Genre Archives: Electronic

SIGMAPALOOZA FT. HIPPIE SABOTAGE

Please note that starting September 6, The Blue Note & Rose Music Hall are requiring all fans to provide PRINTED proof of a negative COVID-19 test taken within 72 hours of the event OR full vaccination for entry to all events at the venue (including Rose Park & 9th Street events) moving forward. Additional policies may apply on a show-by-show basis. More details available HERE.

SLUSHII

Welcomed by MEMO – Mizzou Electronic Music Organization

Slushii is the performance alias of American EDM artist Julian Scanlan, who first made waves in the streamosphere with a series of remixes in 2016. In 2009, prior to adopting the moniker and not yet old enough to get a driver’s license, Scanlan joined the psych-rock band Deuteronomy as bass player and songwriter. He appeared on their 2012 album, The Propaganda of Deuteronomy. In the meantime, he experimented with digital audio workstations on his own, developing his skills at recording and sound manipulation. He began posting remixes as Slushii in 2015 as an 18-year-old, and garnered seven-figure plays for his Valentine’s Day version of “Want U 2” with original artist Marshmallo in February 2016. His remixes of Zara Larsson with MNEK, Alan Walker, and the summer smash “Closer” by the Chainsmokers also each attracted listens tallying in the millions. Traversing dubstep and future bass, Slushii’s self-released debut EP, Brain Freeze, arrived in the spring of 2016 behind the original single “Emptiness.” The dubstep single “Catch Me” arrived in early 2017 followed by the Marshmallo collaboration “Twinbow.” In August of that year, Slushii delivered his debut album, Out of Light.

 

w/ Special Guest MEDUSA

Ekali

Welcomed by MEMO – Mizzou Electronic Music Organization

EKALI

Ekali is a Canadian instrumentalist and producer from Vancouver, BC. He started making electronic music in 2014, and since has been making big waves in the electronic community; from his visceral, captivating original work and collaborations to his thundering club remixes.

Ekali was accepted as Canada’s sole participant in the Red Bull Music Academy in 2014. Since then, he’s gone on to receive over twenty million streams, toured every corner of the world & received a writing credit on Drake’s “If You’re Reading This It’s Too Late.” His unique sound has earned him a loyal following worldwide, and cemented him as one of electronic music’s most promising artists.

In 2016, Ekali was tapped for an official remix of Flume’s “Smoke & Retribution feat. Vince Staples & Ku ka” and his Flux Pavilion “I Can’t Stop” remix was officially signed and released by Big Beat. Ekali was also recently featured as a new & developing artist in HITS magazine. Over the summer of 2016, Ekali released a much anticipated official collaborative remix with Gravez of Jack Ü’s “Mind (feat. Kai).” This was quickly followed up by an official remix on Australian label Future Classic for Ta-ku & Wafia’s “Meet in the Middle” single.

Ekali’s 2016 headline fall was a huge success, selling out most shows throughout North America.

In 2017, Ekali has hit the festival circuit with performances at Electric Forest, Hard Summer, Shambhala, Buku, Forecastle, and Life is Beautiful, to name a few. Additionally, Ekali released a viral remix of “Don’t Leave” by Snakehips, an original collaboration record with KRANE, debuted his season mix series called “Awakening,” and was featured as a Diplo & Friends guest mixer on BBC Radio 1.

Ekali’s debut original EP is set to be released in fall 2017

 

