Missy Elliot, Flume, Vampire Weekend, Tame Impala top Governors Ball 2020 lineup

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Missy Elliot, Flume, Vampire Weekend, Tame Impala top Governors Ball 2020 lineupKevin Parker Tame Impala Getty

The lead up to spring 2020’s festival season is beginning to heat up, and now, Governors Ball has thrown an impressive hat in the ring. The three-day NYC affair has locked in Tame Impala, Missy Elliot, Vampire Weekend, and Flume for headlining performance, along with additional firepower from Solange, Stevie Nicks, RÜFÜS DU SOL, Ellie Goulding, and Miley Cyrus—and that’s all before the undercard.

The event, running June 5 – 7 at its longtime home venue at Randall’s Island Park, also has scheduled performances from a wide variety of artists, covering indie, electronic, hip-hop, and pop with acts like Danny Brown, LCD Soundsystem‘s Nancy Whang, Oliver Tree, Carly Rae Jepsen, Madeon, Portugal. The Man, Swae Lee, Snail Mail, and more. Tickets to the 2020 edition of Governors Ball go on sale on January 17 at 12:00 p.m. EST. See the full lineup below.

Missy Elliot, Flume, Vampire Weekend, Tame Impala top Governors Ball 2020 lineupGov Ball 2020 Lineup

Tame Impala, Flume, Vampire Weekend, Solange rumored to top Governor’s Ball 2020 lineup

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Tame Impala, Flume, Vampire Weekend, Solange rumored to top Governor’s Ball 2020 lineupDeadmau5 Governors Ball 2015 Dancing Astronaut Andrew Spada 4

The Governor’s Ball Music Festival 2020 lineup is set to be released soon, though the beans may have spilled prematurely with a the festival’s rumored headliners surfacing early. According to Consequence of Sound, among the names leaked are Tame Impala, Vampire Weekend, Stevie Nicks, and Miley Cyrus. Solange, Flume, and H.E.R. will also appear at the 2020 iteration of the festival, which is set to be the Governor Ball’s 10th anniversary event.

2020 would mark a return for Tame Impala who made their Governor’s Ball debut in 2014. It will be Nicks, Cyrus, and Solange’s first time performing at the festival. Flume was recently rumored to also be on the Coachella lineup, which indicates the Skin producer is in store for a festival-heavy spring season.

Governor’s Ball will return to New York City on Randall’s Island from June 5 – 7 on Randall’s Island. Those who still would like tickets to the event can track the next ticket release here.

Via: Consequence of Sound

Featured image: Andrew Spada

Electronic music bands together, DJs pledge support amidst Australian bushfire destruction

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Electronic music bands together, DJs pledge support amidst Australian bushfire destructionAustralian Bushfires 2020

Australia is facing the worst wildfires the continent has seen in decades after months of persistent heat and drought. The wildfires have claimed 24 lives and more than 2,000 homes, 6.3 million hectares of land across the bush, national parks, and forests, and more than 500 million animals.

It’s no secret that many of electronic music’s best and brightest hail from down under, though artists around the world are banding together to bring attention to the crisis and to encourage fans to donate to the ongoing efforts to calm the fires and help those devastated by the destruction. Aussie electronic figurehead Nina Las Vegas is donating the proceeds from her entire NLV Records catalog, Alison Wonderland is donating proceeds from her merch store all month long. Those who are able to donate can find different donation platforms and causes here.

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Sources report Flume, My Chemical Romance, Thom Yorke slated for Coachella 2020 performances

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Sources report Flume, My Chemical Romance, Thom Yorke slated for Coachella 2020 performancesFlume Credit 451Photo Okeechobee 2017

Coachella‘s official lineup typically lands in January every year in conjunction with ticket sales, though this year, fans have been too eager to get their hands on the 2020 talent roster. Earlier this month the festival’s headliners reportedly leakedTravis Scott, Rage Against The Machine, and Frank Ocean are expected to top the bill. Now, new reports by Consequence of Sound suggest Radiohead frontman Thom Yorke, the newly reunited My Chemical Romance, Lana Del Rey, and Flume are expected to join those ranks.

After a monumental 2019, which brought the debut of a new live show at Lollpalooza, Flume isn’t exactly a surprise on Coachella’s 2020 lineup. Lana Del Rey and Thom Yorke both released solo projects this year, and My Chemical Romance’s Coachella debut gives the festival another opportunity to put on a beloved reunion act as they’ve done in years past, a la OutKast, AC/DC, LCD Soundsystem and more. Coachella returns to Indio’s Empire Polo Club on April 10 -12 for weekend one and April 17 – 19, 2020 for weekend two.

