Dzeko & Torres @ The Hoxton, Toronto – April 27, 2013. Presented by Embrace
Reviewed by Gosia Mrugala
While I’ve had occasion to listen to buzz-worthy Toronto duo DZEKO & TORRES in the comfort of my own home, it’s a sad fact that I’ve somehow never managed to catch them live. That situation, happily, was rectified recently at The Hoxton — a local venue where they’ve built something of a name for themselves. The pair brought their trademark big-room electric sound, driving the crowd into a full-on animalistic frenzy.
I had a few moments to chat with Julian Dzeko and Luis Torres at the show, and queried them about the benefits of working as duo. Torres told me: “It’s good because you have two creative minds bringing ideas to the table. That can also be tough at times, when two different ideas clash. But we work through it till we come to a conclusion that we’re both happy with.”
It’s awe-inspiring to watch these two play live — the way they work together seamlessly, mixing, complementing each other’s musical selections and shaping the set into a satisfying whole. Their mutual passion for the music is plainly evident on stage, just as it is in their studio work.
I wrapped up the conversation by asking the boys for their opinion on the music scene in Toronto. Dzeko replied: “The scene in Toronto has been pretty big for the past 10-15 years, but it has grown a little stronger in the U.S. Here in Canada, especially in Toronto, the music scene didn’t just begin in the past two years — but as I said, the past 10-15 years. But I would say Toronto has a strong music scene and community.”
If you’ve been missing out on Dzeko & Torres, as I was, now’s the time to change that. Keep an eye on their gig schedule and mark your calendar when they come to town
Maya Jane Coles @ The Hoxton, Toronto – April 12, 2013. Presented by Embrace & Platform
Reviewed by Gosia Mrugala
ALL PHOTOS: James Drobik
I’ve been in love with the deep house sound of UK producer/DJ Maya Jane Coles ever since I heard her Low Key EP. The title track alone was “Low Key” is all it took to get me hooked.
This is one talented and prolific young artist. In addition to the house tracks she puts out under her own name, Coles records dubstep under the alias Nocturnal Sunshine, and has teamed up with vocalist/multi-instrumentalist Lena Cullen to form the electronic dub duo She Is Danger. Little wonder Rolling Stone ranked MJC number 14 last fall on its list of the world’s 25 most influential DJs.
Coles brought her distinctive sound to The Hoxton in Toronto last Friday — and what a night it was! The lineup outside wrapped right around the building, tickets at the door sold out in a heartbeat, and the joint was quickly filled wall-to-wall. The vibe was raw and had a delicious, underground feel. Coles’ artful production and unerring musical selection had the whole crowd swaying oceanically to those sweet, deep rhythms.
Keep an eye on MJC’s touring schedule HERE, and be ready to snap up tix quick if she’s gonna be in your neighbourhood.
More photos:
Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.
Flume + EPROM @ The Hoxton, Toronto – April 4, 2013
Reviewed by Gosia Mrugala
Friday night, and the dance floor at The Hoxton was filling up rapidly, a crush of bodies thrumming with excitement and anticipation. You could feel it: the indefinable something in the air that says, “This is gonna be good.”
I’d be a liar if I said I had much prior familiarity with the music of Australian DJ/producer Flume or the artist who shared the bill with him, Portland, Oregon-based EPROM. But I can tell you that, after hearing them last week, I’ve rectified that situation. I couldn’t wait to start SoundClouding and Beatporting their stuff the minute I left the club.
EPROM is a techie terms that stands for erasable programmable read only memory — “a little memory chip thing,” he explained when we spoke after the show. When I asked him to describe his sound, he termed it “electronic music grafted onto rap.”
I was captivated by his set. He communicated effortlessly with the crowd, hyping them into a frenzy, and his musical selection was positively orgasmic. His passion for the job and for the music was palpable, both on stage and when we chatted later. This was his first time performing in Toronto, and when I asked for his reaction, he said: “Tonight was f*cken awesome! Super responsive crowd — everyone was giving me a really good vibe. which I feed off of when I play”
When Flume took the stage the crowd went wild, the dance floor devolving into a clusterf*ck of the musically enslaved. And the set that followed left me beyond words.
