Past charting top ten on Spotify’s viral charts across the board, ‘Waterfalls‘ marked a truly standout moment for Stockholm’s Dear David. Where we have become more used to hearing the Swedish DJ/producer in his element as an original producer, the track spotlighted his outspoken melodic flare like never before.
Having since released his latest single ‘Fever,’ the aforementioned remix lands back in the spotlight courtesy of an official video for the sought after remix. Elegantly shot and welcomingly on point to the track’s mellow and uplifting properties, the video does this standout production some serious justice. Having recently teased a wealth of new material in his returning CHAPTERS mixtape, 2017 is shaping up to be quite the year for Stockholm’s latest middle ground club master.
San Francisco-based producer Kaptain is swiftly building a reputation as a skilled implementer of analog-based glitch hop and funk. A majority of Kaptain’s recent output spotlights “real” and electronic instrumentation equally. Jazz horns, guitar licks, and vocals are arguably as central to the artist’s productions as LFOs and bass stabs.
Kaptain’s most recent release, “Wouldn’t Change A Thing,” began as an audio/visual collaboration with Greg Ellis, who conceives Pretty Lights‘ legendary visual stage productions as the LazerShark. The chilling synthesis and wistful horns that introduce the track blend fluidly with Ellis’ colorfully erratic graphic designs. Outside of the LazerShark collaboration, Kaptain’s instrumental piece progresses from its aforementioned mystifying segment into a raucous breakdown, defined by gritty bass syntheses and soulful guitar solos. Eventually, the track concludes with a triumphant call-and-response interaction between the horns and electric guitar which pervade the track’s entirety.
View the collaborative video above and stream/download “Wouldn’t Change A Thing” below.
Philadelphia-based producer Instupendo has been steadily growing his fanbase with a consistent stream of releases and a style all his own. Having previously appeared in two editions of our Sunday Morning Medicine series, the producer’s latest. “icarus.” is quite deserving of recognition.
While the title is an obvious reference to the myth of Icarus flying too close to the sun, Instupendo’s production maintains a reserved stance throughout. His singular style of hazy arpeggios crafted out of rounded off synths remains the focal point — something akin to taking Tycho‘s work, incepting it into a dreamscape, and slowing it way down.
The producer also showcases considerable restraint, waiting until the track’s final third to really begin adding consistent bass lines and percussion — even then, they remain unobtrusive and serving of the track on the whole. In all, “icarus.” provides the perfect soundtrack to lazy afternoons or walks home at sunrise after a long night.
Fresh off of his Australian “Rave of Thrones” tour, Hodor, or as he’s known in the real world, Kristian Nairn, has made an appearance in the most appropriate of places: the trailer for medieval-themed Middlelands Festival, a new event put on by Insomniac and C3 Presents – the organization behind such reputable festivals as Austin City Limits, Lollapalooza, and Voodoo. Although the music lineup has yet to be announced, Nairn’s cameo in the trailer hopefully suggests that he’ll be included on the roster. It goes without saying that few, if any, DJs fit the bill for a medieval rave as well as Hodor.
For the weekend of May 5-7, 2017, the Texas Renaissance Festival Fair Grounds in Todd Mission, Texas, will be transformed into a medieval musical wonderland suitable for a true “adventure for the ages.” With five main stages, art installations aplenty, free carnival rides, and a host of interactive performers playing characters such as “cyber-wenches,” “barbarian beauties,” and “neon knights,” there is little doubt that this will be a place of magical fantasy.
The early-bird tickets have already sold out, but for those whose interest has been piqued can purchase tickets and camping passes when the general sale begins on Tuesday, December 6, 2016 at 12:00pm CST.
View the trailer, featuring Nairn, in the above video.
Last month, the UK proposed new legislation that suggests prison time and a £5,000 fine for scalper bot users, hoping to lessen the cost and stress for people looking to purchase tickets fairly. Ticket resellers oftentimes use scalper bots to evade the ticket limit per person on event sites, leading to events selling out extremely quickly and scalpers reselling their tickets at ridiculously high prices. Apparently, the UK’s Conservative MP Nigel Adams’ inspiration for this crackdown came after he himself was unable to purchase concert tickets due to scalper bots.
