KINGDOM RAVE NINE : HALLOWEENTOWN
Fri, Nov 1
Sat, Nov 2
KINGDOM RAVE NINE : HALLOWEENTOWN
1959 Metropolitan Parkway
Atlanta, GA, 30315
Doors 9:00 PM
This event is 17 and over
Josh Gard has had a long history in music. Just a few short years ago he donned the name Figure and began making electro house, but has since become a regular name in all realms of electronic and dance. Scoring positions among the charts may have gotten him recognition, but a hefty amount of praise has been raining down on him as many of the leading artists in electronic music have valued his live performance skills as some of the best in the business. In 2011, his Monsters of Drumstep series married his love of horror with his immense production skills to become the soundtrack for the Halloween season. Figure created his own imprint, DOOM Music to house the Monsters series which has now become an annual release. In 2013 FIGURE's monsters series became the official soundtrack to Universal Studio's Hollywood Horror Nights theme park. Figure recently signed with OWSLA to release "Horns of the Apocalypse". Horns of the Apocalypse showcases FIGURE'S evolving sound and take on 4/4 dance music with his lead single Eagle. War Call & Beast Mode will remind fans of FIGURE'S signature sound. The EP features DEL The Funky Homosapien (Deltron 3030, Gorillaz, Hieroglyphics) Mr Lif (Definitive Jux) & Nick Thayer (Owsla). "The direction and influence for the production came from being on tour all of last year and a good chunk of of 2013 so far. The entire EP was written on the road but mastered at my home studio in Indiana using my Neve Racks and Abelton. I'm really looking forward to seeing my fans on tour this fall and hope they all love this release as much as I do." - FIGURE When he's not recording in his hometown studios in rural Indiana, Gard is touring worldwide, with packed tents at festivals like EDC, SnowGlobe, Starscape, The Bounce, Creamfields Australia, Tomorrow World, Global Dance, and Belgium's Dour. This Fall he will be on tour again across the US for the "All Black Everything Tour", a co-headline tour with his good friend Crizzly which will span 30+ dates and go from coast to coast.
Anytime he hits the stage, Crizzly has no choice but to go hard. Channeling hyperactive energy and uncontainable swagger, the San Antonio DJ and producer ignites crowds with an intoxicating, infectious, and inimitable blend of dubstep and hip-hop, which he affectionately terms, "Crunkstep". However, there's a lot more to the 21-year-old artist. Music became a part of Chris Lee "Crizzly" Marshall's life at a very young age. As he recalls, he discovered it as a child-insisting on making his kindergarten class listen to the Space Jam soundtrack during naptime-but he didn't formally embrace it until high school. Picking up a set of turntables, he scored his first gigs at birthday parties. At 19-years-old, production began to inspire him, and he started remixing rap songs from YouTube with a distinctive flare. He released his own takes on Waka Flocka Flame's "Hard in Da Paint" and "Snap Back Swag" from AJ Hernz, and suddenly he set the blogosphere ablaze. Numerous web sites began reposting these cuts, and Crizzly developed a fervent following. However, some guerilla tactics helped garner even more high profile attention for the fledgling DJ. After playing 2011's Electric Daisy Carnival Las Vegas, he took 20 USB drives with his music and distributed them to some of the festivals top names. "I made it a mission to pass them out to my favorite producers," he remembers with a smile. "I was nervous, but I gave it to Diplo. He listened, and now he plays 'Hard in Da Paint' in his set." Meanwhile, he slipped "Snap Back Swag" into a playlist on Skrillex's tour bus, catching the megastar's ear in the process. As a result, Skrillex added the remix into his set as well. Soon after, even more support came in addition to Skrillex and Diplo with Excision, Datsik, and many others introducing his remixes into their shows. He describes his sound and style best though. "It's definitely a mixture of two different worlds, dance music and hip-hop," he goes on. "People can connect because there's a lot going on, and there's more than one dimension. The audience responds immediately too. Since there's a half- time feel, the blend just makes sense. It feels right to me." Most importantly, it feels right to audiences. In February 2012, he embarked on a highly successful tour with 12th Planet and Flinch, and he followed that up with shows alongside Zed's Dead. In the midst, he was featured in the July 2012 issue of Spin. Currently, he's confirmed on the bill for the 2012 installments of Nocturnal [California and Texas], Electric Daisy Carnival [Las Vegas, New York, Puerto Rico, Orlando, and Colorado], Atlantic Impulse, Electric Forrest, White Wonderland, Escape From Wonderland Lights All Night in Dallas, Global Dance in Kansas City and Denver, and more. He embarked embark on his first headline tour of college markets in Fall 2012. In fact the best way to experience Crizzly is to actually be in the audience. "I play a lot of hard stuff," he concludes. "I expend a ton of energy. I want the fans to get buck wild, crazy, and crunk. I want them to make some bad decisions and have fun." One thing's for sure: there ain't no party like a Crizzly party.