Flume describes his musical style as “experimental electronic music with a strong hip hop influence and lots of catchy melodies.” But that doesn’t do it justice. His sound that night was wonderfully grimey, with the kind of “underground” feel that is all too rare on the EDM scene nowadays. His energy, too, is awe-inspiring: when he played his track “Holding On,” the audience reaction was spine-tingling, climaxing with a burst of spontaneous applause.
Do yourself a favour and get to know these artists before they hit town again.
Special thanks to Francois and the Embrace team! Check out the Embrace Web site HERE to stay on top of upcoming events.
Some more pics from the show. All images courtesy of Embrace Presents:
Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.
DECADENCE 2013 @ THE GUVERNMENT ENTERTAINMENT COMPLEX, TORONTO – MARCH 28, 2013
Reviewed by Gosia Mrugala
March may have gone out like a lion this year, but the arrival of spring is still an event worth celebrating. Toronto’s The Guvernment-Kool Haus complex certainly did its bit to help promote spring fever, hosting a massive all-access event on the eve of the Easter long weekend, headlined by some of the biggest names on the EDM scene. At Kool Haus: Calvin Harris, Nicky Romero, R3hab and Manzone & Strong. At The Guvernment: Cosmic Gate, W&W and Mark Oliver. At Chroma: Flipside, Joee Cons and Greg Gow. And at Acid Lounge: Ovi M.
Running back and forth between the rooms was quite the adventure — each time trying to push my way through a wall of bodies entranced by the relentless pulse of the music. You really do see and feel the love — or “PLUR” — that animates the EDM community at an event like this. I just wish I had a cloning machine so I could be in three places at once, catching the full sets from all of these amazing artists, instead of running around like a chicken without its head.
IMPRESSIONS:
>> The musical remedies of R3hab were a balm for the soul. I first saw him last summer at Digital Dreams and was impressed by his set there — but at Decadence I was utterly blown away by his performance, his flawless musical selection and, above all, his connection with the audience.
>> Manzone & Strong and Mark Oliver are residents at the Guvernment, and with good reason: they never disappoint, bringing their A game every single time they work the decks.
>> At one point was near the entrance to Chroma, when a mass of bodies suddenly surged toward the Kool Haus, and I found myself swept along with the herd to witness Nicky Romero taking the stage. It was pure pleasure to witness the mastery with which he took control of the dance floor, his energy electrifying the entire complex. Romero’s name is one that gets my pulse pounding any time I see him on an artist lineups.
>> Calvin Harris is an artist I first saw live at WEMF two years ago and was absolutely blown away! So my expectations for his performance at Decadence were high — and baby, did he deliver! His musical selection was golden, and his connection with the crowd awe-inspiring to experience.
>> Cosmic Gate certainly had a pleasing musical selection, but there seemed to be a lack of energy. Somehow they never clicked with the crowd, and I found myself drifting back toward back to Kool Haus during their set.
>> W&W created an animalistic frenzy on the Guvernment’s dance floor. My body escaped conscious control and fell under the spell for the duration. These boys work so well together, and communicate musically with the crowd so perfectly.
>> Chroma wasn’t as packed as the two main rooms, but those who made the effort to check it out were amply rewarded by Toronto’s Flipside. His musical selection set the floor spinning; I couldn’t tear myself away while he controlled the decks. Definitely one of the evening’s unsung heroes.
>> I do have to send out some love to Toronto Rave Community (TRC), which made its presence felt and contributed to the overall positive vibe. I can now proudly say that I received my first piece of kandi at Decadence, courtesy of a nice TRC gent.
All in all, Decadence 2013 was an rousing success. The crowd was crazy, and the energy was palpable in every corner of the complex. Every year, Decadence seems to improve. If you haven’t yet made it to one of these annual gatherings, then be assured: you are missing out. Personally, I’m already looking forward to Decadence 2014!
SOME MORE PICS FROM DECADENCE 2013:
Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.
No introduction necessary. If you don’t know from CALVIN HARRIS, you’re not reading this blog. So let’s just dive in.
1.“Green Valley” – Well, that’s 1:49 of my life I’ll never get back. It’s interesting for the first 30 seconds, then continues without much change. Picture the soundtrack to a bad porn scene: not the most auspicious way to start an album.
2. “Bounce” – Here, Harris adds the soulful vocals of Kelis to a funky house track. I like this one, but can’t say I’m the biggest fan. Mostly, I suspect, because it’s been around for some time now and is simply overplayed.
