Spinnin’ the Truth: Copycatism and Martin Garrix’s Stuffed “Animals”


In recent years, dance music has continued to evolve and reach new commercial heights; this has allowed artists to reach broader audiences and achieve higher levels of success.  However, many fear that this commercialism, rather than fuel artistic creativity and facilitate discovery of new talent, has encouraged the growing trend of copycatism. While some say imitation is the sincerest form of flattery, in an industry that relies on the limitless creative energy and encouragement of innovation of its major players, this trend is at best disheartening, and at worst poisonous to the continued growth and influence electronic dance music, just look at Skrillex and dubstep.  Far from disregarded by the general public, copycat tracks can be found at the top of the charts and on main stages.  While there has certainly been some fantastic work coming out of the most recent wave of releases, one cannot help but notice the inescapable presence of mediocre.  In this particular case let’s examine the Spinnin’ Records-released #1 hit “Animals” by Martin Garrix.

What is it about Martin Garrix’s “Animals” that made it shoot up to  #1 on Beatport’s main chart?  Why is it a summer anthem?  Why did Martin Garrix’s single go to #1 when his others haven’t? Is it that much better than his other tracks or any of his contemporaries? In short, no, it’s not. So then what? First, Garrix was able to capitalize on the success of his predecessors by stringing together proven elements to produce the track. To put it simply, the track “Animals” itself fits a formula.  This formula is illustrated clearly in the track’s “drop,” thereby underlining “Animals” uncanny similarities to Knife Party’s “LRAD” or Sandro Silva & Quintino’s “Epic.”  Take this a step further and compare “Animals” to Carnage & Borgore’s smash “Incredible” or the last two GTA big room collaborative bangers in “Hit It!” and “Turn It Up!”  The sonic similarities between these tracks are so glaring that once you notice them, you can’t un-notice them. In effect, he has crossed the line from notable influence, even imitation, to copying.  One wonders how long will it be until the crowds realize that they are being taken for a ride. When will they figure out that main-stage acts have begun to blend together so much so that the same description could be applied to the majority of tracks out there?

Consider that “Animals” is not Martin’s first release, and his tunes have had little impact to date, then consider the success of “Animals.”   Employing the “formula,” while a critical success factor, does not tell the full story. Martin Garrix’s “Animals” currently sits atop the Beatport charts at #1, and as result he has recently been named the youngest producer to ever have a Beatport #1 at the tender age of 17.  With a powerful social media engine, Spinnin’ Records and Martin were able to exploit the public’s thirst for information (and bloggers’ ambition) to leak information and fuel rumors.  This encouraged powerful buzz that only grew as the official release date drew near.  By the time the track released on June 17, “Animals” had been rumored to be a collaboration of a variety of well-known artists, including GTA, Hardwell, and Sidney Samson – despite a lack of substantial evidence.  The teaser was “mistakenly” attributed to GTA and Hardwell, two of the hottest names right now in the larger dance music world.  By even associating the track with two incredibly hot names like Hardwell & GTA, Spinnin’ manufactured the buzz, creating a hype that would have otherwise not surrounded this track.  Essentially, Spinnin’ capitalized on the EDM blogosphere’s tendency to copy and paste other blogs (who got it from another blog that didn’t bother to fact check) and the unfortunately prevailing “report first, ask questions maybe later” attitudes.

Knowing how hard it is to make a lasting break, Spinnin’ resorted to the bait-and-switch tactic to grab attention rather than release anything forward-thinking or of stand-out quality. Building on past failed strategies, this bait-and-switch worked because Spinnin’ ultimately drummed up enough buzz to ultimately outweigh the track itself and as such it became a news item on nearly every blog, making the actual track irrelevant!  With a name like DJ Mag‘s #6 DJ in the world Hardwell attached, Hardwell fans were all hot and bothered like it was the second coming or that they had another “Spaceman” on their hands.  The buzz from Spinnin’s “mislabeling” set off a chain reaction of quick-reacting bloggers and dies hard fans scrambling for info on the rumored Hardwell track.  This sort of fervor illustrates the blindly supportive fans that have become the norm within mainstream dance music circle; this is not dissimilar to the way followers act within a cult.  All Spinnin’ had to do was yell “Kool-Aid!

As rumors continued to flurry, new questions arose and the story begins to get a bit clearer with a look at Martin’s tweets:





In each of the tweets above, Martin went out of his way to tweet at blogs and individuals that their “facts” were wrong and that they should check their sources.  What Martin did not do, however, is claim any ownership over the track at all; by telling a half-truth and saying that “Animals” was not a collaboration, Garrix did not lie about his involvement, but he also didn’t tell the truth.  The series of tweets proves that Martin was complicit in Spinnin’s tactics. As the buzz continued to grow, Spinnin’ eventually confirmed the track as Martin’s, having effectively grabbed the blogosphere and diehard fans’ attention. Now, a week after the song’s release, Martin has been crowned #1, and Spinnin’ is winnin’.

The case of Martin Garrix and “Animals” also reveals a very telling and disturbing aspect of the state of dance music: Why is it that a generic song like “Animals” makes it to #1 and others don’t?  This isn’t a matter of personal taste, but a matter of attitudes towards dance music.  As festivals grow in size and number, dance music has become a generational movement mirroring a concurrent generational shift in the same way album-oriented progressive psychedelic rock did in the 1960s with the baby boomers’ movement. Surely there is dance music with heart, soul, and true creative expression, but “Animals” is nothing like this, and neither are any of the tunes in this article. It’s tracks like “Animals” that emphasize a lack of artistry in current mainstream dance music.  The issue here is that “Animals” and the other tracks listed (as well as those like it) have all done exceedingly well despite a lack of originality.  It is this copycatism that seriously harms the future of dance music and potential cultural impact as a whole. “Animals” and tracks like it are doing little more than masquerading as next-level material with no actual depth or artistry. In reality, they are tawdry examples of producers looking for the shortest possible path to a main stage, a main stage that is destined to collapse if these trends continue. Yes, some of these tracks (even the ones enumerated in this article) are great in that they can destroy a dancefloor, but they’re not timeless and they’re not going to last 10 years.  They fail to push the envelope, diminishing the potential for the innovation that has fueled the growth of electronic dance music to date and as a result the opportunity for true social impact.

  • On Point

    Everything written here is spot on. Thank You.

  • Dennis Kengle

    this is the third time you’re posting about Animals and we’re wondering why it’s so popular?

    • http://www.rockthedub.com/ khal

      Should we not cover what’s new and impacting the scene just to take a more critical stance on things?

      • Dennis Kengle

        you’re spitting in the face of your loyal readers by posting the same content more than once only to come out with a third article arguing that the song is musically nothing special and its success is just the result of exploitive marketing…

        • Jake

          This is spitting in the face of readers? This is the same content? Dennis, did you even read it?

          • Wade Davis

            9 times out of 10 the article never gets read before criticism is made. Great bit here Jake

        • http://www.rockthedub.com/ khal

          Let’s see what we said:

          the first post on Animals was to say “hey this was confirmed to be done by Martin Garrix, not by the other acts they said did it”

          the second post said “hey, they made a good video for this track”

          the third post said “hey look Garrix is the youngest to hit Beatport #1″

          this is the fourth post. i mean how are we “spitting in the face” of our loyal readers? i’d say, if anything, we’re providing a balance: DAD gave you info on a track that EVEN IN THIS PIECE admits that it slays the dancefloor, and had talk about it. we then let you know how the track did. after the fact, we looked back and noticed a trend that we felt compelled to speak on.

          spitting in any reader’s face would have been to ignore our gut instinct and leave well enough alone.

