Your EDM Interview: Benda [Buygore]

Although the list of artists that have had an exceptional 2018 is quite extensive, up and coming bass music prodigy Benda has parachuted into 2019 with a monumental collaboration with the legendary Borgore. After being taken under the head honcho of Buygore’s wing last year, the young producer by the age 19 of has culminated one of the heaviest collaborations of the year with the groundbreaking “Camo Diamond Rollie” on Bassrush Records.

We at Your EDM had a chat with him to pick his brain new and old, and all things Benda.

This collaboration is an absolute head splitter. Tell us a bit about how this tune came to fruition. Was it a long process to create or was it one of those “magic in the room” quick turnaround tunes?

Before we started the BGU Tour, Borgore and I had talked about doing another song together. With this tune we really wanted to make something super aggressive and mean. We ended just hanging out and pretty much made the whole idea in a session and then came back like two weeks later and finished the record.

You’ve been on a steady rise to fame recently and have showed absolutely no signs of stagnation. What are some of your goals for 2019?

My main goal for 2019 is just to release a bunch of music. Ive been really happy with all the new tunes I’ve been making and I’m excited for everyone to hear them! Another goal is to make actual songs not just dubstepy bangers so keep an eye out for those.

Dream collaborations: Top 3 GO!

Future, Space Laces, and Kid Cudi.

With the massive success of this release- do you have plans for a follow up collaboration with the man himself(If you don’t have one in the works already?)

We haven’t talked about doing another tune together yet, but we hang out almost everyday so i don’t doubt that we’ll make another one together in the near future.

What were some of your favorite highlights/memories of 2018, and why?

The BGU Tour has to be my favorite memory of 2018. Theres just something about touring the country with your best friends thats kind of hard to explain. Imagine your parents going out of town for the weekend and all your friends come over to your place and you get to do whatever you want; but for two months.

Who are your main influences in the music world? Any standout producers to you that inspire you?

As cliche as it sounds, my biggest inspirations are all my friends. They’re all super hungry and making insane tunes. s/o Borgore, Half Empty, Tisoki, Minesweepa, Sneek and all da boys.

What would you tell new producers/musicians that are now entering the realm of music production, any insider tips/ words of advice?

Just have fun with it! The best part of producing is figuring out a cool trick that you didn’t know about. Also don’t compare yourself to other producers, everyones journey is different.

Finally, any last words for your fans at Your EDM:

Soulja Boy had the biggest comeback of 2018.

You can purchase the release here on Bassrush Records: http://bssrush.co/borgore-benda

This article was first published on Your EDM. Source: Your EDM Interview: Benda [Buygore]

Matrix & Futurebound Blast Into 2019 With New Single

In the realm of drum and bass, Matrix & Futurebound are indubitably one of the most widely-known artist duos in the game. With internationally supported music and countless world tours, this legendary partnership has produced some of the most influential anthems in drum and bass, such as “Control” and “All I Know.”

Now, they’ve touched down into the new year with a feel good single called “Got You There” that’s sure to touch the hearts of listeners from every side of the electronic spectrum. With the angelic vocals of Zelah paralleled by the summertime piano chords that Matrix & Futurebound have been known for, the groundbreaking collaboration between them has created an absolute future classic.



This is a single off their forthcoming album… report back in a few months for more information on this LP we’re all anxiously waiting for.

This article was first published on Your EDM. Source: Matrix & Futurebound Blast Into 2019 With New Single

Avicii’s Full Collaboration With Mike Posner “Change A Thang” Leaks

It’s no secret that Avicii passed having created countless collaborations that will likely never see the light of day. A purported studio leak of his collaboration with Chris Martin made the rounds almost two weeks ago, and now his collaboration with Mike Posner has surfaced.

Entitled “Change A Thang,” this sounds like pinnacle Avicii. From the piano melody, even to the guitar chords, it just oozes Avicii style and panache. The specific version below surfaced on reddit two days ago; the OP stated that the leak wasn’t “completed/finished,” but it still sounds like studio quality nonetheless.

Posner’s vocals also mesh brilliantly with Avicii’s melodies, but that’s really no surprise. Avicii was a genius in the studio and had the uncanny ability to work with anyone, though he was notably picky about whom.

Check it out below, and join the discussion on Reddit here.

