Sweatbox and Decibel present:

Thrilling Mystery…

Featuring:
…
Techno!
Surprise Guests!
Lineup and Location TBA day of show!
What’s gonna happen?!
You’ve got to be @ one of the Decibel Showcases Thursday night to find out…

Sweatbox teams up with Decibel for the third year in a row to bring you what they do best, afterhours techno. In three short years, Sweatbox has grown from a small club night in Downtown Seattle to a staple of the city’s late night techno operations. Comprised of three stalwart individuals, the crew has branched out to the East Coast with Jonny Romero starting a chapter in Brooklyn, NY and Ctrl_Alt_Dlt and D. Smalls holding things down on the West Coast.

This year’s afterhours will be a mysterious affair, location and line up TBA the day of the show, the only thing certain is that you will want to be at this party. Keep your ears and eyes peeled, you will need a DB pass or event flyer to gain entrance. Prepare…

Starts at 1am | 21+ | $10 | No Passes

Unofficial Decibel Festival Afterhours

I have no explanation for my choices other than…I prefer the experimental side of life…and I will be checking out artists I like and want to check out what they do with their material in a live setting.

Wednesday

Ghostly International Showcase at Neumos. The big first night event and at my regular work place.

Thursday

Room 40 Label Showcase. Lawrence English, Ben Frost (one of my fave albums of the year), Grouper, and Rafael [Anton Irisarri]. Amazing line up!

Friday

Tough One….Modeselektor and my home boys Mount Kimbie…or Murcof and Robert Henke.

Saturday

Optical 2: Fennesz, Oneohtrix Point Never (another fave of the year)…and of course dB in the Park…exciting dB Festival debut at Seattle Center.

In 2006 Charly landed in Seattle. Here she has established herself as a well respected DJ known for her tight mixes and inspired track selection. She regularly plays many of Seattle’s long time running DnB nights such as Onset, DnB Tuesdays, and Free Bass. In 2009 Charly placed 3rd in the Northwest DnB DJ Competition out of 40 DJs.
Lauren is still producing to this day under the moniker of Girl Gone. “I Exist” was released on Global Vortex Recordings’ Into The Vortex Volume 2 in 2010. She has a distinct sound that is difficult to classify in a traditional genre. Her recent tracks have been described as “True Independent Dance Music.”

Influenced by electronic rock, Gridlok was drawn toward the style of dance music known as Drum & Bass.
One of Gridlok’s earliest notable tracks was “Heatwave” on Violence Recordings. This single was the first of a string of critically acclaimed commercial releases with respected labels. Remixing artists such as Josh Wink for Dieselboy’s Project Human release and The Usual Suspects for Renegade Hardware focused his skills for what would be his most important project to date, reworking Ed Rush & Optical’s Compound. This remix was well received in the Drum & Bass community, and Gridlok remains the only US artist to be involved with Virus Recordings.

In 2005, Gridlok released his first album with Hive, Keaton and Echo, Welcome To Violence. After this well-publicized release, Gridlok began work on his first double pack release on P51, The 5 On 1 EP, which included his second collaboration with Dom & Roland that year and work with Silver, Optiv, Ryme Tyme, and Echo. Around this time, Gridlok released a single on Hive’s Violence Recordings, “Hard As Fuck/5th Dimension,” remixed Mampi Swift’s “Trippin” for Charge Recordings, and teamed up with Hive to rework Calyx Are You Ready for Moving Shadow. In September 2006, Gridlok released his first artist album, entitled “Break The System”. This effort was released via 3 piece vinyl and double CD on his own Project Fifty-One label, and features original music spanning the breadth of his vision for Drum & Bass. Since then he has released remixes of that project as “Reboot The System” and his latest project “Void”.

