Looking to end the year with a bang, then look no further than the high-octane energy of Major Lazer, Boys Noize, and GTA who will help close out the year at NYC's Pier 94 on December 30th. The show which is going to be a blazing hot ticket, will be a great opportunity to hear sick music and create a few more memories in 2013. Don't miss out on the chance to catch the world-famous party starters.
Tickets are now available here.
This is an absolute must-attend event so grab your ticket while you still can.
Get ready to rage, because PartySquad is in the house! Just in from Amsterdam, Jerry Leembruggen and Ruben Fernhout of the PartySquad are smokin‘ and blowing out tracks like #PANTSDOWN, and The Lion. They’ve recently shared the stage with greats, Skrillex and Major Lazer, and then to top that, they signed with the legendary Mad Decent record label. Joonbug sat down with the duo before they opened for M.I.A. at NYC's Terminal 5 this past Monday. They talked about current and future projects, breaking into the US market, and more:
Well, I come from a DJ/producing background, but the main thing that I'm going for is my AV shows, which is like a visual DJ set. So, I'm standing on a stage, the video screen behind me, people in the crowd, and I'm DJing with both audio and visual at the same time. The kind of visual shows that I construct can be anything, there's no rules. At the moment, I'm in the middle of a really big Australian tour. The current projects, beside that, and a really short – like, week long – trip to LA right now, are these couple of shows; one's a full show and the other’s a DJ set. So yeah, that's the main stuff that's going on right now. How did you get your start?
Basically, it's been like...slow, organic progressions from playing in Brisbane from the age of like, 17, in nightclubs, supporting bands and being in a couple bands, to starting to travel to other cities in Australia, and then starting to travel overseas. I worked in a record store for four years, and yeah it was just...organic progression. Then in 2008, the technology became available for me to present a visual show in the way that I wanted to present it, essentially, just running between records, instead of just transitioning between records as I would normally. The energy is better, I can link to the visuals as well, to have my own look and to engage people in a bigger and better way; to connect to people. So, I've really been pushing that as much as possible. I've been trying to kind of...break ground in my own kind of way, and just pushing that. Now that all of this new technology is available, what do you think the future holds for combined audio and visual production?
I think it will only continue to splinter off into more branches and different ways of doing it. At the moment, the community of people that do perform this way... well, the thing about it is, you can say that you're DJing to more people, and they have their preconceived expectations in terms of performance. What's going on behind that, like, how to DJ to both; that kind of thing. Whereas, with audio/visual DJing and performance, it's not as defined, so people don't really know what to expect or how to define it even. So, the people that do it – our sound, which is the best thing about it for me, is that everyone does it in their own unique way. Because it's not defined, there's no rules. So when people are putting stuff together, it shows that they can condense it in a completely different way, depending on who they are and what they want to do with it. So, in terms of where it's going...it will like, go off in a million different directions in a really creative way. What's your favorite part about performing?
Generally, it's just engaging with people. In my show, I like to make a connection, whether it be through audio or visual, by using stuff that people don't necessarily recognize; it's a lot of fun. For example, using something that they might recognize visually, and then completely flipping it and juxtaposing it with something opposite, something you would not expect. I love just seeing people's faces in the crowd when they're listening to the music. You can't really get that feeling when you're playing to thousands and thousands of people because they're a bit more distant. But, in every little venue and club where you can see the faces of the people in the crowd, and see their laughter at specific spots in the show; well yeah, I like just connecting with people... it's fun. What's been your craziest concert experience?
I actually have to say that about three weeks ago I played this Sydney show in this really cool festival. The thing with visual shows is...I like theming them. The current theme on this tour is stimulation, so it's very kind of raunchy, um...sexual kind of themed. Nothing like, nasty, but that definite kind of vibe to it. So about a half hour after I finished, I get a call on the radio from security that said, “two people were having sex during your show!” My initial reaction was...I think, happiness and pride?! I hoped, I mean – I imagined, that the show would have had something to do with it. Wanting them to like, not be able to keep it in their pants in that moment. So yeah, that's probably the craziest thing. There's been a lot of crazy stuff, but that's the most recent one. Do you have a pre-show ritual?
Well, it depends on if it's a DJ set or a visual set. A DJ set, I like to get to the club early and kind of enjoy the party and have a few drinks. A visual set has more going on, it's more of a live thing where I'm controlling more things than I would with a DJ set. There's a lot more technicality to it, so a lot of my pre-show is just focusing on exactly what I need to do, and just doing three things at once kind of thing; so just focusing. I actually like having a few beers at dinner, and then having a tea in my hotel room before I go to the venue; it actually really works. It's a combination of like, the beer loosens you up, but the tea gives you a mini caffeine rush and focuses you as well. Anyway, that's just one thing that I've found helps in both situations. What are your biggest musical influences and why?
