American hard dance producer Death Code, formerly known as Skellism, is ready to show everyone what this project is about with his latest release. Death Code has been busy over the last year since announcing his shift to the hard dance genre. He’s released four other tracks, opened for hardstyle legend The Prophet, did a B2B with Dead X, and performed at Basscon’s Wasteland. He also signed with Theracords Labs, a Dutch hard dance label founded by DJ Thera.
Death Code’s debut EP, Beyond Cipher, spans four tracks with a run time of around 15 minutes, but in that time, he showcases a range of hard dance styles. According to Death Code, “Beyond Cipher is a high-octane experience that pushes boundaries, ignites emotions, and defies genres, leaving you exhilarated and craving for the adrenaline-infused journey once more.”
“Love Stolen,” the opening track of the EP, is a collaboration with Mexican hard dance producer Equalizer and it sets the tone for the EP. The emo-style vocals over shimmering synths quickly give way to a booming kick drum and higher-pitched glitching synths. The kick is definitely the star of this track, changing in intensity and style a few times throughout. The last drop is a more traditional hardstyle drop complete with screaming synths and a more bouncy kick drum and bass combination.
The second track of the EP, “Runaway,” was released as a single back in August. It is a journey through multiple styles of hard dance. The beginning of the track has more of a Happy Hardcore feel to it until the rawstyle kicks come in about halfway through the first drop. There is even a trap-style hi-hat breakdown before the second drop. The second drop kicks things up a notch with zaag kicks and other hardcore elements. The final drop brings everything full circle with traditional hardstyle kicks, bassline, and synths.
“Echoes,” the third track on the EP, starts out with an ominous melody over a simple kick drum before Devin Barrus’ vocals steal your attention. The synths build in the background before coming in full force with what seems will be a classic hardstyle track. Death Code quickly changes direction with distorted kicks and reverse bass. The middle part of the track really highlights Devin’s vocals, removing everything except the guitar riff and piano. The last drop goes back to the traditional hardstyle drop Death Code teased earlier to close out the song.
The last track, “Fading,” was also released as a single earlier this year. It is more upbeat than the other three tracks, opening with a guitar riff and featuring screamo vocals from G The Shep. Death Code has combined hard dance with rock elements on previous songs and “Fading” takes this to the next level with zaag kicks throughout the drops.
Beyond Cipher is just the beginning for Death Code, and we’re excited to watch him progress as he continues to master all areas of hard dance and beyond. Follow Moon Lnvding’s New Music Heat Friday playlist on Spotify to listen to the other hard dance tracks that dropped this week, and to stream Beyond Cipher or check out everything else Death Code has going on, just use the links below.
Nocturnal Wonderland returned to Glen Helen Amphitheater in 2023 for its 28th anniversary, making it the longest-running festival in North America and a staple for the California scene. This year had a stacked lineup featuring names like Seven Lions, Subtronics, Claude Vonstroke, Ghostryder (Ghastly b2b Joyryde), and Dombresky — there was truly something for everyone’s music taste. With two days of music, three days of camping with pre and afterparties, three main stages, and two hidden stages with amazing vibes, it was another wildly successful festival. Based on my personal experience, I scored the production, music, and venue, plus I gave an overall grade with a brief reasoning for the scores.
The Production: 8.5 out of 10
With every Insomniac event, the production level is going to be next level. The staple stages — Wolves’ Den, Labyrinth, and Sunken Garden — all had great visuals, fireworks, lasers and pyrotechnics. Cave of Rave was moved to a new bigger space and a new 5th stage, Camp OG Stage was added next to Labyrinth this year.
The biggest issue last year was the sound bleed between stages, which was much improved this year, even with the addition of the 5th stage. Insomniac did not sacrifice sound quality, as you were able to hear the music from all angles of the stage. The only true sound bleeding issue was between Wolves’ Den and Sunken Garden, which seemed almost inevitable with them being right next to each other. However, it was not nearly as bad as last year, so kudos to Insomniac for remedying that.
The main stage, Wolves’ Den, was closed out by Seven Lions and Gryffin on Day 1, and Alison Wonderland and Subtronics, on Day 2. The production at this stage was next level. The visuals were crisp and spectacular, the lasers were beaming, and pyrotechnics and fireworks lit up the stage. Despite hosting some of the biggest names of the weekend and having no VIP area, the stage did not feel too crowded. There was space throughout the crowd to dance, sing, and headbang. With the moving of the Cave of Rave to the opposite corner of the venue, there was minimal sound bleeding, and the sound bleed from Sunken Garden was down as well. The main stage Wolves’ Den did not disappoint!
Labyrinth was home to the bassheads for the festival once again with acts like Black Tiger Sex Machine, Wooli, Phaseone, and Eptic. This stage sat on top of a hill and had a plethora of lasers, fireworks, and pyrotechnics to keep people headbanging from 3 pm to midnight. Insomniac also amped up the bass and the lasers this year, giving festivalgoers maximum hype to keep moshing and headbanging throughout every set.
The Sunken Garden was where attendees went to get groovy and catch a house vibe. Featuring most of the house sets for the weekend from Claude Vonstroke and Biscits to Dombresky and Black V Neck, the crowd there was dancing and shuffling like crazy. The design of this stage, like last year, was probably my favorite setup and the most unique. Last year there was the issue of sound bleeding, especially on the left side near Wolves’ Den, but this year, however, the sound bleeding was minimal in the stage area. Kudos again to the Insomniac team for fixing the issue from last year.
Tucked away in the back of the venue was the Cave of Rave. This awesome hidden gem of the festival was bumping music all day long for those lucky enough to find it. This year it was moved to the back left of the festival instead of directly next to Wolves’ Den. This helped not only the sound quality at both stages but it allowed the Cave of Rave to have a bigger space. It gave European vibes with hanging greenery everywhere and music to keep people dancing and vibing.
The 5th and newest stage was the Camp OG Stage. This stage was up the hill next to food vendors in the back of the festival near Labyrinth. This newest stage was surrounded by awesome sculptures and was perfect for those wanting to grab a bite to eat while listening to music. It was a throwback to the rave culture of the 90s and featured an underground lineup.
