Dillon Francis drops new single from upcoming Spanish language album

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Dillon Francis has been hyping up his new Spanish language album that is expected to be released in 2018. He has been dropping singles from it — the latest being “BaBaBa (Vete Pa’Ya).” The high-energy track integrates elaborate synth combinations with drums, shaping the background around the vocalist.

Francis decided to create a Spanish language album as his second studio album after stating he was “uninspired” and looking for something to make him excited again. Seeing the success of “Despacito” and “Mi Gente” kickstarted the idea that he could produce Spanish language music as a continuation of his Diplo and Maluca collaboration, “Que Que.” 2018 has proved to be a big year for Francis as his experimentation between styles and genres continues.

Featured photo by Ashley Buenrostro

Dillon Francis drops new single from upcoming Spanish language album

This post was originally published on this site

Dillon Francis has been hyping up his new Spanish language album that is expected to be released in 2018. He has been dropping singles from it — the latest being “BaBaBa (Vete Pa’Ya).” The high-energy track integrates elaborate synth combinations with drums, shaping the background around the vocalist.

Francis decided to create a Spanish language album as his second studio album after stating he was “uninspired” and looking for something to make him excited again. Seeing the success of “Despacito” and “Mi Gente” kickstarted the idea that he could produce Spanish language music as a continuation of his Diplo and Maluca collaboration, “Que Que.” 2018 has proved to be a big year for Francis as his experimentation between styles and genres continues.

Featured photo by Ashley Buenrostro

HARD Summer delivers mind-bending 2018 lineup loaded with special back-to-back performances

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HARD Summer is pulling out all the stops for the upcoming edition of the festival, led by one of the event’s most memorable lineups to date. Slated for August 4 – 5, and returning to a familiar venue at Fontana’s Auto Club Speedway, HARD’s flagship event is sticking to their tried and true playbook of marquee dance and hip-hop match ups, laced together by the underground’s finest newcomer talents, dropping off a lineup of over 70 acts. Best of all, 2018 now is officially the year of the back-to-back.

Marshmello, Travis Scott, Louis The Child and Porter Robinson‘s Virtual Self project are all tapped for headlining duties, along with , Louis Vuitton’s newly-signed artistic director and moonlighting DJ Virgil Abloh, and Flosstradamus. In between massive headliners and top-card highlights that include Rick Ross, Slushii, Ekali, San Holo and more, the talent roster is littered with never-before-seen back-to-back performances that could honestly form their own insane lineup.

Diplo and Dillon Francis will share the stage for the first time, and Jauz will join Zeds Dead for a co-headlining slot, Snails and Kill The Noise are apparently allowed to perform together, despite how dangerous that sounds. Four Color Zack and DJ Craze are bringing their 2¢ project to HARD Summer as well as Escapade, Ardalan and Walker & Royce‘s Dirtybird mashup. Borgore and Getter are pairing for an unholy union, and Baauer and A-Trak are joining for another one of their rare tag-team bouts. And these are just the back-to-back sets.

Additional firepower from Mija, k?d, Tokimonsta, Madam X, Joyryde and many more round out one of HARD’s best bookings to date. And with the festival boasting added amenities, updated safety and comfort features, plus a hilarious trailer that pins Diplo as the “Dawson’s Creek looking motherf****r” he is, we’re looking at what could be the most over-the-top edition of HARD Summer yet.

Let’s talk about sex, baby: Dillon Francis and Residente release upfront new moombahton collaboration ‘Sexo’

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Dillon Francis and Residente are here, and they want to talk about sex in their blunt new moombahton collaboration “Sexo.”

“Everybody in the end wants sex,” insists Residente, as he leads viewers through the tantalizing primary color-led video in Colombia.

“Sexo” sees a significant departure from the Calle 13 rapper’s 2017 self-titled debut album, instead embracing its subject matter in a gleeful, all-inclusive, amicable fashion. “Sexo” seeps an infectious return to Spanish moombahton of which Francis’ is largely responsible for bringing to light in U.S. dance.

