Night Stalker is an interesting choice of title for 1st Base Runner’s fifth EP, given the Netflix bioseries of the same name being so popular. Those of us old enough to remember, especially if you lived in Southern California at the time, may have even more of a visceral reaction to this EP and the music attached to it. Apparently this was on purpose. The resurrected true crime Netflix story of serial killer Richard Ramirez, tagged by the media in the 80s as the Nightstalker, means that GenX kids of Los Angeles and Orange County who were told to keep their windows closed at night ad nauseam are now not the only ones familiar with said story. It’s unknown whether 1st Base Runner was inspired by the series or is, in fact, one of those GenX children, but Night Stalker is easily his darkest offering to-date. With lashings of goth bands like Bauhaus and post-punk acts like Joy Division, Love and Rockets and Tom Waits heretofore prevalent in his music, it likely wasn’t a very difficult move for 1st Base Runner to tip over into darker territory. Night Stalker is nonetheless a pretty stark change. Only a little bit of the characteristic shoegazey guitars are left on this EP. Even then, in tracks like “In the Neighborhood” and “Dark Drive Through the Canyon” the guitars are tuned towards the maudelin and/or eerie electronic sound design, which gives this work a sense of madness and desolation only hinted at in previous works. Another 1st Base Runner signature has always been that even in the most emotionally difficult tracks, there’s been a small hint of hope or appreciation, mostly in the way the harmonies meld together to create and uplifting tilt to the music. That hint is still there in Night Stalker but it generally feels at war with the creepier parts of the tracks, so instead of harmony we get discord or, as with the title track, confusion and fear. This track lives up to is title, and genuinely feels like a sonic representation of what the inside of a serial killer’s mind might feel like. It’s visceral, pogniant and makes a strong case for not giving in to intrusive thoughts. One could say there’s a little relief with closing track “The Serpent and Space,” but one could also see it as simply the peace and release those who have given in to their demons feel once the evil deed is done. As with all !st Base Runner releases, Night Stalker was released with a beautiful and comparably visceral video for the track “Dark Drive Through the Canyon,” directed by the prolific Dilly Gent of Son&Heir Productions and Radiohead fame. Dilly has been creative director on a number of 1st Base Runner’s video projects but this has been the first one she’s shot hands-on. With the juxtaposiion of terrifying and sublime action and imagery in the video and the sort of motion stop vs compositional shot vibe she created, it’s safe to say it was a good decision that she picked up the camera. A complex track like “Dark Drive…” needed a delicate and skilled hand with the video to match what the artist was trying to say, and Gent captured it perfectly. It really is sobering, the level of quality and creativity 1st Base Runner has managed to keep over the last two years since he released his initial “All Thoughts” single and subequent Seven Years of Silence album. The back story behind this project and everything Tim Husmann, the artist behind 1st Base Runner, has been through would indicate he likely has many more stories to tell. The fact that he’s dug even deeper on Night Stalker to explore the darker parts of humanity means he’s far from finished. Night Stalker is out now and can be streamed on Spotify. Check out 1st Base Runner’s YouTube channel for more lush videos and more on his story. This article was first published on Your EDM. Source: 1st Base Runner Is the New ‘Night Stalker’ With 5th EP in Two Years [Video] Via https://www.youredm.com/2022/11/30/1st-base-runner-is-the-new-night-stalker-with-5th-ep-in-two-years-video/
