Governors Ball Music Festival feat., Girl Talk, Pretty Lights, Empire of the Sun

Governors Ball Music Festival feat.

Celebrating 10-plus years of sample-obsessed production and relentless touring, Gregg Gillis returns with All Day, his fifth album as Girl Talk, and his most epic, densely layered, and meticulously composed musical statement to date. Continuing the saga from the previously acclaimed albums, Night Ripper and Feed The Animals, Gillis lays down a more diverse range of samples to unfold a larger dynamic between slower transitions and extreme cut-ups. With the grand intent of creating the most insane and complex “pop collage” album ever heard, large catalogs of both blatantly appropriated melodies and blasts of unrecognizable fragments were assembled for the ultimate Girl Talk record (clocking in at 71 minutes and 372 samples).

Since the release of Feed The Animals, things have flourished for Girl Talk. He’s played almost 300 shows and hardly taken a full week off from hitting the road. He’s playing even larger venues and making even more of a spectacle—he’s employed a small crew of toilet paper launching stage hands, who also propel confetti, balloons, and inflate oddly chosen props into the audience. For the New Year’s Eve show to ring in 2010, a team was hired to build a life-size house, with attention to fine details, on the stage at Chicago’s Congress Theatre. Described as the craziest house party ever, Girl Talk continues to please live audiences as the mass of sweaty bodies at his shows continually grows. Touring highlights from the last couple of years include the Vancouver Olympics, large festivals such as Coachella, Austin City Limits, Bonnaroo, Lollapalooza, V-Fest, Sasquatch, Rothbury, Monolith, Planeta Terra, and trips to Australia, Japan, South America, Europe, and Mexico.

Earlier this year, Girl Talk finally took a break from touring, festival dates, and college shows, in order to create an album that is being released immediately after its completion. While posting the album as a free download on the Illegal Art label’s site allows All Day to reach his fanbase quickly and with minimal cost, Gillis spent more time on this album than any previous release and considers it the most fully realized and evolved manifestation of the Girl Talk aesthetic.

Pretty Lights

Pretty Lights is the musical vision of the ultra-versatile Colorado based producer Derek Vincent Smith. At a time when music lovers from almost all subcultures, and genres are finding common ground in the basic form of bangin' beats, Pretty Lights is giving the people what they want; electro organic cutting-edge party rocking beats that fill venues with energy and emotion, and send dance floors into frenzies. What makes Pretty Lights truly different is that these beats have serious soul. Derek's latest album, "Filling Up The City Skies" is a two disc, 26 track journey through past, present, and future. He juxtaposes collages of beautiful vintage samples against backdrops of futuristic synthesis and dirty broken beats, creating a sound that can snap your neck while simultaneously shedding your tears. The album has been downloaded over 40,000 times from the Pretty Lights website in the short 3 months since its release, proving that the PL sound is not only getting around, it's spreading like a virus.

Empire of the Sun

The electro- psychedelic project is led by Luke Steele, the enigmatic wunderkind behind Australia’s The Sleepy Jackson. Exotic, lavish, larger-than-life, Walking On A Dream is a bold, visionary and quite brilliant album, which manages to sound exhilaratingly contemporary, audaciously forward-looking, yet also curiously archaic all at once. The singles “Walking On A Dream”, “We Are The People”, “Standing On The Shore” and “Without You” feature a groundbreaking aesthetic of electronic beats, pop melodies and psychedelic overtones.

Big Boi (of Outkast)

Antwan Andre Patton a.k.a BIG BOI is an American Hip-Hop artist and producer. He is also one half of the Hip-Hop Supergroup “OUTKAST” and one of the genre’s prominent solo performers. His upcoming solo album is Sir Lucious Leftfoot: The Son of Chico Dusty.
Big Boi transformed into his more mature self, Sir Lucious Left Foot, on Martin
Luther King, Jr. Day 2007 and began recording his first stand alone solo album Sir Lucious Left Foot: The Son Of Chico Dusty, set to arrive July 6th on Def Jam Recordings. The day carried an extraordinary energy—similar to five years earlier on the same holiday, when Big Boi started working on OutKast’s Speakerboxxx/The Love Below, a milestone double album featuring solo CDs by Big Boi and his partner-in-rhyme André 3000, which went on to win three Grammys and become one of the best-selling hip hop albums in history—11 times platinum in the U.S. and over 15 million worldwide.

