Music Music Festivals News

Primavera Sound reveals 2019 lineup, featuring more than 50 percent women

Post Image

Primavera Sound reveals 2019 lineup, featuring more than 50 percent women

Robyn, Richie Hawtin, Nina Kraviz and SOPHIE are among those booked for the Barcelona festival next spring.

Primavera Sound 2019, going down from May 30th through June 1st, has announced its lineup.
Among the headliners for the Barcelona festival are Robyn, Erykah Badu, SOPHIE, Charli XCX, James Blake, Stereolab, Richie Hawtin (performing his CLOSE live set) and Modeselektor. In terms of DJs, they’ve lined up Joy Orbison, Helena Hauff, Yaeji, Laurel Halo, Avalon Emerson, Jayda G and a back-to-back from Eris Drew and Octo Octa. Live sets will come from Objekt, Anastasia Kristensen, Apparat, Tim Hecker and his Konoyo Ensemble, Veronica Vasicka and plenty more.
This year, Primavera seeks to highlight “equality, eclecticism and audacity” in their lineup, according to a press release.
“Equality in the lineup between men and women, a stylistic eclecticism that is patently obvious and the drive to constantly take risks to connect to the times we live in are central concepts of the Primavera Sound 2019 lineup,” the statement adds. “All of this without abandoning the presentation of a lineup that is absolutely unique in the world, risky and convincing, as it is every year.”
For the full lineup, check out the flyer and event listing below.



Is it time for a total ban on phones on the dancefloor?

Post Image

New research suggests camera-phone usage at clubs and festivals is unpopular – but only when other people are doing it. But if we all find phones on the dancefloor so annoying, why do we keep filming?

It’s commonly understood that phone use at live events is a big problem. High-profile DJs have been talking about the issue since at least 2015. And both Annie Mac and The Warehouse Project founder Sacha Lord publicly railed against over-filming earlier this year, saying, in essence, that it kills the vibe. A host of think-pieces and opinion columns have also been published on the subject, with some suggesting the mass implementation of Berghain’s infamous no-photo policy as a way to protect the night.

But for the first time, we now have hard data showing exactly what the British gig-going public thinks about using phones to film and photograph at live events. The data comes from a survey conducted by global ticketing company Eventbrite over a 12-month period. 1,031 British adults were surveyed, and all had attended a live ticketed event within the last year. And while the data shows just how unpopular camera phone usage at live events is, it also wielded some surprising and contradictory results.

First, let’s look at how unpopular filming is. The wide majority of those surveyed — 70 percent — said they find it irritating when others take pictures or video during a show. An even greater majority — 81 percent — said they understood why an artist might not like videoing and photographing at the event. And as many artists have stated, they usually don’t.

“Do I find myself playing to a forest of phones waving in the air?” asks stalwart German DJ and producer Anja Schneider. ”Of course, and for me that’s a problem because you can’t see the people, you can’t see the vibe. You can’t see people’s faces.”

A majority of people also said that they feel like they’d be missing out on the event itself while taking pictures and video, which is also true. Taking photos and videos is hugely distracting, and doing it well is hard work — just ask any club photographer.

As Dr Linda Henkel of Fairfield University in Connecticut explains, you’re actually less likely to remember whatever it is you’re mindlessly taking photos of because of what she calls the “photo-taking impairment effect”. Your brain simply checks out of remembering the moment because it has abdicated that responsibility to your smartphone.

Moreso, humans aren’t meant to experience life from behind a screen. Especially at a communal event like a festival, where sharing a physical experience that can’t easily be replicated in the digital realm is a big part of what makes it so special. It’s just not as fun to stand there filming, and that has a knock-on effect throughout the crowd. Each disengaged person or group becomes a “black hole” of social energy, as author David Cain notes, pulling attention away from what’s actually happening.

So if all of this is true — if we know filming and photographing bothers the DJ, takes us out of the live experience, and irritates almost everyone around us, why do we keep doing it?

Well, because we’re selfish.

“People are saying ‘It’s OK if I use my phone at an event, because I want to get this special photo, but when someone else does it, that’s really annoying’,” Dr Lee Hadlington, associate professor in cyberpsychology at De Montfort University in Leicester, says.

Dr Hadlington’s statement likely won’t surprise anyone who’s noticed the narcissistic nature of many live events. Festivals, clubs and concerts are places where having the perfect night can sometimes come at the cost of everyone else’s. But having that perfect night suddenly becomes much more difficult if the stage is hidden behind a sea of phones. Or if a nearby group won’t stop taking selfies, or using their phone’s flash like a cop trying to blind a robber in a dimly-lit back alley. They’re being annoying, but you aren’t.

