THE BIG ONE

HUSHconcerts & Another Planet Entertainment presents:

THE BIG ONE

The Flaming Lips, Ratatat, Tycho, Gramatik, Geographer, XXYYXX, Gigamesh, Shigeto, Worthy, Pumpkin, Thriftworks, Motion Potion, Late Night Radio

Thu, December 31, 2015

9:00 pm

$55 - $95

This event is 18 and over

Five, four, three, two, ONE!  These are the final words we hear before we launch into a fresh journey on January one.

Another Planet Entertainment and HUSHconcerts are proud to unveil a brand new vision of New Years Eve spectacle at the Bill Graham Civic: THE BIG ONE.

Ring in the New Year with an extended live performance by one of the world’s most celebratory bands THE FLAMING LIPS. Launch your 2016 with earthshaking after-hours sets by RATATAT and GRAMATIK. Warm up for the LIPS with live auditory journeys captained by TYCHO and GEOGRAPHER.

Side room stages will feature brain-melting music from the likes of XXYYXX, SHIGETO, GIGAMESH, WORTHY, PUMPKIN, THRIFTWORKS, MOTION POTION, LATENIGHT RADIO, and TYCHO’s patented dj set.. All this with many more artists still to be announced in the weeks to come.

THE BIG ONE
Five, four, three two, ONE!

These are the final words we hear before we launch into a fresh journey on January one. At that last moment, with all voices shouting that singular ONE, we experience a rare fleeting moment of unity, community, singularity, and ONE-NESS. The people of the American West have always been inspired by this ideal, and it's no coincidence that our grand, scenic artery is a lazy highway also known as ONE. All of these aspects came into play in the conception of this grand event. We invite you to join us for an evening of renewal, ignition, and unity. And ONE incredible party.

THE BIG ONE is conceived and executed by Another Planet Entertainment (Treasure Island Music Festival, Outside Lands Festival, Life is Beautiful) and HUSHconcerts (Sea of Dreams, Ghost Ship Halloween, HUSHfest).
The Flaming Lips
The Flaming Lips
The Flaming Lips are an American rock band, formed in Norman, Oklahoma in 1983.

Melodically, their sound contains lush, multi-layered, psychedelic rock arrangements, but lyrically their compositions show elements of space rock, including unusual song and album titles—such as "Psychiatric Explorations of the Fetus with Needles", "Free Radicals (A Hallucination of the Christmas Skeleton Pleading with a Suicide Bomber)" and "Yeah, I Know It's a Drag... But Wastin' Pigs Is Still Radical". They are also acclaimed for their elaborate live shows, which feature costumes, balloons, puppets, video projections, complex stage light configurations, giant hands, large amounts of confetti, and frontman Wayne Coyne's signature man-sized plastic bubble, in which he traverses the audience. In 2002, Q magazine named The Flaming Lips one of the "50 Bands to See Before You Die".
Ratatat
Ratatat
On July 17th Ratatat releases its fifth full-length album, "Magnifique," on XL Recordings, a solid five years after Mike Stroud and Evan Mast's last release, "LP4" from 2010. Following up on the experimental sounds of "LP3" and "LP4," Ratatat return to their core guitar-driven sound on "Magnifique."

"I feel like it's our strongest record," Evan says. "We did it in spurts. We made a few trips to different locations where we'd set up a studio and work." Mike and Evan spent time in Port Antonio,
Jamaica, upstate-New York (at the same studio where "LP3" and "LP4" were recorded), Long Island, New York and at their own studio in Brooklyn. Combining the bedrock beats and primordial riffs from their first two albums with the sonic

experimentation and production prowess of LP3 and LP4, Mike and Evan arrived at a new plateau with "Magnifique."

