The wait for new Flume material is nearly over.
It’s been more than two years since the release of Skin Companion EP 2, and the talented producer has finally surfaced with a major announcement: a new mixtape, titled Hi This Is Flume, hits the airwaves on March 20. In the time since his last release, Flume’s been largely quiet on social media, only surfacing from time to time to share photos of his travels.
At the end of 2018, the Australian producer promised in a tweet that next year he’d “be back in your life,” and now it’s finally time.
this time tomorrow. Hi This Is Flume (Mixtape) pic.twitter.com/Kgx46rRTsF
— Flume (@flumemusic) March 19, 2019
Photo credit: Photo by David Wolff – Patrick/Redferns
Netsky has released a remix pack from his single, “I Don’t Even Know You Anymore,” featuring up-and-coming R&B artist Bazzi and hip-hop icon Lil Wayne as part of his larger Palmtrees & Powerlines project. The four-track remix release showcases Andy C, Montell2099, Nitti Gritti, along with a specialty Netsky Powerlines remix. With an insurgence of energy, the enlisted artists add drum & bass, future bass, and heavier electronic backdrops to the pop, hip-hop, and R&B-leaning original.
RAM Records icon Andy C adds some speed to the original, throwing a drum & bass rhythm with fluttering high-hats, while Nitti Gritti throws cascading vocal chops between bouncing melodic percussion hits. Montell2099 shares a unique pop-oriented take, with a forward-facing bassline that dances alongside Bazzi’s soulful voice. Netsky’s own remix adds a video game flavor to the project, for a final touch in a remix series that adds to the electronic backdrop of the previous original.
Photo credit: Diego Andrade
Up and coming future bass producer, Tommy Leas, better known as PLS&TY, has been quickly ascending through the ranks of the bass scene with his own unique take on the sound. His latest single, a three way tag team with Dutch producer GANZ in the studio and Nevve in the booth, “Motives” is yet another notch on his future bass bed post. The cinematic tale of heartbreak and indifference driven by Nevve’s emotive top line is brought to life by PLS&TY’s molten bass lines and deeply ingrained groove. It’s danceable, but vulnerable, a song as appropriate for solo listens as it is for packed dance floors.
Ah, the jock jam.
Everyone has a special stadium anthem that gets them out of their seat—from Gary Glitter’s “Rock and Roll (Part 2),” and Queen’s “We Will Rock You,” to House of Pain’s classic “Jump Around” and Tag Team’s “Whoomp! (There It Is).” Chief among the jock jams, however, might be Zombie Nation’s inescapable classic, “Kernkraft 400,” which as of March 18, is celebrating it’s 20th anniversary of riling up sports fans everywhere with the buzzing power of 90’s electro.
Kernkraft 400 was released 20 years ago in March 1999 !!!
— Zombie Nation® (@zombienation) March 18, 2019
“Kernkraft 400” came on German electronic outfit Zombie Nation’s debut album in 1999, Leichenschmaus. The track’s origins are deeply rooted in 8-bit computer inspiration, the original melody deriving from a track called “Star Dust,” written by David Whittaker with an SID card. Two decades later and video game music has inspired the rise of some of electronic music’s most revered torch carriers, from deadmau5 to Porter Robinson. The history of “Kernkraft 400” is a strange one though, as the original mix isn’t even the one that has catalyzed the track’s undeniable global ubiquity for the last two decades—a remix of it is.
“Kernkraft 400” didn’t invent the jock jam genre, but it certainly helped define it. And the rest is American pro sporting event history.
Kimpton EPIC Hotel is returning to hosting duties for the 2019 Miami Music Week run, opening its pool to thousands of guests for a full day of enjoyment outside the madness of Ultra. House aficionados ought to be particularly pleased; the entire week beginning Tuesday, March 26, will be filled with the best in the genre, from Claptone to Kerri Chandler. Beyond a star-studded lineup are the brands hosting said talent. Darius Syrossian’s legendary Electric Ibiza party will be landing poolside on March 27, while Repopulate Mars and Defected will also be hosting showcases.
