Monstercat expands their reach with Infected Mushroom’s newest release ‘Spitfire’

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Legendary Israeli production duo Infected Mushroom have brought their talents to Monstercat in the form of their newest single “Spitfire.” Erez Eisen and Amit Duvdevani of Infected Mushroom have been touring the world and releasing music since the 90s and have long been known for blending acoustic instrumentals and synthesized bass with psychedelic elements. Their unique sound has garnered them an incredibly strong following.

The addition of Infected Mushroom’s “Spitfire” to Monstercat’s roster of releases not only proves the label’s ability to attract an industry mainstay, but it also shows their expansion into genres outside the bass-heavy releases for which they have become known. “Spitfire” blends techno, psytrance, and an upbeat bass line making the track perfect for any underground rave mood.

 

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Listen to Oregon Eclipse live sets from CloZee, Bassnectar, Minnesota, and more

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A considerable amount of time has passed since the Oregon Eclipse Gathering,  but exclusive sets continue to appear online as artists upload their live acts or, in some cases, even go as far as to re-record their sets.

Now former attendees and eclipse chasers from around the globe can now enjoy sets from the likes of Bassnectar, Minnesota, CloZee, and many more, organized into stage-by-stage playlists thanks to one SoundCloud user. From the deep, dark tech house of the Sky Stage, to the psytrance of the Earth Stage, to the festival’s bass head haven at The Moon Stage, over 50 live and re-recorded sets are available for stream from Oregon’s Global Eclipse Gathering, held Aug. 17-23, 2017.

Though international eclipse festivals are often based around trance and downtempo, make no mistake that the bass, jam, and house acts are actually considered guests in this awe-inspiring, transformative festival experience. Relive sets from the Global Eclipse Gathering’s Earth, Moon, Sun, and Sky stages below.

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The 2017 Oregon Eclipse Gathering: An event in totality [Event Review]

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As thick dust clouds covered the secluded desert terrain of Big Summit Prairie, Oregon, flocks of eclipse chasers converged onto Ochoco National Forest with its 360 degree views of mountainous pines for the Oregon Eclipse festival that would soon unfold. Their ultimate mission was to view the magic of totality, which occurred between 9-10am on Aug. 21, 2017, among thirty thousand like-minded people.

In an off-year of their globally renowned festival, the producers of Symbiosis Gathering teamed up with 13 of the world’s premier independent festivals — Lightning in a Bottle’s Do LaB (California), Rainbow Serpent (Australia), Sonic Bloom (Colorado), Origin (South Africa), Envision (Costa Rica), Beloved (Oregon), and many more—for a seven day global synaesthesia of art, ideas, music, dancing, community, and profound transformation.

Jacob Avanzato - Oregon Solar Eclipse

Photo courtesy of Jacob Avanzato

An international melting pot of people were represented at the festival, including infants perched atop their mothers’ chest, families of four or more enjoying “Kids-biosis,” and retired burner folks with their decked-out light-up walkers. In addition, strangers speaking every language from French to Japanese at the Sky Stage as it pumped deep desert house, and Native American tribes and spiritual leaders from the countries of Ecuador, Columbia, and Peru were in attendance.

Tribes from Standing Rock also traveled to Ochoco to give political demonstrations at the organically constructed arena, 1Nation Earth, as well as to ignite the three sacred fires placed throughout the festival grounds. One female shaman even journeyed from Okinawa to conduct ceremonial water blessings, in which she anointed willing participants.

Every installation paid such keen attention to detail that it was hard to believe most of Oregon Eclipse’s structures were constructed from raw materials used from the very land that housed each structure. Old moss covered branches and rocks formed the pathways and walls of the festival’s many temple-esque domains, with curtains draped from the ceilings, and walls of stained glass windows suspended into thin air. Sacred geometry artwork was the centerpiece of most installations. Live painters abounded, while Burning Man installations made guest appearances.

Juliana Bernstein - Get Tiny - Oregon Solar Eclipse

Photo courtesy of Juliana Bernstein

Symbiosis’ bold endeavor far exceeded any expectations, despite having never received money from a sponsor — ever. The production was massive and breathtaking, because this independently-assembled team of unique global collaborators constantly pushed out maximum effort to create a once-in-a-lifetime experience during the entire process. It’s safe to say they achieved their goal. Installations and exhibits were being completed all throughout the week, even as attendees arrived day-by-day. Construction never really ceased, nor did the grounds ever stop growing. Ochoco remained a constant collaborative community at all times, whose psychedelic installations came alive at night.

