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Facebook is my main news hub where I share upcoming releases, gigs, photos, videos, and blogs. Typically, I post 3–5 times a week.

Telegram and Twitter duplicate what I post on Facebook, with occasional extra content.

On Vkontakte, I write in the Russian language for my fans out of from Russia and CIS.

I also upload vlogs and gigs videos on YouTube and share travel photos, selfies, and studio routine on Instagram.

Rave Podcast 118

October 2020

October’s episode is already available on Soundcloud, YouTube, in the Spotify playlist, and on Patron (with direct downloads, higher audio quality, RSS feed, no voice-overs, and more goodies).

Some tracks of this episode were released five, ten and even fifteen years ago, but even today they sound interesting and fresh. And there is also a wide tempo range from 122 to 143 BPM, so it turned out a quite intense!

00:00 Michael A — Slow (Andrea Cassino Remix) Soundteller
03:08 Amir Hussain — Dharma (Original Mix) FSOE Parallels
07:49 Rick Pier O’Neil — Rool Into The World (Part 1) JOOF Recordings
12:20 Perry O’Neil — Numb (Original Mix) Electronic Elements
17:39 MicroCheep, Mollo — Massive Dynamics (Original Mix) iDark Records
21:08 Pleasurekraft, Thomas Gandey — Panopticon (The Patron Saint Of Global Surveillance) Kraftek
24:29 Rex Mundi — Scorpion (Original Mix) Coldharbour Recordings
28:12 Modea — Silence (Original Mix) We Are The Brave
32:30 Beico — Universe (Original Mix) 1605
35:12 Rudosa — Obsolescence (Original Mix) Moments In Time
38:06 Allan Feytor — Ecliptic (Original Mix) Noir Music
41:27 Juno Reactor — Mona Lisa Overdrive (Thomas P Heckmann Remix) Metropolis
46:00 Viper Diva — Born To Be Slytherin (Tbilisi Mix) Saike
51:07 Julian Muller — Stronger Than Him (Original Mix) Lobster Theremin
54:55 Human Blue — Party Deluxe (Original Mix) Transient Records

Binary Star preview

I’ve been releasing music for more than 8 years now, but I still get so excited (and even nervous!) every time I introduce you a new track. Today is no exception!

This is “Binary Star”. Just like a binary star system in our Universe where two stars orbiting around a common centre, the title of this track hints at a few different musical genres that I’ve ultimately combined together, creating and sculpting something entirely new to me:

Coming out soon on JOOF Recordings. What do you think about this sound?

 No comments    190   1 mo   Binary Star

Rave Podcast 117

00:00 Milkwish — Avalon (Quivver Remix) Songspire Records
04:38 Ioan Gamboa — Karla (Soulwerk Remix) Replug
09:47 Marcus Decay — Shadows & Mirrors (Original Mix) Noreira records
14:38 Kase Kochen — Monstera (Biomass Remix) Bassic Records
18:13 Enlusion, Subtara — Dark Horizons (Original Mix) Forescape Digital
22:02 Eleonora, Fuenka, Paul Thomas — Come With Me (Extended Mix) FSOE UV
26:05 Slam Duck — Weightless (Original Mix) JOOF Recordings
29:07 Alex Dolby, Santos — Raw Road (Carlo Lio Remix) Rawthentic Music
32:16 Kreisel, Monococ — Kalateh (Original Mix) Syncopate
34:47 Joseph Disco, Lampe — I Am Like You (Original Mix) Alula Tunes
37:22 Daniel Lesden — Binary Star (Original Mix) JOOF Recordings
42:22 Gabriel Moraes, Rafael Cerato — Coda (Original Mix) Dear Deer
45:52 Teenage Mutants, The YellowHeads — Longitudinal Axis (Original Mix) Reload Black Label
49:49 Spiros Kaloumenos — Blocks Of Life (Drumcomplex Remix) Unrilis
53:02 Carara, Kreisel — Level 909 (KRSL Rework) KRSL
56:33 Goncalo M — Raw Deal (Original Mix) Intuition Recordings PT

Signature style. Is it a good thing?

I asked my wife to listen to a track I recently finished, and after listening to the whole thing she said: “Wow, I like it! It doesn’t sound like Daniel Lesden style at all!”. Do you get it, right? She liked the track because it didn’t sound like me! :-) But oddly enough, to me it sounded like a compliment.

That scene makes me think about what people call a signature style. A ‘trademark sound’. Is it a good thing to have as a music producer?

To be honest, I have mixed feelings about it.

On the one hand, it’s nice to recognize a producer you like when hearing a track for the first time: “Yeah I know that synth, that must be that guy!”. But on the other hand, I think there is a thin line between a ‘signature sound’ and a simple ‘copy-and-paste’ where some producers just keep making the same-sounding tracks over and over, years after years.

Personally, I like going out of the comfort zone to make something fresh, something that I haven’t done before. New kick, new bassline, different tempo, new sound design, and new techniques and arrangement tricks. And although the result may not be liked by everyone, that feeling of accepting and accomplishing the challenge really worth it.

My new single is coming out in October, and I’ll share the preview next week. In the meantime, I’m curious what do you think about it? Do you prefer a tried and proven sound from a producer you know, or do you cheer and appreciate out-of-the-box music experiments even when the outcome sounds different to what you get used to?

 No comments    329   1 mo   Music production   Question

Shazams in Apple Music for artists

Wow, in the Apple Music for artists there’s now a number of shazams that shows how many people has been using Shazam app to identify my tracks. The last time I went there in 2018 (it was in Beta), there was no such thing:

I can’t see any practical application of this metric, though, so to me it’s rather just for fun.

Otherwise, of course, Spotify’s artist account is way better than Apple music in terms of information, clarity and usefulness of data. And that’s not even to mention the fact that Spotify has almost ten times larger number of streams.

That was me thinking whether it’s worth doing promo-campaigns targeted specifically for Apple Music. For myself, I made a conclusion: it is not worth it.

 No comments    327   1 mo   Apple Music   Marketing   Spotify

Psytrance Guide on Spotify

In August 2017, I’ve launched Psytrance Guide — a small side-project made on the weekend just for fun back then when I produced psytrance. Since then, it’s been visited almost 250 000 times, and Facebook shares counter is getting close to 10 000.

Here’s a little 3-year anniversary treat: now each subgenre title is a link to Spotify playlist with carefully selected tracks of that particular subgenre (it’s been a number one request that I keep getting!), so you could discover more artists, save it to your collections, and share those playlists with your psy-friends:

psytranceguide.com

 1 comment    310   1 mo   Psytrance Guide   Spotify

Rave Podcast 116

00:00 Phonic Scoupe — Guarana (Original Mix) Stripped Recordings
04:55 Rick Pier O’Neil — Mul (Jeremy Rowlett Remix) Forescape Digital
07:29 ID — ID
11:04 Boho — Jack Black (Original Mix) Senso Sounds
14:54 Mikael Jonasson, Sasha Carassi — Void (Original Mix) Phobiq
18:19 Tom Laws — Nothing To Hide (Original Mix) Respekt Recordings
20:06 Hollen — Sleeping Dogs (Original Mix) Code Records
23:53 Clint Stewart — Breathe (Timmo Rework) Terminal M
30:26 Pablo Say — Attention (Original Mix) Codex Recordings
33:57 Max Graham — Redemption (Solid Stone Remix) Cycles
35:35 Carlos Manaca, Chus & Ceballos — Strong Rhythm (Boris Remix) Transmit Recordings
38:35 Maksim Dark — Never Look Down (Gabriel Moraes Remix) Bassic Records
44:13 Drunken Kong, Misstress Barbara — Let Go Of Control (Drunken Kong 2020 Rework) Octopus Records
47:13 Goncalo M — Violent Rhythm (Lucas Wirth Remix) Ushuaia Music
51:39 Juliana Yamasaki — Burning Fire (Original Mix) Odd Recordings
54:50 Obscure Shape & SHDW — Du Hast (Original Mix) Bootleg
56:15 Noir — Erupt 2.0 (Original Mix) Noir Music

Something big is coming

HOLY SH**! I think I’ve just made a track.

I’ve opened Ableton, played some melody, made a kick, bass, drums, pad… and oh my! It’s only been two hours, but I’ve got it ready in my head, I can already see it. I love this feeling and such a spontaneous but insanely productive studio session.

Next week I’m going to finish, change, and finish it. The track is not like any of my previous ones, so I don’t even know which label I’m going to send the demo to.

 No comments    238   2 mo   Binary Star   Studio   Teaser

Daniel Ek on engaging the audience

Daniel Ek

Daniel Ek, co-founder and CEO of Spotify, gave an interview a few days ago and said the following:

The artists today that are making it realise that it’s about creating a continuous engagement with their fans. It is about putting the work in, about the storytelling around the album, and about keeping a continuous dialogue with your fans.

The artists today that are making it realise that it’s about creating a continuous engagement with their fans

The idea is not new and obvious, but in 2020 it is still relevant.

Read also: Ace Ventura on social media

 No comments    226   2 mo   Marketing   Quotes   Spotify

Laptop clock

During the sets, I try to put a laptop next to the decks when possible. But it’s not there to run a DJ program like many people think whether it’s Traktor or Rekordbox or something, but for a clock. A big and bold clock on a dark screen that shows the current time:

For me, the clock is a kind of anchor to reality, a reference point in time-and-space, which helps me to better plan the tracks during a set.

I don’t pre-plan my sets in advance, but once I get in the DJ booth I kind of understand how I’m going to build a set: which track I’m going to put next, what vibe I want to come to in half an hour and on which note I want to finish my performance.

With standard shorter sets, it’s relatively easy. You just play a dozen tracks and it gives you an indicator that half of the set has already passed. Although, I still worry ‘Do I have time to drop that awesome tracks before my set time ends?’. But playing 5-6-hour open-to-close sets without clocks seems impossible to me at all.

Of course, there’s a clock on the phone, but I don’t like the idea of staring at the phone during a set. It doesn’t seem to be very respectful of people on the dance floor, as if I was checking my email or social media there. Wristwatches do not fit either, because you need to twist the wrist, which is almost always busy on the deck or mixer, and on the small screen is not so clear. The big screen of the notebook on the side but in a constant field of view is ideal in this regard.

Also, the clock helps to finish the set on time. I’ve never had a problem with it, but I know a lot of times when the next DJ comes for a switch-over and the other DJ says, “YEAH SURE! JUST ONE MORE TRACK!”. And then there’s more. In the end, the next DJ starts ten minutes later and gets nervous, the timeline of the event shifts and it’s not good. Sometimes there is the promoter or a special stage manager who watches over strict timings, but I think that’s the DJ’s area of responsibility to respect the timing.

Anyway, DJs, please watch the clock.

 No comments    375   2 mo   Advice   Behind the scenes   DJing   Etiquette   Gigs
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