Having helmed Dirtybird Records for a memorable, and certainly amusing 15 years to date, Claude VonStroke’s electronic expertise is well established and his polish apparent. In a nutshell, that’s exactly what shines through on the Dirtybird factotum’s new BBC Radio 1 showing. No stranger to the underground spotlight, VonStroke recently stepped under BBC’s to pay homage to his decade-defining label on its 15th birthday, celebrating with a loaded new Essential Mix.
The 2020 BBC Radio 1 outing is not VonStroke’s first: having previously graced Pete Tong’s airwaves with an Essential Mix in 2013, VonStroke is one of the station’s seasoned veterans. It’s no surprise that VonStroke’s output is a tech-house fluent showing with shuffling beats and the wonky samples that, over the years, have become Dirtybird’s signature. Beckoning fans to the dance floor to celebrate 15 years of rump-shaking fun, Claude VonStroke’s new Essential Mix is a delectable encapsulation of his decade and a half at the helm of one of dance music’s most beloved imprints.
Featured image: Aaron Glassman
It’s been quite some time since the world last saw a Pendulum release; nine years, in fact. Thus, their February 13 performance at Villa in their hometown Perth became a historic one when the trio decided to officially debut new music that’d been briefly teased on Instagram the month before. The vocal track, whose title has is rumored to be “Nothing For Free,” exemplifies Pendulum’s melodic, rock and electro infused aesthetic.
Excitement across the dance music community reached peak levels when Rob Swire confirmed in February, 2019 that new music from the drum ‘n’ bass outfit had been completed. A few months after Swire’s announcement came news of Pendulum’s return under a new live project dubbed Pendulum Trinity, with a headlining tour across a multitude of top festivals and venues to follow. A few of their next performances include stops at Rampage Festival, Boomtown, and Lovebox.
H/T: DJ Mag
Photo credit: Rukes
Vision opens on itsb titular track, a pounding techno rhythm layered with rich, crunchy textured elements. De Witte moves forward into “Out Of Balance,” which trades in its predecessor’s crackling tones for a more acidic approach. Kangding Ray remixes “Unthoughtful” to keep the upbeat energy flowing, before the original mix ends the EP on a calmer note.
Although Vision is the Belgian producer’s first release of the year, de Witte has stayed busy as ever recently. In 2020, she has already contributed live sets for Studio Brussel and Mixmag, all while maintaining a steady stream of live performances across Europe and North America. Additionally, she recently streamed the final mix of her residency with BBC Radio 1.
Photo Credit: Studio Brussel
“Its a passion project, y’know? … To be able to play music that is not attached to me as a producer and to be able to play freely is A LOT of fun.“Afrojack
After teasing his house and techno-inspired alias over 10 years, Afrojack is officially set to launch Kapuchon in 2020. Translated to “Hoodie” from Dutch, Kapuchon steps away from the mainstage EDM sounds that Afrojack mostly built his name—offering something darker, a more honed in on an intimate club experience.
Afrojack joined Tomorrowland‘s One World Radio in the heavenly French alps this week, spinning two hours of bombs on the party’s literal ice-sculpted decks. 30-minutes into the set, the Dutchman hops on the mic to re-introduce Kapuchon and some of the alias’s forthcoming music. The tracks spun definitely represent a departure from Afrojack’s current sound, with churning acid lines and a heavier focus on deep, twangin’ bass. Catch Afrojack at Tomorrowland Winter next month, where he’ll not only be blasting his big-room sound, but throwing down an entire set as Kapuchon as well.
Stream Afrojack’s 30 Days Till Tomorrowland Winter set:
Quote via: EDMTunes
Live Nation cannot seem to stay out of the news. Just last month the ticketing and live music giant defended itself in court against the Department of Justice’s accusation of ticketing malpractice. Now, the mega-company has full possession of Bonnaroo Music and Arts Festival after completing its acquisition of its parent company, AC Entertainment. Live Nation’s grasp over Bonnarroo dates back to 2015, when Live Nation bought out an ownership stake in the longstanding event. A year later, it began its complete takeover of AC Entertainment.
The acquisition of AC Entertainment brought with it multiple internal promotions and plans to open a new office in Portland, Oregon.
