Click on a track to play a song!
May 23

Insomniac Releases EDC Lineup For 20th Las Vegas Edition

Insomniac released the lineup for its 20th annual Electric Daisy Carnival Las Vegas May 20 on Night Owl Radio, followed by a print lineup today, which features the annual who's-who of electronic music and then some. List below tl;dr? Here's a good rule of thumb: think an artist, chances are they're down there.

Scope the complete announcement below, and if you don't already have tickets, it's time to start getting creative, 'cause they're officially sold out. The 20th EDCLV goes down June 17-19 at Las Vegas Motor Speedway. Don't miss our Top 15 Best Moments Of EDC 2015 recap from last year.

EDC Lineup 2016
12th Planet
219 Boys
50 Carrot b2b Coffi b2b Soloman
Above & Beyond
Ace Ventura
Adam Beyer presents Drumcode
Adventure Club
Alan Fitzpatrick
Alison Wonderland
Aly & Fila
Andy C
Anna Lunoe
Armand Van Helden
Armanni Reign
Armin van Buuren
Audio b2b Teddy Killerz
Audiotistic Stage
Axwell Λ Ingrosso
Bad Boy Bill
Bad Company UK
Bart Skils
Bassrush Experience
Ben Nicky
Billy Kenny
Brad Moontribe
Brennan Heart
Brennen Grey
Brian Seed (DJ Brian)
Bro Safari
Brookes Brothers
Caspa b2b Rusko
Chris Lake
Chris Liebing
Chris Lorenzo
Code Black
Cookie Monsta
Coyote Kisses
Craig Williams
Crisis Era
Culture Shock
D-Block & S-te-fan
Da Tweekaz
Dada Life
Danny Howard
Darren Styles
Dash Berlin
dela Moontribe
Delta Heavy
Dem Ham Boyz
Derrick May
Des McMahon
Digital Punk
Dimitri Vegas & Like Mike
Discovery Project
DJ Dan
DJ Isaac
DJ Snake
DJ Trance
Doc Martin
Doctor P
Don Diablo
Dreamstate Presents
Dr. Fresch
Duke Dumont
El Dusty
Eptic b2b Must Die!
Eric Prydz
Ferry Corsten presents Gouryella
Filthy Gorgeous
Flux Pavilion
Frankee b2b Loadstar
Frankie Bones
Gareth Emery
Go Freek
Gunz For Hire
Hannah Wants
Hot Since 82
Hotel Garuda
Jason Bentley
John Askew
John Kelley
John O'Callaghan
Jordan Suckley
Juan Atkins
Julia Govor
Julian Jordan
Knife Party
Lady Faith
Landis LaPace
Lane 8
Lenny Dee
Loco Dice
Machete & Friends
Mark Farina
Markus Schulz
Martin Garrix
Martin Solveig
Matrix & Futurebound
Matt Black
Max Enforcer
Maya Jane Coles
MC Dino
Michael Calfan
Mike Williams
My Digital Enemy
Nicole Moudaber
Oliver Heldens
Paper Diamond
Party Favor
Paul Oakenfold
Paul Ritch (Live)
Paul van Dyk
(DJ Set) w/ MC Verse
Pierce Fulton
Radical Redemption
Rell The Soundbender
Richie Hawtin
RL Grime
Rob Gee
Ron D Core
Sacha Robotti
Seven Lions
Shaun Frank
Shiba San
Sleepy Tom
Sonny Fodera
Steve Loria
Stööki Sound
Suspect 44
Taiki Nulight
The Chainsmokers
The Magician
The Prototypes
Tom & Collins
Tommy Trash
Totally Enormous Extinct Dinosaurs
(DJ Set) b2b Jonas Rathsman
TrollPhace b2b P0gman
Two Fresh
Tycho DJ Set
Valentino Khan
Walker & Royce
Wasted Penguinz
What So Not
Yellow Claw
Apr 11

Sound Atlas 53

Welcome to Sound Atlas, a weekly series showcasing LessThan3’s desire to scan the world for the most exciting sounds in global electronic music. This week’s edition continues on from last week's recognition that EDM is “dead” and takes a step back (and around the world) into the pre-EDM boom era for a few super-important and still-relevant classics, plus showcases a new take on timeless Latin freestyle vibes from Love Taps and Durkin.

