Setting a New Standard

A Most Triumphant Mix - The Newest DJ BigHose Hour Set

 

     Half a year since The Risky Mix's creation and release, I sat down with the intention of putting together a set that regained a more traditional House influence. I wanted to utilize the 128 BPM drum beat instead of avoiding it like I have during recent attempts. I began gathering sounds back in July to use in a more House oriented set. However it wasn't till late October that I decided it was time to get to work on the project.

     A Most Triumphant Mix is the result of wanting to branch out to almost all genres to do what most DJs either can't, or choose not too do, due to lack of technical skill. The BPM and cord changes are prevalent throughout this set more than any other I have done. Spanning: Progressive, House, Dubstep, Trap, Trance, Rap, and Alternative House, this set goes to all corners of the EDM spectrum minus Hardstyle. In that regard, it's like a bigger and better Risky Mix.

Clip in Which the Intro Was Created With

     We start the set off with another signature opening track, created by using about 4 different technical functions, with a clip from Bill & Ted's Excellent Adventure, this is also where the set's name comes from. This intro served as a substitute for the overly serious intros for a few of my other sets. It still holds a premise of philosophy, but in a lovable and mocking way, a perfect match. Dust, Wind, Dude!

     I fought with myself for the opening direction of the set, as I didn't know whether or not I wanted to start fast or slow. I ultimately decided on a slower tune, that would allow for a perfect transition into Trap, which I wanted to establish early in the set as I was eventually heading into House. I believe the first 16 minutes of the mix is one of the most fantastic sections of mixing I have ever done, especially considering it's the first time I was executing what I was envisioning on the fly. The transition into the "Get Lucky Remix" is possibly my favorite of the set.

Hercules MX-4 Console - My Tool of Choice

     The meat of this set is sure to please those who prefer fast paced big drops, and high energy. It goes all over the Progressive, House, and Trap board, and at one point takes a turn I have never decided to take in a set like this, Dubstep. Let me set the record straight, I love Dubstep, I think for the right mood, Dubstep is most high energy and intense music you could ever listen too. I made a living at the gym for months off of motivation provided by Dubstep. However it has to be used in spurts, as it is the most love it/hate it genre in all of EDM. I think I reached a perfect balance of usage as not to polarize any listeners.

     This set also features another Rap piece, something I have become more keen of, I think it really brings everything together, giving the set the combo of being a festival/party banger and a club banger. Hip-Hop and EDM are fusing more and more with Trap music, and the incorporation of Rap should be nothing new to my listeners or listeners of EDM in general.

     I'm most proud of the variety in songs and artists in this set, it's something that is sure to make everyone happy, and if not, then they probably just don't like electronic music in general. This was probably the most impulse set to date, as the idea to just mix a little, turned into making a full blown set. The motivation was large in part due to the completion of The Managed Risk 2.33, and my desire to mix a more upbeat set to compliment it. Thus the month of October saw two BigHose sets released, a first as they are usually monthly things.

     A Most Triumphant Mix is quality, and I'm very excited for people to give it a listen, however I am unsold on whether it is better than previous efforts. This writeup is also the soonest since release, as AMTM has only been out for two days, so I might not have warmed up to it yet. However I get the most excited for it, so I expect in the coming weeks it will claim my personal top spot. No new projects are currently on the table, however I have some ideas I'd like to further develop. I hope you enjoy the set, It's most excellent!

    

Fun Fact:

At 27 songs, this set is one song less than the Astounding Mix, and is 4 songs less than The Very Daft Risk. That set still holds the most songs.

Pictures From:
-http://promobiledj.com/wp-content/uploads/2010/10/Hercules-DJ-Console-4Mx-closeup1.jpg

Practice Makes Astounding Work

The Astounding Mix - The Definitive BigHose Set

    After the completion of The Greatest Risk, I had what felt like an eternity in between projects, but in reality only a month had passed before I attempted to put together a new set. The Astounding Mix, which gets it name from the Neil Degrasse Tyson introduction on the origins of life, is the most complete mix, and most up to date comprehensive mix, dating The Greatest Risk ever so slightly.

