Martin Garrix has officially cut ties with The Media Nanny, his longtime PR firm whom he has worked with since 2012. In the future, Garrix’s team will be handing all public relations matters in house.
Announced October 22nd via a press statement, the news has not been circulated on his social media platforms, keeping the split fairly quiet. Clear and concise, the statement thanked The Media Nanny for “pleasant cooperation over the past 8 years,” but didn’t offer any details regarding the end of their relationship.
The Media Nanny, an all-female PR firm based in The Netherlands, where Garrix is from, continues to represent other high-profile dance artists such as Charlotte de Witte, David Guetta and Disclosure. Garrix has so far been removed from their website’s “Clients” section, but a quote of him complimenting the agency remains on their homepage.
Australian-based DJ/producer Pretence. teams up with CABLE for a new collaborative heater in “DEADWEIGHT,” bringing their dark, elusive styles together.
Wasting no time at all, the two producers quickly build and drop a massive, head bobbing midtempo beat that doesn’t let up until the track’s final seconds. Little intricacies keep the production fresh throughout, while the constant, powerful kick moves the track forward with much assertion.
With spooky season upon us, these are the kind of tracks we’re living for right now. Listen to “DEADWEIGHT” right here, out now onPRIME NIGHT CULT.
While inclusivity has garnered much needed societal traction in the last decade, the topic still flies wildly under the radar at times—often remaining undetected in many sects of the music industry. “Reshape Music,” a recent study conducted by Youth Music and Take it Away Consortium, has shone a spotlight on the many limitations musicians with disabilities face.
Its no secret that breaking into the music industry is not an easy-go for anyone, whether it be finding mentors or an assisting team, or promoting one’s music to a larger demographic, this study finds that there are a plethora of other discouraging factors at play for disabled creators. The official “Reshape Music” report states these obstacles include, “being viewed as the ‘naughty autistic person’ at school, low expectations and misunderstanding from teachers, performance venues and stages which are literally inaccessible, nervousness from music shop assistants when they see a white cane, and prohibitive costs for adapted equipment.” The report states,
“Being Disabled hasn’t caused most of these issues: instead, it’s the way society is set up, and the ways people respond to us which creates barriers. But there are days when being Disabled means we simply can’t do what we want to do, and we need others to understand this.”
The study finds that 57 percent of survey responders disclosed that their choice of instrument was dictated by their disability. A mere 25 percent of disabled musicians and guardians knew where to source adapted instruments. 28 percent of educators and 63 percent of retailers were unaware of specialty products for accessibility, and only 38 percent of retailers knew where and how to source such products if a customer were in need.
This leaves an inordinately large gap between disabled persons who need adapted instruments, and the people whose job it is to source it to them. Thankfully, the research team with “Reshape Music” has come up with a variety of suggestions that music education and industry organizations can utilize. The overarching goal is for these organizations and spaces to continually ask and work closely with their disabled clients to get a formulated idea of what their needs are, and respond accordingly.
To learn more about this groundbreaking study and steps that must be taken in order to see lasting change, check out Youth Music’s website where you can read the full study as well as find other essential resources.
Featured image: Reshape Music co-researcher Jess fisher
Tags: inaccessibility, reshape music, study, take it away consortium, youth music
boiish have made a strong impact on the electronic scene in the last year, serving up powerful, percussion-driven tech house music through both their live sets and music releases. Now, the female duo has reached a new milestone, with UK-based label HE.SHE.THEY announcing boiish as their latest signee on October 23rd via a press release. The label, which also produces an event series by the same name, prides itself on being a safe, inclusive space for all artists, regardless of the identities they may hold.
The news came paired with “Do Too Much,” the tandem’s debut track on the label, which also features their own vocals. A collaboration with Mike Antix, the single is high energy and steadily grooving, using bouncing synths and driving percussion beats to carry on its momentum. According to an Instagram post from the label, it is the first of two boiish tracks to be released on HE.SHE.THEY.
