Monday, January 27, 2014
Sunday, July 14, 2013
Nicky Romero - Symphonica (Justin Maes Remix) http://www.youtube.com/watch?v=_xRPxMW-cG4&feature=youtu.be&a
Nicky Romero - Symphonica (Justin Maes Remix)
Check it out !
Saturday, January 12, 2013
[BRAND NEW] Feed Me - Gravel/Dialup Days (Out Jan.16th)
Well, its just about time to start his January Tour and with that the release of his newest EP. It is set to drop on January 14th and he has given us a few previews of what hes been working on since the release of Escape from Electric Mountain EP in February of this year. ‘Death by Robots, Gravel, and Dialup Days’ are all tracks that you would come to expect from Feed Me’s unique style. Feed Me always does a great job of mastering his sounds so that he isn’t sticking to just one particular sound. He has done a great job evolving to the way EDM has shaped itself today. Check out the previews to the three tracks below and don’t forget to see Feed Me when he rolls into Boston again this this time with Mord Fustang on February 4-5th. For tickets click here.
Feed Me - Gravel
http://soundcloud.com/youfeedme/feed-me-gravel/
Feed Me - Dialup Days
http://soundcloud.com/youfeedme/feed-me-dialup-days/
Sunday, January 6, 2013
Saturday, January 5, 2013
Savant - 49 FREE TRACKS [Legal Download]
Savant has posted many tracks for free download, so here is a list of all of them! (49)
(All download link posted below are 100% legal and were posted by Savant on his Soundcloud)
Download links were found on his Soundcloud: http://soundcloud.com/aleksander-vinter
If you click on "Download" the file will automatically start downloading, it won't take you to a link!
From most recent:
1. Savant - Wildstyle
Listen: Savant - Wildstyle
Download
2. Armand Van Helden - Into Your Eyes (Savant Remix)
Listen: Armand Van Helden - Into Your Eyes (Savant Remix)
Download
3. Savant - Wade In The Water
Listen: Savant - Wade in the Water
Download
4. Savant - Vario 64
Listen: Savant - Vario 64
Download
5. Pharoahe Monch - I Shot The Mayor (Savant Remix)
Listen: Pharoahe Monch - I Shot The Mayor (Savant Remix)
Download
6. Savant - Keep It Gangsta
Listen: Savant - Keep it Gangsta
Download
7. Savant - Storm The Gates
Listen: Savant - Storm the Gates
Download
8. Savant - Technodrome
Listen: Savant - Technodrome
Download
9. Savant - Overkill
Listen: Savant - Overkill
Download
10. Danger - 4h30 (Savant Remix)
Listen: Danger - 4h30 (Savant Remix)
Download
11. Savant - He was a moog
Listen: Savant - He was a moog
Download
12. Blood Command - High Five For Life (Savant Remix)
Listen: Blood Command - High Five For Life (Savant Remix)
Download
13. Savant - Ode To Joy
Listen: Savant - Ode to Joy (free)
Download
14. Savant - Shake The Room
Listen: Savant - Shake the Room
Download
15. Shackles - No Sleep (Savant Remix)
Listen: Shackles - No Sleep (Savant Remix)
Download
16. Savant - It's a Trap (Feat. Admiral Ackbar)
Listen: Savant - It's a Trap! (feat. Admiral Ackbar)
Download
17. Savant - Ksh'mir
Listen: Savant - Kashmir
Download
18. Bob Log III - Log Bomb (Savant Remix)
Listen: Bob Log III - Log Bomb (Savant Remix)
Download
19. Savant Feat. Kiatzuki - Trevor
Listen: Savant feat Kiatzuki - Trevor
Download
20. Savant - 16-bit Lightsaber (Demo)
Listen: Savant - 16-bit Lightsaber (demo)
Download
21. Savant Ft. Prince - Good Times
Listen: Savant feat Prince - Good Times
Download
22. Zedd - Spectrum (Savant Remix)
Listen: Zedd - Spectrum (Savant Remix) free download
Download
23. Savant - Space Cowboy
Listen: Savant - Space Cowboy
Download
24. P!NK - Get the party started (Savant Remix)
Listen: P!NK - Get the party started (Savant Remix)
Download
25. Savant - Outlaw (Part I)
Listen: Savant - Outlaw (part I)
Download
26. Savant - Random Beats Vol.1
Listen: Savant - Random Beats Vol 1 randomnesssssses
Download
27. Dev & Timbaland - Don't hurt it (Savant & Svanur kidnap Bootleg)
Listen: Dev & Timbaland - Don't hurt it (Savant & Svanur kidnap Bootleg)
Download
28. Savant - Super Sheriff
