Recent collaborative counterparts, Ekali and 1788-L are among the most alluring names on the electronic agenda as of late. 1788-L, since his ascension through an auspicious feature on REZZ‘s “H E X,” has so far remained anonymous, at least by face. His off-kilter strain of glitchy electro is distinguishable to even the most untrained ear. Ekali’s fervent reception has landed him in some slightly larger arenas in the years since Skrillex remixed his “Babylon” original.
By way of their all-but-“R U I N”-ous brainchild, the pair succeed in scaffolding of one another’s diverging production styles for a complex and decadently maze-like sonic offspring. Drop one falls in 1788-L’s court, with its grinding, stop-and-go, mid-tempo electro, while Ekali ensconces the second breakdown with his invariably melodic DNA. Prophetic wind and piano synths join dizzying drum ‘n’ bass fills for a paradoxical delivery that melts monotony in its tracks.
The two have been teasing the track for some time, sprinkling it into their sets throughout Ekali’s Crystal Eyes Tour. Illenium offered up his edit of the track ahead of the release, bolstering anticipation for the original. “R U I N”‘s release comes with a Blade Runner/apocalypse-themed visual spearheaded by Quentin Deronzier.
Armin van Buuren has released a new track that is nearly unrecognizable coming from the venerate trance and progressive producer. Titled “Lonely For You,” the song taps into an elaborate drum line with a faint drum n’ bass-inspired vibe that adds a unique compliment to poppy vocals, delivered by Bonnie McKee.
The producer speaks about his newest track in an official release, stating,
“’Lonely For You’ was written with the lovely Bonnie McKee. For me, it resembles the struggles we all face with and in relationships, ups and downs. I think it was appropriate to release it around Valentine’s Day!”
The track tells the story of getting over a relationship that has ended, and the moments of feeling alone even though the breakup was the right decision. “Lonely For You” has fittingly been released in conjunction with Valentine’s Day, and the accompanying music video features both Armin van Buuren and McKee dispersed throughout the visual narrative of a break up. “Lonely For You” is a worthy complement to the “Wild Wild Son” producer’s growing list of increasingly diverse releases, and if the Armada figurehead is actually on a mission to prove that he can produce a hit in every genre, he is certainly checking off new boxes with his work on “Lonely For You.”
While Billy is away however, Ja is apparently hard at work with his own new venture, ICONN. Similar to the Fyre app, ICONN aims to connect people with high profile talent like Cardi B and Snoop Dogg for private event bookings. When recently questioned in an airport, the rapper recently told TMZ,
“In the midst of chaos is opportunity. I’m working on a lot of new things.” [Fyre] is most iconic festival that never was. I have plans to create the iconic music festival, but you didn’t hear it from me.”
“Iconic” is an interesting choice of words here. Sounds like some second rate marketing campaign for Ja’s ICONN platform is already in the works.
Forget the chocolate, forget the flowers. Zedd sends his fans a valentine that won’t melt, won’t wilt this Valentine’s Day: his first production of 2019, “365.” The release of the Katy Perry-assisted single signifies months of suspense that have now come to fruition. Shortly after Zedd’s name appeared alongside Perry’s for some select stops on Perry’s 2018 WITNESS World Tour, Zedd disclosed that he and Perry had logged some studio hours in their off-stage time, when Australian radio host, Smallzy, asked if there was “any song happening” with Perry during an interview with “The Middle” hit-maker. Zedd quickly qualified his statement that he and Perry had been “working.” I always wanted to release a song with her, so if we all get lucky, then maybe we’ll finish the song and it will come out, and if not, then maybe another time,” Zedd said.
The uncertainty has dissipated, to leave a refined finished product in its wake. “365” evidences the sonic symbiosis of Zedd and Perry’s studio presence. Perry’s arresting vocal lends a sexy edge to the track, as she articulates the tune’s lyrics, co-written by both Zedd and Perry. No stranger to the cyclical captivation that a looping chorus exudes when coupled with an alluring beat, Zedd scripts an arrangement that is nothing short of irresistible in the rhythmics of its sound. The official music video for “365” presents a conceptual narrative that visually chronicles an alter-ego AI Katy Perry’s attempts to forge a human connection with Zedd.
With Katy Perry’s prowess in the pop sphere and Zedd’s penchant for the vocal-centric electronic/pop hybrid considered, a collaboration entailing the talents of both artist and producer feels a natural next step in the progressing course of Zedd’s musical career. Arriving on the heels of Zedd’s final showing of 2018, “Lost In Japan (Remix),” “365” is a single that conveys a specific message in its status as Zedd’s first of the year: the momentum that Zedd harnessed in 2018 certainly won’t falter.
