Music Music Festivals News

Primavera Sound reveals 2019 lineup, featuring more than 50 percent women

Post Image

Primavera Sound reveals 2019 lineup, featuring more than 50 percent women

Robyn, Richie Hawtin, Nina Kraviz and SOPHIE are among those booked for the Barcelona festival next spring.

Primavera Sound 2019, going down from May 30th through June 1st, has announced its lineup.
Among the headliners for the Barcelona festival are Robyn, Erykah Badu, SOPHIE, Charli XCX, James Blake, Stereolab, Richie Hawtin (performing his CLOSE live set) and Modeselektor. In terms of DJs, they’ve lined up Joy Orbison, Helena Hauff, Yaeji, Laurel Halo, Avalon Emerson, Jayda G and a back-to-back from Eris Drew and Octo Octa. Live sets will come from Objekt, Anastasia Kristensen, Apparat, Tim Hecker and his Konoyo Ensemble, Veronica Vasicka and plenty more.
This year, Primavera seeks to highlight “equality, eclecticism and audacity” in their lineup, according to a press release.
“Equality in the lineup between men and women, a stylistic eclecticism that is patently obvious and the drive to constantly take risks to connect to the times we live in are central concepts of the Primavera Sound 2019 lineup,” the statement adds. “All of this without abandoning the presentation of a lineup that is absolutely unique in the world, risky and convincing, as it is every year.”
For the full lineup, check out the flyer and event listing below.



Is it time for a total ban on phones on the dancefloor?

Post Image

New research suggests camera-phone usage at clubs and festivals is unpopular – but only when other people are doing it. But if we all find phones on the dancefloor so annoying, why do we keep filming?

It’s commonly understood that phone use at live events is a big problem. High-profile DJs have been talking about the issue since at least 2015. And both Annie Mac and The Warehouse Project founder Sacha Lord publicly railed against over-filming earlier this year, saying, in essence, that it kills the vibe. A host of think-pieces and opinion columns have also been published on the subject, with some suggesting the mass implementation of Berghain’s infamous no-photo policy as a way to protect the night.

But for the first time, we now have hard data showing exactly what the British gig-going public thinks about using phones to film and photograph at live events. The data comes from a survey conducted by global ticketing company Eventbrite over a 12-month period. 1,031 British adults were surveyed, and all had attended a live ticketed event within the last year. And while the data shows just how unpopular camera phone usage at live events is, it also wielded some surprising and contradictory results.

First, let’s look at how unpopular filming is. The wide majority of those surveyed — 70 percent — said they find it irritating when others take pictures or video during a show. An even greater majority — 81 percent — said they understood why an artist might not like videoing and photographing at the event. And as many artists have stated, they usually don’t.

“Do I find myself playing to a forest of phones waving in the air?” asks stalwart German DJ and producer Anja Schneider. ”Of course, and for me that’s a problem because you can’t see the people, you can’t see the vibe. You can’t see people’s faces.”

A majority of people also said that they feel like they’d be missing out on the event itself while taking pictures and video, which is also true. Taking photos and videos is hugely distracting, and doing it well is hard work — just ask any club photographer.

As Dr Linda Henkel of Fairfield University in Connecticut explains, you’re actually less likely to remember whatever it is you’re mindlessly taking photos of because of what she calls the “photo-taking impairment effect”. Your brain simply checks out of remembering the moment because it has abdicated that responsibility to your smartphone.

Moreso, humans aren’t meant to experience life from behind a screen. Especially at a communal event like a festival, where sharing a physical experience that can’t easily be replicated in the digital realm is a big part of what makes it so special. It’s just not as fun to stand there filming, and that has a knock-on effect throughout the crowd. Each disengaged person or group becomes a “black hole” of social energy, as author David Cain notes, pulling attention away from what’s actually happening.

So if all of this is true — if we know filming and photographing bothers the DJ, takes us out of the live experience, and irritates almost everyone around us, why do we keep doing it?

Well, because we’re selfish.

“People are saying ‘It’s OK if I use my phone at an event, because I want to get this special photo, but when someone else does it, that’s really annoying’,” Dr Lee Hadlington, associate professor in cyberpsychology at De Montfort University in Leicester, says.

Dr Hadlington’s statement likely won’t surprise anyone who’s noticed the narcissistic nature of many live events. Festivals, clubs and concerts are places where having the perfect night can sometimes come at the cost of everyone else’s. But having that perfect night suddenly becomes much more difficult if the stage is hidden behind a sea of phones. Or if a nearby group won’t stop taking selfies, or using their phone’s flash like a cop trying to blind a robber in a dimly-lit back alley. They’re being annoying, but you aren’t.

Despite how annoying camera phones at live events have become, usage isn’t likely to stop on its own anytime soon. After all, one third of those surveyed also said filming and photographing was an important part of the live experience, and nearly half (49 percent) said they took photos and videos at the events they attended.

It’s not just young people either. The 35- to 44-year-old crowd are just as likely to be seen snapping selfies and recording grainy, darkened footage never to be watched again as those aged 18- to 24-years-old.

That means it’s going to have to come down to venues, and to a lesser extent, artists, to do something. Despite common understanding that cracking down would alienate fans, the survey shows that a majority of people — 69 percent — feel strongly about supporting measures that might limit mobile phone usage at live events. It also shows that there is support for measures like creating ”no phone zones,” audience “spot-checks” for over-filming, or more popularly, “gentle nudges” by venue staff to make phones more discrete, which 41 percent of respondents say they’d be in favour of.

Artists can also get more vocal on social media, reminding fans to film early before enjoying the rest of their night, or to keep phones away full-stop for the benefit of everyone. Bigger acts could even follow the lead of stars like Dave Chappelle and Jack White, who’ve banned phones at their shows by using a service called Yonder, which stores devices in special pouches that can only be unlocked in certain areas of the venue.

As for industry professionals, approximately four out of five surveyed “had concerns about people recording pictures and videos during performances”. However, a disappointing 63 percent “had no measures in place to manage mobile phone use.” Which means we need a plan, or more likely, multiple plans to tackle this issue.

Whether it’s more no-photo policies at clubs beyond Berlin, signs posted around dancefloors asking patrons to keep their phones pocketed, security offering gentle reminders to stop patrons from over-filming, or other alternatives like Yonder, the support is there. What happens next is up to us.

Music Festivals News

Skrillex, Paul van Dyk, Rezz, more locked for EDC Mexico 2019

Post Image

The full line-up for the sixth edition of EDC Mexico has been announced with Skrillex confirmed to make his return to the festival for the first time since his appearance alongside Diplo as Jack Ü in 2015.

Also lined up to play the event are Paul van Dyk, Kaskade, Rezz, DJ Snake, Pachanga Boys, Alesso, Dimitri Vegas & Like Mike, Loco Dice, Solardo and lots more. Next year’s festival takes place as ever at Mexico City’s Autódromo Hermanos Rodríguez from February 23-24.  The main stage at EDC Orlando caught fire two weeks ago during a set by L.A. DJ and producer Kayzo. The small fire was quickly contained and music on the stage was able to continue for the rest of the day. EDC recently revealed the first details for their Las Vegas event which will return to the city’s Motor Speedway from May 17-19. Martin Garrix opened his headline set at the Las Vegas event this year with what many fans believe to have been an unreleased track of his.

Music News

DJ Mag Best of British Awards 2018 – Voting now open

Post Image

The nominations have been announced for DJ Mag’s annual Best Of British poll, powered by Relentless energy drink.

The poll – a celebration of UK talent  – is now in its 12th year. Positioned as a counter-balance to the global Top 100 DJs poll, Best Of British is our chance to shine a spotlight on the homegrown stars who fill the pages of our UK magazine each month.

Voting closes on Friday 30th November ahead of the awards party on Thursday 13th December at EGG LDN.

The awards party will feature a wide array of DJs from across the UK scene. The first names to be announced to play are tech-house titan Eats Everything, Deep Sea Frequency and Meine Nacht co-founder Breakwave, Abode resident Ellie Cocks, BBC Radio 1Xtra’s Jamz Supernova and emerging talent Mason Maynard. With many more DJs to be announced to play for the party, alongside very special guests, it’s set to be an unmissable night. For more information, go to the event page here.

Check out the full list of categories and nominees below…

Vote here!

Best DJ
Andy C
Denis Sulta
Eats Everything
Joy Orbison
Shanti Celeste

Best Group

Ivy Lab

Breakthrough DJ

Donna Leake
Jamz Supernova
Mason Maynard

Best Resident DJ

Blasha & Allatt (Meat Free)
Charles Green (Patterns)
Ellie Cocks (Abode)
Gwenan (The Pickle Factory)
Mantra (Rupture)

Best Live Act

The Chemical Brothers
Four Tet
Giant Swan
Nabihah Iqbal

Best Producer

Daniel Avery

Breakthrough Producer

Benny L
Forest Drive West
Harrison BDP
Rian Treanor
Solid Blake

Best Label

Central Processing Unit
Sneaker Social Club

Breakthrough Label

Dr. Banana
Femme Culture
Needs – Not For Profit
Western Lore

Best Album

Blawan – Wet Will Always Dry [Ternesc]
Blocks & Escher – Something Blue [Metalheadz]
Nabihah Iqbal – Weighing of the Heart [Ninja Tune]
Pariah – Here From Where We Are [Houndstooth]
SOPHIE – Oil of Every Pearl’s Un-Insides [Transgressive Records]

Best Track

Big Miz – The Hadal Zone [Dixon Avenue Basement Jams]
Pangaea – Bone Sucka [Hessle Audio]
Ploy- Ramos [Timedance]
SpectraSoul – Untitled Horn [Ish Chat]
Weiss – Feel My Needs [Toolroom Records]

Best Compilation

James Zabiela – Balance 029 [Balance Music]
Kode9 & Burial – Fabriclive 100 [Fabric Records]
Mount Kimbie – DJ-Kicks [!K7 Records]
Mumdance – Shared Meanings [Shared Meanings]
Various – Splinters [AMAR]

Best Remix/Edit
Au/Ra & CamelPhat – Panic Room (CamelPhat Club Mix) [RCA Records]
Bicep – Opal (Four Tet Remix) [Ninja Tune]
Mr Fingers – Spy (Kode9 Remix) [Alleviated Records]
Perc & Truss – Leather & Lace (Mumdance & Logos Remix) [Perc Trax]
High Contrast – If We Ever (Unglued Remix) [Hospital Records]

Best Large Club
Church Leeds, Leeds
EggLondon, London
Fabric, London
Ministry Of Sound, London
Motion, Bristol

Best Small Club
Cosmic Ballroom, Newcastle
Phonox, London
The Cause, London
The White Hotel, Manchester
Wire, Leeds

Best Club Event

Alfresco Disco
He. She. They.
Make Me
Meine Nacht
On Loop

Best Club Series

Ben UFO Residency – XOYO
Sundays At Phonox
The Warehouse Project

Best Festival
Hospitality In The Park
Junction 2
Love Saves The Day

Best Boutique Festival

AVA Festival
The Beat-Herder Festival

Best MC
D Double E
Lee Scott

Soldier of the Scene
DJ Rap
Doc Scott
Don Letts
Nicky Holloway
Mark Moore

Innovation and Excellence
The Loop

Outstanding Contribution
Fatboy Slim


Avicii’s True Stories documentary will be shown in select cinemas in December

Post Image

Avicii: True Stories, the Netflix documentary of the EDM star who sadly passed away in April aged just 28, will show for a limited theatre run in December in both Los Angeles and New York City, allowing it to be eligible for an Oscar Nomination in 2019.

Oscar rules state that a film must ‘have played in an L.A. County theater, for paid admission, for seven consecutive days, beginning in the appropriate calendar year,’ for it to qualify for consideration. The documentary, directed by Levan Tsikurishvili, will be shown in New York City from 21st to 27th December and in Los Angeles from 14th to 20th December.

First aired in October 2017, footage of Avicii, aka Tim Berling’s life, unveils the reality behind the gruelling schedule that brought him to fame while taking a huge toll of both his physical and mental health.

Learn how you can leave your own digital tribute on Avicii’s former website here.

Avicii – who was voted into the No. 15 spot in DJ Mag’s Top 100 DJs poll this year – had been working with Nile Rodgers prior to his death in April and they had allegedly written an album’s worth of music together.

DJ Mag’s digital editor Charlotte Lucy Cijffers also reflected on the young DJs enormous influence on the global EDM community and on how his openness surrounding his struggles with fame, touring and alcoholism gave a troubling, if necessary, insight into a side of dance music the world often does not see.

DJ Mag Article

Interviews Music News

Paul van Dyk: DJ Mag North America cover feature

Post Image

A year-and-a-half after his near-death accident, Paul van Dyk returns to trance stronger than ever, with a new album, new live show, and new perspective afforded to those who have grazed the veil separating this world from the next…


This isn’t your average comeback story. And Paul van Dyk isn’t your average comeback kid. The Grammy-winning German DJ/producer is a legend in his own right, hailed as the man who launched an entire genre: without him, trance music might not be what it is today. Or exist at all. That’s not hyperbole; it’s fact. Paul’s body of work is enshrined in the annals of electronic music history, decorated with awards and showered with critical accolades. A two-time winner of the DJ Mag Top 100 DJs poll, his songs have been played in clubs and on festival stages for over 25 years, but they’re also queued up during weddings and birthdays, marking memories in the minds of more than a generation of ravers. And his harrowing brush with death last year only adds emotional weight to the exquisite music that has emerged in the aftermath of an accident that left him lying comatose in a hospital bed.

