From smash hit originals to remixes for some of the biggest tastemakers in the industry, and even performances around the biggest stages in the world, Curbi has made his mark in the EDM scene. Now he brings his talents into 2024 with his new single, “Kill The Lights,” a groovy stutter house anthem with vocals from Sarah de Warren.
“Kill The Lights” opens with a repeating 16th note chord progression which persists throughout the track. This offers a sense of familiarity, bringing the listener from start to finish in an entrancing fashion. As Curbi adds more elements, they play off each other to push and pull the energy from hypnotic to lively. Sarah de Warren’s airy vocal is a perfect pairing with the dark and pumping tendencies of the song.
As “Kill The Lights” progresses, Curbi introduces a low Reese bass to add energy before dropping into a thumping drum-propelled drop. With plenty of energy to get you grooving in your seat, this track is perfect for both easy listening and getting down at a live show. The combination of Curbi’s production prowess with Sarah de Warren’s evocative voice and emotional songwriting makes “Kill The Lights” a song we expect to hear across a variety of mediums. With 2024 just beginning, Curbi and Sarah de Warren both have a bright year ahead of them; be sure to keep up with all their new announcements, and listen to “Kill The Lights,” using the links below!
Chris Lake has done it again, taking the music world by storm last week with his latest remix of The Chemical Brothers‘ groove-infused track, “No Reason.” Released by EMI / Virgin Records, this remix follows the success of two other official “No Reason” remixes by Ewan McVicar and O’Flynn. The original track, a highlight of The Chemical Brothers’ recent album For That Beautiful Feeling, now receives the Chris Lake treatment, promising a new level of dance floor euphoria.
For those unfamiliar with Lake’s remix repertoire, a glance at his versions of “Dummy” by Portugal. The Man and “Who Are You?” by Maine will set high expectations. And true to form, Chris Lake delivers spectacularly, harnessing the infectious bassline of “No Reason” and elevating it with his signature style.
Lake’s expertise shines in building immense anticipation before each drop. The track benefits from three distinct yet flawlessly executed pre-drop builds, each leading into a uniquely funky kick and bass combo. These elements maintain thematic cohesion with the original while injecting a fresh, exhilarating energy. The first and last drops are particularly noteworthy, where the bass seamlessly glides into purely ecstatic moments.
Chris Lake will be on a bit of a hiatus, with no scheduled dates until the Ultra Music Festival in March. To keep up with all the latest news from Chris Lake, connect through his social links below.
Ravenscoon wrapped up his Periphery Tour 2023 with stops in New York City on Friday, December 8, and Milwaukee on Saturday, December 9. By his own admission, the show at the historic Webster Hall in NYC was his largest headline show to date, and his stellar lineup matched the occasion. Moon Lvnding was on the scene from open to close, witnessing excellent sets from Green Matter, DRINKURWATER, EAZYBAKED, Ravenscoon, and Meduso.
Green Matter // Photo Credit: @samwolloch
The Denver-based artist Green Matter made her NYC debut to start the night in style. The 2022 Excision Bass Music Initiative winner showed off her production skills, mixing the nostalgia of early dubstep and the innovation of modern bass. It is always a treat to see someone making their NYC debut, and she excelled at the opportunity!
DRINKURWATER // Photo Credit: @samwolloch
The German-born, Phoenix-based producer DRINKURWATER followed Green Matter and kept the vibes high. His set had a bunch of range to it, from heavy riddim to melodic dubstep. The crowd also got into his set, with several mosh pits breaking out during his short 45 minutes on stage. From what I could see, it was the most wholesome, respectful, and considerate moshpit I’ve seen in quite some time. The fans loved the tunes and stayed hydrated throughout the set!
Eazybaked // Photo Credit: @samwolloch
EAZYBAKED came on next for an hour-long set before the headliner, and they did their best to captivate the NYC crowd. After two action-packed sets to start the night, the energy of the crowd was a bit down for this set. But the vibes also fit the more downtempo bass music from the EAZYBAKED duo. They stayed true to their roots and brought a taste of the EDM underground to the Big Apple.