 

H/T EDM Tunes

This article was first published on Your EDM. Source: Avicii’s Full Collaboration With Mike Posner “Change A Thang” Leaks

Experience An All-Inclusive EDM Getaway In Cancun: Find Out How

Dance music isn’t just for the underground anymore. With festivals like EDC and Ultra costing hundreds of dollars just for the ticket alone, not to mention airfare, lodging, food, and more, the experience is becoming more commercial and more profitable. The trend is continuing with destination festivals like Bassnectar’s Vava Voom and Odesza’s Sundara. It extends further to companies with destinations locally like Las Vegas or even Cancun, with Jet Set Vacations.

Jet Set Vacations offers an all-inclusive EDM getaway at Melody Maker Cancun throughout March and April — that means unlimited alcohol, concerts, food, everything. They’ll even help out with flights!

During the resort season, you can catch any of the DJs or themed nights below for free with Jet Set’s all-inclusive package:

  • Sunnery James & Ryan Marciano – 3/7
  • Tiësto -3/9, 3/15, 3/19 & 4/20
  • Juan Magan – 3/14
  • Elrow -3/16
  • Dillon Francis- 3/18
  • Steve Aoki – 3/20 & 4/27
  • Don Diablo – 3/21
  • Afrojack – 3/22
  • Armin Van Buuren – 3/23
  • David Guetta – 4/5
  • Dimitri Vegas & Like Mike – 4/13
  • Mana- 4/19

Packages start at $359 for three nights. Find out more at Jet Set Vacations.

This article was first published on Your EDM. Source: Experience An All-Inclusive EDM Getaway In Cancun: Find Out How

Your EDM Premiere: LSDREAM, COM3T – HELLO HUMAN

If you saw Space Jesus and 1788-L open for Rezz in LA this past November, you’ll probably recognize this track from their sets. This midtempo / old school dubstep hybrid banger is officially out tomorrow, but Your EDM gets to premiere it today — LSDREAM and COM3T team up for “HELLO HUMAN.”

With a midtempo rhythm and deeper dubstep characteristics, “HELLO HUMAN” is the perfect track for live destruction as the bass sweeps back and forth from right to left. The staccato synth stabs are perfectly on time for optimal headbanging, which is no accident.

“In a rare studio session, an intergalactic lightbody intelligence was channeled, and delivered the following message: ‘Hello human, are you ready to ascend into the astral dimension? Beyond the edge of infinity, into the realms of frequency and light? Go forth cosmic child, cruise the multiverse and dance with colors of creation.’” – LSDREAM

Expect this one to crush in any bass set you hear this year. Check out “HELLO HUMAN” from LSDREAM and COM3T below, out now on Wakaan.

This article was first published on Your EDM. Source: Your EDM Premiere: LSDREAM, COM3T – HELLO HUMAN

Marshmello Is Going Full-On Dubstep with His Next Collab [FIRST LISTEN]

Marshmello sounds anything but soft in his new collaboration with Svdden Death. The producers just dropped a bomb on us — they’ll be officially unleashing a track together this Friday called “SELL OUT.”

Everybody knows Marshmello. And, Svdden Death has recently taken the dubstep world by storm. He’s one of our Artists to Watch in 2019, known for his unrelenting approach to bass music. Together, these guys bridge the gap between mainstream EDM and rail riders everywhere.

Before today, we would have never known what a Marshmello x Svdden Death collab would sound like. Thanks to a recent share, we know it goes a little something like this…

marshmello x svdden death

marshmello x Svdden Death….this friday

Posted by marshmello on Wednesday, February 6, 2019

Posed over an image featuring 100 dollar bills and tiger statues (or are those real tigers?) in a luxurious mansion, Marshmello and Svdden Death are pictured together in an epic promo photo.

“SELL OUT DROPPING FRIDAY” the caption exclaims.

Brace yourselves.

Marshmello x Svdden Death Dropping Friday

SELL OUT DROPPING FRIDAY WITH marshmello

Posted by Svdden Death on Wednesday, February 6, 2019

 

Photo via Rukes.com

This article was first published on Your EDM. Source: Marshmello Is Going Full-On Dubstep with His Next Collab [FIRST LISTEN]

Meet Tom Norris, One Of The Biggest Names In EDM You’ve Never Heard Of

You see names like Skrillex, Zedd, Calvin Harris, Diplo, and more all the time. They’re at the tops of festival lineups, on the covers of magazines, the front page of Spotify… they’re the faces you pay to see. But they’re not the whole equation. A lot of people work behind the scenes to help these artists do the multitude of things they set out to do. Among those people is Tom Norris, engineer for Skrillex and Zedd, among others.

