Malaa sent off his collaborative single “Hell” with Koos in early September ahead of the third installment of his Illegal Mixtape series. Now, the masked maven has doubled down on the fiery cut, in turn unveiling six new remixes of the club track. Recruiting a global selection of up-and-coming producers hailing from France to the Bay Area, the remix package garners the likes of Jero, Fatesky, Mazix, Norsheep, Odeeon, and TRST in providing a fresh dosage of sonic bliss.
Each remix delicately re-envisions the G-house themed track into forms primed for festival and party environments. The extensive remix offering renders shades of the deep and monstrous original into the dark, gritty, punk, and deviant. The latest release tacks onto Malaa’s fervent release slate, following his remix of DJ Snake‘s “Trust Nobody,” single “Don’t Talk, as well as his remix of REZZ and Grabbitz‘s, “Someone Else.”
Stream all six remixes of “Hell” below.
Featured image: Rukes
Earlier this fall, innovative electronic duo Bob Moses partnered with Twitch to produce a 70-minute concert film. Creating inspiration out of limitation, Bob Moses took to Topanga Microwave Tower, an abandoned radio tower just on the outskirts of Los Angeles.
Masterfully shot, the musicians climb up a ladder to the highest rung of the tower. Just as the sun begins its descent behind the rolling hills of Topanga, the two arrive at their posts and the music kicks off with fan-favorite “Love We Found.” Awe-inspiring drone shots of the sunset behind the duo are captured as day morphs into night.
Bob Moses eventually work their way down the tower during the set and transitions from the two DJs into their full live band setup. It’s clear from the visuals that the entire production was meticulously orchestrated from top to bottom. Director Owen Brown stated in a press release,
“The film represents the future of live stream-style content, in that it was made over the course of months to be as thrilling to watch as a concert is to attend. With live music not coming back anytime soon because of the pandemic, my goal was to make something at that standard – and I think we’ve come close.”
In conjunction with the film, Bob Moses also released a 13-track live album from the shoot. This includes material from their previous projects Desire, Battle Lines and Days Gone By. Stream the enthralling visual and listen to the full live album below.
REZZ shares thought-provoking visuals for her transcendent single, “Orbit,” released in October. The interstellar video was directed by Joe Karava and produced in conjunction with FACTOR, a non-profit organization dedicated to providing financial support to Canadian recording artists.
The animated 3D “Orbit” visual comes handedly in-sync with the track, featuring REZZ journeying through distant galaxies as she delves into vast realms that are beyond human comprehension. “Orbit,” follows the Toronto producer’s single, “Someone Else” with Grabbitz, her surprise remix of Porter Robinson’s “shehealseverything,” as well as her appearance on Underplayed, a documentary that sheds light on sexism in dance music. Watch the video below.
Featured image: Tessa Paisan
With just one week to turn around an official remix of Dixie D’Amelio’s “Be Happy,” Dillon Francis proves that he thrives under pressure as he submits the first dance take on D’Amelio’s original, joining the ranks of fellow revisionists Lil Mosey and blackbear. The challenge was born from Francis’ recent appearance on the TikTok sensation’s Early Late Show YouTube series, during which D’Amelio interviewed Francis and challenged him to remix “Be Happy” in just one week’s time and later perform it in her backyard.
Needless to say, Francis delivered. In the highly anticipated remix, Francis spins the elatasad-themed track into a jubilant house blend filled with bright piano melodies, bouncy drum grooves, and the original’s lyrically uplifting chorus.
“Be Happy” is the influencer’s very first song and has accumulated upwards of 93 million views, with more sure to come following the release of Francis’ remix. The vibrant rendition follows Francis’ own “Be Somebody,” and his earlier remix of Kito and ZHU‘s Jeremih-assisted track, “Follow.”
