London producer Endor is making waves in the global house sphere. Releases such as “Fever” and remixes of La Roux‘s “In for the Kill” and S-Man’s “Intimidating Love” have bolstered the 23 year old producer’s recognition, and he’s on pace to make waves in 2018 through an entirely distinct sonic landscape.
With support from the likes of Mistajam and Skream, the young producer heads into the year blazing with “Gunna Be Mine,” a disco influenced tech house ballad that moves and grooves in mercurial fashion. It’s a departure from his previous body of work, but an inviting one at that. The track encapsulates the modern tech house sound with its own vigor and stylistic touch, and raises expectations for Endor in 2018.
While ascending artists usually come out of the gate ready to prove themselves with a SoundCloud full of music and a hungry drive, few make their entrance with a live show and a stacked artist team. For FANGS, producer Danny D’Brito, this is exactly what his foray into his solo music career looks like.
In fact, the artist recently enlisted one of the top agents in the industry, Ben Hogan, who represents the likes of NGHTMRE, Slander and Elohim, to take his career to the next level. Hogan was one of the many agents vying for the artist due to his ‘triple threat’ potential, which is a position even the most high profile producers in the game rarely face.
FANGS’ great ‘potential’ is the sum of a multitude of factors. He’s a self-taught musician who plays guitar, drums, bass, and the keys. He is a former member of the group Brass-Knuckles and opened his own recording studio at just 22. This collection of experiences led him to the fortuitous position he is currently in for his artist debut as FANGS.
The production quality of his releases speak for themselves, and FANGS’ newest track “Venom” will almost certainly find its home as a club hit with an other-worldly vibe and an upbeat tech-house backbone. Deep vocals propel the melody onward, and the dynamic track leaves the listener wanting more at its close. It also begs the question of what the artists’ live show will look like, as the track is practically manufactured to captivate an audience.
To accompany the track, the artist has released a glossy music video — premiered exclusively via Dancing Astronaut — with visuals that are equal parts harrowing and intoxicating. Poisonous snakes and models writhe across the screen as the track’s spare vocal refrain flashes atop the melee.
While “Venom” is distinctly tech house, FANGS’ future productions range from house to radio worthy progressive hits, lending him the versatility it takes to make it in today’s electronic music scene.
Dancing Astronaut spoke with the rising artist about what we can expect from his impending live show, how his team will be instrumental in his 2018 ascension, and his view on the industry today. Read the full interview below:
1. If you had to set specific goals for yourself in 2018, what would those be? What can we expect from you this year?
I feel the 2018 goal is really all about my music exploration! I’m really looking forward to finally bringing the FANGS live show out to the public. It’s been a lot of late nights curating and planning all the details for this upcoming year. We’re now just focusing on implementing my music in phases, and feeling out the markets and rooms we will launch in.
2. Your live show has been described as a ‘multi-dimensional’ experience. What does that mean, and when will we be able to see it?
I feel music and visuals make the perfect marriage in expression. My goal has always been to have my music tell a story and evoke feelings — I’m definitely keen on visuals helping to paint that picture. I just feel the two work so well together, so in my eyes, they are one in the same. That’s why I’ve made it a point to have all my releases accompanied by a music video or visual vignette.
With that said, when it comes to the live show experience, I want to be able to utilize all of our exploratory senses. I’d reference ‘Pink Floyd’s The Wall’ tour which is still going strong these days thanks to Roger Waters. He puts on a complete live musical and visual spectacle with a narrative from beginning to end.
I want to focus on incorporating projections, physical props and performers that help tell the story. We are currently working on some exciting plans and incorporating some unconventional technology that can potentially take my live show format to a new experience. 3. You’ve got quite a team behind you. You’ve also been in this industry for a while. How integral would you say having a stellar team is to an artist’s success in the commercialized electronic world we now live in? Having a stellar team is vital and the ultimate key to success for any artists’ career. It would be an understatement to say how proud and grateful I am for my management team, Summer Chàpin and Tom Williams, as well as my agent Ben Hogan at Circle. They are a constant inspiration to me and their belief in FANGS is what propels us forward.
