These Photos Of Sober Ravers At Shambhala 2016 Prove You Don’t Need Drugs To Have Fun

All photos by Johnny Erwin, Oliver Pirquet, and Adam Rabb

Having recently celebrated its 19th anniversary, British Columbia’s Shambhala Music Festival has become a world leader when it comes to harm reduction, providing pill testing and sanctuary care for those who choose to use drugs. There’s plenty of medical and security staff on-site, including non-profit group AIDS Network Kootenay Outreach and Support Society (ANKORS), who are constantly expanding their services as new challenges arise like the province’s current fentanyl crisis.

While this is good news for the many who choose to indulge in mind-altering substances at these events, the festival also caters to those who don’t need to get drunk or high to have fun, including individuals with histories of addiction. In 2013, Shambhala introduced Camp Clean Beats, a supportive drug and alcohol-free camping area with optional recovery-based meetings. Given the current ongoing conversation about North American festival safety, it’s perhaps no surprise this year saw over 30 participants, CCB’s highest attendance rate yet.

We spoke to a handful of attendees and the initiative’s co-founder Mandy Lawson to find out what it’s like to experience the electronic music festival in the Kootenay Mountains completely sober, and why it’s important for safe zones like these to exist.

Mandy Lawson (Camp Clean Beats co-founder and coordinator)

Hometown: Nelson, British Columbia

Years Attending Shambhala: 10

She Says: “Camp Clean Beats is a clean and sober camping area for people who want to party but not do drugs or drink during the show. That’s including weed. We still party, we just don’t party that way. We provide three recovery-based meetings a day, you don’t have to belong to a 12-step program.We provide a drop-in place for people who are curious about what partying sober means. If you want to party sober, there are supports here.

I used to do drugs to try to get that connected feeling, go out and dance, not get it, do more drugs and still not get that feeling. Then the next day I’d feel empty inside and be filled with remorse and shame. Today I can go out on the dancefloor and feel connected to my friends, my higher power, and it sounds so cheesy, but the bass.”


Hometown: Whistler, British Columbia

Years Attending Shambhala: 1

He Says: “Having Clean Beats here was really encouraging for me. You want to listen to yourself, and you want to listen to people who are around you that are wiser than you, and have been clean longer than you. That dynamic of having a community that can think outside your own head for you sometimes is good. For me, this is a huge passion, I love dancing, I love electronic music. To be able to come to these big electronic shows and know that I’m going to have a good time and be sober is a huge thing. You don’t have to not have a life any more just because you’re sober and clean, in fact, my life has become much better as a result.”


Hometown: Victoria, British Columbia

Years Attending Shambhala: 4

He Says: “My first Shambhala, Clean Beats was actually camped near me, so I had to walk by it on my way to the stages and see these people doing it all clean. So I knew there was that aspect to the festival, I just couldn’t stop because I was simply an addict, and I didn’t know what taking one of something meant. Finally when I went to rehab for my addiction and started getting rooted in recovery, I knew Shambhala would be a possibility at some point, because I knew that Camp Clean Beats was there.

I still see people that use and I don’t judge them for using. I don’t look at them like they’re less than me because they’re using, or with jealousy or envy. I see people using in the same way that I imagine someone with celiac would see a piece of pizza that looks delicious. They know it’s not for them, but it does look delicious!”

Andrea Nelson (Camp Clean Beats staff)

Hometown: Nelson, British Columbia

Years Attending Shambhala: 9

She Says: “I got sober ten years ago when I was 20. All my friends were raving and going to parties, so I just started going to Shambhala and I was sober, just drinking lots of Red Bull and eating mini-donuts.I met Mandy and she couldn’t believe I was doing it on my own. She told me about Clean Beats so I came out last year, I think it had been like seven years since I first came out sober.

It really was a lot different for me being in a group of sober people. A lot of us separate and go do our own thing when it comes to going to the shows, but being able to come back to a base camp like this is really supportive. It feels like a home, we have a living room, and know when the meetings are. There’s a sense of belonging somewhere within the festivalI got a lot out of it last year.”


Hometown: Salem, Oregon

Years Attending Shambhala: 1

She Says: Since I got sober almost four years ago, I haven’t been to a music festival or a rave of any sort, because of not being sure of the environment. Having been big into the rave scene starting out about ten years ago, it was a big part of the culture for me, to see how far you could push it and to get as high as possible. I barely remember half the times I went to raves before. Shambhala has this amazing spirit and communal aspect to it, and to get to retreat back to a place where there’s sober support was really super important for me. I’m one of those people who wouldn’t be here if it wasn’t for Clean Beats having this safe space.