"We used to nearly always start tracks with a beat, but with this album we were often starting with melodies and adding beats and percussion after the fact," Mike says. "We were all about getting strong melodies." With more time, tools and experiences to work with, Evan and Mike created their most fully-realized album with proper "Intro" and "Outro" tracks and palette-cleansing interludes made to sound like someone tuning in music from an alternate world, often creating stark juxtapositions between lo and hi-fi sounds. "There's something cool about having those two types of sound right next to each other," Evan says, talking about their new song, "Abrasive", which, "starts off a bit grimy and shitty sounding and then slowly builds into this ultra hi-fi construction of layered guitars and keyboards. Some of the guitars were recorded an octave lower and then sped up to give them an unnatural gloss, it almost sounds like guitars on steroids. I like having that intensity and then getting down to tape
hiss, where you can hear the amp that's dying as you're playing the guitar."

The secret weapon on Magnifique's slower tracks is the pedal steel guitar, an instrument most commonly heard in country music, "but it's a really futuristic sounding instrument," Evan explains. While Mike and Evan have long been fans of mid-century instrumental duo Santo & Johnny who famously employed the pedal steel on their timeless hit, "Sleepwalking," they dove much deeper into the world of pedal steel on slower songs like, "Drift", "Supreme" and their first ever cover tune, "I Will Return," originally recorded in 1972 by a one-man-band called Springwater. "We were watching clips from the Lawrence Welk show because he used to have these slide guitar players
doing instrumentals live on the show," Evan says. "And some of the guys he had on were just unbelievable, their level of skill is unreal." Ever since we started working on this record we've been talking about how we wanted to bring the

focus back to guitars," Mike Stroud says. Debuting moments after Ratatat closed out the Sahara

Tent at Coachella, the album's lead single, "Cream on Chrome" builds on a pocket 4/4 beat and

walking bass line with a hypnotic guitar figure before getting crushed under wave after wave of

guitars and synth washes.

"We learned so much about song writing doing the last two records," Evan says. "Once we knew

what we knew having recorded LP3 and LP4, we wanted to go back to our old sounds and we what

we could do with that same palate. We wanted to do some more aggressive stuff too, songs that

would be really fun to play live." In March they introduced some of their new songs to an electric

crowd at their first show in nearly three years in Tulsa, OK. In part thanks to a face-melting stage

show featuring ludicrous lasers and Evan's stunning visuals, fans freaked out over the new songs

"Pricks of Brightness", "Cream on Chrome" and "Abrasive," the latter getting the most enthusiastic

response of the night.
Tycho
Tycho
For nearly a decade, Tycho has been known as the musical alias of Scott Hansen, but with the release of Awake – his second LP for Ghostly International – the solo project has evolved into a three-piece band. Reaching an entire new realm of sonic possibilities this time out, Awake is situated in the present, reaching Hansen's vision of Tycho like never before. "This is, in many ways, the first true Tycho record."

Following 2011's Dive LP, the San Francisco, California based designer toured extensively, accompanied by a full band on stage, his sound coalesced into a percussive, organic whole. Zac Brown (guitars, bass) continued to join Scott on the road, but it was the particular addition of Rory O'Connor's live drumming that ultimately sent Hansen back to the studio with a more precise vision for what the future of what Tycho could be. "After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album," Hansen recalls. Bringing musicians into Tycho's creative process was a step towards expanding his own songwriting and advancing the project beyond its current incarnation.

In a cabin near Lake Tahoe last winter, Hansen and Brown began fleshing out the structure of the new record, but it wasn't until they set up shop in the hills of Santa Cruz with O'Connor that it all fell into place. "It crystallized the vision of how the drums would come to the forefront on this record," says Hansen. The sound was much more stripped-down and concise with live instruments coming to the forefront. Perhaps it was leading up to this all along, songs like "Montana" and "Awake" perfectly exemplify Tycho's new, amped up, sound – unique to the group effort poured into the songs on the new record – while "See" and "Dye" echo ideas from previous works but with a clear with a view to the future. Working with Count Eldridge, who also engineered Dive, the team could fixate on the pulses that Tycho might have previously layered under synthesizers and exhume them with distinct bass and guitar patterns. Together they bridge an ethereal middle ground between old memories and new experiences, "While I grew up in California, I spent a lot of time as a kid in places like Colorado, Wyoming, New Mexico and Montana," says Hansen, "I got back in touch with those areas over the past few years and they inspired me a great deal." Hansen went on to build those images into the foundation behind the artwork for Awake, "I created the cover art to be a symbol, or a flag, to represent this fictional region comprised of idealized elements of all these western states."

