Kim Ann Foxman preps for Movement with a high-energy Orbit playlist

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Play and make music that makes you happy, and people will naturally feel that honesty,” proclaims the New York-based DJ Kim Ann Foxman. If there were ever a DJ who’s an embodiment of that notion, not to mention adheres to a commendable free-flowing expression, it would be Foxman. Virtually unfazed by outside trends and one with her deep love for the craft, Foxman is a rare specimen.

The Hawaii-born artist quickly ascended into the musical sphere for her role in the neo-disco outfit Hercules and Love Affair, a vibrant-live disco troupe and glittery amour. Since then, she’s become one of New York’s finest DJs, possessing an unparalleled dynamic air to her performances.  Foxman’s tapped into the same affectionately off-kilter vibes of her former entourage in a manner all her own having launched her Firehouse Recordings label in 2014, she’s been able to coalesce euphoric house flavors and New York house sensibilities with a chameleon-like aptitude towards virtually any live environment she’s thrown into.

From playing shows at Berghain‘s revered Panorama Bar in Berlin to Tel Aviv’s The Block— Foxman’s a continually exuberant act, playing to the room, and staying true to herself, and her love for music along the way.

Dancing Astronaut had the chance to touch base with Foxman ahead of her highly anticipated performance at Ghostly International‘s Movement pre-party, where she’ll be playing alongside Matthew Dear, Tadd Mullinix as X-Altera, Shigeto, and more. She’s even managed to drop off an infectious, exclusive playlist, or if you’d prefer her own words — “a bunch of nice jammers.”

“The latest one on Firehouse Recordings I’m honored to put out as its a 1994 rave jam that I’ve always love,” Foxman told us.

“The release has both original mixes and two new remixes by Deetron and myself! New Beats The House is an instant party when you play it. New Beat / House vibes! Objekt is a definite YES. I’m really excited to have him play at my next Firehouse residency at Good Room on May 24th! I also really dig the DJ Normal 4 mix of Persian “Morning Sun” on Mysticims, a pretty old school breakbeat done fresh. I love what Bézier has been doing musically for a long time, his whole new album is great, so melodic and pretty.”

Tracklist:

Keep On Climbin’ – Mix 1 – Psychedelic Research Lab
Underground – Jace Syntax
New Beats The House – Grey House
Galactic Devotion – Nick Anthony Simoncino
House Of 1,000 Organs – Jozef F, Winter Son Original Mix
Atmospherica – Mind Lotion
Theme From Q – Objekt
Morning Sun – Persian DJ Normal 4 Remix
Organisation Maritime – Bézier

Tickets and more information for the Ghostly International Movement pre-party can be found here.

Photo Credit: Tim Sweeney

Beyond the Booth 014: Marques Wyatt & the ritual of self care

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Beyond the Booth is a feature dedicated to the hidden side of artists that exists outside electronic music— a side rarely discussed with those outside their immediate circle. We venture “beyond the booth,” so to speak, and dive into their deepest passions that tie into their unique personalities. After some self-introspection, each participant then returns to the booth, providing an exclusive mix for the Dancing Astronaut audience.

Los Angeles has a vibrant underground dance culture that remains strongly rooted in the city despite attempts to overthrow it. At its helm is Marques Wyatt, a veritable stalwart who’s poured his blood, sweat, and tears into his DEEP brand, and in cultivating the scene around him.

His philosophy is one that rings true across history: music is a ritual. For years, the combination of rhythm and melody have helped guide humans to new planes, and Wyatt taps into this through each of his sets. He has an ear for all things meaningful within the 4/4 realm, consistently leading his listeners on introspective journeys through mystical and soulful shades of house. Not to mention, the humility and passion he exudes have made him a well-loved icon locally and beyond.

A main staple on the transformational circuit, Wyatt is bound for Mexico’s RHA festival — taking place from May 25-26 — where he will be pleasing an international audience with what’s likely to be an enticing track selection. Beforehand, however, he stopped by the DA offices to dive into the other most important part of his life: self care. He gives us some useful tips on non-violent communication, healthful foods, and decompressing; a nice complement to the business of the festival he will soon be dominating.


What is your go-to health food?
If you slit my wrist, avocado would come pouring out. My favorite food in the world.

Tell us about your favorite natural remedies.
In Ayurvedic Medicine, oil pulling (specifically coconut oil pulling) is a fantastic oral detoxification procedure that’s simply done by swishing a tablespoon of oil (typically coconut, olive or sesame) in your mouth for 10-20 minutes.

Secondly, I get bitten by mosquitoes a lot when traveling. I discovered the best repellent for mosquitoes which is natural and made by Avon of all people. It’s called “Skin So Soft.” It’s been tried and tested in the jungles of Tulum, Hawaii and other places I used to get eaten alive. If you do happen to get bitten… lavender oil for the bites is amazing. 😉

How did you get into yoga, how has it changed you for the better? How does it tie into your DEEP brand/musical ethos, and why should people try it out?
Yoga has taught and continues to teach me about myself. When I first began to practice, I noticed there was a direct correlation between how I dealt with challenging poses and how I dealt with challenges in my life. I learned to breathe through both and stay focused, whether in completing a pose or task. I also, began to notice myself being much more grounded and less reactive. Which is a great tool to be able to access in this chosen profession of mine, riddled with so many different personalities. Yoga and music are my two loves, so the fact that we have created a branch of DEEP-LA (Deep Exhale) that contributes to health and wellness is a blessing.

What are your thoughts on non-violent communication as a ways to resolve conflict?
Non violent communication is the only way that works towards a positive result. Choose your language carefully and avoid words that put someone on the defense and/or make them feel wrong about how they feel.

What are some tips you have for processing/working through emotions?
A sure way to work through negative emotions is to understand that they begin with a thought.