Despite how annoying camera phones at live events have become, usage isn’t likely to stop on its own anytime soon. After all, one third of those surveyed also said filming and photographing was an important part of the live experience, and nearly half (49 percent) said they took photos and videos at the events they attended.

It’s not just young people either. The 35- to 44-year-old crowd are just as likely to be seen snapping selfies and recording grainy, darkened footage never to be watched again as those aged 18- to 24-years-old.

That means it’s going to have to come down to venues, and to a lesser extent, artists, to do something. Despite common understanding that cracking down would alienate fans, the survey shows that a majority of people — 69 percent — feel strongly about supporting measures that might limit mobile phone usage at live events. It also shows that there is support for measures like creating ”no phone zones,” audience “spot-checks” for over-filming, or more popularly, “gentle nudges” by venue staff to make phones more discrete, which 41 percent of respondents say they’d be in favour of.

Artists can also get more vocal on social media, reminding fans to film early before enjoying the rest of their night, or to keep phones away full-stop for the benefit of everyone. Bigger acts could even follow the lead of stars like Dave Chappelle and Jack White, who’ve banned phones at their shows by using a service called Yonder, which stores devices in special pouches that can only be unlocked in certain areas of the venue.

As for industry professionals, approximately four out of five surveyed “had concerns about people recording pictures and videos during performances”. However, a disappointing 63 percent “had no measures in place to manage mobile phone use.” Which means we need a plan, or more likely, multiple plans to tackle this issue.

Whether it’s more no-photo policies at clubs beyond Berlin, signs posted around dancefloors asking patrons to keep their phones pocketed, security offering gentle reminders to stop patrons from over-filming, or other alternatives like Yonder, the support is there. What happens next is up to us.

Music Festivals News

Skrillex, Paul van Dyk, Rezz, more locked for EDC Mexico 2019

Post Image

The full line-up for the sixth edition of EDC Mexico has been announced with Skrillex confirmed to make his return to the festival for the first time since his appearance alongside Diplo as Jack Ü in 2015.

Also lined up to play the event are Paul van Dyk, Kaskade, Rezz, DJ Snake, Pachanga Boys, Alesso, Dimitri Vegas & Like Mike, Loco Dice, Solardo and lots more. Next year’s festival takes place as ever at Mexico City’s Autódromo Hermanos Rodríguez from February 23-24.  The main stage at EDC Orlando caught fire two weeks ago during a set by L.A. DJ and producer Kayzo. The small fire was quickly contained and music on the stage was able to continue for the rest of the day. EDC recently revealed the first details for their Las Vegas event which will return to the city’s Motor Speedway from May 17-19. Martin Garrix opened his headline set at the Las Vegas event this year with what many fans believe to have been an unreleased track of his.

Music News

DJ Mag Best of British Awards 2018 – Voting now open

Post Image

The nominations have been announced for DJ Mag’s annual Best Of British poll, powered by Relentless energy drink.

The poll – a celebration of UK talent  – is now in its 12th year. Positioned as a counter-balance to the global Top 100 DJs poll, Best Of British is our chance to shine a spotlight on the homegrown stars who fill the pages of our UK magazine each month.

Voting closes on Friday 30th November ahead of the awards party on Thursday 13th December at EGG LDN.

The awards party will feature a wide array of DJs from across the UK scene. The first names to be announced to play are tech-house titan Eats Everything, Deep Sea Frequency and Meine Nacht co-founder Breakwave, Abode resident Ellie Cocks, BBC Radio 1Xtra’s Jamz Supernova and emerging talent Mason Maynard. With many more DJs to be announced to play for the party, alongside very special guests, it’s set to be an unmissable night. For more information, go to the event page here.

Check out the full list of categories and nominees below…

Vote here!

Best DJ
Andy C
Denis Sulta
Eats Everything
Joy Orbison
Shanti Celeste

Best Group

Ivy Lab

Breakthrough DJ

Donna Leake
Jamz Supernova
Mason Maynard

Best Resident DJ

Blasha & Allatt (Meat Free)
Charles Green (Patterns)
Ellie Cocks (Abode)
Gwenan (The Pickle Factory)
Mantra (Rupture)

Best Live Act

The Chemical Brothers
Four Tet
Giant Swan
Nabihah Iqbal

Best Producer

Daniel Avery

Breakthrough Producer

Benny L
Forest Drive West
Harrison BDP
Rian Treanor
Solid Blake

Best Label

Central Processing Unit
Sneaker Social Club

Breakthrough Label

Dr. Banana
Femme Culture
Needs – Not For Profit
Western Lore

Best Album

Blawan – Wet Will Always Dry [Ternesc]
Blocks & Escher – Something Blue [Metalheadz]
Nabihah Iqbal – Weighing of the Heart [Ninja Tune]
Pariah – Here From Where We Are [Houndstooth]
SOPHIE – Oil of Every Pearl’s Un-Insides [Transgressive Records]

