Norwegian progressive powerhouse Fehrplay continues his torrid path to the top of the genre with his newest release, Nova, an anthemic collaboration with rising Amsterdam-based duo Disfunktion.
Since stepping out from under the shadow of Eric Prydz, Fehrplay has enjoyed success on labels like Zerothree, mau5trap, and Ultra. This time around, he makes a pitstop on Armada imprint Armada Trice to showcase his skills on Disfunktion's forthcoming album, We Were Young and Needed the Money. Nova is a sublime offering that features an instantly iconic melody, warm grooves, and the perfect build to practice your "Jesus pose." Don't pretend you don't do it.
Pick up Nova on Beatport here, and pre-order Disfunktion's upcoming album ahead of its June 26 release date on iTunes here.
Philadelphia-based producer Louis Futon (pictured) is so well versed in rap and soul as production inspirations that his latest, Oakland Tho, creates a blend of styles that provide a helpful reminder that rap and dance have always shared space in the ever-broadening tent that is hip hop culture.
The shaken and not dropped clap-laden basslines that have become DJ Mustard's production signature are sampled here, while Oakland-based emcee Vell drops 2 Chainz-style ad-lib raps on the track. Where Futon comes in is dropping in the breaks and bass that rattles the trunk. As if taking modern EDM's vibe and shoving it back into the place where dance found it in the classic rap playbook, this one is a surprisingly well-executed winner.
Ready to get hyphy at the rave? Download this one for free here.
Jay Z'sTidal might be facing yet another setback after news that Sony is ready to pull his own wife Beyonce's entire catalog from the service if proper royalties are not paid.
As reported by BGR, Sony and Warner Music Group have been asking for huge compensation in order for Tidal to stream their artists' music. If Jay Z doesn't find the money to pay, then Beyonce and other big name artists will be struck from Tidal's streaming rights.
The report continues by saying that Tidal was hoping to pay the royalties after receiving a large investment from Sprint, though Sprint has denied their financial involvement thus far. With all the news surrounding the fledgling hi-fidelity streaming service, most reports bode ill for its future, though we imagine Jay Z won't be backing down anytime soon.
Phewww! Several days later and I'm still feeling the repercussions of the 72-hour extravaganza known as Movement Detroit. I consider myself a bit of a techno junkie, but on Memorial Day weekend myself and 100,000 others definitely got our fill. From noon on Saturday until the early morning on Tuesday, somewhere, people were dancing to techno music. As we look back at moments we'll never forget--and the moments we can't quite remember--here are the things that stood out.
The Good: The Music
Photo Credit: Steven Pham
Unless you've grabbing a flight over to Europe, Movement is truly the Mecca of underground dance music. As such, the assorted 140 artists brought their A-game to all six stages. From the dark and minimal sounds of Matador at the Underground Stage, to the uplifting vibes of closing act Joris Voorn, to the all-family Saunderson affair at the Made In Detroit Stage, and back to the groovy vibes of first-time act Disclosure, all different sounds and style were on full display. With so many incredible artists playing at the same time it was impossible to catch them all, but here's a list of my favorite performances, in no particular order. Apologies to anyone I missed out--there was too much good for just one little journalist!
Day 1: Gaiser, Mano Le Tough, Eats Everything, Dixon, Stacey Pullen, Cell Injection, Carl Craig, Disclosure, Richie Hawtin Day 2: Josh Wink, Loco Dice, Maya Jane Coles, Joseph Capriati, Matthew Dear, Rodhad, Marcel Dettman, Ben Klock Day 3: Classixx, Ten Walls, Maceo Plex, Paco Osuna, Nicole Moudaber, Joris Voorn, MK, Matador, Ben Sims
Special mention has to go to all the performers at the Underground Stage. It might not be for everybody, but there's nothing quite like throwing it down to pounding, no-holds-barred, dark techno in a sweaty, concrete cavern. Special consideration to those people who got right into the middle of the carnage. I still can't get Cell Injection and Rodhad's sets out of my brain.
The Good: The People
Photo Credit: Tanya Moutzalias
Despite estimated crowds of over 100,000, there were few, if any, problems to be had at the festival. People were kind, courteous, and more than willing to think about more than just themselves. I met several fantastic people during my trek through Hart Plaza, from a young girl teaching impromptu yoga classes to a 70-year-old grandmother at her first festival looking to try something new. Perhaps as a result of the festival's lack of "mainstream" sound and Las Vegas-style DJs, as well as the city of Detroit's somewhat shady reputation, the people that came to Movement were in it for the music and the experience, not for bottle service and the chance to flash steroid-fuelled biceps.
