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Exclusive Interview with Crankdat at Believe Music Hall Atlanta

By
Anastasiia Riddle
-

(Atlanta, GA)– From viral “recranks” to massive collaborations with some of the biggest names in the game, Christian Smith aka Crankdat, doesn’t appear to be slowing down anytime soon. The Ohio native has been showing off his incredible producing skills to the world since day one. This extremely talented and humble producer has been grinding and achieving the heights all the young producers are dreaming of. From the residency at Hakkasan on the Vegas Strip (while still underage), to the stages of EDCLV and TomorrowLand, his unique and distinctive sound won the hearts of thousands of fans all across the globe. When it comes to mixing happy and heavy, Crankdat sure knows how to wow the most demanding crowd. Dropping the filthiest edits with his fun “recranks” and bass house-y originals, he is not afraid of double or even triple drops. But is the crowd ready? Well, you better go see him on tour to find out for yourself!

We were able to catch Crankdat before his show in Atlanta at Believe Music Hall. Crankdat told us how he came up with the name (for the first time!), how he makes his own visuals and high praise for Slander and Eptic.

Belive Music Hall

RC: So tell us a little bit about yourself, how did your relationship with the music start?

Crankdat: My name is Christian Smith, and I’m from Northeast Ohio. I started playing piano when I was seven. That went on for a couple years. I did trumpet in middle school, and then I kind of stopped doing music until I discovered producing electronic music when I was about 15. My parents got me the production suite called Fruity Loops for Christmas. And I kind of just geeked out on it for a couple years and had a lot of fun with it. Then somehow wound up doing it as a career, and now we’re here.  

RC:  We want to know how you came up with the name, Crankdat? So we watched recent Q&A, and you said there is a hint in Jack U’s 2014 Ultra set. We watched that and still don’t know!

Crankdat: It’s a really bad hint; but, well, since you did your homework, I guess I owe you the answer for that one. So in that Jack U set they have an ID that they play… It was an idea at the time. It was a remix by an artist called D-Bass, and the pre-drop vocal said, “drop that bass.” I had really shitty car speakers and I would play that on the way to the gym every day. And it sounded to me like it said, “Crank that bass,” and I was just listening and I thought, “Huh? Crankdat, that’s cool!” That’s literally exactly how I got my name. That is also probably the worst story of all time.

RC: I think this is actually the first time you told the story. 

Crankdat: Yeah, I don’t talk about it very often. So this is probably the first time. Because normally I’d just give a hint, and I would say to media outlets that next time we do an interview I’ll tell you the whole thing; but you guys already got the hint, so I can’t back out now

RC: What made you choose music over perhaps an academic or athletic career? Was there a pivotal point where you realized that you wanted to pursue music full-time?

Crankdat: Was there a defining point? I mean, I always kind of wanted to do music full-time. I don’t want to say that was the goal going into it. At first I was just having fun, but I’d say it was probably when I saw Martin Garrix doing it at a super young age and I was like, “Okay,  I don’t need to be in my mid 20’s to actually do this shit! I can just do it whenever I’m good enough essentially. So there really was no defining point, but the why instead of doing academics or athletics was just because I really didn’t care for either of those. I really like music. So yeah, I really just didn’t have that much interest in doing either of those things where my passion was, which was in music. So I just kind of said, “F*ck it, I want to do music, this is where I’m happy. I don’t care. I can do the other things later or another time, whatever.”

RC: This is awesome! You have this unique distinctive Crankdat sound, which is very rare these days. How did you find that?

Crankdat: I absolutely did not. *laughs* Thank you for saying that. That’s that’s really cool that you think so! I have no idea what my sound is, I think the only kind of sound I have is from just making music the same way for a very long time. But I tried to use a lot of different sounds, so I appreciate you saying that. That’s really cool. I didn’t think I had a sound I’m just out here winging it.

RC: Trust me, you do! I don’t Shazam to be able to tell it’s your track playing!

Crankdat: Thank you. Thank you.

RC: How do you choose the tracks to ‘recrank’?

Crankdat: So the landscape has kind of changed over time. Back in the SoundCloud era, I tried to just do one every other week. So I was picking whatever song was popular, whatever song I liked, etc. Nowadays, I really only pick songs that I like. It doesn’t matter if it’s a big song or a small song; if I like it and I think that I can do something with it to make it unique, not better, just unique.

RC: How do you think your style has evolved since you first started producing? 

Crankdat: I started off really bad, and then I got a little bit better. And now I’m really bad again. *laughs* Really, I think my style has evolved by just… I take a lot less time making music now and I work a lot faster, so I think I get more ideas out quickly. I know that doesn’t really answer the question, but I think that my sound has kind of been encapsulated by how quickly I make songs, and I think my sound is kind of defined by the habits I have rather than the sounds I use. So I think really, for me, was just developing those habits and figuring out those patterns of like what I liked and didn’t like in the music making process.

holy ship!

RC: Your mixes and set production are very clean and spotless. Tell us about your creative process, and how do you choose those tracks that are going to create a double or even a triple drop?

Crankdat: Okay, so I kind of have an answer. It’s pretty tricky. Triples can be messy. So we’ll start with doubles. All right, for a double, the way that I like to do my doubles is using lot of songs that kind of have a melody that goes on top. So what I’ll do is I’ll take those songs and I’ll play them, and then I’ll play another song that has like kind of a really grungy, sort of like bass sound to it. For example, I have a double that I do, which is my song called “Welcome to the jungle” with a song by Bandlez called “Mr Yoi,” and I’ll play “Mr Yoi” underneath “Welcome to the jungle.” What I do is I just cut out the low end to “Welcome to the jungle,” and then it sounds pretty nice. That’s just the way that I like to do mine. I like to pick a song that has a melody, or like a sound that is pretty upfront and then just play something that’s really grimy in the background.

RC: That was awesome and very informative. It’s becoming more common lately for younger artists to stray away from writing complete songs, and focusing more on the initial drop, where you always tend to compose complete well rounded tracks. What advice do you have for newer artists who think they just need a decent buiild and a banger for a drop?

Crankdat: You know, 50% of me wants to say, “Hey, just keep doing what you’re doing.” And the other 50% believes there’s more to a song than just a drop. If the only part of the song was the buildup and the drop, then all of the songs in electronic music would just be, you know, a minute and fifteen seconds. You make the rest of the song for those who are actually willing to listen. Not everybody’s wanting to listen, and that’s totally fine. But in the way that I like to make my songs and the way that I like to make anything that isn’t the buildup with the drop is, you know, if somebody is paying attention to this and listening to this, I want them to really like it. I want it to help make the rest of the song enjoyable for them.

RC: So I’ve got a question about your amazing visuals. How did you learn how to create your own visuals? How long does it take to create that kind of animation?

