Not many tracks are released during the year by Hexagon Recordings but
when this happens, its definitely for a big track.
The baselines add wonders to the already dotted and playful melody and as usual, the eerie background synths enlighten from the start to the end.
Building upon itself, the track gets progressively more energy as time passes, passing milestones with samples from Fatboy Slim’s “Right Here,
Right Now”. The atmosphere is futuristic: Momentum is really
Stream Momentum here:
Written by: Simona
Charlie Ray started producing music at 18 years old, but it was not until a year later that he started to produce more seriously. With his groovy and progressive sounds, he immediately started to get recognition from none other than Hardwell, Martin Garrix, Sick Individuals and others.
He entered his first remix contest together with Waysons, and they were awarded with the 3rd place. After that, he started focussing on original records, this resulted in releases on Republic Records and Blow The Roof Records. But Charlie did not stop there. He and Waysons combined forces once again and made Homeland. Hardwell immediately fell in love with the record and released it on Revealed Recordings. This was the kickstart Charlie's career needed.
After that, releases on Protocol Recordings, Armada Music and Wall Recordings followed. Now he is working with some of the biggest producers around the world, making some of the finest work of music you have ever heard.
How do you start a new track? What's your favourite DAW?
I usually start a track with a drop, since that part is essentially the heart of the track. Once i feel like i have an idea what do there i move on to a break and do the same. I like working with a full draft and take it from there. My favorite (and only) DAW Is FL Studio. It was so easy to pick up on that, the software feels really accessible.
I tried Logic too but i think once you picked your DAW you should stick with that one, since you're most familiar with it. More importantly, there is no 'right' DAW.
The biggest producers all use different software.
You just released your track "Out Of Time" featuring Jonny Rose, how this collaboration started?
'Out of Time' was a funny one. I finished that track a while ago, i believe in the fall of 2016. I had some trouble with the label where it was signed, so i decided to put it out as a free download. I did that because i loved the track, and i really wanted people to hear it.
Jonny Rose's vocals are always amazing and he did not disappoint on 'Out of Time'.
I had goosebumps the first time i heard the topline!
Any advice for upcoming producers?
I think it is most important for upcoming producers to know that they have to take their time. The first thing producers want to do is sign a track on Revealed or Spinnin, but it does not work that way. Mastering a craft takes time. Finish as many tracks as you can, get feedback from your surroundings, and surely you will get bigger and bigger.
I did it like that, finished a couple tracks for free and some got put out on small labels. After that i released 'Homeland' at Revealed Recordings and everything changed after that. Another perfect example is my Italian friend 'Dumbers'. As we speak we are finishing a track together. Luca (Dumbers) signed tracks at some smaller labels a couple of years ago and with that he really found his sound. Once he nailed that he landed tracks on Flamingo and now three(!) tracks on Protocol (Nicky Romero's Imprint).
Any good news you want to share with us about your future projects?
I'm going for about 6/7 releases this year, a bootleg, a solo release and as i said a couple of collaborations (with Dumbers, Jordan Jay and Reggio) that i am really excited about. I'm also going to be touring Europe (for now Italy and Germany) and Asia this summer/fall.
I can't wait to be back in Asia, i loved it there the last time. I'm hoping to play in Malaysia soon as well!
Goldrush Music Festival Drops Impressive Phase 1 Lineup, Including Dillon Francis, Marshmello, and more!
Arizona seems like the perfect state for a music festival. It's a vibrant place surrounded by mountains, electric with people, still carrying a nostalgic aura of an old western town.
Relentless Beats has a knack for putting on some incredible events and this year they're bringing a brand new music festival by the name of Goldrush to Chandler, Arizona. Goldrush isn't your typical festival, as it will be a fully immersive Wild West experience at Rawhide Western Town. It's all ages, running from November 18-19 and already has a very impressive phase one lineup that captured our attention.
Dillon Francis, RL Grime, Migos, Marshmello, Drezo, and San Holo are a few names you can expect to see who will undoubtedly make this experience one you'll never forget.
