‘Along Came Polly’ producer Rebūke continues hot streak with ‘Jump Ship’ on DIRTYBIRD [EP Review]

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‘Along Came Polly’ producer Rebūke continues hot streak with ‘Jump Ship’ on DIRTYBIRD [EP Review]Rebuke Jump Ship Art

Hot Creations had an instant classic on its hands in “Along Came Polly,” an infectious jam that would put Rebūke’s name on the map and eventually hold the top spot of Beatport’s Overall Chart for quite some time. It’s clear the aforementioned producer had found a magic formula of mixing past and present tech house elements into veritable hits that would be warmly received by mass audiences. He continues to strike this balance on Jump Ship, his next release on DIRTYBIRD that is already making its way around the festival circuit and proving to be somewhat of a break for him across the pond.

The title track captures attention right away with pulsating bass and tightly mixed tribal drums that eventually lead into absolute mayhem post-break. Hollow, seven-note bursts function as lasers that, when targeted at the dance floor, prompt uncontrollable dancing. Meanwhile, “The Pipe” takes on a more hypnotic profile, but equally chaotic nonetheless. It chugs forward like a sine wave, with micro peaks and valleys manifested once again through bassline and hollow synth bursts enticing listeners to move up-and-down alongside the music. This action has been evidenced in videos circulating around of the tune being rinsed at high profile festivals like Holy Ship!, where reception looks to be wide open.

Not too shabby of a release for a producer who only just broke into the house sphere a year ago.

Order a copy of ‘Jump Ship’ here

Ookay releases gargantuan bass EP, ‘NICE!,’ that is anything but just okay

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Ookay releases gargantuan bass EP, ‘NICE!,’ that is anything but just okayDa Black Swan For Insomniac 1 1

Ookay is quite the versatile producer, from his shocking heavy bass headings at the raucous Lost Lands festival to his  caressing melodies on the Billboard charts. The Marshmello collaborator, real name, Abe’ Laguna, just released his NICE! EP, the heavy-handed offspring of the producer’s darker side.

“Can You Hear Me” offers a cinematic entrance into bright lights and nervous temptations. Eerie synths drive the energy upwards into stark contrast of high and low-end frequencies. Call the party police on this one, because it’s primed to incite an urge to break stuff.

“IDGAF” gives life to Ookay’s effervescent party nature, presenting illusions of structure alongside absurd mayhem in a single keystroke. In quite a similar vein, “Pick It Up” is fun and jovial, showcasing the producers dancehall skills. “Revolution” revs its engine, running with a rock-styled center, placing the guitar front and center with anthem vocals and an electro-house drop that certainly wasn’t concocted in your grandma’s kitchen.

“STRUT” hails a finale intro and final walk-and-bow to the artistic energy unflinchingly exuded from Ookay. The exclamatory work, on the whole, is likely to warrant volatile dance moves from all ends, while demonstrating Ookay’s continued dedication to building his live performance, playing out his stage fantasy, and entertaining on a worldwide stage.

Photo Credit: Da Black Swan

Reset Robot – Direction [EP Review]

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Reset Robot – Direction [EP Review]Reset Robot Direction Whistleblower

Versatility is a defining feature of Reset Robot‘s sound. From atmospheric melodic cuts, to more abstract sounds, to techno, the seasoned professional flows between genres with precision. He summons the brooding side of his artistry in Direction, which he’s signed onto his and Alan Fitzpatrick‘s joint label effort, Whistleblower.

Reset Robot takes no prisoners with the EP’s namesake opener, slamming listeners onto the floor with rumbling hits of percussion and hair-raising acid shots that pierce the mind. The German stalwart Heiko Laux takes remixing duties, making a more subdued, but equally powerful rendition of the original “Direction.” Both versions are made for the peaktime.

“Polara” powers upward into space with twinkling synth notes that ping around a driving core comprised of hypnotic kicks and a standout bassline. There’s hardly any room to breathe through its consistency, making for a record that forces endurance out of its consumers. Finally, “Beams” closes the EP out with a hint of nostalgic flavor, using familiar chords and organic, plucky progressions that add a sense of authenticity to the finished product. That said, the track has a foot well within the modern world, employing atmospheric accents and clean mastering for a polished, forward-thinking sound.