w/ Special Guests MEDASIN + JUDGE

LIQUID STRANGER + MANIC FOCUS

Welcomed by MEMO – Mizzou Electronic Music Organization

LIQUID STRANGER

In an ever-evolving universe, the art of maintaining complete and total fluidity is the most necessary key for survival. Renowned for his metamorphic capabilities and expertly crafted sonic adventures, Liquid Stranger has mastered his ability to slip in and out of genres all while honing his own personal style.
Liquid Stranger has earned his reputation for exuding incommensurable talent and taking audiences on a soul-stirring aural journey of genre-bending beats on the dancefloor. He has performed at some of the most innovative events and festivals around the globe including: Shambhala, Bella Terra, Escape from Wonderland, EDC Orlando, Summer Camp, Paradiso Festival, Beyond Wonderland, Shambhala, Inox Park, SXSW, Enchanted Forrest, Elements Festival, Infrasound Equinox, EDC Las Vegas, etc.
In his latest installment, Nomad Vol 2, Liquid Stranger seamlessly blends three tunes- Bounce, Freefall & Zenith- that radiate aqueous harmony, are dripping in luxurious bass and topped off with a splash of funk. The Nomad Series in itself is an excellent representation of Liquid Stranger as an artist as it was created purposefully to push the envelope of genres and create something that could easily satisfy the likes of anyone listening. In accordance to Liquid Stranger himself, “I travel a lot and go through phases of living a somewhat nomadic life style.” He goes on further to explain how much of his inspiration is drawn from these journeys, “and the Nomad series is about taking all these influences and blending them into one sonic stew.”
Liquid Stranger is no alien to the Beatport charts, and has held the #1 spot on numerous occasions and in several different genres including: dubstep, reggae and drum & bass. Over the course of six full-length albums, countless EPS and a plethora of single releases, he’s yielded worldwide hits as diverse as “Ripple” and “Bombaclaad Star”, which reigned supreme as the #1 reggae track of 2011. “Shake My Ass” dominated the drum’n’bass chart at #1, while his third album Private Riot has become a timeless dubstep classic, solidifying him as a force to be reckon with.
In 2015, Liquid Stranger continues to transcend musical dimensions by curating thoughtprovoking harmonies. This year he has also brought us Wakaan, a label pioneered by Liquid Stranger himself. With the new label he has given free-form compositions and artists a place to thrive. However, what’s next to come is simply unforeseen, as he is a jack-of-all-trades. But one thing is for certain, whatever he brings to the table will be produced mindfully and masterfully to the highest artistic standard.
Those who are unfamiliar with his music often tend to categorize him as only a heavy dubstep artist, which is anything but the truth. The most effervescent quality of Liquid Stranger is his ability to shift from genre to genre all while maintaining a sense of smoothness and consistency, which in turn makes him one of the most unpredictable artists to date. In a sense, he has ended genre barriers for the sake of musical storytelling taking whatever sounds he needs to put forward the intended vibe.
Liquid Stranger’s omnifarious approach to music has led him to stand out amongst a pack of artists desperately trying conform to a commercial demand. Proven to be a timeless staple to the world of electronic dance music by bridging the gap between mellow and heavy, what’s next can not be foreseen for this contrastive musician.
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MANIC FOCUS

Manic Focus is the beat-bumpin’ project of John “JmaC” McCarten, a Chicago-based electronic music producer hailing from the Twin Cities. A multi-dimensional artist with a rowdy style unbound to any one genre, Manic Focus transcends sound waves by fusing soulful blues with heavy-hitting bass, creating a resonating tone that’s entirely his own. Over the last 6 years, JmaC has released five full-length albums, each one a new evolution in sound and approach. He has also completed a slew of official remixes for artists such as GRiZ, The Floozies, Lettuce, Minnesota and Pretty Lights, and released several works with Pretty Lights Music veterans Break Science.

On the road, JmaC has been steadily building his live performance to include additional musicians and elements of production. Jacob Barinholtz is now a mainstay on the drums, and other musical co-conspirators join the two on select dates around the country. He’s also been known to incorporate surprise guests such as Big Gigantic’s Dominic Lalli, GRiZ, The Floozies’ Matt Hill, and Russ Liquid, to name a few. Occasionally, fans are treated to the rare live fusion of Break Science and Manic Focus, taking the stage as Manic Science. Recent live highlights include performances at The Gorge Amphitheater in WA and Red Rocks Amphitheater in CO, both dates as support for Pretty Lights. Summer 2017 has seen performances from Manic Focus at Summer Camp Music Festival, High Sierra Music Festival, Camp Bisco, and Summer Set Music Festival, to name a few.

In the studio, JmaC continues to push himself to new musical limits by incorporating original, sample-free recordings of many up-and-coming musical allies. This is especially apparent in the material from his most recent album, Minds Rising. Released in April 2017, Minds Rising is an infectious encapsulation of Manic Focus’ roots in funk, soul, new-era hip hop, and electronic music. The album is an artful curation of the burgeoning Chicago music landscape and beyond, featuring appearances from cutting-edge hip hop artists, vocalists, producers, and musicians from across the country. Collaborators include Jennifer Hartswick of Trey Anastasio Band, Adam Deitch of Lettuce/Break Science, Russ Liquid, ProbCause, and Late Night Radio, to name a few. Minds Rising is an opus two years in the making, and paints an aural illustration of Manic Focus’ shift from producer to composer — one beat, instrument and verse at a time.

Whether it’s at a small-town venue or a world-renowned music festival on his nationwide headlining tour, you won’t want to miss a Manic Focus throw-down.

