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Grimes has been in the news far too frequently as of late for her strained and strange associations. If we’re not talking about her up and down relationship with Elon Musk, then we’re dealing with bullying allegations from scorned artists like Poppy or Azealia Banks. Thankfully, there’s one collaboration that’s working out, as Grimes’ new track with HANA, “We Appreciate Power”, marked a much anticipated return to music from the Canadian art popper. Last night, the duo gave the “Pro-A.I. Girl Group Propaganda machine” song its live debut on Fallon. With Grimes blindfolded and HANA slinging guitar, they performed the track while a sort of gladiatorial dance battle took place on the platform behind them. Check out the replay below. “We Appreciate Power” is said to be our first listen to Grimes’ long-awaited follow-up to 2015’s Art Angels. Though it’s been a minute since we got a new LP from her, Grimes has been plenty busy this year, teaming with Janelle Monáe on “PYNK”, appearing on Loona’s K-pop cut “Love4eva”, and collaborating with Jimmy Urine of Mindless Self Indulgence for “The Medicine Does Not Control Me”. There was also her theme song for Netflix’s Hilda and the new material she debuted in an Apple commercial. Source

To promote her new memoir, former First Lady Michelle Obama recently embarked on an expansive arena tour in which she participated in conversations moderated by celebrities including Oprah, Reese Witherspoon, Tracee Ellis Ross, Phoebe Robinson, and Sarah Jessica Parker. Now, Obama has added a second leg of dates for early 2019. The 21-date swing includes 11 additional shows in the US, as well as four dates in Canada. In a testament to her global appeal, Obama will also visit Europe for events in London, Paris, Amsterdam, Stockholm, and beyond. As was the case for the first leg, each date will feature a soon-to-be-announced moderator who will appear in conversation with Obama. See the full itinerary below. Tickets will go on sale via LiveNation beginning Saturday, December 15th (you can find more information at BecomingMichelleObama.com). Additionally, you can obtain resale tickets via Stubhub. Michelle Obama 2018-2019 Book Tour Dates: 12/11 – Detroit, MI @ Little Caesars Arena (Phoebe Robinson) 12/13 – Denver, CO @ Pepsi Center Arena (Reese Witherspoon) 12/14 – San Jose, CA @ SAP Center (Michele Norris) 12/17 – Dallas, TX @ American Airlines Center (Valerie Jarrett) 12/19 – Brooklyn, NY @ Barclays Center (Sarah Jessica Parker) 02/08 – Tacoma, WA @ Tacoma Dome 02/09 – Portland, OR @ Moda Center 02/12 – Phoenix, AZ @ Comerica Theatre 02/28 – Austin, TX @ Frank Erwin Center 03/02 – Houston, TX @ Toyota Center 03/13 – St. Paul, MN @ Xcel Energy Center 03/14 – Milwaukee, WI @ Miller High Life Theatre 03/16 – Cleveland, OH @ KeyBank State Theatre 03/21 – Vancouver, BC @ Rogers Arena 03/22 – Edmonton, AB @ Rogers Place 04/09 – Copenhagen, DK @ Royal Arena 04/10 – Stockholm, SE @ Ericsson Globe 04/11 – Oslo, NO @ Oslo Spektrum 04/14 – London, UK @ O2 Arena 04/16 – Paris, FR @ AccorHotels Arena 04/17 – Amsterdam, NL @ Ziggo Dome 05/03 – Montreal, QC @ Bell Centre 05/04 – Toronto, ON @ Scotiabank Arena 05/10 – Ft. Lauderdale, FL @ BB&T Center 05/11 – Atlanta, GA @ State Farm Arena 05/12 – Nashville, TN @ Ryman Auditorium Source

It’s been over four years since The Smashing Pumpkins gave 1998’s Adore the deluxe treatment, complete with unheard demos, rare B-sides, and remastered recordings. Since then, Billy Corgan has teased the same kind of release for both 2000’s Machina/The Machines of God and Machina II/The Friends & Enemies of Modern Music, promising to reissue them together “as originally conceived.” Well, now that they’ve dropped their reunion album, Shiny and Oh So Bright Vol. 1., it would appear the band’s refocused their energy on said reissue. Today, Corgan revealed on his Instagram Stories that drummer Jimmy Chamberlin was in the studio recording completely new drum tracks for the forthcoming reissue, specifically on Machina II jam, “White Spyder”. Consult the two screengrabs below: Seeing how both albums didn’t exactly come to fruition as originally planned in 2000 — if you recall, Virgin was a little reluctant to indulge in Corgan’s double concept album after the sagging sales of Adore — Corgan plans to rectify that with this box set. Not only will the two albums be released in tandem, but they’ll also sport new artwork and a completely new tracklisting with previously unfinished songs. Judging from the updates above, Corgan and Chamberlin are currently hard at work in finally making that box set a reality. Whether we see it in 2019 or 2020 remains up for debate, though one hopes this is a sign that things are moving faster than originally planned. Even so, Corgan has insisted we’ll also be seeing the second volume of Shiny and Oh So Bright sometime next year. So, we’ll just have to wait and see. In the meantime, stream the original “White Spyder” below. Source

Following the whole Bohemian Beatfreaks saga (read more here) it’s now being reported that NSW Police are looking to be granted more power in regards to shutting down festivals. After the police tried to shut down Bohemian Beatfreaks and then quoted them $200, 000 for police presence, the owners, Rabbits Eat Lettuce, took police to court to appeal the ridiculous conditions they were being held to. After winning the case they were still forced interstate, however NSW police are now arguing that Rabbits Eat Lettuce shouldn’t have been able to appeal the decision by law. By arguing this they’re looking to set a landmark decision, wherein future festivals would be held to said decision, giving NSW Police a lot more power over festivals than they’d ever had before. “If the police press on with this appeal and it succeeds, it will send a shiver down the spine of every festival organiser in NSW, because it will mean that whatever the police say is law,” NSW Greens MLC David Shoebridge told Sydney Criminal Lawyers. Further saying that “It would be the death of the music festival industry if the police have an unappealable right to shut down events on spurious safety grounds.” Could this spell the end of festivals in Sydney? Let us know what you think. Source

