Artists like Aloe Blacc, Flying Lotus and Benga have been associated with Red Bull's soon-to-be-closed music program.
Red Bull's traveling workshop and performance collective, Red Bull Music Academy, announced they will be shutting down in October of this year. In addition to the academy, Red Bull Radio will be dissolved as well.
The invite-only program helped up-and-coming artists get their foot in the door in the music industry and offer a wide variety of support to their exclusive roster. On the other side of the coin, the radio station gave fans a way to check out some of the best and brightest in the underground.
Artists like Aloe Blacc, Flying Lotus, and Benga have released music or have been associated with the academy or radio.
During a conversation with Resident Advisor a Red Bull spokesperson said:
After 20 years of supporting artists worldwide with its music program in a rapidly changing world, Red Bull will maintain its purpose of providing a global platform to promote creativity—but it is changing the means of delivery. Red Bull will be moving away from a strongly centralized approach, will gradually phase out the existing structure and will implement a new setup which empowers existing Red Bull country teams and utilizes local expertise. Red Bull will continue to explore new ways to support promising and cutting-edge artists wherever they may be.
It will be interesting to see how Red Bull will keep their promise to continuing their support of up and coming artists. At the time of writing, no future plans have been announced.
H/T: Your EDMFOLLOW RED BULL MUSIC ACADEMY:
The Chainsmokers join forces with Migos and a variety of famous athletes to recreate the Game of Thrones theme for Mountain Dew.
It turns out Kristian Nairn's new music isn't the only Game of Thrones/dance music crossover we'll get this year.
With only a week to go before the season premiere of TV's biggest show, Game of Thrones, both fans and artists alike are starting to show how excited they are. Game of Thrones fans and superstar dance music duo, The Chainsmokers helped recreate the iconic theme song in an advertisement for Mountain Dew.
The duo joined fellow musicians Migos alongside athletes like Joel Embiid, Holly Holm, Dale Earnhardt Jr., and more for the vocal rendition. Also featured in the video is a handful of eSports players.
Late last month, The Chainsmokers also revealed plans to release a new album sometime this year. They posted a teaser image of the tracklist with all but one song title redacted. As of right now, the only song revealed is their collaboration with 5 Seconds of Summer, "Who Do You Love."
H/T: Dancing AstronautFOLLOW THE CHAINSMOKERS:
Featured on This Is Not Happening, the comedian delivered a hilarious stand up routine.
Drew Carey recently came onto Season 4 of the comedy series This Is Not Happening (that got its start as a TV show but later moved to YouTube) to tell the hilarious story of a friend's bad trips while they were visiting Electric Daisy Carnival Las Vegas and TomorrowWorld in Atlanta.
The story happened 4-5 years ago, as he recalls, and involved all sorts of drugs influencing his friends' psyche in the funniest way. Carey wasn't really having second thoughts about turning the situation into a massive joke into his friends' expense, and what adds to the entire narration is the fact that his friend is also a famous comedian who didn't want his name to be revealed.
Watch Drew Carey's stand up story below:
Drew Carey began his career as a comedian more than 30 years ago, starting off performing at comedy clubs in Los Angeles and his hometown of Cleveland, before enjoying mainstream success, writing his own stand up comedy special titled Drew Carey: Human Cartoon and appearing on The Tonight Show Starring Johnny Carson.
H/T: Your EDMFollow Drew Carey:
Here's your Pixel Festival fact dump.
Considering how strange the past couple of years have been, the premise of a star-studded music festival hosted entirely in the virtual worlds of Minecraft doesn't sound even remotely far fetched. In fact, recent events and crossovers have led many to believe that video games are EDM's next frontier.
This weekend, Chandler Riggs is hosting Pixel Festival, a full-fledged music festival inside Minecraft. For those unfamiliar with Riggs, he is known for his portrayal of Carl Grimes in the massively popular TV show The Walking Dead as well as a current role on ABC's A Million Little Things.
EDM.com was lucky enough to be able to speak to the multi-talented star and learn more about his endeavors in both music and technology, and where the two worlds meet.
First things first, you may be wondering why a career actor is hosting his own music festival inside a video game. As some attentive dance music fans know, Riggs makes future bass under the name Eclipse and has released music on Steve Aoki's label. Riggs is also an avid gamer and said both gaming and music are his two favorite hobbies.
After the success of Fire Festival, the last Minecraft festival Riggs was associated with, he decided he needed to get into the game (pun intended) and create the virtual festival of his dreams. With that vision in mind, he created url.events, his very own team dedicated to creating virtual music experiences.
Although he had tons of fun and is friends with the minds behind Fire Festival and Coalchella, his festivals seek "everyday people that go to [real life] music festivals." When speaking more on who the general audience is he mentioned inclusion, saying, "...People that can't go to these [real life] festivals can come to these events. It's really cool to be behind something as inclusive as this."
The idea of having a music festival experience for free at home is something many dance music fans can get behind. With transportation, lodging, tickets, food, and other expenses, going to a music festival is not something everyone can swing. Riggs went on to mention a problem that many of us have faced: Many of our favorite artists don't play in our home countries as often as we'd like.
"[Virtual festivals] are a way for people to go see their favorite artist if they live in a country where their artist doesn't come to," he told us. "It's an awesome way for them to get that experience without having to physically be there."
Riggs understands that virtual festivals will never replace real life festivals - and he agrees that real life festivals are "life-changing" - but this is an opportunity for some people who can't get out to festivals or who are new to electronic music can get their festival fix.
With all that being said, enter Pixel Festival.
