A downtempo dreamscape, and the latest single to be surprise released by Swedish producer Kasbo, “Over You” arrives as “one last sneak peek” of what remains to come on Kasbo’s debut studio album, Places We Don’t Know, due out on March 23.
Wondrous in the intricacy of its construction, “Over You” layers the inimitable rasp of Frida Sundemo‘s vocal over a collection of background chords that capture bliss in their light toned and slow paced build. “Over You” gently ebbs and flows, optimistically glimmering in its gradual rises and falls, arriving as a production that is well deserving of the designation “ethereal.”
Kasbo convenes with house producer Shallou and singer-songwriter, Cody Lovaas on “Find,” an ambient, fluid production in which listeners can luxuriate. The track’s midtempo, chill pop packaging sets ethereal melodic waves into motion, the single’s melody temperately ebbing and flowing in a manner that is the epitome of sonic tranquility.
The production is a seamless amalgamation of Kasbo’s evocative, euphonic approach, and Shallou’s equally mellifluous style. Lovaas’ vocals sit serenely suspended over “Find’s” silk background beat, making for a polished final product that sources its success from it equanimity.
At only 22 years of age, Carl Garsbo is becoming one of Sweden’s most inimitable forces in the indietronica scene. Known to fans as Kasbo, he caught the early admiration of influential tastemakers ODESZA for his commitment to sweeping sound designs that are as organic as they are meticulously crafted.
After announcing his debut album last month, Kasbo returns to the gambit with a stunning new single, entitled “Your Tempo,” that he says helped him define what he wanted his forthcoming LP to be:
“‘Your Tempo’ is about expressing to the person you love there’s no need to stress. You have so much time to explore life and to explore each other, but the person is unable to enjoy the beauty of that since their mind is always at the next step.”
The track taps into Garsbo’s brand of soulful and evocative electronic music, featuring future bass elements that are as deep and organic as it’s soaring lyrics. “Your Tempo” is a refreshing ballad that stands out in an ever-increasing banal genre of dance music.
If the track is any indication of what is to come, one thing is certain: Kasbo’s first full-length album will be wildly intuitive and wise beyond its years. In support of his debut album, out March 23rd, Kasbo is also embarking on his first headlining North American tour this March, with the final stop appearances at both weekends of Electric Forest in late June.
At only 21 years of age, Carl Garsbo is becoming one of Sweden’s most dominant forces in the indietronica scene. Known to most as Kasbo, the artist caught the early admiration of influential tastemakers ODESZA for his commitment to sweeping sound designs that are as organic as they are meticulously crafted. After releasing a free five-track EP, Umbrella Club, just last year, and a dazzling single on Foreign Family Collective recently, Kasbo has been working diligently in the studio to build an arsenal of original music for his imminent LP debut. The young talent announced the forthcoming album on his SoundCloud:
“Today is a monumental step in my career and life. I’m beyond ecstatic to announce my debut album called ‘Places We Don’t Know’ is out March 23rd. I’ve been working on this for the better part of two years and it’s been the most challenging, developing and inspiring thing I’ve done in my life. I couldn’t be happier with myself of what I have been able to make and am counting the days till I get to show you guys. It’s a very personal piece and I can’t wait to tell you more about it.”
Unveiled concurrently, the LP’s first single is a brightly crafted original titled “Aldrig Mer” — which translates to “No More.” The song, which features London-based vocalists Tender, is about getting over a past love. The song’s message posits, however, that there is nothing regretful or vindictive about letting go of someone.
Kasbo weaves fluidly between bass-heavy, synth-fueled sequences and airy, lush atmospheres. Aesthetically, the young producer proves himself time and again with his savvy for building dreamy soundscapes that are expressive and idyllic, yet wildly aloof.
“I wanted to make a song based solely on the words “organic”, “harmonic” and “atmospheric” and wanted to take those terms to their edge. I wanted to use as little synths as possible and keep the bulk of the sound as recordings. I wanted the defects of recordings to make it as personal and human as possible, while also keeping the energy and drive of electronic music. I really hope you enjoy it as much as I do.”
If this track is any indication of what is to come, one thing is certain: Kasbo’s first album will be wildly intuitive and wise beyond its years. In support of his debut album, Kasbo is also embarking on his first headlining North American tour this March, with the final stop appearances at both weekends of Electric Forest in late June.
