Avicii Defends Ingrosso, Digs Up Rare Tracks in New “Levels” Podcast

Avicii performing in 2012. Photo credit: Copyright Drew Ressler/rukes.com.

Avicii performing in 2012. Photo credit: Copyright Drew Ressler/rukes.com.

In the April episode of his Levels podcast, Swedish superstar Avicii has a lot to say, including a passionate defense of his friend Sebastian Ingrosso. In case you missed it, Ingrosso and Axwell (okay… Axwell Ʌ Ingrosso if you want to be official about it) set off a firestorm of criticism a few weeks ago in a New York Times profile, in which they referred to underground music as “amateur.” They later defended themselves by explaining that English is not their first language, so the word choice itself may have been… ahem… amateur. In the podcast, Avicii backs up his friends, arguing that the newspaper clearly placed the quote out of context. Avicii, a longtime fan of Ingrosso, has had his own troubles with the press before, so it’s not surprising when he tells listeners “don’t believe believe everything you hear in the press. It’s all sensationalism.”

The News

Swedish house drama aside, Avicii, a.k.a. Tim Bergling, treated us to all sorts of other tidbits in this episode. Here’s some of what we learned.

  • Tim is promising exclusives from his back catalog that “no one has heard before,” to be revealed over the next few episodes of the podcast. He started with an old bootleg of Kings Of Tomorrow‘s “Finally” at the end of this month’s show, a throwback to Avicii’s classic sound full of rich piano, catchy claps, and soulful vocals.
  • He’s developed a serious “bromance” with Martin Garrix, which is pretty adorbs if you ask me.
  • He’s working on his upcoming album, Stories, 8 hours a day. As usual, Tim will be pushing genre boundaries, announcing that the album features some songs at a slower BPM, and at least one that’s not in 4/4. I can’t wait to hear that.
  • He will be returning to perform a residency at Ushuaia Ibiza on Sundays in July and August, which he seems super excited about. (I mean, who wouldn’t be?)

The Music

I find the Levels podcast to be very hit and miss. Last month’s episode was a heaping helping of generic, big room bangers, and frankly made me consider unsubscribing. This week made up for it though, with plenty of progressive and electro house in the mix and enough variety to keep things interesting. And a handful of the songs really on this episode stood out to me:

ID – “Red Roses”

“Holy shit!” was my reaction when I hit that drop. The track starts inauspiciously enough, sounding a bit like an old western tune with a folksy stringed instrument strumming on the off-beat and a reverby electric guitar-like lead crooning away. There’s the build – “and then it hit me!” – and boom, you just got dropped into some seriously funky deep house. Someone call The M Machine because it looks like their sound’s got a new challenger. I’m left wondering who’s responsible for this creative and killer track. (Not sure what ID means? Read the definition in the EDM Dictionary.) [Update 11 May: Looks like this track is the work of Pep & Rash.]

Mike Candys & Jack Holiday – “The Drill”

I’m a sucker for a good electro house beat, and this song had me hooked from the beginning. It’s got some serious Deadmau5 influence going on, invoking most obviously “Some Chords.” Between the monotonous electric lead, the driving kick, and the thrumming bass, it’s a great, danceable track, even if it doesn’t have all the subtlety of a Deadmau5 production. And hats off to Avicii for mixing this one seamlessly into the much more ferocious “Summer” by DIMARO, whose lead synth sound is nearly identical.

Avicii & Ash – “Papa was a Rolling Stone”

One of my favorite things about Avicii is his deep respect for his musical roots and influences. This song is a perfect example of that, in which he pays serious tribute to Stevie Wonder, essentially ceding the entire break to the soulful musician as he rocks the fuck out on a talk box. The clip is excellent – it shows off Stevie’s virtuosity while incorporating the priceless reactions of the audience as well as a low-fi sound that places us in time back to the 70s. The song then segues into an acid-influenced big-room electro beat which, to be honest, pales in comparison to Stevie’s jamming. Tim calls Stevie’s performance “the definition of swag,” which is entirely accurate.

Oh, and if you’re wondering who Ash is, that would be Ash Parnouri, Avicii’s longtime manager and an industry mogul.

Check out the full track list below and catch the podcast on iTunes here.

