Read Avicii’s essay about the long standing controversy regarding “Country EDM”

Avicii decided to address the long standing controversy regarding “Country EDM” term an EDM in general.

In his short essay on the subject, Tim Bergling, writes about his inspiration in exploring new genres and sounds, and explains why he’s not concerned with all the labels and terms.

Read his full statement/essay below:

“The short answer is: I dont consider it Country EDM even if thats the label it’s gotten, but I got into that sound by the music I was listening to and loving at the time. Below is a more in depth answer.

It was never a point were I “got into” “Country EDM”. Firstly the country label even surprised me after my ultra appearance, and quite honestly Im getting quite bored of these labels people and artists feel the need to put on their music in order to make themselves sound more unique.

My first answer would be: My music stems from all forms of music, whether it’s considered country edm , blues techno or jazz trap doesnt really matter to me anymore. I love music. All kinds of music with the common denominator that its almost always melodic. It is true, my artistic image and first real romance with a genre was house music – I still get goosebumps when I hear Teasing mr Charlie by Steve Angello, or Shadows by Prydz and I still play and get the same kick from that type of music. After grinding for 6 years making what at the was considered progressive house music (for some odd reason) i.e Levels, Bromance, Fade into darkness etc etc I was eager to evolve, as most artists are. How dull it would have been if every Ray Charles song, every Beatles song was based on the exact same formula? The safe bet for me would definitely have been to keep milking that Levels recipe – I know how to do it and it comes quite easily to me. I obviously knew there was a huge risk involved in a rapid change in my music but I also loved every song on True, and I love every song on Stories. A couple happened to be influenced by country – or rather its subgenre Bluegrass and european Folk music. True represented very much what I was listening to at the time, like Fleet Foxes, Mumford and Sons, of Monsters and Men, Edward Sharpe and the Magnetic Zeros and countless other examples. ‘A man of constant sorrow’ most famously sung by Dan Tyminski in the film ‘Oh brother where are though?’ Made me contact Dan and see if he’d be interested in singing on a song I’d written with Salem Al Fakir and Vincent Pontare and that turned out to be Hey Brother. Wake me up was a proper jam song that with Aloe Blaccs Motown-esque sound made it into something quite other than conventional country.

Ive never really been a fan of country in general to be honest – the general mass of it follow very similar chord progressions and feels like the same song alot of the times. In lack of a less judgmental word at this time I see and hear a clear difference in the type of “redneck country” and bluegrass (noted here should be that there are “redneck country” classics that stands out and are amazing songs – but thats not the general mass unfortunately). A lot of the separation of the two for me has to do with the Swedish equivalent to country which ironically translates into “Dance Bands” which for example would be:

Nevermind the swedish language, Im sure you get the drift. So this is basically my explanation why the Country label surprised me, and also why I think labels on music are such a limitation. The instant people heard a banjo they put the label Country on it which is a very vast array of music that most people dont even realize is country, but the first thing that people think about when they see the word is a Texan cowboy or “redneck”.

Ive been experementing alot over the past three years, and have written and produced a wide array of songs with influences from a wide array of genres and I find it quite funny that out of the 10 songs on True there were really only two songs that could be viewed at as ‘country inspired’ and yet – thats the instant label I got because Wake me up became what it became. Unfortunately I think alot of songs from that album got lost, partly because of that Country label. For instance, my personal favorite track of True would be probably be ‘Shame on me’ or ‘Lay me down’

The last part I will address is the term EDM. Alot of producers and DJs, almost all of them, have despised that label since it just mashes it all together to electronic dance music. This creates a feeling from everyone that ‘Hey my music is different than X, therefor it should be called something else, have another label’. In reality it doesnt matter what label a song has, its either something you like or dislike. This is also why the term ‘guilty pleasure’ is odd to me, why would you feel guilty for liking something just because someone have put a label on it? A great personal example for me would be:

This is a great song, in almost every aspect. A pop song aimed more towards the female audience yes of course – you have to see, or rather hear, it for what it is. Where is the shame or guilt in this? Youre not going to watch Ironman 3 expecting to get the same sensation and emotional experience as ‘The Fountain’ or ’12 angry men’. You see Ironman for what it is – a great fn over the top and top of the line action blockbuster with supercool special effects and entertainment. It probably isnt a movie that will move you, you wont have to think to much to understand it. But that type of movies are also needed because sometimes you just want to be entertained – but theres no ‘Guilty pleasure’ in that. Its just a different form of art that serves a different purpose.