Jeff Tweedy’s career path has proven to be every bit as fascinating, complicated, and surprising as the music he’s spent his entire adult life creating. When Uncle Tupelo dissolved acrimoniously after having helped put alt-country on the map, many expected it would be his bandmate and co-leader, Jay Farrar, who would go on to have breakthrough success. But it was Tweedy who grew into one of his generation’s most heralded songwriters. Under his stewardship, Wilco stayed the course through numerous lineup changes and stylistic deviations to become one of America’s best rock and roll exports. But Tweedy’s ascent was anything but smooth or direct, from bouts with addiction, depression, and anxiety, to struggles with record companies, and to a revolving cast of musical cohorts color in the singer’s story. With Wilco on a rare extended hiatus, 2018 afforded Tweedy the opportunity to come out from behind his many monikers and bare all. He did so by way of an excellent new memoir, Let’s Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, Etc., which he followed up just weeks later with the release of his first proper solo record, the aptly titled WARM. On the heels of both releases, we talked to Tweedy recently about band breakups, Wilco’s many artistic evolutions, starting a band with his son, and the process of writing songs vs. writing a book. __________________________________________________________ 1984 You’ve talked about how growing up in Belleville was kind of underwhelming as a kid. But, in a way, was that helpful for your creativity? Did it force you to use your imagination more in a way? I don’t think it’s a good thing for any child’s imagination to grow up in an environment that’s anti-intellectual or oppressive or suspicious of outward expressions of creativity. [Laughs.] At the same time, I’d always argue against putting too much stock either way in environment in terms of how much credit you can give it for any one person’s creative output and how it shaped them. Lots of people create in spite of terrible circumstances, and some people grow up in a vibrant city like New York and are as philosophical as the Stones. So I don’t know. Did you know when you were playing with The Primitives that you wanted music to be your track in life? How did that realization evolve? I knew I wanted to play music and that I wanted to be around music from a very early age. The band just evolved based on our getting better at our instruments. Our interest in music went from punk rock, which we never really played as a band, to kind of garage band music and ’60s proto-punk. Our nature seemed to be to kind of look for the origins of things. We were excited to find all of this music that was sort of fun to play and had the same spirit as punk rock without it being that. __________________________________________________________ 1990 Listening to No Depression, it seemed like Uncle Tupelo figured out very early on what direction it wanted to go in musically. It sounds very assured for a debut. By the time we made No Depression, we had actually recorded a lot of those songs once or twice before. We had made a whole record that was a much cleaner-sounding version of most of those songs that came from a demo tape that got us a record deal. So we had had a couple of runs at it already in terms of recording. And to be honest, there wasn’t a lot of time or money. There’s a practicality to the band sounding that assured. We were eight-track recording at the time and didn’t really have a lot of room for overdubs. It was basically a three-piece band doing the best they can. Does any of that make the legacy that the record’s accrued over the years surprising? How do you look at the regard people hold that record and Uncle Tupelo in almost 30 years later? I don’t know how much I can speak to the reverence people have for any of my records, to be honest. I’m appreciative of people paying attention and listening to music I’ve made. No Depression, for me, I’m just astonished that it happened, that we got a record deal and made it. The most I could say about what other people think about it is that I’m grateful that people still care about it. __________________________________________________________ 1994 There’s a moment in Learning How to Die, Greg Kot’s book about Wilco, where it describes you in tears after Uncle Tupelo’s breakup, uncertain about what to do next. How long did it take you to reconcile with that loss before you picked up the pieces to move on to Wilco? I think the thing I’m sort of grateful for is that I have this innate ability to get over things like that very quickly. I just start looking at things as an opportunity. Pretty quickly after the initial hurt and feelings of betrayal that I went through, whether they’re warranted or not I don’t know, I felt excited and intensely energized to figure out what it is I can do for myself. __________________________________________________________ 1996 A.M. was a natural jumping-off point for Wilco, but by Being There it was evident the band was ready to evolve into something new. How do you explain the record’s reach? There wasn’t a lot of external pressure to make something happen. [Laughs.] I don’t remember feeling like the record company was excited to make something happen with it. But internally, it was a turning point for me in how I was able to look at my own creativity and how much I could incorporate the things that were inspiring me without the framework of a band shared by two songwriters. That was really the first record where I understood what the stakes were. Was there any feeling of competition with Jay [Farrar] at that time as you both were trying to get your respective bands off the ground? I don’t feel like I was ever super competitive with Jay. Honestly, at the time, I felt like I had a responsibility to get better so that our records would be better. I look at Jay as having a much better voice than I had, and he was certainly perceived as being the leader of the band. And I was totally cool with that. I just thought if I’m writing half the record and kind of being looked to to help out in that way, because there wasn’t enough material to finish the records as they were coming at us, then my contributions should be as good as I can make them. That’s what I worked towards. It wasn’t necessarily to show Jay how a song’s written. [Laughs.] It just seems it would be natural if there was some of that, especially in the early going. I think I have a healthy competitive spirit in general, but I didn’t look at us as being separate entities as much as people think I would have at the time. I looked at Uncle Tupelo as us, not as me and him. __________________________________________________________ 1999 The shift from Being There to Summerteeth seems to be the starkest amongst all the changes that band has gone through musically. I think from Being There on, every record has just been a reflection of what I’m interested in musically at the time. There were a lot of people trying to do more of the folk and country-influenced things. Other bands were coming around to doing more of that, but I wanted to do things that were distinguished from that. I wanted to set environments for my lyrics that weren’t going to be overshadowed by a genre. And at the same time, I think the simplest answer is I was digging Beach Boys music and getting deeper into listening to orchestrated pop music at the time. I kept think there was something magical to putting really dark lyrics against really poppy music. That was something that was happening with the lyrics that wasn’t happening when they were put against, uh… Twangy guitars. Yeah, roots music. __________________________________________________________ 2001 How important was bringing Jim O’Rourke and Glenn Kotche into the mix to moving Wilco’s sound forward circa Yankee Hotel Foxtrot? For me, I kind of consider myself an inspired amateur as a musician (laughs). Predominantly, I’m much more of a music listener and someone who’s excited about listening to people’s music. I’m intrigued by musical ideas and things that I’m not always sure I have the authority or weight to attempt on my own, especially when it comes to experimental music or music I perceive to be more academic or intellectual. I would always feel hesitant or apprehensive about incorporating them without knowing what I’m doing or giving myself license to do those things. Working with Jim and Glenn was an affirmation that it’s okay for me to express that side of my musical curiosity. And they were supportive. Not only supportive, but they seemed to feel I was worthy of hanging with them (laughs). I could hang with the legit guys, in my eyes. It felt really fucking great. __________________________________________________________ 2004 You carried that experimentalism into A Ghost Is Born, which seems like a genuine case of art imitating life. How do you weigh the artistic and commercial success of the record against the personal struggles you had to brave to make it? Well, I look at it as “Art won.” Art wins always. That’s been a very helpful bit of knowledge to have going forward in life. Immediately afterward, when I went through rehab and went to the hospital not long after that record was finished, I was really kind of stunned that the songs and the music that I’d made in such a debilitated state seemed to be way ahead of me. It seemed to still be healthy. It wasn’t like I was revisiting something that only made sense if I was high or sick. There were things that were maybe more elemental to who I was that were fighting through. So, I was really relieved about that, and that’s the way I look at it still. The part of me that likes to make stuff up and has an innocent curiosity and an innocent spirit was what pushed that stuff out of me in spite of the brokenness of my person. __________________________________________________________ 2007 That relief or peace shows itself pretty deliberately on Sky Blue Sky. I think mentally it was the first record that I wrote having had a sustained period of sobriety in my life, a sustained period of being properly treated for mood disorders that I suffer from. One of the ways creativity works is you sort of go into your subconscious and come back and bring stuff out of yourself. That can be kind of scary for someone who’s just recently kind of gotten a grip on reality. [Laughs.] You have to surrender reality a little bit. It was necessity, or at least it felt like a necessity to me at the time, to keep things simple and try and record live in the studio. I wanted to keep things very straightforward and keep my focus on simplicity. That’s what that record is to me, an effort to kind of keep things simple. __________________________________________________________ 2014 For Sukierae, you broke off from Wilco and joined forces with your son, Spencer. What has it been like to have that bond, not just as father and son but as peers and collaborators? In our household, getting on the floor and banging on things and playing the xylophone was one of the initial activities that we did together, you know? So our outward-facing relationship, the public side of what Spencer and I do together, is basically letting everyone else in on something we’ve always done. I’ve never really contemplated not playing music with my kids. [Laughs.] Whatever has happened that people would term “professionally” or “publicly” between us is really just second nature and something that we do and enjoy. I’ve tried to make that the focus for them going forward — if they want to pursue music in the future, to never lose sight of the fact that it’s such a fucking great thing to do. __________________________________________________________ 2018 What made 2018 the right time for you to finally branch off and do a proper solo record? What made the songs on WARM better suited for yourself than Wilco? [Wilco] was kind of on an extended break, for one. Glenn’s wife got a Fulbright scholarship, and he took a good chunk of the next couple of years to live in Finland. When I’m off the road, or when Wilco’s not as active, I generally come to the studio every day. When I come to the studio every day, I tend to accumulate a lot more material that I don’t know what to do with. On the one hand, it was an effort to find a home for a lot of songs I was writing. And after touring with Tweedy, which is really, really fun, I realized there’s something slightly different about the way Tweedy sounds to me than this material. Oddly enough, when I try and play solo shows, the Tweedy songs are songs I find really difficult to put across by myself without Spencer, without a band. These are songs that after touring solo I felt like I could put across either as a band or by myself. They didn’t really change that much in either circumstance. That felt to me that it warranted being called a Jeff Tweedy record. I just felt I could do the songs justice by myself. How do you compare the experience of writing a memoir against a career spent writing songs? Is there any overlap, or do you look at it as a totally separate endeavor? I kind of look at them as being photo negatives of each other. [Laughs.] Writing prose is like a photo negative of writing lyrics and poetry. I think lyric writing, for me, has always been about giving little images and putting language in the peripheral vision of a story. I like to let the listener fill in a lot of what’s happening, so it’s intimate that way. But telling my story, trying to make prose read clearly without distracting too much from the narrative, was kind of the opposite. I had to keep my mind from wandering off into the details. — WARM is now available via dBpm Records. His memoir, Let’s Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, Etc., is also available. Source

