Borgeous And RUNAGROUND Break-Up Anthem “Better Anyway”

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Summer is right around the corner, and with all of the uplifting and party tracks that go with the season, also come the break-up anthems. Borgeous has teamed up once again with RUNAGROUND to release “Better Anyway”. The track gives hope for anyone at the end of a relationship by delivering uplifting chord progressions and

The post Borgeous And RUNAGROUND Break-Up Anthem “Better Anyway” appeared first on EDM Sauce.

Saturday Night Session 023: Morgan Page discusses drawing inspiration through collaboration and gives fans insight into his forthcoming release

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Saturday Night Session 023: Morgan Page discusses drawing inspiration through collaboration and gives fans insight into his forthcoming releaseMorgan Page Press Shot

Few moments are more sacred than the reprieve Saturday night provides from the daily grind of school and work. Its importance is meant to be emphasized, and thus, a feature dedicated to “doing the night right” was born. Saturday Night Sessions are set around energizing mixes meant to get the party started. New or old, each episode has one cornerstone thing in similarity: they serve as the perfect backdrop for the weekend pregame.

Grammy Award nominated Morgan Page has kept the momentum high in his career for over ten years, and that’s almost certainly thanks to his ability to produce music that stands the test of time and appeals to listeners regardless of what the ‘popular’ sound is. Page is the first to admit that maintaining success for over a decade is a rarity, and it requires his production abilities to evolve and to continue to get better despite his success. A new focus of his has been diving into sound design, synthesis, and experimenting with distortion and treatments to create incredibly distinctive sounds. As he continues to push his creative boundaries, his fans reap the benefit of a diverse collection of work that is all tied together by Page’s ability to identify a polarizing vocal line and a sonic warmth that leaves a listener feeling good despite the genre of his production.

An important component to Page’s ability to stand the test of time has been his ability to read current musical trends and adapt. The producer elaborates on how the bar gets increasingly higher for those who want to thrive as a music producer in 2019, stating, “Records these days are so loud and punchy that the bar is set really high, and they really need to cut through in a live environment. Every element needs to shine.”

2019 has seen a continuation of Page’s dance-inducing creations thanks to his recent release of “Gone My Way” with Pex L, and he will be releasing a new track on Armada titled “Fire and Gold,” which includes Page himself playing guitar on the release. He discusses how this release will be different than what fans have heard from him in the past, stating, “The new single is ‘Fire & Gold’ with Vivid feat. Allé and Damon Sharpe. I really like the way this one turned out. We experimented with a lot of different frameworks, but felt we needed a dancefloor-focused mix that had some edge to it. It’s a very songwriter vibe kind of song, almost with an Of Monsters and Men sound, and I wanted that contrast to work well with a big room progressive sound. I even played the guitar on parts of the song to add some extra hooks. I’m a much better piano player, but writing melodies on a different instrument helps to create something special and original.”

In addition to producing music, Page has more recently taken to mentoring up and coming producers, which in part he is able to do through his own website that features quick tips in addition to his own interests. His quick tips have been such a success that he has even launched the top 20 quick tips into a card deck. Page elaborates, saying, “I’ve taken 20 of my best quick tips and turned them into a professionally illustrated and printed card deck that will be distributed with special orders from OWC.  They make amazing Thunderbolt drives, docks, and Mac upgrades.”

Page’s sets, just like his music, are notorious for keeping the energy high and the mood uplifting, and his Saturday Night Session doesn’t disappoint in this regard. He explains what listeners can expect from the mix, unsurprisingly noting that it will have “lots of energy, unique sound design, and vocals that stick in your head.” In addition to lots of energy, those who want a first listen of “Fire and Gold” will finally get one.


In the past, you’ve explained that working with up and coming producers in the studio has been a good creative exercise for you. Is there anyone you’ve worked with as of late that has really made an impact on your creative process?

In the last year, there’s been a lot of great collaborations – some in the studio, some with strangers and now friends across the globe. I love how fluid the process can be. With “Gone My Way,” PEXL, a producer from the Canary Islands in Spain, sent me a song he had in progress with a Splice vocal sample, and I went in and added more progressive flavors and chopped up some more bassline samples to give it a hybrid future house / progressive house feel. It came together really quickly and naturally, which isn’t always the case! With songs that are more lead vocal focused, it can take months or back and forth production work. With this collab, it was just us swapping stems back and forth, which felt very natural.