Crankdat: I have a couple different answers to that question. I use a program called Blender and it’s free, it’s open source, and I am a big Blender supporter because a lot of the other 3D animation programs are not free and open source. So because of that Blender has kind of taken the 3D world by storm over the past 10 years. I have not been present for these 10 years. I’ve been present for the past roughly 1.5 years. I started doing my visuals in the summer of 2018. I was on a tour in Europe, and we had a couple of days off. My videographer that I took with me had a little bit of experience with Blender, and he showed it to me and I was like, “Okay, I could maybe do something with this.” I just started messing around with it and I had a lot of fun with it. I thought, “Okay, I could have full creative control here instead of, you know, paying somebody else an absolutely obscene amount of money to make some visuals for me that might not even be what I need or what I want.” I could maybe just try to do these myself and ideally, over time, make this process totally in-house.

To answer the actual question you gave me, I did a tour in 2019 last year around this time actually called the Gear World tour. I had the tour set up to be totally time-coded, which means that all of the visuals were perfectly synced to the music and it was super complicated and an absolute disaster if anything went wrong, which it hardly did, praise God. But there were a couple of times that it did, and when I’m making the actual animations, it can usually take about a day or two, then programming them to work in time-code is probably another day or two. So in reality, you’re looking at about a week per song and it can take a really, really long time, which is why I’m currently not using that system. I’m testing new visuals for when I do that system again, ideally later this year.

Crankdat performing live

RC: Wow! I think you covered everything. I did some stuff with Maya in college. Have you heard of that? It’s a nightmare!

Crankdat: I have, actually. Autodesk? I’ve heard that Autodesk is literally the most outrageous software ever.

RC: It was so difficult. My computer was also really bad, and it was crashing all of the time. It was just so nerve wracking.

Crankdat: I don’t think there are any computers that are good computers for Maya. *laughing* Cool, though, props to you for doing it! I tried cinema 4D actually when I started, which was when I first had an interest in doing my visuals, was top of 2018 I started Blender that summer, top of 2018 I tried cinema 4D with my lovely girlfriend and she quit like two days in, and I quit one week in. I was like, I have no idea what’s going on!

RC: Yeah, this could be super complicated. So you used to go to festivals as a fan, which is more fun to be in the crowd or on the stage?

Crankdat: I’m a stage guy. I mean I just like performing, but I really like seeing shows, especially now, now that I’ve like been behind the decks. Sometimes you can lose the appreciation for what it’s like to experience a set in the crowd. So I try to do one at least every half year. Just recently I went to Slander’s show. They came through Pittsburgh.

RC: Dylan Matthew is…

Crankdat: A God! *laughs* I was very pleased. I thought they did a great job, and I’m very proud of those guys. It gave me a lot of really good insight as to, you know, how the crowd feels during set. Because no matter how much you practice, no matter how good you think you are doing at your job, you don’t really know what the crowd is experiencing unless you put yourself in those shoes.

RC: That is very true. Well that brings me up to my next question. Are there any artists you are most looking forward to catching at Tomorrowland?

Crankdat: Oh man! I’d have to look at the full lineup. I think Eptic is there, if I am correct. Eptic is probably… It’s between Eptic and Troyboi for a tie, my two favorite DJs, aside from like Skrillex and all that; but they don’t even count, those are Gods. Not that Eptic and Troyboi aren’t because they totally are, but they’re my favorite DJs that I want to see. So Eptic is probably number one on the list. I don’t know if Troyboi is there. I don’t think so. I wish!

RC: It’s Eptic’s first TomorrwLand! And it’s his home country!

Crankdat: Dude just had a crazy year. I remember talking to him, I know this isn’t part of the interview, but I remember talking to him at a festival in Germany two years ago and he was just kind of bummed. And I told him, “Dude, you have some of the best music in the game, no argument. Please keep going. Please do not stop. You are my favorite DJ hands down”, and a year and a half later and he’s doing better than he’s ever done with his career and I’m really happy for him. He’s a really nice guy too. I have a lot of respect for him as well because he does his own artwork and visuals. Very inspiring.

Exclusive Interview with Crankdat at Believe Music Hall Atlanta 1

RC: So I’ve got one last thing for you. We’re going to name 8 artists that you’ve either collabed with or play in your mixes and you give us the first word that comes to mind for each.

Crankdat: Okay. All right. I might have some stories behind it depending on who…

RC: PhaseOne

Crankdat: Great producer.

RC: Okay. That was two words.

Crankdat: We’ll make it one word. Because if I just said ‘producer’, that’s just like, “Ah Duh!” *laughs*

RC: Slander

Crankdat: Uncle… *long pause*

RC: Okay. Any explanation to that, or are we moving on? *laughs*

Crankdat: The first time we met, I shouldn’t say the first time we met, the first time we worked together, Scott actually self proclaimed himself to be my uncle.

RC: Uncle Slander, that’s so sweet.

Crankdat: Yup. Uncle Slander.

RC: We did our First Dance to “Superhuman”.

Crankdat: No way?

RC: Yup. They reposted it on Twitter. But we still haven’t had a chance to meet them.

Crankdat: Oh, that’s so cool. They are the nicest dudes I’ve ever met. They’re the best.

RC: All right. Moving on. Adventure Club.

Crankdat: Buff.

RC: *All laughing* That Okay. We did an interview with them and we came up with a name Crankdat AC for y’alls collab

Crankdat: I like it. I’m all for it.

RC: Gammer

Crankdat: Brostep Strikes Back. *laughs* I can’t think of anything other than that! If you name a track “Brostep Strikes Back”, you’re asking to never be labeled as anything other than Brostep. I love Matt though, I should say nice. Very nice. Sweet man.

RC: Okay, Marshmello. Go!

Crankdat: Head! *All laughing*

RC: This is on point so far.

Crankdat: I’m a very straightforward guy!

RC: All right. Eliminate.

Crankdat: Ooh. Okay. I have to actually think of a word because I just got sounds.

RC: Weeble Wobble?

Crankdat: Yeah! I could say wobble! Laser. High pitch. That’s two words. We’re going with laser.

RC: Yookie. *whispers, “Sucks”*

Crankdat: Sucks! *laughing* I was going to say edit but sucks is just as good!

RC: Okay. One more, Crankdat.

Crankdat: Oh, trash. *laughing*

New Speaker: Omg, no!

Crankdat: So Yookie sucks, Crankdat Trash. Very good. Thank you, ladies and gentlemen, my name is Trash.

RC: That was amazing. Thank you so much.

Crankdat: Thank you.

