For three days straight on the weekend of June 8, the city of Chicago was filled with deep beats, pop-inspired melodies, and bass that reverberated through the streets. This is Spring Awakening, Chicago’s premiere electronic music festival. Located in Addams/Medill Park, the festival attracted concert goers far beyond the city limits to include residents from
What happens when you pair one of the most prominent sax players in the EDM world with a duo consisting of an amazing vocalist and producer? Party Pupils (aka MAX and RyanEXOE) with the help from Dominic Lalli from Big Gigantic have recently released the cleverly titled track “Sax On The Beach”. This Future Funk
The post “Sax On The Beach” Teams Party Pupils With Big G’s Dominic Lalli appeared first on EDM Sauce.
The most important day of every week: New Music Friday. 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.
Break out your Tigers Beat: The White Panda elevates the hottest rising boy band, save for Brockhampton, lifting Why Don’t We’s empowering hit single “Trust Fund Baby” to newfound heights with an injection of feel-good vibes and upbeat danceability that beckons innumerable repeats.
Raito digs into a bag of old-school garage tricks with a burgeoning breakbeat remix of Virtual Self‘s hyperactive, fantasy-themed electronic “Ghost Voices,” transforming the number into an even heavier, drum-sweltering beast.
With the vocal help of Tima Dee, Fareoh asserts his versatile studio reign once more.
Though the track’s title and lyrical content is lacking sincere cerebral depth, SNBRN coalesces Peking Duk‘s “Wasted” into a digestible summertime tune, making the number’s monotone vocals and cringeworthy frat bro vibes a smaller, but bearable pill to swallow.
Junior Sanchez embodies the essence that’s come to define him on “Forget” — always moving forward, without ever losing sight of where he’s been.
Sofi Tukker busts out a thrashing, ridiculously colorful new tune ahead of their debut album Treehouse out next Friday, April 13, elevating its anticipation to unforeseen heights.
At long last Chris Lake has found his mind…. It seems this beat has taken it, and we’re glad to finally have it back, even if it was just for the sake of this one tantalizing tune.
Daniel Avery’s cavernous, contemplative techno album Song For Alpha has arrived. Perhaps best encapsulating the aforementioned, “Glitter” is a flurry from the club space, rife with atmosphere, and embedded influence of the greats that came before him.
Saving the best for last, Icelandic multi-instrumentalist and composer Ólafur Arnalds bestows his latest sonic gift “re:member.” Enough said.
Outside Lands has revealed the 2018 lineup for its 11th installment in San Francisco’s Golden Gate Park August 10-12.
Following a fervent 2017 edition of Gorillaz, The Who, and Metallica headlining, 2018 boasts a hefty onslaught of acts, and although the headliners see earlier appearances in the festival season — The Weeknd at Coachella and Janet Jackson at both Panorama and FYF Fest — the lineup remains rife with talent and excitement.
The Weeknd is set to perform, where he’s likely to play out his recent slew of new material which features the aid of Nicolas Jaar, Daft Punk‘s Guy-Manuel de Homem-Christo, and Gesaffelstein. Both Florence + The Machine and Janet Jackson front the bill with performances that will be nothing less than excellent and the lineup also promises a plethora of beloved dance acts. From ODESZA, Chromeo, and Claptone, to DJ Snake, Jamie xx, Tycho, CHVRCHES, James Blake, Gryffin, Lauv, and Whethan, Outside Lands is a music lover’s oeuvre in its late-summer installment.
More information and tickets, which are available starting at 10 a.m. PST April 5, can be found here.
Lineups have been slinging on a daily basis for 2018 festivals and today we have been delivered one of the best ones yet. The Firefly Music Festival is set to return to Dover, Deleware form June 14th-17th and they are bringing heavier heat than ever before. Aside from delivering and insanely diverse lineup, the Electronic
How Superfly’s inaugural Lost Lake Festival put Phoenix on the map as the next big festival spot in the U.S.
