About SuperJam: Skrillex and Friends featuring Big Gigantic with special guests Damian “Jr. Gong” Marley, Robby Krieger (of The Doors), Zedd, Mickey Hart, Janelle Monáe, Joel Cummins, Warpaint, Chance the Rapper, Ruby Amanfu, High & Mighty Horns, Thunderca

The Superjam is the most highly anticipated Bonnaroo concert tradition and the festival’s signature event. A diverse set of superstar musicians unite for a one-time-only collaborative performance. The Superjam is always a wild show full of surprises where neither the fans nor the artists really know where it's headed. Past participants have included D’Angelo, Dr. John, Dan Auerbach, John Paul Jones (Led Zeppelin), Jim James (My Morning Jacket), R. Kelly, Questlove, Brittany Howard (Alabama Shakes), Ben Harper, Eugene Hutz (Gogol Bordello), RZA, Herbie Hancock, Eric Krasno, Phil Lesh,  Larry Graham, Mike Gordon, Stanton Moore, Kirk Hammett (Metallica), Lettuce, Solange, The North Mississippi Allstars, DJ Jazzy Jeff, Zigaboo Modeliste, Method Man, Ghostface, Trey Anastasio (Phish), and many others. Who will grace the Superjam stage this year?  The only way to find out is to be there.

SKRILLEX: In a cluttered home studio in downtown Los Angeles’ Arts District, mere blocks from where he wrote “Scary Monsters & Nice Sprites”, the song that sold millions of copies and helped instigate one of the largest shifts in modern American music in recent memory, the galvanizing totem of a youth movement daps at a midi controller, ceaselessly cuing the same snare sound over and over and over and over, for literally hours. Literally. Hours.Skrillex has a lot of thank yous. At around the one-minute mark of his first Grammy acceptance speech in 2012, iPhone in hand, scrolling interminably down a list, it became clear that Skrillex doesn’t feel isolated from his peers. It’s always been a defining trait of his character, this aptitude at building things with others. It’s since gone on to characterize, color, and define his career, too. Whether with his label, OWSLA, his numerous media projects, the NEST online community or the building in downtown LA he’s currently converting into a state-of-the art creative space, Skrillex knows there’s power in numbers. Skrillex quite simply loves to make things.

Across the board, those numbers are significant- when a person with one of the largest social media followings in the world decides to engage his community, they engage back. Within a year of forming the label, OWSLA, in 2011, it had launched the careers of some of the most buzzing names in American electronic music, all the while staying true to their connection to the community of artists around them and exploring multiple genres along the way. OWSLA continues to pick up momentum, more heads become aware every day, and they tell their friends.One year later Skrillex collaborated with friend/cult filmmaker Harmony Korine by scoring his critically acclaimed Spring Breakers movie and also composed an original track for Pixar’s Wreck It Ralph while simultaneously penning one of the biggest club hits of the year with A$AP Rocky (Wild For The Night). He then dropped his first fashion collaboration with G-Star around the same time (it sold out globally in a matter of days). Three consecutive homeruns across a broad appeal spectrum, but it’s easy to identify commonalities among these seemingly disparate projects when they’re examined in this uniquely Skrillex context – awesomeness prevails, always. And it’s always a team effort.

And every team needs a dugout. So when Sonny returned to Los Angeles to rally the troops, plucking talent from France, Spain, Chicago, Florida, and Tennessee this last spring he purchased an 11,000 square foot compound nestled in the heart of LA. It currently houses his label, management, and publicity staffs as well as a new, futurist venture called NESTHQ.com. The project, which began as a subscription-based sub-label of OWSLA, began to take on new meaning as the team sought to further integrate all of the Skrillex and OWSLA-related media content into one vertical silo. NESTHQ.com was formed as a means of iterating the values and personalities of the dance music community, Skrillex’s community, in one consistently positive voice. The building itself is the physical manifestation of this intent and more plans are underway to construct several high-end recording studios, media production labs, video suites and other creative spaces to further inspire the associated artists under the OWSLA/Skrillex umbrella.But let’s get back to that snare sound. Sonny John Moore, the man who upended popular music in 2011, knows there’s too much in the balance, and he addresses the seemingly menial with utmost gravity. He invests himself into everything he does. It’s not just a career at stake. Skrillex acknowledges the huge responsibility we all have to bring positivity into the world through art and expression, and that whether its iterated musically or otherwise, getting those ideas out is group therapy at its best. We’re in this together, so let’s get it right.

