As preceded by much speculation, Grimes and REZZ have once again confirmed they are in the studio together. There has yet to be any hints as to what the upcoming collaboration between the two electronic powerhouses entails or when it arrives, but anticipation from fans has already erupted.
Both artists have been hard at work bringing their boundary-pushing concepts to life through new projects, tours, and more—with Grimes preparing to drop her upcoming LP and REZZ having recently released Yultron-heater, “Hell On Earth” last month. Sharing similar qualities of supernatural mystique, experimental styles and spectral sonics, the fellow Canadian producers subsequent collaboration and admiration for one another comes hardly as a surprise. It also wouldn’t be the first time Grimes has dipped her toes into the darker bass world, having previously teamed up with techno prince i_o on vapory, pop-leaning production, “Violence.”
Grimes has been keeping busy in the dance music space. Her most recent venture appears to be a trek into bassier territory, per a brief exchange with mau5trap alumna REZZ. The latter replied to a tweet by Grimes plugging her upcoming Art Basel party, BIO-HAQUE, with a simple, “Let’s finish ours next.” Grimes replied, “Yes yes yes x12,000.”
Most have since interpreted posts as implicative of upcoming music from the pair. With both REZZ and Grimes known for their distinctive musical aesthetics, there’s likely a left-field treat in store once the alleged single surfaces. As of yet, no further details of the mystery collaboration have been released.
Outside of REZZ, Grimes also tapped fellow mau5trap star i_o for a track on her upcoming LP, Miss Anthroposene, dubbed “Violence.” The album is due on February 21, 2020.
REZZ has been keeping equally busy in the studio. Before she stirred Twitter frenzy with her Grimes conversation, she and DREZO also used the platform to publicly confirm their upcoming release.
Grimes, Canada’s queen of elaborate concept projects and sonic thought experiments, has materialized for another unearthly release, the two-sided “So Heavy I Fell Through the Earth.” The multi-talented icon of all things eternally odd has delivered two renditions of the song, a radio-intended cut, or Algorithm Mix, as well as an extended Art Mix. She’s also set a date, February 21, 2020, for her forthcoming LP, Miss_Anthropocene, which she’s said will lean heavily on climate change-adjacent themes, from the perspective of… wait for it, a misanthropic demon. The 10-track album is expected to be a stark departure from its 2015 predecessor, Art Angels, which was riddled with frothy, often disjointed pop singles and to which Grimes now refers as “a piece of crap,” and a “stain” on her life.
The song’s cosmically odd appeal harkens back to her Visions era. The ethereal downtempo production wistfully jaunts beneath Grimes’ signature moody, high-pitched croons. It’s the second single from the impending album, preceded by the equally astral and thematically weighty “Violence,” produced by smoldering mau5trap talent, i_o.
“So Heavy” arrives alongside an environmentally despondent visualizer: a foreboding portrait of Earth some years from now, scorching and uninhabitable, from the vantage point of outer space, where Grimes is engaged in a sword fight with a dragon. Armored literally and aurally, Grimes is a valiant envoy to usher us all towards our fiery ends.
Canadian dance-pop wunderkind Grimes just added another rung in her sky-high ladder of talent: film directing. For her latest single, “Violence,” which she co-wrote with the steadily ascending techno whiz, i_o, Grimes directed the music video herself.
Opening on an image of her reading the legendary manuscript of Sun Tzu, The Art of War, Grimes expertly combines the themes of dance and violence with weapon-based choreography and a techno backdrop perfectly fit for the accompanying visuals. Her eye is clearly becoming equally adept compared to her ears and voice.
Grimes told Beats 1 that her next album is both finished and could be described as “techno-pop.” This will be her first album since 2015’s Art Angels. In that same interview, she also spoke about her collaboration with i_o on “Violence.”
“I hit i_o up and we made this song up in an hour,” she said in the interview. “And then I was just like, ‘This must go on the album because it just feels good.’ And, you know what, you know what? It’s just fresh. We just made this song a few months ago and I just needed to have something which felt fresh. It just felt… You know when you write a song so fast, it just feels perfect. It was like one of those. So I was like, ‘Let’s just throw it on.’ I want to shoot a music video for something that I haven’t listened to a thousand times. “
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.
In perhaps one of the biggest collaborations to hit the airwaves on Sept. 6, The Bloody Beetroots and ZHU have teamed up for “Zoning.” RÜFÜS DU SOL have dropped off a new set of remixes for Solace, including an irresistibly groovy one by Hot Since 82. Grimes and i_o unexpectedly deliver “Violence,” and M83 returns with the dreamy “Temple of Sorrow.” Audien and Nevve bring blissful energy to “Buzzing,” and Cashmere Cat reveals “FOR YOUR EYES ONLY.” Arty is on a journey to “Find You” in his latest, and Walker & Royce team up with VNSSA for “Rave Grave.” KOAN Sound’s new EP lands pm Sept. 6, featuring sounds like “Vibrant,” and Claude VonStroke unleashes a new original, “Slink.” Sullivan King has released a two-track EP, and Armin van Buuren and David Hodges link for “Waking Up With You.” Fox Stevenson finally uncovers “Dreamland,” and 3LAU remixes San Holo’s “Lost Lately.”
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.
Less than a month before the would-be third edition of SunSoaked music festival, Kaskade has confirmed that his beachfront brainchild will not be returning to Long Beach for its scheduled two-day run mid-July.
“…At a little less than three weeks out, it’s become obvious to me that we are falling short, and I’ve been left with an impossible choice,” reads a Kaskade-signed announcement via the festival’s homepage.
Kaskade was expected to headline the July 13-14 2019 iteration of the festival, alongside Maryland-born rapper, Logic, who, with the backing of Live Nation, was helping champion the festival’s production this year. Canadian singer/songwriter Grimes and Detroit’s Quinn XCII also topped the 2019 ticket. SunSoaked began in 2017, nearly tripling in size for its sold-out follow-up in 2018.
Though Kaskade has yet to expound on the particulars hindering the event, ticket-holders are expected to be fully reimbursed with no action necessary on their parts, per the announcement. With the festival front, an invariably volatile market as it is, more saturated than ever, SunSoaked is one of many promising festivals in recent years to officially fold. But discernment and transparency have certainly proven far more favorable in the long run on organizers’ behalves.
Mercurial tech baron and founder of Tesla, Elon Musk, is the latest powerful voice to recently speak out on the issue of unequal distribution. The issue is no new struggle in contemporary capitalism, either. The fact of the matter is: when big business is involved, individuals lose out.
But it seems Musk now has a direct stake in the issue considering he’s now dating Canadian singer/songwriter, Grimes. The couple made their first public appearance as a couple at the Met Gala last week in New York City.
The conversation arose over Twitter when Musk was asked about his favorite Grimes song; for which, by the way, he has two:
While the issue of online streaming payouts continues to be a new frontier for the music industry — especially as it converges with tech giants and new platforms who want a piece of the pie — Musk should be commended for bringing the issue into public conversation. At the very least, it is a genuine show of online activism when powerful tech elites raise their voices for unheard, underpaid artistic creatives who often get no say in the matter.