Riggs certainly proved his dance music cred when he released the hand-picked lineup. He made it clear that he is a fan of each and every one of the acts he selected to take the virtual stage.
Superstars like Virtual Riot, Flosstradamus, What So Not, Anna Lunoe, and many more are featured on the url.events inaugural festival alongside the eSports celebrity-turned EDM sensation, Ninja.
When asked about Ninja's involvement Riggs stated: "I want all people that are related to gaming and music in any aspect to be able to be a part of this...He's super excited for it, and we're super excited for it. It's going to be awesome".
Due to game limitations, Pixel Festival will not have live audio, however, they have created a clever way to give the artists control during their set. Riggs described the process in detail:
"Since Minecraft doesn't let us stream audio into the game, all of the sets are prerecorded. But, to kind of make up for that, we have a bunch of different ways that the artist can interact with the crowd on stage, aside from just typing in the chat. They can press buttons to activate fireworks, give different effects to the people in the crowd, for example, they'll start floating, or there's a cool fun surprise on one stage for what they can do to the crowd. It's just another way for the artist to interact with the crowd to kind of make up for the prerecorded aspect of it."
Half of any festival experience is the festival grounds. The one advantage a virtual festival has over real life is that there are no limitations to what you can do. Want to alter gravity and send attendees into the sky? Go for it. Want to make a giant castle stage with flying dragons in the sky? Why not. Anything is possible.
Riggs and his team of just four builders ran with that idea and created something truly insane. The festival grounds at Pixel Festival will feature everything from giant candy sculptures, to lava filled rivers, and even giant, dabbing unicorns.
Pixel Festival ScreenshotsView the 4 images of this gallery on the original article
The very idea behind Pixel Festival aligns with the notion that EDM is conquering the video game world. Marshmello and Fortnite's massive collaboration showed the world that gamers are ready to let dance music into their lives, while events like Pixel Festival hope to take things even further and offer complete experiences with fewer restrictions.
When asked when we should expect new music or shows from Eclipse, Riggs said:
"Hopefully soon. I'm looking at getting on a few shows in Europe. I'm hoping to get some of these because I'm still producing music every day and working on new stuff. I'm working on getting some vocals back for a few songs - and hopefully, I'm going to have a new release from Eclipse pretty soon.
To see their hard work in action and listen to some sets inside the virtual madhouse, fans who own Minecraft can log onto their server April 6th and 7th from 6:00-11:00 PM PST to join in on the fun.
Full instructions on how to attend Pixel Festival are available here.FOLLOW CHANDLER RIGGS:
Donnie Estopinal also gave us the details of DDP's ticket giveaway for Ubbi Dubbi Festival.
A new name has been in the mouths of festivalgoers in 2019: Ubbi Dubbi Festival. What most of the EDM community may not realize, however, is that it's been on the mind of Disco Donnie Presents Founder Donnie Estopinal for over 20 years.
As a matter of fact, Estopinal hatched the idea for Ubbi Dubbi all the way back in the '90s, during the heyday of early rave. During an interview with EDM.com, he also told us about a secret language tied to the event and reflected on some of the changes facing the electronic music world as of late.
After reading what he had to say below, enter to win free tickets to Ubbi Dubbi Festival by recording a video of yourself speaking the language in a funny circumstance (translator here!) and posting it to Instagram. In order to be eligible, you must tag @EDM and @UbbiDubbiFest in your post using the hashtag #UbbiDubbi and be of at least 18 years of age. The ticket will be emailed to the winner 24 hours before the event and is not transferrable or redeemable for cash.
These months are when promoters really start revving their engines for festival season. What are the big topics of discussion in the Disco Donnie Presents war room as of late?
Well, we average close to 20 shows per week so we’re always monitoring how those are going, seeing if any of them need some extra love, and working on making sure they’re all going to be successful. We’ve also been working away on the two festivals that we have on sale right now, so we’re just making sure we’re constantly creating new content to keep people engaged and talking about the shows.
Ubbi Dubbi is the event of yours that most of the EDM world is clamoring about. From its very inception, how did that concept come about and what direction is it moving?
It was actually 1996 that I came up with the name. Well, let me backtrack - when I first got into the rave scene a lot of party names were really dry and stale, like “Energy” and “Fire” or other random names that just weren’t interesting. When I started doing my own shows, I tried to inject a little humor into the scene and I always used something that was a reference from my childhood. Ubbi Dubbi was a language on this PBS show called Zoom.
In 1996, I announced that I was going to do a party called Ubbi Dubbi, but it never happened. I just always had that name in the back of my head, and when we were gonna do this new festival everybody was throwing around the same old names with “Electric” in the title, and I wanted to do something more as an homage to the past, but also something that was fun. I threw out the name Ubbi Dubbi and my whole team was kind of’ like “Huh.” Nobody was really crazy about it at first, but then when I explained the background of it everyone started getting excited about it.
So you had the idea for the name long before dubstep was a glimmer in the eye of any electronic music fans.
Oh yeah, it had nothing to do with the music. It’s basically a coded language that the kids can use without their parents understanding. Once everyone bought in, the designers at The Firm came up with the two characters, the Fame House social team came up with the back story, and Eyewax developed the music and old school video game look. It kind of got everybody’s creative juices flowing and allowed them to step outside the box a little, because we were basically working on a blank canvas. Nobody really knows the story of where it all started - and I guess that’s what we’re telling now.
Can you break down how this language works, exactly?
We have a translator so everyone can learn to speak in Ubbi Dubbi, but let me tell you what the rules are. It works by adding an “ub” before each vowel sound in a word, and the stress falls on the ub of the syllable that would be stressed in the word. For example, “hello” would be “hubellubo.” Another big thing is that people don’t know how to pronounce it. They’re calling it ooh-bee doo-bee, but it’s uh-bee duh-bee.
