[Album Review] Draper - Sonder EP

First off, I did not end up going to see Figure in Santa Ana on Sunday. I saw the movie Saving Mr. Banks earlier in the day and did not feel emotionally stable enough to drive late at night.

That being said, I wasn't planning on writing a post before the end of the year, so when Draper dropped his Sonder EP, it really hit me as a surprise.

I've known of Draper for a while, but haven't really kept up with him. Since he was signed to Monstercat, however, his rise in notoriety is undeniable. 

Known for melodic, liquid dubstep and drum & bass, Draper has been at it for a little over three years. For as long as he's been producing, his style and vision are unmistakable. Long, heavy and beautiful chord progression with a variety of instrumentals and synths make his music dynamic and acoustically pleasing.

Sonder EP follows this same ideal - that music need not follow the Rusko or Skrillex patterns. 

With only two releases in the past year on Monstercat, Sonder EP is Draper's first full release since his eponymous EP almost two years ago.

Beautifully crafted with plucky guitar riffs, some 808 drum snares, and catchy piano melodies, Sonder EP is a wonderfully executed concept. Coming at the end of the year, with track titles such as New Year, Aftermath, and Aspire, the EP is meant to encourage future-thinking. Complacency is the enemy of progress.

Run DMT w/ SPL @ King King Hollywood

Having just gone to Sub Focus the night before, I have to admit, I was having reservations about going to see Run DMT and SPL at the King King in Hollywood.

Holy fuck balls, am I glad that I got over whatever that was.

Run DMT and SPL put on one of the best shows I've been to this year, despite the meager turnout.

Originally scheduled for the end of October, to open up for Maxim, of The Prodigy, the show was postponed until last night. The King King is a small bar off of Hollywood Blvd. I hadn't heard of it having any connection to bass music, but that must have been before The Do Lab got a hold of it - now it's hosting the likes of Phutureprimitive and The Lucent Dossier Experience. Still being new to the bass scene provides its own challenges, namely drawing in a crowd.

I arrived about 15 minutes before SPL's set time and there were maybe 25-40 people there? At most. Highly disappointing. Even by the end of the night, there were perhaps 250-400. (I'm awful at estimating, if you can't tell.)

As for other bass music event necessities - sound and lights - there were no lights. Which actually... didn't bother me too much. It was a small venue/bar anyway and the dim lighting was more than enough for the show. As for the sound, it's nothing like the Avalon or House of Blues, but with such a small venue, you don't need that much. With what was there, it was enough.

Now, as for the music - I said earlier, Run DMT and SPL put on one of the best shows I've been to this year. I'm not kidding. SPL did a damn fine job representing LA-based record label SMOG by showing off his chops throwing double drops and throwbacks from Flux Pavilion, Skrillex & Alvin Risk and more. His own style of "balearic" bass music, termed after the balearic house of the 80s and 90s, is exciting, melodic and plenty unique. And while playing to such a small crowd, SPL's energy didn't seem affected in the slightest - bouncing around, throwing his arms up, shout outs to the crowd were all in full form last night.

Run DMT was no different. The heavyset heavyweight of trap and bass stunned the crowd with his wide array of genres, reaching drumstep, dubstep, drum and bass, electro and trap. I was especially pleased, personally, that a metric fuckton of Figure tracks were dropped. Nothing kicks up the crowd like some 160 BPM magic. The trap was also not entirely displeasing. As the producer for the track 'Shaman Juice,' I had high expectations for whatever trap Run DMT would be throwing and he did not disappoint - only the highest quality for this man.

Energy remained high throughout the event, and I would be remiss to pass up an opportunity to see either of these amazing musicians again in the future.

My next show is in Santa Ana, seeing Dirty Deeds supporting Figure on December 29th at The Observatory. See you there!

Sub Focus & Delta Heavy @ House of Blues Sunset Strip

So many factors coalesced to make last night at the House of Blues Sunset one fucking helluva show. First off, personally, last night was my 50th show. I'll probably stop counting now, since after fifty it just gets pretentious, but it was still a milestone for me. I've been going to shows for about three and a half years now and it's been one of the best rides of my life. Here's to hoping it continues much longer. Also, last night marked the first time in over a year that I revisited the House of Blues (last time was to see FuntCase). Still an amazing venue, and they even boosted the sound for the night. Plus, cheap drinks! $8 whiskey ginger, whaaaat??

But the main reason last night was awesome was, of course, the drum & bass tyrant Sub Focus. Making his first appearance in Southern California since Nocturnal Wonderland 2012, and having just released his newest album Torus, it seemed right to tour on "the other side of the pond." Bringing with him Delta Heavy, and openers Machete and Fallen, the night was filled with quality drum and bass.

I missed a little bit of Machete's set, but from what I saw when I got in, he had been killing it from the beginning. As a resident DJ at RESPECT Drum & Bass in SoCal, you wouldn't expect anything less. Unfortunately, as with most openers, the crowd isn't full yet and people are less likely to seriously hit the floor hard. (Even happened to Evol Intent in Pomona... such is life.) For what it's worth, he played a fantastic set worthy of more praise than he got.

Next up was Fallen, a relatively little known producer (can't even find a Facebook or SoundCloud page). Starting off with a little downtempo, he was quick to make sure that the crowd didn't become too complacent - playing a set of downtempo and shifting into drum and bass kept the crowd on its toes and worked its ass off. Alas, an hour and a half set for a newbie isn't easy to keep up and he kind of faltered toward the end.

No worries, however! As Ben Hall, one half of Delta Heavy, was set to take over. I've seen Simon play before, in Santa Ana, so it was nice to see the other half. While Simon played a lot of house and moombah, Ben spun straight drum & bass and electro and it was phenomenal. Playing tracks like his 'Must Be The Feeling' remix and earlier releases like Hold Me, newer releases like Empire, the set was pure fire.

For the first 3 hours of the night, the crowd was teased by an LED-array in the front of the DJ booth, and an even larger one behind it. I was sure that we would be given a treat for Delta Heavy, and to some extent ... not really. The front array lit up to read "DELTΔ HEΔVY" and that's about it. Toward the end of Ben's set, it 'melted' and transformed though, so it was possible. A shame they didn't make more use out of it.

As Nick Douwma, Sub Focus, approached the stage, the crowd erupted in furious cheers and applause. I was a little disappointed that he was touring without the Torus live-visual display, but I understand the reasoning behind it - too much to insure, transport from the UK, and assemble at every show. However, the back LED-array was finally illuminated and it served its purpose valiantly.

As for the music, Sub Focus played a well-balanced mix of drum and bass, dubstep, trap, and house. Keeping the energy level high throughout the show, the genre didn't really matter as much as each track brought the house down. Classics like 'Rock It' and his remix of Rusko's 'Hold On,' along with a slew of tracks from his newest album, the Londoner lived up to his reputation and played for a SOLD OUT crowd.

Tonight, I'm at the King King in Hollywood to see Run DMT and SPL - sure to be another fantastic show.