H/T: Consequence of Sound

Flume details plans for new music in 2020, reveals new insights in ‘Hi, This is Flume’

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Flume details plans for new music in 2020, reveals new insights in ‘Hi, This is Flume’Flume

An innate desire to push conventions has propelled Harley Streten—better known as Flume—in a direction that has crowned him as both an electronic pioneer and a Grammy-winning act. After grabbing the Best Dance/Electronic album of the year for sophomore LP Skin, Streten is now up for another milestone Grammy in 2020—securing a nomination in the same category for his comeback album Hi, This is Flume. Leading up to the awards and concluding a pivotal year, Streten opened up in an interview to Billboard about his plans for new music in 2020 and the creative process behind his latest album.

Streten’s return with Hi, This is Flume challenged not only his production boundaries, but also his relationship with music. Self-titling the new LP as a mixtape simultaneously de-stressed the creative process and reset the internal expectations for Streten to match his previous accomplishments.

“I actually wasn’t enjoying doing the music because I was laboring over it so much, I had this anxious energy about ‘Is it as good as it can be?’”

Hi, This is Flume became a journey of letting go for Streten. In juxtaposition to his first two albums which he deemed slaves to a “grand vision,” the mixtape embodied a musical project that embraced “some grit and dirt.”

Although Streten approached the mixtape without a marriage to executed perfection, the complexity of the album’s development surrounding production in the studio, show, and visuals far surpassed the baseline. Specifically, the mixtape’s visualizer saw Streten and Skin artist Jonathan Zawada embark on a seven-day shoot through Australia’s southwest coast.

“We actually were staying in some seriously remote locations. Lots of snakes, lots of spiders, lots of things that can kill you in general. I vividly remember laying in bed one night after shooting. I was on my iPhone, scrolling on Instagram as you do. I saw this silhouette walk over my chest, and it was this huge spider. I let it walk off me and slowly got up. It was a tough getting back to sleep.”

In breaking his own limitations, Streten also recreated his live show to reflect the experimental extremities of his artistic growth. His fusion of production and kilter interactive performance has fascinated audiences at Lollapalooza and other appearances.

“I was getting bored of the show, standing there twiddling knobs, putting my hands up. It didn’t feel challenging … So I was like, ‘How about instead of that, I’m going to put on a theater performance.’”

Streten’s nomination for another Grammy has validated his efforts to reinvent himself on a grand scale. On another, more significant level, his delivered vision has brought him back to a space of clarity in terms of his craft and reinvigorated the meaning of creating.

“At the start of the new year, I’m on a mission. I want to try and write a record in four months. I’m just going to chill until then, and then I’m just going all hands on deck, dedicate to getting it done. I’m planning on doing some traveling solo … Trying to stimulate my creativity as much as impossible. The idea of an album is not so stressful after doing the mixtape. I’m really looking forward to it and seeing what happens, seeing what comes out.”

Via: Billboard

Dancing Astronaut’s BIG 100—Top 25 Electronic Albums of the Decade

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Dancing Astronaut’s BIG 100—Top 25 Electronic Albums of the DecadeAlbums Of The Decade

2010 may as well have been a lifetime ago. At the breakneck pace by which dance music throttles through the stratosphere, the decade is ending in an entirely unrecognizable place from where it began. For context—ten years ago, Electric Daisy Carnival was held in Los Angeles, not Las Vegas, where the Los Angeles Rams now play. Only 250,000 people were paying for a Swedish music streaming service called Spotify, and Billie Eilish was finishing up second grade. It’s been a wild ride through the 10’s, largely soundtracked by EDM’s global boom into a multi-billion dollar industry. Ten years ago our culture was creeping out of South London basements and New York warehouses, and now we’re performing at the Olympics.

So now, as the single most important, historic, and certainly memorable decade dance music has ever seen draws to a close, we had to figure out a new way to break down how far the culture has come. One master list couldn’t possibly reflect the decade in review. In effort to properly recognize the remarkable collection of events that has brought us here, we’re tweaking our typical end-of-the-year model. Instead, we’re dividing the decade’s most deserving into a handful of unique categories.

