In today’s overpopulated slew of aspiring DJs, there’s something to be said about a trio of disco connoisseurs that are strictly business when it comes to their music. Coltrane, Norrin, and Skeeba are the collective that come together to find the future and discover the past as Business Casual Disco. They cite influences from The Magician to Larry Levan to Gigamesh to Soul Clap. After years of dabbling and experimenting with each other’s production capabilities, it wasn’t until the summer of 2011 that Business Casual Disco was born. The Connecticut faithful have blown away the local community with their funky diverse upbeat disco groove, and there’s only one direction on their path from here – up!

After opening for acts like Orchard Lounge and Normal Instruments, Business Casual Disco has received the region-wide recognition we could all see coming. Their two mixes on SoundCloud (see below) have been a huge hit among surrounding EDM circles, and have booked them a slot at LIFT Festival in New Hampshire. We are also anticipating a new mix from BCD on Valentines Day that we know will be nothing short of pure sex. Keep an eye and ear out for Business Casual Disco ’cause Lost in Sound can’t wait to see what these dudes have in store for 2012. For all you ragers in the greater Boston area, get down to Wonder Bar to see Business Casual Disco tonight!

Use Your Head,

Satellite Man

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1. Artist Spotlight & EP Preview: Wobblesauce
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3. Artist Spotlight/Album Review: FiKus

Nicolas Jaar played two shows in New York City this weekend. Music Hall of Williamsburg and MoMA PS1 both hosted the artist on February 3rd and 5th respectively. Both shows featured extensive visual displays that added to the sense that each show was about more than just the fabulous musical soundscape he put forth.

Friday night’s show at Music Hall of Williamsburg featured Nicolas Jaar performing and building off his latest album “Space is Only Noise.” Every piece of the show felt immaculately planned out from the slow, deep ascent in the introduction to the stimulating video beaming behind Nicolas as he performed. He played simple organic sounds that layered on each other as well as deeper tribal bass infused beats. He dropped latin feeling hip-hop beats causing the crowd to errupt in movement and then could slow it down with classical sounding bits. Nicolas was not afraid to drop the dirty sounding electrodub beats filled with bass, however he was somewhat conservative in how often he chose to let those beats go, choosing to build up each song carefully and slowly. When he did, the crowd ate it up and and ground their hips into the floor and every other direction.

Nicolas DJ’d from his computer and also played from the keyboard, hips swinging to the beat the entire time.  He was also accompanied by guitarist Dave Harrington, saxophonist Will Epstein, and vocalist Sasha Spielberg for a few dreamy songs. Nicolas Jaar directed all on stage, his focus on nothing but the music being produced. The full band out on stage was by far the most memorable period of the night, especially listening to the guitarist wail out high bluesy chords that bent in every way and direction.

On Sunday afternoon, Nicolas Jaar performed at MoMA’s PS1 in Queens. The show was far more experimental. He DJ’d from his laptop, building layers of loops on each other. The show also featured collaborators from the Friday night show as well as a movement piece by Lizzie Feidelson and video visuals by Ryan Staake.

He barely dropped the same clubby beats as he did on friday night, and only at the very end. The impressive five hour performance felt much more improvised, as if the audience had about as much an idea of what he would create next as he did himself.

The organic atmosphere felt perfect for Nicolas Jaar’s style. A bunch of people together inside a simple dome structure for a free show on a Sunday afternoon. The auditory and visual allusions to water and other earthly themes brought about feelings of spiritual and emotional connectedness for the listener.
Nicolas Jaar’s music transcended so many simple musical categories. He could play next to the classical style of the New York Philharmonic at Carnegie Hall or he could rage out at a club full of sweaty bodies looking to grind to the dirtiest electro beats. It felt as though Nicolas Jaar put much thought and effort into making his audience feel apart of a unique and special experience.