Love Taps feat. Maya Killtron - Falling Fast (Durkin Remix)

Swimming on the fringes of house and club music is Latin-tinged freestyle, a NYC-based sound that's absolutely primed for a revival. Boston-based Durkin's remix of Love Taps' magnificent moombah jam Falling Fast flips bouncing dembow loops for synth pop and chopping breaks. The result is that instead of the track feeling very pop-ready for 2016, you're immediately transported back to 1986. With Drake and Wizkid joining Justin Bieber in making moombahsoul this year's catchiest mainstream vibe, one can only presume that other Latin-derived feels can't be too far in the offing. Stream this one above.

Starks And Nacey - Summer Madness (Original Mix) [Free Download]

Underground dance fanatics familiar with bass-heavy dance vibes still freak out when the names of DC-to-LA producers Steve Starks and Nacey are mentioned in conversations. Starks is one of dance's most underrated bass monsters, having excelled at everything from club to moombahton and more. As well, Nacey's had placements with Angel Haze and is the production wizard behind Misun, but check out their 2011 collaboration Summer Madness. There's a level of mature club-meets-R&B here that, when added with the grooving and jazzy sample of Kool and the Gang's 1974 hit Summer Madness, makes this track timelessly smooth. Five years later, this one is right on time with where future bass is likely headed as club-ready house music surges in popularity. Download this one for free here.

Larry Tee feat. Roxy Cottontail - Let's Make Nasty (Bounce Little Kitty) (Afrojack Remix) [Ultra Music]

Legendary NYC underground party king and queen Tee and Cottontail's Let's Make Nasty may be one of the cheekiest '90s house-style anthems released in the 2000s. Upon being flipped by then-rising Dutch house name Afrojack, the track becomes a surging, breaking and booming banger. This is the type of track that is big enough to still meet festival stage expectations, but melodic and sweet enough to get more asses shaking and fewer bodies jumping. Feel the heat still pulsating from this one and grab it here.

Joker feat. Ginz - Purple City (Original Mix) [KAPSIZE]

Dubstep's making a comeback, and in representing more of the genre's classic dub reggae vibes and less of Rusko's once iconic wobbling innovations, this heater is relevant once again. Intriguingly, Joker's back with his EP The Phoenix on May 6, so this one should serve as a magnificent half-time palate cleanser beforehand. Joker's "purple" era sounds were just as much about dub as they were about Zapp and Roger inspired synth-soul, so this one has quite the intense vibe. Also, with grime surging on the underground as well, maybe put an ear to this track and hear what someone like Skepta or Stormzy could sound like on something akin to this, too. Purchase this classic here.

Drop The Lime - Hot As Hell (Canblaster Remix) [Ministry of Sound]

NYC-based producer Luca Venezia's time as Drop The Lime created a blend of outlaw country, techno, and heavy house vibes that may have been before it's time. Now that artists like Canblaster's Club Cheval crew and Gesaffelstein are making the world go bump (de bump, de bump) in the the night though, it's tracks like this magnificent remix that deserve another listen. Canblaster's "horsestep" remix makes fantastic use of a fanciful horse gallop sample, but it's the mix of synth, soul and techno funk that really puts this one over the top. Wow your eardrums yet again and purchase this one here.
Love Taps feat. Maya Killtron - Falling Down (Durkin Remix)
Starks and Nacey - Summer Madness (Original Mix) [Free Download]
Larry Tee feat. Roxy Cottontail - Lets Make Nasty (Bounce Little Kitty) [Ultra]
Joker and Ginz - Purple City (Original Mix) [KAPSIZE]
Drop The Lime - Hot As Hell (Canblaster Remix) [Ministry of Sound]
Jan 08

‘Lean On’ Hits 1B Views + The 10 Other Most-Viewed EDM Videos Of All Time

Major Lazer, DJ Snake, and MØ's absolute smash Lean On reached another milestone never before held by a dance artist when it surpassed 1 billion views on YouTube, also becoming only the 11th music video ever to do so.