Finally, despite being one of the biggest names in music, Skrillex hasn’t walked away from the ‘do-it-ourselves’ attitude he’s had since his start. "When you grow you're going to need more people, more bodies to do stuff," he said. "It's all about making true partnerships. I think the less you can take out of something and the more you can do yourself, it's more equal-interest. So you're not taking out big bank loans, you're betting on yourself and you can sustain everything. Maybe it takes a little longer — it's been since 2004 to get to where I am now, with the same team, the same manager. That's how we did it. There was no rush ever to get giant checks.” Throughout all of this, he’s decided to keep the music industry at an arm’s length. "I kind of wanted to stay away from Hollywood… I guess my scene and the energy and the core of where I came from is Downtown L.A. and throwing warehouse parties and being inspired by spaces that gushed potential, more than something that was already done."

BIG GIGANTIC: Big Gigantic, whose blend of mind-bending beats, thunderous bass, and frenetic melodies has developed a rabid following since forming in 2008, took their sound to yet another dimension with the release of 2011’s 'Nocturnal,’ which solidified Big Gigantic as a key player in the worlds of electronic, dance, and hip-hop. February 2014 saw the release of Big Gigantic’s newest full length album, The ‘Night is Young.’ 

With a provocative sound that's as thoughtful as it is danceable, Big weaves whirling melodies into addictive beats and samples that wouldn't sound out of place on a Kanye West or LCD Soundsystem single. No genre is off-limits for Big Gigantic, whose breakthrough sound channels everything from funk and dub-step to house and hip-hop. 

After graduating with a master's degree in jazz at the Manhattan School of Music, Lalli relocated to Boulder and began performing with Salken, experimenting with the idea of interpreting traditional DJ-based music with live instruments. The duo built up early hype in 2008 with local shows and one-offs around the country before releasing their debut album 'Fire It Up’ in 2009 and embarking on a full US tour. Since then, they have toured the country countless times and played all major US festivals, as well as held their annual “Rowdytown” event at Red Rocks Amphitheatre, which has sold out both years since its inception in 2012.  

Big Gigantic's transcendent live shows are a showcase of brilliant improvisation and a tightly-knit bond between Salken and Lalli, who breathlessly alternates between keys, sax and laptop, building a futuristic wall of sound that keeps the crowd on its feet. The marathon shows feature a variety of songs new, old and unreleased, as well as outside-of-the-box remixes including Wiz Khalifa's "Black and Yellow," Aloe Blacc's 'I need a Dollar,' and Notorious B.I.G.'s "Notorious Thugs."

DAMIAN "JR. GONG" MARLEY: Damian Robert Nesta Marley, also known around the world as “Junior Gong” and more recently as “Gongzilla” was born in 1978 to parents Bob Marley and Cindy Breakspeare, Miss World 1976. As a young adult, he developed a passion and a gift to speak for those who cannot always speak for themselves. A self-proclaimed ‘Spiritual Revolutionary’, Damian has worked assiduously to carve his own niche in music history and to add a new perspective to the Marley legacy for the 21st century.
At the age of 13, Damian began performing in a group called “The Shepherds” which comprised of Shiah Coore (son of Third World guitarist Cat Coore) and currently a member of his band, and Yashema Beth McGreggor, daughter of reggae singers Freddie Mcgreggor and Judy Mowatt and then began touring with his brothers, Stephen, Ky-mani, Julian and Ziggy.
By 1996, Damian had already made his stamp as a different kind of Marley when he released his first solo album “Mr. Marley”, a heavily dancehall-influenced album produced by his brother Stephen Marley. His second album “Halfway Tree” was released in 2001 by a major record label and showcased Damian’s unique gift for blending dancehall, reggae and hip-hop styles. This album won Damian much recognition and remained on the Billboard Top Reggae Album Charts for 158 weeks and earned him his first Grammy for Best Reggae Album in 2002.
While honored by this recognition by the global music fraternity, Damian continued to work in the studio, laying the groundwork for the tracks that would become his highly anticipated album, “Welcome To Jamrock”. The lyrics in this album presented Marley as a true spiritual revolutionary, as he used his talent to evoke a spiritual change while trying to enforce a better way of thinking. He is described as “rhyming with the conviction of a street preacher with the intellect of a university economist”.
Damian’s hit single “Welcome to Jamrock” was listed as one of the Top 100 Songs of the Decade by Rolling Stone, and at the 2006 Grammy Awards, he won Best Reggae Album and Best Urban/Alternative Performance for Welcome to Jamrock. Damian is the only Jamaican reggae artist in history to win two Grammy Awards on the same night. He is also the only reggae artist to win in the Best Urban/Alternative Performance category at the Grammy Awards. The New York Times called Welcome to Jamrock the “best reggae song of the decade.”
Welcome to Jamrock led the pathway to Damian’s critically acclaimed collaboration with Nas for 2010’s much lauded album “Distant Relatives” – a project which explored the relationships between reggae, hip-hop and Africa. The album title refers not only to the bond between the artists, but the connection to their African ancestry, which inspired the album both musically and lyrically. USA Today referred to the album as a “potent and often provocative collaboration” and by Rolling Stone as “an Afrocentric winner.” The album debuted at Number 5 on the Billboard Top 200 Album Chart and Number 1 on the R&B/Hip-Hop Albums, Rap Albums and Reggae Albums charts, with Billboard heralding the album as “a dynamic hybrid.”

