Dancing Astronaut’s Top 100 Songs of the Decade

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Dancing Astronaut’s Top 100 Songs of the DecadeTracks Of The Decade

Words: Bella Bagshaw, Rachel Narozniak, Chris Stack, Jessica Mao, and Farrell Sweeney

From “Clarity” to “Bangarang,” the past ten years have borne witness to no shortage of colorful electronic releases that, cumulatively, have contributed to the genre’s expansion from niche to mainstream. A golden decade in dance, 2010 to 2020 saw electronic music hit a commercial climax in 2012.

As dance music worked its way across radio airwaves, most commonly through the recently popularized dance-pop hybrid format, and as the stock of electronically oriented festivals expanded, one thing became increasingly clear: dance music is for everyone. In a retrospective review of the releases that defined the span of time between 2010 and 2020, Dancing Astronaut proudly presents our top 100 tracks of the decade.

1 Scary Monsters and Nice Sprites – Skrillex

“Yes, OH MY GOD!” The premier single from Skrillex’s first Grammy Award-winning album for Best Dance/Electronica Album in 2011. Also grabbing a Grammy for Best Dance Recording, the track catapulted dubstep into the American dance scene.

2 Stay – Zedd

“Stay” arrived as evidence of the symbiotic quality of Zedd’s refined approach to both electronic and pop stylings. In partnering with then rising pop starlet, Alessia Cara, on the record Zedd affirmed what his followers had long known: the dance-pop hybrid is one of his strongest sonic suits—and he’s still here to play.

3 Body – Loud Luxury

The release that catapulted Loud Luxury into the musical mainstream, “Body” is an evergreen electronic anthem that exemplified the duo’s acute ear for effervescent productions.

4 Jackie Chan – Tiesto and Dzeko

Tiësto and Dzeko‘s collaboration with Post Malone and Preme, “Jackie Chan” proved itself to be a particularly pervasive summer anthem, as the star-studded hit single worked its way through playlists and radio queues alike. The cut, which scored a platinum certification, was as much a credit to Tiësto’s ear for electronic tunes that resonate — and have consistently resonated — with listeners as it is a watershed moment in Dzeko’s progressing career as a solo producer.

5 After Life – Tchami feat. Stacy Barthe

The undisputed father of future house, Tchami wielded this dancefloor weapon to open the floodgates, helping a whole new generation of four-by-four lovers discover the “hard” sector of house.

6 The Veldt – deadmau5

Inspired by a fan’s tweet and a Ray Bradbury tale of the same name “The Veldt” is deadmau5 at his progressive peak. The halcyon track paints a visceral lyrical and production portrait, scaling mythical proportions in electronic lovers’ hearts. It’s an untethered demonstration of deadmau5’s unique ability to create music that’s both gentle and galvanizing all at once.

7 Instant Crush – Daft Punk feat. Julian Casablancas

Introspection is one hell of a drug. Daft Punk knows this well, seen through their somber synth-pop moments. The androids borrow The Strokes lead singer Julian Casablancas’ palatably plaintive vocoded voice for a glorious game of sad robot.

8 Promises – NERO (Skrillex & Nero remix)

Appearing on NERO’s official debut album, the trio’s “Promises” remix helped catalyze the decade’s emotional dubstep craze. It even snagged Skrillex the 2013 Grammy for Best Remixed Recording.

9 Faded – ZHU

Remixed by everyone from ODESZA to Lido, “Faded” was a collective late-night mood for more or less the latter half of the decade. No one could deny ZHU’s beckoning vocal advances and up-to-no-good production prowess.

10 Internet Friends – Knife Party

“You blocked me on Facebook / And now you’re going to die.” At the height of Knife Party’s rage or die reign over the first half of the ’10s, came “Internet Friends.” It’s a cheeky, relentless emblem of the group’s electro house savored sonic flavor. Aside from making an appearance in live sets far and wide, it even made it onto The Walking Dead.

11 One Kiss – Calvin Harris

One kiss is all it takes? Over 900 million Spotify streams later, it seems listeners wanted more than that from the heavenly Dua Lipa-Calvin Harris tag team.

12 Raise Your Weapon – deadmau5

Written with Skrillex at his side, deadmau5 puts on a full-frontal display of his aural dexterity. Greta Svabo Bech helps wed progressive and dubstep in this hallowed union.

13 The Island -, Pt. 1 (Dawn) – Pendulum

Between its ample radio play and both Skrillex and The Godfather of EDM, Tiesto’s decisions to offer the track official remixes, “The Island” garnered the good graces it deserves. The flagship progressive paragon not only helped Pendulum flex their genre agility, but catapulted a teenage Madeon’s career, after the young Frenchman won Pendulum’s remix contest for the track.

14 Afterhours – TroyBoi feat. Diplo & Nina Sky

A pairing aligned in trap paradise, Diplo and TroyBoi, with the help of Nina Sky, bring sultry, up-to-no-good worldliness to “Afterhours.” The track pulsed with production ad libs evocative of their champion caliber of nuance across festival frontlines following its release in 2015.