Listen: Savant - Super Sheriff
Download
29. Savant - Government
Listen: Savant - Government
Download
30. Kelis - Milkshake (Savant Remix)
Listen: Kelis - Milkshake (Savant Remix)
Download
31. Savant - Agape
Listen: Savant - Agape
Download
32. Savant - Indoctrination
Listen: Savant - Indoctrination
Download
33. Listen: Savant - Positive Vibes (feat Twistex)
Download
34. Listen: Savant - Psykick
Download
35. Listen: Savant - The Third Eye (Savants Poison Remix)
38. Listen: Savant - Mother Russia (free)
39. Listen: Savant feat. Twistex - Breathless
40. Listen: Savant - Mushroom Clouds (Free)
43. Listen: Savant - Not Avicii (free)
44. Listen: Savant - Robosexual (free)
45. Listen: Savant - ICANDO
46. Listen: Document One - Clap (Savant Remix)
Monday, December 31, 2012
Illusia - Panorama EP
Illusia - Bon Appetit
Illusia - Goo Lagoon
Illusia - Sphinx
Beatport link: http://www.beatport.com/release/panorama-ep/1004638
Sunday, December 30, 2012
Pieces Of Light (Remixes)
Remixes by: Sick Individuals, Denzal Park & Henrix.
Beatport link: http://www.beatport.com/release/pieces-of-light-remixes/1018306
Digitalism - Zdarlight (Remixes)
Following on from the sensational smash Fedde Le Grand & Deniz Koyu remix, Digitalism’s key electronic anthem ‘Zdarlight’ now finds itself reworked to the opposite end of the spectrum by underground German indie heroes Chopstick and Johnjon.
Showcasing a classically trained musical background, the duo delve deep with a rework that transcends genres, yet simultaneously showcases their inimitable style. A completely unique and original vibe results, complete with nu-disco beats and a funky guitar lick leading the track through its iconic key changes.
Taking the original to a deeper, different level, Chopstick and Johnjon’s take on Digitalism’s classic cut contrasts yet compliments Fedde & Deniz’s progressive rework. Complete your collection and own the ultimate ‘Zdarlight’ remix package, courtesy of Toolroom Records.
Beatport link: http://www.beatport.com/release/zdarlight/1009761
Saturday, December 29, 2012
DZZ - Liquid EP
DZZ - Halloween Cowboy
DZZ - Liquid Rush
DZZ - Thin Tight Suits
Beatport Link: http://www.beatport.com/release/liquid-ep/1004637
Forekast - Abduction Theories EP [Holy Bangers Recordings]
Kaskade & Swanky Tunes - No One Knows Who We Are (Feat. Lights)
While the focus may currently be on his ranking as the 8th highest earning DJ in Electronic Dance Music, American club force more intimately known as Ryan Raddon can boast of a numerous landmark moments for 2012 that exceed financial speculation. Joined by Axtone approved Russian outfit Swanky Tunes and the angelic voice of Toronto songstress Lights, Kaskadeextends his melodic legacy with the ironically titled ‘No One Knows Who We Are’.
Providing the perfect middle-ground between the Russian trio’s tough Electro beats and Raddon’s knack for uplifting melodies, this collaborative effort builds upon two more commonly detatched hallmarks in a bid to unify the adrenaline of Electro House with the divine vocal moments that Raddon’s Kaskade moniker has grown to master.
SiriusXM - New Year's Eve - Live Broadcast Lineup (EDM Channels)
SiriusXM Dance channels broadcast an unprecedented 5 Live EDM Events on New Year’s Eve.
No North American music platform has every dedicated this much live airtime to EDM.
Ch 51 BPM Live from Pier 94 NYC with Jacked featuring Afrojack, R3hab, Quntino, Shermanology, Arty
Ch 51 BPM Live from XS/Las Vegas with Avicii
Ch 52 Electric Area Live from Pier 36 NYC with Armin van Buuren
Ch 52 Electric Area Live from Surrender Las Vegas with Eric Prydz
Ch 340 Tiesto Club Life Radio Live from Brooklyn New York from the Dada Land Compound with Dada Life, Deniz Koyu, Liquid Todd, Bassjackers, Pierce Fulton
For more informations you can visit: http://www.siriusxm.com/newyears
FB: http://www.facebook.com/siriusxm
Twitter: http://www.twitter.com/siriusxm
Thank you everyone for the support throughout 2012. 2013 will be filled up with news every single day!
