OWSLA’s Halloween Invasion


This Oct. 31, Gainesville and The Vault Nightclub will see a Halloween party done right. Never before has this small city seen a party on Halloween night that had so many goodies packed into one. You can thank Skrillex and his record label for the fall 2012 OWSLA Tour and the promotional efforts of PoplifeAnatomy Promotions and Party Degree for making Gainesville apart of it.

While the tour features artists like Birdy Nam Nam, Jack Beats, Alex Metric, Kill The Noise and many more, the Gainesville show will present The M Machine, Alvin Risk and Kill Paris. The best part about this show is that it’s only $10 with the promo code “OWSLA” and tickets can be found HERE.

Some quick background:
The M Machine is a San Francisco-based trio that rose from the depths of music and bombarded the electronic scene with their fresh and original sounds. Their Facebook says that they aim to “perfect the artistic union between man and machine, combining immaculate and powerful electronic production with emotional and infectious songwriting.” This will be their first visit to Gainesville.


Alvin Risk is from Washington D.C. and one of the new up-and-coming producers in electronic music. He is a pioneer in Electronic Orchestra, “the ultimate fusion of a rock band and electronic music all played completely live,” he said in an interview with GDD. You might remember a secret show he played a couple of months ago in Gainesville.


Kill Paris recently lived in Sarasota, Fla., but now resides in Los Angeles. He is apart of the new wave of young artists that have taken electronic music by storm. He gained a surge of attention for doing a remix with Dillion Francis of “Where Did I Go” by Monsta. His sound is one of the more soulful, funk-ified and refreshing ones I’ve heard in a while. His Soundcloud is full of free music.


Don’t mess your Halloween up by not going to this show. I promise, there will not be a party as bumpin’ as this one.

via Bionic Beatlab



Interview: A few words with Curt Heiny of Archnemesis

At the first annual CounterPoint Music Festival, I was able to talk with one of the members of Archnemesis, Curt Heiny. Archnemesis is the electro-soul duo from Charleston, SC. Made up of Heiny and Justin Aubuchon, Archnemesis brings a live performance that you can’t compare to many others. Combining many different genres, samples, styles and influences, Archnemesis brought a live sound like none that I had experienced.


It was heavy and dark from start to finish. The set started with an amazing edit to Jermaine Dupri’s “Welcome to Atlanta,” showcasing how the two can transform something of one genre into something completely different and of their own style. Read on to find out about how they make their music, who they’re listening to now and more.


So, how did you and Justin meet? 

We were playing in separate bands. I was playing with Telepath and he was doing his solo project thing, MO Theory. Then, we had a couple shows together and started talking and decided we wanted to do something together as a project. Thus, Archnemesis. 

You guys just released the “Every Man For Himself” EP. How has the response been for that?

It’s been awesome. We’ve had an amazing amount of downloads. Across the board, live [performance] is more of what’s important, how it’s been responded to live and how people feel it. The response has been really, really good across the country everywhere we’ve played it. It’s been fun.


Why do you release your music for free online?

Nobody buys CDs anymore. 

But people still buy music.

Ya, I mean we get donations. We’ve actually had a lot of donations on this album since it has been released. For us, we would rather just get the music out there and have people come to the shows and be able to do the live thing as opposed to try to make money selling music. People will be able to find it [illegally] anyway if we sell it, so it kind of defeats the purpose.

Why is Archnemesis so heavily based in the live performance?

We’re both classically trained. I was cello and bass and Justin was piano. We do try to add some of the live elements of playing into it. At the end of the day, I think with the light rig and the overall production and general live show, you just can’t capture that on CD. The studio stuff we try to make as clean and as to the point as possible, but at the end of the day, we expand on things. We do different things live and that’s really where we try to put our focus for the most part. 

I think that’s the right way to go. How has Counterpoint been different than past festivals you’ve played?

Well, I don’t know. We haven’t played yet. But, it’s like any other big festival we’ve done, like Hangout or Camp Bisco. They’re laid out the same with artist relations, artist hospitality, stages, lots of people. 

Would you say you’re on the road more or in the studio more? Which do you like better?

