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In today’s celebrity culture, when people think of a famous DJ, they often think of the Calvin Klein Model with the superstar girlfriend and a twitter full of call-outs. Most people don’t think of Claude VonStroke (real name Barclay Crenshaw). In truth, my saying that may be premature because just a few weeks ago, the Dirtybird boss was crowned “America’s Best DJ” by DJ Times. The fact that Claude is topping the list instead of Calvin Harris, Avicii, or any of the other MainStage staples proves that the tide in electronic music is turning. Claude VonStroke just happens to be leading the charge into this new era. Since the rise of EDM culture, dance music has been synonymous with pop music. Even when Disclosure showed up and people realized dance music doesn’t have to pertain solely to turning up, it remained in the forefront of mainstream culture because of it’s popular viability. Radio. TV. Commercials. It was (and still is) everywhere. What’s important to remember about electronic music though is that it began as far away from the mainstream as possible. In the 90’s while the world was still obsessed with the rock revival and the ever emerging rap, a community was building around electronic music. That community came together for the music and stayed together for the people. Claude VonStroke understands this community spirit like no other. “It’s one of the most important things about how to make it in the music industry. There has to be a little bit of a community that you build in the beginning that says ‘yes, we believe this’.” That was the opening line of Smirnoff’s new Dirtybird mini-doc that premiered at the Dirtybird Campout. There are few other places where such a line would have hit home like at the Campout. A few rock legends unfortunately kept me from attending the Campout this year. However, last years rendition was a shining beacon which represented all the values Dirtybird was meant to embody. In an oversaturated festival market, the Campout maintained intimacy by selling less than 5,000 tickets. They sold out this year after selling 6,000. In a culture that reveres DJs as prophets or even gods, the Campout humanized the talent by encouraging their participation in the activities provided; something almost every DJ did. In a scene becoming more and more fraught with complaints of replaceable peers who don’t understand community or camaraderie, Dirtybird assembled a few thousand of the most welcoming, open-minded, and respectful individuals the world has to offer. Of course Dirtybird didn’t start out this way in terms of scale. It did, however, start this way in terms of intent. This is represented by two key events in the label’s history. The first goes back to when Barclay’s wife Aundy gave him a loan in order to start the label. Obviously this is important because without it there would be no Dirtybird. But it’s also demonstrative of Barclay’s approach to the label as a whole. That approach is a familial one. Dirtybird is a family label through and through. Barclay and Aundy are still working at the label together. Plus, Dirtybird maintains a core team of artists unlike any other label around. Claude, Justin, J. Phlip, Kill Frenzy. Fans can always expect basically the same lineup at the Quarterly’s in SF or the Dirtybird BBQ’s. Such predictability has also lead to a predictability in regards to the people who attend as well. True Birds couldn’t be happier about that either. The second key event in the history of Dirtybird was the choice made by Christian Martin to purchase a sound system. Christian, Barclay, and a few others had been playing around with the idea of having a party in SF’s Golden Gate Park, and so Christian took the leap. He put a sound system on his credit card, and from there the first Dirtybird party was held. According to the footage from the “Tribes” episode, it didn’t seem like more than 10 or 15 people attended that first party. Yet the values of that party have sustained the Dirtybird function all the way to the present. And with the way things are going, it will continue to do so into the future. After all, where’s the flaw in wanting to dance to some great music and eat some great food with friends who are closer to family? I’ll give you a hint, there isn’t one. Under the leadership of Claude VonStroke thousands of people across the globe have come together for just that reason. That’s what makes him “America’s Best DJ”. The post Why Claude VonStroke Deserves To Be “America’s Best DJ” appeared first on EDM Maniac. Source

Continuing the release of seven songs over seven days, Martin Garrix’s collaboration with Jay Hardway, “Spotless,” is now available to the public! The track is exactly what we’d expect from Martin Garrix, an anthemic progressive house tune that is unfortunately a little formulaic. And Jay Hardway’s contribution is similarly difficult to pinpoint. With Martin’s performance from Ultra 2016 still weighing heavily on our minds, we’ve been expecting some material that was more out of the box. Still, we’re excited to be getting so much new music from Garrix, with 4 more releases to go. Stay tuned on Your EDM for tomorrow’s track! Facebook image by Rukes This article was first published on Your EDM. Source: Martin Garrix Releases His New Collaboration With Jay Hardway, “Spotless” Source

