As Day For Night continued on to its second year with a new location, the abandoned property of the Postal Service hub which was the former Barbara Jordan Post Office building: a 16-acre venue in the heart of downtown Houston provided the perfect space in which led to the creation of a very unique ambiance.
In the pre-coverage piece, I touched on five of the electronic acts that weren’t the headliners to help guide our audience to some artists they might otherwise skip over. We are taste makers over here at EDMTunes after all. While we are music blog, I’m going to dig into the art installations first; just to set the tone off right as their compliment of each other made Day For Night one of the best events Houston has ever hosted.
“Day for Night” is a cinematographic term for “faking” a day scene into a night scene. Sound is the second part of the equation, but sound in it’s relationship to light in movement, to presence and to space. This dialog between our immense venue, sound, light and audience is driven, in all cases, by the mastery of one form or another of cutting edge technology, and this is where the festival really defines its turf.
Heading the art portion were Björk Digital, United Visual Artists and Nonotak. While not being able to attend the “immersive, five-room exhibition of digital and video works experienced in VR, including Black Lake, Björk’s groundbreaking immersive film commissioned by MoMA”, I was fortunate enough to witness one of her DJ sets. Back to this in a bit.
The United Visual Artists piece encompassed an entire wing of the postal hub. Musica Universalis is a “spatial instrument that investigates the idea of harmonic progression; the fundamental relationships that exist in every piece of music and can be seen writ large in the organisation of the universe.”
SHIRO + HIGHLINE are creations by Nonotak; the “artist duo from Paris working with light and sound to create ethereal and dreamlike environments.” Both encompass music but SHIRO is a live performance from the duo while HIGHLINE is group of mirrors, lights and ambient music couple with the right amount of bass tones to provide a calming environment on one wing of the second floor.
There were so many other exhibits to enjoy, but since the goal of this piece is to cover the sonic vibrations the musical artists bring, that’s where we head to next. Complete with four stages red, blue, green and yellow, the arrangement utilized the space very well: giving room when needed. This granted the art installations the flexibility and the setup of the musical arenas a great relationship to work off of.
The red stage, hosted most of the headliners besides Björk Digital, was one of three outside stages. The red one in particular was breathtaking; the stage having the Houston skyline plastered behind it. The green stage was constructed on the west side of the property with yellow taking place on the north side. Besides the mind blowing performance by Aphex Twin, where Björk reportedly immersed herself amongst the crowd, much more was going on around the bustling art and music experience.
Nick Murphy (Chet Faker) did his thing on the main stage, undoubtedly playing material from his evolved moniker along with some older jams as Chet. Tycho nestled inside on the blue stage, expressed soothing auras out of their precisely tuned guitars, bass and drum kit while keeping the energy up tempo enough for the audience’s engagement. Leading exquisitely into ODESZA whom had a conflicting time slot with the band from San Francisco, took off the last 40 minutes of their set; debuting three new tracks before the live Houston audience. Soulection piloted the festival to the tarmac on day one, performing for two and a half hours, as member after member of the Los Angeles music startup collective threw down their varied genre of beats and mixing styles until 2am.
And that was only Saturday.
Austin residents Night Drive drove home their modern synth-pop to the crowd over on the yellow stage while Squarepusher aired his interpretation of electronic music via multiple hardware units and a bundle of wires, all while wearing a fencing helmet. With a forest on stage, Björk DJed in a mask behind an array of potted plants while playing an eclectic selection of tunes only to be criticized by some members of the media for the way her music bounced around in her set.
Kaskade as usual, put on a stand up performance to a packed outdoor crowd, whom always crafts his set lists with edge and precision around his ever growing collection of productions. Arca’s interesting take on hip hop and electronic music, closed down the festival Sunday night.
Housing 15 art installations outside on the walls or in the dungy, Detroit or Berlin type of establishment; a space reminiscent of the techno warehouse scenes from the early 90s, the second year art and music project is part of a growing guild of event planners which are inadvertently building a prototype for what future festivals will be based around. While there always a few setbacks and unplanned for situations, overall, the sophomore edition of Day For Night was a huge success in helping to transform the nation’s 3rd largest city’s music scene into more than just a country music and stadium tour town.
