How much does the average person normally get done in 11 hours? It all depends on productivity, but here are two videos that will make you reevaluate your career and your productivity level forever. Back on September 20, 2014, German DJ/producer Markus Schulz hit The Guvernment in Toronto, Ontario and the show that he threw down there will forever go down as magical. The man known as the “unicorn slayer” took to the decks of the Canadian club for a set that lasted 11 hours in its entirety. According to the 1001Tracklists database, Schulz played 130 different tracks, including multiple ID tracks and plenty of his own mashups. In the current industry where most headliners only get to play for two hours, Schulz playing for almost half a day exemplifies his incredible talent as a DJ, but also his love and dedication for the music. The mix is uploaded in two parts below, so enjoy 11 straight hours of Markus Schulz music.
As producers who prefer quality over quantity, Qulinez knows a thing or two about tantalizing their fans. The Swedes have been quiet since March, when they hit SPRS with “Rising Like The Sun,” and continue to label-hop with their next track, “Pegasus”. The duo had an amicable split from Size Records, and have been able to shop their sound to different labels, including Dim Mak Records and now Cr2 Records. Even still, “Pegasus” was introduced to the world by Size Records boss Steve Angello, and he dropped the track a few more times before MYNC began to spin it in September. Qulinez will no longer be able to tempt us with this progressive bomb, since it will be released through Cr2 Records on November 3.
Think back to when Qulinez burst onto the scene with “Troll”: it had a catchy melody that lured you in to a relentless electro saw drop. “Pegasus” maintains the melody that Qulinez has been able to fine-tune overtime, and then that melody stands alone as the inspiration for both the breakdown and drop. They also left the saw synths at home, working this time with a fantastic layering of softer synths which make a majestic sound when all put together. Breakdown and build are fused together, and the drop that follows both does a wonderful job in both triggering an emotional response and driving any crowd nuts.
Grab “Pegasus” when it hits Beatport on November 3. Enjoy!
It seems like there is a brand new trend in dance music, and it has nothing to do with a certain sound or style. It has to do with naming, and it appears that naming your track or album “United We [something]” is the way to go. Hardwell titled his first studio album “United We Are,” and now Vicetone has titled their next original track “United We Dance”. The track has served as an unofficial anthem for the Ultra Music Festival since March, and has only now been attributed to the Dutch duo. In fact, it is now the official anthem of the 2014 festival, just after the fact. Now that they have jumped up to the #36 spot in the DJ Mag poll, the duo plans to release “United We Dance” through Ultra Records on November 3.
If it’s a Vicetone track, you know that it’s built off of a melody. Well, they followed their usual formula, and of course, it worked perfectly. The melody individualizes the track from a lot of the others in the mainstream industry just from its sheer musicality, and it’s ability to remain dynamic after the compulsory four bars. Orchestral drums offer a quick tease as to what comes next, as a simple synth evolves into a full-blown orchestral sequence as the melody presses onward, as has become one of Vicetone‘s signatures. The melody does not skip a beat as the buildup brings the drop closer to reality. Once “United We Dance” drops, the title most certainly becomes as reality, as the overall energy of the track is undeniable and perfectly fitting as the anthem of Ultra Music Festival.
“United We Dance” is scheduled to be released through Ultra Records on November 3. Enjoy!
For months now, two of the most popular sounds in dance music have been the big-room sound and Melbourne bounce. What could be better? Well, we asked Landis about that, since he has found plenty of success by combining the two genres in his recent productions. We also had the change to discuss his influences, what working with Crespo is like, and how we will be hearing Fatman Scoop on his next single. Check out our 10 questions below, and be sure to check out his most recent tracks.
- What artist or song first got you familiarized with dance music?
It was an acid track called “New Order”. I heard it from the opening scene of “Blade” during a Vampire rave, haha.
- How has the Miami area as a whole influenced your style of production and DJing?
Everybody comes and plays in Miami. So by living here I am constantly exposed to different styles of music and discovering new sounds. Which in turn has helped me discover my own sound.
- Can you describe the feeling you had when you found out that “Get Down” was going to be signed by Revealed Recordings?
It was epic… me and Henry had not heard from anyone and out of the blue “Revealed” emails me and tells me they want it. I called Henry immediately, he didn’t believe me at first until I forwarded him the email, haha.