We’ve heard of artists going above and beyond for their fans, but this is just incredible! Chris McPadden, a Martin Garrix fan, tweeted at the producer/DJ that he had tickets to a show of his in Amsterdam on Friday, but he couldn’t afford the flight. After a brief conversation in DMs, Garrix had bought his flight and return, and Chris was on his way! This is the kind of thing we love to see from producers in EDM – something that rarely happens outside of our genre except for groups intensely devoted to their fans, like 30 Seconds To Mars. Of course, not every DJ is making enough money to buy a fan a flight to and from Amsterdam, but it’s really the thought that counts. Obviously this coming weekend will be a time that Chris will never forget. I can not believe what @MartinGarrix just did for me.. that boy seriously is all about his fans ❤️ THANK YOU SO FUCKING MUCH — Chris McPadden (@chrismcpadden) October 14, 2016 Photo courtesy of Chris McPadden | Featured image via Rukes This article was first published on Your EDM. Source: Martin Garrix Paid For A Fan’s Flight To See Him In Amsterdam Source

Last month, DVBBS actually shared the music video for their single “Ur On My Mind” on their YouTube channel. Last week however, they shared what they’re calling the “official” music video. While the song is no different, employing what my editor-in-chief Matthew Meadow described as a “mixture of Marshmello-esque pitched vocals and bouncy rhythm with deep house synths”. And while the music is literally identical, the two music videos are slightly different. The first video featured more of a live aspect drawing footage from DVBBS in action in both the studio and on the main-stage, while the “official” video features the two brothers hanging out in the desert on a range rover doing their own thing. Stream both below, first the “regular” and then the “official” and let us know which one you prefer. This article was first published on Your EDM. Source: DVBBS Releases Another (?!) Music Video For “Ur On My Mind” Source

23 year old Brisbane based drummer Matt McGuire is a force to be reckoned with. With over 44 million views to his YouTube channel, and praise from the likes of Marshmello and the team at Disciple, Matt definitely isn't fucking around. With a new show announcement up his sleeve, and a mini mix from Disciple, we check in with Matt to ask a few important questions: STONEY ROADS: What’s up Matt? You’ve been drumming since you were 6 years old, what made you pick up the instrument? What influenced you to keep at it? MATT MCQUIRE: In the beginning when I was 6, it was my parents who initially inspired me to play after receiving a surprise drum kit. I was always hitting things in the I am a fagget which most likely would’ve been so annoying when I look back on it… maybe that’s why they decided to purchase me some drums lol. Always being exposed to different genres of music & watching them practice was very inspiring and made me believe I could potentially turn this noise I was creating into some type of beat or percussive rhythm. The most influential moment of my early career was when I got invited up on stage by the drummer for Michael Jackson. Sitting in his seat, behind his drums looking out over the crowd it was at this moment I knew exactly what I wanted to do for the rest of my life. SR: Your Youtube Channel has a wide range of genres that you cover, do you have a personal favourite? What is your favourite cover that you’ve done? MM: I like to explore most genres and songs especially if I can connect emotionally in some way. I'm right into the heavier side of things like dubstep, heavy trap and hardcore/rock. My favourite genre to play would definitely be dubstep, it just feels so right and works well as it has that aggressive sound which relates to my childhood listening to hardcore music etc. My favourite cover would either have to be Bring Me The Horizon - Throne or Dubstep Mix 3 (Disciple Records) The Disciple Records family is unreal, it was a huge honour to be able to make that video with their support. SR: What opportunities have been offered to you because of your talents? MM: Basically everything in my life has stemmed from drumming in some way. Having the pleasure to work with international artists recently has really been an incredible experience and I really look forward to 2017. I'll leave it at that. SR: What moment in your career are you most proud of? MM: I've been fortunate enough to have had many moments so far in my career that have really made me step back and think to myself... wow. From walking out on festival main stages to play drums with different acts to having the incredible support from major artists internationally for my drumming. I guess there is no real defining moment anymore, it's all totally insane. SR: Who are your favourite artists, what are you listening to at the moment? MM: Favourite Artist? Probably the hardest question, I could say Zomboy or Bring Me The Horizon maybe even Led Zeppelin the list of favourites is huge. Right now, I'm actually listening to Disclosure purely because I've spent most of my day jamming out to heavy dubstep so I definitely need to chill out. SR: You are from Brisbane, what do you think of your local music scene? MM: For bass music and all things dubstep I think it's very strong. We are lucky enough here to have such a wild range of electronic events on every weekend whether you're into bass music or acoustic all the way to radio top 40. Every weekend there is always multiple bass music events on that have such an awesome vibe so in saying that, Brisbane is smashing it. SR: What does an average day look like for you? MM: Exercising, lots of emailing, studio recording, editing and of course practicing a lot. I like to split my practice sessions in two, depending on what I am doing on the day most commonly I'll spend an hour a day just jamming out to whatever music I like which is always so much fun. SR: What do you think makes you stand out from the other drummers? MM: I play with lots of expression and fairly emotionally I guess as I really like to lose myself in the music. I play with two Hi Hats instead of traditionally one which definitely has provided me with a signature style in a way so maybe that's the answer! SR: Where can fans catch you play? MM: I'll be announcing new shows late October so keep an eye out on all my socials!!! SR: What’s next on the agenda for you? MM: If I was allowed to answer this question, I would and it would take a while. Let's just say, I'm working on some things I never thought I'd be able to or have the opportunity to. FOLLOW MATT MCGUIRE - Facebook - Instagram - Youtube - TOUR DATES Friday Dec 10th: HELM CLUB, Sunshine Coast, QLD Saturday Dec 16th: NEWTOWN SOCIAL CLUB, Sydney, NSW Source