Order a copy of ‘Direction’ here

Powel – Eolomea [EP Review]

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Powel – Eolomea [EP Review]Eolomea Powel

Powel’s no stranger to All Day I Dream. He first joined onto the label during its earlier years in 2014, returning a few years later alongside Hoj for their whimsical “Leap Day” that became a season favorite upon its release. The relationship between Powel and All Day I Dream has naturally culminated in his most expansive work yet for the imprint — a four-piece Eolomea —which ushers us into the fall with a hint of dreaminess.

“On A Whale Through The Desert” kicks off the EP on a breezy, almost jazzy note, enticing the ears with pleasing piano progressions and Eastern-inspired instrumentation designed to catalyze a trance-like state. Eolomea picks up pace as it flows into its title track, adding further lushness to the mix with carefully interwoven harmonies and sparkling hints of synth that call one to attention during the breakdown.

It’s here the EP reaches its plateau in the sensibly titled, “At The Waiting Room.” What feels like riding a current in “Eolomea” settles into smoothness with the penultimate track, with subtle hints of harp and ethereal notation lapping at the ears to evoke a sense beachy relaxation. Finally, Powel concludes with a slightly bittersweet “Sabeth,” which does well in tugging at the heart strings. As a whole, Eolomea captures All Day I Dream’s ethos at its core while placing Powel at the forefront of Germany’s deep, melodic house movement.



Lee Burridge, Lost Desert, and Junior return with a follow-up EP to ‘Lingala’ [EP Review]

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Lee Burridge

Everything seemed to fall perfectly into place when Lee Burridge, his longtime collaborator Lost Desert, and Broadway vocalist Junior met together in the studio for the first time. Their collective chemistry and knack for ear-catching arrangement with tasteful use of ethnocentric elements translated into an instant classic: “Lingala.” Junior’s vocals, sung in the language the title get its name from, were distinctive, while Lee Burridge and Lost Desert forged a grooving house foundation.

Naturally, the three acts remained drawn to one another, and once more met up to create new music together; this time, an entire EP titled Elongi was the result. It’s meant as a follow-up to “Lingala,” in both lyrical content and in its musical undertones. The record’s title opener entices the eardrums immediately with lush percussion and passionate verses by Junior as the track’s melodic centerpiece.

“Elongi” flows nicely “Mona Yo,” where the momentum picks up. Though it shares similar motifs to its predecessor, it stands on its own with a catchy bassline that is orbited by drawn-out synth notes. “Float On” is EP’s euphoric cut — twinkling synth riffs harmonzied by a bittersweet bassline are pierced by Junior’s yells, creating the sonic equivalent of a warm blanket. It serves as quite the touching closer as well, leaving one with an afterglow when the record finally ends.


‘Elongi’ was released on June 22 on All Day I Dream. Pick up a copy here

Introducing Dorfex Bos: A rising underground bass talent talks inspirations, collaborative hopefuls, and his penchant for low-end vibrations in debut ‘Opinions’ EP [Interview + EP Review]

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Who exactly is Dorfex Bos?

Dorfex Bos may not be a household name in electronic dance music, nor may he ever wish to be. However, the Madison House-signee is one name in underground bass that we’ve been keeping tabs on here at Dancing Astronaut since appearing on Bassnectar‘s tenth full-length studio album, Into the Sun, back in 2015.

“Lorin [Ashton] is an absolute beast. He’s a genius,” Dorfex Bos told us in a recent interview. “I’ve never met someone with such a clear vision of what they wanted and the skills to make it happen so fully.”

Dorfex Bos is Angelo Tursi, an artist emerging from the early 2000s West Coast bass scene. His music is easily discernible by its eclectic, heavy sound stamp that weaves together elements of lush downtempo, dubstep, and left-field electronica.

But, like most free form bass music artists, don’t ask Dorfex Bos to force himself into any narrowly-defined categories. “I don’t really identify completely with any genres,” Tursi says of his experimental sound. “I’m known for making deep, trippy, cinematic tracks that I guess is considered ‘bass music,’ but I’m not really trying to put myself in that box.”

