“Rising Star 2010” Beatport 2010
The changing pace at which Thomas Gold’s year has taken shape has been literally breathtaking for the Berlin based artist. Not surprising then that Thomas was quickly snapped up by mammoth recording imprint Toolroom Records, who invited him to join their thoroughbred team of talent; as both a recording artist and resident DJ for their infamous ‘Toolroom Knights’ events alongside the likes of Fedde le Grand and Mark Knight. This strong start hasn’t gone unnoticed on the dancefloor either. 24 months on from breaking through into the international spotlight Thomas has nestled himself into the CD wallets of such luminaries as Axwell, Sebastian Ingrosso, Tiësto, David Guetta, Chuckie, John Dahlbäck and Sander van Doorn, whilst discovering equal support at club level by regularly chalking headlining slots at prestigious venues like Pacha, Privilege and Ministry of Sound.
His year has continued to prevail with similar successes as recent productions like his smash EP ‘Work That / Kananga’ on Toolroom led the download charts for a handful of weeks, before being followed by his collaboration with house supremo Fatboy Slim. Titled ‘Star 69’, the track rapidly ascended the Beatport progressive house chart to claim the #4 spot. His next release saw him teaming up with Italy’s Alex Kenji and resulted in ‘What’s Up’, which released through the legendary Spinnin’ records went onto pick up genre crossing support from the likes of Marco V, Bingo Players, Riley & Durrant, Tocadisco and Robbie Rivera.
Recent months have seen Thomas leading a sleepless existence through a busy production schedule and gruelling tour diary that so far has taken in Brazil, Mexico, Argentina, Japan, India, Dubai, Russia, Canada, America and a host of destinations across Europe. This purple patch in his career has seen some of Thomas’ biggest standout releases and projects come to the fore. Such has been the impression of his music of late that many of his recent productions have found themselves being snapped up by the artist labels of Swedish House Mafia’s Steve Angello (SIZE) and Axwell (Axtone). Australia’s leading house star Dirty South also signed Thomas’ new single ‘Areena’, a collaboration with David Tort and David Gausa, to his Phazing Recordings imprint. However, it is perhaps his third release on Toolroom Records that is causing the most stir among his fans. With a familiar cymbal and snare drum combination creating an hypnotic marching beat, ‘Marsch Marsch’ is an unusual yet arresting track that delivers with a killer piano melody – which explains the reason it has been one of the biggest tracks bubbling in his sets for the last few weeks.
On reflection all this recent success had to stem from somewhere and that point of origin was when Thomas was a curious 7 years old. Taught to play the electronic organ as a child, Thomas soon found interest in digital synthesizers and from here his passion soared. Aged 15 he purchased his first ever piece of studio equipment – a Yamaha DX-11 synthesizer – and has not looked back since.
In three short years Thomas Gold has built an impressive back catalogue. On top of a solo releases, his remix work has been so successful that today his credits read like the who’s who of the global dance scene with names such as David Guetta, Fergie feat. LMFAO, David Tort, Norman Doray, Erick Morillo and Paul van Dyk to his repertoire.
Soaring high with his music has led to further more successes with Beatport; who in 2009 nominated him in their ‘Best Progressive House artist’ category. He eventually went on to win the coveted award for ‘Best Progressive House Track’ for his remix of Delerium ‘Silence’.
The magic you hear in his productions is just as evident in his DJ sets. With a sound that is just at home in the big room environment of a festival or dance arena, as it is in the more personal surroundings of club lands grittier underground settings. It is little wonder then that Thomas’ diary is one that has already taken in many of the world’s best venues such from Pacha Buenos Aires and Cameo Miami to Space and current World #1 club Sankeys in Manchester, whilst touring has seen him circumnavigated the planet with rousing appearances throughout Asia, Australia, Europe, Middle East and North and South America.
Thomas Gold is definitely THE name to look out for in 2011!
Begin Again
Thomas Gold Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sharp teeth letting me know you're there
I sing out like an animal
Maybe we could meet in the middle of the night again?
Every time you look at me
Do you see a light flash before your eyes?
Maybe we are all we need?
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle and begin again?
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle and begin again?
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle?
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle and begin again?
I feel some kind of warning
In my heart like it's alive
So I call out like a prisoner
Maybe we could meet in the middle of the night again?
