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Posted by Gosia Mrugala

COSMIC GATE @ THE GUVERNMENT, TORONTO – FEBRUARY 4, 2012

 

The Guvernment dance floor was swarmed with bodies eagerly awaiting the embrace of Cosmic Gate‘s alluring sound. And the German duo definitely dominated the “renovated” Guvernment main room.

They’ve come a long way from their 1999 debut single “Exploration of Space.” Their sound has evolved quite nicely through the years — from the solid trance style of their origins to the more progressive house/trance feel of their most recent album, Wake Your Mind. Tonight the crowd was most definitely pleased, and I must applaud Claus Terhoeven (aka Nic Changall) and Stefan Bossems (aka DJ Bossi) for their admirable interaction with the audience. Watching them play off the crowd’s vibe was quite pleasant to witness.

Although I did very much enjoy the music Cosmic Gate bestowed upon us on this night, I do wish they had played more “raw” tracks with an underground, strong trance vibe. It’s intimidating to see the trance/underground scene slowly edging toward the mainstream and commercial. One big hope I have is that DJs and producers won’t lose that great raw, underground sound on their productions and mixes.

Here’s one of my videos from the show:

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Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.

 

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Posted by Caelin Meredith

STANTON WARRIORS @ AME, TORONTO – JAN. 20, 2012

IMAGES COURTESY OF DESTINY PRODUCTIONS

 

Needless to say, this was a hell of way to start 2012! “If you’ve never seen the Stanton Warriors, you’re definitely missing out,” says everyone — and this promise is what brought a sellout crowd to AME nightclub on a cold January night in Toronto. In the course of a two-plus-hours set, the crowd danced, cheered and melted, never once looking back.

Dom B. took their legion of “warriors” (because this act doesn’t have typical “fans”) on a rush-inducing journey: peaks that slapped you across the face with originality, and bass that simultaneously kicked you in the gut. (This is a good thing, folks.)

“A pair of studio engineers who met at Tuff Jam, turned into producers and remixers energizing the British garage scene with powerful, genre-spanning tracks and hyperactive mixes. Fusing the freedom and flair of 2-step with the renegade intelligence of nu-breaks” — that’s how their bio puts it. But this description doesn’t begin to sum up the trifecta of energy, talent and passion they represent, delivering 110% every time they touch the decks. It doesn’t encompass the unique combination of abilities that enable these steadfast, dependable studio hitmakers to deliver the kind of  high-octane live show that backs up their work.

Ryan and Jesse from Destiny Productions deserve special mention for promoting this show so well, despite the switch from their resident nightclub, The Guvernment. The night attracted a broad spectrum of attendees; complex, diverse and energetic crowds always make for the best shows, and this one was no exception to the rule. Everyone was saturated in a bubbly, get-down party vibe and showed nothing but respect for the music. Stellar efforts by locals Jelo up front and Lush on the back end of the SW set rounded out the night perfectly.

With phat crescendos and flirty vocals, the set was like a roller coaster ride: at times you were holding onto a pure sound for your dear life, absorbing every second of it; at other times just letting yourself go completely, allowing music to carry you. The most notable remixes were “Coma Cat” by Tensnake, “Bring Me Down” by Zack Toms, and “It’s You” by ESP. (I would have loved to hear the SW remix of “Burning” by MK, and maybe it got dropped while I was unaware: I definitely saw it peeking out of the sleeve.) These tunes all elicited the strongest reactions of the night, proving once again Toronto’s insatiable appetite for strong piano chords and nostalgic influences juxtaposed against the heavier, dirtier, future-forward production values the Warriors are known for.

A smash set from beginning to end — or, as my friend put it, “You know it’s always gonna be a f****** good time when the Warriors play.” I’m sure bar sales on the night evened themselves out, what with some people dehydrated from nonstop dancing, versus those who kept trying to leave the dance floor but couldn’t because the next tune was — literally — arrestingly good.

You might think with such mass appeal, the solution the Warriors have concocted might start to dilute and weaken. Nothing could be farther from the truth. Drawing from different genres without a hint of cliché, they have the ability to fuse different cliques of dance music aficionados for one great night. The appeal of their style brings out scantily clad ladies in droves, with equally foxy men in tow. The perfect combination on the dance floor.

To sum it up: if the Warriors are coming to your town, then beg, buy or steal a ticket to the show. You will never be disappointed.

In the meantime, check out their “Mix of the Week” at mixmag.net: LISTEN TO IT HERE

[Warning: Adjust volume accordingly; this is definitely NSFW!

Bass drop…

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VISIT CAELIN MEREDITH’S WEB SITE: PUSH > PLAY

 

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Posted by Gosia Mrugala

 

“Let Us Stay Young,” the debut single from Lucas Nord (released on Jan. 25) has a nice “young” vibe. Nord has developed a really fresh house sound, and his remixes offer an enticing glimpse of what he promises to bring to the EDM world. Among others, Nord’s remix of Rasmus Faber‘s “Good Times Come Back” (featuring Beldina) has a perfect sound for any dance floor. This up-and-coming Swedish artist is definitely someone to keep your eyes and ears open for.

