Mixmag presents DJ POSES. Whose pose is that, and what does it represent?

This was originally posted on Mixmag, but it was so good, we thought we’d share it in its entirety. How many times have we seen our favourite Dj do his trademark pose at a show? The last time Armin van Buuren was in Toronto, we counted 20+ times that he did his trademark Jesus pose. We stopped counting after 20, or rather, we lost count. Enjoy the list, you might recognize a few of them, if not all.

The Txter
The kind of body language preferred by moody grime DJs trying to look nonchalant by constantly checking their phone in the time between clanging mixes together.
Examples: Darq E Freaker, Preditah

The Cry-baby
These DJs can be seen weeping with happiness at every euphoric/mindblowing musical moment, often going so far as to shed actual tears in the booth.
Examples: Prosumer, Move D

The Finger Piano-player
These DJs do little but look cool for their whole set – apart from when a piano comes in and they nonchalantly raise one hand to play along to the riff.
Example: Dixon

The Orgasmatron
A state of intense concentration and pleasure reached by DJs who become locked into their selection on a very deep level, resulting in the inadvertent exhibition of their sex face.
Example: Seth Troxler

The Libido
Similar to the bobber, but instead of leading with the shoulders this lot lead with the hips, adding a hint of sexual thrust to what is in fact just someone fiddling with a mixer.
Examples: Solomun, Shaun Reeves

The Bobber
The pose for DJs who want to assume an air of technicality while also showing they are locked into a groove. They bob to the beat while EQing in earnest.
Examples: Maceo Plex, Maya Jane Coles

The Lean-back
Often occurs as the prelude to a full-on head-mosh when the tune drops. Habitual proponents risk displaying the contents of their nostrils to the crowd – not to mention whiplash.
Examples: Skrillex, Rusko

The Down-low
Adopted by DJs who get so into mixing that the top half of their body gravitates toward the mixer and they end up performing at a 90-degree angle as if suddenly struck by appendicitis.
Examples: Skream, Jackmaster

The Cowboy
They twirl one hand in the air like they’re lassooing cattle while pretending to whistle and side-stepping like a square-dancing rodeo redneck. Keep rollin’, rollin’, rollin’, rawhide!
Examples: Davide Squillace, Luciano, Reboot

The Jesus
The ultimate pose favoured by many big-shots; with arms outstretched like Jesus on the cross these DJs probably lap up the crowd’s adoration while secretly thinking, “Yes, I am good”.
Examples: Armin van Buuren, Swedish House Mafia

The Artist
Every turn of a knob or flick of a fader is a precise movement akin to an artist gently applying the finishing brush-strokes to a timeless masterpiece. Albeit with people shouting ‘Brap!’
Examples: Icicle, Rockwel

The Pointer
The standard pose adopted by many a mainstream millionaire – and those who aspire to be them. Far more acceptable in Ibizan superclubs than a half-empty Sheila’s Wine Bar in Swindon.
Examples: Guetta,Tiësto, Ferry Corsten

[Illustration: Elliot Thoburn]

@Stilez

Digital Dreams Music Festival Toronto, Canada I 2012 Official Recap Film

Digital Dreams Music Festival – Toronto, Canada
On Canada Day Weekend 2012 history was made in downtown Toronto with the first ever outdoor EDM festival, with over 25,000 people in attendance.

2013 Dates Announced I Canada Day Weekend June 29th & June 30th
Tickets On Sale Friday November 16th at 1pm.

REVIEW: Sónar On Tour @ Sound Academy 2012 #SonarOnTour

The fact that that this event was coming to Toronto under the Sónar Festival heading, instantly caught my attention. Anyone who’s ever attended the original Sónar Festival in Barcelona, Spain will tell you that it is hands down one of the best music festivals in the world. It’s known for bringing cutting edge, avant garde music and new media art that blends artistry with entertainment. This was the first time the Sónar ‘Brand’ extended its musical wings internationally to North America in the form of a tour, and I had heard great reviews from their shows in Japan, Brazil, & their Chicago leg of the Sónar On Tour before arriving in Toronto. Needless to say, my expectations were high. Now, I haven’t been to Sound Academy for a concert or event in a few years, and had forgotten just how big the space was. I also forgot how bad the sound was, particularly in the back room. It was inexcusably horrendous, and the main room wasn’t much better, but good enough for me NOT too leave early. One of the most anticipated events on my list for this year after hearing the announcement, I left the event a bit disappointed, yet had a good time because I was with great company.

