Dancing Astronaut’s Youtube hot picks: Trap Channels

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Looking for new music? Then you’ve come to the right place. Dancing Astronaut will be highlighting YouTube channels every dance music fan needs to know about. From drum n’ bass to melodic trap, we’ve got something for you. Make sure to subscribe to Dancing Astronaut’s YouTube for the best dance music news in the galaxy.

Proximity

“Your Favorite Music You Haven’t Heard Yet.”

Started in 2009, Proximity has become a staple channel for the EDM scene for both artists and fans. As one of the largest YouTube music channels, Proximity has racked up over 2 billion views and 5.6 million subscribers. From mashups to original premieres to the ZHU x Proximity exclusive, Proximity has listeners covered for all their dance music needs. Recent track postings from Proximity include Axwell Λ Ingrosso, Galantis, and Cash Cash, among others.

Trap and Bass

If you’re looking for your fill of bass music look no further. Created in 2012 as an outlet for up and coming talent, Trap and Bass has secured a cool 804,000 subscribers. On their channel you’ll find a mix of trap, hybrid, future bass, and bass house. Bringing the channel from irl to url, Trap and Bass has also hosted events and been a part of sponsorships worldwide. Recent track postings from trap and bass include DJ Snake, Oski, and UZ, among an up-and-coming roster of trap producers.

Run the Trap

With the intention of bringing 808 and trap music out of the shadows, Run The Trap was built in 2012 to create A New Order for Underground Culture. With 147,000 subscribers its obvious they know how to curate their music. From heavy trap to atmospheric future bass and with features like the newest Ekali x ZHU release, RTT has your deepest bass desires covered. With recent postings of tracks from Flosstradamus and Louis Futon, its no surprise that Run the Trap is one of YouTube’s most heralded channels for electronic releases.

Photo Credit: Grady Brennan

 

Electric Forest reveals full 2018 lineup featuring REZZ, Marshmello, Testpilot and more

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After attendees leaked a partial list of 2018 Electric Forest artists at an event thrown by the festival in Ann Arbor earlier this month, next year’s lineup is finally out in its entirety.

During the first weekend of June 21-24, attendees will be treated to Galantis, Green Velvet, Jauz, Keys N Krates, Lil Dicky, in addition to previously announced headliners The String Cheese Incident, Bassnectar, Griz Live Band, RÜFÜS DU SOL and ZHU, who will play both weekends.

Additions to the weekend two lineup include Marshmello, deadmau5 moniker Testpilot, Datsik and REZZ, among many others.

Tickets are on sale Dec. 15, with loyalty sales beginning Dec. 7.

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Galantis & Throttle – Tell Me You Love Me (Official Music Video)

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Galantis provide silky smooth remix of Sam Smith’s ‘Too Good At Goodbyes’

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Galantis have hit a patch of good production form, having been buoyed by the commercial success of their second studio album, The Aviary, which peaked at a respectable fourth place on the Billboard Dance Music charts.

Aiming to conserve the momentum they’ve gathered over the past few weeks, the Swedish duo just dropped a slick new remix of Sam Smith‘s soulful track, “Too Good At Goodbyes.” While Galantis has left Smith’s crooning voice untouched for the most part, the duo has added instantly recognizable layers of their trademark piano samples and a decent helping of digital drum samples, resulting in a supremely groovy rework of the original.

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The Hot 25: September 29, 2017

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The Hot 25 is the definitive playlist series running through dance music culture and hand­-delivering you the essential tracks of the week. Whether it’s the hottest or quickest trending tracks, brand new music from your favorite artists, or songs from the unknown that should be landing on your radar, Dancing Astronaut brings you 25 carefully selected records that reflect what’s happening in our world.

We lead off this week with Skrillex’s rowdy remix of Kendrick Lamar’s “HUMBLE.” Plus a remix of Portugal the Man by the multi-talented Gryffin, and the remix of The Chainsmokers’ “Young” that is also featured in the dance pop duo’s recent commercial for Tommy Hilfiger. Tiesto makes an appearance on this week’s lineup, along with Galantis remixing Sam Smith’s latest single.  For the beat freaks in the room, we’ve got great news — AC Slater, JAUZ, and Tchami and Malaa all dropped thunder this week.  And don’t miss the legend Armand Van Helden’s remix of “I Need a Painkiller” for a house-focused refresher on why he’s one of the best in the business.

