It’s about change and the power to change. It’s about metamorphosis and evolution. It’s about sticking to your guns and toughing it out. It’s about now, not tomorrow. It’s about recognizing your potential. It’s about self-doubt and inaction. It’s about you. It’s about me. It’s about you and me and the others. It’s about the choices we make. It’s about finding the poetry and avoiding the cliché. It’s about being the solution, not the problem. It’s about showing weakness to be strong. It’s about digging through your dirt to look for diamonds. It’s about claiming your right to think unacceptable thoughts. It’s about boredom and the things we do to drive it away. It’s about being on your own so you can be with people. It’s about knowing what it means to be human and what it might mean one day. It’s about the parts and the sum of the parts. It’s about the music and the message: together, one and the same. It’s about bass, guitars, drums and vocals. It’s about opening-out and never, ever dying. But most of all it’s about love, every kind of love. Love is the answer. Savages’ second album, Adore Life, was recorded at RAK Studios, London in April 2015. Johnny Hostile was the producer and Richard Woodcraft the engineer. Anders Trentmøller took care of the mixing in Copenhagen.
Grouper's stunning 2008 ambient classic that cemented Liz Harris as a fixture in contemporary experimental music is an album unlike any other, an essential for any fan of the genre. The album marked a departure of sorts for Liz, which sees her turn down the fuzz boxes which caged her sound and allows her voice to ring out above everything else a bit more than before. An album steeped in the world of dream-pop - a genre pioneered by the likes of Cocteau Twins & This Mortal Coil & far from shying away from the reference, Liz has instead grabbed on with both hands, creating an album's worth of perfect, left-field pop songs.
Holly Herndon has become a leading light in contemporary alternative and electronic music by fearlessly experimenting within the outer reaches of dance music and pop songwriting structures. A galvanizing statement, Platform cements Herndon’s reputation as a unique musician with a singular voice. Born in Tennessee, but reared on music abroad, Herndon broke out from her formative years in Berlin’s minimal techno scene to repatriate to San Francisco, where she currently lives and studies as a doctoral candidate at Stanford’s Center for Computer Research in Music and Acoustics (CCRMA). Herndon’s debut album Movement, released in 2012, showcased Herndon’s fascination with trance and the disjunctive sampling techniques pioneered by avant-garde composition. Offering what Herndon describes as “a rupture, a paradisic gesture”, Platform is an optimistic breakthrough for Herndon, an appeal for progress, and a step toward new ways to love.
Includes bonus 7″ of two Sufjan songs from the Seven Swans sessions that are not available in any other format. Multi-instrumentalist Sufjan Stevens made a couple of records that slipped under the radar before his third, the astoundingly lush post-rock concept album Greetings From Michigan (2003), gained him critical attention and cult status. Seemingly bent on not repeating himself, Stevens scaled down Michigan's grandeur to a minimalist palette for Seven Swans (2004). Where the previous album was instrumentally comparable to Tortoise or Stereolab, Seven Swans is practically lo-fi, based around simply strummed acoustic guitars, banjo, organ, and hushed vocals. It's more akin to laconic Americana troubadours like Will Oldham and Iron & Wine, though no amount of sonic slimming-down can disguise Stevens's knack for crafty arrangements and accessibly quirky songs. Like-minded spirit Daniel Smith of the Danielson Family produced, and other Family members provide accompaniment that's considerably more structured than their own free-wheeling recordings.
The Age of Adz (pronounced Odds) is Sufjan Stevens' first full-length collection of original songs since 2005's conceptual pop opus Illinois. This new album is probably his most unusual, first, for its lack of conceptual underpinnings, and second, for its extensive use of electronics. The album almost entirely eschews the songwriter's former tools of the trade: namely, acoustic instruments that accompany an expansive narrative scope. While the sounds on this record are distinctly "artificial" (drums machines and analog synthesizers reign supreme), the proclamations of the songs are unabashedly visceral, sung loudly, with a backdrop of insistent orchestration. The result is an album that is perhaps more vibrant, more primary, and more explicit than anything Sufjan has done before, incorporating themes that are neither historical nor civic, but rather personal and primal (if even a little juvenile). Love, sex, death, disease, illness, anxiety, and suicide make appearances in an aggressive (and sometimes danceable) tapestry of electronic pop, conveyed with the urgency, immediacy, and anxiety of primary colors.
