Yotto hatches new label housing, Odd One Out, alongside its first single, ‘Shifter’

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Yotto hatches new label housing, Odd One Out, alongside its first single, ‘Shifter’Yotto Coda

Yotto‘s extended tenure atop Anjunadeep‘s auspicious artist roster has afforded him a wealth of opportunity and accolades over the years, as his progressive fingerprint grew him a fierce following in the process.

Now, the Finnish producer is taking his accrued success to new heights, with the inception of his Odd One Out recording imprint. For Yotto, the name is quite eponymous, as he’s always seen himself as aurally eccentric: an extension of his offbeat disposition and overall outlook on life.

“I strongly believe that nobody could do a worse job running a record label than me,” Yotto says of the launch, tongue more than likely in cheek. “To make sure I stay ahead of the competition in terms of idiocy and surreal zookeeping, I present Odd One Out – an amalgamation of galactic chase scene soundtracks and sunshine-inspired techno blues. We are all odd ones out there – this music is for the outsiders.”

As an added crescendo to the announcement, Yotto officially revved the Odd One Out engines with the label’s first native release, “Shifter,” complete with an additional, extended edition. The track is a shining emblem of Yotto’s mounting, tech-directed style. The atmospheric Yotto original is an impeccable harbinger of the undoubtedly unorthodox cuts to come out of the new label housing in the near future.

Arriving alongside the label news is the full agenda for Yotto’s world tour. Kicking off this Friday, July 26, the tour will beat on through the remainder of the year at a menagerie of festivals and tour shows alike.

Yotto 2019 Tour Dates

Jul 26 – The Church, Edmonton, Canada

Jul 28 – The Gorge Amphitheater, WA, USA

Aug 2 – Cova Santa, Ibiza, Spain

Aug 10 – Ilesoniq Festival, Montreal, Canada

Aug 11 – Three Mills Island, London, UK

Aug 31 – Electric Zoo, NY, USA

Sep 2 – Provincetown Boat Party, Boston, MA, USA

Sep 13 – Brown Alley, Melbourne, Australia* 

Sep 14 – Greenwood Hotel, Sydney, Australia*  

Sep 15 – Sub Rosa, Brisbane, Australia*  

Sep 20 – Spin, San Diego, CA, USA*  

Sep 21 – Carson Creek Ranch, Austin, TX, USA

Sep 27 – Commodore Ballroom, Vancouver, BC, Canada* 

Sep 28 – Theater On The Lake, Chicago, IL, USA

Oct 19 – WesterUnie, Amsterdam, Netherlands

Oct 26 – Freaky Deaky Festival, Houston, TX, USA*

Oct 30 – Magic Stick, Detroit, MI, USA*

Oct 31 – Coda, Toronto, Canada*  

Nov 01 – Soundcheck, Washington DC, USA*

Nov 15 – Regency Ballroom, San Francisco, CA, USA*

Nov 22 – Fox Theatre, Boulder, CO, USA*

Nov 23 – Skyway Theatre Studio B, Minneapolis, MN, USA*

Dec 07 – The Fonda Theatre, Los Angeles, CA, USA*

Dec 10 – Your Paradise Festival, Fiji

* indicates Odd One Out tour date

Photo Credit: Alec Donnell Luna

Alesso gives himself the remix treatment for a progressive revision of ‘Sad Song’

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Alesso gives himself the remix treatment for a progressive revision of ‘Sad Song’D9Cy6VsAEF IR

It isn’t exactly classified information that Alesso fans have been yearning for a return to the producer’s progressive roots for some time. Earlier this year, Alesso unveiled the introductory installment of his Progresso EP series in addition to a self-remix (alongside Deniz Koyu) of one of those singles that assuredly exhibited an influence from early on in Alesso’s career. To broaden that streak into mid-summer, Alesso is adjusting the sound on another release of his own with an adaptation of his pop collaboration with TINI, “Sad Song.”

Incrementally shifting the original’s tempo to a more club-appropriate pace, Alesso implements a delicate house instrumental before fuly transitioning towards what fans have been craving. A reflective progressive drop adds an overhauled and much-desired festival sentiment to Alesso’s radio-ready “Sad Song” as he effortlessly satiates multiple genre tastes in doubling down on his latest single.

