Beatport: Giorgio Moroder’s New Album Has a Crazy Lineup of Guests @ Musique Non Stop |  |
- Giorgio Moroder’s New Album Has a Crazy Lineup of Guests
- Premiere: Jay Haze Remix of Soul Clap’s “Islands in Space Part 1”
- Icicle Discusses His New Drum & Bass LP ‘Entropy’
- Hear Feed Me Ace His Hour-Long Mix on ‘Diplo & Friends’
- Daily Roundup: Diplo Re-releases ‘Florida’ (again) via BitTorrent, Skrillex Plays Celine Dion, more
- Corona SunSets Sound of the Beach Winner Revealed
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Posted: 17 Nov 2014 03:00 PM PST
 Good news disco fans, Giorgio Moroder is returning with his first solo album in over 30 years. The 74-year-old disco pioneer, whose Daft Punk-supported revival has lead to DJ gigs and appearances around the world of late, has announced that he has signed a deal with Sony Music International to release his new LP. The album, which does not yet appear to have a confirmed title, will feature Britney Spears, Sia, Charli XCX, Kylie Minogue, Mikky Ekko, Foxes, Matthew Koma and more, so, there’s good news, and there’s… surprising news.
Wow, dreams come true! I'm thrilled & honored to be part of the new @giorgiomoroder album w @sia, @BritneySpears, @charlie_xcx #74isthenew24
Speaking of surprises, here’s Giorgio’s new single, “74 is the New 24.” “Dance music doesn't care where you live,” Moroder said of the new single. “It doesn’t care who your friends are. It doesn't care how much money you make. It doesn’t care if your [sic] 74 or if you are 24 because… 74 is the new 24!” OK!  |
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Premiere: Jay Haze Remix of Soul Clap’s “Islands in Space Part 1”
Posted: 17 Nov 2014 01:00 PM PST
After bouncing around for the past decade, moving from Philly to Berlin to Lima and back to Berlin, a near-death experience in the Amazon inspired TuningSpork and Contexterrior label boss Jay Haze to return to making the vibey, emotional electronic music he so loves.
Following the release of his excellent collaborative album with ESB, Finding Oriya, last month, the multi-instrumentalist returns with his new EP, The Mulatar House, on Soul Clap Records, available exclusively on Beatport Dec. 1, and everywhere else Dec. 15. The EP celebrates the sound captured by handmade instruments like the Mulatar, a combined bass, harp and percussion instrument made by Jordy Lockruf, who also played on the record. Only 16 Mulatar’s exist, apparently, and Jay’s EP introduces this new instrument to the world. As Jay Haze and Soul Clap prepare to release The Mulatar House, we’re excited to offer an exclusive downloadable Jay Haze Remix of Soul Clap’s “Islands in Space Part 1,” the original of which appeared as an interlude on their 2012 LP, EFUNK. “I don’t think I ever worked harder on a remix or did so many alternate versions,” Jay tells us. “You see I always wanted to remix Soul Clap. ‘Islands in Space Part 1′ was really an interlude, so turning it into a full blown track was a challenge.” Jay Haze’s The Mulatar House EP is available as a Beatport exclusive Dec. 1, via Soul Clap Records.  |
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Posted: 17 Nov 2014 10:00 AM PST
Labeling Icicle a drum & bass producer might be a bit inaccurate. Sure, the Holland-born, UK-based artist might be best known for his work in the D&B and dubstep realms, but there is always a subtle undertone, an underlying influence, ranging from old school jungle to new school techno, that you can hear just beneath the surface of his tracks. His 2011 LP Under The Ice answered the prayers of drum & bass purists, while experimenting with half-time tempos, innovative arrangements and unique melodies, and now he’s back with his second full-length album, Entropy, which hits shelves today (Nov. 17), via Shogun Audio.
