GDD™ Morning Update: Daft Punk, Boys Noize, A Guy Called Gerald, Dubspot + Ableton, Decibel Festival, Aphex Twin, M83, Live Nation, John Tejada

Happy Friday! Today’s news features Daft Punk, Boys Noize, A Guy Called Gerald, Dubspot + Ableton free trials, Decibel Festival, Aphex Twin, M83, Live Nation, and John Tejada. Please read on after the jump.

Is there a new Daft Punk song coming in July?

Ever since Nile Rodgers let slip that he’d been working with a certain French duo on their next album back in February, the internet’s been on Daft Punk hyper-alert. While we’re still (impatiently) awaiting any official information on the as-yet-untitled fourth album from the pair themselves, rumours that a new Daft Punk single is just around the corner have sprung up overnight.

It all started when keen-eyed fans on Daft Punk forums noticed that French electronic music magazine Tsugi had released an issue mentioning an (as yet non-existent) Daft Punk track titledRenoma Street . When the mag was asked about the mysterious mention on Twitter, Tsugi Editor Patrice Bardot responded with a cryptic “21/7”, which – if you’re to believe the rumours – could be a release date for the track. This was picked up by beatmyday and factmag, who also noted that “Renoma Street” is the name of a well-known Parisian café and speculated that the track could be part of a forthcoming compilation CD from the magazine, to be given away alongside their next issue – which is due out on July 21.

But just as the interwebs was about to go into overdrive, Pitchfork stepped in to spoil everyone’s fun. Without revealing any further information, the website has stated simply that they can “confirm” that rumours of a new track are not true. Of course, without actually providing a source behind or reason for debunking the rumours, Pitchfork’s word is only as good as speculation.

So what do we know for sure at this stage? After Rodgers’ big reveal earlier this year, American songwriter Paul Williams stated that he’s in on the act too and said that the album is “coming maybe June” and at IMS Ibiza in May, legendary Italian producer Giorgio Moroder revealed he too had been working on the album. We may well have to wait until July 21 to see if there’s any truth behind the Renoma Street rumours – but here’s to hoping, right?

(via inthemix)

Boys Noize: New stage show, new album, new beer

So far, 2012 has been the year of the ridiculously large stage setup. We’ve seen Skrillex launch his Spaceship, Avicii debut his (not-so-successful) mask and Infected Mushroom do their sets from two giant balls. Now, it’s time for another inductee to the hall high production stakes fame: Boys Noize.

The German techno whiz has announced that his next tour will see him debut a new live stage production, which – according to – will present him “perfectly framed in a terminatoresque stage featuring ‘The Skull’, accompanied by brute visuals and storming lights”. That’s right, “terminatoresque”.

But before ‘The Skull’ is unveiled in Europe later this year, it looks like we’ll be getting the new Boys Noize album. Ridha posted on his Facebook earlier this week that his third album is “98.9% finished” and the official word is we’ll be seeing the follow-up to 2009’s Power sometime this October.

And just to cap it all off, Ridha’s announced he’s got one more iron in the fire: his own beer. The producer has put his name to a limited edition “Boys Noize Techno Beer” for German brewery Becks, posting a photo of the creation to his Facebook. According to the Becks website (and a hazy Google German-to-English translation), the beer’s label designed by Ridha “reflects the comeback of acid house and the smiley as the symbol of the movement that can definitely be called a primordial soup of dancing the night”. Questionable translations aside, it’s a cool concept. Now, let’s just keep those fingers crossed for an Australian tour.

(via inthemix)


A Guy Called Gerald vs deadmau5

deadmau5 has responded to A Guy Called Gerald’s open letter against him with a short statement.

deadmau5 remains a divisive figure. For some, the producer is a hero, helping to spearhead electronic music’s assault on the Stateside charts. For others, he is a pure charlatan, someone who has based his career on hype and the lowest common denominator beats.

British legend A Guy Called Gerald lashed out at deadmau5 earlier today, in a blog posting which swiftly went viral. Taking issue with a recent interview in Rolling Stone, the producer wrote: “The only button you and people like you are interested in pushing is a nuke for the Palestinians. You come into our system that we have nurtured for the last 25 years, trick hardworking people into giving you their money, con honest promoters, take large sums of money out of the system and then spit back into our faces that YOU are tricking everyone”.