In review of 2010 – 2019, the most important factors that shaped the decade were Artists of the Decade, Labels of the Decade, Albums of the Decade, and Most Impactful Moments of the Decade. Together, they comprise Dancing Astronaut’s decade-end collection. Introducing, The Big 100.

So without further ado, Dancing Astronaut‘s 25 Most Impactful Albums of the Decade—in no particular order.

Justice – Woman (2016)

Matching their sonic savviness to the name printed on the record’s gatefold, leave it to Justice to challenge dance music’s status quo while highlighting the intensely empowering nature of the femme. The pair honed in on one key component throughout the recording process: rather than break character with an attempt to chase mainstream success, Justice, as they always have, opt to open-endedly allow pop culture to decide its own relationship to their work. The intent over the LP’s 10-track span is singularly focused on genuine songwriting, and in turn, procuring timeless dance classics. From its core to its perimeter, that is exactly what Woman is: a collection of instant-classic indie dance gems.

It feels like it has been ages since Audio, Video, Disco — eons since †. Now, grown men whose days of black leather jackets and studs are possibly behind them, Gaspard and Xavier have written a record that is perhaps more in-tune with their emotional capacities, while simultaneously challenging the fleeting nature of pop success. Ultimately, Justice have delivered another ageless dance opus with Woman, which spawned a Grammy-nominated live album, one of the best live shows of the decade that inspired a visual feature to boot, capping off a momentous decade for the paragons of French house. -David Klemow

ODESZA – A Moment Apart (2017)

Commencing the Foreign Family Collective bosses’ official foray into the pop space, A Moment Apart stands as ODESZA‘s most voraciously streamed and referenced LP to date. With their fluttery Summer’s Gone and In Return LPs, the ethereal electronica duo arrested the soul of the electronic zeitgeist’s chill-out craze, cropping up midway through the ’10s, when the confounding side-effects of the dubstep onslaught had subsided some. A Moment Apart did double time at the 2017 Grammy Awards, raking in a pair of nominations for Best Dance Recording (“Line of Sight”) and Best Electronic Album.

ODESZA’s most accessible and multifarious work to date, A Moment Apart, while perhaps less compositionally daring, allowed ODESZA to play with approach, while remaining just near enough to their celestial center. A purposeful album’s album, rather than a mere arbitrary collection of tracks. -Bella Bagshaw

Pretty Lights – A Color Map Of The Sun (2013)

Pretty Lights’ magnum opus by DA standards, A Color Map Of The Sun was, mid-decade (and remains now), an industry-wide point of contention. Critics complained the album was somewhat anemic in its experimentation or delivery of stark “creative growth,” or entirely passed it off as spacey stoner fodder. But why fix what was never broken? What’s clear is that Derek Vincent Smith conceived the LP as a vessel to expound on his inimitable, jazzy jamtronica hybrid with his most incisive execution to date. Even among tracks like “Yellow Bird,” with its almost anesthetizing instrumental loop or the melancholic strut of “Go Down Sunshine,” no corner of the work arrives without gusto.

The vinyl sampling on the LP further solidified him as the master of homage. Funk, soul, hip-hop, electronic listening music, Smith weaves in and out of these worlds without as much as a warning, though none is warranted. The quintessential curator of chromatic live production, whether he meant to or not, wielded the work to push innumerable jam/instrumental purists over the synthesized precipice—past the point of no return—sending them happily dazed and plummeting eternally into the electronic ether. -Bella Bagshaw

SebastiAn – Total (2011)

Unapologetically abrasive in all the right ways, SebastiAn’s debut record, Total was one hell of a coming out party for the French-Serbian musician. But it also served as a much-needed statement its host label, Ed Banger Records. Until then, the iconic French house music collective had strokes of brilliance but was largely defined by its affiliations with the Daft Punk and a handful of genre-defying releases from Justice.