“Places We Don’t Know” Tour Dates:
4/6 – Minneapolis, MN – Amsterdam 4/7 – Chicago, IL – Chop Shop 4/8 – 4/9 – Phoenix, AZ – Phoenix Lights 4/13 – Boulder, CO – Fox Theatre 4/19 – Brooklyn, NY – Baby’s All Right 4/20 – Boston, MA – Sonia’s 4/21 – Toronto, ON – Velvet Underground 4/26 – Portland, OR – Holocene 4/27 – Vancouver, BC – Celebrities 4/28 – Seattle, WA – Neumos 5/4 – San Francisco, CA – The Independent 5/5 – Los Angeles, CA – Teragram 5/18 – 5/20 – Gulf Shores, AL – Hangout Fest 6/14 – 6/17 – Firefly Music Festival 6/21 – 6/25 – Rothbury, MI – Electric Forest 6/28 – 7/2 – Rothbury, MI – Electric Forest
Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.
Tired of a SoundCloud feed packed with Post Malone remixes, edits and covers? I thought I was, too — until I heard StéLouse‘s cover of “Rockstar” with Still Haze and Manus. StéLouse takes us back to a “gone but never forgotten SoundCloud era of 2014” with a feel-good cover of the iconic song, coming at the listener hard with the Flume vibes. A swinging beat, gorgeously redone vocals that are arguably much better than the original, and a light trap beat give their cover a life all of its own. It’s revamped my love of the song in a whole new way.
In their latest release, drum & bass powerhouse duo Koven tap into their dark side. “With You” is ushered in by Katie Boyle’s strong vocals and a delicate piano melody that quickly builds into something more forceful. Six-minute “With You” is a formidable BPM-cranked journey that ends the UK pair’s successful year on a strong note, showcasing all the best parts of their skill set.
Lost Kings have been on fire on 2017, shifting their focus to from remixes to original content like “Look At Us Now,” “Quit You,” and “First Love.” They’re rounding out the year with another original: a catchy pop-influenced number called “Don’t Call.” The single is a classic Lost Kings track, centered on catchy vocals and a solid dance beat. And don’t worry — they’re still in the remix game.
Kasbo‘s latest creation is a beautiful but melancholy single. He calls “Snow In Gothenburg” one of the most atmospheric and personal tracks he’s ever made, and that’s made completely clear by the somber soundscape he paints as the song progresses. “The song itself about loneliness and isolation, and the freedom of coming to terms with those feelings,” he says. “Seeing the beauty of realizing that everyone has their own ways to go in life and that not everyone is supposed to have someone.”
For the final track of this week’s playlist, we shift gears completely. Monstercat veteran Ephixa and label newcomer Bossfight thrill in this heavy electro creation called “Subside.” With dancing synth melodies and pounding bass, these two take the listener on a wild ride throughout their collaboration, with countless unexpected twists and turns. The surprise factor throughout the course of the song makes it practically unclassifiable, putting “Subside” in a league of its own.
Since his breakout with “World Away“—released in 2015 on ODESZA’s Foreign Family Collective—Swedish producer Kasbo has made quick work of developing a distinct sound. He’s since remixed artists from Big Gigantic to Vance Joy and spent time touring with the likes ofOdesza, San Holo, and Slow Magic. The producer’s spring touring schedule is still being fleshed out, but he has already been announced to play Hangout Festival and two weekends at Electric Forest.
On his newest single, “Snow In Gothenburg,” Kasbo showcases his artistically sensitive shadow, one that has lurked in the melodies of his tracks for years now. Drawing on influences in melancholic house, the song is an interpersonal journey full of atmospheric synths and waning vocals.
“The song itself is about loneliness and isolation, and the freedom of coming to terms with those feelings” says Kasbo of the track. “Seeing the beauty of realizing that everyone has their own ways to go in life and that not everyone is supposed to have someone.”
In 2015, then 23-year-old Jai Wolf – real name Sajeeb Saha – unleashed his immensely genre-challenging tune “Indian Summer.”
While Wolf’s original stands well on its own, if there was anyone put their spin on the track, few would do it the justice better than Swedish producer Kasbo. As such, Kasbo has done just that. He’s reimagined the euphoric number in the most elated tone imaginable. Kasbo ascends to the sonic heavens on his “Indian summer” rework, where he imbues its guitar chords and drums with pearlescent future-leaning nuance.