Related posts:

1. Artist Spotlight: Nicolas Jaar (Clown & Sunset)
2. Show Review: Music Hall of Williamsburg is Painted in Santigold (01/17/12)
3. Cults Play a Sold Out Webster Hall; Ends on Weak Encore (1.19.12)

In case you weren’t able to catch Moldy‘s set at Genesis in Boston, MA this past Saturday (2.4.12), bump this mix to hear what Ennis Glendon (Moldy) has been getting into lately. Prepare for Moldy (also known as Selector Moldy) to show you why this Boston-based purveyor of true dubstep has earned a name for himself over the years, playing alongside legends such as Mala (Digital Mystikz) and Breakage. For more information on Moldy and the February 2012 Top Ten Mix, check out SmokiJo’s article for the Boston Weekly Dig – In The Mix: Moldy. Crank up the sub for this one and enjoy!

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1. Genesis This Saturday – Moldy & Codiac! [2.4.12]
2. Wobble Wednesdays in February!
3. Monday Mix 18: Pearson Sound Essential Mix

Drop after drop after drop, Skrillex brought it to Webster Hall Tuesday night, marking the opening of the New York City leg of his tour. Each body melted into the crowd as Skrillex threw down his heavy slew of drum ‘n’ bass and dubstep. The eclectic mix of noises coming out of him evoked all types of responses from the crowd, from hardcore headbanging and moshing, to heads rolling back with eyes closed shut.

Good vibes all throughout the crowd. No section of the floor was without smiles and it felt as if people enjoyed being bumped and bumping into one another. How does one top a Tuesday like that?

Skrillex has two more shows in NYC this weekend – your last chance to get your womp womp on with him in the US until May.

Enjoy the picture slideshow below!

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Related posts:

1. Cults Play a Sold Out Webster Hall; Ends on Weak Encore (1.19.12)
2. Black Keys at Webster Hall [photos]
3. Nicolas Jaar at Music Hall of Williamsburg and MoMA PS1 [2.3.12 / 2.5.12]

Check out this new track entitled Quantic Difference by Push/Pull, representing Asheville, NC. Push/Pull is producing some out of control beats these days, you can get all the info on Push/Pull, formerly of Perileyes, here in his Artist Spotlight.

This new fire, ”Quantic Difference” stretches an atmospheric groove mixed with dubish bass sounds to make one amazing track that sounds like something played while you were swimming underwater. Get what I mean below…

If you have not yet, get up on all of Push/Pull‘s info…
Push/Pull Facebook
Push/Pull SoundCloud

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2. Black Keys at Webster Hall [photos]
3. Nicolas Jaar at Music Hall of Williamsburg and MoMA PS1 [2.3.12 / 2.5.12]

As was expected & fair warned, NYC’s 2012 New Years Eve Electric Circus sold out just days prior. An unusually warm night on Jan 1 only added to the incredible atmosphere presented before us as we proceeded to get lost in a 10-hour flurry of music, dark circusy trapeze, fire performances, substances of all kinds, a giant unicorn, oompah loompah lounge, silent disco…& that’s just the beginning.

Did I mention music? Oh, because there was an abundance of that, as well. Ranging from names I recognized to names I had never heard of, it didn’t skip a beat.

As I’ve reached a point where large scale “holiday” celebrations aren’t my chosen dose, there were a few things about this event that captivated my interest. When you reach the Facebook event page and see the first words – tell me that doesn’t already sound like a promising banger.

Underground warehouse parties are 2011…

Underground circuses are 2012!

Expect magic. Expect the surreal. Expect to be served tea by crazed oompa loompas (yes, we assure you they’re real).

Immediately I thought of some sort of all-involved underground Cirque-de-Soleil. Sounds like my cup of tea! Oh, and how about that cup of tea is served by crazed oompa loompas. Now, where do I sign up for this?

Oh, music. Let’s read the lineup as well.

The second floor, which had a set of viewing balconies looking down upon the main stage crowd, was the intergalactic passage towards gangster beats, UV body painting, and all sorts of experimental and creative artistic expression. My initial feeling was a wave of refreshment. After not knowing many artists on the bill, our crew was immediately tickled with excitement as we heard the 190 BPM of Drum n Bass. Repping a McNabb jersey, AJAX, was upping the tempo. And let it be known that we were all here for one reason: to party!

