Heady | adj. \’he-dē \

1. tending to intoxicate or make giddy or elated.
2. marked by or showing good judgment.
3. intellectually stimulating or demanding.

Carlos V

Mar 302014
 

Arguably one of the most iconic hip-hop/instrumental producers in modern times, Nujabes has served as a source of influence for hundreds of producers across the global. Even in his passing, the spirit of the Japanese producer lives within those who his music has touched and continues to inspire. Thomas Prime recently teamed up with singer-song writer James Rose to revive one of Nujabes beloved productions, ‘Feather’, in which they craft a moving and melodically enlightening rendition of the original. With Rose on the keys and Prime on the beats, the two unify their talents to create a stirring Nujabes tribute who production also gave birth to creative, original track that was added to the tribute as a bonus-‘Breakfast’. Both productions can be picked up at a price of your choice.

Download Here

Follow Thomas Prime On: Facebook | Twitter

 Posted by on March 30, 2014 Chill, Downtempo Tagged with: , , , ,
Mar 302014
 

Are you growing or have already grown tired of commercial electronic dance music, the kind that prevails on the main stages of some of the biggest industrialized festival on the globe like Ultra Music Festival? If so, you might have found solace and humor in the set that deadmau5 put forth on the second night of Ultra during his substitute set for Avicii, who cancelled his Ultra performance for health reasons.

To many, evidenced by the remarks that flooded the YouTube comment feed during the live stream of deadmau5’s set, deadmau5’s closing set came across as a “troll” move and left many, many listeners unsatisfied and sparked comments such as the ones we could not help but share below. Highlights from the sets were moments when deadmau5 took a stab at Martin Garrix’s ‘Animals’ with McMaNGOS’s ‘Funnymals‘ edit. Definitely worth the watch if you did not catch it. All joking aside, credit to deadmau5 for laying down a set that virtually steered clear of over-played electronic dance pop hits. There were a ton of track selections to be admired in the set which we’ll be sure to share when the full set emerges.





drop the base


 Posted by on March 30, 2014 Mixes, Shows
Mar 272014
 

No one can dispute the fact that The Geek x Vrv are at the top of their game when it comes to producing hip-hop instrumentals with a touch of electro flavor. The duo hailing from France is always tossing up something that fits the mood, whether you’re looking for a casual, easy-listening experience or if you’re in the mood for a funk-laden groove that is going to get you up off your feet. ‘She’s Gone Now’ has been circulating for a bit and arrives as we wait for the arrival of B.T.O.S Vol. 3, the successor to the widely played B.T.O.S Vol. 2.. In typical The Geek x Vrv fashion, ‘She’s Gone Now’ is available for free via Facebook.

Follow The Geek x Vrv On: Facebook | SoundCloud
Follow The Geek On: Facebook | Twitter
Follow VRV On: Facebeook | SoundCloud | Twitter

 Posted by on March 27, 2014 Chill, Electro, Funk Tagged with: , , ,
Mar 272014
 

Edo Lee, creator of the previously shared musical gem ‘Black Coffee‘, has paired up with Matas to create a truly beautiful and radiant musical quartz, ‘Waking Nights’. The four track compilation is described as an experimental-hip-hop, organic electronic work of music, one that cycles through a series of intricate productions with influences drawn from around the globe and pieced together into five immaculate compositions. Deep and harmonic, thematically subtle but intoxicating, Matas and Edo Lee’s ‘Waking Nights’ is a soothing work of art that caters to anyone with an appreciation for unconventional electronic productions. The EP is available on Bandcamp for $1 dollar but if you really don’t have that to spare, follow the link on Edo Lee’s Facebook page for an immediate download.

Follow Edo Lee On: Facebook | SoundCloud | Bandcamp

Follow Matas On: Facebook | SoundCloud

 Posted by on March 27, 2014 Album/EP, Chill, Downtempo Tagged with: , , , ,
Mar 262014
 

Searching for fuel for your late night endeavors? Look no further as Mekato has recently served up a juicy and hypnotizing forty minute mix that compiles a series of productions that will allow you to instantly unwind and get your daily stresses off your mind. Given that the tracklist is still pending, this should give you reason to traverse through the mix without intermission to identify a track and allow you to simply enjoy the musical subtleties and aromas offered within. Mekato tastefully blends a combination of downtempo, trip-hop, and some trap styled production to create a stirring yet simultaneously relaxing listening experience. Stay tuned for an update on a tracklist or a download link as we hope that either of those prospects will be accommodated.