     The intro of Neil Degrasse Tyson marks the second time I created an intro for a set using an influential speaker with a custom made backing track that segways into the actual set, something I take great pride in. The Greatest Risk was the first to feature this type of intro, as it had an intro by Alan Watts, and each set since has been introduced by some sort of custom intro. This set also features the return of Charlie, my British speaker whom narrates and MC's my sets. Charlie is completely digital, being nothing more than a speak program run through a few filters to give him his distinct sound.

 A Dramatic Video Using the Neil Degrasse Tyson Soundbite

     Anyway, the set opens with a traditional and oddly enough, a very commercial artist in NERVO. Besides offering a good initial setting for the set, the track "Like Home" also features great vocal work, something I wanted to incorporate to start the set. I kept with 128 BPM's through the first 12 minutes of the set to allow the listener to get comfortable with the sounds, and adapt to the mix. However at around the 13 minute mark I made a conscious decision to make the switch from 128 BPM to 140 BPM and bring Trap into the mix early. The progression here went smooth, and the transitional moves are not perfect but to the untrained ear flow smooth.

     The base track that revolves within the set over the next five minutes is "Make Some Noise" by Chuckie & Junxterjack, as I transition in and out of it multiple times, jumping BPM's the entire time. From here, the set goes all over the board with some of the best transitional and mixing work I have ever done. One of my personal favorite parts of the entire set occurs around the 20 minute mark, when we have a Bruno Mars Solidisco Remix mixing with a Toro Toro remix, which sounds amazing, and is one of the highlights for me.

Hercules MX-4 Console

     Even though the set is jumping many genres, I tend to listen to it and hear some distinct parts. It starts Progressive, then after the 25 minute mark the set gets caught in the Trap, but around 38 minutes I do something I have never done in a set before, and that is to focus on Trance. It felt right due to the repetitiveness that can come with dropping too many songs in the same genre back-to-back. It comes out of nowhere, and is a pleasant curveball to the overall body of work, giving the listener a break from 808's and hi-hats.

     Just like in all the previous other mixes, Spectrum by Zedd makes another appearance in a BigHose set. This time, it comes in the form of an Arty remix, my personal favorite version of the song. This also sets up the final act of the set, jumping mainly between Progressive House and Trap. The Astounding Mix is also my first to feature a top 40 rap song in Jay-Z & Justin Timberlake's "Holy Grail," a song I was very keen on at the time, but where it goes from here is easily the most vast difference in sounds ever put together by myself.

     Cue Animal by Bro Safari, a tribal sounding Trap piece that is easily the oddest tune I have ever used. However it also is a personal favorite of mine for that exact reason, it is very unique, and has a sound that is incomparable, definitely glad I was able to throw it in at the end. We end out using a little mix I put together of a couple Major Lazer remixes, and I slowly remove the elements of the song to end The Astounding Mix.

     Overall, The Astounding Mix is still the industry standard mix for me personally. Considering it is now 3 months old and still holds up in a musical world in which a songs shelf life is between 1-6 months if it is lucky, is impressive, at least to myself. While I've had two more projects completed since The Astounding Mix's release, another comprehensive mix will soon be on the way to hopefully trump The Astounding Mix just as it did to The Greatest Risk. In the meantime, enjoy!

     

Fun Fact:

The Astounding Mix was the first set produced that did not incorporate the word "Risk" in any form, and is in no way related to those initial sets.

Pictures From:
-http://promobiledj.com/wp-content/uploads/2010/10/Hercules-DJ-Console-4Mx-closeup1.jpg

A Monumental Breakthrough

The Greatest Risk Festival Mix

    After the 30-minute attempts in the first two mixtapes, I was very unsatisfied with the fact I did not hit the industry standard one hour of continuous mixing. Then after I hit that barrier in The Very Daft Risk mix, I was determined to put those developed skills into a set that encompassed all genres. Enter The Greatest Risk, my first hour long set that went through an amazing 30 songs, totaling 1 hour and 8 minutes of total mix time.

