Each and every artistic endeavor from Scott Hansen, known musically as the Ghostly International artist Tycho, solidifies his status as an artistic mastermind of this generation. Following this notion are the designer’s cinematically-aligned live visuals for his tune “Glider,” off 2016’s Epoch.
Created as an homage to the visionary Russian filmmaker Andrei Tarkovsky — the creative force behind films such as Ivan’s Childhood, Andrei Rublev, Mirror, Stalker, and more — Hansen incorporated elements of Tarkovsky’s 1972 film Solaris into these visuals for the tune.
Tycho is now set to take these visuals on autumn tour of Europe.
Tycho Autumn Tour Dates:
19 OCT – Dublin, IE – District 8 – SOLD OUT 22 OCT – London, UK – The Roundhouse 24 OCT – Barcelona, ES – Razzmatazz 2 25 OCT – Toulouse, FR – Bikini 27 OCT – Bologna, IT – Estragon 28 OCT – Turin, IT – Movement Festival 30 OCT – Basel, CH – Kaserne 31 OCT – Zurich, CH – Plaza 01 NOV – Antwerp, BE – Trix 02 NOV – Utrecht, NL – Tivoli 04 NOV – Copenhagen, DK – DR Koncerthuset 05 NOV – Stockholm, SE – Nobelberget 09 NOV – Moscow, RU – Izvestia Hall
UK producer Dave Tipper has been relatively quiet since his solar eclipse special event, 4321, held last month in central Missouri. Now, the “godfather of glitch” has climbed out of the woodworks to release his 4-track EP, Lattice.
Chock full of material that the producer has been playing at his themed gatherings over the past year, Lattice does a tremendous job cataloguing the full spectrum of Tipper’s psychedelic bass-driven directionality as of late. The project is Tipper‘s third EP in two years, following the release of Flunked back in January, and 2015’s It’s Like.
From the EP’s leading track, “Lattice,” with it’s unpredictable half-time tempo, all the way to the closing track, “Dreamsters VIP,” which gives the original ambient track a bass-boosted hip-hop treatment, Lattice takes listeners on a wild sonic journey through time and space. The EP is both tribal and primitive, futuristic, and multi-dimensional, with frequencies that both confuse as much as they ignite curiosity into music production outside of the given norm.
In anticipation of his forthcoming debut solo EP, Romance Is Dead, Good Riddance, French musician and producer Rusty Hook has released “Relief” as a teaser for what’s to come. The downtempo, dreamy single features moving vocals and production from duo Truitt.
“I’m so proud of “Relief” – it has this R&B feel that I love, while it has this strong electronic side that you can hear in the second half of the song, making it very powerful and dynamic.” – Rusty Hook
Rusty Hook has produced a colorful blend of pop, R&B, and electronic elements in the breathtaking original, and with innovative and refreshing synths, Truitt’s lucid vocals complement a relaxed beat, placing Rusty Hook in a category of his own.
There are transformational music festivals, and there is Costa Rica’s Envision Festival. Held annually deep in the Latin American jungles, just off the beaches of the Pacific, the Spring time gathering boasts thought-leading workshops, world class yoga, and cutting-edge music. What better place then for a burner like Josh Mayer to pull out a rare solo performance as his downtempo alter ego, Of Porcelain.
Josh Mayer is a man of many talents. As Ooah, Mayer makes up one-third of The Glitch Mob (alongside ediT and Boreta) and one-half of PANTyRAiD (alongside Marty Party). Yet, the music from his long-dormant solo project, Of Porcelain, hadn’t seen the light of day in over four years, for which the multi-talented producer told LA Weekly, “The thing with the Of Porcelain music is that it just hits me at certain times where I have to write it.”
Nearly 10 years have passed since Of Porcelain‘s first album release. Now Mayer has broken his estrangement from his downtempo moniker with a stunning performance at Envision. The set is soothing, entrancing, and ethereal, featuring a track list from the likes of Sasha, Aphex Twin, and Christian Löffler. Additionally, Mayer includes a few of his own productions, such as his newest original track, “And Here I Am Free,” which was premiered here at DA earlier this year.
Listen to Of Porcelain’s solo performance at Costa Rica’s Envision Festival earlier this year.
1. 2814 – Before The Rain 2. Brutalist – He Was A Great Man 3. Of Porcelain – And Here I Am Free 4. Of Porcelain – Shadows In The Sand 5. Schneider TM – Take Me Out Tonight 6. Lusine – Flat (Lusine Remix) 7. Of Porcelain – Awake With Your Eyes 8. Jon Hopkins – Abandon Window 9. Aphex Twin – Avril 14th (Murcof Remake) 10. edIT – Laundry 11. Of Porcelain – Light In Your Eyes 12. Halo – Green & Blue (Koan Sound remix) 13. Holographic Field – Afterglow 14. Jon Hopkins – Sun Harmonics 15. Sasha – Time After Time 16. Christian Löffler – Swim 17. Sasha – Rooms 18. Kiasmos – Swept 19. Holographic Field – Afloat 20. Kiasmos – Bent
Four Tet‘s routinely provides a sound alternative in an ever-expanding landscape of sonic saturation
If the United Kingdom were to crown a Prime Minister to rule over its cutting-edge dance culture, the prolific producer, whose real name is Kieran Hebden, would undoubtedly be at the forefront of deserving acts. His lifelong body of work is a continuously-furthered effervescent endeavor and yet his humility matches his incredible skill.
