Throughout the past couple years, we’ve seen an emergence in what I like to consider folk-electronic music rising up from the depths of your favorite underground music venues into your SiriusXM radios. Although the genre has been steadily growing, it somehow has yet to move on as a passé movement in the scheme of genres making a comeback here in Southern California.
Since Sylvan Esso‘s self-titled debut this past May, they’ve set the bar to a whole other level with tracks that reverberate throughout and unique mixes of top-notch vocals and clean production. From front to back, Singer Amelia Meath (previously of folk trio Mountain Man) and producer Nick Sanborn have created an interesting mix of simple yet mysteriously complex tracks filled with layers of meticulousness that leave for an experience in itself.
The dynamic eb and flow of the album provides listeners with jams like ‘Hey Mami’ and ‘Coffee‘— both to be enjoyed with a pair of headphones or in your nearest hipster dance dive—I personally recommend Dance Yourself Clean at Short Stop. Before the band hit their two night sold-out shows at The Troubadour, LA CANVAS Magazine had a chance to chat with Nick about now, next and how the duo came to be.[separator type=”thick”]
LAC: Out of curiosity, Amelia, having played with the trio Mountain Man (a very folk centered trio, touring with Feist and such), did you ever see your musical journey translating over to a more electronic/instrumental world?
NICK SANBORN: I hesitate to speak for her, but she has always loved electronic music and pop and wanted to try something that was more accessible. Both of us have a bit of genre-ADD, and have hopped around a lot over the course of our “careers”.
We’re booked out for the extended foreseeable future, and working on lots of remixes and new stuff when we can. We’re just grateful to be out here and playing for more and more people, which we’ll continue to do as long as we can.
LAC: Having both come from what seems very different musical backgrounds, what brought you two together to experiment on what is now your signature sound?
NS: We were just big fans of one another. I think any time two people are fans of each other’s music it allows them to contextualize each other. The remix of Play It Right kinda took me by surprise – it showed me a way I could work with someone musically in a different way than I had been before, and thankfully Amelia felt the same way. We didn’t set out with any stylistic goals beyond accessibility, this is just the natural music we make together (for right now, at least).
LAC: Once you got together and did the first mix of “Play It Right” what was the tipping point when you decided, “Yes, this is the direction we are going to go, and we are going to rock it”?
NS: After that we started trading ideas over email, which was exciting but neither of us had any expectations. The tipping point for me was a couple months later, when Amelia flew out to Durham to hang and record vocals at my house. I had a solo show scheduled at Hopscotch (a festival here in NC) and asked her to join me to sing Play It Right, which I had been using as the closer to my sets pretty regularly. Something just clicked during that song (the first time we had ever been on stage together, in front of six or so people) – we both looked at each other afterwards and decided we had to see where it could go.
*We both look at each other and decided we had to see where it could go…
LAC: The songs “Coffee” and “Hey Mami” seem to building the most traction in the blogosphere, are those tracks in which you were anticipating to hit, or did you have other songs off the album which you’d really like to resonate more with listeners?
NS: Not at all. We kinda had no idea what to release as singles. We had already put out Hey Mami and Play It Right on a 12″ single (just because they were our first two songs), and so we decided to put out Coffee next just because it was an opposite vibe of the other two. We thought it was way more of a sleeper hit than a single, I mean, it’s such a bummer of a song in so many ways.
LAC: The album still seems to be building serious momentum since it’s release in May, and with a nation wide tour, what are you thinking is the next level for Sylvan Esso?
NS: Who knows? We’re booked out for the extended foreseeable future, and working on lots of remixes and new stuff when we can. We’re just grateful to be out here and playing for more and more people, which we’ll continue to do as long as we can.
LAC: I have to ask (sorry if this has been thrown your way a million times) but what is the meaning behind the name “Sylvan Esso”?
NS: It’s loosely based on a video game called Swords and Sworcery that both Amelia and I would highly recommend.
LAC: I am not sure how many times either of you have been to Los Angeles (we are very excited for your show at the Troubardour), but is there a spot in town that you must hit while you’re here?
NS: We’ve recently been addicted to this breakfast taco spot called Home State, so that’ll be on the docket. Other than that our trip will hopefully involve hugging my friend Spencer, eating bahn-mi at this pop up place by Jackie’s house, and taking a hike up several of your urban staircases.
LAC: If you had one thing to say to describe your current tour, what would it be?
NS: Fantastic and exhausting.
LAC: What are some bands or songs that you two currently have loaded on your playlists right now?
