NMF Roundup: Diplo remixes Kaskade, Spencer Brown takes on deadmau5 + more

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NMF Roundup: Diplo remixes Kaskade, Spencer Brown takes on deadmau5 + moreSpencer Brown Press 3 E1568995205752

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.

Diplo leads the charge this NMF with a sultry remix of Kaskade, Felix Cartal and Jenn Blosil’s “More,” and Spencer Brown previews deadmau5’s forthcoming here’s the drop! remix LP with his take on “fn pig (ov).” Cashmere Cat’s sophomore album makes its debut on Sept. 20, featuring song like the Christina Aguilera-sampled “WATERGIRL,” and Chris Lorenzo takes on Boombox Cartel and MadeinTYO’s “NEW WIP.” M83’s much-anticipated 15-song DSVII is out now, featuring songs like “Feelings,” and Kill Paris puts an even groovier spin on Haywyre’s already-funky “Storyteller.” Opiuo and Lafa Taylor shine in “Send It,” and Muzzy tackles Knife Party’s “Ghost Train” with a sinister rendition of his own. Billy Kenny and Huxley take to the dance floor on “SWEAT,” and Feenixpawl and Marcus Santoro bring the feels with “Forever Young.” Cristoph puts his own spin on The Temper Trap’s “Sweet Disposition,” and Dom Dolla plays with words on “San Frandisco.” David Guetta remixes himself as Jack Back in a new remix of “Thing For You,” and Luttrell paints a serene soundscape with his remix of Jai Wolf and Mr Gabriel’s “Lose My Mind.”

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.

Chet Porter has returned with his first new original release in three years

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Chet Porter has returned with his first new original release in three yearsChet Porter Moonrise Credit Josh Bernstein Copy 1

Chet Porter is entering a comeback era with the release of his first single in three years, “Longest Day Ever.” The track is a worthy re-entrance into the music scene, and it begs the question of whether he is back for good.

“Longest Day Ever” induces euphoria through instrumentals, indie vocals, and an explosive combination of soprano synths. The musician’s style has long been described as a mixture of Animal Collective, M83, and Porter Robinson, and this newest release only furthers this as a worthy descriptor. Porter commented to the press “Longest Day Ever”:

‘The Longest Day Ever’ feels like a good launching point for the new music. I made it in a day just randomly in my bedroom when I was supposed to be finishing other music, and I knew right away it was gonna be the first song I put out. The whole thing is actually just a demo, really. The vocals are the rough idea I recorded into my phone, I hadn’t even written anything down yet. I tried re-tracking them for real but they just didn’t have the same vibe. The song is about not caring about anything, so sonically it’s actually kind of suiting. It’s not a ‘fun care-free’ type of not caring, though. it’s more melancholy”

Porter took a break from releasing music after facing significant mental health issues that stopped him from completing the San Holo tour and hindered his creative process. After a necessary step back from touring and producing, Chet is returning to the scene refreshed and inspired, and “Longest Day Ever” is a testament to his successful recovery.

Photo credit: Josh Bernstein

M83 releases second single from upcoming LP, ‘Lune de Fiel’ [Watch]

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M83 releases second single from upcoming LP, ‘Lune de Fiel’ [Watch]M83 Live Credit Fally Afani

After the success of Digital Shades Vol 1., released in 2007, M83 looks to deliver a sequel installment over a decade later, gearing up for the release of the Digital Shades Vol 2. LP. The second single from the album, “Lune de Fiel,” lands hot off the heels of the project’s first preview, “Temple of Sorrow.” The album’s second offering is a continued ode to the cinematic sonic tropes of 80s sci-fi films, doused in analogue synth appeal, as the cornerstone of the record’s composition begins to take shape.

“Lune de Fiel” comes with a more robust synth arrangement than its predecessor, relying on arpeggiated melodies, complex percussion, and a walking bass line. The final leg of the track teases a glimpse of an operatic concerto arrangement making for a fully-fledged narrative form.

The track looks to accompany M83’s upcoming Extrazus film, helmed by French director Bertrand Mandico. “Lune de Fiel” represents one part of Extrazus‘ narrative with a jarring black-and-white visual. Digital Shades Vol 2. LP is out in full on September 20.

Featured image: Fally Afani

NMF Roundup: Oliver Heldens and Riton team up, No Mana remixes Kiiara + more

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NMF Roundup: Oliver Heldens and Riton team up, No Mana remixes Kiiara + moreOlivierHeldens ByPatBeaudry 012 Resize

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.

