Watch Funny or Die’s New ‘The Postal Service Auditions’

It’s been a long ten years since the premiere of The Postal Service’s Give Up and after a decade of wondering just how Ben Gibbard made the cut, we get a sneak behind the scenes. In a freshly released video that takes us back to 2002, we watch as Sub Pop holds auditions to round out the band. Everyone from Tom DeLonge and Al Yankovic to Aimee Mann and Duff McKagan audition and get rejected for the spot—even a shirtless screaming manic Moby. Finally, Gibbard shows up at the end and is reluctantly accepted into the band.

Written and directed by Tom Scharpling, check out the video below.

The Postal Service Auditions from Ben Gibbard      

 

 

 

Robert DeLong is an EDM Artist on the Rise

Seattle-born, L.A.-based singer-songwriter Robert DeLong has a flare for the alternative. In a good way. The 26 (soon to be 27)-year-old EDM mastermind, dubbed a Young Artist to Watch by MTV, has the music scene in his hands—quite literally. Indeed, among the myriad instruments he manages to maneuver during performances are Wiimotes and Joysticks, rigged like MIDIs and adding edge to his already memorable brand of booty movin’ tunes.

Seriously, though, this whiz kid’s got the chops and multitasks better than the best of us—in front of an audience, no less. He’s a one-man-band who sings, drums, and fiddles with game controllers and keyboards, sometimes going so far as to incorporate guitar, too. His live set is something to behold, a sweaty mid-twenties talent, hair slicked down in an exaggerated comb-over, putting every effort into churning out original numbers while keeping the beat.

“I’m always writing songs,” says DeLong, whose debut album, Just Movement, drops today. Makes sense, since he constantly rocked out in bands back in high school. Now he’s signed to Glassnote, label to the likes of Phoenix and Mumford & Sons.

Recently, DeLong released a video to accompany his catchy track “Global Concepts.” The visual rendition of this f-bomb laden rhythmic ditty features a foggy interior, warehouse-like, smoke somewhat obscuring the agile dancers in the background. Tube lights suspended from above flicker and flash whilst DeLong engages in various aspects of performing, most notably wandering around and gesticulating with Wiimote or drumsticks in hand, or hitting his steel drum to excellent tribal effect as he marches subtly in place. Towards the end, the space is overrun with revelers, morphing into an all-out party you wish you’d been invited to. (The platinum blonde mop you may glimpse amid the shadows belongs to talented dancer James Koroni, the individual responsible for my introduction to and fast fandom of DeLong.)

Another nuance unique to DeLong is his affinity for orange, which he wears with pride in the shape of an “x,” big and bold on a classic black tee, as well as painted with precision on his cheekbone in the shape of a lightening bolt. More on this defining aesthetic to follow.

New Yorkers can catch DeLong in action on February 15 when, as part of a greater tour, he plays The Studio at Webster Hall. Festivalgoers will have several opportunities to indulge as well, from SXSW to Coachella, Ultra to Governors Ball.

Not long ago I sat down with the confident up-and-comer at The Commons Chelsea, one of my favorite neighborhood haunts, where over iced tea we discussed the multi-instrumentalist’s inspiration, interest in hacking HIDs, and what it all means.

What’s it like being dubbed a Young Artist to Watch?
It’s great. I grew up watching MTV, so it’s cool. Wild ride. Exciting. Surreal.

How have people reacted? Any super fans?
Nothing too weird so far. But, it’s definitely getting weirder. After the video came out, all of a sudden friends from high school started reaching out, sending messages. It’s fun to hear from people I haven’t heard from in years. But, it’s just funny.

I bet. Did you always know you were going to go into music?
Near the end of high school I knew I was going to do music. I started out thinking I was going to be in science or something. But, I was better at [music]. I think people knew I was a musician, but I don’t know if people knew I was into electronic music and that I was going to go that route.

What would you be doing if not this?
Since college, all of my jobs have been music related. I taught drum lessons, so that was my thing. If it wasn’t music at all, I guess I’d be going to school.

To become a scientist.
Yeah, I guess. [Laughs]

So, tell me more about this Wiimote rewiring…
You can hack [a] human interface device, anything from Gamepads to Joysticks, and turn it into a MIDI. Basically, the idea is you’re just sending information to a computer and can turn it into whatever you want. It’s the same thing as having a knob, slider, drum pad. It’s all the same if you can hack it and make it work for you. I found out you could do it, it seemed interesting and it’s cheaper than buying a bunch of expensive musical equipment. And it’s fun, people like it.