Following suit, New York State has passed similar legislation in an effort to restore “equity” in its ticketing market. Enforcing tough penalties on individuals caught partaking in the illegal practice of using scalper bots, the new legislation states that an individual who uses scalper bots or resells tickets that were knowingly purchased using scalper bots will be charged with a class A misdemeanor, which can mean sizable fines and up to a year in jail.
New York Governor Andrew Cuomo made the following statement on his website regarding the new ruling:
“These unscrupulous speculators and their underhanded tactics have manipulated the marketplace and often leave New Yorkers and visitors alike with little choice but to buy tickets on the secondary market at an exorbitant mark-up.” It’s predatory, it’s wrong and, with this legislation, we are taking an important step towards restoring fairness and equity back to this multi-billion dollar industry.”
LA-based production duo Oliver have long established themselves as artists with considerable range. The dark, brooding atmosphere present in the first track to put the group on the map, “Night Is On My Mind,” stands in sharp contrast to the considerably lighter, floating remix they made of Fred Falke‘s “It’s A Memory.” The common through line that has garnered the producers numerous fans, however, is the indomitable chugging momentum they imbue each track with, one that has many clamoring for each new release.
Luckily, Oliver recently took to Facebook to announce that they have a new album that is almost finished and set for release.
The release is in the final stages of production, requiring only mixing and “fine tuning” before a tentative, unannounced release date in early 2017. While details are scarce, a thudding backbeat and heavy funk inflections are certainly guaranteed.
Trance fans are considered some of the most dedicated in the dance community, and Insomniac has wisely tapped into this ardor with their beloved Dreamstate series. The flagship event was first held in Southern California in 2015, selling out in just hours.
With this success in mind, Dreamstate has evolved into a cornerstone brand of Insomniac, spreading first to San Francisco, then internationally to Australia and Mexico as its own standalone event. In addition, trance fans attending bigger Insomniac festivals have been pleased to find the company designating whole stages to Dreamstate, curating nothing but top talent with each takeover.
Twelve months passed by swiftly, and all of a sudden it was already time for Dreamstate to return to its original home at San Bernadino’s NOS Events Center for a second two-day bout of pure trance. Eager guests flooded the gates promptly at its 5pm start time on Friday, this time better preparing for the cold weather with multiple layers and colorful varieties of onesies.
photo credit: aLIVE
Just like last year, where the debut Dreamstate served as a launchpad for Insomniac to cultivate a behemoth brand, the second Southern Californian edition saw Pasquale Rotella and his team testing the fervor of American trance addicts by transforming the festival into a fully immersive experience, complete with four different stages filled with every flavor of the genre imaginable. The theme of this year’s Dreamstate was “terraforming our new society,” and each stage expertly followed this message.
The Vision stage, for example, had geometric, orderly decor — triangular screens burst with sharp, LED visuals while lasers covered the enclosed crowd, painting a futuristic and organized view of Dreamstate’s ideal look. Fueling The Vision further was the music it hosted, which comprised of most of the weekend’s forward-thinking uplifting and tech performers that are propelling the genre into the future. Their multifaceted sets, which covered the total emotional and sonic scope of trance, weaved together an ideal “vision” of what Dreamstate and the genre as a whole might become.
Highlights of The Vision stage included Pure NRG closing the festival out on a powerful note on Friday, recreating a multitude of uplifting tunes like “Falcons” and mashing them into each other live as part of their innovative setup. FSOE newcomer Niko Zografos was granted an extended set on Friday as a result of Allen & Envy’s cancellation, doing a fantastic job substituting for his more experienced counterparts with a pounding, jubilant song selection. John Askew and Will Atkinson dominated the stage on Saturday, presenting their audiences with raw, uninhibited tech trance.
photo credit: Holy Mountain
The Sequence was dedicated entirely to psy trance, which is one of the first instances ever in America where the smaller subgenre earned such attention at a large-scale event. Like it’s groundbreaking list of artists, which included heavyweights like Coming Soon!!!, Astrix, and Vini Vici, The Sequence stage held the most futuristic setup. The smaller enclosed area looked almost like a spaceship, setting the decks up on top of vivid, layered LED screens. Where The Vision outlined Dreamstate’s potential, The Sequence demonstrated the great bounds it has already made.
