Ever After Musical Festival returns for its fifth installment with a bass packed lineup. Returning to its home in Kitchener, Ontario, Ever After 2019 will go down June 7-9. Canada’s leading electronic music event proves just why it’s #1 with a power-player filled lineup. Ever After 2019 features performances from the likes of Feed Me,
With the year coming to a close and hindsight coming into 20/20 view, most everyone is reflecting on the tracks and albums that defined their year. Porter Robinson is no exception to this tendency, and following his shoutouts to his favorite tracks of the year on his birthday, it’s only natural he’d take the next step and shout out his favorite full albums released in 2018.
releases from 2018 that i love:
Kero Kero Bonito – Time ‘n’ Place (LP)https://t.co/0ESJLJaMVxhttps://t.co/I6HXm66RKzhttps://t.co/8ywZ4ocTVj
G Jones – THE INEFFABLE TRUTH (LP)https://t.co/aHpurcyZ0Whttps://t.co/Bha9hEFhKH
Swardy – Here on my Own (EP)https://t.co/B3qLq1iAs0
— porter robinson (@porterrobinson) November 14, 2018
Robinson has been spinning fluid and loving sound since he walked through the door and these personal shout-outs from musician to musicians hold an intrinsic value. Twitter may have its shortcomings but a door into the-minds-ear of a producer like Robinson in a blessing. Robinson with just a few links and the words “i love” is able to connect worlds of music, influence, and sonic innovation.
Kero Kero Bonito’s Time ‘n’ Place is a sweet, psychedelic, sweeping collection of tracks soft on the ear and penetrating towards to soul. Harmonious and experimental, the trio from London seamlessly brings raw acoustic and instrumental sound together with contemporary electronic noise. The album has bass (both guitar and beats), synths, breakdowns, build-ups, subtle poetic freestyling, jovial sing-alongs, eastern and western influence — making it a mosaic of an album. The juxtaposition between the tracks “Only Acting” and “Sometimes” truly show how versatile these three are. Robinson really did everyone a favor with this glance.
G Jones didn’t really need any looks, having had DJ Shadow call him “the most gifted Ableton beatmaker I’ve ever seen.” Still, The Ineffable Truth‘s unprecedented standing is not to be overlooked. Released October 26, the traction on this work is simply exponential. Sometimes a solid record reveals itself right off the bat. Within seven seconds of the first track, “222 / Unknowable,” G Jones does just that. A wise voice simply states, “I want to feed off of this feeling which seems to be coming from everything,” after the briefest pause, in big-bang fashion G Jones rips the world apart for just a moment. He knows how to break down space and resemble it and has an understanding of sound and technology that combined create an organic experience. Making this form of music that organic is what will continue to propel these beats into the future.
Swardy‘s Here on My Own is a beautiful collection of one half of The M Machine‘s essence. Light, fun, and mystical, this five-track release causes a desire for introspection that Robinson himself has a talent of bringing forth. The tracks are flush with groove, melody, and steady beats that allow the listener to close their eyes and explore their minds and their hearts. These tracks don’t get stale and supply a timeless opportunity to explore the infinite space that is the self. Appropriately, Here on My Own is out through Mat Zo‘s Mad Zoo label.
Sunday Morning Medicine is a feature from Dancing Astronaut dedicated to the mellower side of electronic music. We bring you our favorite therapeutic selections—old and new—in attempts to alleviate the agonizing effects of a long weekend of partying.
Synth-wave savant, Lucy In Disguise‘s twinkling catalog of dream-scapes drums up memories of the “Stranger Things” soundtrack, if it were funneled through a warm, neon kaleidoscope. His latest dose of effervescent electronica, “Sunset Blvd,” greets listeners through the Electronic Gems compilation, Milestone.
Cubicolor‘s deliciously despondent lyrics are Dancing Astronaut-certified for a little Sunday morning soul-searching, as per usual. The Anjunadeep-ian triad’s “No Dancers,” combines dissonant arpeggios with rippling keys for a tranquilizing chaos fit to lay any weekend to rest.
Chrome Sparks‘s precipitously active, ’80s-indebted partnership with Miniature Tigers’s Charlie Brand, Promises Ltd., is well-versed in the high art of unrequited love. The slow-to-strike “American Eyes” will assuage intrusive thoughts of the tragically unattainable and “painfully cool,” by way of its utterly sensuous, beat-lenient synth-pop.
G Jones‘s new album, The Ineffable Truth, is the equivalent of a long, strange dream, during which “Everything All At Once” is the eye of all turbulence. The offering is complete with sedating, organ-like components that reverberate into the foremost corners of the uncharted psyche, intermittently erupting into spiraling synth-blasts.
