Mura Masa and slowthai say ‘Deal Wiv It’

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Mura Masa and slowthai say ‘Deal Wiv It’Mura Masa

Mura Masa and slowthai have proven again their formidable appeal as a producer-vocalist ensemble, linking up for the second time to say “Deal Wiv It,” another cheeky nuanced number, following last year’s “Doorman,” which appeared on slowthai’s Nothing Great About Britain LP.

“Deal Wiv It” packs melodic jaunts and bass struts, equal parts Talking Heads and The Clash, alongside slowthai’s painstakingly British, punky irreverence: “They say, ‘You’ve changed,’ / Fucking deal wiv it.”

Mura Masa’s next album, R.Y.C., is expected at the turn of 2020. The Grammy-winning “Walking Away” remixer recently collaborated with Clairo on “I Don’t Think I Can Do This Again,” expected to appear on the official tracklist for the forthcoming LP. The new single arrives alongside a coinciding visual, starring both “Deal Wiv It” creators.


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GRAVEDGR‘s in deep with his latest release: “6 FEET UNDER,” to be precise.

Straight from Heavyweight Records’ bass kitchen, the new track marks GRAVEDGR’s most lyrical song on record. Combining his propensity for trap produtions and bass in all its forms, “6 FEET UNDER” spins an audacious web of sin, regret, and repentance; though the narrator knows well he is destined to transgress again.

The hard-hitting number is a fruitful harbinger for a larger evil on the horizon, GRAVEDGR’s forthcoming album. The LP, set for a February release, is expected to trace its creator’s circuitous internal discord over the length of 12 original tracks. Listeners can rest assured more raging bass is well on its way from the shadow-faced producer’s camp.

J. Cole suggests 2020 drop date for 6th studio album

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J. Cole suggests 2020 drop date for 6th studio albumJ.cole SUZI PRATT WIREIMAGE

J. Cole has set a 2020 release date for his next studio effort. The hip-hop maverick announced the project, entitled The Fall Off, during his headlining set at the first-ever Day N Vegas festival this past weekend.

Standing tall onstage before a mock political campaign backdrop advertising the album, J. Cole looked out into the crowd as a voice recording proclaimed,

“A man whose humility knows no bounds. A man whose pen is so potent, each word of his verses reportedly cost $2,000. We need someone with big ideas and bold solutions. An expert in diplomacy. A candidate that can heal the intergenerational war… vote The Fall Off for 2020.”

It’s no coincidence that the album’s title rings with an air of familiarity to J. Cole listeners. The LP shares its name with the concluding cut, “1985 (Intro to ‘The Fall Off,’” from the rapper’s last studio outing, KOD. The echo between KOD’s finale and J. Cole’s next album indicate that The Fall Off has been in the works long before KOD ever hit the market. J. Cole has yet to declare a formal release date for the impending LP, but preliminary singles are sure to follow.

Photo Credit: Suzi Pratt/WIREIMAGE

Armin van Buuren’s 7th studio album heeds its name: ‘Balance’ [Album Review]

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Armin van Buuren’s 7th studio album heeds its name: ‘Balance’ [Album Review]ArminvanBuuren MiamiDag4 BartHeemskerk 11 Socials

Seven is widely heralded to be among the luckiest of numbers, but luck really has nothing to do with the release of Armin van Buuren‘s seventh studio album, Balance.

Rather, Balance emblematizes the artistic diligence that has ceaselessly driven the van Buuren project forward since the producer made his debut, 76, in 2003. A producer does not put forth seven incisive studio albums by resting on his laurels, after all, and van Buuren has never been known to do so. The trail of Balance predecessors, Shivers (2005), Imagine (2008), Mirage (2010), Intense (2013), and Embrace (2015) are ample proof of van Buuren’s exhaustive commitment to the electronic craft. Moons Of Jupiter (2019), his longtime collaborative effort, GAIA’s inaugural longform outing, adds good measure.

Balance is four months Moons Of Jupiter’s junior, and, sitting at 28 total tracks, the compilation album is a formidable followup to van Buuren’s June effort alongside GAIA partner, Benno de Goeij. Moons Of Jupiter‘s track list comprises 42 cuts. The sheer expanse of the album would typically warrant a sizable break for van Buuren longer than four months well-deserved, and perhaps even expected. Not so, he says, with the debut of Balance, and to that we say to trance’s tried-and-true trance champion, welcome back.