Best Track

Big Miz – The Hadal Zone [Dixon Avenue Basement Jams]
Pangaea – Bone Sucka [Hessle Audio]
Ploy- Ramos [Timedance]
SpectraSoul – Untitled Horn [Ish Chat]
Weiss – Feel My Needs [Toolroom Records]

Best Compilation

James Zabiela – Balance 029 [Balance Music]
Kode9 & Burial – Fabriclive 100 [Fabric Records]
Mount Kimbie – DJ-Kicks [!K7 Records]
Mumdance – Shared Meanings [Shared Meanings]
Various – Splinters [AMAR]

Best Remix/Edit
Au/Ra & CamelPhat – Panic Room (CamelPhat Club Mix) [RCA Records]
Bicep – Opal (Four Tet Remix) [Ninja Tune]
Mr Fingers – Spy (Kode9 Remix) [Alleviated Records]
Perc & Truss – Leather & Lace (Mumdance & Logos Remix) [Perc Trax]
High Contrast – If We Ever (Unglued Remix) [Hospital Records]

Best Large Club
Church Leeds, Leeds
EggLondon, London
Fabric, London
Ministry Of Sound, London
Motion, Bristol

Best Small Club
Cosmic Ballroom, Newcastle
Phonox, London
The Cause, London
The White Hotel, Manchester
Wire, Leeds

Best Club Event

Alfresco Disco
He. She. They.
Make Me
Meine Nacht
On Loop

Best Club Series

Ben UFO Residency – XOYO
Sundays At Phonox
The Warehouse Project

Best Festival
Hospitality In The Park
Junction 2
Love Saves The Day

Best Boutique Festival

AVA Festival
The Beat-Herder Festival

Best MC
D Double E
Lee Scott

Soldier of the Scene
DJ Rap
Doc Scott
Don Letts
Nicky Holloway
Mark Moore

Innovation and Excellence
The Loop

Outstanding Contribution
Fatboy Slim


Avicii’s True Stories documentary will be shown in select cinemas in December

Post Image

Avicii: True Stories, the Netflix documentary of the EDM star who sadly passed away in April aged just 28, will show for a limited theatre run in December in both Los Angeles and New York City, allowing it to be eligible for an Oscar Nomination in 2019.

Oscar rules state that a film must ‘have played in an L.A. County theater, for paid admission, for seven consecutive days, beginning in the appropriate calendar year,’ for it to qualify for consideration. The documentary, directed by Levan Tsikurishvili, will be shown in New York City from 21st to 27th December and in Los Angeles from 14th to 20th December.

First aired in October 2017, footage of Avicii, aka Tim Berling’s life, unveils the reality behind the gruelling schedule that brought him to fame while taking a huge toll of both his physical and mental health.

Learn how you can leave your own digital tribute on Avicii’s former website here.

Avicii – who was voted into the No. 15 spot in DJ Mag’s Top 100 DJs poll this year – had been working with Nile Rodgers prior to his death in April and they had allegedly written an album’s worth of music together.

DJ Mag’s digital editor Charlotte Lucy Cijffers also reflected on the young DJs enormous influence on the global EDM community and on how his openness surrounding his struggles with fame, touring and alcoholism gave a troubling, if necessary, insight into a side of dance music the world often does not see.

DJ Mag Article

Interviews Music News

Paul van Dyk: DJ Mag North America cover feature

Post Image

A year-and-a-half after his near-death accident, Paul van Dyk returns to trance stronger than ever, with a new album, new live show, and new perspective afforded to those who have grazed the veil separating this world from the next…


This isn’t your average comeback story. And Paul van Dyk isn’t your average comeback kid. The Grammy-winning German DJ/producer is a legend in his own right, hailed as the man who launched an entire genre: without him, trance music might not be what it is today. Or exist at all. That’s not hyperbole; it’s fact. Paul’s body of work is enshrined in the annals of electronic music history, decorated with awards and showered with critical accolades. A two-time winner of the DJ Mag Top 100 DJs poll, his songs have been played in clubs and on festival stages for over 25 years, but they’re also queued up during weddings and birthdays, marking memories in the minds of more than a generation of ravers. And his harrowing brush with death last year only adds emotional weight to the exquisite music that has emerged in the aftermath of an accident that left him lying comatose in a hospital bed.

