Porter Robinson confirms new music is underway

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Porter Robinson confirms new music is underwayPorter Robinson Blonde

In the five years since Porter Robinson released his groundbreaking Worlds LP, the forward-thinker has kept himself busy with expanding his creative horizons. He linked with fellow visionary Madeon for “Shelter,” created a new alias, Virtual Self, and carved out an impressively successful debut behind the new moniker. He’s launched a new festival brand which takes place in Oakland this month, and now, he’s finally returning to just being Porter Robinson; and with that, new music is confirmed to be underway.

The “Spitfire” producer took to social media to announce his return to the studio, to many fans’ excitement. It is worth noting that while Robinson has steadily produced new material over the last five years, he has not released any work under his own name since 2014. Robinson was tight lipped about an intended release date, though, with his Second Sky festival around just the corner, that seems like the perfect testing ground for some new, unheard material.

Skrillex opens the flood gates, announces multiple new releases underway

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Skrillex opens the flood gates, announces multiple new releases underwaySkrille Webster Closing Party Credit Scotty Hawk Nest Hq

Good news for Skrillex fans—the perpetual state of “new music coming soon” is now confirmed to be coming to an end. New work from the OWSLA boss is being prepared for imminent release, and it sounds like he has more than a few bullets in the chamber. According to Skrillex, the amount of new material he’s currently sitting on, “feels like a couple bodies of work,” and that’s aside from the new Dog Blood EP that’s due to be released on Friday, May 24.

While Skrillex hasn’t exactly kept quiet in recent years, he’s generally stepped away from building out his own canon of original works, and it has been more than five years since his debut LP secured his place within dance music’s highest echelon. It appears that’s all about to change, with a Dog Blood EP already underway, additional separate concepts nearing completion, and enough left over for some “other random releases in the coming weeks.” See the tweet below, and turn Recess up to 11 today; we’re celebrating. New music from Skrillex is due any minute now.

Swedish House Mafia ready new orchestral rework of their classic hit ‘One’

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Swedish House Mafia ready new orchestral rework of their classic hit ‘One’Swedish House Mafia 1

The half-decade wait for new Swedish House Mafia is finally starting to draw to a close. Steve Angello, Axwell, and Sebastian Ingrosso are preparing the fully actualize their long-awaited reunion this summer with a handful of high-profile performance dates locked in for the coming months. Though they’ve kept characteristically tight-lipped about forthcoming new material, the Swedes have confirmed they’ve been together in the studio working on the output for this summer’s reunion. Amid what’s likely to be a slew of new music under a new recording deal with Columbia Records, the trio have confirmed at least one of their classics is getting the rework treatment, with a new tour-ready version of their seminal “One,” due to land in full on May 2.

Recently, Swedish composer Jacob Mühlrad took to to social media to announce that his symphonic re-imagining of one of the Mafia’s biggest hits to date will be premiered at the tele2 Arena in Stockholm during the trio’s highly anticipated homecoming performance. Sebastian Ingrosso spoke to Swedish daily paper Dagens Nhyeter about reaching out to the wunderkind Swedish composer, whose already had original works performed in renown spaces like Carnegie Hall in New York City.

Word has it Swedish House Mafia’s new orchestral version of “One” will be a featured staple on tour. Something tells us it likely won’t be the only Mafia classic that gets a 2019 revamp. Stay tuned for a first listen to “One.”

H/T: Dagens Nhyeter

Skrillex and Boys Noize reunite in New Orleans with a trove of new Dog Blood IDs [Watch]

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Skrillex and Boys Noize reunite in New Orleans with a trove of new Dog Blood IDs [Watch]Dog Blood Live

The dance world is waiting on the edge of its seat, salivating over imminent new material from Dog BloodSkrillex and Boys Noize‘s elusive, acidic side project. The pair recently linked in New Orleans to headline BUKU Music + Arts Project, reuniting for their first show since 2017, and only their second since 2015. Exceeding expectations, the duo used BUKU’s main stage as a testing ground for a trove of new, yet-to-be-named material, followed by a confirmation from Skrillex that new music is indeed underway, and landing soon.

Dog Blood’s performance at BUKU has been one of the most anticipated sets of the early part of 2019, along with Skrillex’s reunion with his former screamo outfit, From First to Last, which also took place at BUKU. As the Dog Blood’s performance schedule continues to materialize throughout the summer, expect more new music to debut from the OWSLA and BNR helmers. For now, get the first taste of new Dog Blood below and prepare for Boys Noize and Skrillex’s impending release—it’s bound to live up to the hype, and it could drop any minute now.

