Jean-Michel Jarre Preps All-Star Collaboration

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Jean-Michel Jarre, the French composer behind such game-changing electronic albums of the ’70s as Oxygène and Équinoxe, among many others, still has plenty of surprises up his sleeve. Take for instance E-Project, which is the current working title for an album that Jarre has planned for an October 16 on Ultra Music. It’s a collaborative album that Jarre is crafting as a celebration of the legacy of electronic music over the years. Accordingly, he has nabbed a host of influential artists to take part in the project. Many are still to be announced, but some of Jarre’s creative partners in the process will include M83, Gesaffelstein, Tangerine Dream and Robert “3D” Del Naja from Massive Attack.

For the album, Jarre created demos of each track and sent them to his prospective collaborators so they could see what they had to bring to the track, each lending their own singular style.

Obligatory press gush from Jarre: “I’ve wanted to tell a story for a while regarding electronic music history from my point of view and experience, from when I started to nowadays. So I planned to collaborate with array of artists who are, directly or indirectly, linked to this scene, over the last four decades that Ive been making electronic music—with people I admire for their singular contribution to our genre, that represent a source of inspiration for me but who also have an instantly recognizable sound.”

For you collector types, look out for a limited-edition hand-signed and numbered box-set version with exclusive content, available via pre-order at Jarre’s website.

Image by Mashinskiy Constantin

Throwback Thursday: Big Shot’s 2011 Interview with M83’s Anthony Gonzalez

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For Throwback Thursday we dial the clock back to 2011, when we talked to M83’s Anthony Gonzalez about his ambitious double album, Hurry Up, We’re Dreaming, which was regarded as one of the best albums of the year. Here we talked to Gonzalez about the ambitious album and how ’90s alt-culture informed the now-classic album.

When you hit play on disc one of Hurry Up, We’re Dreaming, the new album by M83, you know you’re in for something big. The album’s intro opens with a rising ambiance intercut with an arpeggio of synthesizers. A frail monologue can be heard among the rising action before we hear M83’s mastermind, Anthony Gonzalez, yell out “I carry on!” His voice sounds like it has never before – a commanding lead that wails into the night sky. The rest of that opening track is handled by Zola Jesus whose chilly tenor gives the album a stately and memorable intro. Speaking with Gonzalez about the collaboration, it was apparently a mutual desire to work with each other. “I just wanted to do something with her for a long time. I’m a big fan of her music and for me it was almost obvious I needed her for the album. She was a fan of M83 as well. It was cool. We were both very fond of each other.”

The size of Hurry Up, We’re Dreaming is a large factor in the listening experience. M83 songs are always aimed skyward but this record also packs in as much lengthwise. At two discs, totaling at a length of 72 minutes, it’s their longest and perhaps best work to date. The inspiration for such a large scale structure came from a few different places, one of them being from ’90s alternative heavyweights, the Smashing Pumpkins. “When I was a kid and I first bought Mellon Collie and the Infinite Sadness, I remember I was so excited about it. I mean I skipped school to be able to go to the record store, and waited in line in the morning and then went back home to listen to the album like ten times in the same day. I was just excited, and I feel my new album is kind of a tribute to this era of music where we used to go to the record store and wait for the album of our favorite band.”

“I feel my new album is kind of a tribute to this era of music where we used to go to the record store and wait for the album of our favorite band.”

Aside from the ballad “Wait” borrowing a little bit of Billy Corgan’s guitar tone from “Thru the Eyes of Ruby,” the Pumpkins influence is more in the vein of size, not sound. Continuing the nostalgia-fest started on Saturdays = Youth, Hurry Up, We’re Dreaming relies heavily on 1980’s style production, an age of gated reverb and squeaky clean sonics. “The sound of the ’80s is a big influence. The way they used to mix the albums at the time and the way they used to produce albums was definitely a huge influence on this album. You know sometimes when you listen to an ’80s album and it sounds super clean and bright sounding. We wanted to achieve the same thing in terms of soundscape.”