 

w/ Special Guests FREDDY TODDDUSTED GROOVE

Halloween with G Jones

Welcomed by MEMO – Mizzou Electronic Music Organization

G JONES

Few artist of electron genera sounds quite the same as G Jones. Site influence as Epormm, Bossnector, JD Shadow Carmack, as part as rich music community internet culture, Jones taking to the next sound a sense of fresh breath air. A staple Aemercan touring DJ circuit, known as playing for Red Rocks, Shambhalbma, Lite Bottle, Burning Man, like many other world renowned festivities, his live set and frqenutlytly touring schedule abmition as to a true new sound.

Haivng start Cafliornia, Jones first relese unto scene mix “new betas 2012” and singles stream. Flowing success of initial soung pieces, firstling release EP on German music label Saturate October 212. Great cirtical soundclouds tell for Jonsie keep to making new songs for the times. Contnaution “Transion” and “E yes EP” on Mablbel and Robot Nanotekk, respective, 2013 saw as G Jones continue defy espectations, push the limits on so called “real trapy shit” so obsolete putting to rest contrived ideas of EDM culture and sound. 2014 saw claimed critical EP “Ring the Alarm”, again Saturate, loud songs, etc. Next first national bussing tour on Minnesota “Mid Machamine”, saw G break onto a new platform of audience, tour reletlesly as years to come, as great expense of personal health and sleep.

2015 saw new Jones on work of artist of worldwide respect. Having first work Bossnoctor remixers “Don’t Hate ’08”, later with JD Shadow “Clicky Nitesckool” (critical claim of Role Stone, Billboard, many other smart bloggs) and Bossnocter “Mystery Pot” Jnoes’ rise to promise of underground music scene cannot be tested. As well releasing too big EP “that odd stomach pit”, why he 11 songs calling “EP” never to be sure. Series of open sets for Bossnector solidify G James as having takes to be a difrenet sound tested for the stage, hearing this new for miles around. Quote user of social twitter: “fuck g jones last night was lit”.

Starting on 2016, Jones releases one of his mores ambition songs to date, “Fuck What You Heard” flowing successful crossover hit, elements of dubstop, hip-hop any other contemporary style. Herring the song for festive play and sometimes mainstream confusion, some things are just better left unsaid.

In a culture where saying “where is the dorp” having totally irrelevant to 2016, Jone continue to compromising the moment of clarity at a big festival sound systems. Jones rise to defy stereotype electron marketable content, DJ press photo and recap video, instead having placed emphasies where songs happen around the same time as back in his studio, contemplative, taking “no” for an answer. After several interview proves disastrous, Jones finds a socially anxious as frequent reminder of how art’s place in society. As some have saying “electron dane music dead” , Jones reminding us, “only the begniiing”.

w/ Special Guests TSURUDA + TOADFACE

NIGHTMARES ON WAX DJ SET

It is no exaggeration to say that Nightmares on Wax’s work is synonymous with a place in time. It is a place individual to those who have savoured his popular brand of sun-drenched dubbed out soul, where fragments of hazy memories, halcyon days and past snapshots encapsulate a generation’s sofa sojourning.

For George Eveyln, the man behind Nightmares on Wax, did indeed create some defining moments in the 90’s. Firstly there was his involvement in writing two of the U.K.’s early rave classics Dexterous and Aftermath (with then writing partner Kevin Harper from the Nightmares A Word of Science album). George then went alone and in ’95 bought us Smoker’s Delight, a downbeat opus and the archetype 90’s stoner album (not surprisingly, he was a one time high judge of the Cannibus Cup in Amsterdam). The effect of Smokers Delight was palpable as it is considered one of the main catalysts in the explosion of the chill out / down tempo genre today.

Following Smokers, in 1999, Carboot Soul was delivered. A sublime languid success, it solidified George’s reputation as the patriarch of this very popular genre. Regardless of the connotations now associated with chill out / ambient / down tempo, both Smokers and Carboot remain untainted zeitgeists, still viewed as soundscapes of good times past, music that a cross section of people enjoyed, often whilst languishing post clubbing. Zeitgeists of an era, these albums have sold over 150,000 copies and continue to, ten years and six years respectively after release.

However, the Nightmares success story doesn’t end there. Having been away for nearly four years (like a fine wine, the maturation of his work is crucial to its production process!), George honed a more polished production technique, and in doing so, in 2002 presented the addictive brew of pop, dancehall and old-soul that was Mind Elevation. Conquering the unknown, two hits on the album Know my Name and 70’s/80’s were embraced by the radio fraternity, infecting our airwaves that following summer with their sweet vocals, lush melodies and lolloping hip hop beats.