Im sorry for the essay but I’ve been asked this question so many times I felt I wanted to give it a proper, genuine response once and for all.”

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Daft Punk movie “Unchained” (BBC Trailer)

Ever since the release of Daft Punk‘s most recent album Random Access Memories, everyone in the electronic community and beyond has been clamoring for a sign of their return. While there hasn’t been much to tide us over besides their involvement with TIDAL and circulating, unproven rumors of an upcoming album, one project may be exactly what we need to weather the storm.

The highly sought-after documentary “Daft Punk Unchained,” which premiered on French television in June and in England this past weekend, has finally received its first official trailer courtesy of BBC Worldwide. During the video, several of the interviewees are shown discussing their admiration for the duo and experiences working alongside them. Pharrell Williams, Kanye West, Paul Williams, and Nile Rodgers all make a brief appearance beside exciting footage of Daft Punk’s work and play over their long careers.

The last shot of the trailer shows one of the members standing in a desert unlocking his helmet and preparing to remove it. We must hand it to them, they know what this audience wants to see.

Watch below, and prepare for the worldwide release sometime later this year!

THE LAB

Max Vangeli announced through his FB page “THE LAB”, an interactive production forum, where you can post your music ideas, as well as learn from various video tutorials provided.

Furthermore, “THE LAB” will also host a ton of exclusive competitions and exciting interactions for the members.

As Vangeli claims, “Not only will I be 100% involved with the feedback and critique of your work, I also teamed up with a few great producers that will share their input as well”.

Read his announcement below.

Hey Guys!!! A few months ago I announced the upcoming launch of my own production forum and after a lengthy process of perfecting it we are finally ready to GO! When I was starting my musical journey sources such as the Laidback Luke forum greatly helped me improve my skills and acquire the knowledge to succeed and grow as a producer. That’s when I made a promise to myself that one day I would like to do the same for my fans. I want to share my knowledge and help anyone creatively as much as possible. With that said I would like to present “THE LAB”, an interactive production forum I am launching in order to achieve my mission.

“THE LAB” is going to be a fun and interactive environment where you can post your music ideas, as well as learn from various video tutorials provided. “THE LAB” will also host a ton of exclusive competitions and exciting interactions for our members only. Not only will I be 100% involved with the feedback and critique of your work, I also teamed up with a few great producers that will share their input as well.

Another amazing addition to the forum is my partnership with “ZenWorld”, an incredible sound designer who will be posting exclusive video tutorials and sound banks for members only. His “Synthology” section is going to help young producers develop and re create some of the popular and essential sounds in electronic music.

With that said I want to welcome you all to “THE LAB” and I hope our team is going to make your experience fun and exciting, because after all music is supposed to be that way!!!

To join “THE LAB” and become a member, please visit: http://thelab.maxvangeli.com/

Best Regards,
Max Vangeli
#THELAB

EDM community bids a sad farewell to David Guetta production manager Alan Green

The dance community has lost another one of its beloved figures. On September 20th it was reported that Alan Green, former production manager for Cream and current manager of David Guetta, had passed away peacefully in his sleep. While the exact cause of death remains unknown, it’s theorized that the manager’s ongoing battle with nocturnal epilepsy had been a contributing factor.

Green was a highly respected figure in electronic music; past career successes aside from managing EDM superstar Guetta included seven years of running production for Liverpool’s infamous Cream club, touring with Sasha and Carl Cox, and providing his valuable services to Creamfields and The Warehouse project. He was also an outspoken activist for epilepsy, which he had been dealing with for over 10 years and had recently held an interview with The Daily Record to build awareness of the disease and to break stigmas associated with it.

His loss is already being strongly felt throughout the community; following a somber tweet from David Guetta thanking him for all his work, an outpouring of remembrance occurred throughout all social media outlets as people from all facets of the electronic music industry expressed their condolences. DJ Sneak’s Facebook post reflected a sentiment felt widely by those affected over the loss: “Always helpful in any situation, he spent time making sure people’s travels and life were good to continue on any tour.”

Green is survived by his wife Lainie and his nine year-old son Ewan. Our condolences go out to his family.

via: The Daily Record

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Longtime artist-manager responds to split with Axwell /\ Ingrosso

A few days ago it was announced that Axwell /\ Ingrosso would be leaving their longtime Manager Amy Thomson, who they had worked with since the earliest days in the legendary trio Swedish House Mafia with Steve Angello. Amid growing pressure for a response from Thomson, she reluctantly took to twitter to draft a lengthy explanation.

