Porter Robinson shares favorite full albums of 2018

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Porter Robinson shares favorite full albums of 201816730374 1391585324233387 7529369810851483408 N

With the year coming to a close and hindsight coming into 20/20 view, most everyone is reflecting on the tracks and albums that defined their year. Porter Robinson is no exception to this tendency, and following his shoutouts to his favorite tracks of the year on his birthday, it’s only natural he’d take the next step and shout out his favorite full albums released in 2018.

Robinson has been spinning fluid and loving sound since he walked through the door and these personal shout-outs from musician to musicians hold an intrinsic value. Twitter may have its shortcomings but a door into the-minds-ear of a producer like Robinson in a blessing. Robinson with just a few links and the words “i love” is able to connect worlds of music, influence, and sonic innovation.


Kero Kero Bonito’s Time ‘n’ Place is a sweet, psychedelic, sweeping collection of tracks soft on the ear and penetrating towards to soul. Harmonious and experimental, the trio from London seamlessly brings raw acoustic and instrumental sound together with contemporary electronic noise. The album has bass (both guitar and beats), synths, breakdowns, build-ups, subtle poetic freestyling, jovial sing-alongs, eastern and western influence — making it a mosaic of an album. The juxtaposition between the tracks “Only Acting” and “Sometimes” truly show how versatile these three are. Robinson really did everyone a favor with this glance.


G Jones didn’t really need any looks, having had DJ Shadow call him “the most gifted Ableton beatmaker I’ve ever seen.” Still, The Ineffable Truth‘s unprecedented standing is not to be overlooked. Released October 26, the traction on this work is simply exponential. Sometimes a solid record reveals itself right off the bat. Within seven seconds of the first track, “222 / Unknowable,” G Jones does just that. A wise voice simply states, “I want to feed off of this feeling which seems to be coming from everything,” after the briefest pause, in big-bang fashion G Jones rips the world apart for just a moment. He knows how to break down space and resemble it and has an understanding of sound and technology that combined create an organic experience. Making this form of music that organic is what will continue to propel these beats into the future.


Swardy‘s Here on My Own is a beautiful collection of one half of The M Machine‘s essence. Light, fun, and mystical, this five-track release causes a desire for introspection that Robinson himself has a talent of bringing forth. The tracks are flush with groove, melody, and steady beats that allow the listener to close their eyes and explore their minds and their hearts. These tracks don’t get stale and supply a timeless opportunity to explore the infinite space that is the self.  Appropriately, Here on My Own is out through Mat Zo‘s Mad Zoo label.

Watch REZZ unveil anticipated remix of Porter Robinson’s ‘Divinity’ [VIDEO]

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Watch REZZ unveil anticipated remix of Porter Robinson’s ‘Divinity’ [VIDEO]Rezz Echange La 2017 4

REZZ remixes always bring originals into her dark and trippy sonic realm in a way that piques max-level curiosity. So, when the mau5trap star announced via Twitter that she was tackling a song from Porter Robinson‘s beautiful and canonized Worlds LP, the hype was, unsurprisingly, instant. Just a day after revealing that the remix  in question would be “Divinity,” the crowd at REZZ’s Friday tour stop in Montreal were treated to an unveiling of the remix.

Preserving the original’s gorgeous bell plucks and airy vocals, REZZ reframes its key pieces with an injection of sinister sonic flair. The beauty of “Divinity” remains, but is now drenched in delicious REZZ darkness. The artist has promised to play the remix for the remainder of her “Certain Kind of Magic” tour, thought it’s unclear when and if fans can expect the rework’s official digital release.


H/T: This Song Is Sick

Featured image by Rukes.

Adventure Club are the latest to remix Virtual Self’s ‘Ghost Voices’

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Adventure Club are the latest to remix Virtual Self’s ‘Ghost Voices’Adventure Club

Adventure Club has dropped their remix of Virtual Self‘s “Ghost Voices.” The French Canadian duo joins the ranks of Arty, Shadient and many others who have shown their love and admiration for the 2017 standout track from Porter Robinson’s latest side project, taking on the challenge of remixing a scintillating original into their own. Porter Robinson himself even took to the track for another spin recently.

The production duo have accomplished what many have sought to do, bringing the signature emotion from the original “Ghost Voices” through in their own standout remix. Opening the track with a downtempo, stripped-back version of the track’s recognizable melodies, Adventure Club’s remix builds to take its form across uplifting, expansive synths.

