Big Gigantic return with first single in three years, ‘You’re The One’

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Big Gigantic return with first single in three years, ‘You’re The One’Big Gigantic Press Pic June 2019

It’s been nearly three years since Big Gigantic‘s last solo endeavor. 2016 saw the emergence of the Brighter Future LP, but the world hasn’t had new Big G material since 2017’s set of remixes for Brighter Future. The wait is over, though, and the duo are back with a new single, “You’re The One,” with Nevve.

The talented songstress proves to be a perfect addition to the band’s horn-infused style, as her vocals lead up to an easygoing, trumpet-highlighted chorus. “You’re The One” will thrill longtime Big G fans, who can find comfort in the tune’s laid-back style and signature brassy elements.

“We’re so excited to start this next phase of Big Gigantic,” the duo stated in a press release. “We’re starting the process of looking directly inward with our song ‘You’re The One.’ The theme of the song is loving yourself, which in this day is something we could all do more of. We put so much pressure on ourselves to succeed, do the best we can, be the best we can & keep up with others around us. That pressure can easily turn from something positive and motivating, into something negative and uninspiring. It can lead to some dark places so it’s important to take a step back and remember to take time to love yourself.”

Orbit Playlist: Opiuo lays it the funk down before heading back to Lightning In A Bottle

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Orbit Playlist: Opiuo lays it the funk down before heading back to Lightning In A BottleOpiuo Press Shot 1 1 1

Bass breeder of a most funk-infused variety, Opiuo has cooked up a special playlist for Dancing Astronaut ahead of his performance at central California’s next round of Lightning In A Bottle festival, on May 8.

The New Zealand-born, Australian resident, Opiuo takes listeners through the chromatic length of his aural crates, with tracks spanning tender, melodic house (Lane 8‘s “Atlas”) to foreboding mid-tempo electro (1788-L‘s “Cyberspace”). Like-minded funk and experimental bass producers run abound, with additional offerings from CloZee, G Jones, Big Gigantic, and of course, some innovative firepower from Opiuo himself to adequately ready Lightning In A Bottle attendees for a splendidly strange DJ set.

I’m so excited to be back at Lightning In A Bottle, one of my favourite festivals in North America,” says Opiuo. “Here are a bunch of songs I love from a bunch of friends and legends playing on the weekend. You can expect a tonne of brand new music from me on the night as we dance away into the bass heavy funkadelicoblivion.

Tickets to Lightning In A Bottle, held at Buena Vista Lake, as well as general festival information, can be found here.

Lightning in a Bottle releases stacked lineup featuring Disclosure, Gramatik, Big Gigantic, Santigold, and more

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Lightning in a Bottle releases stacked lineup featuring Disclosure, Gramatik, Big Gigantic, Santigold, and moreLIB 2017 Aaron Glassman 3

Do LaB festival producers present a stacked lineup for this year’s Lightning in a Bottle music festival, featuring Disclosure, Santigold, Gramatik, Toro y Moi, Big Gigantic, Elohim, and Flying Lotus‘ 3D concert experience. Artists taking over the beloved Woogie stage include Lane 8, DJ Koze, Damian LazarusLutrell, Shiba San, Recondite live, and more. Bass heads will reunite at the low end-heavy thunder stage with sub-booming performances from G Jones, 1788-LCloZee, EPROM and Alix Perez’s SHADES project, the funk bass stylings of OPIUO, and more.

For the past five years, the festival took place at San Antonio Reservoir Recreation Area in Bradley, California; and the last two years were met tragically with the death of a festival attendee at each. Now, the festival has moved to a new venue at Buena Vista Lake in Central California, with lush, green pastures, a shaded tree line, and accessible shoreline that’s sure to bring festival-goers in full force.

Tickets are currently on sale for Lightning in a Bottle 2019. Purchase them here.

