Tucked away in the grooves of Thailand’s verdant landscape is Wonderfruit Festival—a fleeting four-day festival that celebrates the cultural impact of art, food and music within sustainable communities. The festival has crafted its vision with one overarching goal in mind: to inspire others through their approach to sustainability and global change. The 2019 edition welcomes their lineup with performances from influential electronic acts such as Four Tet, Floating Points, and Craig Richards over December 12 – 16, 2019.
For the event’s sixth edition, Wonderfruit emerges with a weighted focus on curation. Select artists, performers and speakers are invited to host a brimming selection of activities focused on mindfulness and wellbeing, transforming the grounds of the country club into a welcoming and transformative oasis. Wonderfruit is built upon six intertwining principles: Art & Architecture, Music, Family, Farm To Feasts, Talks & Workshops and Wellness, each playing a vital role in the festival’s very existence and continued success in Asia.
Tickets and more information surrounding Wonderfruit Festival is available here.
As the excitement builds around Kieren Hebden’s—commonly known as Four Tet—next album, the electronic savant continues to tease his widespread fanbase with a steady stream of new music, the latest of which is his new EP, Anna Painting.
“We worked in tandem from conversation and correspondence. I made music and Anna responded to it with drawings and paintings, apart from the last track, which I made after having seen her work,” Hebden said in a statement.
Other than the vivid images Hebden’s music is known to aurally illustrate, this title retains a more literal meaning as well. Hebden produced the EP in collaboration with his good friend and celebrated painter, Anna Liber Lewis.
Upon listening to these three tracks, it’s no surprise Hebden worked with Lewis as they represent the more whimsical, fluorescent sector of his oeuvre. The listener can hear when Lewis would introduce a new idea into the painting that Hebden would then translate into music.
5 Under 15k is a feature on Dancing Astronaut dedicated to spotlighting talented upcoming and undiscovered artists who we believe deserve more exposure. Each edition of 5 Under 15k will highlight five artists from a wide variety of genres with under 15,000 followers on SoundCloud (at the time of writing).
If Claude VonStroke taps you to remix his undisputed classic, “Who’s Afraid of Detroit” then it means you have something special, and Wyatt Marshall (3,060) has something special indeed. Since the release of that remix last year he has delivered numerous house offerings that are as groovy as they are consistent. Whether it be on Dirtybird or his second sonic home of Percomaniacs, count on Wyatt Marshall for the funk going forward. Hop into his latest EP, My Temple, to get started.
It’s common to find that when one starts DJing before they start producing, their music typically invokes a sense of true freedom; as if the open format of DJing allows them to avoid being bound by traditional genre strictures. Nala‘s (1,197) debut EP, Sirens, does that and more. Beyond tapping four top-notch vocalists for pristine top-lines on the release, this EP is the launch of Unstructured, the collaborative imprint with LA’s Understated Recordings that Nala is curating herself.
Every artist has a defining release—that holy grail track on that one label that puts them into a newer, higher echelon of their craft. For Sueldo (399), that track is ‘OTS’ and the label is 40oz. Cult. Of late Sueldo has been supporting hardened dubstep artists like Gentlemen’s Club and playing well-known parties like Space Yacht. Now with the release of this single, he’s only going up from here.
Don’t let the humorous name fool you, Dadmom (2,323) makes some serious music. His latest EP, Infinity, is aptly named as it represents a very diverse musical palate executed with true poise. Each of the three tracks moves fluidly between different genre influences while demonstrating a flair for sound design.
The fact that Cooper Saver only has 4,965 followers on Soundcloud is a concrete example of why numbers like that are not at all indicative of an artist’s capabilities. Not only has he been booking artists like Four Tet and Floating Points at his Far Away parties for years, but he’s also been touring the world and remixing legends like Jacques Renault. Now he’s diving fully into solo productions and the results speak for themselves.
Kieran Hebden, aka Four Tet, casually took to Twitter yesterday to announce that his newest album, an amalgamation of performances from May 8 and 9 at London’s Alexandra Palace, would arrive just eight minutes later.
