After 14 UP EPs and a grip of tracks released on deadmau5‘s mau5trap imprint, No Mana releases the first single from his debut album, Secret Level. The track is called “Strangers,” featuring serene, airy vocals from Jantine driven by bright, stabbing synths whose reverb grows with the anticipation of the track. After the air is let out at the point of tension, a calming trance atmosphere takes over with the kick and synths taking center stage. The the vocals join the melody and percussion for a progressive cooler. “Strangers” is the first from No Mana’s 11-track debut album, set to drop Friday, February 14. Secret Level is set to evoke a sense of progressive bliss, with punches of No Mana’s love for tech-house and trance throughout.
Starting January 24, No Mana will embark on a 13-date headline tour across North America featuring support from the likes of Bentley Dean, Speaker Honey, Sian, and Sysdemes. Click HERE for ticket info.
It may not seem like it through the lens of an Instagram filtered helicopter ride, but that doesn’t negate the fact. Artists require honest feedback on their work for the sake of progress. But they equally require encouragement from peers, critics, and consumers. When they’re receiving both, the music scene is at its healthiest.
The union of encouragement and appraisement invoke a sense of balance under the critical microscope. Honest feedback is well-rounded and multi-pronged: pointing out well-founded shortcomings, areas of oversight, regression, or misguided efforts, while real encouragement resides in helping the artist make use of critiques. Too much of either and the scene stalls.
Power like this, on both ends of the artistic experience, is frequently abused, often unknowingly—with people wielding words like weapons, either unaware or irreverent of their impact. Apathy, in this particular regard, in both fan response and critical exegesis is starkly embodied in Getter, who months after being abused about the shift in sound on his latest album Visceral is once again playing shows, producing music, and contributing to social media.
“No matter what you think, we are all humans with the same emotions and thoughts,” Getter tells Dancing Astronaut. “You have to remember that musicians aren’t here to serve you music sculpted by fans on a platter. There’s shit you’ll like, and shit you’ll hate, with every artist.”
An excess of encouragement means lackluster music permeates through the helm of the industry unchecked. On the inverse, too much criticism can stifle an artist’s creativity, curbing their hunger to try new things.
This illusive balance puts artists, critics, and fans in a precarious position. Unfortunately baseless detractors are often the loudest. And critics and fans, now equipped with the ubiquitous social media mouthpiece, have to be conscious of the power of their input.
Those familiar with Getter know that Visceral is a glaring shift in both sound and style from the jarring dubstep upon which he carved out an indelible niche. The album came out on deadmau5’s mau5trap label housing—known for its ghostly and symphonic approach to dance music.
“I’ll always be proud of Visceral,” Getter says. “Moving forward, I want to put out all kinds of music and mix it up. That way everyone’s happy.”
Getter was admirably trying to expand his musical range with Visceral; yet the most pervasive feedback he received from listeners on his album and tour was vile, hurtful, and downright destructive. So much so to the point that he eventually cancelled the remainder of his tour dates.
In an emotional address to his social media, Getter said,
Consider the gravity of Getter’s statement. Visceral long stood as the focal point of his life, albeit a luxurious life that’s coveted by many and shared by few. However, the razor-tongued naysayers who opted to use this fact to excuse their myopic comments are egregiously misguided. Money and VIP vacations don’t assuage robbing someone of their professional resolve.
Those who have spent a minimal amount of time on the internet know that its inherent separation from face-to-face interaction invites cruelty to run rampant. Because the chances of tangible retaliation are practically non-existent, it’s an open door to proceed without caution.
“At the end of the day, social media is enabling a part of your mind that you wouldn’t normally notice,” Getter says. “It inflates your insecurity.”
For the most part, it’s not against the law to type hateful things. If Getter was someone’s dubstep idol, and that person spent money to watch his Visceral tour only to discover that he wasn’t going to play any dubstep, that person has a right to be disappointed in the show.
That person does not, under any circumstances have the right to attack Getter personally. That pushes the needle nowhere and incites progress for no one. Not Getter. Not the person posting. Not the dance music community as a whole.