ROBBY KRIEGER: With a flair for wicked bottleneck slide, exploratory solos and gutbucket grooves, guitarist Robby Krieger brought a stinging, sinuous intensity to the sound of The Doors.  But he was also a key songwriter in the band and penned some of their biggest hits – notably their mesmerizing #1 hit, “Light My Fire.”
Before picking up the guitar at age 17, the L.A. native studied trumpet and piano. The inspiration for switching to guitar came not from rock ‘n’ roll, but Spanish flamenco music. His first guitar hero, however, was jazz legend Wes Montgomery.
After Morrison’s death in 1971, Krieger, Manzarek and Densmore carried on as a trio. They released two more albums as the Doors before calling it quits in 1973, though they did reconvene a few years later to create music for poetry Morrison had recorded shortly before his death, released as the 1978 album An American Prayer.
Krieger went on to enjoy success as a jazz guitarist, recording a handful of records with the Robby Krieger Band in the 1970s and ’80s. Versions (1983) and No Habla (1986) amply demonstrate his versatility.  “I think playing guitar is probably the one thing that gets better with age,” he says.
Robby Krieger is listed among Rolling Stone’s “100 Greatest Guitarists of All Time.”

ZEDD: Zedd started with music in his daily routine from early childhood on. Born Anton Zaslavski, Zedd was raised in Kaiserslautern, Germany by two classically trained musicians, he began playing the piano at the age of four and built up his knowledge of the Classical repertoire throughout his childhood, at times writing a song a day. At age twelve, Anton learned to play the drums and, soon after he began performing with the post-hardcore/metal trio Dioramic. As a preteen he was already composing and producing numerous rock songs in his band's own studio. As the aughts progressed, Anton’s awareness of other genres widened, and in 2009 his interest in producing electronic music was piqued after hearing the French electronic duo Justice. With his gift for musicality and background in instrumentation, composition and production, the move into the realm of electronic dance music was seamless.
2009 proved to be a watershed year for Zedd. It was during this year that he began producing electronic music, and within an incredibly short period of time amassed widespread critical and audience acclaim. Within a few months of beginning his production work, Zedd won two Beatport remix contests, the "Armand Van Helden / Strictly Rhythm Remix Contest" and the "Fatboy Slim / Skint Remix Contest". These critical wins gave the budding artists the notoriety and clout to catch the interest of Skrillex who essentially found him on the net and signed him to his new OWSLA label. He caught the ear of Interscope A&R Dave Rene and Interscope Geffen A&M Chairman Jimmy Iovine and successfully released several official remixes for powerhouse artists such as Lady Gaga, Black Eyed Peas, P. Diddy, Swedish House Mafia and Skrillex on labels including mau5trap, Interscope, and EMI.
In the realm of his original compositions, Zedd’s hit singles 'Shave It' and 'Slam The Door' (out through OWLSA) both held the top spot on Beatport's charts for multiple weeks at a time. In the same year, his remix of Lady Gaga’s “Marry the Night” appeared on the deluxe edition of the superstar’s latest album Born This Way and his remix of “Born This Way” appeared on Born This Way: The Remix. In addition to his own compositions and reworkings of others’ songs, Zedd has had other electro heavyweights take their turn at his tracks, including Armin Van Buuren, Kaskade, Knife Party and more.
Zedd’s stellar development is undoubtedly linked to his unique and highly recognizable style of composition. It stands out in a crowded field as meticulously detailed and carefully produced, very playful and at the same time remarkably catchy despite the complex musicality drafting it up. Drawing from his diverse musical background spanning from classical to post-hardcore/metal to electro house Zedd’s music not only draws from uncommon sources but also has the ability to appeal to an audience outside the realm EDM.
Zedd signed with Interscope records in 2012 and released his debut LP Clarityin October to much critical acclaim. The album’s first single, “Spectrum,” featuring singer/songwriter Matthew Koma, garnered massive global attention climbing into the the Top 10 on the iTunes dance chart and holding on to the #1 spot on Beatport Worldwide for almost three weeks. The track then soared to #1 on the Billboard Dance Club Song chart and was ultimately named their Dance Club Song of the year as well as iTunes “Breakthrough Album of the Year (Dance) for 2012.
In addition to racking up original production credits for artists including Eva Simons’ “I Don’t Like You” and Justin Bieber’s “Beauty And A Beat,” Rolling Stone named Zedd an “Artist to Watch” for 2012, and more recently, MTV deemed him an “Artist to Watch” for 2013. Zedd has performed at major festivals, including Ultra, Electric Daisy Carnival, and Nocturnal and in 2012, he performed at Coachella, Lollapalooza, Hard Summer in Los Angeles, and Electric Zoo in New York. Zedd made his national television debut on The Late Show with David Letterman in October where he turned his signature style upside down performing a stripped down version of his new single “Clarity” -showcasing his classical training by playing piano alongside a string quartet and vox from Foxes. The performance is a prime example of Zedd's true musicianship beyond the realm of EDM. Zedd was also chosen to be the only opening act for the Asian leg of Lady Gaga's world stadium-tour "The Born This Was Ball.”
A musical prodigy from the start, Zedd is already a powerhouse beyond the EDM realm. His originality and momentum will unquestionably propel him into the ranks of superstars.


