To celebrate their return to the big stage, Monstercat has introduced their first-ever label collaboration which honors the whole event and its major achievements. They call it, Compound 2021. And with Westwood Recordings helping to curate this beautiful lineup, it’s hard to not be totally stoked for what lies within! Artists such as The Funk Hunters, So Sus, Akylla and more have all participated to add to this wonderful movement and vision. All creating individual works of art to add to this incredible achievement. An eight-track body of work, honoring brand new up and comers as well as the veterans. Whatever style you’re into within electronic music, there’s something for everyone!

Monstercat Compound has always been such a special event for me, as it allows us to showcase what the organization is all about in my hometown of Vancouver. The Compilation was created to celebrate the incredible talent that Canada has to offer with our global community. I am thrilled to be collaborating with Westwood Recordings on this project, as the impact that they have made on the West Coast electronic music community was a real inspiration for me when I first started working in the industry. – Orri Sachar, Director of Music, Monstercat

The Compound 2021 compilation is a gorgeous new installation that commemorates the service both Monstercat and Westwood Recordings have brought to the industry. From groovy house music, aggressive dubstep, and even some gnarly trap, you’ll have nothing but a healthy and overwhelming smile from each piece. All adding their special flair to spice up this incredible dish of sound and rhythm. Resulting in one of the most memorable compilations of 2021. Each track flows into the next naturally. All the artists and team members should be truly proud of themselves. We’re stoked to hear what’s next for everyone. So make sure to go support these icons by streaming the Compound 2021 compilation everywhere!

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And now, to give them even more excitement and emotion, they’ve put together a stunning new remix package for the single. Rounding up major heavy-hitters to help honor the original vision. Artists such as Cazztek, Champagne Drip and more have carefully woven their own path of greatness to showcase their take on the track. A fantastic way to join each other and share the spotlight. You’ll find yourself dancing your feet off to one remix, while headbanging to the max on another. The diversity within these musicians is unreal and will truly impress every ounce of your soul. No matter which one you experience, you’ll find something brand new and refreshing which will push the electronic music scene even further.

Totally blown away by how this remix EP came together. Cazztek & Jay Robinson delivering the massive house vibes, Champagne Drip with the insane bass remix, and both Cofresi and CAPYAC taking the tune into totally new directions too! Can’t wait to start playing these out at festivals this summer!- The Funk Hunters

The ‘Warn Ya’ remix package is a glistening sea filled to the brim with raw talent and life. Each piece represents the artists perfectly while stepping out of their comfort zones for a greater impact. Complimenting the original creators with high praise and respect. From a groovy house remix from CAPYAC, to a bass filled wonderland from Champagne Drip, there’s something for everyone within this world of pure imagination. Their inspiring and high quality reworks brings the original work to new territories and pushes for pure evolution within themselves.  So make sure to go support them all by streaming The ‘Warn Ya’ remix package everywhere via Westwood Recordings!

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A few months before Covid hit we got to see Big Gigantic play this tune live at Red Rocks during their set at the last Rowdytown. We had played it in a few DJ sets ourselves earlier that year while we were still finishing the production on it, but experiencing it alongside 10,000 other people when Big G dropped it was pretty surreal and this song has been a special one for us ever since. I feel like we’ve been waiting to release it forever! So I’m super excited to have this finally come out and with Defunk & Akylla on the track too it actually makes this release 100% Canadian which is something we’re also really proud of.

ThE FUNK HUNTERS

The Funk Hunters and Defunk add their flavor with bombastic basslines and dynamic drops that stop you in your tracks. But the song’s magnum opus is Akylla’s passionate vocals that fill this deep, groovy track with soul. She gives us the inside scoop on ‘Warn Ya’ saying, “This song is about a magnetic love that can’t be broken or understood. We all have one of those (; The Funk Hunters embody peace, love, unity, and most importantly…The funk! I’m always honoured to be in their vortex.”

Get ready to get the funk up, but don’t say we didn’t warn ya. You can listen to ‘Warn Ya’ by The Funk Hunters, Defunk, and Akylla below or on your choice of digital streaming provider. You can also buy the song for Bandcamp Friday and all profits go to the artists! Don’t forget to support the artists you love.

The post The Funk Hunters, Defunk, and Akylla Bring Canada Together with ‘Warn Ya’ appeared first on FUXWITHIT.

