Those familiar with LA’s Icon Collective know that its alumni have made serious noise in the world of dance music. Jauz, NGHTMRE, and Slander are just a few of the heavyweights who got their start at Icon. Another more understated notch in their roster is Effin, who recently executed an out-of-the-box remix of the Chris Lake classic, “I Want You.”
Lake is an unequivocal staple in the house music domain, and one of the driving leaders in the genre’s global ascension. But one of the reasons he has found such sweeping success is because his music taps into up-to-the-moment sounds and styles and packages them with more classic, subtle nuance. In his explosive rendition, Effin took those subtleties and put them under his serrated microscope lens.
“I Want You” came out on OWSLA in 2017, and because the Skrillex-headed label features cross-genre categories throughout its prolific catalog, its identity pertains more to an all-encompassing energy from a collective vantage point. Effin harnessed the same energy Lake did for dancefloor cut and morphed it into a heavy-hitting bass tune.
Stream the full track below and download it free for a limited time.
Bass boss Jauz’s fledgling label Bite This! is coming out swinging with a new 3-track EP courtesy of 20 year old Russian phenom HYPRESSION. The “Cold Blood EP,” isn’t HYPRESSION’s first time in Jauz’s orbit, the pair collaborated in 2018 on “On Fire,” featured on Jauz’s album “The Wise and the Wicked.” This EP, his first original on Bite This!, is testament to the Russian’s production prowess and fearless style that is just as unforgiving as his mentor’s.
The lead off and title track, “Cold Blood” features Networth in the studio. The pair deliver a fast-paced tune that relentless drives forward with bass house beat structures before a barrage of slow-brewed trap sequences. HYPRESSION’s heritage is front and center on “Kitchen House.” The beat twists and tangles around Russian language samples, strange stabs and hollowed kicks. Next up is “I Just Wanna,” a track that stays true to its title and comes out guns blazing to wrap out a 3-track EP of the best and brightest bass house from an imprint that is leading the charge.
Shambhala Music Festival is recognized as the longest-running music festival in Canada. It is known for its eccentric art installations, educational workshops, and unique blissful experiences that soothe the soul. The wait for the 2019 lineup is over, and Shambhala has delivered a promising set of talent for their 22nd anniversary, returning to the Salmo River Ranch in British Columbia, Canada on Aug. 9-12.
This year is poised to perpetuate Day Club’s star-studded reputation, with sets from deep house, South African/Swiss tastemaker Nora En Pure and Australian producers of the SOLACE album, RÜFÜS DU SOL, taking control of the first weekend installment; followed by underground sets on Sunday curated by LA’s Sound nightclub, whose Day Club sessions have brought the likes of Dubfire, Hot Since 82, Nicole Moudaber, The Martinez Brothers to name just a few.
Weekend two turns the energy up a bit with a Mad Decent turn up hosted by Diplo and his friends on Friday, followed by Latin Grammy award winner and all-around lovable guy, Dillon Francis, on Saturday. Jauz and his Bite Me label affiliates look to bring bass house to Sunday to wrap it all up.
Jauz has fallen victim to a hard drive crash that, according to the producer, has set him back by almost a year’s worth of unheard productions. In a recent social media post, The Wise and the Wicked producer revealed to fans he might have lost all the music he wrote in 2018 due to a technical mishap and no backup in place. Coming off of a year packed with non-stop touring, his debut full length album, as well as a steady stream of new music and Bite This releases, there’s no telling how much new, unreleased music Jauz had up his sleeve—perhaps now it’s best we don’t know as it might be gone forever.
Well, might have to say goodbye to all the music I’ve written from 2018 to now (that hasn’t come out yet)…. so much good stuff in the dirt. Back up ur computers kids. Time for a fresh start I guess
Softening the blow with a positive perspective, Jauz is trying to look at the data crash as a new beginning, though a trove of work is likely now gone for good. Hopefully Jauz can manage to salvage some of last year’s work, but it seems that even in the year of our Lord 2019, this one is still a lesson that bears repeating: please, please, for God’s sake, back up your damn hard drives.