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Helping Gonzalez achieve that sound was one of the unsung heroes of the ’90s and 00s, Justin Meldal-Johnson. Best known for his work as Beck’s bassist, Meldal-Johnson has performed with dozens of seminal artists since the early ’90s such as Air, Goldfrapp, and Tori Amos. Meldal-Johnson came into contact with Gonzalez when he was touring with Nine Inch Nails in 2009.

“Justin is one of the nicest guys on the planet and I felt like because we shared this same vision of music, it was like really easy to work with him, you know, he was flawless. And we never had any issues of communication. We were always getting along very well…He came to me very genuinely, in a very sincere way saying that he wanted to work on this album with me. And I trusted him and am really happy with the results.”

Those results are pretty spectacular. Tracks like “Midnight City,” “Reunion” and “OK Pal” are all mountain sized anthems that pull at the heartstrings and your dancing feet at the same time. Breathy ballads like “Wait” and “Splendor,” the latter which features Brad Laner from Medicine, are lovely dreamscapes that wash over with a heavy euphoric feeling.

While Gonzalez had reportedly set out to make a dark record this time out, he ended up making his most accessible and varied and one that asks the listener to hurry up and join in the fantasy.

Live Review: Virgin FreeFest 2012 at Merriweather Post Pavilion, Columbia, MD

Marjorie Merriweather Post — heir to the Post Cereal Company and the General Foods Corporation, collector of extravagantly fine possessions, devout Socialite, and committed philanthropist — had a vision to create a theater for the arts to house Washington’s National Symphony Orchestra. In 1967, in a serene, intimate setting, on 40 preserved acres known as Symphony Woods in Columbia, Maryland, Merriweather Post Pavilion was born in Ms. Post’s namesake. While not limited to the orchestra, the Merriweather Post Pavilion has housed an eclectic mix of performers for decades from Led Zeppelin to Avicii.

Another who shares Ms. Post’s passion for both musical outlets and committed philanthropy is Richard Branson, who brought his vision to life this past weekend at the Merriweather Post Pavilion with his 6th annual Virgin Mobile FreeFest. Sir Richard stepped in and once again the charitable contribution was the gift of music. The FreeFest initiative is a way of giving back in these tough economic times and to raise awareness of homeless youth. In the form of a too-good-to-be-true free festival their unofficial motto is, “We’ll take care of the tickets. You take care of the karma.” It seems to be working because at least in the last three years along with tens of thousands of hours of volunteer time, they’ve also raised nearly $600,000 for their cause.

There was an abundance of good karma and camaraderie bringing this melting pot of music fans together ranging from the rockabilly fans of Alabama Shakes to dubstep fans of Skrillex. And all the while that is going on there is something about this event that is endearingly sentimental. Maybe it’s a reflection of the end of summer on this blue-sky fall day. Maybe it’s the warmth of song lyrics like, “Love and love and nothing else, it’s all I need…,” from Trampled By Turtles or “Never seen the sun shine brighter, and it feels like me on a good day….” from Above & Beyond, or a combination of that and the charitable reason for bringing all of these eclectic fans and music together in the first place. Someone in the crowd declared that this show to them is, “like comfort food,” and Sir Richard is our host.

In the cozy, tucked away corner of the festival grounds, DJ Alvin Risk brought the Dance Forest to life with an early afternoon time slot of tunes like “Here We Go,” and “Tonight We Are Young,” that had the whole crowd singing in unison like the cast of Glee. He set the crowd reeling with his dubstep remix of “Earthquakey People.” And for those diehards so inclined, Risk pumped his FreeFest after show party at Washington DC’s U Street Music Hall on Facebook on Friday promising, “DC. This after party tmrw is going to be on another level….”

