Category Archives: California

Lightning In a Bottle Compass Preview

This year at Lightning in a Bottle Gathering in Bradley, California, Breaking Borders will be covering the alternative spaces and conscious acts that emphasize change making principles as well as actively engage attendees in educational opportunities. The vast amount of attractions are focused on holistic healing, traditional knowledge, environmental awareness and cross-cultural understanding. Our main focus will be centered around The Compass. This newly redesigned Temple of Consciousness will consists of 6 interactive areas including Craft, Landing, Feast, Crossroads, Cauldron and Beacon. Each space is designed to host different topics, disciplines and expertise through a mix of talks, panels, workshops, and global music performances.

As LIB continues to expand, we’ve noticed the general perspective can change. As is the case with many highly acclaimed festivals over time, the point of view switches from a smaller conscious gathering to a larger commercialized attraction. When this happens the underlying spirit can become masked by big names and trendy appeal. For this reason, we have chosen to look deeper into these essential aspects of Lightning in a Bottle that we believe are the soul of any transformational gathering. To give you an idea of the magic in store this year at the Compass, we have broken down each space, acknowledging their intensions and showcasing the type of experiences that await your arrival.

BEACON:

Created with the intention to educate and cultivate action, The Beacon supports the movement towards a better world with talks, rituals and performances.  The Beacon will serve as center stage for LIBs largest non-musical talks, in addition to hosting musical artists at night. The Beacon will center performances on connectivity with the earth and each other by focusing on our interwoven stories and collective  journey towards consciousness.

 

LANDING:

At the Landing, we expect to get our hands dirty. With a focus on the history of the First Nations, Permaculture and Technoculture, this stage will host the most diverse speaker line up at LIB this year. Talks on the rights and importance of indigenous land will highlight a speaker line up that promises to engage listeners and encourage action.

 

HAVEN:

The Haven will be LIBs most intimate hub. Healing sessions and lessons on body work promote enhanced contact with healers and with each other. Workshops on interpersonal dynamics and relationships will help realign relations with loved ones and strangers alike.

 

CRAFT:

Craft is an area dedicated to hands-on learning opportunities surrounding plant medicine, folk tradition, community healing and craft making. Home to spaces such as Community Lodge, Witches Hut, Herbal and Folk Arts Arbors and Hearth, this Point of the Compass will be your source to engage in beautiful crafts and learn new skills all related to earth based living with the intension of restoring harmony with nature.

 

CROSSROADS:

To enhance your global senses, we bring you our most anticipated area, Crossroads. This interactive space is your ticket to explore world culture at Lightning at a Bottle. Offering exciting and diverse classes on music and dance traditions from around the the globe, at Crossroads you will be able to break borders, learn methods and embrace the depth of cross-cultural expression.

 

CAULDRON:

A distinct space housed within the Craft area, Cauldron offers a powerful atmosphere full of magic and spirit. Centered around esoteric and mystical studies, this transformational hub will be a fuming container for you to explore the depth of our intuitive existence throughout history and uncover understanding of our place within the great mystery.

 

FEAST:

An always tasteful space at festivals alike, Feast will be a point of the Compass you will gladly attend at some moment. Housing the infamous Learning Kitchen, this nourishing space will provide opportunities to appease your palate and experience the culinary healing behind food culture. Along side workshops, Feast will provide the Last Supper’s Brunch Club, an eating area for you to indulge in the sensory delights of food in a social fashion.

 

The reimagined Compass Peninsula will provide LIB participants with speakers and music to bring life to the movement towards a better world. Sitting at the center of LIB, the Compass Peninsula includes workshops and speakers that will inspire, educate and motivate action. The Crossroads, Landing and Cauldren are aligned to serve as the primary centers of education at LIB. The Haven and Craft will provide opportunities to learn tangible methods of action and connect more deeply the self and those around us. The Beacon will stand at the center of the Compass, educating participants on alternative visions for the future and giving direction to the conscious movement.