Holy Ship! 12.0 was truly one for the books. With an even mixture of new and old faces across DJs and attendees, the vibe felt particularly special this time around, with talent from Mikey Lion to The Black Madonna all gushing about the magic that transpired over the weekend. The programming was as on point as the open, jubilant crowd, with a myriad of hidden stages, activity areas, and well-planned DJ sets happening all across the ship’s decks to create an even, enduring flow for all four days. Ultimately, the vibrant energy output by all involved—from the #shipfam, to the crew—made for yet another unforgettable voyage to the Bahamas.
While picking top moments of the festival feels akin to being forced to pick a favorite child, we masochistically put ourselves to the task and selected five highlights of 12.0. Without further ado…
JAUZ, Slander, and more at Bite This for an epic B2B
Credit: aLive Coverage
JAUZ went all out for his set at Bite This stage, playing more-or-less a producer’s set with mostly his own productions. While he’d already gotten off to a great start, onlookers got to witnessed something magical. Slander joined the bass house don on stage, followed by Holy Goof and Skepsis for what wound up being one of the most epic B2Bs of the weekend. We’re pretty sure people’s necks and feet still hurt from the chaos.
Claude VonStroke doing what he does best
Credit: aLive Coverage
Claude VonStroke played multiple times throughout Holy Ship! 12.0. Two moments were especially memorable, however. At the DIRTYBIRD private beach party, the label boss worked some serious wizardry behind the decks. This same atmosphere was present, and even more amplified, as the voyage came to a close and he took over the Theater stage with boisterous ease. The energy in the crowd almost created a full-on second wind.
NGHTMRE doing some damage on the Pool Deck
Ironically, NGHTMRE’s sailaway set was actually something out of a dream. Each tune he selected was an absolute knocker, be it his own original works, or numbers like Slander’s “Zombie,” which made the crowd completely lose it. Even more cerebral was that we got the chance to watch it from the 17th floor outside deck, which made the visuals completely surreal.
JOYRYDE brings out the hidden gems
Those in attendance of JOYRYDE’s two Holy Ship! performances were lucky enough to catch a special preview of his upcoming album, Brave. The swiftly-rising producer pulled out a ton of IDs in each, treating his onlookers to a fresh, unheard of aural feast. Pairing with the tunes was both of his crowds’ energies. There was no stopping of the wild dancing that night, and snatching snippets of the night to look back on afterward.
Heroic substitution by Habstrakt
Credit: Nate Vogel
Sadness could be felt across the Shipfam when news arose of Audien missing the cruise due to sickness. That being said, the Holy Ship! crew had an excellent substitute up its sleeve: Habstrakt. The classically-trained Frenchman read his crowd with ease, throwing down some three of the weekend’s most noteworthy sets that, while wildly varied stylistically and through track selection, remained connected in their wildness. One might even say him coming on board was a blessing in disguise.
Jauz has remixed Marshmello‘s hit collaboration with Bastille, “Happier,” almost entirely transforming the track, with the exception of Bastille’s vocal work. The Bite This helmer has made the track his own with a moody, albeit equally addicting, new take on Marshmello’s chart-topping hit.
Hushed vocals creep over chopping drums that serve as the backbone of the release. The original electronic notes are drawn out, with the tempo dramatically altered to suit JAUZ’s take on “Happier.” Bastille’s vocals are still a focal point for the track, with the emphasis on the opening lyrics as opposed to the catchy melody that hooks the listener in the original.
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.