Credit: Insomniac Events // Ivan Meneses
Music: 8.5 out of 10
This year’s Nocturnal Wonderland, like every year, was stacked with talent. There was something for the bass heads like myself, house heads, and everyone in between. Both days had a slew of must-see acts, and from 3 pm to midnight it was hard to find time to sit down and eat without missing a set. It is hard for me to give a perfect score, but Nocturnal earns an 8.5 for being loaded with talent from multiple genres.
Venue: 7 out of 10
I personally love Glen Helen Regional Park, it is one of my favorites in Southern California. It has beautiful scenery, the venue itself is easy to navigate, not too large, and it’s comfy to sit when needed. From what I saw and heard, the camping also looked lit and there wasn’t much negativity coming from the campers. Parking, however, was an ordeal just like last year. One has to walk about a mile to the venue which is something Insomniac cannot do anything about due to the setup of the venue.
Walking into the venue was easy, but walking out of the venue was difficult since it was congested due to everyone leaving at the same time. From the exit all the way to the parking lot, the crowds made the walk seem like an eternity. The worst part, however, was trying to leave — Day 1 it took me two hours to leave the parking lot. I even saw people napping in their cars waiting for the traffic to die down before trying to leave. This was the same issue as last year, which needs to be fixed. I’m not sure if Insomniac needs to add parking attendants to direct traffic, but something needs to change.
Due to the parking situation and the sound bleeding, the venue only gets a 7 rating.
Overall Grade: 8 out of 10
Vibes, music, and production were at an all-time high this year at Nocturnal Wonderland. As a raver’s favorite, and the longest-running festival in North America, it rarely disappoints, and this year was no different. With top talent at every stage, top-of-the-line stage design, and one of the best venues in SoCal, it is hard to go wrong. Nocturnal is an event that my fellow ravers and I look forward to every year. I am already looking forward to the 29th anniversary next year to see what Insomniac has in store for what is sure to be another epic weekend. See you there!
To celebrate the fifth anniversary of his chart-topping debut album The Wise & The Wicked, Jauz prepared a dual album project for 2023. The project’s first album, Rise of the Wise, dropped Friday, July 13, and the second album, Wrath of the Wicked, dropped Friday, September 22 on Jauz’s label, Bite This!.
The duality of the dual album concept highlights the evolution of Jauz as a producer. It is a testament to his ability to create successful tunes across a spectrum of EDM genres. While his July album focused more on house music, September’s album features seven heavier bass tracks characterized by dubstep and drum and bass.
“If my last album (Rise of the Wise) was the Yin, this one (Wrath of the Wicked) is the Yang,” Jauz shared. “The whole goal behind both of these albums was to dive into the polar extremes of the sounds I’ve always made and push each direction to the limit. With this album, it was all about creating the most ‘heavy’ version of Jauz I possibly could, which is perfectly represented by The Wicked.”
Two of the seven tracks have already been released over the past few weeks: “Mind Control” and “Dreaming.” The album opens with “Chaos,” a song that is true to its name and brings high-energy dubstep. Moon Lvnding’s pick for our weekly New Music Friday playlist was the drum and bass banger “Bad Boi Sound.” The album concludes with “Save U Now,” featuring emotional vocals and heartfelt basslines, putting a touching conclusion to the second part of the dual album project.
Accompanying the full release of Wrath of the Wicked, Jauz will begin his Wise/Wicked Tour in selected cities in Fall 2023. Notably, Jauz will be playing two different shows in most of the cities, featuring various venues for his separate Wise and Wicked shows. Discussing the upcoming tour, Jauz said, “I’m really excited for everyone to finally get to hear all these tracks I’ve been working on for so long and also finally get to play them out live, because a lot of them I’ve been keeping a secret for a while.”
The tour got started this past Saturday, September 23 in Boston with an early Wise boat party before playing Big Night Live for a late Wicked show. Other cities scheduled to get a double dip of Jauz playing Wise and Wicked shows this fall include New York City, San Francisco, Los Angeles, and Nashville. The dual album and dual tour concept is an exciting proposition, and we at Moon Lvnding are excited to see Jauz’s ongoing success as he embraces the duality of his music production. We plan on providing coverage of Jauz’s tour stop here in Brooklyn, so check back in a few weeks to learn more about the Wise Vs. Wicked 2023 Tour and use the handy links below to keep up with all the latest news from Jauz.
Imagine Music Festival lived up to the hype and exceeded expectations this past weekend, September 14 – 17, 2023. As a first-time Imaginer, it was thrilling to explore a festival that was new to me. After three days filled with music, dancing, and revelry, Imagine lived up to its reputation for being the best immersive electronic music festival in the Southeast.
The Kingston Downs property used for the event the past two years is expansive and provides a grand setting for the festival grounds as well as the surrounding campgrounds. Imagine featured four large stages inside the festival grounds and the production was incredible! While they weren’t the biggest stages I’ve seen, the designs were captivating with the most jaw-dropping laser and pyrotechnic displays I’ve ever seen.
The largest stage, Oceania, was home to many of the B2Bs we discussed in our preview article, and they were among the best sets of the weekend. From the multitude of Imaginers I spoke to, Subtronics B2B Ganja White Night was the most anticipated set of the weekend — and they both delivered. However, the Dillon Francis B2B Knock2 performance stood out for me. Knock2’s excitement to be playing alongside one of his idols and Dillon Francis’s goofy antics on the microphone made the vibes of the set extra special and brought the crowd back to life on Sunday.
Courtesy of Imagine Music Festival // DVPhotoVideo
I spent more time at Oceania than at any other stage and for good reason — there were just so many great artists scheduled to play there. From Squired and Leah Culver getting the party started to international superstars Dom Dolla and Zomboy bringing the heat as the sun went down, Oceana was the place to be on Saturday. Dab the Sky and Slander closed it out for a spectacular second day.
