Datsik performing with his Vortex 3.0 Visuals from V Squared Labs

Next Thursday at 8pm, Datsik’s Ninja Nation Tour will make its Indianapolis stop at the Egyptian Room at the Old National Centre. But be warned: on top of a mesmerizing light show complete with a live LJ and custom Vortex 3.0 visuals, the Ninja Nation Tour also promises to pack a heavy punch with 100,000 watts of PK sound.

Maybe you’ve seen his name at the top of the Beatport charts, on collaborations with some of EDM’s hottest names (like Excision and Diplo) and all over festival lineups (Spring Awakening, EDC Vegas and Tomorrowworld last summer alone). Dubstep fans around the world can’t get enough of Canadian-born bass-fiend Troy Beetles, better known by his DJ/producer name, Datsik. The Ninja Nation Tour falls after the November release of his Down 4 My Ninjas EP so he’s hoping for a big turn out from his “Ninja Squad” fan base. Take a listen to When They Drop, produced by Datsik & Twine and released on Datsik’s Down 4 My Ninjas EP:

On top of staying busy as a producer and touring as a DJ, Datsik makes time to run his own label. Firepower Records, launched in 2012, has released music from tens of dubstep, bass and heavy dance artists including Terravita and Bear Grillz. Check out the label’s most recent release, One More Night from Proper Villains & Willy Joy featuring Metric Man here:

Despite the 26-year-old’s young age, the last five years of his career have solidified his status as a leading contributor to dubstep and bass music. The list of today’s top acts Datsik hasn’t worked with is dwindling in numbers and seals the legitimacy of the forward-thinking, hardworking artist.

Datsik is bringing along LA’s Kennedy Jones and the UK’s Trolley Snatcha as the openers for the all-ages show.

Check out IndyMojo’s video recap of Datsik’s last visit to Indianapolis below:



Datsik @ Old National Centre

Indianapolis, IN

Thursday, Feb 19 @ 8 PM





By Alec Steinmetz

Photos from Datsik Facebook page

nyeIf you are looking for a live music event to ring in the New Year, you should check out what’s happening at the Murat Old National Center in Indianapolis, Indiana. Nestled in the heart of downtown, the Murat has hosted so many amazing artists, and for New Years they are offering a unique event. Check out four different bands in one night.


Here Come the Mummies will be taking over the Egyptian Room, and transporting us from the time of the Mummies to 2015. This jazz, funk band is headlined by horn playing mummies that will keep you dancing into the night. Their stage presence makes each show a unique experience and I can’t wait to see what they will offer in the New Year. The purchase of a ticket to Here Come the Mummies will also get you access to all of the rooms at Old National.


In the Delux Room, which is also part of the Murat Old National Center, are two more bands. Local favorite Cosby Sweater will be joining Groovatron as they come out of retirement! Cosby Sweater offers a Jazz fusion sound, led by smooth sax melodies. They couldn’t get enough of Indianapolis and will be ringing in the New Year here for the second year in a row. Groovatron started as an home-grown jam band out of the Mid-west, they soon played huge festivals such at Wakarusa. They have a unique style of psychedelic rock that is supported by a subtle sax lines and catchy lyrics. After years of touring, they went into retirement quietly in 2013. They are ready to greet 2015 and ring in the New Year here in Indianapolis.


Get your tickets soon this event sold out last year! Purchase tickets to Here Come the Mummies to get access to over 4 different bands and ring in your new year right!


Check out the event page for Cosby Sweater and Groovatron: https://www.facebook.com/events/656721717773863/

and get access to both events by checking out this event page for Here Come the Mummies: http://concerts.livenation.com/event/05004D5485591A88?bba=0


See you guys in 2015!


Neutral_Milk_HotelIt is happening, people. Neutral Milk Hotel comes to the Egyptian Room at Old National Centre this Thursday the 27th. Hopefully you bought your ticket, though, because it appears to already be sold out. Nearly 16 years after the release of their legendary In the Aeroplane Over the Sea, Jeff Mangum and his crew come to Indy.

Neutral Milk Hotel’s In the Aeroplane Over the Sea has been revered as one of the most influential rock albums of the nineties. However, just as they were gaining momentum, they abruptly disbanded and a decade long hiatus then ensued. Almost two years ago, Mangum went on a solo tour playing much of ITAOTS and some of the band’s early release On Avery Island. He actually stopped through Bloomington to play at the Buskirk Chumley Theater. This time around, though, Mangum brings the original NMH lineup plus a horn section.

Vibrant lyricism and colorful American rock roots saturate the Neutral Milk Hotel sound. Mangum’s sporadic lines coupled with his poetic imagery fuel the power behind these songs. The mythical status that ITAOTS has reached within the indie rock community is undeniable. The band’s influence can be heard in relevant artists like The Decemberists, Arcade Fire, and Conor Oberst to name a few.

If you call yourself a NMH fan, or are even remotely curious about their influential sound, try your hardest to buy a ticket to this concert. Thursday March 27th will be a truly rare opportunity to see such beautiful musicianship.

Thursday,  March 27

8:00 P.M.

Egyptian Room at Old National Centre



In an industry dominated by men, the Chicago native trio Krewella proves women can produce EDM too. Sometimes labeled as “diva dubstep,” the voices of Jahan and Yasmine can become quite addicting to sing along with while dancing to their crunchy electro-punk beats.

Krewella is made up of vocalists and songwriter sisters Jahan and Yasmine along with producer Rain Man. The first time I saw Krewella live was in their hometown Chicago when they were opening for Zeds Dead. I was skeptical to say the least. But ever since that performance, I will proudly rep their “Krew,”

In today’s rave world, it’s more than just the music, but it’s also about the performance. These ladies nail it. The most recent time I saw Krewella was, once again, in Chicago at Spring Awakening Music Festival. They had a midday set time, yet they still had the best audience interaction all weekend.

Who doesn’t love to watch two rebel-hot ladies sing, dance, and head bang to the beat? I’m a female and I find them captivating. They know how to pump up the crowd, and they know how to express sexuality without baring it all.

Recently they released a new album called Get Wet, which made the Top 10 of Billboard’s Hot 200 in the first week. Right now they are busy on the Get Wet Live Tour and will be stopping in Indy at the Egyptian Room in the Old National Centre Nov. 14.

And if you haven’t already, follow them on Soundcloud because they regularly release new FREE music. My favorite is when they release hour-long sets called the “Troll Mixes.” Here is my pick:


Chances are that if you’ve been involved in the EDM scene for more than 5 minutes, the name Datsik resonates with you on some level. Troy Beetles, otherwise known as Datsik, is the 25-year-old wunderkind producer who’s taken the world by storm over the last 5 years with his hard-hitting, chest pounding tunes. With the recent founding of his record label, Firepower Records, and subsequent release of his new album in September, it seems that Datsik is trying to progress into something that’s not only bigger, but badder as well. So, in preparation for the Indy stop of his Most Wanted Tour this Friday (11/8), we sat down with Troy to learn a little more about the producer. This is what we got:

Wes: Going back to the beginning, do you remember your first show?

Troy: The first show I actually played as Datsik I went out of town for. We drove to this city called Penticton that’s about an hour out of my hometown. A bunch of my friends came with me and we got to the show and I started playing before I realized that it was a Hells Angels bar. You know, the place was packed, all my friends were there and everyone was going crazy. The bouncer came up to me when I was playing and was like, ‘You gotta change this shit, these guys don’t want to hear this.’ And I was like uhhhh okay. They had brought me from a different city to play at this this club -and it was my first gig- so I was like whatever I’m just going to keep doing what I do.

The bouncer came up a second time and was like, ‘You gotta change it or we’re gonna kick you off.’ And I’m like ‘okay’, so I just kinda kept playing a few more songs. The third time he comes up he rips the cables out of my laptop, throws them to the side and shit, and I get kicked out of the club. Everyone was booing the bouncer. So I basically just walked, so embarrassed because it was my first show and I got kicked out of the club, you know? But everyone who was in the club, on the dance floor, ended up walking out behind me. So the Angels ended up getting the music that they wanted to hear but the club was empty.

But its like, when that kind of shit happens, it doesn’t really get any worse than that. So it’s only uphill from there.


Wes: When you step out onstage, what’s one word to describe your mindset?

Troy: I guess just like, GO. When I get up there and play my first song it’s like go time. I start jumping around like crazy and having fun, everyone’s having fun too. So when I get up there I guess its just like, step on the pedal.

Wes: Describe your dream show for us. What would it be?

Troy: Probably a giant dark warehouse with 200,000 watts of sound. All homies. Just have it dark and be able to play all of the deep crazy shit. That would be my ideal dream party. Coming into a show where I’m headlining, people are always expecting me to throw my bangers. I do that, but I always find time some time in my set -like in the middle- to go into some deeper shit. But I would really like to play a full deep set, just to see how that goes. I feel like it has to be the right setting, though. People have a short attention span on a Friday when they go to a club. I want it to be a little more out there, like some secret bush party rave or something, like under a bridge where it’s all dark with a massive sound system. That is the ideal setting for me, and hopefully one day I’ll get to play another party like that again.

Wes: Switching gears a little bit… What’s your creative process like? How does your writing process start?

Troy: It kind of just happens when it happens, I don’t really have a set format for how tunes get started or finished. I find that the more I try to force myself, the less productive I am. I take that for what it is, so when I’m feeling it I write something and bang it out rather than force myself to sit down at my computer and come up with an idea. That way, I’m a lot less stressed out and when I have some time off and I’m not producing I can have fun and enjoy it. It’s a good balance.

It all depends, though; sometimes I’ll find a really cool sample or noise and I’ll build a track around that. Or, sometimes I’ll write a cool drum loop and go from there, and I find that I do a lot of that kind of shit on the plane. That’s kind of how I’ve always done it.

I’d like to start trying to write songs without doing any electronic stuff. It’s cool to write a full piece of music without including any electronic synthesizers or anything; just write something on the piano and make a track from there. I always get too ancy and as soon as I come up with a cool melody I’m like, ‘Awh man I gotta throw some bass or some sick drums over this!’ I think that if I get a handle on that it will help me progress in a different way.

Wes: Are you working on any new projects that we should know about?

Troy: Right now we’re doing a bunch of collaborations on the bus. We’re gonna be doing a Most Wanted LP after the tour, and its basically got a bunch of collab’s between me and Funtcase, Antiserum X and Mayhem, Sub Antix; everyone’s just been collaborating. We’re going to put together one dope EP and drop it after the tour.

If you don’t know already, you’ll be able to catch Datsik, Funtcase, and Protohype this Friday in the Egyptian Room at the Old National Centre. Datsik recently released his newest album, Let It Burn, for cost ($6.99) or free at www.firepowerrecords.com. With his record label firing on all cylinders, a new album out, and a corresponding North American tour to back it up; it’s safe to say that you’ll be hearing a lot more from this producer in the near future.

Pretty Lights w/Cosby Sweater, Paul Basic, and Eliot Lipp @ Old National Centre Egyptian Room-Indianapolis, IN 11/14/12

Most shows during the middle of the week on a brisk fall evening wouldn’t even come close to selling out, but an event headlined by Pretty Lights isn’t like most shows. The Indy Mojo event featuring PL, Eliot Lipp, Paul Basic, and Cosby Sweater nearly did sell out and proved to be a special night for attendees. Local act Cosby Sweater kicked off the evening, but due to odd restrictions drummer Richard “Sleepy” Floyd(also of The Native Sun) wasn’t allowed to join the rest of the trio. That didn’t stop David Embry(also of Embryonic Fluid) and Nicholas Gerlach(also of The Twin Cats) from putting on an amazing set.  Cosby forged ahead with an eclectic mixture of Embry churning out heavy electronic beats and Gerlach’s perfectly timed usage of both the Tenor Saxophone and EWI(electronic wind instrument). The jazz element was a perfect compliment to the electro-paced tempo. It was clear the two were having fun, which fueled the energy of the amassing crowd. Cosby Sweater’s one-two punch of “Indiana Song” and their remix of Outkast’s “So Fresh & So Clean” sent the crowd into a dance frenzy, setting the tone for the rest of the evening. Their set was solid, despite the absence of a drummer.

Next up was Paul Basic, a fellow member of PL’s record label, Pretty Lights Music. Basic flowed seamlessly between up tempo melodies with intricate bass chops, down tempo beats, and heavy dub build ups and breakdowns. Pretty Lights’ influence on his music was obvious, but lacked the pizzaz of PL’s showmanship and stage setup. The highlight Basic’s set was his remix of I Monster’s “Daydream in Blue.” Basic was followed by fellow Pretty Lights Music artist Eliot Lipp, no stranger to the EDM community. Lipp’s set showed a new side of his musical prowess. Normally, his music features only down tempo beats, but this set included quicker tempos with breaks containing jazz elements. I was impressed with how Lipp’s music has evolved over the years. His nearly perfect set perfectly primed the crowd for Pretty Lights.

After a short intermission, it was time for Pretty Lights to wow the crowd musically and visually. His awe-inspiring stage setup is the best in the business and equally as impressive as his musical production. From the start, his music featured perfectly mixed components of blues, rock & roll, and hip hop. The beautiful melodic grooves were highlighted with perfectly executed use of lasers, lights, and his projection screen stage setup. His mixing of Jay-Z and Notorious B.I.G’s tracks and laser blasts filling the room took the crowd to another dimension. I was wowed by his perfectly produced cocktail of melodic grooves, high energy beats, and well-executed breaks during this part of the show. These elements in conjunction with his stage presence and amazing stage setup culminated in the best live presentation of electronic music currently being produced. It is easy to forget about the incredible projection setup with all of the lights and lasers flashing above, until your eyes look toward the stage and witness the visual insanity taking place.  PL pushed the boundaries further during “Finally Moving”, relentlessly pushing the music and his light show faster and harder. This fueled the crowd, who welcomed the increasing intensity by dancing like fools, present company included.

The second half of his set featured newly produced music. His new tracks contained dark and spooky bass drops to contrast bright and happy melodies, sounding somewhat different from past PL work. I enjoyed the new stuff very much. It featured tight breaks, the dirty bass was pleasingly raunchy, and mixes were very crisp. It is clear he has mastered his signature sound, but isn’t afraid to explore different avenues in his music. Furthermore, PL’s new stuff included glitch hop elements. It sounded different from his past work, but equally as impressive. In typical fashion, his glitches were well executed and perfectly timed. He was a true maestro, using his music to manipulate his audience beautifully.  Honestly, it was one of the best dance parties I’ve ever been a part of or witnessed. Indy Mojo created the perfect event with every artist delivering incredible music, especially Pretty Lights and Cosby Sweater. I’ll definitely be attending Cosby Sweater’s upcoming show with Digital Tape Machine on December 6, also an Indy Mojo event. Don’t miss out on this event, it is the cd release party for Cosby Sweater and will surely be another dance amazing dance party.Words by: Alex Toy

Photos by: Aaron Lingenfelter(Wide Aperture Images)