Featured image: Rukes
We’re wrapping up on the strangest year of all time—perhaps best encapsulated by a barren winter events schedule and crowds reduced to carfuls of socially distanced ravers. Though, with a hopeful outlook on 2021, deadmau5 is planting his flag in Southern California to cap off 2020 and head into the new year with a grip of shows. The mau5trap helmer has announced five New Year’s drive-in events, doing back-to-back nights for New Year’s Eve and New Year’s Day, followed by a Testpilot outing on January 2 in San Bernardino, with a few days off in between another pair deadmau5 dates in Chula Vista on January 7 and 8.
In conjunction with Insomniac, the first run of events will take place at San Bernardino’s NOS Events Center, followed by a two-night stint at the North Island Credit Union Amphitheater in Chula Vista.
Of course this year deadmau5 hasn’t really let the pandemic stifle his output. He effortlessly made the pivot to streaming content and performances, he’s successfully working the drive-in show model, and he’s managed to release a steady stream of music this year too. Now, he’s prepping to ring in the new year in Southern California, hopefully setting the tone for a much better 2021.November 23, 2020
Fans of Spotify are certainly familiar with the music streaming platform’s Canvas tool, even if they don’t recognize it by name. Canvas is the short video looping tool that allows artists to share animated versions of their cover art, live show footage, or any other kind of video when the song is streamed in the Spotify app or shared to Instagram Stories. Now, as more artists are granted access to the tool in the expanded beta launch that Spotify began rolling out in October 2019, Spotify is launching a coinciding platform aimed at connecting musicians with artists who design Canvas loops.
Hosted by Spotify’s own SoundBetter platform, which is already facilitating new relationships between musicians, producers, mixing engineers, and more, the new Canvas function will give visual designers a place to showcase their art and connect with new clients. Already on-site are talented designers such as Helen Ratner, Ian Eager, and WEWRKWKNDS, who have worked with the likes of Kanye West, Lil Wayne, and Zedd, among others.
The new, connective platform is expected to be of interest to artists who promote their music on Spotify given that the Canvas tool is statistically proven to benefit artists. Spotify data shows that listeners are 145 percent more likely to share a song that has a Canvas video, 20 percent more likely to save it in playlists, and 9 percent more likely to click the artist’s profile page. More information on the new platform is available here.
Featured image: Rob Engelaar
After swapping remixes, Yotto and Cassian have come together to release their first original music as a collaborative unit. Rogue, the duo’s new, two-track EP opens wth “Inter,” a club-ready track filled with complex synth patterns and an undeniable groove. The opener’s compatriot “Grains” utilizes similar synth techniques, but takes a more dramatic approach to melodic house with a bigger build and more emotive chords.
Rogue has been released via Odd One Out, the imprint that Yotto launched just over a year ago, capping off a collaborative release spree on the label that included AVIRA and Lane 8. In addition to sharing the EP, Cassian and Yotto also detailed their creative process for the EP in a comical Instagram post. Stream the two-tracker below.View this post on Instagram
Featured image: Yotto/Instagram
Between a headlining placement on Sable Valley‘s first-ever compilation and an appearance alongside ISOxo for one of Digital Mirage 2’s most talked-about sets, Knock2 is among a select few producers who have secured a favorable 2020. The San Diego phenom is now temporarily stepping aside from the original release ring and putting together another round of white-hot remixes with the delivery of his sophomore knockthisoff volume.
Knock2’s competence on both the house and trap corners of the production scale is unmatched, and the series’ second remix package sees him fluidly tie the two ends together. Supplying at-home DJs with four eclectic revisions, Knock2 wholly justifies how he caught the eye of RL Grime with a handful of meticulous adaptations for BROCKHAMPTON’s “Sugar,” Ty Dolla $ign’s “Ego Death,” Don Toliver’s “Cardigan,” and Kanye West’s “Power.”
Stream knockthisoff pt. 2 in full below or download it for free here.
Featured image: Insomniac Events
BADVOID, formerly known as Notorious CHRIS, has unveiled a dastardly remix of Illenium‘s recent delivery, “Paper Thin.” Released via Barong Family, the Australian up-and-comer’s alternative take on the Tom DeLonge feature presents listeners with a fresh perspective on Illenium’s heartwrenching hit.