Also known for his design work as ISO50, Hansen's visual and sonic efforts have dovetailed throughout the course of his career. "This is the first time in my life I've dropped everything to focus on one artistic pursuit," notes Hansen. Previous Tycho releases came to fruition from Hansen's delicate solo approach to constructing a song, tweaking each peak and valley, but 'Awake' is three like-minded people coming together where music becomes the sole purpose and true expression becomes the result.
Gramatik
Gramatik
In 2006, Gramatik and 2 of his friends, fellow MC's, released their debut hip-hop album as a group called 5th Element, which was critically acclaimed throughout the country as one of the best hip-hop albums in Slovenia. After the album, Gramatik felt hip-hop just wasn't enough, that he was limiting himself with doing only one genre while he enjoyed listening to so many of them so he started producing House, Techno, Breakbeat, Electro, Drum'n'Bass, basically any genre that he liked which was anything that evolved from Blues, Jazz, Soul and Funk, as those ''father genres'' were all embedded deep in his style, whatever he would do. He realized that to him, music is much bigger than a genre name and their specific categorization, it's all about embracing what moves you and rejecting what doesn't. He released his first ever track on Beatport.com in june 2008, which was an Electro House track, a remix he did for DJ Vitamin D's track entitled Motherfuckers Know Whos The Best. The track ended up 24 on the Electro House Top 100 chart, a nice surprise and an excellent quality validation for this newcomer. Soon after that he ended up on 40 of the House Top 100 chart with his tribal banger Letz Get Ill while his Dreams About Her EP topped the Chil Out top 100 chart for 3 weeks. He kept releasing different stuff on various labels all owned by DJ Vitamin D which he became good friends with. Not long after his first release stroke the chart, Vitamin D suggests to him that he should scrap up those 20 hip-hop beatz he had sitting in a flash player on his myspace for over 2 years and release them as an album on the new Chill Out/Trip-Hop/Instrumental Hip-Hop label he's about to open inspired by those same beatz he was listening to. So Gramatik does that(thinking he won't sell more than 3 tracks off the album since they were just 2:30 minuets long hip-hop beatz, which are not commonly sold on beatport) and the album he entitled Street Bangerz Vol.1 get's released in december 2008 on the fresh new label Cold Busted. little did he know that the album was gonna catapult straight to the 1 spot on the Top 100 Chill Out chart and has been holding hostage the first 20 spots ever since. Street Bangerz Vol.1 has been a total success, completely unexpected, selling over 50.000 tracks world wide in less than 6 months on beatport alone. It made him realize that quite often, the things that you expect to work the least, usually work the most. Gramatik is now working on various projects while determined to keep up the SB series, dropping one a year, perfecting them volume after volume and hopefully tour the world in due time.
Geographer
Geographer
In the summer of 2005, after a series of deaths in the family, Michael Deni left his hometown in New Jersey for San Francisco. He spent the next several months with his guitar and a synthesizer, turning that tragedy into the songs that would soon become the foundation for Geographer. With the additions of cellist Nathan Blaz and drummer Brian Ostreicher, Geographer spent the next year cutting their teeth in the Bay Area, winning over crowds with the heart-pounding epics that make up their debut record, 'Innocent Ghosts'. After being selected one of three 'Undiscovered Bands You Need To Hear Now' by SPIN Magazine and garnering considerable word-of-mouth praise from their energetic live shows, the band signed to San Francisco-based label Tricycle Records, releasing a 7" single for the song 'Kites' in October 2009. 'Animal Shapes' follows up 'Kites', building on the synth-driven aesthetic of the single, while irting with darker, more esoteric underpinnings. The record merges Geographer's aptitude for crafting beautiful, haunting melodies with textural sounds and polyrhythmic energy, marking an evolution of their distinct style. With the overwhelming response to the release of 'Kites' and 'Animal Shapes', punctuated by a dynamic and engaging live set, the band has already begun to make an indelible mark on the ears of music fans worldwide.
XXYYXX
XXYYXX
xxyyxx is the name of Orlando, FL's 17 year old producer, Marcel Everett. Marcel works out of his bedroom creating harmonious music that provokes emotion and transmits vivid images of peace and still sadness. His full-length releases are available for digital download on Relief in Abstract Records.
Gigamesh
Gigamesh
Gigamesh is the stage name of Matt Masurka, an American multi-platinum selling music producer and DJ. His numerous remixes and two EPs have earned him a swiftly building reputation as one of the most versatile and consistent names in indie-dance music.

