MØ released two house remixes of her most recent single, “Nostalgia.” The Danish pop star enlists veteran talents MK and Claude VonStroke to transform the original, alternative pop vibe into upbeat house. MØ’s smokey vocals make her a perfect candidate for a house makeover. Both remixers keep the calypso rhythm, staying true to the original beat. High hats are a major, groovy player in each.
In the MK remix, MØ sounds like she’s talking at the listener, while the dissident vocal chops flutter in space. The contrast between the two vocals creates a present yet distracted ambiance.
Sam Smith’s smooth vocals settle in nicely on house tracks. Disclosure knew it and exemplified it on “Latch,” and now, MK proves that he too has noted the fluid electronic crossover potential inherent in Smith’s voice on his remix of Smith’s song, “Pray.”
MK doubles down minute wise on his house oriented take of the track that originally appeared on Smith’s 2017 album, The Thrill Of It All. Extending the length of his revamp, and situating it just past the six-minute mark, MK reworks “Pray” in his addition of reverberating—and at times, subtly trumpeting synths—and percussive elements that lend a sense of rhythm to MK’s vision. These same rhythmically constituting components resurface in the moments in which the remix builds, aiding the pulsating drop that elevates MK’s remix to the status of a bonafide club pleaser.
MK takes on Claptone’s Ben Duffy-assisted single, “In The Night” for his latest release. The remix evidences MK’s ability to craft a revamp that simultaneously preserves the personality of a Claptone production, while evoking that of an MK offering.
MK’s rework is a rousing re-imaginative effort that that luxuriates in an elongated timeframe. A nearly seven-minute re-imaginative endeavor, MK’s remix makes each minute of the remix count. MK invests the first three minutes of his revamp to the development of a pulsating background beat that slowly mounts, channeling the viscous pace and commanding the stimulating character of a house number played to a dimly lit crowd in a European house club. The remix gradually involves Duffy’s vocals at the four-minute mark, the point at which the chords and soulful brand of jazz funk of Claptone’s original become perceptible. The interplay of a confident piano rhythm and round, gusting synths further amplify the remix’s invigorating quality.
Drai’s Beachclub continues to be at the forefront of the Las Vegas day club circuit with its highly-anticipated lineup announcement and dates for the 2018 Drai’s Beachclub season. Rivaling any top-tier music festival, the club’s stacked roster features a host of household names like A-Trak, GTA, TroyBoi, Dada Life and Zeds Dead. Serving as the Strip’s only rooftop beach club, partygoers will be in for a treat each weekend this season with exclusive, power-packed sets from some of the world’s critically-acclaimed DJs and chart-topping recording artists.
2018 is set to be Drai’s Beachclub’s most important year yet as a top contender in the Las Vegas day and night club community. Boasting a round-the-clock calendar of events ranging from house to mainstream dance music to moombahton, there’s arguably a little something for everyone. View Drai’s Beachclub’s March 2018 calendar below.
Lightning in a Bottle’s strive for diversity in its programming can be best summed in music director and co-founder Jesse Flemming’s words:
“We’re definitely not trying to play the same game we are seeing with all the massive festivals these days when we book our music programming. Forget the big names you can see at 10 other festivals this year. For us the goal is to craft a musical playlist that will perfectly guide people along the experience we’re trying to create. We book each stage to be its own separate journey on any given day and we try to diversify it as much as possible so when you’re wandering around during the weekend you can always find something just right for you. This has been our goal since day one and it continues to shape how we book today.”
More information and tickets to Lightning in a Bottle, which go on-sale January 18 at 10 am PST, are available here.
Tchami has followed up the recent release of MK‘s tech house take on his tropical-tinged, future house track “World To Me” with a full remix EP for the track. By giving the number a world of its own, Tchami displays just how deeply one’s own production proclivities can affect the outcome of a track. The new EP presents widely different versions of the number, each enjoyable in their own right. From the more lighthearted future bass take by Rootkit, to the sped up arcade style remix by Kidnun, it’s a world not to miss out on.
