When I saw Swedish House Mafia 3 years ago, I’ll never forget the first thing Steve Angello said:
“New York…we turned Madison Square Garden into a nightclub.”
Since then, some of the biggest names in dance music have made their way into iconic music venues all over the country, the most recent being Above and Beyond’s Group Therapy 100th episode celebrations this past weekend at MSG. Fans from all over the world gathered in New York City for a week of events, culminating in a 6-hour toast to 100 episodes of Group Therapy Radio Saturday Night. The lineup was stacked with some of the biggest Anjunabeats stars: Ilan Bluestone, Andrew Bayer, Mat Zo, and of course, Above and Beyond.
On Tuesday, fans were delighted to hear that the London-based trio would be releasing their newest album We Are All We Need in January. That following Thursday, Times Square was jammed with fans as they watched the premiere of the “We Are All We Need” Music Video featuring the legendary Zoe Johnston. Based on the responses, it was clear that #ABGT100 would be their biggest event yet.
Doors opened at 7pm to the sounds of a special deep house set mixed by hosts Above and Beyond. Ilan Bluestone’s New York debut and the official ABGT100 live stream followed at 8. His new Snapdragon EP as well as newer tracks like “Tension”, a collaboration with Jerome Isma-ae . However it was his mash-ups like “Big Ben/Black Room Boy” that really sent fans in a frenzy. Not only did Ilan Bluestone exceed expectations, he also set the bar high for the rest of the performers that night.
When news broke that Andrew Bayer was added to the ABGT100 lineup, the prayers of millions had been answered. For most at Madison Square Garden, it was the first time seeing the Washington, DC native perform. From the moment Paavo introduced him to the stage, deafening chants for Bayer began. He opened with the radio premiere of a unnamed track, and for the next hour took listeners on a journey of their favorite Anjunabeats anthems. The big pay off came when Andrew Bayer played his massive Club Mix of “Need Your Love”, and the sold out arena came alive with excitement.
Mat Zo’s greatest strength is his versatility. One never knows if he’ll dig deep into his collection of trance, his modern style rich with funky bass lines, or surprise us with something completely different. His set at ABGT100 seemed to be a combination of the three. Mat Zo pushed the limits of Madison Square Garden’s sound system, amping the crowd up with Duck Sauce’s “Barbara Streisand” before a string of darker tracks including Cirez D’s “Ruby.” With anticipation at an all time high, the stage was set for the headliners.
Whether you’ve seen Above & Beyond once or one hundred times, one thing never changes: the emotional response from the fans. Every performance creates a new bond to the songs we love, to the people we attend the show with. It’s the reason why we tune in ever Friday for ABGT, or spend hours making signs and shirts. Madison Square Garden burst into tears when Jono, Tony, and Paavo finally took the stage to perform. Those who had been planning this moment for months were overwhelmed by the thousands of people singing every song in unison to Arty‘s remix of Porter Robinson‘s “Lionhearted” and “Sticky Fingers.” For two hours, Above & Beyond curated the experience with stunning visuals during “Blue Sky Action,” and reminding us that life is made up of small moments like these.
Each year, Group Therapy celebrations outdo the years before it. It’s hard to imagine how ABGT150 next year could ever top New York. To relive the magic, check out our full photo gallery below as well as listen to the performances via Soundcloud. Above & Beyond’s newest album We Are All We Need can be pre-ordered on iTunes.
Photo Credit: Krystal Spencer Photography
Being responsible for two of Axtone’s most revered productions in its storied history, DubVision and Feenixpawl have united together on a much anticipated release. Corroborated for months by Axwell around the globe, “Destination” combines both pair’s signature brand of melodic pedigree. A barrage of chords are accompanied by a rush of drums as the original mix builds momentum, before swiftly boiling over into a detonation of melody. Bolstering Axtone’s incredible year of releases, the collaboration has already proven itself around the world as one of the two pairs’ better efforts of late.http://uploads.dancingastronaut.com/2014/10/DubVision-Feenixpawl-feat.-Joe-Gil-Destination-Original-Mix.mp3
DubVision and Feenixpawl drop ‘Destination’ music video was posted by Aaron Berecz, and appeared first on Dancing Astronaut.
