I.M.P. and Steez Promo present
Mad Decent Block Party Washington, DC
Major Lazer, Zeds Dead, Flosstradamus, SBTRKT DJ Set, Skream, Riff Raff, Griz, Lunice, Anamanaguchi, DJ Say Wut, Billy The Gent, Nacey, Steve Starks, Obeyah, HYX & H0U5T0N, Ransom, Weii, Lemz, Rez, Nature Rage, Jon Kwest
10475 Little Patuxent Parkway
Columbia, Maryland, 21044
This event is all ages
Mad Decent Block Party Washington, DC
Place: Known Universe
Years after the zombie apocalypse ravaged the galaxy, Major Lazer went into isolation after bringing peace and order to Earth. With the help of a mysterious shadow government called Cinco he was cryogenically frozen as a safeguard for the future’s wellbeing. Despite a great many years of pursuing peace on the planet, a new threat began to loom on the horizon and the commando was brought out of sleep by the Committee of Five. This intergalactic group faced an opponent that only Major Lazer could defend against: his former superior and commander General Rubbish. Rubbish had come out of deep space hiding with a new weapon…Terror Lazor and was set out to enslave and capture all of Earth’s allies to seize inter-galactic planetary control and then destroy Earth. With dwindling resources to defend Earth and it’s allies, the Committee of Five brought Major Lazer out of cryogenic slumber. He was assigned a partner, the female assassin known only as Knife Fight. Together they set out to FREE THE UNIVERSE, beginning on the fortuitous date of February 19th, 2013.
After releasing their landmark LP Guns Don’t Kill People… Lazers Do in 2009, the heroic production duo of Diplo and Switch found themselves boldly marching forwards toward the end of the aughts, conquering major milestones. From 2009 to 2011, the twosome toured extensively across the United States and the world, selling out shows and performing at some of music’s major festivals, including Coachella, Pitchfork, Sasquatch, Outside Lands and Falls Music & Arts Festival. In 2010 Major Lazer released Lazerproof, a free download mixtape with pop sensation La Roux, and Lazers Never Die, an EP featuring two new tracks and three remixes, including one by Thom Yorke. Undoubtedly, one of the foremost breakthroughs for Major Lazer during this time was the production collaboration with Beyonce on her massive hit “Run the World (Girls)”, which sampled their track “Pon de Floor. Beyonce directly sought out Switch and Diplo, recognizing the fact that the duo was creating authentically innovative music and further cementing their status as a production team worthy of worldwide mainstream attention. As 2011 turned to 2012, Switch determined it best to pursue his own path, leaving Diplo in full control of Major Lazer.
Now, as the sole executive producer of Major Lazer, Diplo continues to spearhead the current dancehall revival movement with the upcoming release Free The Universe. The recording includes exciting collaborations with Bruno Mars, Tyga, Flux Pavillion, Wynter Gordon, Shaggy, Wyclef, Ezra Koening from Vampire Weekend, Dev and more. Spin called the LP’s first single “Get Free” featuring Amber Coffman of Dirty Projectors, “a meeting point between Jamaica, West Africa, and Brooklyn.” The second single from Free The Universe, “Jah No Partial”, dropped on October, 22nd 2012.
Diplo (AKA Wesley Pentz) has risen through the ranks and has asserted himself as one of the most pioneering producers of the time. Through unending curiosity and exploration of the vast multitudes of the world’s musical heritages, Diplo has managed to seamlessly connect the global underground to the audio mainstream. He is the Grammy-nominated founder, owner and head honcho of Mad Decent records, which has not only garnered widespread critical and audience accolades since its inception, but has also deservedly earned a hefty reputation as a vanguard of groundbreaking releases. As Major Lazer, he recently retreated to Jamaica to team up with producers Ariel Rechtshaid and Dre Skull on the upcoming Snoop Dogg album Snoop Lion “Reincarnated”. Major Lazer was also featured on the title track from No Doubt’s latest comeback album with famed dancehall artist Busy Signal and released an official remix for Hot Chip’s “Look At Where We Are”.
DC and Hooks are Zeds Dead.
They first hooked up in 2004 and formed Mass Productions. Influenced by the digging in the crates sampling school of hip hop, Mass Productions released one independent album in the summer of 2007 entitled Fresh Beetz. It was their first and only release.