We arrived right as opening local dj Nitin finished his set in the main room, and just in time to catch Paul Kalkbrenner, who I haven’t seen since he spun at Footwork. A big fan of his productions and sound, I anxiously waited to hear if he had changed. To my relief, he seemed to have gotten better since the last time I saw him. A fantastic set that included many of his big hits such as: Sky and Sand, Das Gezabel, Altes kamuffel, and more.

Towards the end part of Paul Kalkbrenner’s set we left to check out the back room, because I didn’t want to miss Nic Fanciulli since the last time two times I saw him (Digital Dreams Festival in the summer, and This Is London in 2011) he impressed me quite a bit. A huge fan of his style and sound, I was disappointed that the sound in the back room did not do him justice. Nevertheless, I enjoyed what he was playing.

Onto the main act of the night. This was my first time catching Die Antwoord live, and as much as their sound might not be my usual cup of tea, they put on a great show. Full of energy and a great cross-genre mix of sounds throughout their performance, I found myself bouncing around with the mass of hipsters in attendance. It was obvious that this was the main act/draw, as the main room was filled to capacity with barely any room to move while they performed.

I manged to catch some of Azari & III in the main room, and Gesaffelstein in the back room, both acts were great, but once again the sound. Oh the sound, it left much to be desired, and I could only imagine how much better their performances would’ve been on a proper system. Finally, Seth Troxler, one of my favorite djs that I had yet to see live was second last to go on, and boy was he ever worth the wait. After some initial technical difficulties with his mixer, he came on and proceeded to cause damage to all those who chose to stick around and stay late to hear his set, on a weeknight no less.

All in all, I had fun listening to some great acts, despite the lack luster sound quality. That being said, I must admit that it was extremely disheartening to see the hipsters clear out the main room as soon as Die Antwoord ended. I suppose this was to be expected though, as their style and sound is completely different than everyone else on the bill, and as such, their fans might not be into the other styles, genres. Also, it was a major buzz kill that there was such a long 30 minute break period (of silence) in between many acts. Unheard of, in all my years of partying, clubbing, and attending events. This practice is generally more acceptable and common in the Live Band scene, because each band has their own custom equipment setup, but when dj’s are on the bill, it really isn’t that hard to have a back up dj booth setup somewhere on the stage to play a pre-mixed cd or have a local dj spin tracks during intermission while they set up for the next act. If there was a smoother transition from act-to-act, maybe more of the crowd would’ve been enticed to stick around a bit longer for Seth Troxler and Tiga after the Die Antwoord show, just saying. The party didn’t end there though, I hear the after-party at 213 Augusta, in Kensington Market, was phenomenal. Apparently Seth Troxler and Tiga spun a back-to-back set into the wee hours of the morning. Unfortunately, I was far too tired and inebriated to continue my night after Tiga.

I’m not sure if it’s a result of being in ‘the scene’ for many years or attending countless parties, that my expectations for ‘big’ events are set high, but I think attention to detail is important for a successful event atmosphere. Especially when you’re hosting a world renowned, and internationally recognized brand such as Sónar. Sadly, I don’t see Sónar choosing to make a return to Toronto if based on this past event. Toronto is definitely ready for a Sónar type festival, but next time a better format must be followed, and definitely choose a better venue with a proper sound system. Until the next event, see you on the dancefloor.

-Stilez

Campaign for Armin van Buuren to bring #ASOT600 to Toronto

Today a new video emerged from our good friends at Different Levels Productions in support of Armin van Buuren to add Toronto as one of the select cities for his upcoming ASOT 600 world tour. Needless to say, the idea and concept behind the video is great. It’s always a breathe of fresh air to see a new crop of ravers/clubbers rally together in hopes to have an event take place here. There’s even great footage in there from this past Thanksgiving long weekend, when Armin spun at The Guvernment on Satruday. Hopefully he’ll hear their voices (pretty hard not too since it seems to be all over social media sites and the internet right now), and decides to add Toronto to the list.

