WILL SKRILLEX, DIPLO & A-TRAK’S POTATO EAT US?

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BILLBOARDCOVER

 

 

 

 

 

For the last week or so we’ve been seeing subtle hints at something called Potato Will Eat You from these three’s social media.

I personally was hoping for the love child of Skrillex, Fools Gold and Mad Decent, destined to be on repeat for at least 3 days in my car, but yesterday we got eaten by a more visionary announcement, so kudos to these guys for looking out for the little guy.

It turns out Potato Will Eat You is a joint venture You Tube channel, where they’ll premiere new music, programs and DJ mixes. The verdict’s still out on what this will actually mean, but we got our first serving today with Diplo’s “BUTTER’S THEME” ft GENT & JAWNS.

Screw the man. Artists should rule the world.

Mixmag | SKRILLEX, DIPLO AND A-TRAK LAUNCH YOUTUBE MUSIC NETWORK.

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NEW PHOENIX | ENTERTAINMENT JUST IN TIME FOR COACHELLA

Christian, Branco, Thomas and Deck.

I love these French boys, but based on this track, it sounds like their long awaited new album might sound just like their last one, which was amazing nevertheless.

Bankrupt! may not be revolutionary, but it’ll still be Phoenix. I hope they surprise us at Coachella with more. Look for it in April.

EXPRESSING LOVE FOR FRENCH EXPRESS

Last weekend, in typical 4 AM fashion at a warehouse party, I was having a conversation with a guy in a sequined jacket who called himself 2 cent. “No one gives a shit about an $11 album sale anymore. It’s all about the cover charge at the door, and the T-shirts”, he said.

With so much competition, and so many ways to get music for free, artists, especially EDM artists, don’t have the luxury to wait for some big label to turn them into brands. Talent isn’t enough anymore. If you don’t have the social media game down, you’re getting left behind because the kids can’t find you, so the big wigs don’t hear you, and you know what the kids love? Discovering good music for free.

French Express, the self proclaimed protectors of feel good, are my new favorite talent crew, because they do just that. First with Isaac Tichauer’s “Doing What I got”, then Chris Malinchak’s “So Good To Me”, and now with this new track from Moon Boots.

I’m excited to find out who’s next!

TROPICAL DISCO | SALON ALCAPULCO

Mexico makes a weird baby with South Africa, but it’s the jam! Sip on a pina colada and twerk. I have a feeling this will be a popular summer sound.

THE LA TIMES EDM JOKE… SORRY ARTICLE

My college roommate overdosed on E. She wasn’t at a rave. She was just a party girl at a nightclub, trying to numb the pain of a recent break up.

No one is saying drug abuse isn’t a scary problem that needs to be dealt with, but blaming the EDM scene for a few unfortunate kids, whose extent of drug education was probably nothing more than “just say no”, is grossly uniformed, and sloppy reporting. You’d think investigative journalists at The LA Times would be required to immerse themselves in a culture before writing an article about it.

Last weekend the 3 squares below released an article on the LA Times blog, essentially blaming Insomniac for deaths as a result of ecstasy overdose, and urging cities to rely less on income from raves in order to decrease the likelihood of drug related deaths. By this logic, we should also go back to prohibition, ban guns and outlaw cigarettes.

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This set off a firestorm of backlash from the EDM community.

Dusty LA times completely missed the point of the criticism, and tried to defend its position by siting more detailed death statistics as a result of drug overdose at EDM events, followed by a series of  emotional appeals to make an old idea seem relevant and newsworthy. As unfortunate as those deaths are, abstinence is the same obsolete solution that the conservatives have been using for decades to justify the war on sex, drugs, and now music. Has it helped?

“The War On Drugs Has Failed”, said a 19-member global commission in 2011.  A 2008 study by Harvard economist Jeffrey A. Miron estimated that legalizing drugs would save U.S. taxpayers $76.8 billion a year—the kind of revenue that could make rehab, and mental healthcare free and accessible. Kaskade said it best: “Clearly, if the US Government hasn’t come up with the magic bullet to quell the problem of drugs in this country, it is not reasonable to expect an event promoter to pull this kind of trick out of his hat either. “

Maybe it’s time to come up with better ideas, instead of scapegoating the new kid on the block to beat the same dead horse.

Technological advances in music production, Internet and social media have catapulted EDM into the mainstream, in the same way that the electric guitar, amplifier, microphone, and the 45-rpm record propelled rock and roll in the 50s.  The parallels are uncanny. There were haters then, and there are haters now.

Rong-Gong Lin II, Paul Pringle and Andrew Blankstein’s pathetic attempt at blaming drug deaths on EDM was shortsighted. Dance music isn’t growing because it provides a safe haven for drugs. It’s growing because provides escapism from a world that is increasingly harsher and more judgmental. EDM event organizers are making people happier by bringing fans from all over the world together, and providing a fun community that is full of love and acceptance. Something the LA Times should’ve looked into before pointing fingers at people who are doing more good for our society than harm.

TRIPPIN’ ON ACID

I got my music junkie high today when I stumbled across Acid Invaders’ remix of Alt-J’s Breezeblocks.

I was wishfully looking up flights to Tomorrowland, and trying to figure out how long I would need to live off of top roman to go, when I realized they’re Belgian. Must be a sign right?!

Acid Invaders released their first techno house album last April. They have their own european digital feel that fuses dubstep influences with ravey synths to hardcore techno beat. According to their site, they incorporate sounds from detroit, wink, dahlback and many other producers into their unique acid soundscape. In 2012 they decided to tour with a true acid live act, injected with robotic voices, dark haunting melodies and strongly-built climaxes –  An abstract hypnotism and in-your-face techno that’s starting to detonate international dancefloors.