T HE
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FREE October 6-12, 2016
RL GRIME
INDUSTRY THURSDAYS
THURSDAY, OCTOBER 6
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N I G H T C L U B
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DILLON FRANCIS
WEDNESDAY, OCTOBER 12
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LIL JON DJ SET OCT 10
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SEVEN NIGHTS YOUR WEEK IN PARTIES By Ian Caramanzana
FRI 7 Begin your weekend by catching some bona fide living legends on the Strip. “Barracuda” hitmakers Heart perform at House of Blues. The Seattle rock group consisting of sisters Nancy and Ann Wilson burst onto the hard rock scene (and popular music charts) in the ’70s with “Magic Man” and became one of the forerunners decades on with driving songs such as “Straight On,” “Even It Up” and “Tell It Like It Is.” We’re not sure what we’re most excited for: seeing the Wilson sisters’ massive artillery of instruments, banging our heads to the rockin’ riffs or just simply basking in the presence of rock goddesses. Get some Heart tonight. Trust us—it’ll be good for ya. (In Mandalay Bay, 7 p.m., HouseOfBlues.com/LasVegas.)
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PHOTO BY ANOUK MORGAN
DJ Daddy Kat
THU 6 By now, you should recognize the name DJ Daddy Kat as the record-spinning alias of Pittsburgh rapper Wiz Khalifa. As of late, he’s been incessantly cranking out hit after hit, crafting everything from radio-friendly jams such as the star-studded Suicide Squad soundtrack cut “Sucker for Pain (featuring Lil Wayne, Imagine Dragons, Logic, Ty Dolla $ign and X Ambassadors)” to street anthems such as “Bake Sale (featuring Travis Scott).” We have to hand it to the Taylor Gang superstar for keeping busy and entertaining two very different, yet related career paths and touring the world. How does he find the time to chat with fans? We think he does it onstage or behind the decks. Catch Khalifa at Tao and see if he’s got a secret to keeping both careers afloat. We’ve got a feeling it’s a “Black and Yellow” thing. (In the Venetian, 10:30 p.m., TaoLasVegas.com.)
Metro Boomin (right) and Baio
SAT 8 Looking for some Fall “Blessings”? Hit up Drai’s to get some from Mr. “Guap” himself, Big Sean. The Detroit rapper is caught up in a swirl of controversy because a Michigan fraternity invited him to perform as reconciliation for a wildly racist party it threw in 2013. Fortunately, the public is blaming the fraternity—not Sean—for the debacle, which is a relief. Sean is arguably one of the biggest names in rap, and it’d a shame if we’d have to miss out on some of his high-energy performances because of the issue. Plus, if you’re questioning his character, you’ll be relieved to know that he recently teamed with DJ Mustard to give dozens of fashionable STATE backpacks to kids in need in South Central Los Angeles. Those blessings just keep coming. Somebody call Chance the Rapper! (In The Cromwell, 10:30 p.m., DraisNightlife.com.) Want some more? Venture to Light to catch a set by hip-hop super producer Metro Boomin. We’re still bumpin’ his collaborative mixtape with Atlanta rapper 21 Savage, Savage Mode. It’s a cohesive collection of dark, moody tunes that details the rapper’s savage life on the streets. Give it a listen before you get wild to “X (featuring Future).” (In Mandalay Bay, 10:30 p.m., TheLightVegas.com.)
SUN 9 TwitchCon is over. The event put on by the popular streaming service encouraged thousands of its most popular users to fly out to San Diego for a weekend of mixing, mingling and fun. It wasn’t just nerds hanging out in a room, though; the streaming service brought in an e-sports tournament, industry panels and talent to provide entertainment. Speaking of, Steve Aoki headlined the party, fittingly titled The Party. We can’t think of a better person to cap off a weekend of fun, especially since he’s known as the “Best Party Rocker,” according to BPM Magazine. Aoki is bringing the antics to Wet Republic, so maybe you’ll finally get to see him do a “Boneless” into the pool. (At MGM Grand, 11 a.m., WetRepublic.com.)
