Happy 2012! As we all embark on this exciting (and perhaps historic) new year, we would like to take a moment to share our intentions for the Do LaB community and Lightning in a Bottle festival. Whether prophesied, or simply the true state of affairs, our community, our nation, and our planet face great change at this particular moment in time. We invite you all to embrace this change and continue celebrating life and our incredible human spirit during these tumultuous times. Though our problems seem many, and solutions difficult, we must remember to approach them with grace, love and celebration for in this attitude lies our best way forward.

LIB has always been about discovering and enacting a different way of living. A way that is more in touch with the earth, with each other, and with ourselves. As the pace of change continues to accelerate all around us, and old ways of thinking begin to reach their logical and useful ends, LIB continues to expand its spiritual and educational aspects so that we, as a community, may boldly embrace and lead the way into this new world. The Temple of Consciousness will be bigger than ever this year and will include inspiring new structures for the yoga and meditation area, as well as the beautiful area for speakers and workshops in the heart of the Temple. At the same time, we have a music and performance lineup brewing (scheduled to be released in March) that could be our best yet and is sure to awaken the celebration of dance that we hold so dear.

We are so happy and proud of the way LIB has been able to continue to grow and mature, while continuing to preserve that indescribable vibe we have all come to love so much. We thank everyone that participates in this event, from the volunteers and the musicians, to the painters, builders, artists and crew, and especially to you for contributing to that feeling that makes everyone feel so welcome and happy to join us in capturing lightning in a bottle, year after year.

It is to all of you that understand and reinforce the intention of the festival that we offer our early bird discount tickets for 24 hours starting on Monday, January 16th at 7am. We can’t be absolutely sure, but all indications point to the festival becoming sold out earlier than ever before this year. We don’t want you, our valuable core of festival goers, to miss out on tickets this year. We want to see you smiling again, bringing your incredible energy and understanding to help us make Lightning in a Bottle 2012 our greatest year ever.

Video created by Manifest Media.

Thanks for reading and be sure to Rush n Get em!

LIB 2012 info page: Click Here

Rush n Get em pre-sale event: Share and RSVP Here

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FreQ Nasty — 1000 Buddhas Of The Pureland Of Bass by URB.com

Tracklisting
1 – Warm Dark Place (Original Mix)
2 – 1000 Buddhas of the Pureland of Bass
3 – The Heart of Definitive Meaning

Receiving a perfect score of 10 and named the “money shot release” in the new issue of Mixmag, “The Low FreQuency Pureland EP” marks DJ/Producer FreQ Nasty’s re-entry – with a vengeance – into the world of boundary-pushing music.

“I specifically avoided making dubstep on this EP as my modus operandi has always been –“look which way the crowd is moving and run in the opposite direction,” FreQ Nasty says. “Having said that, the crunkstep vibe of “1000 Buddha’s…” was made with that 100 BPM-808-Hyphy Hip-Hop sound in mind, but then other influences snuck in there too. And in the end my tunes never turn out quite how I imagine them to. So I don’t know what genre you would put these tracks in specifically. Not dubstep? Post dubstep? It doesn’t really matter at the end of the day as new genre’s often start in one physical location but very soon spread to anywhere you can get a half way solid link to the internet. This EP dropped out of AT&T’s broadband network somewhere between London and California. I hope you enjoy it as much as I enjoyed getting back in the studio.”

Digging into the tracks, “Warm Dark Place” is a glitch-hop and drumstep hybrid of equal parts West Coast glitch hop and UK tear-out. The influence of FreQ Nasty’s time in the US Bass heaven of California is obvious with a haunting melodic refrain offsetting the hefty bass pressure. “1000 Buddhas of the Pureland of Bass” is a crunkstep roller that takes the uptempo Hip-Hop beats of the Northern Californian Hyphy movement and welds them to seismic 808 bassline. FreQ Nasty played this across the summer of 2011 and the 808 bass solo in the middle gets them screaming every time. “The Heart of Definitive Meaning” is a journey into the more reflective side of bass music. Swathes of guitar over a backdrop of distant chimes and revolving chords all served on a bed of deep sub bass. It evolves slowly with an almost subliminal drop into angular stabs of low frequency voltage.