This festival is all ages and is definitely worth your time, so if you're in Arizona or close by, make sure to grab yourself a ticket https://www.seetickets.us/event/Goldrush/348724)!
Check out the trailer for Goldrush below!
Written by: Petey Mac
@2017 DJ Mag Malaysia
If you are here reading this you are already aware of the big names such as Tomorrowland, Ultra, EDC, Lollapalooza and many others. The question is why and how this completely changed the Music Industry?
A few years ago, electronic music, in general, was an indie music genre, this means it wasn’t enough commercial for the music industry to invest the same way as they could invest on the other ones, such as Pop, Rap, Hip-hop, Rock n Roll…
And it was hard to build up a career, concerts or even a song without the support and investments of the major record labels, working with music was too expensive to do it alone. But people from electronic music took this very seriously, we never do anything alone and with just a few years we changed the game.
Electronic music has all the types of fans, but it grows on the computers, the internet, not only the fans but the producers and new DJs. It’s the most adapted music genre for this era that we are living now, because we can get music everywhere fast, we have our own festivals in the entire world, we have a strong fan base made of all ages (especially the young audience), we practically have our own music industry, which in numbers, shows our strong relevance in the world. In other words, we created different strategies that proved more efficient, like instead of releasing an album every two years and build up an expensive big tour that might not even cover all the important locations during the best time for your hits. We created singles, that we release according to our needs and festivals that cover all the places we actually need, also bringing a superior structure that would cost too much even for big artists to maintain. We create new songs faster, we often do collaborations with other artists, we make remixes, we play other artists songs to create set lists that tell stories, we entertain our audience with no boundaries. We promote the acceptance between cultures and people, uniting a worldwide audience. It seems like magic and unreal but we made it real.
This exceeded the non-popular and turned into one of the most popular and profitable music genres in the industry because, in a time of crisis such as the decay of the albums selling process, solo tours, and concerts, we are still growing exponentially.
Promoting the acceptance between cultures is one of the most honorable features in electronic music. Is a strong pillar for this music genre and is effective with the young audience today. When people should always find comfort in art, electronic music has the power to welcome and warm every fan, which makes our festivals even more magic. It’s not only about seeing those epic structures, is not only about being inside a magical world, is the concept, is what makes all the fans feel accepted, cool and free. Celebrating art and giving hope can change more deeply crowds and really help people. That should be every artist's goal, and if anyone tells you “ this is not commercial ”, remind them, as the electronic music did, that commercial is what is popular, and then show them our crowds.
Written by: The Kraken Music
@2017 DJ Mag Malaysia
Italian powerhouse duo, consisting of DJ and producer Carlo and producer Peppe, Daddy’s Groove returns to Sander van Doorn’s self-titled record label for a killer follow up to Railgun, this year’s smash collaboration with Tom Staar.
The new single Basement looks set to hit the top of the Beatport charts once more, with an infectious groove and that signature Daddy’s Groove production.
Weaving together underground influences, cheeky chord stabs and old-school vocal shots, basement is a beast of a tune that can only be characterized as ridiculously infectious.
Also featuring a unique and hypnotizing techno breakdown, this splendid cut is sure to destroy festival grounds all over the globe.
Written by: @Simona
Reasons why Streaming services are taking control of the daily life and how Asia audience is contributing in several music careers!
Everyone in the music industry knows how important the charts are, and Streaming charts are even more important than the others because they will have a close look at what is really working in the daily life. So if you are a music artist, take note!
An artist with a big fan base and well-planned strategy will always take over control of the sell's chart, like billboards, every time they'll release an album. They have a team that will take care of the planning and investors to create marketing products. So compete with those guys is practically impossible, at least on this charts. It doesn't mean that all the songs they'll release will be hits, the top of these charts means much more than good songs, it means great sellers.