We’re always in the studio, even on the road. It’s kind of both. I couldn’t say one more than the other. I guess, we’re always in the studio, so probably more so the studio. But we tour a lot. We’re now touring in support of “Every Man For Himself,” but we’re also working on the next album. Even while we’re out touring, we are working on new tracks and even trying some of those live. It’s been fun trying this [new] stuff on people. 

How do you guys spilt up the work when it comes to making music? 

Some of the tracks, it’s one of us doing most of the work and then we’ll come together to get another set of ears. We’ll pass it back and forth a lot. Sometimes, we collaborate on stuff and bring separate elements into it and we come up with a final project. At the end of the day, we always mix and master all of our stuff, so we do that ourselves and I think it’s good to have two sets of ears on it [the music]. The process varies on every song. There’s no set way that we do things.

How do you make your sets different and unique?

We do individual songs live that are different than in the studio. Some of the stuff, like transitions, is pretty determined so we’re kind of confined to certain frame parameters in songs but we always try to keep it alive, sort of an improvisational element going. A lot of it depends on how the set’s flowing, on the crowd and on the reaction we’re getting. We kind of move in and out of a set and move the set along with the response. So a set like tonight, we have an hour. So, there’s not really going to be any lull with the set. It’s going to be just bang, bang, bang all night for an hour. Whereas when we do a two hour set live or the road shows, there’s got to be a lull somewhere.

How would you describe your music to someone who has never heard it?

I would say it’s like electro-soul. Electro, hip-hop soul. It’s definitely electronic, but there are a lot of other elements in it that keep it more analog, keep it more – not just electro. I think some of that comes from being classically trained on an instrument and some of it comes from the samples that we use: the horns, the strings, female vocals, male vocals, stuff like that gives it a more organic feel. 

Did you always want to be a musician when you were younger?

That’s all I’ve known. I started playing cello in the fourth grade. Justin started at a pretty young age piano-wise, I think. Then we both studied jazz, theory, comp. and stuff like that. That’s just what I’ve known since a young age and I think Justin is the same way.

So, whom are you listening to now? Any new artists you want to share with us?

We listen to everybody.


From Brittany Spears to Ellie Goulding to Willie Nelson. I can’t remember what we we’re listening to on the way up. I don’t even remember. I mean we listen to everything. I, personally, listen to a lot of jazz. We listen to a lot of old soul stuff too, like the Blaxploitation stuff.  

That’s funny that you bring that up because I’m in a Black film class and we’re studying Blaxploitation in movies.

Ya. A lot of the samples we get are from either old Blaxploitation soundtracks or that era of music, the old soul and funk kind of stuff, the horn lines and the strings. A lot of the vocals that we get, the little samples of stuff we use, come from that era. We’re always listening. We’ll be driving and find an old album. We’ll listen to it and be listening for samples. ‘Oh, that’s a good horn line.’ ‘We could use that.’ At the end of the day, we listen to everything and we listen to it on numerous levels. 

What do you mean by that?

I mean a lot of the pop stuff, we listen to [it] because the production is so on point and it just doesn’t get much better than that. That’s why they’re huge stars. The Katy Perry’s and the Ke$ha’s and the Ellie Goulding’s. From a production standpoint, we listen to a lot of that stuff and take tips from that. Then you have your Skrillex’s and your Pretty Lights’ and your Bassnectar’s and all of those guys that are doing their thing electronically. Their production is really good as well. Outside of sample digging, it’s fun to listen to everybody else’s take on production and what sounds good to somebody and what sounds good to somebody else.

Obviously, these guys are a pair of very talented individuals who know what they’re doing. Below is the list of remaining tour dates that go through New Years Eve. There are a lot of shows, so there is no excuse to miss Archnemesis live in action. They said it themselves: you can’t capture what’s going on in their live performances on CD. Go see for yourself.

