Guys watch out!

“This 4-foot-long sea worm was devastating coral reef and terrorizing fish at an aquarium in Cornwall, southwestern England. The creature, known as “Barry,” devoured bait traps — hooks and all — and bit through a 20-pound fishing line before staffers finally managed to capture it. The worm was moved to its own tank.”

“BTW, Eunice aphroditois is also called the “Bobbit Worm” due to the fact that the female worm attacks the male penis and feeds it to her young after mating.”

Read more here!

We Shat in Our Hats, Pulled it over Our Heads, and Called it Flowers

“Why do I do this?” I confront this question often, as I drown in debt and boxes of various records from Three One G, the label I started over a decade ago. Apparently, my vision compels me in a million different directions … all of which revolve around San Diego. So many things influence me, from the fact that there is no welcoming platform for art or artists here to the fact that the city regurgitates conventional garbage to entice tourists while nicely wrapped up in a blanket of institutional racism. The seedy underbelly of creativity takes a huge deep breath every now and then, belching out an art piece made of silk screen ink, paper bags, spray paint, photo copier cartridges, glue, cardboard, burlap sacks, used clothing, and markers, which is all stuck to the left side of a giant brain. The community of local labels here, like Gravity, Vinyl Communications, and Gold Standard Laboratories (which moved to San Diego a little later), amounts to a mess of artistic freaks living in a conservative, transient, tourist city that is not welcoming to art in any way, shape, or form. I started playing music and paying attention to details when I was a kid living in San Diego. Now, I’m not necessarily talking about details related exclusively to music. I’m talking about packaging; the aesthetic music is clothed in. Early on, I was intrigued by anything from Kiss’s Double Platinum LP (rumored to reflect an image of Satan in the perfect light) to the read-along Star Wars kids’ books that came with a 7” record. In my teenage years, which happened to fall in midst the ’90s, I played on records and worked with labels like Ebullition. I guess some would call this the start of my music career. At the age of 15, I managed to start a band called Struggle, and even though it has not held up musically over time, it was the beginning of a realization that I, too, could put out records. With that awareness, I dove right in. There was quality in what Kent McClard, who ran Ebullition, was producing. The records’ packaging was effective by being to the point and having profound imagery. It looked cool, and was interesting because it was submerged in a social and political direction that was important to the world I lived in. All of the releases on Ebullition looked perfect, and held on to the feel that something like a Crass album might have, but took it a little further. There was more to it than music at this point. Written explanations of the songs, as well as essays about things that were relevant to the life that we lead, lay amid imagery that stretched well beyond the sound, making each release desirable to the listener. It was obvious that there was more than just music to the records we were releasing. I set my standards high and had visions lined up for years to come—if I was given the opportunity to put out records that I played on. I wanted to be part of an album that could project an image, like Kiss did. Although, at the time, I was sure as hell not up to par with Kiss, I had figured out that Kiss were merely interesting because they had cool outfits and loads of merchandise—they sure as hell were not musically interesting to me. I wanted to do stuff along the lines of what kids grew up with—things that were going to be interesting and not the run of the mill. I even focused on the possibility of shaped vinyl before I knew that was an option. I wanted to make pieces of art, not just records. Around this time, I worked with other smaller labels that were essentially taking the D.I.Y. ideals of the music culture I was part of and creating a sort of D.I.O.(doing it ourselves) community. It seemed that anyone could put out records. This was true—anyone could put out a record—but it proved to be a bad idea in some respects. Among the plethora of requests to “be on my comp” or “do a split release with so and so’s band,” I accepted and, on some occasions, soon found myself dealing with others altering my art, cutting corners (even when there was a means and method of achieving exactly what I wanted), and basically throwing away what my comrades and I had worked to create as a band and as artists. Amid the sea of photocopied fold-over covers, I understood that most of us were poor kids who could not sell more than a few hundred 7”s. We were forced to be creative to get what we needed on extremely limited resources. But to have your cover art altered because someone could scam free printing if it looked different was defeating, especially when you, the one creating the music, would never see a dime from your effort to produce a record. I worked with labels that completely changed the art for covers, inserts, and labels on the vinyl. And at times, opted for different packaging without