THOUGHTS>FEELINGS>ACTIONS=RESULT. Thus, it’s a good practice to notice negative shifts in the way you feel, then track the origin of the thought you chose to produce the feeling. Then choose another thought that better serves you.

[Q&A] Meet the artists you can’t miss at Spring Awakening: Tiësto

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This year, Chicago’s Spring Awakening Music Festival, the largest dance music fest in the Midwest, will return to Addams/Medill Park with another packed, meticulously curated lineup, including Tchami, Virtual Self, Tiësto, Alison Wonderland, and more across its three-day span. Dancing Astronaut has teamed up with the fest to get to know its standout acts a little better, just before SAMF arrives to bid spring adieu June 8-10. 


If there was ever a single artist in dance music who truly needed no introduction, it would be Tiësto. His universal status echoes far beyond the dance circuit, into the far corners of the music industry at large. He’s been dubbed “Greatest DJ of All Time” and the “Godfather of EDM” by a number of publications, and helped to solidify dance music’s place in mainstream music in Athens in 2004 by becoming the first DJ to ever perform at the Olympics.

Tiësto’s epochal trance hooks will likely reverberate through dance floors for countless future generations. At 49, Tiësto has been wielding his now ubiquitous dance floor weapons for decades, founding Black Hole Recordings in 1997, wherein he released his earliest albums. He was nominated for a Grammy for his fiercely ambitious trance album, Elements Of Life, in 2007, and was vindicated in 2015 when his remix of John Legend’s “All Of Me” won the Grammy for Best Non-Classical Remix.

His more recent delve into mainstream territory — bringing with it another world tour and his rowdy, heavily collaborated I Like It Loud EP — has shown he has no plans of hanging up his DJ or production hats anytime soon. Before Tiësto heads back to the Windy City for another headlining performance at Spring Awakening, he sat down with DA to talk about his new collaboration with Post Malone, Preme, Dzeko, and Louis Bell, the legacy he hopes to leave behind, his recommendations for must-see acts at Spring Awakening this year, and more.

You can still buy tickets to Spring Awakening here, and the full lineup is here.


You have a new track coming out this month. What can you tell us about that?

It started with a group of friends hanging out: Preme, Post Malone, Louis Bell, Dzeko and me. Preme played the verse of what became “Jackie Chan.” Dzeko and I were like “Man, we can make something really cool and different out of this.” It took a lot of hard work to get it to a place where all of us were satisfied with it, but once it got there, we knew we had something special.

How have you seen U.S. electronic music scene evolve since your earlier days?

It went from super rave and off the radar to mainstream relevant and more popular than ever.

What is your favorite part of being on tour? least favorite?

My favorite part is entertaining thousands of people every night. It is an amazing feeling. My least favorite part is the traveling, airports, and airport food.

Who’s someone outside the EDM arena you would most want to collaborate with and why?

I just did with Post Malone! He’s so talented and fun to hang out with. Not to mention his voice is amazing.

What has been your most memorable performance thus far and why?

I have so many.. And that’s the beauty about being a DJ, every night is different and that’s what keeps me interested and keeps it fun for me.

What kind of legacy do you hope to leave for the music world at large?

I hope people think of me as the man that gave people incredible and unforgettable nights, an inspiration to aspiring new DJs and producers, and a mentor to many.

How does it feel to be returning to Chicago for Spring Awakening?

Chicago is one of my favorite cities to play, and I love the vibes this festival brings.

Which three sets would you recommend from the Spring Awakening lineup this year?

First, Dubfire – he’s a great techno act. Also, Seven Lions – he’s on his own planet and has incredible music. And finally, Mercer – he makes great dance music with a lot of variety.

Featured photo: Jordan Loyd

Dexter’s Beat Laboratory Vol. 39

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Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.


Just a month after the release of “Satisfied” on his Science EP, Robotaki has tapped the talents of Machinedrum for a dynamic remix. “When my team and I were thinking of artists to hit up for remixes, we wanted to have a collection of remixes that would truly change the way the original tracks felt and sounded,” Robotaki says of the remix. “Travis’ creative, eclectic and hard-hitting take on ‘Satisfied’ is everything I could’ve hoped for.”


It makes my heart happy that people are still remixing Oliver Heldens and Becky Hill‘s beloved “Gecko (Overdrive).” It’s been nearly five years since its release, and it remains one of my favorites. The song been reworked into a drum & bass masterpiece (thank you, Matrix & Futurebound), spun into a progressive gem (thank you, Lost Kings), and now has been funk-ified into nu disco by Flamingos. With a laid-back, synth-filled vibe, Flamingos revamp this classic with a retro feel.


With each new Rocket League collaborative album, Monstercat continues to impress. Volume three features the latest from Bad Computer: a tantalizing house track with vocals from Skyelle. “Silhouette” marks the producer’s third release with the Canadian label. With captivating instrumentals and beautifully emotive vocals from Skyelle, this one is an alluring addition to Bad Computer’s arsenal of well-crafted tunes.


Bass music plunges to the depths of hell in WAVEDASH and QUEST‘s new track, “Devil Music.” Sprinkled with eerie vocals from fknsyd, this creepy collaboration is crammed with aggressive bass and compelling sound design.  The in-your-face atmosphere of “Devil Music” is invigorating and menacing, making it a breath of fresh air in the saturated bass music market.


There are few things I love more than a drum & bass song that’s equal parts passion-packed and energetic. Flite and Boxplot’s latest, “Sunroad,” is part of Liquicity‘s Galaxy of Dreams 3 compilation, which came out at the end of April. It’s a clear standout on the LP, bursting with life and gorgeous melodies.