Psy trance’s immense growth over the past couple years in America was truly embodied at The Sequence stage. Both nights saw the room filled to the brim with excited fans looking for more experimental sounds in their music. Vini Vici, Astrix, and Astrix & Ace Ventura under their Alpha Portal project caused the building to overflow throughout a good portion of Saturday night. Avalon, who closed Saturday with the most authentic, full-on psy set of the weekend, also filled the room to its brim — an occurrence one might not have thought possible as recently as two years ago.
The Timeless stage hosted an array of veteran trance heroes, which drew an enthusiastic and knowledgeable crowd to its intimate boundaries. Production was minimal there, but ultimately this did not matter as the ageless music was the clear centerpiece. Psychedelic visuals cast a glow over the small tent as faces lit up with smiles and feet moved feverishly to classics like Rank 1’s “Airwave” or Super8 & Tab’s “Helsinki Scorchin’” played by the likes of Binary Finary, Talla 2XLC, and Richard Durand.
An added bonus of Timeless was that it was the only stage where DJs were granted extended two-hour sets, allowing them to properly douse the area in blissful nostalgia. Through old-school sounds and electric energy displayed at this stage throughout the weekend by its attendees, the message of the stage was driven home: all it takes for something to stand the test of time is beautiful, yet finely-crafted simplicity.
Finally, The Dream stage tied together all the aspects of the other stages to fully define Dreamstate as a whole. ATB, Paul van Dyk, Rank 1, and Aly & Fila headlined this stage, enchanting the crowd with a mixture of uplifting clips and their own gems from years past. Meanwhile, newer icons in the scene such as Ben Nicky brought eclectic mixes of tech and psy to their sets, adding variety to the lineup.
While The Dream was set in an open hangar space, frigid temperatures hardly affected the steadfast crowd as they huddled together under the overhang and embraced each other while singing passionately along to anthemic tracks blasting through the speakers. The experience was indeed dream-like for all those bearing witness to talent there. Naturally, this stage boasted the most elaborate setup, showcasing its full potential — sound was crisp and well-articulated, while elaborate networks of lasers and visuals played out consistently throughout both nights.
Photo credit: Jake West
Dreamstate’s expansion could be defined as a resounding success for the brand, however, it was not completely without fault. Jumping from just one stage to a large-scale festival with four stages was quite a leap, and this translated to many of the stages maintaining a “half-full” status throughout a good portion of the weekend in addition to many difficult set time intersections. As a result of such a swift expansion, some of the stages were not attended to with the same care as others. Timeless and The Vision stages, for example, experienced sound issues that endured throughout all of Friday and were hardly improved upon for Saturday.
Fans also expressed disheartenment at set time length and heavy conflicts due to there being four stages of such stellar talent — most agree that one hour is not enough time for a trance DJ to properly tell a story in their sets. Perhaps a good improvement for Dreamstate to consider would be to reduce the stages to two or three, and book fewer DJs while giving them each longer set lengths. Doing so would mirror many of the hugely successful trance festivals in Europe such as Luminosity, while still providing a large menu of artists to choose from.
These slight pitfalls ultimately failed to dampen the overall positivity flowing from artists and attendees after the weekend had passed. Insomniac is a company that knows exactly what it takes to put together top quality events, and they unquesitonably delivered with Dreamstate 2016. A combination of incredible music coming from the best of the trance paired with passion, love, and fervor rarely exhibited outside of the trance family has solidified Dreamstate’s standing as a key building block in the genre’s renaissance.
After successfully terraforming the Dreamstate society as one, we look forward to seeing the brand’s continued growth entering into year three as America’s premier trance destination.