To be honest, when we first heard it we thought it sounded weird but then it occurred to us that we heard it once and never forgot it after that.
Well, imagine me sitting down in a board meeting trying to get the budget approved and when they ask what we are going to call it, and I say, “Ubbi Dubbi.” Ubba-what? Donnie, you need to put down the pipe (laughs). It was kind of a rough start because people didn’t know where it came from or how it was developed, but it has really taken off and people are excited about it so Im glad we got to share it with them.
You’re approaching the 25-year anniversary of Disco Donnie Presents. How has the rave scene changed between then and now?
It’s changed a lot aesthetically. On the production side, our visuals used to be projected onto sheets or played on TVs from Rent-a-Center. There were no LED walls, no pyro, no confetti, or CO2 blasts, so the presentation of the show has changed, but to me the vibe of the people has basically stayed the same. In the rave scene, there’s always new people coming in and old people going out, and everyone in the middle. To me, if I look at the comments people are making today about the scene and what it means to them and how it’s changed their life and I compare it to years ago, it is the same story people have been telling for 25 years. The people are the constant, even though the number of them coming has drastically gone up. Oh yeah, and I’m also a constant also because I’m still here (laughs).
Rave promoters in the ‘90s faced a lot of crazy challenges, as I know you’re well aware. How have the challenges changed since you’ve been doing this?
Back then it was really hard to find a venue and get somebody to let you throw a party there, and then you had to get people to come. You couldn’t just post an event on Facebook and have everybody show up. You had to go out and put posters on the poles and hand out flyers to people and explain to them why they needed to go to this party. No one knew who the artist was because there were no streaming services, no YouTube or Spotify. You had to really sell the event because there was no information out there.
It’s still not easy to find venues, but now a lot of them are more receptive. They see it’s a legitimate business and we’re not gonna fight or shoot each other because it’s normally a well behaved crowd. Electronic music is everywhere now so people don’t see it as just a fad; they understand that it’s here to stay.
Last year marks the year LiveStyle rose from the ashes of SFX Entertainment. You have an interesting vantage point because you’re one of the operators they really left in charge of his own company after they acquired it. How has that whole conglomerate evolved from your perspective?
I was there from the first day with SFX because I was the first person in. I saw the whole spending spree where they said, “Alright let’s go go go” to when they said, “Okay, let’s slow down, we need to save money” to “Alright now we’re bankrupt.” Then I saw the genesis of LiveStyle, so its been a crazy ride. Last year was a good year for us and it looks like this year is gonna be even better.
That’s sort of an anomaly given that the EDM industry started slowing down the last couple years - at least according to the IMS Business Reports. Do you think the industry is contracting, or is it still expanding and growing?
I don’t think it’s contracting. I think it’s kind of like the stock market where people wanna see growth, and from 2009-2017 we saw huge growth, but then in 2017 we started to hit a plateau as hip-hop came back to the forefront and there were other challenges. There were too many festivals and events and it just became overkill for everyone and there was a bit of a market correction, but I think it’s still growing and I know for sure it’s not going anywhere. We may not be the top dog right now but we will be one day.
Tell me about a trend going on in EDM right now that you find especially interesting.
In the past couple years, the last one especially, at least in the Southern markets house music has made a resurgence. In the late ‘90s I was big into Chicago house because it sounded like adult music that people could graduate into after their early days of raving, and I thought it was gonna be the sound of the future. It didn’t really go away but it also never grew into anything, so now seeing these young kids jamming to that Dirtybird sound makes it seem like its come full circle. It took 20 years, but to see these house DJs draw crowds of 1,000-1,500 people in middle America and the deep south warms my soul.Follow Disco Donnie Presents:
The bass duo is back!
After their heavy collaboration with English duo Delta Heavy, Zeds Dead are back with a new remix. This time, they've taken on Ellie Goulding and Diplo's hit "Close To Me," which features vocals from rapper/singer Swae Lee. It's included in Ellie Goulding's short remix package for the single, featuring additional remixes from producers Felix Cartal, CID and Nonsens.View the original article to see embedded media.
Zeds Dead (real names Dylan "DC" Mamid and Zachary "Hooks" Rapp-Rovan) surprise with their take on "Close To Me," as they chose to not favor a trendier musical style, and hint back to their roots with an old school approach. Starting off with synth arpeggios and interesting ambiances, the duo move towards the climax quickly without playing with Ellie Goulding's vocals too much. The drop is dominated by a gritty bass that interplays with saw chords and vocal chops, creating an interesting result.
It's an ambitious approach that is sure to catch the attention of Zeds Dead's newer fans, as well as satisfy the ones that have been following the duo since their first days.
Zeds Dead can be listed among the most influential bass music acts of the decade. Their diversity and constant progression have earned them billings at the world's biggest festivals. Their highly anticipated debut album Northern Lights was released towards the end of 2016, and they have collaborated with the likes of Diplo, Big Gigantic, NGHTMRE, Illenium and many more.
H/T: Your EDMFollow Zeds Dead:
For this year's annual celebration, Tomorrowland UNITE just announced some new cities!
Every time over the past years, Tomorrowland UNITE comes to different cities and countries around the world to offer fans a taste of the original Tomorrowland experience happening in Belgium. Using satellites, they work to transmit sets and happenings to custom stages, making up for more than a simple live stream of the event.
