What’s that burning sensation you feel right now? Is your body playing tricks on you? Of course not! That feeling is what happens when the organizers of Ultra Music Festival begin to burn a hole in your pocket with their ticket prices. They have touted lower prices in recent weeks, and to their credit, they were able to slice $50 off of last year’s general admission tickets. Of course, the likelihood that the festival will sell out is greater than ever, especially since the dance music movement is continuing to boom in the United States, and because the festival seems to draw the ravers of the world into Miami during WMC. This year the festival takes place on March 27, 28 and 29 in his usual Miami home of Bayfront Park. Now, let’s talk numbers: general admission passes for all three days Will cost $449.95 (€356.25), and VIP passes for the same timeframe come in at a whopping $1,149.95 (€910.48). Follow the link below if you’re interested in shelling out the cash required for these tickets, and be sure to check out the official aftermovie from the 2014 edition of the festival below. (Please keep in mind that Ultra has enacted an 18+ age policy for this year’s festival.)
It doesn’t seem like that long ago that Krewella was the poster child for EDM. They were putting out hit after hit and every single radio station was playing “Alive” 6-7 times a day. Members Kris Trindl, Jahan Yousaf, and Jasmine Yousaf were party animals that attracted a huge fan base with their sexually charged social media profiles, amazing live performances, and unique combination of rock and electronic music, but after Kris “Rain Man” went through a rehab stint and toned things way down the two sisters wanted nothing to do with him. Many people attribute a big portion of the trio’s success to Rain Man’s production skills, so losing him would be pretty bad for Krewella. Without knowing the full story from both sides it’s hard to say who’s right and who’s wrong, but it’s clear that the road ahead for them looks very bumpy. Get more details on the situation here.
We don’t normally post hip hip, but this song really caught me by surprise. This young 17 year old rapper and producer, Dre Scott, has quickly taken over my newsfeed. One of my buddies sent me his new track “Foxtrot” and told me to check it out, so I did. I was blown away.
His lyrics and flow are nearly unmatched by anybody I’ve heard his age. But it’s not only his lyrics that are catchy, it’s the beat. He produced it himself and the whistling instantly gets this song stuck in your head. The simple drum pattern is also extremely catchy and easy to groove to.
Simply put, Dre Scott is extremely talented and “Foxtrot” is definitely an example of how good he is. Take a listen to his new track below and enjoy!
Put simply: there is so much young talent in Holland’s dance music industry that it is hard to keep track of what’s next. So much talent exists, in fact, that artists must work together in order to successfully ration all of the release slots on each label. One of the most potent combinations of artists that has caught the mainstream spotlight is that between Dannic and TV Noise. The Dutch trio of upcoming musical stars was rumored to have shared the studio for months now, and the fruit of their work has come through with “Solid”. Like any well-done collaboration, the typical “sound” of each artist is able to shine through, and both Dannic and TV Noise are able to leave their own indelible marks on “Solid”. The foundation of the track is a well-thought-out melody that provides a blueprint for both the break and the drop. The melody also allows for the perfect transition into the boot sequence, and sets the scene for a pounding drop. The teamwork on “Solid” is impeccable, with clear influences on the percussion and bassline coming from Dannic, and plentiful topline expertise coming from the TV Noise duo. Ever since Dannic debuted the track at the Ministry Of Sound in June, support has poured in from the likes of Shermanology, Ørjan Nilsen, and Laidback Luke. Grab “Solid” off of Beatport today, and be sure to play it out loud!
Revealed Recordings – REVR130 | Buy “Solid” here.
A top notch release from Counter Records, Say My Name’s remixes are worth every penny. The artists are quite diverse, from RAC to Big Wild, you won’t be disappointed. Genres jump from indie dance, to electronica, and even to some deep house. Big Wild’s remix is possibly the best of the release. With an upbeat vibe, melodically strong pianos chords, and vocals used to their full potential and quality, it’s hard not to dance to this track and feel happier listening to it. Hermitude keeps the energy up with another synth heavy, melodic rendition of Say My Name. The percussion is also really well done and has some nice instrumental variation. RAC’s rendition is also incredibly well done featuring another uplifting vibe, but more along the lines of electronica and a less dance focused beat. Unfortunately some are not on sound cloud, but give this album a listen. You won’t regret it.
W&W definitely know how to pick their remixes. Every single one of these is different from the other. Dillon Francis brings the trap, LNY TNZ brings the hardstyle, and GirlsloveDJs & Praia Del Sol bring the future house.
Dillon Francis trap remix isn’t the stereotypical trap remix. The kick is fairly different and doesn’t sound like your typical trap kick. It doesn’t have the same sustain that a regular trap kick would have. The percussion before the second drop is absurd, the pitched kick followed by drums is out of this world.