Taken from Major Lazer's 2015 album Peace Is The Mission, Lean On now boasts a trophy case that also includes awards for most Shazamed song of 2015 and most streams on Spotify ever.

Major Lazer now joins the exclusive billion-view club on YouTube, largely dominated by Taylor Swift and Katy Perry at two a piece, alongside names like Mark Ronson, Justin Bieber, and others all ruled over by Psy with Gangnam Style at a bewildering 2.5 billion views--virtually twice that of his nearest competitors jockeying around 1.3.

There are a few fellow electronic acts who are close, however, with others who could still see a bill' down the road, and some who will simply never make it, reminding us what a seemingly insurmountable number 1 billion is. Watch Lean On and the 10 other videos trying to catch up below.

1. Major Lazer - Lean On | 1.002 Billion

2. Avicii - Wake Me Up | 823 Million

3. Martin Garrix - Animals | 714 Million

4. Calvin Harris - Summer | 659 Million

5. David Guetta feat. Nicki Minaj, Bebe Rexha & Afrojack - Hey Mama | 559 Million

6. David Guetta feat. Sia - Titanium | 516 Million

7. David Guetta & Showtek feat. Vassy - Bad | 461 Million

8. David Guetta feat. Ne-Yo, Akon - Play Hard | 450 Million

9. Jack U feat. Justin Bieber - Where Are U Now | 406 Million

10. The Chainsmokers - Selfie | 398 Million

11. Skrillex feat. Sirah - Bangarang | 390 Million

Dec 09

Beatport Releases Top-Seller Genre Charts For 2015

Beatport has released charts of the top-selling tracks of 2015 by genre, and though it includes tunes released prior to this year, it's definitely an interesting snapshot of the past 12 months in music.

While each genre has strong representation of tracks made in 2014, the majority of the releases still come from 2015. Weathered veteran Green Velvet (pictured) tops the tech house list with his collaboration with Technasia, while EDM mainstay Tiesto continues to dominate the electro and progressive house worlds. Unsurprisingly, Spinnin' Records has a large presence in many of the lists, but smaller, rising labels continue to challenge for the top positions in each chart.

You don't have to agree with all of the tracks in the charts, but you cannot deny a top seller. Check out the full lists below.

1. Kollektiv Turmstrasse - Sorry I Am Late (Original Mix) [Diynamic]
2. UMEK & Mike Vale - All I Want (Dosem Remix) [Dosem1605]
3. Enzo Siffredi - Sometimes (Original Mix) [DFTD]
4. Nora En Pure & Sons Of Maria - Uruguay (EDX’s Dubai Skyline Remix) [Enormous Tunes]
5. Redondo & Bolier feat. She Keeps Bees - Every Single Piece (Original Mix) [SPINNIN DEEP]
6. Elderbrook - How Many Times (Andhim Remix) [Black Butter Records]
7. Volkoder - Sensation (Original Mix) [Suara]
8. Escape - Just Escape (Justin Martin Remix) [Aus Music]
9. Damian Lazarus & The Ancient Moons - Vermillion (&ME Remix) [Crosstown Rebels]

1. Technasia & Green Velvet - Suga (Original Mix) [Toolroom]
2. Pele & Shawnecy - Better For My Brain (Original Mix) [Snatch! Records]
3. Raumakustik - Raider (Original Mix) [Hottrax]
4. Denney - Low Frequency (Original Mix) [Defected]
5. Rene Amesz - Like It Deep (Original Mix) [Toolroom]
6. &ME - Woods (Original Mix) [Keinemusik]
7. Prok & Fitch - One Of These Days (Original Mix) [Toolroom]
8. Oscar L - Alors On Danse (Original Mix) [Suara]
9. Hot Since 82 - Veins (Original Mix) [Truesoul]
10. Gabriel Ananda & Maceo Plex - Solitary Daze (Original Mix) [Ellum]

