LED Presents: MY LIFE EVERY DAY USA - 2 DAY PASS
Sat, May 25
Mon, May 27
LED Presents: MY LIFE EVERY DAY USA
Axwell, A-Trak, Baauer, Brodinski, Clockwork, Congorock, Digitalism, Diplo, Feed Me, Gesaffelstein, Hook n Sling, Martin Solveig, The Presets, TOTALLY ENORMOUS EXTINCT DINOSAURS, TJR, Destructo, Just Blaze
3500 Sports Arena Blvd.
San Diego, CA
This event is 18 and over
Axwell (born as Axel Hedfors, 18 December 1977 in Lund, Sweden) is a DJ, remixer, record producer and record label owner from Sweden. He is part of a three person group dubbed the Swedish House Mafia...
Very few DJs can jump from club sets to high-profile festival performances, to Kanye West's larger-than-life stadium shows with ease. In today's DJ culture, A-Trak holds a truly unique place. He and partner Nick Catchdubs founded America's most trendsetting new label, Fool's Gold, launching the careers of artists such as Kid Sister and Kid Cudi. Fool's Gold's mission to merge all aspects of club music was already outlined in Trizzy's original mixtape manifesto, Dirty South Dance, which set the tone for his own production. He is now one of the most sought-after remixers in electronic music, and his remixes for the likes of the Yeah Yeah Yeahs and Boys Noize have become undeniable mainstays in DJ sets the world over. 2009 saw the release of two critically acclaimed DJ mixes, Infinity +1 and Fabriclive 45, as well as the birth of Duck Sauce, his collaboration with Armand Van Helden. The duo's radio smash "aNYway" cemented itself as the dance anthem of the year, A-Trak's first true chart-topper with two videos in international rotation and across-the-board support from Pete Tong to Busy P, David Guetta to 2manydjs. Duck Sauce's 2010 follow up "Barbra Streisand" was even bigger, a whistling pop sensation that accumulated over 60 million YouTube views of its star-studded video while hitting platinum heights around the globe. They even covered it on X-Factor and Glee!
Not bad for a kid whom many viewed as a 90's turntablism prodigy. After taking home every DJ title known to man before he could shave, A-Trak toured the world, first alongside Q-Bert's Invisibl Skratch Piklz and then with Craze and the Allies. In 2004, he was hand-picked by Kanye to be his tour DJ. A near decade of youthful meanderings was captured on his acclaimed DVD Sunglasses Is A Must.
Somewhere along the line, A-Trak also became a new-school sartorial icon, collaborating with Nike, New Era, Kidrobot, Zoo York and pretty much every designer worth his salt. And all the while, his brother morphed into the lead singing lothario in the acclaimed electro-pop sensation Chromeo. The last couple of years have seen Trizzy headlining tours and festival stages the world over. Add to that scratching on Common's classic Be, Kanye's Late Registration and Graduation, Kid Cudi's Man On The Moon and Drake's Thank Me Later, as well as producing Kid Sister's debut album Ultraviolet, collaborations with the likes of Lupe Fiasco and Laidback Luke, and original releases with Stones Throw and Kitsune.
After years of schlepping vinyl, accumulating air miles and dressing smart, A-Trak has finally become the man to call to make the kids dance. Ask him and he'll tell you that this is the moment he's been waiting for his whole career.
The love child of Brooklyn and the Internet, Baauer was born out of noise. A sound that began steeped in the 4/4 dance tradition, slowly took on hip hop tendencies until the two became one. Influenced heavily by southern hip-hop and UK bass sounds, Baauer has found himself smack dab in the middle of the electronic renaissance. He is the delectable fusion of future-crunk and leather shaken aggressively in a bottle for years and has only just opened the top to pour the mixture out.
