State Theatre After Party
The Gaslamp Killer
Trackstar The DJ
Wed, February 22, 2017
Doors: 9:00 pm / Show: 10:00 pm
Port City Music Hall
$12 Advance / $15 Day of Show
This event is 18 and over
Buy tickets in person at the Port City Music Hall box office (504 Congress Street) Wednesday-Friday 10AM-5PM, charge by phone at 800-745-3000, or online right here. PCMH box office will open one hour before doors night of show.http://www.portcitymusichall.com/event/1412131/
If you've caught one of his sets all across the world, you understand. In a cover story, LA Weekly called the Low End Theory co-founder and resident, "the most popular great DJ in L.A…. wowing both bro-step hordes and avant-garde diggers…any song he spins feels remixed to Richter-popping intensity."
Resident Advisor described his shows as "the epitome of unhinged energy. Rock, jazz, bass music and funk are just as likely to be aired as hip-hop, as he wigs out with his now trademark dance moves." Maybe you caught the aforementioned dance moves in the Apple commercial that aired during the 2015 Grammy's. Or maybe you caught him at any number of the biggest international or US festivals.
Over the last several years, GLK has amassed a new arsenal of weapons. Once primarily known for his atomic live sets and hypnotic mixes, he's evolved into a singular auteur. He can produce for himself and others, both on-stage and in the studio. Watching him conduct a live band recalls the frenetic genius of LA Philharmonic maestro, Gustavo Dudamel. The beautiful chaos is best distilled on his live album: The Gaslamp Killer Experience: Live in Los Angeles.
Raised in San Diego, GLK has made the City of Angels his home for the last decade. It's there where he joined forces with Flying Lotus and the Brainfeeder constellation, acting as an essential linchpin, the wild card electrifying the masses and slaughtering the heathens. He's played almost every major festival in the world, but still makes sure to wreck shop every Wednesday at The Airliner (home of Low End Theory).
Seamlessly fusing his eclectic tastes, his original music and blends transport listeners on a psychedelic journey. Recorded in late 2012, his BBC Essential Mix binds Radiohead and Dilla, the LA Beat scene and Black Sabbath, Ennio Morricone and Andre 3000. His debut full-length, Breakthrough merges acid rock and dirty beats, celestial Turkish strings and filthy hip-hop drums. Pitchfork bestowed lead single "Flange Face," with Best New Track honors, branding it one of the heaviest bangers of the year.
The album's beating heart, "Nissim" remains startlingly emotional and raw. A tribute to GLK's late brother, it might be the only Turkish folk song song in history collectively beloved by hip-hop diehards and twerking teenagers, grimy beat heads and candy ravers. It's the rare anthem that goes off in huge festivals and tiny clubs, radio station and Grand Theft Auto V (where it was licensed). The music can't be extricated from the man. GLK has survived tragedies and near-death sagas, overcome myriad obstacles and psychological odysseys. He's meditative and spiritual, peaceful but vicious, snarling but thoughtful. He's the wrong motherfucker to cross, but the right one to follow. Bang your head and bow down.
As DJ for Killer Mike first as a solo act, and then for the supergroup Run the Jewels (along with El-P), he has played venues and festivals all over the world to crowds up to 30,000, including Madison Square Garden, Coachella, and Glastonbury among many others. He and RTJ (which has never performed with another DJ—Trackstar is considered the unofficial third member) have also appeared on Late Night with David Letterman (twice), Conan O’Brien, the NME Awards, the BBC, and Boiler Room. This is all in addition to hundreds of solo performances over the past fifteen years, opening for major artists, rocking clubs, MC & B-Boy battles, house parties, and many other events across the nation as well as overseas.
Since his five year college radio run on KWUR in St Louis, he has held down shows on Sirius/Xm (Afromentals alongside DJ Jamad) and now mixes and produces WRTJ, Run the Jewels’ hit show on Beats1 radio/Apple Music. Beyond live performances and the airwaves, however, lies Trackstar’s true passion, mixtapes—he has released over 150 mixes, including collaborations with Royce da 5’9, Big Boi, Killer Mike, El-P, Lupe Fiasco, Hot97’s Peter Rosenberg, Pete Rock and Camp Lo, among others. Through these projects, he is able to preserve his vision of and for hip hop culture, presenting them to hundreds of thousands of streaming and downloading listeners (in addition to tens of thousands of physical CDs sold since his first release in 2003). Playing a key role with elite tastemaking team The Smoking Section since 2008, his online presence and reach have grown immeasurably over the past decade.
His RAP FAN brand is born of his truest identity—the kid from Wisconsin who collected and studied hip hop albums like his life depended on it. He considers it a true honor to have shared the stage with artists he admires and was influenced by, having performed with Run the Jewels, Big Boi, Nas, Zack De La Rocha, The GZA, Raekwon, Ghostface Killah, DJ Q-Bert, Z-Trip and more. His focus and professionalism, as well as a deep respect and love for hip hop culture are self-evident throughout his career-–in addition to his professional exploits, he has given workshops on DJing and hip hop history to hundreds of youth in classroom and detention centers.
After 14 years of scene-building in Portland,Maine as an mc and banner-guard for Milled Pavement Records, 8 years of touring throughout 5 countries (most recently France, Germany, and Switzerland (January ’15) with Milled Pavement’s Monsieur Sai+Arth? and FakeFour Inc’s DJ Halo), over 800 performances, 2 critically acclaimed albums, 3 mixtapes, 4 EPs, 3 7″ singles, countless featured appearances, and performing live with a venerable who’s-who of independent hip-hop, BRZOWSKI is throwing down the gauntlet with all the desperation of a man on the edge.
