DASH Radio Is Taking Over The EDM Radio Scene & We Explain Why

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Yea I know that it is the year 2019, but radio is still a thing. Whether it be on the FM dial, satellite dial, or now the trendier, most accessible way digital radio everyone one way or another listens to the radio. If you are like me and don’t live in a huge city, you

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A Year In Review: The Stories, Scandals and Trends That Rocked The World Of EDM In 2018

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As the year begins to wrap up, we here at EDM Sauce are taking a look back at the moments which influenced the dance music industry the most over the last year. Over the last year, there have been some incredible highs and deep lows in the world of dance music. Let’s take a look

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Concert Review: Snails’s The Shell 2.0 Tour

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On December 7 dubstep artist, Snails, shook Chicago’s Aragon Ballroom (literally) on his The Shell 2.0 Tour. His bass heavy set, prefaced by Hekler, SVDDEN DEATH, Voyd and Bro Safari, featured cinematic visuals and was centered on remixes of his own album, The Shell. While the transitions were seamless and the drops heavy, the set

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Techno Tuesday: Namito on growing up and ‘Letting Go’

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Techno Tuesday: Namito on growing up and ‘Letting Go’Techno Tuesdays

Techno Tuesday is a feature on Dancing Astronaut documenting the culture of underground dance music. We’ll bring you exclusive interviews, tracks, and narratives from artists within the techno, tech house, and deep house world in an effort to shed light on some of the best talent outside the world of mainstream dance music.

Namito is a humble success story. The artist went through a lot in his youth; an Iran torn by a coup and general warfare led to fleeing to Germany as a child, where he proceeded to watch the tumultuous end to the Soviet Union unfold right before his eyes.

One thing remained constant to the young creative, though, and that thing was art. Dance music in particular was a guiding force in his life, and by 1992, Namito was on his way toward making it into a career. He’s since become a regular at some of the world’s most treasured clubs, including Tresor, Fabric, and more, while also wearing the hat of label owner to help cultivate the next generation of underground greats. Success aside, Namito has never been one to brag about his work or talk big on social media. Instead, the reserved talent keeps his head down in the studio, focused solely on evolving himself and being the best musician he could possibly be. This is the mark of a true creative.

His endeavors eventually led him to embark upon the most extensive project of his career: a double LP called Letting Go, a multimedia autobiographical album. It traces his growth, hardships, and triumphs as an immigrant adolescent who found his way into dance music — not just in song, but also through visual aids. A painter as well, Namito has paired each track with a unique image that drives in their meaning. Then, he tops it all off is a story alongside each.

In honor of the release, we invited Namito to the Dancing Astronaut offices to tell his story in a more succinct form that offers a taste of what we might hear come its December 7 release. We’ll leave it to him to tell the tale…

Techno Tuesday: Namito on growing up and ‘Letting Go’Namtio
When I was 13, I had seen a bloody revolution [in my home country of Iran] that took a huge toll on our family due to the tragic death of my uncle. I witnessed the war and Saddam Hussein’s bombs dropping over Tehran, but was not ready to live without my parents, my sisters and my friends. A week before my departure I was given it straight that it was best for me to leave, yet as a teen you take this very personally — almost as a punishment or rejection.

My parents put me in an Iran Air flight to West-Berlin via Frankfurt and my carer abandon and there I was taken care of by my uncle and his wife. I was under 14 years old and back then at this age Germany didn’t ask for a visa. What was extremely traumatic, though, was the fact that nobody asked my opinion about whether I am up for leaving everything behind and immigrating to another country, another culture without my parents or not.

So, the idea of telling my story [in album form] came back in 2003. After leaving Iran and seeking asylum in Germany, I could not go back for 17 years. The problem was that I could not apply for the German citizenship without getting released from the Iranian one, and the Iranian embassy refused to even answer any requests regarding that subject. It was only after the victory of Chancellor Gerhard Schröder 1998 that Germany allowed Iranians to have the dual nationality. I applied for it right away and 2001 almost got it but then 9/11 happened and now the authorities insisted on double checking my past again!

After finally receiving the German Passport in 2002, I went back to visit my family in Iran and also started to write a little blog. My Berlin friends liked my way of writing and encouraged me to start writing a book about my journey. Even though I had already finished 80 pretty well written pages in the past years, I realized that I am not a writer. I express myself more with music and paintings. The idea of telling my story [in album form] was first born came in 2003, and over the years the idea of telling my ongoing story in a different way became more and more clear. Ultimately it developed to be a hybrid trinity of music, painting and writing.