Want to attend all of the EPIC Pool Parties for free? There’s a way to do so for select winners. Enter below for a chance to win a pair of exclusive week-long pool party passes for you and a friend this Miami Music Week!
03.26 – Official WMC Opening Party w/ Kings of House NYC – Louie Vega B2B David Morales (6 Hour exclusive WMC set)
03.27 – Do Not Sleep w/ Carl Craig, Danny Tenaglia, David Squillace, Emanuel Satie, Darius Syrossian, Steve Lawler, Luigi Madonna, Luca Donzelli, wAFF + more
03.28 – Defected w/ Kenny Dope, Todd Terry, Sam Divine, Riva Starr, Monki, Low Steppa, Josh Butler, Jess Bays, Jacky, Ferreck Dawn
03.29 – Repopulate Mars w/ Lee Foss, MK, Detlef B2B Nathan Barato, Michael Bibi, Eli Brown B2B Mason Maynard, Max Chapman B2B Secondcity B2B Huxley, Prok | Fitch, Danny Howard + more
03.30 – Claptone presents: The Masquerade w/ Claptone, Dennis Ferrer, Franky Rizardo, Weiss, Mat.Joe
03.31 – The EPIC Closing Party w/ Kerri Chandler, DJ Tennis, Mathias Kaden, Victor Calderone + more
Tickets for all pool parties are available here.
Photo credit: EPIC Hotel
It’s time to assemble the flock; the DIRTYBIRD BBQ lineups have arrived for each city, and Claude VonStroke has once again assembled a high caliber crew of friends and labelmates to join him on the cross-country adventure. Justin Martin, Will Clarke, Sacha Robotti, and Shiba San are just a few of the names who will be appearing at the BBQ’s stops in LA, SF, Brooklyn, Austin, and Denver.
Food and good music remain the pillars of the DIRTYBIRD BBQs; however, this year guests will have an even more immersive experience throughout the day with the introduction of the Sizzle stage. Campout-inspired activities like bingo, a “Bird Roast,” and more will be hosted, allowing fans a taste of the childhood revival that happens each fall.
Finally, head here to enter a contest to win a pair of flights and tickets to the New York BBQ to spend quality time with Will Clarke.
Bay Area (May 4 – Alameda County Fairgrounds):
Claude VonStroke, Justin Martin, J.Phlip, Christian Martin, Worthy, Ardalan
LA (May 5 – LA Exposition Park):
Claude VonStroke, Justin Martin, Sacha Robotti, Justin Jay, Wyatt Marshall vs Lubelski, + SPECIAL GUEST
Austin (June 1 – Carson Creek Ranch):
Claude VonStroke, Walker & Royce, Christian Martin, Ardalan, Steve Darko b2b VNSSA + SPECIAL GUEST
Denver (June 8 – Fillmore Outdoors) – City Vote Winner*
Claude VonStroke, Christian Martin, J.Phlip, ZDS, VNSSA, + SPECIAL GUEST
Brooklyn (June 16 – Brooklyn Mirage):
Claude VonStroke, Justin Martin, Gene Farris, Will Clarke, J.Phlip, Joeski, Steve Darko b2b Codes
Photo credit: Get Tiny Photography
For two decades, the piano has been Martin Vogt’s forte. He’s been tickling the ivories for the majority of his 26 years and has been releasing under the name Haywyre for a decade this year, incorporating elements of jazz, funk, electronica, dubstep, and more across a wide catalog of music.
In recent years, the classically trained pianist has been particularly fond of creating concept series, first exploring comprehensive themes over the course of a body of work through his Twofold LP series on Monstercat in 2014 and 2016. With a slew of releases on the Canadian label spanning four years under his belt, Vogt has now opted to strike out on his own for the time being.
“[Monstercat] helped me in my career big time, but I wanted to put myself in a position where I’m thinking more independently, and that meant working more independently,” Vogt said.
He began working on a new set of music: a concept series called Panorama that he planned to self-release, but it was “tough to get the ball rolling” at first.