After all, Houston has a vast amount to offer residents and patrons alike. Everyone knows about Houston’s culinary mastery in the dining sector as well as having the NASA MCC (Mission Control Center) located south of the city but everyone hears of Texas and with it not being Austin, completely dismiss every and all notions of making Houston a travel destination. Now, the underground music scene has finally started to take hold on the oil and gas dominated city.
http://deugenemusic.com/wp-content/uploads/2019/07/deugene-music-4.png00Adminhttp://deugenemusic.com/wp-content/uploads/2019/07/deugene-music-4.pngAdmin2016-12-31 13:12:222016-12-31 13:12:22Day For Night’s Second Edition Music + Art Curation is the Start of a New Rendition For Music Festivals
Yeah, I’m coining the term and this is the right time to do it. This dance music duo has taken the community by storm and catapulted into pop music in a way that basically no other EDM artist has (maybe Calvin Harris). In a way, their rise mirrors many trends in dance music in 2016. The best way to shed some light on this is to to look at the rebirth of SFX. In rebranding as LiveStyle, the new CEO said that festivals like Mysteryland would aim to become more like Coachella and grow out of the EDM-centric niche. So the brand that once represented EDM essentially signals that it is distancing itself from EDM to chase the broader pop audience. The Chainsmokers blew up because they stopped trying to be EDM DJs, swapping out lengthy musical journeys for a sing-alongs, TV performances, and celebrity swagger. We hear about how they want to date models, how they’re total bros, and and we wait with baited breath for their next single. They’ve achieved full on pop star status in a way most dance music DJs have only achieved in The Netherlands.
The DJ Mag Top 100 Awards are a good example of this. Even as recently as a few years back, the number 1 DJ was somebody you could guarantee was a “must see before you die” artist. This was because they were known to put on an unbelievable performance that transcended subgenres. Now, it has basically become a marketing/branding mechanism to shift the market to a new face and raise booking fees for everybody each year. Sure they’re fun but you probably don’t get a chill on the back of your neck if you see The Chainsmokers headlining a festival. The thing is, that’s no longer the point and if you care then they don’t expect you to be there anyway. The hotness in EDM right now is not about intensity, melodies, or even drops it’s about being as close to pop music and pop culture as possible.
As 2016 comes to a close, EDMTunes pauses to remember the great festivals we lost this year:
DJs Get Political
There are so many talented DJs or artists with huge branding these days that it’s tough to break through the clutter and grab those blog posts or viral moments. If you’re a middling DJ with a ho-hum perfoming style, 2016 offered one additional way to grab the headlines and turn a forgettable set into a festival defining moment. Inject politics by calling out Donald Trump, and suddenly your 10 second diatribe is being broadcasted everywhere and you get 10 blog posts about your 2pm festival slot.
There are some artists that engage in politics without being classless, and it’s obviously their right to do so. Despite the good intentions of some artists, the vast majority of fans continue to chant “keep politics out of this”. Sure music held a “fight the power” sentiment in the past, but dance music’s lack of vocals provides a unique musical experience everybody can interpret it however they want and still enjoy it together. That’s part of the appeal, and injecting an opinion as objective into it is not very PLUR. Whether its an artist or a blog, the fans react in much the same way when political jabs are in baked in. Look at what happened with young Aussie Throttle when he was convinced to lend his track to Hillary Clinton’s campaign, and he hardly had a personal opinion on the matter. This was a big political year, but at the end of it all don’t you respect the artists who stayed out of the fray? Could you reach a state of trance if Armin van Buuren told you he disagrees with your politics or that he despises somebody you support?
In 2016 EDM got somewhat close to getting a true fan, Marco Rubio, in the White House. Looking out at the political landscape of both parties, its safe to say he will remain the only EDM fan that exists on the political landscape for quite some time. As for the loudmouth artists looking for attention, we’re still waiting for all the promised moves back to Europe or tour cancellations, but to this point we have heard of none. Needless to say, we’re hopeful this trend dies in 2017 so we can get back to the music.