"Brodinski is the most exciting dj and producer to explode onto the scene in recent years. Yes, he may hail from France (Reims, Lille) but he is quite unlike any of his Parisian peers. His taste in music is broad and this is reflected in his own productions and dj sets which may encompass noisy techno, bass heavy house through to more melodic minimal. His programming is impeccable and he plays with such spirit that his 6'2'rame jerks and bounces when he gets excited by a track (yet he is neveruelled with anything more than Fanta Lemon!). The hot fuss started with his debut track Bad Runner which leaked onto blog sites months before it's release on Mental Groove in October 2007. Supported by everyone from Soulwax, Tiga, Chloe, Erol Alkan, A Trak, Busy P, Switch and Laurent Garnier the track peak time techno with Martian's yakking through it was one of the sleeper hits of the year. When it was eventually released the subject 'Bad Runner' had garnered over 3500 views on Erol Alkan's forum, people just couldn't wait to get their hands on it. The flipside Solaris was a more subtle and seductive slice of techno. At the time Brodinski told FACT magazine that he would like to record for both Erol Alkan and Damian Lazarus' labels and this record seemed to sum up that ambition. Since Bad Runner Brodinski has remixed Bonde de Role, Klaxons, Das Pop, Shoes, D.I.M, Heart Revolutions and Adam Sky. Each remix has had a different approach, from the acidic (D.I.M), to vocal techno (Das Pop) to melancholic end-of-nighters (Klaxons). This May he has two releases readied to rock the summer: Gold-digger which is a primitive house groove with ululating sirens and vocal gruntsollowed by an as yet untitled techno bomb. Brodinski has already been championed by Radio Soulwax, Tiga's Turbo and Bugged Out who have all already offered him multiple gigs and festival slotsor 2008. Expect to be hearing a lot more about Brodinski this year and beyond!"(Annie Mac)
Los Angeles-born, New York City-based DJ/Producer Clockwork is no stranger to the world of electronic music. The young producer was one of the many 18 year olds circulating the dance music blogospehere with various bootleg remixes. But in 2011, armed with support and guidance from fellow young guns Felix Cartal and AutoErotique, Clockwork emerged from the throng of bedroom producers. His single "Squad Up", an original track that was played out at festivals around the world, quickly caught the attention of internationally renowned DJ, and Dim Mak chief, Steve Aoki. Aoki signed Clockwork immediately, making him the youngest artist ever signed to Dim Mak's prolific roster. Since the signing, Clockwork has officially remixed work for artists across the dance music spectrum, from Steve Aoki to Dimitri Vegas. His bootleg remix of Avicii's notorious big room anthem "Levels" reached over 80,000 plays on Soundcloud, 2 million views on Youtube, and garnered international radio play.
Clockwork's distinctive bass-heavy, big room sound has helped him gain support from the likes of Tiesto, Steve Angello, Laidback Luke, Steve Aoki, and everyone in between. His DJ sets are always as high energy and innovative as his productions, helping earn him an upcoming international tour as well as a spot on the line-up at the 2011 Hard Haunted Mansion Festival. With 2011 emerged the unique, big-room sounds that define Clockwork, but it truly is just the beginning. With a prolific propensity to create, a progressive production style, and a genuine love for the performance, Clockwork's future is looking bright.
Congo Rock (real name Rocco Rampino) is a DJ and producer based in Lecce, Italy, he is part of the current fidget house trend along with other Italian producers The Bloody beetroots Crookers and Gigi Barocco
Digitalism is a German electro duo, founded in 2004 in Hamburg, consisting of Jens "Jence" Moelle and Ismail "Isi" Tüfekçi. Jens likens Digitalism's songs to simple chapters in a complex novel about social interaction and attraction, with distorted baselines and thumping rhythms comprising the punctuation.
Digitalism is pioneering the electro-punk and indie dance movements, making appearances at festivals such as Coachella and various clubs worldwide.
Digitalism's debut album, Idealism, was released 9 May 2007 as Digitalism on Toshiba EMI Records in Japan, on May 21, 2007 on Kitsuné Music in France and on Astralwerks in North America. The album includes re-edits of the previously released singles "Jupiter Room", "Zdarlight" as well as their "Digitalism in Cairo" original re-edit of a track by the Cure which actually doesn't feature a sample from the track.