Navigating the technosphere with Ø [Phase]: a pre-Movement discussion

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An enigmatic persona exists deep within the techno rabbit hole. Using the moniker Ø [Phase] (né Ashley Burchett), the stalwart DJ and producer has made his mark on things dark, atmospheric, and downright technical. His productions are as hypnotic and diverse as his sets, covering a mélange of stylings that range from subdued and almost tribal, to acidic, to deep, to sinister and driving. He refuses to be boxed into any one category, which is why he’s remained firmly at the cutting edge of his arena.

Ashley’s expertise has been cultivated over quite an extended period of time; over two decades, to be exact. As a mastering professional and a budding musician inspired by the new, innovative sounds imported from Detroit, he soon found his way onto Steve Bicknell’s Cosmic Records imprint before moving onto his primary home label of Token. Techno, with its wide range and malleable structure, was particularly appealing to his sound engineer’s ear, and he has certainly taken this notion in stride with his production MO.

The word “techno” stretches beyond a mere genre, however. It’s built to be paired with the right setting, atmosphere, and mindset. Nuances within it demand appreciating subtle musical details, and an environment that allows for full focus on these aspects.

Who better to dive into the nitty gritty of techno than Ø [Phase]? Given his imminent arrival to Los Angeles, and later, to Detroit’s iconic Movement Festival (where he will be making his debut), we nabbed him for a chat on the sound and the scene. Additionally, Ashley shares his excitement for Movement, and offers a little taste of what to expect from his set at the Underground stage.


How do you think your career would develop/be if you started out today rather than two decades ago? Do you agree with people saying it was ‘easier’ then to ‘make it?’
No I don’t think it was necessarily easier, it was just a lot different. Changes in technology have altered things beyond measure for good and bad. On the one hand you have social media and the internet which make it so much easier to reach and connect with potential fans, while on the other the ability to make electronic music has become much much cheaper and easier. This means there’s a far wider pool of competition for new artists. I still believe despite all that that if a piece of music genuinely is great it will find its audience eventually.

Who are your favorite artists at the moment, or ones that you’re finding particularly cutting-edge?
Well, if we just stay within the bounds of straight techno; I’ve been listening to Randomer in a lot of detail recently. Blawan’s approach to production and dynamics and his general originality – to me – stands way out in front. Actually Jamie was kind enough to send me his forthcoming album ahead of time. It really is superb. Stanislav Tolkachev is also a long standing favourite.

What place would you say has the most underrated scene? We hear so much about Germany/Spain/Argentina etc, but we want to hear more about places like Lebanon/Georgia/Croatia.
Techno in Georgia is thriving yes (in fact its thriving a little TOO much according to ‘certain factions’ as we’ve recently seen) and has gained a lot of international attention for it so I’m not sure I would class it as underrated. To be honest, these days I find it hard to pinpoint specific cities or places because it feels as if the scene is constantly connected through the internet. It’s almost as if manifests itself when the conditions are right and certain clubs and promotors have nailed the setting and presentation – Kompass in Ghent is a good example. Drugstore in Belgrade another.

Space/setting as important as music itself – how do you go about choosing places to play through the year? Do you turn down gigs, or do promoters approach you that you’d generally work with in the first place?
I work closely with my agent regarding the shows we do and don’t take. It’s a mixture; there are some clubs and promoters we have worked with on multiple occasions – sometimes going back many years – but always new opportunities to be discussed and considered. There’s no set pattern.

What are the details, exactly, of a perfect techno party, and how can we find that in the States?
I touched on it above and have said it before; to me this kind of music requires good sound, low lighting and minimum distractions. Over the top lighting just doesn’t work as far as I’m concerned. It’s should be an immersive experience.

I’m still discovering the US so can only really speak for the places I’ve played so far. Obscure in Chicago was a great underground vibe. The Synthetik Minds/Compound guys in LA have a perfect attitude and approach to what they’re doing. Output club in New York is very cool too.

Do you have a specific starting point when making a track? Ex: making a perfect low-end before adding samples and synths.
No, I’ve always worked in a completely unstructured fashion.

You’ve said in the past that the influx of new music is a blessing and a curse. what is your MO for finding the good stuff?
I wish I had one! I currently have around 1000 unopened promos in my mailbox because I simply can’t keep up with the release rate.

Finding good stuff is always a challenge. Ultimately it just takes time and the gathering of knowledge.

What are the sonic elements that make a song click for you?
It’s difficult to say. It might be an arrangement it, might be the baseline, the hook. It might just be wildly original. It might be dynamically perfect or dynamically inventive… Maybe all of these elements together and you’re close to a hit.

Name a piece of music people wouldn’t expect you to be keen on.
Bert Jansch – The Waggoner’s Lad

You’re about to play Movement Detroit – how do you like the city? What excites you most about Movement?
Again, I’ve only visited Detroit once before at last year’s Movement so can only speak within those terms. I got the feeling – through talking to people as much as actually being there – that the city is changing for the better and I think Movement has had an influence on that. I could feel a sense of creative energy lurking amongst the concrete. I’ve no idea whether that was just because it was the festival weekend or if that’s a permanent vibration. I expect it’s the latter. Either way I’m looking forward to returning next week.

What can people expect from your set there?
Expect pace! I’ve been pushing the BPMs a lot in recent months.

Any interesting things in your pipeline?
I have a fair bit of new material I’m currently testing but no set release schedule as yet. Also one or two remixes lined up. Besides that I’ve been in the studio with Underworld at various points in the last year; that is still a work in progress at present.