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Find Lucas Nord on FACEBOOK 

Follow Lucas Nord on TWITTER

Listen to Lucas Nord on SOUNDCLOUD

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Follow blogger/reviewer Gosia Mrugala on TWITTER

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Posted by Gosia Mrugala

THOMAS GOLD @ KOOL HAUS, TORONTO – JAN. 21, 2012

 

The Guvernment closed? That definitely caught people off guard. The Kool Haus, however, filled up quickly in anticipation of Berlin’s Thomas Gold. Openers Manzone & Strong successfully pleased the crowd as bodies started to crowd the dance floor.

Expectations were high, and Gold did deliver — but his choice of cuts was underwhelming. He’d drop a good track with some mind-blowing bass, only to switch too quickly, never giving the crowd a chance to really get into the track. It felt like he was trying to play his whole iTunes library all in one night, offering up sample teasers of each track. Not fun to try to dance to. Fans looked like they were new to the dance floor, caught off-guard with every new transition. It was a good crowd, a good atmosphere — but the set itself wasn’t the best I’ve heard; a disappointment from a high-calibre producer/remixer like Thomas Gold.

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Follow blogger/reviewer Gosia Mrugala on TWITTER

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Posted by Scott Willats

Last week I received Fire & Ice, the brand new double disc from bpm:tv favourite Kaskade. I know I did a quick little post when the CD was leaked, but I thought we owed it to Kaskade to give him a thorough review — after all, when he released Dynasty we were guests of honour at his party in Miami. So I took the CD, uploaded it to my PC, and sat down to give the entire double disc a listen in one sitting. Now, for someone who has severe ADD like I do, it’s hard sometimes to just listen to a full track before wanted to change it to hear another that would be good to mix it with. And to be honest, my immediate thought was: Kaskade is known for a great progressive sound, but sometimes his tracks can linger a little too long. How can I sit through it all? But it was a lot easier than expected — and now I look forward to sharing it with you.

Here’s a simple breakdown of what this album is all about: you get Kaskade’s beats, but you also get a s**t-load of features and collabs. These latter tracks all seem to reflect a strong chemistry with the featured artists, furtheringthe impression that said artists have done some tinkering of their own with the songs. Most of the time this is for the best, so it’s nothing to worry about.

The kicker is the second disc — the Ice version — which features Kaskade’s own remixes of all 10 tracks from the first disc. So if you’re listening to disc one (Fire) and you’re worried that the album isn’t sounding much like Kaskade … relax: there’s a whole other CD devoted to his distinctive touch.

Overall, this album finds Kaskade at his peak. He seems perfectly comfortable with where he is right now as an artist. Known worldwide and finally establishing a sound that he can call his own, Kaskade was clearly in top form during making of this album — and if you like what he’s done before, I have a strong feeling you’re going to like this.

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Fire

Eyes – ft Mindy Gledhill: This track is that perfect opener — and with all the remixes we’re hearing now, it’s obvious that EDM fans have really embraced the song. It grows into something you knew it was always going to be. This intro lets you know what the album is going to be like, and it lives up to the hype. Mindy’s vocals on it are absolutely priceless as well. A perfect start.

Turn It Down w/Rebecca & Fiona: The perfect template of how you make a hit. The minute this song was released, I knew it was going to be the flagship track. This is the relaxed version to say the least — but it still has a great energy. “I hold my breath when I hear lies.” The lyrics give you more of an idea of what you’re going to hear throughout the album.

Lessons in Love ft. Neon Trees: Tyler Glenn is becoming a great musician, and his vocals on this track reinforce that fact. This is one of those “stand up for your rights” songs in terms of the heavy beat and dramatic chords to go along with Tyler’s emotion in the lyrics. It may be a little too poppy and predictable — but that’s why disc two is there, right?

Lick it w/Skrillex: Well, well, well … look who made the cut. Skrillex has had the most amazing year of any artist I’ve ever seen. If Deadmau5 became famous overnight, Skrillex has become famous during breakfast. The combination of the two artists really works well here — and not in the way you’re probably thinking. Sure, it has a dubstep feel and the wobbles to match, but it really sounds like Kaskade gave Skrillex a perfect template to play with and Skrillex chose to respect the track and keep simple. And with Kaskade, simple works!