NS: The Lounge Lizards – Voice of Chunk (whole record), Jessy Lanza – Keep Moving, Caribou – Can’t Do Without You
Yes, Halloween might be on the 31st, but what we’re really excited about is HARD’s dance music festival-incarnation of Dia de los Muertos. HARD Day of the Dead comes to LA’s State Historic Park this weekend, Nov. 2nd and 3rd, and we’re all for honoring the deceased with a dance orgy of epic proportion. Alongside obvious headliners like Skrillex and Deadmau5, there’s a first-rate lineup of DJs taking reign of the decks. From dubstep-turned-disco act Skream, to LA’s own beatsmith TOKiMONSTA, we’ve picked out our sets to catch below.
Dusky [2:45-4:15pm, Red Bull Music Academy Discotheque Stage]
London-based musicians Alfie Granger-Howell and Nick Harriman are the duo who make up Dusky, a producer/DJ team whose hit “Careless” currently holds the #1 spot on Beatport. The coveted #1 spot is a huge feat considering the fact that it’s usually reserved for the type of banger you’d hear at an EDC mainstage set, yet Dusky’s ‘Careless’ leans more closely to a deep and soulful brand of house.
Salva: [4:15pm-5:15pm, Harder Stage]
Frite Nite owner and Chicago native, Paul Salva knows a thing or to about working an audience and igniting the turnt up flame. Most known and recognized for his remix of Kanye West’s ‘Mercy,’ which garnered mass radio attention, Salva’s craft showcases heavy dips, house motifs, funk and tsunami waves of bass. Alongside Shlohmo, Jerome LoL and Groundislava as one of the foundations of record label Friends of Friends, this set will be unforgettably unique.
TOKiMONSTA [4:15-5:15pm, Red Bull Music Academy Discotheque Stage]
The monster is back with a newly released project, “Half Shadows,” where she explores some new sonic territories but still remains the chilled hip-hop flavors that we know and love. The LA producer is set to take you on a multi-genre journey filled with her own brand of bangers — from disco to electro-pop to hip-hop, this girl’s going to to throw it all down.
Maya Jane Coles [7:15-8:30pm, Underground Stage]
This house queen hails from the UK, spinning smooth and penetrating bass-heavy beats with a quiet finesse on the decks. Ranked #10 on Resident Advisor’s top 100 DJs, Maya’s deep and tech house sets have hypnotized crowds from Ibiza to Coachella’s Yuma tent last year.
Kavinsky [7:30-8:30pm, Red Bull Music Academy Discotheque Stage]
Frenchman Vincent Belorgey’s productions reminisce on that one awesome 1980s signature that we hate to love: that synth-heavy electro-pop that littered 80’s film soundtracks. Though he’s only been making music since the early 2000’s, Kavinsky’s tracks sound like they are decades-old, and just as refined.
Justin Martin [8:30-9:45pm, Underground Stage]
Justin Martin is one of those producers/DJs who manages to capture the elusive combination of dance-worthy tunes with emotional depth. Catch him at the Underground Stage for a set that’s sure to be full of low end-heavy house with a disco bounce and sub-tropic vibes.
Lunice [11:00pm-12:00am, Underground Stage]
Don’t break your neck when you see this cat, the Montreal producer and one-half of trap-hip-hop-glitch-whatever-
Cirez D [10:45pm-12:00am, HARDER Stage]
If you’re not seeing the legendary Lunice or grooving to Masters at Work over at the RBMA Discotheque Stage, head to the HARDER stage for a rare appearance of progressive house maestro Eric Prydz spinning dark techno under the Cirez D moniker. It’s kind of masochistic, but we can’t wait to hear the master of anxiety-inducing progressive build-ups to get our hearts thumping.
Maribou State [2:30pm-3:30pm, Red Bull Music Academy Discotheque Stage]
To borrow from the Guardian’s description of the duo, this UK pair are like the downtempo equivalent of Disclosure, except with a little more depth. While their tunes still have hints of a dance floor sensibility, their productions have an emotional complexity that Disclosure’s lack. You’ll find their songs are soulful and touch on jazz with bits of melancholy. We’re curious to see how their sound will play out at a festival such as HARD’s Day of the Dead.
J Paul Getto [4:00-5:30pm, Underground Stage]
This Chicago producer is probably one of the most slept on producers in house music. We started noticing J Paul Getto on soundcloud for his undeniably groovy tunes, but it’s this reworking of the instrumental from the hip-hop classic ’93 Til Infinity’ that really solidified J Paul Getto’s status in our eyes. Their translation of the jazzy warmth of the original into a bonafide house beat was simply genius.