Best of luck guys, and you have sceneTO’s full support!

See you on the dancefloor.

-Stilez

REVIEW: Armin van Buuren & Jochen Miller @ Guv, + Max Graham @ Toika Lounge

It’s been a while since I can remember an entire weekend filled with so many headlining Trance djs in the city. Thanksgiving long weekend was just that. Friday night saw the return of Ottawa’s own Max Graham to Toronto at Toika Lounge. The last time I saw Max was at Footwork in 2010. It was probably one of the only times I’ve really heard any trance being played in that venue since (There might’ve been others since then, but none that I have attended). I’ve always been a fan of Max’s since the days when he used to spin frequently at Toronto’s legendary System Soundbar. A chameleon with his style, he’s never been one to shy away from mixing several different genres into his sets, or experimenting with new sounds. On Friday, it was all about Trance for Max. From progressive to tech-trance, he played a brilliant set that had the venue busy up until the last track. From what I hear, he will be back very soon. If you love trance, be sure to be there the next time he’s at Toika.

After recovering from Max Graham the night before, I had an idea of what to expect at The Guvernment on Saturday for Armin van Buuren. Just hours before his set, he released a 1 hour documentary, sponsored by KLM Airlines, called A Year With Armin. A very insightful documentary that follows Armin on his 2011 tour and gives us a sneak peek into his daily & personal life. From backstage at events, to the birth of his daughter Fenna. It gives his fans a better idea of who Armin really is, aside from being, what most of the world knows him as,  the only dj to win the DJ Mag’s title #1 DJ in the world 4 consecutive years in a row. Here’s the Documentary if you’d like to check it out. Well worth it.

Many were asking why Armin would be inside the Guv mainroom instead of the Koolhaus when he’s such a big draw. Everyone knew it would be super packed, but when you think about it, it’s the only logical place he could be put in since Wolfgang Gartner was scheduled to spin for the Guvernment’s 16 year anniversary in his massive custom stage that was built & setup just for him in the Koolhaus for the following night on Sunday. There’s no way they’d have Armin spin at the side of that custom built stage, or in front of it for that matter, just as all the other opening djs had to for Wolfgang Gartner at the Guv’s 16yr anniversary. Also, the lighting/lasers & sound system is far better inside the mainroom (although the lighting has been phenomenal inside the Koolhaus in the past year or so).

As expected, it was full to capacity inside the mainroom for Armin way before 12am/midnight, with so many of Toronto’s ‘Trance Family’ who were there in support of bringing ASOT600 to Toronto. It’s been a very long time since I can remember AvB playing an extended 5hr set inside the Guv, but it was definitely memorable. The first few hours were filled with many of his big tracks of the moment, songs from his label, and popular trance tracks, but I found his last 2 hours the best I’ve heard from him in a long time. Reminded me of the Armin of old. A nice mixture of classics and some pretty serious trance bombs like John O’Callaghan – Stresstest (John Askew Remix) which actually had me dancing. I caught some of it in my video, but I was quick to put my phone away and enjoy myself a bit. At the end of his 5 hour extended set, he grabbed the microphone and spoke to the crowd, his fans, for a bit. Thanking them, saying: “This is why I fucking dj!” He even lowered the dj booth to get up close & personal with the fans and do some signing for them. I also thought it was a nice touch of him to tell the crowd to stick around for Jochen Miller who was coming on after him, since the last time Armin was here for Freedom 2012, the crowd emptied out in the Koolhaus as soon as he was done his set, even though John O’Callaghan was coming on after and is pretty amazing himself. Not cool Toronto.

Jochen Miller is no slouch, and boy did he ever keep the crowd dancing until 7:30am. He kept the energy level high, the feet & hips moving, and the crowd stuck around until the very end.

Overall, an amazing night of trance music. Hopefully Armin hears his fan’s calls and decides to include Toronto as one of the stops for his upcoming ASOT600 tour. Toronto clearly loves Armin. Until the next event (or in this case, next blogpost), see you on the dancefloor.

-Stilez