REZZ’s dazzling Red Rocks debut is ready for streaming in full [Watch]

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REZZ’s dazzling Red Rocks debut is ready for streaming in full [Watch]Rezz Red Rocks Full Set Stream 1

To say 2018 has been REZZ‘s year could easily discredit her exemplary 2017, which included her chilling Mass Manipulation debut LP; nonetheless, the past 10 months have been stratospheric for mau5trap‘s breakout star.

Another album, another headlining tour, a visual mixtape, and a high-profile slot at seemingly every stateside festival helped make her an emblematic name in dance music, summoning throngs of swirly-eyed fans. However, according to REZZ herself, the current highlight of the year and biggest night of her life so far was her headlining performance at Red Rocks Amphitheatre. Now, fans can relive the devilish magic of “Rezz Rocks” (or experience it for the first time), with her full HD upload of the set.

The sold out performance saw REZZ run through early classics, heaters from her two albums and fan favorite remixes, accompanied by fleets of lasers, a towering video screen, and her hallmark, tripped-out visuals. Colorado’s characteristically icy atmosphere couldn’t dampen the night, which was truly an extraterrestrial testament to her unequivocally loyal following.

Photo Credit: Shutterfinger.

Stream full-length sets from the first day of Tomorrowland 2018’s second weekend by Slushii, Hardwell, and more

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Stream full-length sets from the first day of Tomorrowland 2018’s second weekend by Slushii, Hardwell, and moreScreen Shot 2017 07 28 At 10.22.15 AM

Tomorrowland commenced its final opening day of production during the 2018 festival season on July 27, and a number of electronic heavyweights joined the Boom, Belgium crowds to kick off the event’s second and final weekend of the year. Full-length live sets from Tomorrowland’s second opening day have arrived, including performances from Adam BeyerSlushii, Tiësto’s performance during the weekend’s lunar eclipse, Hardwell and more.

For fans still catching up on last weekend’s festivities, see highlight performances from Tchami x Malaa, Charlotte de Witte, Axwell ∧ Ingrosso, and more. For those ready to get into the festival’s final weekend of 2018, tune into all-day programming across four live streaming channels here.

Stream Tomorrowland weekend two, day one below:

Adam Beyer

Cosmic Gate




Armin van Buuren (ASOT)


Andrew Rayel

Tomorrowland releases weekend two streaming schedule

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Tomorrowland releases weekend two streaming scheduleTomorrowland Live Stream 2016

Weekend one of Tomorrowland 2018 is in the books with no shortage of highlights from the three-day event. While many fans are still catching up on the first weekend’s many highlights, Belgium is gearing up for weekend two, and fans abroad looking to stream live sets from the festival can now plot their viewing schedules. The schedule will be divided up into four channels on Tomorrowland’s streaming site, with each channel taking on an assortment of stages, offering couch-bound ravers a wide assortment of performances from this coming weekend’s programming.

Channel one will be home to the main stage acts, including A-listers such as Tiesto, Armin Van Buuren, Martin Garrix, and more. Watchers can scan the other channels for stages such as Lost Frequencies & Friends, Buuren’s A State of Trance, Dimitri Vegas & Like Mike‘s Smash The House, and others. Check out the full schedule below.

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deadmau5 announces upcoming collaboration with Lights, live stream of ‘mau5ville: level 2’

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deadmau5 announces upcoming collaboration with Lights, live stream of ‘mau5ville: level 2’37199673 195164537819632 1391795787335204864 O

Quickly following up on the recently release of his eight-track compilation album, mau5ville: level 1, deadmau5 just teased more good news, announcing an upcoming collaboration with indie-pop phenomenon and fellow Canadian, Lights. The Skin & Earth vocalist has racked up hundreds of millions of plays over the course of a storied career, with a rap sheet that boasts LPs, comic books, acoustic work and more. Hot off the heels of some fan praise on the acclaimed Rob Swire collaboration “Monophobia,” deadmau5 had this to offer.

It is unclear if the new joint effort with Lights will come as a one-off, or a single from the mau5’s newly announced level 2 follow up, which he will begin teasing via his Twitch account. For now, the waiting game begins on the new Lights collaboration, though luckily, we have a full compilation of new work that still very much has our attention captured.

Marshmello releases highly-anticipated sophomore album ‘Joytime II’

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Marshmello releases highly-anticipated sophomore album 'Joytime II'

Marshmello‘s positive energy and love everything aesthetic has yielded the producer one of the steepest ascensions to fame in the industry. On top of his own accomplishments, Marshmello has largely aided in EDM’s marriage to pop culture at large with genre-hopping collaborations that feature some of the world’s top pop stars matched with impeccable brand exposure on a global scale.

Today the producer possesses an impressive catalog of original works that follow his 2016 debut album Joytime. He’s made tracks with some of the biggest stars in the world, including Selena Gomez, Khalid, and Migos, to name just a few, and yielded an increasingly inescapable production apparatus along the way. Now, following the critical reception of his debut album, over two billion collective streams, and a slew of No. 1’s to write home about, Marshemello has finally delivered his debut album’s follow up — Joytime II. Contempt from electronic purists aside, Mello has undeniably reached a level of success and cultural ubiquity that is unmatched by many of today’s most venerated DJs and producers.

