Karan Kapoor recently recovered some unreleased footage of a scratch session between Austin’s top turntablists. Kid Slyce, Shardstyle and Nick Nack featured in this one. More to come soon. Enjoy:

There’s a distinct euphoria that tingles up your spine when you move from an atmosphere not much unlike a man angrily spitting hot lemonade onto your face into the something that is more akin to being directly in front of a frigid fan.

Now, the one thing Texans like more than to complain about the weather is drinking free beer inside air conditioned buildings. (Where, presumably, they can continue to complain about the weather.) Thankfully, “enjoying the arts” is in the process of being elevated on the Texan to-do list, including the galleries in and around Deep Ellum coordinating for another successful East Dallas Gallery Day. I got free beer, collectors bought art, and galleries sold paintings- in this situation, the only thing that really lost out on this deal were our hamstrings from all of the walking.

A map I whipped together for the day. Aren’t I fancy.

If you wondering where it says “GALLERY” in this image, you weren’t the only one.

Despite the extended physical exertion, my group’s journey immensely improved over last year due to two things: a map and a car. (Oh, and free beer. Did I mentioned that there was free beer?) You might have noticed while cruising on the highway, but cars don’t require that much muscle power to move. You can enjoy your own apt observational skills as you discover yourself still walking quite a bit around Old East Dallas if you want to see all of the galleries. That is, if you notice them at all.

Streamer installation on the Barry Whistler Gallery

The neat thing about art is that it needs to be experienced. Some art is instantly appealing, while other art requires you to stand by the bar and keep drinking until you finally understand what’s going on. Needless to say, all art shares that need for people to be around to observe it. But you’re not going to want to be around anything when you drive in circles around the neighborhood only to park and walk to a building that is on the legal borderline of being called “labeled”.

Here’s a simple suggestion: pick a cluster of galleries to visit towards the evening time, when the sun has less of a chance to sap your energy, and soak up the art. Yes, this might require a bit of research before-hand, but your friends will thank you for your immaculate decision-making skills. Maybe they’ll buy you a drink! (Or, since those are free, a painting or two.)

If you plan on being around Dallas next summer, look out for a Gallery Day- if not for the art, then for enjoying free booze in Dallas’ great Deep Ellum.

We stopped where we started: The Public Trust

We’ve collabed with our pals over at Pawn Works Gallery, Chicago’s premier platform for sticker, street, and underground art culture,  a number of magical times, from our coverage of previous shows to our JTS interview series with their increasingly varied, yet consistently unique, roster of creatives they’ve supported and promoted–collage artist James Gallagher and wavy beat baby Shlohmo jump to mind– and being the kinds of friends who share secrets and treasure maps, they clued us into a new project they’ve facilitated below surface level.

Sinister beat-show bookings below the surface for bastardized salamanderians? No.  A shameless misunderstanding of the desire to be “underground” (ba-dum-tish)? ‘Fraid not.

The undefeated Pawn Works team has instead elisted the talents of Anticon-affiliated artist, illustrator, DIY-label head, and musician Ian Ferguson aka “hydEON”, who’s fresh off being selected by Red Bull to represent Chicago at The Scope Art Fair as part of Art Basel Miami Beach this coming year. With their friends and compatriots at The Empty Bottle venue, with whom they’ve worked closely with in the past on both a few engagements of their sound series (ONRA, OooOo) as well as with  Jon Burgerman’s The Hungry Games 2012, PW’s back at it. The first part of this series was to create a new environment in the band room or ‘green room’ at Chicago’s most notorious no-frills rock club and venue:

Interview by Sam Rolfes

JTS: What’s the significance of creating artwork in a space that most of the general public will never see, only musicians preparing for the performance of their own artwork?

