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EDITORIAL

PUBLISHED BY:

CHIEF EDITOR Lisa ChonASSISTANT EDITOR Eric FragolaEDM ONLINE EDITOR Beverly StollART DIRECTOR Gustavo MatosTECH EDITOR Trevor YagenWEB MASTER Wendell FrohweinSOCIAL MEDIA Scott Price

Chris Barnes Brittany Gaston Trevor YagenRebecca Kass Meg Gerry Beverly Stoll Lisa Chon Natalie Cabral D. Peters Larissa Sommers Sarah Car Morena DuweWilliam Benrubi

Contributing Writers

Christian Artieda Mario Lopez Erik Arellano

Year 1 N-8 June 13, 2013

Eric Fragola Representative - San Francisco CA.Nick Domingez Representative - Las Vegas NV.Kyle Lescarbeau Representative - Phoenix AZ.Cameron Peppers Representative - Honolulu HI.

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DIRECTOR OF PHOTOGRAPHY Carlos Rodas

PUBLISHER Yoel BerriosASSOCIATE PUBLISHER Adrian MendozaASSOCIATE EDITOR Alexia Chuck

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Representative

Aleks Milanovic Director of Operations AustraliaCem Yurdakul Director of Operations The Netherlands

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Electronic Dance Magazine

MARKETING DIRECTOR Presmiley AsuncionV.P. OF PUBLIC RELATIONS Timothy Gough

Orb Media managing staff

Year 1 N-8 June 13, 2013

-Lisa Chon

very genre of music takes some adjusting and getting used to. Rock and roll was

Ehated by the masses when it first came about and was widely referred to as the “devil's music”; country was reportedly only listened to by the “hicks” and the

broken-hearted; pop was listened to by children. To this day, when people try to come out with a new genre of music, it is heavily judged and picked apart with a fine tooth comb, especially in the EDM world. We have Trance, which is loved by most for its soothing melodies and calming demeanor. House music makes most want to get up and dance and is probably one of the more accepted forms of electronic music by the whole world. Drum n Bass has the heavy bass lines and the drops that makes its listeners eager for more (and stemming from DNB is Dubstep, and now trap). I think it safe to say that there are many very different genres that lie within the electronic music spectrum, but it can also easily be said that they are all hard to “accept.” Think about it… How many Trance heads do you know that love a good Drum n Bass track, and vice-versa? Trance lovers usually stick to Trance or will venture off to the House rooms for part of the night. Same goes for DNB fans; most will never be caught at a Trance stage, chilling out to the sounds of the likes of Armin Van Buuren. What I'm getting at is this… All forms of music take some time to get used to; the appreciation for each genre has to grow within you. Don't be so quick to judge a certain genre of music, it may just take some time to find some room in your heart and soul.

WEEKLYNEWS

W&W forced to cancel June datesWe regret to inform you that W&W has been forced to cancel all of their appearances through the month of June. W&W’s Willem van Hanegem is currently in the hospital with heart and lung compli-cations and on doctor's order has been grounded for the entire month of June. Willem is expected to make a full recovery but will be unable to travel until June 30th.

Below are the shows that will be cancelled. Where possible dates will be rescheduled.

Thank you for understanding W&W Management

June 14 - Village - Dublin, Ireland

June 15 - Summerburst - Stockholm, Sweden

June 16 – Guaba - Limasol, Cyprus

June 17 - Privilege - Ibiza, Spain

Jun 21 – Marquee - Las Vegas, NV

Jun 22 - EDC Las Vegas - Las Vegas, NV

June 27 - White Club - Beirut, Lebanon

Jun 29 - Sunrise Festival - Lilse, Bergen, Belgium

June 29 - Ruhr-in-Love - Oberhausen, Germany

to release “Monkey In Love” on Size Records

urrently one of the most sought-after artists in electronic

Cmusic, antipodean talent Tommy Trash is bringing his singular sound to Steve Angello’s Size Records label for

his latest creation. Continuing a string of impressive singles from the producer throughout the first half of 2013, ‘Monkey In Love’ will undoubtedly continue Trash’s upward trend when it is released on July 22.

Showcasing his razor sharp dance floor style, Trash strips back the melodic layers on ‘Monkey In Love’ to reveal a focused pulsing energy. Driven by crisp drums and a growling bassline, the sparse breakdowns create space for the drops to explode through the speakers.

The release is accompanied by its own video, the second in a series which has seen Tommy collaborating with the Henson Muppet Workshop's Phil Hodges. The ‘Monkey in Love’ video picks up where ‘Monkey See Monkey Do’ left off, with Kal the Monkey arriving on earth and quickly meeting the girl of his dreams.’

The new single perfectly exemplifies just why Trash is in such demand at the moment and is set to be the soundtrack to the busy summer that lies ahead of him. Over the next few months he will be travelling the entire globe with gig dates from Ultra Music Festivial Korea to Electric Zoo New York, via Tomorrowland, Ushuaia in Ibiza, Creamfields and more.

Tommy Trash

WEEKLYNEWS

EDMbiz Announces Panels, Nightclub Party Schedule and New Speakers including Pete Tong, Afrojack and Steve Aoki

Badge holders to enjoy free access to select nightclubs and events throughout Las Vegas during EDC Week

dding to an already extensive agenda, EDMbiz is proud to announce the next

Around of speakers for this year’s event, June 18 – 20, 2013.Consummate tastemaker, music supervisor, KCRW music director and DJ,Jason Bentley,

returns as host for the 2nd annual confab that in year one quickly established itself as the must attend conference for electronic dance music.Among the new delegates are renown DJs Pete Tong, Afrojack, Steve Aoki, Dash Berlin and Dirty South, agents Sam Kirby (WME), Maria May (CAA) and Matt Rodriquez (AM Only), managers Stephanie LaFera (Little Empire Music) and Matt Colon (Deckstar)and Beatport CEO Matt Adell. These speakers join an already impressive list including Perry Farrell (Artist and Founder of Lollapalooza), Rob Light (Managing Partner and Head of Worldwide Music, CAA), Marc Geiger (Head of Music, WME), James Barton (President, Live Nation Electronic Music), Shelly Finkel (Vice Chairman, SFX Entertainment), Joel Zimmerman (Global Head of Electronic Music, WME), Lee Anderson (Agent, AM Only) and many others (complete list below).

Conference programming details are emerging. Pete Tong will be the subject of a keynote “conversation with” hosted by Live Nation’s James Barton. Previously announced keynotes include a rare and exclusive conversation with CAA’s Rob Light hosted by Billboard’s Kerri Mason, and a much anticipated one-on-one between WME’s Marc Geiger and Perry Farrell as they reflect on the genesis and evolution of Lollapalooza and the EDM effect from year one to now.

