Fresh off his headline-grabbing collaboration with surveillance whistleblower Edward Snowden, electronic music legend Jean-Michel Jarre is opening his doors to new collaborators through a Beatport Play remix contest that went live today. Interested producers can remix the track “The Heart […] The post Remix Jean-Michel Jarre on Beatport Play appeared … Continue reading
This week, we pushed an update to the Beatport Store to give track titles in the grid layout more space to live. Nobody likes to see the title of a track cut short unnecessarily. While doing so is an unfortunate […] The post More Space for Track Titles appeared first … Continue reading
This past Friday, April 1, we conducted a milestone livestream that was clearly no joke at the iconic Watergate club in Berlin. Watergate typically prohibits photos and video from being taken from inside the club. So it was a real […] The post Live From Berlin’s Watergate Club appeared first … Continue reading
Beatport Sounds to Replace Sounds/To/Sample
When Sounds/To/Sample first launched, the goal was to reinvent how producers, DJs, and other music creators could discover and acquire the sounds, loops, and samples they needed to pursue their creative expression.
We’ve been honored to serve this wonderful creative community since then. But it’s time for a change. The Sounds/To/Sample site is beginning to show its age, and the digital landscape around us has evolved dramatically. We feel the best way to continue serving the loyal customers who have supported us over the years is to migrate the store over to Beatport Sounds.
Sounds/To/Sample will remain operational through the end of the year. On Jan. 1, 2016, all traffic to the site will automatically redirect to Beatport Sounds. But we encourage all our customers to make the switch to Beatport Sounds on their own before then.
Other than a new url (sounds.beatport.com) and a new look/feel, we expect a smooth transition. The catalog is almost exactly the same, and the prices are identical. What’s more, Sounds users will also have access to the Beatport store to buy tracks, releases, and STEMS, all from the same cart and user account. Additionally, Beatport Sounds will benefit from the full weight of the Beatport developer and technical support teams, as well as marketing, label relations, and much more.
We know this will take some getting used to, but we view this not as an end, but rather a beginning. Our support team is here to help address any questions or concerns at firstname.lastname@example.org. But the best way to get started is to just jump in—go to sounds.beatport.com now and start using the platform.
It’s been quite an eventful year here at Beatport. We launched a streaming music service and mobile app this spring, expanded our livestreaming video and VOD capabilities, and added a robust calendar of upcoming shows, among other updates. After nearly […] The post New Menu, New Navigation, Same Beatport appeared … Continue reading
Today, we are rolling out a new initiative to the diverse community of fans, DJs, and labels that have come to call Beatport home—playlists. Until recently, the only playlists on Beatport were built by a staff of experts who live and […] The post Introducing Playlists appeared first on Beatport Blog. … Continue reading
Miami’s nightlife is set to take a hit before the year is out, as two of the city’s venues plan to shutter their doors in the near future.
As reported this week by Miami New Times, management behind Mansion and Grand Central have confirmed that their establishments are closing; though the former originally planned to shut down this weekend, further updates indicate that the date has been pushed back “a few weeks, with a final closing date still undetermined.” Grand Central closes on September 26.
Both venues were seen as staples in the city’s nightlife. Grand Central, which opened during Miami Music Week in 2010, hosted a genre-spanning variety of artists over its five-year run such as Diplo, Dillon Francis, Peaches, Danny Brown, Tiefschwarz and Schoolboy Q; plus MMW parties for Fool’s Gold and HARD. According to MNT, a specific reason for its closure is not stated, but the imminent construction of the Miami Worldcenter might be a factor.
The shutdown of 11-year veteran Mansion, however, comes less as a surprise to nightlife locals. Miami.com reports that the club’s original owners left earlier this year, and its management group, Icon Hospitality, is currently in the midst of a $5-million lawsuit after security for former sister club Cameo attacked a patron. “Mansion has been going downhill for a long time,” an anonymous source told the outlet.
Despite the closures, there’s still a silver lining. Miami.com also reports that the new owners of Mansion are planning to reopen the space under a new name, and are reportedly in the process of acquiring multiple nightlife spaces around town.