15 Titanium – David Guetta feat. Sia

Close to a billion streams later, Sia’s steely vocals ring with the same prophetic cadence, as does Guetta’s slow-burning pluck. “Titanium” is one of the few preeminent paragons of dance pop in the US.

16 Express Yourself – Diplo feat. Nicky Da B

If we had to pinpoint a piece of music that catalyzed Diplo’s “random-white-dude-be-everywhere” reign over dance music and—who are we kidding—the industry at large, “Express Yourself” was that moment. It’s bombastic, deathly danceable, Afro-leaning style stood as a pristinely telling precursor for the near-decade of nonsense to brew from the Diplo camp. RIP Nicky Da B.

17 I Know The Truth – Pretty Lights

“I Know The Truth” is nothing short of an instrumental love letter to dubstep. Expertly placed, just ahead of its genre’s wall-to-wall embrace mid decade, the track displays Derek Vincent Smith’s unparalleled sample savvy, in this case O.V. Wright’s “A Fool Can’t See The Light.”

18 Tell Me – RL Grime & What So Not

A trap affront for the ages. “Tell Me” combines RL Grimes’ over-the-top orchestral energy and What So Not’s ethereal, trend-setting melodic flair.

19 I Can’t Stop – Flux Pavilion

Producers literally couldn’t (and still can’t) stop playing this larger-than-life track out. The proverbial dubstep onslaught became a quintessential live set closer soon after its release.

20 Marijuana – Chrome Sparks

“Marijuana” not only helped spark synth wizard Chrome Sparks’ career, but topped the ubiquitous “chill-out beats” playlists near and far.

21 Civilization – Justice

Picked up for multi-national ads with Adidas, “Civilization” is Justice at their best, full of funk, femme, and downright fun.

22 Say My Name – ODESZA feat. Zyra

An exemplar of ODESZA’s fluttery, technicolor sweetness, “Say My Name” helped pave the way for the ’10s’ chromatic chill-out niche.

23 Turn Down For What – DJ Snake

Soon to become a ubiquitous catchphrase and altogether ethos of the mid-decade, “Turn Down For What” is one of the most voraciously used movie score, TV commercial, and remix sources in the history of dance music.

24 Spaceman – Hardwell

Big room house most certainly had its day in the sun this decade. “Spaceman” is hands-down the sound’s token epochal track.

25 Harlem Shake – Baauer

One of those songs of which the legacy precedes exegesis of the song itself. The “Harlem Shake” isn’t a track; it’s a phenomenon.

26 Tidal Wave – Subfocus & Alpines

The decade’s proverbial melodic drum ‘n’ bass offering. Nearly a full ten years later, “Tidal Wave” still washes over like a welcomed rush of endorphins.

27 Gecko (Overdrive) – Oliver Heldens & Becky Hill

A watershed waypoint in the “future” house foray this past decade. A precocious young Oliver Heldens proves the clarity and ultra-modern precision of his vision with this one.

28 Rude Boy – Zeds Dead feat. Omar LinX

A bass line has never crunched harder than Zeds Dead’s “Rude Boy,” with lyrical hellfire to boot on behalf of serial ZD collaborator, Omar LinX. Islandy and merciless all at once, 2010’s “Rude Boy” splashed onto the decade’s dubstep scene sending heads rolling.

29 Innerbloom – RÜFÜS DU SOL

Idealistic, implacably danceable, a song for lovers to its core, to “Innerbloom” we surrendered. We’re all for cheesy saccharine-sweet house tracks, but this just isn’t one of them. Melt into the chromatic complexities of “Innerbloom”‘s swimming corridors of color.

30 Roses – The Chainsmokers feat. ROZES

An effervescent dance pop presentation like no other this decade, “Roses” was instrumental in taking The Chainsmokers from niche to nationally recognized.

31 Midnight Hour – Boys Noize & Skrillex

No, not a Dog Blood number. But “Midnight Hour” bangs with the same flare and dexterous finger on the pulse of the modern electronic heartbeat. A notable cobblestone on the duo’s prolific partnership path.

32 Pop Culture – Madeon

What would this list be without dance music’s token mashup? An overnight YouTube sensation “Pop Culture” shot Madeon into the stratosphere.

33 It Ain’t Me – Kygo feat. Selena Gomez

Kygo’s one-size-fits-all appeal is supremely evident in the sweeping success of the Selena Gomez-assisted “It Ain’t Me.” This track saw cross-continental top-five chartings from Australia, to Canada, to Belgium. The tropical house/dance-pop phenom continues to prove why he’s sought out with nearly unprecedented fervency from all-star vocalists.

34 Cheerleader – OMI (Felix Jaehn remix)

On the precipice of the tropical house explosion “Cheerleader” was a wholesome, silver-tongued spoonful of dance music for the unenlightened. Infectious and saccharine as a sweet tooth, Felix Jaehn gave “Cheerleader” the feel-good flip we could all get behind.