Let’s Hug It Out | Agents in EDM: Top talent agents discuss their role in developing artists and helping shape the live music space. How do they identify talent, prioritize their roster and assess the best bookings for their clients?

An Introduction to AFEM, the Association for Electronic Music: Find out why the world of EDM needs a global advocacy group to help push the culture forward. AFEM—a future alliance for future music.

Adventures in Clubland: Key players from the nightlife industry discuss best practices and strategy for growth. How does a nightclub stay relevant? How do different markets compare?

The Greatest Night of Your Life: This panel examines the grassroots passion behind successful events and spotlights one of the most important, yet often overlooked, components of a thriving music scene—the fan. Panelists will also offer a preview of the EDC documentary with directors Dan Cutforth and Jane Lipsitz.

Agenda topics and discussions at EDMbiz 2013 will include (with more to be announced):

∙ On the Beat | EDM Press: From mainstream to independent media, our panel of journalists will discuss some the greatest challenges and most compelling storylines emerging from EDM culture today.

∙ Growth & Investment: Leading money managers and financiers talk growth potential and key investment opportunities in dance music and peripherally associated businesses.

∙ Content is King: More than most genres, EDM dominates the digital space. What are the best strategies for generating original content, and how can you monetize content online?

∙ Festivals of the Future: Leading festival promoters and talent reps discuss the latest trends in the field, along with innovations and challenges in the festival arena.

∙ EDM’s Place at the Grammys: What does the Recording Academy do? How do you submit music for awards consideration?How do you become a member? Panelists will also discuss the DJ AM Memorial Fund, and forthcoming documentary on his life.

· Neil Ackland, CEO and Founder, inthemix.com· Matthew Adell, CEO, Beatport· Afrojack, Artist/DJ/Producer· JilaAlaghamandan, Entertainment Director, Insomniac· Lynn Albers, COO, Spark! Productions Chicago· Lee Anderson, Agent, AM Only· Steve Aoki, Artist/DJ/Producer· Katie Bain, Senior Music Writer, LA Weekly· Doug Barry, Managing Director, Selby Ventures and Artist Capital Group· James Barton, President, Live Nation Electronic Music· Jason Bentley, Music Director, KCRW radio (Moderator)· John Boyle, Chief Growth Ofcer and Interim CFO, Insomniac· Bunny, Creative Director, Insomniac· Todd Chaffee, General Partner, Institutional Venture Partners· Costas Charalambous, SVP, SBENightlife· Senthil Chidambaram, CEO, Dancing Astronaut· Ted Cohen, Managing Director, TAG Strategic· Matt Colon, Partner / Manager, Deckstar· Dan Cutforth, Founding Partner, Magical Elves· Dash Berlin, Artist/DJ/Producer· Eddie Dean, Owner, Pacha New York· Dirty South, Artist/DJ/Producer· Bruce Eskowitz, COO, Red Light Management· Ari Evans, Founder and CEO, Less Than 3· Perry Farrell, Artist and Founder, Lollapalooza· Shelly Finkel, Vice Chairman, SFX Entertainment· Bill Freimuth, VP of Awards, Grammys· Marc Geiger, Head of Music, William Morris Endeavor· Geronimo, Director of Programming Electronic/Dance Format, Sirius XM· Seth Goldstein, CEO, DJZ· Martin Gontad, Producer, Creamelds Argentina· Steve Goodgold, Agent, The Windish Agency· Steve Gordon, Owner, Circle· Allan Hardenberg, CEO, Alda Events (A State of Trance, Armin Only, I Am Hardwell)· JasjaHeijboer, Owner, Ace Agency· Chris Kantrowitz, Founder and CEO, Gobbler· Kevin Kerslake, Director, DJ AM Documentary· Sam Kirby, Agent, WME· Stephanie LaFera, Owner, Little Empire Music· Simon Rust Lamb, Esq., COO and General Counsel, Insomniac· Mikhail LaPushner, CEO and Founder, OneBeat· Vivien Lewit, Director Content Partnerships Music, YouTube· Rob Light, Managing Partner and Head of Worldwide Music, Creative Artists Agency· Jane Lipsitz, Founding Partner, Magical Elves· Ryan Mac, Reporter, Forbes· Kerri Mason, GM, inthemix.com and Contributor,Billboard· Maria May, Agent, CAA· Daniel Mendoza, Regional Manager, Chapter Operations, Grammys· Liz Miller, General Manager, Big Beat/Atlantic· Neil Moftt, CEO, Angel Management Group (Hakkasan)· David Moricca, Founder and CEO, Mixify· Kurosh Nasseri, Attorney at Law and Co-Founder, Association for Electronic Music· Josh Neuman, Co-Founder, Complete Control/Recreation Worldwide/THUMP· Sarah Polonsky, Senior Editor, Vibe· Gary Richards, CEO, HARD Events· Matt Rodriguez, Agent, AM Only· Pasquale Rotella, CEO, Insomniac· Edward Shapiro, Partner, Reed Smith LLP· Todd Sims, CEO, Flavorus· Rick Stevens, CEO, Y Entertainment Group (Ron Burkle’s music investment arm) · Jason Strauss, Managing Partner, TAO Group · Tommie Sunshine. Label Owner, Brooklyn Fireand Writer, Hufngton Post· Mike Tunnicliffe, Chief Growth Ofcer, GroupM/WPP· Ben Turner,Director, Graphite and Co-founder, Association for Electronic Music· Hunter Williams, Agent, CAA· Joel Zimmerman, Global Head of Electronic Music, William Morris Endeavor· Brian Zisk, Managing Director, SF MusicTech Fund and Executive Producer, SF MusicTech Summit

WEEKLYNEWS

MONDAY SOCIAL 17th YEAR ANNIVERSARY AT SOUND NIGHTCLUB WITH CHUS + CEBALLOS

For nearly two decades, Angelenos have gravitated to Monday Social, one of the most renowned and longest-running club nights in the World. It has taken an extra special combination of people, talent and ambiance to create what has become a veritable dance music 'institution' within the club scene. Following a thriving four year residency at Playhouse Nightclub, the legendary party has relocate to SOUND Nightclub.

