WagooMusic

David Holmes is equally film freak, DJ and producer. at the tender age of 15 he began performing as a DJ, with a firm resolve to use only the best that music has to offer.

David Holmes is a Belfast-born DJ and producer with five albums and 13 film soundtracks under his belt. Bands like Saint Etienne, Manic Street Preachers and U2 chose him as a remixer of various singles and his most recent album, The Holy Pictures, has been nominated for the Irish Choice Music Prize, Ireland’s answer to the Mercurys, as well as for the Meteor Awards.

David began DJing at the age of 15 and was responsible for a number of era-defining clubs in Northern Ireland, being one of the first to play techno and house music. His club Sugar Sweet was the first venue in the region for serious dance music.

David released his first solo record, this Film’s Crap, Let’s Slash the Seats, in 1995 and plugged into his most enduring and vital source of musical inspiration – cinema. It is home to the atmospheric and seductive Gone featuring Sarah Cracknell on vocals, which soon received worldwide fame through the remix by Peter Kruder for the K&D sessions.

His 1997 Essential Mix for BBC, a mixture of northern soul, psychedelic funk and hip-hop was voted mix of the year by Muzik magazine. 1997 also saw the release of Let’s get killed. The album featuring snippets of conversations recorded on the streets of new York became David’s biggest-selling album to date and garnered massive critical acclaim (but also harsh criticism for exploiting the almost unaltered classic instrumental of Cargo Culte by Serge Gainsbourg for his track Don’t Die just Yet) and features some of his most famous and enduring tracks my Mate Paul, Rodney Yates and the ever persuasive Gritty Shaker.

2000’s Bow down to the Exit Sign was created as the soundtrack to a not-yet-made movie and featured a unique collection of collaborators including Martina Topley-Bird, Bobby Gillespie of Primal Scream and poet Carl Hancock Rux. The album threw out some classic Holmes material in the shape of Living Room, 69 Police, Jackson Johnson and Hey Lisa.

David claimed new creative ground as part of the band Free Association, and in 2003 David Holmes Presents the Free Association was released. like his solo efforts, the album received commercial and (massive) critical acclaim and yielded the hit Sugarman.

The Holy Pictures, released in 2008, is an intensely personal record about the loss of his parents, friends and life in Belfast, featuring David on vocal duties for the first time.

In recent years however, David’s work for film has flourished. His successful partnership with director Steven Soderbergh was developed on such films as the somewhat underrated ’90s landmark out of Sight (1998) and Ocean’s 11 (2001), and this has continued through sequels Ocean’s 12 and Ocean’s 13. David also worked to create the acclaimed soundtrack evoking the dystopian near-future world of Michael Winterbottom’s Code 46.  

In 2006, David and two friends founded Canderblinks Film and Music, a film production company. In 2009, he worked with Leo Abrahams to create the score for the multi-international-award-winning film Hunger. this and his score for the edgy, contemporary coming-of-age film Cherrybomb were nominated for Best Score in the Irish Film and Television Awards 2009 – Hunger subsequently won Best Score.

David’s next score will be for Knockout, the next feature film directed by his long-term collaborator Steven Soderbergh, starring Michael Fassbender, Ewan McGregor, Michael Douglas and Antonio Banderas. on the international front, David wrote and produced the music for two of the Apple iPhone ads, the first featuring Robert Downey Jr and directed by David Fincher (Seven, Fight Club) and more recently the 3GS Ad Break In (HQ).

Get in the groove with David recorded live at Oxegen 2009, Punchestown, Ireland, for Red Bull Music Academy Radio:

Want more?

The Dogs Are Parading: The Best Of David Holmes

The B-Boys Of Belfast – Red Bull BC one Qualifyer 2011 Fireside Chat With mark Ronson

Film and Cinema on RedBull.com 

October 19, 2011 by Sam Kramer

They called it the devil’s music. Elvis Presley’s gyrations, The Who’s generations, and the Beach Boys’ good vibrations — they were the sound of the youth, loved by all teenagers, hated by parents.

But we called it rock ‘n’ roll. a life-changing genre that slowly evolved into “pop” music, whether it be hip-hop, rap or R&B. it was a type of music you not only heard, but felt. Music was no longer a leisure activity — it became a way to get through your first weeks away at college, a drug to let yourself escape from the rest of the world, a release from your problems with an artist that seems to know the exact same thing you’re going through. it became your life.

And now, after countless new genres that redefined the music industry, there is house music.

it has all the elements. a new, obnoxiously pulsating sound with a beat that only our generation could understand. Parents pull their hair in frustration, while we stand in line for hours to get tickets to an upcoming concert.

only a few years ago, it was still hidden in underground nightclubs and fraternity houses, but now, it’s everywhere.

I must confess, I’m relatively new to house. But I consider myself a music connoisseur; from rap to indie, alternative to electronica — I sit in front of the computer hours at a time looking for new songs with crisp beats and clever lyrics.

if you hear a song that is so irresistible that you stop what you’re doing, type the lyrics into your phone to look up the song later, you know what I mean.

