Guy Gerber adds dreamy touch to TOKiMONSTA’s ‘Don’t Call Me’

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Fresh off the heels of an absolutely awe-inspiring RUMORS Coachella after-party, Guy Gerber‘s embedded his crystalline remix prowess on the saccharine vocal exudences of TOKiMONSTA.

Amplifying its textural affect and hypnotic bassline, Gerber molds TOKiMONSTA’s “Don’t Call Me” into a transfixing slow burn. By adding in layers of lo-fi guitar and a bellowing bassline, Gerber strips the track of its anguishing emotional detachment and plunges into a pool of emotional triumph and catharsis.

TOKiMONSTA’s Lune Rouge LP has been given several creative reworks from the likes of Felix Cartal, Justin Jay, Sofi Tukker, and more.

Do LaB acts as a lush oasis, rife with surprises, amidst Coachella’s Indio playground once again – photography by WatcharaPhoto

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TOKiMONSTA drops star-studded remix LP for ‘Lune Rouge’ featuring Sofi Tukker, Felix Cartal, Justin Jay & more

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TOKiMONSTA has released a full-length remix album of her critically-acclaimed third studio album, Lune Rouge.

Released through her own label, Young Arts Record, TOKiMONSTA’s remix LP reimagines her trademark production and pop sensibilities with immense eccentricity. The LP features an impressively diverse billing of artists, from Sofi Tukker — fresh off their debut album release — to Felix Cartal, Alexander Lewis, Justin Jay, Sam von Horn, and more, TOKiMONSTA’s worked is elevated tenfold.

TOKiMONSTA is currently in the midst of touring the US.

Lune Rouge Remixed Tracklist:

1) Thief (feat. SAINTS) [Penthouse Penthouse Remix] 4:53
2) Don’t Call Me (feat. Yuna) [Alexander Lewis Remix] 3:18
3) We Love (feat. MNDR) [Felix Cartal Remix] 3:11
4) I Wish I Could (feat. Selah Sue) [Sofi Tukker Remix] 3:50
5) Don’t Call Me (feat. Yuna) [DâM FunK Re-Freak] 3:57
6) NO WAY (feat. Isaiah Rashad, Joey Purp & Ambré) [Kingdom Remix] 3:11
7) Bibimbap (Holly Remix) 5:07
8) I Wish I Could (feat. Selah Sue) [Ouri Remix] 4:52
9) Don’t Call Me (feat. Yuna) [Hugo Messian Remix] 5:05
10) NO WAY (feat. Isaiah Rashad, Joey Purp & Ambré) [Sam von Horn & Justin Jay Remix] 4:26
11) We Love (feat. MNDR) [Qrion Remix] 3:42
12) Early To Dawn (feat. Selah Sue) [Plastic Plates Remix] 5:38

TOKiMONSTA – Don’t Call Me ft Yuna (Alexander Lewis Remix)

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Alexander Lewis has done it again, this time adding his smooth production touch to TOKiMONSTA‘s “Don’t Call Me” featuring Yuna.

The original, which came out in summer 2017, featured a sultry R&B vibe contrasted with choppy vocal elements that tucked it in comfortably with some of the EDM trends at the time. Lewis has taken the steamy atmosphere up a notch by adding mesmerizing layers of synths and a subtle trap beat. He builds his instrumentals around Yuna’s polished vocals, letting them take center stage and continue to drive the original message of the song.

Lewis’ remix is part of TOKiMONSTA’s Lune Rouge Remixed compilation, which also features reworks from Felix Cartal, Sofi Tukker, and more.

TOKiMONSTA – I Wish I Could (feat. Selah Sue) [Sofi Tukker Remix]

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sofi-tukker-press

Sofi Tukker goes deep in this new remix of TOKiMONSTA‘s “I Wish I Could” featuing Selah Sue. The original hit track — featured on the LA-based DJ/producer’s 2017 album Lune Rouge gets a second wind thanks to Tukker’s rhythmic production ability and the start of another energy-filled festival season.

