Dancing Astronaut’s BIG 100—Top 25 Electronic Albums of the Decade

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Dancing Astronaut’s BIG 100—Top 25 Electronic Albums of the DecadeAlbums Of The Decade

2010 may as well have been a lifetime ago. At the breakneck pace by which dance music throttles through the stratosphere, the decade is ending in an entirely unrecognizable place from where it began. For context—ten years ago, Electric Daisy Carnival was held in Los Angeles, not Las Vegas, where the Los Angeles Rams now play. Only 250,000 people were paying for a Swedish music streaming service called Spotify, and Billie Eilish was finishing up second grade. It’s been a wild ride through the 10’s, largely soundtracked by EDM’s global boom into a multi-billion dollar industry. Ten years ago our culture was creeping out of South London basements and New York warehouses, and now we’re performing at the Olympics.

So now, as the single most important, historic, and certainly memorable decade dance music has ever seen draws to a close, we had to figure out a new way to break down how far the culture has come. One master list couldn’t possibly reflect the decade in review. In effort to properly recognize the remarkable collection of events that has brought us here, we’re tweaking our typical end-of-the-year model. Instead, we’re dividing the decade’s most deserving into a handful of unique categories.

In review of 2010 – 2019, the most important factors that shaped the decade were Artists of the Decade, Labels of the Decade, Albums of the Decade, and Most Impactful Moments of the Decade. Together, they comprise Dancing Astronaut’s decade-end collection. Introducing, The Big 100.

So without further ado, Dancing Astronaut‘s 25 Most Impactful Albums of the Decade—in no particular order.


Justice – Woman (2016)

Matching their sonic savviness to the name printed on the record’s gatefold, leave it to Justice to challenge dance music’s status quo while highlighting the intensely empowering nature of the femme. The pair honed in on one key component throughout the recording process: rather than break character with an attempt to chase mainstream success, Justice, as they always have, opt to open-endedly allow pop culture to decide its own relationship to their work. The intent over the LP’s 10-track span is singularly focused on genuine songwriting, and in turn, procuring timeless dance classics. From its core to its perimeter, that is exactly what Woman is: a collection of instant-classic indie dance gems.

It feels like it has been ages since Audio, Video, Disco — eons since †. Now, grown men whose days of black leather jackets and studs are possibly behind them, Gaspard and Xavier have written a record that is perhaps more in-tune with their emotional capacities, while simultaneously challenging the fleeting nature of pop success. Ultimately, Justice have delivered another ageless dance opus with Woman, which spawned a Grammy-nominated live album, one of the best live shows of the decade that inspired a visual feature to boot, capping off a momentous decade for the paragons of French house. -David Klemow

ODESZA – A Moment Apart (2017)

Commencing the Foreign Family Collective bosses’ official foray into the pop space, A Moment Apart stands as ODESZA‘s most voraciously streamed and referenced LP to date. With their fluttery Summer’s Gone and In Return LPs, the ethereal electronica duo arrested the soul of the electronic zeitgeist’s chill-out craze, cropping up midway through the ’10s, when the confounding side-effects of the dubstep onslaught had subsided some. A Moment Apart did double time at the 2017 Grammy Awards, raking in a pair of nominations for Best Dance Recording (“Line of Sight”) and Best Electronic Album.

ODESZA’s most accessible and multifarious work to date, A Moment Apart, while perhaps less compositionally daring, allowed ODESZA to play with approach, while remaining just near enough to their celestial center. A purposeful album’s album, rather than a mere arbitrary collection of tracks. -Bella Bagshaw

Pretty Lights – A Color Map Of The Sun (2013)

Pretty Lights’ magnum opus by DA standards, A Color Map Of The Sun was, mid-decade (and remains now), an industry-wide point of contention. Critics complained the album was somewhat anemic in its experimentation or delivery of stark “creative growth,” or entirely passed it off as spacey stoner fodder. But why fix what was never broken? What’s clear is that Derek Vincent Smith conceived the LP as a vessel to expound on his inimitable, jazzy jamtronica hybrid with his most incisive execution to date. Even among tracks like “Yellow Bird,” with its almost anesthetizing instrumental loop or the melancholic strut of “Go Down Sunshine,” no corner of the work arrives without gusto.

The vinyl sampling on the LP further solidified him as the master of homage. Funk, soul, hip-hop, electronic listening music, Smith weaves in and out of these worlds without as much as a warning, though none is warranted. The quintessential curator of chromatic live production, whether he meant to or not, wielded the work to push innumerable jam/instrumental purists over the synthesized precipice—past the point of no return—sending them happily dazed and plummeting eternally into the electronic ether. -Bella Bagshaw

SebastiAn – Total (2011)

Unapologetically abrasive in all the right ways, SebastiAn’s debut record, Total was one hell of a coming out party for the French-Serbian musician. But it also served as a much-needed statement its host label, Ed Banger Records. Until then, the iconic French house music collective had strokes of brilliance but was largely defined by its affiliations with the Daft Punk and a handful of genre-defying releases from Justice.

In Total, SebastiAn captured the raw power and undeniable strands of funk roadmapped by the genre’s forefathers, all the while insisting on finding his brilliance through innovation rather than emulation. With the record’s needle lifting after over 20 tracks, Total interludes between mind-rattling electro and silky-smooth pop-disco for the rare electronic LP that isn’t defined by its singles, but the spirited collage built around them. –Josh Stewart

Madeon – Adventure (2015)

A Frenchman making feel-good electro—wild, right? Well, wait just a minute. Madeon certainly did his homework for his long play debut (see: “Pop Culture (mashup)”). That’s the genius of Adventure. He borrows what’s useful in the moment, often going back to go forward. Songs like the effervescent, Passion Pit-assisted “Pay No Mind,” fit for Androids frolicking under a disco ball, fall effortlessly into place while the then-20-year-old producer cut his teeth on earnest, almost smoldering compositions like “Imperium.” Adventure was just that: a journey worth the jaunt, filled with as much complexity as color. -Bella Bagshaw

Avicii – True (2013)

Few records have been able to illustrate the symbiotic potential of traditional instrumentation and electronic production more cogently than Avicii‘s True. Keeping perfect time with EDM’s propulsion into the musical vernacular, True emitted the raw, evocative power and deadly danceability of progressive house. But make no mistake: we were always dealing with a pop record, here.