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Dance music titans R3HAB, Timmy Trumpet and W&W are back with their second ever collaborative single “Poison”, and this is a certified main stage banger. Combining a little bit of each artist’s distinctive styles, “Poison” is sure to delight festival crowds all over the world. The opening of the track seems to be Timmy Trumpet’s doing with lightly building synths layered against a pitched-vocal. There’s a melodic little piano interlude before we get to the beefy drop. The synths in the drop are clearly W&W layered over some of R3HAB’s psy-trance beat. We get a redo of the verse on the second go-round, this time there’s a rhythmic synth march before another massive drop. This song has been on repeat for my workouts! Here’s what the three superstar acts had to say about coming together again for “Poison.” “Timmy, W&W, and I have a connection which is rare. After our different collaborations over the years, we’re still easily able to find and share ideas with each other. They’ve become friends rather than colleagues, and I admire them both for their musical talents as well as their strong personalities. What we’ve come up with now blends all our signature styles into a real main-stage record that will resonate with every listener who liked our earlier releases.” – R3HAB “Working with my brothers from another mother is always an amazing experience in the studio! This is our second collab as a trio, and it won’t be our last. So happy with how this turned out.” – Timmy Trumpet “After ‘Distant Memory,’ it was about time we made another song with the guys. We really like working with R3HAB and Timmy, as we all complement each other’s strengths! We have great chemistry together and push each other to create the best possible production.” – W&W Travel back to Tomorrowland and watch the video for R3HAB, Timmy Trumpet and W&W’s latest single “Poison.” Out now on Tomorrowland Music. This article was first published on Your EDM. Source: R3hab, Timmy Trumpet and W&W Team Up for Massive Collab “Poison” Via https://www.youredm.com/2022/11/29/r3hab-timmy-trumpet-and-ww-team-up-for-massive-collab-poison/ If you ask me, there’s nothing better than a great progressive house tune. The synths and melodies are uplifting, and they’re usually accompanied by an epic vocal. The formula is simple, but very effective. That’s what we get to experience from the highly anticipated collab from Nicky Romero and DubVision, “Stay a Little Longer.” Nicky Romero is well known to EDM audiences for his decade in the business, and true progressive house fans know that DubVision can do no wrong. Enlisting vocalist Philip Strand, “Stay a Little Longer” is sure to find its rightful place in the pantheon of festival-ready, progressive house tunes. Strand’s vocals are soaring over the light piano notes that permeate his verse. As the track builds up, these piano notes become the bright melodic synths that carry the drop. Check out the latest from Nicky Romero & DubVision x Philip Strand, “Stay a Little Longer” out now on Protocol.
This article was first published on Your EDM. Source: Nicky Romero & DubVision Release Highly Anticipated Collab “Stay a Little Longer” Via https://www.youredm.com/2022/11/29/nicky-romero-dubvision-release-highly-anticipated-collab-stay-a-little-longer/ Revered electro-house producer No Mana has just capped off the year with the last of his trifecta of releases on Monstercat, “Space.” After making a name for himself as a regular on mau5trap, the Filipino-American producer/DJ has hit the ground running with a trio of releases on Monstercat. Coming off the heels of his previous two Monstercat releases, “Space” should make No Mana’s longtime mau5trap fans feel the most at home. It’s an anthemic and euphoric track that showcases No Mana’s 8-bit production perfectly. (Or is he 16-bit, he’s at least SNES). If you’re feeling nostalgic for 2007-2009 era electro-house production, “Space” should scratch your itch. Featuring bright, warm synths that overlap with lush keyboard chords and an early Porter Robinson-esque beat, “Space” hits the sweet spot. Here’s what No Mana had to say about the making of “Space.” “When I was 5 or 6-years-old, I would think of any music that had a synth in it as “space music.” I’ve also been listening to a lot of house and trance lately, so I wanted to incorporate that into “Space” with drums and melodic instruments.” Check out the latest from No Mana, “Space” featuring ill-esha, out now on Monstercat. This article was first published on Your EDM. Source: No Mana Caps Off His Monstercat Run with Nostalgic Banger “Space” Via https://www.youredm.com/2022/11/25/no-mana-caps-off-his-monstercat-run-with-nostalgic-banger-space/ It’s been a heck of a year for Nostalgix as she made waves in the bass house scene. From releases on Deadbeats and Night Bass, to touring with the likes of Thcami, AC Slater, Malaa and Destructo, to being one of the few female artists ever to grace the mainstage of EDC Las Vegas. Capping it all off is the release of her 3-song Supah Fly EP. Featuring the previously released singles “Supah Fly” and “Options,” as well as a new single “Party All Night.” Supah Fly gives