Earlier this summer, Alesso confirmed to Dancing Astronaut that a second Progresso project was currently slated for release sometime later this year.

Featured image: Rukes

Armin van Buuren switches it up, taps Bonnie McKee for new collaboration ‘Lonely for You’ [Watch]

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Armin van Buuren switches it up, taps Bonnie McKee for new collaboration ‘Lonely for You’ [Watch]Armin Van Buuren Bbc1 Radio

Armin van Buuren has released a new track  that is nearly unrecognizable coming from the venerate trance and progressive producer. Titled “Lonely For You,” the song taps into an elaborate drum line with a faint drum n’ bass-inspired vibe that adds a unique compliment to poppy vocals, delivered by Bonnie McKee.

The producer speaks about his newest track in an official release, stating,

“’Lonely For You’ was written with the lovely Bonnie McKee. For me, it resembles the struggles we all face with and in relationships, ups and downs. I think it was appropriate to release it around Valentine’s Day!”

The track tells the story of getting over a relationship that has ended, and the moments of feeling alone even though the breakup was the right decision. “Lonely For You” has fittingly been released in conjunction with Valentine’s Day, and the accompanying music video features both Armin van Buuren and McKee dispersed throughout the visual narrative of a break up. “Lonely For You” is a worthy complement to the “Wild Wild Son” producer’s growing list of increasingly diverse releases, and if the Armada figurehead is actually on a mission to prove that he can produce a hit in every genre, he is certainly checking off new boxes with his work on “Lonely For You.”

Photo Credit: Bart Heemskerk

Premiere: AFFKT – True Power

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Premiere: AFFKT – True PowerAffkt True Power

Sincopat welcomes back one of its brightest stars, AFFKT, for a piece that oozes ‘True Power.’ It’s a deep, melodic groover, and one of the Spanish talent’s most progressive to date — almost in the vein of Guy J and other purveyors of this sound. AFFKT uses a slow build in “True Power,” starting off with driving pings of synth and a prominent bassline before slowly adding in analog melodies and underlying arpeggios. By the time it reaches its peak, the tune already has the listener completely locked in and stuck in a welcome trance.

“True Power” is the first original release we’ve heard from the dance stalwart in half a year; prior to his return to Sincopat, AFFKT explored the heavier side of his artistry on Octopus with “Tempus Fugit.” As he continues to capture the eardrums and hearts of the melodic and techno communities at large, we suspect he’s in for quite a powerful 2019.



Pre-order ‘True Power,’ out on December 14, here


Premiere: Anton Dhouran feat. Ed Begley – The Myth of Tarae (Third Son Edition)

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Third Son

The Myth Of Tarae is a veritable story in LP form, and a powerful porfolio of Anton Dhouran’s abilities as a producer. Therefore, he had to ensure that those he chose to remix his originals are equally adept at conveying, and enhancing his vision.

Third Son thus came as a shoe-on for the job. The classically-trained Brit has one MO: make good music. And that he did with his re-work to The Myth Of Tarae’s vocal-laden title track, using his usual level of trance-inducing brilliance.

He bases his interpretation around Ed Begley’s haunting verses, crafting a drawn-out progressive record around them. Subtle hints of synth fall gracefully around Begley’s voice, landing in a bed of intricate percussion. It builds slowly, but carefully, remaining driving all the way through. The final product is one built for a dimly-lit dancefloor, and a standout among the other remixes in the pack.

Pre-order a copy of “The Myth Of Tarae (Third Son Edition)” here

Feature Image Credit: Lauren Commens

John Monkman twists Kincaid & Sinàl’s ‘A Very Stable Genius’ into a dark club cut (review & Q+A)

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John Monkman

‘A Very Stable Genius’  is everything the title pays homage to, but in a good way. The minimal, yet eclectic cut is unpredictable and wild despite its relatively sparse elements, speaking to Kincaid & Sinàl’s excellence as producers. Enter John Monkman, and the piece descends deep into the low ends to become a foreboding club cut. The Beesemyer owner certainly knows his way around a decent remix.

