Rage against the dying of the light.



MUSIC In this moment, I see music as a vessel for my imagination; not so much as an endpoint or product. It is the means to an End (albeit a very special and sacred means) where the End is a vision I cannot quite describe, or a story I choose to not yet tell. Mostly because it doesn't feel like the right time to tell it: ours is an age of immediacy, entitlement, and sound bytes, where attention spans shrink in direct correlation to the expansion of information. I have theories swimming in my head that I want to explore, express, discuss, and learn more about, but that will likely remain locked up until I can either strip them down into summaries or perhaps devise some strategy with which to deliver my thoughts in a more succinct and poignant manner.



PHILOSOPHY Since liner notes are not the best place for such things, where is the best place? I am bursting with ideas to the extent that few can be pursued before they are swallowed by 10 more.



CREDIT Credit is odd, since we are all beautiful dustballs of coincidence, magic and mystery and I believe that everything we do and think is related to other people. If my thoughts do not originate from other people, they were surely inspired by and affected by others. So deepest thanks to all sounds and individuals who have inspired me. I enjoyed taking another turn on this carousel of reinterpretation.



BOOMBOX: A great piece of wisdom my father once gave me is, "you can accomplish anything you want, but you cannot accomplish everything you want." Choosing how to spend our lives and what dreams to pursue is therefore the pulsing crux of this existence. We are like battery cells of finite potential, yet the potential is vast and extremely untapped. I hope to inspire empowerment in your mind, as my parents did in mine.



COZZA FRENZY: There is this surge of indescribable energy I have felt which is conjured in certain moments by music. It is very mammalian, urgent, bestial, yet celestial and hypnotic at the same time. I love thinking about how sound is physical.... how it is WAVES, moving THROUGH us. I love contemplating sound in terms of "WEIGHT" not "VOLUME"... This song is about the chemistry of sound, and the helplessly impulsive responses of genuine abandon that it can conjure.



THE CHURN OF THE CENTURY: When pondering the concepts of existence and time, I can't help feeling that "it has ever been thus" ...that despite various cultures or translations this has all happened before again and again, and everything is intensely remixed and recreated in flabbergasting recombinations of novelty and predictability. I love how wild I get when I really let go, and I love thinking how wild it got in the early 1900's, or in other countries and cultures centuries ago. This song title is kind of a cheeky ode to our own turn of the century, dawning the new millennium which will swallow us into memory and then erase us within a few centuries if not sooner.



LOVE HERE: I was not involved in the original creation of this song, but upon first hearing it I knew without a doubt that I wanted to try a reinterpretation. In addition to being a fan of Mr Projectile, I have actually been transformed emotionally by his music, and hopefully he will continue to let me play with his awesome auditory creations.



BACKPACK REHAB: When I heard the original "Small Easy Little Beeps" by Cates & DPL, the vocoder made me go crazy...such a savage noise! They let me play with the samples, and the parts fit perfectly over handfuls of beats, making it difficult to choose which beat to use in the end. During the countless hours of editing and re-editing this song, I got that phrase locked in my head "can't stop, don't stop" and I would catch myself chanting it over and over like some wild-eyed crazed lunatic obsessive, which is definitely a quality I appreciate in a human. Drive. Drive is awesome. The feeling of being driven by something greater than myself might be an illusion, but is sure gets the job done.



TELEPORT MASSIVE: Zumbi took the beat and did all the vocals himself, recorded them and sent them back ready to ROCK... it's a story about losing yourself in music, which I thought fit with the theme of the album. I'll try and get lyrics posted up on bassnectar.net soon, much respect to Zion I!



WEST COAST LO-FI RIDES AGAIN: On some rare occasions I like musical simplicity and whimsy, and how a song can make me feel like I'm enveloped inside a daydream. WCLF is my alias for creative liberty, when I do not care to try and create a masterpiece, and do not want to adhere to rules of cool, but just want to jam. It's like my 12-year-old self hi-jacking my studio and going to town. I just stand behind him and play air guitar.



WHEN I GROW UP: Elliott found this song and gave it to me as a perfect candidate to remix. Everything came together instantaneously... Fever Ray's voice is just so rich and perfect and agelessly child-like, yet wise... the beat I used was something I created to play in reverse, which I thought was nicely coincidental when I learned the title of her original song.