This fall, Superfly Presents, the masterminds behind North American festival giants Outside Lands and Bonnaroo set their scopes on a new, emerging entertainment market that they were banking on being the next big festival-hosting city in the United States: Phoenix, Arizona. While most picture Phoenix with a skewed vision of the “wild west,” Superfly was planting its flag in a burgeoning hub of vibrant art, food, local music, and tourism marketability as the home for their newest concept, Lost Lake Festival. The result was not only another overwhelmingly successful event for the organizers, but in turn, positioned Phoenix to strongly attract additional large scale events in coming years to coincide with the city’s exciting, growing social scene. If Phoenix wasn’t on the festival map before, Lost Lake unquestionably changed that notion. The inaugural Lost Lake didn’t just bring in an enticing lineup and top-tier liquor sponsors, the event was a masterfully curated three-day experience, from logistics to programming, that used the host city’s aesthetic as an intrinsic factor in the festival’s appeal.
Image: Jorgensen Photography
Stellar inaugural lineup
Led by top-notch headliners that included Chance The Rapper, The Killers, and Major Lazer, Lost Lake delivered a well-rounded blend of talent that paired top electronic acts like Odesza and Big Gigantic with satisfying, multi-generational tastes of hip-hop from Lil Yachty to Ludacris. Folk rockettes HAIM performed one of the highlight sets of the weekend, along with a raucous showcase from Run The Jewels and a lesson in R&B excellence from The Roots. The lineup curation was designed to span the spectrum, from Huey Lewis and the News to A Tribe Called Red with so many genre-hopping performances in between. What’s more, local Phoenicians and Phoenix-bred acts like Playboy Manbaby, Kongos, and Bogan Via shared the stage with nationally touring acts including Tritonal, Danny Brown, and Crystal Castles, celebrating the city’s animated music and arts scenes, hopefully encouraging other large-scale festivals across the country to adopt similar programming practices.
Image: Quinsey Sablan
Big on local programming
Beyond a phenomenal three-day lineup, Lost Lake applied heavy emphasis to balancing the inherent corporate sponsorships that come with a large-scale music event with locally sourced arts, attractions, and businesses tucked into their FOUND Marketplace. Lost Lake also incorporated interactive art installations across the festival grounds at Steele Indian School Park located in central downtown Phoenix. From pyrotechnic lilypads floating across the venue’s serene lake to paintings created by some of Phoenix’s top muralists sprinkled throughout the grounds, Lost Lake was a sight to behold. When fans weren’t busy enjoying life-sized LED playground equipment and backyard games, attendees could peruse local bar and restaurant options that lined the event’s concession areas, pushing Phoenix’s developing culinary culture to the masses. Lost Lake honed in on the city’s local charm with complementary programming that immediately established Phoenix’s character as a major element to the new festival brand’s identity.
Image: Jeff Kravitz
Perfect location, aced logisitics
Most large-scale festival events struggle with logistics planning, even beyond their infancy. None are immune to all production issues, however Lost Lake’s inaugural run proved to be incredibly calculated and organized, even as it ran directly anchored in the heart of Phoenix’s downtown district. No training wheels necessary. Public transit access ran without a hitch, and on-the-ground festival operations were aced. Attendees were well-informed and considerately directed by festival staff, and local infrastructure was more than adequately prepared to accommodate Superfly’s Arizona debut. On-site logistics were matched by a pristine venue, and Arizona’s mid-80’s autumn season proved to be a perfectly pleasant festival backdrop. Other events that have tried to stake their claim in Phoenix have suffered from incredibly poor planning, unsavory venue selections, and even worse weather, though Lost Lake managed to navigate Phoenix’s stereotypical “drawbacks” with near perfection. Trash and recycling receptacles dotted every free space at the festival, again encouraging similarly scaled events to take similar measures not only for the attendance experience, but also out of respect for the city and the venue alike. The result made a profound difference.
Image: Jorgensen Photography
Keep your eyes on Phoenix
Superfly Presents has already established itself as one of the top names in the business, putting on some of the most sought-after events of the year in North America. Expanding their vision to include a largely untapped market in Phoenix proved to be a significantly successful move, and likely put Phoenix on the map in a major way. And while other dance-centric festival events have sprung up in Phoenix in recent years, like Goldrush Festival, Mad Decent Block Parties, and Decadence offshoots, Lost Lake brought an entirely different vibe to Phoenix that included a heavy appreciation for the city’s narrative and identity, and likely lit the beacon for other major cross-genre multi-day events to begin flocking to the Southwest too.