Born in Massachusetts, he moved to San Diego at a young age where he later started a band with a couple friends. Hollywood Records offered the band a deal, which they signed, but Tom left shortly after to attend UC Berkeley. It was there that he started teaching himself music beyond the band, delving into production and sound design. He started a popular account on SoundCloud called “getyoursnackon” where he’d remake and post popular songs. During this time, he also became close with Kyle Trewartha of Grey. Together, they moved to Los Angeles and started working on projects, eventually leading to him working with bigger and bigger names.

In the world of electronic music, Tom is likely one of the biggest names you’ve never heard of. In rare fashion, he’s answered some need-to-know questions exclusively for Your EDM. Read on to find out the secrets of his success, what’s next for Skrillex, and more.

Where did your desire to create music come from?

Both of my parents are musical, and there’s a lot of music and creativity flowing throughout my extended family. I think I was hopelessly bound to do something relevant in music as a result. I do remember seeing my cousin making music with a really early version of FL Studio, and being completely blown away. I thought only producers (who were essentially wizards in my mind) in huge recording studios could create music, and so I immediately downloaded the demo when I got home and started messing around. That was in 2001, so it’s been a minute!

Tell me a bit about your experience with your first band Outerspace Politicians, later Allstar Weekend. What were some of the challenges you faced as a newcomer to that world?

I messed around with beats and instrumental production before the band, but I didn’t know anything about what it meant to write a song with vocals, or how to record things with a microphone and have them sound like real music. I was kind of like the Ryan Lewis of the band, recording and producing all of our tracks, doing our photos/videos/website/etc. It was a huge learning experience.

What eventually led to you leaving the group?

There were a bunch of factors—hating touring, stress, and bad managers. I also had a ton of FOMO from friends who were having a great time in college, while I was miserable in my band. The silver lining was definitely learning that I loved being in a studio far more than performing, and fostering a lot of great friendships that I still have today.

You chose to study linguistics at UC Berkeley, which arguably has no relevance to music. I would know, I also majored in it at UCSB. What about linguistics did you find interesting enough to pursue that over music?

A lot of my family works in academia, so I think I felt pressured to study something more ‘serious’. At the time, Siri for iOS had just come out, which to me seemed novel and exciting that I could control my phone with my voice. I was also really into pop linguistics books by authors like Steven Pinker (especially The Language Instinct), so linguistics felt like a natural choice. I think only once I was studying it, did I realize that I just fundamentally didn’t have the same passion for it like other kids in my class, and wasn’t looking forward to the day-to-day existence of being a computational linguist.

Of course, you did return to music eventually, as “getyoursnackon” on SoundCloud. How did you begin that project?

I knew a lot about engineering and producing ‘real’ instruments from doing band demos, but I didn’t really understand how to do anything else. EDM was at its peak when I was in college (around 2012), and I thought by remaking songs I could quickly learn how to use synths and layer MIDI-based stuff. I started uploading some of them to SoundCloud to show friends, and I think from that I started to gain some notoriety on various internet production forums.

What was your first foray into the electronic world?

I think working with the Grey dudes was my first serious foray into the electronic world. I actually met Kyle on Reddit back in 2014, and we became friends and started working on music together. He and Michael created Grey a year later, and they asked me to mix and master their stuff.

How quickly did you go from working with Grey on their music to suddenly working on tracks for both Zedd and Skrillex?

Zedd became involved pretty early on with Grey, and basically anything they worked on together I had some part in. My old roommate Ty (producer Lophiile) used to work with Skrillex, and randomly invited him over one night. We watched skate videos and played with yo-yo’s, and the next day he hit me up to come through and check out stuff he was working on. That was almost 2 years ago, and I’ve been working with him since!



You were nominated for a GRAMMY® Award, Record of the Year, for your work on “The Middle.” Did you ever think when you were 15 starting a band in high school that would ever happen?

I don’t think I could have anticipated anything I’m doing now back then… or even 2 or 3 years ago. But I think that’s what’s great about working in music—anything can happen! The Grammy nomination is insane, and I feel incredibly grateful to be recognized with some of my best friends.