The bass stage, Amazonia, had the most spectacular stage design despite its more compact design. It had the most magical laser effects of the four stages, and the angled 4×4 LED panels above the artists provided a new viewing experience. The artists that shined the brightest at Amazonia include Big Gigantic, Mersiv, A Hundred Drums, and Tripp St.
Courtesy of Imagine Music Festival // DVPhotoVideo
The Disco Inferno, home to many of the house acts, had two levels of pyrotechnics and LED boards. Kasablanca and Cloonee were both in their element at this stage, bringing out big crowds for their distinctive sets. Finally, the Aeria stage was the most minimal of the four, but it fit the vibes perfectly for the dark techno and trance sets from Slander Presents: Before Dawn and the 25th-anniversary performance by Infected Mushroom.
Outside of the music, I enjoyed many memorable moments at the Imaginarium — the activity and workshop space on the main drag with stages and concessions outside of the main festival grounds. Megan and Sydney from Highland Yoga facilitated much-needed vinyasa flow practice on Saturday and Sunday to help me stay loose. I also learned a few lessons that will last a lifetime: the power of sigils taught by David and the art of maintaining conscious relationships taught by Sonali.
I’m thankful that Imagine made space to allow for these teachers and practitioners to share their knowledge with us at the Imaginarium because expanding my consciousness and growing as a person is a vital part of my valuable festival experience. One of my core memories of Imagine was sharing Saturday’s noon yoga practice with two other Imaginers as the rain began pouring down all around us. Even as the heavy rain brought trickles of water under the Imaginarium tent, we went happily along with our yoga flow on little foam mat islands provided to us by Celsius fitness drinks.
Courtesy of Imagine Music Festival Facebook
Two other notable details that the team at Imagine provided for its festivalgoers that made the event stand out from the pack — the pool party and the painters’ plateau. Before the main festival gates opened on Saturday and Sunday afternoon, there was a pool party inside the main festival grounds available for an additional fee and it was well worth it. Disco Dom headlined on Saturday and Kai Wachi headlined on Sunday.
While not officially named the painters’ plateau, there was an area at the top of the hill looking down at the Amazonia stage that was lined with artists painting different festival scenes. It was magical at night, with the artists’ lamps illuminating their artwork while they toiled at their craft. It’s these little details that bring a big festival to life and Imagine exceeded expectations.
Courtesy of Imagine Music Festival // DVPhotoVideo
Southern hospitality was in full effect all weekend. People were courteous and kind, and I immediately felt welcomed by all the Imaginers I interacted with. I came down to Georgia with only a backpack of clothing and returned to Brooklyn with a smarter mind, a stronger body, and a soul radiating with positivity. While I would never recommend my hometown NYC festival to anyone, after my experience at Imagine Music Festival, I would wholeheartedly recommend this festival to anyone looking for a good time down South. I’m already looking forward to IMF2024, so if you’re like me, then you’ll want to connect with Imagine’s social links below.
Labor Day weekend is one of the most anticipated times for music enthusiasts across the United States. In 2023, however, many music festivals encountered an array of challenges that left attendees disheartened. Inclement weather, transportation hiccups, supply chain struggles, production mishaps, and overall mismanagement plagued several events. Yet, amid such turmoil this Labor Day weekend, Chicago stood out as the place to be, hosting two legendary festivals: North Coast Music Festival and Arc Music Festival. These festivals have earned praise and recognition for being some of the country’s best electronic dance music experiences. In this review, we explore North Coast Music Festival, a three-day extravaganza that showcased the best of EDM and left a lasting impression on fans of all genres.
Drawing nearly 70,000 attendees to the sprawling grounds of SeatGeek Stadium in Chicagoland, North Coast Music Festival transformed the venue into a vibrant and interactive hub for EDM enthusiasts. As a third-time attendee, this is the best version of North Coast that I have seen to date. From the stellar lineup to the additional stages, countless vendors, and diverse food options, this festival had something for everyone.
Unforgettable Main Stage Performances
The festival’s main stage, The Stadium, hosted a diverse range of acts throughout the weekend. Friday’s kickoff featured sets from Valentino Khan, Zomboy, Jauz, Alesso, and ended with a sensational closing performance by Marshmello. The day’s most memorable moment was when the crowd joined Jauz in celebrating his 30th birthday on stage by singing “Happy Birthday” to him.
Saturday at The Stadium was every bass lover’s dream, featuring artists like Maddy O’Neal, Esseks, Inzo, Of The Trees, Black Tiger Sex Machine, Ganja White Night, and Zeds Dead, who delivered one of my personal favorite sets of the weekend. The final day at The Stadium showcased Rossy, EVAN GIIA, Dabin, Alison Wonderland, and a closing set from Flume. Most of the crowd gathered at The Vega stage earlier on Sunday, but Rossy’s set at The Stadium was easily one of my weekend favorites, and I’d be remiss had I not been there to see it!
North Coast’s second largest stage was The Vega, which has expanded and improved every year I’ve been there. The production level at this stage was nothing short of jaw-dropping. It brought a new and unique vibe for each day, with a WAKAAN takeover on Friday, tons of fun house sets on Saturday, and some energetic dubstep on Sunday. Over the weekend, many big names performed on this stage, such as Liquid Stranger, Champagne Drip, DJ Snake, MK, Chris Lorenzo, NGHTMRE, and Big Gigantic. A few of my favorite sets at this stage included Liquid Stranger on Friday, Sherm on Saturday, and NGHTMRE on Sunday.
A new addition to North Coast Music Festival in 2023 was The Shipyard, which replaced what was known as The Canopy stage during previous years. This stage featured a revamped design with stacked shipping containers, creating a visually stunning backdrop for performers. The Shipyard hosted captivating sets by Gordo, Duke Dumont, Lane 8, Elderbrook, Chris Lake, and Cloonee throughout the weekend. Saturday showcased Lane 8’s This Never Happened label, featuring a stacked lineup of melodic house tunes. Sunday belonged to Chris Lake’s Black Book Records imprint, with standout performances from Kyle Watson, Miane, Cloonee, and more. Chris Lake’s set at The Shipyard was a personal favorite, although Saturday, with its dream lineup of Lane 8, Elderbrook, Sultan + Shephard, Le Youth, and Jerro, stood out as an exceptional day.