In Total, SebastiAn captured the raw power and undeniable strands of funk roadmapped by the genre’s forefathers, all the while insisting on finding his brilliance through innovation rather than emulation. With the record’s needle lifting after over 20 tracks, Total interludes between mind-rattling electro and silky-smooth pop-disco for the rare electronic LP that isn’t defined by its singles, but the spirited collage built around them. –Josh Stewart

Madeon – Adventure (2015)

A Frenchman making feel-good electro—wild, right? Well, wait just a minute. Madeon certainly did his homework for his long play debut (see: “Pop Culture (mashup)”). That’s the genius of Adventure. He borrows what’s useful in the moment, often going back to go forward. Songs like the effervescent, Passion Pit-assisted “Pay No Mind,” fit for Androids frolicking under a disco ball, fall effortlessly into place while the then-20-year-old producer cut his teeth on earnest, almost smoldering compositions like “Imperium.” Adventure was just that: a journey worth the jaunt, filled with as much complexity as color. -Bella Bagshaw

Avicii – True (2013)

Few records have been able to illustrate the symbiotic potential of traditional instrumentation and electronic production more cogently than Avicii‘s True. Keeping perfect time with EDM’s propulsion into the musical vernacular, True emitted the raw, evocative power and deadly danceability of progressive house. But make no mistake: we were always dealing with a pop record, here.

By then already a global sensation, the Swedish wunderkind sent tremors through the industry at large when he brought up an incisive assortment of soul and bluegrass musicians at the 2013 edition of Ultra. That day, Avicii’s hallowed act of synergy set fire to the torch that still burns with his legacy. Whether we were ready or not, True sent the very foundations of the electronic infrastructure shifting underfoot. -Bella Bagshaw

Disclosure – Settle (2014)

When Disclosure’s debut album Settle landed in 2013, everyone—from music fanatics to industry figures and critics—wanted a proper taste. Peaking at No. 1 across multiple charts including Billboard’s Dance/Electronic Albums and receiving widespread acclaim, Settle struck the scene as both an instant refresher and derivative of dance music’s past. The magic of the record lies within its stylistic journey through a multitude of dance sub genres including bass music, house, garage, ultimately, pulled together by a synergetic pop intention composed not of mass appeal, but of motivation to magnetize all niches of dance listeners. -Jessica Mao

deadmau5 – while(1<2) (2014)

Perhaps the hallmark of electronic albums of the decade, deadmau5’s 25-track dance epic holds the LP format near and dear, leaving little room for skim listening. The record’s progressive composition of rich melodies, moody, cinematic aesthetics, and throbbing electro still stands as one of deadmau5’s most versatile works to date.

Arriving at a frankly lackluster time for electronic albums, while(1<2)’s challenged the status quo of the moment, while also providing a wider scope with which to view the full breadth of deadmau5’s talent. The double-sided endeavor offers a suspenseful sonic journey through stripped back ambient and downtempo plays, uplifting electro, chugging progressive breaks, and more. No stranger to the full-length format, deadmau5 takes on his seventh LP with a brazen discontent for the lack of originality dance music purists bemoaned about at the time, offering an unforgettable double dose of creativity on while(1<2), which itself may have served to re-galvanize the album format in electronic music. -David Klemow

Daft Punk – Random Access Memories (2013)

Looking back on the most important decade in dance music, the defining highlight had to have been the release of Daft Punk’s Random Access Memories. Daft Punk’s return in 2013 was special, not only because the legendary French Androids had delivered their first LP in eight years, but because the album was legitimizing for electronic dance music in many ways. It came at the front half of EDM’s global boom, proving to the world that electronic dance music wasn’t just millennial festival fodder with Nile Rodgers, Pharrell Williams, and Giorgio Morodor in tow. The record masterfully presented intelligent, disco-inspired sounds in with an incredibly fresh, modern perspective to audiences who were still trying to figure out if mainstream electronic music was… well, legit.

Random Access Memories would remind everyone who the genre’s omniscient godfathers were, net the duo four Grammy Awards along the way, help guide vinyl’s resurgence selling the most units of the decade, and cement Daft Punk’s legacy all over again. -David Klemow

Skrillex – Recess (2014)

From the moment we first heard, “to get a thousand miles from the Earth, a rocket would need this much power,” Recess would change the electronic landscape and set Skrillex on a crash course for pop superstardom. Sonny Moore’s 2014 debut LP under the Skrillex moniker came well after he had already established his Grammy Award-winning sound, though the album is really what planted Moore’s flag as an electronic trailblazer that was here to stay. The record was a carefree intergalactic thrill ride that featured a budding Chance The Rapper, a preview taste of the oncoming K-pop tidal wave with G-Dragon, CL, and Diplo, and a healthy dose of heavy dub appeal from the Ragga Twins. Infectiously aggressive yet in touch with its dance-friendly roots, Recess culminated into one of the best electronic albums of the decade.