Nostalgix, real name Negar Hamidzadeh, the opportunity to showcase her versatility as a producer. Enlisting collaborators and expanding into hip-hop territory, the Supah Fly EP nonetheless stays true to its club and festival roots. These are songs you play to get pumped up! Here’s what Negar had to say about Supah Fly. “I’m so thrilled to share my new EP ‘Supah Fly’ with you. With this project, I wanted to capture the energy and fun of what it’s like being at a festival or a show. Last year I was touring for the first time in my life and doing the craziest performances. It inspired me to experiment with my sound and create more high-energy records that embodied the lifestyle that I was living. I worked with other incredible artists such as Michael Sparks, Lano Bandz, and Chi City to bring the songs to life. Supah Fly is all about having the time of your life, not giving a f*ck what anyone thinks, and being bad as hell.” On top of the EP release, Nostalgix has also announced dates for her biggest headlining tour to date. Check out the Supah Fly EP, out now on Thrive. Upcoming tour dates are below. Dec 1 – Seattle WA – Showbox [w/ Malaa] This article was first published on Your EDM. Source: Nostalgix Drops “Supah Fly” EP & Upcoming Tour Dates Via https://www.youredm.com/2022/11/25/nostalgix-drops-supah-fly-ep-upcoming-tour-dates/ Many successful artists also have side ventures, with some exploring different alcohol sales, brand partnerships, modeling, etc. For NGHTMRE, he worked with his brother Matthew Marenyi, and Winterhalter from his media team, to craft an idea for a food/travel show that takes advantage of some of the exotic locations he already finds himself in thanks to work. “After YEARS of development with lots of ups and downs,” he says, their show SAMPLED is officially premiering on Paramount+. Dates of the premiere differ by region: Tuesday, Dec. 13 in the U.S. & Canada You can watch the trailer below!
Photo via @pistolpetesphoto This article was first published on Your EDM. Source: NGHTMRE’s original food/travel show ‘SAMPLED’ premiering Dec 13 Via https://www.youredm.com/2022/11/29/nghtmres-original-food-travel-show-sampled-premiering-dec-13/ Talent always finds its way through the noise of a competitive industry, and for Blake Orris, also known as BLAKELOGANX, cutting through the saturation is exactly what he’s been doing this past year. The 19-year-old is living his dreams and entertaining the world with his multiple endeavours while growing his fanbase on social media. The Florida-born musician has worked hard for years, built connections, and is prepared to make his mark within the music world. It’s evident that the artist’s skills go hand in hand with the tech, social and digital platforms that have also played a vital role in establishing his presence online. The young multi-talented artist has fortified his presence within the American Music Industry. His day starts and ends with music creation, and he loves to practice for long hours and create memorable music which connects with his followers. The road to success for BLAKELOGANX wasn’t an easy one. He had to hustle hard and go through the grind earlier in his life to break into the music scene. Not being afraid of failure or learning new things, BLAKELOGANX’s positive attitude has taken him on a long journey in the music world in his youth, where his peers didn’t realize his initial talent to pursue a career and establish himself where he is today. Looking at his discography, BLAKELOGANX’S tracks have been striking the right chord in the hearts of fans worldwide. His latest record like “No Games” has resonated with his audience and is an honest reflection of where he’s headed creatively this past season. His profound knowledge of music, art, and introspection is seen in his performances, and it’s undeniable that he’ll continue to multiply his presence within progressive music culture. Stream “No Games” here and follow Blake on Spotify below! This article was first published on Your EDM. Source: BLAKELOGANX Isn’t Afraid of Coloring Out Of The Lines : New Moves and Music Via https://www.youredm.com/2022/11/29/blakeloganx-isnt-afraid-of-coloring-out-of-the-lines-new-moves-and-music/ For the EDC Las Vegas devoted, the (relatively) new Camp EDC option will remain your most direct mode of access to the daily festivities of the festival itself as well as the activities offered by the Camp including exclusive DJ sets, unique camping experiences with neighbors, and more. However, if you’ve wanted to be closer to the action but couldn’t stomach the idea of