Ever the cheeky talent, Tiger Stripes has returned to his compatriot Adam Beyer‘s Truesoul with an uplifting new EP titled, Sneaking Hotdogs Into People’s Pockets. Similarly to his last release on the imprint, the cheerfully quirky Sound Of The Bettest, his newest two-tracker also plays around with retro sounds to create an infectious atmosphere that gives way to an auditory trip down memory lane. The producer is clearly an expert at creating a mood in each of his singles.
Take B-side “Guidelines,” which harkens back to the wave of 80s & disco-inspired tunes that came out during the aughts. Its simple, yet catchy hook even bears a comparable arrangement to Eric Prydz’ infamous “Call On Me;” yet “Guidelines” feels a bit more modern and timeless in its ultimate construction. Vintage vocal clips held down by driving, toughened percussion make “Guidelines” adaptable to the peak time in its power level—and primed to elevate moods wherever it’s played.
UZ is sharing the story behind last year’s The Rebirth album via a mini-documentary, where he dives deep into the inspiration behind the project that merged hip-hop and electronic into one. In a partnership with Serato, the documentary features cameos of studio time, tour preparation, mask upgrades, and more behind-the-scenes footage of the thought process behind the project. The video delivers a glimpses into studio time with Bok Nero and Rome Fortune, showcasing some rising talent in the hip-hop game.
UZ’s reign continues to drive electronic trap music towards merging with its sensical rap counterpart, striving for a continued push for a new artistic frontier. The Rebirth‘s documentary is thus a highly enlightening watch for anyone looking to push their own creative envelope.
He told Dancing Astronaut, “Last year I took a break from touring and locked myself in the my studio for a couple months, I wanted to go back to my real trap shit roots and add a modern twist to it by using a new DAW, new sounds and new techniques. We’ve remodeled my mask and created new visuals to make the experience really immersive. I’m stocked to see how everything turned out and I am really excited for this new chapter.”
Seven years of intense introspection and studio work have birthed You Don’t Know—Coyu‘s first ever album. The artist and his label Suara have gone through a metamorphosis as of late, heading in both darker and more progressive directions at the same time. It only feels natural that a completed body of work that encompasses all the sounds that have led the artist to where he is today would finally arrive. You Don’t Know is set to debut in mid-June, but ahead of time we’ve been able to snag an exclusive taste of what to expect through a four-track sampler.
Don’t expect an LP that serves a club function; You Don’t Know branches far beyond a singular sound and shows off just how versatile Coyu can be. While the sampler opens with a jarring “My First Pill,” a high-paced techno tune featuring The Horrorist, “Happiness? Go Ahead” is a gritty, industrial-leaning breaks number with harsh textures and eerie vocals playing center stage in a kickless soundscape. “Insania,” a modular, glitchy number, makes out to be one of the most experimental pieces on the whole album and once again finds beauty in the abstract. Coyu closes out the sampler with “Unite,” another roller of a techno tune equipped with acid lines and chugging percussion built for war. Ultimately, this small piece of the album puzzle succeeds in showing off a well-rounded artist who’s here to tell a dark tale come his album’s official unveiling in June.
Order a copy of the sampler, due February 25, here.
Three of underground house’s prime delegates have merged into what some might call a “supergroup.” Operating under a tough-to-forget name—Better Lost Than Stupid—Davide Squillace, Martin Buttrich, and Matthias Tanzmann showed the dance music world their collective prowess with their Alto EP and the dub version of “Inside.” The latter of these singles had a vocal version as well, however, which Dancing Astronaut has the honor of debuting.
“Inside” dub version showed off a heads-down groover, with a strong bass and running synth lines building upon each other to create a minimal, yet cunning electronica fusion piece that puts listeners into a blissfully catatonic state. Crisp high hats top off the track for an added flair. Its vocal version maintains this nuanced appeal, but tosses in a bit of soul and synthpop with 80s-inspired vocals. With a full album on the way and such diverse influences from all three counterparts coming through on each single, we’re keen to see what this trio will pull out of their sleeves.
“New Horizons” is the kind of track that can be felt deep in one’s core. Layered, yet clear, its cavernous sound design and buzzy synths vibrate give off an earthshaking effect. Fat Sushi use minor arpeggiations in the main hook, casting an ominous air over the production that works to raise goosebumps on the floor. It feels almost inspired by classic progressive trance in its build—but adapted effectively to a modern club setting.
Fat Sushi ended their 2018 on a strong note with an official Henry Saiz remix and an anthemic Serenity on their own Fat Wax imprint, which became a favorite among the DJ circuit. “New Horizons” serves as the A-side of their eponymous EP, which was snatched up by the prolific Katermukke for a February 15 release date. Order a copy here.
Back in August of 2018, Justice‘s Xavier De Rosnay sat down with Dancing Astronaut to discuss the Woman Worldwide tour that was, at the time, canvassing the globe from major festivals to arenas. During last summer’s discussion, De Rosnay coyly mentioned the idea of a visual accompaniment to the group’s Grammy-nominated record, though he was sure to dispel any certainties at the time. “We’re always trying things. If it’s good enough, it’ll exist,” said the “Safe and Sound” producer—now, it appears the alluring visual De Rosnay was so characteristically tight-lipped about actually made the cut.