I AM A LASER: Back in the nineties, a bunch of us got up to no darn good once a month on the full moon. Gathering in groups of a few hundred (sometimes close to a thousand) in outdoor areas throughout California's beaches and forests, we would lug out a sound system to some secluded area and then go berserk together, having wild adventures throughout the night, often late into the next day. This song reminds me of that magical sensation of the sunrise when your exhaustion begins to fade and you know you are only just beginning to make sense of everything that just went down. And in a small way, this remix collaboration with Double You is a gift and a bow to all those wonderful people who will always be a part of my life.



WINDOW SEAT: So much of my life is spent in transit, much of it drifting off into thoughts and daydreams. This song started one evening staring out the window of a plane at a sunset cast upon a world of clouds and atmosphere SO BEAUTIFUL that I had to make some goofy 1990's style synth loops and a beat to try and handle it.



I WISH I WAS A HIPSTER: Everyone likes style, and feeling cool. I just really think its all so goofy (myself included)... The goofiest part is how when a trend starts EVERYONE does it...it's this weird Code of the Lemming, that seems intended to say "I am unique and individual" but just ends up so weird. In this song I imagined myself in some Japanese Space Station playing in a rock band where all instruments were original Nintendo gaming machines. I played keys in the band. We had a vocalist too, but you can only hear her if you sing along.



ARE YOU READY: The idea for this song came from listening to Capital J mixes... just super mega insane ripping drum & bass music that made me literally injure myself on multiple occasions because I couldn't stop thrashing around. I searched for him endlessly, and finally tracked him down on Instant Messenger. He gave me permission to sample his tune and kind of take a left turn on it. The end product is so fast and furious its almost ludicrous, and over the years has been one of my favorite encore tracks... it feels like the beginning of the end.



BOOMBOX REMIX: Dylan created a whole customized template for music using the program Ableton. He and I spent months and months co-designing the music studio of our dreams and when we were finished, I thought we would take a test drive using the files from 'Boombox." I have been wanting to hear drum & bass music at half time since 1995, and you only really find it here and there in a few random tracks by artists like SPOR and NOISIA. ...This tune didn't fully go there because we got distracted by sounds that went "Geeeyarrsht" and "WYGGHHRRGGH" and spent all our time geeking out and muttering nonsensically to ourselves but it was a step in the right direction. I wanted to put it on the album as a bonus track that kind of ends the story at the beginning.



As my life's journey continues it's headfirst dive into music, and things only continue to get more and more intense, wild, new, and mysterious, I truly want to thank those humans in my life who have shared themselves with me; your thoughts, opinions, perspectives, and adventures. Also to those who I may have never met but who influenced me I give a heartfelt bow and a curtsey, sometimes referred to as a "Burtsey' in certain districts of Northern California. I am a summary of those who have inspired me and I want to reflect my genuine human awe at what a sublime exchange we are all involved in. So many amazing things have happened in my life because of other people's contribution, and I do not think any of this would exist for me if it weren't for hundreds, if not thousands, of friends, collaborators, contributors and cohorts. THANK YOU ALL!



Also, thank you to Dar, who I so erroneously left off the credits of Mesmerizing The Ultra. This thank you is dedicated to everyone I am brainlessly leaving off of the credits for THIS album. I promise it is an accident and I will find a way of making it up to all of you or die trying.



- - - - -



01 Boombox

Features vocals and lyrics by Queen Deelah, courtesy of Hyfee Luv Records.



02 Cozza Frenzy

Features vocals by Ashel Seasunz. Lyrics by Ashel Seasunz & Lorin Ashton.

03 Cozza Frenzy

MEGA-BASS REMIX

Remixed and redirected by Lorin Ashton.



04 Churn of the Century

Trumpet & brass section by Downtown Chris Brown.



05 Mr. Projectile 'Love Here'

BASSNECTAR REMIX

Written & Produced by Mr. Projectile. Remixed and redirected by Lorin Ashton. Vocals by Amy Turany.



06 Backpack Rehab

Feat. Cates&dpL

Features original vocals, vocoder, and samples of Cates&dpL ‘Short Easy Little Bleeps.’



07 Teleport Massive

Feat. Zumbi

Vocals and lyrics by Zumbi courtesy of Live Up Records & Jah Works.



08 West Cost Lo-Fi Rides Again

Contains vocal samples by Azeem.



09 Fever Ray 'When I Grow Up'

BASSNECTAR REMIX

Remixed and redirected by Lorin Ashton. Contains additional vocals by Azeem, mcazeem.com. Original Music and Lyrics by Fever Ray. Recorded, Produced and Mixed by Fever Ray and Van Rivers & The Subliminal Kid at 5 Guys & A Dog Studio. © 2009 Mute Corporation under exclusive license from Rabid Records. rabidrecords.com | feverray.com



10 I Am A Lazer

Feat. Double You

Features original music by Double You, recorded in Mt. Shasta CA, 1997.



