There’s something about the flamboyance of bounce music that makes it impossible to look past. Especially in the case of Big Freedia, the New Orleans native that is taking the festival circuit by storm with his originality and, dare I say, incredible booty shaking. Like most Cajun bounce, Big Freedia’s music is loud, fiery, and full of energy. You’ll be astounded by backup dancers, The Divas, who are technically train in the art of booty bounce, clap and jiggle. 

In anticipation of Electric Forest music [...]]]>

There’s something about the flamboyance of bounce music that makes it impossible to look past. Especially in the case of Big Freedia, the New Orleans native that is taking the festival circuit by storm with his originality and, dare I say, incredible booty shaking. Like most Cajun bounce, Big Freedia’s music is loud, fiery, and full of energy. You’ll be astounded by backup dancers, The Divas, who are technically train in the art of booty bounce, clap and jiggle. 

In anticipation of Electric Forest music festival next month, we caught up with Big Freedia to talk music, life, love and ask some random questions that have nothing to do with anything. Mostly, we’re just excited and think you should be too! Take a snapshot look into the mind of Freedia and be sure to catch Big Freedia and the Divas in Sherwood Forest!

Beyoncé – Diva

What would be your stage entrance jam if you could pick one?

Beyoncé — “Diva”

What has been your favorite festival you’ve ever played?

I can’t say there’s been one. I can’t choose, BUT, last year Fun Fun Fun Fest was amazing. I met Ryan Gosling and got a tatto

What is in your festival survival kit?

1. liquids (of all kinds) and 2. weed

How much sleep do you realistically get at a festival?

Three hours a night if I’m lucky.

What is one piece of advice you give to any new festivarian before they begin their adventure?

Check the festival itinerary to make sure you know where I’m playing and what time For real, see something new you didn’t expect or think you’d see.

Who would you give up your left nut for to play alongside at a fest?

Beyoncé

What goes through your head when you look into the crowd and see people singing along to your songs?

How amazing it is that I was just a little poor kid growing up in New Orleans once and look where I am now!

What’s your favorite slot to play at a festival?

The latest slot-so I’m headliner!

If you could book a lineup with any four bands, dead or alive, who would be on the bill?

Beyoncé, Sylvester, Lil Wayne, Michael Jackson

If you had a one-way ticket to any place in the world, where would you go?

Jamaica

What are you looking forward to most about Electric Forest?

Showing people something new and amazing, and fantastic!

Are you ready to rock ‘n roll?!

Of course, are you ready to shake your azzzzzz??

We [...]]]> If you’ve never heard of Eliot Lipp before, prepare yourself. The New York-based producer recently signed with Pretty Lights Music record label, solidifying both a name for himself and a spot among the elite in indie electronica. Lipp is dropping a new record next week entitled Shark Wolf Rabbit Snake, which is sure to be received by the PLM fan base. For one, it’s free and when it comes to this record label those three letters are validation enough for download.

We at dfDubReport have loved Eliot Lipp for a while now, intrigued by his composition and enamored by his groove. He is the definition of an independent artist continuously releasing his and other musicians’ work through Old Tacoma Records, which he founded in 2008. Lipp‘s decision to join the Pretty Lights brethren was shocking initially, but hardly unwarranted.

“Derek’s [Pretty Lights] way more famous than me,” Lipp said in a recent email interview about the news, adding that he likes the way the label promotes its artists’ music.

Lipp heads in a different direction with his sound on Shark Wolf Rabbit Snake, but this shift was not done to fit the PLM prototype — the album was long done before Derek Smith heard it. Instead, Lipp told dfDubReport, he is playing with genres and styles he never messed with before, such as house and drum and bass.

“In a way this feels like a debut album because I’ve been on so many musical journeys since my last solo album,” said Lipp. “Meeting other artists on the road and traveling so much has also helped me discover new sounds and try new things as a producer. I always want to continue to develop my own personal sound but that takes some experimenting and on this record I’m doing lots of that.”

Preview “The Sunset” off Shark Wolf Rabbit Snake below and keep an eye out for the whole record on May 22.

Eliot Lipp – The Sunset

No one can deny the irresistible and intoxicating nature of funk music, and some go as far to make it their lifestyle in order to perpetuate the groove. Will Rast is one of those people. He is the founding member, pianist and composer of Washington D.C.-based band The Funk Ark, aptly named for their latin-infused, brass/percussion conglomerate. If you like dancing and true musicianship, then welcome aboard! This ship sails deep into the tropics of rhythm and soul [...]]]>

No one can deny the irresistible and intoxicating nature of funk music, and some go as far to make it their lifestyle in order to perpetuate the groove. Will Rast is one of those people. He is the founding member, pianist and composer of Washington D.C.-based band The Funk Ark, aptly named for their latin-infused, brass/percussion conglomerate. If you like dancing and true musicianship, then welcome aboard! This ship sails deep into the tropics of rhythm and soul feeding you free drinks along the way.