Born in Fiji, raised in New Zealand and formed musically in the dance music revolution of London in the late 90’s, FreQ Nasty started his career on the seminal UK label Botchit & Scarper, moving to SKINT Records in 2003. He went on to release a slew of cutting-edge records, collaborating with and remixing a diverse range of artists including Fatboy Slim, Kelis, KRS One, Roots Manuva, Rodney P, and Reggae legend Junior Delgado. 2008 saw the release of ‘Creator’, his crossover hit collaboration with MIA producer Switch and NYC hipster Santogold, and the ground breaking FABRICLIVE 42 mix CD, which was picked as DJ Magazine’s compilation of the month. He is one of Burning Man festival’s most loved DJs, where he brings his signature mix of drumstep, glitch-hop, dubstep and all things Bass heavy every year. 2011 saw the release of “Dread at the Controls” on California’s Muti Music, which launched the 17-city Monsters of Bass tour with Marty Party and Opiuo. With the cutting-edge re-design of his website, launch of his new label, FreQ Nasty Recordings, and worldwide release of his new EP, supported by online, blog, and international press coverage, FreQ is making a powerful entry into 2012.

Can’t believe we never saw this. Foreign Beggars and Noisia make a great combo.

How ill is Mr. Koch? Hear for yourselves.

Exhibit A:

Water and Solutions by Robot Koch

Exhibit B:

Robot Koch & John Robinson – Robot Robinson – Album Snippet by Robot Koch

Not a bad song.

Pretty Lights – “I Know The Truth:”

Beautiful video for a beautiful song.

We said it before and we’ll say it again: we loves us some Mochi.

Mochipet is back with a banging new release: Chicxulub.

Mochipet’s latest release on 1320 Records ‘Chicxulub’, is the soundtrack for an animated novel in which the Dinosaurs make their way through the impact of the comet believed to have destroyed them. The album starts off with a highly compressed glitch-hop bass number ‘Dinosaur Anthems’ signaling the dark that is arriving along to where ‘Yoshi’s Dinosaur Egg Hunt’ guides you through Fraggle Rawk-style landscapes in search of the young that are left to live on. The Dinosaurs eventually leave the planet, taking off in their ‘Pterodactyl Spaceship’ to new undiscovered lands. But they do not make it out easily; there are a number of alien life forms that have invaded in ‘The Battle of Dinotropolis’ (Featuring Ben Samples). With everything destroyed all that is left are ‘Fossils’ and our prehistoric creatures are left to find ‘A Home Away From Home.’ So ‘Ghost Ride The Ark’ to Outer Space we go! Whether our Dino friends make it to their new homes is unsure as ‘I Really Don’t Think We Are Ok ACE.’ The Saga is To Be Continued…

Crushing beats that are reminiscent of The Glitch Mob with that sweet Mochipet flavor. If you want to get wild in the club, or just enjoy this record at home, the track selection will allow you to do either.

Check out this track from the album:
“Yoshi’s Dinosaur Egg Hunt:”

Free Wiz Khalifa vs The Battle of Dinotropolis Soundcloud Stream (Also available for download) |
Mochipet Wiz Khalifa vs. The Battle of Dinotropolis (Featuring Ben Samples) FREE DOWNLOAD by Mochipet

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So Jeff Weiss over at Pop & Hiss — The LA Times Music Blog — talks about the Lightning In a Bottle Festival (“LIB”), which is only a couple days away! The line-up is massive, and we’re feeling what LIB has to offer.

Here’s a screenshot of the article–just click on the image for the full story.

This year, LIB has already run a mixtape contest, where the winner receives free entrance as well as a slot in the schedule of performances during the four day festival (among other things). The winner of the selection is THE SEX PIXELS. We’re looking forward to hearing their set, although it could be quite late. Could be? Actually, HERE’S A LINK TO THE FINAL SCHEDULE, so now you know the exact time they’ll be on (2:30am Saturday morning).

This festival is going to be terrific. But, if you’re on the fence, visit lightninginabottle.org for the full details.

Snag your copy of this track free here.

RELEASE:

MartyParty to Release SKUKUZA
Debut EP In Stores December 14, 2010

No stranger to the booming bass music scene that’s sweeping the nation, MartyParty has spooned his purple bass drops to beat-hungry masses as one-half of the group PANTyRAID with partner Ooah (of the white hot Glitch Mob), and through successful MartyParty tours in venues and festivals alike alongside names like The Glitch Mob, EOTO, MiMOSA, The Very Best, Beats Antique and many more.