Every time you look at me
Do you see a light flash before your eyes?
Maybe we are all we need?
So I'm gonna ride until I'm by your side and I say
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle and begin again?
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle and begin again?
Eh-ah, eh-ah, eh-ah, eh-ah
Eh-ah, eh-ah, eh-ah, eh-ah
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle and begin again?
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle?
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle and begin again?
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle?
Eh-ah, eh-ah, eh-ah, eh-ah
Maybe we could meet in the middle and begin again?
The lyrics to Thomas Gold's "Begin Again" are open to interpretation, but it appears to be a song about the end of a relationship and the desire to start fresh. The first verse describes physical intimacy with someone with "sharp teeth," possibly symbolizing the pain that comes with the end of a relationship. The singer is longing for connection, wondering if they could meet in the middle of the night and make things right.
The chorus repeats the phrase "Maybe we could meet in the middle and begin again," which could be interpreted as a plea for reconciliation. The second verse includes the line "I feel some kind of warning in my heart like it's alive," which could represent a sense of apprehension about the possibility of starting over.
The lyrics are evocative and introspective, expressing a desire for a fresh start with someone who may have hurt the singer in the past. It is a song about the complexities of love and the hope for a new beginning.
Line by Line Meaning
Your lips resting on my shoulder
The singer is describing a physical moment where his partner's lips are on his shoulder.
Sharp teeth letting me know you're there
The singer is aware of his partner's presence through the feeling of her sharp teeth grazed on his skin.
I sing out like an animal
The singer describes a feeling of intense passion that is so powerful it makes him feel like an animal.
Maybe we could meet in the middle of the night again?
The singer suggests that maybe he and his partner could have a rendezvous in the middle of the night again.
Every time you look at me
The singer is describing a recurring moment where his partner looks at him.
Do you see a light flash before your eyes?
The singer is asking if his presence is so dazzling that his partner feels blinded by a flash of light.
Maybe we are all we need?
The singer is contemplating if he and his partner are enough for each other.
So I'm gonna ride until I'm by your side and I say
The singer is determined to be with his partner and express himself in person.
Eh-ah, eh-ah, eh-ah, eh-ah
Repetitive vocalization that doesn't carry any meaning.
Maybe we could meet in the middle and begin again?
The singer is hoping for a fresh start with his partner, meeting them halfway.
I feel some kind of warning
The singer is sensing a warning regarding his relationship with his partner.
In my heart like it's alive
The warning he feels is so intense that it feels like a living entity in his chest.
So I call out like a prisoner
The singer feels trapped and is reaching out for help by calling out for his partner.
Maybe we could meet in the middle of the night again?
The singer again suggests meeting in the middle of the night.
Eh-ah, eh-ah, eh-ah, eh-ah
Repetitive vocalization that doesn't carry any meaning.
Maybe we could meet in the middle and begin again?
The singer repeats his desire for a new beginning and meeting halfway.
Maybe we could meet in the middle?
The singer repeats his hope for compromise.
Maybe we could meet in the middle and begin again?
The singer repeats his desire for a fresh start and meeting halfway.
Eh-ah, eh-ah, eh-ah, eh-ah
Repetitive vocalization that doesn't carry any meaning.
Maybe we could meet in the middle?
The singer repeats his hope for compromise.
Maybe we could meet in the middle and begin again?
The singer repeats his desire for a fresh start and meeting halfway.
Lyrics © BMG Rights Management, Peermusic Publishing
Written by: FRANK THOMAS KNEBEL-JANSSEN, MAXIMILIAN SEETHALER, RICHARD DAVID JUDGE
Lyrics Licensed & Provided by LyricFind
Armada Music TV
Anyone knows who's playing the main role in the video? 😉
Kevin Fooken
First wasn't sure if it's a woman...😂
MrGlies
Looked her up. Still have no clue, so I'm guessing she's just another random brat?
Julian Sanchez Harris
Adam Boss Hahahaha
Jacquo Bangalter
Montana Tucker 😍
Ejdm •
Armada Music Woman
Samurai jack
Nice work Thomas.
You're always amazing ♥️
XXIAMELLEXX
Love this song 👏🏻👏🏻👏🏻
OSMOZ
Like several people say "needs a progressive mix" this track will fits perfectly with progressive
Nada Komelj
Top 👍👌🎼🎼🎼