There are many moving parts in this industry and it’s nearly impossible for one person to properly cover all the various aspects alone. I’ve got a team of professionals that are experts in their given field, which allows me to focus on producing the art. They help orchestrate my career and are the spearhead to so many new opportunities.
Having a team that is not only qualified, but that you consider family is essential for getting real skin in this game.
4. Does your previous experience of being a part of a production trio, opening your own music studio, and producing a variety of genres give you a different view of the celebrity DJ/Producer world than your peers since you have been involved in so many different layers of this scene? I have no doubt that when it comes to this world, experience can mean everything. I’ve experienced many high moments, and extreme low blows in my journey in music. Experience develops foresight and keeps your ego in check. You learn not to get too excited and interpret things for what they are. You take in your good and bad experiences as lessons to better your journey moving forward.
I’ve also had the opportunity to produce and collaborate in so many genres across the spectrum. It really allowed me to have versatility when it comes to not being pigeonholed musically and allows me to evolve freely with the times. You will learn a lot from others when collaborating. It teaches you how to work, listen and take criticism from others.
By understanding how others work, you get a better understanding of yourself. Some of the biggest producers I had the opportunity in working with were the most open minded and inquisitive people I’ve ever met.
5. What kind of music would we find you listening to at home when no one is around?
I’m definitely a student of music. I have a decent sized record collection spanning classical music to music from the 1930’s to today. It’s fair to say I listen to everything. Music is music.
The more variety I listen to and the more that absorbs into my brain, the bigger the palate I have to pull from when creating new music. When working in the studio, especially with songwriters, I tend to pull the most left-field obscure references that end up being totally relevant to the project at hand. I think it’s important for all artists to open their creative minds to the decades of music out there for us to feast on.
Don’t limit your ears to just the flavor of the week or month. Genres I’ve been listening to heavy in the last couple of weeks have been Industrial, Indie, experimental, electronic female artists from Nordic countries like Hanne Hukkelberg, Jazz / Bossa Nova, Trip Hop, Deep, Tech, G house and Metal.
Two Californian stalwarts have joined forces for an eclectic, yet grooving EP that lands on Tiga‘s Turbo imprint.
SHADED and Harvard Bass — longtime friends and colleagues — have proven their complementary sensibilities through their brand new effort, Body Feels. They recruited vocalist Herswerve to help open the EP with its namesake track, creating a sensual piece of work with a satisfying bassline and an ear-catching, yet simple hook. It soon unfolds into a cacophony of intriguing samples that strike at various times over its hypnotic overlay, making for a hypnotic peaktime piece.
Meanwhile, “Work” is tougher on the edges, using deeper frequencies to entice the mind. Enduring and groovy to its core, “Work” puts off a jubilant vibe with vocal clips that leave consumers with little choice but to begin dancing.
Anabel Englund needs little introduction; the songstress has made a significant name for herself within the house circuit for her savvy vocal work, and later became a mainstay on the scene in co-founding her own Gari Safari imprint. Now, she finds herself on Desert Hearts for an inspiring EP alongside RYBO that is designed to shake the dancefloor.
Call U Rite Back starts off on a deceptively smooth note with its title opener, luring the listener into a false sense of security before exploding into a gritty tech house underlay that complements Englund’s warm vocals well. Classic influences add a nice twist to the finished product, summoning bits of nostalgia while maintaining a modern sensibility.
“Just For The High” — which features fellow Desert Hearts resident Lubelski — is equally infectious, starting off on a more impactful note with beefed up kicks and scintillating white noise. More subdued that the preceeding track, Call U Rite Back’s B-side is a veritable groover meant for the afterhours.
Finally, the EP closes with a Mark Jenkyns re-work of “Call U Rite Back.” Jenkyns’ re-imagining places the song in a deep house canvas. Englund’s vocals are subtly laced in, though the true centerpiece of this re-work is its instrumentation and arrangement.
The artist rolls with a cheeky crew whose house, techno, and love mantra permeates through all possible facets of their work — paramount to the Desert Hearts ethos. His eccentricity stands out not only in his propensity for finding rare tracks, Anderson also manages to impress with his of injection of love and non-stop danceability into his sets.