In tangent with his recent remix, Monkman has also made his return to the United States for an expansive Spring tour. He accomplished a milestone Coachella booking at the Do LaB stage, and will soon be making his way over to Los Angeles as a headliner at the Mixed Brains party on May 12 (tickets here).

Dancing Astronaut nabbed him among his whirlwind schedule to quiz him on some goings-on whilst enjoying his new work.


Hey John, thanks for joining us! You recently debuted your live set at the DoLaB stage at Coachella. What was that experience like?
Hey, good to be here. It was ‘far out’ as the locals would say! Great energy from the Californian crowd, they know how to get down and the Do lab stage … yikes… what a production! looked incredible.

Could you tell us a bit about your set up and what inspired you to jump in that direction?
Ableton is at the core. Each track in the set has been broken into various clips (audio and midi) so I have options to control key elements from my arsenal. The Akai mpc40 is the main controller . At the moment I’m taking the Korg minologue with me as it’s great form making weird ambient atmospheres and pads on the fly + it’s super portable.

Main reason for the live is that it gives me the opportunity to take people on a journey of solely my original productions. It gives a different kind of focus in the studio.


After releases on the likes of Crosstown, Last Night On Earth and Noir, we’ve seen that recently you’re having some success with your own label Beesemeyer. Tell us a bit about your last remix for Kincaid and Sinal, “A Very Stable Genius.”
The audio from the original track is pure gold. Kincaid and Sinal are kings at infusing live percussion, interesting rich textures + original vocal recordings into their music. My favourite part from the original in terms of structure is the end section when it kicks back in, so I focused around that.. Structure wise it’s an extension of the original’s outro and then using sounds from the beginning of the track to build the new journey.

What’s next for the label? What are some goals you might have for it in 2018 and beyond?
Up next will be a single from me in June, it was just premiered on BBC radio one, which was a special thing to wake up to on a Saturday morning.

Anaphase have been busy cooking up new material over the recent months. They are working towards the follow up to their recent Cortex EP and we will be putting on a Beesemyer Party in London over the summer.
We heard through the grapevine that you got in the studio with the legendary ‪Pete Tong just before Coachella. What’s it like working with him in the studio and how long have you guys known each other?
We did yes, Pete and I met in the Matrix Studio in London just over 4 years ago. Our work flow just seems to get better and better. Pete’s been getting pretty nifty on NI Maschine so that’s playing an important role + various bits of kit such as the Prophet 6.
We know that you’ve done some experimenting in sound for some pretty cool companies like Dolby. What was that experience like?
Extremely eye opening! Systems like Dolby Atmos are clearly the tech of the future so great to be part of this in its way stages.
What else can we expect from you release-wise in the second half of 2018?
There’s my next release in June on Beesemyer Music. Pete and I are putting the final tweeks on the new one which we want out before August. I’m also working on an EP for Anjunadeep.

You’re on a little tour around the states this weekend and will be headlining Mixed Brains this Saturday in LA. What’s it like returning to California to play after living across the pond?

Yeah, it’s gonna be a good one. Just putting a few final tweeks on the live set at the moment. I’ve been saying this for a while now but the scene in the US is in a beautiful place so great to be asked back.

Techno Tuesday/Premiere: Brian Cid debuts new single from ‘Intriga’ EP, dives into his musical evolution

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Brian Cid

Techno Tuesday is a feature on Dancing Astronaut documenting the culture of underground dance music. We’ll bring you exclusive interviews, tracks, and narratives from artists within the techno, tech house, and deep house world in an effort to shed light on some of the best talent outside the world of mainstream dance music.

Melody and rhythm embedded themselves deeply into Brian Cid‘s psyche more or less from the beginning of his life. As he continued to grow up, he realized that his calling was to follow the path of music, and he has certainly charted an intriguing path of a career that has since dropped him into the deeper realms of the underground.

There’s a certain quality to Cid’s arrangements that seems to click; each output flows harmoniously, and is deeply expressive of the place the producer was in while writing it. His expertise stems from early on in his career, where he spent time as a mix engineer for A-List stars including Beyoncé, Bruno Mars, and Lady Gaga, among others. However, he still sought something that would lead to a profound satisfaction. Such fulfillment came from beneath the surface of electronica, specifically in the deep tech and progressive realms.

