Music Militia Night with [Naomi] and friends Voli + Joel Manduke plus support from LIZ, Badflower, Ruslan Sirota, Rozzi Crane, Mac Hanson, Emma Dewing and DJs Eric Sharp + CC Sheffield, hosted by Johnny Galecki (Big Bang Theory) & Ben Feldman (Superstore)

HITS Magazine and The MGMT Company Present

Music Militia Night with [Naomi] and friends Voli + Joel Manduke plus support from LIZ, Badflower, Ruslan Sirota, Rozzi Crane, Mac Hanson, Emma Dewing and DJs Eric Sharp + CC Sheffield, hosted by Johnny Galecki (Big Bang Theory) & Ben Feldman (Superstore)

Mon, December 12, 2016

Doors: 8:30 pm / Show: 9:00 pm (event ends at 2:00 am)

The Satellite

Los Angeles, CA


This event is 21 and over

There will be an optional donation jar at the door with proceeds going to the night's charity of choice!

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Hailing from Los Angeles, [Naomi] arrived on the scene as a fully-formed old soul, although in her early 20's. Weeks into learning how to play guitar, she began blending her experiences into powerful songwriting about her truth as a young woman in a strange and, quite frankly, f***ing crazy city. [Naomi] uses the perfect combination of grit and charm to bring angst to a music scene that could use more of it.

[Naomi]’s songs are kinetic in nature and lyrically pure, but her true super power is live on stage, where the intensity of her Joplin-esque vocals shines through with enough brightness to captivate everyone who experiences it.
In the words of the late astronomer, Carl Sagan, "We are, each of us, a multitude.” Voli—in an attempt to align the stars into a body of self expression and commentary—has made a record that brings these words to life. Artist, producer, musician, rapper, singer, songwriter, recluse, rebel, innovator—Voli is all these things, illustrated in his cross-genre collaborations with musical entities ranging from J. Cole and Young Guru to Bebe Rexha, and most significantly in his career as a solo artist who refuses to accept conventional musical paradigms.

In a bold move, Voli has named his genre-bending new record The Wall. Though there are classic art-and-prog-rock elements on this ambitious self-produced project four years in the making, though he namechecks the legendary band in his song “DNA,” Pink Floyd wasn’t on Voli’s mind when he came up with the title. “It’s actually from a Will Smith interview I saw with Charlie Rose,” Voli explains. “As children, Will and his brother were tasked with building a wall for their father's shop. At first, they were overwhelmed, but they continued to lay the bricks each day for almost two years. They finished it through dedication—one brick at a time."

The Wall holds many shades of meaning for the Jersey-born (and now L.A.-based) Voli. In part, it’s about his journey as an artist, about growing slowly, carefully, and taking the time to build something that lasts. “I am creating a foundation for myself—musically, professionally, personally,” Voli says. “Each piece of ourselves is one brick in that wall. And it’s not always the easiest thing to hold it together, to find that mortar, to find that glue.”

The Wall is also about Voli's tendency—for good or ill—to isolate himself, to build a wall without so that he can travel deeper within, following his whimsy, chasing his muse unfettered… yet at the expense of a more secure, less-bohemian lifestyle. “I feel a constant pressure to work and create,” Voli says. “I have to do whatever it takes to get better, musically. But the isolation is a double-edged sword. It can be difficult—there’s a lot of sacrifice involved. A lot of going against people’s expectations of what you’re supposed to do, and who you’re supposed to be in life. In a way, the wall is also there as a barrier, to protect myself. You go through so much doubt when you’re on this path, it tears me up a lot of times, but music makes me so happy—I don’t want to do anything else right now.”

On yet another level, The Wall is about tearing down the barriers that compartmentalize music and culture and getting at what connects us instead of reinforcing what divides us. It’s a notion hinted at by Voli’s mentor Young Guru in an off-the cuff speech at the beginning of “Good Die Young”—“What makes it all connect? You have eight billion stories [in this world], all separate, but somehow they go together.”—and it’s also reflected in the record’s sonic and stylistic diversity.

“The face of hip-hop is changing,” Voli says. “Not that The Wall is a hip-hop album per se, but there’s definitely rap in it. And I want some kid from the inner city to listen—and maybe the rap is what pulls him in, but then he starts listening to the musicality of it, and has his mind opened to rock & roll. And vice-versa, those people who are drawn in by the rock & roll will hopefully be opened up to the rap side of it and to all of the other sounds going on.”