Love – ft. Haley: Bam! These two are like Bonnie and Clyde together. The track starts off with a deep cutoff filter decreasing quickly, with dramatic chords bumping in the background until you hear Haley’s voice arise. To be honest, I don’t think she actually has such a great voice. But when it’s on a Kaskade track it just sounds a lot better … no, wait: a ton better. The chords and tempo seem to fit her breathy sound. And one thing she has on this song is incredible emotion. It’s a track that could be alllllllll over dancefloors in the next eight months. Expect to hear it sooooon! “Hey hey you you, one more time will get us through, turn the clock so we don’t see …” Beauty!

Let Me Go – ft. Marcus Bentley: This is my type of track.  Imagine a long train ride, just staring out the window lost in thought.  This is your background music.  Maybe this sounds a little “can I borrow a feeling” to you — but that’s the type of vibe this track is made for.  A thinker song.  Not that the lyrics necessarily have anything to do with that; Marcus Bentley paints a sick story that is better to be interpreted by the individual listener. The sounds aren’t too heavy, but they aren’t exactly calm either.  A ton of build-ups in this song, with one killer payoff around 3:30.

Waste Love w/Quadron: Diversity is the beauty of our world.  Quadron has a very indie poet vibe, and she wouldn’t fit into a typical progressive house track … or would she?  Well, she did — and with bliss. Kaskade’s production brilliance is in full evidence on this one. He has created a somewhat jazzy house track that can still be bumped at your favourite club without slowing down the down too much.

Ice w/Dada Life and Dan Black: Simply put, my fav track on the album.  It has everything you could love. Dan Black is a genius that we here at bpm:tv have been talking about forever, it seems. Dada Life is one of the biggest names in EDM today, and Kaskade seems the perfect mediator to bring them together in creating an anthem. I talked it up when I first heard the leak, and I stick to my story.  This is your track!

How Long w/Inpetto & Late Night Alumni: The vocals on this track are second to none.  Dark, warm and sexy.  However, in my opinion it’s a little too “penthouse-suite-early-40s-Disaronno-on-the-rocks-drinking sounds.” Just my opinion.  I’m not quite ready to embrace this type of track; however, for many of you mature, grown and sexy folks, this song might get you pregnant!

Room for Happiness – ft. Skylar Grey: Wow, this music.  The combination of Skylar and Kaskade gives it a very soundtracky sound — but with such emotion. I’m not much for interpretive dance, but this song screams for it. And to give the songs its full merit, I would gladly sit through the whole performance and give it my undivided attention.  One thing that needs to be said about this album, by the way, is that the lyrics on most songs are incredible.  That’s rare to find in an EDM album. “Don’t be fooled by your emptiness.”

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This album, in my opinion, is one of the best EDM releases of the past 10 years, showcasing the insane diversity that our artists have achieved.  Sure, he could have dropped another strictly progressive house CD and it would have sold just as much and been just as popular — but Kaskade did something I admire in my favourite producers: he challenged himself to be a great musician, and did so to great success. The man is already one of the biggest names in our genre, and still he wants to be better. That’s inspiring to producers, DJs and fans alike.  He didn’t need to throw in the Ice disc, but he wanted to.  He wanted to play around with more of his ideas, and give us more material to work with in the bargain. For that, I thank him!

It’s the refusal to accept complacency that defines extraordinary people in any field, and Kaskade is the perfect example.  Verdict:  Buy the album!

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Follow Scott Willats (SAWStruck) on Twitter

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Carl Cox @ Downsview Park Studio #3, Toronto – Nov. 11, 2011

Reviewed by Caelin Meredith. Check out Caelin’s photo gallery from the show HERE.

Currently Carl Cox is trekking the globe with his “All Roads Lead to the Dance Floor” tour. This is one DJ who can attest to the fact that life sometimes imitates art. He religiously tours 10 months of the year, taking on new cities as well as revisiting old haunts, with at least four months dedicated strictly to Ibiza. This show in Toronto was one small stop on his North American jaunt. (He cited El Paso as the “craziest crowd” on this particular road trip, describing the crowd as “mental for four hours straight.” Who knew a college town in Texas could outstrip international DJ culture cities like San Fran and NYC?)

He played at the Downsview Park, a newish venue in Toronto, with a distinct throwback feel recalling the old Cinepspace film studio. It was a great venue for Carl to play, and reminded me of an eight-plus-hour marathon set he played at the old Warehouse (now Kool Haus), where he outlasted most of the patrons. Two decades later, I found out he’s still clocking those epic hours behind the decks — dedicating 10 hours to the opening party at Space in Ibiza every May, where, with few if any breaks, he sips champagne and shames DJs a third his age with his stamina and enthusiasm.

The crowd on this night, I would say, was there because he’s a big name, not necessarily because they follow his music. There were some genuine fans in the house, but as a whole, I’m not quite sure the collective truly appreciated his talents. He’s the type of DJ who plays it old-school: taking you on a journey, escalating slowly, teasing and taunting before all the big drops. But the crowd seemed hungry for bangers from the opening minutes of the set. People need to come to terms with the fact that his technique and vibe is not the same as a Rusko or an Armin.