One of Anjunadeep‘s newest breadwinners, Ben Böhmer, has proved himself an austere presence within the Anjunabeats sub-label, melding his visceral, atmospheric sound to the housing’s most intimate foundations. In his “Hold On” remix, Böhmer leaves his polished patriarch, Lane 8‘s creation still starkly recognizable, slightly pitching up and restructuring the lead synth-line, and leaving Fracture’s exploratory vocals unadulterated through the chorus. The remix, like the Lane 8 original, is the ideal soundtrack for flying over a sea of snowy mountain peaks, or a long Sunday’s rest atop a vapory mass of clouds.
It’s most important day of the week: New Music Friday.
We’ve truly been blessed this week, with some of electronic music’s hottest acts dropping insane new productions. Habstrakt drops it low in his fiery new single, “About You,” and Malaa, too, delivers a house anthem in “We Get Crunk.” We welcome the return of Manila Killa, who’s delivered the beautiful “Run Away,” his first single in eight months. Mat Zo‘s released his highly anticipated No Words EP, from which we’ve selected the unparalleled “Music Lost All Words.” It’s also a stellar day for remixes, including The Black Madonna‘s rework of Silk City and Dua Lipa‘s “Electricity” and Syn Cole‘s bouncing take on Matoma‘s “Losing It Over You.” NGHTMRE and SLANDER‘s Gud Vibrations label celebrates with its first release today, too: WAVEDASH and fknsyd‘s “Deathwish.”
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: Rukes
G Jones is one of the most exciting producers in the industry right now. He out of the box production style and dark wild sounds have quickly made him a fan favorite. This past weekend G Jones performed at Lost Lands 2018. The festival saw at least two deaths over the weekend, and many speculate
The post G Jones Takes To His Social Media To Champion Better Harm Reduction Practices By Festivals appeared first on EDM Sauce.
If anyone were to be pioneering a genre named “experimental bass,” G Jones would be at the forefront, with his unconventional take on the style of music. His newest release, which is the third fans have heard from the producer’s forthcoming album, is titled “Time.”
The six-minute-long track takes the listener down a sonic path with endless twists and turns, combining instrumentals with commanding electronic synths that blend together to serve as the framework for scattered flute solos. Robotic vocal breaks also weave in and out of the synths, making for a tune that gives the listener something to think about thanks to its endless sonic elements. The track manages to blend subtle bass with a calming backdrop, which is a hard production feat to achieve. The track is out now on Illusory Records.
Artwork: Victor Mosquera
G Jones is known for his unapologetically aggressive take on experimental bass music. Following his recent cinematic single, “Understanding the Possibility,” the artist has returned with “In Your Head,” the second single off the producer’s forthcoming album.
Wasting no time, G Jones opens with a chaotic buildup and a heavy, bouncing beat that would make even Bassnectar blush. The track drops into a mystifying blend of erratic vocal chops, distorted bass, and stabbing synths. As one of the major players in underground bass music, these new singles from G Jones are setting high expectations for the artist’s debut album, out later this year.
Greg Jones has long been keen on foregoing the commercial spotlight in order to stay in the underground. That underground locale for the hard-hitting experimental bass music producer has earned him collaborations with The Widdler, Bassnectar, Bleep Bloop, DJ Shadow, and EPROM, to name a few. Dubbed a “mad scientist in his own right” by friend and close confidant Lorin Ashton, the grand-all catch-22 for the Bay Area producer is this: the harder Jones strives toward his experimental, underground direction, the more prominently he rises into the public eye.
Now G Jones has officially given his fans one of the many unreleased songs he has been teasing in his sets for some time. Dubbed “UNDERSTANDING THE POSSIBILITY,” the track comes as a rich and jolty bass music experiment, equipped with millennial sound samples and hardy synth work — all the while retaining it’s beautiful and supremely layered elements. The single is a signal of what is yet to come from the bass music producer, which, by rumors amongst his fan base, is a full-length studio album in the unforeseeable future.
As a festival built on an ethereal foundation of acceptance, imagination and an appreciation for dance music, Electric Daisy Carnival has contrived and solidified their elusive reputation in the realm of music festivals. It has grown to become one of the most distinguished dance music festivals throughout the globe, after years of creating transcendental experiences that manage to remain unique to, and a principal facet to the festival’s essence.
Some may say that EDC’s success can be ascribed to its core focus on the principles of unity, love, self expression, and respect. Others may attribute it to the touches of creative ingenuity in every aspect of the festival, along with their perpetual nature of outdoing themselves with the passing of each year.
Though EDC excels in all areas of community creativity, and growth, their success innately derives from their focus on the festival attendees — thoughtfully referred to as the “Headliners” behind the weekend. No festival is able to thrive without balancing their hiccups with accompanying improvements, and this one is certainly one of those that learns from their mistakes.