Social will commemorate its 17 Year Anniversary with an all-out celebration at SOUND fea tu r ing i n te rna t iona l l y renowned DJ/Producers Chus and Ceballos. Monday Social will continue at SOUND every Monday thereafter. Bookings already confirmed include, June 24th with DJ Dan, July 1st, with The Junkies, , with Hernan Cattaneo, July 15th, with Sander Kleinenberg, July 22nd, with Cajmere, July 29th, headlined by Stanton Warriors and October 21st, featuring the debut LA appearance by Hot Since 82. What began in 1996 as a word-of-mouth meeting-ground where DJ's could play

regularly and focus on music over pretense, Monday Social would grow to host some of the biggest electronic music artists in the industry. Monday Social quickly established itself as the go-to music scene for industry insiders and scenesters alike. While notably booking (years ago) some of who've become today's biggest headlining names, Monday Social immediately became known as a music lovers' playground from the start. From its early days at the late / great Louis XIV, through its time at Las Palmas, Nacional and then Playhouse, Monday Social has pulled off nothing less than a show business and clubland miracle: an unprecedented run of seventeen years and counting. Crowned the longest running club night in America, Monday Social's secret to success is the distinct air of non-exclusivity, carefully cultivated by its creators and resident DJ/promoters, Freddy Be and Mick Cole. Inside a world-class venue equipped with Funktion-One sound, state-of-the-art lighting, and Kyrogenifex, they combine the sociability and hassle-free vibes of the bar scene with the musical and technical standards associated with clubs. Sound Nightclub has fast become a destination known for attracting some of the world's top DJs. Its intimate ambiance, impressive range of cutting-edge nightlife and design amenities lend way to the ideal environment for Monday Social. Having already housed some of the most in-

demand DJs, SOUND's commitment to music and sound is sure to provide the perfect environment for this cutting edge dance night.

As a host to some of the biggest electronic music artists in the industry, Monday Social is not only the best of today, a breeding ground for the new talent of tomorrow, but a staple in the growing EDM culture that continues to evolve in Los Angeles.

Monday Social is held every Monday Night at SOUND Nightclub ().

LA's longest running weekly club night migrates to Sound where music and Mondays collide with an all-star lineup

By: Chris Barnes

It is somewhat fitting that a spaceman came as one of Hardwell's biggest hits of 2012 because he really is from out of

this world. He has been touring the world while dropping earth shattering sets that leaves each person caught in its

wake as a diehard fan. Hardwell has been busy releasing track after track, defying traditional genres, and pushing

every limit as a producer, only to be met with nothing but commercial success and critical acclaim. Launching a record

label from the ground that since its inception has not only been known as one of the strongest forces in EDM but for

also discovering and fostering new talent to greatness. Hardwell as taken home a handful of IDMA awards

and has been nominated for countless more after being proclaimed as the #6 DJ in the world. These are

all astronomical feats, which any person could look back at their career on and say he has had an

amazing run. Hardwell is one of the few artists that can say every single one of these, and he is only

24.

Hardwell has a style tailored to fit for big room clubs and massive festivals that many have tried to mimic,

but that none can master. When performing live, he is in complete control of the crowd, taking their mood

on a journey that passes through beautiful melodies, intense build-ups, and of course, the epic drops.

Hardwell is also known for having a set-list full of unknown and unreleased tracks, known with-in the DJ

community as an “ID”. ID tracks are not the songs that the entire crowd is able to sing along to; the ID track is

dropped in the middle of the set and has everyone saying “what the hell was that? I don't know but it was

AMAZING!” then relentlessly searching the internet for weeks afterwards only to find an ID when the set list is

finally made public. Anyone who has been through this can attest that it is truly the most beautiful form of torture a

DJ can put his fans through.

Hardwell has also proven that his creativity does not stop in the DJ booth, but spills over to the

studio as well. Coming from the Netherlands, and actually sharing the hometown of Breda

with Tiesto means that there is no shortage of talented producers or a lack of musical

influence around him to work with. (Fun Fact: The title for their collaboration 'Zero 76' is

actually Breda's postal code). Hardwell has taken many elements of Dutch house, which

emerged in 2006 and is features punchy bass lines, intense build-ups, and high pitched

synthesizes, and infused them with the beautiful melodies and softer sounds found in

Progressive and Trance. The result is something amazing that nobody can get enough

of, as evidenced by the incredible success of his releases such as: “Spaceman,”

“Zero 76,” “Apollo,” “Dynamo,” and his most recent release, produced with W&W,

that debuted right after this interview took place at EDC Chicago.

Usually with massive success comes a massive following, and I am hard pressed to

find a DJ who gives back more to his fans. Hardwell on Air is a weekly radio show

he hosts on Sirius XM that serves not only as a place to play familiar hits, but is

also used as a place to try out unknown or unreleased material; through his radio

show, multiple albums full of bootlegs and mash-ups have been released to his

fans for free over the past year. Free content is great, but the thing any fan wants

more than anything is a live tour to roll through their city; with the 'I am Hardwell'

and the just announced 'Go Hardwell or Go Home' tours raging across 4

continents and over 200 appearances, almost every fan in the civilized world will

have a chance to see Hardwell perform in 2013.

I had a chance to sit down with Hardwell moments before his performance at EDC

Chicago, and wanted to see what made him tick. I came to find that he was also one of

the most thoughtful and definitely most interesting individuals I have had the pleasure

of interviewing during my career. I also learned never to go shot for shot on a bottle of

Jagermiester with a Dutchman...

Q: Where did you get started? How did you start making music?

A: I've always been into music… I started playing piano when I was 6 years old and I think I was 8 years old when I discovered dance and house music, and since I was 12 years old, I started producing my own songs, and I was 14 when I signed my first record deal in Holland. Yeah, I've been around for a while already.

Q: Who was the first Electronic artist that you remember hearing that made you want to get into it?

A: The person who really inspired me, production wise and DJ wise, was Tiesto. One of the reasons why I discovered him so really is because we both came from the same city in Holland so when he broke through worldwide, he was on the news all the time and I was like, “Hey, I like this guy” and was checking out his music. So he was really inspiring.

Q: So the Holland scene is kind of like the Mecca of EDM; there's so much talent that emerges from there… Why do you think that is?

A: I think the only reason I can come up with is that House music has always been around in Holland. The radio played it for forever. As a kid, I can't remember putting on the radio and don't hear House music; it's always been around there; we have a good natural House scene and a lot of the DJ's, even in the beginning, have come from Holland and I don't [really] know why. Holland has so much talent like Ferry Corsten, Armin Van Buuren, and Tiesto. It's kind of crazy to see that Holland is still like, the dance capital of the world; and Sweden of course.

Q: Now, there are 2 big genres that come out of Holland; there's the Trance scene which are the Armin's and the Tiesto's and there's the Chuckie's and Afrojack's, the Dirty Dutch kind of wave. You're kind of right in the middle of that; how would you classify your music?

A: Very easy; I always classify it as Hardwell music. I hate to be put in a box. I can tell you I'm between Electro and Progressive but I don't wanna classify and put myself in a box like that, I just call it Hardwell music and it's indeed influenced by everything from Electro to Progressive to Trance. I try to absorb as much as possible and put it in my own productions.

Q: What kind of music do you listen to? What inspires you to come up with this fresh Hardwell sound?