Our second vinyl-only release from Godspeed contains two long songs, and sets the bar for the sprawling compositions that would characterise the group in the years to follow. Side A is cut at 45rpm and features “Moya”, a broiling cascade of upward scales that repeatedly explodes beyond its own threshold. “BBF3” on Side B clocks in at 18 minutes, and was the band’s most lyrical, multi-movement music to date — more elaborated melodic figures wind around an angry spoken-word field recording (infamously culminating in the recital of the speaker’s poem — verses lifted straight from Iron Maiden). Both songs were recorded with Dale Morningstar at the old Gas Station studio in Toronto.
Regis' Downwards Records. Limited to 300 copies, clear vinyl. First time vinyl pressing from Justin Broadrick's (Godflesh, Jesu, Pale Sketcher) ambient leaning alias Final. Arguably one of his finest moments with Filtering interstellar guitar tones, pristine drone passages, and meditative vocal melodies through layers of frost and fog.
Includes a 12-page lyric and art book. Is the Is Are, the highly-anticipated sophomore release from Brooklyn-based DIIV, is an album years and many personal struggles in the making for it's architect, Zachary Cole Smith. Recorded and mixed in various locations in Brooklyn, it showcases everything you know and love about DIIV, and many things you did not, all with an added nuance and depth. It is a 17-song, double-album statement intended to resonate with its audience in much the same way that Bad Moon Rising or Tago Mago has for Smith himself. An extension and deepening of the musical ideas first expressed on 2012's critically-lauded Oshin, Is the Is Are yields a multiplicity of textures, lyrical themes, and moods. It is a more diverse world than Oshin, with different parameters and ideals. Dark and honest to a fault, the new songs are dynamic, loud, quiet, sad; they are songs that hiss and snarl; songs that, as Smith wrote recently, represent "the real me." Smith’s vocals, too, are much closer to the foreground, layered legibly on top of tidal waves of shimmering guitar and melodic bass weaving in and out, leaving a distinct and indelible imprint.
PRODUCED BY SIR FRODERICK AND DJ HARRISONART AND LAYOUT BY MITRA
The Fugees were an American Hip Hop group who rose to fame in the mid-1990s. Their repertoire included elements of Hip Hop, Soul and Caribbean music. The members of the group were rapper/singer/producer Wyclef Jean, rapper/singer/producer Lauryn Hill, and rapper Pras Michel. The group recorded two albums – one of which, The Score from 1996 was a multi-Platinum and Grammy-winning success. In 2007, MTV ranked them the 9th greatest Hip Hop group of all time. Refugee Camp (Bootleg Versions) is a remix album of a song selection from their 1994 debut Blunted On Reality and follow-up The Score, released in 1996. The album features eight tracks, including seven remixes, and one new recording. The album peaked at #127 on the Billboard 200 in the United States.
Janelle Monáe - the inimitable, award-winning, songwriter, performer, producer, CoverGirl and avant-garde funkstress - returned in 2013 with her second full-length “emotion picture” and follow-up to her 2010 Grammy-nominated debut The ArchAndroid. Monae used the fertile and powerful experiences of her past as the biggest inspiration in the creation of The Electric Lady. According to Monáe, “I went back to Kansas City after my tour for my debut album The ArchAndroid. And when I looked around me, I decided I wanted to make a raw, revealing album all about my life and the things I’d experienced in my community - about the laughter in the parks, the jams bumping in the cars, the jokes told over kitchen tables, all the life and warmth and struggles I felt there. But I also wanted to figure out how to take Kansas City to the future...like a surreal Parliament album with lyrics by Octavia Butler and album art by Salvador Dali.” As time passed, Monáe found herself increasingly drawn to the stories and experiences of the strong women in her life, and their ability to electrify and inspire individuals to do the right thing. Inspired by her mother and other matriarchs, Monáe began to write lyrics and songs about rebel women who refused to be marginalized and dared to live their life boldly and unapologetically in a distant future. Monáe explains, “When I returned to the studio, I felt I had to do my part. Through my art, I had to help create the woman I wanted to see around me. Incidentally, during concerts, for years I’d been painting this woman’s physique - the silhouette of her hips - I have hundreds of these paintings with the same feminine figure over and over...this glowing Technicolor woman...seen from behind...regal, powerful and electric...My colleagues and friends told me to name this mysterious figure because she seemed to be a totem, a powerful symbol for me. So I named her The Electric Lady, and that’s where the album’s title came from.” As she began the audacious task of following up on her acclaimed debut LP The ArchAndroid - an album that topped critic’s lists in 2010 all over the world - she took along some trusty, brave companions: the original music producers of The ArchAndroid, Nate “Rocket” Wonder and Chuck Lightning of Wondaland Productions. She adds, “This entire project was produced by Wonder & Lightning. We set out to make a soundtrack for the Obama era, something that spoke to the beautiful, majestic and revolutionary times that