In an era of dance music where b2bs are becoming a dime-a-dozen, two Swedes joined forces for one of the most transcendent collaborative performances dance music has ever seen. During Miami Music Week 2018 Eric Prydz joined forces with Drumcode Boss, Adam Beyer, and brought his EPIC production team along for the ride. The result was not only the hands-down best show of MMW 2018, but most attendees remarked it was the best show they had ever seen. And techno fans are not the type to throw phrases like that around flippantly.
So, when Adam Beyer x Cirez D was announced to return for 4 new shows the expectations were sky high. Was this a flash in the pan or did this duo have more gas in the can? Their Friday show in Brooklyn, New York showed that yes, it can get even better than the Miami show.
The Venue, The Venue, The Venue
Why? Simply because the Brooklyn Navy Yard warehouse space is the EXACT type of venue that comes to mind when you think of this type of show. In fact, this has to be the type of venue that Eric and Adam envisioned when they developed this concept. Short of Printworks, this is the coolest and most perfect techno venue imaginable. It’s massive, it’s industrial af, the weather outside was cold so it was not a deathly hot sauna inside, and the entire roof of the building was a skylight.
Ok I’ll be honest; Having attended the Miami show, I think the set list was slightly better in March. However, that doesn’t mean that this show wasn’t basically just as good. If you never went to Miami, this show would absolutely be just as mind-blowing as the first one was for me. Miami holds a special place because it was the first one and the Miami set was a bit darker, featuring 3 IDs that turned out to be massive tunes from Enrico Sangiuliano‘s Biomorph album. That being said ABCD (Adam Beyer x Cirez D) brought plenty of hot tracks to Brooklyn that seared into the minds of the attendees.
On top of top notch track selection and DJing skill on display, the production is equally top-class. Using the team from Prydz’ legendary EPIC show, the production features ample LEDs and lasers positioned to create a box around the stage. The moving lights throughout the warehouse space created a truly unique European/industrial vibe that even the Miami and LA shows lacked. Sure the Ultra Resistance Megastructure might also be a great space for this, but there’s something about the gritty warehouse that suits the show better than anything else.
The Memorable Tunes
If you missed these historic shows, don’t fret. Adam Beyer has already confirmed more ABCD is coming in 2019. To stoke that FOMO and hype you up for the next legendary show, we compiled a few tracks that fans can’t stop talking about (from all 4 shows).
Cirez D – Exit ID
Zimmz – Sinematic
Cirez D – Drums In The Deep
Julian Jeweil – Mars (unreleased)
Hidden Empire – Siam
Veerus – Phase
The post Lightning Strikes Twice as Adam Beyer x Cirez D Captivates Brooklyn appeared first on EDMTunes.
***READ MORE HERE: Lightning Strikes Twice as Adam Beyer x Cirez D Captivates Brooklyn
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By Real EDM — 2 months agoFor a 2017 event, Fyre Festival still remains the talk of the town and no one disputes that it has become the prime example of what not to do. Perhaps it was the recently released documentaries from Netflix and Hulu that caterpulted things into action, but there’s finally progress for one of the investment companies he conned.In a slew of lies and deception, McFarland managed to swindle millions of dollars from investors to fund his ever failing festival— one of the unfortunate investors included EHL Funding. Comparibly, also caught in the mess, was all too willing business partner, Ja Rule. To everyone’s surprise, other than the humiliation, he hasn’t yet been held accountable for his role in this diabolical festival. Luckily for Ja, he’s off the hook again in the latest lawsuit against him and McFarland.According to documents, the judge has ordered Mcfarland to hand over $2,891,600 plus 30 percent interest dating back to August 2017. EHL apparently won the lawsuit by defult judgement after McFarland failed to respond. While this is a big win for EHL, McFarland is current serving 6 years in NY’s Otisville federal prison and there’s no saying how McFarland plans to pay this off. One thing’s for sure though, this won’t be the last lawsuit to come his way.
The post McFarland Owes 3 Million After Default Judgement in Lawsuit appeared first on EDMTunes.
***READ MORE HERE: McFarland Owes 3 Million After Default Judgement in Lawsuit
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By Real EDM — 6 months ago
The mysterious trap duo has just signed with United Talent Agency. So, how do they keep their identities private?
Hot off their Invasion tour, ATLiens have just signed with United Talent Agency – a major step for the bass duo. So, what does it take to build a career while keeping their identities a complete mystery?
As you can see from our interview this year at Electric Daisy Carnival in Las Vegas, ATLiens prefer to stay strictly anonymous – to the point that we could only ask them “yes” or “no” questions. Hanging out with the two almost feels like meeting someone in witness protection. Getting through airport security is easier than getting into their green room.
