With COVID-19 and its Delta variant still lingering over festival season, Lost Lands has updated its entry requirements to encourage a safer experience for all. The update below details the process: The health and safety of all attendees is Lost Lands’ number one priority. In following new industry guidelines, Lost Lands will now require either proof of full Covid-19 vaccination or a negative test result within 72 hours before first entering the festival in order to attend. You will be checked once and then given a wristband to wear for the weekend. Lost Lands asks that anyone who is exposed to or tests positive for COVID-19 within 14 days prior to the festival stays home. Anyone experiencing symptoms of COVID-19 within 48 hours prior is asked to stay home. This also goes for anyone traveling to or from a state or international territory subject to quarantine advisories within 14 days before the festival. These guidelines are part of Lost Lands’ attendee promise: Lost Lands has taken many precautions to ensure the safety of all attendees, staff, and performers. We ask that all attendees support these efforts. Be well – if you do not feel well, or are considered high-risk, please stay home. Lost Lands 2021 takes place at Legend Valley, Ohio over September 24 – 26. Explore the lineup and get tickets here!
Photo by Graham Jordan This article was first published on Your EDM. Source: Lost Lands Updates Entry Requirements to Proof of COVID-19 Vaccine or Negative Test Via https://www.youredm.com/2021/08/31/lost-lands-2021-entry-requirements/
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Many festivals are still cancelling, or in danger of cancelling, due to COVID-19. However, another natural disaster is currently threating the lives and livelihood of many in the southeast US, namely Hurricane Ida. With a wake of destruction in its path, countless lives and homes lost, it’s also currently threating Bonnaroo Music Festival, to be held this weekend in Manchester, Tennessee. The loss of lives is not even close to comparable to a music festival being cancelled, but that’s the current situation that promoters Superfly Presents and AC Entertainment are facing. According to reliable festival news source @TheFestiveOwl on Twitter, the festival is “in serious jeopardy of being completely cancelled due to the weather, site conditions (and countless things on top of that) and basically, the camping reduction is the only way to attempt to make The Farm viable for an event this weekend.” Bonnaroo has already reduced camping capacity at the festival and has offered refunds to ticketholders. @TheFestiveOwl continues, “The deal with @Bonnaroo right now is this — they need less of everything: less cars, less people, and less rain.” While it would be unfortunate for the event to cancel — it has not been officially cancelled at time of publishing — the reasoning for such a decision is indisputable. We’ll keep an eye on any news to come from the organizers.
H/T EDM Tunes This article was first published on Your EDM. Source: Bonnaroo In Jeopardy Of Cancellation Due To Hurricane Ida Via https://www.youredm.com/2021/08/31/bonnaroo-in-jeopardy-of-cancellation-due-to-hurricane-ida/ RL Grime has confirmed the “Miss The Rage” remix he’s been rinsing is the work of his own. The remix first surfaced on Reddit about a month ago following his b2b with Baauer at HARD Summer, and recently again as RL Grime continues to play out the festival-friendly anthem (see here and here). In the tweet below, Grime confirms he made the remix:
The original song made popular by Trippie Redd and Playboy Carti also has an unreleased cover by Mario Judah. There’s yet another unreleased version online with Trippie, Carti, and Judah all in the mix, which has become the undisputed fan favorite. But, ultimately, Judah didn’t make the cut. More on how it all went down here. Although Judah was left off the official track, his recognizable hook made its way onto RL Grime’s version and it fits the mood of returning to live music — aka the rage — perfectly. Listen to RL Grime’s “Miss The Rage” remix below! Miss The Rage (RL Grime Remix)