Upcoming Tour Dates
10/31 @ ZYDECO w/ DrFameus & Superpro- Birmingham, Alabama
11/2 @ Mississippi State University
11/3 @ Clube Frequency – Oklahoma City, Oklahoma
11/7 @ Mojo’s w/ Alpha Data – Columbia, Missouri
11/8 @ 2720 Cherokee w/ Foreign Beggars & Alpha Data- Saint Louis, Missouri
11/9 @American Legion Post 676 w/ Alpha Data – Springfield, Missouri
11/10 @ George’s Majestic Lounge w/ Alpha Data – Fayetteville, Arkansas
11/14 @ Mad Frog w/ Meiosis & Athockalypse – Cincinnati, Ohio
11/15 @ The Intersection – Grand Rapids, Michigan
11/16 @ The Miramar Theatre w/ Alpha Data & Haywyre – Milwaukee, Wisconsin
11/17 @ The Cabooze w/ Alpha Data & The World Class Art Thieves – Minneapolis, Minnesota
11/21 @ The Bluebird Theater w/ Ill-Mannered & Dynohunter – Denver, Colorado
11/23 @ The Tap House – Steamboat Springs, Colorado
11/24 @ The Abbey Theatre w/ Ill-Mannered – Durango, Colorado
11/28 @ Trees – Dallas, Texas
11/29 @ Stubb’s BBQ w/ Psymbionic – Austin, Texas
11/30 @ Varsity Theatre w/ Perry Gaffney Jr – Baton Rouge, Louisiana
12/1 @ Soul Kitchen – Mobile, Alabama
12/5 @ Wonder Bar w/ Beard-o-Bees of Lotus – Boston, Massachusetts
12/6 @ Stella Blues LLC w/ Beard-o-Bees of Lotus – New Haven, Connecticut
12/8 @ The 8×10 w/ Biodiesel & Futexture – Baltimore, Maryland
12/27 @ The Riviera Theater w/ Lotus & Zoogma – Chicago, Illinois
12/29 @ Snowglobe – South Lake Tahoe, California

12/31 @ Lights All Night – Dallas, Texas

via Bionic Beatlab

Hundred Waters visits Gainesville in early November


A lot of people knew about the five-person band based out of Gainesville, Hundred Waters, before they gained popularity in America. So when they signed to OWSLA (owsla.com), the record label owned by Skrillex, many music lovers in Gainesville wondered why. Their music is infinitely different from that of the rest of the musicians signed to that label.

“We ultimately realized that it was more important to join a family that believes in what you do rather than a catalog of artists that might be similar to you,” Zach Tetreault, the percussionist for the band, said in an interview with Pitchfork.

Hundred Waters is made up of Nicole Miglis, Trayer Tryon, Paul Giese, Zach Tetreault and Sam Moss. Their sound can be compared to that of Sigur Rós, Feist, Sufjan Stevens and Imogen Heap. It has been recognized as avant-garde, indie and ambient. Full of orchestral sounds, Hundred Waters has gained national attention after The New York Times blog posted a review of their show, titled “CMJ: Hundred Waters Suspends Time,” at Mercury Lounge forCMJ Music Marathon 2012 on Oct. 17.

While Hundred Waters is the first indie band to join the OWSLA family, they released their self-titled debut album onElestial Sound and OWSLA. It is a melodic and ambient experience from first song to the last.

The album starts with the song “Sonnet,” which is heavily based in the lyrics and vocals that hold the core of most of the songs on the album. Being the longest song at just over six minutes, it is a fairy-tale-like tune that draws you into the rest of the album with Miglis’ soothing vocals, soft percussions and woodwind sounds.

The middle of the album is riddled with nu wave pop, indie pop and more upbeat songs than the rest of the album. Songs like “Me and Anodyne,” “Wonderboom” and “Boreal” capture a different side of Hundred Waters that proves their ability to transcend between folk, indie and electronic music.

The song “Are:Or” starts with soothing guitar chords as Miglis’ vocals captivate you and magically take you away to another place. The lyrics soon fade and allow for a guitar solo, but quickly come back to hum with the melody of what sounds like a variety of different strings and a faint horn heard in the background.

The end of the album is noticeably slower than the beginning and middle. If you listen to the album from beginning to end, you are able to realize that the climax of the music has come and gone and now, you are at the resolution. The lyrics are presented slower and the tempo has been slowed down as well.

