Welcome to the Jungle: the local event brand shaping China’s flourishing electronic music culture

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Welcome to the Jungle: the local event brand shaping China’s flourishing electronic music culture8

The air at China’s Electric Jungle music festival is rife with more than just thick blankets of meandering cigarette smoke. The untethered Chinese electronic festival goers beam with the enthusiasm of a culture not yet jaded by the “put-your-fucking-hands-up” of it all. 

China’s sprawling electronic music scene, while invariably unique (despite Western influences), follows the traditional counter-culture-becomes-the-culture plot. Among the local efforts to secure dance music widespread recognition, Jungle Events is most notable for working, not just to throw sensational, world-class festivals with the most sought-after electronic acts, but to promote camaraderie among its supporters.

“Jungle is one of the only domestic festival brands in China. The team is made up of Chinese ravers who want to establish a community of ravers in China, not just throw festivals,” says Chinese trance titan and perennial Jungle billing, Luminn, echoing the company’s distinct ethos.

Signed to Armin van Buuren’s army of global trance talent, Armada, Luminn (real name, JunLiang Fan) speaks ambivalently towards the influx of foreign festival brands embedding themselves in the Chinese market. As the first Chinese artist to secure a clean sweep of spots on the Ultra, EDC, and TRANSMISSION lineups, he posits with authority: Jungle stands out. 

It’s simple enough. The Chinese want to go to raves thrown by Chinese ravers. That’s not to say international muscle hasn’t amassed a robust following in recent years. Ultra China’s first swing in 2017 drew over 40,000 awestruck attendees to its inaugural weekend in Shanghai. The goliath outfits also make an effort to book domestic talent. EDC China’s official flyer from last year sprinkled the hometown heroes alphabetically alongside Alison Wonderland, Disclosure, and the lot—same-size font and all. 

“Rave:” an antiquated term on US or European soil. But inside China’s cocktail of fresh-faced organizers and authorities privy to the most arbitrary whims (event permits count for little), the tired term has earned its wings here. Even the most meticulously planned festival is an inspired act of valor for the Chinese—clandestine warehouse setting be damned. 

KSHMR, born Niles Hollowell-Dhar, reckons he’s performed in China more than any other country outside the US. Resting on the upper-most echelons of both the international big-room scene and Jungle’s most recent lineup, the California native revels in the laundry-fresh feel of China’s developing dance scene.  

“They are probably the most enthusiastic of any fanbase that I have around the world—showing up at the airports when I arrive, and even at the hotels,” says KSHMR. “There’s a vigor and a zeal to the Chinese people that I feel it’s a shame that a lot of the world doesn’t understand.”

Once the effects of the awe-inducing elixir comprised of Skrillex, REZZ, and Martin Garrix, (just a few of Jungle’s other active ingredients) subsides, we remember Jungle 2018’s auspicious undercard. Radiating sweet heat akin to her effervescent live sets is DJ Lizzy. Chinese-turned-New-Jersey-native, Lizzy Wang was the first female Chinese DJ to book a slot at Ultra. Inspirited by Newark’s omnipresent hip-hop culture, Wang started making music to relate to her more rambunctious American peers. Like a video-game heroine, she began unlocking levels of newfound confidence with every DIY production skill acquired from days spent poring over YouTube tutorials.

Wang attributes Jungle’s loyal following to its keen and ever-domestic ear. 

“[The Jungle Team] cares about what the Chinese ravers want to see on a lineup,” says Wang. “It’s about more than selling tickets.” 

Both the Jungle founders, a collective of former University of Southern California transfer students, and Chinese EDM at large, owe at least their root infrastructure to dance music conventions from the states; though what’s evolved since their most nascent notions of EDM world-building is unmistakably domestic. Luminn observes the recent rush of Chinese producers opting to include Mandarin and Cantonese lyrics in their tracks. 

