Avicii’s genius is in good hands for the foreseeable future, as his family has sold 75% of his master recordings and publishing to Pophouse Entertainment, the same company that helped the Bergling family open the interactive tribute museum in Stockholm, “Avicii Experience,” back in February. Writes Variety: Avicii’s father, Klas Bergling, commented: “Pophouse has presented a concrete concept and proposal for the long-term care and development of Tim’s musical heritage. Through this deal, we are also securing the Tim Bergling Foundation’s long-term finances, creating opportunity to act decisively on the Foundation’s commitments to supporting such important issues as mental health and well-being of young people. Working with the Tim Bergling Foundation is a full-time commitment for us. The foundation has only been running for a few years and much needs to be done for a long time to come.” According to Pophouse CEO Per Sundin (who first signed Avicii to Universal Sweden in 2010 as CEO of that company), “Tim was not only one of the world’s best DJs, he was an extremely productive genius who always went his own way, mixing genres, challenging conventions and creating music history. I followed his whole journey, and it is with honour and pride that I and the entire Pophouse company, together with the Bergling family, will nurture and introduce his music to new generations of listeners in all parts of the world.” Pophouse was formed in 2014 by ABBA’s Bjorn Ulvaeus and EQT founder Conni Jonsson as a venture when the company created the ABBA Museum in Stockholm.
Photo via Sean Erikkson This article was first published on Your EDM. Source: 75% of Avicii’s catalog goes to Pophouse, per family, securing his “indelible legacy” Via https://www.youredm.com/2022/09/29/75-of-aviciis-catalog-goes-to-pophouse-per-family-securing-his-indelible-legacy/
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Zeds Dead already dropped six new singles this year before they recently hopped in the Spotify studio and cooked up a couple new ones, and for that we are eternally grateful. “Rude Boy” was originally released in 2010, and it was the duo’s “first, official release,” something I didn’t really even realize. All their tracks before then were just exceptional remixes, like their legendary “Eyes on Fire” remix which came out in 2007. “Miraculously,” as DC and Hooks put it, they were able to find the stems and create this updated drum & bass version for 2022. In addition, they dropped a fresh cover of Bach’s “Fugue in D minor” (originally released in the 1700s, for those curious). Wonderful staccato chords punctuate the classical melody and rhythm with punchy drums and a more atmospheric touch, to boot. Check out both tracks below!
This article was first published on Your EDM. Source: Zeds Dead hop in Spotify studio and drop “Fugue in D minor” cover & DNB remix of “Rudeboy” Via https://www.youredm.com/2022/09/29/zeds-dead-hop-in-spotify-studio-and-drop-fugue-in-d-minor-cover-dnb-remix-of-rudeboy/ Driven by an immense love for the craft of music and fuiled by incredible dedication, JD Farell is well on his way towards establishing himself as a heavy-hitter within dance music. As a native Atlantan, JD Farell was consistently involved in music throughout his life, taking lessons in woodwinds and performing in concert bands for years. He started teaching himself drums and guitar, and ultimately fell in love with analog synthesisers, electronic music production, and sound design. Having been interested in house music since his early years, he eventually started working as an artist liaison for Liquified, Atlanta’s leading promotion and booking agency. After networking with the major players in the scene, JD Farell decided to take on his own productions, which led to numerous Beatport Top 100 hits, as well as allowed him to sign with Purified Records, one of the world’s most renowned house music labels. As a live act, he has opened for the likes of Alan Walker, Gorgon City, Kaskade, Cristoph, i_o, Tinlicker and more, while receiving support from Nora En Pure, Markus Shultz, Tiësto and others. It’s clear that the multi-instrumentalist and producer’s unique house records, that exist somewhere between the genres of techno and tech house, are effortlessly soundtracking the club nights of dance music fans across the globe. JD Farell’s latest release comes in the form of a massive original remix, seeing him take on Electric Polar Bears, CAZZETTE and The Ready Set’s “Cloudy Heart,” which was released earlier this year via Antarctic Music Group. A captivating and melodic house record, “Cloudy Heart” is filled with anthemic vocals and groovy deep house production – the perfect backbone for JD Farell to infuse with his own sound. Turning the arrangement into a progressive techno gem, JD Farell’s take on “Cloudy Heart” is immersive and impactful, once again proving that JD Farell is an artist to watch. This article was first published on Your EDM. Source: JD Farell Delivers Intoxicating Remix For Electric Polar Bears, CAZZETTE & The