Dancing Astronaut’s 5 Under 15K: Vol. 24

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Dancing Astronaut’s 5 Under 15K: Vol. 245 Under 1

5 Under 15k is a feature on Dancing Astronaut dedicated to spotlighting talented up-and-coming and largely undiscovered artists who we believe deserve more exposure. Each edition of 5 Under 15k highlights five artists from a wide variety of genres with under 15,000 followers on SoundCloud or Spotify (at the time of writing).

Zack Martino

New York has for many musical moons remained a promised land for industry blue chips. Zack Martino, a NY native, has been gradually leveling up—inching nearer to production prestige. Since his inaugural release as a teenager in the mid 2010s, the now 23-year-old musician has remained irreverent towards confining himself to any genre exclusively. Towards the final laps of 2017, Martino ceremoniously pierced his brand into the ears of millions after his charismatic turn of Borgeous’ “Sweeter Without You” received some well-warranted notoriety bestowed by Sirius XM’s BPM channel and YouTube’s notorious dance music curator, Proximity.

An alluring trophy case of releases which include additional interpretations of The Chainsmokers and Galantis in addition to enrapturing originals like his top 10 Billboard Dance record “Hold On To Me” and his most recent summer single, “Mood,” have enabled Martino to aptly position himself for his future ascension. In an exclusive conversation with Dancing Astronaut, Martino characterized his musical approach quite incisively:

“I love making songs that you can sing to, and I love working with vocalists. Sometimes, a hard-hitting beat doesn’t suit the vocalist. Having that balance of the voice and the beat, that’s how I want to portray my music.”

Midnight Kids

Nearly two weeks removed from one of their most watershed festival appearances thus far at this year’s edition of Electric Zoo Festival in New York City, Midnight Kids have expeditiously inched towards the cusp of superstardom. Kyle Girard and Dylan Lee officially launched their double-headed project nearly two summers ago, as they garnered some nascent exposure with their ethereal indie electronic-inspired renditions on chart-topping EDM efforts, including Major Lazer’s “Cold Water,” Zedd’s “Stay,” and Illenium and Gryffin’s “Feel Good.”

In June of 2018, Midnight Kids propelled into the world of original music with the release of their compelling inaugural single, “Find Our Way” which admirably demonstrated the duo was well-equipped to shed their remix-only reputation. In the time following, the scintillating twosome has only ascended in popularity, appearing as tour support for artists like Gryffin and Alesso, alongside the release of two other enamoring originals: “Serious” featuring longtime Zedd collaborative partner, Matthew Koma and “Those Were the Days,” both of which flaunt their inspiriting, felicitous form.


While Magnificence has consistently churned out vivacious electro and progressive house productions for the better half of the last decade, his high-profile collaborations alongside Nicky Romero and releases through Hardwell’s Revealed Recordings, Robin Klaver & Maurice van der Molen propelled to promising levels of acclaim in March of 2018.

During Swedish House Mafia’s highly anticipated reunion appearance at Ultra Music Festival, the Swedes showcased back-to-back unreleased productions from the Dutch pairing, unbeknownst to the Miami audience, inciting substantial speculation thereafter. Soon, Magnificence formally revealed that they had inked a deal with Axwell’s notorious Axtone Records, subsequently releasing their three-track self-titled EP, which includes both of the Miami-enforced tracks. Following a handful of official remixes for the likes of Zedd and original efforts for Martin Garrix’s STMPD Records, Magnificence most recently doubled down on their Axtone residency this past May with the release of their eclectic four-track sophomore EP, ‘II.’ It’s safe to say this pairing is well-aligned, with sizable talent to back them up.


For those unfamiliar with Dark Progressive movement, Uruguay producer REGGIO has remained emphatically seated in the driver’s seat of the dance music crusade, effortlessly blending the purest components from both the big room and progressive house genres. Flying under the wing of none other than Hardwell, REGGIO has remained an imperative member of the Revealed Recordings roster after his 2016 collaboration, “Mental” with Rivero, became one of the summer’s breakout festival anthems. Continuing to hone his craft in the years following, REGGIO’s exceptionally matured brand has included a triple dose of collaborations to finalize his most recent summer campaign with “More Of Your Love” in tandem with Justin Mylo, “Dominate” with Justin Prime and most recently, “Spectrum” alongside DJ Junior.