In anticipation of Electric Forest music festival next month, we caught up with Rast to talk music, life, love and ask some random questions that have nothing to do with anything. Mostly, we’re just excited and think you should be too! Take a snapshot look into the mind of Will Rast and be sure to catch The Funk Ark in Sherwood Forest!

Richard Wagner – Ride of the Valkyries

If you could pick one song to be your stage entrance jam, what would it be?

Like WWF, when they come in and their song plays? I would have to say “Ride of the Valkyries” by [Richard] Wagner.

What is your favorite festival you’ve ever played?

I’d have to say that my favorite festival to play was the 2010 Austin City Limits Festival. Great variety of bands, much like Electric Forest. Got to watch Papa Mali tear it up with Bill Kreutzman from the Grateful Dead from just offstage. I was standing there with Jerry Busher of Fugazi, and I became aware that I was in the presence of members of two of rock and roll’s greatest bands. We had to follow their set, but Bill was so personable it made me forget the stress. It rained hard during our set and we all got soaked, but it was a great time.

What is in your festival survival kit?

Lot’s of water, a few mood enhancing substances and a hibachi. Good?

How much sleep do you realistically get at a festival?

Not much if it is a really happening festival. At a real blowout, stuff goes on all night. I remember stumbling around Bonnaroo at 4 a.m., running into the band Galactic being wheeled around on a flatbed jamming out.

What is one piece of advice you give to any new festivarian before they begin their adventure?

Pace yourself and have a plan: You can’t see everything. Come up with your own personalized roster for bands you want to see, BUT, above all and most importantly, be open to seeing and hearing new things!

Who would you give up your left nut for to play alongside at a fest?

Sharon Jones and the Dap Kings

What goes through your head when you look into the crowd and see people singing along to your songs?

“I am a golden god.” No, seriously that doesn’t happen too often. If it did, I would be shocked and then I would immediately go back to thinking, “I am a golden god.” It is a nice feeling though, all joking aside.

What’s your favorite slot to play at a festival?

I would think that a headlining spot would be pretty cool. Haven’t had that experience yet though, so I’m gonna go with “the sundown set.” I love when the natural beauty of the surroundings take part in a performance.

If you could book a lineup with any four bands, dead or alive, who would be on the bill?

Santana, Fela Kuti, Ravi Shankar and James Brown.

What’s your favorite Pandora station?

I do a few things. I like to set a Cumbia and Chicha station by choosing an artist like Andres Landero. I also like to set an Orgone station and groove out to whatever comes out.

If you had a one-way ticket to any place in the world, where would you go?

I’ve always wanted to visit Peru. I’m very interested in pre-Columbian ruins and culture.

What are you looking forward to most about Electric Forest music fest?

Looking forward to checking out all the great bands, like everyone else! And performing, of course

What was one thing you heard about Electric Forest last year that made you want to be a part of it?

The diverse line-up of performers that EF gets is what makes this an exciting event for me.

Are you ready to rock ‘n roll?!

Fuck yeah.

Looking like the American dream circa 1986, Denver based alt-pop group Tennis put on a charming show to a near-capacity crowd at Club Dada Wednesday night. After bellying up to the bar to get drinks, my friend and I squeezed our way through the fans to the front of the stage. The crowd seemed very accommodating and friendly, shooting us smiles rather than smirks, which really set the tone for the whole evening.

From 11 p.m. until just after [...]]]>  

Looking like the American dream circa 1986, Denver based alt-pop group Tennis put on a charming show to a near-capacity crowd at Club Dada Wednesday night. After bellying up to the bar to get drinks, my friend and I squeezed our way through the fans to the front of the stage. The crowd seemed very accommodating and friendly, shooting us smiles rather than smirks, which really set the tone for the whole evening.

From 11 p.m. until just after midnight singer/keyboardist Alaina Moore and guitarist Patrick Riley captained their four-piece touring band on a seamless voyage through the catchy, up-beat hits from Young and Old, as well as their debut nautical romance album Cape Dory. Their new album boasts production from Black Keys drummer Patrick Carney, and this tougher sound reverberates nicely throughout the venue as the fans bear witness to a band who have outlasted their blog buzz and developed into a much more sustainable prospect.