Interview with Two Friends at Variety Playhouse

By
Anastasiia Riddle
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(Atlanta, GA)– When meeting an artist for the first time, you’re never really too sure what to expect; so it’s incredibly welcoming to be greeted by two friendly faces offering that pure Los Angeles-style comfort and conversation. These guys are Two Friends. This humble electronic duo from LA is all about working hard, playing hard, and simply having fun. Since they emerged in the scene, they’ve reached unbelievable heights. What started as a fun project in high school grew into an international phenomenon that quickly gained a dedicated fan base.

 
Interview with Two Friends at Variety Playhouse 2

They created a buzz by remixing several all-time favorites like “Mr. Brightside” or “I Miss You” by Blink-182 to name a couple, and adding a few special elements to give it a totally unique sound. The original music catalogue of Two Friends just screams, “We are having fun, and so should you!” And that’s what I love about these guys. Their contagious and energetic vibe, which can really be felt in their “Big Booty Mix” series, makes you want to get up and lose yourself on the dance floor. It was a pleasure to have the opportunity to chat with Matt and Eli on the Camp Superdope Tour with Matoma before their set. The two shared with us how the project started, where they find inspiration to write their original tracks, and high praise for Swedish House Mafia.

 

RC:       We always start with the basics, tell us how did you guys meet each other and decided to become musicians?

Matt:             So we met each other in middle school in Los Angeles and kind of became friends there, but we weren’t doing music together or anything. I kind of played guitar and then in high school Eli kinda got into mashups and stuff. When we were graduating high school, we were like, oh, we’re not playing sports anymore, let’s learn to produce music. We didn’t even know what that meant, but we just bought a program right near the end of senior year and then we split off for college. But during college we were almost treating it like a full-time job. Then we started gaining momentum in college. So probably by junior year or something, we’re like, alright, let’s try this full-time when we graduate. And now it’s been four and a half years since we graduated, right?

Eli:         Yeah. We graduated in 2015, so four and a half.

   

RC:       So what was the first software you used?

Matt:   Pro Tools- the first, and so far, the last.

Eli:             We literally, not a joke, went on Google and searched, what programs should we get to produce music? And it was like…

Matt:           And it’s not a popular one for production at all.

Eli:               But there was some forum that said pro tools, blah blah blah. And we’re like, all right, let’s do it.

Matt:            I think if we could’ve gone back, we would have chosen Ableton; but now we’re trying to switch anyway, so it’s like we’ll see what happens. It’s hard to switch.

   

RC:             Okay. Who was/were the producers that you listened to at first that made you realize this is what we want to do?

Eli:                I think it was back in the day. Yeah, it was probably a lot of Avicii, Alesso, Swedish House Mafia. We grew up in LA, and Coachella was a big deal for our whole school, so we’d go. I think that was kind of the first introduction to going and seeing a lot of the DJs at Coachella and not even really understanding what it was or how it’s made or what the hell is happening.

Matt:               I think when we were first learning how to produce, we were kind of just copying, trying to figure out how to get that clean and nice sound. So I think in the beginning it was those Swedish guys, and I honestly think that’s probably the most common answer.

Eli:                But that was also the first stuff to really land big in the U.S. for the mainstream. Obviously, there’s so many other genres that have the roots here. Towards the end of high school, 2010-2011, Swedish house mafia is getting on the radio a lot, Alesso and Avicii are blowing up. I think for a lot of American kids at that time, this was what they were being introduced to.

   

RC:           Well, what about now?

Matt:           I feel like back then our influences were a lot more focused, and now it’s just kind of all over different genres. I mean, like dance music, pop, hip-hop, rock, just a little bit of everything. It’s honestly hard to reference one because it changes every month really.

Eli:               More like a lot of the songwriting side as opposed to only production side.

   

RC:             Ever since you emerged in the scene, you’ve been unstoppable. What’s the most challenging thing that you guys had to deal with in these years?

Matt:             Patience, maybe?

Eli:               Yeah, I would say luckily there hasn’t been a major setback or a major hurdle. I think it’s kind of been a patience thing and having the focus to make certain sacrifices if you think that it’s going to be worth it in the longterm. So not rushing into certain deals that could kind of screw you over, or not rushing into certain gigs that might mess up your style.

Matt:            And also just having patience in general, because it’s really been a slow but steady grind. And I think that’s pretty normal, unless you have a huge radio hit or something. So patience, patience, and perseverance.

   

RC:           That’s awesome. For your original beautiful tracks like “Out of Love” and “Bandaid”, where do you find inspiration to create whether it’s EDM related or not?

Matt:           Yeah, both of those kind of have a foot in dance and a foot in pop. I think when we started those and a lot of stuff we’re making now, it’s just… ‘Do we like it or do we not?’ Like not so much thinking, ‘where does it lie?’ I guess we like pop and dance, so that’s kind of where it ends up going.

Eli:              I think we’ve gotten better about just going with it if there’s a cool idea and we are feeling good about it. You know that if you still get excited by it, it’s obviously a good sign. So for “Out of Love,” I know that one started with that guitar lick that’s still is in most of the songs. Matt just had a voice note where he’s playing that and then it’s like, you know what, we got to make a full song around this. Bandaid, I think was the lyric, we knew that tagline…

Matt:           Yeah, we had the chords and then just like the “bandaid ah, ah, ah!” *singing the tune* I’d say, nowadays, it’s usually a combination of a tiny instrumental idea with a vocal, or a hook, or something like that because we like to write a lot.

Eli:               I think the goal is also not to rush it, but basically keep going. No matter what, you’re going to get to a point where you just get a headache about the song. You’ve heard it too many times. You don’t know if it’s good anymore, you lose all your perspective. So that beginning part is very important, and if you are excited about it keep going as hard and as you can as fast… Again, don’t rush it, but go as fast as you can to use that inspiration and keep going because it will run out. So if you could get the meat of the song done, then you focus on the other parts.

Matt:           Go! Go! Go! Yeah. You got to get it done as fast as you can!

   

RC:           Do you ever write the lyrics first?

Matt:            Usually if you have a lyric, it’s not necessarily a melody because you need help with the chorus behind it, or at least what tempo it is.

Eli:               There’s not a formula that we always follow. Each song can be a little different, so there’s definitely a good amount of our work where we had the title, and you think of this is a cool title for a song. If the song is called “Dollar menu,” alright, now we’ve got the title down. What’s it about? And then we start building off of it.

Matt:         The cool thing about songwriting and music is just the unlimited potential. You can go about it the song title first, you go about the idea, then you can go about the production. It’s just unlimited, and it really keeps things fresh when you’re making stuff.

   

RC:           Your set production seems very thoughtful and time consuming. Tell us about your process of finding out a track like… let’s say Blink-182’s “Say It ain’t so” that could mash up with Amy Winehouse’s “Rehab,” and flow perfectly into “Old Town Road?”