In 2001 he established the label Commercial Suicide. This released his own material, including the albums Lie, Cheat & Steal (2003), No One’s Listening Anymore (2005) The Emperor’s New Clothes (2007) and most recently Music for prophet (2010) . All of these albums are double CDs with one drum and bass CD and another of downtempo techno and breakbeat, and received widespread acclaim in the electronic music community. The track “Time 4 Change” from No One’s Listening Anymore was the last tune played on-air by John Peel. The label has also released tracks from artists like Amit, Break, Digital, Spirit, Calibre, Hive, SKC and Chris.SU, establishing itself as one of the bigger players in drum and bass.

Klute’s style of drum and bass is strongly influenced by techno. It is deep and progressive, with flavours of house, dub and trance, and frequent use of vocals. Although Klute is one of the most melodic and musical producers in drum and bass, his tracks are still typically intended for the DJ and dancefloor. As well as releasing music on his own label, Klute has releases on Hospital Records, 31 Records, Soul:R, Metalheadz and Breakbeat Science Recordings.

LIMITED CAPACITY – SHOW UP EARLY

Special Guests:
…
iLL.GATES – Muti Music / Amorphous (Toronto)

LORN – Brainfeeder (Milwaukee)

TAKE – Alpha Pup (Los Angeles)

POTATOFINGER – Innerflight / Pleasure Boat Records (Seattle)

Special opening dj set by RHINES!

Doors open at 1am (Friday night)
$15 @ door / No Passes
21+

Unofficial Decibel Festival afterhours

XI vs ULTRAGAMMA – LoDubz, Toronto

The XI story is a relatively new one; at least to the general public.
…
Around the turn of the new millennium, Christian Andersen was producing drum n’ bass under the pseudonym, 35k, as well as experimenting in the breaks and hip hop world. Come 2004, Andersen had a body of experimental work that was ready to be unleashed on the world.

XI was born. His break oriented, chopped suey styled productions met perfectly with the darker side of bass driven music that was popping up in the underground.

Garnering a solid amount of attention for his work as one-half of Loetech with fellow Torontonian, Bombaman, XI was one of the few heads in Canada seriously producing dubstep in the mid-2000′s. Within months, Andersen was hosting the popular monthly ‘Subtrac’ parties as well as playing alongside notable bass superstars such as, Skream, Joe Nice, Loefah, and Kode 9. After signing with Lo Dubs in the US and releasing his first slew of dubstep tracks on the world, XI has never turned back.

2010 will be a big year for XI. With releases coming out on labels all over the globe, Andersen will also embark on a tour across the globe as one of Canada’s only true ambassadors of dubstep and bass heavy music

DIBIASE – Alpha Pup, LAX

He’s a serious dude, he does serious things…

Hailing from LA’s very own Watt’s, Dibiase a.k.a Diabolic’s productions run the gambit from 8 bit video game classics to seductive soul to raw grungy bangers this guy has no limitations no sample is safe. This 12 time beat battle champion and runner up of the Los Angeles RED BULL BIG TUNE BATTLE. Originally 1 started makin beats in 95 with an 8 second sampler and dr. rythm drum machine to compliment his ryhming which I still do from time to time equally as sharp.Around late 97 I got my hands on a mpc 2000 and a tascam 4 track and made so many dusty projects with the homie Ant Dog and SWAMP 7 crew. Spendin endless nights in the garage crankin them out learning from mistakes i had no tutors or wings to get takin under. Around 98 i felt comfortable exposin my music at PROJECT BLOWED even tho i was around at GOOD LIFE ,and THE O.G. UNITY which started the whole madness. But i was gettin a decent response at BLOWED in the golden age which was super cut throat at the time so that helped in my development. then from 2000 to 2004 i linked up with Aspect 1 and we was in this camp MISSIN PAGE CREW which had a strong run openin up for acts like MF DOOM , GZA , LIVING LEGENDS, J ZONE just to name a few. Then 05 i started focusin more on production enterin beat battles and going to this weekly function SKETCHBOOK where the mecca of this l.a. beat scene started. I roll up there with the trusty boombox and we have a roundtable of beats outside from RAS G, KUTMAH, FLY LO, GEORGIA ANN MULDROW, TAARACH , TAKE , GAS LAMP, SACRED would come with tapes or cds with there efforts of the week.I was also workin with the PUSHER PRICE camp at this time makin joints, doing showes. Then in late 07 i got hit up DECAY a m.c. out chicago about rockin to this MARIO GAXALY joint i had on the myspace page. He laced it up with SELFISH and we done many joints after that throughtout the year. Then they found out i spit cause i let them hear this BLACK MANTIS EP.A little after that i got put on the GREEN LLAMAS which is scatter all over the globe from n.y. to florida to midwest and now cali. And i also did pro duction for U-N-I yeah im the dood who made BEAUTIFUL DAY which is gettin major buzz on M -TV and numerous mixtapes,andCASTLEVANIA .But in a time where heads is relyin on who they know to get a buzz i only relyed on my talent and skill strictly throughout the years, and finally its startin to pay off well somewhat.