[Article photo by SoBe Politics]
Porter Robinson made a powerful statement with his full-length debut, Worlds, and just over a year after its release, he’s bringing it back in a new way with a remix album.
Announcement of the project comes straight from the North Carolina producer himself via Twitter. He’s enlisted a diverse crew of artists such as Mat Zo, Odesza, Sleepy Tom, Galimatias, Chrome Sparks and San Holo to reinterpret album tracks and fan favorites such as “Flicker,” “Sea Of Voices,” “Lionhearted,” “Sad Machine” and more.
Zo’s “Flicker” remix first came to light earlier this summer when Robinson played it during his set at Monstercat’s label showcase in Toronto. The album is due out on October 10.
It’s the latest of Robinson’s many endeavors so far this year. Currently, he’s in the midst of a massive international Worlds tour that’s taken his live show to Australia, Japan Europe and North America; clocking in major appearances at HARD Summer, Outside Lands, Moonrise and Mysteryland Netherlands, and others still to come in North Coast, TBD Festival and TomorrowWorld.
Despite the hectic schedule, he’s still found time to collaborate with Japanese streetwear brand galaxxxy on a Worlds clothing line (which promptly sold out upon its unveiling).
View the tracklist and art for Porter Robinson’s Worlds remix album below.
[Photo via Porter Robinson’s Facebook]
After being discontinued for five years, the Technics turntable is back.
“We are sure that retailers and consumers will understand that our product range has to reflect the accelerating transformation of the entire audio market from analogue to digital,” parent company Panasonic explained, when they discontinued the SL-1200 back in 2010.
Now, they’ve changed their tune, announcing that Technics will return with a new turntable at its annual IFA press conference in Berlin recently. “Turntables are a very iconic product for the Technics brand,” Technics director Michiko Ogawa told Wired, who broke the story. “It is important to show our sincere dedication [to that]. The turntable market is very small, but it is a very important brand product.”
The updated model will differ from the classic SL-1200 body that we are used to, however. The as-yet-unnamed turntable boasts an aluminum redesign that appears geared towards audiophiles, for whom the market is indeed “very small,” more so than DJs, for whom the market would presumably be wider (albeit less willing to spend $100k on a turntable), given Technics’ iconic status. In fact, the new turntable doesn’t even appear to have a tone arm. Check out the specs here, if you speak audiophile.
There are no further details on the product’s price or availability, but it appears that the turntable is not alone, as Ogawa also announced several other new Technics products, including a high-end HiFi network amp, a ‘Premium Class’ all-in-one Hi-Fi speaker system and premium stereo headphones with 100Hz-capable sound quality.
Panasonic initially relaunched Technics back in 2014 with a pair of high-end (in the $20K range) audio systems, so the new direction is not completely out of the blue. Can’t wait to see the audiophile outrage when Craze does his first routine.
In news we should’ve seen coming, Kawaii enthusiast and all-around sharp dresser Porter Robinson has collaborated on a new clothing line. The vibe? You guessed it: streetwear straight out of Harajuku, Tokyo’s hub for weird and wonderful fashion.
The project sees Porter getting together with his “absolute favorite Japanese streetwear brand” galaxxxy to create a unisex hat, hoodie and long tee bearing the distinctive Worlds design. It’s a “super-limited run” so expect super-comitted fans to be rushing this store link right about now.
Meanwhile, the Worlds album recently hit its one-year anniversary, and the producer has been on a seemingly non-stop tour. This summer alone, he took the Worlds live show to Australia, Japan (aka, his happy place) and Europe, with North American festival dates at HARD Summer, Outside Lands and Moonrise. Following a main stage slot at Mysteryland in The Netherlands this weekend, the roadshow carries on to the likes of North Coast, TBD Festival and TomorrowWorld in September. Pay special attention to what the star of the show is wearing.
After a purportedly leaked version of HARD’s forthcoming Day Of The Dead festival popped up online, organizers have gone and revealed the real deal.