As for the festival’s music lineup was held across seven stages: one main, four slightly more specialized stages, and two stage dedicated solely to live performance.Its main musical attraction, dubbed The Eclipse Stage, was utilized as a gigantic harp suspended from the tips of the stage onto its side structures that also would become integrated into live performances throughout the week. This stage hosted Bassnectar, Beats Antique, Emancipator, Random Rab, TroyBoi, The Glitch Mob, and many more.

Jacob Avanzato - Oregon Solar Eclipse - Eclipse Stage

The Eclipse Stage, photo courtesy of Jacob Avanzato

The infamous Desert Hearts clan participated in a 5-hour takeover on The Sky Stage, pumping deep, dark tech house into the forest and hypnotizing house heads there with pulsating shamanic drum rhythms. Meanwhile, Dirtybird player Justin Martin delivered a 4-hour extended set of soul-penetrating house and techno that lasted into the wee hours of the morning.

Juliana Bernstein - Get Tiny - Oregon Solar Eclipse (0)

Photo courtesy of Juliana Bernstein

But, make no mistake, the house stage DJs were guests in this global arena of trance and downtempo. International eclipse festivals are generally based around trance and downtempo insofar that the bass, jam, and eclectic circus acts were actually guests in this experience. In fact, The Sun Stage, which housed the beautiful blue spaceship-like structure used at the LIB gathering, pushed psy trance until 6am everyday. Even if you didn’t come for the trance, as one attendee put it, you were getting dosed with it daily anyway — courtesy of the full FUNKTION ONE system populating the stage.

Photo courtesy of Jacob Avanzato

Photo courtesy of Jacob Avanzato

While the sun baked the Prairie well into the high 80s each day, The Earth Stage pumped world-influenced glitch into the freezing desert nights, which reached into the low 40s. The Moon Stage served as the festival’s bass head haven, housing Bleep Bloop, French glitch supreme Clozee, EPROM, Minnesota, and, of course, Lorin Ashton’s coveted secret ‘West Coast Lo Fi‘ set.

Photo courtesy of Jacob Avanzato

Photo courtesy of Jacob Avanzato

As far as transformational festivals go, the Eclipse Gathering raised the bar on all counts. In workshop spaces like The Parlor and The Hub, lectures and dialogues ensued over mind-expanding topics ranging from permaculture, nutrition, and consciousness, to elemental alchemy, psychoactive substance, sexuality, and astrophysics. Entire structures were dedicated to yoga and dance shala, where hourly sessions were held of everything from bass yoga and vinyasa flow to belly dancing.

Juliana Bernstein - Get Tiny - Oregon Solar Eclipse (2)

Each interactive installation offered diverse round-the-clock activity at every turn. The Mud Dance Experience, for example, invited attendees to strip down to their skivvies and bathed each other in wet clay. The Sound Immersion Experience, housed hammocking meditators in a 360-degree healing cocoon of sound emanating from surrounding gongs and dijiridoos.

Perhaps the most inspired interactive digital attraction was Android Jones’ MICRODOSE VR dome installation, which opened up each night after dark. Participants would enter the large, white structure for a 30-minute sensory-engulfing cinematic experience featuring Android Jones’ psychedelic artwork coming to life before their very eyes. The kicker: the ‘film,’ of sorts, was being controlled by four audience members in virtual reality.

Photo courtesy of Jonkillz Photography

Photo courtesy of Jonkillz Photography

Then, of course, there was the main event. Most attendees stayed up through the night to experience the event in totality. An early Random Rab sunrise set was going off just before, as ecstatic hippies performed yoga in the morning sun. Hot air balloon rides peaked over the trees as they tethered over the grounds’ massive lake. Picture-ready burner clans turned up decked out in their flashy garb, as giddy festival goers filed the space between the sacred Sun and Moon Temple grounds wherein the native tribes lit their final sacred fire.

As morning turned into night, birds scattered, temperature plummeted, the sky went dark and eyes swelled as a ring of fire filled the sky. Attendees stood in awe as if a portal had opened up into another universe. A Woodstock-esque character shook his maracas. A young infant looked bewildered in his stroller. Delirious party-goers clanked their mimosa glasses. Strangers embraced, tears fell, and a deep sense of gratitude filled the air — Oregon Eclipse attendees had finally manfested what they intended to do, learning that the power of intention was the most important takeaway on these sacred grounds.

