Camp Bisco | Scranton, PA | July 13th, 2017 – July 15th, 2017
Jul
2017
13

CAMP BISCO



  • Date:Thursday, July 13, 2017 - Saturday, July 15, 2017
  • Venue:Montage Mountain
  • Address:Montage Mountain, Scranton, PA
  • Age:18+
  • Artists:The Disco Biscuits, Bassnectar, Pretty Lights Live, Griz, Lotus, Gramatik, Action Bronson, Shpongle, 12th Planet, Beats Antique, Break Science, Classixx, Desert Dwellers, Electric Beethoven, Emancipator, Escort, The Floozies, G Jones, Ganja White Night, Goldfish, Kasbo, Kill the Noise, The Knocks, Louis Futon, Louis the Child, Manic Focus, Nightmares on Wax, Opiuo, Paper Diamond, Pigeons Playing Ping Pong, Pouya, The Russ Liquid Test, Slushii, Space Jesus, Team Ezy, Tokmonsta, Too Many Zoos, Turkuaz, Twiddle, The Werks, Cloudchord, Clozee, Higher Learning, Jaw Gems, Maddy O'Neal, Marvel Years, Melvv, Pusher, Roots of Creation, Sophistafunk, Subtronic, Swift Technique, Wax Future, Wingtip, Yookie
  • Promoters:Camp Bisco
  • Time:11:00 AM – 12:00 PM

THE DISCO BISCUITS

Uniting elements of electronic dance music with more traditional forms of American rock, the Disco Biscuits have long established themselves as one of the most exciting – and influential – touring bands in the country. In the late 90s, the band pioneered a unique style of music, often referred to as ‘trance-fusion,’ that distinguished them from their peers, while heavily influencing an entire generation of younger ‘livetronica’ acts.

It’s now been more than 10 years since guitarist Jon Gutwillig, bassist Marc Brownstein, keyboardist Aron Magner, and original drummer Sam Altman first formed the Disco Biscuits from within the ivy walls of the University of Pennsylvania. Since then (and with Allen Aucoin now on drums, following his victory at a Bisco firing squad drum-off at Atlantic City’s Borgata Casino in 2005), the band has repeatedly sold out many of the nation’s most prestigious venues and are a proven draw at U.S. festivals, earning key slots at majors such as Bonnaroo and Lollapalooza. Along the way, they’ve accumulated cover stories (Relix Magazine), accolades (Jammy Award for ‘Jam of the Year’), and hit videos (‘Caterpillar;’ MTV Latin America).

The Disco Biscuits’ live show has developed from a regional nightclub attraction to a full on American experience. As Brownstein explains, ‘There’s this deep, fun-loving community built around the band that’s a decade old and which extends throughout the entire country. When we go anywhere, there’s something else going on that’s not just about the band and the music, but it’s a part of a greater experience.’

Standard rock concerts have become formulaic showcases where bands support their latest album by performing new songs amidst a selection of greatest hits. The Disco Biscuits, on the other hand, use their shows to create an entirely new album every night, in front of a live audience. Gutwillig equates it to watching a painter craft an image from scratch, using just a palette and a muse. ‘It’s unlike buying the art, where it’s already painted,’ he says. ‘It’s watching the paint getting thrown on the canvas in a frenzy. And we’re doing it with dance beats and we’re doing it with grooves and we’re trying to make it as exciting as possible. It’s almost like getting cars into a field with cameras and just shooting a high-speed chase right there on the spot. What we’re trying to do, for the observer, is to make the most awesome, exciting, high-speed chase that they could possibly watch. And we’re trying to do it in a way that makes everyone feel like they went there, they lived it, and they felt it deep inside. That’s our goal.’

At the end of each summer, the Disco Biscuits host the largest live electronica event of its kind in the country. Called ‘Camp Bisco,’ the festival has featured electro superstars (Amon Tobin, Infected Mushroom), live bands (Umphrey’s McGee, Brazilian Girls), hip-hop acts (The Roots, Slick Rick), and even weekend-long games of ‘color wars’ organized and run by the fans.

Beyond just making music, the band is involved in community & political outreach. Brownstein is a co-founder and co-chair of HeadCount, a non-profit voter registration organization that registered nearly 50,000 new voters at live concerts in 2004 and aims to register 200,000 additional voters for the 2008 election. In addition to the Disco Biscuits, HeadCount has received support and involvement from a number of top-tiered touring acts, including the Dave Matthews Band and Phil Lesh & Friends, while members of the Grateful Dead, moe., and Leftover Salmon sit on its board of directors.

