Production styles from each artist can be audibly discerned in “20:25,” a trippy trap-style future bass track. The downtempo and hazy vocals from The Chain Gang of 1974 envelopes the listener in a dark, smoldering atmosphere, and the drawn-out synths effortlessly reverberate into a throbbing beat that carries the rest of the song.
Both Flux Pavilion and What So Not have been avid on the release front this year, both experimenting in a menagerie of musical formats, from drum ‘n’ bass, to dubstep, to melodic bass music. The new collaboration proves a worthy listen among the vast collection of high-profile hits from the artists.
Each week, New Music Friday sweeps through with torrential force, showering streaming platforms with immeasurable amounts of new tunes. Just like Dancing Astronaut rounds up 25 of the biggest songs of the week for the Hot 25 Spotify playlist each New Music Friday, Lunar Lunes serves as a landing pad for SoundCloud users who want a whole new dose of tunes to kick off the work week.
While HOLY SHIP! won’t be setting sail in 2020, it’ll sure still be getting down. The revered HARD Events maritime festival will anchor itself in the Dominican Republic’s Punta Cana next year, January 22-26 with a whole new name: HOLY SHIP! WRECKED.
Not only is the lineup set to be one of the most in-depth throughout the HOLY SHIP! timeline, but the shift in format will offer #Shipfam an event that is both excitingly new and refreshingly familiar. Cloud 9 Adventures,the lead company behind the ship experience, has been producing events in concert with the Punta Cana resort for many years already and will bring that expertise to HOLY SHIP! WRECKED .
Just as on HOLY SHIP!, the resort will only be open to attendees throughout the festival. Seasoned Shipfam will still receive their robes as well as their OG party as fans and artists live together for a weekend in paradise:
We are shipfam for life, so we couldn’t miss out on this! – Gorgon City
Time to start the search for buried treasure. We be shipwrecked this year me maties! – Claude VonStroke
When it comes time for the artists to perform, there will be nine different areas for music spread throughout the resort. With the increased amount of space, the overall production will be at a much higher level and each area will maintain a specific sonic identity. From daily pool parties to a 1,000 person-capacity club to a sunrise set on the beach, artists will be spinning multiple sets in a variety of environments to satisfy the astute tastes of Shipfam.
Plus, the extensive amenities provided both on-site and in the immediate area will allow for a much broader range of artist involved activities which will be announced soon.
Attendees of HOLY SHIP! WRECKED will have 24-hour access to the resort’s private beach. Every room includes its own balcony, hot tub, free Wi-Fi, and is roughly three times the size of rooms on the boat. There are nine restaurants around the resort offering everything from sushi to pizza, and just like on ship, food and drinks (including alcohol) are all-inclusive.
In terms of recreation outside of music, there is mini-golf, a lazy river, a waterslide, and much more on property. For an extra charge, attendees can take their experience to the next level with a full 18-hole golf course, excursions on dune buggies and ATV’s, a 65,000 square-foot spa, scuba diving, and various other activities that only a world-class island resort can offer.
Pre-sale for HOLY SHIP! WRECKED starts next Monday, July 29, and tickets officially go on sale Wednesday, July 31 at 11 am PT, available here, along with general festival information.
A thick cloud of uncertainty loomed over the months leading up to the 2019 iteration of Spring Awakening Music Festival. A venue change for any festival leaves a precarious taste on a prospective attendee’s tongue. With one location swap already in recent memory (the move from its iconic Soldier Field footing to Addams Medill Park in 2016), organizers of the Midwest’s largest strictly electronic music festival had plenty of work ahead them following the announcement that Spring Awakening would not only be on the move again, but would be altogether leaving Chicago: its longtime, hallowed home. The somewhat nebulous news of the upcoming edition landing about an hour outside of Chicago, in Hoffman Estates, was at first daunting, as seen in the discordant social media reactions from repeat patrons of the festival. There were quite a few qualms to assuage—indeed.