Avicii Levels Podcast Episode 035 Track List

01. Dear David – I’ve Been Waiting
02. Eric Prydz – Generate
03. Merk & Kremont – Get Get Down
04. Martin Garrix & Tiesto – The Only Way Is Up
05. ID – Red Roses
06. MOGUAI & Joey Beltram vs Cobra Effect – The Zound (Energy Flash)
07. Valentino Khan – Deep Down Low
08. Mike Candys & Jack Holiday – The Drill
09. DIMARO – Summer
10. Firebeatz & DubVision – Invincible (Instrumental)
11. AVICII & ASH – Papa Was A Rolling Stone
12. Henrix Feat Celeda – The Underground (David Tort Digital Lab Remix)
13. Kings Of Tomorrow – Finally (Avicii Bootleg)

The EDM Dictionary: Producer (n.)

Definition

Producer (n.): In EDM, a producer is a person who creates electronic music. Unlike in other genres, such as pop and hip-hop, in which producers (i.e. “record producers”) oversee the process of making music on many levels, in dance music a producer refers to the artist who creates, or “produces”, the music. Producer is a distinct term from DJ, although producers often are DJs.

Description

A DJ is someone who plays recorded music onstage using decks; the term makes no claim about his or her ability to create music. A producer is the person who creates electronic music; the term makes no claim about his or her ability to play that music, or incorporate it into sets onstage.

Some producers, such as Nigel Good and Mikkas, are not DJs (or at least choose not to DJ), and many DJs are not producers. It is generally acknowledged that producing requires a much larger and more technical skill set than DJing.

These days, most producers are expected to DJ, and, increasingly, in order to get booked at decent gigs, DJs are expected to be producers. Because of this, almost every big-name DJ in the electronic music scene doubles as a DJ and producer. If a DJ is incapable of producing but still wants to achieve fame, he or she may hire a “ghost producer.”

Show Review: Madeon’s Adventure Tour Debut at the Warfield

On Friday night, Madeon kicked off his Adventure Tour with a highly-anticipated show at the Warfield in San Francisco, with SF natives The M Machine joining him as openers. In fact, there was so much pre-show buzz that the venue was moved from the Regency Ballroom to the Warfield in order to meet demand, according to the promoters. It was an interesting change, as the two venues are very different spaces, but in the end a welcome one, as the tiered, theater-style seating allowed much of the audience a great view of the show.

The M Machine: Hometown Heroes, Hampered as Openers

The M Machine took the stage a few minutes before 9 PM. During their hour-long set, the duo (until recently, a trio) played their best songs from their Just Like EP, including “Just Like,” “Don’t Speak,” and “Pluck Pluck,” plus some of their classic material from Metropolis parts I & II. Most of these got the remix treatment, though they did play the lush and funky “Immigrants” in its full, original glory. Among the non-M Machine tracks they played was Valentino Khan‘s “Deep Down Low.”

The show was held at the Warfield, a theater space, instead of the Regency Ballroom.

The show was held at the Warfield, a theater space, instead of the Regency Ballroom.

I had been excited to catch the guys at a rare hometown show, albeit as openers. When I saw them play at Ruby Skye on the 4th of July of last year, the audience had been sparse but passionate, freeing them to play a weird and impressively hard-hitting set. That same atmosphere did not carry over to the proscenium stage of the Warfield, unfortunately. While a certain portion of the crowd was definitely into it — even chanting “M Machine! M Machine!” at one point — the majority of people bobbed along to Eric and Swardy‘s unique brand of house music half-heartedly while waiting for Madeon to come on. Swardy seemed to acknowledge the lackluster reception at the end of the set, saying, “I know it’s early…” in a way that seemed to be part admonishment, part apology.

Madeon: His Own Secret Weapon

After a brief break to clear The M Machine’s gear, Madeon took to the stage in a leather jacket, unleashing his massive energy

Madeon's Adventure Tour rig invokes Daft Punk and Porter Robinson

Madeon’s Adventure Tour rig invokes Daft Punk and Porter Robinson

on the audience to the sounds of “You’re On” (feat. Kyan). He’s a tiny guy (and still not even drinking age!) which makes his incredible stage presence and clear enthusiasm all the more striking. Part of a DJ’s job is to lead the audience in energy, and even with a light show as elaborate as Madeon’s, if the DJ isn’t into it, the audience won’t be either. But from the second Madeon, a.k.a. Hugo Leclercq, strode on stage, it was clear that he was there with us and for us, just as excited for his tour’s debut as we were. Just moments into the show he was taking power stances, throwing his arms up into the air, leading the audience in rounds of clapping, and even throwing his arms out to the side in classic Armin van Buuren style. His intensity was on the level of the greatest of live DJs like Seven Lions and Skrillex, and like Skrillex inside his mothership, Madeon served as the beating human heart of the epic stage rig, from which all the energy in the room ultimately flowed.