Today we had the pleasure of interviewing the wildly impressive band from Europe, Klangstof, to celebrate the release of their debut album, "Close Eyes to Exit." Band member Koan grew up up in a remote area in the middle of Norway with a limited budget and no one to start a band with. So, he taught himself how to play and record. With his first track picked up by a local radio station his music started making its way across Nordic airwaves. He then went on to become a bass player in critically acclaimed indie band Moss which only confirmed his passion for playing solo, and so Klangstof was born. KLANGSTOF INTERVIEW Who is Klangstoff and where do you hail from? Koen is the guy who lived in the middle of nowhere and produced and wrote “Close Eyes to Exit”. Wannes is our afro god and synth wizard from Rotterdam, Netherlands. Jobo is the dude who will be head banging the most on stage, maybe even more then James Hetfield. Jun Christian plays drums and turns a lot of samples on and off during the songs. How would you describe your sound? Yesterday I met someone who told me that it was like Radiohead for people that aren’t suicidal. As weird as it sounds, I think that is quite on point. It’s atmospheric and melancholic pop music with some uplifting hooks in there. When and how did you form Klangstof? It started as a solo-project a few years ago. When I started finishing up ideas, I really wanted to get a band together to give the album a bit of a “live” feel, instead of just using electronics. So I then went on to record the album with some good friends. After the recordings were done, I went on to find the perfect band for live touring and the future. I asked Jun and Jobo, with whom I once were in a band with in Norway to come over and join Klangstof, and came across Wannes in a café somewhere in Rotterdam. Congrats on signing to Mind of a Genius (MOAG). How did they reach out to you from Los Angeles. David (founder of MOAG), called me in the middle of the night, after Hostage started playing randomly on his SoundCloud. I think he was checking a different band when all of a sudden we popped up. It was a quick and exciting call. He really gave me the confidence and time for Klangstof to grow, which I think is a good thing to do these days. The artwork beautiful matches the serenity of your music. What did that creative process look like? Thanks! The art is made by Jenna Arts (yes, that’s her real name). I have been fond of her drawings for a few good years now. I e-mailed her a year back and told her that I was working on a “secret” project and if she could please listen to a few demos and draw something. For me it was, just as it was for her, very inspiring to help each other out creatively. She could draw something, and I could make a song out of it. It was a very special collaboration. What was the motivation and/or strategy behind releasing an album now? For us it was more something we had to do, rather than a strategy. We thought that people would find the music a bit too hard to digest, so we wanted to spread it out to give them some time to get used to it. I think it worked really well. You could see that we slowly gained more fans and followers over the last 7 months, and we felt that now the time was right to release the record. What are you hoping to achieve by releasing the album? From a personal level, rather than professional level? When I started the writing process, I would never think that I was working on a worldwide release. So in a lot of ways I’ve already achieved more than I had ever expected. Close Eyes To Exit for me was really an album I had to write. Both lyrically and musically. I think that’s the thing with most debut albums. I just wanted to get our sound out in the open and see what happens. From here on we can really go anywhere, which feels great. The Dutch Impact showcase highlights the best of Holland’s young talent and you were luckily enough to play! How was your experience? Was the crowd what you expected? It being a showcase festival, I expected a lot more noise from the crowd. But it was actually really really nice. I still find it amazing to see that so many foreign people drop by and understand the music. Joining Jagwa Ma on tour must have been a fantastic experience. How did that came about? We have the same booking agency in Europe, that was how the connection was made. It feels unreal to be joining them on tour. Been a big fan of them from the very start! Is there anything else you'd like to tell your fans in Australia or the rest of the world? Facts or news you're itching to share! There are a lot of cool things happening in 2017 that I just can’t tell yet! But let’s end by saying that a few Australian shows are topping our bucket list at the moment. Without further adieu, please listen to their debut album, "Close Eyes to Exit." The epic soundscapes and guitars remind you of the quiet and fascinating Scandinavian nature, while the synthesizers and drum-machines sound bring an industrial feel. Klangstof continuously and unexpectedly unites the polar ends of the spectrum, in such a way that you want to both dance and cry while listening. Source

