ALERTA! GTA makes their way back to NYC for a huge show this upcoming Saturday (9/7/13) along with fellow friend Chris Lake and Nom De Strip as apart of Chris Lake’s Rising Fall Tour. Brite Nites Saturdays at Webster Hall tend to be pretty crazy in terms of their production, including Cirque De Soleil style acrobats hanging from the rafters. Tickets are still available for this not to be missed event.
If you know me, you probably know how excited I am for this show considering that JWLS and Van Toth are my favorite DJ’s and Producers in the EDM game right now, producing tunes that are not confined to any genre, their live sets keep you alert and on your feet, playing everything including Moombahton, Electro, Trap, Progressive House, Dubstep, Hip Hop, and even Deep and Tech House. Nothing is out of the realm of possibility with these guys.
To get you a bit more excited for this weekend’s upcoming show, GTA recently just released their latest addition to their Death to Genre series, Vol. III : Made in America. While I’m not positive, I am assuming this is a recorded mix from their live set this past Sunday at the Budweiser Made in America music festival in Philadelphia. This mix, that’s FREE for download, gives you everything you would expect from the boys from Miami. Check out the mix below and tell us what you think.
If you can’t get enough of their latest mix, here are Volumes 1 and 2 for listening pleasure.
Last Thursday August 8th, Australian producer/DJ Will Sparks stopped in Boston as part of his debut North American tour – crammed with 24 shows in just over a month. Before Sparks took to the decks at Rumor Nightclub, as part of The Oxford Group‘s night with Tom Swoon and Richard Fraioli, he sat down with MMIBTY Co-Founders Jon and Brian to provide some insight into the life of one of the hottest names in dance music right now. Here’s what the 20-year-old had to say:
MyMusicIsBetterThanYours.com (MMIBTY): You’re from Melbourne Australia. Talk to us about the Melbourne House scene and how it’s not only influenced you, but how it’s grown around the world. Will Sparks (WS): It all started years ago, it was really underground, there was a small group who produced it and at that point it was really minimal [House] – but sort of bigger than minimal. Since then it’s evolved. There’s that Dirty Dutch sound and someone took pieces of Dirty Dutch and combined it with Melbourne sounds, adding Rap acapellas. Eventually – I didn’t start it – but producers began adding chords and emotion with the track instead of just big bass and booming sounds. And what I started doing was making it more, not commercial, but girl-friendly – something girls can dance to and not just this underground sound.
MMIBTY: There are other artists out there, like Flume for example, who have come from the Australian underground scene but then there are other artists who have started making, for lack of a better term, cheese. You and your sound don’t really fall into either of those categories. WS: No, no it’s not cheese. I did what I wanted to do, I created a sound that I liked and it turned out that more people liked it. But it has evolved a lot since then. If you listen to it a lot has changed – almost totally different genres, but the original Melbourne House sound is where it started.
MMIBTY: When did this sound turn into a world-wide thing? When did “Ah Yeah”, for example, turn into a global phenomenon? WS: Beatport dude. People bought the song a lot and it got up the charts and everyone around the world looks at those charts. That got me a lot of exposure, but so did TJR. He has supported “Ah Yeah” quite a bit and he classifies himself as sort of a “bounce” artist. He’s really pushed it. And TJR, an artist who’s on [Chris Lake's] Rising Music supported it, people like Laidback Luke and Aoki listened to it, and it just got supported. Tommie Sunshine loves it, he’s all about it. Laidback Luke loves it too.
Click through for more of the interview and some essential tunes!
I’ve been friends with DJ/producer Mike Vincent since the fifth grade. We met in English class in a town called Natick, 30 minutes outside of Boston. Mike was wearing a Rage Against the Machine t-shirt. I was (and still am) a Rage Against the Machine fan. From that point on Mike and I shared a common interest in music. We both liked the same bands and the same musical styles and we would continually share tunes with each other. Mike was always a guitar player and once I began playing the drums we would have recurring jam sessions, eventually forming the band A Crowded Mind. Mike and I did the band thing through high school but once college came we parted ways, keeping in touch sporadically. Finally Mike and I reconnected after college only to find out we both had a huge passion for dance music. While I enjoyed writing about and listening to dance music, Mike had taken things a step further with his background in music production: he’d been working on writing dance tracks and DJing at parties around Boston. After making some key connections in the industry Mike became a resident DJ at Bill’s Bar, located right next to Fenway Park. Bill’s is a unique venue in that it has the feeling of a bar while keeping the music format in the dance music world. As I was getting my feet wet with DJing myself Mike invited me to open for him during his residency and between the two of us we had many awesome nights on Landsdowne St.
