Author Archives: Taylor

[MUSIC NINJA EXCLUSIVE] Black Matter & Designer Drugs featuring Cerebral Vortex – Double Vision

Following the massive release of their first full album, HARDCORE/SOFTCORE on ULTRA RECORDS earlier this year, reigning goth-hipster kings of the electrosphere Brooklyn two-piece, DESIGNER DRUGS, are back at the reigns and are ready to set their latest nationwide undertaking in motion. Spearheaded by label-head Michael Vincent Patrick (the bespectled 1/2 of Designer Drugs) SEX CULT RECORDS‘ roster of artists including DESIGNER DRUGS, Black Matter, PLS DNT STP, Your Dirty Habit, SKITSNYGG, and High Priest make up the collective cross-country jump-off grindhouse juggernaut that is the SEX CULT INITIATION TOUR.

And to rev up the surge of hype-induced adrenaline and reckless behavior necessary for any given DESIGNER DRUGS-led brigade, SEX CULT RECORDS was kind enough to offer THE MUSIC NINJA an exclusive *FREE DOWNLOAD* of their latest drop – Black Matter & Designers Drugs featuring Cerebral Vortex – Double Vision – to our loyal EDM fiending ninjas for the taking.

Designer Drugs‘ classic arsenal of punchy full percussion lines, searing industrial builds, and their born-for-the-club-floor approach to sound intersects with Black Matter‘s notoriously addictive brand of warehouse rave-ready electro — resulting in this Dutch-fused gutterhouse floor-flooder. Steering away from a delivery of melodic/pop female vocals, Cerebral Vortex‘s flow delivers a gritty overlay atop the pitchy house leads that rounds out the track with a raw “Through The Prism”– reminiscent edge. Although innovators of some of the most crowd-rousing electro bangers of our modern day, “DOUBLE VISION” presents Designer Drugs‘, as inspired by collaboration with Black Matter, may be seeking a new direction of club-minded sound. A distinct progression that suggests Designer Drugs may have grown out of their small-scale indie club roots: and they’re ready to pack each SEX CULT INITIATION TOUR stop with more stadium-sized basslines and stabbing pitch highs the droves of thousands of revelers can imaginably endure.

To get the track simply drop’em your email in the box provided below, click send, and in just a few minutes the link to your free download in your inbox will magically appear.

While you wait for your download, check out the latest video offerings from Sex Cult Records, including the official video for DOUBLE VISION, below:

Also, the video preview for the SEX CULT INITIATION TOUR:

Follow and “Like” the shit out of SEX CULT RECORDs on Facebook or manically check back on their website for more updates and tour news to come.

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[Interview/EDC Vegas] DROP THE LIME

I have to say, I’ve had the wonderful opportunity to interview a lot of amazing, talented artists. But certainly, never had I laughed so much as I did than when I had the privilege to interview one of the EDM world’s most future-thinking and fearlessly unconventional artists, Drop the Lime. There’s a lot to say about those rare artists who not only exhibit such an exceptionally compelling presence in their public life and present so much passion on stage, BUT WHO ARE ALSO so genuinely personable and sincerely modest face-to-face.

A very proud homegrown New Yorker, Drop the Lime, born Luca Venezia, rolls down the road of life in a 1950s Cadillac El Dorado and to the beat of his own heavy-rearing drum line – always with a smirk on his face and his gold-plated tooth gleaming. He is a self-proclaimed “dapper night creature”: a man of ever-evolving, globally-transitive sound combined with era-transcending audio concepts, that are intentionally light-years and many happy days ahead of most public comprehension. In other words, Drop the Lime’s productions are aurally intriguing as they are bizarrely infectious: Creole-booty bass, honky tonk techno, and déjà vu Doo Wop house all brought to the table with unparalleled sonic swank. And that’s only just the first track.