     The original idea was floating around from before The Very Daft Risk, and it was always my intention to do hour long sets, but I just didn't know how to execute. After the Daft Punk tribute mix, I was very confident in my ability, and decided it was time to start. The only track I knew i was going to use was the initial "Sweet Nothing (Bootleg)" track, I really thought it set the tone. From there though, all 29 were used on improvisation, something that still impresses me to this day.

     Unlike the previous mixes, I was using my new Hercules MX-4 mixer, and unlike the Daft mix, I actually knew how to use the hardware. This combined with brand new software, led me in directions I never knew I had. I attribute this sets smooth transitions, and crisp mixing to the fact I was using superior software and hardware then in the previous "Risky Mixes." The Greatest Risk is still arguably the best set I have ever made, and public response has also been very receptive, which also explains the 500+ plays and 200+ downloads.

Hercules MX-4

     Interestingly enough, this was also my first set in which I incorporated (my now genre of choice) Trap music, and it really tied it all together. From this set on, Trap music has become a worldwide sensation, and a mainstay in my sets regardless of their style. This addition wasn't easy though, as most Trap songs are in 140 BPM, unlike traditional House music tuned at 128 BPM. This required plenty of practice and very fine adjustments to songs within the mix, and proved to be more of a challenge then I had originally thought. It all turned out fine in the end though with minimal mistakes.

     This mix represents a very fine line in my DJing timeline, as the moment in which I had finally developed my skills far enough to compose very well done, engaging, hour long sets. I used a vast song selection that spanned from the obscure to the mainstream, with everything in between. Trap, House, Trance, Progressive, and Dubstep were all compiled into this set, something that is incredible due to the BPM's of the songs ranging from as low as 68 BPM to as high as 170 BPM.

The Greatest Mix on Soundcloud

     I envisioned this set as something that could be played at any one of the major festivals, and even after four months after its release, it still features a fresh sound, thanks in part to its many changes and it's perfect progression for the listener. That term, "progression," is something I throw around a lot, and for good reason. Many DJ's throw together song after song, with no coherence or relation. Going from one banger to the next, not giving the listener any variation or pacing to the set. I attempt to build a story or a canvas for the listener to go on throughout the mix. Providing them with songs that slow the tempo so they can catch their breath, or speed it up to hype everyone up, etc. 

     Overall, I am very satisfied with this set, and enjoy listening to it whenever I get the chance. The incorporation of so many producers and DJ's that are relatively unknown is probably the thing I am most proud of, and of course the multiple on the fly mixing and transitions that just allow this set to flow beautifully. It definitely laid the groundwork for where I am today, and was the spiritual predecessor The Astounding Mix, the next comprehensive mix in the cycle.

     

Fun Fact:

Due to the incorporation of Trap music in this set, the album cover (which I design for each mix) features Admiral Ackbar from Star Wars. Ackbar is famous for his now infamous line, "IT'S A TRAP," in Star Wars Episode 6: Return of the Jedi. The Greatest Risk also marks the third time i have used a rendition of Zedd's Spectrum in a mix, my choice for 2012's song of the year. The ending also features a quick snippet of "Together" an early 90's song by DJ Falcon and Thomas Bangalter of Daft Punk.

Pictures From:
http://www.madridhifi.com/_published_files/_tiny/producto/10009380/hercules-dj-mx4-consola-controlador.jpg

Random Access Memories Album Review

Pt.1

Daft Punk's First Album in 8 Years is Beautifully Retro

     Before this year, Daft Punk were relatively unknown to the general population, nothing more than the artists of a few songs the occasional music listener would hear on public FM radio. Daft Punk's largest hits prior to this year date back to 1997's Alive & 2001's Discovery, before the Internet, satellite radio, and cell phones were major players in your everyday life. Back before electronic music or "EDM" was widely accepted as a music genre on par with traditional pop or hip-hop.

