nicky romero releasing a surprise eva simons electro remix #dropfirezone
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Ultra Music Festival 2012
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Wednesday, April 18, 2012
Feed Me Speaks Candidly
Take a read at what Feed Me had to say today about crappy reporters, the art of Music, and living the dream:
'This is the greatest game in the world.'
"I've almost stopped doing interviews because I'm achieving nothing. If you want to find something out about me, ask me personally. If it catches my eye, I'll respond, but dragging through another interview that no one thought about for more than two minutes seems like treading very boring water. Not that they've all been that way; but it's the trend.
A well known electronic music magazine recently wanted to do a few page spread about my production techniques. They sent me a list of preliminary questions; what plugins do I use for 'dirty' sounds, what makes a good 'drop', how much 'filth is too much filth'? Who wrote this? I could play the system; give away minimal information in exchange for some printed coverage, but at this point, fuck it. The Mau5hax thing was great; I got to interface with talented people and enjoy making music. I learnt as well as got involved. I didn't sit and have my mechanical techniques picked at while my actual motivation was ignored; we made decisions together.
I don't mind the occasional production Q, but what happened to mystery in music and art? There's YouTube tutorials for days now online. Look it up; these production conversations are redundant. The truth and effect comes in the sincerity and composition of the actual piece. If I read an interview with an artist of any type, what I want to know is the 'why' - not the 'how'. Why as electronic artists are we constricted to being quizzed monotonously about our techniques, and not ever our motivation? The reason anything I made sounds the way it did is because I sat and worked out every single piece of it myself. Give every one of us the same tools, and see what we all end up with - it's our differences in expression and decision making that makes us.
I'm doing this because I honestly don't know what else I can do. Music and art for me is a necessary release, and once people picked up on what I was making I was thrown into it. I was a bottled up, angry teenager, and I was completely consumed by the satisfaction I'd found in this new idea of making my own music. It consumed my life and I found I loved what it brought to it, and now I'm on an endless journey to see where it takes me, and where I can take it. Because of it, my entire late teenage and adult life I've been travelling the world, from Spor to Feed Me, constantly humbled by the people I've met, things I've seen, extremes I've lived through - I'm nothing but overwhelmingly grateful, it's almost too much.
Some of it has been physically and mentally tough, but so far I've never quit. It's never left my mind that should I drop dead, there's a million people who would kill to take my place. I don't believe in luck necessarily; I carved this out myself, but I am honoured to have what I have. If you're going to complain about your reality when you're living another persons dream, then I think you need a massive reality check. No one's forcing you. Music is magic; and I think as artists we have a duty to keep it that way, not dissolve it down into presets, complaints, one-upmanship and catering to the market. It's not all pink candy-floss cloud rides, and I think it looks fake if you depict it that way, but it really could be a lot fucking worse.
I used to lie and listen to my favourite records and daydream about how they were thought up, get lost in the sounds. There was no one to ask or study, and the resulting domino effect of speculation led me to my own ideas. It's always been the unknown that's motivated me. Spor was what I fell in to, but Feed Me is my world, a projection of a piece of me, and a way of expressing whatever I feel like. I couldn't have built what I have without you guys supporting me, but I'll always be creating and writing it none the less. I love you all for letting me take it this far.
I don't normally post my opinions on here, but I've never got anywhere by playing the game, and sometimes I just feel I need to 1) say thanks, and 2) say why. TLDR.
Feeeed.
318"
Skrillex and Damian "Jr Gong" Marley - "Make It Bun Dem"
As we mentioned on April 4th, Skrillex has been working with Damian Marley on a collaboration project. The two artists had been forging a unique sound that blended reggae and skrillex's version of dubstep. Two weeks ago the Skrillex and Damian Marley collaboration track was being called 'Rudeboy'.
Edmboston has now learned that 'Make it Bun Dem' is the official name of the track. Fortunately, the track still contains the same addicting whirls and vocals.
Sander van Doorn - Identity Episode 125
Download the show here: http://bit.ly/IDENTITY125
Tracklist:
Part 1
1: Richard Grey -- Party Started [Spinnin']
2: Bingo Players -- L'Amour [Hysteria] Artist of the month
3: Basto -- I Rave You [Spinnin'] #3 top 3 tracks
4: Tony Junior -- Feelin' Kinda Strange [Spinnin'] #2
5: Eitro -- True Story [Doorn] #1
6: Sander van Doorn vs. Inpetto - No More Serious Eagles (Mashup) [CD-R] FB request
Part 2
Sunnery James & Ryan Marciano Guestmix
1: Darmon, Eran Hersh , George F - Goodmorning Ibiza (Tekkman Ibiza Tekk mix)
2: Sebjak - Shock (sjrm re-do)
3: Swedish House Mafia - Greyhound
4: Dakota - Capetown (Sunnery James & Ryan Marciano Remix)
5: Untitled -- Untitled ;) Met de acapella van "Empire of the Sun" - Walking on a dream
6: Sunnery James & Ryan Marciano - Lethal Industry
7: Vincenzo Callea - God Can't sleep when your Sad (Sunnery James & Ryan Marciano Remix)
Bassnectar to Live Stream Boston Show
The next Bassnectar TV broadcast is going out on Ustream this Thursday, April 19, at 7PM EST - Live from Boston @ the House of Blues. He'll be answering questions about the new VAVA VOOM album and tour, as well as some other interesting questions about Ticket Scalpers, why he doesn't play "instruments" on stage, and whether or not he will DJ at your Prom.