“I agree there are loads of people like you who do fake it. It is easy with the software you are using. Don’t worry we are going to find ways of stopping you. You greedy rat head fuck”.

Pretty damning stuff. Holding a Q&A session with fans on his Tumblr, deadmau5 was asked his feelings on this rant. “i dont give a fuck. esp with the anti-sematic statement about ‘nuking palestine’ ??? what an ignorant fuck. im not going to even give him the time of day. waste of time. let him go back to being no longer relevant.”

Later, deadmau5 posted a more general comment on the negativity he receives. “i have a cat, a studio, all the music making gear i need, and some lovely fans who remain true to my craft. and as irrelevant as i’ll become, ill likely live out the rest of my days, paying taxes, living comfortably as a nondescrip musician who wont be making headlines, selling out arenas. because i have no idea what thats like or anything. wow, im really doomed here. watch me laugh it off while it happens, continuing to do what i love to do.”

Read his full postings HERE.

(via Clash Music)


Dubspot + Ableton 30 | 30, Free 30-Lesson Online Course + Free 30-Day Ableton Live Trial

Dubspot is offering a special 30 | 30 promotion: 30 free video lessons on Ableton Live to users who download and activate Ableton’s free 30-day trial of the software. (The course is also available to all registered owners of Live.) The main goals of the partnership are to help new Live users learn how to turn their ideas into sonic reality and give them a glimpse into Dubspotʼs full Ableton Live curriculum. If participants enroll by July 7th, they will have the entire month of July to access the videos and modules as often as they want and go through the lessons. All those who enroll and get a perfect score on each of the brief quizzes contained in the course are also eligible to win a spot in Dubspot’s full 6-level Ableton Producer Program through our online school.

This free course packs a surprising amount of material into 30 lessons, including DJing with Live, Beat Programming, Simple Sound Design, and Producing a Remix. Participants will learn how to quickly get started making music with Live. Developed by Dubspot Instructor and Ableton Certified Trainer Thavius Beck, the videos and modules also feature loads of great information for advanced Live users.

Dubspot is also sponsoring a remix contest for one of the tracks heard in the 30 | 30 course. The track is “Runway,” produced Thavius Beck, featuring Blackbird. To participate, enroll as a student in 30 | 30 and create a remix using the stems provided in Module 4, “Producing a Remix.” When you are finished with your remix,  export your final version and upload it to our designated Soundcloud group 
The winner of the remix contest, chosen personally by Thavius Beck, will receive a QuNeo MIDI controller from Keith McMillen Instruments.
All entries must be submitted no later than July 25th, 2012.

Be eligible to win a place in Dubspot’s 6-level Ableton Producer Program offered through our online school (along with a free copy of the Live 8 Suite software) by enrolling in the course and scoring 100% on each of the brief quizzes contained in the modules.

For more details on 30 | 30 visit:
For full remix contest details visit: 




Orbital, The Cannabinoids featuring Erykah Badu, and Shpongle have been added to the line-up for the 9th annual Decibel International Festival of Electronic Music Performance, Visual Art and New Media. This rounds out an amazing list of headliners including Kimbra, Carl Craig, Matthew Dear, Fennesz, John Talabot, Ariel Pink, Actress, Nina Kraviz, and Baths.

Other new additions include Balam Acab, MartyParty, Teengirl Fantasy, Shlohmo, Starkey, The Knocks, k. flay, Axel Boman, Appleblim, xxxy, Salva, Baauer, The Stepkids, and Orcas.

Visit The Decibel Festival website for the complete lineup, to purchase tickets, and more details. Decibel takes place September 26-30th at various Seattle venues.


Aphex Twin’s Remote Orchestra Comes to London

Aphex Twin will give his first UK performance of his Remote Orchestra in London’s Barbican Hall later this year. 

The electronic producer, whose real name is Richard James, will conduct a 28-piece orchestra and a 12-person choir using a remote control. He’ll also perform his interpretation of minimalist maestro Steve Reich’s piece ‘Pendulum Music’. 