Bonnaroo Music and Arts Festival has been around since 2002, and has boasted over 80,000 attendees a year since 2015. Held on 700 acres in Manchester, Tennessee, the festival’s long history of success has created a large devoted fanbase from around the country. It will be interesting to see how, if at all, the festival changes under the complete control of Live Nation.
Photo credit: Redbull Music
In a moderately unprecedented sequence of events, a triad of unreleased Avicii productions found their way into the newest iteration of Tiësto’s Club Life mix series. Nearly a month ago, the three tracks suddenly surfaced on Reddit and included one of Avicii’s long-awaited Ultra Music Festival 2016 IDs alongside Sandro Cavazza, “We Burn.” The two other titles included “I Wanna Be” with Aloe Blacc, as the two were notably said to have “several songs” together as of early 2019 and the other being “Now That We Found Love” featuring Wyclef Jean. Avicii was widely known to have left behind an abundance of both completed and incomplete originals at the time of his death, with 12 of them appearing on his posthumous LP, ‘TIM‘ from this past summer. While “Forever Yours,” another Sandro Cavazza collaboration from the Ultra 2016 performance, was recently released with the assistance of Kygo, it remains to be seen what the future holds for an official release of these Avicii creations.
Before playing the three songs on Club Life, Tiësto prefaced where they exactly originated from, explaining:
“Many Avicii fans came together and got their hands on three brand new unreleased Avicii tracks. I don’t know where they come from but suddenly they were on my desk and i want to play them exclusively on Club Life. All of the tracks show you what an innovative and creative producer Tim was. Let’s hope they get released soon.”
Stream the 672nd episode of Club Life below, with the Aloe Blacc collaboration coming in at the 33:10 mark.
Photo credit: Sean Eriksson
British electronic pioneer Andrew Weatherall suffered a pulmonary embolism that took his life during the early hours of February 17, according to a statement on the artist’s social media pages. He was 56 years-old.
“We are deeply sorry to announce that Andrew Weatherall, the noted DJ and musician passed away in the early hours of this morning, Monday 17th February 2020, at Whipps Cross Hospital, London. The cause of death was a pulmonary embolism. He was being treated in hospital but unfortunately the blood clot reached his heart. His death was swift and peaceful,” reads the statement.
Weatherall was a leader in Britain’s acid house revolution and a mulit-talented artist, cutting his teeth as a music journalist in the post-punk world before finding his way into dance music. As the countercultural “rave” phenomenon assumed an iron grasp over the UK, Andrew and his fellow Boy’s Own crew mates would carve out a counterculture of their own within the scene at larger, championing darker, edgier sounds through DJ sets and curation whilst providing colorful and on-the-nose commentary via the crew’s self-titled magazine. It was clear from the start that the burgeoning talent would be hailed as a visionary in years to come.
Through the 90s, Weatherall’s musical genius came into the spotlight as he entered the studio with many leading engineers of the age and helped craft some of the era’s most iconic remixes—including a take on Paul Oakenfold’s “Hallelujah,” the much-used Beatless Mix of “Smokebelch 2,” and of course, “Loaded” —his beloved flip of Primal Scream’s “I”m Losing More Than I’ll Ever Have” that kicked off a close relationship with the band. His fame was secured in 1991 after having produced Primal Scream’s Screamadelica.
Despite his success, however, Weatherall remained grounded and true to the punk roots that bred him. He notably refused to play into the “superstar DJ” trope and set himself of a different trajectory than his peers at the time by taking experimental turns into dance music’s underbelly and bringing new sounds to the forefront often before the masses were ready for them. Weatherall’s deep passion for music’s history led to varied sets that would introduce audiences to top grade musical acts like Nancy Sinatra, Brien Wilson, and more. His show on NTS, Music Is Not For Everyone, continued this tradition.
Since news of his passing arose, the electronic music world has been honoring his presence with an outpouring of anecdotes and condolences. Daniel Avery, Sasha, New Order, and many others have taken to social media to pay their respects.