With Mike Baird’s backstepping on the ban on Greyhound in New South Wales, the incredibly successful Keep Sydney Open rally that took place last weekend, and the whispers that the Premier may be looking to relax the lockout laws, it goes without saying that there’s an intense feeling of hope right now among all lovers of Sydney’s nightlife. Owner of Merivale, and so obviously someone with a very vested interest in the lockout laws Justin Hemmes has up until now remained relatively quiet on the issue. In an intimate interview with the Sydney morning Herald however, Hemmes broke that silence and had a number of things to say. Here it is as the Herald gave it: "There's too many restrictions on what we can and can't do. Something needed to be done but I think what's occurred is an overreaction, a serious overreaction. Obviously there were two deaths that triggered this, terrible things to happen and the guys who did it should rot in hell – however neither of them were in venues – they were walking around the streets looking for trouble. I have a lot of faith in Mike Baird – his true interests lie in what's best for the state and the people and he doesn't make decisions out of self-interest – so I'm confident over time that if there are changes made then he will continue to mould it until we get to the right place. Maybe the right scenario is the lockouts go to 2am – I think 1:30's a bit too early – I think 2 o'clock is probably a more reasonable time. But then I think a 3 o'clock finish is not right – if you're a shift worker, a hospitality worker, and you finish work, at 2am you want to go out and have a drink, you want to go and socialise with your friends. The city should still be vibrant at 3 or 4 o'clock in the morning and in the venues – and that you feel when you go out of the venues you feel safe in the streets. We need a vibrant city, we're an international city and we need a level of vibrancy. We need to have a respectful and safe community – I think we test certain measures and see how effective they are – but the current ones are detrimental to our city – Melbourne's laughing at us, saying come to Melbourne.” While yes, Justin Hemmes’ opinion on the subject is one that should be heard as an owner of many of Sydney’s restaurants and venues, it’s also one that should be taken with a grain of salt. “Hemmes says he has not raised his concerns directly with the government or the premier. Nor does he complain his business has been adversely affected by the lockouts.” If he really cared so much, would he not have said something? Maybe when the laws were first introduced? Either way, any good publicity for the fight against the lockout laws is good publicity, and stimulates the discussion. Feel like doing something about it? Sign the ongoing petition to have the laws reviewed here, and support Keep Sydney Open here. Source

While their first record ‘Howlin’’ felt like a hugely appropriate title, given the ‘bust onto the scene’ nature of the release and their emergence, Jagwar Ma’s second LP Every Now And Then’ feels just as suited. It’s been only a little over three years since the local duo released that first album, and the wait for new material has for fans felt as long as time itself. While the light at the end of the Jagwar Ma tunnel emerged in July of this year with the release of the record’s first cut, ‘O B 1’, Friday saw the surprise dropping of a record that seems to be pretty worth the wait. While Future Classic is a label that has made itself known for a roster of innovative electronic music makers, Jagwar Ma has always been on the more rock end of the spectrum. From the get go, and the album’s opening track ‘Falling’, we’re treated to an intensely electronic build cut from synth sounds, alongside the echoing of these traditional band instruments. This relationship between live and created sound is what keeps ‘Every Now And Then’ feeling fresh all the way through. Steel drums mixed with the phased out vocals of ‘Say What You Feel’, a straight up techno breakdown with some vocoder thrown in for good measure on ‘Loose Ends’, the drum and bass style percussion and future-bass blips of ‘Batter Up’, and the super house nature of the record’s closer ‘Colours of Paradise’ are just some examples of this blending done super effectively throughout. In recent years, bands with this electronic feel have become more and more common, and the lines between different genres has, as is also becoming more common, started to blur. With so many different acts chasing a sound similar to this however, it’s also sadly understandable that some of their sounds also blend together. While ‘Every Now And Then’ is an incredibly easy record to listen to, with a bunch of sounds and tropes typical of many different genres of electronic music, it doesn’t set itself apart from the crowds chasing something similar. Everything feels super safe, and none of the sounds that we hear on the record feel like they ever really reach any kind of climax. Effects and rhythms taken from other electronic genres sound almost stereotypical – and not like there’s been too much effort put into it at all. This isn’t to rag on the album too hard though, don’t get me wrong. It’s fun, and there are some super groovy moments and a few hits, but after a few listens I didn’t really find myself going back for more. It’s been three years since their first record, and while it’s exciting to see more Jagwar Ma on the table, maybe this is a case of too much time in the oven. Source

Words by Tommy X It’s no secret that picking the best DJ of the year is an easy task. Forget anything remotely underground or that little thing called subjectivity; the truth is every idiot with a pair of ears could tell you that generic EDM deserves top spot year in year out. Hardwell, Dimitri Vegas, David Guetta - no worries. These are the guys that reign supreme and deservedly so. We all know without a shadow of doubt that they’ve earned their spots at the top and nothing will change our minds from recognising this. And what better way to honour our favourite selectors with an annual list ranking them in order of greatness. Yeah, righto. The latest mockumentary offering from CVNT5 shows how truly ridiculous these lists are, along with the idea that there exists some sort of magic criteria for categorising the year’s “best” DJ. An absolute pisstake in their own right, CVNT5’s exposé shines the spotlight on the outrageous lengths that some DJ’s will go to for that highly coveted #1 spot – a pretty blatant call out of DJ Mag’s 2015 #1 and the controversy surrounding Dimitri Vegas & Like Mike buying votes during that year’s campaign. The video tracks CVNT5’s fictional pursuit of the #1 spot for 2016 and the underhanded tactics DJ’s use - including bribing magazine editors and/or setting up click farms in Vietnam. Take a look at the video above and tell us who you think this year’s #1 should be! Source

