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KSDT Presents:

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Free Show! Food! Great Lighting! All are welcome!

As another academic year comes to a close, the school’s co-operatives are yet again facing unfair administrative pressure in the form of unfavorable conditions regarding the renewal of the co-operatives’ lease agreements. Every alternative student run organization on this campus faces similar predicaments regularly, and in order for us to survive these roadblocks we must stand in solidarity with one another as students, organizations, co-operatives and individuals alike. On May 26th KSDT will host representatives from UCSD’s Co-ops and an array of musicians, speaking and performing in support of campus wide solidarity and the rights of students in order to embody an effective political voice here at UCSD.


Amnesia and the Daily Surprise – 7-7:30

Wasted Days – 7:40-8:10

Statement from Che Cafe Representatives

Good Neighbor – 8:40-9:10

Big Bad Buffalo – 9:20-9:50

Statement from Groundwork & G-Store Representatives

Odakota – 10:10 – close

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KSDT Studio Sessions: Mint Field

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Mint Field –


Vocals / Guitar: Estrella Sánchez
Drums: Amor Amezcua
Bass: Andres Corella

Hometown: Tijuana


{Audio | KSDT Radio} Audio Engineer – 13121217 50115, Adam Galceran | Asst. Engineer – Emmet Webster, Sanjay John {Video | Triton Television} Shot by – Jake Cushnir, Ryan Bradford, Yuka Murakami | Camera Assistant – Alexander Uhler | Grip – Neda Kerendian | Edit – Yuka Murakami

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*Spring Giveaways*

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*Click Here* to Enter our Desert Hearts Festival Giveaway!

Enter for a chance to win a pair of tickets to Desert Hearts Festival! “Desert hearts is a community, a movement of love celebrating life with beats.” This collaboration of Christopher Kristoff and San Diego based DJs Mikey Lion, Lee Reynolds, Marbs and Porkchop is – one stage, one vibe, focused on cutting edge techno & house.

The contest winner will receive two complimentary Weekend Passes to Dance in the Desert April 4th & 5th, 2016. Win tickets for you and a friend to experience this outdoor music festival!

Must be at least 21 years old to enter & attend.

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*Spring Giveaways*

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*Click Here* to Enter our Tinashe Giveaway!

Enter for a chance to win a pair of tickets to see Tinashe at the House of Blues San Diego! Greaten your odds with each entry!

Winner(s) will receive 2-tickets to Tinashe’s  April 4th, 2016 Joyride World Tour performance. Win tickets for you and a friend to watch her perform live in San Diego.

This is an all-age show.  

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Datsik + Bais Haus = Ephwurd (Q&A)

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Ephwurd, the bass house duo of Datsik (Troy Beetles) and Bais Haus (Basie Hauser), is headed down to San Diego at Bassmnt this Saturday. We caught up with the producers to chat about making a different style of music and what they’re up to these days.

Stoked to have you guys back in SD, I know you guys have definitely been here before. How do you guys like it? Are you both living up in LA now?

Beetles: Yea, I’ve got some family down in SD and been there tons of times, Bassmnt is epic, stoked to come back now with Basie to throw down some of our new stuff. We live pretty close to each other in LA actually, like 5 minutes away, Basie’s at my house all the time. I’m from British Colombia and moved down here to get a house and build my dream studio…it’s pretty sick! It’s also cool touring where there’s blizzards and stuff and it’s like, I come back here and the weather’s the same every day.

Basie – how cool is it to have a name like “Basie Hauser” – I totally didn’t think that was your real name and kept trying to look for your real one. Also, your dad founded and was part of The Manhattan Transfer, what was that like growing up?

Hauser: It’s fate, man, haha that’s definitely the biggest sign of fate. I gotta thank my mom for that. With my dad, I definitely felt like I’ve been touring my whole life, I remember going to Europe and other places as a kid, and by the time I was 13 I had been around the world, pretty sweet! Also I remember going to lots of studios and meeting these legendary jazz musicians, but at the time I didn’t know who they were and today I’m like “holy shit, I met that person!”