December 2 saw the release of deadmau5‘s long-awaited W:/2016ALBUM/, and in less than 24 hours his eighth studio album had already climbed to the top of the iTunes dance charts and earned number 9 overall. After months of teasing out clips for the album through various platforms in addition to debuting a few full tracks like the 80s-inspired “4ware,” widely positive reviews and general excitement coming out of his large fanbase make its success hardly a surprise.
It turns out that the Canadian legend still had a surprise up his sleeve following the release of the album – during an eight hour live stream with fans, deadmau5 announced that he’d be releasing 20 more tracks iTunes. Joel Zimmerman provided a roster of this music bank, covering a variety of newer and older tracks which he’s remastered in celebration of W:/2016ALBUM/. An official release date for the collection has yet to be finalized, but he advised in a comment in the stream’s chat portion that he’d “try and get it done fast.”
Outside of releasing new music, deadmau5 has insinuated that he has some exciting developments brewing for his “Lots of Shows in a Row” tour. A few days prior to the album’s release, Zimmerman implied that his live Cube setup would be further revamped through a sly Tweet reading,”Cube 2.1 ;).” The performer will visit a variety of dance hotspots throughout the US to kick off his tour, including LA, Chicago, and New York.
View screenshots from deadmau5’s recent livestream commentary below:
H/T: DJ mag
The death toll for the Oakland warehouse party fire that initially left nine deceased and 25 missing has risen to 30, with more deaths expected to be uncovered as the remainder of the building is searched. As of today, Alameda County Sheriff Ray Kelly claims only about 20 percent of the venue has been inspected.
The names of the victims have not yet been released, though three families have been personally notified thus far. A list of missing people, compiled by friends and family, has grown to around 35.
Fire Chief Melinda Drayton disclosed during a press conference this morning that the source of the fire is still unknown. “This is the most deadly fire in Oakland’s fire history that I’m aware of, I’ve been in for 19 years and consider myself a veteran,” she explained. “It is tragic to watch so many people perish from a fire fatality in front of your eyes and have to be stoic in your job.”
Drayton anticipates the search will endure for at least several more days as officials search for more answers and bodies.
Stay tuned to Dancing Astronaut for further updates.
Via: NY Times
Photo courtesy of Virginie Goubierv/AFP/Getty Images
While the debate on drug regulation reform continues in the US and Australia, authorities in the city of Preston, Lancashire in England are taking a progressive approach to the problem by allowing the city’s clubgoers to test their pills in special walk-in booths on Friday and Saturday nights.
These booths will allow the clubgoers to test the purity of their pills before consumption in a process that will take about 30 minutes. While the initiative is run by charity the Loop, the project has the backing of the Lancashire Police force, which will also allow clubgoers the fair option of choosing whether or not to consume their pills following the purity tests. All samples handed back over to the Loop will subsequently be destroyed.
While proponents argue that such an effort is merely aimed at harm reduction, an absolute must for the UK which saw 57 die from ecstasy use last year, critics argue that such an initiative would only result in ‘normalizing’ drug use.
H/T: IB Times
This article was first published on Your EDM.
Source: Preston, Lancashire Police Set To Allow Clubgoers To Test Drugs For Purity
According to new video evidence found by SPIN, it appears that Alex Jones, one of the leading voices of the conspiracy theory community, might be some sort of secret acid house DJ in his spare time. Hear us out.
A Youtube video uploaded to Alex Jones’ official channel about a week ago about voter fraud and Black Lives Matter mysteriously opens with a shot of a large mixer, a Roland TR-808 drum machine, and what seems to be several TB-303 bass line synthesizers. Meanwhile, as Jones speaks, a pair of monitors and two Pioneer CDJS can be seen in plain view.
Now, while this is already enough to at least prove some interest in dance music on Jones’ part, it’s the next piece of evidence that seals the deal.
A comment was posted by Alex Jones’ official Youtube account six months ago on a four-year-old video uploaded by acid house producer DJ A Guy Called Gerald, referencing the TB-303 in the video of him creating a beat.
If this comment, combined with the equipment featured in his recent video, isn’t a sign that Alex Jones is an acid house fanatic, then I’m a lizard person plotting to take over the federal government.