In June 2011, Digitalism released the second studioalbum, I love You Dude, on Cooperative Music. The ablum includes the previously released singles "Blitz" and Stratophere", the hit-single "2 Hearts" and a cooperation with Julian Casablancas. All over the sound on the second album has become more openminded. Digitalism's sound is crossing the limits between Electro, Rock and Indie.
Digitalism has remixed tracks for Tom Vek, The Futureheads, Daft Punk, Tiga, Klaxons, White Stripes, Monk, Depeche Mode, Cut Copy and many others. Their tracks and remixes are played by DJs such as Erol Alkan, Soulwax, Boys Noize, and Justice, among others.
Jens Moelle has released a solo EP on Kitsuné Music under the name Palermo Disko Machine.
Known internationally as a curator amongst the world's most cutting edge DJs, producers, and musical movements Wesley Pentz (better known as DIPLO) has experienced a variety of successes. The last few years have been spent running through the club circuit and having chart-topping hits with refreshing irreverence. Born in Tupelo, Mississippi, in 1978, Pentz spent most his childhood in Florida working in his fathers bait shop and being turned onto music through then new mediums like MTV. Drifting North through the state came Miami Bass and from the West came the sounds of Southern hip-hop artists. The musical influence and variety coalesced, and at 18, Pentz moved to Philadelphia for college at Temple University to study Film & Music. While a student he took a job in the South Philadephia community as a social worker and created the influential Hollertronix club night, which was the beginning of his fledgling career as DIPLO.
In 2004 Pentz released his debut album as Diplo called, Florida. It received praise and accolades in the underground community. The music embodied on this album led to an introduction via an A&R man at XL Records to M.I.A. In 2004 he partnered with M.I.A. for the mixtape Piracy Funds Terrorism. Pentz's cultural impact had started to snowball. Together they worked on her first album Arular and much of her second Kala, including the 2008 mega-hit "Paper Planes," which reached No. 3 in the US Charts and earned him a Grammy nomination for Record of the Year. His production credits have evolved since to include Santigold, Lil' Jon and Missy Elliot, while remixing works by Beck, Radiohead, Britney Spears and countless others. In 2009 Pentz teamed with frequent collaborator Dave Taylor (aka Switch) to release the futuristic dancehall album Guns Don't Kill People… Lazers Do under the guise of Major Lazer, a Jamaican militant at war with an evil army of zombies, mummies and vampires.
Meanwhile, his record label Mad Decent has helped to introduce Brazilian baile funk, Angolan Kuduro and other marginalized music to clubs around the world, developing as a trendsetting force with which to be reckoned. With the same mission in mind, some of the varied acts Pentz has signed or produced include Rye Rye, Bonde do Role, Crookers, Blaqstarr, Boy 8-Bit, Buraka Som Systema, and Rusko, allowing Mad Decent to act as a launching pad or home base for many others while spreading its influence across the globe. Through the label, Pentz has founded a charity called Heaps Decent as a social relief program to help children in Australia as well as with additional efforts internationally. In early 2009 Pentz debuted his film Favela on Blast, a five-years-in-the-making documentary exploring the Brazilian slum favelas of Rio de Janeiro and the thriving baile funk music scene that exists within. He is currently developing a TV show.
Through a widespread assortment of releases and artists' works – from cumbia to dubstep to punk and beyond – Diplo has shown dynamic range with interests that span far beyond any singular culture or musical realm, standing as a working model for the truly 21st Century artist.
Debuting by being the first external artist to feature on the infamous mau5trap label, Feed Me's array of hard hitting electronica with a grin quickly caught the eyes and ears of listeners worldwide. After a succession of high profile remixes, Feed Me continued to develop his distinct visual style and sound with his first extended play. The acclaimed 8 track 'Feed Me's Big Adventure' immediately took Beatport by storm with 6 tracks hitting the top 10, gathering fans throughout different genres.
Whoever Gesaffelstein is—there's precious little information about him out there—he clearly comes from a dark, dark place. His previous offerings for Turbo Recordings, Ed Banger and The Hacker's Zone label, plus remixes for the likes of Miss Kittin, Cassius and Arnaud Rebotini, have been gritty electro-techno affairs, like waiting out the apocalypse in a Parisian underground sex club—scary and steamy in equal measure.