Alaina Moore’s voice is sweet and clear and, thankfully, she’s also very consistent and controlled – keeping her from sounding whiny. She sings high without being piercing, which is definitely the signature of Tennis’ sound. The band doesn’t rock out hard, but they’re into what they do, and it was reciprocated throughout the crowd. Their set included “Marathon”, which included some cute bopping/dancing around by the band members at their respective instruments, “Pigeon”, “Never to Part”, “Petition”, and “Origins”. The crowd even chimed in halfway through the set with a boisterous rendition of “Happy Birthday” to commend the birthday of Moore, who was vivaciously blushing the whole time. The interactions between Moore and her guitarist-husband Patrick were particularly endearing – their dynamic and rhythm are perfectly in sync, but they’ve got this bashfully-looking-at-each-other-but-never-quite-catching-each-other thing down.

Tennis yearn for the pre-rock era of innocent high-school romance, and whether you like it or not, seeing them live brings about those clichéd feelings of love, romance and other barf-inducing feelings. The couple charmed as we knew they would, yet brought an edge that left us intrigued for what’s coming next. I strongly suggest you check out Tennis before they time-machine back to the future.

Wakarusa 2012 recently announced their daily schedule, utilizing the JamBase platform. As May 31 to June 3 draws near, Mulberry Mountain in Ozark, AR is becoming more and more enticing by the day.

Thursday kicks off with the headliners ALO, Railroad Earth, Weir, Robinson and Green Acoustic Trio and Pretty Lights. Friday shakes it up with Edward Sharpe & The Magnetic Zeros and The Avett Brothers on the main stages, and Umphrey’s McGee and Primus are the Saturday night headliners.

There are some intense [...]]]>

Wakarusa 2012 recently announced their daily schedule, utilizing the JamBase platform. As May 31 to June 3 draws near, Mulberry Mountain in Ozark, AR is becoming more and more enticing by the day.

Thursday kicks off with the headliners ALO, Railroad Earth, Weir, Robinson and Green Acoustic Trio and Pretty Lights. Friday shakes it up with Edward Sharpe & The Magnetic Zeros and The Avett Brothers on the main stages, and Umphrey’s McGee and Primus are the Saturday night headliners.

There are some intense late night Interstellar Meltdown dance parties with Quixotic on Thursday, Girl Talk on Friday, and Big Gigantic on Saturday night. And if that isn’t enough face melting goodness for you, Friday and Saturday’s late-night performances on the Grassroots Tent include Ghostland Observatory, MiM0SA, Michal Menert, Paper Diamond, RJD2 and so much more.

By the time Sunday rolls around, it’s hard to believe that there is even more to be seen. With the Main Stage closed, you can catch SOJA, Keller Williams, Matisyahu, and EOTO throughout the day on various other stages.

To find a complete and detailed schedule head to JamBase where you can customize your own plan and send it to your friends. Also, be sure to check out our Wakarusa 2k12 mixcloud podcast below, chock full of sweet jams by artists playing this years fest. And if you haven’t already done so, get off your ass, buy a ticket, and head down to Arkansas with us. Just do it. We’ll share our booze.

Animal Collective return with two brand new songs appearing on a new 7″ single entitled “Honeycomb/Gotham.” And it’s good to have AnCo—a pop act at the end of the day, whatever artistic fuckery they try to pull—back to recording songs again.

During the past few years, the group split their focus between solo releases and psychedelic audiovisual art projects. Avey Tare put out Down There in 2010, Panda Bear released Tomboy in 2011, and their only releases as a band [...]]]>

Animal Collective return with two brand new songs appearing on a new 7″ single entitled “Honeycomb/Gotham.” And it’s good to have AnCo—a pop act at the end of the day, whatever artistic fuckery they try to pull—back to recording songs again.

During the past few years, the group split their focus between solo releases and psychedelic audiovisual art projects. Avey Tare put out Down There in 2010, Panda Bear released Tomboy in 2011, and their only releases as a band have been the “visual album” ODDSAC and, most recently, the Record Store Day release Transverse Temporal Gyrus, a sound collage based on their trippy “happening” at the Guggenheim.

Steam the two new singles below, headphones recommended. First impression? Cooky Feels era stuff with the addition of the booming tribal beats and odd poly-rythms, but definitely missing the PANDA.

by Uel Pitts

At the end of March, I had the pleasure of stumbling upon a performance that once again made me appreciate why searching out good live music, and saying “yes” can always lead to something exciting.

I had been invited by a couple friends to ride over to the McKinney Avenue Contemporary one Saturday night, and check out a group called JamPact. We were a few minutes behind the start time; not like In-A-Gadda-Da-Vida-long or anything, but we grabbed [...]]]>

by Uel Pitts

At the end of March, I had the pleasure of stumbling upon a performance that once again made me appreciate why searching out good live music, and saying “yes” can always lead to something exciting.