I know everyone’s names that are camping here. We get to share really intimate things in these meetings about ourselves and our experiences, not only here, but about our lives and it connects us all. I think there is something really intimate about people in recovery, that we crave interpersonal communication and interpersonal relationships. We don’t have to miss out on such a big part of being young and having fun just because we choose not to do drugs and alcohol any more.”

This Drum And Bass DJ Taught His Mum How To DJ And She Totally Killed It

Screengrab from Facebook video

Whether it’s one’s inherited physical characteristics, as discussed in’s 2007 hit “I Got It From My Mama,” or perhaps an individual’s knack for philanderingsee Birdman and Lil Wayne’s collaborative opus “Stuntin’ Like My Daddy”much of the identity and skills we posses as humans comes from our parents. For UK-based drum & bass DJ, Deviation, it appears his knack for mixing up steely beats comes courtesy of his cheery mum.

In a Facebook video posted early yesterday morning, following what we imagine was a brief crash course in how to mix on CDJs, Deviation watches on from beside the decks as his mum dives into a nasty one-minute DJ routine in which she masterfully works faders, volume levels, and, of course, totally nails the infamous drum and bass stank face and hands-in-the-air move. Let’s break it down quickly so you see what we mean.

1.The Beat Match

A vital move in the world of DJing, here we see mum swiftly match up the left deck to the right, with her son chiming in with pointers on pitch control and general words of encouragement. Not as easy as it looks people!

2. Hands in the Air Move

While this might not exactly be a technical move, her timing with the bass drop is impeccable. Steve Aoki who?

3. One Up, One Down

Any DJ will tell you that quickly bringing out the volume levels on two tracks playing simultaneously is a great way to instill some energy in your mixespecially in drum & bass when the BPM is rather high. In this segment, mum does it like a pro, before returning to step two with more hands-in-the-air and even a puckered lip head nod (special bonus, always).

Only a day after it’s initial posting, the video of Deviation’s mum smashing it already is nearing the 1.5 million view mark. Due to explosive support from the comments section in the post, the DJ is reportedly uploading the set to popular online content portal, The LADbible. Either one of the better PR schemes we’ve seen in some time, or perhaps just a joyous session between a mum and her son, you should take the time to watch the video below. Here’s to mums.

Kyle Dixon And Michael Stein To Perform The 'Stranger Things' Soundtrack Live At Unsound Festival

Image via Wikimedia Commons.

Fans of the hit Netflix show Stranger Things will get the chance to hear the show’s eerie soundtrack live at this year’s Unsound festival in Krakow, Poland. Kyle Dixon and Michael Stein of S U R V I V E will perform their soundtrack to the show and it will mark the world premiere live performance of the score.

Unsound runs from October 16-23 with additional performances from Kaitlyn Aurelia Smith, Demdike Stare, and the Discwoman collective.

Stream the Stranger Things soundtrack in full below. Earlier this month, we explained how the soundtrack subverts 80s sci-fi tropes.

Watch The Black Madonna And Mike Servito's Instantly Iconic Dekmantel Set

The Black Madonna (real name Marea Stamper) and Mike Servito have a palpable energy when they team up behind the decks, and thus, their B2B sets have quickly become something of legend all over the world. So when Boiler Room announced that their stage takeover at this year’s Dekmantel festival in the Netherlands would feature a Servdonna (or is it Madonnito?) tag-team, we all knew it would be something special. And it was! Following a stunning performance by Rush Hour boss Antal, the Midwestern duo’s two-hour performance was another portal into their untouchable selection of acid bangers and high energy jacking house, as well as the kind of charm and good vibes that arise when two dear friends hit the stage to play music in the sunshine. Today, Boiler Room has released the stage’s entire run of sets from Saturday of the weekend, featuring, among appearances from Daniel Avery and Young Marco, Mike and Marea’s already-iconic set.

Check it out above (the set begins at about four hours into the video), and give another listen to the duo’s B2B from San Francisco in our 13 Best Mixes of 2016 So Far list, as well as our recap of Dekmantel.

The Cyclist Rides Again On New Hypercolour EP, 'Pressing Time'

This article was originally published on THUMP UK.

The Cyclist, looking a bit like someone’s just nicked his bike.