3. “Feel So Close” – I absolutely fell in love with this track the first time I heard it, back at WEMF 2011. Definitely a successful prodution, and it’s no surprise that this became Harris’s first solo single to chart on the Billboard Hot 100 in the U.S.
While I’m still a fan of the original, I’ve gotta say: I am head-over-heels addicted to Nero‘s remix of this track. If you haven’t already heard it, you owe it to yourself to give a listen …
4. We Found Love – By now, I’ve heard this track once too often on the radio — and to be honest, I was never a fan. Just not my cup of tea, although I can see why it satisfies the ears of some EDM fans. The music video has earned quite a bit of criticism, and while it’s not the worst EDM video I’ve ever seen, you can’t exactly say it promotes positive lifestyle choices.
5. We’ll Be Coming Back – Don’t know what it is, but something about the vocals of English singer-rapper Example just appeals to my senses. This track starts nice and mellow, then kicks into a solid tempo. Definitely something you can enjoy in the comfort of your own home, but at the same time clearly built to rock dancefloors from Ibiza to Iceland.
6. Mansion - VERY disappointed with Harris on this one. Cuz here’s a track that pulls me in within the first 10 seconds, and at 1:25 has me thinking of the rave scene from Blade … and then it ends just past the two-minutes mark. SERIOUSLY? This had the potential to be a nine-minute epic, but Harris decided to pull the plug and settle for a short, sweet banger. Why?
7. Iron – This track is infatuating — but the affair is short and sweet. At the end you get a nice buildup, and you’re waiting for a sick drop, and then … nothing. THUMBS DOWN to that. Over on Beatport you can buy the vastly superiour full five-minute version of “Iron.” Given the high expectations of his fans, I’m really not sure why Harris decided to put shortened versions of his tracks on this album. Not so nice!
8. I Need Your Love – Harris couldn’t have chosen a better vocalist than Ellie Goulding. Her voice works perfectly with his beats here. And yes, I did press repeat on this one.
9. Drinking From The Bottle – I’ll keep it short: not a fan of this one.
10. Sweet Nothing – I’ve always been a fan of Florence Welch, and her powerful voice works perfectly with Harris mellifluous style. This track has been one of Harris’ biggest successes, charting high just about everywhere from Ireland to New Zealand. Sweet — and definitely not nothing.
11. School – It’s got a soulful vibe and a funky, old-school feel to it. I’m a bit torn on this one: can’t say it’s a favourite, but there’s something to it, all right. Still, of all the short tracks on this album, it’s the only one I’m actually glad is short.
12. Here 2 China – Nope. Didn’t make it past the 20-second mark. Sorry, but no. Just doesn’t fit here.
13. Let’s Go – I remember watching the Euro 2012 tournament this past summer and being absolutely blown away by that Pepsi Max commercial. It was this track that made the spot such an attention-getter, and it more than stands on its own — though it’s Ne-Yo’s voice and the lyrics, more than the music itself, that make the whole thing so satisfying and impressive.
14. Awooga – Another impressive track, but again, too short. If you want to support Calvin Harris by purchasing his album, just know that you’ll be getting the truncated 3:51 version of this song. And maybe make a mental note that the full seven-minutes-plus version can be found over at Beatport for a more $1.49. Just sayin’. And let’s be honest: this track was meant to have some length to it. I’d put it along with “Mansion” and “Iron” as one of my favourites from the album.
15. Thinking About You – OK, the album may have started on a disappointing note, but I’d say it finishes admirably. I’m definitely “Thinking About” this album — though mostly what I’m thinking is that I have some seriously mixed feelings. Overall I’d rate it a success for Harris — but with some questionable odds and ends that make it less satisfying than it ought to be.
Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.
“Destroy dance music and have fun. Don’t look back in the past. Always go forward. Don’t think too much. Always follow the money. Do the Dada.”
Eccentric Swedish electro house duo Dada Life (a.k.a. Olle Corneer and Stefan Engblom) have quite the philosophy. Posted to Facebook and Twitter using the hashtag #THERULESOFDADA, these maxims to live by include:
* Never bring your brain to a rave.
* Doing the “airpiano” on stage while looking up in the air? Never. The “heart sign” with both your hands? F**K NO.
