Wavedash have returned for their first post-World Famous Tour delivery, reuniting with fknsyd for a glitching new single that blends their heavier bass roots with softer melodies fit for a humming indie tune. “Status Quo” follows Wavedash and fknsyd’s 2020 collaboration, “Stallions.”
Wavedash recently took the stage at Porter Robinson‘s Second Sky affair on September 18 and 19, with the Texas-based trio’s full set now available for fans to relive on YouTube. First playing out “Status Quo” during their appearance at the Oakland Arena Grounds, after encouraging the crowd to lift its hands and clap to the beat (similarly to how “Stallions” was first introduced), Wavedash’s Second Sky stint maintained an enthusiastic energy that entranced the entire audience.
Featured image: Jasmine Safaeian
Few acts define an era within their genre as well as Cindy Lauper. Her vibrant and tenacious “crazy hair don’t care” attitude is a perfect representation of the raw overtones of the ‘80s, and is so iconic that it can be infused into other tracks with just a well-used sample.
Case in point, the new release from Gabry Ponte and Henri PFR‘s “The Feeling,” a disco delight that samples Lauper’s famed “Girls Just Want To Have Fun” for an instant bump in volatile pop flare. Taking on such a storied and recognizable vocal is a tall task, but the two tastemakers truly rise to the occasion.
The new release manages to split the difference between modern production and ’80s nostalgia, pairing sharp guitar riffs with the smooth synth work of the current era. The result is a track that’s truly timeless, fit for everything from a retro dance party to the modern club.
Gabry Ponte and Henri PFR’s “The Feeling” is out now on streaming services worldwide. Listen below.
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“Here” has arrived as one of several album singles released ahead of Adventure Club‘s sophomore LP, Love // Chaos. The veteran melodic bass duo publicized the upcoming record’s official tracklist in February, with “Here” then declared as the forthcoming album’s 18th tracklisting.
Featuring Dancing Astronaut Supernova KARRA, “Here” is a quintessential Adventure Club offering. Distinguished by alluring vocal chops layered over sharp synth drops, the production pair’s latest single arrives alongside an official visualizer. As the wait continues for the Canadian outfit’s full-length album, stream “Here” below.
Featured image: Larry Try
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ZAXX has truly taken matters into his own hands when it comes to putting bigroom back into the dance music limelight (for the US at least) in 2021. The New Yorker went on a short-lived release pause for the summer after making his first-ever cycle through Rave Culture with “Diddy Bop,” but has now returned to complete a trifecta with the sound from his earliest days, delivering “Back To U” on Actuation.
“Back To U” might sound familiar to some considering that ZAXX had flashed the then-unnamed production on his IG stories a few months back, posing the question of what he should do with it. After expectedly receiving an overwhelmingly positive response, ZAXX knew he had no option but to pull the project file back up and finish it. Crossing bigroom with a touch of both trance and deep house, “Back To U” parades the high-level, forward-looking production pedigree that has continually kept eyes on ZAXX’s push to reinstate the early-2010’s style.
While the wait for another sought-after ZAXX ID from Tiësto’s Electric Zoo set currently ensues, listeners can stream his latest single below.
Featured image: Rukes
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Anjunadeep’s very own Ben Böhmer describes his sophomore album on the label, Begin Again, as “the most personal music [he’s] ever written.” The German producer first ID’d the album’s lead single, “Beyond Beliefs,” during a prodigious Cercle set, live from a hot air balloon above Cappadocia in Turkey. Finally, after turning in four album singles over the past few months, Begin Again is streaming everywhere in its final 11-track form. In a recent tweet, the 27-year-old wrote,
“To me, these tracks represent all the ups, downs, joys and uncertainties of life and I hope in some small way it can serve as a reminder that any challenge in life gives us an opportunity to reflect, reset and go again.”
Böhmer also mentioned that in partnership with Amazon Music, on September 26, he will premiere a YouTube livestream showcasing tracks from the album, as well as his “brand new live setup.” Böhmer already has seven European tour dates locked in for the 2022 “Begin Again Tour,” a couple of which are already sold-out.