Lightning In a Bottle will be taking place over Memorial Day weekend from May 24-28th. Breaking Borders will be covering the events music and speakers throughout the weekend. Look forward to another preview of Lightning In a Bottle’s musical line up soon.

Bringing ‘Andes-Step’ to the USA

An Interview with Nicola Cruz

Nicola Cruz is an eclectic international producer born in France of South American descent.  He has established himself as an underground icon of South America’s electronic music movement. By bridging local soundscapes from the mountains and jungles with deep latin flavored rhythms and bass heavy beats, Nicola Cruz is bringing the Andean soundscape to dance floors worldwide.

This summer Nicola performed at several popular West Coast musical festivals, including Beloved Festival in Oregon and Symbiosis Gathering in California. We were fortunate enough to meet with Nicola before his set at Symbiosis.  We delved right into his thoughts on why the South American sound has caught our attention in the U.S. and abroad.

He thinks that the “American music scene has lots of different crowds but [he] feels the response has been nice. The American listeners always show [him] a lot of love at shows, which always feels good.” His music “lacks talking but emphasizes unique samples and rhythms from [his] South American roots,” which he believes is becoming more popular in the US.

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Nicola Cruz’s music offers a beautiful balance of sounds, drawing from a verity of sources that reflect his passion for Andean culture and the landscapes, rituals and rhythms that raised him.  His vibrant mix of organic samples and deep rhythms, topped with smooth seamless melodies creates a soundscape for listeners to simultaneously journey into and move the body through.

He feels that the sonic qualities of his music is not just deeply reflective of the world he comes from, but also a personal practice of self-expression.  Thus his music is an example of his own personality, the greater identity of Andean culture and South America at large.

Ultimately, his sound and practice “came natural for [him] while living in Quito. Living there, you are really exposed to music from the mountains (Andes), the coast and the jungle. The mix of environments in Ecuador creates an interesting contrast of sub-cultures and through their soundscapes takes listeners on a whole trip from the jungle to the coast to the mountains.”

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He explained, “I really like to take music from around the country that I find through parties I attend or on vinyl records as well as natural environments, etc. Whatever I can sample from really, At the same time however, I love to record live instruments to create more sounds that I compose organically.”

We wondered if any traditional Andean Music or indigenous instruments inspired his music, but he responded, “not really, only some percussion“. Furthermore, “for me, studying the folklore and folk music is kind of a new thing. When I say that I mean in last 5 years but still I find it to be a new addition in my production. “

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The defining theme for us at Breaking Borders during our Symbiosis coverage was whether festival culture functions as a was to ‘break down borders,’ by bringing people together as one, regardless of cultural differences.  His response was simply, “yeah, well, several years I’ve been playing festivals world-wide so that’s integration right there.”  He symbolizes a new wave of artists who are breaking borders and defying cultural boxes and is the perfect example of an artist who does not fit into a single genre and is difficult to label.

He continued, “I’m known for playing everywhere from large disco clubs to smaller spaces that are more rustic and traditional, there are no limits.” This resonated with us and validated our understanding that the music of Nicola Cruz is an essential reflection of himself and his culture. A reflection which should be heard as personal musical expression, one that blurs genre lines, and returns the focus to the celebration of diversity without judgement of difference.

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We were curious what the future holds for Nicola Cruz and if any new tours, projects or any collabs are on the horizon. He replied, “I will continue to be active internationally with shows coming up in Mexico, Brazil and then back to the U.S for New Years in Los Angeles.” Additionally, “there will also be new compositions since if I don’t have that, I don’t have anything. As for upcoming  collaborations, they are secret right now but I can tell you that I am always working with others.”

As a final question, we asked Nicola if he recommended any global festivals in South America that are similar to Symbiosis. He told us that “Nomad festival in Chile is a good one coming up next year. It contains a strong global fusion element and is always looking to collaborate with people from around the world through volunteering, performance, etc.

