Since its inception, the Deathpact project has been shrouded in mystery, though there still hasn’t been any real indication as to the enigmatic sound designer’s identity. It’s been made clear that the masked mystery is a known, established producer in the industry, invoking a Bane-esque “no one cared who I was until I put on the mask” brand of anonymity. All this secrecy drew a large crowd at the artist’s debut live appearance at this year’s Shambhala, where the possible human donned an LED covering over the face, resembling the ever-changing ellipsoid used in all the project’s cover art.
So fans around the world could enjoy the project’s live debut, Deathpact released the recorded set on Soundcloud for continued listening pleasure. The hour-long performance jostles the senses with a type of synth play previously unheard of. It’s a must-listen for anyone who finds themselves leaning bass house.
Deathpact has collaborated with REZZ and 1788-L, guiding their sounds towards bass house with a heavy, glitched-out spin. Whoever is behind the Deathpact curtain, their identity is still unknown.
Attendees of UNTOLD Festival in Romania were treated to a legendary experience when trance maestro Armin van Buuren threw down a seven-and-a-half-hour set on Aug. 2.
Opening with an orchestral version of his own “La Résistance De L’Amour” with Shapov, the State of Trance host took fans on an hours-long journey through some of his most iconic tunes and sprinkling in other trance favorites from artists like W&W, Blasterjaxx, Adam Beyer, and countless others. Also buried amongst the performance’s expansive track list were multiple IDs, undoubtedly leaving the crowd wanting more despite the set’s expansive length.
Van Buuren’s been churning out music since the late nineties, and at 42, shows no signs of slowing down any time soon. It’s even become a bit of a tradition for the storied producer to perform marathon sets at the festival, clocking in seven hours in 2018 and five in 2017.
Artists continually take risks in the pursuit of revolutionizing their craft. Nina Kraviz epitomized this phenomenon in the grandest of ways via her brand new live set, which she debuted at Coachella.
The performance felt like something made for a gallery space; it took on an abstract, expressive tone as Nina traipsed around the stage in an all-black outfit, reading and singing verses from her diary whilst images of herself doused in vivid effects filled the screen behind her. There were plenty of her signature dance moves as well. By the end of it, fans and curious onlookers had entered a full-on debate as to whether it was enjoyable or ludicrous—and it continues to be a divisive topic to this day.
Now those who missed it can see for themselves whether or not it’s forward-thinking art through the official stream release, which is already making its rounds far and wide around the electronica space.
Skrillex wasn’t yanking chains when he said he was going to release a stronghold of new music this year. It seems festival-goers at Ultra Korea got more than a taste of what’s to come.
The robust hour-and-a-half set features various IDs, an unreleased Dog Blood track with Ty Dolla $ign, “Midnight Hour,” an unreleased remix of Space Laces‘ “Slice n Dice,” his new collaboration with TroyBoi, “War Cry,” coming out this week, and a gargantuan grip of high-energy mashups of his own volition. Another highlight of the night was a heavy-handed edit of Avicii & Skrillex vs. SQUNTO, “Levels” versus “Sayim” (Slushii Edit) into a short and sweet “Sing it for Tim” tribute.
The entire track list can be found here in case the bass should have viewers so inclined, and avid Skrillex fans will find multiple gems to keep them on their toes for official releases this summer. The dubstep poster child continues to solidify himself in dance music majesty, and this set is simply another notch in his belt of highest-level execution.
Zeds Dead are veterans and trendsetters in the electronic space, creating their own lane of new sound both produced and supported by their own Deadbeats imprint. Innovation is currency for the two dubstep flag bearers, combining different amounts of rumbling, melodic low end with dynamic synths and powerful energy for an ever-evolving, idiosyncratic sound.
Dylan Mamid (DC) and Zachary Rapp-Rovan (Hooks) mentioned on Twitter about their upcoming EDC performance, “This’ll be the most unreleased music we’ve had in a set I think.” For these Toronto-based artists who defy categorization brought Bassmentality to one of Canada’s most storied club nights and the rest was history.