Oliver Heldens and Riton link with Vula for their new groovy collaboration, “Turn Me On,” and No Mana takes on Kiiara’s “Bipolar.” Kaskade takes his Meghan Trainor collab to another level with the release of a “club mix,” and The Knocks tap R&B crooner Gallant for “Exit Sign.” 3LAU caters to a wide audience on “Miss Me More,” and M83 follows up “Temple of Sorrow” with “Lune de fiel.” Armin van Buuren and Tempo Giusto take things up a notch with “Mr. Navigator,” and Sub Focus and Wilkinson prove to be a formidable drum ‘n’ bass duo on “Illuminate.” AC Slater delivers some new Night Bass heat with “Laid Off,” and DROELOE and Kalulu keep it light on “Broken Bricks.” After debuting the tune on DA earlier this week, Nora En Pure releases her remix of “Lost Souls,” and Machinedrum reveals new possibilities for San Holo’s “Lost Lately.” In another DA-debuted piece this week, Eli Brown rocks steady on “Come Together,” and Morgan Page and HAILENE tug at listeners’ heartstrings on “Footprints.”

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: Pat Beaudry

M83 releases chilling new single ‘Temple of Sorrow’ ahead of forthcoming album

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M83 releases chilling new single ‘Temple of Sorrow’ ahead of forthcoming albumM83

M83 is ringing in the fall season with some exciting new content, including his brand new single, “Temple of Sorrow.” In September 2007, the French producer released a full length studio album entitled Digital Shades Vol I. Since then, M83 (real name Anthony Gonzalez) saw increased success, most notably with his 2011 hit “Midnight City.”

Now, over a decade later, Gonzalez is ready for part two, with DSVII slated for a September 20 release. To kick things off, “Temple of Sorrow” is a spacey, cinematic tune that is clearly influenced by the cinematic trends of 80s sci-fi films, polished the era’s analog synth appeal. It includes old school electronics, slow percussion riffs, and vocal harmonies to launch listeners into a new dimension. This is nothing new for those familiar with M83’s output, as his most recent project was an original motion picture soundtrack for Knife & Heart.

The release comes packaged with the first part of M83’s upcoming film Extazus, spearheaded by French film director Bertrand Mandico. Based on the first installment, fans are in for a trippy adventure filled with bright colors and wild scenery. Watch it below.

NMF Roundup: ZHU and The Bloody Beetroots link for ‘Zoning,’ RÜFÜS DU SOL release new set of ‘Solace’ remixes + more

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NMF Roundup: ZHU and The Bloody Beetroots link for ‘Zoning,’ RÜFÜS DU SOL release new set of ‘Solace’ remixes + moreRUFUS PressShot LeFawnhawk 1

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.

Photo credit: LeFawnhawk

M83 to introduce modern techniques to vintage soundscapes on forthcoming LP, ‘DSVII’

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M83 to introduce modern techniques to vintage soundscapes on forthcoming LP, ‘DSVII’M83

M83‘s Anthony Gonzalez is set on straying from modern musical technics on Digital Shades Vol. 2 (DSVII), a 15-cut production that conceptually centers on vintage sound. Gonzalez explained his vision for the LP in a blog post recently published on M83’s website.

“At first there was this vivid memory of Dungeons and Dragons, this childhood sensation of living in an imaginary world set in a faraway past or a lost future,” Gonzalez writes. “I wanted to create some music that could be part of this adventure and journey with all of its solitary knights, dreamy landscapes, strange animals, forgotten myths, and old spells.”

Gonzalez credits five months spent in France’s Cap d’Antibes as the creative incubation period for the approach that would guide Gonzalez’s construction of DSVII. During the summer of 2017, Gonzalez alternated between reading, watching films, swimming in the Mediterranean Sea, and playing ’80s video games.

“The inspiration behind this record is mainly video game music,” Gonzalez continues. “It felt so refreshing to play all of these old school games again. There is something so naive and touching about them. It’s simple and imperfect. And this is exactly what I tried to achieve with Digital Shades Vol. 2.”

DSVII is expected to embody the past in both the sound that will permeate the album’s individual inclusions, and in the equipment that Gonzalez used to craft the LP. In accordance with Gonzalez’s pledge to “…only feed [himself] with older art,” Gonzalez solely relied on analog tools to make the record. Gonzalez recorded DSVII in his own studio, and at Justin Meldal-Johnsen’s studio in Glendale, California during the final stages of production between the fall of 2017 and the spring of 2018.

