Good morning! Today’s stories feature Deadmau5, Erol Alkan, Parklife 2012, Beatport Mixes, Luciano, Sónar festival, and Kermit The Frog. Please read on after the jump.
On the Cover: The Rise of Deadmau5
Electronic dance music superstar Deadmau5 graces the cover of Rolling Stone‘s Summer Special issue, on newsstands this Friday, June 22nd. The cover story follows the producer-DJ born Joel Zimmerman as he travels by chartered jet from London to festivals in Norway and Sweden. Always outspoken, Zimmerman offers some brutally frank opinions about his EDM peers, Madonna and more.
• Zimmerman slams EDM stars who show up to a live gig and press play. “David Guetta has two iPods and a mixer and he just plays tracks – like, ‘Here’s one with Akon, check it out!’,” he says. “Even Skrillex [a friend of Zimmerman’s] isn’t doing anything too technical. He has a laptop and a MIDI recorder, and he’s just playing his shit … People are, thank God, smartening up about who does what – but there’s still button-pushers getting paid half a million. And not to say I’m not a button-pusher. I’m just pushing a lot more buttons.”
• He’s still angry at Madonna for her appearance at the Ultra Music Festival in March, where she asked the audience, “How many people in this crowd have seen Molly?” – a barely coded reference to Ecstasy. “You want to be ‘hip’ and ‘cool’ and ‘funky grandma’?,” says Zimmerman. “Fine. It’s not my place to say you’re irrelevant. If you’re gonna come into my world, at least do it with a little more dignity. I understand she has millions more fans, and is way more successful than I’ll ever be. But it’s like talking about slavery at a fucking blues concert. It’s inappropriate.”
• Zimmerman routinely refuses to contribute to pop records, and he dismisses most dance music as formulaic – “Just 120 bpm with a fucking kick drum on every quarter note” – but he’s been trying to get Dave Grohl to remix one of his own songs. “Because fuck dance music, you know?”
(via Rolling Stone)
Erol Alkan Presents Another Bugged Out Mix
Erol Alkan has put together another two-disc mix for the Bugged Out series, fittingly titled Another Bugged Out Mix / Another Bugged In Selection.
An offshoot of the long-running UK party brand, the Bugged Out mixes came out at a steady pace for much of the ’00s, highlighting house and electro artists like Miss Kittin and Felix Da Housecat. Given his knack for indie and electronic crossover, Alkan was a natural fit for the series, and his 2005 contribution nicely captured the sound of the time with songs like Soulwax’s “E Talking” and Roman Flügel’s “Geht’s Noch?”Another Bugged Out Mix / Another Bugged In Selection follows the series’ usual format (the first disc going for an upbeat club vibe, the second one taking it down a notch) and shows Alkan’s eclecticism in full swing, with selections ranging from Model 500 and Scuba to Jan Hammer, the keyboardist behind the Miami Vice theme. It’s the first Bugged Out mix in two years, after Friendly Fires’ installment of Suck My Deck.