Ravenscoon // Photo Credit: @samwolloch
Finally, the main man Ravenscoon took the stage and immediately commanded the attention of the crowd. His new production graphics looked great, as seen above, and complemented his music well. He seamlessly mixed between experimental downtempo and upbeat dubstep. He played many of the songs on his new album, which was released a week prior on December 1, and dropped fresh and tasty remixes as well.
This was my first time catching Ravenscoon live, and I was impressed with his poise and quality. He ended his nearly two-hour set with a heartfelt message to the crowd about being true to yourself and doing what you love, which was a nice way to cap off his largest headline show. Although the tour had one show left in Milwaukee on Saturday, there was a touch of catharsis to his words and it came through genuinely.
Meduso // Photo Credit: @samwolloch
I left the show equally impressed with Meduso, who did a great job engaging the crowd and keeping many bass heads around for the last 45 minutes of the show from 3:15 to 4 am. It is never an easy task to come on as the closer after the headliner leaves the stage, and Meduso’s music did the trick. The Los Angeles-based producer dipped into his bag of tricks with rock-infused remixes and energetic bass to captivate the crowd until close. This is another artist I got to see for the first time and had me staying until the very end.
As mentioned previously, Ravenscoon’s masterpiece of an album was fully released on December 1 and it is an impressive body of work. With 18 tracks and over an hour of bass music, there is something in it for all types of bass heads. There’s also a wide range of collaborative artists on the album, with 11 songs featuring one or more other producers. A few of the songs that stood out to me are “Out Cold,” “Dissolve,” and “Wild.”
Ravenscoon recently announced an even bigger production for 2024, one-upping his show at Webster Hall with two days scheduled at Denver’s iconic Ogden Theater on March 8 and 9. He will also play as support on select dates of Liquid Stranger’s EXPANSION Tour in Spring 2024. To keep up with all the latest news and music from Ravenscoon, use the handy links below.
Music is an expression of emotion. For the audience, it can be felt, resonated with, and used for inspiration! For the artist, it is a sense of release, a medium for that person to process the crazy life they live and express themselves to the world. This holds true when listening to Mantra Sounds’ new EP Seeing Red.
This 3-track EP was incrementally released last week, and gave fans insight into the personal life behind Mantra Sounds. The first track, “Psychosis,” was a track that flowed out like liquid gold once the first line was written. The message? Talk your shit and OWN IT! Mantra Sounds shared, “When I listen back to this song I think the main thing it hits on is getting back in your bag, feeling yourself, and remembering who the fuck you are.”
The second track, “Target Practice,” showcases a wider range of emotions. It tells the story of recognizing pain, accepting where you are, and understanding that the mask of passion can be pain under the surface. It is about being at rock bottom, but knowing that the only way to go is up.
The final track, “Exodus,” carries a different tone from the other tracks. This R&B-inspired song is a final release. In an interview, Mantra Sounds says, “This outro represents fully checking out of something, accepting it for what it is, and looking forward.” In collaboration with producer McWavy who supplied the stems, Mantra Sounds’ original lyrics matched perfectly to create a smooth, emotional outro to wrap up Seeing Red.
In our interview with Mantra Sounds, she was excited for her fans to listen to this EP. With “Psychosis” and “Target Practice” being two of her favorite beats created to date, anticipation for the release was high. To sum up, Mantra Sounds said, “All three tracks have such different meanings but it all comes down to forgiving yourself for past mistakes, ridding yourself of you and others’ pain that you carry, and stepping back into your power.” Listen to Seeing Red, check out the Caverns recap in the X post above, and use the social links below to keep up with everything from Mantra Sounds.