DSVII is due September 20, and will arrive as the followup to Digital Shades Vol. 1, released in 2007. Listeners can pre-order DSVII here, and can read Gonzalez’s blog post in full, here.

Photo credit: NPR

M83 soundtrack forthcoming film, ‘Knife + Heart,’ share first project single [Stream]

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M83 soundtrack forthcoming film, ‘Knife + Heart,’ share first project single [Stream]M83 Anthony Gonzalez

M83 constituents Anthony Gonzalez and Nicolas Fromageau haven’t worked together since 2003—until now. Gonzalez and Fromageau rejoin creative forces on the newly produced soundtrack to Knife + Heart, a thriller film directed by Gonzalez’s brother, Yann Gonzalez. Knife + Heart furthers Anthony Gonzalez’s foray into soundtrack production, to materialize as the second soundtrack that Gonzalez has written to date. Gonzalez previously assumed writing duties for Yann’s 2013 film, You and the Night.

“We wanted to recapture the Giallo ambiance of the ’70s, to feel that sinister yet sentimental tone,” Yann Gonzalez said in a press release. “Anthony and I are both poetical and even sentimental, in a certain way. We wanted to dive in headlong, particularly as melancholy and poetry are found in numerous ’70s horror film soundtracks, from films by Lucio Fulci to those by Mario Bava. I’m thinking in particular of the harrowing soundtracks of Don’t Torture a Duckling or Twitch of the Death Nerve.

Although the soundtrack will arrive on March 8, those curious about what Gonzalez and Fromageau’s artistic synergy will sound like 15 years after their last release—2003’s Dead Cities, Red Seas & Lost Ghosts—can preview what remains to come on the soundtrack via “Karl.” The sole single to precede the soundtrack’s full-length debut, “Karl” is a synth rich number that induces a distinctive kind of euphoria, from the first second that it floods listeners’ speakers.

H/T: SPIN

Photo credit: Arthur Andrew

Dexter’s Beat Laboratory Vol. 32

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dexter's beat lab

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.


There isn’t much better than being completely surprised and caught off guard by a track. 1788-L and 4AM have teamed up for an enthralling original that starts delicately, building up with dreamy synths. I was not ready for what happened around 1:15, when “M U L T I V E R S E” drops into bass-heavy madness. It’s pure insanity, but in the best possible way. Looking back, I should’ve known. Remember what 1788-L did with Daft Punk?


Dance music’s fascination with M83‘s “Midnight City” will never die. The nostalgia-inducing song has been remixed time and time again, as artists seek to create their own spin on it. New York duo The 1989 have put their own spin on the track — keeping much of the integrity of the original. They’ve brought the 2011 song into 2018 with a more bass-heavy beat, adding swirling synths and chopping up bits and pieces of the original to put their own stamp on it.


“Want It” comes to us as the introductory track on SNBRN‘s debut EP, U Want It. The moody, deep house vibe it exudes is simultaneously complex and simple and is primed for a dance floor. “I wanted to get in touch with my house roots and really let out my crazy side out,” he says in the EP’s description. Oh, we can tell.


Scottish producer Last Island says he’s been experimenting with French funk/house lately, as evidenced by his new original, “Good For You.” The feel-good tune paints a colorful picture full of chopped up vocals, grooving bass and a dance floor-ready beat. I can’t get it out of my head.


Drum & bass powerhouses Wilkinson and Sub Focus have put their masterful brains together to compose a mighty collaboration, “Take It Up.” With a furious pace and powerful vocals, this dream team take the drum & bass scene to new heights in a compelling track that’s guaranteed to energize crowds around the world.

Pop idol or mainstage act? DallasK combines divergent directions [Interview + Spring Break Playlist]

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DallasK Press

Orlando native Dallas Koehlke might not have been able to legally drink at 19, but that didn’t stop him from booking club sets across the country thanks to his infectious beats and mounting popularity within the electronic dance music scene. The young producer, better known as DallasK, followed his momentum and moved to Los Angeles with a plan to become the next big electronic music producer. If someone had told him that this move would lead to his production skills being the glue behind one of America’s hottest girl groups, and that his singing would be the one aspect holding his diverse roster of releases together, he probably would have found the idea outlandish.

Since Dallas’s move, now six years ago, the 27-year-old has continued to prove that his artistry can hardly be confined to a box. His diverse range of skills have opened doors for him to produce for pop’s biggest acts, release under his own moniker, and perform live as a vocalist. While his past is littered with heavy hitting electronic music collaborations with names such as Tiesto, KSHMR, and Hardwell, his future includes releasing a series of diverse singles that will singularly be held together with his vocals. Some will skew pop, others electronic, and his most recent release “Self Control” even has hints of the punk rock he listened to as a teen.