Opposite the balconies was another spectacle to be taken in. The left wall was lined with windows overlooking the side alley space, where clearly there was plenty o’ fun to be had. Visibly there was another two atmospheres, this time governed by white festival tents. Another whole outdoor space  was also used for fire spinners and different degrees of social meandering. Up in my DnB perch was no place to assess what was going on inside of those tents. Therefore, it was time for an inspection.

Outside was a spectacle no doubt. It was slightly easier to communicate with one another and also a great chance to get some cool air, as well as a nicotine fix. I met an awesome pair of sisters, one more accustomed to this sort of celebration than the other, who was a warehouse party virgin. At that point I was assessing the vibe of the party as I always do and I thought to myself, “You can really get a sense of how well this is run just by noticing how intrigued, yet most importantly, enthused, this ‘newbie’ is.”

Next on the agenda of places to explore was the Oompah Loompa “Genie Pillow” Lounge. Accompanied by live sitar, this THC-fueled utopia was a fantastic dreamscape – something Alex Kay, the mastermind, took very seriously when planning the party. Referring to each room as a dream, he says, “Each dream has different moods of lighting, art, and music. We believe a good party is like a story that you can dream your way through, with intelligent ambience and the visceral trance of a head-slamming dance floor.” Some of the bellowing sitar sounds coming from that tent that night impressively depicted the unique nature of what I was witnessing.

The adjacent tent was ripe red with color and atmosphere. I quickly acquired two new friends who happened to be the tent’s resident bartenders. Hosting the Silent Disco, and a secure spot to get away from [most] of the loud noises and madness elsewhere, this tent was hardly filled most of the night. Quickly I found out part of the reason as to why this was the case.

Past using your ID as collateral to checkout the headphones, there were no regulations. So you could walk around to all of the other dreams with your headphones. What was originally a nuisance, when there weren’t enough headphones to go around for people inside the tent, became a highlight of the night, once I was able to PORTABLE rage. It is wildly entertaining to be in a room filled with thumping four to the floor house and dance floor occupants, occasionally throwing on the ear muffs and sludge stomping to some dubstep. Both sides of people were amused at the syncopated dance floor drama.

[Straight from the confines of the Dyaphonoyze Rage Rant Vault comes another look into the Silent Disco circus...

...At times I was overwhelmed by the crowded heatwave on the dance floors of the retrofitted brick circus. There was nothing that would get me into a good psychedelic space in order to maximize raging like escaping into the quiet, unseasonably warm night to throw on the headphones and allow my brain to wallow in some mellow dubz. This exact scenario occurred in the wee morning hours, with the lysergic-induced claustrophobic heat reaction reaching a boiling point, and the silent disco heroically turning the episode from one of anxiety to that of pure enjoyment.

Despite a few technical difficulties, this tent was where I spent the majority of my night. (Not behind the tent.........never go behind the silent disco tent. Trust me). It was often, however, that I found myself wishing the dubstep tunes were playing more on the big speakers, since this bass-heavy genre is all about the low-end sound waves moving air, crashing into your body, and deeply penetrating your core. 

There is a drawback in the inability to get rinsed by headphones, no matter how good a quality. However, there is a sort of intimacy one gains with the DJ during silent disco sets that I have not encountered in traditional PA set-ups. This factor is why I always get excited and wait in line for a chance to escape the venue and rage in my head in areas where there's plenty of swinging room. Most notable in the silent disco tent for me was Break Bomb. Although he often dilly-dallied with areas of the ever-expanding dubstep genre, I often forget he was at the commands during my "saved by headphones" experience described above, with an original Break Bomb tune.

...end rant]

Midnight came and went with the more notable acts chomping at the bit to get their chance to razzle dazzle this sort of crowd. Mikey Likes iT, label mates with Space Jesus, took control upstairs with a live drummer. That sort of thing, I’ve learned, is like feeding oxygen to the fire. It was getting hot and sweaty, as if flames really had erupted. Throwing down his taste of Planet Cognac beats, Mikey Likes iT was happily met with hoots, hollers, and howls. And he didn’t fail to seize the moment.

