Lunar Lunes: Kaskade proves third time’s a charm with ‘Redux 003,’ Com Truise remixes Hermitude + more

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Lunar Lunes: Kaskade proves third time’s a charm with ‘Redux 003,’ Com Truise remixes Hermitude + moreKaskade Photo Cred MarkOwens

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.

Kaskade has delivered the third installment of his beloved Redux series in the form of Redux 003, featuring tunes like “Ruckus” with Sego. Com Truise puts a retro spin on Hermitude‘s “Every Day” as part of a remix pack for the single, and EASTGHOST returns to bitbird to deliver “Remote Viewing.” After premiering on Dancing Astronaut, Madeaux‘s revival of “Black Magic Woman” makes its official debut, and Wuki takes to his Wukileaks channel for “Boasty.” Shakewell reveals a remix of Dillon Francis‘ “Fix Me,” and Example releases a set of remixes for “All Night,” including Jamie Roy’s “Up All Night Remix.” Conro breathes new life into “Remember You” with a new chill mix, and Zonderling releases a remix of Dannic and Promise Land‘s “Over.” Ryos takes to Proximity to unveil “Only You” featuring Sara Skinner, and Pegboard Nerds kick up the tempo on “Back to Me.” Timmy Trumpet releases “World At Our Feet” just in time for festival season, and R3HAB links with Norway’s Julie Bergan for “Don’t Give Up On Me Now.”

The selection is updated every Lunes (Monday).

Photo credit: Mark Owens

Exclusive: Madeaux wields his unearthly, house-driven devices on Fleetwood Mac’s ‘Black Magic Woman’

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Exclusive: Madeaux wields his unearthly, house-driven devices on Fleetwood Mac’s ‘Black Magic Woman’Madeau Press Shot

An equal parts spectral and seductive presence runs through Madeaux‘s remodeling of the ubiquitous, Santana-adopted, Fleetwood Mac original, “Black Magic Woman.”

Though the track eclipsed the charts under the prestige of legendary guitarist, Carlos Santana’s 1970 release, the consequential inspiration behind Madeaux’s rework, he says, comes from Fleetwood Mac’s initial, 1968 issue, which he reveres for its enigmatic, “smoldering quality.”

“I don’t generally listen to house when I’m looking for inspiration because then I’d have the same energy as everyone else making house…” Madeaux tells Dancing Astronaut of the release. “I sought to bring [Fleetwood Mac’s] flavor to the dancefloor, whether on the poolside at sundown, or the after hours when the mood is right.”

Madeaux leaves his indelible, delicious kiss of death on his “Black Magic Woman,” providing his own sultry vocals, adding subtly funky plucks, and an oscillating bass, to boot, that shakes as if it’s all at once soaking wet and scalding. The delectably danceable, house-driven rework will make a devil out of you, too, if you’re not careful.

Dexter’s Beat Laboratory Vol. 80

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Dexter’s Beat Laboratory Vol. 80Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor 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.

Listen in playlist format here.

Korean pop star teamed HYO up with 3LAU for the sassy “Punk Right Now” in late 2018, drafting both English and Korean iterations. Months later, the track has been given a bold rework by Madeaux, who’s put his signature dark, bold stamp on it with a booming bassline and formidable builds. His steamy style works effortlessly with HYO’s unabashed vocals, and the result is a remix that’s equally gritty and cohesive. Madeaux’s rework is part of a three-track remix EP also includes takes by KUURO and Raiden.

Dutch producer Maduk has returned with a brilliantly diverse three-track EP via Liquicity Records. In the EP’s opener, “Go,” Maduk teams up with vocalist Lachi to craft a euphoric drum & bass piece that delivers the listener directly to the heavens with spirited horns and soaring vocals. “I started working on ‘Go’ one year ago and the instrumental gave me so much energy and happiness right away,’ Maduk says in a release. “I have never recorded this many brass instruments (trumpet, saxophone, trombone, tuba) for a track before, so it’s very exciting!”

French artist Icy Lust has gone through a huge life transformation over the past year. The former web developer quit his job and moved to Paris study sound engineering at Abbey Roads Institute, something he calls one of the best choices of his life. “Lots of things started to get clearer,” he told DA. “Got surrounded with inspiring people, lost myself in deeply listening to music that enhanced my moods. I started to really ask myself what do I love, feel, and what kind of stories my brain builds through those records. It has been a whole introspection, and still is.” His newest track, out now via Tasty, takes place at this turning point. It’s a beautifully and deeply introspective piece, comprised of moody melodies and lush vocals. His future knows no “bounds.”