The revolutionary setup was developed last year for the European Culture Congress in Poland. It’s a one-off performance assisted by the modern, arena-performing Heritage Orchestra and Choir. 

Tickets are on sale now for £25-35. Aphex Twin plays Barbican Hall 10 October 2012. 

(via Mixmag)


M83 to score Tom Cruise Disney film

Electronic musician M83 is set to score a feature-length Disney sci-fi film, starring Tom Cruise.

The filming for Oblivion will start next month in Iceland with Tron: Legacy director, Joseph Kosinski at the helm. Currently the film is set for release in April next year.

In an interview with The Playlist M83 (Anthony Gonzalez) said: “I’ve wanted to do soundtracks for so long, and starting with such an ambitious project, especially in the sci-fi category, means a lot to me.”

The character-driven tale takes place in a vast Avatar-esque world, Gonzalez says his vision for the music is “really to have a combination of very electronic moments, very M83, and sometimes merge into something more soundtrack-y, but my kind of soundtracks.”

Kosinski said this of Gonzalez’ work: “It can feel very intimate but it also can feel just huge when it has to. His music is able to capture all those different feelings and qualities simultaneously.”

This isn’t the first time Gonzalez has contributed to a soundtrack however, his track Lower Your Eyelids To Die With The Sun was featured in the 2008 British thriller Donkey Punch (the title describes a crude sex act); needless to say his score for Oblivion will be vastly different.

Alongside Tom Cruise, Oblivion will star actors Olga Kurylenko,Andrea Riseborough, Nikolaj Coster-Waldau and Melissa Leo.

(via The Music Network)


Live Nation’s EDM chief James Barton on music’s U.S. future

On Wednesday, the Los Angeles-based electronic dance music promoter Hard Events was bought byLive Nation Entertainment, one of the world’s largest concert and ticketing companies. Hard, which was founded by Gary Richards in 2007, was bought a few months after Live Nation acquired another big electronic music promoter, U.K.-based Cream Holdings, promoter of the popular Creamfields festivals.

When Cream was bought in May, Live Nation Chief Executive Michael Rapino brought on Cream’s founder, James Barton, and named him the new president of the company’s Live Nation Electronic Music division. In that capacity, Barton will oversee Live Nation’s worldwide EDM initiatives. Below is an edited transcript of a conversation Pop & Hiss held with Barton after the news of Hard’s purchase was announced.

Was it a hard decision for you to sell Cream to Live Nation?

No, it actually wasn’t. It was always part of our strategy, always part of our long-term plan. And the reasoning behind that is we wanted to move the business on to the next stage, and in order to do that, in order to grow the business the way that we wanted it to grow, we really felt that it needed the support and the resources of a bigger company. So doing this deal with Live Nation was always part of our strategy at some point, and obviously we decided to do it now.

Was the acquisition of Hard Events one of your priorities when you joined Live Nation, or had this deal already been in the works?

A bit of both. Again, the reason why I came on with Live Nation was because of the vision that [Live Nation Chief Executive] Michael Rapino explained to me what he wanted to achieve with electronicmusic inside of Live Nation. Obviously, part of that discussion was to offer me this new role as president of electronic music for Live Nation, and obviously there were some early discussions about what other steps, and what other people we would like to involve in this plan moving forward, and Gary Richards and Hard was always at the top of both of our lists. So strategically, and personality wise, it just made a really, really good — it actually made it a bit of a no-brainer that we should pursue some sort of partnership or deal with Gary Richards and Hard.

The words “electronic dance music” and “Live Nation” aren’t words that five years ago people would have expected to be used in the same sentence. Do you worry about a culture that has thrived on independence moving into a different atmosphere?

I don’t worry at all. I think that, first and foremost, I strongly believe in the principals with which I’ve grown my business over the last 20 years, and I’m sure that Gary Richards believes in exactly the same principals. I think that I have the flexibility and authority and the support to be able to build a credible electronic division inside of Live Nation.