Reminisce with DEFUNK’s rendition of ‘Ramble On’ by Led Zeppelin below and don’t forget to grab your free copy of the remix here!

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As a component of Defunk’s latest EP release, ‘Bones’ depicts a warm, tropical collision of styles, which leverages the soft ambiance of a leisurely vocal melody courtesy of SideTripp to create an immediate sense of entrancement before hoisting into a captivating foreground of bouncy, sonorous bass plunges.

“’Bones’ for me was a way to touch on the lighter side of the project. It’s about having that gut feeling when you first meet someone that they are meant to be part of your life. SideTripp brought such a unique flavour of vocal to the track to really boost its uplifting nature, ” Defunk shares regarding the immediate positive impression that surrounded the collaborative efforts selecting the melody for ‘Bones.’

Be sure to check out ‘Bones’ featuring vocals from SideTripp as a part of Defunk’s latest Awaken EP, out now below via Westwood Recordings!

The post PREMIERE: Defunk Establishes Tropical Ambiance In ‘Bones’ Feat. SideTripp appeared first on FUXWITHIT.

Fast-forward two years later, and we start catching up on how things have been since the last time we talked. One of the first things I bring up is how he’s not playing at his usual stage, the Fractal Forest; instead, this year he was scheduled to play at The Pagoda stage. He asks me if that’s one of the interview questions (SPOILER: it is), and he pacified my eagerness by saying he’ll answer it once we get into the interview.

As we sat at a well-placed round table, each with a cup of Kombucha, we started talking about everything under the sun, and I segued into the interview before we both ended up fully losing track, with the summer heat beating down on us.

How has it been, performing for the festival for the past couple of years?
It’s been pretty amazing, honestly. Every year just seems to get better and better. There’s always that anxiety and stress going into putting together the perfect set for Shambhala. I’ve watched and seen the fan base grow around this festival, and it’s also pretty amazing to see the rewards of being able to play around Canada. The quirks of having played the festival for a couple of years now helps pay off in terms of my other shows around this area. So, it’s been great.

What’s something you’re really proud of between when you started, and now?
Just dialing things in, I think. When I first played Shambhala, I was just feeling it out. I was trying out a style that I thought worked for the festival. Now, I feel a little more comfortable in terms of how to play, how to approach the set, making edits, and stuff like that—the actual approach to putting together what I’m gonna perform. Usually I try to take it a step above what I would play at a normal club show, and I try to make it fresh. I try to throw a lot of new stuff in there, and have it as the marker of where my music’s going for the next year. Everything follows this pinnacle of the summer, essentially.

You’re playing at the Pagoda instead of the Fractal Forest this year—why is that?
There’s a few reasons—the first and probably the most important is that I was approached by the Pagoda to perform. That was the only offer I received, so I took it very quickly. It’s a new experience for me, so it allowed me to take a new approach as to how I was going to perform the set, which I found interesting.

Another reason is that there’s a lot more room on the Pagoda—it’s catered more towards allowing live elements to happen. It’s a bigger spectacle stage, so you can just get those epic moments. In regards to the visual element of the stage, I’m very tied-in to the animators and the VJs that run some of the animations, so I get my own custom show. That’s a big opportunity for me to not only have the music side of the performance, but to have the full visual element of it as well—coming together from some of my best friends, who do very good work.

And lastly, like I said before, it’s the new opportunity—I like to push myself, and I like to try new things. So, it’s still going to very much be a Defunk set, it’s gonna have funk and blues and heavy music—except it’s an 11pm Pagoda headliner set. (Editor’s note: Defunk played around 4AM on the first night of the festival for the previous 2 years.)

I’m giving it my all, so it’s an opportunity for me to try something slightly new, which is very exciting for me. Also, it’s a REALLY kick-ass time-slot.

Part of the beauty of Shambhala is the vibe that they’ve created and managed for all these years.

What did you think of Shambhala 20 in particular, last year?
It was a very weird year. Just with the fires, really—that was the kicker. It changed the whole dynamic of the festival for me. I actually left on Saturday, since my girlfriend was not doing very well. She was having serious anxiety attacks because of the smoke, and the lack of proper oxygen was really tough for her. We ended up leaving on Saturday when they gave us the warning that the festival might be cancelled. Thus, we ended up missing 2 nights, which was unfortunate. Even with the lead-up to it, there was the knowledge that the fire was close to the festival. It put a lot of stress on a lot of people, and it was a different vibe from what I’m used to seeing at Shambhala, in my eight years being here. I thought that [my] set went well—I always try to zone in when I’m playing. It’s not like it was a bad year, it was… full of anxiety, and stress, I think.