The 90-minute set centers around the UK producer’s 2017 LP New Energy, granted liftoff with “Planet” and giving tracks like “Scientists,” and “SW9 9SL” (the post-code of Brixton Academy, where Hebden throws annual all-nighters) refreshingly different looks from last year’s similarly released set at Funkhaus Berlin. Fans are also treated to throwbacks like the frenetic and brain-scattering “Spirit Fingers.” Ultimately, though, Four Tet looks forward, capping off the main portion of the set with the illustrious “Teenage Birdsong,” one of the Grammy-nominated musician’s three singles to drop this year.
Four Tet has been showcasing his live bravura in abundance in the last year, releasing sets from 2004, 2010 and 2018.
Kieran Hebden—who has gone by various titles throughout his career including Percussions, KH, and of course, Four Tet—just released his latest single, “Dreamer.”
As everyone has come to expect from Hebden, this latest track effortlessly combines elements of numerous genres into a succinct and whimsical whole. House music, garage, ambient, Latin and so many others swirl around in a way that only makes sense to Hebden, and through him, makes sense to everyone else.
“Dreamer” is Four Tet’s third single of 2019, following “Only Human” and “Teenage Birdsong.” There is no indication at this point whether these singles are leading up to a new album just yet. This single also comes out on the heels of Hebden’s Warehouse Project lineup release which features a roster as diverse as his discography that includes a back-to-back performance alongside Skrillex, performances by Diplo, Goldie, DJ Champion, Daphni and more.
The Warehouse Project has unveiled its full lineup for its 2019 iteration, announcing a new wave of acts including Four Tet, Skrillex, Goldie, Diplo, Underworld, and many more. Manchester’s legendary party series will return September 20, 2019 and run through January 1, 2020 — hosting 28 events in total featuring some of the best offerings from electronic music. This year, The Warehouse Project will take place at newly-launched, 10,000 capacity venue The Depot.
Four Tet has had a big year. He unveiled new music to rave reviews at an Anna Liber Lewis exhibition, got the Nelly Furtado sample he needed cleared to finally release “Only Human,” and scored a top slot at Coachella‘s Mojave stage. Following up the triumphant arrival of “Only Human,” the Grammy-nominated artist dropped off a brand new ID fans had been waiting for after his Coachella Weekend 1 performance: “Teenage Birdsong.”
“Teenage Birdsong” is Four Tet at its finest, conjuring a shimmering soundscape out of buzzing synths and jazzy flute accents. It embraces the more fluid electronica side of the producer’s production spectrum—and may or may not be a glimpse into what his upcoming LP might sound like, per recent Tweets about having finished a few songs for the project. Four Tet’s last album was 2017’s New Energy.
Each year, California’s premier music festival outdoes itself by booking an eclectic array of artists from throughout the dance music realm alongside its smattering of other genres. In 2019, these acts spread — perhaps more than ever before — throughout the event’s numerous stages, lending the opportunity to experience the diverse roster within equally diverse environs. While there are, of course, a number of fantastic performances from Coachella’s first weekend that are not represented on this list, we’ve narrowed down 10 sets which particularly impressed us.
Anytime a Frenchman takes the stage in a metal mask, Coachella history is soon to be made. And, amid a lineup filled with prodigal artists from the festival’s past, Gesaffelstein stood out as one of the its most formidable acts. After releasing the pop-laden album Hyperion in March, fans weren’t sure what to expect from Michel Lévy’s Indio return — would he focus on his newer, more mainstream fare, or return to his darker days of yore? Once he took the stage, donned in a shimmering, Vantablack metal suit, little question remained. For the first hour of nightfall in Coachella’s final day, Gesaffelstein melded his new releases with classic favorites and overwhelming live edits, synchronized against an ominously spectacular visual production. Indubitably, a new era lies on the horizon for the harrowing luminary, and Coachella provided the perfect backdrop for its debut.
Gesaffelstein will play the Outdoor stage from 7:40-8:40 PM on Sunday, April 21.
There are few acts in electronic who better embody the descriptor of “stunning” than Jon Hopkins. The British artist’s fusion of melodic ambient with erratic techno influences would set him a cut above the rest of his class, were there anyone else in his class at all. His Coachella set, which closed the Gobi tent for the weekend, dutifully matched the quality of his catalogue. Hopkins dove into mesmerizing, cathartic live edits of Singularity, his Grammy-nominated 2018 album, accompanied by a transcendent selection of video arrangements which culminated in one of the festival’s most emotionally evocative performances.