FB: http://www.facebook.com/siriusxm
Twitter: http://www.twitter.com/siriusxm
Thank you everyone for the support throughout 2012. 2013 will be filled up with news every single day!
Drink Responsibly & Designate a driver!
Thursday, December 20, 2012
Wednesday, December 19, 2012
Feed Me - Death By Robot [BRAND NEW]
Brand new preview by Feed Me. Feed me has taken no breaks this year! He keeps releasing bangers, non stop! This track is called "Death By Robot".
I hope you like it!
Coming January. USA Teeth Tour tickets here: http://feedme.wantickets.com
Basto - StormChaser (Original Mix)
Digressing from the grinding properties that have come to define his original releases in 2012, Belgian producer Jef Martens, professionally known as Basto, returns to Spinnin’ Records for the release of his third and final original track of the year.
Dealing in luscious melodic progressions and blistering, stand-alone chord play, ‘StormChaser’ sees Martens plunge deep into the more minimalistic realms of dance music. Somewhat reminiscent of his 2010 release ‘SpaceCake’, ‘StormChaser’ caps off a successful year for the highly-supported Belgian with festival-esque substance.
Tuesday, December 18, 2012
Mat Zo & Porter Robinson - Easy (Extended Mix)
We have gotten teased with this incredible collaboration track between Porter Robinson and Mat Zo.. and now it is finally released. This is one of the best dance singles I have heard in quite some time. The two brilliant young producers have fused the powerful progressive house energy with hard hitting electro edge and trance vibes sprinkled throughout to create a track that appeals to everyone. Despite it getting released in the last few weeks of 2012, this is defintely going to be one of the most played anthems amongst a lot of dance DJ’s in 2013. Turn this up, support them by purchasing through Beatport. Enjoy!
Dirty South & Michael Brun - Rift (Original Mix)
As the second collaboration between the Dirty South and Michael Brun, "Rift," was released today on Brun's adoptive record label, Phazing Records. Previously getting together on a hugely popular remix of Brun's single "Rise" back in March, "Rift" premiered as an unfinished preview only lasting seconds on Dirty South's Phazing Radio a few months ago. Even then we could tell the collaboration was one that both parties were working tirelessly on, and listening now the depth of production from Brun and quality finishing from Dirty South shine through.
Finishing off a world tour and a year full of hits, Dirty South has risen to fame due to collaborations with those like Thomas Gold to Alesso, all with success on the Beatport and iTunes charts. His own record label took Brun in to help showcase his talent because he's become a resident progressive producer out of Haiti, and become one we can look to for layered, intricate progressions. Pair the with the Aussie king of uplifting festival hits, and the result is a single that straddles the line between uplifting and dark, making for an intriguing listen.
Monday, December 17, 2012
Nicky Romero & Nervo - Like Home (Original Mix)
Like Home is here!! Nicky Romero & NERVO have found a home for their latest offering to the scene!! Like home is a great collab between these young talents and have been creating a huge buzz on dance floors across the world. This is a great track with an ace vocal, something any dj would need as a weekend battle weapon.
Sidney Samson - Dutchland (Original Mix)
Sunday, December 16, 2012
Alesso - Clash (Clashes his way to #1)
Congratulations goes out to Alesso, as his track “Clash” just hit the #1 position on the Beatport Top 100!
Making the quickest rise into the top spot that we’ve seen since the beginning of the year, “Clash” traversed the treacherous path to reach the summit in just four days since its release. This arena-sized anthem from Sebastian Ingrosso’s Refune Records adds one more Beatport #1 to Alesso’s list of titles. We’re sure it won’t be the last.
Steve Aoki talks conspiracy theories, his new EP, and making the most of the end of the world.
Steve Aoki has a lot to celebrate. For one, he just made it another full circle around the sun, celebrating his birthday alongside a crowd of 5000 at the legendary Shrine Auditorium, in his hometown of Los Angeles. Secondly, while December may mark the end of the world as we know it, Aoki is perfectly content providing the soundtrack to the hyped doomsday chaos. After a full year of extensive touring and running Dim Mak Records, Aoki’s latest EP, It’s the End of the World As We Know It, is finally ready for the masses.
Prior to a 20-hour-plus trek to South Africa for his upcoming weekend tour, Aoki took some time to shed some light on conspiracy theories, what it’s like having his own app, and the back-story on his brand-new collaborative EP.
Do you buy into any of the conspiracy theories about doomsday, or is the title of your new EP, It’s the End of the World As We Know It, your way of having fun with it?