Insomniac, the mastermind behind legendary electronic dance music experiences, recently unveiled its inaugural Apocalypse: Zombieland at the Queen Mary Waterfront, and the event was nothing short of extraordinary. Boasting a lineup of industry-leading bass-music behemoths like Excision, Adventure Club, Sullivan King, and Zomboy, the festival promised a bone-shattering journey that lived up to its apocalyptic theme. As I recount my personal experience, I’ll delve into the production, musical offerings, and venue and also provide an overall assessment of this groundbreaking event.
Production: 9 / 10
Insomniac’s reputation for top-notch production remained intact at Apocalypse: Zombieland. The festival’s four stages — Zombieland, Apocalypse, Containment Zone, and The Lab — captivated attendees with stunning visuals, lasers, ambient lighting, impeccable sound, and pyrotechnic displays, all with unique touches making them feel one of a kind.
Zombieland, the main stage, witnessed awe-inspiring closings by Zeds Dead on Day 1 and Excision on Day 2. Featuring a signature colossal zombie ripping the stage apart from behind the DJ booth, accompanied by lasers and pyrotechnics, this stage created wow-factor and hype. VIP attendees enjoyed a unique vantage point from aboard Queen Mary. Even while hosting heavyweights like Liquid Stranger, Wooli, and Sullivan King, Zombieland maintained a perfect balance of crowd size, giving festivalgoers space for uninterrupted headbanging without sacrificing view.
Apocalypse, located just a short walk from Zombieland, arguably a second main stage and adorned with more visuals, provided a breathtaking sunset backdrop of water and downtown Long Beach. Acts like Kai Wachi b2b Kompany, Rusko, and Peekaboo turned the stage into a magnet for bassheads to gather all night long. At this stage, every moment offered an opportunity to gaze around, vibe in the crowd, and engage in tomfoolery with a fellow headbanger.
Photo credit: Jake West for Insomniac Events
Containment Zone, a drum and bass haven, was the first stage that welcomed attendees after entering the festival and was designed to contain the infectious energy of faster BPMs and heavy basslines. Electric performances by Andy C, Bou, Netsky, and Sub Focus kept energy levels high from doors open to close. The visual and pyrotechnic spectacle and the pulsating music offered a warm sanctuary even as temperatures dropped after dark.
The Lab, nestled between Apocalypse and Zombieland, showcased emerging talent in the bass scene. Despite being the smallest stage, it drew in crowds with its captivating sound and design, featuring up-and-comers such as Emofrik, Chee, Shades, and Ivy Lab. Whether attendees deliberately visited this stage to witness some new acts or ended up there by chance while exploring areas between the more prominent stages, it was easy to get lost in the vibes and stay longer than planned.
Each stage left its own unique mark, contributing to an unforgettable experience. The absence of sound bleed between stages for a bass-only event was a delightful surprise, solidifying the production’s remarkable score of 9/10.
Music: 9.5 / 10
Apocalypse: Zombieland’s lineup was nothing short of stacked. Across both days, from 2 pm to midnight, the festival featured a slew of must-see acts from the biggest names in bass music, making it hard to take a break or even grab a bite without missing a phenomenal artist. The addition of after-parties with Kompany, Reaper, and Jessica Audiffred aboard the Queen Mary kept the musical experience going until the early morning hours. This lineup and enticing after-parties deserve a stellar score of 9.5/10.
Photo credit: Jamal Eid for Insomniac Events
Venue: 9 / 10
With the uncertainty of a debut festival, Apocalypse: Zombieland showcased Insomniac’s commitment to excellence. The venue’s entry walkway, filled with roaming zombies, graffiti-painted shipping containers, a crashed gas tanker truck, and a firetruck, immersed attendees in a post-apocalyptic world. Everywhere one looked, the attention to detail reinforced the event’s thematic brilliance. From fake zombies on motorcycles to photo-worthy props, the festival’s ambiance was second to none. Insomniac’s dedication to the Apocalypse: Zombieland theme earned the venue a commendable 9/10.