Eli:            Yeah, I mean, for the mixes, it kind of ends up being a lot of trial and error. It wasn’t necessarily that we thought those three or four songs you mentioned. It wasn’t like we had the idea all at once. Like, “Oh it’s gotta be this to this.”

Matt:         Honestly, in the beginning I think it’s more like mathematical and scientific. It’s just what key is this in, what is near this BPM? You know, just testing things.

Matt:         Once you hear something or if it’s close, a really good sounding thing might be worse than the coolest combination ever.

Eli:             I think the conceptual part of it is that there are certain ones that sound great, but they’re not very interesting?

Matt:          Because if no one knows the vocal, it’s just a cool song. But if it’s a nostalgic thing from the eighties over a dance drop from this year, it feels cooler. You know?

   

RC:         Sure sounds like you’re having fun doing it! Is there a specific track that you like to drop the most in your sets?

Matt:         Of ours? Probably the one that goes off is our “Mr. Brightside” remix. Just because people know the vocal and it’s just a fun one to play.

   

RC:         That’s an amazing remix!

Matt:         Thank you. I appreciate it. There’s a lot more at this point and now our sets are getting pretty heavy towards edits from “Big Booties” mixes or our originals, or remixes with a couple of other things thrown in. The sets can get filled up quickly now, so it’s good. It’s been getting more Two Friends related over the years.

   

RC:           Awesome. Your mixes include an insane variety of hits from the early 2000s to EDM Classics, from Shakira to Illenium, and even some of the best vine quotes there are. But If you had to choose, What would you pick as your favorite vine quote, and your favorite throwback track?

Matt:         We don’t even have a master list. And people ask us like, “What is this from? Which volume?” and I’m like, “I have no clue…”

Eli:             There’s been a lot, because we’ve done 16 of them and each one has around 12, so there’s been at least over a hundred.

Matt:          Theres a couple from “The Office” that I just hold dear. But damn, I don’t know. What’s your favorite [Eli]?

Eli:               There’s a lot. And it changes every morning. I was going to say “Every Morning,” and I was thinking of the one from Shrek, “In the morning, I’m making waffles.” That’s a good one.

Matt:           Oh, “I Have nipples, Greg. Can you milk me?” Thats a good one. There’s a lot of good ones.

Eli:              That’s always a fun part of throwing those in at the end. And then favorite throwback? I think it’s cool, the more unexpected, like mixing an Elton John track… there’s not a lot of dance remixes of those type of songs. So I always like when we’re able to figure out a way to put in the Beatles or Queen.

   

RC:           Is there a different genre that you would like to try yourself in but haven’t yet?

Matt:          It’s kind of interesting. I feel like a lot of our unreleased stuff is going towards the direction where it honestly has “a foot in dance,” and some of it is way more dance than others. But there’s rock in it. There’s pop in it. Eventually there will be country, no doubt. And theres some rap thrown in. So honestly pretty much hitting everything.

   

RC:           What about some dubstep? (or riddim lol)

Matt:         I can see some harder stuff coming soon. No Doubt! Some remixes, of course. *laughs*.

   

RC:           If today was the end of the world which song would be a perfect soundtrack?

Eli:           Happy song or sad song?

   

RC:           I don’t know, It’s up to you!

Eli:           If today was the end of the world. Damn, that is scary.

Matt:         You only got a few hours. Yeah. We’d fly back to LA real quick!

Eli:              What song has stuck?

Matt:          I would say it would have to be… One of our songs or any song in the world?

   

RC:           Either!

Matt:         Alright. I’m going to do maybe… something by Frank Sinatra. Just the vibe, you know?

Eli:            I don’t know. Red Hot Chili Peppers and it could also be one of their almost sad ones, like a “Soul to Squeeze.” That’s what I’m going with.

   

RC:         I’ve got one more question for you. What’s in store for Two Friends for the rest of 2020?

Matt:         We’ve got a lot of music. It’s hard to work on the road, but we’re grinding. We have stuff coming out soon. We’ll have another “Big Booty Mix ” to release probably by April. A lot of touring, like right now with this tour. Then we’ll probably be on the road more and more after this. Then just bigger and better things constantly. We’re excited!

Eli:               Next single is end of January. And then we’re kind of just wrapping up all the other ones.

Matt:             And a couple of remixes, a couple of other stuff, but a lot of sick stuff we are excited for.

   

RC:           Awesome. Well, thank you so much.

Matt:          Thank you. Thanks so much for having us. I appreciate it.

Interview: Gammer praises Happy Hardcore, Breaks Down His Creative Process, Chooses Intro to His Favorite Anime

By
Anastasiia Riddle
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(Atlanta, GA) – Two words: Happy Hardcore. If the name Gammer doesn’t immediately pop up in your head when you hear these words, well you might want to go check him out. The UK producer is a walking incarnation of the genre. 6 times “Best Hardcore DJ Award” winner, Gammer is an insanely talented, versatile and simply fun to watch DJ. His music makes you want to jump, dance and completely lose it on the dance floor.

Aside from Happy Hardcore, he proved his versatility with his hit track “The Drop” which was played by the top DJs at festivals all around the world in 2018, while the man himself was humbly producing new bangers. His sets are always full of unexpected drops, fun twists and his own flips. From happy jumpy tunes like “Burning Up” with the pioneers Dougal and Darren Styles to Parker’s fun remix of an all time classics “Everytime We Touch” by Cascada to his insanely popular flip of Ran-D’s Zombie remix, Gammer knows exactly how to deliver while staying true to himself. Ravers Choice got to sit with Gammer before his show in Atlanta and chat about his relationship with the music, praise for Space Laces, and his favorite anime.

 
RC: Let’s start with the basics. Tell us about your relationship with music. How did your journey start?

Gammer: Oh gosh, that’s a big question. I always wanted to do music ever since I was like five years old. I guess. I just, uh, I remember like listening to… working around, listening to Michael Jackson a lot on my Walkman which is like a boomer Spotify player.

 
RC: You think we don’t know what it is? You think you’re that old?

Gammer: That’s, yeah, that’s exactly what i thought haha a thing. So I would listen to this music and think, “Damn this makes me feel good. I want to do this.” And then I’d see DJs on TV when like Fatboy slim sort of blew up. I’d see him DJ and I didn’t know what he was doing, but I thought, man, that looks cool. And so I was pretty set on being heavily involved with music from a young age and that never really wavered.

 
RC: That’s awesome. Who were some of your influences when you started and who/what do you look to for inspiration now?

Gammer: When I started, Michael Jackson was the obvious one. Peter Gabriel was a big influence and then when I sort of discovered rave, Scott Brown was a big one. Scott Brown used to make some incredible euphoric hardcore and that just really flipping did it for me. These days it’s kind of like, it’s a bit more eclectic. I’m a massive Justice fan. Love Porter Robinson, Kanye, you know, for better or for worse as always. I like his sort of abstracts arrangements and the way he sort of executes ideas. Just like anywhere really, you know?