The Brooklyn-based beatmaker further alluded to the bass music genre as one that is as loose and expansive as it is subversive and very much open to creative interpretation:

“I feel like ‘bass music’ as a genre is very much solely focused on the body experience. I like to weave in a melodic and harmonic element that takes the whole experience a little deeper. My music has [an] emotional flavor that I feel is missing from a lot of ‘bass music.’ “

Dorfex Bos plays the Incendia Stage at Okeechobee, Florida, 2018. Photo courtesy of Madison House.

“Okeechobee was absolutely bonkers. I was set to play a smaller, late night stage…and there were a few thousand people there. It was a beautiful sight. It was a super tight, deep set.”

Dorfex Bos is known by many for his iconic collaborations with Bassnectar, including the self-titled track “Dorfex Bos,” which first appeared in 2004 on Diverse Systems of Throb, along with “Horizons” and “Other Worlds“— two mind-melding numbers that appeared on the recently-released Reflective EP.

“Our last two collaborations, ‘Horizons’ and ‘Other Worlds,’ were made in my bedroom studio on two separate occasions. We would start playing with ideas and very quickly a very clear and defined sound would emerge. It’s crazy making music with him because I have to keep in mind that tens of thousands of fans are going to experience these tracks in arenas and stadiums and you have to think about how they are going to sound in huge venues. It’s different than writing music for clubs. It’s a bit of a mind fuck.”

Recently signed to the Boulder-based powerhouse booking and management firm, Madison House — who also represent electronic music careers of Bassnectar, Clozee, Crywolf, Golfclap, Mt. Eden, Polish Ambassador, The String Cheese Incident, William Black, among many more — Dorfex Bos now brings his debut EP, Opinions, to the table. He is poised to stand alone as a new power player within his area of expertise.

“This EP is very special to me. Each track encompasses a specific and unique combination of mood and groove.”

The four-track project is an aural representation of a roundtable discussion on the sheer eclecticism and diversity of sound within the underground bass music scene. Rather than a cohesive journey of musical story-telling, what Tursi is laying down in his Opinions EP is a track-by-track catalog of playful sonic surprises with ever-evolving synth patterns, broken beats, and newly emerging bass lines around every turn. Perhaps no one puts it better than Tursi on his Opinions EP:

“It feels like a cocoon-deep welcoming, charged with just the right kind of rhythmic energy to keep it moving forward into the unknown. It’s music made for dimly lit dance floors or late night car rides down empty highways.”

Tursi’s auspicious sound sits on the horizon of where bass music is heading: It’s a purview into another world, catalyzed by a full-bodied, all-encompassing listening experience. Opinions serves as his artistic vessel into charting this plane: It’s a sonic mosaic that Dorfex Bos pieces together layer by layer, bit by bit, through each of his meticulously-crafted productions.

Take the EP’s eponymous leading track — a stunning, yet jarring composition laced with a sounds often mirrored by Bassnectar himself in his recent work. Complete with gritty electro-style synths, robust, grounding basslines, and highs that resemble the emergency sirens of a national weather warning system, it resembles an aerial adventure through hypnotic sound fx“It’s so big and expansive, it feels like you’re soaring on the back of a dragon very high up in the sky and you can feel the wind whipping through your hair,” says Tursi of “Opinions.”


Building upon the steady momentum set by the EP’s beginning, “Teen $pirit” begins much lighter with a keen focus on arpeggiated chords and captivating toy-box synth work. After the song’s first drop is where the intensity culminates into a more foreboding mood; yet, with the continuous use of light-hearted synths, users need not be apprehensive in giving themselves over to the song’s darker elements.


“Cyalafalora” subsumes the EP’s most mysterious appeal. Laid across an experimental landscape, the track features outer space bass elements, retro 1980s synths, like something out of Stranger Things, and laidback tones that allows the listener to explore the unmapped terrain of the human psyches. Upon the song’s second drop, Dorfex Bos takes a complete 180-degree turn into what sounds like a completely different song. 


Finishing off the EP is “Ralph’s Dance,” complete with a dark, anthemic quality that only Dorfex Bos can replicate. It catapults listeners into a side show circus tent, as if one is lining up to watch a traveling freak show somewhere in an arid desert county in the 1950s. 