Gesaffelstein is back in full force! If the billboards weren’t a dead give away, or Gesaffelstein’s new single and music video for “Reset,” then this impactful image certainly will. At long last, the producer is making a comeback and the most grand indicator comes in the form of the album cover for his forthcoming album titled Hyperion. Gesaffelstein signed with Columbia Records earlier this year, and fellow artists and fans alike were instantly hyped. Long before that, his debut album Aleph was released in 2013. His work has remained a staple in dance music all along and we’ve inevitably felt the void during his extended absence. Finally, the wait is over. “This is the cover of Hyperion, the new album by Gesaffelstein,” his post on social media confirms. That’s all the info we get for now. No word on release date — but get ready. Gesaffelstein – Hyperion This article was first published on Your EDM. Source: Gesaffelstein Reveals Forthcoming Album ‘Hyperion’ & Album Art Source

Skrillex put out his “SICKO MODE” remix just about two weeks ago and it’s safe to say it wasn’t universally liked by fans. A Whethan flip a couple days later made up for it a bit, but now Kayzo has thrown his hat into the ring with this hybrid bass/psy banger. It’s not a “full” track per se, more of a DJ tool at just 2 minutes 20 seconds, but it’s got two full drops and still manages to incorporate vocals from both Scott and Drake. The combination of psytrance and dubstep is classic Kayzo, so fans should be pleased with the outcome regardless. Check it out below, and wait to hear this one dropped the next time you catch Kayzo live! Photo via Rukes.com This article was first published on Your EDM. Source: Kayzo Is The Latest To Flip Skrillex’s Remix Of “SICKO MODE” Source

It’s been a good 2018 for the deep house producer Black Coffee from Johannesburg. After a massive tour nationwide, he wraps up the year with a sweet tune titled “Wish You Were Here” featuring vocals by Msaki via Ultra Music. It’s a jazz-inspired melody featuring a classic instrumental bassline. Following up his latest collaboration with David Guetta, this newest single reflects the artistic diversity the innovative producer beholds. It strips down the high tempo notes compared to his past releases to an infectious calming deep house sound. Song Cover of ‘Wish You Were Here’ via Facebook Black Coffee has been in the scene reaching nearly twenty years and stacking awards. In 2015, he was awarded the Breakthrough DJ of the Year at the DJ Awards in Ibiza. It was soon after reaching double platinum selling status with his multi-award winning album “Pieces Of Me.” Working with the likes of Drake and Alicia Keys, Black Coffee has performed at notable festivals like Coachella, Day Zero Festival, and Tomorrowland. Despite his domino effect of accomplishments, “Wish You Were Here” makes perfect for the winter season. Learn more about Black Coffee and what shows he has coming up by clicking here. In the coming months he will be in South Africa, Mexico, UK and US. Listen To “Wish You Were Here” by Black Coffee: Before you go, if you haven’t heard one of the best deep house tracks of all time, ‘Muye’, then now is the time. BONUS SET: Black Coffee at Tomorrowland  Follow Black Coffee: Facebook | Twitter | Instagram | SoundCloud The post Deep House Majesty Black Coffee’s Silky New Single ‘Wish You Were Here’ appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