His "Conspiracy Vol. 2" EP, again on Turbo, is his heaviest offering yet, with a slow-motion bump-and-grind and analog menace to spare. It's the perfect complement to "Ghostriders," a black-and-white short that imagines fixed-gear bikers as an army of the undead.
Check out the full release here, and discover one of Turbo's brightest—well, darkest—new stars. And for more in a similar spirit, don't miss Terence Fixmer's excellent new single "The Night," also on Turbo, featuring a gothed-out remix from none other than Marc Houle. Freaks come out at night!
Martin Solveig has sharply risen from being a well-respected DJ, to one of the most formidable producers and performers in the world. His music has sold well into the millions, his music videos are renowned as by far the best in their class and his performances continue to electrify audiences in every corner of the globe. With his fourth studio album "SMASH", Martin draws us into a world of pure and unparalleled fun...but just how did he get here, right to the pinnacle of crossover dance success?
In some ways, the answer for many people is simple, "Hello". It has singlehandedly become one of the biggest success stories of recent years. What started as a humble club track soon exploded into one of the biggest crossover dance records in the world. It has gone on to sell over 1.3 million copies, achieve platinum status in four countries and the accompanying music video has been viewed in excess of 35 million times and counting. "Hello" catapulted its creator towards immediate stardom, but there are years of work behind the man who made this record. Let's indulge in L'histoire du Solveig.
Like so many, Martin's love affair with music began at an early age, influenced by luminaries such as Prince, Lenny Kravitz, Stevie Wonder and Serge Gainsbourg. His eccentric taste and non-conformist attitude have been the backbone to what he is today - a multi faceted artist. He sings, he produces, he deejays, he acts and occasionally he dances too.
Aged 21, Solveig started his own label called Mixture Stereophonic & released 'Heart of Africa'. The track went on to sell 10,000 copies that offered a clear signal to Martin that a career in music was well worth pursuing. Martin's first album, 'Sur La Terre' released in 2002, achieved critical acclaim and enabled the Parisian to work with Salif Keita for whom he remixed 'Madan', one of 2003's biggest club anthems. The afro-disco bomb as well as Martin's new funk driven 'Rocking Music' both helped to catapult his career to a whole new level.
Next up came the Hedonist album, packed with a ream of hit singles such as 'Everybody', 'Jealousy' and 'Rejection', and indicating quite clearly that Martin Solveig had well and truly arrived. His most recent album "C'est La Vie" was his biggest album to date, selling in excess of 300,000 copies and winning fans over from far and wide.
In 2009 Martin was presented with two of the most prestigious accolades any Frenchman could hope to win - the 'Chevalier Des Arts et Des Lettres' for his contribution to the arts, and the 'Artiste de Musiques Electroniques de l'Annee' award at the French Victoires de la Musique - further testament to his ever-growing popularity and truly forward-thinking music style and creativity.
As 2010 was in its final months "Hello" became his biggest career landmark to date. The genius creation that is the SMASH YouTube series came to define a new breed of music videos, signalling Martin as a creative force much more powerful than most of his contemporaries - regularly described by many critics as being "in a league of his own".
First came the legendary Roland Garros stadium, then the incredible Stade De France, a rooftop pool in Singapore and upcoming episodes from Japan and Australia. There really is nothing to halt the series from going on to achieving so much more. And this is without touching on the soundtrack that accompanies each episode.
Each video is accompanied by snippets of his latest creation, "SMASH". A modern day masterpiece, bursting at the seams with pure fun, frivolity and all capped off with timeless trademark sounds. Involving the undeniable talents of Dragonette, Bloc Party front man Kele, up and coming UK sensation Sunday Girl plus US whirlwind DEV - it brings Martin to new and dizzying heights.
Martin continues to be one of the worlds most in demand performers, whether it's headlining festival stages, playing intimate clubs or performing on national TV for millions of viewers. Everything he approaches, he does with the same intensity and flare that has spanned his entire career; he has an innate ability to make each and every person in a room feel welcome, invited and free of inhibitions. At the end of the day this boils down to one thing, Martin Solveig is one of the most exciting and talented performers in the world. Are you ready to SMASH?
