Adana Twins go dark on ‘Sequence 01’ [Premiere + Interview]

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Adana Twins

If the name “Adana Twins” doesn’t ring a bell, their music is certain to conjure memories of nights out, or days spent dancing in the open air.

The German duo has caught the house and techno world by storm, crafting up melodically-inclined releases that fulfill cravings for both sentimentality and grittiness. Having spent well over a decade on the underground circuit, many point to the release of their widely-proliferated Diynamic anthem “Uncompromising” as the point where their names became cemented into celebrity.

Their newest release is yet another on the reputable Watergate label, which has become their home base of sorts. Dancing Astronaut has the privilege of premiering its B-Side “Sequence 01,” which sees the pair exploring their darker, groove-driven side. Featured originally on Tale Of Us‘ Fabric 97 mix, “Sequence 01” opens with warm arps strung together with crisp percussion, slowly unfolding into a celestial journey through brooding melodies and hollow vocal accents. It’s one of the Adana Twins’ most shadowy offerings to date, and is built to control the dancefloor.

They also graciously answered a few burning questions we had on their musical development, perseverance, and their go-to labels for finding new music.

You guys have been pretty well-known for quite some time, but it feels like your career has really taken off over the past few years with notable singles like “Etah” and “Uncompromising.” What are some words of advice you have to offer on perseverance, patience, and sticking with something while maintaining faith it will all work out?
Believe in what you are doing! There are ups and downs. But never take the downs to serious and focus on the positive things. When the time is right you will have success. In case you don’t have success, it might be good to have a second thing running. For example, we worked in design & advertising for a long time, but music was always our passion and we spent every free minute in the DJ both and in the studio. However, with our jobs, we always had a backup and we only quit when our music career was full on running.

In your eyes, which songs of your discography capture your ethos as a group the most, and why?
Strange, Flower of Cane, Uncompromising, Sequence 01 and an upcoming one called Ebrietas. All those tunes show our love for melodic or bass driven dark dancefloor tunes.

You guys have been putting out some real hypnotic cuts these days, which the dance world now seems to be labelling as “melodic house & techno.” What draws you to more nuanced, melodic strains of dance music, and what have been the biggest influences over your sound recently?
Maybe it’s because we both are emotional guys with a big heart ;). Straight and cold tunes are nothing for us. We need emotion. The influences may have been some 90s trance anthems, old school techno and everything else that touches us.

What is your process for writing music, and what inspires you most in the studio?
Mostly our gigs inspires us. We are DJs and ravers, and the dancefloor experience helped us a lot to find our style. The process is different from project to project. Sometimes we remix our own tracks and take an already finished project and do something new with it. Other times we just start from scratch. The computer-mouse in the right hand and a good glass of rum in the left.

How did the writing process go for the ‘Jupiter’ EP? How did those records come about?
It was a project we started from scratch and we finished it straight in one day. Some days are better than others.

Which labels and artist are your top “go-tos” when it comes to finding fresh music for sets? Or, do you use a different methodology for hunting down tunes to play out?
Afterlife & Innervions are always great. But we don’t focus too much on labels. We focus more on good records stores. Muting the Noise and Hard Wax have a nice selection and we always find some nice stuff there.

You’ve worked primarily with Watergate lately, including for the release of your new ‘Jupiter’ EP. What do you like best about working with this imprint, compared with others?
Watergate became family for us and we are really close to the guys. We definitely had some of our best nights at this magic place. We are super happy to release on this great imprint.

Where have your favourite places in the world been to play and why?
South America is always amazing. Especially Brazil and Argentina. The crowd is always so emotional and totally into the music.

Feature Photo Credit: Vitali Gelwich

Stephan Bodzin releases a breathtaking ‘Strand’ on Afterlife

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German synth wizard Stephan Bodzin has been quite the busy character. Since the release of his critically-acclaimed Powers Of Ten LP, immense hunger for his whimsical, yet driving productions has led to him undergoing an expansive and heavy tour schedule. The result has been an plethora of opportunities to see him live; however, this comes at the sacrifice of new music.