          • Dennis Kengle

            so let’s cover every track deemed a copycat 4x over…

            “In effect, he has crossed the line from notable influence, even imitation, to copying. One wonders how long will it be until the crowds realize that they are being taken for a ride. When will they figure out that main-stage acts have begun to blend together so much so that the same description could be applied to the majority of tracks out there?”

            you realize that you guys as journalists/fans are a part of the very same crowds that you’re speaking of… so not only are you being taken for a ride (via your own words), you’re selling tickets to it as well. as a publication you have to be consistent… covering the same track FOUR times only to conclude that it’s a sham is really damn silly

          • http://www.rockthedub.com/ khal

            show me where “every track deemed a copycat” is being covered “4x over.”

            the onus is on us to report on what’s new and current, as well as give our critical thoughts on the same material if we see fit. people will buy the music if they like it, and choose not to if they don’t. that’s not really our call; but we do have an obligation to speak our minds and point things out.

            you say we’re not being consistent; i say we’re speaking our minds after looking at the situation as a whole. did you consider that we possibly noticed we were taken for a ride, but instead of wanting to neglect it, we chose to speak up?

          • Dennis Kengle

            unfortunately the article reads like an arrogant conspiracy theorist who points a finger at everyone else (spinnin’, garrix, the rest of the blog world) and not so much someone humbled by feeling duped

            and yeah people choose what music to buy but as an edm blog you have a bigger role in what is presented to them, take some responsibility, eh?

          • http://www.rockthedub.com/ khal

            and i’d say that speaking out is taking responsibility.

  • Substant

    Awesome article. Thanks again guys.

  • Joe Katta

    this hits the nail right on the head, great job guys!

  • Joe Schmoe

    I don’t think it is copycatism that will ruin the future of dance music. There are some valid points here. But first off, you’ve boosted Martin’s PR numbers simply by writing this post. Second, you need to take a look at what this track has done for a 17 year old producer. It has given him the exposure he needs as an artist to eventually write whatever the hell he wants whether it be experimental leftfield or mainstream right field. He’s 17 and talented and has a bright future. You called out Spinnin’ for causing buzz by mislabeling the tune. Some would say that was an error, but the industry heads would probably call that an incredible PR stunt. It is 2013, and unfortunately it no longer is 100% about the music. Things rely on branding, marketing and networking. Sure that is a tad unfortunate that it can’t be entirely about the music, but that is what happens when you juice up a scene like dance music. The competition is so high that you need to do MORE than just write incredible music. Martin is talented and I’m sure he’s got much more in store than a tune that follows a trend. At the end of the day, the kids like this song and if you’re writing music that people enjoy that’s all that matters.

    • http://www.rockthedub.com/ khal

      “the kids like this song and if you’re writing music that people enjoy that’s all that matters” is what we’re about, it’s the “It is 2013, and unfortunately it no longer is 100% about the music” that can bother us.

      • Joe Schmoe

        Like I said though, that’s what happens when you juice up a scene and remove it from the underground and monetize it. That is the cycle moving like it always does. You can either get on your board and keep riding or pull away and go back to shore. Music is an art, but it is also a business and that’s where things get iffy. Good article though. I look forward to seeing where Martin takes his career now that he has some serious exposure.

    • insider

      “you need to take a look at what this track has done for a 17 year old producer.” … but it looks like he didn’t the track himself! :)

      • Joe Schmoe

        If that is what you gathered from this article then you 100% need to get your head out of your ass. He’s 17, do you really think he hired a ghost writer?! You think a kid has the money to hire a ghost writer? Incredible how people put that kind of theory together.

        It is not the producers or the the music that makes me lose faith in this scene. It is the idiots on the internet who spend more time talking about music rather than listening to it.

        • Space Ghost

          Well, if you would just use some critical thinking here. HE doesn’t have to HAVE the money. Look at who he is affiliated with. The label he is with [Spinnin'] fronted the money for the ghost production. Let’s be realistic about this, no way he produced this 100% on his own.

          The kid is an investment. They are paying for his image and all the profit he will bring in the future from his age demographic.

          The only fallacious arguments are the ones that conflict with your own.

          • Joe Schmoe

            Labels do not front money for ghost production. This is a well known fact amongst the industry. I’m completely shell shocked that people think he did not produce this on his own. Is it envy? Is it jealously? Is no one really willing to believe that a 17 year old has the talent to produce a decent track that has mass appeal. I mean come on this whole article is based on “copycatism”. If something is so easy to copy, why would anyone bother to push money into it. I’ve seen my fair share of ghost writing. Martin has talent. Let that be known. The ignorant voices of the internet still to this day blows my mind.

            You guys are trashing a 17 year old!!! Wake up and smell the roses. Nearly every person who has said something poor about this kid can’t even fathom what a compressor does.

          • insider

            Can’t wait for the Garrix tut’s so I can learn what my compressor does!! Unleash your wisdom oh great one

          • guest

            stupid haters, hollering about ghost producers for every song that gets big. Just stop lol.. This kid quit regular schooling a few years ago and goes to a school in holland that is for music/music production. He does this hours upon hours a day.. Its not hard to believe that someone this young can make a nice melody, layer some synths and use a percussion sample in a drop! Nobody questioned madeon’s skills when he broke through as a 14 year old. Things like this can happen, there is a such thing as a brilliant kid.

          • whitney

            totally agree, especially with the availability of downloadable software on the internet and kids getting more tech savvy from a young age, it is reasonable to believe that teenagers can produce the same hard-hitting tunes as a 30 year old producer

          • Squilz

            that’s because Madeon’s sound is very unique and identifiable. There’s nothing unique about anything Martin Garrix has ever done.

          • Martin

            You tell em man. Fuck this site! DAD is shit, yeah you heard me your a piece of shit. Hatin’ on a 17 year old just got cuz your an old piece of shit guy with a dead end job as a write. FUCK YOU and your artice

          • http://www.rockthedub.com/ khal

            Writer*, no? And we can’t hear you, this is a written comment.

            Also, you’re not your.

          • real talk

            They picked a kid who has an Alibi. There is NO way a 17 year old producer could get to where he is without connections deep in the EDM scene in europe. He has no stories of poverty or issues with downloading bootleg software.. I respect him because he works.. But it’s too bad people are busting their butts to be able to shake hands and work with tiesto, when this young kid can do all that and more because he’s a golden boy connected kid who knows how to act around other wealthy/connected people. He’s a puppet… Im sure he has ALL the help he needs whenever he needs a sound to be made a certain way. Access to terabytes of samples and synths… the label only needs to spend about 30 grand on somebody to give them top of the line audio production gear.. their other artists can teach him too. Come on, let’s be real.

          • DonttFollowTheDrove

            The big labels have their pool of “ghost producers”. Those guys spit out tracks like every other day and hand it to the label. the managers then decide which track fits an artist of their rooster the best. and sometimes a 17 year old gets lucky because he knows someone who knows someone and is willing to put his name and face under that track.

          • xelpmoc

            clearly he did produce it all by himself you idiot

          • Lumivo

            > all

        • krs1

          He may not have hired a Ghost Writer he may have used an Engineer who could have produced 50% or more of the track with Martin. That happens all the time and it is not that expensive. You see, Martin could have gone in the studio with a more experienced producer and told him what he wanted and the track would have been made by the engineer with Martin present telling him how it should sound. It may shock you to know that this happens much more then you realise in Dance Music and it has been happening since the 80′s. Did you know that Armin Van Buuren’s tracks are actually made by Rank 1? I bet 70% of the top producers across all Dance genre’s use some sort of Engineer when producing music. You can hire an Engineer to help you make a track for prices between £100 – £600 depending on who it is and what your making….although im not saying it is a bad thing and im not saying Martin does not make his own music…im just saying that Ghost Producers are totally different to Engineer’s

          • Ibrahim Ahmed

            Your ignorance baffles me, apart from the fact that you think “70%” of the artists in the scene use engineers is nuts let alone the fact that you think Armin does. Well for your information after Armin released his album “Imagine” he partnered up with Benno De Goeji from Rank 1 not the entire Rank 1 group and they both became studio partners and they have a project named Gaia as well. Everybody knows that Benno is Armin’s partner not “engineer” so get your facts straight and plus Armin has been at it way before Rank 1 was formed and hell even way before Benno started producing.

