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Year 1 N-10 July 10, 2013

EDITORIAL Year 1 N-10 July 10, 2013 Electronic Dance Magazine

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ets take a minute to step back and think about the scene that we are all so happy to be a part of. Who brought you in? What made you stay? Now think about the relationships that you've made with the countless of people that you've encountered. How many priceless friendships have you made? This scene is THE place to make lifelong friendships, and maybe even find the love of your life, if it happens to happen. The vibes, the people, the music, and the positivity that everyone, including the artists you pay to see, make this world go round and round. We leave our readers with a homework assignment this week; introduce someone unfamiliar with this scene into a world that we know they will fall in love with. Why not make our little community grow some more?

-Lisa Chon

Editorial Staff CHIEF EDITOR Lisa Chon ASSISTANT EDITOR Eric Fragola EDM ONLINE EDITOR Beverly Stoll ART DIRECTOR Gustavo Matos TECH EDITOR Trevor Yagen WEB MASTER Wendell Frohwein SOCIAL MEDIA Scott Price Contributing Writers Chris Barnes Brittany Gaston Trevor Yagen Rebecca Kass Meg Gerry Beverly Stoll Lisa Chon Natalie Cabral D. Peters Larissa Sommers Sarah Car Morena Duwe William Benrubi Photography DIRECTOR OF PHOTOGRAPHY Carlos Rodas Christian Artieda Mario Lopez Erik Arellano Representative Eric Fragola Representative - San Francisco CA. Nick Domingez Representative - Las Vegas NV. Kyle Lescarbeau Representative - Phoenix AZ. Cameron Peppers Representative - Honolulu HI. Aleks Milanovic Director of Operations Australia Cem Yurdakul Director of Operations The Netherlands

Orb Media managing staff PUBLISHER Yoel Berrios ASSOCIATE PUBLISHER Adrian Mendoza ASSOCIATE EDITOR Alexia Chuck MARKETING DIRECTOR Presmiley Asuncion V.P. OF PUBLIC RELATIONS Timothy Gough

PUBLISHED BY:

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EDM WEEKLY IS PUBLISHED 48 TIMES ANNUALLY. NO PART OF THIS MAGAZINE MAY BE REPRODUCED WITHOUT WRITTEN PERMISSION BY ORB MEDIA BROADCASTING INC. COPYRIGHT 2013. EDM IS A REGISTERED TRADEMARK USED BY: ORB MEDIA BROADCASTING INC. ALL RIGHTS RESERVED.

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WEEKLYNEWS Zedd achieves first Platinum status in the US after ‘Clarity’ reaches 1 million in sales

MIGHTYFOOLS TAKE OVER NORTH AMERICA

The successful Dutch DJ-duo, Mightyfools, are starting a large-scale club tour this summer in the USA. These energetic guys are no strangers playing abroad and therefore they are the chosen ones to tour in different states and make the clubs go wild.

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n May, “Clarity” went Gold, and in just one month managed to double its sales to reach coveted Platinum status. While Zedd isn’t the only dance music artist to achieve this milestone, he is among a tiny and elite group of DJs that includes Afrojack (“Take Over Control”), Martin Solveig (“Hello”), and Daft Punk (“Get Lucky”). Zedd’s achievement may have been aided by his promotional performances on Late Show with David Letterman and Late Night With Jimmy Fallon, both of which were well-received.

In the last year, Zedd has gone Gold and Platinum, broken genre barriers with his live TV performances, helped produce Lady Gaga’s album, seen coverage by Glee, and is set to score a scene in an upcoming feature film. With all of these achievements already in his back pocket we’re curious to see what he lines up next.

The American tour which starts on July 12 will kick off in Philadelphia via Chicago, San Francisco, Sacramento, Hollywood, Las Vegas, and Virginia on the 24th of July. After the tour they will return to Europe to play festivals such as Solar in Roermond and Pure Future Festival in Lithuania. Mightyfools is an extremely popular Dutch DJ-duo because they perfectly display their positive high energy on stage. That’s why the crowd isn’t afraid to go ballistic when Mighytfools start playing club bangers like there’s no tomorrow. They are praised for their great sound and heavy basslines. Not long ago, the two rapidly popped up in the global dance scene, and they quickly gained airplay and massive support from DJs worldwide, which resulted in a jet-set lifestyle of non-stop international tours, rocking clubs and festival main stages around the world.


WEEKLYNEWS Dance music claims highest UK market share since 2006

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ance music sales have seen a sharp increase in 2013 to give the genre its highest UK market share (16.3%) since 2006, according to Official Charts Company data released by the BPI.

Dance music singles were up by nearly a fifth (19.1%) in the first six months of 2013 compared to the same period a year ago, while dance album sales were up by over a third (33.7%). The new figures place dance music ahead of R‘n’B as the UK’s third most popular genre with music fans, following pop and rock. “With so many memorable releases this year, not least Daft Punk’s iconic summer anthem, Get Lucky, Dance music is well on its way to becoming one of the defining sounds of 2013,” said BPI CEO Geoff Taylor. “It's drawing in artists normally associated with other genres, such as Hip Hop and Dubstep. These fresh influences are giving 2013's Dance music an edge which is really cutting through to fans.” Ben Turner, co-founder of the newly-created industry trade group Association for Electronic Music, added: "The explosion of electronic dance music in the USA is well-documented worldwide, so it’s great for the UK to now be in a position to reveal statistics as strong as this to show how dance music continues to drive the UK music business forward.” More key trends: Dance music accounts for more than 1 in 6 (16.3%) of the singles sold in the UK over the past six months (Jan-June 2013) compared to 14.1% for the same period in 2012 – Dance music’s highest share of the singles market since 2006. Daft Punk’s Get Lucky took just 69 days to pass the landmark of 1m sales in the UK. Dance is thriving on the albums front too – accounting for almost 1 in 10 sales in the albums market. In April, Calvin Harris became the first artist in UK chart history to achieve eight top 10 hits from the same album, 18 Months – overtaking Michael Jackson’s record of seven, and shifting more than 4.2m tracks in the process. May saw six of the top 10 best-selling singles come from Dance acts – Daft Punk ft. Pharrell Williams & Nile Rodgers; Rudimental ft. Ella Eyre; Chris Malinchak; David Guetta ft. Ne-Yo & Akon; Calvin Harris & Ellie Goulding; and Armin Van Buuren ft. Trevor Guthrie. Rounding off a strong six months, a tally of ten Dance tracks sold more than a quarter of a million copies, including Waiting All Night by Rudimental ft. Ella Eyre, White Noise by Disclosure ft. Aluna George and Need U (100%) by Duke Dumont ft. A*M*E. Dance debutants continued their reign in the Charts, where Disclosure’s Settle swooped straight in at No.1 in early June and Rudimental’s first studio album Home landed the top spot in May. Demand is also being fuelled by fans who are increasingly digitally-engaged, with nearly half (46.9%) downloading Dance albums (compared to the average of 37.4% for albums in general).

