It's been a busy week preparing for tonight's Gary Wilson show in Tijuana, so I'm just now getting around to posting about last weekend's incredible event in downtown L.A., Ariel Pink presents Cuckoo's Nest.  The evening took place at Basic Flowers, and here's the short version: this type of thing is as good as it gets. It's why I do music, and an example of curation at its finest. I'm including a video here of just some of the evening's highlights.

Since I was playing with Gary Wilson and the Blind Dates, I was unable to capture all the evening's footage. Unfortunately, I missed Ariel performing with Don Bolles as I was getting into my tights and makeup (what's a Blind Date to do?), but  I was happy I was able to document snippets of brilliant performances by 5hagatha, Richard Ross, Jerry Solomon, and Old King Cole Younger. The solo "5hagatha and His Moog" performance was especially appealing to me since the instrument has always held a special place in my heart (via "the Beach Boys Love You" album, as well as the band the Moog Cookbook), and 5hags did the instrument justice, with seemingly inexhaustible access to ideas and sounds through the small instrument.

I was unfamiliar with Jerry Solomon, but word on the street is that he was cited by Andy Kaufman as an influence. I've included a video here of some of his performance. During Mr. Solomon's time on the mic, and indeed throughout the entire evening, the crowd was 100% present, appreciative, and engaged. Ariel was running sound and hopping on the mic intermittently, the distinction between the artists and spectators was next to nil, and I was struck by the sense of genuine community.

I had just enough time to get out my Blind Dates garb and makeup in order to enjoy the final set of the evening, contributed by Old King Cole Younger. The set rounded out a strikingly diverse - and yet equally complementary - evening of creativity.

The word "curation" sounds stuffy to me, but that is exactly what Ariel Pink did so beautifully on this evening, and has consistently done throughout his career. Besides his own brilliant music, he's been instrumental in bringing the music of  brilliant artists like R. Steve Moore (e.g. Ariel's Picks, Vol. 1 - a fantastic and thoughtful compilation of the Father of Lo-Fi's music), and, of course, Gary Wilson. 

Ariel and Gary at Pappy & Harriet's. Photo: Galina Betker, 2015

And speaking of Gary, although I was playing drums and unable to film, here's a recent Gary Wilson and the Blind Dates performance for you to enjoy. 

Thanks to everyone who made Ariel Pink presents Cuckoo's Nest so special, and as always -- thanks for staying tuned in!

2015 has been a doozy indeed, complete with elating ups, devastating downs, and plenty of unexpected twists and turns. Anyone who is familiar with me or what I do will tell you that music is at the center of my everyday personal and professional life, so let's get right down to the musical highlights. Some of my sonic adventures came through continued collaborations with Gary Wilson and R. Stevie Moore, who are both dear to my heart and soul, while others involved crossing paths with new, kindred spirits in this sixteenth year of the new millennium. Consistent with the trying path of any life pursued with gusto, there was also a fair share of heartache. 

                           Gary Wilson and the Blind Dates at the Irenic in San Diego, CA. Photo by Nick Lane, 2015

As drummer for Gary Wilson and the Blind Dates, I had the pleasure and privilege of playing a variety of venues, sharing the bill with some of the most vibrant artists out there. We brought Gary's weird and wonderful world to places as diverse as the San Diego Art Institute, LUX Art Institute, Gym Standard, Pappy & Harriet's in Pioneertown, Broken Flowers, the Observatory (North Park), and Tijuana's Mous Tache. Throughout the course of the year, it was an honor to open for or share the bill with artists like Ariel Pink, Black Lips, Puro Instinct, Dan Deacon, and Shuggie Otis. 

                                At home, relaxing with Gary Wilson. Photo: Galina Betker, 2015

I also was lucky enough to log some studio time this year, and one of the results was my recording debut with the "Father of Lo-Fi" himself, R. Stevie Moore. The single, released by Bleeding Gold Records, is titled "Boysage", and I've written about it earlier. This is thrilling enough for me, of course, but it is even more exciting for me to write here that my collaboration with RSM is a continuing endeavor. There are new tracks already in the works as I write this, and will be sure to keep you updated in 2016. 

         The cover of the RSM/Boys Age slit 7" single, available (if there are any left!) on Bleeding Gold Records

In the meantime, here is a video for the track, done by the talented Ken Linck. 

2015 also brought with it adventures outside of the realm of music, however, and I am pleased to write that I am part of a new podcast called the Bordertown Podcast. Working alongside Joshua Emerson Smith and Adam Vieyra, I am happily traversing America's Finest City, picking the creative brains of some of the city's best and brightest musicians, writers, artists, curators, and more, as we explore the assets, advantages, and challenges of working in San Diego. We have already interviewed Yale Strom, Justin Hudnall, Celeste Beyers, and Craig Oliver. We have a crew of exciting names on our list, and as soon as these rewarding dialogues are available, you can count on an update from Yours Truly. 

 Joshua Emerson Smith, Celeste Beyers, and me in front of one of Celeste's most recent murals. Photo by Galina Betker, 2015

But now (surprise!) back to music. For just about the entire year of 2015, I was lucky enough to man the washboard for San Diego's G Burns Jug Band. During my brief but enjoyable tenure with band, I had the opportunity to explore pre-War American music in a sincere and meaningful way. It was an education and a pleasure to share this endeavor with audiences in Seattle, Santa Cruz, Los Osos, Santa Barbara, and of course - San Diego. The lagniappe reward was a San Diego Music Award for Best Local Recording.

Lastly, it is with a heavy heart that I note one significant, and deeply saddening, event in 2015. This continues to be so upsetting to me that I wouldn't even write about this if it weren't for the fact that it would be a crime to omit mentioning Steve Rodriguez and his passing in any discussion of San Diego music in 2015. First and foremost, he was -and remains- one of my closest friends. Secondarily, Stevie's connection with music was unique, and I will spend the rest of my life life striving to embody the kind of second-nature passion Stevie had for playing and performing. He is in my heart and soul on every gig I play. 

   With Stevie, my friend for life and beyond

So, a rewarding, but difficult year indeed. There's no stopping now, though, and I can already feel the momentum of 2015 swiftly carrying me into 2016. I conclude this reflection in the rear-view with an optimistic, curious, and eager eye to the future. 

Backstage at Hollywood's Dirty Laundry, moments before the last Gary Wilson show of the year for the Cleopatra Records/Manifesto Records Christmas party

Gary Wilson and the Blind Dates at the Observatory North Park. Photo by Sophie Montoya, 2015

This past Thursday night I had the distinct pleasure of playing with Gary Wilson and the Blind Dates at a private party for Cleopatra Records and Manifesto Records at the subterranean Hollywood venue Dirty Laundry. The event, which also featured performances by Shuggie Otis and Puro Instinct, and a surprise appearance by Ariel Pink,  was a fitting way to cap off what has been another wonderfully weird year with the the legendary Outsider/DIY pioneer. 