Not only do I listen, I study. I study how The Beatles used different instruments to create a new sound unheard of at that period in time. I read how many different meanings just one bar of Lupe Fiasco’s lines creates, I am in love with the Chili Peppers’ twangy bass guitar that pops and catches your ear like no other band can.

And for a while, I must admit that I rejected house. a couple of my friends started producing music last year and tried to get me into it, but I thought it was lazy, redundant and a sound celebrated only by fist-pumping, gel-haired fools.

But there’s something about it that gets your blood pumping. it creates an energy that, just like when Elvis came out with “Hound Dog,” you can’t help but start dancing. It’s a sound that’s slowly creeping through other genres, making its way in at summer music festivals as more and more people itch for the same, sweet feeling that their friends have told them about.

It’s more subtle than you might think. While the concept of house music has been around for years, it started making its way into the mainstream through popular artists searching for that new sound that you can actually feel.

Black Eyed Peas found it first.

Their 2009 hit “I Gotta Feeling” was produced by French DJ David Guetta, who is now one of the most sought-out music producers with dozens of “mainstream” hits like “Sexy Bitch” and “Club Can’t Handle Me.”

Guetta set the stage for DJs across the nation. House is no longer underground — in fact, it’s not even in the building anymore. Summer music festivals, used to a small bluegrass and indie crowd, are now a spot for electronic-loving fans.

The Electric Forest, once a festival home to jam bands, hosted Bassnectar, Pretty Lights, and Tiesto this summer. The North Coast Music Festival drew in 45,000 fans last September, and of the 62 performers there, 38 of them were house DJs.

And oddly enough, the same indie crowd that you see smoking and listening to Slightly Stoopid and Rusted Root are the ones that love it the most.

Because — there’s no other way to describe it — it makes you feel good.

In a New York Times article last year, industry observer Erik Bradley explained that house’s growing popularity might even be due to the sour economy.

Bradley, a music director at a Chicago radio station, simply put it that “people are just trying to have fun again.”

“They’re looking for uplifting and positive instead of negative and down,” he said in the article.

sorry, T-Swift. Looks like there’s very little room for your break-up stories.

I have to admit it: I was impressed when I heard Avicii was coming to Penn State. I was even more impressed to learn that not only was in at a huge venue like the BJC, but that students camped out for tickets the night before at the HUB and other downtown spots.

Penn Staters: I’m proud. We’ve come a long way from the 2009 Asher Roth concert.

I’m not sure I can place Guetta or Avicii in line with The Beatles (the greatest band of all time, don’t even try to argue with me) quite yet. But I do know that house music isn’t just a fad. It’s here to stay, and hopefully change the scene of music.

It’s time we stopped moping around.

I went to a Bassnectar concert this summer, and my mind was literally melted. Like I could feel my nostrils vibrating. I’m excited to see what Avicii holds in store. I dare you to listen to “Fade Into Darkness” and not fall into a hypnotic trance. No, seriously, press pause on J. Cole or Passion Pit or Jack Johnson — whatever you’re listening to — and give it a shot.

Make sure you have speakers though. this music was not made for headphones.

So what are you waiting for? Get up and dance.

Sam Kramer is a senior majoring in print journalism. she is the Daily Collegian’s Wednesday columnist. Email her at skk5068@psu.edu.

1.RUNNING MAN 2.SHUFFLE 3.KICKS 4.SPIN+KICKS 5.GLIDE 6.EXTREME SPINVideo Rating: 4 / 5

NEW VIDEO COMMING IN NOVEMBER!!!!! DOWNLOAD THE TRAILER ON THE LINK HER speedyshare.com #50 – most Discussed (Today) – Howto & Style global #11 – most Responded (Today) – Howto & Style global #49 – most Responded (This Week) – Howto & Style global #44 – most Viewed (Today) – Howto & Style – South Korea #79 – most Viewed (Today) – Howto & Style – Poland #30 – top Favorites (Today) – Howto & Style global #31 – top Rated (Today) – Howto & Style global this video is to my exgirlfriend but plz comment and rate the video…thanks The Melbourne shuffle is a style of dance, which originated in the late 1980s in the Melbourne underground scene. The basic movements in the dance are a fast heel-and-toe action with a style suitable for various types of electronic music. Some variants incorporate arm movements. The music that early Melbourne shufflers danced to was house music and acid house in the late 1980s. in the early 1990s, as trance music became popular, the dancing style changed to a glide. it regressed to the previous style when minimal house came in. in 2007, the music that Melbourne shufflers typically listen to are hard trance, hardstyle, hard house, psytrance, breakbeat, drum and bass, tribal house and Techno. Although the shuffle dance style could be performed to any genre of music, there is a preference for the 130-150 bpm hardstyle The Melbourne shuffle dance style has remained relatively underground since its birth in the late 80s and early 90s. The term …