we’re living in. The musical language we’re speaking now is called ish. In the African-American community, we’ve been turning left-overs (like chitlins) and social depredation (like poverty) into delicacies and fine art for years. So we just set out to turn the rubbish all around us into something beautiful. Ish is the bowtie on the funk.” The Electric Lady sounds like an urgent and dangerous form of dance music, rebel music that forces one to fight, jam, and fall in love. Like on The ArchAndroid, the sonic textures of the album are varied, and the past and present come together to explode and create a mind-blowing future for pop and soul music. For example, wondrous strings reminiscent of Curtis Mayfield and Bernard Herrmann orchestrations abound, Hendrixian guitar solos soar, Outkast-like raps float over punk rock riffs; defiant socially-conscious lyrics extol the virtues of soul-searching and fighting for change, while the funk simply melts your speakers: 808s boom and Prince-like synthesizers squiggle in your earhole, making it veritably impossible to just sit still. Monáe was also inspired and emboldened by her truly amazing collaborators: Roman GianArthur, the wunderkind and Wondaland Arts Society artist-in-residence that, once again, provided the album’s magisterial overture; the soul star Miguel, who crooned his way effortlessly to the stars and helped provide a prime baby-making moment on the lush ballad “Primetime”; Erykah Badu, her self-ascribed “twin,” who used her cosmic grace and poise to help turn the first single “Q.U.E.E.N.” into a female empowerment anthem and a runaway smash; and none other than her lifetime hero, the legendary Prince, who contributed in countless ways, musically, vocally, and most importantly, spiritually. As she worked, Monáe found herself, as always, drawn again into her other love, science fiction, and the exploits of Cindi Mayweather, the heroine of her first EP Metropolis. In fact, the album serves as Suite IV and V of her Metropolis saga, and in this chapter, the android hero Cindi moves from self-realization to self-actualization: from the knowledge and owning of her unique superpowers, to actually using them to better the world around her. Monáe says, “I like to think you can hear me using my superpowers this time. And not just talking or wondering about them. The Electric Lady is like the big action sequence in the third act of an epic film. Every party this album starts, or every baby born because of it, is actually another victory against the Great Divide.”
“‘All I Want Is You’ was the soundtrack of my relationships,” remarked singer Miguel. “‘Kaleidoscope Dream’ is the soundtrack of my life.” Miguel's four-time Grammy- nominated sophomore album Kaleidoscope Dream - which came out in 2012 on the heels of Art Dealer Chic, his self-released series of free EPs - is bigger and more encapsulating, with a scope and sound that pushes past the boundaries of R&B and challenges its listeners.Kaleidoscope Dream is, crucially, the purest distillation to-date of who Miguel is as a person. Unlike most of his R&B brethren, Miguel doesn’t listen to the radio. Instead, he’s jamming Queen and the Rolling Stones. For the first time, the record completely reflects Miguel when out of the limelight. The album represents where he goes, what he does, and the people he hangs out with. Of his lifestyle, Miguel says he "won’t be making it rain. But I probably will be at some bar singing my heart out with a Jack and Coke in my hand. That’s just who I am.”Strategically, instead of thrusting listeners into this brave new world, Miguel decided to build a bridge. The result was "Adorn," the lead single off Kaleidoscope Dream that catapulted to the top of charts garnering Miguel his third No. 1 hit single and a 2013 Grammy win for “Best R&B Song.” The song, which was acknowledged in Rolling Stone’s 2012 “Singles of the Year” list, incorporates radiant harmonies and heavenly backing vocals - undoubtedly the work of the Miguel that his fans have grown to love, including Pop-Rock singer/songwriter Kelly Clarkson, who called his “Adorn” Grammy performance “… the sexiest damn thing I’ve ever seen…”during her “Best Pop Vocal Album” acceptance speech. Tracks like "Don't Look Back" and "Use Me," two songs released along with "Adorn" further illustrate that journey. These tracks, with their stacked guitars and crashing drums, blow open the doors on the new Miguel, the one who is daring to meld arena rock and R&B like no one since Prince. This was new territory for Miguel, but one that he's perfectly equipped to handle, as he shows that the soulfulness and purity of his voice is strengthened when he belts out sky-scraping choruses. The tracks also display a Miguel that is exploring the darker sides of sex and romance, in a way that is as dangerous and erotic.With Kaleidoscope Dream, Miguel moves into songs that are more open, even soothing. Of “Do You…” and “The Thrill,” Miguel says that the tracks are “very airy. That section of the album just has a free-spirited vibe.” “Kaleidoscope Dream,” the smoldering title track produced by Salaam Remi, explains Miguel from a philosophical standpoint. “I really believe that we all are creating everything that is in front of us,” he says. “So ‘kaleidoscope dream’ is another phrase for your own collage of what it is you want in your life. That is your ‘kaleidoscope dream.’ This album is the representation I’m painting for myself. It’s my ‘kaleidoscope dream.’”