On December 14th, MartyParty celebrates his first EP release, SKUKUZA, the first taste of the amusement park ride on the rails of electronic chords crashing into soul-pounding bass lines and will be followed up with frequent ep releases to craft a movement in music. The debut EP will be available through all major online music retailers, as well as in special packages sold direct through the MartyParty.org website. Look out for Lebata and Satara in due time.

The full tracklisting of SKUKUZA is as follows:

1. Chelsea Hotel
2. It’s Complicated
3. Loud Mouth
4. Los Angeles
5. Skukuza
6. Trinity

Check out the “Los Angeles,” track:

The release, brought to you by The Confluence Post Label alternative, will feature MartyParty’s production of purple music. This is electronic music with a rich melodic layering of beat, bassline and harmonics building up to an intense, full frequency, crescendo. A bit lie dubstep that needs no dubbing whatsoever, just pure original composition with todays most advanced tools. The MartyParty live show is a high energy spectacle not to be missed – he calls it the Purple Opera.

Check out the PURPLE OPERA yourself when Marty comes to your town!

Photo by Paola Angelino.

First thing’s first, we love exciting artists. Born is exciting to us. Venturing into new, refreshing and explosive areas of hip hop & electronica from the flows to the instrumentals. When we listen to Born I Music, it’s as though Tupac Shakur has passed and been reborn as “The Born Identity.”

We’re not all that spiritual, but Born I Music inspires us to get our meditation on more and to truly “meet ourselves.” We think that if you took Shakur, Ghostface, Kanye, Kid Cudi & The Clipse, put them in a blender and applied some of what Born’s production team (Godfather Sage, Imani Beats, & several others) calls “Afro-Asian Electro-Hop”, you’ve gotten a taste of what this man is doing.

On the heels of his latest release “THE BORN IDENTITY MIXTAPE” which you can download free here. We sat down with Born to learn about the man behind the music, his dad’s cooking and how Born manages to create bass-heavy, spine-tingling songs that just make you want to max out your car system and bob your head. Get Familiar.

Born I Music: You rang? Yo. What’s poppin’ G?

Hipsterwave: Not too much. I’ve actually been listening to your new album for like the past few hours non-stop. We also tweeted about it.

Born I Music: [laughs] Cool. Okay, no doubt. You caught it to the end?

Hipsterwave: Yup. Yeah, man.

Born I Music: Oh, okay, nice.

Hipsterwave: Yeah man it’s good! Usually if an album isn’t good, it won’t get multiple listens.

Born I Music: Word.

Hipsterwave: But there are a lot of stand-out tracks or winners on the record. I think I can sort of tell who was producing what just from the sound… But hey, why don’t we start getting into the questions before you start answering them.

Born I Music: No doubt. Hey one thing before we get this started though, right now I am standing over a pot of boiling water and I’m about to cook. [laughs] It’s probably one of the funniest dishes in the world but when I was younger, I really thought my pops was sort of like a chef, like he’d be whippin’ up all sorts of meals and desserts and stuff like that. But man, he had this signature dish and it was macaroni and cheese with pieces of hot dog cut-up in it. Dude. That might sound questionable, but it’s heaven beyond heaven. He’d do that and he’d put some broccoli on the side, and it must just be a throwback to my youth, but every once in a while I just get a craving for macaroni and cheese with hotdog chopped-up on the inside, so I got a big ol’ smile on my face getting ready to jump into that as soon as we’re finished with this interview. But yeah… [laughs]

Hipsterwave: Oh okay. [laughs] Yeah that sounds interesting, I’ll have to try that.

Born I Music: Yeah man it’s a treat man I’m tellin’ you man. Trust me, it’s a real uh, blue collar delicacy.

Hipsterwave: Is there any kind of macaroni in particular or can you just…

Born I Music: Yo yeah, yeah. You gotta do the Kraft Deluxe, the joint that comes in the box with the cheese sauce. Yeah, like you can’t just do the Cheesy Mac or anything like that. It has to be the Kraft Deluxe that has actual cheese sauce and you just get some chicken hot dogs, or whatever your flavor is, and just chop that up and toss it in there…

Hipsterwave: So it’s not a powder, is it actual cheese?

Born I Music: Nah, Nah, it’s actual cheese, not the powder that you mix up. That shit is nasty to me man, but it’s the deluxe one, so it has the rich flavor. Velveeta type. You squirt it on, mix it. Chop up your hotdogs. Toss that in there. You are in heaven dude. I’m tellin’ you. [laughs]

Hipsterwave: [laughs] That’s what it do man. I’m gonna have to try that.

Born I Music:: Yeah man.

