Tag - dubstep

Lost Lands 2018 Lineup

Lost Lands 2018 Lineup

Lost Lands returns to Legend Valley in Thornville, Ohio this September 14-16, 2018, with another heavy-hitting Dubstep and Bass extravaganza, featuring 1,000,000 watts of bass, dinosaurs galore, and an initial lineup featuring headliners of Excision (performances all weekend long), Flux Pavilion, Ganja White Night, Illenium, Jauz, Nero, NGHTMRE, Rezz, Rusko, Slander, Snails, and Zomboy, as well a slew of other bass-heavy artists. A variety of ticket packages are currently available, with Tier 4 GA tickets selling for $199 (plus $49.72 in fees) and VIP selling for $324 (plus $74.71 in fees).

Lost Lands is a three-day camping festival, with an option to purchase an additional Thursday pre-party pass. For people not interested in camping, hotel and shuttle suggestions and packages are available from the Lost Lands website.

Dubstep and Dinos: A Look at Lost Lands

Lost Lands 2017 Lineup

Guest Post by: Jordan Miller, Madison Burr, and Tory Njardvik

Calling all Ragin’ Raptors, Basseontologists and Party-voures to join the prehistoric, head banging, good times at Legend Valley, Ohio this September 29th to October 1st. Hold onto your butts, and prepare to be transported back to the Cretaceous Age where dinosaurs will once again dance among us at this bass boomin’, boogie bustin’ Lost Lands Festival. It’s dinosaurs and bass; what more could you want?

Excision, the bringer of the bass and visual virtuoso, has brought together some of the filthiest names in the bass scene to create a prehistoric themed festival so heavy that it is guaranteed to leave even the most experienced head bangers sore. Excision, in true head banger fashion, will be headlining all three nights to ensure festival goers get a healthy dose of the legendary Paradox Stage while simultaneously getting the maximum usage out of their official Lost Lands earplugs, which are included with every ticket. The ear plugs are free of charge, but the neck braces are not standard issue. Newbies out there should consider picking up a neck brace from a medical supply store or snagging one from a free listing on craigslist, because you are sure to need one after this heavy, head banging hangout! Protip: get some rhinestones to bedazzle your neck brace or bring sharpies so all of your new friends can sign your brace, and remember, wear it with pride!

Aside from Excision and his neck breaking beats, festival goers will be able to bask in 500,000 watts of downright dirty bass while enjoying the musical stylings of Cookie Monsta, Kill the Noise, Slander, Snails and many more bass extraordinaires. The lineup is totally rexcellent it will surely delight dirty beat seekers and get those dino feet dancin’!

Dubstep has gone through a major revival this year and we are beginning to see more festivals catering to the heavier music scene. Moonrise and Insomniac’s Middlelands both had some heavier headliners, various non-musical activities, art and productions, but these festivals were not centered purely around dubstep, like Lost Lands. We are excited to be attending the inaugural year of Lost Lands and to check out a festival that is curated by bass heads for bass heads.

If you can’t get your Bassasaurus butt to Lost Lands, we will have post festival content for you to check out. And for those of you traveling back in time to dance with the dinos, check back after the festival to find yourself and your friends in our prehistoric people album.

Camping passes are currently sold out, but a variety of other passes, including general admission, are still available for purchase from the ticketing website. Before you dino-stomp your way to Legend Valley, make sure to check up on all of the festival information.

p0gman Talks Dubstep & More in Interview

p0gman

Dancebreak recently had the opportunity to sit down and talk with Dubstep legend p0gman. Hailing from Wolverhampton, UK, p0gman brought the bass to Electronic Tuesday at the Cervante Ballroom in Denver, CO.

Dancebreak commentary is in italics, while commentary from p0gman is in normal text.

Where did you just come from?