Events unfold rapidly in emergencies, like the flutter of camera shutters: roaring crowd, arms outstretched, swirling lights, raised stage, one wrong step, shattered body, fade to black. On the night of February 27th, 2016, Paul van Dyk fell nearly 20 feet through an ill-concealed gap while onstage at the A State Of Trance Festival in Utrecht, Holland. He was immediately airlifted to the nearest hospital, where it was determined that he had fractured his spine in two places, and had sustained severe brain damage. An outpouring of support from across the globe flooded social media channels and music news outlets. Shocked fans replayed the minute-long video of the artist’s fateful misstep, caught on a mobile phone camera: how could this have happened? For a few days, doctors received minimal neurological response when prodding Paul’s broken body. Yet, he was lucky. His vital organs remained unharmed, and although he could not feel his legs when he finally returned to consciousness, he was alive.

‘From Then On’ marks Paul van Dyk’s return to life after a glimpse of the inevitable end we all spend a lifetime avoiding. His first LP in nearly three years and eighth artist album, it is his first release since the accident and without question, his most poignant work to date. True to its title, ‘From Then On’ is a portrait of the fruits of resurrection – resurrection of health, of creative aptitude and of spirit. It is born from the ultimate shift in perspective, afforded to the few who witness the limits of their own fragility. After darkness, light always shines brighter. Paul van Dyk’s struggle to cope with new physical and mental limitations has given him a greater depth of appreciation for each breath. There is joy in standing up, in making coffee, in watching a bird scuttle to the next branch. From that gratitude, beautiful art is born.

“We have gray moments here, but when it’s sunny it’s really cool,” Paul laughs, gesturing at the sprawling cityscape, as DJ Mag joins him in his Berlin office on an autumn afternoon. Sunlight streams into the room through large windows. The sky is cloudless and blue, a rare event for the European city. Paul is in good spirits, and accepts a cup of coffee from his manager as he settles into his chair for the next hour. He has recently returned from New York City, where he debuted his new, visually-sumptuous live show concept, AEON by Paul van Dyk, at the PlayStation Theater, and he’s prepping for the release of ‘From Then On’ via his own Vandit label in the coming weeks. His eyes glint with satisfaction, and it occurs to us that gratitude is humanity’s most attractive asset. “I have never felt closer to my own music than with this album,” he states, taking a sip of the hot coffee.

Understanding where this music comes from makes the experience of listening to it even more intense. The album carries us into expansive realms of euphoria, bursting with rapid-fire emotion, and it is quintessentially Paul van Dyk. Yet, while it retains the artist’s familiar trance signature – glittering melody, soaring strings, forward-marching kicks – there is something indescribably poignant about it. Each track is meaningful. The song titles reflect his newfound experience, quite literally: ‘I Am Alive’ is redolent of classic late-‘90s trance, a new chance to revisit old roots; ‘Close Call’ is cinematic, sharp and tense, a nod to the knife-edge between life and death; while ‘Stronger Together’ is among the album’s most euphoric cuts, a dramatic tribute to the power of community – without which, Paul van Dyk would not be alive.

When Paul emerged from his comatose state, he was met with a vulnerable new reality. “I couldn’t speak, I couldn’t eat, I couldn’t go to the toilet, I couldn’t do anything. I had to learn it all again. That was a very hard point to understand.” Paul leans forward in his seat, emphasizing the enormity of such a revelation: “Think about it in a bigger philosophical sense – when you’re a little kid and you go to the toilet, and for the first time you do it alone, this is almost what defines you as a human being. Now imagine you’re an adult, and you can’t do this anymore.” Recognizing your own mortality also means witnessing your vulnerability, and while Paul appreciates the new perspective, he says that being aware of his survival has been anything but uplifting: “I can tell you, it’s the total opposite,” he states, unequivocally. “I’m far more living in fear… because I know how quickly things can be over.”

Despite that fear, Paul has focused on the positive in order to heal, and explains that he was the recipient of some fortunate coincidences. Coincidence number one: The accident happened in Utrecht, only a 10 minute drive from the top neurological center in all of Holland. “If the show would have been in Amsterdam, like one and a half hour ride away, I wouldn’t be here talking to you now.” Coincidence number two: One of Europe’s top neurological injury specialists happened to be in the hospital at 5am on Sunday morning, precisely when the ambulance delivered Paul van Dyk through its doors, because of another case. “He was there to take the right steps, rather than some assistant doctor waiting for him to arrive on Monday when it probably would have been too late. I wouldn’t be sitting here,” Paul smiles wryly.

And then there is his wife, Margarita. The first thing she did while her husband laid motionless in bed, with doctors refusing to give any concrete prognosis, was decorate his hospital room with his favorite things: his football club shirts, flowers, photos of the two of them – “so that as soon as I’d wake up, I would have the first bit of memory that connects me to something that is part of me. And these details, that’s what she’s made of as well,” Paul smiles as he recalls her care, and his overwhelming love for her is evident. “She’s just amazing. Really.”