As one can see by comparing the two versions (official one below), they actually stack up quite well. Despite Zhu already stating that he wouldn’t be there, the two have ample crossover in artists such as Deadmau5, Skrillex, Claptone, Nero, Flying Lotus, Gesaffelstein, Future, Method Man and Redman, Jets, Hot Natured, Groove Armada and Luciano. Also included on the bill are Club Cheval, A$AP Ferg, Jackmaster, Pete Tong, George FitzGerald, Juicy J, Valentino Khan, Oneman, My Nu Leng, Felix Da Housecat and plenty more.
Following the deaths of two women at HARD Summer earlier this month, fans wondered if Day Of The Dead would be going on at all, as LA County Supervisor Hilda Solis called for a ban on all electronic music festivals until officials could recommend safety improvements.
As reported yesterday, the weekender (held over Halloween weekend on October 31 and November 1) is still happening at the Pomona Fairplex, but it will be vastly different from last year’s. As per a compromise between officials and HARD owner Live Nation, the daily attendance will be reduced by nearly 40% from 65,000 patrons to 40,000, in addition to shorter overall hours and a raising of the minimum age for festivalgoers from 18 to 21.
Other mandated changes include more cooling stations, more free water, more security and more medical services. HARD will also comply with the request to distribute information “warning of the dangers of party drugs like Ecstasy.”
View the HARD Day Of The Dead 2015 lineup below and head to the main website for tickets.
[Photo by Rukes]
While many FYF-ers were lounging about in the grass or claiming front and center position at the main stage, a herd of electronic music fans huddled anxiously in the shade outside the Los Angeles Sports Arena. Inside, Kaytranada was commanding a full house – full enough, in fact, to hit capacity, leaving a line of security guards to be the bearers of bad news.
The scene outside the Arena was indicative of electronic music’s growing presence at the festival, which has come a long way from its roots as a small DIY event showcasing punk rock acts. Over the years, it’s grown both in size and clout by curating trendier, more diverse lineups that liken it to a smaller, inner-city Coachella–just with skyscrapers standing in for mountains.
This year’s festival, held at Exposition Park, was its biggest yet, and in ways that organizers couldn’t have initially anticipated. After headliner Frank Ocean bailed just days beforehand, they replaced him with Kanye West, who blew up social media by bringing out Rihanna and Travis Scott during his set. Meanwhile, Flume–the only electronic producer to play the main stage–instantly proved worth the hype when he invited Miike Snow’s Andrew Wyatt onstage for “Some Minds.” Then, to top it off, Lorde made a cameo that not even he saw coming.
Further validation of this groundswell could be heard across the festival’s other four stages, including a brand-new area booked exclusively for DJs. Though two of its biggest draws, Joy Orbison and Ben UFO, pulled out due to visa issues, replacements Flying Lotus and Bonobo, plus Dixon, Nicolas Jaar, DJ Harvey, Leon Vynehall and Shlohmo, kept the card strong. Here are seven sets from FYF 2015 that prove the genre’s right at home.
[Article photo by Jose Negrete for FYF Fest]
On day one, the London-based collective broke in FYF’s new fifth stage, The Woods, which was the smallest of the lot and also the barest in regard to stage production. Despite its size, it wasn’t hard to find, thanks to its central location in the park and the glittering waves of multi-colored streamers swaying with the breeze above its dancefloor.
While the other stages were about showcasing forward-thinking artists and music, the four horsemen threw back to the golden days of groove with jovial disco cuts that thrived in the open air. The all-ages crowd skewed somewhat young as dancers got down to tunes from their parents’ heyday; still, a mix that built from Dimitri From Paris’ remix of Diana Ross’ “The Boss” into Donna Summer’s “I Feel Love” inspired an impromptu Soul Train line that made for one of the festival’s heart-warming moments.
Meanwhile, The Trees stage nearby boasted a new half-dome setup nestled among, well, the trees. For Josh Legg, the production brain behind Goldroom, the occasion was a special one on multiple fronts: he was performing across the street from his alma mater, USC, and it was the first time he was performing with his now six-piece live band.