By then already a global sensation, the Swedish wunderkind sent tremors through the industry at large when he brought up an incisive assortment of soul and bluegrass musicians at the 2013 edition of Ultra. That day, Avicii’s hallowed act of synergy set fire to the torch that still burns with his legacy. Whether we were ready or not, True sent the very foundations of the electronic infrastructure shifting underfoot. -Bella Bagshaw

Disclosure – Settle (2014)

When Disclosure’s debut album Settle landed in 2013, everyone—from music fanatics to industry figures and critics—wanted a proper taste. Peaking at No. 1 across multiple charts including Billboard’s Dance/Electronic Albums and receiving widespread acclaim, Settle struck the scene as both an instant refresher and derivative of dance music’s past. The magic of the record lies within its stylistic journey through a multitude of dance sub genres including bass music, house, garage, ultimately, pulled together by a synergetic pop intention composed not of mass appeal, but of motivation to magnetize all niches of dance listeners. -Jessica Mao

deadmau5 – while(1<2) (2014)

Perhaps the hallmark of electronic albums of the decade, deadmau5’s 25-track dance epic holds the LP format near and dear, leaving little room for skim listening. The record’s progressive composition of rich melodies, moody, cinematic aesthetics, and throbbing electro still stands as one of deadmau5’s most versatile works to date.

Arriving at a frankly lackluster time for electronic albums, while(1<2)’s challenged the status quo of the moment, while also providing a wider scope with which to view the full breadth of deadmau5’s talent. The double-sided endeavor offers a suspenseful sonic journey through stripped back ambient and downtempo plays, uplifting electro, chugging progressive breaks, and more. No stranger to the full-length format, deadmau5 takes on his seventh LP with a brazen discontent for the lack of originality dance music purists bemoaned about at the time, offering an unforgettable double dose of creativity on while(1<2), which itself may have served to re-galvanize the album format in electronic music. -David Klemow

Daft Punk – Random Access Memories (2013)

Looking back on the most important decade in dance music, the defining highlight had to have been the release of Daft Punk’s Random Access Memories. Daft Punk’s return in 2013 was special, not only because the legendary French Androids had delivered their first LP in eight years, but because the album was legitimizing for electronic dance music in many ways. It came at the front half of EDM’s global boom, proving to the world that electronic dance music wasn’t just millennial festival fodder with Nile Rodgers, Pharrell Williams, and Giorgio Morodor in tow. The record masterfully presented intelligent, disco-inspired sounds in with an incredibly fresh, modern perspective to audiences who were still trying to figure out if mainstream electronic music was… well, legit.

Random Access Memories would remind everyone who the genre’s omniscient godfathers were, net the duo four Grammy Awards along the way, help guide vinyl’s resurgence selling the most units of the decade, and cement Daft Punk’s legacy all over again. -David Klemow

Skrillex – Recess (2014)

From the moment we first heard, “to get a thousand miles from the Earth, a rocket would need this much power,” Recess would change the electronic landscape and set Skrillex on a crash course for pop superstardom. Sonny Moore’s 2014 debut LP under the Skrillex moniker came well after he had already established his Grammy Award-winning sound, though the album is really what planted Moore’s flag as an electronic trailblazer that was here to stay. The record was a carefree intergalactic thrill ride that featured a budding Chance The Rapper, a preview taste of the oncoming K-pop tidal wave with G-Dragon, CL, and Diplo, and a healthy dose of heavy dub appeal from the Ragga Twins. Infectiously aggressive yet in touch with its dance-friendly roots, Recess culminated into one of the best electronic albums of the decade.

In the years since Skrillex’s debut studio LP, his list of credentials have outgrown the confines of electronic dance music in remarkable ways. He’s gone on to produce for the world’s greatest pop stars, from Justin Bieber to Mariah Carey. He’s tackled movie soundtracks, linked with rappers, produced an entire joint album with Diplo, and grown OWSLA into one of the country’s premier electronic imprints. With an impending sophomore follow up slated for 2020, we’re already at the edge of our seats for the next chapter in Skrillex’s momentous career. -David Klemow

Jamie xx – In Colour (2015)

The production backbone of The xx, Jamie xx’s In Colour is as much an album of yesteryear as it is an album of tomorrow. On one hand, the sample-driven concepts over Jamie Smith’s often breakbeat-influenced beats harken back to a time when electronic music simply felt more soulful. On the other, the album doesn’t only disregard the distinction between electronic genres, but goes to great lengths to blur the line between what’s full-blown “electronic” and what’s a bit more nebulous; a direction that dance music continues to embrace even heading into 2020.

What makes In Colour such a pinnacle of artistic success however, isn’t the album’s memorable singles or gold-lined production, but its ability to make its listener feel a technicolor assortment of nostalgia, happiness, pain, and sorrow, often simultaneously. -Josh Stewart

TNGHT – TNGHT (2012)

The 2010s can’t be accurately recapped without talking about trap music’s viral takeover, and electronic music’s obsession with trap can’t be adequately described without paying due respect to TNGHT. While the duo’s 2012 self-titled TNGHT project isn’t a full-length LP, the release served to propel the two producers’ bombastic, aggressively experimental sound to massive mainstream acclaim, making for one of the most impactful releases of the decade. The pair went radio silent as quickly as they had dominated the scene, though by 2019, TNGHT had reconvened once again, picking up exactly where they left off. -David Klemow

ZEDD – Clarity (2012)

Once ZEDD delivered his debut studio album, Clarity, in 2012, it was clear the division between pop and electronic music was going to be permanently blurred going forward. The Interscope Records project effectively defined EDM’s global takeoff with singles “Shave It Up,” “Spectrum,” and “Clarity,” all charting in the top 10 that year and into 2013. The record’s inescapable popularity was contingent on how it would define dance-pop, and would not only go on to earn a Grammy for Best Dance Recording at the 56th Grammy Awards, but also cement ZEDD’s position as one of the most in-demand producers of the decade. -David Klemow

Above & Beyond – Group Therapy (2011)

How many artists can say their record bears the name of a coinciding global event phenomenon and hallowed weekly radio show? Group Therapy does. The quintessential progressive/trance trio’s 2011 album is dripping with utterly epic euphoria from start to finish. “Cheesy” was never something Above & Beyond were afraid of, nor should they be. The album sees them move dexterously through dreamy, twinkling offerings like “Alchemy,” vocalized by serial A&B collaborator, Zoë Johnston, to full-on club demolitions like “Sun & Moon.” Instrumental in acquiring the trio, and the trance genre at large, worldwide fandom, Group Therapy also garnered the group exponential label traction, to their now-revered Anjunabeats imprint. -Bella Bagshaw

Jack Ü – Skrillex and Diplo Present Jack Ü (2015)

The Jack Ü project was equal parts irreverent DIY fun, hard-knocking dance-pop fusions, and spastic genre hopscotch all wrapped into one. Skrillex and Diplo Present Jack Ü includes contributions from NOLA bounce star Fly Boi Keno, hip-hop heroine Missy Elliot, Keisza, 2 Chainz, Snails. And what’s more, undoubtedly resurrecting Justin Bieber’s career and ultimately positioning Diplo and Skrillex as the top pop producers of the decade. Once the divisions between pop and electronic music broke down, Jack Ü jumped in to bridge the gap with their hypnotic brand of fizzy, aggressively danceable electronic music. Behind the success of one joint record together, the two dance titans won a pair of Grammy Awards for Best Dance/Electronic Album and Best Dance Recording respectively at the 58th Annual Grammy Awards. -David Klemow

Aphex Twin – Syro (2014)

It had been 13 years since Aphex Twin’s previous release when he delivered his cerebral Syro LP in 2014. At the time, to have a full fledged comeback from Richard James was quite the occasion. The album presented a different side of Aphex Twin, though after more than a decade since his last full body of work, it’s no riddle why. Syro landed as a more accessible listen than previous works thanks to a more melodic approach in production.