Selah Sue’s vocals are still as catchy as ever, yet Sofi Tukker takes the melody-driven chord progressions and adds a rapid, kick-driven bassline with additional club-ready feels. The duo is gearing up for the release of their debut artist album Treehouse on April 13th, which will be accompanied by a global tour.

 

Lightning in a Bottle drops off diverse 2018 lineup

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Bradley, California’s uniquely immersive festival, Lightning in a Bottle, has revealed the first phase of its 2018 musical line-up, set to take place May 23–28.

In an increasingly monotonous festival market, LiB defines itself in defying the norm. The festival’s forward-thinking curation has presently landed a diverse array of acts from Anderson.Paak & The Free Nationals, to Zhu, GriZ, Fever Ray, The Glitch Mob, Sofi Tukker, TOKiMONSTA, Modeselektor (DJ Set), Emancipator, Nicole Moudaber, The Black Madonna, and more.

Lightning in a Bottle’s strive for diversity in its programming can be best summed in music director and co-founder Jesse Flemming’s words:

“We’re definitely not trying to play the same game we are seeing with all the massive festivals these days when we book our music programming. Forget the big names you can see at 10 other festivals this year. For us the goal is to craft a musical playlist that will perfectly guide people along the experience we’re trying to create. We book each stage to be its own separate journey on any given day and we try to diversify it as much as possible so when you’re wandering around during the weekend you can always find something just right for you. This has been our goal since day one and it continues to shape how we book today.”

More information and tickets to Lightning in a Bottle, which go on-sale January 18 at 10 am PST, are available here.

LIB 2018 Lineup - HiRes

Featured image by D Zetterstrom

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Hundred Waters announce fifth annual FORM Arcosanti

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Hundred Waters made a radical statement about the typical festival model with the launch of their FORM event series, now gearing up for its fifth annual installment. Hosted in Arizona at an artistic micro-community known as Arcosanti, the event’s curators have refined an entirely unique festival experience since 2014 that breaks down the artist-attendee barriers of a normal music event, and envelops all participants under the tightly-knit umbrella of artistry and social discourse for what is has become one of the most absorbing events of the year. Last year, the event grew to over 1,200 attendees and brought the likes of Skrillex, Solange, James Blake, and S U R V I V E to the high Arizona desert. In 2018 Hundred Waters and company will return to Arcosanti, officially announcing FORM with a new trailer ahead of next year’s event.

FORM is slated to run May 11 – 13, 2018 at Arcosanti with Hundred Waters returning for programming and curation duties. Past lineups have brought a spectrum-covering range of performers to the incredibly intimate camping venue, from Bonobo to Thundercat, Tokimonsta to Father John Misty. Details on this year’s lineup are still under wraps, but the OWSLA trio are likely to bring another diverse cast of friends along for FORM’s fifth edition.

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BBC Radio 1 announces 2018 residencies will include The Black Madonna, TOKiMONSTA, Mura Masa & more

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BBC Radio 1 has officially announced its 2018 weekly residency line-up, boasting some of dance music’s most sought-after acts “from the underground to the arena.”

Radio 1’s Residency programming includes two shows each Thursday evening. In 2017, deadmau5, Eats EverythingKölsch, Ninjatune’s Helena Hauff, Jessy Lanza, Metrik, and Will Atkinson dominated the airwaves.

This coming year’s selects include The Black Madonna, Artwork, James Blake, Mura Masa, TQD (Royal-T, DJ Q and Flava D), Jubilee, Bradley Zero, and TOKiMONSTA.

The expansive array of artists is a major move for BBC as its selects certainly coincide with the changing tides of dance music, both underground and mainstream. Each artist will have monthly shows running from January to June 2018.

bbc-radio-1-residencies-2018

2018 Residency Line-up:

First Thursday of the month, Beginning January 4:
TQD
Jubilee

Second Thursday of the month, Beginning January 11:
The Black Madonna
Bradley Zero

Third Thursday of the month, Beginning January 18:
Artwork
TOKiMONSTA

Fourth Thursday of the month, beginning January 25:
James Blake
Mura Masa

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Bassnectar reveals first of four 2018 seasonal gatherings in Chicago

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After tweeting a short cryptic teaser that had the Bassnectar family clamoring over possible upcoming events, Bassnectar has officially revealed his return to Chicago, IL, March 30–31, 2018, after a seven year Windy City hiatus. The two-night run features an incredibly diverse cast of bass music’s most promising rising talent, including REZZ, TroyBoi, TOKiMONSTA, Ivy Lab, Danny Corn, and Bay Area newcomer Andreilien.

