Between his seemingly interminable menagerie of other musical ventures, Diplo still somehow finds the time to continue his foray into the modern house music fortress. Narrowing in on a recent Arkade anthem: Kaskade and Felix Cartal‘s “More” from the former’s Redux 003 EP.
Stepping outside his new country alias, Thomas Wesley (his real name), Diplo’s ditched the ten-gallon hat and rhinestone Western shirt (for now) to bring some gritty, guttural low end to the formerly fluorescent “More.” The Mad Decent maestro nixes Jenn Blosil’s syrupy croons and frothy vocal chops for a grumbly, club-catering finished product. The rendition arrives like its predecessor’s malevolent twin, donning a mischievous smirk and enough clapping percussion to keep listeners alive and on the floor well after the remix fades out.
Showing four on the floor ardent fidelity in recent years alongside his sprawling sundry of sonic involvements, Diplo has recently gone as far to erect his own label, Higher Ground, in order to celebrate the long-winded development of the genre—propping up its most incisive contemporaries in the process. The Major Lazer patriarch tapped modern house sensations, Walker & Royce for the imprint’s inaugural release: Rave Grave.
Getter has delivered his “Let Me Love You” remix unannounced to the overwhelmingly positive reaction of fans. Last year, he graced the internet with a one-time listen to the previously unreleased rendition of Justin Bieber’s hit song via Instagram live. Since then, a good deal of those catching the event didn’t think the remix would see the light of day again—but that’s all changed now with the appearance of “Let Me Love You” (Getter Remix) on SoundCloud.
Despite recent struggles against reactions toward his debut album Visceral and changing sound as well as his subsequent cancellation of his tour, Getter has rebounded through unplugging off social media, taking care of his mental health, and dedicating his endeavors to making music for himself. The dubstep producer currently has new projects in the works for his hip-hop leaning alter-ego Terror Reid.
Getter’s “Let Me Love You” remix paints the original track into a lush, future-bass landscape containing buzzing synths, climatic drops, and trilling hi-hats. Using a complexity of vocal chops and intense reverb to aid him in building a trap-heavy beat, Getter’s resulting production is dreamy and intoxicating. A second drop with sliding pitches from plucked strings showcases an exotic tinge. Listen to the remix below.
It looks like deadmau5’s next album is on the way, and judging by the similarity of both its title and artwork to those of 2018’s where’s the drop?, the forthcoming project will likely be the re-imaginative follow up to last year’s orchestral LP. deadmau5 announced here’s the drop via social media, and while details are currently scarce, a connection between the two projects seems likely. Though, the Gregory Reveret-assited where’s the drop? was a reinvention of some of the mau5trap boss’s canonized hallmarks, so it is difficult to say exactly what format the follow up delivery will take as of now.
The new release will land on October 4, presumably bringing streamers high octane remixes of where’s the drop? album inclusions. The full-length orchestral album included 15 classical renditions of deadmau5 catalog staples, such as “Imaginary Friends” and “Monophobia.”
South African-Swiss queen of melodic/deep house, Nora En Pure has materialized on the auspicious Armada landscape with another transcendent dancefloor delivery in hand. Over the years, En Pure has raked in accolades for both her DJ and production prowess , as well as ample acclaim for her radio show, Purified. Though she’s demonstrated affinity for both club-conscious and sweeter, melodic stylings, it’s in the piano-driven endeavors where En Pure shines with the most invariable splendor.
Arriving a day early exclusively through Dancing Astronaut, the iridescent Armada affront takes shape in a remix of Eelke Kleijn‘s “Lost Souls,” featuring Ost. En Pure elevates the original’s subtle piano musings and drapes them across the remix’s forefront. The vapory house offering solidifies another celestial notch in En Pure’s prolific sonic catalog.
Thomas Gold has been keeping busy producing music and touring, but the artist has kept it particularly fresh for fans as he continues to diversify his portfolio. Whether with his tech house alias AU-1 or experimenting with new sounds like tropical-leaning “Seventeen,” Gold is one of those producers who increasingly has something for everyone. His latest release is his remix of Madonna‘s “I Rise,” which is the final release from recent album Madame X.
Gold spoke with Dancing Astronaut about being chosen to do the remix, explaining, “It’s a great honor to do an official remix for Madonna. I grew up to all her music, she was kind of always ‘there’ as she released so many great songs throughout the years. So when I got the request to do a remix for ‘I Rise,’ I was like ‘Yes, I want to do this, but I want to deliver something which pays respect to Madonna’s voice and the vibe of the original song.’”
The original track is a slow and sultry tune that highlights Madonna’s vocals. A slow pulsating humming in the background is juxtaposed with her singing, leaving the vocals to do most of the work on the track. Gold speaks to his goal for the remix, saying, “As the original version runs at a much slower tempo than my remix, I had to find the right way to speed up the vocal and the sounds I intended to use – without losing the vibe of the original.”
Gold keeps Madonna’s alluring vocals intact with the same cool tone of the original, but he completely transforms the BPM and enlists a vintage house style that is fitting, as those who are familiar with Madonna’s earlier releases can attest.
He explains the creative process behind what yielded his final result, saying, “I went for a classic house style approach with some well-known organ and piano sounds (hello Korg M1!), which I thought would fit perfectly for her voice. For the verses, I created a completely new chord progression. It was actually just a spontaneous idea I had, but I liked it, so I kept it. Once I had put together the basic sounds and the layout structure of the remix, it was just about creating a good flow throughout the track. I also used almost the entire original vocal, this was not too difficult, and it was fun to see how everything came together nicely.”
