After announcing the 2019 iteration of the festival back in August, Damian Lazarus‘ Day Zero festival attendees are in for some good news. The party in the Mexican jungle has just announced a heavy slate of lineup additions.
With a strong billing featuring Black Coffee, Bedouin, DJ Tennis, and Blond:ish, Day Zero beefs up its roster of selectors with sets from Four Tet, Visionquest founder Shaun Reeves, DJ Three, and the Mayan Warrior Soundsystem. With this growth in the lineup, the festival has also announced that the music will now take place across two stages, with art and light installations lining the jungle path between. A true boutique festival, Day Zero’s pristine location and fresh lineup makes this an event not to miss.
Purchase tickets here
Sven Marquardt is used to studying subjects at German’s famous Berghain nightclub — where Marquardt works as the famed venue’s bouncer — to determine who gains access to the underground mecca. When Marquardt isn’t surveying hopeful would-be entrants of the club, he’s evaluating subjects through a camera lens. Marquardt’s photography has appeared in galleries across the world and most recently graces a nightclub based in the city of Tbilisi, Khidi.
Marquardt’s work comprises a new exhibition housed in Khidi that shows off Marquardt’s latest shots. The exhibition seeks to extend the sensory experience beyond merely the visual via live performances from envelope-pushing musician Prurient, otherwise known as “Vatican Shadow.” Marquardt’s artistic residency at Khidi is complete with a brief documentary that offers further insight about the photographic exhibition, in addition to interviews with Marquardt and Prurient.
Though music is his forte, Chance the Rapper has been known to dabble in the visual arts. From the Vice original short Mr. Happy to his recent work in the A24 film Slice, the Chicago artist consistently shows his aptitude for the big screen. Taking his talents behind the scenes this time, it has just been announced that Chance the Rapper will serve as one of the lead producers in the upcoming movie-musical, Hope.
Following a group of teenagers who turn to art for activism in Chicago, the movie will be soundtracked by Chance’s longtime collaborator Nico Segal (formerly known as Donnie Trumpet and member of the Social Experiment). Though no release date has been announced, Chance will be partnering with a team of writers, producer, and directors who have had a hand in Straight Outta Compton, Empire, and The Leftovers, as well as manager Pat Corcoran. With such a strong concept and team, Hope is set to be a film with the soul and creativity that permeates all of Chance the Rapper’s work.
Spotify continues its worldwide takeover, furthering its reach by launching services in the Middle East and North Africa (MENA).
As of November 13, users can access Spotify in the United Arab Emirates, Saudi Arabia, Kuwait, Oman, Qatar, Bahrain, Algeria, Morocco, Tunisia, Jordan, Lebanon, Palestinian Territories and Egypt. Countries including Libya, Iraq, Syria, and Yemen are not part of the new services. Spotify launched in Israel earlier this year.
The music streaming service been available unofficially in the Middle East for years via accounts registered to other regions. This, however, makes it official.
“Spotify is launching in MENA with a full Arabic service, dozens of locally curated playlists for every mood and moment, and access to a full catalog of millions of songs, for both our free and premium users,” global head of markets Cecilia Qvist said in a statement.
The service will cost about half of the $9.99 users in the United States pay: 19.99 United Arab Emirates dirhams in the UAE, SAR 19.99 Saudi riyals in Saudi Arabia, 49.99 Egyptian pounds in Egypt, and $4.99 in the rest of the MENA region.
The Chainsmokers spoke with Billboard on the red carpet at the 2018 Victoria’s Secret Fashion Show to talk about their performance for the event, Kelsea Ballerini, and their upcoming film endeavors based around their hit, “Paris,” off their 2017 album, Memories, Do Not Open.
Andrew Taggart and Alex Pall expectedly raved about Ballerini, and how her voice carries their production. The duo seemed surprised when asked about their “Paris” film project with Pitch Perfect author, Mickey Rapkin. Taggart went on to explain how Rapkin brought the story to their friend Dan who runs the Chainsmokers’ new production company, Kick the Habit. Parts were re-worked, and the team worked on the project and pitch for about a year. Finally, the major film studio TriStar, a subsidiary of Sony, bought the movie. Taggart went on to explain Kick the Habit has tons more in the works with TV, film, and Internet content. They seemed excited to hone their creative abilities into more than just music, noting creativity should work down multiple avenues.
