Zane Lowe returns to the decks for a club-ready mix after four years.
This weekend, Beats 1’s weekly radio show One Mix celebrates its 200th episode with a special mix from renowned radio host Zane Lowe. The landmark mix serves as Lowe’s return to the decks for a proper club-ready set after a hiatus of around four years. With it, Lowe aspires to play DJ sets more regularly again.
Paying homage to his roots in rap and hip-hop, Lowe plans to fill the hour with plenty of percussive and tribal-sounding four-on-the-floor sounds. Expect cuts of The Chemical Brothers, Lee Foss, and Diplo, plus Lowe’s own exclusive edits and experimental productions.
Tune in here, exclusively on Apple Music.
Air Date: Friday 14th June 2019 – 21:00 LA / 00:00 NY / 05:00 UK
Born and raised in New Zealand, Lowe started out as a presenter for a local New Zealand TV station, before moving to the U.K. and finding massive success hosting BBC Radio 1. His frenetic style garnered global attention. The radio show won numerous awards over the years, with popular features like Hottest Record In The World Right Now, Masterpieces and Zane Lowe Meets, which aired exclusive interviews with notable artists like Jay-Z, Kanye West, and Eminem.
Since 2015, Lowe has been busy leading the Beats 1 radio station as part of Apple Music.
Outside of radio, Lowe has played festivals like Coachella, Glastonbury, and Creamfields, and toured alongside artists like Skrillex, The Prodigy, and The Weeknd. As indicated by his upcoming mix, it seems live performances is something Lowe is keen to get back to.
Follow Zane Lowe
***READ MORE HERE: Beats 1 One Mix’s 200th Episode Features Rare Mix From Zane Lowe
You Might also like
By Real EDM — 10 months ago
We got a chance to talk to ARMNHMR about their partnership (and how it almost didn’t happen!), their debut album, and window seats.
ARMNHMR, a DJ duo hailing from Los Angeles, is back with a new track this week! If you haven’t been paying attention for the last few years, ARMNHMR made a name for themselves with some stellar remixes of The Chainsmokers tracks and dropped a heavy hitting track, “Won’t Come Back”, with Convex earlier this summer. With the release of “Leave It All“, ARMNHMR will be embarking on an end of the year tour run branded by the single, so be sure to keep an eye out for an announcement coming next week!
“Leave It All” opens with an ethereal melody, accompanied by vocals from Luma. The drop hits hard and heavy, driving home the emotional lyrics. Don’t take our word, check it out below and read about their partnership (and how it almost didn’t happen!), their debut album, and paying extra for a window seat.View the original article to see embedded media.
EDM: How did you meet?
Joseph Chung: I moved to Southern California for college. Fast forward to senior year, I was looking into producing music. I had a friend of mine that I used to party with and he introduced me to Joe because Joe was already pretty well equipped with Ableton and he was more like my mentor in the beginning. As I got better at producing, we agreed to become partners but it didn’t work out. That’s what people don’t know. It didn’t work out initially. And then about almost half a year later I sent him another demo and he was like “Yo let’s try this out.” And from then on we just kept going. And here we are.
EDM: So this is the second time around for you.
Joseph Abella: Even our name. We didn’t know how serious it would get. Whatever we make together will go under ARMNHMR.
EDM: You’ve gotten to remix a number of artists, who’s been your favorite artist so far?
Joseph Abella: The Chainsmokers because the music they write is so catchy. We tried to do as best we could. Writing remixes to their songs, it’s easy because the songs they write are just great already.
Joseph Chung: Looking back there the other reasons why we got recognition and that’s how we got our first step into the EDM space because they supported us. So they play a huge role in our success.
EDM: You have some collabs in the works right now with the Adventure Club and Kayzo. How did this collaboration come about? Did you reach out to them. Did they reach out to you.
Joseph Chung: Our agency connected us with Kayzo. One of our first shows was with Kayzo in Baltimore at Soundstage and from there we built that relationship. With Adventure Club it was more of like a cold cold contact. We just kept hitting them up because they’re one of our biggest inspirations. We built this relationship with them and it’s actually growing every single day.
EDM: Do you ever get starstruck by other artists?