Lifting off with quick, permeating drum kicks, the track swiftly glides into DeLonge’s evocative punk-rock vocals. Steadily soaring with a build-up, the break plunges down into a vicious drum ‘n’ bass drop that embodies the original while effortlessly incorporating BADVOID’s grimy yet accessible style.
Garnering support from the likes of Zeds Dead, WHIPPED CREAM, Ghastly, Slushii, and more, BADVOID is quickly ascending the dance music totem pole, and his “Paper Thin” flip exemplifies why. Stream below.BADVOID · Illenium – Paper Thin [BADVOID Flip]
This is a sponsored editorial, selectively curated by Dancing Astronaut’s partnerships team in collaboration with our advertisers.
Featured image: Nick Chilton
Nicky Romero‘s status as a tireless purveyor of progressive house needs no defense, but if ever it did, “Nights With You – Festival Mix” would be on the argumentative frontlines. When “Nights With You” landed in early October, its candidacy for a progressive house self-remix was clear not only to those well versed in Romero’s release history, but also to less-tenured listeners. Evidently, the potential was also apparent to Romero, who executes a return to his roots on the “Festival Mix” of his Universal Music Group debut.
Widely perceived as a stylistic deviation from Romero’s custom, “Nights With You” manifested as a more muted approach when compared with staples such as 2013’s “Symphonica.” Although the 150 BPM-approximating single saw Romero navigate a different sonic path with dexterity, “Nights With You – Festival Mix” is a crystal clear reminder that all roads lead to the timeless, “golden age” sound that put Romero on the map—when he wants them to.
Featured image: Ultra Japan
Toby Romeo, Black V Neck, and Vintage Culture form a triple threat on the short but sweet remix pack for Felix Jaehn‘s “No Therapy,” out now via Universal Music. The succinct collection of alternates provides the re-imaginative platform for the three producers to make their respective impressions, and neither Romeo nor Black V Neck nor Vintage Culture hesitate to do just that.
When the reigns fall into Romeo’s hands, “No Therapy” gets an upbeat, piano-girded reboot. Miami natives Ian Beato and Julian Sacheli of Black V Neck rinse Jaehn’s original in a buoyant brand of house that extends the energetic energy of Romeo’s rework with distinctive flair. Vintage Culture completes the re-imaginative triangle with a four-on-the-floor conversion that channels progressive house in its synth work. Stream the complete package below.
Featured image: Rukes
Near the beginning of 2020, ATTLAS released his massively anticipated debut record, Lavender God, the stunning culmination of a career spanning half a decade. Now, the Canadian melodic house producer is back with his second album of the year, Out Here With You, which ATTLAS describes as “calming, hopeful, and about the small good things we can control and take pride in.”
In addition to the album’s 10 tracks, Out Here With You boasts an impressive visual arsenal. Each and every track on the new record arrives with stunning videos produced by 3D motion graphics artist Cyclo. The diverse music videos showcase tranquil environments layered with effects that give the nature-inspired visuals a uniquely transfixing character. Although ATTLAS and Cyclo (aka Thomas Moore) have worked together before, to date, they’d never collaborated on anything this expansive or cohesive.
ATTLAS and Moore’s relationship took root rather innocuously, Moore disclosed in an interview with Dancing Astronaut. But, before he would go on to forge a creative partnership with ATTLAS, Moore would first take a rapturous interest in music visuals. His enthrallment with the format began when he attended his first deadmau5 show, where the mau5trap head honcho’s fabled cube left Moore awestruck. “I was just mind blown [by] how visuals could really take a concert to like a completely new level,” Moore said. “I remember being at that show and I was like, I have to learn how to make stuff like this, because I saw how much impact you could have on a whole group of people at one time.”
Following his passion, Moore began creating and uploading short visualizers to Instagram, tagging the artists to whom they corresponded along the way. A long-time ATTLAS fan, Moore would go on to produce a psychedelic and luminescent video to accompany the mau5trap artist’s track “Blood Work.” The video caught the eye of ATTLAS, who was immediately impressed by Moore’s discerning taste in visual aesthetic across all of his projects.