Anti Up have left the pizza at home and returned for a three-track EP, Hey Pablo, thrilling listeners with searing house beats and ever-catchy vocals. Above & Beyond have released their first original collaboration in eight years: a stunning Anjunabeats tune called “Long Way From Home” with Spencer Brown. graves teams up with EZI for a piece that’s equally beautiful and heavy in “I’m Fine.” ODESZA have released the deluxe edition of their seminal A Moment Apart album, featuring a total of 25 songs — including a hefty VIP remix of “Memories That You Call” with Golden Features. Mr. Bill returns to mau5trap for an eerie original, “Apophenia.” Keys N Krates have revealed a Live in Toronto version of their Cura album, visibly demonstrating they hold nothing back in their live productions. Bringing the feels as usual, Illenium has remixed Halsey‘s emotive “Without You” in beautiful form. And as Christmas draws near, Kaskade continues to add to his sounds of the season catalog with a few new holiday tracks, including “Little Town.”
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: Kevin Winter/Getty Images for Coachella
Red Light management took a loss this November in Moe Shalazi, who’s officially departing the firm to begin his own management company. Shalazi, who’s notably cultivated the careers of megastars like JAUZ, Marshmello, Ghastly, and more, will be taking all of his clients with him on his new venture. Both him and Red Light have yet to release official statements on their separation.
Shalazi certainly has the skillset to create a powerhouse agency on his own. Since helping Marshmello break into the EDM scene in 2015, he’s since helped him become one of the most followed crossover stars with $44 million in earnings this year alone, and a YouTube channel that’s now the platforms 36th most-followed. Moe got his start at a young age, making the leap from event promotion in his early twenties to artist management in 2014. Prior to his work with Marshmello, his first major breakthrough client had been JAUZ, who helped catalyze his move to Red Light Management.
We’re inching closer to Skrillex’s imminent return, and while his now-canonized debut LP, Recess, is nearing its fifth birthday, he’s carved out a Hall of Fame career since his momentous mainstream breakout. He’s become one of the most in-demand pop producers of the modern day, while managing to keep close to his post-hardcore roots, build on his electronic music legacy, and explore new sounds all at once. This year, in celebration of turning 30, Skrillex took a much-deserved year off, though a not-so-secret comeback is beginning to take shape, and signs suggest OWSLA’s head honcho could be primed to change the game all over again very soon.
In the meantime, label recruit JOYRYDE is snapping a shorter hiatus as well, linking up with the boss man for his upcoming album’s lead single — the long awaited “Agen Wida.” The pair more than deliver on their new joint effort, so to celebrate, Dancing Astronaut put together an additional 11 (unranked) Skrillex-assisted classics. See if your favorite Skrillex feature made the list below.
A few weeks after the release of his highly anticipated Rick Ross feature, “Purple Lamborghini” (not featured) for the ill-fated Suicide Squad soundtrack, Skrillex switched gears and went full experimental house with veteran French mastermind, Mr. Oizo on “End of the World.” Somewhere between cheeky setlist tool and thumping club cut, Mr. Oizo and Skrillex link up for a memorable house cut featured on Oizo’s 2016 LP, All Wet.
Featured on OWSLA’s 2017 label compilation, HOWSLA, “Chicken Soup” finds Skrillex linked with French bass-house linchpin Habstrakt. The collaboration originally received a live debut during a surprise Skrillex set at Coachella’s DoLab and would eventually come to be one of the biggest tracks of the year. Skrillex’s house output often takes a backseat to some of his heavier studio hallmarks, but “Chicken Soup,” launched Skrillex towards a considerable club-leaning kick, and has since grown to be a fan favorite within a sprawling catalog of monstrous bass hits.
Taking on Hundred Waters’ 2014 standout from Moon Rang Like a Bell, Skrillex reunited with Chance the Rapper, the frequent to breathe new life into “Show Me Love,” with help from vocalists Moses Sumney and Robin Hannibal. The remix, which became Hundred Waters‘ most commercially lauded track to date also served as Skrillex’s directorial debut, crafting a feel-good adventure feature for the cameras, rounding off the remix effort with a perfectly complementary video for “Show Me Love.”
The unconventional nature of Skrillex and Justin Bieber’s creative partnership was perhaps what made the duo so enticing at first. But after a proven knack for crafting hits together, there’s no denying that when the two link up, they’re bound for radio-ready gold. Such was the case on the tropical chart-topper “Sorry” from Bieber’s inescapable Purpose. The album wound up being a massive commercial success and catapulted Skrillex to untouchable pop producer status alongside Bieber for a second time.
Undoubtedly one of the most memorable cuts from the entire OWSLA catalog, the boss man orchestrated a super-collaboration remix of Yogi‘s “Burial” that will probably never get old. It’s just too damn good. It has even become Arby’s unofficial theme song. The 2015 posse cut came after the Aftermath-championed production outfit had already collected remixes of the track from Moody Good and Trollphace. So mashing every rendition together with the additions of Skrillex, G.O.O.D. Music president Pusha T, and a cameo from Denis Rodman in the music video rounded this one out at full blockbuster status for the final product.
What So Not and RL Grime‘s “Tell Me” will always be remembered as the defining emblem of the year trap music took over the EDM zeitgeist. The track is still a hallmark in both producer’s catalogs, though after their first booming collaboration, the world needed a second. In fact, it was practically demanded. So when RL and his Aussie counterpart finally did link back up, they brought along Skrillex for “Waiting,” which became one of the most anticipated tracks of the year in 2016. The track played on the same bombastic trap theme from a few years before, and managed to recreate most of the magic from trap’s extended moment in the sun.
Long before the Mind of a Genius roster was crushing the music world, Skrillex pulled up for “Working For It,” a now legendary posse cut with ZHU and THEY. handling vocal duties. The track combined ZHU’s twanging guitars and ludicrously crisp synth lines with signature Skrillex bass stabs. The result was a certified late-night ready club anthem that hits as hard on the thousandth play as it did on the first.
After striking Top 40 gold twice with Justin Bieber, and creating unique collaborations with artists ranging from K-pop heavyweight CL to Chance The Rapper on 2014’s Recess LP, Skrillex solidified a knack for bringing his productions into a featured vocalist’s unique world. 2017’s “Favor” is a prime example, as Skrillex and Vindata combine Jack Ü-inspired percussion with an lush instrumental that lets NSTASIA’s breezy lines float effortlessly on top.
Roc Nation rapper Vic Mensa is joined by Jahlil Beats and Skrillex for a collaboration that was essentially the OWSLA head’s 2015 follow up to “Wild For The Night” with A$AP Rocky. Scratching the itch to make another repeat-worthy rap-meets-electronic anthem, Skrillex and Jahlil Beats proctor a cinematic trap beat for Mensa to deliver his bars over, that winds up being one of Skrillex’s more unique, albeit less hyped, features in the rap space to date. The final product was then turned over to Zane Lowe for his debut premiere on the newly launched Apple Music platform.
Skrillex has a history of head-turning video concepts, though his animated joint with JAUZ for their Adult Swim Single “SQUAD OUT!” with Fatman Scoop may take the cake. The video is directed by Adult Swim veteran Adam Fuchs, whose credits previously included Aqua Teen Hunger Force and Ugly Americans for the network, as well as music videos for artists such as Flying Lotus and Neon Indian.
The video, unsurprising given its director, is an extension of Adult Swim’s trademark gonzo animation. It opens innocuously enough, with animated avatars of Skrillex and JAUZ riding an elevator. It doesn’t take long though, for things to get very weird. The collaboration was a standout to begin with, and the video made it even better.
To assist on The Game’s The Documentary 2, a follow up LP to his debut solo project from a decade earlier, the OWSLA boss served a trunk-rattling dose of bombastic bravado on “El Chapo.” The Recess producer brought his half of the Escobar-ian swagger with a latin-flavored horn loop and shattering subs providing the perfect backdrop for The Game’s snarling bars. The cartel homage was a little harder than the previous rap features in Skrill’s repertoire, but on his joint with The Game, he proves he can undoubtedly run with the big dogs on “El Chapo.”