Off to the Pavilion Stage and switching gears, Trampled By Turtles generated a downhome, easy-going blend of fiddle, bluegrass and folk with the soft, strum-laden beauty ballad “Midnight On The Interstate,” offering a balanced composition of build and plucking. A fan commenting on the YouTube version of this song defined it perfectly with, “0 dislikes thus far is an amazing testament to this song’s ability to touch the heart.” The band followed with the energetic, dueling banjo, foot stomper “Sorry.” Their ability to weave their live show with heartfelt harmonies, back-to-back with frenzied romps, utilizing the same combination of banjo, mandolin, fiddle, harmonica, and guitar adds to their rousing appeal. Into their set singer, David Simonett, gave the shout out, “We got to catch Allen Stone before us and man, that was fantastic!” A Southern-voiced female cheered from the crowd, “You guys are so good!” A thank you came from the stage as the band went into “Trouble.”

The Dismemberment Plan was playing “The City” on the West Stage as Nervo duo took to the Dance Forest with “Reload,” a sampling of Otto Knows “Million Voices” and “Atom” while the word “Doomsday” repeated on the background visuals along with images similar to the T1000 robot from Terminator 2.

The Pavilion stage remained closely guarded during the reunited Ben Folds Five performance as too many fans tried to enter the pavilion seats causing over-crowding. For those up-close-and-personal they witnessed fun-loving singer Ben Scott Folds at his Baldwin piano belt out hits like “Michael Praytor, Five Years Later” and “Jackson Cannery,” rising from his bench at one point to remove one of the piano wires and giving it to a stage hand in a comical attempt to appear to adjust the sound.

As the sun began to set more noticeably in the heavily shaded Dance Forest due to the dense tree canopies, Thomas Gold dished out the electronic dance music classics “The Island,” “Teenage Crime,” and “Who’s In The House” to a frenzied, young crowd. Meanwhile the Pavilion Stage held a Janis Joplin revival of sorts with the Joplin’s similar soulful passion, stage antics, and song builds from Alabama Shakes on hits like “Hold On.”

Running from the Pavilion Stage to the West Stage to the Dance Forest, from blues rock to classic rock to trance, sidestepping over fans sunning on blankets of the pavilion hill, trying not to spill someone’s double-fisted, newly purchased brew filled to the brim, acknowledging of some message T-shirts like “One Hit Wonder” and “White Raver Rafting,” and trying to take it all in, the famous movie line from Ferris Bueller’s Day Off comes to mind, “Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.”

The young duo of Porter (Robinson) and Zedd proved their stellar, singular talents combined is a formula for excellence. This is a repeat on Sir Richard’s lineup for Robinson who made a solo appearance on the 2011 bill. Earning escalating accolades in recent months from their peers, critics, and fans, this teamed force is well on their ride to electronic dance music super stardom. They kicked off with the familiar intro chant of, “Breathing you in…” from Zedd’s breakthrough hit “Spectrum” and the remainder of their set was an amalgamation of winners like “Clarity,” “Spectrum” (full track,) “Unison,” and “Pay Attention To The Drums.”

The house lights of the Pavilion Stage went low in preparation for the next act, as the stage screen displayed, “Black Dahlia Films,” then “Gang of Outlaws.” This prelude set the stage for the enduring sounds of the blues rock trio ZZ Top. It should come as no surprise that they still got it considering the decades and generations of experience under their belts. With their trademark black clothing, dark sunglasses, cowboy hats, shrouding beards and mustaches, and stage features like their exhaust pipe microphone stands, they look as discernible and iconic as they did at the debut of their career. With hits like “I Thank You,” “Jesus Just Left Chicago,” and “Give Me All Your Lovin,” and with the occasional, obligatory paired up, sway back-and-forth in unison to the beat that the crowd expects, they had fans on their feet rocking their Southern roots.

Well past dusk as the thickened crowd meandered the grounds a confused group asked, “Where’s M83?” Another patron pointed in the direction of the West Stage answering, “There, where everyone is going.” Once there they discovered the French electronic band bathed in a celestial stage of blue and a grateful singer who made the declaration, “So very excited to be here with this beautiful crowd.” The band then ignited that crowd with the recognizable “Midnight City.”