DEVONWHO – All City, PDX / LAX

The one and only DevonWho, is back with us in the PacNW!!

Tyler Tastemaker – PDX

Portland’s favorite DJ!

The Monkey Loft
Address TBA day of show
Saturday Late Night September 25th/26th
1am-???

We will update this post every day with a new staff member’s picks for Decibel Festival 2010.

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Amy Polansky is the Online Content Manager for Decibel Festival.

READ AMY’S DECIBEL FESTIVAL 2010 PICKS

I’m the kind of girl that gets suuuuuper into really dark and dreary, eerie and haunting, menacing, manical Dubstep and 2-Step. Throw in a bit o’ drum and bass and I’m golden. Sooooooo things are getting a little hard for me to choose between when it comes to which showcases I’m trying to jet to. I’m going to bring my bike to maximize my everywhere and anywhere capabilities…

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Paul Buxton is the Senior Venue Manager for Decibel Festival.

READ PAUL’S DECIBEL FESTIVAL 2010 PICKS

I have no explanation for my choices other than…I prefer the experimental side of life…and I will be checking out artists I like and want to check out what they do with their material in a live setting.

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Cody Morrison is the Sponsorship Director for Decibel Festival.

READ CODY’S DECIBEL FESTIVAL 2010 PICKS

I’ve always leaned towards the house and techno side of electronic music so my choices will be heavily influenced by my dancing habit.  However being involved with Decibel has opened up my musical horizons exponentially and it’s incredibly tough to narrow down my top showcases.

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John Judge is the Physical Promotions Coordinator for Decibel Festival.

READ JOHN’S DECIBEL FESTIVAL 2010 PICKS

For as long as I can remember I’ve loved music. It’s only recently, however, that I’ve discovered a deep seeded love of electronic music and the community that surrounds it. I tend to gravitate towards techno and house derivatives, but I’ve grown to appreciate the shuffling bass heavy rhythm of dubstep.

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Vance Galloway is the Senior Technical Director for Decibel Festival.

READ VANCE’S DECIBEL FESTIVAL 2010 PICKS

My musical background leans a little more toward the experimental than dance music, so many of my favorite events every year at Decibel happen at the Optical showcases.  Don’t get me wrong, I love great beats: There are few moments more transcendent than dancing until you are completely exhausted with 1000 kindred souls. But I find myself drawn to music that has more in common with the ambient and experimental music I make myself.
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Katie Harkins is the Volunteer Coordinator for Decibel Festival 2010.

READ KATIE’S DECIBEL FESTIVAL 2010 PICKS

I was introduced to the electronic music I’ve grown to love in 2004 by Jeremy Borden, who just so happens to be a dB Director [of Information Technology]. He probably doesn’t realize this, but he was really the one who helped open my eyes and finally transcend the negative stigma attached to electronic music (it’s not all cheesy clubs, designer drugs and pacifiers). I got an All-Access Pass to Decibel Festival starting in 2006 and every year since. The festival has a special place in my heart as it has introduced me to new technologies, new sounds, new artists, new forms of expression, new friends, and new sacred spaces in Seattle.