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Breaking Borders With The Brooklyn Gypsies

Interview with Brooklyn Gypsies

After discovering the Brooklyn Gypsies earlier this year at Ozora Festival in Hungary, we were thrilled to see them perform again at Symbiosis Gathering right here in California. This unique global fusion group caught our attention with their incredible, multicultural stage performances and powerful message of “sin fronteras” (without borders) which resonates strongly with our mission here at Breaking Borders. The New York based Brooklyn Gypsies are an emerging collaboration project consisting of six urban nomads each deriving from an international origin with their own ancestral roots in gypsy music. The fusion of their individual styles and performances is apparent as soon as the group hits the stage, creating a syncretic new sound of “future roots” live- tronic music.

We are grateful to conduct an interview with Troy Simms, a founding member of the Brooklyn Gypsies who plays alto and soprano saxophone. He spoke on behalf of the group, sharing with us how they began and the collective intention behind their sound. Troy also offers meaningful reflections on world fusion music today and how it’s becoming stronger through global festival culture. Have a listen and let the sounds of the Brooklyn Gypsies take you back to your nomadic roots while at the same time attract your modern ears while get the body moving with their  live-tronic instrumentation and bassy beats.

“As a multicultural global fusion band we draw from our rich ancestral roots and end up discovering how much more alike we are then different”

 

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Breaking Borders: Brooklyn Gypsies are a collaboration of diverse musicians representing different musical and cultural backgrounds. How did you form as a group? What inspired you to start performing together?

Brooklyn Gypsies: The formation of Brooklyn Gypsies was inspired by our collective interest in fusing various genres of gypsy music (Balkan, Middle Eastern, Flamenco) with that of Hip Hop, Reggae Dub Dancehall and Electronic music.  I had been producing under the name Mobius Collective in NYC since 2002 and later released a single entitled “Gypsy Cab” in 2012 featuring Carmen Estevez. Gypsy Cab was the first incarnation of what would soon develop into Brooklyn Gypsies as it fuses an Ethiopian inspired horn melody with Carmen’s Flamenco cajon and vocals.

We soon assembled a band to perform this new brand of fusion and released our first single “Fafisa” recorded and produced by Takuya Nakamura at the former Studio BPM in Williamsburg BK. Zeb aka The Spy From Cairo was a producer whom I’d wanted to collaborate with especially since he’s been such a major influence within the genre over the years with various releases to his name. So when the choice came to pick a producer to remix our first single he was our first choice.  Soon after he would join the group on the ancient Arabic stringed instrument The Oud adding another ancestral dimension to our sound.  Our drummer Brandon Lewis aka B-Riddimz is a major contributor on the drums as well as beat production.  Fatima Gozlan is our most recent member on Arabic percussionist and Ney flute joining us after our Ozora Festival debut last year in Hungary. BK Gypsies currently represents 5 different countries including U.S.A, Spain, Japan, Italy & Hungary.  The diverse cultural backgrounds of the members inevitably comes through in our productions and performances.

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Your album concept “sin fronteras” is a very important message that is reflected in your music. It also resonates with our mission of cross cultural connection and exploration. Can you tell us about it’s significance and origin?

img_6983Sin Fronteras means “without borders” in Spanish and is a message we strongly believe in especially considering the current times we are living in.  This is the title track on our album in which Carmen wrote the lyrics and Zeb composed the music.  The recent political rhetoric of building walls and alienating people based on where they were born and their religious beliefs is precisely why this message needs to be spread.  As a multicultural global fusion band we draw from our rich ancestral roots and end up discovering how much more alike we are then different.

You’re an emerging global fusion group that’s become popular in the global festival scene. What do you feel has been the driving force behind your success?