A: I listen to everything from old Dr. Dre albums to new stuff like 30 Seconds to Mars; I listen to everything. I think that's why I make this kind of music… Since I hate being put into a box, I listen to the same kind of music everyday; it depends on my mood. I listen to all kinds of music and I think I use all that inspiration from different genres to produce my own tracks.

Q: Your Revealed record label is gaining momentum; what inspired you to go and make your own record label?

A: I think the most important reason why I made my own record label is because I was done dealing with A&R managers from labels who were able to tell me what to change about my records, when I thought my record was perfect. I hate to discuss, day in and day out, the artwork and stuff; I was done with that. One of my friends had a record company, we just came together and I asked him to manage the record label with me, he's doing the business side and I'm doing the creative side. Revealed Recordings is now; we've been doing this for 4 years now and we're one of the best selling records on Beatport. It's crazy what's happened in the last 4 years.

Q: When you're creating something for your new track, are you trying to create something for a set or do you just create something that sounds cool?

A: Everything! That's a really good question! I always try to do both, like some days I spend in the studio just tweaking the sound, not just to use that sound in a track, but to teach myself, educate myself to make that kind of sound. The other days I'm just working on really basic tracks, just dance floor bangers. There's a big gap between those days because some days I just work on different ID's. Let's say I spent 3 days in the studio on different ID's and on the fourth day I put them all together and make a new record out of it.

Q: Now you've also used your record label to find you talent, bring it up, and promote it. What's it like to see these people that you've found and see them up on Beatport right below, and right above in some cases, on the chart?

A: I can't be more proud than that. I always support new talent; I'm grateful I have the

opportunity now to help people because I've been around for such a long time and the

moment Tiesto picked up my records and let me open for him was really a changing point

in my career. You need someone bigger to help you out. It's so easy that he gave me the

opportunity to put out my tracks for a bigger audience. It helped me a lot. So if I can help

new talent, I will always do that.

Q: You do the Hardwell on air, new track of the week; what are you looking for in

new talent? Are you looking for a certain sound or energy?

A: Energy and originality; especially originality, I hate to be like, “Oh a copy of Swedish

House Mafia, a copy of Afrojack.” It seems like 80% of producers now are just trying to

copy other people's music and twist it to their own sound. I love originality and a lot of new

guys have come up with different ID's. Lately, it's been really good! I've received so many

good demos!

Q: Are there any artists that you think the world needs to know about that you

wanna throw out there right now, or do you have to keep them secret for now?

A: I have to keep them secret for now (chuckles).

Q: What was your most memorable moment as a DJ to date?

A: I think I'm going to name the concert that I had last month in Amsterdam. My first solo

concert I Am Hardwell, it was the start of my world tour, and we'll continue in September.

To do my first concert, that was a really epic moment, it was unbelievable what happened;

it sold out in 3 or 4 weeks. I've never seen that energy in Holland before and I've played

about 800-900 gigs in Holland. That was most definitely the most memorable gig I've ever

done.

Q: What's a hidden talent about you that no one knows you have?

A: I used to be a hip-hop DJ. I think a lot of people don't know that.

Q: If you had to fight one horse-sized duck or 100 duck-sized horses, which would

you choose?

A: 100 duck-sized horses (chuckles); because I'm not that tall, so I'd go for that option!

Q: Are there any upcoming collaborations you want to talk about?

A: I've got a collaboration coming up with Mac Jay, called “Countdown” and that's coming

up on my label. I've been working on a track with W&W, the new track is called “Jump.” We

actually are filming the music video at EDC [Chicago].

Q: You have over 500,000 fans on Facebook and millions of Twitter followers; is

there anything you would like to say to them?

A: Yeah, of course. Thanks for all the support and thanks for supporting the Hardwell

movement. I couldn't be more blessed and grateful. Without them, there is no Hardwell,

so I'm really thankful to all my fans.

THUNDERCAT TEEBS

AT

stn the eve of June 1 , the most spectacular place to be in Los OAngeles was the House of Blues for Teebs, �undercat and Flying Lotus. Teebs was the �rst of the three to perform. His

birth name is Mtendere Mandowa and he hails from Chino Hills, California. He layers unique instruments and electronic sounds to create what is considered �beat music� that is rich in depth and ambience. Teebs approaches the stage, his aura bright and his energy tangible. Donning a Japanese Kabuki mask on his head, but not covering his face, he lays down a series of beats and melodies that drip into our ears like warm folds of honey. Silhoue�ed by a screen of sparkling fractals and galactic visuals, the Teebs experience was an aural and visual smorgasbord. He had the crowd entranced in his gli�ering hypnotic beats.

By: Morena Duwe

Teebs' set was transcendent, but we were about to jump into a spaceship and Stephen Bruner, aka Thundercat, was our captain. Produced by Flying Lotus and a part of the Brainfeeder family, Thundercat's newest album Apocalypse will be released on July 9 and features tracks inspired by Dragon Ball Z and Sonic the Hedgehog. Dressed like a funky disco alien from the Kickapoo Tribe, his style and stage presence were on point. With one slap of his sultry bass, the electromagnetic sound waves hit our matter like a sensual earthquake. Combining classic soul, funk, a little bit of childhood whimsy and velvety vocals with modern synth beats and melodies, Thundercat and his funkadelic posse kept our eyes and ears glued to the stage. The interludes of brass instruments, continuous toe-tapping, head-bobbing drums and cosmological keyboards created a musical experience that was truly unique. His sensual track, “For Love I Come,” had lovers gyrating and bodies writhing. When he busted out the extremely funky and upbeat jam “Oh Sheit, It's X!” my hair was flailing and my feet were gliding. To all of you Adventure Time fans, he even covered “The Island Song” which is played at the end credits of each episode. When I heard the lyrics, “come along with me, to a town beside the sea, we can wander through the forest and do so as we please,” I felt all my adult quandaries and anxieties melt into rainbows. Thundercat knew just how to visually delight us, aurally excite us and emotionally ignite us.

Now, ladies and gentlemen, the main event: Flying Lotus. Also known as Fly Lo or Captain Murphy, Steven Ellison is an experimental hip hop and electronic DJ/rapper hailing from Los Angeles. He is born of musical royalty being the grandnephew of Alice and John Coltrane. Their classical jazz sensibilities can definitely be heard in Fly Lo's music. He has produced bumper music for Cartoon Network's Adult Swim and has even created a song for Adventure Time titled “About That Time/A Glitch is a Glitch.” Being the founder of the independent record label Brainfeeder which has signed artists such as Daedelus, The Gaslamp Killer, Tokimonsta, Teebs and Thundercat, Flying Lotus is making waves in the underground music scene of Southern California and beyond.