MICKEY HART: Mickey Hart is best known as a percussionist in the rock and roll band the Grateful Dead. Mickey and Bill Kreutzmann transcended the conventions of rock drumming. Their extended polyrhythmic excursions were highlights of Grateful Dead shows, introducing the band's audience to an ever-growing arsenal of percussion instruments from around the world. Exposure to these exotic sounds fueled Mickey's desire to learn about the various cultures that produced them.
His tireless study of the world's music led Mickey to many great teachers and collaborators, including his partners in Planet Drum Zakir Hussain, Babatunde Olatunji, and Airto Moreira. Planet Drum's self-titled album not only hit #1 on the Billboard World Music Chart, remaining there for 26 weeks, it also received the Grammy for Best World Music Album in 1991-- the first Grammy ever awarded in this category. Hart last released the Global Drum Project with Zakir Hussain, Sikiru Adepoju, and Giovanni Hidalgo in 2007, which took home the Grammy for Best Contemporary World Music Album. In 2011, Smithsonian Folkways Recordings released the 'Mickey Hart Collection' to preserve and further the percussionist's endeavor to cross borders and expand musical horizons. Smithsonian Folkways have made many of Mickey Hart's music projects available digitally (stream and download) for the first time while keeping physical versions in print as on-demand CDs. The Mickey Hart Collection begins with 25 albums drawn from 'The World,' a series Hart curated that incorporated his solo projects, other artists' productions, and re-releases of out-of- print titles. Six of the twenty-five albums form the "Endangered Music Project," a collaboration between Mickey Hart and the American Folklife Center at the Library of Congress, which presents recordings from musical traditions at risk. Both 'The World' and 'The Endangered Music Project' were previously distributed by Rykodisc from 1988 to 2002. Mickey's experiences have paved the way for unique opportunities beyond the music industry. In 2008, he and Planet Drum partner Zakir Hussain composed a thrilling backbeat to the new Volcano at the Mirage Hotel in Las Vegas, NV. He composed a major drum production performed by an assembly of 100 percussionists for the opening ceremony of the 1996 Centennial Olympic Games. Additionally, Mickey has composed scores, soundtracks and theme for a number of award-winning films and television shows including Apocalypse Now, Gang Related, Hearts of Darkness, The Twilight Zone, the 1987 score to The America's Cup: The Walter Cronkite Report, Vietnam: A Television History, and The Next Step. Mickey has written four books documenting his lifelong fascination with the history and mythology of music. These include Drumming at the Edge of Magic, Planet Drum, and Spirit into Sound: The Magic of Music. His latest book, Song catchers: In Search of the World's Music published by National Geographic Books, traces the 100-year evolution of recording technology, creating vivid portraits of the pioneers who traveled far and wide collecting the world's music. Long a social activist, Hart appeared in August 1991 before the U.S. Senate Committee on Aging, speaking on the healing value of drumming and rhythm on afflictions associated with aging. With the help of Dr. Gazzaley, Hart, is continuing his Music Therapy research at the age of 69. "It all comes down to vibration and rhythm," Hart says of his collaboration with Dr. Gazzaley. "This is about breaking the rhythm code. Once we know what rhythm truly does, then we'll be able to control it, and use it medicinally for diagnostics, for health reasons. To be able to reconnect the synapses, the connections