What I’ve been doing is spending all of my downtime in LA. I just did Boston, Detroit, here now, back to LA tomorrow, Friday I go to Bloomington, Saturday I go to New York, then I go to Toronto for a week, stay with some friends, then I play Toronto, Chicago, then I go home. It should have been a much longer tour, but we had some visa problems, I had to cancel seven shows, it was fucked, but at least it got sorted in the end.

How did you get into dubstep?

I used to be into death metal, I used to be in a death metal band for three years but the whole time my brothers and cousins were listening to garage music, drum and bass, stuff that I hated at first but the one thing that I really liked was bass lines. Then a couple years later, one of my friends came down, who was also in a death metal band, who was into dubstep, and he showed me “Diary of an Afro Warrior”  which was Benga’s first album (2008)… and then I was like, “what the fuck is this?” ‘Cause it was just all bass lines, so I really, really liked it. So I started to get into it more, then the band split up and I just wanted to carry on in music and I thought I could do something solo instead of carrying on in a band. I challenged dubstep and it flourished from there.

Did you teach yourself?

No, I went to uni for five years. I started to self teach myself, but then, it was kinda like, I was doing things that kinda sounded good and I was so wrong, so I went to uni to get the technical side of everything, I studied Music Tech at uni. I came out of uni and got signed to a label, the last four years has been up and up!

How long have you been producing?

I started in late 2010. Made an EP in 2011, that’s when I found my sound. So six years, time is flying!

When you found your sound was it [an ah-ha moment?]

I was really into the deeper side from listening to Benga and stuff like that, and then SkreamMalaHorsepower, all the originals. That was all the heavy stuff that I was really about. Then Caspa and Rusko released Fabriclive.37 (2008), then I was like “Shit, this is the sort of music I want to make!” But I still wanted to [meet] kind of in the middle. So that was where that wobbly sound kind of came. Then just kept pushing it from there. My sound has evolved a lot now, it’s a lot heavier than it used to be, but I still got that P0gman sound. No matter how heavy I go, people still know it’s P0gman. I am still trying to evolve with the sound because I want to keep relevant to trends and stuff like that, so I try to keep it as fresh as I can.

Do you find it difficult to keep up with the trends?

New styles are coming out all the time, there are certain things that hit me, and I’m like, “that’s sick! That’s where I want to take my sound but keep my element.” The sound that’s the rage at the moment is that Never Say Die sort of sound, so I am reeaaally about that. Disciple are really pushing it as well, and I have had relations with both of those guys, so they are supporting what we’re doing as well. Trying to take it to that next level. So, yea, Never Say Die is a big influence at the moment. All those guys are just fucking killing it.

How did you come up with your name?

After I made my first song, I was sitting around with one of my oldest friends, and if I was going to start producing I needed a name. I wanted to have something that was not so serious but not so stupid at the same time. Do you remember pogs (aka milk caps game)? I just loved pogs, as a kid, so I said fuck, I’ll be called “p0gman,” the character was called pogman, and so I’ll probably get sued one day, until then it’s ok… I put a number in it for some reason, because it was cool.

We recently just rebranded everything, that went really good [sic]. (The number 0 has been modified with a large “X” overlaid on top). I got myself a new manager about eight months back, and that guy’s killing it as well, so it’s really good. The zero thing ended up paying off.

Is there a particular track that makes your set or do you feel that there is a particular influence in your set?

Well, the thing I have tried to do on this tour, is because obviously I am really enjoying that new sort of sound, the Never Say Die stuff. A few years ago I wouldn’t have really played that stuff because it was too heavy for my style. But now, on this tour what I’ve tried to do on this tracklist is from straight down to the old school riddimy sound that I use to make straight through Skrillex [and new released] tracks, just trying to cover the whole board. I am really enjoying it ’cause I think as dubstep has come along, it’s become much more energetic. So you need to keep that energy in longer sets and that’s where that new sort of style helps because it’s energetic as fuck.