The topic of musical elitism has been tackled before here at Your EDM, but it’s always good to get a refresher every once in a while, and it always helps if it’s from a new source. The latest tongue lashing comes from Must Die!. At a glace, Must Die! is just a dubstep producer; but going deeper, his discography reveals a much more diverse collection of genres and styles than just 140 BPM and wub wub. So when fans complained to him that one of his openers played a “really nice house set,” he got on Twitter and talked some sense into them. “People were complaining to me, thinking that I’d think it’s cool to only like dubstep,” he begins. “Here’s the thing… you’re a pussy if you don’t like house music.” He goes on to specifically address the radical fandoms who perhaps cling too closely to their favorite genres to the point of admonishing others. It’s fine to have a favorite genre, or song, or artist, he explains, but when you become a bully about it, you’re not doing your community or the community you’re rallying against any good. Check out Must Die!’s full argument below. The gentleman who played before me last night played a really nice house set. People were complaining to me, thinking that I’d think it’s cool to only like dubstep. Here’s the thing… you’re a pussy if you don’t like house music. — MUST DIE! (@MUSTDIEmusic) December 7, 2018 Like seriously, you need to chill as a fandom. I appreciate the enthusiasm for what we do but stop insulting people for playing a (legendary) genre to make yourselves feel more “hard” or whatever. You’re wearing tie dye and beads. Chill. — MUST DIE! (@MUSTDIEmusic) December 7, 2018 I dunno man. Maybe learn a little about dance music before you trash its most popular export. Back to positivity tho! — MUST DIE! (@MUSTDIEmusic) December 7, 2018 I know I complain about rly niche stuff and often speak in high hyperbole but like I really care about the musical landscape and I want a more open dance music fandom. I care about the way performing artists are treated and I just don’t think we are there yet. We can do better. — MUST DIE! (@MUSTDIEmusic) December 7, 2018 It’s all supposed to be a party and what good is a bully at a party? — MUST DIE! (@MUSTDIEmusic) December 7, 2018 guys, relax. i don't think that you are a coward if you don't like a musical genre. I was making a point and I think you all got it. thanks for coming to my TED talk or whatever ppl are saying? — MUST DIE! (@MUSTDIEmusic) December 8, 2018 Photo via @Schafferbrady This article was first published on Your EDM. Source: Must Die! Calls Out Fans Who Shit On Other Genres Source

Zedd had a hell of a year, which can especially be attributed to his massive collaborative single with Maren Morris and Grey. “The Middle” is the #2 Global Played Song and Alexa’s Most Requested Songs of 2018, according to Amazon. “THANK YOU,” Zedd writes in a post. “God’s Plan” by Drake comes in at #1. Zedd is followed by “Better Now” by Post Malone at #3, “I Like It” by Cardi B, Bad Bunny & J Balvin, and “Girls Like You” by Maroon 5, also featuring Cardi B. Rounding out the top 10 Global Played Songs, Amazon includes another one from Post Malone, as well as Jason Aldean, Dan + Shay, Justin Timberlake featuring Chris Stapleton, and Bruno Mars featuring Cardi B. Overall, Amazon listeners seem to have a love for hip hop and country music. As far as EDM goes, Marshmello sits at the #18 spot for his collaboration with Anne-Marie, “Friends.” Calvin Harris comes in at #21 for his collaboration with Dua Lipa, “One Kiss.” See Amazon’s Best of the Year here. Amazon Music Best of 2018 “The Middle” is the #2 Global Played Song and Alexa’s Most Requested Songs of 2018. THANK YOU @amazonmusic. https://t.co/mmk8JX1lCE #BOTY pic.twitter.com/t28LJTnIWl — Zedd (@Zedd) December 10, 2018 Photo via Rukes.com This article was first published on Your EDM. Source: Zedd’s “The Middle” Is Among Alexa’s Most Requested Songs of 2018 Source

Songs come and go, With countless tracks being released daily, there aren’t a lot that stay relevant for a month let alone a lifetime. Nowadays especially it can be hard to tell what’s going to stand the test of time. With electronic and dance music specifically, it’s hard to find the tracks that have a timeless feel to them. We’ve given some of our opinions on timeless tracks of different genres before, like French Touch, or Ambient albums, but that’s more of a nod to genres that see a lot less play time these days and as such are remembered through their classic tracks. We’ve tried our hand at Aussie specifics, but that then leads more to songs that have shaped our personal dance cultures. Going forward what tracks will we be calling timeless in say 20 or 30 years? It’s hard to say, but one thing’s for sure, no one can tell 100% what’s gonna hit. In the words of Mark Dynamix. a scene stalwart with countless Ministry of Sound mixes under his belt, whose seen his fair share of classic tunes. “If we all knew the ‘secret’ we’d be making classic tracks one after the other!” We asked a couple of people in the know to help us compile what we think are some of the proper ways a timeless track is made so hopefully you can get some inspiration, new ideas, or just a bit of a reminder of the path you were trying to take. Break SOME rules Mark Dynamix reckons “A classic track has to follow some rules but break others.” Timeless tunes are rule breakers within reason. For something to stand out above the rest, it often needs to have a defining quality, a je ne sais quois that separates it from the pack. For the difference to be accepted it needs a strong foundation. Something not generic but within the scope of comfortable, a track needs to follow rules before it can break them and guidelines are often helpful in the establishment of a good sound. Often it’s the combination of a couple of genres that might make a track. A hook helps! Darude says you want “a simple and effective, easy to remember melody or a bit of lyric that sticks to people’s minds…” This one is a scary one, so many tracks we consider timeless often have small repetitive hooks that stick to our brains. Think Darude’s Sandstorm, a track that has survived the era when trance became a dirty word. Acknowledging some of his own success he said ” Sometimes it’s completely mindless, just hooky and fun for some reason.” The reason that’s such a scary idea is that when creating a hook becomes the focus, it’s easy to lose sight of the more full bodied image, like creating a cocktail if you’re focussing too much on the sweet, you sometimes miss the all important balance. A hook can help, but be careful you don’t get engrossed! Relevance to the current club climate is important Timing is a huge factor in creating a timeless track. For it to be timeless, it needs to have its first stint at popularity. Both Mark and Darude are very aware that trends circle back around, Mark putting it down to an approx. 15 year cycle, but for it to remain relevant in those years between trends, it has to have hit the trend, Darude saying: “Accept that sounds and trends they do change, but trance, or any other genre for that matter, despite all kinds of magazine or blog headlines, will never die, they just come and go out of the brightest spotlight and mutate and evolve into sub genres or whole new ones.” Mark Dynamix gave the solid bit of wisdom that simply: “Eventually everything comes full circle.” If a tune pops off and is at the height of popularity in its respective genre, there’s a good chance it’ll come back when that genre, evolves, or has its time back in the spotlight. Think about a track like Shooting Stars, it’s somewhere between indie dance, house and even a bit of pop. It transcends genres and has a versatility that means as all those genres have evolved it’s come back into the spotlight. Create that connection Darude put a lot of importance on personal connection, and he’s right. Whether it be to a time or place, or to a persona feeling that resonates with a larger audience than you’d think. By using samples, or vocals you can tap into those feels. “sometimes it’s timeless and unforgettable, because it creates a connection to a private situation or perhaps resonates with a wider audience due to a specific time in history and culture.” – Darude We’re not going to pretend to be experts on production, but we’ve listened to a fair few timeless tracks and there’s something to be said by people who have made and been around the tracks. With the saturation of the market these days, it’s too easy to fall into the mindset that everything’s going to fade away, but hopefully these little expert insights will help you on your creative journeys. What do you think makes a timeless track? Let us know below! Source

