SONIC BLOOM /// June 14-17 /// Hummingbird Ranch ft. Shpongle, Keys N Krates, Nightmares on Wax, Liquid Stranger, Thriftworks, EOTO & Many More!

SONIC BLOOM /// June 14-17 /// Hummingbird Ranch ft. Shpongle, Keys N Krates, Nightmares on Wax, Liquid Stranger, Thriftworks, EOTO & Many More!

Thu, June 14, 2018 - Mon, June 18, 2018

Doors: 4:00 pm / Show: 7:00 pm

GA, Camping, VIP and Early Entry Passes Are All Available

SONIC BLOOM is a 4-day camping festival that brings electronic music, dance, art and human performance together in an atmosphere that inspires open channels of co-creativity for everyone involved...

Together, we create a resonant field that unifies all forms of human creative expression.

Participate with some of the highest quality, most cutting-edge live electronic artists & producers to create what is an incredibly intimate boutique festival experience... a unified field.
Shpongle (pronounced /ˈʃpɒŋɡəl/) 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 .....
Keys N Krates
Keys N Krates
Electronic band from Toronto, Canada. The band consists of Adam Tune (drummer), David Matisse (synthesizer/keyboardist), and Jr. Flo (turntablist).
Nightmares on Wax
Nightmares on Wax
Nightmares on Wax is an institution, albeit a delightfully different one. The man behind the moniker, George Evelyn, just keeps reinventing, not in a wilful Bowie way, but flowing along, going at whatever speed he fancies to wherever his ideas carry him. For the last seven years he’s lived in an Ibizan farmhouse and, while he’s Warp Records’ longest serving artist – “the granddaddy,” as he puts it – he overwhelmingly focuses on his current projects, letting them revitalize his music.

Perhaps best known in Europe for his ground-breaking ‘90s albums ‘Smokers Delight’ and ‘Carboot Soul’ – although in America the cinematic lo-funk of 2006’s ‘In A Space Outta Sound’ is better known – Evelyn’s pride and joy these days is his four year old underground party on the white island. Wax Da Jam at Las Dalias, Ibiza’s oldest nightclub, 50 this summer, has become a go-to haunt for locals, for promoters and insiders, the place where George explains, “Everyone turns up as individuals but everybody leaves as one.” Here he soundtracks a night of groove, experimentation, percussion and improvisation, alongside guests such as DJ Shadow and Roots Manuva. It’s all fun, though, all for kicks. It’s all about ‘Feelin’ Good’, hence the name of his new album.

If that sounds a bit hippy dippy, forget it, ‘Feelin’ Good’ is zesty with funk, soul, even the throbbing low slung house tune ‘Tapestry’. Of the latter he says, “House was always about fun to me. There was a period when it didn’t sound like it was made by people who could dance but now it feels like the groove is back.”

He should know, he was there at the start, delivering those seismic 1989/90 bleep classics ‘Dextrous’ and ‘Aftermath’, but it was his KLF-influenced, five-years-in-the-making dissection of hip hop to its stoned component parts, ‘Smokers Delight’, that proved he was about more than the dancefloor. He followed this with 1999’s ‘Carboot Soul’, ten tracks that had a more organic funk feel.

Both albums, in fact all George’s recording career, alongside his contemporary Balearic vision, filter into the genial bounce and contagiousness of his seventh studio outing. ‘Masterplan’ is bracing trip hop soul featuring Californian folk singer Katy Gray, ‘Now Is The Time’ is a squidgy funk assault that George reckons is marinated in Wax Da Jam flavour, ‘Give Thx’ bleeds ‘70s Motown vibes, ‘Eye (Can’t See)’is a gripping, glitched, Latin groove, the latter pair both featuring ex-Zero 7 singer Moses, while ‘Om Sweet H(om)e’ finds M People percussionist Shovel and George himself revving up to the sounds of chanting Tibetan monks.

It’s an album that’s sonically rich, with orchestration and strings created in Berlin by Jazzanova arranger Sebastian Studnitzky, keyboard by George’s long-term collaborator Robin Taylor-Firth, drums by virtuoso German jazzer Wolfgang Haffner and bass by Paul Powell, who used to be at the heart of Mica Paris’s rhythm section.

Ah yes, the bass, that’s where it all started for George Evelyn. Raised in Leeds’ inner-city (Hyde Park, Burley), the son of a bingo hall accountant mum and engineer dad, a childhood friend’s older brother was don of the local Messiah sound system. George embraced dub and reggae from nine years old. The first artist he became a fan of was dub remixer Scientist – “It wasn’t just the music, it was the cartoon sleeves,” he laughs, “I was nine years old, after all!” Picking up his father’s appreciation of everything from Duke Ellington to Isaac Hayes to Shalamar, he also built his own home system from shoeboxes and discarded speaker units purloined from a nearby television factory, all attached to a Fidelity record player.