Neon Indian

Neon Indian is Alan Palomo, the Mexican-born, Texas-raised, 21-year-old synth-wizard who learned his production chops as part of Ghosthustler and honed them as VEGA. In October 2009 Neon Indian released his critically heralded debut album, Psychic Chasms, nearly anonymously and drew wild speculation for months. As Neon Indian, Palomo has made an art of leaving out the details and letting the world draw its own conclusions… which is very much the case with the lyrics to his the single, “Sleep Paralysist.”

Neon Indian formed from a batch of off-the-cuff recordings that weren’t quite right as VEGA songs. It turned into something much larger than the sum of its parts. The name itself was invented by Palomo’s former band-mate and high-school friend who, in a round-about way, was the inspiration behind the project's first track “Should Have Taken Acid With You” on Psychic Chasms. Not long after the music was released, Gorilla Vs. Bear blogged about it, Grizzly Bear tweeted their fan-dom, and Pitchfork sealed the deal when they bestowed “Deadbeat Summer,” and Psychic Chasms with their Best New Music honor. “The project really finds its groove,” wrote Pitchfork, “nailing perfectly the essence of woozily nostalgic synth pop.” Neon Indian was outted and all of a sudden what started as a careless outlet for ideas too offbeat to fit the VEGA mold, had gone and defined a genre.

Neon Indian’s sound is as Palomo describes it, “Childhood re-contextualized through a psychedelic, lo-fi filter. The idea of memory before you were old enough to have memories.” Psychic Chasms intentionally captures the sound of records stored in sunlight and played to the breaking point. The album is a melting pot of hazy, lo-fi, sun kissed, electro-pop sounds that come together to form a kaleidoscopic collection of esoteric and inspiring songs.

People Under The Stairs

Five years since the first People Under The Stairs album "The Next Step" hit the streets and the traditions and rules that uphold hip–hop´s subculture still continue to crumble. Let us remember a time when hip–hop was good. When beats consisted of looped music (an evolution of the DJ going back and forth with funky breaks), rhymes that reflected the nuances of everyday b–boy life, scratching that musically captured the rhythms and sounds of a passing city, and of course, soul! The People Under The Stairs are stuck in this era, and their art is much more than their music, it is the vibe they convey through it. In August of 2003, People Under the Stairs take it back to the good times of roller skates, hot dogs and fresh fades with their new Summer offering "Or Stay Tuned." A collection of new jams full of fun times, lyrics that make you laugh and more of that good living style hip–hop you love.The People Under The Stairs´ Thes One and Double K have excused themselves from modern hip hop. "We are not MC´s, Producers, or DJ´s" Double K explains, "we are B–boys, and we do all of that naturally". Together, both members dig for records, produce the beats, rap, scratch, engineer, design the artwork and construct the albums, and in doing so, present some of the most personal music available in hip hop. According to Thes, "People can´t readily define what we make, if anything, they say it sounds dated. I take that as the highest form of compliment right now." Refusing to use any keyboards, the duo construct their music completely from the records they dig out of the surrounding urban sprawl. By manually excavating crusty drums from worn vinyl and adding mutilated, layered loops from conflicting genres of records, The P recycle the forgotten items of their surroundings in the same way freed slaves picked up marching instruments from civil war battlefields and created Jazz. And in every sense, they follow the traditions and standards set forth by their ancestors. "Kool Herc wasn´t rocking jams with a keyboard. He had doubles of rare funk with dope breaks, and hip–hop was born. We could never evolve outside of that standard, it will forever define who we are."In 1998 they released their full length debut album entitled The Next Step (Step One), which caught the attention of San Francisco based Om Records, a well respected underground music label who soon after hearing the album offered the duo a recording contract and re–issued the album on Om. After signing in the late summer of 1999, PUTS released their second album "Question In the Form of an Answer" (Step 2). Capturing the People Under The Stairs in classic form with funky jazz loops, crisp scratching, and a refreshingly lighthearted attitude towards hip hop, Question´s BUZZ in the hip–hop community brought PUTS coverage in such magazines as VIBE, URB (Next 100) and XXL. Gaining from the momentum in the media, PUTS went on to tour, playing over 200 live shows (International and Stateside) in 1999–2001, performing before crowds as large as 20,000.The third album "OST (Original Sound Track)", (step three) was released in June of 2002 on Om Records. Packed with the spirit of bumpin´ beats, crackin´ cold beverages, diggin´ through the crates and smokin´ fat blunts, PUTS took us all back to the time when hip–hop was about real life. The theory behind the album was to shorten the distance between artist and person listening. "Our ultimate goal with O.S.T. was to have the person listening to the album feel like they personally know us" says Thes. Critical acclaim came in bounds, from major features and reviews in URB, Elemental, Blender, Heckler, Stance, Strength and more, the P went on to join two massive US Tours (Cali–Comm and Family Values) and tour Europe 3 times. All eyes are now on them from the underground to the masses, what will they do next?Like the open–ended closings of the great television shows of the 70´s, "Or Stay Tuned" takes you on another ride with The P. A twelve–track collection of party rockers, love songs, silly skits and more, all guaranteed to bump you up! Lay back in the cut with "Fly Love Song" or just have a ball with "Yield" and "Plunken Em"...This is the funk for your bottom, the beats for your top, and even the ´green´ for in between?let it all hang loose and turn it up!