Lightning in a Bottle releases stacked lineup featuring Disclosure, Gramatik, Big Gigantic, Santigold, and moreDzi14OwWoAALqTt

Photo credit: Aaron Glassman

Disclosure, Justin Martin, Shiba San, FISHER, and more top Elements Lakewood’s 2019 lineup

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Disclosure, Justin Martin, Shiba San, FISHER, and more top Elements Lakewood’s 2019 lineupScreen Shot 2019 01 24 At 4.29.58 PM

As Elements Lakewood Music & Arts Festival looks ahead to its third iteration with the release of its 2019 lineup, the expression “the third time’s a charm” is particularly apt. Boasting a number of heavy hitters hailing from the house genre, Elements Lakewood’s lineup will bring Disclosure, FISHER, Shiba San, and Justin Martin to Elements’ Pennsylvania home, to script a bumping next chapter in the festival’s history of production. Spanning more than 100 artists in its totality, the festival’s 2019 lineup also sees Elements Lakewood organizers issue noteworthy nods to Big Gigantic, Sofi Tukker, Seth Troxler, Damian Lazarus, and Clozee, among other artists.

A favorite among camping enthusiasts, Elements Lakewood will once more blend talent from techno, bass, jam rock, funk, and other sub-genres on a sprawling 200-acre campground that offers attendees five different stages of musical diversion. Complete with wellness activities like aromatherapy and sunset yoga, not to mention a myriad of camp games including basketball and volleyball, Elements Lakewood ensures that attendees won’t spend a single second of their time at the event idle. In a credit to the diversity of Elements Lakewood’s offerings, event-goers will also have the opportunity to partake in kayak trips at sunset, water sports like canoeing and swimming, and post-dusk adventures like a stroll through a kaleidoscope light-decorated forest.

Back to offer the ultimate soul renewal experience in its seamless intermingling of outdoor fun and good music, Elements Lakewood is a bona fide must attend for 2019.

A limited number of early bird three-day GA and VIP passes to the festival’s 2019 edition are now available and can be purchased here.

Photo Credit: Julian Cassidy

Sunday Morning Medicine Vol. 156 with Moon Boots, Tchami, Nora En Pure + more

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Sunday Morning Medicine Vol. 156 with Moon Boots, Tchami, Nora En Pure + moreSmm@0.

Sunday Morning Medicine is a feature from Dancing Astronaut dedicated to the mellower side of electronic music. We bring you our favorite therapeutic selections — old and new — in attempts to alleviate the agonizing effects of a long weekend of partying.


For nearly two decades, Bonobo has been cultivating an easygoing sound, one that’s lush with balmy beats and calming instrumentals. This sonic stunner, “Kiara,” makes an appearance on the UK musician’s 2010 album, Black Sands.

Tchami‘s “Zeal” instantly captured the hearts of fans with its merry melody and grooving beat upon its release in 2017. The song’s infectious ambiance made it a clear standout on the French producer’s Revelations EP.

As the bonus track on Big Gigantic‘s 2010 LP of the same name, “A Place Behind the Moon” saw Big Gigantic in their finest form. The Colorado group brought along members of STS9 for this alluring collaboration that perfectly summed up the 12-track album.

In August 2017, Moon Boots revealed his debut album, First Landing. Its title track is deeply rooted house in rhythm and undertones of bass, maintaining a mellow and almost sultry sonic atmosphere throughout.

In Nora En Pure‘s “Tears In Your Eyes,” gorgeous strings and a delicate piano melody usher in an otherworldly beat and memorable vocal hook. This catchy Spinnin’ release was met with praise from the South African producer’s fan base  and rightly so.

NGHTMRE and Big Gigantic team up for ‘Like That’

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NGHTMRE and Big Gigantic team up for ‘Like That’Nghtmre Big Gigantic Credit Koury Angelo Jaon Siegle

NGHTMRE has had an incredible come-up since “Street” became the trap anthem of 2015. He’s been repped by Mad Decent, OWSLA, and Monstercat. At Lost Lands, he announced the launch of own label with SLANDER, Gud Vibrations, named after the artists’ collaboration. One would think NGHTMRE’s hands would be full, but apparently, that’s not the case.

The 28-year-old has teamed up with Big Gigantic to release a mosaic of jazz, funk, future bass: “Like That.” The festival pleaser has the makings of an anthem, kicking off with that classic Big G circus feel — flush with hip-hop beats, brass, and reminiscent of the golden era of jazz revitalized. However, “Like That” doesn’t stay in Big G’s world entirely. The drops are contemporary — more chiseled, more demanding — and they hold a meticulous touch of a producer who has felt the acceleration of exponential growth, made possible by NGHTMRE.

“Like That” is a solid collaboration that surpasses the standards of the many genres of electronica, especially in terms of big stage festival tracks.

