Forbes has just released its list of the top earning electronic talent in 2013. Despite earning more than he had in 2012, Tiësto lost his Top Earner title to Calvin Harris, who netted $46 million dollars in 2013, out-earning not only Tiësto but Jay Z, Kanye West and Katy Perry as well.
Based on annual earning estimates that include income from live shows, endorsements, merchandise sales, recorded music sales, external business ventures and television appearances. The poll also includes DJ Pauly D, who despite his lack of dance music street cred, makes at least half of his income from DJ gigs, matching Diplo for the 12th spot on the list.
Electronic music’s top 12 earners raked in over a quarter of a billion dollars in 2013, DJing their way to $268 million in revenue over the course of the last 12 months. See the full list after the break.
Producer, or shall we say composer, Deadmau5 has published his latest projects entitled “Coelacanth” and “Fck a Coelacanth.” The first track indulges in multiple layers of minimal compositions including the beat from “Where are my Keys?” and sullen piano melodies from “Strobe.” The sound represents a world both old and new, or rather “NearlyExtinctStep,” as the mau5 himself labels it. ”Fck a Coelacanth” on the other hand is a shorter snippet which progresses through compressed beats. For those of you wondering, a coelacanth is a 400 million year old nearly extinct fish found off the coast of the Indian Ocean. According to Twitter, Joel wants one as a pet.
Live from his hometown’s premier event, Toronto’s Veld Music Festival, Deamau5 sat down with CBC Canada. Formally poised, the interview presents more Joel Zimmerman than his masked persona as the DJ-producer opens up about everything from his Rolling Stone cover to his market, brand, and personal attachment as an artist distinguished from himself away from fame. Trying to keep “Deadmau5, Deadmau5 and Joel, Joel,” he proclaims there is nothing healthy about having two characters and living under the spotlight.
After talking about his experience with fans in a nightclub he refers to when a kid with 42 million Twitter followers entered the room. Presumably referring to Justin Bieber, Joel seemed relieved not to be on that level of fame. Going on to talk about the genre he reigns, he claims “we’re out of subculture-land and into our own culture-land, but it’s in a fragile state right now,” going on to ask rhetorically; “how much room on either side of the culture does it have to go to be creative and where it is?” Joel goes on to praise Skrillex and his peers for the directions and success of EDM’s growing subgenres:
“We’ve had a couple of good examples of that in this demographic where Skrillex has done something really cool where his peers and producers alike have taken this house music thing and then it turned into electro. Well then they all of sudden derailed the whole thing with this dubstep thing and then split it into two, creating a little more wing room on either side whereas you can have now if you really wanted to have a festival of a subgenre of a subculture and it would have legs and sustainability to survive on its own, which is kind of cool.”
Via: CBC Canada
Last weekend in Toronto, a jam-packed roster of electronic talent took to Veld Music Festival for 48 hours of Canada’s premier summer dance energy. Dancing Astronaut was on site to capture the greatest and most entertainment moments from the DJ booth to the grounds. From the memorable drops to the laughs and fun-loving festival feel, we presents the best of Veld Music Festival 2013 through our photo diary comic strip.
Outside of his vocal industry musings, trolling the status quo and a slew of new material through Soundcloud, the absence of Deamau5’s cutting edge live escapades has not gone unnoticed across the industry. But having hinted at further technical upgrades surrounding his rare stint of shows at Hakassan Las Vegas, the Canadian electro heavyweight has confirmed that 2014 would see him push the boundaries of his infamous live performances past that of even his newly adapted Mau5bots.
Zimmerman told The Toronto Star: “I’m building a new tour. For much later, (in) 2014. And of course it will have to manage to trump the ‘Cube’ show. I could absolutely just slap the Cube back together and ball it up, but I’m in that mentality where I want to keep one-upping the show. So obviously, the bigger the production, the more time you have to sit down with the team and iron it all out technically and financially and all these kinda things. So it’s, like, a ‘lay low, make some new music and do your residency to pay the hydro bills’ kinda thing.”
Though set to make a rare homeland appearance at Veld Music Festival on August 4, no further details have been established regarding the specifics of his impending production upgrades. One thing is for certain: if the mau5headed producer can put his money where his mouth is, we may be about to see the Mau5 reclaim the throne of live dance music for 2014.
Via The Toronto Star
Deadmau5′s production tear continues with his latest Soundcloud uploads “Nowhere Fast 02″ and “Turbo CartPig Racer.” Both tracks are almost identical and build off of yesterday’s “Going Nowhere Fast” with “Turbo CartPig Racer” appearing to be the most polished product of the lot. Paying homage to the internet sensation Minecraft in the track’s title, today’s nearly 7-minute upload is driven forward by 16-bit arpeggios that shuffle and shift amidst gritty electro kicks. It’s a dreary soundscape of haunting chordplay and buzzing engines that bear a striking resemblance to the French touched soundscapes of Kavinsky’s art-fueled electronica.
While you were sleeping, a mau5 lay awake, making as much noise as possible. In roughly 20 hours, Deadmau5 posted five new sounds to SoundCloud, ranging in style from “whateverstep” to “anystep” to “nowhere step.” This creative binge brings Joel’s total to nine posts in nine days, no small feat for a producer whose latest album came out ten months ago and featured just 13 tracks plus mixes. The posts give a look into the icon’s creative process, as along with “Entschuldigen Sie” and “Going Nowhere Fast,” mau5 released three versions of the same tune, building “Anywhere Up Here” into “Anywhere Down There” before declaring “Somewhere Up Here” to be the final version.
Click below the break to hear the new mau5, and stay tuned for what is sure to be more from the mind of Joel Zimmerman.
It’s that time of year again; the polls for the DJ Mag‘s 2013 edition of their Top 100 DJs ranking have opened. Hailed often as a popularity contest, the chart is indirectly correlated with talent but aligned with the mindset of dance music’s fan base. While my ballot (which I will reveal later in this piece) is still unfinished, I’ve found it a priority led by intuition to predict the fate of the 2013 DJ Mag rankings.
I’ve observed the prestigious top 10 spots, artists who have yet to break the top 100, DJ Mag sophomores, projected winners and losers, and even how the former Swedish House Mafia will affect the polls. Each day, week, and moment of the past twelve months have carried weight in the dance music community; here is how I foresee a changing of the guard amongst the industries revered Top 100 DJ rankings.
Apparently in the world of Twitter warfare, nothing says ‘right back atcha’ like cleverly titled tracks on Soundcloud. As the Afrojack and Deadmau5 beef continues to heat up (what they are heating up? we aren’t quite sure exactly), Afrojack responds to deadmau5′s “Drop Da Bomb” with his very own sonic response. Not nearly as intentionally awful as “Something_,” the aptly titled “GotDrop (Hypebeat)” is another studio speedrun. Is the drama real? Who knows, but one thing is for certain, they did it, they got our attention — now let’s hear some completed productions.
Editor’s Note: The embed is currently disabled. Listen to “GotDrop (Hypebeat)” here.
After a very public debate with Afrojack about dance music’s lack of creativity, Deadmau5 took to his studio to troll EDM’s current influx of uninspired drivel with his own banal take on festival music, debuting the appropriately titled “Drop Da Bomb” on his Soundcloud yesterday. Following up on Daleri’s “Epic Mashleg,” a minute long 16-track mash up that pieced together a handful of Beatport chart toppers into a blur of repetitive and nearly synonymous builds and drops, Joel takes it one step further and creates 40-seconds of the least inspired music he could muster. The most unsettling truth exposed from this whole debate? The fact that if Joel had finished and released this track, it would quickly find its place a top the Beatport charts.