Photo via www.OHDAGYO.com This article was first published on Your EDM. Source: RL Grime Drops Remix of Trippie Redd’s “Miss The Rage” with Mario Judah Hook [LISTEN] Via https://www.youredm.com/2021/08/31/rl-grime-miss-the-rage-remix/ Lady Gaga has finally, officially announced Dawn of Chromatica: The Remix Album coming out this Friday, celebrating music from her sixth studio album. In 2020, Gaga graced us with her electrifying and dance-centric body of work known as Chromatica, with four on the floor rhythm serving as the album’s heartbeat. This considered, Chromatica was destined to be remixed from the start — and there’s a full roster of visionary artists behind the upcoming release. The 14 track remix album features LSDXOXO, Coucou Chloe, Shygirl & Mura Masa, Charli XCX & A. G. Cook, Ashnikko, Chester Lockhart, Mood Killer & Lil Texas, and more. Full details below break down all the featured collaborators and remixers, track by track. Lady Gaga’s Chromatica also tapped the genius of producers Bloodpop, Skrillex, Axwell, Madeon, Tchami, Burns and more with writing credits from Boys Noize, Sebastian Ingrosso and others. See details below and pre-save here. Lady Gaga – Dawn of Chromatica: The Remix Album
Photo courtesy of Lady Gaga This article was first published on Your EDM. Source: Lady Gaga Announces ‘Dawn of Chromatica: The Remix Album’ Out Friday [DETAILS] Via https://www.youredm.com/2021/08/31/lady-gaga-dawn-of-chromatica-the-remix-album-out-friday/ An experienced musician and songwriter Spiderhound has steadily been building his signature sound and no prisoners neuro bass cutting sound. Expect a flux of multi genre mixing influences of deep, fantasy-oriented themes. From the first moments, exotic drums, growling basslines, and ominous melodies work together to create an experience for any audio lover. Commenting on this track Spiderhound states: “Strangers” by Spiderhound is an experimental, glitchy downtempo vocal tune mixed with Neuro Bass elements. This song explores the surreal feeling of when the familiar becomes strange, friends become strangers and reality blurs into a collection of faded memories. This article was first published on Your EDM. Source: Spiderhound Goes Full Throttle on Hard Hitting New Release ‘Phlame’ Via https://www.youredm.com/2021/08/30/spiderhound-goes-full-throttle-on-hard-hitting-new-release-phlame/ ‘Matroda Presents Jack The House’ represents a stark summary of what the solo DJ/producer has been up to in 2021, he’s been a busy man. The music pulls in 2 singles that have already been released, “Revelation” and “High On You,” alongside 4 brand-new works that are total party-starters. Each track features a 128BPM format that includes various sub-genres like bass-house, tech house, and so much more. Matroda is one of the hottest, fastest growing names in all of house music. Between the looks, the sound, and the support, he gives off an impression of doing no wrong. His rise over the years wasn’t instantaneous, but gradual, with the last 5 years being where his rise was exponential. x He’s been on multiple tours as a headlining artist, traveling across nearly every continent where his sound has been in high-demand. In 2021, he continues to hold the line when it comes to innovative sounds that blow the mind of listeners. His next tour will be focused on North America, where he will make dozens of stops in several major cities (see tour dates below.) We had a quick chat with Matroda to talk about the tour, his music, his past, and more. What is the takeaway message or vibe you hope will be received from ‘MATRODA PRESENTS JACK THE HOUSE EP’? I don’t know, me being honest. I hope people will like it! Every track is a bit different and I tried to combine house music genres together with my own sound. Takeaway message with one word would be: TheGroooooveee.
What do you remember about the first track you ever made and when did it happen? Actually my first track I ever made was on playstation one with a game called “music 2000”. This game had some melody, bass and drum loops and I had to make an arrangement. I think it was some melodic trance hahah. My first “official” release was produced in FL studio demo. I still have it uploaded on my private SC account. Why do you think your particular house sound has risen in popularity so much? For me house in general was always an underground thing and will stay underground. We can say it’s a popular genre at the moment but I don’t know the main reason for it. I do think hype genres are changing every year and people like it when you combine these genres with some unique sounds. I like different things and I hope people will recognize it. ‘JACK THE HOUSE TOUR NORTH AMERICA 2021’ starts September 3rd, is traveling something you enjoy? I miss traveling a lot at the moment since I was home for a year and a half and I can not wait to get back on the road. It could be very exhausting sometimes but it’s a part of the game.
What’s your favorite part about before, during, or after a show?