For 30 years, he has watched DJs, producers and styles come and go. He has also led the pack of elite DJs who are massive draws, playing and creating amazing music, and who stay relevant to multiple generations. When you watch Cox maneuver the equipment and bend sound, you aren’t simply watching a DJ spin records for you to dance. You are in the presence of a legend: a man who has committed his life to an art form and who is to be respected. And in return for that respect, he will offer up hours of hedonistic beats that make you feel possessed. Not bad for $25.

Maybe it was growing up in south London, maybe it was the fact that he used to sit on the stairs at night at his parent’s house parties and listen to the social below. When his dad caught him and he invited him to join (“If you’re gonna be up, you might as well come downstairs”), an eight-year-old Cox clearly must have been changed for life. Even though today he’s committed to the hard, banging beats that he brings to a party night, in his off hours he prefers his Dad’s old soul records or the genteel house music of the 80s and 90s. Just another side to his extraordinary, ongoing love affair with music.

I can only imagine what he needs to do in his two months off (January and February) to recuperate before he starts up the season again, kicking it off with the Miami Winter Music Conference. When you encounter someone like this who embodies continuity, happiness and diverse musicality, bringing  joy to the masses, I can’t help wonder, as the holiday season approaches: Is Carl Cox better than Christmas? Discuss.

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Visit Caelin’s new site PUSH >PLAY

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WHO’S THE BEST PARTY ROCKER IN CANADA?

Saturday Nov. 13, Sound Academy, Toronto

Posted by Caelin Meredith

Last Saturday night the Red Bull Thre3style regional finalists took over the Sound Academy in Toronto. Having already battled it out in regional competitions, the finalists were flown into town to hash it out in front of thousands of fans (and dare I say “groupies”). With only 15 minutes each on the clock, they had to perform a live mix to highlight technical skills, tune selection, genre variation — and most important, to hype the crowd.

Names were drawn from a hat to set the order, with Drastik (Toronto) appearing last as the reigning champ. When he was asked whether there was an advantage to playing first because of song selection or to playing last because the bar had been set, he shook his head and said, “It don’t matter what you play … it’s how you play it.” And when asked who might be a worthy adversary, he said, “I’m looking out for Hedspin. He’s the one to watch — plus, he’s my partner.”

Judged by Grahmzilla, Jonathan Ramos, Grand Theft, DJ Dopey and Jesse Walton, the two-and-a-half-hour showcase was intense. Each selector definitely brought a unique flavour and vibe. I’d have to say the hometown boys had it best, with their legions of disciples out in full force, but that didn’t stop the others from truly representing.

The winner of the night will go on to represent Canada in the international finalsagainst heavyweights from Brazil, the U.S. and the UK. So who came out on top? Well, you gotta read on to find out!

Here’s a breakdown on each DJ and the four songs with the biggest crowd reactions.

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Creeasian - Edmonton

First up, and setting the tone for the whole night. He had a hard-hitting intro and his set was definitely the most soulful of the evening.

* “Rock Steady” – Aretha Franklin

* “Fantastic Voyage” – Lakeside

* “Push the Feeling On” – Nightcrawlers

* Finale – Hockey Night in Canada Mashup

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Adam Doubleyou – Quebec City

A hot, sweaty island-style set with soca and bossanova influences. Tune selection was his strength, and obscure genre blending. Plus, you have to have cojones to end your set with Elton John’s “Tiny Dancer.”

* “Let’s Start the Dance” – Bohannon

* “Don’t Stop (Wiggle Wiggle)” – Outhere Brothers

* “Smack My Bitch Up” – Prodigy

* “Super Sharp Shooter” – DJ Zinc

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Kid SL – Ottawa

Made a great statement opening with a custom intro track: “F*ck the Red Bull Style.” And displaying some tricks.

* “Rock the Funky Beats” – Aphrodite

* “Killing Me Softly” – Fugees

* “These Sounds Fall Into My Mind” – Kenny Dope

* “I Feel Good” – James Brown

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Hedspin – Van City

Technically, an incredible DJ. But some of his more obscure tracks, I think, went over the crowd’s head — they seemed fickle, waiting for the bigger jams to drop.

* “Rock Around the Clock” – Bill Haley

* “A-punk” – MGMT vs. “On the Next One” – Jay-Z

* “Hold Yuh” – Gyptian (Shy FX remix)

* “Take Me Higher” Kanye West

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Kato – Calgary

Due to sound issues, this set started and stopped a few times. Never an ideal situation, since you have to work twice as hard to get the momentum back up. But he slayed it with a confident, diverse set matched with crazy scratching.

