“CELEBRATE” TOP 20 AT ALTERNATIVE RADIO ADDS INCL. SIRIUSXM ALT NATION, KROQ, ALT 92.3 NEW YORK, & ALT 105.3 SAN FRANCISCO WATCH THE OFFICIAL VIDEO FEATURING EXCLUSIVE HOME FOOTAGE &…Read More
The Bomb Factory:, 21 Savage, Lil Yachty, Casey Veggies, Azizi Gibson, Blue, The Misfit, Tyler Sloan, Bobby Sessions, Canton Hall:, A-Trak b2b Baauer, Infected Mushroom, Juicy The Emissary, DJ T-Walk, The John Stewart, E-Kow, Trees:, Tobacco, Bane's World, Pearl Earl, War Party, Samus David Jr.
Fri, November 17, 2017 - Sun, November 19, 2017
Doors: 5:00 pm / Show: 6:00 pmThe Bomb Factory
$40.00 - $175.00
This event is all ages
1 ticket gets you in Trees, Canton Hall and The Bomb Factory! First come first serve, ticket does not guarantee entry if the venue is at capacity. Get there early!
For more info on the festival, visit https://www.oaktopia.com/https://www.thebombfactory.com/event/1568271/
The new and improved Bomb Factory is capable of accommodating up to 4,300 fans, with its mezzanine, casual suites & VIP options. The Bomb Factory can be sized to four different capacities and multi-seated options to accommodate shows as intimate as 1,000 people.
In the early 1900’s, the building manufactured automobiles for Ford. Later, The Bomb Factory was commissioned during WWII to produce bombs and ammunition for the armed forces, hence the name “Bomb Factory”. In the mid-90’s, The Bomb Factory was transformed into a venue for a few years, hosting bands such as PHISH, Radiohead, Dave Matthews Band, Sonic Youth, The Ramones, INXS, Nine Inch Nails, and Fugazi at its peak. Utilizing only the existing foundation and walls, the complete multi-million dollar redesign will make The Bomb Factory the premier Live Music Venue of Dallas, Texas.
Born in Frankfurt, Germany, but raised in Thailand and Singapore — as well as spendingtime in Cambodia and even Zaire (now the Democratic Repulbic of Congo) — before moving to Maryland with his family aged 11, Gibson’s early life enamoured him to the cultural complexities — and challenges — of the world he was growing up in. “I felt like an outcast”, he states, reflecting on first moving to the US, although, as evidenced by his bold, extroverted and abstract approach to making music, it was these experiences that would equip Gibson with the tools to push boundaries within the world of US rap. “I come at things from a completely different angle”, Gibson ascertains.
A decade after moving to Maryland, Gibson moved to Los Angeles in 2012 to pursue his dream of becoming a rapper. It was a chance meeting with Flying Lotus that proved the catalyst for his current trajectory, bumping into him at a small gym in his then apartment complex. After a series of emails were exchanged, Gibson sent across some demos and Flying Lotus was impressed enough to offer him a deal with his Brainfeeder label — itself a hub for experimental, genre-blurring and boundary pushing music.
In 2013, Gibson dropped his debut solo mixtape, ‘Ghost In The Shell’ — inspired by the classic Japanese manga series of the same name — after working with Flying Lotus and fellow Brainfeeder artist Jeremiah Jae on collaborative tape, ‘Ignorant Prayers’, in 2012. Met with both critical acclaim and serious hype from underground hip-hop fans in the US,
‘Ghosts In The Shell’, saw Gibson build on his penchant for warped flows, zoned-out beats and emotive, conscious lyricism — and alerted the wider rap community to his potential. “I just try strike that balance between the smooth, melodic stuff and what bangs in the club”, he says humbly.
In 2014, Gibson then went onto release ‘Backwards Books’, an 11-track project on Brainfeeder, before parting ways with the label to release two follow-up EPs in 2015 — ‘The Last’ and ‘Grim Meets Evil’ — the former of which landed courtesy of Waka Flocka Flame’s 36BrickHouse agency.
2015 also saw Gibson form his own imprint, preHISTORIC, and release 18-track album, ‘preHISTORIC Till Death’ — again via 36BrickHouse — an LP described by Complex as “incredibly modern and chock full of life”, spanning “multiple levels of tempo, intensity, and subject matter right from the get-go.”
His latest album, 2016’s ‘A New Life’, pushed his sound even further, also welcoming in imagery and an overriding aesthetic consistent with the grim reaper, a character to whom he feels he relates. “I’m always doing something with the grim reaper”, Gibson explains. “He’s someone who has a bad name, someone people automatically perceive to be evil —and I like that.”
As an ‘outsider’ first moving to US shores as an 11 year old, it is the task of challengingperceptions — both of himself, and fictionally, as the grim reaper — that provides continual motivation for his music. “People are blinded by stuff they hear on the radio, when there’s people out here making just as great in their own lanes”, he explains. “All I do is watch anime and play video games, but I happen to be good at making music. I don’t have the 21 Savage background, but I know how to make bangers.”
With a new album in the pipeline for 2017, Azizi Gibson continues to push rap music into new and uncharted territory — and delivers as one of the most creative, intriguing and conscientious rap artists in the game today.