Getter’s a professional, though, and he audibly attempted to hear the concerns from his detractors and act on them. He understands that he needs to take feedback seriously if he’s going to succeed as an artist, and he tried his best to do so:
“Been thinking about the criticism of the visceral tour so far and have started to adjust a lot of shit in the performance,” Getter wrote to Twitter. “It doesn’t make sense for me to expect everyone from previous shows to be 100% down w the new stuff. Ima make this super special thanks for the pointers”
He acted professionally. Made adjustments to his set. But the trolls whittled his patience thin.
When he canceled his tour, he emphasized the importance of honest criticism:
“Criticism is healthy. My friends and I frequently critique each other’s work and it helps the final product. However, the constant hate and the disgusting attitudes I’m faced with are destroying me.”
As Getter noted, artists are not hired guns, paid to deliver a singular product to an eager, esoteric fanbase. Art is too often reduced to a commodity, and the state of music suffers.
The only reason to be so upset with an artist’s performance that it merits condemnation is if they’re too intoxicated to perform, show up late, or bail on the show. Other than that, it’s mutually understood that they’re doing their best to deliver for the crowd and themselves.
“I think that sometimes people forget what a concert, or a live performance is. For a lot of musicians, you go in, do the job, and leave. It’s a paycheck, it doesn’t have to be a well thought-out performance. But… you should remember that you are going to see them… if you truly appreciate an artist, you’ll know if its done for money or for the art. And if you’re going see your favorite artist or any artist for that matter, rather than thinking about how much it sucks or if they are selling out cuz of a new style, think about what they are giving the crowd. Maybe you don’t like it, but maybe someone around you is really attached to it.”
Again, there is a balance to consider here between criticism and encouragement. If negative comments can have such a staunch and lasting effect on him, then positive comments would theoretically do the opposite to a similar degree. It’s possible to share a negative review while praising an artist’s will to experiment in a single stroke of communication.
If every artist were condemned when they wanted to try something new with their music, the scene would go nowhere. Everyone would be stuck making the same songs over and over again, and dance music would die. Consumers need to understand this fact. But this is also why critics also have a necessary place in music, as Diplo recently articulated.
music journalists gotta eat too even if they dont like our music. we need critics
Among critics, Visceral was a modest success. Some reviews were more critical than others based on the more concrete musical merits of the album (which is commonplace given their subjective nature). But most of them were complimentary based on Getter’s willingness to expand his sound and express his emotions through his music.
Being a frequent habitué of digital critique in music, most critics are inclined to praise artists who try to expand their sound with verve. They often understand that is how the scene moves forward; how new sounds come about. This level of praise for Getter was probably one of the reasons he threw himself into his Visceral tour with as much vigor as he did, and in that sense, the critics did a good job. They encouraged Getter to continue on his musical journey.
“Critics stir shit up. They tell you what they think. And that’s fine, the world needs people to be real sometimes. I always appreciate constructive criticism, or if someone calls something ‘trash’ that’s fine too. But the understanding of why is a little more satisfying. There’s no comfort point you get to as a musician, you always want to move forward, good or bad, movement is key. Trying new things, innovating.”
Unfortunately, critics can often be too encouraging, as represented across every genre of music in the modern scene. When critics stop doing their jobs properly, commercialism has its way with music, and that’s exactly what’s happening right now.
This is why Instagram personalities are signing record deals. The general public has meshed the ideas of what sells and what’s good which is a result of critics cowering to offer honest and well-founded opinion.
Believe or not, people still listen to critics. People hear about albums that are widely praised like To Pimp a Butterfly and Lemonade because those albums deserve every bit of admiration they receive. So when critics let cookie-cutter party tracks pass unchecked, it devalues authentically brilliant music, it inflates the egos of the artists, and it erodes the role of critics themselves thus opening the door for the debate Lizzo started recently.
After receiving a few lukewarm reviews (alongside an influx of exceedingly positive ones) on her album Cuz I Love You, the steadily ascending pop artist tweeted:
“PEOPLE WHO ‘REVIEW’ ALBUMS AND DONT MAKE MUSIC THEMSELVES SHOULD BE UNEMPLOYED.”
The fact is, it’s better for non-musicians to review music. That way they focus on the product itself rather than the process. When critics review an album, they aren’t reviewing the effort the artist put into the album. They’re reviewing the album itself. If an artist were to do that job they would be inherently biased simply because they understand how hard it is to produce an album.