Groove Cruise LA 2013 announces its full lineup

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he world’s largest floating dance music festival, The Groove Cruise, has just announced its lineup for its 2013 voyage out of Los Angeles. In sharp contrast to the EDM-generation appeal of Holy Ship!, The Groove Cruise boasts an eclectic lineup geared towards an older, less neon enthusiastic, crowd. Marathon set mastermind, Markus Schulz makes an appearance alongside the gripping grooves of TJR, Funkagenda, and Fedde Le Grand, while Nom De Strip, LA Riots and Sydney Blu liven things up with gritty electro. The Groove Cruise sets sail from September 27th – 30th, so buy your tickets today and check out the rest of the lineup after the break.


WEEKLYNEWS Anjunadeep 05 Mixed by Jody Wisternoff & James Grant (Anjunadeep/Worldwide Release Date: July 22)

Jody Wisternoff

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edicated to deep electronic grooves with emotion, soul and melody, Anjunadeep holds a unique position within today’s dance music world. Picking up rave reviews everywhere from Resident Advisor to DJ Magazine, the label's releases regularly feature in the sets of the world’s most respected DJs. Solomun, Breach, John Digweed and Kerri Chandler are just some of those who have supported over the past year. An A&R hotbed, the label is celebrated for releasing the debut artist album from Dusky, 2011’s critically acclaimed Stick By This, a duo that have since been described as “the toast of the UK underground” by Resident Advisor. They also nurture such talents as Matt Lange, Martin Roth and Beckwith. In the fifth instalment of their iTunes Dance Chart-topping series, Anjunadeep shows off its current crop with two mixes that journey across ambient electronica, deep house, modern garage vibes, and spacey techno. First up is label boss James Grant, whose annual compilation mixes are eagerly anticipated by the Anjunadeep faithful, and with good reason. Beginning with the beautiful chilled electronica of Croquet Club’s “Cardigan” (supported on BBC Radio 1 by Zane Lowe), Grant’s mix is loaded with exclusive original material from Dusky, Vincenzo, Tom Middleton, Beckwith and DAVI. The mix also features the exclusive Andrew Bayer & James Grant Remix of “It’s Cool” by Australian indie-electronic outfit The Presets, and two standout tracks from new talent Universal Solution. Grant’s mix is a measured and character-filled blend of modern melodic deepness. Next, they welcome Bristol’s Jody Wisternoff to Anjunadeep mixing duties for the first time. One half of legendary dance act Way Out West, Jody has spent over two decades behind the decks, and his monthly 'Intensified' podcasts are a treasure trove of modern classics from across the house music spectrum. Bringing that sensibility to his first Anjunadeep mix, Wisternoff’s CD is a blend of sunshine-soaked deep house (San Francisco talent Lane 8’s brilliant “Be Mine”), melodic deep house (Alfred Taylor’s “Kuza”) and Good Looking-esque liquid jungle atmosphere (check Jody's own rework of Skanna’s ’93 jungle classic “This Way”), with a garage curveball from current hotshots Leftwing & Kody and some deep washed out techno from Matt Lange and Andre Sobota along the way.

James Grant

'Anjunadeep 05' Tracklist CD 1 - Mixed by James Grant 1. Croquet Club "Cardigan" 2. Vincenzo & Aram "Let Go" 3. Andrew Bayer & James Grant "Living" 4. Beckwith feat. Catherine Porter "Back To Love" 5. Universal Solution "Yukon" 6. Universal Solution "Osheen" 7. DAVI "The Time Has Come" 8. Jody Wisternoff & Jonathan Mendelsohn "Out Of Reach" (Alfred Taylor Remix) 9. Dusky "Nobody Else" 10. DAVI "The Bay 6" 11. Tom Middleton "WIV AUW CHU" 12. Dusky "Mr Man" 13. Matt Lange feat. Tania Zygar "Way You Know" 14. The Presets "It's Cool" (Andrew Bayer & James Grant Remix) 15. Solarity "Symbols" CD 2 - Mixed by Jody Wisternoff 1. The Peacemaker Project "Ich Lass´ Dich Nicht Zurück" (Jody Wisternoff Remix) 2. Lane 8 "Be Mine" (Jody Wisternoff's Deep 05 Reshape) 3. Skanna vs. Jody Wisternoff "This Way" 4. Jody Wisternoff feat. Pete Josef "We Are Heroes" 5. Alfred Taylor "Kuza" 6. Beckwith "Townsend Sling" 7. Above & Beyond feat. Zoë Johnston "Alchemy" (Jody Wisternoff Remix) 8. Rashid Ajami "Coming For You" (Jody Wisternoff Remix) 9. Kahwe "Driving Me Wild" (Jody Wisternoff's Deep 05 Reshape) 10. Leftwing & Kody "Deep In" (Jody Wisternoffs Deep 05 Reshape) 11. Meramek "Feeling" 12. Jody Wisternoff "Macbeth" 13. Matt Lange "Only You" 14. Andre Sobota "Move Into Tokyo Dawn" (Jody Wisternoff's Deep 05 Blend)


Booka, Booka, Booka Shade! B

ooka, Booka, Booka Shade! Arno and Walter or Booka and Shade? This “tech” house duo has been around longer than you think and has cemented quite a footprint into the history of electronic music. Back in the 80's, they were experimenting with the new sounds of “electronic buddy music,” which was the new groovy thing post-70's in Belgium. As their style experimented, they were combining 80's sounds with disco groups and the new electro house. As times changed, techno came in to play and the genres switched. During this time, Booka Shade continued to stay in their own little world and even to this day, defy being a label or genre that the commercial industry has forced us to see everyone as. Being in their own universe, you can lose track of time, especially when you have been so wrapped up in perfecting an album for the past four years. As proud owners of 4 tastefully mastered albums, the new up and coming 5th will undoubtedly be a bang, kind of like Tina Turner coming back in the 80's. Of course, 4 years in the making they have had quite their share of stories and an experience in doing so as well as ensuring interest is kept. This over four year's interest comes and goes. As Booka Shade continues to tour around the world, gracing venues with their presence, we hope you get the pleasure of seeing these kind legends play. Whether it's a fun DJ set, or a beating live performance as the band that they are, these guys will kindly accept you into their universe of deep/tech/”minimal” house.