New music from Dog Blood confirmed as pair prep for first ever warehouse show

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New music from Dog Blood confirmed as pair prep for first ever warehouse showDog Blood Live

With Miami Music Week just around the corner, festival season now officially feels like its in full swing. Dance music’s cream of the crop are headed to southern Florida for a week of events in the lead up to Ultra Music Festival, now at its new home, Virginia Key Beach Park. Amid the Miami Music Week festivities is Brownies & Lemonade‘s highly anticipated warehouse affair, headlined by Skrillex and Boys Noize reuniting as Dog Blood. Though, Dog Blood has never played a venue as small as a warehouse, and with the exception of one show, the pair haven’t performed together in half a decade. Fear not though, new music from the acidic super group is now confirmed to be underway, just in time for their Miami outing.

Dog Blood’s warehouse debut, also the duo’s first performance outside of a festival setting, will feature brand new material—confirming that a long rumored studio project from the pair is in the works. Boys Noize and Skrillex are joined by a stacked lineup including Anna Lunoe, A-Trak, What So Not, Whethan, and more. Brownies & Lemonade’s Miami Music Week event is set for Thursday, March 28. Tickets are available here.


‘If you really love something you push forward,’ Ephwurd on restarting the project as a solo venture after Datsik fallout [Interview]

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‘If you really love something you push forward,’ Ephwurd on restarting the project as a solo venture after Datsik fallout [Interview]Ephwurd 1

Just a handful of years ago, as bass house was weaving its not-so-subtle stylings into the worldwide electronic anterior, Ephwurd was swiftly ascending as one of the genre’s most exciting forces. Fielding a shredding, high-impact sound design and securing a wall-to-wall library of festival bookings, Ephwurd’s Basie Hauser and Troy Beetles (Datsik) were locked and loaded at the turn of 2017 to renew their rapidly accrued success heading into 2018.

But their momentum would soon flatline as resolutely as it began. Rumors of Datsik’s sexual misconduct gave way to full-fledged testimonials aimed at the Firepower Records label founder, spanning years of alleged abuse. Datsik stepped down from Firepower, his representation dropped him; and nearly overnight, the Ephwurd project came to an emphatic halt. Hauser promptly cancelled all performance stops and rightfully opted to take some time off to recalibrate.

“It was heartbreaking,” Hauser tells Dancing Astronaut. “There was a lot going on. When all that stuff happened I was like, ‘Okay let’s take a step back, reevaluate everything, and go from there.’”

A year later, Hauser is picking up where he left off—well, sort of. Describing the project’s relaunch as a solo venture, Hauser says he has every intention of perpetuating the bass house heart of Ephwurd into the revamp, though he’s keen on dousing it in more non-electronic experimentation. Born into a musical family, Hauser discovered firsthand and at a ripe age what success looked like in such a wildly competitive industry. His father, Tim Hauser, was a member of the Grammy-winning jazz ensemble, The Manhattan Transfer.

While resolving to keep the project alive as a one-man show, Hauser has allowed for time to rectify some of the residual apprehension surrounding the Ephwurd masthead. Since the Datsik news broke in March of 2018, Hauser has released just two Ephwurd-branded tracks: the uncharacteristically emotive, “Everywhere I Go,” and the aptly named collaboration with SWAGE, “Hectic,” which arrived early February.

The former came equipped with a letter to his fans last July, in which he addresses the claims brought against his former partner and the ways in which he and those associated with the project felt the reverberations directly.

“…Within hours after the news broke, everything we worked so hard to build had completely fallen apart…

Next to losing my father, those first few days were some of the hardest I’ve ever faced. I didn’t want to see or talk to anyone.

As for the accusations against Troy, that’s not the guy I know. Coming to the mutual agreement of removing him from the project was a heart-wrenching day for me, but it had to be done. I am respecting his decision to stay private and wish the best for him…” wrote Hauser.

Today, the “Check It Out” producer says his pipeline is brimming with new material. As of now, he’s putting finishing tweaks on 20 odd tracks, many of which will see release in coming months. His main goals: making sure the genre-specific sound doesn’t become too “stale,” and bringing Ephwurd’s former glory “up to date,” by way of borrowing from formerly untapped inspiration.

“I want to experiment with [genres], be it sampling old jazz or funk records or coming up with chord progressions that can be applied to bass house,” Hauser says.

A scandal of much lesser proportions than Datsik’s could be liable to end the career of all those formerly associated with the accused. But, for Hauser, turning the lights out on the Ephwurd project, which he affectionately deems his “baby,” was never an option. Despite any contention left in its wake, Hauser does not see Ephwurd as beyond salvaging. In fact, his perspective is quite the opposite.

