GDD™ Morning Update: Daft Punk, Beatport, Creamfields UK, Goldie, Phil Gerus

• New Daft Punk Artwork Appears
• Beatport bought out by entertainment giants SFX
Creamfields UK announces blockbuster 2013 lineup
• Goldie Talks New Album, ‘EDM’ and His Bass-Devoted Life
Phil Gerus Releases Rainy On The Bright Side EP via Symbols Recordings

New Daft Punk Artwork Appears

After ‘One More Time’ was named the Greatest Dance Track Of All Time by Mixmag readers, Daft Punk have suddenly broken their silence surrounding their forthcoming new record with some cryptic pictures and statuses on their Facebook page.

The duo, who rarely update their page, have posted a a picture of their helmets side by side with Columbia marked in the corner.

This confirms the rumours that their new record is to be released via the label.

They also posted a link to their website, which crashed after a heavy influx of traffic. Their site has been updated to show the same artwork as is posted to their Facebook. Intriguing indeed.

Check out the interview with Nile Rodgers about the new Daft Punk album below.

(via Mixmag)


Beatport bought out by entertainment giants SFX

SFX, the company behind live music behemoths Live Nation, have purchased online music retailer Beatport. 

Under Sillerman’s watch, SFX spent the 1990s merging local gig promoters into an enormous nationwide – and, eventually, international – promotions company. With the backing of US radio giants Clear Channel, SFX’s conglomerate eventually developed into Live Nation, who still rank as the biggest live entertainment company in the world.

Sillerman’s been making noises for a while about wanting to capitalise on EDM’s giddy commercial ascent. The 64 year old has been in talks with 50+ dance-orientated companies across the world, and has previously promised to invest $1bn into acquisitions in the sector. As The New York Times note, he’s scooped a big prize, picking up US-based dance music siteBeatport for around $50m.

Beatport has become something of a rallying point for the ever-expanding legions of EDM enthusiasts. Primarily used as a download service, the site also hosts music news, hawks loops and patches through its Sounds To Sample Service, and hosts a popular Top 100 chart. It currently boasts approximately 40 million users.

According to Sillerman, “Beatport gives us direct contact with the D.J.’s and lets us see what’s popular and what’s not. Most important, it gives us a massive platform for everything related to E.D.M.” Beatport CEO Matthew Adell also suggested that the company would use SFX’s clout to move into emerging dance music markets, including India and Brazil.

(via FACT Mag)


Creamfields UK announces blockbuster 2013 lineup

By now a renowned fixture on the UK festival calendar, Creamfields has revealed its typically exhaustive line-up for 2013. Planning to spend the tail-end of the Northern summer living it up overseas? While the festival always makes sure to secure big-name headliners, it’s the full picture that really counts.

The extended weekender in the countryside will set up camp at Daresbury, Cheshire from Friday 23 to Sunday 25 August. This time round, the Saturday night is headed by The Prodigy in its only UK performance this year, with drawcards like Madeon, Avicii, Knife Party, Above & Beyond and Steve Angello. Also on Saturday is Pryda Friends, with Eric Prydz joined by some of his like-minded contemporaries. Sunday’s marquee name is Tiesto, who leads the Club Life stage with Steve Angello, Hardwell and more. Then there’s David Guetta on the North Stage with U.S. wunderkind Porter Robinson and others, while Sebastian Ingrosso curates his own tent and Richie Hawtin pulls together his ENTER pals. Check out how it all looks below.

In 2012, the final day of Creamfields had to be shut down due to flooding. The Sunday festivities were set to be headlined by Deadmau5, Tiesto, Sub Focus, Axwell and Calvin Harris, but after hours of uncertain waiting, organisers advised festival-goers that people on the site should begin leaving.

“Following heavy rainfall over the last 24 hours, significant and heavy flooding is affecting the Creamfields arena near Warrington,” the festival’s update read. “No serious casualties have been reported and Cheshire Police and partner agencies are supporting event organisers in ensuring the safety and welfare of festival-goers during this time. All customers wishing to come to the festival today are advised that the event entrances are now closed.”

Punters’ photos from the site showed some very un-festive scenes: tents submerged in muddy water, empty fields and rain lashing punters heading for the exits. The Bank Holiday weekend is traditionally a send-off to summer on the UK circuit. As ever, though, the weather’s the wildcard. In 2013, Creamfields has promised it is spending £500,000 on improvements to the venue in light of the flooding.

(via inthemix)


Goldie Talks New Album, ‘EDM’ and His Bass-Devoted Life

The drum ‘n’ bass legend assesses his history with new best-of “The Alchemist.”

With all this talk of dubstep and trap, it’s easy to lose sight of the original bass movement in dance: drum ‘n’ bass. When the genre hit the States in the late ‘90s, one of its breakout stars was the charismatic Goldie, whose gold-plated teeth weren’t even his most definitive feature. Goldie’s productions merged acetate-cut, club-ready d ‘n’ b with melodies, strings, and emotion, bringing the sound overground. The DJ, producer, label head, actor, graffiti artist and public speaker is now celebrating 20 years in the scene, with three-CD compilation “The Alchemist: The Best of Goldie 1992-2012,” out March 11.