What's the German scene like vs. the US? There's been a big change in the U.S., it's finally found its way into electronic music and really embraced it. It has very much to do with dubstep. Before, there were people like David Guetta who brought electronic sounds to America and combined it with R&B which made it a lot easier for Americans to get into it. A lot of people say oh that's a commercial sound, but on the other hand everybody can be happy because it opens new roads for everybody. It brings a lot of people to the states. It helps the kids who are curious enough to wonder what else is out there and wonder where things come from or where do these sounds come from. I find it very interesting at the moment, in America. Of course you have these huge commercial festivals like Ultra and EDC but they also show some other sides. It's good for everybody and people are really getting into it. With more and more remixes of folk and pop music, and also avicii's country-influenced set at ultra, including other artists experimenting outside the box, where do you guys think electronic music is headed? Well on one hand there's probably the public awareness of electronic music and where it goes to. Also from what I've heard lately, people believe daft punk finally brought in real instruments and acoustic elements and that they are the pioneers of that but that's not true. There are so many other great artists all over the world that combine electronic and acoustic or metal instruments of any kind into their music. So there's been a broad mainstream kind of dance music that hits the ground big time and then there are alternatives. Which in America we are considered alternative, because we are not that commercial but we do have the melodies. We are electronic music but its' not the super banging bass drum. But as far as we go, I can only say for us and either way we go forward that we go with our next album and there are going to be more acoustic elements in there that was not in our last album. I think what we have people will like for club music and home listening. I think a good quality of our music is that you can listen to it a lot of times not only in the club but on your own stereo at home with friends. There are very many layers of the music. I'm sure there will be a new mainstream and someone will pick where it goes. But we're here in our own little universe and we do what we do and hopefully we'll see people like we saw at EDC come and check it out and find some new interesting stuff. Back in March, you released your EP “Blackout : White Noise,” can we hope for an album soon possibly? Oh absolutely. It's taken a very long time and it wasn't easy. I think by the time it will come out, it will have been four years in the making. This feels almost like a comeback, kind of like Tina Turner coming back in the 80's. It's been quite a long time and we're currently working on the set up to actually release the music. The album is pretty much finished and we have some great songs that we play in our DJ sets as well as the live shows. We always like to try them out to see the groove and how they do. That's the great thing about DJ'ing, is trying things out. So we have that together now we just work on the label set up. We have a new label now. We left the old one because it got a bit too much for us and we needed a change and a break. So we have our own new label called Blaufield which is not intended to be a

new physical label because it's mainly just an output for our music. Hopefully we'll have at least one single out this year. Hopefully, probably two, followed by the album early next year. For the single this year we just needed a sample clearance. We have one vocal sample in there that needed to be cleared officially. Just yesterday we got information that it is approved and everything seems smooth. 4 years in the making we've seen some people come and go already and it seems our time frame is getting longer but also it takes longer to really find something that keeps you interested. We've been doing this for quite a while now

have been minimal back then, but still very rich in sound which then it was called electro house. We combined all these 80's sounds and the disco groups with the electro house. But it has nothing to do with electro house as you hear it today. Back in 2004-2005 it sounded a bit different and yeah there's all these genres and I say we do electronic music. When I look at the house categories, many times it's in the tech house category, so that kind of seems what were called. But the genres kind of come and go and we do what we do. In Europe, it's just called dance music. But here in the U.S. it's called EDM, what's your take on that?

and finding new sounds and seeing what's new and

exciting and on the other hand maintain and not eliminating your fan base. That takes quite a lot on the 5th album. So it takes a while. But we've got a lot of good stuff and we've got some great recordings. We went to a recording studio in England which we found this guy who has a studio completely full of the strangest gear you can imagine. Like very old stuff or weird Asian things he brought back from Japan and some cool gadgets. That was really a fantastic time. We just recorded recorded recorded and took all those sets and recordings home and kept them apart and you actually hear many of them in many peoples songs. Trance is starting to blend into house a lot lately, and since you guys do deep house have you thought about experimenting with the new trancehouse sub-genre? With the genres there's always the thing, we always tell the story of when we first started this it was called minimal. When you listen to it, it's not really minimal, at least not in the terms you think of it as today. It may

I can imagine because it's branded so much, this EDM, and it's all put into one box. Which is this big commercial box. Because this is what the mainstream is, it's what people hear and not many people have the time to check and see what else is out there. In Europe we have a lot of history in dance music. If you look at the 80's there, in Belgium it was called electronic buddy music. Then techno came and everything. I think the problem that people have is that it's branded to be a very commercial sound. And I believe people check out the music that they like and whatever genres but I don't really know, I don't live in these categories. Many people may think someone like David Guetta is all the same, but really it's not. You just have to see what you like it's not either this or that and maybe they'll like something very underground and then they'll hear Tiesto and really like it.


Live sets vs. DJ sets? How would you describe them? Bloody Beetroots once told me it's like being in completely different worlds. With the live show it's a different stage set up with drums mixing desks and everything. Then the production is much bigger, sometimes we have our own lights that we bring a long and of course we play our own music. With the DJ sets, the fun part is that we can play other peoples music as well. This is very inspiring. I believe were not really seen as DJ's but as a band that coincidentally does DJ sets. If that's what people have in mind I'm totally fine with that because in the end, they want to hear our songs. I love the fact that we can combine our songs with all of the interesting stuff that is out there. This can be new stuff or very old. That would be the main difference from the DJ sets and the live show. Also it's very easy for us to check out our own new material. Back in the day it was very difficult for us to try out a new song, because the way we have our live shows it's a very big production and a lot of stereo files we bring and there's a lot of different outputs that we use for the bass drum, bass, keyboards and everything. So if you want to try out something new it's really a lot of work. With the DJ sets we can just take something from the studio or hotel room and just roll with it all the time. With the DJ sets you can just try it out and see how it works and that's really a great opportunity to see the reactions and it makes it a lot easier. Have you thought about doing any live set compilations with other artists that also do live sets? Not really, could be a good idea for the future. We want to have more freedom during the live show