MON 10 Trying to shake off that awful Monday feeling? Head to XS and get rid of it pronto with Los Angeles producer RL Grime. He’s known for eclectic tunes that draw from genres such as trap, hip-hop, future bass, house and many others. Listen to his debut album, Void, and see if you can pick out the genres in bangers such as “Scylla” and “Valhalla.” Beyond that, Grime is also known for his wide-ranging DJ sets that span those genres as well. Don’t be surprised if he mixes a Kanye West song with a Boys Noize banger, and lumps in some M.I.A. within five minutes. Actually, you should expect it. How’s that for getting over the Monday blues? (In Encore, 10:30 p.m., XSLasVegas.com.)
TUE 11 It’s been nearly four years since Chicago rapper Chief Keef released his debut album, Finally Rich. The record propelled Keef from stardom, turning him from a kid waving handguns and driving recklessly on four-wheelers to a headline-worthy mic-rocker. Songs such as “Love Sosa” and “Don’t Like” received co-signs and/or remixes from the likes of RL Grime and Kanye West, and they’ve managed to stay on the playlists of DJs across the country. See Keef perform the hits at Brooklyn Bowl, and you, too, will fall in love with Sosa. (At the Linq, 8 p.m., BrooklynBowl.com/Las-Vegas.) WED 12 Add some pep to your midweek step by catching Baio at Bunkhouse. That’s the stage name of Vampire Weekend bassist Chris Baio, who creates some incredibly catchy, wildly dance-y tunes. Get ready to get down when he plays “The Names.” (124 S. 11th St., 8 p.m., BunkhouseDowntown.com.)
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Chad Cisneros (left) and David Reed
IT TAKES
TWO
Chad Cisneros and David Reed, the DJ duo known as Tritonal, unveil a new album and a Vegas-packed schedule for 2017 By Melinda Sheckells
I
t’s Monday night at Chandelier Bar in the Cosmopolitan, and Chad Cisneros and David Reed are getting ready to perform a set at Marquee Nightclub. Their pre-show ritual, however, doesn’t involve any bottle poppin’. The affable Austin-based duo, known as Tritonal, are everything you wouldn’t associate with superstar DJs: no groupies, no partying. Monday is, in fact, the end of their workweek, which starts on Thursdays and has them traveling across the country and back playing gigs. “Last year, we did a 50-city, three-month bus tour all throughout the U.S. and Canada,” Cisneros says. “We’re doing Tuesday, Wednesday, Thursday, Friday—it was insane. Dave’s wife gave birth while we were on tour. So this year we are doing major markets; it’s less strenuous. We’re family guys. We love to write music and play, but we also love to take care of our families. It is hard to do that when you’re on a 50-city tour.” Almost a decade ago, Reed and Cisneros met online, and that
friendship and mutual passion for music turned into a business partnership that has now sparked a record label, Enhanced Music, and has them producing for other artists. “There was this synthesizer at the time,” Cisneros says, reminiscing how they met. “We were just figuring out the problems and bugs to tell the forum why it sucked so bad. It was really expensive. I was at the University of Texas studying music, but also business and economics. … Dave was a kid, but taking college courses.” They decided to join forces and start Tritonal in 2008. Reed moved to Austin from Washington, D.C., just shy of his 19th birthday. “I was a little older, he was younger, and his dad being a conservative father, the whole premise of two guys making a livelihood out of what at the time was considered to be underground rave music … it was a little sketchy. “That first year, we worked as hard as we could, and I wouldn’t say that we became Calvin Harris or Michael Jackson overnight; but we did [achieve some] very ascertainable, awesome goals,” Cisneros says. “We made enough of a movement in Year 1 to definitely give you Year 2. In Year 2 there was way more success, which led to Year 3. Then, by Year 5, we were in Russia, Asia, Australia, Hawaii—we were everywhere. All we wanted to do was make a living on music, [and] we were doing that in four years. The shows, money, residencies and the like have all gotten bigger, but at the end of the day, the ultimate goal was to be able to do what you love and pay the bills doing it. We achieved that.” Along the way, they turned down numerous lucrative deals in order to keep control of their own music—a strategy that paid off. “If I want to put out a track tomorrow, I can, and I don’t owe anybody anything,” Cisneros says. “We quit trying to make a record that they would play, or he would play, and really made our first album how we wanted to make it. That was when fans started to flock to us because we were doing our own thing.” Their diverse backgrounds are part of what make Tritonal such an interesting duo despite an eight-year age difference. Reed started listening to dance music at 12 years old, whereas Cisneros’ experiences came as a 15 year old going to parties, doing drugs and dancing
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Tritonal play their hometown of Austin, TX.