Ready Set’s “Cloudy Heart” Via https://www.youredm.com/2022/09/28/jd-farell-delivers-intoxicating-remix-for-electric-polar-bears-cazzette-the-ready-sets-cloudy-heart/ What can be said about a music festival that books Flume, The Chemical Brothers, Jamie xx, Four Tet + Floating Points, Fred again.., Caribou, Bicep, Fatboy Slim, DJ Shadow, Kaytranada, Charli XCX, James Blake, Peggy Gou, The Blessed Madonna, Yaeji, and more? Legendary accurately describes the inaugural Portola Music Festival held at Pier 80 in San Francisco this past weekend. Nestled southeast of San Francisco’s Mission District, Portola promised an eclectic lineup featuring mostly headliner-level acts like the aforementioned spread across two days. Beginning around 1pm and going until 11pm on Saturday and Sunday, four stages offered a diverse assortment of acts with live performances and DJ sets. When we arrived at 5pm on Saturday, the festival was already in full swing, but getting our credentials and tickets at the box office down Cesar Chavez St couldn’t have been easier. Unfortunately, as we walked in, ready to catch the beginning of Fred again.. in the Warehouse stage, we were met with throngs of people waiting to be let in but being kept outside for some seemingly unknown reason. Looking at the mob of people, myself and my friend (a seasoned artist manager and longtime festival attendee) turned to each other and worried for the worst, anticipating some possible altercation occurring within the mass of eager fans. However, around 5-10 minutes before Fred began, the crowd started entering the stage in a (relatively) orderly fashion and we were able to enter with no issues. That being said, we looked back toward the entrance during the set and security was preventing others from entering, despite the stage being maybe only 60% at capacity. TMZ’s wildly exaggerated coverage initially compared the situation to Astroworld, where 8 people died late last year. In fact, the situation was nothing close to that, and a rep for Portola stated, “There was a minimal, isolated issue with a festival stage entrance yesterday. This occurred within the confines of the grounds and was quickly addressed and corrected. There were no reported injuries and the festival continued for another 6 hours without incident.” Indeed, by the end of the night, the festival had erected switchback-style barriers in front of the stage which greatly reduced congestion and assisted in entry the rest of the weekend. One of the immediate things I noticed about the crowd was how diverse it was. Of course, this isn’t a huge surprise in San Francisco, where various cultures are frequently celebrated. It’s not like Los Angeles is much different, but compared to the festivals I’ve been to in my hometown, Portola immediately felt more inclusive, safe, and welcoming than any other I’ve been to previously. As mentioned, we started the first day with Fred again.., after which we strolled past Slowthai as he was playing his Gorillaz collab, “Momentary Bliss,” out in the Ship Stage as we made our way to the food vendors. Lines were exceptionally long on the first day, taking about 30-45 minutes to get to the front where some items were already running out as early as 7pm. The portapotties experienced similar delays, with lines up to 15 minutes to find an open stall. (Bathrooms on the other side of the Ship stage, on the middle to Warehouse, were far more available.) We made our way past Caribou who was playing a stellar live set as we once again braved the Warehouse stage to catch Jamie xx. He easily played one of the best sets of the festival, doing away with any visuals entirely, as a solitary, large disco ball hung behind him on stage as he mixed house, techno, and drum & bass. From there, we made our way toward the far rear of the festival at the Crane Stage to catch the legend Fatboy Slim. He was keeping the crowd on the edge of their seats as he teased vocal samples from hits like “Right Here, Right Now” and “The Rockafeller Skank” in between raucous, acid-filled synths and old school rave beats. We stopped by Flume on the mainstage for about 20 minutes before we ended our night at Bicep, back in the Warehouse once again, and then left at around 10:30pm to beat the rush of people leaving. Rideshare and Muni were available, and we chose to hop on the Muni for a couple stops and then Uber once we were out of the mass of people. However, we were only able to make it one stop on the Muni as it was so excruciatingly packed we had to get off. It took us quite a bit to recover from the first day as we woke up on Sunday and relaxed in our hotel in Union Square before heading back once again at about 5pm. Immediately, the vibe felt more peaceful than the first day. The box office had been moved closer to the entrance, additional barriers had been placed to more effectively control the flow of people, and it seemed overall that there were less people on Sunday — one-day tickets were available, many of which were likely purchased to catch Fred on the first night. With a bit