camping, Insomniac is offering a new official partner hotel experience in 2023 that should be right up your alley. Hotel EDC, at Resorts World’s Las Vegas Hilton, presented by Vibee, prominently features a range of unique fan experiences, entertainment, and epic perks for festival Headliners to enjoy for three nights and four days, May 19-22, 2023. The sprawling, 88-acre property will become the centralized hub on the Strip for all things EDC Las Vegas, transforming the dazzling Las Vegas Hilton into a rave wonderland. Guests at Hotel EDC will be treated to a variety of unique offerings including exclusive parties at Ayu Dayclub, specialty art installations throughout the property, daily “Headliner Headquarters” at RedTail, EDC-themed cocktails and food offerings, daily wellness sessions, in-room entertainment, exclusive gift bags, and many other surprises. Additionally, Vibee has procured a limited number of festival passes, giving Hotel EDC purchasers the option to buy a ticket to the sold-out festival, if needed. Hotel EDC, the exclusive and only official Headliner hotel for EDC on the Las Vegas Strip includes: ACCOMODATIONS
PARTIES
EXPERIENCES
FOOD & BEVERAGE
Hotel EDC also offers premium add-on experiences, such as Premier Shuttle service to and from the festival grounds, early check in and late check out, the option to extend your stay by adding on nights before or after the festival, spa packages, and a special Raver Recharge Brunch on Saturday developed in partnership with the culinary team at Fuhu. Beginning this Monday, December 5, at 12 p.m. PT at HotelEDC.com, Hotel EDC packages, which include accommodations for groups up to four people, can be locked in with just a $99 deposit.
Photo via AGP for Insomniac Events This article was first published on Your EDM. Source: Insomniac Announces First-Of-Its-Kind Hotel EDC Experience During EDC Las Vegas 2023 Via https://www.youredm.com/2022/11/29/insomniac-announces-first-of-its-kind-hotel-edc-experience-during-edc-las-vegas-2023/ Since the beginning of the Crywolf project, the music has always expressed elements of introspection and self-discovery. Through the artist’s own battles with mental health, the experiences and lessons learned throughout their journey have been exhibited front and center throughout the music. On top of being an extremely talented musician in his own right, the background also gives the music an exceedingly visceral and familiar feeling. That motif is nowhere more salient than his latest album, exuvium [OBLIVION Pt. II], created following a period of intense turmoil. The pain and grief in the music is nearly tangible, the powerful melodies and lyrics seething through the speakers with intense fury. When Crywolf released Cataclasm in 2015, we included it in our list of Top Albums of the year and called it an “album for the post-EDM era.” Not counting the 7-track Skeletons project released in 2017, the two-part OBLIVION series has been his first return to the album format in almost half a decade. A lot can change in the world between then and now, most of which we probably don’t need to remind you of. But that time was also a period of intense personal growth and self-discovery for Crywolf himself. Following the release of the album, we spoke with him about the album, the influences within, and what the future of the Crywolf project looks like. Listen to the album below and continue scrolling for our interview. So what was the difference in your mentality between Widow, pre-pandemic and Exuvium coming out? You know, after this global trauma had been experienced for a year and a half.I actually wrote most of Exuvium before the pandemic. I wrote it when I was living in Bali. I moved back from Bali about a month before the pandemic started. So most of these tracks were written there. And so I wouldn’t say that the pandemic played a huge role in the substance of the album or the themes or anything like that. But I do find the juxtaposition of the two albums really interesting. Because basically the whole Oblivion series covers what was essentially my dark night of the soul or my, you know, like quarter life crisis. I think a lot of people go through that near the end of their twenties. Yep–Where they’re sort of like questioning all the structures that they formed over the course of the early parts of their twenties and everything’s kind of starting to lose its luster, and they have to make a lot of changes in terms of how they planned their life. Career wise, friendship wise, lifestyle wise things like that. This all sounds very familiar.Yeah, yeah. How