DA Presents: ’30 Days of Fright’ featuring REZZ, Gesaffelstein, Noisia, Drezo, and more [Playlist]

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DA Presents: ’30 Days of Fright’ featuring REZZ, Gesaffelstein, Noisia, Drezo, and more [Playlist]SPOOKS PLAYLIST 1

Grab a mask, slam back some candy corn, and get primed to get spooky: it’s October and officially witching season. Electronic music fanatics might be creatures of the night all year round, but there’s something so undeniably righteous about the Halloween season that makes the rapturous roar of dance music even more spellbinding. Whether in the form of diabolic dubstep or demonically deviant techno, the advent of electronic music has given the world some of its most truly terrifying tunes. In that vein, the Dancing Astronaut terror squad is proud to present 30 Days of Fright, our most dastardly dance music favorites for the spookiest month of the year.

By Asher Norris and Bella Bagshaw 

Surrender your consciousness and step inside REZZ‘s world of swirling asphyxia with “Relax.”

Feel your blood begin to bubble and your pulse hectically hasten as BlackGummy and Brooks’s “Neverdeader” breathes a bit of electronic hellfire.

Stream if you dare, as this flame-throwing dubstep track from Kill The Noise, “Black Magic,” will leave your eardrums scorched, but entirely satiated.

Zeds Dead offers up the score for entertainment of the entirely un-dead variety with their timelessly terrifying, “Demons.”

Careful – Megan James’s delectably delicate voice may seem perfectly benevolent, but make no mistake: lofty pipes like hers are witchy by nature.

ZHU plays maestro for all things that boogie and bump in the night with “Nightcrawler.”

Taste the psychedelic strangeness of An-Ten-Nae and Alice D.’s “Raindrops On Roses,” and fall into their preternatural purgatory.

Ever wanted to dance with the devil himself? Habstrakt‘s harrowing house track, “She Goes,” is an opportunity to do just that.

Zomboy invites you to venture through his dubstep-riddled zombie apocalypse with “Ressurected.”

Crowned prince of menacing sound design, Drezo sprinkles a ghastly vocal cut and some unearthly growls in one of his most downright evil releases, “Dead.”

Ivy Lab puts a wickedly delicious spin on an already-crazed Noisia classic, “Tentacles.”

Bask in the eerie ecstasy of Eekkoo and Forrest’s pulsating house production, “Preach.”

NERO solidifies their title as masters of destruction and drum ‘n’ bass with “Doomsday.”

Slithering and psychotic, Noisia’s “Lilith’s Club” will summon spooky sentiments from listeners across the board.

Catch a case of the techno scaries with Gesaffelstein‘s devilishly danceable “Viol.”

Magic Sword wields triumphant electrowave, “In The Face Of Evil,” to fend off even the most nefarious of forces in the days leading up to this All Hallow’s Eve.

Phantogram‘s off-kilter ambiance from “Funeral Pyre,” is the ideal supernatural soundscape, topped with seductive static and levitation-inducing guitar chords.

An undoubtedly foreseen, but fundamental addition to the list, deadmau5‘s “Ghosts ‘n’ Stuff” keeps the freaky, phantasmic fun flying all season long.

Float through the ectoplasm of The Upside Down with this exquisitely melodic synthwave track direct from the second Stranger Things soundtrack.

We’re not really sure what Moody Good is investigating in the malignantly-sampled “This Is The Investigation,” but we’re pretty sure it’s not natural.

Step inside Pryda‘s low-lit techno tunnel and experience the roaring mania of “Rebel XX.”

Those with a predilection for the creepy crawly end of the electronic continuum need only submit themselves to Knife Party‘s iconic “Centipede.”

Street Fever’s winding techno musings inside “Dispose” may be simplistic, but they’ll leave listeners reeling with haunted rejoice.

Feed Me‘s two-headed trap/dubstep hybrid “Pink Lady” will have you seeing phantom strobes well into the afterlife.

It’s virtually impossible to overload on REZZ tracks during any month, but it’s especially tricky this time of year. Her immortal state of “Delusion” thrusts listeners below ground, where the most formidable forces can frolic freely.

Virtual Riot unleashes a bloodcurdling, cinematic ruckus with zombie-apocalypse-themed, “Haunted.”

Names are not at all deceiving as Shadient takes Wavedash and Quest‘s unnervingly vocalized “Devil Music” for ransom.

Coast the un-departed synth-pop streets of Dance With The Dead’s chillingly regal “Nightdrive.”