The only complaint I had about this album is that there was not one signifying, unique moment that set Hundred Waters apart from their prominent comparisons. However, this band is just emerging and watching their progression will be interesting.

From Elle Magazine to the New York Times, Hundred Waters has been claimed to be the new up-and-comers in indie and ambient music. They have gained much attention, not only because of their affiliation with Skrillex, but because of their drive and passion to create good music. They know what they want, musically, and they’re not afraid to produce and release it.

Hundred Waters will be performing in Gainesville on Nov. 3 at High Dive with xxyyxx, Levek and Different Sleep. This will be the last US tour date before the band departs to Europe. Tickets are $10 online.



Music for Halloween: All treats this week


For children, Halloween means staying up late, eating a bunch of candy and dressing up as cowboys and witches. For college students, Halloween means getting extremely drunk, partying into the wee hours of the morning and girls dressed as witches have turned into promiscuous nurses and cops.

In order to prepare you for the mayhem that Halloween is in college towns, I’ve assembled a list of shows in Gainesville that will take place the week or so before Halloween.

Oct. 20 – Skalloween @ 1982 Bar, 7 p.m.

Skalloween has been a Gainesville tradition for years. This year’s lineup includes: The Duppies, The Partials, Waxed Curbs and Kreepa. Doors open at 7 p.m. Skank till you drop in a costume of your choice.

Oct. 21 – Minus the Bear @ The Florida Theatre, 6 p.m.

Started in Seattle of 2001, Minus the Bear is one of the bands that solidified the indie and alternative rock scene. They recently released their latest album, “Infinity Overhead,” on Aug. 28 and are touring now. While the band has gone through different musicians, they reunited with former member and longtime producer, Matt Bayles, collaborated on the newest record. Minus the Bear is known for their heavy use of electronic and guitar sounds and vocals, but they have dabbled with acoustic as well. Tickets are $18 online.

Oct. 23 – Matisyahu @ The Florida Theatre, 8 p.m.

Matisyahu is widely known for his strong merging of rock with reggae and hip-hop influenced beat boxing. He currently made news by cutting off his beard claiming that whether it was there or not didn’t matter. In an interview with the Associated Press, he says that his previous albums were made with as reggae albums, whereas his new album, “Spark Seeker,” is made more in the format of a pop or hip-hop album. Tickets are $22 online.

Oct. 24 – Steve Aoki @ The Florida Theatre, 9 p.m.

Steve Aoki has cemented himself in the EDM world, and it is evident that he isn’t going anywhere any time soon. He crowd surfs in a blow-up raft and slams front-row victims with cakes. He is the founder of Dim Mak Records, a big name when it comes to discovering new names in the electronic music business. The crowds at Steve Aoki are always intense and exhilarating. This is sure to be a fun night. Tickets are $35 online.

Oct. 25 – The Expendables @ The Florida Theatre, 8 p.m.

The Expendables is a rock band from Santa Cruz, Calif. They have crossed genre lines into punk rock, reggae and ska, creating a musical experience that only a few other bands can create. Their latest release earlier this spring was the band’s first acoustic album. The Expendables have been making music since 1997 and have gained much critical acclaim not only from writers, but musicians within the industry as well. Tickets are $18 online.

Oct. 30 – Fedde Le Grand @ The Vault, 9 p.m.

Fedde Le Grand is not a new name when it comes to house music. Not only is he one of the most respected DJs of EDM, starting his career in the late ‘90s, he is still producing tracks that draw huge crowds and energy. Fedde is known for his songs “Put Your Hands Up For Detroit,” “Back and Forth” and most recently “So Much Love.” This show is a costume party so be sure to dress up. Tickets aren’t available online, but you can contact one of promoters with the numbers provided on the Facebook event page.

Oct. 31 – OWSLA Tour featuring Alvin Risk, The M Machine and Kill Paris @ The Vault, 9 p.m.

OWSLA is Skrillex’s record label. As many people already know, the label has signed local band, Hundred Waters. They just recently announced a North American tour that will feature different artists from its label at different stops. Alvin Risk has a very unique sound that makes dancing seem like a workout at some points. Kill Paris likes to include funky beats with that electro sound. However, I think that the artists that steal this show are The M Machine. The trio is able to take you on a very emotional experience through music, especially the dark side of it. Tickets are $15 online and were kind of hard to find, so HERE is the link.