Fans of Martin Garrix know to expect the unexpected from the producer, whose musical output has increasingly become more diverse over the years. Not even a week after his full BYLAW EP release, the Dutch producer showed off his Mike Yung collaboration, “Dreamer.” Yung, whose soulful voice elevated him from homelessness to America’s Got Talent fame, adds a completely new dynamic to the Garrix production that stands out from past releases. The uplifting track was performed live on Good Morning America, where both Garrix and Yung got to speak about creating the song.
“Dreamer” focuses in on the idea that people can find strength as long as they have something to believe in, which is fittingly displayed through Yung’s own personal story.
John Monkman‘s musical path has been a winding one that’s seen him touching on everything from ethereal Anjunadeep-level progressive, to big house tunes, to raunchier cuts. As he’s traveled the depths of his musicality, his sonic vision soon aligned with the Maceo Plex/Ellum camp — and has officially materialized into an EP on the imprint aptly titled Tune In, Turn On.
Its B-side, “Enhancer,” is a particularly blistering number, designed to cause tension on the dancefloor. Pitched-up arpeggios are strung together by acidic synthesizers, simultaneously catalyzing goosebumps celestial mental imagery. Meanwhile, growling notes on the low-end and driving vocal clips add a hint of shadow to the finished product, making for an intense and well-balanced track that heats up the speakers.
“Enhance” is set for a November 16 release. Pre-order a copy here.
Photo credit: Andrew Farrar
Böhmer’s latest, “Ground Control,” touts sweet, but deliberate chord progressions with profundity. Sonically adjacent to his recent, cinematic Dive EP, there is an air of ardor inherent in the track’s palpitating bass line and jagged synth textures. Still audible, of course, is his melodic splendor, enveloping the track in lush emotive contrast.
Böhmer’s certainly done well for himself in his short time under Anjunadeep’s well-endowed wing. He’s released two radiant EPs (Dive and Morning Falls) under the imprint this year alone, each traversing a wide array of modes for sublime, atmospheric delivery.
Techno Tuesday is a feature on Dancing Astronaut documenting the culture of underground dance music. We’ll bring you exclusive interviews, tracks, and narratives from artists within the techno, tech house, and deep house world in an effort to shed light on some of the best talent outside the world of mainstream dance music.
Over a decade behind the decks and a fierce philosophy of rule-less making has placed Gary Beck atop the ranks of techno and electronica. The Glasgow native has charted a unique path in music that has seen him constantly pushing boundaries in his realm of expertise and letting his instinct guide his musical direction, leading to pickup by some of the most iconic underground imprints that include R&S, Cocoon, and beyond. Not to mention, he scored spots on both Boiler Room and BBC’s Essential Mix series not long after making his break into the scene; a feat not achieved by many in the same position.
Beck’s instinct led to the creation of his latest album, DÁL RIATA, which began as a bit of a homage to his native Scotland but soon became an almagamation of songs born out his club experiences over the years since his last LP, Bring A Friend. It shows off a new side of Beck, one that harkens back to his time learning trumpet in school and his longtime love of instrumental elements and his native culture. Yet, DÁL RIATA remains plenty futuristic in tone, with celestial melodies and off-kilter arrangements becoming an indicator of where clubland, and Beck’s head, is collectively at.
Curious about the new sound on the album, we sat Beck down to dive deep into its production and inspirations, and also picked his brains on his label, BEK Audio — which will be crossing over its milestone tenth birthday this year.
It’s been six years since your last album. How have you evolved musically since then?
Not too much actually! I still use all the same equipment in the studio however I always have new fresh ideas going on. I don’t want to stray too far away from ‘my sound’ as it works very well on the dance floor and it has an identity. It’s important not to lose that.
In that regard, we’ve noticed that DÁL RIATA seems to see you playing a lot more with orchestral elements, and more melody in general compared to Bring A Friend. Are you able to articulate your move in this direction sonically, or how your recent experiences in clubland might have influenced this direction?