1. Dimension (UK) - Whip Slap (Original Mix) [MTA Records]
2. Icicle feat. SP:MC - Dreadnaught (Phace Remix) [Shogun Audio]
3. Ivy Lab - Sunday Crunk (Mefjus Remix) [Critical Music]
4. Black Sun Empire & State Of Mind - Until The World Ends (Original Mix) [Blackout Music NL]
5. Noisia & The Upbeats - Dead Limit (Original Mix) [Vision Recordings]
6. Calyx & TeeBee - Long Gone (Original Mix) [RAM Records]
7. TC & Wilkinson - Hit The Floor (Original Mix) [RAM Records]
8. The Prodigy - Nasty (Spor Remix) [Take Me To The Hospital]
9. James Marvel feat. MC Mota - Way Of The Warrior (Original Mix) [Audioporn]
10. The Prototypes feat. Mad Hed City - Pop It Off (Original Mix) [Viper Recordings]

1. Tiesto & KSHMR feat. Vassy - Secrets (Original Mix) [Musical Freedom]
2. Nom De Strip & 3LAU feat. Estelle - The Night (Original Mix) [Revealed Recordings]
3. Tujamo - Booty Bounce (Original Mix) [SPINNIN]
4. Ummet Ozcan & Dimitri Vegas - The Hum (Original Mix [Smash The House]
5. Tujamo & Jacob Plant - All Night (Original Mix) [Fly Eye Records]
6. Dimitri Vegas & Like Mike - Louder (Extended Mix) [SPINNIN]
7. Dzeko & Torres feat. Delaney Jane - L'Amour Toujours (Tiesto Edit) [Musical Freedom]
8. Karim Mika & Daniel Forster - Crunk (Afrojack Edit) [Wall Recordings]
9. Will Sparks feat. Wiley & Elen Levon - Ah Yeah So What (SCNDL Remix) [Hussle Recordings]
10. Laidback Luke & Tujamo - S.A.X. (Original Mix) [Mixmash Records]

1. Martin Solveig & GTA - Intoxicated (Original Mix) [SPINNIN DEEP]
2. Martin Solveig feat. Sam White - +1 (Club Mix) [SPINNIN DEEP]
3. Sam Feldt - Show Me Love (EDX's Indian Summer Remix) [Spinnin Remixes]
4. The Party (This Is How We Do It) ft. Montell Jordan (Original Mix) [SPINNIN]
5. Joe Stone & Alex Adair - Make Me Feel Better (Don Diablo & CID Remix) [HEXAGON]
6. Sugarstarr feat. Alexander - Hey Sunshine (Antonio Giacca Remix) [Enormous Tunes]
7. Yolanda Be Cool & Dcup - Soul Makossa (Money) (Club Mix) [Sweat It Out!]
8. Pep & Rash - Rumors (Original Mix) [SPINNIN DEEP]
9. Mr. Belt & Wezol - Finally (Original Mix) [SPINNIN DEEP]
10. Michael Calfan - Treasured Soul (Original Mix) [SPINNIN RECORDS]

1. Lika Morgan - Sweet Dreams (Original Mix) [No Definition]
2. Platinum Doug - Play with Me (Original Mix) [Enormous Tunes]
3. Croatia Squad - Back to Life (Original Mix) [Enormous Tunes]
4. Croatia Squad & Me & My Toothbrush - Scream for Pleasure (Original Mix) [Enormous Tunes]
5. Lika Morgan - Relax (Don’t Do It) (Original Mix) [No Definition]
6. Giacca & Flores - Delight (Original Mix) [No Definition]
7. Mason - Papapapa (Original Mix) [LouLou Records]
8. Platinum Doug - Brown Sugar (Croatia Squad Remix) [Enormous Tunes]
9. Croatia Squad - Drop That Skirt (Frey Remix) [Enormous Tunes]
10. Natema - Everybody Does (Original Mix) [Prison Entertainment]

