At long last, Skrillex has delivered his Kendrick Lamar-endorsed ‘Humble’ remix [Download]

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Hol’ up, hol’ up, sit down. Skrillex just dropped “Humble.” 

First unveiled at this year’s FORM Arcosanti festival, Skrillex teased a menacing bootleg remix of Kendrick Lamar‘s summer-dominating hit, “Humble” and fans have been, in a word, shook since. Following the track’s first public rinsing, the hype surrounding the OWSLA head honcho’s K-Dot remix has reached a fervent high. Now, with an official endorsement from the Top Dawg Entertainment camp, Skrillex’s remix of “Humble” is available to stream in it’s full, tenacious glory.

Kendrick Lamar’s DAMN. is a serious contender for rap album of the year, and the LP’s lead single has undoubtedly lead the campaign as arguably the most ubiquitous track of 2017. Now Sonny has stepped up with his stomping rendition of “Humble,” pairing the original’s sinister keys with pitched down vocal chops and swooping, thunderous bass jabs on this supreme elbow-throwing hip-hop/trap hybrid. Injecting Kendrick’s chart-topper with his unmatchable bass treatment, Skrillex drops off a quick reminder that even if he quit this season, he’d still be the greatest, funk.


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Whipped Cream drops new EP ‘Persistence’

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Whipped Cream is one of the fastest rising producers from the LA trap scene. Her unique productions have earned her a fervent following, and she continues to outdo herself with each release.

Whipped Cream’s latest is the EP Persistence, released on NEST. The EP’s first two tracks, “Persistence” and “Ignorance,” show a more experimental side of the artist, utilizing more techno elements in her music to bring out dark bass sounds. “Selfish” takes these vibes ever farther, showcasing a single that feels like spiritually-infused acid trap with a massive drop to top it off. Whipped Cream went out of her comfort and dared to be different, the result is more than on point.

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Beyond The Booth 003: Chris Lake on the evolution of technology in the dance music space

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Beyond the Booth is a feature dedicated to the hidden side of artists that exists outside electronic music— a side rarely discussed with those outside their immediate circle. We venture “beyond the booth,” so to speak, and dive into their deepest passions that tie into their unique personalities. After some self-introspection, each participant then returns to the booth, providing an exclusive mix for the Dancing Astronaut audience.

Somewhere between West London and West Hollywood, Chris Lake stands as a sort of a dance music renaissance man, so to speak. He’s a veritable UK house legend who’s hunker-down-low club cuts have unequivocally shaped the genre’s popular trends for over a decade, both at home and on American dance floors alike. Establishing a track record that includes a Grammy nomination for contributions to deadmau5‘s 4×4=12, founding and managing three independent labels, and most recently, curation duties on OWSLA‘s debut house compilation, Chris Lake has been a respected, albeit undersung, fixture in his industry since his debut.

Now, aligned with some of today’s top tastemakers, from Anna Lunoe to Skrillex, Lake has staked his claim in Los Angeles’ west coast house emergence, culminating in a coveted sundown set at HARD Summer‘s 10 year anniversary this past weekend. Hosting a raucous affair at Anna Lunoe and AC Slater‘s Hyperhouse x Night Bass stage, Chris Lake brought the house down with a flawless setlist of dance floor jump starters that humbly showcased his two decades of chart-topping charm.

Though nearly twenty years, Chris Lake has seen dance music evolve from the inside out in harmony with the world’s most major technological advancements. Gripping his interest outside of the studio and the club, technology plays an important role in Lake’s sparse free time. On the heels of his set at HARD Summer, Chris Lake sat down with us to discuss his world outside of music, though the conversation didn’t quite seem complete without the exclusive mix he dropped off as the cherry on top.

Venture beyond the booth with Chris Lake below.

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As someone whose career keeps them on the go, what’s your favorite piece of “luxury technology?” Conversely, is there one piece of technology you just can’t live without?

My luxury piece of technology would definitely be my Tesla Model S. It’s definitely my favorite car I’ve ever had and it’s amazing that it’s a whisper quiet electric car that I can do so many cool things with, like turn on the a/c before I get into the car so I don’t burn my ass on the seats in the middle of the Californian summer! Technology I couldn’t live without? Well I’ve been all about that Ring doorbell lately. I have one installed at my house and it’s great for tracking packages, telling people to go away or telling my Wife she looks beautiful when she walks through the front door (brownie points scored every time).

What’s the most significant way technology has evolved DJing or producing for you?

Well for me, I’ve gone through the times DJing on vinyl, CD and now off data sticks. I loved spinning vinyl but it was heavy and restrictive, specially if you produced your own records and wanted to play something you’d just made out in a club. You’d have to cut a dub plate which would cost like £60 and you’d maybe get 10 good plays out of it before it was ruined. Then I moved onto CD’s but hated how my whole collection looked like blank CD’s with my handwriting on it. It was really difficult to find tracks and I always dreamed of being able to load music up on my data stick and browse it on the player. Of course that’s now what you can do and it’s unbelievably liberating for me as a DJ. I can constantly organize my collection and playlists in my computer and transfer it to the data stick with one click. It’s absolutely brilliant.

