GDD™ Morning Update: Deadmau5, Avicii, Pretty Lights, Festival Awards, iTunes Match


It’s a mid-month Wednesday and as per usual, there are several things worth informing you about. Today’s update begins with Deadmau5’s new Las Vegas residency, then moves on into Avicii’s US record deal, Pretty Lights’ Sirius radio show, a UK festival awards round-up, and iTunes match legitimizing music piracy. To go along with the Deadmau5 headliner, I included his cover of Radiohead’s “Codex” for your listening pleasure. Listen and be informed after the jump.


Deadmau5 Las Vegas Residency

deadmau5 – ‘Job Fail’ – Wynn Las Vegas from Wynn | Encore Nightlife on Vimeo.

Electronic music superstar Deadmau5 has signed on with XS Nightclub and Encore Beach Club for an exclusive yearlong Las Vegas residency at the clubs beginning on January 2, 2012. “I love that Vegas is really embracing electronic music as their staple entertainment,” says Deadmau5, who played several shows at the Wynn Las Vegas resort venues last year. “All of the Sinatras and Rat Packs are now DJs. I’ve heard Vegas is going to be the next Ibiza, but it’s its own thing. Here it’s all about flash and show and lights.” In this trailer for the residency, Deadmau5 tries out a few new career ideas before deciding to stick with his gig as a dance-music icon.

(via Rolling Stone)


Avicii Lands US Deal

Swedish DJ, remixer, and producer Avicii has inked a U.S. singles deal with Interscope Records and Troy Carter’s electronic dance music label Atom Empire.

Born Tim Bergling in Stockholm, Avicii has already conquered club charts worldwide with his current single “Le7els.” Released by LE7ELS Records/Atom Empire/Interscope, the radio edit is now available now at all digital partners.

“Le7els” has been declared the “Tune of 2011″ by DavidGuetta in DJ Mag, which also placed the 22-year-old Swede at No. 6 on its yearly poll of the Top 100 DJs after just two years of performing.

Part of the next generation of electronic music producers to explode alongside the likes of Tiësto, Swedish House Mafia, and his sometime collaborator Guetta (on Guetta’s current album Nothing But The Beat), Avicii has emerged as a potent force on the electronic dance music scene, penetrating on both a club and commercial level. “Le7els” climbed to No. 1 the international Beatport chart, as well as on the club charts in Germany and Australia, while the success of prior singles “Seek Bromance,” “Street Dancer” and “Fade Into Darkness” have also propelled him into the ranks of superstar DJs who are able to perform to massive crowds. Avicii has headlined such colossal events as Tomorrowland, Ultra Music Festival, Dance Valley, Street Parade, and IDentity festival, and performed on the mainstage at the this year’s Electric Daisy Carnival.

Avicii’s manager and executive producer Ash Pournouri declares, “With the all star dream team that is At Night Management/LE7ELS, Atom Empire and Interscope it feels like little is left for chance in taking this huge club hit to the absolute top charts in North America. I’m looking forward to us creating electronic music history together.”

“We’re very excited to be working with Avicii, Ash, and the LE7ELS family. Avicii has quickly become one of the world’s preeminent DJ’s and we’re looking forward to assisting in his global takeover.” says Atom Factory founder, Troy Carter.
(via AntiMusic)



Pretty Lights Lands Sirius Radio Show

Mega-beats mixer, Pretty Lights has just landed his own radio show with SiriusXM Radio. You may have missed the premiere on Sunday, November 13, but no worries because PL aka Derek Vincent Smith will be DJing every Thursday at 8:00 p.m. onElectric Area: Channel 52.

The show is called The HOT Sh*t!, and Smith promises the show will be dedicated to a wide range of electronic music. The purpose of the show is to get PLM artists recognized and bring new sounds and beats that can range anywhere between jazz and blues to dubstep and electro music.

If you’re busy on Thursdays the show is rebroadcasted on Mondays at 9:00 p.m. If you’re not already a Sirius subscriber, they offer a free seven-day trial where you can check out Pretty Lights’ station among many others.

If you’re interested in Pretty Lights, check out Headstash Magazine’s  interview with the super-producer from earlier this year. For more information including news, downloads and tour dates, visit PL’s official website.

(via Headstash)


Festival Awards Round-up

The A-listers of the UK’s festival world were out in force last night as they descended on London’s Roundhouse to find out who is top dog when it comes to throwing the best festival.

It was the eighth annual festival awards, a ceremony that rewards both the organisers and the artists in the UK festival scene, which is arguably the best in the world.