One of the fastest growing events in Los Angeles is Low End Theory at the Airliner in Lincoln Heights which takes place every Wednesday. Founded in 2006, this beat-driven musical exhibition is considered the “producer's lounge.” Low End Theory was the launch pad for Flying Lotus where he now frequents its stage and can even be found wandering the crowd as an audience member. The cover charge is a reasonable ten dollars and artists such as Radiohead's Thom Yorke have made surprise performances. The Glitch Mob, Tokimonsta, The Gaslamp Killer, Baths and Nobody have also frequented the stage of the humble Low End Theory.

Though Low End Theory is an amazingly intimate venue, the House of Blues gave Flying Lotus the opportunity to take you on his epically intricate visual and musical journey. With a projector screen set up behind him and a translucent screen set up in front of him, he had layers of psychedelic images all around him, creating a kaleidoscopic Fly Lo sandwich. His experimental beats and magical sounds took his audience on an intergalactic odyssey through various musical dimensions. I felt as if I was on another planet and Flying Lotus was playing our global anthem. Hypnotized and mesmerized by the sparkling swirls on the screens and his evolutionary music, I pretended that the show would never end. Just when I thought I could not be any more impressed, Fly Lo emerges from behind the silken screen donning an Alex Grey T-shirt and a mic in his hand. Silhouetted by a vast galaxy twinkling behind him, he begins to freestyle, words flowing so organically that it is as if his soul is doing the rapping. With the lyrics, “I'm a slave to the darkness in my animal's cave and all these words I hold tighter than a glowstick at a rave,” the crowd erupts into a flurry of worship and praise.

Teebs, Thundercat and Flying Lotus showed how such different musical flavors can still be connected and cohesive. An example of unity within diversity. While they each provided music from various genres, the progression of their sounds told a melodious story that ended happily ever after. The fable of Teebs, Thundercat and Flying Lotus is definitely a tale I would read again and again.

T H E O C E A N O F W H I T E

Step into this magical world that has your eyes capturing millions of lasers and beautiful neon. Decked in all white, you are now on an adventure that includes beloved world

class DJs, creating a euphoric soundtrack that collaborates perfectly with this journey of the senses. After traveling all around the world, it is finally America's turn to embrace one of the biggest and upcoming electronic dance music experiences to date: Sensation launches its first ever US tour coming this fall called the “Ocean of White 2013 Tour”. Take a look at any of Sensation's event videos; these guys are about to blow minds from California to New York.

The experience first began in 2000 when the show was hosted at the Amsterdam Arena in Holland. After about two years of success, the show was split into two editions: Sensation White and Sensation Black. Sensation White required all recipients attending the show to wear strictly all white, focused mainly on playing trance music, and included the likes of the early Tiesto and Rank 1. Sensation Black, on the other hand, had all the recipients murdered out in black clothing, focused more on the darker side of EDM… If you are into hardstyle or hard trance, this was the show for you including the likes of Headhunterz, Marcel Woods, and Showtek. Up until 2005, the show was exclusively hosted in Amsterdam and began to expand to several European countries such as Belgium and Germany. Recently, the two events were renamed: Sensation White's show now called “Sensation” and Sensation Black's now known as, “BLACK”. It is said that over the last few years, Sensation has taken criticism from trance fans for making the event lean more towards house music in comparison to originally being a trance exclusive show. During the shows of the last couple of years, the production has involved a fair amount of trance and in response to criticism, Sensation wanted to let the fans know that the event will always be loyal and show love to its original roots. Almost every event has sold out and the reviews were nothing but positive. Sensation's popularity eventually went viral and began showcasing events across the globe in Spain, Portugal, UK, Brazil, Chile, and finally the US of A.Sensation's US debut happened last year at the new Barclay's Center in Brooklyn, NY, hosting a vibing crowd of 15,000. This year however marks the first US tour for the event. Overall the reviews of the Brooklyn show were phenomenal. For one night, the newly built Barclays Center was transformed into another world. The 2.5 million dollar production setup mimicked that which was hugely successful in the Amsterdam Arena: multiple laser lit stages in the shape of giant lotus flowers, endless illuminating orbs hanging from the sky, numerous dancers wearing eye catching foreign threads, and let's not forget the crowd, a giant ocean of white that was like a canvas waiting to be painted by the performers on the stage.

The night focused on numerous themes involving the evolution of electronic dance music as a way of life. The lineup of DJ's included some of the smoothest and most talented deep/tech house DJs in the game, opening with Sensation's very own Mr. White who led into the legendary Brooklyn native, Danny Tenaglia, and the heavily respected, “Mr Toolroom Records” Mark Knight. Tech and Deep House ruled a great part of the night however when it comes to progressive house, it was said when Fedde Le Grande got in the mix, the crowd was pulsating. Many were saying Fedde read the crowd perfectly and executed an amazing performance. The Dutch superstar's set opened up with an unforgettable special live vocal performance of Florence & the Machine singing her hot track at the time, “You've Got The Love”.

This opening calmed the crowd but gave everyone goose bumps; the opening gave the crowd a 'sensational' feeling. Although Florence's track wasn't bumping at 128 BPM, it was a perfect preparation for Fedde's epic set to come. Fans after the show said the transition from Sensation back to normal life was very difficult, however the announcement of the new upcoming US tour has ignited the excitement and hype once again.

As you can tell by the Barclay's Center review (and if you read any other Sensation event review), this is one event that any EDM aficionado cannot miss out on. Ultra, EDC, Tomorrow Land, etc. are on everyone's bucket list, however Sensation's experience offers something special that is different from every other event in its own unique way. When you stand in an arena with a world class DJ dropping the best tracks, and everyone standing 360 degrees around you is decked out in all white, this euphoric hype is created causing the atmosphere to be filled with major excitement. Every year people think they know what to expect at Sensation, but end up being surprised which always makes the experience that much better. EDC and Ultra have already exploded; Sensation on the other hand is about to shock electronic dance music fans across the US… This is one event that guarantees that an epic time that won't be forgotten.

thThe Ocean of White 2013 tour kicks off on September 14 at the Oracle Arena in thOakland, California, hits the MGM Grand Garden Arena in Vegas on October 4 and

th th5 , heads across country to Miami at the American Airlines Arena October 11 and th12 , and finishes off at where better than the Barclays Center in NYC. The performers

have not been announced yet however Sensation has said that this year's production is going to exceed last year's expectations.

By: William Benrubi

As each day draws Lightning in a Bottle closer and closer, The Do LaB is excited to announce that electro-pop duo Purity Ring has been added to the already loaded LIB lineup as a headliner. Purity

Ring, who also had a stellar Coachella showing will be join-ing an already amazing Lightning in a Bottle lineup which in-cludes Nicolas Jaar, Rusko, Tycho, Paper Diamond, Eman-cipator, PANTyRAiD, Lee Burridge, GRiZand more.

