Mad Decent Block Party Washington, DC

I.M.P. and Steez Promo present

Mad Decent Block Party Washington, DC

Dillon Francis, Diplo, Flux Pavilion, Sleigh Bells, Trippy Turtle, Wave Racer, Wolfgang Gartner, Cashmere Cat, Children of the Night

Fri, August 1, 2014

Doors: 2:00 pm / Show: 2:00 pm

Merriweather Post Pavilion

Columbia, MD

$45.00 - $75.00

This event is all ages

Prohibited items include sealed water bottles and candy (also incl. gum, breath strips etc.), however EMPTY personal water bottles are allowed.

Mad Decent Block Party Washington, DC
Mad Decent Block Party Washington, DC
Dillon Francis
Dillon Francis
Dillon Francis is a Los Angeles-based electronic music producer and D.J. A pioneer in the moombahton genre of (110 bpm fame), Francis first signed with Mad Decent, releasing his first official EP, Westside, in early 2011. His dancehall 'Westside' and 'Masta Blasta' became an underground sensation amongst the electronic dance community. Francis has continued on to collaborate and remix artists including Steve Aoki, Calvin Harris, Diplo, A-Trak, Zedd, Madeon, Flux Pavilion, Jack Beats, Digitalism, Chuckie, Kill The Noise amongst others. His latest EP, Something Something Awesome, was released in February 2012 through Skrillex's label OSWLA. Francis continues to play international festivals and is currently on his first US headline tour w/ Flosstradamus, Baauer, and RL Grime.
Diplo
Diplo
Known internationally as a curator amongst the world’s most cutting edge DJs, producers, and musical movements Wesley Pentz (better known as DIPLO) has experienced a variety of successes. The last few years have been spent running through the club circuit and having chart-topping hits with refreshing irreverence. Born in Tupelo, Mississippi, in 1978, Pentz spent most his childhood in Florida working in his fathers bait shop and being turned onto music thru then new mediums like MTV. Drifting North thru the state came Miami Bass and from the West came the sounds of Southern Hip Hop artists. The musical influence and variety coalesced and at 18 Pentz moved to Philadelphia for college at Temple University to study Film & Music. While a student he took a job in the South Philadephia community as a social worker and created the influential Hollertronix club night, which was the beginning of his fledgling career as DIPLO.

In 2004 Pentz released his debut album as Diplo called, Florida. It received praise and accolades in the underground community. The music embodied on this album led to an introduction via an A&R man at XL Records to M.I.A. In 2004 he partnered with M.I.A. for the mixtape Piracy Funds Terrorism. Pentz’s cultural impact had started to snowball. Together they worked on her first album Arular and much of her second Kala, including the 2008 mega-hit “Paper Planes,” which reached No. 3 in the US Charts and earned him a Grammy nomination for Record of the Year. His production credits have evolved since to include Santigold, Lil’ Jon and Missy Elliot, while remixing works by Beck, Radiohead, Britney Spears and countless others. In 2009 Pentz teamed with frequent collaborator Dave Taylor (aka Switch) to release the futuristic dancehall album Guns Don’t Kill People… Lazers Do under the guise of Major Lazer, a Jamaican militant at war with an evil army of zombies, mummies and vampires.

Meanwhile, his record label Mad Decent has helped to introduce Brazilian baile funk, Angolan Kuduro and other marginalized music to clubs around the world, developing as a trendsetting force with which to be reckoned. With the same mission in mind, some of the varied acts Pentz has signed or produced include Rye Rye, Bonde do Role, Crookers, Blaqstarr, Boy 8-Bit, Buraka Som Systema, and Rusko, allowing Mad Decent to act as a launching pad or home base for many others while spreading its influence across the globe. Through the label, Pentz has founded a charity called Heaps Decent as a social relief program to help children in Australia as well as with additional efforts internationally. In early 2009 Pentz debuted his film Favela on Blast, a five-years-in-the-making documentary exploring the Brazilian slum favelas of Rio de Janeiro and the thriving baile funk music scene that exists within. He is currently developing a TV show to air in 2010.

