Since my first and only time seeing Beats Antique live three years ago, I’ve always held a great respect for their creativity and performances. If nothing else, their brand is extremely entertaining and never without something to pay attention to.
They’ve translated that motif into their latest music video for “Killer Bee” featuring Lafa Taylor. First off, the video has a story, so it’s already miles ahead of most other “creative endeavors” out there. Second, the story is actually pretty easy to follow and highly engaging, begging viewers to pay attention and not miss a thing.
If you like the track, you can grab it on iTunes here.
Beats Antique are currently on tour, including appearances at Electric Forest this weekend and Red Rocks the following Friday. More information and tickets can be found here.
Beats Antique are also featured on TOO MANY ZOOZ’s new album ‘Subway Gawdz’ on the track “The Block,” out Friday, June 24.
They are hosting a contest where they are giving away tickets to ALL of their shows (except festival dates). More details can be found here: https://www.facebook.com/beatsantiquefans/posts/10153732159405669
This article was first published on Your EDM.
Source: Your EDM Premiere: Beats Antique – Killer Bee ft. Lafa Taylor [Music Video]
One of the more exciting new developments in the field of headphone technology is 3D audio, which aims to make the listener feel like they’re “inside” the music they’re listening to. OSSIC X unveiled the first-ever headphones utilizing this technology in Spring and now Waves Audio — the popular music production software developer — has developed their own application is seeking to mass produce the technology. Rather than having to purchase an entire pair of headphones to experience a 3D effect, Waves Nx is an application you can download to your phone or computer and combine with any pair of headphones to receive 3D sound.
A “tracker” accessory is placed on top of the headphones of choice, which works in tandem with the application to not only produce quality surround sound effects, but also track head movement and adjust sounds accordingly. Waves Audio has achieved this ability to replicate a near-perfect sound experience by creating algorithms based on thousands of live recordings from concerts, movie theaters, and video games — at least according to their Kickstarter video.
Thus far, their campaign has raised around $70k of their $200k goal, offering various packages of the beta app which can be purchased for as low as $79.
Extended sets are something of a rarity in dance music these days, though they do pop up every once in a while. Acts like Markus Schulz, Gareth Emery, Loco Dice and more have made a point of promoting extended sets for their use in “telling a story” over the course of a night. Not for the faint of heart, an extended set can often convey a richer experience than a 50-minute set interspersed with calls to “fucking jump.”
Now, Tiësto has announced that he will be doing an extended, six-hour set for this year’s annual Amsterdam Music Festival as part of ADE.
Now, this is noteworthy because of Tiësto’s current style of music. Can you imagine a six-hour set composed of just main stage, commercial music? It’s hard. So what if Tiesto was doing some kind of special classic house set, or, God forbid, a six-hour trance set?
Nothing has been said about his set other than the duration, so everything here is just speculative. However, why not now? His fans still love his old trance records, and what bigger stage and opportunity than a six-hour set at one of the most important dance events in the world?
Image via Rukes
This article was first published on Your EDM.
Source: Tiësto Announces Six-Hour Set For This Year’s Amsterdam Dance Festival
Listen to orchestral versions of Daft Punk, deadmau5, Skrillex and more on ‘Dance Music Symphony’ [Exclusive]
Earlier this week, we reported on a new concept album from Scandinavian conductor Hans Ek titled Dance Music Symphony, offering orchestral covers of 17 iconic electronic music compositions. Spanning everything from Swedish House Mafia’s “Greyhound” to older classics like Underworld’s “Born Slippy,” the tracklist presented an accurate summation of dance culture across the years, touching upon legendary acts old and new. Now, ahead of the album’s release on Friday, June 24, we’ve received the exclusive full stream.
Dance Music Symphony offers precisely what it promises: rich orchestral reimaginings of our favorite dance music staples. Composed by Ek in tandem with the Royal Stockholm Philharmonic Orchestra, the album is best appreciated as one continuous stream as the tracks naturally blend into each other.
As you’d expect from the sheer diversity of the selections, some songs translate much more naturally into symphonic form than others — a testament to the beautiful musicianship behind many of these compositions. The Chemical Brothers’ “Galvanize,” for instance, is not only instantly recognizable, but arrestingly infectious in orchestral format. Other favorites include the reworking of deadmau5′s “Strobe” — a song that fans have clamoring for in symphonic form since its arrival back in 2009 — as well as Daft Punk’s “Aerodynamic,” which Ek noted already contains elements of Vivaldi and Prokofiev.