Everybody Produces Everything
If I told you I was about to play you a R3hab or Dimitri Vegas & Like Mike) track from 2014, you would instantly know it would be a hard hitting style track. How about if I told you I was going to put on a track from the same artist made in 2016? You’d have literally no idea what it would sound like (but it’ll probably be future house). Last year around this time Future House was beginning to feel a bit old, and now the scene has moved on to Bass House, Future Bass, and Techno sounds. Their story is emblematic of the entire scene now, as producers chase whatever is cool at the moment. Sure this has been going on for a while, but the trend was always towards one style of dance music. First it was electro, then anthem house, then big room, then future house. Now there doesn’t seem to be one universal consensus about the hot genre. The result is a large swath of artists trying to live in different musical worlds simultaneously. Nowhere is this more evident than a cursory review of weekly podcasts on iTunes. Podcasts that used to be filled with hard-hitting gym music now bounce around subgenres and lack any sense of coherence. In fact, you’ve already seen some artists completely rebrand their podcasts and shift towards a distinctive style like Deniz Koyu, Gareth Emery, and Dyro – this is a good thing!
Bass House seemed to be the next step in the evolution, but bass house seems to have been a one-trick pony like Melbourne Bounce or Tropical House. Those artists are drifting into Techno-style sounds or Dubstep now. The innovation seems to be occurring somewhere on that cutting edge. Pretty much every producer tries their hand at everything to see what sticks. One week a producer releases a future house track, then 2 weeks later they’re teasing a bass house track, then a future bass track, then a completely non-EDM style hip-hop track. The most common move these days is to release a toned down pop-centric mix to a track, and follow it up with a remix from the original producer which hews more closely to club music. A good example of this comes from Axwell tracks released this year, particularly “Belong” and “Dark River”. It’s gotten so bad that even individual tracks incorporate 2 or more styles to reach every niche. It’s hard to keep those bases covered these days.
You probably have a mental image of a list of producers that fit the bill on this, and it’s sad because many are destroying whatever respect you had for them before. On the other hand, it allows you to feel more respect towards the artists that stick to their guns even if the sound isn’t cutting edge anymore. Are we reaching a post-subgenre period? Let’s see what 2017 holds.
For the 10th Time, It’s Not Happening
You know how everybody lately keeps talking about “fake news”? These stories about Swedish House Mafia reuniting in 2017 are the perfect example of this. Some outlets absolutely reveled in writing a new SHM reunion post every other week, and many fans were duped every single time. These bloggers aren’t dumb, and they know the likelihood is minuscule. It’s partly that we all want it to be true even when reality tells us otherwise. It’s also partly that blogs want to be leading if it ends up being true.
The desperation has gotten so bad, a well-known EDM blog ran with the SHM reunion story merely because a festival included them in an artist preference survey. The latest round of the same rumor says they will play at Ultra, despite Axwell Ingrosso already being billed on the lineup. That means the only possibility of this being true (ignoring everything else) is if they pull a “surprise” a la Jack U in 2015. The fact is the icy relationship between Steve Angello and his former bandmates is quite obvious if you actually pay any attention. If you saw their documentary and you see the trajectories the 3 have taken, you should understand why this isn’t anywhere near close to real.
Daft Punk is a trickier topic for one weird reason. It’s going to be 2017 – and even the most cynical of Daft Punk fanboys penciled in 2017 for the long-awaited return of the robots to the stage. The evidence is clear: first, there was the Alive 1997 show and live album. Then in 2007, there was Alive 2007 and yet another paired live album. Daft Punk are deliberate above all else, so after years of failed expectations everybody was just waiting for them to pull the trigger in 2017. While it still might happen, there is literally 0 concrete evidence that it will.
Oh yeah – and Tiesto isn’t going back to join Ferry Corsten in Gouryella.
To best illustrate this point, here are a series of blog articles rehashing the same rumors over and over again (we are not immune unfortunately – business is business). The vast majority of these were from 2016.
BREAKING: PROXIMITY TEASES THE RETURN OF SWEDISH HOUSE MAFIA IN 2017
AXWELL HINTS AT SWEDISH HOUSE MAFIA REUNION IN NEW INTERVIEW
CONFLICTING REPORTS SUGGEST A 2017 SWEDISH HOUSE MAFIA REUNION COULD BE POSSIBLE
Clever Fake Reignites Swedish House Mafia Rumors
Swedish House Mafia’s Lunch Date in Los Angeles Raise Hopes For a Reunion
Daft Punk Tour Rumors Resurface Around Alive 2017 Website
Another Swedish House Mafia Reunion Rumor Shot Down
COULD FIREFLY FESTIVAL HAVE LET IT SLIP THAT SHM IS TOURING IN 2017?