To cap off 2018 in the best way possible, ATLiens signed with Jonathan Griffin, an agent at UTA responsible for booking acts such as Black Tiger Sex Machine, Infected Mushroom, and Space Jesus. Here’s what their manager, Griffin Haddrill, had to say on the signing:
“ATLiens & myself are excited to work with UTA. They have set their eye on the prize and accomplished many great things for their clients. I am more than confident we will do the same and then some. We have a great agent, Jonathan Griffin that sees our vision and the bigger picture in play. It’s always appreciated to see the other agents at UTA work as a team and see the long-term growth for ATLiens. You can’t go wrong when guys like Steve Gordon & Kevin Gimble developed a team and roster that has shifted the tides for the better in dance music.”
We also sat down with Griffin this week to ask him how he protects their identities.
EDM.com: Why remain anonymous?
Griffin Haddrill: It is truly about the fan and music experience. When you come to an ATLiens show, fans are there to experience the music. ATLiens in their own way have a personality, but the human element isn’t there. It’s about the fans, the music, and ATLiens all coming together to create an atmosphere you don’t get at other shows.
How strict is the incognito component?
It’s a huge priority for us. At every show or public event, we make sure ATLiens identities are hidden, even if it means going through great lengths to remain incognito.
How do you balance being on tour with remaining anonymous?
It’s definitely not easy. I’ve had plenty of phone calls when they are about to miss a flight telling me that TSA won’t let them through security. Luckily, they’ve never missed a flight but in the heat of the moment those calls are always stressful (laughs).
What are special things you list on your rider to help with this?
A bowl of just red M&M’s… kidding. The main thing is just having a conversation with the venue or promoter and talking it through. At the end of the night the whole venue staff feels like it was a team effort to keep ATLiens hidden, so there tends to be a level of camaraderie around it and everyone has a good time.
What are some close calls the team has had?
Ohhh man. I can go on and on, there have been so many close calls. A couple moments that stick out sometimes:
ATLiens will jump into the crowd at some shows and there have been plenty of times when people try and pull the mask off. Hasn’t happened yet, but those moments are always scary.
Another moment was when ATLiens were checking into a hotel and the lady at front desk bought a ticket to see them perform that night. They checked into the hotel and the reservation for the room said “ATLiens.” Luckily, they had a tour manager, photographer, and other friends there so she didn’t know which one was ATLiens but that was definitely a learning moment to never put a reservation under “ATLiens” (laughs).
Here are a few notable moments from their career:
In 2017, ATLiens released a heavy bass collab with Bassnectar, titled “Interlock”, which was a step towards trap music for the dubstep king. They also dropped a track with Jameston Thieves, “Ninth Dimension,” and an album of remixes of their track “Alchemy”.
In 2018, ATLiens have exploded in popularity with a huge tour across North America and Asia punctuated by a stellar show in Bangkok on Halloween. The Invasion tour is over, but fans look forward to the next one. In addition to their collaboration with Tynan, their latest joint effort with Badrapper had one of our personal favorite music videos of the year.View the original article to see embedded media.
They even had their song “Chief” featured in the Samsung commercial for the Galaxy S9.
We can’t wait to see what is next in store for the unearthly pair, and we’re hoping this UTA signing means a lot more shows and festivals!
***READ MORE HERE: The Rise of ATLiens [Interview]
Source: edm.comPost Views: 464
By Real EDM — 4 months ago
Another year has come and gone. This past year was filled with new beginnings and the highest of highs, but also gut-punching goodbyes and the lowest of lows. We saw tech-house and techno burst out of the underground and onto the mainstages, and we saw huge changes for one of EDM’s biggest festivals. Click through to see what trends defined dance music in 2018.
Every year we try to track the trendiest subgenres in dance music, and without a doubt the biggest growth came in the techno and tech-house realms of dance music. The underground sound grew to immense popularity this year. Leading the charge were Ultra’s RESISTANCE sub-brand and Drumcode’s Adam Beyer.
In 2018 RESISTANCE truly came into its own and began hosting its own events outside of the Ultra umbrella. Now in 2019, RESISTANCE is taking full advantage of Miami’s 2 venue setup and growing into its own festival within a festival. Adam Beyer pushed the envelope as well by performing at practically every European festival there is and launching the Drumcode Festival. Perhaps the biggest step he took to bring techno to the masses was team up with Eric Prydz to introduce techno to one of dance music’s most die-hard fandoms. Not one to be outdone, Insomniac made a big push in 2018 to grow their Factory 93 techno subbrand in the wake of RESISTANCE’s popularity.