11 Window Seat

Features laughter from Lotus and Jazz.



12 I Wish I Was A Hipster

WCL-F Remix

Everythingcooleventuallybecomesabsurd.com



13 Are You Ready

Feat. Capital J

Features original music by Captial J. Remixed and redirected by Lorin Ashton.



14 Boombox

BASSNECTAR & ILL GATES REMIX

Remixed and redirected by Lorin Ashton and Illiam B. Gates (aka Dylan Lane,



Bassnectar - Cozza Frenzy (Z-Trip Hellrazor Remix)

Written by Lorin Ashton for Amorphous Music.

Remix by Z-Trip. Zach Sciacca p/k/a Z-Trip for Z-Trip Music BMI

Published by Amorphous Music (ASCAP), Z-Trip Music BMI

© Child’s Play Records & Amorphous Music





- - - - - - - - - - -



This music would not exist without invaluable contribution from Dylan Lane, Craig Russo, Bil Bless, and Josh Hinden, all of whom I have collaborated with for years if not decades. I hope that as time goes on, I will continue to dive deeper and deeper into the passion of artistic collaboration with great minds.



Additional musical hi-fives go out to all vocalists and artists featured on this album, as well as those musical genius collaborative partners like: Jantsen, J Wikid, Audiovoid, Coppercat, Excision, Beats Antique, Number Nin6, Dunkelbunt, Amp Live, FreQ Nasty, and many others. Also I want to give heartfelt thanks to all the teams of strategy/supervision and HELP at C3, Madison House, MDM Artists, Om Records, Child's Play, Amorphous, Elliott, Daysha, Lia, Ralf, Boris, Trevor, Andy, Squints, Bill, Dylon & The Wobble Factory, Ari & PK, Lumatech, Music Matters, Ash, Alli & Art in Action, Eric, Cerrithwen, Jeremy, Rabekah, Gina, Kurt, Leah, Phil Meadley and all the hundreds and hundreds of amazing volunteers and collaborators who have helped spread the word, improve the delivery, and taught me how to Wax On, Wax Off.



All tracks written & directed by Lorin Ashton, exceptions and additions noted above.

Mastered by Bil Bless, (except Track 3 by Josh Hinden.



A&R by Jonathan McDonald.

Original Art by Ralf Schuetz.

Layout and Design by Valerie Shagday for

Child’s Play Records.



© Amorphous Music in association with Child’s Play Records. Published by Amorphous Music (ASCAP)



::