Photo by Jammie Patton.

Hipsterwave: Okay so the first question is what are you influences in music and how did you develop your flow style and method of delivery?

Born I Music: Okey dokey. Influences in music, I think this is like a standard answer—you have to say this—that like my parents are my influence as far as music is concerned. It’s really true, like my father is not an artist, but my father’s art was his love and appreciation for other artists, you feel me? If you made music, you would love to have my father as a fan because he really gets into the music. He gets into like the personality of the artist, you know. So I’d just be in the car and we’d be goin’ to like the pizza spot or just running an errand or whatever and he’d just give me like these crazy long history lessons about like how John Coltrane and Sonny Rollins were going neck-and-neck to see who was gonna be the greatest tenor saxophonist of the time. Also, you know how John Coltrane played in Miles Davis’ band and then branched out on his own and then Wayne Shorter came in and filled his shoes and – my dad was a big Coltrane fan, by the way, so I got like a huge Coltrane lesson. Like every day was a Coltrane lesson. My pops was also really into the great soul-singers- Wilson Pickett, Otis Redding, Aretha, James Brown – and then as we both got older, his musical taste just got more and more diverse, so like at any given time—you know my family is from Ghana—so at any time we’d have like Ghanaian highlife playing in the background or we’d be listening to like the local like public radio station that had all like the fresh jazz on there or it would just be something from my father’s like infinite jazz library. And you know then he started branching out into Brazilian music, which he got really into, like Astrud and Jao Gilberto and all that other type of stuff. Then, even Japanese cultural music, Shakuhachi flutes and all that. My house was always really, really diverse as far as the music was concerned. So, that’s like a ton of subconscious influences that you don’t really know you’re being influenced by it until you sit back later on in life and say “Okay, well this is how it all started happenin’.”

Hipsterwave: Yeah, right? Word…

Born I Music: From like a young age, yeah you know, you get older and you just start to reflect on it like “Okay, this is the type of person that I am, and this is why” but, my father, it’s not like he was a musician, but he was and is such an intensely devoted listener and appreciator of art and music that it was almost like growing up with someone that actually played music. Oh, and I definitely would be remiss if I didn’t mention my Frank Sinatra education, which I really appreciate to this day. I dunno what happened, when I turned 17, I just started looking through my dad’s collection and then he had this one record of Sinatra when he was on the Reprise label and pardon my language, but man I ate that fucking thing up. And man, just for like years I was just like deep, deep into Sinatra and like it didn’t help that my father painted the whole picture of what Sinatra was about and what he meant to the game. I think it was also because he saw that I was really deep into gangsta rap, so he’d be like “If you really wanna know what a thug is you need to research Frank Sinatra. [laughs] Frank Sinatra was the thug of all thugs. All these other dudes you see runnin’ around, they never thugged it out as hard as Frank Sinatra.” You know, my dad talked about Sinatra, like just as being an American icon, and also what he did for race relations, to make people bow down as far as Sammy Davis, Jr. was concerned. So yeah man, I just developed this crazy appreciation for multiple dimensions of music and then came rap and it was like Nas and Wu Tang and Biggie, Mobb Deep, Black Moon. And I’m not gonna front, shit, Snoop, Dre, Bone Thugs. All that had me goin’ just comin’ up, but my mind really just started to explode once I heard Illmatic and 36 Chambers, the Infamous, Doe or Die and Enter the Stage—that first Black Moon album—that’s when all my extracurricular activities started taking a backseat and I would just be coming home and listening to music, period. [laughs] But yeah, I know you asked about flow and delivery too so…