Today Ultra Records has teamed up alongside Google Play to generously distribute Deadmau5‘ Grammy nominated album, 4×4=12, for FREE to anyone with an internet connection for a limited time! The twelve track album was a smashing commercial success for Deadmau5 when it became his first studio LP to chart on the Billboard Top 200 back in 2010. The offer is only available for a short amount of time, so grab it while you can before the price goes back to $4.99 or just listen to the continuous mix posted below for the next hour. Regardless of what you choose, you’re still getting great music.
Download on Google Play
Note: This offer is only available for US users. Sorry
Source: Ultra Records
This article was first published on Your EDM.
Source: Download Deadmau5′ Grammy Nominated Album For Free
Led Zeppelin is one of those musical acts that will always go down as one of the greatest of all time. Their discography includes tracks like “Stairway To Heaven,” “Immigrant Song,” as well as “All Of My Love,” which just got a remix from Proper Motion. This free flip recycles many of the iconic parts of the original, however the Boulder producers add in their own magic, leading to a successful rebirth of a classic record. When you get to relax tonight, give this a play and tune out from the world for a bit. A lot of talent and effort had to go in to pulling off like this, and it shows. Although you can’t pick up this Proper Motion tune, you can give it a listen or twenty. Or more.
This article was first published on Your EDM.
Source: Led Zeppelin – All Of My Love (Proper Motion Remix)
So, the DJ Mag results are in… and in a less reported but in no way, shape, or form, less important bit of news – I had eggs for breakfast.
I might have actually been able to make it a full year without realizing that the Top 100 had occurred (or was even still a thing) if my Twitter hadn’t blown up in a firestorm of people either a.) caring about it b.) not caring about it or c.) pretending to either care or not care about it. But nope, this years DJ popularity contest has again accomplished its now singular purpose of trending on my feed. To be fully honest, I probably belong to the side that doesn’t quite understand the relevance of this whole contest. If anything it seems like EDM’s annual version of The Hunger Games, except where no one dies and nothing actually happens.
In all fairness, DJ Mag hasn’t been at the pinnacle of its relevance in quite some time. Print has been losing traction to digital format publications as internet speeds ramp, platforms increase utility, and media evolves higher resolutions and production value. Including a CD with your magazine is no longer a viable way to add value to a viewer’s experience.
The same publication that won IDMA’s “Best Music Publication” back to back between 2003-2012 is being strangled by this new medium.
As a side note, keep in mind that Virtual DJ can claim back to back IDMA wins for “best DJ software” for the years of 2013-2014 – so the laurel of “best music media resource” is a pretty questionable one. But, I digress.
Once upon a time, tiny hamsters danced freely across the interwebs. These days are no more. The internet as we all know now evolved into an intuitive and elegant way to share news, information, and content like never before. New business models and business tactics became possible that completely invalidated the “old way” of doing things. For the cost of a years subscription to DJ Mag, one could outreach to thousands upon thousands of people with whatever message they please. Since, you’re a pretty bright person I’m guessing you can see where I’m going with this. If you aren’t, let me help you understand with this handy dandy venn diagram
The problem with the DJ Mag Top 100 isn’t really DJ Mag. That’s not what I’m trying to say with this article. Anyone saying differently is probably better off going to the museum and talking sh*t to the Tyrannosaur fossils they have on display. Believe it or not, our industry (or what it has evolved into) is the real planet ending comet/asteroid in this case. Again not to point blame; the asteroid was going to smack the earth anyways, unfortunately the dinosaurs happened to be on the losing end of that game of rock, paper, extinction. Simply put, we can market so damn well that The Poll, which attracts 350,000 votes and 10,000,000 views means next to nothing in a true sense. While DJ Mag says that their contest “is now considered the benchmark for both DJs and clubs who book them.” I don’t imagine many people are buying that. To think that anyone with business acumen would choose to believe the results of something so heavily influenced by money is absurd. Speaking logically, a lot of money was (probably) spent to capture votes; any placement on the Top 100 list is better than no placement, right? Well, only insofar as the amount of money spent on marketing would still allow for the artist and team to make profit. Given that most of the artists on the top 100 are being booked fairly regularly, except maybe for Boy George? And given that there’s always tons of allegations of buying votes and placing huge emphasis it seems that the results have become much less credible. Where the top 100 may have held a sort of cultural importance to dance enthusiasts pre-EDM, it has all but become a once a year farce of marketing.