Hailing from Minneapolis, Minnesota, it's no surprise Gigamesh has developed a keen taste for funk, disco and pop. The sound is immediately recognizable in much of his music, however he maintains a flexible aesthetic. Gigamesh is an ardent fan of minimalist concert music, film scores, classic rock, italo disco, French house, Miami bass, and genre-bending electronic music. These elements have all combined to forge his all-inclusive approach to music appreciation and creation.

Gigamesh first gained exposure on music blogs for bootleg reworks of pop hits from Michael Jackson, New Order, The Clash, Stardust and dozens more. He went on to produce a #6 Billboard Single (also iTunes 2010 Pop Single Of The Year) and very well-received remixes for Foster The People, Two Door Cinema Club, Katy B, Theophilus London, Citizens, Grouplove and more. Now a multi-platinum selling producer and frequent member of The Hype Machine's popular chart #1 spot, Gigamesh has firmly established himself as a respected trendsetter in modern dance music.

In October 2011, Gigamesh released his debut self-titled EP on Our Label International, which received wide acclaim in the disco and indie-dance community. Following his debut, Gigamesh began to develop a close relationship with French record label Kitsuné resulting in an invitation to perform on their highly-anticipated U.S. Club Night tour and the release of the "All My Life" EP by Kitsuné in May of 2012. In support of this EP Gigamesh has been touring the globe, including Asia, Australia, North America, and UK/Europe.

Gigamesh continues to gain recognition as one of the top producers of modern dance music going in to 2013. With no time to waste, Gigamesh is starting off the year by releasing a new single, 'Enjoy.' 'Enjoy' features a remix by Oliver and will be out on NYC's fresh house label - Nurvous Records (Feb. 12th).
Shigeto
Shigeto
Artists take on pseudonyms for a multitude of reasons, but in Zach Saginaw's case, those reasons run deeper than most. Zach records under the name Shigeto. It's his middle name; it's also his grandfather's name, a tribute to the Japanese branch of Zach's family tree. Shigeto also means "to grow bigger"—appropriate, given Zach's premature birth-weight of less than a pound. Today, Shigeto stands for Zach's vividly beautiful electronic music. Beat-driven but given to richly textured sound design, rhythmically fractured but melodically sumptuous, Shigeto's music is a bridge between the past and present, bringing the artist face to face with a creative legacy that spans decades.

Zach was brought up on a steady diet of Michigan-bred music, as his father spoon-fed him old Motown and jazz records by the crateload. Zach picked up the drums at an early age, spending much of his childhood playing in the Detroit/Ann Arbor music scene. After nearly flunking out of high school—save for his music studies—Zach spent three years studying jazz at the New School in NYC and three more in London, where he began woodshedding, obsessed with learning electronic production. Soon enough, beats materialized, Zach moved to Brooklyn and took up the name Shigeto, and Zach's peers began to take notice.