Around 2AM, I could sense some sort of extravaganza brewing outside. Weaving my way through the largest crowd of the night, I finally saw the extravaganza-bonanza that they had actually promised all along. Riding leagues above the sea of people was Alex Kay, in his bright red ring-leader get-up, obviously crowned with a black ring-leader top hat. Clearly Mr. Kay had mounted something. I finally crossed paths with his means of transportation and the real hoopla was this unicorn. A real unicorn! Well, kind of. But for all intents and purposes, and I’m sure with some of those substances floating around that place, it was a REAL unicorn! Ohh, Brooklyn. You’ve done me well once again!!

Psyclic Nature was next in the balcony. He actually played two sets – the first was spontaneous due to a no show in the scheduling. With one performer in between the two time slots, P.N. essentially had an hour break and was back at it again. His style transcends an assortment of beats and genres. Also accompanied by a live instrument, Jesse keeps things quaint and interesting, and in this case with the flute, he does it all himself. If you are crafty at such skill you can take the music to far places, which, in turn takes the crowd that much further. As one of his first billed shows, I certainly think he did a stellar job. [Being that it was one of his first, he played most of the tracks off his album, which you can take a listen to at: http://soundcloud.com/psyclic-nature ]

About to grace the main room was the man I had been waiting & most looking forward to seeing, Hobotech. His blend of glitch, house, and “dirty folk, with an undeniable case of the blues,” as SmokiJo put it in her feature in Boston’s Dig magazine, felt like it was going to fit perfectly with the evenings festivities.

This is the pivotal point in the night where the weird get weirder, and the sane go home. 

People of all sexes and sizes were getting down around us. At this point it was 4AM, and the casuals and ones who couldn’t hang had made their way out the doors. On the other hand, I noticed some new faces had joined the party late and were geared for the unexpected. The ones who were in a similar state of mind to myself, the ones who had been there well before midnight- seemed to be on a whole other level. Reaching the pinnacles of “fucked up-ness,” some of these people might still today be shaking off cobweb memories, attempting to get a grip on who they made out with and better yet, how many people they grinded up on that night. 

Needless to say, that’s exactly the point of a party when I feel right at home!

Hobotech’s beats started off bouncing – the style, as well as the vibrations that were echo’ing around that colossal warehouse, were keeping my head in circles and my dance moves in a similar 360degree fashion. To the crowd’s dismay there was an abrupt cease in the tunes. The sounds of a restarting computer [a candy-flipping raver's worst nightmare] seemed to echo throughout that chamber louder than the beats had. Hobotech let it be known that he had “never seen a technical difficulty like this and was unsure of the problem,” but that he would get things up-and-running in no time. The set ultimately continued on, and it was quite the dance party. Hobotech didn’t exactly live up to my expectations, but I couldn’t give you an exact reason why. The next time he is in my hood though, I will absolutely give him another chance.

With the always invigorating sunrise creeping up on us, some drifted upstairs for Skytree, while the others helped get our fellow head-users, Mun, amped for their appropriately named MUNrise set! The light show contortionist started to flicker her exhibit in anticipation, as the crowd took one last breath to power us through one more set of music. It has been awhile since I have seen Mun, but that doesn’t mean they haven’t been up to anything. Working on a recorded EP and the technical aspects of their style with Wiley Griffin on guitar has really stepped them up a notch. Mun’s style has gained more math rock influence than what I had come to expect from the Brooklyn quartet. As a unit, they sounded more in synch and tuned in to where the other members were planning on taking the jam’s.

With one last venture upstairs to the intergalactic arena, I found Skytree intently working on his craft. With the sun already shining bright, the UV effects had lost their touch, but the blends of colorful waves and breathing walls had not! I’ve seen Skytree a few times now, and I love his abillity to manipulate his set based on what type of show it is and what time his set is at. A superbly glitched out and mostly seamless set, I felt like it was going everywhere but nowhere at the same time. It was a lot for our tired minds & feet to handle. Unfortunately, it was too much for the sound system as well, and the intense layers of sounds were bottlenecked through the speakers, trying to reach our ears. Nonetheless, the crew respected his original production, effort, & passion behind the enigmatic performance/movement…that is Skytree.