Another Virgin FreeFest repeat, formerly performing as a member of the Raconteurs, Jack White, closed out the Pavilion Stage. He arrived decked out in a pin-striped black suit and tresses of hair that habitually obliterated his face. He was flanked by a landscape of all-female band members donning white as the singer flailed the stage making an occasional sinister glance. MTV’s Electronic Dance Music Artist of the Year, Skrillex, closed out the West Stage in celebrated style with smoke and pyrotechnics, a visual screen of metal wheels and cogs, his stylized name illuminated to fill the screen, a massive crowd spanning in all directions, and DJ decks resembling a futuristic, open-air lunar rover.

On Monday Richard Branson posted an image with the dubstep artist on Facebook adding, “Skrillex teaching me how to DJ at Virgin Mobile Live FreeFest. Should I stick to the day job?” Perhaps we’ll witness their tag team at next year’s FreeFest.

A perfect closing to the Dance Forest were the enchanting storytellers in the woods, Jono Grant and Paavo Siljamäki, of Above & Beyond. They continued their long-running Group Therapy theme with inspiring and poetic phrases displayed throughout their show in conjunction with historic events, the tracks played, and a sign of the times. They mixed their legendary tracks like “On My Way To Heaven,” “Alchemy,” “Thing Called Love,” “Home,” “Sun And Moon,” “Prelude,” and “Alone Tonight,” with phrases like, “The future is born slippy but it will be all good,” “This is home, “A bit more moon than sun tonight,” and “You are not alone.” They drew throngs of applause with, “We’ve been playing this song and dedicating it to people that inspire us, people that have inspired a generation people who left this earth too soon, Neil Armstrong thank you, Steve Jobs thank you.” They offered up a remix of Depeche Mode’s “Personal Jesus” before displaying “Whatever you do this autumn, remember life is made of small moments like this,” and ended with “Good For You.”

Ms. Post’s symphony orchestra in the woods venue didn’t quite come to fruition as expected but the successful outcome of witnessing the exalted music fans exiting the dusty grounds at closing time in the name of providing a community of homeless youth with access to housing, programs in social entrepreneurship and urban agriculture, in the end Ms. Post would surely give the DJ nod of approval.

Images by Kathy Vitkus

Daft Punk’s Thomas Bangalter, Skrillex, M83 Scoring Movies

Three major electronic music artists are involved in scoring upcoming films. In June word broke that Daft Punk’s Thomas Bangalter has scored the music for “First Point,” a short film starring Lindsay Lohan as a surfer (see trailer below). Daft Punk’s previous film work includes scoring 2010’s Tron: Legacy. Likewise, Skrillex is contributing music to Harmony Korine’s upcoming film, Spring Breakers starring Selena Gomez and Vanessa Hudgens, due out in 2013. Skrillex confirmed the news on Twitter, posting, “it’s more or less traditional scoring…dont expect dance floor bangers!” Likewise, M83‘s Anthony Gonzalez (pictured) has been tapped to compose original music for Tom Cruise’s new thriller, Oblivion, out on April 26, 2013.

While we can’t attest for the quality of the screenplay and acting, one thing is certain: the music on these films will most certainly be worth the price of a ticket.

Ultra Music Festival 2012: Day Two [Recap]

My fourth day in South Beach began with a refreshing and rejuvenating swim in the ocean while it seemed the rest of the world was still asleep. Stopped for an omelet brunch at the Ocean Drive Cardozo patio, indulged in a little people watching, and fended off the vendors selling everything from Caribbean cigars to hand-crafted, realistic-looking grasshoppers made from palm leaves.

I walked back again to the W Hotel for the final day of the cherished Belve Music Lounge party. pparently it was more cherished today since the epic guest at yesterday’s Belve event was electronic dance music front man Tiesto and the word was out. The line meandered to the parking and in front of the curiosity that was the Deadmau5 Sol Republic Soldier Shuttle.

Once inside the Belve, Sunnery James and Ryan Marciano were delivering Empire of the Sun’s “Walking On A Dream” amid the throngs of doublefisting revelers enjoying their complimentary Belvedere concoctions like the Lemonade Powermix. Sander van Doorn revisited his appearance from last year and played Ivan Gough & Feenixpawl “In My Mind” featuring Georgi Kay (Axwell Mix) which simply epitomized the sentimentality in mood and lyrics of our farewell last day at the Belve Lounge.