all night. “Dave’s first time in a club was the first time he DJ’d,” Cisneros says. “What we do as a duo [is] learn from each other, and the dynamic is good,” Reed says. “If a plan fails, [we] try another angle of attack. That’s why it’s beautiful to have a duo that is in a mature friendship, taking place over the last decade now.” “Writing music is such an intimate experience. You have to learn each other’s language and how to interact,” Cisneros says. Cisneros, who is 10 years sober, says that having a clear mind is another key to their success. “When you’re doing 150 shows a year, going back to the studio on Monday or Tuesday morning and trying to be inspired and creative, forward-thinking, be a leader—this industry is filled with people who think you can just get lit all the time. You see those guys … anyone can get high. Greatness is being able to maintain success through the years.” Their album, Painting With Dreams, released in September, features the track “Broken” with Adam Lambert. “It took us two years to write [the album],” Cisneros says. “We wrote like 50-something songs over that course of time, and whittled it down to about 15. Dave and I have the potential to produce a track a week, but that doesn’t mean [we] should. We’re at a level where we need to make big, awesome,
amazing songs. Just because you can turn out a song a week doesn’t mean you should. Now we can take the perspective of all the songwriting sessions and understand if the work is worth putting out. Before, it was all about getting it out.” Another single with Steph Jones called “Blackout” passed 10 million streams, and Ross Lynch is featured on another track called “I Feel the Love.” “[There are] a bunch of writers and vocalists that I would say have not yet been discovered in terms of a massive pop presence, but they’re still awesome,” Cisneros says. “I always think that those writers have the most to gain and [the] most to say. It’s always a cool experience to work with someone who hasn’t had a huge record but has a great idea, versus when you’re working with someone who’s already had a bunch of success and they have a big team with a hierarchy and red tape.” And in 2017, expect to see Tritonal at Marquee— almost every other week—on 17 to 20 dates. “We love Marquee,” Cisneros says. “We built a bit of a family here. We really enjoy this property. Vegas is tough—all these different things competing. Marquee has a great team that is inside a really awesome hotel, which helps. It’s also geared toward a younger crowd.” 7 See Tritonal at Marquee Nightclub on November 18.
“Writing music is such an intimate experience. You have to learn each other’s language and how to interact.” -Chad Cisneros, Tritonal October 6 -1 2, 2016 vegasseven.com
Photography Krystal Ramirez By Melinda Sheckells
Disaronno Riserva
[ DRINK THIS ]
WHEN A RENOWNED LIQUOR BRAND RELEASES ITS FIRST NEW PRODUCT in 500 years, there’s cause for celebration. And so is the case with Disaronno Riserva, a blend of Disaronno Italian amaretto liqueur and Scotch aged in vintage Marsala wine casks. This sleekly packaged luxury expression made its debut last year, and now can be found on the shelves of some of the most exclusive bars in town. The innovation came to be when Augusto Reina, CEO of ILLVA Saronno company, visited distilleries in Speyside and the Highlands of Scotland, selecting the whiskies to blend with Disaronno, which was created
in 1525. The marriage was performed at Disaronno’s headquarters in Saronno, Italy, before the mixture traveled to the Cantine Florio cellar in Marsala, where it was aged for 12 years. The Marsala oak barrels that have been in use since 1938 give the liquid a unique spice. Disaronno Riserva is a rich addition to a variety of cocktails with a cooling sweetness that segues into fruity vanilla-almond notes. The finish offers spice and dried fruit, perfect for the fall/winter season to warm the palates of all those lucky enough to get a sip, as there are only 10,000 of these elegant black boxes to go around. $45 a pour at Delmonico Steakhouse.