The Heat of the Week: CID – Creepin’

New York’s own Grammy winning producer, CID, takes TLC’s massive 90s hit “Creep” and transforms it into a funky dancefloor igniting pressing. The sample feels right at home in CID’s heavy handed house backbone, perfect for modern day creepin’ — just keep it on the down low.

The Breakout Select: Alina Baraz – Buzzin’

If you’re looking for something slow and sexy, look no further than Alina Baraz’s latest single “Buzzin’.” One of the most delightful vocalists on the scene, Alina blends her sinewy vocals over a backdrop that pulses and pumps with an impossibly catchy beat.

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Galantis & Throttle – Tell Me You Love Me (Original Mix)

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2017 has been a breakout year for Throttle, with thrilling releases like “Baddest Behavior” and “Found You (Make Me Yours).” One thing the young producer didn’t expect to happen this year, though? A collaboration with dance music superstars Galantis.

Throttle had started working on a song concept, and as soon as he heard it coming together, he knew it would be made even better with Galantis’ influence.

I asked my label to reach out and they got back almost straight away saying they loved the idea and wanted to put their spin on it. I’ve always been a huge Galantis fan so it was amazing to see how guys at their level work.”

What started as a simple concept ended up being a duet on Galantis’ freshly minted The Aviary album, which came out Sept. 15.

“Tell Me You Love Me” is a clear album standout, with harmonious, soulful vocals and a sensational dance beat. Both Galantis and Throttle continue to demonstrate their mastery of heartfelt dance music through ear-catching releases like this one.

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What the hell does it mean to be a producer in 2017?

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It’s 2014, and 60,000 festival attendees at Coachella Valley Music and Arts festival are staring expectantly up towards a sea of lights and a DJ board. Over the course of the weekend, they’ll watch Pharrell Williams, Zedd, and Calvin Harris light up the desert sky, but now, they stand and wait for two men whom not a single person in the crowd has seen take the stage.

Fans linger, eager with anticipation, confident they know what to expect from this ‘breakout’ group from hit releases ‘Smile’ and ‘You.’ Little do they know, they had been listening to their music for years.

Linus Eklow and Christian Karlsson of Galantis are staring back at the expectant faces from the side of the stage, taking a moment before they reveal themselves. For the past 20 years, their production capabilities have propelled the likes of Britney Spears, Madonna, and Kylie Minogue into the limelight of sold out arenas. They have created hit records, chart topping albums, and won Grammys. As they stepped out in front of a roaring crowd and a thousand lights, they turned to one another and smiled.

Now it was their turn.

—–

For as long as anyone can remember, a producer’s job description has entailed slaving over sound boards in a dark studio and inevitably forfeiting all due credit to the vocalist. A producer was acknowledged for his or her masterpiece in the fine text of the ‘thank you’s,’ and their fame began and ended with industry stakeholders.  The David Axelrod’s and George Martin’s of the world lived in anonymity despite producing some of the industry’s most well known tracks such as “The Edge” by David McCallum and “Love Me Do” by The Beatles respectively. Had Axelrod or Martin been told that being a producer would result in the excessive and public facing lifestyles embodied by the Diplo’s and The Chainsmokers of today, they likely would not have believed it.

Today’s producers are global citizens, jet setting across the world to play their music for a different hoard of fans each night. Emboldened with microphones, they are performers in their own right. They pack arenas and festival grounds with tens of thousands of fans like the pop singers of the 2000s. For the first time in the history of commercialized music, being a music producer is sexy.

The reality of our modern music landscape is that we now live in a world that has two distinct factions of music producers. There are still many traditional producers, who strictly work in the studio and behind the scenes to create music that is performed by star vocalists and bands. These producers—people like Max Martin or Rick Rubin—aren’t credited in the title of the tracks they create nor do they perform their music live.

The second faction of producers are a recent breed. They elicit their own fans who are drawn to the beats behind the songs that they create. These music producers are doubly skilled: in addition to producing their own tracks they perform their music ‘live.’ This new brand of producer is a complex phenomenon that many are still teasing out.

Up until 15 years ago, there was no option for a music producer to become a performer unless the producer was also the vocalist. As the art of DJing has evolved into a mode for producers to ‘perform’ their tracks ‘live,’ the producer’s role has evolved, too. Now the job title music producer can indicate one of two very different career paths, and because of this, there has been a dynamic shift within the music industry.