* Tickle-punch-tickle-combo. Happy Violence!
* Cheating is winning.
* If you’re stuck, there’s only one solution: go harder.
* If you only need one word to describe a song in the studio…then it’s done!
* No bananas on the rider? Then we do our two hour deep/tech house set. Everything under 118 BPM.
* PLUR = Potassium Lust Unity Rage
* Arriving beautiful – leaving ugly.
* Beautiful music = boring music. At least today.
* Never BBQ before a gig.
* If you don’t want to get wet, you don’t want to have fun.
* Bass don’t cry.
* Changing underwear at the club is cheating. Even for the members of Dada Life.
* Never bring your brain into the club.
* Art should be loud as fuck.
* Always kick out the epic motherfucker. Always.
Their new album The Rules of Dada, released October 22 on their label So Much Dada is pretty much the illustrated guide to this philosophy. So let’s break it down, shall we?
1. “Kick Out The Epic Motherfu**er” – I first heard this track during the summer at The Guvernment, and was just blown away. It sent my body into an absolute frenzy — and everyone on the dancefloor was right there with me. Definitely a club banger. The video is pretty entertaining, too. It gives you a good idea of just how crazy and random these guys are. There’s lots of champagne, lots of bananas (get your mind our of the gutter, now) and some HARD PARTYING. And bananas.
2. “Feed The Dada” – I’d call this the anthem of the Dada Life philosophy. The lyrics are intriguing, the music video frankly jaw-dropping. If you want to know why the Dada movement is destined to continue growing, this is the pick to click. Feed the Dada.
3. “Arrive Beautiful Leave Ugly” – Gotta admit, I’ve had this track on repeat. Quite the title: I’d describe the image it conjures in my mind, but not while there are children or pets around. (Gotta bite my tongue sometimes.) I can see this one moving the floor, for sure.
4. “So Young So High” – Well, they can’t all be epic. Not a huge fan of this track: can’t see it filling the floor at the club, though it might move the less-demanding fans at an outdoor festival. With repeat plays it started to grow on me a little bit, but it won’t be making the personal playlist any time soon.
5. “You Will Do What We Will Do” – A 129-bpm electro house banger that held me from first note to last beat and left me yearning for more. Surprising, too: I was expecting a hard electro drop at the 0:29 mark, and instead got a pause and then another mellow build-up. Tricky! Definitely one of the tracks I favour from this album.
6. “Happy Violence” – I remember hearing this track for the first time while watching a Burning Man recap video: appropriate! All it took was the first 10 seconds, and I knew I was hooked. Another great track title, too — puzzling and inriguing, like all of their titles.
7. “Rolling Stones T-Shirt” – Entertaining tune. And that music video! Pretty typical stuff: girls in bikinis, pool parties, the beach … until the 2:18. I made the mistake of drinking some water while watching this, and almost choked! Couldn’t stop laughing. I won’t try describe it — just watch for yourself. All I will say is this: you see a whole new side to the boys from Dada Life here.
8. “Bass Don’t Cry” – Give me bass and I’ll give you my heart. It’s as simple as that. I’m a bass addict. A bassaholic. This track strikes the kind of perfect balance between bass and rhythm that will set a musical orgy in motion on any dancefloor.
9. “Everything Is Free” – Without the vocals I am a fan of this one, but The vocals at the start of this track almost deterred me from listening to the rest. Which is too bad: vocals aside, I’m a fan of this one. Not the best track on the album, but hardly the worst either.
10. “Boing Clash Boom” – See “Everything Is Free.” Actually, I’m not sure if it’s the vocals that ruin this one for me, or something else. Frankly, the track is a bit all over the place. If I had to sum it up in one word, that word would be: confusion.
11. “Don’t Stop” – After the last couple of tracks, they had me doubting — but album finishes strong. A bit mellow, but with enough kick to move the listener, and vocals that mesh comfortably with the beat. Do the Dada!
Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.
NIGHTBOX @ HORSESHOE TAVERN, TORONTO – SEPTEMBER 28, 2012
Posted by Caelin Meredith
It’s always great to be there when the next big sonic wave hits. Which is what happened when rising local stars Nightbox played Toronto’s legendary classic rock bar the Horseshoe Tavern, flipping a joint known more for punk garage than UK garage. Those who were there witnessed something fresh and new in live electronic music: the emergence of a genre-bending band destined to pave new roads on the Canadian music scene.