For the first two days after his fall, neurologists tried and failed to elicit a physical response from Paul. Machines showed his brain was still functioning, but his body was unresponsive. It wasn’t until his wife arrived that he stirred. “She touched my fingers, and then she said, ‘Grab my hand.’ And I grabbed her hand while unconscious,” Paul’s green eyes light up as he tells the story, “and she ran out of the room yelling for the doctors to come in and see that I had moved. But I didn’t do it when the nurse came. Just her.”

In retrospect, that moment left a mark on the artist, profoundly changing his worldview. “That’s a clear indication there’s something else,” he states, shaking his head. “I’m a pragmatic person. I don’t believe in God. I’m not an esoteric guy… but this is outside of comprehension for a pragmatic person. There is obviously something like the soul, the inner core. As someone who believes in quantum physics I would say, it’s the Higgs Boson of us. Because I knew, my soul knew, when Margarita grabbed my hand: ‘That’s my girl.’”

The album’s opening track, ‘While You Were Gone’, features an elegant piano arrangement that sounds like an homage to its title – a soul hovering over its earthly body in an astral projection of emotion, reimagined in waveform. But that is not at all what Paul van Dyk had in mind when he wrote it. He doesn’t have a recollection of the first four weeks after his fall, laying in various states of consciousness, first in a Dutch hospital and then a facility in Berlin. The last thing he does remember is leaving his green room and heading towards the stage on that fateful night. “The brain erases a little bit of memory from before [an accident], I don’t even remember playing for the first 20 minutes before I fell,” he admits.

When we share our thoughts on the song, gushing over its etheric otherworldliness, Paul chuckles and says that the reaction is a good example of why people like trance so much. “They always go on and tell me for hours and hours what they love about it. A good piece of music gives you a sketch of the emotional surrounding of the artist. And you then take that in, you make it your own, you fill it with your own experience. Suddenly, it’s not my track anymore – it’s yours.” ‘While You Were Gone’ is filled with the sentiment of Paul van Dyk’s deep appreciation for the woman who brought him back to life with memories and love and care, and whom he says is the best reason for him to still be here.

“A very essential part of me not giving up and fighting for my life, fighting to get better, is my wife. She’s an adventurous type in a very cool way – right now she’s climbing Mount Kilimanjaro!” he boasts with a smile. “At the time I wrote ‘While You Were Gone’, she was hiking the 3 Passes Trek around Mount Everest. I was in Beijing, sitting there feeling alone and detached from the world, and I wrote the song.” The track, co-produced with Vincent Corver, is rich with sentimental melody, but it bursts into a subby, forward-rolling beat three quarters of the way through. Paul reveals that he used a sub bass to make the bass drum kick. “This is why it sounds almost like a heartbeat pumping – ‘boom, boom, boom’,” he thumps his hand against his chest, as if to remind it to keep going.

Since the accident, there has been change: Paul’s DJ sets are no longer three hours, he works more slowly, he can’t properly feel his legs. “It’s almost as if I’m walking on clouds.” There has been pain: “There were times when I was simply in so much pain that I would just burst out in tears. It was just seriously indescribable. They always ask you in the hospital, ‘On a scale of one to 10 how much does it hurt?’ And I was always saying, ‘It’s a 100.’” But there has also been love: “[The doctors and nurses] really gave me the feeling that it mattered. That I matter. That it mattered to them that I try. And all that together with the cards, letters, e-mails, videos, voice messages I got from colleagues, friends and fans – all that positive energy encouraged me. Because even on the hard days, to simply get through was enough.”

‘From Then On’ means more to Paul van Dyk than anything else he has made before. He feels it is his most successful album, simply because he was able to make it. “All the support is what made me pull through. You can’t do something like this alone. It was a joint effort, and I’m here,” he insists. “And the same goes for many other things.” Ironically, in the year and a half since Paul’s accident, he has witnessed a disintegration of communal strength on the global level: our damaged climate precipitates more tribal warfare, the rise of neo-fascism is haunting Europe, a fractured America is divided beyond repair, religious extremism codifies terrorist cells. “My moral standards and my political beliefs are still the same as they were before. But I think what my personal story is a very good example of, is this whole concept of being ‘stronger together’. To be together, to work together, and to solve problems together.”

There is something to be said for the role music plays in connecting people, and it is what Paul van Dyk says inspired his classic 2001 compilation album, ‘The Politics Of Dancing’. Though his politics remain unchanged since the accident, he speaks more passionately about the topic now, having experienced the type of healing that can only be achieved with the help of a large community. “We need to all stick together on these things. We’re all human beings, all responsible for this planet – and when a guy like Trump says he was elected by the people in Pittsburgh not by the people in Paris – you know what, this is fucking bullshit. Because if this planet goes bonkers, then it affects the people in Pittsburgh as much as the people in Paris,” he crosses his arms and sits back in his seat. “We can only solve things together.”