DAFT PUNK’S RUMORED 2017 ALIVE TOUR, HERE’S WHAT WE KNOW
Multiple sources say Swedish House Mafia is reuniting in 2017; manager denies it
Rise of the New Supergroups
While you’re wondering if this time Swedish House Mafia might really get back together, there are worthy successors forming right under your nose. Swedish House Mafia began as 3 producers began spending more and more time collaborating together and eventually performing together. If you watch the scene, you’ll notice this is happening among several groups of DJs.
First and foremost you have Jack U, who burst onto the scene in 2014 and closed out Ultra Music Festival only a year later. Their rise spawned a huge rush in the industry to imitate their style. Then you have the Pardon My French crew consisting of Tchami,DJ Snake, Mercer, and Malaa. They tour together, they collab together, and they all fall under the same management. For now they continue on in their separate roles, but we have no idea who Malaa even is.
The closest you have to a potential new-age SHM comes from the so-call “Bass House Mafia”(don’t forget where you heard it first). This lingering super-trio consists of NGHTMRE and the Slander duo. They already collab and perform together all the time. The ingredients are there, all they need to do is make it official and we could have a new super trio.
DJs Need a Documentary (or Doc Series)
Last year the latest DJ requirement was a record label and/or a podcast. By this point, almost every single DJ has a record label and a podcast so how can they differentiate themselves now? The answer is a documentary of some kind. Now in order to be a top caliber DJ, it’s almost required that you have either a fully fledged documentary with a theatrical release or you have an ongoing YouTube documentary series (or both).
This trend started a few years back with Swedish House Mafia and then Hardwell, but in 2016 it really took off. Hardwell came back with a 2nd documentary, Martin Garrix had one, and Steve Aoki had one was that actually really good. For the lower key producers, there are YouTube series. Laidback Luke runs one of the most extensive vlog series, but there are also series from Headhunterz, Dannic,Martin Garrix, and Don Diablo. If you want to take things a step further, there are a number of DJs hosting their very own masterclasses, like deadmau5, Jason Ross, and Dyro. So to be a headliner level DJ in 2017 you’re expected to have a Facebook, Snapchat, Instagram, Livestreams, Soundcloud, Label, Podcast, and now a video series or a masterclass. Not exactly the lowest barrier to entry.
Hollywood Still Doesn’t Get Us
When the EDM boom was hitting its highest commercial point, everybody wanted to cash in on some sort of movie or TV idea to bring our culture to the movie screen. The first major foray in 2015, We Are Your Friends, was an epic fail financially. However, the industry wasn’t ready to give up in 2016. Netflix took its own crack at dance music culture with XOXO, which launched to heavy buzz but was ultimately even more vapid than We Are Your Friends. The problem is that Hollywood only understands the cliche aspects of our culture, which don’t show too well to the outside world. That’s why all of these movies center on a lowly bedroom DJ getting a big break, finding love, and encountering lots of drugs and neon along the way. All of these movies have some aspects that ring true for us, but only in the same sense as a meme on Instagram.
Hollywood tried again to harness our culture by finally giving us the EDM Awards Show we deserved. We all know how EDM is unfairly snubbed at The Grammys or other award shows, because only a tiny sliver of dance music is even nominated. Dance music has so many subgenres it could easily have its own awards show, and Fox was ready to make that happen. Sadly, the Electronic Music Awards show that was scheduled to air in April 2016 was “postponed” at the last second to Fall 2016. Needless to say, Fall came and went without a peep about the awards show. It might be another victim of the bubble bursting, or Hollywood might have realized they have no idea how to represent out scene on TV.
All About Streaming
This year was massive for technological changes in our scene, and most of it revolved around streaming in one way or another. Streaming was a common thread through most of the developments. Festivals and concerts tried to incorporate VR and 360 video streaming into their production with mixed results, but it will surely be improved over time. Besides those streams, Facebook live streams became another mandatory task for DJs. From festival sets to interviews to the weekly podcasts, Facebook streaming is everywhere. Now the platform is going to add audio streaming, which should have Soundcloud pretty worried.