Through a widespread assortment of releases and artists’ works – from cumbia to dubstep to punk and beyond – Diplo has shown dynamic range with interests that span far beyond any singular culture or musical realm, standing as a working model for the truly 21st Century artist.
Flux Pavilion
Flux Pavilion
Flux Pavilion is a one man orchestra! With the ability to Sing and play a large variety of instruments it's obvious that music comes naturally to him. Since first sitting down at a keyboard at the age of six his dream has been to make music that he loves and perform it to people who love it just as much.

Flux Pavilion AKA Joshua Steele has always been influenced by hard hitting dance music in everything that he does and it was only a matter of time before he found his own sound in the dance industry. in early 2008 Dubstep lit this internal fuse and he hasnt been the same man since.

Influenced by the likes of The Prodigy,Basement Jaxx and dubstep pioneer Rusko, Flux loved the high energy madness that dance music was capable of and set about making some of his own in the form of dubstep. Already adept with production skills he was soon off the starting block and his tunes were in swift circulation on the dubstep forum and were becoming a familiar name in the scene. What started of as a bit of experimentation soon became clear that Flux has definitely landed on his feet with the dubstep sound.
Before long labels were banging at his door itching to release his music so he decided that the world was ready for a bit of Flux Pavilion! Signing tunes to Rottun, Shift, XS Records, Stupid Fly and Dubmented beats and working with artists such as Datsik and Trolley Snatcha, his tunes were dominating the charts and starting to receive alot more interest from the big boys.

Ntype featured his track 'fucking noise' on his rinse mix cd and not content with that then signed flux's track 'Meathead' to his label wheel and deal. This was a massive look for flux and got his name out there to all the Dj's: Rusko, Hatcha, Plastician, Caspa, Skream. Soon enough no club was safe from one of Flux's bangers and the bookings came flying in all over the UK and Europe.

While his career flourished Flux and childhood Friend Doctor P had also been working on some stuff together. They teamed up with Legendary DJ and drum and bass pioneer DJ Swan-e and Earl Falconer of UB40 and formed the infamous Circus Records. With his own platform for dubstep Flux began to imprint the scene with his sound and was quickly becoming one of the main players in dancefloor dubstep family. His track Voscillate Received 'Track of the Week' on Rusko's radio one takeover which even featured his own vocals and more to date his forthcoming single "I can't Stop" has just received world record of the week by Radio 1's Zane Lowe.

Well known for his high energy performances and smashing anthems Flux is now performing all over the globe, and further tours are confirmed for next year in the U.S, Canada and Australia.
Sleigh Bells
Sleigh Bells
“Every song on this album merges a noisy kick in the head with a pop enticement, as blasts of low-fi drums and loud guitar bracket girlish vocals. Each whipsaw only whets the appetite for more.” #8 Albums of the Year – New York Times

“Imagine the White Stripes fronted by Meg, powered by a malevolent drum machine, and bred on metal and hip-hop. Then pump your fist, bitch.” Best Albums of the Year – Rolling Stone

“It’s a take-no-prisoners album. Every track makes me feel as if I could rip my house off its foundation… it’s one of the year’s most potent and unforgettable recordings.” Top 10 Albums of 2010 – NPR

“Take a vintage ‘80’s Jackson guitar and strum thick-necked power chords. Take a vault of Kurtis Mantronik drum tracks and play ‘em on a blown-out ghetto blaster. Take a never-was teen-pop diva and let her howl. Take a look at Sleigh Bells – rock stars.” Best 40 Albums of 2010 – Spin

“…what the band are so carefully sculpting isn't diffidence, it's excitement: overdriven riffs, monster beats, and Alexis Krauss' layered babble all designed for chain-reaction impact…machine-gun beatbox, imperious riffing, and sing-song prettiness from Krauss. …mainly Sleigh Bells stick to their own, new-minted sound, and it helps the thrills stay fresh.” #16 Albums of 2010 – Pitchfork