So if you, Dj or music artist, needs to know what is currently working, the streaming chart might be closer to the true data. Why? Fan behavior changes in the streaming services because He (or She) already have access to every song he (or She) wants. So the Fan becomes flexible enough to be sensitive to the sound and not overwhelmed with other selling mechanisms. In other words, the fan chooses what pleases his ears at that moment.
Playlists have a fundamental role in this matter because it's the way streaming services presume what fans would like to hear and recommends new songs. But there are some variables that goes in this process that might create tendencies towards some artists.
The thing is, more than half of the big record label profits involving only the song's royalties come today from the streaming services system. So the industry will never be impartial in a matter of profits (money). This is not a bad thing, we are living a good era, can even be called freedom era because it's the closest we have been to that in the music industry. However, we must understand that most of the influential playlists will tend to their interest. Fans will always have the final decision but they can be influenced, even on the streaming services.
One of the greats progress that streamings are showing is that fans are now able to represent easily their support for their favorite artist. Showing in numbers to the international music industry the relevance of different artists on different locations. Making history in some careers, and Asia has a great role on this. Places like Jakarta – Indonesia, Singapore – Singapore, Quezon City – Philipines are a strong influential fan base of Electronic Music and Pop Artists such as Camila Cabello, Charlie Puth, Martin Garrix, The Chainsmokers, Rita Ora and many others.
This type of fan base commitment is crucial to reach better places on the charts and this means relevance in the media, festivals, and collaborations.
Written by : The Kraken Music
2017 @DJ Mag Malaysia
Gorje Hewek & Izhevski is a deep house DJ duo who recently collaborated with Tomorrowland for the creation of the "Daybreak Session complilation". We had the pleasure of sitting down and talking with them about their future projects, music and their "All Day i Dream" live show. Enjoy!
What’s the journey been like for you the last few years?
To be honest we haven’t had a break for a couple of years already. There was no weekend for us not to play somewhere. So for the past years all the travel was connected to our gigs. We remember the trip to Burning Man well. How we drove through California and Nevada in an RW among a big gang. And that crazy (meant good) week in the desert after all.
We also like to spend time in the Middle East. It’s always nice to drive from one city to another being in Europe. This year we discovered Latin America for us. Where we’d really like to go is Asia. To spend some time with common people from that part of the planet and to walk along Seoul or Tokyo, for example.
Did you always have that passion for music or was it something that
came a little bit later on in your life?
We both had it even in our childhood. Gorje had finished music classes by 14 and played in an orchestra after that. Of course, we’ve arrived gradually to what we write and play now. But we’ve always been interested in music, and we’ve never had a doubt in what we do. We both studied different things and we’re interested in many diverse themes, but music has always been on the first place.
What do you think about bedroom producers?
We don’t think that it is that important where you write your music. The result is what really matters. E.g. we have a track that was written on the ocean coast (note – After Rest). Another one was written in the airport when we missed our flight. Of course, there are some things that are hard to manage at home, and you need the capacity and the atmosphere of a big studio. Because the studio does give you a special atmosphere. We know loads of both examples – people who prefer to work only in the studio and bedroom producers, who writing great music.
Tomorrowland's Daybreak Sessions Compilation has been an huge
spotlight for you, how this collaboration started?
Indeed, it was an honor for us to make a mix for the Tomorrowland Festival. This event is unique and massive, and we are glad not to just produce the DayBreak mix, but also to be there with the All Day I Dream show.
It all developed quite naturally, as we think. We happened to have common friends, and we received a call from a guy from Tomorrowland. He was in charge for that series of mix and told us, they see us as authors of one of them (there are three mixes in the DayBreak Sessions in the whole). During the talk we came to the idea to make a compilation out of the tracks of our label, Shanti Moscow Radio. We added some unreleased tracks and to contribute the whole philosophy of our label into that mix. It was an interesting process, Tomorrowland has a great team of professionals. We made every effort to make it genuine.
Any words or messages for the fans?
To love, smile, value plain things, be honest in what you do, and stay the bright side as long as it’s possible. We try to remind ourselves of this every day.