Streaming music continued to reign supreme as torrents took their final kill shot with the end of the famed What.cd. SoundcloudGo launched to the dismay of pretty much everybody. We thought it would protect our DJ sets from takedowns, but we were wrong.
A different king of streaming also had a big year as Apple mandated Bluetooth streaming to wireless headphones with the iPhone 7. The AUX cord has officially been put on notice, but Android manufacturers that tried cutting the AUX cord have already released updated versions with the legacy plug returned.
Dream Collaborations Become Real
The coolest thing about dance music is that your greatest fantasies can really come true (no, we’re still not talking about Swedish House Mafia). Fans have been clamoring for legends Deadmau5 and Eric Prydz to collaborate forever, and we got a first attempt back in 2014. In 2016 the two put their heads together for a mindblowing collaborative show that graced Tomorrowland. Now in 2017 the collaboration will continue. Eric Prydz wasn’t the only heavily desired collaboration Deadmau5 worked on in 2016, because he also teamed up again with Kaskade for the follow up to “I Remember”. “Beneath With Me” was teased out forever, before it was unceremoniously released to the confusion of deadmau5. In any event, it turned out to be one of our favorite tracks of the year and we hope Joel and Eric produce a track soon too.
Of course the other dream collab that came true this year was Porter Robinson and Madeon’s Shelter team up. These two both started out producing intense complextro and both moved into much different live shows with similar visual themes. Fans have been begging for them to work together for years, and this year they gave us a track and an entire collaborative tour. Unfortunately “Shelter” is the only track we will get out of this collaboration, but it ended up as our Track of The Year.
*The opinions in this piece do not reflect those of EDMTunes as a whole*
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While 2016 may not have been the most stellar of years for most people, Harley Streten aka Flume has significantly blossomed this year. With the release of his immensely successful sophomore album Skin, it is safe to say that Flume was one of the highlights of this year. Of course, with great power comes great responsibility. Thankfully, now Streten can rest easy knowing that he has done well.
In a recent interview, he opened up about some of his album’s biggest collaborations. Check out an excerpt below.
Q: When your album comes out and does really well, is there a part of you that’s secretly relieved? Because the sophomore slump is always a possibility, right?
Flume: I don’t think it’s a secret, I’m massively relieved. I didn’t know how it was going to go. I was actually quite concerned, I didn’t know what the future was going to be like. I feel quite liberated now. I feel like I can do whatever I want. I feel a lot of freedom.
Q: How did the Vic Mensa collaboration come about?
Flume: It was in my hometown of Sydney. He was playing a festival, and I was a fan of what he was up to. I hit him up, and we go in the studio together, and he played some of his ideas he was working on and I played him some of my stuff. There was a particular idea of mine that I was working on that he was really excited about, and that became (“Skin” track) “Lose It.”
Q: It is important for you to actually be in the studio with the people you collaborate with? These days, that’s pretty rare.
Flume: It’s always nicer to connect and work on a song together, it feels more collaborative. But I also quite like doing something in my own space and sending it off, and someone changing it in a way I would never have thought. I kind of like working on my own a lot, but it feels more collaborative when you get in a studio and get to know the person you’re working with. I think that’s probably when the best stuff comes about.
Q: How did you get Beck to appear? He doesn’t do a lot.
Flume: I was in L.A., and we were looking for people to work with, and my manager knew Beck was someone I was into. One day I got a call from my manager and he was like, “Hey, do you want to go to Beck’s house today?” I caught an Uber to his house and I knocked on the door, and there he is, it’s Beck, welcoming me into his house. It was kind of surreal, to be honest. I was wearing pink board shorts and a backpack and a cap, and I realized I looked like some kind of kid, just walking into this legend’s house, but he was really down to earth. We basically just hung out in his studio space. I played him a bunch of ideas and he would walk around the house with a microphone, (he’d) walk into the kitchen just singing, and I’d record everything.
Q: When you have people like that on an album, who are big personalities, do you have to fight to make sure your own personality comes through?