San Holo offers a heart-wrenching depiction of grief in his new music video for “Always On My Mind,” featuring James Vincent McMorrow and Yvette Young.
The video tells the story of a poignantly profound romance, depicting a woman during her moments of deep sorrow juxtaposed with nonlinear snippets of a relationship. Happy moments the couple share fade to the background, as viewers watch as he discovers her in their room, no longer breathing. The four-minute narrative lends the track’s subtle future bass notes and the sullen vocals a paradoxical appendage.
Sharing the video to Twitter, San Holo wrote, “This video goes out to anybody who’s ever felt hopeless watching somebody they loved suffer without knowing how to help.”
Fresh from the Grammys Red Carpet, Virtual Self has gifted fans with Lane 8‘s remix of “Ghost Voices.” More popularly known as Porter Robinson, the producer was this year nominated for the Best Dance Recording category as Virtual Self for his wall-to-wall sensation, “Ghost Voices.” Though he did not win, the track has still not only had a tremendous impact on the electronic sphere, but has also reverberated through the music industry at large.
Lane 8’s take on the release flips the track inside out, pulling the piano to the forefront and shrinking the electronic elements out of focus in the introduction. Crescendoing notes eb and flow through the forefront of the track, while the vocal dances around the new sound structure. While the remix evokes an entirely different, more pensive set of emotions and energy than the original, it still soothes and sonically pleases the listener. The remix has been released on Robinson’s own YouTube channel.
The latest DAGood Morning Mix features house music duo Golf Clap, who recently stopped by the Mixmag Lab for a 90-minute set. Included in Dancing Astronaut‘s “Ones To Watch” list for 2019, the Detroit-based DJs created an eclectic atmosphere at this “post-work unwind” in Los Angeles.
Presented by Mixmag and newly formed artist discovery/video streaming hub WAV, The Lab is a weekly party/live stream featuring some of the hottest DJs behind the decks. Past guests include Redlight, The Martinez Brothers, and Andrew Rayel in the LA and NYC Mixmag offices. For LA’s latest installment, Golf Clap dug deep with some of today’s greatest house tunes, dishing out a Noizu remix of Valentino Khan‘s “Lick It,” an insanely complex Chris Lake mashup, their own collaboration with Dillon Nathaniel on “Bossa Nova,” and more.
The pair will head to Australia for back-to-back shows at Proud Mary’s and Oxford Underground Feb. 16, gearing up for a highly anticipated techno set at Movement Detroit in May.
Travis Scott was electric at 2019’s Grammy Awards, performing a selection of tracks from his latest album Astroworld. To kick things off, the Houston-born phenomenon rattled off “Stop Trying To Be God” with featured artist James Blake. They also had assistance from Earth, Wind & Fire members as well as producer Mike Dean, who aided in creating a smooth, melodic aura that was quickly interrupted by the intro for Scott’s “No Bystanders,” panning to a large cage containing an elevated Scott. It’s safe to say that utter craziness proceeded to ensue, as a mixture of fans and stuntmen charged the stage for some mosh pits and cage dancing to close out.
The 26-year-old rapper received two nominations for single “SICKO MODE” featuring Drake and one for best rap album. Scott is also featuring on Blake’s latest project Assume Form, which Dancing Astronaut reviewed here.
“Undefeated” and its lively, optimistic atmosphere is already built to stay stuck in its audience’s head. Off Josh Pan‘s latest EP, the world within, the lyrical tune shows off his true musicality while serving up an encouraging message of finding inner peace. Its video has finally arrived following a confusing social media campaign, and its plot is certainly as attention-grabbing as the song itself.
We see the protagonist, Pan, just getting into a good space following a breakup, after which he catches a strange ailment that causes him to turn reptilian. Certainly a bizarre plotline, but one that speaks to the song’s overall motif of learning to accept and be happy in the present, no matter what sorts of “lemons” life might present. The video thus far has earned rave reviews from Skrillex and others in the OWSLA camp and beyond.
A snippet from Porter Robinson‘s upcoming GQ Japan March edition revealed the Virtual Self creator is planning a new project. After his unique production pivot to Virtual Self in order to celebrate techno sounds inspired by late ’90s and early 2000s dance music, one can only imaging which direction the inspired visionary might go. This news dovetails nicely with Porter’s Grammy Award nomination for Best Dance Recording of “Ghost Voices” made under his Virtual Self moniker.
On Sept. 8, Porter performed a sold-out show at Extended Clubsystem in LA. The set was an hour and 45 minutes long, and he played a new song, “God Rays,” which was thankfully captured on film. While luring listeners with wide, lush synth chords, Porter flips the switch and drops hard techno.