We are all very saddened to hear about the passing of our friend, and collaborator, Andrew Weatherall. pic.twitter.com/vZ3ckl7lw0— New Order (@neworder) February 17, 2020 February 17, 2020
1) Tears, so very sad to hear Andrew Weatherall passed away. He first booked me in the early 90’s for a Magnetic North night he was so gracious to host.— Dave Clarke (@DJDaveClarke) February 17, 2020
Photo credit: Charlie Forgham Bailey
After REZZ joined her fellow Canadian producers in the studio last October, little was known about the track or its release. Footage of the song has made its way online, as REZZ unleashed the rumored collaboration on her Beyond the Senses Tour—with Zeds Dead doing the same on their recent Deadbeats mini-tour
“In the Bliss” is bound to be an explosive collaboration of styles as REZZ lends her hypotonic mid-tempo production to Zeds Dead’s signature heavy-hitting bass. Fans of both artists will have multiple chances this summer to hear the collaboration live, as Ever After Music Festival and Dancefestopia have tapped both to headline their 2020 events. REZZ has previously shared the stage with Zeds Dead on select Deadbeats shows.
Presave “Into the Bliss.”
Featured image: Ubbi Dubbi Official
Days after Run The Jewels announced they will be joining Rage Against the Machine on their sold out reunion tour, producer El-P announced that the hip-hop duo’s fourth studio album, Run The Jewels 4, is now finished.
Not too much is known about Killer Mike and El-P’s sequel to 2016’s Run The Jewels 3 besides confirmation that the band spent time working with legendary producer Rick Rubin in his Los Angeles studio. In November 2019, El-P tweeted that the album—which was first teased in 2017—was close to being finished, tipping fans to a record that would bear the duo’s signature grit and aggression. Now, it appears the final product is now ready to be heard.
“We’ve been going hard on RTJ4 and have a genuine excitement to share new music with you all,” the duo wrote in their June 2019 newsletter. “We stand behind our statement that this record is going to punch you in the f***ing face and burn everything in its path.”
El-P confirmed that RTJ4 will be available for free, similar to the release of the three previous albums in the series and the remix album Meow the Jewels.
This is good news for fans of the group who were unable to secure tickets to the high-demand tour, which drew some criticism for the cost of tickets. However, Rage Against The Machine’s Tom Morello pointed out charity contributions from ticket sales raised over $3 million in the first 48 hours.
Featured image: Lorne Thomson
Halsey started off 2020 strong with the release of her third studio album, Manic. It was only a matter of time before remixes of the tracks started pouring in, and Tiësto leads the charge after putting his touch on “You should be sad.”
In Tiësto’s rendition of the piece, he adds pulsing synths to the backdrop and he heightens the BPM, all while retaining the acoustic elements. As the track nears the chorus, he weaves electronic layers over the top, including a progressive backdrop that paves the way for a big-room finale. Trumpets blare in the new melody that Tiësto has created, which gives the release a new kick.
The remix is perfect for live performance, and it will likely be featured in the producer’s club sets.
Photo credit: Kevin Mazur/Getty Images for iHeartMedia
After a trifecta of preluding singles, Justin Bieber’s fifth studio album, Changes, has arrived. Led by the production’s debut showing, “Yummy,” which Bieber promptly followed with the Kehlani-assisted “Get Me,” and Quavo feature, “Intentions,” Changes is the successor to Bieber’s last LP, Purpose, delivered in 2015. Lofty, bubblegum-sweet professions of love pervade Changes, which, from start to finish, arrives as a 17-track jaunt into R&B and pop hybrid territory.
Post Malone, Clever, Lil Dicky, and Travis Scott grace Changes, but otherwise, the vocal reigns rest firmly in the Biebs’ hands as he smoothly assumes sole vocal responsibility for much of the album’s inclusions.
Changes will be supported by a multi-city tour. The complete list of dates is available here.
Photo credit: The New York Times
The Weeknd has announced the name of his upcoming album, After Hours, coming soon via XO Records/Republic Records. The album has been led by two platinum singles, “Heartless” and “Blinding Lights,” in addition to Gesaffelstein collaboration “Lost In The Fire.” After Hours is set to be his third studio album, and The Weeknd announced the name of the compilation through a teaser he put out on his Instagram.
The visual teaser calls upon warm tones with a car racing into a sweeping city. The camera shoots the city from multiple vantage points with illuminated skyscrapers falling out of focus and the name of the album being revealed letter by letter.