In short, Dorfex Bos’ breakout EP is a statement of what is to come from the rising artist. Though eclectic as ever, that isn’t to say that the EP is disjointed by any means. For Opinions features a unique, experimental, and amorphous sound so as to explore the deeper possibilities of free form bass. “It’s thick, it’s bouncy, it’s deep, it’s dreamy,” says Tursi.

Dorfex Bos plays the Incendia Stage at Fractal Beach, Florida, 2018. Photo courtesy of Dorfex Bos.

“I wanted to present a mini-journey of what Dorfex currently represents and what I’m doing in my live sets — which is [using] very big, expansive beats with a mysterious, almost haunting, narrative running through it.”

Still in the early development phase, Dorfex’s live show is a rollercoaster ride of raw, undefined emotion and low-end frequencies that incorporates original tracks from Tursi’s sizable back catalog of music. Visually, there is still much left to map out for the young artist: “Up to this point, I have been the sole designer of all Dorfex visual art. I enjoy having a lot of creative control over how my work is presented. But I do look forward to collaborating with the right artist in the future if that magical synergy is there.”

“The live show is very me in that it will be an interesting dichotomy of ‘dark’ and ‘light’ imagery.”

Tursi’s approach to his live experience is laced with the kind of DIY sensibility that runs deep within the spirit of the underground bass scene. It is a sense for which he also takes cues from Tipper, whom he has opened for in the past, and Bassnectar, who he will open for during night two of Freestyle Sessions. On playing the upcoming event, which will be full culty bass heads:

“I’m super excited for Freestyle Sessions! I’m playing on ‘Dreamtempo’ night so it’s going to be a dreamy, bouncy set. I’m not really nervous about it, a lot of Bassnectar fans come out to my shows and they are usually super engaged and excited about me playing.”

As for his other upcoming appearances throughout the year, Dorfex Bos is also booked as direct support for The Glitch Mob on their new album-accompanying world tour, dubbed “Blade 2.0,” a interactive live music spectacle with visuals powered by Dell and an immersive VR experience from Strangeloop Studios.

“I’ve been friends with Ooah and Boreta for a very long time, about 15 years,” Tursi explained matter of factly. “They got in touch with me because their original support Elohim was unable to do [one particular] date.”

Dorfex Bos was beaming at the opportunity to play on The Glitch Mob’s cutting-edge stage set-up. “It’s a game-changer,” alluded Tursi. “I very quickly said yes because I know they have a very open-minded fanbase that would be down to go on the Dorfex journey, which is going to lean a little on the cerebral.”

With mentors like Tipper, Bassnectar, and The Glitch Mob — each with their clearly-defined respective sounds, and their shared roots in psychedlica and new-age spiritualism — there is no doubt that Dorfex Bos is one breakout artist whose climbing the swift ladder to success. Not only is he set to expand the sonic worlds of the three aforementioned artists, who all share a similar musical flavor, as well as crossover fanbases, DA asked what other artists made Tursi’s list of collaborative hopefuls.

“I’d love to work with Four Tet… he’s been a big inspiration to me for years. I’d love to make something with Potions (of the Lab Group)… he has such an amazing sense of sound design. Some other names I’d like to throw out on my collab wishlist… ELWD, Nils Frahm, EPROM, Oneohtrix Point Never, FlyLo, and Björk.”

So what exactly is a Dorfex Bos?

“I like my audience to experience ‘feels,’ and not just solely a beat to bang their heads to. It’s a fully sensory experience.” – Angelo Tursi

Tursi conjured up his moniker from a wildly imaginative place. The root, “Dorfex,” refers to some imaginary rural county in the British countryside, complete with lush rolling hills and dew-filled forests; the stem, “Bos,” he’s always thought about in terms of a fantasy computer-coded language. Juxtaposing the two creates a kind of elemental synergy — between nature and machine — for the artist. It’s a space Tursi says he enjoys dwelling in, both mentally and physically.

As for Dorfex Bos’ vibrant future, 2018 has much in store for the Brooklyn-based producer, including several more releases and collaborations for which the artist remained rather vague about going into detail over.

One thing we know for sure of the left-field bass producer is that he has a clearly-marked sound, with a penchant for low-end vibrations, and a definitive map for where he’s going.


How this will come to take shape for the audience?

Only time will tell.