Begin Again is OUT NOW! ⁰⁰To me, these tracks represent all the ups, downs, joys and uncertainties of life and I hope in some small way it can serve as a reminder that any challenge in life gives us an opportunity to reflect, reset and go again. https://t.co/b6FgOk9b0e pic.twitter.com/VhGQd9Xh29— Ben Böhmer (@benbohmermusic) September 24, 2021
To mark the release of my new album on Friday, I’ll be premiering my recent livestream in partnership with @amazonmusic this Sunday on my YouTube channel.
Filmed at the @koeniggalerie the mix features a number of new album tracks and also showcases my brand new live set up. pic.twitter.com/W8P5O4NuZv
Featured image: Luke Dyson
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Award-winning producers Rat City and vocalist Isak Heim teamed up in June for the catchy summer hit “Rather Be.” A barnburner on Norwegian radio, the hit catches a second wind at the hands of DJ/producer OKEY hot on the heels of his own debut single “Running Wild.” While the original was meant to take airwaves by storm, OKEY’s transformation sets its sights on global dance floors instead of your car stereo. A swinging back beat with big dance-y piano rolls re-imagines “Rather Be” as a driving sing along-worthy house antehm. The type of hands in the air, peak time pressing that is destined to set clubs on fire throughout the Fall.
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Top to bottom, Timmy Trumpet’s Power Hour takeover has all of the sonic tools needed to break a certified sweat. With over 6 hours of blood pumping tunes, the playlist features tracks from tastemakers like Armin van Buuren, Skrillex, David Guetta, and Swedish House Mafia, but also highlights some of the industry’s most promising rising names, from Kim Kaey to Anabel Englund, with loads of talent in between.
Although Timmy is often defined by his balls to the wall energy, the Power Hour takeover lands alongside the Australian DJ’s newest release, “Cardio.” The single flips the script from Timmy’s typical peak hours festival anthems, but holds a steady stream of energy with its masterfully chosen “Work hard, play hard” vocal. While the release might be more of a workout rather than festival anthem, “Cardio” also shows a new facet to Timmy’s already lauded production style in the form of artistic restraint.
Commenting on the release, Timmy quips,
“Anyone that has seen me perform would know that my sets are a workout in themselves. The time has come to finally put an official theme song to it.”
“Cardio” is out now on Spinnin’ Records. Listen to the new single at it leads the way through Timmy Trumpet’s official Power Hour takeover below.
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Just past the two-year anniversary of the Good Faith Live curtain dropping at Lollapalooza, Madeon has now officially refreshed the in-person version of his sophomore album. After Imagine Music Festival was called off at the very last second due to weather, Madeon’s public reveal of Good Faith Forever serendipitously moved to Second Sky, but he understandably opted to excuse himself from the stream schedule in an effort to have his show’s first online recording be exclusively in the dark. Only a week would pass before that opportunity would come, with Madeon joining Firefly Music Festival’s Saturday stream docket following back-to-back nights at New York City’s Terminal 5.
Despite the unfortunate presence of the now-infamous “mop totem person” that would block part of the stream’s view during the set’s first half, Madeon was still able to masterfully present Good Faith Forever to a global audience. From the updated production—including his mind-blowing clone visual—to the addition of his post-Good Faith single “The Prince” to the renewal of live edits for “No Fear No More,” “Dream Dream Dream,” “Icarus,” “Shelter,” and more, Good Faith Forever should emphatically seat itself at the top of the must-see show wishlist as live music continues to return this fall and winter.
Re-experience Madeon’s debut stream of Good Faith Forever below.
Featured image: Jasmine Safaeian
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Spiderhound has swiftly answered late August’s “Strangers” with “Forgive,” his seventh standalone release of 2021. Across this septuplet of singles, the producer—born Sean Naughton—has given further shape to his amorphous style, however paradoxical that might sound. Though “Forgive” betrays Spiderhound’s penchant for electronic experimentation permeated by downtempo, bass, and lo-fi elements, these hallmarks—also audible on fellow catalog constituents such as “Strangers”—are only the tip of Spiderhound’s sonic iceberg.