The release of our album last year on Wonderwheel Recordings put us on global festivals radar such as Ozora festival in Hungary which we had the honor of playing the last two years and Symbiosis Gathering this past September in Oakdale, California.  This project has an incredible resiliency as the setup has had to change many times, yet the ability to deliver a strong stage show has become increasingly consistent.  As a result we have discovered new musical combinations and concepts within the group that in turn keep the project new and evolving.  I also feel we are bridging a gap in the global fusion genre that connects the bellydancers and dancehall queens. We are still just scratching the surface, but audiences have been responding with a real sense of appreciation.  It’s future roots for music.

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Photo by Carolina Iwanow

What’s your opinion on the independent music and art scene today, specifically within global festival culture?

There seems to be a growing appreciation for independent music and art, especially within the global festival scenes that we’ve participated in recently, most notably Ozora Festival’s Dragon Nest stage and Symbiosis Silk Road Stage, which curate their programs with a focus on folk and global fusion.  These festivals allow for audiences to discover up and coming artis, and in turn give independent artist a world class platform to make an impact and gain a wider fan base.

Do you see festival culture functioning in a way that challenges to “break down” social norms? And if so, in what way?

The sense of community and brotherhood we’ve experienced at various festivals is amazing, from the organizers and fellow artist to the festival goers.  We’ve lost cell phones and wallets and gotten them all back in the course of a festival, which gave me a glimpse of how a multicultural mash up of strangers can live and party in harmony.  Everyone is there for that ultimate frequency that dissolves societies boundaries and awakens the power of a sense of unity.

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Symbiosis is a unique global gathering, what makes it special to you and how does it stand out among other similar events?

Symbiosis was Brooklyn Gypsies first festival debut on the west coast where we were blessed to be included amongst the premier projects of global fusion and world music.  The response was overwhelmingly positive during and after our set.  We have toured more outside the states then within so performing at Symbiosis opened up a whole new market we are looking forward to tapping into.

Any new projects or tours to look forward to?

This year on our tour we visited the homeland of each of the members which included Spain, Hungary & Italy.  Next year we are looking to return to Europe as well as our gypsy brother Takuya’s hometown in Japan!  Southeast Asia and India has been calling our attention as well with the likes of Bali and Goa. As far as new music, we have a upcoming EP to be released early next year 2017.  All tour dates and release info will be posted on our website:  brooklyngypsies.com

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Celebrating Life Through Organic Electronic Vibrations

We are pleased to share our second edition of our international artist interview series for Symbiosis Gathering.  We have been fortunate to catch up with Australian bass producer Bumble who travels globally offering his unique earth-bass soundscapes. Max has performed at Symbiosis Gathering for consecutive years (2015-2016) and continues to impress festival audiences world-wide through is funky dance floor flavor. His intention for reconnecting to nature and all life on earth is beautifully reflected in his music production. We are grateful to have had a chance to ask some questions about his musical process and his experience as a cross-cultural performer. Enjoy!

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Breaking Borders: Symbiosis is a unique global gathering, what makes it special to you and how does it stand out among other similar events?

Bumble: Festival culture across the planet is thriving and the communities that inhabit these environments are engaged in everything that is on offer. Amongst the thousands of festivals I have participated in, last year’s Symbiosis Gathering was my peak experience not only from an artist’s perspective, but from a festival participant perspective. Last year I caught amazing workshops, witnessed Saul Williams do spoken word, caught a plethora of musical genres that moved me on elaborate stage design. I was dazzled by epic large artwork. and surrounded by the most colorful friendly people. Unlike some other events where FOMO (fear of missing out) on what’s happening over there in another area sometime guides my movements, at Symbiosis I always felt in the right spot at the right time. It was magic.

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Your music has become quite popular in the USA (primarily on the west coast). What’s your opinion on that? Why do you think the Australian bass scene has become so attractive here?

Sitting in my studio set deep into a national park north of Sydney, it never dawns on me in the moment that the audio ripples that are created there would fan out across the planet. But it does. I am blown away by the reality that people dig my music and the great platform that creates for the stories I want to tell. Generally speaking there are some truly talented folks in Australia making bass music and they deserve all the attention they get, and some that you have not yet heard of that will be gracing your ears soon. Aside from the talent, I think Australia and the USA have been aligned for decades and the flow back and forth of culture has been fluid during this period.