As with nearly any art form, there is a degree of reciprocity inherent in Eastern and Western influences that travels through the global dance music scene. Just before his Saturday performance at Jungle’s most recent installment, globetrotting English-born, part-Chinese trap talent, TroyBoi spoke of his manifold use of Asian instrumentation in his productions (“KinjaBang” and “Souls,” are two of the starkest examples).

“I like to create a worldly sound, with an electronic/hip-hop backbone to it that will translate wherever I play,” he says. “It gives me an edge when I come to tour in places like China.”

In comparison to TroyBoi, the LA-based Drezo was one of the most unanticipated additions to the 2018 lineup. Sporting visuals suited for a biopic on Satan himself, and a nefariously pulsing electro/house sound to match, Drezo’s performance was certainly liable to send Jungle patrons into a head-scratching frenzy. Instead, Drezo’s prescribed dose of strange was just what Saturday’s Bass Stage ordered, accruing a commendable crowd that was as excited as it was confounded.

“Something about the atmosphere here reminds me of the [US] scene around 2011,” says Drezo just after his set. “They go crazy for everything.”

Repeat Jungle dignitary, Terry Zhong, a recent grad of Boston’s Berklee College of Music cites Justin Beiber and Lady Gaga’s blurring the lines of pop and dance music as a vessel for EDM’s Chinese infiltration. The Insomniac talent began fine-tuning his piano prowess at the age of five—since then cracking a sundry of local lineups, including EDC Guangdong, as well as prominent bookings throughout the domestic club circuit. 

“[The Chinese] are trying to emulate what’s happening in the US,” says Zhong. “But now we’re starting to grow our own dance scene, to find a Chinese PLUR.”

Sound familiar? 

 

REZZ gets her own Snapchat filter

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REZZ gets her own Snapchat filterRezz Porter Robinsin Divinity Remi Live Debut

After another stellar year from REZZ, the Canadian mau5trap export and experienced soul snatcher finally made it to Snapchat with her own filter. She took to Instagram to express her feelings about it: “You can say I’m having a pretty good time on the planet. A REZZ Snapchat filter was made.” Click HERE to access the filter.

REZZ finished 2018 as one of Dancing Astronauts top artists of the year, due to her immense touring success, rabid fanbase, and second studio album, Certain Kind of Magic — which also made DA’s Top Albums of 2018. She also surprised listeners with a collaborative single towards the end of 2018, Mixed Signals, featuring up-and-coming artist Blanke.

 

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😂😂😂 Rezz Snapchat filter 😂😂😂 they messed the Hat up though!

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Photo Credit: Rukes

Good Morning Mix: Zeds Dead threads together their favorite releases of 2018 for #079 Deadbeats Radio

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Good Morning Mix: Zeds Dead threads together their favorite releases of 2018 for #079 Deadbeats RadioZeds Dead Deadbeats 1

It’s often easy to forget that the most prominent producers are also fans and connoisseurs of their gifted counterparts. Using their ever-expanding Deadbeats platform, Zeds Dead resolved to extend a retrospective tip of their producer caps to their favorite records and fellow artists of 2018. “The Boys” dedicated their 79th edition of Deadbeats Radio to rounding up their personal favorites from the calendar year–sneaking in a few of their own concoctions, of course.

From Fisher’s ubiquitous hysteria-inducer “Losing It,” to lesser-known drum ‘n’ bass delight, Noisa‘s remix of Pendulum‘s “Hold Your Colour,” the iconic duo’s multifarious taste is palpable as ever. Their fervent love of hip-hop is observed with additions like Pusha T’s “The Games We Play” and Nas’ “Adam and Eve” featuring The-Dream. Make no mistake: bass music, in its seemingly infinite forms, is sprawled across their preference palette, even over a decade into their career under their now-hallowed alias; as the mix recognizes offerings from Rezz, PEEKABOO, Skrillex, Dion Timmer, to name a few.