     Daft Punk single handily is credited by many of today's top producers and DJ's as having a direct influence in their musical styles. They carry a lore about them, and a level of respect few artists will ever get to experience. Since 2005, the year of their last album release (the ill-received Human After All), Daft Punk has been very quiet, composing only the soundtrack to Disney's Tron Legacy. 

     This past May, Daft Punk released Random Access Memories (R.A.M.), an album that has been in production since 2008 and has been produced in various studios all over the world. It has been six months to the day from when I first listened to R.A.M. and believe it is time to assess the album that many have had mixed grumblings on.

1. Give Life Back To Music - The opening track to R.A.M. feels more like an overture for the entire album. It welcomes the listener to some of the smoothest bass lines, and guitar cords ever recorded, followed by an upbeat clap and drum beat. The song features legendary Chic guitarist Nile Rodgers, and great vocoder use from the robots. This is the perfect opening track for the listener, and is one to fully enjoy. Listen for the subtle guitar and bass line cords in the background, the complimenting pieces in this song is abundant. 5/5

2. The Game Of Love - The listener is then taken into a robots ballad of lost love and heart break. The song hearkens back to the days of funk and disco in all the right ways. From the thick bass line, to the synthesizer, this song could of been produced in 1974 and nobody would know any different. This is a spiritual successor to Discovery's "Something About Us," and definitely holds its place on this album. However, I have found myself moving past the song on occasion as it is a very down-tempo song in comparison to the songs it's put between. 4/5  

 Something About Us & Game of Love

3. Giorgio By Moroder Feat. Giorgio Moroder - Where to start with this song! I know this might be unpopular with most people, but this song is definitely in contention for the best song of the album. The opening is a fantastic retelling of Giorgio Moroder's career accompanied by a fantastic funk groove. The result of the drop is nothing sort of spectacular. Phase 1: The listener is taken down a funky synthesizer groove with organs, bass guitars, drums, and guitar cords. This however is only given to the listener for the first phase, as in Phase 2: Moroder returns and guides the listener into a symphonic composition. Phase 3: The final drop in the song is also it's best with rock drums, rock guitars, paced synthesizer and even vinyl scratching. At the end of the song, you have traveled an epic 9:05 journey with Daft Punk and Moroder. 5/5

Giorgio Moroder Speaking of Daft Punk

4. Within - While a decent ballad in it's own right, Within just doesn't stack up to the other songs on this album, and is nowhere near as complete a song as A Game Of Love. The piano is on point, and the song features probably the saddest robot you will ever hear, but the overall direction of the song doesn't warrant repeated listens, and is nothing more than a song to break out every now and then. 2/5

5. Instant Crush Feat. Julian Casablancas - Daft Punk collaborated with The Strokes front man Julian Casablancas and fans of both should probably rejoice, right? While the collaboration should have excited many, the actual outcome isn't exactly one of the highlights on the album. While the song has a catchy enough beat, I could never really get hooked on its sound or the singing style of Casablancas. I have encountered many who think this is one of the top songs on the album, but unless I'm missing something, I haven't been able to find that reason. 3/5

6. Lose Yourself To Dance Feat. Pharrell Williams - The second single off R.A.M. and the better one in my opinion is just now starting to reach the airwaves on public FM radio, and thanks in part to a newly released music video, Lose Yourself To Dance very well may replace Get Lucky as the song Daft Punk is known for. Nile Rodgers absolutely blows this track into another dimension with his trademark guitar playing, and one of the highlights of the song is when his guitar is solo on the track with no backing beat, fantastic moment. The robot breakdowns steal the show for the majority of the song paired with a complimentary harmony with Pharrell. This one could become massive before the year ends. 5/5

