The track, “Restless Sea,” is a chill trap ballad with vocals that call upon an R&B aesthetic and instrumentals that fuse this sound with a smooth alternative rock vibe. To match their soaring, gritty vocals, and highly metaphorical lyrics, Opia’s contribution to the track’s overall sound design delves to the deepest depths of effortless sincerity. Most of all, “Restless Sea” spotlights Futon’s love for the electric guitar, with passionate arpeggiated riffs over each drop that builds nicely over the track’s slow pounding drum work, highlighting the song’s deeply harmonic quality.
The entire track is a stunningly balanced journey into emotionally-driven soundscapes and genre-fusing future bass, with all the atomic energy of a fission bomb.
“I’ve been a fan of Opia for a long time and met DJ and Cole when I moved out to LA. I wanted to combine both of our sounds to make something big. This song turned out to be a personal favorite of mine, I’m a sucker for massive guitar riffs though.”
Will Clarke rolls up his sleeves to perform some dirty “house” work on his new EP, Give Me Your Love. Comprised of two tracks, the eponymous “Give Me Your Love” and “Ain’t No Ho,” the EP embraces and extends the pulsating house aesthetic that Clarke has developed across singles like “My Body” and Clarke fan favorite, “Booty Percolatin’.”
A track destined for dance floor interaction, “Give Me Your Love” intersperses high frequency sonic sounds among the song’s head bobbing beat and echoing percussive elements. “Ain’t No Ho” alternatively arises as an investment in a more viscous rhythmic progression, punctuated by a looping vocal hook.
If anything is certain, it’s that love won’t be in short supply after listeners stream Will Clarke’s latest.
Party Pupils put a modern twist on disco with their newest track “Over & Under.” A groovy melody with smooth vocals fall into a modern drop with sharper chords that merge 2017 with 1970. Party Pupils also infuse trumpet into the song, creating a multi-faceted production.
The group is a collaboration between LA-based Max Schneider and Ryan Siegel. They are currently opening for Louis the Child, and fans can see them at upcoming show stops in Wisconsin, Chicago, and Minnesota.
Chicola has spent over two decades as a DJ helping cultivate the progressive genre. Now, the time has come for him to capture the breadth of his sound through his first-ever artist album.
Could Heaven Be is thus a deeply personal look at the Israeli legend’s artistry. Released on prominent progressive label Lost&Found, the LP spans twelve tracks that explore the romantic, melancholic, and euphoric realms.
“Backstabber” exemplifies the darker side of Could Heaven Be, taking a turn from what one would usually hear from Chicola. It takes on a more brooding, minimal tone, lacking in the lush percussion patterns and melodies he favors and instead utilizing titillating arps and heartier kicks to create an impact. Listening to “Backstabber” is more or less the aural equivalent of entering a dystopian plane, shrouding the mind in a shadowy veil that demands attention on the dancefloor.
While its legacy may be rooted in the 90s hip-hop scene and pop acts like Lady Gaga and Gwen Stefani, Interscope has become one of the most influential major record labels behind some of dance music’s biggest acts. With a roster that boasts high-profile names like DJ Snake, Zedd, Avicii, and Cashmere Cat, the Los Angeles-based label have been instrumental in aiding the crossover of these acts in addition to releasing major remixes like Cedric Gervais’ remix of “Summertime Sadness” and DJ Snake’s remix of AlunaGeorge’s “You Know You Like It.”
To continue their footprint in the dance and electronic space, Interscope has launched their first ever dance compilation, HELIX, to give a snapshot of releases under the imprint to-date in conjunction with their own YouTube channel. The compilation features a wide range of dance cuts from radio championing singles like Marshmello and Selena Gomez’s “Wolves” and Avicii’s “Lonely Together” to brand new remixes exclusively on the compilation from Grant and Martin Jensen.
Listen to the two new remixes and see the full tracklist below.
HELIX – Volume 1 Track List DJ Snake & Lauv – A Different Way Selena Gomez & Marshmello – Wolves Zedd & Liam Payne – Get Low Lana Del Rey & BloodPop® ft. The Weeknd – Lust For Life (BloodPop® Remix) Avicii ft. Rita Ora– Lonely Together OneRepublic & Seeb – Rich Love Maroon 5 ft. SZA– What Lovers Do (A-Trak remix) Louis The Child ft. Ashe – Right To It Billie Eilish – Ocean Eyes (Astronomyy Remix) blackbear – do re mi (FRND Remix) Gryffin & Illenium ft. Daya – Feel Good Selena Gomez – Bad Liar (Grant Remix) K.Flay – Blood In The Cut (Awoltalk Remix) Zedd, Alessia Cara & Lophiile – Stay (Lophiile Remix) Selena Gomez ft. Gucci Mane – Fetish (Galantis Remix) Imagine Dragons & Kaskade – Believer (Kaskade Remix) Oliver ft. MNDR – Chemicals Alex Aiono – Does It Feel Like Falling (Martin Jensen remix) DJ Snake & Tiesto ft. Justin Bieber – Let Me Love You (Tiësto’s AFTR:HRS Mix) BORNS – Electric Love (Oliver Remix)
It’s hard to know what to expect when Mat Zo releases a new song. Most recently, the music world was captivated by his bass-heavy Big Giganticremix with Kill the Noise, which was followed a few months later by a cheery house track called “Eye of the Storm.” Not even a month later, he’s followed up with something entirely unlike either of the aforementioned tracks: an experimental remix of Krayysh‘s “Talk To Me.”