What kinds of music are you guys into right now?

Beetles: I’m a huge hip hop guy, throwback kinda stuff that we just blast on every single on every bus tour. All those throwback hits and stuff like Billy Joel, haha, stuff that gets everyone laughing on the tour bus.

Hauser: Me, I’m into a lot of chill stuff at the moment, the future bass stuff. Stuff like Flume and all those guys on Future Classic.

What’s it like producing bass house and how is it different from what you guys made before? Any different directions in the future you think you’ll be heading?

Beetles: The thing about bass house, and house music in general is that it’s way more groove oriented. Whereas in dubstep you can take it a million different ways, with house it’s all about the feel and if you wanna bob your head to it or not. In every single project we make now, that’s definitely the number one concern – does it groove right, is it funky enough. That makes it fun, to make stuff that makes people nod their heads. Obviously there’s lots of crossover of sounds from my Datsik stuff but it’s really fun having a new alias to experiment with.

Hauser: Right now, this shit’s kinda blowing up but who knows maybe in a year we might be doing different stuff with Ephwurd. It’s more about keeping it versatile and keeping it forever changing with the times, but also doing our own thing. When we play live we really just want to play what’s hype in general, what gets everyone going crazy. Who knows where that could end up.

Beetles: Also, it’s fun because with my stuff as Datsik versus this new stuff, I really don’t play any of the same songs in my sets. Definitely for the kids that come out to the Ephwurd shows because they liked my old stuff as Datsik, I’ll drop a couple to please ‘em but it’s really different stuff. Now it’s all in the 128-135 range of these bangers and breaks. We were just in Australia actually and played 14 shows in 12 days both as Datsik and Ephwurd at these festivals, clubs and after parties and it was super fun to get the best of both worlds and sometimes play 2 completely different styles in one night. I think a lot of the reason we started the new alias was to shake off the past and not weird out those kids who are real into the dubstep and come out to see me and then be like “what’s all this funky house stuff?”

How’s DJing and producing music together?

Beetles: It’s just fun – Basie and I have been traveling together for a couple years now, but now it’s like, Basie gets to DJ too now and play his shit. Performing as Datsik I play on my Ableton setup where I have 2 controllers and a mixer and everything’s custom mapped with my effects. I’ve been using that for a while and I can get pretty crazy with it. With Ephwurd we got 3 or 4 CDJs going and it keeps me sharp because I’m bouncing back and forth between these different setups. At these parties it’s kinda like, we’re trying to one up each other, you know, who can play the sickest track, and it definitely keeps you on your toes because you’re like “shoot! I gotta loop this and mix this in real quick!”

Hauser: We use Ableton right now for producing, and there’s this online music sharing platform called Splice, so when we’re not together we can just upload our ideas and get together later and flesh it out. I think it’s the ultimate game changer because we’re constantly spinning out ideas, there’s all these tracks and things we’re working on, and we can just open the latest version and work on it wherever we want.

You guys got any tips for a new producer? Stuff you wished you knew when you started making music?

Ephwurd: Mixdowns, mixdowns, mixdowns. I’d rather have a track that’s simple with a really good mixdown that’s gonna hit hard in the clubs versus something overproduced. Making sure your tracks hit really hard and everything sounds proper while the groove is right. Kids send these demos to Firepower and there’s a lot of stuff where I’m like “ehh” but if I hear something simple and the mixdown’s right, I’ll be 10 times as likely to wanna sign that. Mixing is definitely key, stuff gets complicated so quickly so keeping it simple and sounding amazing is really important these days.

Catch Ephwurd this Saturday, March 5 at Bassmnt down in the Gaslamp. Tickets sold here!

