There are fewer places I’d rather be on a Friday night than a sold-out show at King King. A tiny venue in the of , King King is an anomaly to the area. Tucked away in an alley, you can escape the gritty sidewalks packed a strange mix of shirtless hobos, high-heeled clubgoers and drunk Ironmen posing from pictures children. The evening’s show was curated by LA’s own merry band of pranksters—. The crowd is always appreciative and never pretentious — I’ve met some of my best friends at King King around 1:00 .

Here’s the strange about : anybody that has heard 30 seconds of his is immediately a fan for life, but for some reason he hasn’t swept the world of electronic quite yet. Hailing from Australia by way of New Zealand (a very important distinction), has been developing a steady base of extremely loyal for years but has never quite “broken through” (though what does that even mean anymore?).

So what’s the big deal? Why do people fall in love him and immediately start shaking their booties without regard? Because he’s the downright funkiest, grittiest, hood-rattiest producer in the game and I’m not even exaggerating. Just give his 2011 album Slurp & Giggle a listen and tell me you don’t agree and that you haven’t sent the link to like three of your hood rat friends already. Rattled by churning, grimy bass lines carved to a point with a sharp glitch-hop edge, some of my favorite electronic songs of all time are on this album.

The performance on Friday was a brilliantly funky display of the talent, innovation and creativity of my personal favorite Kiwi on the scene: Oscar Davey-Wraight. The sold-out crowd of thirsty screamed with glee as Opiuo took the stage. When the began, there was nothing to be done but dance. It drives you as instinctively as a beat. With the happy-go-lucky attitude of Down Under emanating from the stage, he captivated the room and never let us go. We was gettin the funk down.

Heavy as hell, but buoyant enough to float, Opiuo crafts a brilliant balance of -shaking end elements and choppy, percussive rhythms. Bringing the music to life with synths and drum-pads, his performance is incredibly physical. He was often joined on stage by a crazy talented multi-instrumentalist that contributed some badass -flute and sax action to the table. Opiuo played a solid mix of old off of Slurp & Giggle and brilliant new material off of 2014’s Meraki. He was sure not to leave out the more obscure crowd , including his grade-A remixes of “Benzi Box” and ’ “Done Wrong”.

I really can’t say enough good things about this amazing producer. Through years of continuous producing, he has retained an individual, unique sound that has never been replicated. His enthusiasm and joy is infectious—on stage and in his music both. Seriously, DO. NOT. SLEEP. ON. THIS. Below are some of my favorite Opiuo tracks to get you headed in the right direction:

Robo Booty

Patchouli Dump Truck
Opiuo - Patchouli Dump Truck

Off Chops
Opiuo - Off Chops Ft. Jess Chambers

Clumpy Cider
Opiuo - Clumpy Cider

Benzi Box

Butternut Slap

Molly grew up in the Pacific Northwest before attending the University of Colorado at Boulder and receiving her BFA in Filmmaking. She is currently living in LA with her best friend aka her dog. She calls herself a writer/photographer.