The timing of Goldroom’s sunset stint couldn’t have been more appropriate. It had the warmth and laid-back air of a breezy summer day as their nu-disco, tropical-tinged sounds and sugarcoated vocals transported the slow-grooving crowd out of the Expo Park and onto the beach. The seamless transitions between songs made for a well-balanced hybrid of live performance and DJ sensibility, though mid-set, Legg took a page out of Win Butler’s book, telling the crowd, “Thank you for being down to hear real instruments and shit.”
Though Shlohmo immediately followed Goldroom on The Trees stage, the atmosphere for his set did away with the feelgood vibes. By the time the Wedidit staple hit the stage, night had fallen, and fog machines and pulsing lights against the darkness turned the half-dome into an ominous, pseudo-UFO landing.
Much of the crowd seemed like they were pulled in by sheer curiosity, but Shlohmo’s focused performance gave them reason to stay. With the help of a live band, he drilled through the audience with heavy bass and harsh sounds bordering on industrial–hey, X-Files is coming back, right? If they’re looking for a music scorer, this just might be the guy for the job.
FYF’s increasing popularity proved both blessing and curse last year, as the electronic lineup–housed mostly in the Sports Arena–drew a crowd that overwhelmed the enclosed space, leaving many waiting outside in the heat. This year, organizers opened up part of the seated section, which helped greatly for the most part: the only time the Arena hit capacity was during Kaytranada’s set. Once his set ended, his legion of fans left with him, leaving the stage wide open for the LA festival debut of Jon Hopkins.
Fans of the UK mastermind have been anticipating his return to Southern California since his impressive Coachella debut back in April. Though he was performing another live set, the addition of trippy, intricate custom visuals put the show on a new plane, though technical difficulties unfortunately marred an otherwise awe-inspiring performance.
The majority of his set was heavy on intensity, building momentum with a combination of dark, organic and atmospheric beats fit to soundtrack a meteor hurtling toward Earth. “Open Eye Signal” got the biggest reaction, being his most recognized recent work of late; but 2009’s “Light Through the Veins,” coupled with mosaic-like visuals, was a true highlight.
The Woods’ dancefloor was noticeably more crowded on the second day, starting off with festival newcomer Leon Vynehall, who was a late yet entirely welcome addition to the lineup. Whether it was due to the sweltering heat or simply to Day Two exhaustion, there was a lot of dancing-while-sitting beneath the shady edges of the dancefloor.
Regardless, the Brighton-based jock kept up the previous feel-good vibes of Horse Meat Disco with two hours of smooth and soulful boogie, funk and deep house. One track that went over particularly well was Osunlade’s transcendental “I’m Happy,” whose pseudo-chorus the crowd took to heart as they bounced across the dancefloor with smiles all around.
Next up at The Woods was DJ Harvey, who’s been to the FYF rodeo a few times. While he was well deserving of his coveted closing slot last year in the darkened Arena, the Sarcastic Disco don’s music felt better suited for the open air.
He started mid-afternoon, just as a cool breeze began to set in, and he kept the crowd at a relaxed groove, building to more sweat-inducing cuts that even caught the attention of Dixon, who briefly stepped into the crowd–shades on and popsicle in hand–before disappearing backstage. A pair of fan-wielding, moss- and flower-covered voguers added some whimsy.
Of course, it wouldn’t be a music festival without someone getting weird: while it’s usually the artists who do the stage-diving, this time it was an audience member who catapulted himself into the DJ booth before being escorted away. Harvey, like the pro he is, didn’t blink an eye. In the words of the Instagram user who caught it on camera, “Don’t drink and dive, kids.”
After a solo appearance back in 2012 and a legendary performance last year as half of Darkside, Nicolas Jaar returned to FYF for a spell that many were quick and confident in declaring it one of the best electronic shows they’d ever seen.
Jaar’s set was the most-attended after Kaytranada; the Arena floor filled to about three-quarters of the way, and nearly all the upper-section seats were taken. Those in the latter, perhaps, opted to view the spectacle like a film–and that was very much what it was like at first. With darkness swallowing the space, save for a dim light on an American flag, the 20 minute-long intro – a cinematic crashing of spoken word against harsh atmospherics – had some disconcerted walk-ins heading straight back towards the exit. The devotees who stuck it out, however, were immensely rewarded for their patience.