Events unfold rapidly in emergencies, like the flutter of camera shutters: roaring crowd, arms outstretched, swirling lights, raised stage, one wrong step, shattered body, fade to black. On the night of February 27th, 2016, Paul van Dyk fell nearly 20 feet through an ill-concealed gap while onstage at the A State Of Trance Festival in Utrecht, Holland. He was immediately airlifted to the nearest hospital, where it was determined that he had fractured his spine in two places, and had sustained severe brain damage. An outpouring of support from across the globe flooded social media channels and music news outlets. Shocked fans replayed the minute-long video of the artist’s fateful misstep, caught on a mobile phone camera: how could this have happened? For a few days, doctors received minimal neurological response when prodding Paul’s broken body. Yet, he was lucky. His vital organs remained unharmed, and although he could not feel his legs when he finally returned to consciousness, he was alive.

‘From Then On’ marks Paul van Dyk’s return to life after a glimpse of the inevitable end we all spend a lifetime avoiding. His first LP in nearly three years and eighth artist album, it is his first release since the accident and without question, his most poignant work to date. True to its title, ‘From Then On’ is a portrait of the fruits of resurrection – resurrection of health, of creative aptitude and of spirit. It is born from the ultimate shift in perspective, afforded to the few who witness the limits of their own fragility. After darkness, light always shines brighter. Paul van Dyk’s struggle to cope with new physical and mental limitations has given him a greater depth of appreciation for each breath. There is joy in standing up, in making coffee, in watching a bird scuttle to the next branch. From that gratitude, beautiful art is born.

“We have gray moments here, but when it’s sunny it’s really cool,” Paul laughs, gesturing at the sprawling cityscape, as DJ Mag joins him in his Berlin office on an autumn afternoon. Sunlight streams into the room through large windows. The sky is cloudless and blue, a rare event for the European city. Paul is in good spirits, and accepts a cup of coffee from his manager as he settles into his chair for the next hour. He has recently returned from New York City, where he debuted his new, visually-sumptuous live show concept, AEON by Paul van Dyk, at the PlayStation Theater, and he’s prepping for the release of ‘From Then On’ via his own Vandit label in the coming weeks. His eyes glint with satisfaction, and it occurs to us that gratitude is humanity’s most attractive asset. “I have never felt closer to my own music than with this album,” he states, taking a sip of the hot coffee.

Understanding where this music comes from makes the experience of listening to it even more intense. The album carries us into expansive realms of euphoria, bursting with rapid-fire emotion, and it is quintessentially Paul van Dyk. Yet, while it retains the artist’s familiar trance signature – glittering melody, soaring strings, forward-marching kicks – there is something indescribably poignant about it. Each track is meaningful. The song titles reflect his newfound experience, quite literally: ‘I Am Alive’ is redolent of classic late-‘90s trance, a new chance to revisit old roots; ‘Close Call’ is cinematic, sharp and tense, a nod to the knife-edge between life and death; while ‘Stronger Together’ is among the album’s most euphoric cuts, a dramatic tribute to the power of community – without which, Paul van Dyk would not be alive.

When Paul emerged from his comatose state, he was met with a vulnerable new reality. “I couldn’t speak, I couldn’t eat, I couldn’t go to the toilet, I couldn’t do anything. I had to learn it all again. That was a very hard point to understand.” Paul leans forward in his seat, emphasizing the enormity of such a revelation: “Think about it in a bigger philosophical sense – when you’re a little kid and you go to the toilet, and for the first time you do it alone, this is almost what defines you as a human being. Now imagine you’re an adult, and you can’t do this anymore.” Recognizing your own mortality also means witnessing your vulnerability, and while Paul appreciates the new perspective, he says that being aware of his survival has been anything but uplifting: “I can tell you, it’s the total opposite,” he states, unequivocally. “I’m far more living in fear… because I know how quickly things can be over.”

Despite that fear, Paul has focused on the positive in order to heal, and explains that he was the recipient of some fortunate coincidences. Coincidence number one: The accident happened in Utrecht, only a 10 minute drive from the top neurological center in all of Holland. “If the show would have been in Amsterdam, like one and a half hour ride away, I wouldn’t be here talking to you now.” Coincidence number two: One of Europe’s top neurological injury specialists happened to be in the hospital at 5am on Sunday morning, precisely when the ambulance delivered Paul van Dyk through its doors, because of another case. “He was there to take the right steps, rather than some assistant doctor waiting for him to arrive on Monday when it probably would have been too late. I wouldn’t be sitting here,” Paul smiles wryly.

And then there is his wife, Margarita. The first thing she did while her husband laid motionless in bed, with doctors refusing to give any concrete prognosis, was decorate his hospital room with his favorite things: his football club shirts, flowers, photos of the two of them – “so that as soon as I’d wake up, I would have the first bit of memory that connects me to something that is part of me. And these details, that’s what she’s made of as well,” Paul smiles as he recalls her care, and his overwhelming love for her is evident. “She’s just amazing. Really.”

For the first two days after his fall, neurologists tried and failed to elicit a physical response from Paul. Machines showed his brain was still functioning, but his body was unresponsive. It wasn’t until his wife arrived that he stirred. “She touched my fingers, and then she said, ‘Grab my hand.’ And I grabbed her hand while unconscious,” Paul’s green eyes light up as he tells the story, “and she ran out of the room yelling for the doctors to come in and see that I had moved. But I didn’t do it when the nurse came. Just her.”

In retrospect, that moment left a mark on the artist, profoundly changing his worldview. “That’s a clear indication there’s something else,” he states, shaking his head. “I’m a pragmatic person. I don’t believe in God. I’m not an esoteric guy… but this is outside of comprehension for a pragmatic person. There is obviously something like the soul, the inner core. As someone who believes in quantum physics I would say, it’s the Higgs Boson of us. Because I knew, my soul knew, when Margarita grabbed my hand: ‘That’s my girl.’”

The album’s opening track, ‘While You Were Gone’, features an elegant piano arrangement that sounds like an homage to its title – a soul hovering over its earthly body in an astral projection of emotion, reimagined in waveform. But that is not at all what Paul van Dyk had in mind when he wrote it. He doesn’t have a recollection of the first four weeks after his fall, laying in various states of consciousness, first in a Dutch hospital and then a facility in Berlin. The last thing he does remember is leaving his green room and heading towards the stage on that fateful night. “The brain erases a little bit of memory from before [an accident], I don’t even remember playing for the first 20 minutes before I fell,” he admits.

When we share our thoughts on the song, gushing over its etheric otherworldliness, Paul chuckles and says that the reaction is a good example of why people like trance so much. “They always go on and tell me for hours and hours what they love about it. A good piece of music gives you a sketch of the emotional surrounding of the artist. And you then take that in, you make it your own, you fill it with your own experience. Suddenly, it’s not my track anymore – it’s yours.” ‘While You Were Gone’ is filled with the sentiment of Paul van Dyk’s deep appreciation for the woman who brought him back to life with memories and love and care, and whom he says is the best reason for him to still be here.

“A very essential part of me not giving up and fighting for my life, fighting to get better, is my wife. She’s an adventurous type in a very cool way – right now she’s climbing Mount Kilimanjaro!” he boasts with a smile. “At the time I wrote ‘While You Were Gone’, she was hiking the 3 Passes Trek around Mount Everest. I was in Beijing, sitting there feeling alone and detached from the world, and I wrote the song.” The track, co-produced with Vincent Corver, is rich with sentimental melody, but it bursts into a subby, forward-rolling beat three quarters of the way through. Paul reveals that he used a sub bass to make the bass drum kick. “This is why it sounds almost like a heartbeat pumping – ‘boom, boom, boom’,” he thumps his hand against his chest, as if to remind it to keep going.

Since the accident, there has been change: Paul’s DJ sets are no longer three hours, he works more slowly, he can’t properly feel his legs. “It’s almost as if I’m walking on clouds.” There has been pain: “There were times when I was simply in so much pain that I would just burst out in tears. It was just seriously indescribable. They always ask you in the hospital, ‘On a scale of one to 10 how much does it hurt?’ And I was always saying, ‘It’s a 100.’” But there has also been love: “[The doctors and nurses] really gave me the feeling that it mattered. That I matter. That it mattered to them that I try. And all that together with the cards, letters, e-mails, videos, voice messages I got from colleagues, friends and fans – all that positive energy encouraged me. Because even on the hard days, to simply get through was enough.”

‘From Then On’ means more to Paul van Dyk than anything else he has made before. He feels it is his most successful album, simply because he was able to make it. “All the support is what made me pull through. You can’t do something like this alone. It was a joint effort, and I’m here,” he insists. “And the same goes for many other things.” Ironically, in the year and a half since Paul’s accident, he has witnessed a disintegration of communal strength on the global level: our damaged climate precipitates more tribal warfare, the rise of neo-fascism is haunting Europe, a fractured America is divided beyond repair, religious extremism codifies terrorist cells. “My moral standards and my political beliefs are still the same as they were before. But I think what my personal story is a very good example of, is this whole concept of being ‘stronger together’. To be together, to work together, and to solve problems together.”

There is something to be said for the role music plays in connecting people, and it is what Paul van Dyk says inspired his classic 2001 compilation album, ‘The Politics Of Dancing’. Though his politics remain unchanged since the accident, he speaks more passionately about the topic now, having experienced the type of healing that can only be achieved with the help of a large community. “We need to all stick together on these things. We’re all human beings, all responsible for this planet – and when a guy like Trump says he was elected by the people in Pittsburgh not by the people in Paris – you know what, this is fucking bullshit. Because if this planet goes bonkers, then it affects the people in Pittsburgh as much as the people in Paris,” he crosses his arms and sits back in his seat. “We can only solve things together.”

Paul van Dyk’s Berlin of offace sits on the Spree River in the Friedrichshain- Kreuzberg borough, just a few meters from the world-renowned Watergate club and at the nexus of German history. The former East Berlin district of Friedrichshain is connected to the former West Berlin district of Kreuzberg (now reminiscent of New York’s East Village in its counterculture heyday) by the historic Oberbaum Bridge, which was once a Berlin border crossing for pedestrians. Graffiti-covered stone arches stretch from one side of the river bank to the other. Barbed wire and repression have been replaced by nightclubs and kebab shops, skateboarders and artists. Paul remembers what it was once like, because he grew up in East Berlin. “Right over there, actually,” he grins, craning his neck and pointing as he peers out of the window.

The cold, gray drudgery of life in East Berlin is not cinematic overkill, dramatically reimagined by movie directors. It was a place bent on stifling creativity, movement, passion and free will. The absence of art and beauty from East Berlin was intentional, and it meant that 10-year-old Paul van Dyk had to access music in illicit ways. “I was doing my homework, listening to the West Berlin mega stations on my radio – illegally of course, because that was forbidden – when I stopped one day and turned it up and was like, ‘What’s this?’ This music was different, and it connected with me.” The band he heard that day was The Smiths, and it turned Paul van Dyk into a self-professed radio junkie. “We didn’t have record shops or magazines, or anything at all in East Germany.”

Eventually, the sounds of early house music from Chicago and Detroit began filtering through Paul’s pirated radio waves, and by the time the Berlin Wall fell in 1987, he reveled in the clubs. Still, he was searching for something he felt was missing from dance music, a stronger connection and a more profound sensation. “The music I wanted simply didn’t exist, so I had to make it myself.” And while there will always be a debate about the origins of any genre, enough people agree that Paul van Dyk is a significant actor in the saga of trance. Queue up his 1993 remix of Humate’s ‘Love Stimulation’ for a glimpse at the genre’s genesis. The expansive harmonies, layered strings and faster BPM are familiar elements today, but in the early ‘90s, they weren’t the norm.

Although he loves house and techno, Paul believes trance represents “the most complete” form of music; one without boundaries. “With the minimal techno stuff, after five minutes you hit a wall and you’re just like, wow. That doesn’t create a landscape. And this is what I like – I like to see a horizon.

“Techno, to me, is ten meters long and then there’s a wall,” he gestures with his hands, slicing a line through the air. “Trance, on the other hand, is a horizon. You can see the sun going up and down depending on which direction you look and all that is in between, all the experience, everything that happens in the world. Moving towards the horizon is part of trance music.”

There is a track on his new album titled ‘Fairytales’ that is decidedly triumphant, ringing with bliss. And while we don’t ask what it means, we can’t help but imagine a young boy huddled over his small radio, stealing sounds from a world beyond his reach, but within his view. Paul smiles and nods at the window again. He can see his childhood school in the distance, just across the river bank to the east. The irony of literally pushing through a physical wall to get to the music and life he loves, is not lost on him. “When I was sitting in class in school as a kid, I was actually able to look toward the left which was West Berlin. I would look towards the west, look towards the horizon, look towards where I thought freedom and beauty was,” as he speaks, he looks to the west, away from us, unpacking an old memory. “Music and the horizon somehow always had something to do with my craving for freedom and movement, energy and positivity. And I guess, really, it’s still the case.”

DJMAG Article


Music News

Martin Garrix wins DJ Mag Top 100 DJs 2018

Post Image

Martin Garrix has been revealed as the winner of the DJ Mag Top 100 DJs Poll 2018, with the 22-year-old Dutch superstar making it three in a row after becoming the youngest ever No.1 DJ in 2016 and retaining the title in 2017.

Garrix was awarded the winner’s trophy by DJ Mag managing director Martin Carvell on stage at the Top 100 DJs Poll award ceremony at the Amsterdam ArenA. The event took place at this year’s Amsterdam Music Festival at Amsterdam Dance Event (ADE).

The award continues a meteoric rise for Garrix over the past few years, beginning when his breakout tune ‘Animals’ shot to No.1 around the world in 2013. He was odds-on favourite to retain the title from 2017.

