2015 Winter X Games Enlist Skrillex, Snoop Dogg & More For Musical Lineup

X Games

In hoping to “create more of a festival atmosphere around sports,” the 2015 Winter X Games will have a stacked musical lineup. A pair of acts from both the electronic and rap worlds will collide at Buttermilk Mountain in Aspen between January 22nd through the 25th.

Skrillex, Chromeo, Snoop Dogg, and Wiz Khalifa will be performing alongside the competing athletes. Tim Reed, vice president of X Games, X Games Events & Content, stated that it’s cool to have the opportunity to experience something more than just the sports. Having music is not something that is brand new to the X Games, but they certainly went big on the lineup this year. With all these four in one place, one can only hope that some collaboration between the acts goes down.

If you’d like to attend the events, you can purchase tickets through the link below. Aside from these performers, there will be a free concert on January 25th, as well as after parties taking place around the venue. All I can say is, have fun.

Purchase Tickets

Source: X Games

This article was first published on Your EDM.
Source: 2015 Winter X Games Enlist Skrillex, Snoop Dogg & More For Musical Lineup

Minnesota Talks Production, Collaboration and Remixing Bassnectar


Over the past few weeks, Christian Bauhofer has been busy traveling the country, and he still has many miles to go. The DJ/producer, better known as Minnesota, has enlisted the aid of G Jones and JACKAL. Together they have been tearing apart venues from Washington to Michigan and beyond.

This past Halloween Friday, the tour set its sights on Chicago. We had the opportunity to sit down with Minnesota before the show to discuss everything from inspiration to soda preference.

So I have to ask…what’s up with Kendrick the Raccoon?

My mom gave him to me like 2 or 3 years ago. This is his third tour. He’s been to 3 Burning Mans, so…he’s seen some shit.

How has the tour gone so far?

Good! It’s been going great. We’re 2 weeks in now, and I think right now we have everything really dialed in. The first few days we had to get all the production worked out and Chicago tonight is probably the third day where we’ve had full production.

That’s with Video Villains?

Yeah, they’re 3D mapping, so they built this whole spaceship-looking stage. They start it partially on and they kind of build it up throughout the night. They’re doing a great job.

So G Jones is on the tour with you. I know you guys have collaborated a lot in the past. How is it having him with you?

It’s awesome having Greg on the road. We’ve done some shows before. For all the bigger shows we are doing B2B sets, so at the end of the night we will do a little versus set.

Your sounds mesh together really well. When you collab, what is that approach like?

We go back and forth. I don’t really work well with other people in the studio, so someone starts it and sends it over, and we just send it back and forth. It gets stuff done pretty fast.

Pepsi or Coke?


Who’s an artist that you’re really into right now?

We’ve been listening to DJ Rashad’s last album a lot on tour. It’s super dope, super chill. We’re in Chicago now which is where he’s from.

What’s the last show you attended for pleasure?

I was at The Avett Brothers in Berkeley. It was like a month and a half ago. I don’t go to many shows, even when I’m home.

You were a guest at Electric Forest in 2013, right?

Yeah – 2013 I played a slot in the VIP area; 2012 I played the actual festival. Hopefully I’ll get booked this year, we’ll see.

Your last track was a remix for Bassnectar, who you’ve stated you’re a huge fan of. How was that experience?

It was awesome. It was a long process for me to just go and do many different versions of the track. When I did the remix I was listening to a lot of drum ‘n bass, so that’s what I ended up doing. Honestly when I get to the end of a track I’m really not sure about how it sounds and I kinda hate it no matter what – so it was good to put it out and get mostly good response.

You’ve spoken about your brother’s passing, and how it inspired your music. Has it changed your sound?

When I wrote my EP last year, Voyager, that was right after he passed away. I was living at my parents’ house for a month and all that inspiration came from all the feelings that came with that, so now when I play the songs out it’s really awesome because I kinda connect back to that moment when I was inspired by that.

You produce across a variety of genres. When you approach a song, do you have a specific sound in mind?

It changes so much. I go in with one idea and by the end, like after a month of working with a track it turns into something different, so it’s honestly pretty random. I get inspired by a lot of different types of electronic music.

What’s the future for Minnesota?

The last few months I’ve just been working on putting this tour together, because we don’t have a huge team. So now I’m just finishing up the tour and then go home and work on a bunch [of] music; and maybe a spring tour or something.