However, the album was still unmistakably Aphex Twin from start to closing interlude. It was still the kind of twisted, frenetic work that could only permeate from the mind of James. Five years after Syro’s release and Aphex Twin’s return to live performance, and the album’s painstaking attention to detail is still commendably obvious, its off-kilter, hair-raising sonic complexion as bold as ever. -David Klemow

Prydz – Opus (2016)

There’s a fine line between listening music and club music when it comes to EDM and nobody seems to find the sweet spot between the two quite like Eric Prydz. Two parts progressive, one part electro, and just a dash of synth-wave, Prydz’ debut album Opus traces the storied Swedish producer’s exuberant catalogue over two meaty discs with little to no filler. With singles like “Generate” that don’t just define an album or a trending style, but a whole era of mainstage house music, Opus is rare dance album that’s worth revisiting time and time again. -Josh Stewart

Baauer – Aa (2016)

Aa is a rambunctious collection that paints a candid picture of Baauer’s beginnings as an artist. As a young man, Baauer had already called everywhere home from Philly, to London, Brooklyn, to Germany. It was traveling–not touring–that ultimately provided the inspirational bedrock beneath Aa. Baauer’s introductory offering is a mixed bag of worldly inspiration, tied together by an evident allegiance to his roots and his uncompromised desire to experiment. This desire spills from every corner of the project. From its masterful sound design to the eccentrically abstract artwork of the record, Aa is a flowing portrait of Baauer’s mind pressed onto wax.

Cumulatively, Aa is the perfect split between the hard-hitting fusion of dance, trap, and hip-hop and a handful of fearlessly strange, gripping instrumentals. Baauer meanders between inspirations, places, faces, sounds, and styles, agglomerating a bright, chaotic collection of work that is deeply authentic to his roots. Aa runs the gamut of Baauer’s full range of inspirations, ranging from the menacing grime styling of “Day Ones” to the calmative ease of “Body.” The record presents Baauer’s ascension to a creative level that exceeds the listening value of “Harlem Shake’s” viral ubiquity. -David Klemow

Duck Sauce – Quack (2014)

Duck Sauce’s beloved Quack LP gave us a 12-track fun-or-bust stroll down disco lane, broken up by skits to make for a nostalgic flow inspired by the classic hip-hop albums of the ’90s and the funk of the ’80s. Quack, the full-length debut from a spirited and sporadically active collaborative venture between A-Trak and Armand Van Helden, which enjoyed a prolific singles run between 2009 and 2013 with “aNYway,” “Barbara Streisand,” “Big Bad Wolf,” and “Radio Stereo,” proved that dance music doesn’t need to take itself too seriously; and, in fact, it shouldn’t.

The album was a masterclass in sample pulling. Standouts include The Time Bandits’ “Live It Up,” and The Members’ “Radio” impresses for what would be the best use of sampling if not for “Ring Me,” A La Carte’s “Ring Me Honey,” Melissa Manchester’s 1985 hit “Energy” and more. It’s the sort of approach to an album where A-Trak and Armand stick to their extra casual, comedy-leaning ethos. Six years after the epically quirky LP’s release, it proved that electronic music could sustain the album format, it didn’t have to be a grab for mainstream marketability, and it can still make people dance. The record stands as if to say that “Quack” doesn’t mean anything, and that’s what makes it meaningful. -David Klemow

Flume – Skin (2016)

At the apex of the futuristic bass movement’s upward crawl stands one of Australia’s token music-makers, Flume and his second solo album, Skin. Following the hungrily lauded record’s release, contrived imitations pervaded the SoundCloud sonic-scape soon after. But none could achieve quite the same warped, melodic maximalism, while still remaining accessible to the average listener; not like Flume. With a technicolor assortment of guest features, ranging from the then-up-and-coming Tove Lo to Chicago rapper Vic Mensa to British singer/producer duo, AlunaGeorge, Skin arrived in amorphous fashion. The former What So Not affiliate seemed to be asking, “What can’t I lend my beats to?” Rhetorically, of course. -Bella Bagshaw

Kaytranada – 99.9% (2016)

Kaytranada really planted his flag in 2016 with his debut full-length studio project 99.9%, establishing himself as one of the keenest electronic minds in the game. The 15-track album, released via XL Recordings and Ultra, enjoyed overwhelmingly positive critical reception right from the outset. The LP included highlight contributions from Anderson .Paak, Craig David, Little Dragon, AlunaGeorge, and BadBadNotGood. Kaytranada’s 99.9% rolled and wrapped hazy neo-soul, uplifting hip-hop inspirations, elements of knocking trap percussion, and crisp, shimmering jazz into an enjoyable late night smoke sesh with friends that simply wouldn’t grow old, no matter how many repeated spins you gave it.

The record is a bold amalgam of sounds that comes together under a sharply conceptual electronic theme, and catapulted Kaytranada atop his rightful throne as one of the most esteemed crossover producers of the decade. -David Klemow

Gesaffelstein – Aleph (2013)

Released on Bromance Records, Gesaffelstein’s 2013 debut album Aleph officially introduces the dark techno backbone that Michael Levy has made a Hall-of-Fame career from. Masterfully crafted, the album pops and hisses throughout a variety of mechanical soundscapes, each track donning its own distinct attitude. At the end of the decade it stands as a techno masterpiece, spiraling through industrial synths and pulsing builds.

