Datsik cancels tour, steps down from Firepower and social media in wake of sexual assault claims [UPDATED]

This post was originally published on this site

datsik-ninja-nation-tour-2017

If you thought the #TimesUp movement was confined to the highest circles of Hollywood’s elite, you’re dead wrong. The movement that’s sparked the long-overdue call for a cultural shift in how we approach sexual harassment is gaining traction in schools, workplaces, and on social media by the day — moving toward a state of real accountability for wrongdoing.

Now, Datsik‘s time appears to be up. News recently broke of the Canadian DJ, born Troy Beetles, alleged sexual misconduct on tour. The initial allegation was quickly corroborated by numerous women on social media all over the country, detailing instances over the span of more than four years worth of touring. Less than 24 hours after the accusations surfaced, Datsik has disappeared from the electronic music scene. Here’s the timeline of events that have essentially wiped Datsik off the map indefinitely.

March 14, 2018  —  News breaks

Beetles’ life, as he knew it, rapidly began deteriorating after tweets from user PortersWorlds began to go viral. The tweets alleged a history of sexual misconduct, replete with damning screenshots from the accused, that multiple women began to corroborate with their own personal accounts. Accusations are just that, and, as of publication, Datsik has yet to be charged with any crimes stemming from the allegations.

What’s irrefutable, however, is at this point a pattern of behavior has been identified and corroborated many times over. Claims that female meet and greet guests were given access credentials that say “TULSA” — allegedly so as to spell out “a slut” when viewed in a mirror — began cropping up, and claims of rampant drug use and unwarranted physical advances on multiple tour stops started to mount.

As social media activity picked up, Datsik’s tourmate on his current Ninja Nation tour, Space Jesus announced he was pulling out from the remainder of the tour until his team has the opportunity to investigate the claims made by a growing number of alleged victims. Scrambling to add his own perspective to the burgeoning story, Datsik released a statement via social media, a move that turned out to be considerably more damaging. The statement flatly reads, “there have been recent allegations against me for things I have not done,” adding that “[being out on] tour is a safe and fucking rad zone for us all.”

datsik state

March 15, 2018  —  Ninja Nation Tour, Firepower, social media lockdown

Following the Twitter storm that ignited these allegations, and the subsequent loss of one tourmate, Beetles’ team released a second statement that the remainder of the Ninja Nation tour is now canceled, gutting the final 16 dates that were slated for the summer. Shortly after the announcement, Firepower Records, founded by Datsik in 2012, announced it would be parting ways with Beetles in light of the accusations brought against him, transferring creative direction responsibilities to label manager Sharra Grace.

 

After losing the endorsement of his own imprint, Datsik’s own Twitter account went private — notably, this means previous tweets, a number of which were, to say the least, troublesome, will no longer show up in search engine results.

Circle Talent Agency and Deckstar announced they have severed ties with the artist as well.

“In light of recent allegations that have come forth, we have decided to sever our relationship with Datsik at this time,” Deckstar said in a statement. “Although we lack concrete information to confirm or deny these allegations, the nature and volume of the accusations demand swift and decisive action. We have always held ourselves and clients to the highest standards and believe that at this time it is in the best interest of our company and staff to move on.”

It is worth reiterating that accusations are not charges. It is not the purpose of this post to speculate on innocence or guilt. But silence is complicity, and the music industry may wind up experiencing its own “Weinstein Effect” in the coming months. In the last six months alone, Nelly, Ethan Kath of Crystal Castles, The Gaslamp Killer and many more have been embattled in similar legal situations, and while Beetles deserves the opportunity to speak his side of any story, as of now we can conclusively say Datsik is indefinitely done.

March 15, 2018  — Bais Haus releases statement that Datsik will no longer be apart of Ephwurd.

 

Firepower Records Drops Datsik, Releases Statement

This post was originally published on this site

Datsik started Firepower Records many years ago. Soon his long time girlfriend Sharra Grace became co-owner and became head of label operations. Today Firepower Records has released a statement in regards to the accusations against Datsik and cut ties with the artist entirely. Sharra will take over entirely as label boss in hopes of keeping

The post Firepower Records Drops Datsik, Releases Statement appeared first on EDM Sauce.

Datsik evolves with meticulous masterpiece, ‘Master of Shadows’ [Interview + EP Review]

This post was originally published on this site

How does an artist become an icon?

Musicians and managers often overlook this question in their quest for career prosperity. It speaks to art at the intersection of style and substance, more than it does to commercial fame. Datsik certainly understands the power of iconography. Recently dubbed by critics as “ninja warrior,” Troy Beetles has harnessed the visual power of the Asian samurai. Look no further than his Ninja Nation tour, which rolled out last winter and sold out nearly every major US city. 