I usually bounce between stages and see a little bit here and there. I saw some of TroyBoi, which was fantastic. I think I caught both of his sets, actually. Drum ‘n’ bass has a big, big, BIG place in my heart, so I saw Andy C. The Village has awesome lineups all around, and those are some of the standout ones, for sure.

You’ve mentioned Shambhala as your favourite festival; if you magically gained control of the festival, what would you do differently?
Woooo! That’s a tough question! Honestly, I think they’re nailing it, especially this year. I don’t know if I would change anything. Part of the beauty of Shambhala is the vibe that they’ve created and managed for all these years. I think… maybe… I don’t even know! It’s pretty perfect, really. And every year, they seem to step it up even more so. The process of getting into the festival this year was great. It was nice and easy, so again, they’ve improved on that.

Maybe I would say, if anything, I would try to create an area for the artists that’s a little more shaded. There’s definitely a large area in the artists’ camping that is VERY, very bright, and very hot. For a lot of artists that fly in from around the world, it can be an overwhelming experience to fly in and then get the ride into this festival. Maybe you’ve never been here before, and to go through such conditions that are extremely hot is tough for some people, and I think that creating an element where they feel really comfortable, well-shaded and really taken care of—not that they aren’t now, but just a really nice area for them to chill in, and to stay cool, would be  one of the things I would probably change.

I wanted to make music that I can play out and I was happy to go back to, with catchy vocal choruses that potentially stay in people’s heads for a while.

Last time, you referred to Stepping Out as, “a way to step outside of your comfort zone, and get to do you, as an artist again.” That said, how does your latest EP, Empire, relate?
You know, it’s actually quite similar in that description. Empire, for me, was an EP of songs that I felt would have a lot of replay value. I wanted to make them catchy and punchy—songs that I don’t just drop in and out of as a quick banger. I wanted to make music that I can play out and I was happy to go back to, with catchy vocal choruses that potentially stay in people’s heads for a while.

A lot of my previous works were sample-based. They would have some small vocal samples here and there, or there would be more and more instrumentals. But, I think for me, I wanted to make a very condensed, very action-packed little EP of music. It was in a sense, “Stepping Out” of my comfort zone again, and making music that I felt was just reflective of who I was at the time, and to try things that were new to me. It’s always been very important for me to push my own boundaries, and to keep changing. The idea of me making the same music over and over again—it’s not who I am. I wanna keep moving forward, and I like trying things out.

Would you say you have a particular favourite from the EP?
I do! ‘Can’t Buy Me’ is, stylistically, the most different from what I normally do. Tempo-wise, it’s a lot slower, it’s got a lot of interesting inspirations from trap & future bass, and there’s some elements of Big Gigantic in there, I guess you could say, with some of the piano and the horn lines. I felt that one in particular. For me, it was kind of a standout—it was different, and it was just satisfying to make.

And really, out of all the 4 songs, that [one] came together the quickest, which sometimes, is the sign of a killer track. The songs that come together like that are just meant to be, y’know? And the ones you spend a LOT of time finessing and refining… maybe they get lost in the shuffle. But personally, that’s one of my favourites, yet needless to say, I’ll be playing all of the new EP in my set this year.

What’s been a highlight of your spring/summer tour?
Well, I did a lot of touring this year, actually. I did a lot of touring with Russ Liquid, and with The Funk Hunters, so I was on several different tours throughout the winter, into the spring. And I got to travel and play in a lot of different cities I had not had the opportunity to play in. Everywhere from Omaha to Boston and New York, and down the East Coast; all the way through the Midwest, down to the South, through the West Coast: through Oregon, and Seattle, and Bellingham.

This year, playing shows was pretty liberating. Seeing my reach really grow in the U.S. quite a bit was pretty amazing. And then, I’ve been playing a lot in Canada this summer. So, it’s been a nice balance. I’ve been playing a lot of Canadian festivals, and keeping it very local, which is nice, because I love the crowds in Canada. You can play whatever you want—you can get away with playing essentially anything you want in Canada, and people dance to it. Whereas in the U.S., you really have to think about where you’re going to play. There are certain sounds that don’t go over very well, or they’re not used to them in that way.