Koehlke spoke with DA about his unexpected entrance into the pop industry and how it is impacting his future in the electronic music scene. When asked whether he would like to be America’s next pop idol or a headliner at Ultra, the producer noted that his goal is to be a hybrid of the two. His ascent from electronic into pop is reminiscent of The Chainsmokers‘ journey, and it is not one we many artists successfully navigate. Despite The Chainsmokers’ immense success, the backlash they have received along the way as they have attempted to find relevance within both the electronic and pop fan communities has been severe.

Koehlke is optimistic about his future trying to bridge the two worlds together through his music, and if anyone is able to do it, he is a likely candidate. As someone who is ingrained in both scenes, Koehlke’s insights about the differences of a producer’s role in pop versus electronic music are unique. Read the full interview below, and check out DallasK’s exclusive Spring Break x Dancing Astronaut Playlist:


So tell me a little about your background.

I’ve been making dance music and touring as a DJ since I was 19 years old. I’ve done a lot of collabs with Hardwell, Tiesto, and Martin Garrix — people like that. When I moved to LA when I was 21, I met a lot of people and got into the producing songwriting world. I’ve been doing that in tandem with touring all of the time, making club records, and over the past year, I’ve been trying to figure out how I can combine those two worlds.

When I moved to LA, I never thought I would be writing songs, singing, and making pop songs for girl bands. That’s where I found myself, and I really enjoyed it. I figured as a DJ, I wanted to incorporate that because I felt like the music I was making as an artist wasn’t necessarily indicative of me as a person? So, that’s why I’m really happy with “All My Life,” and “Self Control,” because I think they are really indicative of my life. “All My Life” has all of the electro house and the drops, and “Self Control” is kind of indicative of the emo music I listened to growing up. Beyond that, the new stuff that is coming out in a couple of months will be similar and different, and I think my voice is the glue that ties is all together.

Was singing on your tracks intimidating for you? I know for a lot of people it is.

I think the thing that gave me the courage to do it is that my publishing company had an event where they wanted me to perform some of the songs I had written for other people. They were like, ‘you know you can accompany someone on guitar, or you can sing it, or someone else can sing it.’ I was of the mentality at the time that I wanted to challenge myself, and although playing guitar with someone else singing would have been cool,  I realized the way for this to be the most challenging was getting up there and singing. I had never done that before.

Even when I was in a band when I was younger, I would play guitar and bass. I was never a vocalist. So I kind of agreed haphazardly without really knowing whether I could do it or not. I practiced a bit, and then I performed “Work from Home” by Fifth Harmony, which I wrote the year before, and a Justin Bieber “What do you mean?” cover. It was pretty well received, and everyone on my team was like, “why don’t you sing- you should sing.” Then I backtracked and had all of this music coming out, and I was like, “well hey, why don’t I record these, and see if I like how I sound.” I’ve been producing for other artists, and all I’ve been doing is cutting people’s voices onto songs, so I have the knowledge of what to do. So I did it, and I was happy with the result. Everyone else was as well, so I figured that was the best way forward. It was still very nerve wracking with the live performance thing, and we are still developing the live show. Putting them out and seeing how people react is also very stressful, but it’s been good so far.

You’re career kind of began and was rooted in the electronic music world. Then you branched into pop production, and now you are even the vocalist on your tracks. In your ideal world, what does the future hold? Are you America’s next pop boy or are you headlining Ultra?

Um, that’s a really good question, and I think it’s some kind of hybrid that doesn’t really exist yet, but I’m working on it. I really do love djing, and I love the dance music community. The fans are so passionate. They always come to the shows, and they always come to the events. What I find with other kinds of music is that it is a more passive fan experience. There are alot of people online and around the world, and obviously everyone can’t be everywhere at every festival, but (with electronic music) I feel like it’s a real community, and I love that as like a live blueprint for where I see my show.

10 years from now, I hope I’m just still making dope music. I don’t know what the style will be. It’s hard to tell. If you told Kanye West when he made The College Dropout that he was going to make Yeezus 10 years after, and it was going to be all of this crazy production, and Daft Punk would be on it- he probably wouldn’t have been able to guess that. But yeah, I definitely see myself as some kind of a hybrid between a vocalist and electronic music producer. I think what I always really love about electronic music, especially with the live performance, is that it is just so powerful. Kind of like, it outperforms any other kind of music for me. I mean, if you’re at Coachella, and Arcade Fire is playing mainstage, and Skrillex is at the Sahara Tent — Arcade Fire is cool, but there is no contest. There is not going to be more energy at that stage than there is for Skrillex.