Touring Under the Influence (of Daft Punk and Porter Robinson)

For the tour, which supports his brand new, #1 albumAdventure, Madeon has built a stage rig to rival the most famous setups of EDM stars like Feed Me and Sub Focus. The stage itself, all angles with diamond structure surrounding the DJ, seems to invoke Daft Punk‘s unparalleled Alive 2007 rig. In fact, it’s clear that Daft Punk is this fellow French producer’s biggest artistic influence, from his funky electro-house sound, to the live triggering that makes up the backbone of his show. There was a moment where I was sure he was going to drop “Robot Rock,” and, as the video below makes clear, some of the lighting effects on his rig seemed to be a direct homage to the androids’ Alive tour (compare to footage of Daft Punk’s live “Television Rules the Nation/Crescendolls” mashup).

The rig also strongly resembles Porter Robinson‘s Worlds setup (another influence and a close friend of Madeon’s). The main difference here is that Worlds is an artistic statement in which Porter strives to distance himself from his electro-house past, while Madeon fully embraces his sonic origins with the Adventure Tour, bringing you a stunning spectacle that is ultimately all about dance music.

A Stage Show for the Ages

IMG_8987The stage rig included what seemed to be a couple of laptops, three midi controllers (including the Novation Launchpad that helped launched his fame with his “Pop Culture” Youtube video), a keyboard, and a microphone. Madeon performs with the midi controllers tipped towards the audience, which is an awesome touch. It of course helps show off the undeniable technical ability that sets him apart from “button pusher” DJs, but I also like that it celebrates the small, beautiful wonder of midi controllers themselves: you can spend hundreds of thousands of dollars on building fancy stage setups, but at the end of the day, most of what’s coming out of the speakers is reproducible on that one tiny, light-up device.

Welcome to the Madeon Show

The song selection was almost all Madeo and included plenty of live exclusives. One of the age-old criticisms of DJs is that, unlike instrumentalists, they’re not creating anything onstage – just reproducing things. Madeon knocks down that criticism handily, crafting one-off remixes of his tracks using his midi controllers as a canvas. He went most wild with “Technicolor,” leaving aside the melody of the recorded version to improvise the lead onstage.

Song selections included “You’re On,” “Cut the Kid,” “Imperium,” “The City,” “Raise Your Weapon,” “Pay No Mind,” and “Finale.” (I was secretly hoping to hear him drop some Lady Gaga, whose recent album ARTPOP he contributed to but alas, it was not so.) The audience cheered loudly when he dropped “Pop Culture” itself in a deftly reproduced live mashup.

Madeon kicked off his Adventure Tour at the Warfield in San Francisco on April 10th

Madeon kicked off his Adventure Tour at the Warfield in San Francisco on April 10th

One of the best surprises of the night was when he brought the energy down low, turned to the keyboard, and started to sing over the smooth tones of a Rhodes to “Home.” It was a special moment, even if I couldn’t make out the lyrics due to a buzzing crowd.

A Show for the Ages

Madeon brought his A-game for the first night of the Adventure Tour, and I’m confident that his passion will continue to make this show come alive for all audiences over the coming months. It had everything you want in a live show: great music, spectacular visuals, high energy, and an excited crowd, plus live creations and exclusives. The tickets for this show got pricey ($52 for the most expensive seats), but if you can scrounge up the cash, I highly, highly recommend going for the experience. You will not regret it.

Below is the Snapchat story I took during the night, including The M Machine’s and Madeon’s performances. If you want to catch these stories as they happen, follow me on Snapchat at theedmist.

The EDM Dictionary: Massive (n.)

Definition

Massive (noun): In EDM, massive can refer to 1) a large-scale rave (“a massive”), typically a festival, or 2) Native Instruments’ Massive, a popular software synth used by producers.

Description

Festivals are sometimes called “massives,” referring to the massive amount of people participating in the event. One example of this is the 1Life festival, launched in 2014, which billed itself as “America’s First Gay Massive.”

Native Instruments’ Massive, part of their Komplete collection, is a venerated and powerful software synthesizer that his long been one of the most popular choices by producers in the EDM scene, along with LennarDigital’s Sylenth1. It is particularly strong at creating bass lines due to its FM capabilities.

