Posted by Gosia Mrugala

Indefatigable bpm:tv bloggeuse Gosia Mrugala walks you track-by-track through the much-touted new Deadmau5 release, 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.

Hot Chip – Flutes (Sasha Remix): BUY IT ON BEATPORT

In brief: When I first started getting into EDM, SASHA was one of the artists who convinced me that my heart belonged to this genre. The Welsh DJ’s prodigious remix of Hot Chip‘s “Flutes” is the kind of track that you can imagine blasting at a beach party, in the comfort of your own home, or on the quaking dancefloor of Toronto’s legendary The Guvernment. It’s totally hypnotizing, drawing all the senses into its rhythm and bassline. Head on over to Beatport to grab the download.

LISTEN TO IT HERE

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

Posted by Gosia Mrugala

Los Angeles-based DJ/producer JOHNNY YONO is slowly but surely gaining a rep in the EDM community. His name is starting to be heard more, and his music is receiving serious support from some of the world’s top DJs (Armin van Buuren, Markus Schulz). His passion for music is evident in his productions, which showcase a unique electro trance style. “The Machine” opens intriguingly — and at the 2:59 mark it pulls me in completely: mind, heart and soul. His remix of Sunleed’s “Suspended Animation” is another impressive tune that shows off his ability to bring forth the most euphonious sounds. This is one artist I’m waiting anxiously to see live.

Check out the Q&A below.

GOSIA MRUGALA: How would you describe your musical style?

JOHNNY YONO: Well, it’s predominantly progressive trance but, I tend to use elements from electro, progressive house and techno, resulting in a big bundle of aggressive, clubby energy. I always write a track, whether it’s an original or remix, with the club in mind.

GM: Tell me a little bit about your White Light Sessions and how this has evolved since you started it.

JY: started White Light Sessions back in May of 2010, and over the course of those two years it’s captured a pretty wide audience across the globe. Some of my past guests have been Lange, Protoculture, Ferry Tayle and Juventa. You can catch the show on Pure.FM‘s Trance channel every fourth Friday of the month. Piecing together a radio show requires a lot more work than many people think, so when a particular episode is well received by your fans, it’s quite a rewarding feeling.

Johnny Yono: Fairfax (Original Edit): LISTEN TO IT HERE

GM: What influenced you to evolve from being in a rock band to becoming an EDM artist?

JY: I was a drummer for seven years and was heavily involved in rock music, but I ended up leaving my band to pursue an acting career, which later led me out here to Los Angeles. Breaking away from the band opened up a whole new chapter of my life, as I cleaned up the drug use and partied a lot less. EDM also grabbed hold of me at that time and spoke to me in a way that no other music had before. I’m deeply in touch with my emotions and this music is filled to the brim with emotion. I made a partial contribution to my rock band as a drummer, but with EDM I have an entire universe of sounds and instruments to manipulate, which allows me to create a real story from the heart and mind with no boundaries.

GM: Who are your biggest inspirations and what have you learned from them?

JY: As DJs we all have our own idols and inspirations. For me, Paul van Dyk was a major influence. I’ve watched his set from Dance Valley back in 2005 more times than I can count, and his music has always been so heartfelt to me. Tracks like “For An Angel” and “Time of our Lives” are musical pieces that will live on forever, and I’ve always wanted to write with the intent to impact people’s lives. Armin van Buuren has been another inspiration of mine for years now.

GM: Top 3 tracks at the moment?

JY: Wow, that’s a very good question. So many great tunes floating around nowadays. Off the top of my head:

• Corderoy – Mechanical Tears (Club Mix)

• Tom Fall – iROK

• Tritonal feat. Jenry R – Something New (Rafael Frost Remix)

GM: Which producing software do you prefer and why?

JY: I’ve been an avid FL Studio user since its primitive days of version 3 and couldn’t imagine using anything else. It allows me to manipulate anything and everything I want in any way possible, and the workflow is incredibly fast. It’s not about what you use, but how you use it. Many producers tend to think that the software defines the producer — but really, it’s the other way around. Whatever works best for that person — to each their own.

GM: Do you prefer DJing or producing?

JY: I could gab about this subject for days. DJing and producing go hand in hand now, and it’s one of the greatest feelings in the world to drop one of your own tracks during a live set — especially when they go absolutely insane for it. I never feel more alive than when I’m on stage behind the decks. DJing brings an overwhelming amount of joy in such a short amount of time, while the excitement of producing music stays with you for the long run, or until you finish a project. I’ll end this by saying that I love them both.

GM: Do you prefer playing at clubs or festivals?