Flume: For me, it’s not about the personality. For me it’s about the music. I think the music I make has a unique style, and that’s my brand. I actually try to keep my face off a lot of things, like album covers. I would never have my face on an album cover. For me, it’s all about the sonic identity.
DJ Snake & Yellow Claw – Ocho Cinco (Dirty Audio Remix)
Does your grandma like trap music? If not, play this one for her and she might change her tune! When DJ Snaketeamed up with Yellow Claw, we knew we were in trouble. The two trap powerhouses turned up and churned out a ridiculous hit “Ocho Cinco.” Add Dirty Audio to the mix and you’ll be lucky to not break anything within arm’s reach as you throw your hands up listening to this.
Dirty Audio is becoming a well-known name in trap music with his ridiculous remixes, original hits, and rather outstanding mixes on shows like Diplo & Friends. His songs hit hard and have the crowd going nuts when played live. His latest remix is no different and delivers exactly what we’ve come to love from the producer’s style and sound. Dirty Audio will have a busy 2017 with an Australian tour and some fire releases on Monstercat. Queue this one up in your post-dinner playlist to burn those calories off, because this one will get you moving!
DJ Snake & Yellow Claw – Ocho Cinco (Dirty Audio Remix)
Check out the entire remix pack below, which includes a whopping 27 tracks from the likes of Henry Fong, Kayzo, Herobust, Autoerotique, SAYMYNAME and more.
Electric For Life headliner Gareth Emery just released a brand new mix ahead of his New Year’s Eve event in Brooklyn, New York this upcoming Saturday. The event will go down at an undisclosed warehouse location taking things back to a proper trance event setting. Emery will be joined by trance acts alike such as Christina Novelli, Dan Stone, Standerwick, and Will Atkinson.
Listen to Gareth’s new mix below which include some of his favorite tracks of the year. Some of which you are bound to hear at Electric For Life in Brooklyn. Make sure to get tickets here: bit.ly/GARETHBIGWEEK.
1. CHVRCHES feat. Hayley Williams – Bury It (Gareth Emery Remix)
2. Gareth Emery – Sansa
3. Gareth Emery feat. Janet Devlin – Lost
4. Alex Sonata feat. Katrine Stenbekk – See What I See
5. Gareth Emery feat. Gavrielle – Far From Home (Vigel Remix)
6. Ashley Wallbridge – Amnesia
7. Christina Novelli – Where We Began (MaHi Remix)
8. Ed Sheeran vs. Alex Sonata – Bloodstream Siren (Gareth Emery Edit)
9. Project 46 feat. Haliene – Search & Rescue (Gareth Emery Remix)
10. Lanos – Ultima
11. Ferry Corsten feat. Aruna – Live Forever (Gareth Emery Remix)
12. Ashley Wallbridge feat. Karra – Melody (DJ Tostie Remix)
13. Luke Bond vs. CARTEL – Once More (Dan Stone Remix)
14. Gareth Emery feat. Wayward Daughter – Reckless (Standerwick Remix)
15. Will Atkinson – Pat Butcher
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After an eventful tug-of-war with Disney over his iconic mau5 head, deadmau5 has become quite versed in the ways of copyright and trademark protection. So in 2015, when Zimmerman tried to file a trademark to protect the name of his beloved cat only to find out the intellectual property of “Meowingtons” had already been taken, he was far from pleased.
The “Meowingtons” name was officially filed as a trademark in 2014 by Emma Bassiri for her website www.meowingtons.com which sells feline-themed apparel and accessories, but deadmau5 is now petitioning the United States Patent and Trademark Office to revoke Bassiri’s trademark on the basis of first use, as he’s been using the name since he adopted Meowingtons back in 2010. Additionally, deadmau5 says that the website has created excessive confusion between the real Meowingtons and Bassiri’s unaffiliated products, and the company’s poor reviews are tarnishing the real Meowingtons name.
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2016 was a huge year for electronic music, not only for mainstream crossover artists, but for lots of headline artists across genres. For artists like Blasterjaxx, finding ways to stay fresh and relevant can be a major challenge once a certain sound has been established and industry trends start to shift over the years. I got the chance to talk with Thom about things he and his partner-in-crime, Idir, learned in the hectic year that passed. For the guys of Blasterjaxx they found joy in going back to the sounds that they originally made with an eye and an ear open for those hardcore fans. Here’s what Thom had to say.