Ian Ferguson: I really enjoy creating works in lurker spots-its like finding little buried treasures. I take a sort of reverse approach to street art: I’m not really concerned with mass people in the streets seeing my work or getting street cred–that’s not what I’m going for. I’m more of an exhibiting artist with street minded tendencies. I only do street pieces when i feel significantly compelled by the location. I wont turn down a dope commissioned wall, but my fav lurker spots are lo-key roof top pieces and alternative spaces like hidden corners of laundry basements. That’s why the green room-cave dwelling of the Empty Bottle was perfect for me; my herm characters live in time traveling caves to begin with so this was very fitting for them to exist down there.

I think its awesome to have hidden or not so visible pieces because its that much more surprising and enjoyable to stumble upon as the viewer-even if only 1 person sees it in a span of 10 years. I’d like to think that my Empty Bottle installation will surprise, inspire, and build unique conversation with the other visiting artists that occupy the room before they play a show.

Do you have any particular dialogue with the environment having worked on such grungy surfaces as a backing for your art? Does painting inside a small, enclosed room yield substantially different results in your work from something more pristine and akin to the white box of a gallery?

I: The only real hardship of workin in that little room was this one granite brick wall–it was hella nasty and did not fuse well with my materials.

There was allot of typical tagging and half-assed wacky drawings on the walls that Public Works and I painted over in the beginning; some of which are slightly still visible beyond the piece (i like it that way). It’s fitting for that environment. It was also real stuffy in there at times and the paint fumes kinda threw my wig piece heavy during the initial painting session, but other than that it was a lot of fun getting to hang out with Nick from Pawn Works and just vibe out and paint nonstop for 2 days.

Did you have a particular narrative or story in your head for the scene you painted for this project? How does it relate to the lives of the musicians who will be temporarily inhabiting the space?

What were you attempting to accomplish with the project; what kind of change do you want to see your work having on the Empty Bottle?

As far as making a difference at the Empty Bottle: I just hope that the piece will inspire the imaginations of others and bring joy to those who truly respect and appreciate it and hopefully raise awareness that it is possible to transform grimey cave rooms into imaginative and beautiful dwellings.

What’s the importance of an artist making their work as publicly viewable as possible?

JTS: How did the project come together and what was the impetus to curate a series of projects away from the public eye?

PW: This particular project was as much about the location itself as anything else. We’ve wanted to work with hydEON, (Ian Ferguson) for a while now. The right project for his work, and for his personality, finally arose. The goal here, like most of our projects, is to work with people we respect; either for who they are or what it is they do, and how it best fits into the Pawn Works aesthetic. The Empty Bottle and Ian Ferguson made a lot of sense.

What’s the biggest hurdle you have to deal with when working with musicians and music outlets?

PW: Some people have egos, some people don’t. Music, art, insurance agents and Groupon employees. As for this project, it’s all love as we went from fan to peer with The Empty Bottle over the years in the same way in which we have with all the artists of whom we’ve worked with. Also, the selection process for projects is very important and good timing is quite key as well.

Where do you see the place of art, fine art (rather than commercially-driven illustration and promotional design), in the music world?

PW: Art and music hand In hand, yo.

In our early years, guys like DJ Shadow were crucial to us, real tastemakers involved in both worlds in which we were completely ensconced in, Art and Music. Everyone loves a good album cover, sometimes its the reason to chance a new musician/group at least during our youth when buying a CD without listening to any of the music first was the only way to get on board. Shout out to The Empty Bottle, we love those fools!

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Shardstyle caught up with Dibiase and Doc Illingsworth at the Exploded drawing SXSW party and had the distinct pleasure of chatting with them about gear, their home towns, the scene and how they came up during the course of that fine night.

As a matter of fact, be sure to check out Part One right over here and get the full story, why don’tcha?

A conversation with Mr. Dibiase and Doc Illingsworth Pt. 2 from JoinTheStudio on Vimeo.

Over here we’ve got our photos and video from the aforementioned Exploded Drawing show featuring such luminaries and experimental sonic spelunkers as Jonwayne, Computer Jay, Giraffage,  House Shoes, our dudes Doc Illingsworth, Lo Phi, Kinder, soundfounder, Sampler & Son, Corduroi and more. Yeah!