Weekend Listening 4/10/15: Andrew Bayer, JumoDaddy, Kant, and DJ Ash

As I continue to work my way through the feast of sets from Ultra 2015, in preparation for the summer festival season, I turned this week to Andrew Bayer‘s performance at the ASOT stage. While I feel that Bayer’s recent club tracks sound largely the same, and was underwhelmed with his Do Androids Dream EP, I have to say his music really came alive in this expertly crafted Ultra set. I think it goes to show how real the art of crafting a set is. The songs you hear, and the order in which you hear them, create a flow, and subconsciously set up your expectations for what should come next. In this case, the songs from Bayer’s recent EP don’t hold much luster for me when heard on their own, or as one-offs in sets with much different flavors, but when spun together like a quilt, I can follow the patterns with pleasure. Along the way in this Ultra set, there’s some great surprises, including a throwback to Delerium‘s classic, “Silence,” several IDs, and a whole lot of Above & Beyond. The set is also a free download from the UMF2015LiveSets account on SoundCloud. Enjoy.

Speaking of Ultra, it was while rewatching Skrillex‘s excellent set with friends on Saturday that I discovered this gem of a brostep song by JumoDaddy, which Sonny mashed up with his and Kill the Noise‘s own track, “Recess.” I love how it plays with triplets in the depths of that insane drop. It turns out that this is one song of a four part EP, available for streaming on SoundCloud, themed around the four horsemen of the apocalypse. All four tracks share the same gritty, groovy sound, but “Black Horse” is definitely the best of the bunch. Excited to dig deeper into the catalog of this talented Bulgarian producer. 

I found this next one indirectly through Le7els, the Avicii podcast a few weeks back, when he played an ID remix. I couldn’t get the catchy vocals out of my head though, so googled the lyrics to find the original, which features that same insane rap over a deep house beat. It’s been running through my head nonstop for a week. I hope you love it as much as I do. I haven’t heard of Kant before, but a brief look at his SoundCloud shows some solid house tunes in his repertoire.

I’ve got another mix for you. This one I stumbled across organically on Youtube (well, as much as you can find anything organically on the internet), several songs into an autoplaying playlist that started with Swedish House Mafia‘s Miami 2 Ibiza.” I love me some vocal trance, and the sound of these tracks (many of which were new to me) took me back a few years to when I was new to the scene and basking in the melodies of trance. I was hooked from the moment Gareth Emery‘s classic “Concrete Angel” started playing (admittedly a bit abruptly, though overall I was impressed with the quality of the mix). And how can you not love a tracklist that includes Armin, Arty, Emma Hewitt, RankOne, and more? Thanks to DJ Ash for this great mix.

The EDM Dictionary: B2B (back-to-back)

Definition: In the dance music world, B2B or b2b indicates that two DJs will be performing onstage at the same time. This is indicated on lineups as “[DJ 1] b2b [DJ 2].” B2b is shorthand for “back-to-back,” so for example Feed Me b2b Kill the Noise can be read as “Feed Me back to back with Kill the Noise.” Sometimes b2b sets will be listed on lineups as “vs.” or “versus” – e.g., “Feed Me vs. Kill the Noise.”

Back to back does not mean that one DJ will be playing immediately after the other, even though in general English you would say that two events happening one after another, like baseball games, are back-to-back.

In EDM, the phrase back-to-back comes from the days when DJs played vinyl records. While one DJ would be managing the turntables, the other would be searching through their catalog of vinyl records behind the decks for the next record to play. This DJ would usually have his back to the audience, so the two performers would spend much of the show with their backs to each other. Nowadays, very few DJs, at least in large settings, spin vinyl records or even CDs. The rise of laptop-DJs and digital turntables has enabled DJs playing b2b sets to face the audience while they queue up the next track. (Unless you’re Above & Beyond caught in the rain at Ultra… but that’s a story for another day.)

Weekend Listening 4/3/15: New Music and Sets from Ultra 2015

This week, we were graced with many of the livesets from Ultra 2015. I look forward to listening to many of them over the next few weeks. Of the ones I’ve listened to so far, I highly recommend Eric Prydz‘s. His sets are melodic, arpeggiated, slowly morphing journeys of the body and mind that take you by the hand and lead you through a wild landscape of emotion and elation. It’s too early to say for sure, but this may well end up taking the crown for best set of Ultra 2015.