Zach's body of work has grown over the last few years to the tune of several EPs on Moodgadget as Shigeto and with A Setting Sun,

a pair of EPs under the alias Frank Omura (another family-name reference), and remixes for Worst Friends, Praveen & Benoit, Tycho, Mux Mool, Charles Trees, A Setting Sun, Beautiful Bells, Shlohmo, and more. The Semi-Circle EP and What We Held Onto EP were his first releases with Ghostly International in the spring of 2010. These were followed quickly by the well-received full-length Full Circle and Full Circle Remixes in late 2010 and early 2011 respectively. These releases are nominally indebted to instrumental hip-hop but, like Zach, straddling many worlds at once. Cool shades of ambient music, stuttering early IDM, dubstep sub-bass, and jazz melodicism color Shigeto's palette, which he wields with a painterly attention to detail.

Zach continues to be prolific with the upcoming 2012 release, Lineage—a mini-LP of sorts that has a complex constellation of sounds and ideas that we have come to expect from the producer/drummer. However, his compositional focus and restraint grounds songs that are otherwise cosmically inclined. Never has he demonstrated such complete command of his material.

Shigeto was one of the first of a wave of young artists who grew up influenced by the label's early output. And again, names come into play. "Putting out these records on Ghostly isn't just 'getting signed,' for me," says Zach, "it's becoming part of a family, an influence that I've respected forever." Let's just say the feeling's mutual.
Worthy
Worthy
When it comes down to all the press and hype, his name says it all. He is Worthy. With an in-depth knowledge of production, mixing, and performance, Worthy has the insight to play for his audience, cultivating intense positive energy on the dance floor that can only be portrayed as superhuman. His sound can be described as organic breakbeats with a mix of future house, 80's, booty bass, and techno. As Carl Cox said, "The Worthy sound has always been powerful, rocking, funky, bass-driven music at its best, and for me this is the new wave in house music." Worthy has received the recognition of major producers who have played his tracks including Sven Vath, Diplo, and Richie Hawtin, among many.

From salty aired islands to dark club basements, Worthy pays reverence to the traditional form of classic house while tripping off the mark and sinking into the euphoric less-charted territories of booty-clapping bass. Touring the globe, Worthy has performed at renowned venues like Hive in Switzerland, Sankeys in the UK, Electric Pickle in Miami, and Mezzanine in San Francisco. Beloved by his fanatical devotees, Worthy has drawn huge crowds to catch his heart-palpitating, sweat-inducing sets at festivals like Coachella, Ultra, Love Parade, and Burning Man. In 2011, Urb Magazine named Worthy one of the Top DJ's To See at Burning Man, along with M.A.N.D.Y., Andy C, Soul Clap, Seth Troxler, and The Crystal Method.

Growing up in Washington DC, Worthy was inspired by the early American rave scene. Upon moving to New York in the late 90's, he was exposed to artists like LTJ Bukem and Stacey Pullen whose music inspired him to play records across multiple genres, from techno and breaks to hiphop and drum n' bass. In 2001 he swapped coastlines, moving to San Francisco to pursue his music career. He team up with Claude VonStroke as well as fellow east coast brothers Justin and Christian Martin to create the prodigious outdoor party, Dirtybird, which quickly became an institution and a requisite destination for die-hard Bay Area and international fans. Dirtybird Records hatched from the popularity of these parties in 2005, and since then the label and parties have enjoyed tremendous success fueled by the obsession of their cult following.

In 2007 Worthy's breakout track, Irst Te, released on Dirtybird, quickly established his notoriety as a producer. Concurrently, Worthy released Crack El EP on Leftroom, and soon after, the track Work The Walls and it's accompanying music video on his personal label, Anabatic Records. Originally intended as an outlet for the release of his own music, Anabatic quickly branched out to sign new artists. Riding the frontlines of today's music scene, Anabatic Records has been providing a steady stream of edgy, high quality tracks.

