Dolby Atmosis changing the live audio landscape by way of a new three-dimensional sound space. Venues play electronic music in stereo, which has sound directed through two speakers. This limits the listening experience because no matter how many speakers are in the club, there is still only two channels of sound. Dolby Atmos has created a space where the sound revolves around the listener; think 3D sounds.
Various artists are already taking advantage of the experience: deadmau5, The Glitch Mob, London Elektricity, and Yousef. In Dolby‘s newest video on their Atmos technology, deadmau5 demonstrates his process of producing a track for the 3D space. Throughout the feature, deaThe mau5trap label boss advises other producers using Atmos to, “keep most of [the tracks], still, front-and-center, because you have to think of Atmos like you’re looking at a movie screen.”
The “Strobe” creator praises Dolby’s resources by mentioning they have “the most arsenal out there to for people to enjoy the system on.” The use of leading edge technology has always been a major facet to deadmau5’s appeal as an artist, and with Dolby’s new, interactive method of sound design now becoming a reality, perhaps 3D deadmau5 productions aren’t too far off.
Earlier this month, Harrison Mills and Clayton Knight sat down with The FADER to share working with their dream collaborator Leon Bridges, what the weather is like in Seattle, and how they found themselves eventually making electronic music.
“I love blending different genres and styles that necessarily shouldn’t work together and finding a way to make them work. You can just kind of manipulate sounds in so many different ways that you can come up with so many different styles. We appreciate so many different forms of music that trying to tackle different genres is a really fun thing for us,” says Mills of their unique ODESZA sound.
“Most of the DJs have some free time in January and February, and that results in new music,” Hardwell said when asked if he would debut unreleased material in Ultra tradition during his headlining set. “I made lots of new music and I’m going to play [it] on Friday,” Hardwell added.
And like many ticket holders, Hardwell is holding out for an SHM reunion. “I think it’s going to happen,” Hardwell stated in response to the question as to whether he believed the Swedish super group would indeed appear at Ultra 20. “There are a lot of rumors, the deciding factor for me was that Steve Angello, one of the three members of SHM, cancelled his Asia tour out of the blue, suddenly doesn’t have any shows planned, and is now in Miami. For me, this means that it has to happen.”
Those attending Miami Music Week can peruse the best parties of the biggest week in electronic music as curated by Dancing Astronaut, here.
Recently A-Trak and Young Thug linked up for a throwback to the Low Pros days, dropping off their grinding new collaboration, “Ride For Me,” via Zane Lowe on Beats 1. The track was met with equal parts surprise and praise, with Young Thug delivering one of his most aberrantly eccentric vocal performances in recent memory, complemented by rising rapper 24hrs’ tempered contribution, all wrapped up and packed tightly into a slow-burning A-Trak trap beat.
The pair have now released an official video accompaniment that ties together genres, styles, cultures, and even generations. Thugger and A-Trak rope in a heavy dose of 90’s nostalgia, linking with renown skate video director and Zoo York founder Eli Morgan Gesner for “Ride For Me‘s” one-of-a-kind concept.
The video clips together Gesner’s archived footage of legendary NYC skaters from two decades ago with cuts of A-Trak and Thug revisiting the same spots in the present day, filmed with the same Hi-8 camera, making the clips of 1994 and 2018 nearly indistinguishable. The feature’s visual aesthetics, which A-Trak describes perfectly as, “both nostalgic and post-modern,” play right into the track’s sonic appeal, juxtaposing a retro snapshot of life in the urban underground with a soundtrack of futuristic, new wave hip-hop.
Deadmau5 piqued the collective interest of his fan base when he previewed a short clip of an orchestral version of “Strobe” during one of his live streams on Twitch in December. The sample led some fans to speculate that the mau5trap label head was at work on a full-length orchestral album, while others proposed that the artist could be in the process of crafting a film score. Divergent conjectures aside, all listeners could agree that they would like to hear—at the very least—a complete orchestral version of the electronic classic.
In Janurary, deadmau5 tweeted that he was currently engaged in “the most epic thing [he’s] ever done with [his] music.”
Twitter user @cubertmaster responded to the post, asking if deadmau5 would provide “any hints” regarding the project, to which deadmau5 replied:
Deadmau5 has now sharpened the shape of the orchestral endeavor in a video recently uploaded to his Facebook page. The video offers fans a preview of a classical rendition of “Invidia,” the lead single off of deadmau5’s 2014 album, while(1<2).
Whether the video of the orchestral offerings signals an upcoming live orchestral tour, or an album — as many fans suspect — remains unknown, but the short preview should satiate fans until deadmau5 reveals the next step in the orchestral equation.
In a welcomed break from your regularly scheduled EDM programming, LA synth-pop duo Night Things have dropped off a new cover and accompanying video feature that’s bound to tug at one’s heartstrings. Landing while extra love is in the air during Valentine’s Day, the band offer a heartwarming take on the Everly Brothers’ 1959 chart-topping classic “(‘Til) I Kissed You,” with a unique video concept that captures lovers in moments of candid reaction with one another.
The band’s singer/songerwriter Zach Shields — who’s also currently writing and directing a new Godzilla feature film due in 2019 — steps in to direct the video, filming real couples whispering intimate questions to one another.
Each couple is shown asking one of three questions: when was their significant other’s first kiss in life, then their first as a couple, and finally, what is love to them? The result is a genuinely touching collection of deeply personal moments of human interaction.
Night Things’ version of “(‘Til) I Kissed You” brings together their characteristically beautiful, bouyant synth-pop production style, complemented perfectly by the group’s simple, quaint, and enjoyably romantic video concept.
The second episode explores the dance culture of the early 2000s, the “growing pains and challenges” associated with electronic culture’s then rapid expansion, and Ultra Music Festival’s impact in the context of dance culture, given the festival’s ability to consistently bring electronic and live groups together. Despite other cities’ struggles to legally host large scale electronic events, Miami emerged as a choice destination for electronic activity during 2003 and 2004, years credited as “turning points” for electronic music and festival culture in America. Miami has since maintained the premium it placed on electronic events in the early 2000s, and is accordingly preparing to celebrate the milestone birthday of its electronic cornerstone, Ultra Music Festival, from March 23-25. Those interested in purchasing tickets to Ultra’s 20th anniversary can purchase tickets to the festival, here.