“Was an honor to remix Jai Wolf’s iconic song “Indian Summer.” Was challenging to make it my own cause I felt that the song was very much what it was supposed to be already. Ended up doing a few remixes, all of which were very similar to the original, but finally, I decided that I had to do something completely different, which became the final product…,” he said of the track.
Certainly, Kasbo inoculated the number with his own style, but his reworking’s impressiveness lies in the newfound variation’s ability to resist imposing on the track’s integrated integrity.
Kasbo quickly ascended in the indietronica ranks after touring alongside ODESZA in 2015. Since then he’s been riding on the coattails of his feel-good 2017 track “Found You, ” as well his more recent release via ODESZA’s Foreign Family Collective. If its elegance serves as any indication, we can expect 2018 to be a prosperous year for the ever-rising producer.
Kasbo’s remix joins the work of Hotel Garuda, Robotaki, and others in the eight-track Kindred Spirits Remixes EP, which serves up new renditions of Jai Wolf’s album released in 2016.
Swedish producer Kasbo is showing off his dreamy side with the incredible first installation of his new mixtape series “Cry / Dance.” The multitalented artist has built an international following with his unique originals and innovative remixes and has promised that the mix series will highlight music and friends he’s picked up along the way.
The first installation doesn’t disappoint, featuring chillwave and dreampop tracks with cuts from the likes of Mura Masa, ODESZA, and even an unreleased Kasbo original. As a whole, it’s a lush, wandering mix that sparkles with clean production and fresh track choices—the perfect soundtrack for a balmy summer sunset.
The producer has also used the mix series to announce the debut of his intimate new live show which will happen in Denver, Colorado on June 15 after two tour stops with Glass Animals.
1. Kasbo – Unreleased 2. Point Point – Life In Grey 3. Kasbo – Unreleased 4. Shallou – Truth 5. Odesza – Memories that you call (Petit Biscuit Remix) 6. Martin Garrix – Scared To Be Lonely (Medasin Remix) 7. Robotaki – Drunk 8. Porter Robinson – Flicker (Citylights Cover) 9. Flybear – Hollowed 10. Chet Porter – Stay 11. Petit Biscuit – Sunset Lover 12. Sam Gellaitry – Reflectionz 13. Sinjin Hawke – Snow Blind x Post Malone – Congratulations x Samsin – The Light 14. Kasbo – Unreleased 15. Mutemath – Monument (Kasbo Remix) x Flume – Never Be Like You 16. Chvrchers – Empty Threat (Big Wild Remix) 17. Kali Uchis – Ridin Round (Oshi Remix) 18. Kodak To Graph – IAMANTHEM 19. Vasser – Retract 20. Clams Casino – I’m God 21. Evenings – Friend (Lover) 22. Mura Masa – When U need Me 23. Phantogram – Don’t Move 24. Odesza – Always This Late 25. Louis Futon – Unreleased x Lorde – Royals 26. Vasser – Whatever You Want 27. Sam Gellaitry – The End 28. Bonobo – Kerala 29. Calms Casino – Lvl 30. Diversa – Do You (Braeden Bailey Remix) 31. Big Gigantic – The Little Things (Kasbo Remix)
In a relatively short amount of time, Swedish producer Kasbo has managed to make quite the name for himself, having released his debut EP a little over a year ago and seemingly doing the impossible by breathing new life into Fetty Wap‘s “Trap Queen” in March. The producer returns now with his latest future bass original “Call,” a collaboration with English vocalist Cheney.
A subdued intro gives way to Cheney’s rapid fire, yet alluring vocal delivery while Kasbo shows off his piano chops with gentle chords interspersed with frenetic runs. This all builds to a rhapsodic drop, featuring cleverly sampled layer’s of Cheney’s vocals, rumbling basses, saccharine plucks, and shimmering synth patches.
In today’s world, where culture seems to evolve at an exponential rate, four years is quite a long time. Indeed, in the music industry, this timeframe seems like half a lifetime ago. In 2012, Baauer released “Harlem Shake,” Snoop Dogg evolved into Snoop Lion, and Swedish House Mafia embarked on their farewell tour. Meanwhile, Big Gigantic held their first annual Rowdytown event at the iconic Red Rocks Amphitheatre in Morrison, Colorado.
The funky “livetronica” duo, made up of saxophonist/DJ Dominic Lalli and drummer Jeremy Salken, have been enjoying a steadily increasing amount of success for years–long before headlining Red Rocks for their first time at Rowdytown I in 2012. While the duo has received much wider exposure since that time, the extensive nature of their musical backgrounds is often lost on fans: Lalli holds a Masters Degree from the Manhattan School of Music and Salken was a touring musician for years before joining Big G.