Throw tour Z’s up and listen to Zeds Dead rock the Circuit Grounds stage at EDC below.
Eric Prydz took his Cirez D alias to Coachella this year for both weekends, serenading techno fanatics and listeners alike at the YUMA stage. The Swedish producer who rose to fame in 2004 with his hit single, “Call on Me,” has distanced himself from the mainstream, forging his own path through the wired forest of stage production with holograms and his new forward thinking live concept, VOID.
Prydz’ Cirez D alias takes Prydz’ talents underground, to cater to his–and fans’–techno cravings. He also plays almost exclusively his own music, which is an accomplishment in itself, given the two-hour length of his recent public performance at Coachella’s second weekend. The only song not by Cirez D is Thomas Schumacher‘s “Golden Hour.”
Darkness is more than just the token descriptor we’ve landed on to detail Gesaffelstein’s brooding, shadowy sonic products. In fact, it’s more than merely his brand—at this point, Gesaffelsteinis darkness. Though, his embodiment of it is less about the sinister undertone of his productions now and more reliant on the literal concept of light’s absence, as represented in his Coachella performance on Sunday, April 14.
In his first live festival appearance since his 2015 farewell, Gesaffelstein became the only artist to every use Vantablack VBx2, commonly understood to be the darkest substance known to man. It the the closest visual representation to the darkness of a black hole that our eyes will ever see. The substance is typically used in space applications, though Mike Lévy had a different vision for its use. When applied to three-dimensional objects, Vantablack is so dark that it becomes nearly impossible to discern any surface features, and three-dimensional objects appear to become two-dimensional. Gesaffelstein’s Outdoor Stage performance featured a monolith structure coated in Vantablack on the concave side to create the illusion of infinite depth and blackness—essentially simulating a black hole on stage.
Hot off the heels of his sophomore album, Hyperion, Gesaffelstein is taking his craft to another level of other-worldliness. Catch Gesaffelstein again during Coachella’s second weekend and then Governor’s Ball later this summer.
Porter Robinson has cracked yet another new chapter in an already decorated career. Following a number of successful production ventures, from Virtual Self to Worlds, the logical next step was to add event curator to his list of credentials. Now, as Robinson’s Goldenvoice co-signed Second Sky Music Festival ramps up for its summer debut, the visionary producer is sweetening the pot with two highly anticipated performances scheduled for the June 15 event.
Porter Robinson will perform the only Worlds live set of the year at Second Sky festival, his first since retiring the live show as a result of Virtual Self’s launch in 2017. What’s more—Robinson’s upping the ante on an already stacked single-day lineup with the most recent addition to the event roster: Madeon.
The famously collaborative young visionaries will reunite in Oakland this summer, and while Madeon is only billed for a DJ set, fans are expecting his Second Sky performance to be a testing crowd for what could be a trove of new work. Moreover, the prospects of an on-stage reunion between the “Shelter” creators have fans in a frenzy, even if a co-performance is unlikely. Madeon is the latest artist to announced on the event’s lineup, joining Nina Las Vegas, Cashmere Cat, Chrome Sparks, G Jones, and more. See the announcement below.
one more performance announcement for @secondskyfest – MADEON (DJ SET). one of my best friends and a legend.
A performance of the ages at Sydney’s Metro Theatre has been immortalized. Trap legends RL Grime and Baauer threw down what will likely be considered a legendary B2B in Australia’s largest city. To start things off, the electronic trap trendsetters began the set with a crowd rattling mix of Baauer’s “Harlem Shake” and RL Grime’s “Era.”
The set lasted for an hour and 40 minutes, unearthing loads of trap gold and accompanying genres while also making sure to include creative edits, crossover collaborations, and cult classics. While keeping with up-to-date hype with “Mo Bamba” by Sheck Wes or rewinding back to the electro trap glory days with Baauer’s remix of Rollup by Flosstradamus, the set was quite the holistic exploration between the two veteran electronic musicians.