I always like to go into the venue or festival one hour before the set as I want to feel the energy, people, and space first. During the set I prefer to play my music and a lot of unreleased songs. When you are on tour there’s probably an early morning flight so after the set I go straight to the hotel or even to the airport. No glamour. Was there anything about where you grew up that put you on the path to music? I’ll say my family. My dad has been into music his whole life and he was playing guitar back in the days and my brother was a huge fan of electronic music. That’s how I started to listen and later on even try to produce and gather inspiration from it.
What does success mean to you? Success is really hard to measure. For me the real success is when people really enjoy my music and sets. There is constantly travelling, focusing on the music, brand, socials. It’s a lot of pressure but sometimes you enjoy it because you do what you love! This article was first published on Your EDM. Source: Matroda Presents Jack The House 2 & Interview Via https://www.youredm.com/2021/08/30/matroda-presents-jack-the-house-2-interview/
Following an impressive string of singles, New Zealand’s very own MICA has finally unveiled his brand new EP ‘The Night You Left’ in full, and the result undoubtedly surpasses all expectations. A vibrant and menacing sonic journey through intricate ambiances and massive drops, the 5-track project solidifies MICA as an up-and-comer to watch. Tracks like “Save You“ and “Don’t Look Down” masterfully showcase MICA’s knack for combining his distinct production style with talented vocalists, while “Help” and “Matter Of Thinking” are truly impressive instrumentals that encapsulate the project’s message in an emotional way. As MICA explains:
“This project for me is all about self-growth, it was written from a really dark and lonely place in my life. I was lost, scared, confused, and angry – This EP is me growing from those emotions and accepting my flaws. This EP encapsulates my new sound as MICA, it’s very different from any of my older music, yet still feels connected. I’ve put my blood, sweat, and tears into this project – This project is essentially my musical therapy session. Each song is a stage of my depression and how I dealt with it.”
Based in Wellington, MICA started producing music at the age of 15, and has managed to build an impressive discography over the past five years of being active, releasing music on labels such as Dim Mak, Ultra, Quality Goods Records and more. He has received support from heavyweights such as Alison Wonderland, Steve Aoki, Autograf, and QUIX, and is seemingly not stopping anytime soon.
This article was first published on Your EDM. Source: MICA Unveils Stunning New EP ‘The Night You Left’ Via Suit Of Bullets Via https://www.youredm.com/2021/08/30/mica-unveils-stunning-new-ep-the-night-you-left-via-suit-of-bullets/ It came as a shock to almost everyone when EDM legends Daft Punk announced their split in February this year. This includes journalist and author Ben Cardew, who was getting ready to publish his in-depth compendium of Daft Punk’s Discovery, a deep dive on the French Duo’s groundbreaking 2001 album. Entitled Daft Punk’s Discovery: the Future Unfurled, the book details quite a bit of Daft Punk’s history, lead-in projects and sound evolution while exploring just how the famous album was made. Now that we know that 2021 is the end of the Daft Punk era, Daft Punk’s Discovery seems even more important in chronicling what was not only the most important LP in the Daft Punk timeline but one of the most important of all time in EDM. The book is full of lots of heretofore-unknown stories, facts and timeline tidbits about the band: everything from how their helmets happened to why Discovery seemed to endear Daft Punk to American music fans much more than those in their home country of France. Of particular interest to American fans will be how the duo took so much influence from American music like Chicago house, hip hop and soul. It’s very evident in tracks like their first big hit in Discovery, “One More Time,” where they collaborated with the elusive and well-respected house artist Romanthony, who sadly passed in 2013. The duo’s work with Romanthony on the legendary single that defined their career is the subject of our excerpt, and we were also lucky enough to sit down with Cardew and ask him a few questions about said excerpt, the book and his thoughts on the 21-year timeline of Daft Punk. Q&A is first, excerpt follows. Aside from their recent breakup, what made you want to write this book?I actually started writing the book last summer, 2020, and started thinking about it a few years before that. That was pre-break up, obviously, so the split wasn’t a reason that I wanted to write the book. Daft Punk split when I had a draft of the book pretty much done, so I had to do quite a lot of