Slam Internet Radio is now broadcasting live shows on Spreaker! You can now listen in without uncontrollable commercial interruptions. The player is now available on our “Listen Now” page. Spreaker also has iOS and Android applications available so you can listen to Slam Internet Radio on the go. Slam Internet Radio is currently only broadcasting live shows on Spreaker. We will be running a 24/7 feed of our live and recorded shows on UStream.
Groovy Baby! Let’s Hang Ten! Surf Rock Floods into Slam Internet Radio with our September Artist of the Month: “Los Straitjackets”.
We at Slam Internet Radio love bands with cool costumes and great themes. Bands like: The Aquabats, Kiss, Gwar, Sam the Sham and The Pharaohs, Paul Revere and the Raiders, The Misfits, The Mummies, Daft Punk, Me First and the Gimme Gimmes, Devo, Teddybears, The village People, Zolar X, and the artist of the month: Los Straitjackets. To highlight our for love costume themed bands and to bring a different and unique sound to Slam Internet Radio. I give you the September artist of the month Los Straitjackets. May surf rock live on!
Who are Los Straitjackets?
Los Straitjackets are an American instrumental rock band that formed in Nashville, Tennessee in 1988. They have a sound that combines the classic strumming of 1960s surf music—reminiscent of Dick Dale’s guitar work—with the element of punk, Los Straitjackets have carved a successful niche for themselves in the world of alternative rock. Comprised of Eddie Angel and Danny Amis on guitars, Pete Curry on bass, and Jason “Teen Beat” Smay on drums, the instrumental band has performed original as well as classic tunes, while always focusing on pop culture and fun. Their trademark Mexican wrestling masks, matching clothes, and custom-made matching guitars have made them one of the more visually exciting bands to see in live performance.
In the late 1990s, Conan O’Brien had the band perform Christmas music each holiday season on his late-night television program.
They will be in concert in the Chicago area at Fitzgerald’s in Berwyn, IL for two all ages shows September 27th and 28th at 8:00pm. Tickets are $20.00.
Here is a review of the newest and 13th album Jet Set from Lexgo.com
Critic’s pick: Los Straitjackets, ‘Jet Set’
By Walter Tunis — Contributing Music Writer
It might seem like a natural assumption on the surface. After all, when you have been performing onstage for the 18 years in Mexican wrestling masks, one might be apt to dismiss you as a novelty act. But that is just one of the pleasant misconceptions surrounding Los Straitjackets. In short, never judge a band by its headgear.
From its inception, Los Straitjackets proved it had the chops and ingenuity to back up its stage profile. Fronted by twin guitarists Eddie Angel and Danny Amis, the band dug deep into garage rock and surf music inspirations. But what resulted never sounded relentlessly retro. It recordings were spirited, elemental, instrumental excursions that occasionally utilized outside vocalists for variety.
Jet Set, the band’s just-released 13th album, sticks strictly to instrumentals. Yet what it offers over the course of 15 tunes builds on the surf and retro influences until the album emits a bright pop zeal all its own. Such a sound envelops Angel’s Aerostar, a sunny, immensely accessible tune drenched in ’60s pop references, from its lyrical guitar lead to Jason Smay’s effortless backbeat.
But there is much for Los Straitjackets to celebrate on Jet Set. First, there is the return of Amis, who has been out of commission in recent years because of treatment for multiple myeloma. Though he hasn’t resumed touring duties, Amis offers five compositions on Jet Set, including the album-opening Crime Scene, a brisk roustabout of a tune beefed up by the brass of Conan O’Brien’s Basic Cable Band and swift melodic turns that summon images of cinematic car chases, circa 1966.
Among the other delights Amis brings to Jet Set is its title tune, a sort of country hullabaloo saturated in joyous twang and an equally exuberant percussive rumble, and Low Tide, one of the few instances in which the album cools its jet set for a slice of island solace. The resulting reverb sounds like a cross between a musical saw and theremin.
But Jet Set also uses Amis’ touring replacement, Greg Townson, effectively, making the band a quintet. Townson writes or co-writes seven compositions on the album, including the atomic surf joy ride Bobsleddin’, the less frenzied but still groove-savvy party rave-up Wrong Way Inn and the chunkier, after-hours guitar adventure Mr. Pink.
So, yes, Los Straitjackets still plays the costumed retro card to a degree — witness the cheeky cover art for proof. But the drive and variety initiated throughout Jet Set is far more the product of a band invigorated by new blood as well as the return of a co-founding force. And that makes for quite a party, indeed.
Read Walter Tunis’ blog, The Musical Box, at LexGo.com
Dubstep fans listen to Slam Internet Radio all of the month of August 2012 for random Skrillex songs. We will be launching some of the songs on the July 29th edition of Rushdown Radio. Enjoy Skrillex and Slam Internet Radio all August. Viva La Dubstep! Here is an article from Rolling Stone by Patrick Doyle about Skrillex and the future of dance music.
Few artists are busier this summer than Skrillex, who is taking his loud, full-sensory-overload live show across giant venues from San Francisco’s Golden Gate Park to New York’s Randalls Island. When we caught up with the DJ backstage at Bonnaroo last month, he was finishing a remix due that day and taking part in an XM Radio show backstage, all before his 1:30 a.m. set. “My body naturally wants to sleep later at night or in the morning just when the sun is about to come up,” he says. He took a break to chat with Rolling Stone about EDM’s recent explosion, his current obsession with dub roots music and why he doesn’t consider himself part of any particular scene.
When did you realize that the music you were making was part of a movement?
It was underground when I first started, especially bass music. In L.A., no more than 200 people came to local dubstep shows – this was around 2006, 2007. At Smog in LA, it was a big night if 150 people came. I feel like it started out without any major marketing promotion, singles, pop songs or anything. But when we’d show up in these cities all over the world, people knew what was going on. The venues were packed.
