Last week started off with a bang as Lightning In A Bottle presented by The Do LaB kicked off their 2019 5-day music and arts festival in Central California. While, festival goers were initially apprehensive of this year’s Lightning In A Bottle due to the festival’s venue change to Bakersfield, California and date change; Lightning
Bass breeder of a most funk-infused variety, Opiuo has cooked up a special playlist for Dancing Astronaut ahead of his performance at central California’s next round of Lightning In A Bottle festival, on May 8.
The New Zealand-born, Australian resident, Opiuo takes listeners through the chromatic length of his aural crates, with tracks spanning tender, melodic house (Lane 8‘s “Atlas”) to foreboding mid-tempo electro (1788-L‘s “Cyberspace”). Like-minded funk and experimental bass producers run abound, with additional offerings from CloZee, G Jones, Big Gigantic, and of course, some innovative firepower from Opiuo himself to adequately ready Lightning In A Bottle attendees for a splendidly strange DJ set.
I’m so excited to be back at Lightning In A Bottle, one of my favourite festivals in North America,” says Opiuo. “Here are a bunch of songs I love from a bunch of friends and legends playing on the weekend. You can expect a tonne of brand new music from me on the night as we dance away into the bass heavy funkadelicoblivion.
Tickets to Lightning In A Bottle, held at Buena Vista Lake, as well as general festival information, can be found here.
Do LaB festival producers present a stacked lineup for this year’s Lightning in a Bottle music festival, featuring Disclosure, Santigold, Gramatik, Toro y Moi, Big Gigantic, Elohim, and Flying Lotus‘ 3D concert experience. Artists taking over the beloved Woogie stage include Lane 8, DJ Koze, Damian Lazarus, Lutrell, Shiba San, Recondite live, and more. Bass heads will reunite at the low end-heavy thunder stage with sub-booming performances from G Jones, 1788-L, CloZee, EPROM and Alix Perez’s SHADES project, the funk bass stylings of OPIUO, and more.
For the past five years, the festival took place at San Antonio Reservoir Recreation Area in Bradley, California; and the last two years were met tragically with the death of a festival attendee at each. Now, the festival has moved to a new venue at Buena Vista Lake in Central California, with lush, green pastures, a shaded tree line, and accessible shoreline that’s sure to bring festival-goers in full force.
Tickets are currently on sale for Lightning in a Bottle 2019. Purchase them here.
Photo credit: Aaron Glassman
X&G have been showcasing their diverse production talents and representing their home of Utah hard in 2018. The duo went experimental on “Paradise” with Josh Pan, which lead to a follow-up “ghost rock” collaboration on “Wait for Me.” Now, they’ve linked up with Fransis Derelle and Nate Lowpass for some classic house vibes on “Freek.”
“Freek” dives dark and deep into what listeners would expect out to hear at the nearest summer warehouse-type venue. However, it compensates with a funky bass-line suited for any dance-ready crowd.
X&G are coming off a killer performance at Lightning in a Bottle with more to come in the summer months.
One death has been reported following this year’s Lightning in a Bottle music festival in Lake San Antonio, Central California.
San Luis Obispo officials confirmed Tyler Schripsema, 23, died at Twin Cities hospital after suffering a swimming-related accident at the festival. Officials have not commented on any further details surrounding his death although an autopsy is currently being handled by the San Luis Obispo County Coroner’s Office. His mother, Lisa Schripsema, said the initial autopsy indicated her son died from an injury to his spinal column. “I don’t know if he fell and hit his head,” she told San Luis Obispo. “It was such a freak accident.”
According to the GoFundMe page set up by Schripsema’s fraternity brothers to help pay for the funeral expenses, Schripsema had just graduated from California State University Stanislaus three days before the accident.
This is the second death at Lightning in a Bottle in two years. The festival promoter, Do LaB, is currently facing a lawsuit from the family of a 20-year-old woman who died after taking LSD last year. The family claims she was denied the proper medical attention.
Both Lightning In A Bottle and Do LaB have yet to comment on the passing.
Last year the Lightning In A Bottle made headlines due to the passing of the attendee, Baylee Gatlin. Baylee was only 20-years-old when she passed away after collapsing on festival grounds. The story surrounding the events played out in bizarre fashion in the following weeks. Initially, her death was ruled by a county coroner as
The post Family Sues Lightning In A Bottle Festival Over The Death Of Their Daughter appeared first on EDM Sauce.
It’s quite fascinating to know that, when arranged a certain way, something as simple as a four-note progression can make a profound impact on those it touches. A Hamburg-bred Stimming, whose classically-trained roots gave way to electronic production at a young age, is hyper aware of this fact, and each of his productions indicate the careful thought process behind them. This prowess, intuition, and passion, have also allowed the modest artist to put out four seamless LPs, each one refusing to diminish in quality.