Are you doing anything new as of late to continue to push the boundaries and creativity of your sound?

I’m really diving more into sound design, synthesis, and experimenting with more distortion and treatments to really dial indistinct sounds. Records these days are so loud and punchy that the bar is set really high, and they really need to cut through in a live environment. Every element needs to shine.

You do a lot outside of producing and making music. Can you tell our readers more about your different hobbies and interests outside of working in the studio?

Right now my #1 non-studio project is my baby. She’s almost a year old and it’s been the most insane, beautiful experience. It forces you to be more deliberate with your time because your life and schedule will never be the same again. I’ve also created a site for music producers and creative types called and @mpquicktips on Twitter. It features over 800-bit sized tips on creativity and workflow methods for the studio. In my spare time to stay sane, I do a lot of trail running here in LA, which is my form of meditation

You have a new single coming out on June 21st on Armada- can you tell us more about this release?

The new single is “Fire & Gold” with Vivid feat. Allé and Damon Sharpe. I really like the way this one turned out. We experimented with a lot of different frameworks, but felt we needed a dancefloor-focused mix that had some edge to it. It’s a very songwriter vibe kind of song, almost with an “Of Monsters and Men” sound, and I wanted that contrast to work well with a big room progressive sound. I even played the guitar on parts of the song to add some extra hooks. I’m a much better piano player, but writing melodies on a different instrument helps to create something special and original.

Do you have any other upcoming projects or singles in the near future you can tell us about?

We are about to launch a card deck for my project – which is exciting to finally see in physical form! I’ve taken 20 of my best quick tips and turned them into a professionally illustrated and printed card deck that will be distributed with special orders from OWC.  They make amazing Thunderbolt drives, docks, and Mac upgrades.

Can you tell us about your ideal Saturday Night if you aren’t playing a show?

A lot of high-end boutique wine with friends, a great dinner, then bed. I really like the inverted schedule of the DJ life though. I’ll go out mid-week, so Tuesday or Wednesday is Saturday night, then I work Friday through Sunday.

What kind of a Saturday Night is your Saturday Night Session going to get listeners ready for?

Lots of energy, unique sound design, and vocals that stick in your head.

First Listen: Sevenn returns with a rambunctious dance floor filler, ‘Loco Papi’

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First Listen: Sevenn returns with a rambunctious dance floor filler, ‘Loco Papi’IMG 71376068

When the question is to which producer to look for a club stomper sure to make listeners move, the answer is Sevenn. Case in point, Sevenn’s latest single, “Loco Papi.” The lively vocal verbalizes the “Loco Papi’s” multilingual lyrical content, creating a fiery, near palpable sense of energy that streamers will feel from the cut’s opening to closing second. The kicking quality of the vocal aside, however, it’s ultimately the animated construction of “Loco Papi” that takes center sonic stage on the Sevenn showing. The production’s unruly horn work contributes to the playfully boisterous personality of “Loco Papi,” as a kicking beat concurrently drives the song forward.

As just one singular stream of “Loco Papi” will indubitably indicate, when “Loco Papi” drops, rambunctious dancefloor activity is bound to follow. “Loco Papi” follows Sevenn’s December 2018 single, “Lollipop, which bridged elements of the bass and tech-house subgenres. The brand new single is out now on Armada Music.

First Look: Mahalo and DLMT debut phantasmagoric visual for ‘So Cold’ [Watch]

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First Look: Mahalo and DLMT debut phantasmagoric visual for ‘So Cold’ [Watch]SO COLD REMI PHOTO

Two electronic forces to be reckoned with, Mahalo and DLMT found power in collaboration via the release of “So Cold” in March. Mahalo and DLMT’s single sourced its centerpiece vocal from UK singer-songwriter, Lily Denning. A refined addition to “So Cold,” the ethereal airiness of Denning’s vocal floated atop the track’s deeper bass lines, to add texture to the transfixing cut. Climactic in its use of low-seated, grounding bass lines that anchored “So Cold” in deep house territory, Mahalo and DLMT’s potent joint project now gains a visual that translates the tone of the tune from the auditory to the visual.