CD1: Bugged Out
01. Smith n Hack – To Our Disco Friends
02. Ron Hardy – Sensation (Obi Blanch edit)
03. In Flagranti -Gridlock
04. Seaside Houz Boyz -From A Man’s Journal
05. Umba -Concussion
06. Jimmy Edgar – This One’s For The Children
07. Model 500 – No UFO’s (D-Mix)
08. Unovidual & Tara Cross – Comme Je Suis (Based in the Sling & Samo mix)
09. Agoria feat. Carl Craig & La Scalars – Speechless (Gesaffelstein Remix)
10. T.S.O.S. – Over And Over
11. Scuba – Never
12. Secondo – Discombabulate
13. Amin Peck – Girls On Me
14. N.Y. House’n Authority – Ravenswood House
15. Jared Wilson – Let Your Body Make Your Body
16. Factory Floor – Two Different Ways
17. Children Of The Night – It’s A Trip (Mike Hitman Wilson’s Mix)
18. Gingy & Bordello – Body Acid (KiNK’s on Acid Remix)
19. Spandex – The Bull (Erol Alkan Rework)
20. Kölsch – Opa
21. Connan Mockasin – Forever Dolphin Love (Erol Alkan Rework Version 2)
CD2: Bugged In
01. Jan Hammer Group – Don’t You Know
02. Matthew Herbert – Leipzig
03. Bibio – All The Flowers
04. Michael Head – Queen Matilda
05. Adjagas – Mun Ja Mun (Instrumental)
06. Gorky’s Zygotic Mynci – Miss Trudy
07. Mickey Moonlight – We’ll Meet Again (Bugged In Mix)
08. The Make Up – I Am Pentagon
09. Dibidim – Badminton Bay
10. The Space Lady – Major Tom (Coming Home)
11. Jai Paul – Jasmine (Demo)
12. Margot – Voci Giaga
13. Chromatics – A Matter Of Time
14. Space Dimension Controller – The Love Quadrant
15. Robert Wyatt – At Last I Am Free
16. Walls – Gaberdine (Nathan Fake Ambient Version)
17. Buffalo Springfield – Expecting To Fly
18. Plush – Soaring and Boring
!K7 will release Another Bugged Out Mix / Another Bugged In Selection on September 4th, 2012.
(via Resident Advisor)
Parklife 2012 lineup lands!
It’s here! After months of waiting, rumours and a few inadvertent leaks, the Parklife 2012 lineup announcement has finally arrived. The spring festival institution hits Brisbane, Sydney, Perth, Melbourne and Adelaide this September and October, and predictably it’s got a huge assembly of big names in tow. Leading the charge is locals The Presets, backed up by a long-awaited Robyn, recent Summadayze visitors Justice on the decks and US electro-pop act Passion Pit.
With this year’s tour following a giant, bass-heavy 2011 lineup that included Magnetic Man, Neroand Flux Pavilion alongside Digitalism, Ed Banger dude SebastiAn and the legendary The Streets, Parklife has a lot to live up to. So, have Fuzzy topped it for 2012? Check out the lineup below and let us know what you think.
Parklife 2012 lineup:
Justice (DJ Set)
DJ Fresh (Live)
Jack Beats (Live)
Softwar (East Coast)
Jacques Lu Cont
+ More to come
Beatport Launches Mixes: Sell Your DJ Mixes Legitimately
We’ve got all the details and an exclusive interview with the Beatport CTO on the launch of a brand new service they call Mixes. Mixes allows DJs to upload and sell their mixes legitimately and legally, with Beatport handling all of the payment to labels and performance rights organizations. What’s in it for you, the DJ? Find out after the jump.
Beatport continues to expand into the DJ space, with Mixes being the latest of a recent wave of DJ related services (DJs, Play, and Sounds were all introduced in the last year). Mixes promises to clear the way for legitimate mixtapes to be sold online from any DJ, assuming that they’ve purchased those tracks through Beatport. While for now, Soundcloud and Mixcloud allow users to upload mixes without worry, Beatport is betting on a future in which labels and performance rights organizations (PROs – you might better know them as ASCAP, BMI, and other similar organizations) will start actively pursuing users on these sites and doling out takedown notices.
That’s where Mixes comes in, allowing DJs to upload mixes with tracks they’ve purchased and put them on sale for a relatively low cost. It’s the first service that actively pays out labels, PROs, and DJs for the purchase of a mixtape (Mixcloud is partnered with SoundExchange, a PRO- but doesn’t pay money directly to labels).
HOW TO CREATE A MIX
There are three key requirements when uploading a mix. First, you have to already have an account with Beatport DJs. Secondly, the tracks in the mix that you upload have to have been purchased with a Beatport account – this is used for tracklist and paying out labels/PROs. Finally, the mix has to be no larger than 500MB, in 320 MP3 format only.