Other Highlights
North Coast Music Festival also reintroduced popular experiential areas, including The Fire Pit and The Chill Dome. The Fire Pit delivered fantastic house and bass music sets paired with mesmerizing fire displays. The Chill Dome provided refuge from the summer heat, featuring artists like INZO, Champagne Drip, and Surf Mesa, who set the mood with chill vibes.
Other unique festival elements, such as The Giant (a tree man sculpture) and The Rainbow Lounge (offering festival-goers hammocks for relaxation), added to the festival’s charm. The NCMF Yacht Club, a festival boat with various amenities and incredible views, also returned. New additions like Club Coast, a hidden speakeasy that required a spoken password found only in the festival’s app, and a Ferris Wheel offering panoramic views further enriched the festival experience. With so much to explore, my only complaint was that three days hardly felt sufficient to savor everything North Coast had to offer.
Unwavering Legacy
North Coast Music Festival’s 13th edition cemented its status as the premier Labor Day electronic music festival in the United States. In stark contrast to the challenges faced by other festivals, North Coast delivered a seamless and memorable experience for its attendees. With its outstanding lineup, immersive stages, and unique experiential elements, North Coast Music Festival undoubtedly stood out as the place to be this past Labor Day weekend. As someone fortunate enough to attend and experience North Coast firsthand, I cannot make a stronger event recommendation to anyone making Labor Day plans in the years to come.
Wax Motif is back on tour in North America, and his 2023 House of Wax Tour is bigger and better than ever before. Sharing the same name as his tour and his DJ radio show, his debut album, House of Wax, has already amassed over 33 million streams since its release in 2022. Wax is off to a hot start in 2023, dropping new tunes on Repopulate Mars and Nervous Records, with a few more planned for Fall 2023.
The House of Wax Tour started in Texas in mid-August before working its way through the East Coast and Canada. Moon Lvnding was able to catch up with Wax Motif at his biggest-ever headline show in New York City at a 100-year-old historic landmark building, The Knockdown Center. We spoke about a wide range of topics such as his most anticipated tour stops including an appearance at Club Space Miami tonight, September 8; his upcoming song releases, including “In My Hands” with Camden Cox which dropped September 1; the journey to make it in the US as an international artist; and of course, Tribeca Bagels.
Sam Wolloch: “In My Hands” drops September 1, and we heard the Zhu collab tonight. Any other IDs with other artists that might drop this year?
Wax Motif: The only other one I know really, I think I’m going to drop is me and Zhu have a second collab that nobody’s really heard. It’s me, Zhu, and Camden Cox, an amazing vocalist. Shoutout to Camden! Zhu is going to drop the first collab on his album, and then I’m going to drop the second collab as my own single. There’s also a few other things, me and Tchami are working on something that I’m really happy about.
SW: So things went so well with “In My Hands” that you brought Camden Cox back for a second track?
WM: The thing is, she’s a beast. She’s written a ton of stuff. She was one of the writers for “Where You Are” with John Summit. With her, because I’m a producer, we can churn it out real quick. With us, it’s make the idea first, and work out what to do with it later.
Shaelyn McCormack: While we’re talking about tracks, what’s another track of yours that deserves a 20-minute version?
WM: Oh that’s hard, because it’s all about the 20-minute version of “Divided Souls.” For my own songs, I don’t know. I think “Divided Souls” could go for 40 minutes, so let’s add another 20 on to there.
SM: Who are some other artists on your wish list you’d like to collaborate with?
WM: There are so many. For me, the reason to collab with someone is because they are totally out of your lane. So Skrillex, Fred Again.. are pretty obvious. But there’s also some weirder ones, like DJ Seinfeld is really cool. Solomun would be cool, Camelphat, I really love Camelphat. I would love to do something with MK, I think that’s really close to happening.
Actually, I don’t like collabing with people I don’t know, so I always try to have a friendship first. So at the end of the day, I just want to collaborate with my friends. Collaboration should feel like genuine friendships, not like a business thing.
SM: What about remixes?
WM: It’s also why I don’t do remixes anymore. After “Fly Kicks” I got offered every remix on the planet, but it doesn’t feel genuine to me. I did “Fly Kicks” out of the love for doing it. Most remixes you’ll hear from me now, I’m not even getting paid to do it because I want to do it. You got to love what you are putting out, and if I don’t love it, I won’t put it out. It took me a long time to learn that, because I was putting out whatever because I need to pay my rent, I need to get by. But the minute I didn’t need to rely on that for my life, let me put in the art, the passion, and what I believe in.
SW: What was it like starting as an international artist and coming to the US and moving to Los Angeles?
WM: It is extremely difficult because anything you’ve accomplished overseas doesn’t matter when you come to America. It’s like you weren’t in the NBA… If you look at most of the artists out of Australia, like Dom Dolla, Fisher, Timmy Trumpet, we’re all older. None of us are 21-year-olds. We had to have a whole career in Australia to get to a point where we’re big enough for American agents to pick us up and get us an American visa. It’s a huge disadvantage. That’s why you see a ton of young Americans on the scene, and then most internationals are generally older because they’ve had to prove their worth in their own country to then get the opportunity to come here and rebuild it again. It’s been a long journey, but I don’t regret it. Once you’ve done all the hard work and proven your worth, it’s really hard to take that away from you after that.
SW: What about a festival bucket list? Are there some festivals you want to jump in on?
WM: I’ve achieved almost all the ones I want to do, the last one is Coachella. I did Tomorrowland this year, I’ve done Ultra, I’ve done EDC Las Vegas. Obviously, there’s the ones in Europe, like Creamfields and stuff I haven’t touched, but the one I really care about is Coachella, so hopefully we do Coachella next year.
SW: Any cities you are excited about playing for the first time on tour?