The country’s premier boutique music and arts festival also includes the sounds of Miguel Migs, Eskmo, Tim Green, Cari Lekebusch, Blockhead, and Kastle. In addition to the world class talent above, other notables include house legend François K, the emerging indie melodies of Blackbird Black-bird, Los Angeles Icon Jason Bentley, the foot-stomping an-thems of Herbert Bail Orchestra, plus over 100 more industry leading acts and of course the performance-art enhanced vision of The Lucent Dossier Experience. This year, with new dates from July 11 to July 15, 2013, and a new location at Lake Skinner County Park in Temecula, CA, The Do LaB continues on their journey to bring to life one of the most unique festivals in the world. Over the past eight years, The Do LaB has worked tirelessly to produce the most innovative festival on the international circuit, transcending any typical perception of the modern gathering. By fusing the energy of the bass music sound with the introspective qualities of installation art, performance art, spiritual living workshops, and an overriding sense of con-

scious sustainability, Lightning in a Bottle has risen to un-paralleled heights. In the words of one of the The Do LaB’s event creation visionaries, “Our goal with the music is to cre-ate a positive and uplifting experience, with a good balance of beautiful melodic music and good old party music. After 4 months of in depth research and a lot of listening we tried to cover as many genres as possible that we feel fit the vibe that we’re trying to create with Lightning in a Bottle.”- Jesse Flemming, Co-Founder/Curator, The Do LaB.

Much of Lightning in a Bottle’s intimate singularity is ex-pressed through The Lucent Temple of Consciousness, an amazing sanctuary for all participants to enrich the soul and inspire the spirit. The 2013 schedule inside the Lucent Tem-ple, built out of recycled and found objects, will include over 300 different experiences in yoga, workshops, speakers and exotic world music. For more information about Lightning in a Bottle, and to pur-chase tickets, visit http://lightninginabottle.org. Follow LIB at www.facebook.com/LightningInaBottle or The Do LaB at www.facebook.com/thedolab or www.twitter.com/thedolab.

EDDIEHALLIWELL

Eddie Halliwell is known by his DJ brethren, plus industry movers and shakers, as a spinning legend. He

comes from a generation of DJs where promotional gimmicks weren't needed to grab attention. His musical intuition and phenomenal mixing skills did the talking and still does to this day. Noted as Mixmag's “DJ of the Year” in 2003, began his long line of well-deserved recognition for this naturally talented performer. In 2006, he regained the title of “DJ of the Year” and in 2010, Eddie is nominated for Mixmag's “Greatest DJ of all Time” award. His performance behind the decks is a topic of conversation amongst the “EDM elite,” receiving the respected nod of approval by electronic music veterans such as, Judge Jules, Paul Oakenfold, Tiesto and Paul van Dyk. One of Eddie's favorite past times living in Manchester, UK is discovering new vinyl at local record store, Vinyl Exchange. At 15-years-old, he started mixing; heightening his connection with house, techno, and trance music. Over time, Eddie learned to read the vibe of a crowd and will only select tracks at the precise moment, leaving the audience with a f r e s h , m i n d - b l o w i n g experience. In 2002, Eddie's name is imprinted amid his first compilation release: Bosh! 12 Sizzling Bangers, a part of the Mixmag Live Series collection. It wasn't

long until he's offered other compilation opportunities with: Mixmag: Next Level Bosch (2003), Fire it Up (2005), New State Recordings: Cream Ibiza (2006 & 2007), Eddie Halliwell Presents: Fire It Up (2008), Eddie Halliwell & Sander van Doorn – Cream Ibiza (2009), Cream Ibiza (2010) and DJ Magazine – DJ Mag presents Eddie Halliwell (2011). His vigorous stage presence captured the eye of Europe's pioneering event promoters: ID&T, Godskitchen and Ministry of Sound. While on tour, each set Eddie plays leaves a lasting impression to the point where the audience can't get enough of his showmanship. This type of caliber is worthy to take part in Ibiza's summer festivities and over the years he's been offered to hold residencies at a few supreme events the Balearic Islands have to offer: Cream, Judgement Sundays, Gatecrashers and Goodgreef. There are musicians who master a particular instrument and it becomes a part of them. That's how DJing is to Eddie. His manipulation of the equipment is incomparable and mixing ability a second nature. He shows the crowd no matter what size, the pure essence of electronic music. His performances remind us that DJing is not just mixing two tracks together.Yes, there is beat matching but there is also scratching, cutting, layering and more creative ways to portray a track to the audience. Finding new ways to present the latest tune is Eddie's specialty; a fundamental trait that's often noticed.

By: Beverly Stoll

BBC Radio 1 learns of Eddie's potential and he's offered to perform live recordings in Ibiza for their Radio 1 Essential Mix series. Back in England, he's offered a position as a DJ host for BBC Radio 1's dance music segment, The Residency. His captivating sound and energetic demeanor lands him a weekly time slot for Thursday late night (12am) to Friday early morning (2am), sharing the air-waves with other Radio 1 colleagues, Pete Tong and Judge Jules. In 2009, he presents to the masses his own weekly syndication called, the Fire it Up Radio Show (FIUR), currently reaching approximately 60 countries,

broadcasting his choice of the greatest hits in house, trance and techno. Highlighting tracks from distinguished producers such as, Nicky Romero, Arty, Knife Party and Thomas Gold; FIUR provides an hour filled with jammed packed tunes to get partygoers fired up and ready for the weekend. Not only to keep current with his recent picks, Eddie provides mixes from special guest DJs and in 2011, the 100th episode was celebrated at renowned nightclub Sankeys, Manchester. Accessing his radio show has never been easier since the release of Eddie's personal iPhone and Android application. Available now for FREE via his website, iTunes and the Android market, enjoy the convenience of listening to his show from the comforts of your home or on the go.

During the summer festival season in 2009, Eddie launched his show concept, “ED-IT” (Eddie DJing with Integrated New Technology), an insane show case of LED lasers, abstract visuals, lyrics to sing along too, fire and smoke stage effects along with his use of the latest industry standard gear, including the Pioneer CDJs (CD player) and DJM (DJ Mixer). Its purpose: To embrace the innovation of DJ technology and present an unbelievable show provided by eminent sound

equipment that advances over time. As Eddie adapts to the latest tools, he strives to provide the best performance possible on what he's mastering. His premiere of “ED-IT” at Creamfields 2009 became the talk of the festival, a demonstration of lights and sounds that wasn't experienced before. The success of “ED-IT” accelerated his career giving him opportunities to pursue other ideas to share with the world. In 2011, his radio trademark establishes into a record label. Fire It Up Recordings, premiered its first compilation: FIUR presents 'ED-IT,' a remarkable demonstration of his utilization of the latest DJ tools. The compilation features some of the key elements that create beautiful EDM that we all know and love such as, the eclectic sound of snares, synths, bass lines and vocals. After years of concentrating on his DJ performance, he's now transitioning to his own productions. In 2011, he releases his first ever original mix, “Neon” and a remix of the 2001 club banger, “Musak” by Trisco. Starting off to a great start with his productions,