I’d like to say I take partial credit in coming up with Mike’s stage name of Mike Vincent and that happened when things really started to progress for him. Between playing gigs around town and holding down a full-time job, Mike somehow found the time to hone his skills in the studio. Before he knew it, Mike Vincent was on the Barstool Blackout Tour, co-Headlining with Dante the Don and playing in front of thousands of people each night at venues like the House of Blues Boston, the Worcester DCU Center, Philadelphia’s Electric Factory, and Washington DC’s Fur Nightclub (just to name a few). Things kept getting bigger for Mike and this past Spring he decided to move to LA to pursue his dream of producing and DJing professionally.
This morning Mike Vincent sent over a brand new mix, compiled exclusively for MMIBTY. Having seen Mike DJ many times and having heard several of his mixes, I can honestly say this is the best 70 minutes he has strung together yet. The sound Mike Vincent prefers is something along the lines of funky bangers. Mike’s always preferred heavier tracks, but when he’s not in front of a crowd of thousands of screaming fans covered in foam, he prefers to break out the funkier side of hard-hitting House music. Mike and I share this in common. These days the key to my heart is a good bass line, something that has almost disappeared from dance music. But Mike has done his homework and mixed together a set that keeps things aggressive, fun, and flowing. The set opens with a Mike Vincent original called “Dirk Diggler”, out on his forth-coming EP, and displays his continued growth as a songwriter. The mix follows with a string of high-energy tunes including Paris & Simo/Merk & Kremont’s “Tundra” and the Sick Individuals remix of “We Are the Sun”. After taking a Progressive break with EDX’s “Hazed”, we’re treated to songs like “La Tromba” (Chris Lake & Nom De Strip Remix), another Mike Vincent original called “Monday”, a bangin’ track by Marcel vs. Stefano Pain called “Back”, and Madeon’s new track “Technicolor”. I love Mike’s inclusion of Michael Woods’ remix of “You Don’t Know Me“, Axwell & Sebastian Ingrosso’s “Roar” (funkier than I realized), and Felguk’s “Slice and Dice”.
Overall this mix is very well-done and I’ll definitely be playing it repeated times over the coming weeks. Make sure to show Mike Vincent your love and support and make sure to also keep your eyes locked on his SoundCloud page for new releases! *Track list after the jump!*
Want to be featured as part of our mix series? Email firstname.lastname@example.org to find out more!
A few weeks ago the MMIBTY team headed to Chicago’s Montrose Beach to cover the second year of Wavefront Music Festival. During that time we were fortunate enough to catch TJR‘s solo main stage set (my first time seeing him live) and his Day 1 closing set back-to-back with Chris Lake (yep, a double dose of TJR in one day). We were also fortunate enough to sit down and chat with the Connecticut native, who’s about as cool as they come.
MyMusicIsBetterThanYours.com (MMIBTY): We’re really curious about your live sets, how you plan what you’re going to play – obviously you play around with some House and Trap and my favorite new genre – “Go To War” heme songs – how do you figure out how to go about it? TJR: Recently for the festival type stuff I have basically a playlist set up with 4 different folders – I think I have like funky, trap, electro and Melbourne. Right? And I just go through those folders, I don’t have any set plan. I just have 20-30 tracks in each folder and go through back and forth while dictating the key I’m in. If I’m in like 9 in electro, I’ll look up 9 in Melbourne and move it all around.
MMIBTY: We saw how scratching was your thing. How did you integrate that in your set? TJR: When I first started to DJ, what really caught my eye like in the 90s, I saw House DJs scratching. So, I was into Hip Hop but I wasn’t into like turntables and like battle DJs. But I saw House DJs like doing it – like Badboy Bill from Chicago. So I was like ‘aw sick that’s pretty cool’. And then I got into more DMC stuff. But I think ’cause the 90s was like super into turntables and scratching and because I saw House guys doing it – it really just became a part of what I did. As opposed to now, DMC shit now – nobody knows what’s going on. I think it’s just because of the era I grew up in – scratching is just my thing.
MMIBTY: Most recently we tend to group you together with guys like Tommie Sunshine and Will Sparks who have aggressive but jacked-up kinds of sounds. But then you have the reggae-infused songs like One Love and Funky Vodka. What tends to influence you most when writing a track? How do you decide what direction to take your music in? TJR: If it’s sample based like Funky Vodka then the sample usually decides the vibe of the track. My bouncy stuff is more head-boppin funk vibe I guess. I keep the funk twangy like a banjo
MMIBTY: How was it decided you and Chris Lake would be doing a back-to-back set to close out Day 1 of Wavefront? Had you done one before? How did you like it? TJR: Found out a few hours prior but was totally fine. We’ve done it a few times before so it was a breezzzeeezzeeeee
MMIBTY: What are your thoughts on Wavefront as a festival? Although in its second year, it’s unlike other festivals in the U.S. where not only is it on the beach but it features a lot of underground artists that most major festivals do not book. TJR: I think it shows the demand for underground music in this area. Chicago and New York have always had deep roots so it’s a more experienced crowd.