Photo credit: Koury Angelo/Jason Siegle

NMF Roundup: KOAN Sound return with debut LP, Dillon Francis unleashes ‘LFGD,’ SNBRN remixes Hotel Garuda + more

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NMF Roundup: KOAN Sound return with debut LP, Dillon Francis unleashes ‘LFGD,’ SNBRN remixes Hotel Garuda + moreKoan Sound

It’s most important day of the week: New Music Friday. With the overwhelming amount of tunes hitting the airwaves today, Dancing Astronaut has you covered with the latest edition of The Hot 25.

The release of the NINJAWERKS Vol. 1 compilation album this week brings new tunes from some of dance music’s biggest names, including Dillon Francis and Kaskade. Andrew Bayer has joined forces with Ane Brun for the gorgeous “Love You More,” out on Anjunabeats. RL Grime has revealed a colossal set of remixes for NOVA, including a formidable rework of “Rainer” by k?d. KOAN Sound burst back onto the scene with the release their debut full-length, Polychrome. HEYZ works wonders in his new single with darkDARK, “Darkest Little Friend.” Hardwell delivers some sunshine in the form of “How You Love Me” with Conor Maynard and Snoop Dogg. Nicky Romero flips Jess Glynne‘s “Thursday” in his newest, and NGHTMRE and Big Gigantic make magic with “Like That.” Cloonee keeps the beat rocking with a feel-good take on Matoma‘s “Sunday Morning,” and Ekali strips “Leaving” down for a serene, acoustic rendition.

As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed this NMF.

Louis The Child release playful new EP, ‘Kids At Play,’ featuring Big Gigantic, Elohim, Quinn XCII, NoMBe and more

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Louis The Child release playful new EP, ‘Kids At Play,’ featuring Big Gigantic, Elohim, Quinn XCII, NoMBe and moreLouis The Child Press By Cameron Postforoosh 2018 Billboard 1548

Louis the Child release an extensive nine-track EP, Kids At Play, inviting listeners to their sonic playground filled with sultry harmonies, soulful wonderment, unique sounds, and youthful fervor. Colorful sounds ooze out of , from the tropical steel drums on “Better Not” featuring Wafia to the blue guitar twangs on “Save Me From Myself” with NoMBe and Big Gigantic. These two kids from Chicago showcase their electronic dance-pop crossover skills on what could have easily been a full-length.

Genre bending and intelligent synth design becomes apparent through each of the EP’s distinctive tracks. “Interstellar” features a dynamic and glitchy arrangement that feels fitting of its futuristic name. “Braking News,” featuring RAYE, implies a playful relationship between the collaborators with rolling synths and hi hats that create a bounce in their step.

The Wafia-assisted “Better Not” featuring Wafia was the first track released off the project, amassing to a total of 72.5 million plays on Spotify, the duo’s most listened to track on the platform to date.  “Ohhh Baby” is quite the percussive piece, illustrating an organized chaos similar to an uplifting G Jones. “LOVE” featuring Elohim is the second collaboration between the two, the first being “Love is Alive.” The chorus features the West LA Children’s Choir, adding to the album’s childish delight.

“Dear Sense” features the soulful vocals of MAX and offers an LCD Soundsystem feel. “The City” featuring Quinn XCII offers bouncing melodies and punching percussions underneath a fervent voice. “Save Me From Myself” features EDM’s sax man, Big Gigantic, and the R&B clad, NoMBE. The acoustic guitar creates a campfire feel that drops into big, emotive synths, spaced out for effect. “Space Jam” contains a classic Louis The Child synth feel, sounding similar to an old-school 90s video game with frolicsome percussive elements. Listen to Kids At Play by Louis The Child below.

 

Photo Credit: Cameron Postforoosh

Soul delving with Shallou: producer talks production of ‘Souls’ EP, translating musical vision to live performance [Interview]

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Soul delving with Shallou: producer talks production of ‘Souls’ EP, translating musical vision to live performance [Interview]Screen Shot 2018 04 29 At 11.17.42 AM

The expression goes that the eyes “are the windows to the soul,” but when it comes to Shallou, Souls is the “window” to sonic narrativization.

Released in April 2018, Souls set out to translate the cyclical intimacies and distances of a relationship into song. A delve further into a distinctive style of electronic sound comprised of indie, dream-pop, and ambient house constructions, Souls duly emerged as a refined conceptual project that showcased Shallou’s deftness in melding elements of different genres, and related a romantically centered story without total reliance on lyrical expression.