How do you think creatives could benefit from an open, transparent, and in-real-time creation/sharing platform? Is there a practical application to a blockchain-like system in dance music?

I mean, I think blockchain technology has huge potential to revolutionize many parts of the music industry, but I’ve never fully considered what it could do on the music creation side of things. I’m sure it’s possible, but at the end of the day, whatever gets designed really needs to be practical in a workflow sense. Anything that loses momentum in a studio setting is no use to me. When you have programs like Ableton Live (my DAW of choice) that allow you to create infinite ideas with ease and minimum technological hinderance, future technologies have to make something easier or better to fit into producers lives or it’ll never work.

Outside of musical inspirations, who is your hero? Who is someone who you believe have changed the world for the better? In terms of revolutionizing how people live today, who’s responsible for the most impactful changes to humanity in your opinion?

Right this minute it’s difficult to look past anyone other than Elon Musk. The guy’s ideas and execution of those ideas is stunning. He currently has involvement in electric cars, solar power, grid scale power storage, the hyper loop concept, Space X and his Mars plans, merging computers and the human brain and tunneling underneath major cities. They’re just the projects I can remember off the top of my head. I don’t know how he does it.

How do you believe the incorporation of cryptocurrency could affect the live music industry? Would it bring about positive changes to buying, experiencing, consuming music?

I’m not sure crypto currency would change much for the consumer at all. I do think the blockchain has really interesting potential for things like royalty collections, licensing, copyright protection etc. I know Imogen Heap has been one of the artists working hard to develop this sort of concept.  I’m sure blockchain technology will soon be cutting out many of the ‘middle men’ in the industry. The possibilities are endless to be honest.

Are there reasonably viable sources of renewable energy or battery technology that could revolutionize the live music space? How can venues, festivals, etc. make small changes towards more sustainable or more efficient production?

I think there’s much more that could be done on things like the waste management and recycling programs. One of the biggest things that strikes me about these events is the waste that gets created from things like plastic cups etc. It’s crazy and I’m not confident a lot of these festivals have systems in place to properly recycle. If you ever get a chance to attend Burning Man, it’s eye opening because one of the main things you must do when there is to not let anything touch or spoil the ground, so anything you use, you must dispose of properly yourself, or take it away with you. When you can’t just chuck something in the trash or flush it down the loo, it makes you realize how much gets discarded every single day. When you have to be responsible for every item you use it makes you think about things in a very different way.

Riding a high with HARD and OWSLA’s Hollywood summer residency now in the rearview, Chris Lake gave Dancing Astronaut a peek into his current personal rotation with an exclusive mini-mix packed with a trove of club-primed gems.

Featured image by Rukes.

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Carmada are back with heavy new NGHTMRE collaboration, ‘Embrace’

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Carmada cropped up in 2014, disrupting the bass music mill with their boisterous brand of futuristic dance products, though it wasn’t long before the group once again went dark. The OWSLA-signed side project of Aussie beat makers L D R U and Yahtzel made an explosive impression, and after some tantalizing radio silence, the duo appears to be back — and they have NGHTMRE in tow for a heavy handed reintroduction called “Embrace.”

The new collaboration ropes in versework from Sydney-based vocalist Xavier Dunn, paired with NGHTMRE and Carmada’s complementary styles, making for a bombastic low-end groove polished with syncopated percussion and crashing sample work. NGHTMRE continues to stake his claim in the bass genre with the new joint product, while demand for more Carmada continues to rise.

The track comes very shortly after an unexpected hilarious new video short from Carmada that alludes to a new EP and possibly even a tour in the works. Until then, we have a satiating new piece in “Embrace,” out now via Mad Decent.

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Yahtzel – Someone Else ft Savoi

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Yahtzel – Someone Else ft Savoi

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Yahtzel may not yet be a household name stateside, but among the sea of forward-thinking producers coming out of Australia, Max Armata stands out as one of the foremost innovators from down under. Splitting his time between his solo endeavor and his OWSLA-endorsed side project Carmada, alongside fellow Aussie L D R U, the producer has built his own distinctly fresh brand of indie-leaning dance productions. For his latest offering, Yahtzel has teamed up with Savoi for an ultra-infectious future pop record titled, “Someone Else.”

The track features a textured topline from Aussie vocalist Savoi sitting atop lush piano chords and buzzing synth arrangements. Complete with mellow drum accents and a grooving, singalong hook, Yahtzel put together a perfect “roll your windows down and cruise to this” product that could garner more attention in the American market than any of his previous solo work. Swapping out his home label Future Classic and debuting on Odesza’s Foreign Family Collective for his latest, Yahtzel has dropped off a undeniable certified late-summer smash on “Someone Else.”

