Disclosure officially start comeback campaign with new ‘Kitchen Mix’ [Live Stream Here]

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Disclosure officially start comeback campaign with new ‘Kitchen Mix’ [Live Stream Here]Dislcosure Social Media

Its official—Disclosure is back.

The brothers Lawrence have officially put an end to their hiatus, and to celebrate the occasion, the pair have announced a new live streamed mix on YouTube, taking place today (February 24) at 7:30 p.m. GMT (2:00 p.m. EST/ 11:00 a.m. PST). Back in 2017, Disclosure announced they’d be taking an indefinite break, following a lengthy touring itinerary behind their 2015 sophomore LP Caracal. Save a handful of loose tracks in the summer of 2018, a Grammy-nominated chart-topper with Khalid on “Talk,” and an assist on Mac Miller‘s posthumous Circles, Disclosure’s output has been minimal in recent years—though that looks like its about to change.

The “Moonlight” producers have already confirmed they have a third studio album in the works, drumming up a reported 80 – 100 ideas for the record in their time off the road. The pair also have a massive stretch of global tour dates underway. Also marking the comeback is a brand new running playlist series from the brothers, updated weekly with an inside look at Disclosure’s current rotations. Listen to Disclosure’s Record Bag and tune in to the pair’s live “Kitchen Mix” below.

Spencer Brown manifests complexity into flow state with, ‘Stream of Consciousness’ [Review/Q&A]

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Spencer Brown manifests complexity into flow state with, ‘Stream of Consciousness’ [Review/Q&A]Spencer Brown Press Shot

Creating music with the listening beauty of mass appeal akin to a radio hit, but defying the essence of the rinse-and-repeat mentality—this is a feat Spencer Brown is privy to. In a few flashy years, the 26 year-old producer has toured with the late Avicii, debuted his first album Illusion of Perfection, risen as heavyweight label Anjuna‘s prodigy, collaborated with Above & Beyond on dance floor staple, “Long Way From Home,” exponentially grown a dedicated fanbase, and to top it off, graduated from Duke University with a distinction. As if his lengthy attainments were simply starter courses, Brown has decidedly delivered his sophomore album Stream of Consciousness less than two years after his 2018 debut LP.

As music stands in its current state, there has been an undeniable loss of the album as a body of work, complicated by the growing appeal of a cash-out, declining listener appreciation, and other factors. Brown could care less; rather, his agenda is the complete opposite; his commitment to the presentation of his art remains steadfast. While both albums boast striking standalone tracks, their true power comes in a listening experience packaged collectively in full-length. Where Stream of Consciousness diverges from its predecessor is its purposeful conception as a mix album, building upon the idea of “flow state.” In Brown’s intention for his second album, he hones the art of mixing in an execution that truly exceeds his debut.

Stream of Consciousness‘s movement from track to track contain an effortlessness that speaks to Brown’s lucid grasp on the album as as whole. The 12-track album finds ingenuity in its ability to portray multiple nuances of one central identity as opposed to conjoining separate characters. Paired with crisp production and meticulous engineering, Brown’s latest effort encompass songs as their borderlines morph into fleeting dispositions, succumbing to the mix wizard’s disintegration.

With acutely-tuned sensitivity, Brown knows that for an album to make an indelible impression on a listener, it requires patience. True enough, Stream of Consciousness grows more sublime with every listen—the tiny details become more attuned while conceptual themes bloom. Opening track, “SF to Berlin” provides the subtle building ground to introduce the “flow state” experience, intertwining Ben Böhmer‘s nostalgic touches with Brown’s melodic structures in a celestial sonic playground. The pace inches along as the mix moves along to “Love & Pain” which introduces low-end frequencies embellished by twinkling melodies. Catalyzed by snares and driving beats, the Marsh-assisted, “Pursuance” delves into deeper progressive territories, its full-bodied layers of otherworldly choirs and multi-synth lines crescendoing in-and-out of tension before evaporating into repose.

The two tracks come after serve as an interlude that give emotional lightness without loss of movement—”LA ID” take on a downtempo appearance while Paperwhite‘s airy vocals permeate throughout, “Chance On Us.” What follows in the second half of Stream of Consciousness depict more curious undertones as Brown explores the eccentricity of percussion and craftsmanship of layers with Qrion in “Foggy August“, mystifying arpeggio progressions in “Everything’s a Cycle“, and tingling buildups reminiscent of progressive masters like Eric Prydz in “Resilience.”