In the summer of 2009, the two launched their second collaboration - Zeds Dead - turning up the bpm and aiming the bass-lines at the dance-floor.
As two of the hardest workers in electronic music, Zeds Dead's tireless efforts have earned them an excellent reputation amongst a new generation of producers as artists without borders - genres hold no bearing over their music as they transcend style and form with ease. They have established themselves as a dominant force in EDM circles and have received recognition and praise from tastemakers worldwide.
Catch them live and you'll know: Zeds Dead is here to stay
Flosstradamus spent the last 8 years breaking new sounds around the globe and becoming club kings in the process. But how do they keep doing it? J2K and Autobot’s knack for flipping your favorite tracks in unexpected new ways (from their earliest DJ blends to high-energy hybrids like the duo’s hit remix of Major Lazer’s “Original Don”) certainly helps. So does having a catalog of original bangers on Fool’s Gold, Green Label Sound and Mad Decent/Jeffree’s. Yet the real reason Floss has been able to reinvent party rocking for close to a decade is because these Chicago boys bring an irresistible sense of fun to every single set, whether it’s a sweat-soaked nightclub or in front of thousands at Lollapalooza. Armed with a gang of new tunes straight from the studio and a brand new, extra-hype stage show, Flosstradamus is coming back to a town near you… get ready to juke!
SBTRKT DJ Set
Design is at the heart of this project: first the instruments, then the songs and finally the masks. Whilst massively prolific, a minimalist ethos runs through the work and style of SBTRKT, not just in the name but in the precision of the sonics and arrangements.
After dropping audacious white-label re-rubs of Goldie & Radiohead in 2009, SBTRKT has announced himself in 2010 with releases on dubstep stalwarts Ramp + Brainmath & eclectic indie label, Young Turks.
Remixes for M.I.A., Modeselektor & Basement Jaxx have left the clubs wanting more and the masked man has obliged in the form of recent collaborative bangers w/ Sinden & Sampha. Whilst record heads and shop salesmen argue over whether SBTRKTs sound is more “techno”,“neo-garage” or “dubstep”, the forthcoming album plus releases on Tempa, Young Turks and Monkeytown place him comfortably in any category he wishes to occupy…
Meet Skream: Croydon’s musical wonderkid. At 15 he discovered making music. Five years later he’s changed the course of UK urban music, having helped build the foundations of London’s most exciting new musical style, dubstep. But he’s barely started yet: because right now, Skream is an artist on fire.
Skream’s story begins in Croydon, in secondary school year 11. He wasn’t getting on with teachers and they weren’t getting on with him: but he was getting on with his music. But two friendships cemented then would start him onto the path to musical success.
First he met Benga, another talented Croydon kid who was starting to make music. Then he met Hatcha, soon to be one of the most influential and pioneering DJs in urban music. Around 2000 Benga and Skream set about building on the early dark garage flavours that were to be found on the pirate airwaves around Croydon. Through Hatcha’s sets at club Forward» and releases on the seminal Big Apple label, they were about to create a new phase of dubstep.
At first Skream specialised in one flavour of dubstep: dark. His clipped, techy minimal style became a trademark sound. Long before grime existed, it reflected dark murky streets and sinister nights, the sound of decaying London and its frustrated communities, stuck out in satellite towns and sink estates with nothing but a PC and freely available software to channel their frustration into. Stuck in front of a PC for days on end, that’s exactly what Skream did.
Then two years ago Digital Mystikz burst onto the dubstep scene, expanding the sound with new flavours and vivid colours. Skream became even more inspired. It not like he wasn’t prolific already – rumour has it he’s made over 1500 tracks – but out poured a host of bright new tracks from the wonderkid. “Indian remix” took him into trippy Asian territories, “Cheeky…” into Arabia, his unreleased mixes of Sunship fused Jamaican dancehall smut with hooky Kraftwerk melodies. “Smiling Face” broke out cheerful reggae skanks on dancefloors.