In all honesty it seems as though the yearly poll has become like an Opera fundraiser. Loads of elitists making a massive deal about wealth and status and yet hardly one of them cares about the Opera program. The Top 100 has become a way for DJs and their teams to create a sense of importance and prestige with a misguided sense of ‘tradition’. Even then, it’s hard for me to find fault with DJ Mag itself. Their brand pre-dates digital marketing and Facebook advertising. Unfortunately, it looks like they’ve had a bunch of rich, self-absorbed, wankers, crash their party. The poll now reflects the state of the industry. A more marketing focused result, rather than an organic reflection of taste in music. It’s no longer about the freshest music and the hottest talent, it’s about Facebook support from Bollywood actors, sponsored posts to boost outreach, and the tireless pursuit of the perceived value of a #1 spot in a genre which has rapidly exploded thanks to business and marketing acumen.
This article was first published on Your EDM.
Source: How EDM, Business and the Internet Killed DJ Mag’s Top 100
Damn, and I thought deep house couldn’t get any more sleek and sexy. Club Killers went and proved me wrong in the best way possible with their energetic remix of “Often” that I will be listening to, often. There’s literally nothing I don’t like about it. Chances are, it’s going to be the best four minutes and fifteen seconds of your day. It shall make you ecstatic to know that this song has been released for free, as well. Club Killers created a song that bumps enough to be played at festivals, but it’s classy and minimal enough to be a hell of a club record (It was so hard to refrain from a club killer pun/joke there). I’ve shared this act’s music in the past, and I was blown away by their twerk record, but this may just take the cake for me. If I were The Weeknd, I’d be amped that something this good was put together using one of my songs. So incredible.
This article was first published on Your EDM.
Source: The Weeknd – Often (Club Killers Remix) [Free Download]
When the man on the mothership, Skrillex, departs from his mainstage journey and touches back on land, the bass music monger transforms into, well, a human being. Sonny Moore recently documented himself out of the spotlight in Los Angeles, giving fans a sneak peak into a typical day in his shoes. Beginning and ending the day in his studio space, the spot serves as both a business and creative home for Moore’s brainchild of a label and management team. After shopping at a combination clothing boutique/hair salon The Well, the group makes their way to upcoming clothing brand’s We Are Massiv location and grabs a bite to eat. As for what’s next, Moore promises to hit the studio in the coming weeks, indicating new material may be on the horizon.
Check out more from the OWSLA family.
Things seem to be heating up once again for long time underdog favorite Adam Ellis, as his latest works have been paving the way towards a solidified stance within the Trance community as an established producer who consistently produces tune after tune. Ellis, of course, first gained notoriety with his breakout hit of Napalm Poet in late 2013 and since then, has gained the thumbs up from legendary producers such as Bryan Kearney, John O’Callaghan and Indecent Noise. Singles such as Mandarine and Velocity In French have firmly established his stance within the elite in early 2014, and now, it is time for Adam to expand his horizons as an artist and as a musician with a number of firsts within his already iconic sound. While mostly quiet during the course of 2014, his recent follow up to Napalm Poet, Agent Orange, was massively supported by artists such as Aly & Fila, Photographer and a surprising entry by long lost Bosh legend, Eddie Halliwell, and made the rounds during Luminosity, ASOT 650 and FSOE 350 celebrations. To follow up on his massive success on Agent Orange, Ellis is now poised to release his first ever vocal collaboration with the lovely lyrics of long time Trance favorite Neev Kennedy on a brand new project entitled Reason To Believe.
We can confidently say that Vocal Trance is definitely the spot where Adam Ellis can truly shine due to the astonishingly crisp detail of the vocals throughout the track. Her words cut through the entire arrangement and almost sounds like she is standing right beside you singing these wondrous lyrics right in your room. Reason To Believe starts off in true Ellis fashion with searing percussions, poison tipped basslines and Neev‘s vocals constantly repeating, ‘You know I never….‘ . The arrangement of soft, flowing vocals on top of driving, intensity-fueled basslines are a really nice contrast in this piece and keeps the track energetic, yet emotional; which is further emulated by the various effects that Ellis pursues within the vocal parts. The atmosphere within the breakdown is simply sublime as minimialistic basslines and haunting breaths perfectly outline the lyrics in order for them to shine above the rest of the orchestration. Ellis unveils just the right amount of energy dispersion throughout the buildup to the main lined synths and the main melody is nothing short of glorious. With a final declaration from Neev stating, ‘You are a reason to believe…‘, it unloads into a massively euphoric melody that is both intense and emotional that cranks up the energy to a solid 11 in terms of power and depth. All in all, this track is definitely one of the most solid Vocal Trance tracks of 2014 and we cannot wait to see what he has in store for his next, thunderous vocal single.