The release date of After Hours is yet to be revealed.View this post on Instagram
A post shared by The Weeknd (@theweeknd) on Feb 13, 2020 at 10:40am PST
Photo credit: Duncan Loudon
The slow burn that precedes Major Lazer‘s forthcoming fourth LP, Lazerism, smolders with precision on “Rave de Favela.” The unanticipated followup to January’s “Soca Storm,” the Anitta and MC Lan-enlisting effort arrived unannounced on February 15, marking the electronic trifecta’s third joint project with Anitta and their first with MC Lan.
The track touts all the trappings of a Major Lazer production: sonic flair derived from cultural influence and inspiration, a rolling beat, sumptuous vocals, and linguistically, an alternative to English. Whether “Rave de Favela” arrives as a one-off unassociated with Lazerism or will ultimately surface among the LP’s track listings remains to be seen, but no matter. With Major Lazer’s final studio album on the horizon, the cut is a welcome installment in the legacy-building endeavor that is slowly winding to a close.
The James Bond film series encompasses over 25 different movies across six decades. The opening theme music is a crucial element of each, and at just 18 years of age, Billie Eilish has become the youngest musician to ever score it with her new single, “No Time to Die.”
A joint effort between Eilish and acclaimed producer Finneas, “No Time to Die” is a masterpiece combining Eilish’s signature whispery vocals and a barrage of string and orchestral sounds native to the Bond series. “It feels crazy to be a part of this in every way. To be able to score the theme song to a film that is part of such a legendary series is a huge honour. James Bond is the coolest film franchise ever to exist. I’m still in shock,” said Eilish on the matter.
“No Time to Die” is out now on all platforms, and Eilish and Finneas are slated to perform the single live together at the BRIT Awards on February 18th.
Photo Credit: Daria Kobayashi Ritch
Approaching almost 30 years of existence, drum ‘n’ bass has been loved in international territories far and wide—from its homegrown roots in the UK to widespread European countries, and Australia—but never found quite the same foothold in North America. WORSHIP wants to change that. Comprised of Sub Focus, Dimension, Culture Shock, and 1991, the collective embodies the vision of turning the North American drum ‘n’ bass scene into a reality.
Established in 2017 by Director and Founder Sebastian Weingartschofer, WORSHIP has brought the leading UK drum ‘n’ bass producers under one roof in an effort to attract North American listeners. Welding their combined platforms and artistic distinctions as innovators in their respective scenes, the WORSHIP artists have played over 50 festivals and 200 club shows worldwide and cumulatively amassed more than 216 million Spotify streams in the last year alone.Photo Credit: Sam Neill
WORSHIP’s core strategy for catalyzing the North American drum ‘n’ bass movement focuses on the event front in their delivery of top-notch drum ‘n’ bass parties. With emphasis on key cities including Los Angeles, New York, Denver, Toronto, and Vancouver, the WORSHIP tour is showcasing the genre in a revitalized sleekness supported by strongly cohesive visual and production aspects.
Having embarked on the seven-date tour including two sold-out shows and with Steve Aoki‘s photographer Sam Neill in tow to capture it all, WORSHIP also went on to partner with Insomniac’s Bassrush to deliver an exclusive four-way back-to-back performance in the Hollywood Hills prior to their Los Angeles showing. With the second leg of their tour nearing, the likeminded collective are already proving to be one of the most exhilarating drum ‘n’ bass brands to watch in North America.
Dancing Astronaut has delved into a roundtable discussion with WORSHIP about their strategy to engage North American audiences and insights into the state of drum ‘n’ bass. Read the full Q&A below.
WORSHIP is currently on tour. Catch their show dates here.
What are the core values that all of you in the WORSHIP collective share?
Sebastian: I believe every single one of these artists are striving for originality and innovation in their field of music. There is a strong emphasis on quality control, attention to detail and sheer determination to make an impact in the world of music, which ultimately helps them to stand out as artists. The guys have a shared sense of creativity and their like mindedness allows them come together as a collective to help drive drum ‘n’ bass as a genre worldwide. I mean, they pretty much see each other every single day of the week which really helps move things forward—whether it’s Monday to Friday at a studio complex where they all have their own rooms in London, or when they perform at the same shows on the weekend. There is a synergy between these guys which is unparalleled and it’s incredibly exciting to be part of the journey.