“I was humbled and flattered that an artist of his caliber was even paying attention to my work,” ATTLAS said. “Then, it was as simple as reaching out and saying, ‘thanks, you could’ve picked any song in the world and you decided to pick one of mine.’ It was a pretty quick introduction.”View this post on Instagram
From that point on, a friendship slowly formed between the visual and musical artists, who would chat and swap ideas for years before they would ever formally work together. Yet, when ATTLAS’ debut record, Lavender God, required music videos, Moore was the natural choice for the job.
Moore and ATTLAS began with Lavender God‘s first single, the swirling and foreboding “Sinner Complicated.” As they began fleshing out ideas for the track’s visual companion, Moore and ATTLAS settled on a video that would conceptually cut between two styles of juxtaposing imagery. One part of the imagery would focus on hyper-real scenes with a subtle sense of the otherwordly; the other would focus on imagery that was obviously unreal by design. A third element of kaleidoscopic bursts would visually break up these two graphic worlds.
After drafting the story boards, Moore began the painstaking work of creating the digital landscapes. To construct his videos, Moore must place each element into a 3D motion graphics application, meticulously paying attention to everything from the detail in the assets to the digital camera placement in the software. Each part of the landscape has to be constructed—even the light sources—a skill that Moore accredits to his time as a photographer.
“[I’m] really trying to push the boundaries of making something where people question, ‘hey, is this a real image or is this not, is this generated in the computer?’ With ATTLAS’ stuff, I’m like really trying to push the hyper-real realm where it almost feels like it’s real, but feels like it’s a little bit better than reality.”
As if “Sinner Complicated” wasn’t impressive enough when completed, Moore would further up the ante on the visual for Lavender God‘s second single, “Hotel,” featuring MAYLYN. For the comparatively upbeat melodic house tune, the video took a more synthetic style that used tiny particles to produce vibrant color palettes and mesmerizing motion patterns.
“That one was like really gnarly in terms of how it was made. I mean, in [each] scene that you see inside that video, there’s over a million particles taking place. [It’s] very computationally intense to even simulate animations like that.”
The animation for “Hotel,” which required massive amounts of data storage and drawn-out calculation processes, took more than six months to complete. Never one to make it easier on himself, Moore chose to produce the incredibly complex ATTLAS videos in 4K definition. “I decided at the beginning, well, if we’re going to do this, let’s go all the way, and really put something out that can be viewed on any device and just be able to take all of those details in that we’re putting in the time to [include],” he said.
The track “Hotel” came together in part from the visual ideas that Moore presented to ATTLAS. ATTLAS’ music helped guide Moore’s creative process, and in return, Moore’s own inventive ideas provided the finishing touches to ATTLAS’ originals. “It fits so well together,” ATTLAS said of “Hotel,” elaborating,
“The track unfolds and unfurls and curls up and around, and I think visually he was approaching that same sort of thing. You know, there’s the color and the darkness, right? And what you can do with those opportunities and those moments where musically and visually things are shimmering and evolving… like synesthesia, it’s almost an experience like that. Creatively, they’re so linked. You’re gonna write music based on visual experience, and music and auditory experiences are gonna inform the way you approach the visual craft, at least that’s my perspective.”
Several months after Lavender God‘s January 31, 2020 release, ATTLAS returned with “The Night Air Was Cool.” Unsurprisingly, the single came with another Cyclo-made visual. However, this installation in the artists’ established partnership used a new type of animation technique, resulting in a steadier and more soothing experience than its predecessors.
“The Night Air Was Cool” relies on a reactionary software that triggers specific elements of the digital rendering in tandem with the music. While all of Moore’s videos are built with the same 3D modeling techniques, “Sinner Complicated” and “Hotel” cut to different cues with jump cuts in post-production. “The Night Air Was Cool” features no cuts or heavy editing; rather, it depends on the pre-built digital landscape’s live reaction to specific elements of the song.