In recent years, Worthy has produced a consistent slough of top releases. The release of Worthy & Yankee Zulu's Concumbia charted in the Top 10 on Beatport for tech house in 2009. He also released various tracks and remixes on Discobelle Records. In the fall of 2011, Worthy teamed up with UK producer Eats Everything. Their first track, Tric Trac, released on Dirtybird received industry praise. Played by artists like Diplo, Boyz Noise, and Cats N' Dogs, Tric Trac wildly grew in fan appeal moving on to become one of the Top 10 on Beatport for tech house once again. Additionally, Worthy's simultaneous releases, No Cure and With This combine dirty ass-clapping breaks and gritty synths. The pinball effect of his intricate basslines traverse across the cavern of your ear canal moving inward and blowing your mind. Illustrating the diverse juxtaposition of his range and sound, his February 2012 release, Why You Waiting, on Alive Records, is like glassy water on a quiet morning sea, his beats & melodies mirroring each other, creating a melodic interface that warms the soul. As Worthy states "I want to push my new sound, which is leaning more toward a breakbeat old-school vibe, but still want to keep with the fact that I play house and techno. My focus is to stay innovative and authentic and to continually reinvent myself as an artist."

Worthy has an original flavor that will amp you up, leaving you feigning for more. The synchronization of Worthy's music speaks to the connoisseur, the DJ, the groupie and the novice alike. Finding balance and unison across all electronic music platforms, his music is unparalleled. He reads his crowd, breaking and fusing genres, blending styles, and establishing an energetic dance floor camaraderie that makes even the most skeptic hater's booty shake.
Pumpkin
Pumpkin
Pumpkin is not like other DJs. He isn't bound by genre, tempo or playing the latest and hottest tracks. Instead, he finds a familiar thread in songs from multiple genres, styles, and eras, and weaves them into a sound that is all his own.

After starting his first band in 5th grade, and playing on the Sunset strip before he was old enough to drive, it wasn’t until 2004 that he discovered house music and began the process of transitioning from musician to DJ. In 2006 he was asked to join the LA based DJ and underground event crew Pocket Underground, and since then has become a mainstay at some of the largest, most innovative festivals in the country, including Coachella, Lightning in a Bottle, Art Outside & EDC.

Pumpkin's quirky remixes of familiar classics create a sense of dance floor sentimentality that crowds revel in. From Peter Gabriel to The Muppets, Blind Melon to folk songstress Tina Dico, Pumpkin digs deep when selecting a song to remix and reinterpret.

Equally at home in a dark warehouse, a packed nightclub, or sunrise at an outdoor festival, Pumpkin is a master at reading the crowd and adjusting his unique selection to turn any dance floor into a big ol' puddle of lovesauce.
Thriftworks
Thriftworks
Producer / DJ - available for remixes, post-production audio, scoring, sound design, and location recording
Motion Potion
Motion Potion
MoPo is a master craftsman and his building material is the world’s most precious commodity: TIME. Consider yourself fortunate If you get a chance catch a Motion Potion DJ set these days. An enormous amount of thought, planning, and scheming has to occur to make them happen. MoPo approaches his shows like a college professor, or a football coach, putting hours of preparation and thought into exactly who will be listening, and how exactly to reach into their souls. Every set is different, and each can unfold in hundreds of different ways, and this intense focus on preparation makes him so versatile, so intense, and so much damn fun. These are “DJ sets” in the classic sense, unfolding like poems with every song a word and every mix or drop a bit of punctuation. Once known as the “DJ for people who hate DJ’s” it would be more accurate to say that this is the DJ for those who love live music.
Late Night Radio
Late Night Radio
Alex Medellin has put in his time in the industry, coming up in Texas and California, but his ascension in the Colorado scene speaks to his ability to not only create a stunning array of original tracks, but bring them to life on stage, practicing what he preaches—guided by the mantra "emotion over energy."

Medellin's background in hip-hop is crucial to his development as a producer. Unlike some of his contemporaries who came up in the dance music scene, Late Night Radio keeps his cuts funky and inventive with an unshakable commitment to soulful grooves. Even when LNR breaks into high-energy, cabinet-rattling climaxes, the emotional depth remains. His wildly popular Vinyl Restoration series of old-school mixes has rooted his sound in deep, expressive sampling that keeps him firmly grounded in the lessons of the past, while reaching forward to craft his own signature sound.
Venue Information:
Bill Graham Civic Auditorium
99 Grove Street
San Francisco, CA, 94102