any notice to the bands. A perfect example was the Struggle/Undertow 7”, which was originally released with a cover featuring a drawing of Struggle’s drummer being arrested by the L.A.P.D. The issue was that the drawing on the cover mimicked an actual photograph that had appeared on the cover of the L.A. Times. The real photo should have been the cover of our record, but the printer had told the label that a photograph would not print well. So the label drew the photo and used that as the cover without asking us. Whose drummer gets arrested in the middle of a riot and gets his photo taken while it’s happening? Not any drummer I can recall. Peter Criss sure as hell didn’t. And so it was released without consulting the band. When I finally became fed up with this stuff and decided to write off the crummy releases that I had “donated” music to, I realized that I could, in fact, do better than what these so-called labels were doing. So I started Three One G. I took the ethics from labels around at the time I started Three One G (like Dischord and Alternative Tentacles) and altered them, making them mine. I wanted to put out interesting records on Three One G, like the slew of impressive releases that were influential to me. Not only did I want to run the label with ethical and moral values, I wanted Three One G to be an artistic platform … an artistic family and community. My mind worked like this: I wanted silver printing on an album cover. So I made a rubber stamp, got silver ink, and stamped every cover on the Unbroken “And/Fall on Proverb” single, which was Three One G’s first release. Even with the binded covers of some of the releases I did, I was cutting, folding, and then gluing them—thousands and thousands of them. Some even had hand written messages on the folds that were glued together. I silk screened vinyl, which I had to do every time I pressed the record. Sometimes, I’d leave my roommates a message on the front door: “Don’t come home for a few hours,” as every visible surface in the house was being used to let the b-sides of records dry after being screen printed. If I wasn’t getting hooked up or stealing from Kinko’s, I was spray painting paper with metallic paint to use for inserts, for ads to go in records, and for flyers to promote the records I was putting out. I often used blue and red color printer ink to get 3-D effects, like on the back cover of the Locust/Jenny Piccolo picture disc. I would try to find a way to pull off whatever I could come up with to cross that line into a more creative place in the world of music. I lived the life of financial suicide tied to ridiculous labor—detailed, tedious assembly—and held on to a hidden artistic perspective. I put all my extra income and extra time into putting out pieces of art for random people all over the world to discover. I wanted the “consumer” to find the Crimson Curse/Festival of Dead Deer 7” and not know that the basic black-and-white cover actually held a square-shaped blue vinyl record inside. The way it felt being pulled out of the cover and the fact that it looked nothing like a record, but more like a floppy disc, was something that held one’s interest before he or she even got the chance to listen to the music. And the Black Dice single was actually a 40-page full color book of art and collages created by the band, that was modeled after all those Star Wars books with 7”s that I had listened to and read along with as a kid. When you were done listening to the Black Dice 7”, the colored vinyl fit nicely in the back of the booklet in its own slot, creating the feeling of when you were a kid but making it something completely different. To execute the idea that Black Dice and Three One G had for this 7” single, I found myself working at the print shop that made the covers, doing manual labor to cut costs, so I could actually pay for the printing. I wanted there to be an element that was not obvious and, by all means, was different from the slew of other records out there. I wanted there to be more than just music when someone got a new record. I wanted people to read and study the packaging and art, as it was an extension of the band’s communication with the listener, only enriching the sounds presented. I soon found myself having the ability to think outside of not only the sonic musical world but also the physical artistic world. I went on to work with other bands and labels, putting out heart-shaped records like the Love Life single, metallic vinyl records like the Zs EP, glow-in-the-dark silk-screened vinyl records like the Crimson Curse LP, and even working with Gold Standard Laboratories, which released The Locust’s four-piece puzzle-shaped record set and The Locust/Arab on Radar split 7” collection of puddle-shaped records. I had ideas such as clear vinyl with a picture of a tooth in it with bloody lyrics to eliminate the need for an insert with Holy Molar’s second EP. I even had absurd ideas like printing the lyrics in the inside of the cover to a record, so the only way to read them would be to destroy the actual cover, like we did with Holy Molar’s first EP. Running Three One G, I embraced absurdity, trying to go that extra mile, bringing my “career” and “company,” as well as the bands I played in, to some remote location measurable beyond miles.