Spirits loom overhead, as Stephan Bodzin’s “Singularity” permeates shuddersome sounds of uncertainty.

The evil computers of the underworld unite on Knife Party’s riot-conjuring, “Internet Friends.”

There’s too many spooky dance cuts to round up all at once, alas, we’ve got you going with a pretty good start. Keep the spooks in rotation all month long, and don’t forget to mix in “Monster Mash” a few times to get into the spirit of things this season. Stream the full 30 Days of Fright collection below.

Zomboy fires off spine-tingling new single, ‘Rebel Bass’

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Zomboy fires off spine-tingling new single, ‘Rebel Bass’Zomboy Rebel Bass Single

It’s comforting to know that some things fans can always count on. Zomboy releasing neck-breaking, no-holds-barred dubstep unquestionably falls into that category. Bass music fans haven’t had new solo Zomboy to blast since 2017’s Rott & Roll Pt. 1 EP. That finally changes with a new single out via Never Say Records, aptly called “Rebel Bass.”

Buzzing pads opens things up as the stage is set for destruction, and a multi-part build evolves with pounding drums and the producer’s textbook vocal samples. As the chaos reaches its climax, a pitched-down voice heralds the track’s inevitable descent: “Rott n’ roll bitch, this is Armageddon.” The first drop detonates with sub-shattering bass and ear-piercing growls. For a brief moment, there’s a break from the madness – but the bass returns for another dose of classic Zomboy.

The ominous horror-movie pre-drop vocal could very well mean a Rott & Roll Pt. 2 is on its way soon. Either way, “Rebel Bass” is one of the purest dubstep releases we’ve heard from Zomboy since his massive 2016 hit “Like A Bitch.”

UK dubstep trio Gentlemens Club release hard-hitting Black Gold EP

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Having formed back in 2013, the UK-based trio Gentlemens Club has become an essential player in a sea of rising bass artists. In addition to a collaboration with Israeli star Borgore, the group has remixed tracks for Zomboy, MUST DIE! and more that have allowed them to reach new heights, which includes the release of their new Black Gold EP.

The 4-track EP is a wild assortment of UK-grime builds, hip-hop beats and heavy, bass-influenced drops. They’ll head to EDC Vegas 2018 in May as well as a few dates on the “Black Label” tour, accompanied by Skism and Trolley Snatcha.

Lollapalooza announces 2018 edition with The Weeknd, Bruno Mars, Vampire Weekend, ODESZA, more

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The Midwest’s premier music festival, Lollapalooza, returns to Chicago’s Grant Park August 2–5 with a newly announced lineup for the behemoth, 4-day affair. Topping the 2018 bill are The Weeknd, Bruno Mars, Jack White, Arctic Monkeys, Travis Scott, Logic, and ODESZA, and, most notably, Vampire Weekend — the band’s first live performance in four years.

Other high-profile acts include Tyler, The Creater, CHVRCHES, LL Cool J, Portugal. the Man, and Brit superstar Dua Lipa. The festival’s electronic and dance music bookings are just as thrilling, with a comprehensive roster of veteran and rising acts: Zedd, ExcisionDillon Francis, Galantis, Illenium, REZZ, Chromeo, Hippie Sabotage, Tycho, Zomboy, WhatSoNot, Malaa, Valentino Kahn, Petit Biscuit, Ghastly, Chris Lake, Herobust, and Space Jesus.

Lollapalooza also boasts an impressive undercard with Gucci Mane, Lil Pump, St. Vincent, and Aussie one-woman band Tash Sultana, who rarely tours the US.

With over a hundred names set to appear over the weekend, Lollapalooza truly has become an American institution with something to satiate everyone’s musical tastes. GA and VIP passes to Lollapalooza can be found here.

Getter is done with EDM, and he doesn’t care what you have to say about it

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There comes a time in every artist’s career where what fulfills them creatively begins to place them at odds with what their following desires. For Tanner Petulla, that time has come.

A mainstay in the dubstep scene, Petulla ascended the ranks into bass glory quicker than most under the moniker Getter. He found himself headlining festivals across the world thanks to his hectic sets and otherworldly graphics. His shows and online persona were so infectious, in fact, that a cult following resulted. Most aspiring artists would consider this path a “dream come true;” however, being catapulted into public notoriety where fans had expectations for who he should be and the music he should make was not the case for Petulla.


As someone who is self described as having “super-advanced, alien-like ADD,” the artist has never been a one-project guy. The goal was never just to launch Getter, become a famous DJ, and put all of his focus into becoming the face of dubstep. In addition to his work under his EDM alias, he is also known for his rapping under alias Terror Reid, and for his clothing line called Shred Collective. Getter has always been a part of his creative output, but as time goes on, an increasingly smaller part.