Gary Wilson and the Blind Dates. L-R: Danica Molenaar, Joe Guevara, Gary Wilson, Charlie Bottino, Ian McGehee, Anders Larsson. Photo by Jessy Parr, 2015

Besides the Cleopatra Records show, highlights of 2015 included opening twice for Ariel Pink and Black Lips, and playing alongside Jerry Solomon, Old King Cole Younger, Shags, and Ariel and Don Bolles at the special event Ariel Pink presents Cuckoo's Nest. As if that weren't enough, we also had the privilege of opening for acts like Dan Deacon. I am including footage I captured while enjoying the eclectic (and yet strikingly cohesive) performances from the Cuckoo's Nest event, which went down at Basic Flowers in downtown L.A.

The venues themselves were special this year as well. We had the pleasure of rolling on the floor in creative and inspiring spaces, including LUX Art Institute, San Diego Art Institute, Pappy & Harriet's in Pioneertown, Basic Flowers,  the Observatory (North Park), and Gym Standard. 2015 also saw another milestone with the first Mexico show ever by Gary Wilson and the Blind Dates when we performed at Mouse Tache in Tijuana this past October.

Gary saw Ariel in the desert. Photo by Galina Betker, 2015

Gary's most visible moment was thrilling for his fans (including Yours Truly) all over the globe, and came in the form of an appearance on Jimmy Kimmel Live this past May. Earlier in the year, Earl Sweatshirt sampled Gary's "You Were Too Good to be True" for his new track, "Grief". Gary shared the stage with Earl for the latter part of the song on the late-night show, to the delight of his admirers everywhere. I sat down with the master himself as he offered context to the collaboration, and I am including it here. Thanks to the 10,000 plus people who have already watched this interview as of this writing. 

L-R: Anders Larsson, Gary Wilson, Ian McGehee. Photo by Galina Betker, 2015

Gary also released not one but two new albums this year: First, he released "Alone with Gary Wilson" on Cleopatra Records. Second, he released "Music for Piano" on Feeding Tube Records. Admittedly biased, I nonetheless heartily recommend both installments from the Wilson canon. Gary spoke to be a little bit about "Alone with Gary Wilson", and I'm including the context from the master himself here. 

A rare appearance onstage with Gary's sister at Ariel Pink presents Cuckoo's Nest this year, which coincided with Gary's birthday. Photo by Delwin Bolton, 2015

The media were dialed in this year as well, with Gary write-ups, reviews, and appearances in Vice Magazine's Noisey, the SA Current, Central Track, and the Great Northern Radio Show in the UK. It was especially rewarding for me to see the photography of Ashley Montoya and Galina Betker featured in these write-ups. 

Gary Wilson and the Blind Dates, lost in the desert. Photo by Galina Betker, 2015

So what awaits Gary Wilson and the Blind Dates in 2016? Like most things Gary-related, that answer remains shrouded in mystery. This is certain though: it's going to be wild, weird, and amazing. Thanks for staying tuned in, weirdos.

Gary saw Anders in Mexico. Photo by Melody Jean Moulton, 2015

2016 brings big news for fans of DIY/Outsider legend Gary Wilson. While some of his most dedicated admirers may have stumbled across a reference to Lord Fuzz at some point, it is highly unlikely that they have actually heard Lord Fuzz. This is because the band, a childhood musical endeavor of the genius, only pressed a handful of copies of their sole release nearly 50 years ago.  That's all about to change in 2016, however, with the help of Cleopatra Records.

After repeated requests and increased interest from Gary fans around the globe, the master tape reels have been located, and Cleopatra Records will be "re-releasing" this rarest of gems in 2016. While hanging out with Gary at his home the other day, we found ourselves talking about Lord Fuzz, and I wanted to share Gary's background to the latest addition to his DIY archive of genius. 

As always, more continuing details on this project, as well upcoming Gary Wilson releases and shows as the exciting information becomes available. 

At home with Gary, talking Lord Fuzz and more

Sifting through my record collection, I find myself in a quandary when I come across my old Bill Cosby albums. The knee-jerk reaction is, of course, to forego refiling them in my own mini-archive, skip the thrift shop, and instead make a beeline to the trash can with my once-prized comedy albums. Cosby's offenses (some alleged, and others admitted by Cosby himself) are well-documented, and as of today, I read via reliable media that he has already posted bail. It goes without saying that I am neither deity nor juror, so I will defer associated duties to those better qualified. That being said, like just about anyone else, I find it impossible to ignore Cosby's horrendous actions, and it seems nigh impossible that I will ever be able to enjoy his work again.

It's difficult, then, to think back to how my family would gather on the couch with popcorn to watch his iconic Cosby Show once upon a time. My parents spoke fondly of the old Robert Culp/Cosby show I Spy. As a kid, I enjoyed the animated Fat Albert re-runs on Saturday morning TV, and as I grew older I respected Cosby's commitment to jazz.

Those memories and experiences were - and remain - historical facts of my life. Those laughs and happy moments shared with family and friends, now extending decades into my past, are realities. How then, do I reconcile with the realization that the human largely behind those wonderful moments has in all likelihood consistently done terrible things to other humans?

This conundrum is far from a new one. Roman Polanski's 1974 masterpiece, Chinatown, is regarded as a highlight of cinematic history, and yet the acclaimed director remains not only an alleged rapist, but also a fugitive of justice. Similarly, long before Phil Spector went to prison for fatally shooting Lana Clarkson, the legendary music producer had a long, documented history of erratic behavior, often involving firearms. Nonetheless, the man masterminded many of the 20th century's most celebrated pop recordings. In addition to  criminal histories like these, the list of misbehaving artists and their misdeeds is far too long to go through here. Offenses range from heinous crimes to unaffable personalities, and everything in between.

So how can these humans create such profound and beautiful external statements, yet also be capable of such deplorable behavior? Surely both sets of action stem from the same source, and yet the inflections of their shared, informing energy are diametrically opposed. The answer seems to be contained in the question, "Who, or what, is the artist?"

Phil Spector at the classic L.A. recording studio, Gold Star

While reading, listening, and conversing with people about the arts, I find a consistent conflation of the term "artist" with other categories like "craftsman," "journeyman," and further titles denoting a skilled or creative person. I feel strongly, however, that the title "artist" should only be bestowed on the shaman of each culture -- that is to say, the unconscious vessels of revelation for their time and locale. We often look to artists to complement their work with supplementary insights via interviews, personal statements, autobiographical backgrounds and the like, when in fact they are the last people to whom we should look for that sort of revelation. As artists, their duty is only to act as conduits for as-yet unexpressed human compulsions toward the unknowable. The work of the artist cannot be explained or clarified by the artists themselves, and if it could be, their art would be rendered superfluous.