The theme of the spring time gathering, according to Bassnectar’s official blog, is set to “…celebrate the dawning of Spring: rebirth, regeneration, and a radiant gratitude for life.” The whole team promises to amp up all levels of art, music, interactivity, and community as well with staples like The Haven and The Gift Altar.

The spring announcement also comes as the first of four seasonal gatherings in 2018, of which Lorin Ashton presents as a bit of a jigsaw to be decoded by his devoted followers. The Bassnectar team will be planting tiny reveals and clues over the coming months as to dates, themes, locations, and line-up support. But for now:

 

Screen Shot 2017-11-13 at 12.58.42 PM

 

Pre-sale tickets for the Spring special event will go on sale Wednesday, November 15th at 12pm ET. Regular tickets will go on sale the following day, also at 12pm ET. Read the full announcement on Bassnectar’s official blog.

 

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TOKiMONSTA is recovered and ready to take on the music industry [Interview]

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TOKiMONSTA — born Jennifer Lee — was synonymous with left-field beats and vibrant collaborations before September of 2017. Coming up in the Los Angeles beat scene, she earned an early co-sign from Flying Lotus’ Brainfeeder imprint before going on to release on Ultra Records and her own Young Art Records. Lee has gained the respect of her industry peers, as her classical music background and intricate sound design always amounts to something special. Thus, it was particularly shocking to her colleagues and followers to hear that she almost lost it all.

In a recent Pitchfork op-ed, TOKiMONSTA came clean about her recent medical struggles that nearly took away her ability to make music. The artist was diagnosed with Moyamoya disease in the fall of 2015,  which causes the main arteries in a person’s brain to constrict. If left untreated, can lead to an aneurysm, a stroke, and often an early death. She acted fast, scheduling and undergoing two brain surgeries (the only permanent solution to Moyamoya) in January of 2016.

Following the surgeries, TOKiMONSTA was forced to relearn basic motor functions like speaking and typing. Her extended bedrest in the hospital even made walking a difficult task. However, after she regained most of her normal functionality, she was still unable to comprehend the music she tried to make, describing her attempts as “metallic, harsh nonsense.”

Lee knew she had to take a step back from music production, focusing on her tours until she felt able to create again. Over a year later, TOKiMONSTA has officially returned with her new album, Lune Rouge, along with new sense of self:

I knew by sharing that story, it would very much come with a sense of responsibility. Once you share a piece of yourself like that, you are leaving yourself open to everyone… and I knew that once I came out with that story, from this point forward it’ll be something that is part of my identity publicly. Now people will ask me “How are you doing?” They will ask about my health, they will ask about things that are not necessarily related to my music, but in order to contextualize my album, it was very much necessary for me to share this personal struggle because if I hadn’t gone through that struggle, I would not have made this album.

After pushing past her struggles, TOKiMONSTA is back, strong as ever. Just before her dynamic show at Brooklyn Electronic Music Festival, Dancing Astronaut had the privilege to sit down with esteemed producer to talk about her recovery, her new album, and her thoughts on the worldwide electronic music culture.

I feel like I can’t start this without mentioning the Pitchfork piece from last month. It was extremely powerful and inspiring to many people. What was the reception of the article like

It was very warm and positive. There was a lot of empathy and the way that people responded wasn’t like “Oh, wow, you’re cool.” There was a deeply felt kind of emotion to some degree. First of all, I had no idea anyone would care at all. To me, I thought it would be just another story; there are so many amazing stories that exist out there. But with the positive outreach and the kind things people said, also the ways in which people felt as though my story hit a chord with them and struggles they were dealing with, whether it was medical or not, I was definitely overwhelmed.

In that piece, you mentioned how personal this album was to you. When you have a personal album and interview like that, is it hard or nerve wracking to put something so close to your heart into the public sphere?