[Album Review] Varia - Skyline EP

Hakim Barka, aka Varia, is another in a long string of young producers popping up these days. At just 18 years old, he has already got a firm grasp on production and promotion. Heavily influenced by Monstercat artists such as Tristam, Rogue, Pegboard Nerds, Tut Tut Child, and Stephen Walking, Barka's productions can be jump-up dubstep bangers while still carrying a whole lot of melody.

As far as styles go, Skyline seems to be working to explore what the Varia name can do.

Just a month ago, Varia released a small EP for Halloween with Bedtime Stories / Candy Zombie. And even since then, there's still a noticeable increase in production skill with Skyline. With an insane, bouncy bassline dominating each track, it's the little things that are able to really stand out. For instance, I really dig the horns in Junkyard Superstars. Electro Jelly on the other hand, has some sick growls along with a really sweet melody carried by the keyboard.

When we get to the title track, Skyline, we get a taste of a track that's a little more subdued and downtempo. I really like this choice since it makes the melody so much more salient - and I love me a tempo change, so the second half is just gold. I could've even gone for an even faster tempo after the first switch up, but I don't want to get ahead of myself. Then again, Skyline is followed up by Cracks (which is essentially Skyline Pt. 2) and what do I get? A faster tempo!! I can't sit still as I'm writing because of how supercharged this track is. And in the meantime, the melody is still salient - even after the breakdown.

Finally, we get to Hexahedron. Way more downtempo than even Skyline, you get that lingering kick-snare and flighty synth that go all too well together. It reminds me almost of a lullaby at certain points, just how calming and innocent it is. Varia's production is again commendable as the bouncy bassline in the second half stays in theme with the rest of the EP. A strong finish to a very enjoyable EP.




Producers are getting younger and younger each year, with production software becoming more and more available. Porter Robinson was touring with Tiesto when he was 18. Xxyyxx has been getting massive play from top producers. And many of the producers on Monstercat and other labels are in their very early twenties. With such a strong start and definable sound, I wouldn't be surprised to see Varia playing a festival in a year or two, without a doubt. Please support the artists by purchasing their work - they do it for us, after all.

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[Album Review] Au5 & Fractal - Secret Weapon EP

Au5 & Fractal - two of Monstercat's most notable producers - have finally released their debut EP titled Secret Weapon.

If the title is any indication of what they've been hiding from us for the past two years, I'd say it's pretty apt. The combination of Au5 & Fractal is a stunning trancestep experience. Lingering basslines and vocals give it a very relaxing trance feel - somewhat similar to Seven Lions. But the dubstep, the hard hitting bass, those kicks, go so much harder.

Since there are only four tracks on this EP, and I have some time on my hands, let's go ahead and go through each track one by one, shall we?

1. Blue
The first track of the album, setting the tone for the whole thing. Honestly, the first thing I notice is the over-processed snares (though, the more I listen to it the less I care). The main drum pattern kicks in at about 0:55, right around where a typical dubstep drop would be - this is the first trance element I notice: the extended intro. The drop is well-balanced with a variety of synths that don't overpower one another. The second drop is where Blue really gets me though. The drums come in again, same pattern. Same build-up. But that drawn-out wobble right there hits so damn hard, I'm actually a little sad that they didn't draw it out just a bit longer. After that, the track continues the same as before. For such a good track, a little disappointing in execution. Melody is still the high point for me though, so I'm set.

2. Dreaming
My second favorite track on Secret Weapon. Synths come in, sounding almost like a Deadmau5-esque trance tune, until that little arpeggio, whereupon I'm convinced that's not what I'm gonna get. Ohhhhhh, white noise in the build-up. But damn is that voice sultry smooth! The track drops at about 2:00, and it's got such an uplifting house beat that I can manage to forgive the fact that it's house. It gets a little glitch, adding in some scratched wobbles and high-pitched synths. The vocals carry most of the melody for the song, but that second drop got me fist-pumping.


3. Secret Weapon
The weakest track on the EP, in my opinion. Vocals make a second appearance, though the general progression on the track is relatively weak. Personally, I'm a fan of crescendos so I was loving that section, but there was much less melody compared to the other tracks on the EP. The breakdown seemed like it was empty space, in that it could have been used to better effect - possibly with some kind of piano solo carrying into the next build-up? The second half follows the same formula as the first, giving a very cyclic feeling to the track, as if it never really went anywhere. A little disappointing.


4. Smoke
The final track on Secret Weapon, and hands-down my favorite. Right in the beginning - atmospheric and dark, just the way I like it. The kicks jump in and the melody finds its bassline. The snares come in, the melody evolves; small chimes, ethereal synths. The volume intensifies. I feel myself becoming ready. KICK KICK KICK KICK. SNARE SNARE SNARE SNARE. Boom, drop. This track is so gloriously electrohouse and I love it. Taking elements from glitch, arpeggios all over the place, it's extremely well put together and produced.

Final thoughts - my opinions of this EP have changed a great deal with every listen. The first time through, I thoroughly enjoyed it and loved the deep bass feel, the melodic progression and trance/glitch fusion with Au5 & Fractal's distinct sound. As I continued to listen to it, however, I realized that (to me, at least) Secret Weapon has very limited replayability. The tracks soon became tired as I realized the very noticeable formula to every track - build-up, drop, breakdown, build-up, drop. In addition, something I only realized just now, all the tracks have very similar lengths, which subconsciously puts some limit on how I enjoyed the tracks. I like diversity - one song is super hard, sweet and short; the next is a musical, melodic ballad that takes me deep into my own psyche - and this EP seems to lack that.

In its own right, Secret Weapon is Au5 & Fractal's best work. And as with all of the artists I review, I am truly honestly excited to see what they have in store for us next.

[Album Review] Kredo - Cells LP

I'm honestly trying to remember where I happened upon Switzerland-born producer Philipp Gerber, aka Kredo, but for the life of me I can't. I suppose it's more important still to pay attention to where he's going. Kredo has been producing for nearly three years, but has been playing piano for more than fourteen - this is the kind of characteristic that I find so important when looking for new artists. More than anything, producers with previous knowledge of music, rhythm and instrumentation are far and away better producers. Kredo has a few releases under his belt, including his Limitless EP and Agony EP. His newest release, Cells, came out about a month ago, and demonstrates the diversity a producer can hope to accomplish when they set their mind to it.



With Kredo's Cells LP, we get a taste for all the different styles Gerber can pull out.
The track 'Cells' for instance hugely reminds me of Daft Punk's Tron: Legacy soundtrack. It's got that nearly chiptune sound with a spacey, ambient melody. Plus, it's got that Hans Zimmer-esque "BWOOOM" sound which everyone loves so dearly.
With 'Amuse Me,' we get this amazingly upbeat and gritty electroswing number. With the trumpets carrying much of the rhythm during the breakdowns, along with an almost glitch hop beat, 'Amuse Me' is one super fun dance number.
'Freefall' brings the tempo down a bit. Vocals by Songdreamer give it a very ethereal sounds, with percussive bass and soaring highs, and the piano track carrying the melody, it's a very beautiful track in its own right.
I'm not even really sure what to call 'Chimp.' It's got that bouncy electro feel with a gritty bassline, and what sounds like a kazoo synth. It even has an almost reggae breakdown. Perhaps the lyrics say it best, "...I don't really know what I'm supposed to do."