Chemical Brothers – Galvanize
Deadmau5 – Strobe
Daft Punk – Aerodynamic
Dance Music Symphony will receive its world premiere on July 2, on the main stage of Sweden’s largest music festival, Bråvalla, where it will be performed by the Norrköping Symphony Orchestra. Check out the album full stream below:
What So Not and vocalist George Maple go way back. Their collaborative track, “Gemini,” came as one of the most well received items on the EP of the same name, and propelled the relationship of the two into a now-iconic partnership. Today, fans have finally received the opportunity to hear them together once more.
Following his performance at this weekend’s EDC in Las Vegas, where he brought out both Maple and rapper Rome Fortune, the three have released a brand new single and accompanying music video. “Buried” comes as a brooding and minimal hip hop piece, uncharacteristic of many of What So Not’s previous releases.
The song begins with dampened, ethereal tones and George Maple’s airy vocals before Rome Fortune takes over the spotlight. The track swells upwards until a heavy percussion arrangement enters the mix, accompanied by distant echoes and a rumbling sub bass. Eventually, sweeping future bass synths punctuate the spaces in between the rhythm, leading to a gradual devolvement of the track’s components.
Watch the video below.
This article was first published on Your EDM.
Source: What So Not & George Maple Return With New, Visceral Collab [Video]
Since their sunset yoga performance at Burning Man in 2014, trance icons Above & Beyond have kept up their relationship with the yoga community through a Spotify playlist and Instagram shares from their Anjuna HQ classes.
The trio’s latest yoga-inspired release is a 90-minute mix comprised exclusively of Anjuna catalog suggestions and nearly double the length of the group’s original performance in front of the Robot Heart Bus in 2014. In addition to originals from A&B, the tracklist includes selections from Andrew Bayer, Dusky, Tom Middleton, and Ryan Davis, among others.
Released just in time for International Yoga Day (June 22), Above & Beyond’s new yoga mix is sure to put you in a state of bliss. Check out the full mix and tracklist below.
90 Minute Yoga Flow Mix Tracklist:
(00:00) 1. Above & Beyond ‘Small Moments’
(03:25) 2. Matt Lange ‘Rift’ [Kerry Leva Undo]
(06:24) 3. Vincenzo ‘Walk Home John Boy’
(11:59) 4. Andrew Bayer ‘Closing Act’
(17:01) 5. Ryan Davis ‘Beyer’
(20:53) 6. Tom Middleton ‘WYV AUW CHU’ [Beatless Mix]
(26:54) 7. Andrew Bayer ‘Do Androids Dream Pt. 3’
(30:15) 8. Dusky ‘Silence Never Heard’
(33:06) 9. Stephen J. Kroos ‘Spring’
(34:31) 10. Andrew Bayer ‘All This Will Happen Again’
(38:16) 11. Above & Beyond ‘Sun In Your Eyes’
(42:30) 12. Above & Beyond ‘Eternal’
(45:15) 13. Tom Middleton ‘HEVA’ [Ambient Mix]
(52:48) 14. Above & Beyond pres. OceanLab ‘Breaking Ties’ [Flow Mix]
(58:14) 15. Esteble ‘Passage’
(01:00:40) 16. Above & Beyond ‘Hello’ [Acoustic II]
(01:02:50) 17. Ólafur Arnalds ‘Only The Winds’ [Ryan Davis’ From Far Away Variation]
(01:07:00) 18. Above & Beyond feat. Richard Bedford ‘Thing Called Love’ [Arksun Filmscape Mix]
(01:11:53) 19. Solarity ‘Symbols’
(01:15:47) 20. Croquet Club ‘Andante’
(01:19:00) 21. Above & Beyond ‘Tri-State’
(01:22:14) 22. Above & Beyond ‘In The Past’
(01:24:30) 23. DEMS ‘Made For Myself’ [Jody Wisternoff and James Grant Remix]
Fluidity is a strong motif in Butch’s work, and is most certainly present in his latest release on Moon Harbour, El Camion. The EP’s eponymous A-side brings the mind to the shores of Ibiza, as subtle nature sounds combine with smooth bass frequencies and Spanish dialogue in the background to create visions of beach parties or busy streets. Hints of synths and exotic percussion add a lighter air to the piece, foreshadowing its success on outdoor dance floors.