The concept of my album “Letting Go” is that every single track tells a story about a peak or special moment of my life from childhood till 1993. Each tune has its own individual painting portraying the situation and additional to that a story that I wrote to explain what happened.

The 23 tracks are divided in two parts, one Electronica part about the time in Iran (which will be released a bit later), one mirroring the events that happened in Berlin. The later part is obviously infused by club sounds of all sort. The memories are probably a bit different to the majority of the Western world kids usual recollections. The revolution of 1979 in Iran, war, cold war, the fall of the Berlin Wall and the explosion of electronic music in Berlin shaped who I am today and are part of the narration.

I’ve been reinventing my sound the past two decades again and again but one thing is for sure: I always try to tell a story within track and my favorite tool for that has usually been the melody and the bass. For example, the track “Culture Shock” in my album is about my very first encounter with a German upon arrival in Frankfurt as a boy at 13. I was waiting for my caretaker at the luggage belt as a stranger approached me and handed me a rolled up magazine. I didn’t speak any German and almost no English. I had no clue what he wanted but out of politeness I took the magazine and opened it. It was a PLAYBOY magazine and for the first time in my life I saw a fully naked woman. It literally was a shock, which I expressed through the surprise synth roar in the middle!

I am pretty happy with the acoustic translation of the situation into music, big thanks to my friend Luna Semara for helping me with that. Or the wild tune “Blank Check” that is about the anarchic situation in East-Berlin after fall of the Berlin wall, a situation that is probably not gonna occur ever again in that weird constellation. “Letting Go Prequel” was designed to reflect the melancholic nature of my birth place Iran. Slow beats and almost sad strings that always carry hope reflect the situation there. Especially the tracks with my dear friends Manaa and Hubert Watt add that special mood to the album that I had in mind. The complete story will unfold over the next weeks on my Instagram account,  and the whole album should make a lot more sense once people understand the story.

Order a copy of ‘Letting Go,’ out on Namito’s imprint Ubersee, here

OP-ED: Skrillex shouldn’t support XXXTENTACION. Change my mind.

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OP-ED: Skrillex shouldn’t support XXXTENTACION. Change my mind.Skrille From First To Last

“Troubled Genius” or not — proven abusers shouldn’t be supported.

“How could you possibly hate on Skrillex? He’s such an amazing artist and human being,” one might ask. The answer lies in the news cycle on October 24, when it came to my attention that the beloved Sonny Moore was preparing to release a brand new track. This seemed innocuous enough for me; there are deeply diehard Skrillex fans on our staff, and while I am not necessarily one of them, I can appreciate his undeniable talent and how much his body of work has done for electronic music. Moreover, he’s known for being one of the most genuinely caring and kind people in the entertainment industry — which is perhaps part of what makes this recent news such a cutting blow.

The momentary innocuousness quickly got swept under the rug for me when I saw the very first name on the list of collaborators in this new track’s social media promotion: XXXTentacion. The same XXXTentacion who came up during the SoundCloud rap revolution, and was senselessly murdered in June of 2018. This is also the same XXXTentacion who, just the evening before the track’s preview surfaced online, was essentially confirmed guilty of the heinous alleged crimes he was facing while still alive — assault, abuse, and other violence. On October 23, Pitchfork uploaded a previously secret recording of these admissions by the embattled rapper, which almost indicate he seemed to take pleasure in causing such pain. It’s quite the disturbing listen.

XXXTentacion’s posthumous partnership with Skrillex isn’t exactly breaking news. “XXXTantacion wanted [Skrillex] and Diplo to finish his next album,” headlines read in the weeks after his death, following a eulogy Diplo posted on Instagram. But nothing else came to light, and it seemed like this was merely a desire on the account of the rapper that never took off. It seems whether they worked together in the flesh or not, a collaboration did materialize between the two — perhaps before the secret recordings leaked, but certainly after the lengthy Miami New Times exposé penned about the rapper in June of this year. Suffice it to say, regardless of when this collaboration actually came to life, it seems preposterous that the producer would be unaware of the implications his involvement would have. And, regardless of the circumstances surrounding the rapper’s death, I don’t think that Skrillex should get a pass for supporting him.

I expect those who read this to come at me with the same sound bytes most of the rapper’s newfound supporters have touted since his death: “XXXTentacion was troubled but he was an inspiration to so many,” and “he was a talented mind taken away too soon,” or, “this is an oversensitive feminazi hiding behind her keyboard.” It’s all good; this feminazi is about to expand on her rabid viewpoints.