Tchami and the Detroit house and techno producer MK have been passing around remixes with each other lately. After Tchami’s recent rework of MK’s “17,” it’s now his American counterpart’s turn — and he’s launching his latest Tchami rework out of the park.
“World To Me” is originally a future house gem driven by a simplistic bassline and Luke James’ vocals. While the record is far removed from Tchami’s more recent collaborations with Malaa, or even his beloved tracks like “Adieu” and “Prophecy,” it maintains itself as a solid production. Still, it serves as a lively testament to his spirited outpouring.
MK’s recently taken on the track in his celebrated tech house style. In bringing down the vocals, and focusing more on the sonic atmosphere, a more groovy bassline is explored in the world in between.
Mark Kinchen, known better as MK, has released his remix of Rihanna and SZA’s “consideration.” With hundreds of releases under his belt, a career spanning three decades, and a hands on education in Detroit techno, Kinchen brings his expert production to the table, injecting his own Chicago house influenced synths and signature textures to the track.
At its core, the track is an amalgamation of contemporary hip hop and underground dance music. Synthesizing contemporary vocals from such legendary vocalists as Rihanna and SZA with prodding, deep house drums and atmospheric synths is no easy feat, yet Kinchen certainly seems up to the task. Kinchen showcase an impressive ability to draw out Rihanna’s latent dancehall influence; a testament to his quicksilver production M.O. Kinchen seems to turn everything he touches into dance-floor gold.
The Dirtybird brand is flying south for the winter.
The San Francisco label founded by Claude VonStroke in 2005 has steadily attracted the attention of “tech funk” fans each year via the collective’s massive West Coast campout. Now that Dirtybird’s flagship event has concluded after a three-day spree in Bradley, California, Dirtybird’s founding father has unveiled the first phase of the East Coast Campout’s lineup.
Slated to touch down in St. Cloud, Florida from February 2–4, the inaugural East Coast Campout extravaganza will see VonStroke double as headlining artist and camp counselor, flanked by label heavyweights, Christian Martin, Ardalan, and J. Phlip. Tiga, Claptone, MK, and Fisher will likewise make their debut at the East Coast Campout, joined by a host of additional performers on the first phase of the camp roster.
Boasting a solid lineup of first phase DJs ready to take the decks come February, the East Coast Campout will feature a mardi gras meets voodoo campout theme that channels the trademark “quirks, charm, and character” of the South. The Florida based campout will offer attendees a one of a kind Super Bowl viewing party experience, along with a series of camp oriented activities, ranging from Tug-O-War to a Beat Boxing Competition.
Hosted at a working summer camp, the East Coast Campout is situated closely to both Miami and Orlando, making the event all the more accessible. Tickets to the 21+ event will go on sale Wednesday, Nov 4 at 10 AM. Visit Dirtybird’s official website for more information.
Techno Tuesday is a feature on Dancing Astronaut documenting the culture of underground dance music. We’ll bring you exclusive interviews, tracks, and narratives from artists within the techno, tech house, and deep house world in an effort to shed light on some of the best talent outside the world of mainstream dance music.
Few people have been in the scene as long as Marc Kinchen, known to most as MK. Looking no further than the hundreds of releases under his name, it is obvious that he has clocked in his time as one of the underground’s top tastemakers. His catalog and career, spanning over three decades, features both commercial and underground successes. MK is one of the very few acts lucky enough to have learned from two of techno’s founding fathers in Detroit — Juan Atkins and Kevin Saunderson — and also work as Will Smith’s in-house producer.
His story is one that many people already know, as Kinchen remains quite the legendary figure. From his his humble Detroit roots, the artist has gone on to create a slew of chart topping tracks. He initially found international acclaim in the 90s, with singles like “Always” and “Burning ’95” gaining commercial success — especially in the United Kingdom. However, MK’s star-power lies in his ability to craft an amazing remix. From Bobby Brown to Nightcrawlers, Disclosure to Lana Del Rey, and countless more, the producer has the capacity to add his sound to almost any song he sees fit.
