If you’ve been involved in the electronic music scene recently the name FYRE Festival will undoubtedly ring a bell. Billed as an exclusive two-weekend luxury festival on a private island in the Bahamas, FYRE seemed poised to introduce a new level of event production. However, things did not turn out as festival founders Ja Rule and Billy McFarland promised. Attendees arrived to find a few measly tents unfit for living and packs of wild dogs roaming the island.
Billy McFarland is now sentenced to six years in prison and responsible for $27 million in damages. Ja Rule’s reputation is practically in the gutter, and to say the least the FYRE booking app the event claimed to be promoting will never see the light of day. The biggest question on everyone’s mind is how did we get here? Well Netflix stepped up to the bat and announced a documentary on the making of the disaster, and the first trailer is out now!
The trailer features scenes from interviews, promo material and actual footage as attendees pulled up to the event. You can even hear one festival goer say “turn this bus right around”. Images of mattresses being rained on and talk of consistent fraud highlight the two minute clip. Even from the trailer it is evident that FYRE Festival was never getting off the ground in the first place.
So go check out the trailer for the movie dropping January 18th on Netflix. Titled “FYRE: The Greatest Party That Never Happened,” you’ll certainly get your $9 subscription fee’s worth out of this one!
***READ MORE HERE: Official Trailer for Netflix’s FYRE Out Now
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By Real EDM — 1 year ago
If you’re a person living the 21st century, there’s a high chance that you own, have owned, or have used an Apple iPhone at some point in time. Every year, Apple makes a big fuss about the new iPhone and all the cool new features that come with it. For those of you who are like me, I tend to wait a little before dropping $1,000 on a new phone when I don’t need one. But there’s always one problem: I regularly notice my phone getting slower and having more glitches.
I’ll be honest – at first, I thought it was just Father Time that made my phone slower. But over the last few years, I began to believe that Apple had actually made my phone slower on purpose in an effort to make me buy a new one.
Well today, a new study has been released that supports that notion. That’s right – it actually looks like Apple sabotages old iPhones so us iPhone users get frustrated, give up and purchase the newest one.
Two different studies looked at a few ways that Apple might sabotage your phone. The first, done by Toronto-based Geekbench, looked at the possibility of the battery slowing down the iPhone. It studied the theory that when the battery got older and slower – as do all batteries – the rest of the iPhone would follow suit, which isn’t supposed to happen.They found was that this was indeed was the case. There is a solution, though – instead of buying a new iPhone, you can just change the battery and the phone will work just fine.
The second study, conducted by MailOnline and various Harvard professors, looked at the notion that Apple’s updates are the cause of the older iPhone models slowing down. They found that the updates are intended for the newer models and thus are programmed for newer software with more RAM. But Dom Ferkin, the director of UK-based Creation Application, doesn’t believe Apple does this on purpose:
“On every hardware release they tend to upgrade the chips and they are faster every time they are released. Each year they release a new iOS. If you’re running an iOS 7 on a 5 chip, for example, it’s comparable to running Windows XP on a Windows 95 machine. It’s just enough to annoy the users, but it’s needed if you want the slew of new features that Apple releases each year.”
Although that’s a plausible explanation, it doesn’t change the fact that new updates screw up older phones.
We hope that this helps you all reading this in your decision of when to get a new iPhone or when to update it. Just be wary of the consequences that come with it.
You can read the full article here.
The post New Studies Show That Apple Actually Might Be Sabotaging Your Old iPhones appeared first on EDMTunes.
Read original post here: New Studies Show That Apple Actually Might Be Sabotaging Your Old iPhonesPost Views: 319
By Real EDM — 1 year ago
Galactic Marvl is one of the few remaining anonymous artists in 2017, but at this point people care more about the consistently high quality music coming out from the mystery DJ. In 2017 Galactic Marvl performed his? first show for a Mexico earthquake relief effort and showed the crowd what he’s capable of. With an album coming in 2018 the future is bright for this quirky alien creature.
Coming off their hugely popular remix of Martin Garrix’s ‘In The Name Of Love’, The Him took 2017 by storm. The Dutch deep house duo has released a steady stream of massively popular single and remixes. From their remix of Miike Snow’s ‘Heart of Me’ to their latest track, ‘Always’, which is featured below.