fans are looking forward to what's next in store. In April 2012, he released his best mix compilation to date, Toolroom Knights (Mixed by Eddie Halliwell), showcasing some of the greatest artists on Mark Knight's record label, Toolroom Knights. Eddie depicts different variations of house music, mixing originals from, Michael Woods, Fedde Le Grand, Digitalism, BT, Tommy Trash and Morgan Page. Eddie's newest original club mix of 'Rock this Place' is also included along with his successful remix of Tiesto & Mark Knight's – Beautiful World (feat. Dino). His mix under this prestigious label offers the best of both worlds: solid house music selections and pristine track transitions. Currently, Eddie is on his Toolroom Knight's tour in promotion of this massive release. One of his stops included an epic show at Avalon in Hollywood, California this past April. This summer he's holding a residency in Croatia at Club Papaya and is rigorously touring around Ibiza, enjoying the sites and the sounds of the EDM mecca.

There are artists that remind us the influence of DJing to society and one of those artists is, Eddie Halliwell. He's one of the few who still manifests the art of 'turntablism,' always challenging himself to entertain to the masses, leaving a lasting impression of sheer happiness to the people. He makes DJing unique from other musical instruments by taking a manufactured piece of equipment and turning it into something extraordinary. There aren't many artists who can progress their career on just mixing alone, especially in the modern day of EDM.

Despite the changes of the industry, he's still making a great impact by pursing his passion of electronic music. To learn more about Eddie, feel free to visit his website, www.eddiehalliwell.com and gain access to his personal links such as Mixcloud and Eddie Halliwell TV. For those who haven't yet had the opportunity to see Eddie perform live, please take the time do so. He's one in a million.

When did you first discover electronic music and started Djing? I first discovered dance music when I was in high school, probably at the age of 14 or 15. I have an older brother who started clubbing and he brought the awareness of electronic music to me. After reading different dance music magazines, I just developed a passion for it. I started collecting vinyl records in high school and just caught the DJ bug since then.

Since you travel constantly, what do you like to do when you finally have time to rest?To be honest, there is so much touring and not enough down time. But, when I finally do, I love to spend it with family and friends.

Can you explain your concept of “ED-IT” (Eddie DJing with Integrated Technology) to our readers? It's basically, just a bigger show, all intergreated with visuals and special effects. Rather than me just going on and play as a DJ, I get more involved with the visual aspects synced with the audio. It's just a better show for the audence to engage. Technology is a big thing for me. I love to follow with what's new and embrace it.

What are your goals for your label, Fire It Up Recordings? Ultimately, just to put good music out. I'm not specifically aimed for a certain sound. For how I developed over the years as a DJ, this is how I want my label to grow. I just want to represent the certain sounds I like and and showcase new talent. I love different styles of music and whatever will be released, will have a lot of energy.

When you're not listening to dance music, what other artists do you enjoy listening too?Coldplay! I never had the chance to see them live, but I just love listening to their music.

Do you think that DJ software such as, Serato, hinders the art of DJing? No, but obviously things change. When CDJs came out, things did get easier compared to vinyl but to me, there is an advantage to do more live. I think new equipment makes a DJ a more creative artist. There is a big difference between a person who is actually DJing compared to someone just standing there and pressing play. I like to get involved with my sets and start to fuse more tracks together and just get into it.

TECH NEWS

Even though music technology is progressing at a blisteringly fast pace,

some things will never change — things like producers wanting fat basses,

and the fact that Bob Moog is still probably the fattest name in the world when

it comes to bass. Arturia have used their True Analog Emulation (TAE)

technology to bring back to life one of the most revered classic synthesisers,

namely the Minimoog model D, as the iMini.The sound quality of the iMini is

awesome: faithfully recreating those huge bass noises that put the

Minimoog on the map. The mid and high ranges do not disappoint, either.

The filters stay fairly true to the original Minimoog, and while not exactly the

same as the original, they should keep all but the most ardent chin-strokers

happy.MIDI connectivity is supported via Core MIDI, allowing for either WI-FI

control or direct cable control via the camera connection kit, and the iMini is

also compatible with Tabletop. At such a sweet price, buying the iMini is as

close to a no-brainer purchase as any paid app ever will be.

iMini

Native Instruments is now offering a 'pro' solution for iPad DJs, Traktor Kontrol Z1 – a new controller and audio interface intended for both Traktor DJ for iPhoneor iPadandTraktor Pro 2. They call it 'the world's smallest professional mixer and audio interface”.

When used with Traktor DJ, the Z1 adds headphone cue, dedicated faders, lter and effects controls, and 3-band EQ for each channel. The integrated audio interface boosts audio output to club-ready levels.

According to NI, Traktor Kontrol Z1 is also the smallest professional mixer for Traktor Pro 2. It can be combined with Traktor Kontrol X1 and F1 controllers, to create a setup with full control of Traktor's Remix Decks and transport functionality.

Traktor Kontrol Z1 connects to iPad, iPad mini, iPhone or iPod touch with an included 30-pin connector. Using the Z1 with iPad 4th generation, iPad mini, iPhone 5 or iPod touch 5th generation requires an Apple Lightning to 30-pin Adapter.

Traktor Kontrol Z1 is priced at US $199/199 EUR. See the NI site for details.

If you've used Traktor Kontrol Z1, let us know what you think of it!

iPad DJing Goes Pro

Traktor Kontrol Z1

TECH NEWS

Lounge Lizard was one of the first ever plugins that I owned, it was used by

nearly every top producer that I could name back in the day. It has featured

on all styles and genres of music from dance to indie to pop, and the reason

why it was loved so much was the fact that it was simply brilliant. It was the

closest-sounding software reproduction of two pieces of vintage kit that

could be found at the time of its release, and nothing has changed to this day.

Lounge Lizard EP is an electric piano synthesizer plug-in delivering

authentic Rhodes and Wurlitzer sounds in a simple to use package, and now

it is revamped and upgraded to Version 4.

AAS, the company that makes Lounge Lizard, have spent a lot of time

focusing on the technique called Physical Modelling. Physical Modelling

allows each part of the real instrument to be replicated via a mathematical

formula, allowing for a more realistic sound than just a collection of samples

— as the range of dynamics that can be achieved is far greater. The

physically modelled instrument is able to more accurately reflect how the

original bit of kit sounds, especially when played as it physically

copies/models every aspect of the original gear

Lounge Lizard is more versatile than just being a simple electronic piano

simulation, and with cool programming and FX really does sound amazing.

Version 4 takes things to another level in terms of the sound and what can be

achieved with Lounge Lizard EP 4. It simply can't be beaten by any other

Rhodes or Wurlitzer plugin. It may not appeal to basic dance producers, but

anyone interested in diverse and leftfield electronica should give this baby a

whirl.