- Has there been a specific artist or friend who has acted as a mentor to you as you have grown in the industry?
Yeah I’ve had a lot of mentors and teachers since I was young. I took DJ’ing/producing like an education. I interned at Brass Knuckles‘ studio for about a year and they helped me understand the business side of the industry. I also met David Solano at their studio and he has really helped me understand the production side of things. It’s extremely important to have someone to help you out in the industry.
- How did you decide to try out the Melbourne bounce sound, and how did that then evolve into Miami bounce?
It all started with Ton!c (Deorro) haha…I always liked the Chuckie “Dirty Dutch” kind of sound but when I heard the bounce he added to that I became obsessed. For my “Miami Bounce” sound I try and give it a bit more groove and use different leads/bass sounds compared to the popular Melbourne style.
- How has your relationship with Crespo affected your growth as a DJ?
He brings a DJ’s ear to the productions we work on so we can make tracks that will play out amazing. He’s also helped me alot in my actual DJ’ing.
- In today’s dance music industry, we hear a lot about identical big-room tracks and ghost producers. Do you think dance music has become too commercialized?
No, I think the people making “identical big-room tracks” will soon become irrelevant and the people with there own unique style will take over.
- How in the world did your collaboration with Fatman Scoop come around, and when can we expect that?
Originally me and Crespo were going to do “Lose Control” as a free release. While doing DJ promo the Disco Fries hit us back and said to call them immediately. I have been friends with them for a while so I was curious to see what was up. When we called they told us they were in the studio with Fatman Scoop and wanted to get him on top of the track and put it out through their label. It will hopefully be out around November/December.
- What other tracks do you have coming in the near future?
I have a few vocal progressive/electro tracks that I just wrapped up along with another Miami bounce original and a few collabs with some of the Melbourne bounce guys!
- What has been your favorite moment of 2014 so far?
Definitely playing at EDC Vegas…Last year I attended as a fan so coming back this year and playing a high energy set was the experience of a lifetime.
You heard it here first! Be ready to see a lot more Landis music in the near future. Check out his “Burn” remix and his track “Thing Called Love” with Crespo below.
Watermat stormed onto the scene with “Bullit” and now the track is getting new life thanks to a brilliant remix by Lucas & Steve, an up and coming duo from The Netherlands. Featured in Oliver Heldens radio show Heldeep as the opening tune has certainly helped give the remix some status especially considering Heldens recent achievement of making the DJ Mag Top 100 DJ list at #34 as a new entrant. Lucas & Steve gave the track a deeper house sound that is ridiculously smooth and adds more of a club vibe than the original track had. It’s definitely a bit darker and the vocals add some sexiness that definitely wasn’t in the original. No release date information has been announced and it may turn out that this was just a special edit for ADE, but hopefully they give this one out because it’s a straight banger.
Tiësto and Hardwell have had their careers linked since day 1. Tiësto served as a mentor, and Hardwell has proved that his time as a protégé has paid off quite well. Of course, they are also linked because they share the same hometown. Both were born and raised in Breda, the Netherlands, and have displayed their pride by supporting other artists from their hometown, and even naming a song after the city’s area code. “Zero 76″ has received over 600,000 plays on SoundCloud since it was released as the first track on Musical Freedom, and has received plentiful support from a host of big names. It gets a rebirth now from twoloud, a mysterious duo who we’d tell you more about, we just don’t know anything about them. Their remix takes the original melody and supercharges it in the breakdown, and also uses it in the first build sequence. The drop is as energetic as it comes, with a distorted guitar-like lead creating floor-shaking madness together with a trademark twoloud bassline. The world first got to jump to this remix at Ultra Europe, but was featured in full force when Tiësto & Hardwell played back-t0-back to close this year’s Tomorrowland festival. Grab it for free from the link below, and enjoy!