Luckily, 2017 didn’t go by in complete silence for Bodzin fans. He released a poignant re-work of Tale Of Us & Vaal’s “Monument” over the summer season on Afterlife. Now, he returns to the label once more for his first original work since Powers Of Ten as the year comes to a close.

Strand contains two highly sought-after tunes from the veteran composer, which have been objects of heavy praise on the underground circuit. The EP opens with its title track, which creates a sense of comforting bliss with warm, sentimental analog melodies and arpeggios that are accompanied by appealing white noise accents. Then, the Strand takes a turn for the shadows with “Catamaran,” whose airy percussion gives way into equally powerful synth accents that are ethereal as they are haunting. Like a catamaran, the EP’s closer sails through foggy channels of emotion and mysticism.



Order ‘Strand’ here


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Jeremy Olander celebrates tenth Vivrant release with a beautifully-fashioned ‘Gattaca’ [EP Review]

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Jeremy Olander is one who manifests success for himself by sticking staunchly to his guns. Carefully biding his time after breaking out through Pryda Friends, the Swedish phenomenon grew into his true artistic self through a series of carefully-selected releases and through the foundation of his own imprint Vivrant in 2015.

His moves and undying passion have thus far brought nothing but success, with freedom to release as he pleases and nurture the next generation of progressively-inclined talent, and access to the top of the music industry with accomplishments like his own night at ADE’s 2017 iteration and also a residency at Sound Nightclub that will be wrapping up in December.

The blissful horizon that is 2017’s conclusion officially kicks off with the release of Gattaca, a four-track EP carefully compiled by Olander as the milestone tenth release on Vivrant. Gattaca opens with an impressive title track, which possesses a refined nature that is conveyed through gentle synth work and percussion. Its melancholic, yet hopeful atmosphere is one that Jeremy is expert at creating, and will easily lead to many hands in the air when rinsed on the dance-floor.

“Gaansvort” is even more poignant than “Gattaca,” raising goosebumps with a moving, almost trance-y progression and a soaring breakdown. Nine minutes seem to fly by as the body is quickly entangled in the piece’s intriguing layers and gripping notes.

“Galheera,” which closes Gattaca, is a veritable gem of the EP. Originally dubbed “Bahrein ID 02” by fans, “Galheera” is the type of production that pierces the heart with striking melodies and sweeping background notes that amplify the already heavily bittersweet effect. It serves as a catalyst to introspection and getting in touch with one’s emotional side, transforming dance-floors into deeply bonded communities.

Music made with the heart had a profound effect on the listener, and Olander’s deep process of writing songs translates into an infectious energy that captures hearts and leads to a committed fanbase of Vivrant soldiers. Luckily, the coming months will be bringing his gleeful spirit to many corners of the globe, including a Vivrant showcase at ADE, his final residency stop at Sound nightclub in Hollywood, and various stops across the United States.



Purchase ‘Gattaca’ here


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Premiere: Fideles sign onto Afterlife & show off creative restraint with ‘Hadar’

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Italy is having an unprecedented musical moment within the underground. The Southern European nation — led by Tale Of Us, DJ Tennis and others — has become a hub for avant-garde, melodic house & techno, with the rest of the world ravenously consuming the sounds born from the region.

Fideles are yet another Italian outfit on the rise, and they’ve already begun carving out their niche within the melodic tech sphere. Inching their way into it in 2010, they’ve since had the pleasure of releasing on Josh Wink’s Ovum, Innervisions, and other reputable imprints. Their next milestone comes in the form of a release on fellow Italian imprint Afterlife, where bosses Tale Of Us have recognized their skill through signing a five-track Impressum EP.