What I'm trying to get at with all of this, is that Kredo has tremendous talent for a variety of genres and Cells is a perfect representation of that. Without sticking to one genre, an artist is able to more broadly explore the plethora of emotions and insights that each genre can afford. It's truly a wonder how he doesn't have a major label backing him yet - I could definitely see him with a group like Pretty Lights Music or even OWSLA. His gritty sound backed by intense chord progression and melody would make him a sure-fire hit with the more discerning listeners. His dubstep bangers would make him an immediate hit with clubs all throughout the U.S.

Cells is free to download, so enjoy it all you like! And be sure to check out Kredo's other works while you're at it.

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[Album Review] Muzzy - The Takeover EP

I've known of the Monstercat label for a while now; artists like Stephen Walking, Rogue, and Ephixa. But only recently have I started to go into their entire catalogue of artists - Droptek, 7 Minutes Dead, and others.

For now, I'm taking a look at Muzzy - drum and bass phenom. His style really brings me back to classic drum and bass sounds, though not quite jungle. In comparison, Muzzy's sound is more modernized and polished, and now that he's released his The Takeover EP, I'm very excited to see what he has coming next.



Fortunately, we have been provided some insight into the motivations behind each of the tracks on his new EP.

Each track has a different reasoning behind it, while still sounding relatively thematic - and that's extremely important when defining your sound as a producer. 'Draining Atlantic,' for instance, has a very ethereal feel to it, alluding to longing and interrupted love. On the other hand, as Muzzy himself wrote, 'The Phantom' was written with High Maintenance as a track that would go down well live. With a drop that immediately puts emphasis on the high synths and rolling bass line, it's got a quality jump-up feel to it. 'The Phantom' wouldn't be out of place, at all, in a Chase & Status or Drumsound & Bassline Smith set. Even the crowd samples in the background give it a live set feel.

Other tracks 'Timberwolf' and 'Rave Through The Apocalypse' draw on more natural themes. Plenty of, relatively, natural sounds - drums, synths - with a dark and demented bass line give 'Timberwolf' a more worldwide quality. As Muzzy puts it, "...kinda how I would imagine flying across the globe would feel like." Finally, 'Rave Through The Apocalypse,' Muzzy says, is influenced by his love for horror/thriller film scores (not unlike Figure). The snares hit noticeably harder; the melody is more subtle, beneath the surface; the vocal samples are foreboding and terrifying. With the build-up, you get the sense that something terrible is about to happen; and I believe that's what's most important in a horror score - that feeling of imminent danger. So for that, at least, Muzzy has hit the nail on the head.

What I look for in each of the artists and albums that I review are talent and room to grow, and that's no different with Muzzy. If this is the best he's got, I'd be very disappointed, because there's no way he doesn't have more up his sleeve. For what it's worth, I'd love to hear a whole hour set from the man featuring his favorite drum and bass tracks - at the very least, I'd get an hour of Muzzy.

[Album Review] Clyde Machine - Je Peux. EP

Joseph Greene, aka Clyde Machine, is another one of those producers whom I've been following, thanks to reddit, for almost a year and a half. Since his first release, Now Drop The Bass, I've been keeping tabs on him and checking out his SoundCloud or Facebook whenever he has some new material. His style in the past has been largely dubstep and heavily bass-centric. This newest release, however, really gets me excited. My favorite thing in the world is seeing a producer surpass his past accomplishments, and that's exactly what Clyde Machine has done here.

Je Peux. EP is a conceptual masterstroke. The whole concept behind it is available through the Clyde Machine Facebook page, but I'll try to summarize it here -

In the rain, a man faces his own emotions - doubt, emptiness, sorrow - and in the process is swept up by the environment around him. Rain is pattering down, and it seems like it will never let up. The only thing keeping him from complete desolation is his own rationality - he looks toward the future. As he does, he thinks less of the past and is able to see past the clouds toward a horizon that looks just a little less bleak. He was alone. He is now just an individual. He was desolate. He is now hopeful. He does not forget the past; he yearns for the future.

Reading the concept and listening to the EP, it's wonderful how accurately they portray each other. I can't even really begin to describe the feelings that I get when I listen to it - Greene has translated emotion into music so acutely that it astounds me. For one, Greene's production has soared in quality. The depth of the bass and the timbre of the drums, how real they sound, makes everything about this EP sparkle. These are tracks that you would listen to when you want to make something beautiful. Second, there is real life embedded in the very heart of this release. It is the direct result of an event in the producer's life - not a run-of-the-mill "club banger."

The tracks - I Can. I Don't Want You To Go. When It Rains In The Night. - form such a wonderful sound that I find it's something that I'm going to be coming back to again and again in the future, for a long time.

Please support Clyde Machine by visiting his -

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Artist Intro: Invader!

My friend turned me onto Alejo Gonzáles, aka Invader!, in May last year when he released his Alive EP. Since then, I've been voraciously awaiting each and every track he puts out.

I believe Gonzáles' greatest strength lies in his ability to just not give a fuck, while simultaneously caring deeply about music and his fans. He regularly responds to submissions on his Facebook and often strikes up controversial conversations that lead to a greater understanding of what he's all about.

I believe there is a war waging between the side of fans who just want the next Big Room House hit like the ones that Feed Me reviewed for Beatport not too long ago. And then there's the side that desperately wants innovation in their music. The side that is tired of the same bland VSTs and synths; tired of the same directionless productions put out by label-bound DJs. I believe that Invader! is the hero that we need.

His unique spin on electro, trap, dubstep and more makes me excited whenever he posts a new track. My favorite of all time has to be his remix of Goldman - Closer.



With such a fantastic house base, Gonzáles re-imagined the track as a gritty electro banger complete with growls and snarls that would make Kill The Noise shit his pants. With the sultry sweet voice of Hayley Daviss, the track lends itself to remixing - between the bubbly breakdown and the second filthy drop, this track is a classic dancefloor banger sure to get anyone to bang their heads along. Punchy kicks and restrained use of the laser-like synths in the second half show the skill that Invader! can bring to the table when he has the right motivation.

But Gonzáles isn't all about serious business. He's also done some off-the-wall remixes of pop artists like Taylor Swift and Miley Cyrus (both available for free download).




Putting his talent to making both trap and drum & bass, the Invader! name is not about avoiding disappointing fans - I really think it's about finding a way through all the bullshit that finds itself associated with EDM these days. Producers find themselves pigeon holed into a genre - I know that I've done it to acts like Camo & Krooked who came out with an absurdly out-of-character minimal album Zeitgest at the end of September.

Invader! has taken that possibility away by being unpredictable and always on top of his game. Just like the track below, when he hears something he likes, he tries it out himself (often to great effect, I might add).