Shot in a muted color palette that befits the single’s moody feel, the official music video for “So Cold” trails dancers who pensively yet deftly perform the visual’s choreography. We’re both really ecstatic with how much everyone’s been loving “So Cold and are thrilled to bring [listeners] the video,” Mahalo and DLMT told Dancing Astronaut.

The video engages elements of the supernatural as the camera pans from the visual’s central female figure to an otherworldly character that engages with the video’s protagonist. Mahalo and DLMT encourage viewers to take to social media to share their thoughts on the eccentric video with the producers: “If you’re a fan of the song, we can’t wait for you to check [out the video],” Mahalo and DLMT said, “be sure to let us know how you like it on social media!”

Andrew Rayel recounts hosting inHARMONY’s inaugural stage at EDC Las Vegas, growing the label [Q&A]

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Andrew Rayel recounts hosting inHARMONY’s inaugural stage at EDC Las Vegas, growing the label [Q&A]Andrew Rayel Tomorrowland

With each year comes new opportunities for artistic development, as Andrew Rayel well knows. 2019 has been no exception for the inHARMONY label chief, who charted yet another milestone in the continually developing course of his musical career at Electric Daisy Carnival (EDC) Las Vegas‘s recently concluded iteration. Together, Rayel and inHARMONY hosted their first-ever festival stage, the aptly titled “Find Your Harmony.” The stage signified a momentous step forward for Rayel and for inHARMONY, while simultaneously recalling an earlier point in Rayel’s career: Rayel’s first studio album, released in 2014, shared the same name as his EDC stage. Find Your Harmony saw performances from Cosmic Gate, Mark Sixma, Space Corps, David Gravell, Leil, MaRLo, Ruben De Ronde, Andrew Bayer, and Rayel himself.

The curative endeavor is a benchmark for Rayel’s inHARMONY label, which Rayel established in September 2017 in conjunction with Armada Music. Since its 2017 inception, inHARMONY has worked with a number of adept electronic entities, like ALPHA 9, Arston, Alexander Popov, and ARTY, among others. Andrew Rayel sat down with Dancing Astronaut at Armada Music’s newly minted New York office, to talk the production of his Find Your Harmony stage, and his fluidly evolving vision for inHARMONY.

So you just curated the “Find Your Harmony” stage at EDC Las Vegas for the very first time in partnership with Insomniac and Dreamstate, what was that like?

All of them [the artists who played] are really close friends of mine, so it was really like a family stage. There were great vibes, the stage was packed from the start of the festival all the way to the end. At 5:30 in the morning when they close the festival, there were still thousands of people at that stage so I was very happy. It was a big success. I’m really looking forward to doing that more in the future.

How did this partnership with Insomniac and Dreamstate come to be?

They always want to do something unique and special at EDC, because you know, it’s EDC; every year there needs to be something cool, something new. And we [inHARMONY] have never hosted any stage at any festival, so it was our world premiere. Right after EDC last year, we already started talking about curating a stage [with festival organizers]. We had multiple meetings to talk about it, how we could put everything together, who we wanted to play the stage. It seemed like it was just oh, here’s a stage, but our partnership started almost a year ago.

Andrew Bayer, MaRLo, Cosmic Gate, and Mark Sixma were just some of the artists to deliver sets from the Find Your Harmony stage. What was your curative process like, how did you come to select the specific artists that you did, and why did you choose those that you did?

We had a big list of DJs who we wanted to be on the stage, some of them were booked [elsewhere], some of them were booked at other EDC stages. We ended up with DJs who were very close friends of ours, and a lot of them were from the same booking agency, like Mark Sixma, David Gravell, and MaRLo. Mark and David have released music on my label. We wanted to experiment more and show that we’re open. We invited Andrew Bayer from Anjunabeats, and he was happy to do it as well. We wanted to be very diverse and have different types of music and different types of artists from all over the place.

So talk to me a little bit about your label, inHARMONY Music, distributed by Armada Music. You launched the label in September of 2017. Can you say a little bit about the experience of growing the label in the time that’s followed inHARMONY’s 2017 inception?

I always wanted to have a label, and since I’ve worked with Armada for almost ten years, it absolutely made sense to collaborate with them and open a label under Armada Music. I wanted to open the label to sign music that I liked, artists that I liked, and to create a team of artists with the same musical vision. [I wanted] to grow them, take them with me on tour, just basically to make a lot of a friends that like the same music and can tour together in the future, and I’m happy that I found artists that consistently deliver great music.

