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Friday December 10 2021
 8:30PM doors -- music at 9:00PM
 •••  ALL AGES
$15 or $20 or $25 in advance / $25 at the door
 DJ Dials presents...
Sad Night Dynamite
 experimental electronic dance
Brogan Bentley 

Sad Night Dynamite
-from Glastonbury, UK
-Here’s what we know about Sad Night Dynamite. They make dark, deranged electronic pop songs  about  demonic  sailors  and  talking  birds:  a  musical  dream-world  teetering  on  the brink  of  nightmarishness.  They  are,  also,  a  duo –first  glimpsed  brawling  in  the back  of  a stretch  limo  as  it  worksits  way  through  the  Czech  countryside,  in  the  surreal,  funereal short film that accompanied their experimental debut EP, ‘SND 001’. It’s an immersive entry-point  to  the  Sad  Night  Dynamite  universe,  and  the  charged,  brother-like  childhood friendship   between   Archie   and   Josh   underpinning   it   all.   What   matters,   these   young producers/vocalists insist, isn’t whether everything makes sense right away; but that in a world turned upside  down, the fact that there is still a wonderland to get lost in. “We love artists who build something bigger than themselves: worlds to explore and be lived in,” says Josh. The result is a sound as explosive and evocative as the Sad Night Dynamite name implies, markingthe arrival of the UK’s most exciting new band. Barely  in  their  twenties,  Sad  Night  Dynamite  draw  together  a  complex  mix  of  sounds  and storytelling. It’s a place where dubby bass tremors, eerie synths and guitars intertwine with  riddlesome,  near-rapped  lyrics  exploring  the  fantastical and the frightening. “We’ve always been interested in light and shade: putting violence and beauty next to each other,” says  Archie  of  the  philosophy  behind  their  genre-colliding sound. In Sad Night Dynamite’s early material, you’re as likely to hear a lifelong  love  of  hip-hop  meld  with  classic  British bands like The Specials as you are a pair just as enamoured by fellow-crate-diggers like The Avalanches as they are the classic cinema scores of Tarantino. All have informed Archie and Josh’s unique way with modern  pop,  and  a  project  in  which  piercing  home  truths  can  be found somewhere in-between the sublime and the ridiculous. The pair live together in east London now, but first sewed the seeds for Sad Night Dynamite at  school.  Archie  and  Josh  were  raised a stone’s throw from Glastonbury, only recognising later how formative (and slightly feral) it was for tracks like ‘Icy Violence’ to grow up in nature. “It’s like another dimension,” says Josh. “You pass small villages miles apart and none of them have much infrastructure beyond a post office. If you need food, you have to travel  to  super-stores  that  sit  in  the  bigger  towns  like  cruise  ships.  In  London,  you  kind  of only know you’re part of the natural world when it suddenly rains.” It’s an outsider-status Sad  Night  Dynamite  quickly  turned  to  their  advantage,  beginning  to  write  music  for  the band whilst separated during university; cue “tonnes of Facebook messages” and Logic files bounced  back  and  forth  over  email.  Having  collaborated  most  of  their  lives,  Archie  and Josh’s distance arguably gave them the clarity to plot a project with “no formula, no time limits,  no  genre.  We  wrote  a  couple  of  songs  and  knew  we  were  onto  something  good,  so we just kept on writing.”Sad Night Dynamite’s eurka-moment  proved  tobe their first single, ‘Icy Violence’ -a sprawling, ambitious and unpredictable tale that’s as stark a statement of intent as it is (crucially) the sound of two young guys fucking about, and striking gold. “We wrote ‘Icy Violence’ at the end of a really good summer,” they recall. “It has a beach theme and a kidnapping, but the end part really reminds us of home, of green, of Glastonbury.” ‘Icy Violence’ was also the blueprint for Sad Night Dynamite on how they could use fantasy to explore  much  darker stories.  “Coming  up  with  the  characters  was  really  freeing.