Photo/ @ephwurd / Interview / Nathan Mih


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KSDT Studio Sessions: Odakota

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Odakota –

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Just Kiddin @ Bang Bang

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unnamedSome British humor, an eclectic crowd, and a forty-four dollar punch bowl, what do these all have in common? A solid set to start off the three-day weekend. A little off the main Gaslamp strip and up a steep collection of stairs is a triad of part Asian-fusion, part cocktail lounge, and part dance club. Bang Bang San Diego strikes a balance of class and pop culture. There is a sense of comfort being able to sit high whilst enjoying drinks off a table embellished with Chinese newspaper clippings of Michael Jackson. There is also something gravitating about a dance floor with a floating disco ball comparable to a super moon. The space dripping in purple and blue was segmented and intimate, drawing in a spectrum of love dazed people for the night before Valentine’s Day. When the clock struck twelve, British DJ duo Just Kiddin graced the Bang Bang stage. And as playful as their name, Just Kiddin mixed a playful night of house music.

Just Kiddin is comprised of Laurie and Lewis. Hailing from across the pond they stopped in San Diego for the weekend to soak up some San Diego sun and experience some California love as a part of their US tour. Equipped with a handy-dandy Polaroid, KSDT was allotted the opportunity to sit and talk with Lewis before their performance. Warm and welcoming there was much excitement surrounding their presence in SD. The two have had an eventful 2016 thus far with their newest single “Only For You” reaching the heights of #2 on HypeMachine. The group’s ultimate hope is to offset the pretentious stigma surrounding house music by putting out dance tracks that are light-hearted in disposition. We later found ourselves engaged in a 3-way conversation including the LED Rep & Lewis, debating the “coolness” of Pacific Beach, assured the verdict was split.

The crowd was exactly what you’d expect from a weekend ruled by cupid, bringing in a slew of people on both sides of the dating pool. Whether they were looking for love or already had one, the crowd displayed moves to match the mood. With Laurie & Lewis exhibiting some tongue and cheek tunes, the club-goers were quite humorous too. The demeanor of the night was a little less sultry than some Casanovas would have liked; but being the new kids on the block coming through on Valentine’s Eve Just Kiddin brought a solid set with a lot of build-up into a great extended weekend.

They are definitely a group to watch for in 2016. Also worth noting is that a surprising number of their tracks are free for ones downloading pleasure via Soundcloud. The down to earth duo will no doubt continue to surprise us in months to come.

Checkout more on JustKiddin!

Links & Sites:


Mentioned Track(s): Just Kiddin – Only For You (Single)

Photos / Just Kiddin + The Wanderlvst / Article / Susan Bystrom


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Countdown: New Year’s Eve!

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12483865_10153225296096825_649916119_nCredit: Nathan Mih

New Year’s Eve in Southern California always presents a bevy of options to choose from for your countdown festivities, from club parties to classy outings and everything in between. Insomniac’s aptly named Countdown is the spiritual successor to the company’s previous New Year’s electronic events: Together As One (which was revived this year in Silverado, CA) and White Wonderland. Although true trance heads were probably disappointed by the absence of White Wonderland this year, the lineup trotted out for Countdown had a satisfactory mix of mainstream appeal, mid-tempo beats, and hard-hitting bass. This year’s 10 hour event was held at the NOS Events Center in San Bernardino, CA, and at close to freezing temperatures, warm attire was encouraged (although a good percentage of attendees didn’t seem to get that memo).