“‘Do Too Much’ is all about recognizing when you’re doing too much for everyone else and not enough for you; be yourself and live your truth,” boiish said. “We are excited to be releasing this on HE.SHE.THEY. and to become part of this international collective, promoting inclusivity and diversity within the dance community.”
“We heard it, fucking loved it and put it out. It’s as simple as that,” the label added, writing about the song on their Instagram post. “Dance round your kitchen to it, gym on it or shut your eyes pretend you’re in those things they use to have in the olden days called Nightclubs.”
Trap God UZ has unmasked his final album, Trinity — a bittersweet masterpiece that returns to his groundbreaking roots and marks the end of an era.
Eight years into the project, the master producer provides fifteen tracks of remarkably fresh and devastating material with a long list of sought after collaborators including HOLLY, HUCCI and more.
In his own words, UZ shares of the release:
I started working on Trinity about one and a half years ago. I have always been a prolific artist but I really wanted to take my time on this last album. I have been writing music under the influence for the past 15 years or so but fortunately I became totally sober almost 2 years ago, so this was going to be a different approach to the writing process.
And he goes deep into the meaning behind Trinity:
My vision became clearer than ever and I decided to focus on what I really wanted. As you may already know I have been producing music under 3 different aliases during the past 20 years but those 3 different personas never really crossed paths. Plezier is my strictly melody driven UK house project, DJ Troubl is a technical Turntablist and UZ is the masked underground Trap producer. Why not mix them all? Well that’s what’s happened on Trinity. Trinity is the perfect concept for this record because of all its different meanings: 3rd album, 3 aliases influenced by 3 cities where I’ve lived which is associated with each alias (Paris / London / Los Angeles). It represents the Past / Present / Future of my career not only as UZ but as a whole artist.
Finding the words to say to do this album any sort of justice is an impossible feat. Trinity and what it stands for is an unshakable concept that will continue to impact trap music for years and years to come.
Listen to Trinity in all its glory, out now on the producer’s own Quality Goods Records.
REZZ has shared a preview of a new single, which officially drops next week. Dubbed “ORBIT,” the track is sounding—for lack of a better term—nasty.
The prodigious bass music producer and recent Juno Award winner shared a preview via Twitter, sharing a clip that offers a glimpse into the build and drop of “ORBIT.” It’s a hypnotic yet bone-rattling midtempo tune that will slide in nicely with the rest of her groundbreaking catalog.
Back in August, Space Mom announced that she’s working on a brand new album. While she is yet to confirm “ORBIT” as one of its singles, fans can certainly wonder whether or not the haunting track is a harbinger for the record in question. At the time of this article’s publishing, REZZ has not revealed any more information about the album, including a release date or title.
Listen to a preview of “ORBIT” below and pre-save the track on Spotify or Apple Music ahead of its release this Tuesday, October 27th here.
REZZ is readying for more music, “ORBIT” out next week!
She first teased the track via tweet a couple of days ago — and now we have the full rollout — track title, release date, artwork and a preview of what’s to come. “ORBIT” thus far, sounds delicate and ethereal, building beautifully into a deep, sultry drop. So far, we’re loving what we’re hearing!
The producer started off the year strong, with collaborations “Into the Abyss” with Zeds Dead and “Someone Else” with Grabbitz. Both tracks that pushed her sound forward in exciting ways and kept us on the edge of our seats. Now, she’s emerging from the darkness of 2020 with, again, something different.
Hear the snippet of “ORBIT” below and be sure to pre-save here.
Justin Blau was 21 years old when he was faced with a decision that few before him have had to make. Would he finish college and go on to pursue a career on Wall Street, where success and financial stability were imminent? Or would he choose uncertainty and risk it all by dropping out of college to pursue music full time? He chose the latter, and he hasn’t looked back since.
Blau, as DJ and producer 3LAU, has now made a name for himself as a renowned DJ and music producer, specializing in emotive progressive releases with a side of heavy-hitting bass music. He has launched the first ever not-for-profit dance music label; he has toured the world; and now he is pioneering the intersection of dance music, blockchain, and art.
