Chainsmokers to Play Halftime Show at Chiefs/Rams Game Tonight

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The Chainsmokers and Kelsea Ballerini are set to perform their hit song ‘This Feeling’, during tonight’s Monday Night Football Halftime Show, as the 9-1 Kansas City Chiefs take on the 9-1 Los Angeles Rams in what is being called a potential “Super Bowl Preview”. With their massive worldwide fan base, The Chainsmokers were rumored to

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The Chainsmokers Discuss Upcoming ‘Paris’-Inspired Film

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The Chainsmokers spoke to Billboard at the 2018 Victoria’s Secret Fashion Show’s red carpet. During the interview, the duo i.e. Alex Pall and Andrew Taggart discussed working with singer/songwriter Kelsea Ballerini and their upcoming ‘Paris’-inspired film. Ballerini, who met the Chainsmokers at the 2017 Grammy Awards, is featured on the electronic duo’s hit ‘This Feeling.’

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The Chainsmokers Dedicate Billboard Top Dance/Electronic Artist Award to Avicii

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The Chainsmokers have been making waves with their newly tuned sound that delivers a vibrant feel of Dance Pop. Through dropping their “Memories… Do Not Open” album, Drew and Alex have catapulted to the top of Dance Music and Pop charts with their soothing and melodic sound. With such a prominent past couple of years,

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The Chainsmokers Win Back EDM Fans With Their Impressive Ultra Performance

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Ever since The Chainsmokers dropped their ‘Memories…Do Not Open’ album, EDM fans have been wondering whether or not The Chainsmokers were a rock, pop, or dance music band. Despite being two of the biggest electronic music artists in the world, The Chainsmokers brought out their A-Game at Ultra Music Festival 2018. Shortly after their set,

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Drops only? This Chainsmokers video’s got you covered

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Euphoria’s at a high, the music is reaching its crescendo, and your body inadvertently flings itself into the air. Carefree and weightless, little moments in life compare to a drop.

Believe it or not, a Chainsmokers set is no exception. One could go so far as to say that their sets are wildly energetic, a vast distinction from the cookie-cutter tendencies of their most well-known songs.

This video, a part of the EDM Life YouTube Channel, which brings its users condensed sets of fervent drops, brings the most intense Chainsmokers show to date. Although it may be one of their shortest sets to date, it may change your mind about the bombastic duo, and at minimum ensures that they can, in fact, bring the heat, even if they have some outside assistance.

Creamfields announces unmissable 2018 lineup

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Creamfields announced their 2018 lineup and it’s looking to be behemoth year for the Cheshire-based extravaganza. Rich in both depth and considerable breadth, the festival will bring together 300 artists across 30 stages from August 23–26.

Techno don Carl Cox will be making his return to the festival for the first time in over a decade, where numerous other artists will be making an appearance, showcasing the festival’s keen ability to tap into the full spectrum of dance music. From artists like Skream, Kölsch, and The Black Madonna, to The Chainsmokers, Tiësto, and Above & Beyond, Creamfields 21 promises to be an unmissable installment for all dance aficionados.

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More information and tickets are available here.

Owen Norton Remixes The Chainsmokers’ New Hit

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After gaining over a million views on his remix of The Chainsmokers’ song, ‘Young’, Owen Norton once again impressed his melodic vibe on another Chainsmokers release. With big chords, impactful drums, and an infectious vocal arrangement, Owen puts a future bass twist on The Chainsmokers’ acoustic ballad, ‘Sick Boy’. Although he is only 18 years old,

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Alex Pall of The Chainsmokers Admits To Being Miserable After Public Breakup

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Following the public break of Alex Pall of The Chainsmokers cheating on his ex-girlfriend, Tori Woodward, Pall admits to being quite miserable. Just before Alex Pall was off to Qatar for their first gig in the Middle East, TMZ caught up with the musician to find out that Pall has admitted that things have been

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The Chainsmokers drop surprise new track, are actually just a band now

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The Chainsmokers have dropped a surprise video for a new song “Sick Boy.”

The clip shows the duo leaning into the instrument-heavy lineup they’ve been championing of late — a musical affect that seems more akin to Twenty One Pilots than any of their EDM ‘peers.’