* “They Reminisce Over You” – Pete Rock and CL Smooth

* “Rollin in the Deep” – Adele

* “Fade Away” – IDFK

* “Look at Me Now” – Chris Brown

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Mensa – Toronto

I don’t know if it was hometown bias, but the sound definitely got louder for his set. It was a jump-up, high-octane set with anthems. He was well represented in the crowd.

* “Rum and Red Bull” – Beenie Man

* Mash up: White Stripes vs. Party Like a Rock Star

* “Don’t Stop ‘Til You Get Enough” – Michael Jackson

* “All of the Lights”- Rhianna

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Hipnotic – Winnipeg

Technically a great DJ — and all over the place in terms of musical style.

* “High State of Consciousness” – Josh Wink

* “Power” – Snap

* “Set Adrift on Memory Bliss” – PM Dawn

* “Romie” – Beenie Man

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Kid MK- London

A cocky set — and I mean that in a good way. Opening with the 20th Century Fox movie theme, he delivered a aoca-flavoured set complete with flag-waving. This may have been what caused the groupies to throw bras and underwear on stage.

* “Goodbye (Na Na Na)” – Steam

* “Smells Like Teen Spirit” – Nirvana

* “Do What They Told Ya” – RATM vs. “Girls” – Jay-Z

* “Lose Yourself” – Eminem

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Hatchmatik – Montreal

No other DJ attacked the decks with the same fury as Hatchmatik. He set out to prove that selection and enthusiasm will win over the hard partiers, and had everyone in the joint bouncing.

* “I Like to Move It” Reel 2 Real

* “Still” – Dre and Snoop

* “Hello” – Martin Solveig/Dragonette

* “Show me love” – Robin S

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Plaeboi – Halifax

He was a showman — complete with slow rise from behind the decks and lots of singing back to the crowd and calling out his competitors. His set was hard and bass-driven.

* “Rock you” – Helix (Plaeboi remix)

* “Mama Said Knock You Out” – LL Cool J

* “Satisfaction” – Rolling Stones vs. “Satisfaction” Benny Benassi

* “Public Sound Off” – KRS One

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Drastik- Toronto (Defending Champion)

There was a lot of pressure, but Drastik left no doubt why he won last year. A good mix of quick cuts, fast, heavy samples and the right drops revealed why skill alone isn’t what wins you this competition.

* “Over” – Drake

* “Heads High (Kill’em With the No)” – Mr. Vegas

* “Enter Sandman” Metallica vs. Dubstep Mashup

* “Where’s Your Head At” – Basement Jaxx

But only one king can wear the crown — and in the end, it was … wait for it … Van city’s own Hedspin. A tight call for sure, but a worthy champion.

Click here to listen to the mixes.

 

[All photos by Caelin Meredith]

 

Posted by Caelin Meredith

CLICK HERE TO SEE CAELIN’S COMPLETE ADE 2011 PHOTO GALLERY

Amsterdam, Europe’s most risqué and cutting-edge city. It also happens to be the host of the premier Electronic Music (EDM) networking event of the year: the Amsterdam Dance Event (ADE). Unlike the Winter Music Conference in Miami, which, let’s be honest, is more play and some work, the ADE prides itself on bringing together the finest of every aspect of the EDM culture. As Tommie Sunshine put it: “If you’re doing business with someone and they aren’t here, then you shouldn’t be doing business with them.”

For five nights in early October, the streets are filled with the who’s who of dance music: DJs, producers, label movers and shakers, agents, promoters, PR reps, press and managers. It’s the classiest of everything — and funny enough, all of our North American taboos and assumptions about Amsterdam’s vibe actually fall to the wayside; the red light district and the coffee shops take a back seat to the main stage event of first class talent. It’s the perfect host city: small, walkable and relaxed. The laissez-faire attitude of its residents serves to chill everyone out.

The ADE is divided in two: the Conference and the Festival. The Conference, which takes place at the Felix, consists of meetings, panels, interviews/discussions and sometimes debates. Then there’s the Festival at night, which takes place at various venues in and around town, chock-a-block with unbridled sonic ecstasy. This year two new additions were added to ADE: the Hard Dance Event, which “aimed to connect professionals in the harder styles of dance music to discuss, experience and continue current and new developments in this genre,” and ADE University, “dedicated to the next generation of music professionals, featuring appearances by leading representatives from a range of music industry.”

Here are some of the highlights day by day:

DAY 1 –  WEDNESDAY

This is the main arrival day and the day the conference officially kicks off. In the past, programming has been lighter on this day than others, but this year the organizers decided to start with a bang. In order to set the stage for the “flavour” of this year’s ADE there was a featured “DJ Cook Off,” promoted as a new way of “mixing and dropping.” Household names like John Aquaviva, Olivier Giacomotto, Dubfire and The Stafford Brothers all had to cook a dish invented by the Keizer Culinary Institute in front of a live audience. The results were judged by — who else? — other DJs. This is the type of social event the conference likes to present: a way for everyone to blow off a little steam, and as Ryan Saltzman from the Bullitt Agency put it, “It’s exciting to see DJs out of their element, in another atmosphere, creating something.”