The romantic nature of the seven-track EP’s narrative focus is apparent in individual song titles like “You and Me,” “…Lost,” and “Lie,” but for some of the tracks on the EP like “Sigh” and “…Lost,” the titles provide the only concrete words found in relation to the given song, leaving technical elements like BPM tempo and instrumental tone to do the expressive work that lyrics typically perform. “You and Me,” Kasbo and Cody Lovaas feature, “Find,” “Vignette,”  “Lie,” and “Skin” by contrast offer listeners lyrically concrete developments in the at times tenuous relationship between the fictional lovers.

The production of an EP can parallel the course of a relationship in that the artist too might drift from and return to the project in the same way that one of the hypothetical lovers on Souls strays from the other, only to flutter back in time. Curious about Shallou’s in-studio approach to crafting Souls, Dancing Astronaut caught up with the producer to talk Souls’ track by track conception, and how Shallou’s musical vision translates to his live performances as the LA talent prepares for a slew of headlining fall tour dates.

Listeners can catch Shallou at Breakaway Music Festival on August 26. Learn more about the festival, here.

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Dancing Astronaut: Can you talk a little bit about your vision for your most recent EP, Souls?

Shallou: Souls was a pivotal project for me because I wanted to flesh out some of the visual and sonic ideas from the All Becomes Okay EP. Music-wise, these songs have more traditional song forms, some pop-appeal, while keeping the ambient instrumental aspects that helped me reach an audience in the first place. Visually, the artwork continues to build out this world the little character in the corner is exploring. I wanted to blend my favorite things about indie, dream-pop, ambient and dance into something that felt different in the electronic space, but something unique that doesn’t overly focus on drops. I wanted to create my own beautiful sound without limiting it to the edm world. Electronic music shaped me as a producer, but I have a deep love for folk and indie rock as well which I showcased in the Souls Sessions that just came out on Youtube. 

The idea of ‘Souls’ came from this idea of collaboration and exploring the intimacy of a relationship with the help of other artists and singers. Each song has its own story of love blooming or caught in flux, some lyrics expressing concrete emotions (“Lie”;”You and Me”) and some more ethereal concepts (“Vignette”, “Sigh”). “Souls” expresses the intense moments of intimacy and distance that come with every long-term relationship. With All Becomes Okay, I was inspired by the concept of the cycle of life (hence the Soul delving with Shallou: producer talks production of ‘Souls’ EP, translating musical vision to live performance [Interview]1f30eSoul delving with Shallou: producer talks production of ‘Souls’ EP, translating musical vision to live performance [Interview]1f311Soul delving with Shallou: producer talks production of ‘Souls’ EP, translating musical vision to live performance [Interview]1f331 all over my social media) but with Souls I was inspired by the concept of the cycle of a relationship.

Dancing Astronaut: Being that the EP tells a sonic story of two lovers who both gravitate towards one another and experience disconnects, I’m really interested to hear how you approached the EP’s production. Did you sequentially craft this story song by song, tailoring each individual song to the sonic narrative? Or did you produce these songs in a more random order, later finding a way to make them dovetail to tell this story? I’m curious about the extent to which the concept influenced the order in which you produced the EP’s 7 tracks.

Shallou: The EP story kind of just came together that way. I feel like everyone’s writing instinct is to speak about their love and relationships, so the songs with features came together first. I was then able to piece together a story from those singles and tracks that were written by just me specifically for the EP (i.e. Vignette, Sigh, Lost). I think the best way to craft a story is to just start with your instinct and see where it takes you creatively. Its much easier to make things for a story that happens naturally then to try and make a story from scratch. I sequenced the songs by key as well. Sigh was an intro I had been sitting on for a long time and I used that key and certain ideas from it to create the instrumental for “Find” w/Kasbo. Same with Vignette. “Lost” functioned as a sort of instrumental intro to “Lie” because they shared keys as well. 

Dancing Astronaut: Can you also talk a little about how your production of this EP differed (in any way) from your debut EP, All Becomes Okay, released back in 2017?