Track List:

Zeds Dead & DNMO – We Could Be Kings (feat. Tzar)
Pendulum – Hold Your Colour (Noisia Remix)
Dillon & Batsauce – Keep Pushin’ (feat. Sadat X)
Friction – Stinker (feat. Riko Dan & Tantrum Desire)
Rezz & 1788-L – H E X
Nas – Adam and Eve (feat. The-Dream)
The Voidz – ALieNNatioN
Fisher – Losing It
Vato Gonzales – Bump & Grind (Bassline Riddim) [feat. Scrufizzer]
Funkin Matt – Aeon
Mozzy, Sjava, Reason – Seasons
TroyBoi – Hey Bo!
Ficci – Alone (feat. Yves Paquet)
Jim E-Stack – I Did the Best I Could
3lau – Touch (feat. Carly Paige) (Zeds Dead Remix)
What So Not – Beautiful (feat. Winona Oak) [ZEKE BEATS Remix]
Jorja Smith – I Am
AFK & Carbin – Boss (feat. Cody Ray) (Dirt Monkey Remix)
Travis Scott & Drake – SICKO MODE (Skrillex Remix)
Shades – ALARMA Ft Killa P
XXXTENTACION – SAD!
Dion Timmer – Shiawase
Gentlemens Club – Little John
Pusha T – The Games We Play
Gorgon City – Go Deep (Zeds Dead Remix)
A-Trak & Baauer – Dumbo Drop (Gammer Remix)
PEEKABOO – Maniac
ZHU – My Life

Photo Credit: Beatcue

Dancing Astronaut’s Top 10 Albums of 2018

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Dancing Astronaut’s Top 10 Albums of 2018Dancing Astronauts Top 10 Albums Of 2018

Since the advent of recorded music, albums have reigned as the supreme vessel through which artists put forth their most hallowed creations and define their oeuvres. In the modern era of streaming, wherein declining royalty rates demand that musicians tour incessantly and the necessity of instant gratification demands a correlative, unending supply of singles and remixes, the process of producing a full-length record is perhaps more daunting than it’s ever been.

However, the LP is far from a dying art form, as legions of artists have duly proven in the past year. In the realm of dance music alone, 2018 saw an abundance of stellar, individualized efforts, providing our editorial team with quite a difficult feat in selecting a Top 10. Below, we’ve compiled ten innovative, stylistically diverse, and evocative albums that shook the scene and stirred us so resoundingly that they manage to stand out among a formidable pool of contenders.


Dancing Astronaut’s Top 10 Albums of 2018San Holo Album1 Review
10. San Holo, album1

Since its founding in 2014, San Holo’s bitbird label has made monumental strides, helping propel his releases — along with those of artists like DROELOE and Taska Black — to notoriety. Perhaps the label’s biggest buzz this year was that of San Holo’s inaugural LP, appropriately titled album1, which made its debut in mid-September. After pouring months of passion into the record, San Holo wasted no time incorporating live instruments in album1, kicking off the compilation with a wistful guitar melody in “everything matters (when it comes to you).” This theme continues throughout the album’s 12 tracks, with each song exuding pure emotion and spirit. In its entirety, album1 is sonically pleasing and a fresh breath of air in an often monotonous EDM scene.

Words by Robyn Dexter

Dancing Astronaut’s Top 10 Albums of 2018Pleasurekraft Friends Lovers Other Constellations Hi Res Art
9. Pleasurekraft, Friends, Lovers, and Other Constellations

It’s hard to believe that, prior to this year, Pleasurekraft had yet to release a full-length record. The transnational duo have been regarded as lodestars in the genres which they’ve graced for practically a decade, thanks to their acutely analytic approach to producing. The past few years have marked an evolution of sorts for the Kraftek label-heads, as they’ve shifted toward establishing their cinematically-infused brand of cosmic techno. And, their inaugural LP, Friends, Lovers, & Other Constellations, which kicked off the duo’s year in January, showcases their progress from its opening act (the genre-defying “Interiors”) until its closing bow (the similarly mellifluous “Last Transmission”).