Continued in Pt.2

Random Access Memories Album Review

Pt.2

Continued from Pt. 1

7. Touch Feat. Paul Williams - Like Giorgio By Moroder, this song has alienated many fans and listeners. I will be the first to say I believe this to be the best song of the album, and for many reasons. The song features Paul Williams, easily the oddest collaboration in music history, but also one of the most genius. Williams sings the most emotion bits of music on the entire album, while the robots also have a vocoder duet, and a full choir. The collaboration crafted the most well constructed piece of music to be released in the past 10 years, and I would like to challenge anyone to find a worthy competitor...go ahead, I'll wait. The pieces all gel together effortlessly, combining styles of music that I never thought I'd ever get to hear together. The climax of the song combines; a full child choir, multiple synthesizers, snare and bass drums, bass guitar, and an intensifying buildup into a solo section by Williams. Best song on the album without question. 5/5

An Interview with Paul Williams

8. Get Lucky Feat. Pharrell Williams - The song of the summer... that everyone who listens to FM radio is probably sick of. Get Lucky which was released in phases during SNL before the albums release is the definitive single off the album. Remove the problem all singles encounter in being overplayed, and you are left with a brilliant song. The highlight of this track lies in the mid-way point in which the listener is treated to a fantastic robot breakdown into a Pharrell duet. This is comparable to Discovery's "One More Time" in it's simple yet catchy nature, however like all of R.A.M., Get Lucky feels much more alive and warm. This is by no means the best song off the album, and arguably not even top five, but that is more a testament to the album than a knock on Get Lucky. 5/5

 The First SNL Ad for "Get Lucky"

9. Beyond - After the almost overwhelming whimsical feel of Get Lucky, Beyond kicks off the final third of the album with a dramatic symphony over score. The listener is then treated to the third and final slow ballad on the album. Keep an ear out for the very subtle acoustic guitars in the background, a top notch compliment to the funk bass line and guitar plucking. The robots again come in with a perfect balance of human and machine, not coming off like a terrible auto-tuned T-Pain song. Daft Punk has perfected the vocoder, and this track is one of last to showcase their art. Beyond doesn't really go beyond in any way, but instead is a perfect transition for the more down-tempo final third of R.A.M. 3.5/5

10. Motherboard - Welcome to the most interesting song of the album. Not because it is the best song, or even a top five song. Motherboard takes you down a journey into what you would expect inside of TRON to sound like. The opening alone is one of the most musically unique segments I have ever heard spanning all decades of music. Cue: acoustic guitars, clarinets, maracas, grand symphony, drums, cymbals, etc. you get the idea. Mid-way is when things get interesting. The listener is taken into what sounds like the equivalent of a black hole, and the end result is just what you'd expect, violent. However when the song brings back an upbeat tempo from the first sections the song ends in perfect melancholy complete with rain and water droplets. 4/5

11. Fragments Of Time Feat. Todd Edwards - The apparent successor to Discovery's Face to Face in which Todd Edwards also worked on, is unfortunately not up to par with his previous outing. While it has multiple elements of a good song, it just simply teeters on the boundary of good or mediocre. Edwards singing, and the pacing of the lyrics just seems slightly off with the rest of the music. The composition and usage of the individuals instruments are all good in theory, but the end result just plays off as a very average song, especially for Daft Punk. This is my most skipped song on the album. 2/5

12. Doin' It Right Feat. Panda Bear - Animal Collective's Panda Bear, whom is known for percussion usage, creates one of catchiest songs on the entire album. The percussion buildup transcends into the perfect amounts of further percussion, and a Daft Punk operated drum machine adds the finishing touch. This was one of only two songs to use a drum machine on the album, and it was used perfectly to fit the rest of the album. Panda Bears lyrics work in perfect harmony with the music and the robots melody, creating the final piece to this track. This is becoming one of the most beloved tracks on the album, and it can definitely develop into a hit. 5/5

13. Contact Feat. DJ Falcon - Originally made in 1993 by Thomas Bangalter and DJ Falcon. The demo was released to the public early this year, after it had been confirmed by those who had early listens to the album that the track was "nearly identical" in almost every way. Fast forward 20 years, and Contact finally sees the light of day as the closing track to R.A.M. This however isn't simply a 20 year old song being released today. Daft Punk incorporate rock elements, and a constant buildup that can't be described as anything but frenzied and chaotic. The opening begins with tape from Capt. Eugene Cernana from the Apollo 17 mission to the moon. His description of what he sees is quite the introduction for the song, and sets the mood. Not a fantastic song, but definitely a fitting ending for R.A.M.