Marshmello’s success has also maintained his own preferences — saccharine vocals, melodic beats, pop punk — and his EDM production paradigm, too.

Save for the vocals on “Rooftops” and “Paralyzed,” Joytime II is a featureless album. In just ten tracks, he harkens back to the days spent behind a computer screen, where it all began, though on the new LP, Listeners get a much more detailed look at the “FRIENDS” producer is fully capable of. Joytime II leans heavily on the theme of Mello’s growth, but more importantly relies on his joy and passion for the craft which began long before he was a masked producer playing the biggest stages in the world.

Nile Rodgers & Chic enlist Anderson .Paak, Vic Mensa, & Mura Masa for monstrous new disco collaboration, ‘Till The World Falls’

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Nile Rodgers & Chic enlist Anderson .Paak, Vic Mensa, & Mura Masa for monstrous new disco collaboration, 'Till The World Falls'

Disco funk legend Nile Rodgers announced mid-June that he and his storied band Chic had a new album on the way, the band’s first effort in 26 years. Modern day maestros of the genre — and a few unassuming additions — were enlisted for the making of the record, including Anderson .Paak, Vic Mensa ,Stefflon Don, and Craig David and now, we’re getting a taste of the madness that’ll ensue with the LP’s first single, “Till The World Falls.”

A tantalizing and glitzy new disco track with a Vic Mensa verse and Mura Masa guest appearance; “Till the World Falls” is a meeting of glorious past and present funk extravagance. Anderson .Paak, NAO, and anaïs each had a hand in the track’s songwriting.

Nile Rodgers & Chic’s record is fittingly titled It’s About Time and will arrive September 7.

Beatamines revitalizes deep electronica with a sultry new LP, ‘X’

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Germany might be a hub for industrial, banging techno, but many forget that the country has also been a hotbed for pioneering melodic acts as well — many of which helped birth trance in the early 1990s. Recently, we’ve seen a softer, ethereal sound take hold of Berlin and surrounding towns once more, with new labels and acts helping inject this renovated sound back into the underground sphere.

Beatamines is one such act pioneering this new and swiftly rising soundscape, and has now composed a new, career-defining work: X. It’s a particularly special LP that commemorates a decade spent in the industry, landing on Lauter Unfug.

X unfolds across 11 diverse cuts, showcasing Beatamines’ versatility as a producer. It opens with a smooth, rolling “Red Mountain,” which conveys a sense of sorrow beneath its ethereal vocal samples and fluttering piano notes. Descending deeper into the album, listeners are taken through a mixture of light and shadow, all bound by an emotive, melodic motif. “Third Eye” and “Dark Shadows” are sinister vocal additions to the pack, descending down corridors of raw synths and utilizing clever editing around each verse to raise goosebumps. “Spark” carries a similar effect, entirely with instrumentation.

The German producer also lays on the mystery, with the Innervisions-esque “Neighbours,” “Pacific,” and the David Keno-assisted “Omega” carrying arrangement that is playful, yet intriguing. In painting a mental picture with these tracks, adventurous imagery comes to mind as adrenaline spikes in exploring the great sonic unknown. Finally, the feel-good vibes are brought in spades for X; “Good,” for example features sunny piano chords and funky robotic progressions that feel like a cool breeze. “Remember The Vibe” lights up the dance floor with tribal percussion and enticing synth notes. “Frames” closes the album on an overwhelmingly blissful note, evoking subtle memories of the classic Anjunabeats sound — albeit, at a lower tempo.

It’s safe to say that despite already passing the decade mark within electronica, Beatamines is only just reaching his prime, and helping to bring back a new sound while doing so.


Order a copy of ‘X’ here

DJ Koze transcends dance with new LP, ‘Knock Knock’ [STREAM]

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Producer and hardware extraordinaire Stefan Kozalla, known musically as DJ Koze, has just released an immensely soulful, unhinged body of work.

With a choice sampling from Bon Iver’s “Calgary” on “Bonfire” and features from a diverse cast that includes Róisín Murphy, Pampa Records’ own Sophia Kennedy, Speech from the 90s hip-hop outfit Arrested Development, and more, Kozalla transcends the dance music space he’s roamed for so long.

Knock Knock’s vast influences and coalescing styles are more than just a testament to his breadth as a crate digger; in fact, he’s poking fun of the repetitive nature of contemporary dance music with the lead single “Pick Up.” The mastery of his 70s influences and minimalistic Kompakt-aligned groove reigns supreme, too. Somehow, it not only works, but it sounds natural.

Knock Knock’s uncluttered. It flows like a DJ set — travelling seamlessly from one soundscape to the next.