But Dorfex Bos is not just a moniker, or even a man behind a moniker. According to Tursi, it’s a fully immersive experience: “The Dorfex Bos experience is a balanced combination of bass heavy beats and a rich cloak of melodies and harmonies that feel very much like a film score.”

Cinematic and fully sensory, on the one hand. Heavy, cumbersome, and yet fully palatable, on the other.

Jeremy Olander enchants in ‘Karusell’ [EP Review]

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jeremy olander

Each piece of music Jeremy Olander output exudes the amount of care the Swedish producer places in its creation. Roadtested for extended amounts of time and painstakingly edited to top form, fans of his know that his work is worth the wait.

Olander’s Karusell EP is a testament to this methodology, with both of it tracks transforming into deep, ethereal progressive cuts that fit the producer’s current aesthetic. The EP’s eponymous A-side treads lightly on twinkling synthesizers, subtle chimes, and a bassline that serves as its backbone, evoking a light, joyful feeling among its listeners.

“Andköln” adds weight to Karusell, dressing its breezier with deeper, harder-hitting melodies and a more poignant arrangement. Buzzing notes post-breakdown give way to a gentle finish, making for a well-rounded conclusion to the EP as a whole.

Order a copy of ‘Karusell’ here

Gaming collides with electronic music in Nitro Fun’s new EP, ‘Closure’

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Gustavo Rangel started producing music at age 14, thanks to an obsession with video gaming and his desire to incorporate gaming elements into music. One year later, the gamer turned music producer won a remix contest on Monstercat, and the rest is history. Rangel was the youngest artist signed to Monstercat at the time, and has been producing music ever since. The Mexican native now produces under the moniker Nitro Fun, and he is back with three new releases in the form of an EP Closure, which are out now on The Arcadium.

The Arcadium is a new label created for gamers looking for free music to incorporate into their content, thus being the perfect fit for Nitro Fun’s desire to incorporate gaming elements into his tracks. The three tracks each have a very distinctive style.

“Go 4 it” is upbeat and would arguably be the perfect backdrop for a Mario Kart game with its retro gaming vibe.

“Leaders” is reminiscent of old-school Porter Robinson with its elaborate combination of elements and commanding future bass framework until the song switches directions and leads into LoneMoon’s rapping and a harder trap drop.

“Keygen” has the capacity to get stuck in anyone’s head, and it is the hardest of the three tracks. Monstrous dubstep chords captivate the listener from the drop’s inception.

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Ben Böhmer shares dreamy, brimming ‘Morning Falls’ EP

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Blossoming German newcomer, Ben Böhmer has shared his musingly melodic Morning Falls EP via none other than deep house destination Anjunadeep. The classically trained Böhmer first appeared in the Anjuna arena for the label’s fourth Explorations series, with his fluttering track “Flug & Fall.”

The three-track Morning Falls EP, is a warm, stirring horizon prevailing over a cruel, arduous winter. The EP begins with the gentle, downtempo grooves and idealistic, waxing and waning melodies of the title track, “Morning Falls.” The trip around the sun continues, then, with a bit more gusto, moving into the pensive yet club-driven “After Earth.” Finally, “Velvet Rebellion,” with its chiming, astral synth work, emulates a celestial, star-suffused night sky, as Böhmer bids Earth farewell.

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Be Svendsen – Getula [EP Review]

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Be Svendsen ended his year on a sensual note via “Getula.” Through jazzy keyboard riffs, Eastern-inspired instrumentation, and carnal rhythms embedded in a mid-tempo foundation, the Danish producer proves once more that electronica doesn’t need to be pounding and high-charged to create an irresistibly move-able atmosphere. Its hypnotizing layers serve as tentacles that keep the listener hooked until the very last beat.

“Getula” also received remixing treatment from rising Italian/Canadian duo KMLN, who created a more atmosopheric feel with their added synth work and balaeric guitar samples. Yet, their version is also heavier than the original, as KMLN chose to anchor the finished product with pronounced bass-lines and slightly tougher kicks.

Given “Getula’s” mystical nature, it was only natural that the piece be signed onto Sabo’s Sol Selectas label. Both Be Svendsen and KMLN are known collaborators with the Sol Selectas brand, and their work certainly embodies the imprint’s ethos.


Purchase here


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