“Hadar” is the second piece on the record’s A-side, and it does well in showing off Fideles’ nuanced approach to impactful song production. While lacking in over-the-top elements, “Hadar” unfolds in a positively entrancing way, easing the listener into its flow with haunting, windy samples in the background that line subdued kicks and an arpeggiated hook that creates a sense of unease in the mind. In forging such a brooding, hypnotizing composition, they fit themselves seamlessly into the Afterlife aesthetic while also showing off their own artistic chops as a duo.

The aforementioned record has already been well-received on the club circuit.  They sent it to Tale Of Us in hopes of it being played out to in their sets, then, according to them, “After 2 weeks we saw a video of the guys playing ‘Hadar’ and crowd going crazy in return.” It was so well-received by fans, who “increasingly commented asking for the ‘Track ID,’” that their entire EP was soon signed onto Afterlife as its eighth output.

Impressum will be available on digital and vinyl shelves beginning on October 27.



Pre-order the ‘Impressum’ EP here


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Tim Penner returns to JOOF Recordings with a stunning ‘The Gatekeeper’ EP

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Tim Penner has had nothing short of a monumental year thus far, and his momentum is showing no sign of slowing down. He returns to his breakout label of JOOF Recordings seven months after his last ethereal release, The Temptress, with yet another stunning two-tracker.

The Gatekeeper sees Penner exploring new realms of sounds and breaking away from the status quo. Its eponymous opener is indeed multi-dimensional, opening with subtle, haunting melodies that line a prominent bass-line and cheeky percussion before blooming into a celestial masterpiece pumped with futuristic synth-work. It beauty lies in its development, which twists and turns through never-ending peaks and valleys that keep the ears engaged through its entirety.

Where “The Gatekeeper” is euphoric and emotional, “The Keymaster” offers a counterbalance of brooding intrigue. Simple, yet dynamic, the composition creates a tense atmosphere with gritty bursts of notes that are underlined by almost sinister arpeggios. Penner ensures this sentiment is carried on in greater degrees with each tier, building “The Keymaster” into a multilayered roller built for the darkened, afterhours’ dance-floor.

It’s safe to say the burgeoning Canadian act will only continue to build strength as his tenure within the underground realm lengthens. Having cultivated his Slideways label and podcast into a successful entity, he’s fully primed to take on the progressive scene as its next major talent.


Purchase The Gatekeeper here


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Guy J crafts an irresisitible re-work to Way Out West’s ‘Tuesday Maybe’ [EXCLUSIVE]

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Legenary duo Way Out West have been making quite the comeback on Anjunadeep, to their followers’ heavy contentment. In addition to providing global dance audiences with their hypnotic and well-rounded sets, members Nick Warren and Jody Wisternoff have also taken time in the studio to create some contemporary gems in the progressive realm.

Who better to remix Way Out West’s latest effort “Tuesday Maybe” than fellow titan Guy J? The Israeli producer got right to work on the original’s central hook and breakdown, embedding these already ethereal efforts nicely into a firm, deep, soundscape entirely his own. A grooving bass-line vibrates through the remix like a central artery, joining dynamic percussion and techy accents to take “Tuesday Maybe” in an after-hours direction — this of course is Guy J’s specialty.

Guy J’s remix to “Tuesday Maybe” is out on Anjunadeep on September 8.



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Sasha releases treasured ‘Trigonometry’ on Watergate [EP Review]

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Sasha began road-testing what soon became known as “Trigonometry” well over a year ago. The atmospheric, emotive record captured dance fans’ attention with its moving central hook and gripping arpeggios that flutter around the eardrums. It soon became a favorite among the Last Night On Earth crowd for its euphoric, almost cathartic atmosphere that makes one feel uplifted as they’re listening.

“Trigonometry” is finally out on digital bookshelves as part of his debut GameOvr on Watergate. Joining the aforementioned record is the EP’s title closer, which is more or less “Trigonometry’s” foil. Equally gripping, “GameOvr” is a more pronounced piece with strong kicks and driving synth action that makes it well-equipped for harder, after-hours sets. Cassy and LaFleur also make appearances on the EP as its official remixers.

