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  1. UK hip hop, electronic crossover act Foreign Beggars formed in 2002 and have seen an evolution as an underground hip hop group to electronic crossover act ever since. With multiple studio recordings under their belt and an always high-energy live show, the critically acclaimed group are well known as one of the UK’s most inexhaustible and versatile acts. Speaking with Ebow on the precipice of their Australian tour Ozclubbers were keen to hear about some of the band’s origins and of course, their sixth full length album: 2 2 KARMA. So you guys have been making music for a long time, can I ask a little bit about what the scene was like when you first started and how you’ve seen it evolve? The music scene is improving a lot more and the rap scene here is improving a lot more. You’ve got grime guys who are just hearing about the UK guys and the hip hop guys and visa-versa. Right now is a beautiful time to be a rapper in the UK. It’s been said that in the early days you started out by throwing drum and bass house parties and raves, can you tell me about that? Vulgatron and Dag Nabbit, who are the groups founding members yeah, they were throwing those parties in Dubai of all places. Then they both came to the UK and were initially making drum and bass. That is their origins and is why the band has such a tie with the Drum and Bass scene and has led to them being open minded about who they work with. They didn’t come from a straight hip hop scene. We were always willing to go to the parties and go to the raves and get involved and lend our voices and get involved. Basically lend our style to whatever style of music - be it drum and bass or house or whatever, we like to party, hip hop parties are a different vibe to a rave but the UK has a mad rave culture. Tell us about the new album? The new album is called “2 2 Karma”. It’s something we’ve been working on for a year and a half. It’s our first studio album in about 3 or 4 years. We wanted to return to our hip hop roots you know. I think a lot of people got confused because we were making a lot of dance music and that was us expressing an angle but this time we really thought about it and wanted to do a rap thing and be as varied as we could be. We have some great guests on it. We’ve got beats from Alix Perez, Flux Pavilion, Ivy lab, who’s doing some amazing stuff right now. Vocalists we worked with, John Post and Issy Gibbs, two young guys coming out of the grime scene that are doing amazing things. We worked with Kojey Radical who is a poet and a rapper and London Zoo, Black Josh and many many more. It’s a real special album for me. It’s got that good balance of social commentary, party stuff and vibey and we’re really looking forward to sharing it. Favourite track on the album? My favourite track on this album is The Mission produced by Bangsy. I love this tune! We really went there. It’s a real epic track. It’s a sik album and we’re real proud of it. The crew have released five studio albums to date: Asylum Speakers, Stray Point Agenda, United Colours Of Beggattron, The Uprising and I AM LEGION with Dutch production wizards Noisia. It is with great pride that they announce the completion and upcoming release of their finest work to date - their sixth full length album: 2 2 KARMA. With a top ten hit, over 80 million YouTube plays and a string of international headline dates ahead of them, things are going from strength to strength for the Beggars. Collaborative highlights from their past include Noisia, Dirtyphonics, Knife Party, Skrillex, Birdy Nam Nam, D’onaeo, Skinnyman, Jack Beats, Alix Perez, Tommy Lee, Eprom and Flux Pavilion. FOREIGN BEGGARS ‘TOAST’ AUSTRALIAN TOUR DATES: Friday 8 December – The Met, Brisbane Buy Tickets: http://bit.ly/2gEsvSM Saturday 9 December – Manning Bar, Sydney Buy Tickets: http://bit.ly/2yJWhzZ Friday 15 December – Brown Alley, Melbourne Buy Tickets: http://bit.ly/2yL2jAk Saturday 16 December – Villa, Perth Buy Tickets: http://bit.ly/2izGMnO For more information, go to: https://www.facebook.com/foreignbeggars https://www.instagram.com/foreignbeggars https://twitter.com/ForeignBeggars https://soundcloud.com/foreignbeggars
  2. Australian artist Just A Gent has been producing since his pre-teen years, evidenced by his compellingly composed pieces of music that transcend genre classifications. His diverse musical interests have led him to flip songs of all genres over the years — from Illenium to Whitney Houston — all while sporting a spiffing suit and top hat. Just last month, he released a wistful melodic dubstep track featuring Thief, “Hold,” that’s been met with glowing reviews. The classy producer is currently on a massive tour with San Holo and DROELOE that’s taken him across North America and will wrap up in mid-December. We caught up with the producer to hear more about his style evolution, tour life and what’s in store for 2018. You’ve produced music of all genres over the years. How has your style evolved?I’ve been trying to fuse genres together for a long time. I think it’s an essential thing to be able to make more than one style of music whether that be inside the electronic category or anything outside of that, it just helps bring a fresh flavour into music and you can tell when people know more than just ‘trap’ or ‘dubstep’. I think my style has developed a lot since I