Stream of Consciousness has been years in the making with Brown fruitfully gathering the pieces to complete the puzzle. His presence on each track is undeniable, yet the immaculate construction of each in its own individual qualities remains distinct. No idea, drum pattern or song anatomy read the same; meanwhile, his signature stylistic elements of progressive, techno, and trance continually interweave in dexterous ways. Unlike those who fall into their old habits of repetitive and formulaic artistry, Brown whittles away the limitations of creative walls. Uncovering evocations of wistfulness, rumination, allure, tranquility, insomnia, and more through his manifestations of “flow state”, Brown has proved once again his craft transcends an art form.


Congratulations of releasing Stream of Consciousness. What draws you towards making music that keeps listeners in a flow state? 
Thank you so much! Grateful that it’s finally out. I’m obsessed with making music that’s interlocked with a specific memory or experience. When that moment in your life is forever tied with that music. I find my concentration/flow breaks when the music changes too much.  I make music for myself—and flow state music is how I love to study, drive, travel, and work. I hope it resonates with you all too.

You’ve been gathering tracks for Stream of Consciousness since 2015; I’m sure you’ve been sitting on tons of unreleased material as well that may or may not ever see the light of day in the form of a completed project. What is your mindset towards this process of continuously creating?
I’m always making music; I only use my laptop. I can bring my projects anywhere I go and don’t need to rely on external equipment. Sometimes I notice certain tracks mesh with others very well…and that’s how my albums organically sprout.

What were some of the challenges you faced conceiving a mix album? 
Dance music has gravitated toward blasting radio-edited singles on streaming platforms. While there is absolutely nothing wrong with it, it’s simply not the way I want to present my art. It’s certainly a mental challenge getting over the fact that if I play ‘the game,’ I may get more streams/popularity. But I’d rather make exactly what I want to make and have my work deeply resonate with loving fans. I’m very grateful I have a team and label who sees eye-to-eye with my vision.

You mixed Stream of Consciousness entirely on your own. How were you able to strive for perfection in revising your product repeatedly without tiring out and keeping a pair of fresh eyes? 
I’d be lying if I said I didn’t tire out. I did. In the final few months of mixing my album, I felt as though I couldn’t be myself until the album was done. The 20 times I thought the album was done, I’d make some major change that would require a ton of extra work. I was starting to lose my mind and was becoming moderately depressed. Thankfully once I finished the final product, the stressed-and-depressed headspace faded rather quickly.

Were there any technical changes you made going into the studio for the mix album as opposed to Illusion of Perfection?
Definitely. I learn something new every day. My production/mixing skills have matured since I wrote Illusion of Perfection, so mixing took significantly longer on Stream of Consciousness. I’m hyper-focused on every little detail.

Do you have any favorite tracks off the mix album and why? 
Each track serves a purpose in my sets and within the album, so I can’t really choose a favorite. But I am very pleased with how it came out; I feel as though I created the vision in my head.

You were joined by a few Anjuna label mates and previous Illusion of Perfection collaborators on the new album as well. Can you tell me about your relationship with any of them and the collaborative process that goes on?
Most of the collaborations I’ve done in my career are simply hanging out with friends in the studio. We don’t really attempt to make ‘a record’ — we are merely messing around. All the collaborations came about that way except “Pursuance” with Marsh. For that track, Marsh sent me over a little idea he made via email, and I absolutely fell in love with it. I worked on it in pure flow state for 4 hours…and the track was finished.

How much of your passion for the art of DJing influence your production craft?
They fuel each other. I create pieces in the studio that I want to play in my DJ sets. Likewise, I find missing pieces in sets while DJing that I need to create in the studio. I don’t plan sets and always read the room—that’s how I learned to DJ almost 15 years ago at little 8th-grade birthday parties and Bar Mitzvahs. I love it this way, but it requires a huge repertoire of music and an ear for what is missing in the record bag (and how to create it!).

