Illenium quickly rose to fame as a result of his emotional spin on future bass and melodic dubstep originals. 2019 was his biggest year yet, featuring the release of his Ascend LP, which peaked at No. 14 on the BillboardTop 200, and the accumulation of over one billion streams across all platforms. Additionally, Illenium joined a small and prestigious group of musicians this year, becoming one of few electronic music acts to sell out Madison Square Garden during his headlining Ascend tour. Congratulations to Illenium on a wildly successful year—see the full Forbes list here.
Known for their masterfully produced feel-good tunes, SLUMBERJACK have been a household name in EDM since the release of their self-titled EP in late 2014. Since then, the duo has put out collaborations with the likes of industry leaders Alison Wonderland, What So Not, QUIX, and more, solidifying their already concrete presence in the scene.
Hot off the success of their ‘SARAWAK EP‘ released earlier this year, Australian duo SLUMBERJACK has teamed up with English artist Daktyl to release a powerful future bass inspired single on Monstercat. Featuring the passionate vocals of MOONZz, their track ‘Crucified’ caters to both the casual listener and dance music fanatic, leaving us confident that this piece will soon be heard on radio stations and mainstages alike for the foreseeable future. With SLUMBERJACK set to release another EP in early 2020, “Crucified” serves to prepare us for what is certain to be another exciting and successful year for both talented collaborators.
Getter’s artistic path has been a winding road, worthy of appreciation and ample applause. While the producer endured a tumultuous start to the year—having cancelled his Visceral tour—Getter is back with a new track that seems to solidify his current musical direction.
“Heartless” is a six-minute track that feels almost like a middle finger to all of his vicious critics and self-described fans who led him to cancel his last tour. It’s a total departure from the filthy dubstep that led him to fame, but quite consistent with the better part of his Visceral album.
The song features a downtempo beat with some scrumptiously wicked synths that give a glimpse of the hurt surrounding Getter’s emotionally torturous year of artistry. ’90s-era metal vocals shriek, “Cut my heart out / We’ll never work it out / But we keep trying / And you keep crying / Feels like I’m frozen / You think I’m chosen / Please don’t start this / Maybe I’m heartless.” It’s an unflinchingly emotive track from the notoriously comedic DJ; nonetheless a side of his artistic repertoire worth showcasing. Good game, Getter.
Production styles from each artist can be audibly discerned in “20:25,” a trippy trap-style future bass track. The downtempo and hazy vocals from The Chain Gang of 1974 envelopes the listener in a dark, smoldering atmosphere, and the drawn-out synths effortlessly reverberate into a throbbing beat that carries the rest of the song.
Both Flux Pavilion and What So Not have been avid on the release front this year, both experimenting in a menagerie of musical formats, from drum ‘n’ bass, to dubstep, to melodic bass music. The new collaboration proves a worthy listen among the vast collection of high-profile hits from the artists.
It has been years since we’ve heard from Wave Racer, though now the Aussie beatmaker is confirmed to be on the comeback trail, ending a more than two-year hiatus. Wave Racer, commonly credited as the creator of the vibrant “bubble-trap” sub-genre that would eventually give way to the advent of future bass, planted his flag at a time when dance music was at the peak of its global expansion. With a sound akin to the likes of Lido (Trippy Turtle), Cashmere Cat, and What So Not, and Ryan Hemsworth among others, the “Flash Drive” producer helped define an important moment for electronic music before disappearing in 2017.
Now, it appears a comeback is in order, after a quiet update to the Future Classic producer’s social media channels after years of radio silence. Best of all, according to a statement provided to Dancing Astronaut from Wave Racer’s management, “Wavey is finally back,” and “new music will be here very very soon.” To introduce the roll out, the producer’s team has also launched a call-in phone number— (415)-510-2415 so fans can preview upcoming new music. Stay tuned for more updates as the story develops, but for now, prepare for Wave Racer’s highly anticipated return.
European house music has proven to be a versatile foundation for trap and future bass founds. Low end-leaning remixes of house classics aren’t a new thing—Dillon Francis took on Steve Angello‘s beloved “Knas,” Carnage famously stepped up to Hardwell‘s “Spaceman,” Skrillex once took on Avicii‘s “Levels,” and RL Grime essentially started the electronic trap movement behind his reinvention of Benny Benassi‘s enduring “Satisfaction.” The latest producer to take on a certified house gem is YULTRON, laying his own buzzing spin on Sebastian Ingrosso and Alesso’s once inescapable hit, “Calling (Lose My Mind).”