started the Just A Gent project and with a plethora of other styles and genres out there I hope I can continue to do that.You’ve flipped everything from Phantom of the Opera to Rage Against the Machine. What makes you decide to flip a song?Generally the tracks I have been flipping on the Just A Tune project are really solid tunes, some of them are my favorite themes of all time like the Phantom of The Opera “Overture” and the Star Wars “Binary Sunset” and even the “Bing n Bong” remix is a flip of my favourite childhood TV shows, Tiny Planets. I think the song just has to really pop to me and connect with me from the first time I hear it till the 1000th time. I am always open to suggestions though so slide into my DMs with ideas.How does your creative process differ for your original productions versus your flips?With the flips, I’m generally just rushing it, finishing the track in a few hours and throwing it up on SoundCloud. There isn’t really a deep and meaningful story or process behind it, it’s just me throwing together a quick flip of a track I love. With my original tracks I want people to be able to hear how much time I put into them and I like to think there is more story behind them. I also just generally put a tonne more hours into the originals and make sure they are perfect before release.How’s the tour with San Holo and DROELOE going? Memorable moments so far?Pretty bloody amazing. Every show has been a sold out stellar time and the crowds have been insane. Just hanging out with the dudes and getting to understand Dutch culture a little more has been a blast. They are a great bunch of guys and I am extremely grateful to be touring with them.What’s your favorite song to play out live and why?I love playing out my Whitney Houston, “I Will Always Love You” flip. It’s been popping in and out of my sets for the last couple of years, but it’s so great to hear everybody sing it back and then confused as a chameleon in a bag of Skittles when the drop hits.Where do you see electronic/dance music in 5, 10 years? As someone with a rich music background, do you think the scene/genre is sustainable long-term?Electronic music is only gonna continue becoming more and more relevant in the mainstream. I think people need to start looking at them producers really changing things up though, artists like Fytch, Former & Nomak have really been inspiring me lately with totally new sounds that I am loving.What’s coming up for you in 2018?So much new music and touring. I can’t wait to share some of my new tracks with everyone, they are definitely a little on the experimental side but we shall soon see what everyone thinks!!Read More: Just A Gent – Future Bass Is Dead Just A Gent – Hold ft Thief Just A Gent – You’ll Never Know ft Moza Source: Dancing Astonaut
  3. Valentino Khan is a man that needs no introduction. He’s a producer that transcends genres and trends with a style that’s all his own. He’s the guy behind “Deep Down Low,” the most played track of 2015. He’s a person with a mustache so iconic, it deserves its own merch line. But most of all, he’s an artist dedicated to the music — and that’s why we jumped at the chance to interview him. With every move, the LA-based producer is making an impact on the industry, with a sound unmistakably original, ridiculously cool, and constantly evolving. Not to mention, Valentino’s latest track featuring the legendary Sean Paul is pure “Gold.” Valentino’s work instinctively find releases on leading imprints such as Mad Decent and OWSLA, and he’s worked with a plethora of artists including Diplo, Skrillex, GTA and Flosstradamus. Plus, remixing everyone from Katy Perry to Dog Blood, Axwell Λ Ingrosso, Dillon Francis, and Zeds Dead (we could go on) goes to show his wide spectrum of musical taste. Even with all that under his belt, there is even more on the horizon for Valentino Khan. “I’m working on finishing a bunch of new singles and new music,” he reveals. “I can’t wait to get them out to the world!” Watch out for the “Gold” music video coming soon, catch Valentino live on tour (dates below), and check out our full interview with Valentino Khan right here! “Gold” is simply amazing… What was the inspiration behind the track? I wanted to make something that was really like, a good vibe record — danceable and kind of revisit a little bit of the moombahton sound that I started out with. It was cool to be able to do that and work with a legendary artist like Sean Paul, who is incredibly talented in studio both as a vocalist and a writer. “Gold” Out Now: Spotify | Apple Music | YouTube | SoundCloud What was it like working with the Sean Paul? It was really dope working with Sean Paul. He’s really talented in the studio. He didn’t really write anything down when we got in the studio, which was awesome. That really spoke to him being a true artist — just the fact that he’s able to deliver everything on the record off the top of his dome. I thought that was something that really set him apart from a lot of people. He’s a quick worker and overall just a really good dude. We just shot the music video for “Gold” in Jamacia and we hung out a little bit. Awesome! So you guys were physically in the studio together! Yeah, exactly. I’m the kind of guy — I really like being in studio and actually producing the records with the artist whenever its possible. I love being in the studio and being able to navigate