Petulla found that money, a following, and scoring headlining slots did not equate to personal happiness not long after finding his way into the spotlight. The excitable and enthusiastic persona Getter portrayed was a far cry from his personal truth, and it became harder and harder for him to play the part. Once able to tune out the criticism from fans and friends, he became increasingly bothered, even paranoid, by those around him both on and offline.

“It was like, ‘how about instead of me going out and wondering about everyone talking shit when they really aren’t, why don’t you figure out what is actually wrong?” 

Many underestimate the difficulty of having everything one could ever want, but still being unable to find happiness. As Petulla tried to come to terms with who he was on a personal level, he began to realize that Getter, creatively, was no longer inspiring, or even interesting to him. The word “depression” turned from a condition laced with stigma into his reality, partially rooted in his increasing success with music he didn’t feel represented him anymore. This was juxtaposed with the desire to keep the fans who supported him through his journey happy. As time went on, he realized that he couldn’t feign interest in producing what others wanted anymore. It’s 2018, and his music is a reflection of Tanner Petulla’s creativity, not the fan-facing Getter’s.

“It’s just not my shit anymore if that makes sense. Like, I can’t make something like EDM and be completely stoked on it anymore.” 

When Petulla discusses what he is currently inspired by creatively, dubstep is the practical antithesis:

“I enjoy sound designing and making shit go off live, but I can’t spend more than 2 hours doing that. With calmer type shit, I could spend a 14 hour flight to Australia making that the whole time. If it is more than just partying, that’s when my interest can be held for longer periods of time because I’m not a big partier.”

While he maintains that “Getter” as one of his artist aliases certainly isn’t going anywhere, what fans can come to expect from its output will be drastically different. This began with his release of “Colorblind,” which was a fusion of punk rock, hip hop, and trap music all in one. Though it retained the trap elements that his followers have become accustomed to from past live sets and releases, this was the first of Petulla’s new chapter as a producer. While he has always been open about his appreciation of those who supported him as a dubstep icon, he is no longer entertaining the idea of creating music just to please this fan base.

Screen Shot 2018-03-17 at 1.55.29 PM

Creatively, Petulla has finally found his niche with what he finds inspiring and fulfilling on a profound level. He will be releasing a full album in the coming month, and he notes that it “finally sounds like him.” When asked what that means for him and his legacy in the dubstep scene, his response gives insight into what fans can expect from future releases.

“I wouldn’t say I’m quitting EDM. I’m just kind of graduating. Like you’d never hear my EDM stuff in a movie or a commercial, unless it was a party scene or a race car driving scene. I’m trying to make music that could be in space movies, or a scene where Brad Pitt is making out with Angelina in the fucking rain, you know? Just some pretty shit.”

Getter released a three track EP with Ghostmane in late February called Dahlia I. Those who are only interested in his heavy-hitting bass aren’t likely to resonate with the eclectic collection of rap tracks. While entirely different than Getter’s past releases, Petulla’s style is still apparent —although it is within an entirely different genre of music. This creative transition may alienate some, but will arguably open the door to wider acceptance moving forward.

Many music lovers are simply intrigued by evolving artistry if they appreciate an artist’s core style. Those who resonate with Petulla’s unique flair will certainly never be bored as he continues to experiment with his wide-ranging creative abilities.


You have a lot of projects — Terror Reid for rapping, Shred Collective where you design apparel, and then of course, there is Getter. Do certain moods evoke certain creative projects for you?
I’m weird, and I just want things to go a certain way, so instead of trying to go to someone else and get help and move forward with something, I want to do everything on my own. I’m kind of just planting seeds with things like Shred or Terror Reid, so that someday when it’s like ‘oh something crazy happened with Shred,’ then everything is going to blow up. Or say something crazy happens with Terror Reid, everything will blow up. I kind of just want to have a bunch of bombs planted so that once one of them goes off, the rest of them will go off.

Are you aligned with any one of these aliases more than the other?
There was a good three or four month chunk when I made like eight Terror Reid songs, and then there was like a good three or four month chunk when I wanted Shred Collective to be a big super dope hype brand. So basically it’s like super-advanced alien like ADD that I have. Which basically works because then I have a ton of shit going on, and I don’t have to worry about not being busy.