Paul van Dyk’s Berlin of offace sits on the Spree River in the Friedrichshain- Kreuzberg borough, just a few meters from the world-renowned Watergate club and at the nexus of German history. The former East Berlin district of Friedrichshain is connected to the former West Berlin district of Kreuzberg (now reminiscent of New York’s East Village in its counterculture heyday) by the historic Oberbaum Bridge, which was once a Berlin border crossing for pedestrians. Graffiti-covered stone arches stretch from one side of the river bank to the other. Barbed wire and repression have been replaced by nightclubs and kebab shops, skateboarders and artists. Paul remembers what it was once like, because he grew up in East Berlin. “Right over there, actually,” he grins, craning his neck and pointing as he peers out of the window.

The cold, gray drudgery of life in East Berlin is not cinematic overkill, dramatically reimagined by movie directors. It was a place bent on stifling creativity, movement, passion and free will. The absence of art and beauty from East Berlin was intentional, and it meant that 10-year-old Paul van Dyk had to access music in illicit ways. “I was doing my homework, listening to the West Berlin mega stations on my radio – illegally of course, because that was forbidden – when I stopped one day and turned it up and was like, ‘What’s this?’ This music was different, and it connected with me.” The band he heard that day was The Smiths, and it turned Paul van Dyk into a self-professed radio junkie. “We didn’t have record shops or magazines, or anything at all in East Germany.”

Eventually, the sounds of early house music from Chicago and Detroit began filtering through Paul’s pirated radio waves, and by the time the Berlin Wall fell in 1987, he reveled in the clubs. Still, he was searching for something he felt was missing from dance music, a stronger connection and a more profound sensation. “The music I wanted simply didn’t exist, so I had to make it myself.” And while there will always be a debate about the origins of any genre, enough people agree that Paul van Dyk is a significant actor in the saga of trance. Queue up his 1993 remix of Humate’s ‘Love Stimulation’ for a glimpse at the genre’s genesis. The expansive harmonies, layered strings and faster BPM are familiar elements today, but in the early ‘90s, they weren’t the norm.

Although he loves house and techno, Paul believes trance represents “the most complete” form of music; one without boundaries. “With the minimal techno stuff, after five minutes you hit a wall and you’re just like, wow. That doesn’t create a landscape. And this is what I like – I like to see a horizon.

“Techno, to me, is ten meters long and then there’s a wall,” he gestures with his hands, slicing a line through the air. “Trance, on the other hand, is a horizon. You can see the sun going up and down depending on which direction you look and all that is in between, all the experience, everything that happens in the world. Moving towards the horizon is part of trance music.”

There is a track on his new album titled ‘Fairytales’ that is decidedly triumphant, ringing with bliss. And while we don’t ask what it means, we can’t help but imagine a young boy huddled over his small radio, stealing sounds from a world beyond his reach, but within his view. Paul smiles and nods at the window again. He can see his childhood school in the distance, just across the river bank to the east. The irony of literally pushing through a physical wall to get to the music and life he loves, is not lost on him. “When I was sitting in class in school as a kid, I was actually able to look toward the left which was West Berlin. I would look towards the west, look towards the horizon, look towards where I thought freedom and beauty was,” as he speaks, he looks to the west, away from us, unpacking an old memory. “Music and the horizon somehow always had something to do with my craving for freedom and movement, energy and positivity. And I guess, really, it’s still the case.”

DJMAG Article


Music News

Martin Garrix wins DJ Mag Top 100 DJs 2018

Post Image

Martin Garrix has been revealed as the winner of the DJ Mag Top 100 DJs Poll 2018, with the 22-year-old Dutch superstar making it three in a row after becoming the youngest ever No.1 DJ in 2016 and retaining the title in 2017.

Garrix was awarded the winner’s trophy by DJ Mag managing director Martin Carvell on stage at the Top 100 DJs Poll award ceremony at the Amsterdam ArenA. The event took place at this year’s Amsterdam Music Festival at Amsterdam Dance Event (ADE).

The award continues a meteoric rise for Garrix over the past few years, beginning when his breakout tune ‘Animals’ shot to No.1 around the world in 2013. He was odds-on favourite to retain the title from 2017.

He’s had a huge year since winning 12 months ago, unveiling his new waxwork at Madame Tussauds in Amsterdam and releasing his photography book Life=Crazy. He is also reportedly working with Rihanna on her forthcoming album, has teased his new hologram visuals and has released a track every day during this year’s ADE.

We secured an incredible 1.2 million votes in this year’s poll, an increase of nearly 200,000 on 2017. The most votes came from the USA, followed by the UK, Brazil, Mexico, Italy, Germany, Belgium, the Netherlands, France and Spain.