35 More Than You Know – Axwell Λ Ingrosso

Fans crawled and clawed for this one after tasting it at Coachella in 2015, waiting another two years for an official release. “More Than You Know” are the Swedish boys at their best, pure festival euphoria bottled in a song.

36 Viol – Gesaffelstein

Nasty, writhing, deliciously unsettling, it must be Gesaffelstein. “Viol” is a slow-crawling, torrential techno endeavor that will send the unprepared spiraling into the darkest corners of the electronic continuum, if they’re not careful.

37 Closer – The Chainsmokers

A driving force of the dance-pop hybrid’s pop cultural pervasion, “Closer” exerted a white knuckle grip on the charts, spending one year in the US Top 40 and 61 weeks in Billboard’s Top 10.

38 Where Are Ü Now – Jack Ü

Defined by its inescapability, “Where Are Ü Now” secured triple platinum status in addition to Grammy Awards and AMAs for both Skrillex and Diplo, while simultaneously ushering Justin Bieber back into the sonic spotlight.

39 Turn Up The Speakers – Afrojack and Martin Garrix

On “Turn Up The Speakers,” Afrojack and Martin Garrix collaboratively revive the heart pumping, adrenaline spiking glory of electronic festival sets, to take attendees and the genre alike back to its buzzing roots. To say that the 2014 cut has aged well would be an understatement; “Turn Up The Speakers” remains a prominent inclusion of electronic circuit sets.

40 One (Your Name) – Swedish House Mafia feat. Pharrell Williams

Axwell, Ingrosso, and Angello made their auspicious debut under moniker Swedish House Mafia in 2010 with single “One.” Their entrance into the electronic music scene with “One” was a force that would set the tone for the group’s career. “One,” also written by Pharrell Williams, was one of the music industry heavyweights’ first forrays into electronic music writing and co-production. “One” is a track that has become a pillar of Swedish House Mafia’s discography and is still performed to this day thanks to the timelessness of the upbeat production elements. The single won Best Electro/Tech House Track and Best Progressive Track at the International Dance Music Awards in 2011. 

41 Get Lucky – Daft Punk ft. Pharrell Williams and Nile Rodgers

Daft Punk basically brought back disco with this single. Enlisting an all-out all-star collaborative team behind the release, Pharrell Williams and Nile Rodgers, “Get Lucky,” half a billion streams later, did just that.

42 Levels – Avicii 

If there’s one song that arguably kickstarted the commercialization and mainstream crossover of electronic music, it is “Levels” by Avicii. The larger-than-life progressive tune single-handedly took over every festival mainstage, radio station, becoming the backdrop to movie scenes, sports networks and more.

43 Animals – Martin Garrix 

“Animals” was the first global hit produced by the then 17-year-old prodigious producer, Martin Garrix. “Animals” is definitive thanks to the fact that it took over mainstages across worldwide, and vamped Garrix’s career on a global level. No mainstage set was complete without dropping this track at the height of its success.

44 We Found Love – Calvin Harris feat. Rihanna

Calvin Harris led the way for major pop music collaborations with electronic music artists when he enlisted Rihanna for “We Found Love.” Despite having only released electronic leaning music, Calvin Harris was an opening act on the pop queen’s Loud Tour, and this crossover helped to cement the fact that electronic music and pop music not only could coexist, but that electronic music could truly appeal to the mainstream. “We Found Love” was the first of many collaborations between Harris and Rihanna, including “Where Have You Been” in addition to “This Is What You Came For.” Calvin Harris can also credit his lone Grammy award to “We Found Love,” which won the Best Short Form Music Video category during the 2012 Grammy Awards.

45 Losing It – Fisher

Fisher reignited a global addiction to a song with his release “Losing It,” which also arguably put the producer on the map for the long haul. Chris Lake co-produced the single, as if that isn’t insurance enough for a hit. But “Losing It” is also impactful because it helped to reignite the electronic music community’s love of house music. Gimmicky, sure, but intoxicatingly fun.

46 Lean On – DJ Snake and Major Lazer

DJ Snake and Major Lazer brought Carribean sounds to the forefront of dance music after releasing “Lean On,” which went on to become a worldwide phenomenon. The single inspired many other artists to tap into Carribean and reggae influences for feel-good summer releases. The track even became one of the top 10 most streamed videos on YouTube after it amassed two billion views on the platform in 2017. 

47 Shelter – Madeon and Porter Robinson

Porter Robinson and Madeon teamed up in 2016 to produce “Shelter,” and the collaborative effort was truly a noteworthy one. Their distinctive qualities combined to yield a french electro and Japanese-inspired single that was quite different from the vanguard of the time. “Shelter” has withstood the test of time as a fan-favorite of both its creators.

48 Don’t You Worry Child – Swedish House Mafia

One of Swedish House Mafia’s most alluring ballads and well-known works is “Don’t You Worry Child.” It came out at a pivotal point during Swedish House Mafia’s ascension into progressive house royalty. The single cemented them as truly influential for the genre, and it remains one of their most streamed works to date. 