Absolutely. Before deciding to share that story, I thought about it very long and hard, wondering “is this something I want to share with people?” I had already gone a year and a half without anyone knowing, and no one would have ever known if I hadn’t shared it. It wasn’t visible or obvious in any way for someone to see that I had gone through something like that. The reason why I thought about it is because I knew by sharing that story, it would very much come with a sense of responsibility. Once you share a piece of yourself like that, you are leaving yourself open to everyone. It’s exposing yourself, but to some extent being responsible for those you impact. Not everyone has to feel that responsibility, but I know that I would and I knew that once I came out with that story, from this point forward it’ll be something that is part of my identity publicly. Now people will ask me “How are you doing?” They will ask about my health, they will ask about things that are not necessarily related to my music, but in order to contextualize my album, it was very much necessary for me to share this personal struggle because if I hadn’t gone through that struggle, I would not have made this album.

So speaking of the album, what has the reception on that been like?

As far as I know, this has been one of the most positive responses to any project I’ve put out. There’s always been a positive response, but it’s different this time around. It’s positive but it’s deeper. [The response] is not just like “These are cool tracks.” This album is as personal to the individuals listening as it is to me. That’s an impact that you never foresee but I’m always grateful to hear because it just means that you and this stranger who both care so much about this project have something in common with each other.
Switching gears here, you started to blow up around the same time EDM was making it’s way into the states (speaking of the recent EDM boom, not all electronic music). You’ve always ran alongside the scene, releasing under Flying Lotus’ Brainfeeder imprint but also Ultra Records. How do feel about where the scene has gone and where you see yourself in it?

It’s always evolving, and I’ve always been able to look into the future of electronic music in the US by looking at countries that have had electronic music as a norm for a while; looking at Europe, the way that they’ve maintained sort of larger-spectacle-EDM style music with regular electronic music and how they subsist next to each other. For me and my views on the US electronic movement, it’s almost like EDM was a gateway for people to discover types of electronic music. Because prior to that, even though we did originate techno and house in the states, it still very much stayed below the surface. EDM broke it through and now everyone has access to all the stuff that had been hiding underneath, behind all that shiny stuff. It’s almost like a gateway drug to all the possibilities of what electronic music can be. As far as where I stand, I have always been running in the sphere of how left, right, or center am I in this kind of conventional and more exoteric scale of electronic music. I’ve been kind of just existing doing what I’ve been doing. I’ve been slowly ending up a little more center, which is kind of cool. I’m not trying to be more accessible but everyone else is coming around to understanding what I do, which is even more amazing. Instead of people being like “your music is so weird, I don’t really understand it,” which is kind of what I got in the beginning, like a lot of head scratching, now people just tell me “this is beautiful music.” It’s still challenging in that it’s not Ultra conventional, but it’s now perceived in a way that people perceive other types of music.
You talked about the differing electronic cultures in Europe, but I’d also like to bring up the East Asian and Australian electronic cultures. It seems that they’re developing in a slightly different direction than here in America. Can you give us any insight on what’s going on over there?

Those are really good examples. I would say that Asia is very different in that they really like mainstream electronic music. For them, the floodgates haven’t opened quite as wide to below-the-surface electronic music quite yet. They really love the big house stuff, it’s still very big there. When I do play in those markets, it tends to be a lot of expats or Western influenced younger kids that are opening up. Australia is interesting in that, when you have an artist like Flume, who’s a pop artist, everything below that gets understood. My music is completely conventional and understood there. It’s not weird at all. You can still play music like his or mine in Asia and it’s very unusual. The dichotomy of that is very interesting because, they’re on the same side of the globe but they’re pretty far from each other. Australians really understand my style of music. A lot of Asia, they do get it, but not at the scale of Australia.
Another important topic in the scene right now is the representation of women in the industry. There was a new festival announced in Sweden called Statement Fest, which is an all women’s festival. Groups like Discwoman have been working for a while to represent women, and pretty much any time I hear a conversation about women in electronic music, your name is mentioned. How do you feel about the state of women in electronic music, and how can we work to attain a better balance in the scene?