Jon Hopkins will close out the Gobi tent from 9:40-10:40 PM on Sunday, April 21.
For years, Richard James has been one of the most hoped-for additions to the Coachella lineup. Anyone with a semblance of dance music knowledge knows that his Aphex Twin project is one of the most influential pieces of electronic music history. Because James’ last appearance at the festival, in 2008, predated the “EDM boom,” his 2019 appearance marked the first time that many recent fans have been able to see him perform. Suffice it to say, he did not disappoint. Standing before a surprisingly roomy Mojave tent crowd, Aphex Twin put forth more than 90 minutes of eclectically arresting garage, techno, EBM, IDM, and downtempo music. Piercing lasers and a hysteria of often-unsettling visuals accompanied his arrhythmic score in a chaotic fashion which demonstrably proved that Richard James’ bite easily equals the bark of his hype.
Aphex Twin will close out the Mojave tent from 9:05-10:35 PM on Saturday, April 20.
Within the techno community, Nina Kraviz’s Coachella set was likely the most polarizing of the weekend. The Russian artist and Trip label-head is known for her highly energetic DJ sets, so the confusion at her decision to break from this mold in her live show debut is understandable. Indeed, for the lion’s share of her set, Kraviz dabbled more in avant-garde performance art, interacting bizarrely with set pieces more primed for a playhouse than a nightclub. However, once the peculiar producer moved on to the techno portion in her set’s second act, the patience of those who remained was duly rewarded. Kraviz’s cerebral, thunderous dance selections were awe-inspiring to say the least. And, when paired with the unique visual components which reflected her moves onstage, her set’s climax echoed Richie Hawtin’s stunning CLOSE performance, which debuted in the same Friday closing slot at Mojave two years earlier.
Nina Kraviz will close out the Mojave tent from 10:15-11:15 PM on Friday, April 19.
Anytime Âme graces an American festival roster, they are an absolute must-see. More accurately, “he” is a must-see, as generally, Kristian Beyer performs DJ sets without his partner, Frank Wiedemann. Seeing Âme in the Yuma tent at the height of Saturday afternoon is a sensorily peculiar experience. As a benchmark of Dixon’s coveted Innervisions imprint, Beyer’s deftly crafted mixes of soulful balearic house, deep techno, and tribal club music transport the listener to after-hours parties in the White Isle or Berlin. Therefore, it’s easy to forget that the sun is shining brightly just outside the walls of Yuma’s pitch-black interior. A trip to the bathroom during Âme is a smack in the face from reality, but this just makes the imminent return to Beyer’s darkened fantasy realm all the more delectable.
Âme will play the Yuma tent from 4:30-6:00 PM on Saturday, April 20.
Undoubtedly, Deep Dish is the best kept secret on Coachella’s 2019 lineup. For those unaware, the duo, which disbanded in 2006, is comprised of Dubfire and Sharam. The Yuma tent provided an impeccable setting for this storied reunion, which Deep Dish more than duly reciprocated throughout their 90-minute set. Ranging from the house influences of Sharam to Dubfire’s favored brand of apoplectic techno, the duo’s reign over Yuma stood out as one of the tent’s most diverse — and best — sets of the weekend.
Deep Dish will play the Yuma tent from 6:00-7:30 PM on Saturday, April 20.
Charlotte de Witte
Over the past two years, Charlotte de Witte has grown from a hero of techno’s underground into one of the genre’s most sought-after acts for the festival circuit, and it’s easy to see why. During her prime Sunday slot, the Belgian DJ provided one of the Yuma tent’s darkest sets of the entire weekend — no small feat, considering her competition from ominous legends sharing the roster, such as Nicole Moudaber and Cirez D. From the moment she took the stage, de Witte plunged her audience into a uniquely aggressive realm, ensuring that all in attendance would be reinvigorated for the festivals final sets thereafter.
Charlotte de Witte will play the Yuma tent from 7:00-8:30 PM on Sunday, April 21.