The Deadbeats family treats us to some killer productions with their latest compilation, We Are Deadbeats (Vol. 3). The lineup of talent on this one is seriously insane: Gentlemens Club, um.., Ducky, Blunts & Blondes, Jaenga and Camera Shy, Holly, SIPPY, SoDown and Mr. Bill, Klutch, Mersiv, Cozway and Bonnema, and Rome in Sliver. It’s just flex after flex. Within the bass realm, there’s tons of variety here. We get our heavy bass fix from Gentlemens Club and Blunts & Blondes. Ducky gets melodic with her stunning original “Leave.” More chilled out, experimental vibes come from Holly and um.. And, infectious booty pops ensue with “Radicals” by Cozway and Bonnema. If we’re playing favorites, SIPPY’s debut track “Lithos” is certainly a standout and we were elated to premiere it. Listen to the entire We Are Deadbeats (Vol. 3) right here and go crazy! We Are Deadbeats (Vol. 3) This article was first published on Your EDM. Source: We Are Deadbeats (Vol. 3) Features Some Of Bass Music’s Finest [LISTEN] Source

There’s good news and bad news to report from the world of Within Temptation. The bad news is that the Dutch symphonic metal band was set to release their new studio album, Resist, this Friday (December 14th) but the date has been pushed back to February 1st. The good news is that still gives North American fans plenty of time to listen to the album before catching the group live at one of their just-announced tour dates. Within Temptation will be heading over the Atlantic to kick off a trek that runs from a February 28th show at Rams Head Live in Baltimore and wraps up the 15-date jaunt at the Wiltern Theater in Los Angeles. Joining them on all the dates will be In Flames and Smash Into Pieces. Another bit of positive news is that the band recently unveiled another track from Resist, with the recent release of a video for “Raise Your Banner,” a track recorded with In Flames singer Anders Fridén. The new clip takes the title of Within Temptation’s new album to heart with a gang of protestors going up against an armed force to the sound of an anthemic heavy rock tune. In a statement accompanying all of the above news, Within Tempation singer Sharon den Adel had this to say about Resist: “With this record, we’ve taken inspiration from modern music and gave it a face – a very dark one. Sometimes, it feels that today’s pop music lacks a rebellious edge. Our main goal was to collect pieces from sounds we did like and roughen it up as much as we could, resulting in a surprisingly new musical world that is heavier, dirtier and more futuristic than we’ve ever created before. Resist is our take on metal in a new way: to give modern music its rebellious edge.” Resist will be released here in the U.S. via Spinefarm Records, with pre-orders available here. Within Temptation 2019 Tour Dates with In Flames and Smash Into Pieces: 02/28 — Baltimore, MD @ Rams Head Live 03/01 — Philadelphia, PA @ The Fillmore 03/02 — New York, NY @ Playstation Theater 03/03 — Boston, MA @ House of Blues 03/05 — Montreal, QC @ Olympia 03/06 — Toronto, ON @ Rebel 03/08 — Chicago, IL @ House of Blues 03/09 — Minneapolis, MN @ Skyway Theater 03/11 — Denver, CO @ The Summit 03/12 — Salt Lake City, UT @ The Complex 03/14 — Portland, OR @ Roseland Ballroom 03/15 — Vancouver, BC @ The Vogue Theater 03/16 — Seattle, WA @ Showbox SODO 03/18 — San Francisco, CA @ The Warfield 03/19 — Los Angeles, CA @ The Wiltern Theater Resist Artwork: Source

So we all can agree that Herobust created a monster of a track with this year’s “WTF”. It earned support from a ton of DJ’s and if you went to any festivals this summer you were sure to have heard it throughout your stay. We recently ran an interview with Herobust discussing his career and the remix package that accompanied this single. This one wasn’t included, but in fact just earned a release and is hands down my favorite remix of them all, courtesy of the talented artist, SUAHN. He slows down the original, adding in an array of sound fx and bass squeals that cement this remix as yes, an absolute banger. Listen to SUAHN’s remix for Herobust’s “WTF” below! This article was first published on Your EDM. Source: SUAHN Puts His Own Spin On Herobust’s “WTF” & It’s An Absolute Banger [Remix] Source

DJ Afterthought knows how to make you feel hyped the second you press play on one of his songs. His latest single, “Horizon”, is no exception. The track kicks off with an eerie melody panning in the background as a MC sample rides forefront. The track builds and so does the energy, as a chaotic drop blast right in your face. It’s a head banging track for sure, one that deserves a spot in your playlist! Listen to DJ Afterthought’s “Horizon” below! This article was first published on Your EDM. Source: DJ Afterthought Brings The Heat With “Horizon” Source

Firefly Music Festival has revealed its 2019 lineup. The three-day event takes place June 21st-23rd in Dover, Delaware. Notable acts include Travis Scott, Vampire Weekend, Post Malone, Tyler the Creator, BROCKHAMPTON, Courtney Barnett, Lykke Li, Gucci Mane, Death Cab For Cutie, Dashboard Confessional, Unknown Mortal Orchestra, Car Seat Headrest, King Princess, Phosphorescent, Saba, Gunna, Snail Mail, and 070 Shake. Also playing are Panic! At the Disco, TLC, Zedd, Kygo, DJ Snake, GRiZ, Young the Giant, Walk the Moon, AWOLNATION, AJR, Andrew McMahon in the Wilderness, X Ambassadors, Bishop Briggs, JPEGMAGIA, Lee Fields & The Expressions, Let’s Eat Grandma, and Bloodpop, among others. Tickets go on sale Friday, December 14th. Source