Essenger‘s clear knack for production and knowing what “works” shines brighter and brighter with each release. The Kansas City artist has only been releasing music under this moniker for less than a year, but he’s already made a name for himself with innovative originals and unique takes on songs like deadmau5‘s “Strobe” and WRLD‘s “Rooms.” His latest is an original called “Afterburner,” which he’s branded as a “synthwave/alt.” The single is much more than either of these classifications, however. He builds slowly, with emotive vocals and twinkling melodies. The chorus, however, takes off like a rocket, with a powerful guitar melody and racing synths. It’s a gorgeous blend of nostalgia-inducing synthwave and something that’s all Essenger’s own.

Party Ghost‘s latest is a brief but satisfying number, packed with all the elements that comprise an ear-catching piece by the California producer. “Thinking About You” marks his first release since December’s “Wraith,” which was a decidedly darker piece. This latest one has a wistful and dreamy atmosphere to it, sprinkled with lighthearted melodies and subtle bass. Distant vocals of “I’ve been thinkin’ ’bout you” weave in and out between a bouncing beat, creating the easygoing environment of someone caught in a daydream. Its message is simple and sweet.

NMF Roundup: Ekali and 1788-L drop new heat, Netsky links with Lil Wanye and Bazzi, GRiZ and Matisyahu make magic + more

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NMF Roundup: Ekali and 1788-L drop new heat, Netsky links with Lil Wanye and Bazzi, GRiZ and Matisyahu make magic + moreFalls Festival 2

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.

Star-studded collaborations rule this week’s NMF. Ekali and 1788-L have joined forces to craft a formidable, bass-heavy collaboration, “R U I N,” and Gareth Emery and Ashley Wallbridge continue their powerful slew of releases together with “Lionheart.” Netsky taps Lil Wayne and Bazzi for “I Don’t Even Know You Anymore,” and Zedd and Katy Perry deliver their radio-friendly “365.” Feed Me returns for the second Friday in a row with “Sleepless,” and Kygo releases his first single of the year with “Think About You.” GRiZ and Matisyahu take a stand on gun violence in “A New Day,” and Madeaux brings a sultry, dark atmosphere with “ADDICTED2.” Andrew Bayer delivers an “In My Next Life” mix of 2018’s “In My Last Life” on Anjunabeats. Goshfather puts his own disco-infused twist on Madonna‘s “Like a Prayer” in his new remix, and Liquid Stranger teams up with CloZee for the eerie “Ceremony.” Kill Paris debuted his new album for Valentine’s Day, touting collaborations with the likes of Fatherdude, Big Gigantic, and more, and Armin Van Buuren tugs at listeners’ heartstrings via “Lonely For You” with Bonnie McKee.

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.

Madeaux offers Beach Season’s ‘Best Behaviour’ a subterranean makeover

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Madeaux offers Beach Season’s ‘Best Behaviour’ a subterranean makeoverMadeau Best Behaviour 1

Madeaux continues his nosedive into club-suited stylings with his rework of Canadian duo, Beach Season’s “Best Behaviour.”

Beach Season took a concerted liking the the LA-based Fool’s Gold vet’s rendition, including it alongside their original on their most recent album, Time & Place, from earlier this month. Madeaux certainly isn’t on his “Best Behaviour” for this stark re-envision of the formerly low-key, R&B-tinged electronica track. Lurid, pitched-down vocals and groaning bass meet mellifluous contrast alongside the windy lead synth-line.

This most recent remix selection shouldn’t surprise listeners who are familiar with his longstanding affinity for sinking his sultry production claws in nuanced electronic records, like his recent rendezvous with SOPHIE’s “Faceshopping” or Giraffage‘s “Bring Me Your Love.” This past October, he sat down with Dancing Astronaut to speak on his LIMBO EP, which served as a highly catalytic component in his sonic shift in aesthetic of recent months.

Photo Credit: Deanie Chen

Sunday Morning Medicine Vol 155 with Sylvan Esso, Chet Faker, Liquid Stranger, + more

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Sunday Morning Medicine Vol 155 with Sylvan Esso, Chet Faker, Liquid Stranger, + moreSMM 2400

Even NPR was able to “get up / get down” with Sylvan Esso‘s 2014 indie sensation, “Coffee,” featuring the track on their Songs We Love list that June; now, four years later, it’s topping DA’s Sunday Morning Medicine chart. The mellifluous melding of Amelia Meath’s Norah Jones-esque, light Soprano intonations with Nick Sanborn’s twinkling xylophone and bell chimes is the ideal backdrop for a comfy-cozy Sunday spent reading or wiggling one’s toes under the covers.

While Nick Murphy may have laid his Chet Faker alias to rest a few years back, his lengthy catalog of soulful downtempo and trip-hop remains. Let the long-winded, jazzy saxophone and languid vocal harmonies executed by Murphy himself on “Talk Is Cheap,” carry you to distant domains, away from workday woes.