“It’s tough sometimes to make the shit that you just want to listen to on headphones when you tour so much,” Datik told DA recently in a conversation. “Being out here and seeing what works on a dance floor can sometimes be detrimental to creativity. I guess at the end I’m just trying to find a balance.” The 29-year-old producer further noted that he’s outgrown the phase of his career where he feels the need impress people, and that his inspiration comes from human connection: “Honestly, it’s the people and my friends and being able to share music with people. I’m inspired by the love I am shown from my listeners.” 

“I’ve been into this [ninja] stuff since I was a kid.”

The Canadian producer, now based in Los Angeles, has been at the forefront of heavy, head-banging dubstep from the start of his career. Since the release of his debut EP Nuke ‘Em in 2009, Datsik has been open about how his particular style of bass has been inspired by Bassnectar and Excision

 

 “Both of them [Lorin and Jeff] are legends, and its been such an honor to not only work with them but to call them friends for life. The grind is so real out here and to have mentors you can share the experience with is invaluable. Very stoked to see the progression of underground music and where its gone.” 

Yet, he remains humble to the fact that he himself has ignited a burgeoning dubstep movement across North America that has landed him on the major festival billings of Ultra, Coachella, EDC Las Vegas, and Shambhala. January 2018 marks the seminal moment that Datsik emerges as a leading tastemaker in bass music, as he releases his tenth studio EP: Master of Shadows

The seven-track project, out on his label Firepower Records, comes as the potentially the biggest milestone of Troy Beetle’s career, reaching No. 1 on the iTunes Dance charts within hours of its release. Along with it, the deadly assassin is taking on January armed with an enormous 60-date Ninja Nation Tour

“The fact it [the EP] debuted at number one made me realize how fortunate I am to have the supporters that I do.”


Master of Shadows is filled with collaborations, which speaks to Datsik’s ascendancy as a real influencer of his genre. Not only does it enlist some of bass music’s most innovative names, from JPhelpzDion TimmerVirtual RiotExcision, and Ganja White Night, the quality of its sound design places Datsik well within the company of the very pioneers who inspired his early musical directionality. 

Whereas his previous albums helped lay the groundwork for dubstep’s biggest expansion since its early emergence in 1990s London, Master of Shadows marks a pronounced stylistic shift in Datsik’s lethal arsenal of bass. On the one hand, the project fully delivers on every sonic element that Datsik has been dialing into over the years. One the other, what he serves up here is something fresh, inimitable, and entirely different. 

“I really try my best to keep a vibe that people like me for. I also really want to explore different avenues, and I feel like every EP is a new venture to figure out how to meld the old with the new.”

Datsik on his Ninja Nation tour stop in Philadelphia. Photo courtesy of DMNDR.


Throughout Master of Shadows, Datsik achieves his vision, in part by channeling his passion for creative expression and the pursuit of his dream of making music. “I am happy to be in a position to do what I love for a living and be able to express and share the vibe with everyone at these shows. There’s nothing else I’d rather be doing,” he says. Thematically, Beetle’s work pinpoints the nexus between his evolved style and an artistic commitment to where he’s been. 

The EP’s leading track, “Pressure Plates,” paints a cinematic picture, encompassing listeners into a fully immersive experience. The track begins with orchestral layers that, interestingly, call on the electronic stylings of a budding deadmau5 ballad. Datsik is a master of building suspense, as anticipations run high all the way up to the two-minute mark. This is where the payoff happens for those yearning for Datsik’s signature style — the deadly assassin delivers his fatal drop, followed by sparse, syncopated percussive patterns and heavy bass lines. 

There is an intentional construction to Master of Shadows that demonstrates Datsik’s leap from ordinary dubstep producer to bass music icon. Along with the colossal instrumentals he imbues in two of the EP’s tracks with Virtual Riot, including the previously-released “Warriors of the Night,” Datsik has so too proven himself a master of collaboration. In “Freakquency,” listeners are left hanging onto every added sonic element in this carefully constructed track. After a gradual lead in, the senses are quickly bombarded with staccato guitar riffs, jarring synth work, low-frequency subwoofer bass, and masterful breaks. At the song’s close, the silence is — quite literally — deafening. 

Datsik also pays homage to his past style in two unrelenting cuts: one ironically named “You’ve Changed,” and the other titled “Find Me,” which is sure to become an anthem. The latter is a stand out single for its clear influences from Dion Timmer and Excision. While Timmer’s impact is heard immediately at the track’s opening — in his sentient vocals and the unrelenting swells of the electric guitar — Excision’s ruthless touch arrives at the song’s behemoth first drop, oscillating between melodic breaks and frenzied rampage. 

