Today, we’re pleased to welcome our friends at FaderPro and their instructional videos to Beatport Sounds. Now, both aspiring and veteran producers alike can buy and download high-quality video tutorials on music production techniques provided by FaderPro, all from a new dedicated section of Beatport Sounds. […] The post Welcoming FaderPro to Beatport Sounds 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
Over the last 18 months, we’ve made a lot of changes to Beatport. We relaunched the store with a new technology platform, added a streaming music service, and expanded our video and news properties. While most of these added some […] The post An Update on Site Performance appeared first … Continue reading
As we’ve noted previously, helping promote and enable DJ culture is about as core to our DNA as possible. Today, we’ve unveiled the latest step in that effort with the launch of the new series How To DJ on Beatport […] The post Introducing Our Latest Original Video Series ‘How … Continue reading
There’s so much more to music than simply listening to it. That’s why we’ve designed Beatport as a complete music experience offering multiple ways to listen, watch, and learn about all that the world of electronic music has to offer. […] The post Beatport News Adding Original Video as Part … Continue reading
Today we released an overview of the music, artists, and videos that performed the best across the Beatport platform in 2015, as determined by the sales and streaming data we’ve collected over the course of the year. This includes not only the […] The post What You Bought, Streamed and Watched on … Continue reading
The Moment: Climate Change
Electronic music is often an opportunity to escape and to forget the burdens of daily life. But there are times we need the music to do more. This is one of those times.
This morning we announced our involvement in the #ListenParis2015 initiative (www.listenparis2015.com)… a worldwide music event taking place during the UN Climate Change Conference in Paris to bring attention to the issue of sustainable energy.
This 24-hour celebration will begin Saturday, Dec. 5 at 5 p.m. Paris time, at which time we will host a live stream of music on a special section of Beatport to power multiple silent discos organized by #ListenParis2015. Anyone, anywhere will be able to tune into the same music, at the same time, in support of the same message to help unite the world through a common music experience whether they are participating in any of the silent discos or not.
Dozens of DJs from all corners of the globe have rallied to contribute music for this soundtrack, bringing the power of electronic music and our industry to draw attention to the climate talks. Participating DJs include:
- Above & Beyond (UK)
- Alok (Brazil)
- Celeste Siam (Thailand / Ibiza)
- Danny Ávila (Spain)
- DJ Three (USA)
- EDX (Switzerland)
- Gareth Emery (USA)
- Gui Boratto (Brazil)
- Jesse Rose (UK / USA)
- Jewelz & Sparks (Germany)
- Leslie JayCee (China)
- Mako (USA)
- Marc Houle (Canada / Germany)
- Michael Calfan (France)
- Michael Mayer (Germany)
- Oliver Heldens (Netherlands)
- Oliver Koletzki (Germany)
- Sian (Ireland)
- Soul Clap (USA)
- Sydney Blu (Canada)
- The Crystal Method (USA)
- Treasure Fingers (USA)
- Tujamo (Germany)
- Zhang Youdai (China)
I would like to thank OceanRecovery.org Director and Co-Founder Doug Woodring for organizing this effort with the many partners involved, and Above & Beyond (as well as their manager James Grant) for bringing Beatport into the conversation during the IMS Summit in Shanghai this October.
Climate change is a particularly important issue for the electronic music community. DJs’ travel activity, and festivals, have an environmental impact in terms of both power and waste. And while DJs and festival organizers alike have taken important steps to offset this burden, we as an industry can do much more. So it’s only fitting we come together to add our voice to the important resolution being debated now in Paris and to celebrate the promise of a cleaner, brighter future.
Music can serve many purposes. It can tell a story, connect people who have never met, and inspire listeners to do things they never thought was possible. Electronic music in particular speaks a universal language that transcends languages, borders, and lifestyle.
Music should be of the moment, and right now the moment is climate change.
— Greg Consiglio, President & CEO, Beatport
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 email@example.com. 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
Though they carry the torch for house and techno, Dusky cull from a wide range of musical influences, from hardcore to drum & bass. Following the release of their latest EP, Ordinary World, the UK duo have called on ambient outfit Global Communication for remix duties, marking their first production outing in nearly two decades.
Global Communication, comprising Tom Middleton and Mark Pritchard, are revered in their field as creators of critically acclaimed 1994 album, 76:14, which Dusky describe in a press release as one of their inspirations and “a truly immersive listening experience” that “has stood the test of time like few other albums.” Middleton and Pritchard last released a record in 1997, but Dusky say that when contemplating potential remixers for their track “Skin Deep,” the ambient icons “made perfect sense.”
This time, though, it’s only Middleton behind the remix, but even as a solo act he manages to bring back the 90s by turning the originally deep and groovy track into a blissed-out blend of ambient and jungle. “I just had to take the track into anthemic one-more-tune warehouse party territory to induce a screwface, eyes-closed bass and beats moment.”
Listen to it below and head over to Beatport Pro to grab the Skin Deep remix EP. and check for it during Dusky’s sets as they head out on a North American tour this month. It starts this Sunday (September 6) at Nocturnal Wonderland in Southern California, followed by stops in Chicago, Detroit, San Francisco and Vancouver.