Longtime Monstercat maven, Mr FijiWiji has since toned down his formerly fervent style, a departure exemplified on his most recent album, Lost Lost Lost, from which “Reality Is More Beautiful” arrives. While the song may tout arrestingly plaintive piano chords and somber strings, likely mirroring your end-of-weekend sentiments, the lyrics, embodied in the track’s title, introduce the promise of a halcyon love capable of brightening the dreariest quotidian weekdays.

It’s no difficult feat to fall sweet victim the ambient allure of a Liquid Stranger production. Pour a cup of cocoa in your favorite cat-themed mug and just “Dissolve.”

Madeaux flexed his profound sonic range and narrative predilection this year with his LIMBO EP, the vessel through which he dropped off “HIGHER.” A blissful exodus from his shadowy subterfuge, the track, with its rectifying progression and lush instrumentals, emulates eclipsing emotional mountain peaks—quite apropos for combatting those nagging Sunday scaries.

Madeaux recounts his indoctrination into club culture with ‘LIMBO’ EP [Q&A/Review]

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Madeaux recounts his indoctrination into club culture with ‘LIMBO’ EP [Q&A/Review]Madeau Limbo 1

Meticulous producer, inspired raconteur, and collector of raw, visceral aesthetics, Madeaux has fashioned a brand-new EP, LIMBO, that’s brimming with both inventive artistic evolution and thoughtful narrative mapping.

The LA-based Fool’s Gold talent (real name, Andrew Berman) is never reluctant to douse his work in introspection–which is precisely what makes his sound so compelling. A product of his prolific dwelling in hazy backrooms of clandestine locales, his latest three-part collection sees Madeaux immerse himself in club fervor. For an artist already so well-versed in pulsing, sensuous soundscapes, the transition over from hip-hop/r&b-influenced house was seamless.

LIMBO is a redemption tale of sorts; but not at all of the nature one might assume. Instead, drawing from hedonism rooted in reality, the EP mirrors Madeaux’s own journey, navigating the dizzying inner-workings of the industry and its often anesthetizing (literally) side-effects. Adopting the age-old spiritual paradigm to fit his own narrative, the EP follows Madeaux through his period of surrender to the insidious decadence of after-hours culture: “FEEL FREE,” with its desire-laden, throbbing bass and breathy vocals. His reflective moment of realization and subsequent suspension between worlds, “LIMBO,” is distinguished by its pensive synth-loops and repetition-heavy vocal cuts. Finally, his emotional breakthrough arrives, bringing with it, for Madeaux, the ability to create substantial, authentic relationships as a result of his craft. “HIGHER” is benevolent by design, with lofty chord progressions plugging alongside a blanket of vapory textures.

To coincide with the EP, Madeaux has been organizing his multi-national Limbo parties, which are characterized by carefully curated, wide-ranging lineups, and a slew of live elements, like his use of his own vocals, which he effortlessly weaved into the new EP itself. Madeaux sat down with Dancing Astronaut to expound on his stylistic progress, his influences, and imminent projects.

Can you expand a little bit on your musical timeline and what brought you to want to explore a new, more club-ready sound?

I’ve been spending a lot of time DJing warehouses in LA and that environment made me want to make more music that fit that territory. It came to a head when I decided I wanted to throw my own parties, and made the LIMBO EP in line with the inspiration I had for that series.

How does this new EP embody that exploration?

LIMBO characterizes a journey I’ve made in the six months since my album dropped. I wasn’t necessarily so familiar with the warehouse/after-hours scene when I was writing my album, but the release party was so successful it made me think perhaps this zone was a good place for me. In the months since Burn released, I’ve been learning much more about the scene and myself and it’s been a blast to transform that energy into a record.

Your multi-track collections tend to be quite elaborate from an emotional, sensory detail perspective. Can you elaborate on what about Limbo makes it a worthy concept in your eyes?

The EP is a story in three parts, corresponding with the records. In the after-hours environment, there is undeniably a focus on hedonism, something I have certainly indulged in. With the opening track, I laid out how seductive it is to be in an environment where you can entertain your every desire. I wanted to create this environment for people with my events, a place where they were free to make any choices they wished, and “FEEL FREE” put that aspiration to music. However, over time I began to realize that I was in a cycle of partying and not always of a beneficial kind. Certainly nothing is black and white but I felt like I was in a loop of sorts that made me wonder whether I had to some extent lost my way, hence the second record, “LIMBO.” My conclusion in “HIGHER” was that the core of my vision was engaging with people in a meaningful way, and only through building real relationships could we really reach somewhere worthwhile.

Where or whom have you been drawing influence from lately?