1. Tiesto & Martin Garrix - The Only Way Is Up (Original Mix) [Musical Freedom]
2. Blasterjaxx & DBSTF feat. Ryder - Beautiful World (Original Mix) [Revealed Recordings]
3. Eric Prydz - Generate (Original Mix) [Pryda]
4. Ummet Ozcan - Lose Control (Original Mix) [SPINNIN RECORDS]
5. Calvin Harris feat. Ellie Goulding - Outside (Hardwell Remix) [Fly Eye Records]
6. Vicetone ft. Kat Nestel - No Way Out (Extended Mix) [SPINNIN RECORDS]
7. Eric Prydz & Chvrches - Tether (Original Mix) [Pryda]
8. Martin Garrix & Matisse & Sadko - Dragon (Original Mix) [SPINNIN RECORDS]
9. Eric Prydz - Opus (Original Mix) [Pryda]
10. Axwell /\ Ingrosso - On My Way (Extended Mix) [Refune Music]

1. Alcatraz - Giv Me Luv (Nicole Moudaber Remix) [Yoshitoshi]
2. DJ Boris - Can You Hear Me (Enrico Sangiuliano Remix) [Alleanza]
3. Matador - DaHustle (Original Mix) [Minus]
4. Stephan Bodzin - Singularity (Original Mix) [Life And Death]
5. Dense & Pika - TEX (Original Mix) [Drumcode]
6. Danny Tenaglia - Dibiza (Joseph Capriati Remix) [Stereo Productions]
7. Sam Paganini - Rave (Original Mix) [Drumcode]
8. Nick Curly - Rack and Run (Original Mix) [8Bit]
9. Stephan Bodzin - Sungam - Fur Coat Remix) [Systematic]
10. Mark Knight & Adrian Hour - Get Down (Original Mix) [Toolroom Trax]

1. Ferry Corsten & Gouryella - Anahera (Extended Mix) [Flashover Recordings]
2. Faithless - Salva Mea 2.0 (Above & Beyond Remix) [Anjunabeats]
3. Armin van Buuren & Mark Sixma - Panta Rhei (Original Mix) [Armind (Armada)]
4. Markus Schulz feat. Delacey - Destiny (Original Mix) [Coldharbour Recordings]
5. Cosmic Gate & JES - Yai (Here We Go Again) (Original Mix) [Wake Your Mind]
6. Dimension - Origami (Original Mix) [Flashover Recordings]
7. Tangerine Dream & Jean-Michel Jarre - Zero Gravity (Above & Beyond Remix) [Anjunabeats]
8. Armin van Buuren - Together (In A State Of Trance) (Original Mix) [A State Of Trance]
Dec 04

So I Went To Berghain, And I Now Give Zero Fucks

As you may have gathered from some of my previous editorials, I, along with much of the US dance music community, have been stuck in some sort of purgatory-like rut for the last 12-24 months. We've been trying to pull ourselves out of the EDM mire, but are unsure how to arrive at the musical equilibrium that many European countries enjoy due to decades of dance music's cultural influence. In reaction to this frustration, I myself had a downtick in the frequency I listened to dance music, unable to shake the connotation of fist-pumping bros that had been hammered into my brain after six EDCs and five Ultras.

I have heard many people in the industry express the desire to relive their original rave experience, myself included. Granted, my first was Electric Zoo 2009, which next to today's production values looks more like a boisterous barbecue than a rave. It didn't matter, though--this wide-eyed boy was floored. I had just lost my meager NYC music industry job (again), used the last money I had to buy a ticket, and attended alone. It remains one of the best decisions I've ever made. I remember being there thinking, "why isn't anyone talking about this?", as at the time EDM hadn't infiltrated the US media yet. The day after Zoo ended, I started a blog in an attempt to shout from the housetops about what was happening in the United States. After meeting my now-colleagues, said blog became LessThan3.

Since that weekend, I have been in constant pursuit of a moment when it felt as if I was seeing everything for the first time all over again. A moment where Tweets, clicks, pageviews, and press releases weren't sitting in the back of my mind throughout the experience. A moment when it was just about the music and the company, and nothing else.

I finally revisited that moment at the fabled Berlin club known as Berghain.

