GDD™ Morning Update: Thomas Bangalter, Kaskade, Carl Cox, Digitalism, Wynn + Ultra, America and Dance Music

Good morning! Today’s news includes Thomas Bangalter, Kaskade, Carl Cox, Digitalism, Wynn + Ultra, and an editorial on America and Dance Music. Please read on after the jump.

 

Daft Punk’s Thomas Bangalter scores soundtrack to new Lindsay Lohan movie

Daft Punk‘s Thomas Bangalter has scored a new short film starring Lindsay Lohan.

The movie, First Point, has been created by artist Richard Phillips and stars the US actress as a surfboarding blonde.

The film is to premiere this week at the international art fair Art Basel in Switzerland, reports Pitchfork. It features the work of surf filmmaker Taylor Steele and surfer Kassia Meador as Lohan’s stunt double. You can watch a short trailer for the film below.

Daft Punk
 previously scored the soundtrack Tron: Legacy in 2010, which was the follow-up to ’80s cult movie Tron. You can watch the video for ‘Derezzed’ from the Tron: Legacy soundtrack by scrolling down to the bottom of the page and clicking.

The French dance duo are currently working on a new studio album. Paul Williams, the songwriter behind The Muppets classic ‘Rainbow Connection’, recently revealed he’s been working on the record.

Daft Punk last released a studio album in 2005 with ‘Human After All’ and are thought to have spent a large chunk of the past four years working on its follow-up. Chic guitarist Nile Rodgers is also expected to feature on the album.

(via NME)
 

Kaskade: “EDC is our generation’s Woodstock”


The infamous ‘star spangled banner’ solo from Jimi Hendrix may differ slightly from today’s DJ performances; but that hasn’t stopped Kaskade comparing the Electric Daisy Carnival to Woodstock.

The House titan was in a jubilant mood after playing to an estimated 115,000 crowd, tellingHollywoodreporter.com: “This is our generations Woodstock, this is our moment”.

Electric Daisy Carnival is America’s largest dance music festival and is held in Las Vegas. Around 345,000 people fled to the entertainment capital of the world to see the likes of Afrojack, Tiesto, Major Lazer, Pretty Lights and, of course, Kaskade.

(via Mixmag)

 

Carl Cox to Celebrate 50th Birthday at Space

Undisputed house legend Carl Cox will be celebrating his 50th birthday this summer with Masters at Work, held at Space in Ibiza. 

50th birthdays don’t usually spring to mind all-night carnage, but in this case it’s hard to think of better parties to head to this summer. Cox will be accompanied by the likes of Lucca, Pan-Pot, Artwork & Dynamite MC and D & B godfather Andy C plus others. The night is set for Tuesday July 31st. 

“I’ve reached the ripe age of 50 and what better way to spend it?”, Carl said. “Will be at my favorite club in the world, on my favorite island. I’ll be surrounded by my friends and some of the best DJ talent around. I’m over the moon getting Louie and Kenny on board too – I have been trying to get them to play at Space with me for years”.

This will be the only date that Masters at Work will play in Ibiza this year, who are celebrating 20 years together. The New Yorkers are known for combining genres in eccentric fashion, including house, hip pop, latin and jazz. We’re enticed! 

CARL COX TURNS 50 AT SPACE
TUESDAY JULY 31 2012
A VERY SPECIAL BIRTHDAY PARTY FEATURING MASTERS AT WORK
(IBIZA EXCLUSIVE)
LUCCA, PAN-POT, ANDY C & MC GQ, ARTWORK & DYNAMITE MC, THE REVENGE, SEAN BROSNAN, MARCO LOCO, DJ OZ, GRAHAM CORDERY, DJ SNEAK, SAM WALKER, REECE BRETT, VINYL FRONTIER
Carl’s The Revolution Recruits is at Space every Tuesday from July 3rd until 18th September.
Tickets for the Birthday bash, and all other Revolution Recruits nights are avaible via Ticketweb.