“Seeing the difference between, for example, Panorama: Discover and Panorama: Form has been substantial in terms of reception,” he said, speaking to the first and second parts of the ongoing concept series. “People are more organically engaging with the content. I feel like I’m getting a better understanding of who listens to my music, and that really appeals to me.”
Vogt revealed near the end of last year that the initial Panorama release, Panorama: Discover, was only the first in a set of six EPs that would comprehensively make up the Panorama series.
“I’d been writing a bunch of different music for about two years, so between my album Twofold Pt. 2 and the first chapter of Panorama, I’d been coming up with all sorts of different ideas… everything from six-second loops to full-fledged pieces,” Vogt said. “They were just so different and so all over the place, and I started wondering how to piece it together. After putting some thought into it, I came up with this six-EP series.”
Vogt started sorting the songs into different categories based on how they complement each other, noting the importance of their order and how they guide the listener through the Panorama experience.
“There’s a definite ebb and flow that’s intentional,” he said. “[Panorama] is supposed to be listened to from beginning to end, more or less.”
Vogt kicked off the Panorama series with the release of Discover’s “Tell Me” in mid-November and was met with wild enthusiasm from fans who’d been waiting two years for new material.
The remainder of Discover followed a few days later, spanning from the effortlessly groovy “Stepping Stones” introduction all the way through to a full-fledged jazz number, “Blind Faith.”
Giving fans a few months to digest the new material, Vogt returned in early February to reveal the funk-laden “Let Me Hear That,” which he released with an accompanying one-take music video.
The four-track Form EP saw its official release a few weeks later, at which time he struck out on the Discover/Form Tour. In the weeks since, the tour has taken him across the United States, joined by friends like StayLoose, Balkan Bump, JNTHN STEIN, Jenaux, and K+Lab for select dates.
“Tour’s been very cool,” Vogt said. “It’s been surprising because I haven’t done a headlining tour in a long time. I hadn’t really had a chance to engage with Haywyre fans in this way for at least two years, and it’s been a really refreshing reminder that there are these real-life people that enjoy watching me perform my music.”
Unlike most of today’s electronic and dance music artists, Vogt doesn’t DJ—and doesn’t know how. His performances are purely live and dynamic, giving fans the chance to see how quick he is on the keys up close. On his Discover/Form Tour, Vogt delivers his performance on the keyboard (tilted toward the audience so they can watch him play), keytar, and vocoder-filtered vocals, making for a captivating set from start to finish. His passion for his music and for performing is unmistakable during his live performances as he switches seemingly effortlessly between instruments, showing just how far he’s come over the past decade.
“I’m more in touch with priorities creatively and what it means to me to be a musician… what it is beyond a potential lifelong career, but also what impact I want to have and how I want to be engaging with the people that are listening to my music,” Vogt said.
When he finishes his current tour, Vogt will be getting back into the studio to work the next two parts of Panorama, which he says we can expect later this year. Before that, though, he’s going to focus on some remixes and collaborations that’ve been on the back burner.
“I’ve been working on so much original content that I think it’d be cool to just switch things up for a little bit and work with [artists] I’ve talked with for years,” Vogt said. “It’s going to be exciting to see some of those come to life.”
All of that comes to fruition via the piano for Vogt, which has been the tool he’s been channeling his creativity into long before “Haywyre” was born.
“The piano is the closest thing I have to translating ideas in my head directly into something concrete,” he said. “I don’t have that kind of relationship with anything else.”
Catch Haywyre his remaining Discover/Form tour dates:
The Manhattan U.S. Attorney’s Office will soon begin to auction off Fyre Festival merchandise, in an effort to repay the fraud victims who’ve yet to receive compensation. The premise of the auction’s potential for commercial success lies in the infamy of Fyre Festival—widespread knowledge of the music festival fraud scandal will likely cause the official merchandise recouped by the federal government to become highly coveted collector’s items.