At this point, we have so much quality music that it’s already hard to find time to release it. At the beginning I thought it was going to be really hard to find [this] quality music. I help [the artists] with the music, to mix and master the tracks properly to have quality results and releases. [Having a label] is one of my dreams. It was a logical step for me to evolve, and we’re taking it step by step. Hosting the stage at EDC was another step, and there’s much more to come.

Can you say a bit more about what some of these next steps might entail?

At this point, we’re focusing on growing all of the brands that we have. Our main focus is on Andrew Rayel and the shows and the music that I’m working on in the studio, and of course inHARMONY as well, and the Find Your Harmony radio show, which I’m hosting every week now. We passed 150 episodes this year and together with the radio show comes the Find Your Harmony live shows, festivals, and solo shows. We’re planning a big tour for next year when we have episode 200. We’ll continue to do solo shows and [perhaps] host more stages at more festivals.

As the label chief and head of A&R you’re really at the helm of the decision making process at inHARMONY, so you get to really sculpt your own vision of what you would like inHARMONY to be. What was your vision for inHARMONY when you first founded the label, and has that vision changed at all in the years that have followed the label’s foundation?

It did change because of the artists [that I brought on], because I don’t want them to follow exactly the way I think and the vision I had before, just because every artist needs to be free to make whatever they think is good for their music. And together with them I also adjusted and changed and realized many things. But my initial vision was quality music that brings people together, very melodic, very energetic, [music] that I see myself playing in my sets as well.

Finding and sustaining a label is an arduous endeavor. Have there been any challenges, foreseen or unforeseen, along the way?

We have challenges almost every single day, starting with creating schedules: how are we going to release the music, how are we going to promote the music, what’s the right time to plan everything, and there’s no right answer for anything. We’re also always trying new things and whenever you think everything’s perfect and everything’s scheduled musically so nothing that’s similar is next to each other [in release order], and so there’s always space in between releases, [you find] it never works like that. Instead it always develops in a natural way since there’s always new things coming along.

We’re working with artists who know their music and know exactly how the music needs to be presented, and we realize we need to listen to the artists and we need to [recognize their vision] and do it the way they want it. We work with so many artists, so it can be hard to combine everything, that’s one of the biggest challenges.

When it comes to signing new artists and bringing them on board inHARMONY, what is it that you specifically look for in aspiring artists. What catches your eye and causes you to think ‘hey, this could be a great fit?’

For me, the music talks. I’ve been in this industry long enough to understand the technical part, the mixing, the mastering skill that needs to be mastered for many years. There’s a lot of beautiful tracks with great melodies, where the technical part of those tracks is far from ideal. I can’t take [these productions] for the label. [The songs that catch my attention] are the tracks that I see that are almost there, where I can give them the last ten percent, the last 20 percent, and teach, show, and tell the artists the exact things they need to adjust to get to 100 percent.

I think every artist needs to go through every step in producing the music and promoting themselves, because if you jump over a couple of steps, you’re going to fall. [Artists] need to establish themselves and take the steps, and when the artists are almost there, I’m ready to give them a hand and help take them to the next level.

Shifting gears a bit, you teased a Game of Thrones remix prior to EDC. Can you tell me a little bit about your creative process in making this remix, how this remix came about?

We knew the dates for EDC in advance, and knew which day we would be hosting the Find Your Harmony stage, and then when they announced the schedule for Game of Thrones’ final season, we saw the finale was going to be the same date that we were hosting the stage, May 19. I was like ‘oh, that’s great, wouldn’t it be cool for me to do a remix and play it on the same night of the last episode, because the people that are going to be at EDC obviously won’t be able to watch the last episode, they’ll have to wait for the next day. I’m not going to be able to give them the last episode, but at least I can give them something cool and a little bit of that vibe of Game of Thrones.’ And I played it. I don’t think we can release it officially, so far we were not able to clear it, but you never know, we’ll see.

I heard you’re a big Game of Thrones fan, so I have to ask, did you watch the finale?