Follow Mekato On: Facebook | SoundCloud | Twitter

 Posted by on March 26, 2014 Chill, Downtempo, Mixes, Trap Tagged with: , , , ,
Mar 262014
 

In the last couple of weeks, Uppermost has given us a few auditory glances into what we can expect from his forthcoming album that is set to drop on April 14th, ‘Evolution’. Within a thirty second, one minute, and four minute waveform we are able to get a hint of what will be included in the upcoming album and if these three pieces of work from the album serve as an indication of what the album will encompass, you can rest assured that Uppermost prepping to deliver yet another superb and what will most like be an unrivaled compilation in 2014. Though if you’re familiar with Uppermost and his eclectic and unpredictable style, you never know what else he could throw at us come April 14th. For now, we can revel in the anthemic, thought-provoking, and funk-laden electro gem ‘Fly’ and gather some additional insights on the album with ‘Format Funk’. Based off what we can hear at the moment, this album will surely be packed with a myriad of sounds scattered across various influences but fused seamlessly together to create enveloping electronic compositions.

Follow Uppermost On: Facebook | SoundCloud | Twitter | Official

 Posted by on March 26, 2014 Album/EP, Electro, Funk
Mar 262014
 

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For those of you who dig your heads’ deep into the electronic music domain of glitch-hop or neuro-hop, you most like know that Australia’s Adapted Records has a unmatched capacity to pluck some of the finest mid-tempo producers out of the barrel up-and-coming and aspiring producers. The latest freebie featured on Adapted Records originates from Dallas’s Styg, and while this producer is relatively unknown with only eleven Facebook fans, his sound certainly packs a heavy punch. ‘Cherry Bomb’ is accurately labeled as the introductory portion of the tracs serves as a fuse that ignites a demolishing and explosive mid-tempo breakdown that is perfectly balanced with a staggering and gritty array of sounds and a neat and polished inclusion of lively melodic passages.

Follow Styg On: Facebook | SoundCloud

 Posted by on March 26, 2014 Glitch-Hop
Mar 262014
 

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Lo and behold the latest creation from the now Colorado based electro, funk and soul blending music extraordinaire, Kill Paris. This release disrupts a brief period of inactivity since his preceding remix of Far East Movement’s ‘There Will Be No Rain’‘ and beautifully illustrates why Kill Paris has and continues to absorb and garner the support of electronic music listeners, even as they wait through months of no new material. His spin on French duo Carbon Airways’s cycles through a flood a seemingly familiar Kill Paris sounds: crisp and punchy percussion, tactfully and harmoniously sliced vocal samples, and explosions of scintillating and glistening synth work.

Follow Kill Paris On: Facebook | Twitter | SoundCloud

 Posted by on March 26, 2014 Electro, Funk, Remix Tagged with: , , ,
Mar 262014
 

With so much recycling of sounds and ideas in electro-house, you might feel inclined to pass on this track during after the first few seconds of play, but be warned. To omit this track from your playlist of current releases would be a grave mistake as Electric Joy Ride arises from the shadows reminding those who forgot his name why he is still one of the most exciting figures and sounds to emerge in recent stream of electronic music, specifically electro-house.

‘Origin’ surfaces as his latest release and if you’re familiar with the EJR sound, you’ll be more than pleased to indulge in yet another melodically rich, shuddering, and galvanizing electro-house production from gifted and ever-evolving UK producer. In a routine EJR fashion, ‘Origin’ is available for free download offering up a five minute musical adventure through an instantly energetic, blissful, radiant and harmonious electro composition.

Follow Electric Joy Ride On: Facebook | SoundCloud | Twitter

 Posted by on March 26, 2014 Electro, Electro-House Tagged with: , , ,
Mar 242014
 

UPDATED 3.25.14: Nick Thayer Adds Further Clarification To “Do You Wanna Know Just How Much Money I Make?”

For the average onlooker that is not deeply involved the industry of electronic dance music, being a producer/DJ who plays big shows and is represented by an esteemed label like OWSLA may seem like a dream come true that gifts you with riches and fame. And while this may be true for the electronic music superstars at the top of the game like Tiesto and Calvin Harris, for the electronic music artists on the lower steps of ladder, playing shows and festivals isn’t quite delivering a million dollar paycheck. Nick Thayer of OWSLA recently broke down and estimated how much net profit he actually makes from his music career, from touring to selling music. Many of you might be surprised. Even if you’re not surprised, in any case, this should serve as an example to reinforce how truly important it is to support music artists that give us so much, often in return for so little.

Update: Following the initial publication of this piece, Nick Thayer received of slew of varying responses to his brief but detailed look into the actual monetary return he receives from touring and from the distribution of an EP. For those looking for some additional explanation and insight into what his drive and motive behind his drafting of “Do You Wanna Know Just How Much Money I Make?” was, refer to the tail-end of this post for some extra content.

I wanted to take a second to break some numbers down for you. I’m doing this to be transparent. To let you know what the life of producer/DJ looks like from the financial end. People often think there’s a huge amount of money in this scene. There is, but it is very concentrated and in the hands of a very, VERY few people. The vast majority are on similar numbers to me, running on fumes most of the time to make this thing work. We do it because we LOVE THE ABSOLUTE SHIT out of writing music, playing music and sharing music.

Let’s start with a release.

Here’s the TOTAL sales breakdown for my Like Boom EP (March 2012). This is sales across all platforms (iTunes / Beatport / etc etc). Bear in mind this EP was the #2 overall release for thirteen weeks on Beatport so you can assume it was a comparative success.

  • Like Boom —————————————2600
  • Facepalm —————————————2932
  • Totalitaria —————————————125
  • Haters Gonna Hate —————————652
  • Top Of The World —————————–710
  • What Props Ya Got —————————614
  • Rise Up ——————————————658
  • Like Boom Nick Thayer Rmx —————1953
  • Facepalm Rmx ———————————969
  • What Props Rmx ——————————509

So that’s 12,722 total sales.

For the sake of making this as simple as possible, let’s be generous and call these sales $2 each (most are a bit less). Then let’s split 50% (give or take) for whatever site you sell through, meaning the site takes $1 and there’s $1 left. Most labels these days run on a profit share arrangement which means you split what’s left of that down the middle too. Let’s also allow for any writing splits where other artists have been involved adding vocals etc. So here we have total income that gets to me after the site, the label and the other artists involved have all taken their cut.

  • Like Boom (50% to sample clearance, 25% share to three vocalists): $162.5
  • Facepalm: $1467
  • Totalitaria: $562.5
  • Haters Gonna Hate (50% to vocalist): $326
  • Top Of The World (50% to vocalist): $177.5
  • What Props Ya Got (30% to vocalist): $158
  • Rise Up: $329
  • Like Boom Nick Thayer Rmx (see above): $122
  • Facepalm Rmx (50% to remixer): $242
  • What Props Rmx (50% to remixer): $127

So that’s a total income from the EP of $3673.50.

(I’m not going to include Spotify or YouTube here as they total less than the price of a beer overall).

At this point you pay your management 15% of what you have. Mastering comes in at approximately $150-$200 per track, so that’s $1500 total. Artwork is $1000 for anything half decent that’s usable across all platforms. A decent publicity campaign is about $300-$500. There’s a myriad of other smaller costs involved too. Some labels will cover these costs up front but it will be a ‘recoupable advance’ meaning you have to pay them back before they give you any money so it’s the same as fronting the money yourself.

So you can see at the end, this EP which probably represented a year of work at actually ended up COSTING me money (though not a lot) to release. If somebody said to you ‘put your heart and soul into this project for a year and at the end give us some money for the privilege of having us listen to it’, what would YOU do?

What about touring?

At this point people usually say ‘well you make a lot of money from gigs right?’. Well not really. Around six months after this EP came out, so in late 2012, enough time to potentially see the benefits, in the US I was earning between $1000 and $1500 for a show. That might sound like a lot of money, but that is TOTAL.

Let’s say I did a run of nine shows across three weeks (Thurs, Fri, Sat night x 3) at $1250. That’s $11,250. That’s A LOT right?? Well. Right off the bat the booking agent will take 15%. As an Australian in the US I pay 30% up front on tax too (this is reclaimable but Australia has a reciprocal tax agreement with US so it comes out of the amount of tax I owe here in Aus). So that’s down to $6200 straight away. Then I have to pay for travel. Let’s say return flights from Aus ($1500 economy fare) plus travel in between shows ($200 per flight if lucky) and we’re down to $2687. You can usually get the club to pay for a hotel on the night of your show, but that’s it. So that leaves maybe ten nights where you are covering it at $100 a night if you can find it. Often they will be much more expensive so you survive by sleeping on couches in friends’ places every second night. That’s $1687 left. Now pay management 15% and we’re at around $1434. Then there is food to pay for cause you can’t live on bar snacks for three weeks. At $30 per day (that’s $10 for b’fast lunch and dinner) for three weeks is around $600 and at that point all you’re left with is around $800 for three weeks’ work, which is not exactly a fortune.

So what?

This is not a sob story. This is me saying to you please, PLEASE support artists you like in any way you can think of.

Buy the whole EP when they release it instead of just one song. You would not believe the difference this can make. Even buying two songs instead of one helps chart positions which creates exposure which means more people listen and the cycle repeats itself.

Share the links to their music on your Facebook or Twitter or re-post them on Soundcloud or wherever you can. Promoters keep an eye out for whoever is being talked about the most across social media so instead of bugging your favourite artist to come to your town talk about them as much as you can and bug the promoters to bring them.

I want to say now THANK YOU for every single person who has supported me in any of these ways. Who has bought my music, shown their friends, stuck stickers on things, come to a show or whatever. THANK YOU.

Nick Thayer’s follow-up piece to March 24th’s “Do You Wanna Know Just How Much Money I Make?”:

Some points of clarification from my post yesterday.

Seeing as my post has been picked up and has had a much wider reach than I expected I want to clarify some points:

– Artwork Costs Being $1000 / Other EP Expenses
It has been commented that this is a lot. What I said is that this is artwork ‘usable across ALL platforms’. That is, usable as a digital album picture, a sticker, an ad mat, tour art (vectorised and layered to make for easy adaptation) and more. I also paid for the original photo. I believe in paying people properly for their work.

-Label Deals/Splits Etc
It has also been commented that labels will split costs on a 50/50 deal. Without going into the specifics of this contract, I paid for the art up front. The mastering expense (I just looked up a statement) was $1700 and was split with the label, so yes, that does alter my maths a little. I only tried to provide a rough guide anyway.
I also mentioned other expenses. These include things such as vocal sessions and lawyers (for sample clearance and for record contracts). These came directly out of my pocket (the track with the sample was completed including clearance before the label was in the picture and a label is not going to pay for your lawyer to sort out a contract with them).

-Travel Expenses
It has also been commented that venues should be paying for travel. The deals my US agent (AM Only) works on for me are all-in deals. They do not include flight shares. This is not the case for me worldwide (in Aus and NZ travel is certainly added on top of the fee), but I wanted to use a REAL tour to highlight the situation.

I wrote this post as a way of being transparent. I spend money on things I think are important to my art, in this case the costs of mastering and art fall into that category. I now do all my own mastering.

I will also say that yes, there are other streams of income for artists I didn’t include. There is publishing (which is like a lottery and can vary from $5 to $5000 a year with apparently no reason), there are performance royalties (APRA in Australia) that again seem to operate largely on an arbitrary base. There are remixes and session work mixdowns the like too. My point was to isolate one EP and one associated tour.

Once again I want to state that I LOVE what I do. And I want to thank everyone who has ever supported me, bought my music, booked me for a show or let me stay on their couch.

Support Nick Thayer On: Facebook | SoundCloud | Twitter | Beatport | Official

 Posted by on March 24, 2014 News Tagged with: ,