This tour will be the biggest one of your career yet. What are you looking forward to? 
I’m grateful to share my work with so many amazing people around the world. Language, culture, beliefs, sexuality… labels do not matter on the dancefloor. I love this environment. Music and shows have healed me beyond any words, so I hope to do the same with all the loving fans.

As an openly LBGT individual, what was your journey embracing that part of your identity and how has that found a place in your development as an artist? 
I did not realize I was gay until I was 21 (I am 26 now). Before then, I was an anxious and depressed mess. I didn’t know who I was personally or musically. Through discovering myself personally, my life has gotten much better; through my self-growth came an understanding of who I am as an artist too. If you don’t know yourself, how are you supposed to create music from your heart?

Who and what are some of the major influences for your music currently? 
Guy J is my favorite artist. I’ve been a fan since 2012 or 2013, but my love for his music has grown over the years. I’ve seen him live many times and had the pleasure of meeting him a couple of times. He is such a friendly guy, and I’m always low-key fanboying inside when we say hello.
Outside of Guy J, I love Hernan Cattaneo, Tame Impala, Sasha and Digweed. I’ve been extremely inspired by old Sasha and Digweed mix albums that were popular long before I was into dance music (and before I was born). I find some of the purest inspiration can be found by looking long in the past.

 
Any last words? 
Always do you. F*** anyone who tells you otherwise.

Wuki celebrates Grammy nomination with new mix of all Grammy-nominated tracks [Stream]

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Wuki celebrates Grammy nomination with new mix of all Grammy-nominated tracks [Stream]Wuki Live Credit BOO AZ

Wuki received a Best Remixed Recording Grammy-nomination for his spin on Miley Cyrus’ “Mother’s Daughter.” The New Jersey-native producer is celebrating his invitation to the 62nd annual Grammy Awards with a specially curated mix of nominated tracks and remixes from this year’s upcoming ceremony.

Starting the mix off right with his own Grammy nod, Wuki then dives into a RÜFÜS DU SOL remix, lacing in the Chemical Brothers, Tommie Sunshine & Bitch Be Cool’s remix of Billie Eilish’s mega hit, “Bad Guy,” and more. The mix also features Skrillex, Boys Noize, and Ty Dolla $ign’s nominated “Midnight Hour” collaboration followed later by CID’s remix of Lizzo’s inescapable “Truth Hurts.” Khalid and Disclosure make the cut, along with songs that fall in the hip-hop category, with additions from J. Cole’s Dreamville crew and finally DaBaby holding down the finale.

Wuki is also about to drop a collaborative EP with Latin Grammy-winner, Nitti Gritti, titled Ro Sham Bo. Together, they will embark on a co-headlining tour. For now, stream Wuki’s “Road To The Grammys” mix below.

Tracklist:

1. Miley Cyrus – Mother’s Daughter (Wuki Remix)
2. Rufus – Underwater (Yotto’s Dusk Remix)
3. The Chemical Brothers – Got To Keep On
4. Bonobo – Linked
5. Meduza – Piece Of Your Heart
6. Billie Eilish – Bad Guy (Tommie Sunshine & Bitch Be Cool Remix)
7. Camila Cabello & Shawn Mendez – Senorita
8. Skrillex ft. Boys Noize, Ty Dolla $ign – Midnight Hour
9. Taylor Swift – Lover (DJ Mike D Edit)
10. Lizzo Truth Hurts (CID Remix)
11. Khalid x Disclosure – Talk (Disclosure VIP)
12. Ariana Grande – 7 Rings (Mike D Remix)
13. 21 Savage & J Cole – A lot
14. Dreamville, J.I.D, Bas, J. Cole, & EARTHGANG – Down Bad
15. DaBaby – SUGE

Via: Billboard

Good Morning Mix: Revisit Ekali’s career galvanizing HARD Summer 2016 set

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Good Morning Mix: Revisit Ekali’s career galvanizing HARD Summer 2016 setEkali Awakening Mi Vol 6

In 2016, Ekali stepped behind the decks of HARD Summer‘s Green Tent to throw down a trap set that would arrest the many ears that collectively make up the electronic music industry. However, for those attuned, HARD Summer 2016 was hardly an introduction to Ekali’s low end acumen.