Next we have the LNY TNZ remix. They flip “Bigfoot” into a banging hardstyle track. Their remix is, in my opinion, the best of the bunch. It hits the hardest and is arguably the best. This one was actually released for free a while back, along with the GirlsloveDJs & Praia Del Sol remix.
Last we have the GirlsloveDJs & Praia Del Sol remix. They throw a future house sound on the original “Bigfoot” drop, but it completely changes the song. The new sound really gives the song a whole new feel making it more chilled out and groovy.
Check out all the remixes of W&W‘s “Bigfoot” below. Take a listen and enjoy!
As 2014 roars on, the big-room train keeps on rolling. It’s the usual suspects again, and their on the usual label. Dutchman Quintino has linked up in the studio with Brazilian standout FTampa in a track that has been played out since June. They produced a track called “Slammer,” and it has certainly been a big part of the main room scene in the recent festival season. “Slammer” keeps a high-octane sound pounding through the speakers from start to finish, and this is accomplished in a few different ways. The melody has plenty of intrigue, and is able to cycle without being repetitive. The buildup leaves a little to be desired, as its basically the generic rolling snares that come up often. The drop is a little more of the same, but has unique pieces that give “Slammer” an elite edge over the majority of big-room tunes. The clash between bassline and top line synths is a combination never heard before, and that definitely explains why an all-star cast including the Bassjackers, Alvaro, and Sander van Doorn have supported the track. Grab this absolute banger of a collab between Quintino and FTampa off Beatport today. Enjoy!
Spinnin’ Records – SP902 | Buy “Slammer” here.
A large release has been dropped on Suara, featuring a compilation of Dosem tracks. With genres like techno, tech house, and electronica, this album will most definitely appeal to those into the clubbing scene, but also has a lot for those who may not listen to the genre very much. For example, Runnerpark has excellent low-register synths in them that can be missed with normal speakers, but with a great sound system add a lot. This continues throughout each track and Dosem does an incredible job with bass, and low-register synths in general. The tracks also tend to have a nice, ambient, space-age, almost trance-like elements to them as well and give the music a spacious feel, which leaves room for instruments to be heard and appreciated on their own. Each track is groovy, and has a lot of energy to it, and the styles change to show Dosem’s producing ability. Expression is one of my favorites with a laid-back bass line, a disco-like vibe, and a very simple mix of instruments. The synths are also incredibly well done and the tone is amazing. Give this release a listen as it’s top quality and worth your time.
The Revealed Recordings catalog has continued to garner an impressive number of artists, and this trend has continued now with the introduction of their latest vocal anthem. The label continues to ride the success of previous vocal smashes like “Arcadia” from label boss Hardwell, Joey Dale, and Luciana, and the track “Dear Life” from one of his most successful protégés, Dannic, together with Bright Lights. Now, one of the most successful producer-vocalist tandems has joined forces with the Revealed team for the 131st release on the label. Thomas Gold and frequent collaborator Kate Elsworth are bringing their collective talents now with “Colourblind,” which only has been recorded played out just once, during Gold’s set on Governors Island in New York City. The veteran of releases on Phazing and Axtone will now officially join the Revealed Recordings catalog on October 6.
The break begins with a beautiful sequence of piano, and soon Kate Elsworth begins to put her beautiful voice on the top line. She sounds better than ever on “Colourblind,” and Thomas Gold has stepped up his sound with an impeccably tuned bassline to fully glue together a wonderful instrumental with the sublime vocals. The synergy that the German and the Australian have in the mix of Gold’s instrumental and Elsworth’s vocals have “Colourblind” flying towards a great showing on the charts. As the buildup begins, the chord progression for the drop then fades into play, and soon the madness gets underway when Thomas Gold takes over the soundscape with his fantastic synths and basslines.
Be sure to grab “Colourblind” when it hits Beatport on October 6. Enjoy!
Two deep house tracks from the Dutch producer Mees Dierdorp have been dropped on Poesie Musik and are an interesting blend of deep and acid house. Talkin Bout uses synths really well, combining strong, characteristically deep house bass-lines with a clean and well articulated arpeggiating lead synth. Along with more ambient instrument stabs and a really well-timed drum beat that smoothly comes in and out in a very cool way, the track is nice to listen to, produced well, and also could groove hard in a club. Wavers Huwol is written in a similar way, but moves more toward a space-age feel with lots of reverb, and synths in a very high register. Once again, Dierdorp uses percussion in a very cool, but well-done way and calmly brings them in and out to great effect. There are some lower-register rhythm instruments in this track that give it a really nice feel, powers it melodically, and keeps it moving. I would say this track is my favorite of the release. Give it a listen.