What I think I like most about Invader! is how easy it is to relate to him. He's never too far removed from his fan base and always posts what he has on his mind. A lot of it is controversial and not everyone likes what he says, but it's cool that he has these feelings. He's only a year older than I am, and it's always incredible to see what everyone else is doing. There is very little about Invader! that isn't out in the open. Now, Gonzáles himself, that may be a whole other story. We'll just have to find out.

Keep in touch with Invader!, I'm sure he'll appreciate it.
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[Album Review] David Toma - Analog

Finally - I get to do some more work to promote the little guys. Just a little over two weeks ago, I did a review for Mosh. I found out about him through reddit, and that seems to be a fine place to look for new producers who want to get their music out there. Today, I'm writing about David Toma, a musician/producer from Grand Blanc, Michigan.

Toma has been writing/producing electronic music for only the past year and it looks like it's really starting to pay off. Analog is Toma's first LP, featuring chiptune and 8-bit tracks, released just earlier this week. As a beginning producer, it's difficult to really understand the way that these programs can make sounds (I assume). I've heard theories about "side-chaining" and "DAWs" and I'm nowhere close to even knowing what these things are. So when I hear something like Analog, it really reminds me that artists aren't made famous in a day. Despite producers like Xxyyxx or Madeon making it big at seventeen and eighteen, others take a little more time to blossom.

I believe the best indicator of whether a producer has the talent to make it or not is melody. If you have a fantastic sound, you can add little things like synths, drum patterns and such later. Toma has been playing piano for the past 10 years, and that sound really comes through on tracks like "Some Assembly Required" and "Not Responding." Using your strengths to your advantage is a required skill when venturing into uncharted territory.

Overall, Analog needs work. It was addressed in the original reddit post and Toma has acknowledged it (very humble, I like that already). The drums are a little repetitive and bland, and at times misplaced or distorted by synths. However, it is a highly enjoyable album to listen to. It's got some R&B, some funk, some glitch, but with an overall chippy tune. The distortion and noise added to the synths and piano really help to define that sound, and the drums are super plucky and upbeat. At just under an hour long, and with 16 awesome tracks, I can't see why you wouldn't pick Analog up and help a brother out. I see this man going places if he keeps it up. You can stream the whole album on his bandcamp below.




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Beats Antique @ The Yost Theater

Slowly, but surely, I'm crossing off my list of venues I haven't been to. Last night was my first time at the Yost Theater in Santa Ana - and while I usually frequent the Observatory, I have to say, Yost does a great job of keeping it classy.

And last night, I got to experience another first - an Irish whiskey and ginger ale. And it was delicious.

But seriously, Beats Antique. While not the most exciting band (a la jump up or drum n bass) they put on one hell of a show. With a full live visual set up done by Obscura Digital, with effects by Ivan Landau (a filmmaker whose visual-effects credits include Æon Flux and Sin City), digital artist, Andrew Jones, and illustrator Leighton Kelly, the stage was set ablaze with energy and wonderment. If was honestly like watching a story unfold right in front of me, and that's not something I've yet seen during a live show. It's always gotta be about energy and getting the crowd moving - it was nice this time to see something completely different.


Joining Beats Antique on their tour were SORNE and ill-esha. SORNE started the night off with pure energy thanks to leading man Morgan Sorne's haunting vocals and on-stage persona. Accompanied by a DJ and percussionist, Sorne managed to interact with the crowd in a way that touched our souls directly and made us feel for him - whether it was the hypnotizing way he moved about the stage, or the shrill vocal range that he produced. With the drums came such an energy that seemed to flow through Sorne, it was clear that his music is his love child. With no pretense, he showed his full self on stage unabashedly and the crowd drank it in. They exited the stage to uproarious applause. SORNE's first album "House of Stone" is available on bandcamp for free streaming or purchase.




ill-esha came on next. I suppose I should have done my research - it surprised me when I found out that she was a she. With more than a decade of experience in the industry, ill-esha has done it all: MC, vocalist, producer, and instrumentalist. With a more downtempo feel than SORNE, she brought the feelings to a more subtle place and intrigued the crowd with her fervent singing and glitchy beats. The way she was able to divide her attention between mixing and singing was amazing - however, it left her stage presence a little lacking. There was always something she had to be doing on-stage to keep it going and it took away from her crowd interaction, and conversely, how the crowd viewed her. ill-esha was recently placed #6 on TheUntz' Top 10 Female EDM Artists.

When Beats Antique finally started playing at 10:30, the crowd could not have been any more restless. With the new live stage set up, I was extremely curious to see what kind of incredible visuals they would be throwing our way. With Tommy Cappel on drums and David Satori on guitar, violin, trumpet and synths, and Zoe Jakes dancing, it was an experience I won't soon forget.



Certain reviews (such as the one by Consequence of Sound) paint the album as having some loose ends to be tied up with Act 2. But I think that any loose ends have been tied up by witnessing the live show. I believe that this album was meant to be viewed as much as listened to. Listening to "Doors of Destiny," without seeing Zoe snatch someone out of the audience to pick a door and seeing a giant, inflatable demon come out of nowhere, no wonder it seems out of place. The animations were spot on, with the installation including pentagonal shapes resembling houses that could hold either animated eyes or actual homes. With spectacle a main concern, Satori took to being the more animated of the duo and had a myriad of head ornaments that he would don throughout the show. And lest we forget the amazing dancing from Zoe Jakes, whose belly dancing almost stole the show (as well as all of her costumes).

The experience continues tonight in San Diego and tomorrow here in Los Angeles at one of my favorite spots, The Fonda Theater. If I didn't already have plans, I would seriously consider seeing them again - that good.

HARD Day of the Dead 2013

This past weekend, HARD Presents put on their second annual Day of the Dead festival near downtown Los Angeles. While the talent wasn't exactly anything new for HARD (repeat acts included Skrillex, Calvin Harris, and Boys Noize) the music definitely was. With a few tweaks in stage production and lighting, this year's Day of the Dead set a huge precedent for future festivals in Los Angeles.

Since the departure of the Electric Daisy Carnival from Los Angeles three years ago, festivals have been keeping to a one-day format, but HARD switched it back up with two-day festivals for HARD Summer & Day of the Dead. Of course, this increases profits and sales for the successful event promotion staff, but it also brings in a lot more talent. With an extra ~12 hours of music, there can be up to 48 additional producers (one per hour per four stages - a generous estimate).

It was quite obvious to those who attended last year's Day of the Dead that HARD is evolving. Aside from switching the name from the previous "Haunted Mansion," they are attempting to appeal to a wider range of listeners with a Discotheque Stage as well as an Underground Stage. Event goers last year might also remember the metal "awning" that covered the HARD-er stage - that was nixed for this year. In my opinion, that was definitely due to too many people climbing on it last year, which had producers Kill The Noise and Knife Party having to stop their sets mid-track to yell at stupid kids to get down.