You’ve been open about your depression. Is depression something you have always dealt with? Do you think being a public facing figure actually impacted this more?
I feel like if you’re a young person nowadays, you’re definitely affected by it, and you’re probably confused by it. Like a lot of people, including myself, you don’t want to put yourself in the same category with mental illness because then you feel weird, and it makes everything worse because you are confused, and don’t want to believe that it’s that. At least for me, it was easier for me to be like, ‘okay it’s a possibility,’ and being self-conscious about it was worse for me. Then it was like, ‘how about instead of me going out and wondering about everyone talking shit when they really aren’t, why don’t you figure out what is actually wrong?’

I’m a little more open about it now because it makes it easier to deal with shit with me, and this isn’t a real statistic, but probably 80% of people my age nowadays go through similar shit. Obviously if my face is in different places on the internet with music and videos, I feel like I’m affected a little bit more by it because people don’t see the full me- they only see the good parts because no one wants to follow someone who is fucking depressing all of the time. I feel like the music shit gives me an outlet to deal with it because it’s like ‘Hey, I’m not okay — but check this out.’

Now are you actually writing all of your own lyrics and stuff? Is that a creative outlet for you?
Oh yeah, obviously. “Colorblind” started out as just like a trap song before I put it out, and then I had the metal part of it for a different song. But then I was going next to crazy, and I was freaking out. I wanted to know what was wrong with me and why I couldn’t feel better. I have everything I want, and I was still sad as shit, blah blah blah. I told my mom about it, and she was like, ‘well have you tried writing? Whenever I feel like that, I try to write.’ Then I was like yeah, but diaries are lame, so I wrote those lyrics.

I’m not even kidding — when I left the studio, I felt so much better. Within 30 minutes or an hour. I mean it wasn’t gone, but my album that is going to come out this year is pretty much how my brain has felt the past couple of years. I have been writing it for the past couple of years, but I haven’t been writing it as a coping mechanism until recently. So now it’s like, I can go through and be like, ‘well this song is like this…probably because I felt like this when I wrote it,’ and things like that. It’s interesting. It’s really complicated but it’s interesting.

Can you give us more details on that album? I know you’ve mentioned that “Colorblind” is the only heavy song on the album, but it would be great to have more details on that. 
There is no release date yet. My birthday is in April, and I was aiming to have it released around then because Friday the 13th is my birthday this year. I feel like it would be kind of cool to have like a calm debut album on everyone’s bad luck day.

This album is like my fucking baby. “Colorblind” wasn’t even supposed to go on it until after I added the metal part and vocals. It was supposed to be a single, but then it was like, okay it’s doing what all of the other ones do. I feel like if people listen to “Colorblind” and fuck with it more than a cool rave song, then they will fuck with the album. You will hear what I am feeling. It’s important. It’s an important album.

So no more dubstep from you?
No. I released an album three years ago called Planet Neutral, which is my name Tanner Petulla mixed up, and it makes Planet Neutral. That was my first take, and I was never going to release it. Then my friend died, and he was the biggest fan of that shit, so ever since he died and I put that out there, I’ve been making shit like that [dubstep].

Now I don’t even like making rave music, or for lack of a better word I guess, EDM. It’s not that I don’t enjoy making it. I enjoy sound designing and making shit go off live, but I can’t spend more than 2 hours doing that. With calmer type shit, I could spend a 14 hour flight to Australia making that the whole time. If it is more than just partying, that’s when my interest can be held for longer periods of time because I’m not a big partier.

Do you see yourself completely quitting EDM? What does this evolution in musical styles look like for you? I know you’ve mentioned you’re done with EDM in the past, but here we are. 
I remember exactly when I said all of that shit. It was around Shaky Beats in Atlanta, and it was the pinnacle of me feeling like shit. I was sad, but I didn’t know why. So it was more just like, me being confused, and fucked up shit going on in my head. So I was like, you know what, I don’t enjoy doing this, so I’m not going to do this. That ended up with everyone including myself being like ‘I’m quitting.’ But you know, I’m always going to make shit like that, even if I don’t put it out.

It’s just not my shit anymore if that makes sense. Like, I can’t make something like EDM and be completely stoked on it anymore. I would compare my shit to other people’s, which isn’t necessarily a bad thing, but I’ll make a song and be like, ‘oh this sounds like Zomboy. Zomboy is way better than me — oh shit. I’m not going to release this.’ Whereas, the other music — it sounds like me, and I am not copying anyone.

I wouldn’t say I’m quitting EDM. I’m just kind of graduating. Like you’d never hear my EDM stuff in a movie or a commercial, unless it was a party scene or a race car driving scene. I’m trying to make music that could be in space movies, or a scene where Brad Pitt is making out with Angelina in the fucking rain, you know? Just some pretty shit.