Backed by pulsing lights, rotating sheets of lasers and blankets of thick fog, Nico thundered through the set with mesmerizing techno that hit so hard, it rattled the arena well up into the furthest seated section; and the heaving masses approached collective insanity with each swell. By the time it was over, the rumbling drones of Jaar’s last winding moments were almost drowned out by the massive roar of appreciation from the dancefloor.
Former Obama administration official and current LA County Supervisor Hilda Solis seems to have won a victory over the Los Angeles dance music community.
After Solis aggressively pursued a campaign to discredit – if not close – rave events on LA County property, HARD has cancelled its next event and drastically reduced capacity for its upcoming Halloween festival, Day of the Dead.
As reported by the Los Angeles Times, Live Nation – which owns HARD – and the Los Angeles County Fair Association have “agreed” to cancel their one-off event, A Night At Fairplex, which was scheduled to be held on September 10 at Pomona Fairplex. While Day Of The Dead will still happen October 31 and November 1, the weekender will reduce its daily attendance by nearly 40% from 65,000 patrons to 40,000.
Other mandated changes include more cooling stations, more free water, more security and more medical services; plus shorter hours and a raising of the minimum age for festivalgoers from 18 to 21, according to LA Weekly. HARD will also comply with the request to distribute information “warning of the dangers of party drugs like Ecstasy.”
The restrictions come after the deaths of two women earlier this month at HARD Summer, which was also held at the Fairplex. While toxicology reports are still pending, both are suspected to be drug-related.
Initially, Supervisor Solis called for a moratorium on electronic music festivals held in LA County, holding press conferences and using the tragedy to reactivate stereotypes and myths about LA’s storied rave culture. It is unclear whether or not a ban will actually be imposed in the future.
“We continue to study this issue and the propriety of continuing to hold such events on County property,” Solis said in a statement. “…While the Board supports musical events in the County, what is of paramount importance is the health and safety of the youth attending these events.”
Solis was elected to the Board in 2014 after having served as the Secretary of Labor under President Obama. As Supervisor, she and her colleagues have authority over areas not included in the City of Los Angeles or other cities within LA County.
Leading up to the release of their sophomore album, Between II Worlds, UK trio Nero are keeping their momentum strong with a new ‘At The Movies’ mini-mix made for Annie Mac on BBC Radio 1.
Clocking in at just over five minutes, the mix somehow manages to pack in a wide array of cinematically inspired music clips into its short duration. It opens with the iconic 20th Century Fox intro before delving into a disco-tinged riff of the Star Wars theme. Keeping the disco flare at the forefront, Nero layer in the famous Kill Bill siren along with Paul McCartney’s “Live And Let Die,” the signature tune for the 1973 James Bond movie of the same name.
The entire mix is a slice of nostalgia that spans multiple generations; even overlaying Kavinsky’s anthem “Nightcall” (made popular by the Ryan Gosling epic Drive) over Underworld’s “Born Slippy” and Eminem’s 8-Mile rap ballad “Lose Yourself.” A few classic sound-bites also make their way into the mix at strategic breaks to give the mix a full-bodied representation of cinematic history.
Listen to Nero’s ‘At the Movies’ mini-mix below. Following Between II Worlds‘ release on September 11, they’re heading out on a North American tour that’s stopping in cities such as New York City, Washington DC, Boston, Detroit, Edmonton, San Francisco and more.