49 Latch – Disclosure feat. Sam Smith

Both Disclosure and Sam Smith reign as leading artists of their respective genres, but each of their ascensions was aided by “Latch.” The fluid exposition of Smith’s vocal chops and Disclosure’s production landed on Disclosure’s debut album, Settle, released in 2013.

50 This Is What It Feels Like – Armin van Buuren

Trance titan Armin van Buuren pioneered the underground subgenre, achieving notoriety for his trance anthems, but van Buuren’s breakthrough into more mainstream dance music was aided by this aching number.

51 Feel So Close – Calvin Harris

The second single released from Calvin Harris’ gilded third studio album, 2012’s 18 Months, “Feel So Close” saw Harris transcend his disc-jockey talents to lend his vocals to this leading cut. The success of Harris’ extension, from producer to vocalist, was evidenced in the track’s alluring catchiness, and ultimately, its inescapability. 

52 Runaway (U & I) – Galantis

“Runaway (U & I)” laid the sonic groundwork for Galantis’ penetration of the electronic genre, and pending the single’s release, the production pair swiftly attracted and held the public’s attention as they went on to further define the style. Streamers got a first glimpse of Galantis’ dance aesthetic on “Runaway (U & I),” and in the time since, Galantis have animatedly labored to sharpen it.

53 Sweet Memories – Kaskade & CID

The rushing, mid-tempo bliss of Kaskade’s “Sweet Memories” is nearly unparalleled in its ability to please all in the crowd at the afters. The energetic number eases streamers from the weekend adrenaline spike to the gossamer glide back down to repose with a muted brilliance that only Kaskade could effect.

54 Language – Porter Robinson

The seminal Porter track “Language” marked a pivotal point in not only the producer’s evolution as an artist, but also the dance scene’s welcoming of melodically-inspired electro house— Peaking at #1 on the UK Indie charts and #7 on the US Billboard Dance Airplay charts, “Language” cemented Porter as a household name and served as a precursor for his creative direction in Worlds.

55 Clarity – Zedd feat. Foxes

To this day, “Clarity” stands irrevocably as a Zedd masterpiece that has held its own amongst the exponential growth of the dance scene. Smashing the charts, the Triple-platinum record was Zedd’s first Grammy and broke through to mainstream airplay—introducing the producer’s pop-influenced electro house and marking another wave of dance music domination.

56 Opus – Eric Prydz

The final offering from Eric Prydz’s debut artist album Opus, titular track “Opus” and its deliberate 9-minute intricacies have perhaps seen itself as one of the most grandiose and gratuitous unfoldings of progressive house in the sense of both a standalone track and its context as the capstone of a concept album. Melding cerebral textures and masterful layers, “Opus”‘s climactic progression is an ode to the Swedish producer’s legendary craft and continues to be a pillar of his EPIC sets.

57 You & Me – Disclosure (Flume remix)

The iconic Flume remix of Disclosure’s “You & Me” shot the Aussie producer’s pioneering future bass sound into the hallmark of fame and opened the gateway for the subgenre’s subsequent popularization. Enveloped by euphoric strings and brimming oscillations, the remix’s momentous drop has been celebrated time and time again.

58 Gold – Adventure Club Feat. Yuna

The second meeting of Adventure Club and vocalist Yuna brought about the Canadian dubstep duo’s iconic Calling All Heroes track, “Gold”. Arriving in the midst of the golden era of melodic dubstep, “Gold” exemplified Adventure Club’s command of emotive dance music and female vocals in its prime.

59 Calling (Lose My Mind) – Sebastian Ingrosso & Alesso

Undeniably one of the most popular EDM tracks of all time, “Calling (Lose My Mind)” joins the forces of powerhouse Sebastian Ingrosso and Alesso with OneRepublic’s Ryan Tedder in the culmination of euphoric-inducing progressive house. With songwriting support from Matthew Koma, the chart-topping track, its instantly recognizable top line and sing-along characteristics have established the collaboration as a timeless festival anthem.

60 It’s Strange – Louis the Child Feat. K.Flay

Upon the release of their K.Flay track, “It’s Strange”, it wouldn’t take long before then-newcomers Louis the Child broke onto the electronic scene. While the age of future bass had dawned, the Chicago outfit innovated on the popular sub-genre—constructing subaqueous-like synths over K.Flay’s spoken rap fusion to deliver a tastefully eccentric concoction of future bass, pop and trap.

61 Room for Happiness – Kaskade Feat. Skylar Grey

Hailing from Kaskade’s iconic 2011 album Fire & Ice, “Room for Happiness” lives among several other companion singles including “Eyes”, “Turn It Down”, and “Lick It”, as a nuanced showcase of Kaskade’s discography. The track saw the superstar coalesce with pop singer Skylar Grey on a melancholically hopeful track with house progressions equal parts gut-wrenching and suited for the dance floor.

