The single comes one year after their massively popular track together, “Girls Like You.”
Just one year after the release of “Girls Like You,” which amassed over 10 million streams in the first year on Spotify, Kesh is back again with Emmy-nominated NEVRMIND (real name Dudley Alexander) to release their new future house single “Skyline.” It’s out now via ChillYourMind.
“Skyline” confirms Kesh and Alexander’s perfect chemistry and undeniable talent to make hit songs together. The track opens with a mesmerizing atmosphere and quickly the lush vocals of Alexander are heard. Progressive chords build up to a dreamy future house drop which is complete with a chopped vocal topline and addictive, bass-driven beat.
Being that Kesh has received the support of EDM legends such as Hardwell and Tiësto – and seeing how quickly he has built an audience for himself – it’s safe to see we can expect to hear much more from him as he rises to the top. The Limerick-based artist posted to his Instagram in March that he plans to spend the rest of 2019 on original tracks and releasing via larger platforms.
***READ MORE HERE: Kesh and NEVRMIND Join Forces For Future House Single “Skyline”
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By Real EDM — 1 year ago
Streaming giant Spotify has filed an F-1 form with the Securities Exchange Commission, in preparation to begin listing shares on the New York Stock Exchange under the symbol SPOT. Shares traded privately since January 1 2018 between $90.00 and $132.50 USD. Shares are expected to undergo a 40:1 split to “reduce the price per share […] to a more customary level for a newly listed company” (Spotify F-1 p. iv).
The filing is under Rule 415 of the Securities Act of 1933, which is also called a shelf registration. This means that Spotify has two months to start selling shares from the time the statement is declared effective. Once public, they can be issued and sold on a continuous basis. This is not a normal way for a company to go public; most go the route of an Initial Public Offering (IPO).
Factors listed as potential threats to forward-looking information that really stand out are:
- “[Spotify’s] ability to comply with the many complex license agreements to which [they] are a party;
- [Spotify’s] ability to generate sufficient revenue to be profitable or to generate positive cash flow on a sustained basis;
- assertions by third parties of infringement or other violations by [Spotify] of their intellectual property rights;
- risk associated with [Spotify’s] substantial indebtedness;
- the concentration of voting power among our founders who have and will continue to have substantial control over [Spotify’s] business.” – (p. iii)
Interestingly, while revenues for Spotify have increased from $1.94B to $2.95B to $4.09B for 2015, 2016 and 2017 respectively, they still incurred net losses of $230M, $539M and $1.235B for the same years. Despite this, they are optimistic for the future, reporting total users of 159 million, including 71 million premium accounts. They approximate this to be double the users that their biggest competitor Apple Music has.
They are looking to capitalize on the “universality of music […] to reach many of the over 3.6 billion internet users globally” (p. 2). To this end, an agreement was reached with Tencent Holdings Limited, a Chinese social network operator with a majority stake in Tencent Music Entertainment, a digital music service in China. Deemed the “Tencent Transactions”, Spotify believes they will “allow [them] to invest in the long term potential of the music market in China, and, in turn, TME to invest in the long term potential of the music market outside of China” (p. 8).
Spotify relies on the uniqueness of their product to remain competitive, citing the personalized experience driven by their powerful music search and discovery engines, user engagement, and their playlists driving user discovery (p. 3). Valuations on the shares grew approximately 140% from February 2017 ($50.70/share) to December 2017 (120.50/share).
A letter from co-founder, CEO and Chairman Daniel Ek (p. 92) details his inspiration for the company and his designs for the future. Bolded excerpts:
“That’s our mission – to unlock the potential of human creativity – by giving a million creative artists the opportunity to live off their art and billions of fans the opportunity to enjoy and be inspired by it. We know that if we’re going to succeed as a company and as an industry, we have to think, build, plan, and imagine for the long-term. That’s because the future is markedly different from the past. We’re working to democratize the industry and connect all of us, across the world, in a shared culture that expands our horizons. To get there, we need transparency. We need discovery. We need new tools of creativity. And when we get there, the possibilities for culture will completely change. Again. We really do believe that we can improve the world, one song at a time“
Read original post here: Spotify Registers With SEC For Direct ListingPost Views: 0
By Real EDM — 8 months ago
We cannot wait for this one to drop!
One of the most influential artists in modern-day dance music, Skrillex, played a brand-new future bass track at Contact Festival last weekend. Luckily for us, an attendee recorded the entire moment and shared it for the world to enjoy.
In the clip you can see Skrillex (real name Sonny Moore) engage with the New Year’s Eve crowd before turning down the house lights in order to have the venue illuminated by fans’ cell phones. Moore then cuts into the new track mixed with the vocals from his remix of Benny Benassi‘s “Cinema.”
First debuted at Fuji Rock in Japan, the song fans of Skrillex have dubbed “Fuji ID” features a gentle introduction which leads into a massive future bass drop riddled with some of his iconic choppy vocals. After coming back from his hiatus late last year, Moore has been teasing a number of exciting projects including new tracks, his work on the Kingdom Hearts III soundtrack, as well as the return of his supergroup with Boys Noize, Dog Blood.
Stay tuned for more information on the release of the newest from Skrillex.
H/T: Dancing Astronaut
***READ MORE HERE: Skrillex Debuts New ID at Contact Festival 2019
Source: edm.comPost Views: 0
By Real EDM — 5 months ago
Last week, Tritonal stopped in New York City to perform one of the biggest shows of their career. Their radio show, Tritonia, has achieved 250 episodes and the duo of Chad and Dave decided to throw down a massive show at Terminal 5 to celebrate the monumental accomplishment. We had the opportunity to sit down with the duo to reflect on their majorly successful careers as well as talk about what’s to come next. Check out the full interview below.