and we know when something is coming, for example in the 16th bar the drum is gonna come. It would be very interesting to do for some parts of the show with another band. We did quite a couple of shows with the Disco Biscuits. We've played with them many times, and to see how they jam I would love to have some of that. Not musically, but the technicality. Walter plays good keyboards and I do the drums, and we could expand but technically. Seeing how they jam I'd love to use that. Yeah there would need to be rehearsing. The thing is with Walter and I, we have worked together for so long that we don't have to talk much and we kind of know what the other one thinks. It'd be interesting to feel the music and see how one person takes it then the next. A lot of artists try to play everything to please everyone. What's your opinion on artists changing their style as music changes through time? There are a couple of angles to see it from. It's always fun to surprise and it just hits people and they say ooh where did this come from. In entertainment, you can do anything just as long as you never bore. Then you have to look at their whole career, unless if you're AC/DC and you have the great luck that you can basically play the same songs for 30 years and keep your fan base and they just want this, then it's great. As an artist, you should always try to develop your new ideas. As I said before, that's why the production of the album took so long. We needed to find ways to do things differently but in the same language, so to speak. I like to believe that it's always good to look forward and also see what's here at the moment and should I follow that and produce for the

market. But that's what we don't do; we never produce for the market. We think of, where do we want to be in one year? I think it's great to experiment a little bit and of course the worst you can do is follow the market and say oh this is what everyone else is doing so I might as well do it too. That's just a sure way to kill yourself career wise. When you look at EDC, when we heard we would play on the same stage together with Bloody Beetroots, Boys Noize, Proxy, Major Lazer we thought oh my god this is going to be very difficult, are people going to expect us to play very hard or should we even try to do this? But we decided to do what Booka Shade does and it worked out very nicely. I was very happy with the show. You have to find, who you are and what you really like and go for it and not look left and right. It can be very difficult; I'll tell you it took us a very long time in our career. We've been doing this for a long time now. What do you think of a situation where another artist uses your song as a sample? Like when Will I Am used body language? It's a great honor. Funny thing, the way we heard it in the beginning, he didn't really want to clear the sample, he wanted to just use it because he thought it was just an underground thing, that he could just grab it and not do anything. Then he found out that it was rather well known in the club scene. But I was very happy that he used the song, and in our DJ sets we like to use a mash up of it. If it musically makes sense, not only harmonically but from the general attitude of the song, it really works together. I think it's a great way of working and combining these bits and pieces. I'm always happy to have our songs sampled, unless if it's something completely stupid.


Pre-Party 2013

Los Angeles and San Francisco


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n preparation for the music festival Lightning in a Bottle held in Temecula from July 11-14, The Do Lab put on two pre-party events in Los Angeles and San Francisco. The Los Angeles party was held at The RG Club (formerly known as the Garter) in Venice Beach. This event joined forces with the first ever Venice Music Crawl which is a collection of art and music on Lincoln Boulevard that aspires to awaken the cultural spirit of Venice's Westside community. A music aficionado's dream, the event began at noon and continued without missing a single beat until 2am. The Do Lab is renowned for providing beautiful musical and artistic experiences with every event they put on. In the true spirit of the Do Lab, not only did they create an evening of music, art and positive vibrations, but 100% of the proceeds from this Lightning in a Bottle Pre-Party went to the non-profit organization called Charity: Water. Dihydrogen monoxide is humanity's elixir of life and Charity: Water is dedicated to providing clean water for over 1 billion people in need around the world. Justin Boreta of the Glitch Mob and Jesse Flemming of the Do Lab are two huge advocates of this charity as well as of this event. The accessibility of clean water is a luxury that over 800 million people do not possess, forcing them to drink polluted water or sugary sodas which can cause kidney failure as well as a litany of other fatal health problems. Not only are these people suffering from lack of clean water, but also from proper education on the deleterious effects of this dilemma. Organizations like Charity: Water are working on building wells in these remote, third world countries and groups such as the Peace Corps are working hard to educate these countries about proper nutrition and water consumption. The Lightning in a Bottle Pre-Party raised enough money to build two clean water wells in Rwanda. The Do Lab's contributions to this epidemic shows the power of human compassion and that music can truly save the world. The Do Lab is helping improve humanity, one music festival at a time. This event showcased a unique group of electronic based musicians and Djs, some of whom have been affiliated with the Do Lab in past events. Popular names that appeared on the bill were DJ Ora, jOBOT, Gina Calderoni, Henry Pope, Jesse Wright, Jeniluv, Loomer, Sammy Bliss, Shawna, Patricio and Shayn Almeida. DJ Ora provided upbeat melodies and heavy hitting bass keeping feet shuffling and limbs popping. jOBOT, or Joe Wendt, is a Los Angeles native who is classically trained in jazz bass. His electronic dance music has been described as crunchy, slimy, nasty and cerebrally enticing. His performance did not disappoint. Gina Calderoni, Henry Pope and Jeniluv each provided some of the most memorable tracks of the evening, providing the audience with unique electronic dance music that is not so easily found on the local radio station. The LIB 2013 Los Angeles Pre-Party Playlist can be found on SoundCloud and is full of emotionally igniting samples and hypnotic beats from the event's lineup. Clocking in at 9.39.48, this playlist will surely be the seemingly endless pulse of any gathering.

In addition to the distinctive music found at this event was an array of art shows decorating Lincoln Boulevard. Always striving to keep the art world fresh, canvas was not the only thing being painted on. Jana Esp of Original Face Art from Los Angeles provided stunning and unique art that was painted on one of the most difficult canvases, the human face. Her collection at this event was dubbed Cosmic Tech and she will be continuing to create these facial masterpieces at Lightning in a Bottle. The Do Lab always finds a way to beautify our lives. For those whose first Do Lab experience was this event, it was a tantalizing taste of what to expect at the glorious Lightning in a Bottle festival in July. To those who cannot get enough of the marvelous Do Lab, this event was a perfect opportunity to satiate that lust for life until LIB. Beyond music and art is the Do Lab's love for humanity and their eternal quest to elevate our awareness. They are a movement, a collected consciousness of free-thinkers and enlightened minds, a utopic vision. Alone, one creates ripples, but together, we create waves.