Words by Will McCarthy

Dancing Astronaut’s Top 10 Albums of 2018Justice Woman Worldwide Hi Res Art
8. Justice, Woman Worldwide

After a two-year gap following the release of Woman, French electro luminaries Justice returned in 2018 with Woman Worldwide, a “live” album — perhaps, more accurately an homage or counterpart — to the live production which accompanied their much-lauded third studio LP, rebuilt in the studio through what Xavier de Rosnay described to Dancing Astronaut as a “proper Justice record.”

De Rosnay and Gaspard Augé didn’t spend their lapse between albums by writing “new” music. Rather, they spent this time fine-tuning every minute of the their live performance, ultimately recreating the Justice concert experience in their studio. The final product speaks for itself: Woman Worldwide has yielded the duo’s third Grammy nomination, and showcases what wound up being one of the most in-demand touring electronic music performances of recent years.

Words by David Klemow

Dancing Astronaut’s Top 10 Albums of 2018Rufus Du Sol Solace Hi Res Artwork
7. RÜFÜS DU SOL, Solace

Weaving a follow-up to an acclaimed album is a formidable task for any artist to face. It has to be different enough from its predecessor to keep fans’ attention, but it also has to retain the signature sound that initially drew people in initially. After gaining major recognition from 2016’s Bloom, Rüfüs Du Sol were faced with that exact challenge.
On Solace, the Australian trio stepped up every part of their production process. Tyrone Lindqvist’s vocals are more emotional and over-stated than ever before, while the instrumentals are crisper and full of new textures. Though the vocal-house formula of Bloom and their debut album, Atlas, is still intact, what Rüfüs Du Sol have presented with their third record is a growth of their sound to the precipice of perfection.

Words by Anthony Manganiello

Dancing Astronaut’s Top 10 Albums of 2018Rezz Certain Kind Of Magic Review
6. REZZ, Certain Kind of Magic

Rezz’s Certain Kind of Magic solidified the mau5trap mainstay into the electronic music history books with her gritty synth-work, head-banging rhythms and uneasy melodies that juxtaposed uncertainty and confidence throughout the LP. Looking forward to 2019 with a grip of festival headlines, the Canadian artist took the rock tinged genre into a new realm with a cohesive haunting narrative centered around a carnival in hell. Rezz even took to an emo rock, acoustic track, “Toxin,” with the Berklee College of Music artist Fytch to showcase her versatility and early influences.

Isabelle Rezazadeh also used her album to shed a light on up and coming producers. Through promoting talents from the likes of 1788-L, 13, Deathpact, Kotek, and the aforementioned Fytch, the mau5trap favorite reaffirmed her dedication to highlighting industry newcomers in the face of her now-innumerable accolades.

Words by Chris Stack

Dancing Astronaut’s Top 10 Albums of 2018Rl Grime Nova Artwork
5. RL Grime, Nova

For the duration of trap music’s prominence as an EDM sub-genre, Henry Steinway has been a key figure, thanks to his unparalleled ability to weave simplistic, but devilishly effective pieces as RL Grime. Yet, some of the most evocative tracks of his career have resided in a more melodic realm. Such is the case with NOVA. In his sophomore album, Steinway looked beyond the dark melodies, aggressive, layered bass lines, and fast paced ascents characteristic of trap, to tinge traditional trap aesthetic with pop and hip-hop tints. His embedding of pop and hip-hop stylistics within the trap oriented inclusions of NOVA helped to further the appeal of thoughtful, trap-infused productions, marketing trap to listeners who might very well have written the sub-genre off as one simply “not for them.” For those who like pop, there was the digestible, vocal-centric single, “I Wanna Know” with Daya, which stood alongside hip-hop features such as the Ty Dolla $ign assisted “Take It Away” and the Chief Keef joint, “OMG.” Boasting a laundry list of highly demanded collaborators and the production deftness to warrant them, RL Grime’s sophomore showing effectively merged musical worlds, while expanding conceptions of what trap music might sound like, and to whom it might appeal.