Now, Tomorrowland has announced the locations of this year's UNITE events: Athens, Porto, Malta and Barcelona. A stage, known as The Amicorum Spectaculum, will be set up in each city, featuring performances by a Tomorrowland-curated lineup as well as direct live stream from the main stage in Boom. A synchronized light show and special effects will contribute to the experience, as attendees will have the chance to unite with the other cities and the main event in Belgium.
Check out the announcement below. Information and tickets can be found here.
Tomorrowland 2019 will be held in Boom, Belgium for the 15th year in a row, providing the approximately 400.000 attendees with a thematic experience over the final two weekends of July (19th-21st and 26th-28th). Headliners include A-listers such as The Chainsmokers, DJ Snake, Afrojack, Armin van Buuren, and Vini Vici.
H/T: EDMTunesFollow Tomorrowland:
The only mistake would be sleeping on this up-and-coming producer.
Canadian producer and artist, Naliya (real name Natalie Salomon) is back with her first release of 2019, "Mistake." This is her third feature on our site and yet again she flexes how impressive of a producer she is while soothing us with her lush voice simultaneously.
The verses of the song feature Solomon's smooth vocals accompanied by atmospheric pads. The build spotlights a high and repetitive vocal melody that leads us into a high energy drop featuring a repetitive vocal chop that’s bound to get stuck in your head. She's perfected the pop-electronic blend seamlessly with this track.
Solomon first entered our airways with her track "Oh My!" 2018 proved to be a great year for her following the release of "Fuck," "Sunday Love," and her latest remix of "All Your Fault." As of late she has garnered a mass of new followers which proves this is a producer to keep your eye on.FOLLOW NALIYA:
Asia's largest festival at sea is now offering even more
April Fools jokes sometimes go awry, but not when you are Asia's largest festival at sea. It's The Ship played a prank on festival fans by offering up a tissue packet for the insane price of $1250. To their surprise, people actually bought it.
Now to be fair, they rewarded the purchaser with a balcony cabin on this year's ship so, in the end, they are getting an amazing voyage at sea. The sixth rendition of It's The Ship is set to sail out of Singapore, November 13th-15th.
It's The Ship has now turned this into a fun new way to sell tickets. Next up on the table, a water bottle - you guessed it, for $1250. The lucky purchaser will again receive a balcony cabin slot. Fans can't get enough!IT'S THE SHIP Water Bottle on sale now (; 0:30)
Last year's lineup included Cash Cash, Darude, Paul van Dyk, Vini Vici and many more. Three days partying out at sea on a luxury cruise ship with some of your favorite artists and fellow shipmates may spike anyone's interest in a $1250 water bottle! Just check out last year's official aftermovie.
Go to itstheship.com to purchase the brand new IT'S THE SHIP water bottle!
Board the ship:
China 2019: June 13th-17th, 2019
Singapore 2019: November 13th-15th, 2019
...We don't know what else "IT'S HAPPENING" could mean.
Diplo's plans to turn Mad Decent Block Party into a two-day festival are no secret, but last we heard he had faced setbacks in bringing his vision to life. If activity on the event's Twitter account serves as any indicator, that may not be the case any longer.
After setting their sights on Brockton, Massachusetts, Diplo (real name Thomas Wesley Pentz) and SGE Entertainment found themselves strong armed by local lawmakers. The city's chief of police said it would be "way too big to handle," and Brockton's mayor and three city council members gave organizers a hard "No."
Brockton officials either had a change of heart, or Pentz and his colleagues found another location - at least if the below tweet holds any weight.
At the time of writing, spokespeople on behalf of Mad Decent Block Party Festival have not made any formal announcements. It remains to be seen if the event will take place on its previously planned date range of July 20th-21st, and whether they struck an agreement with Brockton lawmakers or those of another city.Follow Mad Decent Block Party Festival:
Cheat Codes walks us through the new track and what it's like working with Kaskade.
After dropping "Be The One" at Ultra Music Festival last week, Cheat Codes and Kaskade have wasted no time in releasing their latest collaboration.
The electrifying, chilling track mashes together both artists' distinct styles and creates a unique drop that'll leave your jaw hanging open. To give you an idea of what that sounds like, the L.A. DJ trio told us the track reminds them of the Stranger Things theme and it could be something that might just fit in Tron.
EDM.com had the chance to talk to Matt Russell, one third of Cheat Codes (that also consists of Trevor Dahl and Kevin Ford aka KEVI), about the new track, the possibility of a Fortnite event for their fans, and how streaming has helped them and other artists.
EDM.com: How did you come to work with Kaskade on "Be The One?" Was it something you guys were putting together on your own and then enlisted him or was he involved right from the start?
Matt Russell: Actually, we were working on a different track and he had the instrumental and the vocal idea written. Trevor sang it and he thought it was really dope and down to put it out. Then we were like, "Hey we should do a club record as well, like a banger." The other original track kind of fell by the wayside, so you never know what's going to end up working. Sometimes you have to try a bunch of different ideas.
When you're working on songs like "Be The One," what's the process like creating a track. Do you normally write the song first and then start working on it in the studio?
Kaskade had the drop - well, he had the instrumental and then we wrote a top line to his instrumental. From there we kind of realized that the verse instrumental didn't really match the vocals as much, so we tweaked the verse instrumental and then we had to tweak the drop into this kind of triplet timing which you could hear if you listen to the track. It’s almost like swung and we've never done a track like that ever, but it's part of why we really like it. It's very unique and different from anything we've ever done.
Our process is such that sometimes things come together really quickly and it's like, "Oh this works perfectly, insert vocal here or instrumental here," but a lot of times it's like, "This section could be tighter." Once you fix that, it's like, "This other section is more obvious and needs fixing too." And then you kind of do that ten times and you get to a point where you're like, "I don't want to change anything about this now, I think it's how I want it to be." It's a lot of trial and error.