Overall Grade: 9.5 / 10
In SoCal, a region longing for a dedicated bass-only festival, Insomniac delivered in grand style with Apocalypse: Zombieland. With phenomenal stages, elite music acts, and an immersive atmosphere, the event left little room for critique. The overall grade of 9.5/10 reflects the planning and execution that went into this groundbreaking experience. As the countdown to Year 2 begins, one can only anticipate another epic apocalyptic chapter in the saga. Will you be there in 2024? I know I will.
Teksupport bringing Eric Prydz’s HOLO show to Brooklyn is something New Yorkers were very thankful for last weekend. HOLO arrived in New York City for the first time since the show’s North American debut in 2019 and it was even better than before. Three sold-out crowds at the Brooklyn Navy Yard got to enjoy state-of-the-art visuals and fresh music compositions over Thanksgiving weekend on November 22, 24, and 25.
New York DJ/producer Charles D, a regular contributor to techno labels Pryda Presents and Drumcode, got each night started with over two hours of tunes. UK artist and Pryda Presents mainstay Cristoph followed up with another two hours of masterful mixing and song selecting. By the time Cristoph finished up, the immense warehouse space filled with fans, and the energy of the crowd peaked.
Photo Credit: Michael Poselski // @OffBrandProject
The new production for the 2023 incarnation of HOLO was immaculate – exceeding expectations. Not only were the new 3D images larger than life, but they also incorporated added live production outside of the LED lighting. For example, one scene featured a character with a circular saw. When the saw swung down to make contact, it triggered real sparklers firing up from the stage.
Photo Credit: Michael Poselski // @OffBrandProject
The opening scene featured a character with a remote control. When the button on the remote was pressed, it triggered a red laser beam to shoot from the sensor of the remote out through the crowd. The most impressive of all the scenes involved four characters strapped with air packs. When the air packs switched on and were aimed at the crowd, bursts of cool CO2 clouds fired out from the stage into the crowd.
Of course, the spectacle of the visual production accompanied top-notch musical mixing from the legend Eric Prydz. His trademark techno sound had the crowd moving all night long. New Yorkers are certainly grateful to be on a short list of cities that have been able to witness two separate appearances of Eric Prydz HOLO for sold-out three-day runs – back in 2019 and now again in 2023.
Photo Credit: Michael Poselski // @OffBrandProject
Teksupport is full steam ahead with a full slate of shows lined up for December! It will host DGTL Festival with coast-to-coast events in New York on December 1 and Los Angeles on December 2. Then there is an avalanche of events planned for New Year’s Week, which can be found on its DICE page. To keep up with everything else from Teksupport, use the handy links below.
Back in 2008, deadmau5 released the legendary EDM track “Ghosts ‘n’ Stuff,” and a year later, he added vocals from Pendulum’s Rob Swire. In the 14 years since its release, only two producers had been selected to provide an official remix — NERO remixed it in 2009 for the single package and Chuckie remixed it in 2014 for the 5 years of mau5 compilation.
Now in 2023, we can add another famed producer to this elite club, because LA-based multi-genre producer Jauz was selected to remix this classic single. The “Ghosts ‘n’ Stuff (Jauz remix)” dropped a few weeks back on November 3 and coincided with his performance at Red Rocks in support of the annual “Day of the deadmau5” shows.
Curious to learn more about the evolution of this latest remix, Moon Lvnding caught up with Jauz to pick his brain about the remix, the two shows at Red Rocks, and learn more about his Wise vs. Wicked run of concerts.
Sam Wolloch: Thanks for speaking with us. Let’s jump right into the track “Ghosts ‘n’ Stuff.” Billboard shared that it was based on a sample from Frederic Chopin’s Piano Sonata, Op. 35, No. 2 in B-Flat Minor, and the vocals were from a 1957 sci-fi movie. Did you know about that lore before you made the remix? Did this information influence any of your creative decision-making?
Jauz: I had zero clue about any of that stuff haha! Doesn’t surprise me at all though. I just knew I was remixing what is arguably one of the most classic dance records of all time, and I better not screw it up.