Hipsterwave: Well, I know Dilla’s in there too for that…

Born I Music: That’s crazy right? Like it pains me to say that I was one of the people that appreciated J Dilla’s production without even knowing some of the stuff that he had produced, like the shit from Pharcyde, etc. I was also a pretty decent Tribe Called Quest fan, but my awakening into hip hop came slightly after the mega Tribe Called Quest era. And I came into hip hop really during the height of Biggie, Nas and Wu Tang era. But even those Tribe Called Quest hits that Dilla produced on, I really appreciated them, but I wasn’t checkin’ for the producer back then, you know what I’m sayin’? So it wasn’t until like Slum Village came out and Godfather Sage–my producer—was really tryin’ to put me on to him and then I started takin’ more notice to the production and then started taking more notice to the lyrics and you know listening to “Welcome To Detroit” and all that other stuff. So I don’t think that people give Dilla as much props as he deserves as far as his emceeing is concerned, because he was a fucking surgeon when it comes to the emceein’. So I would throw him in there too, almost as like a subconscious influence, definitely. I mean this dude said “Whole body blingin like 3-P-O, nigga” [laughs]. But as far as flow is concerned, one of the very first people I tried to pattern my flow after was Nas because to me he just connected the dots in a really, really crazy kind of way. As much as I respected Raekwon’s flow, I never really tried to duplicate that, but I definitely, definitely was a Ghostface fanatic as far as his whole approach on the mic. There’s this song on the first Cuban Linx called “Wisdom Body,” right, it’s like number 13 on the disc, it’s Ghostface’s solo song and the whole song is about him like approaching a female: that song right there? Gave me all my game right there. All the swagger I needed to pull any chick, came from “Wisdom Body.” [laughs] Number 13 on the first Rae album, but that, I mean it was something else that let me know that you have to have a certain kind of presence. You can’t just flow it out. You really have to create an atmosphere with your lyrics. The RZA was a big influence when I was a kid, just because he packs so many words and so many syllables in this real “I don’t really give a fuck how it lands on the beat” style, and, just being able to cram all those syllables into a short space was something that I was really into all the time also. So, I’m pretty sure that all those things come out in what I do.

Hipsterwave: Okay, alright. So I just heard that track “One In The Chamber”, and that killed me when I heard it, so I was wondering what the production process was for that one? And it sounds like Godfather Sage, but what was the process?

Born I Music: [chuckle] Okay, so I’m sitting at home and the way that this whole process has gone with recording my album, “Tomorrow is Today” alongside “The Born Identity Mixtape” has just been like, I’ll just go into the studio for like a week straight just record maybe four or five songs a night. Then I come home and share it with everybody who is in my immediate circle, get feedback, and then spend the next week going over the newest submission of beats. You know, during the time I’ve been in the studio recording, I’ve still been getting more beats from more producers. Then I’ll spend the next week out of the studio, just in my crib, or you know just sitting on the road just writing, and then I’ll go into the studio the following week and just knock all that stuff out. And so, with that track “One In the Chamber,” it wasn’t that much different, but to be honest that track was meant for like another artist Godfather Sage aka GFS produces for, and I was just on the road and he was just playing it for me over the phone—like yeah, yeah check this out—and I almost crash the car! I was like “Yo dude, I don’t care what’s going on with that right there. I don’t care who you had slated for that. Come on man. Fam first! Man, family first!”

Hipsterwave: Right. Family Comes First man.

Born I Music: Yeah man. I really give my producers a guilt-trip kind of, because I know they wanna work with other artists and I’m not trying to completely ransack all of their best tracks before they let other people hear them, but at the same time, of course I am [laughs]. I mean I’ve been doin’ this shit with them for like almost 10 years, you know what I’m sayin’? So, I got a real F-U attitude towards anybody else that’s not me when it comes to the best production I can get my hands on. So, basically after almost committing vehicular suicide/homicide after hearing that beat over the phone, and GFS’ tracks are such that you can—like I get a lot of beats from a lot of other producers—and I’ll play ‘em on my little laptop or whatever, and you know you can’t hear the bass on those little speakers really, but I can hear the bass from a Godfather Sage track through the telephone, through the weakest clock radio type speakers ever. So, that shit was boomin’ through the cell phone, and I was like, yeah okay—so—I really need to do this track. But, I had no idea how I was gonna come on it, what I was gonna do with it, et cetera. And like, now, I see how a lot of these dudes who claim they don’t write, you know what I’m sayin’ – I see how they process goes. Because eventually with a lot of the stuff I wrote on this album I’m like either driving or just on the road period and so I don’t have a means or even the time to actually write anything down, so I just start going through the song in my mind, and I’ll just come up with like the first couple lines or eight bars or whatever and then I’ll just come down and you know commit it to pen and paper later on. But, the first line came to me in just this really odd way for “One In the Chamber,” and then that first line, that “hallelujah,” and then the lines that followed-up right after that were so over the top, I was like “Naw, I can’t say that,” and then there was like another mini me on my shoulder like “Well, you know, why the hell can’t you say that?” And so, [laughs], that’s how that track started.

Hipsterwave: Whatever works, huh?

Born I Music: Yeah, yeah. And I think that’s pretty much what I think I’ve let guide my writing process on these projects. Because for me, it used to be really important to be that I’d get the recognition of lyrically destroying the track. You know what I’m sayin’?