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By Melinda Sheckells Photography Krystal Ramirez
[ EAT THIS ]
FUSION FRENZY
Kushiyaki Inyo 6000 W. Spring Mountain Rd., Suite 1B, 702-2480588; open until 2 a.m. Very Berry CafĂŠ 4983 W. Flamingo Rd., B1, 702-5270027; open until midnight
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And for dessert …
Very Berry Café A few blocks from Inyo, Kim also owns the new dessert shop Very Berry Café with partner Bernard Bernardo, where the featured item is a Korean dessert called pat-bing-su, or snow ice. A sweet treat that has been enjoyed for decades in Asia, Very Berry creates snow ice with milk instead of using shaved ice, and offers more than 30 toppings such as cookies, flavored syrups and jellies. Beyond the headliner, there’s an assortment of Asian desserts, pastries, salads and sandwiches, all of which may be enjoyed inside or on the dog-friendly patio. Future additions include specialty coffees such as Jamaican, Hawaiian Kona and Yemen Mocha.
For dinner ...
Kushiyaki Inyo
When veteran nightclub host Jung Kim (previously of Hakkasan and SLS Las Vegas) wanted to open his own food and beverage business, he took the fast lane, launching not one but two restaurants. In June, Kim took over operations at Inyo Asian Restaurant, one of 2015’s most lauded openings, with partner/chef HyungJun Kang; and in August he debuted Very Berry Café, a sweet shop on West Flamingo. “We wanted to acquire a restaurant that had a good reputation and possessed future potential. And that’s when we found Inyo, which already served top-quality food,” Kim says. “Being involved in nightlife and surrounded by many restaurants have inspired me to follow my father’s legacy of owning my own restaurant. I wanted to introduce unique Korean/Japanese dishes I have learned over the decades.” Kim’s father knew how to fuse Korean and Japanese dishes and was a head chef at more than 100 restaurants all over the U.S. What has emerged after a complete renovation is Kushiyaki Inyo, with expanded culinary offerings and more private seating from tables divided by wooden partitions. Two signature dishes include the 3-foot-long omakase sushi board and the 3-foot-tall King Kushiyaki, a giant skewer with mixed Korean/Japanese meats and vegetables. Kim also respectfully kept Inyo’s most popular items, such as the Japanese street corn, chicken wings and bone marrow. Additions include Korean galbi and rib eye, bulgogi fries and flank steak.
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THRICE IS BACK. And properly so: After 15 years of nonstop writing, recording and touring, the Irvine, California, post-hardcore greats took a brief hiatus, but they’ve returned with a new album and a North American tour. The quartet’s latest effort, To Be Everywhere Is To Be Nowhere, is a cathartic crusher that recalls the band’s heavier work from its early catalog, but expands on the progressive formula they’ve created (think post-hardcore Radiohead). We chatted with founding guitarist Teppei Teranishi about the band re-forming, the new album and gear, before Thrice rocks Brooklyn Bowl on October 7.