 

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Skrillex’s ‘HUMBLE’ remix is dropping soon

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It’s huge news when two of the best in the game collide. So when Skrillex dropped an earth-shattering surprise remix of Kendrick Lamar‘s “HUMBLE” back in May during his FORM Arcosanti set, the dance community went nuts. While he’s been slipping the bass-heavy rework into recent sets, including HARD Summer and Webster Hall‘s finale, the track is still unreleased.

Just hours ago, the OWSLA label head delivered a short but sweet tweet about possible release details for the noteworthy track. In response to fan inquiry, Sonny Moore revealed on Twitter that the remix would be released “Verryyy Soon.” Check out the tweet in its entirety and a clip of the new track below:

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Ekali makes OWSLA debut with an insane Denzel Curry collab, announces Babylon World Tour

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Ekali just signed onto Skrillex‘s label OWSLA. Known for his earth-shattering bass and masterfully mixed hip-hop tracks, it comes as no surprise the artist is now working directly with some of music’s most influential acts. After playing Webster Hall’s final club night alongside Skrillex and Boys Noize on Aug. 5, Ekali now presents “Babylon,” a five-minute fusion of hip-hop and electronic music with one of rap’s most versatile—Denzel Curry.

Speaking with XXL ahead of the collaboration’s release, Ekali explained his stylistic choices.

“My objective with ‘Babylon’ was to create a world where rap and electronic coexisted without tipping the scales too far in either direction. I was hyped on the idea of producing an entire song around Denzel’s story instead of having him tell his story around my beat, so I ended up producing 99 percent of the song after Zel had already recorded his parts.

 

He continued, “It’s an approach to rap music that I’d never seen done before, so I wanted to know what that sounded like. Working in the room with Denzel was fast… he’s a real rapper. Most of the time we spent kicking it just playing shit back and forth. He wrote and recorded his parts for Babylon in minutes.”

Following up on Ekali’s remixes of Curry’s “Threatz” with a style similar to that of Flume and Vince Staples’ “Smoke & Retribution,” the latest rave-rap release is a flavorful heavy feature that’s simply waiting for its dance floor drop. Luckily, fans won’t need to wait long as Ekali also announced the “Babylon World Tour,” with 42 tour dates goes on sale this Monday, Aug. 21.

 

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Mark Johns – Same Girl (Original Mix)

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OWSLA recruit Mark Johns is back with a new original. Twenty-three-year-old Naomi Abergel, better known under her androgynous moniker Mark Johns, unveils “Same Girl” via her mentor Skrillex‘s label.

On “Same Girl,” Johns breaks out of the hazy heartbreak that enveloped her debut Molina EP. Produced by lophiileMAG and Skrillex, the new chill trap song shows the world that her delicate yet arresting voice won’t be boxed into one genre. She comments on her new mindset, saying:

“I realized if I have my label and I have my friends and I have my people who are willing to support whatever the f— it is that I want to put out, then why am I stressing?”

Johns’ relatable lyricism about being out of phone data, having money on her mind and hot-boxing “somebody’s Toyota” are stylized in an accompanying lyric video.

The Los Angeles based artist will soon be releasing a string of singles while her full length album is in the works. Check back for more and listen to “Same Girl” now.

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Tchami releases “World To Me” (feat. Luke James) music video

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Martin Bresso, better known by Tchami, has released the official music video of his “World To Me” (feat. Luke James). This release comes as a precursor to Tchami’s Revelations EP, slated for an August 25th, 2017 release.

The French producer is most certainly one of the many pioneers in the future house genre. Tchami began using the term “future house” as a tag on SoundCloud, and it was eventually picked up by the electronic music industry and its leaders. His unique sound has led to remixes and collaborations with iconic electronic music producers like DJ Snake, AlunaGeorge, Martin Garrix, and Jack Ü.

The “World To Me” music video takes a step back and looks at a wide range of the diversity and beauty in humanity. Everyone’s different in their own ways, and that’s why people mean the world to other people.

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Chris Lake – I Want You (QUIX Remix)

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Four months after Chris Lake‘s “I Want You” took OWSLA by force, a package of remixes is reigniting the hype around the track.

Among these remixes is a trippy trap track courtesy of QUIX. The New Zealand producer was thrilled at the chance to remix the house song.

“When OWSLA asked me to put my spin on this Chris Lake house anthem I was stoked,” he said.

In his rework, QUIX chops up the track’s vocals and staggers them over a grinding trap beat. The remix veers sharply from the original, taking it from a grooving, dance-ready house song to more of a festival-ready “banger.” Its nitty gritty, mechanical sounds give it a rough edge, breathing new life into what was already a strong production.

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