Having graced more “Albums You Must Hear” lists than many other revered long players, Haha Sound is vintage, retro-centric electronic pop that helped to establish Broadcast’s inimitable sound. "Ominous Cloud," for example, is an archetypal Broadcast treasure. Blissful, glowing compositions holding up the vacant melodies of Trish Keenan. "Lunch Hour Pops" is another blast of their idiosyncratic sound which reaches a spiralling climax on closer "Hawk." Poetic lyricism, cinematic instrumentation and a constant undercarriage of life’s darker possibilities.
'Pull My Hair Back' is the debut album from Jessy Lanza, co-written and co-produced with Jeremy Greenspan from Junior Boys, It's graceful and erotic without the gratuitous close ups, icey and sensual, sweet without rotting your teeth, emotional but with enough blue glow to pull your heart strings, Jessy's voice flutters through the synths seductively, insistent without the over-singing and grating choruses that plague so much contemporary pop.
The future of music is emerging as neither entirely dystopian, nor entirely optimistic - the new avant-garde are collapsing these divergent outlooks into something that hopes to bridge the opposite poles of the organic and the fabricated, the physical and the mental, the vague past and the aggressive future. As if to speak directly to this duality, there are elements of Lafawndah's ritual club music that are both inherently trance-like and intuitively tangible. It is rhythm as melody and voice as rhythm and it surfs a broken 4G signal from the meditative fusion of Geinoh Yamashirogumi and Jon Hassell's 'Fourth World' music to the ballistic battle cries of dancehall and devotional musics.Lafawndah exists at a unique crossroads between vocalist and producer, conceptualist and performer - a disciple of hyperlinked global sonics and steadfastly urban attitude. Like her acclaimed 2014 debut EP, the recording of Tan began on an island with the same minimal studio set-up. This time, with collaborators Nick Weiss and Tamer Fahri, it was Fire Island off the South Shore of New York rather than the Caribbean island of Guadalupe. Soon enough proceedings hopped to the totemic island of Manhattan, where she embodied the role of executive producer by folding the like-minded ADR and L-Vis 1990 into her process to help realize a warped vision of esoteric industrial rhythms fused to an aggressive palate of nomadic atmospherics that brings to mind Muslimgauze and the twisted pop orchestrations of Leila without sounding remotely like either. Friends first and collaborators second, the unique group operated more as an orchestrated band - not 'producing', but working cohesively to accelerate Lafawndah's momentum.The songs on Tan are married to the sound and vice-versa, they are confrontationally playful, determined compositions and each track exists as a kind of suite with such a degree of narrative and musical morphing that Lafawndah seems to channel fragments of Grace Jones, Lady Saw, Psychic TV, Kate Bush and Missy Elliot into a theatrical soundclash that arrives at something entirely her own.In the now, everything exists as a fusion. It is the meaningfulness within these myriad connections that proves so difficult to find. Lafawndah presents an alternative, a metallic idea of sensuality and defiance that is fluid, unsentimental and assertive. Just in time.
Taken from the Drive original motion picture soundtrack. Since the film's release, the YouTube video for "Nightcall" has climbed to over 11 million views, and has been on repeat across an expanse of playlists, always fueling the after-after party with the slow burn of glossed synth echoes. Now Kavinksy emerges from this late-night haze with the helping of friends, bearing a collection of covers, remixes, and second takes for yet another drive through the midnight hours. Remixes from Dustin N'Guyen and Jackson. The song was features Lovefoxxx from CSS on vocals, and was produced by Guy-Manuel de Homem-Christo of Justice and mixed by SebastiAn.