Joseph Chung: I don’t necessarily get starstruck but I would say I definitely get very inspired by Seven Lions, Mat Zo, even artists like Lane8 which is more in the deep house spectrum because the melodies are so amazing, it just snaps together in my ear.
Joseph Abella: Nowadays, I think a lot of the producers in our generation inspire us to because a lot of good music is coming out. A lot of our friends like really inspire us to make better music.
EDM: Your debut album is in the works what can we expect?
Joseph Chung: Right now we have about 8 finished. We want to do at least two to three more. Those final tracks are currently works-in-progress. So it’s not like we weren’t thinking about it. We might do 12, we might do 14 tracks. We originally planned to release it in 2018 but, it seems like the best option would be to push it out to 2019 and make sure it is the best because an album is an embodiment of who we are. If it’s not great, it’s unfair for our fans.
Joseph Abella: We don’t want to give a product that’s half-assed.
EDM: What have you found most rewarding about making an album as opposed to a single?
Joseph Abella: An album is a snapshot of where we are in our lives. It’s an opportunity for us to let out a lot of what’s been going on in our own lives and music’s been a very therapeutic thing for us. We got through a lot of hard times through music so a lot of it is putting what we’re going through into a record and hoping that other people can resonate and vibe with the same feeling. A lot of people are going through a lot of things. We write music for people need a voice for them.
EDM: What is the most unique place you’ve played?
Joseph Abella: We played at this venue called The Rave in Wisconsin and the green room was a total man cave. There was psychedelic art, black lights, disco balls. It was the coolest green room we’ve been in. It was probably the wildest place because of the vibe and aesthetics.
Joseph Chung: We played at Red Rocks, one of the greatest venues in the world. But as far as most unique place, definitely The Rave.
EDM: Favorite non-electronic song right now?
Joseph Chung: Wish by Trippie Redd and Diplo.
Joseph Abella: I like pop punk. There’s a song called From The Outside by Real Friends. We try to get inspiration from outside of our realm because we feel that’s where the art comes from just dabbling into little things and incorporating that into our sound.
EDM: Window seat, aisle seat, or middle seat?
Joseph and Joseph: Always window.
Joseph Chung: I will pay extra just to sit on window, you got to be comfortable haha.
Joseph Abella: If you’ve got to be on a metal little vehicle for five hours you need to be comfortable.
EDM: Final Words?
Joseph Chung: It’s been a great ride so far. I think we’re just on the cusp of getting to the next level. A lot of fun in store for both us and our fans!
Joseph Abella: We really appreciate the fans coming out to all of our shows. We write the music for them. So the fact that they resonate with what we’re writing means the world to us.
ARMNHMR also has some massive collabs on the horizon with Adventure Club and Kayzo, so keep an eye out! We also heard a few rumors about an upcoming tour, to be announced in the following weeks. For now, we’ll be jamming to “Leave It All”.
You can follow ARMNHMR here:
***READ MORE HERE: ARMNHMR’s “Leave It All” is Melodic & Powerful [Interview]
Source: edm.comPost Views: 0
By Real EDM — 5 months ago
Spotify makes crucial progress towards their goal of enabling one million artists to live off their music.
In March of 2018, Spotify CEO Daniel Ek stated, “Our mission is to enable one million artists to live off their work.”
Ek also noted that over 20,000 artists on Spotify were currently amongst what he referred to as the “top tier” of revenue generation.
With over three million artists on Spotify, this high-earning bracket equates to less than 1% of all artists on the service. That said, Ek’s aspiration of ensuring more musicians earn a living on Spotify appears to be taking shape.
To better understand what is taking place in the world of music streaming, take a look at this graph from BuzzAngle’s newly-issued 2018 industry report:
There are a few key things to notice here, some of which appear troubling at first, but all of which ultimately amount to significant progress in the ability of independent artists to make a living from streaming music royalties. The first thing worth noting, and certainly the most concerning at face-value, is that the top 500,000 tracks on audio streaming services amount to 92.4% of all plays in the 2018 calendar year.
While this is initially disheartening, it’s important to notice that the total number of U.S.-based streams for those top 500,000 tracks increased sharply by a whopping 41.8%, a massive jump in terms of overall streaming revenue generated for rights holders.