El Camion will be released on June 27 and is Butch’s second release on Moon Harbour, with the first having been Juice Machine with Gel Abril. The German icon will also be immersed on a busy tour schedule throughout summer, heading over to San Francisco on June 25.
Since Twitter has injected $70 million into Soundcloud recently, the streaming service has been hard at work putting that money to good use – or at least what they think will benefit users and stakeholders.
First, Soundcloud announced the addition of a “Suggested Tracks” feature to their platform. At first glance, you may ask yourself, like I did, “How is this any different from the Recommended Tracks feature that’s already in place?” According to a Soundcloud rep, this feature aims to be more personalized than Recommended, which simply finds tracks similar to the one you’re currently listening to.
“It uses your listening activity to automatically find new tracks and artists based on likes and plays, and then will refresh frequently with tracks you won’t find on any other music platform,” he said.
Second, via a leaked press statement, Soundcloud will be discontinuing “the visual track feature which displays a full-screen visual behind the waveform.” Keep in mind that this is not referring to track art, but rather the full visual that appears behind the waveform as in the image below.
In the leaked statement, Soundcloud states this change will take place starting July 15, and will not apply retroactively. This means that if you want your track to feature visual art, start that process now or forever hold your peace.
The statement continues, “Why is SoundCloud doing this? While we know many of you are fans of this feature, we do not see it impacting fan engagement for you, therefore, we are shifting our resources from the maintenance of this feature to the creation of better tools and features that will help you drive fan engagement on SoundCloud.”
With the large injection of capital from Twitter, Soundcloud is likely making even more changes in the coming months. Stay tuned to be the first to hear about them here.
This article was first published on Your EDM.
Source: Soundcloud Will Disable Visual Artwork, Introduces “Suggested Tracks” Feature
Hot Since 82 has built an incredible name for himself in a relatively short period of time. On top of being one of the most in-demand tech house DJs in the world, he spearheads his imprint Knee Deep In Sound as a platform to push forward-thinking house music. Though the label is only a few years old, it has managed to set a new standard for quality and consistency, helping to usher in a new era of sophistication in dance music.
Daley Padley, the man behind it all, traces his roots in the scene back to the most famous party island in the world: Ibiza. This summer, he is returning to the sacred destination to put on his first ever residency on the island at the world-famous Pacha Ibiza. Hot Since 82 will be playing, hosting and curating three special nights of ‘Knee Deep in Ibiza’ on June 24, July 25, and August 5.
Ahead of the affair, we had the opportunity to speak with the young Yorkshireman about his residency and the evolution of his growing imprint Knee Deep in Sound.
You’ve said that Ibiza is like a second home for you. When was the first time you went there?
This is my 16th year on the island, so I’ve been going there since the year 2000. The first time I went out there was with a group of a friends from my hometown. I think there was about 8 of us. I always say the first experience in the Ibiza is always the best. I was 17 at the time, and it was the first time I had been on a holiday alone without parents. I guess I just had the time of my life, trying to explore every little bit that I could on the island. It was amazing, probably the best holiday ever.
Back then, were you already DJing? If not, did you know at that point that you wanted to have a career in music?
No, I mean I’ve always been into music, especially dance music, since the early 90s. Back then my older brother had some turntables, and I used to play around with those and such. But it was actually when we got back from that summer holiday that I started collecting my own records.
I got my own turntables and mixer on my 18th birthday. In fact, the first time I went out there it was my birthday, so it was exactly 12 months from the first visit to Ibiza to when I started playing. I got a DJ gig at a local bar in town which was kind of the hipster place at the time and I ended up playing there for five years after that, so that’s the place where I started learning my trade so to speak.
Was there a notable set that you saw when you went there for your first time that had a lasting effect on you?
Back then, trance was really big — people like Paul Van Dyk, Tiesto, Ferry Corsten, Judge Jules. I used to really like trance music. Hard house was really good back then as well–people like Lisa Lashes and the whole Tidy Trax label were huge back then. More on the house side of things, I went to see Roger Sanchez. He did a four or five hour set at El Divino in Ibiza town. That was the set that really made me realize what I wanted to do.
Going on to your new residency this summer, how did the partnership with Pacha come about?