In the years since Skrillex’s debut studio LP, his list of credentials have outgrown the confines of electronic dance music in remarkable ways. He’s gone on to produce for the world’s greatest pop stars, from Justin Bieber to Mariah Carey. He’s tackled movie soundtracks, linked with rappers, produced an entire joint album with Diplo, and grown OWSLA into one of the country’s premier electronic imprints. With an impending sophomore follow up slated for 2020, we’re already at the edge of our seats for the next chapter in Skrillex’s momentous career. -David Klemow

Jamie xx – In Colour (2015)

The production backbone of The xx, Jamie xx’s In Colour is as much an album of yesteryear as it is an album of tomorrow. On one hand, the sample-driven concepts over Jamie Smith’s often breakbeat-influenced beats harken back to a time when electronic music simply felt more soulful. On the other, the album doesn’t only disregard the distinction between electronic genres, but goes to great lengths to blur the line between what’s full-blown “electronic” and what’s a bit more nebulous; a direction that dance music continues to embrace even heading into 2020.

What makes In Colour such a pinnacle of artistic success however, isn’t the album’s memorable singles or gold-lined production, but its ability to make its listener feel a technicolor assortment of nostalgia, happiness, pain, and sorrow, often simultaneously. -Josh Stewart

TNGHT – TNGHT (2012)

The 2010s can’t be accurately recapped without talking about trap music’s viral takeover, and electronic music’s obsession with trap can’t be adequately described without paying due respect to TNGHT. While the duo’s 2012 self-titled TNGHT project isn’t a full-length LP, the release served to propel the two producers’ bombastic, aggressively experimental sound to massive mainstream acclaim, making for one of the most impactful releases of the decade. The pair went radio silent as quickly as they had dominated the scene, though by 2019, TNGHT had reconvened once again, picking up exactly where they left off. -David Klemow

ZEDD – Clarity (2012)

Once ZEDD delivered his debut studio album, Clarity, in 2012, it was clear the division between pop and electronic music was going to be permanently blurred going forward. The Interscope Records project effectively defined EDM’s global takeoff with singles “Shave It Up,” “Spectrum,” and “Clarity,” all charting in the top 10 that year and into 2013. The record’s inescapable popularity was contingent on how it would define dance-pop, and would not only go on to earn a Grammy for Best Dance Recording at the 56th Grammy Awards, but also cement ZEDD’s position as one of the most in-demand producers of the decade. -David Klemow

Above & Beyond – Group Therapy (2011)

How many artists can say their record bears the name of a coinciding global event phenomenon and hallowed weekly radio show? Group Therapy does. The quintessential progressive/trance trio’s 2011 album is dripping with utterly epic euphoria from start to finish. “Cheesy” was never something Above & Beyond were afraid of, nor should they be. The album sees them move dexterously through dreamy, twinkling offerings like “Alchemy,” vocalized by serial A&B collaborator, Zoë Johnston, to full-on club demolitions like “Sun & Moon.” Instrumental in acquiring the trio, and the trance genre at large, worldwide fandom, Group Therapy also garnered the group exponential label traction, to their now-revered Anjunabeats imprint. -Bella Bagshaw

Jack Ü – Skrillex and Diplo Present Jack Ü (2015)

The Jack Ü project was equal parts irreverent DIY fun, hard-knocking dance-pop fusions, and spastic genre hopscotch all wrapped into one. Skrillex and Diplo Present Jack Ü includes contributions from NOLA bounce star Fly Boi Keno, hip-hop heroine Missy Elliot, Keisza, 2 Chainz, Snails. And what’s more, undoubtedly resurrecting Justin Bieber’s career and ultimately positioning Diplo and Skrillex as the top pop producers of the decade. Once the divisions between pop and electronic music broke down, Jack Ü jumped in to bridge the gap with their hypnotic brand of fizzy, aggressively danceable electronic music. Behind the success of one joint record together, the two dance titans won a pair of Grammy Awards for Best Dance/Electronic Album and Best Dance Recording respectively at the 58th Annual Grammy Awards. -David Klemow

Aphex Twin – Syro (2014)

It had been 13 years since Aphex Twin’s previous release when he delivered his cerebral Syro LP in 2014. At the time, to have a full fledged comeback from Richard James was quite the occasion. The album presented a different side of Aphex Twin, though after more than a decade since his last full body of work, it’s no riddle why. Syro landed as a more accessible listen than previous works thanks to a more melodic approach in production.