BASSNECTAR

By combining sound and force with weight, the Bassnectar experience engulfs the senses. The experience of Bassnectar is more visceral than auditory, as the music sets any stage for an adventure without rules or limitations. On Bassnectar’s stage, there is no hesitation in fusing the familiar with the strange or the classic with the cutting edge.

Bassnectar is the brainchild of Lorin Ashton, and his open-sourced musical project is as diverse as it is imaginary, as raw as it is meticulous, and as fierce as it is stunning. Spanning the spectrum of sonic style, the music draws inspiration from every genre imaginable and supplies a synthesis of intense, wobbling basslines and hypnotic soundscapes for a devout international audience that desires the beautiful and the bestial in the same breath.

In whatever medium Bassnectar works, music is the lure and social impact is the sincere intention. According to Ashton, “We are so blessed, and so deeply fortunate to be alive and awake right now…it’s a basic truth, but it’s very powerful. I think privilege confers responsibility, and Bassnectar is a reflection of that opportunity to give back; the motion of my cells bouncing back at the world.”

GRIZ

A true pioneer and master of musical expression, GriZ (Grant Kwiecinski) stands head-and-shoulders above the competition in terms of the sheer variety of his ever-evolving technical prowess. A tremendously passionate and soulful producer, GriZ has a peerless knack for creating profoundly engaging melodies to offset the presence of his phenomenally designed bass. Where many artists become mired in a over-simplified and standardized method of production for the sake of creative efficiency; GriZ has no qualms sacrificing speed for the sake of quality, technical diversity, and an unrelenting devotion to progress and dynamism. Beginning his saga as a producer at the young age of fourteen, it is immediately evident that his talent and devotion will lead him on a journey of exceptional musical diversity and exploration. From funky rhythms to jazzy melodic embellishment, GriZ effortlessly incorporates his instrumental zeal for the saxophone with his lifelong dedication to soulful, laser-infused beat-making. This is only the beginning for Grant, and already the stylistic range of his material is both inspirational and utterly awe-inspiring.

LOTUS

Lotus has crafted a unique musical style outside of simple genre limitations. On a given weekend the band could be the only group with guitars at an all electronic music festival and then the next night crash a traditional rock festival with their dance heavy beats, synths and samples. Equal parts instrumental post-rock and electronic dance, the band’s distinguishing feature is the ability to maintain a decidedly unique musical voice and remain current while bucking passing trends.

No matter what the venue, the energetic joy and catharsis of a Lotus show is infectious. The band slowly built a devoted fan base through steady touring and the crowds have grown at an increasing pace. This grassroots growth has made the band in high demand for festivals including Bonnaroo, Outside Lands, Ultra, and Rothbury and earned the band sold out shows at the country’s premier theatres and clubs.

Lotus’s new self-titled album moves in a decidedly more electronic direction than their previous two releases – Hammerstrike (2008) and Oil on Glass/Feather on Wood (2009). Analog synthesizers, manipulated sounds, dub effects and heavy bass are complemented by horn and string arrangements in addition to Lotus’s standard guitar/bass/drums instrumentation. Grooves move from slinky funk and gritty half-time on the first half of the album to the beautiful and expansive closing track Orchids. While short pieces of vocals are used throughout, the only song to feature singing is The Surf. The track may be the closest thing to an indie-pop song the band has released, but the melodic guitar hooks and ecstatic synth parts are pure Lotus.

Similar to their music, the recording process for the album looked in multiple directions in order to achieve a distinct style. Using traditional recording methods to track live to analog tape and then editing and mixing using modern techniques created an expanded musical space filled with uniquely crafted sounds. The band road tested and tweaked these tracks for the better part of two years. The result is an album worthy of the self-titled status – the band’s singular sound and spirit runs through every track.

GRAMATIK

Gramatik has always been an early adopter. It began at the age of 3, when his mother would catch him glued to the radio in his older sister’s room, checking out the cassette tapes with American funk, jazz, soul and blues. He started making his first beats on an early PC by the time he was 13, and soon the kid from Portoroz, Slovenia figured out how to harvest the power of free file sharing to build a following throughout the US & Europe. Tracks spread, hype grew, tours followed, and before long his digital persona forged the initial inroads into the US market, landing him both a label and an agency.