Commissioned to produce an official remix of Flume‘s “Smoke & Retribution,” Ekali had already begun attracting listeners well before he landed a slot on the festival’s lineup. Ekali’s rework of Flux Pavilion‘s iconic “I Can’t Stop,” picked up by Big Beat, further spotlighted Ekali’s taste making talents.

A lion had entered the release ring and Ekali’s HARD Summer 2016 showing affirmed it. Rife with electronic originals and revamps alike that have aged well since their inclusion in this earlier endeavor, such as Valentino Khan‘s “Deep Down Low,” Ekali’s set is jam-packed with productions that can now be considered genre classics.

Ekali’s current continues to flow through dance circles. As the producer progressively gravitates towards a more melodic style of bass, and as his following awaits the arrival of his debut album, not to mention an LP from his elusive new side project, Ekali’s HARD Summer 2016 set offers streamers a nostalgic glance back at his sonic foundation, and an opportunity to marvel at what he’s built in the time since.

Photo credit: Brandon Artis

Zeds Dead share standout tracks of the decade on second leg of Deadbeats special [Mix]

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Zeds Dead share standout tracks of the decade on second leg of Deadbeats special [Mix]Zedsdead

DC and Hooks are at it again with the second part of Zeds Decade mix from their Deadbeats SoundCloud shop. Zeds Dead formed in 2009, finding flagship touring success in EDM’s bass-burgeoning underbelly throughout the decade. They tout a deliciously strange taste in sounds with hefty sub frequencies, so to hear what these two princes of bass have to say about their favorite music from the decade is certainly an insightful treat.

The beginning of the mix is introduced as an ode to deadmau5 and Noisia, both huge influences for the Deadbeats label bosses in this decade, with the drum ‘n’ bass trendsetters’ heavy-hitting remix of the mau5trap label bosses’ “Raise Your Weapon.” Then the mix courses through an eclectic array of styles from Jamie XX to Tyler The Creator and Emalkay into Santigold into Taska Black into Branchez into NERO into “Griztronics” into Skrillex. This wide variety of decade favorites showcases the hip-hop crossed into melodic bass era from one of dubstep’s most prized possessions.

Below is part one for posterity sake.

Listen to Adam Beyer’s favorite Drumcode tracks from 2019 [Mix]

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Listen to Adam Beyer’s favorite Drumcode tracks from 2019 [Mix]Image From IOS 89

As younger dance music fans move from the main stage to the underground, one of the first names they hear is the ever-present techno trove Drumcode.

Not only did Adam Beyer knock it out of the park with the imprint’s namesake (equal parts informative and enigmatic), over the last two decades his style of throbbing, eerie techno has become a worldwide staple. And with this unmistakable notoriety, Beyer has expanded the sound even further, driving new trends and simultaneously giving a platform to new generations of trendsetters.

If there’s a dedicated techno stage at an electronic music festival, chances are Drumcode will have it’s own night as it has at EDC Vegas, Tomorrowland, Ultra and the list goes on.

2019 was yet another excellent year for the label. Rebūke and Will Clarke made their debuts on the label, and Julian Jeweil released his first full-length LP, Transmission.

With so much great music coming from Drumcode it was difficult for Beyer to choose an hour’s worth of music for his year-end mix (his words), but he was able to do so with the precision that only a revered industry authority like him could manage.

Photo Credit: Jamie Rosenberg

Diplo digs deep for Best of the Decade mix with BBC

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Diplo digs deep for Best of the Decade mix with BBCDiplo

Diplo resurfaced on BBC with a two-hour mix in hand, meditating on his favorite selections of the last decade.

If anyone is lined-up to slather their taste across the masses, it’s the eclectic, multi-genre, multi-project, label boss, A&R by association, tastemaker: Diplo. With a wildly successful and watershed decade himself from his reign as Major Lazer’s frontman, to his Grammy Award winning collaborative venture with Skrillex and beyond, crossing the one-billion stream mark on Spotify is becoming more and more habitual for the cross-generational tastemaker.

Not only does Diplo ever have his finger on the electronic music pulse, he’s also been part of developing pop super groups such as LSD with Sia and Labrinth, and Silk City with Mark Ronson which helped the two influential artists secure a Best Dance Recording Grammy for “Electricity” with Dua Lipa.