You’ve also been working with Skrillex since early 2017. Which of his tracks would you say was the most creatively fulfilling to work on?

Every single thing I’ve worked on with Skrill has been creatively fulfilling, given how incredibly creative he is as a person and musician, and how he imbues that in everything he works on. That aside, I do think the Humble remix for Kendrick was really interesting to have been a part of, in seeing how it was iterated on and evolved over 4-5 months from an initial concept to the final release.

How was it specifically working on “Surrender” with From First To Last, given your rock background.



It was a nice change of pace entering that world again! With Surrender, we had two ideas in mind: to make it sound like FFTL with a modern vibe—ie, super loud drums and low end, and to make it feel almost like a spiritual successor to “Make War”, their prior release. It took a while to finish, I think Matt Good from the band had recorded all of the instrumental parts almost a year before it actually came out. Kyle (from Grey) also recorded guitar layers to help fill out the mid-range. Sonny and I then went back and forth on drum sounds and mix versions for almost a month.

You not only worked with Skrillex directly, but also his collaborators like Mariah Carey and The Weeknd. Do you have any specific fond memories of working with anyone in particular?

I remember FaceTiming with Abel after Skrill and I finished the mix on “Wasted Times.” It was dope seeing how stoked he was on how it turned out!

The one question on everyone’s mind: what’s next for Skrillex?

Given all of the crazy stuff I’ve heard over the last couple of years, whatever form the next project or release takes, it’ll be absolutely worth the wait.

Outside of the Skrillex and Grey/Zedd universes, you and Ansel Elgort are friends and have collaborated on a number of original productions and projects. How did you link with Ansel? Are you still working with him?

Our mutual friend linked us 3-4 years ago. I didn’t really know anything about him besides the EDM/DJ stuff that he was doing at the time, but I thought it was cool that he was starting to sing on tracks he produced and wanted to do that kind of thing. I’m currently working with him on a full length album that should be out sometime this year – not sure if I’m allowed to say anything else about it 🙂

What’s next for you creatively?

Climbing Everest! Just kidding—I’m working on a bunch of projects that I can’t really talk about yet, but I’m excited for people to hear them. Some are with artists you’d expect, some aren’t. I’m also working on some VST plugins/effects for producers that might be release ready this year, and more sample packs/sound libraries that I think people will find useful.


You can find a list of all the tracks Tom has worked on at getyoursnackon.com. Keep up with Tom on Instagram, Twitter, and Soundcloud!

This article was first published on Your EDM. Source: Meet Tom Norris, One Of The Biggest Names In EDM You’ve Never Heard Of

Marshmello Has An All Hip-Hop Album Done

Marshmello may be releasing a track with Indian vocalist Pritam this Friday, but that isn’t even the tip of the iceberg for what he has in store. According to a tweet a couple days ago, Marshmello has an entire hip hop album done.

I’ve got an all hip hop album done don’t worry 💪🏼https://t.co/XCkNDagJOy

— marshmello (@marshmellomusic) January 29, 2019

Mello has already worked with more than a few rappers and hip hop artists on tracks that are definitely more hip hop than they are dance music. His most recent single with Roddy Ricch, “Project Dreams,” is a prime example. He’s worked with Juicy J, Logic, Lil Peep, Migos, Far East Movement, and Khalid, as well as putting out an official remix for Future’s “Mask Off.”

A hip hop album from Marshmello never really felt outside the realm of possibility, and now it’s a confirmed reality. Only question is — when are we getting it?

 

Photo via Rukes.com

This article was first published on Your EDM. Source: Marshmello Has An All Hip-Hop Album Done

Fish Drops New House Banger “Lies” on Bingo Bass

Most times at shows, you can find me at the bass stage, headbanging to dubstep or throwing up some nasty trap arms. On rare occasions, you can find me at a house show, but the vibe has to be just right for me to truly sink in and lose myself in the sound. Such is the feeling I get when I hear “Lies” from Fish, out now on Bingo Bass.

“Lies” is future house at its best — energetic, fluid, and creative. The vocal is a total earworm, and the drop is insanely addictive. Starting with the vocal loop and drums in the build, it drops into a perfectly synth’d out cacophony of sounds. The beat is precisely what I need to dance like a fool and not give a damn who’s watching, which is exactly what every show should bring out in people.

Check out “Lies” by Fish, out now via Bingo Bass.