We’ll start off with a big question. Obviously you guys, you know that Tritonia 250 is an absolutely huge accomplishment. Now that you’ve accomplished this, what’s the next big goal for you guys? What’s next on the horizon?
Dave: Well it’s great that you said it was an accomplishment because it is we never really saw it like that when we started the show. We’re just experiencing it as it goes. So that’s one thing just to note. We’re super grateful to celebrate that here in New York City, she’s been sort of a pinnacle. We’ve had Electric Zoo here and we’ve done Pacha Marquee, we’ve got Lavo. It’s great city for Tritonal in general.
Chad: But you know, I think short term, the U&ME album, it has been an achievement. It’s been a two year journey to get this body of work together. It also represents a sound or style of Tritonal. All that has been the sort of things that we’ve been making for the last 24 months as well. So the album is going to drop in May. This tour represents the culmination of that as well. What’s after that is as I feel like David and I want to take up a moment to have a collective breath and really artistically, creatively get in the studio and, figure out where we want to go next. Because, because we’ve, we’ve never really been, I mean I think people think about Tritonal, they think about a sound, whether it’s, you know, a record like ‘Colors’ or ‘Now or Never’.
A lot of your songs have a similar vibe to them that defines Tritonal. Would you guys be interested in expand that in terms of producing in a new genre?
Chad: Yeah, actually we’d like to go back to the roots to be honest, a little bit of real progressive house and we will be tip toeing to back to trance a little bit. So the exciting thing is that over the years I feel like we’ve cultivated a toolbox of production skills that we can sort of now dig into and say, what do we want to play with? And the only way to really find that out is to go within and search your soul and experiment, listen to stuff and just see what the fuck we want to do.
You guys had been in studio nonstop and just putting out track after track. Is there one specific song that you guys have a special story for that just stands out to you guys?
Dave: I mean I can speak for myself, it’s the record that we have called ‘Satellite‘. It may not be one of our biggest records, but it’s open some eyes and ears and it’s just fun to play.
Chad: Right now a record that I’m really proud of that nobody’s heard is a record called ‘Medicine‘. It’s mad and a drum and bass record, an exclusive trancey drum and bass track. The vocalist is a little bit like Christina Soto and she’s just gorgeous on this record.
Looking back, what was the moment for you guys that, where you guys said “we made it”?
Chad: I think that’s happened a few times. Recognize the stepping stones along the way, but we’ve never had a moment where we’re like “we’ve made it”. But we’ve had moments where we said oh wow, we just went from no gigs to Russia kind of overnight. There’s a lot of gratitude for that. We’re playing around in Texas local shows and doing what we could to get shows in Austin and San Antonio. But that record, and I think we’ve been, I don’t know, four weeks we had offers in Honolulu. We had offers of Moscow, we had offers in Bali. We just had offers or wasn’t in volume. It was Indonesia make a syrup I or some shit. But like do we see that wasn’t that break breakthrough traffic, it was like international offers coming in. And then other ones too, like la and Seattle and you know, within six months we were like kind of, we weren’t established by any fucking mean. We definitely hadn’t made it. But there was a massive change in momentum.
Dave: I think probably one of the biggest ones was ‘Now or Never’ followed up by records like ‘Colors’. And then you like Untouchable Tour with Cash Cash. Untouchable was mainly our most commercially successful record. It’s on Dancing With The Stars four times, it was on ESPN, and NCAA finals halftime.
You guys have done so many collaborations with so many different artists. Who’s next for you guys? Who do you want to collaborate with next?
Chad: So we both would love to at some point to collab with Illenium. Love that he’s kind of like Said the Sky. We want to collaborate with some smaller acts too. We’re talking to some guys that nobody knows of and it’s really more about the sauce. Those things have to happen naturally though. ‘Until You Were Gone’ was very, very natural. It happened over text. It was back and forth. We finished the record in 10 days. Cash Cash was like that too We wrote ‘Untouchable’ in LA in a studio. We’ve had our biggest hits come. They just fall from the sky into the room and it’s like, oh, I’ve got this melody. We should think about this. And you’re like, oh fuck. That’s cool. It’s inspiration.
You guys have played mainstages all over the world. What has been your favorite performance?
Chad: EDC. Las Vegas. 2012. dance music peaking in the United States. There was 180,000 people there and we were right before Armin. I mean it was basically mainstage. Kinetic and Circuit Grounds are equally massive. And um, and we played after one of our all time legendary heroes, BT. His daughter up there with them and we’re like, how are we even on the stage with this guy? Playing after us is fucking Armin, you know, Jesus himself is on after. It was just awesome.
Do you have anything you want to share with you that your fans and our readers?
Dave: Thank you. I think just gratitude. I mean we’ve had a decently lengthy career or dance, right? Guys sorta come and go and I think we feel blessed that we’re still in the game.
Tritonal went on to kill it on the stage of Terminal 5. They dropped all their biggest hits along with some very interesting remixes. The super crowded show would dance into the night. If you were not at the show, you really missed one of the best Tritonal performances ever. But luckily, we got you covered with the live-recording of their performance below. Check out the full set from Terminal 5 below now and click here to see where you can catch them in live action next!
The post [Interview + Listen] Tritonal Reflect on Their Careers & Listen to Their Terminal 5 Set appeared first on EDMTunes.
***READ MORE HERE: [Interview + Listen] Tritonal Reflect on Their Careers & Listen to Their Terminal 5 Set
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