Born Clifford Joseph Price, Goldie has sold over 2.5 million records during his 20-year career (driven by hits like “Angel,” included on “Alchemist”), in addition to running the Metalheadz label, which he founded with Kemistry & Storm in 1994. The Discogs page for Metalheadz reads like a who’s who of drum ‘n’ bass history. The label has not only released groundbreaking mixtapes, like their Platinum Breaks series, but also tracks from artists including Doc Scott, Grooverider, Dillinja, Photek, Adam F and more.

Now Goldie tells CODE that he’s working on a new artist album, featuring collaborators like Flying Lotus, Burial and Photek. The pictures included in the deluxe edition of “Alchemist” tell their own story. Check out the exclusive snaps throughout this page and read on for career advice, a history lesson, and a drum ‘n’ bass 101 primer from Goldie.

What do you think when you hear the phrase “EDM”?

Number one, I don’t know any of this EDM America or EDM UK. If you want to talk about EDM, let’s talk about Detroit underground music, Chicago house and let’s talk about all the things that got us to this place. We all get on the train of dance music. We need to all respectfully look through the carriages that have come before us and realize how we got here.

The new generation of kids is so connected to the Internet, yet they have no history about where they come from and know nothing about the music. When you’re part of any genre, it’s suicide to not respect where it came from.

We need to think about the younger generation. I made my first record at 27, and there are people who are 17 and 18 out there making records. Technology is acceptable and accessible now, and there’s a whole generation of people who are turned onto this music. What are we going to do, just turn a blind eye to them? We still need to try and educate them.

My whole thing with EDM is, if you have integrity and yet you regress in how you’ve been as an artist, there’s something not quite right there. If you’re just here to get paid, I find that very culturally indifferent. When you go into the studio, you have to know what you’re going in there for. I went into the studio because I had a voice and I wanted to change things, and I don’t necessarily mean my bank account. The money is almost a B factor, a side product.

It’s well known that you fell into drum ‘n’ bass in the early ’90s after hearing it in London clubs. How did you end up making it a career?

It was an evolution. I lived in Birmingham, New York, London and Miami. I looked over London and thought, “I want to be somebody.” Graffiti was the whole thing for me, and I was taking artwork to all the record companies, telling them that the new generation of graffiti was here. They couldn’t dig the artwork, it was too far ahead. So I went to an independent label [Reinforced] and asked them to let me redesign their label, as I knew then that it was all about the identity, being seen as a crew and having a mark. So for me, it was an easy transformation, as I knew I wanted to record my own stuff in my own studio, and bring the label the finished product.

I took all my favorite records, my canvas-painting head, rented out William Orbit’s studio, and made my own music.

I look back on all of this music as my own Instagram, my waypoint. I always remember exactly what I was doing, where I was, and what the record meant to me. Like [1995’s] “Sea of Tears” for example. That was born sitting on a bench in Miami and having to fly back to England to bury my stepfather. I’ve always been honest about my music. We may not have made Suge Knight money, but we sure as hell sold a few albums.

Metalheadz’s release history reads like a who’s who of drum ‘n’ bass. Tell us a bit about how everything got started.

Our first ten releases are pretty much the bible for what you see now in drum and bass. Every artist we signed to the label went on to a major label. When we started, it was similar to what dubstep’s going through now: Even Britney [Spears] wants a piece! I wanted the Metalheadz crew to have a style, but everyone within the crew to have their own unique style. That was the blueprint.

So if someone was just coming into the scene and wanted to get to know drum and bass, what would you suggest that they listen to?

A history lesson? Start with early RAM Records releases, early Moving Shadow, and Metalheadz of course. Then you can go off in branches. If you want something that’s darker, I’d tell you to listen to Source Direct. If you want beautiful, smooth music, I’d say to go and listen to Roni Size.

There are also some beautiful new people that I could shine the light on, whether it’s Skream, Benga, Plastician, or Drew [Best] and John [Dadzie, aka 12th Planet] and those guys out in L.A. with SMOG. I think that SMOG did for L.A. and the West Coast what Metalheadz did for London and England in general.

What are your plans after “The Alchemist”?

After that comes [a new] artist album. There’s are a few names being thrown around. “Pages” is one. That album will deal more with people like Flying Lotus, Burial, Photek, D-Bridge and Total Science.

We’re also doing a completely notated version of [groundbreaking 1995 LP] “Timeless” with an 80-piece orchestra and choir, and it’s a different beast. I also have an art show called “The Lost Tribes” in September which takes my inspiration from around the world and indigenous cultures, and acknowledges where culture comes from today.

(via Billboard)


Phil Gerus Releases Rainy On The Bright Side EP via Symbols Recordings

Hailing from Moscow, Phil Gerus adds his unique funk flavor to the growing diversity of the Symbols catalog. A classically trained pianist, Phil grew up playing in a family jazz trio which is an obvious influence on his sounds today. Widely exploring software such as Reaktor and Max/Msp, Phil has constructed a very unique world of synths, walking basslines and expertly crafted beats. Easy to get lost in and hard to come back from. Purchase on iTunes or Beatport.

Phil Gerus – Rainy On The Bright Side EP (SMBL016)

01. Bring Me There
02. Rainy On The Bright Side
03. Turn Around
04. Yes, I Will
05. You Can’t Cross Me Out