Justice has announced the upcoming premiere of IRIS: A Space Opera By Justice, based on the live show the pair created for Woman Worldwide, slated to debut at SXSW this spring. But for those expecting IRIS to follow in the footsteps of the band’s beloved 2008 tour documentary, A Cross The Universe, check that notion at the door.
“A Cross The Universe was really about what happens when you take a new French band and you allow them to indulge in the rock and roll cliches we’ve always been told about. But we made it knowing that ten years later, we’d be in a completely different place,” said De Rosnay in 2018.
IRIS: A Space Opera By Justice indeed comes from a much different space. The new visual, co-directed by André Chemetoff and Armand Beraud,is an hour-long rendition of Justice’s live tour performance, presented without an audience. Instead, the spectacle is recorded in an empty, invisible space equipped with all the complexities of the group’s full live show, from a floating platform structure to mirrors and rotating LEDs. The film will debut on March 13 at SXSW, as part of the 24 Beats Per Second screening in the Alamo Ritz at 5:15 p.m. See the film’s official title poster below.
After releasing their nostalgia-fueled Kids LP in September, LA-based synthwave duo The Midnight continue their tour de force into 2019 with new material: a remix for SYML.
SYML’s “Clean Eyes” initially came out the same week as Kids. Its upbeat, catchy vibe caught the ears of listeners across the country, leading the track into the top 30 on Billboard‘s alternative charts. Upon its release, SYML told Nettwerk Music Group that “Clean Eyes” was a “fun challenge” to create because of “the contrast between the intimate lyrics and anthemic choruses.”
Here, months later, The Midnight’s Tim McEwan and Tyler Lyle have leaned into the song’s intimate lyrics to craft something that’s wistful and introspective. Their retro take on the track uses ’80s-inspired synths and dreamy melodies to create a completely different mood. The dramatic synth stabs and filtered harmonies shape a new way to digest SYML’s vocals, and the final product is a beautifully slow-burning synthwave production that fits perfectly with SYML’s wistful lyrics.
“I’ve been a fan of [McEwan] for a minute,” SYML told DA. “I absolutely love what he did with the song. It’s one thing to slap some synths and beats on something and call it a remix. What The Midnight brings is another level.”
The Midnight’s “Clean Eyes” remix beautifully encompasses the concepts the duo build their music around: the sad beauty of seeing time pass and the aching awareness of impermanence.
Another NBA veteran has joined the DJ circuit; however, in terms of celebrities joining in on the dance music fun in general, Rony Seikaly is far more of an Idris Elba than a Paris Hilton.
Seikaly’s had a long-lasting love affair with electronica began even before he became a Miami Heat powerplayer, back to his teenage days when the then-14-year-old began DJing out to his friends in his garage. His love for the culture never faded, and ultimately, he was led back to music after he retired from his storied basketball career. In particular, Seikaly’s shown prowess over underground shades of dance, crafting infectious house that works euphoria into the dance floor.
“Take On” is an example of this MO. Released on Stride, the optimistic tune takes on Latin tones with rhythmic percussion and a smooth bassline that goes down easy. Paired with Balaeric-inspired guitars, it wastes no time in transporting listeners to a beachy setting where “Take On” plays the sonic equivalent of a piña colada. Insatiable music beckons.
Pre-order a copy of “Take On,” out on January 25, here
South African producer THEMBA came onto the global dance scene in 2018 with a series of high-profile shows and well-received releases, leading to co-signs from some major names in dance music. From playing shows with Pete Tong and Black Coffee to taking over Ultra’s Resistance stage, the first year of THEMBA’s career brought him great success. For his first release of 2019, THEMBA has decided to share his remake of the iconic rave track “20Hz” by Capricorn.
Though re-working a classic can present its own struggles, THEMBA takes on the task by looking to his African roots. The artist, who routinely brings in local South African vocalists and percussionists, wanted to keep the beauty and prestige of the original while adding his own flare. “I love the melodic chimes in the original ’20Hz,’” THEMBA noted. “I wanted to create a version which I could play out by referencing the original but adding my own Afro-influenced house and techno sound to the mix.” Adding in chanting vocals and a wavering synth to the anthemic original, THEMBA’s glossy remake displays his influence while paying tribute to Capricorn’s 1993 release.
THEMBA’s “20Hz” remake is available for free download via the DA SoundCloud page.
There is no denying that Alan Fitzpatrick is already held in high regard among technoheads. Since his earlier years as a favorite on Drumcode and more recently with the launch of his label, We Are The Brave, unique tour concepts like his series of house party raves, and frequent appearances at the world’s top festivals, the UK producer has become a veritable force to be reckoned with. Fitzpatrick is one to continually push himself, however, and thus it’s with one of his most expansive EPs to date—a seven-piece 11:11 The Awakening—where he really feels is the mark of him stepping into his own.
The entire EP is diverse as ever, and comprised of complete stompers. In particular, “Dead Beat Exile” was a standout. The tune captures Fitzpatrick’s signature, big room techno sound while also paying homage to the past with acid tones and retro-inspired synth riffs. There’s quite a lot of classic inspiration spreading throughout the modern tech sphere today, but “Dead Beat Exile” is something special and doesn’t feel contrived. It’s perfect for summoning smiles on dance floors from open-air events to warehouse raves.