Now, Cid has earned a reputation as a masterful, and heartfelt musicmaker who travels across the globe proliferating his hypnotic grooves. In his quest, he’s manifested quite a few milestones — one includes the creation of his very own ENDANGERED. party series and record label. His single “Plot Thickens” was also chosen by Tale Of Us for their prolific Fabric 97 compilation.

How did exactly he make such a dynamic leap from one end of the musical spectrum to the other? Cid divulges this information in a thorough, and inspiring read on his influences, his comeup, and his transformation into a bearer of melodically-inclined dance music. Additionally, he allows us to debut “Petalos Sole,” the third track of his brand new Intriga EP (order here). Per his usual aural aesthetic, the Brooklyn-born musician peppers the introspective tune with chilling chords and carnal percussion.


“It’s been quite a journey so far I must say, a big challenge, self infused goals, huge dreams, big falls and high rises, a profound journey to discover more about who am I and why I’m here. My new reality, through the exploration of land and people’s mind & soul. It’s been a long interesting one, and I’m just getting started!

Music for me has been my safe place since very young. My escape. My shield. I did not realize it until now but music takes me on a deep meditative state of high energy release. Although nothing happens by mistake, it all started as a curiosity with sound. The need to understand why every time I hear music, I would get in a state of hypnosis. Never mind the lyrics, it was always about the sounds. As an 8-9 year old I would lay on the floor next to my father’s stereo system in the living room and place both speakers on my ears. I would dive deep and feel the chord progressions, the sonic story, the textures. I realized I had the gift of being able to see sound as shapes and colors. The shapes create a personality, a character. As soon as I was able to put my hands on an instrument, it was on!

Music took me through college and then I landed in New York City in search of a dream… one more in the bunch, right? Well… I didn’t think so. My plan was to become a master of my craft, earn respect and recognition. Prove myself that I could be among the best and after all, I did have a big talent. I just didn’t know about it until I stepped professionally in the studio and banged record after record. Landed big projects with legendary artists and record labels I didn’t even know about. It was all out of instinct. Before I realized it I was in sessions with guys who ruled the music industry. Legends. As I made my mark after several years of hard work, gold and platinum records did not mean much to me anymore. What was once a dream became a boring reality. Human nature, no? Walking out of the studio with a pocket full of money and an empty soul was truly heartbreaking. I felt accomplished and ready to take on my next adventure: the electronic music world. The underground. No rules, no etiquette. Just an underworld filled with rebels, soul seekers, free beings, odd characters. This is where I belong. I’m finally home! I am not here to be ordinary, I am here to be extraordinary!

As I dove into it first as a producer and then as a DJ, my perception and intention started slowly to evolve. All this time I was after respect and recognition, but as my music started traveling far and people around the world started expressing to me how my sound would make them feel, I realized something… this is not about me, it was never about me. This is about THEM.

My journey took me to a place of ultimate power. The power to reach people’s soul, create an emotion, a feeling, a moment in time, a memory. Make them feel good about themselves, to open up, to accept and embrace themselves, to connect, to forget and fantasize. It’s a lot of things. So it was clear that it all became my calling, my purpose of existence, the meaning of my universe. Addicted to the smiles and the healing power of my sounds. But most importantly aside from the music, it’s a tool to create a special personal connection with you and continue to fulfill my own purpose.

I find it hard to put my music style into a specific category as I use elements of all genres. I don’t follow trends, barely listen to other’s music. I need to keep my ears clean and virgin, so I can write from the soul. Instead I wash my ears with jazz, world, latin, classics and new discoveries. The radio makes me sad so that’s untouched territory. A healthy mindset, positive attitude, appreciation and gratitude turns me into a music making machine. I live music. I breathe music. I am music in flesh. This has always been me, I am just now realizing it more and more. Nothing else matters anymore. Just you, me & the music… the journey continues.”