Stimming will be bringing his evocative brand of house to Lightning in a Bottle‘s iconic Woogie stage come Memorial Day Weekend. Before he lures his audience into his hypnotic, melodic realm, the Diynamic regular has provided a special recording to us to get the party started. The hour-long clip was taken by a recent live set in Argentina, in which Stimming expertly crafts his music on the fly with live synthesizers.
“I played t his live set in Cordoba, Argentinia. I had a moog little phatty without any midi, so all the additional synth playing is done by my hands.” – Stimming
Get your last minute tickets to Lightning in a Bottle here
Amidst a blanket of monotony in the bass world, Tor has risen as one of the new wave of forward-thinking talent introducing an aural breath of fresh air.
The producer wriggled his way into the spotlight not too long ago thanks in part to Emancipator, and quickly made a name for himself thanks to his creative arrangement and fearlessness around pushing his own musical boundaries. His debut album on Emancipator’s Loci imprint, Drum Therapy, was met with critical acclaim, thus leading him to land a second album on the label in 2016 that most would say conquered the Sophomore slump.
Tor will be making his Lightning In A Bottle debut come Memorial Day weekend, where he will be delighting his crowds with a multifaceted performance. Before seeing him, however, he decided to make an official “introduction” to his work:
“I wanted to make this mix as bit of an introduction for people who maybe haven’t heard my music before, mixed in with some songs I’ve been enjoying lately as well as a showcase of what I’ve been up to recently with some unreleased remixes and hints of what you might hear at my LIB set this year. Cheers!”
Tor – Two Suns
Tor – Two Suns (CloZee Remix)
IHF – Departure
CloZee – Secret Place (Tor Remix)
Tourist – Hush
Maya Jane Coles – Bo & Wing
Nuage – Every PPL
Tor – Vaults
??? – ??? (Tor Remix)
RUFUS DU SOL – Innerbloom (Tor Remix)
??? – ??? (Tor Remix)
Edamame – Sable (feat. Tor)
Affelaye – Whir
Bradley, California’s uniquely immersive festival, Lightning in a Bottle, has revealed the first phase of its 2018 musical line-up, set to take place May 23–28.
In an increasingly monotonous festival market, LiB defines itself in defying the norm. The festival’s forward-thinking curation has presently landed a diverse array of acts from Anderson.Paak & The Free Nationals, to Zhu, GriZ, Fever Ray, The Glitch Mob, Sofi Tukker, TOKiMONSTA, Modeselektor (DJ Set), Emancipator, Nicole Moudaber, The Black Madonna, and more.
Lightning in a Bottle’s strive for diversity in its programming can be best summed in music director and co-founder Jesse Flemming’s words:
“We’re definitely not trying to play the same game we are seeing with all the massive festivals these days when we book our music programming. Forget the big names you can see at 10 other festivals this year. For us the goal is to craft a musical playlist that will perfectly guide people along the experience we’re trying to create. We book each stage to be its own separate journey on any given day and we try to diversify it as much as possible so when you’re wandering around during the weekend you can always find something just right for you. This has been our goal since day one and it continues to shape how we book today.”
More information and tickets to Lightning in a Bottle, which go on-sale January 18 at 10 am PST, are available here.
Featured image by D Zetterstrom
As thick dust clouds covered the secluded desert terrain of Big Summit Prairie, Oregon, flocks of eclipse chasers converged onto Ochoco National Forest with its 360 degree views of mountainous pines for the Oregon Eclipse festival that would soon unfold. Their ultimate mission was to view the magic of totality, which occurred between 9-10am on Aug. 21, 2017, among thirty thousand like-minded people.
In an off-year of their globally renowned festival, the producers of Symbiosis Gathering teamed up with 13 of the world’s premier independent festivals — Lightning in a Bottle’s Do LaB (California), Rainbow Serpent (Australia), Sonic Bloom (Colorado), Origin (South Africa), Envision (Costa Rica), Beloved (Oregon), and many more—for a seven day global synaesthesia of art, ideas, music, dancing, community, and profound transformation.
An international melting pot of people were represented at the festival, including infants perched atop their mothers’ chest, families of four or more enjoying “Kids-biosis,” and retired burner folks with their decked-out light-up walkers. In addition, strangers speaking every language from French to Japanese at the Sky Stage as it pumped deep desert house, and Native American tribes and spiritual leaders from the countries of Ecuador, Columbia, and Peru were in attendance.
Tribes from Standing Rock also traveled to Ochoco to give political demonstrations at the organically constructed arena, 1Nation Earth, as well as to ignite the three sacred fires placed throughout the festival grounds. One female shaman even journeyed from Okinawa to conduct ceremonial water blessings, in which she anointed willing participants.