After consistently writing and touring as a band, Thrice took a brief hiatus from 2014-2016. How did you guys re-form? We were doing it for 15 years straight, and life was moving on. We all have families—I had two kids at the time, and Dustin [Kensrue, singer/ guitarist] had three. We were doing the band full-time, and it was a difficult thing to keep afloat, so we thought it was time for it to rest so we could live our lives. We made sure to tell everybody that it wasn’t a breakup. We knew we would come back and there was no bad blood between members, so we called it an indefinite hiatus. We had no idea when we’d get back together—whether it [would] be five or 10 years. It ended up being a bit shorter than that [laughs]. As for getting the ball rolling again, it started when Dustin and I talked after a Brand New show in Seattle. We were talking to the guys in the band about the short tour they were on, and we were
intrigued. They were doing a one- or two-week tour up the West [Coast], and we just wanted to know how that worked financially and logistically. That conversation led to the discussion of Thrice doing something similar—touring, writing and managing time.
How did it feel hitting the road and getting back in the studio right away? It was cool! We reconnected with a lot of people. We did some summer shows and hit a mini festival circuit. During the rehearsal for those shows, we were writing some new stuff for what would become the new record, and that was great as well. Lots of people keep asking us if it felt weird getting back together after a hiatus, but it wasn’t at all. We’ve been a band for such a long time; we’re brothers! And it wasn’t hard to get back into the groove and find our chemistry.
Thrice is notorious for using unconventional techniques to record. The Alchemy Index was recorded DIY on GarageBand. Some of To Be Everywhere Is To Be Nowhere was written remotely. How was that experience? Well, it wasn’t written 100 percent remotely. [At the time] I was living in Washington, and I’d fly down to rehearse for the [aforementioned] summer shows. We all booked flights for a week earlier to jam and write music together in the studio. We’d record those sessions, and from there, we’d do stuff on our own by sharing files and compiling ideas. It was interesting— concentrating on jamming, then going
our separate ways to let it breathe. You might hear that play out on the record.
You’re also a big gearhead. Did your gear change for this record at all? A little. Our producer, Eric Palmquist, was very intentional about not using tones we’ve used on previous records. When we were hauling our amps into the studio, the first question he asked was, “Which ones are your main things?” I pointed to my AC30 and some of the pedals I use. He said “Alright!” and put those aside. Then he proceeded to work on new tones with some of the other gear. At one point during recording, he had the guitars going into no fewer than four amps at a time. He was really dialed-in as to how he thought it should sound, and he’d constantly go into the control room to blend and use different amps as needed.
Speaking of gear, you also craft artisan leatherworks for your Teranishi Studio project. How’s that going? It’s going well. It’s an interesting time for that project. I was basically doing it full-time before the break. When I was still up in Washington, I hired full-time employees to help me out with it. Then, once the band started up again, I had to scale things back. Rather than trying to manage things remotely, I ended up managing most of the business side.
There were a lot of logistical [duties] that came with running the business, and I wasn’t a fan. [My part] became more [about] all of that stuff, which I wasn’t too fond of doing, and less of crafting and creating, which is what I enjoyed most about the project in the first place. For now, I’m just playing it by ear. I mostly do everything on my own, and get some help here and there when needed. [Teranishi] went from full-time to parttime, and that’s how it stands for now.
What’s next for you? I’m just gonna keep truckin’. I’m trying to strike a balance between my band and the brand. I want to keep Teranishi going and thriving. It’s a challenge. What’s your favorite part of Vegas? Oh, man, too many. Vegas has always been sweet to us. I’m not much of a gambler, but it’s one of the places—if not the first—we played outside of California. We’ve been playing there for years, and we’ll always have love for that city.
Thrice with La Dispute and Nothing, Nowhere Brooklyn Bowl, Oct. 7, 7 p.m., $25-$35, 702-862-2695, BrooklynBowl.com/Las-Vegas
T I G N I Y A L P E AR BY na er anza n Wein m a r a n Ca nath By Ia raphy Jo g Photo
Thrice guitarist
Teppei Teranishi on the band reuniting, gear and his Teranishi Studio project
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