I feel certain that some will take issue with my grouping of Cosby, Spector, and Polanski, and complain that some or all of them are not artists. To this I can only say that I feel all three captured the zeitgeist, even if only briefly, of a time and place. They were somehow receptors, and then broadcasters, of a set of ideas and feelings. These thoughts and feelings resonated with so many people because, as artists (according to my definition above), they expressed externally what hitherto had only been felt internally, but never been actualized. I could choose any number of other brilliant artists who have led troubled lives, but as Cosby fills the feeds and timelines of today's modern media forums, I think he is a good starting point.

Roman Polanski

So in this sense, it becomes clear that artists do not teach by example, but rather teach us about ourselves by holding up a mirror for us.  We are not looking deep into the hearts and souls of the artists when we interact with their work, but rather recognizing some element of our own felt experience. These artists, then, should not be seen as spiritual gurus or moral authorities, because this simply is not the job of the artist.

While I find it unlikely that I will be putting the needle to the vinyl of a Cosby record any time soon, in the broader sense I feel that I must somehow separate the art from the human, and recognize that whether it's a comedian, filmmaker, musician, or other artist, the resulting work done by them is just a captured fraction of a mysterious cosmic reality, and not the sole property or invention of those artists. That truth remains valid, then, regardless of the extracurricular activities associated with the artist. To ignore the artist's personal life and focus solely on the art is, of course, easier said than done. Nonetheless, I stand by the premise that the human foibles, errors, and crimes must be at least partially separated from art.

Fatty Arbuckle with friend and collaborator, Buster Keaton

One more case worth considering: that of Fatty Arbuckle. Accused of rape and manslaughter in 1921 and 1922, the once-lauded comedic superstar saw his professional and personal lives end prematurely, and in ruins. Though the case against him was weak, and he was acquitted of all charges, the stigma stuck. How then, are we to interact with Arbuckle's pioneering cinematic work, without any insight into the validity of the accusations? Would we be able to lightheartedly enjoy his comedies if we knew he were innocent? Is his work somehow less important or effective if he is guilty? A conundrum indeed, though I maintain that ultimately, it serves us well to remember who artists are, who they are not, and then continually approach their work with this in mind.

So what do I do with those Cosby records, and the memories associated with laughing at someone who suddenly seems far from funny? I don't see any easy answer to this problem. While I thoroughly believe the theoretical separation of human from art, it sticks in the proverbial throat once I am asked to put that separation into practice. Enjoying group efforts like the Cosby Show seems even more problematic, since they involve full casts and crews which surely must have been comprised of many good, talented, hard-working people. Like the Arbuckle films, it strikes me as tragic to erase the work of all those people because of the (factual or alleged) disdainful deeds of one person.

For now, then, I'll keep the records on the shelf, but it will probably be a pretty remote and dusty corner they inhabit.

Today there is huge - and wonderful - news for Gary Wilson fans all over the globe, but especially in Europe. Long in the works, I can now confirm that Gary Wilson and the Blind Dates will be joining the all-star bill on the Drive Like Jehu installment of the acclaimed All Tomorrow's Parties festival.

Gary Wilson and the Blind Dates, 2016. L-R, behind Gary: Anders Larsson, Ian McGehee, Joe Guevara, Charlie Bottino. Photo: Nick Lane

For those unfamiliar with All Tomorrow's Parties (or ATP, as it is commonly called), the event is curated by a different, dynamic artist for each occurrence. The April 2016, Drive Like Jehu offering boasts a diverse and impressive lineup, featuring Drive Like Jehu, El Vez, Rocket from the Crypt, DIamonda Galas, the Gories, Flamin Groovies, King Khan, Quintron and Miss Pussycat, Mission to Burma, and several other exciting heavy hitters.

L-R: Anders Larsson, Joe Guevara, Gary Wilson, Ian McGehee, Charlie Bottino. Photo: Nick Lane

We'll be sure to document our adventure in Wales thoroughly, and share photos and stories of our time there. Stay tuned, weirdos!

As many of you know, I enjoy sharing the world I inhabit through the lens of my experience as a musician and artist currently based in the corner of the multiverse we call San Diego, CA. It occurs to me, however, that it would be fascinating and special to literally change perspective, and share with you how my gifted and creative friends and colleagues see one of their own through their talented eyes and hearts.

Jessy Parr, 2016

In this post, I am including just a small sample of art that has been generated over the past few years by creative friends dear to me, which include (in no particular order): Jessy Parr, Nick Lane, Ashley Montoya, Laurie Nasica, Jonny Alexander, Heather Yancey, and Connor Getzlaff.

Jessy Parr, 2016

These works range from portraits, to album art, to captures of candid moments during performances, and include the media of both photography and drawing.

Nick Lane, 2016

It thrills me to no end to be surrounded and inspired by passionate, kindred, creative spirits like these, and I look forward to sharing similar collaborations in the near future. As always, thanks for tuning in.

Heather Yancey, 2016

Nick Lane, 2016

Ashley Montoya, 2014

Ashley Montoya, 2014

Ashley Montoya, 2014

Jessy Parr, 2015

Connor Getzlaff, 2016

Jessy Parr, 2015

Johnny Alexander, 2015

Nick Lane, 2016

Laurie Nasica, 2015

Laurie Nasica, 2015

It's turning into quite the spring for music here in my little corner of Southern California, with choice Gary Wilson and the Blind Dates shows, as well as steady progress on the upcoming R. Stevie Moore/Gary Wilson collaborative album.

Dropping new music in 2016 from my Nutmeg Street HQ. Photo: Nick Lane

The elusive Gary Wilson and his Blind Dates recently played at Non Plus Ultra in L.A. I will be soon be posting several photos here documenting a wonderful, weird night.

This month, the band will be crossing the Atlantic to join the Drive Like Jehu-curated installment of All Tomorrow's Parties in Manchester. I've recently written about this once-in-a-lifetime adventure here.

Drive Like Jehu's installment of ATP boasts an amazing and diverse lineup.

In addition to live performances, there is also excitement building on the recording front as the R. Stevie Moore/Gary Wilson album evolves in beautiful and unexpected ways. With a few songs already complete, the project is taking wonderful, weird shape. In addition to the contributions from the two legendary home recording pioneers, the project features contributions from a truly amazing cast of characters, including the one and only Jad Fair. I will be posting regular updates as new tracks are finished with this inspiring group of kindred, creative souls. Aided by Dean Reis and the other half of the Oak Park Dream Team, Ryan Sinnott, I'm happy to say that this unprecedented joint effort should reach ears by the end of the year.