And look, the truth is that maybe the U.S. doesn’t know this, but outside of the U.S., Live Nation has been involved in some capacity with electronic dance shows for quite some time — and also have done that really, really well. I’ve known Michael for 10 years. I have total respect for him and I totally buy into his vision.  I’ve been staunchly independent for 20 years, and I’ve run my businesses throughout all of that entire time. It’s a combination of the timing for electronic music globally right now and a very strong belief in what Michael Rapino is trying to achieve here. I wanted to be a part of that, and obviously when we got round the table with Gary and explained exactly what we were trying to do here, Gary also felt as though it was something that he wanted to be a part of.

I think if you look at Live Nation’s move into electronic music up to this point, I think everybody could sort of feel comfortable saying that purchasing Cream, hiring James Barton, was a smart move, and purchasing Hard and hiring Gary Richards and his team was also a smart move.  So I think we should be judged on what we’ve done instead of what the perception of Live Nation is. And I’m more than comfortable. I’m actually delighted to be building out this overall strategy with Michael and the team at Live Nation.

Where do you think your new electronic division will be two or three years from now? Some people say we’re in a bubble right now with dance music.

We don’t feel that way. I’ve got over 20 years of experience booking DJs and running large-scale events in this music. That’s not a bubble. We’re serious people. Live Nation is a serious operation. Live Nation is in the business of delivering exciting music events for America, whether they’re EDM, country  or rock ‘n’ roll. We’re in the business of creating shows, and I think that because of the sort of new interest of electronic music in North America, it was always — always — going to be part of its strategy.

And don’t forget, Michael Rapino has been putting this together for two years — maybe three years. It’s not something that he suddenly jumped on in the last few months. The Cream conversations stretched for months and months and months, and the deal took a similar amount of time. So I think it’s harsh for people to insinuate that Live Nation is operating inside of a bubble.

Again, let’s go back to the deals and announcements that were made last month and this month. Live Nation has secured the services of Cream, and secured the services of myself moving forward. We’ve now secured Hard, and also the services of Gary Richards moving forward, and there will be further, similar announcements coming up in the next few months. This is a strategy that me and Michael want to put together. We don’t want to be anything else but credible and relevant in this space. And I think that anybody that’s involved in this music would agree that Creamfields, Cream and Hard are credible and relevant.

Will there be a recorded music component of Live Nation Electronic Music going forward — a record label or an acquisition of a label?

We don’t have a strategy which stretches that far. What we want, again, is to grow our business organically. We’re not going to go for this huge, aggressive campaign of creating shows on every corner of America. We haven’t got a plan to stretch out. We’re just going to wait and see. We’re going to keep our options open, and we’re going to make really, really sure that the businesses that we have in this division are doing the best shows we can, which obviously creates tremendous goodwill with the audience, which keeps them coming back year after year.

That’s what festivals are about. It’s about creating a bond. It’s about creating a relationship with the audience with stretches ahead 20, 30 years — who knows? Creamfields is 15 years old this year. Which demonstrates, again, the longevity, and also the passion and the relationship, that the EDM crowd has for their music and events. It stretches a long time, and goes a lot deeper than what people assume. It is a very, very meaningful, long-term relationship as long as we as promoters continue to do the right thing.

(via Los Angeles Times)


John Tejada Returns with New Album for Kompakt

Veteran electronic artist John Tejada is preparing to release his second LP for Cologne-based Kompakt, The Predicting Machine, later this summer. Following last year’s Parabolasalbum, on which Tejada expertly sculpted a clean techno LP with flourishes of pop sensibility in line with the Kompakt sound, the new release will see the Vienna-born, Mexican-American producer really hone in on the label’s aesthetic. Speaking on his forthcoming album, Tejada says, “I dug deeper on the modular side, trying out many new things, which inspired a lot of the songs… This felt like it had a direct purpose. I think that freed me a bit creatively.” The Predicting Machine will be released on double-12″, CD and digital formats on September 10. Before then, you can take a look at the tracklist and cover art below.

01 Orbiter
02 A Familiar Mood
03 An Ounce Of Perception
04 Winter Skies
05 Radio Channel
06 The Function And The Form
07 Stabilizer
08 Glaringly Happy
09 Horizon To Horizon
10 When All Around Is Madness

(via XLR8R)