more freedom to move around, I stopped by DJ Shadow for my first set of the day who was playing tons of classics as well as new material, all the while scratching up a storm on the decks. I also decided to stop by the merch booth as day 2 was forecasted to be much colder and I only had a light jacket with me. Hoping to pick up one of the cream Portola-branded hoodies, they were unfortunately sold out but the festival offered shipping in 4-6 weeks for any out-of-stock items. Knowing I’d be cold, but happier in a few weeks for getting my desired item, I decided to brave the elements in lieu of an in-stock hoodie and await my prize in the mail. I opted to get to James Blake early to secure a spot at the main stage, where Toro Y Moi was finishing up with a live rendition of “The Difference” with Flume, which was interesting to see from their perspective as it was filled with far more energy as Chaz Bear bounced around stage. A lot of the crowd left after they were done, presumably to catch the end of The Blessed Madonna or go catch Duke Dumont. They ended up missing a stellar performance from James Blake who played hits like “Limit to your Love” as well as bringing SwaVay out for “Frozen.” At one point, someone at the very front of the crowd shouted out happy birthday to James, who sheepishly admitted it was his birthday on Monday. After teasing “Happy Birthday” on his keys the crowd responded by spontaneously singing happy birthday, an incredibly sweet moment that felt truly special to be a part of. From there, it was only a matter of time before the “main” event of the festival… The Chemical Brothers. Having only seen them once before in my 12 years of going to EDM events, at HARD Summer 2015, I knew this was something that we couldn’t miss. As they opened with “Block Rockin’ Beats” and swiftly moved into “Go,” all my suspicions were rapidly confirmed. Over the course of the next hour, the English duo awed the crowd with intensely creative mixing and visuals keeping the crowd moving and jumping even in the cold weather. By the end, and in the days after, I’d see plenty of friends who were also in attendance sharing their thoughts and the overwhelming agreement that it was an all-time set, one that we’d remember for years. Overall, Portola started off a bit rocky but finished with a flourish. Despite long lines and some logistical snafus, with a lineup like that, you can’t really go wrong. The Ship and Crane stages were horribly inclined to overcrowding, with people spilling out of the back and sides especially for acts like Fatboy Slim or Caribou, but the sound was still pretty crisp. The biggest issue with the stages, apart from the Warehouse stage on the first day, was the sound bleed between Ship and Pier, whose crowds were almost intermingling at peak hours. During Flume’s set at Pier when Arca was at Ship, the dissonance was so intense we had to leave. It’s hard to imagine how this lineup could be topped if it was to have a second year (which has not yet been announced or teased), but there are plenty of acts that could step up and fill in or rise to headliner status by next year. We could have imagined seeing The Crystal Method, Hot Chip, Digitalism, or Bloc Party at the festival this year, so maybe next? Either way, we’ll definitely be there.
Photo via Scott Hutchinson This article was first published on Your EDM. Source: Despite logistical issues, Portola emerges as phenomenal first year festival [Review] Via https://www.youredm.com/2022/09/28/despite-logistical-issues-portola-emerges-with-as-phenomenal-first-year-festival-review/ It’s that time of year again when Ultra Music Festival begins the agonizing full reveal of their festival lineup for the following year, but there’s plenty already to whet your appetite looking ahead to 2023. Phase 1 was just dropped yesterday along with tickets for the event, and you will have a great variety of acts to choose from. Headliners already seem pretty locked in as Martin Garrix, Hardwell, and Swedish House Mafia are all going to be playing next year. Hardwell was the surprise headliner on Sunday 2022 though Martin Garrix played second to Kygo on the opening night, who himself threw down quite an out-of-character and admittedly astonishing set. And, of course, Swedish House Mafia was the surprise headliner in 2018 as they began their comeback (was that seriously four years ago already…). Additionally, CloZee, Gigantic NGHTMRE, Ganja White Night, Rezz, Subtronics, and Kayzo (Live) represent the bass side, while mainstays Armin van Buuren and Carl Cox once again grace Phase 1. Oliver Heldens will be playing double duty at the festival, playing b2b with Tchami for one set and donning his HI-LO alias for a rare b2b with deadmau5’s side project testpilot for another. Lastly, Phase 1 is rounded out by Claude VonStroke, Grimes, Gryffin, Eric Prydz presents HOLO, Tale of Us, Timmy Trumpet, Vintage Culture, and Zedd. Check out the full Phase 1 lineup below, and you can purchase your tickets now or test your luck once more of the lineup has been revealed.