 

Interview: Gammer praises Happy Hardcore, Breaks Down His Creative Process, Chooses Intro to His Favorite Anime 3
Courtesy: Gammer

 
RC: That’s awesome. Who is your favorite artist that you would love to collaborate with?

Gammer: Justice.

 
RC: Any newcomers that caught your attention whether its a hardcore artist or a dubstep one?

Gammer: This is one of these questions I know the answer to until it’s asked. And I’m like, Oh…

 
RC: Oh, that’s really funny because every interview we do, people just draw a blank on this question.

Gammer: Oh, f*ck. Callum Higbee is a fantastic hardcore producer who is definitely doing some damage right now. Jesus Christ, this has completely alluded me. I’m totally out of touch. Eliminate! Eliminate because eliminate makes dubstep and trap. That sounds like you’re slapping your lips together, but it works really well. He’s very talented. He makes me want to eliminate myself and give up.

 
RC: Oh, no, please don’t say that. You take time producing spotless quality tracks, tell us about your creative process?

Gammer: Okay, so what I do is I boot up, I load up my computer, I try and start an idea. I spend the next five weeks convincing myself that I’m useless and can’t do anything right. And then the track’s done. I think one of my problems these days is, there isn’t so much of a process. I’m just frantically throwing things down and trying to make something happen. Whereas genuinely what I like to do is like get some chords and vibe out and just see where it takes me.

 
RC: What about your last track, ‘Brostep Step Strikes Back’?

Gammer: I wanted to make something that sounded like old Skrillex, just screechy ridiculous nonsense and it’s, it’s just so like, I wanted to do something with a lot of the obnoxious mid range because like dubstep hit a point with me where it’s great, don’t get me wrong, but I feel like tonally it’s all gone tonally and sonically, to me, since I’m not deep in the dubstep scene myself, it’s a bit gotten a little indistinguishable. So I just wanted to do something that you can play on like the worst sound system and you can’t hide from that. *making crazy noises* I love it. Also the vocal chops, I don’t know. It’s fun.

 
RC: EDM trends are constantly changing, one minute you’re super into heavier stuff and then you switch to fast and lighthearted tunes. Is it hard to keep being true to yourself and producing the music that you want to produce instead of following the trends?

Gammer: Sometimes, yeah, sometimes I get caught up in the kind of the race of it all. But honestly the whole thing is to just remind myself that I’m making what I want to make and if people like it or not, that’s on them. I can’t like spend my whole career trying to cater myself the trend you know? Because I just end up miserable which has happened. So, yeah.

 
RC: So, the dubstep styles you produce tend to have this classic old school Bear Grillz, Eptic, or Barely Alive sound to them. Who are some artists, old or new, that you find inspiration from when you’re creating a heavier track?

Gammer: I mean, that’s Eliminate again, that’s like a free advertisement. I like Eliminate, Eptic, just some fun bounces. Oh God. Anything by space laces. Oh shit. Oh my God. Yeah, because… F*cking… Excuse my language.

 
Okay. Space Laces actually, that was the name I wanted to say earlier. Anything he does, anything immediately grasps my attention. It’s so like chunky and thick and just it sits in its own lane, you know, anything by space laces just blows my f*cking cock.

 
RC: Awesome. From the old days of pressing on vinyl to currently streaming on Spotify or SoundCloud, what are some of the negatives and positives that advancement in technology and social media have upon artists?

Gammer: I mean, over-saturation is the obvious one, but you know, it can’t be helped, you know? So the big challenge I guess for what I try and do when I release music is try and make tracks that each have… Every track has its own identity and stands out on its own merit. So that hopefully I make music that turns people’s heads rather than just going down the “what’s popular? I should just make that.” I think that’s kind of what the “difficult” is. Where I come from, a background of “I could just make like straight up 50 songs that sounded the same, press them and like cash in on them.” Now I have to sort of be a bit more conscious, which is a good thing. And yeah, just try and make shit pop.

 
Interview: Gammer praises Happy Hardcore, Breaks Down His Creative Process, Chooses Intro to His Favorite Anime 4

 
RC: Yeah, absolutely. What is a “must do” when you arrive home after being away for a long period of time? Do you have any family traditions after a lengthy tour?

Gammer: Yeah, I’ve got this new weird tradition of spending time with my kids. I mean it’s not like the “2019 traditional vibe”, but you know, they’re pretty fun. I like that. Nah, I love my kids. Oh, the first thing I do is go see my kids and spend time with them. And then I’ll go home and I crack open a cold, slightly flat, sparkling water. And I usually play like Tekken or Dark Souls or something for hours. And yeah, I would unpack. You know, sometimes I don’t unpack for months and it’s crazy.

 
RC: Do they help you to unpack?
 
Gammer: No! *laughs*

 
RC: Does your internet presence match your actual personality?
 
Gammer: What do you think?

 
RC: So far you’ve been really reserved in this interview.

Gammer: Oh, okay. It depends like what scale my autism is operating on any given particular day. Right now I’m kind of tired and I’ve literally come from the hotel room, like working on my Palladium show. So I’m a little bit like, I guess vacant, but…

 
RC: Oh actually, we got the tickets to the Palladium show to support your kids. We can’t make it, but you know.

Gammer: Thank you. I mean I want to clarify. I could feed them, but my Supreme and Balenciaga doesn’t pay for itself. And you know, they got healthy metabolism so they can go longer without meals. Yeah.

 
RC: Ouch.

 
RC: All right. I’ve got one more question for you. So I’ve seen that you were watching JoJo’s Bizarre Adventure recently, what is your favorite anime?

Gammer: Right now it’s JoJo’s Bizzare Adeventure. And Akira. Akira always sits on top.

 
RC: Awesome. Which of your songs would you choose as an opening theme?

Gammer: Oh, God. Holy shit. That’s a really interesting question. I don’t know, maybe “Zombie” just cause it’s fast and kind of nuts, you know, I see the Japanese getting down on that.

 
RC: All right. Thank you so much.
 
Gammer: It’s been a pleasure.

Exclusive Interview: Dirtyphonics Hints Secret New Single, Possible Second LIIVE Tour in North America & More

By
Anastasiia Riddle
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(Atlanta, GA)— The French DJ duo Dirtyphonics debuted with their iconic “French F**k” track back in 2008, and their ferocious sound quickly helped them gain a spot under the sun along with a HUGE international fan base. This versatile duo is known for skillfully mixing neck breaking dubstep tunes and gory metal sounds. From grimy dubstep to fast paced drum step to intense neo metal, these guys sure know how to turn up the crowd. Ravers Choice got a chance to sit down and chat with the legendary Disciple duo after their big show in Atlanta at Believe Music Hall. In this interview, Charly and Pitchin (aka Dirtyphonics) share with us their thoughts on Djent (think progressive metal) and EDM, their inspirations, and popular music trends.