This article was first published on Your EDM.
Source: Conspiracy Theorist Alex Jones Could Be A Secret Acid House DJ
The Chainsmokers and Halsey‘s hit single “Closer” has just tied Robin Thicke’s “Blurred Lines” for the most amount of weeks held at the No. 1 pop radio song spot. During its tenth week at the top, the track was played about 16,984 times, according to the Mediabase pop radio airplay chart.
Even though the No. 1 weeks were not all held consecutively, their total has caught up with Thicke’s 2013 hit as the longest-reigning pop song since the Mediabase/R&R data split in 2006.
Meanwhile, at the No. 3 spot, DJ Snake and Justin Bieber’s “Let Me Love You” saw around 16,031 radio spins this week. Daft Punk and The Weeknd’s “Starboy” remains at the No. 4 position with about 15,176 plays.
Source: Headline Planet | Image: Jeff Kravitz/FilmMagic
This article was first published on Your EDM.
Source: The Chainsmokers’ “Closer” Ties For Longest-Reigning Pop No. 1
The death toll resulting from the Oakland warehouse party fire on Friday night has risen to 24 since officials’ last report, with the number expected to climb even further as their search of the wreckage continues.
Even though crews worked through the night to clear the debris, Alameda County Sheriff’s Sgt. Ray Kelly said that they’ve only been able to search about 20 percent of the “Ghost Ship” building’s remains. The search for bodies is expected to continue for another 48 hours.
The space, an illegal live-work residence, has been described by those who frequented it as very unsafe. According to former residents, the building had few exits, piles of wood and electrical cords and a makeshift staircase. The water and power were stolen from neighbors, and it often did not work.
Danielle Boudreaux, a friend of the couple who owned the building, described the maze guests would have to navigate if they wanted to find an exit.
“If you were not familiar with the building and the way that it was, if you were going there for a party, you wouldn’t be aware of the maze that you have to go through to get out.”
Around 100 people were drawn to the building’s top floor on Friday for a dance party put on by LA-based label 100% Silk’s West Coast tour.
While authorities continue to investigate the source of the fire, officials said that the materials and clutter in the building’s interior may have served as a tinderbox.
The fire began 11:30 p.m. on Friday, and wasn’t full extinguished until after 4:00 a.m.
Earning the right to deliver an Essential Mix for BBC Radio 1 is one of the highest honors a DJ can receive. Among the few accolades that surpass being invited to stand behind the series’ coveted decks is to be deemed the purveyor of the Essential Mix of the Year. In 2015, German techno icon Ben Klock received the esteemed award.
Now, the Essential Mix has released their nominees for the year’s most definitive contributions. 2016 had no dearth of remarkable contributions from prodigious DJs to the series, as is evinced by the five skillful song-weavers who have been nominated for this year’s award: Âme X Dixon, Dusky, Leon Vynehall, Midland, and Recondite.
Learn more about this year’s EOTY candidates and listen to their nominated mixes below:
Âme X Dixon
Âme, the German duo of Kristian Beyer and Frank Wiedemann, are no strangers to working with Dixon. The partnership have contributed regularly to Dixon’s Innervisions label, and have an eagerly-awaited album slated to be released on the imprint in 2017. Dixon sent techno devotees into a frenzy when he decided to team up with the duo for his third Essential Mix as a continuation of the program’s X series – which sees notable artists, such as Eric Prydz and Jeremy Olander, provide b2b sets. Âme X Dixon was undeniably one of 2016’s most hyped Essential Mixes, and given its abilities to live up to expectations, is deserving of its nomination.
British artist Leon Vynehall provided perhaps one of the most uplifting Essential Mixes of the year, and certainly the most uplifting of 2016’s EMOTY nominees. Over the course of the two hour set, Vynehall melds of house, jazz, funk, and mystifying soundscapes. This selection marks Vynehall’s first Essential Mix.
Lorenz Brunner’s abstruse vision of techno astutely justifies his choice to produce and DJ under the Recondite moniker. The German artist has purveyed an array of dark, recondite music for a number of esteemed imprints, including Innervisions and Dystopian. In November, Recondite provided his debut Essential Mix, a dreamily umbral curation which will surely entreat Pete Tong to invite him back to the broadcast.