Cheyenne Giles

If you have attended a music festival in the last year, there’s a high probability you’ve encountered a Cheyenne Giles production—or even the man himself. Over the course of 2019, the San Diego native has spearheaded his impressively unique take on the festival anthem: what he dubs, “bigroom bounce.” In tandem with fellow SoCal resident Knock2, the duo has mercilessly generated insightful revisions of notorious dance music tracks including Fisher’s “Losing It,” Steve Aoki’s flip of “Pursuit of Happiness” and perhaps their most welcomed rendition: Martin Garrix’s “Tremor,” all of which have made their way into countless sets from RL Grime, The Chainsmokers and W&W, respectively. To formally solidify his placement as a soon-to-be force to be reckoned with, Giles caught the attention of the EDM’s Godfather himself, Tiësto and signed his first major original to Musical Freedom with “Blow the Whistle” this past July.

Flux Pavilion, What So Not, and The Chain Gang of 1974 join forces for future bass collaboration, ’20:25′

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Flux Pavilion, What So Not, and The Chain Gang of 1974 join forces for future bass collaboration, ’20:25′67564051 10157319623903798 1684343198324883456 N

An unexpected triad of artistry has joined forces for a joint release on Flux Pavilion and Doctor P-owned Circus Records, “20:25.” The track is produced in part by Flux himself, with welcomed assistance from What So Not, and features indietronica group The Chain of 1974 on vocals.

Production styles from each artist can be audibly discerned in “20:25,” a trippy trap-style future bass track. The downtempo and hazy vocals from The Chain Gang of 1974 envelopes the listener in a dark, smoldering atmosphere, and the drawn-out synths effortlessly reverberate into a throbbing beat that carries the rest of the song.

Both Flux Pavilion and What So Not have been avid on the release front this year, both experimenting in a menagerie of musical formats, from drum ‘n’ bass, to dubstep, to melodic bass music. The new collaboration proves a worthy listen among the vast collection of high-profile hits from the artists.

Featured Photo: Facebook/@FluxPavillion

Soak up two hours of Group Therapy goodness from Above & Beyond and Joseph Ray in its 347th installment

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Soak up two hours of Group Therapy goodness from Above & Beyond and Joseph Ray in its 347th installment9769 F2 Bw

Since November 2012, Above & Beyond have blessed their fans with a weekly radio show to showcase the latest and greatest in trance and progressive music. Group Therapy has garnered a steadfast fan base over the years, and the trio has introduced countless new artists to the world via the two-hour program each week.

The latest to air is the 347th installment—a number that is near unfathomable for many just starting out in the weekly mix game. Tinlicker and Thomas Oliver lead off the new mix with “Need You,” and from there, Above & Beyond take the listener on a journey through some new Anjuna tunes and tantalizing remixes from artists like No Mana, Eelke Kleijn, and more.

The group tapped Joseph Ray as the featured artists on this new edition, and he takes the reins from the talented trio at the 90-minute mark to showcase some of his own music, including an ID around the 100-minute mark.

Good Morning Mix: Wake up with Carl Cox at the Opulent Temple at Burning Man

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Good Morning Mix: Wake up with Carl Cox at the Opulent Temple at Burning ManCarl Co Medium

Carl Cox‘s torrential techno reign has foraged Black Rock City for over a decade, and this year was no disruption from tradition. The global DJ veteran recently released his hour-and-a-half set at the Opulent Temple stage at Burning Man. Cox brought his unequivocal energy to the majestic desert playground with a set strewn with melodies riding percussion.

With various IDs and tracks from Audiojack, Kenny Dope, wAFF and more, the set is best-spent reminiscing the fleeting nature of time or simply lavishing in the array of long-form buildups and celestial hooks.