In 2019, Coachella poured more resources into their preeminent onsite nightclub than ever before. The intricate lighting arrangements throughout the stage and ceiling of the Yuma tent exceptionally accentuated the deftly-curated soundsystem for each act on the weekend’s stellar lineup. With this pristine setup, Goldenvoice would be hard-pressed to find a better weekend closer than Eric Prydz. Impressively, albeit unsurprisingly, the Swedish icon artfully claimed the stage as his own during his sinister, 2-hour set as Cirez D. Prydz’s team masterfully executed the lighting system of the Yuma to its fullest potential, creating a monolithic experience which mirrored the environs of the artist’s former residency at Hï Ibiza. Though the bass often obscured the top-lines of Cirez D’s fast-paced, techno-heavy set, the aggressively sleek selections culminated in a larger than life experience, providing Yuma — indeed, all of Coachella — with the conclusion it deserved.
Cirez D will close out the Yuma tent at 10:00 PM on Sunday, April 21.
In the realm of live electronic music, an intricate visual production can be as defining (or more) an element of an artist’s set as the music itself. An artist’s decision to eschew any video or lighting component whatsoever is, therefore, quite the statement. As the sun set on Coachella’s second day, Four Tet shrugged off the visual effects at his disposal, opting to perform his entire slot in front of the Mojave tent’s black screens. With no other stimuli competing for attention, Four Tet’s eclectic selection of experimental house and garage-infused tech took center stage, leaving a masterful impact on all in attendance.
Four Tet will play the Mojave tent from 7:35-8:35 PM on Saturday, April 20.
Chances are, those who catch Bassnectar’s closing Saturday night set at the Outdoor stage at this year’s Coachella won’t be seeing him for the first time. Over the last two decades, Lorin Ashton has cultivated one of dance music’s most dedicated fanbases. And, thanks to his high-octane brand of amorphous bass music and vibrantly chaotic visual productions, bass heads will attend as many of his shows as they feasibly can. However, Bassnectar’s set during the first week proved to be a unique experience in its own way.
2019 marks Ashton’s first Coachella appearance since he performed the Sahara tent six years ago, and the rare opportunity to witness the iconic artist from a spacious, open-air crowd is certainly one to be relished. During the first week, Bassnectar’s setlist echoed performances from one of his most beloved eras, the early 2010s. Perhaps due to his relatively brief time-slot, Ashton spent little time exploring his softer, more melodic influences. Instead, he opted to put forth formidable classics from his own catalogue alongside cuts from the likes of Gesaffelstein and a visually stunning, at times political, light show.
Bassnectar will close out the Outdoor stage at 12:05 AM on Saturday, April 20 (technically Sunday).
Featured image via Coachella 2019 by Charles Reagan.
From quick, grooving singles to elongated ambient masterpieces, every Four Tet release has the opportunity to surprise his fans. Ringing in his first release of 2019, Four Tet reverts to his KH moniker for his most recent single, “Only Human.”
Originally touted as a remix of Nelly Furtado‘s 2006 track, “Afraid,” the track has had major support from DJs like Bicep, Peggy Gou, and more. Finally clearing the sample for official release, Four Tet has now shared the upbeat single via Ministry of Sound. With a rumbling bass line and riveting percussion over Furtado’s vocal chops, this track will surely continue it’s reign with festival plays and enthused dance floors worldwide.
Known for live shows with an artistic flair, Four Tet‘s inventive side comes through in both his music and visuals. Now bringing his talents to the London’s expansive art scene, Four Tet has announced that he will be debuting exclusive new music at the Elephant West gallery.
Pairing with childhood friend and artist Anna Liber Lewis for an exhibition called Muscle Memory, Four Tet will be soundtracking the exhibition with three new songs. Only available for listening via headphones at the gallery, the music was “created in tandem with and respond(s) to” the art. Producing a multi-sensory experience, the artists encourage patrons to disrupt the “white cube” stereotype of an art gallery through free movement or dance. With a preview of one of the tracks available on Twitter, the exhibition is set to stay on display until March 17.
I’ve made 3 new tracks as part of an exhibition with the artist Anna Liber Lewis that opens at the Elephant West gallery in London on Friday. This will be the only place you can hear the new music. Headphones and audio players are supplied at the gallery. pic.twitter.com/dmZ6wQKnt2