Flicking through the alphabetised racks of your local CD emporium you'll find that releases from Australian electro wizards The Presets fit snugly between Pet Shop Boys and Elvis Presley. Could there be some weird universal synergy to this? The strident beat of the heart and the swagger of the hips: it's at this musical cross point of emotive technological peaks and primal caveman rock that one finds The Presets.
In 2008 The Presets (Julian Hamilton and Kim Moyes) came rocketing back into the fray with their sophomore album, Apocalypso. Ranging from expansive, emotive techno, to future pagan house and choral space funk, Apocalypso demonstrated the band's undeniably canny knack for welding hook-laden pop to some of the most singular and exciting sounds of tomorrow.
In less than four years Julian Hamilton (vocals, programming and keys) and Kim Moyes (drums, programming and keys) worked their way up and out though the musical quagmire of Sydney's club scene to become Australia's foremost proponents of twisted electronic pop. They're now one of the most talked about and in-demand live acts today with a catalogue of dance smashes to their name.
Julian and Kim had first met a decade earlier as tearaway students at Sydney's Conservatorium of Music: by day they were battling Beethoven, by night sweating it out in seedy clubs to the strains of New Order, Bjork and The Smiths. They'd also collaborated in the largely experimental band Prop, specialising in highly impractical exotic instrumentation and non-vocal excursions in noodle.
Signed in 2003 to Australia's Modular Recordings (on the strength of demos which became their debut EP, the dark 'Blow Up') The Presets planted seeds throughout their hometown Sydney scene, which within 18 months began to reach germination internationally.
Things warmed up substantially for The Presets with subsequent releases 'Girl And The Sea EP' (2004), and their full-length long player Beams (2005), which spawned the dance floor monsters 'Down Down Down', 'Are You The One?' and 'I Go Hard, I Go Home'.
So began two years of non-stop touring. From playing to clubs kids in Barcelona, New York and Istanbul, then to thousands of S&M leather daddies at the Folsom Street Fair in San Francisco, to over one hundred thousand people at the Brandenburg Gate in Berlin and every imaginable key festival in-between, Julian and Kim have covered almost every corner of the globe with their take no prisoners live show.
Along the way the band has remixed and been remixed by many of the modern dance music alumni. Additionally songs were picked up for use in hit TV programs such as The OC, CSI: Miami and CSI: New York as well as appearing on dozens of compilations.
All the touring, the music they've heard, the people they've met along the way, the parties and the tears, the trials and tribulations have borne their sophomore release, Apocalypso.
'My People', is clearly a call to arms party, and unmistakably Presets in its sentiment. Tracks such as 'Anywhere' and the new single 'This Boy's In Love' are clean hits of pure, emotive techno that blossom with Technicolor ecstasy in their choruses. 'Talk Like That' and shoots straight for the pop heart while 'My People' and 'Kicking and Screaming' aim squarely for the dance-floor jugular. These unabashedly sharp pop songs are offset with tracks like 'A New Sky' and, which nudges the balance of the record ever so slightly towards a more abstract future utopia.
Apocalypso trips across a cosmos of sound, and self-assuredly succeeds in its ability traverse the belting soundsystems of the clubs of the world while also sounding like liquid moonjuice coming out of the speakers in your lounge room.
Apocalypso has taken Australia, and the world by storm. Accolades for the band and the album include six ARIA Awards (Album of The Year, Band of The Year, Best Dance Act, Best Video, Best Artwork), Triple J Network's Album of The Year, the inaugural SMAC Awards Album of The Year, APRA's Songwriters of the Year, Best Video for 'If I Know You' at the UK Video Awards as well as Triple Platinum Sales in Australia for 'Apocalypso', Double Platinum for 'My People', Platinum for 'Talk Like That' and Gold for 'This Boy's In Love'.