Lalli and Salken have succeeded in building their audience into one of the biggest families in the world, consistently hosting one of the best annual reunions that a family could have. 2016 marks the fifth year in a row that Big Gigantic have spent a weekend getting heinously rowdy with their Coloradan family at their all-time favorite venue. Over the course of two nights, September 23-24, 2016, Rowdytown V transpired with great success, affirming that the duo’s tradition is very much alive and well.
Every year, the outfit’s live shows get better, paralleling the quality of their studio releases. Every track off their latest album, Brighter Future, which came out a month before the event, is truly a sensation to witness through Red Rocks’ amazing sound system. The bass hits just a little harder, and the high end is just a little brighter than on their previous albums.
However, as a testament to the duo’s enduring dedication and talents, most of their classics remain set staples, and are well-received regardless of the venue. Just as the evolution of familial relationships tends to create deep connections between family members over time, the experience of following a band such as Big G for long enough to track their progression allows a more meaningful connection to develop between the performers and the audience. Both of their headlining sets at Rowdytown V strongly reiterated this notion, with older songs like “The Night Is Young” and “Nocturnal” feeling right at home among new releases like “Got The Love” or “Wide Open.”
As any good event organizer should do, the Big Gigantic team planned the sets out such people would have good reason to show up early. Thus, on top of the usual crowd who shows up early to tailgate in the parking lot, the Chicago-based duo Louis the Child enticed huge crowds to fill the venue from the very beginning of the event. Not only did the early birds have access the the prime spots, but they also got to experience another Red Rocks tradition that was in full force both nights: the sunset over Denver. A vibrant array of reds, yellows, and purples provided a stunning backdrop to the already beautiful views surrounding the venue.
One key aspect of seeing a show in an ampitheatre is being able to see the rest of the audience. Experiencing first-hand the sheer number of people getting rowdy at any given moment amplifies the energy exponentially, which continues to rise as the sky turns dark and the music turns in a heavier direction. Similarly, being able to see the band is a big part of a concert, especially one in which musicians are playing live, as it allows to strengthen the palpable connection between the audience and the performers. Red Rocks does a great job of this already, but the stage built for Big G this year brought it to another level.
A massive platform situated the group approximately 12 feet above the normal stage, allowing them to perform where everyone in the crowd could see them easily. A slanted LED wall connected the platform to the ground, and together with the two enormous LED screens on winches behind, gave a great dynamic depth to the performance. Although this year did not feature 3D projections on the rocks, there were a few times during Big G’s set where the LED walls behind the stage were lowered all the way down, highlighting the texture of the bare red rocks behind them.
Rowdytown is not all about Big Gigantic. Yes, Lalli and Salken host the event and headline both nights, but a major point of the concert is to switch up both the opening artists, and the collaborators that the duo brings onstage to join in on a track or two. With the family vibes in full effect both nights, Big G brought guest after guest onstage to perform with them. Some of the guests that helped them out included Probcause, GRiZ (who, much to the excitement of the crowd, played an unreleased Grizmatik track), Ivan Jackson, Jennifer Hartswick, Paper Diamond, Natalie Cressman, and Pell.
From the planning perspective, multi-day events provide a great amount of stimulatory leeway; energy can be built up over both days, while a unique experience is created each individual day. Saturday night sold out weeks before the event rather than days before, as happened with Night One. This discrepancy makes sense when considering that Illenium is a Denver native with a large local fanbase, and OWSLA star Marshmello played the pre-headlining set. The main difference between the event’s two nights, indeed, was spurred on by the contrasting opening acts. These unique sets largely determined the differences in the crowd, which led to very different overall experiences over the weekend’s two halves.
Though Rowdytown is hardly the first two-day event to host the same headlining act on both nights of the bill, the concept posed a rather unique challenge to Big Gigantic. Lalli and Salken had to discern how to provide sets each night that would differ enough from each other to engage attendees who stayed through the festival’s entirety, while keeping their performances consistent enough so those who only went one night wouldn’t miss out on any major moments. Big G played many of the same songs both nights, but with the contrasts provided by their different openers and unique cast of collaborators, the duo switched their performances up enough to make each night unique.
Cheers to another great year of getting rowdy at one of the most iconic venues in the world.