Easter Sunday has come and gone. While most god-fearing men and women hunkered down in church for communion followed by an Easter egg hunt in their local parks, the Bassnectar family flocked to the Midwest for their own holy sacrament.
The bass worshiping disciples have congregated in Chicago’s Donald E. Stephens Convention Center under the iconic bass drop image displayed across several large LED screens. They’ve traveled far and wide, commingling in the sacred space to commune and catch up since their last familial gathering. After all, it’s been several months since their last mass migration to Atlanta, Georgia — far too long.
The two-day event, dubbed Spring Gathering, is the first of four family affairs scheduled for 2018. The previous night saw Lorin Ashton deliver a truly mystical full moon sermon, with amorphous sound waves crashing into the hearts and minds of his loyal followers, making them weak at the knees as they lean their faces to the floor, bowing to the bass in head-banging unison.
As the onlookers prepare for the weekend’s second and final set from their musical savior, Bassnectar, it’s clear they’re feigning for a deeper immersion into the bass music abyss. The pre-show music begins, preparing the congregation for the ensuing throw down, and the scene begins to feel a bit like an enchanting ritual.
Nerves settle. Pupils dilate. Arms extend upward. Love permeates the air.
Known collectively as “bassheads,” Bassnectar fanatics are a generally a progressive, fun-loving, and wildly ostentatious bunch. So, why do they often get such a bad rep? Many have heard the stereotypes: Bassheads are cynical and elitist, burnt out on their passion for Bassnectar, filled with contempt for newcomers into their cult-like community.
Admittedly, there are quite a few “haters” in the Bassnectar scene; although it’s important to note that, much of the time, haters are just angry lovers. This vocal minority of pessimistic purists often drown out the many positive voices in the Bassnectar community, longing for the days before the Ashton’s explosion into stardom and even shaming those in the community who don’t know every Bassnectar title circa the days of Underground Communication or Diverse Systems of Throb.
Generalizations are thus formed about bassheads as a whole based off these particularly distinctive outcriers. After all, it’s a proven fact that our brains are biologically wired to categorize, compartmentalize, and make assumptions about a whole community based on personal and prominent observations. Ultimately, however, this reasoning is fallacious.
Conscious Electronic aims to redeem bassheads from their misunderstood image by getting back to the essence of what the Bassnectar family truly stands for: community, love, and immersive bass music. Based on online polling results from within the community itself, we trace its five central pillars and the commandments within.
When Lorin Ashton launched his “Think For Yourself” campaign with Electric Forest in 2015, he compelled fans to challenge the mainstream news that is bound by political bias and corporate interests. The campaign encourages bassheads to seek out alternative news sources that cater to the well-being of the general public, as opposed to the 1 percent.
“When it comes to current compelling issues, it is very difficult to find ‘the truth’ without wading through a ton of bias from corporate sponsors, pundits, or even just the opinion of the newscaster or the owner of the publication (or some half-wit long-haired DJ who has found the time to type a zillion words and post them online),” Ashton wrote on his official blog.
He even puts his own biases on display as a public figure with a sizable influence over the opinions of others. Despite how the Bassnectar community constantly catapults Lorin to god-like status — sometimes for fun and giggles, sometimes not — Lorin Ashton is, for all intents and purposes, only human after all.
Ashton’s politics are unapologetically progressive at their core. So naturally, the issues that are important to him are important to bassheads. Bassheads have shown up in large numbers to high-stakes political demonstrations like the Dakota Pipeline protests, the Women’s March, and the fight for Net Neutrality.
Key issues like these have long been a theme in Bassnectar’s music, which he took from the 1990s punk rock and death metal scenes he came of age in, infusing those values and ideals into the cultural current of his electronic music.
“The spirit of punk rock and death metal was very anti-establishment, pro-underground, pro-community, very fucking fiercely in opposition to the mainstream, in opposition to ignorance, and you know all kind of religions and weird human dogma traps. And having a flag of resistance to fly in the face of that is really powerful”– Lorin Ashton
During his iconic Oregon Eclipse and BassCenter X sets last year, Ashton brought to the stage a member of the Standing Rock Sioux Tribe, named Chase Iron Eyes, who delivered a powerful message about the continued protest against the Dakota Access Pipeline. The Indigenous-American activist ended with a resounding chant that bassheads still echo into today: “Water is life!”
Bassnectar brings this staunch sense of political activism into his live sets with visual segments that implicate public figures like Dick Cheney and Donald Trump using Nazi and KKK imagery — all as his bass-bolstered remix of Rage Against The Machine’s “Killing In The Name” plays over clipped images of the swastika and white hooded figures.
The Bassnectar community’s passion for taking a stand against wage and class inequality highlights another important commandment: that art is and always has been political.
Every couple of months or so, bassheads come together from all over the country for “listening parties,” where they put on a throwback Bassnectar mixtape in real-time and with strangers online through live tweeting and such. Local bass families will often convene at someone’s home or in a local park with enormous subwoofers as they listen, reflect, and headbang together. The point of these social functions is to celebrate bass music and come together in the same moment despite barriers of physical distance.