The tracklist process feels fairly similar to Mixcloud’s required tracklist, in that it allows DJs to set their tracklist with specific start times for each song. Unfortunately there’s no auto-detection of tracks here, so you’re still going to have to figure out when you mixed what track yourself. Beatport does automatically pull your purchase history – because again, their model works around the idea that you’re uploading mixes with only Beatport-purchased tracks in it.
WHAT ABOUT NON-BEATPORT TRACKS?
You can upload mixes with tracks that were not purchased off of Beatport and sell those mixes but non-Beatport tracks will not get a cut of the revenue. Beatport told us they will not actively work to take this content down, but they will comply with any takedown requests received from performance rights organizations or labels. The terms and conditions also make allowances for uploading mixes with your own content.
SHOW ME DA MONEY
The price breakdown of mixes works like this:
- Mixes cost $5.29 to purchase
- DJ will earn 10%
- Label gets 60%
- PROs get 30%
If you add those numbers up, you’ll noticed that there’s no percentage points left over for Beatport. Beatport’s CTO Peter Siciliano noted to us in a short interview on Mixes,
“We’re not going to make a lot of money off of this. This is ‘Let’s find out what it actually takes and what the cost is to do a legal mix, and then carve out the space however it makes sense’ “
WHY WOULD ANYONE DO THIS?
You might be asking yourself what the advantage of charging for a mix when you can upload for free on Soundcloud with minimal chances of getting taken down. Part of the equation is the legal dilemma of the future that mentioned earlier: that Performance Rights Organizations like ASCAP and BMI will, in Beatport’s eyes, not continue to allow podcasts and mixes to be distributed for free.
“It’s possible PROs will never crack down on anybody else and we will always have free mixes forever, but I don’t see that being the true future.” – Peter Siciliano, CTO at Beatport
But why put it up on Beatport? First off, money goes directly to labels – something that Mixcloud doesn’t do, since there’s no established relationship with labels like Beatport has. Secondly, building your identity through Beatport has a larger potential of success in their eyes – with millions of eyes seeing Beatport pages on a regular basis, if you promote and land a mix that gets featured in the top 10, it’s a quick way to potentially get noticed.
WHAT’S NOT SO HOT
While Mixes breaks into previously uncharted territory for mixtape distribution, there is one element that we’re a bit hesitant about. Most DJs have large collections of music from a number of different sources. Even if you’ve legitimately purchased a CD, record, or even just a track off of iTunes in the past, it’s technically against the rules to upload it to Mixes. Smaller artists who don’t distribute their music on Beatport might still be perfect for inclusion in an incredible mix, but they’ll receive no recognition in the tracklisting or in the final payout of the royalties.
Beatport is absolutely one of the few major players in distribution of music for DJs, but other legitimate sources exist – and we’re not ecstatic about the idea of re-paying for a track that we already own just to include it in our mix.
(via DJ TechTools)
Luciano Preps Another Vagabundos Mix
Luciano has put together a mix called Vagabundos 2012, due for release at the end of July.
Vagabundos 2012 is the Cadenza boss’s second mix of the year, following January’sdigital-only effort. Much like that release, the upcoming collection showcases Luciano’s digitally-enhanced DJ style, coursing through 23 tracks in total with as many as four tracks going at once. According to a press release, the vibe this time is all about Ibiza, where Luciano came into his own as a DJ years ago and remains a key figure today, thanks to his long history at clubs around the island and his currentVagabundos residency at Pacha, which has grown into an international party brand since it began in 2010. Vagabundos 2012 will be available digitally and on CD.