Words by Rachel Narozniak

Dancing Astronaut’s Top 10 Albums of 2018Jon Hopkins Singularity Artwork
4. Jon Hopkins, Singularity

Throughout dance music culture, accolades such as “seasoned” or “veteran” are often thrown around all too liberally. After all, when the pace of an industry moves a mile a minute, a producer with two years’ professional experience can arguably be considered a “long-time luminary.”
That said, when an artist truly is a master of the craft, the results speak for themselves. Jon Hopkins stood out in 2018 as a truly veteran artist, with the release of his fifth studio album (and first in five years), Singularity. From energetic, mesmerizingly erratic pieces such as “Neon Pattern Drum” and “Everything Connected,” to more subdued, mystifying pieces “C O S M” and “Recovery,” everything on Singularity is indeed connected via the English artist’s unparalleled aptitude for creating mellifluous, lo-fi opuses.

Words by Will McCarthy

Dancing Astronaut’s Top 10 Albums of 2018Dillon Francis WUT WUT Album Art
3. Dillon Francis, WUT WUT

Dillon Francis’ WUT WUT feels like the culmination of his entire career thus far. A call-back to his first big hit, “Que Que” alongside Diplo in 2011, WUT WUT is a full circle return to Francis’ moombahton roots which perfectly describes where Francis has been, and, ultimately, shows off where he’s going. The record also feels like a rite of passage of sorts for Francis, who moved from merely being a superstar DJ to a taste-making A&R that has helped boost lesser known Latin artists into the spotlight in 2018 — a year in which Latin music experienced a head-on collision with mainstream pop.

WUT WUT has earned Francis a well-deserved Latin Grammy nomination, and while Francis’ moombahton revival project didn’t bring home the hardware this year, it not only kept artistically true to Dave Nada’s beloved blend of genres, it helped progress his flagship style and introduce it to a much wider audience in 2018.

Words by David Klemow

Dancing Astronaut’s Top 10 Albums of 2018Medasin Irene Artwork
2. Medasin, Irene

Medasin’s Irene takes all the right risks. The glistening offspring of the producer’s climb out of a deep, former addiction, the eponymous album was inspired by Medasin’s outpatient counselor, the real-life Irene. Sounding at times like underwater elevator music from a far away realm (“Ramen” or “Slinky Man”), and others radiating smooth, saccharine R&B (“Tired”), the project seamlessly reconciles its differences floating through its duration with effortless cohesion. Irene oozes Medasin’s invariable experimentalism, with minimal vocal interruption—though the two vocal features do add an accessible flavor to the otherworldly recipe—letting his playful, quixotic production do the talking.

While Medasin’s blissed-out, slow-motion rendition of Portugal. The Man’s “Feel It Still” won his fellow artist’s respect (garnering him official remix opportunities from the likes of Martin Garrix, Khalid, and more) Irene spoke to listeners, ravaging Reddit threads and streaming services alike months after its release.

Words by Bella Bagshaw

Dancing Astronaut’s Top 10 Albums of 2018Zhu Ringos Desert Release Date
1. ZHU, Ringo’s Desert

ZHU has certainly come a long way since “Faded.” The producer’s sophomore album, Ringo’s Desert arrived as a sensuous, cross-genre scorcher that showed off ZHU’s signature, haunting vocals, while all the time seeking to evoke the landscape of the desert. The album’s environmental influence taken into account, and considered alongside the album’s overarching lyrical narrative of love that leaves one bereft, left to wander in search of the kind of solitude that satiates, much like the drink of water dreamt of by the eponymous desert nomad, Ringo’s Desert easily constituted one of the year’s finest, most meticulously woven concept albums. With its breadth of musical emotionality and mainstream appeal via collaborations with heavyweights such as Tame Impala, it stands out from the crowd in an inimitable fashion.