Sometimes you just gotta make dreams come true - it’s a big honor for us to realize the first Big Pun posthumous release after 15 years on Vinyl! Features KRS-One, Marley Marl, Kool G Rap, Cormega, Easy Mo Bee & Shaquille O’Neal!! Authorized big Domingo and his Rios family this release reminds us all about the lyricial genius Big Punisher - rounded off with an incredible Cover Artwork!
Sam Griesemer and Jerome Potter aka DJDS (formerly DJ Dodger Stadium) – present their new LP, Stand Up And Speak, on the duo's own LA-based label/collective Body High. From the impassioned immediacy of lead single "You Don't Have To Be Alone" to the club-ready apocalyptic pleas on its title track, Stand Up And Speak takes cues from classic soul/R&B - love, pain, healing, empowerment – giving those themes a modern, electronic reinvention. While DJDS's 2014 debut was steeped in the hypnotic loneliness of LA, Stand Up and Speak is a total thematic counterpoint, capturing a distinctly Californian sense of community and pioneer spirit. Griesemer and Potter hand-picked a truly unique group of musicians to perform on the record, tirelessly combing through Craigslist ads and even putting up paper flyers around town to find musicians that fit the part.
Limited clear seven inch vinyl LP pressing. DJ hero A-Trak's single "We All Fall Down" transcends dance music's genres and trends. It's a welcome blend of throwback attitude ('80s electro soul, '90s Chicago house, two-stepping Y2K chart toppers), thoroughly modern production, and earworm melodies that feel timeless from the very first listen, courtesy of UK soulman Jamie Lidell.
In May 1972, Miles Davis got together again with Paul Buckmaster, an English classical cellist involved in pop music and experimental rock, who introduced him to Karlheinz Stockhausen’s music. The two men immediately thought up scenarios combining funk rhythms with the formal and resonant abstractions of contemporary music. On June 1, amid the utmost confusion, Miles called into the studio a number of musicians using a variety of instruments: a guitarist, a bass player, multiple drummers and percussionists, as well as three keyboards and the “Indian room” sitar and tablas. The structures imagined by Buckmaster were quickly forgotten, and when David Liebman arrived in the studio directly from his doctor’s waiting room, he was thrust in front of the microphone without headphones, even though the sounds of the bass, the keyboards, and the electric guitar could only be heard in the recording booth. The only indication he was given was the pivotal note of E flat, and the chaos created by the strangely discontinuous polyrhythm of the percussions. The album On The Corner was completed by other sessions that Teo Macero put into shape, and it would become a cult album for the avant-garde of ambient and electro-jazz. Now reissued with completely remastered audio.
M.I.A.'s debut record is both intensely urban and aggressively modern. The group's sole member, Maya Arul, infuses her blend of hip-hop and chunky electro with raw, tribal overtones and a healthy dose of sex appeal. There are elements of world music here, in Arul's multilingual vocal as well as the tonal shifts and instrumentation (like the drone that opens up "Hombre"). Her delivery uses a variety of yelps and tics full of street-wise confidence and bratty energy. But there's also an appealing melodic sense, like early Neneh Cherry or Miss Kitten when she's not in diva mode. M.I.A. doesn't really sound like anybody; the music is just experimental enough to wiggle out of easy comparisons. The IDM-style bleeps and beeps of "Galang," for example, give an already catchy song extra punch. The only problem with the record, a common flaw for debuts, is a sameness from track to track which robs it of the ability to surprise. Still, Arul is hugely talented and her abundant originality packs a wallop.
The internet can be blamed for many things, and while the current consensus seems to be that it is single-handedly responsible for the destruction of the music scene, it's impossible to deny the influence it has had on contemporary rap music. Previously held hostage by industry moneymen, file sharing and social networking has democratized the genre and allowed people to hear what's really going on in the minds of young producers and rappers. Main Attrakionz are one such cottage industry made up of rapper/producer Squadda Bambino and rapper MondreM.A.N., and in only a couple of years, the Oakland-based duo have amassed an enviable cache of heavy-hitting records. Surprisingly, none of these highly-regarded mixtapes have yet made it to the physical realm, so it is Type's pleasure to issue the band's defining 808s & Dark Grapes II on wax for the first time. 808s... shows Mondre and Squadda in exemplary form, spitting home truths and fractured hood memories over untouchable productions from their unmatched arsenal of collaborators. Clams Casino hardly needs an introduction at this point, but he is joined by Japanophile SF duo Friendzone, Marlee B, Keyboard Kid and many more to create a veritable roadmap of the current scene. The sound might have been awkwardly labeled "cloud rap," and sure, it sounds pretty dreamy, but there's more to Main Attrakionz than just a subgenre. This is fathoms-deep, genre-bending rap music found outside of the traditional boundaries, and its protagonists are two of the most compelling voices in the scene. Listen hard, and listen good, this won't be the last time you hear from Main Attrakionz. Limited edition double-vinyl pressing, cut at Dubplates & Mastering in Berlin.