We had the pleasure of meeting up with Icicle to ask him a few questions about his album, his influences, and more. How’d you become a drum & bass fan? Do you owe anyone in particular a debt for introducing you? When I was about 15, some of my school buddies took me to a local D&B night run by DJ Esta, Jungle Galaxy, which got me hooked instantly. I later went to the local record shop to buy my records often and forged a friendship with John / Rosco who worked there and had a full collection of old Certificate 18, Photek, Source Direct, Jonny L, Virus, Metalheadz etc. He introduced me to all that, so it's him I owe my debt to. When you first started producing electronic music, how old were you? What kind of music were you making? The earliest memories I have of making music with a computer, I was probably eight or younger. My friends and me were messing around with very basic MIDI programs, then later with Cubase, Fruity Loops and Reason. It was all not very serious, and I was making all sorts, until that day when I was 15 and heard D&B properly for the first time. It got some direction after that. As far as creativity and styles, what do you see going on in the drum & bass realm right now? Drum & bass is very diverse at the moment, and because of that it’s quite exciting. The half-time infusion of the last few years has opened up new doors and given D&B a lot more space to work with, resulting in some really great music and at the same time, the technical ability of many producers has been growing on all fronts and keeps it all quiet at the forefront in my opinion. Lately we’ve been seeing a growth in interest in D&B. Is this something you’re feeling on your side as well? Any idea as to why this might be going on at this particular moment? I think recent years have been strong for drum & bass. There are several reasons for it; after dubstep, there has been a renewed interest in bass music in general. Also, D&B seems to make its way into the charts over here, inevitably getting more kids involved, who will then gradually develop their taste and become more seriously interested. Entropy is your followup LP after 2011’s Under The Ice. What were the differences in approaches going into both of these albums? I think Entropy is more of a statement on current electronic music than Under The Ice was. It’s more futuristic and more of a development of my sound. Under the Ice was a lot more retrospective, and based on my musical foundations. Entropy is my evolution of that. When I listened to the album, one of the standout tracks was “Mechanisms.” There’s a lot of subtle, technical sounds going on at the core of it. It’s very detailed. What kind of work goes into a track like that and how long does it take to get everything just right? “Mechanisms” is actually one of the oldest tracks that made it on there, being almost two-and-half years old now. It was one of the first tracks where I consciously started looking for more detail, and a sonic evolution from my previous work. It took quite a lot of tweaking and there were many different versions, we even contemplated a vocal for quite some time, but in the end kept it bare and let it do its thing. One of the more surprising tracks on the album is also the sexiest – “Superimposed,” with amazing vocals by Sarah Hezen. What was the impetus for adding a track like this to your album and how did you connect with Sarah? I made the track as a musical experiment, retaining the usual sound palette and a bit of melancholy. Sarah was then tipped to us by Alex Evans, our recording engineer. He was helping her with some of her solo stuff. She did a demo and blew us away with her original harmonies and amazing approach. We’ve started working on a lot more too! I have to ask about the track “Amp,” which seems like a newer dancefloor tune, but is also a tribute to dance music history. What does it represent for you? When you read the small print, you can see that the riff is licensed! As much of a look forward as this album is, “Amp” represents the roots still, the early rave culture and techno influence I always lean on, at least a bit! I really could ask you about every track on the album, but in the interest of keeping this semi-short, I’ve got to ask you about one more track that’s really very telling of your production talents, “Hani.” It’s got that classic bass track sound, and a lot of producers can build careers just producing these types of tracks, yet you frequently switch things up. Why is this important to you? I think you make the best music when you have fun and a sense of freedom in the studio. For me, that means writing different music and searching for the boundaries of my comfort zone from time to time. When it comes to success, specializing usually seems to pay off more. People like it when you give them what they expect, but there is no real progress in that, and I think the one thing that keeps me fully engaged is the progress!  |
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Posted: 17 Nov 2014 10:00 AM PST
As Diplo rightly puts it, securing Feed Me for a guest mix is “kinda a big deal.” For his hour-long session on the latest episode of the ‘Diplo & Friends’ radio show, the UK producer threw down selections from right across the electronic spectrum. Feed Me’s own productions led the way on the tracklist, including “Wuzzle” and “Spilt Milk,” plus cuts from his Sotto Voce label family, big names Knife Party and Dillon Francis, and ones-to-watch like Pedestrian and Tinlicker. The mix also features his recent team-up with Kill The Noise, “Far Away.”