However, the album was still unmistakably Aphex Twin from start to closing interlude. It was still the kind of twisted, frenetic work that could only permeate from the mind of James. Five years after Syro’s release and Aphex Twin’s return to live performance, and the album’s painstaking attention to detail is still commendably obvious, its off-kilter, hair-raising sonic complexion as bold as ever. -David Klemow

Prydz – Opus (2016)

There’s a fine line between listening music and club music when it comes to EDM and nobody seems to find the sweet spot between the two quite like Eric Prydz. Two parts progressive, one part electro, and just a dash of synth-wave, Prydz’ debut album Opus traces the storied Swedish producer’s exuberant catalogue over two meaty discs with little to no filler. With singles like “Generate” that don’t just define an album or a trending style, but a whole era of mainstage house music, Opus is rare dance album that’s worth revisiting time and time again. -Josh Stewart

Baauer – Aa (2016)

Aa is a rambunctious collection that paints a candid picture of Baauer’s beginnings as an artist. As a young man, Baauer had already called everywhere home from Philly, to London, Brooklyn, to Germany. It was traveling–not touring–that ultimately provided the inspirational bedrock beneath Aa. Baauer’s introductory offering is a mixed bag of worldly inspiration, tied together by an evident allegiance to his roots and his uncompromised desire to experiment. This desire spills from every corner of the project. From its masterful sound design to the eccentrically abstract artwork of the record, Aa is a flowing portrait of Baauer’s mind pressed onto wax.

Cumulatively, Aa is the perfect split between the hard-hitting fusion of dance, trap, and hip-hop and a handful of fearlessly strange, gripping instrumentals. Baauer meanders between inspirations, places, faces, sounds, and styles, agglomerating a bright, chaotic collection of work that is deeply authentic to his roots. Aa runs the gamut of Baauer’s full range of inspirations, ranging from the menacing grime styling of “Day Ones” to the calmative ease of “Body.” The record presents Baauer’s ascension to a creative level that exceeds the listening value of “Harlem Shake’s” viral ubiquity. -David Klemow

Duck Sauce – Quack (2014)

Duck Sauce’s beloved Quack LP gave us a 12-track fun-or-bust stroll down disco lane, broken up by skits to make for a nostalgic flow inspired by the classic hip-hop albums of the ’90s and the funk of the ’80s. Quack, the full-length debut from a spirited and sporadically active collaborative venture between A-Trak and Armand Van Helden, which enjoyed a prolific singles run between 2009 and 2013 with “aNYway,” “Barbara Streisand,” “Big Bad Wolf,” and “Radio Stereo,” proved that dance music doesn’t need to take itself too seriously; and, in fact, it shouldn’t.

The album was a masterclass in sample pulling. Standouts include The Time Bandits’ “Live It Up,” and The Members’ “Radio” impresses for what would be the best use of sampling if not for “Ring Me,” A La Carte’s “Ring Me Honey,” Melissa Manchester’s 1985 hit “Energy” and more. It’s the sort of approach to an album where A-Trak and Armand stick to their extra casual, comedy-leaning ethos. Six years after the epically quirky LP’s release, it proved that electronic music could sustain the album format, it didn’t have to be a grab for mainstream marketability, and it can still make people dance. The record stands as if to say that “Quack” doesn’t mean anything, and that’s what makes it meaningful. -David Klemow

Flume – Skin (2016)

At the apex of the futuristic bass movement’s upward crawl stands one of Australia’s token music-makers, Flume and his second solo album, Skin. Following the hungrily lauded record’s release, contrived imitations pervaded the SoundCloud sonic-scape soon after. But none could achieve quite the same warped, melodic maximalism, while still remaining accessible to the average listener; not like Flume. With a technicolor assortment of guest features, ranging from the then-up-and-coming Tove Lo to Chicago rapper Vic Mensa to British singer/producer duo, AlunaGeorge, Skin arrived in amorphous fashion. The former What So Not affiliate seemed to be asking, “What can’t I lend my beats to?” Rhetorically, of course. -Bella Bagshaw

Kaytranada – 99.9% (2016)

Kaytranada really planted his flag in 2016 with his debut full-length studio project 99.9%, establishing himself as one of the keenest electronic minds in the game. The 15-track album, released via XL Recordings and Ultra, enjoyed overwhelmingly positive critical reception right from the outset. The LP included highlight contributions from Anderson .Paak, Craig David, Little Dragon, AlunaGeorge, and BadBadNotGood. Kaytranada’s 99.9% rolled and wrapped hazy neo-soul, uplifting hip-hop inspirations, elements of knocking trap percussion, and crisp, shimmering jazz into an enjoyable late night smoke sesh with friends that simply wouldn’t grow old, no matter how many repeated spins you gave it.

