Greetings OurStagers. We have some exciting news for the producers and EDM-ers among you. For the first time ever we have expanded our Electronic channels to include the following genres; House, Electro, Dubstep, and Downtempo. EDM has gone through a major facelift since its last time in the spotlight during the 90s and we think our channel selections reflect that. The channel definitions are as follows, and be sure to check out the examples of the type of music appropriate.
House – House music is a subset of EDM that must be built off of a 4×4 drumbeat. Slick productions and euphoric feelings should be primary elements of the music submitted here. Everything from Avicii style progressive-house to Richie Hawtin style tech-house is appropriate.
Electro – Unlike our House Channel, there is no required drumbeat for Electro (but keep your 2×4 productions in the Dubstep Channel). Electro submissions should be more aggressive in both style and substance than their House counterparts. Due to the ever-changing landscape of EDM, most upstart genres like moombahton and trap will be appropriate here. Think artists like Justice, Zedd, and Dillon Francis.
Dubstep – Dubstep has morphed and changed drastically over the years, so submit any of your tracks that follow the half-time rhythmic pattern that has become the universal constant of the genre. Whether your music focuses on the deep sub-bass sounds of London or the machine-like sounds of the U.S., Dubstep is the channel for you. Anything from Skream to Skrillex would be appropriate here.
Downtempo – This channel is for any and all electronic music that falls below the intensity level and tempo of club music. Whether you produce chilled-out lounge beats or minimal deep house, your submissions are welcomed here. Artists such as Chris Page, Gramatik, and Daniel Portman would definitely come hang out in our Downtempo Channel.
We hope to expand even further as we grow our EDM community. Please give us any feedback at firstname.lastname@example.org.
Right on the heels of 2 Chainz and Juicy J’s 8-bit adventures comes another retro video game that features a digitized major musician. In Skrillex Quest, the dubstep superstar gets the Legend of Zelda treatment. When a speck of dust invades an old game cartridge and threatens to unravel the entire virtual world, Skrillex’s tunic-clad avatar must destroy the game’s glitches and save the virtual princess. His music is prominently featured, which is fitting, as game creator Jason Oda notes that Skrillex’s tunes sometimes sound “like a broken video game.” Oda has previously made games for Atreyu, Breaking Benjamin, and Chemical Brothers as well. Who could be next to hop on the online retro video game bandwagon? It might be a longshot, but we’d love to see Escape From The Rihanna Plane. That one might be impossible to beat, though.
If you dig Skrillex, check out OurStage artist DJ Tranzed.
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If there is one name synonymous with the dirty side of dubstep, it’s Borgore. Over the course of his multiple genre releases the still-young DJ has managed to offend nearly everyone with a moral barometer by mixing the world (and sounds) of pornography into his art. For his latest single and video, “Decisions,” Borgore keeps it clean(ish) by recruiting Miley Cyrus for a late night hotel party filled with cake icing and celebrities making out with dudes in horse masks. You can view the video below:
If you enjoy Borgore, check out OS artist Circuit Assassins.
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The dust has finally settled after the face“off between the dubstep-influenced beats of Circuit Assassins and the anthemic rock of DIVE, leaving only one group standing in the July round of the ESPN “Main Event” Competition. New Jersey’s own DIVE has won the Grand Prize: a spot on ESPN’s Friday Night Fights that will feature their song “This Time.” But the fight’s not over yet. This month, all of the previous “Main Event” winners will return to battle it out one last time for a shot at being featured on Friday Night Fights’ “Images of the Year.”
Though many current synth pop artists attempt to recapture the vintage electronic sounds of the ’80s, OurStage act Go Periscope aims straight for the future and never looks back. With their new album Wasted Youth, Go Periscope’s Florin Merano and Joshua Frazier have released a dark and pulsating collection of songs that sound like the 21st century. While Go Periscope’s music does contain clear references to the ’80s synth sounds that inspired its members, the songs are more than just conduits for indulgent electro-nostalgia. In fact, Wasted Youth is unabashedly contemporary, with its obvious debts to EDM and dubstep on tracks like “Black Light Masquerade” and “Break Free.” The synth tones are expansive and thick, layering on top of each other to create rippling waves of sound that undergird Merano and Frazier’s heavily filtered vocals.
