Moving into day 2, legendary dubstep DJ Subtronics kicked things off with an early set that he graciously squeezed in before heading to another big gig of the evening. Listen to “Tennis Court Remix” on Soundcloud Overall, Flume created a vibe that was both nostalgic and euphoric, and to experience it all was truly a treat. In usual Flume style, he brought out some of the vocalists featured on his works including Kučka and Kai which brought a unique and powerful energy that you don’t experience at a typical DJ set. Starting off with a day 1 headliner, the wildly popular and influential Flume took us through a journey of his timeless tunes where we got to hear tracks ranging from old SoundCloud treasures like “Tennis Court Remix” to the newly popular “Say Nothing” off his album Palaces. Upon analyzing the sets of day 1 and 2 individually, there are a few artists that really stood out. Another highlight of Decadence is the immersive experience created by the performance cast of “Weird & Wonderful,” which consists of dancers, character actors, and artists of many kinds who not only perform on stage but interact with the crowd throughout the grounds. In addition to the stacked lineup, we witnessed a level up in production that included plenty of lasers, large LED screens, confetti, and most importantly: immaculate sound. This year’s Decadence brought in a well rounded roster of legendary artists such as Zeds Dead, Flume, Subtronics, Porter Robinson, Nicole Moudaber, and many more to span across the 2 days. While site and structure logistics definitely play an important role in pulling off large-scale events, everyone knows the main priority of any festival goer is the music/production. Utilizing the largest festival map seen at the raceway yet, the venue accommodated 4 stages, a large VIP lounge, plenty of food & independent merch vendors, and even a dodge ball court! We are pleased to express that the new venue was much more fitting for this particular event as it matched the futuristic theme and allowed for the creation of an extravagant, high-class celebration. With it being the first year that Decadence would be held at the Phoenix Raceway rather than its previous home of Rawhide Event Center, we were extra eager to discover what the new location would bring to the table and how it could potentially add or detract from the overall energy and feel of the festival. That being said, we were certainly not disappointed in our decision to attend and cover the delightfully decorated and masterfully orchestrated Decadence Arizona: Ancient Future. I mean DROELOE is a pretty good example of how much things have improved quality-wise too and where we are at right now in terms of amazing production quality alone in future bass tracks and electronic music tracks in general.I covered one of the largest new year’s eve festivals in Arizona, Decadence Arizona: Ancient Future, on behalf of Soundrive Music and this is how it went down!ĭeciding where to ring in the New Year can often be a difficult decision with an overwhelming amount of choices, especially for those well informed about the EDM events happening throughout the world. Just go listen to 'We Rise' by San Holo and try to tell me that EDM songs age at the same pace as other genres of music ) It's still a catchy song but the production is outdated and simpler than a lot of the future bass tracks that have come out since then. Naming a few I'd consider to have some pretty timeless tracks compared to most others: Flume, Skrillex, KOAN Sound, Noisia, Aphex Twin, Space Laces (every track he makes is years ahead of his time, I'd still play out his songs from 6 years ago and they'd still go off and could be released today even), and more but those are names you might know (except space laces but I can't leave him out when talking about timeless production) There are only a certain (small) amount of artists who's production, songwriting, and technical skill outlive the trend changes and advances in production technique - and in my opinion those producers GOATs in terms of their skill. I've found that it really only takes around 2 years for certain styles (and therefore many, many tracks) to sound outdated just from gradual yet defining shifts in production techniques, style choices, trends, and even quality in many cases within genres and subgenres. Tastes, styles, and techniques change very quickly except with a few songs which are relative "classics" or timeless tracks. Diamond Shock 5y AOK In electronic music it does.
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