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wenty-Five year old Troy Beetles “aka Datsik” is a Canadian born dubstep phenom since its explosion on tothe scene in the late 2000's. The name Datsik was derived from Troy's gamertag on xbox live which stuck with him as a producer. Beetles was first inspired to produce dubstep after seeing Excision live at Shambhala Music Festival in 2008. The spark created led to several collaborations with fellow Canadian producer, as well as Datsik's first major singles “Gizmo,” and “Gecko” released in late 2009. The dark and robotic sounds created by Datsik quickly gained popularity on the Beatport charts and lead the young producer to team up with majorartists and even remixing songs from Linkin Park, Coldplay, Dada Life, Kaskade, and many more. Picking up steam after several releases in 2009, Datsik has been seen on some of the biggest labels in the industry including Owsla, EX7, Smog Recording, and Rottun Recordings. Datsik's first studio album, “Vitamin D” was released in 2012 under Dim Mak Records. This twelve-song album solidified Datsik's position in the dubstep world with tracks co-produced by Infected Mushroom, Downlink, and Z-Trip. After the release of “Vitamin D,” Datsik founded his very own label Firepower Records. The label has bred some heavy hitters in the bass world including releases from Synchronice, Delta Heavy, Antiserum, and Protohype just to name a few. With the rise in popularity of trap music, Datsik has been able to rework some of his most popular songs including “Swagga” and “Bonafide Hustler” into hard hitting, bass thumping trap anthems. The producer has never lost momentum since his debut release and is constantly working harder and harder to make sure that his name remains relevant. With a loaded tour schedule and stops at some of the biggest music festivals in the world, Datsik sees no signs of stopping on his way to the top of bass music dominance. By: Kyle Anderson


DRUM & BASS FAVORITES!! E D M W E E K LY S FAV O R I T E D R U M & B A S S D J S

Easily one of the most thriving artists within the genre of drum and bass, Netsky has been killing it over the last year. The Belgian born DJ is infamous for his deep, liquid style DnB sound that puts the icing on the cake for any DJ looking to create a sick mix. After signing exclusively to Hospital Records, Netsky has only produced the finest tracks. Out of all the UKF Drum & Bass YouTube videos, his remix of Rusko's “Everyday” has the highest view count, capping over fifteen million… Not surprising considering the track is a banger! Another unique aspect of the liquid loving producer is some of the live performances he throws down. Instead of using turntable's and a mixer, you can expect to see Boris use synths, an MC, drummer and additional keyboard player to perform Drum & Bass live on stage. Although it's hard to believe this guy is only 24 years old, Netsky has already established himself as one of the biggest names in Drum & Bass.

Real Name

Boris Daenen

Origin

Edegem,Belgium

Record Label

Hospital

Spinning EDM Weekly’s Favorite Track

Since:2009 TrackNetsky - Secret Agent

What happens when you take two veterans in the same genre of music and combine them into a duo? Godliness or the creation of the finest tracks? With Matrix & Futurebound, you get both. Jamie Quinn aka Matrix started his career off at Virus Recordings where he produced several big tracks, before he charted the top five house track, “It's Love (Trippin”) under his house music alias “Goldtrix”. Brendan Collins aka Futurebound on the other hand, hasn't only created massive tracks but has also developed his own label, Viper Recordings, which has evolved into one of the biggest labels in bass music housing the likes of ShockOne, Camo & Crooked, Seven Lions and most recently the soulful sounding duo, the Brookes Brothers. After Jamie and Brendan combined forces in 2007 they have made nothing but big tracks. Last year alone their tracks “All I Know (ft. Luke Bingham)” and “Magnetic Eyes (ft. Baby Blue)” hit the charts big and saw the duo rolling in success. EDM Magazine had the opportunity to meet with Matrix & Futurebound and witness them perform live at Cable Night Club under the London Bridge for ShockOne's “Universus” album release… To us who have been to many Drum & Bass events, it was one of the best DnB events we have been to.

Real Name

Jamie Quinn & Brendan Collins

Origin

London & Liverpool, England

Record Label

Viper

Spinning EDM Weekly’s Favorite Track

As a duo: 2007, Separate: Early 90's Matrix & Futurebound - All I Know ft Luke Bingham


There is only one way to say it; Andy C is a legend in Drum & Bass music. As the founder of RAM Records, one of the biggest Drum & Bass labels, Andy C has dedicated nearly two decades of his life to DnB, touring across the world, week in and week out, to display his amazing ability that has won him over thirty music awards/honors. Andy first got into to electronic music when he was thirteen years old by listening to acid house mix tapes and later attending illegal barn raves. By age fifteen he had already gotten his first rave residency, and today he can be found spinning at some of the best venues across the world… Space Ibiza and Fabric London to name a couple. He is not only one of the key pioneers in the world of Drum & Bass, but one of the main icons in all of electronic music. Andy C is the King; he is the best DJ to see if you want to have the ultimate experience.

Real Name Origin Record Label Spinning EDM Weekly’s Favorite Track

Andrew John Clarke Essex, England RAM 1989 Major Lazer – Get Free (Andy C Remix)

Rocking the finest threads from Supreme, Karl Thomas aka ShockOne not only has physical swagger when he's on the decks, but massive amounts of talent when he's in the studio. After years of anticipation, he finally released his album, “Universus” that got nothing but positive reviews, containing a wide variety of sick tracks that would get any crowd moving. With this release, he had an album launch tour that impressed fans from London, England all the way to Sydney, Australia. Karl also has a little sister by the name of Reija Lee who is a vocalist, currently signed to Mad Decent, and can be heard in several DnB artists' tracks… Checkout Shock's tracks, “Home” and “Polygon” which both feature his lil' sis. It can be said that ShockOne is a drum & bass DJ/Producer that delivers; when you see his name on the flyer for a show, you know its going to be quality night.