TOTALLY ENORMOUS EXTINCT DINOSAURS
Totally Enormous Extinct Dinosaurs makes music at the central point between pop, electro, house and melodic, tuff rave - and his debut album 'Trouble' is just more proof that TEED's Orlando Higginbottom is one of the most fascinating, brilliant and musically kaleidoscopic artists in the world right now. And he's about to stomp all over everywhere.
When Orlando Higginbottom was four or five he worked out how to work his Dad's CD player and soon had three favourites on repeat: Rossini's 'Overtures', Holst's 'The Planets' and Gershwin's 'Rhapsody In Blue'. "Classical music was 99% of my listening until I was about ten. I thought Mozart was really cool. I had a book, an A-Z of composers, that I read every night. They were like rock 'n' roll stars to me."
This remained the case until the boy chorister (his father is the conductor of the choir at New College, Oxford) hit 13, at which point he absorbed another culturally deep and musically exciting musical genre: jungle.
Our intrepid pre-TEED also discovered Avid, one of those local record shops that doesn't exist any more with Nicky Blackmarket posters on the wall and a pile of psy-trance flyers on the counter, and where fresh promos would land from London every Thursday and Friday. He careered through the whole junglist spectrum, starting with Zinc and Hype's Tru Playaz crew and getting heavily into Nico's No U-Turn Records. It was only when Bad Company and Pendulum started reducing the creativity beyond nil that he stopped buying the music - although that hasn't stopped him running up a current bill of £360 with Discogs to fill the gaps in his collection.
So how do we get from this evangelical member of the junglist youth wing to the kaleidoscopically vibrant world of Totally Enormous Extinct Dinosaurs? It's a swerving, careering route that turns hard right through an unsuccessful term reading music at Bristol University ("I got messy every night and then dropped out. I knew the course wasn't right for me") and then sharp left to a year in Leeds on a music production course. His time there coincided with the early days of dubstep and DMZ's regular excursions to the West Indian Centre in Chapeltown. "I was seeing all these students taking their first K in this big Jamaican community centre. I found it weird. Why is this suddenly cool? It could have been cool ten years ago. Some of it, I liked, but I was lost, and drum 'n' bass had got so shit, I was like 'fuck it: Totally Enormous Extinct Dinosaurs'. I'm going to dress up as a dinosaur, make weird electro shit and just enjoy it."
And just to clarify, the name doesn't mean anything. It doesn't even really come from anywhere. It's just a great big waving flag that announces, incontrovertibly, that Orlando Higginbottom doesn't give a monkeys what anyone else thinks.
There was one other link in the chain of events: winning a MySpace competition for music to accompany a painting in The Tate, judged by Huw Stephens and Felix from Basement Jaxx. This led to Radio 1 play and some supportive friends in the industry, which it's own way, led him to the label, Greco-Roman. Up until this point, house and techno had barely registered - and he certainly wasn't listening to it. "I was making a style of music I knew nothing about and had no love for. I didn't know what the rules were and I guess that's why it was fun."
It's an attitude that saw him selected to join Oxfam and Damon Albarn in the Congo to make the Warp album 'Kinshasa One Two'. "The influence of the trip was massive. It made me worry less about what people think."
So does he think he's breaking down the boundaries between music and art with the beautiful, riotous headpieces he dons for live shows? Of course not. "I'm just slightly poking fun at the idea of the cool guy in a cap under a bridge with graffiti. There's no thought or theories behind it apart from something entertaining or fantastical that looks good."
If the headpieces and the costumes have any antecedents it's the joyful, ultra-funky carnage of Earth Wind And Fire, although with just one member instead of a stage-full. He's got a neon white set that frames his performance in flowering dino spinal plates and a bugged out portable lighting rig that folds down into what he describes as a 'fucking huge flight case'. It is an improvement on the early days when he'd sweat on overpacked trains with a suitcase and a rucksack to play in Manchester to ten people. His shows, for the uninitiated, are a riot of light, energy and perfectly calibrated musical hedonism that scoops up house, electro, hip hop, UK funky and the compositional chops picked up as a classically-minded pre-teen playing piano and writing scores on manuscript paper.