I had been invited by a couple friends to ride over to the McKinney Avenue Contemporary one Saturday night, and check out a group called JamPact. We were a few minutes behind the start time; not like In-A-Gadda-Da-Vida-long or anything, but we grabbed a couple seats in the closest riser so as not to disturb the band. They were already into their first groove, and I was bummed later that we missed the beginning moments because the rest of the evening was an awesome display of musicianship and an enthralling presentation.

JamPact definitely knows how to draw you into their music. Besides the instruments that they employed: piano, drums, bass, trumpet, synthesizer, trombone, and what appeared to be a host of hand instruments, they also had a visual effects team displaying fantastic (and sometimes quite interesting) digital visualizations behind them; as well as an interpretive dancer who would periodically parallel her motions to the sound, out in front of the band. The music had a sort of Medeski, Martin, & Wood vibe, the band improvising of an initial idea, or sometimes grooving along patiently until they found just the right phrase to build upon. I thoroughly enjoyed watching the creation process take place right in front of my eyes.

To say these guys are good musicians is an understatement; I was definitely impressed, and if you have never seen the blur that is Jose Bowen’s fingers, you should do yourself a favor and attend a JamPact show. Between the music, which nicely blends moments of intensity, calmness, plus the in-between, and the visual effects which create an even more sensory experience, this is definitely something to encounter.

If you have a chance, check out JamPact at the Latino Cultural Center of Dallas this Thursday (TONIGHT), May 3^rd at 8pm.

I’m a little late to the [...]]]> All reggae is not created equal and when it comes to white boy reggae, it takes a special person or group of people to get it right. If you’ve ever heard Arlingotn, Virginia’s Soldiers of Ja Army, more commonly referred to as SOJA, you understand what I’m talking about. Those white boys have an uncanny way of invoking emotion about relevant issues and love. And the band’s fifth full-length, Strength to Survive is no different.

I’m a little late to the punch with this review since Strength to Survive was released in January, but in lieu of their performance today Granada Theater it deserves recognition.

The album is undoubtedly the work of SOJA — upbeat dub peppered with trumpets and meoldica that are foundationally rooted by lead singer Jacob Hemphill’s distinguishable voice. Strength to Survive mimics its predecessors by beginning with several politically charged tracks including “Mentality” — a song about the transition from adolescent to adult and the societal obligation to pass down life’s moral lessons — and “Everything Changes,” which calls out Americans who sit and watch corruption happen as a result of fatigue syndrome.

The record’s title track and single “Strength to Survive” speaks to the listener in a more conversational tone, contemplating the destruction imposed on our Earth and whether or not it is too far gone to be saved. “Stuck in a revolving door,” cries Hemphill in wonderment of the cyclical life we keep leading of consumerism and ignorance. Unlike several other “call to arms” songs characteristic of this band, this one poses a question: “Do we have the strength to survive?”

Any SOJA album wouldn’t be complete without a sequence of hopeless romantic songs. “Tell Me,” “Be With Me Now” and “Let You Go” all eloquently swim through playful percussion in an effort to keep said lover by one’s side. Believe me, when you hear these seductive tunes live you’ll have the uncontrollable urge to grab said lover and pull him or her close. Perhaps this will be the audiences cue to spark a bowl in appreciate of one another and good vibes.

Upon first listen to Strength to Survive, the whole 13 songs seemed less compelling than releases such as Peace in a Time of War (2002) or Born in Babylon (2009). I found myself searching for that pop melody or lyrical hook that would keep me coming back for more. Strength to Survive is more subtle in terms of jubilance, but once you become acquainted with the songs they will live forever in the back of your mind and heart. SOJA has a unique ability to resonate with its audience not strictly because the music is good, but because their message is universal.

Preview a few of the tracks below and show the band some love tonight at 8 p.m.!

SOJA – Mentality

SOJA – Tell Me

The saying goes that “with age comes wisdom.” But in the case of Lansing, Michigan-based producer Grant Kwiecinski, stage name GRiZ, this couldn’t be less true. At a mere 21-years-old, Kwiecinski is just beginning his professional career, transitioning from a laptop DJ to a true electronic musician. While his resume in terms of discography is in its infancy and his new life on tour still requires some getting used to, Kwiecinski speaks introspectively like an old [...]]]>

The saying goes that “with age comes wisdom.” But in the case of Lansing, Michigan-based producer Grant Kwiecinski, stage name GRiZ, this couldn’t be less true. At a mere 21-years-old, Kwiecinski is just beginning his professional career, transitioning from a laptop DJ to a true electronic musician. While his resume in terms of discography is in its infancy and his new life on tour still requires some getting used to, Kwiecinski speaks introspectively like an old soul.