WM: I don’t think any of the cities are my first time, but all of them are my biggest venues. So I’m going into all these cities doing a show that’s bigger than anything I’ve done in any of these cities. Obviously New York tonight was amazing, LA which is my city, and another one is Denver – Mission Ballroom. I would love to play Red Rocks one day, so this is a precursor to that.
And also Space Miami. I’ve never headlined Space Miami, I’ve played there as support, but never as the headline so I feel like this is my chance to do the 4, 5, 6-hour set that everybody talks about. For Miami, I’m going to do something totally different to everything I’ve done on the tour, which is going to be crazy!
SW: Let’s talk about your tour merch. Why’d you choose to make a soccer kit and who’s idea was the New York Knicks House of Wax logo for this stop in NYC?
WM: I spent my whole life growing up playing soccer, so soccer was just obvious to me. I own like 20 soccer jerseys, Brazil, Barcelona home and away, Arsenal, so of all the jerseys, the first one I wanted to do was soccer.
And the Knicks idea, that was mine! I have Knicks Patrick Ewing jersey, I’m such a big Melo fan, and nothing screams New York more to me than the blue-orange combo. Notorious B.I.G. is one of my favorite artists of all time, I have this hat that’s Knicks and B.I.G. together, and I’ve had it for 10 years. I sent a picture of the hat, of B.I.G. and [the New York Knicks] triangle, and then they readapted it. I wanted something that didn’t say New York but still said New York…and this color combo and the logo is it.
Credit: Shaelyn McCormack // @shaelien111
SM: We know you are LA-based, but what is one place that you love to visit when you are in New York City?
WM: Tribeca Bagels. Shoutout to Tribeca Bagels, I love you! I love everyone at Tribeca Bagels.
SW: So what’s your order there?
WM: Chicken cutlet sandwich every time! I asked them to book the hotel next to Tribeca Bagels, which is the Hilton, so I could eat at Tribeca Bagels breakfast, lunch, and dinner… And I’m not the only person who goes there. Rihanna goes there, ASAP Rocky, J. Balvin, everyone. That joint is the sh*t. After this, I’m going there!
SW: Any last messages for your fans?
WM: I love that I have the opportunity to be here and I don’t take it for granted. I’m here only because of my fans. They’re the people who put me in this position. They’re the people who buy my music, who stream my music, buy my merch, buy the tickets. I am actually friends with so many of them now. 5 or 6 of them tonight just started as fans and now we’re friends. That is the Wax Gang. I hate calling them fans, because I know them at a deeper level. They feel like my family.
Credit: Sam Wolloch // @samwolloch
For what it’s worth, Wax Motif truly made us feel like family while conducting this interview and having us back in the artist area. I’ve never felt more welcomed by an artist in all my life, and getting to speak with the other members of the Wax Gang in the green room, their experiences were similar.
The House of Wax 2023 North America Tour still has over 10 stops remaining including Club Space Miami tonight, September 8, and his hometown show at The Shrine in LA on October 7. For all the headbangers out there, don’t forget that Wax Motif will bring his G-house beats to Lost Lands on Day 3. Moon Lvnding will be on the scene in Legend Valley and is looking forward to seeing the House of Wax in prehistoric times. To keep up with everything going on with Wax Motif, use the handy links below.
There is no end in sight for the bad publicity stemming from the epic failures of Electric Zoo 2023, and rightly so for the countless people who suffered financial loss and emotional distress. Even the New York City Mayor has gotten involved by making a statement about the debacle that included Day 1 being canceled, Day 2 plagued by endless lines at will call, and Day 3 having festivalgoers storm the gates when attendance was capped around 7 p.m.
If you want to read about the details of what went wrong and find people to blame, this is not that article. It is simply my story and my experience. I’m a New York City local who’s been to this fest for four years, so my partner and I were some of the lucky ones — we managed to have a great time at our home festival over Labor Day Weekend despite all the difficulties and setbacks.
Friday
Rave day started as it typically does, with my partner braiding her hair three hours early while I went through social media dropping hype posts for the artists I was excited to see — Adventure Club, Ghengar, and The Chainsmokers. When we got the call from someone in our rave family, we couldn’t believe it — “EZoo Day 1 is canceled!” We rushed to social media and saw the post confirming the bad news.
Dear Electric Zoo Family,
It is with a broken heart that we deeply regret to inform you that, despite our tireless efforts and round-the-clock commitment, we have made the painful decision to cancel the first day of Electric Zoo.
Luckily for us, we had secured guestlist tickets for the Adventure Club afterparty on Wednesday, because I had to see my favorite superheroes visit one of New York City’s most iconic music venues, Webster Hall. But for many, afterparty tickets sold out almost immediately after news of the cancellation broke and they were not able to buy reasonably priced third-party tickets to the numerous afterparties that Avant Gardner had scheduled.
We briefly considered some of the renegade events popping up at open venues and empty alleys all over lower Manhattan and Brooklyn but ultimately decided to focus our efforts on bringing our displaced friends together and making the most of the situation. We made it happen instead of worrying about things out of our control. Likewise, it was encouraging to see the NYC EDM scene come together to throw some epic events last minute, such as the sold-out BASSLAND by EDMTrain and Bass Command.
We got to Webster Hall promptly at 11 p.m. for doors and the line for general admission was already down the street and wrapped halfway up the next block! We enjoyed NYC local Squired starting the show. Steller and Blanke were welcomed additions to the lineup due to the Day 1 cancellations and slayed their sets as well. Then came the main attraction — we witnessed an amazing Adventure Club set jam-packed with so many classics: “Retro City,” “Youth,” “Do I See Color,” and a personal favorite — their remix of Britney Spears’s “Till the World Ends.”
Ghengar was another bonus added to the lineup and Ghastly brought the energy for this alt-persona set. At one point, he split the crowd and came down from the decks to mosh with the fans on the dancefloor. When I got tripped and pushed over, Ghastly was the first person to help me to my feet and we both proceeded to continue raging.
Credit: Adventure Club Instagram // @druenotdrew
Modern Machines, another NYC local, wrapped up the unforgettable night at 4 a.m. We all headed home hoping for good news regarding Saturday and Sunday since there was no definitive statement made about the future of the festival. Our alarm was set for noon, and fingers crossed for good news.