Hey Thom, 2016 has been a pretty crazy year. Tell me about some of the highlights and lessons of 2016.
“Let’s start with the highlights, definitely our own label, Maxximize Records. We never expected when we started the label, at the end of last year, that we would have more than 20 releases on the label in the first year. All the tracks are really powerful and the quality is really good. Some bigger guys are jumping on board like Dannic and DBSTF to release on our label, it’s going really, really well.”
“You can tell there’s still a lot of hunger for those big room sounds, and there are not so many labels that can deliver those kind of tunes, since everybody’s jumping on future bass and deep house and whatever. There’s still a lot of people out there wanting to hear those big room kind of sounds, so that’s pretty good for us.”
“We took kind of a new direction and that’s also the thing we’ve learned about this year. For a while we felt like we needed to change our sound and evolve with the whole flow of the industry, and we were kind of stuck. Creative wise, it really hit us, we were sitting in the studio, we had no clue, or any creativity, no clue who to take an example from. So at a certain point we were like, fuck that shit. For real, we looked back on what we did back in the days, what’s the kind of stuff that people really want to hear from us.”
“We were looking for unreleased stuff from ourselves that people put on YouTube, to see how the comments were to see how the like/dislike ratio was and through that we kind of brought back the joy in the studio and the motivation for ourselves to get back our actual core sound, which we did. So right now we’re more happy than ever in the studio, we are back in that flow, we feel that kind of creativity that we really had in the beginning, what was the essence and whole thing behind Blasterjaxx. Our new track ‘No Sleep’ is a perfect example of that creativity and that kind of boost.”
You’ve got a new Blasterjaxx single and a remix for The Chainsmokers coming out before the new year, tell me about some of the new releases and what else you’ll be working on next year?
“Next year we’ve got something really big scheduled that will drop around March, I can’t spoil anything yet. In February we’ve got a new single, it’s a follow-up of “Ghost in the Machine” with Jonathan Mendelsohn. It’s like a harder Blasterjaxx sound, again we’re really trying to satisfy our own fan base, all the people who were commenting over the last two years, please bring back that old sound.”
“For the Chainsmokers remix I approached the guys and was like, yo, are you guys looking for like a festival mix or a club version of this tune? So they sent over the stems and we started the remix.”
“We’re going to do a lot of old school rave sounds, which brought us this far into the scene, plus we’re going to do some stuff that we really like to do ourselves, for example, we’ve got a track, it’s not completely finished yet, but it’s reggaeton. People might be like, “what the hell?” but we like reggaeton, we liked making the tune, we found some really dope Spanish people to sing on it. So no genres, we’re going to deliver stuff that we like, deliver stuff that the fans like, we’ve finished a lot of music that we made for our DJ sets over the last years, but on the internet, it got like it’s own kind of life, some of them had over 100,000 views and we never released them. So right now we finished them and we’re going to release them.”
There have also been a ton of Maxximize releases this year as well, tell me what it’s been like running the label and giving other artists the opportunity to share their music?
“It’s great. I think for us it already started when launched Maxximize On Air. We already receive so many demos, we were able to give them a spotlight on the radio show, but now we can give them an even bigger platform and spotlight to show to the world. We receive so much cool music, and we can showcase some talents that otherwise Spinnin’ or some other labels would never really pay attention to those names. For us it’s really important, we think that those newer and younger guys they bring that fresh new sound into the scene that’s really important nowadays.”
Any plans for an international tour for Blasterjaxx or any other Maxximize parties (like Governor’s Island) in 2017?
“Yeah, the Maxximize parties, I really hope so. That’s out of our hands, our management is working on that, but I hope we can redo those parties for sure. A world tour…our whole life and career is a tour, but I hope we can schedule more bigger festivals and stay in the same line we’ve done over the last years.”
At this point I mentioned that I hadn’t seen the Maxximize on Air podcast on Soundcloud and Thom told me that Blasterjaxx were among the many artists who have received strikes on Soundcloud. Thom shared with me his thoughts on how flagging mixes can be bad for artist creativity.
