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Tipper: Algae Bloom in Seven

By: Anand Harsh

Dave Tipper has done it again. Just when you thought you could hem up the British mastermind with your petty little time signatures, the man goes and composes a downtempo masterpiece in 7/8. You can catch him with interplanetary live digital painter Android Jones at The Untz presents Infrasound Music Festival, May 31-June 2 in Black River Falls, WI. This will be one of only TWO headlining performances in the US this summer. Don't miss out.

EDMbiz conference returns to Las Vegas June 18-20

EDMbiz 2013

James Barton, Perry Farrell, Marc Geiger, Rob Light and Pasquale Rotella lead a group of marquee speakers
Conference takes place during EDC week in Las Vegas, June 18-20, 2013

EDMbiz launched last year to promote and facilitate thoughtful discussion on the most pertinent topics relevant to dance music culture, including best business practices, new technology platforms, social media, festivals, direct-to-fan relationships, licensing, sponsorships, and sustaining community and during a period of significant growth.

At the second annual conference, attendees will enjoy a comprehensive schedule of inspiring panel discussions and riveting keynote addresses, plus networking events at The Cosmopolitan of Las Vegas during Electric Daisy Carnival Week on June 18-20, 2013. Attendees will also have access to EDC Week nightclub parities at Marquee, TAO, Lavo and others.

One of last year’s keynotes, Live Nation CEO Michael Rapino commented, “EDMbiz was a great experience. The entire dance music ecosystem was there, truly the epicenter of EDM.”

This year’s keynotes will include a conversation with CAA Managing Partner and Head of Worldwide Music Rob Light. Rob will discuss CAA’s global EDM strategy, its relevance to the agency’s film and TV business, and the Daft Punk effect.

Another keynote will be a conversation between Marc Geiger (head of William Morris Endeavor's music division) and Perry Farrell. During their session the two will reflect on their collaboration as co-creators of the game changing festival “Lollapalooza” in 1991. These two pioneers will offer insight into the progression of electronic dance music by recalling their own experiences and engaging the audience in an open discussion about the genre’s effect on the modern music scene.

“I was most impressed with the quality of discourse and participation last year. People came ready to learn and contribute to the growth of the scene,” said returning host and co-curator Jason Bentley. “There were big thinkers and big ideas in the room. People come to EDMbiz to make a difference.”

“On the one hand EDMbiz is about creating business opportunities, learning and networking, but on the other hand it’s also about discussing the steps the industry must take to preserve the unique elements of dance music events that make them so special,” said Pasquale Rotella, CEO and founder of Insomniac. “We place a lot of focus on the fans and their voice will be heard at this year’s conference alongside artists, visionaries, and executives.”

EDMbiz has added mentoring sessions with top industry professionals and small-forum breakout discussions that will give aspiring newcomers an opportunity to engage industry leaders directly. Also planned is the first EDM uber-fan panel, the launch of the SkyLight project to promote the advancement of women in the business of dance music founded by Stephanie LaFera (owner of Little Empire Music) and Kerri Mason (dance music journalist and Billboard contributor), and the third meeting of industry advocacy group, the Association For Electronic Music, founded by Ben Turner (director of Graphite) and attorney Kurosh Nasseri.

Below is the first batch of confirmed panelists and speakers for the conference. Additional speakers will be announced in the coming weeks:

Lee Anderson, Agent, AM Only
James Barton, President, Live Nation Electronic Music
John Boyle, Chief Growth Officer and Interim CFO, Insomniac
Todd Chaffee, General Partner, Institutional Venture Partners
Ted Cohen, Managing Director, TAG Strategic
Bruce Eskowitz, COO, Red Light Management
Perry Farrell, Artist and Founder of Lollapalooza
Shelly Finkel, Vice Chairman, SFX Entertainment
Marc Geiger, Head of Music, William Morris Endeavor
Geronimo, Director of Programming Electronic/Dance Format, Sirius XM
Steve Goodgold, Agent, The Windish Agency
Allan Hardenberg, CEO, Alda Events (A State of Trance, Armin Only, I Am Hardwell)
Chris Kantrowitz, Founder and CEO, Gobbler
Mikhail LaPushner, CEO and Founder, OneBeat
Vivien Lewit, Director Content Partnerships Music, You Tube
Rob Light, Managing Partner and Head of Worldwide Music, Creative Artists Agency
Neil Moffitt, CEO, Angel Management Group (Hakkasan)
David Moricca, Founder and CEO, Mixify
Kurosh Nasseri, Attorney at Law and Co-Founder, Association for Electronic Music
Gary Richards, CEO, HARD Events
Pasquale Rotella, CEO, Insomniac
Rick Stevens, CEO, Y Entertainment Group (Ron Burkle’s music investment arm)
Jason Strauss, Managing Partner, TAO Group
Tommie Sunshine. Label Owner, Brooklyn Fire and Writer, Huffington Post
Mike Tunnicliffe, Chief Growth Officer, GroupM/WPP
Ben Turner, Director, Graphite and Co-founder, Association for Electronic Music
Joel Zimmerman, Global Head of Electronic Music, William Morris Endeavor
Brian Zisk, Managing Director, SF MusicTech Fund and Executive Producer, SF MusicTech Summit