Saturday
I was up Saturday morning at 10 am, as is routine during the English Premier League season, and still no word from Electric Zoo. Halftime came and went. Finally, around 11:30 am the news we were all waiting to hear was announced — “EZoo is on!” Even Chelsea’s unfortunate home loss to Nottingham Forest couldn’t dampen my spirit, rave day had arrived at long last.
Dear Electric Zoo Family,
First and foremost, we want to express our heartfelt gratitude for your unwavering support and understanding in the face of yesterday's unexpected challenges. Your patience and dedication mean the world to us, and we cannot thank you enough for being… pic.twitter.com/n5SeRZsbYY
We had to get to Randall’s Island in time for So Tuff So Cute at 4:30 p.m. and credit to my partner for pulling it off. We left our Bushwick apartment just before three, and made good time on the subway to Harlem, walking over the RFK Bridge (New Yorkers still call it the Triboro), and getting through a short security line at the North entrance all in under 90 minutes. Victory!
It was evident that the stages were not completed, but that didn’t stop the artists from showing off their skills. Besides the minimal decor around the stage structures, everything felt familiar like the EZoo of years past, albeit with new stage names. The bass stage, dubbed The Continuum, only had a few of the central LED panels working for Day 2, but So Tuff So Cute (the joint DJ project of GG Magree and Mija) got our EZoo experience started with a memorable performance. They dropped some heavy bass and sang along to some sexy tracks, including closing with their newest single “No Bra No Panties,” which releases Friday, September 8.
We then filled up my hydro pack and took a quick trip to the restrooms at the right rear of the main stage (The Convergence) without issue. After consulting the handy app for the multitude of food options, we decided on a Viet pork sandwich from the aptly named “Bahn Mi Daddy.” It was a filling footlong sando with tasty BBQ pork and tangy pickled veg that hit the spot.
After lunch, we headed over to The Landing (former Riverside) to digest while listening to some Deep Dark & Dangerous bass from Truth. Again, the stage design was not complete, but the LED screen worked and the bass was booming so there was nothing worth complaining about. Rusko followed next and played my favorite set of the day with his trademark MC skills complementing his mix of modern day drum and bass bangers and old school dubstep classics.
Credit: Shaelyn McCormack // @shaelien111
We caught the first few songs from Jantsen before bolting across the island to make our main stage debut and hear the last few songs from Gryffin. The Convergence was also incomplete, with only the center hanging display constructed and limited LED displays working, but the sound was fine even towards the back of the stage without any sound bleed due to the dividers constructed between the stages. We didn’t trifle with the crowd and stayed near the right rear of the stage over by the water stations and restrooms. Again, we topped off the hydro pack and relieved ourselves without any crowding issues to speak of.
As the bassheads we are, my partner and I finished Saturday at The Continuum with sets from Big Gigantic and GRiZ. Both artists got saxy with it. Big Gigantic brought out NGHTMRE for their Gigantic NGHTMRE collab and GRiZ had his full cast of characters on hand for his solo live set, including two vocalists, a trumpet player, and a trombone player. Another sign that fate was actually on our side this weekend, we miraculously ran into our local Electric Forest family right in the center of the stage without so much as a text. After all, it is the people you surround yourself with that can elevate the vibes of the festival and our crew was optimistic and upbeat all weekend long.
Credit: Shaelyn McCormack // @shaelien
Getting off Randall’s Island and back to Brooklyn was the one place where I noticed the impact of the larger crowd and felt that the event organizers could have done a better job with crowd control. Due to the narrow ramp to get from ground level up to the RFK bridge, there was a huge bottleneck walking back to Manhattan from the North exit to 125th Street.
It took us over an hour just to walk from the exit to get onto the bridge since they had to completely halt pedestrian traffic at times to manage the growingly frustrated patrons trying to leave. Mind you, this is something that only took 10-15 minutes in years past. All told, we left EZoo at 11 p.m. and didn’t make it to the afters until 2 a.m., turning our 90-minute trip to the island into a 180-minute return back to Brooklyn.
Credit: Shaelyn McCormack // @shaelien111
While we did get to see afterparty sets from Liquid Stranger and Jantsen that we had missed during their Day 2 performances, I missed the encore set from Rusko that I was most looking forward to. Tired but grateful, we walked back home from The Great Hall at Avant Gardner to prepare for Day 3.
Sunday
On Day 3, we overslept by an hour and my partner furiously rushed to get her outfit prepared while I prepped the rave bag and watched the thrilling conclusion to the Arsenal-Manchester United match. Our commute to Randall’s Island took the same 90 minutes, but instead of walking over the RFK Bridge from Manhattan, we finessed our way onto the express X80 bus and rode the MTA in air-conditioned comfort to the festival gates.
Although we missed the beginning of her set, we still made it in time to see most of Alleycvt’s performance, which was a very promising display from the young, talented dubstep producer. Speaking of displays, The Continuum seemed to be fully functional for Sunday, with a more robust sound and all nine screens illuminated. Black Carl! and Saka took the stage next with a back-to-back collaboration dubbed “Rush Hour.” While I went to secure hydration, my partner hung out by the VIP side rails and got to speak with Alleycvt. I made it back just in time to snap off a few pictures of the two bass lovers.
Credit: Sam Wolloch // @samwolloch
After the photo op, we had about two hours of free time to check out the other two stages before I left to see Tiesto at the main stage and she went to rage with Kai Wachi and her bass babes. We secured another round of tasty snacks from the concession area at the back of The Continuum — I got fried Oreos and a boba tea while my partner munched on a lamb gyro — and peacefully ate our lunch in the shade of the hill before making our debut at The Morphosis stage.
We got to spend about 20 minutes listening to the smooth sounds of Frankie Wah, who was part of Nora En Pure’s Purified Records stage takeover. From what I could tell, this stage was also in good shape with good-looking LED displays over a series of five alternating freestanding platforms. The energy at this stage was chill and there was plenty of space for everyone to dance freely. Everyone at The Morphosis was seemingly having a great time.