I’ve always had a real love for Orchestral music since I first discovered the music of John Barry and James Horner. I also had some experience of playing trumpet in my school orchestra which I enjoyed immensely. It was quite refreshing to add elements of this into the album, as it’s something I always wanted to do. I love Celtic traditional music in general and I wanted to inject some of this into my album.
What was the decider in you amalgamating your club experiences into an album vs creating something more conceptual?
There wasn’t really a deciding moment. I did initially plan to have a Scottish feel around the album, and I think the name and artwork reflect that. I don’t think that albums should have any rules, however I wanted to showcase everything I’m feeling right now.
Is there a particular moment where you felt like it was time to release another album, and any productions you were sitting on that nudged you into a more compilation-esque direction?
At the start of the year, I moved into my new studio after 2 years of failing to find a proper space that worked for me. It was around this time that I realised all I was doing was releasing EP’s, so I decided a fresh challenge was needed. I also felt that doing an album would be a great way to break the new studio in. It gives you a real focus, and in that time, I must have written close to 60 tracks!
Can you connect certain songs to certain cities/venues that might have inspired their creation? Expand on that if so.
The title track ‘Dàl Riata’ connects me to the west coast of Scotland. I visit this area at least 4 times a year as it’s so beautiful and inspiring for me. It’s hard to describe but this track just seems to take me there. Other tracks such as ‘Mango Circus’ and ‘Macabre’ remind me of my experiences playing in amazing dark venues such as the Sub Club in Glasgow and Berghain.
You’re a seasoned veteran in this industry. What has kept you feeling refreshed and inspired throughout the years? Any routines you practice helping foster this?
It sounds crazy being called a seasoned veteran, as I genuinely still feel like I’ve just started all this! Time goes by so fast. I guess the love of it keeps me going. Nothing beats the feeling of writing a special track and unleashing it to the audiences!
What have been some of your most treasured memories in clubland over the past half-decade?
A few years ago, I decided to take my Dad to one of my gigs in Buenos Aires, as he’s a massive football fan and wanted to see Boca Juniors. Initially, he didn’t want to come to my gig, but I finally persuaded him after a few beers! Next minute, he’s backstage at Crobar watching me play to 1,500 people. This was extremely special to me as he had never seen me play and gave him a real insight into what I was doing.
Have you seen any positive changes of late that have reaffirmed your passion for the scene?
I’ll always have a real passion for it, I can’t see that ever changing. There’s a lot of great producers coming through delivering fantastic music which is always great, however I have seen more negative than positive unfortunately, and I blame this on social media.
BEK Audio is nearing its 10th birthday. Any special plans to celebrate that you’re at liberty to tell us about?
I’m planning it altogether in my head as we speak. It’s very hard to believe the label has been running for 10 years! One thing is for sure, there will be a super compilation on the way.
Is the label going to shift sonically in the way your sound has, or perhaps take on a more expansive palette? Or do you feel there was never really a set aesthetic to shift from in the first place?
I never have any rules with the label. If it’s good, then it’s good and I’ll release it. I’m going to be pushing out some more digital only releases moving forward. With vinyl, I was only managing about 3 releases a year and I really want to expand on that.
Any final words or big goings-on down the line that you’d like to tell readers?
Apart from BEK Audio reaching 10 and the album release, I think that’s all I can announce for now!
Pre-order a copy of ‘DÁL RIATA’ — out on November 20 — here
Photo credit: Gary Beck’s team
After streaming platform go90 shuttered at the end of July, it seemed the world might never see Dillon Francis’ much-anticipated series, Like and Subscribe. The show kicked off its promotions in June with a mural in Los Angeles that only allowed access to verified influencers and those with more than 20,000 social media followers. Like and Subscribe was supposed to follow shortly after on July 9, but the show lost its network when go90 ceased to exist on July 30. Since then, Francis has been at work finding a new place for the show to live, and it’s finally found a home on Funny or Die.