Real Name Origin Record Label Spinning EDM Weekly’s Favorite Track

Karl Thomas Esperance, W. Australia Viper 2005 ShockOne - Lazerbeam ft Metrik & Kyza

Every track that Tantrum Desire produces turns to gold, and if you don't believe us, get on your computer and look up the tracks, “Reach” “Guided Rhythm” or “Get With It”. The South-East London based duo consisting of Jay Faleye and Devin Smith have developed a distinct sound that first catches the listener with a deep catchy hook, and then blows everyone away with their epic, bass-bangen sound. Breaking down the duo, Jay is the mastermind behind producing these bangers, while Devin's forte lies behind the turntables. When these guys aren't in the studio, they are touring. If you check their tour schedule, you can see that they've traveled nonstop all around the UK, US, France, Spain, Germany, Italy and tons of other places. Over the last year, Tantrum Desire has been on fire and is a must-see act if they are playing in a venue near you.

Real Name Origin Record Label Spinning EDM Weekly’s Favorite Track

Jay Faleye & Devin Smith London, England Technique 2004 Tantrum Desire - Reach


Music Preview

Totally Enormous Extinct Dinosaurs & Eats Everything have put their heads together for “Lion, The Lion” – a grinding dance floor assault weapon that can be found on T.E.E.D's just released Volume 6 of Crosstown Rebels' Get Lost compilation series. The track does the duo proud — it's part housey T.E.E.D instrumentation and part quirky (and quite frankly, growling) breaks and bass from the Eats man. Damian Lazarus and Crosstown Rebels, as always, are giving their friends in the industry room to breathe and continue to expand the palette of the label, its compilations, and its international party brand, Rebel Rave. Watch T.E.E.D's Rebel Rave TV Episode hereas well.

With their ascension into the dance music stratosphere underway, the animated, jack-of-all-trades duo known as Candyland have released their latest effort with a vocal contribution from Zak Waters. The high-octane dubstep tune from Spinnin Records, “Not Coming Down,” follows Candyland's successful remixes of Bingo Players's “Rattle” and Daddy's Groove's “Stellar.” Back on the release circuit, their latest production proceeds a slew of fan-driven offerings that they've trademarked as their “OG Remixes,” but “Not Coming Down” sees the production talent of Candyland like never before.

After causing a stir for a music video with a rather unhappy ending, Foals' “Bad Habit” is once again at the center of attention. The indie tune was recently reworked by Alex Metric, who cut a bit of the sadness but added four additional minutes of groove. Metric kept his fellow countrymen's vocals but sliced and diced them up, leaving gaps for his own composition to shine through. Swapping strums for cymbals and cascading triplets, the indie vibes take on a house beat with electronica undertones. Though no release date has been announced yet, the track is “coming soon.”

With mega-collaborations come heavyweight remixes and the latest from Benny Benassi and John Legend is no exception to the rule. Both artists, highly respected in their own fields, come together for “Dance The Pain Away,” a blissful, electro-R&B hit most fitting for commercial success. The production has reached all new heights now that some of dance music's hottest producers got their hands on the track. Most notably comes efforts from Dyro, who shakes the tune with merciless grunge, and Jimmy Carris, who ups the ante for a progressive house spin. Tom Swoon, Alex Guadino, and Jason Rooney each take stabs at “Dance The Pain Away”

As The Netherlands recovers from late-June's Dreamfields, Sidney Samson has officially released the festival's anthem. The Dutch producer released “Good Time” to commemorate the event, which drew in Gregor Salto, Deniz Koyu, Martin Garrix and Samson himself. Keeping true to his electro house roots, the track breaks a strong progressive instrumental with party-ready vocals and percussive beat. Tempo- and genre-bending, the tune captures some of the wonder of the festival and provides a stadium-sized drop. Out on Samson's own Rock The Houze imprint, the track is available now on Beatport.

It seems there's no style too daunting for Dyro. After releasing his remix of 'Rihanna & David Guettas “Right Now” and Axwell's “Center of the Universe,” the young Dutch producer has returned with an edit of 'The Bloody Beetroots latest, “Spank.” Keeping the bounce but cranking up the glitter, the edit is more of a tweak than a full remix but proves to be a little tweak with big results. With a higher pitch and slightly less intense breakdown, the original is left to shine in its jawdropping glory while Dyro's star power makes the edit accessible to those outside Sir Bob Cornelius Rifo's realm. Released on Ultra Records by way of Dim Mak, the track is available now on Beatport.

Since the release of their first EP, Major Lazer have perfected the infusion of dancehall vibes with a modern electronic music flair. The Diplo-led production outfit's latest remix of Machel Montano's “The Fog” follows their patented formula to a tee. Complimenting the Trinidad and Tobago native's soca style, Major Lazer transform “The Fog” from a sultry dancehall affair to a bouncy electro offering that better fits with their over-the-top party-starter leanings. Chirpy keys, headsplitting kicks and a quaking bass line match Montano's bombastic vocal style with shocking success. Like everything stamped with the Major Lazer insignia, this production is just weird enough to work. Download it today for free.

Back onboard after a brief spell of silence for the label, Paul Woolford returns to Scuba's Hotflush imprint to follow-up Denise & Pika's “Move Your Body Right” with an undeniable summer showstopper. Never one to drop his form amidst the summer clubbing season, this key laden summer anthem is further indicative of the simplistic yet irreplaceable charm that Woolford has breathed over European house music from the outset of his career. Sweeping across a deep yet melodically refined canvas of sharp melodic leads and infectious grooves, “Untitled” makes up for its lazy name with yet another injection of purebred floor fuel from a man who continues to epitomize everything that is right about modern house music.


Music Preview Sander Van Doorn's chart-topping single “Joyenergizer” became a big room DJ set staple after its release earlier this year. Now electro producer Lazy Rich has released his own high energy reinterpretation that appears well-positioned to elevate the release back into the festival rotation. The Canadian artist has infused his version with squealing synths and escalating bloops that propel the bombastic build into the remix's hard-hitting synth-driven drop, putting on a bit of a sound design clinic in the process by virtue of the varied sounds that comprise the progression.

If dance music is suffering from an epidemic of conformity then apparently no one toldBrodinski about it. The man behind dance music's most daring imprint, Bromance Records, has been doing whatever the f*ck he has wanted to since he first released Bromance #1 and introduced the world to “Control Movement” and “Let the Beat Control Your Body.” Since then he's persistently promoted whatever style of music he currently enjoys regardless of its commercial viability and The Purple Ride marks the next step in the Bromance saga. A collection of tracks that Brodinski describes as; “A concentrate of everything I love. No compromise, no label, no nothing, just music.,” The Purple Ride is a dreary collection of syrupy trap and liquid

North American sun-stepper Viceroy has long been summer proofing the unthinkable and perfecting the art of unofficial remixes for a few years now. Back off the heels of Ginuwine's “Pony,” our man is found remodeling the supple pop stylings of Maroon 5 with little apprehension in inaugurating them to his sun kissed studio demeanor. Big on the melodic leads and rife with uplifting beats, his take on “Love Somebody” epitomizes the flamboyant electro hallmarks that this vintage tunesmith has consistently cast across the global circuit. For those looking for a summer anthem that doesn't take itself too seriously, this quality summer re-rub separates the boys from the men on the merits of upfront quality and a contagious energy you just cant fake. Hit more to hear the track and grab a free copy.