The dexterity of van Buuren’s production, paired with his acute ear for the radio-driven commercial dance sound that befits the airwaves and the Main Stage alike have never been more apparent before Balance. Neatly packaged along other subgenre canvassing, the Ne-Yo-assisted “Unlove You” and the David Hodges feature, “Waking Up With You” exude van Buuren’s affinity for the larger-than-life dance-pop dominion.

And with the same stroke of his pen, van Buuren effortlessly turns the musical tables with inclusions that scale trance’s stylistic continuum, such as “Don’t Let Me Go,” which situates van Buuren in his beloved progressive trance wheelhouse. He’s comfortable there—of course. But our faithful maestro recognizes the reward in stretching towards the unknown. The delight of Balance is the question that it begs: does van Buuren even have a sonic comfort zone anymore? If he does, it’s nearly impossible to discern along the chromatic length of the LP’s nuanced numbers. From the funky plucks and whistling vocoder of “Sex, Love & Water” to the porcelain piano melodies and synth-line ferocity of “Show Me Love,” van Buuren is proving he trembles at the foot of no aural opportunity.

Creating ‘Balance’ was a great journey for me to be able to reflect the new chapters in my life, have a really good time working with legendary artists, and making new sounds while still giving fans my signature trance sound.


Balance, as just one singular stream of the album in its entirety will illuminate the veracity of its title—not just in name, but in its design. With its broad assembly of dance styles, anthemic chord progressions, vocal-centric constructions, and ear-catching lyrical concepts and hooks, that, across the studio showing, resonate poignantly or spike listeners’ adrenaline (often both successively), depending on the tune, among other trappings. Balance is proof not only of van Buuren’s creativity, but also of his experimental ardor.

Listeners can catch van Buuren on the North American Balance Tour beginning January 22.

Read Dancing Astronaut’s interview with Armin van Buuren on the release of GAIA’s Moons Of Jupiter album, here.

Photo credit: Bart Heemskerk

Mr. Carmack confirms album for November release

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Mr. Carmack confirms album for November releaseMr Carmack

Mr. Carmack continues his prolific 2019 bout, confirming on Instagram he’s releasing a new album in November. After two EP releases this year, Demolish and Rebuild, the Hawaiian beat maker announced the release of his first full-length since 2014’s Dimebag. The album is called Viista, and the announcement caption on Instagram read,”Album out in November – 5+ years of work – these are the 11 songs that drove me to tears writing them – self mixed self mastered.” Judging from his previous two experimental projects this year, these words from the esteemed producer carry weight and the forward-thinking sound design should take full-flight on this long play.

Last year, he posted a tracklist, indicating that he was working on his new album. Now, that album is coming to light. Mr. Carmack is set for his 10-date US Immersion tour which will take place in November and December, just in time to show off the new sounds from his album. Check out tour dates here.

Chris Lorenzo drops off 12-piece ‘Late Checkout’ LP

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Chris Lorenzo drops off 12-piece ‘Late Checkout’ LPChris Lorenzo

The latest in Chris Lorenzo‘s blooming discography, Late Checkout, has arrived as a 12-piece project built for the club. He began teasing the extensive project, released on his own imprint Sixty6Music, over the summer of 2019 and confirmed its name and release date on October 4 via an Apple Music guest mix. It’s his second LP, following 2016’s Destroy The Image.

Late Checkout takes listeners on a frenetic ride through UK bass house soundscapes with a touch of breaks thrown in. It wastes no time in upping energy levels, kicking off with a groove-laden “Bad Bitch” that features spitfire vocals from Chynna. Lorenzo taps various collaborators for his album cause, each adding their own unique touch to the finished product. Jinadu’s silky vocals fit nicely into the breaks number “Memories Fade,” while Redlight’s contributions to “Run Up” result in a fast-paced, tense, and warbly number designated for peak time destruction. The Streets, Mark Spence, Aubrey, Dances With White Girls, Nas-T, Cause & Affect, Puppah, and Denise also lend their hand to Late Checkout. Ultimately, we’re left with an album emblematic of Chris Lorenzo’s production range and studio expertise.

Naturally, fans will have quite a few chances to catch bits from the album live as Chris Lorenzo continues to follow an expansive world touring schedule. He’ll be heading stateside after ADE to a number of cities from Tampa to LA, followed by a run in Australia.