Before the rise of commercialized electronic music, music producers were virtually never credited in the title of a track. This elevation of the producer to an artist—as opposed to a fine text name at the bottom of a Wikipedia page—is something that was rarely done in the U.S. pop music scene until fairly recently. M.I.A.’s breakout hit, “Paper Planes,” for example, was both written and produced by Diplo in 2007.  In contrast, 2015’s “Where Are U Now” is billed as a track ‘by’ Diplo, Skrillex, and Justin Bieber.  

As producers find their own celebrity through DJing, a greater public appreciation of the craft has resulted, and they are more able than ever before to use this leverage to further their own celebrity.  

This phenomenon is all too familiar to Christian Karlsson and Linus Eklow—the production duo behind the Grammy nominated project Galantis. Though fans are surely familiar with the group’s hit songs like breakout “Runaway (U+I),” less familiar are the years of behind the scenes production work Karlsson and Eklow have racked up.

Karlsson is the Grammy award winning producer behind mega hits like Britney Spears’ “Toxic” as well as a part of the Swedish Indie Pop band Miike Snow. Eklow co-produced and wrote on Icona Pop’s number one hit, “I Love It.” Karlsson and Eklow have, independently of one another, produced and co-written music with the likes of Katy Perry, Madonna, and Kylie Minogue

“It’s important to mention that today you can be a producer and you can be an artist,” says Karlsson, though he concedes that duality is “not for everyone.”

“That’s for a few. If you are an amazing producer and you don’t have that talent and you don’t have that in you, you aren’t supposed to do that. To make it as a ‘celebrity producer,’ you need to be an artist,” says Karlsson.  “It’s a totally different thing.”

Karlsson’s distinction is hardly without merit. Being a celebrity producer today is reserved for those who aspire to be an artist, just as someone like Britney Spears did. Although Djing as a method of performance has gotten it’s share of criticism from those who believe all it requires is standing on a stage and pushing a button, there is a reason why not every successful music producer has become a mega star through playing their hits on stage.

But Karlsson’s distinction begs the question: has the rise of the celebrity producer diminished the value of the traditional producer? A famous producer can bring their brand and their fans to the table in addition to the vocalist’s. The traditional producer cannot add this value.

“The producer fee is the same, but celebrity producers are not only being paid for being producers,” says Karlsson. They are being paid as artists, which adds another layer to their credibility.”

Stranger yet, Karlsson points out, is the that vocalists now seek out superstar producers to appear, credited as artists, on their albums.

“A singer is going to do a song, and now they are able to seek out an artist who can produce the song,” says Karlsson. “Celebrity producers appeal to vocalists because they want that brand so badly and the bigger exposure. The cross pollination of producers’ and vocalists’ audiences has resulted in new and exciting collaborations across different genres of music that we haven’t seen before.”

If anyone is familiar with this sentiment, it’s Maarten Vorwerk. Vorwerk made a name for himself in 2015 when he came forward as a ghost producer—a controversial role in dance music which involves unknown producers selling their creations outright to famous artists who then own the track.

Though Vorwerk now puts his efforts into his own creations, he enjoyed a long run as one of the most sought after ghost producers in the industry, engineering more than a few Beatport number one hits.

“Eminem tells everybody that Dr. Dre has produced his new track and the fact that Eminem collaborated with Dr. Dre is seen as a big selling point to the track,” explains Vorwerk. “Whereas, you wouldn’t see a DJ saying that this or that producer has produced his new track. From my point of view I think that you should give credit where credit is due.”

But ghost producers, he concedes, are paid outright to never be credited.

Though ghost producing is undoubtedly a very real phenomenon among the dance music community, keyboard warriors are quick to level the charge against any artist they don’t particularly like. This witch hunting can be chalked up in part to our increasingly polarized and contentious internet culture. It also reveals how little people understand just what a ‘producer’ is responsible for.

Contrary to popular belief, the producer is not necessarily the person creating the sounds and programming the track. Karlsson and Eklow explained that the role of a traditional producer does much more than simply engineering the beat of a track.

The producer is responsible for even the most ephemeral elements of music creation: to make sure everyone is hitting timelines and the atmosphere in the studio makes the vocalist feels comfortable and confident.

“You can hire anyone to program a drum,” says Karlsson and Eklow. “People think that the producer is the guy who actually programs the beat. The producer is the one who decided who is programming the beat, and what the vision for that beat is, and how it’s supposed to make the listener feel. See the difference?”

“Everything that happens in the studio—it is the producer’s responsibility.”

In this regard, producing music becomes similar to producing a movie or a tv show. The producer isn’t responsible for the technicalities of lighting and camera angles. Instead, the producer is making sure that all 200 pieces that need to come together to create a final product do so.