Aleph encapsulates a sinister techno spin on classic ’90s West Coast rap, overcast electronic ballads, and tinges of acid house and orthodox French techno. Gesaffelstein has always been a commanding presence since his emergence, with impressive production credits on albums like Yeezus, remixing the likes of Justice, Lana Del Rey and Depeche Mode, but with the release of his first full-length studio album, Levy gave French techno a jolt of energy, taking the listener on a dark, convoluted, and as the decade has proven, timeless ride. -David Klemow

Porter Robinson – Worlds (2014)

Gone is the full-throttle euphoria of “Language.” Gone is the dancefloor weaponry of Spitfire, which arrived just two years prior. The bashful anime auteur is vulnerable, seemingly for the first time, inside Worlds. He even lends his pitched-up vocals to a handful of the tracks, a welcomed contrast to the brash, bro-ey male bravado permeating the dance music scene at the time. The sonic world building erected within the LP has been paralleled by none since Worlds‘ debut. Porter Robinson comprised the record as a master storyteller would, cognizant of narrative, of pace, of tone, as the ship beats on towards its tenacious crescendo, “Goodbye To A World.” Bursting with shimmery electro-pop, Worlds stands as a happy harbinger into EDM’s post-“Where’s the drop?” ethos. -Bella Bagshaw

David Guetta – Nothing But The Beat (2011)

Though Guetta had already been chopping heads in the dance game for decades by this point, Nothing But The Beat was a breakthrough for dance music’s open-arms US adoption. That no-introduction-needed pop icons like Sia, Justin Timberlake, and Lil Wayne wanted to lend their voices to the dance music revolution was nothing short of watershed for our purposes. It was hard to turn on a radio without “Titanium”‘s prophetic ring in tandem, or step onto a club floor without Nicki Minaj electing to “Turn Me On.” Was the record overtly gimmicky at times? See: “I Just Wanna Fuck.” Of course, but nonetheless, the Frenchman had successfully spoonfed four-on-the-floor to the masses, whether they knew it or not. -Bella Bagshaw

Nero – Welcome Reality + (2011)

Fueling some of the most high-profile soon-to-be remix material, Welcome Reality + melded the ferocity of the dub and drum ‘n’ bass netherworlds to rock/dance pop sensibilities. Americans were as confounded as they were enamored by the larger-than-life onslaught of bass alongside the NERO vocalist Alana Watson’s rapturous yearning. The apocalyptic landscape of the LP bred hellfire and supreme sweetness hand-in-hand. Only NERO could imbue the starlit synth-pop of “Crush On You” against the futuristic bass fury of tracks like “Doomsday” inside a single record. It incited wall-to-wall remix treatments from the likes of Skrillex, Flux Pavilion, Calvin Harris, and many more worthy admirers. -Bella Bagshaw

Above & Beyond share new six-track EP, ‘Out of Time’

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Above & Beyond share new six-track EP, ‘Out of Time’Above Beyond Press Shot

Christmas has arrived a few days early for Above & Beyond fans. The trance trio have released EP, Out of Time ahead of the new year. The six-tracker contains highly anticipated club mixes of “Out of Time” and “1001 (Is It Love)” as well as an update on their beloved Richard Bedford track, “Alone Tonight” alongside extended versions of each. The dance heavyweights also finally announced the release date of their long-awaited “Blue Monday” edit, set for release Jan. 20, 2020.

Above & Beyond have been sitting on their “Out of Time” club mix since its first appearance at their Madison Square Garden ABGT100 milestone show. The Anjunabeats bosses showcased their Gorge Update of “Alone Tonight” at their Group Therapy Weekender earlier this July. “Out of Time” is from their 2014 LP We Are All We Need while “1001 (Is It Love)” was on their 2018 studio album Common Ground.

“‘Out Of Time’ was one of the very last things we finished while recording We Are All We Need way back in 2014,” the group posted. “We were, quite literally, running out of time to deliver the album, a sentiment that feels appropriate as we race into the final days of this decade. The end of a chapter. We hope these tracks bring back fond dancefloor memories from years past. Happy Christmas – if that’s your thing!”

NMF Roundup: A-Trak and Friend Within link, Loco Dice remixes ‘Midnight Hour’ + more

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NMF Roundup: A-Trak and Friend Within link, Loco Dice remixes ‘Midnight Hour’ + moreA Trak Photo Credit Jenny AndersonGetty

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.

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.

Photo credit: Jenny Anderson/Getty

Dancing Astronaut’s BIG 100—Top 25 Artists of the Decade

This post was originally published on this site

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeUntitled Design 1 1

2010 may as well have been a lifetime ago. At the breakneck pace by which dance music throttles through the stratosphere, the decade is ending in an entirely unrecognizable place from where it began. For context—ten years ago, Electric Daisy Carnival was held in Los Angeles, not Las Vegas, where the Los Angeles Rams now play. Only 250,000 people were paying for a Swedish music streaming service called Spotify, and Billie Eilish was finishing up second grade. It’s been a wild ride through the 10’s, largely soundtracked by EDM’s global boom into a multi-billion dollar industry. Ten years ago our culture was creeping out of South London basements and New York warehouses, and now we’re performing at the Olympics.

So now, as the single most important, historic, and certainly memorable decade dance music has ever seen draws to a close, we had to figure out a new way to break down how far the culture has come. One master list couldn’t possibly reflect the decade in review. In effort to properly recognize the remarkable collection of events that has brought us here, we’re tweaking our typical end-of-the-year model. Instead, we’re dividing the decade’s most deserving into a handful of unique categories.

In review of 2010 – 2019, the most important factors that shaped the decade were Artists of the Decade, Labels of the Decade, Albums of the Decade, and Most Impactful Moments of the Decade. Together, they comprise Dancing Astronaut’s decade-end collection. Introducing, The Big 100.


25. Richie Hawtin –

Among the greatest techno deities stands Richie Hawtin, watching another ultra successful decade shrink in his rearview mirror. Hawtin’s emphasis on the intersection of technology and his craft have made him one of the most dynamic minds in all of electronic music, from his CLOSE live show to the production of his own Model 1 mixer. He’s clocked two Essential Mixes in the last decade, hosted a beloved party series on Ibiza, hit a list of the most prestigious festivals and events across the world, performed unforgettable back-to-back sets with deadmau5, brought techno to the Guggenheim, and even resurrected his Plastikman alter ego. Electronic music went largely mainstream in the 10’s, but that didn’t stop Hawtin from holding it down for the underground with a firm, unrelenting grip.

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeRichie Hawtin Confirms Plastikman Alias 2019 Return

24. Bassnectar –

Lorin Ashton, better known to his loyal fans as Bassnectar, has spent the decade swallowing crowds with his proprietary blend of bass, punk rock, and electronica, with a fanbase perhaps best compared to the millennial generation’s Deadheads.