So we stayed at EDC until 5:30 AM, when the last DJ finished his set. We were at our hotel at around 7 AM, and everyone from my team was tired and went to bed. For me, I was tired from my set but couldn’t sleep, so I was watching [the finale] at 7 AM. I knew if I [didn’t watch], then there’s a chance that someone’s going to spoil for me and it won’t be as pleasant. It actually happened the other way around: nobody spoiled it for me, I spoiled it for a bunch of people. So I made a right choice, I watched it straight away. It was great too that none of the Wifi was working at EDC, because there were about 130,000 people, so you couldn’t get anything and that worked out very well because otherwise I would have seen spoilers.

First Listen: Borgeous and RUNAGROUND craft a break-up anthem meant for moving on, share accompanying visual [Watch]

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First Listen: Borgeous and RUNAGROUND craft a break-up anthem meant for moving on, share accompanying visual [Watch]IMG 2023

Borgeous and RUNAGROUND’s 2017 single, “Coffee Can Money” offered a temperate glimpse of the sound that resulted when both artists merged their creative sensibilities. Two-years later, Borgeous and RUNAGROUND return to the electronic release ring together, to re-envision break-up on “Better Anyway.” Whereas the concept of a romantic split often sonically translates to poignant productions characterized by their low tones, languid beats, and wistful lyrics, “Better Anyway” breaks this musical mold, to perceive break-up in an optimistic manner.

“‘Better Anyway’ is about heartbreak and being able to see how unhealthy a relationship was after it’s over. It’s a break-up anthem for when you realize that going through all the bad stuff made you come out of the situation a better person at the end of the day.”


Lyrically, “Better Anyway” attributes a valiance not only to accepting what is, but to moving forward with a spirited sense of self-possession. The sanguine pledge to push on that’s audible in the single’s lyrical content is complemented by the upbeat arrangement of “Better Anyway.” The single’s chord progressions climb in tandem with the vocals, while crisp beats ground the production at the break downs. “Better Anyway’s” memorable, pop-leaning lyrical hook and general crossover appeal are a collective invitation to listeners: head in the direction of the replay button.

A collection of retrospective reminiscences, the official music video for “Better Anyway” flits from one memory shared between the visual’s two lovers, to the next. The visual record of previously existent intimacy lends depth to the lyrical narrative that “Better Anyway” tells. “I loved bringing this song to life with my good friend RUNAGROUND,” Borgeous told Dancing Astronaut. “As soon as I heard the song I had a vision for the music video, and am really happy with how it came out.”

As “Better Anyway” exemplifies, the collaborative power inherent in a Borgeous and RUNAGROUND production only amplifies with each successive joint release. “Better Anyway” is out now via Armada Music.

Photo Credit: Menbar Photos

Super8 & Tab talk ‘Past, Present & Future’ compilation and maturation of trance [Interview]

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Super8 & Tab talk ‘Past, Present & Future’ compilation and maturation of trance [Interview]51486449 10155278066457824 4048021507002073088 O

Miika Eloranta and Janne Mansnerus folded temporalities on their recent compilation, Past, Present & Future, to simultaneously contemplate the origins of the trance genre, its current configurations, and the progression of its sound. With more than 15 years of expertise as trance producers, Eloranta and Mansnerus–collectively known as electronic duo, Super8 & Tab–are genre veterans who lay claim to a wealth of accrued insight regarding the maturity of trance sound over the years. It is this intimate familiarity with form that guided their fastidious shaping of Past, Present & Future, released this past March on Armada Music.

As its title denotes, Past, Present & Future scales the continuum of trance music, to position modern updates of older genre efforts like Super8 & Tab’s 2019 remix of their 2012 Anjunabeats instrumental, “Helsinki Scorchin.”

“We have a long, long history in [trance],” Eloranta tells Dancing Astronaut. “We wanted to take that journey that we’ve had over the past 15 years, and put it on the compilation. [Past, Present & Future] reflects what we play during our DJ sets: testing some new tracks, playing some classics. Now, it’s packaged.”


The forward-thinking quality of Past, Present & Future indeed figures in Super8 & Tab’s live sets, which Eloranta and Masnerus regularly use as platforms for debuts of new IDs. Both Eloranta and Masnerus hail from Finland, and return to the country to play about ten shows on their “home base” each year. Super8 & Tab’s interweaving of unreleased material into these sets has grown to be an experimental practice familiar not only to Eloranta and Masnerus, but also to the fans who attend Super8 & Tab’s annual Finland based shows.