old are you now? 31.Okay? Yeah. Yeah. Yeah. When I started going through it, it felt like my life was ending. And then I finally started talking to people in their thirties and everyone was like, “Wait. How old are you?” And I was like, 27. They’re like, “Oh, my god. Of course you are. That’s exactly what you should be doing at this age.” And I’m like, I feel like my life is over! It didn’t make it any better, but I just really started to question a lot of the things that I was doing with Crywolf. My life just got so unsatisfying and that sort of set off this cascade, it really triggered my preexisting bipolar disorder. And like my depressive and anxiety symptoms got so crippling for, like fucking three years. And I wrote Widow sort of right during the beginning of all of that, and then I wrote Exuvium right at the end of it. So Widow is really dark, but it’s dark in sort of this, like helpless, tragic way. Sort of just being thrown around by the void and, you know, swept up in nihilism and the meaninglessness of it all. And then Exuvium, I think is sort of the perfect counterpart to it and finishing part for that series because it has the same sort of themes, the same sort of imagery, but it has a very different tone by which it approaches it. It’s kind of approaching it all with much more power. It’s like facing that sort of creative destruction that needed to happen. But instead of that creative destruction being a tragedy like it was in Widow, instead, it’s like the ultimate strength, the thing that’s fueling you. One of the things I noticed is there is a much more salient Latin and religious influence in Exuvium. When I was at your early-listening showcase, it was almost like I was listening to a sermon at certain points. Where did where did that come from? Is there Is there any sort of imagery or metaphor to be gleaned from that sort of wild departure in theme.Yeah, I mean, over the course of this entire process, I really started diving into the works of Carl Jung, the psychologist who coined the whole idea of the collective unconscious, shadow work, archetypes. And specifically with archetypes, essentially the idea that we have these kind of complex energies inside of us, for lack of a better term, not like actual energy, but just sort of these patterns of mental behavior and that it’s easiest for us to understand those things if we externalize them. Because a lot of times they almost feel like something separate from us, like falling in love or getting so angry that you do something. If you really think about it, it feels like something else is controlling you, like you’re not making the decisions that you would normally make, you’re kind of being influenced by something. As human beings, it’s a lot easier to say, “Oh, I’m under the influence of Cupid or Aphrodite,” and it’s like, “Oh, well, that makes sense. That’s why you’re being that way right now.” Or, you know, channeling Ares the god of war, and then, “Oh, that makes sense. That’s why you’re so violent right now.” So, you know, to me a lot of these religious figures are sort of these archetypal role. They play these archetypal roles for us. Typically, I would stay away from any sort of like religious or esoteric imagery with my stuff, because I have been scarred by the church and generally stay away from religion. But to me they are sort of these powerful symbols, especially in terms of like the destructive archetypes. The second track on the album is called “Abbadon,” who is one of the demons of the Apocalypse. And there are lots of references to, like you observed, there’s a lot of references to that sort of thing on the album. But I think it would be misguided for anyone to interpret that as an actual reference to the religious beliefs of any of those. It’s much more like this is an easy way to refer to a certain type of energy that is so ineffable. It would take so long to describe something fully. But yet you can refer to a character and that character embodies sort of the essence of what all that has to do with everything. Absolutely, and the word Exuvium itself, I just Googled it to be sure, means “something that is cast off, such as the exoskeleton of an animal.” So is the is the album about sort of shedding that past self and coming out something new, something glorious and beautiful?Yeah, definitely. I mean, I think the whole theme of OBLIVION is sort of confronting the void and the meaninglessness, essentially trying to make sense of it in some sort of way. Everything that I write, it’s always sort of a process of discovery for me. Usually I’m