We sat down with Mike Danglez ahead of his upcoming GMM debut. Get to know the newest artist to join our family:
Why don't you start by telling us about yourself, who you are, where you’re from, and how long you’ve been producing.
Born in Montreal, and raised in Gatineau, I’m a Quebec kid through and through. The real name is Zach Lynch. Mike Danglez stems from a nickname that a couple of my buddies gave me back in college. It was my party alter-ego and it kind of just stuck.
Outside of music I’m a full-time Dad to a hilarious two-year old, a soon-to-be husband to my wonderful fiancé, and I work a 9 to 5 to pay the bills. With all this going on in my life, my producing time is usually limited to about 7 - 15 hours a week. I first bought Logic Pro X and started playing around in October 2016 and I always make sure to put my “music time” near the top of my priority list!
How did you first get into music?
Music has been in my life as long as I can remember. Both my parents love all genres of music, and had a great influence on my musical taste from a young age. They used to brag about the fact that when I was a toddler I was singing Bob Marley and Bob Dylan tunes rather than nursery rhymes. My mom put me in piano lessons when I was five, and my love for music just grew from there! I played piano until I was 12, and then picked up the guitar. The next year, I joined the school band and picked up the saxophone and drums. Around the end of high school and beginning of college, I played in a couple bands, but other commitments kind of took over and we found it hard to find time to meet up. Then came the switch to electronic music.
September 2014, I left for Germany on a 4 month semester abroad. Before them, I had always been into heavier music like Bring me the Horizon, Of Mice & Men, Asking Alexandria (Back when they were all metalcore bands) so the only real taste of electronic music I had was what my younger cousin, Will used to show me. Around 2011, I used to listen to a little bit of Flux Pavillion, and Doctor P and Zeds Dead, but other than that, never really dove into it all that much. During my time abroad, I was convinced by a few newly acquainted American friends to hit up Amsterdam Dance Event with them. So my first electronic show/rave/whatever you want to call it was a stacked lineup of Martin Garrix, Hardwell, Armin Van Buuren, Dash Berlin, Deorro, Dimitri Vegas & Like Mike, W&W, and Wildstylez. That was the show that changed my perception on electronic music. The atmosphere, the energy, everything was mind blowing. I got back to my dorm room in Germany a couple nights later, and instantly ordered myself a beginner level DJ controller (It was the Hercules Instinct or something like that). Sorry for the novel, but that’s the long version of how I got into electronic music.
What makes you want to produce music, what's your inspiration?
Plain and simple, producing makes me happy. Creating/playing music isn’t something I want to do; it’s something I need to do. If people like what I make, that’s even better! Music has always been an outlet for me. If I can turn my own outlet into somebody else’s, it just gives me that much more motivation to keep on working at what I’m doing.
When you sit down to make a track, what's your thought process like?
Typically I have two modes.
1) “Lets make something to rage/party to”
2) “Lets make something that mom will actually want to listen to”.
For those that have listened to my unreleased tracks (and to some extent my released ones), you’ll notice a pretty significant contrast between some of the music that I make.
From there, my thought process typically goes like this:
1) What BPM is this track going to be. 9/10 it ends up being between 145 and 155.
2) Play some piano and make chord progression that I like.
3) Think about how I’m going to make this track different from the last one
4) From there I work in a pretty linear fashion. Intro -> Build -> Drop -> etc
5) When the first version is done, I usually look back at it and think about how I can beef it up, or make it more catchy/exciting.
6) Think about where I might put it in a DJ set, and fine tune it based on that
What do you want listeners to experience when they hear your music?