Let’s start with the whole, “troubled genius” argument. The game of life is a cold one. We’re all shaped by our earlier experiences, and develop specific defense mechanisms to cope. I’m not going to deny that the young rapper had an incredibly difficult early life and was doled more than enough proverbial lemons. I feel sympathy for him in this regard. Subjectively speaking, human beings are adaptive and resilient creatures, and traumatic experiences are not synonymous with developed sociopathy. Morality is very much a choice and a matter of self-awareness.

To be completely transparent, I am a survivor of physical and mental abuse. But, even with the lasting impacts of my experiences, how is it that a person such as myself, and thousands, maybe millions of others, are not paying their own traumas forward? It sounds rhetorical, but its a serious question.

The answer is that, with a lot of work, I — like so many other decent humans in this position — realized that I had the power to move on from this pain. I refused to allow my own victimization become an excuse to perpetuate the cycle of abuse. I found that by focusing instead on being kind to others, that I could make the world become that much better, rather than worse, for others and, in turn, myself. It’s simple reciprocity.

Not everyone can be fixed, nor does everyone have the fortitude or self-awareness to overcome their worst selves. We all need to understand that. And XXXTentacion certainly had some serious mental obstacles to overcome. Many of his supporters claim the young rapper was working on himself in the face of mounting legal trouble, though I have yet to see any proof of such attempts at self-improvement.

The aforementioned Miami New Times exposé, which was completed just weeks before his death, detailed the extent of his abuses in great depth, including his apparent lack of remorse for these offenses.The now-infamous recorded tape that just recently surfaced seems to corroborate the New Times claims. He referred to women as “bitches” and objectified them until the very end — even after a bout of charitable acts that happened around half a year before his passing. A separate pledge to donate $100,000 to abused women has yet to be concretely proven, and quite frankly, what does a one-time “drop in the bucket” mean in terms of redemption at this point?

What I really want to hear is Skrillex’s side of the story. I sincerely hope that he knows something we don’t. Or, better yet, something contradictory to what that tape revealed, however wishful that thinking unfortunately may be. When contacted by Dancing Astronaut, Skrillex’s team declined to comment on the matter, so we are currently left only with questions.

Is it that he felt inclined to honor an unfairly departed young man’s wishes? Where does one draw the line in supporting the art of a person whose moral character seems so deeply flawed? Why is it that “cancelled culture” unanimously — and deservedly — ousted Ten Walls for his homophobic Facebook posts, but seems not to care nearly as much about this collaboration between a 100% proven abuser and a crossover icon? These questions are eating at me as I write this.

Maybe I should be more compassionate. But I’m also thinking about the bigger picture here: supporting XXXTentacion, even in death, is wrong. Supporting someone who’s confessed to such horrid things, especially in the way he treated women, is sending a message out to everyone else using their pasts as a crutch that it’s okay to do so. It’s also sending a message to those who’ve been abused that their side of the story doesn’t matter. What about the suffering and lifetime of trauma he caused to his own child and his child’s mother, or to his prison cellmate that he nearly killed for no reason, or to the alleged eight people he stabbed? I’m stuck thinking about the abused mother, the prison inmate that was nearly beaten to death, the stabbing victims, and mostly the thousands of kids across the country looking for inspiration and identity that hitched their wagons to the XXXTentacion train in the wake of his passing. I struggle to understand why Skrillex, who normally maintains a loving, kind image, decided to pay homage to him in this posthumous release AND promote it. He had the opportunity to remove himself from the collaboration, after all. If XXXTentacion wasn’t a celebrity, I sincerely believe the public opinion on someone with such a rap sheet would be quite different.

I’m simply tired of seeing the abused lose in the end. It’s great that XXXTentacion had a few “golden” moments, but these certainly don’t balance out his unrelenting lack of remorse for his past cruelties. Nor do they warrant him being exalted by a large swath of the music industry. While I do believe Skrillex might have seen the best in the rapper, and maybe wanted to give him the benefit of the doubt, he ultimately failed to think beyond XXXTentacion’s being and see the kind of message he’s sending to others in doing so. By now, he has to have heard about the recording, and opinions like mine are already out there, though at press time, the producer still has yet to pen a statement regarding the alleged confession or a response to the rightfully outraged portion of his audience. His silence speaks volumes.