That night was the official music kick-off, although there had been some satellite events earlier in the week: heavyweights such as The Glitch Mob and Carl Cox at the Paradiso Club and Groove Armada at Melkweg (meaning Milky Way), plus Afrojack at Air. It was an ambitious way to start the five-day schedule. And while in a normal scenario moderation would be key, this was ADE and every night was gonna be a Saturday night.

Day 2 – THURSDAY

At the Conference, the key panels this day were “How To Score a Hollywood Movie,” “The Killer App,” “The New Ibiza … is Ibiza,” and a Q&A with Carl Cox. This was a formal and informal situation. Everything had been thought of: there were media lounges, press rooms, gathering places, bars and coffee shops all on site. It’s the epitome of professionalism, yet it retains its informality: after presentations, it’s easy to get access to moderators, panelists and artists to talk to them on a one-on-one basis.

After all the “work” that day came the 8th annual ADE Network Bash, a gala-type affair hosted in a converted church space with religious relics still adorning the walls. Free champagne, fresh cocktails and nibbles were served as a rotation of talent took to the decks. After a day of meetings, it was the perfect place to blow off some steam before the night got going. The feature on this night was the Pure Liner boat cruise: The Pirates of Cadenza. Boat cruise + Amsterdam canals + Top rated talent = Perfection, and a 6 am docking time!

Day 3 – FRIDAY

The mood on Friday is still upbeat despite two late nights under everyone’s belt. The enthusiasm is still there and the vibe is energetic. There’s so much business happening everywhere that one can’t help but be carried along with minimal effort and maximum output. Every direction you turn there is an opportunity to connect, network or socialize. The featured panels this day were “Wanna Cross Over – Watch Out For Pop Stars,” “End of the Free Era,” “How Relevant is Radio for the Next Generation,” “State of Blogs,” and “How to Crack America.” Then everyone relaxed for the Warner Music and Atlantic Records cocktail hour. bpm:tv was lucky enough to score interviews there with Hardwell, Tommie Sunshine and Busy P.

That night was another huge night of music at a cross-section of venues, from Gregor Tresher at an intimate space called the Chicago Social Club to Armin van Buuren at The Passenger Ferry Terminal, which houses thousands on a convention-type floor. The latter was the Dutch God in his own playground, as his legions of fans paid homage to their deity on his turf. I don’t think there was a purer “Dutch” moment than this all conference. Finally that night, Fedde Le Grand and company, including Chocolate Puma played at Air, a multi level club, with tiers of balconies all pressed vertically towards the stage. By the way, nothing ends at 4 am, everything goes until 9 am or 2 pm, but those people actually trying to do business usually call it a night at 5 am.

Day 4 – SATURDAY

Another informative and exciting day — further proof that the programmers for this conference are talented at creating a diverse spectrum of forums. The highlights were “Off The Record: Labels in a Digital Age,” “Q & A with Frankie Knuckles,” DJ to DJ – Too Many DJs , Not Enough Decks: What You Need in Terms of Skills to Stick Out From the Rest of the Jocks Out There,” and finally a “Demolitions Party”: You drop your demo into the collection box and see if Dave Clarke picks it.

It was also the 1605 Label Press conference, with UMEK and Hertz. A good example of labels pumping up talent and showcasing new artists, catered with fine fare and lots of swag. When asked what was so special about ADE, Hertz responded: “We’re normally screaming for ourselves, we should be screaming for each other. This is a place we can come to do that.”

This night was a trip outside the old city that required two expensive taxi rides — but they were well worth the price. The Objectivity party was at Toko MC, a stylish music venue with a huge, polished room and raised stage. Dennis Ferrer was the main act, hitting the crowd repeatedly with huge vocals and massive drops. Then it was on to Trouw for the Resident Advisor party. Trouw is a large, not quite dirty but definitely “urban” and minimal warehouse space, reminiscent of underground raves and parties of the 90s. You enter through the basement into a low-ceilinged sweat box with concentrated lighting and effects, then walk up a narrow staircase into a main room pulsing with hedonism and thunderous applause.

Day 5 – SUNDAY

There was no official day programming, but the night was capped with closing parties hosted by Roger Sanchez and Sander Kleinenberg. Sander rinsed out with a six-hour set and we pulled the rock star move: heading straight from the venue to the airport, club attire still on. One couldn’t imagine a better send-off from ADE.

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WEMF @ Madawaska, Ontario: August 12-14, 2011

Reviewed by Caelin Meredith

All Photos: Caelin Meredith

After a three-year absence, the 15th World Electronic Music Festival (WEMF) returned to South Algonquin, Ontario. Located on acres of beautiful farmland with a view of forests, fields and lakes, it was totally secluded but close enough to the town of Madawaska if you needed to get supplies, and organized to a “T” — Destiny Productions thought of everything, including providing shuttle buses to ferry weary partiers to and from the town and the beach so they wouldn’t need to move their cars.