Naughton’s affinity for texture, wonky samples, and making streamers expect the unexpected has alternatively shone through on one-offs like “Chain Gang,” which flip the more downtempo Spiderhound script in favor of driving sound constructions with glitchy appeal. “Forgive,” though, nestles neatly into Spiderhound’s more lulling collection of productions, folding trap-inspired percussion with a chopped topline that seems almost to weave in and out of the track’s keyboard and bass work. Immerse yourself in the mellifluous installment below.
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With a track record that touches the dance and electro/synth-pop genres, Rachel Woznow is a singer-songwriter whose penchant for commercial crossovers is putting her in a position to win industry praise. For an example, look no further than “One By One.”
An upbeat dance/pop hybrid that owes its production to Little Rain (Yuchan Kim), a producer dealing in the chill and deep sounds of the electronic genre, “One By One” catchily contemplates the dissolution of “the metaphorical walls in a relationship,” according to Woznow. Poised to live rent-free in streamers’ minds, its sing-a-long-friendly hooks conferring its memorable character, “One By One” arrives via Tipsy Records.
“One By One” is Woznow’s fourth original single of 2021 and notably trails August 20’s “Homesick,” produced with Kayliox. Stream the latest from the Billboard Top 40 charting artist below.
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San Pacho first turned heads at Dancing Astronaut when he aligned with Matroda for an underground sizzler known to streamers as “La Pasion.” Well, our heads are turning once more in the Croatian producer’s direction, inching our ears closer to the dance-worthy sounds of his Mandala EP. Titularly, Mandala EP is a nod to San Pacho’s belief that house music has inherently spiritual aspects, and the project is his translation of these components into his own sound. It also pays tribute to his intrinsic motivations, he said in an official release, stating,
“When I was creating this EP, I really wanted to implement some of the inspirations from my daily life into it. I named it Mandala EP because I got a mandala-inspired tattoo when I was first starting to take music seriously, and it gave me the drive to keep on grinding and making a name for myself.”
The three-pack of candidates for heavy rotation contains a San Pacho standout, “The Pressure,” which gained traction thanks to its singular release ahead of the Mandala EP‘s full-fledged arrival. The crepuscular character of this opening number and its “advanced sound design” give way to “Set Me Free,” an inclusion that “dives into the classical house side of me but still contains the same elements that make it a San Pacho track,” the up-and-comer remarked.
At the Mandala EP‘s close comes “Spicy Mama,” a “fun tech-house tune with trippy topliners over a catchy disco vocal,” per San Pacho. “I really had fun doing it because the vocal just sits so well in the track and the synths are all just my usual BS,” he added.
The Mandala EP is out now via Matroda’s Terminal Underground, so break out the dancin’ shoes and get stomping to San Pacho’s latest offering below.
Featured image: San Pacho/Facebook
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ISOxo continues his mission to tear up the trap world by unleashing his ID-filled Nightrealm EP on RL Grime’s Sable Valley. The native San Diego DJ was one of Dancing Astronaut’s Artists to Watch in 2021 and his growth since getting that nod has been overwhelming. The budding trap star is building on the success of his April career-altering collaboration with RL Grime, “Stinger,” which debuted as the intro to the latter’s “Halloween IX” mix. ISOxo impressed as one of the openers for RL Grime’s Halloween event with his KIDSGONEMAD set that also served as a method to usher in a new era of ISO. The ID-laden set featured all five of the tracks now on his the Nightrealm EP and now, almost a full year later, we get the official release of the producer’s biggest project to date.
Nightrealm features a lone pre-EP single, “Aarena,” along with four previously unreleased tracks. If you’re a fan of trap and bass, you’ll certainly recognize these tracks from the past year’s sets, including those from RL Grime, Ekali, Knock2, and more. ISOxo himself has been playing out parts of the EP going back all the way to at least 2019. In a recent AMA on his Instagram story, he said “Click” had been in the works for almost four years.