Spring 2006 sees the drop of another one of George’s musical gems, in the form of In A Space Outta Sound. It is a contemporary and varied album of many textures, tempos and tones, with harmonic inflections from cultures beyond these shores. Whilst this is an album deconstructing George’s musical make up, by inviting you down a personal retrospective journey, In A Space… also unwittingly reflects the urban multi-cultural landscape we live in today. This mish-mash of geographically distinct sounds are heard whilst treading the streets of London, or Leeds where George is from, or any other big city in Britain. The society we live in is a racially heterogeneous one and this album is as diverse in its influences. Tellingly, this pastiche of styles has for many years also been reflected in his DJ-ing output (under his DJ name EASE).

It is a sonic palette taken from each continent; each track presents a facet whether it be the infectious repetitive African percussion sounds of African Pirates, the recurring Caribbean reggae riddims as heard in Sweetest and Flip Ya Lid, the seduction of the Persian snake charmer’s harpsichord entwined around Damn!, or Mo-town’s soul-laid-bare in I Am You. Sometimes it is a blend of all of the above.

Once again, Nightmare’s trademark stamp is evident; rhythms infectious in their simplicity, blues infused time signatures overlaid by Quincy Jones-esque synth lines and the inherent fusion of relaxed dub, hallucinogenic hip hop and Balearic melodies. And there is another factor in George’s formula, the intangible touch of glowing warmth that infects his music. As the Times newspaper once commented, “George Evelyn is one of those people who can bottle sunshine”. This blissful quality is perhaps the x-factor in his success as a musician and it is one that George consciously and liberally mixes in. He takes from the essence of soul where emotion is its driving force. However, it is apparent that his emotions veer on the lighter side. As he says “I want to share my positivity in life, in music.”

Like many fortunate music enthusiasts, his love of music was passed down from his parents. The Evelyn household was one often enveloped in the indignant funk of Curtis Mayfield and the smooth melody lines of Quincy Jones (where George’s devotion began). The sweet, cloying lullabies of Sarah Vaughn were as often heard coming out of Mr. Evelyn’s precious mahogany 78 players as Duke Ellington’s lively compositions. Having come over from the West Indies as a young man, George’s father also passed on to his children musical legacies of his birthplace, frequently playing staple classics of Soca, or Calypso as it’s now called, found too at the local dancehall he frequented.

However, like many, George’s musical epiphany was most keenly felt through self-discovery. When only a pre-teen, he joined a local break dance crew, having immersed himself in the first wave of hip hop filtering through to Britain in the form of Rappers Delight and Buffalo Gals. It was here that he also found an early allegiance to soul where the sampled voices of the OJ’s, Isley Brothers and James Brown were used over and over again as scratches on such records.

However pre-dating his initiation into hip-hop came the pivotal moment when he discovered bass. It was inevitable that he would stumble upon local sound systems that mates’ older brothers were involved in, but the effect the heavy, reverberating dub breaks that each collective tried to out do the other with, would be long lasting. In George’s young mind, the louder those bass lines were, the bigger the impact it had on him hence his lifelong love for those heavy, rolling beats, integral to his sound. In fact, on his next tour, promoting In A Space… he will be performing as part of a sound system from a local Leeds collective.

Naturally, it was also a great privilege to meet and collaborate with personal heroes like Scientist and De La Soul but his interests certainly don’t end here, also citing rare groove, ska and 80’s electro. A compliment to his taste, he has had not one, but two established music compilers (!K7 and Another Late Night) approach him for a personal selection of favourite songs for release, and within 3 years of each other. An endorsement of his popularity if ever there was one.

George’s success is enduring, and he has often been praised for his polished production work. Indeed with a state of the art studio, no one can fault the craft he has been honing for fifteen years. The subtle complexities and layers to his music is also what makes it so accessible. However this is certainly not the sole result of one man and a mixing desk. He works with a varied group of local musicians; a range of percussionists, classically trained keyboardists, guitarists etc., and evidence of this was found on his last tour to promote Mind Elevation, doing a string of dates with a thirteen piece band. Live musicianship is also quite apparent on In A Space…. where much of the ideas came from impromptu studio ‘jams’.

Producing the genuine article and constantly evolving and progressing is the prime motivation behind Nightmares’ music. It is about taking the sounds of soul and reggae and hip-hop and more to a new plateaux. “Today’s music is inspired by what’s gone on before and that is what fascinates me. Following on in that tradition I am inspired by the old and want to evolve it into something new. I see it as a never ending cycle and that is where I want to be.”