Juliana Bernstein - Get Tiny - Oregon Solar Eclipse (4)

Photo courtesy of Juliana Bernstein

Oregon_Eclipse_2017_Jacob_Avanzato_28

Photo Courtesy of Jacob Avanzato

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Infected Mushroom share mix filled with new and unreleased music [DA Exclusive]

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Released on January 27, 2017, the LP Return to the Sauce marked live-electronic outfit Infected Mushroom‘s return to the genre that most fans know them for: psytrance. The iconic duo who founded the band, Erez Eisen and Amit Duvdevani, have provided an exclusive mix for Dancing Astronaut. The mix includes a number of tracks from Return to the Sauce, as well as some brand new, unreleased remixes of classics like “Bust A Move” and “Becoming Insane.”

Most anyone who’s attended an Infected Mushroom show can attest to the energy they bring to every venue, small or large. Seeing a band play some of the world’s best psytrance on real instruments – not to mention their ever-innovative stage design – is something that should be experienced at least once, especially if it’s the dynamic force that calls themselves Infected Mushroom. Fortunately for those who have never had the chance seen them live, they are currently on tour with the whole live band and a brand new stage production.

The full schedule and tickets are available here. Their new album, Return to the Sauce, is available for purchase here.

Tracklist:

Infected Mushroom – Bust a move (Bliss Remix)

Infected Mushroom – Groove attack

Xerox – Gravity ways (2017 Remix)

Infected Mushroom – Suliman (No Comment Remix)

Infected Mushroom – Becoming insane (Warriors Remix)

Infected Mushroom – Manipulator

Infected Mushroom – Cities of the future (Time Lock Remix)

Infected Mushroom – Return to the sauce

Infected Mushroom – Liquid smoke

Infected Mushroom – Nutmeg

Infected Mushroom – Demons of pains (Trance Remix)

Infected Mushroom – Milosh

Infected Mushroom – Flamingo

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Infected Mushroom make good on their promise to ‘Return to the Sauce’ [Review]

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After two decades of constant touring and prolific production, it would make sense if the members of Infected Mushroom were starting to show signs of exhaustion. Many long-time fans of the band have pointed to some of their recent work as evidence of them losing their innovative edge. Then again, when has any artist or band ever changed their sound and not had doubters?

With their latest album, Return to the Sauce, they aimed to show their avid worldwide fan base that they don’t plan on slowing down anytime soon.

Interestingly, the first track of the album, “Flamingo,” lands square in the mid-tempo range, which is not exactly the “sauce” that listeners might expect. For good reason, the legendary production team of Erez Eisen and Amit “Devdev” Duvdevani decided to use the first two tracks to ease the listener into the maws of psytrance, as coming in right off the bat into intense 140+ bpm can be jarring to many.

Additionally, Infected Mushroom’s best work is about the journey, not simply spewing the loudest, quickest beats possible – though they are certainly capable of doing that. It can be said that the energy of psytrance is something that, in order to be understood and appreciated, must be built up – exactly what the first two tracks accomplish.

The title track, as the name suggests, steps it up a notch, leading the listener into psytrance territory. The staccato bass that has been a staple of Infected Mushroom tracks for decades holds down the fast groove with fervor, which continues on throughout the remaining six tracks.

The album, along with a host of new psytrance songs, offers variances of two tracks from the large Infected Mushroom repertoire: a revamp of their 2000 remix of Xerox’s “Gravity Waves,” and a psytrance version of “Demons of Pain,” a downtempo vocal track from their 2015 album Converting Vegetarians II. Combining the old and the new, these two remixes represent a span of 15 years of history – an eternity in the entertainment industry.

One of the skills that has, and continues to, set Infected Mushroom apart from any other artist or band is their ability to tell a story with each piece of music and keep that story interesting for a very long time. The longest song on the album, “Milosh,” clocks in at almost eleven minutes of play time, although when listening it doesn’t feel long or drawn out.

Similarly, the structure of the last two tracks on Return to the Sauce, “Nutmeg” and “Liquid Smoke,” give a nod to classics such as “Cities of the Future,” “Heavyweight,” and “Deeply Disturbed.” In each of these, Infected Mushroom drives a constant progression that weaves multiple themes, each with its own section of rhythmic and sound design elements that could easily be complete songs on their own.

If anything can be taken away from this album, it’s that Infected Mushroom never strayed too far from psytrance. It was their innovation in the sub-genre that turned them into one of Israel’s best-selling artists of all time. As mentioned above, it is true with any band that’s been around for decades that there will be naysayers at every corner. However, Return to the Sauce is a reminder that Erez and Duvdev mastered the art and science of production long ago. Thus, they can easily bring back the signature sound and style of Infected Mushroom’s “golden days,” andthensome.

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