Creativity is literally pouring in and out of Nutmeg Street these days. Photo: Nick Lane

Things continue to grow locally as well. Recently I put on an evening of acoustic music at the Black Cat Bar in City Heights. The evening featured David A. Moore (all the way from London), Celeste Byers (who, in addition to her exceptional murals, is also a talented musical artist), Jessie Gulati's skilled sitar playing, and Gary Hankins. This inaugural happening was a success and pleasure, and it's looking like it will become a recurring event at the University Avenue venue.

Artist Celeste Byers, known to many for her murals all around the world, shared her exceptional singing and guitar talents at the Black Cat Bar acoustic evening. Photo: Nick Lane

I also had the privilege of joining Gary Hankins again onstage this month with his fine ensemble Gary Hankins and the Summer Knowledge at the Casbah. Additionally, I appeared on stage later with Max Daily as part of his delightful performance, which included everything from a solo washboard performance to a levitation act, tightrope-walking, and (of course) a boxing match featuring a man-sized banana.

Performing washboard at the Casbah as "the World's Most Exciting Musician" with Max Daily. Photo: Ashley Montoya

As usual, I treasure each time I get to take the drum throne behind San Diego's number one blues diva, Lady Dottie, and I'm thrilled to have several Erika Davies and the Men gigs on the books. Also, the 105ers (Mick Rossler and Matt Parker, proprietors of the Tower Bar/Til Two Club and the Black Cat Bar, respectively) just initiated our first batch of recordings, so these are busy days in America's Finest City.

I'll be documenting and posting in the coming weeks and months as these artistic collaborations move forward with new music, photos, and videos. As always, thanks for tuning in!

Photo: Nick Lane

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No need for dense text on this one -- photographer Leva Ann was recently on hand at the L.A. venue Non Plus Ultra to capture the weird and wonderful experience that is Gary Wilson and the Blind Dates. Enjoy, if you dare!

A thoughtful Gary Wilson. Photo: Leva Ann

They forgot to lock the doors at Non Plus Ultra. Photo: Leva Ann

Gary calls this one "A Lonely Night in LA with Gary Wilson and Anders Larsson". Photo: Leva Ann

It looks like Linda might have some competition in Bebe McPherson. Photo: Leva Ann

Gary Wilson and the Blind Dates, Linda, Debbie, and a lot of heartache. L-R: Joe Guevara, Anders Larsson, Gary Wilson, Charlie Bottino, Ian McGehee. Photo: Leva Ann

Today I was meant to be on a plane with Gary Wilson and the Blind Dates, headed to Manchester for the world-renowned festival All Tomorrow's Parties. This installment of the musical happening was curated by Drive Like Jehu, and looked to be a highlight of the year. What a heartbreak and shock it has been for many of San Diego's musicians and for me then, to receive word only days ago that the entire festival is cancelled. I'll take this moment, however, to quote my friend and colleague Gary Wilson, and simply sum up the situation by saying "that's showbiz". Onward and upward!

'cause EVERY drummer is a band VIP, no? Photo: Nick Lane, 2016

Onward and upward indeed. In fact, not only do Gary Wilson and the Blind Dates have a San Diego show booked in May, we also will be appearing at the Joshua Tree Music Festival in October. Details on both coming soon.

Gary Wilson and the Blind Dates at home in Southern California. Photo: Leva Ann, 2016

That's not all on the Gary Wilson front, though. Far from it, in fact. Yours Truly is applying the proverbial pedal to the metal on the upcoming R. Stevie Moore/Gary Wilson collaborative album, and the work is evolving into something truly remarkable. Aided by my friends and colleagues Ryan Sinnott and Dean Reis, with generous and inspiring contributions by world-renowned artists dear to my heart and soul, it's not hyperbole to call this endeavor a once-in-a-lifetime adventure. A late 2016 official release is looking likely, and I assure you weirdos there will be copious videos, photos, artwork, social media posts, and write-ups to accompany the recordings.

Saturday evening Balboa Park gigs at Panama 66 with Erika Davies & the Men are always a pleasure. Photo: Jeremy Eikam, 2016

Anyone who knows me at all knows that I also like to keep it local, and indeed, I am staying busy in America's Finest City, filling the spring and summer calendar already. Musical appearances on the near horizon include: Weird Night, Erika Davies & the Men, Gary Hankins & the Summer Knowledge, Lady Dottie & the Diamonds, the 105ers, and more.

Photo: Nick Lane, 2016

I'll be posting photos, music, art, and write-ups in the coming weeks and months as these creative explorations grow, of course. Thanks, as always, for tuning in to my little corner on the cultural map!

Gary Wilson and the Blind Dates will be bringing their weird and wonderful madness to Bar Pink on May 15. Photo: Nick Lane, 2016

That's right - Swami John Reis announced via Instagram last night that your favorite off-kilter clique, Gary Wilson and the Blind Dates, are now officially participating in his Hardcore Matinee. This remarkable one-off theatrical event will celebrate the release of Swami Records' new compilation bearing the same name, and will go down at Bar Pink on Sunday, May 15. Besides bringing wild and weird pageantry to the people, it also benefits the Museum School of San Diego's music education program.

Swami John Reis announced the boys' appearance via Instagram

The event will feature rapid-fire appearances (2 to 3 songs each) by a veritable who's who of San Diego artists:

• Rob Crow's Gloomy Place
• Octagrape
• The Heartaches
• Mrs. Magician
• The Sultans
• The Schizophonics
• The Lumps
• ALE MANIA
• The Soaks
• The Loons
• The Widows
• DEATH EYES
• Plateaus
• Teenage Burritos
• Shake Before Us

...and of course....Gary Wilson and the Blind Dates.

The hardcore matinee madness starts at 4 p.m. See you there, weirdos.

Photo: Leva Ann, 2016

"It's May, the lusty month of May
That lovely month when everyone goes blissfully astray
It's here, that shocking time of year
When tons of wicked little thoughts merrily appear"
 

So sang Julie Andrews once upon a time in "Camelot", and I can't think of a more fitting accompaniment to a month filled with a beautifully diverse and talented constellation of souls including Gary Wilson, Swami John Reis, Lady Dottie, Weird Night, and Erika Davies. 

Gary Wilson and the Blind Dates will be playing May 15 at the Hardcore Matinee, and on May 27 at Brick by Brick. Photo: Nick Lane

Gary Wilson and the Blind Dates have eagerly accepted John Reis's invitation to join his "Hardcore Matinee". This one-off event (closer to theater than rock 'n roll) features a remarkable lineup of San Diego artists, and is sure to go down in the history books.

