Get out your dancing shoes, ’cause this year’s Winter
concert is techno-heavy. DJ duo L.A. Riots’ abrasive synth remixes rattle out
the middle-end like Justice did so often last year with club bangers “D.A.N.C.E.”
and “Waters of Nazareth,” until our speakers finally blew out from exhaustion.
In a similar fashion, Lazaro Casanova — who sounds like “Crown trickling into a
nice glass and the sound of ice blocks clinking,” according to his MySpace —
chops and glitches out dance singles from last year until they hurt your head.
Both of these Daft Punk disciples mold former electro-shred into club gold on
Thursday night; it could possibly make for a rave to rival Spring Quarter’s Sun
God Festival.

HEADLINER: L.A. Riots

Last Night A Remix Saved My Life: Party Boys Chop and Glitch Past Hits For Their Own Metal Machine Music.

By Chris Kokiousis

Associate Hiatus Editor

These two dudes have only been loafing around the Los
Angeles party scene for a few months, but after a
handful of solid club remixes, the city’s scenesters decided to rev the
word-of-mouth hype train. The purpose of L.A. Riots’ existence is to make
parties start out of thin air­ — because as we all know, good music and a large
crowd don’t necessarily mean a good time. Fun depends on many intricacies, and
Daniel Ledisko and Jo’B succeed at killing the crowd with blasted glitch-house
pulled from the likes of Kylie Minogue, VHS or Beta and Chromeo’s back
catalogue.

Their take on “Switchblade” by Heart’s Revolution hits you
hard with slabs of crunchy synth goodness and sexy robot-mod vocals warning
dancers that something’s coming. Of course, nobody pays attention and the beat
rages on. In contrast, the remix of Justice’s “The Party (feat. Uffie)” mashes
and rearranges any previous flow the original had, instead honing the beefed-up
beats to accentuate Uffie’s scrambled musings on her typical club routine.

Most likely, L.A. Riots’ set will combine their visionary
mixes with straight-up techno and dance-pop classics pulled from their choicest
crates of vinyl. And how good can a dance party be without a freaky light show,
complete with strobe and colored bulbs? Expect the whole color spectrum to
unfold during the duo’s set. They’ve already rubbed up against dance greats,
and their online mixtapes flow like a clubrat’s stream of consciousness after a
few mixed drinks; all that’s left now is to create hits of their own.

Lazaro Casanova

By Sonia Minden

Associate Hiatus Editor

Lazaro Casanova’s MySpace reads, “I drink to make other
people interesting.” But the rising DJ — hailing from the lazy breeze of Miami’s
electro-scene — doesn’t need much help
to draw attention to his fresh brand of aggressive, pulsating jams.

Some original fare brings to mind his hometown’s beachy sass
(see: “Shorts and Heels,” inspired by the styles of calf-flaunting chicas);
others, like “Hearts Revolution,” mesh Daft Punk-esque flair with excerpts of
little Japanese girls

squeaking foreign things­ — very cool. Although he’s been
known to experiment with sounds from the Knife, Chromeo and Ernesto Bastian,
it’s his own work that hits the spot. Impressive talent, coming from a
shaggy-haired, lesser-known Revolver resident.

Chances are, his act will steam up stages across the nation
and the ocean, and he’ll be the next big thang — so, UCSD students, get your
shades to shield the laser-beam beats, and catch Casanova’s house of shot
callin’.

RX Bandits

By Chris Kokousis

Associate Hiatus Editor

Previously scheduled openers Ima Robot pulled out at the last
minute due to illness, so as a quick replacement we get emo-ska mainstay RX
Bandits, who might tickle your lingering middle-school fancy.

The group specializes in soaring chug-rockers that usually
peak with a trumpet flourish or two. Featured track “Crushing Destroyer” from
their latest release …And the Battle Begun pairs indie dissonance with minimal
lounge chill, but then strums itself right into prog silliness.

For a more familiar whine, check out “In Her Drawer,” a
straightforward blast of rock showmanship that hits every conceivable rhythm
and tone in their displaced subgenre.
The group can’t seem to settle into a groove because it switched between
unadulterated emo polish and Mars Volta-esque extravagance.

No matter how you feel about the group’s questionable style,
it’s hard not to appreciate the six Bandits’ musical chops and dedication;
expect lots of passionate head-bobbing, groovy bass interludes and SoCal steez.