and work with the artists, and contribute to it myself in terms of the actual songwriting process. It’s definitely something I take pride in. For fans catching you on tour, what can they expect? I always try to be forward-thinking. I try to play records that the crowd maybe not be familiar with, but I know they’re going to gravitate towards. I’m not going to play anything that’s obscure for the sake of being obscure, but I think it’s cool to play records that they didn’t know they wanted to hear. Once you’re able to do that I think you make a connection with a lot of fanbases out there. What’s your favorite part about touring? It might be a very simple answer, but being able to see all these different cities and get a sense of the vibes in all these different cities. It’s cool to be in different places and find what sets them apart from the rest of the world, whether it’s the food, the people, or even the weather. It’s amazing to be able to transport between all these different settings and be able to take in all these different kinds of environments. Which places do you hope to visit and/or already know you love to visit? The place I would love to play that I haven’t played yet is Brazil. It’s really interesting — the culture — it’s always been a place I would like to travel to eventually. It’s on top of my list. Overall, one of the most interesting places to travel, or play, or just being in general, is Tokyo. I think it’s probably the least boring city in the world. You could go there at any time of day — morning, night, afternoon, it doesn’t matter — and find something to do. The people are amazing, respectful. It’s an awesome culture they have going over there. The “Pump” music video is one of my all time favorites… How did you think up that outlandish concept? The original concept of having the censor blur move around at this naked party was basically just an idea. But then we worked a lot together and talked over the phone to really refine it. I enjoyed being involved in the whole creative process — the creative world beyond just making the music. I think that’s really important, to be giving that creative input Yeah, it was a really awesome concept and I’m glad we were able to bring it to life for an interesting and memorable music video. What effect did “Deep Down Low” have on your career? Did you think it would get as big as it did? I completely think it had a tremendous effect, in a positive way, on my career. And to answer your other question — no, I didn’t think it would be as successful as it was. I thought maybe my peers like Skrillex and Diplo, or someone like that in the bass music world would play it. But then Calvin Harris and Afrojack and Axwell Λ Ingrosso were all huge in playing the record — taking it to a completely different realm and a completely different height. I feel like I owe a lot all those DJs in terms of helping the record blow up. I’m still astonished and thankful and grateful that people are still playing the record out. Hopefully it just becomes one of those house records that lives on and on for years. Some of your favorite labels for up-and-coming artists? Obviously, Mad Decent and OWSLA. I really like listening to Boys Noize’s label, actually. It’s probably different from what I would typically play in my sets, but once in a while I do these weird hard techno sets. You seem to have a lot of DJs friends… Have any of those friendships led to collaborations? I think hanging out with GTA probably helped facilitate us making music together — those guys are just really great dudes. They’re really a great example for how you should conduct yourself as a young producer getting into the game. I’ve known them just getting into the game and they’ve always been humble and have let their music do the talking for them. That’s why I think everybody in our world really respects those guys. They’re just about the art form. Being able to hang out with people that you get along with definitely adds to it. A lot of these friendships spark because it’s like, “Hey, I like your music.” And the other person is like, “Hey, I like your music, too!” If you connect with human beings on top of that it’s a really cool combination. If you had to start a superstar duo with one of the following, who would you choose: Skrillex, Diplo or Dillon Francis? [Laughs] I would maybe choose Diplo just because musically I think we align with each other. All of our sounds and releases are really versatile, and we don’t stick to making one sound over and over. Not that Dillon and Skrillex are like that, because I think both of those guys are incredibly versatile too. Diplo has always been forward thinking and trendsetting in everything he’s done. He’s kind of been all over the place in a good way, in terms of the versatility of his sound. What is Valentino Khan’s mantra? My mantra is kind of what I tell any young producer or DJ that asks me for advice. The two things I say… Be original and work your ass off. I think if you have those two things in place in your life, then eventually the cream will rise to the top and people will take notice of you. It’s just like any other job — it might be a weird job but it’s just like any other. You have to work hard and you have to put in the hours. And you have to be devoted to it. If you’re able to do that, you’ll have a strong level of success. Valentino Khan Live October 27—Sacramento, CA—Fright Night* October 28—San Francisco, CA—Temple Nightclub November 18—Chicago, IL—Aragon Ballroom† November 22—Royal Oak, MI—Royal Oak Music Theatre† November 24—Minneapolis, MN—Skyway Theatre† November 25—San Diego, CA—Bassmnt December 15—Boulder, Co—Boulder Theater† December 21—Baltimore, MD—Rams Head Live!† December 22—Boston, MA—House of Blues† December 23—New York, NY—Terminal 5† *with Diplo and Excision †with NGHTMRE Photo Credit: Pete Don This article was first published on Your EDM. Source: Your EDM Interview: Valentino Khan Talks Touring, Success, Sean Paul, & All Things “Gold” Source: YourEDM