Critics understand the effort in the abstract, but their job isn’t to pat the artist on the back for trying. Their job is to explain the merits of the final work. In a perfect world, every album would be the best of the best, and the artists who made the best music would be the most successful. Of course, the world isn’t perfect and the music business will never work that way, but the critics are obliged to do their best to make it that way.
That includes being truthful when a piece of music isn’t up to par. Think about it. Just like when critics universally praise album, if critics universally denounce an album there’s a considerable chance that the album simply isn’t good. This is how inspired artists are separated from the contrived. A true artist will take that criticism and work harder as Getter did. Untrue artists will point fingers and find fault in critics.
It’s not right for any artist to have to cancel a tour, as Getter had to, after receiving endless vitriolic pelting for taking a chance. That is not the dynamic this industry needs. The artistic reward system for thoughtful risk is, frankly, off-kilter as it is now.
Music is, of course, subjective. Everyone is entitled to their own opinion, and no piece of music is loved by literally every human being in the ear-having macrocosm. But objective elements of quality are inseparable from music as well. That’s how songs like “Imagine” by John Lennon can actually change the world. Regardless of whether one or two people (including your humble author) don’t like the song, it is expertly written, exquisitely performed, and culturally galvanizing to the point that it helped inspire a generation to do the just thing.
This may come as a surprise, but talented artists are making music of that caliber every day, and with the right support system from fans and critics that music will come to light and change the world all the same. We here at Dancing Astronaut are fans and critics alike, and we do our best to support artists like Getter in this way because they are people, too.
ATTLAS’ latest builds on the sonic themes of his preceding single “Sinner Complicated;” both tracks achieve multiple aural auras and qualities without compromising their core identities. Additionally, digital artist Cyclo joins ATTLAS again to provide accompanying polychromatic visuals. So far, all signs are indicating that Lavender God should be an excellent exhibition of ATTLAS’ strong artistic vision.
The ninth installment of mau5trap’s annual we are friends compilation hits the streets Dec. 13, giving fans of the label’s production-heavy sound a smattering of 23 tracks to spin this holiday season.
First and foremost on the release (both figuratively and literally) is a refreshing new take from the deadmau5 himself in “ASEED,” a tune that starts somber and evolves into a symphony of acid synths and broken beats. The man behind the mask has been dropping the track for the better part of two years, making “ASEED” one of those elusive IDs that diehards have fawned over for years.
We are friends vol. 9 goes on to feature some of mau5trap’s finest homegrown and up-and-coming talent, next highlighting the whimsy-filled soundscape of ASHE with the sputtering melody of “Human.” One area that mau5trap has been highly successful in over the years is in defining its own sound as a label. WAF 9 drives this point home, with tracks like “Magmagat” by Egomorph, which acts as the eccentric cousin to deadmau5’s 2009er “FML,” sharing strands of pulsating bass DNA with the iconic song from the label boss’ For Lack of a Better Name.
Additional highlights on the release include Corvad’s bass-forward and careening “I Am Control,” with a vocal sample reminiscent of Adam Freeland’s “We Want Your Soul” and “Wanted,” a deep-electro collaboration between the ever-rising C.H.A.Y. and Monstergetdown.
We are friendsvol. 9 is available now for both stream and purchase.
Take a psychedelic trip with ATTLAS on his video for his latest single, “Sinner Complicated.” The track’s visuals feature a plethora of kaleidoscopic images, each fluidly morphing and shifting along with the audio. Thomas Moore’s visuals are a strong compliment to ATTLAS’ future house production, vacillating between active and atmospheric instrumentals. Moore, AKA Cyclo, wrote the following regarding his work:
“After listening to this track for the first time, I knew I wanted to create a journey through a surreal landscape—one that started out as something very familiar. But as the track progresses, the journey evolves into the unknown. I have always been inspired by the music ATTLAS makes and the experience it delivers, so I wanted the visuals to match that.”
“Sinner Complicated” precedes ATTLAS’ debut album via mau5trap, Lavender God, due out in 2020. ATTLAS was recently named one of Dancing Astronaut’s artists to watch in 2020, and his latest track should certainly have fans anxiously waiting for his 2020 release. ATTLAS described the production on “Sinner Complicated” in a press release:
“‘Sinner Complicated’ is a textured and atmospheric roller that progresses with narrative intention from the beginning. It’s a good first introduction to the album as well – the melodies through both the track and album are much more a result of live performance, and the arrangements let their energies ebb and flow with an almost restless spirit. Freedom and the grand mystery are the themes that drove me throughout the process.”