JY: I’d have to say clubs. The intimate setting allows you to develop a deeper connection with the crowd, which is what I love most.

GM: What is one aspect about the music scene you wish could improve/change?

JY: One major problem is th0se promoters who would rather book a shit DJ who doesn’t produce music but brings a lot of people to the club, versus a talented DJ with tracks out on major EDM labels — one who might not bring in as many people but who has a real shot at making a career out of this. It’s a real shame. I do, on the other hand, understand that a nightclub needs to open its doors every Friday and Saturday night. It is a business.

GM: Where do you see yourself in five years?

JY: Traveling the world and playing at every major club/festival that has a demand for EDM. And hopefully still having time to teach music production and DJing.

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

Posted by Scott Willats

Do you feel it? I definitely feel it. It’s the sound of summer coming to an end.

Ok ok ok ok! Hold on! Quit throwing rotten vegetables! I didn’t mean to say that it’s over — only that this wonderful, busy, record-breaking summer of ours seems to be winding down. But it’s not all doom and gloom: after all, autumn is when producers head back in to the studio, study what they’ve hearing on tour all summer, and get down to creating some next-level shit.

Consider this a quick snapshot of what’s going down as the summer draws to a close.

Anthem. ’nuff said.

Sebastien Tellier – Russian Attractions (Nation Remix): LISTEN TO IT HERE

Benny Benassi takes on the Legend.

Bob Marley & The Wailers – Jammin (Benny Benassi Remix): LISTEN TO IT HERE

The trap is back, as Flosstradamus continue making next-level shit.

Flosstradamus – UNDERGR☢UND ANTHEM: LISTEN TO IT HERE

A little tardy on this one — but the grime is so epic I’m thinking you’ll forgive me.

will.i.am feat. Eva Simons – This Is Love (Afrojack Remix): LISTEN TO IT HERE

Already a huge fan of the original, I appreciate Frenzy’s decision to wait on the remix so it could get a proper hearing. Wicked.

Childish Gambino – Heartbeat (Frenzy Re-Bounce): LISTEN TO IT HERE

Got more trashy electro for you, right here.

La Musique D’Ordinateur – Revolver (Andy’s iLL Remix): LISTEN TO IT HERE

I’ve been telling anyone who’ll listen about this kid for a while now: he makes wicked electro house. Case in point.

Le Castle Vania – Play Loud: LISTEN TO IT HERE

Funky as f**k!

Surrender! – S_M_A_S_H (Blende Remix): LISTEN TO IT HERE

This is massive, but I can’t seem to find a copy of the whole thing, so we’ll make do with the video.

Heavy heavy heavy remix of a crowd favorite

This just feels good down in your bones

 Follow Scott Willats (SAWStruck) on Twitter

In which Toronto’s Warrior Music goes dubstep all over “Zia’s Theme,” a folky tune from the soundtrack of the video game Bastion, and makes vocalist Ashley Barrett‘s promise to “build that city on a hill” sound ominously like a threat. You can download for free at warriormusicbass.com. Level up!

Warrior Music- Bastion (Original Mix): LISTEN TO IT HERE

Check out the original track:

Posted by Scott Willats

My new obsession is NYC electro-pop duo The Knocks. Though they’ve been around since 2007, putting out substantial remixes and originals, it’s only in the past six months that, for me, they have really started to shine. The distinctive way they blend electro with pop-funk gives you a sound that’s been missing from today’s general noise. And their remixes offer clear proof of musical knowledge well above the norm. They know how to preserve what you love about the original song while adding something that feels like it should have been there from the beginning. Right? Right!

What I didn’t know about B-Roc and JPatt — and shame on me! — is their mixing ability. They’ve just released a 15-minute mix that features no less than 46(!) different songs. For those of you who constantly flip radio channels in your car or skip tracks on your iPod faster than Usain Bolt on race day, this mix will be right up your alley. As for those of you who appreciate tracks from start to finish … well, I urge you to do just that: listen to this mix all the way through. It doesn’t feel at all like a clusterf**k of pop tracks; it’s a perfectly balanced blend of familiar tunes and hidden gems that you probably overlooked in the past.

One thing is certain about it: shit knocks!

TSIS Megamix Vol. 1 – The Knocks: LISTEN TO IT HERE

Masssssssive!

Santigold – The Keepers (The Knocks Remix): LISTEN TO IT HERE

The Knocks – The Feeling: LISTEN TO IT HERE

 Follow Scott Willats (SAWStruck) on Twitter

Posted by Scott Willats

And here we go. Y’all getting sick of me talking about festivals? Well sorry, but tuff f***ing luck. Because this weekend Toronto the place in the world to be for EDM. Or any kind of music, actually.