SW: So we’ve got to know… How did that conversation with deadmau5 go down about remixing this track? Did you talk to him about it or did he ask you? And what came first, the invite to play in support at Red Rocks, or to remix this classic track?
Jauz: This is actually a really funny story, and I kind of have to throw Joel [deadmau5] under the bus a bit here, but only because there’s a happy ending! So sorry in advance bud!
When the Mau5trap team reached out to us to remix the track, and then I finally sent in the version that got approved, I was pretty convinced that Joel still had never heard it. I actually had a running bet with my managers on whether or not he had heard it.
Lo and behold, I get to Red Rocks for Night 1, and Joel comes into my green room to talk about how he’s going to pop out as the “Ghost” at the end of my set to premiere the remix live. Before I even had the chance to ask him, he said, “Yeah, I haven’t really heard the remix yet. Just the snippets we’ve cut for social content.” And it kind of became a running joke throughout the weekend.
Fast forward to the end of Joel’s set on Night 2, and when he came off stage I said, “Hey man, I’m sure it wasn’t your idea to have me support these shows but I really appreciate you having me and letting me remix the record.” To which he said, “Not my idea?! Who the FUCK do you think runs my record label?!”
I responded with, “says the same dude who had never heard the fucking remix until yesterday!!” He came back with, “Well yeah, I trusted that whatever you would make would end up great.” I was completely caught off guard. It was without a doubt the nicest thing Joel has ever said to me, and I probably won’t forget that exchange for a while. He’s probably not going to be thrilled that I wrote about all of this and got all emotional about it, but whatever. This is my interview, not his! 🙂
SW: Wow, what a compliment! Thanks for sharing such a heartfelt and humorous anecdote. Tell us more about those two shows at Red Rocks. What was it like playing in support of a legend like deadmau5 at such a historic venue? How does your preparation differ when you are playing in direct support rather than playing as the headliner?
Jauz: I’ve done quite a few direct support slots at Red Rocks over the years, but normally on very bass-heavy lineups, which has kind of been my “sweet spot” for a while. It was a really fun and different experience getting to do my “Wise” set, which is all techy, melodic house music, especially for a crowd like Joel’s that I’ve never played in front of before. I felt like I could kind of play more experimental music instead of leaning on “crowd pleasers,” although I definitely played some of those as well. All in all, it was a ton of fun.
SW: What was the crowd reaction like when you played out the “Ghosts ‘n’ Stuff” remix at Red Rocks? Did you work with deadmau5’s team to create unique visuals/production for the track?
Jauz: I actually didn’t know until the day of the show that I was going to be the one to play the remix at the end of my set. The kind of “unspoken rule” of DJing is that you NEVER play the next artist’s song, even if it is your remix of their song. So I just assumed that maybe I’d pop out during Joel’s set, wave my hands a bit, and that would be that. But to have him come out in the Ghost outfit and have the little back-and-forth we did was really fun. And to top it off he didn’t call me DJ Steve which is a huge win in my book!
Jauz bringing out deadmau5 to play his ghosts n stuff remix last night at red rocks pic.twitter.com/MeHVqPghAg
SW: That’s pretty cool he let you close with it and came out as the “Ghost.” Tell us more about playing your Wise set rather than your Wicked set.
Jauz: It wasn’t necessarily my choice, but more what I was booked for. That said, I think it made a ton more sense than playing a ton of super heavy bangers right before a deadmau5 set. Even as a direct support act, I think your job is still to support the headliner, get the crowd ready for them, and not drain all of their energy before [the headliner] comes on. If they had booked me to do one of each I would have done it gladly, but I think if they had given me the choice, I would have said that two Wise sets made the most sense anyway. It’s Joel’s show, after all, not mine.