“I thought about it for a long time,” Hauser says of his decision to breathe a second wind into Ephwurd’s sails. “At the end of the day, I put in so much time to this project: literally blood, sweat, and tears. I love this project… If you love something, you nurture it and you don’t just leave it. If you really love something you push forward, and deal with the good and bad and try to persevere.”

Below is a lightly edited transcript of Dancing Astronaut’s conversation with Basie Hauser on the future of Ephwurd. The interview was modified for clarity and readability.

Tell us about how you started making music, where did your journey begin?

My dad was actually a vocal singer in this group called The Manhattan Transfer. He ended up becoming an accountant and hated it so much that he quit his job and became a taxi driver, singing on the side. Eventually he started this group, The Manhattan Transfer, which went on to be nominated for/win like 16 Grammys.

I grew up traveling the world with him, going to jazz festivals, meeting all these legendary jazz performers. I’ve always been immersed in music. I like jazz, but it was never my favorite genre of music. Around high school, you know that time when you really discover what music you like. Everybody hears the Beatles or something and gets this immediate reaction like ‘Oh my God! This is amazing.’ For me that was when I heard Aphex Twin. My first time hearing electronic music was the likes of SquarePusher, Boards of Canada, these like early ’90s Warped Records artists. I went from hearing rock ‘n’ roll and jazz to this crazy production I’d never heard before.

Bit by bit, I started doing my research and finding elements like ‘Oh, I wonder what sampler this guy used to make this.’ This is before Ableton or Logic or DAWs were widely adopted by people. It was cool because I started learning a lot about analog synths and old samplers, kind of just figuring it out from there. And near the end of high school I discovered Ableton and I’ve been on it ever since.

Ephwurd experienced a huge upward swing in 2017. How do you plan to regain that momentum now as a solo venture?

Making as much music as possible. I’ve taken almost a year off now and every day now I’m either in the studio or even if I’m just lying in bed, I’ll have my laptop with me coming up with ideas to take to the studio later. At the end of the day music is the most important thing, and the more you have of it the better. I think consistently putting out content will probably help. Back in 2017 we were writing a ton of content and I think that’s what helped us so much. As long as you’re constantly making music you love, you just hope people will listen and follow.

Stylistically, what changes can we expect?

I want to keep the heart of the Ephwurd sound intact, but introduce new ideas; evolving as an artist always involves that. I’ve always loved funk music, so I want to experiment with that—be it sampling old jazz or funk records or coming up with chord progressions that can be applied to bass house. Finding ways to bring those genres to bass house. Experimentation is the key to growing, so I hope to do that for the rest of my life.

A genre gets stale if you hear the same thing so many times.

What forces drove your decision to continue producing under the Ephwurd masthead despite the potential risk of contention?

I thought about it for a long time. At the end of the day, I put so much time into this project: literally blood, sweat, and tears. I love this project; it’s my baby. If you love something you nurture it and you don’t just leave it. If you really love something you push forward, and deal with the good and the bad and try to persevere.

When the allegations against Datsik surfaced, and compelled you to step back for a while, how did that affect you individually?

It was heartbreaking. I decided Ephwurd had to cancel all [our] shows and to kind of take that time to regroup and rebuild everything. I think it’s been one of the healthiest things for me because I got to take the time to just be a human—taking the time with my family and friends, not just touring. I’d been on the road for the past six years, and it’s exhausting. The time off was a godsend because I was able to keep working on music and discover new things about myself. I’m actually really appreciative of it.

What can we expect from the revamp in 2019?

There’s a lot of stuff in the works, in terms of new music. From the past six months I have like 20 tracks that are finished but I want to make sure they’re the best they can be. You can expect a lot more music. New sounds and the old sound too, but bringing it up to date.

Hauser has asserted that he and Datsik split up the DJ/production work evenly; regardless, a segue to manning a solo act stands as a momentous task even without such a controversial catalyst. Fortunately for Hauser, he has industry know-how, unequivocal resolve, and redemptive battle wounds in his corner, affording him a chance to take back the success he only just began to taste back in 2017.