Artists:
Mr. Dibiase
Doc Illingsworth

Music:
Insomnia – Dibiase

Host/Director:
@Shardstylee

Video/Editor:
@polymvth

Made Possible by:
insectrecords.org
exploded-drawing.com

During one of Exploded Drawing’s spectacular shows Shardstyle had the good fortune to chat it up with the globally recognized producer Mr. Dibiase and thoroughly talented Detroit-based Doctor Illingsworth about gear, their home towns, how they came up, and suggestions for emerging and beginning beatsmiths. Fair warning, the vid drops to black abruptly at the end, but we’re not pulling a Sopranos or something similarly uninspired– there’s a Pt. 2 coming up later this week! It was an exceedingly entertaining conversation and all 3 musicians went on talking for long enough that we decided  to split the chat into two parts so that none of yall missed out on the opinions, details, and tips that Dibiase and Illingsworth were kind enough to share with us.

See? We’re always thinking about your well being. JTS cares about you and your quality of music consumption, and you don’t even call us? Sad. Make it up to us and give the Join The Studio Faceyspace page a like, why don’tcha? We’re trying to impress some girls and they won’t go out with us until we hit 1k likes…because our lives are like sitcoms.

Anyway check it:

~A conversation with Mr. Dibiase and Doc Illingsworth Pt. 1 from JoinTheStudio~

Also be sure to check out our photos and video from the aforementioned Exploded Drawing show featuring such luminaries and experimental sonic spelunkers as Jonwayne, Computer Jay, Giraffage,  House Shoes, our dudes Doc Illingsworth, Lo Phi, Kinder, soundfounder, Sampler & Son, Corduroi and more. Damn.

Artists:
Dibiase
&
Doctor Illingsworth

Music:
Art of fighting by Doc Illingsworth off the album Train Runner.
Purchase here

Host/Director:
Sam Rolfes (Shardstyle)

Videographer/Editor:
Robert Griswold

Made Possible by (In)sect Records & Exploded Drawing

Furthermore, if you’re an artist, a musician, a designer, a graff writer, a non-graff writer, a photographer, or just a spastic enthusiast with a parallax-scrolling blog and interested in collaborating, contributing, or Joining The Studio please hit us up at talkbox@jointhestudio.com or message us on the FB page–our email’s been wigging out since the server transfer so bear with us {⊙﹏⊙✿}.

-❤ JTS

Hey y’all, I just got Push and so far am loving how it improves my flow in the studio. But one thing I can’t get over (especially since transitioning from Maschine) is how I can’t group my drum sounds into subfolders for browsing. Since I use a lot of different libraries to source my sounds, I end up having to scroll through hundreds of kicks every time I want to load something new. I tried creating “128s” in Sampler but didn’t like that I had to load so many samples at once and how I’d have to update the Sampler every time I sampled a new drum sound.

So on top of slimming down my libraries, I dug around and found out how to customize Live’s Browser on Push to be (almost) like Maschine’s, with subfolders splitting up your drum sounds beyond just Kick, Snare, etc.

 For this tutorial, I’ll focus on customizing the “Drums > Drum Hits” section of Push’s browser but the info here can be applied to modify other parts of Live’s “Categories”. You can even get VSTs/AUs to show up on Push! But I can’t figure out how to get them to load…Anyways, here’s a video of what it’s like after the modification:

To modify what you see on Ableton Push when you hit “Browse”, you need to coordinate between your sample folder structure, the VirtualFolders.cfg file and the BrowserComponent class of the Push Remote Script.