Featuring a mixed bag of hard house, dubstep, drum-and-bass, tech house and, yes, even Rotterdam DJs, it was enough to satiate every musical taste,  and succeeded in balancing two nights in terms of talent share. If you were lucky enough to be one of thousands who attended,  then you were treated to heavyweights like Pendulum, Skrillex, Jack Beats, Friction, Flux Pavilion and Noisia to name a few.

The setup was awe-inspiring, and served to compliment and contrast the landscape. The spotlight was on the main stage or Tower of Destiny (pictured below) — a work that was commissioned especially for WEMF after the Destiny promoters met the stage designer at Burning Man last year. After seeing a few teasers on the Web site and a few posts with some footage of the stage, I worried that something so structurally epic might take away from the music and performances. I was sorely mistaken: it served only to enhance every act that played.

The two other stages were the Hard/Time stage and the Centre Stage, as well as a host of smaller community stages. One of them was called Jack’s House, after an Internet radio company from London that was broadcasting live and via Webcam 24 hours a day. The only ones not to take a break for the entire festival, they continued with DJs spinning for a full 48 hours. There were even some impromptu guerilla stages set up in Tent City and the RV lot, usually with something as barebones and minimal as a tarp, turntables and monitors.

Friday had several standout moments, the first from Skrillex, the Los Angeles native who’s conquered the world of dubstep, performing on the main stage in the Tower of Destiny. He had one of the largest crowds of the entire weekend, and received a hero’s welcome — not an easy feat considering the other acts that shared stage time with him. Calvin Harris (below) played a fierce set on the Time/Hard stage and dropped a killer remix of his own tune “Bounce” featuring Kelis. He even got on the mic and shouted “Hey guys, what’s up Toronto!” — to which the crowd, from all over Ontario, Western Quebec and the U.S., booed audibly. He wasn’t alone, either: other DJs who grabbed the microphone were at a loss when trying to pay respect to the geographic location of the night. Not to name names, but the worst was an artist on Saturday night who said “What’s up, Canada!” followed even more poorly by “You’re great, North America!”

Friday night also saw Infected Mushroom perform a live cover of Foo Fighters’ “The Pretender,” giving it their own spin. And like we’ve come to expect, Rusko headlined the main stage, dropping pure bass-infused dubstep and obviously having a ball, jumping up and down for his full 1.5-hour set.

In the smaller but no less devastating Moog Audio Tent, Donald Glaude (below) played to a smaller crowd after his wild main stage performance. He couldn’t get off the decks, and despite how tired I was, I — like so many others — just couldn’t leave. He was knocking everyone over with continuous bangers and enough bass to shake the foundations, keeping the crowd pumped and dancing until sunrise.

Saturday saw most people head off to the river or the beach, or hang and socialize outside their tents. People started to drift back to the music areas around 1 p.m., with the smaller stages leading the rhythms now. At Centre Stage, GRiMESKEE (below) dropped “Cracks” by Freestylers (Flux Pavilion Remix) whilst waiting for the audio to get sorted, and caught the attention of several passersby, who couldn’t resist and came in to get down. He was followed by an incredible old school jungle set mid-afternoon by Crash.

In the evening a wicked storm rolled through and everyone retreated to camps and RVs for a moment to chill out. The cooling effect seemed to have done some good, ’cause as soon as it stopped everyone appeared fresh-faced and ready, more than ever, for Round Two!

The old-school jungle continued with a great set from Doctor P on the main stage alongside the enigmatic Dynamite MC. He was joined later that evening on the Tower by D-and-B giant Andy C, who played to a large and very faithful crowd, losing none of his flock as the downpour started up again. The last of the big names was Dom B of Stanton Warriors, shackling everyone to the dance floor, despite it being 5 a.m., with guttural bass and wild ragga samples. On the Time/Hard stage at the same time that night were Digitalism (below) and Jack Beats making it hard not to be in two places at once.

Don, a.k.a Red Lion had the honor and privilege of closing the festival down from 7:30- 9:00 and controlling what we would be remembering on our respective drives home the next day. The musical experience this weekend was peaked with several remixes in different styles of Top 40. I don’t know that I’ll ever hear songs like Gyptian’s “Hold Yuh,” Olive‘s “You’re Not Alone” or the Temper Trap’s “Sweet Disposition” and not be able to think of WEMF 2011.

Aside from the rain (unpredictable) and the wait at the entrance (up to two-plus hours if you arrived Friday afternoon), music seemed to soothe whatever temporary discomfort one experienced, and everyone I met was having the time of their lives. I haven’t had the chance to speak with the guys from Destiny about future plans, although several status updates on Monday mentioned that planning for 2012 is already in the works.

