“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.
Preceded by Andrew Taggart’s question (“Prague, are you ready for some new sh*t?”) the new and unreleased song debuted by the American duo during their recent performance in Prague is one that makes use of classic Chainsmokers conventions, namely Taggart’s vocals, a lyrical hook with both an irresistible sing-along quality and a raw personality, and an undeniably catchy drop that serves as the song’s sweet spot. Centered around the hook “walk into the club like everyone hates me,” the confessional ID, presumably titled “Everybody Hates Me,” foreshadows what very well sounds like another high-grossing hit for The Chainsmokers pending its official release.
While Calvin Harris recently announced that he will be “movin’ on from Funk Wav sound” in 2018 via Twitter, the 70s inspired sonic stint that diversified Harris’ catalogue will remain an exemplar of a well executed aesthetic experimentation for years to come. The feel good “Funk Wav” vibes exuded by album staples like “Feels” have proven to be irresistible since Funk Wav Bounces Vol. 1’s release, and it seems that John Mayer remains all aboard the “Funk Wav” train as evidenced by a recent performance in San Francisco.
Mayer has cultivated a reputation for spontaneously sampling songs during his live shows — in the past, Mayer has astounded audiences worldwide with unexpected mini renditions of Rolling Stones and Bruce Springsteen classics. As of late, however, Mayer’s tangents involve something slightly more current, Harris’ Frank Ocean-assisted hit “Slide.” Mayer wove Ocean’s vocals from the intro of “Slide” into a live version of “Moving On and Getting Over,” a track off of Mayer’s seventh studio album, The Search for Everything, released in April of 2014. A YouTube video captured by JDWorldReviews shows Mayer cover his original song prior to sampling Toto’s “Africa,” closing out the surprise dual sampling with the intro to “Slide.”
You can see Mayer’s live mashup here, beginning around the 5:40 mark.