I love conspiracy theories. I think they are fun. It’s fun to think of all these crazy things that might happen. It’s part of the adventure—you’re supposed to take it to these wild places. If it’s the end of the world, let’s go out with a bang, you know. That’s the point. We’re only here for so long, so make the most of your life.
And for the album?
Throughout the year, I’ve been touring like crazy, so I haven’t had too much time to sit down in my own studio and come up with a major concept, so that’s why I was like, okay, it’s the end of the world, 2012, let’s put these three songs together. It’s three different collaborations I did with different producers, so I figured we’ll pack it all together. I produced them at different times throughout the year, so there were different influences and sounds in each song.
What was it like collaborating with different people for each track? Can you break down each one for us?
The first song I did with Annger Dimas; I always work together with this guy. He’s one of my really good friends, and we have really great chemistry working together in the studio. I got Kay (of My Name Is Kay) on that record to amp it up a bit more and make it a bit more vocal obviously. I’ve been dropping that record since Ultra. That’s where I debuted the song, and now it’s finally coming out.
As far as “Omega,” we got Dan Sena on it and we got Miss Palmer, who also sang on “No Beef,” and it’s one of the more commercial-sounding records and I’m really happy with that one.
“Transcend” is a record I started with Rune RK actually over a year ago. We were in the studio together, in the UK, and we rented a studio out there to do some work together. The song transformed and transcended into the song it became, so that’s why it’s called “Transcend.”
When does a track feel “finished” to you?
Sometimes, they feel finished right away. “Turbulence” and “No Beef” were both written in the span of no more than four hours. Both those songs were done fairly quickly. Sometimes, things take time. I’m working on a record with Knife Party that’s coming out next year, and it’s still not done yet, but I’m dropping it every set. We did two studio sessions on that record, so sometimes it takes time to really fine-tune all the sounds and what we want to do with it. I really take it case by case, because each time can be different.
With these three for the EP, “Transcend” took the longest. It really morphed into a lot of different songs and melodies before sticking with the version we went with. “Omega” took the better part of this year to actually finish and “Singularity” was sort of a quick one. Angger and I rocked the music out on that one with one major session and fine-tuned it in another.
After putting so much work in over the past year, are you excited to finally have the EP coming out?
Yeah, I’m excited! It’s already all over YouTube and people have been listening to live rips of it from my sets. I’m excited that now they can actually download high-quality files of these tracks. Especially “Singularity”—I’ve been playing that one out for the course of the year.
I’m happy that people can now get it. I’ve been seeing a lot of comments about it since I’ve opened up my sets with it, and people getting excited about the release. “Omega” is a later song. I just started playing that one out in the last couple of months. And “Transcend” I’ve just started dropping, so those two are the more fresh records that have been circulating.
The concept of the EP translates really well visually. Can you tell us about the art behind the release?
I pretty much have the creative direction on all the art. For this, I was thinking like, I’m releasing an EP at the end of the year, it’s going to be December 2012, the Mayan calendar… The Mayan calendar is all about new beginnings, but there is the other comedic route to take about it. Thinking about all the other different, crazy shit that might happen—earthquakes, thunder and lightning, an alien invasion, a guy with a big white beard come down from the sky zapping people.
I mean it wouldn’t be funny, but it would be funny—seeing UFOs or gigantic creatures coming from underground, after an earthquake. I don’t know, just chaos. What I was saying to my artists for the EP was like, just think about all this crazy shit—aliens, gods, Mayan pyramids, and people running away from it all.
What was it like playing in your hometown for your birthday and then in Mexico City on your actual birthday?
I had my birthday bash at the Shrine in Los Angeles and I actually put up a video on YouTube of the actual show. It’s on my YouTube channel where I post up videos from tour life pretty much once a week so you can check it out there. That show was one of the most critical shows of my career. LA is my hometown; it’s really important for me to have great shows there. The Shrine is legendary and it’s a really big venue. I was worried. We got there, we sold it out and I couldn’t believe it. It was one of the most accomplished efforts in my life, so I was really, really happy. The people, my friends, my birthday, all in this legendary place. 5000 people. It was just incredible.
Mexico City was also an unforgettable night. That was actually on my birthday and I have an amazing fan base in Mexico. Sold out the Six Flags venue, like 6000 people. The crowd was just nuts.
Do you check out fan photos that people make with your #Aokify app? What’s it like having your own app?