His Best of the Decade mix should arrive for many as cherished as gold, with enduring power tracks like David Guetta’s “Titanium,” Swedish House Mafia’s “One,” Avicii’s “Levels,” Rihanna and Calvin Harris’ “We Found Love,” Skrillex’s “Scary Monsters & Nice Sprites,” Flume’s remix of Disclosure’s “You and Me,” The Weeknd’s collaboration with Daft Punk, “I Feel It Coming,” his own work on behalf of his Major Lazer project alongside DJ Snake “Lean On,” and many more certified relics revered throughout the industry’s global soundscape.

Photo Credit: Willy Sanjuan

House meets trap in new Night Owl Radio episode featuring Dr. Fresch and ATLiens

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House meets trap in new Night Owl Radio episode featuring Dr. Fresch and ATLiensAtliens Live In Honolulu

Insomniac CEO Pasquale Rotella has proven yet again that his ability to curate diverse top-notch electronic music acts is unmatched. Insomniac’s Night Owl Radio is back and better than ever with a brand new episode featuring The Prescription Records labelhead Dr. Fresch and masked extraterrestrials ATLiens.

First up is the man with a PhD in house music: Dr. Fresch. Dr. Fresch gets in the groove and selects this episode’s Up All Night tracks for the first hour and 15 minutes followed by an exclusive guest mix from trap and bass duo ATLiens. Hot off the success off their recent hit “Shelter” and massive remix album, Ghost Planet Remixes, these two hold nothing back in 40 minutes of head-banging bass.

If listeners enjoy the juxtaposition of house and trap created in this mix and want to see it again, this mix provides that opportunity. As the end of a decade quickly approaches, Dr. Fresch and ATLiens both have New Year’s Eve festival gigs locked and loaded at Countdown NYE Festival in San Bernardino, California.

Photo Credit: Moses Alexander

Lane 8 wraps 2019 with resplendent Winter Mixtape

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Lane 8 wraps 2019 with resplendent Winter MixtapeLane8 Credit Daniel Zetterstrom

Progressive house mainstay and head of This Never Happened, Lane 8 is back with his last seasonal mixtape of 2019. Since 2017, the Canadian producer has celebrated the beginning of snowfall, sunshine and everything in between with two-hour-long mixtapes comprised of the ethos of each season (in 2019 he even added a bonus Halloween mix).

His latest mixtape features the likes of Anjunadeep devotees like Eli & Fur and Ben Böhmer, plus aural avant-gardes like Made in Paris and Jon Hopkins. And of course, several originals and IDs from the multifarious maestro himself rear their heads. Lane 8’s third album Brightest Lights is due out January 10, 2020, along with his accompanying tour starting in North America through February, ending with a string of European appearances.

Photo Credit: Daniel Zetterstrom

Exclusive: Ivy Lab flaunt carousel of tastes in new Holy Ship! Wrecked mix

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Exclusive: Ivy Lab flaunt carousel of tastes in new Holy Ship! Wrecked mixHoly Ship 2020 Soc Mitape Cover Ivy Lab R01

One of the best things about Holy Ship! is that, since the first departure back in 2012, the event has always catered to an open interpretation of dance music. That’s one of the reasons “Shipfam” has become such an enthusiastic and tight-knit community.

Careful steps are taken to ensure that the all-too-common musical elitism of other boutique events has no place on the ship. The landlocked edition, Holy Ship! Wrecked (HSW), taking place early next year in Punta Cana, promises to mirror its history in that regard. Accordingly, HSW’s lineup includes heavy-hitters and rising stars from all across the electronic spectrum.

That spectrum includes bass, of course. One of the most exciting acts to trickle onto this year’s beached blowout is most definitely Ivy Lab. Since their inception in 2013, this duo (formerly trio) have built their reputation on diversity and aural innovation. They follow the mold laid by dozens of niche-carving UK counterparts, manipulating the low-end to work for their sound as they tackle hip-hop, grime, breakbeat, and trap.

Their recent mix, a Dancing Astronaut exclusive, for Holy Ship! Wrecked not only explores the various nooks and crannies of Ivy Lab’s boundless influences, it features unreleased IDs, as well as every track from their brand new EP entitled Space War out on their own 20/20 LDN Recordings.