There’s really not one sort of track, maybe the one I enjoy playing the most is “Wooboost” by Rusko, I fuckin love playing that track ’cause you can play it anywhere in the world and people just know it straight away, it’s nice to just put a little bit of that old school back in there… especially somewhere in Denver where I know, for a fact, every single person in the crowd is going to know that track.

What is your favorite venue or festival you have played at so far?

I played at Rampage in Belgium last year and that was fucking unbelievable, that was crazy. But I am also into the small intimate sort of venue, that’s why I really like Webster in New York, it’s got a nice crowd, Denver’s exactly the same. The reason I like these sort of crowds is that you guys are here to listen to the music and that’s what good about it, they really appreciate it. Sometimes it’s better to play to 200 people opposed to 2,000 people because I would rather play to 200 people where every single person is enjoying it, than 2,000 where you have people [completely immersed in the music] up front and the rest of the crowd is dormant. One of my favorites in the whole world is Perth, in Australia. I played a show at a place called Bassment, that was actually where I met my manager. It’s fucking unbelievable. There’s like 1,500-2,000 people there, but they are all about the music, so it’s like an intimate show on a bigger level. It’s fucking amazing, so sick. There are lots of places, the first time I played in LA, in Hollywood, it was my biggest show and it blew me away. As long as people are enjoying the show, I don’t care where I am playing to be honest.

Do you have a piece of advice you would give producers?

When I was telling guys at the clinic earlier, a big thing that changed my outlook on everything was I would work on a tune and get to a point where I fucking hated it ’cause I would listen to it so much. Then something clicked in my head, I was like, “well, I’ve listen to it for days, but nobody else in the whole world has heard this song.” So I started getting to the point where I was putting it on my Soundcloud to see what the reaction was like. Some of the songs that I didn’t necessarily think would do that well, ended up doing really fucking really, really well, so I think you really need to believe in what you’re doing. The beauty of music is that it is not wrong or right, just do what the fuck you want to do, and believe in what you want to put out. Don’t be worried to put something out if it’s a bit different because it could open a whole new fanbase that never liked you before. If you’ve got true fans as well, they will stick by you with whatever you do. Just keep pushing, keep fucking exploring the sound and everything, don’t worry about not putting something out because only a few people might like it, because yes, 10 people might think this is a bit different, but 100 people might think “this is fuckin sick!”

Sub.mission’s mission statement is to “move people through music not hype,” what is your mission?

My ultimate standard for everything is, if you believe [in yourself], you can get it no matter what. That’s what I did all the way through. I always said from day one, I am going to be on the big stage one day and I am going to be pushing my own records and it’s gonna happen. But I think if you’ve got enough passion and enough belief in yourself, you’ll fuckin do it, no matter what anybody tells you. If somebody tells you, you’re shitty, don’t even listen to that. That’s in any walk of life.

I tell myself every year, I set myself goals on what I want to achieve that year, sometimes it doesn’t happen, sometimes it does and you just gotta keep pursuing, to not be scared; just take a leap into something that you may not be that comfortable with. If you think it is going to progress you in the right way, then do it, definitely, fuck yea.

https://pro.beatport.com/artist/p0gman/195995/tracks

An Interview with MARTyPARTy

Recently at Imagine Music Festival, Dancebreak had a chance to sit down with bass slangin South African goofball, MARTyPARTy. Fresh after his killer after-party set the night before and right before his daytime set, we had a chance to ask the man himself a few questions about himself and his music.

DB: We saw you at Electric Forest and you fucking crushed it. Was that your first time playing at Electric Forest and how was your experience?

MP: I arrived and my manager had rolled me a joint. We got stoned and rolled up to the [Jubilee] tent, and I had no idea where I was. I just got off the plane and was like ‘I dunno where I am’. I didn’t know what gig I was playing or what to expect. My manager was like ok let’s go and I was just like “fine okay let’s go play for this little hippie camp or whatever’ and when I walked out it was a GIANT purple fucking tent! And I’m a purple guy! So I was like is this a joke? So I went in and it was the most giant sound system I ever saw. There were like five people there. I started it up and it was the weirdest empty sound but then everyone started coming down that hill. By like the 5th song, that place was fucking packed. That place was packed for an hour. The production was insane.