Shallou: The production on this EP has higher BPM counts, and thus a little more energy. For example, “Vignette” is 120 and “You and Me” is 113 which are my highest tempos yet. I think overall this EP is a little bit dancier and more vocal heavy. I think its easier for people to relate to tracks with vocals on them, evidenced by the recent explosion of producer-singer/rapper collabs across all genres. I really enjoy aspects of that trend and I wanted each track to have a perfect marriage of vocal + instrumental, some by throwing some of my own vocals chopped up in there so they feel like truly “our” songs.

Dancing Astronaut: You’ve clearly carved out a niche for yourself in ambient house circles, and there’s an inimitable indie influence that’s perceptible in your productions. You recently toured alongside Big Gigantic and played some of your very first headlining shows. What’s been most important to you when it comes to playing these headlining dates—do you have a specific vision for your live shows in terms of the ambience or production involved in these show dates?

Shallou: I have to admit I was a little intimidated going out with Big Gigantic. I had never seen them before and everyone had told me their set went very hard. My music is admittedly pretty chill across the board. I took that as inspiration to make a live-hybrid set. I added a drummer and amped up some of my slower songs to try and grab the audience more. I was really surprised by the crowd’s positive reaction; they were really there to have a good time and dance. I think thats the point of going to see a show; you want to feel excited and involved and I’ve kept that as a major element of my performance ever since. I’m excited to show this next tour how I’ve grown as a performer. I’m still singing live, playing keys and performing all my own music, but focusing on creating “moments” for the audience Theres moments for the ambient fans and dance fans alike. For production, we’re looking to make it as unique as possible, and try to bring the world from my artwork to life for people who have been following me since the beginning. Telling a story is a very important thing for me.

NMF Roundup: The Glitch Mob slows things down, Borgeous reups Marshmello, ATTLAS stuns, Daniel Avery delivers + more

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The most important day of every week: New Music Friday. As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed.


Break out your Tigers Beat: The White Panda elevates the hottest rising boy band, save for Brockhampton, lifting Why Don’t We’s empowering hit single “Trust Fund Baby” to newfound heights with an injection of feel-good vibes and upbeat danceability that beckons innumerable repeats.

Raito digs into a bag of old-school garage tricks with a burgeoning breakbeat remix of Virtual Self‘s hyperactive, fantasy-themed electronic “Ghost Voices,” transforming the number into an even heavier, drum-sweltering beast.

Borgeous reupholsters Marshmello‘s “FRIENDS” with a most passionate swatch, ditching the track’s acoustics, and accentuating its passionate lyrics tenfold.

Ashley Wallbridge‘s uplifting Gareth Emery rework and effervescent trance tune aligns itself with an era of Armada‘s finest amidst its formal release.

With the vocal help of Tima Dee, Fareoh asserts his versatile studio reign once more.

Midnight Kids consider Shaun Frank‘s “Addicted” in a compelling new ’80s-centric dance-heavy decorum.

Big Gigantic ushers everyone to the dancefloor with a groovy new take on The KnocksFoster The People collaboration.

Though the track’s title and lyrical content is lacking sincere cerebral depth, SNBRN coalesces Peking Duk‘s “Wasted” into a digestible summertime tune, making the number’s monotone vocals and cringeworthy frat bro vibes a smaller, but bearable pill to swallow.

Marcel Dettman‘s burgeoning warehouse Mount Kimbie remix of “Four Years And One Day” meets streaming services as a meticulously crafted far cry from its shoegazey original.

The Glitch Mob slow things down with Elohim, showcasing their softer side, and highlighting their carefully calculated production capabilities.

Junior Sanchez embodies the essence that’s come to define him on “Forget” — always moving forward, without ever losing sight of where he’s been.

Sofi Tukker busts out a thrashing, ridiculously colorful new tune ahead of their debut album Treehouse out next Friday, April 13, elevating its anticipation to unforeseen heights.

ATTLAS is at home in the treetops and ensures listeners his glittery techno is a style which will only continue to define an era of mau5trap in years to come.

At long last Chris Lake has found his mind…. It seems this beat has taken it, and we’re glad to finally have it back, even if it was just for the sake of this one tantalizing tune.

Daniel Avery’s cavernous, contemplative techno album Song For Alpha has arrived. Perhaps best encapsulating the aforementioned, “Glitter” is a flurry from the club space, rife with atmosphere, and embedded influence of the greats that came before him.

Saving the best for last, Icelandic multi-instrumentalist and composer Ólafur Arnalds bestows his latest sonic gift “re:member.” Enough said.