“They put makeup on because they want sex, buy clothes because they want sex, perfume because they want sex, asks for her number because they want sex,” Residente raps, and whether or not its listeners agree, the unabashed certainty of the track is met with an engrossing return to groove from one of EDM’s staunch pioneers, and that’s pretty “sexo” indeed.

Insomniac fills out robust 2018 EDC week with over 25 artists and 14 new shows

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Insomniac added over 25 new artists and 14 events to the fifth annual EDC week in Las Vegas, coinciding with the festival’s 22nd annual installment. 

In doing so, the festival welcomes 14 signature party experiences during the week of May 16–23, including the hardstyle focused Basscon Pool Party and two dubstep-fueled Bassrush parties, along with a variety of diverse headliners throughout the week. New programming includes a vast array of parties across the cities hottest nightclubs, including Elephante, Porter Robinson, NGHTMRE, Gryffin, Hot Since 82, Illenium, Yellow Claw, and many more.

Full programming details, more information, and tickets are available here.

NGHTMRE & Dillon Francis – Another Dimension (YOOKiE Remix)

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New York-based producing duo YOOKiE released a highly energetic remix of NGHTMRE and Dillon Francis‘ “Another Dimension.” The artists emphatically showcase a sound that deviates from the original by adding slower beats in the drop that are saturated with intense throttles of bass and peaks of synth. NGHTMRE and Dillon Francis’ creation features a heavier dubstep sound, while YOOKiE adds more of a trap style with rumbling kicks and rhythmic, distorted vocals.

YOOKiE is known for their revved up tone categorized by infectious layers of sound seamlessly placed together to create lively, yet edgy productions which make groovin along irresistible. With dramatic builds and thrilling climaxes, YOOKiE keeps listeners on their toes for the entire duration of each track they master. YOOKiE’s intriguing take on NGHTMRE and Dillon Francis’ “Another Dimension” will undoubtedly have listeners craving more from the innovative artists.

Dillon Francis lands another TV gig on Comedy Central’s ‘Taskmaster’

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With his reality TV parody “DJ World,” an interview series on TBS Digital titled “One Deeper Talks” as DJ Hanzel, and, more recently, co-starring in “What Would Diplo Do” on Viceland with James Van Der Beek, one thing is certain: the world knows how funny Dillon Francis can be. So it only made sense for Comedy Central to recruit him for their new “Taskmaster,” which premiers on at 11 p.m. April 27.

The “craziest game show ever” will be hosted by Reggie Watts, featuring Lisa Lampanelli, Kate Berlant, Ron Funches, Freddie Highmore and Francis himself. It will be a half hour of Watts and co-host laying out tasks, and whichever participant is awarded the most points, wins a prize. The points will be allotted based on how the tasks were performed. Check out the official trailer for “Taskmaster” via Francis’ tweet on the announcement below.

Dillon Francis recruits The Kid Mero and Pioladitingancia for new ‘Ven’ music video [Watch]

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Dillon Francis Coachella

The rollout of Dillon Francis‘ impending mombahton LP has officially begun. January brought “Ven,” which found Francis joining with Puerto Rican songwriter Arcangel and Dominican rapper Quimico Ultra Mega for the record’s lead single. Now the “I.D.G.A.F.O.S.” producer has dropped off the track’s accompanying music video, taking us to the streets of NYC for the new feature. The “Ven” video includes performances from Francis’ Latin co-stars as they deliver slick Spanish bars over a dripping, syrupy moombah beat. However, unlike the majority of additions to Francis’ video catalog, the “We The Funk” producer takes a backseat this time, letting Quimico and Arcangel really own the feature’s spotlight.