Both the Swami Records compilation and event Hardcore Matinee live up to the name

For anyone desiring more than two songs from the living legend and the boys, Gary Wilson and the Blind Dates will be bringing a full set of madness to Brick by Brick on Friday, May 27. Meanwhile, work on the upcoming R. Stevie Moore/Gary Wilson collaborative album continues, and though I don't want to release many details yet, I can say without exaggeration that the work is turning into the adventure of a lifetime. 

Large doses madness being cooked up with Gary Wilson this spring and summer. Photo: Mick Rossler

On May 31, Weird Night will be making our second appearance, this time at 11 a.m. on the Bar Pink Stage at North Park Festival of the Arts. This band, who will also opening for Deerhoof at the Casbah in July, holds a special place in my heart, and I'm thrilled to be a part of it as it develops. Brace yourselves for a string of weird and wonderful nights in the coming months, without a doubt. 

Weird Night is (L-R): Dean Reis, Anders Larsson, David Vazquez, Jessie Gulati. Photo: Tasha Parker

It's hard to think of a more pleasant way to spend San Diego evenings than with Erika Davies and the Men (Aaron Mahn, Jeremy Eikam, and Yours Truly), and I'm happy to say that the ensemble has gigs on the books at Panama 66, the Lafayette Hotel, and Seven Grand through May and beyond.There's not another vocalist in San Diego I'd rather play drums behind, and I enjoy listening to these gigs as much as I do playing them. 

Any gig with Erika Davies and the Men is a good gig. Performances booked at Panama 66, Seven Grand, and more through the summer. Photo: Jeremy Eikam

Finally, it is always a distinct honor, joy, and education to occupy the drum throne for the one and only Lady Dottie as one of her Diamonds. Lady Dottie and the Diamonds will be at Park & Rec in University Heights twice a month through May and beyond, and already have poolside shows at the historic Lafayette Hotel. 

When the call comes from Lady Dottie, San Diego's number one blues diva, you take it. Photo: Camron Zibaie

It goes without saying, then, that I'm looking forward to going "blissfully astray" in this music-packed month. Thanks for taking the time to tune in!

The first five installments of Home Grown (which belonged to my dad, an avid record collector), in my personal LP library

The list of music artists who spent their formative, early creative years, or peak times of productivity in San Diego is long and impressive: Tom Waits, Frank Zappa, Gary Puckett, Sammy Nestico, Jewel, Gary Wilson, James Moody, Eddie Vedder, John Reis, and Diamanda Galas, are just a small sampling of big names closely associated with America's Finest City. It is also worth noting that none of those names appears on any of the (locally) iconic "Home Grown" LPs, released by long-standing rock station KGB back in the 70s and 80s.

My apologies for the possibly deceptive lead-in, though I think it's crucial to mention that while these records are of interest (and I will explain why shortly), they really aren't much of a serious documentation of any sort of San Diego music scene (mainstream or otherwise) from yesteryear. Oh, and honestly -- the music they contain isn't really that good, either (despite the claim on the first offering's liner notes that "it's all good music"). But that's why these records are so brilliant, albeit unwittingly. Conversely, a new San Diego music compilation was recently released, with a radically different approach and different results. I'll get to that, but let's start at the beginning with Home Grown.

The rather subdued, but attractive cover of the first Home Grown LP, 1973

Please do allow me to explain what is at stake with this recorded series, and why I find it important, despite its lack of marquee names or substantial music content. It is, in fact, this very lack of substance and import which, ironically, makes it such an effective document of San Diego music history, as well as of the city's ambivalent relationship to the arts in general. The most important and interesting part of this document is, of course, the liner notes written by none other than a teen aged Cameron Crowe, who would later embark on a remarkable Hollywood career with Fast Times at Ridgemont High (based on Clairemont High School), Almost Famous (stemming directly from his youthful forays into music journalism, starting in San Diego), and Hollywood blockbusters like Vanilla Sky and Jerry Maguire. It's inspring that rather than erasing this humble bit of San Diego history from his past (I shall henceforth dub this familiar maneuver, nearly perfected by Waits and Zappa, "the San Diego Sweep"), the illustrious Mr. Crowe actually includes them on his official website.

In an unexpected twist of fate, the biggest name to emerge from the Home Grown series was not a band, but rather the author of the liner notes for the first two LPs, Hollywood giant Cameron Crowe

Though the young Crowe makes allusions to a "budding Randy Newman" awaiting discovery, and optimistically muses over the possibility of national success by the local artists represented on the collection, it clearly wasn't meant to be. Alas, the recording quality, overtly self-referential lyrics, bare-boned production, and general mundane nature of the collected songs relegated these compilations to a strict "locals only" audience before they were even released. I'm including "Mission Beach Boogie",  the lead track to the first album, and series as a whole. Its production, arrangement (which Crowe describes as "crisp"), and lyrical attributes (though underwhelming) all make this an ideal representation of what the albums contain.

"Mission Beach Boogie", the lead track for the first Home Grown album

But wait! Ironically - and oh so fittingly for my thesis here - the Home Grown series does in fact have a relationship with a bona fide hit: Stephen Bishop submitted "On and On" to Home Grown in 1976, though it was apparently rejected because it was the wrong format (cassette instead of reel-to-reel). The song found receptive and and more flexible souls elsewhere, however, and firmly planted itself on the Billboard Charts for 26 weeks, peaking at #11.

The one success story from Home Grown....well, almost

Am I reading too deeply into the intention of this series, and heartlessly knocking something that didn't purport to be more than it was? Perhaps, though that's certainly not my intention. The series' lack of any real impact is slightly heartbreaking to me, though, and strikes me as another example of a so-close-but-so-far endeavor by the eighth largest city in the U.S.  My fellow Uni High alum Cameron Crowe (taught by dad for one year there, incidentally), is one of our all-time success stories, so it comes as no surprise that he was aiming for the stars with his ambitious line notes. Apparently, he and Bishop were alone in that effort.

My musings here are meant neither to constitute a record review, nor glibly bash San Diego music history, but rather serve as a point of departure while we look forward. I see the series as a fascinating misstep -- a botched opportunity of grand proportions. Imagine what a gem this would have been if we had a document of youthful musical talents from our city who went on to greatness, and Crowe's notes accompanying the brilliance! I am also aware that the all-star San Diego artists mentioned at the top of this write up were almost all ineligible for inclusion in the project, since their windows of youthful work didn't coincide with it. I stand by the list, however, as an important reminder that for some reason, this city appears to find itself incapable of highlighting, supporting, and retaining our "home grown" talent.