From its very first edition held in 1997, to the colossal three-day takeover just over two decades later, EDC has risen to the top of the international festival landscape with little competition along the way. The 2018 edition proved to be nothing short of what is known as the “EDC experience”, as the team worked magic to pull off 72+ hours of unprecedented extravagance.
With prior years of facing issues with shuttle transportation, and being at mercy to the desiccant, desert heat, one of the largest additions (and solutions) to this years event included the introduction of Camp EDC. Positioned just outside the Las Vegas Motor Speedway, Camp EDC hosted over 20,000+ attendees over the course of the weekend, kicking off a lineup of widespread festivities right from the get-go. Campers were given the choice between the GA Moonstone, and VIP Desert Rose tenting accommodation, each priced within reasonable grounds to the accustomed price-hike that Las Vegas visitors typically assume. RV Camping was available for those who weren’t fans of traditional camping, offering a more “cushy” outdoor experience.
While Camp EDC was an excellent solution to alleviating the traffic load to the venue, it came at the cost of long entry wait times to the campgrounds.
— FestiHeads EDC Las Vegas (@FestiHeads) May 18, 2018
Campers took to social media to relay their dismay behind the circumstances, tweeting both EDC and festival owner, Pasquale Rotella, about the 8+ hour wait times, and the risk of running out of gas/car battery. For those who were the lucky few that managed to be in the right place at the right time managed to breeze into the campgrounds, and get set unpacked before the weekend madness commenced.
Camp EDC’s first-ever campground kick-off party took place in their common-grounds, known better by “The Mesa.” Well prepared for the daily heat and incoming profusion of happy campers, “The Mesa” was characterized by colorful landmarks, non-stop daily activities, and weekend-long pool parties hosted by fan-favorite groups like Space Yacht, Insomniac Records, and Brownies & Lemonade.
Thursday’s pre-party was one for the bassheads (and was definitely met to bewilderment from campers seeking a more tame pre-EDC night), hosted by Excision, G Jones and Habstrakt as they played out on the illustrious Parliament Art car. To add to the already stacked evening, NGHTMRE went b2b with Slander in the early evening; adding to the large case of FOMO that non-campers, and campers who weren’t yet inside experienced.
With the good came the bad, and EDC was not exempt from the common camping festival struggles. Desert Rose campers were promised their own 24 hour, VIP bathroom/shower facilities, yet these were unaccessible at different points throughout the first day. Shower lines for the rest of the weekend were rarely scarce, pushing people to head back to their tents and resort to a good ‘ol-fashioned baby-wipe shower. Bumps on the road aside, no festival is complete without a few mishaps, especially when accommodating to 20,000+ thousand people in the middle of the desert.
#CampEDC diary, Friday, 10 am. Since all of the showers and toilets have been closed all morning, we have had to resort to washing ourselves with Red Bull, since it is cheaper than water. The trick is to ask for a cup when you order the Red Bull so you have somewhere to poop.
— Fiji Quay (@ARPdid911) May 18, 2018
Between the daily pool parties, and influx of group activities aiming to address the mind, soul and body, Camp EDC was a cloud nine destination for those looking to fulfill their EDC experience. Just as Insomniac prides themselves on centralizing the principles of positivity and respect, staff and security showed ample enthusiasm and genuine concern to the needs of festival-goers, making for smooth and sweet conversations all around.
An attribution to the countless hours placed before the festival’s success, campers left tired, yet fulfilled at heart from the three-night spectacle. A daunting task which proves difficult to face, EDC deserves credit where it’s due. Corralling over 20,000 individuals amongst 3,400 tents and 1,100 RV’s requires far more than extraneous planning and meticulous calculations. A project of this caliber requires patience, unwavering dedication and a love for dance music; drawing back to the founding pillars behind Insomniac’s success.
Photo credits: Skyler Greene and Jake West.
Made Event‘s titanic New York-based festival, Electric Zoo, is celebrating its tenth birthday this Labor Day Weekend, August 31st–September 2nd. To mark the momentous double-digit occasion, the wildlife-themed event has added two more headlining artists in Alesso and Tiësto to join the star-studded cast of talent that already tops the 2018 bill: Kaskade, Marshmello, Martin Garrix, and Virtual Self.
Other notable acts joining on phase two include: Alexander Lewis, Bonnie x Clyde, Boogie T, Chris Lorenzo, Chuurch, Crankdat, Destructo, DNMO, Dubfire, G Jones, Habstrakt, Jauz, Kayzo, Lost Frequencies, Luzcid, Medasin, Party Favor, Petey Clicks, Space Jesus, Spencer Brown, Squnto, Stööki Sound, Whipped Cream, and YehMe2.
Tickets to Electric Zoo are currently on sale to the general public, and can be purchased here.
Featured photo: aLIVE Coverage.