Thinking back, I am happy that this is how I chose to bring in my 2012. Once you establish the formula for a great party, it’s all about the execution. It’s hard not to succeed when you have: a rowdy group of friends, the correct atmospheres for chilling, vibing, dancing, or freeing your mind, happy bouncers & employees, & strong drinks. It also goes to show that I don’t necessarily need the big name headliners or large scale names to have a great time. As long as the right music is available at the right times, it hardly matters about who is playing it. Big shout to security – gave Hanq and I a chicken wang, let us drink flasks and do our substances in peace…I mean c’mon! Big Ups! Big Ups to the unicorn – now the only thing left is the Meat Zebra – maybe next time. Thank-you to all who made our wonderful night possible!

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Related posts:

1. Lake Tahoe New Years Extravaganza 2011-2012
2. Envision Festival 2012 Preview & Initial Lineup
3. Mr. Bugsly’s Disco Biscuits After Parties – NYC 12/11

LostinSound is proud to bring you yet another contest!

This time around we are giving away a pair of tickets to Papadosio w/ Lespecial, Space Jesus, & pH Factor at The Middle East Downstairs in Cambridge, MA on February 10th 2012, brought to you by Elevated Arts & Entertainment.

 In order to enter the contest either e-mail us with “Papadosio!” in the subject line and your name at:

Lostinsoundorg@gmail.com

Or visit our facebook page to “like” and comment on the post associated with this contest in order to be entered for a chance to win! 

For more information on the event, visit the facebook event page

Good luck everyone, we hope to see you on the dance floor!

Related posts:

1. The Brothership Connection Tour feat. lespecial, Space Jesus, & Blue Boy Productions
2. Artist Spotlight: Space Jesus “Jasha Tull”
3. Conspirator Ticket Giveaway Winners – 3/4/11 NYC!

The walls at Music Hall of Williamsburg trembled as Santigold blew her audience away for a second sold out performance in New York City. It was an eclectic show filled with sensational dance moves, various costumes, and a guest appearance by Karen O of the Yeah Yeah Yeahs. At one point Santigold even brought fans onstage for an all out dance party; but for all the theatrics and props, what shined through the most was Santigold’s genuineness as a human artist and the music that came out of her.

Santigold commanded the stage with poise and confidence as she wailed out hit after hit and danced each beat with a beautiful smile on her face. Despite the star’s physical appearance and artistic presence, she emitted a humbleness about her which brought out admiring smiles throughout the crowd.

A bead of sweat wasn’t missing from a single square inch of anybody on stage and the audience reciprocated that energy. The back up dancers busted out sensual dance moves that at times bordered on comedic. Their props included pom poms, umbrellas and even each other, through multiple costume changes during the show. The support band was also dressed in goofy costumes, adding to the sense that this was not a group on stage to take themselves too seriously. They were there to show the crowd a good time and they succeeded.

Santigold’s music displayed an array of influences. In songs like “Shove It,” hip-hop infused reggae beats flowed through her vocals which at times reminded me of a young choir girl. At any time Santigold could shift to the fast-paced, hard-hitting vocals of a rapper to that of the frontwoman for a 90′s post-grunge/indie punk band such as Hole. This quality was exemplified in her tunes “L.E.S.,”  “Lights Out,” and “You’ll Find A Way.”

She’s been compared to many, but there is no doubt Santigold is truly a special performer and something original. To see her at such a small, intimate venue, where they blast the bass so hard, was a remarkable experience. Kudos to Santigold, her crew, and the venue for putting on a show that had it all.

Photo Slideshow:

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1. Nicolas Jaar at Music Hall of Williamsburg and MoMA PS1 [2.3.12 / 2.5.12]
2. BONOBO LIVE – Music Hall of Williamsburg, NYC
3. Trentemoller Live Band – Music Hall of Williamsburg 4/24/11

Brothers Past threw it down at Brooklyn Bowl. In case you didn’t make it to a show this winter, LostinSound has some eye candy below. Plus they’ve got a spring tour planned with stops in New York City, Boston, Baltimore, Philly and a few others. See full tour details here! Don’t miss out on this act!

Click the photo to scroll or let it play…

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