Credit: Sam Wolloch // @samwolloch
At long last, halfway through Day 3, we made the trek to the newest stage addition to EZoo, the Mega Mirage. Unfortunately, this stage was kind of a sh*t show — like it literally stank like sh*t. Rumor has it that manure or compost was used to cover the deep tire tracks left by the setup crew, and the 90-degree heat of Sunday afternoon supercharged the stank. Fortunately, we spent all our time dancing on big plastic slabs or metal rail plates, so we weren’t kicking this foul dirt up in the air.
We met up with a few friends to enjoy the last few tracks from the groovy Chelina Manuhutu and the beginning of Green Velvet’s set. Although it was still sunny out at 6 pm, the visual displays looked sharp and the production at this stage sounded good. No complaints from me except for the putrid smell and the lack of a Red Bull + water station anywhere at this stage. 6:30 hit and I was off for my solo adventure to the main stage for a sunset set from Tiesto and a rare performance from Major Lazor.
I’ll admit that the crowd at The Convergence for Tiesto was thick and deep. To get to the front right of the elevated VIP section, I maneuvered my way along the right side of the stage by the concessions and reached my destination without much trouble, despite the big crowds. I found some fellow colorful cowboy hat-wearing folx and they happily adopted me into their crew for the next couple hours of revelry. It appeared that more of the LED screens were operational on Sunday, but having only spent 10 minutes here on Saturday, I was not the best to judge. Truth be told, it was the music and the people with me that made the moments magical.
Credit: Sam Wolloch // @samwolloch
Tiesto played a well-rounded set, mixing in modern hits with old classics as the sun set on the final day of the festival. His memorable remix of “Silence” blared as the setting sun illuminated the New York City skyline with shades of orange, pink, and blue. All the while, madness was unfolding at the gates as festivalgoers rushed past the security check after the announcement was made that the attendance cap was reached. But I was none the wiser until reading about that calamity the next day.
After Tiesto finished, I pulled back to the grassy ramp area directly in front of the ADA platform near the back of the main stage. It was the perfect meetup spot to reunite with my squad for the first half of Major Lazor. We were able to find room to sit down on the grass and took some time to get stretched out before the final few sets of the weekend. With all the hysteria about a cramped main stage, I had no problem laying out and flowing through a few chaturanga dandasana to keep me feeling fresh.
We ended the festival just like we started it, getting to witness some of our favorite bass artists at the best stage on the island — The Continuum. Boogie T went back-to-back with Dirt Monkey, showcasing their wonky, deep bass proclivities with trippy pastel-colored backdrops. They set the stage perfectly for the big finale, another back-to-back featuring Zeds Dead and GRiZ adorned in cowboy hats.
The set was a special experience I got to enjoy with many of my closest festival friends. Having listened to Zeds Dead faithfully for over ten years, it was a revelation to hear GRiZ riffing on his saxophone to classics like “Collapse” and hits like “Shady Intentions.” In these moments, the calamity of the weekend melted away and left me in soulful ecstasy. Despite all of the setbacks, we had an amazing end to our time on Randall’s Island.
Credit: Shaelyn McCormack // @shaelien111
Once again, we got stuck in the mass exodus from the island over the RFK Bridge to Manhattan. Security seemed to be in better control on Sunday until someone hopped the fence and tried to cut ahead of the crowd by running along the staff side. Security barked at him to halt, and when he did not, one of the guards knocked him out cold with a punch to the head. It was the only act of violence I witnessed all weekend, and it was easily preventable if people had just followed the rules and the barriers in place.
It still took us about an hour to cross over the bridge on Sunday, but with our friend driving us back to Brooklyn for the afters it only took us two hours to get to our desired destination, my favorite club in the city — Elsewhere. Although not an official EZoo afterparty, Blossom and Valentino Khan each played a high-energy, bass-heavy, house set. The crowd there was great, a fun mix of Brooklyn locals enjoying their 3-day weekend and festivalgoers looking for an alternative to the sold-out shows at Avant Gardner. We left the club at 3:30 a.m. with our hearts full and our gas tanks empty.
Credit: Elsewhere Instagram // @nietodickens
It wasn’t until Monday morning that I finally got caught up to speed with all of the struggles other people encountered at Electric Zoo 2023. It was sad to see my hometown festival which I care for and support yearly fail so miserably. It seems that so much of what went wrong could have been prevented with less ambitious planning and tighter logistics in place. Aggressive, violent security continues to be a problem for EZoo, and the added stresses of this year’s difficulties only made a bad situation worse.
It is still unclear what the future holds for Electric Zoo, its organizers, and the disgruntled patrons in its wake. Refunds for the canceled Day 1 Friday should be refunded back to the credit card used at the point of sale, but there is still no word about the situations for Saturday and Sunday. I can only imagine the chaos for people who bought hard-copy tickets, so my thoughts and prayers go out to all the local promoters having to deal with this nonsense.
Will there be another Electric Zoo in 2024? Only time will tell. Lawsuits seem to be piling up for Avant Gardner, the company that runs the mega club complex in Brooklyn that bought the NYC festival from Made Event in 2022. People are calling for its demise, but I’m willing to give it the benefit of the doubt to make the situation right and correct its mistakes for 2024. If there’s another Black Friday presale, I will continue to support my hometown festival with the hope that it gets the opportunity to make things right next year.
After a few successful remix releases this year, the sister duo Kinder has blessed us with a new single — “Lightyears” out now via Warner Music. The Ghanaian-Australian siblings teamed up with UK producer BCBC to showcase their club roots on this bouncy track. The fast tempo incorporated into “Lightyears” takes us on an energetic ride, reminding us to be present and let go of worry while vibing to this danceable tune.
“To us, it’s just about being in the present and having gratitude for that moment,” Kinder shares. “Not future tripping and just taking things one day at a time. BCBC’s production is immediate and fun, we love how it just doesn’t hold back, he has really gone for it, kind of symbolic of the song’s meaning, don’t hold back or think about tomorrow — just experience it and go all in.”