Never Say Die releases Vol. 5 compilation

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Never Say Die has released volume 5 of their annual year-end mix. The Oslo, Norway-based label, founded in 2009, is home to such bass heavy artists as Skism, Zomboy, Eptic, and Must Die!. The recent compilation features tracks from Trampa, Trolley Snatcha, Spag Heddy, and more.

Highlights from the compilation include label mainstay Must Die!’s “Kill it Up” and Kompany’s riddim influenced “Overheat.” The compilation is perfect for anyone looking to head bang over the holidays, but it might be safe to ask for a neck brace for Chanukah.



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Habstrakt & Dombresky – Antigone

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Habstrakt & Dombresky have released a new collaborative single, “Antigone.” The track, released on Mad Decent, sees two of France’s most innovative bass-house producers collaborate for the first time ever.

French producer and DJ Habstrakt has been chartering new territory by amalgamating bass music with traditional house influence, synthesizing his own blend of aggressive yet groovy melodies. With a massive collaboration with Skrillex on “Chicken Soup” under his belt and remixes for DJ Snake, Zeds Dead, and Zomboy, Habstrakt has built a proven track record in the EDM community. The producer is set to accompany Destructo next year on his Let’s Be Friends tour alongside Walker & Royce, Fisher, Will Clarke, Deux, Dillon Nathaniel, Gerry Gonza and Golf Clap.

In 2015, Dombresky was discovered by A-Trak, allowing him to produce an official remix of “We All Fall Down.” With new found recognition under his belt, Dombresky released both his first track “Wait” and his second “Utopia” on Tchami’s Confession label; the latter reaching over one million streams on Spotify.

The coalescence of two hard hitting players on “Antigone” results in a saturated dance floor ballad. Thick bass samples roll over hard hitting kicks and moody synth lines. The middle of the track alludes to UK rave, with ominous synths leading into the tracks second breakdown. The collaboration is sure to be played all across the festival circuit in 2018.

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Zomboy and Eptic join forces on snarling new collaboration ‘Bop It’

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Don’t let the track’s name fool you, “Bop It” sounds nothing like the commands of the familiar handheld headache device most might be picturing. Rather, it’s a new joint product from dubstep dons Zomboy and Eptic, so off the bat, one can expect loud, aggressive mayhem to come from two of the top bass producers out there. And of course, both of them deliver in top form on “Bop It.” Coming together for Never Say Die Records’ fifth label showcase compilation, Eptic joins the label head on a growling bass monster designed to level festival crowds with thrashing head banging appeal. Complete with battering drum arrangements, scalding lasers, and barking metallic breaks, Zomboy and Eptic deliver a deafening one-two punch with their new collaboration.

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Listen to Zomboy’s ‘Rott N’ Roll Pt. 1: Remixed’ EP with Doctor P, Gent & Jawns, Habstrakt, more

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When Zomboy unveiled his Rott N’ Roll Pt. 1 EP on Never Say Die Records, fans were treated with four skull-crushing bass tracks originally composed by Josh Mellody himself. The extended play project featured squeaky clean samples, highly rhythmic four-to-the-floor bass lines, and a noticeably strong arrangement. Now the UK-based heavy dubstep producer has released a reprise remix package that features some of the darkest and dirtiest names within commercial dub world.

Rott N’ Roll Pt. 1: Remixed features two divergent takes on each of Zomboy’s originals, including SVDDEN DEATH’s filthy rendition of “Biterz,” KATO and Gentleman’s Club’s take on Mellody’s tour anthem “Youth & Dangerous,” Doctor P’s signature sound design overlaid onto “Rotten,” and a omni-tempo bas house reimagining of “Saints & Sinners” by Habstrakt.





Feature photo courtesy of Chelone-Wolf, Billboard


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Doctor P drops fierce remix of Zomboy’s ‘Rotton’

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Zomboy is putting a host of new talent center-stage with his bass-fueled Rot N’ Roll remix EP. Among the group of new and established artists, Doctor P‘s massive remix sets itself apart with piercing precision and creative use of Bok Nero‘s melodic hip-hop verses. The many moods of this remix perpetuated by Doctor P’s sweet and salty direction on “Rotten.”

Zomboy’s Rot n’ Roll remixes capture an informed spectrum of talented bass artists all in one pack, including familiar names like Party Thieves, Trolly Snatcha,  and Gent & Jawns.

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