Eagles & Butterflies has released an incredibly creative EP on Spread Your Wings. Showcasing their strong production ability in many different styles, the EP jumps from unique track, to unique track in a really fun way. Whether it’s the 80 BPM “Earth”, or the 125 BPM “Cinematique”, each track has an interesting flavour. The release also features two great remixes by Uner and Kydus that give the EP a broad and very diverse selection of styles and tracks. Overall, there will be something here for everyone. Earth is laid-back, groovy, and just a fun track to listen to. The synths are well done, and I enjoyed the tone of the drum kit E&B used. Cinematique is a percussive masterpiece and grooves very hard with it’s eclectic drum lines, and intricate details that add a touch more danceability. It’s fun to listen to, and takes a bit of time to chew. The Waiting Game brings out the thick bass-line/synth combination. It gives room for the instrument to breath, but also has just enough drive from the percussion to keep the chilled-out vibe but also have enough energy to make people dance. Uner‘s remix takes Birds of Paradise and gives it a retro/8-bit vibe, but the best part is how he uses synths to create an incredibly groovy track. The synth stabs give the track so much energy and keep things going in the best way possible. Kydus’s remix is very upbeat, and features a very well produced bass-line. While it can be a bit repetitive, the tone of the bass is very well done and I suggest those who produce check it out.
Piek has dropped 2 tracks in a new EP which also includes two remixes. One by Demarzo, and the other by Daniel Kyo. An interesting blend of tech house and techno, the EP is produced well, but comes up a bit short in certain aspects. “Not Afraid” is the leadoff track and features well done synths, a tight kick, and a really interesting acid house vibe that is nice to listen to. The tone on the synths are well done, and the effects used also add a nice spacious element to the track as a whole. “Not Afraid” unfortunately also suffers from too much repetition as the ideas get a bit stale during the song. It would have been nice to hear a few more elements in the track and a bit more variety.
DeMarzo’s remix does a really good job with the original and is an improvement in many ways. The bass line is incredibly tight, and fits well with the groove of the track. The synths are minimalistic, but are also used very well and fit the style of the track as a whole. Overall, a great remix and worth a listen.
The second track, “One More Night”, is characterised by light, airy synths that work so incredibly well over the thick, meaty, bass-line. The drum beat drives the track very hard and keeps the groove going, but unfortunately the vocals can be a bit annoying after a while. Repetition is good, but in many ways repetition can bring a track down and there are certain areas where the vocals detract from the release as a whole.
Finally, Daniel Kyo’s remix is a dark, percussive version of “One More Night” and brings out a lot of stress the original track spend a little bit of time with. Kyo focuses on a tenseness that gives the track character, but never resolves and gives you the satisfaction of closure. In general, it lacks a strong musical idea and tends to be a bit repetitive and unsatisfying.
Give this EP a listen.
The dance music industry has started to shy away from big-room house, and this next offering on Doorn Records demonstrates this shift. They welcome back a duo of familiar faces with Lush & Simon, but they teamed up with a newcomer from China known as Uforik. Their track together is titled “Hydrogen,” and emphasizes the resurgence of melodic progressive house. The three producers involved were able to achieve this fantastic production by using less to do more. Most of the synths are audible on their own, and are not heavily distorted like those of many other tracks. But that’s enough for the technical part: the real power that “Hydrogen” possesses comes through the sheer emotion portrayed by the melody. Even as the drop comes into play, the sound does not overwhelm the listener, but rather engulfs him or her in a feeling of musical bliss. If you’ll allow the comparison, imagine clashing the sounds of Porter Robinson‘s “Language” with Madeon‘s “Technicolor,” and you’ll end up with Lush & Simon and Uforik‘s “Hydrogen”. Grab “Hydrogen” from Beatport using the link below. Enjoy!
Doorn Records – DOORN167 | Buy “Hydrogen” here.
As Hardwell celebrates his victory in the 2014 DJ Mag Top 100 poll, his fans have another reason to celebrate. There are now two confirmed pieces of information regarding his debut studio album, which is set for release in Spring 2015. It is set to be titled “United We Are,” and now the extended mix of the lead single is available. That lead single is titled “Young Again,” and features British vocalist Chris Jones on the top line. Compared to his last vocal tracks, Hardwell uses a formula closer to “Dare You” rather than “Apollo”. The breaks feature emotional guitars, and an emotional series of lyrics commenting on how quick and precious youth is. The piece is brought together by a similarly sentimental melody, which becomes the basis for the rest of the breakdown and drop. Simply put: Hardwell and Chris Jones do not disappoint at all with this progressive house anthem, and only continue to build suspense of what is to come on “United We Are”. Grab “Young Again” using the link below, and enjoy!
Revealed Recordings – REVR133 | Buy “Young Again” here.