Order a copy of ‘Late Checkout’ here

Lane 8 delivers poised second single, ‘Sunday Song’ from impending LP

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Lane 8 delivers poised second single, ‘Sunday Song’ from impending LPLane 8 Crssd Fest Michael Drummond 1

The grace of a gradual sonic build has never been lost on Lane 8, as “Sunday Song” ethereally elucidates. The second single from the This Never Happened label head’s incoming LP, Brightest Lights, “Sunday Song” starts with a vocal chop weaved among an ambient collection of chords. The effortless harmony of these elements sharpens in its focus as they slowly rise in synchronicity, giving lift to the splendorous number.

Synths arch in a limber manner, maintaining a metallically toned presence in the fluid body of the production. The sequel to the POLIÇA-assisted title track that Lane 8 shared on September 24, “Sunday Song” ebbs and flows for a serene four and a half minutes.

As sure as Brightest Lights looms on the horizon, slices of the LP’s sound will follow in the titular fashion of Lane 8’s debut album: little by little. Brightest Lights will arrive via This Never Happened on January 10, 2020.

Photo Credit: Michael Drummond

JOYRYDE turns in fourth single, ‘SELECTA 19’ from debut LP

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JOYRYDE turns in fourth single, ‘SELECTA 19’ from debut LPJoyryde ByPatBeaudry 002 Resize

JOYRYDE never fails to deliver on his signature brand of high-octane, bass-riddled house, and his latest drop doesn’t deviate from doctrine. Landing as the fourth single from his long-delayed debut LP, Brave, the established DJ-producer comes through with another club burner called “SELECTA 19” via HARD Recs.

The track employs JOYRYDE’s quintessential cues: punchy, pile-driving bass draped over a dancefloor-determined, four-on-the-floor arrangement. Equipped with the English producer’s incisive ear for detail, like blooper beep samples and staticky switch-ups, “SELECTA 19” arrives with in-your-face style. One should expect nothing less from JOYRYDE this late in the bass house game—of which he reigns supreme.

Brave has yet to receive a set-in-stone release date. “SELECTA 19” succeeds “I’M GONE,” “YUCK,” and “MADDEN.”

Photo Credit: Pat Beaudry

Is the album antiquated? Many young music consumers have never heard a full album, survey finds

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Is the album antiquated? Many young music consumers have never heard a full album, survey findsAlbum Survey

To any music junkie, giving an hour or so to a truly great album is sacred practice—just think of what it can give back. But the fragmented nature of streaming and playlist culture has certainly obfuscated the value of the record, at least in the classic sense.

A recent survey on adults’ listening habits from French streaming service, Deezer, found that among the 2000 UK-based participants, approximately 15% under the age of 25 have never listened to an album in its entirety. Similarly, only 27% of participants said they like to listen to an album the way the artist intended (chronologically, letting each song play out). Grim news for the traditionalists among us. However the study found that 74% of its sample answered they were more apt to listen to the duration of an album after seeing a band or artist perform live, with 32% opting to regularly listen ahead of the gig.

Deezer’s results attest that just under half of participants (42%) employ sporadic listening methods: putting their digital libraries or playlists on shuffle or shopping around from favorited tracks. Overall, 49% of those surveyed maintain that they’re now listening to less albums in general, attributing the decline to an ill-defined lack of time. But hope is not lost for album auteurs: With vinyl sales swiftly on the rise yet again this year, it seems that people are indeed prioritizing the album.

In light of the UK Music-backed National Album Day (October 12) approaching, Dancing Astronaut asks readers to spend some time with a record this week, full-on. Whether it’s Zeppelin IV, Recess, Sgt. Pepper’s, or A Color Map of the Sun—it could reveal itself as something more than a sum of its parts.

H/t: Music Week

G Jones shares floor-shaking first single, ‘Dark Artifact,’ from forthcoming EP

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G Jones shares floor-shaking first single, ‘Dark Artifact,’ from forthcoming EP40363692 970855516432458 6418321650227347456 N

G Jones gives streamers an introduction to the sound that will characterize the “epilogue” to 2018’s The Ineffable Truth, which the producer has titled, Tangential Zones. The experimental bass maven first caught fans’ attention with his Twitter declaration that the follow-up EP was well on its way; now, he holds it with the debut single from Tangential Zones, “Dark Artifact.”

Reverberating bass lines blare abundantly on the chaotic offering. The beat skitters as its arrangement dynamically shifts, creating constructive plot twists that pepper the near-three-minute number. Streamers recognize it: it’s the arresting ID that Nocturnal Wonderland attendees lusted after following G Jones’ live set. Newly available in its full-length form, and with the low end reliably amplified in all of its window-rattling glory, “Dark Artifact” provides a potent prelude to what awaits on Tangential Zones