Mac Miller

Malcolm “Mac Miller” McCormick is a rising star in the hip hop community and rapidly becoming a household name. At 19-years-old, this MC has gone from a local sensation to selling out venues across the United States. A multi-talented musician with a distinct Golden Era delivery, a great ear for instrumentals, and a positive message, Mac has been focused on paving his own path in music.
Musically gifted, Mac had taught himself to play piano, drums, guitar and bass by the age of six. Influenced by artists such as Big L, Lauryn Hill, The Beastie Boys, Outkast, and A Tribe Called Quest, he began cultivating his own art of rhyme and started to develop a reputation for delivering jaw-dropping freestyles in his hometown of Pittsburgh, PA.
By 2009 Mac had released his first two recording projects, “The Jukebox” and “The High Life,” generating a buzz both in the streets and across the Internet. By 2010, Mac’s musical abilities became undeniable. After signing with independent record label Rostrum Records, Mac released his debut album “K.I.D.S.” The album, which features his songs, “Knock Knock” and “Nikes On My Feet,” quickly grew in popularity with his fans on iTunes and on YouTube, where his videos have received over 20 million views.

…Their sloppiness is a mask for detailed, affectionate hip-hop parody, name-dropping KRS-One and Asher Roth as easily as W.E.B. Du Bois and the literary critic Gayatri Chakravorty Spivak… a blend that inspires questions like this one in a recent interview in the Village Voice: “Is this a joke that everyone thinks is a graduate thesis, or vice versa?” …Das Racist’s lack of piety has become an aesthetic of its own, with songs that are as much commentary on hip hop as rigorous practice of it.
Das Racist’s rhymes are smart and funny and delivered with a lazy loquaciousness that’s instantly appealing.
The rap group Das Racist proved it’s not a novelty act by shouting its way through smart, allusion-slinging songs that grapple with, among other things, identity politics and brand recognition.

There’s precedent in the hyper-referential raps of Beastie Boys and MF Doom as well as the abstract-gone-mainstream wordplay of Dipset and Lil Wayne, but Das Racist are a singular act. Google and Wikipedia get several shoutouts, and it makes sense since everything under the sun is fair game for these guys, but they never rhyme for the sake of riddlin’. The lyrics themselves have an orderly and logical nature about them, pop culture crosswords that draw connections between completely unrelated objects. Listening to their music doesn’t require deep cultural or musical knowledge to enjoy it– it’s pretty damn enjoyable purely as pop– but you’ll get more of a charge from it the more often you decode it.

You could call them hip-hop punks. But all the tools required to rattle people are already inside the genre; there just aren’t that many rappers waving their box cutters around so freely
This kind of dumb fun is an appropriate supplement to what Das Racist describes as its “deconstructionalist” approach. If the band members want you to think about the ways that skin color can affect consciousness, they also don’t mind if you go ahead and party. They rap over a variety of tracks, mostly made by producers outside the group, and the music is rarely difficult or abrasive.

Das Racist are a Brooklyn/San Francisco “zip hop” duo who rap about stuff like fast food restaurants and Hugo Chavez over hyphy beats that sound like they were cooked up in about three minutes on a thrift-store Casio. which is to say: they’re pretty amazing.

Sawing the legs out from under hip-hop as they celebrate it.

An existential meditation on consumer identity in corporate America…. It’s both feverishly juvenile and somehow profound.