Sleigh Bells released their sophomore album, Reign of Terror, on February 21st, 2012 on Mom + Pop Music. Produced by guitarist Derek Miller, and written by Miller and singer Alexis Krauss, Reign of Terror is the highly anticipated follow up to 2010’s Treats, an album whose deft, stylish combination of genres, sounds, and dynamics was simply unprecedented. Treats' own extreme volume was matched by the deafening roar of praise, landing the band on over 50 year-end lists for 2010. Sleigh Bells toured behind Treats relentlessly, opening for the likes of LCD Soundsystem, Hot Chip, Yeasayer and Major Lazer before headlining their own shows, many of which sold out in minutes. They played lauded, exhilarating sets at festivals around the globe, confirming their status as a sheer tour de force on the stage. It is this intense live energy, coupled with the continued desire to carve out new musical terrain, which runs throughout their new album, Reign of Terror. Engineered by Shane Stoneback, who helped to record Treats, songs on Reign of Terror are as crushing and authoritative as their title suggests; they’re effortlessly robust and heavier than any of the band’s previous output, but more melodic as well. Packed densely with stomping beats, shredding Jackson guitar riffs, sinister ribbons of Alexis Krauss’ candy-coated vocals, and the cries of a pep rally gone terribly wrong, Reign of Terror is a record that, like its predecessor, redefines everything you think music can be.
Trippy Turtle
Trippy was born on a cold beach somewhere in northern europe. From an early age he was exposed to beautiful skinnydipping scandinavian women and rnb-music on wack boomblasters, influences you can still hear in his music today. And the charming young tortoise quickly became a true ladies turtle.

One warm summer night in the middle of mating season, Trippy was caught in a fishing net and came aboard a fishing boat from Jersey. Talking his way out of becoming a part of today's stew, he became friends with the crazy chef Molly which fed him with all sorts of crazy things for her entertainment. It is widely believed that this caused the trippyness of young Trippy.

After many weeks, the fishing boat arrived in Jersey and our hero started his long journey to the other side of the street. On his journey he met many other cool party-animals and together they formed the infamous gang "FoFoFadi Foodchain". Rumors are that our trippy turtle had terrible pronounciation and the gang was originally called "No More Sardines".

One day it all changed… Trippy got into a fight with Disco Duck and Disco tossed him into a wall. The sounds the shell made shocked the whole crew. Turtle immediatly called his mother and she confessed his long lost father Roland was indeed… an 808. With his new found roots, Trippy told his friends and family that he wanted to do music. And so he did.

The gang scraped together all the sardines they could get their hands on and traded them for an old squeeky macbook. They now take turns throwing Trippy at the macbook and record the outcome.
Wave Racer
Wave Racer
Twenty One year old Tom Purcell is WAVE RACER – a 64 bit freak speeding into the Sydney horizon.

Taking cues from cross-continental club sounds and gold-plated production standards, Purcell’s blend of pixelated future-funk is fast taking Australia by storm. From mind-bending Jersey Club anthems to a sun-drenched take on modern Hip Hop instrumentals, his sound is often (and best) described as driving down Mario Kart’s Rainbow Road to the club of your dreams.

Having just released his double-A side single ‘Stoopid/Rock U Tonite’ and a bootleg remix for Ghost Town DJs ‘My Boo’ Wave Racer is now amongst one of the most played artists for 2013 on popular Australian national broadcaster Triple J whilst frequently appearing on BBC Radio 1 and topping the indicative Hype Machine charts at #2.