British DJ/producer Harry Agius continues the trend of virginal EOTY nominees, following his spellbinding Essential Mix as Midland in late February. Midland’s series contribution is as eclectically-curated as it is carefully-compiled. Over the course of his two-hour mix, Midland impressively succeeds in his career goal to “create a homogeneous sound that people from different musical persuasions can appreciate.”
The British duo of Alfie Granger-Howell and Nick Harriman, have had a momentous year in 2016. In October, Dusky released their second album, Outer, to great critical reception. In an interview with Dancing Astronaut, Dusky remarked that they came to conceptualize Outer to celebrate and delve into their diverse influences: “…we wanted to express what kind of tastes we were into because we’ve got really eclectic tastes, and wanted to explore different ideas and styles and cover all the bases.” The duo’s November Essential Mix continues this trend, as Dusky astutely “cover all the bases,” drawing from an array of genres to culminate in a mix that is sometimes mellifluous, sometimes harrowing, but always fundamentally danceable.
Deadmau5 doesn’t like his new album. Sure, he thinks it’s a rushed, slapped-together job that’s laughable, but he also just bought his freedom from a long-time deal with Virgin EMI in favor of working with Kobalt to have total creative control over mau5trap, and subsequently every facet of his brand and music.
While the new LP isn’t polished to deadmau5′ liking, legions of fans are loving it, and W:/2016ALBUM/ is certainly another brick in the legacy tower of deadmau5′ career. But it’s a far cry from the pinnacle, and elusive “perfect album” he’s been thinking about crafting for the last 10 years.
Looking back on how deadmau5 was touting Project Entropy, many thought that might end up becoming his aforementioned brush with perfection; if only the plug hadn’t been pulled on the ambitious idea. However, now that he’s free of major label constraints, and has a fresh album out, with a tour that he is excited about, we may see a very different side of mau5 over the next couple years.
He’s just backed up 13 years of project files, including about 550 tracks (most of which are unreleased), has a disgustingly awesome new studio, and has sunken into a secluded mansion in rural Canada. For all intents and purposes, Zimmerman is starting with a clean slate from this point forward, and the implications are huge.
“I had to experiment with the majors to really understand just how much they suck. But now I have a great team in place, shit actually gets done, and it’s like, ‘why the fuck was I with EMI again? What did they ever do for me?’ Maybe the whole major label thing works for some guys who are like, ‘Just put the music out and give us whatever you’re gonna give us.’ Ignorance is bliss, right?”
Many other artists, including Daft Punk and Porter Robinson, have passed up on lucrative record deals in favor of more creative control, and the results have been nothing less than iconic. Consider Porter Robinson’s risky pivot to the uncharted style of Worlds, and signing with Astralwerks to fully realize creative vision. It was a move that jeopardized his status as a king of electro, but paid off in massive acclaim from both fans and critics alike. The same could be said for Daft Punk’s decision to leave Virgin and partner with Columbia Records for Random Access Memories. Columbia also happens to be the label responsible for the majority of disco hits from the era the duo was aiming to recreate with RAM. Coincidence? Not likely.
To draw yet another similarity between these artists, there are the fictional worlds and groundbreaking live performances they’ve created to supplement their music. Even from the limited advertising produced for Project Entropy, it’s clear that deadmau5 was aiming for an immersive visual experience to coincide with the auditory, something that’s becoming a standard in electronic dance music, and with what we’ve seen of the Cube 2.1 so far, he’s going to do just that on this new tour.
This isn’t to say that any of these artists is comparable to the other, nor am I saying they’re the same, replaceable, or anything that could be twisted to be inflammatory. I’m simply drawing from the history of artists who’ve been in similar positions in an attempt to decode what’s in store for the future of deadmau5 and mau5trap as a whole. Whatever happens, the years ahead are looking bright.
This article was first published on Your EDM.
Source: Deadmau5 Is Starting A New Era With Newfound Label Freedom [Editorial]