I arrived in Berlin following my third year at Amsterdam Dance Event, eager to explore an area of Europe I had not visited before. I filled my week with museums and memorials, biding time until the weekend arrived and I could finally do what I had really come to Berlin to do: indulge in a hearty helping of real, raw techno in the genre's world capital. As a newcomer in New York, I was more on the trance and electro bandwagons. After moving to San Francisco, I found few options for real techno parties outside the stellar As You Like It and Robot Ears events, so my exposure to good techno in a live setting was quite limited. It was time to experience techno in the setting it was meant to be experienced.

I made the rookie mistake of partying too hard at a house gathering on Friday night, which delayed my planned Sunday morning arrival at Berghain (the best time to show up, according to the vets) to Sunday night. 14 hours of sleep later, I awoke ready to go, anxious but also palpably excited.

The stories you hear about the seemingly arbitrary criteria used to either grant people entrance or turn people away at the door are true, albeit exaggerated, and the guides to getting in scattered around the Internet are of little assistance. One thing is certain, though: it helps to show up with a native Berliner who the door people may recognize. In an era when Claire Danes is talking about Berghain on Ellen, the club has done an excellent job of keeping the fires of dance music commercialism at bay as much as is possible, so it would make sense that they prefer seasoned natives over outsiders.

I was one of the fortunate to have a frequent Berghain attendee with me. Upon our 9 p.m. arrival, my friend whisked eight of us past the majority of the hours-long line, arriving to the front in mere minutes, where we were immediately met by Cerberus himself: Sven Marquardt (pictured below), the notorious Berghain bouncer and photographer who has been guarding the gates of Hell since the club's opening. He took one look at my friend and motioned for all of us to go in. I would be less impressed by someone arriving at the Olympics via hot air balloon.

The universe exists in its own sphere in Berghain. There are no windows to the outside and no reflective surfaces anywhere in the building, so any sense of time or personal appearance is lost. What's more, they put stickers over the lenses on all phones upon entering, so you have no way of visually documenting the fact you were even there. One peek into the hedonistic atmosphere made it clear why these policies were in place.

I arrived to the main dancefloor, mouth agape at the spectacle before me. Berghain resident Len Faki was wrapping up a four-hour set, and I was immediately engulfed in the most raw, industrial music I had ever heard in my life. As a long-time fan of hard tech trance acts like Scot Project and pre-big room W&W, it was as if I had crawled into the darkest, most visceral recesses of those sounds and was hearing the primordial soup from which they had been birthed. The crowd was the most diverse I have ever seen at any dance music event by a mile--drag queens, leather daddies, and "regular joes and janes" interacted almost telepathically, with the relentless drive of the kick drum as the psychospiritual conduit.

The more house-oriented upstairs dancefloor known as Panorama Bar played host to Jamie xx and a load of other DJs that weekend, but as I have had plenty of house exposure in the States, my main squeeze for the night was the main room of Berghain. There, I was one with the music and with everyone around me.

A lot of thoughts passed through my mind during the 12 hours of my Berghain experience. The most basic centered around when would be the next time I could be back inside these walls and which friends I would take with me. As I dove a bit deeper into the recesses of my brain, I began to consider the historical and artistic implications of a genre like techno. The vast majority of electronic music genres, and really all genres, arose from two concepts that have been a connective thread between most music throughout history: melody, and a dividing of a song into clear "sections" with names like "stanzas," "movements," "verses," and "choruses." These pillars of our musical understanding are often nonexistent in techno. Many techno tracks have no key because of the lack of melodic elements, and they build and release at will, with no discernible beginning or end at any part of the track. This is part of the "journey" that dance music veterans speak of when they reference going to a "real DJ set." You're not sure where you're going or how you're getting there. All you can do is keep dancing. Given this abandonment of most known musical constructs, techno surely stands as one of the most unique outliers in the history of music, perhaps only similar in structure to the minimalist compositions of Steve Reich, Terry Riley, and Philip Glass, among others.