Four Tet’s output can only be placed in one genre as of late: therapeutic.
As an artist, Hebden channels a lifetime of influences, with an experimental grandeur echoed by few. Whether it be jazz, techno, psychedelia, or traditional Indian dance music that Hebden pulls in, his repertoire occupies a niche that is both uplifting and desolate, full of both darkness and light. His melodies are woven together as if their respective elements were concocted only to be synthesized by way of his imagination. Asked to articulate his work in an interview, Hebden tells The Guardian, “I want to be able to look back when I’m an old man and have these records tell a story,” Hebden tells The Guardian, when asked to articulate his work in an interview.
Fortunately, Hebden’s synthesis of both the ephemeral and more permanent is plentiful.
Hebden’s focus has been on the latter of the aforementioned as of late. He began to self-release his albums back in 2012 after a decade on Domino Records. In a rare interview with Rolling Stonein 2015, he expounded upon this decision:
“I had a child and time became very precious to me. I needed to eliminate the things that weren’t efficient: marketing stuff, interviews, strategy, promotion. I didn’t want to worry about that anymore. I just wanted to create the best possible stuff I could for the most hardcore and devoted fans. I could achieve so much on Twitter and social media that all that energy going to getting on the racks at Barnes & Noble was so trivial.”
He’s since delivered on his coyly set aforementioned goal with the release of his ninth studio album, New Energy. Its entire rollout is also by way of his own doing—marketing via socials, limited interviews, etc.
Though Hebden’s already teased out four of the fourteen tracks, New Energy’s serpentine instrumentation is a circuitous avoidance of sonic similarity, meditative and intricately-devised. Its tracks exude a panoptic enigma that is regenerated upon each new listen.
New Energy is a transcendent piece for Four Tet, as if the title hadn’t already served as some pre-indication. Albeit, the tracks themselves do not stray far from the Hebden that ascended the reigns of experimental dance music in the early 2000’s. It is with their implemented instrumentation, the record’s downtempo focus, and limited employment of minimal techno, rather, that the work differs from previous releases. But, that is also where NewEnergy shines.
On “Planet,” a seven-minute track released prior to the record, Four Tet echoes the cultural sentiments long intertwined with his music.
“Ba Teaches Yoga,” a track off the epochal Beautiful Rewind LP—which Hebden wrote after the passing of his grandmother— comes to mind when listening to the new “Planet.” “Planet” serves as the cultural forefront on New Energy, albeit in a newfound deliverance. It’s important to weigh in the placement of “Planet” as the final track of New Energy as well. One may posit that its use as an epilogue serves as a farewell to the culturally-lamented works and rather a homage to the cultural influence on his work.
This is not to say Hebden’s choice of an instrumental, downtempo focus on New Energy is a dismissal of his previous cultural sonic narrative. Perhaps a cultural-leaning deliverance was just what was exuded at a moment in his life. This has always been the way Four Tet’s created music and grown as an artist, after all, expounding upon what it is that he loves. In doing so, others may relish in a feeling or find an element that they too love.
Near the album’s end is the track “Daughter,” a number that intertwines a vast number of influences Hebden draws on. “Daughter” broods in its vocals, only to be met with an exquisite, delicate piano track underneath. The number is likely an outreach of Hebden’s desire to create long-lasting, momentous pieces. After all, there’s a child’s voice at the end. It’s likely a track that honors an element in his life that he is deeply fond of— his own kin.
New Energy is indeed Four Tet’s way of expounding on all of the elements of life he so deeply enjoys, created in the hopes that the listener may find new elements or cultures they themselves are fond of, too.
It has been eight long months of releases and teasers, but as of midnight EST on September 21, the wait for Illenium‘s sophomore album is finally over. Nick Miller, the man behind the productions, is undoubtedly known as one of the more prolific producers of our era, thanks to his consistent output and meteoric rise. While Miller has carved out the future bass genre and helped define its sound, this LP proves he has the ability to transcend genres and appeal to a wide variety of fan bases. This is no small feat that is becoming an increasingly difficult road to navigate as a producer in a day and age, where electronic music fan bases are becoming more fragmented as the industry continues to commercialized.
Awake will only further his prominence as a producer with its 13-tracks ranging from feel good music to intense bass laced drops. Miller even dabbles within the indie electronic genre, showcasing his ability to diversify his oeuvre while still maintaining his signature style.
There is no stronger start to an album than “Needed You” featuring Dia Frampton. The song, which is opens to flowing vocals that melt into an incredible bass drop, resonates in the listener’s mind far past the song’s close. The track combines Illenium’s mastery of mystical elements and sounds as well as powerful bass juxtaposed with unique vocals. Should there be one song selected to describe the tone for the entire album, “Needed You” could certainly vie for this position.