4

An electric piano synthesizer plug-in delivering authentic Rhodes and Wurlitzer sounds

st Industry's 1 Wireless DJ System with iOS Control Capability

Wireless Direct allows reliable wireless connectivity

Auto Beat Loop function

Beat Sync, Hot Cue, Sampler, Beat FX and Sound Color FX

Virtual DJ Limited Edition software included

OVERVIEW

1The XDJ-R1, the industry's rst DJ System to feature wireless control functionality 2through an iPad, iPhone, or iPod touch via Pioneer's specially designed remotebox app .

The versatile system features Wireless Direct, to enable wireless connectivity with an

iOS device even when a WiFi network is not available. The XDJ-R1 also features Auto

Beat Loop, Beat Sync, USB device connectivity, built-in CD players and MIDI control.

XDJ-R1 MOBILITY

By utilizing the remotebox app with an iOS device such as an iPhone, iPad, or iPod

touch, the XDJ-R1 can be remotely controlled wirelessly, giving DJs the ability to

continue their music mixing performance even when they move away from the system.

Many of the system's functions can be accessed directly on the display including

controlling volume levels, choosing and changing songs as well as the ability to mix

songs from a USB device plugged into the system. Users can also apply the "Auto Beat 3Loop" function that automatically loops music at a specic tempo as well as intuitively

control various effects using the X-Y pads from a smart device.

XDJ-R1

MusicP� review

The whimsical lead single 'Skylarking' features nostalgic melodies and abstruse yet intriguing sound composition. It surely is a taste of what's to come from BT's ninth artist album A Song Across Wires. Although the original alone is a true modern masterpiece, the UK's Ilan Bluestone and Israel's Maor Levi have been given the opportunity and honor of putting their own spin on the great track. Both artists take a very different approach to the single, each executing their own pathways and succeeding greatly. IIan Bluestone's remix of 'Skylarking' focuses on the delicate melodies that make the track strikingly breathtaking, with an upbeat, progressive house sound. Maor Levi utilizes edgy break-beats and screaming eletros, creating an animated spin on the single, a great change to the softer side of it. The remix package for 'Skylarking' was released through Armada music and is now available exclusively on Beatport. Both have gained great support from the likes of Tiësto, Above & Beyond, and Armin van Buuren, to name a few. As we all anticipate BT's album A Song Across Wires, these remixes will be perfect to tide us

thover until the next single is announced. August 16 is the release date for BT's album A Song Across Wires.

Adding to an already jam-packed run of releases and a successful European stintfor 2013, Australian electro monger Tommy Trash makes his formal debut on Size Records next month. As one of the few high-end imprints Tommy has yet to collaborate with, “Monkey In Love,” his follow-up to last months “Blair Bitch Project” for Dim Mak is no-less adrenaline fueled than we have come to expect from the festival primed Aussie. Playing out as the polar opposite to the well-groomed “Reload” alongside Sebastian Ingrosso, the track exercises his low-end complexion with considerable force for Angello's sought-after label. Following closely behind his recent remix for Destructo on Boys Noize Records, fans need not fear that the unconventional club icon is losing his balance of crossover tracks and livid festival anthems just yet.

Eclectic North Americans Norin & Rad are back on the trail with Anjunabeats to follow-up “Aldo” with another cut from outside of the industry comfort zone. As featured on'Mat Zos Essential Mix back in February, “Bird Is The Word” fuses euphoric progressions and astounding electro house elements to forge their most audacious yet wholeheartedly tailored installment for the label. At a time of endless musings over genre-boundaries and the global peak time overhaul, this Californian duo simply delivers an eclectic club asset indicative of the initiative that has sent them into overdrive for 2013.

Having spent numerous weeks sitting anonymously on the DMC buzz chart, North American breakout 3LAU debuts on Hardwell's Revealed Recordings imprint alongside Canadian label favorites Paris & Simo for a definitive installment of vocal dance music. Last found sporting a topline for Hardwell & Dyro's “Never Say Goodbye,” Heather Bright is once again the icing on the cake for this summer primed anthem of universal quality. Where the American/Canadian entourage brings radio-friendly songwriting to the table, the energy that has fueled Revealed's digital legacy is not wasted upon “Escape.” Between these four young talents, electronic dance music's foreseeable future looks in safe hands.

Since releasing his smash single “Platinum Chains” in March, English producer Michael Woodshas been jet-setting across the globe with a packed touring schedule. With the impending festival season indicating no end in sight, Woods took a moment to preview “Clanga,” his forthcoming single slated for a June 17th release on his Diffused Music imprint. While the track's “funky fresh beats” pre-drop sample may be a bit smirk-worthy, the electro-tinged percussive drop is no laughing matter. Taking a tonal twist on the minimal yet majorly effective approach employed by such main stage mainstays as “Epic” and “LRAD,” the aptly named “Clanga” will likely be lurking behind many a build this summer.

Avicii makes way for another upcoming talent with his Le7els imprint. This time, it's Ashley Wallbridge, an English producer who made his debut with Armada last year and missed DJ Mag's Top 100 list with a ranking of 118. Returning this year, Ashley brings his high-octane sound to fruition with “Crush,” the ninth release from Tim Bergling's label. Deep drums build a big room presence and acid house twang takes control with the drop, making for a unique offering from one of the game's rising stars.

Strandbar marks the first 12″ in the Todd Terje artillery since the highly lauded It's The Arps EP from early 2012 and although his three versions of the title track aren't the next “Inspector Norse,” the versatility he shows should not be ignored. Rather than produce another supremely feel-good club hit, Terje's just playing around with with Latin sounds. In his own press release he describes the sounds — “Strandbar” (meaning beach bar in Norweigan) is allegedly a pun on the description of “Inspector Norse” as “background music at a beach bar.” The samba cut is slinky piano house, and the disko cut is his interpretation of what would happen if he'd been “asked to program the music at the Virgin space shuttle.” The bonus version, as you'll notice, is the most stripped down version of the three.

After dominating the start of festival season with their undisputed anthem, Dimitri Vegas and Like Mike have revisited “Wakanda” for the track's remix package. Originally making waves along Swedish House Mafia's One Last Tour and itsAxtone release, new versions from Wolfpack, Zatox, and Oh Snap with Dimitri and Mike themselves, comes off Smash The House this week.

Oh Snap and the Belgian duo give “Wakanda” its “Harlem Shake” moment with a trap rendition, but fellow “Turn It Up” collaborator, Wolfpack, neutralizes the frenetic energy with a harmonic rendition. Zatox returns the boisterous, primal sounds to its owner and ups the ante, giving his remix the speaker-shattering appeal that it has become loved for.