The record is a bold amalgam of sounds that comes together under a sharply conceptual electronic theme, and catapulted Kaytranada atop his rightful throne as one of the most esteemed crossover producers of the decade. -David Klemow

Gesaffelstein – Aleph (2013)

Released on Bromance Records, Gesaffelstein’s 2013 debut album Aleph officially introduces the dark techno backbone that Michael Levy has made a Hall-of-Fame career from. Masterfully crafted, the album pops and hisses throughout a variety of mechanical soundscapes, each track donning its own distinct attitude. At the end of the decade it stands as a techno masterpiece, spiraling through industrial synths and pulsing builds.

Aleph encapsulates a sinister techno spin on classic ’90s West Coast rap, overcast electronic ballads, and tinges of acid house and orthodox French techno. Gesaffelstein has always been a commanding presence since his emergence, with impressive production credits on albums like Yeezus, remixing the likes of Justice, Lana Del Rey and Depeche Mode, but with the release of his first full-length studio album, Levy gave French techno a jolt of energy, taking the listener on a dark, convoluted, and as the decade has proven, timeless ride. -David Klemow

Porter Robinson – Worlds (2014)

Gone is the full-throttle euphoria of “Language.” Gone is the dancefloor weaponry of Spitfire, which arrived just two years prior. The bashful anime auteur is vulnerable, seemingly for the first time, inside Worlds. He even lends his pitched-up vocals to a handful of the tracks, a welcomed contrast to the brash, bro-ey male bravado permeating the dance music scene at the time. The sonic world building erected within the LP has been paralleled by none since Worlds‘ debut. Porter Robinson comprised the record as a master storyteller would, cognizant of narrative, of pace, of tone, as the ship beats on towards its tenacious crescendo, “Goodbye To A World.” Bursting with shimmery electro-pop, Worlds stands as a happy harbinger into EDM’s post-“Where’s the drop?” ethos. -Bella Bagshaw

David Guetta – Nothing But The Beat (2011)

Though Guetta had already been chopping heads in the dance game for decades by this point, Nothing But The Beat was a breakthrough for dance music’s open-arms US adoption. That no-introduction-needed pop icons like Sia, Justin Timberlake, and Lil Wayne wanted to lend their voices to the dance music revolution was nothing short of watershed for our purposes. It was hard to turn on a radio without “Titanium”‘s prophetic ring in tandem, or step onto a club floor without Nicki Minaj electing to “Turn Me On.” Was the record overtly gimmicky at times? See: “I Just Wanna Fuck.” Of course, but nonetheless, the Frenchman had successfully spoonfed four-on-the-floor to the masses, whether they knew it or not. -Bella Bagshaw

Nero – Welcome Reality + (2011)

Fueling some of the most high-profile soon-to-be remix material, Welcome Reality + melded the ferocity of the dub and drum ‘n’ bass netherworlds to rock/dance pop sensibilities. Americans were as confounded as they were enamored by the larger-than-life onslaught of bass alongside the NERO vocalist Alana Watson’s rapturous yearning. The apocalyptic landscape of the LP bred hellfire and supreme sweetness hand-in-hand. Only NERO could imbue the starlit synth-pop of “Crush On You” against the futuristic bass fury of tracks like “Doomsday” inside a single record. It incited wall-to-wall remix treatments from the likes of Skrillex, Flux Pavilion, Calvin Harris, and many more worthy admirers. -Bella Bagshaw

NMF Roundup: Four Tet remixes ‘Midnight Hour,’ Dillon Francis flips Maroon 5 + more

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NMF Roundup: Four Tet remixes ‘Midnight Hour,’ Dillon Francis flips Maroon 5 + moreFour Tet Photo Credit DAN WILTON

It’s most important day of the week: New Music Friday. With the overwhelming amount of tunes hitting the airwaves today, Dancing Astronaut has you covered with the latest edition of The Hot 25.

As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed this NMF.

Photo credit: Dan Wilton

Dancing Astronaut’s Top Tracks of 2019

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Dancing Astronaut’s Top Tracks of 2019Madeon Top Tracks Eoy 2019

2019 has been a remarkable year for new music.