“That’s the thing about Soundcloud, for a while, Soundcloud had a lot of issues with copyrights. So they took everything down, we got strikes and everything, so after three strikes, they’ll delete your account, they’re really tricky. So just a few days ago they launched a new rule that allows you to bring back mixes, but we haven’t uploaded the new episodes yet.”
“We’re talking shit about soundcloud on twitter with the big guys but imagine for all the little guys, nowadays no one’s making any bootlegs anymore or original versions of other tracks because they’ll be taken down. I think that’s a really bad development for the scene because for ourselves, our bootlegs in the beginning is how we got known to a bigger audience and bigger DJs. If all the DJs right now can only make themselves known by making new music, they’re going to copy each other. People won’t have that fresh breeze through the scene, I think the whole copyright thing is really bad for the creativity in the scene right now.”
Any dream collaborations or a more mainstream artist you desire to work with in 2017, like Justin Bieber or Ellie Goulding?
“If Justin Bieber will call us after this and he’s like yo let’s go to the studio, eh, that’s not how it works. If we get the chance, we’ll definitely do that, but some of those chances you can’t create them yourselves. You can try, but we’re not Skrillex or Diplo. About dream collabs, not really, we’re just doing music we like to make right now instead of focusing on getting bigger guys on board. We’ve tried a couple but over the whole process stuff happens. Also if you’re working with a big artist from a different industry or scene, they’ve got their own regulations and own management so it’s not easy to do that.”
“For all the fans that have been commenting that our sound hasn’t been as powerful over the last year; wait for it, just wait for it..”
2017 should prove to be a huge year for Blasterjaxx as they continue to explore new sounds and music trends continue to change. Check out the video for Blasterjaxx new single “No Sleep” below.
http://deugenemusic.com/wp-content/uploads/2019/07/deugene-music-4.png00Adminhttp://deugenemusic.com/wp-content/uploads/2019/07/deugene-music-4.pngAdmin2016-12-31 03:02:042016-12-31 03:02:04Blasterjaxx Talk New Music and Going Back to Their Roots [Interview]
http://deugenemusic.com/wp-content/uploads/2019/07/deugene-music-4.png00Adminhttp://deugenemusic.com/wp-content/uploads/2019/07/deugene-music-4.pngAdmin2016-12-31 03:01:572016-12-31 03:01:57Axwell Λ Ingrosso Posted Their Set From ADE 2016, Available For 48 Hours
DJ Snake and Yellow Claw have gone beyond excessive and entered the realm of epic for the official Ocho Cinco remix pack which is officially out today. With twenty seven remixes, this is definitely one of the most expansive remix packs we’ve seen in EDM and definitely one of the most lit.
To be honest, pretty much every remix in the pack absolutely nails it. Combining their own sounds with the incomparable “Ocho Cinco” produces a pretty consistently good track, though some definitely stand out more than others.
Check out remixes from Herobust, Kayzo, SAYMYNAME, Kandy, Barely Alive, Henry Fong, Bad Royale and more below!
http://deugenemusic.com/wp-content/uploads/2019/07/deugene-music-4.png00Adminhttp://deugenemusic.com/wp-content/uploads/2019/07/deugene-music-4.pngAdmin2016-12-31 03:01:492016-12-31 03:01:49DJ Snake’s Massive Ocho Cinco Remix Pack Is Out Today
By definition a mandala is an ornate, geometric and decorative figure that symbolizes the universe. Many of us have experienced the euphoria that comes with dance music as we feel like a part of something bigger or even something smaller; our own personal universe. Well, now KSHMR & Marnik have teamed up to bring us their latest collaboration titled, “Mandala” and it will definitely have you ready to dance.
The track has a huge sound and is a perfect fit as the official anthem of Sunburn Festival, which kicks off its 10th anniversary this week in Pune, India on December 28th. As you listen, you’ll definitely hear the cultural influences the producers used to make this single. And let’s hope this track can carry its weight as Sunburn Festival struggles with one of its headliners, Krewella, being denied visas into the country to perform. The bottom line is this track is a banger and if you’re not going to hear it live this week at Sunburn, you can at least stream or download it right to your own personal playlist. Enjoy!
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