He’s had a huge year since winning 12 months ago, unveiling his new waxwork at Madame Tussauds in Amsterdam and releasing his photography book Life=Crazy. He is also reportedly working with Rihanna on her forthcoming album, has teased his new hologram visuals and has released a track every day during this year’s ADE.

We secured an incredible 1.2 million votes in this year’s poll, an increase of nearly 200,000 on 2017. The most votes came from the USA, followed by the UK, Brazil, Mexico, Italy, Germany, Belgium, the Netherlands, France and Spain.

In the top 10, there isn’t a great deal of movement. Belgian brothers Dimitri Vegas & Like Mike (the Highest Group) hold steady at No.2, while Hardwell leapfrogs over Armin van Buuren to claim the No.3 slot, despite — or perhaps because of — announcing that he’s stopping touring for an indefinite period. ASOT man Armin, of course, remains the Highest Trance DJ at No.4 — he hasn’t finished out of the top four for the last 13 years.

David Guetta has had a good year, jumping up two places to No.5 — overtaking Tiësto in the process. But the big news in the top 10 is Don Diablo jumping four places to claim the No.7 slot, and cementing his place in the big league — claiming the Highest Future House DJ award in the process. Afrojack and Marshmello hold steady at No.8 and No.10 respectively, while Oliver Heldens — who slid out of the top 10 last year — jumps four places to finish at No.9. Steve Aoki slips down two places to No.11, while the biggest surprise in the top 10 is The Chainsmokers sliding down from No.6 last year to this year’s No.31.

Just outside the top 10, R3hab and Alok are both up six places to No.12 and No.13 respectively, while W&W are non-movers at No.14. DVBBS, Lost Frequencies and Vintage Culture are all up a respectable amount of places, while — off the back of his perpetually sold-out Ibiza residency — Pryda man Eric Prydz soars into the top 20. But the standout placing here is Avicii at No.15. The dance world was shocked by his untimely passing earlier this year, and tens of thousands of his fans voted for him in 2018 to ensure that his legacy isn’t forgotten.

Just outside the top 20, Fedde Le Grand and Ummet Ozcan are up 17 and 15 places respectively, while Quintino, Vinai and Bassjackers are also up. NERVO are the highest placed female DJs at No. 27, up a healthy 15 places, while masked hardcore hero Angerfist rams up 11 places to No.29. It’s not quite enough for him to reclaim the Highest Hard DJ accolade from Headhunterz, though — his fellow Dutchman places just one spot above him at No.28. It hasn’t been a great year for votes for other hardstyle DJs, though — Radical Redemption and Brennan Heart are both down considerably, while Ukranian DJ hardcore techno Miss K8 slips seven places to No.65.

There’s two more women in the poll compared to last year, which is another small step in the right direction. Apart from NERVO and Miss K8, Mariana BO — complete with her violin — is up 16 places and Alison Wonderland is still in the nineties, but they’ve been joined in the 100 by MATTN, who is the Highest New Entry overall at No.72, and the inimitable Nina Kraviz, who makes a welcome debut appearance at No.97. Let’s hope that even more women are voted into the Top 100 next year.

Other new entries include Breathe Carolina, NGHTMRE, Rave Republic and Slander, while stalwart scene producers Cedric Gervais and KO:YU — Deniz Koyu’s new name — jump into the chart for the first time. New names in the list from the world of techno include Adam Beyer and Marco Carola, while it’s also been a good year for Carl Cox — up nine spots to No.53, again scooping the Highest Techno award — and Richie Hawtin, who is up 19 to No.61.

There’s quite a few re-entries too, proving that sliding out of the Top 100 doesn’t mean that you are gone forever. Daddy’s Groove, Wildstylez, MaRLo, Deorro, Bobina and Markus Schulz have all bounced back in, and the Highest Re-Entry is Swedish House Mafia — despite only playing one show together all year, at Ultra Miami. With more shows and music hinted at for next year, it’s a safe bet that they’ll soar back up the chart in 2019. The return of SHM has had contrasting fortunes for its individual members, though. Steve Angello is up 24 places to No.58, but Axwell & Ingrosso are down 20 places to No.41.

The Highest Climber this year is Israeli psy-trance duo Vini Vici — up 38 places to No.34 — and other acts who have jumped 10 places or more include Danny Avila, Timmy Trumpet, Yellow Claw, Cat Dealers, Martin Jensen, Will Sparks, Robin Schulz, Andrew Rayel, Swanky Tunes, Mosimann and Tchami. Ferry Corsten, who has been in the Top 100 for the best part of 20 years, rides trance’s continued revival by twerking up 15 places to No.75, while Claptone is up 12 places to again claim the Highest House award.

The unstoppable Andy C once again claims the Highest Drum & Bass DJ award in this year’s poll. Following the widening of the voting process using a 2FA SMS login option for markets without Facebook, there’s been a 28% increase in votes from China. This has undoubtedly helped the top two Chinese DJs — Carta and DJ L — climb 19 and 14 places respectively, while other areas in Asia — including Japan, Vietnam and Thailand — all saw similar increases.

The territory that yielded the highest number of votes was again the USA, with the UK, Brazil and Mexico ranking next, closely followed by the central European countries of Italy, Germany, Belgium, the Netherlands, France and Spain. During the voting process, DJ Mag’s website saw 61 million pages viewed.

Check out the full DJ Mag Top 100 DJs poll results here.


Paris boat club Batofar closes permanently

Post Image

The venue has been dismantled after running into financial difficulties, though there are plans for it reopen under a new name in 2019.

Popular Paris boat club Batofar has closed for good.
Moored in the 13th arrondissement since 1999, the red tugboat ran into financial troubles earlier this year, according to daily newspaper Libération. It was initially due to shut for renovations, though they never materialised. A 17-hour closing party, scheduled for February 3rd, also never happened. More recent photos show the red boat being dismantled. (See right.)
Libération also reports that the venue will reopen in summer 2019 as a salsa club under a different name, Faro Faro.
For almost 20 years, Batofar was a vital and trusted spot for underground house and techno fans. Recent guests include Tin Man, Xosar and Djrum.

RA Article


David Morales arrested in Japanese airport on ‘suspicion of smuggling’ MDMA

Post Image

The US DJ was reportedly detained in Fukuoka on Saturday afternoon after customs officials found 0.3g in his possession.

David Morales was reportedly arrested in Japan over the weekend on “suspicion of smuggling” 0.3g of MDMA.

According to national newspaper Asahi Shimbun, the Grammy Award-winning artist was travelling from Hong Kong to Fukuoka on Saturday afternoon when customs officials found a small bag containing the class A drug in his carry-on luggage. Morales denied it was his, claiming that someone else put it there. “He was arrested for allegedly violating the law on narcotics and psychotropics control,” a police spokesman told news agency AFP.
Japan has a zero-tolerance policy on drugs. The penalty for possession of class A substances for personal use, however small the amount, carries a maximum prison sentence of seven years and a fine of ¥3 million (£19,821).
Morales was due to perform at Fukuoka club Bijou on October 6th, followed by an appearance in Tokyo the following day. On Saturday evening, the promoter of the Fukuoka show posted on Instagram saying that Morales wouldn’t be attending because he was “sick.”
Resident Advisor reached out to Morales’s team, who said they’re “unable to comment at this time, but will share further information with you as and when we’re able to do so.”

We’ll bring you more on this story as we have it.

RA Article


Trump signs Music Modernization Act, updating old copyright laws

Post Image

The legislation aims to revamp existing laws so musicians and labels are better compensated by streaming platforms.

President Donald Trump signed the United States Music Modernization Act into law today.
The act, which passed unanimously through the House and Senate, aims to update antiquated US copyright and licensing laws for the streaming era.
Specifically, its goal is to simplify the process of licensing music so that rights holders are more fairly compensated when their music is streamed online. It will iron out the most complicated part of the process—figuring out who the rights holders are—by creating a single licensing database called the Mechanical Licensing Collective. The MLC will ensure that payouts end up with the correct artists and labels.
It also includes a piece of legislation called the Allocation for Music Producers Act, which specifically aims to get producers and engineers better royalty payouts from satellite and online radio (it’s the first time producers have been mentioned in US copyright law).

“You like this legislation or do you hate it?” Trump reportedly asked his invited guest Kid Rock during the signing ceremony this afternoon. “I like it,” replied Kid Rock.

New legislation that calls for major updates to the United States’ music copyright and licensing laws passed the House of Representatives yesterday by unanimous vote.

The Music Modernization Act, also known as House Resolution 5477, bundles together a handful of bills that, as a key sponsor in the House put it, “brings early 20th-century music laws for the analog era into the 21st-century digital era.”
One big change is the creation of a blanket mechanical license, which digital providers can obtain as protection against copyright infringement lawsuits, and a new agency whose mission will be to track credits on streaming and other digital services and collect and distribute royalties. The agency would be similar to SoundExchange, a non-profit that is currently the only digital royalties distribution entity authorized by Congress. HR 5477’s other measures include the development of a system of market-based royalty rate standards, new protections for recordings made before 1972 and the addition of royalties for producers and engineers.
Left unaddressed are performer payments for over-the-air radio play—Inside Radio says the National Association of Broadcasters and the music industry aim to iron out a compromise on that front without a government mandate.
Industry supporters for HR 5477 include the Recording Academy, RIAA, ASCAP and BMI, along with the Digital Media Association, which represents the likes of Apple, Amazon, Google, YouTube and Spotify.

The bill passed the House with an expedited 415-0 vote—a rare display of bipartisan cooperation in US government that suggests it’ll make it through the Senate and onto the president’s desk. The Senate’s Judiciary Committee plans to begin its own deliberations in mid-May.

RA Article

Events Music

Adam Beyer announces Drumcode Halloween after-party

Post Image

Adam Beyer has announced an after-party for Drumcode’s forthcoming Halloween session at London’s Tobacco Dock on Saturday 27th October.

With the main event finishing up at 10PM, those who’ve still got something left to give can head to one of the UK capital’s newest venues, the 24-hour-licensed FOLD, for another few rounds with the main man and his comrades through to 6AM.

Alongside the imprint bossman, techno big guns Nicole Moudaber, Charlotte de Witte, Slam, Paco Osuna, Alan Fitzpatrick, Dense & Pika and Marco Faraone are all down to play the daytime. So far no line-up has been confirmed for the afters, so watch this space for details as they arrive.

DjMAG Article


Deadmau5 releases statement confirming indefinite hiatus

Post Image

Deadmau5 has released a statement saying that he is to take time out of the spotlight.

Posting on Twitter earlier today, the producer wrote: “This has been a very difficult period and I sincerely apologize for my comments which were completely offensive and I take full responsibility for.”He continues: “Now it’s time for me to deal with my own personal issues including finally addressing my own mental health challenges that I have wrestled with for the past several years.”Admitting that he has fallen short of his goal to “uplift my community,” he says that after consulting with friends and family, he has decided that he should seek professional help to deal with his problems.“Again I apologize to all of those I have offended and I will be going off the radar and taking the time necessary to work on myself.”The move comes after the producer faced wide criticism for now-deleted tweets of a homophobic and transphobic nature, while he also made ableist remarks about the music of producer Slushii.

You can see his full apology below.

DjMAG Article

Events Music

Fabric to relaunch Room Three with huge new soundsystem

Post Image

Fabric is set to relaunch Room Three with a huge new soundsystem, it has been confirmed.

News that the dancefloor would be brought back into action first hit over summer, having been shut since the club re-opened following its temporary closure in 2016. The longstanding FABRICLIVE sessions— which lent their name to the mix series that’s just about to finish— will be the first to make use of the space, on Friday 14th September, meaning it will be available for the marathon 30-hour 19th Birthday in October.

Dancers are promised a relocated booth, adding greater intimacy, and new Pioneer rig, with the focus on showcasing rising UK talent. Tumble Audio will put the setup through its paces on the debut night, before 3000 Bass (featuring The Marcus Nasty Show), Addictive Behaviour, Then & Now and She Said So step up in the weeks that follow, making this another significant milestone to add to our list of 10 moments that defined Fabric.


Is dance music suffering from a crisis of competence?

Post Image

The kick-drum drops out, reach towards the ceiling, the air is filled with whoops and whistles. Then a long whoosh of white noise simultaneously builds the tension whilst signalling the fact that the kick and b-line are about to drop. When they do, everyone is briefly animated for a minute, but then the energy in the room starts to flag — but don’t worry, because they’ll be another near-identical breakdown in about thirty seconds where we can all do it again.

The idea that dance music is in some kind of creative crisis has become more popular in the last few years. There is a lot more music being produced and released than ever before, and if we’re honest, not all of it is destined to become classic. Instead, we have seen a growth in competent, reasonably well-produced but utterly beige, boring music.
Every week, there are hundreds of tracks released that sound as though they’ve been put together quickly, with little thought or creativity, and by the sound of it with no struggle, pain or emotion. Based on templates, sample packs and presets, the hi-hats, snares and claps are always in the same place, the same bass sounds are endlessly recycled and the parts are set out into virtually identical arrangements.

These tunes get knocked out and then polished and preened through high-quality plugins to sound big, fat and shiny. They might get sent off for professional mastering for a final prettification, but they’re still empty. It’s all surface sheen with no emotional depth — it’s merely competent: the kick and bassline EQ’d together nicely, all the parts sitting neatly in separate areas of the frequency section, just like producers are taught to do.

But the question surely has to be: who wants competent art? Surely we should demand art that is bone-marrow-meltingly good, music that burns its way deep into our souls, never to be forgotten.

This glut of competent music is the result of several factors — the lowering of access to production is obviously a big one, as is the ongoing improvement of Digital Audio Workstations like Ableton and Logic. The increase in quality of sample packs might be cited too, as might the change in the cultural perception of the DJ. The frighteningly quick turnover of new releases makes some producers feel that they have to keep churning out a few EPs every month — and inevitably this has to affect quality. But there is also a larger cultural malaise, and it’s the result of living in a society where every release/remix/DJ gig/statement/ move is instantly available for judgement, outside of its original context, on social media.

Fear is a terrible thing; its ripples wash over people far away from its initial source. Fear of the new, of stepping outside the production comfort zone, of producing something vastly different to what’s currently ‘big’, fear that one’s ‘profile’ might fade if a frantic release schedule isn’t maintained. These have all influenced many producers and have subtly changed our dance music culture. And these fears directly affect the quality of the club-nights we go to — be it DJs making safe boring tune selections or producers releasing safe, competent music.

Prior to the digitisation of the music and media industries, if a producer or artist made a shit album they would get completely slated, but the only people who read the reviews would be the people who bought the music magazines. Now the rare sighting of a searing review is spread far and wide. Wrenched from its original context, criticism is re-branded as ‘hating’ — as though having a strong opinion on music is hate. It isn’t. It’s the opposite, it’s love — love for brilliant, awe-inspiring music. A negative review is the result of a deep passion for the kind of tracks that create life-lasting memories, over just another competent utterly lifeless production.

We are in danger of accepting a new standard in music, that of competency. It’s the artists’ job to kick back against this process. Competent dance music promotes the ideals of simplicity, of playing-it-safe, and celebrates banality over invention. In these troubled times, with the rise of the far-right, and bearing in mind the roots of house music in black, Latino and gay American subculture, kicking back against this trend becomes a moral imperative. Because music that is fresh and challenging, music with depth and real emotion, music which consists of more than a few generic sample loops strung together, that’s the kind of music that can engender community and encourage critical thought; and critical thought is the single biggest threat to creeping authoritarianism.

In short, all of us — producers, labels, DJs, even reviewers — need to be a lot fucking braver.

Dj Mag


Paul van Dyk announces special Printworks album launch show

Post Image

Paul van Dyk has announced the release of his new studio album, ‘Symbols’.

Set to drop this autumn, the new LP follows his celebrated 2017 release ‘From Then On’ and will be launched with a special headline show at London’s Printworks on 12th October.

Earlier this month, PVD teased the new album with a mysterious tweet. ‘Symbols’ will be the ninth LP from the trance legend who released his debut ‘45 RPM’ in 1994.

In an official statement, van Dyk said, “‘Symbols’ is an album deeply rooted in story-telling, mystery and adventure. It’s an exploration of trance, a journey through the breadth and depth of a genre that continues to enthrall me as an artist.”

‘Symbols’ will be debuted in London’s incredible Printworks venue on 12th October. The recent DJ Mag North America cover star will be the first trance DJ to headline the massive venue since it opened in February 2017.

In July, van Dyk also released the eponymous track from his 2018 SHINE Ibiza residency.

Recently, the German trance luminary took to Twitter to remind fans just how much trance still means to him after nearly three decades in the game. “Trance is more than music,” he wrote. “It’s a lifestyle. It’s about community. It’s emotions turned into sound.”

Skye News

Skye Energy Drink USA proud to announce partnership with the Philadelphia Union Men’s Professional Soccer Club

Post Image

It is with great pleasure that Skye Energy Drink USA announces that we are now a Proud Partner with the Philadelphia Union Men’s Professional Soccer Club. We have long anticipated working with a MLS team with this stature and our alliance will be a big step in expanding our footprint. The endeavor also allows us to work with Spectra Food Services and Hospitality, a leading provider in the US. Stadiums and arenas. Our products will be available at concession stands throughout the Talen Energy Stadium.

Skye Energy Drinks began in Europe in 2012 with the concept of offering the first non-cloned energy drink to the market. We have succeeded wit our pleasant tasting, Sky Blue color and vitamin enriched formula. Contact Skye at for more details.

Events Music Shows

New 24-hour venue to open in London

Post Image

London is set to get a brand new 24-hour venue this month. FOLD will open its doors on 18th August for a huge opening party featuring some of London’s finest promoters and collectives.

The venue is the latest project to come from Shapes Collective, the team behind newly opened spaces like Hackney’s The Glove That Fits and Many Hands, Bermondsey. FOLD is located on an industrial site in east London between Canning Town and Star Lane.

The new club’s main room has a 600 person capacity and will have a strict no-photo policy. A second room is set to open in the space later in the year.

According to the venue’s co-founder Lasha Jorjoliani, AKA Voicedrone, 24 parties will tend to take place on Saturdays while Friday night events will run “till late”. Events held during the will be able to run until 3 am.

“FOLD presents an uncompromising schedule of forward-thinking electronic music,” says Jorjoliani in an official release from the venue. “Veering away from the regular four to the floor, we offer a smorgasbord of alien sounds from the unknown… “Expect extended set times, obscure b2bs and a generally more expansive pallet of sounds over the course of one event.”

“London, unlike other leading European cities such as Berlin or Amsterdam, has struggled in recent times.” adds fellow FOLD co-founder Seb Glover. “Gentrifying forces has put huge pressures on artists and musicians, with many leaving as a result. Licensed venues, which is where artists and DJs are predominantly able to earn their living have come under attack.”

“What we have created at FOLD is a new home, tucked away from the pressures of the city, a place where you can listen to extended sets on a tuned soundsystem tailored to the specifications of the room to maximise the experience of the space. We strive to do things differently in London, cultivating a more continental approach, creating a place where you can spend extended periods or coming and going as you please.”

The venue’s opening party takes place on 18th August and will feature a huge bill featuring contributions from of London’s most exciting promoters and curators as well the incredible Dimensions Soundsystem and Worldwide FM’s Global Roots Soundsystem. Other additions include Left Alone, Snap, Crackle & Pop, Body Motion and Make Me. Full details and tickets for the party are available here.

There is also the promise of upcoming label showcases parties with the mighty Ilian Tape, Clone and Pinkman are in the works.

FOLD champions an ethos of inclusivity with their official statement reading: “We welcome All Races. All Religions. All Genders. All Countries of Origin. All Sexual Orientations.. Our focus is creating a safe space that is disconnected from the intense pressures of London life, that allows freedom of expression, positivity and inspiration to take form.”

As well as being a venue, FOLD offers five purpose-built studios which artists will be able to hire “by appointment of the FOLD crew.”.

This announcement comes as a refreshing burst of good news just weeks after members of east London’s Hackney council voted unanimously for a policy which rules that all new pubs, clubs and venues will be required to adhere to a strict curfew of 11 PM on weekdays and 12 AM on weekends. That decision has, naturally, been met with huge criticism and protest.

Events Music

Step inside Giorgia Angiuli’s weird and wonderful live show

Post Image

Giorgia Angiuli is one of the most distinctive performers in electronic music, coupling quirky toys and powerful synths with her own voice and dynamic performance. We spoke to her about how the show evolved, the realities behind performing live in the club, and the Es Vedra performance…

Why did you put together a live show instead of DJing?
“I’ve never played as a DJ. I had a classical education, I studied guitar and I grew up in a family of musicians, then I started to play in different bands, different genres: nu metal, indie, electronic, folk — I like many kinds of music and I started to play melodic techno music just four years ago. I have always been fascinated by music composition and I like to play different instruments, so for these reasons the live set is the perfect way to express myself.”

How did your set-up start and how has it evolved?
“I like to change my set-up often — I love to use different equipment. Since the beginning I’ve used Ableton Live, and the other instruments changed. A few years ago I used to play with my guitar and I’ve always used my voice more as a musical instrument, singing only a few parts. Then I added different MIDI controllers, synths and toys for kids.
“Travelling a lot, I always consider the problem of the weight of my luggage — that’s why I need to look for cool, reliable and small gear. Now I’m playing with Apogee soundcard, Ableton Live, an SM58 microphone, Arturia Minilab mk2, Novation Launchkey, Moog Sub37, Yamaha CS01, TC Helicon Voice Live and a few other bits and pieces.”

How does your live show work now? What are the main bits of kit?
“During my live set I never play the tracks that I release using the same arrangements, I prefer to play them with different arrangements, keeping only a few elements from the original version. I pre-record basslines, kicks and main grooves in my studio and I add some parts live with the other instruments. I loop some groove elements live — ride, percussions, snare — on top of my voice, the synths and the toys.”

You incorporate vocals into your sets — why is it important to you to keep things organic and keep the human element in the music?
“Yes, I love the human touch, but I use my voice as a musical instrument, with effects and singing only in small parts [of the live show]. Also, I’m not a big fan of quantisation and I work on the live set in a very different way compared to how I produce my tracks. I like to add dirty elements to my live set and I really don’t care about the perfect mix, because it’s live. But, on the other hand, when I produce a track I take care of all the details and I prefer to keep the composition more clean and organic.”

“I like to add dirty elements to my live set and I really don’t care about the perfect mix, because it’s live”

What are the main challenges of playing live in a club?
“Unfortunately live sets are still rare in the clubs — too often the space on stage is really small, because the clubs are designed for DJs. You can find sound technicians that don’t read carefully the technical riders. But I still love to perform live in the clubs, the reaction of the crowd is immediate — if they dance or they close their eyes it means that they are appreciating your show, and I love when this magic connection between me and the crowd happens.”

You performed live at Es Vedra with Cercle. How was that experience?
“It was my first time at Es Vedra and, to be honest, when I arrived there I felt a bit scared because I suffer from vertigo. Then I started to play and I felt at one with the blue of the sea, the power of nature was really strong. I think it could be amazing to organise more events in these kinds of locations: the energy is so strong. It was a unique experience, and I have to say a big thanks to the channel Cercle for inviting me there, they are doing an awesome job.”

What advice would you give to someone who was thinking of starting a live electronic music show?
“I think the most important thing if one wants to start this career is to study a little bit of music theory, in order to be able to improvise during the set, and to practice many hours a day. This will allow you to express a human touch in the show, not only using machines or a laptop. There are also difficulties, for example travelling around the world with heavy equipment and luggage, and the sound-check will be an essential step. Also, packing your equipment after the performance will take a long time but hey, at the end you will get huge satisfaction and emotion from playing your own music in front of the crowd!”

*Catch Giorgia playing alongside Maceo Plex, Mind Against and Popof for Pyramid at Amnesia on 20th of August.

Festival Music Music Festivals

Houghton Festival completes 2018 lineup with Helena Hauff, Mulatu Astatke, Antal

Post Image

Horror Inc., Hunee, DJ Sotofett have also just been added to the Norfolk event.

The lineup for the second edition of Houghton Festival has been finalised.

Curated by Craig Richards and produced by Gottwood Festival, Houghton expands its roster of artists to feature Helena Hauff, Hunee, DJ Sotofett, Tama Sumo, Willow, Move D, Andy Blake, Binh and Akufen as Horror Inc. Live performances will include Mulatu Astake with Khruangbin, Red Axes, Dan Beaumont, Doc Scott, Billy Nasty, The Mole and Begin, with a live debut from Lost Souls of Saturn.

Brilliant Corners and Analogue Foundation’s travelling soundsystem Giant Steps will also return to the festival, presenting Donna Leake, Claude Douset, Pol Vallo, the Dalston spot’s owners Amit and Aneesh Patel and more.

Ricardo Villalobos, Andrew Weatherall, Margaret Dygas and Vladimir Ivkovic were included in the first round of artists performing at Houghton this summer, announced back in January. The art and sculpture programme is still TBA. The festival will take place from August 9th to 12th at Houghton Hall. Tickets are sold out.

See all the new additions below.

Events Music

Martin Garrix announces 2018 world tour

Post Image

Martin Garrix has announced details of his summer tour for 2018, which kicked off yesterday. The critically-acclaimed DJ is playing until the end of August on a tour that will see him playing a total of 36 shows in just 57 days.

Tickets are currently on sale here.

Given how busy Garrix has been over the last few years, many are amazed that he’s been able to get a tour together – particularly without a focus single, EP, or album to hone in on. Much of the tour is based in Europe, where Garrix will be heading to Ibiza in Spain, as well as cities in Hungary, Norway and Malta. He will also be performing sets in Las Vegas and Canada.

Back in June, Garrix shared ‘Oceans’ his eagerly awaited collab with Khalid.


Music Skye News

We are proud to announce the launching of our new Skye Energy Radio App / Apple Store / Play Store

Post Image

We are proud to announce the launching of our new Skye Energy Radio App.
Within our Skye Energy Radio mobile app we’ve launched a music discovery and recommendation tool that covers all of dance.
Listen to the audio you love and let the moments move you.

Download from the App Store:
Soon On Google Play Store:

App Information
Size 9.6 MB
Category : Music
Compatibility :Requires iOS 8.0 or later. Compatible with iPhone, iPad, and iPod touch.
Languages: English


Tomorrowland tickets have started to arrive in this year’s treasure chest

Post Image

Tomorrowland tickets have started to arrive in this year’s treasure chest, themed around 2018’s The Story of Planaxis.

Each year the festival sends tickets out in an elaborate package that contains themed goodies. You can see this year’s ticket treasure chest below.

The festival, which runs across two weekends in Boom, Belgium, from 20th to 22nd and 27th to 29th July, announced this year’s theme last October and shared further details of the concept with a lush looking video earlier this month (June).

Earlier this week (25th June), Tomorrowland creative director Christophe Van den Branden revealed that the festival is set to look “totally different” this year.

Check out the Tomorrowland 2018 ticket treasure chest below.

Tomorrowland Tickets


Deadmau5‘s orchestral album ‘Where’s the Drop?’ is given full release

Post Image

Deadmau5‘s orchestral album ‘Where’s the Drop?’ is now available everywhere following a period of Tidal exclusivity. You can listen to it below.

The mau5trap boss – real name Joel Zimmerman – releases ‘Where’s the Drop’ after months of teaserssnippets and previews.

Zimmerman also landed the No. 49 slot in our DJ Mag Top 100 DJs Poll last year.

Listen to Deadmau5’s ‘Where’s the Drop?’ below.


Nicky Romero reveals he has “two folders full” of unreleased Avicii material

Post Image

Nicky Romero has revealed that he has “two folders full” of unreleased Avicii material in a new interview.

Speaking to Ultra Singapore, Romero also explained that he may never release the music out of respect for the late EDM megastar.

“I don’t know if it morally feels right to me to work on songs that the original composer has not approved,” Romero told Ultra Singapore.

“I know that Avicii was really a perfectionist, and I kind of feel bad if I put something out not knowing if he wants to put it out. So that’s kind of what holds me back, out of respect for him.”

Romero paid tribute to Avicii at Ultra Singapore earlier this month (June) by playing the late EDM superstar’s unreleased Chris Martin collaboration, ‘Heaven’.

Tiësto also paid tribute to Avicii with 12-minute megamix live from EDC Las Vegas last month (May), whilst Pete Tong gave an opening address at International Music Summit (IMS) Ibiza in memory of Avicii.

Avicii was found dead in his hotel room in Oman last month (20th April) with his family releasing a statement implying he had taken his own life. He was 28 years old.

Since then, tributes for Avicii have poured in from fellow DJs, friends and fans with Nile Rodgers saying he was “one of the best, if not the best” producer he’s ever worked with. Last weekend at EDC Las Vegas Tiësto paid tribute to Avicii by playing a 12-minute megamix of some of his biggest hits.

Read DJ Mag’s obituary for Avicii here and watch the full Nicky Romero interview at Ultra Singapore below.

Events Festival Music Shows

David Guetta and Dimitri Vegas & Like Mike announce Two Is One Collaboration for AMF

Post Image

David Guetta and Dimitri Vegas & Like Mike have been announced as this year’s Two Is One performers at Amsterdam Music Festival (AMF).

The Two Is One concept was launched at AMF 2017, as Hardwell and Armin Van Buuren joined forces for an exclusive dual performance. This year’s pairing, which sees two former Top 100 DJs winners join forces for the first time, will be eagerly anticipated by fans of both artists.

AMF takes place on Saturday 20th October at the Johan Cruijff ArenA in Amsterdam. As the flagship event of ADE, the one day showcase features stadium-sized performances from the world’s biggest DJs and culminates with the Top 100 DJs Awards Ceremony in front of an audience of 35,000 dance music fans.

This year’s event also features the launch of the AMF Hotel (located at Corendon Village Hotel Amsterdam). The AMF hotel is said to be an exclusive space where fans from 108 countries who visit AMF can hang out before, during and after the show.

The full line up will be announced shortly. Early bird tickets are available now from

Events Festival

British man stabbed to death at Hideout Festival in Croatia

Post Image

Hideout Festival in Croatia has announced that an unidentified British male has been stabbed to death during an incident involving a group of men on Zrće Beach early yesterday morning (27th June).

The statement from the festival, which you can read in full below, states that a second British tourist remains in hospital following the tragedy.

The incident is reported by Croatian media to have happened outside The Kalypso Club on Zrće Beach between two separate groups of tourists. Seven people are reportedly now in custody.

You can read the full announcement from Hideout Festival regarding the incident below.


Streaming is coming to the booth: here’s how it will change DJing forever

Post Image

Soon DJs will be able to stream millions of tracks directly to their software and hardware. DJ Mag explores the impact on DJing tech, creativity and culture…

Imagine the scenario – you walk into the booth with nothing more than a pair of headphones, login with your username and password to the always-connected CDJ and your whole music library, playlists, cue points and every track ever released on Beatport is at your fingertips, immediately recalled from the cloud and ready to play within seconds. No USB sticks, no SD cards, just a username and password and an unlimited supply of records.

It’s not a fanciful vision of the future – Beatport have already announced that users will soon be able to stream their catalogue directly into “leading” DJ software “from 2019”, though no details have yet been released. Their acquisition of cloud and storage service Pulselocker earlier this year – a platform that was seemingly too ahead of its time to succeed – paved the way for what will inevitably become the norm in DJ equipment and software of the future. Beatport won’t be the first to provide streaming into apps though – Spotify has been part of Algoriddim’s djay and a few other software and iOS apps for a while – but they’re the first pro-DJ-focussed platform to hint at it, which means it’s time to take it seriously.

Native Instruments have also announced that Traktor has been redesigned “from the ground up”, with the new wares expected to be shown later in the year. Although they didn’t initially adopt Pulselocker – Serato, rekordbox and Virtual DJ all did – with a re-design from scratch and their iOS platform already syncing cue points, BPM, key and hotcues with iCloud Drive, surely NI will join the party soon.

No specific announcements around hardware have been made but given the rapid development of Pioneer DJ’s whole range, as well as Denon’s forward-thinking SC5000 and the way in which both are influenced by their software counterparts, it’s by no means a leap to suggest the next versions of both will incorporate some aspect of streaming, even if it’s initially just cloud analysis.

The pros and cons are wildly diverse and their impact on DJing is huge, on both sides of the coin. The first and most obvious point being stability.

The idea of a track losing connection and dropping out in the middle of a packed dancefloor is enough to deter any self-respecting DJ – it took years of crashing laptops and embarrassing moments before computers and their software became stable enough to be trusted in the booth. Even then, a huge number of DJs looked (and still look) at them with suspicion.

Since then, the laptop has gone out of favour as a DJ tool, with the industry standard CDJ-2000nxs2s now offering all the playlisting, analytics, searching and portability that made laptops so appealing in the first place. Will Pioneer DJ really risk their reputation for stability, one they’ve been building since the original CDJs were introduced in 1994 and one that tops the priority list for most professional DJs? Stability has dictated how almost all industry standards came to pass with the Technic SL-1200/1210, CDJs themselves and software like Serato and Traktor all making it a fundamental priority, and sticking around in the process.

Of course, the way in which the technology is implemented will dictate that stability – it’s unlikely the tracks will stream in real-time and more probably will cache on loading, the same way they do when played from a USB stick, SD card or CD. Fail-safes like emergency loop will still stand, with a few others likely implemented. However, as you’re only ever one high-profile crash or dropout away from setting the concepts back years, it’s got to be the highest priority for everyone involved. Inner-city internet might be strong enough to stream a lossless file in real-time, but dessert festivals or small-town clubs and bars might not be so advanced.

One positive outcome of our new streaming overlords is the detail and accuracy of royalty reporting. It’s an open secret that producers are not being accurately paid. Exact numbers are hard to come by but the Association for Electronic Music has earmarked £100m they feel needs to be correctly allocated.

That’s a lot of money the independent music landscape is not seeing, though technologies like Pioneer DJ’s KUVO box are working hard to tackle the issue. With cloud-connected DJing hardware and software, every single track played in any club around the world can be registered and assigned to the right producer automatically and in real-time. This information could also fuel analytics, showing artists and producers what DJ is playing their music and in what part of the world it’s most popular on the dancefloor – invaluable metrics for booking agents and labels.

As always with automated royalty technology, there’ll no doubt be gaming issues, similar to what we’ve seen on Spotify but surely it’s a step in the right direction to begin to right the wrong that’s been plaguing dance music for 25 years? Just in case streaming wasn’t enough of a contentious point already, this type of royalty accounting and tracking will no doubt turn heads of those who despise track ID culture and long to keep their music to themselves. Regardless of what side you’re on, it will be interesting to see that discussion evolve.

Another aspect to the always-connected booth is more of a personal, creative and cultural one. What would it do for you as a DJ to have access to everything, all the time? We’ve seen the rise of analogue hardware in the studio, and the resurgence of vinyl for DJs partly off the back of the fact that creativity thrives when we limit our options.

Of course, this is a personal thing and there’ll be plenty of DJs who would jump at the chance to have a million-plus tracks to choose from – it was exactly that that partly triggered the growth of digital formats. For those who regularly play smaller bars, weddings or multiple genres night-to-night, it’s particularly appealing to have everything at your fingertips – as long as the crowd don’t find out.

For everyone else though, it’s hard to argue it’d be more challenging, creative or rewarding. The happy accident – so often the catalyst behind great ideas – could see itself replaced by the predictable and the easy. You could argue opening up millions of tracks to DJs would surely bring about more versatile, esoteric sets, void of genre, but on the flipside, unless we’re happy to go back to squinted at screens, franticly searching and RSI-inducing scrolling, it’s likely DJs will simply embrace what’s presented to them at the top level. From Beatport’s perspective, that could be charts, banners and promotions, selling us music right into our mixers.

We’re not suggesting any DJ is going to play something they’ve never heard before simply because it’s in a chart on their CDJ, but it’s nothing new to suggest when presented with everything, we often choose the most familiar path. How many times have you found yourself playing the same tracks over and over, despite having thousands on your stick or laptop? If it’s the abundance of choice that’s overwhleming, expect streaming to add to that ten-fold, and therefore encourage ubiquity further.

Disclaimer: This article is pure speculation based on trends and technologies that have and continue to emerge over the past few years. DJing is notoriously slow to adopt new tech across the board – the basic concepts the majority of DJs employ every weekend are only a small step ahead of those that were implemented at the dawn of the art. With something as drastic as streaming, it won’t change things overnight. More likely, we’ll see incremental differences, starting with cloud analysis, cuepoints storage and custom notes and information. Even Beatport’s announcement – as forward thinking as it seems now – mentions nothing of file format, sound quality or cost, all of which could deter large groups of DJs.

But there are real benefits and real challenges ahead for the user and the tech companies who create the tools. It’s clear streaming is going to make its way into the booth eventually and when it does, expect it to split the camp the same way the first laptops in the booth did. Either way, like those laptops, it will change the DJing landscape for good.

Events Music

Like the DJs do: your ultimate guide to Ibiza in 2018

Post Image

No one knows the island like those who’ve been playing here every week — residents who’ve made Ibiza their home and the party-goers who’ve been coming every week for decades. DJ Mag Ibiza shows you where to eat, sleep, rave, repeat on the White Isle…

Benirras beach on the north of the island is always a good shout, but head up to the remote cove on a Sunday to experience one of the island’s most enchanting sunsets, soundtracked by the hippies and dwellers who made the island what it is through the ‘60s and ‘70s as they play their drums as the sun drops into the sea. Once the enchantment is over, head to Pizzeria for some of the finest ’za you’ll taste on the island, with the echoing drums still ringing out long after the sun goes down. Elsewhere, Ibiza Town’s Miss Saigon on Ave d’Espanya is an affordable and delicious Vietnamese if you’ve had enough bread and allioli for one season (unlikely).

One of DJ Mag Ibiza’s favourite sunset spots has to be Kumharas in San An bay. On a clear evening, the view of the sunset is jaw-dropping, only topped by the remarkable food and service they have on offer. There’s also boutique shops dotted around the restaurant so you can top up on vibes, garms and great food before you head out. Highly recommended.

Tropicana Suites Ibiza is a new art deco hotel in Playa d’En Bossa, with a focus on chic, colourful and flamboyant décor, inspired by Miami and all things neon. It’s not a party hotel though, they focus on peace and quiet, with only a 200m walk to the nearest beach. What else would you find at the bar in a hotel inspired by 1970s Miami than the finest cocktails? There are over 30 on the menu, so you can sip the day away or enjoy a Mai Tai during one of the many cultural and music evening events.

Despite the name though, drinks are not free. If you’re after something more private, Ibiza Villas 2000 has some of the best villas on the island. Whether it’s a few couples looking for a luxury getaway or a large group of friends who need a place to chill between clubs, Ibiza Villas 2000 gets the DJ Mag Ibiza stamp of approval — we even hosted an epic Carl Cox stream from one of their villas! If it’s good enough for Carl…

Well, if you’re looking for a rave you’ve come to the right place. Throughout this magazine you’ll find the ultimate guides to everything happening on the club-front this summer. But while the main clubs will dominate the clubbing conversation, there are more smaller, esoteric events popping up every year. Island expert Nightmares On

Wax will be bringing his live show to the unique setting of Las Dalias this summer, and all for a good cause — working with the Last Night A DJ Saved My Life foundation, an organisation that helps create positive opportunities for children living in crisis. Last year Wax Da Jam events raised enough money to build a well in Uganda, with 330 people now benefiting from access to clean drinking water. It kicks off on 28th of June and runs through to Thursday 6th of September. Why not have a good time while giving back to a good cause? Ticket to Wax Da Jam can be found here.

Yes, before you’ve had time to catch your breath, it’s time to do it all again. But with a focus on looking after your wellbeing rightly permeating through dance music, remember to take care of yourself. Another opportunity for woke raving includes Cosmic Pineapple at one of our favourite places to visit and stay: Pikes Ibiza. Cosmic

Pineapple features inspiring talks, classes, yoga, dances and workshops by day to “activate your mind and invite you to connect with our hearts”. By night though, they’ve invited key selectors like Ida Engberg to provide the legendary hotel with cosmic sounds and dancing through ’til 4am. There are a total of four events throughout the year, running to 6th of September. There’ll also be opportunities to donate to worthy causes like the Ibiza Preservation Fund. Tickets to the Cosmic Pineapple at Pikes Ibiza can be found here. 

Events Festival Music Music Festivals

BCM Planet Dance reopens in Mallorca

Post Image

BCM Planet Dance has reopened in Mallorca, with punters walking through the doors daily since 9th June, marking the return of a true legend to the island.