 
So let’s start off with the basics, tell us a little bit about who you guys are and what you do.

We are Charly and Pitchin usually known as Dirtyphonics. We’re both French and I guess you could say we write heavy music and have been touring the world for many years now.

 
How did you guys get in to producing and DJing?

Music has always been part of our lives. We started pretty young and played in homies metal bands when we were teenagers and slowly evolved toward electronic music. Back then in Paris there was a real explosion in the electronic scene and it was all new and unexplored territories. In those days only a few record stores would have the brand new stuff coming from the UK, France, the US and you’d meet all the other DJs and producers in your town. There was no money in the industry so you knew that all the kids you’d talk to were there because of a common passion: underground music.

 
Who were some of your influences when you started and who/what do you look to for inspiration now?

The Prodigy, The Chemical Brothers, Daft Punk, Laurent Garnier, Dillinja, Pendulum to name a few. Now the scene is so thriving that there’s a new dude doing something dope every other week! We listen to a lot of different genres and get ideas from many different sources.

 
As a group that I consider to be pioneers in combining the aggressive ferocity of metal with electronic music, do you see sound design in bass music influencing metal producers?

Obviously! A lot of the current Djent bands use electronic elements in their music and Bass Music sound design is influencing all genres anyways. Genre borders are more fluid than before and metal and Bass Music definitively have a common energy. Lots of Dubstep producers have a metal background and it shows in their music.

 
What do you think it is that makes these two genres meld so easily?

As we said it’s all about the energy and grit. It’s the best energy release you can find. It’s a big middle finger to the negative energies around you.

 
Are there any artists outside of electronic music you would love to collaborate with?

Lots! Obviously some metal bands like Kadinja, Godjira but also anyone who’s creative and brings something fresh to the table.

 
With drum and bass seeming to be trending upwards at the more and more, what are some trends you’ve seen come and go that you like, and what’s the one you wish would go away?

Trends all have their supporters and everything has a cycle of popularity. What is dope now won’t be anymore in 3 years from now and what used to be cool will make a come back a way or another. It doesn’t really matter at the end of the day – movement is healthy and it keeps things evolving.
One thing that would be cool though is to actually be able to understand what the rappers say again.

 
Are reactions to certain tracks different in different countries?
Our shows are energy driven, and it’s a universal thing! 🙂

 
Is there a country you guys have played in that surprised you with their energy?

Not trying to brag here but France goes HARD! Japan has been surprising in the sense that 10 years ago they had no idea what dubstep was and how the scene was overseas and now they all know and sing along the bass lines of the brand new VIPs. They went from clapping in the breakdowns as if the song was over to cracking their necks like there’s no tomorrow.

 
What’s in store for Dirtyphonics for the rest of 2019/2020?

We just released “Evil Inside” with Bossfight on Monstercat and we have another secret single coming out before the end of 2019. We’re also finishing the year with a quick Europe tour followed by our biggest tour do date in Oceania. After that we’re going to be focusing on our new LIVE show and give it an update before Rampage: new visuals and new music! After an insane amount of love we got on it we’re super excited to take it to the next level and keep developing our vision. We also are talking about bringing the LIIVE to North America in 2020…

Dodge & Fuski Discuss How Disciple Launched, UK Dance, & More in Exclusive Interview

By
Anastasiia Riddle
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(Atlanta, GA)– Dodge & Fuski have been ripping through the EDM world since they first emerged into the scene many years ago. From experimental sounds of glitch-hop, and ever rising drum & bass, to neck-breaking dubstep, these guys played it all. The UK DJ duo has been twisting the sounds of one of the most popular electronic music genres for quite some time, creating an insane “Disciple” signature sound. Ravers Choice got to chat with the Disciple label creator Dodge & Fuski shortly after their performance at Believe Music Hall in Atlanta, Georgia. In this interview, Rob Talbott (aka Dodge) touches on his involvement with music, his inspirations and how the legendary Disciple got established.

 

Tell us a little bit about yourself. How did your journey as a music producer begin?

By chance, really. A friend owed me some money, but gave me an old Groovebox (a sort of self-contained music sequencer) called an Roland MC303 instead. This was during the days when software was starting to take over, but people still owned a lot of physical hardware for music. Honestly, this was in my teenage years and I didn’t have a particularly formed overall life goal at the time, so I just decided to see where experimenting with music took me. I ended up in college, meeting Fuski, then university, and then fast-forward about 17 years and here we are.

The music scene in the UK is quite different than here in the US, how was it to grow up there and pursue music full time?

In some ways, easier; in some ways, harder. We have a very robust social security safety net in the UK, which (while it’s primarily intended to make sure that people who lose their jobs have basic funds to survive from) also gave people like us the feeling of safety to pursue a risky career that might not work out. The flip side was that the amount of money in the music industry in most European countries (particularly when it comes to bass music) can make having a full-time career very challenging. I won’t go into depth about the complex reasons for this, but a lot of very talented and often successful people still struggle to make ends meet and sometimes, sadly, end up giving it up because of this. I’ve been pretty lucky that the music we were all making ended up with its audience focus being transplanted into a country where you can have an opportunity for a viable long-term career. It certainly didn’t used to be that way, though…

Who were some of your influences when you started and who/what do you look to for inspiration now?

In the early days it was almost entirely drum & bass producers, as that’s what we tried and failed to do for years before we got into dubstep. We weren’t big fans of it to begin with, but after people like Rusko and Doctor P started switching things up with a more fun, high energy sound I sort of immediately got it. It was the fact that there were so many unexplored ideas that really drew me in – for a while every month somebody came up with a totally new sound or some original concept. Obviously, these days it’s much more about engineering polish and refining a well-trodden path than the naive experimentation of the early days.

Do you find producing tracks to be an easier process when you’re using samples and presets you’ve made yourself rather than using ones from other artists?

Honestly, it totally varies. Nothing it more of a killer to creativity than repetition, so the simple answer to this by definition will constantly change.

How do you think the EDM scene changed since you first started producing?

It is dramatically more focused on marketing, which is probably the main thing now. I mean, we’re called Dodge & Fuski – it’s hardly a Marshmello-level memorable name, but back then nobody really thought about that stuff. These days, being memorable and selling tickets is a hugely complex issue and for better, or (arguably) worse, the music is not always the only voice doing the talking.

Are reactions to certain tracks different in different countries?