The Portland, ME by-way-of Providence,RI emcee kicked around the Massachusetts and Rhode Island music scenes in varying projects since 1993, before taking a permanent vacation to the northeast tundra, where long winters and unsuspecting audiences could better nurture his creative spirits…and personal demons. Cutting his teeth with demo-CDRs and booking small rooms around New England all the while completing his BFA at the Maine College of Art (Painting, Art History Minor, ’03). Promptly after completing his short stint in academia, BRZOWSKI joined forces with producer/technophile-at-large AGENT8 in the capacity as producer and engineer (coupled with a revolving cast of disc-jockeys in the studio and on stage, a list which has grown to include Boston’s EMOH BETTA, Oakland’s DJ HALO, Portland/Chicago staple DJ SHADE), he has spent a decade steadily amassing a sizable groundswell of indie hip-hop true believers who clamor for something more artfully substantial than the narrow mainstream of “hip-hop” can spoon-feed them. Armed with wry wit, black humor, brutally honest autobiography, and an intense live performance that can rival the best in the business, BRZOWSKI has earned the respect of fans, artists, and critics alike spanning the last decade.
After self-releasing the efforts “New England Gothic” and “Perpetual Winter”, whose hand-to hand sales reached several thousand, the workaholic vocalist set his sight on releasing a proper full-length album on the seminal indie label Milled Pavement.
Following the dense, dark, and demanding “MaryShelleyOverdrive”, released to critical acclaim in 2006, he toured the North American continent for 3 years before dropping “Blooddrive Vol. 2”, a compilation of tracks and guest-appearances using the dark thematic elements set forth on 2002’s “New England Gothic”;(“…like Robert Frost contemplating suicide in a cabin in the woods…” The Portland Phoenix) as a launchpad. The album contains many truly atypical aspects: lengthy songs, techno/industrial influenced beats fused with traditional hip-hop, literary and visual culture references, a touch of the defiance of early 90’s punk rock, and a threatening cloud behind every silver lining.
BRZOWSKI longtime kindred-spirit MOSHE then joined forces musically in 2009, citing their similar interest in all things “Wicked Dahk” (re: Melancholic, Horror-tinged), for their first official collaborative project in their near-decade long working relationship at Portland Maine’s Milled Pavement Records. The two seized upon the opportunity to further capitalize on the forward momentum each was garnering in a solo capacity like wild beasts on a wounded gazelle. As two of the remaining flagship members of Milled Pavement Records, their limited edition ep “Like Woe”, and subsequent European tours quickly became the most well-received ventures Milled Pavement Records had ever embarked upon. Moving from the 1-2 punch traditional rapping style, lathered with images of self-destruction, in the title track “Like Woe”- to the trademark arrhythmic lyrical torrent on “The Coming Plague” BRZOWSKI laces MOSHE’s stark, plodding beats, and the duo set a new standard for what the terms “progressive” and “dark” have come to mean in independent hip hop circles. The two even take a departure from their sonic characters on the jangly “Dog Called Cirrhosis”, where BRZOWSKI weaves a catchy tribute to sloth and unemployment, while MOSHE lays jingling porch-guitar samples over a surprisingly upbeat 4/4 stomp….a serious departure from fan expectations.
BRZOWSKI’s 2011 sophomore solo album “A Fitful Sleep” finds our narrator moving away from the thick veil of funereal affectations set down his debut, and now speaks from a soapbox steeped in the culture of independent artistry, atop a widely broadened palette of production sounds. This album begins at the touchstone of hip-hop, and then musically enacts a swift departure. Doomy rock guitar/live instrumentation, Rapped/sung/screamed vocals, traditional sampling, ominous synths, and electronic drums all vie for elbow room in this carefully constructed Frankenstein of an album. Think Black Widow mugging an early 2000’s art-rap DJ outside a divebar on the edge of town. The Burlington Vermont entertainment paper Seven Days recently described his current material as “…the sound of a hip-hop Backwoods Lunatic Legend.”
2014 saw the dawn of a new collaboration between BRZOWSKI, Producer/Multi-instrumentalist C $ BURNS, and DJ MO NIKLZ. Fusing Doom, Punk, Hiphop, and shades of 1970’s Outlaw music with gothy b-movie aesthetics, the triumvirate released 2 singles (1 digital, one clear-vinyl 7” released by punk collective DIY BANDITS) to critical acclaim, and followed with a tour-stint in the northeast United States supported by Uncommon Nasa.
Winning poetry slams and MC battles, 6 European tours, appearing at SXSW, moon-lighting tour stints with Sage Francis, Ceschi, Epic, Galapagos4, Sole, as well as playing to packed clubs supporting the varied indie-hop stripes of Busy Bee, El-P, Cage, Spose, Ill Bill, Slaine, Busdriver, 2Mex, Killah Priest, Atmosphere, Murs, Dalek, Brother Ali, Doug E. Fresh, Josh Martinez, Aceyalone, DJ Vadim, Astronautalis, Rob Sonic, Sleep, K-the-I???, B. Dolan, and myriad others have cemented BRZOWSKI a reputation for quality live performance, an alignment with the best in the business, and an uncanny knack for harvesting the fans of those artists with higher profiles.
BRZOWSKI’s grueling pace of hard-work and hard-living lends credence the axiom that to achieve any modicum of notoriety, you must suffer for your art.
No Rest For the Wicked.
Port City Music Hall
504 Congress St
Portland, ME, 04101