62 Sweet Nothing – Calvin Harris Feat. Florence Welch

Topping the UK and Ireland charts and nominated for a Grammy, “Sweet Nothing” made up of one of nine top ten singles from Calvin Harris’ 18 Months and marked his first UK No.1 from the album. A distinct departure from his previous stylings, “Sweet Nothing” simultaneously rocketed Harris as an electro house aficionado with a penchant for radio appeal and showcased Florence Welch dynamism—its firing synths, club-driven BPM, and embrace of Welch’s powerful vocals as the foundation for a smash hit.

63 Bunnydance – Oliver Heldens

Ushering in his groove-tinged house productions, Oliver Heldens and his delivery of “Bunnydance” put footwork first, beat-wise and quite literally, on stage. Both quirky and channeling mass appeal, “Bunnydance” built the Heldens brand in his dance antics during sets and established him as a future house frontrunner.

64 HyperParadise – Hermitude (Flume remix)

Yet another ode to Flume’s range as a producer, his remix of Hermitude’s “HyperParadise” resides as his self-titled debut album’s embodiment of the Grammy-winning act’s investigation into trip hop-influenced future bass. Infused with heavy vocal chops and funkadelic rhythms, the 2012 remix timelessly depicts Flume’s inclination as an experimental innovator then, and now.

65 5 HoursDeorro

Perhaps Deorro’s most preeminent track, “5 Hours” crushed the charts, receiving two gold certifications, and received widespread success across the industry with appearances in several dance compilations during 2014. An electrifying hook encased by a four-on-the-floor structure, “5 Hours” breathes as an addictive track on all occasions, from the dance floor to late night drives.

66 Tremor Dimitri Vegas & Like Mike, Martin Garrix

Good or bad, the argument for “Tremor” as one of the most iconic dance tracks of the last decade is difficult to refute. Its 2014 release brought about the commercialization of the next generation’s big room house and resonated with festival crowds worldwide—crowned as one of the quintessential anthems among staples like “Seven Nation Army” and “Kernkraft 400”. Characterized by archetypal drops and crowd-pleasing energy, “Tremor” paved for success for main stage sound, undeniably influencing the future direction of both EDM and festival appeal.

67 Ten Feet Tall – Afrojack

Afrojack’s cross-genre hit “Ten Feet Tall” became an international sensation upon its release in 2014. With inspiriting chord progressions and rousing vocals from Wrabel, “Ten Feet Tall” and its emotional dance-pop connected with listeners through the track’s uplifting foundations.

68 Acrylics – TNGHT (RL Grime Edit)

When two bass superforces collide, RL Grime’s “Acrylics” Edit happens. Revamping the heavy duty TNGHT single, RL Grime’s edit ups the ante on the original gargantuan destructive soundscape—doubling the chaotic trap expression and championing an evil acidity exclusive to the bass legend’s realm.

69 Firestone – Kygo Feat. Conrad Sewell

The seminal Kygo track “Firestone” established the Norwegian producer as the tropical house’s lead innovator while simultaneously breaching international territory with No. 1 positions in several countries. In line with his major key stylings, “Firestone” distinguished itself from its dance counterparts of big room and festival-oriented peers with its heartfelt vocals and soft aesthetics.

70 Sexual Healing – Marvin Gaye (Kygo remix)

Preceding his attention-garnering Ed Sheeran’s “I See Fire” remix and subsequent breakthrough with “Firestone”, Kygo’s 2013 “Sexual Healing” remix stole the spotlight with its infectious, sensual undertones and served as the platform for his continued execution of tranquil dance beats.

71 Fantasy Alina Baraz & Galimatias

If sound were a remedy, “Fantasy” would be the cure. The then-20 year old Alina Baraz joined with electronic producer Galimatias in delivering a fantastically-sensual track reminiscent of the directions of ambient electronic music blooming in SoundCloud spaces. Its dreamy fusion of lush sonics set the precedent for more downtempo, synth-kissed acts to perforate the scene.

72 Lights – Ellie Goulding (Bassnectar Remix)

Bassnectar rarely crosses over into the pop realm; however, the underground bass king made an exception for Ellie Goulding, and the result was resounding radio success. 

73 All is Fair in Love and Brostep – Skrillex

The Recess track “All Is Fair in Love and Brostep” garnered attention not just for its impeccable dubstep sound design, but also for its uncanny resemblance to Zomboy’s “Terror Squad” — ultimately, bringing about a speculative war regarding who-copied-who that ended with “love and brostep” in which Zomboy revealed “Terror Squad” was unwittingly inspired by Skrillex’s This Much Power DJ Tool.

74 Boneless – Steve Aoki

2013 “Boneless” amassed widespread success across Europe and the broader dance scene as a club banger—adding to Steve Aoki’s portfolio of party smashers and forecasting Chris Lake’s rise as one of the house music’s most coveted. Boasting a minimalist electro structure easy enough to mix into any dance set or simple enough to layer hip-hop verses over, “Boneless” and its signature beat have continued to be recognized over the last decade.