Photo via Rukes.com This article was first published on Your EDM. Source: Ultra announces Phase 1 for 2023 with Swedish House Mafia, Hardwell, Martin Garrix, & more Via https://www.youredm.com/2022/09/28/ultra-announces-phase-1-for-2023-with-swedish-house-mafia-hardwell-martin-garrix-more/ It’s been six years since the first Slushii album, and after a tumultuous past couple of years, Slushii returns with his second album of the year, A Slushii Summer. He already released E.L.E (Extinction Level Event) with Monstercat earlier this year, and now he heads to Dim Mak for his newest project which leans more pop than heavy. Collaborations with Aviella, Mackenzie Sol, Pauline Herr, and Love Jesse definitely give off that bubbly pop vibe. On the other hand, the final three tracks on the album definitely go harder, bringing on Dr. Ozi, Teddy Killerz, Bok Nero & Softest Hard, and others. “I had never released this many songs at once ever,” Slushii says. “It was an experiment. It was nice being untethered by traditional album rules and being able to put something out for every single week of summer!” As summer technically ended yesterday, September 22, this album marks the end of a season, an era? But every song has those summer vibes somewhere. Listen below and keep scrolling for an interview with Slushii about the album and the process. A lot of artists have done this sort of thing, releasing one track a month, a week, a day, for however long. Do you feel like you’re learning a lot with this experiment?Yeah, I definitely think it’s been a learning experience for sure. Usually projects like this have a really overblown marketing plan and take forever to get off the ground, hence the minimalistic approach and the weekly direct to streaming methods of release. Since you’ve switched it up for this album, have you seen any difference in fan engagement with each new release?I feel like the coolest part is that each fan has gravitated towards a different song. The engagement across all of them has been pretty similar and there’s no consensus on which one is the ‘best song’, which I think is really cool! Can you elaborate about the Slushii Summer concept as a whole?Basically it’s a collection of songs I’ve written over the pandemic that didn’t really have a home, and rather than slowly trickle these records out I wanted to release them rapid fire to give the fans a steady flow of music for the entire summer! Since signing with Dim Mak, how do you feel about the support you’ve gotten from the label especially with this unique project?It’s been great, I think that they’ve been able to really encapsulate the vision I had for this project to the fullest for sure. You’ve managed to release an album nearly every year since 2016, not to mention other albums from sapientdream. How do you keep up with and manage that level of intense productivity?Honestly it’s something that I just ‘do’. My mind is an ever flowing waterfall of music and to not write means existentialism and boredom for me. So I basically write to keep myself busy. Once the album is out, and the current tour dates are done, you think you’ll just head back in the studio and pump out another album for next year?Honestly I have no idea what’s in store for the future of Slushii. The story I’ve told with all of you over the past 7 years has been amazing and is something I will be forever grateful for. Even if I put down the pen after this, it was amazing to collaborate and meet my heroes, as well as work with some of the best and brightest minds in the industry.
