Look forward to more tunes coming from Circus Records to celebrate the landmark.
When it comes to bass music, Conrank has been making waves for quite some time – and with the edge that he has given to his music, he arguablydeserves the attention. Having recently released some hard-hitting bangers in addition to collaborations with Dirt Monkey & Space Jesus, the L.A. and Shanghai-based producer is showing no signs of stopping.
His first track of 2019 is a big one as it comes out as a part of the legendary label Circus Records celebrating 10-year anniversary. The label being at the forefront of the global bass movement for a decade has given us artists like Flux Pavillion, FuntCase, Doctor P, Cookie Monsta, Carmada, Chime, and DISKORD to name a few.
In regards to Conrank’s tune, “Tonk Sound,” it really encapsulates that old school vibe but with modern and clean production. Bass music lovers will likely enjoy it.
To celebrate 10 years of ruining silence, Circus Records will be giving away a track every week from its artists every week for free. In the meantime, download “Tonk Sound” here.
FOLLOW CIRCUS RECORDS
***READ MORE HERE: Conrank Shares “Tonk Sound” as Part of 10 Years Of Circus Records
You Might also like
By Real EDM — 5 months ago
Light & Life and Zedd teamed up to throw the ultimate New Year’s Weekend party.
Teaming up with Light & Life to jumpstart New York’s New Years Eve Weekend, Grammy award-winning artist Zedd played his first show at the Brooklyn Navy Yard this past Friday.
Filling out the Brooklyn warehouse, the crowd was teeming with excitement and anticipation before he took the stage. When the lights cut out and peaceful raindrop plop sounds rang one at a time along with a flashing visual, his fans went nuts yelling for him to come on. Soon enough, Zedd did pop up behind the decks. He started off his set with his 2015 Jon Bellion feature, “Beautiful Now.”
After that, Zedd had the whole warehouse partying nonstop through his hour-and-a-half set. Combining Light & Life’s expertise in lighting setups and his visuals, some of which were recycled from his True Colors tour, it was no surprise people couldn’t stop jumping along to his genre-varied mix.
Following the bassy trap/dubstep vibe the previous act, Medasin, instilled within in the crowd, Zedd incorporated some trap into his own set with remixes of Fat Joe with Remy Ma, Drake, Kendrick Lamar and Cardi B. From those bass-heavy drops he either then weaved into some reggae and more tropical beats or hard dance and grungy ones. At some points, he’d even teased a few of his own releases only to cut right into something else entirely.
With 17 years of successfully commanding the dance floor, the Russian-German DJ knew exactly how to keep everyone on their toes from one track to another. Among the most interesting moments of the night was when he built up the drop into DJ Snake‘s “Propaganda” with Vengaboy‘s classic ’90s party hit, “We Like To Party!” It pleasantly threw attendees off guard at first, then took them back in time to Mr. Six doing some crazy dance moves in front of the Six Flags bus. Then, all of a sudden they were smacked in the face with some heavy bass drops and – in true Zedd fashion – a spectacular, color-changing laser show.
Throwing in nostalgic songs like Whitney Houston‘s “I Wanna Dance with Somebody” and Daft Punk‘s “One More Time” only made the night even more magical. He also paid tribute to Avicii with almost playing “Good Feeling” in its entirety. Though, the night wouldn’t be complete without hearing some of Zedd’s hits, which there were plenty of.
Starting with “Beautiful Now” the seasoned DJ mixed in his catchy remixes of Rude‘s “MAGIC!” and Shawn Mendes‘ “Lost In Japan” along with originals like “Stay,” which features Alessia Cara, and “I Want You To Know” with Selena Gomez. Going back into his discography, it was like a breath of fresh air when Matthew Koma‘s velvety voice rang throughout the warehouse. Bathed in a sea of blue light, Zedd had the crowd instantly jumping along to “Spectrum.”
With the last 10 minutes of his set, he wasn’t stopping there. After “Spectrum,” Zedd went right into his radio hit with Paramore‘s Hayley Williams, “Stay the Night.” When the chorus came, so did loads of string confetti falling from the ceiling and even more people belting out lyrics and dancing with each other.