Hipsterwave: Yeah.

Born I Music: And on the Born Identity Mixtape there’s still some of that going on [laughs], but what’s more important for me right now is to actually just make a good song, and so I’d rather just be like another instrument on the track—whether I’m like a melodic instrument or a percussive instrument, or somewhere in the middle of both—it’s more important for me that I just really create a good experience for the listener as opposed to me, you know, feeling like egotistically satisfied that I really murdered the track. You know what I’m sayin’, so if anybody wants to hear me like pack 800 words into eight bars [laughs], I got stuff like that—you know just send me an e-mail—and I can send you the old stuff. Go back an study the first Shambhala album “The Lotus Of…”. But, what’s important for me right now is creating an enjoyable musical experience for as many people as possible. So like, whatever just kind of erupts from my mind as a result of listening to the beat, I just kinda trust that and just go with it. I get to mumblin’ and hummin’ and the track writes itself [laughs].

Hipsterwave: Okay, so the next question is—I hear some influence from other cultures in your tracks—and I was wondering what your thoughts are on other cultures, and you already mentioned Ghana, but the whole question is how do other cultures play an influence in your everyday life?

Born I Music: Well, my mixtape is a bit more straightforward as far has hiphop/dubstep, etc. I just wanted to really demonstrate what I’m capable of lyrically. But you’ll really hear that musical diversity on the album. Like I mentioned my father would play a lot of music from a lot of different cultures and that was probably in the back of my mind influence. But my overall philosophy as an artist is to try to highlight and celebrate the differences amongst people and to then really expose the things that make us all the same at the end of the day. So, it’s like unity within diversity. So, on the one hand I like to try to pull music from a bunch of different cultures to celebrate the diversity of humans. Right, and then I put it all together to say “See, we all love to dance, we all love the drum and we all love a good melody. So there’s no reason why we should feel separate from one another. – We’re still the same family at the end of the day” You know what I’m sayin’? Now, my spiritual background is Buddhist and coming from an Asian spiritual background, that has just opened up my world to a lot of Asian music and the obviously my cultural background is African, and African-American, so that all opens up a big window of music influence and musical exposure. So, when I set-out to do this album, I wanted to do something that would be like Afro-Asian-Electro-Hop. You know because I love electronic music, I love music that comes from the east, I love African music, and hip-hop is basically the culmination of all African American music—you know over the centuries—so I kinda wanted to put all of those things together and make an experience out of it. So yeah, the music of other cultures really plays a big part in what I do. I don’t like the term “World Music.” I think that’s corny. I just feel like right now with the Internet and the world just getting smaller in general, the idea that you should sound like you come from certain coast or a certain region, all of that is about to be obsolete. Really, we should really start looking at it like all of these different cultures are brother and sister cultures, so there’s no reason why we can’t reach out and use those things like they’re our own.

At the same time, I like the idea of being able to take really ancient deep-rooted sounds and then mixing them with some really futuristic shit and then just going for it. I’m all about putting opposites together and making something happen.

Hipsterwave: Alright, cool. So what do you think some of the rewards in music have been for you?

Born I Music: Being able to fly around the world just on the strength of my music is definitely a huge blessing and a wild head trip. When I was a part of Shambhala, we toured in Asia numerous times and it just an unbelievable experience. And money, who doesn’t love money? [laughs] Its a rough grind in this game but when the paper is good, the paper is great [laughs]. Making music that you know will stand the test of time is a big reward, developing a fan base, having people you don’t know come up to you and tell you that something you did changed their lives or helped them through a rough time, nothing beats that, man. Making “The Born Identity Mixtape” while making “Tomorrow is Today”, working with so many talented producers, engineers, tastemakers, friends – its all just beyond words…I can tell you being a musician, and as somebody who practices meditation, meditation is always about taking a good clean look at yourself over and over and over again until you can really see as clearly as possible. And, being a musician is a big part of that because it’s like one gigantic meditation. You’re always digging into yourself to see ‘what else is there’? ‘What else can I speak on’? ‘What other perspective can I introduce to the world’? What have I been through that I can share that would be of value to myself and others?’, et cetera. And so, just on a personal level, as somebody that believes in past lives and future lifetimes, and all that other stuff, hopefully I’ve been able to knock off a couple of future rebirths by just paying attention to myself as deeply as its required when you’re an artist [laughs].

Hipsterwave: Last question – whats coming up for you?

