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Diplo Blasts EDM



In the latest case of EDM slamming, Mad Decent boss and Major Lazer member Diplo has lashed out at commercial dance music with a series of angry outbursts regarding what he perceives to be the current state of the electronic music landscape.

First up he has labeled EDM boring explaining his stance on the genre by stating “There’s not a lot of face to it. It’s a bunch of Dutch DJs with the same haircut. You go see a dance stage at a fucking dance festival and I’m bored out of my fucking mind. That’s not going to last very much longer, because kids see that it’s the same shit every single time.”

Whilst pointing out similarities within EDM productions is nothing new (check out Daleri’s hilarious Beatport Top 100 EDM mash-up) it seems odd to be coming from Diplo, who however he likes to slice it deals in various different strands of EDM. It appears that Diplo has made a distinction between what his label does and other do regarding commercial dance music as he went on to blast other labels saying “labels have no idea what’s going on anymore. They just want to jump on EDM dick — shit that sucks because they don’t feel the music but think it’s happening. We are in these streets.” Before adding that the success of his own label is to reject such tracks We are a label that exists on the internet, so when something like that (Harlem Shake) happens, we know how to incubate it and make it go crazy…There are no rules to running a label anymore. We have, like, seven people working for us, but Interscope (Major Lazer’s old label) probably didn’t even have a record as big as ‘Harlem Shake’ last year and they have thousands working for them.

For us whilst laced with several valid points we wonder if the irony of Mad Decent releasing ‘The Harlem Shake’  and other tracks of this ilk and then slating EDM hasn’t been a little lost on the increasingly erratic Diplo. In completely unrelated news a pot accused a kettle of being black.

Grahame Farmer

Grahame Farmer’s love affair with electronic music goes back to the mid-90s when he first began to venture into the UK’s beloved rave culture, finding himself interlaced with some of the country’s most seminal club spaces. A trip to dance music’s anointed holy ground of Ibiza in 1997 then cemented his sense of purpose and laid the foundations for what was to come over the next few decades of his marriage to the music industry.

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