First, I’ll talk about the two files you’ll have to modify:

VirtualFolders.cfg

This file is found in Ableton’s Core Library:

On a Mac, right-click on the Ableton application and choose “Show Package Contents” then go to:

Contents\App-Resources\Core Library\Ableton Folder Info\

On a PC:

“%systemdrive%\ProgramData\Ableton\Live 9 Standard\Resources\Core Library\Ableton Folder Info

This contains the info that is used to populate Ableton’s “Categories” section of the Browser. It uses tags that become a subfolder of the main category, and search terms (or “Patterns”) used to scour the Ableton User Library and populate the subfolder with. For example, in the original file, Live sets up the Drums category with the data between these lines:

<VirtualFolderGroup GroupName=”Drums”>

<Folders>

…data goes here…

</Folders>

</VirtualFolderGroup>

The Kicks are setup with the following line:

<VirtualFolder Name=”Kick” Patterns=”Bass Drum, Bass Drums, BD, Kick, Kicks, Kick Drum”/>

 

so the Browser searches for any folder within the User Library that matches “Bass Drum, Bass Drums, BD, etc…” and groups them into a subfolder of Drum Hits called “Kick”.

So if you wanted to create a custom folder of “Sub kicks” in your Drum Hits section, you would add the line:

<VirtualFolder Name=”Sub kicks” Patterns=”Kick sub, sub kick, sub (or any other term you use)”/>

 Modifying this file is cool as it can give you a little more flexibility with how you separate your drums. I like to keep my open and closed hihats separate, which isn’t natively setup in Live, but can be done by modifying VirtualFolders.cfg. Unfortunately, I don’t think you can create subfolders within VirtualFolders this way. Which leads to the BrowserComponent.pyc file.

BrowserComponent.pyc (download)

This is the file that takes info from the Categories part of Live’s Browser then formats and sends them to Push’s LED display. It’s part of the “Push” Remote Script that Ableton created found here:

Mac:

Contents\App-Resources\MIDI Remote Scripts\Push

PC:

“%systemdrive%\ProgramData\Ableton\Live 9 Standard\Resources\MIDI Remote Scripts\Push

 There’s a wealth of info about scripts + hacking them at Julien Bayle’s website which helped me figure out this Browser modification. For this tutorial, I’ll focus on just the changes that achieve Browser customization.

Decompiling the .pyc file at first did not work, and I had to modify some of the code to get it to be stable. The file that comes with this tutorial currently works with Live 9.0.2. If Ableton updates and changes Push behavior in the future, the file may no longer work and you’ll have to decompile a new version. I also included a file that’s already setup to work with Live’s default “VirtualFolders.cfg” file. It gives you subfolders within the different hits that Ableton has already setup. You should be able to just copy this file into the Push remote script folder and be ready to go.

If you want to do your own customization, the section that controls what you see when you Browse a drum pad is between the lines:

def make_drum_pad_browser_model(browser):

…data…

return QueryingBrowserModel(browser=browser, queries=[...data...])

Between the “def” and “return” lines, the script defines the search queries, then it sends the queries to “QueryingBrowserModel” at the “return” line, which builds the list you see on Push.

Modifying the “data” parts is how to create subfolders in Push’s browser. They’re created by telling Push to access the source folder the samples are in. As far as I know we can not create custom subfolder names within the script, they will always show up as the folder Push sees in Places. Luckily, with a little sample library organization, this still works out well for workflow.

Moving on, Push’s remote script has a function called “SourceBrowserQuery()” which searches the browser’s Categories section and groups the results into lists based on the parent folder they are found in. An example line of code:

kick = SourceBrowserQuery(include=[[‘Drums’, ‘Drum Hits’, ‘Kick’]], subfolder=’Kick’)

…

return QueryingBrowserModel(browser=browser, queries=[kick])

What Push looks for are defined in the “include” part of the function. The above code grabs everything in Categories>Drums>Drum Hits>Kick and returns all of the results separated by their source folder. So if you had kicks from different libraries within a folder structure like “\Maschine\Kick\”, “\Goldbaby\Kick\” etc, all of the kicks it found would come up within subfolders named “Maschine” and “Goldbaby” on Push. Remember that the ‘Kick” Live is searching for is actually the name of the “Drum Hits” <VirtualFolder> (that’s setup in VirtualFolders.cfg) and not the name of folders on your hard drive. This means you technically don’t have to rename your library folders for this to work as long as you make sure to include them when setting up VirtualFolders.cfg.