Feature Image Credit: Radlibb

Tickets to Movement, here

How Positiva Records has shaped the dance music scene since 1993, A&R director Jason Ellis tells all [Interview]

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Positiva Records has been a unique influence in the music industry since its birth 25 years ago, known best for its eclectic roster of artists and breathtaking productions. With all the support Positiva has garnered over the years, the imprint has become more than just a label, but a flourishing platform for artists from all over the world to share their creations. Positiva Records has released it all – from Vengaboys’ UK No. 1 single, “Boom, Boom, Boom, Boom!!” in 1997, to Martin Garrix‘s big room, chart topping, “Animals” in 2013, the label has amassed major worldwide success with several number one hits on the UK and international charts.

Jason Ellis has served as Positiva’s A&R director for over 15 years, and through his time at Positiva, with patience, perseverance, and expertise, he has developed the label to what it is today. He has kept the label diverse by choosing a wide array of artists and not confining the brand to one specific genre of music. Jason has given countless artists a foundation for their musical growth, allowing up-and-comers as well as renowned musicians to reach a massive audience of avid listeners.

Jason started his journey in the music industry at a young age, collecting vinyls from numerous artists, developing his keen sense of spotting talent by listening to many different genres from a variety of musicians.

“I was an avid record collector in my teens with quite broad tastes – Talking Heads, Tears For Fears, Japan, Simple Minds were very influential to me at the time. I worked for HMV in Birmingham for several years, and as a singles buyer in the early / mid 90’s had to be across what was big in the dance world. I started to take more interest in the scene around 1992, started DJ’ing and was hooked from then on, really. As for many of us in the dance world, Pete Tong become the main inspiration for me and I’m thrilled that he will be hosting the Positiva panel at IMS for us.”

As Jason has perfected his craft for finding and featuring producers, he sheds light on the process of choosing artists saying that the way to select,

“It depends on where they are at in the career really, but certainly talent, ambition, a certain level of commercial appeal and a good understanding of where they are as an artist and how we can help get them to where they want to be. Signing to Positiva isn’t right for every electronic producer / artist – we know that. We just want to work with talented, respectful people and help grow their profile and business.”

Along with the prosperity Positiva has earned, there have been challenges along the way. The internet, for example, has influenced both the way we consume and perceive music. “Understanding the shifting market and continuing to have hits is always a challenge,” emphasized Ellis on this new beast. “Keeping the label operating on the front line of a major label for 25 continuous years is something I’m very proud of – no one else has come close to that.”

“The anniversary campaign is a great opportunity to remind the industry and the wider public just how influential the label has been over the years and highlight the amazing artists and tracks we’ve had the privilege of working with.”

The imprint’s “ace-in-the-hole?” Jason asserts that much of Positiva’s success stems from giving artists from all genres of electronic music an opportunity to be featured on the imprint. “We’ve never been confined to one (sub) genre of electronic music, so have always been able to reflect what is popular in clubland at the time.” Competitors often lack in diversity, and when their sound goes “out of style,” it could spell a premature ending unless adaptation is involved.

That said, making a hit isn’t the most important, all-consuming thing for Ellis. Artistry is key as well, and sometimes the underdog releases end up having the most longevity. “Being part of a major label means that we’re ultimately judged on success and having hits, but it’s important to get the balance right,” he notes. In fact, he even admits that, “some of the most important and influential releases over the years haven’t always been the biggest sellers.”

“We’re no bandwagon jumpers and have always lived and breathed the electronic music world, even when it may not be fashionable to do so. I also believe strongly that how you behave and are perceived as a label during the tougher times or when things don’t always work out well can pay dividends when things pick up again.”

Jason says that the most important thing he has learned over the years, in addition to the pillars of “passion, commitment, and respect,” has been following his intuitions. Trusting oneself, in his opinion, is essential in the path of success. “Always trust your gut instinct,” he advises. “I’ve been talked out of signing a few records over the years that have gone on to be huge. Not a great feeling!”

“Be true to your word – it’s all well and good promising the earth when trying to sign a track or artist, but you have to back that up with your actions. Communication is key – even if the news is not positive.”

Some inspiring events during his career at Positiva have shaped Jason’s perspective as an A&R director. When recalling these events, he points to 2003 as a particularly developmental year. This was when he first signed Paul Van Dyk. “He was one of the biggest DJs in the world at the time, and very much an album artist as opposed to just putting out singles.” As a result, he says, working with the German superstar, “helped broaden my approach and skill set considerably.” His new skill set “paved the way for working with the likes of Deep Dish and David Guetta, plus Swedish House Mafia and deadmau5 once we joined Virgin in 2009.”

As for his own, personal strengths as an A&R director, Jason feels his ability to “balance between an undeniable passion for the scene and being able to navigate the major record company structure and politics on behalf of our artists and releases” are what put him ahead in his role. He points out once more just how much digital consumption has dominated and changed the industry in a more global way, and mentions that his experience with Positiva as a major music force makes him “well-placed to take advantage” of this change.

“On most occasions, we’ve been associated with artists during a really pivotal, positive part of their career – Morillo and Reel II Real, Guetta and ‘When Love Takes Over’ and more recently, Martin Solveig and his return to form with ‘Intoxicated’ and ‘Places’. So many key artists and moments where we have helped broaden the awareness and appeal of the genre that we all love.”

Positiva has become one of the most influential forces in the dance music industry over the past couple of decades. The label, with Jason Ellis at the A&R helm, has continued to make its mark on the dance world for its mastery in finding artists who are bringing novel sounds to the table. Some notable accomplishments since he took over the reins include chart-topping singles “When Love Takes Over” by David Guetta, “Wake Me Up” by Avicii, and “Wizard” by Martin Garrix. Twenty-five years since its inception, Positiva certainly shows no signs of slowing down their brilliant streak of discovering and representing the best of the best in dance music.


