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Low End Theory Anniversary 

The story of the influential party from those who created it

Thursday, Nov 3 2011
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Page 3 of 3

It's the same thing when I hear artists like James Blake saying that they're disappointed in the venues they're playing. I tell them about Low End, and if they're up for it, then they should check it out. With [Thom Yorke] it was the same thing. He'd been playing DJ nights in a hotel in Hollywood and was sick of it. I knew how much the Low End crowds would love it, and he was up for it.

That's what makes Low End special. The crowds are there for the love of the music and nothing else.

Daddy Kev: The day after Yorke played our club, people were looking at me like a unicorn. I can't tell you how many promoters asked for his booking info. I laughed. That's not something you can make happen based on will. The high-profile artists, like Yorke, Erykah Badu, James Blake, DJ Muggs or Photek, aren't enticed by money or exposure. They're looking for a more pure music experience.

click to enlarge PHOTO BY PAUL DIMALANTA - The Low End Theory crew
  • PHOTO BY PAUL DIMALANTA
  • The Low End Theory crew

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Nocando: In the future, I'd like to see more of the beat guys and affiliated rappers drop records that have a bigger effect on the industry. In the end, Low End is about these kids from L.A. forging a sound and doing something that everyone thought was weird or wrong or superniche. It's about the underdogs coming up without co-signs. What made it pop was rappers and beatmakers and visual artists and marijuana showing and proving for four hours every Wednesday.

Gaslamp Killer: I want Low End to have a monthly party in a 5,000-person room, once a month on a Saturday night, and [have us] twice a year do a street festival. We want to affect the kids. We're spreading a message of love, truth and being yourself. No one's cool at Low End, there's no backstage, no VIP. Everyone stands at the bar with everyone else, and it brings us together.

DJ Nobody: In the next five years, the beat scene ought to be producing songs on the radio. Nosaj could make a beat for Busta Rhymes. Mono/Poly, too. But it needs to evolve at an organic pace.

Flying Lotus: I'd like to see us all get a permanent place that we can make into an L.A. version of [London dance mecca] Fabric. A place that's a hub for new music, not just beat-driven stuff — an expansion of where we're at.

Daddy Kev: We had more than 10,000 people at our stage in Eagle Rock, and we'd like to do a festival one of our own — something like Sonar in Spain. Something well-curated, with great sound. Not a rave and without any corporate quack sponsors. The brand has to be pure.

We've had huge opportunities come our way, but we've always said no. Our tab and conscience are clear. We don't have to answer to anyone but ourselves.

Reach the writer at passionweiss@gmail.com

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