Sean Glass, founder of Win Music and a frequent D.J. at tech events, sees Internet services as the future of an industry it devastated.
Tiga vs. Audion “Let’s Go Dancing”
“Far From Home (DFA Remix)" was one of the songs I learned to DJ with. I used to play Hip Hop when I was a kid, I wanted to be like A-Trak and Merge. But I sucked. At one point I was fucking around at Scratch Academy with Dirty Digits watching me, and he asked me why I played Hip Hop. I was like fuck off wigger why you all in my grill? He was like, no, I just mean, you play Hip Hop like a House music DJ. He was referring to how I was mixing with EQ and blending records rather than scratching.
So the first “House” records I tried the same techniques on were Tiga’s “Far From Home (DFA Remix)" and Le Tigre "Deceptacon (DFA Remix).” It worked a whole lot better. Now I’m an acceptable DJ rather than a shit DJ.
That’s also how I discovered Tiga.
And years later I have the pleasure of working with him.
This track is a special one. It also features Matthew Dear, another of my favorites, who I have had the honor of playing with before actually.
This is literally (and I hate when people say “literally,” but whatever fuck you) the most obvious club banger I have ever heard. It was the quickest signing decision I’ve ever made. Minutes. Tiga’s manager called me, asked if I would be into doing the new TIga single, I was already excited, but played coy. Listened for not even the entire 9 minutes of the song, and wrote back something along the lines of fuck yeah let’s do this or maybe I was more “HYFR,” I don’t really remember.
I’ve played this out so many times already, and completely unsuspecting crowds go nuts for the second half, when they already think they know the song. It is such a fucking banger.
Listen tonight on Annie Mac’s show where she’ll premiere it. Then play it in all your sets for the next 20 years.
Eric Sharp EP Release
I met Eric Sharp less than a year ago at SXSW, but in that week alone, we became fast friends. At first, I didn’t want him anywhere near me, because obviously the man is a pedo with that mustache (I kid!), but I warmed up. His name had been thrown around for a minute as one of a million DJ’s I needed to meet because he’s really cool, and produces and all of that same old story. From my background as one, I know a lot of club DJ’s, and in my experience (counter-intuitive to what I’d expect actually) they do not tend to make the best producers, but all want to do it anyway (because then they’ll get more money to create stickers for the backs of their laptops, right?).
So Eric and I spent a really awesome week together in Austin, got paired up on a few parties, ended up doing one that nobody will ever forget in this crack house on the side of the road. We put it together in about an hour, sent out invites as texts, figured about 75 friends would show up, and instead it was something like 800 people from 2am until [Yeezus] knows when. Epic fucking night. My college roommate (unknowingly) literally peed on a passed out crackhead at one point. And the floor and windows broke. Yeah man.
A few weeks later Eric hit me up telling me he had some music looking for a home. I listen to everything and try to be a nice guy, but honestly, I was worried. And probably still high from all of that second hand crack.
You don’t really need the rest of the story—the music was fucking awesome. Not only was it good, but the songs were actually SONGS! These weren’t just club tracks for DJ sets, but music with roots in dance music brought into proper verse-chorus-verse structure. The three tracks each brought something else to the table also. The collaborators gave me impressive names to market alongside Eric’s, as well as a diverse flavor to bring each song to different formats.
”Time Drips" features Anna Lunoe’s first true vocal in my opinion. Her previous releases (and forthcoming) were (/are) amazing, but only held loops and dubs of her voice. Here, she is spotlighted and put to the test as a lead vocalist and delivers in a major way. I feel this release will grow her profile to a fan base she never had before. Eric delivers those toms mid way through the song, that I know rattle any dance floor with some good sub-woofers. For me, it conjures feelings of a beautiful Sunday afternoon with friends. It also reminds me of those Liv Tyler/Alicia Silverstone Aerosmith videos Marty Callner directed in the 90s.
”Surrender Dorothy" has Daisy O’Dell recalling Lynchian nostalgia and depending on what kind of mood I’m in, either dread or sex. Even if I didn’t know Daisy or Eric, it’s clear that this song is spiritual. It is the kind of track that will crush sunrise DJ sets and also work for a mantra Yoga session just as well. Clearly the words here mean a lot to these artists, and the way Daisy’s voice lingers over, around and through Eric’s production seamlessly and without hurry, a cohesion is created where the instruments and the vocals are truly one.
”Never Was Enough" conjures Siouxsie Black’s darkwave and combines it with Eric’s and co-producer George Cochrane’s experience in deep house. The track stays up just enough to be a dance song that works in clubs, but listening with eyes closed at home on headphones is a different experience. The production’s synths recall disco, but the way they are paired with the deep bellowing organ-like sounds underneath take away the urge to dance with your hands up. This is a song you listen to by yourself and think about something powerful, or on a dark dance floor, holding a partner close and looking them in the eyes. There’s both pain and connection conveyed.
Have a listen to “Sharp Cuts EP.” I hope you enjoy as much as I do. Look out for a remix package coming very soon, as well as more music from Eric Sharp later this year.
Gotta Dance Dirty + SG Present:
I haven’t thrown a club thing in a while, so I’m gonna throw a fucking club thing.
In the mix are the most bad ass brand in music, GOTTA DANCE DIRTY, homies who have foretold the tastes of the cool kids + cognoscenti for the last five years. I’m thrilled to bring their brand to NY, something that has been long overdue.
As far as tunes, I have some old friends and fellow NYers ASTR and Branchez bringing in the classy, sexy, modern Hip-Hop and Bass sound. People also call it “Post Dubstep” but it’s not really “Post,” it’s really just actual Dubstep, because Dubstep used to be classy back before the stupid Americans came around.
No fucking fist pumping brats. No fucking shirts that talk about Molly. No fucking shirtless muscley assholes bumping into you and sweating on James Perse t shirt. No K holes.
No girls will vomit at this party. Not fucking one of them!
As always, I’ll probably toss in a few special guests, so always get your wack ass camera phones ready to instagramthatho.
Downstairs is gLAdiator with Alex English and the GBH fam. Big up to Kenny at Webster for helping us put this shit together. Entrance good for both parties, you’re fucking welcome.
I can’t wait to have sex with all of you
DUKE DUMONT #1 ON BILLBOARD!DUKE DUMONT ‘Need U 100%’ #1 ON BILLBOARD DANCE/CLUB CHART!RED Distribution is pleased to announce that British dance producer and DJ, Duke Dumont, has reached the #1 position on Billboard’s Dance Club Songs Chart this week with “Need U (100%)” featuring A*M*E & MNEK. The track was released on Win Records on May 7th and the official video has garnered over 10 million views on YouTube. Steadily gaining momentum the last ten weeks on Billboard’s Dance/Club Songs Chart, “Need U (100%)” is a throwback to early 90s garage house with today’s techno finesse. The track has garnered critical acclaim from the likes of Pitchfork, SPIN, NME, Billboard and BBC Radio 1, and only continues to rise in popularity.
“I could not have dreamt up a better song to launch my company with than Duke’s “Need U (100%)”, says Sean Glass (Win Founder/DJ). “It embodies everything I want to represent. The song holds roots in all of my favorite sub-genres like New York Disco, Chicago House and Detroit Techno, but delivers them into a modern peak-hour dance floor sound. Being a Billboard chart reporter myself, and knowing so many of the DJ’s on the panel, it’s quite a sentimental moment for us to have a record like this—one that represents our true tastes—top the charts. What I truly feel makes the record stand out and connect is that it’s not just a dance track, but a song—with structures that connect to mainstream audiences who may be alienated by the ‘EDM’ sound.”
Duke Dumont - Need U 100%
I feel extremely privileged to make Duke Dumont’s “Need U 100%” the first Win Records release. When asked what genre I am going to focus on for Win, I have been giving the answer “Dance Crossover.” Nobody knows exactly what that means, I’m not sure I do either. But whatever it means—it’s this song.
I consider “Need U” the culmination of the last few years of the Dance music explosion. ”EDM” and all aspects of Dance music have exploded in visibility and popularity. Despite all of the mainstream press though, I still consider Dance music to be a ghetto and a niche genre. Even commercial successes like Swedish House Mafia have not exactly crossed over. There is a big difference in my mind between a niche genre growing a massive following and it crossing over.
Crossover will always come through songs. Songs drive the history of music. So with audiences getting tired of the same repetitive bass drops, real songs like “Need U” are going to be a breath of fresh air.
Not only does “Need U” combine elements of Classic Disco and R&B with current Deep House and Techno sounds, but it does so within classic and familiar verse-chorus-verse structure that non-dance audiences will find accessible.
I see the tide shifting, and I’m thrilled to be on board with an artist like Duke Dumont. I think that in 10 years we’re going to look back at this song being a watershed moment in not only Dance music but music in general.
iTunes link: http://bit.ly/DDNeedU100Percent
Welcome to Win Music
Main dude behind Win Records. Sean Glass technically, and I should have some kind of title, but, well, fuck that shit.
First of all, major shout out to my Grandma, Twinnie, the namesake of the label, and my idol.
Win Records was the name of my Grandfather Sam Weiss’ label from back in the day. Under Win and Sam Records, he put out some of the coolest Disco records ever. Check out a really nice profile on him here: http://www.disco-disco.com/labels/sam.shtml Win was named after my Grandma, who was a twin and a dancer, and their nicknames were Twinnie and Winnie. They were and still are the coolest.
Win is something I’ve been working on for a while.
A little different than a traditional label. Let’s call it a music company that aims to apply what I think is cool, as a service, to any and every implementation of music in media and culture.
I made the decision to start a label (or something like it) about three years ago, when I was DJing and booking shows, as well as doing A&R at labels on the side. Despite having worked at and been around labels my entire life, I did not really know what a label actually, ya know, did. This became, in my opinion, an asset. I realized in a kind of humble way that I was doing a lot of the work that labels did without knowing it.
So some artists asked me why I didn’t just release their records myself, and I eventually took the question seriously.
Instead of starting a label then, I wanted to take time and do it right.
What does a traditional record label do?
Why do most of them suck?
Why are they still really valuable today though?
What should a label look like today?
What’s exciting to me in music today?
What’s exciting for everyone else?
What’s going to be exciting in two years?
What do I do well?
What do I have no fucking idea how to do?
Who’s doing those things really well?
How do I want to spend my time every day?
Who do I want to spend it with?
I wanted to work on Dance music, but none of that “EDM” bullshit. I wanted to create a full service label for Dance that could be equally interested in an unknown bedroom producer with one good track as a festival headlining DJ—with the ability to kick ass for both of them. There are some amazing Indies who do a great job on branding, but cannot scale a hit record to, for example, nationwide terrestrial radio. There are some Majors who are investing massive coin into Dance music, but they’re not necessarily focused on artist development.
I wanted to focus on services—A&R, branding, artist development and new marketing ventures. I also wanted to be able to execute Radio, Licensing, Retail, etc. on a really high level.
I fell in love with the Tech industry and can’t wait for it to take over the Music industry.
All this added up to two major elements of my business plan which I consider unique.
Instead of raising a ton of money and building up infrastructure based on old models and growing skills in areas where I have none, I decided to partner with some of the best in the business. Win will release records via Joint Ventures with Glassnote Records and Downtown Records, with my distributer Sony RED as a much more involved partner than simply a distributer.
Additionally, keeping my overhead lean like this leaves me to focus heavily on Business Development. Specifically, Biz Dev with the intention of growing partnerships with Tech companies, whom I can work with to create new, dynamic marketing platforms. I want to be the most open label in the industry to the Tech companies. I not only want to activate on what they pitch me, but I want to come on board to help advise and shape their products, foster industry relationships, and provide my artists to put them on third base, hopefully turning a proof of concept activation into something scalable. Plus, the Music industry is not known as the most innovative bunch, I want to spend as much time as possible with my Tech buddies.
I want to expand these partnerships to the point that they allow me to create new revenue streams that enable me to sign the most artist friendly deals around. I want to be able to say to an artist not only can I provide you with this never before done, really huge marketing campaign, but I’ve created a revenue stream through it, so you’re never going to hear me talk about “360”!
Anyway, mainly, I want to work on the coolest music out there, and find the coolest ways to get it to audiences.
So call me or something.