How has the success of Positiva over the years shaped the record label as a whole?
We’ve never been confined to one (sub) genre of electronic music, so have always been able to reflect what is popular in clubland at the time. Being part of a major label means that we’re ultimately judged on success and having hits, but it’s important to get the balance right – some of the most important and influential releases over the years haven’t always been the biggest sellers.

From it’s start in 1993 to now, what were the biggest challenges Positiva faced?
The internet changed so many things of course, particularly in dictating how tracks are consumed – moving from vinyl to CD to download and now streaming. Understanding the shifting market and continuing to have hits is always a challenge. Keeping the label operating on the front line of a major label for 25 continuous years is something I’m very proud of – no one else has come close to that. The anniversary campaign is a great opportunity to remind the industry and the wider public just how influential the label has been over the years and highlight the amazing artists and tracks we’ve had the privilege of working with.

What does it take to make a record label successful?
Passion, commitment, tenacity, respect. We’re no bandwagon jumpers and have always lived and breathed the electronic music world, even when it may not be fashionable to do so. I also believe strongly that how you behave and are perceived as a label during the tougher times or when things don’t always work out well can pay dividends when things pick up again.

What was the most important thing you’ve learned over the years?
Always trust your gut instinct – I’ve been talked out of signing a few records over the years that have gone on to be huge. Not a great feeling! Be true to your word – it’s all well and good promising the earth when trying to sign a track or artist, but you have to back that up with your actions. Communication is key – even if the news is not positive.

Tell us about one of the most inspiring events during your career at Positiva? How has this changed you?
There’s been several, but perhaps a good one to mention would be signing Paul van Dyk and going to the Berlin Love Parade with him in 2003. He was one of the biggest DJ’s in the world at the time, and very much an album artist as opposed to just putting out singles. It helped broaden my approach and skill set considerably, and paved the way for working with the likes of Deep Dish and David Guetta, plus Swedish House Mafia and deadmau5 once we joined Virgin in 2009.

When choosing artists for the label, what qualities do you look for in them?
It depends on where they are at in the career really, but certainly talent, ambition, a certain level of commercial appeal and a good understanding of where they are as an artist and how we can help get them to where they want to be. Signing to Positiva isn’t right for every electronic producer / artist – we know that. We just want to work with talented, respectful people and help grow their profile and business.

What is your greatest strength, and how has it helped you in the music industry?
Tough one! I would say having the balance between an undeniable passion for the scene and being able to navigate the major record company structure and politics on behalf of our artists and releases. For many years, successful dance labels around the world were almost entirely independent. But as digital consumption has taken over, release strategies had to become global rather than local, and I was therefore well placed to take advantage of that.

How did Positiva shape the dance music scene from 1993 to the present? i.e in your eyes what has Positiva contributed to the industry as a whole?
We’re making a documentary about the history of the label at the moment, and have done some amazing interviews with many of the key artists, DJ’s and contributors to the label’s success over the years. One of the key things that stands out to me from the interviews is that on most occasions, we’ve been associated with artists during a really pivotal, positive part of their career – Morillo and Reel II Real, Guetta and ‘When Love Takes Over’ and more recently, Martin Solveig and his return to form with ‘Intoxicated’ and ‘Places’. So many key artists and moments where we have helped broaden the awareness and appeal of the genre that we all love.

How did you get started in music? What/who were your greatest inspirations?
I was an avid record collector in my teens with quite broad tastes – Talking Heads, Tears For Fears, Japan, Simple Minds were very influential to me at the time. I worked for HMV in Birmingham for several years, and as a singles buyer in the early / mid 90’s had to be across what was big in the dance world. I started to take more interest in the scene around 1992, started DJ’ing and was hooked from then on really. As for many of us in the dance world, Pete Tong become the main inspiration for me and I’m thrilled that he will be hosting the Positiva panel at IMS for us.

Have you ever produced music before or have a musical background?
No, not really. I played bass guitar for fun when I was younger – Mick Karn from Japan was a big inspiration. But I sold that to buy a pair of decks and the rest is history…!

What are you most proud of and why?
As I said before, 25 years on the front line of a major label is no mean feat and I’ve been here for 18 of them. I’m very proud of having helped develop and break so many great artists and tracks – highlights would be Spiller, The Shapeshifters, Axwell / Swedish House Mafia, Guetta, Avicii… and now Jonas Blue.

Hear more about Positiva’s evolution on Friday, May 25, at IMS Ibiza:

25 YEARS OF POSITIVA RECORDS – THE CHANGING FACE OF A&R with Jason Ellis, Dave Lambert and Nick Halkes Interviewed by Pete Tong.

Movement Afters? Dancing Astronaut is here with a comprehensive, yet well-curated guide

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Memorial Day Weekend is fast approaching for the city of Detroit. Soon, thousands of house and techno fans will embark on their annual pilgrimage to Movement Festival in order to celebrate their music of choice in its very birthplace.

The festival itself is going to be quite the thrill; talent from all over the house and techno spectrum — from Dirtybird acts, to Ostgut Ton — will be represented, offering attendees a large menu of music to sample throughout its three-day duration. However, the festivities don’t stop at Hart Plaza. Detroit transforms into a party town each night of Movement, opening its venues up to the multitudes of caliber acts flooding the city alongside their fans.

Making a decision on the right party always tends to be an arduous task. To help refine the list, the Dancing Astronaut staff have chosen their picks for places to go when the late night kicks in.

Purchase last-minute Movement tickets here

 


FRIDAY

The Annual smartbar opening party with Palms Trax, Tin Man, Garrett David, & more
Friday, 6:00pm-4:00am at the TV Lounge | Tickets

Movement is such a pleasant reminder that dance music originated in the midwest United States. For this party, Chicago institution smartbar invades the D for their annual takeover featuring a who’s who of DJs’ DJs. Get there early for the free BBQ, while supplies last!