The Underground stage was just as small as last year, and the Discotheque got a small upgrade in lighting, especially since there was such a large amount of huge names playing - Skream, Giorgio Moroder, Kavinsky (Live) and Masters At Work. The biggest upgrades came in the HARD-er stage and HARD stage. Aside from having the metal scaffolding removed, the HARD-er stage got wider with 4 new LED screens (two per side), at a 90 degree angle; also a couple of large (unfortunately non-animatronic) skeletons hung from the top of the stage, one on each side. While the production for the HARD-er stage expanded outward at ground level, the HARD stage went airborne. A thin (relatively) LED strip made its way from the top of the stage around to about parallel with the sound booth - about 150 feet back. On top of each side of the strip were three flame cannons that burst to life with any huge drop, along with one cannon on top of the sound booth.

As for the talent, I did my best as only one man to see as many acts as possible - but with producers like Nero and Skrillex, it made it hard to visit any other acts. Saturday, I made it to - Doorly, Kastle, Dusky, Salva, TOKiMONSTA, Maxim, Zeds Dead, Kavinsky, Nero, and Skrillex. Of Saturday, these are the results:

• Biggest Let-Down: Maxim. It was my fault for expecting a member of The Prodigy to play similar to The Prodigy by himself. Playing mostly UK hip-hop and trap, he fell short of the rager that I was expecting.
• Biggest Surprise: Salva. I had never heard of him until I saw him, and was immediately impressed. Though he played hip-hop and trap, genres I'm not a huge fan of at festivals due to the crowds they draw, his live mixing and charisma on-stage somehow made everything sound much better. All of that, and an excellent tracklist made him a pleasant surprise for me.
• Best of the night: Nero. Having seen Nero five times before, never seeing the duo together, this night was especially special. Playing only original tracks and their own remixes, including an appearance by vocalist Alana Watson, Nero put on an incredible performance. The lighting guys had all the right colors and timing to make every drop, build up, and break down as epic as possible.
• Best moment of the night: Nero dropping The White Stripes - Seven Nation Army. Completely unexpected considering the tracklist so far, they played it to near original state, just adding a massive amount of bass. And it was glorious.

With my body in shambles, I retreated home at midnight on Saturday to recoup and come back the next day. The second day was much less eventful, only arriving at 7 p.m., I headed straight for Skream. Known as one of the first producers to spearhead dubstep culture, his set at the Discotheque was uniquely subdued and way more funky. Assisted by guest MC Mala, Skream went disco, proving that he's certainly not a one-trick-pony. Next up was another first time for me, Pretty Lights. Unfortunately separated from his live band, he still put on one hell of a show, probably my second favorite of the weekend. The crowd felt the chill vibes and grooved along to the jazzy, glitchy beats. The lighting technicians, again, did not let me down as they put on a hell of a light show for every drop and groove. And then just as Pretty Lights signed off, Deadmau5 was just getting ready to go on at the HARD stage. Unfortunately, the crowd was just too massive to get a good spot and I was stranded behind the sound booth with nary a line of sight to the ear-clad Canadian. I stayed for as long as I could muster, while he threw out classics like 'FML' and 'Moar Ghosts n Stuff,' but ultimately left about a half hour before the festival finished.

Funny enough, I passed Paper Diamond on the way out closing out the HARD-er stage. Just this summer at HARD Summer he only had a 3 p.m. timeslot. Awesome to see what a producer can accomplish in just a few short months.

All in all, I would call Day of the Dead a massive success and a huge step in the right direction for festivals in Los Angeles. Both nights, security took no longer than 20 minutes and it was hassle-free all the way. Food prices notwithstanding, the team at HARD did a fantastic job throwing the biggest party of the Halloween season. I'm definitely looking forward to what they have to show us next year.

[Album Review] Mosh - Empire

I hope everyone had an awesome Halloween! October is officially over, but there's still lots to talk about.

Alberta-native Adam Bignell AKA Mosh released his second LP titled Empire two days ago. Supported heavily by the /r/electronicmusic community on reddit, Bignell was finally able to release the album and it has already received amazing reviews from dozens on users, even sparking a subsequent AMA from the producer.

One of the traits that sets Bignell apart (aside from not having the backing of a major label behind him) is his sincerity - every track sounds utterly polished, and it is completely obvious how much time went into the production. Empire has a fantastic Eastern theme throughout and Bignell does a fantastic job of merging the ancient-esque sounds of Japan and China with modern electronic synths and rhythms. From his AMA on reddit -

I tried to represent power with women because I wanted to simultaneously make reference to power without "masculine brawn". A sort of psychological, contextual power that I feel a woman conveys better.

And I've just always adored eastern music. The scales and techniques they use are gorgeous and feel very serious while being down to earth. I find traditional western music feels more... snobby (not to say it's bad. But much of the classical world has a very high class feeling)? Where traditional chinese/japanese music feels very human.

Aside from the obvious club banger "Komodo," Bignell tries his hand with hip-hop in "Loud" and absolutely kills it. Great use of featured artists and a fantastic beat make the track one of the best on the album. "Metrapol" has already been slated for a music video to follow up to "McQueen" from Bignell's first album, Monarchy. However, my personal favorite track from the album is, undoubtedly, "Zodiac Overdrive." I love the guitar riffs and the gritty sounds right before it drops the bass and I find myself just banging my head in my room, all alone. "Shaolin" and "Year of the Dragon" are fantastic examples of how eastern music can be reworked to produce faux-cinematic masterpieces. In fact, a lot of tracks on the album are highly reminiscent of oft-masked electro producer Danger.




The album changes tempos and rhythms seamlessly and it just plain works. It's a fantastic accomplishment. I found myself thinking I was in Tron, if it were set in medieval Japan. In fact, Bignell mentioned in his AMA that he would really love to do a big film score - so now all we have to do it wait. Also, don't forget - this album is "Pay What You Want"! So it's free, if you'd like, but I would really recommend supporting the man that's helping to get your groove on, ya hear?

Facebook  /  Soundcloud  /  Bandcamp  /  YouTube

Doctor P / Zomboy / Terravita / Evol Intent @ Pomona Fairplex

So let's start off with how awesome Rob Zombie is for organizing this whole thing. Not only does he create some of the most original haunted house mazes I've had the pleasure of going through, he makes sure that people get a show with their ticket every night. November 1st, Destroid and Dirtyphonics are playing, and as much as I would absolutely kill myself to go to that show, I would probably be doing just that as I have HARD Day of the Dead the next two nights. But for now, let's get on with the main attraction of the night.

First up for the night was Gigantor from Evol Intent. I unfortunately missed the first 20 or so minutes of his set because of the haunted houses. When I got in to the hangar, there was a disappointing amount of people shown up to see the man. I mean, it can be expected when a show starts at 7 p.m., but still. Other than the small turnout, it seemed, to me at least, that the sound was off. I couldn't hear a majority of highs/mids and that didn't change much as I got further back toward the sound engineers (where the sound quality is best). Gigantor finished his set with little fanfare, which is truly unfortunate. I was really looking forward to finally seeing the group that put out Era of Diversion and so many other fantastic, classic DnB hits.