KATIE’S DECIBEL FESTIVAL 2010 PICKS

I was introduced to the electronic music I’ve grown to love in 2004 by Jeremy Borden, who just so happens to be a dB Director [of Information Technology].  He probably doesn’t realize this, but he was really the one who helped open my eyes and finally transcend the negative stigma attached to electronic music (it’s not all cheesy clubs, designer drugs and pacifiers).  I got an All-Access Pass to Decibel Festival starting in 2006 and every year since.  The festival has a special place in my heart as it has introduced me to new technologies, new sounds, new artists, new forms of expression, new friends, and new sacred spaces in Seattle.

Wednesday

All the Wednesday showcases are going to have great energy because of the pride we feel for our local artists!  But if I had to choose, I’d say hit the Ghostly Showcase: these artists’ sounds prove that it’s beautiful to be a nerd…and Lusine is probably my favorite hometown hero of the beautiful nerds.

Thursday

OK…this is getting really difficult to choose!  I recommend starting off at the Room40 Showcase for a heady dose of the ethereal and experiMENTAL, then strapping on your dancing shoes and heading to the Shameless Showcase.  While I love the bass-heavy sounds saturating this night of dB (really the whole West Coast), I think I’ll largely bypass the familiar territory of the low end in favor of that feel-good old timey music–TECHNO!

Friday

 Make sure you make it to at least one–if not all–of the Optical Showcases[Optical 1: The Space Between].  After that it’s all about Modeselektor baby (Red Bull Music Academy On The Floor).  Plus I’m pretty intrigued by Headhunter and Mount Kimbie’s quirky interpretations of “dubstep”.  Late night will most certainly involve Innerflight’s Red Eye Afterhours…I REALLY heart Potatofinger (plus the headliner is iLL Gates and it’s your second chance to catch Lorn).

Saturday

Nosaj Thing was a highlight of last year’s festival for me, so I’ll probably go pay tribute at Mural Amphitheater [dB in the Park: Saturday].  Later, the fun and infectious energy of the Beats Per Moment Showcase with Machinedrum and VibeSquad will probably suck me right in.  Even later, I’ll have some business–some SERIOUS house business–to attend to (ALL NIGHT LONG!) in the Late Night Soul Kitchen.

Sunday

If I’m still standing, I’ll be dancing to the heart beats of the Decibel Finale: Dub My Soul.  Fax has a special place in my heart from his 2006 performance at Decibel, and I’ll be feeling the love for sure.

The 2010 All Access Pass is the most cost effective way to enjoy the festival.  For example, if you are only attending Decibel Festival on Friday and Saturday the total cost of purchasing showcase tickets on Pre-Sale is $217.45 as opposed to an All Access Pass which costs $157.00.

Additionally, $155.00 (98.2%) of the cost of an All Access Pass goes toward the direct costs of running Decibel Festival.  When purchasing individual tickets as pre-sale, only 60-90% of the cost of the ticket goes directly to funding the festival.

The costs of showcase tickets by day and by venue are below.  Prices include service fees.

**Please note: after this post was published The Stranger lowered their ticket fees.  This includes all events except Benaroya and Neumos.  I can’t update the math until 8/30. Thanks, Erica**

 
>>>JON AD<<<

 
PLUS LIVE VISUALS BY:

Seattle/Portland
http://tracervisuals.com/
http://vimeo.com/tracervisuals/videos

 
And BUBBLIN Residents

Lincolnup + Ben Tactic

 
About 214:

To sit at a table set with the sounds of 214 (TwoFourteen) is to be served Hungry-man portions of honey-buttered electro beats, side dishes of synth-line treats, and dollops of IDM-get-down. Like most musicians, Chris Roman’s path is rooted in a veritable melting pot of sounds. Some of the influences are obvious. Others not so much so.