Or does it? In a startling instance of synchronicity, I find myself engaged in a the process of a new, dynamic compilation from Swami Records, titled "Hardcore Matinee".  In fact, I received the booking confirmation for this show (as one of Gary Wilson's Blind Dates) while writing this-- hence the feeling of an appendix, rather than side-by-side examination of the two comps. I'd call it a coincidence, though I'm starting to believe in that phenomena less and less. I can't shake the feeling, however, that Swami John Reis's compilation is a sort of "Home Grown" done right -- rather than having the ambition to discover future stars who celebrate our border town by dropping every cultural cliche available to them, Reis has gone for the jugular, selecting his preferred, diverse group of artists who are - and have been - out there celebrating our cultural identity simply by being who they are. The bands, which include the Heathaches, the Schizophonics, the Widows, Gary Wilson and the Blind Dates, the Sultans, Mrs. Magician, the Lumps, Rob Crow's Gloomy Place, Teenage Burritos, and several others, represent the vibrant creative energy of San Diego at its best. Going one step further, Reis (known the world over for his involvement with Drive Like Jehu and Rocket from the Crypt) is bringing the compilation to life by staging a (now sold-out) theatrical, live show at Bar Pink (which he co-owns) on Sunday May 15.

Maybe Home Grown was a necessary baby step, as our sleepy Navy town flirted with the idea that we might collect and share something of value. In any case, I'm glad it exists, and will return to it periodically. I'm sure its founders never anticipated that anyone would be listening to -let alone writing about -  the music over four decades after its release, so who am I to say the endeavor is unsuccessful? Mostly though,  I can't wait for Sunday's Hardcore Matinee.

Thanks, as always, for tuning in!

I'm especially excited to bring this one to you all! I've had the joy of teaming up once again with photographer Jessy Parr (assisted by Dominic Calderon) to create this latest project. As many of you know, my Nutmeg abode is in the San Diego neighborhood of Oak Park, which is directly adjacent to City Heights.

This tiny corner of the globe is where I conduct the bulk of my daily activity: enjoying music at home as a listener, collaborating with colleagues,  playing (playing music, and sometimes simply...playing!) at some of my favorite venues, delving into neighborhood history, and tending to my yard on Nutmeg. I'm thrilled to present here a stylized visual representation of each of the above pursuits, brought to you via Jessy's talented eye and spirit. 

1. Nutmeg  

Anders Larsson, esq., savoring a well-deserved break and enjoying his home music library in his private Nutmeg Residence.

We start at home, of course, on dear old Nutmeg Street. Though a globetrotter by nature, I've been here for nearly six years, and what wonderful years they've been. While my pursuits don't allow the luxury of logging in lengthy periods at home, when I am in my little Oak Park retreat, the time is most often spent with friends, family, colleagues, and self listening to music, writing, practicing drums, composing, and recording music. No TV or couch here, since time and aforementioned activities don't allow for that sort of thing, though it all seems to work out just fine.

2. Sinnshier Studio

The Oak Park Dream Team, Ryan Sinnott and Anders Larsson, taking notes during playback in the Sinnshier studio control room. 

Fortunately, I also have neighbors and friends who are kindred spirits. Sinnshier, run by my remarkably talented close friend and colleague Ryan Sinnott, is located just a hop, skip, and jump away from Nutmeg here in Oak Park. Ryan's stellar track record with the Distillers, his uncanny ability to take any band he works with beyond the next level, and his formidable studio skills make him one of the Southern California music figures on the proverbial radar. Add to that our shared love for philosophy, Star Wars, and audio recording, and the formation of the Oak Park Dream Team is, needless to say, an inevitability written in the stars. We've logged in countless happy and productive hours tracking new music here in recent months (much of it in conjunction with the coming R. Stevie Moore/Gary Wilson album), and we've only just begun. Be on the lookout in 2016, 2017, and beyond for new, diverse recording projects courtesy the Oak Park Dream Team.

3. The Tower Bar

The historic Tower Bar on University Avenue in City Heights hosts everything from punk shows to sewing parties, and quite a bit in-between.

Even as a kid, I was fascinated by the Tower Bar. Back then, I was under the impression that it was a permanently closed business, which isn't surprising given that it had seen better days, and I never saw it during typical bar hours. Little did I know that this historic gem would one day end up in the able hands of close friends of mine, Mick Rossler and Dannielle Cobb, and become what I believe is one of the cultural hubs of Southern California. The venue has hosted the King Khan and BBQ Show, Black Lips, the Spits, U.S. Bombs, Uncle Joe's Big Ol' Driver, the Sultans, Marky Ramone, the Picturebooks, and the Department of Descriptive Services, just to mention a fraction of notables and personal favorites. I myself have had the opportunity to bang the drums here with Weird Night, Lady Dottie and the Diamonds, the 105ers, Two Wolves, and rumor has it that world-renowned and elusive Gary Wilson and his Blind Dates occasionally conduct secret meetings there.

4. The Egyptian Garage

The magic, mystery, and history of the Egyptian Garage is alive and well.

The Tower, a remarkable example of Art Deco architecture (sometimes referred to as "Zigzag Moderne") is just one third of an historic triangle in my stomping grounds. Across the street is the recently-restored Silverado Ballroom, and the final corner of history is the aptly-named Egyptian Garage, which is San Diego's last remaining Egyptian Revival building. The enchanting structure originally housed power for a trolley system no longer in existence, and has since served a myriad of functions, all the while retaining its essential character.  It's an inspiring privilege to spend so much a time in an area which boasts such remarkably fun, esoteric history, while simultaneously experiencing a dynamic rebirth. 

5. Nutmeg (Home Again Home Again)

Taking fun seriously: the backyard at Nutmeg is a labor of love. 

Finally, back home in the oasis that is my yard. Rather than compartmentalizing my front and back yard as areas outside my home, I prefer to experience and live in them as an extension of my home. I can say without exaggeration that there are few places on planet earth I'd rather be than in my yards, tending to them (water restrictions and all).

hanks and appreciation to Jessy Parr and her ability to so dynamically capture the soul of these locations and how I interact with them. I call depictions like this a parallel universe of sorts, but I don't intend "parallel" to suggest that it is a fanciful representations of reality, but rather an effort to make outwardly visible that which is in fact an inward, experienced truth, quietly and profoundly coexisting with the externally apparent phenomena of my everyday life.

As always, thank you all for tuning in!

Music festival Desert Daze, set to take place in Joshua Tree at the Institute of Mentalphysics October 14-16, has announced the first round of names included in its impressively packed lineup. As a performer, I'm thrilled since I will be playing drums with Gary Wilson and the Blind Dates. As a fan, I'm equally excited to see acts like Suicide (this is apparently their first West Coast show in nearly a decade and a half), the Sonics, Thee Oh Sees,Cherry Glazerr, and Cellars (to name just a handful of my personal favorites). 

I'll be sure to post more information when "Phase Two" is announced in June, and again closer to this exciting event. Thanks, as always, for tuning in!