  4. Since his game-changing self-titled LP in late 2016, Misanthrop has been on the quiet side in terms of releases. In addition to Misanthrop, he and his Neosignal partner Phace blew the neurofunk scene away in 2014 and 2015 with some of the hottest and most unique tracks of the new decade but 2017 saw Misanthrop taking a breather from production – or so we thought. October 27 saw Misanthrop, given name Michael Bräuninger, release a new EP called Blurred and fans can expect the unexpected, to say the least. Misanthrop sat down recently with Your EDM to discuss the new EP, the current neurofunk climate and how he feels it’s important for artists not to worry about genre or what the drum and bass community expect of them. Most importantly, Blurred is a declaration of artistic and sound design independence and Bräuninger’s renewed commitment after Misanthrop to make music “his way.” So was this your first EPs in your new studio? Some of us have been following your photos on Instagram and it looks really great. No, I did the new EP on my laptop because they studio wasn’t ready at the time. It’s finally done now. I have been dreaming about doing this since I’ve been making music. I just have a few little things like a second door to put in but it’s so exciting to finally have dedicated space. It looks great with all the sound boxes and stuff. Now you can go as loud as you want! (Laughs) Well 90 percent of the time it’s not too loud because I don’t want to oversaturate the sound. Besides it’s not good for my ears. So the Blurred EP is now out as of this past Friday, October 27 and it’s quite different from anything you’ve done before. What was your general process or motivation for doing something so out of your box? Yeah I know it seemed very different, but after the album (“Misanthrop” self-titled, released in late 2016)…you know all those songs were songs I really liked. I mean of course I liked them but when you make an album like that you spend so much time with the songs and then I played them out as well. It got to a point where I just wanted to take a next step and make some tracks that were new and that I liked in a different way. That is why for the EP I just wanted to experiment and do something different. You felt you wanted to swing the pendulum to the other side now? Yes, sort of. There are definitely things in the EP where there’s still a style or some things I took from the album (last year) that I liked but I sort of wanted to experiment more. I have so many experimental stems and things on my hard drive but many of them I just haven’t taken the time to work on and make good enough. That was part of why I did this EP; to take those things out and play with them, apply stuff I learned from the album to see if I can make it so I like them. And now I do! And I think they’ve been getting a good reaction as well when I play them out. Well that explains tracks like “The Lick.” As soon as the album opens, listeners will know it’s going to be very different. (Laughs) yeah that’s good! I don’t want to keep doing the same thing and I don’t want to put myself or let other people put me in a box and say “he’s neurofunk,” you know? I think I can do anything I want creatively and I hope that when people listen to this EP they recognize that. People should realize that with any artist I think. So let’s go through each track on the EP. On “The Lick,” is jazz something you’re really passionate about? No, not really in the sense that I felt I had to do a jazzy track. I like Miles Davis and sort of jazz fusion, but I haven’t really listened to it for 15 years or more and I’m not really into it now but it really was just I knew I had that little piece (of the opening of “The Lick”) on my hard drive and I wanted to see if there was something I could do with it. It was a small inspiration I suppose and then one thing led to another and it was suddenly a track, you know? It really was just me playing around with things to see how I could maybe combine a jazzy intro and drum and bass. It wasn’t a plan. I just did it the way I wanted and I did it my way. Is that normally how you operate? More on inspiration than a specific plan? That’s definitely how it happened with this EP. Sometimes I do have a plan or how I want something to sound but I’d say 90 percent of the time I just have a little idea or a spark of something and then my writing is how I make that idea work and so again it’s an experiment. With the Blurred EP it was the ideas I got from my own hard drive (laughs). I love the idea of building something from nothing. Moving to the second track, “Random”; it sounds more like what people might think of as your style. It sounds like it could have gone on the Misanthrop album last year. How did that one come together? Yeah