In the last ten years, the Bassnectar team has established themselves as an elite live entertainment group, capable of packing stadiums and festivals alike, from selling out Madison Square Garden for Bass Center VIII in 2014 to their homegrown, three-day, sold out, Deja Vroom Festival in Cancun. Selling out has become status quo for the project fronted by Ashton, whose decade-long staying power is fueled by the the ever-evolving bass landscape. Ten projects in ten years stamp a mark of prolific output from Ashton. From Divergent Spectrum (2011) to Unlimited (2016), the beloved king of bass claimed two No. 2 slots and three No. 1’s on Billboard’s US Dance Album charts. What’s more, Bassnectar has supported some of the most successful bass music innovators of the day such as G Jones, Eprom, ill Gates, while uplifting the likes of PEEKABOO, and more.— Chris Stack

23. Kygo –

Just as RL Grime did for trap and Flume did for future bass, tropical house’s moment in the sun during the middle of the decade can’t be discussed without crediting Kygo’s championing of the genre. The Norwegian hitmaker may even be the first real star of the streaming era, amassing a billion streams by 2015, just a year after his emergence, becoming the fastest artist on Spotify to achieve the benchmark. Behind his brand of sun-soaked poolside house, Kygo carved out his place in the decade’s top echelon, culminating in a historical performance at the Rio Olympics closing ceremony.

22. Anna Lunoe

Easily one of Australia’s brightest musical exports of the decade, Anna Lunoe firmly holds her place as one of dance music’s favorite curators while simultaneously rocking crowds as a triple threat producer, DJ, and singer. From her Beats 1 stint to appearances on Mad Decent, Fools Gold, Future Classic, and Ultra, Luney commands a certain sway among DJ circles while still maintaining her status as one of the most down-to-earth selectors in the game. In the summer of 2016, the Bass Drum Dealer made history alongside Alison Wonderland by becoming the first solo female DJs to perform on the main stage at Electric Daisy Carnival in Las Vegas.

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeAnna Lunoe Hyperhouse 1

21. Noisia –

You never know what you’ve got until it’s gone. Well, in the case of Noisia, that couldn’t be more on the nose. In 2019, the seminal Dutch drum ‘n’ bass trio announced an impending split in 2020, exactly 20 years after their formation. Fear not, for a victory lap is in order for one of the most influential dance groups of all time—hitting major festivals and events next year for an extended farewell. The decade was ushered in by their debut studio album Split The Atom in 2010, they helped break Skrillex to the world, they did their part to put British hip-hop on the map well before grime took a hold of the cultural zeitgeist with I Am Legion alongside Foreign Beggars, and now, after a monumentally successful run, Noisia is ready to hang it up in search of new creative journeys. Though, as the decade draws to a close and bass music currently commands more sub-genres and new incoming talent than any other category of electronic music, Noisia’s impact on that can’t be understated.

20. RL Grime –

There’s no talking about the last decade in electronic music without acknowledging trap music’s moment. In 2012, Henry Steinway was already enjoying a successful career as a DJ, known as Clockwork. But the moment he donned the RL Grime moniker and he and Salva laid their unforgettable spin on Kanye West’s “Mercy,” things changed forever. Not just for Steinway, but for electronic dance music as a whole. Trap, or rather, hip-hop’s emerging intersection with club music, would go on to fuel the next two years of electronic music’s meteoric rise, and firmly establish RL Grime as the genre’s forefather. His sound has changed considerably since his take on Benny Benassi’s “Satisfaction,” and he’s become a label head in the latter part of the decade, championing a new wave of talent under the Sable Valley banner. This decade wouldn’t be what it was without RL Grime.

19. Mat Zo

Mat Zo has spent the decade keeping us guessing in the best possible ways. He’s been a chameleon of styles and genres, with a catalog that spans some of dance music’s finest imprints. Not to mention founding his own esteemed label by the middle of the decade, Mad Zoo. But while Zo has shared his affinities for trance, bass, electro, and drum ‘n’ bass in nearly equal measures over the last ten years, he’s also been a vocal critic of dance music’s shortcomings, generating a voraciously loyal fanbase in the process. His two studio albums, 2013’s Damage Control and 2016’s Self Assemble still deserved repeated plays as some of the most innovative works of the decade, and with allusions to a third LP sometime in the future, look for Mat Zo to continue commanding the respect he’s earned as a new decade unfolds.

18. Swedish House Mafia

One would be hard pressed to imagine electronic dance music in 2010 without “One” playing in their head. Axwell, Sebastian Ingrosso, and Steve Angello acted as a critical authority in early 2010’s, ushering in dance music’s global invasion with a commanding presence. The Swedes transported their electro and progressive house sound across the Atlantic and in the process, issued a new rockstar archetype that had everyone from Miami to Ibiza rocking a black v-neck and skinny jeans. Every single release the group delivered touched the charts, including the likes of “Save the World” “Don’t You Worry Child,” both of which earned Grammy nominations. The Swedish supergroup’s impact was perhaps felt the most when, at the top of their game, they decided to call it quits on the Mafia life amid rising inter-group tensions and an unsustainable lifestyle. Their dissolution in 2013 was the first real massive victory lap EDM had ever seen; our parents would equate it to an Elton John or Kiss farewell stadium tour. The trio’s not-so-secret reformation in 2018 precisely exemplified their international notoriety when they took on closing duties at Ultra five years after they initially said goodbye. Between show cancellations and an absence of new music following their realignment, Swedish House Mafia’s final moments of the decade were undoubtedly less than ideal, but the new era only holds inklings of promise as they build upon their celebrated legacy. — Ross Goldenberg

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeSwedish House Mafia Ultra 2018 DA

17. Above & Beyond

As trance legends, Above & Beyond have sustained themselves as one of dance music’s most beloved artists of the decade for a multitude of reasons. Despite their artistic evolution from their Oceanlab work to critically acclaimed Group Therapy and their more modern dance stylings, one defining characteristic has remained constant—an innate dedication to their community through the power of music. The group’s unmistakable synergy across their Group Therapy Radio program, live shows and musicality, the English dance outfit never cease to champion music in a way that unites their listeners through the boundaries of country lines and language. Above & Beyond’s proven longevity and ability to break down fans’ emotional pretenses and build them back up have made them an unstoppable force on the international dance circuit. What’s more—Anjunabeats and Anjunadeep have become mainstay brands for dance music fans across the globe, providing further evidence that the trio have undoubtedly earned a place among the top artists of the decade. — Jessica Mao

16. Eric Prydz

Eric Prydz makes our Top Artists of the Decade list not by riding the surging wave of any particular trend but by simply honing his own craft year after year which translate into some of the most technologically forward performances in the dance music space. The Prydz sound falls somewhere between the progressive and electro side of house music, but his exceptionally unique flavor profile, paired with a fervor for melodies that are as sophisticated as they are aurally pleasing has given the Swedish icon a signature sound all his own. Of course, Eric Prydz is a seasoned veteran of electronic music, but between his thriving alter-egos (like Pryda and Cirez D), set lists of largely unreleased tunes, and a live show as ambitious as anybody’s in the industry, it’s crazy to think that Eric Prydz’ best decades could still be ahead of him. — Josh Stewart