Every installation paid such keen attention to detail that it was hard to believe most of Oregon Eclipse’s structures were constructed from raw materials used from the very land that housed each structure. Old moss covered branches and rocks formed the pathways and walls of the festival’s many temple-esque domains, with curtains draped from the ceilings, and walls of stained glass windows suspended into thin air. Sacred geometry artwork was the centerpiece of most installations. Live painters abounded, while Burning Man installations made guest appearances.
Symbiosis’ bold endeavor far exceeded any expectations, despite having never received money from a sponsor — ever. The production was massive and breathtaking, because this independently-assembled team of unique global collaborators constantly pushed out maximum effort to create a once-in-a-lifetime experience during the entire process. It’s safe to say they achieved their goal. Installations and exhibits were being completed all throughout the week, even as attendees arrived day-by-day. Construction never really ceased, nor did the grounds ever stop growing. Ochoco remained a constant collaborative community at all times, whose psychedelic installations came alive at night.
As for the festival’s music lineup was held across seven stages: one main, four slightly more specialized stages, and two stage dedicated solely to live performance.Its main musical attraction, dubbed The Eclipse Stage, was utilized as a gigantic harp suspended from the tips of the stage onto its side structures that also would become integrated into live performances throughout the week. This stage hosted Bassnectar, Beats Antique, Emancipator, Random Rab, TroyBoi, The Glitch Mob, and many more.
The infamous Desert Hearts clan participated in a 5-hour takeover on The Sky Stage, pumping deep, dark tech house into the forest and hypnotizing house heads there with pulsating shamanic drum rhythms. Meanwhile, Dirtybird player Justin Martin delivered a 4-hour extended set of soul-penetrating house and techno that lasted into the wee hours of the morning.
But, make no mistake, the house stage DJs were guests in this global arena of trance and downtempo. International eclipse festivals are generally based around trance and downtempo insofar that the bass, jam, and eclectic circus acts were actually guests in this experience. In fact, The Sun Stage, which housed the beautiful blue spaceship-like structure used at the LIB gathering, pushed psy trance until 6am everyday. Even if you didn’t come for the trance, as one attendee put it, you were getting dosed with it daily anyway — courtesy of the full FUNKTION ONE system populating the stage.
While the sun baked the Prairie well into the high 80s each day, The Earth Stage pumped world-influenced glitch into the freezing desert nights, which reached into the low 40s. The Moon Stage served as the festival’s bass head haven, housing Bleep Bloop, French glitch supreme Clozee, EPROM, Minnesota, and, of course, Lorin Ashton’s coveted secret ‘West Coast Lo Fi‘ set.
As far as transformational festivals go, the Eclipse Gathering raised the bar on all counts. In workshop spaces like The Parlor and The Hub, lectures and dialogues ensued over mind-expanding topics ranging from permaculture, nutrition, and consciousness, to elemental alchemy, psychoactive substance, sexuality, and astrophysics. Entire structures were dedicated to yoga and dance shala, where hourly sessions were held of everything from bass yoga and vinyasa flow to belly dancing.
Each interactive installation offered diverse round-the-clock activity at every turn. The Mud Dance Experience, for example, invited attendees to strip down to their skivvies and bathed each other in wet clay. The Sound Immersion Experience, housed hammocking meditators in a 360-degree healing cocoon of sound emanating from surrounding gongs and dijiridoos.
Perhaps the most inspired interactive digital attraction was Android Jones’ MICRODOSE VR dome installation, which opened up each night after dark. Participants would enter the large, white structure for a 30-minute sensory-engulfing cinematic experience featuring Android Jones’ psychedelic artwork coming to life before their very eyes. The kicker: the ‘film,’ of sorts, was being controlled by four audience members in virtual reality.
Then, of course, there was the main event. Most attendees stayed up through the night to experience the event in totality. An early Random Rab sunrise set was going off just before, as ecstatic hippies performed yoga in the morning sun. Hot air balloon rides peaked over the trees as they tethered over the grounds’ massive lake. Picture-ready burner clans turned up decked out in their flashy garb, as giddy festival goers filed the space between the sacred Sun and Moon Temple grounds wherein the native tribes lit their final sacred fire.
As morning turned into night, birds scattered, temperature plummeted, the sky went dark and eyes swelled as a ring of fire filled the sky. Attendees stood in awe as if a portal had opened up into another universe. A Woodstock-esque character shook his maracas. A young infant looked bewildered in his stroller. Delirious party-goers clanked their mimosa glasses. Strangers embraced, tears fell, and a deep sense of gratitude filled the air — Oregon Eclipse attendees had finally manfested what they intended to do, learning that the power of intention was the most important takeaway on these sacred grounds.