Dusky North American Tour Dates
September 6th – Nocturnal Wonderland, San Bernardino, CA
September 11th – MID, Chicago, IL
September 12th – Populux, Detroit, MI
September 18th – Public Works, San Francisco, CA
September 19th – Celebrities, Vancouver
Today begins Chicago’s “last stand of summer,” otherwise known as the North Coast Music Festival. Independent local promoters React Presents, Silver Wrapper, Cold Grums and Metronome have teamed up to bring out some of the biggest artists across the music spectrum, from soul maestro D’Angelo & The Vanguard and veteran rockers Widespread Panic to hip-hop group The Roots and jam band Joe Russo’s Almost Dead.
Electronic music fans will also have plenty of incentive to spend the extended weekender at Union Park. Iconic block-rockers The Chemical Brothers are finally back with a new album, Porter Robinson’s bringing his anime-inspired Worlds live show and Chromeo are getting future-funky, among other performances from the likes of Snails, Booka Shade, Kill The Noise, Sweater Beats and Haywyre. Of course, it wouldn’t be right to have dance music in Chicago without some house, courtesy of Roy Davis Jr., Green Velvet, Terry Hunter and more.
There’s no work or school on Monday, so why not come early and stay late? If there are holes in your festival agenda, here are five mixes that just might fill the void – and if fans still can’t get enough, all the more reason to keep the party in full swing at the afterparties.
[Photo via North Coast’s Facebook]
Fresh off a string of European festival dates, Knife Party are heading overseas to close out North Coast’s first day on the 630 Stage. The Australian duo always bring the energy with their self-described “seizure music” and are still showing their debut album, Abandon Ship, much love in their sets, but trust that there will be some new tracks slipped in to keep avid fans on their toes – case in point: their recently unveiled, as-yet untitled collaboration with Rage Against The Machine guitarist Tom Morello.
When: Friday, 8:45-10:00pm
Where: 630 Stage
As electronic music veterans with over two decades to their name, Booka Shade aren’t exactly the first names to come to mind as an opening act, but the title is almost a prestigious one when warming up the floor for D’Angelo. The duo are presently taking their live show across the US, along with a new EP, Wildest Thing, so festival-goers looking to head up the main stage early are in for a mesmerizing experience at the hands of the German stalwarts.
When: Saturday, 4:45-5:45pm
Where: 312 Stage
After two years of climbing the dance music ladder, Jauz has broken through the surface in a big way. The LA producer’s gone from just bootlegging heavyweights to working alongside them, from contributing a guest mix for Diplo’s radio show and officially remixing ‘Song of the Summer’ “Lean On” to collaborating with Skrillex and booking a ton of festival gigs.
Jauz maintains “music has no boundaries,” but one can find him commanding the rowdiest of crowds with the bass dialed to full volume. Though he’s locked in for a mid-day set, expect him to perform with headliner-worthy fervor.
When: Saturday, 3:30-4:30pm
Where: 630 Stage
North Coast wouldn’t be a true Chicago festival without some house music on the program to celebrate the genre’s birthplace – and that’s precisely where Green Velvet comes in.
The hometown hero otherwise known as Curtis Jones (and as Cajmere) is briefly stepping away from his collaborative project with Claude VonStroke, Get Real, to show crowds just how the Windy City gets down with heaping portions of jacking house, funky techno and sizzling acid. In short: it’s going to get weird, but Green Velvet wouldn’t have it any other way.
When: Sunday, 5:30-6:30pm
Where: 630 Stage
After a sweaty dancefloor workout from Green Velvet comes a major cool-down session from Tycho. The rock-electronic live band, headed by producer Scott Hansen, make music that’s expansive and calming – appropriate as the festival heads into its last leg on Sunday evening. Enhancing the music are the psychedelic visuals (created by Hansen himself) buried in color-saturated washes to create a vibrant and hypnotic experience. If the timing goes well, this could be the ultimate sundown set, so be sure to catch it.
When: Sunday, 7:00-8:00pm
Where: 630 Stage
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]
With the release of his second album set for October, Swedish chart-climber Avicii is stepping out of the spotlight for the remainder of 2015. As revealed by Billboard, the DJ-producer’s remaining performances for this year have been cancelled and rescheduled for 2016. The official word from Team Avicii: moving the dates to the new year will allow for a “larger tour initiative and a well deserved break.”
“I look forward to keep being innovative with my team in leading a bigger change than just with my music,” Avicii wrote (or approved) in a statement to Billboard. “In moving my tour promotional responsibilities to next year, I have a great opportunity to focus on myself and spend time trying to grow up in a way I never got the chance to – normal, or as normal as it could get. My team, label and family have encouraged me to do that and I realize not many in my position get that opportunity.”
Of course, this isn’t the first time Avicii has made a sudden exit from the tour circuit. In March 2014, following the blockbuster chart success of his album True, Avicii’s return to the Ultra mainstage was thwarted at the last minute. The DJ was rushed to hospital to have his gall bladder removed, leaving his headline slot open for Deadmau5 to step into. Later that year, Avicii cancelled a string of shows – including TomorrowWorld and a tour of Asia – to recuperate from ongoing health issues.
This time around, the affected dates include festival bookings in Asia and his Las Vegas residency at XS and Encore Beach Club. According to the Billboard report, the DJ’s reps are tying the cancellation to fatigue from Avicii’s stacked summer schedule, prepping for the release of the Stories album and directing two of its music videos. Stay tuned for updates.
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.
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.