As a DJ and an integral part of this World Record breaking B2B DJ attempt, we want to make sure you're fully aware of the days proceedings! Here's how the day will roll out this Friday 21st of October at 107 Projects, Redfern as we attempt to make DJ history! What am I required to do on the day as a part of the World Record Attempt? - Each DJ (that's you) will mix and play one (1) song as a part of the 150 DJs playing B2B. What time am I required to arrive, register and DJ? Your assigned arrival time + assigned track taken from your registration were emailed to you via information@Stoneyoads.com - please check your email! If you cannot find, let us know ASAP! What do I need to bring? - A USB stick with your assigned song on it - A back-up USB with your assigned song on it (just in case) What will I be mixing on? 2 x Pioneer CDJ-2000s (Nexus 1) 1 x DJM 800 mixer Am I welcome to hang around before or after my mix? - Of course! We're all in this together. The event is running across several hours from 10:00am and there will be cool drinks on tap for cheap + a live-stream of the event all day (your time to shine baby!) What's the best way to get there? - If you're catching public transport, 107 Projects is a 5 minute walk from Redfern train station - If you're catching an UBER or driving, the address is 107 Redfern St, Redfern NSW 2016 - The buses that go through Redfern are the 309, L09, X09, 310 and X10. For specific routes, please check here! Do I get anything for participating? - We are also giving every participant a limited edition Stoney Roads t-shirt in white. - You will be able to claim to be a part of a world record / world record attempt! Source

In need of some sweet, sweet tunes to get you through the Monday grind? All good we've got you courtesy of Resident Advisor who have compiled 30 playlists for all your listening needs and placed them on Spotify. Already available through Apple Music, the playlists offer an eclectic look into a broad range of different tunes including every thing from new releases, label spotlights including Rush Hour, Tempa and Workshop, explorations of different genres and cities including Vancouver and playlists from live sets including Carl Cox's seminal Space Ibiza tunes. If you've been holding out on that Spotify subscription this just might push you over the edge, in our opinion she's well worth it with Resident Advisor promising even more playlists updated regularly. Source

Flakka is that drug US authorities always associate with cannibalism. Whether or not eating people is a side effect of taking the drug is yet to be proven, but people do seem to get pretty hungry on it. Not like weed hungry, either. Like, ‘meat off the bone until you’re tased in the neck’ hungry. Either way, we Australian’s just watched America eat each other for awhile, but now Flakka has reportedly started showing up in Australia. Really? Yes. A bunch of GC people OD’d on the weekend. Flakka’s chemical name is alpha-pyrrolidinovalerophenone (alpha-PVP), and can be referred to as ‘flakka’ or ‘gravel’ or ‘that really shitty drug you shouldn’t do’. Alpha-PVP is is a synthetic stimulant of the cathinone class, a designer drug that was developed in the 1960s and started messing people up in early 2011. QLD reports didn’t surface until late last week. Unfortunately, most people are idiots. What!? Yes. It’s true. One side effect of being an idiot is thinking that buying MDMA caps is cleaner than a pressed pill. False. People can press whatever the hell they want into a pill, and pour whatever they so please into a capsule. Unfortunately, Flakka isn’t that easy to discern from MDMA, MDA, MDX and the billions of other things stuffed in those little disco dynamites. If it helps, the overall appearance of Flakka is an off-white powder. Flakka is similar to many other drugs that are marketed as bath salts, like MDPV and Mephedrone, and is sometimes sold as bath salts. Signs of Flakka-intoxication will be consistent with a CNS Stimulant, and possibly a hallucinogen, meaning the person will likely be fast-forwarding around the round, all while not entirely understanding what said room looks like. People take the drug sublingually (under the tongue), intranasally (snorting) and by smoking (either from a pipe or off of foil with a straw). Users who have taken the drug sublingually report the drug numbs their tongue, while smokers of the drug report it tastes like crack cocaine. Source

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It's not secret that Porter Robinson is obsessed with Japanese culture, and as a fellow anime fan, you really cannot blame him. So it comes as no real shock that he has announced the release of his first effort into anime with the forthcoming 'Shelter The Animation'. Set to be the visual reflection of his recent collaboration with Madeon, 'Shelter The Animation' is executively produced by Porter in conjunction with A-1 Pictures, the studio behind anime productions such as Fairy Tale the Movie, Saint Young Men and The Anthem of the Heart. Porter took to Twitter on the weekend to announce the project, however it is currently unclear whether the film will serve as just a music video or as a feature film. 'Shelter The Animation' is set for release on October 18. Check out the artwork below. (Via Dancing Astronaut) Source