From the blend of krautrock-style synths and classical piano at the start of lead track “Fear of God” to the dark lyrical raps and the opening sample’s call to “deny our programming,” The Wall wastes no time in letting listeners know that all bets are off—that if you can expect anything from Voli, it’s the unexpected. The album is a constantly evolving sonic statement, incorporating hip-hop, rock & roll, prog, indie electro-pop, experimental drone, modern R&B, reggae and Middle Eastern desert romps alongside wailing guitars, massive pop hooks and a decidedly punk ethos. And the unconventional lyrics—about college debt, coping with twentysomething malaise, and what it means to unpretentiously channel James Dean’s iconic rebellion—are delivered with a precision flow and a cinematic flair.
“My tastes have expanded,” Voli says, giving a large share of the credit to his musical foil and closest collaborator on The Wall, his guitarist Gavidia. “The music has become more sophisticated, more layered and, lyrically, more personal. This is my most cohesive, focused and representative project to date.”

The Wall also features guest spots from three distinct, amazingly talented females—experimental NYC artist Marz Ferrer (“Ratatat”), Ming of cult Philly hip-hop group The Spooks (“A Life Worth Killing”),and rising retro-minded indie star Misun (“Burn Everything”).

Making The Wall has been an admittedly therapeutic process for Voli. “There are times when I feel like I’ve grown and learned so much,” he says, “and there are also times I feel like I don’t know what I’m doing at all. Just writing about these subjects and getting it out there feels like I’m detoxifying myself. But I’m still searching. I see people all around me searching, and I don’t know if you’re ever supposed to stop looking, stop questioning things.”

It’s this penchant for seeking, this desire to question the status quo that underlies Voli’s early-rock-&-roll- and-punk-channeling attitude on The Wall, which is explored directly in “DNA.”

“Being a rebel is as simple as doing what you honestly want to do,” Voli says. “As an artist you’re constantly putting yourself out there for major criticism. Me, personally—I’m stubborn. The second someone tells me I can’t do something or that I’m not good at something, I’m going to prove them wrong. That’s where the rebellion comes in. I don’t think it has to be tied to anger—for me, it’s not. I’m just gonna do what I’m gonna do. People are always gonna try to fit you into their little box, but you can’t let that happen. You can’t let anyone else determine what kind of artist you should be.”
Mac Hanson
Mac Hanson
Mac Hanson is an actor, writer, singer, musician and funnyman with an endearing personality and an even more endearing smile. Loved by some, loved even more by others, completely and entirely loathed my a small few... Mac Hanson is an icon to thousands.
We can't get enough of LIZ. With two singles released via Jeffree's, this Los Angeles R&B princess has all the unmistakable signs of a superstar in the making. From her unmistakable style to her breezy attitude and a sugary, sun-dripped voice that sticks in your head like a wad of pink bazooka bubble-gum, LIZ is an artist you don't want to sleep on. Her debut Jeffree's release, Hush, is reminiscent of that perfect Pop/R&B tune from the 90s that you couldn't wait to burn onto a CD so you could play it endlessly in your car after dropping your summer crush off at their house. For the ladies, it's going to be your feel-good shower anthem and fellas, it will be your best guilty pleasure. LIZ is here to stay, so get used to the name.
A predatory catcaller. A tortured, addicted lover. A jaded, blue-collar bar band singer. A cold-blooded killer. With characters like these, you may feel as though you’re watching a film, not listening to a rock ‘n’ roll record.
These are just some of the compelling characters from the debut Hundred Handed Records EP from L.A.’s Badflower, a fledgling rock band of cinematic proportions.
The EP’s songs showcase an exciting young group of musicians and a star talent in frontman Josh Katz. Long fascinated with movie music, his dark lyrics reveal a storyteller sophisticated beyond his 24 years.
“I enjoy putting myself in other people’s shoes, and imagining their thoughts, expressing those hidden terrors and fears,” explains Katz about the roleplaying nature of his lyric-writing. “By acting them out, I try to stress how wrong these attitudes can be, but still show how easy they are to adopt.”
Badflower’s songs play like short-films, with Katz portraying the various characters. Some are sympathetic, and some are monsters. These moral contradictions create a tension supported and reinforced by the music beneath.
As his chief collaborator, lead guitarist Joe Morrow is responsible for much of Badflower’s signature sound: snaky, psychedelic guitar riffs, often building to powerful rock rhythms over the course of a song. Bassist Alex Espirtu and drummer Anthony Sonetti provide a strong backbone, and Katz’s tenor regularly turns on a dime from world-weary clarity to a violent snarl.
Despite the intricacies, this is music for large rooms and big crowds – a throwback to the days when rock music could reach the wide masses, shake up the status quo, even save souls.
“I’d like to change the world,” says Katz. “I still believe rock ‘n’ roll has the potential to do that. We are committed to building this into a mountain, a skyscraper. We’ve all pushed each other to get better.”
With their debut EP, Badflower seems up to the challenge.
Ruslan Sirota
Ruslan was born in Uman, Ukraine to a Jewish family on November 4, 1980. His father, Yefim, who was an active local guitarist, had introduced him to music at an early age. Picking up guitar around the age of four, Ruslan had transitioned to piano around the age of seven. In 1990, his family moved to Israel, where he continued to study piano at the Bat-Yam music school. At approximately 14, Ruslan discovered jazz, instantly showing imminent interest. By the age of 16, he was the "wunderkind" keyboardist for the then-popular Israeli jazz fusion band, "Confusion". With Confusion, he toured Israel and made several appearances at the Red Sea Jazz Festival.

