12/14/2011

We plot our top 10 2011 dance music trends | 2011 in review

With its biggest year yet, there was a lot going on in the dance music world in 2011.

When dubstep poster child Skrillex nabs almost as many Grammy nominations as one of the world’s biggest pop stars, that’s saying something. Namely, that 2011 was a big year for dance music. With this club-land achievement as our top trend, our other favorites of the last 12 months count down to it.


10. Steampunk
With its gothic tendencies, wild fashion and wilder parties, the Victorian-inspired sci-fi world of the Chicago Steampunk scene ran away with our imagination this year.

9. Moombahton
Its name sounds like the onomatopoeia of a Martian sneeze, but the burgeoning moombahton genre—pitched-down electro mixed with reggaeton’s midtempo chug—experienced a meteoric rise and is poised to take over in 2012.

8. Looking back
Electronic music is routinely breaking some new sound, but 2011 was also about its roots, be it Chicago’s Trax Records’ 30th birthday, Pete Tong’s 20 years on the radio, or the boys at DJhistory.com honoring DJ originators in The Record Players.

7. Dance bands
Disco rockers LCD Soundsystem may have called it quits, but reunited indie dance originators the Rapture (pictured) and Grammy-nominated Aussie outfit Cut Copy carried the torch with two of the year’s best records.

6. The Mid
Locally, no club traversed the varied trends in dance music better than the Mid. In its first year, the West Town venue managed to welcome trance kingpin Tiësto, dubstep architects Skream and Benga (twice), and even hip-hop godfather Afrika Bambaataa.

5. James Blake
Sure, James Blake was a press darling this year, but the bluesy crooning, masterful piano and rattling sub-bass productions on his self-titled debut and subsequent live sets deserve the hype.

4. Bass music
While many were fashioning dubstep for a rave, producers like Apparat, Jamie xx, SBTRKT and even Thom Yorke (in work with Modeselektor and Burial) lent bass music intense musicality. (For more, see James Blake.)

3. Deep house
Disguised by journalists using fancy titles like gothic house and even underground pop, acts like Art Department, Benoit & Sergio (pictured), Soul Clap, Visionquest and Wolf + Lamb really spent this year blazing a trail for a new generation of deep house producers.

2. Festival season
From deadmau5’s (pictured) mud-crusted Lollapalooza dance party to the three-day rave that was the North Coast Music Festival, dance music ruled 2011’s festival season (and that’s just locally—look to Electric Daisy Carnival or Coachella for more convincing).

1. World domination
Spin
and Rolling Stone magazines are just two outlets that crowned dance music as this year’s force to be reckoned with. Replacing hip-hop as the pop music framework of choice, electro’s buzz, dubstep’s bass growl and house music’s infectious thump left no one immune in 2011.

Drake, 'Take Care,' dubstep and feminine energy



Above is a good interview with Canadian sing-rap superstar Drake by Sam Chennault at Google Magnifier*. It gets especially interesting when Drake starts talking about dubstep and feminine energy.

Drake's album "Take Care" is number four on the Billboard 200 chart right now, standing out from other mainstream American R&B/hip-hop with its complete embrace of the London post-dubstep sound — post- separating it from the megafestival electronic/rave crossover dubstep of Skrillex.



Drake prefers the stark dubstep-soul of producers James Blake and The xx. He likes the way they manipulate digitally sampled voices in music — the hallmark of classic dubstep circa 2007, the producer-treated, wailing vocal snippet. Jamie xx does it with gravelly Gil Scott-Heron phrases in the title track on "Take Care," a song I predict will be a huge hit, where Drake teams up with Rihanna and sings a plea that could be paraphrased as "I don't care about your complicated past, life is lonely, be with me, you only live once."



The type of dubstep Drake inserts into his album, what Jamie xx specializes in and Drake's main producer Noah "40" Shebib does capably from time to time, is a collection of moods and feels rather than a specific genre. It's a group of sensibilities we call post-dubstep when massaged into dark R&B/dance pop with heavy low-end frequencies, considered to have feminine energy. Meaning the arrangements in a Blake or Jamie xx song feature beautiful melodic swoops and bold rhythmic restraint, qualities associated with women. It occurs to me that beauty and restraint aren't innate to women, or necessarily across-the-board desirable — but the sound works devilishly well with Drake's sensitive nightclub Lothario persona, and is also business-smart, selling to people who buy Adele records, the British belter who topped sales charts all year.

Basically, Drake has seen a new path to women, through post-dubstep. The cavernous electro-noiR&B of his early albums is not unlike "Take Care" — but those albums now feel like prelude to this, a post-dubstep pop record where he perfects his psychodramatic manipulation, casting shadows with music, then strategically emerging with self-effacing emotional rawness.

As he says in the Google interview, quoting rapper Kendrick Lamar and talking about his own brain-hacking technique:

"Women are the tastemakers for what we make. Women buy records. And I have this fascination with getting into the minds of women, and truly letting them know how I think as a man, and letting them know how I view them as women. That should appeal to men as well."