Hailing from Rouen, France producer Petit Biscuit’s downtempo “Sunset Lover” peaked at number 13 on the Billboard US Hot Dance/Electronic Songs chart. Mehdi Benjelloun (Petit Biscuit) released his debut LP Presence on Nov. 10, 2017, the same day as his 18th birthday. Petit Biscuit shared the stage with Odesza, during their Oct. 10, 2015 Paris performance at Le Trianon. Catch Benjelloun’s wistful set during this year’s SnowGlobe Music Festival and Decadence Arizona.
2017 really has been Crankdat’s big year. Not only has he continued his streak of putting out fire re-cranks but he also released his first collab with Jauz, ‘I Hold Still‘ as well as putting out his first single, ‘Dollars’. With the direction he’s been headed, 2018 should be even bigger.
Dirtybird artist and newcomer in 2017 Fisher exploded into the scene with his hit track “Ya Kidding”, a catchy tech house banger heard across dance floors after its release this past June. Fisher, a former pro surfer and one half of legendary duo Cut Snake, has made a name for himself as a solo artist this year – and we have no doubt that he’ll continue to rise in popularity in 2018.
Young producer k?d had a killer 2016 with remixes for Daft Punk, Justice, and Porter Robinson. From there he really hit his stride this year, collaborating with Rezz as well as releasing his hugely popular track, ‘Lose Myself’.
Yotto isn’t really a new artist, but he reached a new level in 2017 with performances at a range of festivals that demonstrated his prowess to more people than ever before. His remix of Kidnap Kid and Lane 8’s “Aba” was one of our Top Tracks of the year.
Vini Vici had an explosive year in 2017, going from relatively unknown at the end of 2016 to driving psytrance into the mainstream of dance music in 2017. The Israeli duo hit the trance stages all around the world and even hit the mainstage of Tomorrowland with W&W. Their domination is sure to continue well into 2018 and beyond.
Spencer Brown is one of the newest members of the Anjunabeats family and yet he is already feeling right at home there. His chilled out house music has garnered his a huge following in a short time and he is already out touring with the likes of ilan Bluestone and the rest of the Anjuna-squad. You’re sure to see more of him in 2018.
JOYRYDE exploded onto the scene towards the end of 2016 and went on to dominate the bass scene in 2017. JOYRYDE hit the festival stages at Ultra, EDC, and more with his unique blend of hip-hop, trap, and bass house. Besides that, his tracks are staples in almost any bass music set these days. JOYRYDE is returning to Ultra Music Festival for his 2nd outing in 2018 and the RYDERSQUAD is sure to grow even further.
Read original post here: Year in Tunes: Best Breakout Artists of 2017Post Views: 336
By Real EDM — 9 months ago
Breaking Through is a conversational series highlighting the stories of rising dance music artists.
On this particular morning while still enjoying some breakfast in his bedroom, 24 year old Progressive House DJ/Producer (yes, he’s both) Spencer Brown was eager to play his home club, Audio for an open to close set to a sell-out crowd later on this night after arriving back from Austrailia two days earlier. “It’s my favorite San Francisco club,” Spencer smilingly said. “They’ve got the best sound system and the best people who just love to go for house and techno music.”
For many artists, six-hour sets are considered marathons and almost unheard of but not with Spencer – actually feeling less pressure to play longer sets with his adroit ability to read a crowd which allows himself to dig through his record collection and offer the crowd a novel, of sorts, with vital contrasting layers of that story. “I think three hours is my minimum comfort zone and after that, it gets challenging but fun to take risks,” Spencer stated. And it’s these risks that Spencer is comfortable with because to him, a story is difficult to tell with an hour set.
It’s also these risks, the rubbing against the grain of the current trend in this industry, that has quickly catapulted Spencer from drumming with his parent’s silverware and pots and pans as a two-year-old to now embarking on a tour in support of, yes, his first full-length album, Illusion of Perfection. You can hear the album below:View the original article to see embedded media.
Spencer, though, is realistic with his business model saying, “No one is doing (releasing albums) that anymore. You can’t throw out the system, so I found my own way. I have all the music so I went back to what the legends of the industry, Sasha, Digweed, etc. did and I put out a mix album and low and behold it hit number one.”