Rapping in front of the city’s urban backdrops, accented by doodled animations, the Michael Garcia-directed video even comes complete with a few mentionable cameos from The Kid Mero and viral sensation Pioladitingancia — arguably two of the city’s biggest proponents of Dominican New Yorker culture. This is actually Mero’s second project with Francis, as some might remember him as Dillon’s broccoli nemesis in 2014’s “Exit Through The Donut Shop.” Man, how far we’ve all come.

Since its release, “Ven” just seems to get better with repeated listens and the visuals accurately complement the lead single’s swaggering aesthetic. Now with the release of his new video, the excitement for Dillon Francis’ hotly anticipated moombahton album is officially reaching an all time high.

Lollapalooza announces 2018 edition with The Weeknd, Bruno Mars, Vampire Weekend, ODESZA, more

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The Midwest’s premier music festival, Lollapalooza, returns to Chicago’s Grant Park August 2–5 with a newly announced lineup for the behemoth, 4-day affair. Topping the 2018 bill are The Weeknd, Bruno Mars, Jack White, Arctic Monkeys, Travis Scott, Logic, and ODESZA, and, most notably, Vampire Weekend — the band’s first live performance in four years.

Other high-profile acts include Tyler, The Creater, CHVRCHES, LL Cool J, Portugal. the Man, and Brit superstar Dua Lipa. The festival’s electronic and dance music bookings are just as thrilling, with a comprehensive roster of veteran and rising acts: Zedd, ExcisionDillon Francis, Galantis, Illenium, REZZ, Chromeo, Hippie Sabotage, Tycho, Zomboy, WhatSoNot, Malaa, Valentino Kahn, Petit Biscuit, Ghastly, Chris Lake, Herobust, and Space Jesus.

Lollapalooza also boasts an impressive undercard with Gucci Mane, Lil Pump, St. Vincent, and Aussie one-woman band Tash Sultana, who rarely tours the US.

With over a hundred names set to appear over the weekend, Lollapalooza truly has become an American institution with something to satiate everyone’s musical tastes. GA and VIP passes to Lollapalooza can be found here.

3LAU disregards industry conventions and discusses how his frustration with dance music led to Ultraviolet [Interview]

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3LAU

Justin Blau has toured the world, created a record label, and raised enough funds to build four schools in Guatemala. Despite having done all of this by the age of 27, he will dismiss compliments about his achievements in favor of discussing what he will do. What he has done is never enough. What he will do is what he finds interesting. The Las Vegas native can now add releasing a full length album to his list of accomplishments, and for many fans, the fact that this is only his inaugural album comes as a surprise.

More popularly known as DJ and Producer 3LAU, the artist is one who “early” adopters of electronic dance music claim as their own. His ascension began after releasing hit remixes and touring colleges throughout the country while he attended Washington University in St. Louis. After gaining momentum through his remixes, he starting releasing originals, leading to breakout single “How You Love Me.” The track took the electronic music world by storm, and Blau became a major player in a scene that was coming into its own within mainstream America. To this day, he maintains that his success is partially a product of the transition that the industry was going through at the time he started his career.

As electronic dance music cemented itself as a pillar of American pop culture, Blau joined the ranks of artists like Steve Aoki, Audien, and Dillon Francis who withstood the test of time by being able to evolve and grow with the changing industry. DJs and Producers were suddenly the faces of major brand campaigns, scoring their own TV Shows, and selling out stadiums. Blau rode this wave with the best of them, and has done everything from featuring NFL star Rob Gronkowski and WWE Personality Mojo Rawley in his music videos to being the face of a Marc Jacobs x GQ fashion mini doc.

Many artists reflect upon their ascension into notoriety once they have ‘made it’ as inevitable. Blau discusses his career with a refreshing sense of realism when it comes to his decision to pursue music full time. He admits that, for all intensive purposes, his life was planned out for him, and that plan culminated in a career in finance:

“Everybody has to be realistic. Right? We can’t bet on our passions all of the time. We can focus on our passions when we have free time, but we can’t plan on them to have a sustainable lifestyle. It just so happens that when I was in college, I got very lucky. Both my business passion and my music passion converged, and I took the opportunity because I knew it was the only shot I would ever have.”