Blue is well known for his extensive production work with national hip hop artist such as, Kendrick Lamar (P&P, P&P 1.5, & Faith), Mac Miller (Down The Rabbit Hole), Schoolboy Q, Ab-Soul, & Dorrough Music. And he's also praised as one of Dallas' best producers based off the work he put together as half of the groundbreaking duo known as Sore Losers in '09-'10 (Free Loaders, Get A Life).
As a producer, Blue prides himself on evolving and progressing as a musician. Though most of his success is in the Hip-Hop genre, he has an everlasting love for adding all forms of music into his own, especially those of the electronic nature. You can easily hear a trance arranged synthesizer here, an alternative rock sequence there, Texas "screw" style vocals in the backgrounds, and dub step wobble baselines behind it all. He simply calls his approach "experimental", because he won't limit himself to toying around with one genre.
As an artist, Blue takes a different approach to rap than your average hip-hop artist. He looks at rap as a form of self expression to share his artistic side which takes you on a journey with well thought out concepts and stories of his life experiences rather than to "out rap" everyone in the industry with metaphors and punch-lines.
Looking to expose this new sound to a larger audience, Blue released an EP entitled "Numb." at the end of 2011 and it was well received amongst the public. Numb. held a huge internet presence on Hip Hop blogs (2DopeBoyz, OnSmash, Pigeons & Planes, Sneak Hype, & More), proving that there is a lane for something as unique and different as Blue's vision.
Blue plans to continue this success into 2012. He promises that this is the year that he really bounces into the national spotlight as both a trendsetter in sound and as a provocative lyricist.
Bobby Sessions is the collective's resident poet laureate. Think Nas, Jay-Z and Eminem with him. Or, as he puts it himself: ""I carry the lyrical load load of the group, if you will."
Album: LOA (Law of Attraction) to be released on November 20.
Following the success of Infected’s 2009 album “The Legend of the Black Shawarma”, Erez and Duvdev delivered their most multi-faceted electronic album to date with “Army of Mushrooms” in 2012 on Dim Mak Records. More recently, the duo released “CVII”, a long-awaited sequel to their critically acclaimed 2003 album “Converting Vegetarians”.
Adoring fans continue to congregate en masse for Infected Mushroom’s averaged 120 show/year tour. Their jaw-dropping live performances never fail to impress with psychedelic visuals, their trademark enigmatic vocals, hypnotic arrangements, and psy-trippy synthetic rhythms.
Infected Mushroom continues to sell out shows around the globe and all walks of life gather in attendance for the same reason: to experience the world’s greatest Psy-Trance band of the decade.
As a producer and composer, he has worked with University of North Texas, Dish Nation, and Impractical Jokers as well as independent artists like Opio, Vast Aire, and Bonnie Whitmore.
As an artist, his latest release Attention Kmart Choppers on Street Corner Music flips old Kmart in-store tapes into something new. It was awarded an artist microgrant from the Greater Denton Arts Council and received some praise:
“He took the basics of chopping and looping samples and turned it into something way more musical, plus the way all of the tracks connect to one another is pretty genius.” - Black Milk
“I can honestly tell you that I have never seen a concept executed so flawlessly. Especially an instrumental concept album.” - House Shoes
He currently DJs and gigs with various groups regularly in the DFW area, playing Electronic, Hip Hop, Country, Latin, Hawaiian, and Punk, and works out of his studio in Denton.
On top of being the best place to catch a concert in town, Trees also is a premier event space & catering business. Contact us to throw a party or have yours catered!
Over the course of three LPs and a number of EPs, the Pennsylvania snake-synth-charmer has continuously depended his approach to aural depravity. Ultima II Massage brings the listener up to TOBACCO’s speed as he widens a jagged swath through his own weird catalog, each disparate track damaged to the point of
contributing to some sort of greater, lurching Frankenstein-like state.
There were notable breaks en route to TOBACCO in the present a commission to remix White Zombie’s Thunder Kiss 65, a new Black Moth Super Rainbow record entitled COBRA JUICY, and producing Demon Queen’s EXORCISE TAPE with vocalist Zackey Force Funk. All these experiences no doubt played a role in TOBACCO’s progression. You can hear disembodied bits of Boards of Canada, early Def Jam records, and Gary Numan, or maybe just public-access TV and bad VHS dubs of 80’s horror flicks. Or the sun exploding and everything you’ve ever loved melting away. At the end of the day, TOBACCO’s just trying to make meditation music.
Since 2011, the retro-minded, punk-leaning lot have used a mix of skuzzy guitars, horns and a dirty organ to wage a two-front war on the music world: on the road, where they’ve spent relentlessly hitting both coasts with like-minded acts like Dallas’ Sealion, and at home, where War Party has been named “Best Punk Band” by the Fort Worth Weekly, and where members of the band have helped foster Fort Worth’s emerging DIY scene through the Lo-Life Recordings label they founded and the Dreamy Life Records brick-and-mortar shop they help run.
In 2015, War Party's "Teenager on Drugs" single was released in a 7" boxset also featuring Texas' own John Wesley Coleman through Windian Records, that saw the band significantly pumping up the Dion & The Belmonts portion of its patented brand of “don’t-wop” – though not at the expense of some of its rougher edges."
The Bomb Factory
2713 Canton Street
Dallas, TX, 75226