It comes to no surprise that Zedd ended this amazing set with arguably his most popular hit, “Clarity.” Taking a look around, it was definitely the song that people really stuck around to hear. Though when his set ended, the crowd hadn’t had enough with just “Clarity.”
After chanting his name for a few minutes, Zedd popped back behind the decks and played his most recent radio hit, “The Middle,” with Maren Morris and Grey. It’s not something you see often after a DJ finishes his set, but Zedd, being the fantastic entertainer that he is, gave the people exactly what they wanted: an unforgettable New Years Eve Weekend experience.View the original article to see embedded media.
Follow Light & Life:
***READ MORE HERE: Light & Life Kicked off NYE Weekend with Zedd at the Helm [Review]
Source: edm.comPost Views: 0
By Real EDM — 6 months ago
The Prodigy joins the likes of Paul McCartney and Elton John in achieving seven UK number 1s with their new album “No Tourists.”
Conrank has been on a roll with new tunes this year. Today, he has joined forces with The Prodigy to create a refreshing remix for their recent single, “Timebomb Zone.”
Conrank gives the track an emotional twist and brings his innovative bass style to the forefront. The L.A. and Shanghai-based DJ/producer delivers a visceral version for bass lovers around the world.
A couple months ago, Conrack dropped his original single, “Drum In Time” along with a fall mix. He dives into The Prodigy’s more contemporary electronic track from the album, recreating their distinct take on drum and bass.
For a decade Conrank has put his attention towards production, steering away from the beatboxing scene from his original home of London. With his new The Prodigy rework, He dives into new territory – remixing from a group who have taken over illegal rave scene, disputed anti-rave legislation and reformulated the idea of a band.
This month, The Prodigy has completed their massive UK and European headline tour. “Timebomb Zone” comes from their new album No Tourists, available across platforms. You can stream or download Conrank’s rework across platforms here.
***READ MORE HERE: Conrank Drops Rework of The Prodigy’s “Timebomb Zone”
Source: edm.comPost Views: 0
By Real EDM — 8 months ago
The deal offered by SoundCloud hasn’t been received positively across the board.
UPDATE 10/29/2018: SoundCloud has published a blog post revealing that they’ve “clarified or removed” certain elements of the SoundCloud Premier agreement.
SoundCloud pride themselves on being a resource for content creators, as well as a prominent platform for indie artists who showcase their music in hopes of turning heads and growing within the music industry. Within the past month, the independent streaming platform announced that they are working with leading DJ hardware companies to allow users to stream songs during live performances in addition to partnering with rights clearance startup Dubset.
Undoubtedly the most notable announcement by the company was their public rollout of SoundCloud Premier. Premier is a system that will allow artists to monetize their creative work and receive royalties based on streams and user subscriptions. Adopting a philosophy similar to Spotify’s artist payment system, SoundCloud Premier was first received well by the producer community as monetization can provide a source of income for independent musicians.
The deal offered to content creators, however, hasn’t been received positively by the music community. Certain contract terms have been described as an “unfair deal.” For example, details of a specific payment program were unclear and a covenant that prohibits artists from taking legal action against the company in case they feel that the terms are not met.
Specifically, creators must agree that they will not sue SoundCloud or assist in any action that involves a case between the company and an artist – something that, as noted, is not included in the agreement summary. The platform also holds the right to make non-negotiable changes to aspects of the payment program without notifying artists, as well as only paying artists that have exceeded $100 of revenue, without specifying whether a monthly or quarterly basis period for calculation of net revenues will be applied.
Following the company’s 2017 shortage of funds and former Vimeo executive Kerry Trainor coming on board as CEO, a handful of new features have been introduced to the platform. Some have been met with praise by the platform’s users, such as the ability to comment on mobile devices. Time will tell how the new SoundCloud Premier program will be embraced.
H/T: The Verge
***READ MORE HERE: SoundCloud Comes Under Fire for New Artist Contract
Source: edm.comPost Views: 0