I don’t think there’s a specific emotion that I’m aiming for, some of my songs are smooth and calm, and others are explosive and hectic… But basically, if listening to one of my songs makes a listener's day better in any way at all, I’m happy with that! Firstly, I hope people just have a good time listening to them. However, with this being said, As I mentioned above, music has been an outlet for me for a long time. There are so many songs that I tie to specific memories throughout my lifetime, it’s almost like they act as time capsules. Example: Illenium remix of Don’t Let me Down instantly brings me right back to being at Ilesoniq 2016 in Montreal. Silvio – Bob Dylan, immediately brings me back to jamming out with my dad as a kid in his old ’95 Subaru Outback. I guess that’s what I want people to experience. I hope people have an easier time holding onto memories by having my music tied to them.
What are your goals for the next year?
My goals for 2019 include releasing an EP, playing a big festival, and just continuing to make music that I enjoy.
Is there anything you want to say to the fans ahead of this release?
Thank you to anyone who’s taken the time to support me. Whether it’s taking a minute to listen to my tracks, buying a ticket to a show, sharing my posts on social media, etc, I appreciate you.
Also… Make sure to have the contact information of a good massage therapist; your neck will thank you.
Soon anybody will be able to upload their music to Spotify, but why are they opening the doors for anybody to get their work onto the platform?
You may have heard by now, but Spotify announced some big news this week that’s sure to have lasting ramifications on the streaming industry. In the coming months the Swedish music streaming service will roll out more features for their “Spotify for Artists” platform. The main attraction in these new features is the ability for anyone to upload their own music to Spotify instead of having to go through a third party distributor or label. Some people are calling this the “death of Spotify.” I happen to disagree, and in this article I will discuss why I think this move is a sound business decision and will actually be beneficial to musicians in the long run.
This upcoming feature marks a huge shift in the online streaming service platform market. According to Forbes Spotify has 170 million users, half of whom are paying for Spotify premium. For comparison Forbes states that SoundCloud boasts 175 million registered users, but adds “very few have signed up for SoundCloud Go, the company’s premium streaming offering.” According to the same article Apple Music has 50 million users, but as Apple doesn’t currently offer a free tier of their service this number is roughly comparable to Spotify’s numbers which are augmented by their free, ad supported, users. (Forbes)
To understand this decision one needs to look at Spotify’s position in the market and the company’s business plan moving forward. One concern that I have heard in the days since this announcement is that this will lead to an over saturation of music on the platform. However Spotify already uploads 20,000 new songs to the platform every day, which is no small number. CEO Daniel Ek has said the company’s “goal is to get as much music onto the Spotify platform as we possibly can.” (Music Business Worldwide) This makes sense from a business standpoint as it costs relatively little for Spotify to add additional songs to their catalog, but the more music that is available for listeners on the platform the more time they will spend listening. More time spent listening means more ads served to free users and increased desire for people to upgrade to the premium subscription service.
An interesting way to look at this decision is in comparison to SoundCloud. SoundCloud’s initial monetization scheme was to charge music creators for additional features such as upload time, the “spotlight” feature, etc. and allow listeners to stream for free while being supported by ads. In effect SoundCloud’s target customer was musicians, not listeners. Spotify is taking the opposite approach. By allowing creators, a much smaller demographic than listeners, to use the platform for free they are creating more value for the listeners by offering an increased volume of new music.
It should be noted that this isn’t really a big departure from the current situation. Prior to this announcement there was no requirement to get music onto Spotify other than paying a third party distributor to get your tracks on the platform. Being on Spotify wasn’t “exclusive” in any way other than the extra steps necessary and a minor financial investment. So while there is certainly some risk that there will be a massive increase in music added to the platform, any concern that the quality of the product will be “watered down” now that anyone can add their music for free is unfounded. There was never any quality control that would reject songs deemed to not be “high quality” enough for the platform, and all this change does is remove the middle man. This is a good step in my opinion because it will allow independent artists who may not have been able to afford the distribution fees to get their music onto the platform.