Adam Ellis‘ spellbinding vocal collaboration with Neev Kennedy, Reason To Believe, is out now on Amsterdam Trance Records via Beatport, so make sure you purchase a copy and support real talent today!
Keep the music alive. -Q
This article was first published on Your EDM.
Source: Trance: Adam Ellis ft. Neev Kennedy – Reason To Believe (Original Mix) [Amsterdam Trance Records]
Check your system and make sure the subwoofer is on, because Sayer and Bleep Bloop just dropped some insanity!
These two bass hustlers both hail from the Bay Area and they both specialize in cosmic crunk and hyphedelic weirdness. So, you can imagine our excitement when we heard they were collaborating on a track. Hopefully, it will be the first of many because ‘Trample Dem’ is some FIRE. Channeling what could only have been the energy of an elephant stampede, Sayer & Bleep Bloop come at you hard and fast with pulse-pounding 808 hits, grimy synth shrieks, and all the unexpected, glitchy switch-ups you can handle. In other words, ‘Trample Dem’ is a certified dance floor destroyer; once it has you in it’s grip, you’ll have no choice but to flail around until the storm passes.
The best part? Bleep Bloop & Sayer are giving this one out as a free download! Check out the full track after the jump and make sure to support these up & coming forward thinkers.
NGHTMRE’s rework of Lookas’s “Loko” is better heard than read about, hell, any collection of words — no matter how overly verbose — would hardly do this impeccable remix justice. A diabolical version of Lookas’s big room jaunt, NGHTMRE takes “Loko” to all new territories by removing it from the festival stage and planting it firmly in a padded room of spastic percussion. The original’s chirpy melodies are still here, just tranquilized and slowed down to a codeine-laced crawl courtesy of the LA-based NGHTMRE.
Currently one of the hottest Techno producers around the world, the mighty forces of Alex Di Stefano has plunged the entire Techno scene into a dark and grimy era where industrial sounds reign supreme and the rhythm of the beat keeps the madness turning like cogs in a machine. Alex first jumped to fame when he reworked Drumcomplex & Roel Salemink‘s The Box into a massive, Tech fueled monster that was constantly hammered by DJ’s such as Max Graham, Simon Patterson, Bryan Kearney and John 00 Fleming, (to name a few). Since then, he has transformed into a relentless powerhouse that has been on point with each of his productions, whether it be his storming singles of Metamorphosis on J00f Recordings or Phoneutria on Yellow Recordings, to his gigantic remixes to Cristian Varela‘s Pornogames on Yin Yang, and his upcoming remix to Mark Greene‘s Call It Badness on Elektrax Recordings. We first covered his exploits when he engaged in a wickedly hot remix to the iconic Mark Sherry classic, Live & Learn on Sherry‘s newest record label, Outburst Records, (which you can read here: http://www.youredm.com/2014/08/12/mark-sherry-live-learn-joint-operations-centre-alex-di-stefano-remixes-outburst-records/ ). Now, Alex takes a stab at a new double EP entitled Escape From The Past and Dark Purple in order to forge into new territory with full on Techno fury.
Both tracks are absolutely fantastic in their own volition, but we here at Your EDM have decided that the B-Side is actually the better of the two, simply because it takes the most risks within its own, inner constructions. Dark Purple is a bold new step within Alex‘s career, as he is now actively experimenting with doses of Tech Trance within his own Techno fueled wrath; which is something that many DJ’s are simply not comfortable with nowadays. We have to say that after listening to it for the first time, we can deduce that this ‘Tech Trance era’ has the potential to be something monumental within the world of Trance, and this track is definitely a great first step to achieving that goal. Clipping around an intense 130BPM, Dark Purple starts off in true Techno fashion, with blistering percussions, delicious Techno hi-hats and plenty of white noise effects to keep the pace and the interest high through the piece. The basslines however, are set within the classic Tech Trance outline, and continuously pumps corrosive fluids that burn through the legs and empty the mind into a hypnotic trance of rhythm and groove. Within the breakdown is where we start to hear the inklings of Trance with sinister synths scathing away in a manic, ritualistic dance as the oncoming fury of percussions and sound effects reach a ferverant high with adrenaline coursing through its veins. Finally, it slams hard onto the floor with a brutal, demonic Tech line that is both minimalistic and maximalistic, as the bellowing basslines cracks and opens up the floors into the deep dark abyss with no hope for escape in sight.