But his biggest tune was yet to come. Enter “Midnight Request Line” – on Tempa records – an anthemic explosion of electro arpeggios and dub sub-bass. It’s a tune you can sing along to: Skream has it as his own ringtone. When it got dropped by DJ Youngsta at club Forward» grime dons Wiley, Jammer and the rest of Roll Deep began to shock out, flashing their lighters out of hard earned respect. The flip of this mighty release is bassline boomer “I,” an excursion into deep dub basslines and shifting cinematic textures.
Since the huge success of “Midnight Request Line” UK & International DJ gigs have been coming thick and fast, with Skream getting a rapturous response at New York’s rammed Dub War event, as well as at shows in Leeds, Belgium, Bristol & Germany. He’s also been busy releasing classic after classic on the popular Skreamizm EPs, now into the second volume. From the Amen heavy rinse out of ‘Lightning Dub’, to the masterclass in LFO-wobbling sub-bass ‘Blipstream’, these tracks are rewound at every dubstep rave, have received glowing reviews and are appearing in sets by DJs as diverse as Mr Scruff, Freq Nasty & Ricardo Villalobos.
It shouldn’t come as any surprise he likes sub-bass, Skream has grown up around it. His older brother was a member of Croydon’s notorious jungle hell-raising raving outfit Intanatty Crew, which featured Radio 1’s Grooverider and Bailey’s 1Xtra as members. Ollie, Skream’s real name, is no stranger to a bit of hell raising himself, famous for his up-for-it behaviour at parties or out on the town. In fact he’s the only known music artist with a subdued alter-ego. Most rock stars are quiet by day with flamboyant alter-egos. Our wonderkid is the other way around. But then that’s wonderkids like Skream for you: unique.
The shamelessly eccentric Houston-born rapper and pop culture icon, Riff Raff, will join the ranks of Bonde do Role, Bosco Delrey, Po Po, Dillon Francis, Rusko, Maluca, Zebra Katz and head honcho, Diplo as the newest artist to sign to Mad Decent! After climbing up the media ranks, Riff Raff is gearing up to record material for Mad Decent for his highly anticipated 2013 studio album debut. His incomparable drawl and massive viral presence have led to standout
collaborations with Soulja Boy, Kid Sister, Chief Keef, Action Bronson and most recently Kitty Pryde.
22-year-old producer and DJ Lunice isn’t interested in making the kind of hip-hop music you’re accustomed to. In fact, when we asked him to describe what the overall vision for his new upcoming album Three Sixty, he put it very bluntly: “bridge mainstream music with the more experimental underground sound.”
To also put it bluntly, Lunice IS the next big thing to happen in hip-hop production. Over the past year, the Montreal native has released numerous bootlegs, remixes, and originals–all showcasing his club slaying, futuristic hip-hop sound. He has already gained support from Diplo, A-Trak, Hudson Mohawke, and Mary Anne Hobbes to name a few. And with upcoming collaborations with rappers A$AP Rocky, Theophilus London, Azealia Banks and producer AraabMuzik. Lunice is well on his way towards establishing himself in both the dance music and hip-hop realms.
The birth of Anamanaguchi must have taken place in the middle of mankind's greatest sugar high. Oh, there could have been 'shrooms there too, but we're betting that it had more to do with loads and loads of pure cane sugar, swallowed in liquid, cubed, granulated or processed form, in copious amounts. It was Jolt soda, cake, ice cream, candy and everything else in between. It was on the sunniest of days and all colors were vibrant and searing. Everyone involved with the delivery and responsible for the creation of this new life-form was coming off of its greatest night of slumber ever and there was an open-ended world to shred and conquer. The rosy-cheeked little thing came out of the womb, was slapped on the ass by the jovial delivering doctor and started laughing hysterically, blowing disco ball kisses in between its unprecedented fits of joyous rapture. The band, an instrumental electronic band from New York, was drawn to Nintendo game consoles, arcade games and all of the plinking and high-score sounds that were coming out of them, ringing in its ears like magical coos. It immediately set out to write punishing and inspired music that would comprise a mixtape that would be the chosen composition of the sky to accompany every plane jumper, skydiver and parachuter. It's a little known fact that the second anyone takes a leap out of the open hatch of an airplane, thousands of feet above ground, for any recreational purpose whatsoever, the music of Anamanaguchi is suddenly blasting into the ears of those plummeting folks. It's louder and more exhilarating that any of us down here on the safe ground could ever imagine and it's a secret that those jumpers keep to themselves, having signed a binding Anamanguchi non-disclosure agreement before pulling the chute cord. The bronzed music was chosen for such an important placement, in part, because as those jumpers land on the run, often on a beach or an open field, the only thing they want to do is jump up and down and rage out with some freaky dance moves for 5-to-10 minutes. The music, as contractually obligated, continues on - at obscene volumes - for that amount of time and these people do their dances.