“We have an assortment of the ‘real thing’ Fyre Festival-branded tee-shirts, sweatpants, sweatshirts, hats, wristbands, and medallions,” a spokesman from the United States Marshals Service’s (USMS) Manhattan office told Vulture. “We know that there is tremendous interest in these items in the metro area in particular.”
The USMS will facilitate the auction online, and will distribute the funds generated through merchandise sales to verified ticket purchasers and investors. The profits, however, will not cover Billy McFarland‘s debt in its totality. McFarland famously cheated investors out of approximately $24 million, and a ticket vendor out of about $2 million.
McFarland’s financial victims will receive a percentage of the clothing sales, “based on their respective losses,” prosecutors said. “Our objective always is to get the funds back to the victims as fast as we can in cases where there are victims,” USMS Marshals added.
The USMS will announce a formal date for the online auction at a later time.
Autograf have released the debut single from their forthcoming Love and Retrograde EP, which is due to be released in full this summer. It is the group’s first EP release in three years, and the debut track is titled “Hold Me Back,” featuring stunning vocals by John Splithoff. The group has been teasing the track for quite some time now, and the track proves to be well worth the wait.
“Hold Me Back” is a groovy song exudes warmth, making it a perfect tune to carry listeners out of the cold winter into spring. Splithoff’s soulful vocals build the release into a mixture of eclectic and vintage synths paired with an upbeat drop. The track is out now on ALT:VISION.
No stranger to crafting genre-warping productions, visionary Mat Zo continues to stun with his newest Mad Zoo release, Tracing Steps. A master of both construction and exploration, the UK artist has traversed through trance, drum and bass, techno, dubstep, and funk—all while maintaining a sound that’s distinctly his. Fans of Damage Control will revel in Tracing Steps, which Zo notes as a return to his earlier work.
The four-track EP packs a heavy punch with each track clocking in around six minutes of listening goodness and featuring an extended version of “Deep Inside,” the single released earlier in March. Diverse yet saturated with classic Zo sounds, Tracing Steps channels a progressive structure overlaid by a complexity of futuristic synths, distortion, and nostalgic bells. From the awe-inspiring “Tracing Steps” to the dark groove funk of “Lust,” Zo exhibits an artful control of stylistic storytelling. In his work, Mat Zo delivers anything but the standard, once again championing a soundscape unlike any other.
Five years in electronic music can often feel more like fifteen. The breakneck pace by which our culture moves, develops, and evolves these days makes a half decade gap feel more like a lifetime for Skrillex fans celebrating the five year anniversary of Recess today (March 18). The album’s release date is often contested, as the LP arrived in perfectly quintessential Skrillex fashion—leaked early through a cell phone app posing as an intergalactic video game. No matter how or when the record arrived, it undoubtedly changed the electronic landscape and set Skrillex on a crash course for pop super stardom.
Sonny Moore’s debut LP under the Skrillex moniker came well after he had already established his Grammy Award-winning sound, though the album is really what planted Moore’s flag as an electronic trailblazer that was here to stay. The record was a carefree electronic thrill ride that featured a budding Chance The Rapper, a preview taste of the oncoming k-pop tidal wave with G-Dragon, CL, and Diplo, and a healthy dose of heavy dub appeal from the Ragga Twins. Infectiously aggressive yet in touch with its dance-friendly roots, Recess culminated in what many still believe Skrillex’s finest body of work to date.
In the years since Skrillex’s debut studio LP, his list of credentials has outgrown the confines of electronic dance music in remarkable ways. He’s gone on to produce for the world’s greatest pop stars, from Justin Bieber to Mariah Carey. He’s tackled movie soundtracks, linked with rappers, produced an entire joint album with Diplo, and grown OWSLA into one of the country’s premier electronic imprints.
Now, after a much-deserved year off for his 30th, Skrillex is starting to push the pedal to the floor once again in 2019, and though he’s coyly dismissed rumors of a sophomore album recently, something about this year feels like a full circle return for Sonny Moore. Whether its a full fledged follow up to Recess or not, a trove of new Skrillex music seems like it’s ready to be heard by the world. In the meantime, revisit his beloved debut LP below.