Next up, Terravita. Known for going hard, they didn't disappoint. Terravita threw down classics like 'Up In The Club'  and 'Roulette' while throwing in some new shit as well, like their remix of John B's 'Light Speed,' which got a huge reaction from the crowd. More people had started to file in by this point and MC Jon Spero really knows how to work a crowd - people even started throwing him things on stage, like their digital camera. Spero promptly made a PSA on the subject, "Don't throw electronics at me on stage! Especially your expensive digital camera!" By the end of the set, the guys were enjoying themselves as much as the crowd. Los Angeles is now the permanent home for the trio, so they always enjoy throwing down on home turf. As for the sound, it still wasn't completely perfect. Many of the highs were still absent.

As much as Terravita was able to get the crowd pumped, it was none other than Zomboy whom many of the crowd came to see. Watching as Zomboy mouthed and made faces to match all the synths he was playing was one of my greatest pleasures - all wubs, wah wahs, wryyyyys and everything in between. As far as energy on stage goes, Zomboy isn't too far behind Rusko. Another great moment was when he tried to ask for water from the stage manager, but all they had was Monster. (Like, really?) Apparently, Monster isn't one of his favorite beverages because he made a face like someone was handing him week-old sour milk. Honestly, it's really refreshing to see a producer's personality come out on stage - too many are utterly absorbed in their work that they forget that they are performing as much as they're playing music. This is the third time I've seen Zomboy and he has never disappointed. Also, we saw a special appearance by none other than Schoolboy. Oh, and the sound was finally fixed and working b-e-a-utifully.

As soon as Doctor P stepped up on stage toward the end of Zomboy's set, the sound level in the room at least doubled. Rarely have I been as excited for an opening track than when he dropped his 'Love Goes Down' remix. From what I can remember, I don't think I've ever heard it played live, and it's so so so good!! In comparison to Zomboy, the doctor didn't have much showmanship on stage; but he more than made up for it by throwing down some filthy dubstep that left the hairs on the back of my neck standing up. From 'Bass Cannon,' to his remix of Roksonix' 'Music In Me' he traversed his whole library of bangers and left the crowd begging for more. He finished his set up with Skrillex & Nero's remix of 'Promises' followed by Flux's remix of 'Gold Dust.' Not satisfied with two of the bassiest tracks created in recent years, the crowd screamed for an encore and the Doctor obliged. Coming back on with 'Sweet Shop' and 'Flying Spaghetti Monster,' the crowd was left exhausted and content.


All in all, while there seemed to have been some technical issues with the sound engineers early on - possibly because there weren't enough people yet? - the show was a huge success. Still, at the end, the hangar was at maybe 50% capacity. And for this line up and price (only $40), that is simply not acceptable. One fan I spoke to came all the way from San Clemente, nearly half the way to San Diego. Not having seen Doctor P since the Circus Records takeover of the Hollywood Palladium last May, I can say that I left completely satisfied with the show. Doctor P has certainly cemented his status as one of the leading dubstep producers (not necessarily the best) of the current generation [of producers] and as one of the founders of Circus Records, his success is no joke. All thanks must go to Rob Zombie in the end though for setting up such a massive line up and promoting it so heavily. And like I said at the beginning, as much as I'd like to see Destroid and Dirtyphonics next Friday, HARD Day of the Dead already has my RSVP, and I can't be an ungracious host, now can I?

[Album Review] Protohype - Speak No Evil EP

In the final installment of his EP trilogy, Protohype gives us some terrific old school wobbles and beats on Speak No Evil. I love what Protohype has done with this EP, everything from getting Datsik back into his roots to having a collab on every track - 12th Planet, Two Fresh, Virus Syndicate, Jupiter Slap, and The Frim.

A little background - the proverb "see no evil, hear no evil, speak no evil" is of Japanese, or Chinese, origin (depending on whose  history you read) and whose meaning is often debated. In the Western world, the proverb is often used to refer to a lack of moral responsibility on the part of people who refuse to acknowledge impropriety, looking the other way or feigning ignorance.

It's hard to find an actual thematic element linking the three EPs aside from the title, but Speak No Evil is definitely the peak of Protohype's production skills. Since See No Evil was released, Protohype has gotten wide acclaim for his talent and on-stage presence. Most recently, he's touring across the country with Datsik on his "Firepower's Most Wanted" tour, promoting artists on his own label, such as Antiserum, Rise at Night, and Sub Antix.



One of my favorite tracks is the collab with 12th Planet. One of the great characteristics of it is the perfect melding of electro-house bass line and classic dubstep kick snare; but it's the 108 BPM breakdowns that really do it for me. That and the dirtiest synth leads next to some Skrillex tracks.

"Feeling Irie" with The Frim also does a huge job of using its quasi-reggae build up and unleashing a huge bass drop and even bringing back some of the classic wobble synths from way back when Rusko was just getting huge with his "Pro Nails" remix. And I probably haven't said it out loud here, but I'm a huge fan of tempo change ups, a la Zomboy. So when the track drops into its electro-house beat back into another huge dubstep drop, my jaw was on the floor.

I have to say, though, that I expected a bit more from Two Fresh on "Hear It Go." But as soon as I heard the rolling snares, I knew it was headed into a trap drop and that just immediately made me disinterested. The hip-hop breakdown in the middle saved it for me though, and reminded me that Protohype really is a fantastic artist, and even when he does trap he at least tries to make it unique (as hard as that is, with the genre being so pigeon-holed). The same can be said about the track with Jupiter Slap. The fact that trap used the same drum racks and bass lines, with just barely different synths makes it so unbearably uninteresting to me.

Overall, it's a great way to end the trilogy and it definitely shows where Protohype is headed. I can at least say that when I saw him open for Caspa last year, he threw down hard.

[Album Review] Captain Panic! - Accelerated Evolution

I first discovered Captain Panic! when they released their Aiur VIP (yes, before the original) over two years ago. And about 10 months ago, they finally released their first full-length The Invasion. Ten tracks of some of the most ambient, hard-hitting dubstep I've ever had the pleasure to come across. And now, the duo are releasing the follow-up, Accelerated Evolution.

Hitting even harder, this album is a true journey through space on a search for alien life. Distorted synths, alien growls and deep low-ends make this album a must-have. Captain Panic! is no stranger to ambient, and they meld it with dubstep so seamlessly, it's no surprise there's no one who does it better. Almost every track is a journey on its own, with switched-up tempos and key changes galore, there's no way to tell where the ride is going but up.

Every track has a something unique to it within the scope of the theme - space exploration. Insane second drops and wild drums, distorted machine gun synths and background instrumentation are all beautifully mastered and used to utmost effect.

Accelerated Evolution has a way of going harder than you think it will. Case in point - the final two tracks 'Gamma Ray' and 'Chill.' Listening to the album, I had it in my mind for every track, "This one is my new favorite. It blows the last one out of the water." So it should follow that the last two tracks should be absolutely mental.

Fading out of 'Tumar' and into 'Gamma Ray,' you get the feeling like you're trespassing on some really dangerous territory. Suddenly, you're discovered. You panic. You call for assistance. But whatever has found you is now chasing you and you're running for your life. After running for some time, you think you might have it outrun.... but not even close. The second time you're found, it's even harder than before and you're running, your lungs out of breath, but you have to keep going. But it's too late. You're gone.