SW: Of course, this totally makes sense. The techy house stuff from Wise is a nice complement to deadmau5’s extensive library. Let’s shift our focus back to your Wise vs. Wicked Tour. What is it like playing two different shows in one weekend?What are some of the challenges you face when preparing for different sets and locations for each show?
Jauz: To me it’s ideal, honestly. Only have to fly to one city, get to give fans the FULL experience I’ve always wanted to, etc. The Wise shows are pretty straightforward to plan — mostly because I don’t really plan them at all. That’s the awesome thing to me about playing full house sets, is it really allows me to DJ and do things on the fly that aren’t nearly as simple when I’m trying to play five different genres and all these specific songs of mine in one set.
The Wicked shows have proved to be a bit more challenging than I anticipated — mostly because I have a hard time deciding what quantifies as Wicked or not. Should I play records with pretty vocals? Should I not play any of my bass house songs, even if they’re really dark and aggressive? I think I kind of have found the sweet spot now, and also allowed myself a little more flexibility on those sets. Either way, it’s been such a fun experience and hopefully is just the beginning of something much larger.
SW: Two Jauz shows in one weekend sounds like a great time. Personally, as a Brooklyn local, I’m curious if you have any updates on rescheduling those shows from October when you were sick. Hopefully, we will still have a chance to catch you on your Wise vs. Wicked tour!
Jauz: Absolutely we’re coming back to NYC. We’re currently in talks for the 2nd round of Wise vs Wicked, and the #1 priority is getting back to SF and NYC. New York is always one of my favorite shows of the year every time I’m there, and I can’t tell you how gut-wrenching it was to not make it to one of my favorite venues on the planet.
SW: Is there anything else you want to tease for your fans before we get out of here? New Year’s Eve plans or another release on the horizon? What about some news from your Bite This label?
Jauz: I’ll actually be back in NYC for New Years at Marquee, which is so exciting, but we also are looking into coming back for Wise vs Wicked early in the new year as well. Lots more exciting shows to come soon, and Bite This is going to have a BIG 2024, without revealing too much 🙂
SW: Thanks for the scoop. We will definitely have an eye out for Bite This in the new year! Thanks again for taking the time to speak with us, and hopefully Joel doesn’t get too chaffed about your story from Red Rocks.
For those out in Los Angeles, Jauz will be wrapping up his 2023 Wise vs. Wicked shows with a Wicked show at Exchange LA this Friday, November 17, and tickets are still available. To keep up with everything else Jauz has going on, use the handy social links below!
Dance music producer LP Giobbi teamed up with Redfield and DJ Rae for the rapturous new single “Waiting,” which was released on Diplo’s Higher Ground label on Friday, November 10. This is another step forward in what has been a massive year for LP Giobbi, releasing her debut album Light Places, launching her label imprint Yes Yes Yes, playing an international headline tour, and continuing to support LGBTQIA+ and BIPOC creators through her non-profit, FEMME HOUSE.
LP Giobbi shared, “This track came to life in London when Redfield brought an idea into the session, and we started building a track around DJ Rae’s vocals. After some back and forth, ‘Waiting’ was born.” DJ Rae added, “There’s some real soul in this vocal. The inspiration comes from a special place, which gives the record a unique energy. All the elements have married together to make this a killer collaboration.”
Photo L to R: Redfield, LP Giobbi, DJ Rae
LP Giobbi still has another month left on her Light Places Tour, with Yes Yes Yes afterparties in select locations. Cities up next this week include Denver, Washington DC, and New York City. The complete list of LP Giobbi’s schedule for the remainder of 2023 is at the end of the article after LP Giobbi’s media links.