ISOxo is proving to be a staple on Sable Valley, with the full EP as well as three of his last four singles having been released on the label. This made him an obvious choice to play in support of the King of Trap on his ongoing Sable Valley: Community Outreach Tour.
The young trap prodigy is sure to start popping up on more and more lineup announcements in 2022 and beyond. After an impressive debut EP, ISOxo is heading to Los Angeles for his official Nightrealm EP premiere, put on by Brownies and Lemonade. The initial venue sold out in under four hours, and was moved to a bigger venue soon thereafter to help accommodate rabid fans’ desire to witness the full EP live.
ISOxo calls Nightrealm an “escape.” “Nightrealm can be anything you want,” but “you just have to wait until the project drops,” he’d said prior to its release. With the project is finally here, all that’s left to do is listen and escape deep into the Nightrealm and all of its trap bliss.
Featured image: ISOxo/Instagram
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In recent months, the ever-G-house-fluent Thomas Xavier has become one of Dancing Astronaut‘s favorite ascendant acts, a distinction won by his consistency in stocking streamers’ queues with fresh sounds suitable for a** shaking. The pre-Pussy On A Pedestal EP singles “Make That Kitty Purr,” “Can’t Stop Me,” and “Ballin” have all fit this bill, as does the project-completing “Take over the World.” The finale to Xavier’s iamrecords outing caps off Pussy On A Pedestal with bass-gurgling idiosyncrasies. “Trippy”—as the vocal sample woven into “Take over the World” utters—is an apt classifier of the final number, which arrives with distinctive personality, surfacing as a fun, bass-boosted peek into Xavier’s production mind.
Pussy On A Pedestal, available to stream in full below, brings Xavier’s stock of EPs to a total of two, and follows his Go To Church EP, released via User Friendly.
Featured image: Weekend Natives
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Flaunting funk, Phyphr can be found playing with texture on Into Infinity, a fresh three-tracker on which electronic-funk, soul, and glitch-hop converge in a colorful electronic framework. Laden with instrumental flavor (see the horns on “Energy” or the guitar on “Into Infinity,” for instance) and consistently crisp production, Into Infinity feels a flair-ridden, personality-radiating exposition of Phyphr’s electronic creativity.
Evoking a GRiZ-esque approach in certain moments, the EP pays homage to Phyphr predecessors who have—and continue to—experiment with similar elements. Importantly though, Into Infinity is no copy and paste job, nor a direct emulation. The project foregrounds Phyphr’s playful penchants, allowing his own inventive soul to shine through on an offering that would gleam with especial brilliance in a Camp Bisco-like setting.
Assuredly, it’s not the last we’ll hear from the ascendant act, whose track record of support to date boasts Manic Focus, The Floozies, SoDown, Marvel Years, Artifakts, and Jason Leech, among others. Soon, Phyphr will put his wheels up to aid The Floozies on their Nightmare on Funk Street pre-Halloween stint on October 30 in Asheville, North Carolina.
With future tour appearances with Marvel Years and Maddy O’Neal also on the pages of his 2021 playbook, not to mention spring/summer 2022 festival performances already beginning to line up for the year ahead, Phyphr is a name that electronic enthusiasts can expect to hear more of in the near future, so take our recommendation—it’s best to familiarize yourself with his work now. Stream Into Infinity below.
Featured image: Cervantes OS
“Music is a guide to make people feel emotions and we’re always challenging ourselves to create the best experience possible,” say AVNU, an anonymous Swedish-American outfit that, with the revelation of “Satellite,” beckon streamers to see just what an AVNU “experience” embodies.
It’s worth noting that although “Satellite” surfaces as the debut single affixed to AVNU’s name, it’s far from the producers’ first stab at a formal release—and this is audible. Press “play,” allow “Satellite’s” seconds of runtime to rise, and you’ll find a topline-led progressive house production that flaunts the type of polish conferred only by time and experience. That’s no coincidence, considering that the elusive entities behind AVNU boast electronic expertise dating back to 2015. In the six years since, it’s earned them looks from a smattering of dance marshals, such as The Chainsmokers, Proximity, and Makj, AVNU tell Dancing Astronaut.