(via Mixmag)

 

Digitalism Talk New DJ-Kicks Album and the Sound of the Future

In 2007, electro house and indie dance music blew up clubland. And one of the era’s landmark albums wasIdealism, the debut long player of German production duo Digitalism on Kitsuné. Standouts like “Pogo” and “Zdarlight” cemented the act’s massive crossover appeal, blending equal parts electro and indie rock with a dual underground and pop sensibility. 

Fast-forward to 2012 and Digitalism are going stronger than ever. And for proof of that, you need look no further than their new mix album for the prestigious DJ-Kicks series on !K7 Records. With choice cuts from the likes of The Rapture, Vitalic, and WhoMadeWho, plus exclusive Digitalism originals on the record, the duo continues to defy genres and expectations while never falling short of the dancefloor momentum that made them famous. 

Crossfade caught up with Digitalism ahead of their performance with Poplife at Grand Central on Saturday to talk about the new album and their decade-long journey from record store clerks to international dance music sensations. 

Crossfade: Is there a concept or theme running through your new DJ-Kicksalbum? How did you go about selecting the material? 

Digitalism: This DJ-Kicks is very special to us, as it kind of marks the closing of a cycle for us. We started Digitalism about ten years ago, after we’d met in a record store where we were working at the time. The store was selling house and techno records, so it was for DJs only. Hanging out there every day after school, that’s how we got into DJing and eventually starting the band. 
Back then we made quick new tracks and edits that we could play in our DJ sets, because we wanted to bring something very unique to the table. That’s also the origin of our first album. So this compilation is a DJ mix, and again we included new music from us on it, just like back in the days — five new tracks plus two new exclusive remixes.
Regarding the tracklist, we wanted to present our sonic world and the kind of sound that we grew up with when we started DJing and collecting vinyl. It’s a bit of a historic approach. We wanted to include material by artists and labels that we used to love, and tracks that we used to play nearly every night, whether it was new or old material. Some of the stuff on theDJ-Kicks is very old, you know. But there’s so much to discover, and even old songs are very new to you when you’ve never heard of them. The next thing was that we wanted to make sure that our different aspects genre-wise are on this compilation too. That’s why you’ll find a lot of variety, from electro, techno, new wave to indie music on it. We then mixed the tracklist up with our own new music.

 You guys are joining a lineage of highly celebrated artists who have mixed theDJ-Kicks series. What does this career milestone mean to you?

It’s a great honor to be asked to do this. Back then, we used to sell these compilations and took many of them back home with us. Coming from a DJ background originally, this is a bit like getting the knighthood. It’s crazy when you think about it. Back then, we were big fans of lots of the artists who did a DJ-Kicks, and now we’re good friends with a bunch of them. As mentioned above, our DJ-Kicks takes us back to the origin of Digitalism but also means a next step into the future for us. It really means a lot.
Electro and indie dance is not as big today as it was back in the late 2000s, when you guys first blew up, but it’s the sound you guys continue to push. What do you feel you’re offering to the electronic music scene that perhaps is lacking from the trendy house and techno sound that’s big at the moment?
We see ourselves as something that is more constant in these current fast-paced times. At the end, we’re making electronic music and we always will. And we want to bring something more than just club tracks. On the last album, we explored songwriting a bit further, and we pushed our horizon. So now after two albums, we feel like we’re absolutely free to do anything sound-wise. People might forget about ninety percent of club tunes after a while, but well-crafted songs (or song-enhanced tracks) that can also be played on just a guitar on a bonfire and people know what song it is, that’s something that lasts forever. We’re not big fans of jumping on certain trend-wagons, but of course every artist should keep on pushing the limit and explore and reinvent as much as possible, and that’s something we’re really excited about too.
So what does the future have in store for Digitalism?
The sound of the future. 

 

Wynn Joins Forces with Ultra Music to Shine Brighter Spotlight on EDM

Want to hear the electronic dance music being played by famous DJs at Wynn but can’t make it to the clubs? Now you don’t have to.