The “subfolder=’Kick’” part of the code puts the “Maschine” and “Goldbaby” subfolders of kick samples into a folder Named “Kick”.

So to modify this, you can create your own variable (like “snares”) tell Push where to grab the sounds and what subfolder to put it in. The code would like like:

snare = SourceBrowserQuery(include=[[‘Drums’, ‘Drum Hits’, ‘Snare’]], subfolder=’Snare’)

 

then you’d have to include the variable “snares” in the return as such:

return QueryingBrowserModel(browser=browser, queries=[kick, snare])

If everything’s setup right, when you Browse a drum pad on Push, you’ll see a “Snare” folder with subfolders of all the Places Live finds snares.

Sample Library structure

The third piece to this puzzle is your actual sample library. For custom browser tags in VirtualFolders.cfg, I’ve found that your sample library has to be in the User Library folder. This inconveniences some and I hope there’s a way around this as it seems with the native setup, Live is able to find sounds from any folder you put in Places. Speaking of Places, this is where Live looks when figuring out the “Source” folder your sounds are in. So on top of having your library in the User Folder, you need to add each library folder as a Place in Live. In the example above, I’d add “Maschine” and “Goldbaby” to Places, then when I’d browse for “Kick” on Push, “Maschine” and “Goldbaby” would pop up as subfolders.

I hope this all makes sense. It was a little hard to explain as it requires coordinating three different parts of Ableton but once things are setup, Push becomes even more a joy to work with. Feel free to hit me up with questions/ideas at get@djlimbs.com and I’m looking forward to seeing what other hackers put together for Push and Live 9!

 ~Join The Studio~

We’ve been tight with our beat brothers over at the eclectic underground event series Exploded Drawing since our boy Shardstyle played his first Austin show with them way back when, and this year they stepped their game up even further. ED is easily one of the most exciting collaborative music groups and events in Austin, bringing out a myriad of circuit benders, glitch hoppers, turntablists, and other barons of beats, and for their SXSW boat party and collab showcase with Okayfuture they hosted killer acts like Dibiase, Jonwayne, Computer Jay, Giraffage,  House Shoes, our dudes Doc Illingsworth, Lo Phi, Kinder, soundfounder, Sampler & Son, Corduroi and more. Like, goddamn.

 If you can stand the shame, sneak a peek at what you’re missing out on:

An Exploded Drawing Spring w/ Okayfuture, Dibiase, House Shoes, Jonwayne & More

from JoinTheStudio on Vimeo.

Among the overwhelming array of dope shows colliding during that time was the Exploded Drawing boat party featuring a wide array of local Exploded Drawing and (iN)Sect Records acts performing beside, above or below (the party was two-tiered, blatantly mocking the laws of physics that theorize that it is impossible for so much dopeness to exist within such a confined space) DJ sets by heavyweights like Computer Jay and Dibiase.

With massive amounts of exotic Juiceland liquors consumed and hopefully held down, and chests vibrated to jelly by syncopated bass-lines, the next Exploded Drawing event had a lot to top, and in its collaboration with Okayfuture ED more than succeeded. 

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Our friend and Detroit native Doc Illingsworth, who we’ll be featuring in an interview from that night soon.

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 Exploded Drawing always lays out a spectacular visual show as well, often with multiple 3D-mapped projections beaming polychrome light patterns across the crowd and performers. 

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B.Bravo on keys, bringing his meaty beat-variant of 80′s synthfunk into full form.

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Be sure to scope out some of Doc Illingsworth’s headnoddical tracks and videos over here, thank us later.