Little is known about them, and the aforementioned comprises the brunt of the available details on AVNU. In a Q&A interview with Dancing Astronaut, the “Satellite” makers emphasized their intent to preserve their anonymity for the quite singular focus on the music that such a move allows. And unsurprisingly, there’s a wealth of detail to direct one’s attention to in the three minutes that “Satellite” spans. Perhaps the most interesting, though, is the single’s titular tie to AVNU’s overarching outer space thematics.
“We came up with the name AVNU thanks to our love for space films and trying to create a place where there were no limitations or boundaries. We constantly thought about what A virtual new universe would look and sound like and so that’s what we created,” AVNU explained.
The bevy of unreleased AVNU music presently in the vault but soon to come can be expected to delve deeper into space-guided symbolization across forms—titles, lyrics, perhaps samples and sound constructions, and artwork, as “Satellite” does. Attention to the theme is AVNU’s way of maintaining the “childlike sense of wonder” that they identify as a signature facet of their sound, and in “Satellite,” it materializes in a decidedly upbeat fashion that enables an escapist sonic fantasy out of one’s individual world and into AVNU’s, A Virtual New Universe where all are welcome. Blast off.
The landmark must-stream can be heard in full below to soundtrack Dancing Astronaut‘s interview with an enigmatic group that, judging by “Satellite” alone, is sure to shake up not only the electronic context, but also the progressive house scene. In the meantime, listeners can keep pace with AVNU by following them on Instagram and Twitter.
“AVNU” translates to “A Virtual New Universe,” aligning with the project’s overall orientation around outer space thematics. How did the idea for this name arise and how specifically does it relate to the music you make?
AVNU: “We came up with the name AVNU thanks to our love for space films and trying to create a place where there were no limitations or boundaries. We constantly thought about what A virtual new universe would look and sound like and so that’s what we created!”
You’ve stated that “Satellite,” your first original of 2021, is meant to “express the loneliness, heartbreak, and exhaustion of the past year.” What was the creative process for this record like and at what point in the COVID-19 evolution did you begin working on it?
AVNU: “‘Satellite’ means a lot to us both because we started this record right at the beginning of the pandemic. Both of us were in lockdown, halfway across the world from each other, and one of us just got out of a relationship. The idea originally came from a voice memo and once we transposed the vocal melody, we started to produce around it and lay the foundation. This was also the first record that we ever wrote ourselves and believe it or not, one of us is singing the final vocal too.”
In your choice to maintain your anonymity, you place the focus exclusively on the music that you make. With several more releases to come in 2021, what would you like listeners to know about your unique sound and approach to electronic production?
AVNU: “We’ve always made music because we love it and keeping the project anonymous let’s us focus on just that! This year you can expect a lot of new music from us as well as some collaborations and maybe a live show or two! For anyone who feels left out, you’ll always be welcomed to A Virtual New Universe <3.”
Damon Albarn has shared a live performance video of “Royal Morning Blue.” Set to appear on his upcoming sophomore solo record, The Nearer the Fountain, More Pure the Stream Flows, “Royal Morning Blue” finds the Gorillaz mastermind and former Blur frontman sitting behind his piano, surrounded by his accompanying band. He croons the track’s lyrics, black and white hues matching the song’s moody lyrics.
Albarn’s upcoming LP is based on Iceland, the 11-track record created while he hunkered down in the country during the pandemic. Speaking on his influence for the new track, Albarn said,
“That’s why the song opens with ‘Rain turning into snow,’ because it’s that moment, that feeling. In all the darkness that we have experienced, that was such a beautiful, positive thing.”
With Gorillaz, Albarn will soon be releasing a carnival-themed LP as a Plastic Beach follow-up, and recently shared three new songs during a show for NHS workers. In the meantime, his upcoming solo record is scheduled for release on November 12 via Transgressive Records.