Skrillex‘s set, which closed out the festival on Sunday night, is a stunner of a different kind. This one is all energy, all the time. The first half of his set might as well be called Skrillex’s Greatest Hits in 30 Minutes, while the second half features more A-list cameos than a Hollywood house party. At some point, it becomes clear that this performace is no longer a Skrillex show: it has transcended to become a superjam of some of the best and brightest names in the industry. I think a text I received from a friend today sums it up best: “Holy crap have you heard the Skrillex Ultra Set? Jesus. Insane.”

If you’re in need of something quicker-to-the-bloodstream, check out this beauty of a song revealed by Mat Zo on April first. In response to a tweet charging that “Your genre is ‘dance music’. You don’t do country, rock, folk, jazz or classical,” Mat replied simply, “really?” with a link to this song. In a tweet that appears to have been deleted, he said something along the lines of, “You can decide for yourself if it’s an April fool’s joke.” But the careful, airy production of this song makes it clear that this is anything but a joke. In fact, it will leave you wanting more.

And I have to say, Mr. Prydz blew me away with a production he dropped just before going onstage for his set at Ultra. “Generate” was featured in the coveted opening slot on ABGT this week, and with good reason. It’s a classic uplifting Prydz tune that follows in the tradition of his remix of CHVRCHES‘ “Tether” – which he debuted unforgettably at Ultra 2014 as the centerpiece of his set. (For what it’s worth, I also think Eric’s set from Ultra 2014 was the best of that festival. If you take a listen – and well you should – make sure to watch the video for the full effect of his incredible visuals.)

If you’re looking for something to get your blood pumping again after that Skrillex & co. set, check out this filthy goodness from Far Too Loud. It’s a remix of Zomboy‘s “Delirium” (feat. Rykka) with a drop that will take you from space down to the underworld. The weird vowely sounds that go nuts remind me of Snails‘ signature sound, which has been catching on around the EDM scene like wildfire.

That’s all for now. For more song recommendations, follow me on Soundcloud, where I repost the best of EDM for your listening pleasure.

[LIST] The Best DJs and Producers on Snapchat [Updated Sept 2015]

Ever wanted to get pulled up onstage at an Above & Beyond show to push the button? Few of us will ever get the chance to do it in person, but with the magic of Snapchat, you can come close. From Above & Beyond to Skrillex, some of the biggest names in EDM have embraced Snapchat as a way to connect with fans and open a window onto their sometimes-glamorous, sometimes-tedious lives. For your convenience, I’ve pulled together a list of all the DJs I know of who are on it, plus a few other organizations you might want to follow.

The following list is alphabetical by name, with Snapchat handle in yellow. Each entry includes a note on what kind of content you can expect to see from the user (if available). I’ve underlined the people I think are the best and most interesting users – if you only add some of the people on this list, make sure you add them.

DJs and Producers

Record labels

  • Anjunabeatsanjunabeatshq
  • Dirty Birddirtybirdsnap
  • Mad Decentmaddecentspam
  • Monstercat – monstercatsnaps. These guys just joined this week. I’m excited to see what they come up with.
  • Spinnin Recordsspinninrecords

Festivals

  • Insomniac – insomniacevents

Media

@theEDMist on Snapchat

@theEDMist on Snapchat

  • Dancing Astronaut – snappingastro
  • The EDMist – theedmist. Follow me for games, news, music recommendations, podcast previews, snaps from shows, and more.
  • The EDM Network – theedmnetwork. These guys resnap a lot of content people send in, so it’s a cool curated look at our own culture, in a way. You can submit your snaps to them via their account or at Snapchat@edm.com.
  • EDM.com theedmnetwork
  • The Essential Mix – bbcessentialmix. BBC Radio 1’s venerable weekly radio show. Mostly promos for upcoming shows.
  • Sirius/XM electrosxmelectro. The EDM arm of SiriusXM radio, representing the BPM and Electric Area channels. During Miami Music Week, they were snapping a constant stream of big-name DJs performing and being interviewed at the SXM tent.
  • Thump – thumpvice. Snaps from festivals and hanging out with DJs.
  • Trance Family SFtrancefamilysf

Did I miss someone cool? Reach out or leave a comment and I’ll update the list! 😀

Last updated: September 26, 2015.

The EDM Dictionary: ID – ID

Definition: ID is used as a placeholder in tracklists and setlists for unknown information, such as the track name or artist. When neither the song title nor the artist is known (or not able to be revealed on the tracklist), it is written as ID – ID.