Sasha has maintained a busy schedule this summer season, carrying out a residency with his renewed colleague John Digweed and touring heavily to reputable dance festivals across the globe. He also contributed to a new documentary on dance music culture titled The Agony & The Ecstasy.




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Guy J fashions ethereal remix of Third Son’s ‘Climb To The Sun’

This post was originally published on this site

Guy J does a wondrous job at capturing the original ethos of tracks he remixes in his own lens — such is the certainly the case with his most recent “Field Trip Remix’ of Third Son and Haptic’s collaborative piece, “Climb To The Sun.”

While the original follows a bit more of an 80’s-inspired direction with its instrumentation and structure, Guy J takes things into an even more emotive direction with drawn out, ethereal chords underlining sharp percussion that hits the ears at a pleasurable angle. That said, “Climb To The Sun’s” nostalgic vocals continue to be the centerpiece of his version as well, promoting a sense of calmed contentment with each listen.

Third Son recently released his debut LP 2042 on Microcastle, providing fans an intimate look inside himself by way of dynamic soundscapes and enticing melodies. His and Guy J’s shared affinity for quality progressive make them a perfect team to collaborate on a remixed track.





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Premiere: Denis Horvat debuts on Afterlife with ‘Bruto’

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Denis Horvat’s breakthrough into the industry has been nothing short of astronomical. Though he’s been active for quite some time, his Cedevita EP in 2015 quickly caught the attention of quite a few prolific DJs, a few of which were Âme and Dixon who secured his rise by signing him onto their Innervisions imprint in 2016. Now, the producer has found his way onto another powerhouse label: Afterlife.

“Bruto” is the official title of Horvat’s Afterlife debut, a dark and brooding piece lined with intricate, arpeggiated synth undertones and cloudy melodies. Even more drama is added to the piece by way of subtle layers of samples that bounce around the soundspace, maintaining a firm grasp on the listener through its various peaks, valleys, and breaks. “Bruto” is quite a brilliant work coming out of Horvat’s burgeoning repertoire, just the quality one would expect to be chosen by Tale Of Us as an Afterlife release.

“Bruto” becomes available digitally through Afterlife’s Realm of Consciousness, Part II EP on June 16.

The track and compilation are available for preorder in digital and vinyl formats.


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DA’s Hypnotic Grooves, vol. 6: Presenting the best in trance & progressive

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Hypnotic Grooves is Dancing Astronaut’s bi-weekly space for nothing but true, unadulterated trance and progressive. Only the highest quality sounds are valued here, curated with a mission to show the thriving, yet often underexposed side of these genres. The first half of each mix starts off deep and progressive, featuring music from labels such as Lost&Found, Last Night On Earth, and Sudbeat. Then, we venture into trance territory, travelling through various shades of uplifting, tech, and psy that display the music’s artistry and credibility in a climate where it’s widely disregarded.

Both the progressive and trance worlds have been brimming with quality releases as of late. Guy J’s Lost&Found imprint has had a slew of powerful progressive weapons, including the ever-evolving “Triptico” by the renowned duo Matteo Bruscagin & Visnadi in addition to a remix of theirs by the label boss himself. Jeromic Isma-ae and Alastor continue their streak of dark, technical progressive, while Crisptoph’s forays into Last Night On Earth and Bedrock demand the dance world’s attention.

Tech trance is heavy in this edition’s selection; titan Alex di Stefano returns with a heater on Kearnage Recordings titled “Don’t Back Down,” while The Noble Six formulated a hard, driving piece in “Chemicals.” On the uplifting side, both Bryan Kearney and John O’Callaghan dominate with much-awaited singles, one of which is O’Callaghan’s remix to “Two Trees,” by Ludovico Einaudi and the other being Kearney’s Plumb collaboration, “All Over Again.”

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