DJ Say Wut
Billy The Gent
Baltimore native Nacey began writing and producing music as a teenager, eventually relocating to Washington, DC where he co-founded Nouveau Riche - one of the longest running and most successful dance nights in the nation’s capital. In 2008, the party was awarded Best Dance Night in the Washington City Paper's 'Best of DC' issue. In 2010, he signed with Tittsworth and DJ Ayres’ label T&A Records. Having produced club music for over a decade, Nacey has been described by The Washington Post as 'one of the District's more prolific DJs.’ Performing annually at WMC, SXSW and CMJ showcases and holding a residency at the legendary U Street Music Hall, Nacey has shared stages with Digitalism, Matt & Kim, Sinden, Araabmuzik, DJ Craze and Blaqstarr to name a few.
Nacey is constantly evolving as a producer but remains a natural when expressing himself as a DJ. From studying classical piano as a child, to playing guitar in numerous bands as a teen, Nacey’s musical palette is diverse to say the least. His influences range from Skip James to Style of Eye to Mazzy Star to Three 6 Mafia. Growing up, Nacey became obsessed with the high-energy club music from Baltimore and became motivated to make his own dance music.
Countless publications have featured Nacey, including The Fader, New York Magazine, Discobelle and RCRDLBL. His remixes have won competitions curated by Erol Alkan’s Phantasy Sound UK label and Mad Decent Records. In 2010, Nacey contributed the opening remix (La Roux – ‘Bulletproof') to Major Lazer & La Roux’s high profile LAZERPROOF album on Downtown Records, gaining over half a million downloads just days after its release. Later that year, his bootleg of M.I.A.'s 'Steppin' Up' earned the #1 rank on Hype Machine's popular list. His debut single 'Work for This' (T&A Records) made Turntable Lab's top selling list after its debut, as well as Kid City’s ‘Best Songs of the Year’ list. In 2011, Nacey's remix of Will Eastman 'Feelin' (Plant Music) was featured on BBC Radio1's Essential Mix hosted by Pete Tong. Nacey's compositions continue to penetrate a wide range of audiences, and have gained support worldwide from Diplo, Kissy Sell Out, Chad Hugo, The Japanese Popstars and Teki Latex.
2012 will be an important year for Nacey, with a forthcoming EP on T&A Records, an official remix of Crookers/Dr. Gonzo ‘Springer’ on Southern Fried Records, and the debut release of his band Misun’s EP ‘July.’
Jersey City rapper Randy Nichols, better known as Ransom, was originally born in Brooklyn, NY in September 1980. His father's slaying and mother's serious illness forced Nichols to stay in foster care a few years, but he and his mother eventually relocated to Jersey City when he was about eight years old. A lifestyle of selling drugs, which landed him in and out of jail as a teen, ensued; however, the young rapper wanted out. In 2000, he and his friends put up money to buy a recording studio, which initiated Nichols' rap career under the moniker Ransom. Not long afterwards, he teamed up with fellow rapper Hitchcock to form the A-Team. Known for their Hardhood Classics street albums, the two became staples on the mixtape circuit in New Jersey, but barely dented the scene in neighboring New York. After a deal with Def Jam didn't pan out, the two went their separate ways around 2006. Ransom did not lose much momentum, constantly appearing on DJ Clue mixtapes as well as shelling out his own, including the Best in the City volumes and Ransom Note. In 2007, Ransom received some press over traded lyrical barbs with Joe Budden, also a Jersey City native, who included a verse from Ransom and Hitchcock on his Mood Muzik 3 mix album, claiming a reunion by the defunct A-Team. Later that year, Ransom geared up to release his Street Cinema mixtape, distributed via N.Y. indie Babygrande.
I make DEEP electronic music with lots of BASS.
$30.00 - $75.00