Alex Di Stefano‘s newest single, Dark Purple, is out now on Outburst Records via Beatport, so make sure you purchase your copy and support real talent today! Make sure you check out Escape From The Past as well; massive!
Keep the music alive. -Q
This article was first published on Your EDM.
Source: Trance: Alex Di Stefano – Dark Purple (Original Mix) [Outburst Records]
Tarro is bringing the bass back with some new Electrostep Network dubstep. The LA local has been one of Electrostep’s hottest new players, creating a wide array of fresh bass music similar to the likes of some of bass music’s top dogs. “Deadeyes” clashes a Kill the Noise style growling bass with the complextro dubstep of a new era, making a sound any bass lover will find easy to love. Now available for free download HERE!
▶ Follow Tarro:
- Facebook: https://www.facebook.com/TarroOfficial
- Soundcloud: https://soundcloud.com/tarroofficial
▶ Follow Electrostep Network:
– YouTube: https://www.youtube.com/user/ElectrostepNetwork
– Soundcloud: https://soundcloud.com/electrostepnetwork
– Facebook: https://www.facebook.com/ElectrostepNetwork
Given that Lorde curated the soundtrack for the upcoming Hunger Games: Mockingjay, Pt. 1 film, it makes sense that she’d have some music on it. One of those tracks happens to be a collaboration with not only R&B artist Miguel, but also the Grammy winning electronic duo The Chemical Brothers. The collaboration, “This Is Not A Game,” will be among thirteen other records that will make up the soundtrack. Artists including Kanye West, Stromae, Charli CXC and Chvrches, will also be featured on the project. The music will become available on November 17th, three days before the movie hits theaters. You can check the full tracklist below, which includes a surprise track from “various artists.”
Stromae – Meltdown feat Lorde, Pusha T, Q-Tip, Haim
Chvrches – Dead Air
Tove Lo – Scream My Name
Charli XCX – Kingdom feat Simon Bon
Various Artists – Track 5
Raury – Lost Souls
Lorde – Yellow Flicker Beat
Tinashé – The Leap
Bat for Lashes – Plan the Escape
Grace Jones – Original Beast
Lorde – Flicker (Kanye West rework)
XOV – Animal
The Chemical Brothers – This Is Not a Game feat Miguel and Lorde
Lorde – Ladder Song
This article was first published on Your EDM.
Source: Lorde Teams Up With The Chemical Brothers For Hunger Games Single
React Presents gave us yet another action packed weekend in Chicago with Skrillex and A$ap Ferg performing at Navy Pier. If you were there this past weekend be sure to check out some of the photos below in the gallery and go tag yourself here!
Shot by:Georgia Modi Photography
For many of us, the better portion of our youth is dedicated to trying to find our place in the world. We can look to the people we respect for guidance, go to college, and wade through a few awful jobs before we find the path that leads to our greatest potential. For others, a considerably smaller group than the aforementioned, their purpose is presented early on and provides a motivational drive from the beginning. While Michael Jordan was meant to play basketball, and Vincent Van Gogh was put here to paint, Prince Fox was born to create music.
Growing up in New York with his parents and younger brother, Sam Lassner, aka Prince Fox, was always intrigued by music. He took a particular liking to the guitar and began playing while he was in 4th grade. While the acoustic guitar did its job of sparking his interest in the instrument, at that age he was too young to appreciate and delve into music’s intricacies. Although his parents are and were always supportive of Sam’s creative ventures, when Sam wanted to purchase and re-visit the electric guitar at age 13, they set a bar of learning ten songs on his 4th grade mini acoustic guitar before fully indulging in their son’s request. Of course, their request was met and exceeded by the young musician and with his new electric guitar in hand, another stepping stone on his path to a music career was set.
While his devotion and unrelenting work ethic was something that was impressive for a boy of his age, Sam would be the first to tell you that the love from his family was a key factor in his outlook. Both his parents and grandparents provided endless support in all that he did, but his uncle played a large role in setting the bar for achievements in the entertainment world. Working as an executive producer on highly regarded talk shows for celebrities like Ellen DeGeneres and Rosie O’Donnell, his uncle was able to demonstrate the value of a dedicated mindset in the entertainment business. Observing his success provided Sam with a unique take on this industry. Even though he knew that he had a creative voice that he needed to put into the world and share with others, he was now able to see the necessity of the business side of things. He has learned the importance of establishing a strong relationship with those he wants to recognize his work; this is just as vital to a career as the work itself.