Gary Wilson and the Blind Dates, 2016. Photo: Leva Ann

The Shears twins, who constitute conceptual punk band the Garden, paid a remarkable visit to the Til Two Club in City Heights on Friday, May 20. The sibling duo masterfully broke in the venue’s brand new stage, making it a night that will be remembered for years to come. Wyatt and Fletcher hail from relatively nearby Orange County, but San Diego appearances by the two are rare, so it was a noteworthy evening in several respects.

The Garden's visit to the Til Two Club in San Diego is one that will not be forgotten any time soon.

First, it’s worth pointing out that, like most San Diego venues, the Til Two Club is not an all-ages location. Consequently, Friday’s audience was not representative of the true age demographic of the young band. Closely aligned with Burger Records and Epitaph Records, the brothers’ genre-bending irreverence resonates profoundly with a sizeable, youthful, culture-savvy audience, as a brief survey of social media platforms can attest. In fact, the venue’s management confirmed that it had received an unprecedented volume of callers in the days leading up to the band’s appearance, asking if the show was all-ages.  

The Garden’s presence and unflappable energy, however, never belied any awareness of the situation, if they were indeed surprised, aware of, or concerned by it at all. The crowd was, nonetheless, about as young as the law of our good land allows, and the energy level never dipped during the 35-minute powerhouse set, which kicked off with “Crystal Clear”, and also included “Jester’s Game”,”All Smiles Over Here:-)”, and “Gift”, all of which are from the band’s fall 2015 album, titled haha. Though the performance had a beguilingly casual feel as the brothers moved fluidly on stage and through the audience (neither the pit nor the crowd surfing ever subsided throughout the set), it was also remarkably tight. It’s hardly surprising that the identical twins appeared to have an uncanny ability to understand and communicate to each other and the audience where they were in the set as they traversed their eclectic landscape, which drew not only from punk, but also hip hop and big beat.

Believe it or not, Wyatt Shears is somewhere in this picture.

Onstage, the band made a powerful visual and aural impression with their striking good looks (they’ve even made a foray into the world of modeling with Yves Saint Laurent) coexisting with legit, punk rock immediacy. This mix of glamor and grime is perhaps a skeleton key to understanding the Garden’s character and their self-styled, informing credo of “Vada Vada” (“An idea that represents pure creative expression, that disregards all previously made genres and ideals,” as Wyatt writes on their website). Adding to all this a humanizing sense of humor and fun, the Garden showed an appreciative San Diego crowd why they are one of the most intriguing, multi-layered, and dynamic acts on the scene.

Age restrictions notwithstanding, the venue’s own apparent disdain for constrictive allegiance to genre (in recent years, artists as heavy and diverse as Blowfly, Gary Wilson, Too Short, Paul Collins, and H.R. have performed there) played well with the dynamic brothers’ all-out assault on the limitations and constructs of an aging corporate music industry no longer up to the task of categorizing or understanding an act as multi-faceted and forward-thinking as theirs. Wyatt ably covered bass duties throughout, while Fletcher manned the red-hued Vistalite drum kit with often blistering agility, but both were equally at home jumping to the front of stage with quick-fire lyrical barrages. In fact, the welcome unpredictability of the set moved the proceedings along so briskly and pleasantly that cell phones and other distractions had little to no presence during the evening-- a significant testament to the band’s magnetism.

For a punk band on a Friday night, the twins brought some heady concept indeed, though brilliantly succeeded in packaging the concept into an audience-friendly, palatable show that must also be described as a decidedly visceral, sweaty affair. After all, it was just a Friday night at a rock ‘n roll bar, and the palpable vibe of the crowd confirmed the night (produced by Bujwah and ListenSD) was special, to say the least. It seems Vada Vada is something better communicated through experience than explanation, and the Garden gave San Diego quite an experience indeed.

This is Sven...

...he likes to stretch..

...or just hang out...

...and play some ball...

....he tends to jump from here to there...

..and that's because he does it all.

All photos by Jessy Parr, 2016.

I'm thrilled that Jimmy Whispers will be playing his first San Diego show ever Thursday, July 28, at the Hideout. Entertainment Weekly recently dubbed Whispers "underground pop's next cult leader," and the bold claim isn't hyperbole. Whispers, with his disarming combination off-kilter charm and pop accessibility is the real deal, destined for big things.

Jimmy Whispers is one of those rare artists whose work somehow compels me to share with colleagues and friends, similar to the musical creations of kindred and illustrious trailblazers like Gary Wilson, R. Stevie Moore, and Jad Fair. And while I am accustomed to my (admittedly left field) music tips falling on deaf ears, Whispers just seems to connect with people, and the response is overwhelmingly positive.

Poster Art: Robyn Adriance

On the strength of his unfettered live shows and uncanny knack for turning personal iPhone memos into fleshed out, recorded gems, the Chicago native has already captured the attention of Pitchfork ,  Stereo Gum, and Noisey. The show on the 28th promises to be one for the San Diego live music history books, and boast the significant added incentive of a rare DJ set by none other than DIY legend Gary Wilson.

With Jimmy Whispers at the Black Cat in L.A., 2016

See you on the 28th, and thanks - as always - for tuning in!

Jimmy Whispers and Gary Wilson in San Diego. Photo: Anders Larsson

The three final days of July 2016 were certainly ones for the proverbial books. And while there were several surprises between Thursday and Saturday, the memorable nature of those days was far from one of them. After all, the only thing to expect when hanging with DIY legend Gary Wilson and kindred spirit Jimmy Whispers (dubbed "underground pop's next cult leader" by Entertainment Weekly") is the unexpected, right?

Following an afternoon of secret creative activities at Nutmeg that may or may have not included Jimmy Whispers contributing to the upcoming R. Stevie Moore/Gary Wilson collaborative album along with the help of my trusted colleague, recording engineer/producer Ryan Sinnott, it was time for Jimmy's live San Diego debut at the Hideout. Supported by Bujwah Strangers and Volar Records, Jimmy brought his unforgettable mix of song craft and showmanship to the fist San Diego crowd lucky enough to see him. It was clear to anyone present that his audience is only going to grow exponentially each time he returns to America's Finest City, and with just cause -- he truly does possess everything necessary for a long, profound career in the arts. Entertainment Weekly, Pitchfork, and Stereo Gum have been right on the mark with their praise of and attention on this brilliant artist. I'm including footage of Jimmy kicking off this special evening with his "I Love You".

One of Jimmy's inspirations and colleagues, Gary Wilson, was on hand for the proceedings, warming up with a DJ set that included everything from John Cage to Dion to selections from his own new release on Cleopatra Records, "It's Friday Night with Gary Wilson" (my favorite track being "The Mermaid Song").