 

Official Movement Opening Party with Ghostly International
Friday 9:00pm – 4:00am at the Marble Bar | Tickets

Ghostly is one of the shining success stories of modern Detroit music. Although they’ve moved their headquarters from Ann Arbor, Ghostly still reps hard for Detroit and this party is no different. Featuring appearances from Ghostly boss Matthew Dear, Firehouse NYC head Kim Ann Foxman, and a special b2b between Detroit selectors Mike Servito and Derek Plaslaiko, this will no doubt be a Detroit-heavy way to kick off the Movement weekend.

 

Official Movement Pre Party featuring Blank Code + SYSTEM + Communion
Friday, 10:00pm at The Works | Tickets

Blank Code, System and Communion are collaborating to bring their sophomore official Movement pre party to The Works. With a lineup that features a three-hour live set from Function, Dustin Zahn, Karl Meier, and more, this pre-party kicks off the weekend with a bang.


10 Years of No. 19 Music
Friday, 9:30pm at The Magic Stick | Tickets

Toronto label No. 19 Music is celebrating its 10th birthday with a stellar Movement pre-party. The evening will feature sets from Art Department, Kenny Larkin, Terrence Dixon, Ryan Crosson, Nitin, and Teeloo.


Modern Cathedrals – Eden IV
Friday, 9:00pm-9:00am at the Tangent Gallery | Tickets

Eden IV has put forth one of the finest all-techno lineups of all of Friday. Across twelve hours, the likes of Headless Horseman, Anastasia Kristensen, DeepChord, and more will be filling the Tangent Gallery with throbbing percussion and shadowy tones. This is an unmissable for those who like their techno raw and raunchy.

SATURDAY

Soul Clap’s House of Efunk
Saturday, 11:00pm – Sunday 11:59pm at the TV Lounge | Tickets

Anyone who’s been to a Soul Clap party knows how fun they are — smiling faces, bumping beats, and a jovial atmosphere pervades the dancefloor as Charlie and Eli take the reins in their self proclaimed “second home” of Detroit. This year, they’ve outdone themselves booking legends such as electro Don Egyptian Lover, drum n bass king LTJ Bukem, Detroit OG Scott Grooves, and countless others.


Discwoman Detroit
Saturday, 10:00pm – 5:00am at El Club | Tickets

Discwoman has never messed around, period, but they are most definitely not messing around with their lineup for Detroit this year. Featuring a mix of some of the heaviest hitters from their ultra talented roster such as Juana, Volvox, and Shyboi, while also showcasing a different side of their sound with live performances from sonic poet Moor Mother, this party is going to be bumping well into the morning hours.


Dirtybird Players Official Movement Afterparty
Saturday, 11:00 pm at The Masonic Temple | Tickets

The Dirtybird Players are taking over the famed Masonic Temple on Saturday with a yet-to-be-announced lineup that’s sure to thrill and delight fans of the iconic house label. Last year’s performances included ones by Claude VonStroke, Justin Martin, J.Phlip, Will Clarke, and Walker & Royce, so the sky’s the limit!

Octopus Recordings Showcase
Saturday, 9:00pm-4:00am at Bleu | Tickets

Sian and his Octopus colleagues will be packing Bleu in with their avant-garde techno sound on Saturday. In addition to a special set by Marsian — the new joint project between Sian and Marc Houle — Carlo Lio, Lee K, and more will be throwing down reverberating beats into the wee morning hours.

Texture Official Movement Afterparty
Saturday, 10:00pm at The Marble Bar | Tickets

In its second year, Texture and The Marble Bar team up to offer a “multi-disciplinary experiment to explore the intersection between light, sound, and space” at their Movement afterparty. With a lineup that includes Danny Daze, Lena Willikens and Randomer, they will feature “elite cutting-edge innovators from across the global underground along with forward-thinking local Midwest talent.”

 

SUNDAY

No Way Back 2018
Sunday 11:00pm – 12:00pm at the Tangent Gallery | Tickets

Many consider this to be THE afterparty to hit, an immersive “truly Detroit” party that continues to evolve and gain steam from year to year. Now on their 11th year, No Way Back is a Detroit institution lovingly tended to by the core group of Erika, BMG, Patrick Russell, and a whole slew of insanely talented Midwest-rooted DJs. Get a taste of the heads-down no-frills Midwest flavor that started this whole thing.


OK, Cool
Sunday 11:00pm – Monday 11:59pm at the TV Lounge | Tickets

OK, Cool continues the weekend long party at TV Lounge where outdoor patio, inside club, and side alley all come into play with rockin vibes. Festive big man Eats Everything headlines while headier techno comes from the likes of Cosmin TRG and Ataxia. There’s also plenty of Detroit love in the lineup too, with Delano Smith and Eddie C also taking the controls for this blowout.


Nina Kraviz and Marcel Dettmann Official Movement Afterparty
Sunday, 11 pm Sunday at The Masonic Temple | Tickets

In the heart of Movement weekend, The Masonic Temples brings together heavy-hitters Nina Kraviz and Marcel Dettmann for an unforgettable evening. Under one roof, the Russian techno goddess and pioneering German producer, along with Helena Hauff and Luke Hess, guarantee an evening of ceaseless dance floor magic.


Seth Troxler b2b The Martinez Brothers, Loco Dice b2b Stacey Pullen
Sunday, 10:00pm at the Leland City Club | Tickets

In perhaps one of the most anticipated after parties of Movement weekend, Paradigm and Paxahau present back-to-back sets from Seth Troxler and The Martinez Brothers, and Loco Dice and Stacey Pullen. The party will rain a heavenly mix of house and techno upon attendees for eight hours.