It’s a conversation that needs to be had, but if we have to keep having the conversation, that means no progress is being made. I’m not a firm believer in separatism, it’s all about integration to me. I’ve said this many times in the past, I’d rather be someone’s 20th favorite producer overall than their first favorite female producer. The separatism doesn’t allow for change, it’s integration and making it normal for a big festival to have female artists, versus being like “screw you guys we’re just going to have our own.” But that’s necessary too. If you have an all female festival when females are currently underrepresented, it can be very helpful to those who go and get empowered by it. There’s always counterarguments, but I think these collectives and festivals do need to succeed. But for me personally, I would approach the other side of it, so that there’s a fair amount of people who deal with female empowerment through gathering and then me more through female empowerment through equality and integration.
Changing gears again, you’re known as a beat-maker but your music draws from many genres and styles, whether it’s jazz and classical, or influences from the Caribbean or Asia. How do you translate those diverse styles into a live set? What do you do to bring it all together?

I’ve always wanted all my songs and albums to tell a story. That’s a sort of attribute that I’ve taken from classical music, which tends to be very much like a story. With my live show, I want the entire show to be almost like one song, one linear story; something that brings you up and down and has movement versus being ultra-repetitive, like banger after banger. With the live show, you’ll have more of a full experience, something that you can meander and journey with. That would be the easiest way to explain it, but it’s almost like taking all my songs and turning them into one very long song that does things.
You see people like Bonobo bringing an orchestra or live band to their shows, is that something you’ve ever considered?

I’m always thinking of new ways to add, change, upgrade, differentiate my shows. There’s room for all of those things. Maybe at some point, I could do an all acoustic version of this with no electronics. I could have a string quartet, I could bring along a vocalist. I think it’s cool to have the option of having that or not. I’m good friends with Bonobo and there are points when sometimes he’ll have a string quartet, sometimes he won’t. As of now, I’m not sure if he travels with them but before, it used to be occasional. But to have a live set that’s somewhat modular yet is still effective; I don’t want to rely on all these other shows for things to be good. I know at the core of it that, if it’s just me and it’s still a great show, that’s the most important. Then we can start adding the other things that’ll just bring it over the top.
You’re a pretty frequent collaborator, anyone can see by just looking through your work. What do you look for in a collaborator? Is it usually just people you know and vibe with, or do you search for particular people and sounds?

All of those things. If I like an artist a lot and I’m fortunate enough to somehow get in contact with them, I’ll go and reach out, whether it’s in the DMs or an email or running into them at a festival. Other times, we’re friends first and just decide to work on something eventually. I guess the last means is if they reach out to me, and maybe I don’t know who they are but I find I really like their style. But in terms of going past the initial reaching out point, I make the best music with people I like and that like me back, people I can catch a vibe with and have a long-standing relationship with. It’s not like, “I made a track with you, goodbye.” It’s more like, “We made a track together, I’m in town let’s all hang out.” It goes beyond just the music part, it’s more internal at that point. We have something going on that make the music great.
You have your own record label, Young Art Records. What are your future plans for that? Any new releases or signees coming?

Yes! I would say that my goal with this label is to put out a bunch of new artists, try different avenues, and not just make it a music label but an overall creative label. Venture into technology and arts and all these other facets of creativity and have Young Art be this creative umbrella. Even though my interests are mainly in music, I do think that there’s a lot of room for music and technology and visual art and throwing events; allowing the label to exist in it’s own sphere without it always having to run by me. Ideally I would love this label to exist freely without it being “TOKiMONSTA’s label.” The label becomes so much of it’s own identity that the correlation isn’t necessary. Obviously, in all these different areas of creativity that I want to go into, I’d only want to take people from those worlds and create a platform for them to get seen. So if it’s a producer, create a platform for them to release music. If it’s a visual artist, have a gallery where they can have a showing. For technology, have programmers come in and come up with cool ideas for plugins or apps and have them all cross branded.

TOKiMONSTA’s new album, Lune Rouge, is out now on Young Art Records.

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TOKiMONSTA – Don’t Call Me (Feat. Yuna)