Shambhala, obviously, is a highlight. I just came back from Electric Love in Vancouver, which actually blew me away! I hadn’t really heard about it until this year, and it was a well put-together festival. Astral Harvest was a great festival as well. I’ve got a festival in Ohio coming up, called Resonance, so I’m looking forward to that.

And on top of that, what else do you have planned for the near future?
I just actually switched over to a new booking agency, so I’m excited to see what comes out of it. We’re in the transition phase, and getting things rolling – looking at getting fall/winter tours lined up. So, so far, I can’t really speak too much about what I have coming up immediately, but we’re working on a bunch of things. I’ve got a bunch of new music that I haven’t released yet, that I’m gonna be working on, putting together into a little EP, or possibly singles and spreading it out over the course of the next four or five months. We’re also hoping for a nice tour placement – a support act would be great, to get back into some of these American cities. Hopefully a Canadian tour as well.

Bonus Question: Top sets you’re looking forward to this weekend?
Let me see here… I don’t have a schedule in front of me, BUT: Camo & Krooked, for sure. For drum n’ bass, they’re just so wicked! They’ve got their own style, and it’s very well-done. Who else… Rezz, I didn’t get to see her whole set last time, so I’m looking forward to actually seeing a whole Rezz set. And I think Kursa actually, who’s playing right before me—he’s a good friend of mine, and I really enjoy his music. So he’s gonna be a great one to watch, and a great performance—as well as KOAN Sound, who, of course, are my other really good friends. They are the same night as me, after Adventure Club, so that’s gonna be a great set to catch too.

Pictures courtesy of PicJer Photography; check out this year’s Shambhala experience through his album on Facebook!

The post Interview: Catching Up With Defunk At Shambhala appeared first on FUXWITHIT.

Without a doubt, no two festivals are alike – especially considering the fact that there’s seemingly a new festival every weekend this summer. However, Shambhala stands well above many others, and is considered to be one of Canada’s prime festivals, and it’s not simply through its rejection of corporate sponsorship, nor the fact that it’s had time to grow and build itself up properly (although, those two factors do help quite a lot). In fact, it’s so highly acclaimed that some of the attendees are there because a local or one of the border patrol guards recommended the festival to them.

Regardless of whether you’re a first-timer, or celebrating your 10th consecutive year attending Shambs, there’s always a new adventure awaiting on the farm, and you’ll easily come to call it home. Here’s a breakdown of the extravaganza that went down this year, as I lost my Shambs virginity:

The experience

The experience itself feels so surreal, to describe it best. Between the moments you enter and leave the farm, everything is like one continuous dream which you know is actually occurring. Tie in the insurmountable Shambhalove given and shared amongst everybody you come across, as well as the isolation from life’s concerns and expectations, and you are blessed with an experience which not only gives you an opportunity to be free (in whatever manner you wish to express), but also the chance to let go and enjoy the festival (and life, in general) for all that it is. Truth be told, saying the name ‘Shambhala’ out loud still has some magic to it.

Also considering that a vast number of us are from busy suburbs/cities, being surrounded by nature and seeing the Milky Way in the sky at night is a wondrous sight, as well as a much needed change of scenery. Along with the amount of spirituality that goes with the festival, the whole event is one great reason to smile and have a prolonged peace of mind.

The Music

There are strong claims made throughout the weekend that artists who perform at Shambs go much harder into their sets than they normally would. Then again, with the high energy exerted from each artist (more than I’ve seen elsewhere), as well as the praise and gratitude to play at the festival, I’d have to wholeheartedly agree.

Shambhala is about the music, first and foremost. With a massive roster of approx. 300 artists, there is clearly not enough time to take in everything. However, the Shambhagods organizers listen to the people by sifting through artist requests, as well as catering to the tastes of its frequenters, to bring a lineup which makes you feel like you’re in the right place at the right time, regardless of wherever your adventures take you. There is a total of six stages, which have come to grow substantially over time:

Amphitheatre

The Amp is one of only two stages open prior to the opening ceremony – the other being Living Room – and hosts a wide variety of sound which ranges from deep, to heavy, to weird… or possibly even a mix of all of the above, such as that delivered by Yheti and Space Jesus.

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Living Room

The stage which brings the groove to the riverside! It’s the perfect place to beat the high noon sun (especially when you wake up in a 30° tent), as you take a dip in the icy-cold Salmo River, and have access to some fresh organic fruit at a nearby booth – it’s like having your own paradise in the mountains. There’s even rumours of a magical, colour-changing sandbox that appears at night.