“We usually test a lot of new tracks there for the first time, so it’s interesting for the people who come, because they know [to expect that],” Masnerus said.

While Super8 & Tab cite Finland as one of their favorite places to play, the duo’s travels have taken them all over the world, from Singapore to Madrid, and recently, to New York City, where Super8 & Tab caught up with Dancing Astronaut aboard Crust Nation’s Past, Present & Future Boat Party.

Enacted in support of the eponymous EP, the Past, Present & Future Tour is a live initiative that extends an engaging experience to fledgling fans of the genre. The new listeners who progress from first-time trance show attendees to well-versed dwellers in the domain comprise the future of the genre from the perspective of fan support, as Super8 & Tab know, and know well. Yet, Super8 & Tab also strive to apprise trance newcomers of the genre’s detailed past through their live format. Eloranta and Masnerus’ shared goal of acquainting their attendees with genre staples by featuring older and iconic trance cuts in their performances translates to Past, Present & Future.

“There’s a lot of new fans, so we wanted to get them to dig in deeper, to see what we’d been doing earlier,” Eloranta said of the release.

Super8 & Tab highlight Ashley Wallbridge‘s remix of the duo’s “Alba (Mixed)” as an emblem of a particularly well-executed contemporary rework on Past, Present & Future.

“I think he did a brilliant job,” Eloranta said when asked to identify the remix on the album that best exemplified a present take of a more dated trance release. “He kept the essence of the original, but brought it to 2019,” Eloranta added.

Both Eloranta and Masnerus underscored their 2019 revamp of “Helsinki Scorchin’” as another example of a successful current revision of a prior trance production. The present trend of re-imagining the celebrated cuts that color a genre’s past is one that Eloranta sees as sustaining the future of trance. Eloranta attributes the sustainability of remixing as a means of gleaning (and maintaining) listeners to a key component of trance tunes: their enduring melodies.

“There’s a lot of strong melodies in trance. They don’t get old; they’re timeless.”


Thinking further about the future of trance music, Eloranta and Masnerus salute Helsinki-based artist, Avenia, as a rising producer to watch. Avenia appears on Past, Present & Future, to collaborate with With The Winds on “Traverse (Mixed),” and to contribute his own individual release, “Kingdom (Mixed).”

“He’s really young: he’s 19 and has been growing up listening to Anjunabeats, but also Avicii, so he’s combining all [these influences], and has a new angle to transmit music. He’s talented and hard working and ready to take criticism,” Eloranta said.

Past, Present & Future features productions revered trance entities in addition to Super8 & Tab, including Armin van Buuren, Andrew Bayer, Ilan Bluestone, Ferry Corsten, and more. The wealth of support just further solidifies the torrential trance twosome’s profound presence within their sonic sector of choice.

Photo credit: Super8 & Tab/Facebook

First Listen: Feenixpawl emanate heat on the Rico & Miella-assisted ‘Play With Fire’

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First Listen: Feenixpawl emanate heat on the Rico & Miella-assisted ‘Play With Fire’2018 3

Aden Forte and Josh Soon of Feenixpawl converge with Rico & Miella to exemplify their status as Armada Music heavyweights on their latest single, “Play With Fire.”

Produced alongside the vocal duo, “Play With Fire” is an achingly earnest lyrical effort that pairs romantically focused lyrical content with progressive house composition. Rico & Miella’s raw vocal duet soars upward in sync with the chord progressions of “Play With Fire.” The song climbs increasingly higher to exude the very sort of sonic ascendence well-suited for main stage festival play, as Rico & Miella vocally contemplate the precariousness of a developing love.

“Play With Fire” has several sonic sweet spots, including a lush, synth-led melody that embodies the emotive nature of the song’s lyrics. Out now on Armada, “Play With Fire” is a formidable followup to Feenixpawl’s preceding single, the vocal-centric trance stunner, “Lighter Than Air.” The shift in genres evident between “Lighter Than Air” and “Play With Fire” underscore Feenixpawl as a highly dynamic duo who can scale the continuum of electronic subgenres with discernible ease.