France's Fred Falke known for on onslaught of optimistic, groovy remixes has taken on “Sunny Days,” the first single off Costa Rica's Patterns' debut album Dangerous Intentions. Released via label Killing Machine, the tracks serves as an indie dance keystone using 70s disco influence to ride out the perfect summer vibe. There is truly nothing better than indie dance to put you in a blissful, relaxed mood and Falke maintains his blemish free catalog with his take on “Sunny Days.”

Previously the stuff of rumours, Dutch trailblazer Dyro follows-up a year of high-profile original and remix releases with his own remodel of '''Axwells “Center of the Universe.” Premiered by Danny Howard and initially teased as a remix of 'one of his favourite artists of all time,' Jordy Van Egmond's landmark remix bravely extends his own peak time style to one of Europe's most celebrated production assets to date. With the original's emotive edge firmly maintained, Dyro uses a 'less-is-more' approach to his debut Axtone remix, engaging his firm ear for refined synth work and liberally tweaked beats to modestly make “Center of the Universe” his own peak time exploit. As we await the unveiling of subsequent material alongside Nicky Romeroand Shermanology in the months to come, Dyro's first-class remix of “Center of the Universe” echoes the unprecedented stamina Holland's latest breakout has mustered in his short but triumphant career.

techno grooves punctuated by an indescribable and effortless French cool. As if to prove his point,Brodinski opens The Purple Ride with a chopped and screwed rendition of R. Kelly's “This Is What I Feel” and from there the mix is so defiantly unique that it escapes definition. R&B crooning, industrial techno, codeine-laced trap, all intertwined to create a seemingly incoherent collection of tracks with one distinct similarity — the greyscale haze of filters that hiss and drip down every layer of the mix with ghostly effect.

Artists to Watch for 2013 have teamed up to deliver an animalistic progressive house journey. Size Records duo Wayne & Woods and Miami-based Henrix finally release “Jumangee,” their collaborative anthem that has been garnering support since Miami Music Week. Lead by thumping percussion, all three producers bring their strengths to the table and have been perfecting their latest offering since its initial production — including one week of daily melody alterations. Hard work pays off for the Size camp once again, as “Jumangee” is slated to soar up the charts and the festival circuit this July.

Mu s i c P r e v i e w


TECH NEWS Ableton's flagship production software, Live, has evolved into an improved powerhouse, with the new Version 9 release. However, not content with bolstering their software to be all-powerful, the guys at Ableton have added an extra dimension to the whole package. It's obvious in their minds that software is not enough, and so exploring the next level seems like the logical progression.This progression now sees the introduction of Push, the first Ableton/Akai-designed controller for Live. A quick word of warning, though: Push will only work with the new Version 9 upgrade, and not any of the earlier incarnations of Live.

Ableton PUSH

Push it real good

Push in itself is a rarity: a multipurpose controller that actually works. It's partinstrument, part-drum machine, part-live controller, part-arrangement and editing tool, and you can compose, record, edit and mix entirely from the hardware. This is the angle that Ableton were keen to express — that Push is more than just a basic controller, it's a complete music creation instrument in its own right.At its core, Push is a musical composition device. The 64 input pads offer a nifty alternative to a conventional piano keyboard and allows complete beginners to play complex chord progressions and switch from major, minor and diminished chords without even having to change the relative position of your fingers.It offers two different systems for ensuring that notes are only played within a specified key (users choose this themselves, from a huge array of conventional and exotic scales). With In-Key engaged, only notes that fall within the specified key will be assigned to the pads, allowing for fantastic chord progressions and extemporisation even in the hands of a novice. The alternative is Chromatic mode, which assigns the other notes to the pads, but only those in key light up. Either way, the system is a game-changer for nonclassically-trained producers, and even an inspiration for trained musicians.The pads also offer perhaps the cleverest drum pad system ever designed. Half MPCstyle drum pads, half step-sequencer, you can use both simultaneously to input notes or to edit and quantise existing notes (there is also input-quantisation). And Push features the Note Repeat button, made famous by the MPC. Engage Note Repeat hold and it's easy to build a beat, play chords or even trigger an arpeggiator simply by holding the pads. It is so simple that users will feel confident doing it on-stage within hours.So what about arranging? Anybody who's used an APC-40 will be immediately at home with Push. The pads respond to clips and note value buttons to scenes, but thanks to the RGB backlighting, the actual colours respond exactly to the clip colours onscreen, making it easier than ever before.

Basic mixing functions are available too, with mute, volume, pan and sends all available via a well thought-out and intuitive system. But what is mixing without plug-ins? Push allows you to add devices (and tracks) using a nice menu system, and once added all the parameters can be edited using rotaries and buttons. It works as well for third-party plugs as for Live's own devices: if it can be automated, it can be edited with Push, with parameter names and values displayed on screen. The build, meanwhile, is tank-like. The buttons feel great, with function buttons offering a reassuring click, while the pads are constantly touch-sensitive (hold a snare in repeat mode and as you push harder and softer, the snare hits will respond in kind) and can be set to varying levels of sensitivity to suit your taste. The rotary encoders also feel solid, and are all infinite (except for tempo, which clicks in increments). They even feature touch-resistance, so simply put your finger on one to call up its value. There is so much more goodness, and very little about Push not to like. That said, at the basic level of use the user manual could be improved as it really doesn't explain everything that can be done with Push. Also, while Native Instruments' Maschine is a much simpler affair, MPC purists might appreciate the fact that it can record audio, then slice and edit the samples directly from the hardware — which Push cannot. In fact, Push is rather limited in what it can do with audio channels, but that is hardly a criticism.As rites of passage go, this is an unmitigated success. Push is very definitely a good first look, and from initial plays and given its complete integration with Live it is going to win itself a whole new collection of fans.