These are all elements you'll hear singing loud and clear in his debut album, Trouble, and on standout moments Your Love and Household Goods. The former is a joyful, melodic, individual spin through the world of house music, taking the best elements (vibrant synth lines, a chorus as catchy as Starlight's 'Music Sounds Better' and a elastic, 2-steppy bass line) and conjuring them into a modern pop classic of enormous dimensions. And the latter, well, Household Goods is arguably the track that trumpeted his arrival when it was released in November 2010. It was a signal charge: a notice that things had changed and music was sounding colourful again. It's a point that is made repeatedly, brilliantly, through Trouble.
The debut album was recorded in his parent's Oxford garage, where he'd been playing records, rehearsing with bands and making tunes since he was a kid. It starts with an unexpected minute of ambience on the positivity-drenched opener Promises, which also offers another surprise: sunshine-tipped hi-life guitars. The title track was, he says, the first track that was shaped into a full song and thus provided a turning point, a kind of
sonic ramp into the making of the album. If you're looking for the artist's personal favourite, start here. Garden is another friendly, colourful gem amongst gems that features more of Higginbottom's warm and understated vocals, a duet with Luisa that was picked up for a global Nokia campaign and has helped take his sound around the world. "I write a lot about the Wednesday after, and that feeling that is everywhere in life, where you hope for great stuff, you hope for something meaningful and special, but at the same time you always know it's going to come to an end and there's something really sad and really glorious about that."
Then there's a song like Panpipes which sees Orlando taking an interest in UK funky and adds something soft and gentle. Solo is his self-confessed 'dark' tune. "When I do it live people stand there for three minutes when it does its second drop everyone suddenly goes woooo". He made Closer with his friend Ed, although it actually started when they were 17 and recorded some humming. "It's a bit slightly 'scared in the dance' vibe. Feeling a bit sad in the club. I reckon loads of people feel a bit sad in the club sometimes." Closing track Stronger sums up the whole record, that emotion of feeling great but knowing that there's going to be a payback somewhere down the line. "It's half hands in the air, and half hankies in the air," says Orlando only half joking. "There are relationship tunes on there, there are tunes about having it out with the music industry. They're my lyrics. I did have to struggle with them, and some of them are cheap as fuck. I think I just about get away with it."
Totally Enormous Extinct Dinosaurs: getting away with it, and some.
TJR has built a formidable catalogue of remixes and original tracks since broadening
out from his acid house and techno roots in 2008. He has consistently been cooking up
big room bangers that have received massive support from prominent DJ's around the
world. Originally from the little state of Connecticut, a move to Los Angeles in 2010
saw him embrace the benefits of America's hot spot for electronic dance music.
Destructo (Gary Richards) began DJing and producing undergrounds in the early 90s in Los Angeles, most notably creating RaveAmerica at Knotts Berry Farm. Rick Rubin subsequently handpicked Gary for A&R in electronic music at Def American Recordings, launching a noteworthy career with such acts as Lords of Acid, Messiah, David Holmes, Basement Jaxx, Dub Pistols, God Lives Underwater and founding 1500 Records and Nitrus Records. After carrying his success to the metal world with No Name Mgmt, Destructo returned to his roots in 2007 by creating HARD. HARD events such as the HARD Haunted Mansion have become synonymous with cutting edge electronic music and unforgettable experiences, where the talent rosters reflect Destructo's own impeccable DJ sets.
Just Blaze worked closely with Roc-a-Fella Records in the early 2000s, producing hits like Cam'ron's "Oh Boy," Jay-Z's "Girls, Girls, Girls," and Beanie Sigel and Freeway's "Rock the Mic." He worked closely with Roc-a-Fella's other in-house producer, Kanye West, on the label's many albums released during this same period. And like West, he developed a trademark knack for using old-school soul samples in unique ways for his hooks. Besides the Roc-a-Fella stable of rappers, Just Blaze also produced tracks for big-name East Coast rappers such as Busta Rhymes, Jadakiss, DMX, and Fabolous. By the turn of the century, he'd become one of the rap industry's leading producers, along with Timbaland, the Neptunes, and Swizz Beatz.