Like and Subscribe stars Francis as Skyy Goldwynne, the most powerful manager in Hollywood. “Somewhere along the line he signed a bunch of influencers and then forgot about them,” reads the show’s promotional blurb. “When he sees an article in the trades about how terrible he is for representing them, he is left with no choice, but to lock them all in a house together, and film it.”
The 23-minute inaugural episode, titled “The House,” is out now on Funny or Die’s YouTube channel.
Doe Paoro poured her soul into a timely new record named Soft Power this fall. The artist, real name Sonia Kreitzer, described her songwriting process as a “reclaiming [of] parts of myself that I had lost.” It’s an immensely personal new song cycle, one which explores womanhood, misogyny, and invites its listeners to process and grieve their own experiences in an equally personal scope.
Media outlets have previously compared Paoro’s lush soul aesthetics to that of Amy Winehouse. Track titles like “Walk Through The Fire,” “Over,” and “Guilty” raise questions about harmful relationships, societal injustices, and reconciling with one’s worldly attachments. Each brings Winehouse’s truths to mind as Paoro sings the modern “what kind of fuckery is this” all throughout.
But within Paoro’s electronic departure — the new album sheds her 2015 Justin Vernon-produced After style of moody electronic soundscapes Paoro re-focuses on soulful, piano-driven pop —she gets less intentional about what the music’s achieving and more focused on what it’s saying, forsaking stylistic precision for emotional intent. It’s a move that hearkens back to her propulsive take on the Hercules & Love Affair cut “Blind,” from just a few years ago.
And it’s the same freeing embrace that channels through in ratio:state‘s new remix of the track “Over,” which Dancing Astronaut is sharing an exclusive first listen of today.
ratio:state reinterprets the song’s central question “now that I’m older / does it get easier / to get over” into a demanding, self-affirmation in its four-on-the-floor flair.
“We hit the studio, the vibes were just so natural, the result is what you hear.”
ratio:state said of the track. It’s fitting then, that the rework is a slow-burner. There’s no eruptive nature to the interpretation. There’s no bombastic EDM chorus, and there doesn’t need to be. It does get easier, but it truly is a soft kind of power.
Doe Paoro’s Soft Power is out now via ANTI- Records.
Photo Credit: Rinny Riot
Calvin Harris took a short break yesterday from cranking out number No. 1 records and posing for Armani underwear spreads to engage in a slew of Twitter exchanges with fans on the state of his music and “EDM” at large.
The Scottish “Feel So Close” producer answered music and non-music-related inquiries alike with a bit of comedy and a great deal of candor. A glaring takeaway from the repartee is Harris’s delineating his current chosen production style with the now-ubiquitous umbrella term, “EDM.”
Upon a fan asking whether or not he’d be “going back to EDM at some point,” Harris replied,
“EDM has been sad, slow songs for years now. Doesn’t have anything in common with the music I love to make. 2010-2014 edm was more house influenced to me. Anyway now I’m out the bubble and making big records with amazing singers that sound like house music to me…”
Additionally, Harris took the opportunity to suggest he’ll be diving back into the festival circuit soon–now that many of his large-scale projects (namely Funk Wav) are in the books. He also announced an indefinite retirement from his former live performance setup, having purportedly exhausted the format at this point in his career. However, make no mistake: at 34, Harris continues to flex his adventurousness in the studio. Just this month, he offered one of his rare vocal demonstrations on his new house single with Benny Blanco, “I Found You.”