In the top 10, there isn’t a great deal of movement. Belgian brothers Dimitri Vegas & Like Mike (the Highest Group) hold steady at No.2, while Hardwell leapfrogs over Armin van Buuren to claim the No.3 slot, despite — or perhaps because of — announcing that he’s stopping touring for an indefinite period. ASOT man Armin, of course, remains the Highest Trance DJ at No.4 — he hasn’t finished out of the top four for the last 13 years.

David Guetta has had a good year, jumping up two places to No.5 — overtaking Tiësto in the process. But the big news in the top 10 is Don Diablo jumping four places to claim the No.7 slot, and cementing his place in the big league — claiming the Highest Future House DJ award in the process. Afrojack and Marshmello hold steady at No.8 and No.10 respectively, while Oliver Heldens — who slid out of the top 10 last year — jumps four places to finish at No.9. Steve Aoki slips down two places to No.11, while the biggest surprise in the top 10 is The Chainsmokers sliding down from No.6 last year to this year’s No.31.

Just outside the top 10, R3hab and Alok are both up six places to No.12 and No.13 respectively, while W&W are non-movers at No.14. DVBBS, Lost Frequencies and Vintage Culture are all up a respectable amount of places, while — off the back of his perpetually sold-out Ibiza residency — Pryda man Eric Prydz soars into the top 20. But the standout placing here is Avicii at No.15. The dance world was shocked by his untimely passing earlier this year, and tens of thousands of his fans voted for him in 2018 to ensure that his legacy isn’t forgotten.

Just outside the top 20, Fedde Le Grand and Ummet Ozcan are up 17 and 15 places respectively, while Quintino, Vinai and Bassjackers are also up. NERVO are the highest placed female DJs at No. 27, up a healthy 15 places, while masked hardcore hero Angerfist rams up 11 places to No.29. It’s not quite enough for him to reclaim the Highest Hard DJ accolade from Headhunterz, though — his fellow Dutchman places just one spot above him at No.28. It hasn’t been a great year for votes for other hardstyle DJs, though — Radical Redemption and Brennan Heart are both down considerably, while Ukranian DJ hardcore techno Miss K8 slips seven places to No.65.

There’s two more women in the poll compared to last year, which is another small step in the right direction. Apart from NERVO and Miss K8, Mariana BO — complete with her violin — is up 16 places and Alison Wonderland is still in the nineties, but they’ve been joined in the 100 by MATTN, who is the Highest New Entry overall at No.72, and the inimitable Nina Kraviz, who makes a welcome debut appearance at No.97. Let’s hope that even more women are voted into the Top 100 next year.

Other new entries include Breathe Carolina, NGHTMRE, Rave Republic and Slander, while stalwart scene producers Cedric Gervais and KO:YU — Deniz Koyu’s new name — jump into the chart for the first time. New names in the list from the world of techno include Adam Beyer and Marco Carola, while it’s also been a good year for Carl Cox — up nine spots to No.53, again scooping the Highest Techno award — and Richie Hawtin, who is up 19 to No.61.

There’s quite a few re-entries too, proving that sliding out of the Top 100 doesn’t mean that you are gone forever. Daddy’s Groove, Wildstylez, MaRLo, Deorro, Bobina and Markus Schulz have all bounced back in, and the Highest Re-Entry is Swedish House Mafia — despite only playing one show together all year, at Ultra Miami. With more shows and music hinted at for next year, it’s a safe bet that they’ll soar back up the chart in 2019. The return of SHM has had contrasting fortunes for its individual members, though. Steve Angello is up 24 places to No.58, but Axwell & Ingrosso are down 20 places to No.41.

The Highest Climber this year is Israeli psy-trance duo Vini Vici — up 38 places to No.34 — and other acts who have jumped 10 places or more include Danny Avila, Timmy Trumpet, Yellow Claw, Cat Dealers, Martin Jensen, Will Sparks, Robin Schulz, Andrew Rayel, Swanky Tunes, Mosimann and Tchami. Ferry Corsten, who has been in the Top 100 for the best part of 20 years, rides trance’s continued revival by twerking up 15 places to No.75, while Claptone is up 12 places to again claim the Highest House award.

The unstoppable Andy C once again claims the Highest Drum & Bass DJ award in this year’s poll. Following the widening of the voting process using a 2FA SMS login option for markets without Facebook, there’s been a 28% increase in votes from China. This has undoubtedly helped the top two Chinese DJs — Carta and DJ L — climb 19 and 14 places respectively, while other areas in Asia — including Japan, Vietnam and Thailand — all saw similar increases.

