GDD™ Morning Update: EDC Week, Donna Summer, Skrillex + Tiesto, Hardwell

Happy Friday! Today’s news includes EDC Week, Donna Summer, Skrillex + Tiesto, & Hardwell. Please read on after the jump.

Insomniac Announces EDC Week Details

Insomniac announced today the details of its highly anticipated EDC Week, a collection of electronic dance music events to supplement Electric Daisy Carnival’s return to the Las Vegas Motor Speedway.

The EDM celebration begins Tuesday, June 5 and continues through EDC, with its final events taking place Monday, June 11. Those without tickets to the three-day fest at the Speedway can look forward to a number of sets by popular EDM artists (many are playing EDC, some are not), pool parties and the already-announced Bassrush Massive (the only off-Strip event).

Although many of the acts are either residents or Vegas regulars, there are a few names sure to please EDM enthusiasts. Among them is Richie Hawtin, who played two sets at last year’s EDC – one under his Plastikman alias. This year’s EDC goers won’t see Plastikman, but they can get an extra Hawtin fix at Drai’s that Thursday.

The entire schedule for EDC Week is as follows:

Tuesday, June 5

Dash Berlin at Lavo

Wednesday, June 6

Chuckie at Lavo

Thursday, June 7

EC Twins, Steve Castro at Marquee Dayclub (free entry with Bassrush Massive tickets)

Miguel Migs, Jason Bentley and more at the EDMbiz Free Pool Party at the Cosmopolitan’s Boulevard Pool

12th Planet, Bassnectar, Borgore, Datsik, Excision, Fury, Knife Party, Noisia, Sigma at the Bassrush Massive at the Orleans Arena

Hardwell, Dannic, Dyro at Lavo

Benny Benassi, Cedric Gervais, Alex Gaudino at Marquee Nightclub

ATB, Dash Berlin at Tao Nightclub

Richie Hawtin at Drai’s After Hours

Friday, June 8

Above & Beyond, Mat Zo at Marquee Dayclub

Nicky Romero at Tao Beach

A-Trak’s Fools Gold at Lavo

Armin van Buuren, Sander van Doorn, EDX, Jochen Miller at Marquee Nightclub

Fedde Le Grand at Tao Nightclub

Sasha at Drai’s After Hours

Saturday, June 9

Dirty South, Tommy Trash at Marquee Dayclub

Cosmic Gate, Arty, Glenn Morrison, Rebecca & Fiona at Tao Beach

Kaskade at Marquee Nightclub

Erick Morillo, Sunnery James & Ryan Marciano at Tao Nightclub

Carl Cox at Drai’s After Hours

Sunday, June 10

Avicii, Gareth Emery at Marquee Dayclub

Markus Schulz, Ferry Corsten at Tao Beach

Vice at Lavo

Loco Dice at Drai’s After Hours

Monday, June 11

Danny Tenaglia, Victor Calderone, Nicole Moudaber at at Marquee Dayclub

Red Foo, Chuckie at Marquee Nightclub

(via Las Vegas Weekly)

 

How Donna Summer’s I Feel Love changed pop


A cinematic drone comes in fast from silence, quickly overtaken by two synthesised rhythm tracks that will go in and out of phase for the next lifetime. On top, Donna Summer soars and swoops as she tackles the minimal lyric: “It’s so good [x five], “Heaven knows” [x five], “I feel love” [x five]. The words are so functional that her voice becomes another instrument, almost another machine, but then there is the real heart of the song: “Fallin’ free, fallin’ free, fallin’ free …”

I Feel Love was and remains an astonishing achievement: a futuristic record that still sounds fantastic 35 years on. Within its modulations and pulses, it achieves the perfect state of grace that is the ambition of every dance record: it obliterates the tyranny of the clock – the everyday world of work, responsibility, money – and creates its own time, a moment of pleasure, ecstasy and motion that seems infinitely expandable, if not eternal.

Back in 1977, I Feel Love was a radical breakthrough, and was designed as such. It was started as a cut for I Remember Yesterday, an album that producer Giorgio Moroder originally planned as a mini-tour throughdance music history: a Dixieland number here, a Tamla number there. To complete the project, he needed what NME called a “next-disco sound”.

“I had already had experience with the original Moog synthesisers,” Moroder told NME in December 1978, “so I contacted this guy who owned one of the large early models. It was all quite natural and normal for me. I simply instructed him about what programmings I needed. I didn’t even think to notice that for the large audience this was perhaps a very new sound.”