Mixmag favourites Creamfields took home the plaudits for ‘Best Dance Event’ after a 2011 line-up which consisted of The Chemical Brothers, Tiësto, Paul Van Dyk, Armin Van Buuren and Swedish House Mafia. ‘Best Overseas Festival’ went to Croatian based Outlook, while, unsurprisingly, Glastonbury was named ‘Best Major Festival’.

Rob Da Bank’s Bestival was honoured in a new category called ‘Fans Favourite’, while the magical Secret Garden Party went back to their fairytale festival site with the title of ‘Best Medium Sized Festival’.

Other winners were Ed Sheeran for ‘Best Breakthrough Artist’ and Chase and Status’ ‘Blind Faith’was titled ‘Anthem of the Summer’.

Roll on festival season 2012 and congratulations to all the 2011 winners.

(via Mixmag)


Apple’s iTunes Match Legitimizes Music Piracy—Because Piracy No Longer Matters

I still remember plugging a friend’s first-gen iPod into my Mac, eager to download his entire music collection to my computer. The guy had all these albums I wanted; we both saw that an iPod was really just a mobile hard drive with buttons. Copying all this music would be a cinch. 

But I couldn’t. As we and many other early adopters found out, Apple had blocked iPod owners from dragging and dropping music from a friend’s iPod onto your computer, so there was no apparent way to move his 5 GB of music onto my desktop. Apple knew how all of us would try to use the iPod, and tacitly responded: “We know that we could make stealing music easy for you, but we won’t.” 

I bought an iPod a few days later. Then I, and many others, found another way to get music for free. 

Fast-forward 10 years to the present, and, despite the hand-wringing of the record industry over piracy, people actually pay for music again. Digital music will be a respectable $6.3 billion market this year, a market that owes much of its success to the runaway success of Apple’s iTunes store and its ability to convince people to buy music online. Yet, with iTunes Match—a new feature in the newest version of iTunes, released this week—Apple seems to be turning its back on the legal electronic music industry that it helped to build. 

What gives? 

How iTunes Match Works

First, you flip a switch in iTunes and your iPhone. Then the software pairs up your personal library with that of the iTunes Store in the cloud, from where it will stream every song on your device. ITunes Match syncs everything, whether you downloaded it from iTunes, Amazon, or even an unscrupulous torrent. If you have tracks that Apple doesn’t carry, they will be automatically uploaded to the cloud so you can stream them at will. 

It costs $25 a year, and for that price Apple essentially will legitimize any pirated music up to a huge limit of 25,000 tracks. In that sense, it’s the MP3 equivalent of money laundering. 

At first glance, Match takes the exact opposite approach of the two newest buzzed-about streaming services, Spotify and Rdio. Both offer all-you-can-eat mobile music for about $10 per month. (On PCs, the streaming is free.) While that means you can listen to almost anything, you own nothing. So neither Spotify nor Rdio is fundamentally different from Zune Pass or Rhapsody, beyond a bit more social-network integration. They’re both just a prelicensed music subscription. But then again, neither Spotify nor Rdio is really that different from iTunes Match. 

Ultimately, all of these services, even Apple’s clandestine-seeming Match, offer users the same benefits and limitations: Stream whatever you want! But if you aren’t buying a subscription, you get no streaming music. I might not own the Rolling Stones’ Hot Rocks, but I can stream it with a subscription on Spotify, much the way I can “pirate” it and stream it with a subscription on Match. One option makes me feel like I’m dodging the RIAA in bullet time, but other than that, I’m still listening to the same rendition of Gimme Shelter on repeat. 

ITunes Match just feels different, especially with the option to upload stolen music and have Apple stream it back to you anywhere in the world. It’s like Hertz saying you can hotwire any car on the lot and they won’t press charges, so long as you sign that rental agreement. 

Selling Pirates Their Plunder

And that’s the brilliance. Yes, on the surface Match is just a streaming service that competes with the other streaming services. But it means that, just as Apple was the first to successfully sell digital music to the mainstream, it’ll be the first to penetrate what the RIAA calls a $12.5 billion piracy market. Charging just $25 a year, Apple won’t exactly be raking in profit on songs that you stole—its take would be a fraction of what the company makes selling you a 99-cent iTunes Store song that you then “own.” But fundamentally, it means Apple is going to sell pirates their own plunder. 

If nothing else, Match is a symbol of the major music-mentality shift. No one will be buying hundreds of albums anymore, but we’ll definitely rent them on an ongoing basis. And if the music industry has convinced us all to rent rather than own, does it even need to bother with piracy worries? Ten years after Apple tried every means to forbid me from moving tracks from a friend’s iPod to my Mac, iTunes Match is letting pirates back into the fold, and it even allows me to split my Match account with friends if I decide to share my Apple ID. 

Maybe times have changed that much. Or maybe I’ve just forgotten what it’s like to be a rebel. 
(via Popular Mechanics)





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