Are you a die hard fan of hardstyle music? Then Defqon 1 Australia 2015 will be coming to Sydney, Australia this September. Get to spend a thrilling weekend jamming to the best of hardcore music. There will be a host of major acts headlining the show as you enjoy a camping experience of a lifetime. The show starts on Friday going all the way to Sunday.
There will be many stages showcasing popular artists like Frontliner, Dillytek, 360, Angerfirst, Dj Scotch Egg, Brennan Heart & Toneshifterz & Atlas, We R Showcase, Zatox ft. Dave Revan, Coone & Hard Driver, Partyraiser, Lny Tnz, Hawman Q-Dance, D-Block, S-T-FAN, Audiofreq, The Strangerz, Atmozfears, Dr Rude, Radical Redemption, Warface,Titanomachy, Deetox, Atlas, Equinox, Fanatics, Run & Gun,Kemikal etc. There are a number of major hosts such as Villain, MC DL, MC D. These are just but a few of the acts performing. The stages will be color coded for different themes with red as the main stage, blue for raw, black for hardcore, white for bounce/EDM/freestyle, gold for save the rave, green for psytrance, purple for talent, and magenta for bass.
Are you an aspiring Dj from Australia or New Zealand then don’t miss out on the Defqon 1 Australia 2015 Dj contest. You get to win your very own Dj set at the regional semi-final and get to perform on the Purple Stage for the grand final. You also get the chance of a lifetime to be on the set of Defqon.1 2016 in the Netherlands, which is an all paid trip. Did I mention you get a big ass trophy?
At Defqon 1 Australia 2015, the camping experienced will be taken to a whole other level. Due to popular demand the campground has been expanded and the gates will be open at 11am, 18th Friday this September.The campsite will be accessible via a bridge crossing over the lake. That’s right, you get full access to the camping site from the moment you arrive on Friday till the moment you leave on Sunday. As you enjoy the spectacular Blue Mountain views you get an exclusive musical experience of The Gathering through out the weekend. This will start off on Friday and is something you wouldn’t want to miss out on. On Saturday the campsite will be transformed into the Gold Stage with a special save the rave theme. With veterans such as Mark Reeves and Technikore headlining the show, be sure to enjoy a fix of classic rave.
This year Defqon 1 Australia 2015 will cater for all your camping needs. The Weekend Warriors are granted all weekend access to the camping grounds. As you drown in the atmosphere of The Gathering you can cool of by swimming. Campers also get a privatized prep area to freshen up in addition to more toilets and showers. You can now bring along your shavers, straighteners and dryers for the prep zone is fitted with mirrors, sinks and power outlets. Plus you’ll never guess what , all alcoholic drinks will be $7.50 on Friday. Doesn’t that sound like the ultimate weekend party? There will also be a merchandise store where you will get to meet the artists and sign your merch items.
Prizes will be given for the most impressive outfits so don’t be afraid to unleash the creative genius in you. No guts, no glory! There will be a living room for campers which will act as a central chill spot. Heating will be provided after sunset so you can rave well into the night. Arcade Alley will be available where you can challenge your friends to retro video games. The Kandi Workshop will get an upgrade.You will be able to hire cheap, portable mobile chargers so you won’t have to worry about empty batteries.
Tickets have gone on sale for this once a year event and are expected to sell out extremely quickly, given this has now turned into a weekend festivity. Purchase your Defqon.1 Australia 2015 tickets here.
SCOTT: The impression I get of the Lasted scene is that it doesn’t matter whether anyone outside of L.A. knows your name– if word gets around that you’re creative, you get work.
HUGHART: Well, that’s exactly right. There are a lot of bass players in town, there always have been. In the period of time beginning, let’s say, the late ’60s going up tot he middle ’80s, there was just a bonanza of work here, and luckily I was in on it. I’m a doublers, playing both electric and acoustic, and there weren’t a whole lot of us who did that. There are quite a few more who purported to be doublers but they just weren’t good on one or the other. So through that whole period of close to twenty years, Chuck Berghofer, Chuck Domanico, and I covered just about all of that. And there was more than enough to go around, believe me! I mean, we all just stayed busy!
That’s one of the things that’s changed that I’m really sorry about.. we all were a family back then, people kind of looked out for each other, and people would do things to help– like if it’s 3 a.m. and you’re nodding out, somebody would come up behind you and start giving you a neck massage and telling jokes to perk you up again. We all did that because there was plenty of work, and we were all helping each other get through it. Whereas now, there’s not so much work and people guard it so jealously that even people who used to be friends aren’t really friends anymore.
You were Ella Fitzgerald’s bassist for years in the early ’60s [playing on such tracks as “It Don’t Mean A Thing (If It Ain’t Got That Swing)”]. Did her pianist Jimmy Jones influence your playing? i thing he had an amazing ability to glide over the complicated changes in creative ways without getting too far out, and I hear that in your playing, too, on something like Natalie Cole’s “This Can’t Be Love”.
The first piano player when I joined her was a guy named Don Abney, a wonderful accompanist. Then Tommy Flanagan, then Jimmy Jones, and then Tommy again. Tommy actually probably had more influence on me than Jimmy in numbers of hours spent, but the things I learned from Tommy were pretty much the same as with Jimmy, and it had to do with exactly what you pinpointed about gliding over complicated changes in creative ways without getting too far out. Both of them were just giants at that; they’d find common denominators in the changes that facilitated that. Jimmy was one of my heroes in the arranging field, too, and I had many opportunities to pick his brain about his approach. He would show me one of his scores and point out that, as simple as it might look, there was always a voice moving somewhere. His influence stayed with me.
As for Natalie Cole’s Unforgettable With Love album, I know how arranger Bill Holman writes, and Bill knows how I play, and on those I got almost nothing but chord symbols. What you do is read the chart down the first time and make revisions, and the second time you play it a little different than you did the first, because now you know what the chart’s like. Bill Holman is one of my favorite writers of all time, I thin he’s a genuis. “L-O-V-E” — I think he nailed that chart so well that, I mean, in all my time with Natalie Cole, I can’t even guess how many times I played that– almost every night for eight and a hald years, and I still love it. I’d just as soon put the CD and listen to it right now, it’s that wonderful. This brings up a subject about bass lines and arrangers– most arrangers, if you press them enough, will admit that a nass player can come up with a better bass line than the arranger can.
And that’s almost universally true. I’ve only known a couple of people who wrote the kind of bass parts i would have come up with myself. Don Costa was very good at it, Victor Feldman was wonderful at it, and.. it’s a very short list! It’s one of the things I’ve concentrated on all my life, having grown up in music, I heard the right things, and later on found out why they were right. And I spent a good deal of my time when i was getting my college degree in music theory learning about voice leading, because that’s basically what the main element in comping up with a good bass line is, voice leading, what goes to what and what doesn’t go to what.