So then when you run into these roadblocks, how do you get out of them?
We usually work on other records. We might spend the day in the studio, like what I said, writing the top line and then bounce it and send it to Kaskade. Then sit with it a couple of days. The next day in the studio we might work on a completely different track.
By the time we get back to the song again to listen to it, we have fresh ears. If you've forgotten the specifics of the song and then you play it for the first time again, that initial reaction that you're feeling is most likely closer to what the listener's going to feel. We try to emulate that a little bit because sometimes it's easy to get demo-itis, which just means you get married to the first thing that you did.
That's the interesting part about collaborating with someone. Sometimes you can be very resistant to the ideas that the other person brings to the table because you're so married to the original ideas that you fell in love with. In this instance, us and Kaskade were pretty much on the same page every time. Once we changed the verse and rewrote the vocal, we basically were like, "Oh I think the drop is off," and he fixed it and made it perfect in like a day.
What was it like working with Kaskade, was there anything you learned from him?
He's such an OG. He's been doing it for so long since back in the heyday of house music, so it's interesting to hear his perspective and just how he puts his shows together. We spent some time with him in Miami over Miami Music Week, we played Ultra and made a cameo at one of his parties at the SLS.
Actually, I did a three-mile run with him. We ran three miles and then he directly got on stage for his set. He didn’t take a break or anything, he was just like, "okay." I think when you've been doing it for that long, it's so habitual and the process is very down pat where you can do things like that.
For us, there's a lot of thought being put into everything that we're doing because we're still unsure about certain things - where with Kaskade it’s instinctual. You get that experience and you gain that wisdom.
Also, when you're working with someone like that you really trust their opinions because they've been doing it for so long. When we have an idea and he's like, "Yeah I was thinking the same thing," it's like, "Okay sick!" It reaffirms your instincts and gives you a little more confidence, which is cool.
What's your favorite collaboration so far?
We really liked "No Promises" with Demi Lovato. Our good friend Ari who's in a project called Lauv, when he showed us the song he wasn't really that big and we thought the song was dope. So we thought Demi Lovato would be a good idea. She heard the record and she loved it. I think how everything came together on that, how we felt like it was going to be big and, as far as reaching out to the biggest artist that we could think of, we just went for it. And she killed the vocal. So it was a really fun process.
For a more recent one, "Ferrari," that we did with Afrojack just because we want to do more records where it's us singing and doing the vocals as well as the production. For that record, KEVI is rapping on the verses, Trevor's doing the hook and then we collaborated on the track with Afrojack. Doing records like that is great because they work seamlessly, like in our live set how you go see us at the club or at a festival and it's our own thing that nobody else could recreate as far as a DJ group. We're rapping and singing and DJing, so we're down to do a lot more records like that.
Obviously all three of you write and produce your music together, but do any of you really shine at one or prefer one over the other?
We all come from different backgrounds, so we all bring that to the table individually. Trevor used to be in a singer/songwriter acoustic pop project before and KEVI was doing hip-hop. I was doing urban pop and making beats. I bring a lot of ideas to the table and I'm good at brainstorming and overall concepts. Like "What if we tried this, this and this together," and then seeing the reactions of the guys and if I'm on the right track or not.
Trevor is really good with melodies and storytelling. He's really good at producing and sound design, like making some fresh sounds and finding good samples as far as drum samples and our beats. KEVI is really good at lyrics, punchlines and specific metaphors and comparisons. At the end of the day the test for us is if we all like the record. Some of us are pickier than others, but if all three of us like it, then we at least know it’s a good song.
What's the most memorable time you've had with them working on something?
We have our own label, Too Easy, and we have an artist named Danny Quest who released music on our Level 1 EP. We have a song with him called, "Not Safe For Work (NSFW)" and then we have this new artist named Trixie, so we've been working on her project. We were all really excited about it and it got us back to that feeling of when we first started Cheat Codes with oh we can do that and we could do this.
We're very involved, not just on the label side, but on the creative side as well with pitching ideas and different things that she can do. She's a female DJ and it's going to be almost like if DDR was modern dance music. If you can imagine that, keep on the lookout for Trixie. She's going to be dope.
Cheat codes are a part of video games and since we're talking about them, is there a video game you guys find yourselves playing all of the time?
We just started playing Fortnite and we're on Twitch. The last few days we've been posting our streams and it's been pretty fun. We grew up on N64 and the original Playstation and Xbox, so it's interesting to see that everyone plays online now. When we play online, our die hard fans are playing with us, which is really cool. It's interesting that that’s another way to connect with your fans. So we play Fortnite, Rocket League and NBA2K.
Do you ever hope to have an in-game concert like Marshmello?
That'd be very cool. I'm still learning, but I think it'd be cool to create a little house and invite fans to come through and do something cool. I mean, this is real life for people who play all of the time. It's just as real and it's a virtual meeting place, so that's sick.View the original article to see embedded media.
With everything being online now, do you think it was easier for you guys to get to where you are now because of it?
We wouldn't be anywhere without Spotify, for example. It just comes down to radio not wanting to give our song a chance multiple times and then it becomes the #10 song on Spotify and it's getting two million streams a day. That's more important than radio because it's direct income you're making as an artist.
For that to happen to us basically twice where we have two viral songs that don’t even get considered to be pushed to radio in America, but they're multiple platinum songs... it's crazy to me. I don't think that could've happened five or ten years ago. It's amazing and it just goes to show it's about the fans and it's going to come down to what the fans want to hear.
