Tommy Trash links with i_o for progressive house heater, ‘Let Me Go’ featuring Daisy Guttridge

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Tommy Trash links with i_o for progressive house heater, ‘Let Me Go’ featuring Daisy GuttridgeTommy Trash I O E1549984854529

i_o joins Tommy Trash, the “Reload” producer with Sebastian Ingrosso and John Martin, in his return to progressive house with their new single “Let Me Go” featuring Daisy Guttridge. In fact, one of the last songs Tommy Trash released was with i_o about a year ago: “Oxygen,” also featuring Guttridge. Whereas the former was released on Spinnin‘, this time around deadmau5 showcased the collaboration on his mau5trap imprint.

“Let Me Go” begins with Guttridge’s soothing vocals making their way to a bed of synths that lead into arpeggiated plucks a slow build. These plucks are maintained as the lead melody amidst a progressive house rhythm and vocal fills.

i_o represented on Dancing Astronaut’s Ones to Watch in 2019 list with a stellar 2018 from his debut EP, ANALOG//DDoS, all the way to his most recent bass-centric Low EP. Teaming up with Tommy Trash continues to add credibility to the rising star.

Feed Me unveils dazzling first glimpse of his forthcoming LP, ‘Feel Love’

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Feed Me unveils dazzling first glimpse of his forthcoming LP, ‘Feel Love’Maresdefault 8

Jon Gooch’s legendary Feed Me alias has returned with “Feel Love,” a gorgeous progressive single off his upcoming High Street Creeps LP.

After an epic return to mau5trap with 2017’s Existensial Crisis EP, Gooch took his time crafting his first full-length effort since 2013’s Calamari Tuesday. After over of forced fasting interrupted only by a couple features and remixes, 2019 figures to be the year of Feed Me with a new album and live dates featuring his infamous TEETH live stage on the way.

For now, fans whet their appetites with the album’s first delicious morsel. “Feel Love” is an instant classic, pairing evocative and soaring vocals from Rosie Doonan with Feed Me’s crisp and crackling instrumentation. The producer’s take hearkens back to his earlier progressive-tinged tracks like “Relocation,” with a dash of wistful indie pop melancholy mastered in past hits like “Love Is All I Got.” It’s a brilliant first volley from Gooch’s return, and fans shouldn’t bother reading too much into “Feel Love” as a clue of his LP’s sonic character–with Feed Me on deck, it’s a good bet to expect the unexpected.

deadmau5 confirms date for third level of mau5ville

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deadmau5 confirms date for third level of mau5villeDeadmau5

Just a few days after the release of his first-ever film score for Netflix’s Polar, deadmau5, via mau5trap‘s Twitter page, has confirmed he’ll be unveiling the third installment of his mau5ville album series Feb. 1.

Per a tracklist obtained by Reddit user Good4Josh2, the album will host a number of native mau5trap faces, including No Mana (“Quests with Time Limits”) and C.O.Z. (“Over”), as well as a number of official remixes from the likes of Mark Mackenzie, OFFAIAH, and more. Level 3 will also host another original collaboration between mau5trap’s fearless leader and Shotty Horroh (“Are You Not Afraid”).

The first pair of mau5ville compilations birthed now-hits like the Rob Swire-propelled “Monophobia,” (Level 1) and deadmau5’s long-awaited collaboration with Lights, “Drama Free,” (Level 2).

Photo Credit: Rolling Stone

Deadmau5 – Mau5Ville Vol. 3 [Tracklist] – coming out this Friday from r/electronicmusic



Tinlicker continue their crusade to progressive success on ‘About You’ EP

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Tinlicker continue their crusade to progressive success on ‘About You’ EPDwoQFGUcAEa1n6

2018 was an impressive year of brand building for Tinlicker. The Utrecht-based duo erected a strong point of view in their own unique progressive sound with consistent original and remix releases throughout the year. It’s clear that they’re not stopping this momentum any time soon with the release of a four-track EP on mau5trap. This time, About You takes us through a story told in an ebb and flow of dark melodies. Its title track, for example, is a bittersweet vocal tune that tugs at the heartstrings with warm synth progressions and a soothing low-end. This emotive atmosphere turns out to be a motif of the EP,  manifesting itself through mysterious riffs in “Gone Girl,” stark melodies in “Less Than A Minute,” and finally, through classic deadmau5-inspired synthwork in “Patchwork.” It’s safe to say Tinlicker are looking like dance music juggernauts in 2019.


