Review & Photos | Burning Man 2013 | Black Rock City

On the morning after the Man burned, AutoSubrise blessed the BRC massive with lush esoteric passages in a dreamlike chorus, dropping muted Krush-eqsue somber boom-bap amidst classics like the acoustic portion of Led Zeppelin’s “Babe I’m Gonna Leave You.” As morning arrived within the confines the AutoSub Dome, diabolical drip-hop was riding round the circumference of reality.

[Photo by Jeff Kravitz]

Breakbeat icon FreQ Nasty continued his evolutionary bass adventures on the Playa this year, and was literally all over the sound camps, killing sets at Camp Question Mark, Apex and elsewhere. His huge reggae influence was in full effect early as he mixed in his boomshot collabo “#1 Skanka” with Tippa Irie that made the dancehall housequake; Freq spun Dub thunderclaps beneath his irresistible, bombastic breaks. UK bass music can still be heard heavily in Freq’s music but more so a new-style Cali glitchhop and eerily melodic strains of bass terror reign Freq supreme. Darin’s signature blend of low n’ heavy, dub- wise breakbeats, dancehall, nu-glitch and booming 808 trap bangers kept revelers throwing down wickedly whenever Freq stepped to the Mac dub-plates.

BELI3EVER’s urban understanding and artistic tactics wreak havoc with hip-hop. His afternoon set at UFOm was the fucking future. Taking radio and club bangers from Justin Timberlake, Janet Jackson, Frank Ocean, and mixing in Flume and Lafa Taylor tracks, BELI3VER deserves proper daps. Another Oakland producer DJ on the Playa, his magnificent remixes of Erykah Badu’s “On and On” and Lauryn Hill’s undying “Doo Wop (That Thing)” would leave us all panting and praying and most of all BELI3VERS.

PhuturePrimitive was all-pervading on the Playa all week. We caught him at Apex’s massive coliseum, as well as down at 2nd and Esplanade, and he was talked about amongst ravers and dance mavens all week. His music’s cinematic quality conveyed lush melody, groove-heavy breaks and the fuzzy, glitch-out bass that brought fervor to the dance floor whenever he performed. Beyond the bass, the succulent synth work harnessed a tranquility that contrasted against his rugged beat-scapes, provided the yang to a funkafied yin within his music. Rain’s apropos, luscious remix of The Human Experience “Dusted Compass” closed down sets at both Apex and Camp Q, aural ecstasy and eroticism that concentrated the sexually charged vibes into a gambol of gargantuan prowess.


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