Born I Music: THE BORN IDENTITY MIXTAPE just dropped so everyone go to bornimusic.com and download that asap! The official single for my album is dropping early this summer. Its called “Conga Drum” its one of the most unique and catchy songs to drop in a long time so be sure to go to www.bornimusic.com for the track and the video! My new blog is up, everything from music to video to pics of fly girls, me, me with fly girls, etc is on there [laughs] so everyone go and check out bornimusic.com now! My album “Tomorrow is Today” will drop once I have the right situation so until then, I’mma keep dropping singles, videos and releasing collab projects with various producers. I’ve got a project called “Dolce & Beretta” with my producer Axiom coming up, a bass-heavy concept EP with GFS, an electro/dubstep thing with Aligning Minds and of course touring with The Hoodfellas and providing vocals. I’m gonna be busy man [laughs]

Download Born I Music’s “THE BORN IDENTITY MIXTAPE” here!

We are happy to present forthcoming HEADLINE additions to the soon approaching and much anticipated Lightning in a Bottle Music and Arts Festival 2010, presented by The Do Lab, which will occur Memorial Day weekend (May 28-31) at the beautiful Oak Canyon Ranch in Irvine, CA.

On the heels of their upcoming release “Drink the Sea”, and after a stand-out Coachella performance, The Glitch Mob will be performing along with the indie sensation Nico Vega and our cherished brothers and sisters, the Lucent Dossier Experience.

We would like to offer our sincerest thanks to all of the amazing submissions on the “Mixtape to Make the Line-up” contest. Not surprisingly our three top finalists were all unbelievable female DJ’s… The submissions have all been great and it was quite a task picking the “Grand Producer” to perform at this years LIB, but alas we have chosen and her name is KRYSTEE!

Other musical additions include Heyoka, Sidecar Tommy, Kitty D, The Luminaries, Geno Cochino, The Makers, Ron Levy, Michael Hart, Manny Greensector, Terrakroma, Motion Potion and DJ Wolfie.

Performances added in addition to Lucent Dossier include, Vau de Vire Society, El Circo, Ricochet ~ Poetic Acrobats, Fire Groove, Stilt Circus, The Wandering Marionettes and Shakti Sunfire

For full lineup and additional information visit the LIB website and stay tuned for more exciting news in the coming weeks.

Lightning in a Bottle:

The history of LIB spans more than a decade, and friends, family, and co-horts of the Do LaB are thrilled and astounded that it’s been more than ten years of making miracles and catching Lightning in a Bottle! Together with all of our friends we will converge on a beautiful new location and transform it into a wonderland for the senses, once again capturing Lightning in a Bottle. Prepare to start the summer off right!!!

4 days and 3 nights of activities and entertainment including music, performances, inspiring art, yoga and meditation classes, sustainability workshops, clothing and craft vending, tasty organic foods, camping and much more!

The Do Lab:

Based in Downtown Los Angeles, The Do LaB is an ensemble cast of creatives ranging from artists, event producers, lighting designers, DJs, constructors, welders, costumers, musicians, and the performance troupe Lucent Dossier. Since 2000, The Do LaB has been dedicated to treating experience itself as the art form. Their exceptional annual events–including the Lighting in a Bottle Music Festival–and jaw-dropping, large-scale art environments, have been attracting a devoted following among the West Coast’s underground creative community, and around the world. While bringing the visions of their home-grown art collective to life, The Do LaB has evolved into a respected event creations company, winning over major brands, music festivals, and trade-shows, with their unparalleled creativity and innovation.

The Do LaB’s portfolio includes clients such as the Coachella Music Festival, Ford, Audi, Red Bull, Scion, the Virgin Music Festival, Speakercraft, Esquire Magazine, AIDS Project Los Angeles, Stop Aids Organization, and many more

The Confluence:

Is a post label thinking management/marketing firm that takes an artist-centric approach to addressing the shifting music landscape. They will be releasing EP’s for MartyParty, AdamandEvil and the Lightning in a Bottle 2010 festival’s “Lightning in Your Ear” artist sampler to benefit the charity Critical Beats whose goal is to allow the natives to share the sacred healing sounds of their lands with new audiences all over the globe.

Nico Vega – “So So Fresh:”

Download.

Lightning in a Bottle! (official video):

Above is the first in a new video series collaboration between Flaunt Magazine and MartyParty! If you don’t already know, Flaunt Magazine prides itself on capturing timeless images reflecting fashion, the arts and lifestyle culture at its highest levels. The publication, now in its eleventh year in print remains in tune, covering icons across all sectors by equally balancing its delicate eye on both the strengths and vulnerabilities of celebrity.