Celebrate seven years of OWSLA with this new playlist stocked full of label highlights [Stream]

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Celebrate seven years of OWSLA with this new playlist stocked full of label highlights [Stream]Skrille Baauer Slushii Wsn Owsla 5 Birthday

This month, Skrillex‘s LA-based artist collective, OWSLA, celebrates seven years in business. In those seven years, Skrillex went from promising mau5trap recruit, to burgeoning label head, to one of the most ubiquitous talents in electronic music history — and in turn, one of the most renown A&Rs in the game. Skrillex has achieved icon status as one of the most popular producers on the planet. His catalog speaks for itself. But perhaps more a testament to Sonny Moore’s abilities, and possibly what could wind up making a larger impact on his legacy than his own music, is the body of work he’s curated since OWSLA opened its doors seven years ago.

As the story goes, the label, named for the rabbit army in Richard Adams’ Watership Down, came into existence in 2011, shortly after Skrillex connected online with an emerging Porter Robinson. The young wunderkind instantly gripped Skrillex’s attention, and it wasn’t long before he was making plans to launch his own publishing imprint in order to host some of Robinson’s earliest, and most prolific works. Seven years later and here we are. Dancing Astronaut rounded up some of our favorite highlights from OWSLA’s first seven years, including work from Zedd, Anna Lunoe, Kill The Noise, Louis The Child, and many many more. Good people, good times.

Mariah Carey samples Porter Robinson’s ‘Goodbye to a World’ on latest single

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Mariah Carey samples Porter Robinson’s ‘Goodbye to a World’ on latest singleMariah Carey Nye Ny Credit Taylor Hill

In between Vegas stints, Mariah Carey has released her latest track entitled “GTFO.” It’s classic Mariah: a sultry, intimate pop song with a not-so-subtle middle finger of a punch line. But electronic music fans will notice one major piece of the song’s puzzle didn’t always belong to the track’s original writing — but rather, is the work of Porter Robinson. 

The warm and inviting heart of the production of “GTFO” comes from Robinson’s instantly recognizable “Goodbye to a World” from his critically acclaimed 2014 album release WorldsAlong with Robinson, credits on the track belong to vocalist and songwriter Bibi Bourelly, Carey herself and OVO favorite Nineteen85 of “Hotline Bling” fame.

Like it or not, this kind of exchange across music fuels much of pop, electronic, and hip-hop production, but it is rarer to see electronic music be direct inspiration in top-tier pop music of Carey’s iconic caliber. Of course, lines between pop and dance music are increasingly blurred nowadays, but there have been instances like Flo-Rida’s “Good Feeling,” where Avicii’s sampling on “Levels” was a direct inspiration, and “GTFO” follows suit. While the single poses a question of where — outside of Christmas albums — Carey intends for her music stand going forward. Judging from Robinson’s fans’ reactions on Twitter, she’ll find a place just fine.

Photo Credit: Taylor Hill

Krayysh soars with lethal new single, ‘Birds of Prey’ on Mad Zoo

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Krayysh soars with lethal new single, ‘Birds of Prey’ on Mad ZooKrayysh Birds Of Prey

Rising bass music star Krayysh is back with a unique new single called “Birds of Prey,” out now on Mat Zo‘s Mad Zoo imprint. The producer has been a mainstay on the label since its inception, maintaining a bracing, hard-edged style characterized by mind warping sound design. “Birds of Prey” double checks those boxes, but brings some seriously creative twists to the table. Krayysh’s signature bass sounds explode behind a crunchy beat that’s eons away from the breakneck pace of past releases like “Running From Death.” Squealing synths lazily ride the breakdowns, but ear slapping distortion is never far off.

Krayysh has been an absolute monster for the past year, and has received some well-earned support from industry heavyweights including Porter Robinson of of course Mat Zo’s firm co-sign. For those previously unfamiliar with the Mad Zoo member, jump into “Birds of Prey,” and strap in for the rest of Krayysh’s catalog.

Skrillex booked for double duty New Year’s Eve festivals

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Skrillex booked for double duty New Year’s Eve festivalsSkrille NYE 1

These days, a Skrillex set is hard to come by. However, this New Year’s Eve, fans will help him ring in 2019 at not only the previously-announced Snowta in Minneapolis, but at Arizona’s most coveted NYE experience, Decadence the day before.

Skrillex is no stranger to Decadence, either. He and Diplo closed out the fest in 2015 together in the height of their short-lived stint as Jack Ü. This year, Skrilly will join Porter Robinson as Decadence co-headliners to be announced thus far.

While the rest of the lineup for Decadence has yet to be announced, previously-booked acts have included Kaskade, deadmau5, Disclosure. Needless to say, the event is an inexorable can’t-miss for Arizonian EDM enthusiasts.

Decadence will be held December 30-31. Tickets are available now.