Swedish House Mafia join Calvin Harris, Daft Punk on Columbia Records roster

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Swedish House Mafia join Calvin Harris, Daft Punk on Columbia Records rosterSwedish House Mafia Ultra 2018 DA

Swedish House Mafia are back, despite only having played one show together in the last six years. Now it seems they are officially here to stay with the trio’s newly inked record deal with Columbia Records. Columbia has been fierce in its effort to scoop up A-list electronic talent over the last decade, now planting the Mafia among Daft Punk, Calvin Harris, Diplo, and LCD Soundsystem‘s ranks. At the end of 2018, Columbia also signed Gesaffelstein, officially kicking off his comeback after a similarly long hiatus. Swedish House Mafia is the latest top-tier act to join Columbia’s booming roster, confirming a grip of new music will accompany their slowly materializing world tour set for this summer.

In recent weeks, Axwell, Sebastian Ingrosso, and Steve Angello have locked in Ultra Europe and Korea performances, a return to Ibiza, a confirmed headlining slot at Lollapalooza Berlin, and begun teasing their highly anticipated Los Angeles shows. And where the group could easily get away with touring this summer on heavy nostalgia alone, a fresh record deal signals plenty of new music from Swedish House Mafia is now imminent.

‘I never said I was making an album,’ Skrillex expounds on plans for new music

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‘I never said I was making an album,’ Skrillex expounds on plans for new musicSkrille Studio Footage Boys Noize Dog Blood

With the end of 2018 came the end of a much-deserved year off for Skrillex. While the “Buckets” producer maintained an active studio presence and a relatively busy itinerary, 2018 came and went without the release of a major project. The anticipation that has drummed up since Skrillex’s last solo release has reached an all-time high, and while the public is aware something new is coming, hopes of a full-length album may have just been dashed by the man himself.

It’s no secret Skrillex has a trove of new music under the hood. Social media is ablaze with clips of new tracks and fellow top-tier producers hyping yet-to-be-heard instant classics underway. Though in a recent interview with Billboard on the production behind Skrillex’s new Kingdom Hearts III theme, the OWSLA-helmer was ambiguous in his wording about a new project underway. Says Skrillex,

“You know, people have been asking me about when I have a new album coming out, and it’s a little strange, because I never said I was making an album.”

Having reached his thirties and an obviously new chapter in his career, Skrillex reflects on his time off, and the need to “be human for a little bit.” He does assure fans,

“I’ll release some new music soon, but I’m just trying to do it organically. At the same time, I still love to make music, and I’m obviously working.”

While a proper follow up studio album to Recess may not actually be what Skrillex has in store for fans, he’s definitely got new material up his sleeve, and it be seeing the light of day very soon.

Via: Billboard

Flume promises new music is underway in 2019

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Flume promises new music is underway in 2019Screen Shot 2017 12 18 At 9.39.45 AM

After a silent 2018, after the critical acclaim of his sophomore LP, Skin, Flume closed out the year taking to social media to let fans know new music is on its way in 2019. The last time the Australian record producer released new music was his Skin Companion EP II that dropped February of 2017. In a relaxed state, the trendsetter who brought future bass to the mainstream tells his followers “Next year I’ll be back in your life, I promise.” This year was spotlighted by orchestral performances of his music and a back-to-back set at Burning Man with Diplo.

Flume’s big breakthrough in the electronic music space came with a stellar remix of Disclosure’s “You & Me.” Eventually he would go on to win the Best Dance/Electronic Album Grammy with his lauded Skin LP. Now, listeners are eager for whats to come next from the “Never Be Like You” producer as a follow up to his last studio work seems to be underway in 2019.


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Cheers 2018. Next year I’ll be back in your life, I promise

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Gesaffelstein teases new music in cryptic video ahead of impending comeback campaign

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Gesaffelstein teases new music in cryptic video ahead of impending comeback campaignGesaffelstein Summons His Dissenters Photo By The1point8

Move over Swedish House Mafia, there’s another electronic act that’s hot on the comeback trail.

Gesaffelstein‘s three year hiatus is officially coming to an end, with the French luminary recently finalizing a deal with Columbia Records for a comeback campaign due to begin any minute now.

The first sign of Mike Lévy’s potential resurfacing came with a grip of mysterious billboards that cropped up in major cities across the globe. Shortly thereafter, the news of a newly inked Columbia co-sign essentially sealed the deal. Now, we have a brief, tantalizing taste of what Gesaffelstein is working on. So far, it is unclear whether the “Control Movement” producer is gearing up to deliver a long-awaited follow up to Alephor if his resurgence will bring an entirely new line of work, though a video posted to Gesaffelstein’s newly revamped social media pages might give the first glimpse into what we can actually expect to hear on the fully actualized upcoming project.

The clip is short and sweet, leaving a lot of room for intrigue, though the tense, glitchy build is already enough of a hair-raiser for fans eager awaiting Gesaffelstein’s impending return. Stay tuned.