If you didn’t realize 2018 was the year of tech, look at the biggest tunes of the year. Camelphat’s “Panic Room” was an early hit, but 2018’s festival season was absolutely dominated by Adam Beyer & Bart Skills’ “Your Mind“. And of course, nothing signifies the takeover more than Fisher’s “Losing It“. This tech-house banger launched intro the stratosphere when Hardwell dropped it from Ultra Europe’s mainstage. The crowd loved it and the internet loved it even more- now practically everybody throws the track into their set. Tech became so big that David Guetta revealed himself as Jack Back and dropped an EP of tech-house music. Armin van Buuren has stated that his Gaia project is going to feature a lot of tech-trance as well. If everybody’s listening to techno, we’re not complaining. Sorry Eminem.
Give Trance a Chance
Where fortunes rise for some they fall for others. The subgenres of trance and techno have a lot of overlap, as they are both complex subgenres with their own niche and a much longer tradition that whatever is playing on mainstages now. Only a few years ago we were celebrating the return to trance and its explosion as a reaction to Tropical House and Future Bass. Now we are seeing a major contraction in the overall trance scene (at least in the US), at the same time as a new trance act is headlining mainstages.
In 2016 Insomniac’s Dreamstate trance brand launched with festivals in New York City, SoCal, and San Francisco. In 2017 Dreamstate expanded to EDC and other Insomniac events as its own dedicated stage. Dreamstate got a full takeover of the Circuit Grounds megastructure at first. That same year Ultra’s ASOT Miami introduced W&W’s return to trance as NWYR, Arty’s return as Alpha 9, and Sander van Doorn’s return as Purple Haze.
Fast forward to 2018 and Dreamstate has expanded into international events but abandoned NYC. Insomniac gave Dreamstate its own stage, but it has been seen largely as an afterthought in terms of size and production value. Florida’s EDC Orlando dropped its Dreamstate stage completely, replacing it with 2 days of Factory 93 techno/tech-house (and opting for some trance on an art car stage). In fact Florida’s other medium sized festival, Sunset Music Festival, similarly dropped its trance stage for almost all bass music.
If you have friends in the trancefamily from maybe 2 years ago, chances are they are listening to a lot of techno right now. Being honest, it really feels like the trance fans moved over to Techno. Perhaps that is because trance has been dominated by Vini Vici‘s aggressive psytrance style. Vini Vici is fun and they are one of the few trance artists to migrate over to mainstages, but the copycatting has become overwhelming. The Vini Vici tribal psytrance all begins to sound very similar and trance has taken a step back from those ssssserious uplifting vibes fans love. On the other side of the spectrum, trance has embraced deeper proggier sounds like Estiva, Rodg, and Ruben de Ronde. Once you’re enjoying that, it’s easy to take steps into Anjunadeep or Eric Prydz. From there it’s only a few steps to reach the deep dark rabbit hole of techno. So techno has grown through trance’s contraction. Hopefully we see some re-invigoration when that Gaia album comes.
For the first time in a long time the Swedes are once again dominating the dance music scene. We love the Dutch, but its time for some change and some freshness to reinvigorate a scene that many felt was growing stale. The Dutch have held the #1 DJ slot (on DJ Mag’s List) every year since 2007 with the exceptions of David Guetta in 2011 and Dimitri Vegas & Like Mike in 2015. Seriously the two biggest performances of 2018 were without a doubt Swedish House Mafia and Adam Beyer x Cirez D.
So clearly the purpose of this section is the epic reunion of Swedish House Mafia. Besides the wave of 2010-2013 Anthem House nostalgia that swept over dance music veterans when they took the stage, that was not the only reason their reunion is so important. They came back and played their classic hits, but mixed in with the newer music styles of 2018 in way that made it feel like they never even left. Now the long rumored world tour is on the horizon and the Axwell Ingrosso project has been put out to pasture. In 2019 we will probably get new SHM music and we still have no idea how it’ll sound, but you’re gonna fawn over every tidbit of news that the Swedes give us.
Swedish House Mafia are not the only Swedes to dominate 2018. In fact, the best show you could see in 2018 had to go to another pair of Swedes we can call the Swedish Techno Duo – that is Eric Prydz and Adam Beyer. Adam Beyer x Cirez D was, without question, the most transcendent and hypnotic musical experience of most people’s lifetimes. The two complimented eachother perfectly with dark and foreboding techno that reverberated in your soul for 3 hours. It would be hard to find another B2B combination that could even come close to this level of quality. As if Miami wasn’t enough, the shows continued in LA and an amazing Brooklyn warehouse. The duo is returning in 2019 and you can’t miss it.
Condos In, Nightclubs Out
It’s been an incredibly tough year for the nightlife world, as we’ve seen the sudden closing of multiple iconic nightclubs across the world. Leases renewals have been denied, buildings have been bought with plans of replacing with expensive condos or restaurants, and legends in the nightlife world are shut down in the blink of an eye.