I also began to draw comparisons to the "EDM" events I had attended as a 20-something raver in the States, and could find very few. Gone were the juiced up jocks who wouldn't know Afrojack from Adam Beyer, the bottle service bimbos who couldn't care less where they are as long as it's fancy, and the massive stage productions that, while impressive, also put a brightly-colored bandage over the subpar musical offerings.

You know what else was gone? The "DJs" who don't give a fuck about their art anymore. Somewhere along the gravy train route, since young US EDM-ers were so naive and unaware of the reality of DJ culture, many of the biggies realized they could basically phone in their entire jobs. They could get someone else to produce their tracks, because who would know since nothing is actually performed live as is the case for an instrument or a voice? They could reduce themselves to a traveling jukebox of their hits, playing the same tracks over and over in a different order or maybe with an interesting vocal mashup now and then, and no one in n00b-dom would be any the wiser. No risks taken, very little new music introduced. These DJs know exactly what they are doing, but they turn a blind eye. They choose to not educate and advance the scene, but instead take the easy route, destroying the art that the veterans of the scene took decades to nurture. It's like if M. Night Shyamalan showed up at an indigenous tribe's doorstep, convinced them Lady In The Water was the best cinematic work in history, and the bar was subsequently set at that embarrassing level. These DJs have a responsibility to the music, and they have cast it aside in favor of efficiency and quick bucks, and that is reprehensible.

Of course, Berghain was not the first time I had been in an environment with actual DJs, but it was the first time I started having these epiphanies. Must have been something in the water coming out of the bathroom faucets. It was also the first time I felt like I had to orchestrate a major paradigm shift in how I present myself as an editor and how I foster the development of dance music in general. For years, I have struggled to build up LessThan3 to where it is now, and along the way I sometimes (though as rarely as possible) had to make the hard decision of giving more importance to shitty musicians simply because of their fanbase size and the promised promotional support I would receive from them. However, after emerging from Berghain, looking like a raccoon who had grabbed onto a live wire, I was ready to stand on my own two feet with a new mission to uncompromisingly support authenticity and unabashedly call out shitty music out for what it is. Call out shitty marketing schemes out for what they are. And call out shitty companies who wouldn't know dance music culture if it slapped them in the face.

So let me break down the tenets of this new era of enlightenment. You've got a three-city "tour" coming up that you're touting as your 10th "tour" in two years? Here's how many fucks I give about that:

You've got a new "album" coming out that happens to have a "collaborator" on every track and you're releasing in 16 parts to get as much publicity as possible? Here's how many fucks I give about that:

You've got a new festival with the same acts as every other festival and you're releasing the lineup one by one because you know the artists are mostly shit so you have to devise some other tactic to stay in the public eye? Here is a graphical representation of how many fucks I give about that:

Your new artist just released the 18,000th piece of "deep house" crap that probably rolled directly out of the "Vengeance Essential Deep House" sample pack? Here's how many fucks I give about that:

You're pissed off at me because I called you out on one of the above, so now you're going to keep me off your guest lists? Here is exactly how many fucks I give about that:

If you are participating in any of the above methods of thinly veiled hoodwinkery, you are not relying on the music to do its job. You are trying to do music's job for it. So that probably means it's shit music.

Now for what I do give a fuck about: good music and authenticity. Pretty simple, right?

Adele needed little extra help in making 25 have the highest first-week album sales in history in an era when people are using CDs as drink coasters. Why? Because she had a reputation of releasing good, authentic music, and she delivered once again. Novel concept, isn't it?

Against all odds, Berghain and its associated Ostgut Ton label selected a few good, real DJs, made them residents in a time when relying on residents is supposedly the kiss of death for a nightclub, and now Ben Klock, Marcel Dettmann, and Len Faki are all well-ranked in the Resident Advisor Top 100, and Berghain has to turn away 50 percent of everyone who shows up at their door, and that's not just because they're trying to preserve a specific vibe. It's because they don't have room for everyone. How did that happen? They maintained a standard of excellence with their music.

Are you doing that, DJ or industry person reading this article? Are you taking the road less traveled and actually trying to advance the delicate world of dance music culture for the better? If you are, I'd love to hear from you.

If you're not, the line is busy.