Words by Rachel Narozniak

Dancing Astronaut’s Top 10 Albums of 2018Steve Angello Human Artwork

Honorable Mention: Steve Angello, Human

Steve Angello’s Human is a symphony of self-exploration. While the Swedish icon has proven himself a master craftsman of the album in the past, his newest album saw him pivot from the avant-garde take on dance pop crossover on his preceding record, Wild Youth, over to a personal journey fueled by electronica and rock inspirations. The 21-track Human is a tale of creating art out of therapy, as Angello explored his own relationship with spirituality and religion. The product is beautiful, moving and memorable — certainly something to be proud of as the remainder of 2018 shifted from a focus on Steve Angello to the triumphant return of his beginnings with Swedish House Mafia and their reunion in the next year.

Words by Steph Evans

REZZ joins forces with Blanke to unleash collaborative new single, ‘Mixed Signals’

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REZZ joins forces with Blanke to unleash collaborative new single, ‘Mixed Signals’1 Photo Cred William Selviz 1 1

REZZ and Australian producer Blanke have combined their styles to unleash a new collaborative project, “Mixed Signals.” With a futuristic messaging intro that leads into REZZ’s signature unsettling melody surrounded by a thick bass undertow, the sci-fi sounds build into a drop of potent bass and computerized glitches for fills. Blanke’s trademark pulsating chord patterns glide along REZZ’s heavy demeanor and perpetuating bouts of uncertainty and confidence.

Blanke proved to be a force to be reckoned with in 2018, with his songs played out at Ultra Miami, EDC Las Vegas, Shambhala, Coachella, and Lost Lands, also receiving support from the likes of Marshmello, Jauz, Illenium, Steve Aoki, and many more.

2018 marked REZZ’s busiest year thus far, releasing her highly anticipated sophomore album, Certain Kind of Magic. She also toured all over the world, smashing stages like Tomorrowland, Lollapalooza, Coachella, Electric Zoo, REZZ Rocks, and recently coming off a stint in Asia. On Halloween, she released a 30-minute mix of unreleased music, “Nightmare on REZZ Street,” and she recently released an official remix of Porter Robinson’s “Divinity.”

Photo Credit: William Selviz

NMF Roundup: REZZ & Blanke share ‘Mixed Signals,’ Gareth Emery provides a trance haven, Martin Garrix teams up with Julian Jordan + more

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NMF Roundup: REZZ & Blanke share ‘Mixed Signals,’ Gareth Emery provides a trance haven, Martin Garrix teams up with Julian Jordan + moreDA WM 89

It’s most important day of the week: New Music Friday. With the overwhelming amount of tunes hitting the airwaves today, Dancing Astronaut has you covered with the latest edition of The Hot 25.

This week’s slew of releases came in hot, kicking off with a formidable new collaboration between REZZ and Blanke. Gareth Emery again teams up with songstress Emma Hewitt for the gorgeous “Take Everything,” and Valentino Khan thrills on a new rework of RL Grime‘s “Pressure.” Martin Garrix and Julian Jordan bring the Friday feel-good vibes with their new collaboration, “Glitch.” Gryffin is back with a new one, bringing along Stanaj for the ride. Ferry Corsten and Ilan Bluestone refuse to leave the dance floor in “We’re Not Going Home,” and CAZZETTE keeps the dance floor rocking with “On My Mind.” Arty is one of the newest to release on Ninja’s NINJAWERKS compilation with silky “Velvet.” The Chainsmokers bring “Hope” with their newest, and Ookay drops off the five-track Nice! EP. In the dubstep realm, 12th Planet and PhaseOne deliver the heavy “Taco Bout It.” Over in the drum & bass realm, Culture Shock pull at listeners’ heartstrings with the emotive “There for You.”

As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed this NMF.

