For Lorin Ashton, widely known as Bassnectar‘s wide and unwavering following, a destination festival headlined by Ashton himself (among a number of resounding guests) on a Cancun resort is nothing short of an earsplitting fantasy.
The four-day festival’s second charter will summon Sub Focus, GRiZ, Caspa, and Claude VonStroke to its sandy forefront. VonStroke will be bringing a highly potent dose of his Dirtybird crew to the beachfront endeavor’s new location, the Grand Oasis resort (a departure from last year’s touchdown in Riviera Maya), too, including longtime label habitues, Justin Jay, Christian Martin, and Worthy.
Per Bassnectar’s website, he and his team have rented out the entire Grand Oasis property for the occasion, likely in response to last year’s installment prompting a number of noise and behavioral complaints from various Rivera Maya non-Deja Voom vacation-goers staying near the festival.
Deja Voom is sold out, but those interested can join the festival’s waitlists for particular packages of interest here.
Featured Photo Credit: DejaVoom
Earlier this summer, Kygo made his highly anticipated return to NYC during Pride Month to share a new live concept called UTOPIA. The event benefitted a number of LGBTQ charities and organizations, and with performances by Kiiara, Cirque du Soleil, JHART, Danny Verde, and more, the show proved to be one of the electronic highlights of the summer. The Jacob Javits Center was buzzing with energy as Kygo and company raised more than $110,000 in donations.
Kygo also debuted his posthumous Whitney Houston hit, “Higher Love” featuring at NYC Pride 20 years after the musical icon performed at the same event. “It was an honor to be a part of it,” said Kygo, “Love is love.” See a clip from UTOPIA below.
When Tycho‘s “Pink & Blue” was first released, fans welcomed the contemplative tune and its silky vocals courtesy of Saint Sinner. The San Francisco-based musician had in the past focused mainly on instrumentals and composition, and the majority of his work didn’t include vocals.
This took a turn with Tycho’s fifth studio album, Weather, which debuted in July. He tapped songstress Saint Sinner for five of its eight tracks, instating a new chapter in his discography. This seems to have resonated with esteemed producer RAC, who lends his creative touch to a new official remix of “Pink & Blue.”
RAC’s interpretation of “Pink & Blue” sees the song take on a more pop-oriented, lighthearted atmosphere. It’s a brighter, breezier take on the tune, giving listeners the chance to absorb all three artists’ creativity in a new way. See what RAC said about this opportunity below.
I've been following Scott's work as a designer since 07/08, so when I first heard his music I was immediately drawn to it. I see a lot of parallels in the sonic choices and his own aesthetic.— RAC (@RAC) August 20, 2019
One of my favorite things to do is see artists progress over time and develop their techniques. I think this new Tycho album with vocals is such a nice step in that trajectory. I was thrilled to be a part of this remix package because this song immediately jumped out at me.— RAC (@RAC) August 20, 2019
My natural inclination is to make it a bit poppier whereas the original is more introspective. The chord progression from the verse felt really good to me so I decided to loop it and build the track around that. Enjoy!— RAC (@RAC) August 20, 2019
Photo credit: Claire Marie Vogel
If you’re looking for fresh, inspired trance music, look no further than SUBMERSIVE’s catalog. The LA-based producer is injecting the genre with his own creative energy, and on his latest, he follows suit with Sara Skinner on “Wait.” The track is a seven-minute main stage odyssey with beating tribal percussion arrangements and pumping basslines.
“Wait” is high-octane rhythmic trance from front to back, with Skinner’s vocals carrying the release, weaving in and out of massive breaks. SUBMERSIVE continues to put the genre on his back, innovating modern, crisp pieces of Euro-trance, with “Wait” landing as another profile-building addition to the producer’s arsenal of setlist weapons. Hear “Wait” below.
Health officials have temporarily closed Ibiza’s Caló d’en Serral beach following reports of biological contamination. The San Antonio Bay beach’s closure comes shortly after the Ministry of Health of the Balearic Government found elevated levels of E. Coli in the Caló d’en Serral water during their performance of routine water quality tests. They hypothesize that the toxic presence of aqueous E. Coli arose on behalf of passing ships’ offloading human excrement into the ocean.
The Sant Josep local council affirmed that Caló d’en Serral will “re-open as soon as the tests confirm that normality has been restored” in a statement addressing the momentary suspension of Caló d’en Serral access. It’s unclear when exactly the beach is expected to reopen. In the midst of the Spanish nightclub mecca’s hungriest touring season, The White Isle’s extensive and international inhabitants should certainly watch where they’re swimming in coming days.
Photo Credit: Xescu Prats
The underground sound-smith, Madeaux, recently dropped his three-track Club Demons EP on A-Trak‘s Fool’s Gold imprint. “Love” with BRUX was the final piece to the project, nudging a dampened club atmosphere through ominous vocals and that strong bass house backing fans know and love from the LA-based producer.