Drop the Lime founded AND actively runs taste-shaping label Trouble & Bass: the label arguably responsible for initially igniting the fire that caused New York City’s hip-centric dance explosion. Trouble & Bass is not only an industry-approved namesake across the EDM realm, it’s the fulcrum of next level big bass and genre-reimagining eclecticism. The label, commanded by Drop the Lime and its key members such as AC Slater, Mikix the Cat, Little Jinder among many others run an ever-evolving audio institution that has help put the US-born electronic music on the global map.

Thus unsurprisingly, his label’s industry-wide influence and of course his irrefutably distinctive original productions have far from gone unnoticed. Drop the Lime signed a worldwide partnership deal with globally-renowned electronic music imprint ULTRA MUSIC for the Fall 2011 release of his forthcoming debut album ENTER THE NIGHT, thus joining the ranks of fellow label mates & world-wide EDM giants DEADMAU5, WOLFGANG GARTNER, BENNY BENASSI, and THE BLOODY BEETBOOTS, among countless others.

And despite all the bragging rights this guy has and very much deserves to exert, the Luca is still one helluva nice guy that’s unquestionably excited and passionate about everything he does; it would be remiss of me to not mention also – the guy has just got unbelievably impeccable style.

Drop The Lime – Hot As Hell (Canblaster Remix).mp3

’Hot As Hell (Canblaster Remix).mp3′ got a chance to chat with DROP THE LIME at the happiest most colorfully bizarre place on Earth, at Electric Daisy Carnival in Las Vegas no doubt. Despite the fact our microphone couldn’t ever be even half as cool as his chic as chrome-plated Big Elvis-style microphone he uses in his live sets, DTL still graciously took the time to talk to us about his forthcoming album, the latest happening over at Trouble & Bass, and even to point out some of EDC’s intrinsically bizarre curiosities.

The Music Ninja: Since you haven’t played your set yet, is there anyone here at EDC you are particularly excited to see?

Drop The Lime: Well, It is crazy because the line-up itself consists of so many friends, so it is good to see everybody all in the same place… Out in the desert in this crazy heat! But I really want to check out Skream & Benga, I just saw [Bloody] Beetroots (who were great!).

TMN: Very cool! So tell me, what do you have planned for your performance tonight, anything new?

Drop The Lime: A lot of new stuff! A lot of new stuff of my own and a lot new stuff from Trouble & Bass. But it’s the 3:30 slot; it’s a festival, and people are going to get a little crazy, so I am going to play pretty hard tonight! Continue reading

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[Interview] In Depth Talk with Boreta of The Glitch Mob + NEW EP Released TODAY

While we hold the utmost respect for all electronic dance music artists/producers in the highest regard, there has to be something said, and an even greater level of admiration denoted to those rare artists who bring to life their studio sounds. Who take on the exceptional task of performing their electronic productions LIVE, and at the same level and audio potential they were intended to be heard.

One prime example of artists, who have been recognized world-wide for their next level performance endeavors is LA-based three piece The Glitch Mob – who continually distinguish themselves as true performance artists in not only the Electronic realm, but across the entire spectrum of music as a whole.

In just the last year, not only have they successful finished an extensive full-scale tour for their premiere album, “Drink the Sea”, but they’ve also performed at nearly all of the largest festivals around the world, including Electric Zoo Festival, Electric Daisy Carnival, and Red Rocks. And of course, not forgetting to mention, their massively-anticipated forthcoming performance at mega-Chicago-based gathering, Lollapalooza.

Despite their intense tour schedule, The Glitch Mob found time to return to the studio when they were approached and asked to remix Daft Punk’s “Derezzed“, joining the prestigious short-list of EDM giants including Moby, The Crystal Method, Kaskade, involved in the official remix project titled “TRON Legacy: Reconfigured”.

Now The Glitch Mob are back again and delivering yet another installment of original productions: Their We Can Make the World Stop EP is being unleashed today July 12th – . The EP includes three all new sonic concoctions, that showcase TGM’s next level technologically-savvy sounds and undeniably hypnotic melodies. We featured Warrior Concerto just a few days ago and here is another preview for their song ‘We Can Make The World Stop’.