You also get really quick feedback. If you put out a song, you'll know right away if it's not performing amazing or who it's catered towards. Not every song is going to be a pop hit, but you can literally look and be like these are the people that listen to my song the most and who am I reaching. Am I reaching the diehard dance fans who are going to come to the club or festivals and see me perform or am I reaching just a casual listener who's only listening to us because we're on a playlist. I think all of that information allows artists to do their jobs better and artists are becoming more business savvy.
So are you guys working on an album or going on tour? What else is next for Cheat Codes?
We're doing our Level 2 tour right now. We're hitting places all over the U.S. and playing at some colleges. We're also finishing up our next dance album, Level 2. It's going to be similar to Level 1 which we put out last year. So we’re going to be releasing songs from that and it's going to be awesome.Follow Cheat Codes:
The high-energy trap and bass producer releases his heaviest work to date
It has been quite the year for Jake Sweeney.
Sweeney — the Detroit-based producer behind the G-Rex project — entered last year as a relative unknown, but became a fixture of the bass scene in September with the release of his PEEKABOO collaboration, “Babatunde." Four months into 2019 the bass-heavy trap act is out to show he is still evolving as a producer, as evidenced on his latest EP, Requiem, out today via Wakaan.
The EP opens with “LADI”, a much-clamored-for track heavily teased by Sweeney on Liquid Stranger's INFINITY tour this spring. Running just over two minutes, G-Rex unleashes perhaps his most fiery, sinister work yet. It also showcases the progression in his dark-edged trap and bass production.View the original article to see embedded media.
After warning the listener with an escalated drum and vocal procession, the track drops into a meat grinder of bass, sampling in screams, laughs and what appears to be fleeing horses neighing in the background. The production depth is far more complex than on previous G-rex releases, and perhaps why the Detroit DJ is so excited for this new project.
"Really excited to finally get this EP out,” said G-Rex, in a statement. “I feel like this body of work really shows the progression of my sound and is much more aggressive than the last."
G-Rex continues to build on the chaotic soundscape forged in the opener, following up with an equally combustable “ASYLUM.” The track recalls his trap and party rock roots, with bravado-laced vocals leading into slow-paced bass notes. "VOODOO" and "WARNING" wrap up the EP, with the latter track sending listeners off with sirens and low frequency bass.
Requiem shows that G-Rex is anything but a one-trick pony, and lends to the conclusion that a full-length project would be just as insatiable.
Stream or download Requiem by G-Rex across platforms here.FOLLOW G-REX
Right in time for Coachella!
The long-haired high priest of bass, better known as Bassnectar, has officially released his fourth installment of the Reflective EP series. The seven-track collection is set to get Bassnectar (real name Lorin Ashton) fans swooning and breaking rails. Last week he dropped his collaboration with Peekaboo titled "Illusion" featuring Born I as the lead single of the series as well as a sneak peek into "Dive" featuring RD. Now fans can dive deep into Ashton's eclectic collection of genre-bending delight.
The first track of the series features Hailo and goes by the name "Irresistible Force." Hailo's voice guides us into the light that lies ahead. It's one of the more dreamtempo tracks on the track list. It's a great smooth opening to the chaos that's to come.
The name says it all with his collaboration with Jantsen, "It's About To Get Hectic" featuring Born I. It ties in nicely with the in your face bass that was delivered with "Illusion." Necks are sure to break with these two tracks.
"Undercover" exhibits more of his eclectic wildstyle musings. There's a lot of cool layering going on here. The blend of hip-hop and dubstep is everything we've grown to love with Ashton.
The last two tracks on the album wind us back down to close out the series. On the lineup is a Bassnectar remix of Telefon Tel Aviv's "Sound In A Dark Room" and a Mothership Mix of Bassnectar's 2005 track "Leprechauns Arise" featuring Sunru. Both are more in line with his dreamtempo styling.
Ashton has collected some of the most devoted fans in the industry over his lustrous career. He's gone from breakbeat to trip-hop, to dubstep, but has always created a sound that is truly his own.
Make sure to catch him for one of his unbelievable live experiences below.
BASSNECTAR Tour Dates + Tickets:
April 13th - Indio, CA - Coachella
April 20th - Indio, CA - Coachella
June 7-9th - Broomfield, CO - Freestyle Sessions 2019
June 27-30th - Rothbury, MI - Electric Forest
July 18-10th - Scranton, PA - Camp Bisco
The English producer had some choice words about the current state of dance music.
This weekend, electro house sensation Feed Me makes his debut on Beats 1’s weekly radio show One Mix. The English producer describes the set as ”a stream of consciousness with sparks of nostalgia.” Expect tracks from Umek, The Prodigy and The Chemical Brothers, plus plenty of songs from Feed Me’s recent album, High Street Creeps.
Tune in here, exclusively on Apple Music.
Air Date: Friday 5th April 2019 - 21:00 LA / 00:00 NY / 05:00 UK
Feed Me (real name Jon Gooch) grew up in Hertfordshire, obsessed with computers and his parents’ rock vinyls. He got his start making drum and bass under his Spor alias, and it wasn’t until 2008 that Gooch’s devious green gremlin came to life and the Feed Me persona was born.
Gooch’s self-drawn cartoon - with its stout, bulbous body, devious wide-eyed smile and sharp eyes - embodies his music, fierce and unwavering at one end, and playful, almost whimsical at the other. Take a listen to his third album, High Street Creeps, released less than two months ago, to hear for yourself.
Ahead of his One Mix, Gooch shared music insights, like his guilty pleasure record and dream B2B partner, with us. Not only that, but he had some blunt words to share about the current state of dance music.