Following the analogy, 'Chill' would be the fucked up memorial service. Dropping with a Figure-esque drumstep beat, and retardedly hard bass, it's the afterparty you'd want your dearest friends to have once your gone and they're spending all your inheritance money on shrooms and hookers.

.........

Okay, the analogy may have gone a little bit off track there, but you get the idea. It's a fantastic album, and it comes out November 1st!

[Album Review] Scarewolf - Physics Is Fun EP

Toward the beginning of starting this blog, I wanted to promote a lot of lesser known producers. That would have been a way to show solidarity - as someone who's just starting out, I wanted to help those like me on the other side of the fence. But there has been so much lately going on that it's been hard to find time to do any small producer reviews.

Thankfully, /r/dubstep on reddit helps out tremendously, as producers and fans alike post there quite consistently. Today, I have the pleasure of reviewing Brandon Mains, aka Scarewolf, a 24 year-old from St. Louis, and his Physics Is Fun EP. The EP is also available for FREE DOWNLOAD via his Bandcamp page.




The first impression I got from his tracks was a positive one. Too often drum & bass tracks will lull on until a drop and then repeat the build up, much like a house track would. Scarewolf has fortunately moved past that stage and his tracks have a really good progression to them, almost like mini-mixes in and of themselves.

My favorite track off the EP has to be 'Bad Chemicals.' It's got a solid bass line and progresses with intent - a little high hat before a drop gives the impression of a much more polished track. I'm also a big fan of the grinding synths used during the interlude and the cymbals and high hats during the subsequent breakdown. With a little heavier bass, and maybe a tad faster tempo, it could really get some heads banging at a club, easy.

While 'Loose Cannon' and 'Bad Chemicals' are pretty decent tracks, 'Terminal Velocity' falls a little short. The drums seem erratic and unfocused, especially in the latter half. I love the bouncy synths and the highs, but the drums somewhat distort the progression.

Overall, it's a great EP for an up-and-coming producer. I'm excited to see what Scarewolf has to offer in the future. You can also check out more of his tracks on soundcloud and 'Like' him on Facebook by following the links below.

Facebook  /  Soundcloud  / Bandcamp

[Album Review] Figure - Monsters Vol. 4

Just in time for the Halloween season, Figure finally drops his Monsters Vol. 4. Filled with samples from classic horror flicks like Chucky, Beware! The Blob, and more, the album creates a sense of urgency and horror that is extremely difficult to put into words. But one of the major differences about this installment - the inclusion of two interludes - does a pretty good job.



And then you have one of the singles released for FREE RELEASE on Josh's soundcloud, 'Living Dead.' Right from the beginning, you get the wailing bassline that fans of Figure are all too familiar with along with drumstep breakdowns and wobbling synths.



My personal favorite of the album has got to be 'Are You Afraid of the Dark.' Traversing multiple genres and tempos, the track keeps you terrified and engaged the whole way through. Along with the vocals of Lexi Norton, you get chills as she sings "There's no way to make it out alive" just before a huge bass drop leaving you on your knees, begging for more.



Disclaimer: Fans who have complained in the past that Figure should try out some new synths may be slightly disappointed by this album. Many of his signature synths are still in effect, and one track actually sounds like a VIP of 'Eagle' from his Horns of the Apocalypse release (I'll let you guys figure out which one).

Either way, this album had my jaw dropping more than once at the huge drops and rolling drums. And fortunately, you can stream the whole release on soundcloud right now!

[Album Review] Feed Me - Calamari Tuesday LP

Jon Gooch, a.k.a. Feed Me, has been producing since 2004 and Calamari Tuesday comes as his first full-length album under that moniker. Other releases include EPs, Feed Me's Big Adventure, Escape From Electric Mountain, To The Stars, and Death By Robot (whose title track is featured on Calamari Tuesday).

The album represents a culmination of styles that Gooch has explored over the past three years, as well as taking influence from his faster-paced alias Spor. The album has a terrific flow and rhythm, never finding any boring spots, while still allowing the listener some time to relax and really take in the masterful nature of Gooch's production.

The album doesn't follow any specific genre, but is more recognizable in style to Feed Me than many of the other releases lately. Each track is different and has its own merits while still being, at their core, a Feed Me track.


Regarding the album title, Gooch seemed to somewhat explain it in an interview with DMC -

One of the strangest travel experiences of this year was on a flight to Bermuda. I was seated opposite a woman in business class who was dependent on a constant supply of oxygen and appeared to be older than time itself. I watched her be helped to her seat and fall back into it, exhausted. She stared intensely at me for hour after hour with a cold unwavering gaze, and as I looked back I felt drawn into it, until a desperate feeling took me over and I slipped from consciousness. 

When I woke up she had gone, her seat empty as if she had never been. I rubbed my eyes and asked myself if it was a dream, until a flier fell out my top pocket. On it was a pinup girl, the same woman but younger, and she was holding a sign. I unfolded the paper to reveal what it said - it said 'Moe's Diner'. 

Then we landed and later that night I made up the album title for no reason.

So, Gooch is a bit of a jokester. But his production is no joke. 'Lonely Mountain' off his new album is one of my favorites. Especially that breakdown and down-tempo switch-up about 3:30 into it.



Not a single track on this album left me disappointed and it was certainly more than I ever expected. As for why Calamari Tuesday was released on a Monday?

My album #calamarituesday is being released on a Monday because fuck you.
— Feed Me (@feedme) October 11, 2013

Flux Pavilion - Not at The Observatory, though

This weekend has been a crazy one - finally visited my alma mater UC Santa Barbara to hang out with some friends and got a speeding ticket on my way home Friday night. And as excited as I was, and as bummed as I am now, that I missed Flux Pavilion and Cookie Monsta last night at The Observatory, the world had been giving me signals that it would be a bad idea (not least of all the fact I never actually received my ticket in the mail). So I figured I would do a retrospective on Flux in lieu of attending his show last night.




To be quite honest, I didn't really dig Flux Pavilion's Blow The Roof EP the first time I listened to it. However, missing last night's show got me to listen to it again and it's actually just what I would expect from the arguable master-of-basslines. My favorite track is definitely "I Still Can't Stop." I first heard it played by the man himself at his Bassrush vs. Circus show at the Hollywood Palladium last May and then again by FuntCase at the HOB Sunset. It takes the amazing bassline from the original "I Can't Stop" and re-works it into a more dynamic and versatile club banger. Just like the Internet Friends VIP, this track improves upon the original by a huge margin.

But "I Still Can't Stop" isn't even close to my favorite track of his that has been recently released. Even though it was [just a bit] over a year ago since it was released, "Daydreamer" is one of my all-time favorite tracks by Flux.



Example's vocals are sultry and sweet, and Flux has the musical talent to accentuate it even further. Between the sharp kick-snare pattern and the magical piano arrangement playing behind the scenes, the hard-hitting bassline that just hits your core like a ton of bricks, or the high-pitched synths during the interlude, the song is beautifully mastered, written and executed. And then, my god... the final breakdown. The tempo change is neither needed, nor asked for, and yet he gives it to us. Because Flux is just that awesome.