Red Bull Music Festival will be thankfully returning to Los Angeles kicking off on February 7th with a plethora of concerts, art events, film screenings and pop-ups that celebrate the diverse Los Angeles we all know and love. The event will take place across the entire month of February and will include the launch of the Swedish icon Robyn’s North American Tour as she takes over the Hollywood Palladium for two extraordinary nights. She’s re-teaming with Red Bull Music as she brings her live show to the city for the first time since 2010 and will gracefully bless us with her marvelous new album Honey. As Valentines Day then slowly approaches the corner, the infamous duo Rae Sremmurd will take the stage as couples and singles will be awarded with their eclectic and vibrant show which will include some exemplary covers of iconic love songs.Although music will be at the forefront for all attendees, film will also prove to be an important aspect of the month. Red Bull Music (RBM) will present Center Channel, a film series exploring the best intersections of sound and film. RBM has come together with curators from LA’s local music and film scene and gather premieres, panels, screenings, and live performances. Center Channel will offer their opportunities in the historic Ukrainian Cultural Center on the border of Hollywood. For more information, click here! The post Red Bull Music Festival Returns to Los Angeles appeared first on EDM Maniac. Source

There’s no doubt that Dan + Shay’s single “Tequila” was one of the biggest songs of the year. The writing is genius and is truly a timeless piece. HARBER is no stranger to the remix game and did a fantastic job putting his own spin on “Tequila”. It may be getting colder but HARBER brings the heat with this remix, adding a warm, tropical arrangement throughout each verses, building it seamlessly into an electrifying drop you can’t help but love. Listen to HARBER’s remix to Dan + Shay’s “Tequila” below! This article was first published on Your EDM. Source: HARBER Puts Summer Time Spin On Dan + Shay’s “Tequila” [Remix] Source

A stampede at a music venue in Italy has tragically left six individuals dead, five teenagers between the ages of 14-16 and a 39-year-old woman, as well as 59 injured with 13 in serious condition. The stampede occurred at the Lanterna Azzurra (Blue Lantern) in the town of Corinaldo as rapper Sfera Ebbasta was set to take the stage. Ebbasta was scheduled to perform at 1:30a, and the stampede reportedly began some time around 1a. Lanterna Azzurra had a maximum legal capacity of around 870, though 1,400 tickets to the event were reportedly sold, likely contributing to the cramped conditions and eventual fatal stampede. According to some in attendance, there might have been some sort of “irritant” sprayed into the crowd or an odd smell that incited worry and caused people to panic and rush for the exits. Investigators are still looking into similar accounts from survivors. #Corinaldo (AN) #8dic 1:00, squadre #vigilidelfuoco impegnate nel soccorso in una discoteca. Forse per la dispersione di una sostanza urticante, ragazzi fuggono per il panico calpestandosi. Sei purtroppo quelli deceduti, decine feriti pic.twitter.com/NvII0jD7oe — Vigili del Fuoco (@emergenzavvf) December 8, 2018 Italy’s head of state, President Sergio Mattarella, demanded “full light be shone on what happened, ascertaining any responsibility and negligence.” “Citizens have the right to safety wherever they are, in workplaces as well as places of entertainment,” Mattarella said in a statement. “Safety must be assured with special commitment in places where crowds gather, through rigorous inspection and checks. One cannot die this way.” According to TIME, “Fire commander Poggiali said it was too early in the investigation to know if any safety violations might have played a role. He said that when rescuers arrived, all the doors were open.” The dead have been identified as Asia Nasoni, 14; Daniele Pongetti, 16; Benedetta Vitali, 15; Mattia Orlandi, 15; Emma Fabini, 14; and Eleonora Girolimini, 39. Sfera Ebbasta issued a statement on Instagram, announcing that he would be cancelling shows and commitments previously scheduled for the next few days out of respect for the victims. I am deeply saddened by what happened yesterday evening in Corinaldo. It is difficult to find the right words to express the regret and pain of these tragedies. I do not want to comment on those responsible for all this, I just want everyone to stop and think about how dangerous and stupid it can be to use pepper spray in a disco. Thanks to all the people, the ambulances and the forces of the order who have helped during the night. As little as it can serve, my affection and my support go to the families of the victims and those of the injured and just out of respect for the latter all the promotional commitments and the instories [sic] of the next days will be canceled. Music should be a structuring that unites people, we hope that it really becomes. This article was first published on Your EDM. Source: Stampede in Italy Nightclub Kills 6, Leaves 59 Injured Source

Marcus Santoro has had one hell of a year. The 21 year old has accomplished so much, from making his international debut at UNITE with Tomorrowland, to earning consistent support from legends like Armin Van Buuren, Above & Beyond and signing his music to Axtone, Armind, Enhanced, and many more. He shows no signs of slowing down, as he just released his new single, “Hijack”, one that is ready to light up any dance floor. The arrangement is mesmerizing, euphoric, and electrifying, all in one and may just be his best yet. I had the opportunity to talk to Marcus about the year he has had, along with how “Hijack” came to be, and we even touch on his Christmas list. I really liked this one and I think you will too. Enjoy! Marcus, you’ve had an insane year and accomplished so much. What has been a few of your biggest accomplishments this year? This year has without a doubt been the most amazing regarding my career and I’m incredibly thankful for that. I’ve supported some of my favourite artists such as Armin van Buuren and Above & Beyond as well as releasing on iconic labels Axtone and now Armind has been a dream come true. Heading to perform overseas for the first time at UNITE with Tomorrowland in Abu Dhabi was definitely something I won’t forget and sharing the stage alongside Dimitri Vegas & Like Mike, Afrojack and Martin Garrix at BAO Festival in Dubai, safe to say I’m on a high right now! You’ve traveled to Dubai a few times this year and I have to ask, have you visited the top of the Burj Khalifa in Dubai? If so, how insane is it? I have been lucky enough to visit the UAE twice now and I’m loving it every time. There’s such a uniqueness about it that I haven’t quite yet figured out, but hopefully coming back more and more in the near future might allow me to discover it! Everyone is really relaxed and going about their business, it’s refreshing to see. Regarding Burj Khalifa, I have yet to scale to the top but I’ve visited it twice now and it truly is an amazing spectacle. Talk to us about your international debut in Abu Dhabi via Tomorrowland Presents Unite. Did you notice a difference in preparing for a show of that caliber? For sure, preparing for UNITE Tomorrowland in Abu Dhabi definitely had me on edge a few times leading up to the preparation. I guess the feeling of performing my very first international show for such a prestigious brand and a city that is still relatively “new” to the EDM world, I wasn’t sure what to expect so it definitely had me feel butterflies quite a few times…but in a good way of course. The preparation for that show ended up leading me to write my new single ‘Hijack’ which was the opener for the show and that helped figure out where I needed to take it. Tell us about how “Hijack” came to be. Is this a direction you’re going to continue to explore in the following year? So the story behind ‘Hijack’ was pretty straight forward, but also very unpredictable. It was leading up to UNITE Tomorrowland, and my set was missing an intro – I wanted something original to open with to really make a statement. The song itself was heavily inspired by Armin van Buuren’s energetic rolling Trance sounds with Axwell /\ Ingrosso’s rave elements and I wanted to combine it into something of my own. Overall, it was just a fun song to write and definitely something I could see myself following up with. I had a vision of Armin signing it and when he did I was super over the moon. When writing “Hijack” how long did the project take from start to finish? Do you also write numerous versions and then compare certain elements of each version for the perfect sound? There was a few versions of ‘Hijack’ before the final. I had written a sort of ‘rough demo’ to premiere at Tomorrowland UNITE and then after that show when I was back in the studio, I kept on developing it so I could test it out on the road with MaRLo during his Reaching Altitude label nights. The final result was a different key change, and a completely different second drop but it works a treat and I love playing this one out. What songs are on heavy rotation in your life right now? I’ve been listening to many records lately, if anyone wants to stay connected with what I’m listening to, they should definitely check out my Spotify playlist ‘Louder Together’. Here’s some of my favourites: DubVision & Raiden – ‘Yesterday’ (STMPD RCRDS) Third Party – ‘Come With Me’ (Release Records) Andrew Bayer – ‘Open End Resource’ [In My Last Life Mix] (Anjunabeats) Axwell – ‘Nobody Else’ (Axtone Records) Above & Beyond & Spencer Brown feat. RBBT – ‘Long Way From Home’ (Anjunabeats) Armin van Buuren feat. Sam Martin – ‘Wild Wild Son’ (Armada) CLMD – ‘Trouble’ (Sony) What are some of your goals for 2019? Also, if you could work with any artist you look up to, who would it be, and why? There’s a lot of work to be done in 2019, and I’m definitely ready for it! I think the main goal for me right now is to target more overseas shows, more specifically throughout Europe’s Summer season and eventually heading to North America, also would love to tackle Asia too as it’s been on my list for quite some time. I guess if I could work with any artist, it’s such a tough question because I want to work with many of my idols but right now, I’d say it’d be Axwell or Armin van Buuren. Both artists have supported me throughout 2018 and being in contact with both acts has been super spellbinding – they’re both artists who I inspire to be like work wise and personally and musically, I think it works. What do you want for Christmas this year? It’s hard to believe Christmas is actually here…where has the time gone?! Look, there’s many things I wouldn’t mind for Christmas but over the years I’ve learned to appreciate the more important things in life than just material gifts. For me outside of music this year, had a few rollercoaster moments so for me the thing I want most this year for Christmas is spending proper family time with my loved ones and keeping the light alive…but a new pair of headphones might come in handy… Listen to Marcus Santoro’s brand new single, “Hijack” below! This article was first published on Your EDM. Source: Meet Marcus Santoro: Melbourne’s Young Star Discusses His Insane Year & New Single “Hijack” [Interview] Source