Click here to see if Minnesota is touring through your town any time soon!


facebook.com/DJMinnesota  |  twitter.com/minnesotaBASS  |  soundcloud.com/minnesota

This article was first published on Your EDM.
Source: Minnesota Talks Production, Collaboration and Remixing Bassnectar

Kaskade Reveals Collaboration with John Dahlbäck and Sansa

Kaskade & John Dahlbäck - A Little More

Can this week get any better?

From the greatest minds in progressive house comes a new song that fans will rejoice over when they get their hands on it. Kaskade and John Dahlbäck combined their musical noggins and created a beautiful track called “A Little More” which features the phenomenal vocals of Helsinki singer Sansa. According to Ryan, this song has been in the making for the last five years and has been pushed aside due to touring and scheduling conflicts. Many Kaskade fans will remember hearing this song back during his EDC set this year and how the crowd went nuts to its magnificent structure and angelic energy.

Although this song is out now via Spotify, it will come out on every other platform on November 11th. Stay tuned and let us know of what you guys think of “A Little More” by Kaskade, John Dahlbäck, and Sansa.

This article was first published on Your EDM.
Source: Kaskade Reveals Collaboration with John Dahlbäck and Sansa

Streaming Services Need To Pay Songwriters Fairly


Renowned entertainer Aloe Blacc posted a very eloquent article on Wired.com today detailing his thoughts on streaming services such as Spotify and Pandora, and why he believes they are making it impossible for artists to make a living from their work. This isn’t the first time someone has spoken out about the pittance that these streaming services pay out either: back in April, Bette Midler spoke out on the subject. It takes an exorbitant amount of plays to equal anything like a decent paycheck for the amount of time that artists put into their work. Streaming services are generally not the only source of income for most artists, so the issue isn’t really that they can’t survive by pushing their music. The issue I would assume is more one of principle — artists believe their work is worth more than their paychecks seem to suggest.

I am many things: a singer, a musician, a businessman, and a philanthropist. But above all, I am a songwriter.

At our core, songwriters are creators. We challenge ourselves and others to reflect on the world around us. And the work we produce has power—power to capture people’s emotions and imaginations like few other art forms, power to transcend traditional barriers of age, language and culture, and power to transform a conversation and generate positive social change.

But does our work as songwriters have value? Coming from someone who has spent his life working hard to master his craft in order to touch the lives of others, that may seem like an absurd question. But in today’s rapidly changing music marketplace, the answer is increasingly unclear. Just this week, Taylor Swift removed her music from Spotify—not because she doesn’t want you to stream her songs, but because she wants to be compensated fairly for her work. She wants Spotify to treat her work as though it has value. This problem ought to cause anyone who cares about the future of music—professionals and fans alike—to stand up and take note. Let me explain why.

First, unlike most people in creative industries, songwriters seem to have less control over our work than ever before. Knock off a handbag design from a high-end fashion house or use a sports team’s logo in your new t-shirt line, and expect a lawsuit in short order. And good luck copying a big tech company’s patented innovation. You need express permission from the original creators to use or copy their work before you resell it. That’s how they protect the value of their work.

But the world doesn’t work that way for songwriters. By law, we have to let any business use our songs that asks, so long as they agree to pay a rate that, more often than not, was not set in a free market. We don’t have a choice. As such, we have no power to protect the value of the music we create.

The abhorrently low rates songwriters are paid by streaming services—enabled by outdated federal regulations—are yet another indication our work is being devalued in today’s marketplace.

Consider the fact that it takes roughly one million spins on Pandora for a songwriter to earn just $90. Avicii’s release “Wake Me Up!” that I co-wrote and sing, for example, was the most streamed song in Spotify history and the 13th most played song on Pandora since its release in 2013, with more than 168 million streams in the US. And yet, that yielded only $12,359 in Pandora domestic royalties— which were then split among three songwriters and our publishers. In return for co-writing a major hit song, I’ve earned less than $4,000 domestically from the largest digital music service.

If that’s what’s now considered a streaming “success story,” is it any wonder that so many songwriters are now struggling to make ends meet? In return for co-writing a major hit song, I’ve earned less than $4,000 domestically from the largest digital music service. The reality is that people are consuming music in a completely different way today. Purchasing and downloading songs have given way to streaming, and as a result, the revenue streams that songwriters relied upon for years to make a living are now drying up.