Sure, Montreal has Osheaga happening, which promises to be nuts in its own right But Toronto is bringing the heavy, what with VELD and HARD both going down this weekend.

What’s HARD, you ask? Just a little gathering featuring the likes of M83, Buraka Som Sistema, Austra … oh, and Justice. Sorry, let me rephrase that: JUSTICE!!!! The French icons make their looooooooooooooong-awaited return to Canada in style. Fort York is a special place to be this weekend.

And then there’s VELD, the brainchild of Canada’s own EMD titan, Deadmau5. Check out this lineup: Avicii, Kill the Noise, Mord Fustang, Bassnectar, Cosmic Gate and soooooo many others are busy tearing Toronto’s Downsview Park a new one. Rain is in the forecast for Sunday, but it’s gonna get real messy long before that. Canada, this is our weekend!

And with that, it’s on to …. THE SWEETS!

This will get your weekend going just right. A free download that hits the spot.

Of Monsters & Men – Little Talks (The Knocks Remix): LISTEN TO IT HERE

In anticipation of Saturday’s main event: 5omething brand new from the Mau5.

Deadmau5 – There Might Be Coffee: LISTEN TO IT HERE

The second installment of Fools Gold‘s Clubhouse compilation series is just as heavy as the first. No point trying to pick a favourite: here’s the whole thing, amigos. Did I mention it’s FREE?!?

Fool’s Gold – Clubhouse Vol. 2: LISTEN TO IT HERE

I got news for you: this isn’t house.

Dream – This Isn’t House EP: LISTEN TO IT HERE

Big room time!

Zedd feat. Matthew Koma – Spectrum (3LAU Remix): LISTEN TO IT HERE

Eddie Thoneick & Norman Doray – Celsius (Original Mix): LISTEN TO IT HERE

How can you not love Montreal’s Adventure Club? OK, maybe the sound is becoming just a tad predictable. But that in no way means it’s played out. And the fact that it’s free is an added attraction.

Adventure Club – Retro City: LISTEN TO IT HERE

Brand new Sound Remedy!

Ellie Goulding – Hanging On (Sound Remedy Remix): LISTEN TO IT HERE 

So glad the full version of this is finally out. This is special.

VISUAL SWEETS

Already a huge fan of Dan Black, but this is trippy. I love it.

Nobody’s quite doing it like Calvin Harris right now. Anybody else thinking it’s time for him to do an album with Example?

August 10th. The Hoxton. You will find me there.

Justice flashback!

… and that’s it, kiddos. Be safe this weekend (but not too safe) and make sure you rep bpm:tv a llllllll weekend long!

 Follow Scott Willats (SAWStruck) on Twitter

Atlanta, Georgia isn’t exactly known as hotbed for electronic music, but LE CASTLE VANIA (a.k.a. Dylan Eiland) is doing his bit to change that. He burst on the scene in 2006 with a buzz-worthy remix of “Black Eyes” by fellow Atlantans Snowden, and quickly earned a rep as an artist to watch. Part of the new wave of American DJ/producers who’ve shifted EDM’s centre of gravity Stateside, he’s earning rave reviews this summer as one of the stars of the Identity Festival tour (alongside the likes of Eric Prydz, Nero, Wolfgang Gartner and Madeon), while busily prepping his debut album. Here, he chats with Toronto’s DJ Soundbwoy (a.k.a. Chris Wilson).

CLICK HERE to follow DJ Soundbwoy on Twitter.

DJ SOUNDBWOY: Where did the name Le Castle Vania come from?

LE CASTLE VANIA: Umm, it’s a boring story. There’s nothing really interesting about it — I just basically made it up.

DJS: What made you get into DJing?

LCV: Well, first thing, I just really loved music and electronic music. The thing that inspired me, though, to really start DJing was when I was 16: I tried to sneak into this club to see some DJs, but it was an 18 and up club. I had a fake ID, but got totally rejected at the door. A bunch of my homies were with me and they had all gotten in, so I had to go sit in the car and wait for them. The car happened to be parked behind the club, and as I was chilling there, bummed that I didn’t get in, I just stared seeing all the DJs coming and going out the back door. Something just clicked in my head and I was, like, if I was a DJ I could get in wherever I wanted, see the DJs I wanted to see, and be a part of that crew and lifestyle. So that was kind of thing that inspired me to start producing and DJing.

DJS: Was it always your main goal to start producing music?

LCV: I was always more inspired by writing and creating music, ’cause that’s where my passion is. DJing, though, is kind of like the reward for creating music, ’cause that’s when you get to unleash it on the audience and see people go off to it.