The relationship with his uncle did its part to enlighten Sam. However, he was still molding himself as a musician. Like most teens, going through phases in style and music was inevitable. Regularly attending summer camp provided a platform for sharing new music with friends from school, but his focus and respect never strayed far from the individual capabilities of singer-songwriters. His high school experiences, though rich with happiness at points, had their compliments of lows and provided a wide range of emotion that he wanted to convey through his music. While this helped give an idea as to where he wanted to take his artistic endeavors, the support of one of his biggest fans was equally important to finding himself as a musician.
Sam’s God-grandmother loved to hear him play guitar and her support only heightened his love for making music. As their bond grew stronger with every stricken chord, his dependency on music as an emotional outlet followed suit. When she passed away following a battle with cancer, he found himself at a loss and slowly distanced himself from the instrument. As some of us have come to realize in hard times: when life closes one door, it opens another. The break from outwardly performing with his guitar left a musician with no musical outlet, but after learning about the music technology summer course offered by NYU, he chose to explore a new avenue. He immediately fell in love with the process of music production. The concept of handling production as well as writing was the perfect fit for the inspiration he consistently drew from his favorite singer-songwriters, but he still needed to find his sound. He quickly fell in love with the idea of producing and one experience at New York’s Electric Zoo lit the fuse that would ignite fervor for Sam’s production of electronic music.
After the initial work he posted to SoundCloud did not yield the public response he had hoped for, Lassner decided to try his hand at genres that were garnering the warmest public reception. He began to find his way through some original Trap and Twerk tracks that did well to generate an early buzz for the budding artist. However, the end result still lacked the feeling of fulfillment he sought through using music as a creative and emotional outlet. While he enjoyed playing the songs during his DJ sets, they lacked the raw emotion that warrants playing a song over and over which is a goal he wanted to meet. Being able to make a piece of music that could evoke a genuine reaction beyond the setting of a party is what he had his is heart set on. He wanted to stay true to his artistic motives while also balancing the social following that had begun around his work up to that point. With some guidance from a production mentor, he was able to find a happy medium.
Prince Fox strapped himself to the beast and began hammering away at an EP of original tunes that honored his broad range of influences while still finding a unique place in the ever-changing musical landscape. As the songs developed so did Sam’s style, but his mentor offered a shining token of advice. Sam’s production was reaching new levels technically as well as creatively, so the idea of dropping such tunes into a trough of electronic music that is filled and wiped clean daily didn’t seem like a justified path for his freshly squeezed originals. So with that, he decided to take the path of remixing respected tracks in the style that his EP would fall under, leading off most notably with the uplifting touch-up of 3LAU’s “How You Love Me.” This venture was fruitful not only to the listeners but also to the creator, and gave way to a snowball effect.
Today, Sam has remixed the likes of Cazzette, Route 94, and Sam Smith, the latter of which was taken down by SoundCloud’s auto-detection after amassing 2.25 million plays shortly after its debut (don’t worry friends, the Prince Fox team is in the process of getting it back onto his page.) Everyday seems to be a crazy dream when he thinks about how he started. Beyond his personal conquests, he wants to promote the value of making something that not only elicits a public reaction, but also honors who you are, the things you’ve been through, and the people that helped you find your way.
When it comes to feel-good music, few do it better than Amtrac. This remix of Shakka’s soft and airy “When Will I See You Again” unravels with all the grace and glimmer of a fresh summer sunrise. Bare with us on the metaphors – the tune’s oh-so-soft rhythm and chord-cradled vocals are literally as light and warm as sunshine. Take a listen for yourself if you don’t believe us.
Just days after boy-band frontman Liam Payne showed the world his brand new hobby as a part time producer, the entire One Direction team wants in on the action. The British superstars are putting together a contest for producers everywhere, offering £1500 to whoever makes the best remix of their new single, “Steal My Girl.” Nope, this isn’t a joke. And the boys are pretty vague about what they’re looking for: a “Friday night club track to get everyone on the dance floor moving.” Brand new producer Liam Payne, who now goes by the moniker Payno, will be judging the competition along with senior A&R and Radio executives from Sony Music. So if you’re interested in giving this unconventional contest a shot, head on over to this website.
