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.
There are music festivals, there are arts festivals, there are even Halloween festivals, but there is nothing like the one and only Suwannee Hulaween. This beloved North Florida festival was born in 2013 and has grown exponentially as one of the last independent, large-scale music festivals in the country. Known for its eclectic mix of jam bands and electronic DJs, the musical acts absolutely lived up to the hype featuring incredible performances from the likes of Pretty Lights, The String Cheese Incident, John Summit, Trey Anastasio Band, ISOxo, and many more. Recounting the filthy basslines rumbling from the magnificent tree-covered Amphitheater stage and the guitar riffs reverberating from the immense Meadow stage would give you a glimpse into the Hulaween experience, but to adequately portray the event’s transformative nature we must dive into the heart of the event, Spirit Lake.
In celebration of its 10th anniversary, Hulaween went all-in on its Spirit Lake art experience, recruiting new Creative Director Justin Bolognino to take it to the next level. Justin “JB” Bolognino is the founder and CEO of live experiential design company META, which has created groundbreaking multi-sensory experiences with world-renowned musicians including Skrillex, Phish, Questlove, Porter Robinson, and Tiësto as well as global brands like Spotify, Twitter, HP, and Google. The “Synchronicity Architect” was gracious enough to take us on a stroll through Spirit Lake, giving us the inside scoop on the project and “The Art of Being There.”
An altruistic champion of creators, JB has always placed artists at the head of his projects. His strategy is driven not by economics, but rather by cultural impact, a principle that is deeply intertwined with his company. “Originally META was a talent rep for specifically immersive experiential artists because they are so under-credited, under-paid, and under-protected… Imagine if a production owned the music that was being made. The standard work-for-hire agreement for most productions takes artists’ IP (Intellectual Property).” Still today, he strives to create a platform for artists to flourish, “That’s my art. That’s what I’ve been doing for almost 20 years now. With Spirit Lake too, it was a huge opportunity to do that in literally just naming the artists that are here, crediting them, celebrating them, and making sure that they have the resources to do what they do, to the best of our ability.” While Spirit Lake historically kept its art programming a secret, this year it held its first open RFP (Request For Proposal) and credited artists across the festival app, website, onsite signage, and more. Justin also emphasized that a huge success at Hulaween this year was mandated wellness to avoid contributors getting burnt out by opening day.
Bolognino was recruited to the team by Hulaween co-founder Michael Harrison Berg, who saw this as a great opportunity to work together after wanting to for many years. “This is a family if I’ve learned anything and it’s very difficult to come into a family nine years on, especially in a leadership position, and I’ve been hired to evolve it, so there’s a very delicate dance,” Justin said when describing his approach to incorporating new works with the classics. Some of the returning hits were unchanged, while others were creatively modified. You could hear the excitement in his voice as JB showed us a top-secret example of this method. Alien Autopsy, which was neither announced nor placed on the map, took last year’s Alien Crash Landing and expanded on the story with a lifesize extraterrestrial Operation-style game, complete with wishbone, lights, and buzzing. “My ROI (Return On Investment) is the look on people’s faces and that thing is a joy machine!” he laughed.
Justin’s quest to evolve Spirit Lake began in March, with the goal of injecting more thematics and intentionality while still allowing for individual interpretation. “You can’t tell a story that’s just a straight line, hero’s journey. You have to create a story that dances, that is asynchronous and that also allows for the audience to project their own story onto it… So much of the beauty of this is finding your own meaning amongst the skeleton of a story that we’ve created,” he points out. It all boils down to the Swamp Spirits logo, which is based on the duality of life and death, and acts as a visual reference representing the lake itself. The map is conveniently set up in a clock system, an allusion that also makes it easy to communicate your location. The journey through Spirit Lake is a circular narrative that begins with a walk through the shadows of Death and moves you through multiple story cycles before you come around to the giving of Life on the other side.
Your odyssey begins in the Valley of Death, where the Witch, Ogres, Gnome Village, Alien Autopsy, and sixteen headstones all hide secrets for you to unravel. Following the instructions of a headstone, you realize that the Ferryman points the way through the Light House and straight at the House of Lost, indicating that the only way to become found is to get Lost. In your mission to get Lost you must take a gamble at Frick Frack Blackjack, just don’t bet your Soul with Fleeble Flobble attempts at the so-called American Dream. Instead, take a detour through Irregularly Scheduled Programming of the Soul and have a nice rest at the Birdhouse village to let your Soul take flight! You are now a Lost Cause, ever finding within the House of Lost. Catch a sermon while worshiping the altar of roots and get your vibratory state in order in the Sound Cave. At this point, you glow through the Prism Portal to go beyond what the eye can see, Beyond Light, in the UV-based zone. Hitch a ride on an Alebrijes spirit animal to take you through the fires of Incendia in order to be fully cleansed.