TECH NEWS Arturia is a name well known in the studio community as a company that makes some of the most authentic and widely used software versions of classic synthesisers as well as hardware that has a habit of combining classic old school sounds along with sounds that are bang up to date with today's cutting edge genres.When Arturia released their hybrid plug-in & hardware Spark drum machine it piqued more than a little interest amongst those in the know and for good reason because this drum machine not only sounded awesome but also managed to do things in its own unique way that inspired creativity by merging the tried and trusted old skool way of doing things with the benefits of modern technology (as is the Arturia way of doing things) to create a killer drum machine that was a real contender to Maschine's crown but did things in such a different way that the two could easily sit side by side in a studio and be perfectly useful in their own right. The latest incarnation of Spark is the Spark LE or Sparkle as it is surely destined to become known as and is a compact version of the Spark which could very well tempt potential Maschine Mikro owners to take this box of tricks home instead.

K R A P S s Sparkle Arturia

ain Once Ag

Spark LE is essentially a compact version of Spark that uses the same sound engine and sound set as the original version but has a streamlined user interface and a hardware controller with a much smaller footprint. The design and build quality of the hardware controller are stunning and have combined to create a work of art which manages to balance aesthetic beauty and functionality perfectly looking like something that would have been created if Lexicon and Euphonix's designers had got together to work on a product.The size of the Spark LE is very compact but the control surface manages to be extremely functional without being cramped and the layout of the control surface is so intuitive that the fun and creativity start the second it is turned on with hardly a moment lost to head scratching.

Being so well known for their old-skool synth emulations it is no surprise that Arturia have included more than a few classic touches to the Spark LE. The layout and programming style is unashamedly Roland TR style and those old classic Roland drum sounds can also be found very quickly when browsing through the sound banks but there are also a lot of more modern sounds that can be found amongst the more than 1500 instruments and 100 kits that come ready to go once the Spark LE software has been installed.The sound quality is of the same top notch level that we have come to expect from Arturia and the range of sounds available makes Spark LE a very versatile drum machine that will work well across a wide variety of genres.

As the Spark LE is a hybrid software/hardware device the hardware controller is used to drive either a standalone version of the Spark software or a plug-in used in conjunction with a DAW such as Cubase, Live or Logic with sixteen individual outputs available. The software is a direct representation of the hardware controller on-screen with every button, knob and control shown in the user interface screen along with the current setting, the only difference is that the on-screen version of Spark LE has an LCD display that is sadly absent from the hardware controller.Arturia have managed to create an extremely useful user interface that manages to make programming and experimentation very easy and fun and really does inspire creativity. Features like the touch pad controller that can be assigned to control filters as well as slicer and roller effects give the Spark LE a unique appeal and encourages interesting excursions from the normal step-by-step drum programming that can easily become the norm.

With the release of the Spark LE Arturia have manage to create yet another winning product to add to their enviable line-up of mouth watering studio enhancers by applying their trademark mix of the best of old and new at every level of this product's concept, design and manufacture. The Spark LE is a device that captures the creative feel of a Roland 909 with all the added advantages that come with software synthesisers such as deep integration into DAWs and instant saving and recall of parameters. This drum machine also manages to do things in its own unique way which gives more choice to musicians and producers giving them another tool at their disposal when finding the device that compliments their workflow best and will allow them to bring out the most amount of creativity in music. Everyone who is making music right now should check out what the Spark LE could offer their tracks even if they don't think they need another drum machine right now, it really is that good.


TECH NEWS Korg is undoubtedly one of the best-known names in electronic music, having earned their enviable reputation by producing some of the most awesome-sounding synthesisers known to mankind. But of late, Korg have also been carving out something of a niche for themselves by creating a range of portable effects units such as the miniKaosspad2 and the Kaossilator2, which have been put to good use by musicians from a wide range of genres. The device that started this linage of portable effects units — and the big daddy of the family — is the Kaoss Pad. The latest incarnation of this was the KP3 before the technicians at Korg applied their updating and improvement treatments to create their new flagship Kaoss Pad, the Kp3+. Kaoss Pads have always been about the big touch pad at the centre of the unit, and the KP3+ follows this tradition with a nicely-sized touch controller with an interactive LED display than can be stroked, rubbed or tapped to control multiple effects in real time.

Complex effect controls are combined into touch gestures that are very intuitive and a whole lot of fun to use without the need for meddling about with control parameters — unless, of course, that is your idea of fun, in which case some truly stunning effects can be created by getting deep and dirty with the settings parameters. The KP3+ has a total of 150 effects that can be put to use when remixing, DJing or in live performances. In addition, there are an extra 22 programs found inside the KP3+ compared with the KP3. All of the best loved programs from the KP3 are also on board this latest incarnation including effects and filters such as delays, reverbs, spiral effects, a grain shifter and even a vocoder. Using the high quality onboard sampler found inside the KP3+ it is possible to record up to four different samples of 13 seconds in length, which can be triggered and manipulated by the looper programs as well as having effects layered on top.

The build quality of the KP3+ is absolutely fantastic. It has an all-metal body with an anodised matt black finish that is just gorgeous, and feels as good to the touch as it looks. The control panel case design is very slick and professional with nicely-sized backlit buttons, an FX release level slider and decent-sized knobs and switches. The KP3+ also has plenty of input and outputs featuring both MIDI in and out connections, USB connection and two stereo line inputs and outputs. The front panel has a headphone output with a volume control knob, SD Card slot as well as a microphone input. This really is a beautifully designed and manufactured piece of professional audio equipment that will stand the rigours of touring without missing a beat. In some ways Korg are a victim of their own success. By completing such a stellar job in design and production of the original KP3, they left themselves very little room for improvement. Because the upgrades seen on the KP3+ are fairly minor in nature they will have a hard time tempting existing KP3 users to upgrade, but should see plenty of new owners as discerning buyers seek out a quality effects unit that will stand the test of time.

All of the various incarnations of the Kaoss Pad range are awesome in their own way, and the KP3+ is no exception — providing a truly professional effects unit for DJs and producers that looks every bit as good as it sounds. The KP3 is a good example of the fact that this new KP3+ is likely to be just as useful many years later as it is now, proving to be a wise investment for many years to come.

Kp3+ Controlled Kaoss


July 10th 2013  

Edm weekly July 10th 2013

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