Creamfields announces unmissable 2018 lineup

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Creamfields announced their 2018 lineup and it’s looking to be behemoth year for the Cheshire-based extravaganza. Rich in both depth and considerable breadth, the festival will bring together 300 artists across 30 stages from August 23–26.

Techno don Carl Cox will be making his return to the festival for the first time in over a decade, where numerous other artists will be making an appearance, showcasing the festival’s keen ability to tap into the full spectrum of dance music. From artists like Skream, Kölsch, and The Black Madonna, to The Chainsmokers, Tiësto, and Above & Beyond, Creamfields 21 promises to be an unmissable installment for all dance aficionados.

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More information and tickets are available here.

ZHU gives CamelPhat & Elderbrook’s ‘Cola’ a hypnotic reboot

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ZHU has an uncanny talent for invigorating tracks with his own unique sound stamp. The Columbia Records signee has now turned his sights towards CamelPhat & Elderbrook‘s summer 2017 hit “Cola,” named the hottest record in the world by BBC Radio 1 upon its release on Defected Records.

ZHU brings on his own unique flare while doing well to churn out a lightly touched reboot that centers around elevating and equalizing Elderbrook’s crystalline voice. Layered with his signature dark sound design and lush, saturated beats, ZHU’s take on “Cola” is an exquisitely sophisticated firecracker.

Robin Schulz reworks CamelPhat & Elderbrook’s Grammy-nominated ‘Cola’

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CamelPhat & Elderbrook’s “Cola” dominated 2017.

Deservedly nominated for a Grammy and named Beatport‘s No. 1 track of the year, it’s for certain the number is a telling testament to the changing tides of dance music. “Cola” is appeasingly emotive in its nature, but it’s a sensible production that appeals to clubbers and introspects alike, an ever-rising phenomenon in contemporary club culture in itself.

German producer Robin Schulz is the latest musical maven to be tapped for a rework of the anthem. After his rise to commercial success with edits like “Prayer In C” and “Waves,” it only makes sense he would take on this momentous work.

Schulz puts an expectedly enlivened spin on “Cola.” He dissects the original’s minimal production and introduces what seems like a mere tech house commencement, but eventually builds to a contrasting big-room deliverance. Most notably, Schulz’ contradting rework manages to maintain the original’s affective affluence with an ascension in the dance reigns.

 

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