Kinder has provided support for EDM heavy hitters Marshmello, RL Grime, NGHTMRE, and Alison Wonderland, while also featuring on some of Australia’s biggest festivals. Now, sisters Briony and Savannah are ready to make their mark on the international scene with their Kinder project. Considering how fun and engaging this tune is, we can only hope Kinder continues to produce exciting music for us to enjoy at festivals and clubs around the world.
EDM veteran Kill The Noise is back in a big way, releasing his third studio album HOLLOW WORLD today, August 25, 2023, on Ophelia Records. The album is a modern-day masterpiece, encompassing a wide range of EDM genres while examining the depth of the human spirit. Kill The Noise even teamed up with Adult Swim animators Augenblick Studios to create violent visualizers to accompany the audio tracks on Kill The Noise’s YouTube page.
Kill The Noise has over a decade of experience under his belt, breaking into the scene with some notable releases on Skrillex’s OWSLA label and collaborating with marquee names like Deadmau5, Wiz Khalifa, and Skrillex himself on the breakthrough album Bangarang. On this latest album, Kill The Noise taps into his musical creativity to deliver some delightful new tracks.
The album begins with a melodic guitar riff reminiscent of classic Led Zeppelin that leads right into one of the heaviest bass songs “Ultraviolent” with Shadow Cliq. Both the third track “Afraid Of The Dark” and the final track “Give Out” are two of my favorites, featuring well-known voices in the EDM scene – Karra on the former and HALIENE on the latter. Both songs feel like modern melodic dubstep classics, with catchy vocals and sharp bass production.
Another song that really stands out is “Circles,” which I can best describe as an angry video game yelling out random geometric shapes. For those listening carefully, they can hear the mention of an icosahedron, which many EDM fans would recognize as the 20-sided shape that serves as Odesza’s logo. “I LUV YOU” is a peppy hardstyle track that uses the voice of Kill The Noise’s son to set the tone of the track and “Broken Panes” channels that old OWSLA spirit into a hard-hitting bass track.
“The album delves deep into the complexities of the human spirit, revealing our virtues and vices. It uncovers the truth about our potential for change, whether it manifests as enlightenment or a descent into darkness,” explains Kill The Noise. “HOLLOW WORLD serves as the backdrop for these emotional struggles and changes. Within its realm, these transformations materialize, morphing individuals into monstrous beings or transcendent figures. The journey of introspection becomes a courageous act, as some are fearful of confronting their inner selves, while others dare to embark on the path of self-discovery.”
Having listened to Kill The Noise over the years, this album HOLLOW WORLD is truly a work of art, influenced by his years of experience and his boldness to create music without limitations or boundaries. To conclude, here is the outro on his final track that came off as honest, meaningful encouragement to his fans, “No matter what you believe, whether you’re here for a reason or you’re here for no reason, you’re fucking here and you only got a certain amount of time.”
One of the dance community’s most unique festivals, Splash House, recently closed out Weekend One of its back-to-back weekends of non-stop partying. What makes Splash House unique is that the festival itself is spread out across three different hotels in the Palm Springs area: Saguaro, Renaissance, and Margaritaville. Within these hotels over the course of the weekend, meandering through the halls one might stumble into a private party in a guest room. And for those that didn’t end up wandering around the halls of the hotels, there was an incredible list of artists gracing the hotel stages throughout the two-day festival Weekend One.
Courtesy of Splash House // Ysabella Lopez – @y.s.a
Day Zero
Those present in Palm Springs on Friday got to witness one of the most surreal scenes of the entire weekend. Located at the Palm Springs Air Museum, the first of three “After Hours” events took place to kick off festivities for Splash House Weekend One, highlighted by dreamlike performances from Phantoms and the well-renowned duo, ODESZA. The venue is amazing due to the plethora of retired aircraft, from old airplanes to helicopters, all doused in flashing lights. To put the cherry on top, the main stage was situated to make it look like the DJs were performing from inside the nose of the airplane. Then the Saguaro hotel hosted the after-afters in a conference room turned nightclub for Night Zero and Night One.
People were amped up for Day One, and the toughest choice was which hotel to choose to get the party started at: Renaissance, Saguaro, or Margaritaville. Seeing Arizona local Peachy Keen take over the Renaissance Stage at 1 pm gave our day the bass house boost needed to get the festival started in the right way. The crew ended up staying back and exploring the Renaissance venue a bit more until tech house guru Dillon Nathaniel hopped on stage. At this point a difficult decision had to be made: stay to watch Dillon Nathaniel and then go to Margaritaville to close with Adapter and Lee Foss back-to-back Deeper Purpose, or go to Saguaro to see JADED and end the night with Aluna and CID back at Renaissance?
We chose the latter and didn’t regret it. JADED had one of the best sets at Saguaro the entire weekend, leading into a euphoric set from Aluna during sunset at the Renaissance. To round out Day One, CID delivered the best performance of the weekend, playing a powerful, energy-packed set to cap off Day One of Splash House.
Day Two started the same way Day One started, having to decide where to go and who to see. The choice was obvious; BVRRN kicking off Day Two at Saguaro was one of our best decisions. Then we scored some food from the restaurant inside Saguaro before we made our way to what would be best described as controlled chaos, Margaritaville. Lucati was first on the decks at the venue with the biggest pool of the festival. Then we ventured back to Renaissance to see the powerhouse, Disco Lines, take center stage. About three songs deep into the set, Disco Lines cues into its recently released remix of INJI’s “GASLIGHT,” and our group knew this was going to be the set of the day. Following Disco Lines, we made our final stop of the weekend adventure to see Wax Motif cap off Splash House at Margaritaville.
Courtesy of Splash House // Celina Kenyon – @celinakenyon
From here on out, Splash House will be a mainstay on the Moon Lvnding festival calendar. It has a charm that makes people who attend it want to come back. From the incredible acts that graced the decks to the variety and hospitality of those venues, all the small details came together to create forever memories. To those attending Weekend Two, we hope you have as much as we did. The team here at Moon Lvnding can’t wait to run it back at Splash House in 2024.