His involvement with Desert Hearts dates back to the 2014 edition of the festival, and since then the producer’s become a staple in the underground community. Much of his work is with fellow producer RYBO, although the Los Angeles-based artist recently released a brand new EP with Ghostea titled Kablam!.
Now, he’s shared his enthralling two-hour set from this Spring’s Desert Hearts festival and it’s a thrilling mix to kick off the day with.
Spanish producer AFFKT has kicked off his year under a brand new label: Tronic. Bringing a touch of melodic flavor to the label across three tracks, his Red Crocanti EP exemplifies the forward-thinking direction Christian Smith is looking to take his label.
Red Crocanti’s close “Rufian” serves as an explosive conclusion to the EP. Elastic rhythms hit the eardrums immediately, which AFFKT uses as a launching point for adding in hypnotic, gritty basslines and dramatic melodies. Roaring synths and subtle keyboard accents make an impactful pairing in “Rufian;” one that shakes the dancefloor.
Pre-order the EP, which comes out on January 13, here.
It seems Las Vegas will see its first-ever tech house residencies this year thanks to Wynn — the luxury hotel officially confirmed tech house tastemakers Jamie Jones and Solomun as two of the brand’s new residents for 2018. Jones and Solomun will regularly appear at Wynn’s upscale nightclub, XS, over the course of the year.
Wynn’s enlistment effectively expands the breadth of electronic subgenres offered in the so-called entertainment capital. High profile Vegas residencies generally gravitate towards more mainstream styles of music, and as such, widely known figures central to dance music like Diplo and David Guetta have long shined on the strip.
Wynn’s inclination for a more esoteric subgenre of electronic music in its residencies this year speaks to the brand’s movements to diversify the traditional musical landscape of the tourist hotspot. The nightlife entity’s managing partner, Alex Cordova, has additionally confirmed that South African house stylist Black Coffee will also be performing at XS during 2018, Wynn recently welcomed the artist to the “Wynn Nightlife family,” a booking that only further evinces Wynn’s strides to shake up the Strip this year.
Be Svendsen ended his year on a sensual note via “Getula.” Through jazzy keyboard riffs, Eastern-inspired instrumentation, and carnal rhythms embedded in a mid-tempo foundation, the Danish producer proves once more that electronica doesn’t need to be pounding and high-charged to create an irresistibly move-able atmosphere. Its hypnotizing layers serve as tentacles that keep the listener hooked until the very last beat.
“Getula” also received remixing treatment from rising Italian/Canadian duo KMLN, who created a more atmosopheric feel with their added synth work and balaeric guitar samples. Yet, their version is also heavier than the original, as KMLN chose to anchor the finished product with pronounced bass-lines and slightly tougher kicks.
Given “Getula’s” mystical nature, it was only natural that the piece be signed onto Sabo’s Sol Selectas label. Both Be Svendsen and KMLN are known collaborators with the Sol Selectas brand, and their work certainly embodies the imprint’s ethos.
In lieu of their traditional end of year New Year Special compilation, Dirtybird has instead released one final funktastic track to cap off another illustrious year: “Nasty” by Ryan Forever. Forever test drove the track, his debut Dirtybird release, while spinning at the 2017 Dirtybird Campout‘s notorious Family Set, enrapturing both the crowd and label patriarch, Claude VonStroke, himself.
“Nasty” is a highly-stylized, techno, house and breakbeat cocktail. Laden with quirky, 8-bit sampling and jungle-themed, hip-shaking percussion, the track is a paragon of its respective label.
Record label and dance music collective This Ain’t Bristolis known for bringing “Good. Vibes. House.” from city to city, festival to festival. The Hamburg, Germany-based record collective has garnered notable momentum over the last year with showcases at Beyond Wonderland, Miami Music Week, and through their curated parties at at their new home of Exchange Nightclub in Los Angeles.
This Ain’t Bristol rosters acts such as Billy Kenny, Maximono, Kyle Watson, and Josh Brown. The collective have assembled a plethora of tracks in what they describe as “11 cheeky VIP edits from some of our strongest releases to date for your listening pleasure.” Their compilation is sure to catalyze movement among all listeners within its first minutes.