Featured image credit: Alina Fisher

Premiere: Quivver & Cristoph – In Name Only

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Selador has made it past the milestone half-decade line. The label — founded by progressive stalwarts Dave Seaman and Steve Parry — has become one of the most formidable in its arena, overseeing a consistent slew of caliber releases that have been rinsed far and wide throughout the underground circuit.

To mark the momentous occasion, the label has recruited twelve of its close friends and colleagues to fashion celebratory tracks to be released in a series of three EPs. Eric Prydz protégé Cristoph joins forces with the venerable John Graham (Quivver) to contribute to the first wave of releases, and what they’ve come up with is a forceful number suited for the afterhours which they call, “In Name Only.”

Their styles are both prominent in the finished product. Its chunky, techy base is doused in crisp, synths that slide downward into hints of classic vocals. These elements make for a dramatic, tense breakdown which detonates into a rocking conclusion. Once again, we find ourselves in awe at just how big a role good arrangement and mastering can play in a production.



Pre-order a copy of the EP, due on April 27, here

The Radar 106: Monoverse

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It’s rare in today’s climate to hear of reputable new trance acts rising out of the United States. Monoverse is one of those few, and is helping lead a new generation of producers who crave sounds of trance that aren’t currently dominating the market. He’s additionally known an incredibly hard worker, building his brand through consistent output and planting himself firmly on the East Coast circuit before being recognized by the Cold Harbour camp and breaking through onto the global sphere.

Since then, Monoverse has been on a seemingly unstoppable ascension in his career. His work can regularly be found not just on Cold Harbour, but also the iconic Future Sound Of Egypt, among others. He recently launched his Parallels brand through there, which he is now expanding into a party series as well for the finest in progressive trance.

Monoverse’s dedication to his craft and growing reputation in the scene made him a natural pick for this edition of the Radar series. In his mix, the burgeoning trance talent offers up a sonic interpretation of where his is musically at the moment, featuring a series of well-mixed selections — some of which are exclusive. We see the full spectrum of the Monoverse sound, in addition to a look at what the genre truly means in his eyes. The result shows an artist with no sign on slowing down anytime soon.


01. Tonal Axis – Rainfall (Monoverse Remix) [Pure Progressive]
02. The Stupid Experts – Bittersweet [FSOE Parallels]
03. Liam Wilson – Always With Me (Mir Omar Remix) [Subculture]
04. The Thrillseekers – In These Arms (Gundamea Remix) [FSOE UV]
05. Gordey Tsukanov – Radioactivity [FSOE Parallels]
06. Revkin – No Release [FSOE Parallels]
07. Anden – Venice Grind [FSOE Parallels]
08. Emerge – Whisper [FSOE Parallels]
09. John Fisherman – Andromeda [Exia Underground]
10. ID – ID [FSOE Parallels]
11. ID – ID [FSOE Parallels]
12. Digital Rush – I Should Be Free (Instrumental Mix) [FSOE Parallels]
13. ID – ID [FSOE Parallels]
14. ID – ID [FSOE Parallels]
15. ID – ID [FSOE Parallels]
16. ID – ID
17. Attila Syah & Ramsey Westwood – Horizon [FSOE Parallels]
18. Alex Wright – Aswan [FSOE Parallels]
19. ID – ID
20. Monoverse vs. Eco & Jennifer Rene – Aria Running (Monoverse Mashup)
21. Thomas Datt – Fluid Karma [FSOE Parallels]
22. Farid & Hidden Tigress – Diamond Eyes (Enzo Remix) [FSOE Parallels]

Premiere: Clarian – Television Days (Guy J Remix)

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Television Days already had a lot going for it prior to its release due to the fact that Balance signed it into its arsenal. The debut LP by Clarian explores soundscapes from the past and present, bound together in a cohesive aural tale that highlights the French-Canadian artist’s genre-defying tendencies.

Recently, the title single of Television Days was sent out into the electrosphere to be re-worked, with one of those chosen being the venerable Guy J. The progressive stalwart maintains the nostalgic synthwork and vocal edits of the original, but amps it up a but with driving percussion and a contemporary overlay. While Clarian has created a spot of sun in “Television Days,” Guy J takes it back to the shadows of the discotech.



“Television Days (Guy J Remix)” releases on April 20. Order a copy here