“I can build a scene and then depending on whatever feed I can generate from ATTLAS, I can take that and start really picking out the notes and then manipulating that whole lot,” Moore said of this alternative approach. “When I’m doing it that way, I’m doing it just off of one track. I’m not having to put stems into it; I’m just generating the final mix down on the track. If we were to replicate that live, we could play that track live and the video live and it still would react live, even if ATTLAS changed notes.”
Before COVID-19 shut down clubs and festivals, ATTLAS and Cyclo had put a lot of thought into what a live ATTLAS show could look like. In particular, they wondered how the musical and visual components could optimally coexist in a live setting.
“We [asked] ‘what does the ATTLAS show really look like if you had the budget?'” ATTLAS said, adding,
“Is it immersive? Is it a club thing? Is it a festival thing? Is it more of gallery space? Do you build a hybrid between some of the bigger energy stuff with something like storyline and then attach a visual aspect to it or does the music almost respond to the visual aspect?
You don’t want to have too much quiet, ambient space if you’re getting booked for a club, but I think if you can captivate the audience visually, you can maybe be a bit braver with some of the musical choices just because you’re supported or reinforced or [even] re-contextualized by the visual component.”
Although clubs and festivals remain on pause, Cyclo’s visuals, which most recently accompany ATTLAS’ latest album, Out Here With You, provide a taste of what the live visuals might have been like. Crafted with the same reactive software used for “The Night Air Was Cool,” the album’s 10 videos are centered around perfect loops of simple geometric themes in serene natural environments. Certain visual components react live to different musical elements.
Moore described the process of making the newest batch of visuals “like taking the song, making an environment that felt like this track lived inside of, and then making that into a visualizer for the song. And that sort of plays off of what the idea that we have for the live show. Just being able to create beautiful visuals that go along with this music that can help transport the viewer to these worlds where it’s bordering a line of reality, but just a little bit off from our reality that we’re living in now. So that’s something that’s very familiar, but then also something new to the viewer at the same time.”
Ask either ATTLAS or Cyclo, and in a heartbeat, they’ll say Out Here With You is a project that they are immensely proud of. The care, love, and dedication can be felt in every corner of the record, from the delicate yet powerful instrumentation to the striking yet serene visuals.
“[There were] definitely a lot of late nights [to pull] this one off,” Moore said. “At the end, I’ve done a lot of stuff this year. It’s been a rough year, but I’ve done a lot of things, and by far what I’ve been most proud of is what we’ve worked on for this one. Even though [there have been] a lot of hours and time invested, it’s worth it because it’s fulfilling to me just because of how much this music means to me and [because of] how closely I’ve worked with [ATTLAS] on this one.”
“I’ve been there since the beginning of a lot of these tracks, and I’ve heard various versions of each one of them, just giving my 2 cents from a viewer’s perspective. You can’t go to a concert now, but [you’re] able to sit back and like listen to an hour of original ATTLAS music and visuals. I think that that’s pretty exciting.”
Featured image: Thomas Moore
In celebration of their debut collaboration “Anything,” Alison Wonderland and Valentino Khan took to the turntables for a special live stream. Dubbed “Anything, Everywhere,” the Mad Decent-hosted set features the prolific industry peers go back-to-back for a high-octane, genre-warping performance.
Both Wonderland and Khan mesh their respective styles as heavy-hitting picks proliferate the one-and-half hour set in an ensuing rollercoaster of psychedelic sonics. The mix journeys from wonky house cuts to hip-hop selects and bass material, running through Boys Noize, Taiki Nulight, Missy Elliot, Travis Scott, Good Times Ahead, and more, while throwing in Wonderland and Khan signatures like “Lost My Mind,” “Bad Things,” “Pump,” and “Deep Down Low.”