Whatever you do this Halloween season, celebrate responsibly! Don’t eat candy that looks like it has been tampered with, and don’t drink too much that you don’t remember what you did. There’s a vast array of things to do and music to hear coming up in Gainesville. Don’t miss out.


EOTO Brings A Rare Live Electronic Show to Gainesville


EOTO came to Gainesville Friday to showcase its legendary musical performances and “Lotus Experience” visual display. Upon walking into The Florida Theatre downtown, the band’s 3-D lotus flower stage display overtook the venue, towering to the ceiling.

The anticipation and crowd built as everyone waited for EOTO to take the stage. The duo is made up of members of the band The String Cheese Incident, Michael Travis and Jason Hann.

Throughout the night, the two merged jazz, rock, jam-based dubstep, experimental and electronic music to create a one-of-a-kind musical experience paired with a superior visual experience.

What makes EOTO’s performance so special is that every single show is improvised. There may be a set list to provide unity and cohesiveness, but no two performances are ever exactly the same.

Live guitar, drums, keyboards, vocals and a handful of touch-screen synthesizers and MIDI Controllers emitted flowing rhythms and sweet electronic melodies. However, compared to the sets I’ve seen at music festivals, the Gainesville show wasn’t as mysterious or hyped up.

While I enjoyed this show because of it’s versatility and the overall aesthetic, I was hoping to hear more of the dark and intense side of EOTO. Nevertheless, they put on a performance that rivals many live electronic shows that have come to Gainesville. Rarely do you get to see such raw talent associated with a genre known to be just about turning knobs.

The crowd was filled with what seemed to be true, hardcore EOTO fans; something that always makes a show better. There were a variety of different people: young, old, fraternity brothers, rave girls with LED hula-hoops, business owners, punk kids.

The event’s Facebook page claimed that the duo would be playing two one and a half hour sets. However, this turned out to be one set that ended up being just less than two hours. Whatever amount of time they played, it was worth it.



Créme de la Créme of CounterPoint 2012

As we carved our way through the country back roads of Georgia, just outside Atlanta, deep and lush green forests swiftly passed by us, dancing with the breeze. The day was beautiful. It had been a while since I had been in the dirty south, but it was a scene that I’ve been familiar with since childhood.

As we approached Bouckaert Park, the road went from paved to dirt. In between the thick mass of trees, you could catch glimpses of the Chattahoochee River sparkling in the sunlight. The small town of Fairburn, with a population of about 13,000, had no idea what was about to hit them.

In a world where first-year music festivals don’t survive or meet expectations, CounterPoint Music Festival emerged this Sept. 27-29. Besides a freak rain storm and some minor technical glitches, the event was well organized and planned, allowing festival goers to enjoy what many have coined as the best weekend of their lives.

The organizers of the event, MCP Presents and C3 Presents, booked top-of-the-line artists that drew around 20,000 electronic music lovers to the scenic venue. Bigger names like Skrillex, Steve Angello, Bassnectar and Avicii graced the main stage, while prominent names, including new up-and-comers, filled out the rest of the festival. Regardless of what performances you saw, each artist seemed to bring their all to CounterPoint.

It is almost impossible to talk about all of the artists and musicians that I saw, heard and loved last weekend. This would turn into an essay rather than a blog post. In no particular order, I’ve given you what I think was the best of festival, plus some honorable mentions. Even though some sets aren’t referenced, every musician I saw amazed me.

CounterPoint was all about the new music. Trap and dubstep filled the air in the Beat and Backbeat tents for the most part. After a while, hearing the same style of music got bothersome. However, when Treasure Fingers came on, I heard the best trap anyone has played thus far. This was an improvement from the last time I saw him and didn’t like his track choice or style. The lesson I learned here is to never judge a book by its cover, or in a literal case, never judge an artist by just one set.