ADAM 12 + More @ Banana Split Sundaes

Get on Dim Mak’s FREE Guest list by Sending Your Names To PARTYLINE@DIMMAK.COM w/ The Subject Line: “Banana Split Sundaes/ 05.03”

We will hit capacity early! This week won’t be any different!

Heavy Accents “Shout With Your Hips” Mixtape

Heavy Accents aka DJ Indian Dad (thanks Steve) here, you might’ve caught me at Cinespace opening for Dan Oh and Them Jeans a few times, the other times I might be down in Orange County with GMO and friends dropping some jams. As a formal introduction I wanted to share my latest mixtape with you. Shout with your hips!!

TRACKLIST:
1. Cut Copy - Sands Of Time
2. Jamie Lidell - Little Bit Of Feel Good (Mr. Oizo Mix)
3. Sebastien Tellier - Kilometer (Aeroplane Italo 84 Remix)
4. Mock & Toof - Underwater
5. Grovesnor - Drive Your Car (Hot Chip Remix)
6. Runaway - Brooklyn Club Jam
7. Ladyhawke - Paris Is Burning (Cut Copy Remix)
8. Little Boots - Bring It On
9. Golden Bug - Looklooklook (In Flagranti Remix)
10. LeLe - Breakfast (Mercury Remix)
11. MGMT - Of Moons, Birds and Monsters (Holy Ghost Remix)
12. Curses! - The Deep End (Holy Ghost! Day School Dub)
13. The Juan MacLean - Happy House
14. Liquid Liquid - Optimo (Optimo Remix)
15. Royksopp - Happy Up Here (Breakbot Remix)
16. We Have Band - You Came Out (Stereogamous Remix)
17. Supermayer - The Art of Letting Go (Ewan’s Daft Funk Vocal Edit)
18. Shakedown - Lovegames
19. Lykke Li - Dance Dance Dance (80kidz Remix)
20. Pnau ft. Ladyhawke - Embrace (Fred Falke & Miami Horror Remix)
21. Ted & Francis - Erlend (Ted & Francis remix)
22. The Hours - See The Light (Calvin Harris Remix)
23. Klanguage - Priceless Things
24. Vampire Weekend - The Kids Don’t Stand A Chance (Chromeo Remix)
25. Cazals - Somebody, Somewhere (Lifelike Dub)
26. Midfield General - Love Thy Self (Midfield General Disco-ish Mix)
27. In Flagranti - Brush My Beat
28. Hot Chip - My Piano
29. Lord Skywave - I Am A Dead Man (Grovesnor remix)
30. Phoenix - 1901 (Fabian Remix)
31. Datarock - Give It Up (Kissy Sell Out Remix)

Download Shout With Your Hips (zSHARE) (sendspace) (fakeRICH)
72 min. | 99 mb

COACHELLA PIX!

Took me a while to get to my photos, but I’m not over Coachella yet. Be glad I left out the Turbonegro fans in their underwear. Good lookin’ dudes though, I won’t lie.

http://twitter.com/snoopz1000

Summer is almost here…finally!

So in the spirit of summer fun, my party Busywork is starting its Summer Houseparty Series. Basically what we are doing is having 2 rooms of constant music. The backroom of Detroit Bar will be converted into a makeshift living room floor where local up and coming bands will be able to shred and party without the burden of a soundcheck and sounding professional. Its all in the name of fun. Our first one is next wednesday May 6th! Hope you can make it!

Dim Mak Collection @ Unique L.A.

Unique L.A. is this coming weekend, May 2 & 3! Come out to the Dim Mak Collection booth! 

UNIQUE LOS ANGELES is an exciting two-day shopping event that showcases independent design talent at great prices. The event brings together over 230 of the best designers, artists and merchants. We believe in supporting the community while stimulating the local economy, we thrive on individualism, and we hope to introduce independent design to the masses. There are deals and discoveries a plenty!

Saturday, May 2, 11 am – 7 pm
Sunday, May 3, 11 am – 5 pm

Held at the California Market Center penthouse (110 East Ninth Street, LA, CA )

MOTOR on tour wif Depeche Mode!!!

Looks like I’m copengoin’ to Copenhagen

Audiotistic!!!!

Those of you who go out a lot in LA have probably seen/maybe passed by flyers for this and those of you who are based out of LA have definitely heard of this event before and those of you maybe were in high school during the first several and who had almost death paranoid parents maybe were not allowed to go to the first few…..(ahem!)

I never got to go to raves or anything during the late 90’s but I remember Audiotistic being ones that several pez necklace wearing friends were attending when I was in high school. I love hip hop so I’m looking forward to seeing The Roots, Reflection Eternal (Talib and DJ Hi Tek), Z TRIP, The Cool Kids, DJ Funk. Im looking forward to seeing Dim Mak buddies Them Jeans and Flosstradamus and I love Amanda Blank and want to see her as well. New Dim Mak Signee (signee? Jacon? Am I saying this right?) Armand Van Helden will be performing too, and all of you kids who are super into trance will have a lot to look forward to as well (Above & Beyond, Goldie…etc)

Yes it is about 7 in the morning and NO i am not just going to sleep!

Booyakah!!!

Love,

Brynne

SIDEBAR #2

Mustard Pimp/Hesta Prynn/Cults
The Willowz/The Auctioneers

Blu Jemz/Gina Turner/Michna

21+ ONLY // DOORS @ 9PM

FREE VODKA 11-12

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