that are broken in Parkinson's and Alzheimer's, that's where we are heading." It's just the beginning, as far as Hart is concerned. "I've been working in my field for many years and so has Adam, it's a handshake between science and art. Life is all about rhythm, and the brain is Rhythm Central." To learn more about Hart and Gazzaley's collaboration, go to RhythmandtheBrain.com. In 1991, Hart founded Rhythm For Life, and put on a 2000 person drum circle at the College of Marin, where he was joined by Carlos Santana, Shiela E, Hamza El Din, Airto, and Flora Purim, and in the Fall of 2004, broke the Guinness World Record: Largest Drum Ensemble for his 5000 person drum circle, also in Northern California. Mickey currently serves on the board of "Music and the Brain" at Institute for Music and Neurologic Function at Beth Abraham Hospital. In 1999, Mickey was appointed to the Board of Trustees of the American Folklife Center at the Library of Congress where he headed the sub-committee on the digitization and preservation of the Center's vast collections. There he helped to establish the "Save Our Sounds" project, a collaboration between the AFC and the Smithsonian's Center for Folklife and Cultural Heritage, where he currently serves as member of the board of directors. Mickey has been honored repeatedly for his contributions. The Grateful Dead was inducted into the Rock and Roll Hall of Fame in 1994, and in 2007 along with the other members of the Grateful Dead, Mickey received a Grammy Lifetime Achievement award. Other honors include, in 2009, Mickey was inducted into the Percussive Arts Society Hall of Fame. In 2004 he received the NARAS SF Chapter Governors Award, in 2002 Surround Music Awards Best Multi-track Reissue for Grateful Dead American Beauty, and in 2003 a Music Has Power Award, In October of 2000, the Saybrook Graduate School and Research Center conferred an honorary doctorate of humane letters upon Mickey for his work in advancing the preservation of aural archives.
JANELLE MONAE: At long last, Janelle Monae -- the inimitable, award-winning, songwriter, performer, producer, CoverGirl and avant-garde funkstress -- is back again, ready to release her another full-length "emotion picture" to the masses. But as always, Janelle is not ready to talk about music just yet. She'd rather talk about her past and how those fertile powerful experiences forced her to create her coming album "The Electric Lady." 

According to Monae, "I went back to Kansas City after my tour for my debut album 'The ArchAndroid.' And when I looked around me, I decided I wanted to make a raw, revealing album all about my life and the things I'd experienced in my community -- about the laughter in the parks, the jams bumping in the cars, the jokes told over kitchen tables, all the life and warmth and struggles I felt there. But I also wanted to figure out how to take Kansas City to the future...like a surreal Parliament album with lyrics by Octavia Butler and album art by Salvador Dali." 

As time passed, Monae found herself increasingly drawn to the stories and experiences of the strong women in her life, and their ability to electrify and inspire individuals to do the right thing. "At some point I realized that the true heart and glue of the community were the women. My mama and grandmamma and my aunties and who to this day, are some of the most powerful beings on the planet. Under their guidance, I went from cleaning houses everyday in my maid outfit to the world-traveling performer I am today. They made me believe in myself enough to move from Kansas and pursue my dreams. A lot of folks think I work hard onstage because of James Brown. But they've never met my mother!" 