15. Gesaffelstein

It’s almost comical to think that a decade ago, Gesaffelstein was just in the zygotic stages of his career. Prior to 2010, Michel Lévy had but three releases to his pseudonym — obscure cuts which showed promise, but belied the magnitude of what was to come. Albeit, it’s unlikely that even Lévy himself could have imagined the heights his grandeur would reach by 2020. By reaching into the deepest chasms of musical possibilities, Gesaffelstein ascended to the pinnacle of a tower he himself built. His absence for most of the decade’s latter half was palpable, fraught by many imitators, but zero duplicators. To dub Gesaffelstein as the greatest artist of the century would only modestly stretch the limits of journalistic objectivity. As such, including him as one of the decade’s best is a no-brainer. Gesaffelstein’s unprecedented talents have proven to serve as a stark beacon across the barriers of dance music. His is a light so overwhelming in its grace, that it casts over all contenders a shadow as dark as his Vantablack armor. — Will McCarthy

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeGesaffelstein Coachella 2019 Julian Bajsel

14. Calvin Harris –

Few artists took as much advantage of dance music’s crossover into pop culture as Calvin Harris. The Scottish hitmaker started the decade as an already firm force in dance music, going on to found Fly Eye Records at the onset of the decade. By the middle of it he was producing chart-topping hits with Rihanna and commanding the second largest headlining crowd Coachella had ever seen. By the tail end of the 10’s, Harris had a platinum plaque on his wall, working with Pharrell, Migos, Frank Ocean, Travis Scott, and Ariana Grande, closing in one nearly $200 million in earnings. From a dollars perspective, 2010 – 2019 unquestionably belonged to Calvin Harris.

13. Daft Punk –

Even as the entertainment industry’s most elusive creators, Daft Punk’s impact can be felt all over the decade. From their contribution to Disney’s Tron: Legacy to producing for the decade’s most dominant R&B force, the Android keep an omniscient eye over the ever-evolving music landscape. And each time they drop in, whatever they offer feels so new and fresh, it proves that Guy-Manuel de Homem-Christo and Thomas Bangalter command a level of influence unknown to any other musical artist today. Their signing to Columbia Records and subsequent critically lauded 2013 comeback LP, Random Access Memories, was one of the biggest releases of the decade, and while there’s never any promise the two knighted French visionaries will ever have more to offer, we take comfort in knowing they’re never really that far away.

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeDaft Punk Photo Credit Olivier Zahm

12. Claude VonStroke

Claude VonStroke‘s band of rump-shaking house aficionados were happy holding down their lane, representing the bay area with their looney, groovy brand of club music. But as house music splintered throughout the decade into sub-genres and movements, San Francisco’s Dirtybird Players rose to the top of their respective game behind the papa bear leadership of VonStroke. Now, as a momentous decade for Claude nears its conclusion, the man who started out hosting barbecues in the park with nothing more than friends, a sound system, and delicious grilled meats has become an accomplished events curator behind the ultra-successful BBQ and Campout events that represent the label’s humble beginnings. Now, Dirtybird and their brand of zany, fun-loving house music chugs into the next decade, their ethos being more of a movement, or even a family now, than a record label and its fanbase. It wouldn’t have been possible without everyone’s favorite camp counselor, and for that Claude VonStroke easily places among the greatest artists of this decade.

11. ZEDD –

ZEDD‘s near-singlehanded blurring of the pop and EDM lines made this an unforgettable decade for the Russian-German DJ/producer. Starting out as one of Skrillex’s earliest protégés, ZEDD carved out an incredibly prosperous decade, ending it as one of the highest paid DJs in the world year-over-year clocking well over a $100 million over the last five years behind massive streaming numbers and a dominating track record of marquee Vegas residencies. He covered Forbes‘ 30 Under 30 issue in 2017 after two ultra-successful LPs: True Colors (2016) and Clarity (2014), that peaked at No. 2 and No. 1 respectively on the US dance charts. Furthermore, the classically trained musician helped champion the likes of Alessia Cara, Maren Morris, Grey, Ariana Grande and more as his steep ascent to pop music’s top echelon continued to trend upward. ZEDD continues to help bridge the gap between pop production and EDM, and with a new decade set to unfold, he’s primed to write his trajectory through 2020 and beyond.

10. Justice –

Despite an aversion to the fanfare and celebrity that being global superstar DJs entails, Justice quietly, authoritatively defined the decade behind their characteristically stoic French cool. Before 2010, the duo was instrumental in laying the groundwork for dance music’s global takeover with material like “We Are Your Friends” and “D.A.N.C.E.,” but with 2011’s Audio Video Disco, Gaspard Augé and Xavier de Rosnay went from multi-faceted creatives to electronic music icons. The record led to a headlining Coachella set in 2012 and a live album, Access All Arenas the following year. By the end of the decade, the pair had enjoyed a relative hiatus and come back with Woman, a Grammy-winning Woman Worldwide live record, and a return to visual media with IRIS: A Space Opera by Justice. The pair’s French disco and house roots bled into harder club sounds, cinematic progressive rock, metal, and more. When they re-emerge in the next decade, expect their influence to be as profound as ever, even if it takes a different shape entirely.

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeJustice O2 Briton Academy Credit Guifre De Peray

09. Dillon Francis –

Dillon Francis’ inclusion on this list may come as a surprise, though, when factoring in the fact that he might be EDM’s first crossover pop culture star speaks volumes to his impact on the decade. Francis, Dancing Astronaut‘s Artist of the Year in 2018, started the 10’s as a festival undercard act; a goofy white kid messing around with the burgeoning Latin-influenced moombahton that Dave Nada was credited with creating around the time. Ten years later and Francis is back to championing Latin sounds, even scoring a Latin Grammy nomination on the way, but not before he went full circle with a highly publicized Columbia Records deal and subsequent move to independent status. He delivered a full-length studio record, a handful of mixtapes, and a jump to TV to boot. Francis may have been among the first DJs to master branding oneself, and as the decade reaches a wrap, he’s undoubtedly done his part to earn a designation as one of the most impactful artists in dance music today.