Setting the ‘MOOD’ with Zack Martino [Interview]

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Setting the ‘MOOD’ with Zack Martino [Interview]60214573 373529093281791 222040038152601600 N

The name Zack Martino is swiftly becoming an electronic music buzzword, and not without good reason. Martino made musical waves not long ago when considered for a Grammy for Best Dance Recording, thanks to 2017’s “Hold On To Me”–and that was only the beginning of a fierce change of pace for the producer. With a freshly inked deal with Armada Music in his back pocket, alongside a stream count situated in the millions, the trajectory of Martino’s career is continuously moving in an upward fashion. Martino can credit some of this ascendance to his recent single, “MOOD.”

The sultry house showing sources its vocal from multi-platinum-selling artist, Dyson, whose involvement with the track arises as a reminder that features–and certainly, collaborations–can be conceived with unprecedented ease in the digital age.

“I slid in her [Dyson’s] DM’s,” Martino told Dancing Astronaut when asked how the established singer came to lend her readily recognizable vocals to Martino’s new tune. “I hit her up and was like ‘I’m a huge fan of your work. I’d love to start something with you,” Martino said.

Dyson went on to send Martino five different vocal samples, the first of which bore the title “Mood.”

“I thought, ‘I could do something with this,’” Martino said. “It was just a little piano and voice. I took the acapella and messed with it for the next two days, and on the second day, the song was finished.”

“MOOD” is evidence of Martino’s penchant for vocal-centric productions that foreground the sung contributions of the featured artist, like 2018’s “Good Vibe” and 2017’s “Hold On To Me.” Martino cites Selena Gomez, Dua Lipa, Ariana Grande, Sofía Reyez, Ally Brooke of Fifth Harmony, and Halsey as some of the songstresses with whom he’d like to collaborate in the future, and emphasizes synchronicity between beat and vocal to be a crucial component of his music-making process.

“I love making songs that you can sing to, and I love working with vocalists,” said Martino of his aural vision. “Sometimes, a hard-hitting beat doesn’t suit the vocalist. Having that balance of the voice and the beat, that’s how I want to portray my music.”


A pop-electronic hybrid with a distinctive house spin, “MOOD” is on trend from a standpoint of form as the multi-pronged approach continues to maintain its presence as a prominent production style in the context of contemporary dance releases. Tonally, “MOOD” casts a glance backwards in time:

“After hearing the vocal hook I wanted to take in that Ibiza, ’90s house vibe,” Martino said. “I do a lot of progressive house [and] harder stuff, but I wanted to experiment with different sounds [on this record].”

“MOOD” is accompanied by a lively visual that stars dance influencer, Vanesa Seco. Shot entirely in New York City, the music video is a nod to Martino’s New York roots and to Armada’s newly established New York office. A highlight of the video is the Times Square billboard, which showcases the record. Seco’s moves are a choreographic translation of the spirited sonic personality of “MOOD” that have inspired many “MOOD” listeners to show off their shuffling skills in the eponymous shuffle challenge. Martino offered “MOOD” fans the opportunity to film themselves shuffling to the track, hashtag the track title, and share the videos online.

“The plan is to make one big collage of all of them,” Martino said.

As “MOOD” continues to pervade playlists, Martino is already plotting his next move. Martino told Dancing Astronaut that he has “about 12 other records in the chamber,” and plans to follow “MOOD” with a collaboration with an undisclosed artist whom Martino lauds as one of his “biggest inspirations.” While Martino has yet to declare a formal release date for the joint project, one thing is certain: we’ll be listening.

Photo Credit: Mark Dragon

Arty releases euphoric new trance single, ‘Avalanche’

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Arty releases euphoric new trance single, ‘Avalanche’Arty Press Shot E1555682005545

Arty recently shared that he had so much music ready to release that the year of 2019 would not be long enough for him to release it all. Unsurprisingly, the producer is back with new music in the form of “Avalanche,” out now via Armada Music.

After speaking with Dancing Astronaut for his Saturday Night Session, Arty mentioned that like in 2018, 2019 will be a year of experimentation for him. He notes, “2018 was an incredible year where I could get my head straight, try out new things, be versatile, productive and inspired. I need one more year like that, and who knows what’s gonna happen in 2020.”

“Avalanche” marks his return to his euphoric trance roots, with a bouncing melody and dancing synths framing the piece for a feel-good listen. Those who are fans of “Perfect Strangers” will find something to love with “Avalanche,” thanks to the infectious notes and upbeat energy.