Thomson confirms that the split was indeed amicable, and the duo did not leave her in the dust after 12 years, by any means. In her statement, she explains that they are all still good friends and continue to support each other throughout the ending of their business relationship.
Read the full statement below:

“Reluctantly I have decided to answer the Billboard article posted yesterday. I haven’t done an interview since I talked about my fears over SFX at the IMS in LA in 2013 and got attacked for it, I refused my interview in Billboard’s recent EDM power list issue, because I just feel that discussing clients isn’t something I want to do

However once I started to see some emails and tweets start to accuse Ax and Seb of being unfair to me I am actually going to step in.

I was shocked yesterday , as I said in the article when I was asked for pretty much an immediate quote , as I was told very early in the morning the piece was running and I had no idea, and if I’m honest, I forget that people choose to write about these things, and I forget even more that people seem to want to talk about it. For me, this is a private relationship like all my close friendships.

I’ve known and worked with all 3 members of Swedish House Mafia for 12 years. When I started working with them I was their agent and house music was writing it’s own rules. From the way gigs were being run, to the structure of how business worked, to the roles you had in a team. People didn’t have tour managers back then, or pyro guys, or videographers, or social media…. I was their agent, but I also managed Steve. Then we ran Size together, then I managed Buy Now and Angello & Ingrosso, then I managed Swedish House Mafia, then I managed Axwell, then I managed Axwell & Ingrosso.

Whilst the business around house music, since someone named it EDM in order to bottle it and sell it more, has grown up, and become more official, and the entourages have grown, and the shows have got bigger, and I played my part in all of that, good and bad….at the very heart of it, we were just 4 people, loving every single second of what we did, and using music to scream out all of our frustrations with life and we went on one hell of a crazy ride.

We didn’t book Madison Square Garden that first time around to try and look big, we just wanted to see where we could put a rave that had never been done before…throw the greatest parties on the planet, and ride a wave we already felt turning. We would book venues and then wonder what show we could afford to build, blundering around the world of pyro and LED like kids in a candy shop…it was an incredible time.

There are 4 people in the world who know why Swedish House Mafia ended, and I am one of them. I’m not about to start talking about it now, same way we didn’t talk about it back then, but would we have even been where we became if we didn’t end? Maybe not. We took our moment and we ran with it. The conspiracy theories and gossip around it makes me smile all the time. I’m proud of all we did, but that was one chapter of our lives. It’s not what defines them, and its not what defines me.

I was happy to work with Axwell and Sebastian after SHM. It wasn’t about a beef with Steve, it wasn’t about revenge, it was just how we all wanted to do stuff. Me and Steve are cool. It’s that simple. Ax and Seb made much of that album in my cottage in LA and we had a nice time sticking together after the One Last Tour, still shell shocked from the incredible journey we had made, but deafened by the noise in so many ways and how you move on from that and we supported each other in essentially getting over Swedish House Mafia.

When we headlined Ultra this year, and subsequently closed Coachella, that moment came. We got over it. We started to smile again and have fun with everything, the gossip had stopped, an identity of our own had begun, reunion tweets were dying down and the first question in every interview wasn’t ‘when is SHM getting back together’

In that time I had moved to LA with my daughter and my personal interest in music widened. The consumption of it, the future of it, it’s changing landscape and in LA the world is at your feet to explore it. Sweden is 9 hours ahead of me, it was inevitable the relationship with me and the guys would yet again evolve.

In the summer of this year, it was clear to all of us this chapter was done. People need to understand, there is no contract or job title that covers the friendship we have, and it would be wrong for any of us to cling to a structure where we don’t feel challenged, creative, at our best….

I’m 40 years old now, I live in LA, my eyes are so wide open as to all of my own dreams and the guys have their dreams, and for once, we just hugged it out and agreed we should go our separate ways.

To wake up to headlines about them leaving, about sources saying I was flying to other countries to beg for my job, is so alien to me, because none of us will ever leave each other. We are possibly the closest friends anyone could ever have. They’re like family to me. We have simply evolved. We have grown and we have respected each other’s needs and journey’s.