Though, with the latest chapter of Spring Awakening, React Presents proved that its hallmark event has deservedly endured the treacherous festival front, where so many promising productions have folded in recent years.
The most apparent ingredient in the June affair’s success was a lineup that obviously spoke to its audience. Trend-setting talent from the bass-centric house domain came in droves, compliments of quintessential electronic curator, Gary Richards, and his All My Friends stage takeover, while deeper, melodic appetites found plenty of fuel from a long length of Anjunabeats‘ renowned repertoire. All the while, scene staples like REZZ, Chris Lake, Rusko, Illenium, and last-minute addition to replace an injured Martin Garrix, Kaskade, made the 2019 ticket all-the-more difficult to turn down. In its aftermath, the bygone roster of this year’s Spring Awakening echoes the famed Field of Dreams adage: “If you build it, they will come.”
But besides a robust, wide-reaching lineup, Spring Awakening saw its 27-acre Poplar Creek festival grounds succeed in rectifying much of the sound-bleeding issues it’s experienced in past years. Some traffic stoppages at the entrance and exits (mostly confined to the event’s first day), and a smattering of mud (mitigated partially by organizers as the festival stretched on) throughout the venue proved to be the primary, isolated complaints from the 26-30,000 attendees the festival amassed each day of its three-day run.
This year, Dancing Astronaut sought to get the artists’ perspectives on not only the newest chapter of Spring Awakening, but its legacy in the national and Chicago event spaces. We sat down with both first-time performers at the fest and well-oiled veterans, rounding up talent from different ends of the map, including native Chicagoans (Porn and Chicken), Aussies (Dom Dolla and What So Not), even a Frenchman (Shiba San) for good measure. Here are their takes:
Nora En Pure
Real name, Daniela Di Lillo, En Pure has traversed the Chicago club scene quite extensively over the years, though 2019 was the South African-Swiss artist’s first Spring Awakening. The “Come With Me” producer has been a revered name in the deep/melodic four-by-four realm for years, touting a length of accolades for her mixing proficiency, ever-apparent in her radio show/event series, Purified.
I love playing Chicago. It’s a great city for me to play: very music-driven. It’s very rewarding. You can play more elaborately and really try things.
Of the 2019 lineup:
…very diverse, I like that there are not too many similar acts to me, so I can play my sound and people can appreciate it. It’s a mix between that really uplifting stuff and deeper stuff… sticking to the melody.
All My Friends label head and taste-making guru, Destructo (Gary Richards) returned to Spring Awakening this past year, with a trove of on-the-rise talent in hand. As one of the first festival organizers to book acts like Diplo and Skrillex at his Southern Californian and now-ubiquitous brainchild, HARD Events, Richards is certainly no stranger to simply figuring out what’s cool from the underground, and feeding it to the masses.
My parent company, LiveStyle, owns the festival. It was a natural fit to bring an All My Friends stage here. But also too I feel like every one of our festivals we do needs that bass-house lane. It was fortunate enough that we got our hand in Spring Awakening. It’s just really worked out. I think it’s important for the scene as a whole to make sure this festival stays healthy.
On what goes into curating a stage takeover:
Finding the new breed of producers, trying to showcase new talent and bring up new people. Dance music’s all about the new. I think the masses only know the tried-and-true names, and I’m trying to break through new people to keep it fresh, but also to help those young producers really shine.
What So Not
One of the most omnipresent talents in the electronic ether, Australian-born What So Not was another familiar face at the most recent Spring Awakening effort, having played the fest in 2017. A driving source of innovation not just in his cross-genre niche, but the scene at large, What So Not’s most prominent cuts — like “Gemini” and his “Innerbloom” remix — continue to resound throughout festival grounds across the globe.
It’s a great festival to come out for. Last time I played, I think it was at 3 pm; really hot. They were struggling to move—staring into the sun. I remember being like, ‘Come on guys, let’s dance.’ They all just kind of laughed like ‘We’re trying!’ I’ve got some friends coming on a little bit later I’m really excited to catch, like [DJ] Snake. The Bass Tent looks like it’s going crazy. I want to go in there, put on a hoodie, and go get sweaty.