For more information on speakers and registration, please visit www.edmbiz.com.

For more information on programming, sponsorship and business development, please contact info@edmbiz.com.

Lucent Dossier Experience Slideshow + Review / The Lighthouse (Los Angeles, CA) / 5-17-2013

Story by: Charles Walker
Photos by: Brittany Rogy

There was obscurity coupled with anticipation. Enchantment paired with beauty. There were artists and live musicians. Unfathoable amounts of creativity, prepared by illustrious minds and beautiful human beings.

There was, The Lucent Dossier Experience – A Private Event, thriving in an “underground factory transformed into another world”.

Whisked away from a casual parking lot in downtown Los Angeles in a sizeable white passenger van, we arrived shortly at the Ravenous Rouge - a multi-level warehouse recognized as “a long forgotten bordello, from another time and place.” This unknown world was pumping with positive energy and sexy, inviting beats were emanating out into the Art District of L.A.

The night opened like a flower blooming on a sunny spring morning. It featured the world sounds and organic beats from Jeremy Sole (of KCRW) as he mixed through an array of genres. From funk and salsa, to drum, bass and Afrobeat, Sole had a complex, identifiable variation of genres making for a sweaty, pulsating dance floor.

As Friday easily slipped into Saturday, GoldRush took over the decks during the early morning hours and welcomed the entire fantasy world into the palms of his hands.

As he opened his heart and spun his deep, romantic, bass-heavy hitters for the dance floor to carry on in their picturesque frenzy, there was no shortage of connections made between all of the freaky people that made the beauty of this other world.

As focus and imagination flirted with each other, there were plenty of additions to bring all of the guests’ senses to life.

Whether it was in the Red Room, the Blue Room, on the dance floor, or inside a piece of art – it was magic in the making. And there was no one magician pulling the rabbit out of the hat, as it felt as though we had all taken a trip down the rabbit hole.

DUSTLA compilation We Are DUSTLA featuring Alex Mind and more

By: Jacob Pace

In today's ever evolving music industry, only the best of the best make it to the top. And lately, bass blasting label DUSTLA have been treating us and the rest of the crowd with full on favorites all the way from dubstep to glitch. Now back and better than ever, they return with their longly awaited debut compilation, We Are DUSTLA. With a total of 10 bangin' tracks, listeners can expect to hear veteran artists from DUSTLA such as ak9, Shirobon, and TheBiocide as well as new-comers including F12, No One Knows, Subformat and more. The highlight of the track could very well be Alex Mind's "Call It Complex." Also included in this collection is the appearance of Kill Tonight's very first track, "Zombie." The entire collection is diverse enough to earn a spot in your everyday playlist. Keep an eye out for DUSTLA as you can expect to see many more bass bursting releases headed your way.

http://dustla.com/

Seven Lions ft Minnesota & Mimi Page: Fevers

By: Michael Kelly

SoCal bass master Seven Lions is back with another mega hit. This time, he teams up with Bay Area producer Minnesota and vocalist Mimi Page. "Fevers" builds on a sweet melody staked out by Page's vocals in the background, then drops into a deep abyss of emotion surrounded by a gigantic wall of bass. Fans of Adventure Club, Rezonate, and suckers for chillstep/lovestep will be drawn in. I highly recommend.

Papadosio reveals Rootwire 2013 lineup, returns August 15-18 to Logan, OH

Rootwire returns to Kaeppner’s Woods in Logan, Ohio August 15-18 peeking its head into the nexus of nature and culture once again. The heart and soul of Papadosio’s artistic expression, Rootwire is a multi-day event that envelops those in attendance in a cascading flow of artistic expression from live music to painting, installation to performance art, presentations, workshops, ceremony and more. An expedition into light, nature, sound, community and healing awaits all those in attendance.