His Puerto Rican birthright and Miami upbringing ring apparent when he’s pumping out sci-fi roller disco sounds, but when his vibe turns to the cold dark comfort of Detroit-esque minimal mind funk, it would seem this man forgets from whence he came. It’s a memory lapse that sounds like a lapdance in the side room of a space ship. More importantly, it’s a memory lapse that works. A lapse rooted by a love of diversity, delivered with creative finesse and good taste.

TwoFourteen effortlessly blends lush Latin roots with robo-transformer trips, always maintaining a skillful balance between the nasty, the not-right, the cold, hot, hard, and just-right — all at the same time. He’s got plenty of tricks up his proverbial record sleeve. And he’s been pulling them out for years now.

Wherever you find TwoFourteen, trust you’ll find premium blend electro and assorted savory flavors from the future.

214 just released his second album on Andrea Parker’s esteemed Touchin’ Bass label to critical acclaim. (Vinyl and Digital)

Forthcoming releases on -

Car Crash Set – Short Stack EP – Aug 17th
Harbour City Sorrow – Drift Diving EP
Transient Force – Something Simple 3.0 DJ mix
Frustrated Funk – 12″ EP

Discography
http://www.discogs.com/artist/214
http://www.discogs.com/artist/214?anv=TwoFourteen
http://www.discogs.com/artist/214?anv=Chris+214

 
About Jon AD:

Founder of the labels losonofono (Chicago house/Skweee) and LoDubs, America’s Premier Dubstep label, which was founded in the winter of 2006.

Elements of Jon AD’s DJ sets may include each, or all of the above. He is a founding member of the longest running Dubstep night in Portland, Oregon, Various, in addition to the Dancehall/Dubstep night Version, and has maintained residencies in San Francisco and Milwaukee/Chicago when residing in those cities.

LoDubs is not your ordinary dance music imprint, nor is Jon A.D. a young upstart. The label is run from inside Anthem Records, a record store (and label of the same name) that Jon owns, and which specializes in limited-edition metal, noise, and drone releases. This may seem contradictory, but Jon sees a strong connection between metal, noise, and dubstep. “Dubstep is so much about drum structures. And when you increase the air and rhythm in tracks, that allows drone and other frequencies to come out. Scorn’s stuff is very metal, and Burial and Boxcutter have some of those elements as well.”

The history of Jon AD reads a bit like a peoples history of innovative electronic music in the the United States. Born in Eugene, Oregon, and from a young age attracted to all aspects of sound, it was in his teens that he first discovered Electronic music, and realized that it had as visceral of elements as Punk Rock when combined with heavy amplification.

LoDubs has emerged as among the strongest in a short list of labels representing bass driven music in the US, and arguably the only one largely representing artists from North and South America, with over 20 releases from artists as far north and Toronto and as far south as Venezuela, in addition to those from the UK, Germany, Japan, etc.

The future will see Jon AD and LoDubs continuing to blur the lines between what is one genre or the other, be it through the releases, The multi genre monthly founded by Jon AD, Monkeytek, and Ryan Organ in 2006 known as Various, and/or through his DJ sets.

 
About Tracer Visuals:

Tracer Visuals has been performing live video art for over a decade now. From the start in the dingy basement afterhours of Seattle to current global super-stardom, the focus has always been on cohesion. The art is taking all the stimulations coming at the audience in the moment and represent it visually on screens, walls and retinas. This skill has been utilized by many artists, clients, and events including Radiohead, Brian Wilson, Lusine, Keller Williams, String Cheese Incident, and almost every Decibel Festival. Whatever the event calls for – be it visuals, live camera, custom software, documentation, equipment rental, or all the above, Tracer Visuals can do it professionally and affordably.