While deadmau5 is most widely known and appreciated for his legendary progressive sounds in hits like “Strobe” and “Ghosts N Stuff,” it’s no secret that the producer possesses a strong command of other genres. His techno-leaning side project testpilot is evidence of this. Therefore, while his new single does not “FALL” completely in line with the styles of his historical discography, one cannot be surprised that it is still of the highest of quality, and is sure to excite his dedicated fanbase.
“FALL,” released via the mau5’s own mau5trap label, is a seven minute journey through the grittier side of electronica. Overflowing with afterhours energy, it’s en route to becoming the producer’s next anthem as he rinses it through his upcoming tour date. “FALL” is a fitting sequel to deadmau5’s recent originals “SATRN” and “COASTED,” and it will be interesting to see what the mastermind has lined up next. Catch him on his remaining Cube v3 tour dates here.
After kicking off 2019 in style with the release of his new album, High Street Creeps on mau5trap, Feed Me is now closing out the year with another new high-energy electro production entitled ‘Nothing Hurts Like You’ (feat. Sam Calver).
Jon Gooch, better known as Feed Me, has always been known for his diversity and lack of restriction when it comes to making music. Those familiar with Feed Me have heard his use of numerous tempos and styles and that is just one of his projects after all. He also dons the title Spor when he produces jungle-leaning material and even had a brief melodic stint under the name Unicron.
Of late, however, Gooch has kept it in the realm of house, and ‘Nothing Hurts Like You’ continues this trend. Being released on Spinnin’ this track flaunts a more pop-infused aesthetic than many would expect from Gooch, but his undeniable talent and taste see him pull it off with precision and grace.
Midoca has released an emotional five track EP drenched in reverb and gritty ambiance, Dry The Rose, through deadmau5‘s mau5trap imprint. With a haunting vocal tones and themes of struggling through modern relationships, the project proves a vulnerable sharing from the LA artist. The intro sets the tone without lyrics, presenting a melodically beautiful set with a radio static ambiance that creates a unique atmosphere for the emotive singer/songwriter. There’s a side of slow emo rock that protrudes throughout the vocal melodies, telling stories of of heartache, love, and self-realization through heart-beating percussion.
Earlier this year, the producer released his Beautiful Story, Ugly Life EP that touched on his capacity for love after being raised by an addict. After years in therapy, this new project represents the next chapter in previous thoughts he might have had about himself .
After a huge year of bringing hard-hitting techno sounds to a wider audience, i_o—real name Garret Lockhart—is closing out 2019 in fine style. He just released ACID 444, a four-tracker which will serve as the first part of his upcoming three-part album series entitled 444.
As the title suggests, all four of the tracks harbor the unmistakable wonky sound of the 303 that carved out an entire genre. Being a mau5trap release though, the symphonic influences of deadmau5 and i_o’s mix of throbbing and groovy sounds all fit together like a dance music jigsaw puzzle.
Details surrounding the other two parts of i_o’s three-part album have yet to surface but given his reputation for ambition and innovation, the smart money says to expect more trendsetting four-on-the-floor beats.
The cat’s out of the bag: mau5trap’s new day of the deadmau5 mix is here to slay.
Mixed by deadmau5 himself, the hour-long Halloween treat highlights some of the talent that’s fleshed out mau5trap’s menacing bass-forward sound over the past 16 months. Let’s be honest though—it wouldn’t be a deadmau5 Halloween mix without “Ghosts N’ Stuff,” but day of deadmau5 is largely a coming-out party for some of the label’s upcoming acts. The result is a mix that covers the majority of the current dance music spectrum, diving headfirst into the mosh pit with tracks from Callie Reiff and Getter, while sprinkling a bit of techno dust onto the mix with a handful of tracks from i_o, who is proving to be less a flavor of the week and more a flavor of the year with his constant stream of techno-infused heat.
day of the deadmau5 mix is now available now through Apple Music, for those daring to get their spook on.