But my absolute favorite track of his has got to be "Lines In Wax."



Released just as Circus Records was getting off the ground, this collaboration with Foreign Beggars came before all of the controversy over brostep versus dubstep versus whatever else. Making excellent use of empty space, just as like some world-renowned painters, he lets the listener fill in the gaps and lets his skill speak for itself. Foreign Beggars puts forward one of their most memorable rips, "You know we were born to do this thing" and the amount of love this track has gotten supports that.

Now for some actual news about Flux Pavilion, he has recently confirmed on his Twitter that there will be a new EP sometime this month!

New EP out October 2013 -FP
— Flux Pavilion (@Fluxpavilion) September 8, 2013

This honestly makes me even more disappointed that I missed last night's show, because he probably threw down some new tracks from it. And they were probably pretty dope.

Infected Mushroom @ Majestic Ventura Theater

Ventura is different than L.A. in that its coding doesn't permit live music events to go on for as late, so the night started off at just 8 p.m. In addition, the show was all ages, which supplemented the diverse crowd. Although, the turn out was a little disappointing - the venue was at maybe 60% capacity, 75% max. This might have been due to the Thursday date or the Ventura venue, maybe even because the show was with the live band? Hard to accurately tell.

Santa Barbara locals Nekbreakers opened, followed by Dj downNgoinG whose style consisted of some deep, low-end wobbles. However, like many openers I've seen, his set suffered from too little variation; there was no rise and fall to his rhythm which adversely affected the crowd's energy - the bass and drums would kick in and then draw on. In my opinion, there wasn't enough creativity with his mixing. The transitions were seamless, not due to skill, but due to the tracks being so similar that they sounded identical. I would equate it to the "house" of bass music - innocuous in its execution and utterly repetitive.

After downNgoinG left the stage at about 10:30, IM's drummer came on stage with a scantily clad alien-masked woman. With the showmanship unique to drummers, he proceeded to lead-in for big room house tracks with a pair of glow drumsticks - turning blue at each percussive hit of his drum set. I don't think I need to repeat it, but I've said before on here that house, except rarely electro house, just doesn't do it for me - so the big room house really left me underwhelmed and not-at-all warmed up for the intensity that the IM live band brings.

Duvdev and Erez, along with guitarist Thomas Cunningham and drummer Rogério Jardim, finally started their live band set at about 11 p.m. Opening with "Sa'eed" off of Legend of the Black Shawarma, Duvdev's infectious energy immediately got the crowd moving - as a front man, few are better than Duvdev who is almost constantly smiling during all the sets I've seen them play. Playing through their catalog, including "Becoming Insane," "Pink Nightmares," and "U R So Fucked," Infected Mushroom did not let up on the energy even a bit. And of course, their cover of Foo Fighters' "The Pretender" always makes the crowd go nuts. About halfway through the set, guitarist Cunningham took a break as Erez, Duvdev and Jardim stayed up to play some tracks from their most recent releases, the Friends on Mushrooms series - "Bass Nipple," "Savant on Mushrooms," and "Trance Party."

Cunningham soon returned to the stage to finish off the set with some classic tracks from the days of The Gathering and Classical Mushroom as well as "Cities of the Future." Finally, it was time for us to say good night to Infected, but not before they came back on stage for an encore with their classic "Heavyweight" mixed in with a little "Converting Vegetarians."

Infected Mushroom was just recently named the #3 EDM duo by The Untz, only topped by Justice and Daft Punk, who seem to have a monopoly on those two spots for all eternity. Notables that they beat include newcomers Disclosure, veterans Knife Party, and dubstep up-and-comers Adventure Club. This doesn't come as a surprise, seeing as Infected Mushroom have been unleashing their unique brand of genre-defying music for over 15 years.

Chase & Status 'Brand New Machine'

I don't know what I was expecting. From an album titled 'Brand New Machine', I expected the same Chase & Status and that's nowhere close to what they gave.

And honestly, the first listen through, I really didn't care for the album. At all. It sounded way too much like all these featured artists took over creative control and used C&S for their rhythm, drums and synths. Out of 14 tracks, three did not have featured artists - which is actually a better ratio than 'No More Idols', with 15 tracks and two without featured artists.

Then I decided to check out reviews from others - and there are some really mixed reviews.

opening track on Brand New Machine's a killer, goes downhill from there.
— Rick V (@RickVoropayev) October 7, 2013

Brand new machine is good but nothing will ever beat no more idols #chaseandstatus
— megan (@MeganGe) October 7, 2013

@chaseandstatus new album 'brand new machine' is a possible album of the year recommend everyone check it out ! Amazing!
— Caolan Cartin (@itsbassmilk) October 7, 2013

So I decided to give it another shot.

And you know, it's not terrible. There's less drum and bass flavor, and way more down tempo with a very strong hip-hop feel - especially the tracks with Major Lazer and Pusha T. The final track - Alive - still leaves me with a good feeling though, that Chase & Status haven't lost their ability to make quality drum and bass, they've just decided to go in a different direction. And that's something I'm gonna have to deal with.

Overall, less energy and drum 'n' bass do not a bad album make. I'm interested to see how this album plays out during their live shows - whether they can still get a crowd raging or if there will be lighters in the air, people swaying and holding hands.

Kill Paris & Vaski @ Avalon Hollywood

LA-based Corey Baker, aka Kill Paris, makes some of the most beautiful music I've ever had the pleasure of listening to. It's sexy and funky and there's nothing quite like it. I've listened to his debut album 'The Beginning' more times than I care to admit, and his cover of M83's 'Midnight City' is probably one of my favorite tracks ever.

I was fortunate enough to catch him on his 2013 Fall tour coming through L.A. last night at the Avalon.
Others on the line up were Dj Rags, D.O.D., Vaski and Skyler Mendoza.

Kill Paris came on stage at midnight, opening with his unique blend of glitch, funk and hip-hop. His basslines are some of the most unique characteristics to his sound, and on the Avalon's sound system, it sounded so tasty. Playing some classics from 'The Beginning' like Girl, You One of a Kind and a new collab between himself and Sound Remedy, KP kept the crowd moving and grooving until 1:30 when he gracefully bowed out and let Vaski take over the decks.



Vaski is no less unique in the EDM world, using his own brand of high-pitched, highly synthesized wobbles and growls. Often breaking into the realm of electro house, Vaski knows how to keep a room packed even playing well into the morning, finishing his set at just past three a.m. He played some of his own classics as well including the bouncy 'Lost My Mind Electro VIP' as well as his newest remix of Alice DJ's Better Off Alone which got the crowd going crazy.



At the beginning of the night, Dj Rags started off with some moombah, dubstep and house - even threw some French house into the mix - and got the crowd ready for the next one up, D.O.D. Now.... I don't keep it a secret that I hate house, so I'll just say that it wasn't my cup of tea, but everyone else seemed to like it, so there's that.

Next on Kill Paris' fall tour is Celebrities in Vancouver, BC on October 9th. It'd be a real shame to miss it!!