Irish producer The Cyclist has got an unmistakable sound. He calls it ‘tape throb’, and you’d do well to think of a better name for it than that. He manages to take the colours and textures of techno and break-beat, only to patch them together over atmospheres that are altogether more docile and fluid. His 2013 debut LP, Bones in Motion, was an exercise in just this, and since then his work as his alter-ego Buz Ludzha has continued to carve this dark but delicate path further.

Buz Ludzha’s New ‘Jungle Tapes’ Cassette Is Intended as a “Punk ‘Fuck You'”

The good news? The bike is showing no signs of slowing down. His latest effort, about to be released on UK mainstay Hypercolour, is Pressing Matters. An EP’s worth of taut, trippy rollers, tinged with just enough rave nostalgia to leave the silverbacks in the club teary-eyed. The original tracks are all about break-beats and pirate radio memories, but for the remixes Pressing Matters enjoys a pointedly Teutonic treatment. Robag Wruhme never disappoints, and he is on glittering form with this remix of the EP’s title track. The rework is a trippy but defiantly slamming version, and we look forward to hearing it very late at night somewhere, soon. Enjoy below.

Pressing Matters is out on the 2nd of September via Hypercolour.

London Mayor Sadiq Khan Urges Authorities To Find A Way To Keep Fabric Open

Photo of Sadiq Khan via Wikimedia Commons.

Sadiq Khan, the Mayor of London, has spoken out in support of fabric nightclub. Fabric closed this past weekend and its license has been suspended for 28 days pending an investigation into the suspected drug-related deaths of two 18-year-old men.

Members of the nightlife community across the UK and the rest of the world appealed to the mayor to intervene on the club’s behalf, including Sasha, Skream, Daniel Avery and Scuba.

It's Sunny Outside And French Touch Legend Fred Falke Has Turned In A Scorching Guest Mix

This article was originally published on THUMP UK.

Fred Falke doing his best ‘I’ve just sent you a screaming mix’ face.

THUMP had a night out a little while ago. For the life of us, we can’t remember who it was we were watching DJ, but there we were, dancing away quite happily, having quite a good night, when something happened. A track started to grow and swell like an ink-blot running from the speakers. Then a bass-line started walking underneath it. The communion was instant and the room was lifted to new heights. It was arriving, it was here. Fred Falke and Alan Braxe’s “Intro.” The experience could be echoed with any number of the French producer’s output. Alongside the likes of Romanthony, Stardust and those robot lads, he was part of the Filter House generation, the French Touch revolution.

Since then he’s barely stopped working, producing his own music and working with some massive names in the world of pop music. He also hasn’t stopped DJing and this September will be coming to the Magic Roundabout at Old Street in London for a rooftop summer spectacular. In honor of this event, and in honour of him genuinely being an all-round good bloke and great DJ, he’s sent us this guest mix. It’s as thrillingly fun as you’d hopefull of impassioned belters and big room screamers. We haven’t been able to leave it alone since he sent it across, and we can’t wait for you to hear it.

Fred Falke will appear at the Kitsune Showcase on the 3rd September. Tickets are available here.

DJ /rupture's New Book Will Make You Question Everything You Know About Music In The Internet Era

Photo by Erez Avissar/Courtesy of the artist

Right this moment, likely somewhere in a shabby gray apartment building on the outskirts of a sprawling, sweltering mega-city, a teenager is making beats in a bedroom on an old computer loaded up with bootlegged music production software. The rapid-fire lo-fi results might light up a local music scene, exploding from cell phone ringtones to parties on makeshift sound systems. But music distribution is a fickle beast in the 21st century. Despite the fact that the internetand cheaper and more widespread technology generally speakinghas made it feel like we have the entire world at our fingertips, that music may or not even get beyond the neighborhood that birthed it. If it does, it’s likely to mutate in head-scratching, unexpected ways.

Jace Claytona musician, writer, and cultural criticis fascinated by these digital dynamics and their analog antecedents. The whats, whys, hows, and politics of music production are themes that have guided his eyes and ears over the last decade-plus working both as DJ /rupture and under his own name. But now, he has a text to back it up, in the form of his first full book, Uproot: Travels in 21st Century Music and Digital Culture, released yesterday by Farrar, Strauss and Giroux.