First of all, it’s such a massive honor to be asked to play the world’s most famous disco club–because it is one of the longest standing clubs now, probably in the world. It has such a heritage, especially in Ibiza. I ended up playing three shows for them last year, which went down extremely well and I had a great time. I was lucky enough to be asked to be brought back this year.
More importantly, I am bringing Knee Deep in Sound there as well. We’ve curated three special nights, bringing some really good guests and seeing where the wind takes us. I think the lineup is quite special to us. We’ve chosen people that we personally like to work with and the people that also release on the label, so it’s going to be quite intimate.
Have you prepared any special music specifically for those nights?
No, I think the main thing about Pacha is that this is something that they’re passionate about and it’s something that we’re passionate about and have been for a long time. We just do what we do, they didn’t want to change anything, and we’re not trying to change anything that we do.
We’ve been asked to come back and bring Knee Deep because what we do is good I guess–it’s just straight up house music and a little bit of techno. It’s just party music, really, and that’s what works in Pacha and I think from the three shows last year, they get the way I play and they understand the label as well. So I think everybody involved knows it’s going to be a good show and a success overall.
Can attendees expect an extended set from you each of the nights?
Listen, I’m always up for an extended set! It’s just what time they turn the music off on people. Obviously being my party, I’ll be closing each one out, so I’ll be playing at least three or four hour sets. But not just me, like I said, we’ve got some really good guests. On June 24, which is the opening night, we have Booka Shade. They are really good friends of ours that released on the label.
Also, Santé and Sidney will be out here playing for us. I’m a huge fan of those two as producers and their sets are always really, really great. They just did their first show for us at EDC in New York which was really, really good. Then they did the warehouse party that we had in LA as well. We’re working with Santé and Sidney quite a lot now. So yeah, I think the opening night is going to be something quite special.
So seeing as it’s your first residency in Ibiza, this is a huge step forward both for you and for Knee Deep. Can you speak on the growth of the label and the parties that you’ve been throwing?
The emphasis of the label is just forward thinking house music. You know, the main thing is we get paid to make people dance and that’s the philosophy that we’re always trying to spread. So just gotta keep it real and make people dance.
I mean I go to many parties in Ibiza, and not mentioning any names, sometimes it’s a little too druggy. Kids are on holiday and they want to get their money’s worth and want to have a great time. We always want people to leave parties and think that was one of the best parties we’ve been to in ages. I don’t get that kind of vibes at some parties there anymore. We want to put the fun into it for everyone so people will leave the club and be happy with what they’ve been served. That’s the main priority for us.
Like I just talked about, doing parties in New York and LA, the label’s come into its own now where I think Hot Since 82 has been able to take bit of a step back because the label has such a high level of quality. People are familiar now with Knee Deep in Sound, and when they see the artwork or the name, they know it’s going to be quality.
A couple of people have mentioned to me, especially when I was in Los Angeles last time, that they don’t even look at the lineup anymore. As soon as they see that it’s a Knee Deep party and I’m playing, the odds are they’ll buy the ticket. Then, you know, maybe a couple of weeks or months after, we release the full lineup, then it adds more weight to the party. But, the parties are selling out just with me and Knee Deep in Sound, which is great. To get to that level of quality for such a young label, it shows how hard we work behind the scenes.
Going off of the fact that you are such a young label, can you speak a bit about the long term vision for you and Knee Deep in Sound?
I turned to my team years ago and said that I wanted to start a label. They said things like, look Daley, you’re way too busy to be taking something on like that. And I’m like, I’m getting all this music sent, some of it needs to be put out. I’m playing it but I’m not doing anything with it–these guys are never going to catch a break. A lot of the music that I was getting was just from run-of-the-mill bedroom producers, which never get to see the light of day because most labels will only sell the music from big artists that are already established–which I understand from a business point of view. But still, a lot of the music I get sent is just incredible.
That was a priority for us, to try to give breaks to as many artists as possible. And obviously if some of our friends, such as Booka Shade, send us music we’ll gladly put that out as well. But it’s just nice to have a brand as well, because like I said, it’s a lot of stress for me to be constantly at the forefront of it all. To take a back seat and let other artists push through and do their bit on the lineup is an honor for me to offer them that.