Previously released were singles “I WANT YOU” with classic synth-pop melodies and a weighty bassline, and the EP title track featuring Dances With White Girls with a more plucky, pop attitude.
With late night warehouse-ready hitters, Club Demons proves to be a trek through haunted audiovisual chaos, aiming to thrive in the lowest depths of club culture for those fiending for the early morning outing.
Thomas Gold has been keeping busy producing music and touring, but the artist has kept it particularly fresh for fans as he continues to diversify his portfolio. Whether with his tech house alias AU-1 or experimenting with new sounds like tropical-leaning “Seventeen,” Gold is one of those producers who increasingly has something for everyone. His latest release is his remix of Madonna‘s “I Rise,” which is the final release from recent album Madame X.
Gold spoke with Dancing Astronaut about being chosen to do the remix, explaining, “It’s a great honor to do an official remix for Madonna. I grew up to all her music, she was kind of always ‘there’ as she released so many great songs throughout the years. So when I got the request to do a remix for ‘I Rise,’ I was like ‘Yes, I want to do this, but I want to deliver something which pays respect to Madonna’s voice and the vibe of the original song.'”
The original track is a slow and sultry tune that highlights Madonna’s vocals. A slow pulsating humming in the background is juxtaposed with her singing, leaving the vocals to do most of the work on the track. Gold speaks to his goal for the remix, saying, “As the original version runs at a much slower tempo than my remix, I had to find the right way to speed up the vocal and the sounds I intended to use – without losing the vibe of the original.”
Gold keeps Madonna’s alluring vocals intact with the same cool tone of the original, but he completely transforms the BPM and enlists a vintage house style that is fitting, as those who are familiar with Madonna’s earlier releases can attest.
He explains the creative process behind what yielded his final result, saying, “I went for a classic house style approach with some well-known organ and piano sounds (hello Korg M1!), which I thought would fit perfectly for her voice. For the verses, I created a completely new chord progression. It was actually just a spontaneous idea I had, but I liked it, so I kept it. Once I had put together the basic sounds and the layout structure of the remix, it was just about creating a good flow throughout the track. I also used almost the entire original vocal, this was not too difficult, and it was fun to see how everything came together nicely.”
Ultimately, Gold trades in some of the sultry mood for more of a euphoric one, and his remix takes the track to a dance-worthy and fun-loving piece of music that showcases both artists at their finest. It’s an infectious song to begin with, but Gold’s house touch takes the track to the next level.
“At the end, I was happy that I had been able to still maintain some of the typical ‘Madonna’ vocal sound whilst giving the music a completely fresh approach,” Gold says. “And I was super happy when I got the final approval from Madonna and her team!”
Broussard’s commanding vocals carry the song from the outset with plucky guitar synth dancing between her lyrics. The song welcomes Galantis back to their pop-directed dance roots with a light melody and a drop that enlists piano and blaring trumpets. “Roots” is a change of pace for the duo, who are most well known for their ability to create uniquely synthesized vocals.
“I’ve always considered myself a bit of a wanderer, and so it surprised me greatly when I started missing Los Angeles while I was away on tour. This song is my love letter to LA, a place I had once considered nothing more than a temporary home, but it’s also about any person or place that makes a life-long traveler want to put down roots,” Broussard says of her songwriting inspiration for the song.
Galantis have released a very distinct collection of releases this year, spanning a OneRepublic collaboration “Bones,” which has gone on to be featured on mainstream radio stations around the world, all of the way to a Yellow Claw collaboration, “We Can Get High.” “Roots” is out now on RCA Records.
YouTube has taken steps in addressing copyright claims of very short music clips used in monetized videos by requiring copyright owners to provide timestamps for any manual claims. This helps YouTube understand which part of the video is being claimed, as they’ve ran into concerns of high volumes of manual claiming transferring all revenue from the creator to the claimant no matter how much music was claimed.
Recently, they announced improvements to their copyright policy in the hopes to level the playing field in the creator ecosystem. Now, no matter how short the video is, it can still be claimed and copyright owners will still be able to prevent monetization or block the video from being viewed. The new policy will forbid copyright owners from using YouTube’s Manual Claiming tool to monetize creator videos with short uses of music. This adaptation only affects claims made with the Manual Claiming tool putting the responsibility on the rights holder to review.
These new policies will be put into effect mid-September, giving time for copyright owners to implement their necessary changes.
A viral video that depicts Die Antwoord members, Yolandi and Ninja, engaging in homophobic behavior has led the South African outfit to be removed from the 2019 Louder Than Life and Life Is Beautiful lineups. Originally filmed in 2012 by Die Antwoord’s former videographer, Ben Jay Crossman, the video has reportedly repeatedly surfaced on the internet on multiple occasions following Crossman’s initial upload of the clip.