As ordinary people it’s quite easy to pigeonhole yourself writing about everyday experiences, but now we can do and say whatever we wanted without limits.” Once they’d found the formula, Sad Night Dynamite’s determination to keep on breaking it is  evident  across  their  first  mixtape.  Tracks  like  ‘Chokehold’  find  the  middle-ground between  the  atmospherics  of  UK  rap, world-building  pop  like  Gorillaz, and  old-school  Dr. Dre:   sometimes    gnarly,   at   other   times    hazy,   but   all   shot    through    with   playful experimentation. ‘Krunk’, meanwhile, thinks nothing of leaping from creepy mandolinnoises  into  a  G-funk groove,  over  which  the  pair  trade  raps  about  objectification  from  the perspective of a druggy sea captain.“We go into some grey areas lyrically,” admits Josh. “If something is deliberately shallow or horrible, exploring that through the other side can be really powerful.” It’s eclectic and disruptive, but then that’s Sad Night Dynamite through and  through.  What  else  would  you  expect  from  a  band  obsessed  with  doing  something “psychedelic and weird,” as Archie puts it?You sense that Sad Night Dynamite are at the start of a greateradventure to come, though they  set  the  bar  high  for  themselves  in  the  chaotic trip  abroadto  shoot  a  visual  for  their largely-instrumental  EP,‘SND 001’. “We wanted the filmand  that  project  as  a  wholeto almost act as a preface to us as a band,” theboys explain. “The narrative is open-ended, but hints at a larger story to come. Each video is deliberately vague, but that comes back to us wanting to play with perception.” Indeed, the fact very few of the Czech locals spoke English  but  still  connected  with  it  drills  into  the  longer-term  ambitions  of  a  band  like  Sad Night Dynamite. “I think they identified with the project’s tone –there’s darkness and some disillusionment in there but also -we hope -a lot of humour. The goal is ultimately to bring our weird stories to as many people as possible.” Their  fantastical,  frightening  musical  dream  world  is  already  expanding.  Stand  back  and watch Sad Night Dynamite blow up.

-from the Bay Area, CA
-Mophono, who set out to master the machines that threatened to be the masters of men, at an early age showed a strong passion for science, math & music. He was to be an inventor/engineer, but music had the greater gravitational pull.
 While electronic & sample based music matured in the nineties, so did Mophono’s career as the most successful experimental electronic dance music DJ in the bay area. Booked at many of the underground raves until April of 1998 when one Oakland warehouse dance floor collapsed during one of his epic DJ sets, ending an era and starting a new one. DJ Centipede aka Mophono then focused his attention on the growing bay area beat scene, perfected his production & beat juggling skills while promoting San Francisco’s most forward thinking events.
 Since then Mophono has released two full length albums & a slew of singles giving birth to two new genre’s Thug Jazz & Dirt Wave & a new standard in the record indus­try called Skip on Beat.
 Inspired by 60’s psyche & experimental electronic music, Mophono Is known for his destructive drum breaks & heavy & orchestral instrumental compositions. With his legendary “Change the Beat” party in San Francisco, Performing live on Boiler Room with long time partner Gaslamp Killer & sharing the stage with DJ Shadow, Flying Lotus, Amon Tobin, Edan, DJ Food, DJ Krush, Dabrye, Diplo & De La Soul with his Skip on Beat records, drum machines & moogs, Mophono intends to set a new standard in live electronic music performance.

Brogan Bentley  
-from Oakland, CA
-Diapason Rex is the second LP by Oakland-based producer Brogan Bentley on Leaving Records. Picking up right where Bentley’s 2014 LP The Snake left off, Diapason Rex’s songs evoke the geography and spiritual energy of the west coast while showcasing the producer’s growing confidence in both carefully crafted dance productions and expansive sonic arrangements. Bentley states, “It’s been brewing for a long, long time and it holds so much information. This is the crowning burst of harmonious song for me, my opus, my cosmic regal song.”

Haunting, swelling album-opener “Ecstasy” sets the record’s tone, where a bed of meditative pads are confronted by a driving breakbeat, heavy layers of soulful vocals and hard-edged synths. Almost defying categorization, the sound of Diapason Rex is bracingly personal. Bentley states, “I’m so particular in so many aspects, and I’m so certain of what I want things to sound like, that I’ll go after it with everything I’ve got. Between the two places of pure experimentation and total intention, is where this album was born from… I really feel like every single song is a crystal.”

Club-ready tracks like the stuttering, sample-slicing “Work” and the elegant yet pained “Phantom” highlight Diapason Rex’s production value. Bentley’s attention to sonic detail is deep-seated; according to the producer, “For me, music is my teacher, and specifically bass.… This stuff is really supposed to acclimate the energy centers in your body.