Over summer, Feed Me took his new ‘With Teeth’ show across North America, joined by Delta Heavy, Treasure Fingers, Le Castle Vania, Zeros and TIJANI along the way. From August to September, the roadshow hit over 20 major cities, and this is how it looked. Meanwhile, the Sotto Voce family continues to turn out music, with Tinlicker’s new EP Like No Other due in December. You can Feed Me’s special ‘Diplo & Friends’ mix below.  |
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Posted: 17 Nov 2014 09:00 AM PST
Yeah, yeah. Mondays. No stress, we’ve got a boatload of videos, jams and news for you. Literally.
Diplo re-releases Florida again, this time via BitTorrent Diplo is re-releasing the re-release of his 2004 debut LP Florida via BitTorrent bundle. The free release includes EPROM's remix of Diplo’s “Big Lost,” stems for “Into the Sun,” and a bunch of art/stickers. Also, for $5 you can download the 11-track album. You already know what we think about the album. Dropping an album via BitTorrent is apparently the new releasing via cereal box. [BitTorrent] Check out MOTi’s new single Check out Tiesto protege MOTi‘s new single “Lion (In My Head),” which hit the store today. Skrillex plays Celine Dion on a boat The Mad Decent Boat Party has come to an end, so here’s a video of Skrillex serenading you with a lil Celine Dion, “My Heart Will Go On,” on a white grand piano, captured by Makkonen’s DJ, Ares Carter. [DancingAstronaut] Carbage shoots $10,000 at fans Carnage performed in Chicago and decided to surprise fans by shooting $10,000 out of his confetti cannons at his #blessed fans. Insane. [Facebook] Check out John Digweed Live in Toronto After releasing live mixes from cities as wide-ranging and random as Miami, Argentina, London, Slovenia, and Cordoba, John Digweed is preparing to drop a 3CD, five hour Live in Toronto mix on Dec. 8. Preview it below.
Listen to Pete Tong's Evolution Beatport Radio
Don't forget to tune in to tonight's re-broadcast of Pete Tong's Evolution Beatport Radio premiere on local iHeartRadio stations tonight from 7-9PM ET. This time around, the show features Beatport exclusives like Kattison's "I Know You're Ready," the Nathan Barato remix of Filthy Rich's "Rendezvous" and Tommy Trash & Wax Motif's "Hex." Then you'll hear an exclusive DJ mix from main stage peers Bassjackers and Dyro, who are currently on a joint tour across North America. All in all, there's a lot to listen out for.
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Posted: 17 Nov 2014 08:00 AM PST
 From thousands of entries, six promising DJ-producers were chosen to fly to Ibiza and compete in the finals of the first annual Corona SunSets Sound of the Beach competition. After landing on the White Isle at the height of summer, they worked on music, saw some of the world’s best DJs in their element, and heard advice direct from scene luminaries Cajmere, Claude VonStroke and Annie Mac. At the end of it all, there was a grand prize totaling over $40,000 for the producer who best captured the sound of the beach. After deliberation from the judging panel, Latvian newcomer Uppfade (aka Janis Jekabsons) was crowned the winner for his studio work. The winning track was revealed when Cajmere worked it into his set at the SunsSets Festival in Ibiza. “Participating in the Corona SunSets Sound of the Beach competition offered a life lesson: if you don't give up, believe in yourself and give 120-percent, results will come,” he said in a statement. “Stay true to your heart, feel the environment around you and the music will start to vibrate within. Then all you have to do is let it out through your fingers." The Sound of the Beach 2014 soundtrack is out now on Beatport. Catch the final webisode below to see the moment when Uppfade was named the winner.  |
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