Submit questions at the below link, here in the comments or via Twitter with hashtag #BassnectarTV
http://www.bassnectar.net/2012/04/bassnectar-tv-thursday-419-7pm-est/
BASSNECTAR TV - THURSDAY 4/19 @ 7PM EST
www.bassnectar.net
Can't Miss Remixes - Chris Lake - Sundown (Muzzaik REvision)
Just discovered this "Muzzaik" cat and its been very pleasant. His/her remix of Sundown by Chris Lake is huge.
original by Chris Lake
Pryda - You (Eric Prydz) [Released 21.05.12]
Legend Eric Prydz has slowly been revealing whats coming up on his new album. Here we get a full listen of "You".
Its progressive house synth cord repitition is far from Big Room sound and representative of what house Music was before the Big Room takeover. Pryda is going to wow a lot of the older generation of house fanatics with this album and chilling out to this beat will bring the ibiza shores state side
Top Ten Awkward Coachella Dance Move GIFs
Festivals are all about coming together to see incredible artists put on amazing shows in succession. Well, we'd like to say that the music isn't the only interesting thing that takes place at festivals.
At coachella LA Weekly broke down the Top 10 awkward Coachella Dance Moves.
Here they are:
Pete Tong: "Don’t sell out dance music to big business"
(musicweek.com)"Following a hugely successful 10 days in Miami for The Ultra Music Festival and Winter Music Conference last month, the genre is more powerful than ever back in the country where the journey began, the USA. Just over a year ago many of us were babbling in admiration at how David Guetta appeared to have cracked the secret code and broken onto mainstream American radio. We all predicted that EDM (Electronic Dance Music, you can’t call it “house” anymore!) was going to explode. Twelve months later that impact seems to be tenfold.
There was a time when the scene needed endorsement by stars of her ilk, but now DeadMau5 has more social media clout than Madonna. How times have changed. This summer Avicii, Afrojack and Kaskade are all doing 30-plus date arena tours, as Las Vegas hotels boast 50 exclusive DJ residencies and 300,000 people are predicted to attend the Electric Daisy Carnival in June.
Whilst David Guetta’s success story follows reasonably conventional industry rules it’s incredible to think that Swedish House Mafia – who haven’t yet made an artist album – look set to fill the Milton Keynes Bowl in July. The closer you look, the more remarkable the feats. Brazil, India and China are warming up. The game has well and truly changed, forever.
But success inevitably attracts attention - and now numerous extremely wealthy individuals, big business and VC funds are eager to buy into the EDM action. If allowed to run riot with their corporate machinery, these same people will destroy the scene. Wikipedia the word ‘stampede’ and I think you’ll get the picture.
 |
| Nile Rodgers |
Looking back to the first wave of dance music can teach us an interesting lesson. In 1988 I was involved in bringing house music from Chicago and New York back to the UK. We had No.1 records and gave birth to Club Culture, whilst America kept it in the closet because they thought it was music for the gay scene. We enjoyed our own boom decade but the scene eventually suffered a major setback in 2000 when the money generated couldn’t sustain the huge infrastructure and investment. Clubs, labels and magazines closed. DJs migrated off around the world.
The money at stake now dwarfs what was on the table back then, but the history should come as a warning shot to all about selling the genre short and being seduced by cheque book-waving billionaires with no care or vision for the long term game. Even at the peak of all the excitement in Miami last month, the LA District Attorney was arresting two of the countries leading ‘rave’ promoters along with some of the management team at the LA Coliseum on charges of bribery and corruption - charges they both deny.
None of this success would have happened without the long-term nurturing of the dance scene’s clubs and festivals. There would be no David Guetta or Swedish House Mafia without the clubs in Ibiza. And there would be no stickiness to EDM’s crossover in the US without the years of development on the underground of the festivals like EDC, Ultra, HARD, Electric Zoo, the Detroit Electronic Music Festival, Monster Massive and Nocturnal.
We need the underground as much as we need Las Vegas - maybe more so. Without a place for all these ideas to develop and come to fruition you won’t get the end result."
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