DJS: You don’t hear of many electronic music artists from Atlanta. That being said, what were your musical influences and how do you try to incorporate that into your sound?

LCV: Atlanta is kind of known for being more of a hip-hop city as far as music goes. But there’s actually a lot more going on in Atlanta — there’s an electronic scene that has grown there, and there’s always been a cool indie rock scene there as well. But you know, my whole sound and vibe is very inspired by the fusion of electronic music and rock music. I sometimes deviate from it and do a lot of different things, such as the Cee-Lo remix, which had a lot more disco influences. I try to take influences from all over and from all the different music that I like.

Cee-Lo – Fuck You (Le Castle Vania Remix): LISTEN TO IT HERE

DJS: How did the “Fuck Yess” monthly party come about?

LCV: Fuck Yess was a party I started in Atlanta because at the time there was no club or venue that you could go to and hear the type of music I was producing — like that indie electro, more aggressive dance music with an indie rock influence. So basically the vibe of the party is buck wild-ass people and music.

DJS: What’s the weirdest or coolest thing you’ve experienced playing a venue or festival?

LCV: The coolest thing is always connecting with the people like when you play at a big festival and you’ve got thousands of people with all that energy coming back at you. As for the weird stuff, I’ve experienced so much — but what happens on the road stays on the road.

DJS: Having been an underground DJ who’s emerged onto the wider EDM scene, how do you feel about A-Trak’s article in The Huffington Post about “button pushers”?

LCV: I’m not going to go into any comments about other artists and their opinions. What matters to me is that I came up learning to DJ on vinyl, and learned the ropes the right way and the real way. But at the end of the day, these kids are coming out to part — so if someone is screening a presentation that sets it off, and those kids have a fun time or it heightens the experience to a level they couldn’t do otherwise, then I ain’t mad at them. Everyone just needs to just chill the f**k out and let everybody do their hustle. If that’s not how you want to do things, then you don’t do things that way — you know what I’m saying? We just got to let everybody do their thing. Nobody needs to be trying call anybody out or trying to hate on everyone. The scene is growing and let’s just be happy about that. Every act in electronic music that gets bigger creates more opportunity for every other act in electronic music, and that’s the reality of it. I respect everyone’s hustle. Let’s just let them do their shit the way they want to do it.

Kaskade – Turn It Down (Le Castle Vania Remix): LISTEN TO IT HERE

DJS: With the release of your full-length album coming up, what can fans expect to hear?

LCV: Well, I mean, it’s an album so the whole point is to create a journey. But you’ll just have to wait and hear it. It is definitely a diverse range of my sound, though.

DJS: What is one thing our readers should definitely know about Le Castle Vania?

LCV: There’s only one thing I want readers to know, and it’s my music. Go check out the Web site — there’s tons of free stuff for download.

To download Le Castle Vania’s newest track, “Play Loud,” for free – CLICK HERE!

RAPID-FIRE ROUND

First thing you do when you wake up in the morning?

On tour I sleep until about 2-3pm, and then I go out and check the stage setup for that particular show.

When you were a kid what did you want to be when you grew up?

An animator/cartoonist.

Must-have item on your rider?

Bombay Sapphire.

Motto you live by?

“Nobody gets out alive, bring it hard!”

Turntables or CDJs?

I learned on turntables, but basically my shows got so crazy that the needle would skip and cause too many technical issues, so I had to switch to CDJs.

Posted by Caelin Meredith

Almost at the of the RBC Royal Bank Bluesfest, and for EDM fans in Ottawa this was to be their day. Strategically, the Electro Stage showcased hip-hop as the Full Flex Express took over the Main Stage.

An homage to the legendary 1970 Festival Express tour that sent Janis Joplin, The Grateful Dead and The Band rolling across Canada by rail, the Full Flex Express packed Skrillex, Diplo, Grimes and Pretty Lights aboard a specially outfitted Via Rail train to party their way from from Toronto to Vancouver.

The set started at 6 pm with Diplo playing in 34-degree heat to about 10,000 people. He was in a chatty mood, continuously introducing his tracks on the mic and joking, “I heard Ottawa was harder than Toronto — but I had no idea how much harder!” This latter met with screams and cheers.

He dropped AC/DC to a thoroughly crazed reaction — no surprise, given, as I’ve mentioned before, Ottawa’s classic rock roots. Plus “Roxanne” by The Police with a deep Moombahton flow. The other huge anthem: “Rack City” remixed in various flavours.

Diplo felt so at home here he spent the last minutes of his set crowd-surfing, holding the mic and chatting. DJs jumping into crowd: is there any lingering doubt they’ve become our new rock stars? Nobody can touch them right now (figuratively speaking).