Ultra Music has partnered with the nightlife (and dayclub) venues at Wynn and Encore to create a series of full-length compilation CDs and new releases under the new label Ultra/Wynn.

“With their impressive line-up of resident DJs and truly world-class venues, Wynn Las Vegas has become the center of dance music in America,” said Patrick Moxey, Ultra Music founder and president. “This venture will bring the Wynn nightlife experience and EDM’s popularity into unprecedented new directions.”

The first compilation to be released digitally and at the resort’s retail outlets this month highlights the summer sounds at Encore Beach Club, including music from residents Afrojack, Avicii and Calvin Harris. The second release will focus on the energy at XS and will be available Sept. 1.

Ultra will be live streaming Wynn venue-branded DJ sets on its YouTube channel, and Wynn has launched a weekly segment titled The Wynn Nightlife Report to give followers an inside look at the EDM culture in the lavish clubs, including intimate interviews with featured.

“While nothing can compare to the sights and sounds of visiting our nightclubs in person, the partnership with Ultra will open the doors for music fans across the globe to peek into the Wynn Las Vegas nightlife experience,” said Jesse Waits, managing partner of XS and Tryst. “Creating signature mixes and streaming live content offers a new platform for our resident DJs and their fans.”

(via Las Vegas Weekly)

 

Is America killing dance music?

It’s been a turbulent couple of weeks for DJs in the US. Last Monday, plenty of feathers were ruffled when house hero Mark Farina alleged he’d been kicked off the decks by a “table service crowd”. Then just a few days later, Calvin Harris declared that he’d got the boot for declining to spin hip-hop and, uh, tween sensation Carly Rae Jepsen. Of course, those are just two – perhaps isolated – incidents. But considering them in the grander scheme of the EDM explosion in the States over the past few months, you’ve got to wonder: what is America doing to dance music?

The USA might very well be buying into dance music big time – quite literally if you look at last week’s announcement that Robert Sillerman is re-entering the live music market with a whopping $US1 billion to spend on ‘EDM’ focused acquisitions.

However, there are still plenty of dissenters when it comes to North America’s open-armed embrace of club culture. If you count yourself as one of the doubters as to how much value Guetta, Tiestoand co are bringing to the worldwide scene, and you reckon that Mark Farina being kicked off the decks at Marquee in Las Vegas represents our culture’s absolute lowest point – there’s no need to worry because you’re not alone: that ol’ favorite of New York’s business elite The Wall Street Journal has got your back.

In a diatribe that could have been lifted directly from the fiery comments underneath of one of ITM’s infamous Skrillex stories, the Dow Jones publication wept well-coiffed tears all over its tailored business slacks, due to the fact that what was “once almost exclusively an underground movement” is now “embraced by a mainstream pop audience”, and even worse, “feels meek and calculated”, with the “complex rhythms and synthesized orchestrations” that we all love so dearly now playing second fiddle to “pop and hip-hop vocals”. Gasp.

The controversial allegations keep coming; apparently the symptoms are most evident, “especially when it’s spun at high-energy festivals” (with explicit reference given to the Las Vegas leg of the Electric Daisy Carnival (which ITM happened to be on the ground covering over the weekend). This was followed by the pearler of an accusation: that “there’s also a growing sense that some newcomers to giant EDM festivals… still prefer songs they’ve heard on the radio to on-the-spot DJ mash-ups or the varying forms of EDM known as house”. Hot diggity! And don’t try and tell ITM you’ve never uttered those exact words yourself, ‘cause we don’t believe you.

Continuing to brand the radio-friendly work of Guetta and Calvin Harris as “cliché-riddled, white-bread house that don’t represent the best of the genre,” the Wall Street rag makes the worrying prediction that, “as EDM and its related events continue to grow, an audience may be developing that wants nothing more than predictable, middling entertainment.”

Wall Street Journal, we didn’t know you cared. Stay tuned for Fox News anchor Bill O’Reilly’s expose on how Avicii’s live show represents nothing more than flashy style over substance.

(via inthemix)

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