As we walked into the Backbeat tent, we were extremely surprised that it was scattered with about five people. I walked in and screamed, “Nick Catchdubs!,” and suddenly the lights turned on to illuminate a single guy standing behind a computer completely covered in Fool’s Gold stickers. The main reason why no one was at this set is because Avicii and Excision were playing at the same time as well. In my opinion, this was probably better than both of those sets. Nick Catchdubs played some of the only Boys Noize I heard all weekend and his electro-funk sounds drew more people inside of the tent. It was refreshing to hear that electro sound among a festival that was predominantly dub and trap based. The music was danceable, diverse and down right fun.

From neighboring city, Athens, Ga., Reptar provided a great day set. The band’s energy corresponded with the audiences, making it one of the best positive-vibe crowds of the festival. The lead singer, Graham Ulicny, made the set very audience-driven, to the point of crowd surfing. Ulicny’s voice is extremely unique and fits the genre so well. The instrumentals were flawless. When I think of indie bands, this one comes straight to my mind. Reptar will be performing in Gainesville on Oct. 17 at High Dive.

Known as the “Queen of Auto-Tune,” Channy Leaneagh is the vocalist for the indie and alternative band Poliça. The smooth and haunting sound of her voice captivates you and takes you to a different world. While the group is known for breaking the traditional band format by orchestrating two drummers, Leanaegh’s voice captures the essence of the band and reinforces their sound. As I watched her gracefully and modestly sway in the corner of the stage, I wondered how such a powerful voice came from such a petite woman. This is the one set that I wished I stayed longer at.

After the torrential downpour subsided, TOKiMONSTA started the music again in the Backbeat tent. Signed to BRAINFEEDER, her lustrous sounds seemed to be the perfect post-rain music. Jennifer Lee is a pioneer for females in the electronic music industry. She picks the perfect delicate lyrics to go over the most rhythmic and attention-grabbing beats. Dubbed the “female Flying Lotus,” Lee’s music is perfect for almost any situation, but best for chilling, unwinding and relaxing, in my opinion.

Gardens & Villa is a new discovery for me. When I heard their music, I was so excited to sit down and do an interview with them (Keep an eye out for the interview and more information about this band coming soon!). Performing early in the afternoon, I made sure to get up and catch their set. Being one of the few live bands at CounterPoint, I was highly impressed with the cohesiveness throughout the members of the band. Gardens & Villa is the type of indie, ambient, experimental music I’ve been looking for. Oh, and they perform with a live flute. One word: Badass. Currently, the group is on tour with Poliça.

Europeans make such good music, and this doesn’t exclude the trio from Holland that has been blasting the scene with visuals and electro beats galore. Nobody Beats The Drum was one of the first performances of the festival and they definitely started things on the right foot. From the beginning, the group dropped very heavy electro. It reminded me of some old school Benny Benassi with a modern twist at first, but they soon came to develop and convey their own sound. The transitioning was so well done that sometimes I found myself wondering how the group had changed the song without me even noticing. All three of the group were doing something at all times, bobbing their heads as they continuously adjusted knobs and increased the energy. They showcased how much energy and hard work goes into the coordination of three people, all doing something different.

  • Best Closing Set – A-Trak

What really makes a festival for me is the closing acts. I want to be able to end the night on a good note and walk away amazed with what I just saw. A-Trak did a phenomenal job of doing this. Not only was his performance diverse in genre, but in style as well. Every time I’ve seen this mastermind, I can never get enough of his amazing scratching skills or song selection. A-Trak left me wanting the night to never end.

I had been waiting quite some time to see Gramatik. I was so excited, I left Lotus early in order to make sure I didn’t miss a minute of what was supposed to be an amazing display of talent and virtuosity. Gramatik breaks from the traditonal electro style and instead, floods your eardrums with heavy sampling. Jazz, hip-hop, funk, soul. You name and he plays it, all while maintaining an overall theme and unity. Coming from people that have seen multiple Gramatik sets, this one was more jive-based and he played a lot of his older stuff, catering to a crowd that was deeply engaged with the music. As we headed our way out of the tent a little early, to make sure we caught the beginning of Porter Robinson, “Illusion of Choice” came on, prompting us to stay just a little longer and listen to how talented Gramatik and his live guitarist really are.