Another concern that should be addressed is that now “quality music” will be lost in the sea of uploads by less refined artists. First of all it should be noted that art is subjective, your definition of quality may not match someone else’s. Secondly Spotify doesn’t have a “feed” where new uploads and reposts etc. are shown chronologically a la SoundCloud. If you follow an artist their new songs will show up in your release radar, and songs by artists that are similar to them will show up in your discover weekly. Additionally Spotify recently rolled out a new submission feature allowing independent artists to pitch their songs to be placed on Spotify’s officially curated playlists. Essentially what I’m saying is that quality music will always rise to the top, and there’s not much room to even come across “bad music” on Spotify unless you purposefully follow playlists that are adding “bad songs” or follow “bad artists”. Obviously, that doesn’t make much sense and therefore I don’t see this being a quality issue for Spotify at all.
What are your thoughts on Spotify’s decision to open up their platform to all musicians? Let us know in the comments and share this article with your friends to get their thoughts as well!
“As pessoas tendem a se perder procurando por um destino” – uma entrevista com Austin Feldman, artista da Gas Money Music.
Nós nos sentamos com Austin Feldman, de Tempe, Arizona, antes de sua estreia na Gas Money Music, para falar sobre como foi crescer fora do berço da house music, as suas primeiras inspirações e muito mais.
GMM: Por que você não começa nos contando sobre você mesmo, de onde você é e como você entrou na música?
Austin: Eu sou de um subúrbio de Chicago chamado Deerfield, era uma cidade de cerca de 20 000 pessoas. Para colocar em perspectiva os sentimentos de minha cidade em relação à música eletrônica, eu tive que implorar para as pessoas irem à última turnê do Swedish House Mafia (One Last Tour), no United Center. Eu entrei na música por causa do meu pai, que quando ele era mais jovem era guitarrista de uma banda. Eu tentei aprender a tocar guitarra no ensino médio, mas não consegui. Queria achar uma maneira de expressar meu amor pela música, então comecei a tocar como DJ em casamentos, Bar Mitzvás e outras festas para ter experiência. Fui em algumas baladas no centro de Chicago, e lá encontrei um amor pela música eletrônica. Eu vim para o Arizona cursar a Universidade do Estado do Arizona. Encontrei aqui a cena musical e comecei a produzir assim que pude.
Chicago é a cidade onde a house music nasceu, você acha que isso interferiu nas suas influências musicais?
Eu não iria tão longe a ponto de dizer que eu sendo de fora de Chicago definiu ou moldou minha influência musical, mas eu definitivamente tive mais oportunidades de estar exposto ao gênero house. Eu gosto de contar uma história de quando tinha uns 16-17 anos e fui ver um artista de Big Room House. Havia alguns outros artistas tocando Chicago House no palco e as pessoas começaram a vaiar esses caras. Eu não estava acreditando, porque para mim, naquele momento, nós não teríamos o Big Room House que fomos lá ver se não fosse por esse estilo de música. E eu comecei a gritar e dizer para os fãs para eles ficarem quietos e apreciarem o house que estava tocando. Bons tempos!
Sobre sua música que está para sair, “BoomTom”, como você a descreveria?
Tons pesados, que fazem “boom”, que dominam a track. Mas, falando sério, essa música veio de mim sendo influenciado pela cena musical brasileira durante um tempo. Esse estilo de house minimalista com graves fortes tem sido algo que eu tenho tentado alcançar por um bom tempo, e estou feliz com o resultado. A música em si tem uma melodia forte, que está lá para chamar o ouvinte, e então o drop chega rapidamente, quase sem nenhum aviso, e vem pesado. Há um termo sendo lançado recentemente chamado "Kick Bass" e acho que ela quase se encaixa nesse termo.
Então, quais artistas você diria que inspiram o seu som no momento?
Bijou, Gerry Gonza, Volac, Chris Lake, Illusionize, Gustavo Motta, Dramaki e agora estou bem na vibe do som do Edson Faiolli.
Quais são seus objetivos para o próximo ano?