Buy The Glitch Mob – We Can Make The World Stop

’01 We Can Make The World Stop.mp3′

This should come to no surprise to our faithful ninja readers, but we at The Music Ninja (TMN), really really love The Glitch Mob. And because it has been way too long almost a year since our last interview with the boys, we decided it was more than time to reunite with our very favorite mob de glitch so they could catch us up on everything going down in their world, including their current tour and exciting forthcoming festival appearances, as well as about their über brilliant, brand new visual set-up. And what better place to do it than at the very happiest place on Earth – Electric Daisy Carnival, of course!

One-third of the mob, Justin, aka Boreta kindly took the time to chat with us about all the exciting developments going down within the ‘mob, giving us and you our delightful ninjas, an inside scope on the latest Glitch what’s whats and their new EP!!

The Music Ninja: What did you guys think about Electric Daisy Carnival this year!?

Justin TGM: EDC is amazing. Strictly from an artist perspective and my perception of the morality of the whole thing, the production is totally unbelievable.

There’s no other place in the world where we get to play on the stage with flame-throwers and a huge sound system and everything like that.

It was just awesome, we loved it. 

And I think [EDC] felt a lot better being in Las Vegas. We were just concerned being apart of this whole thing where there’s under-age drug use and death, given what happened last year, so it was definitely a concern at the start. You know on a serious note, we want to obviously do something that does more good than harm… But everything, as far as I know, went very well and nobody died this weekend. It was fantastic and they put on such a good show, and they paid so much attention to every detail, and really blowing people’s minds with the sound. That effort they put in really means a lot to us because people hear it the way it’s supposed to be heard. And they did it, and they did it well. Having it in Vegas, there was a lot more breathing room as opposed to a smashed Sports Arena. No question the venue this year could definitely handle a lot more people. And it was great!
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[RECAP] 11 Reasons that Made EDC Vegas an EPIC Success

Everyone was so quick to judge Electric Daisy Carnival in Las Vegas – wellllll before it even began. Across Twitter, Facebook, and even across the mainstream press, so many people speculated that this festival was going to be a living nightmare, and result in numerous drug/crowd-related tragedies.

And my goodness gracious me, allllll those Nancy nay-sayer could not have been so very wrong.

Sure, I was exhausted. I was sunburned. Lips chapped. My voice sounded and felt like sandpaper being rubbed on porcelain. (I never knew it was possible for it to be 100 degrees at 10 pm night!?)

However, after this past EDC, I can justly pronounce: Electric Daisy Carnival Las Vegas, was better than EDC LA EVER was. BOLD. I know.

In comparison, last year EDC was a ill-supervised clusterfuck & imminent-danger glitter orgy. AND, contrary to popular speculation, Electric Daisy Carnival Las Vegas actually felt very controlled and very safe.

Here are, in my opinion, the TOP 10 11 Reasons that made EDC Las Vegas so successful:

11. Mentality
Las Vegas is unapologetically known for its over-indulgences, promiscuity, and utterly unrelenting debauchery. Thus both the City and the residents are thoroughly PREPARED to handle universal-party-fail-chaos.

10. Location
Because the Speedway was just far enough away from the Strip and Downtown Vegas, the high traffic volume didn’t overly-burden the existing Vegas residents and highways. The previous EDC location, at the LA Coliseum, was literally dead center of Los Angeles’ Downtown area; the already-congested freeways and highways could not handle the influx of additional traffic, thus resulting in dead-stop freeway traffic and overall congestion in neighboring residential areas. But any LA resident could have predicted that…

9. STRICT age-restrictions
At the gate entry this year, even before you went through search, each and every person had to scan their ID. Why they didn’t do that last year at EDC (at least as far as I could see) I don’t know, but having those tight security conditions ensured that only adults could enter the premises. Maybe in a few years they’ll allow younger-aged partyers into the event, however for this 1st round “VEGAS” experiment I think having age restrictions in place were justly appropriate, and moreover provided a greater sense of universal control throughout.