writing and I’m just channeling whatever’s inside and then afterwards I’m looking at it and I’m like, “Oh, my God, this is not only describing exactly what’s going on inside of me,” but a lot of times it’s sort of like predicting the future. I’ll write an album and then I won’t really fully understand that album until six months after I release it, because it’s talking about things that I have yet to go through. When I was writing Exuvium I was still in the middle of this crazy period. I remember when I wrote that song, which ended up being the title for the album, I didn’t actually know what Exuvium meant but I was just going with these lyrics, and I just put that word in there. Then I looked it up later, and I was like, “Oh, sick.” Yeah, it worked out.Maybe it was just like, you know, buried somewhere deep inside of me, and I didn’t really have conscious knowledge of it. But yeah, it’s definitely like that ending point where you shed that final layer and sort of emerge from the from the like, dark, spasmodic, painful womb of that particular type of change. A wordsmith indeed. [laughs] So you mentioned you know that this album was finished before the pandemic. Was the pandemic part of the reason why it wasn’t released until now? Or like you said, did it take more time for you to fully understand what the album meant to you, and you needed to sit with it for a little bit until you released it out into the world?I would love to blame it on the pandemic. That would definitely be definitely be a much easier excuse, but in reality, honestly, I was just fucking having a mental breakdown for like two years. I had this period in Bali where I was feeling better, and I wrote a bunch of this stuff and then, a couple months later, just was going through it again. So there was like a whole year there where I just could not bring myself to work at all. And I was in despair all the time. And then and then I actually ended up taking a year long sabbatical after that. So, the album was written in Bali, and then this year I’ve finally really felt like reapproaching Crywolf. There is actually a period there where I was considering not doing Crywolf anymore, because it just developed to the point where it was creating so much anguish in my life. But then this year, I like really rediscovered my relationship with music and decided to reapproach this album and knock it out, so most of the actual finishing work has been done this year, whereas all the writing was done in Bali, all the composition and stuff. You mentioned the possibility of the Crywolf project itself not existing after this. You were able to overcome the mental anguish and the issues and you came back, finished this album up, released it. So what’s the plan now that it’s released? Have you reignited your passion enough that you know there’s going to be more music? Are you planning on maybe touring this album and then hanging up the towel? What’s sort of the long term plan now is as far ahead as you can tell.My relationship with Crywolf was complicated, but also my relationship with just being a musician was complicated because one of the things that I was having a crisis about was the fact that I had, without really realizing it, dedicated like 12 years of my life into this one industry. And you know, I love music. I will always create art. Growing up it was a big part of who I was, but it wasn’t all of who I was. I wasn’t one of those people who grew up being like, “I will be a musician or I’ll die.” You know, like this is the only thing I want to do? There’s lots of stuff that I want to do. But my relationship with music itself, I feel like was completely rejuvenated. I’m so into making more music, and I’ve already been writing a bunch of new stuff. My relationship with Crywolf is pretty good. I sort of made an agreement with myself that I would finish this album, and then I would do one more tour. And then if I still wanted to quit after that, then I would quit. Whether that looks like starting a new project, whether that looks like taking some time off to pursue other things, and then maybe reapproaching music later, I’m not sure. But I would say with this album’s reception and everything that’s gone into the album release and how much I’ve really enjoyed that again the way that I used to, I think I’m pretty sure that I will continue doing Crywolf. We’re planning this tour for April/May and that’s going to be really fun. Just because this album is so cinematic and so like epic, and, making the whole visual journey for that and building that whole tour out is going to be