Though his physical move towards a life of peace and quiet might suggest Koze’s departure from dance may be imminent, the music present here tells us differently of his legacy. There’s a reason why Koze is one of electronic’s biggest enigmas — but rather than questioning the motives behind such a work, we ought to just let it rest.

These Are 10 Of The Best Boiler Room Sets Of All Time

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Boiler Room, the global online music broadcasting platform is best known for broadcasting the underground. Whether you’re looking to sit back and watch hours of techno, acid, or house music, Boiler Room has got you covered. Since its beginnings in March 2010 by Blaise Bellville, Boiler Room has made quite the name for itself. “Whether

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What are the larger implications of The Grammys steep ratings drop? [OP-ED]

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By most accounts, the Grammy Awards in 2018 was a big swing, and a big miss. The ceremony’s ratings plummeted by nearly 25% according to Nielsen Media, dropping from last year’s 32.9 million viewers down to 19.8 million for its most recent iteration. While the evening’s results have come under under considerable scrutiny following the event, Bruno Mars’ sweep of all the major categories isn’t the sole reason that The Grammys effectively tanked in what should have been a memorable year for the Recording Academy. We can examine the ceremony’s numerous blunders, but it is also worth noting that the ways we consume media, and the ways we relate to and access our artists in 2018 have changed drastically — and The Grammys need to figure out how to keep from regressing.

First, let’s start at the tip of the iceberg, examining an advertisement-bloated three and a half hour industry circle-jerk. In an age where on-demand content is at our fingertips 24 hours a day, slimming this thing down is going to be necessary for it’s survival. HQ Trivia posted record numbers of nearly 1.6 million players 90 minutes into the award ceremony. If that’s not a testament to how our attention spans are directed in 2018, perhaps nothing is.

A noticeable lack of the usual headline makers this year — including Taylor Swift, Kanye West, Ed Sheeran and Justin Bieber — also likely contributed to viewers’ even further numbed attention spans. But stuffy award shows across the board are suffering, and The Grammys aren’t immune. The Oscars, Golden Globes, and MTV Video Music Awards are all struggling with fluctuating viewership drop offs each year too, but the Recording Academy was uniquely poised this year to give some of the most important cultural figureheads of the moment the proper platforms and recognition they deserve in the divisive, tumultuous socio-political climate we’re currently a part of… and they fell flat on their face. 

Setting Jay Z and Kendrick‘s snubs aside (we’ll get back to those), how is it conceivably possible that “Despacito” did not win one of the three major awards it was nominated for? Simply put, the track is, for better or worse, one of the most consumed pieces of content in human history. Luis Fonsi and Daddy Yankee’s record-shattering collaboration head and shoulders outsold and out-streamed any remote competitors last year in 50 countries, amassing a whopping 4 billion YouTube views, an RIAA diamond certification, and snagged a record 16 weeks atop the Billboard charts. So, beyond the incontrovertible numbers, an objective look at “Despacito” begs the question, why didn’t it win any Grammys? Perhaps the Recording Academy isn’t ready to recognize Latin pop in the ceremony’s top three major award categories like the rest of us clearly did?

Carlos Santana’s “Smooth,” released in 1999 followed by Ricky Martin’s “Livin’ La Vida Loca” in 2000 were the last two comparable comparisons, and both are of course in English. Nearly two decades later, the average American music and television consumer has switched things up significantly; and while The Grammys is clearly slow to catch up to the times, we’ve long been ready for something different.

Back to Kendrick Lamar and Jay Z. It has been 20 years since there were no white males nominated for Album of the Year. In a year when the American people were gifted with two thoughtfully created concepts of black excellence and deeply personal storytelling, Bruno Mars’ 24K Magic wins Album of the Year, Record of the Year, and Song of the Year. It’s also worth noting that Mars’ album, for what it was, was terrific. That’s not in dispute. But was 24K Magic‘s quasi-Motown, mass appeal wedding reception fare worthy of drowning out two of the most impactful hip-hop albums in recent memory? No, definitely not. That simply doesn’t seem like the progress everyone wants to see.

Look at the Best New Artist category. Alessia Cara has been signed to Def Jam Records since 2014, SZA has been releasing music since 2012. Perhaps a designation like “breakthrough artists” would be more accurate. That fact that both of these immensely talented young women are just now being recognized comes off as painfully tone deaf. Is the Recording Academy voting innocuously — most likely. But the 2018 awards ceremony highlighted the fact that the Grammy Awards are unfortunately stuck way behind the times, and the effects undoubtedly showed.

Last year, Chance The Rapper challenged the status quo earning a grip of Gramophones for an album that technically didn’t sell a single unit. Now that’s progress. He changed the game — and viewership reflected it with the ceremony raking in it’s highest numbers in half a decade. We’re going to need more than Hillary Clinton reading a snippet of Fire and Fury next year; the audiences, consumers, and fans deserve it. If The Grammys want to continue to claim to be music’s real cultural barometer, make it for the people, not additional vanity for the music industry. Consider and recognize the music that truly deserves it most, represent social progress where possible, and try stepping out of the comfort zone — at the end of the day, that’s what really moves people.