        • Carlos Rocha

          Actually, Martin was a ghost writer when he was younger, and he showed the file in a studio session, presenting even a file from where he took the melody and the file was from 2 years ago. So no, this isn’t ghost written.

          • cd_solidsnake

            Actually, Garrix can be a talented guy (I’m not saying he is or he’s not). Just look at what Nicolas Jaar did, being so young.

            I guess that he might be a great producer in the future, but for now, he’s too generic.

        • anonymous

          fortunately Martin Garrix is good friends with well known DJ Tiësto


    Nice article guys. For a while now I too have noticed how artists, producers and labels are not copycating but….sticking to a certain formula that inevitably is making the whole genre become nothing but a consistent load of repetitive crap. It never used to be like this years ago…..what we called the house music scene had so many different and exciting sounds, it was more experimental then. Maybe because there was less money involved…i think that is what its all about….money. To guarantee success you can replicate, model or imitate a proven successful product. Its a shame that its what all these labels and artists are doing….when in reality….originality is more profitable and timeless.

  • Miami Marci.

    Incredible perspective.

  • Cyrus

    To everyone worrying that this one blog post will indirectly help Martin Garrix, guys he’s already #1 on beatport, hasn’t that ship sailed? I don’t think we can exactly ignore it into obscurity at this point, so why not talk about it?

    The track is indeed generic and I believe endemic of why more and more EDM fans are turning to “deeper” sounds out of boredom with the “mainstage” acts. Alex Young’s “Mastermind” is an even more rote take on this sound and if you read the comments on soundcloud everyone’s hating on the track for sounding like subpar Carnage (who himself sounds like subpar GTA, etc).

    My only sustaining hope in all of this is that the ruthless nature of the machine will separate the wheat from the chaffe over time. Just look at Dubstep: the big name guys who have expanded their range outside of that style (Skrillex, Zeds Dead, Skream) are thriving while everyone else who rode on that train too long can’t find a way off of it.

  • Hampus Sjöberg

    I see your point but I strongly disagree that it harms electronic music. In my opinion it only just started when Sandro Silva & Quintino released Epic (or I like to point out Chuckie & Junxterjack’s Make Some Noise too), and it all went viral from there, getting influence from these songs and others from GTA and Carnage as mentioned.
    This is just the on-going sound of 2013, talent will continue.

    What’s more disturbing is the mix between vocals and electro-housy sounds. For example Shermanology’s latest single The Only Way, completely destroys the song in the chorus/drop.

  • Shantel

    As a long time electronic music fan, I sincerely thank you for this intelligent article. Couldn’t have said it better myself. This just got DAD a new reader, and I hardly ever look at blogs.

    I’m also tired of the homogenization of dance music recently. One if my favorite things about edm is its creativity, innovation, and it’s lack of hype, marketing, and generic sounds.

    Unfortunately this is creeping its way into our scene. It can be seen in the rise of young and famous producers. They are pushing these mediocre songs saying that its incredible just because the producer is like 17. If a producer makes a great song that becomes big and just so happens to be very young, that’s more than fine (ie Alesso, A-Trak). But when they’re being marketed solely because of their age but their music is not special, it’s very annoying (ie Danny Avila and Martin Garrix). Theirs a reason most of the best producers are older, it takes a lot of time and practice to become really good and reach true success. I guarantee no one will remember who Garrix is in a few years, while we’ll all still be listening to Carl Cox. Talent and innovation lasts, the generics won’t.

    • Riccyg

      Do you think Garrix will be a “one hit wonder” like how you somewhat mentioned in the 2nd last phrase? I kind of agree with you there, but if his image name is big like tiesto, i don’t see why what you just mentioned would be true because we obv. don’t know the future, we cannot predict it (cause if we do, it’s like half-lying becasue we’re saying “oh this will happen” then unfortunately it doesn’t 50% of the time perhaps) so who knows…?

      All we got to know is what “cause” made this strong new wave of producers to arise from out of sky blue and wonder what’s next to happen as cause&effect.

      I agree with you half-half Anything is possible. I’m a dad too. ;)

      • James

        Your a dumbass. He means DAD as in the website not as in parent. Stupid german.

        • blindeye

          Dude. You’re a dumbass. Stupid English.

  • Whatever

    I don’t understand the particular hate against Martin Garrix or Animals, so many #1s were generic, Hardwells Alive Remix sounded like any other W&W Track, used a Super Saw Lead like 10000000 other tracks before and still people loved it, it worked on the floor, so they chose to buy it. And if you find that Animals is a track without heart, soul or whatever, then look again, what it’s made for, and keep in mind, than an artist is free to do what he likes to do. Also, why is so bad if a label and an artist tries to create a buzz for their track? I thank that’s pretty legit. You overinterpret the situation: people choose what they like and an artists like Garrix, who has already got a good fanbase and good selling stuff, makes an absolute banger, following the trend, and creates a buzz, draws people’s attention to his track, so it becomes another great selling tracl and i don’t understan your problem. That track is pretty original, compared to other chart topping records btw. Your taste is your personal matter and it’s different from the artist (look at the support list) and beatport costumer taste, as just proven.

    • http://www.rockthedub.com/ khal

      i’d counter and say if Garrix “has already got a good fanbase and good selling stuff,” why would they need to mislabel/falsely credit his song?

      • Whatever

        Did they? I mean, there is always a way to enlarge your fanbase and make better marketing and uploading a teaser without names and having an exclusive preview on billboard is a damn good idea. I didn’t see that they mislabelled his song.

      • Joe Schmoe

        Why not get exposure to as many people as possible? It’s good PR. The exact same reason this controversial post has spread across the net in 24 hours. It’s a controversial topic that will get everyone riled up and clicking that ‘Share’ button whether they agree with it or not. Isn’t that a tad hypocritical? Or are you just playing devils advocate?

  • Heroic

    Very interesting and well motivated take on an increasingly important issue which we are all confronted with. Not only the described behaviour, but also Beatport’s monopoly on the EDM music market is forcing parties to rely on these tactics in order to get out there…. The question then is; how do we find their successor or substitute? The paradigm needs to shift.

  • Connor

    These songs are all considered “Electro House” e.i. LRAD, Atom, Epic… this is not copying merely just a similar sound. You could say the same about progressive house and many other subgenres of EDM for that matter. I fully support Garrix and love this song.

    • Jake

      Eh, this isn’t really “electro house”, this stuff is more of a cross breed between electro house and progressive, and some cases, even trance. This is more electro house:

      • There some hoes in this house!

        Forget “progressive” house or “electro” house or “main room” house… it’s all about “hoes in this” house! awww yea!

        • khal


    • Squilz

      There should really be a genre specifically for all these songs that sound exactly the same.

  • insider

    it’s a cheesy song with ripped elements… and perhaps not done by m.g. alone. he can really be proud of this “unique” track – it just sounds like thousand other tracks these days.

  • Nightcall

    He kinda ripped of the melody on this track: http://www.youtube.com/watch?v=sirFVlwzpcA

  • Fuckhaters

    just enjoy the fucking music ! track is great , garrix is a great producer, might have some inspiration in other track but who care? Most of the song nowaydays almost all look the same anyway. Enjoy the fucking track , if it’s top 1 on beatport it means people like it ? stop hating, this guy a genious only 17 years old give the guy some credits !

    • lkj

      exasctly.. people are dumb, THeres still really good stuff coming out allll the time! take a simple stroll through soundcloud, I find a new artist with a different style everyday! haha people need to dig more, if the beatport top 10 is all the same so what, find something that suits you better. Just sounds like people are butt hurt that theyre fave artists that do stuff in a more original fashion arent getting credit they deserve, I say to that dont get upset just keep supporting. THis is a trend, itll pass people chill haha

    • Stautis

      Genious is taking it a bit far i think, but nevertheless i think “Animals” is a lot better than the examples it was compared to, but it’s obviously following the same formula, so in a way one could say it should be better as well.