This event was further proof that the Destiny brand is a major international player in concert production. WEMF is unlike a regular music festival, truly encapsulating what I would describe as the “Rave” culture, but perhaps even that term is dated and it’s time to re-define. There is a new generation of glowstick-toting, hard partiers who have genuinely embraced the spirit and are living out the philosophy of what it means to come together for the love of music.

The Governors Ball Music Festival @ Governors Island, NYC: June 18, 2011

Reviewed by Declan O’Driscoll

Well folks, summer is here — and festival season is upon us. bpm:tv kicked it off at the Governors Ball in NYC. Governors Island is such a cool spot for a music festival: there’s something so refreshing about leaving Brooklyn by boat, with the Statue of Liberty and the Manhattan skyline in full, glorious view. Not to mention the fact that the ferry is free.

We arrived on the island just in time to see Miami Horror (pictured top left), an awesome band from Australia with a new wave pop sound. Although they weren’t headlining, they had a whole lotta fans there: I overheard one girl in the ferry lineup say she’d traveled from two states away just to see them. When they busted out their anthem “Sometimes,” the whole place went mad. Everyone sitting around me jumped up and, with their hands in the air, charged running toward the stage, shouting to their friends, “I love this song!” If you haven’t been lucky enough to hear “Sometimes” already, check it out here.

One of the great things about the Governors Ball is that it has just two stages, with no overlapping sets. So you can see every band on the lineup, just by shuttling back and forth between stages. Another great thing about this festival? A banging sound system — one of the best I’ve ever heard at an outdoor event.

After Miami Horror, we headed over to the other stage to catch People Under the Stairs, an underground hip-hop act from L.A. with an impressive ability to break the sound down to beatboxing and freestyling.

A little tip for the festival-goer: always try to stake out a spot on some high ground where you can see over people’s heads. I was lucky enough to find a nice high spot for Neon Indian (pictured top right), a chillwave band from Denton, Texas, and was glad I did: they’re a stellar act to watch on stage. The way Leanne Macomber plays those keys and shakes those shakers — trust me, you’ll want a clear view.

I’ll admit, my heart sank a little when I saw a theremin — that staple of Fifties sci-fi and horror movie soundtracks — on stage for Neon Indian’s set. The trip this archaic instrument takes you on can get to be a little much. Thankfully, front man Alan Palomo used it sparingly — and when he did, it felt like an apt addition to the band’s set, which was lean, tight and boasted a badass beat. (Besides, there are always folks in the crowd who’ve never encountered a theremin before, and whose minds are blown the first time they see and hear it.  If you don’t know what I’m talking about, check out this YouTube video.)

Big Boi‘s set was pure, classic hip-hop:  bouncing on the beat with strict rhythm, and a wild-ass crowd shaking every little bit of their bodies. The congregation got mad and wild when Big Boi worked his way through a medley of Outkast anthems — “Two Dope Boyz,” “ATLiens,” “Me & You” and “Ms. Jackson,” to name a few. With everyone into the music and chanting along with the choruses, it was tribal shit in an urban setting.

And what’s a Big  Boi show without a little audience participation? True to form, the band hauled a whole line of hot, tanned New York girls from the audience to shake their thangs onstage, then busted into “The Way You Move” from Speakerboxx. What’s that, you ask? Is there not always one girl who bends over and obligingly shakes that ass for the insight and edification of all present? Why yes — indeed! There is, and she did.

Moving right along. My favourite parts of the set (my other favourite parts): the throwback to Queen’s immortal “We Will Rock You,” and my personal favorite Big Boi track, “Shutterbugg.”

Next up: Empire of the Sun, an Australian glam rock outfit — and I do mean glam. The production dollars that went into that show! Shiny, sparkling space-age costumes that George Clinton might have rejected as, you know, a little over the top. The audience embraced it, entering totally into the spirit and turning the dance floor into a wild masquerade of costumes and peacock-feathered masks.

Finally: Girl Talk (pictured below)! If you haven’t seen the pride of Pittsburgh, known to his mother as Gregg Gillis, then you’re depriving yourself of one of life’s great pleasures. Girl Talk puts on an incredible show, from the explosive LED and graphics displays, to  his gymnastics on and around the decks, to the 200-odd people he gets up on the stage, enjoying a big ole dance party while he lays down mashups like no other: Black Sabbath with Ludacris, Biggie Smalls with the Sex Pistols, Beastie Boys with Iggy Pop and Three 6 Mafia with Daft Punk. On and on, to keep us partying deep into the night.

All in all, a memorable day (and night). Next summer’s a long way off, but if you plan to start off your 2012 festival season with a trip to the Governors Ball, you can’t go far wrong.

Go here to download Girl Talk’s acclaimed fifth album, All Day.