On the other side, you are transmutated through the Cosmic Portal and reborn in the light of the Oasis where you may find your breath, your body, and maybe even Self. Here you enter the Giving of Life and proceed on your journey of growth at the Deliberate Creation Station. The opposite of Death, Life is manifest through Deliberate Creation in its pure form, Art. This effortlessly guides you through the Mural Maze that is life. Finally, you return to the Ground of Being, under the protection of the Spider. The Shadow Work process of gaining self-awareness is found here and never really ends. It is all connected through networks of the Bioshrooms within the Elementary Sanctuary of Duality, where all begins and ends.
Set out to create a container for artists to thrive, Bolognino also harnessed his own creative passions in his contributions to the Lake Screen Lightshow that set the tone for the entire space. He crafted a mesmerizing 2-hour audio-visual mix that includes 18 minutes of his own custom music, tailor-made for the environment. The entire production was an ethereal masterpiece.
In speaking about the future of festivals and society in general, JB shared his views, “We expect things to be easy and fast, and the more that happens the more we need to slow down and zoom out.” With the growth and accessibility of technology, the rate of consumption keeps climbing, but he believes there is an end to the cycle where it becomes exhausted. He expressed, “My purpose in doing this is to provide a container where people can evolve, where you can have really deep experiences with nature, art, science, and most importantly other people.” He attests that festivals are seeing immense success right now because people need these experiences in this era. Beyond Hulaween, Justin has two top-secret projects in the works. One he could not disclose at all, however, he shared that the other is taking place in New York this December and uses science to support these theories about the transformative power of immersive experiences to reset the mind and body.
As we closed the interview, JB suggested we try the Chatterpillars, “What is the meaning of life?” I asked through the beautifully vibrant sculpture. His voice echoed from the other side, “To create more meaning.”
Escape Halloween has been Insomniac’s Halloween festival since 2011 and is the United States’ most anticipated spooky festival. This year Insomniac once again showed why Escape rules Halloween! With a stacked lineup featuring names like Above & Beyond, Zomboy, Malaa, and Zedd, there was something for everyone’s music taste. With two days of music, the debut of five main stages, and Crazy Town, it was another wildly successful festival for ravers. Based on my personal experience, I’ve shared my scores for the production, music, and venue, plus an overall grade for the event.
The Production: 9 / 10
With every Insomniac event, the production is going to be next level. Each stage — The Grimm, Feeding Grounds, Sanitarium, Sewer District, and the brand new Wicked Woods stage — all had great visuals, lasers, ambiance, sound, and pyrotechnics.
The main stage, The Grimm, was closed out by some massive names: Kaskade on Day 1 and Armin Van Buuren on Day 2. The production at this stage was amazing as always. Featuring its signature Grim Reaper behind the DJ booth, accompanied by even more lasers than last year, amazing dancers and pyrotechnics, this stage got people hyped. Once the night got underway and the Grim Reaper started moving its arms around the artists, the crowd cheered every time. The hanging visuals that seemed like portals into another dimension had festivalgoers mesmerized. While hosting some of the biggest names of the weekend, like Slander, Zedd, and DJ Snake, the stage never got too crowded. There was room to walk around and dance without sacrificing your view or personal space. Simply put, the main stage was amazing!
Feeding Grounds was home to the bass lovers of the festival and was hosted by Bassrush on Day 1. With performances by Svdden Death, Zomboy, ATliens, Rezz, and Three Six Mafia, this stage had people headbanging, dancing, and singing all night long. It featured production that felt like we were in a hellscape surrounded by a giant spider web with two giant hanging spiders above us — and of course more lasers and pyrotechnics. If you like bass in your face, this was the place to be!
Photo Credit: Jamal Eid for Insomniac Events
Sanitarium had a different vibe each day. Day 1 was hosted by Basscon for hardstyle fans, and Day 2 was hosted by Night Trip for the house heads. The first day featured sets from Darren Styles and Lady Faith. the second day featured artists MK and Matroda B2B San Pacho. The crowd was dancing and shuffling like crazy both nights. Spookier than the other stages, this stage was darker and had lights and lasers to enhance the vibes.