The past twelve months brought with them a collection of highly anticipated LPs: Madeon‘s Good Faith, Avicii‘s posthumous Tim, Gesaffelstein‘s Hyperion, Illenium‘s ASCEND, along with a Flume mixtape. Notable collaborations like REZZ and Malaa‘s “Criminals,” Seven Lions, Wooli, Trivecta, and Nevve‘s “Island,” and GRiZ and Subtronics‘ “Griztronics” hit the airwaves in blazes of glory. Supergroups like Dog Blood (Skrillex and Boys Noize) and Get Real (Claude VonStroke and Green Velvet) showcased the power of doubling up on brainpower. And, of course, countless singles had us hitting repeat more times than were calculable: Dillon Francis‘ “Still Not Butter,” i_o‘s “House of God,” Habstrakt‘s “De la Street,” Alesso‘s “Progresso,” and so many more.

In no particular order, we present a 30-track collection of our favorite songs of the year, chosen by DA writers and editors.

Flume opens up about ‘Hi, this is Flume’ in GQ Australia interview

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Flume opens up about ‘Hi, this is Flume’ in GQ Australia interviewFlume Credit 451Photo Okeechobee 2017

Every aspect of Flume‘s career has been a highly gratifying journey—from his humble beginnings as a pioneering future bass producer to his pivotal Grammy win and of course, his return. However, the burden of that success proved to be more difficult than on the surface, as Flume detailed in a new interview with GQ Australia. While in town to play an exclusive Louis Vuitton party, Flume sat down with GQ Australia and opened up about the process behind Hi, this is Flume.

In regards to the profound success of his 2017 album, Skin, the Aussie artist reflected on the subsequent pressures that it came with specifically his ability to create music of similar growth potential.

“Everything I put out just kept growing exponentially, to the point where I freaked out about putting something out that might not grow,” the artist said during the interview.

Flume also revealed his motivation behind not only the choice of releasing a mixtape, but also the naming of it. A decision influenced by the pressures of an album as well as his inclination for experimentation, Hi, this is Flume poses the question of fluidity in terms of what exactly an album is supposed to represent in the current music scene.

“I mean, Kanye is releasing seven-track albums, people are releasing 20-minute albums. The mixtape is 40 minutes long, which is the length of a typical album, and apart from the remix [of SOPHIE’s ‘Is it cold in the water?’] it’s honestly no different to an album. It’s like, what is anything anymore?” said Flume.

Acutely aware of the necessary business side of the industry, Flume admits the irony assigned to his mixtape’s title—a projection of his hatred towards the mechanical process in radio rotation.

He says, “I’d just sit in this room for hours doing all of these lines for radio stations, like, ‘Hi this is Flume and you’re listening to blah blah blah’ and I hated it. I was like, ‘what the fuck am I doing? What is my life now? It’s like turned into this whole other beast.”

Read the full interview here.

Photo credit: 451Photo

Flume curates bespoke Future Sounds playlist on Apple Music

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Flume curates bespoke Future Sounds playlist on Apple MusicFlume Credit Tyrone Bradley

Future Sounds is Apple Music‘s hub for groundbreaking new artists and styles in electronic, hip-hop, r&b, and beyond. Ahead of Thanksgiving, its curators handed the keys to Flume, who put together over 100 of his most rinsed pieces for a multifaceted holiday playlist. “These are tracks I’ve been listening to across the last few months. A bunch of favourites in there and some collaborators too,” he explained of his selection process.

The playlist is reflective of Flume’s broad taste; various genres are stitched together for a listening experience that spans from mellow to high-charged. Of course, the artist finds a way to accomplish fluidity with his expansive list, with waves of lo-fi effects, smooth basslines, and airy vocals tying everything together. Alison Wonderland, Ekali, DROELOE, EPROM, SebAstian, Hermitude, and Snakehips are just a few of the names making their way into the mix. Of course, a Flume-led playlist wouldn’t be complete without a couple of his own fresh works; one such tune included is the London Grammar-assisted “Let You Know,” as well as “Rushing Back” with Vera Blue.

Flume’s had a busy second half of 2019, releasing the aforementioned singles in addition to his joint EP with Reo Cragun, Quits. Meanwhile, his Skin single “Never Be Like You” reached the one billion stream club, and he’s most recently been carrying out a heavy tour across Europe. Flume’s touring might be his most notorious development, as his intriguing stage antics have led to widespread attention and admiration for its odd, avant-garde appeal.