“I don’t believe at any age you are too old or too young to be doing much of anything. It’s all this mental mind frame of how you take in your conscious awareness,” says Kwiecinski as we sit in Xprmnt studios on the outskirts of downtown Dallas. He is finishing his debut album, Mad Liberation, scheduled for release in mid-May. He is riding the high of his second Dallas show the previous night as an opener for Big Gigantic. He has been doing a lot of thinking lately.

“I don’t feel like I’m 21, that’s just a number I put on things. People find it interesting I’m a young person, but, really, how long I’ve been doing this doesn’t even matter. I see it for what it is and I experience it with new eyes every time.”

That’s the root of GRiZ’s creativity. He observes, absorbs and ingests, then turns up the speakers to unleash a whirlwind of solid beats, creative samples and homemade synthetic sounds. Kwiecinski maintains an affinity for organic instruments because of his background in saxophone (which he usually busts out during a live performance except when he’s opening for Big G’s Dominic Lalli). Keyboard melodies and sultry horns often have a place among GRiZ’s composition – stylistically comparable to Gramatik — but he is also admittedly enamored by dubstep.

“The new music today is very insane. It’s just organized chaos, and, if you break it apart, all of these sounds are wild!” Kwiecinski says enthusiastically. “We have this technology that allows us to do almost anything. What we’re doing right now is unlimited. You’re really only limited by your ‘own,’ whether it be expectations, stamina … whatever.”

Kwiecinski grew up in Detroit, a city that lost its economic gumption alongside a large percentage of its population due to the housing crisis and sequential recession. According to an article by the Wall Street Journal, the number of people in Detroit fell 25% between 2000 and 2010. GRiZ is discouraged by the perception his hometown is left to waste; he doesn’t really like talking about that. Instead, he proposes, there is a new demographic “rebuilding” the city.

Economics show that Detroit is cheap, like dirt-cheap. From the real estate to the food to the amenities, it is the place for people on a budget. Therefore, contends Kwiecinski, it’s attracting a younger group of kids either who just graduated college or opted out of education. They can get the most for their money as well as their adolescent experience in Detroit. This new demographic are also the ones cultivating a modern art and electronic music scene.

Cirque du Womp was the first collective to start throwing shows in this scene and they did in style — fire throwers, hoopers, circus troops and performers, the whole shebang. Kwiecinski remembers the beginning days of the initiative called Dubstep Circus with just 800 kids. Now, he says, the production company can sell out a 1,500-person venue in a matter of days.

“I have the highest hopes that music is changing the world,” GRiZ says, not fully convinced there is truth in his optimism. “The music scene there is bringing back young people with the promise to spend money and to create infrastructure, which is what really needs to happen.”

Between Kwiecinski’s logic, sensibility and idealism comes a spontaneous urge. A random slip of the tongue on my part encourages us to break out of the norm and make a unique experience of the day. We find ourselves at DFW Gun Range behind protective eyewear and a 9mm pistol. We are with an experienced friend who teaches us how to load and shoot. We stand awestruck as virgins of the sport. It’s loud as hell, even with headphones on, but GRiZ looks calm and collected. I, on the other hand, am sweating bullets.

POW! A loud burst and the ripe smell of gunpowder fill our plastic cubicle and GRiZ looks at me with beaming eyes. We move onto a revolver and an ak-47, getting slightly more used to the feel of pulling the trigger and more direct with our aim. Shooting guns is hard, Kwiecinski says, like way harder than playing to a sold out crowd. It’s an uncanny statement for someone slated to play in front of 15,000 people at Electric Forest music festival this summer.

After the gun range, GRiZ dives right back into the studio to work on the last track on his upcoming album called “Fallen,” adrenaline and inspiration running rampant in his veins. It’s the only unfinished track and his desire to complete it is bittersweet.

“I took a solid listen to [the album] minus this new song when I got back from Miami,” Kwiecinski says contemplating the brief days between that and his trip to Texas. “I was sitting there and having a real existential crisis moment of despair, thinking this kind of chapter is done. It’s sad, but it was all these little constructed pieces put together and all these little moments and experiences that became this manifested thing.”

GRiZ is not hesitant, regretful or self-conscious about putting the final sequence of dots on his pointillist masterpiece. He is anxious to step back, see the big picture and share it with others once it’s done. Plus, he says, this means he gets to start an entirely new painting.