They’d killed it at their Canadian Music Week at back in March, turning Wrongbar into a sweatbox and leaving me craving more. So it was with bated breath that I waited all summer long for a chance to catch another gig.
Opening for them on this night was Brockville, Ontario’s Bravestation, another hybrid rock/electronica band, with a sound hat one partygoer likened to “a rainforest.”
Then Nightbox boldly took to the stage, opening with the ever-appropriate “Burning.”
From the first few notes, it’s evident that this is a band difficult to pigeonhole. Their sound is atmospheric, otherworldly, even angelic at times — but with all the passion of a rock band and a guttural, driving, dance beat. To watch drummer Nick Bitove keeping time at 150/160 bpm — practically drum-and-bass tempo — was transcendental.
Experiencing their live show, with its complex audio inflections, can border on sensory overload. Their sound seems emanate from three times the number of people who are actually on stage. Yet what could easily have end up sounding clinical or mechanical comes across instead as supremely humane and organic.
The crowd, like me, devoured every minute of every song, letting the music wash over them and move their bodies. Most were college age — no surprise there: it’s an audience that always seems to know what the next big thing is going to be. (Where would Zeds Dead or Deadmau5 be if not for their early campus tours?)
Nightbox rewarded the crowd’s enthusiasm, playing with such unbridled passion on tunes like “Relocate You” and the darker “Fumes” it was like they were living their last night on earth — feeling every note, every beat. At times, the guitar and bass supported one another harmoniously, complimenting the synth and evoking such familiar touchstones as Dark Side of the Moon or the immediately recognizable sounds of The Clash or The Jam. At other moments, one could easily picture the band playing at sunrise on the deck of Space in Ibiza.
“Are you guys ready to get slutty? Cuz I wanna get slutty with you,” joked lead singer Jacob Bitove. This threw the crowd into an even deeper frenzy, as excitable as teenagers experiencing their first makeout session.
The night reached its crescendo when the band dropped “Pyramid,” an African-inflected jump-up song with elements of new wave, punk and ska. The warm sound that expanded to fill the room was a rebuke to all that’s missing in mainstream music today. I could liken their joyously hyped-up sound to Vampire Weekend’s, or note that Jacob’s voice is every bit as distinctive as that of UB40′s Ali Campbell — but comparisons only do this band a disservice.
Nightbox aren’t currently touring; they’re hoping instead to focus on compiling their full-length debut album, which should drop in spring 2013. In the interim, they’ll be releasing some new music for their fans. For now, I’d recommend checking out their Facebook page to find out where you can see them next. Mark my words: someday you‘ll want to be able to say: “I saw them when.”
Nightbox lineup: Jacob Bitove – Lead Vox | Nick Bitove – Drums | James Tebbitt – Lead Guitar | Andrew Keyes – Bass | James Shelly – Synths
Horseshow Tavern set list: Burning | Utopia | House | Pink Clouds | Body of a Man | Invisible Hands | Brush Me Up | Sister | Waves | Pyramid | Fumes | Relocate You
Indefatigable bpm:tv bloggeuse Gosia Mrugala walks you track-by-track through the much-touted new Deadmau5release, Album Title Goes Here. Buckle up!
And we’re off …
(1) Superliminal – I don’t think an album could ask for a better opening track. I am absolutely addicted to this one, which pulled me in from the start to the last beat. One of the tracks I had on repeat while listening to the album.
(2) Channel 42 – On this one, Deadmau5 gets together with Grammy-nominated American house music wunderkind Wolfgang Gartner. It’s quite an intriguing track, but one I had to hear several times before it grew on me. It really didn’t catch my ear at first, but in time I was won over by this funky tune.
(3) The Veldt [8 minute edit] – Can’t say that I’m a big fan of this track, something I would blame on overexposure. It’s an impressive, very mellow piece, but runs on a bit longer than the style really warrants. Still, I’d say it offers plenty of remix potential: we’ve already seen what artists like Tommy Trash and Ezon have managed to come up with when they’ve jumped on this track and added their own kick.
(4) Fn Pig – A calm, mellow buildup until it hits the 2:52 mark — then it changes up. And at 3:41 it kicks in seriously. Makes me think of one of my all time Deadmau5 favourites: “Strobe.” The same kind of insouciant buildup, and a nice rhythm as you get deeper into the track.