08. Boys Noize

A decade can seem to be an eternity in the lifespan of electronic music, but Alex Ridha’s musical journey began long before 10 years ago. Since the latter aughts, Boys Noize has been one of the most formidable figures in the adjacent realms of electro, techno, and acid house. In both his music and his live shows, the Berliner savant has set himself apart from the crowd with an unforgiving energy. From Power to Mayday and beyond, Boys Noize has packed sonic punch after punch with a punk-infused clamor that makes Sid Vicious seem more like Sid Rather Polite. Of course, Ridha’s musical output is by no means limited to his Boys Noize oeuvre. Perhaps no one else in dance music’s history has had a keener eye for recruiting collaborators. In his pairings, Ridha is a legend thrice over — alongside Skrillex, Mr. Oizo, and Chilly Gonzales,  he’s headlined festivals, and created some of the most delightfully aggressive, utterly bizarre, and mystically soothing songs of the electronic music zeitgeist. Indeed, Dog Blood, Handbraekes, and Octave Minds could all reasonably be considered among the best acts of the decade in their own rights. 

Most recently, Ridha has begun a crossover into the deeper house and techno scene with his ELAX alias, apparently vying for a fifth spot in the proverbial dancehall of fame. And, as 2020 ushers in the 15th anniversary of his Boysnoize Records imprint, there is little doubt that his continued contributions to the field will earn him countless more. — Will McCarthy

07. A-Trak –

Few have done more to bridge the gap between DJ culture and hip-hop than Brooklyn’s Alain Macklovitch, better known as A-Trak. Considering house music and hip-hop’s origins are about as close as Isaac and Ishmael’s, its surprising that nobody has ever stood so firmly on both sides of the fence as Fool’s Gold Records’ co-founder. In a previous life he served as Kanye West’s touring DJ. In the years between 2010 – 2019, A-Trak successfully ran one of dance music’s most in-demand labels, branded events offshoots, dabbled in fashion, founded an awards contest to keep turntablism alive, and creatively bounced between electro, trap, disco, house, and hip-hop with the likes of Young Thug, Baauer, Dillon Francis, GTA, and more.

During the decade where ten new DJs cropped up every day, A-Trak spent the last ten years reminding us why “real DJing” is so important while putting on a continuous masterclass in what that actually looks like.

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeA Trak
Top Photo: Shane O’Neal

06. Flume

It would be a stretch to imagine that Flume had pictured back in 2010 where he would be in 2020. In 2011, Harley Streten was an unknown bedroom producer in Australia with dreams of grandeur. A pairing with friend Emoh Instead brought about What So Not, and by 2012, Streten had released a self-titled LP under his own Flume moniker. What happened next would change the course of dance music for the decade. At the top of their joint game, What So Not split with Emoh taking the reigns on the project himself. Flume would go on to follow up with a sophomore studio LP in 2016 that netted him his first Grammy the following year. Following Flume and Skin‘s respective successes would have been a tall order, but after a deserved hiatus, Flume capped the decade with some of his most ambitious works to date, proving that perhaps Streten is a once-in-a-generation talent whose mind and scope of capabilities as a producer largely overshadows electronic dance music’s confines.

He’s the father of future bass, a genre that’s captivated the masses in the latter part of the decade, formulating his own sound that’s gone on to be duplicated innumerable times since his emergence. All the while, he managed to work with an incredible cast of collaborators that includes Beck, Lorde, AlunaGeorge, Raekwon, Vic Mensa, Vince Staples, Andrew Wyatt, and SOHPIE. Flume’s dance between brash experimentalism and forward-thinking that still incorporates massive mainstream appeal make him an easy contender for Artist of the Decade.

05. Porter Robinson –

It isn’t too farfetched to postulate that by the end of his career, Porter Robinson will have been one of the most influential dance artists of all time. In his first decade as an electronic music superstar, the North Carolina-born Robinson went from wide-eyed bedroom producer with a serious anime fascination and an ear for how 8-bit video game music could inspire an entire generation of kids to one of the most brilliant minds electronic music has ever seen. That’s to say nothing of his Grammy-nominated side project Virtual Self.

But the metamorphosis from the 19-year-old that made complextro hits like “Language” to the forward-thinker than brought us his opus on the emotional, conceptual Worlds two years later was one of deep introspection. With a throttling ascent to DJ stardom alongside ZEDD and Skrillex on the first Mothership Tour came a halting realization of EDM’s confines, and only after breaking down that barrier for himself was Robinson able to emerge even more focused and driven on making something that matters. Five years after Worlds, there’s no doubt it was one of the most important albums of the last ten years, cementing Porter Robinson’s place among the top DJs of the decade.

04. Avicii –

For better or worse, 2010 – 2019’s most memorable moments can be quantified by the moves of the late, great Avicii. His name was synonymous with dance music’s light speed rise to popularity over the last ten years. From the global ubiquity of “Levels” to his tragic death on April 20, 2018 with so many moments both bright and interminably dark in between, Avicii simply defined electronic dance music. There isn’t much to say about Tim Bergling’s legacy that hasn’t been said over the last year and a half since his passing, but suffice it to say that dance music would not be where it is today without the “Wake Me Up” producer. Moreover, wherever it winds up being 10 years from now will surely bear the mark of his influence too. Rest in peace, Avicii.

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeAvicii True Stories Documentary Limited Theatrical Run
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03. Deadmau5 –

Think about dance music like a family tree for a moment. Picture the deadmau5 family tree, so to speak, over the course of this last decade. It starts with Skrillex just before “Scary Monsters” and runs all the way down to current torch carriers like REZZ and the next generation of dance minds like Rinzen. Then think about the branches of that tree—who else came as a result of Skrillex, REZZ, and others going on to stardom? deadmau5’s impact in dance music is simply inescapable. Since the release of his Grammy-nominated 4×4=12 in December of 2010, the Mau5 has spent the decade pushing the technological boundaries of music creation and performance forward. All while beefing with Disney, scoring films for Netflix, scooping up four Grammy and six Juno nods, successfully running one of the greatest labels in dance music, and in his free time adopting the power of live streaming to give fans an intimate inside look at his processes. Today’s global dance music industry has been undoubtedly shaped for better or worse by Joel Zimmerman, making him a shoe-in for one of the top artists of the decade.

02. Diplo –

To adequately cover Diplo’s contribution to the culture over this last decade would take a dissertation. Love him or hate him, Diplo has soundtracked the decade—there’s no two ways about it. From Major Lazer to Jack Ü, with LSD, Silk City, and not one but two successful solo projects in tow, to say Wesley Pentz is the busiest man in music would be a pitiful understatement. And that would be to say nothing of launching three successful labels in the last decade. He’s brought sounds from all over the world to the masses, from the Afro-Caribbean to country western, while still managing to proctor some of the most consumed pieces of media in human history on the mainstream front. From Beyoncé to the NFL, one can’t open their cell phone or turn on the television today without being more than two degrees of separation from something Diplo is up to. Yet somehow, the next decade is likely to promise even more from Blondre 3000, and we can’t wait to see it materialize.