75 Need Your Heart – Adventure Club Feat. Kai

Adventure Club’s “Need Your Heart” enlisted Kai for a forceful display of melodic dubstep that showed the duo’s intuitive craft for balancing heavy wobbles with euphoric vocals. Complete with a tasteful build-up and scintillating bass, “Need Your Heart” sits comfortably in Adventure Club’s arsenal of potent, yet artful dubstep tracks.

76 Everyday – Rusko (Netsky remix)

One of the most sweeping drum ‘n’ bass/drumstep tracks to ever touch down in the states, Netsky’s “Everyday” remix is a fearless explosion of ad libs and production nuance evocative of Netsky’s production caliber.

77 Spectrum – Zedd

In the span of an artist’s career, there are few songs that subsist as the apex of their artistry. Alongside its sister single “Clarity”, “Spectrum” endures as one of ZEDD’s legendary productions. The Matthew Koma collaboration topped three charts including Billboard’s US Dance Club Songs and enforced Clarity as a holistic body of work in itself. Fine-tuned with complexities of layers and emotional lyricism, “Spectrum” speaks to ZEDD’s capabilities as not just an electronic artist, but an artist built from traditional musical foundations.

78 FadedAlan Walker

Clocking in 2.6 billion views on Youtube and over 1 billion Spotify streams, “Faded” saw massive worldwide success upon its release and charmed both dance and non-dance fans with its instrumental beauty and brand of anonymity.

79 Gold Dust – DJ Fresh (Flux Pavilion remix)

Dubstep came from the UK, and Flux Pavillion was known to influence the likes of Skrillex with his remix of DJ Fresh’s “Gold Dust” and the likes. 

80 Alive – Krewella

When the group was a trio with producer Kris “Rain Man” Trindl behind the beats, “Alive” charting at 32 on the US Billboard Hot 100. The song was Krewella’s first and only top 40 hit on Billboard.

81 Cinema – Benny Benassi (Skrillex remix)

The hard hitting remix was a seminal weapon in Skrillex’s liver performance arsenal for years, and won a Grammy for Best Remixes Recording, Non-Classical. 

82 Bird Machine – DJ Snake and Alesia

At the precipice of EDM Trap, “Bird Machine,” was simultaneously silly and hyphy, and a festival pleaser as one of the first officially released tracks from the mega-superstar, DJ Snake.  

83 I Could Be The One – Avicii & Nicky Romero

The first Avicii producer collaboration that really took off with its unforgettable melody.  Released after “Levels,” the track fast-tracked Avicii’s upward propulsion to stardom.  

84 Bass Head – Bassnectar

Bassnectar fans are some of the most, maybe THE most, devoted fans in the history of dance music. This is their theme song.  

85 I Can See It In Your Face – Pretty Lights

Pretty lights continued his upward, live-performance trajectory towards the turn of the decade, and “I Can See It In Your Face” was a mainstay in the electro-funk magnates sets. 

86 Light – San Holo

“Light” is San Holo’s certified gold, future bass offering that bolstered the experimental melody writer to new heights.

87 Thief – Ookay

2016’s sing-a-long anthem was brought to us by the lovable and jovial, Ookay, with his sax-lead, future bass crossover, “Theif.”

88 EdgeREZZ

After Skrillex’s dubstep ran its course, a new kind of bass music began to emerge in the low-end populous. REZZ surfaced from the mau5trap depths with the piercingly scintillating “Edge,” launching her to headline for the new era of bass heads.  

89 Eyes – Kaskade Feat. Mindy Gledhill

Kaskade’s first Grammy nomination came by way of Fire & Ice, for best Dance/Electronic Album in 2013. “Eyes” was the lead single off the project and a closing song for that epoc of the melodic house guru.

90 Higher Ground – TNGHT

As hip-hop crossed over to EDM for the electronic trap wave, Lunice and Hudson Mowhawk’s “Higher Ground” was at the forefront, helping the duo earn stellar production credits with Kanye West and the like. 

91 Never Be Like You – Flume Feat. Kai

Off Flume’s first Grammy winning Skin album, “Never Be Like You,” was the premire song off the project and received a Grammy nod for Best Dance Recording. To this day, it’s Flume’s most streamed song on Spotify.

92 Bangarang – Skrillex

Skrillex won back-to-back Grammy awards for Best Dance Recording and Best Dance/Electronica Album in 2011 and 2012. The latter was from his Bangarang project with the title track winning the prestigious award.

93 Fade Into Darkness – Avicii

The infectious piano melody encapsulated the melodic house wunderkids’ early ability, as the hit predecessor to his world renowned “Levels.” “Fade Into Darkness” served as a momentum that catapulted Avicii to the top of the industry greats.

94 Wake Me Up – Avicii

Avicii’s ‘Wake Me Up’ featuring  Aloe Blacc has been named as the highest charting dance track of the decade as a seminal closing or opening song for Tim’s 2013 tour supporting his True album that crossed country music into the electronic music realm for an epic and emotional melody escapade. The track is Avicii’s most streamed song on Spotify, reaching close to 1 billion streams all-time. 