The tacit suggestion in the official music video for RL Grime and graves‘ “Arcus” would be “expect the unexpected.” With its dimly lit shots of snowy outdoor scenery and suspense-ridden narrative, the visual component directly complements the somber titillation of the trap-infused single. Directed by Arnaud Bresson, the video chronicles a group of friends’ experiences with the occult.
Shots fire from the mere fingers of the video participants, while others take on different supernatural abilities, to levitate, stand sideways, and at one point, appear completely translucent in bodily representation. The video has a firm command of the eerie, as cards scatter on the concrete, rain falling in a spectral haze at video’s end.
Photo credit: Rukes
Each week, New Music Friday sweeps through with torrential force, showering streaming platforms with immeasurable amounts of new tunes. Just like Dancing Astronaut rounds up 25 of the biggest songs of the week for the Hot 25 Spotify playlist each New Music Friday, Lunar Lunes serves as a landing pad for SoundCloud users who want a whole new dose of tunes to kick off the work week.
Dr. Fresch and Sinden grind out a groovy house number, “No Good,” released via Insomniac Records. Mat Zo‘s four-track Tracing Steps EP has arrived, kicking off with a cheery track that shares its title with the EP. Louis The Child have released a remix EP for Kids At Work, which includes a blissful rework from Win & Woo. Half An Orange have revealed part one of their Mostly We Grow EP on Monstercat, which is stacked with diverse tracks like “Buzz Lightyear,” and Stephen returns after almost a year with the it’s too much love to know my dear EP. AC Slater and TS7 cook up a ferocious house number on Night Bass, and Syn Cole shakes off the winter blues with a sun-soaked funky song, “Horizon 83.” Showtek encourage fans to listen to their mothers in their new collaboration with Leon Sherman on Skink. Teminite and Whales have composed an anthemic dubstep heater, “Mayhem,” and Young Bombs have unveiled their debut original track, “Starry Eyes.” Crankdat welcomes fans to the jungle in a dramatic new release on Welcome Records, and DNMO taps Noy Markel for a bass-fueled Deadbeats release, “No Way Out.”
The selection is updated every Lunes (Monday).
Belgium is a breeding ground of class talent, and Kolombo is one of those keeping the country at the top of its game. The veteran producer maintains a staunch commitment toward experimentalism and sonic evolution, building a vast and diverse catalog across a number of aliases that has led to his work being heard in a variety of settings. As a DJ, Kolombo draws upon his multitude of influences to craft carefully laid-out, unique journeys with each set that play perfectly to each venue he plays at.
With this in mind, Kolombo makes for a perfect Radar contributor. He’s submitted a spirited one-hour house mix, whose deep grooves, smooth transitions, and cheery track selection make for an uplifting listen. Listen closely, and his newest track off DIRTYBIRD‘s 2019 Miami Compilation, “O Ride O Ride,” which features a timeless mashup of classic rave elements and elrow-esque levels of quirky editing. Pre-order a copy of the compilation here, and make sure to keep watch on Kolombo as he continues to climb the house ranks.
Flume is back, but in a different medium: video. The pioneer of future bass released two documentaries on Apple Music, Flume: When Everything Was New, and Sleepless: The Story of Future Classic. Each outline the last six years of the producer and DJ’s life, with one focusing on the individual’s journey and the other showcasing the rise of Future Classic, the imprint where Flume launched his career and an incubator of Australian talent.
The two 45 minute documentaries were directed by Nicholas Wrathall, and the Flume-centric documentary was released as a four part series on the Australian artists’ YouTube page. Harley Streten has documented his life on tour before on his Flume Adventures series, now, he’s upped the ante with longer-form video content that dives into the life of one of the most successful electronic music producer and the business he associates with.
Click HERE to watch on Apple Music.