Burning Man may only last for a week, fragments of the elusive weekend continue to surface—reminding the rest of the music community of the desert-dwelling spectacle’s all-embracing artistic artillery. Below is another unearthed memory from the depths of debauchery entertainment, delivered by Playground BRC.

Getter gives away unreleased remix of Justin Bieber’s ‘Let Me Love You’

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Getter gives away unreleased remix of Justin Bieber’s ‘Let Me Love You’Getter

Getter has delivered his “Let Me Love You” remix unannounced to the overwhelmingly positive reaction of fans. Last year, he graced the internet with a one-time listen to the previously unreleased rendition of Justin Bieber’s hit song via Instagram live. Since then, a good deal of those catching the event didn’t think the remix would see the light of day again—but that’s all changed now with the appearance of “Let Me Love You” (Getter Remix) on SoundCloud.

Despite recent struggles against reactions toward his debut album Visceral and changing sound as well as his subsequent cancellation of his tour, Getter has rebounded through unplugging off social media, taking care of his mental health, and dedicating his endeavors to making music for himself. The dubstep producer currently has new projects in the works for his hip-hop leaning alter-ego Terror Reid.

Getter’s “Let Me Love You” remix paints the original track into a lush, future-bass landscape containing buzzing synths, climatic drops, and trilling hi-hats. Using a complexity of vocal chops and intense reverb to aid him in building a trap-heavy beat, Getter’s resulting production is dreamy and intoxicating. A second drop with sliding pitches from plucked strings showcases an exotic tinge. Listen to the remix below.

Photo Credit: Jared Stossel

N.E.R.D.’s debut album ‘In Search Of…’ to receive deluxe reissue

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N.E.R.D.’s debut album ‘In Search Of…’ to receive deluxe reissueN.E.R.D. Credit Re Features

In between producing platinum records and collaborating with artists like Snoop Dogg, Daft Punk, and pretty much everyone else who matters in popular music, Pharrell Williams occasionally has time to pursue his own projects. One of the most notable in recent times is N.E.R.D., his rap-rock hybrid project with Chad Hugo and Shay Hayley.

Not much has been heard from the group since the release of their self-titled album back in 2017, but now the album that started it all, 2001’s In Search Of… is getting a deluxe reissue. This new version will include both the original 2001 “electronic” version of the album and the “rock” version which came out in 2002. There will also be a slew of new remixes from the likes of Trent Reznor, Zero 7 and more. Look for the package to purchase on October 25.

N.E.R.D.’s debut album ‘In Search Of…’ to receive deluxe reissueUnnamed 4

Photo credit: Rex Features

The Knocks convene with Gallant for danceable new record, ‘Exit Sign’

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The Knocks convene with Gallant for danceable new record, ‘Exit Sign’Event Image 9872410 717940e2 4e2b 437d B5b9 Eb4d92a02708

Feel-good gurus, The Knocks and vocal gymnast, Gallant recently united for what can assuredly be described as a suave, self-indulgent record that plays to both parties’ strong suits. “Exit Sign” sources its refined vocals from the R&B artist, whose involvement with the single precedes the arrival of his sophomore album, Sweet Insomnia, due on October 25. The “Weight In Gold” singer is no stranger to the electronic ether either, raking in collaborations with the likes of ZHU, Big Wild, and more. The Knocks, meanwhile, have been riding the wave of their tenures writing score for the likes of The US Open and iPhone X—to name a few.

Distinctly danceable, “Exit Sign” is both light and mellow in its makeup. The mid-tempo tune is well within The Knocks’ nu-disco wheelhouse, and follows the production pair’s previous, Whethan-assisted “Summer Luv.”

Photo credit: do NYC

Wooli and Excision converge on ‘Evolution’ EP for an exhibition of bass variance [Review/Q&A]

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Wooli and Excision converge on ‘Evolution’ EP for an exhibition of bass variance [Review/Q&A]Ecision Wooli At Bass Canyon 2 Credit Oh Dag Yo

When the old and new titans of the bass world coalesce on a distinctive vision, the witnesses quake in anticipation of its residual impact. In the case of Excision and Wooli, their latest collaborative project Evolution has demanded the inexhaustible attention of bass fans not just for its impeccable sound design, but for its decisive showcase of stylistic colors in a formidable four-tracker EP package. The burgeoning Wooli is capitalizing on his momentous rise in the heavy bass scene, and Evolution both dictates a pivotal act of artistry in his career while heralding the continuum of his genre-morphing inclinations as he looks forward to his next move.