How many instruments do you have up onstage with you?
Three different electronic things, two computers, game pad, Joystick, Wiimote, six pieces of percussion, drum set, keyboard. Like, 15-20 things. Sometimes I’ll have a guitar. Oh, and two microphones.

Wow. That’s a lot for one guy to keep track of. So, are all your shows like the last time you performed in New York? No pauses between songs, stuff like that?
The show is always continuous and flows together. When I do a longer set, there’s more drumming. I play guitar sometimes, too. It’s high-paced. Jumping around doing a lot of different things.

I’m getting that vibe. You sampled Moby when you last played live in NYC. Have you been a long time fan of his?
When his album Play came out, I was probably, like, 12. That was when I first started experimenting with making electronic music, because it was kind of accessible, mainstream electronic music for the time. It was kind of something I grew up with.

Aww, an audible homage. Thoughts on our fair city?
I love this city, but Manhattan is a little terrifying. And it’s a little colder here. Do prefer the warm. Other than that, it’s beautiful. It’s awesome. Good people.

Who else besides Moby inspired or inspires you?
The songs on the album especially are an amalgamation of a lot of songs over the last four years, so it’s a wide variety of things. I grew up in Seattle, so there’s the whole indie singer-songwriter vibe that I kind of grew up with, like Death Cab for Cutie, The Postal Service, Modest Mouse. I think you can hear that whole Seattle sound in the way I write melodies. As far as things I’m listening to a lot right now, I’m listening to Lucy and Sports. I also grew up listening to a lot of Beatles, Pink Floyd, Radiohead, Talking Heads. Those are some of my constant jams.

Can you tell me what inspired the lyrics behind “Just Movement”?
“Just Movement,” the first track, is sort of the thesis statement for the album. It was written right after college, a time of mental exploring. Just movement: the idea that, if you take this reductionist perspective, everything we do is just atoms moving around. It’s all meaningless. But, once you break it down, where do you go from there? Just movement, the double entendre. Dancing, philosophy. Take it or leave it.

Have you yourself always been into dancing? I’m thinking, too, of “Global Concepts”…
I go out dancing a lot. Do a lot of jumping around on stage. I think that’s an awesome thing. It’s the oldest response to music that human beings had, so it only makes sense to think about that. For a long time I was in the indie scene and no one dances. Everyone looks at their feet.

[Laughs] Shoegaze. How would you describe the music scene in L.A.?
It’s actually pretty cool. There’s definitely a burgeoning DIY electronic scene in Los Angeles. L.A.’s big. There’s always something happening. You can always see new music. It’s good stuff.

So, how did the face painting start?
The whole thing was a group of me and my friends called the Tribe of Orphans, a bunch of people who hang out and go to dance events and stuff. It kind of just evolved over time. My girlfriend Heidi face paint[s] at shows.

So she’s your professional face painter. Does she paint in real life?
Besides face painting she does studio painting and stuff, so it’s great.

Why orange?
Initially? That’s the color paint that shows up the best under black light. It glows the brightest.

Has anyone ever said something to you about your “x” symbol? How it very much resembles the “x” symbol of The xx?
Yeah, people have said that before.

Does it piss you off?
It does a little bit. It doesn’t really. I didn’t even know about them, that that was their symbol. The “x” just was kind of an organic development. My girlfriend had painted it on my headphones probably three years ago or something, so it was before that first The xx album came out. It was just kind of a simultaneous [thing]. We both did it. And then they became famous first. It’s just an “x.” It is what it is.

Emblem wars aside, what’s the greatest challenge of all this?
I think the greatest challenge is to not get sick all the time from running around. But, I have a lot of energy and this is what I wanted to do, so it’s all working out. So far. I get to do what I love. I love playing shows. That’s what it’s all about.

Photo by Miles Pettengell

Moby Releases Video for ‘The Right Thing’

Spec wearing vegan Moby has released a video for the song “The Right Thing”, the fourth single off his new album Destroyed. New Yorkers who feel nostalgia for a grittier Manhattan will love seeing Inyang Bassey walk the city’s parks, bridges, subways and graffiti-strewn streets that looked pulled straight from the 1970’s. 

Moby Talks, Plays With Joy Division in L.A.

Over the weekend, Moby mixed it up with fans at L.A.’s Kopeikin Gallery during Culver City’s informal, though increasingly popular Art Walk. The exhibit featured exclusive photos similar to pics from Moby’s new book Destroyed (also the title of his latest album), which were taken at festivals around the world. But those on display were new works yet to be viewed by the public.