Just a couple days ago, Insomniac and partner GMO incredibly announced the fantastic return of Electric Daisy Carnival Japan. Everyone will gather under the electric sky at the beautiful Zozo Marine Stadium and Makuhari Beach on Friday, May 11 and Saturday, May 12, 2019. EDC Japan will be returning for it’s 3rd edition and will showcase a much broader variety of EDM music as Factory 93 and HARD will debut their hosted stages. They will be bringing a plethora of artists that will bring hip-hop, house, and underground beats to the forefront. To top things off, the legendary kineticLOVE stage design will make it’s debut in Asia for all to see. What I’m about to tell you is something you won’t want to miss. For the first time ever, Ploom TECH, a T-Vapor product that lets users experience tobacco without the smoke or smell will be brought into the festival to create a smoke free environment to ensure the happiness and comfortability of all attendees. If you’re debating attending this incredible edition of EDC, surely the circus performers, interactive art and technology and fireworks can convince you to join Insomniac for this wonderful experience. All EDC Japan 2019 ticket purchasers will be granted complimentary access to the first ever EDC Japan pre-party which will be gracefully hosted by HARD and will feature Baauer, Ekali, Dok2, and others. Tickets are on sale now. Get yours by clicking here. The post Insomniac Announces EDC Japan in 2019 appeared first on EDM Maniac. Source

Lucy Dacus is the only artist to appear twice on our list of the Best Albums of 2018, earning the designation with her tremendous solo album Historian, and then again with her supergroup debut as boygenius alongside Phoebe Bridgers and Julien Baker. The latter ensemble just wrapped up their debut US tour a few weeks ago, and now Dacus has lined up new solo dates for 2019. (Read: Top Live Acts of 2018) Launching off in Durham, North Carolina at the top of February, the two-month long trek will take Dacus across the country, including dates in Austin, Chicago, Columbus, Buffalo, Philadelphia, and more before wrapping up in Washington, DC in late March. Illuminati Hotties will open the first leg, with Mal Blum and Fenne Lily serving as support on the second. Find all of Dacus’ 2019 tour dates, including her previously announced festival stops at Shaky Knees and Primavera Sound, below. Lucy Dacus 2019 US Tour Dates: 02/01 – Durham, NC @ Motorco Music Hall * 02/02 – Charleston, SC @ Charleston Pour House * 02/04 – Birmingham, AL @ Saturn * 02/05 – Oxford, MS @ Proud Larry’s * 02/07 – Dallas, TX @ Ruins * 02/08 – Houston, TX @ White Oak Music Hall Upstairs * 02/09 – Austin, TX @ Barracuda * 02/11 – Norman, OK @ Opolis * 02/12 – Lawrence, KS @ The Bottleneck * 02/13 – Columbia, MO @ Rose Music Hall * 02/14 – Lexington, KY @ Cosmic Charlie’s * 02/15 – Chicago, IL @ Thalia Hall ^ 03/07 – Savannah, GA @ Savannah Stopover 03/08 – Knoxville, TN @ Barley’s Tap Room & 03/09 – Nashville, TN @ The Basement East & 03/11 – Columbus, OH @ The Basement & 03/12 – Buffalo, NY @ Ninth Ward & 03/14 – Ithaca, NY @ The Haunt & 03/15 – Woodstock, NY @ Colony & 03/16 – Northampton, MA @ Pearl Street Club & 03/17 – Portland, ME @ SPACE Gallery & 03/19 – Providence, RI @ Columbus Theatre & 03/20 – Jersey City, NJ @ White Eagle Hall & 03/21 – Philadelphia, PA @ Union Transfer & 03/22 – Washington, DC @ The Black Cat & 05/03-05 – Atlanta, GA @ Shaky Knees Music Festival 05/31 – Barcelona, ES @ Primavera Sound * = w/ Illuminati Hotties ^ = w/ Sharon Van Etten & = w/ Mal Blum, Fenne Lily Source