re-writing. There were a few reasons I wanted to write the book. First, I’ve always loved Daft Punk and Discovery. But I also felt I had something to say about the band and album, having lived through the band’s career and having lived in France. I also interviewed Thomas Bangalter once, around the Human After All era. I love Homework but I don’t think I have enough to say about it to make a book. Whereas there is so much you can look at with Discovery: the Daft Club, Interstella, the robot disguises and – of course – the music itself. I also felt that Daft Punk were a bit misunderstood. Yes, they are brilliant musicians and changed electronic music. But they were also just two people from Paris. I remember the band’s early days, when they didn’t wear disguises; I remember how people hated “One More Time” when it was released. And a lot of that is forgotten. Why did you feel it was important to center the book around Discovery? What about that album and period do you think was seminal for the band?It’s Daft Punk’s best album, for me, and the most influential. It was one of those albums that I remember hearing for the first time and being a little shocked. What the hell is this? What are those metal guitars? And I love albums that do that. One of the chapters in the book looks at the musical impact of Discovery. And it is everywhere: Autotune, maximalism, electronic stars loving pop music, the rise of soft rock/yacht rock, EDM. Discovery has been called the most influential album of the last 20 years and I totally agree. Also, you can see a lot of Daft Punk’s career through the prism of Discovery: Homework was the road to Discovery; Human After All was the anti-Discovery; Random Access Memories was the organic Discovery. Basing the book around Discovery gave it a working structure. There are a lot of great tidbits about Daft Punk prior to Discovery and some facts even after that a lot of fans didn’t know, thus making this book a bit of an expose for many. Do you have a favorite random fact that you discovered while researching the book?I was fascinated by the idea, which Todd Edwards told me and Tony Gardner also alluded to, that Daft Punk were originally planning to make a live action film around Discovery! I hadn’t heard about that before. I can’t quite work out how it would fit into the recording of the album – when did they think of it? When did they abandon it? What the hell are space worms? I know we got Interstella but that seems a very different beast. From what Todd says, it seems it was all pretty well planned too – like “Face To Face” was meant to soundtrack a robot battle scene. I would love to know more about that. Reading the first chapter from which this excerpt came, it seems quite a winding road that led to Discovery. Do you think that was required for Daft Punk to really develop their sound or was it just a condition of where the industry was at the time?I think it was where Daft Punk were at, at the time. Discovery was a lot of work for them and I think it really drained them – especially Thomas – because it was so ambitious. One of the things I love is that they recorded “One More Time” and “Too Long” with Romanthony, then decided they didn’t want to do a standard house music album, so they had to go back to the drawing board. It’s also notable that on Discovery Daft Punk were finally able to do a lot of what they had long wanted to do. Like they wanted to work with people like Romathony before Discovery but it didn’t happen. So Discovery was the realization of their dreams, in many ways. Knowing more possibly than anyone about how Discovery came together save Daft Punk themselves, what’s your opinion on how music is made now versus back then? To summarize: do you think there will ever be another Daft Punk in electronic music, given how music is made now?Musically, I think there could be. Don’t forget that when Discovery came out, Daft Punk weren’t that far in terms of reputation from, say, Basement Jaxx. And when Human After All came out, a lot of people thought Daft Punk were finished. So this deification of Daft Punk is a relatively recent phenomenon, post the Alive 2006 / 7 tour. Aside from their changing the game for electronic music (especially in the pop world) with Discovery, what do you think the ultimate legacy is for Daft Punk in general?This is a vast question! I think Daft Punk showed that you could make massive, mainstream electronic music without compromising your values. They made pop records, sure. But they also made some spectacularly strange songs – I mean, Aerodynamic is so weird, when you think about it – and they became the biggest electronic act in the world! My hope would be, people would go from Daft Punk into some of the bands that inspired them. There is a whole list of them on “Teachers.” Go explore! Any scoops on next projects for you?I’m always doing music journalism and making radio and