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Pagoda

Unofficially classified as “Shambhala’s Main Stage”, this multi-layered stage easily has heads turning to check out what’s going on, whether it’s from REZZ and her show-crushing set which still has people talking, to Mija throwing down some happy hardcore to an explosion of colours and lights, or even Destructo and his array of pineapples welcoming the sun during his sunrise sermon –  there’s always a story to be told, just by entering its gates.

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The Village

This place is heaven for any and every basshead out there! Thanks to its affiliation with pk Sound, this stage brings you the true, raw power of bass – in the form of 200,000 watts. Acts like Excision, Andy C, and the highly-anticipated Shambs debut of Haywyre were not only properly heard, but also felt – especially if you stood right next to the speakers and let the sound take over your body. (Yes mom, I was wearing earplugs.)

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The Grove 

Aptly nicknamed ‘the treehouse’, this stage is tucked away in a far corner of the farm, where you can chill in the treetops while taking in graceful sets and live performances such as Emancipator, CloZee and Five Alarm Funk. The Grove is accompanied by a forest with psychedelic artwork, as well as the Cedar Lounge, which has its own array of workshops happening throughout the weekend. It’s also home to the festival’s opening ceremony, which gives praise to the Earth that we all share.

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Fractal Forest

One of the most iconic stages at Shams, one step within the forest will transport you to a lush, green realm with bass in the trunk and roots full of funk! With the return of legends such as The Funk Hunters and Stickybuds, along with the debut of funkalicious artists Father Funk and Defunk, it’s safe to say that the forest was lit the entire weekend – especially at night, thanks to its out-of-this-world light show and next-level stage setup.

Photo courtesy of Shambhala

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Atmosphere/Crowd vibe

Music aside, another driving force of the festival is the Shambhalove. In fact, it’s so widespread throughout the weekend, that calling the people of Shambhala a ‘crowd’ fails to capture the true essence of the atmosphere; rather, Shambhala feels more like a town that shows up once a year, and all of its inhabitants return home to dwell and revel during its brief appearance. The ‘townspeople’ themselves easily form a warm community – or better yet, a farmily.

Upon arrival at the farm, we instantly receive a joyous ‘Happy Shambhala’ from multiple volunteers – a phrase that is heard and said frequently through the course of the weekend, often accompanied with an ecstatic high-five or a bear-hug. It easily paves the way for a very open and welcoming space, which encourages you to let out your inner child, embrace your weird-kid side, and be the best damn you that you can possibly be – regardless of who what, and how you choose to represent yourself.

Aside from the festival

Shambhala is two completely different places depending on the time of day. From sunset to sunrise, all the ravers would spring forth, and dance until the sun started rising over the mountains. During the day, there’s a plethora of activities and sights, such as the marketplace with its many vendors, to daily scheduled yoga, and even some crews throwing some daytime parties of their own.

All partying aside though, the festival does everything it can to take care of its attendees, which includes its zero-alcohol policy, as well as the Shams Medic team  – who work so well in the background of everything that’s going on, that you almost don’t notice them as they whiz right by you. There’s also the ‘Safety Zone’, which consists of the Sanctuary (for that bad trip or a safe place to get away from all the noise),  the Womens’ Safe Zone, and the Ankors Tent, which provides free drug testing, as well as info on many popular drugs.

Shambhala is a prime example of a festival done right, and it’s very easy to see this, given its large turnout of repeat attendees, ranging from 3 consecutive years, to as many as 15. The hype for the 20th anniversary had begun before the 19th event even took place – for now, there’s not much currently known as to how they’ll celebrate two decades of Shambhalove, but rest assured it’s going to be a massive celebration all the same. Tickets go on sale September 1st – hope to see you on the farm next year! Happy Shambs. <3

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The first night feels long, especially for the unsuspecting first-timers, with all of the festival’s stages open and in full operation until the early morning. Yet, as the children of the forest are going through a nocturnal adjustment, the forest is packed as the Funk Hunters wrap up, and welcome an enthusiastic Logan Anderson, better known as Defunk, to the DJ booth for his inaugural Shambhala set, around 3:30am.

Although he had to miss out on last year’s festival due to being at the Red Rocks Amphitheatre, he is no stranger to the forest, as he starts with a warm introduction, and almost immediately throws down a wide fusion of electro-funk, glitch, and drum & bass – as well as some classic rock & hip-hop throwbacks/remakes – until the sun starts creeping up the mountainside with the early hours of the morning.