Featured image: Getty Images
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Shadient has shared the last two singles ahead of his forthcoming debut album with the double release of “Crash” featuring fknsyd and Catnapp and “Roadworks,” which follow his genre-defying tracks “Ego Insaniac” and “Dancing Alone Again,” released in July and August, respectively. Speaking on “Roadworks,” which notably features his own vocals, Shadient said,
“Something really important about this song, I wrote the lyrics as a really stupid hopeless poem while I was on tour in 2019, I was having the time of my life but the chaos of it all definitely got to me at times. plus being just an opener vs the effort it took to get there.”
“Crash” and “Roadworks” bridge Shadient’s flair of evenly distributed aggressive and emotional tones as the two singles intermesh both genres of dark industrial bass and liquid drum ‘n’ bass. Accompanying the tracks is a lyric video, created by the 23 year-old producer himself, that aims to visually and sonically illustrate the dichotomy between dark and light. Listen to “Crash” and “Roadworks” below as the lead up to Have You No Burden, set to release on SLANDER & NGHTMRE‘s Gud Vibrations imprint this fall, ticks down.
Featured image: Academy LA
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Ace Aura is putting more bass in your face with his latest single, “Destiny” with Emily Makis, released via Monstercat. Just one month after dispatching his Gem World EP on Never Say Die Records, the Dallas-based producer makes his second appearance on the Canadian independent imprint following his June collaboration with Crankdat, “The Feeling.”
“Destiny” embodies concepts of self-confidence and finding motivation to meet one’s goals. The melodic-bass single strikes a peculiar balance between harmony and intensity as Ace Aura reasserts his poised will to push the sonic boundaries of dubstep and color-bass.
Featured image: Ace Aura/Facebook
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On the heels of “Hard Street,” featuring ALRT and Nessly, arrives Wax Motif‘s fourth collaborative single of 2021. “Thank You,” co-produced by Kaelyn Behr, is a disco-house-leaning end-of-summer anthem. Driven by Behr’s topline, a four-on-the-floor progression, and a Dombresky-esque piano sequence, “Thank You” is a recipe for a good time. The single’s leading line, “You make me want to thank you for coming,” is reminiscent of a sweet farewell to the sunnier season. As Wax Motif so eloquently put it on Twitter, “[we’re] closing out summer with a sexy ass bawp.”
Stream “Thank You” featuring Kaelyn Behr below.
Closing out the summer with a sexy ass bawp. THANK YOU ft. Kaelyn Behr drops FRIDAY!! Hit that pre-save in my bio rn gang pic.twitter.com/x1fc2vNZEo— Wax Motif (@WaxMotif) September 22, 2021
Featured image: @kcmerollintheyhatin/Instagram
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It’s no mystery that Eric Prydz doesn’t open the Pryda Presents gates for just anyone—last doing so on Cristoph, Yotto, and Sansa’s “Out Of Reach“—and for a second time in less than a year, he’s decided to reinstate Charles D (USA) for the surrendering of an elusive summer ID. After “You” made its digital uncovering in Prydz’s [CELL.] presentation for Tomorrowland Around the World and was subsequently liberated in November of 2020, Charles D (USA) has made a return to dish out a worthwhile first production since then, bringing in MANSHN for a helping hand on “Twenty Twenty.”
All thanks to YouTube legend Mi5taKlean, Prydz’s four-plus-hour onslaught at the iconic Club Space was captured in HD and featured an unreleased number that would become credited to forenamed New Yorker. “Twenty Twenty” points back to its own world-class read on the vision scale, with Charles D (USA) hiking towards the ultimate climb of his darkened hybrid of techno and progressive that had those standing inside the Miami staple instantaneously pulling out their phones. The build doesn’t come stocked without MANSHN’s chilling backing, rounding out another “proppa chugga” that is “Twenty Twenty” and answering the “are you listening?” line that everyone’s come to know and love from Prydz’s sets this summer with a resounding “yes.”
Featured image: Taylor Regulski
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