“At the risk of sounding self-serving, I’m really happy with the show,” said Moby, who just turned 46 on September 11. “The pictures have a similar theme, but selfishly, I’m much happier with the way these are printed and framed.” It’s a busy week in LA for the musician. On Wednesday and Friday, he will perform alongside former Joy Division/New Order bassist Peter Hook at the Music Box in Hollywood, offering up his take on tracks from the seminal Joy Division work, Closer.

“I toured with New Order ten years ago,” Moby said. “On the last show of the tour, we did ‘New Dawn Fades’ together, and at the end of that, Peter Hook turned to me and said, ‘You know, we haven’t played this since Ian [Curtis] died.’” Moby, who in 1983 played in a Joy Division-inspired post-punk group called AWOL, still has trouble wrapping his trademark bald head around the idea of collaborating with one of his idols. “When I was 15, if you had come to me and said, ‘Someday you will sing a Joy Division song with Joy Division,’ I would have believed you more if you had said at some point we’ll all live on Jupiter.’

The Manhattan-based musician also weighed in on the most recent spat between Hook and New Order singer Bernard Sumner, both of whom he’s friendly with. “They are both lovely people, but I don’t know them well enough to play peacemaker. They’re Mancunians, and they’ve known each other since they were young,” he said.

Regardless, Moby will play with Hook Wednesday in Hollywood (doing a few songs from ‘Closer’), and Friday at the El Rey (doing songs from ‘Unknown Pleasures’). His exhibit at the Kopeikin officially opened September 10th, and runs through October 22nd. Hook plays tonight sans Moby, at the Gramercy Theater in New York.

Morning Links: Snooki Is Single Again, Beyoncé Hopes You’re Enjoying Her Album

● The romance has run out of Snooki’s actually very sweet sounding relationship. “I think he was just really sad about being away from her so much,” reports a friend of Snooki’s shy ex. Juiceheads, rejoice: the queen guidette is on the prowl once more. [PopEater] ● In a further effort to win the attention of America’s screen-bound youth, FOTUS Michelle Obama will appear on Nickelodeon’s iCarly. [AP] ● Spider-Man the musical is finally a “frozen” production, meaning no new changes between now and opening day. No new scripts, no new choreography, and definitely no new sets — even if it’s the Empire State Building that’s asking. [NYT/ArtsBeat]

● Beyoncé’s new album leaked a little early, and so long as you are enjoying it, she doesn’t really care. “When I record music I always think about my fans singing every note and dancing to every beat,” she wrote on Facebook. “I make music to make people happy and I appreciate that everyone has been so anxious to hear my new songs.” [Beyoncé/Facebook] ● The perhaps scandalizing decapitated-model/art piece from Kanye’s “Monster” video has spoken, and mostly she thinks it’s totally cool that Kanye touched her hair. To which, well, who wouldn’t? [Jezebel] ● Is he still Fat Joe if he’s not even fat? [MTO] ●This video of Moby collapsing from electric shock during a performance in an Amsterdam gallery (“This isn’t a joke, by the way,” someone assures, as onlookers reach for their iPhones) is, at the least, disconcerting. [Vulture]

Some Things You Might Not Know About Moby

Insipid electronic musician Moby is the subject of a long “Home & Garden” piece in yesterday’s New York Times, in which he shows off his massive abode in the Hollywood Hills. The house is named “Wolf’s Lair,” dates from the 1920s, and is very airy and glassy, with mid-century modern furnishings and light Scandinavian wood. Moby bought it last year for $4 million. If you’re looking for a kind of poignant portrait of a lonely, not necessarily very charismatic celebrity, look no further. Some takeaways:

* There are women who agree to date Moby! “‘I had a date, which ended up making out under the view of the Hollywood sign, but nothing too crazy,’ says Moby, who is so slight as to be almost as much of a caricature as the drawing on his gray T-shirt.” * Moby simply cannot handle hangovers. “It didn’t used to be that way when I was in my 20s. I could stay up till 7 being drunk, and the hangover lasted for two hours. In my 40s, the hangovers lasted for days, and they were debilitating and soul-destroying. I simply had to stop.” * Moby’s real name is Richard Melville-Hall and he’s a descendant of Herman Melville. Which I guess explains the stage name? * In 2005, he bought four floors of a building on the Upper West Side for $4.5 million, got lonely, and sold it. * In 2003, he bought a 9,000 square foot “weird degenerate country house” in Westchester. He put a disco in it and basically just used it to throw parties. * It took finding a group of strangers smoking crack in his bathroom for Moby to realize that inviting regulars from Mars Bar back to his apartment was a bad idea.