The monolithic club boasts a capacity of around 4,000, Function One sound and a renowned lighting rig befitting the scale the place. Danny Howard, Nothing Else Matters and Cream are amongst the names set to be involved for this, its 30th season.

The Magaluf venue— which in the past has hosted Creamfields Mallorca amongst other major events— was closed for summer last year, but is now back in action. Prior to its hiatus the address had been a regular fixture in DJ Mag’s Top 100 Clubs poll, ranking 10th in the world in 2016, with the likes of Steve Aoki, Martin Garrix, Deadmau5, Hannah Wants, David Guetta, Erick Morillo and even Snoop Dogg making appearances in the past.


Kvarteret, Sweden’s new 2,200 capacity club, locks Larry Heard, Jackmaster and Avalon Emerson for first season

Post Image

Kvarteret, Sweden’s new 2,200 capacity club has now opened, with Gerd Janson, Jackmaster and Avalon Emerson locked in for its debut season.

Located in the Slaughterhouse district of Stockholm, Slakthusområdet, an area known for its nightlife, we first reported on the venue last month. Operating five days a week from June to September, the likes of Carl Craig, DJ Seinfeld, Mall Grab and Jayda G are all confirmed to play, as is Larry Heard, who just shared his first Mr. Fingers album in almost 25 years.

The opening sessions, from 1st – 3rd June, saw locals such as Karima F, Daniel Savio and Zernell Gillie providing the soundtrack, and supporting fresh domestic names is apparently a key part of the plan.

According to an interview in Totally Stockholm with one of the founders, Alex Drewniak, the music policy will involve everything ‘from indie, disco, house and techno presented by mostly local talent’ from Sweden on Wednesdays, Fridays and Saturdays. Thursdays will be centred on larger shows, such as Guy Gerber’s first date in the Swedish capital for ten years.


Kvarteret Stockholm club opening season line-up

Events Festival Music Festivals

Swedish House Mafia tease 2019 tour dates

Post Image

Swedish House Mafia look set to be going on tour next year after Axwell ^ Ingrosso teased fans at a show in New York City’s Brooklyn Mirage on Memorial Day (28th May)

Toward the end of the set the pair, who form two thirds of Swedish House Mafia, stopped the music and announced that there are indeed gigs lined up for the trio next week.

As can be heard in the video shared below, Axwell said to the crowd, “What do we do now? This is a big move. This has never happened before.  Should we cancel the Swedish House Mafia gig we’re planning next year? We are not sure they are ready for Swedish House Mafia in 2019.”

The duo went on to play SHM’s hit ‘Don’t You Worry Child’ as one of the set’s closing tracks while a banner with the trio’s name on it appeared on screen.

Of course, the Swedish House Mafia reformation rumour mill has been up and running for months now. After months of speculation , hints and teasers, the trio reunited at Ultra Music Festival in Miami back in March, claiming, “we’re Swedish House Mafia for good this time”.

Since, the rumours have continued as Axtone Records teased new material from the trio and their social media profile was cleared, suggesting an imminent tour.

With Axwell’s statement the other night though, the rumours do seem to have some truth to them with the possibility of a tour seeming all but confirmed.


Het Magazijn is hosting a marathon 36-hour techno and electro rave this summer

Post Image

Het Magazijn is hosting a marathon 36-hour techno and electro rave this summer to mark its one year anniversary, kicking off on Friday 6th July and running through the following day.

The club, located in the regal capital of the Netherlands, The Hague, is marking 12 months by doing what it does best, and while plans fall short of the ridiculous 87-hour session in Berlin we reported on last month, they still sound impressive. In addition to the usual 150-capacity, Funktion One-equipped and 24-licensed Dutch venue, a roof terrace and additional areas will also be used.

“We will throw an extended party with more than 36 hours of music, among different rooms of the Bleyenberg building, yielding plenty of time to reflect on and celebrate the past year,” the club said in a statement on Facebook.

The line-up is yet to be confirmed, with District25, ‘advocates of the Hague night culture’, partnering on the party. That’s the crew behind Dutch festival The Crave, which this year welcomes Skee Mask, Aurora Halal, Blawan and DJ Stingray, so expect serious stuff. Not least as Het Magazijn has itself set a high standard with guests such as Matrixxman, Tijana T and Anthony Parasole in its first 12 months.


Festival Music Music Festivals

Nina Kraviz is playing a 24-hour rave in Berlin in June

Post Image

Nina Kraviz has joined the bill for Arma x Funkhaus’s 24 hour party in Berlin on 2nd June.

As part of revered Moscow techno collective Arma 17’s tenth birthday celebrations, the inimitable techno DJ/producer/label boss will join the likes of electro-acoustic legends Ambiq, industrial drone duo Zoviet France and Salford noise rockers Gnod.

The 24-hour party takes place in the iconic East Berlin venue, Funkhaus. Also featuring on the bill are Petre Insperiscu, Nastia and Etapp Kyle. Take a look at the full line-up here.

The official statement from the event describes it as follows: “From the impressive opening concerts to the long and winding dancefloors, the scope of Arma X feels more akin to a festival than a one-off event. It’s the embodiment of Arma’s vision, as expressed over the past ten years through events in Russia and elsewhere, now manifested in a unique space loaded with history.”

It’s been a difficult time for underground pioneers Arma 17. A fire destroyed its first location in Moscow and members were subjected to ongoing harassment by authorities. When their 2016 Outline Festival was forced to shut down by police, the organisers announced “a de facto state of an international phenomenon”. They have continued to host parties all over the world since, releasing left-of-centre music via their record label. The event series/club rose eight positions in this year’s DJ Mag Top 100 clubs poll.


Can electronic music make you ill?

Post Image

With mental health and wellbeing one of the principal keynote topics at the International Music Summit (IMS) in Ibiza at the end of this month (May), we asked the Association For Electronic Music (AFEM)’s working group Protect Mental & Physical Health For Fans & Professionals to interview some industry stalwarts about their mental health experiences and how they’ve coped. Read on for some expert advice on how you can maximise your wellbeing when things get tough…

Flying high in the music industry can seem idyllic, but is there a price to pay? Coupled with the perceived glamour is a 24/7 lifestyle with long unsociable hours, sleepless nights, relentless work and travel; always being switched on for the Orwellian eye of social media; plus easy access to a host of chemical sedations to escape it all. It’s enough to take a toll on even the most balanced of minds.

A study produced by leading music charity Help Musicians UK showed that those working in music are on average three times more likely to be affected by anxiety and depression compared to the general public. Be you a headline DJ, major league manager or just starting out, mental health issues can impact everyone, and at any stage in their career.

Aida Vazin
The mental health expert’s view…

Aida Vazin of GPS Counselor is a qualified therapist who specialises in treating clients remotely. A member of the Association For Electronic Music, Aida’s service enables artists who are touring to continue to get support while on the road. One of the key concerns that emerged from our interviews was stress, which often arises from relentless schedules, travel and a pressure to perform. Here, Aida walks us through the cycles of stress and shares some of her top tips for coping when things get hectic…

“Overwhelmed with so much to do in so little time: Your body needs to decompress and starts craving comfort foods, alcohol, prescription or illicit drugs to switch off. You don’t truly relax because in the back of your mind you are beating yourself up and feel weighed down by the pressure of your responsibilities.

“A high pressure to perform extremely well leads to pushing yourself too hard. You go to bed feeling heavy because your burden is unresolved and you sleep restlessly. You wake up un-refreshed with anxious thoughts, triggering a flood of stress hormones in your body, resulting in emotional and physical symptoms of stress: panic attacks, anxiety, depression, insomnia, fatigue, loss of con dence, foggy thinking, restlessness and stomach problems.

“We just want some relief and get frustrated when we don’t know how to feel better. So, we look for a quick fix, which often leads to substance abuse and addiction. Instead, we can start to incorporate some healthy tools in our lives.”

Talk it out with someone

“A strong support system is an integral part of our lives. Make sure to keep in touch with those you feel safe with and can really relate to.”

Bring back nap time

“Make power naps a part of your daily routine. As little as 15 minutes may make a difference to the quality of your day. Even if you don’t fall asleep, the rest and quiet time can recharge your mind and body.”

Have a daily routine

“Having something that is constant is key to staying mentally strong. For example: no matter where you are, you know that everyday you will take a nap, have lunch, go for a walk. Consistency and routine give our minds ease.”

Dan Mckie
The DJ’s view…

Have you ever had mental health problems that you attribute to your career in electronic music?

“I’ve had many anxiety attacks in my time. I have depression in my family, and a few of my friends suffer from it, but it is nothing to be ashamed of as, if you seek help, you will be surprised who is there for you. Luckily I haven’t suffered from depression, but anxiety can be exhausting and can knock you back for a little while.”

What are the main things that have impacted upon your mental health?

“Because the music industry is so harsh to work in, you deal with rejection, arrogance, egos and brutal emails and messages everyday. This has de nitely impacted on me in the past and present, and probably will in the future — as I’m sure it would anyone.”

Has working in the electronic music industry ever had a negative impact on your personal relationships?

“Yes, from ex-production partners, to artists I managed, to DJs I booked, to clients I’ve worked for and more. I’ve always worked with the motto, ‘It costs nothing to be nice’, but some people when they get power become arses and they don’t realise how their blunt, arrogant emails and messages — or ignoring people — can affect someone, especially when you are trying to open doors, make a career for yourself and get feedback (feedback always helps people progress). I’m not a superstar DJ but people know my labels, my productions, my DJ sets, my music PR company, and just me. Luckily there are a number of people in this industry who I can now call friends. They are the people I respect and look to for advice, and sort of role models. They help to show you a down-to-earth side of the industry.”

Do you think there is a stigma attached to talking about mental health problems in the electronic music industry?

“Maybe some of the big DJs are told to be quiet about their mental health problems, as it might affect their ‘image/brand’. But I think if everyone was open, then there would be less problems and it might have a positive impact on their fans and encourage them to seek help. The more open you are, the less of a burden it is to have a mental health problem.”

What do you do to try and maintain balance and wellbeing?

“I try to turn off from emails, notifications and social media — my phone, basically — when I am not at my desk or studio, especially if I am with my family. It’s healthy to switch off. I like to also catch up with my mates and talk absolute rubbish with a beer, and talk about nothing to do with the business, ha.”

Thijs De Vlieger of Noisia
The producer’s view…

Have you ever had mental health problems that you attribute to your career in electronic music?

“A career in music is very rewarding, but musicians, like many people with regular jobs, are also under a lot of stress. It’s not easy to keep your standards for yourself high, to keep outdoing yourself, to watch out not to ‘lose your edge’ in the public eye. It’s also not easy to find peace, with periods of unproductivity and disappointing creativity. If you make it in this world, people think you’re awesome, which is awesome. But having people think you’re awesome also can make you feel pretty bad when you have yet another disappointing day in the studio.”

What are the main things that have impacted upon your mental health?

“Sleep and travelling. Travelling for a job is stressful. Missing lots of sleep every weekend is bad for the body, and the brain is a part of the body. A lot of DJs have to get a little or completely drunk to deal with mild or more than mild performance anxiety. This also affects sleep quality, so the body and brain don’t regenerate over the weekends.”

Do you think there is a stigma attached to talking about mental health problems in the electronic music industry? 

“There’s a stigma about admitting that it might be a bit too much, because you live the life that everybody wants to live, so you have no right to complain. It’s also pretty hard to admit that the life that you always wanted, that you had to compete so hard for, and that others are always competing with you for, is actually not at all perfect: it’s pretty tough sometimes, and sometimes you need a break from it.”

What do you do to try and maintain balance and wellbeing?

“I see a therapist weekly, even though my problems are small compared to those of others. I see it as periodic maintenance. These things matter so much in life, why would you not talk to someone to nd out if you can make your life a little better? Oh, and if you need alcohol to talk about certain subjects, that is a clear sign your brain is putting up walls around certain topics because they’re too painful to deal with when you’re sober. These things are important. Come back to them when you’re sober. It’ll hurt, but that’s why you’ve been avoiding them, and life will become easier when you understand why.”

The DJ’s view…

Have you ever had mental health problems that you attribute to your career in electronic music?

“I certainly was challenged when I started touring every weekend. At first I developed a paralysing fear of flying that got so bad I wished we would soon be not doing well in order to stop the touring. Eventually I got over it — after about 10 months of flying, a lot of the panic simply went away. I attribute that to getting used to it by forcing myself to y, but also by learning about how planes actually work. “With all the highs and lows, depression can hit you sometimes, and you nd yourself drinking excessively to cope. It’s also very lonely on the road away from your loved ones. It takes an active effort to make touring bearable. Eventually, with work, it can become a great experience.”

Has working in the electronic music industry ever had a negative impact on your personal relationships?

“I wouldn’t say it had a tangible negative effect on them, but it certainly didn’t help much. Being away on weekends doesn’t exactly help spending quality time with friends and family, who are usually free when I am away working. Luckily I have had a relationship with a wonderful woman for many years and we make our schedules always work well together. I did find it more difficult than expected to establish new meaningful friendships outside of the business because of my schedule.”

Do you think there is a stigma attached to talking about mental health problems in the electronic music industry?

“I believe so. It’s not great for business to go on social media and tell the world how depressed and horrible you are feeling, unfortunately. Usually the image portrayed is one of life-loving, fun-having, party non-stop people, but sometimes that is not the truth. Many people I know have mild to severe mental health issues of some sort. It’s becoming more common to see people share those feelings online and actually get help and support.”

Harley Moon
The artist/tour manager’s view…

Have you ever had mental health problems that you attribute to your career in electronic music?