Lost&Found Showcase
Sunday, 10:00pm-4:00pm at Bleu | Tickets

After all the techno and house-based grooves taking over Movement during the day, who wouldn’t want a bit of respite in the form of some of the best progressive in the game? Guy J, Khen, and Eagles&Butterflies will be leading the night into the early morning hours, putting forth what is sure to be six hours of hypnotic, enchanting, and melodic tunes.

MONDAY

Where Are My Keys
Monday, 9:00am – Tuesday 4:00am at the Marble Bar | Tickets

Any time Omar S shows up, it’s a reason to party! This entire lineup is insane though and features somewhat rare US appearances from selectors Move D, Osunlande, DJ Minx, and many others slinging rare wax on the decks. Please note this party’s late / early start time and be prepared for a marathon dance!

 

IT presents: 15 Years of the Bunker
Monday, 10:00pm – 6:00am at the Tangent Gallery | Tickets

The Interdimensional Transmissions crew is another one of these Detroit institutions that puts on landmark events throughout the year, especially during Movement weekend. For this year, IT has teamed up with New York’s infamous The Bunker crew for a lineup bursting at the seams, with a room even specifically for “come downs”. Techno legends like Adam X and Jane Fitz lead the way on this one, another standout event at the hallowed Tangent Gallery.

MoodRAW Official Movement Closing Party
Monday, 11:00pm at The Masonic Temple | Tickets

As Movement draws to a close, those wishing to keep the party going can continue their Monday night at The Masonic Temple, where MoodRAW will offer sets from Dubfire, Hito, and Nicole Moudaber. This star-studded lineup promises to draw in music fans of all persuasions and keep them on their feet until its 4:00am close.

 

Repopulate Mars Official Movement After Party
Monday, 11:00pm at The Magic Stick | Tickets

The Magic Stick closes down Movement weekend with a five-hour fiesta featuring Lee Foss, Moon Boots, Nathan Barato, Anabel Englund, Will Clarke, John Johr, and Dru Ruiz. The diverse lineup guarantees an evening of innovation from some of the industry’s key players.

Feature Image Credit: Bryan Mitchell for Paxahau

Techno Tuesday: Avision tells a tale of techno and working hard for success

This post was originally published on this site

Techno Tuesday is a feature on Dancing Astronaut documenting the culture of underground dance music. We’ll bring you exclusive interviews, tracks, and narratives from artists within the techno, tech house, and deep house world in an effort to shed light on some of the best talent outside the world of mainstream dance music.

Passion, patience, and persistence are three especially crucial ideas when it comes to making it in the music industry; especially during a time where the market is more saturated than ever, and less friendly overall to creators. Most musicians don’t become overnight superstars, and for most, the process of transitioning into music full time takes years on end. But, when that goal is accomplished, it’s worth the effort.

Avision is intimately familiar with passion, patience, and persistence, imbuing this principal into his everyday life and career. He is quite the prodigious talent, having first stepped behind the decks at the young age of 12 and scoring his first residency by age 16. Over a decade-and-a-half after making his entrance into the scene and moving with intense drive and desire, he is finally breaking through the surface. Furthermore, he made himself an internationally-recognized talent while staying based in the United States — a rare feat in electronica, where artists often move to Europe to advance their career and receive higher amounts of support and income.

We got him to open up a bit and tell his artistic story — from the trials and tribulations, to the triumphs. Additionally, Avision just released a dark, scintillating new EP on Matter+ titled Free Your Mind. Its three originals are bursting with soul and hints of funk, capturing what made early techno great and tossing this sound into a modern ambiance. Let it provide a background as he tells the tale of his comeup.

 


I started out DJ’ing around New York & New Jersey 10 years ago when I was 14. My first residency was at Club Abyss in New Jersey, which was the hottest club night for teens in that area of the U.S. and it would average at least 1500 kids per night. I also started producing around that time; working on remixes first and then original tracks. When I was about 16, I went to Electric Zoo festival in New York. It was the first time I realized who my cousin (Victor Calderone) really was, and also the first time I heard Techno and Tech House. It changed everything for me, and I started digging deeper into those genres and began finding new tracks and artists that I really liked.

After that, I started to change my sound and began making tech house and techno, which led to me going out a lot in the NY scene. The first real night club I went to was District 36 when I was 17 to see Victor, and it got me to see how everything worked outside of the teen clubs I had been playing. Then I started going to Pacha NYC when I was 18, and those nights really helped me learn everything, how to go through certain tracks throughout the course of a night and control a crowd. That’s when I started DJ’ing at 21+ clubs when I was 18.

Before I started releasing music as Avision, I hadn’t really found my sound yet. I had been releasing music on a bunch of labels under my real name, but I was really just finding my sound and experimenting on who I was as an artist. Once I finished around a hundred tracks, I really figured out what my sound was and the direction I wanted to take with my music. The first Avision release was just over 2 years ago on Victor’s Waveform label, and it went over really well. There was pretty strong feedback from a lot of DJ’s that I respect, and Carl Cox and Joseph Capriati played my track “Conception” at Awakenings in 2016.

After that first Avision release, I sent Mark Broom a Facebook message saying that I was a fan of his and his label Beardman, and sent him an EP that same week. He ended up signing it and he remixed a track from it as well, and this release really kicked things off for me. Mark is such a highly respected figure in techno, and the release on his label really helped give my name credibility in the scene. Ben Sims, Truncate, and many more DJ’s were playing that EP. Having top techno artists supporting my music has been a big foundation of my career so far. I had a release on Carl Cox’s Intec label last year which was a highlight, as videos started popping up of Carl playing my track all over the world (he opened his set at Movement Detroit last year with my “Mind Of The Man” track). I’ve also released on Carlo Lio’s On Edge Society (and have a follow up planned for later this year), another release on Beardman, and also an EP on Ben Sims’ Hardgroove label up next (which will be my first vinyl release).