8. Great Self-Parking
AMPLE and convenient self-parking, I might add. Not having to park in the surrounding neighborhoods meant that the event wasn’t an unfair burden on local residents. Not to mention how super dodgy it was to trek through those dark neighborhoods at night after the event, scouring the area for your car in a neon green tutu (essentially with a big red bulls-eye on your back).

7. Freeway Access
Sure there was only three lanes of general entrance into the festival, but they were located as directly off the freeway as imaginably possible. It always made me nervous how in LA, because of the unrelenting traffic impact and total highway AND freeway congestion, there was no access for police nor ambulances in case of an emergency, in and/or outside the festival. But in Vegas, routes were direct and easily navigated by the public, and a lane was left open for through traffic and emergency vehicles. (Sigh of relief)

6. Venue access
Direct, centralized, and easy linear routes to the inside of the venue ensured crowd-control in terms of entry. And yet those access points were never once congested nor crowded. Everyone came and left through the same doors. No fence-climbing and tent leaping shenanigans this year.

5. All Access to Stage areas.
Given the whole lack of restroom and in-and-out access inside the LA Coliseum, it’s not only a wonder but a FUCKING MIRACLE that only one person has died in the years past inside the LA-based venue. I remember standing in the same spot for SEVEN hours just to hold my position inside the Kinetic Field (EDC’s main stage area). No access to bathrooms, nada. People were forced to pee in bottles and on the fences. It was one of the most foul things I have ever witnessed. Needless to say, having an open capacity areas in front of the stages with in-and-out access, was not only practical but FAR AND AWAY MUCH SAFER. And I’m pretty sure it kept the post-EDC UTI-count low as well.

4. Heavy Police Presence.
Last year at EDC was an absolute FREE-FOR-ALL. This year, the venue was properly policed by the city’s own sanctioned officers – and not at ALL in an intimidating way. Pretty much everyone felt comfortable to approach them and even talk with them. Whether they were asking for directions, set times, or even just striking up conversation, the patrols seemed very happy to help. I even saw a few of them dancing and taking video! Bottomline: They weren’t there to BUST anyone unwarranted: they just simply posed as a friendly reminder for everyone to keep it together and to rave responsibly.

3. Cool Rooms
Central and easy to locate “Cool Rooms” were accessible to EVERYONE. These areas provided ample space for tired ravers to take a break from partying, and as well as the (sometimes) 100 degree nighttime weather. One can also not forget to mention the several secret, über-plush rooftop lounges and designated social areas that had beautiful views of the entire venue, and even pristine bird’s eye views/sound from particular stages! I can’t remember if EDC LA even had ONE designated place for people (NON-VIP) to sit down, other than inside the stadium itself on the existing bleachers. Insomniac really went out of their way to furnish and designate “Cool Rooms” that were both convenient, and not to mention pretty damn chic.

2. Venue Layout
I’m actually laughing as I write this, thinking about HOW UNBELIEVABLY DIFFICULT it was to navigate from stage-to-stage last year. It was so dark, all areas were poorly-designated, and masses of confused ravers bumbling around in circles made it an absolute nightmare trying to stage-hop last year. This year, the Speedway set-up was, needless to say, circular (imagine that…) which made each and every stage very easy to find. Moreover proper lighting venue-wide made the experience of stage-hopping actually pleasurable and achievable for even wasted ravers.

1. Insomniac-exclusive amenities and special productions
Insomniac really went out of their way this year to provide outstanding visuals, pristine stadium sound, mesmerizing performers, and unique elements one could only find at Electric Daisy Carnival. Lightshows, lazers, trampolines, remote-controlled blimps, scantily-clad dancers, confetti guns, and the most eccentric gold-pasties and gold-stretchy pant-clad dancing-Aussie angel I’ve ever laid eyes on – it’s fair to say Insomniac’s ability to produce next-level aesthetic and sound quality is unmatched by any other production team in the world.

