. I know all my friends that have recently switched to adobe are going to judge me.


What are you doing later?

Editing a video


Can we come?

Sure if you want to be bored.


Photo: Danielle DeFoe