Since its inception in 2010, Rootwire has grown to be one of the premier live music and arts events in the Midwest – and is the on-going creative project of the nationally touring electronic/rock syndicate Papadosio. Well known for their relentless touring schedule, mindful melodies and transcendent tracks, Papadosio has become one of the major acts today seeking to reshape and transform the music festival landscape. Through their own eyes and ears, they have witnessed miracles and mishaps of festival culture alike and threw the first Rootwire as a way to create and practice their model for an ideal gathering. Every year since, the line-up and scope of the festival has grown, culminating in the critically acclaimed RW2K12, easily the most exciting and elegant Rootwire to date.

In their own words, Papadosio invokes the occasion:

After months of research, planning, phone calls, emails, and meetings we couldn't be more excited to bring you what we feel like will be the most eclectic and forward thinking artist lineup of Summer 2013, and this is only the first wave! As with every year, we have meticulously searched far and wide for the most amazing and inspiring musicians, artists, and presenters out there and are assembling them for your experiential and mind-glowing pleasure at the fourth annual Rootwire!

If you don't know by now, Papadosio's Rootwire is a gathering that puts every effort into the integrity of the discerning attendants experience, creating a fully immersive environment full of wonder and intrigue.

This 4 day and night extravaganza has been developed with the intention of pure inspiration, designed from the ground up to get all in attendance excited about the act of personal and collective creation. The musical lineup is hand selected personally by Papadosio, and features jaw dropping sounds from local, regional, national and international acts. Visually Rootwire offers the largest festival based visionary art gallery in the Eastern United States, hosting an international artist lineup whose works are of the most moving and stunning expressions committed to canvas. This landmark festival also gives the same attention to the spiritual, educational, and ceremonial aspects of celebration, offering a wonderful selection of skilled speakers, powerful practitioners, empowered activists, wise elders, and activated yogis.

Ask anyone who has been to Rootwire and they will tell you it is so much more than another fill in the blank music festival. It has been designed with you and your personal experience and growth in mind. We hope that you will come share in our celebration of life; that you will take something with you, so that well after the festival is over and months have passed, what was created together in the humble hills of Ohio will continue to bring you joy and inspiration along your path.

Stay tuned for the next wave lineup announcement coming soon!

The 2013 Rootwire Round I Lineup includes:
Papadosio x3
Karsh Kale Live Band
Eskmo/Welder
Hundred Waters
Mark Henson (Art)
Amanda Sage (Art)
Chris Dyer (Art)
Bluetech/Evan Marc
Marco Benevento Trio
Dopapod
Paradiso + Rasamayi (Presenter)
Grandfather Mazatzin (Presenter)
Jeet-Kei Leung (Presenter)
Shigeto
Blockhead
Luminaries
Krystleyez (Art)
Michael + Violet Divine (Art)
Randal Roberts (Art)
Jimkata
The Mike Dillion Band
Turkuaz
Kyrstyn Pixton
Tor
Aligning Minds
Futexture
Christian Jaxtheimer (Art)
Simon Haiduk (Art)
Andrew Wagner (Art)
Alaya Love (Presenter)
Julie North (Presenter)
Ehren + Renée Cruz (Presenter)
Dixon (Presenter)
Michael Garfield
Soulacybin
Biolumigen
Manitoa
Andy Reed (Art)
Sweet Melis (Art)
Fabián Jiminéz (Art)
Chris Morphis (Art)

Logos:
Solpurpose
Tribal Council
The Bloom
Vision Lab
Kickin It

Plus many more to be announced!
Tickets for the Fourth Annual Rootwire Music Festival include all 4 days and nights of camping, parking, and all entertainment are available now at http://www.inticketing.com/events/rootwire2013. For complete Rootwire ticketing options and information on presale general admission please visit www.RootwireFestival.com.

www.RootwireFestival.com
http://www.facebook.com/rootwirefestival
http://twitter.com/RootwireFest

Exclusive interview with TOKiMONSTA

By: Alex Silva

TOKiMONSTA released her second full-length album, Half Shadows, earlier this spring. Born Jennifer Lee, TOKiMONSTA was the first female artist to sign with Flying Lotus’ Brainfeeder just a few years ago. Although her latest work remains parallel to her established production style, Lee has taken a whole new marketing approach, and a bit of a gamble, with this album by releasing it via powerhouse record label, Ultra.