01. Le K – 25th Of February Anatomy
02. Substance & Vainqueur – Reverberation / Le K – 25th Of February Anatomy
03. Technasia – Michigan Ride / Substance & Vainqueur – Reverberation
04. Nick Harris – Surfing With Kilgore / Technasia – Michigan Ride / Substance & Vainqueur – Reverberation
05. Alex Gori – Zinghei / Nick Harris – Surfing With Kilgore
06. BBQ – BBQ Bounce / Alex Gori – Zinghei
07. Pompeya – 90 (Gorge Hewek Remix) / BBQ – BBQ Bounce
08. DJ Wild – Catania Blues / Nick Harris – Surfing With Kilgore
09. Wata Igarashi – D-28-2 / DJ Wild – Catania Blues
10. DJ Wild – Catania Blues
11. NTFO & Optick_Tremble (Rhadow Remix) / DJ Wild – Catania Blues
12. Dave Aju – Away Away / NTFO & Optick – Tremble (Rhadow remix)
13. Sarp Yilmaz – Shoot / NTFO & Optick – Tremble (Rhadow remix)
14. Plaid – Dett / Sarp Yilmaz – Shoot
15. The Sushi Club – Flunauticus (Johnny D remix)
16. Zakes Bantwini feat. Xola – Clap Your Hands / The Sushi Club – Flunauticus (Johnny D Remix)
17. Dani Casarano / Felipe Valenzuela / Demian Muller – Dreamer / Zakes Bantwini feat. Xola – Clap Your Hands
18. El Pocho – Don Quixote / Dani Casarano / Felipe Valenzuela / Demian Muller – Dreamer
19. Guy J – Lamur AM mix / El Pocho – Don Quixote / Dani Casarano / Felipe Valenzuela / Demian Muller – Dreamer
20. Romathony – Bring U Up (Deetron Edit)
21. Marc Romboy vs KINK – Don’t Shake My Tree
22. Daniell – Don’t Stop Run / Marc Romboy vs KINK – Don’t Shake My Tree
23. Lucien-N-Luciano – Somewhere We Got / Daniell – Don’t Stop Run
Cadenza will release Vagabundos 2012 on July 23rd, 2012.
(via Resident Advisor)
The Rave in Spain Falls Mainly on the Plain
In case you thought the whole EDM-as-pop-on-steroids thing was a uniquely North American phenomenon, think again: Dance music’s mainstream U.S. breakout is also changing the shape of the scene in Europe — even in Spain, a country whose fans traditionally have shown a preference for harder, more uncompromising, and more underground sounds (and where, it must be said, dance music has been more or less mainstream, anyway).
The first sign of the shift was David Guetta’s appearance last summer at Monegros, a desert festival that has served as a showcase for techno at its toughest. (Despite a vocal contingent of disgruntled ticketholders who set up a Facebook group in protest — some even threatened to throw tomatoes — the set apparently went off without the world coming to an end.) This year, I’m seeing bookings at Spanish clubs and festivals that would have been virtually unthinkable just a few years ago. The most notable being Deadmau5, who played at the 19th edition of Barcelona’s celebrated Sónar festival this past weekend.
Sónar has never shied away from pop artists with plenty of crossover appeal, like Björk, the Beastie Boys, and even Roxy Music. But the presence of North America’s biggest electronic-music star was unusual in the context of a festival that has tended to prefer its dance music either left-of-center or, in the case of regular returnees like Jeff Mills and Richie Hawtin, pummelingly classicist. Deadmau5 is neither, but that clearly didn’t matter to the Saturday night crowd at Sónar, according to the critic Javier Blánquez, writing in El Mundo:
“[Deadmau5] is not popular in Spain, but in the United States he is to live electronic music as Cirque du Soleil is to acrobatics. Deadmau5, the man with the mouse head, filled the colossal Sónar Club all by himself, garbed in his rodent costume and wrapped in LEDs, with his mixer glimmering and his procession of hymns tinged with progressive; [his music] was celebrated as if it represented the reinvention of the dance-music wheel — which, in fact, for 20-somethings, it does.”