This year, he’s taken the new producer under his Mad Zoo wing. Krayysh’s music seems almost as diverse as Mat Zo’s, with releases varying from the REZZ-like deep bass of “Running From Death” to lighter numbers like “Talk To Me,” which originally came out just a few days ago on Nov. 13.
Mat Zo has reworked the lighthearted track into a lengthy experimental venture, exploring elements across all genres of electronic music production. He kicks off the six-minute journey focused on Joyia’s vocals before delving deeper into a drum and bass build-up. Racing synths and long, dramatic builds have doubled the original track in length as Mat Zo explores every inch of the track’s potential.
In what could perhaps best be described as a cohesive whirlwind, Mat Zo again demonstrates his array of production talents, securing his position as a timeless creative and leaving no genre untouched.
Experimental DJ-producer sumthin sumthin has delivered his rendition of UZ‘s “Lobby” featuring QUIX and Chaz French. The song is to be featured on the extensive remix album accompanying UZ’s Layers LP, released earlier this year via UZ’s own Quality Goods Records. Also released recently on Quality Goods was sumthin sumthin’s own Afterglow EP. The four-track EP displays the California-based artist’s innovative, genre-defiant production technique.
Sumthin sumthin has added his own wonky twist to the original melodic trap framework of “Lobby.” In addition to the heavily pitched-down bass, sumthin sumthin has also infused a bit of strangeness into the track with his own fragmented, shattered glass-reminiscent sampling. Still audible are the metallic textures from UZ’s initial effort, though the remix features a more warped, glitchy sound design.
John Monkman has proven himself one of house and techno’s most capable producers. From two standout EPs on Crosstown Rebels, to snagging a Beatport #1 with his enchanting remix of Anaphase’s “Disconnect,” the UK producer has raised the bar for himself in 2017 and doesn’t appear to be slowing anytime soon. In fact, in what may result in his biggest release of the year, Monkman is primed to join Sasha’s Last Night on Earth imprint this week with a brand new three-track EP titled Make Noize.
“Mad Hatter” from the EP, which Dancing Astronaut is exclusively premiering, is the kind of enchanting progressive gem which has become a staple of Monkman’s catalogue. With darker tones and a mesmerizing central arpeggio, it’s bound to become a favorite in the arsenals of many of the underground’s more mystically-inclined artists.
Monkman said of the new EP: “Inspiration for this EP came from the incredible energy felt from all the dance floors this year…I keep getting blown away. From a technical/production stand point, I was fortunate to borrow a Yamaha CS-80 for a few days..what a beast. This is where the main arp in ‘Mad Hatter’ is from.”
The CS-80 of course is the legendary analog synth famously employed by Vangelis on the original score for Blade Runner. On “Mad Hatter,” it proves to be the central element that elevates the track into one of Monkman’s top contributions of the entire year.
Listen to John Monkman’s “Mad Hatter” below, and pre-order his new EP on Last Night on Earth here.
Ryan Hemsworth earned ultimate recognition for his work in the form of recruitment to produce a song for E-40 and Yakki. Since “Hunnid’s” release, the Canadian bass wizard has now collaborated with the Red Bull Music Academy (RBMA) to present his take on “Ryu’s Theme.”
“Ryu’s Theme,” of course, refers to the Streetfighter II theme song whose stems were sent out to an array of willing producers by the RBMA to duke out out over a remix contest. Hemsworth’s interpretation shows off what makes him such a standout producer — powerful bass wrapped in an eclectic soundscape that defies the status quo. While Hemsworth himself is participating in this contest as a judge and “video game expert,” his contribution to the project certainly sets the bar high for those under him looking for their shot at notoriety.
A duo that barely needs an introduction: The Upbeats are back and in epic fashion. The de-evolution virtuosos have been steadily releasing music in 2017, with a wide selection of fantastic drum & bass to choose from. To further add to their music-filled year, the New Zealanders are primed and ready to make their Critical Music debut with a thrilling EP titled Punks.
Taken from their upcoming EP, “Ethers” is a neurofunk lover’s dream. Starting off on a spine-tingling note, the track gurgles into existence, with The Upbeats enhancing the chilling tone of the track with some filthy drum samples and dystopian chord progressions. The darkness oozing out of the intro continues throughout the track, as evil, atmospheric bass lines captivate and enthrall listeners in a rather sinister fashion. “Ethers” might be a stark digression from The Upbeats’ general high-octane style, but does well to typify their versatility and production expertise.
Punks will be released November 24 and is available for preorder here.