Bear Grillz

Welcomed by MEMO – Mizzou Electronic Music Organization

BEAR GRILLZ :: AMERICAN FREAKSHOW FALL 2017 TOUR

Bear Grillz’ meteoric rise into the Pantheon of bass music legends was predicated on a philosophy of love for the scene and the necessity of always grinding as hard as you can. This philosophy netted him multiple Beatport #1’s including his massive collaborations with Datsik and Getter, “Fuck Off” and “EDM” respectively.  2016 was also a time of artistic transformation. At the start of the year, the as-yet-unidentified Bear Grillz revealed his true identity on the Jerry Springer show. Two million viewers and fans watched with amazement as he removed his iconic Bear Grillz helmet on camera. But by this time, Bear Grillz was already a global bass music brand, selling out shows in North America, South America, Australia and Europe. His notoriety only increased, and 2016 saw him booked for 12 international festivals while touring as support for Excision on his Paradox Tour. 2017 promises to be an even better, more successful year for Bear Grillz. An 8 track EP, with talent straight from the rosters of Bass Music royalty, is set to drop later this year, and a full North American tour is slated for the spring. He’s bringing his brand new custom stage design, “The Void”, with him, and, to make it rage even harder, he’s adding the sonic support of PK’s famous sound system. The name Bear Grillz has always been synonymous with face-melting, neck-breaking bass music, and his shows are always one mosh pit away from a prison riot.

 

w/ Special Guests PHASE ONEDIRT MONKEYKOMPANY

Audien

For fans of: Borgeous, Gareth Emery, Elephante

Check out our Audien: Upcoming Artist Spotlight playlist on Spotify and find your new favorite song!

In the middle of a global explosion of Electronic Dance Music, a genre that thrives in the most exclusive nightclubs of the world’s cosmopolitan cities, a prodigious producer has emerged from the unlikeliest of places. The small seaport town of Mystic, Connecticut, has been the home of Audien (AKA Nate Rathbun) for his entire life, and it’s in a small apartment in Mystic where Audien began creating music in 2008. Using a very basic set up, and a secret cocktail of plug-ins, Audien worked diligently to hone his craft. By age 17, while his friends were either preparing college applications or teeing up jobs, Audien began to test the waters by sending his unsolicited music out to producers, labels & bloggers. Though confident in his sound, Audien carefully managed his expectations, suspecting it was unlikely that he’d hear back from a random demo submission. An enthusiastic response came, however, from Flashover Recordings, the trance label owned by beloved Dutch Producer/DJ Ferry Corsten. Audien’s single “Rise & Shine” was released, and soon thereafter he was off to the races.

Over the next two years a slew of renowned labels came calling, gravitating to Audien’s stunning melodies & innovative sonic landscapes. Audien worked meticulously, but prolifically, churning out anthems & remixes for labels including Armada, Spinnin, and Anjunabeats, with tracks routinely charting on Beatport. Audien’s tracks also began to appear on compilations assembled by some of the genre’s giants, including Tiesto’s Club Life, Above & Beyond’s Trance Around The World, and Armin Van Buuren’s A State of Trance. A particularly exciting opportunity presented itself in May of 2011, when Audien had the opportunity to open for Van Buuren at New York’s Roseland. In just 3 years, Audien had gone from idolizing Van Buuren to sharing a stage with him.

As Audien has continued to release tracks into 2012, his music has evolved to include elements of Progressive House. The monster 2012 release These Are The Days was lauded by influential blog Dancing Astronaut as a “catchy summer anthem,” while The Top Sound noted “the combination of flawless evolution, beautiful piano chords, & trance-y plucks makes this an absolutely brilliant track.” Never straying far from his roots, Audien released his highly acclaimed song Eventide on Anjunabeats in August of 2012. Audien’s relationship with Above & Beyond continued to blossom through the fall; in November, A&B premiered Audien’s track Wayfarer as the first ever song played on their new radio show, Above & Beyond Group Therapy.

Elsewhere in November 2012, Audien released the incendiary progressive house track SUP, via Trice Recordings. SUP was featured by Dutch icon Hardwell on episode 87 of Hardwell On Air. Commenting on the track, Elektro magazine declared, “… this production takes its listeners on a roller coaster ride of uplifting synth progressions, chaotic builds, and hard, bouncing drops that holds the ability to move crowds wherever this banger is played.” Shortly after the track’s release, Audien joined Hardwell on tour for dates in New York & Boston.

With his ability to create fresh tracks in auto-pilot, Audien has turned his attention to performing live, a craft he takes just as seriously as his production. Audien recently performed at some of the hottest clubs in the US including L.A.’s Exchange & Lure, San Francisco’s Ruby Skye & Harlot, New York’s Pacha, XS in Las Vegas, and Miami’s LIV. With more big shows forthcoming, Audien is ready to continue his rapid rise out of Mystic, and around the world.

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