Tel: 415.904.1800 :: Fax: 415.904.1807

In this moment, I see music as a vessel for my imagination; not so much as an endpoint or product. It is the means to an End (albeit a very special and sacred means) where the End is a vision I cannot quite describe, or a story I choose to not yet tell. Mostly because it doesn't feel like the right time to tell it: ours is an age of immediacy, entitlement, and sound bytes, where attention spans shrink in direct correlation to the expansion of information. I have theories swimming in my head that I want to explore, express, discuss, and learn more about, but that will likely remain locked up until I can either strip them down into summaries or perhaps devise some strategy with which to deliver my thoughts in a more succinct and poignant manner.Since liner notes are not the best place for such things, where is the best place? I am bursting with ideas to the extent that few can be pursued before they are swallowed by 10 more.Credit is odd, since we are all beautiful dustballs of coincidence, magic and mystery and I believe that everything we do and think is related to other people. If my thoughts do not originate from other people, they were surely inspired by and affected by others. So deepest thanks to all sounds and individuals who have inspired me. I enjoyed taking another turn on this carousel of reinterpretation.A great piece of wisdom my father once gave me is, "you can accomplish anything you want, but you cannot accomplish everything you want." Choosing how to spend our lives and what dreams to pursue is therefore the pulsing crux of this existence. We are like battery cells of finite potential, yet the potential is vast and extremely untapped. I hope to inspire empowerment in your mind, as my parents did in mine.There is this surge of indescribable energy I have felt which is conjured in certain moments by music. It is very mammalian, urgent, bestial, yet celestial and hypnotic at the same time. I love thinking about how sound is physical.... how it is WAVES, moving THROUGH us. I love contemplating sound in terms of "WEIGHT" not "VOLUME"... This song is about the chemistry of sound, and the helplessly impulsive responses of genuine abandon that it can conjure.When pondering the concepts of existence and time, I can't help feeling that "it has ever been thus" ...that despite various cultures or translations this has all happened before again and again, and everything is intensely remixed and recreated in flabbergasting recombinations of novelty and predictability. I love how wild I get when I really let go, and I love thinking how wild it got in the early 1900's, or in other countries and cultures centuries ago. This song title is kind of a cheeky ode to our own turn of the century, dawning the new millennium which will swallow us into memory and then erase us within a few centuries if not sooner.I was not involved in the original creation of this song, but upon first hearing it I knew without a doubt that I wanted to try a reinterpretation. In addition to being a fan of Mr Projectile, I have actually been transformed emotionally by his music, and hopefully he will continue to let me play with his awesome auditory creations.When I heard the original "Small Easy Little Beeps" by Cates & DPL, the vocoder made me go crazy...such a savage noise! They let me play with the samples, and the parts fit perfectly over handfuls of beats, making it difficult to choose which beat to use in the end. During the countless hours of editing and re-editing this song, I got that phrase locked in my head "can't stop, don't stop" and I would catch myself chanting it over and over like some wild-eyed crazed lunatic obsessive, which is definitely a quality I appreciate in a human. Drive. Drive is awesome. The feeling of being driven by something greater than myself might be an illusion, but is sure gets the job done.Zumbi took the beat and did all the vocals himself, recorded them and sent them back ready to ROCK... it's a story about losing yourself in music, which I thought fit with the theme of the album. I'll try and get lyrics posted up on bassnectar.net soon, much respect to Zion I!On some rare occasions I like musical simplicity and whimsy, and how a song can make me feel like I'm enveloped inside a daydream. WCLF is my alias for creative liberty, when I do not care to try and create a masterpiece, and do not want to adhere to rules of cool, but just want to jam. It's like my 12-year-old self hi-jacking my studio and going to town. I just stand behind him and play air guitar.Elliott found this song and gave it to me as a perfect candidate to remix. Everything came together instantaneously... Fever Ray's voice is just so rich and perfect and agelessly child-like, yet wise... the beat I used was something I created to play in reverse, which I thought was nicely coincidental when I learned the title of her original song.Back in the nineties, a bunch of us got up to no darn good once a month on the full moon. Gathering in groups of a few hundred (sometimes close to a thousand) in outdoor areas throughout California's beaches and forests, we would lug out a sound system to some secluded area and then go berserk together, having wild adventures throughout the night, often late into the next day. This song reminds me of that magical sensation of the sunrise when your exhaustion begins to fade and you know you are only just beginning to make sense of everything that just went down. And in a small way, this remix collaboration with Double You is a gift and a bow to all those wonderful people who will always be a part of my life.So much of my life is spent in transit, much of it drifting off into thoughts and daydreams. This song started one evening staring out the window of a plane at a sunset cast upon a world of clouds and atmosphere SO BEAUTIFUL that I had to make some goofy 1990's style synth loops and a beat to try and handle it.Everyone likes style, and feeling cool. I just really think its all so goofy (myself included)... The goofiest part is how when a trend starts EVERYONE does it...it's this weird Code of the Lemming, that seems intended to say "I am unique and individual" but just ends up so weird. In this song I imagined myself in some Japanese Space Station playing in a rock band where all instruments were original Nintendo gaming machines. I played keys in the band. We had a vocalist too, but you can only hear her if you sing along.The idea for this song came from listening to Capital J mixes... just super mega insane ripping drum & bass music that made me literally injure myself on multiple occasions because I couldn't stop thrashing around. I searched for him endlessly, and finally tracked him down on Instant Messenger. He gave me permission to sample his tune and kind of take a left turn on it. The end product is so fast and furious its almost ludicrous, and over the years has been one of my favorite encore tracks... it feels like the beginning of the end.Dylan created a whole customized template for music using the program Ableton. He and I spent months and months co-designing the music studio of our dreams and when we were finished, I thought we would take a test drive using the files from 'Boombox." I have been wanting to hear drum & bass music at half time since 1995, and you only really find it here and there in a few random tracks by artists like SPOR and NOISIA. ...This tune didn't fully go there because we got distracted by sounds that went "Geeeyarrsht" and "WYGGHHRRGGH" and spent all our time geeking out and muttering nonsensically to ourselves but it was a step in the right direction. I wanted to put it on the album as a bonus track that kind of ends the story at the beginning.As my life's journey continues it's headfirst dive into music, and things only continue to get more and more intense, wild, new, and mysterious, I truly want to thank those humans in my life who have shared themselves with me; your thoughts, opinions, perspectives, and adventures. Also to those who I may have never met but who influenced me I give a heartfelt bow and a curtsey, sometimes referred to as a "Burtsey' in certain districts of Northern California. I am a summary of those who have inspired me and I want to reflect my genuine human awe at what a sublime exchange we are all involved in. So many amazing things have happened in my life because of other people's contribution, and I do not think any of this would exist for me if it weren't for hundreds, if not thousands, of friends, collaborators, contributors and cohorts. THANK YOU ALL!Also, thank you to Dar, who I so erroneously left off the credits of Mesmerizing The Ultra. This thank you is dedicated to everyone I am brainlessly leaving off of the credits for THIS album. I promise it is an accident and I will find a way of making it up to all of you or die trying.- - - - -Features vocals and lyrics by Queen Deelah, courtesy of Hyfee Luv Records. myspace.com/queendeelah Features vocals by Ashel Seasunz. Lyrics by Ashel Seasunz & Lorin Ashton. artinactionworld.org