2018 has seen announcements of doors closing on San Francisco’s Mezzanine, who’s been a heavy contender for one of the best venues in the city since they opened 15 years ago. New York said goodbye to Cielo and Output, Chicago and Denver lost Mid Chicago and Beta Denver respectively, and Miami lost Heart, Ora, and Electric Pickle. Ultra Music Festival was booted from Miami’s Bayfront Park, and Toronto’s Uniun shuttered too.
Deborah Jackman, owner of Mezzanine, explained about the closure:
“I was disappointed that the owners of the building didn’t give me an opportunity to renegotiate a new lease. I was further disappointed that my request for a three-month extension, so that we could close out 2019 was rejected. What I find most disturbing is that Mezzanine, like so many other cultural institutions, has fallen victim to corporate greed and commercial development.”
The closures are painful for the community and have come as a shock to most of us – so many of these venues have held some of the best nights of our lives. But at the end of the day, the money that has entered these cities with hopes of creating their own selfish, fruitful ventures do not care about the community’s passion for music and culture. These legendary venues are being taken away by the need to build more, make more, fit more. Culture is being killed by corporate selfishness. Institutions that we’ve grown up in, that we’ve developed tastes in, that we’ve gotten lost in – they’re gone. In 2019, we can’t imagine that it’ll get any better, either.
Forest Festivals Had a Tough Year
Clubs aren’t the only EDM venues going through massive changes. The festival market continues to change in interesting ways, some positive and some not as good.
First off we have to talk about Ultra. The same forces closing nightclubs around North America actually took down one of the world’s most iconic festivals. The locals in Downtown Miami have always hated Ultra, most notable in 2013 when it expanded to 2 weekends. However, nobody ever expected the city to cave to their cries and boot Ultra out – even when the festival was experiencing attendee deaths and security guard tramplings. In 2018 the expensive condo community finally encroached enough to force the local politicians to pull the plug. By now the story is well told, and Ultra is embarking on a new chapter in a new venue further away from the bustling downtown. We all fear that at some point Club Space will be next. The same forces took down Solomun’s Diynamic Festival in London after locals complained.
In 2018 the marquee festivals like Ultra, EDC Vegas, and Tomorrowland continued to dominate, but the medium-sized and/or less prestigious festivals took some major hits. Australia’s Stereosonic successor, FestivalX, was cancelled before it even started. For some reason forest/nature camping festivals had a really rough year. Insomniac’s Sacred Valley festival concept and Above & Beyond’s extremely expensive Anjunabeach Riviera Maya. In the US, Florida’s Okeechobee Music & Arts Festival went the way of TomorrowWorld. Medium-sized festivals that didn’t get cancelled had to significantly cut back, as Electric Forest went back to 1 weekend and festivals like Tampa’s SMF cut back on their lineups. Just this past weekend Dirtybird Campout East Coast was cancelled for 2019 as well.
At the same time the super niche events continue to thrive, so we saw Insomniac’s Factory 93 grow this year and launch their Secret Project techno festival in LA. Dreamstate Festival continued on in SF and SoCal along with its international stops and RESISTANCE is growing into its own powerhouse event worldwide. As these niche events thrive the medium sized festivals decided to drop trance or other genres and unify around bass music and techy sounds. Europe, already home to plenty of techno, saw brand new techno festivals sprout like Drumcode Festival and CONNECT. It’s only a matter of time before one of the techno festivals hops the pond. Now Insomniac is about to try something super niche with its PLAY Festival, and we will have to see how that goes.
DJs Focus on Mental Health
While 2018 was a year of new beginnings for Ultra and Swedish House Mafia, it was one heartbreaking end that forced the entire community to take a new focus on mental health. We will touch more on Avicii‘s tragic passing in the next section, but through that painful loss the dance music artists became much more open to talking about mental health and hitting the pause button.
In the wake of Avicii’s passing SiriusXM hosted a range of DJs coming on to talk about their own struggles with the touring life and how it can take a toll on a young mind and body. We heard from Armin van Buuren about how he fought his own demons years ago and learned that he needs breaks every so often to refresh. Laidback Luke penned a heartbreaking editorial about his warnings for Avicii and the need to slow down.
As the year went on, Hardwell decided to hang take an indefinite hiatus for some of these very reasons. Known to be a workaholic he wanted to take time to just have some fun, relax with family, and be a regular person. We know he’ll be back. Skrillex similarly made mention on social media that he needed these past few years to lay low and be a person for a little while before he splashes back onto the scene in 2019. Countless other DJs like slushii, deadmau5, Max Vangeli, and even Carnage had their own dealings with mental well-being issues.
As 2018 had us riding high on the new beginning for Swedish House Mafia, our world came crashing down on April 20, 2018. On that date we were forced to close a chapter in dance music history and say goodbye to Avicii.
Click here for our President’s own personal send-off for this dance music legend.
***READ MORE HERE: Year In Tunes: Trends That Defined EDM In 2018
Source: edmtunes.comPost Views: 598