95 Summertime Sadness – Lana Del Rey (Cedric Gervais Remix)

An oxymoronic summer anthem flipped one of Lana Del Rey’s number six Billboard topper for a 2014 Grammy Award winner for Best Remixed Recording, Non-Classical.

96 Original DonMajor Lazer

The dancehall trio partnered with The Partysquad for a festival staple in their 2012 and beyond sets. Notable remixes from Flosstradamus made it to Major Lazer’s essential list on Spotify in 2018.

97 Techno – Destructo

Gary Richards (Destructo) took Eminem’s infamous Moby diss from “Without Me” (“Nobody listens to techno!”) and set the record straight.

98 I Want U – Alison Wonderland

The effervescent Alison Wonderland at her best. “I Want U” is the bouncy, frolicsome trap that had us hooked from that first time we watched her crawl up on the decks.

99 Bodies – Drowning Pool (Drezo remix)

Drezo has a penchant for frequenting the smoky and seemingly uninhabitable corners of the dance music continuum. His “Bodies” remix soon became a soul-sucking insertion in hundreds of artists’ sets across the globe, from festival front gates to covert club floors.

100 OKAY – Shiba San

If anyone can make tech-house digestible for the uninitiated, it’s Dirtybird dynamo Shiba San. “OKAY”‘s genius is in its sensational simplicity. The four-on-the-floor guru has been stripping crowds of all will power and sensibility with this one since its 2014 release.

Gesaffelstein launches 2020 with brooding remix of ROSALÍA’s ‘A Palé’

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Gesaffelstein launches 2020 with brooding remix of ROSALÍA’s ‘A Palé’Gesaffelstein Coachella 2019 Julian Bajsel

Starting 2020 right, Gessaffelstein releases his take on rising flamenco singer/songwriter, ROSALÍA, and her newest single, “A Palé.” The tune’s early draft first saw the light of day during Gesaffelstein’s Coachella 2019 performance. Now, on the final cut, the original’s low octave hook remains firm while the underground-behemoth-turned-major-label-weapon adds his sharp synths and brooding melodies through a field a heart-thumping kicks. A menacing arrangement that immediately hits ears as a Gesaffelstein track, the Aleph producer is still able to stay true to his commandingly dark tech appeal, albeit with a few fresh tweaks on his “A Palé” spin.

In 2019, the Dark Prince of Techno released his highly anticipated sophomore LP, Hyperion, with a star-studded feature list that included the likes of PharrellThe Weeknd, and HAIM. In November of last year, he unleashed his surprise NOVO SONIC SYSTEM EP that kept up with his his catalog of moody, warehouse-ready techno.

NMF Roundup: Gesaffelstein remixes ROSALÍA, ATTLAS continues to preview upcoming LP + more

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NMF Roundup: Gesaffelstein remixes ROSALÍA, ATTLAS continues to preview upcoming LP + moreGesaffelstein Jorge Meza Photos

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: Jorge Meza Photos

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

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.

Good Morning Mix: Step into Kaskade’s CRSSD Redux set ahead of the festival’s March return

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Good Morning Mix: Step into Kaskade’s CRSSD Redux set ahead of the festival’s March returnKaskade Photo Cred MarkOwens

In light of CRSSD dropping the first wave of artists who will be playing during the festival’s 11th edition in March, it’s time to take a trip back to Kaskade‘s full Redux set from the festival’s 10th edition. Kaskade’s set is perfect for those looking to get a sultry start to their day. The set features Kaskade originals in their entirety with the exception of a brief hiatus, where the producer drops “Everything in Its Right Place” by Radiohead (Gigamesh/ DiscoTech Remix / Glass Petals Big Intro Edit).

CRSSD takes place twice a year at San Diego’s Waterfront Park, and the festival will be returning on March 6-7. GesaffelsteinRÜFÜS DU SOLCarl CoxCharlotte de WitteChris LakeCamelPhat, and Nora en Pure are all featured on the lineup, along with a stellar cast of supporting acts.

Whether or not Kaskade will return is currently unknown, but after listening to his one-hour set from the festival’s previous edition, fans can only hope he will be back to grace listeners with one hour of deep house.

Photo credit: Mark Owens

CRSSD announces spring 2020 roster topped by Gesaffelstein, RÜFÜS DU SOL, Carl Cox, and more

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CRSSD announces spring 2020 roster topped by Gesaffelstein, RÜFÜS DU SOL, Carl Cox, and moreGesaffelstein Coachella 2019 Julian Bajsel

CRSSD returns for its eleventh edition taking place March 7 – 8 at San Diego’s Waterfront Park. Three stages will bring fans a characteristically diverse set of live musical experiences, and the first wave of artists on the spring 2020 billing stack up to be one of CRSSD’s strongest to date.

Gesaffelstein, RÜFÜS DU SOL, Carl Cox, Charlotte de Witte, Chris Lake, CamelPhat, and Nora en Pure are all featured on the lineup, along with a stellar cast of supporting acts. Dancing Astronaut Artist to Watch Ben Böhmer (performing live), Patrick Topping, and Majid Jordan are all booked, as well as planned back-to-backs from Brodinski and 2ManyDJs as well as Mark Knight and Technasia

New for Spring 2020 will be a partnership with neighboring hotel, The Guild, which will showcase CRSSD programming throughout the weekend. Tickets go on sale December 10 at 11:00 a.m. PT (2:00 p.m. ET).