Later that afternoon, I had the pleasure to chill with Logan, and gain some insight into his overall Shambhala journey, from both sides of the DJ booth.

Image courtesy of Shambhala

You’ve attended the festival 5 times, but this year is your first year as an artist. What’s it like, technically being a Shambvirgin all over again?

Every year I come, there’s something new to experience, and something new that you take out of it. It’s changed for me quite a bit, to go from someone that was a patron and bought a ticket the first year, to someone that then, over the span of five years, worked for some stages, volunteered, and finally PLAYING the festival that you’ve been admiring for so long – it’s nothing short of incredible to be able to come full circle and give back.

There’s a difference in the vibe/the experience between going to a festival and having fun, and going to a festival and being behind the scenes and working. You take something out of it, but it’s where I’m at in my life (that) I feel like that’s where I need to be. It’s more enjoyable for me to be giving back – to be happy working. I’m 28 now, so I can’t and I don’t want to party as hard as I used to. So with that, it allows me to have fun playing music and being inspired talking to artists, and meeting and networking, and talking with guys like yourself.

And the fact that you were a patron and are now on the other side – was it exactly as you imagined, or was it completely different?

You know, it is and it isn’t. You imagine […] the backstage as like, the craziest, most badass place in the world – red carpets, gold chalices, plates of drugs everywhere. Sometimes the green rooms and the backstages are just that – sometimes they’re fantastic and you party, but you kind of take the veil off of “behind the scenes” a little bit. It’s not quite what I expected. Usually, it’s a bunch of music nerds that are nerding out on music, and they’re just sharing their passion. They’re normal people, they really are. They’re normal everyday people who happen to be doing music for their job, instead of whatever else any of the other patrons are doing.

It’s crazy – I still feel like I get the most hype and the most enjoyment out of a festival being in front of the bins. I like going into the crowd, I like that feeling of being where you’re meant to be, because behind stage, there usually isn’t a whole lot going on… there’s wires and there’s texts, and there’s people working and drinking coffee. The backstage is definitely not as glorious as people imagine it to be. But that also comes with being in it for so long. You almost forget about the magic and what people aspire to be, but it’s a perspective thing.

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Who had some of your favorite sets in previous years?

Some of the best sets that I’ve seen at Shambhala:

-Truth, from New Zealand – really, really, really cool. I guess you would call it “Classy Dubstep” – very low-to-the-ground, very beautiful music. They played in the Living Room (2014), so that was one of my favourite sets.

-I really enjoyed Odesza. A couple of years ago, they played (at) Shambhala. And that was magical, that was at the Grove – just beautiful, sexy music. Great time of the night. Everyone had a smile on their faces.

-Andy C is a big drum n’ bass artist from the UK that I absolutely love, and I saw him a couple of years ago. That was incredible. I saw Foreign Beggars, they’re a Hip-Hop group from the UK, and that was incredible as well.

-I saw Pretty Lights at the Pagoda a couple of years ago, it was amazing.

-I’ve seen What so Not, I’ve seen Bassnectar, those guys are all big inspirations for my music, I guess you could say.

-And then, there’s the Fractal Forest, where it all started for me, where I was like, “wow, funk is kind of cool.” Stickybuds, Featurecast, The Funk Hunters – those guys historically had some of my favourite sets, back when I just starting to get into it.

What was it like, playing right after The Funk Hunters the night before?

It blows your mind! Here I was, a couple of years ago, trying to message these guys for advice, and trying to get tips on how you do it – how you navigate the scene. And now I’m friends with them – like, it’s SURREAL. It really is surreal to be – not even in a very long span of time, a couple of years – someone who went to these guys, and standing in the crowd, blown away, and hoping to meet them one day. And now, I’m doing a collaboration with The Funk Hunters and Chali 2na from Jurassic 5, which is literally one of my favourite Hip-Hop vocalists in the world.

I think I’ve worked very, very hard over the last few years, and that’s gotten me to where I am, but it still never really sinks in. (laughs) You’re just awestruck that you could go, and you could go into the VIP/artists’ area, and artists like TroyBoi, CloZee, and Marshmello are just walking around, talking about music and being normal. It’s cool man, it really means a lot. It makes me feel super-proud. It makes me feel like I made some good choices and that I’ve made the right choices to get to where I am.

And I think especially with the Fractal Forest – I think that this is the perfect fit for me to play my first Shambhala gig. There couldn’t have been a better time, it couldn’t have been a better lineup, it couldn’t have been a better stage to bring myself into this festival.

In regards to your EP Stepping Out, how did that come to be?

I named it Stepping Out because I wanted to really push what I was doing, and step outside of my comfort zone. The last couple of big albums I did, Delights and Back to the Funk, I was working in a direction of releasing it with the Pretty Lights music label. That kinda fell through, but those albums were specifically made for that sound. It  was supposed to be coming out on that label, so I geared a lot of my music towards that and for a while, for like basically a year, a year and a half, I was making music that felt very electro-soul – very Pretty Lights, very GRiZ, and that’s cool, I really liked that sound.

But Stepping Out was my first major release where I wanted to be like “no – I want to do me again.” I wanna go back to where I was, many years ago, where I was just exploring music and having fun. Not directing the music at anyone in particular, just having fun playing with sounds. I also brought a lot of my original inspirations of rock music, punk music, grunge music – that kind of stuff into Stepping Out. It was like a new take on it. It was really fun for me to mess around with that kind of guitar sound, that almost like rock-y, kind of blues-y sound.

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What’s the greatest moment that you remember taking place at Shambs?

There’s always so many amazing moments. The first year that I came to Shambhala, being in the Fractal – I had no idea what funky bass music was. I didn’t even know it existed. It wasn’t house, it wasn’t dubstep – it was just uptempo remixes of awesome shit. It was so bangin’ and I did not know that music could sound like that; it blew my mind. That was a BIG, big deal for me back in the day – that first year at Shambhala, when I was just exposed to so much music that blew my mind. I was young, and I was partying all night, and didn’t sleep, so it was great! There was a lot to experience.

There was another experience I had, where I bumped into Stickybuds, and this was a couple of years ago – but he basically gave me advice to keep making music, and to go full time, to make it a career. He gave me a really nice, eloquent statement (to) “do what you’re doing, because it’s going really good for you”. And that little moment inspired me to keep going, because it’s one guy that I’ve been looking up to for a while, who’s telling me to keep pursuing it – and I did. It was great. And now, to see it come full circle, means so much more.

How do you describe Shambhala to someone who has never been?

It’s magical, first and foremost. I like it because I really like what they do with the artist lineup. They sell out their festival, and people trust the music curation to be amazing – to be fresh, to be ‘on top of it’, to be current, and also to expose you to a lot of new music you never knew. So, it sells out before they even announce the lineup, and people come here because they know that they’re gonna (hear) amazing music – the best of the best. Everyone brings their A-game here. You know, every festival you’re gonna go to has that sense of community; every festival you’re gonna go to has that sense of being yourself, so I’m not gonna be cliché with that.

But the stages themselves – the fact that they’re permanent is a big, big deal here. There’s not a lot of festivals that have permanent stages that build on each other every year. So that allows the stages to really become an integral part of peoples’ memories. And you come back, and you know what the Village looks like. You know what the Pagoda looks like. And you’re so stoked to go back and experience/reconnect with that memory, as opposed to festivals that have to build from the ground up every year, and their stages change and stuff like that. This land, the environment, becomes Shambhala. And I think that’s what I really, really like about it. It’s beautiful, it is warm, and then lastly, the people that it attracts. The Canadians, the Americans, the internationals… everyone is so warm here. Without fail, it’s always got a good crowd. And it all works in tandem – they’ll bring each other together.

It’s a lot of Canadian culture. It’s like the best parts of Canadian Culture, but it’s not just Canadians. There’s a lot of Americans here, there’s a lot of people from all over the world. I’m camping with a bunch of UK friends, and they love it. It’s a collective thing, but I think that this is the true show of how awesome Canadians can be. And that’s why I love it. It’s amazing. (laughs)

Defunk’s full Shambhala set is now out on SoundCloud – for those who were there in the Fractal Forest, re-live the funky madness! If you weren’t (or you slept through it), stream it here, or cop the free download and take the forest funk with you everywhere you go!

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Stay tuned for the full Shambhala 2016 recap.

Interview & words by Christian Kwamie. Check him out on Twitter and Facebook.

The post Defunk brings the Fractal Forest to life with debut Shambhala set [Interview] appeared first on FUXWITHIT.