      Still a great song, kind of unnecessary to dig deeper into it, to reveal that it’s a re-used formula.

      • alfredo_ch

        knife party lrad is a much better song btw

    • quip

      “Just enjoy the music.” I hate when people assume people are hating just because they’re haters, and they are out to hate. Everyone’s out to get you, right? No us long time house lovers are not hating just to hate, we’re hating because Martin Garrix is generic, non melodic thus non musical, shit. I can’t enjoy it, it sounds like auditory diahrrea to my ears, and even worse so is the fact that this sort of sound is becoming desired amongst the industry and that’s all I’m hearing these days. Everyone wants to produce the next mono synth dull big room drop now and it’s burying deep any good, quality and true house music rendering it near impossible to find.

  • Dre

    check out Atom by Nari & Milani. Than go on beatport an visit a producer named Jewelz’s page an listen to his top 2 songs as far as sales go.. makin music shouldnt start with a formula, it should start with an idea!

    • Jake

      Definitely considered that as well. It’s a bit different but it falls under the same issue of copycatism and the number of rip-offs of that one is also staggering.

  • Chris

    When I heard the track for the first time the drop reminded me of this hip hop tune… same exact notes, slightly changed



      Holy shit is no one recognizing this!? Hahah this shit is almost exactly the same…wtf?!?

    • All Wrong

      Inspiration is allowed. This is not “ALMOST EXACTLY THE SAME TROLLOL” – invent a piano with more notes then come back here with your chicken shit bullshit. Also, you really think this white european KID listens to Busta? Cmon man.

      • jerriy

        What kind of utterly bigoted, ignorant assenine comment is that? Martin Garrix is a Dutchman, not a hillbilly Redneck American. Of course he listens to Busta Rhymes (an artist which has DOZENS of songs that have charted on the main Dutch Top 40. Besides Busta has collaborated with Tiesto (one of Garrix’s childhood idols). I’m just throwing that out just to let you kno that Euorpe and Busta are not as far apart as you passport-less Yankee think they are.

  • Elliot

    The writer of this article honestly just sounds whiny and scared of change.

    • Jake

      What makes you think i’m whining or scared? Personally, I was a passionate dance music fan long before the EDM era started, and as much as I want it to to flourish and grow, it won’t change my passion.

      • jh

        ITS GROWING DUDE! JUST DIG MORE. Jesus christ! if the beatport top 10 sounds the same to you, dig more and find something that suits you.. theres more talent than ever, bc technology and torrenting has made production something that everyone can give a try, and alot of brilliant stuff is coming out b/c of it. Kids are making great stuff all over the world. FIND it..

        • Jake

          Oh I do…but what’s at the top of the charts still matters in the long-term future, not my personal taste.

  • Tylor

    Honestly i see exactly where you guys are coming from, the only thing is that i feel as though you are throwing him under the bus. If you listen most of these EDM artists they’re all starting to make this big room festival music. Bassjackers – Crackin’ is a song that i hear the similarities you guys talk about. All around a good article and I hope that he comes up with a little more original stuff !


    It’s “minimal” it’s a genre in edm not copying anyone…

  • whitney

    Keyword: mainstream (EDM). Anything that is mainstream fits a formula, because it’s a formula that is known to work. When something is mainstream, it is popular because it is undeniably good or catchy. Since it’s that good many people like it making it well known, thus making it “mainstream”. For example in the movie industry, there are only a handful of movie plots of which movies follow. However it still continues to be a billion dollar industry because it is entertainment. Same thing with music, it is entertainment. Think about it, it doesn’t take much to entertain an incredibly fucked up crowd, who is already hyping on the scene and being at a festival. EDM is it’s own entity now; it is more than about the music, there is now an entire scene and industry behind it. Everyone should just get used to mainstream EDM. Mainstream EDM may lack unoriginality, but dig deep into the underground “EDM” and you will always find originality, creativity, and things you’ve never heard before.

  • I Like Turtles

    This isn’t an incredible perspective at all…..

    Here’s Why:

    First, within the first few lines the article bashes on
    commercialism. Yet “Jake” who wrote the article clearly is a fan of
    Hardwell and Dimitri Vegas (Much bigger artists who he believes are

    Now talking about commercialism lets talk about an
    actual COMMERCIAL Artist like Bruno Mars who recently released his new
    song “Treasure” which might just sound like Breakbot – Baby I’m Yours?
    Or how about the millions of commercial artists who have copied tracks
    that are making millions (don’t make me reference all of them).

    Referencing Skrillex to dubstep?
    Claiming Martin Garrix isn’t unique and that those artists “OWN” that sound. This really sounds like a “bro”
    article to me and by looking at your twitter photo (which you will
    probably change now) I’m getting those “bro” vibes.

    To really compare electronic music and the different genres which you
    refer to “dubstep” and “prog. house” I suggest talking about the
    history of dubstep and how there are so many successful dubstep artists
    over the years yet you reference Skrillex. Wait wait wait wait wait… I’m assuming you didn’t reference other successful dubstep artists because they’re are all “Copy Cats” to Skrillex. Now by saying you merely compared Skrillex because you were trying to relate other people who you think haven’t heard of other dubstep artists, aren’t you as a writer just part of the commercial crowd then?

    What Spinnin did was cleaver and unique. They simply went past the bloggers like yourself. You may not have posted a smaller artist like Martin Garrix because you aren’t as familiar with his music or maybe he hasn’t had enough “commercial success” for you. This is funny to me when Martin’s production quality is just as good as those big producers you reference if not better.

    If you did your research….Martin Garrix is a great producer and has been. He released tracks like “torrent” that went top 20 on beatport overall. How about his Daddy’s Groove – Stellar remix which is an great remix?

    I will leave you with this.

    I can’t wait to hear what’s in store Martin Garrix and his production as he’s only 17. More importantly though, I can’t wait to hear what happens with your love for electronic music “Jake” weather you continue to enjoy all music that artists make or you end up gravitating to artists “that are at the top because that’s what matters” (according to your comment below that’s what you claim).

    • getting those bro vibes?

      You’re getting those ‘bro’ vibes?

  • Robin

    Could the someone please post proof (i. e. screenshot) of Spinnin’ themselves (not some random fanboy) mislabeling this song before release? The ‘Hardwell & GTA’-version that spread before release (http://www65.zippyshare.com/v/68301812/file.html) sounds like an obvious home made bootleg made from ripping the youtube preview that Spinnin’ posted early before release. This makes me believe that the ‘Hardwell & GTA’-rumour wasn’t spread by Spinnin’ themselves but some random fanboy who wanted attention.

    Also, about the copycat-issue: the author must have been living under a rock if he hasn’t noticed this before ‘Animals’. The “massive kick + one cool, heavily reverbed sound”-formula has been going on a long time now (for instance ‘Kenneth G – Bazinga!’) and everyone is following it. ‘Incredible’,’Hit It!’,’Turn It Up!’ and ‘LRAD’ are works of “copycats” as much as ‘Animals’ is but all of them are amazing songs! Saying that ‘Animals’ as a dance track doesn’t deserve cred as ‘Hit It!’ etc. is unfair and makes the author look stupid. Also i think the line “Garrix did not lie about his involvement, but he also didn’t tell the truth.” is ridiculous since he did tell the truth, it’s NOT his track with Sidney Samson.

    • http://www.rockthedub.com/ khal

      It was labeled that way on their Youtube, which a number of blogs noted. It got cleaned up and now the same youtube embeds are for the properly labeled one.

  • DoDoe

    2 points. Same thing happens in most genres. Look at Hip Hop. Right now it’s dumb downed ratchet lyrics with trap-esque beats. Second, people should stop putting so much weight in the Beatport charts. The amount of singles you need to sell to make the top 10 in Beatport is hardly worthy of the adulation it garners.