Photo via @druenotdrew This article was first published on Your EDM. Source: Slushii returns with his second album of the year, “A Slushii Summer” [Interview] Via https://www.youredm.com/2022/09/28/slushii-returns-with-his-second-album-of-the-year-a-slushii-summer-interview/ We’re less than a month away from Groove Cruise’s West Coast edition setting sail from Long Beach to Cabo. It’s been three years since Groove Cruise’s last appearance on the West Coast and four years since there has been a proper cruise. Featuring a wide array of headliners from radio-friendly house from Joel Corry and Acraze to minimal house and techno from the likes of Claude Von Stroke and Green Velvet; Groove Cruise always caters to a wide variety of genres. We’re lucky enough to share an exclusive playlist from Groove Cruise headliner Gareth Emery. The trance legend just launched his LSR/CITY 2.0 tour, further enhancing his position as one of the best live sets in the dance music space. Here’s what Gaz had to say about his upcoming Groove Cruise set. “I’m stoked to be back on the Groove Cruise! I’ve got a special set planned with tons of music from my upcoming album ANALOG and loads of IDs to debut. It’s going to be an epic party, game on Groove Cruise!” Tickets for Groove Cruise are still available here, get ready to set sail with Gareth Emery’s exclusive Groove Cruise 2022 playlist. This article was first published on Your EDM. Source: Gareth Emery Shares Exclusive Playlist Ahead of Groove Cruise The Ascension 2022 Via https://www.youredm.com/2022/09/27/gareth-emery-shares-exclusive-playlist-ahead-of-groove-cruise-the-ascension-2022/ Will Laroca aka William Fredriksson is a Swedish artist, songwriter and producer. Even though Will Laroca is a new project, William is no newcomer. In Sweden he is already a multi-platinum producer in the production team TMA, together with his childhood friend Tiam Faorkhy Nia, as well as a gold certified solo artist (under the artist name WILLOW). From 2012 until today, William has helped shape Sweden’s modern hip-hop sound in collaboration with some of the most influential Nordic hip-hop artists. His music fluidly moves through electronic music and acoustic instruments as well as different genres and styles to create his own personal and exciting sound. The music is easy to access for everyone without losing a deeper meaning, both lyrics and melodies are important for him. Laroca’s influences come from all kinds of genres besides EDM, anything from rap, disco, rock and funk to Swedish/Middle Eastern/South American/African folk music and ethnic beats, as well as pop and country. Now, this talented artist is back with his new single “Holy Ones” signed to Virgin Music Sweeden. It’s a smooth, pop oriented house track with nuances of Meduza and even Bastille, but all together, unique to Will Laroca. Will explains, “Everyone has darkness and light, we all struggle with those sides and the song is about overpowering your darkness, standing firm and believing in your purpose. If you have purpose, you are a holy one. Have some faith and know your worth!” With plenty of musical influences present on “Holy Ones,” the most impactful inspirations around the track comes from his faith and God.
This article was first published on Your EDM. Source: Will Laroca Drops Addictive, Pop Oriented House Track, “Holy Ones” Via https://www.youredm.com/2022/09/26/267932/ Based in Tampa, FL Chemikkal continues to impress us with all that he does. He has developed a tenacious work ethic over the years, allowing him to progress to become the DJ/Producer he is today. Whilst many DJs and Producers are one trick ponies, Chemikkal has a unique innate competency to ingeniously present music in multiple forms while maintaining a consistent brand. Apart from being fluid, the artist’s ability to appeal to a plethora of different audiences from all walks of life in the very same room, is one of the primary factors that make Chemikkal so extraordinary. Now, he’s back, this time making his major label debut on Warner Bros. Records/Atlantic Records UK/Warner Music Group sub label Blanco Y Negro Music with his incredible new single, “Mine“. It’s future rave, it’s trance, and all in all its hands down another solid successful release for this young up and coming producer.
Listen below!
This article was first published on Your EDM. Source: Chemikkal Makes His Major Label Debut With New Single, “Mine” [BLANCO Y NEGRO MUSIC] Via https://www.youredm.com/2022/09/26/chemikkal-makes-his-major-label-debut-with-new-single-mine-blanco-y-negro-music/ Adelaide based, Baghdad born producer Motez has been a staple in the Australian electronic scene and beyond, renowned for his dance-floor hit singles “Down Like This feat. Tkay Maidza” and the ARIA platinum accredited record “The Future feat. Antony & Cleopatra”. Beyond his own body of work he has fashioned official remixes for the likes of RÜFÜS DU SOL, Goldlink, Flume, Disclosure, and Ellie Goulding. As one of the most sought-after electronic acts in Australia, the energy in his live sets have earned him countless slots at major festivals including Splendour In The Grass, Beyond The Valley, and Lost Paradise. This year has seen Motez take the stage at WOMADelaide where he debuted his live set with string quartet, brass sections, and children choir, giving eager crowds a masterclass in the darker side of dance. That very set was broadcasted on Triple J as part of their Live at the Wireless series. Now, he’s back with a sizzling new single titled “Get It Done” ft. Scrufizzer that is Motez perhaps at his best yet, combining darker synth melodies with an unrelenting four on the floor groove that is utterly irresistible. Scrufizzer’s vocals pulse through the track, solidifying it as yet another dance floor heater.
Listen below! This article was first published on Your EDM. Source: Motez teams up with Scrufizzer For Blistering House track, “Get It Done” Via https://www.youredm.com/2022/09/26/motez-teams-up-with-scrufizzer-for-blistering-house-track-get-it-done/ |
AuthorTim Schmidt Archives
April 2023
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