I draw the most influence from the people I meet. I used to be quite introverted and had difficulty connecting with people so now, I love the opportunity to listen and do what I can to understand them. Visual art is another influence, my friend who is directing the photography for my project put me onto Rothko, specifically to demonstrate how even dark, moody tones can be electric, vivid. This concept has informed my production heavily.

How have you been translating these themes into your live experience: the Limbo parties?

I want to create something different than a standard house/techno warehouse party. I organize lineups based on style, not genre. For example, bringing Viktoria Modesta out to do her first DJ set in LA when I know she plays avant-garde electronica and vogue records, even though that strays far from the norm of the parties here. Or being in Seoul and bringing out DJ Wow, who is effortlessly flipping disco into melodic tech into hip-hop, while wearing a Fool’s Gold jersey no less. A lot of new events focus on inclusivity as a brand, sometimes even at the expense of the music. I don’t think they need to be mutually exclusive.

You mentioned you have quite a bit of work in the pipeline. How does this body of work interact with or compare to what’s to come?

I am definitely invested in club music primarily for the foreseeable future. I’ve recently been signed to Spin and I want to bring my sound to dance-floors everywhere so I intend to write records that break the mold in those spaces. However, the primary intention behind these tracks is to bring a singer/songwriter touch to the club environment. I have started singing live and want to continue developing an experience that gives more than a pure DJ set.

Biggest road block you’ve encountered in your journey thus far?

When trying to build something novel, it’s hard to find your place in the world. I’ve always been an outsider, and while I am thankful for who that has made me into who I am today, it comes with its own share of difficulties when trying to engage with a scene as a whole. However, any curse is a blessing if you’re willing to look for it, and I’ve learned that if you fit in nowhere, you fit in everywhere. I’m everywhere now.

Photo Credit: Bellamy Brewster

SOPHIE – Faceshopping (Madeaux Remix)

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madeaux faceshopping

Just a few weeks ago, Madeaux set fans aboard the house/r&b hybrid rollercoaster that is “The Wave.” Now, however, delivering his remix of SOPHIE‘s noise-pop track “Faceshopping,” Madeaux is letting the world know his winding ride of rippling releases has yet to reach its apex.

For months, Madeaux has been releasing fiery fragments off his forthcoming album, Burn, including the utterly sensual “Sweat” and the dark, pulsating “Run With It.” The 12-track LP has seen the Fool’s Gold artist pour two years of his life into what he describes as an uphill journey towards “self-actualization.”

Revering the hyperkinetic SOPHIE’s work as “top-tier,” Madeaux adopted her avant-garde synth pop version of “Faceshopping,” and introduced it to some good old-fashioned four on the floor hip-shaking sensibilities. Within the brimming dance cut remain only subtle elements of SOPHIE’s highly-texturized precursor. Madeaux has swapped SOPHIE’s serrated synth patterns for thumping basslines, and tinged the breathy female vocals with highly seductive reverb.

Featured photo by Calvin Wilkins

Madeaux releases final single, ‘The Wave’ from upcoming album

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madeaux (1)

After a heady string of pulsating releases, Fool’s Gold‘s Madeaux unveiled the final single, “The Wave,” featuring BRUX, off his debut album, Burn. The young LA-based producer has been toiling away at the forthcoming collection for two years, describing it as a “self-actualization instruction manual,” in an era in which people “like, follow, and view everything, yet value nothing.”

The LP highlights Madeaux’s devotion to creating the most robust, sensual sounds he can muster. Also on the LP are a potent collection of featured artists and songstresses, including Class Actress and Black Atlass from Madeaux’s throbbing track, “Sweat.”

“The Wave” flaunts some fresh innovation from Madeaux, adding to his characteristic blend of lustful r&b and tenacious warehouse elements. The song begins with a downtempo display of soft percussion paired with BRUX’s entranced brooding over the spell she’s under. But there’s a swift changeup, moving into some playful, club-worthy breaks, as BRUX relents, “Don’t fight it / Just ride the wave.”

Madeaux – Sweat ft Class Actress & Black Atlass

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Up-and-coming Fool’s Gold artist, Madeaux, has released his second single, “Sweat,” from his forthcoming debut album, Burn, set for release Jan. 19. The LA-based producer has spent the past two years pouring himself into the upcoming album, defining it as a “self-actualization instruction manual.”

“Sweat” is a fitting characterization of Madeaux’s dark, progressive house sound. The track features pitched-down bass lines, and 90s warehouse-reminiscent kick drums, evocative of the listener’s own inherently pulsating heart. Facilitating the track’s seductive tone are Class Actress and Black Atlass’ intermingling vocals, heavily saturated with desire: “I’m gon’ make you sweat tonight.”

Read More:

Madeaux announces debut album, drops fiery single, Run With It

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