One of the most challenging things for me has been patience when it comes to gigging. I first started playing at Pacha NYC and building my name in the NY area, and at that point I was taking pretty much any gig that came my way. In NYC, there’s enough parties going on where I could probably be spinning somewhere every week, but since I’ve been releasing as Avision, I’ve really been picky on how many gigs I’ve taken as my goal is to be touring globally in the very near future. Now in NY I probably spin every couple of months or so, and I try for the most part to make sure that the gig is with a bigger DJ I respect and/or with one of the leading promoters and venues in the area so that I’m able to keep building my name up. Lately, I’ve been able to tour more around North America, and have crossed off some key gigs at venues like Stereo Montreal, Space in Miami and The BPM Festival in Mexico.

In the U.S., the techno scene keeps growing and getting larger, but a lot of the people that go out in the U.S. pay attention to what’s going on overseas, and what artists are big there. As an American artist in Techno, in a way it feels like you really need to “make it” and have that stamp of approval by the right clubs and fans overseas in order to breakthrough as a bigger artist here in the States. The club culture in Europe is highly respected, and over here it feels like a new cycle of that club culture has started only in the past decade (with the current wave of electronic music). My focus next is on breaking through in Europe, and I’m working on my first dates there for later this year.

Some key things that have helped me so far in my career:

Mentors: I think it’s really important to have mentors to learn from, and I’ve been lucky to have one right in my family. Victor has been a great mentor to me, and when I started producing I would constantly send him big groups of tracks at a time. He would always give me constructive feedback, but in a positive way so that I was never discouraged.

Networking: Building relationships is something that takes time to create, and I think it’s important to take advantage of any opportunity that comes to you. I can’t even tell you how many times I’ve gone to see a DJ that plays my music, and from that have built a connection and now have an amazing relationship. Everyone likes to put a face to a name. I like to try and take advantage of any opportunity I can to say thank you to a DJ for playing my music, or ask them where I can send new music to, etc.

Work Ethic: I’ve been doing this for 10 years now, and I haven’t taken a day off since. What you put in is what you get out of it. If you’re not in it for the long run, there’s no point in starting. It’s important to take pride in your work and know how to change and evolve over time. Really focus on your strengths and improve your weaknesses.

Team: Having a team behind you is a big aspect in having & building a career – you can’t do everything alone. It’s important to have people in your life that care about you & your career, and to help you build and grow as an artist.

Love: Lastly, it’s important to just love what you do, and to recognize that things will be up & down, and not everything will be sunshine & rainbows all of the time. Keep your focus on the big picture and your long-term goals!

 

Order a copy of ‘Free Your Mind’ here

All eyes on Spotify: The music streaming giant is called to continue removing artists accused of sexual misconduct

This post was originally published on this site

Following last week’s removal of R. Kelly and XXXTentacion from Spotifys “editorial or algorithmic playlists,” as part of the platform’s new Hate Content & Hateful Conduct policy, many voices have sprouted up in response to the controversial move.

To some, the move seems altruistic and honorable. In an age of conscious consumerism, media companies have not only the right, but a duty to uphold the values and beliefs that align with the people who make up the organization. This is the side that Spotify falls into alignment with, as Spotify’s VP/Head of Content, Jonathan Princetold, told Billboard in a statement:

“I think that, frankly, all of us have become increasingly aware of the responsibility that we have when we make recommendations about content, and particularly when we’re doing that in a way that may send signals to our audience about what we believe and what we value.”

On the other hand, proponents of the editorial decision find it contentious and problematic to single out specific artists while leaving others unscathed. In the case of R. Kelly, whose “After Party” tour was cancelled in late 2017 amid allegations that the artist was running a sex cult, a representative from Kelly’s camp told BuzzFeed News that he “supports the pro-women goals of the Time’s Up movement.” The rep alluded to the singling out of Kelly as unfair, considering the artist has never been charged with any of these crimes, adding,

“Spotify has the right to promote whatever music it chooses, and in this case its actions are without merit,” the statement reads. “It is acting based on false and unproven allegations. It is bowing to social-media fads and picking sides in a fame-seeking dispute over matters that have nothing to do with serving customers. Meanwhile, though, Spotify promotes numerous other artists who are convicted felons, others who have been arrested on charges of domestic violence and artists who sing lyrics that are violent and anti-women in nature. Mr. Kelly falls into none of these categories, and it is unfortunate and shortsighted that Spotify fails to recognize this.”

Now, a US-based women’s advocacy group, UltraViolet, has come forth to urge the music streaming giant to do the same with other artists accused of sexual assault and/or gender-based violence. In an open letter, UltraViolet executive director Shaunna Thomas pinpoints artists with a history of sexual abuse, including Chris Brown, Red Hot Chili Peppers, Nelly, Eminem, Don Henley of The Eagles, Steven Tyler of Aerosmith, Tekashi 6ix9ine, and Ted Nugent, citing them as artists “who continue to profit from [Spotify’s] promotion.”

“Every time a famous individual continues to be glorified despite allegations of abuse, we wrongly perpetuate silence by showing survivors of sexual assault and domestic violence that there will be no consequences for abuse,” writes Thomas. “That has a cultural effect far beyond one individual artist.”

Spotify’s next moves are unknown. But, as many new voices continue sprouting new (and hopefully fruitful) conversations, it’s clear that the issue is a tiny microcosm of the identity-based movement in American culture and politics. At the very least, Spotify’s editorial choice has sparked some much-needed debate surrounding issues of sexual misconduct in the music industry, as well as the ongoing related issue of unequal gender representation.

H/T: Consequence of Sound 

Photo: Thomas Trutschel/Photothek via Getty Images

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.