  • Olsti

    get your f***ing facts right!
    The formula Martin is using is the typical progressive house “intro,buildup1,drop1,chorus,buildup2,drop2,chorus,outro”. now tell me which track today hasn’t this formula? For sure he has the massive “hardstyle” kick and the percussion mello which he probably was inspired by “epic”. But listen to the build up mello! that synth, those effects, that mastering is way different than any other cheap buildup mellos out there!
    BFAM and my other tracks of Garrix has proven his producer quality!
    Go and bash on other artists using Ghost Producers or loops of sample tracks (Sonnentanz, Knas) befor you call other copycats!
    You’re welcome

    • http://www.rockthedub.com/ khal

      i think you’re confusing structure and making tracks that sound the same. there’s rarely any dance music tracks, regardless of genre, that don’t work with the formula… they risk not being able to get dropped in the mix. and the sound quality/mastering of the track isn’t the issue. i’d HOPE that Spinnin’ or any label wanting to be taken seriously is 100% focused on mastering their tracks correctly.

      i’d say thank you but i’m not sure about what you’ve helped us with…

    • WeQqendi Walver

      “You’re welcome”? wow what an ignorant douchebag, please go listen to your beloved generic “artists”, that was not criticism, that was a fanboy comment.

  • Jaaaaaaa23074

    its still a kick ass song regardless

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  • Zephyr

    Are you kidding me? Fuck everything about that article. First off, we are talking about electronica, a style of music when the average retard hears hardstyle and then downtempo, and claim it all sounds the same. When you get within the same genre of EDM, such as Quintino, GTA, (somewhat) Knite Party, and Martin Garrix, guess what? It sounds the same! It’s only those of us who enjoy and religiously listen to EDM that can appreciate the differences within the same genre. It sounds the ‘same’ because it has the same elements that define that genre. Furthermore, that song, Animals, KICKS MAJOR ASS! I heard that shit on Smash the House Radio #8, and just about shit my pants while writing my final for my half semester summer class because of the pure epiciness of that song. Granted, I can hear the similarities between the songs the author of the article claims are copied and Animals. And even though all of these songs are by amazing artists (except for Borgore which can suck it [prove me wrong]), all the songs suck. These songs have great qualities, but just don’t quite float my boat (LRAD is pretty boss tho). Animals, even if it has been copied and rehashed by Garrix, has capitalized on a sound that stands the hairs on the back of my neck up and is INCREDIBLE. So you know what, if artists’ sounds and styles were ripped to create it? Fuck ‘em. Those artists blew it by coming upon such beautiful euphoric sound and then turning it into a turd. “Incredible” “Epic”, Really? Sounds more like generic hard house cookie cutter bullshit. “Turn it Up” is a way hawt track, but do you honestly think that Dimitri Vegas and Like Mike, who are the better known artists on that track over GTA, are going to play a song on their mix (see Smash the House Radio) if they think it’s a rip off of their song? Fuck no, they play it because it’s raw, filthy, gets the blood pumping and exemplifies the greatness of the genre Dimitri and Mike so much adore. And no it’s not his first release, you know what else kicked ass? Just Some Loops. I wish I had half the talent of this kid at 17, or even at 23.

    • khal

      So basically, you like the song?

    • FukLRAD

      Why the fuck does everyone keep comparing Knife party to Martin Garrix, their music is nothing alike.

      • conks

        The build up to the drop in Animals sound exactly like the build up to the drop LRAD, thus the comparison. Garrix makes nothing that sounds like earlier KP, but then again KP doesnt make anything that sounds like their earlier stuff anymore either.

    • WeQqendi Walver

      nice swearing, OFC you wil never have the talent since you got so little brain, also so much nonsense you wrote there.

  • D

    Its a fuckin good song regardless of any of this.

  • Tom Li

    I disagree 100%. Where did Spinnin’ Records ever claim that this track was by Hardwell & GTA? Sidney Samson? People mistakenly put artists to this track and credit, if anything, was taken away from Martin Garrix.

    And do you know how synths work? Do you understand the complexity of creating each sound? Yes, it sounds like LRAD or Epic, because it’s MINIMALISTIC. It’s a subgenre and style that producers create music to.

    Create a track and then talk about the “unoriginality” of this track. Go play with a synthesizer and come up with the sound of the drop from “Animals”, from scratch, and then tell us that this track should be discredited. Martin Garrix wrote the melody, put together, and EQ’d the track. There’s a lot more than meets the eye when it comes to music production.

    Don’t discredit artists because it simply sounds “similar” or because people assumed that the track was created by somebody else. “Animals” by Martin Garrix climbed the Beatport charts to #1 because of its mass appeal and production quality.

    • khal

      Spinnin’ had it mislabeled on their YouTube page before fixing it.

  • Juan Carlos Ln

    If you watch his live stream he just posted on youtube you can see him producing animals, and many other tracks. This is complete bullshit trying to defame someone. Haters gonna hate & jealous people will always be jealous.

  • ︻╦╤─Simba

    I produce & dj my self and well, I like these kind of tracks yes they’re all the same but i think in the context of a dj set in a mix of other kinds of tracks they do a job, just upping the energy , I myself have made one of these tracks, given it out as a free download and it has been the most beloved song on my soundcloud in a week .. it was fun to make and when i play it people like it. I don’t see what’s wrong with that, all i can blame is the north american public’s inability to be demanding of quality from their artists… and well for producers I’s say it can be a blessing and a curse.

  • Dave’s

    Animals and Dimitri’s “Mammoth” we’re doped up at Paradiso

  • Ryan

    I like this recent trend of house sounding like hardstyle…. personally I want to produce a track similar… but I can see why articles like this are written

  • Carlos Rocha

    How is “Animals” an example of a short path to main stage? Martin used a melody that he had created 2 years ago and then he created a big room drop, by chopping a lot and arranging it .. That’s the hardest way to make a melody, even if it is with a percussion kind of synth.
    I agree with your point of view, I just think “Animals” isn’t a good example. A better example would be all the ghost produced tracks around there. Even “Epic” is said to be ghost produced and it was the one who launched all big room tracks.

  • Smash Gordon

    didnt know this blog was so negative.

    • khal

      is it? we have a lot of love and passion for the dance music scene.

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  • All Wrong

    this is a ridiculous article (1) this song IS that much better than his others (2) he didn’t tell a half-truth, he followed a marketing plan by not giving out the release specs (3) this song is quite unique lol, you serious bro? you’re mad that a label was successful in their marketing? bitters won’t get you far here. why are you making such a good business model on Spinnin’s behalf seem so negative? Or am I reading this wrong?

  • Veronica

    i like the research that went into this, but don’t think this will become a trend or the way of the future. the online hype over will.i.am stealing arty & mat zo’s track is just the beginning of musical “fact checking” in this genre. even baauer got sued for a few seconds worth of samples used in the harlem shake! So artists that produce big hits will be under more and more scrutiny as the genre expands .

  • cerebrus909

    So basically, everything that goes mainstream, becomes mediocre and bland. Well, that’s nothing new.

  • Ghje

    this new generation of copycats is very pleasing to the new dance music fans. basically they’re all of the same age.

    but the more I discover about electronic music, the more I realize there’s better music than this generic music that it’s played at festivals, and better producers.

    these rip offs that are on the beatport charts are basically paid number ones #power_:of_promo

  • lol

    this article is fucking stupid, don’t ever write again

    • khal

      i don’t think that’s how it works.

  • Hid

    It is true, none of the tracks named in this article are original and/or a creative masterpiece. Just look at that mashup by Daleri, showing roughly 15 tracks that all have pretty much the same drop.

    “but they’re not timeless and they’re not going to last 10 years.”

    How much tracks do? It takes a bit more than just a genuinely positive intention to produce a track that will be lasting for over a decade. How much dance tracks from 10 years ago do we remember? BY FAR not a substantial part of what was released back then. wouldn’t you agree that back then too there were copycat-tracks that became a hit, but are long forgotten now?