LP Giobbi Upcoming Tour Dates November 16 – Gothic Theatre, Denver, CO * November 16 – Larimer Lounge, Denver, CO ^ November 17 – Soundcheck, Washington, DC * November 18 – Knockdown Center, New York City, NY * November 19 – FEMME HOUSE @ Superior Ingredients Roof, Brooklyn, NY November 24 – The Independent, San Francisco, CA * November 24 – Monarch, San Francisco, CA ^ November 25 – The Roxy (Two Shows), Los Angeles, CA *^ November 28 – Brighton Music Hall, Boston, MA * November 30 – Velvet Underground, Toronto, Canada * November 30 – CODA, Toronto, Canada ^ December 1 – Bar Le Ritz, Montreal, Canada * December 2 – Concord Music Hall, Chicago, IL * December 3 – Funky Brunch, Chicago, IL ^ December 8 – Art With Me Festival, Miami, FL December 30 – Vision NYE @ The North Warehouse, Portland, OR December 31 – EYE Heart NYE @ Fort Mason Center, San Francisco, CA * = Light Places Headline Tour ^ = Yes Yes Yes Afterparty
Mikey Lion, the Desert Hearts co-founder and house music maestro, released a much-anticipated remix of Destructo’s “You Only Die Once” featuring Snoop Dogg. The track comes from Destructo’s label, All My Friends Records, and stands as a testament to Lion’s unique ability to transform beats into an electrifying experience. YODO!
“This exciting remix kicks off with a catchy bassline and an irresistible dance beat,” Lion explained. “It radiates a nostalgic atmosphere that brings out a sense of joy and adventure, further amplified by the vocals of the iconic hip-hop artist, Snoop Dogg. Together, these elements form an unforgettable house remix and a dance floor anthem.” Just one listen and you’ll agree that this house remix is ready to get the dance floor moving!
Mikey Lion fans will have two chances to catch him in action in November. He’ll be playing the E Komo Mai Festival in Honolulu, Hawaii starting November 10, and then November 22 at The GreenRoom in Fort Lauderdale, FL. To keep up with all the latest news from Mikey Lion, connect through his social links below.
Proppa‘s journey through the EDM scene has seen his sound evolve, but his unwavering passion has remained a constant force in his evolution. He has made a name for himself in the underground house scene with his extensive catalog of banging “Proppa Treatments” remixes on his SoundCloud. With two releases already making waves under his current label EXCEED, a division of Vicious Records, Proppa celebrated a milestone as one of his coveted remixes broke through to major streaming platforms. Last Friday, November 3, he unleashed “Always On Time.”
In this tune, he reimagines the classic Ja Rule and Ashanti hit with a tech-house twist that’s pure Proppa featuring irresistibly groovy, mood-setting guitar riffs and an iconic vocal above a relentless bassline. With the spotlight on, let’s delve deeper into Proppa’s world in our exclusive interview.
Photo Credit: JoeCreates
Brodie Kime: Tell us a little bit about yourself.
Proppa: I’m Proppa! I’m a 28-year-old DJ and producer from Chicago.
BK: How long have you been making music? Do you play any instruments? What is your hardware/software setup like? How do you feel technology has evolved your music?
P: I’ve been making music for nearly 12 years. I play pretty much anything you put in my hands if I have a few minutes to figure it out. But I mainly play guitar and drums. I have a studio at home that I take a lot of pride in. It’s acoustically treated and the perfect creative rocket ship to work in every day. I use Logic Pro!
BK: How has starting your own Patreon and being involved with Dropgun evolved your knowledge of producing? Do you have any other thoughts on how Patreon has helped your career since starting it?
P: Both of my endeavors with Patreon and Dropgun have been way more beneficial than I initially imagined. Working in both capacities has forced me to double down on the basic knowledge that we often ignore. Doing Patreon work has forced me to become an expert sound designer, and I have a constant flow of new sounds for myself as a bonus. Working with Dropgun has opened many doors for me in the broader URL production community. It has also taught me how to be consistent with social media content creation.
Photo Credit: JoeCreates
BK: What inspires your sound, particularly in this new release?
P: “Always On Time” was just a small pawn in the broader field of my remixes. I remix songs that bring back fond memories of my childhood and teenage years. I always try to preserve the most important elements of the original and make them dancier without sounding cheesy or phoned in. I really just thought this guitar groove was asking for a groovy beat and bassline underneath.