Cementing his early status in a portfolio of “briddim” and hard dubstep, Wooli, born Adam Puleo, first broke onto the scene with his remix of Excision and Dion Timmer‘s “Her” and rapidly accumulated a fanbase devoted to his production prowess in thrashing bass music. His imposing sound earned him the weighty support of mainstay Excision following the latter’s inclusion of Wooli’s track, “Wave It Up” in the 2016 iteration of his iconic Shambhala mix.

Dancing Astronaut spoke to Wooli about all the creative elements that shaped his journey to present day, including his relationship with co-producer and dubstep behemoth Excision.

“Excision was one of the first people to ever support my music at that kind of scale. He’s actually really easy to approach as far as sending music. He’s been supporting my music his last two or three tours and playing probably anywhere from three to six of my songs per set. Then, it transitioned into me playing a lot of the shows on his tours. So that’s where we finally met. It was just a natural relationship that evolved. As long as you find some way to become friends with that person, it comes pretty naturally wanting to write music with them later.” 

The rest is history; since then, Wooli has collected a stacked set of songwriting, sound development, and tour experience in a short time—embarking on Adventure Club‘s Death or Glory tour, debuting two tracks on Seven LionsOphelia Records, and gracing festival circuits from the likes of Electric Forest, Bass Canyon, Electric Zoo, and more. Now, the Rochester native acts to prove his fledging reputation is no act of luck, but a culmination of sheer talent as he simultaneously takes on his own headlining tour, The Voyage, alongside peer Trivecta and releases his joint Evolution EP with Excision.

“It started with just one song. We wrote “Evolution” with Sam King and we had some more ideas for different projects that we either started, never finished or just had in the back of our head. He had me come up to his house up in Canada, we wrote up there for about five or six days, and pretty much finished the EP there.”

Evolution spans four tracks each characterized by their respective tonal marks and constructed by idiosyncratic intentions. The EP opens with “Lockdown” —the only track devoid of features— for a heavy-hitter signature of screeching synths and pounding bass; the ensuing dubstep production is exactly what listeners expect from the combined forces of Wooli and Excision. Titular track “Evolution” also echoes the chaotic menace of the opener, its foreground perforated by the growls of mammoths while Sam King‘s vocals pave the way for a deadly drop. With primal instincts and raw energy, both numbers will be destined as crowd favorites for the live stage, undoubtedly seizing their full potential with the capabilities of bass-thundering sound systems.

“The most fun to make was “Lockdown” just because it was me and Excision in his basement/mega studio and it was my first time ever working in the studio; I always just work over the internet. It was a really fun experience and he’s got like the loudest, biggest, bass-iest speakers you could buy.”

As much as “Lockdown” and “Evolution” epitomize the expected product of a Wooli and Excision collaboration, the rest of the EP signifies a dynamism outside of their supposed expertise that grants endless bounds of excitement in relation to the former. Finding middle ground between melodic and heavy, “Another Me” lies on the cusp of genre nuances. Although driven by Seven Lion’s imprint on melodic dubstep, Wooli and Excision’s own taste of elbow-throwing soundscape make their presence equally known.

“‘Another Me’ was a favorite personal song just because I’ve always wanted to work with Dylan Matthew; his vocals are amazing and he’s an amazing artist. Then, obviously there’s Seven Lions who I’ve worked with before; we always just kill it together when it comes to the melodic side.”