Clayton is an eagle-eyed observer of contemporary trends in music, with a unique insider and outsider perspective, since he’s lived through many of shifts as both a critic and a participant. Performing as DJ /rupture, Clayton vaulted to success in 2001 on the Internet-distributed strength of his three-turntable, sixty-minute mix Gold Teeth Thief. His genre-exploding sets, relying on equal parts digging for dusty records and the metadata-less archives of mp3 hosting sites, have been in-demand ever since. 15 years later, gigs across the globe have put him on the frontlines of the analog-to-digital transition, leaving him keenly aware of its impacts on DJ culture. As a music writer for publications like The Fader, n+1, and Frieze, he’s reported firsthand on hybrid sounds like cumbia digital in Buenos Aires, tribal in Monterrey, Berber pop in Morocco, and electro chaabi in Cairo. As a musician, he dabbles across the digital dividereluctantly embracing a virtual DJ set-up after a car accident destroyed his record collection on tour, but also perfecting live performances with punk guitarist Andy Moor and Clayton’s own music ensemble, Nettle, where traditional Mediterranean rhythms meet breakcore.

Uproot draws on all of these experiences and offers a wide-reaching series of vignettes, riffs, and mini-essays to knit them all together. Clayton critiques the concept of “world music” by pointing to rough-and-tumble adaptations of house, techno, and hip-hop that are very global, but unlikely to pass the “authenticity” muster with WOMEX gatekeepers. He interrogates the politics of sampling, explaining how his early enthusiasm for Jamaican vocal snippets in ’90s jungle tracks waned in the drum and bass era as they morphed into “clichd associations of black masculinity with aggression.” And as the music industry continues its perpetual crisis mode, he eagerly anticipates the distribution platforms that will follow. “I want the giants to fall even faster,” he writes, “so we can see what weird flowers start blooming in the spaces left vacant.”

Asking questions without providing many definite answers, Clayton thinks like an academicbut thankfully doesn’t write like one. His prose is still erudite, but it’s also compulsively readable, like a choose-your-own-adventure for music nerds. THUMP spoke to him over the phone from his home in New York City ahead of the book’s release party at Rough Trade in Brooklyn.

THUMP: Your globetrotting adventures as a DJ and music writer take a prominent place in this book as you tell stories from Beirut, Monterrey, Cairo, Casablanca, and the Berber highlands of Morocco, among others. If you could add another chapter detailing a first-person investigation into a digital music scene that excites you, where would it be?
Jace Clayton: Seoul. K-Pop is totally fascinating. What’s going on with pop music sort of moves into the global spread. Bollywood or Nollywood is a good reference , is this going to be interesting five minutes later? Should it be? How do you think you are holding onto stuff? There are no easy answers and everything is always changing.

Jace Clayton’s book Uproot: Travels in 21st-Century Music and Digital Culture is out now via Farrar, Straus and Giroux.

Montreal’s Favorite DJ Duo A-Rock And Shaydakiss Discuss Set "Secret Weapons,” Stage Design, And More

Photo courtesy of Daily VICE

From hosting the city’s hottest dance parties to rocking festival stages with their dynamic back-to-back DJ sets, Montreal’s Shaydakiss and A-Rock are the perfect partners in crime, combining high-energy vibes with killer selections. After playing shows together and separately for over ten years, they’ve begun working with other artists on live visuals, some of whom are amongst the biggest names in music today.

We sent Daily VICE to catch up with the pair after their set at this year’s leSoniq, a two-day Montreal festival which took place August 5-6, which featured performances from Skrillex, Tiga, DJ Mustard, and more. In the brief interview, they discussed collaborations, art direction, and how working on Beyonce’s “Formation” Tour “spawned a brand new relationship” between the two of them.

Watch below and revisit our 2016 feature with Shaydakiss talking about gender inequality in the dance world.

Calvin Harris Is Still The World's Highest Paid DJ

Photo of Calvin Harris via Wikimedia Commons.

Forbes‘ annual list of the world’s highest-paid DJs, “Electronic Cash Kings,” has been released for 2016 and for the fourth year in a row, Calvin Harris tops the list. Despite claiming the number one spot, Harris pulled in $3 million less than the previous year. But he probably is not hurting too much. Forbes reports Harriswho earns more than $400,000 per Las Vegas gigearned a cool $63 million dollars for the year.

New DJs to enter the list include Dimitri Vegas & Like Mike, who earned the number ten spot with $15.5 million. Their ranking is just below Martin Garrix ($16 million) and just above Afrojack ($15 million).

Collectively, the top ten earners on the list made $270.5 million this year, a 1 percent drop from the previous year. It is the first year in which the cumulative total has gone down since Forbes began tracking the numbers. Some DJs on the list cite a changing music scene.

“The bubble has already burst in America,” said Steve Aoki, the number five DJ on the list with total earnings of $23.5 million. “You can see it in Vegas’ DJ landscape.”