Sub Focus: We all strive to make electronic music of the highest quality specialising in drum ‘n’ bass. I think what unifies us as a collective is we all look strongly outside of the drum ‘n’ bass scene for our influences and inspiration. We are also trying to visually represent our music with the same high standards. The other guys in the collective all have amazing quality control, are probably the most played artists in my set and the hardest thing about this tour is what to play when we can’t play each others tracks! We are also all good friends so we thought it could be fun to do a tour together over here.
Dimension: We’re a group of friends who like the same things.
Culture Shock: I think we’re all equally driven, while we have different styles and approach our projects as individuals we share similar aesthetic standards…there’s a lot of crossover of our taste, being surrounded like minded artists on a daily basis is really beneficial…we’re often checking in on each others projects and offering feedback.Dimension
When did you recognize the need for UK drum ‘n’ bass artists to shift their focus towards North America’s electronic landscape?
Sebastian: Drum ‘n’ bass is a globally renowned dance music genre and highly successful in the UK, Europe, Australia and New Zealand and is the third best selling genre on Beatport with drum ‘n’ bass tracks regularly hitting the No.1 spot—so we asked ourselves, why is this not reflected in the North American market?
It’s difficult for worldwide drum ‘n’ bass artists and labels to invest in North America as part of their strategy as it can be time consuming and expensive to spend time on the ground, with currently not much return. Therefore, the lack of emphasis on time spent in North America means there is less chance to create an environment in which drum ‘n’ bass can flourish outside of online.
However, with Dubstep now one of the most popular genres of EDM in the US, which shares similarities to drum ‘n’ bass in terms of sonic/energy and being branded as “bass music”, we feel that foundations have been set for the drum ‘n’ bass sound to become a natural progression for North America in the wake of Dubstep, and there is definitely an opportunity to attract the next generation of EDM fans.
There are a lot of North American based artists and labels doing incredibly positive things for drum ‘n’ bass in the territory and we want to try and to help with momentum if we can.
Sub Focus: I’ve toured out here for quite a few years now, playing at many major festivals in North America—Coachella, EDC, Ultra and more. I’ve seen dance music grow from something small over here to the huge EDM scene you guys have today. I’d love to see our style of dance music grow as big as it has in other parts of the world. We just want to make sure we are showing people what we see as the best the genre has to offer in North America by throwing parties where we have more control to do things right.
Dimension: Drum ‘n’ bass doesn’t have to be “drum ‘n’ bass”, it’s just dance music. Our American friends are genetically identical to us, just let yourself be free and embrace it.
If one of the keys to igniting a drum ‘n’ bass movement in North America is the event aspect, how does WORSHIP specifically plan on tailoring its programming and production to American listeners?
Culture Shock: I think we all agree on what a good show looks like, whether it’s a big festival stage, warehouse environment or intimate club. If we can bring the best of those events to the US it will engage with the public I don’t think it really matters what territory an event is in a good show is a good show.
Sebastian: We believe the quality and consistency of shows need to improve, with an emphasis on production. We plan to tour North America annually in key territories to result in: an increase of event attendees and enjoyable experience; in turn inspiring attendees who then experiment with production / DJ at a grass roots level; this builds an environment where more drum ‘n’ bass music becomes available for North American labels to consider signing; ultimately increasing chances of a spearhead North American artist increasing to help create a movement, like Skrillex has done with Dubstep.
Sub Focus: I think this grassroots point is really important. I’ve noticed when the drum ‘n’ bass scene grows in different territories it’s almost always down to homegrown artists: Pendulum in Australia, Netsky in Belgium, Camo & Krooked in Austria—the list goes on. We want to do as much as we can to help grow this and promote local artists to help create a vibe for the scene we love out here.
Sebastian: Another key aspect for us is to support newcomer North American talent in each territory. We will hand pick specific artists that we are fans of, to perform at our shows and give them a platform to be exposed in front to our fans, as well as the potential to work together in the studio. What is unique to our tour is the sound that we’re collectively pushing. As mentioned, there is a synergy between the guys’ sound that has received worldwide support and we believe all of these combined elements can help translate the genre to the North American audience.