MartyParty is electronic music producer/DJ who’s upcoming release Skukuza is slated to come out 6/1 through The Confluence, the track is unreleased and will be a real treat to accompany the amazing art piece.

MartyParty – “Trinity:”

The series is presented by The Confluence, a post label thinking management/marketing firm that takes an artist-centric approach to addressing the shifting music landscape. They will be releasing EP’s for MartyParty, AdamandEvil and the Lightning in a Bottle 2010 festival’s “Lightning in Your Ear” artist sampler to benefit the charity Critical Beats whose goal is to allow the natives to share the sacred healing sounds of their lands with new audiences all over the globe.

Set for release on March 23, 2010 is Gaudi’s latest record No Prisoners. Before the release even drops, a remix contest has already begun (audio for participation available here)

London based producer and solo artist Gaudi’s latest project, No Prisoners comes to us after a very fertile year in which the renowned artist toured the world, rocking dance floors and gathering fans with his unconventional innovative performance style and irresistibly floor friendly tunes. It was also a year where Gaudi was nominated for a BBC World Music Award for his Six Degrees release, Dub Qawwali (in which he added all new reggae & dub production to rare and previously unreleased tracks by the revered Pakistani vocalist Nusrat Fateh Ali Khan). That album’s success extended Gaudi’s fan base substantially, particularly in America and Canada, reaching #2 on the iTunes World Chart in the US and #1 on Amazon.com’s Electronica charts.

On his previous releases, Gaudi has worked to create his own unique synthesis, using elements of dub, electronica and world music producing tracks that have been mostly down-tempo in nature. No Prisoners is a very different and definitely up-tempo creation. Stylistically its primary energy comes from breakbeat influences underpinned with fat basslines and subtle live world instrumentation such as Oud and tribal percussion. The performances of many fine musicians on the album bring a human touch; with live bass and guitars, percussion, melodica, highland bagpipes and piano amongst others. The electronic elements, as per all of Gaudi’s albums, come from his beloved analogue equipment – vintage synthesizers, tape echoes and moog. The result gives No Prisoners the warmth and authenticity of sound which has become synonymous with Gaudi’s music.

A highly respected line-up of featured guests add their international appeal and individual flavors to the album, amongst them; California’s conscious political lyricist and founder of Spearhead Michael Franti, who lends his emotive voice to “There’s Enough” and long established Brooklyn based reggae artist Dr Israel (of Easy Star All Stars’ “Dub Side of the Moon” fame) who features on “No Time”. Multi-million selling Italian singer-songwriter Elisa brings a feminine edge to “Brainwashed Again” and Jamaican Reggae vocalist Kenny Knots goes deep with the ecclesiastical “Strictly Goodness”. Other notable guests include pioneering down-tempo dub producer Dub Gabriel on “Barracudub”; UK Breakbeat duo Far Too Loud and emerging electro-breaks producer Tom Real; who contribute to “No More Blood” and “Bad Boy Bass” respectively.

No Prisoners as the title suggests, is an album made without concessions, each track uncompromising in the delivery of its sonic payload. It is a fresh and versatile album with the potential to become an original classic.

Simian Mobile Disco – “Cruel Intentions (Joker Remix):”

Now here’s a new concept: US hip hop over a dub step beat. Born I killed this track with his flows. Plus the bassy beat would keep things banging for the dancefloors anywhere. So grimey.

Usually whenever we’ve heard hip hop lyrics and dub step, it has been with UK MCs. So, this is a refreshing new sound to us. Plus, to simultaneously discover new raw talent like Born I, we’re pretty pleased about getting our hands on this joint.

Plus, we know Godfather Sage had involvement in the project and it’s nice to hear his sonic influence and some vox throughout the song.

You can hear more music from Born I at his myspace and domain links below.

myspace.com/thisisborni
bornimusic.com

Born I – “Purple City (remix prod. by Joker & Ginz)”

Singer / Songwriter / Rapper – Epic / Sony recording artist Jovi Rockwell from Kingston, Jamaica. Featured on Diplo & Switch’s ‘Major Lazer’ album & also working & writing w/ Ne-Yo, Akon, The Heavyweights, Mr Vegas, Sly & Robbie, etc. Peep the “Rizzla” song stream and video below.