Apenas continuarei aproveitando esta jornada. As pessoas tendem a se perder procurando por um destino. Eu quero aproveitar o agora, e fazer isso no futuro. Vou continuar a lançar músicas, e espero conseguir ajudar a espalhar o Brazilian Bass para outras partes do mundo. Eu realmente amo esse estilo e queria vê-lo se expandindo para os Estados Unidos e além. Nós já vimos um pouco dele com o Sevenn, e até quando o Alok tocou no Ultra a dois anos atrás, mas nós precisamos de mais desse Brazilian Bass nos EUA! É como todos os outros estilos de house que amamos!
Nós estamos tendo esta entrevista traduzida para o português para que os fãs brasileiros possam ouvir sua história em sua língua nativa, o que você tem a dizer para eles?
Espero que um dia eu consiga tocar músicas para vocês em seu lindo país! Muito obrigado!
Algum outro pensamento final?
Só quero agradecer a equipe da GMM por assinar essa track. Espero que as pessoas vibrem com ela!
Acredito que sim cara, essa música é uma bomba!
We sat down with Austin Feldman of Tempe, Arizona ahead of his upcoming Gas Money Music debut to talk about growing up outside the birthplace of house music, his early inspirations and more.
GMM: Why don’t you start by telling us about yourself, where you’re from and how you got into music?
Austin: Originally I am from a Suburb of Chicago called Deerfield, it was a town of about 20,000 people. To put into perspective my towns feelings towards Electronic Music, I had to beg people to go to Swedish House Mafia's one last tour at the United Center. I got into music because of my father, who when he was younger was a guitarist in a band. I tried to pickup Guitar in middle school, could not do it. I wanted to find a way to express my love for music, so I started DJing weddings, bar mitzvahs and other parties for experience. I got into some club gigs in downtown Chicago which is where I found a love for club music. I came to Arizona for college at Arizona State University. I found the music scene here and started producing as soon as I could.
Chicago is the town where house music was born, do you think that shaped your musical influences?
I would not go as far as to say that me being from outside of Chicago defined or shaped my musical influence, but I was definitely provided with more opportunity to be exposed to proper house music. I like to tell a story of when I went to see a Big Room House artist when I was around 16 or 17 years old. There was some proper Chicago House openers on stage, and people started booing these guys. I could not believe it, because to me, at that point, we would not have the Bigroom House we where there to see, if not for this type of music. And I started yelling at the fans for some reason and telling them to shut up and listen to the proper house. Great times!
So your track thats coming out soon, BoomTom, how would you describe it?
Toms that boom, dominate the track. But seriously this track has come from me being influenced by the Brazilian music scene over a period of time. This style of minimalistic bass heavy house music has been something I have been trying to get a grasp on for quite a while now, and am happy with the result in this track. The track itself has a heavy lead melody, that is there to draw the listener in, and then the drop is brought on quickly and almost without warning, it comes in very thick. There's a term being thrown around recently called "Kick Bass" and I think it almost fits that term.
So who would you say are some of the artists inspiring your sound at the moment
Bijou, Gerry Gonza, Volac, Chris Lake, Illusionize, Gustavo Motta, Dramaki, really vibing with Edson Faiolli as well right now
What are your goals for the next year?
Just continue enjoying this journey. People tend to get lost looking for a destination. I want to enjoy the now, and do that into the future. For me that would be continuing to release music from this point on, and hopefully help bring Brazilian Bass Music to other parts of the world. I really love this music and want to see it expand to the United States and beyond. We have seen some of it with Sevenn, and even when Alok played Ultra a couple years ago, but we need more Brazilian Bass music in the States! It's just like all the other house music we have grown to love!
We're having this interview translated into Portuguese so that Brazilian fans can hear your story in their native tongue, what do you have to say to them?
I hope one day to play music for you in your beautiful country! Thank you so much!
Any other closing thoughts?
Just want to say thank you to the GMM team for signing this track. I hope people vibe with it!
I think they’re gonna man this track is dope.
Austin’s single BoomTom will be available July 24, 2018 exclusively through Gas Money Music.