With a slew of forthcoming remixes set to blow you out of the water, we strongly advise you to keep one eye on this turbo maniac at all times. Get ready to ride the .wav!
Wolfgang Gartner
Wolfgang Gartner
“I have to make something that’s never been made before; have to make the best thing that I’ve ever done in my life – otherwise it gets stagnant or worse,” says producer/DJ Wolfgang Gartner. Whether or not his progressively more maximilist take on electro-house is your bag or not, you have to respect his exponentially steep rise through the electro-house ranks. And Lord knows, you’ve heard it — or about it: flipping Beehthoven’s 5th for the 4 am crowd; eight #1 tracks on Beatport; remix/collabs with Britney Spears, Timbaland and Black Eyed Peas; festival-highlight performances at Coachella ‘10 and Electric Daisy Carnival’s ‘10 and ‘11.
Where Joey Youngman, the one-time party kid from San Luis Obispo, CA and another-time househead old soul, has been electro-house’s dark (work) horse, Weekend in America, his debut full-length for Ultra Music, is Wolfgang Gartner becoming dance music’s one-man parallel universe, outpacing electro-house and outdoing himself.
“One of my mantras is that I have a responsibility to advance the genre. If I’m capable of doing something I’ve never done before, I feel like I have to use that ability, because there are not many people who do – or can. I have to push myself real real hard to do it. That’s something that’s really surfaced with this record,” he admits. Gartner’s work ethic is mythical amongst even his most storied contemporaries: Make music all week. Play it out all weekend. His DJ sets – and this speaks to a combination of prolificness, personal taste and a proven track record – are almost entirely made up of edits of his own work. Then again, when you spend 20 hours a day working on music…
“Maybe it’s like an insecurity and not being satisfied listening to it over and over, but I’m constantly asking myself ‘Could it be better?’It could take me three hours to add this little milisecond sound that nobody but me will ever know is there, but I do it,” Gartner says of his somehow self-effacing self-confidence. ”I get into tweaker mode; I’m just sitting there tweaking for ten hours straight on this sound or that track and putting everything together and coming up with something else.”
Take “Forever,” the menacingly not-what-you’d-expect will.i.am collab on Weekend In America. It’s a track that, with its ominous chord progression and middla-nowhere “RIP” shout-out to DJ AM from will, is as unlikely as it is, literally, amazing. ” That’s just me sitting with my keyboard and pounding out chord progressions for three days and coming up with a hundred or so and some of them are good and a few of them are great, until finally I get to that one where I can say, ‘This is something I can spend three weeks making into something,” says Gartner.
He attributes this spike in his equal parts obsessive-compulsive/obsessive-creative disorder in part to his recent move from Austin, TX to Los Angeles. “I had one friend in Austin – who I met for breakfast once every six weeks. I woke, up, went to Starbucks, made music, drove to the airport, flew out, and flew home. My studio was in the master bedroom. With my house in California, it’s in a guest room – I decided I want to make the master bedroom for sleeping.”
There are no love songs on Weekend In America, but there is a new love: hip-hop. “Still My Lady” features Omarion, Dipset’s Jim Jones and Cam’ron trade verses on “Circus Freaks,” and Eve brings it on “Get ‘Em” as highlights on the album.
“Rap music is actually all I listen to when I can just listen to music, like in my car. I spend so much time listening to dance music, rap is something I can just enjoy,” Wolfgang Gartner explains. ”I’m not trying to do all these collaborations with rappers to be trendy,” he adds. ”I reached out to each of them to make sure they were down and understood where I was coming from. I honestly like hip-hop almost as much as I like dance music, so it’s a perfect combination.”
It should come as no surprse then that the track that opens Weekend In America is “Get ‘Em” featuring Eve. Gartner explains: “I was in New York playing Pacha so I actually went into the studio and worked with her on the track, looping it, trying stuff out,” he says. ”She came up with, ‘Party round the world/All my fly people no nasty girls/Jet planes baby that’s just me/ Come on people now sing along with me.’ We knew that was the hook. It sounds like something Sugarhill Gang would have done, like it knows it’s this classic-sounding hook.”
The addition of rappers is all part of the progression of Weekend In America, he says: “It’s getting progressively harder to make music without hearing vocals and vocal melodies on it – that’s what comes naturally to me.”
Of course, “naturally” is an evolving word in the Wolfgang Gartner lexicon. As “Menage A Trois” proves, you don’t need a vocalist to hear voices. Another of Gartner’s mantras is that he’s making music for the future, and “Menage A Trois” sounds straight outta 2016: fully articulated synth lines trading verses in their own freaked-frequencies like MCs spitting in some as-yet undecipherable tongue. “The thing that makes that track for me is how conceptually different it is for me,” Gartner offers. ”It’s literally just a bunch of random pieces from all over the place and some Fender Rhodes piano and this bass tone and then this vocal snippet that sounds like it’s saying ‘Menage A Trois.’”