Tracks that are released in this way are called “IDs.” (Not to be confused with government IDs, i.e. identification cards.) ID is technically shorthand for “identification,” though you’ll never see it written out that way.

Sometimes tracklists are updated later on to reveal the IDs, after the person compiling the tracklist has had a chance to find the missing information, or after the song or artist is eventually revealed by the DJ.

Track or artist names can be unidentified for a number of reasons. In sets, mixes, and podcasts, some DJs may choose not to identify a song or artist because the song may not be finished, or doesn’t yet have a title; because the DJ may not have permission from the artist to play the song; because the artist has not yet debuted the song; or another reason. Sometimes DJs play unidentified tracks to “test drive” the track and gauge reaction to it. If the track goes over badly, they can scrap it without any damage done to their brand as a DJ or producer.

Of course, if the person compiling the tracklist is not the DJ, but instead a fan or someone not affiliated with the DJ, you may see IDs in the tracklist just because that person isn’t familiar with the song or artist.

Further Reading: Max Graham has a great explanation of his use of IDs on his Facebook page, laying out other reasons a DJ may choose not to identify a song.

Show Review: Max Graham at Audio SF | March 21, 2015

The light wall at Audio.

The light wall at Audio.

Back in December, Max Graham played a 5 hour set at Audio in San Francisco. Though I was excited for the show, I ended up passing on it, for one reason or another.

That was a mistake.

For weeks afterward, I watched on Twitter as he and the attendees of that show glowed about the incredible atmosphere that blossomed that night. Max went so far as to immortalize that evening in his profile pictures on Facebook and Twitter. (He posted part of his set from that performance as episode 185 of his weekly show, Cycles Radio.)

Max Graham at Audio.

Max Graham at Audio.

When it was announced that he was coming around to do it all over again, I made it my mission to attend.

Max’s set on Friday totally lived up to my high expectations. While the music selection was, of course, excellent (more on that in a bit), I think a big part of the magic came from the club itself. Audio is arguably the best venue in San Francisco. It’s small in an intimate way, gorgeously decorated with a truly sublime wall of lights that pulses behind the DJ, and a crowd that tends towards more discerning music fans, rather than casual clubbers (perhaps attributable to the excellent roster of performers they bring in). The audio quality is also fantastic, as it rocks a Funktion-One sound system. In short, it’s an environment perfectly suited for just the sort of dreamy techno and house that Max Graham specializes in.

When I arrived at 11, the dancefloor was full and grooving, though happily not crowded. The crowd swelled gradually until about 1, but for the most part kept its relaxed and respectful character. All night, Max kept the tunes deep and smooth, fostering a dreamy, friendly vibe that made time flow by like water in a hot shower.

IMG_8652_2I go to a lot of shows to hear songs that I know; I came to see Max for the opposite reason – to get lost in the beat without wondering about the artist name, song title, or other trivia that I’m always half-thinking about when I go out. In fact, I could only name a handful of songs that he played, most of which came later in the night. (I made a deliberate effort to keep off of Shazam, although I caved a couple of times. Some songs you just have to pocket so you can relive them later.) At one point, I was surprised to hear Andrew Bayer‘s “Bullet Catch” slinking into the set, since its harder set-opening sound didn’t match with the sound Max had been crafting all night. However, he merely plucked out the beautiful piano breakdown, mixing out before the song ramped back up into high-energy territory. Other tracks I recognized included a remix of an old Above & Beyond track, “No One On Earth,” and a couple selections from Cycles 6. New to me was “Trommer Og Bass” by Andre Bratten, which I thought recalled Shiba San‘s huge tune from last year, “Okay.” The beat practically set the room on fire.

For a deep set, it had more drops than I was expecting. Max spiced up some of the builds by playing around with the high pass filter, creating an effect not unlike sticking your thumb over the speaker of your iPhone. It’s kind of a cheesy tactic, so I prefer to see it done sparingly, but the audience was definitely feeling it.

Max Graham at Audio.

All in all, it was an excellent night full of smooth and entrancing beats. Max himself compared the atmosphere to “a living room house party 👌👌.” If dark and groovy house music is your jam, you won’t want to miss this man the next time he returns to San Francisco – which doubtless won’t be too long.

Update, March 29th: Max posted the first two hours of his set from this night on Soundcloud, so in case you missed out, you can experience some of the magic for yourself.