Photo credit: Christian Miller

China’s Electric Jungle festival co-founder, Boyi Zhou, talks dance music culture, obstacles, and the wild time yet to come [Q&A]

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China’s Electric Jungle festival co-founder, Boyi Zhou, talks dance music culture, obstacles, and the wild time yet to come [Q&A]9 1 1

For the past few years, Boyi Zhou and his Jungle Events team have been toiling away, trying to carve out a vivacious, unfettered space in the Chinese event circuit for electronic dance music. While Zhou, the event brand’s marketing manager, and his team have tried to emulate a lot of the underground dance music culture they were indoctrinated into while studying abroad in LA, there is much about their nook of the EDM continuum that is inherently Chinese.

This month (Dec 8-9), Zhou and the Jungle Events team will return with another installment of what is now the largest dance music festival in all of China, Electric Jungle, projected to attract over 60,000 attendees. The team is combining its Goliath headliners, Skrillex and Martin Garrix, with a sundry of international, nuanced talent, like REZZ, Drezo, TroyBoi, and Illenium–just to name a few.

Like many electronic fests in the US, the Foshan Chuanlord Tourism & Leisure EXPO resort-residing Electric Jungle will be broken off into meticulously curated stages, including a Berlin-nightclub-themed techno stage, a bass stage, which will receive a one-day Monstercat makeover, and of course, a main stage. Zhou says, that while the nature of the festival may be unorthodox, especially within its respective culture, organizers want to preserve authentic Chinese tradition while on their home turf, wielding ancient Chinese monsters as a motif throughout festival grounds.

Also quite like in the US, festival organizers must fiercely delegate with local authorities to gain the privileges necessary for throwing an event of this scale–though, for Zhou and co., this is a much weightier burden. Standing on the precipice of, what is for the Chinese, still such an underground culture, the local government still doesn’t fully fathom Jungle Events and their counterparts’ intentions; though, Zhou says, that’s beginning to change. Zhou sat down with Dancing Astronaut to talk about not only how he’s mediating these profound obstacles, but also his initial infatuation with the LA “rave” scene, launching one of the first Chinese-language dance music blogs, and his observations of the Chinese electronic festival circuit at large.

Tickets to Electric Jungle as well as additional festival info can be found here.

How did the idea for the festival come about?

I was attending college in the US living in LA for six years and I went to a lot of raves. So I started a blog, Jungle EDM, one of the first all-Chinese electronic music blogs. Soon I had over 10,000 followers. Back then there were no blogs about electronic dance music in China. And there were no Chinese materials for translation. So I was the first one to translate all of the English dance music materials to Chinese. When I graduated, I came back to China and started my own festivals.

Can you compare the underground dance music scene you were indoctrinated into in LA to that of China?

I wouldn’t say it’s the same at all, but it’s growing really fast. In America basically, dance culture is the pop culture. But in China it’s a sub-genre or subculture of all other music genres.

Who are some of the biggest influencers in growing China’s dance music scene?

I would say the newer festivals, and the nightclubs. The nightclubs are doing really well. They’re hosting a lot of foreign artists bringing the culture to China.

Tell me about your Jungle team?

So the original founders are all from California. We all went to the same school. We met there. We all went to the community college first in Santa Monica and we transferred to different schools, but when we all came back to China, we decided to make the festival.

What do you predict your greatest challenge to be in executing a successful Electric Jungle this year?

Probably getting certain permits. It’s really strict in China. You can not go ’til after 10 pm, the curfew time. And the production is limited. You can not use certain effects like fireworks, or any variation of fire. Also, the audience capacity limits are very strict.

How are you guys working to mediate those issues?

Well, when we first came here to do this in China, the government didn’t really understand us. It’s getting better now. We are taking special precautions and working with the government to try to clear up the discord. They are trying to work with us and are working on giving us a little more room, so that we can ensure the production and safety are up to our standards.

Can you tell me about what your intentions were with lineup curation?