The video shows Ninja approach Hercules band member, Andy Butler, and spit in his face. “It’s nice to see you! I haven’t seen you for so long,” Ninja says. Although Butler attempts to evade Ninja and Yolandi, both musicians follow Butler. Yolandi tells Butler to “run for [his] life b*tch,” in addition to using hate language to address Butler. After Butler is out of the reach of the frame, Ninja begins to slander Butler, accusing him of sexual assaulting Yolandi. Yolandi promptly joins in, in an attempt to substantiate the fabricated narrative.
Die Antwoord have not acknowledged the video by way of a statement; similarly, neither festival cited the video as the impetus for Die Antwoord’s removal.
Dirty South is back on Lane 8‘s mystifying imprint, This Never Happened, with a new four-track EP entitled Little Devious. His previous contribution to the label was one in a series of remixes of Lane 8’s single, “No Captain” which featured POLIÇA on vocals. Now Dirty South—real name Dragan Roganović—has his first original offering on This Never Happened.
For over 15 years, Roganović has been hustling both in the studios and behind the decks, and as a result, has never lost touch. The Serbian-Australian makes music in tune with the sounds driving contemporary club floors, while maintaining his own exceedingly sleek approach to house music. One of the many ways he remains relevant is by seeking out forward-thinking labels like This Never Happened.
Dirty South tracks are known for being something of aural novels. Roganović’s ability to paint pictures with his music is revered internationally, as seen through the artist’s Grammy nomination. This EP sees him venture into the darker reaches of his sonic palate. Each of the four cuts features a ghostly breakdown, creating feelings of longing and loss before the support of heavy drums urges the listener to keep going. Stream the Little Devious EP in full below.
Photo Credit: Rukes
After skipping the 2019 iteration of the festival, Florida’s beloved Okeechobee Music & Arts Festival (OMF) will return in 2020 to Sunshine Grove. Soundslinger, the founders of OMF, have partnered with North American festival leader Insomniac to bring the destination multi-genre music and camping event back to its picturesque home on March 5-8, 2020.
Okeechobee is known for its eclectic festival lineups, which have included artists like Travis Scott, Usher, and Khalid all of the way to ODESZA, Skrillex, and Kings of Leon in the past. In addition to OMF’s three main stages—Be, Here, and Now—dance music fans will gravitate once again toward Jungle 51, a dusk-’til-dawn dance party nestled in the heart of the jungle that has hosted some of the biggest names in house and techno in recent years.
During the day, OMF attendees will again be able to experience Aquachobee Beach, situated in the scenic background where Sunshine Grove’s jungle meets the white sand beach, that will give Okeechobee-goers the chance to catch daytime live music sets while swimming and sunbathing.
Passes are on sale for all ticket and camping types beginning Aug. 23 at 10 a.m. ET here. The festival has released a video to get fans excited for the 2020 edition of the event, which potential festival-goers can view below.
Photo credit: Tune Collective
Foreigner‘s iconic “I Wanna Know What Love Is” debuted in late 1984, but the notable tune still resonates with fans of all musical persuasions decades later. BLOND:ISH in particular proved that true when she dropped her “sunrise jungle rework” of the song at Robot Heart last year, resulting in thousands of fans clamoring for its release.
Her rework features a smooth-gliding beat to back the vocals of Foreigner’s Mick Jones and the accompanying choir. With the incorporation of birds chirping to signal the arrival of sunrise, her interpretation of the recognizable song is one sure to be cherished by fans.
“This is a story about a little blonde girl’s journey about her love for going to a festival in the desert and playing sunrise sets,” BLOND:ISH says of song in a press release. “This little girl discovered meditation along her journey and loved to be in the present moment because that’s where she learned true happiness is. So she wanted to make a special edit to inspire happiness and positivity in people while they are dancing the sunrise away deep in the desert, truly being in the present moment. That moment is absolutely everything, there’s nothing like it.”
Wave Racer‘s return to the electronic eye has been met with ardent excitement from the cult-like sector of the scene’s bubble-trap enthusiasts. The producer of retro video game-redolent soundscapes recently procured a follow-up to his first release in years, “Auto,” with “Summer Rain,” featuring hip-hop vocalist, Kwame.
A masterful innovator within his exceedingly nuanced niche, Wave Racer has curated a “Summer Rain”-themed playlist exclusively for Dancing Astronaut, chock-full of offerings from a litany of his pleasantly unorthodox and like-minded counterparts, including Cashmere Cat, Mr. Oizo, and Clairo. The playlist is meant to embody the reverie and idealism ingrained in the fundamental fibers of “Summer Rain.”