DAVID CHRISTOPHERE of RABBIT IN THE MOON
At the apex of the night, with 5000 people screaming at the top of their lungs, Bunny was unleashed...a mirror clad screaming human disco ball slithered down a rope from the rafters 2 stories above the dance floor. Every light in the club was focused on him. The colors refracted off his mirrored hanging body. A mass of hands below reached towards the light. When Bunny touched the hands of the crowd he hung upside down as they swung him like a pendulum over their heads. As he was lowered to the crowd they did not let him touch the ground. They carried him to the stage, as if he was their sacrifice. The crowd was clearly in a frenzied state of mind”. – A Fan. R.I.T.M. is an intense electronic act that combines dance, techno & progressive house with an unforgettable live stage performance. Decade is their new combo CD/DVD featuring previously unreleased, re-mastered songs and music videos. Each song is an expression of visual music performed like an electronic circus with abstract narratives and dynamic presentation. RITM creates these live submersive environments by designing all encompassing experiences for their fans. Star Shine is one new song featuring the worlds first full body video suit. It was constructed using over 1500 full color spectrum LED lights that display video. LED lights also have a bright deep saturated quality that has to be seen live to truly be experienced. RITM has taken this cutting edge technology and created a break through in visual music performance. Bunny has designed an incredible custom leather suit to house the LED lights and painstakingly constructed this piece of wearable art. VJ Tek plays custom video content that is mapped to Bunnies suit while he performs against a video backdrop. In essence, this is an audio visualization of the music composed by David Christophere and Bunny that plays in real time. “These shows are live sonic research that we have been doing for 10 years”, stresses VJ Tek. The video suite started as a brainstorm and was conceptualized over a five year period. Being an independently produced band supported by the love of their fans, they have made a conscious decision to put on a show that really performs music through unique costuming and dance. They have fought to have their music presented in this way and it has earned them a great deal of respect. Rabbit in the Moon has been called "The Grateful Dead" or "Pink Floyd" of electronic music, while their fans are referred to as "rabbitheads". People have been so inspired that they have even gotten tattoos of the bands logo! “We have been honored to play in such locations as a rain forest in New Zealand, a 10th Century castle in Spain, and at Ricon beach in Puerto Rico” says VJ Tek in his studio who also refers to the performance as “visual poetry”. All of this experience and dedication to create has made RITM pioneers. Most people's first exposure to rabbit was to their song called out-of- body experience “O.B.E.”. O.B.E. was released in 93, and to this day, is still played in clubs around the world. In 2003, Muzik magazine listed O.B.E. as the number one most sought after record in the last decade. After the release of "phases of an out of body experience" (the remixes of O.B.E.), on Hardkiss Recordings in '94, the demand for Ritm became enormous. They began collaborating and doing remix work for everyone including: Goldie, Sarah McLachlan, Garbage, Smashing Pumpkins, Sven Vath, Stone Roses, and Eric Clapton, Tori Amos. Their style of electronic music is favored by so many for being timeless. All of these things spawn from a band that has not graced the screens of music television. Alternately, Ritm has been on a grass roots journey, making believers out of crowds, one show at a time. David Christophere and Bunny have been collectively writing new music and continue to develop their vision. VJ Tek has been pushing this process and arming Bunny with amazing visuals from his collective posse of visual artists and friends. Ten years ago, David had an awakening one night at an underground party in Orlando. He saw an opportunity to fuse a new spiritual vibe into the music. So he began working on a sound that would change their musical destiny and influence the next generation of dance music forever. Jila, their newest addition is a performance fire dancer. Her mystical Shiva performances have helped capture Daves vision of spirituality. Her popularity in the show has grown and has been sited by fans as “hypnotic” on numerous web blogs. Rabbit in the Moon's live shows have exploded into full-blown productions. Including the use of live instruments by David Christophere and guest artists, vocals and costume performances by Bunny, interactive video by VJ TEK, fire performance by Jila, and custom pyrotechnics.
Hailing from the dirty south mecca of New Orleans, Bryan Normand also known by his 808 bass slangin alter ego Kid Kamillion began his career at early age. In High School he put down his skateboard and turned his focus to spinning records. By college, he was curating the rave movement throughout the southern US and had made a name for himself. After taking over the New Orleans nightlife scene, Kid Kamillion took his knowledge of southern hip hop and the last 10 years of rave culture, and began fabricating his own sound. Quickly after gaining recognition from EDM abassador, A-Trak, for his edit of
“Heads Will Roll”, Kid Kamillion has earned a stout reputation among current heavy hitter DJs throughout the EDM and festival scene. With his art & music rapidly spreading onto blogs and mainstages world wide, Kid Kamillion’s mass appeal is doing just that. “Dream to live and live to dream.”