On my Facebook, there’s an Aokify page and it uploads in real time anyone who hashtags #Aokify with their photo, so I’ve been checking it and reading all the comments of what people are saying. People are having fun with it. We put up a new sticker package and it’s from my rider, my tour rider that got exposed. We just made more underwear and socks and pizza, more stuff you can put on your face, all stuff from my tour rider. We’re making a holiday pack that’s coming out for December, in a week or two, with Santa Claus and snowballs. I love putting stickers and illustrations all over my photos. I was doing that even before this app. It’s made me really happy that it’s been downloaded a lot. Happy people are using it.
Next up for you is a tour in South Africa. Have you played there before? What was the scene like?
I played there two years ago. I didn’t know what to expect. The crowd was awesome, and this was back in 2010. I’m excited for these three shows in Durban, Cape Town, and Johannesburg this weekend. It’s a fascinating place because it sounds like it’s so far away. It’s definitely a long flight. I’m going to LA then London then South Africa; it’s like a 20-22-hour flight. The scene there is definitely full energy. Last time, we got to explore the city and went to the safari, the national park. I think we’re going to do something similar this time again.
If the world doesn’t in fact end, what can we look forward to from you in the next year?
Next year, I’m spending the first three months focusing on starting my second album. Then I have a major collaboration I’m working on with a band that will be coming up. Then will start heavily touring in April, playing Ultra again. Probably will be frequenting the small clubs in Los Angeles when I’m home. I always do these surprise sets where I don’t announce anything. I’ll do like a 30-minute trap set that no one knew was coming; it’s really fun to do things like that.
Beatport #1 artist Hardwell talks "Apollo," Revealed Recordings, and the pop/dance conundrum
Passion, perseverance, and youth have seldom converged more persuasively than in the form of Breda, Netherlands producer Hardwell (aka Robbert Van De Corput). Still in his early ’20s, and boasting main-stage appearances at almost every major dance festival on offer, his strong will to succeed and his reluctance to sell his sound short with cheesy pop collaborations has made Hardwell an unsuspecting beacon of awe and jealousy to aspiring producers and industry heads across the globe.
But behind the boyish charm that has made his face so easy to deploy on posters across the globe stands a sound not only powerful enough to lure in hometown peer Tiesto but also the worldwide masses. Armed with a tough yet universally digestible production style far from that of the typical bleeps that his nation has come to commandeer, his ascending presence on top DJ lists and eclectic run of singles for Toolroom and his own Revealed Recordings lends proof to the belief that for all his youth, Hardwell has invested some sleepless nights in mastering the craft of giving the global dance explosion a prominent soundtrack.
Having hit Beatport’s #1 spot once again with latest single “Apollo,” Hardwell sat down with us to talk about his final single for 2012, the makings of a universal champion, the “can-do” days of electronic music, and why dance and pop will never be the same.
With pretty much every major festival under your belt and a significant slew of landmark releases, 2012 seems to have treated you pretty well. How are you feeling as we prepare to sign off on one of your most prolific years to date?
2012 has been an absolutely crazy year for me. The festival presence was an absolute roller-coaster ride throughout the summer, and to tick off main-stage and headline slots for so many of them was just unreal. It was also incredible to see “Spaceman” become such a major success for me, and an honor to reach #6 in the DJ Mag Top 100. My profile generally seemed to rise and I don’t think it could have been much better in hindsight.
Between the consistent releases and sold-out showcases, such as Escape at Amsterdam Dance Event, it seems fair to say that the Revealed Recordings label has gone from strength to strength. Talk us through the concept and how it feels to see your own imprint succeed at such a brutally competitive time for electronic music?
It is funny because last year when Revealed was two years old, we did [Escape] in a small club—300 people. This year at Escape it felt like a whole new level—the tickets sold out immediately and the show itself was insane. We premiered my new track, “Apollo,” there, and the energy was just perfect for that track to see the light of day. I am proud of the concept as, for the most part, it is just a label that is putting out good dancefloor tracks from people who deserve the platform and opportunity. The reaction and success to date is completely overwhelming. To be in complete control of that is priceless, and it is amazing to be able to do it with passionate and like-minded people.
Talk us through the current roster you hold at Revealed Recordings, and what has kept you so enthusiastic about the young and like-minded talents you remain so closely associated with?
DANNIC, Dyro, and Jordy Dazz are three guys who are really inspiring me in everything they do or touch at the moment. Since each of them first appeared on my radar, the results they have been achieving have been pure fire for the dancefloor. All the tracks they make hit the spot, and it is so good to work as a team for Revealed rather than alone; together we have produced some really good and meaningful music. We are great friends, like a family. We enjoy every moment and I believe that atmosphere is reflected in the energy we bring to our parties.