Even if Skrillex held a semblance of obliviousness to the rapper’s highly problematic past when he initially joined the project, his decision to not remove himself from it or publicly distance himself whatsoever is deeply disappointing. Moreover, his decision to promote the collaboration entails more than a tacit pardon of XXXTentacion’s abhorrent behavior. Regardless of intent, Skrillex’s endorsement of an abusive artist sends a message that excuses abusers and blatantly disregards the abused. I don’t think it’s right to celebrate death, but that doesn’t mean it’s ever OK to celebrate monsters. We as a society should be better than this.

Change my mind.

Featured image by Michael Tullberg/Getty Images for Coachella 2016.

Moments Of Influence: The Year Wolfgang Gartner Changed Dance Music Forever

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I will never forget the first time I encountered Wolfgang Gartner. It was at all ill-fated little music festival held at an old WWII Naval fort on the shores of the Chesapeake Bay just outside of Baltimore. The festival which would be canceled only a few years later to be replaced by Moonrise was called

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Sometimes Music Is The Only Way Things Will Start To Make Sense [Opinion Editorial]

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Sometimes life hits you harder than you are fully prepared to handle. Everything can be going perfectly, and out of the blue things seem to implode. You are left alone, frantically looking for answers in the chaos, questioning how you can move forward. I think we are all familiar with that feeling. Where you don’t

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In Defense of Bassheads: The 5 pillars of the Bassnectar community

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Easter Sunday has come and gone. While most god-fearing men and women hunkered down in church for communion followed by an Easter egg hunt in their local parks, the Bassnectar family flocked to the Midwest for their own holy sacrament.

The bass worshiping disciples have congregated in Chicago’s Donald E. Stephens Convention Center under the iconic bass drop image displayed across several large LED screens. They’ve traveled far and wide, commingling in the sacred space to commune and catch up since their last familial gathering. After all, it’s been several months since their last mass migration to Atlanta, Georgia — far too long.

The two-day event, dubbed Spring Gathering, is the first of four family affairs scheduled for 2018. The previous night saw Lorin Ashton deliver a truly mystical full moon sermon, with amorphous sound waves crashing into the hearts and minds of his loyal followers, making them weak at the knees as they lean their faces to the floor, bowing to the bass in head banging unison.

As the onlookers prepare for the weekend’s second and final set from their musical savior, Bassnectar, it’s clear they’re feigning for deeper exploration of the bass music abyss. The pre-show music begins, preparing the congregation for the ensuing throw down, and the scene begins to feel a bit like an enchanting ritual.

Nerves settle. Pupils dilate. Arms extend upward. Anticipation permeates the air.

Bassnectar Spring Gathering, Chicago, Illinois. Photo: aLIVE Coverage

Known collectively as “bassheads,” Bassnectar fanatics are a generally a progressive, fun-loving, and wildly ostentatious bunch. So, why do they often get such a bad rep? Many have heard the stereotypes: Bassheads are cynical and elitist, burnt out on their passion for Bassnectar, filled with contempt for newcomers into their cult-like community.

Admittedly, there are quite a few “haters” in the Bassnectar scene; although it’s important to note that, much of the time, haters are just angry lovers. This vocal minority pessimists often drown out the many positive voices in the Bassnectar community, longing for the days before the Ashton’s explosion into stardom and even shaming those in the community who don’t know every Bassnectar title circa the days of Underground Communication or Divergent Systems of Throb.

Generalizations are thus formed about the bassheads as a whole based off these particularly distinctive outcriers. After all, it’s a proven fact that our brains are biologically wired to categorize,compartmentalize, and make assumptions about a whole community based on personal and prominent observations. Ultimately, however, this reasoning is fallacious.

Dancing Astronaut aims to redeem bassheads from their misunderstood image by getting back to the essence of what the Bassnectar family truly stands for: community, love, and immersive bass music. Based on online polling results from within the community itself, we trace its five central pillars and the commandments within.

 


1) Unconditional love and unwavering acceptance

Bassnectar Spring Gathering, Night One, Chicago, Illinois, 2018. Photo: aLIVE Coverage.

Imagine having just endured the arduous endeavor of getting past the security and ticket lines and feeling fatigued. Then, a stranger approaches with a warm, familiar smile and presents a homemade business card with the following message: “You are loved beyond infinity.” Such sharing of meaningful, affirmative words and gifts are regular occurrences at any family gathering, known to bassheads as random acts of kindness.

This tenet, one that is similar to other pillars of transformational communities such as Burning Man, is in fact the first commandment bassheads live by. They carry this awareness from the show into everyday life, sending each other care packages and giving out small tokens of appreciation. Across the country, selfless bassheads are constantly engaging random acts of kindness and treating others with respect, gratitude, and equality.

