Zedd’s ‘The Middle’ smashes Billboard’s Hot Dance/Electronic Songs Chart record for most weeks at No. 1

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Zedd’s ‘The Middle’ smashes Billboard’s Hot Dance/Electronic Songs Chart record for most weeks at No. 1Screen Shot 2018 01 02 At 1.39.22 PM

Why don’t you just meet Zedd…at the top of Billboard’s Hot Dance/Electronic Songs Chart? He’s been there for awhile–28 weeks, to be exact.

Zedd, Maren Morris, and Grey‘s joint hit, “The Middle,” moved into its 27th week atop the Billboard chart, collecting a total of 10.3 million U.S. streams in the week ending August 9, as Nielsen Music reports. The single fronts Dance/Electronic Digital Song Sales for the 25th week, selling 8,000 units.

“The Middle” surpasses formidable occupancies at the top of the Hot Dance/Electronic Songs Chart previously held by The Chainsmokers‘ “Closer,” which peaked for 27 weeks in 2016-2017. Avicii‘s “Wake Me Up!” spent a comfortable 26 weeks in the number one slot in 2013-2014. Not far behind, The Chainsmokers and Coldplay‘s collaboration, “Something Just Like This” logged 25 weeks in 2017, while Major Lazer and DJ Snake‘s “Lean On” enjoyed a consecutive 23 week run in 2015-2016.

“The Middle” now becomes the newest record setting track within the context of the Hot Dance/Electronic Songs Chart with 28 weeks in its rearview.

H/T: Billboard

NMF Roundup: Keys N Krates remix Diplo, Zedd releases ‘The Middle’ remix package, and many more

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NMF Roundup: Keys N Krates remix Diplo, Zedd releases ‘The Middle’ remix package, and many moreOasis17 9 16 17 AJRphotos DA 103

The most important day of every week: New Music Friday. As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed.


Kyle Watson adds a low-toned, mystery-filled house beat to ZHU and Tame Impala‘s seminal “My Life.”

Swedish producers Dimitri Vangelis & Wyman know festival season is in full force as they deliver anthemic-feeling “Phantom.”

The Aston Shuffle give ‘everything they’ve got’ on piano driven house heater, “Everything I Got.”

Inverted alien embellishments make for an eerie take on house, as Malaa returns with new single, “Bling Bling.”

Airy synth work leads to a saxophone climax on Spencer Brown‘s “waves.wav,” taken from Brown’s Illusion of Perfection EP pt. III.

Mandy Jiroux effects rhythmic bliss on vocal-centric new single, “Running Out Of You.”

Autograf add an electronic vibe to Family of the Year’s “Hold Me Down” with their laidback rendition of the original.

Bondax tap vocalist Andreya Triana for this soulful, groove-filled original.

Fabian Mazur leans into future bass-style production in this smooth offering, featuring Nevve on the vocals.

The remixers got the message, and now, on this New Music Friday, they’ve met Zedd, Grey, and Maren Morris in “The Middle.” The remix pack for “The Middle” sees revamps from Maliboux, Curbi, and more.

Spinnin’ Records heavyweights Merk & Kremont add a layer of infectious funk and a heightened bpm count to Addal’s original, “Lies,” making for a spirited rework.

Pucker up, Benny Benassi and Sofi Tukker fans: the two dance music dynamos link up on new single “Everybody Needs A Kiss.”

This Birdfeed Exclusive will have all streamers wondering “Who’s That?” The same-titled EP arrives courtesy of Floridian producer and long time Dirtybird fan, C.H.A.Y.

It’s a good week to be a progressive house fan as Grum and Fehrplay co-release “Spirit” on Anjunabeats, an atmospheric tune that melts from one second into the next.

Diplo, Lil Yachty, and Santigold‘s viscous collaboration “Worry No More” gets the Keys N Krates treatment as the Canadian electronic trio release a chilled-out take on Diplo’s original. Keys N Krates hit sonic sweet spots with a beat swap and the occasional yet effective percussive addition.

Stripped down sonic seduction materializes in mellifluous form on smle‘s debut EP, Love Notes, released on Lowly Palace.

House music fans will find J. Worra‘s Mark The Beast collaboration, “Hourglass” to be a tasty, groovy treat.

As part of Afterlife Recordings’ latest vinyl and digital offering, Italian trio Agents Of Time have crafted “Paradigm,” an ethereal techno original.

Re-envisioning a Markus Schulz production is a formidable feat, but Giuseppe Ottaviani rises to the challenge in his “Safe from Harm” remix, a take that plays the original’s soaring vocal off of the track’s quintessential trance beat.

Vulpey gets electronically experimental on “Recovery Quest,” a track defined by its disjointed construction and resulting edge.

Funky Craig puts forth a trippy take on psytrance in aptly titled new release, “WestPSYde.”

 

Ramon Tapia puts a dark, driving spin on Midmood’s “Sely Ho,” transforming the original into a certified techno thumper with rumbling percussive accents.