The Avalanches. They're an Australian group that released an album in 2000, when I was in High School called, Since I Left You, which is kind of like the craziest collage record ever. It really personified hip-hop's ability to take a whole bunch of music and like, combine it in a whole new way. Like, basically, taking a whole bunch of content and flipping it and creating something new. That's always been a huge influence. Also, I'd say like, dub-reggae music in terms of when I'm working on tracks myself and producing. I take a lot from listening to dub producers, like Prince Jammy, Scientist, King Tubby, and like, listening to how they're like...doing things the wrong way, when it comes to mixing records and just breaking shit out and having it work in such beautiful ways. And, like, dub-reggae music in general. And I'm going to have to say stuff from Warp Records out of the UK, they're a cool label, I like a lot from them. Oh! And, Hudson Mohawke, the producer. What's the most embarrassing thing you have in your music library?
Oh, I don't know, I have a lot of embarrassing things! [laughs] Probably a country western version of Beyonce's Single Ladies by The Pigs. It's like, really bad...but really good. What's next for you, any big future plans?
I'm going to India in like, a month and a half! There's a really cool festival over there that I'm really hyped for. I love it because of like, all the places that I travel to, it's always really different, but always kind of the same as well. I'm looking forward to the Indian shows just because it's going to be a completely different experience, and a change. I'm also going to be doing some recording sessions with Indian musicians while I'm there. So yeah, I'm looking forward to that as well.
The Zeds Dead boys team up with Major Lazer earlier this year to create this collosul moombhaton/dubsynth track. With vocals from the legendary dancehall artist, Elephant Man, "Turn Around" has 'Twerk' written all over it. This song has been played at both contributors' sets all summer and has now been released for stream and free download! Put this one on the top of your playlist and you'll be sure to catch some twerking going on at your next party.
New York City just had the most epic hour lunch break with The Jillionaire and Walshy Fire as they took over Highline Ballroom today. Flavorpill presented the Absolut Lunch Break for New Yorkers that wanted to get out of the office and turn up at 1pm. The free dance party offered free Absolut mixed drinks, neon geek eye glasses, glow stick tubes, and a to-go lunch bag on the way out and back to work.
We usually assume that Friday the 13th brings bad luck; however, the constellations seem to be giving us a break for once as tomorrow proves to be the luckiest Friday the 13th EVER. For just one hour (1 - 2pm) you can take that much needed lunch break and hop on over to a free dance party and snag a free lunch to boot!
Ok, free things are lucky, but we said this is the the luckiest 13th, and here's why: The Jillionaire and Walshy Fire will be DJ-ing the event.
Diplo has been all over the place this summer - touring with his Major Lazer project, holding down Mad Decent's Block Party , and hosting his Mad Decent Mondays in Vegas. But more importantly, after the release of his last solo project, Express Yourself EP, he redefined the meaning of 'twerking', which is now clearly depicted on the cover of his upcoming release, Revolution EP.You can pre-order Diplo's Revolution EP on iTunes right now and you will instantly receive his new single "Revolution" after the purchase! The EP will feature a number of Diplo's friends - Mike Posner, Action Bronson, Travis Porter, and RiFF RAFF. Revolution EP comes out October 8.
For the first time ever, Mad Decent Block Party invaded Merriweather Post Pavilion in the suburbs of Columbia, Maryland on August 2nd. Hundreds of cars were parked in a grass field surrounding the venue, which was the ideal location for attendees to blast music and tailgate. We saw all sorts of attire while we sat in our car sipping from red solo cups: fluffies, knee socks, and bra tops that were way too small. There was a pretty even assortment of ravers, hipsters, and what you could call the wannabe “flower children” of our generation. What’s unique about Merriweather is that it contains a gigantic lawn that accommodates the people who chose to bring blankets and lie out on the field. Not only that, but as at any other show in the DMV area, we saw ample Maryland pride that was manifested in multiple people waving the Maryland state flag.
The interview was doomed from the beginning. “Diplo has landed. Along with the other two people that make up Major Lazer,” Kennedy began in her poor excuse for an “interview” with the group. She clearly had no idea that Diplo is Major Lazer (and the sole executive producer of the project), while Jillionaire and Walshy Fire are simply the co-stars of the group, aiding with production and live shows.
Not only is Kennedy’s laugh irritating, but the way she presents herself throughout the interview is completely unprofessional, and not in an endearing way. Within the first minute and a half she manages to call Diplo a “mothertrucker,” and then mocks him by saying, “I’m a DJ, cuttin’ and scratchin’, what what?! That’s what I do!” .....Uh, okay.
DJ and producer Diplo popularized the phrase, “mad decent,” when he created the LA-based record label in 2006. Artists signed to the label include, but are by no means limited to: Baauer, Dillon Francis, Cookers, Flosstradamus, Major Lazer, Rusko and Zeds Dead.
Two years later, Mad Decent began hosting block parties, and up until last year, MDBP was both a free and for all ages event. In 2012 MDBP reached Toronto and four major cities in the U.S.: Philadelphia, New York, Chicago, and Los Angeles. With bigger and better artists than ever before, it was inevitable that, this year, the parties would become ticketed events. The block parties began on July 19th in Calgary, AB and will conclude on September 15th in San Diego, CA. The remaining cities that will be/already have been played include: Las Vegas, Toronto, Philadelphia, Washington, DC, Ft Lauderdale, Atlanta, Brooklyn, Dallas, Detroit, New Braunfels, and Los Angeles (see schedule and purchase tickets here).