Listen to deadmau5 ‘midas heel’ EP from the Netflix movie

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Listen to deadmau5 ‘midas heel’ EP from the Netflix movieDeadmau5 Lights

deadmau5 has released a two-track EP teasing his upcoming original score for the Netflix movie Polar. The film’s eye-catching trailer appeared the same day as the EP’s release on YouTube, captivating viewers through Mads Mikkelsen pouncing from the darkness, guns blazing, and very notably, deadmau5′ own track “drama free” — hot off mau5ville: Level 2.

Polar is a live-action adaption of Dark Horse Comics’ graphic novel of the same name written by Víctor Santos. The novel follows international hitman Kaiser Black through an icy landscape after he is forced out of retirement when an assassination attempt is made on his life. The comic is full of gore, mostly action, and is known for its being rendered entirely in sharply delineated black, white, and orange.

Swedish director of the film, Jonas Åkerlund is known for directing music videos and is a drummer himself, so one can infer the amount of attention he put into the score for this film and the amount of confidence he has in deadmau5. Many graphic-novel-turned-films have been hailed for their mellifluous score working seamlessly with violent choreography. Given Polar‘s beginnings as a comic, the trailer/EP release, and general plot — the sonic tone is sure to hold weight over this momentum and success of this film.

The main and title track of the EP “midas heel” comes off as a six-minute requiem, dark, brooding, and cold. The steady tech beat accompanied by sharp violin, and synths plucking have the listener looking over their shoulders, scanning their peripherals, and grasping for the warmth of a recently fired gun. It is stalking filled with lulls for doubt to seep in and remains distant yet within arms reach for the duration of the track as if it could touch you the entire time.

The full soundtrack, entirely produced by deadmau5, will drop Jan 25 the same day as Polar becomes available for streaming on Netflix.





Have a look at the creative process behind deadmau5’s Cube 3.0 [Watch]

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Have a look at the creative process behind deadmau5’s Cube 3.0 [Watch]37199673 195164537819632 1391795787335204864 O

deadmau5‘s innovative genius knows no bounds, as the mau5trap label head’s current technological challenge, the Cube 3.0, illustrates. As deadmau5 prepares to present his new cube-ular setup during his headlining slot at Ultra Music Festival 2019, he’s shared some sneak peeks of the new and improved Cube through his Twitch channel, the live streaming platform that, in the past, has been deadmau5’s medium of choice for teasing unreleased music, like his Rob Swire collaboration, “Monophobia.”

deadmau5 recently returned to his virtual Twitch stomping ground to share a Cube 3.0 progress update with his fans. The mau5ville compilation curator has streamed more than 24 hours of his work on the Cube thus far, which show the producer tinkering with a variety of different software programs like Cinema 4D and Houdini FX, to usher the Cube 3.0 from idea to reality. His latest latest Cube 3.0 video report is the most comprehensive to date, in its depiction of the cube’s intended shape, the surrounding stage design, and the cube’s LED styling. deadmau5 enthusiasts can follow live developments of the Cube 3.0 by subscribing to his Twitch channel, here. Channel subscribers will receive a notification when deadmau5 next goes live, so followers can be sure not to miss a minute of the creative action.

Watch Cube Things from deadmau5 on

mau5trap delivers ‘We Are Friends Vol. 8’ compilation featuring i_o, No Mana, ATTLAS, and more

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mau5trap delivers ‘We Are Friends Vol. 8’ compilation featuring i_o, No Mana, ATTLAS, and moreMau5trap We Are Friends 8

deadmau5‘s mau5trap imprint has delivered its eighth rendition of the We Are Friends compilation series, comprised of 35 tracks from the label’s repeated repertoire, along with a variety of up-and-comers. The three-and-a-half-hour run time showcases familiar faces such as i_o, with a remix of deadmau5’s “Imaginary Friends” from the label boss’ orchestral Where’s the Drop? compilation albumOther notable producers on the project who demonstrated stellar growth in 2018 include No Mana, ATTLAS, and EDDIE.

A grip of newcomers dominate the audio engineer-themed soundscapes that span the collection of songs. Unique in arrangement and cinematic in nature, deadmau5 continues to push the limits of modern electronic music through sound design and collaboration. To mark the start of festival season, Joel Zimmerman is set to unleash a live performance with his cube 3.0 worldwide debut at Ultra Music Festival.

Good Morning Mix: Rinzen tears down Printworks London with atmospheric set

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Good Morning Mix: Rinzen tears down Printworks London with atmospheric set46819839 1956783644417385 1481648088010457088 N E1545335800376

Rinzen has had a monumental 2018. From deepening his ties to the mau5trap community with his “Monophobia” remix and Exoplanet EP, to touring some of the UK’s finest underground venues, the LA-based artist has shown serious development. To cap off his year, Rinzen has now shared his set from Printworks London back in November.

