This year has been especially monumental for a handful of UK house artists breaking into popularity. The London based duo Dusky has been a specific example of the successful and growing sound of the underground scene. On the charts, Dusky has gone head-to-head with some of today’s most prominent names in dance music with singles “Nobody Else” and recent Beatport number one, “Careless”. The English duo is back with “9T8,” a percussion-driven techno piece with a deep, repetitive bassline that aids the song’s dark tone. A modulated vocal sample alternates with a pounding, quick-hitting drum to add to the track’s catchy rhythm and ominous vibe. “9T8” will be released on School Records on January 13th.Posted by
It was only a little more than a week ago that Michael Calfan teased his latest release, “Falcon,” on Protocol Recordings. “Falcon” contains a particularly long buildup, and listeners must wait a solid two minutes before the drop finally hits. Calfan’s success predominantly lies in the videogame-like melody we begin to hear after the one minute mark, and he transitions well from lighter beats into full-blown percussion that leaves fans speechless. Without a doubt, this will be the newest staple in any DJ’s set.
Purchase: BeatportPosted by
In somewhat hysterical fashion, Feed Me has donned his music critic hat and shared his thoughts on five random tracks from the Beatport Top 100. Analyzing tracks from Robbie Rivera, Don Diablo, Nervo and more from a songwriting and sound design standpoint, Feed Me offers a brutally honest, yet technically flawless review.
It has that slightly pretentious level of restraint that makes a good deep-house tune somewhat timeless, leaving me with a sudden desire to iron a shirt and hit the town.
With his vast catalogue and stunning debut album in mind, it’s safe to say that Feed Me is an authority on these matters. In the end, however, it’s his charming wit that makes his criticism most enjoyable.
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Zedd’s popularity has escalated in recent months following success of hit “Clarity” leading to an appearance on Jimmy Fallon, cameo in the new mySpace commercials and announcement of world wide tour. To help you remember his meteoric beginning, we give you “The Anthem” released back in 2010. The track was Zedd’s first Beatport Top 20 single, created after winning two of Beatport’s noble remix competitions. Shortly afterwards, he caught Skrillex’ ear who signed him to his new OWSLA label in which he released “Shave It” and “Slam the Door.” This led to Interscope’s A&R bigwigs signing him for official remixes for artists like Lady Gaga and P.Diddy, while the rest is history.Posted by
This afternoon beginning at 3 p.m. EST, Beatport will be streaming a live performance from Sagar V, DJ Seebaum, and Blond:ish. This stream, however, is unlike most others of its kind. Sixteen year old Tanner Seebaum has been fighting cancer for most of his life but now, after eight years in remission, he’s been told his brain tumor is back and terminal. Music acts as an outlet for the brave young man who spends more than three hours daily in his basement perfecting his craft. According to the Las Vegas Sun, “He absorbs himself in the beats, blocking everything else out of his mind.”
With only weeks to live, Beatport is helping Seebaum fulfill his DJing destiny. Make sure to tune in at 4PM to catch DJ Seebaum’s 30-minute set and spread the word using #BEATS4TANNER. You can donate to the Tanner Seebaum foundation via Firstgiving.Posted by
Few have ascended the global dance industry with more fresh-faced stamina than Martin Garrix. At just 17, the Dutch house breakout this week became the youngest artist to top the Beatport charts on his own; Julian Jordan topped the charts last year at age 16 through his collaboration, “Kangaroo,” with Sander van Doorn. His latest single “Animals,” released June 17 on Spinnin’ Records, hit the number one spot on Friday, adding a personal first chart-topper to his burgeoning discography. But having secured a notable first just six months into the year, the road ahead is looking no less animated. With the follow-up to his “Torrent” collaboration with Sidney Samson brewing as well as collaborative stints with Dillon Francis and young peer Julian Jordan, Garrix looks adamant on setting the precedent for young European talent to an all-time-high for the road ahead. Hit more to hear the track that is kicking up all the fuss!
If you weren’t happy with the five official remixes of the Stafford Brothers’ “Hello,” you now have your chance to do even better. Beatport Play is now accepting submissions for remixes, so break out your DAW of choice, lock your doors and get working because the contest ends April 15th. Winner gets $500 cash, $1000 in gear from Sushi Radio, and their remix released on CHM Records. What are you waiting for?
You’ve probably heard by now that Beatport was bought out by Robert Sillerman’s SFX Entertainment for a reported $50 million earlier this week. It’s a major move for a company that has acquired several key electronic music promotion and live event companies over the last couple of months. Beatport, however, is the first stake SFX has claimed in the realm of digital music sales and other media-focused ventures.
For the first time in thirteen years global sales in the music industry have risen, according to a study reported by the International Federation of the Phonographic Industry. The increase was meek — 0.3% — but the trend in an important indicator for the future of the music industry. Once seen as the gravedigger for record companies, it is of course digital music that is leading this slow road to recovery.
Back in 1999, when many of us were still making mix CDs off our colored iMacs, Napster was skyrocketing the popularity of mp3s to untold heights. For years, the titanic corporations trying to drum up legal digital music business models could simply not find ways to compete with explosive rate at which a new generation was downloading and sharing music illegally. This plague has now turned to profit — subscribers to services like Spotify and Rhapsody grew by 44 percent last year, and sales from iTunes have not slowed either.
According to the New York Times Media Decoder, SFX Entertainment has just purchased Beatport for “a little more than 50m.” The move is just another step in CEO Robert Sillerman’s plans to build a billion dollar EDMpire. With a history of acquisitions like Disco Donnie Presents and Life In Color as well as his recent investments into Miami nightlife and the festival circuit, the move comes as little surprise;
“Beatport gives us direct contact with the D.J.’s and lets us see what’s popular and what’s not,” Mr. Sillerman said in an interview. “Most important, it gives us a massive platform for everything related to E.D.M.”
Beatport’s chief executive, Matthew Adell told the Times that he believes SFX can help Beatport expand by tackling live events, especially in booming markets like India and Brazil.
“We already are by far the largest online destination of qualified fans and talent in the market,” Mr. Adell said, “and we can continue to grow that.”