Although Blau chose to pursue a career in music over finance eight years ago, he has become increasingly active over the years in the world of finance, cryptocurrency, and blockchain. His social platforms are full of his commentary and insights on the aforementioned topics, and now Blau is officially merging his two areas of interest in a new project, SSX3LAU.
SSX3LAU is a collaborative project between the producer and artist Slime Sunday, and the project is far from the first time the duo have come together. Slime Sunday has created the cover art for many of Blau’s releases, but their newest venture takes the relationship between audio and visual art to the next level. In a new line of NFTs (Non-Fungible Tokens), Slime Sunday creates animated artwork soundtracked by Blau’s unreleased music. NFTs are digital and blockchain-based collectibles that can be bought, sold, and traded on marketplaces using blockchain technology, and in this case, are rare pieces of digital art that cannot be replicated.
SSX3LAU has seen great success after multiple bidding wars resulting in certain pieces selling out in seconds to the tune of $20,000 each. Blau explains that the project was born after he and the artist were catching up and talking about how much the music industry has slowed down amidst the ongoing COVID-19 pandemic. They wanted to find a way to keep music alive while also experimenting with the new digital art wave that is happening. Blau speaks more about the potential of SSX3LAU and how it could apply to other artists. He shares, “Digital collectibles give artists a new means of monetization at a time when most touring is at a complete halt. I’m excited to see how artists explore this new space and find new ways to implement their creative vision!”
Given the collection is digital art juxtaposed with the producer’s unreleased music, the project begged the question of what music output fans can expect from Blau moving forward. He is forthcoming about the fact that the lack of touring has aided his creative process. As such, he has a lot in the pipeline including music that is a brand new style. He notes, “I’ve been working on a ton of new stuff, there’s an all club-track EP and a brand new style that I’ve been exploring (similar to the Illenium remix I released earlier this year) that focused on adding Rock elements to dance music.”
Another perk of not touring has been an increased amount of studio time. Blau has crafted a one-hour Saturday Night Session, giving fans high energy material to get their Saturday started. When asked what his ideal Saturday night consists of, Blau shares, “These days, Saturday nights have been studio nights! Spending a lot more time in the studio has definitely been a positive aspect of total quarantine.”
What inspired you to come together with Slime Sunday to create NFTs and explore the intersection between digital/blockchain, art, and music?
Mike (Slime Sunday) and I were on the phone 3-4 months ago talking about how slow the music world was moving in this crazy mid-COVID environment. We were both looking for new inspiration, and I suggested experimenting in this new digital art wave that was happening. He was super excited to get involved, and from there on out we started spending hours each week working on our pieces, finding new inspiration in a new art form!
What does the success of your first two collections mean for you?
It’s been super incredible to see how collectors have been valuing our creative efforts. I think I can speak for both Mike & I that we’re looking to continue to push boundaries and evolve our work to new heights over the next few months!
What could it mean for the industry as a whole?
Digital collectibles give artists a new means of monetization at a time when most touring is at a complete halt. I’m excited to see how artists explore this new space and find new ways to implement their creative vision!
When live shows return, can we expect to see the NFTs you have recently sold as part of your live show experience?
Most likely yes! How cool would it be for a fan to own one of the live clips they saw at a show. We’re even exploring the possibility of exclusive collectible purchases for those fans who do come to shows. Basically giving them the ability to purchase something they got to see at the show, to enhance their memory of the experience for years to come!
Speaking of new music, can you tell us more? What is on the horizon?
I’ve been working on a ton of new stuff, there’s an all club-track EP and a brand new style that I’ve been exploring (similar to the Illenium remix I released earlier this year) that focused on adding Rock elements to dance music.
2020 has been a difficult and change-filled year. After being forced to slow down and stop touring, is there anything you feel will be a permanent change for you and the way you live even after life returns to normal?
Yes definitely. To be honest I think I’ll probably tour a bit less on the other side of this mayhem. I’ve found a lot more creative inspiration in having a system and sticking to a normal sleep schedule!