As electronic music becomes more mainstream and poppy, there has been real backlash from electronic music fans who claim that producer’s are selling out and the music is becoming formulaic. As someone who floats between both worlds, what are your thoughts on this?

I’m a fan of lots of different types of music. I see people who float between the two worlds because they are fans of music, and they don’t get caught up in a genre determining if they can like something or not. I see both sides, where people are like, ‘What is this- why are you making Revealed Records music?’ Then I’ve seen people be like, “Holy Shit, I love your old stuff, and this is really good too. I would have never expected you to make this and keep going with it.” But yeah, there are definitely people who are fans of one specific sound or one genre and want to be superiorist with that. I think with streaming platforms and people having access to so much music, genres are becoming a little less important, and that’s what makes it more feasible for someone like me to just make anything I want.

Is the creative process different for you when it comes to producing music for hip pop and pop artists versus creating your own releases? Or is it all the same creative energy for you?

It definitely has different energies, and I think in some ways making music for other people is more freeing because you aren’t restricted. If you’re the voice of something, it all comes back to you, and you are essentially responsible for that. But, if you are making a song for somebody else, and it has a sound you may not have as an artist, but it’s something you think is cool, it gives you the freedom to do that. I will say it is definitely more fulfilling releasing music as an artist, and that’s why I took this time to build my artistry as a singer and songwriter. When you give a song to someone else it becomes their song, and if you really do feel connected to it, but then it is theirs, it’s a weird kind of gray area where it can be very rewarding and very disenchanting in the same way, so making music as an artist is definitely more fulfilling for me. It does come with more challenges with what do I want my message to be, and what do I want to say. It is my voice and my songwriting on top of just making crazy productions and bangers. They are both fun. I enjoy both, and they both have their challenges, but I think being an artist is my favorite thing, and my way forward. If I write a song, and it’s pretty dope, but it’s not right for me, then that is pretty freeing because I have a million outlets to send it to. That gives me the ability to take more risks as an artist.

You’re also in a unique position when it comes to your perspective on the electronic music industry because you’re a part of the electronic music and pop music industries. Do you have observations on how these industries function differently or similarly to one another, and what that looks like?

I think the last few years, with streaming really becoming the way that people consume music, this has led to the music industry really getting turned on its head. Pop has always been focused on radio, right? That’s the way you would break an artist. Radio is still important, and it has plays, but streaming broke down the barriers and allows artists to reach millions of people easily and effectively. Even as an independent artist, you can do this without having a million dollar radio budget. That’s what was cool about electronic music. Because of the internet and YouTube, you’d go to a festival and hear a song, and other DJs would play it, it was kind of like this other way you’d view success instead of going down the radio path, which was like, you know how you became a mainstay in music in general.

With pop, they are more concerned with touring, radio plays, radio shows, and building fans online. That’s important to both worlds, but I think now, it’s the Wild Wild West. You just try stuff, and people connect to it, and if they don’t, you try something else. You know really quickly if it works. I think people have the freedom to do that now, which is really really important. Going back to dance music- a pop artist would make an album, and spend 6-8 months, and $400,000, and that album may not have any hits that people connected with. Then it’s going to take them 6-8 months, a year, 3 years, to do another album, and the record label probably isn’t going to want to put as much money into it because they didn’t make their initial investment back. With dance music it’s like, kids on the computer, going to shows, put something out, if it gets really big then great. If it doesn’t then great- I have another song that I am going to put out right now, and I think that’s the most exciting part of how that’s permeated to pop music now, and that level of quickness.

Is there a particular artist who, if you were to collaborate with this person, you’d be like- this is the pinnacle of my career, and I’ve made it?

Definitely Daft Punk, for sure. Kanye West probably too. But yeah, between those two and M83, that would be my big “wow, this is like as good as it gets.”

What can we expect from you in the next year?

Definitely more singles. I don’t have any plans for an EP or an album or anything like that. Like I said, I like the ability to move fast and see if things work, and I think my goal this year is to release more music than I have in all of my other years of making music combined, and just being able to like, put stuff out and feel like it has a home. Next couple of months it will be single after single, and I’m really excited about it.

In the meantime, Spring Break is upon us, and DallasK put together the perfect playlist to celebrate. Check out the playlist including his new single “All My Life.”