Cut Copy [5:55-6:55pm, HARD Stage]
This Aussie duo has mastered the art of making incredibly catchy synth-pop with hits like “Hearts on Fire” or “Lights and Music.” Their appearance at HARD should include some tracks from their forthcoming album Free Your Mind. Catch them at the mainstage for some euphoric dance-heavy magic.
Skream [7:30pm-9:00pm, Red Bull Music Academy Discotheque Stage]
If the name is familiar, it’s because Skream is one part of the UK dubstep-popularizing trio, Magnetic Man. Publicly announcing his departure from the genre, Skream is now focusing his efforts on a decidedly more cheerful genre: disco. His appearance on the RBMA Discotheque Stage may be one of the first times Skream has played a major stateside festival under this new direction, so his set should be well worth checking out.
Amine Edge & Dance [8:30-10:00pm, Underground Stage]
If you’ve never heard of G-house, now’s the time to get familiar. Amine Edge & Dance are a duo out of France who are pioneers in this genre, pumping out beats that are heavily influenced by the sounds and funky basslines of 80’s hip-house.
Duke Dumont [9:00-10:30pm, Red Bull Music Academy Discotheque Stage]
With one of HARD Summer’s best sets, Duke Dumont has quickly gained a heavy following in the last few months in Los Angeles. His sonic confections, smooth melodies and perfect transitions have a mesmerizing quality, which keeps you hooked on each beat as if it was the last one for the night. We hope they’ll have the lights dimmed down low and the mood just right for what’s sure to be a massive set.
Paper Diamond: [Sunday 11/3 10:45-12pm, Harder Stage]
With Paper Diamond closing out the Harder Stage, you can expect a slew of surprises: new releases, collaborations and visuals. Under Pretty Lights Music and an EP off Mad Decent, Alex Botwin has found himself escapading all over the globe with his destructively diverse repertoire at festivals and shows. With versatility under his belt, you can expect big revelations during his set.
Giorgio Moroder ft. Chris Cox [10:30pm-12:00am, Red Bull Music Academy Discotheque]
He might be old enough to be your grandpa, but the guy is homies with Daft Punk and commands the respect of many electronic musicians alike. One of the most prolific acts on Day of the Dead’s lineup, Moroder is an Academy Award-winning composer, a recognized songwriter/producer worldwide, an artist, designer, filmmaker, entrepreneur and overall disco OG. This man does it all and has been crafting a musical evolution for nearly 50 years. Prepare your mind to be swept away by this genius in the Red Bull Discotheque Stage.
Brace yourselves, Los Angeles, electronic dance music’s biggest prophet has made our city his new home. Pete Tong, the legendary veteran DJ and radio host for the UK’s BBC Radio 1, is one of dance music’s loudest advocates. While the scene has climaxed to a foreign territory where many are skeptical about its lasting future, Tong is no cynic about the current situation, but instead, a belieber, believer and visionary in embracing the current disposition.
With his recent relocation from the UK to LA, he plans on taking refuge within this concrete jungle–a hub for talent and haven for creativity. This city has invaluable powers to introduce or hide its talented artists by its labyrinth of networks, something Mr. Tong plans taking full advantage of, to introduce even more brilliant talent from the UK and Europe. We’re reminded of the powerful article that Bill Gates wrote, ‘Content is King’, which spoke of the boundless capacity of the internet and its extension of networks.
Pete Tong’s innovative perspective plans on rewiring the current grid of EDM that happens to be playing it rather safe and replicated among many of America’s DJs. By stepping out of his comfort zone and channeling his sweeping knowledge and deep roots of the EDM field, this new market will be groundbreaking for his personal career and for many to come.
BBC Radio 1 – Pete Tong, Essential Mix featuring Disclosure
This Friday night. Sept 20, will be his first Los Angeles residency show at Sound Nightclub in Hollywood. Los Angeles, brace yourselves for a sensational evening fueled by some of the most emerging and captivating tunes that this EDM prophet has to offer.
Purchase your tickets here.
Eats Everything, a.k.a Dan Pierce, has seen a meteoric rise in the house music scene with a decidedly groovy and low-end-heavy breed of house. After struggling for years and even going on the dole (the UK’s equivalent of collecting unemployment), he cut a deal for his single “Entrance Song” in 2011 and the rest is history. Today he ranks #13 on Resident Advisor’s top DJs list, and is one of the most in-demand DJs in Europe and beyond. We share a conversation with the affable gent on the underground, drugs, and wrestling. Yes, wrestling. Read on for an explanation…
LAC: I read in an old interview that you were into wrestling as a kid… and that it was how you really got into electronic music. Can you share that story with us?