“‘Summer Rain’ is a song about infatuation and the sensations that come along with it, and these selections similarly reflect those sensations, whilst also demonstrating the ongoing shifts and evolutions of my personal and tastes and artistic influences,” says Wave Racer of his intention with the selects.
The NFL and Jay-Z have entered into a partnership that will place the high-profile hip-hop artist in a position of considerable influence: live music entertainment strategist. As a part of his new role, Jay-Z will consult with the NFL on the selection of Super Bowl halftime talent. He will also help the NFL orchestrate other music driven events affiliated with the league, while assisting with the NFL’s activism campaign, Inspire Change.
The development represents a shift in the mogul’s contentious relationship with the NFL. Jay-Z flipped the NFL a lyrical middle finger in his 2018 single, “APESHIT,” rapping, “I said no to the Super Bowl, you need me, I don’t need you.” The diss came after Jay-Z declined the league’s offer to perform at the 2018 Super Bowl in a demonstration of his solidarity with prior San Francisco 49ers quarterback, Colin Kaepernick. Rihanna notably rescinded the Super Bowl’s 2018 bid for the same reason.
Kaepernick was the first NFL player to kneel during the National Anthem in protest against police brutality in 2016. Jay-Z had sought to bring attention to the issue of police brutality in the nation for many years preluding Kaepernick’s on-field opposition and notably dedicated a song to Kaepernick during his 2017 performance at The Meadows Music and Arts Festival. The rapper was also said to have been vocal in his attempts to dissuade fellow hip-hop entity, Travis Scott, from performing at the Super Bowl after the league approached Scott with an offer to appear at the 2018 iteration alongside Maroon 5.
“The NFL has a great big platform, and it has to be all-inclusive,” Jay-Z said in an interview at Roc Nation in Manhattan. “They were willing to do some things, to make some changes, [so] that we can do some good.”
“We don’t want people to come in and necessarily agree with us,” Roger Goodell, NFL commissioner, said in an interview on Aug. 12. “I think that’s a core element of our relationship between the two organizations, and with Jay and I personally.”
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.
The selection is updated every Lunes (Monday).
Photo credit: Maxwell Schiano
MEMBA take a different course of stylistic action on SAGA-II, the second installment in the electronic duo’s three-part conceptual release series. SAGA-I arrived as a cerebral three-cut effort with sauntering rhythms and a barefaced indulgence in bass. Sitting at a total of seven tracks, SAGA-II is less aggressive in its implementation of the low end in comparison to the inaugural EP of the sonic SAGA. SAGA-II prioritizes nimble instrumentation, as evident on “Boundless” and “Schools Out,” among other EP inclusions.
SAGA-II channels the feeling of childhood and that universal wonder we are all born with. That wide-eyed curiosity and desire for play that slowly fades as life goes on. This EP is a really personal one for us, we hope you enjoy listening to it as much as we enjoyed making it-M
Rippling melodies undulate across SAGA-II‘s body. There’s a tonal brightness to the EP that characterizes SAGA-II as a spirited, particularly effervescent endeavor. MEMBA involve vocals in an impactful capacity: the vocals of “Smara” showcase the powerful synchronicity of MEMBA’s musical arrangements and the vocal, as do EVAN GIIA‘s on “Walls Down.”
SAGA-II is out now via Foreign Family Collective.
Just as SLANDER kicked off their Alchemy tour in Long Beach, CA with what they say was “biggest single stage bass event ever done in the U.S.,” they released their latest single with Kompany entitled, “Broken.”
While the LA-based duo’s discography is as diverse as the city they call home, with the help of Kompany, SLANDER found their dark side on “Broken.” This track nothing but heavy all the way through. Even Fknsyd’s mellifluous vocals can’t restrain the sheer grit of the drums, and with her voice floating on top it almost feels like the soundtrack to a war between two robotic alien races.
Photo credit: Koury Angelo
Armin van Buuren has been helping to shape electronic music into the commercial force it is today for over 20 years. In addition to releasing music that has pushed the boundaries of the genre’s sound, he started what is arguably one of the most successful independent music labels in the world with Armada Music.
Today marks a landmark for the veteran producer thanks to the release of the 1500th track on Armada’s sublabel, Armind. “Stickup” by van Buuren himself, is the track that has been chosen for this coveted release spot in honor of the label’s continued success.
The heightened BPM drives the track into trance territory from the outset, and a robotic vocal line tells listeners to ‘put their hands up’—giving them a brief respite from the speedy kicks driving the piece forward. The song’s energy ebbs and flows as it goes on, creating a rollercoaster ride reminiscent of his earlier work during his trance days.
“Stickup” has been a mainstay in van Buuren’s live sets long before the track’s release date. The song was first played at A State Of Trance 900 in Utrecht, and it is now featured prominently on van Buuren’s new A State Of Trance, Ibiza 2019 album.