Gramatik landed on US soil as a fully formed artist who knows how to do things his way. He signed to a label, Pretty Lights Music, that gives all of its music away for free, which went hand in hand with his own philosophy about ”freeing music by making music free”. Soon after, he scooped up his hometown crew and moved to Brooklyn, NY. Alongside Gramatik, the multimedia collective known as Dream Big features guitarist and producer F.A.Q, video director and filmmaker Anze Koron and graphic and web designer Martin Kenjic, with whom he has been friends since they were kids, sitting in a small town on the Adriatic coast, dreaming of breaking out into the wide world beyond. Now’s the time.

Gramatik’s Beatz & Pieces Vol. 1 is his first release on Pretty Lights Music and builds on the amazing momentum from his last release, No Shortcuts and of course the now legendary Street Bangerz beat series. With over 100,000 tracks sold on Beatport.com, topping all kinds of genre charts, Gramatik has clearly matured into a world-class producer. He earned nominations for “Best Chill Out Artist” and “Best Chill Out Track” at the 2010 Beatport Music Awards. More recently, after posting a clever remix of Zeppelin’s “Stairway to Heaven”, he shot to number 1 on HypeMachine in a matter of hours, and has been since appearing in the site’s ‘popular’ top 10 chart with every new release. Within the US, it’s been a huge year of growth for Gramatik, performing at festivals across the US and alongside labelmate Pretty Lights, including epic sold out shows at Red Rocks. This summer promises even more high-profile appearances, including gigs at Lightning in a Bottle, Wakarusa, Electric Forest, Camp Bisco, Wanderlust and many more.

Gramatik will be releasing his new EP in March 2012 with full time publicity from Magnum PR.

SHPONGLE

Shpongle is a psychedelic downtempo or Psybient music project. The members are Simon Posford (aka Hallucinogen) and Raja Ram (one third of The Infinity Project). Simon takes care of the production, instrumentation and programming, while Raja Ram is the flautist and Cunning Linguist. They DJ separately and together, Simon having just completed 52 shows in the USA touring with a visual extravaganza known as ‘The Shpongletron’.

Dongle and Mongle are the only two other words rhyming with Shpongle…a strange hybrid of electronic manipulation and shamanic midgets with frozen digits squeezing the envelope and crawling through the doors of perception, find a new pair of dice…extra numbers and colours an infinite expanding bubble, filled with a bizzare, strange world of dripping hallucinatory wallpaper, a garden of earthly delights………..Shpongleland…..a place of well being, and reflective surfaces, morphing like an anacondas skin and shimmering like a million colour changing squid, at fifty fathoms.. truly unfathomable like seperating water from it’s wetness, the Ineffable Mysteries unweave …..

12TH PLANET

12th Planet is the electronic music pioneer whose off-axis beats and subsonic frequencies orbit on the forefront of global bass culture. Recently named ‘Los Angeles dubstep god’ by Rolling Stone, 12th Planet AKA John Dadzie and his influential label SMOG Records are widely credited for bringing the British movement stateside, and continue to be a crucial force in the evolution of electronic music. 12th Planet’s DJ sets now include a myriad of styles that reflect the current, diverse landscape of EDM music and continue to display his role as an essential tastemaker in the dance music world.

12th Planet burst onto the scene in 2006, releasing tracks that helped ignite the North American EDM explosion and collaborating with the likes of Skrillex, Kill The Noise, Datsik and Plastician. In 2012, 12th Planet’s seminal track ‘Reasons’ (Doctor P Remix) was named by SPIN Magazine as one of the ‘30 Greatest Dubstep Songs of All Time’ — after all, ‘nothing set the tone for domestic bass culture quite like this Planet’s orbit,’ said SPIN. 12th Planet has gone on to be recognized as ‘King of Dubstep’ by SPIN and ‘US dubstep godfather’ by UK’s dance music bible Mixmag after headlining tours across the globe and performing at major festivals including Coachella, Electric Daisy Carnival, Ultra Music Festival and more.

Since 2006, 12th Planet has also led what’s become one of the most thriving underground movements in electronic music, with MTV calling the crew a ‘pioneering incubator of bass music in America.’ The SMOG crew, with 12th Planet at the helm, continues to produce top quality events in Los Angeles and beyond, always pushing forward as an internationally recognized leader in U.S. bass music. However, John Dadzie’s role has extended beyond just bass music to encompass the whole of EDM, including what he recently described to OC Weekly as ‘transition music,’ — a sound that incorporates diverse styles and BPMs. His DJ set is no longer classifiable by genre but best dubbed ‘a trip to the 12th Planet and back.’