One Direction have officially caught the EDM bug; enter remix contest to win £1500 was posted by Olivia Poglianich, and appeared first on Dancing Astronaut.
There’s no denying that the young, music driven generation of today are not unlike their predecessors – unafraid to boost a day out partying with plentiful drug use. While many may be scheming ways to best sneak in drugs of all assortments to their choice festival or show, one individual is working hard to instead smuggle in drug testing kits for all. Working under the alias Adam Auctor, one Denver-based man is dodging the harsh restrictions to provide educational and potentially life-saving information for the many that choose to consume drugs. As the frontman of his own organization The Bunk Police, Auctor’s primary goal is to break the taboo and provide drug testing resources to partygoers.
One of Auctor’s more recent crusades landed him at The Hudson Project, a summer festival that concluded its inaugural edition in New York this July. “We put [test kits] into black duffel bags and throw them over the fence in the middle of the night,” he explains. “We do whatever it takes.” After making his services available to a group of eight guys planning to soon head into the festival, they all soon are shocked to discover that out of the four various illegal substances in their possession including acid, ketamine, cocaine, and sass (MDA), only one tests to be pure and real. The rest are made up of amphetamines, baking soda, and even mud.
“The demand is just absolutely insane, especially once people started to realize what’s actually out there.” Though as popular as Auctor’s safety-first ideology may be, it comes as no a surprise that none of the festival promoters he has reached out to for permission to sell and distribute his test kits have provided him with a response. As we explored in a recent Dancing Astronaut editorial and as Sean Dunagan, former intelligence analyst for the Drug Enforcement Agency supports, the outdated RAVE Act is largely to blame for the discrepancy between health and policy. “If I were promoting a festival, I would rather have The Bunk Police there than have three people dead from overdoses,” he said. Despite Auctor’s estimations that “more than 250 research chemicals have entered into the adulterated substance market in the last three years” and that less than 4% of a seized drug sample marketed as Molly even contained pure MDMA, promoters still remain fearful to support The Bunk Police and other similar organizations.
The journey is complex, Auctor continues to share. He fears that as his organization grows, drug dealers could target and attempt to physically harm his volunteers for taking business and money away from them. On the other hand, though testing kits are legal under federal narcotic laws, The Bunk Police must remain aware of paraphernalia laws that vary from state to state that could get him and his fellow crusaders into serious legal troubles. “It’s definitely a gray [legal] area, but [on-site testing] needs to be done,” he continues. “I have people telling me that I’ve saved hundreds of lives. Just one would be enough.”
Via: Al Jazeera
The Bunk Police break rules to continue the fight to provide drug testing kits for all was posted by Valerie Lee, and appeared first on Dancing Astronaut.
Australians brightest young star returns with a massive electro-house driven single with “Limelight,” a taste of what’s to come from Just A Gent’s Stories to Tell EP. A glistening vocal from R O Z E S rings beautifully atop the gentle instrumental plucks and stabs. Just A Gent has chosen to deviate from his usual trap-infused sound for the mass-appealing big room style, but the sounds of the “love” synths are not left behind with the thick thumps. Universal Music’s new signee has relentless consistency, never falling far from the beaten yet enjoyable path of the Australian sound and “Limelight” is yet another example that Just A Gent’s signature synth work is undeniable.
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Just A Gent debuts ‘Limelight” off forthcoming debut EP was posted by Eric Zwilling, and appeared first on Dancing Astronaut.
New York City-based breakout Jenaux has given the progressive house scene a run for its money this year with a consistent deliverance of breathtaking melodic anthems. Earning support from industry giants such as Hardwell, Laidback Luke and Gareth Emery, the young classically trained producer now returns for his sophomore release on Zerothree Music, solidifying his status as one of the label’s artists to watch in 2015. Following suit with his Zerothree debut “Maya” with Carl Nunes, “Saints” features a sequence of energetic, electro house-influenced sections and patiently crafted builds with overachingly compelling sonics. The record’s emotional primary melody climaxes full of harmonic synth and key layers and defining rhythmic-shutter effects for an ultimately powerful progressive house gem. Be sure to catch Jenaux headlining Prime Boston this Halloween Eve, and supporting Audien on his winter AUDaCITY tour.