But the irony of the situation is that our music is actually being enjoyed by more people in more places and played across more platforms (largely now digital) than ever before. Our work clearly does have value, of course, or else it would not be in such high demand. So why aren’t songwriters compensated more fairly in the marketplace?

I firmly believe there must be a way for innovative new music services to succeed in the marketplace without undervaluing the contribution of songwriters. And, thankfully, I am not alone in that view.

Through performing rights societies, this summer songwriters successfully convinced the US Department of Justice to open a formal review of the ASCAP and BMI consent decrees that govern how the vast majority of American songwriters are compensated for our work. The world has changed dramatically since this regulatory framework was first established in 1941, but the consent decrees haven’t been updated since 2001—before the iPod even hit stores.

Updating the nation’s antiquated music licensing system will better serve the needs of not only music creators, like me, but businesses that use our music, consumers and the global marketplace for music. But the digital music services that see a financial advantage in maintaining the status quo are fighting hard to obstruct any meaningful reform.

I, for one, can no longer stand on the sidelines and watch as the vast majority of songwriters are left out in the cold, while streaming company executives build their fortunes in stock options and bonuses on the back of our hard work. Songwriting is truly a labor of love, one that often does not result in wealth. But I know the work we create has real value. And I believe policymakers will one day recognize that a system that allows digital streaming services to enjoy enormous profits while music creators struggle is imbalanced and broken.

Until that day comes, I will do my part to try to convince people that the music they love won’t exist without us, and that we, as songwriters, cannot continue to exist like this. And you can do your part to protect the music you love by buying albums and urging streaming services to uphold the value of songwriting. After all, if songwriters cannot afford to make music, who will?

This article was first published on Your EDM.
Source: Streaming Services Need To Pay Songwriters Fairly

Dillon Francis Gives Trap Spin On Galantis Hit “Runaway”

dillon 3

“Runaway” has to be one of the most memorable singles this year, and to further cement its spot in music history, Dillon Francis gives his own traptastic take on the track. Taking what made the original so special, Dillon builds onto it and turns the song into something massive, certainly fit for any festival stage. It’s really a great time for music when artists like Kaskade and Dillon are both given a chance to express themselves with the same base song. People who were not a fan of the direction he took on his recent Money Sucks, Friends Rule album, would be wise to listen to this remix as it channels Dillon’s older sound that he was more known for.


This article was first published on Your EDM.
Source: Dillon Francis Gives Trap Spin On Galantis Hit “Runaway”

Axwell / Ingrosso Release Fresh House Anthem “Can’t Hold Us Down”

can't hold us down

Axwell / Ingrosso are back today with the massive release of Can’t Hold Us Down, a nearly six and a half minute progressive house anthem.

Heavily processed vocals mingle with bubbling, energetic sound design that follows a progression from 125 bpm to 140 in this incredibly unique composition releasing soon on Def Jam Recordings.

The progressive house pioneers have shirked the burden of former Swedish House Mafia member Steve Angello and are set to take the world by storm, as evident in this fresh record. Stay tuned for further release details.

This article was first published on Your EDM.
Source: Axwell / Ingrosso Release Fresh House Anthem “Can’t Hold Us Down”

Major Lazer, Lorde & More To Be Featured On Hunger Games Soundtrack


The third installment of The Hunger Games is set to come out November 21st and the hype train continues to gain momentum as we inch closer to the date.

The Lorde curated soundtrack of this upcoming feature film has already been announced to include the likes of Kanye West, Chemical Brothers, Chvrches, & more.

Today Lorde has announced via twitter that the mysterious “track five” will feature the likes of Major Lazer, the Diplo-lead electronic trio, and Ariana Grande. Titled “All My Love” and expected to release November 17th; keep your eyes open for this epic soundtrack.

Screenshot (78)

This article was first published on Your EDM.
Source: Major Lazer, Lorde & More To Be Featured On Hunger Games Soundtrack

Facebook Bans Like to Download, ToneDen Provides Alternative


Today marks the start of a new phase in the music industry. Most of the releases from up and coming artists has been pushed as free downloads through a gated Facebook “like to download” feature, but now, that can no longer be the case since Facebook has banned apps that use that feature. Thankfully, there are other services out there for artists to use for the purpose of gaining fans through gated downloads.

One of those services is Toneden. They have come up a “Follow on Soundcloud” app that will serve the same purpose, however I think this will work out even better than before, given that Soundcloud is used strictly for music, whereas Facebook is sort of a clusterfuck of all sorts of things. Current artists/labels using Toneden range from Jordy Dazz, Dim Mak and Buygore to name a few. We have recently partnered with the company to offer a lifetime discount for an upgraded profile, which includes the Soundcloud service for free. To sign up, head to the link below. If you do not have a Toneden account, you should probably make one. If for some reason you have trouble setting up the spotlight upgrade, then watch the video we have provided which will guide you through the process.

Sign Up For Upgrade


This article was first published on Your EDM.
Source: Facebook Bans Like to Download, ToneDen Provides Alternative

Hans Zimmer’s Electronic Music Isn’t Quite EDM

hans zimmer

You may or may not recognize his name, but I can guarantee that you’ve heard his music. Hans Zimmer is a world-renowned composer responsible for some of Hollywood’s biggest hits, including Pirates of the CaribbeanThe Dark Knight and Inception, among numerous others.

In a recent interview with Huffington Post, the topic oddly shifted to EDM. “The weird thing is all the DJs and all the electronic guys sort of think I’m still relevant because I am part of that world, and I can talk oscillators and filters and frequency shifters and stuff like that,” Zimmer told HuffPost Live on Monday. “In the ’70s I started making music with computers because I thought, ‘Wow, great, you can misappropriate these things which are designed for accountancy and you can actually go and make weird noises with them.’”

While Zimmer never actually reveals who his favorite DJs are, this whole topic brings up an interesting point. Hans Zimmer’s music, at least some of it, is undeniably electronic music — the use of the Moog synthesizer is proof of that, as are his remarks above. And yet undeniably, we do not classify him as EDM. While this may seem obvious to some, for others it is a topic that is not too commonly or widely thought about: not all electronic music is EDM. (And please, I’m using the term EDM to refer to “electronic dance music,” not whatever misappropriated moniker you think belongs to commercial dance music.)

He also brings up another interesting point in that essentially all music is based on technology. “A violin is a piece of technology. It’s a tree and somebody did horrible things to a cat [sic]. That then becomes a musical instrument. When I first started, there was this segregation. You couldn’t have a fuzz guitar in an orchestra.” However, we’ve seen major electronic music groups such as NERO and Above & Beyond and even Pretty Lights incorporate orchestral elements, and even orchestras themselves, into their music. That segregation is long gone, and the border between the two worlds is becoming muddled and warped.

Now, understandably, my point has long ago become muddled and warped, as well. I suppose in writing this, I hoped to come upon some grand insight and leave you with questions pertaining to the truth about music as a whole, but I cannot possibly expect everyone or anyone to think so deeply from just a few paragraphs. In the end, what I would like most for everyone is to keep an open mind and to avoid discrediting any type of music that you might deem “old” or “irrelevant.” Classical music, while it is commonly associated with a few specific eras, is more a way of composition. And in that way, by appropriating modern tools, it can most certainly become relevant again.

This article was first published on Your EDM.
Source: Hans Zimmer’s Electronic Music Isn’t Quite EDM

Your EDM Exclusive: CaPa feat. Powerdress – Digits [ZeroThree]


I couldn’t be happier to premiere this brand new single from the talented Swede, CaPa, titled “Digits” that is beautiful right to the core. It’s already gained early support from BBC Radio One’s Annie Mac and has been picking up steam all over Europe. It will see its official release November 10 but we wanted to give you all an exclusive listen to this incredible track a few days before the rest of the world gets to hear.

Powerdress immerses you with her dynamic vocal performance, complimenting wonderfully the ambiance and melodic arpeggios from CaPa. I absolutely love CaPa’s sound; he incorporates a mesmerizing, pryda-ish sound that is so refreshing to hear. He arranges the verses perfectly, building into a massive hook that will drown you in euphoria.

Listen for yourself below and stay tuned for the official release November 10!

This article was first published on Your EDM.
Source: Your EDM Exclusive: CaPa feat. Powerdress – Digits [ZeroThree]