So, forward-thinking. We’re not planning to change anything, we’re just going to keep releasing quality music. The same with me. I’ve done quite a lot of remixes lately but I’ve not really been concentrating on my own stuff because it’s been more about the label and I think for the rest of the year it’s going to continue to be like that. Though I’m kind of working on an album, which will probably be put out next year, it’s all about the label in 2016.
Check out Knee Deep in Ibiza’s upcoming parties:
Amidst the seemingly endless barrage of negative SoundCloud stories that have surfaced in the past year, we’ve finally got some good news to share about the platform. SoundCloud has announced one of its most important — and desperately needed — features to date: algorithmic-based music discovery. The new feature, titled ‘Suggested Tracks,’ will aid users in finding new music by studying their personal tastes and making algorithmic suggestions based on the data.
One of the hallmark features of other streaming platforms like Spotify and Apple Music, it’s a natural move for SoundCloud, and frankly, something that should have been implemented a long time ago.
SoundCloud said of the feature:
Suggested Tracks makes use of our state-of-the-art machine learning algorithm to deliver fresh new music and audio suggestions based on your likes and plays on SoundCloud – refreshing frequently with tracks you won’t find anywhere else. The more you use SoundCloud, the more the algorithm learns and perfects itself, day after day.
The new tab is accessible on the home page through the ‘Discover’ tab at the top. Sorting through SoundCloud’s massive user library of 125 million tracks, it offers a curated selection of new music for you based on your previous listening habits. Various playlists are presented, each building off a particular track you’ve favorited on the platform. After some initial tests, we’re happy to report that, at least functionally, it works like a charm.
While the music discovery benefits are clear for the average user, the feature also holds great potential in democratizing play counts for producers and turning new fans onto lesser known artists.
Check out the feature here.
Alexander Sjodin’s indie electronic project, Sailor & I, was built upon the dichotomy of the two wills inside a person. Each release under his artistic name has followed this theme, and his next joint effort, Letters, alongside techno force Eekkoo, does just that as a two-song EP.
Comprised of “Letters (Lower Case)” and “Letters (Capital),” it’s clear from both tracks that the two producers find harmony as their styles – though rooted in opposing genres – converge. “Letters (Lower Case)” relies more heavily on Eekkoo’s realm of spry techno percussion and mind-warping synth trills, while Sailor & I’s atmospheric synth tones do have their own subtle presence. “Letters (Capital),” on the other hand, embodies the cheerier atmosphere Sailor & I typically constructs, yet Eekkoo’s impressively clean production is evident to those with a sharp ear.
“Thief” has unquestionably been Ookay‘s most successful song as of recent, and many producers are taking it upon themselves to re-tune the track in a variety of ways. Amongst the remixes comes Killagraham and Diamond Pistols‘ “Late Night Hotline Mix.” The downtempo track is certainly a change of pace from Killagraham of Milo & Otis and bass monster Diamond Pistols, but the lounge style of the production is certainly a welcome atmospheric change to the original big room-tuned “Thief.”
L.A. producer Eric Sharp and Pittsburgh based Tenova recently teamed up to bring us a hot new collaboration, ‘Hallucination’ via Brooklyn Fire. This house-infused track boasts a romantic vocal melody atop a bass kick heavy drop. With upbeat vibes while maintaining a dark atmosphere; Sharp and Tenova have put a genuinely solid track together. The two producers strived to capture a diversity of themes with this track, with Tenova quoting, “contradiction, dualism, and a search for warmth are themes sampled heavily in this record.” Sharp followed his co-producer saying, “I’m fascinated by synesthesia, surrealism, and metaphors – and this track is chock full of these themes.
Japan has passed new regulations that forgo its “1947 Rule” that declared nightclubs as “adult entertainment establishments” and will allow them to operate past 1 AM. The rule was passed as an anti-prostitution measure shortly after World War II and effectively banned dancing.
An effort led by Ryuichi Sakamoto, a pioneering electronic musician and film composer, has seen its campaigning lead to reforms that go into effect June 23. Now venue owners will be able to apply to “Nighttime Entertainment Restaurant Operations” if they meet certain criteria; namely, being outside of residential areas and maintaining specific lighting requirements. If a venue has lighting brighter than 10 lux they will be able to apply for a 24-hour license. Clubs that do not meet those lighting requirements will be able to apply for a special permit that allows them to operate past midnight while still being classified as “adult entertainment establishments.”