The territory that yielded the highest number of votes was again the USA, with the UK, Brazil and Mexico ranking next, closely followed by the central European countries of Italy, Germany, Belgium, the Netherlands, France and Spain. During the voting process, DJ Mag’s website saw 61 million pages viewed.

Check out the full DJ Mag Top 100 DJs poll results here.


Paris boat club Batofar closes permanently

Post Image

The venue has been dismantled after running into financial difficulties, though there are plans for it reopen under a new name in 2019.

Popular Paris boat club Batofar has closed for good.
Moored in the 13th arrondissement since 1999, the red tugboat ran into financial troubles earlier this year, according to daily newspaper Libération. It was initially due to shut for renovations, though they never materialised. A 17-hour closing party, scheduled for February 3rd, also never happened. More recent photos show the red boat being dismantled. (See right.)
Libération also reports that the venue will reopen in summer 2019 as a salsa club under a different name, Faro Faro.
For almost 20 years, Batofar was a vital and trusted spot for underground house and techno fans. Recent guests include Tin Man, Xosar and Djrum.

RA Article


David Morales arrested in Japanese airport on ‘suspicion of smuggling’ MDMA

Post Image

The US DJ was reportedly detained in Fukuoka on Saturday afternoon after customs officials found 0.3g in his possession.

David Morales was reportedly arrested in Japan over the weekend on “suspicion of smuggling” 0.3g of MDMA.

According to national newspaper Asahi Shimbun, the Grammy Award-winning artist was travelling from Hong Kong to Fukuoka on Saturday afternoon when customs officials found a small bag containing the class A drug in his carry-on luggage. Morales denied it was his, claiming that someone else put it there. “He was arrested for allegedly violating the law on narcotics and psychotropics control,” a police spokesman told news agency AFP.
Japan has a zero-tolerance policy on drugs. The penalty for possession of class A substances for personal use, however small the amount, carries a maximum prison sentence of seven years and a fine of ¥3 million (£19,821).
Morales was due to perform at Fukuoka club Bijou on October 6th, followed by an appearance in Tokyo the following day. On Saturday evening, the promoter of the Fukuoka show posted on Instagram saying that Morales wouldn’t be attending because he was “sick.”
Resident Advisor reached out to Morales’s team, who said they’re “unable to comment at this time, but will share further information with you as and when we’re able to do so.”

We’ll bring you more on this story as we have it.

RA Article


Trump signs Music Modernization Act, updating old copyright laws

Post Image

The legislation aims to revamp existing laws so musicians and labels are better compensated by streaming platforms.

President Donald Trump signed the United States Music Modernization Act into law today.
The act, which passed unanimously through the House and Senate, aims to update antiquated US copyright and licensing laws for the streaming era.
Specifically, its goal is to simplify the process of licensing music so that rights holders are more fairly compensated when their music is streamed online. It will iron out the most complicated part of the process—figuring out who the rights holders are—by creating a single licensing database called the Mechanical Licensing Collective. The MLC will ensure that payouts end up with the correct artists and labels.
It also includes a piece of legislation called the Allocation for Music Producers Act, which specifically aims to get producers and engineers better royalty payouts from satellite and online radio (it’s the first time producers have been mentioned in US copyright law).

“You like this legislation or do you hate it?” Trump reportedly asked his invited guest Kid Rock during the signing ceremony this afternoon. “I like it,” replied Kid Rock.

New legislation that calls for major updates to the United States’ music copyright and licensing laws passed the House of Representatives yesterday by unanimous vote.

The Music Modernization Act, also known as House Resolution 5477, bundles together a handful of bills that, as a key sponsor in the House put it, “brings early 20th-century music laws for the analog era into the 21st-century digital era.”
One big change is the creation of a blanket mechanical license, which digital providers can obtain as protection against copyright infringement lawsuits, and a new agency whose mission will be to track credits on streaming and other digital services and collect and distribute royalties. The agency would be similar to SoundExchange, a non-profit that is currently the only digital royalties distribution entity authorized by Congress. HR 5477’s other measures include the development of a system of market-based royalty rate standards, new protections for recordings made before 1972 and the addition of royalties for producers and engineers.
Left unaddressed are performer payments for over-the-air radio play—Inside Radio says the National Association of Broadcasters and the music industry aim to iron out a compromise on that front without a government mandate.
Industry supporters for HR 5477 include the Recording Academy, RIAA, ASCAP and BMI, along with the Digital Media Association, which represents the likes of Apple, Amazon, Google, YouTube and Spotify.

The bill passed the House with an expedited 415-0 vote—a rare display of bipartisan cooperation in US government that suggests it’ll make it through the Senate and onto the president’s desk. The Senate’s Judiciary Committee plans to begin its own deliberations in mid-May.

RA Article