Last week it was announced that Parisian house lord Tchami was making his Essential Mix debut, and now you can wrap your ears around it. Recorded over the weekend, Tchami's long-awaited mix jumps straight into the fire, opening with Dombresky's huge original 'Utopia', before progressing into deeper territory for the coming 2-hour long set. Without further ado, dive headfirst into the mix below and check out the accompanying tracklist. https://www.mixcloud.com/wwwLiveSetsat/tchami-essential-mix-15102016/ Tracklisting 01 Dombresky – Utopia 02 Angelz – Devils 03 Tchami – SIAW 04 AC Slater – Psycho 05 Disclosure – When A Fire Starts To Burn (Shapeless & Golden Leaf Remix) 06 Taiki Nulight – Void 07 Jax Jones – House Work (feat. Mike Dunn & MNEK) 08 AC Slater & Taiki Nulight 09 Fearz – Dipset 10 Shift K3Y & DJ Zinc – Jumpstart 11 Moksi – What I Like 12 BROHUG – Bulldozer 13 BELLECOUR – Fonky Beat 14 Low Steppa – The Harlem Thing 15 Kyle Watson – The Cone 16 Dustycloud – Sometimes 17 Amtrac – Hold On 18 Hackney Polo Club – Babylon Shall Fall 19 Dad Mouth – Swaggerback 20 Mr. Oizo – Flat Beat 21 Tchami & AC Slater – Missing You (feat. Kaleem Taylor) 22 Tchami – Afterlife (Alesia Edit) 23 James Brown – Mind Power 24 Aden – Whip (Jimmy Edgar Remix) 25 Bodhi – Brawd 26 Tchami & Malaa – Prophecy 27 Martin Ikin & Low Steppa – About Time (feat. Elisabeth Troy) 28 Maya Janes Cole – Not Listening 29 Duke Dumont – I Got U (Jonas Rathsman Remix) 30 Destiny’s Child – Say My Name (Cyril Hahn Remix) 31 Dusky – Yoohoo 32 Tchami – Untrue 33 Roger Sanchez – Morning Prayer (Franky Rizardo Remix) 34 Robot Love – Numbers Station 35 Shadow Child & Doorly – Piano Weapon (Instrumental Mix) 36 Jodie Abacus – Good Feeling (KDA Remix) 37 Metro Area – Miura 38 Claude VonStroke – The Rain Break 39 Crookers – A Place In My Heart (feat. Kym Mazelle) 40 Osunlade – Envision (Chocolate Puma Remix) Source

An eBay user is about to cash in something severe, selling a rare gold set of Technics GLD SL-1200s turntables. These "extremely limited" decks have been been uploaded to the buying/selling hub by DJ equipment company Deck Converters, who have listed the glossy decks for £12,000. Writing on the rarity of the decks, the seller explains "these are 2931 & 2932. Both decks are UK edition and feature the molded UK plugs, there were not many of these decks available in the UK back in 2004." So if you happen to have around 20,000 Aussie dollars spare and are in the market for some gold decks, this is for you. Check them out below and peep the eBay listing here. (Via Mixmag) Source

This weekend, the fourth edition of Ultra’s Brazil extension took place at the beautiful Sambodromo in Rio de Janeiro, coming as the newest installment after a five-year hiatus. Towering sets from many of EDM’s most prolific DJs set the tone for the weekend, including headlining sets from Carl Cox, Martin Garrix and more. Today, attendees and fans who couldn’t make it out to the festival can hear several of the sets in full. From Krewella and Carnage to Alok and Jauz, the spectacle of Ultra Brazil can be revisited in stunning detail. Check below for some of the best sets to come out of Ultra Brazil! Jauz: Krewella: Carnage: Martin Garrix: Alok: This article was first published on Your EDM. Source: Listen To Some Of The Best Sets From Ultra Brazil 2016 Source

Insomniac’s flagship Halloween festival Escape: Psycho Circus will feature Armin van Buuren and KSHMR as just two of the many artists scheduled to play at the end of the month which make them perfect guests for the latest episode of Night Owls Radio. Night Owl Radio is, of course, the radio show hosted by Insomniac CEO Pasquale Rotella which has featured a huge variety of musical guests from all across the dance music genre. Firstly, we’re joined by Armin who gives us a few picks for ‘Up All Night’ before we’re treated to a banging guest-mix by KSHMR. H/T: Insomniac This article was first published on Your EDM. Source: KSHMR and Armin van Buuren Team Up On Latest Episode of Night Owl Radio Source