The more mainstream electronic music becomes, the more noticeable the discrepancy between the traditional producer and the celebrity DJ-producer. In examining where the traditional pop producer is left when there is the potential for celebrity, Galantis solidified that celebrity DJ Producers should be likened to artists as opposed to the traditional producer.

After all, they are compensated as artists, they are branded as artists, and they are celebrities in their own right.

Perhaps no one knows this tension more intimately than Andrew Harr and Jermaine Jackson. Together called “The Runners,” the duo have a staggering 17 year production history working with a star-studded list of clientele that includes the likes of DJ Khaled, Usher, Rihanna, and Justin Bieber. Harr and Jackson have a reputation for being some of the best minds in the music industry, but their reputation lives solely within the music industry itself and hardly registers at all to music fans outside of it.

Recently, Harr and Jackson have had an epiphany of sorts. In hopes of being recognized for their own talents by a newly receptive public, the duo have developed a project to push through their own original releases. With their BLVK JVCK project, they hope to drum up traction for their creative work without having to depend on the star power of a pop artist feature.

“Our dreams always were to be a Pharrell or a Timberland, but we couldn’t sing and we couldn’t rap,” says Harr. “The growth of electronic music has opened that door for us to express ourselves musically.”

“When you are working with the Rihanna’s and Ushers of the world, you are creative but you still have to create something that caters to them creatively,” continued Harr. “Now it is our opportunity to do what most producers dream of- to create something that is our own. Our own portrait, our own painting, and that is amazing. To be able to say this is my project, and this is how I’m going to do it is an amazing rebirth creatively.”

Harr and Jackson look onto the evolution of the producer’s role and star power in a positive light, but not every behind the scenes producer is clamoring to become the next Calvin Harris. In fact, Harr and Jackson could indeed be outliers in a world where many producers are still keen to stay behind the scenes and live in quiet glory.

 

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Selena Gomez surprises fans with remix of ‘Fetish’ by Galantis

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Selena Gomez surprised fans yesterday by announcing that a remix of “Fetish” by Galantis would be dropped at midnight. The track was originally downtempo with bass synths pulsing between Gomez and Gucci Mane’s vocals.

Galantis wove in a heavier bass synth drop as well as mixed Gomez’s vocals throughout the track. Their take on the pop track certainly adds an electronic flair that was not there before.

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Galantis announce dates for ‘The Aviary’ tour

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After the acclaim with which Galantis’ debut studio album, Pharmacy, was met upon its 2015 release, the group’s forthcoming LP is destined to be something special.

Last week, the Swedish duo announced their intent to release their sophomore album, The Aviary, on September 15th via Big Beat Records. The record’s revelation arrived with a new single, “True Feeling,” with an official music video in tow.

With just over two years since Pharmacy, Galantis have proven to be a multi-hit engineering duo, garnering over 50 million streams for their single “Hunter,” released in early May, and further permeating the dance music scene via performances at major festivals including Ultra Music Festival, Electric Daisy Carnival, and Coachella.

Irrefutably unstoppable, Galantis’ latest announcement entails a supporting tour for their sophomore album, The Aviary Tour, currently slated to touch down in eleven U.S. cities. Support will be provided by the Grammy award-winning CID, and remix aficionados, Jeroen Kerstens and Steven Berghuijs of The Him.

The Aviary Tour

Tickets to the The Aviary tour are now available for purchase here.

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LISTEN: Galantis reveal new single ‘True Feeling,’ sophomore album details

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Galantis dropped a huge announcement on fans this morning when they surprise released a new song “True Feeling” to go along with the announcement of their second studio album — to be called The Aviary. The music video is a montage of Galantis shows and fans talking about them around the world. “True Feeling” is an upbeat tune that can only be described as “happy music.” The duo states they are excited for the opportunity to perform another album live across the world as they were able to with Pharmacy.

The Grammy-nominated production team have been rolling out a series of singles form their forthcoming album—previously “Hunter” and “Rich Boy”—and have announced a slew of international tour dates to which they will bring their incredible live show to promote the album. Known for their expansive creative vision, the duo teased the album release this week with a series of international street art installations.

To promote the album, 11 artists in 8 cities put their unique spin on the duo’s Seafox mascot. Fans have been encouraged to share their interactions with the murals through the hashtag #GalantisAviary.

The Aviary is due out September 15 via Big Beat Records and is available for pre-order here.

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