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soundfounder, a co-founder of Exploded Drawing and one of the friendliest people in the scene, which is saying a lot for Austin. He’s released a fantastic tape on the legendary (iN)Sect Records imprint, run by fellow Exploded Drawing co-creator Sampler & Son, slathered in warm synthwork and syncopated drum rhythm.

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Computer Jay brought out an awesome visual set at the showcase keyed to his music performance. It’s really promising to see forerunners of the beat scene involving more multimedia elements and performance into their sets rather than just stringing patterns and grooves together as they stare at their laptop. 

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 Computer Jay, here pictured in the process of summoning malevolent funk spirits, obviously.

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Another cameo on our webzine by the LA instrumentalist and MC Jonwayne,
who we featured in an interview a little while back.

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Jonwayne may have blown up through the beat scene, riding his 8-bit release Andrew into relative notoriety,
but his rhyme skills are always the main event in our eyes.

The man of the hour, Roland SP-fetishist, and headliner Mr. Dibiase; one of the most sonically recognizable (and in our opinion nicest) guys in the international beat scene. We’ve got an interview with him and Doc Illingsworth cookin up as we type this. 

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Another Detroit native and legend in the underground instrumental hip-hop world, House Shoes has been rolling through Austin on a regular basis in collaboration with (iN)Sect Records on a number of fronts. If you ever wanted to see what a real motherfucker looked like, you’re staring at him. 

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 Shoes dropping knowledge as the Exploded Drawing VJ team splays geometric wonder across the stage.

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“Why, look who it is Delilah! It’s those ‘Jay-Tee-Ess‘ boys all a’hollerin an’ documenting underrepresented art and music scenes an’ fosterin’ all kindsa collaberative projects!”….is what a Southern Belle would obviously remark to her beau upon meeting us.

New kid on the block Robby on the blurry left, ATX-branch leader Karan in the middle (donning our limited edition, hand-printed sweater no less), and co-founder and designer Sam (Shardstyle) doing what he does best…glaring at the ground and looking exhausted. 

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Geometric 3D-mapped shapes, oscillating projections, and glitched out sawtooth synths chopped out by Dibiase closed out the SXSW-season show series in spectacular fashion. 

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Keep it
locked to

~JTS~

<3

If you’re in the vicinity of anyone you’d rather not suddenly start gyrating and grinding next to, we suggest you vacate the premises immediately before watching our interview with the  freaknasty NY producer Sweater Beats, a babymaking beatsmith of the highest order who took the time to chat with us a bit outside his Austin show last month in our most recent collab with our friends at Applied Pressure.  Don’t forget to check out our previous AP collab with the interview of Jonwayne we did a little earlier.

Give it a look, whydon’tcha?

Applied Pressure presents: An Interview With Sweater Beats from JoinTheStudio on Vimeo.

You can snap up some sublimely Sweatery Beats up over here, here,

his Soundcloud, and the official bandcamp page.

Coming up soon: Dibiase & Doc Illingsworth talk about Detroit, their process, and the scene at large!

~JTS~

We had the good fortune to be invited out to party with our friends at BUST Magazine during their 3-day marathon of guitar crunch, soothing verb’d out vocals, free-flowing Texan liquor, and one unsettling light-up Jesus statue, and brought our cameras and turntables along so we could share a faded snapshot of the 3 sunny SXSW afternoons.

Check out our recap vid of the series, shot by our new member Robert Griswold, produced by Christian Detres, and directed by Sam (Shardstyle), featuring Clairy Browne & the Bangin’ Rackettes,  The So So Glos, WIDOWSPEAK, California X, Low Fat Getting High, Vulture Shit, WAMPIRE, AroarA,  Snowblink, Tashaki Miyaki , and our boy Shardstyle.

Grounded: 3 Days of BUST Mag SXSW Parties (w/ JTS) from JoinTheStudio on Vimeo.

The entirety of the shindig was stuffed, crammed, willed into one rapidly deteriorating house on the quieter North side of Austin and played host to a rapidfire assortment of notable bands from around the country, each consecutive one shaking the small wooden house to its core and sending the lucky few in the audience into fits of dancing and/or head banging.