Two massive outdoor tents, one pounding indoor stage, a serene pool and lawn, as well as an unexpected ice skating rink decorated the event grounds along with numerous food, drink, and merchandise tents. Colorful lights strewn above added to the festive feel; at these events, you always seem to enter first into a lively carnival, and then later into the music. The 18+ crowd ranged in age from those fresh out of (or still in) high-school, to seasoned attendees thinking that this might be their last rave, according to a clearly spelt out totem that said “THIS IS MY LAST RAVE.”

countdown2015_1231_174627-5274_jslThe dubstep and drum & bass stage – “Quantum” hosted by Bassrush

The three stages were quite obviously segregated by genre – this reviewer had to spend most of his time at the Quantum drum & bass and dubstep stage by virtue of the artists performing. Opening up the stage were resident DJs Nightstalker and Fallen, followed up by a triple B2B (back to back) of U.K. producers Cyantific, Mob Tactics, and InsideInfo all of whom are signed to Viper Recordings. These drum & bass DJs took turns at the decks sharing a 2 hour set each playing a distinct mix of tunes. Mob Tactics wasted no time waiting for the crowd to arrive and delved straight into a head nodding, funky set throwing out their appropriately named track “Rave Weapon” and the future classic “Asteroids” by Noisia. InsideInfo turned down the lights a bit and delivered a dancefloor heavy neurofunk mix with recent collaborations such as “Pulsation” with Mefjus, while Cyantific came in and spun commercial hits like Sub Focus’ “Out The Blue”, Culture Shock’s unique new release “Tangents” and jump up crowd pleasers such as “It’s a Secret” by DJ Hazard.

12402107_1000726236617533_9053169300961207710_oCyantific, Mob Tactics and InsideInfo sharing the decks at the Quantum stage
Photo from CountdownNYE by @jakewestphoto for @insomniacevents

San Francisco producer Megalodon and one half of New Zealand duo Truth had one of the most memorable dubstep sets of the night, with the crowd filling up nicely at this point. The contrasting styles of the harder, beepier, brosteppier Megalodon and the deeper, slower tempos of Truth answered everything the bass stage was looking for. Headbangers were everywhere to be seen and there was no way you couldn’t dance at this point. Megalodon would drop some ridiculously heavy tunes like “Fatal Fist Punch” while Truth would step in and slow it down with classics like “Direct Blow”, easily identified by that distinct Busta Rhymes sample and the booming bassline.

countdown2015_1231_190842-3522_agpGrooving it out at the Infinity tent

In the nearby Infinity tent, house grooves were playing out in a set by Oliver Heldens, previously billed on the flyer as his new deep house alias, HI-LO. Trippy Turtle then showed up in his neon green hoodie and of course opened up with “Trippy’s Theme”, then proceeded to spin out the slow jamz, easily producing the most diverse set of the night. Couples all over were grooving, and for an hour, the temperature of the tent seemed to be raised a good couple of degrees. Alison Wonderland followed it up with a diverse set of her own, with the tent packed to capacity which was not surprising considering how many times her name had been dropped by attendees in line and around the venue. Trap, house, and hip hop remixes were scattered throughout her set, with the energy building before the clock hit midnight. We also caught a glimpse of the Resolution mainstage as Yellow (“Mother Fuckin”) Claw closed out a highly anticipated trap set and Carnage took control, playing his “thumpiest” beats “way way more louder” than the last DJ. Despite the now-infamous alluded to interview (here), the crowd was packed like sardines for what is now known as “festival trap” and movement was restricted to pretty much your own head (or squirming like a worm). Nevertheless, friendly vibes were everywhere to be found, and perhaps, everyone just was happy to be warm.

countdown2015_1231_214910-4889_agpThe incredibly packed “Resolution” mainstage

Back to the bass stage, Metrik and TC were furiously pounding out a drum and bass set to appeal to the masses. Rolling basslines dominated the mix, and the usual must plays like TC’s “Do You Rock”, a Memtrix remix of “Get Down Low”, along with new tunes like Rockwell’s “Itsok2behapp-e” and the classic “Planet Dust” by Bad Company. Dubstep youngsters Eptic and Habstrakt took over to ring in the new year, delivering an interesting mix with some of their newer stabs at dubstep/house music hybrids like “On The Block”. Finally, as the countdown approached, the lights dimmed, and numbers flashed on the gigantic LED screen in front, 10, 9, 8,… And just like that, it was 2016 ringing in with everyone’s favorite people next to them.