A lot of them fit the marketing needs. We selected a lot of the artists from the data analysis, from the stream players. In addition to them and the artists the founders selected for personal preference, there is also a lot of local talent. We are trying very hard to promote them. Those artists have a great advantage with the local demographic because of the language. A lot of the local artists are using Chinese language to make their songs, and they have their own fans.

Can you tell me about the theme and location of the festival?

It’s right next to Guangzhou. It’s the center of the Guangdong area: just one province in China. The benefits would be that it’s not the biggest city, so the restrictions are less. It’s close to the two biggest cities in China. Transportation and hospitality are a disadvantage, less hotels and trains, etc. It’s a small city to us, but would be relatively big in the US. I would say it’s something like Seattle. The festival will be held at a resort, complete with a theme park, mini zoo, and a hotel with a restaurant. We’re doing the festival in the parking, given its considerable size.

*This interview has been edited for clarity and readability.

REZZ delivers decadent Porter Robinson ‘Divinity’ remix

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REZZ delivers decadent Porter Robinson ‘Divinity’ remixRezz Divinity 1

REZZ never shies from an opportunity to provide her fans with precisely what they’ve been craving. For her latest demonstration, REZZ has dimmed the lights on a feverishly beloved Porter Robinson production, “Divinity” from his iconically insurgent Worlds album.

REZZ’s commanding rendition of “Divinity” materializes like a malevolent stepsister. Glitchy and deliciously wicked, REZZ’s “Divinity” is like a fiery lullaby from the netherworld, as the track’s original, ethereal vocals and twinkling synth allure give way to her thunderous and highly nuanced bass and percussion infusion.

Quite characteristically of the Canadian mau5trap talent, REZZ delivered on her Twitter intonations of the remix in under a week. Her patently expedient turnaround in the studio is evident in her packed release record in recent years, with back-to-back August album releases in 2017 and 2018 amid a wall-to-wall touring schedule.

REZZ delivers decadent Porter Robinson ‘Divinity’ remix

This post was originally published on this site

REZZ delivers decadent Porter Robinson ‘Divinity’ remixRezz Divinity 1

REZZ never shies from an opportunity to provide her fans with precisely what they’ve been craving. For her latest demonstration, REZZ has dimmed the lights on a feverishly beloved Porter Robinson production, “Divinity” from his iconically insurgent Worlds album.

REZZ’s commanding rendition of “Divinity” materializes like a malevolent stepsister. Glitchy and deliciously wicked, REZZ’s “Divinity” is like a fiery lullaby from the netherworld, as the track’s original, ethereal vocals and twinkling synth allure give way to her thunderous and highly nuanced bass and percussion infusion.

Quite characteristically of the Canadian mau5trap talent, REZZ delivered on her Twitter intonations of the remix in under a week. Her patently expedient turnaround in the studio is evident in her packed release record in recent years, with back-to-back August album releases in 2017 and 2018 amid a wall-to-wall touring schedule.

REZZ delivers decadent Porter Robinson ‘Divinity’ remix

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REZZ delivers decadent Porter Robinson ‘Divinity’ remixRezz Divinity 1

REZZ never shies from an opportunity to provide her fans with precisely what they’ve been craving. For her latest demonstration, REZZ has dimmed the lights on a feverishly beloved Porter Robinson production, “Divinity” from his iconically insurgent Worlds album.

REZZ’s commanding rendition of “Divinity” materializes like a malevolent stepsister. Glitchy and deliciously wicked, REZZ’s “Divinity” is like a fiery lullaby from the netherworld, as the track’s original, ethereal vocals and twinkling synth allure give way to her thunderous and highly nuanced bass and percussion infusion.

Quite characteristically of the Canadian mau5trap talent, REZZ delivered on her Twitter intonations of the remix in under a week. Her patently expedient turnaround in the studio is evident in her packed release record in recent years, with back-to-back August album releases in 2017 and 2018 amid a wall-to-wall touring schedule.