Her ‘psychedelic hip-hop’ influenced style of electronic music has gathered the attention of many producers, like Flying Lotus and Skrillex, as well as their fans. The release of her debut album, Midnight Menu, garnered even more media for the Korean-producer as her fame has continued to accelerate through the underground and onto the front-doorstep of mainstream EDM.

Her 2013 year has been filled with album promotions and a busy tour schedule which continues this week at Summer Camp Music Festival in Illinois and later on takes off too Europe and Australia for the summer in June. Originally scheduled to interview with The Untz during this year’s WMC, the opportunity to have a chat with the young talent finally came around during her current, and short-lived, time-off in Los Angeles. Making the best out of a gloomy day in L.A., she reminisced on her time in Miami, some of the influences behind her latest album, her thoughts on synesthesia and more in our exclusive interview below.

You were in Miami for WMC back in March, how was that?

It was cool. It was kind of a crazy journey, my plane arrived an hour later than I was supposed to and I was already cutting it close to my set time with my original arrival time. It was crazy, I had to cancel my original flight to Miami because it was impractical, [and] so I had to get a new flight that arrived an hour later. And that flight that was arriving an hour later was already late so then I arrived very late. I had to do all my stuff in the cab on the way to the hotel and when I got to the pool party it was just chaos on the stage. It was insane but it was really fun, I enjoyed it. I had never played one of these WMC pool parties before so it was pretty neat.

Was that the only show you played this year in Miami?

Yes, actually. I just played on that Saturday [at the Wolfgang Gartner Pool Party] and basically just hung out which was really nice. I stayed after a majority of all the ravers left so that was cool too. It was like a free vacation for a couple days.

You’re on a break from touring right now until later on in May. What have you been up to now that your album is complete and released?

Working on ever more music and remind people that my album is out, stuff like that. I just have to keep making more music so I’ll have more stuff to put out in the future and try to get into the studio with a few friends. Also just relax and kick back because once festival season starts I’ll be pretty busy. I’ve been home a lot so I’ve just basically been in my pajamas all day [laughs]. I love working on music and just hanging out.

Your set at Movement was cut short by rain during your first performance there a couple years ago. Are you excited to return this month?

Yeah I’m really excited. I played like three or four years ago. It was something I was really looking forward to but wasn’t able to fully accomplish before of the weather. It was really crazy and I got kicked off stage ten minutes into my set because I could get electrocuted. So now that I’ve been performing since then, the show will be even better than it was at that point. I’m really excited to be able to be back there again and actually play my full set and just enjoy music from other people as well. It’s a really big institution and electronic music festival. Overall, I’m just really excited to be going.

Are there any artists that you’re looking forward to catching on your spare time while in Detroit?

I have to go look at the lineup but I know a few friends of mine are playing, which is great. I get to see Shigeto and also Onra who’s a good friend of mine, looking forward to catching his set as well. There are some really good acts this year but I have no idea what the full lineup is.

Have you had the chance to perform live with any of the artists you collaborated with on this album?

Yeah. I performed with Gavin [Turek] and MNDR. I tried to make it happen with Kool Keith at my New York release party but it didn’t come into fruition. Hopefully in the future but two out of four is not bad. I have to catch Jesse [Boykins III] when he’s around but he’s on tour right now. I’m really hoping to do more touring with vocalists and actually try to schedule a tour later on in the year and hopefully have Gavin with me. I definitely like the whole idea of making the electronic set more live by augmenting it more with these concert elements like vocalists and live instruments, things like that.

It will definitely come into play at some point. You’ve noted how you were at first hesitant to work with Ultra on this release but that you felt that they would ultimately give you the freedom to take the album in the direction you wanted. How has the release been?

It’s been great. Everything has been according to my terms and the way that I wanted to release it. The biggest thing with Ultra is that they are a huge electronic label, specifically for dance music, and my music isn’t quite like the other artists on their label. They’ve been really open to how they present this album to my listeners as well as winning over more of their artists’ EDM fans. It’s been a pretty easy process and surprisingly really great because they are really supportive. At first I wasn’t sure if they would know what to do with my album because they don’t normally market music like mine, especially since mine isn’t as much of a dance album. But they’ve been really treating this like their baby and like their new endeavor. It’s still an ongoing process, the album is still raw and it’s creeping. People are spreading the word about it and that’s how my music has always been. I’m still along for the ride and we have another single with a music video coming out too so I’m really excited about that.