However, the star of Evolution is Trivecta triple-collaboration, “Oxygen” and its poignant rendering of Wooli and Excision’s softer productions. Vocals from Julianne Hope reflect the emotive lyricism: “Swimming in the deep end / Breath away from drowning / Kiss me like I’m oxygen”. A clear divergence from its adjacent tracks, “Oxygen” trades a dubstep drop for future-bass inspired crescendos; the resulting product is breathtakingly beautiful. Exercising minimalistic instrumentals, keyboard chords and guitar strums pepper the delicate structure before the track builds into a sublime melodic drop and ephemerally descends into melancholic repose again.

“I’m really happy with the EP and response. My only concern was how open people were going to be specifically to the song “Oxygen” because there’s not a dubstep drop, but the fans…they kind of get it and they like it. I’m just happy with everything right now.” 

Evolution‘s selection of songs leaves no question for Wooli and Excision’s collective versatility and its sonic range may leave some fans curious, others disappointed, but many hungry for more. However, treading outside his staple comes as no surprise to Wooli himself, whose path to dubstep first found its origins in other forms of electronic music.

“Drum n’ bass was basically my first introduction to bass music when I was a lot younger. It was something my brother would listen to in the car when he was driving me around. In my city Rochester, New York, there’s no local dubstep scene. It was either tech house or drum n’ bass. Those were the only two things that people would listen to and if you wanted to be a DJ locally you had to play those kinds of genres. So when I learned how to start DJing, —before I was making music, just wanting to be a DJ— I was mixing drum n’ bass a lot.” 

More importantly, the inherent risk-taking in juxtaposing the harsh, heavy-hitting productions with melodic territory reflects Wooli’s own personal goals with where he believes he can take his music and where his motivations have always resided. Unconfined by the arbitrary lines of sub-genres, Wooli intends to carve his own visionary definitions of quality music into the bass scene. While his previous releases have harbored traces of experimentation, they act as playing ground in comparison to Evolution—the large-scale release of which has validated Wooli’s concrete ability time-and-time again to step with ease into any musical area he wishes to explore. Evolution ultimately showcases equal parts stylistic breadth and depth, refusing to relinquish Excision and Wooli’s beloved hard dubstep in light of new directions. Now, welding another massive collaborative project under his belt, Wooli finds himself at the crux of another jumping point in his artistic growth and overarching career.

“I’m going to keep on exploring what I could do with combining the melodic and the heavy. If not melodic and heavy, just two different genres like with my single “Psyclone” where it was heavy and psy trance. Anything that I feel like would keep the listener guessing to what’s going to happen next is what I’m really interested in and focusing on who I can get as far as a vocal feature to elevate the songs to the next level. My whole goal now is to make music that’s going to feel more like a complete song rather than just a dubstep drop.”

Stream Evolution below.

Photo Credit: Oh Dag Yo

Lunar Lunes: What So Not and Flux Pavilion join forces, The Bloody Beetroots and Holly deliver ‘DAWGS’ + more

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Lunar Lunes: What So Not and Flux Pavilion join forces, The Bloody Beetroots and Holly deliver ‘DAWGS’ + moreWhat So Not Decadence Nye 2017 Rukes

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.

The selection is updated every Lunes (Monday).

Photo credit: Rukes

Stream Eli & Fur’s third Anjunadeep EP, 3-track ‘Into the Night’

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Stream Eli & Fur’s third Anjunadeep EP, 3-track ‘Into the Night’Eli Fur

Following the immense success of their 2018 EP Night Blooming Jasmine, Anjunadeep electronica/deep house duo Eli & Fur have released Into the Night: a flawless continuation of their trek into the cinematic stretches of the electronic realm. The latest EP features previously released title track and two new original cuts, “Don’t Say” and “You and I,” with extended mix counterparts in tow.

Laced with hypnotic club grooves and sensual original vocals, Into the Night captures the essence of Eli & Fur’s songwriting strengths in nostalgia-inspired dark tones, and lyricism smoldering with enigmatic intrigue. Paradoxically leaning from their pop-writing origins, their third Anjunadeep EP embodies a complex style of deep house convention, sodden with sensuality.

“It’s always special to create things as a duo as each of us have feelings we want to write about and emotions we want to communicate through the music both lyrically and melodically,” the pair stated in a recent release. “This makes the process more interesting.”