“How many likes is my life worth?” moans producer Drew Taggart who serves as the vocalist in the clip while co-producer Alex Pall bangs away at a piano and a drummer keeps the song alive.

While the track is sure to delight the group’s more recent fans, it’s a notably major departure from the progressive house remixes that brought them into prominence.

What does Rolling Stone’s top 20 EDM album list say about the genre?

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Is Rolling Stone’s 20 Best EDM and Electronic albums of 2017 an ill considered attempt to showcase obscurity for obscurity’s sake or an apt proclamation concerning the current status of electronic music?

The list at hand has sparked collective controversy among the EDM community due to its off-kilter inclusion of some of electronic music’s most remote auteurs — and an apparent exclusion of some of the mainstream’s most prominent producers.

While some feel the list misses out on some of 2017’s key artists, the analysis begs relevant questions regarding the dissemination of electronic music over the past few years, as well as the increasingly ambiguous boundaries between genres.  After all, what exactly defines “EDM” in the first place?

Rolling Stone’s exclusion of any major EDM pop stars — read: The Chainsmokers, Odesza, Galantis — marks a prodigious shift from their inclusion of electronic pop music in years past via Flume & Kygo in 2016 and Disclosure & Jack Ü in 2015. In fact, the closest 2017’s list came to showcasing pop music was through UK grime superstar Stormzy and Long Beach’s own Vince Staples on their respective albums Gang Signs & Prayer and Big Fish Theory, neither of which can accurately be described as pop.

Furthermore, while both Stormzy and Vince Staples utilize electronic elements in their tracks, is it accurate to classify these albums as EDM or even “electronic?”

Have the constructs of electronic music completely collapsed, or has the umbrella-esque genre simply become defined by the technicalities of digital production? The inclusion of “niche” artists could be a way of acknowledging EDM’s infiltration into contemporary pop and the jarring effects that move has had on the way that listeners contextualize electronic music as a whole.

One could go so far as to gesture that EDM and electronic music are entirely distinct entities. While everyone knows EDM is technically defined as “Electronic Dance Music” the genre is applied liberally and without any real distinction.

Though it would be easy to get upset at perceived “snubs” for the mainstream or even mid-range artists operating in the EDM-relative space, Rolling Stone’s decision to include albums within any and every degree of electronic music’s diverse range of styles is a testament to the genre’s versatility, and, perhaps its saving grace: its ambiguity.

EDM is more fluid than most would care to believe, and for many, contextualization of the genre depends entirely on their own experience with it.

The exclusion of such massive albums as Chainsmoker’s Memories…Do Not Open and Galantis’ The Aviary can’t be an accident. While it throws the article’s titling into question, the logic is solid.  For starters, the former failed to garner support from even the most devout EDM enthusiasts. Barring the exception of an outstanding album in Calvin Harris’ Funk Wav Bounces Vol. 1, Rolling Stone’s decision to prohibit EDM pop stars from its list seems entirely justified considering the apparent lack of authenticity among EDM pop in 2017.

Though Harris’ record is an obvious standout, it seems that the efforts of most major artists in this space are becomingly increasingly uninspired. Once a genre that challenged notions of what electronic music can be, popular EDM now seems devoid of any risk takers among its mainstream sect. So goes for any of its notable sub-genres that have been beaten beyond death—future house, we’re looking at you.

While Rolling Stone may have benefited from including the more innovative album releases this year from artists like Emancipator, Floating Points, Barclay Crenshaw, Amelie LensJamie Jones, Kelela, Perc, or Yaeji to name a few, the coveted spots are not infinite, and their current standings do help shed a stark light on EDM’s lack of audacity over the last year.

As the genre bubbles into mainstream consciousness, it has yet to exit its immature, money-grabbing mindset, rewarding chintzy efforts to gain streams while forsaking the same genre-bending behavior that has consistently defined electronic music. After all, if it’s not easy to define, it can’t easily fit on Billboard charts.

EDM, as a genre, is nearly impossible to characterize formally and the music that comprises any of electronic music’s myriad sub-genres can reflect a multitude of various styles and sects in just one track: after all, the inherent genius in electronic music lies both in its malleability and its unique ability to evade easy definition.

Some may deem such rankings as unnecessarily obscure but, despite missing out on a few key albums, Rolling Stone’s Top 20 EDM List stands as a relevant statement about the genres current state.