Continuing, “I feel very strongly about this frantic rush to pump out three minute radio edit singles that are blowing up playlists on Spotify and then in three weeks they’re gone.” Spencer then adamantly said, “I decided a year ago that I’m not going to play this game but if an artist wants to do that and it works for them, great! But for me, I couldn’t write a pop track to save my life!’
And it’s his discovering of the past, the education part of the industry, that Spencer feels a lot of artists are missing out on. “I don’t subscribe to taking inspiration from what is popular now,” Spencer said.
“Instead, I realize looking back and learning the history gives an artist their own little space now in the industry. If that’s not done, you’re not going to be sustainable.”
Spencer’s own past has been a whirlwind, of sorts. The pots and pans gave way to his parents buying him a drum set and by age eight he was playing five instruments which led to a four-track and recording himself. At age 10 he discovered CDJ’s and hip-hop and began DJing. Age 12 was his first middle school party.
Spencer’s senior year of high school is when his life would change forever when he sent Tim Bergling‘s (Avicii) manager, Arash “Ash” Pournouri a Facebook Message asking for a chance and to forward his music onto Tim. The music miraculously was forwarded and Tim did Spencer one better by flying him out to Stockholm and “just like that we were working together and invited me to tour with him when I was 19.”
“For two years I would be playing two to three shows a week with Tim and then fly back to Duke University‘s campus to work with my teachers and spend time in the lab getting caught up on my work while sleeping three to four hours a night,” remembered Spencer. “It was very surreal jumping from a middle and high school DJ to playing frat parties to playing stadiums with Avicii. It was a crazy part of my life!”
During 2015 – 2016 Spencer concentrated his time between music and his schooling back at Duke where he applied for a grant in the University’s Pratt Fellows Program, which he received at the Pratt School of Engineering spending a year and a half collaborating on a research project with his professor. “I was working on an omnidirectional speaker,” Spencer describes. “I know how to make the sounds but I didn’t know what was physically happening in the speakers.”
The arduous process began with Legendre Polynomials, “some of the most insane math I’d ever done,” Spencer recalled. He then built two speaker models, the Two Cap, and a Dodecahedron model to see which one was better at recreating sound around (Duke’s Anechoic Chamber) a room. He described, “This room drove me mad because you could hear your blood flowing it was that quiet!”
The physical and math data began to match and the two realized that there had been nothing like this published. “With our model, the Dodecahedron, which turned out to be the better one, you could hang the speaker in the middle of the room and walk around and hear the exact same level and type of sound no matter where you were, Spencer explained. “So, the last few weeks I realized I was graduating and nothing had been written towards my thesis, yet! But we had 40 pages of math to support the physical confirmation and it was an amazing moment in that a year and a half knowing our work had paid off.”
Completely focused on music at the moment, Spencer admits that this doesn’t afford him the time to physically produce a speaker like this for club use but “having a point source in the center of the room can be a cool experience!”
Like all young people, Spencer went through his share of angst hating on certain genres and pop-friendly music since falling in love with harder driving techno in 2012. And while his model remains progressive house to fit his personality of storytelling, he does hint to his followers that there are recorded, unreleased harder tracks in his repertoire saying “It’s important to take ideas from other genres to develop my own sound while keeping it simple.”
This simplistic producing and individualism approach came through a learning curve he still employs today. “When I began to find my own space and sound was when I learned how to cut and not add to my music,” Spencer explained. “In 2012, I had tracks that were 200 channels long and now they’re 10-15 channels and at this point, it’s tough for me to work with other people unless their strengths are my weaknesses” as Spencer cites Qrion, “a wonderful Japanese artist” Spencer has recently collaborated with.
Lastly, Spencer feels he has a responsibility to Tim to somehow give back to produce tracks and incorporate some of the creative decisions that Tim would have in remembrance of him while staying connected to the people who enjoy and appreciate his music more so than producing to the masses.
“All of this intuitive knowledge has made me a better producer to build a solid core – that is what is important to me and what drives sustainability.”
***READ MORE HERE: Spencer Brown’s Forward Thinking Is Learning From The Past
Source: edm.comPost Views: 354