Five singles from the album have been released this year including the second track “Crawl Outta Love,” whose subtle intro with Annika Wells’ vocals and piano deceivingly put the listener at ease. The track hits listeners in their core with its heightened tempo and all-consuming drop. “Fractures,” “Feel Good” — co-produced with Gryffin — “Sound of Walking Away” and most recently “Leaving” make up the rest of the tracks from Awake that were previously released. Representative of Illenium’s talent and engaged fanbase, these five tracks combined have already amassed nearly 83 million streams combined on Spotify alone.
The third track, “No Time Like Now,” although short, is where we see Illenium begin to swerve from his established style into a more indie electronic sound, with guitar forming the backbone of the song. It is a good segue into the fourth track “Free Fall,” which delves back into the resonating bass intercut with melodic vocals.
“Where’d U Go” showcases a collaboration between Miller and his roommate Said the Sky, otherwise known as Trevor Christensen. The upbeat track immediately draws the listener in with a catchy beat that falls almost immediately into an intense drop. As the track continues, vocal layers of a children’s choir lightens the track before submerging the listener back into the hard drop that would resonate with dubstep, future bass, and progressive fans alike. “Where’d U Go” is one of the more upbeat tracks of the album, so those looking for a workout anthem or night out tune should look no further.
Illenium stars to venture into more commercial territory with the second half of the album, although this is far from sellout as the tracks still maintaining a distinct edge. “Lost” with Emilie Brandt veers into a progressive house vibe, with the catchy vocals carrying the track. As with all of Miller’s version of “commercial” music, “Lost” is still far different than anything one would hear on the radio.
“Taking Me Higher” wouldn’t be out of place on Passion Pit record. The track is an interesting juxtaposition of sounds, synths, and styles that melts into a perfect tune for a relaxing afternoon.
Prized vocalist MAX — who has recently collaborated with Rain Man, 3LAU, as well as Flux Pavilion — is featured on Awake‘s penultimate entry,titled “Beautiful Creatures.” Guitar once again is used as the foundation for this track and paves the way for MAX’s vocals to be the centerpiece of the song. It can only be described as melodic with a hint of mystical, and is likely to be a radio hit.
Illenium finishes the album on “Let You Go,” a collaboration with Ember Island. An orchestra compliments the vocals on this downtempo affair, and serves as a beautiful, fitting ending for a beautiful album.
While many call albums an outdated form of releasing music, we can only be thankful that Illenium ignores this and decided to create a masterful full-length in Awake. The producer has left another imprint that further solidifies his prominence in the electronic music community. It is no secret that Miller is a breath of fresh air within a genre that is receiving increased skepticism for turning pop, to say nothing of stale, and, indeed, his music has the unique ability to be played on a radio without compromising its integrity.
Coming off the wild success of their third studio album, A Moment Apart, the guys of ODESZA haven’t shown signs of slowing.
In addition to their ambitious touring schedule, Harrison Mills and Clayton Knight have just released a promotional video into the making of “Meridian,” the eighth track off the their latest LP. The video traces the beginnings of their creative process from their studio in Seattle, as they play with different samples and synth patterns, to the seasons shifting in Washington, to the moment their work all becomes reality as they debut the track live during their grandiose Red Rocks performance last May.
ODESZA’s A Moment Apart sold 63,000 units in the first week, the best ever sales week for the indie-pop electronic producers to date.
Daniel Goldstein, the man behind the subtle and yet complex Lane 8 sound, has just released a new two-and-a-half hour long mixtape as the 18th installment in his seasonal mix tape vault. The San Francisco-based producer’s “Fall 2017” edition is an eclectic, relaxing, and wildly colorful deep/chill accompaniment, with it’s long build-ups, budding bass lines, and playful tempos. If one listens closely enough, you can even hear the trees turn their colors, the temperatures drop, and the days fade earlier into nights.
Lane 8 has one more stop along his “This Never Happened: Summer Gatherings” tour. Tickets and information can be found via his website.
Autograf have released a new single on Armada named “Sleepless in NYC.” The groovy tune is downtempo, contrasting with the upbeat-sounding title of “Sleepless In NYC.” Smooth vocals lead into the drop, which has a cheery, catchy vibe despite its chill 100 BPM.
The Chicago trio is known for performing live with instruments and creating their own visuals. “Sleepless in NYC” is a track certainly worth listening to live with its stunning vocals and instrumental infusion.
Between Arty and Alpha 9, it’s hard to keep up with the onslaught of new music the Russian producer has been releasing as of late. His newest single is titled “Supposed to Be” and is out now on STMPD Records, Martin Garrix‘s label. Arty joins a small group of artists who have been carefully chosen to release music on Garrix’s emerging label.
The track itself is downtempo with a tropical pop flair, and it will likely appeal to a much broader audience with its catchy vocals combined with the unique style. Arty spoke about working on the song and its meaning to him as a producer.
“Working on this record was an unbelievable experience. The lyrics are so meaningful and powerful that I wanted to make sure that all of the instruments I was using were reflecting the overall significance of the song. We all go through the tough moments in our life when we lose purpose, get stuck in the past, and don’t see how to move on. At these points, we need to remember that God is smiling on us and we have so many reasons to live.”