    It’s how it works in the commercial music industry. Some formula becomes succesful, and immediately dozens of artists will jump on it to have some succes aswel. Eventually, someone WILL produce a track again that is original, creative and pushes the boundaries of dance music AND which becomes a massive hit, and you’ll see the same thing happen over and over again. The more popular a genre gets and thus the bigger its audience, the worse this effect will get, because the more money there is to be made. But it is not like this hasn’t happened before and/or is exclusive to house music. This is how it works everywhere.

    Is it a shame? Maybe, if you value originality a lot. However, if you liked “Epic” it may be a great thing that Knife Party released “LRAD” and Martin Garrix made “Animals”, after all it does give people more material to listen to. If you do mind, however, then just dig a bit deeper into the house scene, as there is plenty of great, original stuff out there anyway.

    • khal

      I think you’re operating from a place of surprise, while we’re in a situation where we see the mainstream hitting EDM now more than ever, and commenting on the trend that’s hitting right now, and will continue to hit because, as you said, that’s how it works. The fact that dude also rose to the top of the Beatport charts, at 17, helps make this situation a bit more interesting.

  • Phil

    this topic was dull back in June, thanks for reposting it months later Khal!

    • http://www.rockthedub.com/ khal

      i hope you continue your constant commenting on how “dull” things are. appreciate you.

  • Dino

    OMG. I think I heard the “amen” break in more than one song!!

  • LT

    cool article but yes the track may not be spectacular but it doesn’t mean you should undermine him. not all popular tracks have to be original and pushing the envelope. sometimes something simple is just that catchy. and of course many tracks may sound similar – if you actually produce you may experience it happening without trying. also, it’s just speculation that he didn’t do it or he did it or who did it. and obviously you can get on beatport #1 through connections just like with anything. and the way spinnin’ ‘marketed’ the track at first is wonderful. there’s nothing wrong with that – it’s smart. actually, this article isn’t saying much but talking down on someone without much facts who has plenty skills.

  • Reckless MC

    You really should ‘Check your sources’ as this guy has been around some of the biggest names in Dutch house music for a couple of years. If you really knew ‘your sources’ you’d know who’s voice it is that says ‘animals’ and who they are affiliated with hence getting the plays out the track deserves. I know 1000000% who’s voice it is as we (me and this artist) are currently working on a project together and I am also doing the warm up for Martin Garrix this coming Sunday in Malia, Crete at Oasis pool party. Come down and listen to him as a DJ and see if Martin really does posses the skills to stay in the mainstream. I know exactly who martin’s affiliated with so have full faith in this young star

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  • jacko

    Animals goes so HARD, stop acting like it isnt that drop that has everyone going crazy. I dont think its standard.. when i first herd it my jaw dropped and i was like, “Who is this?!?!/”

  • jacko

    that sound you’re talking about that is getting “copied” so much is a sound i like more then dubstep, trap or any other edm sub genre. That 808 bass at about 120 bpm and those little mallet/synth sounds.. i love it, and cant get enough. having that said, i WANT people to copy that style because i want as many tracks like that as possible. Supply and demandddd

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  • RGEE
    • Dave

      he makes a basic melody and chords in the piano roll. where are his big room kick samples?

  • Smartfusion

    come and check how hard i work on my melodys on chords ,i try to do something different that what they tell us but is it the truth ,i cant ever be heard because of this commercial shit that want make money quickly seriousely look to avicii song structure fuck we are supporting kids now!!oh my dear yanni help me they call this music!!

  • Smartfusion

    come and check how hard i work on my melodys on chords ,i try to do something different that what they tell us but is it the truth ,i cant ever be heard because of this commercial shit that want make money quickly seriousely look to avicii song structure fuck we are supporting kids now!!oh my dear yanni help me they call this music!!

  • Birte Kock

    confusing….I do not know what to make of it

  • Jay Cotorra

    Go back in time and listen to Busta Rhymes’ 2001 jammie “What It Is”, produced by (2001 and 2013 kingpin) Pharrell and featuring Kelis:

    What do you think? Did this 17 yr-old new European producer sample our man Pharrell?

    • jerriy

      Garrix does admit he took a sample from Busta Rhymes so you can spare yourself all the “thinking”

      • Jay Cotorra

        Of couse he has to admit it. …..people are not stupid, you are what? Talking for him, because as far as i seen your comments, you just talk too much but dont show any proof of what you say. No ofence.

  • Jay Cotorra

    Go back in time and listen to Busta Rhymes’ 2001 jammie “What It Is”, produced by (2001 and 2013 kingpin) Pharrell and featuring Kelis:

    What do you think? Did this 17 yr-old new European producer sample our man Pharrell?

    • Quentin Rodrigues

      OMFG ! Same key, texture, everything… Garrix only added 2 notes or what ?!

      • jerriy

        It’s called sampling. Get a brain.

  • justsomebody

    Could agree with last part where you say ” This isn’t a matter of personal taste, but a matter of attitudes towards dance music. ” as for Martin’s Track you can’t say anything about collab he is the producr of Animals and only he knows with who he collab or no ;) case closet

  • jon

    If something is so easily copied it probably isn’t innovative to begin with. I didn’t hear a single sound in LRAD that was cutting edge. They were just variations of generic sounds used in hardstyle and house.

  • alfredo_ch

    lrad was the first one of this type of edm. I saw this similarity in the too songs right when i heard animals for the first time. i

  • Henk

    If you don’t like his music, don’t post about it. You only make him more famous. Talk about the music you DO like. Moreover, if people like his songs, what’s wrong about that. You go and listen to your ‘alternative’ electronic music and others listen to ‘generic crap’.

    • khal

      “Talk about the music you DO like.”

      1) DAD does that all the time.
      2) If the only convo we’re having is about things we love, we’re missing part of the bigger picture. And truth be told, this piece is more about the situation about the track that if we’ll rock to it.

  • No

    Don’t think the other tracks u mentioned sound like Animals. They’re just different songs..

  • Rob Day

    Interesting article for sure! Really shows the power of media and hype actually has more influence than the song itself. I for one could not believe my fucking ears when i saw that this track hit number 1 on Beatport!

  • 10songsblog

    I find it very problematic that music of any type is turning into a mono genre. And when a songs have no personal voice I get bored. And so when songs all sound the same because of that lack of a personal voice because they are following trends I find it very disheartening. I would like to know how far back Martin has gone is his musical history lessons because if you only look at artists in the past 5-10 years you’re not going to create anything unique because you have no scope of the history of the genre is which you are performing. I do think this is why so much club music is so damn bland the artists haven’t done their history homework.

    I go clubbing in the US (The Bay Area) and I think the music is shite and it does sound the same and the dance floor is empty because the music is shite. I remember back in the 90s going to packed clubs, I also remember that I would NEVER confuse a Thunderpuss track with a Hex Hector track or Hex with Almighty or Almighty with Love To Infinity… But now I can’t even tell the difference it is all so cliche. Or look at New Wave despite some acts trending the genre like a cash cow, you’d never confuse the B-52′s with Joy Division or New Order or Yazoo or PSB. They had distinct images and voices that I really feel is lacking in the club music scene today. You didn’t have “dig deep” as hard to find interesting music. Now you have get a giant oil drill to find a well with any quality music.

    Also I’ve noticed that for just about ANYONE over 25 the music that seems to keep the club pumping the most are the “oldies” club hits from the 90s/80s/70s/ and even 60s will get the room jumping (and Motown was king of coining a sound and making everyone follow the formula). It is really sad as I do like club music and clubbing but much of what makes the dance charts in the US anyway is so formulaic I can predict when the beat will drop, when the chorus will hit and usually when the song will end on a first time listen when not that long ago I used to be surprised on occasion.