EE: Well I was actually into WWF as it was known then, when I was 10 or 11 years old. I had the ropes painted around the walls in my room and all the logos of Hulk Hogan, etc. painted on my walls. I used to wrestle with the pillow and listen to Radio 1. They played what I now know to be house music basically. And they played Felix’s ‘Don’t You Want Me.’ I thought, ‘wow, I haven’t really heard anything like this before.’ So I recorded the show, and every time I wrestled my pillow, I played that song.
LAC: So, basically a gay anthem became your entrance song…
EE: Yeah, exactly! My entrance song is basically a gay anthem, so just picture me wrestling my pillow, walking into my bedroom and ‘Don’t You Want Me’ is playing.
LAC: Well that’s got to be the most entertaining story of how anyone’s gotten into electronic music…
EE: Yeah, [laughs]
LAC: You’re into a lot of music, and consider yourself open-minded… why do you think electronic music in particular though, is so powerful?
EE: You want the honest truth? Because most people who get into it, take drugs with it, and they like it, the drugs give you a euphoria and I don’t think there’s anything more euphoric than a huge piano riff or, like, a big massive riff. Electronic music is very strict on its boundaries, with how it works, for example, it’s usually got a 4-4 kick drum, very definite broken beat, and so on and so on. You can really associate with it. Whereas, rock music, for example, is 4 different speeds, ranging from like from 100 to 200 BPM, I’m not saying in general, but me personally I could never grab onto anything. I like it, but house music you can grab on to it, you can grab onto the kick drum. There’s an element of that that works… It works for me and other people, it’s got something that really grabs you. EDM, it’s such a big thing in charts now, there’s a big culture around it.
LAC: Speaking of drugs, I’ve seen a rise in the use of psychedelics and there’s this discussion around the audio enhancement you can get on psychedelics. Do you think there are musicians out there who produce specifically keeping that in mind?
I do think there are definitely producers who do. But I mean, me personally, I don’t… well, I guess I do in a way. From the ages of 15 to 27 or 28 I was getting fucked up every weekend. And I mean, obviously when I’m making a record, I have an idea subconsciously how it might sound. And there probably are writers who do specifically produce for people on acid or [psychedelics]. Take psy-trance for example, it’s definitely produced for people on acid and stuff.
LAC: Thanks for answering that so frankly… Moving on, I’m curious about Claude VonStroke. What role has he played in your career and what’s it like to be a part of the Dirtybird family?
EE: He’s a real legend and amazing person. Really helpful. I mean, he’s out for himself, not in a bad way, but in the sense that he wants his label to do as well as it possibly can, he does this by signing the best artists and the best music, there’s no bad in thing in that. He’s given me a lot of advice and he’s really helped me a lot. The Dirtybird guys are my favorite guys in this industry, they’re great. Not just cause they’re my crew, but they’re really just my favorite guys in the industry. But really, there’s not really anyone in the underground-ish house scene who aren’t cool. There’s no arrogance, no cliquey-ness, anything like that. Also, we’re all a bit older, we’re all in like our 30’s, we’ve been around a lot..
LAC: There’re no egos right?
LAC: I’ve always thought when the egos are thrown out of the mix the music is much better.
EE: 100 percent.
LAC: You’ve been in the game a really long time now. I’m sure you’ve seen the sound of the underground change from year to year.
EE: Yeah exactly, look at “Jack”, that was underground…
LAC: …But now it’s huge!
EE: Yeah, now it’s gotten to the top 10 in England! You know, I don’t even call myself underground really. I say [my sound is] underground-ish… I don’t think people and clubs and cliques could say that they’re underground but they’re not cause if you advertise on your Facebook and tell people “come to my party” or “buy my record”, then you’re not really underground. At the end of the day, you’re not underground. I would never call myself underground ’cause I advertise, lots of people know who I am, I have a Facebook, I say listen to this or that on the radio… there’s nothing underground about that. And it’ll continue to be like that forever, because the kids who are into Skrillex and you know (I mean I love Skrillex but it’s just an example), they’re always going to be wanting more or looking for something new. I just think underground will always become mainstream, because the kids will always want something new and their attention spans are already short, but I see them getting shorter and shorter. I don’t think there’s really any such thing as underground anymore.