This is more or less the bedrock of a cult, underground community built from like-minded individuals coming together to baptize one another in bass. They flock to special locations each season to completely immerse themselves in the alien frequencies of their figurehead, who they’ve dubbed “The King of Sound,” as well as to celebrate Ashton’s amorphous music in all its majestic height. At each festival that Bassnectar headlines, dedicated followers often stay behind after the set armed with trash bags to collect every bit of garbage and confetti left on the ground — it’s a sustainable practice with roots in the Burning Man “leave no trace” principle.
Bassnectar fans don’t leave these events without soon forgetting their duties to society. Nor do they sidestep their obligation to community strengthening at home. Bassheads regularly come together in their respective cities and towns to volunteer their time serving in the community as well, usually through local clothing and canned food drives or park and beach clean-ups. These organized events are the basis for spreading an ideological movement much bigger than themselves.
But Bassnectar’s cult-like movement has ballooned into a burgeoning and increasingly bifurcated community that is anything but underground — with Ashton sitting at the helm of a rockstar spectacle. As the community continues to grow at an exponential rate, so too do its complexities and contradictory cultural inner-workings.
The above encapsulates another critical commandment of the Bassnectar community: strong support for grassroots art. Many within are so deeply inspired by Ashton’s DIY attitude to cultivate their own creativity in beautiful, inspiring ways. While some fans pursue art at an amateur level, others have manifested their artistic passions as a full-time career and a live embodiment of the commitment to Freedom of Artistic Expression. Anyone who’s traveled to a Bassnectar special event has almost assuredly been bombarded with the usual traveling creatives hustling event-specific gear in the parking lot, all before even checking into the hotel. Through the revolving doors and into the lobby, a pop-up marketplace beckons: one painter has laid out her psychedelic-inspired oil canvases, while a craftsman is selling his handmade wire-wrapped jewelry.
One basshead revealed, “I quit my nine-to-five because I was getting so many requests for custom wire wrapped rings and pendants. Now I’m making a living off my art. I’ve even started learning welding and soldering techniques to become a professional jeweler someday. I’m living the dream!” He pours his all into each piece he constructs.
These are the kinds of goals, dreams, and artistic aspirations that grant bassheads the means to travel all over the country to attend every nectar family event — and trust that they don’t miss a single gathering.
Imagine having just endured the arduous endeavor of getting past the security and ticket lines and feeling fatigued. Then, a stranger approaches with a warm, familiar smile and presents a homemade business card with the following message: “You are loved beyond infinity.” Such sharing of meaningful words of affirmation and gifts are regular occurrences at any family gathering, known to bassheads as random acts of kindness.
This tenet, one that beckons transformational communities such as Burning Man, is the first commandment bassheads live by. They carry this awareness from every show into everyday life, sending each other care packages as small tokens of appreciation. Across the country, selfless bassheads are constantly engaging random acts of kindness and treating others with respect, gratitude, and equality.
The second commandment bassheads choose to consciously live by is best summed up in one of Bassnectar’s song titles: Inspire the empathetic. They practice empathy with a mission of existing with others on a leveled playing field. Empathy requires walking a mile in another’s shoes — a difficult task that bassheads work tirelessly, and not always successfully, to achieve.
These two commandments form the first pillar of the Bassnectar community: Unconditional love and Unwavering Acceptance. This is the new age sense of spiritualism that pervades the Bassnectar community, a belief emanating from Ashton’s Bay area upbringing in a hippie commune that is absorbed and proliferated by his followers.
A few years ago, when Lorin Ashton made his Electric Forest debut, a landmark festival that now houses Bassnectar’s unofficial residency, DA sat down with the man behind the hair to discuss his cultish community of loving bassheads. It was a time of great transition for the underground king of bass — from a figure who detests fame to an electronic music rockstar whose name draws tens of thousands of loyal followers to any given event. Ashton made the decision to stop touring in the classical sense, with his iconic 2014 Noise Vs. Beauty Tour resting as his last, and start creating more immersive family gatherings several times a year. The events that unfold at these gatherings are what rest at the core of the Bassnectar project: Thinking for yourself and questioning, radical artistic expression, connection with like-minded individuals, a deeply seeded passion for politics, and unconditional love and unwavering acceptance.
These five pillars of the Bassnectar family are really the very same ideals that strike at the heart of the music community at large. The Bassnectar community is just one tiny microcosm for seeing into the more expansive universe of music. From the freaks and outcasts of punk rock and metalcore to electronic dance music, issues that sometimes plague the community aren’t anything new or specific to only the Bassnectar family.
So when returning to the earlier problem of how bassheads are perceived — as cynical, misanthropic misfits — the reality is that communities are much more nuanced than we can ever fathom them from the sidelines, and that sometimes it only takes a loud minority making enough noise to end up representing the entire whole. As outside onlookers, we ought to use caution when making blanket statements that lump large groups of people together; lest we risk stereotyping in such a way that stigmatizes, which leads to ignorance, demagoguery, and witch-hunting. Generalizations can be helpful, but they can also be harmful. Ultimately at stake is an ethical question that boils down to this: Live and let live.
This article originally appeared on Dancing Astronaut. The author retains all copywriting rights.
Information seeker. Dog lover. PhD drop out. College professor by day, EDM photographer by night.