     Overall, Daft Punk's Random Access Memories isn't exactly what many expected from the duo, but the style shouldn't come as a complete surprise. Daft Punk in 2001 released Discovery, which also featured lots of funk, disco, and soul roots. However unlike Discovery, R.A.M. was primarily recorded with live instrumentation, bringing the music to life. They literally gave life back to music, especially in a genre in which all music is made on computer programs in airplane terminals, hotels, and on the road. R.A.M. is a much needed revisit to an era that promoted happiness and good times, and thankfully the style doesn't overstay its welcome. This could become the Album of the Year by award season. A new box set of R.A.M. is on the way, as well as remixes by Daft Punk. Let's just hope the Robots don't disappear for another eight years between projects. Album Score 4.5/5

Fun Fact:

Daft Punk tours once every ten years, with Alive 1997 and Alive 2007 being their only tours of their career. The next possible tour would be Alive 2017, and would feature songs from Alive, Discovery, Human After All, R.A.M., and it has been confirmed by Daft Punk that they will use music from their Tron score as well.

A Very Daft Love Letter to the Robots

A Very Daft Risk

    Oh where to begin! Let us rewind to the late ninenties when I was nothing more than a life-loving grade schooler whom rode the bus home from school each and every day. To pass the time I would bring my Sony Walkman CD player on the bus with me, and listen to music while watching the world go by as I waited for my destination. My CD's were nothing more than a collection of songs my best friends crammed onto CD-R's that he made to test his CD-Burner out (something that was extremely cool in the 90's).

The Pinnacle of Music Technology in 1998

     However, one bus ride featured a sound I was unfamiliar with, a sound that closely resembled the disco roots of old Village People songs, a tune called "Da Funk" by a group I hadn't heard of before called Daft Punk. Immediately I was hooked on the sound, and from that day, my love of electronic music and Daft Punk was born, and that's that.

     Fast Forward to 2013. Daft Punk is still my favorite musical group, and has by far been cemented in that place. Having influenced my musical tastes, my life, my interest in DJing, Electronic Music, Funk, Disco, etc... the list goes on. To put it short, Daft Punk has played quite the part in molding who I am as far as music, and has also helped me in times of emotional stress.

     A Very Daft Risk, is my first AND last set that is completely dedicated to an artist and their records. No other group features the variety or warrants the project. This is by all accounts a love-letter to Daft Punk that was 15 years in the making.

Thomas Bangalter, left and Guy-Manuel de Homem-Christo, right

     The set was made in the most spontaneous of ways, and was done right before the official release of Daft's newest album, "Random Access Memories". RAM's release was on May 21, however I was sent an early listen of the album by a close friend and decided after one play through I had to mash my favorite songs from the record with the rest of Daft's cataloge. This wouldn't have been possible had I not been big into the group, as knowing cue points, tempos, key changes, and transitional points come with "learning" the music.

     The set features records from 4 Daft Punk records; Alive, Discovery, Human After All, and RAM, but also songs from their scoring of 2010's Disney film Tron Legacy. It is a discography in all the right ways, and I am very proud of it's construction. To add more spontaniety to the project, it was also the same day my new mixing deck arrived, my Hercules MX-4. Without any proper learning of the hardware, and with new material, I sat down (more like danced around), and strung together all my random access memories into one complete set. I hope you enjoy this discovery, as it made me feel alive, and what few mistakes there are, only proves that we are in fact, human after all.

Fun Fact:

The Very Daft Risk features two songs that aren't exactly Daft Punk records, but rather have been produced by Thomas Bangalter, one of the duo. Music Sounds Better With You, and Together were both spinoff projects of Bangalter and were made with Stardust and Dj Falcon respectively.

With 650 listens, and 188 downloads, it is by far my most popular set to date!