EDM.com: First show experience?
Feed Me: Helter Skelter under age at The Sanctuary dancing a foot deep in Red Stripe cans.
First time you brought your mom to one of your shows?
...Was also the last.
The artist who inspired you to become a musician?
H.R. Giger or Jim Henson.
Go-to places for new music?
Run up to people on the tube and quickly snatch their earbuds and have a listen.
Guilty pleasure record?
Transformers: The Movie Soundtrack.
Desert-island dance record?
In Rainbows by Radiohead.
Dream B2B partner?
Piece of gear you always need on the road?
Nice pens and earplugs.
All-time favorite festival?
Fujirock, Sasquatch or Shambhala.
Biggest misconception about dance music?
Not a sausage.
How often do you get out and have fun, and where do you go?
I've spent a lifetime building a world of fun things at home but there's a field near me with llamas which is nice to stop at.
City with the most underrated dance scene?
Wheathampstead goes off.
Industry prediction for the next year?
More vacuous, corporate-tinged, soulless, empty nonsense; a line of producer/DJs realising it was never the music that drove them as they wheeze uphill; more brand than person; dissolution of the nightclub; pop bleeds into EDM bleeds into fast food.
...But also some amazing new talent.
Best piece of advice for new producers?
Music's full sod off.
Dead or alive, who would be your dream collaborator?
Denis Villeneuve or Hideo Kojima.
What is one of the unique experiences you’ve had backstage?
Danced with Björk. Watched Gene Simmons read a novel and drink Perrier in full makeup.
A unique travel experience you’ve had?
Found a dead body on the train to school once.
What's your favorite throwback track?
"Papau New Gineau" by Future Sound of London.
What's one track that fans always lose their mind to?
I'd have a good jump about if I saw “Vicarious” by Tool live.
What was the first album you ever bought?
Experience by The Prodigy.
Name one remix that you think is better than the original.
Pendulum's remix of "Bacteria" by Ed Rush & Optical or "Torn" by Natalie Umbruglia.
What song do you listen to cheer yourself up?
“Placebo” or “Oasis.”Follow Feed Me
This highly anticipated album shows the true evolution of Jai Wolf.
We have been following Sajeeb Saha, or Jai Wolf, since the start. Breaking into the industry with remixes of Skrillex's "Ease My Mind" and Kiarra's "Feels," this artist has come a long way from his bedroom producer beginnings. After listening to this debut album release of The Cure To Loneliness it is clear that Jai Wolf has evolved into not only a DJ, but a multi-genre, boundary-breaking artist.
The Cure To Loneliness is captivating from start to finish. This album signifies a wave of change coming to electronic dance music. Jai Wolf challenges this genre's conventions by mixing indie, retro, and rock elements into electronic-focused tracks. He seamlessly integrates inspirations of CHVRCHES and M83 with lush and powerful electronic melodies. The intro draws you in and each track keeps you listening with a new story to tell. This album is packed with real, honest emotion.
Of the album, Saha has said:
“I like writing songs that have a duality, a complexity of feeling that takes you to a melancholy, reflective space. My music is for people who are desperately dreaming beyond where they are at right now—it can be the future, it can be the past. I want you to feel nostalgic. I want you to reflect on your life. I also want you to be inspired about where your life could go.”
Born in Bangladesh, raised in New York City, and inspired by everything in between, Jai Wolf’s life and music have been defined by his cultures. This all converges to create an emotional complexity to the music that cuts deeper than the norm. After hundreds of millions of streams on astral- indie-dance anthems like “Indian Summer” and “Starlight,” blockbuster festival sets from Indio to India, and regular co-signs from the likes of Skrillex and ODESZA, Jai Wolf took time to sit back and really perfect his craft. He decided to ditch the drops and focus on crafting songs with depth, meaning and melody. The result was the debut Kindred Spirits EP in 2016, a record that stunned critics and signaled the birth of Jai Wolf the songwriter, live performer, and indie-tronic artist.
After two years of patiently crafting, Jai Wolf presents The Cure To Loneliness, both an album, out now, and a North American tour starting on April 18th. From Concord Music Hall to Shrine Expo Hall, you don't to miss out on this two-month showcase. Buy tickets and search for a show near you here.
Though the tour starts in just a few weeks, The Cure to Loneliness is available for streaming now. Prepare for a refreshing listening experience. Head over to your favorite streaming platform to check it out.Follow Jai Wolf
Plus, an intimate concert inside a 5,200 year old lava tunnel!
If raging 80 feet beneath the surface in Iceland's second-largest glacier was on your bucket list, look no further than Secret Solstice. The sixth edition of the festival, which takes place in Reykjavík, Iceland June 21st-23rd, will host once-in-a-lifetime add-on events to this year's festivities. This year's nature-themed side shows will include Into The Glacier with Martin Garrix and Marc Kinchen (MK) and The Lava Tunnel - for which artists have yet to be disclosed.
The beauty of Secret Solstice is it's set during the time of summer solstice, so guests will witness what it's like to live in 72 hours of continuous daylight. The breathtaking landscapes that lie ahead on this festival are sure to make anyone want to book a ticket.
Into The Glacier will be held in Langjökull. Previously, the Ministry of Sound brought Dusky to the glaciers. Friday, June 21st will feature DJ Mag's #1 DJ, Martin Garrix. The Dutch superstar will be partying it up in the awe-inspiring crystal cave and beautiful ice tunnel formations. MK will be setting up camp on Sunday, June 23rd in a 10,000-year-old ice chamber. This is something you will not want to miss. Only 100 tickets will be available per event.