Image: Jorgensen Photography
2018’s festival circuit is already heating up, with Florida’s Okeechobee Music + Arts Festival dropping off a well-rounded lineup teeming with talent to jump start the spring season from March 1 – 4. Now, in its third year, Okeechobee is boasting perhaps its biggest lineup yet, led by Halsey, Arcade Fire, Travis Scott, with Bassnectar returning to pull double duty this year, slated for two headlining sets. Offering a more curated, hip-hop and rock inclusive alternative to Miami’s EDM festivities at Ultra around the same time, Okeechobee is bringing The Flaming Lips, Khalid, Zeds Dead, Gramatik and Illenium along for support among many others.
From Foster The People to Denzel Curry, Tycho to Big Gigantic, the four-day camping festival is aiming to satisfy a wide range of musical taste, along with top-notch programming including workshops, visual art installations and more. View the full lineup and purchase tickets here.
With the advent of winter comes a dearth of the massive festivals that define the warmer months so thoroughly. Luckily for those in the dance music community, the colder months often bring some new fiery, high-profile mixes to warm the soul. From RL Grime’s chilling Halloween IV mix to Excision’s heated Shambhala mix (out November 21), artists are drawn to this time of year to release a sort of literary catalog of their growth and closure from certain sonic elements.
Big Gigantic is one of those few electronic acts who’ve only continued to rise to new heights in 2017. The Colorado-based duo comprised of Jeremy Salken and Dominic Lalli have sold out their sixth annual Rowdytown event at Red Rocks, released a full remix album of their 2016 Brighter Future project, and made time this summer to get personal with DA.
The fourth installment of their “Winter Chill Mix” is a funky, fun collection of sounds to match the season — complete with changing tempos, smooth saxophone transitions from Dom, and a hip-hop groove appeal that is a gift to any holiday party this year. From the Big G’s inclusion of Hayden James‘ chilling ballad “Numb” to their very own ID remix of Alina Baraz and Khalid‘s “Electric,” the full mix signals a tempered and soothing take on what was and what is to come on the horizon of their growth and change.
Heatweaver – Jaw Gems
Numb (feat. GRACE) – Hayden James
Stay Close – Anth M
Feel It Still – Portugal. The Man (Nikö Blank Remix)
Braindrain – Sun Parade
Promises (feat. Noah Slee) – Ben Esser
Flight Of The Flamingo – Flamingosis
Listen To Soul, Listen To Blues – SAFIA
Closer (feat. Jennie A.) – Lemaitre
Bring The Funk Back – Big Gigantic (The Geek x Vrv Remix)
Electric (feat. Khalid) – Alina Baraz (ID remix)
No Fear – DeJ Loaf
Hands (feat. Denai Moore) – Point Point
C’mon (feat. GRiZ) – Big Gigantic (Cloudchord Remix)
South Of The River – Tom Misch
Am I Wrong (feat. Schoolboy Q) – Anderson Paak
Walk With Me (feat. KUČKA) – Cosmo’s Midnight
Over & Under – Party Pupils
Side King – Jaw Gems (Dom Sax Outro mix)
If there’s one thing Montreal-based producer Snails has become synonymous with, its his slime-coated, grime-ridden brand of “Vomitstep” bass. When the up-and-comer released “Slugz” back in 2014, the menacing trap production would then incite the young producer’s ascension into dubstep notoriety. Hard to believe that nearly three years would pass before Snails would take the next step in his career with the release of his debut album.
The Shell is a well-conceived, expertly-executed project that spans the history of dubstep from its earliest days to its most cutting edge future. Look no further than the Liam Cormier and Travis Ritcher-assisted track, “The Anthem” or “The King Is Back” to be catapulted back to dubstep’s emergence from hard rock/metal-core. More forward-thinking tracks on the LP — from Waka Flaka and NGHTMRE collaborations to the melodic leaning HYTYD & MAX-assisted track, “To The Grave” — grant listeners a look into dubstep’s current iteration.
KRANE has achieved this elusive feat once again of dropping heavy beats while making emotional music. Remixing “Odyssey Pt. 1,” the intro to Big Gigantic‘s album Brighter Future, the Bay Area producer puts a bouncy, auto-tune laden spin on the anthemic original.
The track is one of fifteen remixes of the funk duo’s album, Brighter Future (Deluxe Version). KRANE surrounds the hornline of the original with intense synths and drums before the song’s uplifting, bass-driven drop. Hovering somewhere between Rustie and Cashmere Cat, KRANE’s latest effort cements the producer as one of the strongest in the game right now.