DB: You said you’re a ‘purple guy’. What’s the origin of that?

MP: I mean, I dunno. I don’t know if it’s purple anymore. Everything’s just a movement for me. Now its red.

DB: Now it’s red?

MP: Yeah it’s my color.

DB: What type of mentality are you usually in when you write music?

MP: I like having fun with my music. I don’t like my music to get serious and all deep. I’ll listen to other people’s deep music. If I make deep music it takes me to sad times in my life, it brings it there, to my house. I’d rather make it lively and happy because I’m more that kind of guy when I’m hangin in my house or whatever. I make a song cause I’m like ‘WOO!! I just washed my car! I feel good! Let’s go make some music! Smoke weed’ ya know.

DB: So how would you describe the MartyParty experience?

MP: I think, you know there’s nobody else really doing what I do. I’m a really big fan of myself and I never really know what to expect when I get on stage. If anything, I’m dancing. I don’t really see a lot of people dancing these days just a lot of swaying back and forth. But yeah so I try to bring a lot of unique sounds, add a lot of interesting noise, and then the drops. Crazy dubstep. Weird crazy shit. So yeah, that’s the vibe.

DB: Hell yeah man. And you crush it at making that vibe.

MP: I’ve never heard anyone say it so well. I crush it at making that vibe, I like that.

DB: Does living in Florida influence the kind of music you make?

MP: Yeah man Florida’s all about their tropical music vibe, together with bass. I’m trying to get back to that. You’ll just be jamming out on the beach and some guy in the white supremacy and a four-wheel drive barrels past and you’re just like ‘whoa! You got to chill!’ It’s just so weird.

DB: So can you walk me through your live setup? When you’re performing live what do you have going on up there?

MP: I make all my tracks in Ableton. When I’m writing the tune I have maybe 20 to 30 tracks that I need to mix together. Then I edit the tune and render it. Then I load the full song into Ableton, all my tracks, hip hop acapellas, some one shot samples, some lazers, then I load it all onto a Trigger Finger so I can trigger them as I go. I keep just loading my new shit into the template and go. When I’m djing I use filters a lot. Throw in some acappellas. Give it a hip hop vibe. When I’m mixing songs I always just rely on my ears. I always test my songs on a bunch of different systems, like my Bluetooth speaker when I’m at the beach. I always ask myself “what does it REALLY sound like”. If it sounds good on my little Bluetooth speaker I know it’s done. I really aim for a full sound. It’s always full. When I’m writing music sometimes I feel like I’m getting really weird in a lab. Full experimentation.

DB: Occasionally you’ll link up with Ooah of The Glitch Mob and play as PantyRaid, how’s that going?

MP: Good man. He was here yesterday, we hung out on his bus, he came to my show.

DB: I was half expecting him to come out during the after-party for a surprise PantyRaid set.

MP: Yeah he was there and I was like “stand up!” and he was like nah cause he’s with the Glitch Mob you know? He doesn’t want to confuse people. He’s on the Glitch Mob tour right now. We’re like ‘whatever’ cause were just dudes you know? We don’t really care but you got to please the crowd dynamic. This music scene is like a giant ship. Even when you pump the brakes it takes twenty years for change to happen. So you can’t really influence it that much you just got to go along with the biggest swell. With yourself, with your own character, but it’s gonna take a long time. We want to do PantyRaid next year, but we want it to be a special thing. When you buy a ticket we want you to be stoked. We don’t people to be like ‘should we go? I dunno.’ We want people to be like ‘DAMMN LETS GO!’.

DB: So what’s in the future for MartyParty?

MP: I think I want to open a club in Miami sometime next year. I’m probably going to play every week, with guests. I’m going to have everyone play with me. It’s gonna be some real shit.

Until next time MARTyPARTy!