Meanwhile, the duo’s curatorial chops also generously welcome the inclusion of unreleased tracks as well as edits and remixes of staples—Gammer remix of Khan’s “Lick It,” RL Grime‘s edit of G Jone‘s “In Your Head,” and Vincent‘s remix of Wonderland’s “U Don’t Know.” With a potent chemistry between the two DJs, the dark party-primed set continuously heats up before culminating in a cinematic finale emulating that of festival closer.
Stream the set below.
On November 16, the Discipline Committee of the Association of Professional Engineers of Ontario (PEO) held a hearing on Domenic Cugliari’s involvement in the June 16, 2012 stage collapse at Downsview Park in Toronto that claimed the life of Radiohead‘s tour technician, Scott Johnson. Cugliari, the engineer tasked with ensuring the safety of the stage, which collapsed an hour before the 40,000-capacity concert was to commence, reportedly assumed responsibility for the event during the hearing, prompting Radiohead to respond to Cugliari’s admission of guilt.
In a statement published to Instagram on November 20, Radiohead wrote,
“Mr. Cugliari has acknowledged in this hearing, his catalogue of errors and the negligence on his part that led to the stage collapse and Scott’s death. These admissions are eight years too late. If the evidence now accepted by Mr. Cugliari had been agreed at the original court case brought against him, @livenation and the contractor Optex Staging, it would have been complete in one day, with a very different outcome and some justice would have been delivered. As it is, Mr. Cugliari has now retired and is seemingly beyond any legal recrimination.”
The hearing on the collapse, which injured three in addition to killing Johnson, follows charges initially filed against Live Nation, scaffolding contractor Optex Staging, and Cugliari by the Ontario Ministry of Labor in 2013. The charges were later stayed in 2017. Read Radiohead’s full statement below.View this post on Instagram
Featured image: EPA/Nigel Roddis
In the digital era, it might be hard to believe that a producer as tenured as Zedd only just recently realized his first Reddit AMA. Nevertheless, on November 18, the Interscope Records signee stopped by r/music to field fan-submitted questions spanning a range of inquiries, including the status of his third studio album, his go-to VSTs, and the artists with whom he’d most like to collaborate. Highlights from the Reddit AMA, which collectively took Zedd’s followers several steps closer to knowing him “Inside Out,” can be found below.
Zedd has delayed his album, lovingly referred to by fans as “Z3,” to a time “when things are more back to normal.”Card
Although Zedd did not specify whether his following could expect the postponed LP to arrive in 2021, whenever the project does land, it’s possible that it could bear Porter Robinson‘s touch. When asked if he and Robinson would “ever make a song together again,” Zedd stated,Card
“Addicted to a Memory,” the Bahari feature from his 2015 album, True Colors, is the most challenging song that he’s made to date.Card
Regarding the advice he’d give “someone just starting out in the music industry,” Zedd urges rising acts to embrace their artistic idosyncrasies, “work hard,” and invest time in their craft.Card
During the first year of his career, Zedd was intimated by the mic, until Skrillex gave him the push that would prompt him to use it.Card
When asked what he is “most proud of” in his career, he wasn’t able to answer the question just yet, but not without good reason:Card
He used to be on a Counter Strike team in Germany.Card Card
Serum is among his five “most used” VSTs:Card
The creative process behind the “complextro” parts in his songs is expectedly complex.Card
Featured image: Rukes
‘Tis the season for hit-making DJs to come together for festive holiday singles. This year’s first Christmas-themed cut is a collaborative effort between Dimitri Vegas & Like Mike, Armin van Buuren, and Brennan Heart. with featured vocalist Jeremy Oceans, whose soulful singing instills the track with a sense of peace and calm throughout. Energy builds as the introduction falls into a euphoric break that could easily find a home on festival stages.
“Christmas Time” is unapologetically commercial-leaning with a side of holiday spirit—a fitting segue into December. While Armin van Buuren and Dimitri Vegas & Like Mike have been known to put out commercial releases, Heart’s technique is unflinchingly hardstyle with little diversion from the genre. “Christmas Time” is the first time the trio of artists have teamed up with one another, out now via Smash The House.