Over the past couple of years, we have seen you cross a huge range of styles within your releases. Is there a conscious effort on your behalf to mix it up both for the fans’ sake and your own?
The way I compose my tracks just feels completely natural to me. There has to be an element of love to the sound you pursue, and I cannot think of anything worse than being associated with a sound that you personally do not believe in. I know that to some people the vocal remake of ”Spaceman” sounded commercial, but it felt natural to me and I enjoyed making it as much as I do listening to it today. It never felt wrong, and the vocal line was constantly stuck in my head, which is always a good sign. I never wanted to score a mainstream hit out of it. If that was what I wanted out of my career then tracks like “How We Do” and “Three Triangles” would not be out there.
“Apollo” was premiered in Amsterdam at the label’s ADE party, and I am thrilled that it became another Beatport #1 for me. Australian vocalist Amba Shepherd did a small but incredible vocal spot for the second breakdown, and to me I feel like it hit a nice middle ground between a huge club track and a radio-friendly single. I think it stayed clear of the more commercial style of dance music that has been really popular this year while maintaining a universal edge that still works amazingly on the dancefloor. For me, these balances are essential. The club is where it all started for me and I will always honor that!
The boundaries between popular and dance music have been consistently blurred throughout. Given your reluctance to collaborate with huge pop artists, how do you feel their involvement in the industry translates in terms of musical quality?
Where pop music is concerned, to me it is just pop—there is no dance music involved. The second you collaborate with a huge artist whose influence shifts that sound outside of the edge of dance music, then you are making popular music. It isn’t necessarily a bad thing or bad-quality music, but people seem to get unnecessarily tangled up in the terminology. Dance music has its own culture and ethos, and is enjoyed by people in clubs. That is the way it is and has been since the late ’70s. Adding Lady Gaga or Rihanna makes the whole ideal of music for the club impossible; their popularity and artistic dynamics make it impossible for a track to ever truly be a “club” record. It has its place, but if it isn’t on the dancefloor then it can’t be called dance music.
Whether you see it as all positive or partially negative, the mood and reach of dance music has considerably altered over the past couple of years. Having witnessed it happen firsthand, what do you believe have been the most important factors of this all-embracing shift in popularity?
What has happened in electronic music boils down to a few key developments for me. Daytime radio stations are finally playing dance music and while there is a lack of underground music on the airwaves, people have found a universal middle ground that unites the world with this music. Avicii is a good example of this—he makes music that even my mum can understand and relate to, and I think that awareness and understanding is another huge social development that has helped. The underground culture simply didn’t speak to the vast majority of people; to me it feels like since the boundaries have opened, the music has become a lot more digestible to bigger groups of people all over the world. There is something very beautiful about that.
You’ve made breaking into the electronic music industry look pretty easy. Have there been any significant challenges for you as an artist over the years, and is there still a degree of pressure to what you do?
Getting the most out of myself is still a challenge, and putting out the best record is one that far too many people seem to overlook. Every time I make a new one, it feels better and that is essential—you want to ascend rather than stay on one line of results, whether it is music or sports or whatever. Topping your personal best and redefining your own standards in this industry, because the second you lose your edge there are 100 other artists who will try and overtake you. That sort of pressure is vital because it makes you value your own performance and success a whole lot more.
For producer yet to hit 25, your achievements are sure to have inspired a huge number of young fans and aspiring talents alike. What do you consider to have been your biggest and most relevant industry achievements to date?
Beside all the festivals and sold-out shows, I felt like “Zero 76″ was a huge achievement. To be honest, though, I never expected to see the tracks I make explode in the way they have and entering the DJ Mag Top 100 out of nowhere was a huge honor, let alone rising into the Top 10 this year. When I snuck in at #24 it really surprised me, so this year’s results felt like a huge leap forward for me. I had a really good year and had a lot of visibility. Doing it with such loyal and dedicated fans both old and new has been an achievement I could never overlook.
Having set the bar so high for 2012, what can we expect from you in the new year?
This year it felt like there was a slight lack of original tracks coming for me. That is going to change for 2013, for sure. I want to produce new records throughout and maintain a more consistent presence on the digital market. On top of this, I am developing a huge new show that brings together a whole load of elements to create what I believe to be an upfront clubbing experience that represents the music I make. 2012 was so good to me that I am ready to make the new year count on every possible level.
Subscribe to:
Posts (Atom)