Yet, for all of its shine and polish, Wasted Youth speaks to the dark and increasingly unstable world around it. For a work that so heavily revolves around artificially engineered sounds, the album contains a significant number of lyrical references to nature. Fire, water, gold, and horses all appear as damaged or endangered elements in the wake of technology, which electronically manipulates the natural world described in the lyrics. Vocal lines are often sliced, rearranged, and panned until they sound like the inhuman sputterings of a dying computer. Clean vocals intertwine with computerized, bit-crunched harmonies that suggest the integration of human and machine to the point of indistinguishability. In the face of the mechanized depletion of the natural world around them, humans can only choose to “live in fantasy,” as the track “Make Believers” sadly emphasizes through the repeated line: “It was only a dream / But it was just like Heaven.” Ultimately, technology doesn’t just enable these escapist fantasies; it makes them necessary in the first place. At a time when people can’t let go of their smartphones and the world is becoming unyieldingly digitized, Go Periscope is making pop music for an uncertain future. Until then, the dance anthems on Wasted Youth implore listeners to party like it’s the end of the world.
You can buy Wasted Youth now at Go Periscope’s Bandcamp page!
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Electronic Dance Music is arguably the fastest growing trend in popular music right now, and it seems to be doing nothing but getting bigger. Increasingly more artists from other genres are releasing songs with electronic influences and DJ cameos, and these songs are roaring right up the charts. This stuff is cranking loud in headphones across America and infecting concert venue bills faster than you can say Raise Your Weapon. The popularity of EDM is easy to understand. It’s fun. And people love to dance. But there is a very serious downside to the trend, growing more dangerous as the music spreads.
The fact is that, as EDM reaches more ears, we may need to begin weaning ourselves off its signature heavy bass lines and sweeping wobbles with a quickness. Studies have shown that extended exposure to excessively loud music repeated over several occurrences can cause permanent hearing damage. Of course, this has been generally known since Beethoven began losing his hearing around 1796 (he was cranking that piano through some serious stacks), but it seems that there is a growing concern that EDM may be exacerbating the problem.
The Occupational Safety and Health Administration claims that 90 decibels (dB), about the volume of a noisy office, is the average sound intensity that a human can withstand for eight hours without any hearing damage. Anything past this mark and tinnitus, or ringing in the ears, becomes a distinct possibility. Tinnitus is an early symptom of hearing impairment, removing the normal masking effect of low-level noise causing you to hear all the muscle movement, blood flow, and eardrum vibration inside your own head. At any given EDM show, you can expect to absorb over 110dB for several hours, which is about the equivalent of putting your ear up to a chainsaw all night. This is a rather significant difference, considering that every increase of 10dB translates to about doubling the volume output, according to Hearing Aid Know. Of course, EDM shows weren’t the first to break the 100dB barrier “ any metal fan could tell you that¦if they could hear the question, of course. But it seems that electronic dance music has one distinct factor that may be on its way to filling the future with hearing-impaired, former EDM enthusiasts. (more…)
This week I got the chance to catch up with dubstep producer/DJ Datsik a.k.a. Troy Beetles. The 24-year-old Canadian native recently shared a lot about his performance and production techniques with DJTT, so we focused our conversation on the broader end of the spectrum; discussing the direction of EDM, breaking down the BPM wall, and collaborating with Wu-Tang-Clan.
OS: Like most of the “new generation” of EDM stars; you’ve rocketed to the top in just a couple years, and you’ve spent a good amount of that time out on the road. But electronic music is such a studio-based genre, how do you find the time to keep putting out new music?
TB: Well honestly I tried working on the road a little bit, and it works…but at the same time I love my studio. It gives me a reason to be stoked to come home…other than my girlfriend of course [laughs]. But obviously when I’m on the plane I’ll make patches, or if I’m sitting at the airport I’ll bring my phones and my laptop and just try to jam out ideas. For anything concrete though, I usually wait until I’m home to finalize it.
OS: Your “Fix You” remix from the Mellow-Step EP is a lot different than most of the stuff you have done recently. Do you see yourself doing another EP like that?
TB: It’s always good to do something different from time to time, I think instead of doing a full EP of that kind of sound, it’s more so about integrating that into the stuff I’m already doing. So in one track, you have the very light stuff, and then this crazy drop thats really dark and heavy. Just trying to combine the two a little bit more. I feel like right now I’m going through a weird transition where, you know, I’ve been doing the same thing for a while, and it’s starting to feel… stale. I’m just really stoked to explore different avenues, different tempos, and that has been the most exciting thing for me. I’m working on this 100 BPM track right now that’s really cool, and kind of touches back to my hip hop roots. I’m excited about making stuff again. I’m really stoked about 110 [BPM] right now, and I think I have more fun making that than dubstep. So I’m going through a transitional period which is really cool, as I’m starting to learn different production techniques, and really spread my wings.