A Dirtybird crown jewel and more-than-seasoned purveyor of infectiously animated deep and tech-house, Shiba San returns to Spring Awakening as one of the lineup’s most coveted acts. Having established his very own label, Basement Leak, along with several acclaimed EP releases, the Parisian producer has certainly been busy since his last Spring Awakening stop.
Spring Awakening was one of the first festivals I played in the US, around the time I played HARD. It was so packed, and very special. I started my house music with the ’80s house music of Chicago. Each time I play in Chicago, I remember where house music came from. Chicago is house music. I’ve been waiting on an offer to play Spring Awakening again for a while.
I think they do a good job of placing up-and-coming artists at good times and fair stages. It can be hard for smaller artist to play a big stage at 2 PM, and then no one shows up.
Another Aussie, by the name of Dom Dolla, made his Spring Awakening debut this year. The “Take It” artist is quickly proving himself one of the most enticing propagators of the forward-thinking tech-house sound that’s taken American festival stages for ransom of late.
American audiences are super excited: house music is evolving so fast for them. Australia has quite a few established cultures. We’ve got our tech-house scene, a bass-house scene, a progressive/melodic scene, and all these established artists who tour within them. But dance music really only started to hit America in a commercial sense a few years ago. It’s been a really interesting tipping point observing what I can get away with in a set.
I’m performing a lot tech-ier here than I was a few years ago. I think the focus [at Spring Awakening] is very much on dubstep, trap, and that EDM sound, but I think they’ve picked their house artists really well, Shiba San, Chris Lake. It’s a distinctly American house sound, that Blackbook Records, Dirtybird sound, which I love.
Porn and Chicken
Having played the festival every year since its inception, Porn and Chicken are the invariable authorities on all things Spring Awakening. Known for their outlandish and voraciously attended event series (of which, unsurprisingly, visuals of porn and chicken are a cornerstone), the Chicago-based “dubstep-rock” crossover outfit has had one the most intimate vantage points of Spring Awakening’s progression.
We first played the festival on the Red Bull truck, which is no longer here. The stages are 10 times the size. This festival has grown as much as we have over the years. I feel like we were babies when we first played it. It’s been very interesting to see how the festival has matured, as we have as performers over the years. The festival’s identity is almost parallel to ours. [Spring Awakening has] faced so many challenges… But it’s bigger than it’s ever been.
The curation of the festival has always been electronic dance music, but throughout the years I think the sub-genres have been represented equally. You can find dubstep, you can find techno, you can find house, and everything else in between. It brings together all the best the world of dance music has to offer. I remember one of the first years we played: You could walk over and see Green Velvet on one stage and see Skrillex just across the way.
From the local level to the headliners, the festival takes care of you. They make sure that the local artists get a chance to shine.
Fans of Netflix’s hit sci-fi series Stranger Things are anxiously awaiting July 4 for the debut of the show’s third season. This year’s return to Hawkins—soundtracked once again by S U R V I V E’s sinister 41-track score—promises to bring more upside down adventures, the growing pains of teenage years, and now, an official remix of the show’s theme song from none other than What So Not.
The Aussie beatmaker has been working his spin on the Stranger Things theme song into his sets for more than three years now, dating back to shortly after the show’s premiere in the summer of 2016. The track was used as a fan-favorite DJ tool, though now he’s dropped the tune in full, just ahead of the show’s highly anticipated third season. What So Not’s “Stranger Things” rendition meshes his sleek, futuristic sound with the series’ inherently nostalgic, science fiction-inspired score. The new remix comes shortly after the release What So Not and Diabo‘s drum ‘n’ bass-leaning “OOGAHDAM!”