Why do you think it suddenly resonated with so many people?
I have no idea, really. The only way I can really give you an answer for that is if I listen to what people say. There’s so many different ideas. If I think about the reasons why this is working then it might fuck with the way I do things. That’s when ego happens, if you accentuate the things you don’t really need, you know?
Where do you hope to take your sound in the next few years?
I’ve got so much stuff that I’m making, man. I’m doing film stuff right now with Harmony Korine – I’m scoring that film Spring Breakers. It’s not dance music or anything.
[My music] doesn’t have to sound like anything at any certain time. It’s just what I feel like doing. I’m not trying to be part of this scene, you know, even though I’m really proud of where I come from and support that. [He pauses, distracted at crowd gathering and snapping photos of him] Sorry. There’s people all around just fucking photoing me. I just got distracted. It just got to me.
You‘re probably the most recognizable DJ on the planet.
It’s like when you see this [holds up iPhone] everywhere. That’s a strange thing because that was never the reason I wanted to do this. And when I was in my old band I didn’t want to be famous. I didn’t like that part of it. We just signed to a major label and it’s kind of funny how it happens.
People must follow you and snap pictures all the time. When has it been at its worst?
To be honest, I don’t mind when people come up and say ‘Hi.’ It’s really cool. It’s funny. I don’t take it too seriously. Before, [celebrities] would sit at a restaurant, people would stare and say, ‘That’s so-and-so.’ But now there’s no shame, cameras everywhere, people filming from far away. It’s like, ‘Guys, come on!’ I get it if you’re a paparazzi and it’s your job you’re trying to make money, but even then it’s weird.
How else has your life changed in the last year?
I can’t even begin to describe it. I haven’t been able to soak it up as much. I finally have a legitimate place. It’s still just a little empty warehouse right now. There’s nothing in it. They are just doing the final inspections because it’s new construction.
What is it like when “the drop“ happens in a big space? Do you even call it the drop?
It’s funny. Like so many words, it didn’t have very much significance. It’s funny how things are created by press, in a way. Rolling Stone wrote about it. They wrote about “the drop.” It was more of a term when producers talked about the buildup, the intro, “the drop” for communication purposes, you know? But it makes sense. It’s what it is. It doesn’t have to have a drop. It doesn’t make a song. But for certain songs it’s kind of a structural thing.
How do you feel about being considered part of a movement?
I don’t really know how to consider it, really. People call me so many things. It’s a platform. People don’t understand what we’re doing. It’s kind of like if you watch the A Tribe Called Quest documentary [Beats Rhymes & Life: The Travels of A Tribe Called Quest]. It explains how the MC’s came up around DJ culture; Everyone had a boombox. If you’re a kid and hung out in the basketball court or in the parks, you had boomboxes. And you had blank cassette tapes and you made mixtapes right there and recorded shit on the radio, and then showed your friends and played the new tracks. They’d have block parties and hang out and MCs would come up. It’s kind of curation and creation at the same time. DJing and EDM is about, ‘How quick can we get new music to come out?’ and ‘How fast can we show people things?’ and include everyone in on a lot of shit, because it’s all different sounds, and that’s the mentality that goes behind making tracks and DJing. Electronic dance music can be so many things. If you can dance to it, and it’s produced electronically, I guess it could be anything in the future.
And the turnover can be so fast.
Yeah. It’s going to change so much. Typical sounds that you would say are a fad, or not a fad but won’t be as timely anymore, new sounds are going to come and it’s going to keep going forever and it’s going to be so cool. There’s a lot of cool shit.
Any sounds you‘re obsessed with right now?
I’ve been getting more into dub roots, not necessarily dubstep roots, but making it into my own sounds which is a little bit more future-sounding with the old school elements and vocals. There’s a lot of cool stuff out there happening, a lot of underground producers blowing me away and blowing everyone away. People will see some cool shit.
French Fries is really great. We just actually signed Birdy Nam Nam [to OWSLA, Skrillex's label]. It‘s kind of trap, hip-hop, techno, a four piece live turntable set, and it‘s fucking the best live show I‘ve ever seen. Oh, my God. There are some live videos, but you have to see them live. They are playing Hard Summer [festival] in L.A. They are so amazing. There‘s a lot of cool shit, man, that no one knows about that‘s gonna be awesome. It‘s going to keep going. People are going to be more creative. Kids are so young, dude. We get messages from ten-year-olds going, ‘Hey, I‘m making dubstep, can you send this song to Skrillex?‘ And it‘s not like they‘re great songs, but it‘s great because they‘re young and they‘re creating. Maybe they will do something great one day, you know?
The greatest gift of all time is that you can make creation infectious because people spend less time being negative … If you log all the time with negativity in the while world, I wonder how much better the world would be if people sat down and did something positive. It spirals. That’s the whole purpose of OWSLA, basically.
Read more: http://www.rollingstone.com/music/news/q-a-skrillex-on-the-future-of-dance-music-and-pitfalls-of-fame-20120710#ixzz222sWwEE2
Check out the Kick off to “Sunday Slam” Our Summer Sunday Concert Series @ BooCoo This Sunday from 6pm to 11pm!
This Sunday we are having an all ages hip hop showcase at BooCoo Culture Center 1823 Church St. Evanston, IL 60201. We will have Pavy, Tim Millions, The Boy Illinois, Super Fresh Brothers, B-Hill, BFM, P1, and prophecy. Come down to Evanston join us for some great local Hip-hop and a good time at BooCoo. The showcase is brought to you by Slam Internet Radio, JRGco,P1 & Pheatureworld ent. These plan to happen Every Sunday with a different theme so stay tuned but Hip hop will be twice a month.