I Feel Love was quickly remixed and, extended to eight minutes on a 12in, made an immediate impact. As Vince Aletti wrote in his 13 August 1977 column for Record World, “perhaps the most significant development in disco sound this year is the success of totally synthesised music. Kraftwerk’s Trans-Europe Express was the breakthrough record.” Name-checking Space (whose all-synth Magic Flywas a huge UK hit in late summer 1977), Aletti observed that Kraftwerk’s “impact was immediately underlined by Donna Summer’s I Feel Love, which took the synthesiser rhythm and compressed and intensified it so it was both more physically exciting – like stepping into a tangle of high-voltage wires – and more commercial”.

I Feel Love went to No 1 in the UK during the high summer of 1977, and stayed there for four weeks – filling dance floors everywhere, because it’s so good so good to dance to. Like David Bowie’s Low and Heroes, and Kraftwerk’s Trans-Europe Express, it was also the secret vice of those punks who were already tiring of sped-up pub rock, and it sowed the seeds for the next generation of UK electronica.

It didn’t chart as high in the States – No 6 – but it became an all-time gay classic, a totem of the pre-Aids era (“Fallin free, fallin’ free, fallin’ free”). That iconic status was reaffirmed by (Sylvester producer) Patrick Cowley’s monumental 15-and-three-quarter-minute remix, which really does go on for ever and ever without trashing – even enhancing – the concept of the original.

I’m guessing many of you will have heard I Feel Love pumped out loud, will have felt moved to dance, and will have felt time stop, the instant prolonged. Something of that feeling attaches itself to the record wherever it’s heard, and it never gets dulled by repetition – or endless imitation. I must have heard I Feel Love a thousand times and it still takes my breath away: it’s one of the great records of the 20th century, and the name on the label is Donna Summer.

(via The Guardian)

 

Skrillex & Tiesto make Forbes power list

It ain’t easy being David Guetta. You sell an avalanche of records, amass 32 million fans on Facebook, tour tirelessly and even build a bridge between white people and black people, and stillyou can’t make it The World’s Most Powerful Celebrities list alongside Larry the freakin’ Cable Guy.

Sadly, though, that’s how the numbers-crunchers at Forbes have called it. The 2012 list comes with its predictable top-heavy cast – Oprah Winfrey, Justin Bieber, Rihanna, Lady Gaga and curiously Jennifer Lopez in the #1 spot – but they’ve kept two places for a couple of dance music’s top-earners: Tiesto and Skrillex.

Following last year’s report by The Wall Street Journal that Tiesto makes $20 million a year, he’s ratcheted that up to $23 million to make the #84 spot. His secret? Constant touring. “The Dutch DJ grosses $250,000 per night on average; low production costs let him keep the bulk of that sum,” reads the Forbes spiel. “With over 100 shows in the past year, he’s the top-earning electronic musician on our list; he also benefits from a strong social media presence that includes over 1 million Twitter followers and 12 million Facebook fans.” According to Forbes’ ranking, Tiesto is one peg more Powerful than Harry Potter author J.K. Rowling – deduce from that what you will.

As for the ever-divisive Skrillex, he’s a ‘self-made’ yearly earner of $15 million. “The side-mulleted DJ also cashed in on over 150 concerts spread across 16 countries in the past 12 months,” reads his blurb. Both guys are listed as ‘Marital Status: Single’, if you’re interested. Head here for the full list, if you’re dying to know what Tim Allen and Ray Romano still earn.

(via inthemix)

 

Hardwell ft. Mitch Crown – Call Me A Spaceman (OFFICIAL MUSIC VIDEO)


Hardwell releases the vocal version of the worldwide hit ‘Spaceman’. Mitch Crown has provided the vocals for this track now going by the name ‘Call Me A Spaceman’.

The Music Video for ‘Call Me A Spaceman’ is a combination of 3D animation with the ‘Spaceman’ of the original artwork as the leading part along with the high energized live footage editing Hardwell’s video’s are famous for. This Music Video also has some stunning sound effects added for that special space ride experience.

‘Call Me A Spaceman’ is the official successor to the worldwide hit ‘Cobra’ which has been topping the dance chart all over the world. Spaceman saw it’s release in February and landed on the #2 spot at Beatport and has been setting dance floors on fire for months. The instrumental version got signed to over 15 countries. With this version the cross over to radio is a fact on which Mitch Crown provided the vocals. Mitch Crown is a well known singer/songwriter in todays dance scene and already worked with Fedde Le Grand and on successful solo projects.

(via YouTube)

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