Dimension: We made a decision to strictly work with people who share our vision and ideology. That means high standards across the board, from venue selection to investing heavily in production. We want to impress.Sub Focus
Drum ‘n’ bass has often found its spotlight in underground settings, with club shows taking the reign in terms of impact and appeal. Will WORSHIP’s approach for capturing American fans be the same or move towards a larger mainstream capacity?
Sub Focus: I actually completely disagree with this—we regularly play at mainstream festivals and on huge stages across the world. Drum ‘n’ bass has been filling festival stages for a long time. It’s a genre that has largely stayed away from the mainstream in terms of sound, but this adds to its underground appeal. I would love the genre to grow in North America and we feel that coming over and putting extra effort into our club events and tours and showing love to each local scene and producers is the way forward. We are still obviously going to be playing at festivals over here too. I’m back here to play Ultra in Miami in March, then later in the summer too.
Who are your top contenders for the US artist to spearhead the drum ‘n’ bass movement, if any?
Sebastian: There are a lot of new names currently making waves in North American drum ‘n’ bass which is amazing to see. Likewise, well known and established US DJs and labels are supporting more and more drum ‘n’ bass like: Skrillex, RL Grime, Zeds Dead, Jauz and more. Also, we have to shout out the many producers and DJs that have paved the way for the way for the drum ‘n’ bass sound in North America: guys like Dieselboy, Gridlok, Hive, DJ Craze and more.
What does the next generation of electronic music fans look like to you?
Sub Focus: I’ve noticed many more fans in the US gravitating towards deeper styles of house music—I feel like EDM fans of previous years are becoming more discerning and getting more into more underground genres of the electronic landscape.
Dimension: With the huge EDM boom declining, audiences are becoming more discerning. People are deciding what music they like for themselves, instead of pretending they’re having fun at festivals because they’ve been told what’s cool.1991
As one of the scene’s rising stars, you have garnered support from revered industry names outside of drum ‘n’ bass. What perspectives do you bring to WORSHIP as a newcomer who has seen success outside of their scene?
1991: In music I’ve always aimed to bring diversity and outside influences to what I do, and I think this is reflected in what I bring to worship. I think I’m considered slightly different to the other three guys through my trap/future bass influences, as well as sonically different production techniques. I recently released a trap single on RL Grimes imprint Sable Valley as an example of some of my non-drum ‘n’ bass ventures.
As an internationally renowned producer, your sound has been equally matched by your sharp attention to aesthetic. Do you think visuals are integral in revitalizing the drum ‘n’ bass industry to appeal to the newer generation?
Dimension: Music comes first.
How crucial are labels’ roles in invigorating the scene?
Culture Shock: In this day and age it’s all about the artist. There’s a huge amount of freedom to do your own thing with the tools at your disposal, and artists don’t necessarily need to rely on labels the same way they used to.
Sebastian: Artist distribution companies allow artists to easily release their own music, which means there isn’t so much of a need for a record label anymore. Of course established labels can help expose newcomer artists, but if you have a following and a strong enough brand, going on your own can have far more preferable benefits.
I personally feel like collectives have taken the place of the record label. Take WORSHIP for example—the artists all have their own individual label deals or self release, but we come together as a collective playing at events etc under the WORSHIP umbrella.
Your name has been synonymous with drum ‘n’ bass, but you’ve always diversified your sound outside the genre. Do you believe there’s a growing emphasis on cross-genre sound and will this help the case for drum ‘n’ bass’ popularity?
Sub Focus: I think that writing music in other genres of dance music; House and Dubstep and making crossover tracks such as my remix of Rusko’s Hold On has definitely helped my popularity in North America. However I am mostly concentrating on drum ‘n’ bass at the moment—if the music we make is good enough it should crossover regardless of style of tempo.
Ultimately, we are excited about what we can do together as a collective and that’s what this tour is all about.