Furthermore, in 2017, the remainder of music on the platform (music outside the top 500,000 tracks) made up only 6.4% of the total market share, whereas that same remainder made up over 7.6% of the total market share in 2018.
While this may seem like a very minute increase, a rise of 1.2% market share totaling 36 billion additional streams is no laughing matter, not to mention the fact that this same pattern is mirrored even more drastically across all of the higher-earning revenue tiers (Top 500, Top 5,000, etc.).
What these numbers mean for artists is that the remaining (tracks performing below the top 500,000) were streamed approximately 24 billion times in 2017, increasing to over 40 billion U.S.-based streams in 2018.
Another key metric is that in 2017, the United States’ top 500,000 tracks generated 14.6 times as many audio streams as every other piece of music on the platform. In 2018, however, this multiple decreased significantly to only 12.2x.
While one year of data is certainly no sure indication of change, it does reveal a striking trend that should be a source of great hope for independent artists and labels everywhere.
“My ambition is we want artists to be able to afford to create the music they want to create, and if it takes them five years to sit down and make the album they want to make, they should be able to afford that,” said Ek. “*That’s my goal.”
These numbers hint at an even more important trend – one which, as we climb further towards the top of the blockbuster hit charts, becomes surprisingly more pronounced, especially as you follow it towards the top of the charts, or into the “Top 50 Tracks” bracket. BuzzAngle reports that the top 50 tracks in 2017 generated 14.7 billion streams, making up 3.9% of the total streams on the platform. In 2018 this number dropped off massively with the top 50 tracks claiming just 0.7% of the market share, or only 3.74 billion plays.
This top bracket of earners is where the biggest change is taking place, and as they say, change starts from the top. While on-demand audio streaming volume grew by over 41% in 2018, the percentage of those plays dedicated to the top 50 tracks dropped by a staggering 74.6% – this is assuredly indicative of a noteworthy collapse in the industry-dominating power of major label mega hits.
When you look at the numbers from this perspective, you’ll notice that almost the entirety of the significant growth in US-based audio streams from 2017 to 2018 came from outside the top 500 tracks (and there are far less than 500 mega-hits per year). In layman’s terms, this means that the vast majority of year-over-year growth came not from major artists, but from creators well-below the top tiers of hitmakers.
To put this into perspective, only 9 songs in 2018 were streamed more than 500 million times, compared to 16 in 2017.
From this data, BuzzAngle concludes that “Consumers are exercising their choice to explore new music, which is a terrific sign for the industry.”
It’s undeniable that major labels have attempted to replicate their nearly century-long dominance over terrestrial radio, but it’s proven to be all but impossible to achieve comparable results. The internet simply isn’t conducive to the type of captive audience once offered by radio, and now that consumers are used to having the power of choice, we may have passed the point of no return.
H/T – Music Business Worldwide
***READ MORE HERE: Spotify CEO: Streaming Less Dominated by Major Hit Records
Source: edm.comPost Views: 0
By Real EDM — 5 months ago
“Buckets” is more unsettling compared to Skrillex and Elohim’s last song.
Skrillex and Elohim‘s November, 2018 collaboration “Connect” apparently wasn’t a one-off endeavor. Their follow-up single exhibits a much darker iteration of their sound, however. Titled “Buckets,” it sees both artists explore more experimental sonic territory.
A trap/hip-hop beat structure meets with hard-hitting, grime-reminiscent synth work in “Buckets.” Contrary to what you might expect, Elohim’s vocal doesn’t soften the tone of the track. Alternating between two juxtapose singing styles, she belts out edgy verses with reckless abandon in this unexpected single.
“2019 will be a year of unmasking, unveiling, and facing fears head on,” said Elohim in a press release. “‘Buckets’ is the beginning. This piece is an emotional purge, a side of me I’ve never shared before. I am now ready. Are you?”
“Buckets” by Elohim and Skrillex is out now via the latter artist’s OWSLA imprint. Stream or download it across platforms here.
H/T: River Beats
***READ MORE HERE: Skrillex and Elohim Release Second Collaboration, “Buckets”
Source: edm.comPost Views: 0