It’s really great that you have this opportunity to step out of your comfort zone and work with a record label like Ultra. Electronic music needs artists like you to open people’s eyes a bit more towards the potential that the genre has in this industry.

Exactly. It’s not necessarily the coolest look for me but it’s a way for me to present my electronic music to their fan base and let them know that there’s so much more. It’s a broad genre and there’s a lot of stuff in this category of music. And it’s been great, some people are more reluctant towards it but some people are like, “Wow, I get it. I need this.” They need something to listen to that isn’t like some of the other stuff they have on their label. It’s been a cool experience.

How long did it take you to complete this album?

I would say like a year. Most of the album was done in 2012 and a couple of them are a little it older. “Foolish” and “Waiting For The Break of Dawn” are both two tracks that I finished, I think, a few years ago but that I never put out. Just as a musician sometimes you pull up songs that you never finished and find a new wave of inspiration for them.

Those two songs are ones that I made a long time ago but I’ve gotten really inspired by them and just fixed them up a little bit. I’ve remixed them or mixed them again and decided to put this on this record. Aside from those two, most of the songs were made during the course of this past year but those two are quite a bit older. At least the beginning process of those two started a long time ago but I’ve modernized them and I’m really attached to them so I’m glad to be able to finally put them out.

You had the vocals for your track, “The Force,” with Kool Keith for a while now as well?

Yeah that’s another track, so “Foolish,” “Waiting For The Break of Dawn” and the Kool Keith track. I had his vocals for a pretty long time but I didn’t know how to work with them. I was just really intimidated by it. To me, it was a really big achievement and really epic. He’s someone that I really looked up to a lot in the hip-hop scene and he’s one of the pioneers of hip-hop in general —especially his group Ultramagnetic MCs, which started in the 80s.

I just had no idea what to do with his vocals because he rapped over this other beat I had and had looped the snare portion of that beat like a bridge. And so when I got the a cappella and brought it home I had no idea how to reincorporate it into the song. I provided most of the beat but he only used one small part and I didn’t know how to make that part loop over and over again because it would change the section of the entire rest of the song. So I just didn’t really mess with it until I starting making the beats for “The Force” and realized that his vocals sounded really good on it. And then I started to cater them towards each other. Obviously, I sent it to him to see if he was cool with the idea that I had switched the beat up from what I originally had it on. He was really supportive with that idea of modernizing the song with it and yeah, I’m really happy to finally be able to put that out.

He’s pretty well known for his contributions to the horrorcore scene. Were you surprised by the lyrics he gave you?

He works with some amazing producers. He has Kool Keith and his Black Elvis alias and Dr. Octagon, which is one of my favorites. He worked with Dam The Automator on that one and it was really forward thinking. That’s what I view him as, as this kind of other worldly MC and so I totally expected it on my record. I wasn’t surprised by it because he hasn’t wrapped like that for a while. The vocals he gave me were definitely more spacey and like outer space kind of trippy. And that’s more like his Dr. Octagon alias and he hasn’t really done stuff like that for a while so I was surprised by it as well as how valuable the lyrics were. It’s definitely not mainstream but for those of us who really know who he is and really respect hip hop from that area, it’s pretty epic. He’s kind of a legend.

What other hip-hop do you listen to? Do you listen to Wu-Tang?

Yeah I listen to a lot of Wu-Tang, I listen to a lot of New York rap. I always have.

What would you say is your favorite song?

I mean one of the first tracks of theirs that really spoke to me was probably “Cream” with Method Man, Raekwon and I think Inspectah Deck had a verse on that one too, not sure. It was my ring tone like all throughout high school.

You’ve mentioned how you originally weren’t going to include “Go With It,” your collaborative track with MNDR, on this album. What was missing from it before you had MNDR featured on vocals?

Well before she had worked on it, the song was just an instrumental. I made it and I was really proud of it but felt it was lacking and wasn’t good enough by itself to be on my album. I didn’t think it was a good instrumental track and most of what I do is instrumental. Most of my album is instrumental so it was lacking and it didn’t really speak to me when it was by itself. I really liked it and was proud of it but not enough to put on the record in comparison to the other songs on it.

I had sent it to her [MNDR] to see if she could do something with it because we really wanted to work together but the deadline for my album was coming up so we weren’t really able to work on a full song together from scratch. So I sent her the instrumental and she just blew me away. She brought it 5000 levels above where I had seen that song. I think that it wasn’t special to me until she brought her vocals into it and her interpretation. Vocals can add a lot to a song and this is a great example of something like that.

