Whether you’ve seen them opening for STS9, on tour with Conspirator, or as the closing act at Rothbury, it’s hard to have missed the impact Big Gigantic has been making on the jamtronica circuit since they blazed onto the scene this past October. With the combination of Dominic Lalli’s thick, powerful beats and live synth lines over Jeremy Salken’s explosive drum set, Big Gigantic has manifested a full bodied sound that keeps the audience dancing. And with the introduction of Lalli’s soulful saxophone parts during the group’s live performances, Big Gigantic has patented a fusion of sound that separates them from other acts on the jamtronica circuit.
Furthermore, because Lalli’s musical roots are steeped in jazz, the electronic element is infused with a traditional jazz soul, so that the music stays fresh. A packed fall tour schedule includes appearances with everyone from The Disco Biscuits, to Telepath and Pnuma Trio. With this in mind, I had the opportunity to talk with Dominic Lalli about how the project started, what he’s experienced so far, and what we can expect in the future.
It seems like this past Spring I was just starting to hear the name Big Gigantic when all of the sudden you’re opening for Conspirator and closing out Rothbury. To what do you owe this rapid notoriety?
I basically started this project in late October of last year, and it’s been kind of nuts. I’ve just been trying to keep up with everything that’s come our way. Our first gig was like, we opened up for [DJ] Rootz and Murph here in Boulder, and we just have a good team right now, and we’ve just been trying to do a lot of networking stuff online, and keep our stuff super fresh. You know, we opened up for STS9 a few times, and it’s just stuff like that, just trying to keep the train rolling.
Big Gigantic is not your first project. How would you compare your role in does Big Gigantic differ from the role you play in your other group, The Motet?
I do still play with the Motet, we just aren’t playing quite as much as we have been. And I guess the difference between the two is I play mostly saxophone with the Motet, and I guess a little bit of keyboard, but in Big Gigantic I’m DJ’ing my own beats, and playing synths, and playing sax, so I’m sort of controlling the ebb and flow of the whole thing. I’m controlling the way the music is flowing in Big Gigantic, and you know still playing horn solos while still on the keys and synths and stuff like that.
Your first album, Fire It Up, is available for download free of charge on your website. How do you think this method of music dispersal has played into your success?
I think that definitely helps. It’s sort of like the new wave of what’s happening, and it’s the best way to get your music out to everybody. I think it’s been a tremendous help in allowing us to be where we are right now, just getting music out to people so they can hear it, and then getting them out to the live shows.
Fans may have noticed that Fire It Up actually has no sax parts on it, an integral part of your live show. Why did you choose to leave the horn out of this album?
You know, since we’re such a young band, everything’s happened so fast that I really haven’t had a lot of time to put a lot of stuff together and my studio isn’t really set up to record horns. So anyways, I just wanted to get something out to people, so basically Fired Up is just a compilation of all the beats I’ve been making and the stuff we’re playing live, minus the horn and the live drums. So for now, you know, it’s a little incentive to come see us live because it’s a little different than the album, there’s actually a live element to it. But also I’m already in the works on a second EP that we’re throwing sax and live drums on as well. So I just wanted to get something out to everybody, and not necessarily take the extra production time to add the sax onto the first album.
When will the new album be released, exactly?
Early October.
Your musical roots are as a jazz musician, and you currently play in a heavily electronic group. Can you explain some of the range of influences that can be seen in your music?
I’m really a saxophone player. I really just started getting into making beats and electronic music a few years ago, so I’m a huge jazz fan. John Coltrane, Miles Davis, you know, all huge influences on all the music that I’m playing and making, even the electronic music. So they’re sort of my main influences, but in terms of my general music stuff, there’s so many producers making so much great music that have played a huge part in the music I’m making. Jazz people all the way to current electronic music producers have really heavily influenced all my music. That includes everyone from Alex B to Eliot Lipp, to Flying Lotus, Rustie, Hudson Mohawke and Thievery Corporation. Even Jay-Z and Lil’ Wayne. Oh, and Herbie Hancock. He’s probably the biggest influence for me in general.
How has starting Big Gigantic in Boulder, a hotbed of jamtronica, played into your musical development?
Man it definitely has a ton to do with my musical development. Everyone’s playing around here all the time, hanging out all the time, talking about different stuff, so it’s really just a melting pot of great producers and musicians. And I hang out with all those people you just mentioned (Pretty Lights, Pnuma Trio, Dave Murphy of STS9) all the time and we listen to different stuff and talk about different stuff and work through different projects, you know, trade beats, and are really involved with each other’s music. So for this type of music, it’s really just a great place to be right now. There are just a ton of great producers, everyone is really into the music, and the fans, there’s just a great fan base for the music right now.
How do you approach a headliner show like your appearance at Rothbury differently than when you’re opening for groups like STS9 or Lotus?
I’m basically just trying to bring the best show that I can with the amount of time that I have, you know just trying to bring it as hard as we can. I mean, there really is no difference between an opener show and something like a festival performance, just bring it every time, and I think that’s been part of why we’ve had this success. Just take these opportunities, and use them to step up as often as we can.
You recently collaborated with STS9 on their New Orleans Makes it Right remix album. Can you comment on how that opportunity came to you?
Yeah, we did some opening sets for them (STS9) when they did their PA sets in Colorado in February. And when we were doing that, Zach (Velmer) talked to me about the project they were doing, having everyone remix their tracks, and he asked me if I wanted to do a remix. You know, I obviously wanted to do that, so I listened to the Peaceblaster album, and kind of decided that I liked the track “Empires…” it seemed like a track that was more my vibe, and just chopped it up and went for it.
How do you operate differently as an electronic musician when collaborating with other musicians whether on stage or in the studio?
I just try to get in there, and sort of put my input into the mix where I’m strongest. You know, and those guys I’m working with do their thing in the pockets where they feel strongest. I just kind of add my little flavor in, and obviously those guys are amazing producers. Alex B is a really good friend of my mine, he’s probably one of my biggest influences. So you know, I watch and learn and when I feel like I can add something, I just add my own spice in there, so everyone is playing to their strengths, and the final product is all the better because everyone is contributing in the best way they can.
How did you decide you wanted to add the live drums to your performance?
Jeremy has been a really good friend of mine for quite a while, and we’ve done a bunch more like jazz and jazz-funk gigs around Boulder for a couple years now. And you know, I definitely knew I wanted to be playing horn in Big Gigantic, and it’s just the way the live drums make the whole thing breathe and move. And I wanted the project to be full, and improv heavy, and I just really connected with the drums. So I needed a drummer for the project, and Jeremy just seemed like the perfect guy, he’s a really good friend of mine, and I feel like it’s really just been a perfect fit.
Is Big Gigantic going to become your primary focus in the future?
I’m definitely going to be focusing on Big Gigantic a lot. And since we’re so young, I feel like we have a lot of room to grow and develop. So I want to keep hitting the pavement pretty hard, and keep touring, and keep developing our music, and our live show as well. But you know, I do music all day, everyday, so I feel like there’s enough time to really focus on this project while still collaborating with other artists beat wise, and on every avenue we can. I feel like one hand sort of washes the other.
What can we expect from Big Gigantic in the coming months?
We have a bunch of stuff sort of on the horizon. We’re touring with STS9 and Lotus in the fall. And as far as actually sitting in with these artists, I did play with Lotus a little bit at Rothbury, and I’m gonna work on a little remix with them. Me and Lotus are going to trade tracks and do some remixing to support the tour that we’re gonna do. So there’s potentially some stuff that can go down there, but I’m open and ready to work with anybody. I’m ready.