LAC: You used to be into darker music… You’ve played everything from hardcore to jungle, speed garage to a funkier, groovier breed of house. Can you tell us a bit more about your transition from the heavy to the lighter? Would you say the heavy side still influences your sound?
EE: When I was a kid I was listening to, obviously, Felix. Then, when I was about 13, my friends who had older brothers who were basically you know, they’d go to raves and hardcore raves…
LAC: So you got into raves when you were a kid.
EE: I was from a small village, basically in the middle of nowhere, miles from anywhere. There was nothing to do, and you could either get into crime or go to parties. Luckily for my parents I got into partying and taking drugs a bit [laughs]. Yeah, I was taking drugs and enjoying myself [laughs] We’d listen to hardcore… it was all about breaks, jungle types of breakbeats and piano then all of a sudden they added all this shit… cheesy lyrics into the track, it kind of turned a lot of us off.
LAC: Are you talking about happy hardcore stuff?
EE: Yeah, happy hardcore! So basically the hardcore became happy hardcore so we got into jungle and drum ‘n’ bass, then it got darker and it kind of lost all the soul for me, so then we got into house music and into its emerging and amalgamating form. I’ve always been into the more banging heavier end of the spectrum, but, yeah, I would say I’m one of the more heavier DJs within this “underground”-ish scene.
LAC: I read that you have a collaboration album in the works in Justin Martin
EE: Yeah, I’m in San Francisco at the mall at the moment looking for a new shirt. (I’ve run out of shirts), but yeah I’m actually here to record with him, I’m staying at his house recording music! We’re trying to write an album of what we consider dancefloor-friendly, we just want to make an album of tracks that we can play and we can tour and play it in a certain way. We just want to make a lot groovier records basically.
LAC: I’ve heard a lot of your collaborations but haven’t seen so many of your own solo productions lately. Where do you see your career going, are you still thinking of opening a studio?
EE: My career, well, me and my management, my team, we basically have a plan for what’s going to happen. And the reason now I’m doing a lot of collaborations is, because at the end of the day, I’ve released a lot of singles, I’m doing a collaborations and then I’m gonna do a lot of touring, then after that I’m going to sit down and write an album, cause with this game I’ve learned more and more that things can get stale and you have to do different things for yourself, cause I don’t want to get bored. I know if I was in the studio all the time I’d get bored, so there needs to be a balance.
LAC: Understandable. Do you have artists that you’re thinking of collaborating with or artists who are just under the radar that we should keep an eye out for?
EE: There’s this guy German Brigante who makes fucking brilliant records every time. Every record is a winner. There’s also a guy Truncate who makes techno. He makes really cool, really crazy techno.
LAC: This one’s a bit random, but what are the best and worst foods you’ve had in the United States?
EE: That’s a tough one! I’ve actually never really had bad food here, I’ve liked pretty much everything. Let’s see, I had a really good meal at a place called House of Prime Rib. I like most foods so anywhere I go I’m pretty happy.
LAC: You play Splash House this weekend in Palm Springs and you just played HARD Summer here in LA. How was that experience for you? Do US audiences differ from UK ones?
EE: They do differ in that the US audience is a little less expectant of what they want you to play. US audiences seem a lot more open-minded, they kind of just let you do what you do and get down… whereas in the UK, the audiences are a bit more… difficult, in the sense that they want you to play certain tunes or records.
See Eats Everything get down this Saturday at Splash House in Palm Springs. From August 10-11, Eats Everything and artists like Bag Raiders, Poolside, Classixx, Perseus, Plastic Plates, and more take to the decks for a triple-header pool party at the Saguaro Hotel, the Curve Hotel, and the Caliente Tropics! More details here.
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.
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.
This dreary weather got you itching to get your dance on? Wintersalt Festival, presented by EYEHEARTSF, is going down NYE weekend, December 28th and 29th. Performances by the likes of Diplo, DJ Shadow, Dillon Francis and more, will be intrinsically altering minds at the Fort Mason Festival Pavilion.
Lucky for you, we have two extra one-day passes for Saturday, which Diplo will be headlining. But, we aren’t just going to give these away. You are going to have to WORK for it. Get on your Instagram and post your best concert shot ever with the hashtag “#wintersaltLAC”. By the 11th of December, we will pick ONE winner. You and whomever you deem a worthy human being will be headed to Wintersalt! Get ready to “Express Yourself” and “Pick your Poison” because you may be going to Wintersalt…See what we did there.