A sixteen-year-old in Malaysia died of electrocution last week from the headphones he was wearing while listening to music. Reports from local news tell that the phone was plugged in and charging when the shock occurred; sixteen-year-old Mohd Aidi Azzhar Zahrin was found motionless on the floor, blood pouring from his ear. An autopsy confirmed the cause of death, after determining there was no external injuries or other signs of foul plays, aside from burns to his ear. According to Zahrin’s brother, who touched the charging cable after finding his brother and receiving a small shock, the cable was probably faulty. The make and model of the phone and headphones weren’t disclosed in the initial report. In fact, this isn’t even the first headphone-related death in 2018. According to VICE, a “17-year-old student Luiza Pinheiro was similarly found dead on the floor of her home in Riacho Frio, Brazil after a ‘huge electric charge’ surged through her phone and the headphones melted in her ears[.]” A 46-year-old woman in the Indian village of Kanathur, a 22-year-old man in the Indian village of Pandyo, as well as a 28-year-old Australian woman have been killed this year from faulty headphones or electric surges. In the case of the Australian woman, the charger was found to be non-compliant with Australian standards and at fault in her death. As for the Malaysian boy who died last week, an investigation is ongoing. This article was first published on Your EDM. Source: 16-Year-Old Dies After Being Electrocuted By His Headphones Source

Johnny Marr routinely performs a number of songs from his former band, The Smiths, during his solo shows. The guitarist’s setlist.fm page even lists the band’s “How Soon Is Now?”, “There Is a Light That Never Goes Out”, and “Bigmouth Strikes Again” as the most played selections in his live repertoire. However, there’s one Smiths classic Marr has avoided on stage since the band broke up in 1987: the classic “This Charming Man”. That all changed last night when Marr treated fans at London’s EartH to his first ever solo performance of the 1983 track. Marr teased the song by first busting out a few lines of Steve Miller Band’s “Fly Like an Eagle”, before cutting himself off to remark, “OK, you’re right. It’s really funny shit to me that I know a Steve Miller song and I don’t know how to play ‘This Charming Man’.” When the crowd erupted, Marr hollered back, “I’m just fuckin’ with ya!” He then proceeded to dust off an impressive-as-ever rendition of the beloved tune. Watch the moment from a video of his entire performance below, with “Fly Like an Eagle” and “This Charming Man” coming in around the 1:17:00 mark. In other Smiths’ news, the new Transformers spin-off Bumblebee apparently revolves heavily around the main character’s love of the iconic ’80s band. Actor/singer Hailee Steinfeld plays Charlie Watson, a teenager who befriends the titular robot car and then apparently spends a good amount of the film trying to get him into The Smiths. She does so while wearing a Smiths shirt, recalling Shia LaBeouf’s notorious Strokes tee in the first live-action Transformers movie. She reportedly succeeds, but you can see for yourself when the latest iteration of the franchise is officially released on December 21st. #Bumblebee is TOTALLY an 80s movie in the BEST way possible. Has major Spielberg and John Hughes vibes. There's like 4 running Breakfast Club gags and @HaileeSteinfeld (who is great) spends half the movie trying to make Bumblebee appreciate The Smiths. Holy crap I loved that. pic.twitter.com/ZiyLfO2XOo — Mike Rougeau (@RogueCheddar) December 8, 2018 Also, it’s great to finally have a Transformers movie that’s about something. #Bumblebee is a sweet, often thrilling movie about finding your voice with some pretty rad ‘80s throwback vibes. Fantastic soundtrack- if you dig The Smiths, this will be your jam — Erik Davis (@ErikDavis) December 8, 2018 You can watch the film’s official trailer, in which Charlie apparently Rick Rolls Bumblebee before getting to the good stuff, below. Source

Ableton Loop is the only offline extension of a sprawling digital audio workstation (DAW) that has permanently cemented its place in modern music. While the ubiquitous software serves as a digital brain for musicians of all styles, “Loop” thrusts Ableton into the physical world as a self-proclaimed “summit for music makers” —three days of talks, interactive workshops, studio sessions, performances, creator meetups, and everything in between. Loop came Stateside for the first time this year, migrating from the storied walls of Berlin’s Funkhaus to settle into a three-venue sprawl in downtown Los Angeles. Each venue was much more of a tech studio than an epileptic rave space, drawing from a collection of intimate small group studios, interactive tech rooms, and the cozy low-lit auditorium of Hollywood’s historic Montalbán Theater, which served as the event’s home base. A day at Loop is a lot like one of those “Choose Your Own Adventure” storybooks, brimming with vastly different possibilities. At first, you might find yourself building and jamming for hours alongside fellow attendees with “paper based musical interfaces,” which are essentially MIDI controllers with small touch sensors fixed between hand-designed pieces of poster board and routed to a Bluetooth sensor. Afterwards, you might mosey on over to the Montalbán rooftop for a drink and relax to the ongoing dublab livestream, refreshing your mind for another interactive session, where one can explore the ways one might route percussive instruments through effects pedals. And, if you’re mind’s still on fire, you could dart across the hall just in time to catch Kelela dissect the build of her Live set to an audience of less than 50. The permutations, much like the software, are limited only by taste, which is why, to distill such an expansive event, we picked quotes from a handful of folks of various affiliations on how they would describe Loop. Olivia, 27 – London, UK “To be honest, courage. That’s how I’d describe it, or rather, what I got from it. I’ve only been producing in Ableton a year or so and I came here quite a bit nervous about that. After a few days you sort of understand its not about the technical applications of [Ableton], its about creativity and learning how people use it” Luis, 37 – Bogota, Columbia “It’s an experiment. Putting a lot of people with similar interests in the same place and letting them interact. You can learn more about the things you like or go see something you never have before. It’s really up to you.” Dr. Kate Stone – Founder of Novalia and Ableton Workshop Leader “I came to Loop to run a workshop that shared the magical interactive paper and ‘songwriter’s notebook’ my team and I make that can be used to create music. What I do is a little off the mainstream and I often feel like an outsider, at Loop I met more people that I [connect with] already in one place than I have in a long time, I felt very much amongst my people. Loop is place full of wonderful artists of all ilks, many of which are also doing things a little off the mainstream, and together we created something that was really quite magical, musical and wholly inspiring!” Craig Schuftan – Ableton Loop Program Lead “I recently learned about this idea of Christopher Small’s. He said that he thought music ought to be a verb rather than a noun, and that ‘musicking’ should include not only playing or producing music, but also listening to music, watching people play music, and thinking and talking about music. So I’d say Loop is a place for musicking, in that we have discussions, presentations, performances, workshops, improv sessions, and interactive installations, and all these are considered as important as one another. And in a sense, the most important thing we produce at Loop is something that happens in between all these, which is conversation; music-makers meeting and talking to one another, exchanging ideas and contributing to the discourse of music; which in turn transforms and expands our collective sense of what is possible within music, and what music can do in the wider world.” Source