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Datsik is one of the most prominent contributors to the rise of dubstep. The 24-year old Canadian-born producer and DJ has collaborated with the likes of Excision, Diplo, Infected Mushroom, and Korn, remixed songs from Kaskade & Skrillex, MGMT, Linkin Park, M83, and Wu-Tang Clan, and played sets at numerous festivals such as Electric Daisy Carnival and Ultra Music Festival. But 2012 may be Datsik's greatest year thus far. After releasing numerous EPs and remixes, Datsik released his full-length debut album, Vitamin D, earlier this year on Steve Aoki's Dim Mak Records, and has started his own independent label, Firepower Records. He recently spoke to us about his current tour via phone from a tour stop.

You've said dubstep is the punk rock of electronic music. If that's the case, what punk rock band would that make you?

I don't listen to punk rock, so I don't know much about it. All I do know is that dubstep is definitely the bastardization of electronic music. And that's why punk has its own appeal, and that's why dubstep has its own appeal. And it sounds so different from anything that's really ever been done before. But it's so unique and cool and different in an awesome way.

What has been the funniest way someone has described your music?

I've heard stuff like robots having sex, robots wrestling, robots falling down the stairs. I don't know.

Your music has a really dark and heavy sound, but you've also remixed Coldplay's "Fix You," which is the polar opposite of that. What possessed you to remix that song?

I think it was just to try something completely different. I feel like without doing those kind of tracks, you limit yourself to what people are able to expect from you. So in doing that, it kind of just open doors like "Look, I make heavy music, but I also like the other side of things." In doing remixes like that, trying to take it in a different direction– more melodic and a little bit softer–it opens more doors for me as a producer so people can expect a wider variety from me, instead of one specific sound. Sometimes when we're drinking, we'll have freestyle battles on the tour bus, but we're really bad. But it's always fun because we're drunk.

Speaking of the people on your tour, I've been reading your tweets about a lot of beer pong battles. Who's been ahead so far? It's Brits versus Canadians, right?

I think we're tied up at 2-2. Brits took the lead; we showed them how to play, then they won two games in a row; beginner's luck. Later that night, we kept playing them and came back at the end of the night. So the next game will be the deciding factor for who is the beer pong master.

Your tour includes a special amp system for each venue. Are you guys just traveling around with it?

Yeah, we have a massive PK soundsystem that we travel with. It's so ridiculous. Every single venue is so loud, there's so much bass. It hits lows that normal soundsystems wouldn't; it hits everything you want it to, so it sounds great.

Have any of the venues complained about the increase in sound?

Oh yeah, for sure. We had a show in Albany, and I'm pretty sure we shattered a light bulb. It's funny because [the metal band] Excision came through and did the exact same thing a week before.

If you could collaborate with any artist, dead or alive, who would it be?

Wolfgang Amadeus Mozart. Or Method Man. It'd be sick to work with a super- insanely trained classical musician to sample with, have them write me something really dark and then sample it, then take it from there and flip it, then have Method Man do a dope verse over it. Something like that, I don't know.

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