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What is the significance of your chosen artist name “Bumble”? You seem to feel strongly about the consciousness surrounding bees? How did that come about?

The alias Bumble was gifted to me by some friends during a late evening/early morning 10 years ago. It has shifted from its previous intention which defined me as a busy bee, into a platform to express my feelings about this amazing world that we live in. My respect for this planet and all its organisms, including birds, bees, humans, plants, trees and fungi’s is profound and I actively engage a positive relationship with her. Through all my projects including my bush regeneration business in Australia to the tree planting festivals we produce and the stories I tell in my music I like to help others connect with the amazing world we live together with.

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Your music contains a lot of organic instrumentation and vocals, how does it feel to fuse acoustic sounds into your intricate electronic production?

I love working with organic instruments. My musical journey saw me first playing in Punk, Hardcore and Ska bands and my first instrument that I played (although badly), the Trumpet. I went on to play a lot of guitar in a string of bands that would occasionally tour Australia. There is so much grit and form in organic instruments and I love recording and manipulating these to compliment my electronic creations. I have always written/co-written all the vocal content for the concept albums, that my good friend and actor Steven Kennedy helps mouth to tell the stories on my full length albums. These interludes form a storyline that I love sharing. I will continue to do so, stay tuned for a full length release prior to the Symbiosis Eclipse 2017.

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What’s you opinion on the independent music and art scene today, specifically within global festival culture? Do you see festival culture functioning in a way that challenges to “break down” social norms?

Independent music within the bass festival scene, is show heavy. Meaning that living from your music is dependent on playing shows often. This is great for some, not for others, and can change over time. It is how it is. And for me I cherish the opportunity that this facilitates. I love to travel and share stories and I have met many inspiring people over the years. I am impressed by the solid arts culture that has evolved on the west coast. It is unlike the rest of the world and you should be proud of the flourishing new renaissance.

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Festival culture has become very conscious of itself and is providing new stepping stones for change in the real world. Through combining arts and music with workshops and other world improving culture the festival scene has become a starting point for the change we want to see in the world. I think we are kidding ourselves if we think that the movement stops there. Our events need to surpass “leave no trace” into “leave a trace”, beyond personal development into the real world at the festival sites and at home. Festivals that put more back into the sites they inhabit and involving the participants of the festival in this improvement empowers them to take that home into their own communities at home.

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Many of your tracks and albums contain deep concepts surrounding nature consciousness. How much does the natural environment influence you and your music? What has inspired you to blend biology into a your productions?

I have always been of the bush. Spent all my time in the forest. At some point post my active direct activism era, I completed a environmental science degree, did a year conservation work in Ecuador, and since then have started my own bush regeneration business, growing this to work with 20 of my friends to deliver healthy ecosystems for the benefit of flora and fauna in national parks and council bushland around Sydney, Australia. Beyond that the positive action tree planting music festival that I co-direct, “Regrowth Festival” (www.re-gen.org.au) has grown to connect youth culture with the environment through enticing youth out through great music and entertainment and give them the opportunity to be part of a positive successful environmental project. It is amazing how the empowerment of being part of a positive project can flow on into people’s lives and can create a wave. I am of nature and therefore it feeds through into my music. I can’t help it.

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What is one “life changing” moment or realization you have had in the world since becoming an international musician?

That we are all dancing around the world in these super tight knit strong communities, and that if we choose to harness this energy locally and globally, we can change the world.

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Any new projects, tours, concepts to look forward to you?

After the North America tour finishes in Hawaii, I will follow on through into the Australian Summer. Some solid time in the studio with the new album out prior to July 2017, before Symbiosis “Eclipse Festival”. And then be looking to build a solid tour up for the 2017 in North America and beyond.

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