It’s clear that the LA-based venue could never meet the utmost high caliber of Insomniac Events’ expectations. Combining the overwhelming support and the countless human resources from the City of Las Vegas, as well as their existing ideal infrastructures, in association with one of the world’s leading event planning & promotion companies, Insomniac Events was able to create the most brilliant production in its history.

I still haven’t decided yet whether or not I prefer the whole time schedule – maybe in my tweens I could’ve fared better with the nocturnal 8pm-7am arrangement – at any time of the year. Sure, I know the schedule was set to avoid the wretched Vegas heat, and I appreciate that, however, at this quarter-life-crisis-point of my life, I’d really hate to have to admit I’m “too old” to EDC.

However it would be remiss of me to not mention how unbelievably special it was to watch the sunrise during Major Lazer’s set (Diplo and Switch also both being my very favorite producers in EDM) and to see the massive clouds of people still excited and happily swaying to their eclectic sounds.

Maybe the sunrise as the telling end of each majestic night is an essential part of EDC’s magic. Perhaps it’s Insomniac’s way of further demonstrating why Electric Daisy Carnival clearly stands apart from all EDM gatherings across the globe.

By: Taylor Doms (Founder;
Photo by Spencer Handly

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[PHOTO GALLERY] Electric Daisy Carnival Las Vegas 2011

Electric Daisy Carnival Las Vegas was an absolutely awe-inspiring experience for all hundreds of thousands of EDM fans in attendance. I’ve been to MANY festivals before and I had even been to EDC in LA in years past: however, nothing of equal caliber to that of EDC Las Vegas. So many people were so quick to speculate imminent disaster, even before the event began. But, EDC Vegas was not only the most brilliant and vibrant production I have ever seen, it was also the most organized and well-contained of ANY event I have been to, EVER.

In other words, Electric Daisy Carnival Las Vegas 2011 was an incredible success. And here are all the amazing photos to prove it.

ALL photos by SPENCER HANDLY for &


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A MASSIVE thank you INSOMNIAC EVENTS for inviting to take part in this unbelievably exceptional event and providing an unforgettable experience for us! TMN <3 EDC thank you again so much, we are already anxious to be back again next year!!!

By: Taylor Doms (Founder/; EDC Enthusiast)

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[DnB] Manu Chao And Portishead – King Of The Bongo (Breaks Mix)

Man, this is a serious sonic step-up from when I used to blast this track in the car during my wake n’ bake pre-surf sessions!

The “Breaks Mix” of “King of the Bongo” is the kind of track you’d expect to hear in some indie grom surf movie; yet seamlessly transitions in just the way you’d expect us to describe it: As the perfect foundation for any dubstep technician mastering his whomps live, right before he unleashes utter grime-riden chaos. This track with its commanding yet cheerful & Caribe-minded breaks, will stomp utmost authority across dancefloors. DJs, cut through layers of filthy aural residue and drop this in mid set for an energetic jumpstart.

Manu Chao And Portishead – King Of The Bongo (Breaks Mix)

’Manu Chao And Portishead – King Of The Bongo (Breaks Mix)’
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[Event] Electro Zoo Festival 2010 Recap

Electric Zoo Festival NYC 2010: Intro into RUSKO’s set

Electric Zoo Festival was certainly beyond my expectations. I have to admit, given its situatedness in New York, I was somewhat expecting EZF to be rather similar to what I envisioned Woodstock might have been like: Chaos, nudists, hysteria, mud, and general barbaric mayhem. But rather, and thankfully, the whole experience was quite opposite of that:

The set-up for Electric Zoo was just, splendid, absolutely splendid! Perfect for ambitious types like me who like to "get around" when it comes to stage-hopping at festivals. At first, I was upset with whomever put together the insensitive set-time schedule, making it seemingly impossible to attend any one set for even more than 30 minutes, without feeling guilty that you were missing another one of your favs. (Prime example: Wolfgang Gartner and A-Trak‘s sets started and ended at the EXACT same times!!!!! 🙁

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