  • Alex McIntosh

    It’s called a GENRE of music, several different artists do the same kind of thing in a similar style and sound, but with their own ideas/interpretations… And the result is some Great music!!
    You try and get a mixdown that tight, these guys really know what they’re doing, and to think Garrix is only 17, his mixes are heavy, tune is innovative, sawtooth chords in ur face, badass dance producer… Will be interesting to see where he goes from here

  • SMB

    I work in the industry and can tell you that this has been written by Martijn himself. Fair play to the lad, managing to get a tune big amongst the amount of EDM SHIT that is being produced now is clever.

    • controlla

      you know nothing.

  • Darion

    All this bitching….like this is something new
    For every Tiesto and Paul Van Dyk theres a Richie Hawtin and an Aphex Twin. For every Martin Garrix Playing seemingly the same track over and over in a sold out stadium theres a weirdo in his basement making something that will dictate the future of the genre. When has change in electronic music ever come from the most popular artists? it grows from the underground and the guys who know how to play the game rise to the top. How about instead of talking about how this one track is going to ruin music forever we talk about one of the infinite new tracks that are going to keep the genre fresh.

    • WeQqendi Walver

      what genre are you refering to? because EDM is an ugly blend of the worst sounds you can find in dance music.

  • C.J.

    The first Garrix-produced track I heard was his remix for Christina Aguilera’s “Your Body”. DJ Kue and Varsity Team’s remixes were a hell of a lot better.

  • Noname
  • Jason Nick Porter

    Bottom line is that people just want a beat that they can grind to. Most people don’t care if it’s musical or not as long as it has that wicked drop, bro.

  • James Russel

    Boring article. Who’s to say Animals is any less artistic than 60′s psychedelic rock? They’re both expressions of emotion via sound. Animals is meant to get a club jumping whereas psychedelic rock is meant to take you on a journey. Why should either one be discredited? This article wreaks of personal bias rather than objective observation. Everyone tends to bash these big room house tracks for lacking originality or skill to make them, yet these same people couldn’t create a decent melody with a gun to their head. All music is art to some degree, and it is never easy to make a worldwide hit in any genre….ever. Give credit where credit is due.

  • somethingsomething

    The article is a great read, with that being said it’s nothing more than one of the 100 attempts to “unmask” a EDM artist and also in this case a bit unfair. Let me explain myself.

    I was a big EDM fan back when people would just call it progressive house. After “One” became a hit everything changed. Suddenly all the record company’s realized real money could be made with this genre and even America had to recognize that this was going to be the real deal. From that moment on, the genre became about fame and making money rather than good music. Marketing became heavily involved, they start branding the genre as EDM and many artist (including no.1 dj of the world Hardwell and rising star Nicky Romero) decided to switch up their style a bit and they all sounded more like swedish house mafia by the day. More and more tracks started to sound the same and i lost my interest for the genre. Also ghost producing became more popular than ever. For those who still thing all dj’s make their own tracks; wrong! Ghost producing is as old as house music itself. Don’t think because you listen to techno or some other genre that there are no ghost producers in those scene’s, they are everywhere. But never on this scale. Before you had dj’s like David Guetta (who’s early tracks are produced by Joachim Garraud and some by Steve Angello and Sebastian Ingrosso), Dj Chuckie (Let the bass kick is produced by Silvio Ecomo) and even Tiesto. But now you had all these dj’s who where nobody’s doing the same. So on top of the ghost producer thing, which i thinks is really fake, they started buying these spots in the beatport top 10. Because they bought the spots in the top 10, and more idiots started buying the tracks (just because it was in the top 10), all they dj’s started to play the same music and voilla you got a bunch of marketing made hits. I thought this was fake so i decided to just do something completely different.

    Now lets get back to Martin. So obviously Spinnin bought those number one spots on Beatport allowing Martin to be number one in every country since every dj played the track, since it was number one on Beatport. This is a bit lame indeed but its just what everyone does in the scene. If you don’t like it, get the fuck out the scene like i did and stop focussing on beatport charts. The reason why i think this article is unfair is because Martin is ,despite what you might think, a very good producer. Im from Holland and went to the same school with him. This was a school for upcoming producers and we had to listen to each others music quite often. The teachers did help us out sometimes when things didn’t work out but we had to make all of the track ourself. I remember when Martin (or Marnix which is his real name) came in, he was 16 and had just made his collab with Sander van Doorn i think, and we (the students) al thought is was a hoax, that he had a ghost producer blablabla but the truth is: This kid is just really really good. His track sounded so fat right from the start when he made them. He just got a really good ear for producing. So yes it is true he is the product of a big marketing campaign but he is really talented and was going to make it anyway. So next time if you want to write a article about how a number one dj is a fraud, chose David Guatta ;)

    (sorry from my grammar, im dutch;)

  • Sam

    Hey, I watched the tutorial, and I could agree that that song started out as a piece of crap, but he probably had someone to help him out; the main thing here is that we all give a fuck. If you’re so jealous of this, stop reading these comments and go out and make your own music. If you got the right connections, you can make it big, just like Martin. It’s all about who you know, man.

  • Guest

    Anyone else notice that part of the song also sounds like it was taken from the wanted chasing the sun?

    • Madian Malfi

      yes i did … and i googled up ” animals martin garrix sounds like chasing the sun ” and i found ur comment .. its strange not too many ppl notice that :/ …

  • VAL

    I’ve loved EDM music before is was labled EDM (late 80s/early 90s). And “Animals” really cranks my tank like a V8.. Like I need it right now. I play that mix while I go run or sprint on the track. It amps me up! However, everything this Maestro “Jake” mentions if correct. Its a mainsttream crazy hit! No doubt about it Martin took 5 Lion music hits and formed VOLTRON with it. It was a smart, ceative ( in its own way) commercial, name stage making move of him.. Longivity however; its not! It matter not though because I believe the true creativity of love lived EDM lies within the underground mayhiem. Similar to hip hop. You have your mainstraim artist with zero to no creativity but hace a business itch for popularity, fashion, & $$. And of course our media, commercials, youth does little to assist with this issue. Your underground Gods whom are still making that hearted music, all though may not live in luxury, are still enriched with orginality, creativity, and love for music… ie. Talib, Nas, Madlib, Rakim..just a few to mention.

  • Isaac

    Man this is ridiculous! The edm community is very accepting new tracks from an unlimited amount of new artists. When I read stuff on the internet talking about people not being original, lacking creativity, using fricken presets! Who cares! Stop hating. The guy brought us an awesome track regardless of him using a banger formula, cookie cutter type arrangement. More music to share, he’s inspired many home producers to give what they love another shot. I once saw a vid of this guy accusing avicii of using a ton load of presets…but if an indie rock group uses the same guitar pedal effects as their idols then it’s okay. Music is expression, the more we get to share each other’s ideas the better the selection. If it still bothers you that tracks like animals are floating around well then listen to all edm and well, just retain the stuff you like.

    • WeQqendi Walver

      The mayority of the EDM community are a bunch of dumbasses,which would explain a lot.

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  • guest1

    Hm how does one go straight to Beatport #1? Maybe because the marketing
    plan leaving the teaser for the track nameless is genius. Everyone
    became hyped with the track animals and people were going nuts trying to
    figure out who the artist was. Martin did a terrific job debuting his
    abilities in this way. He is loaded with talent and has a bright future
    ahead of him. Sad that you do not give him credit for his OWN
    track that he REALLY did produce. Just because a track blew up, you think it is”unoriginal” and became so famous, he didn’t
    produce it? You’re wrong. Martin produced animals and hour long YouTube
    videos clips of him explaining how he created the track says it all. The kid
    has always been a computer nerd locking himself up in his room just
    working on improving. Not only has practicing helped him achieve his
    goals but so did his special academy that he attends learning tools for
    production. Either listen to his music and enjoy it or leave
    him alone.

  • Tom


    Very nice to read this !! I totally think this all is true but however, you said he did not claimed the track from the rumors, but he did claimed the track after the release on all illegal content so people had really hard time to download the track for free. The result was that he get more buys on beatport and get a better result.