The second commandment bassheads choose to consciously live by is best summed up in one of Bassnectar’s song titles: Inspire the empathetic. They practice empathy with a mission of existing with others on a leveled playing field. Empathy requires walking a mile in another’s shoes — a difficult task that bassheads work tirelessly, and not always successfully, to achieve.

These two commandments form the first pillar of the Bassnectar community: Unconditional love and Unwavering Acceptance. This is the new age sense of spiritualism that pervades the Bassnectar community, a belief emanating from Ashton’s Bay area upbringing in a hippie commune that is absorbed and proliferated by his followers.

 


 2) Freedom of artistic expression 

Live painting at BassCenter X, Hampton, Virginia. Photo: Reston Campbell Photography.

Anyone whose traveled to a Bassnectar special event has almost assuredly been bombarded with the usual traveling creatives hustling event-specific gear in the parking lot, before even checking into hotel. Through the revolving doors and into the lobby, a pop-up marketplace beckons: one painter has laid out her psychedelic-inspired oil canvases, while a craftsman is selling his handmade wire-wrapped jewelry.

The above encapsulates another critical commandment of the Bassnectar community: a strong support for grassroots art. Many within cultivate their own creativity out of deep inspiration for Ashton’s DIY attitude. While some fans pursue art at an amateur level, others have manifested their artistic passions as a full-time career and a live embodiment of the commitment to Freedom of Artistic Expression.

One basshead revealed, “I quit my nine-to-five because I was getting so many requests for custom wire wrapped rings and pendants. Now I’m making a living off my art. I’ve even started learning welding and soldering techniques to become a professional jeweler someday. I’m living the dream!” He pours his all into each piece he constructs.

These are the kinds of goals, dreams, and artistic aspirations that grant bassheads the means to travel all over the country to attend every nectar family event — and trust that they don’t miss a single gathering.

“That’s the key to evolution, you always want to change, adapt and improve but also balancing that out with being grateful.” – Lorin Ashton, in a previous interview with Dancing Astronaut

Roaming performers pose at BassCenter 9 in Commerce City, Colorado. Photo: 303 Magazine.

 


 3) Connection with like-minded individuals 

Basshead railers at BUKU 2018, New Orleans, Louisiana. Photo: Christian Miller.

Every couple of months or so, bassheads come together from all over the country for “listening parties,” where they put on a throwback Bassnectar mixtape in real time and with strangers online through live tweeting and such. Local bass families will often convene at someone’s home or in a local park with enormous subwoofers as they listen, reflect, and head bang together. The point of these social functions is to celebrate bass music and come together in the same moment despite barriers of physical distance.

This is more-or-less the bedrock of an cult, underground community built from like-minded individuals coming together to baptize one another in bass. They flock to four special locations each season to completely immerse themselves in the alien frequencies of their figurehead, who they’ve dubbed “The King of Sound,” as well as to celebrate Ashton’s amorphous music in all its majestic height. At each festival that Bassnectar headlines, dedicated followers often stay behind after the set armed with trash bags to collect every bit of garbage and confetti left on the ground — it’s a sustainable practice with roots in the Burning Man “leave no trace” principle. Bassheads regularly come together in their respective cities and towns to volunteer their time to serving in the community as well, usually through local clothing and canned food drives or park and beach clean-ups.

But Bassnectar’s cult-like movement has ballooned into a burgeoning and increasingly bifurcated community that is anything but underground, with Ashton sitting at the helm of a rockstar spectacle. As the it continues to grow at an exponential rate, so too do its complexities and contradictory cultural inner-workings.

Bassheads gather in New Jersey to volunteer at The Food Bank. Photo courtesy of The Bass Network.


 4) Passion for politics and progressive activism 

Ashton’s politics are unapologetically progressive at their core. So naturally the issues that are important to him are important to bassheads. Bassheads have shown up in large numbers to high-stakes, at times dangerous, political demonstrations like the Dakota Pipeline protests, the Women’s March, and the fight for Net Neutrality.

Key issues like these have long been a theme in Bassnectar’s music, which he took from the 1990s punk rock and death metal scenes he came of age in, infusing those values and ideals into the cultural current of his electronic music.

“The spirit of punk rock and death metal was very anti-establishment, pro-underground, pro-community, very fucking fiercely in opposition to the mainstream, in opposition to ignorance, and you know all kind of religions and weird human dogma traps. And having a flag of resistance to fly in the face of that is really powerful”

Basshead protests #NODAPL, Standing Rock Indian Reservation. Photo courtesy of Chelsea O’Connor.