Pictures From:
-http://welcometobanterville.files.wordpress.com/2012/04/sony-dne511.jpg
-http://www.brooklynvegan.com/img/as/daft-punk-2.jpg

End of Procrastination Domination

The Managed Risk 2.33 Study Mix

    Of all the mixes that I have put together, none have been a bigger hit than the subdued, downtempo, study mix; The Managed Risk. So much so that it is the first mixtape I have decided deserved a proper up-to-date sequel, in name, and in style.

     The Managed Risk proved to those who listened to it, that EDM could be used and enjoyed in other ways than 128bpm's and huge drops. It is one of the biggest success stories of my DJ'ing career, and I credit it with being a turning point in my talent, and my recognition. Also on a plus side, it is fantastic music for focusing and stimulating creativity, and productivity.

     Fast forward five months, and we have The Managed Risk 2.33, the official second incarnation of The Managed Risk. It starts where the last left off, and goes above and beyond its predecessor in almost every way. To start, it is twice as long, clocking in at one hour, double that of the first. Its song choice, transitions, and progression are among my finest and smoothest attempts to date. It features excellent utilization of effects and EQ manipulation, leaving it with a very personal mark on the whole endeavor. There are more examples, but you get the memo; it's bigger and it's better!

The original Managed Risk Mix has amassed over 470 plays and 190 downloads!

     The production of The Managed Risk 2.33 has been up in the air for the past two months, with the first and original attempt at a sequel taking place in late August. This attempt however was not up to standard, and came off forced and unmotivated, and thus discarded. Since then, I have routinley been hinting at it's release, and was met with expectations by friends and peers whom listened to the first. It was the first time I had to outdo myself to make sure everyone would be pleased.

     Overall since the start of the process, I had decided on 23 songs to bring into the mixing formula from an original 81. I had gone from 9 hours of music to just under 2 hours of material. From here I was able to better identify mixing patterns, cord changes, and possible cue points for transitions. Basically, I got to know these songs, and their structure like you would know your favorite songs. It's the only way you can have success mixing, and that's if you know your music inside and out.

     At this point, I began thinking about directions to take the set, "Do I take it soft and sultry? Do I take it in a more Trance directions, and incorporate more electro house? Where does Trap fit into the picture?" You get the idea, it became a headache. I realized that I wanted to span all genres and not to get tied up on any one sound because that is boring, and boring doesn't help staying awake during an all-nighter. With very little in mind besides how I wanted to start and end the set, I waited for the perfect day in which I felt ready to tackle the decks and put together a relaxed fusion of all EDM genres.

     The opening track "Moondust (Ianbord & Bronze Whale Remix) - Jaymes Young" was chosen well in advance, and was the eventual song that provided the final push of motivation to created the set. I knew I wanted to open with a loop of the intial effect, and bring it in piece by piece, creating a very hazing introduction into what will be for most listeners, a piece of music that will: inspire, motivate, and help focus during late night studying. "Moondust" provided the type of setting I wanted the whole set to revolve around, and I also wanted it to be the setting I leave the listener with. It is just a beautiful piece, and really set the tempo and creative drive for the whole set.

     The introduction which is on par with any of the other live-sets from The Greatest Risk Mixtape (future writeup coming) and up, is provided by philosopher Alan Watts. He compares music composition to life, giving the listener a fantastic crossover into the correlation between education and music. That rushing to finish, shouldn't be the goal, but rather to enjoy the journey and everything in between.

     At the end of the mix, the last climax of the reprise of "Moondust" represents Alan Watts analogy of the end and the beginning being exactly the same. That the journey to get there just leads you back to the start, and so it should be enjoyed. Maybe I'm going to deep into it, but at the time, that was the creative thought process. Anyway, I hope you enjoy The Managed Risk 2.33.

Fun Fact:

The Managed Risk 2.33's isn't just 2.0 for two reasons. One, I felt this was not just a redu, Part 2 type deal, that this wasn't just the same, but an improvement. The #33 however come from my basketball number that I was given back in grade school.

Pictures From:

Where's Molly?