This article was first published on Your EDM. Source: Fish Drops New House Banger “Lies” on Bingo Bass

Sound check: Zach Velmer and Jeffrey Lerner from STS9 talk about the band’s past, present, and future

Sound Tribe Sector 9, more commonly known as STS9, began in Atlanta in 1996 in the midst of the rise of the mid-1990s “jam band” scene, but since their inception, there hasn’t been a category that fully encapsulated just what the band was about. And even though mixing a live band sound with electronic elements has become increasingly common on the festival scene, there still isn’t a band that is quite like STS9. When meeting up with the band I asked them about how they felt about the rise in having more live elements being introduced into EDM and if they felt like they were a big part of inspiring this wave.

“It seems as such.” replies a laughing Zach. “We feel grateful. A lot of our contemporaries from Pretty Lights, Bassnectar, The Glitch Mob and I think the list kind of goes on [have spoken about the inspiration STS9 had on their sound]. There’s a new artist every day saying kind of ’We do this because our first kind of gateway into this kind of world was STS9.’ So you know we feel very grateful and blessed to be a part of a movement.”

Movement, collection, tribe. These are the words that are used to describe the band. Throughout our interview they often refer to themselves as being a smaller part of a larger picture. The vision of STS9 and the way they see themselves and speak about their place in the world around them is very humble. Part of what has made this band almost impossible to categorize and definitely impossible to replicate is the band’s core belief of never categorizing themselves. While preparing for my interview, I came across the very first STS9 interview published. The interview (also with Zach and Jeffrey) was conducted by Bob Wiely after a show on Feb 26, 2000 and published by Surrender To The Flow magazine.  

Bob Wiely: How do you feel about the term “Organic Techno” being used to describe your music?

Zach: I don’t think anything should really be labeled. I think it’s a good term in the fact that its not what we set out to do… but its kinda what has cosmically happened just through playing music and listening to the connection of it. I guess kinda organic techno, but I don’t know if I would use techno.

Jeffrey: It’s not bad, it doesn’t hurt me. It’s so much more then that… that’s just an element of it.

Bob Wiely: What would you label it?

Jeffrey: That’s hard, it’s different every night. Its true fusion I guess, without too many tags. It’s just whatever comes.

Zach: I have a hard time describing it. How would you describe it? It’s almost like classical music in the fact that we have songs that are 35 minutes long, like a lot of other “jam bands” and the fact that they are not so much jams but movements, understand? For example tonight we opened up with the second part of the last song. Everything is really interchangeable, like our song frequency. Labeling just turns me off. We read articles and people say just that “fusion, techno, blah blah blah¦” and we’ve not yet come up with what it is and can be instead of using other genres not that we are creating our own it’s like you have to go see it instead of just reading about it. We’re still working on our label I guess.

During our interview, as we began speaking about how their sound has been perceived and labeled over the years. Zach shared what he felt was the best description of their music ever told to him in an interview, “We still use this one to this day, if we’re talking retro. One of my favorite quotes from an interview was when an interviewer tried to explain [our sound] ‘Going to see STS9 is like driving down the road at a hundred miles an hour with your hair caught on fire.’ I can get that.”

And even though electronic music fans (perhaps more than fans of any other style of music) take pride in categorizing the music they are listening too and forming their own communities based on which of the genres they listen too, STS9 seems to be the exception to the rule.

Music isn’t the only medium in which STS9 has pushed the use of the available technology as it has evolved over the years. When it comes to the internet, the concept of social media and using technology to interact with their fans and help build connections amongst them STS9 was also way ahead of their time. Way before artist began using Facebook groups to create interactive fan clubs and even before MySpace was founded in 2003, STS9 used their website as a primitive social media platform. As early as 2000, STS9 fans could go to the band’s official webpage to connect with the tribe in a forum-like section of the webpage called: the Lowdown.

During my interview with Zach and Jeffrey, I set the intention of really reminding the band about the early days, get an idea of how they have changed throughout the years, and try to get a sneak-peak into how they may evolve in the future. Looking at the early editions of their website to now, one of the biggest changes seems to have come in the way the band presents itself to the world. As ahead of their time the band was, first glance of STS9’s website presents a lot of information and ideas that are fascinating and interesting, but ultimately distracting from the site’s role in promoting the band’s music.