Bassnectar brings this staunch sense of political activism into his live sets with visual segments that implicate public figures like Dick Cheney and Donald Trump using Nazi and KKK imagery — all as his bass-bolstered remix of Rage Against The Machine’s “Killing In The Name” plays over clipped images of the swastika and white hooded figures.

During his iconic Oregon Eclipse and BassCenter X sets last year, Ashton brought to the stage a member of the Standing Rock Sioux Tribe, named Chase Iron Eyes, who delivered a powerful message about the continued protest against the Dakota Access Pipeline. The Indigenous-American activist ended with a resounding chant that bassheads still echo into today: “Water is life!”

The Bassnectar community’s passion for taking a stand against wage and class inequality highlights another important commandment: that art is and always has been political.


5) Think for yourself and question everything 

Bassnectar performs in Rothbury, Michigan, 2017. Photo courtesy of Electric Forest.

When Lorin Ashton launched his “Think For Yourself” campaign with Electric Forest in 2015, he compelled fans to challenge the mainstream news that is bound by political bias and corporate interests. The campaign encourages bassheads to seek out alternative news sources that cater to the well-being of the general public, as opposed to the 1%.

“When it comes to current compelling issues, it is very difficult to find ‘the truth’ without wading through a ton of bias from corporate sponsors, pundits, or even just the opinion of the newscaster or the owner of the publication (or some half-wit long-haired DJ who has found the time to type a zillion words and post them online),” Ashton wrote on his official blog.

He even puts his own biases on display as a public figure with a sizable influence over the opinions of others. Despite how the Bassnectar community constantly catapults Lorin to god-like status — sometimes for fun and giggles, sometimes not — Lorin Ashton is, for all intents and purposes, only human after all.


The message is very simple. 

Bassnectar Spring Gathering, Night One, Chicago, Illinois, 2018. Photo: aLIVE Coverage.

A few years ago, when Lorin Ashton made his Electric Forest debut, a landmark festival which now houses Bassnectar’s residency, DA sat down with the man behind the hair to discuss his cultish community of loving bassheads. It was a time of great transition for the underground king of bass — from a figure who detests fame to an electronic music rockstar whose name draws tens of thousands of loyal followers to any given event. Ashton made the decision to stop touring in the classical sense, with his iconic 2014 Noise Vs. Beauty Tour resting as his last, and start creating more immersive family gatherings several times a year. The events that unfold at these gatherings is what sits at the core of the Bassnectar project: Unconditional love, artistic expression, connection with like-minded individuals, passion for politics, and thinking for yourself. 

These five pillars of the Bassnectar family are really the very same ideals that strike at the heart of the music community at large. The Bassnectar community is just one tiny microcosm for seeing into the more expansive universe of music. From the freaks and outcasts of punk rock and metal core to electronic dance music, issues that sometimes plague the community aren’t anything new or specific to only the Bassnectar family.

So when returning to the earlier problem of how bassheads are perceived — as cynical, misanthropic misfits — the reality is that communities are much more nuanced than we can ever fathom them from the side lines, and that sometimes it only takes a small minority of negative individuals to making enough noise to end up representing a whole group of people. As outside onlookers, we ought to use caution when making blanket statements that lump large groups of people together; lest we risk stereotyping in such a way that stigmatizes, which leads to ignorance, demagoguery, and witch-hunting. Generalizations can be helpful, but they can also be harmful. Ultimately at stake is an ethical question that boils down to this: Live and let live.

Bassnectar family photo. Spring Gathering 2018, Night 1. Photo: aLIVE Coverage.

 

 

Whats The Best Anjunabeats Remix? Here’s Our Top 5

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Above & Beyond‘s label Anjunabeats have been pushing the trance and progressive boundaries for over 10 years. As a label they’ve eclipsed well over 100 releases from dozens of artists including the likes of Mat Zo, Kyau & Albert, Jason Ross and Above & Beyond themselves. In that same 10 year span, some of those Anjuna tracks

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The Odd Link Between Over The Top Sorority Recruitment Videos And The EDM Scene

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Ahhh Fall, the autumnal season evokes so many different images and sensory experiences. Pumpkin flavored everything, Halloween, gorgeous colors as leaves change colors. Oh yeah – and if you go to college – good old Greek life recruitment. We started to notice a trend though with these over the top recruitment videos over the last

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