Remixed and redirected by Lorin Ashton.Trumpet & brass section by Downtown Chris Brown. berkeleytrumpet@mac.com Written & Produced by Mr. Projectile. Remixed and redirected by Lorin Ashton. Vocals by Amy Turany. semisexual.com Features original vocals, vocoder, and samples of Cates&dpL ‘Short Easy Little Bleeps.’ myspace.com/cates&dplmusic Vocals and lyrics by Zumbi courtesy of Live Up Records & Jah Works. zionicrew.com Contains vocal samples by Azeem. mcazeem.com Remixed and redirected by Lorin Ashton. Contains additional vocals by Azeem, mcazeem.com. Original Music and Lyrics by Fever Ray. Recorded, Produced and Mixed by Fever Ray and Van Rivers & The Subliminal Kid at 5 Guys & A Dog Studio. © 2009 Mute Corporation under exclusive license from Rabid Records. mute.com Features original music by Double You, recorded in Mt. Shasta CA, 1997. iamalaser.com . Remixed and redirected by Lorin AshtonFeatures laughter from Lotus and Jazz.Features original music by Captial J. Remixed and redirected by Lorin Ashton. djcapitalj.ca Remixed and redirected by Lorin Ashton and Illiam B. Gates (aka Dylan Lane, thephatconductor.com Written by Lorin Ashton for Amorphous Music.Remix by Z-Trip. Zach Sciacca p/k/a Z-Trip for Z-Trip Music BMIPublished by Amorphous Music (ASCAP), Z-Trip Music BMI© Child’s Play Records & Amorphous Music- - - - - - - - - - -This music would not exist without invaluable contribution from Dylan Lane, Craig Russo, Bil Bless, and Josh Hinden, all of whom I have collaborated with for years if not decades. I hope that as time goes on, I will continue to dive deeper and deeper into the passion of artistic collaboration with great minds.Additional musical hi-fives go out to all vocalists and artists featured on this album, as well as those musical genius collaborative partners like: Jantsen, J Wikid, Audiovoid, Coppercat, Excision, Beats Antique, Number Nin6, Dunkelbunt, Amp Live, FreQ Nasty, and many others. Also I want to give heartfelt thanks to all the teams of strategy/supervision and HELP at C3, Madison House, MDM Artists, Om Records, Child's Play, Amorphous, Elliott, Daysha, Lia, Ralf, Boris, Trevor, Andy, Squints, Bill, Dylon & The Wobble Factory, Ari & PK, Lumatech, Music Matters, Ash, Alli & Art in Action, Eric, Cerrithwen, Jeremy, Rabekah, Gina, Kurt, Leah, Phil Meadley and all the hundreds and hundreds of amazing volunteers and collaborators who have helped spread the word, improve the delivery, and taught me how to Wax On, Wax Off.All tracks written & directed by Lorin Ashton, exceptions and additions noted above.Mastered by Bil Bless, (except Track 3 by Josh Hinden. superpositionstudios.com A&R by Jonathan McDonald. jmc@childsplayrecords.com Original Art by Ralf Schuetz. mz4design.com Layout and Design by Valerie Shagday forChild’s Play Records.© Amorphous Music in association with Child’s Play Records. Published by Amorphous Music (ASCAP) bassnectar.net :: childsplayrecords.com Tel: 415.904.1800 :: Fax: 415.904.1807

Press Releases 09.08.09 BASSNECTAR TO RELEASE NEW ALBUM ‘COZZA FRENZY’ — NATIONWIDE TOUR LAUNCHES MID-SEPTEMBER READ MORE...