Forbes notes that many of the stars on the list make their earnings in realms outside of the DJ booth. Estimates for the magazine’s list were derived from reports of earnings from live shows, merchandise sales, endorsements, recorded music and outside business ventures from June 2015 to June 2016. Read the full list below.

Forbes’ “Electronic Cash Kings”:

1. Calvin Harris $63 million
2. Tisto $38 million
3. David Guetta $28 million
4. ZEDD $24.5 million
5. Steve Aoki $23.5 million
6. Diplo $23 million
7. Skrillex $20 million
8. Kaskade $19 million
9. Martin Garrix $16 million
10. Dimitri Vegas & Like Mike $15.5 million

Five Unexpected Facts We Learned From Giorgio Moroder’s Reddit AMA

Photo via Wikimedia Commons.

Legendary Italian producer and DJ Giorgio Moroder continues to welcome a new generation of fans to his music. He found new interest in his pop and disco productions with vocalists and as a solo artist upon the release of Daft Punk’s 2013 album, Random Access Memories. Although Moroder has released a number of solo albums (including the influential From Here to Eternity) and scored many films like Midnight Express, American Gigolo and The Neverending Story, he is probably best known for his work for other people like Donna Summer. In 2015, Moroder released Dj Vu, his first new album after 23 years. The record featured Britney Spears, Kylie Minogue, Sia, Kelis, Charli XCX and others.

Moroder joined Reddit today to participate in an official Reddit Ask Me Anything (AMA) in the R/Electronicmusic board. Moroder answered a series of questions about his life, career, and current projects in the short AMA. Here are our five favorite things we learned from Moroder’s AMA today.

1. Giorgio Moroder LOVES EDM

Reddit user castle-black asked Moroder who are some of his favorite contemporary electronic producers. Moroder surprised many in the forum by naming EDM acts like David Guetta, Skrillex, Marshmello, and Martin Garrix among his favorites. He reiterated these choices again when similar questions were asked later in the AMA. He might have defined disco and revolutionized the dance music world, but Moroder is all about EDM today.

2. He wants to work with Rihanna

When Reddit user JacobDeZoet asked Moroder if there were any artists he is working with now or would love to work with, he enthusiastically replied with Rihanna. The legendary producer and the pop star could make for an interesting musical match. Rihanna found her largest global success with EDM pop singles “Where Have You Been” and “We Found Love.” Both were produced by Calvin Harris. And knowing his strong collaborative history with feisty female vocalists, this sort of collaboration could be just as revolutionary as anything from the past.

3. Flashdance holds a special place in his heart

When pressed on the favorite song he’s ever created by Reddit user doscomputer, Moroder chose “What A Feeling,” the number one hit single from the 1983 film Flashdance. That’s not too much of a surprise. The platinum-selling track is one of Moroder’s most successful records ever, winning the Academy Award for Best Original Song and the Record of the Year Grammy. We’d be super proud of it, too.

4. He likes technology new and old

Although Moroder said the Moog Modular is his favorite synthesizer, he is a big fan of modern technology. “Honestly i am so shocked about the computers and what they are capable of today!” Moroder enthusiastically told user TeamBanzai. When asked about what contemporary synthesizers he likes to use, Moroder instead put his support behind the computer. “I use the synthesizers now on the computer,” he said. “Very different (but still the same) way of making music.” Old school, he is not.

5. He will premiere new music at I FEEL LOVE in September

Interested in hearing some of the new work (and potential collaborations) he has been working on in secret? Moroder said that fans can hear them live for the first time at I FEEL LOVE, an upcoming two-day event reimagining the music and culture of the disco era with performers from today. Named after the Donna Summer song of the same name that Moroder produced, the producer and DJ will play both nights of the event. “I bet you will be very pleased with some of my new tracks,” he said.

You Haven't Heard The 'Stranger Things' Theme Song Until You've Heard Deadmau5' Version

Screencap via Twitch

With Stranger Things becoming one of the summer’s most talked about TV shows, Deadmau5 recently did a spaced-out rework of its theme song in his home studio.

The 80s-set Netflix supernatural science fiction series has been getting a lot of attention for its soundtrackwritten by Kyle Dixon and Michael Steinbut the Canadian producer’s version rebuilds the opening track from scratch, adding reverb-heavy, analog synths, and galactic thumps to give it a new, equally eerie feel.

Watch the entire process below via Deadmau5′ Twitch and read our review of his recent virtual reality video game here.