Weekend Rewind: Porter Robinson’s seminal ‘Worlds’ turns four years old

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Weekend Rewind: Porter Robinson’s seminal ‘Worlds’ turns four years oldHARD Porter Rukes

Everyone knows the feeling they get in the pit of their stomachs when a track like “One More Time,” “Wake Me Up,” “Ghosts ‘n’ Stuff,” or “One” comes on. The outside world fades away and the music, the classic dance track and the feelings it invokes, are all that matters. There’s a beauty in some tracks’ ability to shed the outside world in a fleeting moment of sonic bliss — exactly the phenomenon that Porter Robinson achieves with “Divinity.” Few opening tracks in modern electronic dance music are as recognizable, and ultimately, few opened listeners up to an entirely unique world of an artist’s music like Worldsopener did.

Robinson’s Worlds is four years old on August 12 and although he’s moved on to newfound creative avenues, the energy and, well, otherworldliness of Worlds still plays as if the listener’s making a new discovery on each and every listen. Described by the journalist Larry Fitzmaurice at Pitchfork as “an antidote to the aggressive, toxically masculine culture that’s pervaded mainstream American dance culture” surrounding its release, Robinson’s retro and Japanese culture inspiration, the album’s now iconic, glitchy sound design, and its propulsive knack for turning mere objects into easily pinpointed sounds stretched the parameters of what mainstream electronic music could be in a way that hadn’t been challenged in a long time.

Worlds flouted the expectations of the American dance culture it existed in, even if it did rely heavily on the past and influence from artists like M83,  to challenge its present. The album defied the logistics of the DJ set and what the live dance music performance could mean, much like its predecessors did in seminal LP’s from the likes of Daft Punk, Justice, and others. Robinson bridged the gap between the indie-pop world and dance music, too. A modern opus, and certainly not the pinnacle of Porter Robinson’s career, the album is undeniably one of his brightest moments so far — one that illuminated the path for an entire wave of emotionally-charged, conceptual dance music to follow.

Featured image: Rukes

Virtual Self’s technic-Angel releases ‘Ghost Voices’ spinoff called ‘Angel Voices’

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Virtual Self’s technic-Angel releases ‘Ghost Voices’ spinoff called ‘Angel Voices’Virtual Self Angel Voices

Right when it seemed like rumors surrounding Porter Robinson‘s ’90s dance music-inspired alias were calming down, the producer announced that he will be embarking on a full North American tour as Virtual Self. The Utopia tour, however, is not the only news the producer has to share.

Robinson just released a surprise track titled “Angel Voices,” which serves as the technic-Angel edit of “Ghost Voices.”

“Angel Voices” is a six-and-a-half minute compilation that takes moments of “Ghost Voices” and spins them into intense trance segments, blended into harder mashups of contrasting synths and sounds. Each section of the song is seemingly its own, as is the case with most of Robinson’s productions as Virtual Self.

Porter Robinson confirms Virtual Self tour speculations with the Utopia Tour

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Porter Robinson confirms Virtual Self tour speculations with the Utopia TourPorter DJ Mag Photo Photographer Credit Jasmine Safaeian @yasi E1531422686448

Confirming Reddit’s speculations about a forthcoming Virtual Self tour, Porter Robinson has released a full set of North American dates to make up the Utopia Tour.

The tour will kick off Aug. 31 in New York City at Electric Zoo and make its way across the continent through early October. Attendees of the tour stops can expect to see a combination of two sets in one: a techno, two-step and trance portion from the technic-Angel moniker of Virtual Self, and everything from jungle to hardcore from Pathselector.

Dates marked “CLUBSYSTEM” will be either an intimate club show or a show without custom stage setup.

Friday, Aug. 31 Electric Zoo – New York, NY
Saturday, Sept. 1 Riverworks  – Buffalo NY
Sunday, Sept. 2 New City Gas – Montreal QC
Monday, Sept. 3 Echostage  – Washington DC (CLUBSYSTEM)
Thursday, Sept. 6 Royal Oak – Detroit MI
Friday, Sept. 7 Aragon – Chicago IL
Saturday, Sept. 8 Armory – Minneapolis MN
Tuesday, Sept. 11 The Complex – Salt Lake City UT
Thursday, Sept. 13 WAMU – Seattle WA
Friday, Sept. 14 Commodore – Vancouver BC
Saturday, Sept. 15 Shaw Conference Center – Edmonton, AB (CLUBSYSTEM)
Wednesday, Oct. 3 Emo’s – Austin TX
Thursday, Oct. 4 Bomb Factory – Dallas TX

 

Featured photo by Jasmine Safaeian