The original, an undeniable main stage anthem in 2011, paired Sebastian Ingrosso with then up-and-coming fellow Swedish dance act, Alesso. The Ryan Tedder-assisted track effectively launched Alesso into the globetrotting superstar he has become today. Now LA-based producer YULTRON has stepped up to “Calling” with a buzzing, percussive update, complete with a vibrant first break and a footworking, double-time outro to close the remix. It’s hard to approach a venerated classic with a courageous remix effort, but YULTRON does Sebastian Ingrosso and Alesso justice on his new rendition of “Calling.”
Flume is back, but in a different medium: video. The pioneer of future bass released two documentaries on Apple Music, Flume: When Everything Was New, and Sleepless: The Story of Future Classic. Each outline the last six years of the producer and DJ’s life, with one focusing on the individual’s journey and the other showcasing the rise of Future Classic, the imprint where Flume launched his career and an incubator of Australian talent.
The two 45 minute documentaries were directed by Nicholas Wrathall, and the Flume-centric documentary was released as a four part series on the Australian artists’ YouTube page. Harley Streten has documented his life on tour before on his Flume Adventures series, now, he’s upped the ante with longer-form video content that dives into the life of one of the most successful electronic music producer and the business he associates with.
T-Pain is creating a new album and wants to modernize his sound, so the auto-tuned voice of a generation took to Twitter to find himself a future bass producer. The hip-hop artist recently released a compilation mixtape, Everything Must GoVol. 2.
Man. I need some future bass on this new album. Who do I need to holler at?
This, of course, caused a stir of responses from big hitters who’ve dabbled in future bass production such as Whethan, TroyBoi, Giraffage, and more. ETC!ETC! offered to produce a moombahton track on his behalf, and San Holo looked inward for spiritual guidance.
Teddy Pain later clarified, giving an example of Louis The Child to which the duo from Chicago expressed interested in collaborating.
Louis The Child – It’s Strange feat. K.Flay https://t.co/BbxUc2iqrz via @YouTube I want some shit like this drop. That shit that’s right behind the pocket, synth is side chained to hell, drums punching you in the goddamn chest, but with church chords.
Medasin and Louis Futon dropped a teaser video showing the smooth groove kings going certified bonkers on a flip of Travis Scott‘s “Wake Up.” The video shows the duo jamming on an a cappella of The Weeknd‘s featured vocals, after asking fans for song suggestions for an impromptu rework. The two producers start with the original’s raw vocals, and put it through a multi-step soul machine. The video shows Medasin laying down effortless keyboard stylings, while Louis Futon taps out drums on the fly and records a sliding bass guitar line. The creative chemistry in the studio is palpable, and whatever difficulties Medasin may have playing to thousands on tour clearly disappear when he’s just jamming and creating.
Oddly enough this is the first we’ve seen of the the two artists collaborating, despite dominating the same vein of electronic music. The duo needlessly asked if they should release the full version (the answer is undoubtedly hell yes), but fans can bask in the glory of Medasin’s dance moves while they wait for the rework to drop in full.
After Sweater Beats‘ recent remix of Fall Out Boy‘s “HOLD ME TIGHT, OR DON’T,” the LA-based producer has followed up with another early 2000’s pop-punk rework, this time taking on Panic! At The Disco‘s “Say Amen” for his latest drop. Palatable punk chords are twisted into booming future bass, and the complementary parallels between the two genres work once again to Sweater Beats’ advantage.
The “Faded Away” producer mentioned along with the release how influential Panic! At The Disco was to him, expressing in a statement to fans, “I’ve loved Panic! At The Disco since forever and getting asked to remix one of their newest songs is honestly a dream come true! I hope [you] all enjoy this remix as much as i enjoyed making it.” While Sweater Beats manages to make “Say Amen” completely his own, he opts to keep Brendon Urie’s sultry vocals as the glue that holds the remix together, making for the perfect union of two distinct styles.