I started that track pretty much right after the album released. I just had that riff in my head and the sound I wanted. That’s an example of something I already sort of had planned out. I had a rough idea so I put it down right away but again I let it sit for a while. I didn’t pick it up again and start working on it until about five months later when I was going through the process of doing this EP. Once I picked it up again I finished it in three days. Wow that’s quick, especially for something so technically complicated. What about “Short Stop”? That seems like another one which was more recognizable in the face of your previous work. Actually to me it pretty much came from the same ballpark as “Blurred.” I wanted it to have a kind of rolling vibe with still a very good structure. All I had with this one to start was the hook and the lead synth so then I think I built the main part and built it up until it had the structure I wanted. I think it’s a good lead-in to “Blurred” and it says everything it should. Speaking of “Blurred,” that track sounds quite experimental and it seems to be the one people are talking about the most, and critics are also saying it’s again very different from tracks in the past, but also one of the best. Talk us through the process of how you came up with that one. “Blurred” is the one I think I like the most as well. I spent quite a lot of time to arrange it. I had to figure out how to keep the intensity and the attention span of the listeners because it is so minimal musically. I spent a lot of time on arrangements. I’m quite proud about it because even I can still listen to it and I still like it (laughs)! I also think it was a natural progression from tunes I did before like “Deadlock” and the “Garbage Truck” remix (from Hybris) and even “I Need More,” I think it fits into that kind of stuff if you think about it. There is a vein of minimal techno in all of those tracks and there is definitely that vibe in “Blurred.” I don’t know if people notice it, but I actually listen to a lot of minimal techno. That’s the sound I really like to listen to myself so to me I’ve always been influenced by that style and it shows up in my work a lot. “Blurred” really felt like the next logical step for me. In that way it sort of reminds me of the Camo and Krooked album (“Mosaik” released June 2017)…it’s kind of in that ballpark so I also felt I wanted to give a nod to minimal techno and some other stuff but still make it for the dancefloor. How did you decide on the order of the tracks on the EP? It seems like there’s a musical progression there from “The Lick” to “Blurred.” You know I actually really wondered and worried about that. I wasn’t sure about putting “The Lick” as the lead track because to me “Blurred” would make more sense to open the album. I just thought to put it on the last place in the EP I guess just to see if people would pick it up all the way at the end, and then 90 percent of the people who I sent the EP out to said the same that “Blurred” is the one. I think also that “The Lick” moves nicely into “Random” and then “Short Stop” as I said before is a nice lead-in to “Blurred,” so it all worked out the way it was meant to be. How has it been to play “Blurred” out? To me, playing out lately at clubs or raves or whatever it just seems that everyone expects a certain sound and there’s nothing different anymore. It’s all good music of course, but going out with a track like “Blurred” sort of wakes people up. It’s been quite funny and cool for me to go up and play this because you see people’s reactions and they’re so great like “what’s that?” People don’t expect it. It really does work well. I just recently played “Blurred” as the last track of my set and of course with my sets I really go hard so to end with that it’s quite fun to see the reactions. I really like how that works at the end of the set. It will be really interesting to see what the public says when the EP comes out in full since it is such a departure, especially in the current climate where it seems subgenres are getting more divisive. This one kind of defies subgenres. My perspective on that is at the end of the day I just have to progress the way it makes sense for me. I know a lot of people in drum and bass like to look to the past and of course I love all that music from the 90s and 00s too but if I want to progress as an artist I just have to do what I feel and I can’t hold on to what already passed. If you do that and are constantly saying “oh everything was better back in the day” or something is “classic” and can never be improved upon, you start to sound like your parents talking about “the good old days.” I can’t do that. To me it’s stifling. I don’t want to repeat what I’ve already done so, you know, I hope people like it but now for me it’s more about if I like it and doing it my own way. Misanthrop’s Blurred EP is out now and available to stream and purchase on all major platforms, with links to all of them on the Neosignal website. Links to Misanthrop’s and all Neosignal artists’ social media, Soundcloud and updated news can also be found there. This article was first published on Your EDM. Source: Is Misanthrop the Frank Sinatra of Drum and Bass? The Former Neuro Stalwart Talks About His ‘Blurred’ EP and How He Did it “My Way” Source: Your EDM