Now a seasoned veteran DJ, he can spend some of his time simply observing the culture around him. He has seen the recent growth in the city of Detroit, while also noticing the growth of a certain fall holiday in the UK. Dancing Astronaut had the chance to sit down with MK for a quick chat about Detroit, Berlin, and a DJ’s role in the social sphere, all ahead of his performance at Los Angeles’ extravagant and well-curated “Minimal Effort” Halloween event.
You grew up in Detroit, which is the revered and recognized home of US Techno, how would you describe the difference in the vibe over in Berlin, birthplace of ‘European techno?’
It is incredible how different both cities are from each other. Even though the music from both cities have common threads, the scenes are so different. Techno in Detroit started in the clubs like the Music Institute where on any given day you could see people like Juan Atkins, Eddie Fowlkes, Kevin Saunderson, Mike Banks from Underground Resistance or Derrick May, it was about dancing and sweating and just losing yourself in the music. The scene was influenced by Detroit life and culture, but in Berlin it always seemed like it was a bit darker a little more industrial. The dark mysterious vibe probably had something to do with the actual city of Berlin (after all thats where the Germany was split up with the old wall) Also, there was a huge underground art the scene in Berlin influencing the music, it brought us a lot of industrial techno in the beginning and then there was Kraftwerk, who were a part of the German trailblazers for Techno, it became a movement and a lifestyle.. Both cities were great for nurturing early techno and I think that is what matters the most.
While we are still on the subject of Detroit, what do you think about the changes you see over there in the city?
I don’t live there anymore, but my sister and brother and their families do so I go there several times a year. The differences are really incredible, I can see it changing every time i visit. A lot of new construction, renovation and new businesses popping up. A lot of kids come there to live especially music and arts peeps, the rent is still pretty reasonable and you can still get enough space to have your music or art studio. I love going there, it’s like new discovery every time.
The event you are going to do “Minimal Effort” is an annual sort of Halloween celebration. We all know what Halloween is like over in the States, but what is it like overseas? Do they dress up and make a huge party like we do in the states?
When I first started going to the UK around Halloween, it was not a really important or popular holiday, but in the last five or six years it has gotten bigger and bigger. Everyone dresses up and they are really creative and serious about their costumes and parties over there. I think it might even be getting bigger over there now than it is in the States. It’s a lot of fun though. Those English love to dress up.. haha (they call it fancy dress)
It’s really hard not to talk about all the devastation the US has just gone through with the hurricanes, floods and storms affecting so many people. Why is it that more DJs don’t talk about these tragic events or discuss the different that affect us all?
I wish i could answer that better, I don’t really know. I definitely think about it a lot and we all talk about these things when we are together. Trust me, we care, we all care. I mean to see all the suffering and then feel like should i say something or should i not; will i sound preachy or upset anyone even more. After all, a big part of what we do as producers and DJs through music is try to provide an escape from all the bad stuff. And to make it worse, I have been on the road while all these things are going on and day after day i would wake up and hear about the earthquakes in Mexico and all the hurricanes, flooding and devastation. It is all so overwhelming and hard to process, it would actually be great for some of us to talk about these things to see how we could help not only deal with it but also help with the recovery efforts in some way.
We see you have a new single out “17.” It seems self explanatory, but why don’t you give us some little background on what it’s about.
Oh, you know when you are like 17-ish, that is just the way it is, most of the time you have a best bud or a few of them and sometimes even a crew. everyone is in it and everyone is together and love of friends and loyalty are everything. You know i got your back and you got mine. It’s also about the first big love, it’s about remembering being seventeen and taking a peek backward
If you dress up for the party, what are you going to be?
I am not going to tell you because then you will know it was me… you will see soon enough.