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeRPE L SC Diplo 0430.dk .01 1

01. Skrillex

This may have been the easiest placing on this list. There simply wouldn’t be a decade in dance music to talk about without Skrillex. The Recess producer’s trajectory to the top of electronic music, and thereafter, is really reflective of dance music’s global expansion over the course of the decade, isn’t it? The parallels between the two journeys are clear, but the examination of their intersections proves unequivocally how instrumental Skrillex was in transforming dance music to the global enterprise it is today. Sold out Mothership tours, scoring for Disney, working alongside Mariah Carey, FKA Twigs, Rick Ross, Chance The Rapper, Kelsey Lu, Justin Bieber, and so many more in between, the sum of Skrillex’s work over the last ten years far outweighs the individual parts, of which there are too many to count. He went from stage-diving dubstep kid, proctoring the most aggressive sounds American audiences had ever heard, to esteemed dance music producer, successfully running a label that for most of the decade promised electronic music’s fiercest works. Then somehow, without a shift in momentum, Moore took his stardom to the top of the pops, all while maintaining a humility that has forced us to change our collective notion of celebrity.

But for a screamed-out punk from LA just trying to find his next creative outlet to transform into the undisputed king of popular music has been a remarkable journey to watch, cover, and enjoy. And yet somehow, the closing of the decade only seems to mark the end of the foreword in Skrillex’s book.

Dancing Astronaut’s BIG 100—Top 25 Artists of the DecadeSkrille New Press Pic Credit

NMF Roundup: Four Tet remixes ‘Midnight Hour,’ Dillon Francis flips Maroon 5 + more

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NMF Roundup: Four Tet remixes ‘Midnight Hour,’ Dillon Francis flips Maroon 5 + moreFour Tet Photo Credit DAN WILTON

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.

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.

Photo credit: Dan Wilton

Above & Beyond joined by Andrew Bayer, Genix, Nox Vahn for 2019 New Year’s Eve event in New York

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Above & Beyond joined by Andrew Bayer, Genix, Nox Vahn for 2019 New Year’s Eve event in New YorkAbove Beyond Abgt

DEG Presents and Anjunabeats have partnered to proffer New York listeners an emotive route to ringing in the new year. In collaboration with Above & Beyond, the metropolitan nightlife impresario and the imprint will present an evening of impeccable electronic artistry complete with sets from the celebrated dance trio, Andrew Bayer, Genix, and Nox Vahn.

The 2019 New Year’s Eve affair is slated to unfold on December 31 at the New York Expo Center in the Bronx. Tickets to the one-of-a-kind event are currently available here, and include optional open bar VIP upgrades.

NMF Roundup: RÜFÜS DU SOL remix Foals, deadmau5 unleashes another single, ‘FALL’ + more

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NMF Roundup: RÜFÜS DU SOL remix Foals, deadmau5 unleashes another single, ‘FALL’ + moreRUFUS PressShot LeFawnhawk 1

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.

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.

Photo credit: LeFawnhawk

Above & Beyond exude haunting resurgence on ‘Another Angel’

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Above & Beyond exude haunting resurgence on ‘Another Angel’9769 F2 Bw

For their decades of mastery in dance music, Above & Beyond have still managed to prove their dexterity in revitalizing the past while staying true to their foundations. In their latest release, “Another Angel,” the trance trio continue in their pursuit of darker, grittier sounds while sampling from their own work on 2011 single, “On My Way to Heaven.” The track debuted at Group Therapy Weekender 2019 at the Gorge Amphitheatre, where Above & Beyond, Andrew Bayer, Alpha 9, and several other artists took the stage for a weekend camping festival. The Anjuna founders also showcased the single in Prague for their milestone show ABGT350.

“Another Angel” derives its vocal samples from the beloved Above & Beyond staple Richard Bedford in his “On My Way to Heaven” feature. Delving into electrifying tech-trance sonics that collide with Bedford’s resounding voice, the track opens and closes with the familiar Above & Beyond club intensity. In between, the trance heavyweights construct a soundscape encompassed by blissful interludes, industrial bass, and explosive energy before crescendoing into an awe-inspiring drop.

Above & Beyond release ABGT350, a two hour live milestone in Prague 

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Above & Beyond release ABGT350, a two hour live milestone in Prague Above And Beyond

Above & Beyond’s two hour, sold-out live set played at Prague’s O2 Arena is now available on major streaming providers. Prior to its widespread release, 300,000 fans joined in for the ride on the exclusive live stream through Twitch.tv. 

The show provided plenty of sonic goodies, in addition to four new Above & Beyond track premiere including a new vocal track, “Reverie,” with long-time collaborator Zoë Johnston and “Diving Out Of Love,” featuring vocals from Jono Grant of the cutting-edge trance and progressive trio. The groups’s newest single “Waltz” was worked into the mix was well, alongside an edit of the New Order hit “Blue Monday.” Unheard tracks from Anjunabeats label mainstays such as Mat Zo, Ilan Bluestone, Andrew Bayer, Grum, Fatum, Oliver Smith and Jason Ross top off the array of premieres offered up by the trio’s special edition set.

To mark the occasion, the outfit recorded a deep warm-up set during a boat cruise along Prague’s Vltava River. This was also released to the internet in 4k on YouTube and features even more exclusive sounds from their Anjunadeep and Anjunabeats imprints.

Solaris Music Festival resurrects for 2019, announces headliners deadmau5 and Above & Beyond

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Solaris Music Festival resurrects for 2019, announces headliners deadmau5 and Above & Beyond26172153 2003211896586614 3869828365979665600 O

Ink Events has announced the return of Solaris Music Festival to Toronto for the 2019 holiday season. Dubbed as “Toronto’s largest winter music festival,” the festival’s reincarnation came as a pleasant surprise to the to previous festival-goers after a brief one-year hiatus. Held over Dec. 26-27, Solaris locks in deadmau5 and Above & Beyond as headliners for the indoor event held at REBEL Nightclub.

In addition to the daily headliners, Solaris has announced a solidifying trail of support from routine visitors Seven Lions, i_o, and Borgore, and tops the bill with a mau5trap stage takeover in the nightclub’s NOIR room. Since its first iteration in 2012, the two-day festival has undergone a handful of changes to support the shifting music trends in Toronto.

After skipping his annual traditionary VELD Festival after party set due to touring commitments and a standalone performance in nearby city London, Ontario, deadmau5’s return to the leviathan nightclub is one of high anticipation across the city. In addition to his performance, he invites label mates No Mana, Qrion, Bentley Dean and Nofone for the party.

GA and VIP tickets are available for purchase; for more information and details about the event, head here.

Solaris Music Festival resurrects for 2019, announces headliners deadmau5 and Above & BeyondSolaris 2019

Photo credit: Visualbass Photography