Meanwhile, over on the Electro Stage, Tyga was in the process of sending Ottawa’s hip-hop lovers ballistic.

I honestly had no idea that the local “heads” were so f**king nuts for the Cash Money/southern ballers style. But they lost it from the moment he hit the stage. He slammed it non-stop, and I had to duck side-stage as soon I heard the first few bars of “Rack City” — I could feel they were gearing up to lose their shit.

Elsewhere, Skrillex’s fans were busy getting ready to freak out the f**k out.

Pretty Lights was next up on the Main stage, as the crowd continued to swell. His set was orchestral and massive, punctuated with tunes like this one: “I Know The Truth.”

And finally, the main event! Skirllex brought a larger and more elaborate show than he had the previous night in Toronto. The backstage was closed due to all the pyrotechnics, lasers and whatnot, which meant no photography. So I had to sneak these …

This was a full-fledged rock concert ordeal, on a par with or bigger than what any of the week’s other main stage headliners had delivered — and the record crowd of 30,000 freaked to every minute of it.

… and FINALLY, an after party!

With the train set to depart at 2:30 am, getting to the party felt a little rushed, but once everyone got to Ritual Nightclub and settled in, the only issue I could foresee was getting all the artists to leave on time.

After Koan Sound (who are also on the train) played a dubsteppy set (including ragga jungle licks like “Special Dedication”), it was down to the Don. Skrillex, having just performed a full-on concert, played another few hours at this intimate club venue.

And the crowd was right there with him, partying on just as hard.

He gave it everything he had, sweating profusely and never letting up — even taking the photographer’s camera and snapping pics of himself with the crowd. Steadfast and dedicated, he is without question the hardest-working DJ out there right now.

And with that, the Full Flex Express left Ottawa as quickly as it had come, leaving a trail of wondrous disaster in its wake.

Check out Caelin Meredith’s site PUSH > PLAY.

Posted by Caelin Meredith

After going dark for a few days the Electro Stage came alive for the final weekend of the RBC Royal Bank Bluesfest in Ottawa. And if you’ve been reading the recaps so far, you’ll know that the fest is definitely due for a name change, what with a lineup that includes headliners like Skrillex and metalheads Mastodon. Although perhaps distantly blues-inspired in some former lifetime, neither heavy metal nor dubstep could really be said to fit on the same bill as Howlin’ Wolf.

Toronto-based Grantdtheft was first up on the decks this Friday night. As a self-styled DJ/VJ, his forté is integrating video with his audio mixes. I thought he was doing this all in real time, and he assured me later that he was — but the real work lies in the gruelling studio process of synching video to audio. Once that’s uploaded (see “days of work”), then he mixes live as per usual.

Mad skills and loveable tunes that had the crowd singing along; hip-hop and reggae anthems and hooks like no other DJ  had summoned all week. And maybe a few guilty pleasures rolled up in there as well.

A festival generally means fewer rules than a club gig, more freedom and less pressure to bring the latest and greatest. You get to play in more of a relaxed, party atmosphere. So maybe the reason I ended up hearing the remix of “Fading Like A Flower” twice in one week!

Then … it was time for Drop The Lime.

LISTEN TO DROP THE LIME ON SOUNDCLOUD

The last time I’d seen him was with Major Lazer in Toronto at Sound Academy, and this was definitely one of the sets I was looking forward to most: he seems to plays all my favourite jams, with tight technical mixes.

A natural-born musician, he also took an opportunity to chat engagingly with the crowd. Definitely one of the house -ier sets of the week, it got the ladies onto the dance floor — and the guys quickly followed suit.

Red Bull + fire extinguisher = the perfect metaphor for his set. Pulsating rhythms and beats that grip the heart. Beautiful and classic vocals co-existing peacefully with dirty, grimy bass lines to whine your waist.

Here, the boys chill offstage and catch up. These festivals give you a chance to see old friends and get to know new ones.

A-Trak, the evening’s headliner, turned in an absolutely mental set, drawing a crowd even larger than Tommy Lee and Aero’s or Paul Oakenfold’s — no small feat.

A ton of Montrealers made the two-hour drive and placed themselves strategically in the crowd to cheering with fierce Canadian pride for their hometown hero — a onetime DMC champ who has toured with the likes of Kanye West.

A-Trak’s quiet demeanour offstage belies his onstage persona: the “Big Bad Wolf.” Can you guess, by the way, which track was the banger of the night? Here’s a hint.

No question, this was the perfect way to gear up the Electro Stage for the final weekend of the festival.

Check out Caelin Meredith’s site PUSH > PLAY.