There are nearly three-hundred and sixty five nights a year, and on one third of them, somewhere across North America, you will find a modern day social mosh pit of hippies, ex-ravers, hipsters, dub reggae heads, Dead-heads, Burning Man freaks, artists, fashion experimentalists, social activists, and hip-hop enthusiasts all packed into one steamy room of grinding, orgiastic expression and musical experimentation known as a bass ritual, or, more precisely, a night with Bassnectar. Playing at over one-hundred and fifty shows a year; to thousands of different people a month; from sold out festivals to overcrowded clubs and warehouses to tight and tiny bars and venues; Bassnectar’s enormous popularity reflects the current hunger for raw substance in modern music and a desire for social integrity inside the party scene. 2005 saw the debut of Bassnectar’s double-disc collection entitled “Mesmerizing The Ultra,” a journey through next-level musical mutations, dreamy dubtempo, massive bass lines, heavy sledgehammer beats, head-nodding hip-hop, and a wild assortment of unlikely collaborations; remixing and producing with such artists as the enigmatic and mysterious Buckethead, the jam band super group Sound Tribe Sector 9, cult bluegrass rock star Michael Kang (String Cheese Incident), roots musical activists like Michael Franti (Spearhead), Heavyweight Dub Champion and KRS One, and dubstep/breakbeat pioneer FreQ Nasty. Both critically acclaimed and voraciously consumed, the record helped define the current sound of the West Coast Underground. On the new album “Underground Communication” (due out in April on SF Indie Om Records), Bassnectar takes another step forward in his genre-bending blend of musical styles and emotions, combining the visceral melodic presence of modern listening music, with the force and volume of sound system dancehall devastation. Whereas the previous record featured collaborations with musicians and bands, the new record is more of an exploration of hip-hop culture, featuring scores of MCs and rhythmic poetics mashed atop a heavy, driving range of tempo and, of course, those signature throbbing bass lines. Rooted firmly in political conviction, philosophical intention and backed by a rabid fan base and dedicated following, “Underground Communication” sets a new standard for the possibilities of merging music, art, new media and social activism. Speaking on the meaning behind the title of the album, Bassnectar explains “It centers on the concepts of indie media, the strength of underground networking, social activism and defiance through music, hip hop, and the internet.” Judging from his enormous following without any commercial radio play, media push, or licensing product placement hype, the title fits perfectly, and comes at a time when issues of net neutrality, corporate media, and privatization of radio and news outlets couldn’t be more crucial. Already gaining critical acclaim from tastemakers at URB, FLAVORPILL, and BPM along with winning local Nitevibe.com, SF Weekly and SF Bay Guardian honors for San Francisco’s “Best DJ” and forging new paths within the Burning Man scene, the jam band scene, as well as underground hip hop circles and all styles of emerging electronic music, the future’s so bright for the young man from San Francisco! Stay tuned for the precursor singles entitled “Yo” featuring Spanish rapper Kristina Maria and “Bomb The Blocks” featuring underground queen MC, Persia; coming exclusively online in January followed by the Om Records 12″ vinyl with remixes by Princess Superstar, Zion I (Amp Live) and Speaker Junk in February!