“When I first started touring I would get pretty bad anxiety. As a tour manager I was very often paranoid that I would forget some equipment or I would miss an alarm, and it would cause my artist to miss a show. At first I had problems with long-haul flights, and I had anti-anxiety tablets to keep me calm. Just the knowing that I had the prescribed drugs in my bag would help me. I did this for seven years. Now I never take any medication.

“I think sleeping is the biggest issue for people who tour in music. Keeping normal sleep hours is impossible. Nowadays I have realised that my physical health plays a big factor in my mental wellness. Eating well, sleep and exercising are very important in keeping myself strong. I quit smoking and rarely drink alcohol, and it’s made everything a lot better.”

Has working in the electronic music industry ever had a negative impact on your personal relationships?

“Working and touring in the music industry has had a drastic effect on all of my relationships. When I started touring and focusing on my career, I lost a lot of friends. I was working every weekend and was no longer able to go out and socialise like I used to. It also affected my family relationships, as I could no longer make pivotal events, as I was always on the road. Relationships with women were the most complicated of all.

“Some women understand that working in music is a job and a passion, some women just thought I was partying for a living. It’s extremely hard on partners to be dating someone who is rarely home and always out in nightclubs. I found that I missed my partner so much that I got depressed, and eventually learned to kind of switch off. I felt like I had to work 10 times more at relationships than anyone else to maintain relationships. It’s definitely gotten easier in the last five, six years with FaceTime and all the other means of communicating that we have available.”

Do you think there is a stigma attached to talking about mental health problems in the electronic music industry?

“I definitely feel that it’s good that more people are taking it seriously. I would always feel, ‘Who am I to complain?’ I get to travel the world and live this seemingly glamorous life. A lot of us living this life almost feel guilty complaining about anything when the usual reaction is, ‘Stop complaining, you travel the world going to nightclubs’, and to a degree I agreed with them. I felt very lucky to have a job that I loved and the privilege of getting to work with musicians that inspired me. But after 18+ years in dance music I look back at all the sacri ces that I have made, and some of them still make me sad that I missed out on a lot of things in my lifetime. It’s a conflicting feeling, but it’s the relationships that I have lost that are the most irreplaceable.

“Touring with different musicians has allowed me to witness first-hand what some artists go through on the road: vulnerabilities, confidence issues, loneliness, isolation and depression. For the majority it’s not a glamorous job. There needs to be more acceptance that mental health affects people in all walks of life… even us in the music industry.”

Kid Massive
The DJ’s view…

Have you ever had mental health problems that you attribute to your career in electronic music?

“Eight years ago I contracted meningitis, which is an in ammation of the brain tissue. It left me hospitalised for two weeks, blind for four weeks and with a dangerously low-functioning kidney. At that point I was successful on all material counts, with lots of tours, high-pro le releases and signi cant exposure on an international level. I was so focused on my career that I had completely neglected everything else in my life. There was zero work/life balance and I had conscious and unconscious unresolved personal issues that had a big impact too. I slowly realised that the way I was living was affecting me negatively. I was always anxious, stressed, with a constant fear of failing and not living up to the ‘hype’. I’m sure all of this played a big part in enabling the meningitis to take such a fierce hold of me.”

What are the main things that have impacted your mental health?

“Lacking work/life balance, learning to understand that it’s ok to let go and take a day off, not worrying about other people’s opinions with regards to what I was trying to do. For a long time, I would judge my progression as an artist based on other people’s value of me, rather than believing in and trusting my choices.”

Has working in the electronic music industry ever had a negative impact on your personal relationships?

“For the last 20 years, I have been surrounded by some incredibly supportive people, including close friends, partners and family. I believe this is down to what type of person I am rather than, as some people might say, luck. I try and be aware of how my environment impacts on me and change it if needed. It’s harder than it sounds, but the end result of tuning in and listening to yourself means you get all the support you could ever need and are surrounded by people who genuinely care about you and what you do.”

Do you think there is a stigma attached to talking about mental health problems in the electronic music industry?

“For generations it’s been taboo to really talk about and express our emotions, and it’s only recently that things are starting to open up and become more accepted. There are now more and more support initiatives that have started to appear, which is setting the precedent for a future way of thinking.”

What do you do to try and maintain balance and wellbeing?

“After my meningitis experience, which literally broke me down physically and mentally, I learnt that the only way for me to build myself back up was to deal with my problems and face them rather than shy away from them. I regularly take stock of my emotional state of mind through mindfulness, self-awareness and meditation. I believe we all deep down know what is going on, but due to our day-to-day lives lled with noise and distraction, we can’t hear ourselves. Just a simple act, such as giving yourself some alone time, can really benefit and realise your awareness.”

Luke Solomon
The DJ’s view…

Have you ever had mental health problems that you attribute to your career in electronic music?

“Yes, a number of physical and mental issues that are both intrinsically linked. The main issue is that I suffer from travel anxiety, but over the years I have suffered from periods of depression.”

What are the main things that have impacted upon your mental health?

“I think travelling has had the greatest impact on me both physically and mentally. Losing a close friend (Kenny Hawkes), who was my DJ partner, also had a great impact on me mentally.”

Has working in the electronic music industry ever had a negative impact on your personal relationships?

“It’s had its moments, but it’s the one thing I have managed to keep intact with pretty much all of the people I am close to throughout my career.”

Do you think there is a stigma attached to talking about mental health problems in the electronic music industry?

“Yes I do. Kenny’s death was caused by his relationship to dance music and constant touring, and the highs and lows of having a career in the industry. No one ever prepares you for the lows. You think this is a career that will last forever, then you are no longer avour of the month and the gigs get thinner. The impact of this is extreme for different reasons. Not only does it affect your bank balance, but it also affects your ego and your con dence. You question your value and doubt yourself. Much like Kenny, I used alcohol to help me through the low parts — it was a temporary con dence boost.

“I was a lot luckier than Ken, but Ken’s death made me evaluate myself and evaluate my personal career, and in turn forced some decisions I needed to make to help with both my physical and mental situation. It took me years to gure this out on my own, as there is no real support network in place — something I feel like our industry really needs.”

What do you do to try and maintain balance and wellbeing?

“A year after Kenny died, I stopped drinking. This was a major step for me, and led to me addressing my career. I started yoga and Pilates regularly, and this helped me massively. I still suffer from chronic IBS which I think is the result of years on the road and the stress of a very complicated job, but I am definitely one of the lucky ones, so I see this as getting off lightly.”

Samantha Powell
The producer’s view…

Have you ever had mental health problems that you attribute to your career in electronic music?

“Somewhere in my mid-thirties I acquired a sense of fear and anxiety that I don’t think I’d had before. I think the combination of the stress of going through the legal immigration process in the US really puts the fear of God into you, especially when you have carved out a life here. It requires you constantly having to prove and glorify your achievements in your eld, and not to mention the cost of it all. The pressure to maintain a consistent ow of hit records or successful projects is anxiety-causing. Particularly when your very existence in the country you have a life in depends on it.”

What are the main things that have impacted upon your mental health?

“The nancial stresses of being self-employed, trying to plan your responsibilities around royalty payments that only come in four times a year, of which you never know the exact gure until they hit your account. Being a female producer in the music industry is hard and can take its toll, you have to prove and justify your very existence pretty much every time in the studio, meeting or writing session. You are constantly questioned on your technical knowledge, assumptions are made on your abilities and your role in music in general. It can really wear you down if you don’t take the time to work on yourself and surround yourself with supportive people.

“That said, being a female producer has really allowed me to be successful with other female artists. There’s a lot of anxiety among female artists, tons of pressure and they don’t always feel they can open up to the men. Issues as basic as being on your monthly cycle, relationship problems, anxieties over skin or weight, and also insecurities regarding their vocals — all of these things, I’ve been told over and over, are easier to communicate to a woman in the studio. It’s camaraderie, I suppose.”

Has working in the electronic music industry ever had a negative impact on your personal relationships?

“Sometimes. Romantic partners don’t always understand the hours, or they automatically assume that there is the crazy ‘rockstar’ lifestyle going on behind closed doors. When in reality you would like nothing more than a hug and a nap.”

Do you think there is a stigma attached to talking about mental health problems in the electronic music industry? 

“Absolutely. Particularly in the UK. The British feel that therapy is for Americans, and we need to just get a grip and get on with it. ‘Keep calm and carry on’.”

What do you do to try and maintain balance and wellbeing?

“Yoga and meditation are invaluable to me. They keep me focused, calm and also physically healthy. I try to surround myself with like-minded people, authentic friendships are imperative. Everyone needs a support system.”

Steven Braines
The artist manager’s view…

Have you ever had mental health problems that you attribute to your career in electronic music?

“I don’t think I would say I’ve had mental health problems arising just solely from my career. When I first started out, I sofa surfed for about 18 months as I couldn’t afford to rent anyway, and that was very mentally taxing. The uncertainty of where to stay, not sleeping or eating well, belongings scattered around London. It sounds bohemian now that I’m a success, but when you aren’t nomadic by choice it’s tough to keep going. I’m quite an anxious person and the perception that you’re doing well before the money has actually caught up to the image is a very strange one.”

Has working in the electronic music industry ever had a negative impact on your personal relationships?

“It’s definitely impacted at times because of the long hours and travel. When touring with artists I manage like Maya Jane Coles, you might be in a totally new time-zone every day for the best part of a month, with ights and gigs thrown into the mix plus clearing my inbox and calls. It’s very hard to actually communicate via anything other than text sometimes. Also, there’s a lot of births, deaths and marriages that you miss too. I’ve de nitely seen some of my relationships break up because they didn’t see enough of me.”

Do you think there is a stigma attached to talking about mental health problems in the electronic music industry?

“I champion mental health in the Music Managers Forum. I’m a qualified psychologist and my mum works in mental health, so I like to get people talking about it. When you do, you find a lot of people have been suffering in silence. A lot of managers, for example, have to deal with a wider range of novel problems and offer a lot of emotional support to others without always receiving it back, and a lot of people leave the industry because of it. It’s been a bit of a watershed moment in mental health recognition in our industry, with helplines being set up and more industry-specific mental health practitioners, which can only be a good thing. Luckily I’ve never been a drinker or into drugs, but I’ve sadly seen a lot of people in the industry fall into addiction because there’s so much temptation around, and not everyone is able to set boundaries for themselves in the face of it.”

What do you do to try and maintain balance and wellbeing?

“I’ve always done Reiki since I was about 16. I first got attuned when I was about 20. I also sauna and steam at least once a week. In our company, we definitely always encourage people to talk about their problems, to take time off for personal reasons if they need it, to be flexible in where and how they work, and make sure that people realise it’s okay to make a mistake. If I feel stressed, I tend to write poems or paint a picture and deal with it creatively.”

Coco Cole
The DJ’s view…

Have you ever had mental health problems that you attribute to your career in electronic music?

“I have periods of anxiety and panic attacks, and it’s almost always when I am very busy with my job, am neglecting social stresses and have a bundle of deadlines and little time to myself.”

What are the main things that have impacted upon your mental health?

“My worst period was definitely in the last year of my three years of doing overnights on the radio among daytime shows, DJing and partying. Five nights a week I would go to sleep between 9-11pm (and wake up every hour through panic of missing my alarm), then wake up at 1.30am. I was on air from 3-6am, then I’d go home and sleep from 8am-12pm, then wake up and work on admin, plan my radio show and repeat. It was constant work and exhaustion. I had one night off and would drink and go out, because I needed the release. I was of course drinking coffee constantly to keep functioning, too. After two years it started to really affect my physical and mental health. I got anxiety and the panic attacks kicked in.

“Usually now, I know that an anxiety period is about to kick in. You can obviously do all the things to try and avoid it, like maintaining a healthy lifestyle and trying to stay calm, but I think they will always happen and you just have to ride them out and give yourself the break and time you need to do that.”

Has working in the electronic music industry ever had a negative impact on your personal relationships?

“Every romantic relationship has ended ultimately because of my schedule and dedication to my job. My friends luckily are more understanding, and work in similar creative elds, so they’re all tight and we all support and love each other and often talk a lot about our mental health.”

Do you think there is a stigma attached to talking about mental health problems in the electronic music industry? 

“I think more and more people are talking now, which is fantastic. What there is still a stigma about, though, is letting people take the actual time to address their mental health. We need to work on accepting people’s different ways of looking after themselves by allowing them to take time off, say no and to come back from that without judgements or a negative impact on their career.”

What do you do to try and maintain balance and wellbeing?

“I am terrible at self-care. But since autumn, on days I’m not DJing, going out or travelling, I’ve been putting myself into bed before 12, waking up earlier and giving myself a schedule. The mini wins of ticking off an accomplishment keeps the ‘you’re not doing enough’ gremlins at bay. I’m having one day a week where I don’t work, and have been doing a few more hobbies outside of my job.”

Events Festival

Here is your ultimate party guide to EDC Week 2018

Post Image

Here’s your itinerary for an entire week’s worth of unmissable pool parties, club nights and day soirées taking over the Las Vegas Strip during this year’s EDC Week…

Where: Las Vegas Motor Speedway
When: Friday 18th – Sunday 20th

It’s the whole reason we’re all here in the first place! EDC Las Vegas has solidified its place as the top electronic festival destination in North America via its world-class production and immersive environment. EDC celebrates 22 years this month with earlier festival dates, to beat the Vegas sun, and a massive line-up featuring more than 250 artists like Armin van Buuren, Diplo, Eric Prydz, Mija, Boys Noize, Afrojack and current cover star, Alan Walker.