[Photo via Nero’s Facebook]
20th Century Fox theme
Vangelis – Chariots of Fire Theme
Galactic Force band – Theme From Star Trek
Meco – Star Wars: Title Theme
Brad Feidel – Terminator II Main Title Theme
Alan Silvestri – Back to the Future
Lalo Schifrin – Theme From Enter the Dragon
Quincy Jones – Ironside
Wings – Live and Let Die
Kool and the Gang – Jungle Boogie
John Williams – E.T. Main Theme
Richard Strauss – Thus Spake Zarathustra
John Williams – The Conversation
Steppenwolf – Born To Be Wild
Blondie – Atomic
Ennio Morricone – The Good, the Bad, and the Ugly (Titles)
Harold Faltermeyer – Intro / Bakersfield
Vangelis – Bladerunner (Main Titles)
Underworld – Born Slippy
Nero – Into The Past
Bernard Herrman – Prelude and Rooftop (Vertigo)
John Carpenter – Escape From New York (Main Title)
Eminem – Lose Yourself
Kavinsky – Nightcall
Michael Jackson – Speed Demon
Mike Oldfield – Tubular Bells
Queen – Flash’s Theme
Harold Faltermeyer – Axel F
Clint Mansell – Winter Overture (Requiem for a Dream)
Mahler – Adegietto (From Symphony No.5) (Death in Venice)
Sound of Cinema – James Horner (BBC Radio 3)
Whitney Houston – I Will Always Love You
Prince – Purple Rain
John Williams – Jurassic Park Theme
John Williams – Main Title (Theme From ‘Jaws’)
Elton John – Circle Of Life
In an open letter to his fans, Martin Garrix announced that he has parted ways with both his label Spinnin’ Records and its associating management company MusicAllStars.
Citing a need to clear up “rumors in the music industry,” the 19-year-old Dutch phenom revealed that he has “recently nullified/terminated my agreements with MusicAllStars Management B.V. and Spinnin Records B.V.,” over a “difference of opinion between us regarding the reasonableness of the agreements.”
Thanks to his his boy band-worthy good looks and career DJ work ethic, Garrix recently ranked as the youngest person on the Forbes ‘Electronic Cash Kings’ list (this is the list’s fourth year), earning an estimated $17 million over the past 12 months. Despite wearing a constant smile while playing 116 dates and inking an endorsement deal with 7UP, it appears that all was not well in the Garrix empire.
“From the beginning of this year I tried to get back the ownership rights of my music from Spinnin Records and to keep my confidence in MAS,” he writes in the carefully worded Facebook post that you can read in full below. “I am extremely disappointed that the discussions have not led to a change in the agreements or return of the ownership rights, and that is why I nullified them.”
Very little else is disclosed in the letter. Garrix gives no indication of future label plans, nor where the dispute with Spinnin’, the Dutch powerhouse that also presides over close to 40 imprints, and its sister company MusicAllStars began.
Another thing we don’t know, but can speculate about, is Scooter Braun’s role in the decision. Braun, whose company also manages Justin Bieber and Ariana Grande, signed Garrix to Scooter Braun Projects in 2013, in a split management deal with MusicAllStars Management, the first of its kind for MusicAllStars.
After deciding to bank on Garrix, SB Management now represents Steve Angello as well. Combining pop stars with EDM producers appears to be working for Braun, who helped facilitate Diplo and Skrillex’s hook-up with Bieber, which of course became Jack Ü’s smash single “Where Are Ü Now.”
Perhaps Garrix’s departure from Spinnin’ marks a similar career turn, leaving his fellow Dutchmen behind, escaping a world where a house DJ can only get so big (which is huge, but still), as the rest of the world anticipates EDM’s inevitable decline, meeting Bieber somewhere on the EDM/pop crossover axis, to become a pop star of the Calvin Harris variety – the kind that headlines Coachella, dates Taylor Swift and maintains his rule as electronic music’s reigning ‘cash king.’
It’s possible Garrix has plans to start his own label. Or perhaps he simply signed an unfavorable deal at a time when his leverage might not have been what it is today. Signing off his note, he promises to reveal “an exciting new project” soon. “Hopefully I can share good news with you during Amsterdam Dance Event,” he writes.
Edit: Spinnin’ boss Eelko van Kooten has since made a statement of his own, claiming that while Spinnin’ and MAS were “willing to meet Martijn in his wishes to negotiate the current agreements in his favor,” yet he “decided to unilaterally end the cooperation as of now.”