Cycling through his own tracks (released and unreleased) and killer cuts from Maceo Plex, Stephan Bodzin, Tale of Us, and more, Rinzen offers up some prime techno that packs both hard-hitting beats and ambient textures. Reflecting on the night, Rinzen notes that Printworks “was hands down the coolest venue [he’s] ever played, and one of [his] favorite set’s [he’s] performed as well.” With one of London’s craziest venues under his belt, we can only expect bigger and better things coming from Rinzen in 2019.

Sunday Morning Medicine Vol 157, with Duskus, Boston Bun, ATTLAS, + more

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Sunday Morning Medicine Vol 157, with Duskus, Boston Bun, ATTLAS, + moreSmm@0.

Sunday Morning Medicine is a feature from Dancing Astronaut dedicated to the mellower side of electronic music. We bring you our favorite therapeutic selections—old and new—in attempts to alleviate the agonizing effects of a long weekend of partying.

Lane 8/This Never Happened young gun, Anderholm, is first on the scene with his mellifluous chord progressions and clattering percussion to rouse the sleepiest listener from the worst alcohol-induced slumber. “Timecode”‘s subtle splendor is like a gentle reminder to reacquaint oneself with the universe.

The San Holo-housed, Duskus‘s most recent single, “Where To Go,” has the technicolor tenderness to make your Sunday morning neuroticism cower in its tracks. One rendezvous with the track’s minimal magic—led by simple, saccharine vocal intonations and a deliberate, ardent beat—counts as full weekend’s act of contrition.

Parisian house project, Boston Bun, knows how to not only pull, but full-on yank on the heart strings. “Missing You” exemplifies the Ed Banger producer’s ability to make poignancy feel like ecstasy—which is unanimously at least mildly applicable for some good-old-fashioned requiem for the weekend.

Anjunadeep duo, Eli & Fur, can leave any purposeful listener in utter awe, bringing emotive, cinematic tension to each and every record they let loose in the oh-so-saturated blogosphere. Rodriguez Jr. recently got his hands on “Night Blooming Jasmine,” and even Eli & Fur took a liking to the outcome, bolstering the rework in their sets as of late. The newfangled rendition offers fluttering synth-patterns and the original’s hazy, incantation-like vocalizing, in remembrance of that hazy, sublime figure from the club last night who scampered off just before you could catch her name.

ATTLAS‘s new mau5trap EP, Charcoal Halo, acts as a vessel for listener’s to reconnect with both themselves and the boundless latent energy around them. “Coldest Night,” with its slow-burn breakbeat and blissfully despondent vocals, is like a rhapsodic snapshot of listeners’ end-of-weekend contempt.

ATTLAS invites listeners to frolic under his ‘Charcoal Halo’ [Review]

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ATTLAS invites listeners to frolic under his ‘Charcoal Halo’ [Review]TEST 5 1

ATTLAS has been demonstrating he has all the makings of a mau5trap luminary since his exquisitely executed debut EP of 2015, Siren, on deadmau5‘s auspicious label housing. Now, a handful of emotionally saturated, atmospheric house projects later, he’s resolved to lay 2018 to rest, adorned in a six-piece Charcoal Halo. 

Charcoal Halo is, according to ATTLAS himself, a pensive, deliberate product of long-winded introspection, an emancipation from the confines of screen-induced slavery. Designed for purposeful listening, the project acts, throughout its duration, as a blissful rendezvous point between the narrator’s complex inner life and a heavenly body of newly discovered surroundings.

“Unsurprisingly, the themes, sounds, melodies, and even titles on the final project lean into that push-pull… that, creatively, was about experience and reflection,” ATTLAS says. “Too much experience lacked the patience to learn from it, and too much reflection lacked anchor points of living and story.”

Indeed, there is much to infer from the EP’s eponymous titles. “Water for the Trees,” emphatically exemplifies this notion, with its pastoral and tender piano melodies and synth trickles, which fall like happy rain. ATTLAS’s adept piano playing flows decidedly through the project like a life-giving stream. His kaleidoscopic emotional palette is palpable as ever, as the listener is greeted with the poignant, slow-motion breakbeat of “Coldest Night,” splendidly rendered with melancholic vigor on behalf of 7Chariot (the solitary feature on the EP); but “Cyprus Lake” soon takes hold, with its untethered optimism and vapory synth blasts, falling and crashing, only to take shape again, like a liquid dream one should dance to.

ATTLAS’s Charcoal Halo brings a quixotic splendor to modern, atmospheric house music/electronica. Timeless elements, like the worldly choral emissions of “Fine Modern Structures,” or the winding and furrowing instrumentals of the title track, run abound, allowing the work to eclipse any particular epochal timestamp. Underneath the Charcoal Halo, one can expect, if nothing else, a momentary reconciliation of Yin and Yang.