Sir Bob Cornelius Rifo, the masked mastermind behind The Bloody Beetroots, has built a storied career on his brand of in-your-face electro punk-rock mayhem. Now he’s back and “in-your-face” might be the best way to describe the new video for “Saint Bass City Rockers,” which lands almost exactly one year after the track’s original debut on Dancing Astronaut. To accompany the twisting, cinematic electro piece, SBCR has put together a provocative new patchwork of visuals that hopscotches between some of today’s most concerning threats. Rifo admits,
“I tried to portray the climate of our times, however I couldn’t cover it all as every day there’s news to be ashamed of. Is this the world we want to live in? Closing your eyes is not an option, we must take action to make change. Until now, our best has not been enough.”
From Trump’s troublesome occupation of the Oval Office to political strife with Russia and North Korea, The Bloody Beetroots runs through it all on the standout track from last year’s The Great Electronic Swindle. Terror, technology, narcotics and more flash across the visual feature, underscored by Rifo’s wailing electro chords. Watch the unsettling new video below.
Though Justice‘s three studio albums are impressive on their own, the groundbreaking French duo have always thrived in the live environment, crafting meticulously calculated, legendary audio-visual performances. In preparation for their upcoming third live LP, Woman Worldwide, Justice have shared a stunning video of their performance of “Randy” at the AccorHotels Arena in Paris from last year.
Clocking in at a ample seven minutes, the video captures the true magnitude and intensity of the band’s live production. From the light-equipped pyramid of speakers stacked behind Gaspard and Xavier to the dazzling spotlights moving across the crowd, every visual aspect of the show accentuates the music it accompanies. The Frenchmen can be seen here performing the live version of “Randy,” cranking up the track’s hard-hitting industrial appeal that largely stays in the shadows of the original mix. Celebrating more than a decade of mind-bending live shows behind them and even more live edits underway, Justice drop off a tantalizing visual tease ahead of Woman Worldwide‘s August 24 release.
REZZ has a new album on the way via Mau5trap, and since early this summer, the Canadian beat maker’s sophomore effort has been one of the most hotly anticipated projects of the year. Following recent singles from the record, “Witching Hour” and the 1788-L-assisted “H E X,” REZZ has come through with another new piece from her upcoming Certain Kind of Magic LP, offering “Flying Octopus,” and the track’s accompanying music video as her latest delivery.
“Flying Octopus” tells the story of a little animated octo-boi and a group of underwater pals plotting their ambitious escape from the depths. The cartoon critters find themselves jerry-rigging a submarine to fly them out of dodge, set to the score of REZZ’ tingling, syrupy techno cut. While the video is a step away from characteristically trippy REZZ visuals, the new feature heavily leans on a message of lighthearted camaraderie, which ultimately aligns perfectly with the Mass Manipulationproducer’s cult fan base. See the video for “Flying Octopus” here ahead of Certain Kind of Magic’s August 3 release.
In a new video posted online, Richie Hawtin walks through the setup to his lauded audiovisual performance, known as CLOSE. The veteran Canadian electronic figurehead first debuted his technological masterpiece at Coachella in 2017. His unique stage rig, accompanied by hypnotizing visuals, and and on-the-fly sound design and improvised arrangements has been a catalyst for some of his most memorable outings to date.
Each of his improvised performance carries the objective of exploring the relationship between human creativity and the technologies that foster creative expression. CLOSE is about experimenting, allowing Hawtin to go with the flow, and direct the show according to how he feels — a true improvisational act in the electronic space from one of the greats. Hawtin is bringing his explorative CLOSE show to Glasgow’s O2 Academy on October 11 and The Roundhouse in London on October 12.
Considering the careers of the two were largely birthed on the dance floor and in dapper dance clubs, “Only Can Get Better” was a logical homage to kick off the new disco-driven project, and its new video installment is a dazzling celebration of the nitty gritty energies of the indelible Big Apple.
Recently, Diplo spoke on Instagram about the future of Silk City, stating, “We will start moving lots of music forward this summer.”
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.