We all needed a change, and we all gave each other that courtesy. Swedish House Mafia and Axwell /\ Ingrosso was an amazing time and I don’t regret one single moment of it, but it’s not my future. But we will be in each others lives always and maybe some people who live by contracts and lawyers, don’t understand the genuine relationship we have that requires no paperwork.

My company and team do so many amazing things and for me, it’s time to shift my focus, and for them it’s time to have a fresh set of eyes on their incredible music and shows.

So thank you to everyone who emailed me / texted me / tweeted me and helped me in this last year of me working on Ax and Seb. Beats campaigns, H&M campaigns, albums, singles, videos, festival headlines, show builds…all of the effort that went into the final year being something I’m so proud of. But it’s time to move on now. Its mutual and for anyone who wants a story beyond that, I wish you the best of luck making it up…

Thanks,

Amy Thomson”

Martin Garrix & Justin Bieber about to collaborate (?)

Martin Garrix and Justin Bieber were caught together yesterday in Amsterdam, presumably just hanging out and having a good time. While this picture in no way indicates that the two are collaborating, it’s an interesting concept that is worth looking into.

Both Garrix and Bieber are managed by Scooter Braun, who has been instrumental in bringing both of their careers to the pinnacle of EDM and pop, respectively. Since Justin Bieber’s foray into EDM with the massive collaboration “Where Are Ü Now” with Jack Ü, his career has been reignited and has seen him perform at the VMAsfor the first time in 5 years to huge fanfare.

Likewise, Martin Garrix has been collaborating outside of the strict EDM sphere, with tracks featuring huge international superstars like Usher and Ed Sheeran, not to mention an official remix for The Weeknd. A collaboration with Justin Bieber would be a huge addition to his already large arsenal of pop collaborators, and would likely catapult both of them to realms only reached previously by the likes of Swedish House Mafia.

As Martin Garrix is already predicted to grab the #1 spot on DJ Mag’s Top 100 this year, a collaboration with Bieber in 2016 would also help him to ride that wave all the way until his debut album, whenever he decides to announce it (but we know it’s coming). Likewise, a Garrix collaboration on Bieber’s next album would work well in both their favors, especially since Bieber has said that his album will sound a lot like “Where Are Ü Now” thanks to Skrillex.

While there has been no indication whatsoever of a collaboration on the horizon, the fact that it could happen is enough to keep us on the edge of our seats.

Source: Youredm.com

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Protocol Presents: ADE 2015 mixed by Volt & State

Mixed and compiled by Volt & State, this year’s Protocol ADE 2015 Compilation features one hour of non-stop tunes from some of the most exciting established and emerging talents.

Boasting an impressive 17 tracks, including 9 exclusives from Volt & State, Arno Cost, Magnificence, Corey James, Bobby Rock and more, not to mention upcoming Protocol releases by Thomas Gold & Deniz Koyu and Florian Picasso, as well as hits from Wildstylez and Nicky Romero himself, the the Volt & State boys have perfectly showcased the true Protocol sound.

The compilation will be available in stores 05.10 and all the Viralbpm team is looking forward getting their hands on it. .

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Take a taste from Disclosure’s new album “Caracal” (minimix) [PMR – Island]

Caracal is the upcoming second studio album by English DJ duo Disclosure. It is set to be released on 25 September 2015 by PMR and Island.

Three official singles have been released from the album: “Holding On” featuring Gregory Porter, “Omen” featuring Sam Smith, and “Jaded”, with three promotional singles also being released: “Bang That”, “Willing & Able” featuring Kwabs and “Hourglass” featuring Lion Babe.

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Otto Knows Joins “At Night” in Co-Management Deal with Sebastian Ingrosso

Billboard can exclusively report that Sebastian Ingrosso has brought his longtime mentee Otto Knows to Ash Pournouri’s At Night Management in a co-management deal.

The co-management team is the first of its kind for At Night Management, whose roster also includes Avicii, Cazzette and iSHi.

Best known for his European dance hit “Million Voices” in 2012, Otto Knows has released little since while lending his talents to other artists — notably co-writing and co-producing Britney Spears‘ “Work Bitch.”

The Stockholm native returned with soaring single “Next to Me” in May, and his new team believes the 26-year-old is ready to come into his own as an artist.

“I’ve known Ash as my friend for almost a decade now and I really love and respect him,” says Otto Knows. “I think we both felt that time has come for us to work together. To still have Sebastian involved is all I can wish for and I think that we will form a fantastic team.”

Source: See the whole discussion-interview in Billboard