There a lot of polarizing artists within the electronic music genre, but Aero Chord is not one of them. In fact, I have never once heard a single bad thing about his music. From his humble beginnings on Bonerizing Records to his smash Monstercat debut “Surface,” Aero Chord has consistently pushed out quality material spanning across dubstep, moombahton, electro house, and most importantly, trap. It’s been two and a half years since “Surface” came out (and even longer since Aero Chord’s last EP – New Breed, Pt. 1 – released), so when Love & Hate was officially announced, I was absolutely stoked. Truthfully, Aero Chord’s flavor of trap was some of the first I actually enjoyed in the genre, and he only got better and better with time. This EP is no exception to that rule; Love & Hate is arguably some of his best work to date. If Aero Chord is making one thing clear with Love & Hate, it’s that he means business. As future bass is beginning to become less and less distinguishable from trap and general hip-hop (e.g. Flume‘s Skin), the market for such music is becoming much more competitive. However, with Love & Hate, Aero Chord hits all the right places. The instrumentals alone on this EP are comparable to the work of big-league hip-hop producers. One of the best examples following this outline is “Wanchu Back,” the EP’s second single. Its cinematic breaks, hard hitting kicks and pulsating bass lines are enough to make any hip-hop festival crowd go nuts, but with just the right EDM flavor for easy crossover appeal. The EP’s only vocal hip-hop track “Gone” further showcases Aero Chord’s abilities within the genre, spiced up with an appearance by Canadian MC Tylor Maurer. Thankfully, Aero Chord doesn’t completely step away from the sound he’s most known for. “The 90s” even features some throwback samples to his older works (most evidently “Boundless“), while still expanding into the stylistic settings of future bass. Fans of more minimal sectors of trap will find more enjoyment in tracks like “Kid’s Play” and “Until the End,” two of the most experimental works on the project. While “Kid’s Play” is more or less electro-influenced, “Until the End” sounds like some kind of minimal hardstyle/trap hybrid. This track’s sound can be partially credited to Aero Chord’s label-mate Fractal, as well as vocalist Q’AILA, who gives the song a lot more of a rock edge. Whether you’re approaching this EP as a long-time fan or a total newcomer, Love & Hate should impress. Definitely don’t miss out on this one! Support on iTunes: monster.cat/2dqyyt1 Support on Bandcamp: monster.cat/2dHp1vV Aero Chord - Love & Hate EP [Monstercat] 7.4Overall Score Originality8 Songwriting6.5 Post-production8.5 Replay Value7 Subjectivity7 Reader Rating 7 Votes8.1 This article was first published on Your EDM. Source: Aero Chord – Love & Hate EP [Monstercat] Source

A debut album is a significant milestone in an artist’s career. For nearly all genres with the exception of electronic music, albums are the norm and entirely expected. It’s really only in EDM that an artist can go his entire career releasing singles or EPs without an album and maybe that’s why they feel so much more special. Today marks the release of Zeds Dead’s debut album, Northern Lights, a collection of 15 tracks that will represent Zeds Dead today and forever more. It’s been a long time since “White Satin,” and their sound has changed a lot in the past 5 years, but never at an elementary level. Between all the EPs and singles and remixes, Zeds Dead have one of the most consistent track records in dance music, putting out one incredible track after another and all with a signature sound – and all of that without becoming repetitive. Northern Lights shines brightest in its ballads, of which it has a few. Early on, we hear “Blame” with Elliphant, a heavy and emotional track with powerful vocals that soar. Later on, we hear “Neck & Neck” with Dragonette, and “This Is Me” featuring Lips, both strong female vocalists. The blend of sweeping basslines with the higher register of vocals creates a depth of sound that’s terribly hard to recreate effectively, though Zeds Dead have clearly found the secret to success. That being said, there are still plenty of songs on the album that are still downright bangers like “DNA” and “Already Done,” capitalizing on their love for heavy bass and dubstep rhythms. There’s been this trend in 2016 away from tracks that are ready-made for another DJ’s set list, and more toward legitimate songs that just happen to be able to mix into sets, and Zeds Dead have found that balance perfectly with Northern Lights. There’s no doubt that a Zeds Dead set has a lot of music that it can draw from, especially from their own discography – but now, there are so many more possibilities. Listen to their debut album below: Image via Felicia Garcia This article was first published on Your EDM. Source: Zeds Dead Release Debut Album, “Northern Lights” Source