    Hope this is a little add for the forum :)


  • The one

    Music went bad when it went CORPORATE. EDM listeners are being taken advantage of by big labels. Fcck em!!

  • kinnear
  • Bidoof Racer

    EDM is crammed of the same shit since SWM, Deadmau5 , Skrillex, Hardwell and now the little one Martin Garrix. I just see copycats of copycats, just ear this: https://soundcloud.com/daleri/epic-mashleg

  • Rayn

    From your article it seems pretty obvious you don’t work in the music industry. It’s called the music BUSINESS for a reason. It has nothing to do with art, and everything to do with profit. The best “artists” are the best businessmen and/or marketing experts, and this is nothing new. Just look at Tiesto. He’s not a DJ. He’s a product. And a great one.
    If you worked in marketing you’d know one simple unspoken truth: Most people are inherently “stupid” and need to be told what they want. They will buy, eat, wear, and most importantly LISTEN to music that they consider “cool”. It has NOTHING to do with quality, and everything to do with perception.
    Spinnin’Recs did their job and did it well. They used the internet’s weaknesses beautifully, and should be congratulated for that. The fact you don’t like how easily people can be controlled/swayed/used doesn’t make Spinnin’Recs the bad guys. It just speaks volumes about the state of our culture. You want better music? Get some smarter, more informed listeners.

  • Yorg Liu

    It just really pisses me off when people can just get famous
    by fucking copying others
    seriously,it sound exactly like LRAD

  • Kevmoslice

    theres no truth. If it sounds good, dance. if not, don’t.

  • uhohbro

    NaCl all up in this bitch.

  • PutJakeThroughSchool

    All of you who agree with this are a bunch of snobby, egotistical, brown noser, Euro-dance tech fan boys. In simple terms, you are dumb as the parents that mistakenly had you. First of all, I’d like to address the hardcore Trance, DnB and Hardstyle followers (aka European assholes) who think they have an entitlement to “electronica”, “dance music” or whatever you arrogant fucks want to call it. If U.S.A has no right to alter the sound of today’s electronic music without your annoying inquiry as to what “Dance Music” is, then produce artists that don’t make tracks that sound like prissy, fairy boys, dancing around shooting beams of sprinkle out of their star wands. Trance, with it’s airy synths and recycled lead melodies sounds like a bunch of shit thrown together by a 2nd year music major who thinks it’s exciting to throw around a couple of chords and a bunch of delay and reverb on a track and call it a hit. Trance has no meat, it’s all skin and bones. Nothing exciting, that is why a lot of mainstream media don’t play it. You call it music, in my opinion (as i respect that people can like what they want), I call it forgettable. I’m sure some people like it, but when you annoying little children talk about the history of Dance music and how it’s ruined now; you sound like a bunch of 90 year old, sour-puss, conservatives who won’t listen to anyone because they like the sound of their own voice. Shut….The….Fuck…Up. If you don’t like America’s version of what we think “EDM” should be, don’t turn on the radio, or go to any commercialized festivals. Easy enough. I don’t care what you like and I don’t need a history lesson. You want to preach? Teach a class in the history of Trance and see how many people show up that aren’t just interested in an easy and pointless class. Let America do what it wants…your country of Europe is the one producing a bunch of sell-outs anyways….all the big names are within the confines of European decent. Don’t believe me, okay….Armin Van B. (Dutch), Tiesto (Dutch), Dash Berlin (Dutch), Avicci (Swede)….don’t even get me started on Steve Angello. All big names in American Electronic scene…yet they are all from the origin lands of the assholes who said they in simple terms think they are entitled to “owning” the creation of dance music. All I’m gonna say about that because I know I’ll have to defend myself because some are too proud to admit they have a problem with saying okay we will leave Americans alone.

    Now, for whoever wrote this article is a fucking idiot for saying that Martin is using a formula that is coincidentally similar to the production technique of GTA, Knife party..etc “This formula is illustrated clearly in the track’s “drop,” thereby underlining “Animals” uncanny similarities to Knife Party’s “LRAD” or Sandro Silva & Quintino’s “Epic.” Take this a step further and compare “Animals” to Carnage & Borgore’s smash “Incredible” or the last two GTA big room collaborative bangers in “Hit It!” and “Turn It Up!”
    The sonic similarities between these tracks are so glaring that once
    you notice them, you can’t un-notice them. In effect, he has crossed the
    line from notable influence, even imitation, to copying.”. Im sorry, but again….shut the fuck up. Do you know what music is? People for ages use similar patterns of melodies, percussion, rhythm and instruments. You know why you narrow-minded, uneducated, high-school degree gloating butt fuck? There is a fucking structure! I’m sure you didn’t know that though, since you are not the one behind the decks spinning. Whoever wrote this has probably never studied music in his life. He probably thinks, every song in the world is completely different in every way from one another. Within a category, there are sub-categories. Like lets take Rock for instance. Heavy Metal is not Rock. It is a category of rock. Just like House is a category of Dance music. Animals might have the same formula (i.e. Intro, chorus, build-up, drop…etc) as the other songs you listed above….but best part; so does a majority of almost all categories of Dance music. It is formulated, because human beings need structure in music. You know why jazz and free form improve jazz aren’t huge in most countries. IT HAS NO FUCKING STRUCTURE! The only reason I can think that you are bashing Garrix is because he figured it out. You are still sitting at home, paid minimum wage, trying to make that excuse of an article a gateway to the career you think you might create from spreading your opinion (“expertise” if you really wanna’ seem stupid) on a topic you probably have no clue how to critique. I don’t care how many Djs you have seen. You are an idiot for saying Martin copies other producers techniques in songs. You are basically also saying that all the other artists you listed have created something similar to the others. So essentially if Martin sounds the same as GTA, Carnage, Knife Party…then they all copied each other. Look at this big boys logic…he can write an article and dismiss the validity at the same time. Bet mom is so proud!=)

    This happens every time people get big….Justin Bieber, Lil’ Wayne, Steve Aoki…the list goes on..people being to hate. You have no reason to be saying he is stealing, it has been going on for ages if that is the argument. Hip-hop was created on bootlegs smart-ass. You are just one of the many low-life, butt-plug journalists who think they have a clue what real music is because you are interested in mainstream media. You are in a job that circulates around mainstream media…without Martin and his fame. You probably wouldn’t have a job, fuck face. I can’t wait to hear everybody’s take on my comment. Happy typing conformists!=)

    P.S. As for your tweet evidence…..No one spends enough time (who has a life or career) to explain anything in detail about something that has no effect on their career. You over-think it…..grow up you must be older than 23. Act like it you nerdy twerp.

    Someone who doesn’t care about stupid people’s feelings

  • Scoox

    Every artist eventually proves their worth through their works. Garrix is very young so time will tell, and of course I hope he gets a little more creative in the future.

  • Baryll

    Very annoying article, though there are some points here and there, as a whole it’s annoying.

  • Arnoud van Lieshout
  • dpsttmpst

    I personally feel that mainstream EDM/dance-pop is not the best representation of of electronic music as a whole and serves as a dead-end regression for creativity. These pop EDM guys think they are the only best ones, but they neglect (on purpose?) there is an underground scene that is thriving without the corporate biz.

    Take newschool Goa and progressive psytrance artists for example, they are still creating adventurous soundscapes and continue to experiment. They aren’t signed to corporate labels but don’t care about being rich boys like Skrillex, David Guetta, Hardwell, and Martin Garrix. Yet, they still treated like trash. Even ambient and downtempo artists also don’t get any respect for the evolution of electronic music.

  • ASAD

    People like martin Dimitri Luke etc are the ones who know the hit formula a banger tune that will be senseless won’t have a lasting taste but still artificial people will love it because its artificial that’s what is the biggest problem in electronic music as it has now become EDM(artificial)