Being Sold the Essential EDM Experience

     This past weekend over 150,000 EDM fans gathered in Chattahoochee Hills, GA for one of the most spectacular music festivals to ever take place in North America. Tomorrowworld, which is a spin-off of Tomorrowland (which takes place in Belgium annually), is an experience like non-other offered in the United States.

     The three-day festival brings together hundreds of producers and DJs from all around the globe to live mix and perform in front of thousands of adoring fans. Sounds all good and dandy right? As with Ultra Music Festival (UMF) and Electric Daisy Carnival (EDC) before it, Tomorrowworld is built around lavish sets, live performers and visual spectacles, things that are completely unrelated to the actual reason to be there, to hear and enjoy the music. While the sets and visuals accompany the music and do add to the experience, I fear too much emphasis is being placed on the “image” of going to an EDM festival.     

     The festivals of today are live broadcasted to the entire world as they are happening, but the broadcasts are nothing but selected sets from only the Main Stages and nothing from the more underground stages that feature lesser known artists. This smaller sets feature much less lavish displays and stages, and focus mainly on the artists and their craft. Due to this, the viewer is given only the most lavish and over the top performances by the biggest and most commercial names in EDM.

               

Ravers at Electric Zoo in New York

     The problem here is not the artists (despite my personal opinions on their "mixing"), but rather the image that is portrayed. The home viewer sees thousands of decked out EDM fans going wild at sets by the biggest names in EDM such as: Tiesto, Alesso, David Guetta, and Hardwell. The camera crew tends to focus on the most eclectic fans in the audience, many of which are obviously on the rave drug, MDMA or Molly (also known as Ecstasy). This only helps perpetuate the exact image the scene is trying so hard to distance itself from, that these are nothing more than drug infused raves.

     Fans and observers who have never been to the festivals then view the drugs as an accessory to the actual event, that Molly is completely fine because everyone else is doing it. It removes the seriousness of taking hard drugs to have fun, espcially when taken into account the amount of highly lethal drugs MDMA is usually cut with. After two deaths at Electric Zoo last month, which caused the festival to shut down on it's third and final day, Tomorrowworld took extreme precautions to prevent another happening. Fortunately, the festival only had 17 hospital visits of the 150,000+ fans, a record achievement, many of which from dehydration and alcohol consumption.

                   
                                                    Scene from the Main Stage at Tomorrowworld

     However, as long as the image being sent out to the public is that of drug infused raves, nothing will change, and we will continue to see deaths resulting from careless drug use. EDM songs revolving around Molly, and the general acceptance of hard drug use is going to do nothing but cripple and bring more criticism to the events and their place in society. This combined with impressionable youths being drilled with "Molly+EDM=being cool," is a recipe for further disaster and loss of life.

     I'm not writing an anti-drug post, as I have little care in the actual use of drugs at festivals, because lets be real, it happens, and happens often. What I do care about however is the idea that a scene I've grown up with is being commercialized into nothing more than a lavish, over the top, drug rave, something that any longtime electronic music fan knows is not true, and is insulting to the art.
                         

Perfect example of being "Sold The EDM Image"

Fun Facts:

Tomorrowland was originally founded in 2005, and has been held annually in Belgium since. Tomorrowworld was the first foray into international waters, taking place in Georgia.
The reason Tomorrowworld was not called Tomorrowland in the USA was over a dispute caused by Disney over the naming rights trademarked for their "Tomorrowland" in the Magic Kingdom park.


Images From:
-https://lh3.googleusercontent.com/wY-pgCiVBI39MkS6h80arFR83Lm7soNAX3mLSiNTtj3QM-VNwsbntq77sCJQSeetyFNuPuThgBEjMMYIR4xQnB9GbgefoqM9nHT-yfHxWWohJgi5FtR4ieR2
-http://www.smashtheclub.com/wp-content/uploads/2013/07/tomorrowworld-460x250.jpeg

Articles used within:
-http://www.nydailynews.com/new-york/molly-overdose-caused-electric-zoo-deaths-city-article-1.1454517