CRSSD announces spring 2020 roster topped by Gesaffelstein, RÜFÜS DU SOL, Carl Cox, and more78473767 3113853491965014 1748190812052652032 N

Featured image: Julian Bajsel

The Black Madonna cancels performance at Intersect Music Festival

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The Black Madonna cancels performance at Intersect Music FestivalThe Black Madonna GTA DJ Set 1

“If you were shocked I’d play for Amazon, well that makes two of us. Please be patient and while I burn some bridges. Updates soon.”The Black Madonna via Twitter.

Less than a week after Intersect Festival shared its final roster, The Black Madonna announced that she’s rescinded her slot among the lineup, subsequently disappearing from the website’s billing.

The esteemed house producer stormed to Twitter to voice her disgruntlement with the news that Intersect Festival is in fact backed by Amazon Web Services. The renowned DJ and prominent social justice advocate attributed her decision to the latter’s relations with both the U.S. Immigration and Customs Enforcement (ICE) and Homeland Security. After showing her discernible frustration with the situation, The Black Madonna, real name Marea Stamper, returned to the social media platform to thoroughly explain her position.

Clearly I was shocked and hurt when press and promotional materials appeared with my name on an event presented by AWS yesterday. Many of you expressed your disappointment too and you were right to do so. I share it completely and amplify it….

As a global ambassador for the Help Refugees organization, I raise awareness and donate 100% of merchandise sales to refugee assistance and personally provide grants to undocumented families fleeing persecution in their home countries.

Read the full statement.

Just last year, an investigation by the Project on Government Oversight discovered documents showing that Amazon had met with ICE regarding Amazon Rekognition, a technology used to identify people based on facial characteristics in real-time video feeds. Whether the technology was licensed to ICE or Homeland Security is currently unknown.

Intersect Festival is set to take place in Las Vegas December 6-7 with a lineup that’s still set to feature Gesaffelstein, Jamie XX and Flying Lotus.

Photo Credit: IGN

DA’s Supernatural Selections: A Halloween playlist [Best of 2019]

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DA’s Supernatural Selections: A Halloween playlist [Best of 2019]Rezz

Amid the season of spiders, ghosts, and demons (oh, my!) Dancing Astronaut presents some of the most delightfully decadent tracks released solely in 2019. The dastard design of the dark arts is never something to scoff at. Dampened tones, haunting harmonies, and menacing drums take the driver’s seat this year, of course, as our annual harrowing Halloween playlist rears its head yet again. In light of the recent mid-tempo Renaissance—and the formidable sounds that followed—this year’s compilation is fashioned from entirely up-to-the-minute offerings.

Highlights include cult leader, REZZ, in the form of two tracks from her most recent project, Beyond The Senses; a tantalizing taste from fiendish newcomer, Kim Petras‘s horror-themed TURN OFF THE LIGHT studio album; chilling sound design from G-Jones, Eprom, KOAN Sound, and Flume; eerie melodies from Gesaffelstein, deadmau5, NGHTMRE, ZHU, and Wolfgang Gartner; and many more ghoulishly heavy hitters.

Other notable mentions include i_o and Grimes new hit thriller, “Violence,” a remix from Knife Party‘s “Ghost Train” after their first EP in four years, and the monstrous “If My Eyes Are Vampires (Your Body Is My Sunlight)” featuring TYNAN, arriving from Sullivan King‘s debut long play. Play this at your next Halloween party or in your pumpkin-print pajamas. But proceed at your peril: these tracks are not for the feeble-hearted.

Photo Credit: Tessa Paisan

Gesaffelstein follows ‘Hyperion’ with new six-track EP, ‘NOVO SONIC SYSTEM’ [Stream]

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Gesaffelstein follows ‘Hyperion’ with new six-track EP, ‘NOVO SONIC SYSTEM’ [Stream]Gesaffelstein Summons His Dissenters Photo By The1point8

The days of half-decade gaps between Gesaffelstein drops are thankfully over. It has been a mere seven months since the Dark Prince of Techno’s highly anticipated comeback LP, Hyperion, and we already have a fresh new delivery from the French beat maker. This spring’s Columbia-backed sophomore LP signaled there was more to come from Gesaffelstein, which has now officially materialized as the NOVO SONIC SYSTEM EP.

The release is a six-track effort that incorporates the prolific producer’s most beloved sonic tropes—menacing, static instrumentals wrapped up into dystopian analog techno. Unlike the star-studded full length LP from earlier this spring, which featured the likes of Pharrell, The Weeknd, and HAIM, NOVO SONIC SYSTEM, finds Gesaffelstein alone in the void, offering near perfect additions to his catalog of brooding, warehouse-ready techno. Listen below.