Goodbye Serato Scratch Live. Serato DJ With DVS is Here.


Just announced on Sept 4th, the merging of Serato’s DJ softwares has begun – bringing DVS support to Serato DJ with the launch of a new version of the program, 1.5. The announcement comes in tandem with three new pieces of gear: the Rane Sixty-Four mixer, a Pioneer DJM-900 SRT Serato DJ Edition, and the Pioneer DDJ-SP1 controller.

As many industry experts predicted, developing three different programs (Scratch Live, DJ, DJ Intro) would serve only to frustrate and bog down Serato’s development cycle – and that a unification between them would be inevitable. Today we get to see the complete plan:

October 2013: 1.5 Release – Vinyl and CDJ control added to Serato DJ for the new mixers
December 2013: 1.6 Beta – Beta DVS support for Sixty-Eight, Sixty-Two, Sixty-One, SL2, SL3, SL4
February 2014: 1.6 Release – Full DVS support for above mixers + soundcards
Serato is bringing their trademarked NoiseMap DVS technology from Scratch Live into Serato DJ, meaning that you’re not going to need new timecode CDs/vinyl, and that it will continue to be the same reliable engine that DVS users have grown highly accustomed to performing under pressure.

End Of The Line: Of note, the Rane SL1 and Rane 57SL will not be receiving DVS support – apparently the technology in the soundcards in each is too limiting to be supported in Serato DJ.

Watch Serato’s CEO Sam Gribben detail more information about the future of Serato Scratch Live, Serato DJ, and more in the video below:

Posted by Dan White (Via

Diplo settles ‘Harlem Shake’ legal dispute, clears samples for Baauer.


The rise of “Harlem Shake” from niche hit to Billboard No. 1 super-meme has been delineated in any number of thinkpieces and Web 4.0 infographics, but the mystery of how Baauer would end up making money off a song that contained unlicensed samples has remained mostly unsolved.

Unsolved, that is, until Diplo cleared things up. During a lengthy and wide-ranging interview at the second weekend of Coachella, the Mad Decent label boss explained how he was able to help Baauer — despite the fact that the young producer had signed an indemnity form that held him solely responsible for any intellectual property disputes that arose from “Harlem Shake.”

“We didn’t know there were any samples in the song to begin with,” Diplo said. “But when it came to clear the samples — because otherwise he would make negative money — we wanted to help him out.”

The line “do the Harlem Shake,” arguably the most important sample in the song (and certainly in the cornucopia of viral videos that feature people losing their collective minds as soon as that vocal hits), is a sample from “Miller Time,” a song by rap collective Plastic Little. “Jayson [Musson] was in a band called Plastic Little and he hit us up and said the album never got licensed or published, so we just cut a deal where he could make some money off that,” Diplo explained.

“Harlem Shake” also has a Puerto Rican connection, as Hector Delgado (now an evangelical preacher) is the man behind the voice that says “con los terroristas” in the songs intro. Delgado also sought compensation. Cue Diplo: “The Puerto Rican guys, they kept calling me because I know everyone in Puerto Rico, so I just sorted that out. It wasn’t even them, it was Universal Publishing.”

Diplo says Mad Decent (and Jeffries, a sub-imprint which signs individual songs, as opposed to artists) passed on giving the record to Universal to distribute and went to Warner instead, a potential cause of added frustration for Universal. “But we had enough clout that we sorted it out,” Diplo said. (In March, the New York Times reported that Universal was negotiating a settlement with Mad Decent, and Delgado’s folks told Rolling Stone that Mad Decent was being “more than cooperative.”)

Samples aside, “Harlem Shake” represented much more than a meme for Diplo. “Honestly, that record was the thing that saved the label, because a year ago we were going to fold because we couldn’t figure out how to make money,” he explained while sipping on a beer in front of Major Lazer’s trailer at Coachella. “Then we just started giving music out for free and it worked out.”

The evolution of “Harlem Shake” led some, including the Guardian, to ask if the song would end up “killing sampling.” It seems the answer is a simple “no.”

Posted by Kia Makarechi (via Huffington Post)

Free Download: I Need Your Love (Angle Mash)

San Diego native & official Club Killers DJ Angle is hooking you up with his high energy dutch inspired mash up banger of Calvin Harris’ current hit “I Need Your Love”! Drop this one time in front of your crowd & I’m 100% sure you will add this to your peak hour set. I first played this gem on my House Of Dreamz Vol 3 mix (CK Radio Episode 38) which was recorded live at Yost Theater back in October and it’s been a staple in my big room set as well as my Friday night mixes on 102.7 KIIS FM in Los Angeles.

Keep coming back every week. I will be posting exclusive Club Killers edits every week right here for all DJs to download.

Keep looking ahead.

Posted by Alex Dreamz

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Afrojack, Calvin Harris & Pasquale Rotella’s “headliners” rock Electric Daisy Carnival New York.


The most influential DJ at this weekend’s Electric Daisy Carnival in New York opened the festival’s mainstage early on the first day: It was the French producer Cedric Gervais, whose 2012 hit “Molly” has inspired a catch phrase emblazoned on thousands of t-shirts across the parking lot of Citi Field, the home stadium for the Mets. “Have you seen Molly?” the song goes. “She makes me want to dance.” Much more than a cheeky request for MDMA via a garment purchasable from the Shore Store, it embodied the zeitgeist – not just that of the largest electronic dance music festival in America, but of the party generation. Rave culture has taken over this generation full bore, and the kids are so invested that thousands of young women hot-glued their bras with rhinestones, glowsticks and silk daisies, clearly prepping for this experience for weeks. Rare was the beefed-up bro not emblazoned in some kind of neon, making eyes at said bras while working on their Melbourne shuffle. This was Spring Breakers, Queens edition.

It goes without saying that dance music festivals Stateside are finally catching up to their European counterparts – this year, each leg of the two-day Electric Daisy Carnival New York attracted 50,000 people, paltry compared to the sold-out 325,000 who will descend on Vegas when the main festival hits in late June. Even so, the vastness of the experience was impressive and, at times, overwhelming, blanketed across four stages, a clutch of carnival rides, dazzling fireworks displays, and technicolor light installations, including the fest’s signature LED daisy the size of a tract house. (The Citi Field parking lot is huge!)

The two massive main stages were situated adjacent to each other with a ferris wheel and a Zipper ride wedged between. The first night, anyone (everyone) attempting to see simultaneous sets by house heavyweight Eric Prydz versus Swedish House Mafia mastermind Steve Angello got smooshed into a giant, disorienting rave pit. If any of those t-shirt kids ever found Molly, they surely lost the rest of their friends in the crush. But if they stood at the right spot at the bow of the ferris wheel, they could hear both stages at the same time, the speakers sending .wavs across the asphalt (which is, apparently, a great sound conductor). It was a perfect confluence of thump, where it almost didn’t matter if their sets were indistinguishable – most were lost in the ecstasy of the moment.


Still, several of the main-draw headliners proved their mettle. British producer Calvin Harris showed why he is such a force in the pop world, blending a crowd-pleasing set that included Basement Jaxx’s “Where’s Your Head At,” Justice’s “We Are Your Friends,” and his own “Flashback” – three songs released in the 2000s, practically relics at this point, yet the young-20-something-skewing crowd sang along gamely. (He didn’t make anyone wait for the megahit he made for Rihanna, “We Found Love,” dropping it about a quarter-way through to a stadium’s worth of squeals.) Harris’ harder counterpart in the pop world, ubiquitous Dutch producer Afrojack, crescendoed-and-dropped his crowd to submission before toning it down to a little piano set. “This is the best fucking EDM scene on the whole fucking planet!” he effused, keys twinkling. At a farther-flung stage beneath a tent, the British house icon Carl Cox played an understated set with a deft hand, hewing to gradual vibe creation rather than the power of the drop – music for dancers with attention spans.

But it took performers on the smaller stages to show how diverse America’s new ravers are, while making a good argument against using the term “EDM” – electronic dance music – as a corporate catch-all. Los Angeles dubstep god 12th Planet made a case for “trap rave” as a vessel to get dance kids to listen to rap music, blending hits like Ace Hood’s “Bugatti” into tasteful dubstep bass and post-Lex Luger triple-time beats. Seth Troxler, the Michigan-born house DJ, played a sophisticated set of minimal techno with a serious mid-range groove, while the DC duo Nadastrom blended their signature moombahton set with nods to dembow and even bhangra, up to and including a tweaky bass version of Elvis Crespo’s “Suavemente.” And when DJ Fresh played dead prez’s “Hip-Hop” over a corpo techno track, was it a referendum? Nope, it was just a segue into a trap song, exemplifying the jumble of music that occurs at Electric Daisy Carnival. His set, especially, was all over the map, but he tied it together at the end with a surprise guest – rapper Dominique Young Unique, performing a live version of their track “Earthquake.”

Several performers weren’t DJs at all, but bands, and had to use their creativity to fit in at a festival where rock music is an anomaly. Australian duo Empire of the Sun channeled Bowie with gold sequins and glowing neon guitars, while Italian producer Bloody Beatroots blurred the lines between rave and metal, in the tradition of Atari Teenage Riot and, well, Skrillex before him. The birdlike young British singer La Roux, wearing a white trenchcoat and looking like she was born to play Tilda Swinton in a Funny or Die skit, surprisingly opened with her two biggest hits to date – “Into the Kill” and “Fascination” – before debuting three songs from her forthcoming album. “Kiss and Not Tell” was a pared-down, simple synth track with a big pop hook, while “Sexytheque” had a touch of ’80s-influenced new wave.

Raves and dance music have to battle bad reps as drug havens now as they did in the 1990s, and “Where’s Molly?” merchandise isn’t helping. But lest this weekend’s EDC seem like one orgiastic cuddle puddle, consider this: Smack in the middle of 12th Planet’s set, the New York sun gleaming on all the neon, a young man not older than 19, eating a strawberry fruit popsicle and wearing a t-shirt bearing the logo, “MUSIC makes me high.” The kid, grinning, screams, “I can’t believe this is happening right now!” The party culture may define the zeitgeist, but it’s always the music that matters most.

Posted by Julianne Escobedo Sheperd (via Rolling Stone)

DJ Bento in Tokyo, Japan

Last week, Club Killers Official Dj, Dj Bento, performed for the people in Tokyo, Japan. Follow him through the lens as he arrived in Tokyo via helicopter, and takes every view with him to Japan. With Club Killers Djs in demand all over the world, videos have been posted regularly of performances, both Nationally and Internationally. Come join Dj Bento as he kills ColoR in Tokyo, Japan. Japan is known for their over the top events, props, shows, and good times. So sit back, relax, and welcome to Tokyo!

Lil Jon Feels ‘Great Validation’ Thanks To ‘Turn Down For What’ Success


Nearly eight years after last visiting the Top 10 of the Hot 100 chart as a lead act, Lil Jon returned last week with “Turn Down The What,” his manic dance banger with DJ Snake, which jumped 15-10 on the tally. The surprise crossover hit, which also reaches No. 1 on Billboard’s Hot Dance/Electronic Songs chart last week, is Lil Jon’s first major hit as a lead artist since “Snap Yo Fingers” in 2006, and the producer tells Billboard that it “definitely feels good” to return to the Top 10 after years of experimenting with EDM music.

“Some people think I just disappeared off the face of the earth,” says the 42-year-old Lil Jon, “but other people in the EDM world know that I’ve constantly been on hit records over the last couple years. It’s great validation to the fact that I’m still around, I’m still doing my thing, and I’ve got a classic voice.”

Indeed, after becoming arguably the most recognizable face of the crunk rap movement in the mid-00′s thanks to smashes like “Get Low,” Usher’s “Yeah!” and “What U Gon’ Do,” Lil Jon began dabbling in dance music and scored three tracks on the Dance Club Songs chart from 2009-2012. He views his energetic 2007 collaboration with Pitbull, “The Anthem,” as a pivotal moment that “opened up a world that I didn’t really know about,” and that song was followed by dance cuts like Pitbull’s “Krazy,” his remix of David Guetta’s “Sexy Bitch” with Chuckie, LMFAO’s “Shots” and Paradiso Girls’ “Patron Tequila.”

Lil Jon, who began his first Las Vegas DJ residency in 2010 and has become a regular at Ultra Music Festival, says that fans shouldn’t have been surprised when his musical focus started shifting toward electronic music.

“I have always been a person who has not wanted to be put in a box, so I was the always the artist and the producer that did stuff that normal hip-hop artists don’t do,” he says. “I like to collaborate with all kinds of artists, so this is nothing new from what I’ve been doing my entire career… I make club music, whether it’s rap or dance. I make music for people to dance to and party to. It doesn’t matter the tempo, or who the artist is.”

Posted by Jason Lipshutz (Via Billboard)

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