EDM has been sad, slow songs for years now. Doesn’t have anything in common with the music I love to make. 2010-2014 edm was more house influenced to me. Anyway now I’m out the bubble and making big records with amazing singers that sound like house music to me… https://t.co/D3UQc8vWFx
— Calvin Harris (@CalvinHarris) November 12, 2018
I learned from listening to a lot of it. Music theory always feels (to me) like trying to explain something magical that often happened by accident after the fact and takes the soul away from it. I’m also a bit stupid so it’s probably a bit of that too https://t.co/jau37ANAvI
— Calvin Harris (@CalvinHarris) November 12, 2018
Yeah absolutely, one day, I was just craving studio time…I had some things I really needed to do (funk wav for example) https://t.co/AdRuZZ4Ufl
— Calvin Harris (@CalvinHarris) November 12, 2018
No way I’m 34 now
Yes basically was trying to be like LCD and Mylo ended up worse than both but I improved with time https://t.co/GZRT12mjkQ
— Calvin Harris (@CalvinHarris) November 12, 2018
Photo Credit: Rukes
Composer, multi-instrumentalist, and Radiohead lead Thom Yorke has curated a new 90-minute mix for BBC Radio 3’s Late Junction. The mix opens with Radiohead’s “Burn the Witch” and showcases an expansive multi-generational span of experimental prowess from artists like Pierre Henry, Aphex Twin, and Mars89. All throughout, Yorke shares his love for experimental vocal techniques, even sprinkling in some classic Stockhausen, and the legendary krautrockers Faust. It’s a far cry from the recent atmospheric mix he curated for BBC Radio 6, but as equally demanding of a listen.
1. Radiohead – “Burn The Witch”
2. Justin Taylor & György Ligeti – “Continuum”
3. Victor Misomba & Patrice Ilunga – “Mamwana Kufika Munda (My Love Is Upset)”
4. Jamie Muir & Derek Bailey – “Carminative”
5. Thom Yorke – “Suspirium”
6. Ben Vida – “Damaged Particulates”
7. Faust – “Exercise – With Voices”
8. Karlheinz Stockhausen – “Gesang Der Jünglinge”
9. Carl Stone – “Shing Kee”
10. Mars89 – “End of the Death”
11. Bernard Parmegiani – ‘Conjugaison Du Timbre”
12. Aphex Twin – “Disk Aud1_12”
13. The Beacon Sound Choir – “Drone 3”
14. Pierre Henry – “Astrology”
15. Alvin Lucier – “Criss-Cross / Hanover”
16. Faust – “Untitled”
Photo credit: Getty
Attendees of deadmau5‘s November 8 show in Berlin were in for a treat.
The mau5trap head honcho used the Verti Music Hall performance to crowd-test some new music, which one Reddit user captured to share with the world. The ID begins slowly, building anticipation with a warm, ethereal melody before exploding abruptly into a bright burst of synths. Backed by a dramatic progressive beat, this ID is purely mau5 in every way.
Though deadmau5 has been using the past several weeks to focus on his mental well-being, he promised fans he’d be in attendance at his Europe shows this month, which include performances in Dublin, Edinburgh, London, and Bristol in the coming days.
Photo credit: F. Scott Schafer
Jersey club mainstay DJ Sliink has been on the forefront of the genre for nearly a decade, even bringing the music to widespread attention after collaborations with both Skrillex and Wale on “Saint Laurent.” Continually proving his ability to seamlessly blend hip-hop and Jersey club, DJ Sliink has now released his new track, “OMG.”
Featuring Bronx-based artist Axel Leon, the track’s high-energy verses rest atop sporadic breakbeats. With the relentless kicks and vocal chops expected from a DJ Sliink song, this track is one for big speakers. Finding the perfect line between the gritty New York hip-hop sound and Jersey club, this collaboration is just another weapon in DJ Sliink’s already-deep catalog.
A performance of the ages at Sydney’s Metro Theatre has been immortalized. Trap legends RL Grime and Baauer threw down what will likely be considered a legendary B2B in Australia’s largest city. To start things off, the electronic trap trendsetters began the set with a crowd rattling mix of Baauer’s “Harlem Shake” and RL Grime’s “Era.”
The set lasted for an hour and 40 minutes, unearthing loads of trap gold and accompanying genres while also making sure to include creative edits, crossover collaborations, and cult classics. While keeping with up-to-date hype with “Mo Bamba” by Sheck Wes or rewinding back to the electro trap glory days with Baauer’s remix of Rollup by Flosstradamus, the set was quite the holistic exploration between the two veteran electronic musicians.
Other artists the B2B was sure to hit were Skrillex, Migos, Travis Scott, TNGHT, Party Favor, Flux Pavilion, Galantis, Gesaffelstein, Boombox Cartel, What So Not, Disclosure, Flume, and many many more.