Inspired by her mother and other matriarchs, Monae began to write lyrics and songs about rebel women who refused to be marginalized and dared to live their life boldly and unapologetically in a distant future. According to Monae, "When I returned to the studio, I felt I had to do my part. Through my art, I had to help create the woman I wanted to see around me. Incidentally, during concerts, for years I'd been painting this woman's physique -- the silhouette of her hips - 
I have hundreds of these paintings with the same feminine figure over and over...this glowing Technicolor woman...seen from behind...regal, powerful and electric...My colleagues and friends told me to name this mysterious figure because she seemed to be a totem, a powerful symbol for me. So I named her 'The Electric Lady,' and that's where the album's title came from." 

As she began the audacious task of following up on her acclaimed debut LP "The ArchAndroid" -- an album that topped critic's lists in 2010 all over the world -- she took along some trusty, brave companions: the original music producers of "The ArchAndroid," Nate "Rocket" Wonder and Chuck Lightning of Wondaland Productions. And together they crafted a new strain of jamming music they called "ish." In the hip hop community, "ish" is a euphemism for the profane four-letter word for excrement, but as Monae explains, they set out, like proverbial alchemists, to turn lesser substances into gold. "This entire project was produced by Wonder & Lightning. We set out to make a soundtrack for the Obama era, something that spoke to the beautiful, majestic and revolutionary times that we're living in. The musical language we're speaking now is called ish. In the African-American community, we've been turning left-overs (like chitlins) and social depredation (like poverty) into delicacies and fine art for years. So we just set out to turn the rubbish all around us into something beautiful. Ish is the bowtie on the funk." 

From the sound of "The Electric Lady," ish is an urgent and dangerous form of dance music, rebel music that forces one to fight, jam, and fall in love. Like on "The ArchAndroid," the sonic textures of the album are varied, and the past and present come together to explode and create a mind-blowing future for pop and soul music. For example, wondrous strings reminiscent of Curtis Mayfield and Bernard Herrmann orchestrations abound, Hendrixian guitar solos soar, Outkast-like raps float over punk rock riffs; defiant socially-conscious lyrics extol the virtues of soul-searching and fighting for change, while the funk simply melts your speakers: 808s boom and Prince-like synthesizers squiggle in your earhole, making it veritably impossible to just sit still. 

"As we like to say at Wondaland, the booty don't lie. The booty always obeys the LAW OF THE JAM. You can't hate on something that makes your booty move, that makes you jam and have a good time. And the booty will always tell you the truth of a given situation. You can always tell what a community or a person truly believes by just studying the actions of their booties at any given time. They can claim they love this other person or culture, or believe in this peaceful god, or really want freedom, but do their actions prove it? Their actions, what their booties do or don't do, that tells you the truth." 

The recording process was fun, rewarding, but also strained by Monae's newfound need to be more courageous and personally revealing in her storytelling. "To do this album properly, I had to revisit some turbulent chapters in my life, deal with some questions and experiences left over from my childhood. There were so many things I had questions about. Sexual things. Racial Things. Gender things. Memories. Things I thought I had left behind me. New things I was discovering. But ultimately I found myself emulating my mother and grandmother and using their strength to surpass my fear. I had to do that before I could write and sing and perform these new songs convincingly. I'm not the kind of artist that can perform something night after night, if I don't believe in it, or if it's not true to me or my experience." 

Monae was also inspired and emboldened by her truly amazing collaborators: Roman GianArthur, the wunderkind and Wondaland Arts Society artist-in-residence that, once again, provided the album's magisterial overture; the soul star Miguel, who crooned his way effortlessly to the stars and helped provide a prime baby-making moment on the lush ballad "Primetime"; Erykah Badu, her self-ascribed "twin," who used her cosmic grace and poise to help turn the first single "Q.U.E.E.N." into a female empowerment anthem and a runaway smash; and none other than her lifetime hero, the legendary Prince, who contributed in countless ways, musically, vocally, and most importantly, spiritually -- by conversing with her from his purple telephone in Minneapolis, whenever she was weak and unsure which artistic direction to go. 