I suspect it’s only a matter of time before someone at The New Yorker tries to posit lines like “When i say call, you say response” as some sort of semiotic deconstruction of the conventional elements of hip-hop, and i’d like to call that person out in advance if possible. Das Racist is to be taken with a smirk on one’s face and both hands in the air.

“Combination” retains its inner Cheech and Chong and still seems leagues smarter for it. Sure, it’s a one-idea track, but that idea somehow becomes more endearing as it rolls on, and in the end this is the song you’ll hear that you’re most likely to immediately turn around and want to share with someone, good or bad. After a dozen listens last week, i’m still siding with good. 8/10: BEST NEW MUSIC

…Together the guys make music that’s equal parts hip-hop and Cheech & Chong. No, check that. They have a wicked sense of humor, yes, but their music is no novelty act.

The answers lie in the interstices: the banter between songs, the way Kool A.D. and Himanshu embrace each other while they rap, the crowds vacillating between dancing and laughing.

Passion Pit (DJ set)

Miami Horror

After years in the making here at last is Illumination, the fully realised debut album from Melbourne's favourite psychedelic indie-electronic adventurers Miami Horror. With Illumination, Miami Horror has delivered on two years of teeth-cutting live shows and an ever escalating wave of buzz that's made the group bonafide blog darlings the world over. But what's most amazing about the grand arrival of Illumination is that the roots of the record stretch back countless moons to when Miami Horror began as just one synthesizer-obsessed producer huddled over a laptop in a bedroom-come-studio and the album itself just a spark waiting to be lit.

The afore mentioned synth tragic was, and let's face it still is, electronic young gun Ben Plant, who kick started Miami Horror out of a love of Roland keyboards and French house, landing himself on Pitchfork's hot-list overnight and copping a barrage of high profile remix requests from the likes of Datarock, PNAU and The Presets.
Yet it was while Ben was punching out 2008's epochal Bravado EP that Miami Horror took off in a completely new and different direction. Characteristically wanting to flex his creative muscle and avoid the limitations of being stereotyped as simply a dance or electro act, Ben rewired Miami Horror's genetic makeup, deputising the talents of Josh Moriarty, Aaron Shanahan and Daniel Whitechurch to form a new live band persona of Miami Horror, a whole new beast immeasurably more exciting than before.
"It started out that I didn't want to have any guitar on the album besides a little funk guitar or disco bass," Ben grins while explaining the turning point for Miami Horror's evolution. "But then Josh came in and started playing all these other parts that sounded amazing. Paired with what I was working on, nobody was doing anything like it, so I knew we had to turn those sounds into a live thing and just go wild."
It worked. Since the switch, Miami Horror has launched into dizzying new stratospheres, their well-polished chops as a group making for some unmissable sets at Australia's biggest festivals, and that's not to mention some A-list support slot call ups for everyone from Phoenix, Friendly Fires and La Roux to a hand-picked hook up from Lily Allen.
All this time Ben had been further noodling away at Miami Horror's long-awaited debut disc and with the vision for a fully-blown and creatively shared band now fulfilled Miami Horror was able to pour all of their energy into Illumination, the record that's taken Miami Horror years to perfect and Ben a whole lifetime to get right.
Bunkering down in Ben's own studio in Melbourne, Illumination was recorded in typical Miami Horror fashion with the band opening themselves up to new styles and approaches which saw them call in a cast of guest stars including Swedish singer MAI, Melbourne based chanteuse Kimbra, Dappled Cities' wordsmith Tim Derricourt for a lyrical assist and also Neon Indian and Vega prodigy Alan Palomo who Ben flew out from the US to add his distinctive haze to multiple tunes (Soft Light, Holidays, Ultraviolet).
As well as crafting a truly classic album that begs to be consumed from beginning to end to fully uncover all the layers and engrossing sonic textures of each tune, Ben says the aim with Illumination was to present an accurate portrait of the band's current core and not make things too "glossy" and "hi-fi", with Ben himself producing and engineering the album from the confines of his bedroom.
As such, listening to Illumination is like a guided tour of Miami Horror's combined minds, with enormous flying grooves gliding through the speakers alongside nods to the deities of French house and vintage synth explorers like Giorgio Moroder and Jan Hammer, all mixed and muddled up with slabs of melting, fuzzy psychedelica, some wandering kraut rock bass-lines, enough star-gazing hooks to make Electric Light Orchestra blush, plenty of ear-catching pop swagger and Ben's own studied cinematic aesthetics. Never content to stand still, Miami Horror ambitiously test their boundaries across the album, experimenting with lush, almost chillwave instrumentals (see the gorgeous Infinite Canyons), futuristic disco gems (I Look To You), summer-bound party jams (Holidays) and anthem-sized synth epics (Sometimes).
Testing the limits of the Miami Horror sound evidently came naturally for the group, with Ben admitting that the band weren't afraid to cut loose and indulge their desires to blend electronic sounds with bristling psych-pop flourishes.
"At first I didn't think it was possible for us to do something like that, but more and more we found ourselves making things that sounded a bit fuzzy.
People don't believe me when I tell them that we use slide guitar on five tracks because that just doesn't sound like us," Ben says beaming.
"It's not like Chris Isaak or anything though, we just call it disco-influenced prog-pop. I don't think that's a genre, but it works for us!"
Although the band themselves admit to a serious case of perfectionism, spending months layering, refining, tweaking and endlessly perfecting Illumination, they're at last ready to launch it out to eagerly awaiting ears.
"We've spent about ten months alone mixing the album, which is a process that should normally take two weeks," Ben laughs. "We always just said ‘f**k it, we have to make the album that we want to make' and this is it. We made it."
Yes, this is their moment. And though it seemed like an electro-dreamer's distant fantasy four years ago, Miami Horror's same excited sense of wonder has only ballooned from then to now. If you haven't already heard the gospel, expect to be converted to the cause any second now.