What So Not has gone outside of his usual creative aesthetic with Diablo for a brand new collaboration, “OOGAHDAM!” The two have both done something completely different for this production, defying expectation with a heady drum ‘n’ bass tune. Its instrumentation is robotic and futuristic in tone, implying inspiration from other greats in this arena like Pendulum. Well-placed vocal samples add an infectious and urban-inspired edge to the finished product. Though this single is far different than one might assume from these two collaborators, their willingness to step completely out of their proverbial boxes is commendable—and speaks to their abilities as producers. Hopefully, we’ll see more of this from both parties in the coming months.
“For me 2019 is about being free and spontaneous. It’s getting back to: This feels right for this moment. Let’s put it out in the world now,” explained What So Not about the release.
“OOGAHDAM!” is out now via Mad Decent and Sweat It Out.
It’s most important day of the week: New Music Friday. With the overwhelming amount of tunes hitting the airwaves today, Dancing Astronaut has you covered with the latest edition of The Hot 25.
Skrillex has joined forces with TroyBoi to craft a hefty collaboration, “WARLORDZ,” and The Bloody Beetroots has finally revealed his full five-track Heavy EP. What So Not brings new material with “OOGAHDAM!” and Pryda delivers PRYDA 15 VOL I, containing tracks like “Warrior.” Seven Lions and Fiora take festival season by force with a festival mix of “Let Go,” and Kaskade puts his own spin on Jennifer Lopez’s “Medicine.” The Knocks recruit Nigerian singer Kah-Lo for “Awa Ni,” and The Black Madonna takes “About Work The Dancefloor” to new heights. Kove brings his shadowy style of drum ‘n’ bass to “Bearclaw,” and Lane 8 and Yotto have created a dreamy collaboration, “I / Y.” Armin van Buuren and Benno de Goeij make an appearance as GAIA, delivering the extensive Moons of Jupiter compilation. 3LAU and Bright Lights team up once again on “Down for Life,” and Matroda brings his signature thumping bass to “The One.” Darren Styles keeps happy hardcore alive with “Never Let Me Down,” and Vintage & Morelli is in “Bloom” on his newest release. Kraysh showcases his unique sound on “Void,” and Billy Kenny takes on Kyle Watson and Kylah Jasmine’s “You Boy.”
As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed this NMF.
It’s not often one hears of an artist putting on a full on performance with a concussion—let alone centered around loud, powerful bass that might even add to the damage. What So Not has accomplished this feat, however, in a stunning display of perseverance at Ubbi Dubbi festival. The producer realized he’d had a concussion not long after he began his set, according to his account of the incident, when he suddenly found himself feeling confused and unable to figure out how to select tracks he’d wanted to play next. This unfolded shortly after he’d hit his head on a low hanging beam prior to climbing onto the stage.
Despite his frustrating injury and almost giving up entirely on the set, What So Not managed to pull it together and finish his performance. Fans might not have even noticed anything was off, according to commentary around his set. He’s since cleared his head after resting and icing it after his set. We wish What So Not well in his full recovery.
Future bass pioneer and industry giant Flume‘s return had the whole music scene gripping its seat after an enduring silence. Coming back full force with new content including two documentaries and a 17-track mixtape accompanied with a vividly lustrous visualizer, Flume destroyed all expectations in a masterful maneuver of experimental craftsmanship that he has displayed over and over.
On March 25, a couple days after releasing his already well-received mixtape Hi This is Flume, Flume posted —with what appears to be his old Reddit account— a shout-out thanking listeners in the Flume subreddit.
Although the account seems relatively inactive, Flume left a chuckle-worthy reply to one of the comments on the post.
His user handle u/humblebuzz contain posts that date back as early as nine years ago on March 2010. The profile documents his early journey into producing, from linking his MySpace page to making music under earlier moniker HEDS, and eventually What So Not and Flume. Under humblebuzz, Flume shared a plethora of content including advice to aspiring artists, music he bumped, and his own career progress — this moombahton track under What So Not, getting signed to his current label Future Classic, and even his 2016 Companion EP artwork. Needless to say, he’s shown Reddit a lot of love in the past decade and the electronic music community even more. Humble roots never go unrewarded and Flume is the prime example as he steps into an exciting 2019.