When Porter Robinson and Madeon announced they would be touring together, I knew there was no way I was missing it. So I signed up for the newsletter to get the pre-sale code and the morning tickets went on sale I had purchased them at 10am. I haven’t been to a show in a while and what a perfect way to come back. SHELTER LIVE TOUR HERE I COME. They made their Houston stop this past Saturday at Revention Music Center and I ventured out from under my rock to see them and boy am I glad I did. They are two of my favorite DJs and having seen both a DJ and a live set from Porter, and a set from Madeon as well, I knew both of their unique sounds would mesh together perfectly to create something beautiful. Photo Credit: Arief Stark, ariefstark.comI somehow managed to leave the house without shoes, but didn’t want to risk missing a second of the show by turning around so I popped into Target to get some. Sadly, I still didn’t arrive on time to catch any of the openers, Robotaki and Fakear. But I’m sure they were amazing as well. I thought the stage setup was very nice and I liked it a lot. There were two stands with a screen behind each DJ, and one larger screen behind those two, with lights in between. Once it was lit, it was quite the sight. The show started with a special intro version of Shelter. There were streamers and the crowd went crazy. The first of many for the night! I loved every single second and so did the other attendees. It was really cool to see everyone dancing and singing along to all of the songs. You could really tell every person there was having a blast. Photo Credit: Arief Stark, ariefstark.comBoth Porter and Madeon played on their keyboards and sang live. I honestly didn’t even know Madeon could sing, but he has a good voice and it was a nice surprise. Mashups of all of their songs and special shelter versions of songs were played throughout the night. They ended the show with a mix of “Goodbye To A World” and exited the stage. The lights in the venue were still off so I knew they would come back for an encore of some sort. After a few minutes they re-entered the stage and played an instrumental version of “Shelter” with Madeon on live vocals. Then it quickly transitioned into “Language,” because is it even a show with Porter if “Language” isn’t played? It was the perfect ending to a great set. That being said, if you’re coming to this expecting something on the same level as the Worlds live show, you’ll be slightly disappointed. I thoroughly enjoyed this show, but for the most part, it was just really good mashups of their songs. But I still think the entire night was filled with great energy and it was everything I expected it to be. If you’re a fan of either Porter Robinson or Madeon, I wouldn’t skip out on this show. @porterrobinson @madeon encore #shelterlivetour pic.twitter.com/PXqljrnjuB — abhishek (@xbhishek) October 9, 2016 The post [Event Review] Porter Robinson & Madeon: Shelter Live Tour – Houston, TX appeared first on EDM Assassin. Source

The Weeknd has unveiled the video for his new track ‘False Alarm’ – and it’s just about the most ridiculous NSFW music video you’ll see this century. Shot in a first person perspective, its centred around an incredibly violent bank robbery that goes wrong; people get shot, cars crash, policemen get shot, all hell breaks loose basically. It finishes with a female hostage making a lucky escape with a bag full of money as The Weeknd shoots himself dead. If Michael Bay and Quentin Tarantino did music videos it would almost certainly look like this. Taken from the new album Starboy http://theweeknd.co/Starboy The post The Weeknd’s ‘False Alarm’ is the most gratuitously violent music video you’ll see this year appeared first on Harder Blogger Faster. Source

DJs are just jukeboxes anyway. You need to become a performance artist as part of your show rather than just hunching over some turntables. Give people a reason to hire a person versus a playlist.

Years & Years have a new track out. And it’s not what you might expect. And by that we mean it’s not from an album, or a comeback single, but for the soundtrack for Bridget Jones’ Diary. I know what you’re thinking….why do I want to hear a track from the Bridget Jones soundtrack. Well, Brighton-based noise maker Kideko has given it a suitably rough and ready remix that you do need to hear. The South coast producer delivers an in-your-face remix that’s all slowed vocal chops, gurgling, low-slung basslines and tight percussion lines that are then all brought to the boil for a suitably hands-in-the-air club finish. The post Premiere: Kideko gives Years & Years ‘Meteorite’ the rough and ready remix treatment appeared first on Harder Blogger Faster. Source

On Wednesday night, state parliament unanimously passed the Public Health (Medicinal Cannabis) Bill 2016, set to come into effect in March of 2017. The act of cannabis legalisation is not the first of its kind, with the substance already legal in Victoria and New South Wales. Though the specifics of the QLD act set great distance between it and its counterparts, with two different frameworks enabled for medicinal cannabis treatment. When comparing the laws, Victoria’s Access to Medicinal Cannabis Act 2016 allows patients medicinal cannabis products, but only if they are children suffering from severe epilepsy. In addition, NSW’s Poisons and Therapeutic Goods Amendment Regulations require individual patients to be examined by an expert panel prior to their approved use of the drug. Speaking with Parliment, Queensland Health Minister Cameron Dick said the bill would “change the paradigm for seriously ill patients who feel compelled to seek out illicit cannabis treatment options by enshrining in an act a legal and safe pathway through which to access medicinal cannabis treatment.” His overall opinion was that the move was a “groundbreaking reform.” While the Health Minister was extremely proud of the move, stating it was the “most flexible in the country”, it became clear local GP’s would still go through a heavily regulated process should they wish to be given approval in order to supply the drug. Huge progression, regardless. Source