podcasts with Radio Primavera Sound. In terms of book ideas, I have a couple, not entirely unrelated to Daft Punk. But not about Daft Punk either… The recording of ‘Discovery’ appeared to start in earnest in early 1998 at the duo’s Daft House studio, located in Bangalter’s home and continued for around two and a half years*. The band didn’t quite start from zero, though: elements of “Short Circuit” were already evident in the duo’s live set in 1997. You can hear a brief blast of the song’s distinctive synth stabs right at the start of the Alive 1997 album before “Daftendirekt” enters the fray. Longer live recordings from the time show the song’s basic structure was already in place, minus the circuit meltdown effect that overcomes the track halfway through on ‘Discovery.’ (FOOTNOTE AT THE BOTTOM OF THE PAGE* Daft Punk have sometimes said that it took them three years to record ‘Discovery.’ It is hard to put an exact time on the album’s recording, given that Short Circuit already existed.) ‘Discovery’ seems to have been recorded in two distinct phases, with the two Romanthony collaborations, “One More Time” and “Too Long,” finished early on. Bangalter and De Homem-Christo met Romanthony (aka Anthony Moore) at the 1996 edition of dance music knees-up, the Miami Winter Music Conference, swiftly becoming friends. In 1999 Roulé released Romanthony’s “Hold On,” a gorgeous example of his soulful vocal house that Bangalter licensed from Romanthony’s Black Male Records. “We wanted to invite him [Romanthony] to sing with us because he makes emotional music,” De Homem-Christo told Remix magazine. “What’s odd is that Romanthony and Todd Edwards are not big in the United States at all. Their music had a big effect on us. The sound of their productions – the compression, the sound of the kick drum and Romanthony’s voice, the emotion and soul – is part of how we sound today.” “Thomas (Bangalter) knew how to work Roman,” says Glasgow Underground founder Kevin McKay, who worked extensively with Romanthony until the producer died in 2013. “When he turned up, they picked him up at the airport in a limo. They treated him like a star, and he loved it….They are in a really bohemian part of Paris, a really cool studio, one digital room with their samplers, their ASR-10 [sampling keyboard] and all their effects, and a live room with guitars, microphones, the analogue side of things. And he respected them [Daft Punk] in terms of producers, which was hard. He didn’t really respect many people, he was such a snob. They treated him like royalty…. He was in a good place when was recording with them.” Romanthony was, until his death in May 2013, one of the most enigmatic figures in house music. In a memorial piece, 5Mag spoke of a “strange isolation” around Romanthony, with many of his peers having lost contact with him at the time of his death. “For the people that don’t know me, it’s OK. I’m not trying to bring people to know me. I am just telling a story, songs that are real to me,” Romanthony explained in a rare interview with Electronic Beats. “My music and production is usually physical pain. When you get a certain rhythm going in the studio, a certain sequence of melodies, sometimes it’s not funny at all. It’s like the opposite of it…. Some of this stuff is on the edge.” Kevin McKay says that Romanthony “was such an obtuse person at times”. “His view of record releases was that if a record became famous six months or 12 months after it was released and a distributor all of a sudden wanted to get hold of it or make another order because some famous DJ had played it, Romanthony felt that he did not want to supply them at that point because they didn’t believe in the record first time around,” he explains. “His business ethos was really tied up in his ego. It was impossible to separate the two.” Romanthony, McKay says, would go so far as to make his records sound deliberately weak. “He was guilty of making things sound really bad at mastering. So he would go and get the record mastered, and he would purposefully make it sound worse,” McKay explains. “Why? I don’t know. I did ask him. But he would just laugh and not be straight about it. If I am playing the pop psychologist, then I think that he wanted people to appreciate his art even though it did sound a bit shit. He wanted people to appreciate the songwriting and everything and see-through bad mastering.” McKay, who has released several Romanthony records on Glasgow Underground, says he was a difficult artist for a label owner. “You really had to handle him with kid gloves,” he says. “But you couldn’t pander to him. Because he’s a smart guy, so he knows when he’s being pandered to, and he’s just like, ‘This is bullshit. I’m out of here.'” And yet Romanthony was very content with his collaboration with Daft Punk: he admitted, in the interview with Electronic Beats, that the success of One More Time allowed him to step back from making and promoting his own music, with Virgin taking the strain. “That enabled me to just be quiet,” he said. “The sad thing was, once that record blew up, I think his publisher said, ‘I’ve got over a million dollars for you.’ Or, ‘I am likely to have over a million dollars for you here.'” McKay explains. “And so he just stopped making records. Because he didn’t need to.” Sure enough, Romanthony wouldn’t work with Daft Punk again. However, a rather ponderous Romanthony Unplugged version of “One More Time” was released via the Daft Club fansite, presumably recorded around the same time as the ‘Discovery’ version. In an interview with Pitchfork in 2013, Bangalter claimed that “One More Time” was “mixed and finished and sitting on a shelf” for three years before its release, which would put its recording back to 1997. (Although, confusingly, Pitchfork claims in the same piece that “One More Time” was released in 2001, which isn’t true: the single came out in November 2000.) Soma Records’ Dave Clarke says that he heard “Too Long,”” the extended R&B / house jam that ends ‘Discovery,’ “at Thomas’s parent’s house way before the rest of the stuff was recorded”, adding that he is pretty sure it was the first song recorded for the album. Whatever the case, completing “One More Time” and “Too Long” seemed to spark a change of direction for the nascent album. Daft Punk’s Discovery: the Future Unfurled is available for early purchase on Velocity Press’s website and will be released on other platforms September 3. This article was first published on Your EDM. Source: Your EDM Exclusive: The Author of ‘Daft Punk’s Discovery: the Future Unfurled’ Has a Chat and Gives Us an Extract [Velocity Press] Via https://www.youredm.com/2021/08/30/your-edm-exclusive-the-author-of-daft-punks-discovery-the-future-unfurled-has-a-chat-and-gives-us-an-extract-velocity-press/ EDC Las Vegas is, peculiarly this year, right around the corner. Held in October this year due to COVID-19 pushing things back even further in the spring, one of the big questions is how the new dates would affect future iterations of the festival. One of the reasons Coachella didn’t move forward in October this year, like EDC is doing, is because it wouldn’t give them the full year to put on their next even in the usual April. However, rest assured, EDCLV 2022 is returning to the speedway on its normal dates next year. In an email sent out to 2021 ticket holders, Insomniac Events founder Pasquale Rotella confirmed EDC 2022 dates: May 20-22. As for current ticket holders for 2021, the email also laid out a smattering of extra perks for “Headliners” to make use of. Current ticketholders will be given first dibs on tickets to next year’s festival, as well as a one-day pass to an Insomniac festival of their choice in 2022. “I wanted to take a moment to thank you for joining us Under The Electric Sky in 2021,” Rotella mentioned in the missive to fans. “I know it’s been a rough couple of years getting to this point, but I’m excited to know we’ll all be reunited once again on the dance floor and celebrating 25 years of EDC in October!” This year’s EDC goes down Oct 22 – 24, so bring your jackets and hoodies, or grab one of the many great ones from the Insomniac merch tent. If you were there in May 2019, you’ll remember the cold winds, so prepare this year accordingly.
Photo via Taylor Wallace for Insomniac Events This article was first published on Your EDM. Source: EDC Las Vegas 2022 Dates Announced + Extra Perks For 2021 Ticket Holders Via https://www.youredm.com/2021/08/30/edc-las-vegas-2022-dates-announced-extra-perks-for-2021-ticket-holders/ Two absolutely enthralling live performances from Eric Prydz have hit the internet, featuring five collective hours of immersive soundscapes and top-notch production to indulge in. Last weekend, Prydz took over downtown Los Angeles for back-to-back sold out nights with Factory 93. Thanks to some dedicated Youtubers, VictorVisits and spiritofblizzard, we can experience both immaculate shows in full. In between performances, Prydz took to Twitter to show the city some love:
Each night boasted a unique setlist, backed by signature Prydz productions and plenty of unreleased magic still in the works. Monikers Pryda, Cirez D, and Tonja Holma were all represented as well. Including favorites like “Opus,” “Nopus,” “Pjanoo,” “Every Day,” “All Night” and so many more. Watch both sets below and explore the tracklists here and here. Eric Prydz – Live at Factory 93 Los Angeles (8/21)Eric Prydz – Live at Factory 93 Los Angeles (8/22)
Photos Credit: Antonio Pagano
This article was first published on Your EDM. Source: Enjoy Five Hours Worth of Eric Prydz Live Shows at Factory 93 DTLA [FULL SETS] Via https://www.youredm.com/2021/08/30/eric-prydz-factory-93-dtla-full-sets/ |
AuthorTim Schmidt Archives
April 2023
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