Gary showing off the first LP he ever bought,  Dion's "Runaround Sue". Photo: Anders Larsson

The following day it was time to load up the car and head north to L.A. Jimmy, Gary, and his Blind Dates (Joe Guevara on keys, Dean Reis taking care of guitar work, and I happily cover drum duty) had the distinction of playing the final weekend of the Echo Park all-ages venue, Pehrspace. The performances were a milestone indeed, doing justice to a space and group of people who have a well-deserved reputation of bringing innovative, underground performances to adventurous and appreciative attendees, regardless of the year those attendees were born. Jimmy's set was rousing as ever, and the perfect complement to Gary Wilson's unfettered onslaught of theatrics, tempered all the while with solid musicianship.

As a representative from Gary's label Cleopatra Records pointed out, there didn't appear to be anyone in the enthusiastic crowd over the age of 30, and that Gary clearly has an entirely new generation of fans at this point in his career, spurred no doubt by a recent Earl Sweatshirt sample of his music, a Jimmy Kimmel Live appearance, continued name checking by Tyler the Creator, and opening slots for Ariel Pink, Black Lips, and Dan Deacon, as well as live appearances in L.A., New York, Chicago, Europe, and other corners of the globe ready for his unique blend of off-kilter, jazzy soul searching. Gary, of course, was making "bedroom pop" long before there ever was such a genre, and it's wonderful to see time and smart young audiences catching up with his important body of work, which continues to expand every year.

Jimmy, Yours Truly, and Gary setting up at Pehrspace in Los Angeles. Photo: Cameron Murray

DJ sets from the ultra-talented Mild High Club and TOPS rounded off the evening, and their presence added significantly to the sense of community, importance, and creative spirit of the event. Lost & Found Film Club provided the perfect, thoughtful visual complement to the evening's performances with their projections, and the combination of all these creative forces added up to a fitting send off for this incarnation of Pehrspace.

With Gary in Los Angeles. Photo: Cameron Murray

The following day found us beating the L.A. heat once again, emerging post-sunset and reconvening at Non Plus Ultra for the music/performance art/comedy mashup phenomenon that is Super Tight. The event continues to grow exponentially, and as a rule, sells out. This particular installment was no exception, and that such off-the-beaten-path creative offerings were so well-received by a large and youthful crowd is truly a testament that L.A.'s music and performance art scene is alive, well, inspiring, and actually growing. Jimmy delivered a power-set of musical, wonderful Whispers weirdness, and then things got really weird when Gary contributed a 15-minute avant-garde performance, aided in the oddly compelling proceedings by the aforementioned Mr. Whispers, Native Fauna's Cameron Murray, and Yours Truly. It's all a bit of a blur at this point, though I feel certain there were wails of anguish, mannequin head kisses, woeful references to homesickness and broken hearts, and perhaps a bit of floor scuffling as well. But, then again, par for the course when we're talking about Jimmy Whispers and Gary Wilson, right?

Gary Wilson and the Blind Dates (L-R: Joe Guevara, Anders Larsson, Gary Wilson, Dean Reis). Photo: Cameron Murray

The evening also featured music from talented up-and-comers Sloppy Jane and the Memories, as well as a Colleen Green DJ set. On the comedy end of things, Andre Hyland, Jay Weingartern, Josh Fadem, and Johnny Pemberton all contributed to the evening, creating a feeling of a theatrical event rather than a standard gig. It was absolutely a privilege to be involved with something that vibrant, and a fantastic way to cap the a long weekend with Jimmy and Gary.

I will, of course, continue to update on any and all adventures involving recordings, live performances, and more with the distinguished Mr. Wilson, and I have a strong feeling that our paths will be crossing with that of Jimmy Whispers again soon.

Thanks, as always, for tuning in.

“I like Joshua Tree” says multi-faceted artist Gonjasufi, double-tasking as he enjoys an evening Nintendo session with his son at home. “It’s like Mars. Not too many people out here -- it’s pretty mellow. Something about the desert just gives me tranquility to finish projects,” adds the native San Diegan.

And Gonjasufi is indeed finishing projects. The artist known the world over for collaborating with the likes of Jay-Z and Gaslamp Killer will play his San Diego record release party at the Til Two Club on Friday, August 26 in support of his recently-released album Callus. Additionally, he just wrapped up a collaborative endeavor with Vice Magazine and has both European and Southern California appearances on the horizon.

Not surprisingly, conversation is effortlessly rewarding with an artist like Gonjasufi, who focuses on the craft itself rather than the business behind it, and is informed by an eclectic taste in music. Born to a Mexican mother and Ethopion-American father, Gonjasufi’s Chula Vista upbringing and involvement in the 90s Southern California music scene have served him well, allowing him to comfortably and authoritatively traverse intersecting genres of hip hop, experimental music, psych, and more. And while I find our exchange during the course of the interview taking welcome detours as we discuss a shared appreciation for Ariel Pink, Peanut Butter Wolf, and other figures who champion musical ventures outside the mainstream, it becomes apparent that Gonjasufi’s City Heights appearance in August is more far-reaching than just a standard release party.

“Every two months, I’m going to do something like a showcase at the same spot, the Til Two Club”, he explains. “I’ve been wanting to bridge the gap between the L.A. and San Diego scenes, the 90s generation and the new cats, so I reached out to Freestyle Fellowship’s Self Jupiter who’s got a new band with Kenny Segal called the Kleenerz. I also reached out to Koreatown Oddity, who is signed to Stones Throw Records, and is part of the younger generation’s hip hop scene. These are guys that I’m inspired by, and I love what they’re doing.”

The momentum behind this recurring event in San Diego is motivated by Gonjasufi’s desire not only to strengthen ties between the San Diego and L.A. music scenes (and even creative communities farther afield), but also to give back to his hometown by providing an inspiring, creative forum. “I just want to bring back to San Diego, to let heads in Daygo to know how much I love them. I want to give everybody space to start rocking and get excited.”

Although Gonjasufi is clearly at home with hip hop, it’s not surprising that he’s also comfortable with both the album release party and upcoming showcase events venturing outside the genre’s parameters. “It’s not necessarily going to be rap or hip hop all the time,” he explains.  “If there are bands that want to rock, I’m looking to give people a stage and create movement again. I want every artist that comes through to feel free and safe in an environment where they can express themselves. For me, it’s like a way of saying like, ‘Fuck the Internet -- let’s just get everybody in place and start rocking again.’”

Gonjasufi released his latest solo album, Callus (Warp) on August 19. The release party on August 26 presented by Bujwah Strangers,will include performances by:  

Johaz (of Dag Savage)

The Kleenerz (Self Jupiter & Kenny Segal)

Skrapez (Phsychopop & 10shun)

DJ Pound

The Koreatown Oddity

Analog Burners (DJ set)