What instrumentals did you play on this album?

There’s a lot of stuff. There are a lot of soft synths and VSTs. Some weird percussion, like I have a lot of weird hand drums and toys I’ve gotten from Chinatown. There are a lot of little things going on. I programmed most of the album on Ableton, there’s that too. I did a lot of different stuff on a lot of different tracks and played a lot of different things on it. It’s a very long list.

You played the hand drums on some tracks?

Yeah and most of those sounds aren’t even legitimate bongos, I’m just whacking things that sound bongo-like. At the end of the day when you’re recording you don’t even know what you’re doing. That’s the fun part though, incorporating things like finger tapping on the side of the table and recording it and suddenly that becomes some kind of weird percussion. When you mike and record a real instrument it sounds thicker and rounder in the mix than if you were to use like a fake tambourine versus a real tambourine. When you use a real instrument, it’s going to sound heavier and more real, less digital. It brings a kind of impression to your music that only real instruments and real recordings can bring in. So it’s a mixture of both digital and real instruments.

Are those your vocals on “Soul to Seoul?”

It’s a big homage to my roots but yeah, I’m singing in it. I treat my vocals like an instrument. I try not to put too much focus on it because I don’t really see myself as a singer. I had all these crazy ideas in my head and the easiest way to do it was to sing it myself then to try to explain it to someone else.

I must ask, what’s it like working with Steve Ellison [Flying Lotus]?

I don’t know. I’ve never really worked on music with him. We’ve just hung out as friends. We play video games. I think we played Just Dance once, it was really embarrassing but I have a video of it on my phone I think. Only the privileged people will ever get to see it. It was Steven and Thundercat on this Xbox Kinect game. It was really awesome. He’s just like a friend of mine that I’ve known for a really long time and we get along like family. I don’t feel pressured to make music with him; Just being friends with him and on Brainfeeder is enough support.

I see a lot of colors in this album. What’s your opinion on synesthesia and what colors do you associate with this album?

I love the idea of that, seeing two different types of sensory aspects correlating with each other. My album, it’s just like the album cover. There’s a lot of color and bright color pallets as well as dark grays and different combinations of color movement. I always think of my music in terms of textures, everything reminds me of the way something feels. I think of music like fabric or layers of fabric on top of each other. With this one specifically it’s kind of a cross of bright and beautiful, as well as strange and odd color combinations of colors and textures and shapes. It’s hard to explain [laughs].

Protohype: Shell Shock LP Mix (Firepower Records)

By: Scotty Fuller

Did you love the Firepower Records' Shell Shock compilation? So did we. Protohype is leaving us no time to catch our breath with his release of the Shell Shock LP Mix. This mix features a slew of unreleased material and remixes from the whole Firepower family. This mix starts out with Protohype’s unreleased, super-grimey trap banger, "ID." From there, it's all high-energy, crunchy beats, and headbanging fun. At 29 minutes, this mix is perfect for your daily work out. Good luck not getting yoked with this one pounding your ears like a war drum.

Paper Diamond: Future Stars Mini-Mix

By: Scotty Fuller

The traveling electronic music festival, HARD, has released its first in a series of mini-mixes featuring first time artists on the tour. The inaugural mini-mix comes to you courtesy of Paper Diamond. Although the series is called “future stars,” Paper Diamond is far from a rookie. Before he was Paper Diamond, he was known as Alex B, the bass player for the electronic jam band Pnuma Trio. He uses his extensive background in music to jump from style to style, and technique to technique. This mix, which borrows heavily from his newest EP, Paragon, is a perfect example of what you'll get at a Paper Diamond show. Lots of deep, chest rumbling bass, melodic female vocals, and an eclectic group of styles that ranges all over the EDM spectrum. Look out for Paper Diamond this summer at festivals like Movement Detroit, NYC's Governor's Ball, Bonnaroo, Hard Summer and more.

At Dawn We Rage: The Road to San Juan

By: Scotty Fuller

Other than having the coolest name in EDM, At Dawn We Rage is also a pretty damn good producer. The LA native just dropped the track “The Road To San Juan.” TRTSJ is a smooth glitch-hop track with a touch of electro funkiness. ADWR also throws in a hint of female vocals that are remind me of the Mimi Page assisted Bassnectar track “Butterfly.” If this is what you are bumping on your way to San Juan, lean your seat back a little bit and relax. It’s going to be a good day.