Have you ever been the person in a noisy club that pulls up “Mo Bamba” on your phone and flashes the screen in front of the DJ? If so, please don’t be. But if you must be heard, now there’s an application that allows party goers to digitally offer their two cents with the press of a button—PSLY. Yonathan Kristos developed the app, which allows users to vote on the next song played in the venue. The DJ will also be required to have the app in order to play the song that gets the most amount of votes.
PSLY offers a predetermined list of songs, as well as the requesting party’s own personal music library to the DJ, pretty much removing the selector’s responsibility to…well, select the next record. Who knows what could happen? Generally, as a no-requests culture is embedded in the current club zeitgeist, since song selection and crowd reading are attributes typically needed to excel in the craft, one can see how news of the application’s launch has brought mixed reviews. Understandably, josh pan was not impressed—a sentiment that’s likely shared among many of his contemporaries.
PSLY launched in Toronto’s Love Child Social House and is currently being used on Friday nights at Figures nightclub. It’s available on the Apple app store and Google’s play store. The startup released a quick tutorial video on how the product works, see the demo below.
Since its inception in 2015, 88Rising has carved out a special place in the music and arts space as the definitive voice of cutting-edge Asian culture and artistry. Championing artists from Rich Brian to Joji, Higher Brothers to Keith Ape, and more, 88Rising broke grounds when it launched the inaugural Head in the Clouds Music & Arts Festival in 2018. Now, the first Asian-centric music festival in the US returns again for its second year in the running, equipped with two times the capacity and talent.
Head in the Clouds 2019 will feature performances from 88Rising’s roster including Joji, Higher Brothers, NIKI, Rich Brian, August 08, and Dumbfoundead, as well as international acts like Jackson Wang, iKON, and DPR Live. This year’s edition of the event also welcomes an all-new stage dedicated to electronic music—hosting k?d, josh pan, Manila Killa, Y2K, Qrion, and more. Popular Asia-inspired night market 626 Market will curate food options on-site as well.
The single day, all ages event takes place August 17 in Los Angeles, California at the Los Angeles State Historic Park.
General admission tickets are available for purchase here. See the full lineup below.
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.
At long last, Madeon makes a triumphant return with his first original in years, “All My Friends.” Dog Blood, too, impress with a new four-track EP, Turn Off the Lights. Slander, Said the Sky, and JT Roach concoct brilliant “Potions” in their new release, and Nicky Romero takes on Kygo and Rita Ora’s “Carry On” in a new remix. The Bloody Beetroots and Dr. Fresch prove to be a formidable combo as they deliver their new collaboration, “Fkn Face,” and Yotto puts his own spin on RÜFÜS DU SOL’s iconic “Underwater.” Rinzen brings a touch of magic to Lane 8’s “Visions,” and Deorro eases fans into summer with “Obvious.” Maceo Plex delivers a lengthy, soothing single, “When the Lights Are Out,” and Petit Biscuit and JP Cooper join forces for “We Were Young.” Will Clarke puts a shimmering spin on Phantoms’ “Designs for You,” and Arty brings the “Sunshine” to his newest release. The Chainsmokers and Bebe Rexha dip between pop and dance music on “Call You Mine,” and Sofi Tukker link with Colombian duo Bomba Estéreo for a tropical number, “Playa Grande.” The latest Chase & Status LP has finally arrived, bringing with it songs like “Shut Up,” and Figure teams up with Hi I’m Ghost for “Intergalactic.”
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.
1788-L has released his second extended play, S Y N T H E T I K. Released via Deadbeats, S Y N T H E T I K is comprised of four collaboration sessions of synthesized orchestra, with an emphasis on sub-frequencies. After bursting onto the scene last year with his precise remix work, including an official Illenium rework, and a collaboration with REZZ to boot, the computerized persona is taking form in 2019 with a number of festival appearances, and inclusion in Zeds Dead‘s tour, where 1788-L is providing support. 1788-L jump-started 2019 with particular strength via the Ekali tag team effort, “R U I N.”
The longform project starts with the title track, “S Y N T H E T I K,” which features Slooze. And what a brick to your face this opening track is–it’s a fist-full of bass with dancing glitches. The second of the EP’s four total tracks, “M A L F U N K T” bears the musical markings of the enigmatic co-producer, Deathpact, who works alongside 1788-L’s thunder static on this take. The penultimate cut, “O R G A N I K” with totto is raw, while S Y N T H E T I K’s final song, “W I C K E D,” cuts like a knife. “W I C K E D” features producer, josh pan.
OWSLA veteran, josh pan is known for his snarky online persona and versatile musical offerings. From his sprawling remix of “IT G MA” to his recent indie-leaning collaborative album with Dylan Brady, pan’s work is nothing if not emotional. Showcasing one of the more cinematic points of their album, josh pan & Dylan Brady have released a new music video for their track “My Own Behavior.”
The video serves as a prequel to their recent “Wheels” video, adding a narrative thread to the album. Staying in line with the album’s themes of seeking truth and meaning, the video is yet another piece of pan & Brady’s ever-expanding artistic portfolio.
OWSLA‘s josh pan continues to prove himself as an unstoppable force bound by no musical limits. Establishing his initial sound in heavy-hitting bass production but quickly showcasing his shapeshifting artistry from trap to house to lofi-esque beats, pan’s latest production foray into the indie realm should come as no surprise, but still defies all expectation. Teaming up with Mad Decent artist and pop producer Dylan Brady on the collaborative full-length project This Car Needs Some Wheels, josh pan once again reinvents his brand and subtly flexes his versatility as an ever-growing artist.
This Car Needs Some Wheels has many faces, and the only semblance of each track to the next is their minimalist stripped-down foundation. The album’s overarching broodiness makes sense in the context of pan opening up about his vulnerability and his human loneliness in an exquisitely raw form permeate tracks like “Past Lives” and “Save the World.”
“I was self-medicating a lot during this time, really depressed, and towards the end of writing the album, I realized I could be happy, that I don’t just have to hide in myself, and that I could totally depend on and trust other people again,” pan told Nest HQ.
A true concept album, This Car Needs Some Wheels expresses complexity in both themes and musicality from electronic artists that lend increasing credibility to the industry’s growing crossover territory.
Each week, New Music Friday sweeps through with torrential force, showering streaming platforms with immeasurable amounts of new tunes. Just like Dancing Astronaut rounds up 25 of the biggest songs of the week for the Hot 25 Spotify playlist each New Music Friday, Lunar Lunes serves as a landing pad for SoundCloud users who want a whole new dose of tunes to kick off the work week.
Bingo Players kicks off his 2019 releases with a groovy new original, “1000 Years.” josh pan and Dylan Brady have unveiled a mellow single from their forthcoming OWSLA LP, “Wheels,” and Myon hops on Gryffin‘s Gravity remix EP for a euphoric take on “Just For a Moment.” Bishu puts a booming future bass twist on QUIX‘s “Giving Up,” and Duskus crafts a dancefloor-ready take on DROELOE‘s “Only Be Me.” GTA, Dillon Francis and Wax Motif‘s “I Can’t Hold On” gets a formidable psytrance rework from Slippy, and Jay Robinson makes his mau5trap debut with “Nineteen81.” Ray Volpe flexes his dubstep skills on a collab with Armanni Reign, and Jeremy Olander takes listeners on an eight-minute journey with “Shogun.” LP Giobbi puts a fresh spin on Hotel Garuda‘s “One Reason,” and Bear Grillz kicks it up to 150 BPM for his new bass house/dubstep heater, “Flow.” Ryan Browne casts an eerie spell in his newest original, “The Reaper,” and Rameses B polishes his newest LP off with a gorgeous trance number, “Cyclone.”
“Undefeated” and its lively, optimistic atmosphere is already built to stay stuck in its audience’s head. Off Josh Pan‘s latest EP, the world within, the lyrical tune shows off his true musicality while serving up an encouraging message of finding inner peace. Its video has finally arrived following a confusing social media campaign, and its plot is certainly as attention-grabbing as the song itself.
We see the protagonist, Pan, just getting into a good space following a breakup, after which he catches a strange ailment that causes him to turn reptilian. Certainly a bizarre plotline, but one that speaks to the song’s overall motif of learning to accept and be happy in the present, no matter what sorts of “lemons” life might present. The video thus far has earned rave reviews from Skrillex and others in the OWSLA camp and beyond.
OWSLA knows how to pick outside-the-box artists. Their regular signee, josh pan, is an embodiment of this curatorial edge. He’s most known for his bassier, high-octane productions, but has proven himself equally effective in other realms, like hip-hop, deep house, and more. Now, he caps off the year with even more broken ground, exploring an even more stripped-down, chilled aesthetic in a four-piece EP titled the world within.
Pan opens the project with a breezy, indie-esque number with buttery falsetto and lo-fi sound design. These themes carry over into the other tracks of the EP; ultimately, however, each track stands completely on its own outside this bond. “take your time,” for example, is a smoother number that errs more on the contemporary R&B side, while “overdue’s” cinematic elements make it feel like it came out of a film soundtrack. Once again, the low-end star proves he knows how to evolve as an artist and remain on the cutting edge.