A few years ago I would have said yes, but these days that really depends on the people not the country. You get pockets of different tastes all over the world, and I think that just boils down to the power of the internet. Obviously there are exceptions – there’s not a lot of drum & bass gigs going on in the USA or a lot of Trap gigs going on in Wales, but out of the shows that do exist… you get my point.

Tell us about the Disciple record label. How did it start and what’s the correlation between Disciple and Never Say Die?

This is a long and complex story. In short, though, Disciple started when Skism suggested that I would be better off leaving NSD to do my own thing. I came up with the name Disciple (it was a lyric from an old Prolix tune that I thought sounded cool), met my business partner-to-be, Rossy, who already had some experience running another record label and would be the driving day-to-day force, and then we kicked it off with a bunch of Dodge & Fuski remixes that I knew would build some traction out the gate. Skism and his business partner at the time invested a small amount of money into the label that we used to pay for artwork and other early expenses (we bought them back out later), they introduced us to a distributor, and gave us a pdf guide with pointers on how to structure releases and so forth. That was more or less it really in terms of the business association, as Ross took the lead on most of the strategy roles in terms of label management as soon as we were a couple months in. Obviously when you become competitors it can lead to friction, in which, sadly, it did for a while but these days everyone is pretty focused on just doing their own thing. I think it’s a good thing that the 2 labels have grown further apart in terms of branding and marketing styles – NSD has always had an understated, classy art style and more restrained marketing approach; so we focused on bright colours and lots of youtube tutorials/comedy skits.

If today was the end of the world which song would be a perfect soundtrack?

Dodge & Fuski – Silence Is Golden

What’s in store for Dodge & Fuski for the rest of 2019/2020?

Big Disciple stage production tour, building a new studio, and Big Riddim M________? Stay Tuned!

EDC Orlando Set for a Huge Upcoming Weekend at Tinker Field

By
Anastasiia Riddle
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(Orlando, FL)— The wait is over! Insomniac recently announced the daily lineup time slots for its EDC Orlando run coming up on November 8th-10th. Not only is this year’s line up absolutely fire, but also the festival is BIGGER and BETTER than ever. With headliners like Timmy Trumpet, Afrojack, Deadmau5, Above & Beyond, Diplo, DJ Snake, Excision, Lil Texas and so many more; every single attendee can find what they are looking for this year at EDC. The legendary promotional giant, Insomniac, finally decided to extend EDCO to 3 days, and guess what? If you didn’t have a chance to visit EDC Las Vegas, Insomniac is bringing ALL the fun things from EDCLV 2019, including a personal favorite Pixel Forest and the old school arcades! This year Tinker Field will be packed with new stages, art installations, artist performances, and an even bigger crowd. EDCO used to feel so intimate with the smaller scale of the massive main stage from EDCLV, but rejoice! The rave gods heard your prayers and you get to witness the Kinetic Field in its entirety. Two beautiful robotic faces surrounded by a myriad of lights, neon flashes and kinetic energy. You better get ready for absolute madness under the Electric Sky.

 
If this is your first EDC, don’t worry! Insomniac’s got you covered with all of your needs. The new and improved Insomniac app is here to save the day and make your experience easier to handle logistically. To help you navigate, there is a grounds map with all the locations and important things happening. Even if you are not a newbie and EDC is basically your second home, I would still recommend checking the map before entering the fest because there are a lot of changes compared to last year. For example, Kinetic Field and Circuit Grounds are flipped this year, so don’t cry if you end up at the main stage trying to see your favorite artist that plays at Circuit Grounds.

 
EDC Orlando Set for a Huge Upcoming Weekend at Tinker Field 5

 
Next the Insomniac App lets you create your own schedule that you can keep up with and check anytime you need to see where you need to be to catch an awesome set you’ve been counting down the days for. Be mindful that there is usually zero service, (at least my phone never works) and that might affect the apps performance. My life-hack? Screenshot the most important set times and set it as a lock screen. This way you’d see your schedule anytime you check time.

 
After years of raving, I realized that of course it’s absolutely amazing to catch ALL of your favorite artists play and run from stage to stage like a maniac without looking around.. Well… My main advice? EXPLORE. I can’t stress this enough. Take a break from headbanging and jumping and go for a walk. Take pictures with “Anima”, ride some fun carnival rides, check out an art car and discover a newcomer to follow, get some amazing food and stop by the merch booth. Perhaps you’ll be lucky enough to snag a new Electric Family collab. Just go with the vibe and you will discover that music festivals are so much more than just music. Have fun, be kind and enjoy. See you Under The Electric Sky.

 
EDC Orlando Set for a Huge Upcoming Weekend at Tinker Field 6

YOOKiE & Valentino Khan Deliver Heat to Chilly ATL Weekend for Shaq’s Bass All Stars

By
Anastasiia Riddle
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(Atlanta, GA)— Oh, what a show! This past weekend Shaq brought some serious fun time to ATL. Too bad he couldn’t attend it, however, that didn’t stop YOOKiE and Valentino Khan from raging with the fans and bringing two completely different vibes to the table.

 

YOOKiE & Valentino Khan Deliver Heat to Chilly ATL Weekend for Shaq's Bass All Stars 7
Credit: @spacemediaatl

 
Lords of Bass, as YOOKiE call themselves, never disappoint. Opening up with some intense face melting dubstep drops, they sure set the mood for the crowd. Dressed up as different creatures the crowd looked like a cauldron of headbanging shadows and moshing spirits. Not only did YOOKiE play the heaviest tracks known to mankind, but they also spiced it up with some filthy trap and my all time favorite original melodic track “One Life,” along with some memorable rompers like “Snakes,” “Apocalypse,” and “Another Dimension Remix.” Of course, they were hitting the fans hard while skillfully mixed with some evil sounding satanic like bass thrown in. Did you know that these guys were actually kicked out of the clubs for being ‘too heavy’? But here in Atlanta, this is something that everyone craves and wants to hear more of the face-melting gory drops. Finishing up with “Spiders”, their newest collab with BTSM, these guys completely destroyed the dance floor.

 

YOOKiE & Valentino Khan Deliver Heat to Chilly ATL Weekend for Shaq's Bass All Stars 8
Credit: @spacemediaatl

 
Next up was the master of the unexpected. My boy Khan got the crowd jumping, shaking, and shuffling with his house and moombahton tracks. From catchy “Pizza” to the Chad-favorite “Losing it,” to his own spooky “Flip the Switch” and “Pony,” Khan definitely enjoys his own performance along with the crowds cheerful roar. His visuals are whole different realm that needs to be addressed. From a double headed monster VK that constantly grows out of its own mouth, to him dressed as Ronald McDonald and a sexy stripper, you can clearly tell that Khan had some fun creating those for the Halloween night at Believe Music Hall. Everyone jumps in anticipation to hear the main track of the night and Khan fulfills the expectations. “Deep Down Low” makes everyone go crazy and jump so hard that he floor shakes. The show is over, but you still hear the sounds of the track echoing in your mind. What a night!