The chillness…MY GOD THE CHILLNESS. 

Won’t anyone think of the chillness??

Frontdude of Brooklyn’s Post-Noise-Grunge-Shred band Low Fat Getting High .

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Shardstyle was absolutely infatuated with the Toronto-based, “ghost-science-faux-folk’ of AroarA, who made excellent use of a Roland SP (reminding us beat heads that musicians outside of the beat underground use them, go figure).

Our man Shardstyle then lugged his QFO turntable, amp, and assorted controllers over to a patchy stone fire-pit built in the backyard, surveyed the scene searching for building materials and, after discovering a sheet of particle board and bricks, set himself up a makeshift DJ booth to spin, skratch, glitch, and grind out some jams for the motley crowd of indie rockers, punks, glossy-sheen LA hipsters, and fine, fine ladies to dance to.

Shardsteezy keeping it moving outside.

AroarA being incredibly charming.

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JTS co-founder Shardstyle muggin as usual during his noisy set. 

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Looks Low Fat, prolly pretty High.

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More representation from Toronto with indie-pop rockers Snowblink, who went onstage with AroarA to join Feist during her Polaris Gala last year, as it so happens. 

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Beautiful tunes from Widowspeak, whose warm soulful music we covered in our last vid over here.

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Tito’s & Lonestar, because BUST does house parties proper. 

It was a beautifully chill series of mini-shows, one ban flowing into another of completely different genre and aesthetic but curated in such a way that the entirety of the 3-day music marathon made complete, drunken sense. Shardstyle button-mashing indie rock remixes with Southern rap acapellas skratched over the pretty lyrics, dogs running around the feet of musicians, reporters, and tastemakers. Also booze, that was nice.

SXSW is filthy with gearporn, just wait for our feature on the MoHA noise rock shows…

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Clairy Browne & the Bangin’ Rackettes was the first band we had the pleasure of dancing with and their combo of eclectic throwback musicality and show(wo)manship certainly set them apart. 

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We know, we wish you were here too, but as with everything SXSW related, there’s always next year! 

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One of the the Bangin’ Rackettes, seen here presumably mid-bang. 

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Vulture Shit, a  Bushwick punk band that might have put on our favorite show of the day, if not for the noisy tension and release musicality then for the complete lack of fucks given. 

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Portland-based Wampire in the midst of  a dreamy, albeit 

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Low Fat Getting High, here pictured rocking out for healthy teen inebriation

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Many thanks to the BUST team (Christian in particular) for inviting us along and being such rockin hosts, we’re certainly looking forward to what they have in store for us next fest. Even more liquor and rock, if things pan out how we went them to….

Keep it locked to Join The Studio for yet another song feature from this show series and upcoming interviews with Dibiase, Doc Illingsworth, the founder of LZX Industries, B L A C K I E, print artists from Flatstock, and more!

~ JTS ~

We had the good fortune to be invited by the gals and guys at BUST Magazine to roll through their 3-day house party marathon with our cameras (and Shardstyle’s turntables) and capture a few snapshots of the relentless torrent of incredible bands nearly tearing the house down, free Tito’s vodka flowing freely like some heavenly waterfall gifted by the liquor gods, and some pretty chill dogs too. Check out their first post (including some of our photos) over here.

Our first vid covers one of our favorites through the series of parties, Widowspeak:

Bust Magazine Grounded Party: Widowspeak from JoinTheStudio on Vimeo.

Produced by Christian Detres @rvatobkn
Shot and edited by Robert Griswold @POLYMVTH
Directed by Sam Rolfes @Shardstylee

We’ve got much more where that came from, keep it locked to the new and improved Join The Studio for coverage, tutorials, and interviews with musicians like Dibiase, B LA C K I E, Shmu of Zorch, the founder of LZX Industries, and more!

<3