“I come from the city but sunshine is in my music,” he explains, “It was always a natural dream to make music in the sun like I do now. Not to take away from any of my previous music but ‘Feelin’ Good’ is what I’ve always been trying to do. For instance, on ‘Give Thx’ I wanted the message to be a universal thank you for everything. I wanted to get it across in a way that was happy but wasn’t preachy, wasn’t cheesy. I had to manifest it, to genuinely mean it with energy. That’s how I went through the process of making the whole album, really feeling it.”

As well as working with Warp, George had his own label for five years, Wax On, but he ceased involvement in 2010 to concentrate on his increasingly popular Wax Da Jam nights, which grew out of his Wax Da Beach parties in San Antonio Bay.

“It’s been pivotal to my music making,” he says, “and also made me think about the new concept of my live show. I’ve done the full band thing and the sound system thing and now I really want to marry the two and to do so with a real live percussive edge.”

With tours coming this Autumn, Europe and the US will be able to see these ideas come to fruition. In the meantime, there are the ten tracks of ‘Feelin’ Good’, the same number as ‘Carboot Soul’, a good omen according to George, a man positively overflowing with good omens.

“The album initially had many possible names,” he ventures, “But I got on the mic at Wax Da Jam and talked about how music shifted the energy to make people feel good. It’s everbody’s sovereign right to feel good, so I want the album to remind people of that, a soundscape to feeling good, that’s my aim.”

Setting his sights high, as ever, with a cheery, unpretentious sincerity, George Evelyn continues to carry the original flame of acid house and late ‘80s Balearica, pushing it alive’n’kicking into 2013. His new album will surprise many, as bubbly, warm and lively a thing as will be heard all year. Nightmares on Wax are back. Then again, like the underground itself, they never really went away.
Liquid Stranger
Liquid Stranger
In an ever-evolving universe, the art of maintaining complete and total fluidity is the most necessary key for survival. Renowned for his metamorphic capabilities and expertly crafted sonic adventures, Liquid Stranger has mastered his ability to slip in and out of genres all while honing his own personal style.
Liquid Stranger has earned his reputation for exuding incommensurable talent and taking audiences on a soul-stirring aural journey of genre-bending beats on the dancefloor. He has performed at some of the most innovative events and festivals around the globe including: Shambhala, Bella Terra, Escape from Wonderland, EDC Orlando, Summer Camp, Paradiso Festival, Beyond Wonderland, Shambhala, Inox Park, SXSW, Enchanted Forrest, Elements Festival, Infrasound Equinox, EDC Las Vegas, etc.
In his latest installment, Nomad Vol 2, Liquid Stranger seamlessly blends three tunes- Bounce, Freefall & Zenith- that radiate aqueous harmony, are dripping in luxurious bass and topped off with a splash of funk. The Nomad Series in itself is an excellent representation of Liquid Stranger as an artist as it was created purposefully to push the envelope of genres and create something that could easily satisfy the likes of anyone listening. In accordance to Liquid Stranger himself, "I travel a lot and go through phases of living a somewhat nomadic life style." He goes on further to explain how much of his inspiration is drawn from these journeys, "and the Nomad series is about taking all these influences and blending them into one sonic stew."
Liquid Stranger is no alien to the Beatport charts, and has held the #1 spot on numerous occasions and in several different genres including: dubstep, reggae and drum & bass. Over the course of six full-length albums, countless EPS and a plethora of single releases, he's yielded worldwide hits as diverse as "Ripple" and "Bombaclaad Star", which reigned supreme as the #1 reggae track of 2011. "Shake My Ass" dominated the drum'n'bass chart at #1, while his third album Private Riot has become a timeless dubstep classic, solidifying him as a force to be reckon with.
In 2015, Liquid Stranger continues to transcend musical dimensions by curating thought- provoking harmonies. This year he has also brought us Wakaan, a label pioneered by Liquid Stranger himself. With the new label he has given free-form compositions and artists a place to thrive. However, what's next to come is simply unforeseen, as he is a jack-of-all-trades. But one thing is for certain, whatever he brings to the table will be produced mindfully and masterfully to the highest artistic standard.
Those who are unfamiliar with his music often tend to categorize him as only a heavy dubstep artist, which is anything but the truth. The most effervescent quality of Liquid Stranger is his ability to shift from genre to genre all while maintaining a sense of smoothness and consistency, which in turn makes him one of the most unpredictable artists to date. In a sense, he has ended genre barriers for the sake of musical storytelling taking whatever sounds he needs to put forward the intended vibe.
Liquid Stranger's omnifarious approach to music has led him to stand out amongst a pack of artists desperately trying conform to a commercial demand. Proven to be a timeless staple to the world of electronic dance music by bridging the gap between mellow and heavy, what's next can not be foreseen for this contrastive musician.
Berkeley, California based electronic producer Jake Atlas, aka Thriftworks, offers up his own fresh, outsider style weaving eclectic samples and explosive modern bass that is continually pushing boundaries and taking the art of beat crafting to new heights. Garnering much praise from fans and critics alike with his steady stream of new material, Thriftworks is quickly becoming known as one of the finest up and coming experimental producers with his outside of the box sound and unclassifiable style. Thriftworks’ use of deep low-end and wall to wall synths seem to channel something ancient and mysterious, offering up an intoxicating musical high with an invigorating breath of fresh air. These sounds activate the senses, enrapture the mind, move the body and leave audiences begging for more.
A live band on hi-tech hyperdrive, EOTO has forged new territory in the electronic dance music movement. Locked and loaded with computers, loopers, midi controllers, routers, software, mixers, and the latest in music technology, multi-instrumentalist Michael Travis and percussionist/vocalist, Jason Hann have sent a speeding bullet through the electronic dance community due to their innovative 100% improvised approach and as a result, their exclusive sound. Not just a haphazard foray into experimental music, the duo starts their musical adventure from scratch (there are no pre-recorded loops, no backing tracks, and no pre-constructed songs in their live production) building each set, note-by-note, beat by beat, live before the audience as each show explodes into a full-scale dance party.