Other than that, not much to report. Moby is apparently exactly how one would imagine him to be if one were to devote time to such thought experiments. His new album, Destroyed, is coming out month. The Times article’s author describes it as having an “echoing, futuristic loneliness.” Much like Moby himself? Aw. Here’s to Moby finding a nice girl to eat vegan and listen to deep cuts from Play with him in his enormous L.A. mansion.

Morning Links: Scottish Deerhound Wins “Best In Show,” Zsa Zsa Gabor Auctions Her Fur

● Foxcliffe Hickory Wind, the Scottish Deerhound who won ‘Best In Show’ at last night’s Westminster Kennel Club Dog Show, will only come to “Grand Champion” from now on. [NYT] ● Next time you are on acid and need $20 or a sweatshirt, think about breaking into Moby’s house. It worked for the last guy, who after 36 hours of tripping saw Moby’s 1920’s house on top of a hill and decided he just needed to be there. [TMZ] ● The-Dream says he’s “cashing in [his] chips” for his fourth album, due out in June. He’s got his eye on Wayne, Jay, Kanye, Drake, and Mary J. Blige, but really, the list of musicians who owe him one goes on. It’s gonna be a hot summer. [MTV]

● NJ Governor Chris Christie would like us to remember that Snooki is from Poughkeepsie, NY, and that The Situation is from Staten Island, also New York, and that, “That’s not New Jersey.” [NYP] ● “I want the coats out of our life,” says Zsa Zsa Gabor’s husband Prince Frederic, who is putting her collection of fur up for auction. Each purchase celebrates Gabor’s infamous appetite for opulence while helping this ninth husband pay her medical bills. Fur shoals for all! [Prince Fredric] ● Want to act? Must have long hair. Emma Watson, who notably punctuated her Harry Potter days by chopping her hair into a sweet pixie, is going long again: “If I want to keep acting then it’s more flexible for me to have it longer for different roles,” she tells Elle. [Elle]

If You’re On Acid, Moby Will Not Harsh Your Mellow

I’ve heard from a few people that Moby actually isn’t all that friendly in person, but an amusing anecdote posted on his blog reveals that the techno pioneer does have a soft spot for those with, shall we say, temporarily compromised faculties. It seems a stranger let himself into Moby’s (unlocked) home in the hills above Los Angeles while tripping balls, scaring the daylights out of the musician when he awoke at 7am Monday to find the man standing next to his couch. But instead of screaming, doing violence, or calling the fuzz, Moby gave the poor chap a sweatshirt and some breakfast money and sent him on his way.

As Moby recounts, the encounter went like this:

me: ‘uh, who are you??’ him: ‘robbie’ me: ‘what are you doing here?’ him: ‘i’m here’ me: ‘i think you should probably leave’ him: ‘ok’. then he sat down. me: ‘i think you should leave’ him: ‘ok’. continues sitting. me: ‘is everything ok?’ him: ‘i might still be on acid’

Now, Robbie is a lucky bloke for a number of reasons. He could have wandered into the home of a trigger-happy firearms enthusiast and gotten ventilated. He could have been nipped by coyotes in nearby Griffith Park. Or he could have simply suffered from hypothermia due to his lack of warm clothing.

Instead, he encountered a surprised but ultimately benevolent Richard Melville Hall, who knew just how to take care of an acid eater. I wonder if Robbie had the presence of mind to leave his demo tape.

Electric Zoo Festival Rocks Labor Day Weekend with Sold-out Crowds

This past Labor Day weekend, a daily (on both Saturday and Sunday) sold out-crowd of 25,000 electronic dance music fans decamped to Randall’s Island to enjoy the beats of the world’s best house, trance, techno, electro-groove, break-beat and drum and bass DJs. From 11am to 11pm, nearly 70 acts delivered stellar beats to the eclectic attendees. Organizers Made Events recognized the potential for chaos that such an expansive lineup would bring, and to accommodate committed fans, they offered a “make your own schedule” application on its website. “It was easy! I could sample the artists’ sounds and with a few clicks design a hit-list that catered to my taste and told me where to go,” said one reveler.