On top of the glacier, the festival is hosting an intimate concert in The Lava Tunnel, a 5,200-year-old lava tunnel named Raufarhólshellir. The performance will take place Saturday, June 22nd and only 50 tickets will be released.
Secret Solstice Music Festival features an array of genres including dance, rock, hip-hop and pop. Some major players include Robert Plant & the Sensational Space Shifters, Foreign Beggars, Black Eyed Peas, Pussy Riot and Boy Pablo, as well as a plethora of more local Icelandic talent.
Tickets for Into the Glacier 2019 are on sale now from $292 USD | €260 | £222 | 34990ISK via https://secretsolstice.is/into-the-glacier-2019/
Tickets for The Lava Tunnel 2019 are on sale now from $208 USD | €185 | £158 | 24900ISK via https://secretsolstice.is/the-lava-tunnel-2019/FOLLOW SECRET SOLSTICE HERE:
Health issues will prevent Cookie Monsta from performing his next two shows.
Unfortunate news has circulated from Cookie Monsta's camp today. The U.K. dubstep producer has revealed that in light of a medical evaluation he will not be able to honor his next two tour dates in Canada and the U.S.
According to Cookie Monsta (real name Tony Cook), he was forced to cancel the two performances after receiving medical advice. For both performances - at The Palace Theatre in Calgary, Alberta and Phoenix, Arizona festival Phoenix Lights - he was to go back to back with fellow DJ/producer Doctor P.
Having been signed to bass music tastemaker Circus Records since 2010, Cook rode dubstep's mainstream breakthrough to success in subsequent years. To date, he has also released music on such labels as UKF, Rottun Recordings and Never Say Die.
Doctor P has yet to reveal whether he will perform the two B2B sets solo in light of Cookie Monsta's cancellations at the time of writing.Follow Cookie Monsta:
Marshmello's new music video supports the First Responders Support Network (FRSN).
Marshmello is no stranger to unique partnerships, and his latest with YouTube Giving supports a charitable cause. Around a month ago, Marshmello and Glasgow band CHVRCHES teamed up for an emotional release "Here With Me." After performing it most recently this week on Jimmy Kimmel Live!, "Here With Me" now has a music video.
The video follows the story of a Long Beach, California-based firefighter. Though the music video is unique, the situation depicts some of the sacrifices and trauma that first responders and their families face in daily life.
Utilizing YouTube Giving, Marshmello has launched a charitable campaign and placed a donation button beside the "Here With Me" music video. Donations will be raised for the First Responders Support Network, an organization striving to "provide first responders and their families tools to reduce personal and family stress, encourage appropriate career decisions and reduce the effects of traumatic incident stress on an individual's life."
For more on the First Responders Support Network, visit their official website.FOLLOW MARSHMELLO:
Ultra Music Festival will be discussed by the City of Miami Commission at an upcoming meeting.
Ultra Music Festival's Virginia Key debut is just barely in the rearview, but the political aftermath still lies ahead. Miami Commissioner Joe Carollo, who spearheaded the conversation to end Ultra's contract at Bayfront Park, has sponsored a new discussion item on the City of Miami Commission's next agenda, specifically regarding Ultra.
Ultra's original deal, which allowed the festival to take place on Virginia Key, took the form of a licensing agreement. Ultra agreed to pay the city of Miami $2 million in order to host their event on the island, but the agreement did not guarantee any form of extension beyond 2019. While City Manager Emilio Gonzalez originally was willing to let Ultra host for a $1.4 million fee, Carollo pushed for more money until the $2 million rate was agreed upon.
Although the direction of the commission's forthcoming April 11th discussion on Ultra is not clear, given Carollo's past position on issues related to the flagship Miami festival, the situation does not look good. Prior to its official move to Virginia Key from Bayfront Park, the commission heard from Key Biscayne residents, many of whom expressed concerns related to noise and logistics. The commission also committed to involving residents in the discussion surrounding Ultra's future once the event concluded.
While many of the bumps in the road surrounding Ultra's first day of action were resolved by the second and third days of the event, it remains to be seen how these pitfalls will impact Ultra's future ability to reconvene on Virginia Key.FOLLOW ULTRA MUSIC FESTIVAL:
GRiZ enlisted Wiz Khalifa, Snoop Dogg, DRAM, and more for his new album.
GRiZ has dropped his fifth studio-length album, his first album in nearly two and a half years. Ride Waves is GRiZ's biggest album offering to date, with a list of collaborators impossible to ignore.
GRiZ's sound has always been defined by a large scope of sonic influences from funk to hip-hop, and obviously, electronic. Ride Waves continues to feel exploratory from a production perspective, but the Michigan-born producer is increasingly making the leap into mainstream hip-hop. The midwest native completely changed his context in the making of this album.
GRiZ (real name Grant Kwiecinski) spent time in New York to record with the Harlem Gospel Choir, worked with a children's choir on Chicago's south side, and even spent time in New Orleans. The diverse inspiration attracted an equally bountiful list of collaborators including Wiz Khalifa, DRAM, Snoop Dogg, Matisyahu, and more.
Ride Waves comes just months after GRiZ broke a prolonged hiatus from music and social media. It has undoubtedly been a series of ups and downs for the producer who has not only pushed his career forward with the release of his album, but used his platform to make a charitable impact.
Last year, celebrating Giving Tuesday, GRiZ partnered with Dan Savage's foundation It Gets Better which aims to support youth members of the LGBTQIA community. The continued partnership is spotlighted by GRiZ's single with DRAM of the same name.
Listen to GRiZ's defining new album Ride Waves, out now.FOLLOW GRIZ: