The three-track effort explores the idea of waiting on fate told through the lens of Danny Olson’s masterfully produced "cinematic bass" style.
Fresh off his orchestral-inspired remix to SLANDER's "Love is Gone" and his highly-acclaimed Lowly. single "Delineate," Danny Olson is back again to impress on the Trap Nation imprint with his unapologetically unique EP, Waiting.
Film scorer, DJ, producer and classically trained musician, Danny Olson is an all-encompassing musical virtuoso. Growing up with an eclectic background and finding inspiration in every corner has left the Chicago-born producer with a unique style interwoven with facets spanning across a multitude of genres. Though the easy route for Olson would be following the formula for producing a hit EDM track, Olson has stayed true to his style, which he has dubbed “cinematic bass.”
Last month, Olson released his aptly named, self-defining track, “Delineate.” Characterized by epic crescendos and thundering percussion, Olson’s sound fuses his prolific background in classical music with his evergreen love for EDM. His latest release, Waiting serves as a sonic landmark of his refusal to compromise any aspect of his musical talents to fit the standard mold.
Trailblazing your own genre certainly isn’t an easy task. Danny Olson opened up about waiting on fate, his struggles as a producer, and his personal musical journey in an interview with EDM.com. Check it out below.
Before we get to talking about your EP, you just released a massive remix of SLANDER’s “Love is Gone” a couple of weeks ago. How did that relationship happen?
Danny Olson: It was kind of interesting because I knew of them, but I didn’t know of them making songs like that. "Love is Gone" is a great single and different from their much harder stuff. To be honest, I was never like, "I should remix SLANDER," because I have gotten good at listening to my gut at what I think will work. Generally, my originals are a lot more uplifting and passionate. When I look for a song to remix, I look for a song that’s pretty heartfelt and lyrical. "Love is Gone" was that song, I just wasn’t aware of it. I just got really into it and I knew I only had about a week, so I just went to town and did a bunch of orchestral stuff, made it epic and huge, and they loved it. Some remixes and opportunities take months to unfold and you’re kinda' left waiting and guessing and this one literally happened in a week and a half, which is really, really fast.
"Delineate" was so aptly named for the message you were trying to get across. How did you go about naming this EP?
I’m really interested to hear what people think about the title track on the EP because it isn’t like "Fix You" or "Love is Gone" or "Delineate." It’s much more like ODESZA meets Sigur Rós, it’s hard to describe. I wrote that track a long time ago. I wrote my own topline to it that we didn’t end up using, but the idea was about waiting to go, waiting to get there. I was feeling frustrated with the fact that we constantly see these really young producers who like Martin Garrix, get a banger viral single, and all of a sudden they're 21 and touring the world. Like a Loud Luxury. I don’t know them, but it seems like the rise to stardom is really fast and there’s no reason to hate on that at all. But of course, I’m human and I get jealous. I’m not at that level yet, and I’ve been working on this for so long, it’s just my overall sentiment in that moment was that I’m literally waiting for my turn. It felt empowering to be making something like that and to be excited about the sound, but it’s also like I’m a victim to fate. It’s almost like I have no control and that’s hard for me because I’m a super hard worker and very driven. For me, it's like if you work harder, you're gonna get there faster. But there have been so many times I have felt like I had setbacks - all of which is completely normal. I feel like that song and the whole EP, in general, is kind of that idea in a box. I’m just trying to make music that resonates with me and I hope people can hear that.
How do you go about staying true to your sound?
What sets me apart is that I have been DJing since I was 11, I was buying equipment and saving up when I was in middle school and DJing middle school dances, no joke. I’ve been around music and downloading random virus-laden Russian trance music since the late '90s when I was a kid, and I have this idea that what set me apart is I’ve been doing it for a while. And I’m also a classically trained musician. So I bridged this film music background, which is what my major was, with this sort of this love for big, passionate, Swedish House Mafia-type, soaring EDM. And I had to find a way to marry these worlds, so kind of going on that route and making that sound and developing this "cinematic bass" category that I have been writing in, it feels so right. I’ve written a lot of music that didn’t feel authentic before. As an artist, you're very in touch with, or should be in touch with, if you’re writing for plays or if you are writing stuff that you’re really, really proud of. At the end of the day, even if this gets 500 plays I’m still happy it's out there. I’ve done a lot of remixes over the years thinking, "Oh well, Justin Beiber came out with a single and I remixed it and it feels flat." That feeling is very opposite to something like "Delineate" where I had that idea in my head five years ago and I had been tweaking it. I swear the version we released was like version 76 or something. So that song is something that represents me chasing that sound, it didn’t need vocals and it wasn’t this bare-bones instrumental. It’s kind of an expression. It’s a saying in and of itself.View the original article to see embedded media.
Producers deal with similar issues to one another, and up-and-coming or aspiring producers look to artists like you for advice on tough topics like this. What advice could you give them on staying true to yourself?
I've been in duos and trios and I’ve collaborated with a lot of people. At the end of the day, you have to know if you’re in it for the right reasons. This goes with any career path. I am a firm believer that you aren't given passion, it has to be developed. And things can change. Stay true to what you feel and don't let your age ever be a dictator to that. Far too many people are like, "Well, I missed the boat," or "I have this career and I’m making okay money and I can't leave the security of a paycheck," and yes, that’s all real, but if you're really into something or think you want to explore it you should go for it and you should understand it comes in waves. Every artist or creative feels those self-doubt days. The thing you need to look for is if that feeling is consistent. You just kind of know. If you’re doing something for other reasons, you will burn out.
Musically, it’s clear you’re inspired at every angle. Besides music, what the other mediums from which do you draw inspiration?
I really like buildings and anything that has really eye-grabbing color. Ironically, I very much dress in all black or a little bit of white, but the one thing that stands out in my wardrobe are my shoes. I love things that are unapologetically wild, like an Andy Warhol painting. Something that you look at and you’re like, "I’m drawn to that, even if it’s a little offensive." So, definitely architecture and fashion and the art form of how people dress. This whole album aesthetic is very light blue and light pink. "Delineate" was very bright, it was pink, and when I closed my eyes and listened to it I was like, "These are the colors that resonate with me." So I would try to connect that with the way I dress or the way I took pictures.View the original article to see embedded media.
Where was your mind when you made "Galaxies?"
"Galaxies" was interesting because I had a topline and vocal I liked, but somewhere along the way I just fell out of love with it. The instrumental was cool and I liked the writing, but I couldn't live with the song anymore. And then Troy Ruperto wrote to it and we had a session and I loved her idea. It was really celestial and the name "Galaxies" plays very well into the interstellar and space aspect of my branding. We worked the vocals back and forth and we landed on this middle track, and I was like, "This is perfect." This is a good representation of a larger-than-life concept, but it’s still I think pretty mainstream dance and relatable. It felt right to add into the EP.
Going off these interstellar vibes, one of your pieces was used in the trailer for Ad Astra, is film scoring something you plan to continue doing?
Absolutely, 100%. That track is under Hidden Citizens, which is me and another guy and we started this trailer music company together years ago. We don’t play shows, we are unnamed, but that is all trailer music and music for TV shows and stuff like that. That’s where all my classical influence goes. It’s not a Danny Olson release, but it’s an artist I portray. It’s cool because I don’t have to think about creating an EDM song or a song that will work at a festival, I’m thinking in terms of, ‘How do I enhance the storyline of a major motion picture?’View the original article to see embedded media.
What can fans expect at one of your live sets?
My live sets as an artist are all over the place. I love house music, so I don't only play future bass. I grew up listening to house music and going to underground trance raves before I was 18, so I love the four-on-the-floor stuff and I love playing the deeper, grungy progressive stuff. But I also play a ton of hip-hop throwbacks and trap, so, my sets are pretty all over the place. My only goal is to entertain.
The deeply personal EP has arrived way by Seven Lion’s imprint, Ophelia Records.
Known for his sentimental approach to bass music, MitiS has built a widespread fan base through his elevated electronic production talents. He originally began his musical journey as a classically trained pianist, and facets from his traditional background are interwoven throughout his tracks.
He has dubbed this aesthetic “new age classical.” Having been a close friend and collaborator to Seven Lions (real name Jeff Montalvo), MitiS’ beautiful, melody-driven style has naturally found a home on the superstar DJ/producer's label.
“In this EP I felt a lot of growth as a producer,” said MitiS. “I stepped out of what I’m used to and really dug into the songwriting side of things - not just production.” Shattered EP features three high-quality tracks and two guest vocalists, RUNN and Nick Warner.
“The songs, especially 'Shattered,' mean a lot to me,” he explained. “RUNN really portrayed the message of the instrumental I had sent over to her. I’ve been playing it out for a few months around the world and every time it’s gotten such an emotional reaction, which is exactly what I was looking for.”
Fans can expect to hear cuts from Shattered EP at MitiS’ upcoming headline performance in Minneapolis on December 28th. For tickets, visit here.
The Icelandic government has unveiled "Record in Iceland," an initiative designed to reimburse artists who record music in the country.
The Icelandic government is offering an incentive for artists looking to record new music. If an international artist cuts a track in Iceland, the government will reimburse 25% of the costs accrued in the process. The reimbursements include the typical studio costs as well as travel and lodging.
The new initiative, called Record in Iceland, was spearheaded by Iceland Music, the governmental organization dedicated to music exports. In a quote obtained by Billboard, Iceland Music Managing Director Sigtryggur Baldursson explained the new initiative and why they're offering the reimbursements. "Until now, these studios have been something of a hidden secret, but our aim with Record in Iceland is to open these facilities to a far wider range of international artists and businesses, and to make them a compelling commercial proposition," he said.
Iceland Music released a short video giving an overview of the program and allowing some artists to share their excitement for the initiative.
For more information on Record in Iceland and to apply for a reimbursement, you can head over to the official website for the program here.
There is also a Q&A packet available online that goes into further detail on some of the finer details of the program. You can view the packet here.
A Seattle nightclub is being investigated as a recent fire was declared suspicious.
Tragedy struck the Seattle club scene as a fire at Trinity Nightclub was found to be suspicious. Firefighters are investigating the incident to determine whether it was an accident or the club may have been targeted by arsonists.
The fire happened early in the morning on Monday. Thankfully, local news station Kiro 7 has reported that no one was inside the building during the fire and that it did not spread to other neighboring establishments.
The Seattle Fire Department gave the public a short update on some of the early findings from their investigation. "Fire mostly contained to void space of building and exterior," they said. "Crews searched the structure and there are no reported injuries. Fire investigators are investigating this as a possible suspicious fire."
When asked by a news outlet why the fire is considered suspicious they replied as such:
At the time of writing, neither Trinity Nightclub nor the Seattle Fire Department have shared any findings from their investigation.
H/T: Your EDMFOLLOW TRINITY NIGHTCLUB:
KAAZE returns to Revealed Recordings an album including collaborations with KSHMR, Maddix, Nino Lucarelli and more
Prolific Revealed Recordings resident DJ/producer KAAZE has had a highly successful 2019 thus far. From producing the official Dance Valley Festival Anthem “Intuition” featuring Anna Yvette to clocking in 9 million digital streams on his massive collaboration with Nino Lucarelli, “I Should Have Walked Away,” KAAZE has built up the perfect crescendo of momentum leading up to the release of his debut album, Dreamchild.
Known for his penchant for bringing in collaborators and unexpected musical influences, KAAZE enlisted house music heavyweight producers such as Maddix and KSHMR, as well as talented vocalists such as Elle Vee, Johnathon Mendelsohn, and KARRA, all while maintaining his signature, highly melodic and guitar-infused progressive sound that draws upon his '80s disco and glam rock roots.
Stepping outside the box and incorporating a wide variety of unique influences, KAAZE strives to bring his signature sound to life with this comprehensive and incredibly diverse body of work.
With dance floor smashers such as “California Gold” featuring KARRA and “Up In Smoke” featuring NEEN, KAAZE demonstrates beyond a doubt that he can wield uplifting synths, catchy melodies, and driving vocals to create a thumping club hit just begging for cannons and cryo.
On the other hand, records like “My Favorite Enemy” and “This Is Our Kingdom” offer listeners a more commercial, radio-friendly vibe that showcases KAAZE at his most deliberate – gently pulling back on the synths just enough to highlight the exquisite vocal performances of Nino and Elle Vee.
Bringing his sound straight to the festival main stage, tracks like “Poison Lips” with Jonathan Mendelsohn and KAAZE’s KSHMR collaboration “Devil Inside Me” boast up-front, powerful arrangements that tip a hat towards the harder, festival-ready hits for which Revealed Recordings label boss Hardwell is so well known.
Already boasting an excellent and accolade-studded catalogue, including the 2017 Miami ID of the Year “Triplet,” Dreamchild marks the latest massive milestone in the career of this veteran progressive pioneer. He bears the Revealed Recordings flag with style and panache, and we highly encourage you to take the plunge and give the album a fill listen.
Over 15 underground dance music DJs are flocking to Brooklyn for a 12-hour Halloween celebration.
One of New York’s leading dance music organizers, The Cityfox Experience, is hosting a twelve-hour celebration on October 26th called The Cityfox Halloween Festival.
The event is set to take over the prolific Avant Gardner complex, spanning five stages and a couple of chill-out lounges across two city blocks. Leading the lineup are underground dance music acts Lee Burridge, Bedouin, Monolink and Stimming. Not only that, but the Halloween extravaganza will feature Avant Gardner’s custom KVT sound system, 3D projection mapping, and of course, lasers and pyrotechnics.Cityfox Halloween Festival 2019 Lineup
The lineup is evenly split between DJ sets and live performances, both largely encompassing melodic house and techno.
All Day I Dream label head Lee Burridge leads the DJ pack. The English artist with decades of DJing under his belt is best known for his blissful style of melodic house music and revered for his ethereal sets at the infamous Burning Man gathering. Brooklyn duo Bedouin, founders of Ibiza’s epic SAGA events, are also on the bill. No.19 co-founder Art Department, deep house producer Behrouz, Germany’s DJ Hell, Atish, and a special back-to-back performance by Mathis Kaden and Santé round out the rest of the DJ roster.
Last week, in anticipation of the Cityfox Halloween festival, DJ Hell put out a special, nearly three-hour mix.View the original article to see embedded media.
Hamburg’s Stimming leads the live performance lineup, alongside guitarist/singer/songwriter Monolink. Also included are WHOMADEWHO - connoisseurs of a special blend of jazz, rock, classical and dance - in addition to Italian multi-instrumentalist composer Giorgia Angiuli as well as Gui Boratto, Dance Spirit, and Rodriguez Jr.
Last year’s inaugural Cityfox Halloween Festival sold out, and current ticket sales indicate this year’s edition is heading the same way, making for another epic Halloween dance music celebration.
Get tickets and further information about the Cityfox Halloween Festival here.Follow the Cityfox Experience
Once a techno producer, HEYZ is making waves with his freshly-minted, reimagined sound.
Techno fans may recognize this name for his highly-acclaimed debut EP, Schedule 1 on deadmau5’ record label mau5trap. HEYZ released two successful singles along with his debut EP, all within months of picking up a copy of Logic Pro X. Despite seeing rapid success, he daringly revamped his techno sound in August of this year. Following his passion for emotionally charged bass music, HEYZ reinvented his style to emphasize strong vocals and monstrous, gritty bass lines.
“Corruption” is a sonic illustration of HEYZ' determination to delve further into the world of impassioned, experimental bass music. Unafraid to take risks, the Durham, North Carolina producer combined cosmos-inspired soundscapes, gut-punching bass, and tech-infused sounds to result in a compact, heavy-hitting single.View the original article to see embedded media.
“At an EDM festival or show, it's always a special moment when a DJ plays a record that makes you turn to your friends and say ‘Oh my god, that was dirty,’” said HEYZ. “[That’s] exactly what I aimed to do with 'Corruption.'”
HEYZ' reworked sonic identity has seen massive support from industry goliaths like Marshmello, Zeds Dead and UKF Dubstep, as well as features in Spotify’s Bass Arcade and Apple Music’s Global Dance playlists. Each track coming from the skilled producer invites listeners on a melodic journey, interwoven with his deep-rooted passion for excellent songwriting.
Nearly a year since the original’s release, “Let It Bang” gets a cinematic remix from Montreal-based producer Draeden.
Keeping in the theme of otherworldly beings, Draeden (whose moniker was inspired by Dungeons & Dragons) joins 12th Planet on his sequel EP, Swamplex ExtraTerrestrial, for a monstrous remix of “Let It Bang.”
Coming up on almost a year since the release of 12th Planet’s successful 2018 EP, Swamplex Terrestrial, the five-track offering was due for a follow-up. Enter the Swamplex ExtraTerrestrial EP. The intergalactic six-track effort features earth-shattering, sci-fi-infused bass music from dubstep behemoth 12th Planet and 4 other featured artists. One track that especially captures the interstellar energy throughout the EP is Draeden’s remix of 12th Planet and MACTurnUp’s collaboration, “Let It Bang.”View the original article to see embedded media.
Despite having played and composed music for over 15 years, Draeden released his debut EP, Conquest, just earlier this year in July. With a deep-rooted passion for rock and metal, the Canadian producer has always found himself immersed in the heavier side of music. It wasn’t until 2011 when he discovered dance music and dubstep, and he was completely enthralled by what the scene has to offer. In the following years, Draeden decided to combine his love of video games, fictional worlds, and supercharged bass music.
With a distinct ability for sonification and otherworldly soundscapes, Draeden makes an apparent fit for 12 Planet’s Swamplex ExtraTerrestrial EP. His remix of “Let It Bang” transforms the original dubstep banger into a sinister hybrid bass track. Draeden masterfully pairs together haunting cathedral-like vocals and cinematic builds with rolling bass to create a unique and immersive track.
Swamplex ExtraTerrestrial also features tracks from Foreign Beggars’ Vulgatron, Monxx, and Oolacile. Fans can expect to hear cuts from the EP on 12th Planet’s Swamplex Tour. For all tour information, visit here.
Skrillex joined Bonobo onstage at Printworks for one of the most unexpected B2Bs in recent memory.
In one of the more unexpected dance music crossovers, Bonobo was joined onstage by Skrillex for a surprise back-to-back set over the weekend. The former was hosting his signature Outlier party, which saw him hand-select some of his favorite artists for a traditionally house and techno-focused event.
It all went down at Printworks in London on Saturday night. The Twitter account for the venue posted a short clip of Skrillex (real name Sonny Moore) playing his track "Midnight Hour" with Bonobo (real name Simon Green) in tow.
Considering Moore's history of delving into a diverse array of genres, this surprise appearance is right on brand with the bass pioneer's constantly evolving sound.
In a recent interview, Diplo revealed that 2020 might be the year we see the return of his and Moore's supergroup, Jack Ü. Although the former emo frontman has been quiet as of late, in the summer he promised fans some bangers coming soon in addition to a story that will unfold throughout this year and next.FOLLOW SKRILLEX:
Ultra Abu Dhabi will make its debut next year.
Ultra Music Festival's flagship event in Miami, Florida has been adapted to numerous countries around the world. Next year, the United Arab Emirates will be one of them. Ultra Abu Dhabi will inaugurate on March 5th and 6th, 2020, marking the event brand's Middle Eastern debut.
The event will precede a tour throughout India as part of Ultra Worldwide, the promotional powerhouse's global expansion brand. Shortly after that, the Miami event will make its celebrated return to Bayfront Park. The newly added gatherings slated to take place next year put the company on track to surpass World of Music, Arts and Dance, who currently hold the Guinness World Record for largest international music festival.
2019 has posed its fair share of setbacks for Ultra events Stateside and abroad. The flagship Miami festival was forced to take place in Virginia Key, in addition to obstacles faced by the organizers of Ultra Singapore and Ultra Mexico. Time will tell how the colossal event brand will pivot to get ahead of its growing pains.
At the time of writing, no headliners or venue information have been released for Ultra Abu Dhabi. Sign up for updates as they become available here.Follow Ultra Abu Dhabi:
The lineup for Okeechobee's first edition since Insomniac acquired the festival has been announced.
Back in August, Insomniac Founder and CEO Pasquale Rotella hinted at plans to throw another festival in Florida. It later came to light that he was talking about the company's newly acquired asset, Okeechobee Music & Arts Festival, for which the 2020 lineup has now come out.
EDM comprises the lion's share of the roster, with the likes of Bassnectar, Kaskade, Alison Wonderland and RÜFÜS DU SOL topping the bill. Bands like Vampire Weekend and Mumford & Sons are also well represented, with rappers like Machine Gun kelly thrown in for good measure.
Late last year, it came to light that Okeechobee would be forced to skip their 2019 edition. The organizers made it clear that they intended to bring it back next year, however. With Insomniac's help they appear to be making good on that promise, with a lineup that ought to entice many a music fan.
Okeechobee Music & Arts Festival will take place from March 5th-8th, 2020. For more information or to purchase tickets, visit the event website.FOLLOW OKEECHOBEE MUSIC & ARTS FESTIVAL:
The legendary DJ talked about his new track with MORTEN, taking a break from producing pop hits, and David Greta memes.
It's been just over a year since David Guetta's last full-length release, 7, but the French DJ and producer is already back with a completely new sound.
Created with Danish DJ MORTEN (real name Morten Breum), the style first debuted in August with their collaboration "Never Be Alone" featuring Aloe Blacc. Later that month, the pair then released an official remix of Avicii's "Heaven" using similar production arrangements.
"I'm not excited, but obsessed, with this new sound," Guetta told EDM.com over the phone. "We're doing something that is influenced by techno and a little bit dark, but at the same time has a huge sonic. It makes it almost like a rave that would be sexy, a rave that would be house. It’s hard to describe something that doesn’t really exist."
So how, exactly, does a DJ come up with something entirely fresh and new?
Guetta said it has to do with recreating older sounds, but producing them in a modern way. For "Never Be Alone," Breum first came to Guetta with sonics that were "really, really exciting," Guetta said, and then they worked together to bring the "It factor" to them. '90s rave artists including The Chemical Brothers and The Prodigy were huge influences, he added.
The resulting groove is vaguely reminiscent of trance and house, with a strong driving beat that develops into a high-energy drop. This sound has since grown into an arsenal of 10+ songs hidden away in Guetta's laptop awaiting release. Already on the calendar is "Make It To Heaven," due later this month.
Until then, though, he is testing new tracks in his club shows.
"When you play a record for the first time and people react more than when I play 'Titanium,' I’m like, 'Whoa, This is insane.' Something is happening there," Guetta said. "I'm just making beats and going to the club and playing them on the same day."
This is a recent experience for Guetta, who has been focusing primarily on pop music. He originally earned recognition for his ability to seamlessly blend powerhouse vocalists with electronic beats and production. Taking time to focus on this new project has been refreshing, he said.
"When I make this type of record it's so free. There are no rules. It can be three minutes long, eight minutes long. It can be whatever I want it to be," Guetta said.
While this story might sound similar to that of Jack Back, Guetta's progressive house project, he said the sound he's now working on is different. It appeals more to the masses than his niche tech house sound, making it inclusive enough to be released under his own name.
"It’s music that is kind of underground, but produced in a way that is so big that it can appeal to a festival dance floor," Guetta told us.
Is this a new David Guetta, then? Is the legendary hit-making producer a creative vision of the past?
Unsurprisingly, the answer is no. Guetta said his true love is making timeless music that can be played both electronically or on the piano. His label is "freaking out," he said, and so he'll have to go back to making radio hits soon (*sigh*). But at the same time, he added that in an ideal world he would be able to make beats that work in clubs and at festivals.
"I think I will always need both, because I love melodies, harmonies and beautiful songs. That's a really big part of me so I don't think I would let that go ever," he said. "But, I really want to focus on this project because it's so important to me."
"DJs are coming to me asking when they can have this sound, which hasn't happened to me for a while because I've been focusing on pop. It's really amazing to be in this position again," he saidView the original article to see embedded media.
Read our interview with David Guetta below for a better understanding of his new creative shift.
EDM.com: How would you describe this new sound?
David Guetta: What’s hot right now in underground music is a type of music that is not really working in terms of energy. When it comes to really big festivals I feel, personally, like it’s not really for a headliner DJ playing for 50,000 people. It’s just not meant for that. It's an option to be like, 'Oh I’m cool and playing this anyways,' or you can be like, 'I want to murder the dance floor,' and then play EDM or trap. That, to me, feels like a sound that’s four years old. I really feel like there’s this huge gap. I’ve been speaking to so many of my DJ friends, and we feel like we don’t know what to play right now. There’s not a sound that is at the same time cool and fresh and at the same time efficient in terms of energy. I really feel like this new sound I’m putting together with MORTEN is the answer to that. We’re doing something that is influenced by techno, and a little bit dark which is cool, but at the same time has a huge sonic. It makes it almost like a rave that would be sexy, a rave that would be house.
I’m curious how you discovered that this was the sound that would fill that gap that you were talking about.
What’s fun with this is it was actually just by playing it. It started with "Never Be Alone." First, I was playing the record before it even had a song on it, just playing it as a beat, and it was crazy. I started to open all my shows with that record, and the reaction was so massive that I was like, 'Okay, we have something.' Then what I did was this other record, our next one, called “Make it to Heaven.” In testing it people are reacting more than when I play "Titanium." That's insane. Something is happening there.
Now, I'm making beats and going to the club and playing them on the same day. DJs are coming to me asking, 'Can I have it? when can I have it?' This hasn’t happened for me for a while because I’ve been focusing on pop so much. It’s really amazing to be in this position again.
It's interesting that you decided to release "Never Be Alone" under your own name instead of your Jack Back alias. Can we expect more of this sound from your main project in the future?
Jack Back is more the underground sound, more meant for clubs,. I have a lot of requests for me to play as Jack Back at festivals, but I don’t want to do that because then, in a way, it’ll be like David Guetta. I want to give a good time to people, and if I find myself in front of 20,000 people and I’m going to play as Jack Back I still need to bring the energy. But with this project with Morten, because of the sonics and the production, it works for the masses. That’s why I’m releasing it as David Guetta. It’s doing music that is kind of underground but produced in a way that is so big that it can appeal to a festival dance floor.
What do you think is so important about a drop for it to appeal to a festival crowd as opposed to a club scene?
If I make tracks for the club I don’t really do a drop. It’s just more a like a continuous groove. You want to put people on almost like a clock - tick tock, tick tock - and for people to stay in that groove. It’s a little more hypnotic. With festivals it’s the other way around. It’s super important to use the dynamics, which is the difference between the lowest and highest sound levels. What creates the impact is the difference between a moment that’s very quiet and a moment that’s very loud. Not even talking yet about melody, chords and sounds, but just with this, you can go from almost nothing to a lot or you can go from a lot to almost nothing and people are going to scream. That creates energy. With this project with Morten, we’re still using that formula. It's kind of an EDM formula, but with ravey sounds.
How did you and Morten meet and start working together?
We’ve been friends for many years, and it’s funny because we were friends and not really talking about music. It was more based on friendship than on music. We tried a couple of times to make music but...finally he came with some sonics that I felt were really, really exciting. I was like, 'Okay, let me try something on this.' That’s how we started.
Is there anyone else picking up on this trend of music right now?
No one is doing this right now. I think this is why it’s so exciting and why DJs are asking for the records, because it doesn’t really exist. I have no doubt that a lot of DJs are going to do it very soon because it’s so obvious. When you play a record and they react like this, it’s like, 'Okay, that’s what it is, that’s what we need to do.'
Do you have any idea when those records are going to come out?
It’s not really planned right now. I have some records that have potential in terms of streaming but also songs. And then I have songs that are more battle weapons, that are purely DJ weapons, so I’m trying to think of how I’m going to release all this music. It’s better to be in the position of having the music and wondering how to release it than to be in the position of not knowing what to release.
What are DJ weapons? Could you explain that more to me?
I have, let’s say, 10 to 12 records. I even made some remixes of my classics with this new production formula. Some of those records have vocals that give them a bigger hit potential, but some of them are only instrumental and meant like DJ weapons: something a little more electronic that I could play more in Ibiza, for example. That’s what I would call DJ weapons: just hypnotic crazy records that make people go insane, but they’re not necessarily hits.
Is there one that you prefer to produce over the other?
If I’m really honest I love the timeless music. That’s why I love focusing on songs so much. I love that most of my records are strong records in an electronic version but you can also play them just on guitar or piano. This is, to me, probably what makes me most proud. But I’m also a DJ and sometimes just coming up with a production formula that is sonically new and exciting, that’s fun.
While you had vocals on the original "Never Be Alone" from Aloe Blacc, you also released an extended instrumental version that you had used to open your sets. What went into this decision? How did it change up the song?
Some DJs that are a little more underground, they don’t want to play songs. That’s why we make two versions. This sound that we’re doing can be played by mainstream DJs but can also be played by underground DJs. That’s what makes it so unique and exciting: for the same record, you can make a version with a song that can be played on the radio and you can make an instrumental version that works in the underground.
Is there anything else we can expect from you soon?
At some point I’m going to have to go back and make some pop records because my label is freaking out. I really want to focus on this project because it's so important to me, but I then at some point I need also to do what I’m famous for, which is making radio hits.
I also think it’s important for you to explore what you’re doing artistically as well, though. How does it feel to be working on something that feels fresh and monumental for electronic music?
It’s refreshing to me. I’ve been in that logic of commercial success for many years. It’s been amazing, like I said, to go back to the way I used to do it, making a beat in the afternoon and playing at night in the club and seeing the reaction musically. When I make this type of record it’s so free. There’s no rules, it can be three minutes, eight minutes, it can be whatever I want it to be.
Do you think there’s a chance you’ll ever leave the whole radio hit thing behind and pursue this version of David Guetta?
I think I will always need both because I love making timeless music and songs. I love melodies, harmonies, beautiful songs, and that’s really a big part of me. I don’t think I would let this go ever. But, at the same time, before everything else, I’m a DJ. I need to make records that I can play and that completely murder the dance floor. I love that.
Of course, in an ideal world, there are moments that you can do both at the same time. There were a few years when I was making records killing it on the dance floor and the festivals. I just find it difficult to do this right now because radio is not so much supporting dance music anymore.
One last question: I just have to ask you about these David Greta memes popping up. What do you think about them?
I just posted one, actually! It’s so fucking funny. It's just hilarious, just very funny. And people are loving it. I’m really loving it.
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This interview has been edited and condensed for clarity.
Martin Garrix expressed indifference and questioned the legitimacy of the DJ Mag Top 100 competition.
In a recent interview with the Dutch newspaper Het Parool, Martin Garrix revealed his thoughts on the upcoming DJ Mag Top 100 competition.
In a quote obtained and translated by Cultr, the EDM prodigy revealed his indifference to his ranking and questions the legitimacy of the competition due to unknown artists making the cut. In his own words:
“I really don’t care, the so-called world ranking. I don’t need a list to do what I like. I am at 1, yes. And Tiësto is very many places below me. That doesn’t make sense, does it? I started playing music through him. I am not a better DJ than him, maybe now I just have a bit more hype around me. By the way, there are also people in that list from whom I have never heard of, so I have my doubts about the creation.”
Seeing as the Dutch producer is the current title-holder, it's interesting to see how raw he got in the interview. He pays homage to Tiësto by noting that he does not believe himself to be a better DJ than him and that he shouldn't be ranked higher than the artist who inspired him to make music.
He also went on to explain how he will never participate in a voting campaign for the contest and even says that he would try to abolish the list. From the interview:
“In any case, I have never made a call to vote for me and I will never do so. Whether that list should be abolished? I can try, but it will continue. Particularly in Asia, great importance is attached to it. But the only thing that really matters is how many tickets you sell and whether you make people happy."
You can read Het Parool's entire interview with Martin Garrix here.
H/T: CultrFOLLOW MARTIN GARRIX:
"Pressure" by RL Grime was selected to soundtrack the Los Angeles Rams' new hype video.
The Los Angeles Rams have brought L.A. native RL Grime into the huddle for a new hype video in honor of their 2019-2020 season. Posted to the official Twitter account of the NFL team, the video tells fans to "bring the pressure," which is very appropriate considering the track chosen to soundtrack the video is RL Grime's (real name Henry Alfred Steinway) 2018 classic, "Pressure."
In the hype video, both visual and audio recordings of gameplay, locker room talks, announcers, and the roar of fans is interwoven throughout, giving the trap song a unique gridiron twist.
Fans of Steinway have begun to grow more and more restless with the arrival of his annual Halloween mix becoming increasingly imminent. With less than twenty days to go until the 31st, fans are speculating who the special guest will be and what tracks will make the cut.
"Pressure" by RL Grime was released on July 11th, 2018 as a single for his second studio album, Nova.
H/T: Dancing AstronautFOLLOW RL GRIME:
1788-L and Blanke debuted remixes of the League of Legends 2019 World Championship theme song while supporting Illenium at Red Rocks.
A fan in attendance captured footage of the two remixes and posted it to YouTube for all to see.
Blanke (real name JP Orchison) was originally scheduled to perform on Thursday, but extreme weather conditions forced Illenium to cancel what would have been the first of three performances. Luckily for fans of Orchison, 1788-L turned his set into a B2B with the displaced artist.
League of Legends and dance music share a long and storied history. Last year's World Championship (Worlds for short) was soundtracked by The Glitch Mob, while this year's theme, "Phoenix," was created by Cailin Russo and Chrissy Costanza as well as the game's developer Riot Games.
The developer has even gone as far as to include EDM artists in the actual gameplay. Bassnectar, Pretty Lights, Dada Life, and more have all been included in the game as a specific character can play the artists' music to teammates.
At the time of writing, there's no word on whether or not the 1788-L or Blanke remixes of the League of Legends Worlds 2019 theme will be officially released.
H/T: Your EDMFOLLOW BLANKE:
Rival has been an unstoppable force this year!
Exactly one month after his single “Gold” featuring Bryan Finlay, which marked an incredible pop/future bass effort, Rival is back with singer Micah Martin and longtime collaborator Cadmium for the banger “In Your Head.” The German producer (real name Valentin Rieff) has kept busy in 2019, as “In Your Head” marks his 10th original release. It's out via frequent collaborator label NCS.
Micah Martin’s impactful vocals dominate “In Your Head” right from the start. The single builds up with the help of smooth piano chords and strings, before collapsing into an epic break and buildup section that switches the sonic identity and fills the listener with anticipation. The drop is as powerful as we’ve come to expect from Rieff, filled with heavy bass lines, glitchy effects, and layers upon layers of synth chords. It’s an impressive endeavor, showcasing both expert songwriting and unique production.
Valentin Rieff has been releasing music as Rival since 2017, already displaying a unique and long catalog at the age of just 22. He’s released music in labels such as Strange Fruits, Tribal Trap and NCS, and based on his clear musical diversity and ambition so far, he definitely has a bright future ahead of him.Follow Rival
The Australian producers have been friends for years, but the track "One Thirty" is their first collaboration together.
In an EDM world where well known female DJs are few and far between, Anna Lunoe and Nina Las Vegas (real name Nina Elizabeth Agzarian) have grown into two badass producers with sizable followings. The two longtime friends have now paired up for their first collaboration.
Called "One Thirty," the resulting single was released on Mad Decent and NLV Records. It's a banging combination of Lunoe's eclectic house style and Agzarian's whimsical synth arrangement.View the original article to see embedded media.
The two producers have been friends for years, developing their sounds at the same time in Australia's dance scene. Each DJ hosts her own radio show on triple J and Beats 1 and has released an EP in the last year. "One Thirty" has been a long time coming.
“It only took 15 years of friendship and collab-ing in every other aspect of our life to finally build the courage to work on a song together," Agzarian said in a press release. "With so much shared between us already, it might have been the easiest day in the studio for each of us."FOLLOW ANNA LUNOE:
Zedd and his team confirmed the producer was banned after interacting with a South Park tweet.
After liking a tweet from South Park this week, Zedd claimed he had been banned from the People's Republic of China. The seemingly innocuous interaction which landed the "Clarity" producer in hot water had such a profound impact that fans were left skeptical.
In a follow-up statement on his own Instagram post, Zedd (real name Anton Zaslavski) clarified, "...this is NOT a joke. The government informed our promoters that if they don't cancel my scheduled shows in China, they would pull their cultural permits." CNBC has also verified the claim with Zedd's publicist.
South Park was recently been banned in China after the show's recent episode "Band In China" made light of American companies and Hollywood conforming to the demands of Chinese censors.
The political issue recently was spotlighted when Daryl Morey, general manager of the Houston Rockets, tweeted in support of Hong Kong's protestors. That tweet has since been deleted, but the fallout was acute. Houston Rockets merchandise has disappeared from Chinese storefronts and e-commerce retailers, Houston Rockets games will no longer be televised in China, and the team's former star Yao Ming - now President of the Chinese Basketball Association - has cut ties with the team.
At the time of writing, Zaslavski's music still reportedly remains available on Chinese streaming platforms, but that could change depending on the severity of his ban. It is unclear as to whether the implications of his online interaction have been fully realized.FOLLOW ZEDD:
12th Planet channels intergalactic influences on his new EP
12th Planet has channeled the energy of our alien overlords once again into a six-track EP offering, Swamplex Extra Terrestrial.
The Swamplex Radio host has recently surpassed the one year milestone for his bi-weekly mix show. Since its start the show has never fallen short on delivering the best in mind-bending bass. Around that time 12th Planet released his Swamplex Terrestrial EP, featuring Barely Alive and more. That installment now has a sequel.
Among the jam-packed, six-track offering are collaborations with Vulgatron (of Foreign Beggars fame) and an onomatopoeia-inspired collaboration with Monxx, "Ribbit." Even after twenty years of producing, 12th Planet is still exploring new avenues of sound design that have thus far gone unturned. Fans of Swamplex Radio may recognize the EP's final track already, a remix of 12th Planet's "Swamplex Terrestrial" by Oolacile.
Expect to hear cuts from Swamplex Extra Terrestrial and more on 12th Planet's Swamplex Tour. It has 12th Planet booked through the end of the year in the US and Canada.FOLLOW 12TH PLANET:
Jeffrey Sutorius has begun shaping the next chapter of Dash Berlin in his own image.
Dash Berlin's first release since Jeffrey Sutorius' return has arrived. A remix of Myon and Icon's "Cold Summer" sees the Dash Berlin project finding its footing at last after a tumultuous year - now with Sutorius once again at the helm.
Long-time Dash Berlin fans will likely be happy with the direction of the new remix. The project's big chords and pumping bass lines turn Myon's "Cold Summer" into a cathartic trance anthem. Since the announcement of Sutorius' solo return to the project, fans have been waiting months for this next step, a sign that Dash Berlin has found new stability.
In 2018, Sutorius split in dramatic fashion from Dash Berlin's producers, Sebastiaan Molijn and Eelke Kalberg. At the time of the split, the latter two members owned the rights to Dash Berlin, effectively sidelining Sutorius from using the moniker. However, in June of this year, the parties came together and forged a new statement. Sutorius was allowed to continue Dash Berlin on his own accord and in his own image. Sebastiaan Molijn and Eelke Kalberg have stepped down to pursue their own new music ventures.FOLLOW DASH BERLIN: