Win Music IDMA Nominations!
in the International Dance Music Awards!
So it looks like this year my Dad will be my plus one to The Grammys.
Holy fucking fuck.
We’re nominated for a motherfucking GRAMMY!!!!
When I decided I wanted to launch this company, I waited a while to launch it in the right way—meaning with the right artist and the right song. I could not be prouder to be associated with anything more than this release. Duke is one of the most exciting artists in the world and this is easily my favorite song of the year. I would not have wanted any other song to launch with.
That’s been proven every night on the dance floor, where 8 months in, after many, many comparable tracks have died, “Need U 100%” is still getting played every night and killing.
And now that has all been validated to a degree I never expected—The Grammys.
We’re a tiny operation, just getting our feet wet, and to be acknowledged like this, alongside all the big guys, just means we can do anything. There is no separation anymore, the walls are down. It’s all about the music and the passion.
This is a huge moment for Dance music. Nobody cared about the Best Dance Recording category until the last few years, but now they do because of EDM. This is the first time a track has been nominated that is not EDM, and finally on a major platform.
People are going to see this. People are going to ask who the fuck Duke Dumont is. They’re going to hear the music and realize it’s so much better than the rest of the shit they’re fist pumping to. And then maybe proper dance music is going to finally take over. Enough of this EDM shit.
Thank you to everyone who got us here. Adam, Dan and all of Hardlivings, David, Dipesh and Verity at Ministry, Alan and Bob at RED (and Melinda for not killing me :-)), Oli and Windish, Brad at Pro:motion/Lift, Olyvia, DG, Ian Robertson, Skream, Frankie Knuckles, Artful, Waze & Odyssey, Annie Mac and most importantly all of the DJs who have supported this record from the beginning and continue to light up the dance floors with it.
CONGRATULATIONS DUKE DUMONT, MNEK & A*M*E*!!!!
I cannot wait for January in LA when we are going to completely fuck up all the other Grammy parties and show the proper music industry how we do.
See y’all January 26, 2014!!!
“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.
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.
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
“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.”