countdown2016_0101_000119-6319_rjm 2016 finally arrives

Circus Records veterans Funtcase and Cookie Monsta rang in the celebrations with an energy only they can bring, and the warm indoor bass stage was easily the nicest place to be at that point of the night. Their set was riddled with some of their filthiest dubstep tunes old and new and even a scattering of their take on drum and bass. Meanwhile, the biggest name of the night, Kaskade, rounded out the mainstage festivities with a calmer mix of his classic works and newer songs, like the recently released “Disarm You”.


Although the production level and lineup of Countdown can’t yet compare to the other offerings from Insomniac like Nocturnal or Escape, it still remains a solid offering for bringing in the new year and most definitely will return next year. Getting there was news as usual – if you decided to drive, you’d be stuck in traffic for a bit longer than you’d like unless you arrive when doors open and leave an hour early. A shuttle option was offered to hotels 20 miles away in Ontario, which was a great option for those looking for cheaper hotels and not dealing with the nightmare that is escaping the venue following the event. For this reviewer, the shuttles were clean, came on time, and allowed for much needed sleep on the way home.

All in all, the vibes were right, the music was spot on, and the new year was rung in the funnest way possible.

WsMQaHuSpotted: a Tubbs totem from the game “Neko Atsume” by Reddit user annapaloozer.


 Article / Nathan Mih


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Japanese Queen of Country // SDAFF

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It’s not often you can say you watched a live performance from the Queen of Country Music, it’s even more of a rarity to say this country royalty is Japanese. You might be asking yourself: “Wait, queen of what country… country music?” But the confusion dissipates with each introduction; from sight to sound one starts to realize with great clarity the reality that is Tomi Fujiyama. From flashy western button-up to bedazzled belt complete with decorative silver buckle, one look at Tomi Fujiyama you understand that she isn’t your typical Japanese grandma. Knowing no bounds, this charismatic woman is hot with personality and fiery with passionate pursuit – Japan’s Queen of Country.

In the 1960’s American country music began to be woven into the fabric of Japan’s music scene. This genre deemed as a fad by some took root in Tomi Fujiyama cultivating her means of expression as a musician, a performer, and a person. Her talents as a country singer and guitarist took her across the Pacific to the United Sates, where in 1964 Tomi took her place on the stage of the Grand Ole Opry in Tennessee performing on the very same billet as Johnny Cash. She was at the height and heart of country music, and became the first Japanese musician to ever grace the stage of country music’s greatest concert hall.


“Made in Japan” is a film that documents the wonderful journey Tomi embarks on in order to play at the Grand Opry one more time. The movie is heartwarming, humorous, and inspiring; showing how one woman’s life was/is transformed by the love of country music. The documentary was the finale film at this year San Diego’s Asian Film Festival. At the close of the show, Tomi graced the audience with her presence performing live on stage at the Museum of Contemporary Art in Downtown La Jolla. Starting with a “Howdy Neighbors!”, her performance was captivating consisting of just her and her guitar. The resonance of her voice and sound can only be contributed to the culmination of decades of practice, years of performing, and a life full of passion. We may have been an imitate audience in San Diego, but Tomi played with such sincerity, you felt as if you yourself were sitting in the oh-so desired Grand Ole Opry.

Her solo performance was followed by a discussion panel with Tomi Fujiyama, director Josh Bishop and producers Jason & Josh Diamond. The only blunder of the whole event was the lack of an interpreter. An interpreter would have allowed Tomi and the audience to connect and interact fully without language limitations. Beside that little hiccup the event was fantastic, from venue, to content, to interaction opportunities. Tomi was the star of the film and the night; though she goes beyond being the protagonist of her own life. She is a light in the lives of others striving to pursue their dreams.



Tomi Fujiyama:


Photos: & S. Bystrom / Article: Susan Bystrom



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