Sewer District was hosted both nights by Factory93 and the techno was bumping. Blessing the stage were artists Jamie Jones B2B Loco Dice, Hot Since 82, Lily Palmer, and Green Velvet. This stage was unique and had my favorite layout of all the stages. It was open air while the others were under a tent and was surrounded by shipping containers with LED panels on them with fire blasting from the top. It was packed from open to close with techno fans vibing all night.
The newest stage at Escape was Wicked Woods. Day 1 was hosted by Lost in Dreams and had acts like ARMNHMR playing a house set and Kaivon playing a nostalgic 2010s throwback set. Day 2 was hosted Bassrush with acts like Macky Gee and Culture Shock. Hosted inside a warehouse, the bass at this stage was bumping, one could feel it in their bones. The only downside to this stage is that it got hot from the packed crown, but it still sounded great.
Each stage stood out in its own way with amazing Halloween vibes. There was no sound bleed between stages and everything was incredible. The production earned a 9 out of 10 this year.
Music: 9.5 / 10
This year’s Escape lineup was absolutely stacked. There was something for the bass heads, house heads, techno fans, and hardstyle kids. Both days had a slew of must-see acts, and from 4 pm to 2 am it was hard to find time to sit down and eat without missing an amazing artist. There were even after parties this year that featured Slander: Before Dawn and Malaa. It is hard to earn a perfect score, but Escape’s amazing music this year combined with the after parties deserves a 9.5 out of 10 score for the loads of talent across multiple different genres.
Photo Credit: Kristal Diaz for Insomniac Events
Venue: 9 / 10
NOS Event Center is the go-to venue for many California-based Insomniac events, and many ravers are quite familiar with it already. But what Insomniac does with the space is truly magical and masterful. As always, they went all out for Halloween, starting with Crazy Town and Psycho Circus, a little pocket of the festival that has fortune tellers, a lion tamer, acrobats, magicians, and singers — it really evoked the Psycho Circus theme. Not to leave out the Silent Disco which featured some notable up-and-coming artists.
On the walk into the festival, there was a cathedral with dancers and shows where one could sit and watch. There were also two secret stages that felt like walking into a haunted maze. The first was called the Poison Ivy Club. People handed out 3D glasses as you entered this club and there was a giant poison ivy plant in the middle with 3D paint everywhere. Music was bumping and drinks were flowing.
The second was called The Butcher, which had a much darker vibe. When you walked in there were dead bodies in bags hanging from the ceiling and body parts hanging all around with a butcher cutting more bodies. Listening to techno in a black-and-red-themed room was surely a Halloween vibe.
Insomniac went all out with its Psycho Circus theme this year. It was so impressive, I can’t even touch on all of it — an easy 9 out of 10!
Overall Grade: 9.5 / 10
Halloween and Escape go hand in hand for SoCal ravers and Insomniac fans around the world, and this year was no different. From incredible stages, top-of-the-line music acts, and a spooky ambiance throughout the venue, there was something to see, do, and listen to anywhere one went. The overall grade for this year’s Escape is a huge 9.5 out of 10 because it is hard to find a detail out of place. I’m already counting down the days until next year’s event! Hopefully, you’ll be there in 2024 too.
We have all seen sets listed as “live” on festival lineups or tour announcements. They typically include the DJ/producer or other musicians playing live instruments like drums, guitar, and keyboard or a vocalist singing. These live sets generally aren’t seen in the hard dance genre because this style of music relies on heavily distorted drums and typically does not include vocals or many melodic elements. So when Dutch hard dance producer Kruelty announced he would be doing a live show, I was definitely intrigued to see what live elements he would include. After all, he is known as “The most sinister and shocking act in the hard dance scene.”
“This Is Kruelty Live” premiered on YouTube on Halloween, but was actually filmed at Trinity: The Extreme Society in the Netherlands on September 9, 2023. It is thirty minutes of hard-hitting rawstyle that Kruelty is known for, but with added performers and theatrical elements. He takes the stage in his signature black mask, but he is also wrapped up in chains and being held by two cloaked figures. As his intro ends, he breaks free from the chains and dives in with distorted kicks. In between tracks, there are short intermissions where the performers on stage act out a scene while specially created visuals are displayed on the LED screen. All of these additions help to heighten the emotion behind each track. It is a full-blown audio-visual experience, and you can watch the whole performance for yourself to see what I mean.
After watching this, I am excited to see more hard dance artists incorporate live elements into their sets. American hard dance producers Death Code and KAMI announced a live set at Bullseye coming up next month. Will they do something similar or something else completely to set themselves apart? We can’t wait to find out!