Reptar is space chasm electro dance pop band from Darthlantaville. We like to party, and boogie. Take off your shoes, come to our party, and dance.

Every so often a new artist comes along with a sound so innovative, they are able to help reshape the barriers that confine mainstream music. Meet Outasight, the Yonkers, New York bred musician who brilliantly weaves together the cadenced sounds of popular hip-hop and indie rock with the poignant sensibility of classic pop and soul music to create a fresh, new sound that is all his own. “People are conditioned to see certain images for different genres of music,” says the 27 year-old songwriter. “So if something looks or sounds out of the norm, it’s more difficult to understand at first.” “I listened to a lot of classic rock, and pop, like the Beatles, Jimi Hendrix, Led Zeppelin, The Who, and also soul artists like Stevie Wonder and Marvin Gaye. After performing in the big city for a couple of years, the resourceful young artist started to gain confidence and create some extremely valuable music industry connections. He toyed with the idea of going to college but after taking classes on and off for close to five years, Outasight realized it was foolish not to capitalize on the name he had created for himself in the City’s burgeoning independent music scene. In 2006, he decided to drop out of college for good and pursue music full time. The following year, he released a mixtape called Employee Of The Year with the help of his friend and business partner Dre Bond. The two started a new company to help promote Outasight appropriately named Daily Grind Music. After promoting the tape on Myspace and up and coming music blogs, Outasight and Daily Grind released his second project, Radio New York in June of ’08 which was featured on the Myspace Home page for three consecutive days—a tremendous feat for any new, unsigned artist. “The amount of people that I got exposed to was incredible,” says Outasight. “We were getting like 50 thousand plays a day! Dre and I made a video for one of the mixtape’s songs, ‘Good Evening’ that fall we got the video on MTV after winning the MTVU Freshman competition.” In March of 2009, Outasight released his third mixtape, From There To Here, with world renowned hip-hop DJ Mick Boogie and a month later was asked to open for Ryan Leslie at NYC’s SOB’s. After winning over the packed house with his live show, Outasight’s manager, Norman “Storm” Bell of Purfek Storm Management, secured a meeting with Asylum Records CEO Todd Moscowitz who was instantly taken by the multi-talented MC’s growing body of work. That October, Outasight signed a deal with Asylum. Soon after his signing, Outasight released his latest mixtape Further. The project was sponsored by LRG clothing and was his most successful release to date, garnering over a hundred thousand downloads and counting. Due to its overwhelming popularity, Asylum is set to release Further as an EP exclusively on ITunes in March 2010 while Outasight continues to craft his first full length commercial release, the aptly titled, From Here to Eternity. “The concept behind my album is one person’s quest from the present moment to being timeless,” he says, “It’s something that lives way beyond me, it’s about the quest.”


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