Saturdays look a lot different for all of us these days. What was your ideal Saturday Night pre lockdown compared to now? (Unless your ideal saturday night is consistent in both situations)
These days, saturday nights have been studio nights! Spending a lot more time in the studio has definitely been a positive aspect of total quarantine.
Tags: 3LAU, covid-19, illenium, Saturday Night Session, Saturday Night Sessions, Slime Sunday, SSX3LAU
Socially distant pod concert series continue at Arizona’s Rawhide Events Center with back-to-back shows from Subtronics on deck.
It is the fifth pod concert series being thrown byRelentless Beats, who have brought out fellow bass music heavyweights Kayzo, NGHTMRE, and more in recent months. The outdoor venue maintains CDC guidelines by dividing groups into distinct sections, each 8×10 and 6-feet apart. Face masks will additionally be required at the venue.
The timing couldn’t be more ideal for Subtronics to hit the road, given his recent mind-melting EP, String Theory. It’s the bass music producer’s second EP this year following the release of Scream Saver in early 2020. With a pipeline of new music ready to be tested out live, there’s little doubt headbangers will be out in full force.
Fans can secure their pod for the November 6th and 7th Subtronics shows now. Along for the ride are Boogie T,who will be supporting on Friday, and Dirty Monkey on Saturday. Each pod can be purchased for parties of up to five with prices starting at $150.
Zedd & Griff‘s collaboration “Inside Out” has arrived and it’s the pop-dance crossover everyone was anticipating — heavy on the pop.
The song is all about falling for someone and being entirely wrapped up in them; loving them, “Inside Out.” Pop lovers will probably love it. Dance lovers will probably feel there’s something left to be desired. But from the sounds of it, Zedd is making exactly the type of music he’s feeling in the moment — and that’s important.
The producer shares of his new release:
Today is a big day for me. “Inside Out” is a special song to me and is one of my favorite songs I’ve made in a while. It makes me feel happy, optimistic, hopeful and enthusiastic… all things that I have been lacking throughout quarantine to be perfectly honest.
He also adds:
And again, a huge thank you to Griff for the beautiful vocals.
In 2020, we’ve also heard multiple versions of Zedd’s original “Funny” with Jasmine Thompson and remixes of “Good Thing” with Kehlani. It’s been five years since he dropped a full, dance-driven album, however — and that’s a scratch this just can’t itch.
[Verse 1] We stayed up all night Talking to each other, whispers under covers You told me your life Wasn’t always easy, I said, “I know the feeling”
[Pre-Chorus] I told you all about the scar on my shoulder And you told me you’re terrified of gettin’ older We stayed up all night The first night of a million more ’cause
[Chorus] I’m gonna love you, love you inside out I’m gonna love you, love you inside out Nothing you say is gonna scare me now Still gonna love you, love you inside out I’m gonna love you, love you inside out I’m gonna love you, love you inside out Nothing you say is gonna scare me now Still gonna love you, love you inside out
[Post-Chorus] Oh Ooh, ooh Ooh, inside out
[Verse 2] We laughed ’til we cried Made fun of each other, lost in one another You held me so tight And it felt like I was home, just the two of us alone
[Pre-Chorus] You said you don’t wanna end up like your parents I said, “Don’t you worry, I’m not gonna let us” We stayed up all night The first night of a million more ’cause
[Chorus] I’m gonna love you, love you inside out I’m gonna love you, love you inside out Nothing you say is gonna scare me now Still gonna love you, love you inside out
[Post-Chorus] Oh Ooh, ooh Ooh, inside out
[Bridge] What do you say, babe ‘Cause I wanna know Can I be there, babe Through your highs and lows? Yeah When the lights come off, and the night is done Everybody’s left, can I be the one? If it’s all I do I’m gonna love you, love you Ooh, ooh, ooh, ooh Oh, yeah I’m gonna love you right Yeah, I’m gonna love you right
[Chorus] I’m gonna love you, love you inside out (Inside out) I’m gonna love you, love you inside out (Oh) Nothing you say is gonna scare me now Still gonna love you, love you inside out (From the inside out)
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