Ultimately, Gold trades in some of the sultry mood for more of a euphoric one, and his remix takes the track to a dance-worthy and fun-loving piece of music that showcases both artists at their finest. It’s an infectious song to begin with, but Gold’s house touch takes the track to the next level.
“At the end, I was happy that I had been able to still maintain some of the typical ‘Madonna’ vocal sound whilst giving the music a completely fresh approach,” Gold says. “And I was super happy when I got the final approval from Madonna and her team!”
PROJECT, the contemporary fashion event gearing up to kick off in Las Vegas August 12 – 14, is teasing the event with the release of a brand new musical compilation PROJECTmusic. Designed to help soundtrack the forward-thinking fashion event, PROJECTmusic: Volume 2 features exclusive remixes that can’t be found anywhere else, led by a new spin by Dreamers Delight on Fitz & The Tantrums’ “123456.”
Dreamers Delight, best known for his profile-raising work on Gramatik’s Lowtemp Records imprint, turns in his own unique electronic-focused take on the LA-based indie pop band’s spring single “123456.” Highlighting his distinguished production style’s strong suits, Dreamers Delight artfully merges Fitz & The Tantrums sonic aesthetic with his own and still manages to keep the remix in a comfortable place for the fashion-forward context it was made for. PROJECTmusic: Volume 2 lands in full on August 8. Stream below.
Few producers could rethink Alison Wonderland and Dillon Francis‘ lethal collaboration “Lost My Mind” with the unbridled audacity of bass connoisseur NGHTMRE. The DJ/producer has risen to the upper echelons of the dance space for his improbably impactful bass cuts. His take on the high-profile original surely doesn’t spare listeners from the heavy drops they’ve grown accustomed to from the Gud Vibrations boss.
Juxtaposed with Wonderland’s light, emotion-filled vocal moments, not dissimilar to the original, NGHTMRE’s rendition is tender at times, though torrential at its core. The track is apt to become a seamless addition to his prolific festival repertoire for the remainder of the summer and thereafter.
NGHTMRE is fresh off a multi-pronged remix package for his A$AP Ferg collaboration, “Red Light,” featuring offerings by Holy Goof, Effin, and Crankdat. NGHTMRE’s remix is out now on Francis’ IDGAFOS.
Eric Prydz brought his most technologically advanced live production to date with him to Tomorrowland this year, debuting the Holosphere concept during the festival’s first weekend. On the opposite end of the spectrum, the Swedish electronic deity was also honored at Tomorrowland with a technologically stripped performance of one of the most recognizable tracks in his sprawling catalog, “Opus.”
Tomorrowland’s orchestra performed their re-envisioning of Prydz’ 2016 masterwork, highlighting the versatility of the song’s indisputable impact. Considering Prydz had to scrap the Holosphere performance for the festival’s second weekend, this special orchestral homage certainly makes up for a portion of those disappointing technical issues. See the Tomorrowland orchestra perform “Opus” below.
NGHTMRE has taken his career to the next level in 2019, especially when it comes to showing off his versatility. The producer has teamed up with everyone from A$AP Ferg, to Lil Jon, to Shaquille O’Neal under his DJ Diesel moniker, staying true to the heavy-hitting bass ethos he’s built through his catalog while creating a new dynamic via hip-hop collaboration and further infusion into his style.
Earlier this year NGHTMRE showcased this new direction with collaboration with A$AP Ferg, “REDLIGHT,” which is undeniably one of his biggest hits. He’s continued to celebrate the single’s success with a fresh batch of remixes from Crankdat, Holy Goof, and Effin that make the single more friendly for a festival main stage. This new batch follows up a recent re-work from Flosstradamus.
Each remixer puts their own unique spin on the “REDLIGHT.” Crankdat twists the release into a dubstep sizzler with screeching synths and heavy drops. Holy Goof goes the bass house route, while Effin also stays true to his low end-fueled aesthetic for his rendition.
NGHTMRE recently announced a new contest for those who are fans looking to see him live and win a new comic book. The contest enlists fans to create a video to accompany “REDLIGHT,” and ten winners will be selected to win two tickets to a show in addition to NGHTMRE’s comic book.
At the helm of the small, but unsurprisingly forceful, Russian house music front sits a double dose of bass house brawn: VOLAC and Phlegmatic Dogs.
Merging production savvy, the two rapidly ascending Russian duos are gearing up to release a compilation EP tomorrow, the aptly named Russian Style, together inside AC Slater’s Night Bass den. The compilation is comprised of two original cuts (one from VOLAC one from the Dogs) and one remix from each entity.
Ahead of the EP, Dancing Astronaut got an exclusive listen at VOLAC’s no-nonsense rendition of a 2018 Phlegmatic Dogs original, “Cuatrocats.” VOLAC pitch up the Dogs’ deep-set, garage bass and send in clattering hi-hats at maximum capacity to liven up the darkest of dance floors.
To accompany the Russian Style release, both duos are heading on tour together, so far set to traverse a jam-packed 23-date North American agenda, with more shows still yet to be added. The tour kicks off August 30 and runs through December of this year. Tickets available here.