At 18, Ruslan auditioned for the Berklee College of Music, where he received full tuition scholarship, and moved to Boston in January 2000. During his studies at Berklee, Ruslan displayed growing interest in R&B, funk and soul music, playing with local artists and eventually becoming the resident keyboardist in a club called "Wally's Jazz Café". Circa 2004, Ruslan joined the Stanley Clarke band and moved to Los Angeles, thus marking the beginning of his professional career.
Rozzi Crane
On her debut EP for Adam Levine's 222 Records, Crane artfully skips between pop, R&B, alternative, and hip-hop, crafting a sassy, sexy, and soulful sound of her own. There's nobody quite like her…
The San Francisco-born, Los Angeles-based singer and songwriter immersed herself in music growing up, obsessing over influences as wide-ranging as Lauryn Hill and Outkast and Destiny's Child and Amy Winehouse. Things got very serious when she entered the University of Southern California's Popular Music School though.
Barely finished with her first year, she landed gigs as a background vocalist for The Eagles' Don Henley and Brazilian legend Sergio Mendes, touring the United States, Europe, and Japan. At the same time, she performed constantly on her own, opening for the likes of Earth, Wind & Fire, Kreayshawn, Frankie Valli and The Four Seasons, Anthony Hamilton, Theophilus London, and more.
"I'd play anywhere they'd let me," laughs the 21-year-old Crane. "Whether it was a dorm Christmas party or a formal USC event, I'd do it because I love performing. In between all of that, I even did a couple of makeshift tours. We got in my car and drove around the country playing shitty shows in tiny venues. It was awesome though. When I'm on stage, I can be myself. I'm in the moment, and it's honest. My mind shuts off, and it's just me."
In between a tireless touring and class schedule, Crane attracted the attention of Los Angeles songwriters Jacques Brautbar and Sam Farrar, formerly of Phantom Planet. Soon after, she began co-writing with them, as well as penning her own material. One of her original songs even figured prominently in Lifetime Television's second most-watched film ever, Sins of a Mother, receiving praise from the New York Post and other tastemakers. Around the same time, consistently impressed by Crane, Farrar forwarded a YouTube video of her to Levine. His reaction wasn't simply positive. He decided to launch 222 Records with her as the first signing.
"I got an email from him that I still can't believe," Crane recalls. "I'd spent so much time living and breathing music since I could talk, and this happened and blew my mind. That was where everything went to the next level."
Her EP is the first milestone on that "next level." The first single "Crazy Ass Bitch," featuring Kendrick Lamar, rolls from a sun-soaked acoustic guitar into a clever and
Emma Dewing
Emma Dewing
DJ Eric Sharp
DJ Eric Sharp
Eric Sharp combines a conscientious mindset with unshakable musical passion. Through his multifaceted career, Sharp has become one of the most accomplished tastemakers on the West Coast. As a DJ, Eric has brought his own style of intelligent, sophisticated, somatic house music comfortably to intimate private parties, club nights, and massive festivals alike. With his record label Rock It Science Laboratories and his personal productions Eric expands his impact beyond simply a purveyor of taste and into a true creator.
Venue Information:
The Satellite
1717 Silverlake Blvd
Los Angeles, CA, 90027