There were four different stages at Electric Zoo, each boasting their own sets, intelligent lighting and effects, and featuring a varied line-up of similarly-grouped dance music types. The enormous main stage hosted the headliners, from ATB, Benny Benassi and The Chemical Brothers on Saturday, to Moby and Armin van Buuren on Sunday. The large hilltop venue seemed to focus on progressive trance, electro dance and melodic house, and starred killer acts like Kaskade, Markus Schulz, Steve Aoki and Above & Beyond. Under the Red Bull Music Academy riverside stage, talent hovered around hip hop, electro and big beat, including DJ Mehdi, Fake Blood and Diplo. The final venue dished out retro Detroit beats, techno and progressive house from the likes of Victor Calderone and John Digweed.

Attendees at Electric Zoo ran the gamut. There were crazed Europeans on holiday, hardcore ravers dancing the Hakken, euphoric go-go girls, pot-smoking indie scenesters, hula-hooping hippies, bridge and tunnel types, jocks, and even die-hards with toddlers in strollers. The diverse and lively hoards certainly reflected the variety and far-reaching appeal that electronic dance music still holds today.

Trance hero Markus Schulz was an early Saturday highlight with his commendable set on the hilltop area. Schulz spun a set that showcased his knack for blending multi-layered, uplifting beats. The audience had been aptly warmed-up thanks to a blistering effort by Gareth Emery, whose hit “Citadel” was sampled on numerous other sets throughout the weekend. Tracks from Schulz’s recently released Do you dream? also rang throughout his gig. When Schulz integrated a smooth remix of “Without You Near,” it was easy to realize why he’s America’s number one Trance DJ.

The main stage was packed for ATB’s 4pm start time. André Tanneberger (ATB), known for his first single “9PM (Till I Come),” of which he teased his fans with throughout the set, before unloading it towards the end, proved he can mix more than just Balearic vocals and ambient symphonic beats. He delivered a rockin’ remix of “Ecstasy” and Robin’s “Dancing on My Own,” both receiving roaring cheers and skywards hand pumps. Another mega-hit on his playlist was Sol Noir’s “Superstring,” which had to be the most sampled song the entire weekend, firmly establishing itself as an electronic dance anthem.

Those who could tear their bodies away from ATB’s addictive set made sure to check out the legendary Pete Tong at the hilltop tent. Tong was a perfect segue from afternoon into evening, with his calming Ibiza beats and funky house, keeping it somewhere between 140 and 119 bmp.

A surprise knock-out was Fake Blood (Theo Keating), the mysterious electro star whose identity was under wraps until 2009. The scene at the Red Bull tent got rowdy when Keating dropped the masterful Armand Van Helden’s “I Want Your Soul” remix. Fake Blood attracted a massive and diverse audience that was keen on his blend of hip hop, electro and dance-house.

Back on the main stage was Dirty South, who has been nominated for a Grammy award and catapulted to main-stream fame with hugely successful remixes for Britney Spears, U2, Snoop Dogg, Depeche Mode and David Guetta. Memorable tracks from his line-up included a subtle version of Evermore’s “It’s Too Late.” Dirty South’s diverse offerings of dance, indie-rock, hip hop and house had the entire main stage area in the air. When the clock struck 7, Major Lazer (producers Diplo and Switch) took over the reigns for a dynamic rock/rap heavy set that forged the atmosphere into fiery dancehall chaos.

Back on the hilltop was perhaps Saturday’s best set, Kaskade, who after a very successful year on the charts has garnered a colossal fan base. The hilltop could barely withstand the throngs that whistled and shrieked, as he ignited a frenzy by starting with an epic version of “Angel on My Shoulders.” Song after song, Kaskade kept the energy up and didn’t fail his followers by omitting his hits. “When my friend told me she was going to this thing called Electric Zoo, I hadn’t even heard about it,” someone in the crowd confessed. “Then she said Kaskade was playing and I bought my tickets on my iPhone that minute.” The consensus is in: Next year, put Kaskade on the main stage—he deserves it.

As the night matured, Grammy winner Benny Benassi took to the main stage for a pulsating set including a rendition of “Satisfaction,” and hits from Madonna, Kelis, Shakira and Sneaky Sound System. When asked how Electric Zoo compared to other festivals he’s done, Benassi replied, “It’s up there with the great festivals but it has an added plus—it’s in New York City. I love this town!”