Performing on the third day of CounterPoint, I knew that the crowd for Zeds Dead would be extreme. Knowing that there were so many dubstep artists playing dubstep — and artists not known for playing the genre were experimenting with it too — I knew that the dub-head crowd would be out and ready to rage for this one. At this point, my friends and I decided to relax and take a view of the festival from the top of the ferris wheel. It was interesting to see how the crowd was splitting itself up. About two-thirds of festival-goers were at Zeds Dead, while only one-third of them were at Steve Angello. The Beat tent, where Zeds Dead was performing, was overflowing with what only can be described as madness. From the front of the stage all the way to the back of the tiny hill with the CounterPoint logo, people consumed what seemed like every inch of space. The sides of the tent were spilling with late-comers, standing on their tippy-toes, trying to get just a peek of what was going on.

Without a doubt, the best set of the festival was Ghostland Observatory. On some level, I don’t even know where to begin. My favorite aspect of this set was the way that Thomas Turner and Aaron Behrens made the show variate between live performing and live remixing of their songs, and even improvising at some points. Behrens, the vocalist and guitarist of the duo, can be described as a modern-day Jim Morrison with his suggestive and sporadic dance moves that would make an elderly woman blush. His stage presence and voice is reminiscent to that of Morrison’s as well, minus the downfalls of 1960s and ’70s rock ‘n’ roll. Between Behrens moonwalking and Turner’s earthquaking synthesized sounds, Ghostland had abundantly more lasers than other acts of the festival, creating a visual escape of dancing light. If Ghostland Observatory is coming a city near you, it is highly suggested to check these guys out.

CounterPoint was, undoubtedly, an exciting and fun music festival. The deep South needed a new and innovative electronic festival and I believe that this event succeeded in doing so. Word around the water cooler is that the organizers signed a contract to use Bouckaert Park for the next 10 years. CounterPoint has nested itself a home in the heart of the dirty South and damn does it feels good!


via Bionic Beatlab

Reitz Renovations Keep Students in Mind


Samantha Doucette,

Contributing Writer

Student unions are the epicenter and core of college campuses, and this is no exception when it comes to the University of Florida. According to a statement given by the vice president of Student Affairs, Dave Kratzer J. Wayne Reitz Union serves more than 20,000 people every day.

The Reitz will be getting a facelift to accommodate the lack of versatility that it previously offered. However, the approach taken by Cannon Design, the company in charge of the project, is not your typical business plan.

Cannon Design is planning the new structure strictly with students in mind. Town hall meetings that were held on Monday and Tuesday aimed to engage students with the process and get their opinion about what the new union should look like.

Throughout the week, the Reitz featured pictures of other student unions from around the nation. Students were openly allowed to write their comments and discuss their ideas with the leaders of the design team.

“I think it’s a good idea to understand what we like and what we think is going to be functional. It’s really cool that they’re actually into what we want and changing things that way,” Alison Richardson, an agricultural education major, said.

With about 100,000 square feet of new space, 50,000 square feet of renovations to existing space and a $69 million budget, the developers said that remodeling should be finished in about five years.

“Their voice is being heard. We’re taking all this information and making a balance of the things they do like versus the things they don’t like and why,” said Luz Rosado, an assistant to the leaders of the team, said.

Joe Walker is apart of the team that Cannon Design has put together to allow the new building to become a reality. He is in charge of incorporating the design elements into the construction of the structure.

“The building has been pushed beyond its capacity – forever,” Walker said. “There’s many things that don’t work well in the union, from the facilities management side and from a student engagement side, and part of it is the fundamental organization of the building.”

There are two phases to the project: the expansion phase and renovation phase. Currently being planned, Walker said that by the beginning of December a conceptual design should be approved.

By mid-January, an advanced blueprint showing the final design for the new union will be available. Demolition of the Reitz colonnade will begin in June, and construction will start in the fall of 2013, just in time for the new academic school year.

While restoration will take place for at least two years, the project’s team has made sure that the union will be open and available to students and faculty. There is a significant amount of space that they are not touching and one of the team’s main concerns is accessibility, Walker said.