Established in 1994, Time Warp Festival has long showcased the best in techno music while taking shelter in Mannheim, Germany, and continually expanding its influence throughout the world. Also programmed in locations including Brazil and New York, Time Warp partnered with event company Teksupport in late 2019 after a four year break from The Big Apple. The long-awaited return to America took place at the Bronx Expo Center, with rare stateside appearances from legends Ricardo Villalobos and Sven Väth. However, the festival is gearing for an explosive follow up in none other than its home country.
For 2020’s festivities, Time Warp will guide attendees through a techno-fueled journey of 44 DJs and producers, and seven floors—having added an additional in 2019. This year’s lineup includes Adam Beyer, Charlotte De Witte, Jamie Jones, Loco Dice, Richie Hawtin, Maceo Plex, and more.
Known for astounding visuals, lighting shows, and heavy production, the mesmerizing experience takes place on April 4 in Mannheim, Germany for close to 19 hours of music.
Head to their website for tickets and more info.
The classic soul of disco gets a contemporary touch courtesy of Oliver Heldens in “Take A Chance.” The latest Heldeep Record to gain a release, “Take A Chance” is a kinetic cut that radiates disco and house influence with multi-genre fluidity. The vocal sample that loops colors “Take A Chance” with old school disco flair as a snare-driven, bass-accented beat structure ceaselessly moves the track forward.
Melodic synth work that harkens back to the sound of the disco era wash “Take A Chance” in ’70s-reminiscent refinement. The feel-good fusion of disco and house follows Heldens’ lauded future house showing, “The Goat,” and like its predecessor, “Take A Chance” was once a highly sought ID that surfaced with prominence in Heldens’ live sets.
Photo credit: Rukes
After garnering three official remixes, Martin Garrix’s “Used To Love” has resurfaced in a reworked format yet again, as Garrix and the song’s featured vocalist, Dean Lewis, drop off an acoustic take of their collaboration. Although a large part of Garrix’s sonic prowess derives from his characteristically momentous dance drops, each of which would be well suited for a festival’s main stage, Garrix temporarily steps away from these high-octane constructions on this stripped-down rendition.
Sustained by the poignant chords of a piano, which lend gentle emphasis to the emotive quality of Lewis’ vocals, the acoustic take is an intimate alternative approach to the lively one-off that landed in October 2019.
Photo credit: PM Studio
Reaper burst onto the scene last year with an unmatched drive and affinity for drum ‘n’ bass that saw him rise up the ranks in record time. After beginning the year with zero followers, uploading dubstep and drum ‘n’ bass remixes of popular songs to his SoundCloud, Reaper closed out the year signing an EP to powerhouse label Monstercat and gearing up for what’s certain to be a huge 2020.
In late January, party legends Brownies & Lemonade announced they were putting on a show for Reaper’s world debut. Slated for Jan. 24, the event was going smoothly until the Los Angeles Police Department shut down the event before Reaper had even gotten on stage. Brownies & Lemonade released a statement shortly after, and got the event rescheduled for a later date.
All the chaos aside, Reaper demolished his world debut, proving once and for all that drum ‘n’ bass is alive and thriving. Listen to his full live set recording below.
Good things come to those who wait, and fans of mau5trap artist No Mana know that better than almost anyone else. After 14 editions of his UP EP series, No Mana has released his long-awaited debut album, Secret Level.
Blending elements of trance, progressive house, and tech-house, the 11-track debut picks up where lead single, “Strangers” featuring Jantine, left off. The high-tempo album offers a symphony of well-polished, beautifully-designed beats that are perfect representations of the producer’s ELECTROHOUSE2020 Twitter-driven campaign.
The Secret Levels producer teams up with mau5trap labelmate (and fellow ELECTROHOUSE2020 supporter) EDDIE on “Fragile Human,” a trance ballad that mesmerizes with its synth build-up and enchanting lyrics—guaranteed to make its way into sets at EDC Las Vegas‘ circuitGROUNDS stage. EDC itself was a festival that helped inspire No Mana to craft the chord progressions on “Strangers” after attending the event in 2019. Fans of Mat Zo —who may remember when No Mana designed the artwork for the “Vice” VIP — will gravitate to “VVVR,” the album’s last track, which originally started as a bootleg for Zo’s “Hurricane.”
Photo Credit: Chris Koeppen