As she worked, Monae found herself, as always, drawn again into her other love, science fiction, and the exploits of Cindi Mayweather, the heroine of her first EP "Metropolis." In fact, the new album serves as Suite IV and V of her Metropolis saga, and in this chapter, the android hero Cindi moves from self-realization to self-actualization: from the knowledge and owning of her unique superpowers, to actually using them to better the world around her. Monae says, "I like to think you can hear me using my superpowers this time. And not just talking or wondering about them. "The Electric Lady" is like the big action sequence in the third act of an epic film. Every party this album starts, or every baby born because of it, is actually another victory against the Great Divide." 

As she continued to work on the album, Monae found herself displaying these superpowers in new ways in the recording studio, and found that some of her best creative work was done when she was running entire production sessions by herself. "There were key moments like the rap on Q.U.E.E.N. where I needed to be alone. I dimmed the lights, setup the mic and engineered myself. I just let the words and sounds flow through me. Overall, I've been feeling stronger as a producer, as well as writer." In addition, on this album, Monae had the chance not only to produce herself, but also to produce her collaborators Miguel, Erykah Badu and Prince. "I'm still humbled by the collaborations and partnerships I have on this album. I actually got the chance to produce and write for some of my heroes. And through my recording label the Wondaland Arts Society, I've been executive producing the artists I love. Wondaland artists such as Deep Cotton and Roman GianArthur. I'm proud of the Wondaland movement, and this new phase in my life as an artist, producer, and businesswoman." 

The fruits and rewards of this artistic journey can be heard in ample measure on the album's courageous, outrageously funky first single "Q.U.E.E.N," which features the queen herself, Erkyah Badu. "Erykah's one of my best friends, and we talk about everything. That particular song really developed from a deep conversation we were having about a woman's place in the world. And how we were expected to be freaks and muses and virgin goddesses all at the same time by patriarchal cultures and religions. Rather than answer all the questions we just decided to jam to them and let the booties decide." 

Now that the album is complete, Monae finally has a concrete formula for the Electric Lady that she summed up by turning her first single "Q.U.E.E.N." into an acronym. In Monae's own words, "An Electric Lady is Quirky, Unafraid, Electric, Epic and Nicety. That's when you're being nice and nasty, noble and naughty all at the same damn time. Because even superheroes need a glass of red wine. Even rebel women need a kiss every once in a while. What's proper and acceptable behavior simply depends on the time of day... and the kind of week you've been having."

WARPAINT: Warpaint weave intricate guitar lines, hypnotic vocals and driving post punk rhythms into gorgeous, sprawling songs that skirt the line between psychedelia and intimacy. Both live and on record, Warpaint sound like they’re channeling something truly otherworldly, and mystical. Rough Trade released their long-awaited debut full-length album. The Fool in October.

Recorded in LA, The Fool was produced by Tom Biller (Beck, Karen O, Liars), with further mixes from Andrew Weatherall (New Order, Primal Scream, Bjork) and Adam Samuels (John Frusciante, Daniel Lanois). The Fool follows their Exquisite Corpse EP, released in 2009.

The all-girl quartet from Los Angeles has toured incessantly over the last couple of years; with standout performances at CMJ and SxSW. They have also shared the stage with The xx, Band of Horses, Yeasayer, Akron Family, Javelin, and The Walkmen.

Warpaint is Emily Kokal (vocals/guitar), Theresa Wayman (guitar/vocals), Jenny Lee Lindberg (bass/vocals), and Stella Mozgawa (drums).

MIKE EINZIGER: Mike Einziger, recognizable to most as guitarist/founding member of the legendary California rock band Incubus, has been all over the musical map. After having sold over 20 million albums with Incubus, Mike enrolled as a student at Harvard University where he studied History of Science and Music. More recently, Mike co-wrote Avicii's global mega-hit Wake Me Up, and collaborated with Hans Zimmer, Pharrell Williams, and Johnny Marr on the score for the newly released film, the Amazing Spiderman 2. Mike also wrote the original score for the new Beats (by Dre) World Cup commercial (in collaboration with his violinist fiancé, Ann Marie Simpson). Mike has also co-written and/or produced songs for many artists ranging from Coconut Records (Jason Schwartzman), Chuck Inglish and Chromeo, to Joy Williams (Civil Wars), The Internet (Odd Future) and Yuna.



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