Sometime in the latter part of the 2000s, the world first heard the name “The Gaslamp Killer.” Before YouTube and Soundcloud redefined music transmission, there were just the fabled rumors of his DJ sets. Or maybe you copped one of those rare CD-R mixes with bizarre names that made things seem like an infernal myth: Gaslamp Killers, It’s a Rocky Road (volumes 1 and 2), Hell and the Lake of Fire are Waiting for You. They were filled with some of the wildest, most imaginative and raw blends ever crafted with two turntables and deep crates of wax. Can dissolved into obscure Portishead side projects into unspeakably gorgeous 70s soul fusion. Rare German prog-jazz folded into early British dubstep white labels. It was the work of a master, who had dedicated his first two decades to absorbing a lifetime’s worth of funk and rare groove, hip-hop and IDM, avant-garde bass music and so much obscure African, Brazilian, and Middle Eastern psychedelic music that Shazam could never decipher it. At the Low End Theory, the DJ and producer born William Bensussen dropped legendary sets every Wednesday: intense, visceral and shamanic wild man spells that helped make him an international phenomenon. The LA Times celebrated him as the center of the beat scene. The old LA Weekly put him on the cover and said “If he’s not the most popular DJ in L.A., he’s the most popular great one.” Boiler Room enlisted him for one of their first-ever shows in their old studio in London; the video reached almost 700,000 views and recognition as one of the best Boiler Room sets ever. Serato tabbed him for their second DJ feature ever. Meanwhile, his career as a producer and instrumental composer began to take off. He produced the lion’s share of Gonjasufi’s classic debut, A Sufi and a Killer, which received a Pitchfork Best New Music distinction. Pitchfork similarly raved about his own 2012 artist debut, Breakthrough, claiming that he might be the best kept secret signed to Flying Lotus' Brainfeeder label. GLK received similar raves for his sophomore album, 2016’s Instrumentalepathy, which was described as the closest that anyone from the Low End Theory came to classic Spiritualized. There where headlining sets around the world, tours with Run The Jewels, and prime festival slots at Coachella and Lightning in a Bottle. After a short hiatus, The Gaslamp Killer has returned with turbulent, moody, and gorgeous symphonies on his third full-length album, Heart Math. An intense and emotional masterpiece, it reaffirms why he remains one of the best DJs and instrumental hip-hop producers of his generation.