Suwannee Hulaween 2019 Recap

By
Harlee Pope
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Suwannee Hulaween 2019 Recap 9

Halloween season has officially come and gone, with those last minute weekend costume parties coming to a close. Out of all the October music events though, Suwannee Hulaween IS the festival to get you in the true spooky spirit. 

A creative theme is what gives an event its unique vibe, and Hulaween goes above and beyond every. single. time. With so many different amazing minds coming together, how could it be anything less than magical? Here are just a few things from this fest that we really enjoyed: 

There were so many unique genres on this lineup, and hearing that exotic bass echo among the trees was music for the soul. The main stage brought a whole new set up this year, with even greater production. The String Cheese Incident never fails to give us a whole new spectacular show, and they remind us that music is joy. Saturday night was totally fetch with their 90’s themed cover set, dancers, costumes, special guests, and energy. It’s all about the energy! They certainly deserve another round of applause for headlining the entire weekend and killing it.

We always look forward to being greeted by the famous wooden sculpture, Snorra, by Thomas Dambo. She can be seen lurking within the Suwannee forest, lighting up in different ways each night. The one of a kind art installations are a huge part of the festival experience. You could find artists painting live all hours of the day, or take a trip through the mural maze, or look into the most beautiful kaleidoscopes you’ve ever seen! At certain times of the day you were able to see live paintings by so many creative minds, and there were different kinds of performers every where we looked.

Spirit lake is absolutely amazing. The visuals could leave you sitting there for hours. It is an absolute must see at this festival, although you’ll find your way there, inevitably. So here’s another round of applause, for all of the artists, sculptors, lighting designers, and visual effects humans involved.

The vendors, workshops, and activities included a craft beer corner, juggling and Capoeira Music and Movement classes, and groovy silent discos. Marvelous Marvin came equipped with his “no cash, no limit, barter blackjack experience.” It was such an amazing and necessary thing to stumble upon at 2 am. (:

 Suwannee Hulaween 2019 Recap 10

Something cool:
By day 2, everyone had moved in with each other among the trees, and truly created a little community. Luckily the rain ~mostly~ held out this year, but rain or shine you’ll learn A LOT, and see people promoting so many great environmental and humanity causes. Hula also provides Hula for a Cause, and Hula helps the hungry. Partying for a cause? Sign us up. Throughout your time there you will also receive so many beautiful messages from others, and trade certain gifts and artifacts. The experience reminds us how human interactions are truly meant to be. 

Hulaween 2019 may be over, but this is a festival that leaves you with memories lasting a lifetime. So thank you, Suwannee Music Park, for having us out this year. It was rad!

Although, they did hint at HULA2020 in an instagram post, so in that case, we’ll see you guys next year (;

Suwannee Hulaween 2019 Recap 11
Photos by Jo Eppelbaum and Harlee Pope

Disciple Takeover: Dirtyphonics Atlanta Edition at Believe Music Hall

By
Anastasiia Riddle
-

Atlanta, GA –If you are waiting in anticipation for KNIGHTS OF THE ROUND TABLE VOL 3 by Disciple to drop in November and destroy the universe but it all seems too far away, you are in luck. Well, if you live in Atlanta. This weekend the legendary record label is doing another Disciple Takover at Believe Music Hall featuring Dodge & Fuski, Dirtyphonics and Lumberjvck.

 
This crew is a mix of old and new styles, Lumberjvck (don’t mix it in with the French Lumberjack lol) made his name by mixing some filthy bass with trappy tracks that always get the crowd pumped. But this guy is not your typical “Dubstep Only” zone. The young disciple is known for breaking the rules and dropping a bunch of unexpected vibes here and there. Drum & bass, trap, riddim, you name it.

 
Dodge & Fuski… Well, you just need to watch their epic Behind the Pretty Good: The Dodge & Fuski Story. This video is not only a masterpiece but also it gives you an idea of what you’re getting yourself into (madness). These guys have been ripping apart the EDM world since emerged in the scene, and they are unstoppable. You can expect the following: Nasty Dubstep (check), ridiculous sub-bass of Drum & Bass, (check), mind blowing and genre-blending Trap tunes (check), and of course some spine twisting Riddim.

 
The pioneers of Dirtyphonics are eager to bring some heavy dubstep tunes skillfully mixed with gory metal. These guys sure know how to do it right. Their ferocious sound quickly helped them gain a spot under the sun back in 2008 along with a huuuge international fan base. Get ready for a very unique experience of neo metal, drumstep and of course your favorite never getting old dubstep. Dirtyphoncs is the act that you sure don’t want to miss.

Get your tickets here.

P.S. Bonus points for supporting the label and wearing their merch

Shaq is Taking Over Believe Music Hall with Special Guests, Free Ticket Giveaway (11/1/19)

By
Stephen Riddle
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Atlanta, GA— Shaquille O’Neal is a name most of us grew up seeing on our Tv screens dunking on anyone and everyone that dared to face this Diesel Truck head on and kissing a fist full of championship rings. But This NBA Champ-turned-Mainstage beast is now brining new team of Bass All Stars to cities all around the country, and this weekend he brings it to Believe Music Hall in Atlanta.

 
Shaq’s Bass All Stars in Atlanta features three completely different, but absolutely deserving artists. Yookie brings what can honestly only be described as the most intense, gut wrenchingly relentless bass you could think of. With edits and remixes heard on main stages around the world, this duo always surprises you with what they throw down. These dudes know no boundaries and if you haven’t had a chance to see them yet, do not miss this opportunity!

 
Valentino Khan will be brining the dance party with his eclectic mix of house, moombahton, trap and pretty much whatever the hell he wants. With tracks like “Deep Down Low.” “Pump Like That” and “Pony” you know Khan means business when it comes to hard hitting house. But don’t let the house vibes or the moonbahton energy fool you! This man will still drop face melters leaving you wondering what the hell just happened(in the best way possible)!

 
The man himself, Diesel, is headlining and I can’t think of better way to close out a night than raging with Shaq! If you still think this man is just another “celebrity DJ” you need to experience a set. From bangers, edits, even double drops, Diesel has proved himself more than worthy of being the dubstep conversation. But beware! He is known to enter the crowd and be the one to start the mosh pits during his set! And I mean come on…would you really want to miss out on an opportunity to headbang and mosh aside Shaquille O’Neal??

 
So join us at Believe Music Hall in Atlanta for Iris Presents Shaq’s Bass All Stars this Friday, November 1st! If you would like for a chance to attend this event for free with a friend, check out our official instagram page @raverschoice for details.

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