Blau had an academic full ride at Washington University in St. Louis, and his parents and professors became increasingly concerned when his grades began to decline rapidly Junior year. A’s and B’s became C’s and D’s as Blau left town every weekend to play at colleges across the country. This was the beginning of the end for his corporate finance career, and the birth of the musician we know today.

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The 3LAU of today, though, is very different than the bright eyed kid who dropped out of college to risk it all and pursue his dreams. His new album, Ultraviolet, is an unapologetic expression of his frustrations with the music industry, and his desire to play by his own rules.

“I make music because I want it to touch people on a very deep level. I don’t make music to be famous. That is not a goal, and that has never been a goal. Having a fan base is a by product of creating music that touches people.” – 3LAU

As many artists have revealed, there is a certain pressure when a career is gaining traction to create the next hit, and to keep that momentum going. For the first time, Blau discusses, he has created music with no regard to the popularity or radio-worthiness of the tracks. Ultraviolet is the essence of him in aural form, and he makes it very clear that the album was his chance to do everything his way.

Even the album’s release strategy did not adhere to industry standards. Tracks off of the album were released over a year and a half long period before the full Ultraviolet release. To give context, a typical album will tease a few single releases 6-8 months out from the full release, making Ultraviolet’s runway almost double that of the typical album.

“For the first time of my career, my goal was just to make something that I wanted, and I hoped other people would like it too. The vision of the album was created in 2016, but it took so much time to actually figure out how I wanted to achieve the vision sonically.” – 3LAU

“Fire” was the first track that contained the combination of instrumentals and electronic production the producer was going for, and he states that he finally created the full embodiment of the sound he was aiming to achieve in track “Star Crossed.” From there, the creative process became much quicker.

It becomes clear upon listening to Ultraviolet that a vast majority of the tracks have the capacity to become their own separate and distinct radio hit. Blau has managed to create music that can appeal to the most passionate electronic fan and the most mainstream pop fan.

This cross-appeal would usually signify a compilation of tracks with formulaic dance chords and enamoring vocalists complemented by one or two authentically electronic songs. For Ultraviolet, this is not the case. It is an experimentation of instrumentals, disco, bass, and the best of commercial house. No two tracks are alike, and none blend into the background.  

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Despite the energetic nature of the album upon first listen, Blau points out that if listeners really absorbs the lyrics and undertones of each track, they will discover that the album is really quite dark:

“It’s very emotional and talks about being lost in friendships and relationships. It’s about all of the positives of feeling lost, because you can feel invincible when you are on your own. But there is also this disconnection, so the album is a parallel of the struggle you feel when you feel alone.”

The concept of ultraviolet light itself is that it reveals things that are not normally there. For Blau, the title was an embodiment of his relationship with dance music, and the album was his way of breaking free of this.

“Ultraviolet light exposes secrets, and in many ways the album releases my frustration with dance music. It releases what I really wanted to do, but what I used to be too nervous to do because I was scared of what the public might think.”

Despite his concerns about the reception of the album, Ultraviolet hit number one on the electronic music charts within 24 hours of its release, and “Touch” skyrocketed to the number one single. In many ways, the album’s success is an indication that electronic fans are no longer looking for another easy hit with a three chord drop and a catchy vocalist. It is also a confirmation that, if the music is good and authentic enough, an artist doesn’t need a major label to make their music hit number one. Blau has continually pushed the envelope of what it means to take electronic music mainstream, all while finding a way to do this without losing the integrity of the music itself.

*Ultraviolet is out now on Blau’s own label, Blume Music. All profits from the releases on Blume go towards a selected charity, and in Ultraviolet’s case, all profits from the album will go towards Fuck Cancer.

Photo Credit: Shervin Lainez; Cory Hammons