Not only has MTV brought Teen Mom and Jersey Shore back to the airwaves in 2018, but the company is now announcing its acquisition of U.S. based New Year’s Eve event, SnowGlobe Music Festival. The annual three day event returns to South Lake Tahoe, California on December 29-31 for its eighth year. Terms of the deal had not yet been disclosed at time of writing.
“With SnowGlobe, MTV is taking the natural next step in its resurgence by expanding deeper into live events, as we continue to reach our fans and capitalize on our strong brand in new ways,” said Chris McCarthy, President of MTV, VH1, CMT, and Logo in an official release. “In a festival space where many events have become indistinguishable, SnowGlobe stands out with a unique mix of music, sports, and art that makes it a favorite among artists and its growing audience.”
MTV in collaboration with the SnowGlobe Team also plan to expand the festival to additional dates and locations worldwide. The festival will also be a platform for MTV to expand their New Year’s Eve coverage.
2018’s lineup includes Above & Beyond, Diplo, Eric Prydz, Rezz, and RL Grime headlining among more than 40 artists performing across three stages. SnowGlobe will also feature all-new art installations and the festival’s signature “Big Air” activation showcasing extreme winter sports demonstrations.Tickets for this year’s iteration of the event are still available for purchase here.
Photo Credit: Eric Pratt
The Berlin-based Darin Epsilon is expert at bringing a slice of exoticism to his industrialized home base. Having charted a series of hypnotic, winding releases across his career which have included pieces like “Endless Sands Of Time,” “Keurgulen” on Einmusika, and more recently, his free-flowing Balance mix, the progressive stalwart has produced another mysterious cut titled “Karakoram,” which opens up an extended player of the same name on his Perspectives Digital imprint.
Immediately, the song whisks the mind off to the sand dunes with lush synth melodies arranged in an Eastern-inspired progression. Epsilon then fortifies the intrigue with a powerful low-end harmony, and tribal-inspired percussion that evokes a feeling of trekking through tough terrain. Such prominent mental imagery is something that Epsilon has proven his excellency in, and “Karakoram” serves as a fitting opener to the rest of the mystery that makes up the EP.
Pick up a copy of ‘Karakoram/Fantome,’ set for a November 19 release, here.
Jamie Jones and The Martinez Brothers are two acts that immediately come to mind when hearing the words, “house music.” Carl Cox handpicked the New York-native Martinez Brothers as protégés back when they were new teenagers on the scene, while Jamie Jones helped spearhead a movement that brought the genre to prominence in his home country of England. Both acts are known to command huge crowds on and off the dancefloor, with a top instinct for DJing and captivating productions to match.
Sadly, however, their names rarely appear on lineups outside the East Coast when it comes to their performances stateside. The Martinez Brothers in particular hardly make it out Westward, focusing the majority of their touring schedule in Europe instead. Factory 93 has luckily been able to change this ahead of the new year, booking both Jones and The Martinez Brothers for an open-to-close, b2b performance at the Hollywood Palladium. On December 29, fans will get to bid 2018 farewell amid a mixture of soulful house grooves and top curation from two of the world’s most dominating house forces.
Tickets go on sale here come November 15.
Photo credit: Greg Swales
An artist known for stylistic diversity and surprises, Totally Enormous Extinct Dinosaurs has had an exciting year. After staying silent for nearly four years, the artist released two indie-leaning tracks at the beginning of the 2018, followed by old-school house offerings “Body Move” and “Energy Fantasy.” Toss in a couple of remixes and a collaboration with SG Lewis, and it truly looks like the year of T-E-E-D. Now taking his talents from the studio to the airwaves, Totally Enormous Extinct Dinosaurs recently took over the booth at Seattle radio station KEXP for their Midnight In A Perfect World mix series.
The hour-long set sees the British artist touching on a wide range of sounds within the realm of house music. From funky disco belters to old-school Chicago house tunes, the track selection on display is that of a true tastemaker. Rounding out his time with some acid and techno-leaning records, Totally Enormous Extinct Dinosaurs shows that he is as proficient behind the decks as he is in the studio.
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