Where: MGM Grand Hotel & Casino
When: Wednesday 16th – Sunday 20th

This world-class venue is the big daddy of Las Vegas megaclubs. Boasting 60,000 square feet and enhanced production, Hakkasan this year celebrates its five-year anniversary with an all-out roster for EDC Week including Above & Beyond (16th), Hardwell (17th), Tiësto (18th), Calvin Harris (19th) and a special guest to close out the week (20th).


Photo Credit: Rukes


Where: ARIA Resort & Casino
When: Thursday 17th – Monday 21st

JEWEL offers next-level nightlife luxury and clubbing extravagance across its massive space: 24,000 square feet. The club is worth checking out for its titular jewel itself, a heroic circular dome hovering above the dancefloor and illuminated with rings of LED lights. Stay for the music, which includes NGHTMRE (17th), Lil Jon (18th and 21st) and Kaskade (19th).


Photo Credit: Mike Kirschbaum 

Where: The Cosmopolitan
When: Wednesday 16th – Monday 21st

This multi-level club has helped revive and reshape Las Vegas nightlife since opening in 2011. It’s home to a state-of-the-art nightclub as well as a gorgeous, recently redone outdoor Dayclub. Both venues feature stacked line-ups. Dayclub roster includes: Gorgon City & CamelPhat (16th); Andrew Rayel, Firebeatz, Sander van Doorn and Sunnery James & Ryan Marciano (17th); Eric Prydz (18th); Dash Berlin (19th); Oliver Heldens (20th) and Lost Frequencies (21st). Nightclub roster includes: DJ Vice (18th), DJ Mustard (19th) and Dash Berlin (21st).


Photo Credit: Marquee Nightclub & Dayclub

Where: Caesars Palace
When: Tuesday 15th – Saturday 19th

This behemoth is breathtaking, equipped with an immersive audiovisual experience that’s anchored around a grandiose kinetic chandelier weighing 22,000 pounds and composed of eight concentric circles in addition to lighting effects, video projections and LED strips, making its display ever-changing. Line-up spreads far and wide: Cash Cash (15th), Porter Robinson (DJ Set) (17th), Martin Garrix (18th) and Zedd (19th).


Photo Credit: Al Powers of Powers Imagery


Where: Encore Las Vegas
When: Thursday 17th – Monday 21st

A state-of-the-art megaclub, XS is exactly that: Vegas excess to the core. This clubbing giant, which celebrates its nine-year anniversary during EDC Week and Memorial Day weekend this month, features more than 10,000 individual light sources, intricate décor and 170 luxe VIP tables and outdoor cabanas across 40,000 square feet. They’ll need all that space to house this much talent: David Guetta (17th), Kygo (18th), Diplo (19th), Marshmello (20th) and The Chainsmokers (21st).


Photo Credit: Barbara Kraft

Where: Wynn Las Vegas
When: Wednesday 16th – Saturday 19th

Celebrating its two-year anniversary last month, Intrigue offers an intimate design for an equally personal clubbing experience. But don’t confuse that feature with small: At 14,000 square feet, this venue boasts 60 banquette tables, an elevated bottle service experience and a 94-foot waterfall and pyrotechnic fountain show. Big talent here, too: Marshmello (16th), Dillon Francis (18th), Afrojack (19th) and Yellow Claw (23rd).


Photo Credit: Barbara Kraft

Where: Wynn Las Vegas
When: Thursday 17th – Sunday 20th

This desert oasis has come to define Las Vegas poolside partying. It’s 55,000 square feet of tropical vibes via 40-foot palm trees, multi-tiered pools and dozens of private bungalows and cabanas, all topped by a supreme sound system. Daytime parties feature Black Coffee (17th), Alesso (18th), David Guetta (19th) and Major Lazer (20th). Once the sun goes down, the party continues at NightSwim, the club’s nighttime pool party, with Yellow Claw (18th) and RL Grime (19th).


Photo Credit: Barbara Kraft


Where: ARIA Resort & Casino
When: Wednesday 16th – Sunday 20th

EDC Week shenanigans officially start here with a series of proper pool parties. The impressive line-up extends to what feels like forever with Elephante (16th), NGHTMRE (17th), Gryffin (18th), Illenium (19th) and Bijou (20th).


Photo Credit: Tony Tran Photography

Basscon Pool Party
Where: Elation Pool | Stratosphere Hotel and Casino

Basscon, Insomniac’s hardstyle/hard dance brand, hosts a neck-snapping, headbanging, foot-stomping daytime pool party with Adrenalize, Dr. Phunk, Dr. Rude, Gammer, Sub Zero Project and Toneshifterz.


Bassrush Pool Party
Where: Rehab Beach Club | Hard Rock Hotel & Casino

As the first half of their two-part daylong takeover, Bassrush, Insomniac’s bass- and dubstep-centric brand, hosts a daytime pool party with 4B, Dubloadz, Eptic, Habstrakt, Kai Wachi, Kill the Noise and SayMyName. Start your basstastic adventure here.


Photo Credit: Da Black Swan for Insomniac Events

Bassrush Massive
Where: The Joint | Hard Rock Hotel & Casino

The night then continues at Bassrush Massive, part two of the crew’s bass invasion. This annual bass, dubstep and drum & bass epic gathering has become the go-to party for bass-heads descending unto Vegas. With Borgore, Flux Pavilion, Kai Wachi, Pendulum (DJ Set), Snails and Zeke Beats.


Photo Credit: Jake West for Insomniac Events

Where: MGM Grand Resort & Casino
When: Thursday 17th – Monday 21st

WET REPUBLIC really means it when it says Ultra Pool. Spanning more than 54,000 square feet, this massive oasis merges poolside luxury with advanced audiovisual features. It’s like a floating waterpark festival, especially with this H-U-G-E line-up: Above & Beyond (17th), Kaskade (18th), Tiësto (19th), Martin Garrix (20th) and Armin van Buuren (21st). All events are sold out, except the Tiësto show, but don’t expect that to last too long.


Photo Credit: Powers Imagery

Dreamstate Presents
Where: Marquee Nightclub | The Cosmopolitan

Since launching in late 2015, Dreamstate, Insomniac’s growing trance brand, has become a world-class festival and event series in its own right. Last year, Dreamstate got its own stage, quantumVALLEY, across all three days of EDC for the first time ever; the crew returns this year, with a new stage design to boot. Ahead of EDC, Dreamstate hosts a trance takeover at Marquee Nightclub with an all-star roster featuring Markus Schulz, Ferry Corsten, Cosmic Gate, Genix and Arkham Knights.


Factory 93 Presents DARKwater
Where: Encore Beach Club | Wynn Las Vegas

Even within the EDM bombast of Vegas, house- and techno-heads will find solace at DARKwater presented by Factory 93, Insomniac’s dedicated underground brand. Part of Encore Beach Club’s NightSwim nighttime pool party series, DARKwater welcomes a can’t-miss double-header line-up with Jamie Jones and The Black Madonna.


Photo Credit: Tyler Hill for Insomniac Events

Claude VonStroke, Green Velvet
Where: Drai’s Beachclub | The Cromwell

The techno and house wizards play doubles at this daytime throwdown, where they’re more than likely to go b2b as Get Real, their side hustle duo. The Dirtybird big boss kicks off his summer residency here during EDC Week.


Knee Deep In Vegas
Where: DAYLIGHT Beach Club | Mandalay Bay

Hot Since 82 hosts a special edition of his Knee Deep event series with underground legend Doc Martin and badass Lauren Lane.


Photo Credit: Knee Deep In Sound

Brownies & Lemonade Las Vegas
Where: Rehab Beach Club | Hard Rock Hotel & Casino

L.A. ruckus crew Brownies & Lemonade hosts a daytime function that promises secret guests and b2b sets all day. The B&L squad always brings the top talent bubbling up from the future underground, so expect this one to go off — big time.


Photo Credit: Quasar Media

Zeds Dead, Snails, 4B

Where: Drai’s Beachclub | The Cromwell

A triple-stacked bass onslaught with three of the heaviest acts in the game.


Photo Credit: Montana Martz

Duke Dumont
Where: DAYLIGHT Beach Club | Mandalay Bay

Nothing beats Duke Dumont’s house and deep house vibes while splashing around a pristine pool. Nothing!


Photo Credit: Patrick Rohl from YeahSure

Fool’s Gold
Where: Drai’s Beachclub | The Cromwell

Fool’s Gold head honcho and #RealDJing champion A-Trak hosts a label party alongside the imprint’s first ladies, Anna Lunoe and Kittens.



Area10 With MK
Where: Drai’s Beachclub | The Cromwell

House legend MK brings his revered Area 10 imprint and party brand to Sin City alongside best friends and house homies CamelPhat, Solardo and Will Clarke.



Sony and Warner sell over $1billion in Spotify shares

Post Image

Sony and Warner have sold off more than $1billion of shares in Spotify following the music streaming platform’s stock market floatation in April, respectively shedding half ($750million) and 75% ($400million) of their individual investments.

Spotify claims over 70million paid account holders globally, and recently unveiled new functions such as an AI auto-mixing DJ feature and In-Line, which will help collect more insightful metadata on artists to improve user experience.

Both labels were longstanding investors in the subscription service, raising some questions as to the reasoning behind the sales, but concerns regarding Spotify’s future have been dismissed.

“We’re hugely optimistic about the growth of subscription streaming. We know it has only just begun to fulfill its potential for global scale,” Steve Cooper, Warner CEO, told recode. “We fully expect Spotify to continue to play a major role in that growth.”

Some of the revenue generated from the sales will be distributed amongst artists, although percentages and recipients have not been confirmed at the time of writing.


Arca reveals $6,450 BDSM-inspired leather headphones

Post Image

Arca has revealed a new line of BDSM-inspired leather headphones, which cost $6,450 ($US) a pair.

The experimental electronic music producer has unveiled the Tormenta Cage Headphone Head Piece, which looks like a cage-styled headpiece and comes in structured buffed leather in black. The design features “studded detailing throughout,” integrated over-the-ear headphones with suede-covered cushioned ear pads, “D-ring hardware at face” and “twin adjustable post-stud fastenings at collar.”

Created in collaboration with London-based leather company Fleet Ilya and available exclusively at Canadian luxury fashion retailer SSENSE, the headphone line is being sold “exclusively as an art object” and without any guarantees or warranty, according to the SSENSE website.

Arca announced the headphone line via Instagram with a cheeky caption that read, “hey i designed some headphones it’s casual they’re really cheap pick up a pair or don’t or whatever either way i’m locking you into the sound.” 

In addition to the headphones, Arca has also collaborated with SSENSE on a “capsule collection” of Prada clothing, which includes a $770 ($US) fanny pack.

Last year, Arca released his self-titled album and co-produced Björk’s ninth studio album, ‘Utopia’.

Check out photos of Arca’s Tormenta Cage Headphone Head Piece line below.


Skye News

Skye Energy Drink Safe Coaster Coming Soon…..

Post Image

When it comes to date rape drugs, which can be odorless and colorless, it makes perfect sense to have Drink Safe Technologies date rape detection product. Victims who become helpless once they consume the drugged drink.  The amnesic effect allows the perpetrators to rob, rape, or otherwise harm the victim without the victim being able to remember exactly what happened, but the reminders can last for years.

The standard Skye Energy Drink Safe Coaster is a two test device. Measuring 4” x 4” with five-color graphics. The coasters are designed with the drink safe message prominently displayed in the center with two test areas located at each bottom corner. The back of the coaster has complete instructions for use.

Skye News

Peter Grandich Company Enters Strategic Partnership with Skye Energy Drink USA

Post Image

Spring Lake, N.J. (April 23, 2018) – Peter Grandich and Company announced today that it will be entering a strategic partnership with Skye Energy Drinks USA, working together in an effort to align community and philanthropic initiatives.

“We are pleased to enter this working relationship with Skye Energy Drinks USA and add them to our team of strategic partners that already includes Sky Blue FC, The JED Group and Sportika Sports,” said Peter Grandich, Managing Member of Peter Grandich and Company. “Ed Luiso and his team at Skye a similar vision as ours regarding philanthropy and contributing to the betterment of those in need. Along with the esteemed group of professional athletes who compose our Advisory Board, we look forward to making a difference in the community together.”

Skye Energy Drinks began in the United Kingdom in 2012. The company then expanded to Greece in 2015 and is now being distributed across the United States and Canada by Purest Productz International. With a focus on Better Taste, Better Quality, Better Value and Better Innovation, Skye Energy Drinks USA uses a formula that gives it a distinctive taste that is unlike what you find in other energy drinks.

“Skye Energy Drinks USA is proud to announce that we are forming a strategic partnership with Peter Grandich and Company to enhance our company image and product recognition,” said Ed Luiso, President & CEO of Skye Energy Drinks USA. “Peter is an industry leader with impeccable credentials and possesses extensive marketing and financial experience. This collaboration will allow Skye to expand its networking opportunities. The ability to work with extremely personable and engaging sports professionals who share Peter’s values puts an exclamation point on the image and reputation we at Skye strive to maintain.”

To learn more about Skye Energy Drinks USA, make sure to visit them online. Also, follow @USASkyeEDrinks on Twitter and like them on Facebook.

Peter Grandich and Company provides business, retirement and estate planning services to individuals, business owners and professional athletes. Through a strategic alliance with York-Jersey Underwriters, the company offers professional advice and risk management services to business and personal insurance clients. Additionally, the company boasts an impressive Advisory Board that includes the likes of New York Jets great Joe Klecko, former world title contender Gerry Cooney, former New York Ranger Nick Fotiu, three-time Stanley Cup winner Ken Daneyko, Super Bowl champion David Tyree and former NFL quarterback Ray Lucas.

en English