really fun. Plus, it’s just fun that like… You know, with Widow? It took it took people like two years to really get Widow. Um and I get– Your music is a little, I would say, intellectual.Yeah, I mean, especially that one because it was it was so– It just was not something that was made for people to like. I mean, I remember recording Widow and I would like I would do five vocal takes and I would choose the worst one possible. I wanted it to be bad because that was honest at the time, like I was a fucking mess, and I didn’t want to make music that sounded polished. I didn’t want to make music that was catchy or that drew people in. It was supposed to be ugly. And so it took people really long time to understand Widow. Whereas with Exuvium there are already so many people that are like, “This is my favorite album you’ve ever done.” So touring with an album like that is way more fun than touring with an album that people still have yet to really understand. You know, there’s five months in between releasing it and playing it out, and with an album like this, as soon as I’m on tour, there’s gonna be tons of people like screaming the lyrics to every song. Whereas Widow I was not quite as excited to tour with a bunch. But now I’m just imagining the crowd like yelling out in Latin, just like–I hope so. If they know all the Latin that would be so sick. I don’t know whether I would like feel like intense like community and, like togetherness, or just straight up fear at that moment,I hope sort of both. That would be a great combination of feelings. Absolutely, I’m looking forward to that, especially since you know you said it was April/May, right around my birthday. So hopefully I get to have some spiritual awakening when I turn 32, because god knows that age really isn’t good for much else. But yeah, I really appreciate you speaking with me. I’m gonna take a listen to the album a few more times because it is quite a dense but I’ll definitely catch you on tour next year.This article was first published on Your EDM. Source: Crywolf sheds his skin and becomes something beautiful in the closing chapter of oblivion, ‘Exuvium’ [Interview] Via https://www.youredm.com/2022/11/29/crywolf-sheds-his-skin-and-becomes-something-beautiful-in-the-closing-chapter-of-oblivion-exuvium-interview/ Primavera Sound continues its reign as one of the most impeccably booked festivals in the world each year with their announcement of the 2023 lineups for Barcelona and Madrid. Depeche Mode, Kendrick Lamar, Blur, Rosalía, Halsey, FKA twigs, Skrillex, Måneskin, St. Vincent, The Moldy Peaches, Calvin Harris and Le Tigre will headline the Barcelona and Madrid dates next year. In total there will be over 200 performances in each city, including both welcome and closing days and of course the program of Primavera a la Ciutat. This plurality, this diversity that is so Primavera Sound, also extends to the strictly musical side and offers impossible combinations wherever you look. Punk and k-pop, reggaeton and metal, techno and salsa will coexist in an event to celebrate music in all its forms in the hands of big names, long-awaited comebacks, brand new revelations and living legends. Barcelona and Madrid will experience two almost identical Primavera Sounds on their three main days. Almost. A minimal difference that is limited to a small group of artists who will only perform on one of the two sites aspart of the main program of each festival. The Parc del Fòrum will be the place to enjoy the grand guignol metal of Ghost, the simmering quejío of Israel Fernández and Diego del Morao, the refined saudade of Arthur Verocai and the rock in scope of The War On Drugs (who in Madrid will headline the Primavera a la Ciutat program with a concert at La Riviera) and the gen-z confessions of Holly Humberstone, while the Ciudad del Rock will feature The Mars Volta in another of their volcanic appearances, Bad Gyal, and the British artist Georgia with her emotional dance and the post-punk commune formed by Crack Cloud. Full festival tickets and day tickets will go on sale on Thursday 1st December at 12 noon CET on DICE.
Photo via Christian Bertrand for Primavera Sound This article was first published on Your EDM. Source: Primavera Sound announces Skrillex, Halsey, Kendrick Lamar, Calvin Harris, Fred again.. and more for 2023 festivals Via https://www.youredm.com/2022/11/29/primavera-sound-announces-skrillex-halsey-kendrick-lamar-calvin-harris-fred-again-and-more-for-2023-festivals/ |
AuthorTim Schmidt Archives
April 2023
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