  5. A lot of holidays in the EDM world are super special, but Halloween is definitely up there. Unlike Fourth of July, Memorial Day Weekend, or New Year’s, there’s a special magic that takes over any event or festival during the Hallow’s Eve festivities. Between the attendees dressing up and the inevitably inventive stage designs and decorations, things can get pretty weird (in a great way). This coming weekend is the annual Wynwood Fear Factory – this year’s lineup features headlining sets from Porter Robinson and DJ Snake, as well as support from Steve Angello, Oliver Heldens, Wiz Khalifa and Big Gigantic. Having just come off their annual Rowdytown show at Red Rocks, I caught up with Big G’s Dom and Jeremy about what Halloween means to them, what it means to play in Miami after a natural disaster, and more. Find tickets to Big Gigantic’s current tour here. What does Halloween mean to you? Do you have a fond memory of Halloween either in your career or from when you were a kid? Dom: We always do something fun for Halloween, we always dress up – some of our stand outs would be Wayne & Garth, probably the top one was Jeremy was a rabbit and I was the pope, that was pretty good. Jeremy: We did Cheech & Chong one year. It’s always a good excuse to have fun and get the crowd to dress up, because everyone’s trying to get funky that night so it’s cool. We’ve never been to Miami for Halloween, so I’m looking forward to that. I know you guys already do group costumes as a duo, but you are also sometimes a part of Big Grizmatik. If you had to come up with a costume for all four of you, what would it be? Dom: Power Rangers, probably. That would be hilarious. Or Voltron, maybe? Jeremy: There was a year that, in Denver, Beats Antique dressed up like Dom and I, then someone dressed up like Derek from Pretty Lights, and somebody dressed up like Lorin, and they did this little segment in the middle of a show, like they were playing off all our different things. People were texting me, “Are you at Beats Antique at the Fillmore??” I’m like, “No…” It was super hilarious. So yeah, it would be fun to do a Big Grizmatik Halloween, we would freaking rage. Oh, I 100% agree. I want to shift the conversation a bit toward your new tour, which just started yesterday, of which the Wynwood Fear Factory stop is a part. Are you going to be playing any new music on that tour, newer than Brighter Future? Dom: Yeah, we’ll be playing quite a bit of stuff from the remix and deluxe albums that’s pretty new. We have a handful of new things too that we’ve been playing out here and there; we debuted some things at our Rowdytown Red Rocks show this last weekend. We’ll be playing some new stuff for sure. And I’m in the studio right now writing new stuff as we speak, so I’m sure we’ll be even playing some brand, brand, brand new stuff on tour. And speaking of Rowdytown, how’d that go? It’s your big annual show at Red Rocks and it’s definitely something your fans look forward to year-round. Dom: It was epic. It was a really good one this year – music was great, we did a new set design for it that ended up being just crazy and awesome, seemed like everybody had a good time. Is the set design from Rowdytown going to follow you on tour, as well? Jeremy: I don’t think that’s possible [laughs]. Dom: Yeahhhh… we were like 20 feet up in the air, and it took like two days to set up. It’s kind of unrealistic for tour; but you know at Red Rocks, we try to go bigger than anywhere else, just because it’s Red Rocks and it’s Rowdytown, we really try to throw a mini-fest. So we kind of go super extra, but I’m sure something like that will pop up again in New York or Chicago; we’re doing Rowdytowns there that we just announced. We’re definitely gonna try to go big for those. As you know Miami was recently rocked by hurricanes. When you travel to do a show in some place like that, where you can bring happiness to people when they really need it, does that affect you emotionally in any way? Jeremy: It’s definitely super special for us to be able to do that, and that’s one thing we 100% try to do with our shows, is just provide a place where people can let go of whatever is going on outside of that, and just come in and have fun. And hopefully be in the moment and enjoy life and be with their friends and whatever they want. There’s so much crazy stuff going on right now, it’s definitely been a rough hurricane season – it’s crazy how it’s just back to back to back. And you know with Vegas too, the way concerts are, it’s great that people are strong enough that they don’t let things like that get them down; they come out and that means a lot to us, that they want to do that and we want to provide a space for everyone to feel good. So, in other words, you want to give them a Brighter Future? Dom: When I came up with that concept a couple years ago, we were towards dropping an album. Where the world was then up until now, that’s really the message that we’ve been trying to spread all along. Any final words, particularly for the fans who will be at Wynwood? Dom: Yeah, just excited to come down to Miami and play a festival; I don’t know if we’ve ever played a festival there or not, so just excited to bring the good vibes and the brighter future vibes. This article was first published on Your EDM. Source: Big Gigantic Talks Wynwood Fear Factory & Their New Tour [Interview] Source: Your EDM
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