Deadmau5 wasn’t the only representative of North America’s big-tent EDM scene courting new fans in Barcelona this past weekend. The East Ender Festival, organized by promoters with a long history of throwing beachside parties geared to European tech-house tastes, mostly stuck with the program this year, but you could sense a shift in the winds: Alongside the usual four-to-the-floor foot soldiers (Loco Dice, Marco Carola, Sven Väth, Davide Squillace, Ellen Allien) were “dirty Dutch” electro-house star Chuckie and the pie-throwing, crowd-surfing gadabout Steve Aoki. (Dubfire sparked a minor twit-fit when he posted a photo with the caption, “Steve Aoki and Richie Hawtin B2B,” only to reassure his followers that it was just a joke. Maybe, but when Hawtin posted a photo of himself mugging with Aoki on a Barcelona street, many commenters didn’t seem to find anything funny in that collision of two worlds.)
This summer, Ibiza, long considered an underground stronghold, becomes a proving ground for mainstream EDM’s viability as a tourist draw. Exhibit one: Ushuaïa, the luxury hotel and beachside entertainment complex, has granted residencies to David Guetta and his entrepreneurial wife Cathy, Swedish House Mafia, and Avicii — a fact all the more notable given Ushuaïa’s history as a chiringuito that hosted epic afternoon sessions from the likes of Luciano and Ricardo Villalobos. (That Luciano also has a residency this year says more about his own transformation into a pop-dance go-between than the venue’s commitment to grassroots house and techno.) Exhibit two: July’s Ibiza123 Rocktronic Festival, a co-venture between Live Nation Spain and the Ibiza International Music Summit, has adopted a something-for-everyone approach with a bill split between main-stage EDM (David Guetta, Tiësto, Chase & Status), indie dance (M83, Azari & III, Nicolas Jaar) and genuinely ginormous names like Sting and Elton John. Luciano will be here, too, performing alongside Lenny Kravitz. Is Ibiza gonna go their way?
Of course, Ibiza isn’t really “underground” — there’s too much money at stake for that — and it has never wanted for spectacle and excess. Nevertheless, an underground ethos (or mythos) has reigned supreme for the past decade, as parties like Circo Loco, We Love… Space, and Sven Väth’s Amnesia extravaganzas have provided a headquarters for the diehard faction of the EasyJet set. That’s not going away any time soon; in fact, Sankeys’ new club on the White Isle offers still more choices for committed clubbers with true-school tastes, while Hawtin is launching Enter, his first party series on the island, with a focus on “music, technology and sake.” But some Ibiza promoters, like their Vegas protégés, are clearly betting on a public that doesn’t know its rental villa from its Ricardo Villalobos, and simply wants to dance to familiar refrains in a high-energy setting.
Monegros, for its part, seems to have backed away from Guettamania for this year’s edition. The biggest stars to visit the desert this year will be the Prodigy and Paul Kalkbrenner, artists far more in keeping with the festival’s meat-and-potatoes aesthetic. The third top-billed act is, in fact, an outlier of a sort, and representative of a sound also made popular in America. But if anyone’s going to be throwing tomatoes, they’d better do it Shaolin style: Wu-Tang Clan ain’t nothin’ to fuck with.
Kermit The Frog Wants To Record With Adele + Skrillex
When asked which actors and singers he admired, he said: “Tom Hanks. If I were taller, less green and had hair, I’d want to be him. As for singers, it would be fun to duet with Adele some day.”
Miss Piggy quickly added: “Sorry Adele, the frog isn’t available anytime soon.”
Kermit previously said that he wanted to work with Skrillex. He said: “I’d love to collaborate with an electronic artist and I’d love to work with Skrillex, even though I’ve never heard his music. We don’t get electronic music in the swamp. There’s something about electricity and water that just doesn’t mix.”
Miss Piggy agreed, and said: “Moi simply can’t sit still when Moi hears dubstep. The bass is so powerful and the whole effect is so mesmerizing and overwhelming! If I were a kind of music, I’d be dubstep.”
(via 411 Mania)