10th Anniversary 180 gram vinyl reissue, with bonus live CD and download codes. To coincide with its ten year anniversary, Domino will reissue Four Tet’s seminal 2003 album, Rounds. The reissue will feature the album as well as a live set from Copenhagen recorded near the time of the original release. Rounds will be available as a heavyweight 180g 2LP-set featuring the Copenhagen live set on a bonus CD plus download codes.The three albums Kieran Hebden, aka Four Tet, released in quick succession: Pause (2001), Rounds (2003) and Everything Ecstatic (2005) represent a high watermark in new forms of pioneering musical creativity. These recordings fine-tuned the techniques of electronic music: sampling, sequencing, tweaking and injected them with an almost alchemical warmth. Disparate forms such as free jazz, hip hop, concrete tape research music and open string folk tunings are distilled into something that can only be described as sounding like Four Tet.In retrospect, 2003 seems like a pivotal year in underground music. It was the year the word “dubstep” first appeared in print, and when Dizzee Rascal’s “I Luv U” brought grime exploding into the public consciousness: both things that would turn British club music on its head, and radically rewire a wider scene that had settled in to creative complacency. It was also the year that various more diffuse strands of acoustic and electronic, psychedelic, experimental sound knitted together into something greater that would – albeit in more subtle and subversive fashion – have just as great an effect. And Four Tet’s Rounds was the album which encapsulated these peculiar, magical stirrings in the cultural undergrowth. Never mind the much vaunted patronage of Radiohead, never mind that Bruce Springsteen is a fan, this is an album which stands on its own merits as brilliantly emblematic of a very particular moment where everything changed.Rounds was rightly praised as an epochal release and garnered across the board acclaim for its bold innovation and intense musicality. The 10-song set saw Four Tet undertake its biggest worldwide tour to date including visits to China and Taiwan. The record's attendant single "As Serious As Your Life" included an exclusive 12'' of remixes from Detroit underground hip-hop legend Jay Dee. The track is a kinetic, refracted tune whose video made Morris-dancing look like the truly psychedelic, mind opening activity it probably is.
Yellow vinyl, includes bonus CD copy of the album. Skrillex & Diplo shook the music world in 2014 with the announcement of their collaborative Jack Ü project and a monumental co-headline show at the legendary Madison Square Garden on New Years Eve. They first teased new music with their single "Take Ü There" featuring vocals from explosive popstar Kiesza and a timely remix of the song with Missy Elliott marking her first big musical project after her Super Bowl XLIX appearance. With the world already on the edge of their seats awaiting new music, the duo has revealed their surprise album Skrillex & Diplo Present Jack Ü, out now on OWSLA / Mad Decent. The 10-track album features a huge guest roster including the first appearance from Justin Bieber in over a year, 2 Chainz, AlunaGeorge, Bunji Garlin, Snails, Tarantula, Kai and Fly Boi Keno. Jack Ü is the full realization of Skrillex & Diplo's individual talents as two of the most prolific producers in the world, crafting energetic hybrid blends of pop, hip-hop and dance music. As a solo artist, Diplo has landed production work for Beyoncé, Madonna, Sia, Chris Brown, Justin Bieber and more, and his traveling Mad Decent Block Party and Boat Party cruise ship have become the models for successful independent festivals. Skrillex's perfectionist attitude and rapid work schedule have earned him six Grammy Awards and production work on major Hollywood movies like Wreck-It Ralph, Spring Breakers and Transformers: Age of Extinction. Diplo, Jillionaire and Walshy Fire have been hard at work on the upcoming Major Lazer albums, while Skrillex and Boys Noize are prepping new music for their project Dog Blood before the iconic Movement Festival in Detroit. From owning their own record labels and touring the world to producing for the biggest artists and movie studios, it has become difficult to avoid seeing their names in headlines or faces on the covers of magazines.