Back at day 2 of Ultra Music Festival, Laidback Luke inspired hands held high in double ‘L’ as is tradition or maybe for the fact that he was blasting Avicii “Levels.” DJ Chuckie hopped up onto the decks to further fire up the crowd as Fatboy Slim “Praise You” went into Oasis’ “Wonderwall.”

I hurriedfrom the main stage to the live stage although that’s an inaccurate choice of words considering the incredibly dense crowd but I made it in order to catch the fun-loving and quirky Metronomy. Their robotic jerks of motion and quizzical stare melded so well with the lyrics and peculiar beats of “The Bay,” “Heartbreaker,” and “She Wants.”

Unfortunately technical difficulties with onstage equipment prevented M83 from taking the stage for more than 45 minutes past their 8:00pm start time. At 8:35 the crowd’s chants of “M-8-3” almost seemed to do wonders. The appeasement of M83’s appearance to the packed crowd didn’t last long since they only played two tracks kicking off with their powerhouse hit “Midnight City,” which even endured a three-second glitch of silence mid-song. What a shame since the band’s unique sound via animated use of multiple trigger pads and synthesizers is both visually and aurally stimulating and we definitely would have all loved to have seen so much more. They band scurried off with a similar frustration of the disappointed fans in attendance but promised to return.

Meanwhile at the UMF Brasil tent Andy C proved that drum n bass is alive and more than well and that the packed fans still know to, “Put your fuckin hands up,” on cue.

Approaching the main stage the signature crucifix of Justice could be seen from hundreds of yards away as the echoes of the Schoolhouse Rock styled “D.A.N.C.E.” reverberated.

Today’s featured artist, Avicii, on the main stage unfortunately competed with the very worthy 2manydjs on the live stage but the thrill of witnessing Madonna introduce Avicii and then join him in the booth was quite the impressive, rockstar spectacle. Not be outdone, Skrillex later snuck from behind the performing DJ to fanatically wave as if in a brief moment and in gest to steal Avicii’s thunder although no harm done. Avicii wowed with “Fade Into Darkness” and Justice’s “D.A.N.C.E.” as a possible tribute to his predecessors without missing a beat and almost oblivious to the antics going on behind him.

Day 3 of Ultra, the final Ultra of 2012, is all that’s left and I can’t help sing the lyrics from “Save This Moment” by John O’Callghan, “…save this moment. I don’t wanna stop it now. I don’t want for this to end.”

Images by Kathy Vitkus

Read our recap of UMF 2012 day one here.

Contest Alert! Win Tickets to Ultra Music Festival

Ultra Music Festival 2012, taking place March 23-26, at Bayfront Amphitheater in Downtown Miami, sold-out almost instantly thanks to its stellar lineup of talent including: Tiësto, Kraftwerk, Carl Cox, Skrillex, Afrojack, Miike Snow, Pretty Lights, New Order, Groove Armada (DJ set), Dirty South, Loco Dice, A-Trak, Dada Life, Avicii, Justice, Fatboy Slim, Duck Sauce, M83, Carl Cox, Laidback Luke, 2manydjs, Metronomy, David Guetta, Armin Van Buuren, Kaskade, Bassnectar, Chase and Status, Bloody Beetroots (DJ set), Fedde Le Grand, Knife Party, Magnetic Man, John Digweed, Steve Aoki, Ferry Corsten, and many more.

Tickets are impossible to get, but Big Shot is giving away a precious pair of tickets to the three-day blowout courtesy of our friends at UMF.

Excited? You should be!

To enter the contest tweet the following:

I want to win @ultramusic tickets from @bigshotmagazine

Remember: you only need to tweet the above sentence once in order to enter the contest. Good luck!

The Rules:

• Entrants must be following @bigshotmagazine and @ultramusic
• Winner is responsible for transportation to/from UMF 2012
• Anyone found using multiple accounts to enter will be ineligible
• Contest ends at 12:00pm EST on March 22, 2012

Like Big Shot on Facebook. It’s free!

And the winner is…

Big thanks to everyone who entered the contest!