Featured photo by Andrew J Rauner Photography

WATCH: Zedd and Maren Morris finally perform their hit ‘The Middle’ together for the first time

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The stars are aligning. After months of radio play ZeddMaren Morris, and Grey’s hit collaboration, “The Middle,” has finally received its highly anticipated live rendition.

On Saturday, April 28, Morris joined Zedd onstage at the OMNIA Nightclub in Las Vegas and absolutely stunned the crowd with her verses, later commenting on Twitter that it was her “first time hearing the song this loud.”

“The Middle” is currently sitting at No. 5 on the Billboard Hot 100, and has been on the charts since its January debut.

2:30 a.m. vibes. @Zedd , you throw a damn good party! : Joe Janet

A post shared by Maren Morris (@marenmorris) on

The genealogy of a hit: the complex crafting of Zedd’s ‘The Middle’ [Watch]

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From his Grammy-nominated Alessia Cara feature to his comparatively more recent release, “The Middle,” Zedd makes music production look easy. The mastered singles that infiltrate radio air waves, though, bespeak layers of complexity that are not immediately perceptible to listeners. “The Middle’s” seamless amalgamation of Maren Morris’ vocals with chord progressions outside of Morris’ country aesthetic effects a smooth pop listening experience that has resonated with many listeners, even those who normally eschew electronic music. Yet the fluidity of “The Middle” masks an intricate developmental process leading up to the single’s official release, one that notably almost never reached conclusion.

In what might arrive as a surprise to fans of the Zedd/Morris collab, “The Middle’s” origins extend well beyond Zedd’s studio. “The Middle” that listeners both know and belt in perfect synchronicity today was originally conceived as a demo by the Monsters and the Strangerz, a Los Angeles studio group and 23-year-old songwriter, Sarah Aarons. Aarons’ name doesn’t appear alongside Zedd or Morris’ on the track, but it was Aarons who would type out the lyrics and melody to “The Middle” on her iPhone. She then headed into the booth to record the demo of the song, which would later fall into the laps of electronic, silver haired duo, Grey. Adding what they call a “medieval axe whipping noise” to the demo — in other words, the sound that you hear in between the lyrics “baby” and “why don’t you just meet me in the middle?” — Grey would then forward the still unfinished track to Zedd.

“They played it for me they were like what do you think, and I thought if done right, this could be a huge smash,” Zedd said of the demo. To be “done right,” the track necessitated the right vocalist, and tracking down the choice voice for the song was quite the feat.  “There were months where we almost gave up, because we couldn’t a vocalist,” Zedd revealed. 14 demo vocalists later, including the likes of Bebe Rexha and Demi Lovato, “The Middle” had found its vocal match in Maren Morris. “I had never heard her music until I heard her demo,” Zedd noted, “I was like who’s Maren Morris? She sounds really good.”

“The Middle” currently enjoys the success that an approximate year of production effort, and a team of “no fewer than eight collaborators” warrants, but as the making of “The Middle” video clearly conveys, crafting a hit single is anything but simple, and oftentimes requires some meeting ‘in the middle.’

Via: The New York Times

Ryan Browne smashes remix of Zedd, Maren Morris & Grey’s ‘The Middle’

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ryan browne

When Zedd, Maren Morris and Grey‘s “The Middle” came out at the beginning of the year, it quickly garnered millions of plays and views across platforms. The sugar-sweet dance/pop original featured Morris’ charming vocals over catchy production from Zedd and Grey, making for a surefire hit for all three artists.

Over the months since its release, countless remixes have surfaced on SoundCloud — but perhaps none as heavy as this latest one from drummer Ryan Browne. Browne has been making a name for himself by doing percussion-infused takes on songs like Krewella‘s classic “Alive” and Alison Wonderland‘s “Messiah.” With accompanying videos to demonstrate the hard work that goes into these remixes, Browne’s multi-instrumental skills shine. His remix of “The Middle” is backed by hefty guitar riffs and bass and is led by a fast-paced drum & bass rhythm. He’s taken the tidy pop elements of the original and worked them into a more rugged, passion-packed remix.

It’s nearly impossible to sit still for this one.

Zedd reconvenes with Grey for first single of 2018, ‘The Middle’

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Zedd

After a 2017 led by the smash success of his double-platinum, Alessia Cara-assisted single, “Stay,” 2018 holds high expectations for Zedd. “Stay” held a consecutive six-week residency at the #1 spot on Top 40 radio in the US, and “The Middle” looks primed to be another contender for the top of the charts.

The track also sees Zedd reprise his collaborative efforts with Grey, the electronic duo memorable for their earlier collaborative work with Zedd on “Starving.” In additon, Grammy Award winning country music singer Maren Morris supplies vocals.

With each successive “Z” stamped single released, Zedd further solidifies his stature as one of the biggest stars in popular music. Morris’ vocal contribution serves as the track’s backbone, complemented by a subtle clock ticking that establishes the underlying beat line while keeping rhythm, percussive elements that aid the song’s eventual ascension, and the metallic synth work that have become characteristic of a Zedd single.

A release situated directly within Zedd’s electro-pop wheelhouse, “The Middle” signifies that Zedd long ago hit his stride in the studio, rendering each ensuing release one that hits just the right sonic sweet spot.