The Bad: Ticket Problems
Photo Credit: Elaine Cromie
On opening day, thousands were left standing in lines for up to four hours as a result of a ticketing malfunction. It wasn't much better in the VIP admission line either, as frustrated would-be dancers cried foul that Movement's Facebook page showed a photo of an empty line. Although the problem was eventually rectified, it was a poor start to the event. Paxahau would later issue an apology and promise to increase the number of staff in 2016.
The Bad: Snoop Dogg's Closing Set
Photo Credit: Christopher M. Bjornberg
Let's be honest--did anyone think that booking Snoop Dogg, aka DJ Snoopadelic, as the closing act on the final night of Movement was a good decision? I made the smart decision and caught Joris Voorn's awe-inspiring performance on the Beatport Stage, but I heard enough horror stories from other festivalgoers who made the mistake of watching the Doggfather. Anyone who plays out Bis Sean's IDFWU for the entire 6-minute runtime and closes with a Will.I.Am track should have their Detroit music card revoked.
The Good: The Afterparties
Although the music during the day was undeniably world-class, anyone who has ever been to Movement knows that it at the afterparties where the festivities really take it to the next level. With multiple venues playing host a series of shows each night, the question wasn't whether you were going to party until 6 a.m., but what party you were going to party at until 6 a.m. No disrespect to Disclosure, Kevin Saunderson, and company on Saturday, Dirtybird's 10th anniversary party on Sunday, or Richie Hawtin's closing party on Monday--because all of these were fantastic--but my pick goes to Leland City Club's Sunday night party, most specifically Loco Dice's surprise performance. It's one thing to own a room, especially one as historic as the City Club, but it's another altogether when you blow the roof off a dancefloor that has Skrillex, Art Department, Boys Noize, and more dancing on it. No one on the corner has swagger like Loco...
The Good: The City
Photo Credit: Elaine Cromie
I said it during last year's review, and I'll say it again--Detroit is an awesome city. Forget about whatever horror stories someone has told you, because in my experience, you can't ask for a better place to hold a dance party. Not only are the local residents happy for the business, the city is steeped in musical history, perhaps moreso than any other city in the United States, from Motown and punk rock to hip hop and techno. Need proof that Rock City has got it going on? Check out this video of a cop hyping up the crowd down below.
Welcome back to our series with Beatport known as The Beatport Box, where we bring you the best of Beatport exclusives on a weekly basis. This week, Toolroom brings together some of the biggest names in house music, Ummet Ozcan releases his strongest track in years, Andrea Oliva drops an LP on Objektivity, and more.
Deep/Tech | Sebastien San - Darker Shades (Deepchord Remixes) [Ab Initio]
Channeling his legendary dub techno vibes, Deepchord takes classic Sebastien San track Darker Shades and gives it the Detroit makeover. As you’d expect, we have dense atmospheres, endless reverbs, and grooving basslines to keep our head in the clouds for the entirety of this release. A great chance to bag the Sebastian San classic, but the Deepchord Fog Mix is the pick of the bunch here. Get it here.
Deep/Tech | Dani Casarano & Felipe Valenzuela - Introspection EP [Cadenza]
Continuing to contribute some of the world's finest tech house to the masses, Cadenza sees the return of Felipe Valenzuela and Dani Casarano to Luciano's famed imprint with Introspection. Both tracks feature the label's signature groove and delicate drum patterns that dance around the track's central rhythm. These will easily find their way into the sets of top jocks through summer 2015. Pick it up here.
Deep/Tech | Andrea Oliva - 4313 LP [Objektivity]
After amassing an impressive collection of originals and remixes on some of the top deep and tech house labels, Andrea Oliva makes his album debut through Dennis Ferrer's Objektivity with 4313. Providing a perfect representation of his melodic house sound, 4313 effortlessly leads deep/tech heads into the summer party season with melancholic sunset grooves that encapsulate the open air vibe. Grab it here.
House | Mark Knight, Harry Romero, Chus & Ceballos feat. Cevin Fisher - The Machines [Toolroom]
UK, USA, and Spain come together for a spectacular meeting of the minds on Toolroom's The Machines. Toolroom head honcho Mark Knight, Spanish duo Chus & Ceballos, New York house legend Harry Romero have created a house monster on this one--with all those names on one track, how could they not? Either "the machines are taking over," or these guys are. Download here.
House/Big Room | Ummet Ozcan - Lose Control (Original Mix) [Spinnin']
Ummet Ozcan started out in trance, then he made a successful left turn into big room/electro, and now he's flexing his house muscles on his newest release, Lose Control. With soulful vibes and a tastefully destructive drop, this is certainly our favorite Ozcan release of the last couple of years. Purchase here.
Matt Ferry of Beatport contributed to this article.