When prompted to tell the story of Master of Shadows in his own words, Beetles states, “I actually wrote this entire EP in three weeks, and my hard drive crashed mid way. It has been the single hardest thing I’ve ever done. I’m so happy with how it all came together and worked out.” 

“To anyone listening to the EP, I love and appreciate you, and can’t wait to see you on the Ninja Nation tour.”

There’s no denying Datsik has been developing his highly stylized Asian directive since his 2014 EP, Down 4 My Ninjas. Neither can one deny that this shadowy mercenary aesthetic fits perfectly into the rough and rugged genre of dubstep. 

 Yet, despite the problematics of a Canadian contemporary appropriating feudal Japanese cultural figures for profit, Datsik has been able to capitalize on his Ninja-branded sound stamp to much success. This precise move is because he has seamlessly fused this ninja imagery into the very substance of his sound design. More than that, he infused the ninja image into his very on-stage identity — from his massive Shogun stage production to his LED conicol hat and karate uniform — all at the level of style. Datsik has branded himself a “warrior of the night.” 

Check dates and pricing for Datsik’s Ninja Nation 2018 tour, featuring support from Space Jesus, RIOT TEN, Wooli, Carbin, and Swage. 

Featured photo courtesy of Jame Winterhalter

 

Kayzo Teams Up With Micah Martin For Sound Wave Killer “OVERLOAD”

This post was originally published on this site

Coming off a killer 2017, Kayzo announced the drop of his forthcoming album weeks ago: “I’m proud to announce that my debut album Overload will release on January 19th, 2018,” Off the album, the featured single “OVERLOAD” has hit sound waves hard and delivers what we have grown to know and love from the producer/DJ.

The post Kayzo Teams Up With Micah Martin For Sound Wave Killer “OVERLOAD” appeared first on EDM Sauce.

Datsik & 1000volts – Monster (Original Mix)

This post was originally published on this site

Datsik has been a staple of the American dubstep scene for years. With that experience comes prestige, opportunity, and, most importantly, impressive guest features. In his most recent collaboration, Datsik has teamed up with 1000volts, a duo comprised of hip-hop legend Redman and turntablist Jayceeoh, for their new track “Monster.”

The song release comes alongside a music video, with the three artists executing an masked robbery of a marijuana dispensary. Although the trio seems incompatible throughout the video, the same cannot be said about their music. While Redman was known for his old school style, he has no problem transferring his “homicidal” flows and lyricism to Datsik’s signature hard-hitting drums. Bass stabs and vocal chops permeate the drop, making a balanced yet filthy dubstep and hip-hop collaboration.

Read More:

Datsik ft. Snoop Dogg – Smoke Bomb (Original Mix)

Jayceeoh teams up with iconic rapper Redman for ‘Turn up Some’

Ephwurd – Vibrations (Original Mix)

Bandlez Brings It With Firepower Records Release “Bubba Bounce”

This post was originally published on this site

Bandlez has been on the rise the past year and has been making big steps to becoming more known. Perfecting their new content has not only given them enough time to put together The Heist EP, but also has given them the pleasure of it being released on Firepower Records. The Philadelphia duo has finally

The post Bandlez Brings It With Firepower Records Release “Bubba Bounce” appeared first on EDM Sauce.

Bandlez Brings It With Firepower Records Release “Bubba Bounce”

This post was originally published on this site

Bandlez has been on the rise the past year and has been making big steps to becoming more known. Perfecting their new content has not only given them enough time to put together The Heist EP, but also has given them the pleasure of it being released on Firepower Records. The Philadelphia duo has finally

The post Bandlez Brings It With Firepower Records Release “Bubba Bounce” appeared first on EDM Sauce.

Rettchit and Steezy Jaxxx Talk New Music, Sound Design, And More

This post was originally published on this site

An all new way to get EDM news and interact with talented producers emerged two weeks ago and is set to go live once again tonight via twitch and facebook live. The live broadcasted EDM talk show Sauce’d is EDM’s premiere livestream talk show and is pushing the envelope for music journalism. The show which is

The post Rettchit and Steezy Jaxxx Talk New Music, Sound Design, And More appeared first on EDM Sauce.

Datsik Unveils His VIP of “Katana”

This post was originally published on this site

People like to talk about if a VIP could actually be better than the original song. Most people make a case for the original because “nothing could beat the original.” Arguments can be made all day but when you’re dealing with a bass music legend like Datsik, you can only expect quality music who continues to set the standards

The post Datsik Unveils His VIP of “Katana” appeared first on EDM Sauce.

Celebrate Five Years of Firepower with these Iconic Releases [LISTEN]

This post was originally published on this site

Changing the way you listen to bass music since 2012.