Early on in the band’s career, STS9 was steadfast in presenting themselves as an artistic collective at the forefront of musical experimentation. The Mayan culture played a heavy part in the creation of this atmosphere. According to early editions of STS9’s website, the ancient Mayans thrived in the ninth sector of 13 in the middle of the Central American rain forest. While Europe was in the Dark Ages, the Mayan culture mapped the stars and calibrated harmonic frequencies to converge the Earth toward resonance. And it was this idea of harmonic frequencies that inspired Sound Tribe Sector 9.

A visit to the band’s official site today is a very different experience than it was in 2000. There are no references to the Mayan culture and perhaps more sadly, the Lowdown has been removed as well. When I asked Zach and Jeffrey about the links on their old site and if the Mayan’s still had a presence in their life and music, Zach and Jeffrey were both quick  to jump in on the somewhat touchy subject with Zach saying “I mean yeah,” as Jeffrey simultaneously said “In its own way.” Zach and Jeffrey both took turns sharing their thoughts on the real influence the Mayan philosophy had on the band, and why it has taken a smaller role as time has passed. Jeffrey said, “I think it became less cultural and more planetary. [In the beginning] it was kind of our gateway into just trying to understand [our place in the world]. That influence was a part of our youth, and expression, and is still part of us. Just not as overt.”

Zach adds, “Yeah, I think it [the Mayan influences to their site and music] kind of originated because of the lunar calendar. The concept, not even really a concept, but the feeling [of the Mayan culture] was that idea of being more harmonious with planet Earth. And just to expand on what Jeffrey was saying, at that time in our youth we were kind of bombarded with ‘time is money.’ From management to record labels, [Every conversation was] ‘money, money, money.’ And the concept of harmonious ‘time is art’ and ‘use your time just to make art, be creative, and be authentic in that way.’ I think that that was the biggest takeaway and some of the resonance that we had with that whole thing.”

Jeffrey continuing his thought adds, “And being introduced to Jose Arguelles [founder of Planet Art Network and the Foundation for the Law of Time], getting to know him, and to have his samples in Artifact. So to have that connection was great … Honest answer, it [the Mayan influences] became such a big thing about what people are talking about. I think for us it became ‘Time is Art’ and that was the big takeaway. We spend our time creating. And [while that] was a big inspiration, to be so labeled and with a cultural thing… I think we just kind of took that to a more personal level. We want people talking about the music, and when you’re an original authentic band it’s hard for people to understand.” In order to clarify things, the band has made a concerted effort to make sure the music is the main focus: of the official website, the live shows, and even the conversation. “We promote the Tribe as art – that’s the vision,” Zach says. “We’re more inspired than we’ve ever been. It’s like a river, and when it flow’s it really flows. And right now we’re flowing.”

One thing hasn’t changed over the band’s 20 years of making and performing music, and that is the emphasis on not only creating art but creating art as a family. As a tribe. The band held their first ever festival, Wave Spell Live, in the small northern California town of Belden last August. During a solo DJ session, Zach brought a very special surprise guest artist to the stage. His daughter, Isis.

When asked if she would be joining them in the future Zach gave the enthusiastic answer, “Absolutely! Yeah. We have a lot of plans. A lot of plans. A lot of fun things. My daughter is fierce. It was actually her idea. I’m just the vessel for her right. To support her in her aspirations. It’s insane. She’s six. And the reason she didn’t come down [for the Los Angeles show] is she’s auditioning for Alice in Wonderland. She has a voice lesson two times a week, and then she’s in this program called All About Theater and she wants to be the Queen of Hearts. That’s her goal. She’s fierce. We’re trying to raise a strong child.”

In spite of the exciting prospects on bringing his little girl into the STS9 fold, Zach isn’t unaware of the influence festival culture has and foresees a time when her presence in the scene probably won’t always be as innocent as jumping onstage and jamming with her father’s band. During the interview, Zach was laughing and began to cover his eyes with his hands as if to block out a future mental image when saying “She’s gonna be the 18-year-old at the festivals. Naked, hula hooping and someone’s going to be saying ‘she has a father’. And I’ll have to say ‘that’s me.’” And while Zach may not be looking forward to that particular scenario, the main thing I took away from the anecdote was that STS9 plans to stick around, creating art, and sharing the vision of the tribe for many years to come.

This article was first published on Your EDM. Source: Sound check: Zach Velmer and Jeffrey Lerner from STS9 talk about the band’s past, present, and future