MMIBTY: If you could play a set of entirely non-House tracks what genre would you play? What would your opening and closing songs be? TJR: Oh probably some different BPM stuff. It’s all new to me right now so I’d be into it. It’d start off with Banks and end with Sane Beats
MMIBTY: What’s the biggest compliment you’ve ever received. and to go with that, craziest tour story you have? TJR: For me it’s when people you respect as a producer acknowledge your work by playing your track. Doesn’t get old like me
My friend was djing once and decided to urinate under the dj booth while he was spinning. Huge puddle of piss is raging out making everyone scatter like it was a fire. gooood times!
MMIBTY: Regarding twitter talk with Zedd about numerous producers benefitting off of your ‘Ode to Oi’ sound on Beatport, how do you react to that? Is it flattering per se, or kind of annoying to see others try to rip off a sound that you’ve already established for yourself. TJR: I’m cool with it! I like to poke fun at a few that are a bit over the line but I feel it’s very flattering. If I can be an influence then that’s a cool thing. It’s not MY sound. That vibe I made is a huge result from Australia’s influence on me hence the name of the track.
TJR has been keeping busy with his touring schedule and by continuing to pump out tracks. His most recent tune, “What’s Up Suckaz”, is as bouncy as ever and dropped on Chris Lake’s Rising Music a couple weeks ago. It recently hit #1 overall on the Beatport Top 10 and is still holding strong at that spot today. Even better TJ is going on the road through North America with his Rising Music crew alongside Chris Lake, Nom De Strip, and more. If you live in one of the cities they’re stopping in you’d be stupid not to attend their show!
Last weekend Chicago’s Montrose Beach, located on the massive Lake Michigan, played host to the second year of Wavefront Music Festival. There were a few reasons the MMIBTY team couldn’t have been more excited for July 5-7 to arrive:
1.) Only one of us lives in Chicago while the rest of us either hadn’t been or we had visited and fallen in love with the city only to have returned home at a later time
2.) Wavefront is a three-day music festival that is literally on the beach, making it like no other festival in America
3.) It’s one of the few festivals that books big name acts (such as Rusko, Diplo, and Justice) while also focusing on more underground names in Seth Troxler, Jamie Jones/Damian Lazarus, and dOP to name a few. [Check out dOP's live set HERE]
The key takeaway from our experience with almost 75,000 dance music fans was this festival was so much fun and truly a fantastic time – maybe the best dance music festival in the U.S. But since we had a handful of writers in attendance I’m going to let you hear about it from each one’s perspective.
I don’t really have to say much here. One of Tommy Trash’s most underrated songs, in my opinion, is “Monkey See Monkey Do” which came out in November 2011 on Chris Lake’s Rising Music. If you want to talk about one of the most powerful sounds in dance music today, you don’t have to look much further than Tommy Trash, who is freakishly talented in his original productions, his remixes, and his live sets. Although he has been producing for many years, he came into his unique sound toward the beginning of 2011 when “The End” was released and it became a must-have in many DJs’ sets. I think the original “Monkey See Monkey Do” (which we posted HERE) was overlooked by many (compared to Trash’s other songs) because it’s not an outright BANGER that you’re used to from the Australian. It has more of a progressive and melodic feel to it, yet the bass lines and kick drums surely lack no punches.
This remix package, unleashed on Monday through Mau5trap Records, is incredible. You could pretty much close your eyes, randomly pick one of the remixes, and be satisfied with the outcome. If I had to guess the reason for bringing this song back with fresh takes it’s because it was so relatively overlooked by dance music fans. And if I had to guess even further, many people who became fans of Tommy Trash became fans after more mainstream releases like his remixes of “The Veldt” and “Ladi Dadi”. Tommy even created a re-edit of his original “Monkey See Monkey Do” to make it pack way more of a punch – a version that goes so much harder. Tom Staar‘s remix is the most progressive sounding of the four, with a signature Tom Starr chord progression. Zero Hero’s (who I can’t find ANY information about – please help!) goes HAM with a heavy Electro sound, and Nom De Strip‘s remix falls somewhere in between Electro and Progressive. All four remixes manage to hold on to the original qualities that gave MSMD its identity. Regardless, this package is for the true House fan.