BK: This song was originally just a Proppa Treatment. What was the process like finally getting a Proppa Treatment to the main streaming platforms?
P: It’s been tough to be honest. This was maybe the 4th attempt at getting a Proppa Treatment onto all platforms. During my first attempt, I was met with a cease and desist [order] for the song before I could finish the covered vocals and instruments. My next two attempts brought on creative challenges on their own. It’s been hard to adjust to hearing some of these remixes as covers without the original vocals and sounds. Receiving the covered vocals for “Always On Time” brought me a huge sigh of relief when I knew they could be worked with to match the original.
BK: You’ve had other Proppa Treatments go viral and do really well, can you speak on how that has helped your career? Any additional thoughts on the Missy edit?
P: In the grand scheme of things, the Proppa Treatments have done well overall. However, I don’t think I could attribute my success to the individual virality of each remix as much as it is the body of work as a whole. I was consistent for almost a whole year with releasing two and sometimes three remixes per month. I built a really good rapport with DJs in the house scene who knew that when they were downloading my remix, they were getting a crowd-pleaser. When you build out a library of songs like that, more DJs are willing to trust and support your future releases.
If I did have to reference any remix as the breadwinner, it definitely was the Missy Elliott remix. The cease and desist [order] slowed down my growth significantly. An artist with a smaller library of releases would probably be crushed, but I think I padded that fall with enough quality remixes around it to keep going. It’s a thing of the past at this point, and I’ve realized the sooner I let go of it and move on, the quicker my brand will grow.
Photo Credit: Proppa
BK: How much do you plan to keep releasing remixes and bootlegs?
P: I’m currently unsure on the state of that. Things are complicated because of my various commitments, and I’ve also been exploring new sounds and styles. I think I’m in a development period of Proppa2.0.
BK: Do you have any more projects in the works? Or, any releases with anyone else in the works you’d like to share or tease?
P: I have so many projects in the works that I forget how excited I am about them. I have so much finished music at the moment. I’m exploring some faster speeds of house and different sound design. Of what I can talk about, I have a hot remix collab cooked up with DJ Susan, a dirty original tech house track with Diskull, and an epic classic dance remix wrapping up with my Ancient.exe. I have a lot more collabs in the works that I’m keeping hush on. Also, if you scroll to my most popular remix on my SoundCloud, you might notice that downloads are turned off. Hmm, I wonder why?
BK: What’s a message that you always try to portray to your fans?
P: Being authentic is the most powerful trait you could have. Being authentic can take you further in life than any shortcuts you’re presented with. In the electronic music world, that means being honest about who’s working on your music, being honest and grateful for the reasons behind your success, and consistently growing to be a better artist, brand, and role model in the scene. In the everything world, this same authenticity will take you to the top, and keep you protected while you’re up there.
Q: Lastly, at Moon Lvnding we always try to practice gratitude. What is something that you’re grateful for right now? It can be in your personal life or career.
A: There’s too many things and I’ve been thinking about this a lot recently. I have such an amazing studio at home, one that I have only ever dreamed of till this year. I have an amazing apartment to be creative in and I can’t believe it. I currently keep four active production students and I can’t thank them enough for being them. They all inspire me to keep learning, and their recent success makes me feel like I’m making a difference. I’m also very thankful for my sister. She inspires the hell out of me. She works so hard, and when she finds something she wants to do and be successful in she just… does it. Just like that. She lives down the street from me and I don’t know where I’d be without her. I’m thankful for my family and all of my music friends, I’m just a lucky guy.
Photo Credit: JoeCreates
Thanks again to Proppa for joining us on Moon Lvnding. His fans will have a chance to catch him in action in Chicago this month, November 18. He will be part of ONE BIG PARTY: dB Stereo’s 1 Year Celebration at 2247 North Lincoln. To keep up with all the latest news and releases from Proppa, connect through his social links below.