Closing the 12-hour marathon were crowd-drawing The Chemical Brothers, who just released their seventh studio album, Further, this summer. The group naturally featured some of their new beats, which seem to be more melodic and danceable—a welcome progression. It was a phenomenal close to a gorgeous day, filled with extraordinary talent, exhilarating consumption, and exhausting dance moves. Those not rendered complete zombies headed to Pacha for headlining sets by Sharam and Robbie Rivera.

The masses stumbled back onto Randall’s Island early Sunday to hear the likes of Grum (fresh off the success of his hit “Runway”) on the main stage. By mid-afternoon, loyal fans of trance masters Cosmic Gate (Nic Chagall and Bossi) had schlepped back—moderately recuperated—to get their groove on at the hilltop, before the duo jetted off to Texas for the Nocturnal Festival. The pair worked in full-throttle mix of sacred trance songs and a version of their smash “I See You” from James Horner’s Avatar.

Laidback Luke certainly flexed his muscles by throwing out vocal remixes from The Ting Tings, David Guetta and Moby, as well as his new record “Till Tonight” from his own label Mixmash Records. A ten-thousand-strong mob boogied to his beats the entire way, until Moby took center stage in a rare live DJ set. Moby’s set traced back to his 80’s New York house and hip-hop roots, as well as techno (including his floor-filler “Go”) and revamped gospel tunes. A highlight was when he stood atop his huge turntable—hands in the air—guiding his fans through the movements, and backed by LED screens bearing his name.

But it was Above & Beyond’s sensational playlist that stole the show on Sunday. An awesome remix of Oceanlabs’ “On a Good Day” had nearly everyone singing along. Having earned mainstream praise for their Trance Around the World radio show, Above & Beyond drew vibrant and devoted spectators from start to finish. Member Jono Grant commented, “The satellite radios and podcasts have been good for dance music and certainly our careers. We can reach more people and expand electronic dance music’s fan base.” Tunes from their Anjunabeats and Anjunadeep labels (widely recognized as a premier platform in trance and progressive house) were widely sampled. “This year is a big year for us with the new Anjunabeats series. [Our beat] tempo has slowed down a bit, more groove!” explained Jono. Judging by the engaged swarm that packed their hilltop appearance, Above & Beyond has hit the big leagues.

Dutchman Sander van Doorn followed Above & Beyond with his technically ingenious take on trance, remixing tracks from Sia, The Killers, Pet Shop Boys and Depeche Mode. Van Doorn is an electronic dance festival veteran, with top billings at Creamfields, Mysteryland, Dance Valley and EDC. He fed the mob exactly what it craved—like a pro—as the sun set.

In the final hours of Electric Zoo 2010, most made their way back to the main stage, while thousands of other enthusiasts held-out for popular gigs from Steven Aoki, John Digweed, Victor Calderone and Diplo elsewhere. Fedde Le Grand took over the main stage at precisely 7:50pm, unloading an energy-pumping round of his shiny dance smashes “Put Your Hands Up For Detroit,” “Let Me Think About It,” “The Creeps,” “Back & Forth,” and remixes of Sharam, Moby, Will.i.am, Madonna and Eric E. When it came time for the Emperor of Trance, Armin van Buuren, to take over, even the crowd had separation anxiety.

That is until the hazers began misting, high-powered lasers beamed, and moving lights were on full-blast, and van Buuren began to dominate the main stage in a way only the world’s number one DJ could. LEDs spelled out “TRANCE” in larger-than-life letters behind the artist, as he spun symphonic synthetic beats, with string orchestral notes and seemingly operatic vocals. When asked why he decided to headline Electric Zoo for the second year in a row, van Buuren said that “The market in the US for me is huge! I sell more here in New York and LA than anywhere else. I’ve done some really successful shows. People remember under the Brooklyn Bridge, at the Roxy, Pacha, Roseland Ballroom—I’ve been everywhere.”

Next week van Buuren releases his fourth artist album, Mirage, followed by a massive North American tour, confirming he has no plans of putting on the brakes. Indeed, it was a superb end to a stellar Labor Day weekend. Following the van Buuren set, Moby hosted a surprise after-party at Pacha alongside Guy Gerber.

In closing, van Buuren said it best: “I’ve been working with Mike Bindra [and Laura De Palma, the couple behind Made Events] that put on Electric Zoo, for a while. They were guests at my wedding. I’m just so thrilled that Mike is doing well, because New York deserves a festival like this. It’s kinda of bizarre that it took so long to have a festival such as this and there is a big demand for [it]. They sold something like 27,000 tickets. We want it. It shows the popularity of electronic music.” He’s all too right.