Scene & Heard: Grammy grab

What do local lads Cut Copy have in common with multi-million selling acts Foo Fighters, Kanye West, Radiohead and Lady Gaga? The answer? They’re all nominees at next year’s Grammy Awards.

The Melbourne electro outfit celebrated its 10th anniversary this year, and has been nominated in the Best Dance/Electronica Album category for its third album Zonoscope – released to rave reviews in February.

The band will battle David Guetta, Deadmau5, Robyn and Skrillex for the award at the annual ceremony, to be held on Los Angeles on February 12.

They may be at long odds to win, but if they do, they will join an exclusive list of Australian Grammy-winning acts that includes Kylie Minogue, Keith Urban and Wolfmother.

Having scored a prime timeslot at Meredith last weekend (sandwiched between Icehouse and Grinderman), Cut Copy will take a break over summer. So plenty of time to work on that acceptance speech, then.

Slamming nationally

Last February, more than 20,000 Melburnians took to the city streets in support of live music – and to save Collingwood’s iconic Tote Hotel. Next year the event, known as SLAM (Save Live Australia’s Music), will go national.

February 23 will be a nationwide celebration of live music. Venues and musicians are being encouraged to curate ‘‘national SLAM Day’’ gigs.

Music lovers can become fans of the event on Facebook and keep up to date with the latest news and, closer to the date, comprehensive gig listings. Visit facebook.com/SLAMrally

W ith a bullet

If you’re on to a good thing, why change it? Melbourne blues-rock troubadour Jordie Lane had such a good time in the US recording his second album Blood Thinner (which hit stores in July) that he’s decided to take his latest batch of songs back to the States and try it again with album number three.

Before he leaves the country, Lane will play a farewell show at the East Brunswick Club on February 12. Tickets are on sale now. Visit eastbrunswickclub.com

Mu st see

Future of the Left
Fresh from a set at Meredith, Welsh four-piece Future of the Left (pictured) brings its high octane live show to the Corner tomorrow. The band will preview tracks from its third album, The Plot Against Common Sense, due out early next year.

D: Friday
V: Corner Hotel
$: $44 plus booking fee

Harmony
The self-titled debut album by local band Harmony – the latest project by ex-Nation Blue singer Tom Lyngcoln – is set to top plenty of ‘‘best of 2011’’ lists. Intense and atmospheric, the six-piece will launch new single Heartache on Saturday.

D: Saturday
V: Phoenix Public House
$: $10 plus booking fee

The Rechords
Haven’t heard Melbourne trio the Rechords? Think a little bit hillbilly, a little bit R&B and a little bit western swing – and you’re halfway there. Having only formed in mid-2009, the band has been turning heads for all the right reasons.
D: Sunday
V: Northcote Social Club
$: $12 at the door

Skrillex

Skrillex



www.bloodcompany.net/skrillexep/
myspace.com/skrillex

"I've been deep into electronic music my entire life. The first records I ever owned were ‘Fat of Land' by the Prodigy and ‘Come To Daddy' by Aphex Twin," raves Sonny Moore, better known as emerging electronic visionary SKRILLEX. "Marilyn Manson and Nine Inch Nails were also early influences. I've been dabbling in making electronic tracks on programs like Fruity Loops since I was 14 years old."

For fans of Moore's past incarnation as the lead singer of hardcore band From First To Last, the bass bin crushing dance floor beats of SKRILLEX might come off as something of a shock. But SKRILLEX is part of a new generation of artists that refuse to be restricted by preconceived notions or outside expectations. "Genre has never been important to me," he insists. "I've never thought about music that way."

Describing his current sound as "a mix of dubstep, electro and glitch all thrown together," new SKRILLEX release "SCARY MONSTERS AND NICE SPRITES" reflects all of the above and beyond. The uplifting post-trance synth melodies of "ALL I ASK OF YOU" (featuring the soaring vocals of Penny) stands in stark contrast to the face-melting electro bass blasts of the massive electro-dubstep hybrid "ROCK N' ROLL (WILL TAKE YOU TO THE MOUNTAIN)."

"I've listened to so much music for so long, it's more about instinct than influence," Moore explains about his sonic inspirations. "Coming up, I was into a lot of artists on the Warp record label like Autechre, Squarepusher, and Aphex Twin, so SKRILLEX tracks are inclined to have more changes than most dance tracks normally have. I can draw influences from almost anything. I just like to mess around and create cool new sounds and noises. I just go where the music takes me."

After just one hugely successful independent release, "SCARY MONSTERS AND NICE SPRITES" is the first SKRILLEX release on Big Beat Records, in conjunction with fellow electronic revolutionary Deadmau5's freshly minted Mau5trap record label.

"For years, the artists needed the record labels. I don't feel that way at all," Moore stresses. "SKRILLEX has been 100% independent until now. I think it's so important to be self-sufficient as artist. Working with Atlantic / Big Beat, and cooperating with Mau5trap, allows us all to work as a team and expand on what's already been built."

Following its release on Beatport, the 9-song EP dominated the charts on the site, with the title track claiming the site's #1 slot (the first time a dubstep track has ever done so), 8 songs breaking into the top 10, and multiple tracks claiming the #1 slots on several of the site's subgenre charts, including Dubstep, Electro House, Progressive House.

Aside from the immediate success of "SCARY MONSTERS AND NICE SPRITES," SKRILLEX has also made a name for himself as a highly sought-after remixer. He's already produced officially commissioned remixes for such A-list artists as the Black Eyed Peas ("Rock That Body"), Lady Gaga ("Bad Romance" and "Alejandro"), and La Roux ("In For The Kill").

SKRILLEX stands not only at the vanguard of electronic dance music, but the perpetually evolving new music industry as a whole.

"For me, it's important to believe in and love the music you're making. I gave away my first EP on my manager's website, just so people could hear the music," he enthuses. "It was downloaded by the thousands in just a couple of months, and it hasn't let up since. That's all the inspiration I need to keep making music.

"SKRILLEX can be anything I want it to be," he continues hopefully. "There are so many different avenues for music now. Video games, movie scores - the possibilities are endless, and I'm excited to be a part of it."

Skrillex · Breathe - Melodic dubstep? No fuckin' way.


Now I’ve seen everything, or heard it. Skrillex has shocked the hell out of me with a melodic dubstep track. Yep, no silly-sloppy drops in “Breathe.” Just a melodic tune-out tune that’s not half bad. Only thing I’m not sure of are the vocals, reminds me of Owl City. Apparently, Skrillex wrote the lyrics for them, so that’s pretty interesting. All in all, happy to see him test the waters in my favorite offshoot of dubstep.

Skrillex – Breathe

Skrillex

Genre: Electronic, Dubstep, Electro House
Name: Sonny Moore
Born: January 15, 1988
Origin: Los Angeles, California
Skrillex on: SoundCloud | Skrillex.com | Twitter | Facebook | Wikipedia

Skrillex Reschedules UK Shows Due To Grammy Nominations

Skrillex has rescheduled dates on his forthcoming 'Grey Daze' tour.


Following a run of Grammy nominations, shows in Edinburgh, Glasgow, Leeds, Newcastle and Manchester have been replotted. In addition, the Edinburgh, Liverpool and Manchester dates have been moved to larger venues due to demand for tickets.

The Edinburgh show ill now take place at the Corn Exchange, Manchester at Manchester Apollo and Liverpool at Liverpool University.

All tickets remain valid. Anyone who can’t make the rescheduled dates are asked to contact their ticket agent for a full refund.

The rescheduled dates read:

February
14 Liverpool University, Mountford Hall
15 Oxford O2 Academy
16 Bristol O2 Academy
17 London O2 Academy Brixton
18 London O2 Academy Brixton
19 Birmingham O2 Academy
20 Norwich UEA
21 Manchester Apollo
22 Newcastle O2 Academy

April
17 Leeds O2 Academy
18 Edinburgh Corn Exchange
19 Glasgow O2 Academy

Jay-Z Weighs In On J. Cole's Grammy Nomination


J. Cole is up against some pretty stiff competition in the the Grammy’s Best New Artist category, but if you ask his Roc Nation boss Jay-Z, Cole is already a winner. On November 30 it was announced that Cole will square off against The Band Perry, Bon Iver, Skrillex and Nicki Minaj for the coveted award. "I think it's great for him, because I'm sure it's a dream of his. We grew up seeing Michael Jackson, and I'm sure he grew up seeing whatever moment stuck in his mind, so I know it's great for him to do that," Hov told MTV News following a press conference announcing a pair of charitable shows at Carnegie Hall in New York. "I think he's already won Best New Artist, to me. His journey is what I'm really excited about."


Cole first broke out in 2009 after releasing The Warm Up mixtape online. Unlike most rap up-and-comers these days, Cole was actually signed before his breakout tape was released. After hearing his coming-of-age love story "Lights Please," Jay signed the young rapper/producer to his Roc Nation label. Rather than commandeer the youngster's project, Jigga let Cole find his own voice. Many, including Cole, expected his debut album to come out in 2010, but it didn't — maybe for the best. When Cole World: The Sideline Story did drop in September, it sold more than 218,000 copies in its first week, hit #1 on the Billboard albums chart and is now certified gold.

"The person he is today is not who he was when he first walked in," Jay said of Cole. "He got a chance to really go out, see what worked, see what people connect to, figure out how he was gonna tell his story."

With Cole, and Roc Nation as a label, Jay is stressing artist development, an art that is seemingly lost in an industry constantly searching for the next big thing. "That artist-development thing, I think we need more of it," Jay said about hip-hop in particular. "We need to ensure that this thing is around for future generations. This thing that fed our kids and our family and took us to these heights needs to be held intact by the people who are doing it.

"Whether he was nominated or not, he was the best new artist to me; sold 200-and-something-thousand records in his first week; he was the best new artist," Hov added of Cole. "I'm sure it's great for him."

Do you think Cole will take home the Best New Artist Grammy? Let us know in the comments!