Featured image: Bart Heemskerk
Crankdat‘s 2020 has brought a myriad of heavy hitters and melodic masterpieces from bass stalwart Crankdat. From “BADFUTURE” to “Tell Me” to “Dark Room,” it seems Crankdat hasn’t gone more than a few weeks between releases all year long. This latest tune comes as a big dubstep number tagged, “UNDERGROUND SHIT”—a collaboration with promising rising talent Nvadrz, who has been gaining the coveted support of the Disciple Records crew, among other staple bass music camps.
“UNDERGROUND SHIT,” released via Kayzo‘s Welcome Records label, sees Crankdat and Nvadrz employ their metallic, guttural sound design in a weighty new original that showcases both producer’s best. Utilizing a variety of creative vocal samples interspersed between relentless drops, listeners are taken on a volatile, high-energy ride from front to back. Turn the speakers up high and find something sturdy to hold onto; “UNDERGROUND SHIT” is your newest bass anthem.
Featured Image: Rukes
Kraftwerk will headline Playground Festival, topping the bill for 2021’s event. The Glasgow festival returns next year, running July 30 – August 1, at Rouken Glen Park. The three-day festival commonly hosts a mix of established and new acts, though the first crop of talent announced comes with a heavy dose of venerated clout—as Underworld, Nile Rodgers, and Chic join the legendary German electronic band as the first acts on the lineup. The festival, which was due to take place between July 31 – August 2 this year, originally had acts secured including CHVRCHES, The Flaming Lips, Neneh Cherry, as well as Underworld. Playground organizers say fans can expect the “most eclectic line-up ever seen,” as festival spokesperson Ashleigh Elliott said,
“We are thrilled to bring Playground 2021 to Rouken Glen Park with what we believe is one of the most exciting line-ups ever seen in Scotland. We are confident it will deliver a truly memorable weekend.”
When speaking about Kraftwerk,
“Kraftwerk can be described in the exact same way, their hypnotic synthesizer melodies truly shaped the development of dance music around the world. Their 3D show will be unlike anything our city has ever seen – we have some very exciting plans to make it even more special.”
Kraftwerk’s set on the Saturday night will be a Kraftwerk 3D visual spectacle as it follows the postponement of the 3D 50th anniversary tour amid COVID-19 and the death of co-founder, Florian Schneider, earlier this year.
Boris Brejcha continues a white hot stream in 2020 as he lays down a melodic remix for Theydream’s “Equilibrium” released on his own label, FCKNG SERIOUS. The masked-producer turns up his signature two-step “high-tech minimal” style on the remix, featuring stellar progressions, catchy bass, groovy drums, and hazy melodies.
Swiss duo Theydream also tapped Ann Clue and Frost Moritz Hofbauer for remix duties, along with Boris Brejcha, all offering their own distinct touch to the track. Brejcha’s kaleidoscopic re-imagination of Theydream’s “Equilibrium,” follows up on his two previously released albums, Violet Pill and Space Diver, as well as his Thunderstorm EP, all having landed in 2020. Check out the remix below.
Featured image: Boris Brejcha/Facebook
Ophelia Records continues to harvest talent beyond its roster of established label accolades on Ophelia Presents: Advent Volume 2, the genre-spanning follow-up to the bi-annual EP series’ opener, delivered in May. The robust sequel to Ophelia Presents: Advent Volume 1 coalesces 14 ascending acts under the Advent header such as STAR SEED, who notably provided the introduction to the EP on November 16 with “Heaven,” a number that doubled as their Ophelia debut and Advent Volume 2‘s lead single.
Synonymous with future bass, trance, melodic bass, drum ‘n’ bass, and dubstep, Ophelia Presents: Advent Volume 2 is as stylistically roving as it is textured, with Luke Anders, Fahjah, Exede, Xavi, Paper Skies, VVN, and more making impactful acquaintances on the encore EP. Touting a taste for each palate, Advent Volume 2 can be streamed below.