(5) Professional Griefers – I can’t lie: I was excited to review the album knowing this track was awaiting my judgment. The verdict: A-plus-plus-plus-plus. Seriously, Deadmau5 has done a transcendent job on this one. And throwing the vocals over to Gerard Way? Perfection. The music video, by the way, is beyond-words entertaining. Check it out:
(6) Maths – Another track I was anxious to review. How else can I put it? I’m absolutely addicted to this dirty electro track! By the one-minute mark it had captured my heart and my grimy, grimy soul.
(7)There Might Be Coffee – Kinda makes me feel like I’m watching the credits of a Eighties film. Deadmau5 Presents … Flashdance! A funky beat that had me sorely tempted to grab my leg warmers, neon tights, Adidas shorts and a cut-up top. And after the workout? There might be coffee!
(8) Take Care of the Proper Paperwork – This one dragged on a bit, and kept me waiting for a drop that never quite materialized. Still, I can’t lie: I did replay it a few times. A tad repetitive maybe, but it assuaged my musical sensibilities.
(9) Closer – An intriguing opening, enough to really tweak my curiosity — and then it kicks in really nicely at the 2:18 mark. Relaxing, yet upbeat enough to keep the listener from dozing off. Consider me a fan of this one.
(10) October – With its ever-changing cadence, this is one that will satisfy just about any listener’s unique musical taste. I can see it rocking a festival crowd or being enjoyed on headphones in a more serene setting.
(11) Sleepless – Gotta say: not a big fan of the computerized vocals slapped on this track. For the first 25 seconds or so, it was all I could do not to press skip. Minus the vocals, it’s not a bad tune, and maybe a good one for chilling out at home. Can’t really imagine it being dropped at a club or a festival, though.
(12) Failbait – Um, WTF? This one caught me off-guard a little bit. We’ve got a decent EDM album here, and then suddenly: rapping. All “f*ck this” and “b*tch that.” Sorry, won’t lie to you: I didn’t even get past the one-minute mark.
(13) Telemiscommunications – Meh. For an album that starts with a boom and definitely pulls the listener in, it disappoints on the last few tracks. This one, like “Failbait,” just doesn’t feel like it belongs on the album. Instead of arriving at the end of the album wanting more, I was left feeling confused and a little ambivalent. Maybe this track will please some EDM listeners, but it was too mellow for my own tastes.
Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.
I can still remember the feeling I got when I first heard “Put Your Hands Up For Detroit.” I don’t think I’ve ever been disappointed by Fedde Le Grand – and on the brand new track “Sparks” we see him come together with another talented Dutch DJ, Nicky Romero, to deliver the quintessential club banger. Look out for this one: it’s sure to get your ears ringing and your body moving. Prediction: “Sparks” is going to be one of those progressive house tracks that defines the summer of 2012!
PORTER ROBINSON / MAT ZO @ SOUND ACADEMY, TORONTO – JUNE 22, 2012
The lineup to get into the venue was insane. The crowd that swarmed the entrance was alive with anticipation, eager to experience one of EDM’s fastest-rising new talents.
Once you were inside, the bass could be felt streaming through the floor, up your legs and into every nerve fibre and cell of your body. Opening for Porter Robinson, 22-year-old British producer Mat Zo (a.k.a. Matan Zohar) dropped one mind-blowing track after another, taking full control of bodies and minds. The frenzied crowd was beyond pleased by this young artist’s impeccable track selection; his warmup set kept them dancing nonstop.
When the lights dimmed and Porter Robinson‘s “PR” logo appeared, the assembled multitudes went absolutely wild, sending his name bouncing around the room and over heads like a crowd-surfing fanatic. As Robinson stepped up to the decks, a whole new vibe took hold. Hands thrown in the air, utterly entranced, the crowd was overcome by sheer animalistic euphoria.
The success that this 19-year-old DJ/producer has achieved in such a short time is absolutely mind-boggling. I saw Porter Robinson for the first time last fall at The Hoxton, and I wouldn’t hesitate to see him again. If you haven’t yet had the chance to catch this crazy-brilliant artist live, I encourage you to make it a priority. This is a superstar in the making.
Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.
Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.