Yep the official breakbeat legend is BACK IN THE SADDLE w/ his first public underground breakbeat set in almost 8 years!!!
Mindelixir, aka Bill Schimel is a Charlotte, NC based electronic music producer inspired heavily by video games, equal parts sexy and sci fi, born in Wyoming. a bass scientist, founder of Bass Church, influential in the rise of bass music in the SouthEast region of the USA and performs with artists such as Flying Lotus, Photek, Skream, and Joker. 2 full length LPs, Mindelixir - Futurism (2010), Mindelixir - Doomsday Ticket (2011). 4 EPs, Mindelixir - Braintain EP, Mindelixir - The Higher EP, Mindelixir - Electronic Hitchhiking EP, Mindelixir - Why I’m Easy EP. Official remixes of DJ Vadim, Glitch Mob, Mochipet, Eliot Lipp, Two Fresh, Turnsteak, and Bree Sharp featuring Duran Duran’s Simon Le Bon. He has been officially remixed by Clicks & Whistles, heRobust, Mayhem, and Ill-esha to name a only a few. Curator of Mindelixir Presents, including Mindelixir Presents Funerals and Banks, Mindelixir Presents Repeat Business, Mindelixir Presents Bass Church.
1 dude. 1 beard. 1 bong = Trollstep
Across the globe, Matt K has been laying down his signature sound of speaker-smashing techno grooves that’s been receiving ecstatic responses from sweat-drenched crowds throughout the planet. Knee deep in the progressive hard techno movement, and head first into the new way of clubbing, Matt has rose from the traumatic rebirth of the American electronic dance music foundation to become the leader and organizing principle in the western world’s interpretation of dark and hard electronic music. Emerging from the flooded bedroom scene of the late 90s, Matt K brought with him the champion sound of concussion heavy house and techno to his hometown of Atlanta, Georgia. Even in his earlier stages, his approach was unique, mashing the voracity of dark American pop culture with the forward thinking approach of the British club scene. After being inspired by the affluent tribal sounds of progressive house, he started spinning as a way to recreate what was the essence of the party for him: the science of the mix. Immediately gaining the utmost respect for the trade, he refused to mix anything out of key, and strove to achieve an almost thematic element to his sets whenever he took control of the decks. His roots prior to EDM were of that of aggression and good old fashioned American violence, so inevitably he began looking for a sound that was harder and more relentless, but still had the harmonic power and aristocratic style of progressive house. After hours upon hours of record searching his sets began to gradually involve a much darker, acid influenced sound. Matt’s bond with the world of bass and beats was relentless, virtually pioneering a new sound in the southeastern United States. At first unresponsive, Atlanta could no longer deny the talent that emanated from his career. His denial of gig-pandering techniques employed by many of his fellow DJ compatriots paid off and in 2002 he began to secure his place on vital headlining lineups, each one highlighted by uncompromisingly complex mixing and technically astonishing set layouts. In 2004, production and international touring soon began to surface in his career. Within a few short years Matt K had become iconic in the sound and shape of Techno music. His production created a sound that has become its own brand name: Gangsta-Tech, the fusion of methodically syncopated bass driven techno and hip hop. Matt K considers his work as an extension of the anger felt by the tension everyday life can create, a release from the mundane and the repetition of the daily grind. His beats are the fist in the wall, the sonic crush of retribution the world craves. His chart topping anthem “Unfinished Business” was considered the flagship of Gangsta-Tech and garnered him immense radio airplay and record sales. He has released these explosions of groove on labels such as Glitch Recordings (U.K.), Planet Rhythm (U.K.), Submissions (Holland), and his own label Omerta Music Group (USA) to name a few. These records have defined his distinct combination of musical influences as one of the most impressive and infectious sounds to come from the Detroit school of thought. His DIY approach has helped fuel not only his own label, but in 2007 he founded the booking agency Niytrus Management based out of Atlanta, as well as his own clothing company entitled 8mm Clothing, adapting Matt K into a media mogul. Now, Matt K has spread out the dominating hand of techno and a new sound approach called “Horror techno”. Rather than limiting himself and pigeonholing his growth, his relentless touring has brought with it the realization that anger and rage are universal concepts and the need to release those ideas in a expressionist form are the needs of any repressed mind. Horror techno is the creator for the escape of what you hold back. To all points on the globe, Matt K has now brought his philosophy of embracing your dark side and shaking the dance floor. Now as we approach the second decade of this new millennium, the balance of power has been established and Matt K sits atop the dance music landscape with a watchful eye and a terminally imposing presence like the don of a new empire.