Random, yes, but Weekend In America is nothing if not inspired by Wolfgang Gartner’s almost contradictory need to evoke his best live moments while pushing himself to top them – and then gig some more to create new moments to top: “Mantra number three for me is that when I’m writing I think about the last really amazing show that was f$%ing unbelievable for whatever reason – everything I make is designed for playing out. I get super tired of playing out every weekend, having one day at home. But I know I need to get out there – I have to do it for market research,” he says.
As Weekend In America proves, it’s often the tracks that are most obsessed over privately that make the biggest impact publicly. Take the Electric Daisy Carnival festival 2011 favorite “Space Junk,” caned as it was in several sets, which seems to take everything great and terrible over the last 15 years of dance music – vintage synths, hands-in-the-air trance flutter and dubstep’s modulated stammer, and fits it in one track – often in a single measure, sometimes even a single bar. “That’s the one that haunts me,” Youngman admits. “That’s the one I’m always trying to top.” Ironically, it’s also the one that contradicts another Wolfgang Gartner myth: that Youngman is himself a gearhead.
“I’m actually working on Windows XP with limited RAM, on Abelton and three vintage synths – one of which I don’t even use anymore,” he admits. “My computer’s constantly freezing up and maxing out,” he says. “But I’m more concerned with music than technology. I’m willing to write the entire breakdown of ‘Space Junk’ on an old keyboard with a busted arpeggiator that comes out so muddy that I have to deal with the hassle of spending a whole day editing it in 16th notes,” he continues. “But the fact that it came out of a synth – and not a plug-in – makes it totally worth the day I spent.”
Likewise “Illmerica,” with its long, phantasmic synthesizer chord progression, belie the heart of a composer over the somehow soulful rhythm sections that chug and chew more than chop or churn- Youngman’s past life as a Kerri Chandler-loving househead living on. That, he says, and his other past life: third grade piano virtuoso. “My parents made me take classical lessons,” Gartner laughs. “I played in competitions at local colleges with a bunch of other ten year-olds and I think I won a couple of them. Now I couldn’t play to save my life, but that foundation is there.”
And therein might lay the greatest mantra/myth of the Wolfgang Gartner story and the greatest contradiction of Weekend in America: that it’s just dance music. “I would think I would hate what’s mainstream, but the truth of it is, the dance world makes sense to me,” says Wolf. ”I understand how and why it creates the response that it does with people.” That said, as Weekend In America shows in its byzantine soul, kaleidoscopic command of frequencies and impossibly imaginative arrangements, Weekend in America the artist is answering to an altogether higher power and potential, one the Wolfgang Gartner massive has the good fortune of being able to get onto the floor and out of their heads to every weekend.
But for Wolfgang Gartner, the introverted empath spending thousands of hours in isolation making these tracks that will connect him to tens, even hundreds of thousands of people at a time, Weekend In America is party-rocking speaker-freq’-ing as self-realization. “I can imagine it and I know something amazing that’s never been heard before is possible. Occasionally it’s even something I can already hear in my head and that’s why I have to make this music.”
Cashmere Cat
Cashmere Cat
Cashmere Cat is the production alias of young Norwegian producer Magnus August Høiberg – who has caught one to watch buzz early this year from the single ‘With Me’ premiered with Zane Lowe on BBC Radio One & video premiere at Rolling Stone – not to mention 30+ international headline dates including a packed out SXSW, MMW & Music Hall of Williamsburg, In February Cat appeared feature on the Ludacris single “Party Girls” alongside Jeremih & Wiz Khalifa, which allowed him to star in his first Hype Williams directed video. What a crazy life; this unprecedented mention for a producer signals a sea change happening in popular music & the role of our ‘underground’ producers as acknowledged artists in their own right. A world in which Cashmere Cat effortlessly embodies his own underground influences of glittering RnB, French Electro & 00’s club Hip . On Wedding Bells – his debut vinyl EP – he is truly free, non beholden to conventional pop arrangement we find Cat in abundant celebration with a range of highly syncopated pentatonic workouts. Four songs built in equal parts from glittering RnB, French Electro & 00’s club Hip Hop – this is wide, cinematic and unabashedly bright new dance music. Rarely does a new artist emerge with such a unique voice across their work – Cashmere Cat is unconcerned with where he fits with DJs and his music is smarter for it.

The Wedding Bells EP represents the next stage for Cashmere Cat as recording artist and has commanded support so far from: Kode 9, Éclair Fifi, Nguzunguzu, Hud Mo, Rustie, Baauer, Diplo, Skrillex, A Trak, Brodinski – as well as BBC Radio One & Triple J.
Venue Information:
Merriweather Post Pavilion
10475 Little Patuxent Parkway
Columbia, MD, 21044
http://www.merriweathermusic.com/