DJ Carl Gasbo aka Kasbo doesn’t listen to much electronic music. If you saw his set at this past Decadence New Year’s Eve electronic music festival, you’re more than aware of the talent this guy from Sweden has.
“I feel distanced from that ‘EDM’ term,” he says. Preferring hip-hop and indie that inspire him to create a modern and approachable sound.
“It sounds tacky, but I try not to think in genres,” said Kasbo, who is making what he loves. “I believe the music is a product of what you listen to.”
It showed at Decadence when he mixed trance, hip-hop, indie, dance and house music. He does recognize Flume and Odesza for setting a path that helps DJs like himself to steer away from tired electro-pop hits and embrace diverse influences.
In Sweden, Kasbo believes electronic music is dying out and pop music is on the rise. “We definitely have Swedish House Mafia and Avicii… but I feel like it’s kind of dying down.”Last March Tim Bergling, aka Avicii, announced that his 2016 tour would be his last.
The first Ultra Music Festival in Miami in 1999 cost $200,000. In 2013, Russell Faibisch estimated in a Miami New times article that in 2013 Ultra would require $25 million to $30 million dollars to pull off. This is a significant jump from the infant days of UMF. Today EDM music festivals cost tens of millions of dollars to put on. In a Forbes article, Pasquale Rotella was interviewed about the history of EDC and stated in 2014 that it would take $36 million to throw EDC in Las Vegas. Ultra Music Festival in Miami and EDC have large impacts on the surrounding area and add to the burgeoning $6.9 billion EDM industry, but the economic boom provided does come at a cost that is running ever higher.
Tomorrowland began a little over a decade ago in 2005 with about 10,000 unique visitors and had swelled to 180,000 unique visitors in 2016. Tomorrowland is looked to as the trendsetter when it comes to stage design and production. However, it is not the visual environment that ID&T founder Duncan Stutterheim, the founder of ID&T, feels it’s costing festival organizers an arm and a leg. In remarks made at the Noorderslag Seminar in Groningen in 2015, Stutterheim discussed the rising costs of booking DJ acts. Tiesto and David Guetta can command $350,000 while Calvin Harris could be paid up to $500,000 per an investigation by QUOTE. So how have festival organizers dealt with these rising costs? One way is sponsorship, the double-edged sword.
Sponsorship is a way for festivals to invest more money into the festival experience without having to worry about the increased financial risk, but festival organizers are still making a big gamble in favor of reward over that risk. Festival organizers have to find the right balance and ensure the festival isn’t turned into one big marketing bonanza as sponsors will expect there to be some product placement and advertisement. But even with sponsors, there are going to be expenses festival organizers will have to manage. All manners of work are involved in putting on a festival, and all of those workers have to be paid. Festival goers encounter the front line: parking attendants, security personnel, food service workers, and ticket box workers. Employees who are in the background but whose skills are ever present are sound engineers and stage workers. Then there are porta potty vendors, sales managers, talent buyers, web developers, sponsorship coordinators, social media managers, operations assistants, city officials (for fees and licenses), and venue operators. Remember all the people it takes to put on a festival the next time you gasp at the cost of admission. What is paid for memories for a lifetime is a fraction of what it costs to provide the experience for those memories.
Everything within this article will tell you what you need to do to become a World Class Raver and can rave anywhere in the world. Raves are a place of enjoyment and wonder however they present physical and mental challenges at various levels. From Multi-day festivals, crowds, extreme heat to difficult terrain.
If you are the kind of person who subscribes to the “Go hard or go home” policy, then I commend you highly; however, one thing to note is those who go too hard and become a burden to their friends or the crowd. A world class raver will have the experience to go just as hard but know their limits to be safe and to help those around them.
The ability to go into any rave in any country and can adapt. I always find it helpful to do a little research on where you are going to party and find out about the scene from other ravers. It is always great to join Facebook groups and chat with people who are attending events with you. This will help you build a network.
Traveling to experience a rave in another country is a must for all ravers looking to claim that “World Class Raver” tag. If you can say you have raved in at least 4-5 countries, then you will have earned that badge of honor.
Leadership brings an important part of this tag. If you can gather a bunch of people from different backgrounds and blend them into a squad, then you really are a “World Class Raver”. A leader will be expected to give advice on anything from how to be safe, festival specifics, what sets to look out for and looking after those in the group who have partied a little too hard.
The ability to walk into a new rave experience and gain respect from your fellow ravers. If you are respectful to the culture and also, take the steps from above then you will quickly gain the respect of your fellow ravers regardless of country.
Knowledge and experience
The way to build this is through Eat, Sleep, RAVE, Repeat. The more festivals you go to, the more friends you make and the more you develop the knowledge then the more experience you get. It is then up to you to guide the future generations as a “World Class Raver” so just keep on raving 😀
A new series is coming out on Viceland called “What Would Diplo Do?”. I don’t know what’s more weird the fact there’s a show dedicated to Diplo or that the Varsity Blues star James Van Der Beek will be playing Diplo in this new series.
The idea for What Would Diplo Do? comes from a concert promo for Diplo’s annual Mad Decent Block Party, called A Day in the Life.Van Der Beek starred in this as well, so he was already familiar with working with Diplo.
The show which has 6 episodes will be airing sometime later this year.
25. Orjan Nilsen – Iconic [Armind]
24. Cosmic Gate – am2pm [Wake Your Mind]
23. Alex M.O.R.P.H. & Paul van Dyk – We Are [Vandit]
22. Armin van Buuren feat. Eric Vloeimans – Embrace (Andrew Rayel Remix) [Armind]
21. Armin van Buuren feat. Kensington – Heading Up High (First State Remix) [Armind]
20. Alan Walker – Faded (Talla 2XLC Uplifting rework)
19. RAM feat. Stine Grove – Forever And A Day [Grotesque]
18. Simon Patterson & Magnus – Evoke [Who’s Afraid Of 138?!]
17. Kyau & Albert – Memory Lane [Anjunabeats]
16. Hilight Tribe – Free Tibet (Vini Vici Remix) [Iboga]
15. Bryan Kearney & Christina Novelli – By My Side [Armind]
14. Gaia – Inyathi [Armind]
13. MaRLo – Join Us Now [Who’s Afraid Of 138?!]
12. Ben Gold – Im in A State of Trance [ASOT]
11. MaRLo – Darkside [Who’s Afraid Of 138?!]
10. Gareth Emery feat. Christina Novelli – Save Me [Garuda]
09. Ferry Corsten presents Gouryella – Neba [Flashover]
08. Aly & Fila x Luke Bond feat. Audrey Gallagher – A Million Voices [Future Sound Of Egypt]
07. Super8 & Tab – Mega [Armind]
06. The Thrillseekers pres. Hydra – Amber [Future Sound Of Egypt]
05. Aly & Fila with Ahmed Romel – Kingdoms (FSOE 450 Anthem) [Future Sound Of Egypt]
04. MaRLo feat. Chloe – You and Me [Armind]
The top 3 of 2016:
03. Armin van Buuren presents Rising Star feat. Betsie Larkin – Safe Inside You [Armind]
02. Jean-Michel Jarre & Armin van Buuren – Stardust (Rising Star Remix) [Armind]
01. ASOT TUNE OF THE YEAR 2015: Ferry Corsten presents Gouryella – Anahera [Flashover]
Deadmau5 is a great DJ/Producer with a unique sound, but like many have claimed that EDM is not the same as it used to be. I also think his music attracts more of a different type of crowd than the ones you’d see at a mainstage at an EDM festival.