A double-headed juggernaut, the duo works effortlessly as they twist and turn through a series of genres including Drum & Bass, Electro, Dubstep, House, and Glitch Hop dance music; virtually constructing a new sci-fi soundtrack each night they perform.

What makes EOTO extraordinary is the way the duo designs their performance by looping live guitar, bass, and keyboard synths, alongside with live drums and vocals, to carve out their sound right before the eyes and ears of the audience. No small feat in music production; even the highest order of studio producers, audiophiles, and musicians have a hard time wrapping their head around EOTO’s approach, and the wild ride that results.

Much of EOTO’s other-worldy sound takes place long before the band takes the stage. Using unique mic placement and internal software EQ for the drums, combined with an internal system for self mixing and monitoring, EOTO is able to craft its sound to the audience in a way that most sound engineers might overlook when mixing an electronic band. It’s not just rock instruments on stage mixed with computer sounds, its live instruments treated in a different way, sonically, for the purpose of performing a different style of music. These nuances are always a source of amazement when EOTO is approached about how they “get their sound".

Best known as the drummer and percussionist for the wildly successful String Cheese Incident, Michael Travis cut his musical teeth in the junior high school marching band playing the French horn in the early eighties. However, his deep love for rhythm has always played a major role in his career. In 1986, Travis picked up the hand drum and started playing guitar in Santa Cruz, California. It wasn’t until 1995, when the drum kit found its way into his life, a moment that would shape his career forever. For more than twenty years he has held down the rhythm section for audiences spanning hundreds of thousands of fans, in cities around the globe. His keen interest in international and world music has dotted his career allowing him to explore multiple genres of music, while keeping dexterity in each instrument he plays. His ability to perform as adeptly on the guitar, bass and drums allow EOTO to create a rich organic sound, often overlooked in today’s press-play DJ community.

When Jason Hann joined Michael Travis in the rhythm section of the String Cheese Incident in 2004, he was no stranger to the big stage. Performing professionally since the age of 12, he has toured and recorded internationally with the likes of Isaac Hayes, Loreena McKinnett, Dr Dre, Rickie Lee Jones and Vinx. His depth and knowledge of percussion has taken him around the world to study in countries as far as Mali, Ghana, Haiti, and Korea allowing him a rare deftness to switch seamlessly through a variety of genres of music, whether it's Rock, R&B, Pop, Jazz, Latin, Latin-Jazz, Flamenco, African, Persian, Electronica, Techno and World music. With an extended biography that reads like the who’s who of music, it’s no wonder he found himself naturally drawn to developing a more experimental sound of his own, with EOTO.

As the perfect musical pairing, EOTO draws upon their rich history, training, and diverse influences to create an innovative yet fully improvised electronic music experience unlike any other on the scene today. EOTO has had many unique sit-ins that have allowed for, yet, another mark of their original sound including, The drummers of Stomp, members of String Cheese Incident, members of Umphrey’s McGee, Stanley Jordan, Dominic Lali (Big Gigantic), David Satori & Sidecar Tommy (Beats Antique), Billy Kreutzman, Vinx, Toni Childs, Karsh Kale, Jamie Janover, Steve Kimock, Jamie Shields (New Deal), and Adam Deitch (Lettuce) just to name a few.

Over the years, EOTO has taken home numerous awards including “Best Live Dubstep” at the Dubstep Awards in 2012 as well as multiple awards for their cutting edge visual show, and most recently ranked in the “Top 50 bands to see live” by Hann was also listed as the number 2 live EDM drummer by , and EOTO was mentioned as having the top 3 best Projection mapping shows by ill-methodology just this year.

With no two songs alike, and over 6 years since the last release of a studio album, this is not a band that will be known for their one-hit-wonder, or their big magazine/blog "feature of the week”. This is a band whose testament will stand firmly in their unparalleled creativity and ability to produce brand new material at every performance they play.
Venue Information:
Hummingbird Ranch
Spanish Peaks Country, CO