Tritonal fans have been properly fulfilled through 2019 thus far, with the duo releasing one single per month off their upcoming U&ME album. The latest in this line of previews is “Diamonds,” featuring vocals from Rosie Darling. As can be expected from Tritonal’s releases, Rosie Darling plays an integral part in the song, mesmerizing the listener from the opening notes and carrying the track all of the way to the drop with her wistful voice. A house-inspired crossover build laden with euphoric synth arrangement gives “Diamonds” a dynamic edge.
Tritonal comments on the track in an official release, stating, “‘Diamonds’ digs deep into the notions of pain and change, feelings that often cause us sorrow. If we can embrace them as our guides to evolve and grow, remembering that change is the universe itself, we can be well on our way to fearlessness.”
The duo will be celebrating the 250th edition of their radio show Tritonia at select shows in Chicago, Boston and New York. Tickets for these shows in addition to their U&ME tour can be purchased here, and “Diamonds” is out now via Enhanced Music.
“I used to make music for the wrong reasons,” began Getter on Twitter following reports of booing and generally bad fan reactions to his Visceral tour stop in Houston, Texas on March 15. Even after the former dubstep/EDM artist made edits to his live sound so that it’d be “more appealing” to his currently split fanbase, audience members were evidently still displeased at his overall change in direction both in the studio and on tour. Getter, sticking to his guns, continued his statement addressing this on Twitter by asserting he’d “found something [he] could chase that’s far more complex than the trendy bullshit.” The only thing that matters to him, is that he’s spent his time and money on a project that he truly loves and is proud of, and his staunchness is quite refreshing.
Getter will continue to break his own boundaries musically and do what he feels is right creatively regardless of fan reactions. They’ll catch up eventually. In the meantime, the artist has a steady run of tour dates ahead stretching through April that continues to take him across all corners of the US.
fuck it man i’m havin fun
— (@GetterOfficial) March 16, 2019
you know, i used to make music for the wrong reasons
i found something i can chase and is much more complex then some dumb trendy bullshit
ive spent all my money and time on something i love and thats literally all that matters to me.
boo me all u want, im still doing this shit
— (@GetterOfficial) March 16, 2019
A shooting on 6th street and San Jacinto in Austin—an area known for hosting several different SXSW events—has left one person injured as of Sunday, March 17 when the event unfolded. Police were able to move in on the culprit within minutes, luckily, avoiding a potentially lethal situation that could have taken lives.
Witnesses described a scene of chaos during the wee hours of Sunday morning, running away in a stampede fashion after hearing the telling “pop” of the weapon. Paramedics arrived to the scene to find one person injured by a gun wound. No other injuries or deaths have been reported since the incident, thanks to the swift police intervention. The thriving nightlife area is patrolled even more heavily by police during SXSW, which started this year on March 8 and ended on the night of the 17.
This isn’t the first shooting happening at SXSW; in 2016 a similar event occurred. The night of the shooting on Sunday saw three separate shootings total across Austin that led to five hospitalizations. No further extreme violence was reported as the festival wound to a close.
Photo Credit: Gary Miller/Film Magic
“Feeling Good” has been making its way around the house and techno circuits for quite a few months now. The mellifluous stomper, which has been revealed as another BOT & Will Clarke, is almost too effective at getting stuck in the mind with its pitched-down vocal hook and creeping progressions. Paired with crackling analog elements, machine sampling, and acid blips at play below driving percussion, “Feeling Good” positions itself as a peak time jaunt capable of smashing the dance floor into bits. It’s this fierce personality that has led Claude VonStroke, Solardo, and other top tier talent have been giving the record a fair rinse in their sets throughout the festival season.
Tiger Stripes was also called into action for remixing duties—an act not seen much around the DIRTYBIRD nest, but one the label admires greatly. The Swedish producer adds a bit more of a melodic and spacey take to the original, adding consistency via distinctive synth stabs and even tougher percussion. Tiger Stripe’s version is equally adaptable to the peak time while standing completely on its own.
Prior to “Feeling Good,” BOT and Will Clarke enamored the dance world with “Techno (not techno).” They’ve made it clear that music with both their names in the credits is not to be missed.
Order a copy of ‘Feeling Good’ here