Germany’s largest electronic music festival Parookaville will be returning to Weeze for its sixth edition, and now the festival is releasing its first wave of 2020 headliners to get fans excited for the forthcoming event.
The festival attracted over 210,000 attendees in 2019, and in 2020 attendees can look forward to a completely new main stage design to enhance the festival’s experience. These headliners are the first of over 300 featured artists that will be announced for the event. Parookaville is set to take place from 17 July to 19 July 2020, and tickets can be purchased here.
Armin van Buuren’s “Unlove You” has received the Nicky Romero treatment. A staple of the trance tastemaker’s seventh studio album, “Unlove You” melded mid-tempo electronic with Ne-Yo’s R&B finesse. Sitting in languid contrast to some of the LP’s higher-octane inclusions, “Unlove You” offered a reprieve from the main stage-centric sound that van Buuren channeled on Balance.
Romero’s revamp arrives as the animated sonic sister to van Buuren’s original. Boasting a bubbly musical personality, the alternative version that Romero puts forth concentrates its revision in the song’s chord boosted ascents and descents. Romero melodically lifts “Unlove You,” transforming it into an upbeat tune that is designed for live sets. Tasteful and sparing in his alterations, Romero preserves the rest of “Unlove You’s” frame in his club-suitable spin.
Trance legend DJ Armin van Buuren sat down with streaming service Deezer to chat about what inspired his new album ‘Balance’. The recorded Deezer Originals session was done at ADE, where Armin opened up about the things he’s learned and what makes this album different. “It’s a departure from the trancey Armin van Buuren that
Less than a day before EDC Orlando 2019, Insomniac has revealed the full lineup for EDC Mexico 2020. Returning for a seventh iteration, EDC Mexico will take place at its home venue Autódromo Hermanos Rodríguez from Feb. 28-March 1 as a three-day event this time around. In concurrence with its other Insomniac variations, EDC Mexico’s lineup packs a punch in offering an extensive selection of acts across all genres—featuring a spectrum from mainstream artists to rising talent and everything in between.
Tickets for EDC Mexico 2020 are on sale here. General admission three-day passes begin at $1,950 MXN. The Comfort Pass, PLUS • Enhanced Experience Pass, and SkyDeck package are also available to purchase.
For a festival older than many of its attendees (including a co-author of this review), Amsterdam Dance Event hasn’t lost an ounce of prerogative in the electronic music space across its 24-year tenure. Much like its increasingly international soil, ADE is voraciously traveled to by electronic infatuates across the globe. This year the industry-oriented endeavor garnered attendees from 146 countries—the most internationally visited installment to date.
But what makes ADE so painfully cool, is not only its chromatic agenda—spanning panels, parties, makeshift productions, and larger-than-life arena stops—but its locational litany. From train stations, to museums, to the warehouse spots, all of Amsterdam is ADE’s playground.
And it feels like the whole city is participating, too. Right outside the Schipol Airport, your humble narrator is greeted by a proverbial ADE cube humming above an information/check-in hut, ready for business at 8 am sharp. Once I secure my media pass, a 40-something cab driver promptly rattles off his week’s after-dark itinerary, with the enthusiasm of a tourist and the precision of a seasoned attendee.
ADE is unique in that it implores you to acquaint yourself with Amsterdam. It’s an unfettered celebration among the city’s quotidian. And that’s undoubtedly why the very best of the dance music business (Garrix, Tiesto, Guetta, Knight, Hawtin, Brejcha, you name it) return year after year. Here are some spots that made ADE sing this year.
Rijksmuseum, Dancing Astronaut‘s quintessential stop on the ADE agenda. The storied subterranean dwelling of the historic Dutch landmark make for a sublime dance music backdrop—invoking elegance and clandestine cadence all at once. Raw Rave sanctioned Boys Noize Thursday night for a long dance (the kinetic vernacular in Europe is actually swaying) in the dark, as Maceo Plex and Underworld had so notably done just a few years prior.
The hallowed columns cast great, oblong shadows through the crowd, while fog dances in time with Boys Noize‘s beguiling analog techno. It’s an altogether post-apocalyptic display; as if all the wide-eyed pedestrians who normally flood the area by day are gone for good and there’s nothing left to do but soak up the smoke and party (if you can maneuver to the bar, that is). The air buzzed with sweet and sweaty malice, beneath a collection of Rembrandts resting soundly upstairs, no less! The historic holdings are a smoldering embodiment of ADE’s ability to make Amsterdam’s cornerstone conventions come alive.
Of all the Amsterdam club locales, Paradiso is likely the most atmospherically adjacent to a US spot ADE has to offer. Though, its architectural grandeur is singularly European. The assuredly haunted ex-church, with its resplendent stained glass windows and intricately etched balcony arrangement, seems destined for a back-to-back DJ set from priest vestment-donning Tchami and his perpetually pernicious aural associate, Malaa. A far cry from the litany of icons Paradiso once welcomed—The Rolling Stones, Prince, Patti Smith, The Cure, Nirvana (just to name a few)—the duo’s Dutch rendition of No Redemption was, nonetheless, entertaining as hell.
The hard-house maestros topped giant LED cubes which lit up in sync with painstakingly on-brand visuals when the respective DJ took his turn. For Tchami, a storming jungle scene evocative of his recent melodic house sensation, “Rainforest.” For Malaa, the expected illicit and explicit imagery: lines of white powder, skin-clad, ski-masked women, and otherwise. PSA: Moshing to dance music is apparently not just an American phenomenon.
Days before the release of his 7th studio album, Armin van Buuren opened the doors to Armada’s office, sitting on the city’s outskirts for a cranked-up ADE-themed recording of A State Of Trance. Attendees were welcome to wander the corridors of the iconic trance label’s home base, with over two dozen guest sets spinning between “The Club” and the infamous recording studio where Armin streams his weekly shows. The who’s who of trance ticket gave fans a chance to see tastemaker after tastemaker, mainstay after mainstay, bringing the likes of Richard Durand, Markus Schulz, Ferry Corsten, Sander van Doorn, and even BT, for eight hours of intimate trance bliss.
DGTL brought four nights of ADE-insanity to NDSM Wharf, a former shipyard with grounds big enough to house 10 soccer fields. As massive of a venue as it was, another few soccer fields probably could’ve housed the droves of ravers who kept the waterfront warehouse’s sprawling mainstage saturated. A headlining lineup of Richie Hawtin, RÜFÜS DU SOL, Bonobo, Orbital, and Ben Klock back to back with Marcel Dettmann proved too tempting a ticket for thousands of ADEers. There’s no doubt that the music is the focal point of a week like ADE, but it’s hard not to see the event for the grand portrait of dance music that is when showing up to NDSM. Between the ferry from Central Station, that showcases much of the city’s forward-thinking architecture, to the street art that blankets the hip, developing wharf, and fresh fruit the warehouse served until wee hours of the morning, a trip to NDSM shines a light on many of the enchanting idiosyncrasies that make ADE so distinctly Amsterdam.
Lil’ Central Station
ADE fever even spread to Amsterdam’s very own Central Station (think Grand Central), which was effectively party-fied by Audio Obscura for the whirlwind weekend. Tucked just a few stories below the rails that funnel people in and out of Amsterdam by the thousands was Lil’ Central, a cozy nightclub space with DJs that encouraged a bit of loco and a lot of motion. From Motor City Drum Ensemble‘s swerve-inducing Thursday night set to Tchami‘s afterparty the following evening, express tickets to a good time were wholesale at Lil’ Central. Every city has nightclubs, most even have particularly cool ones, but how many municipalities are willing to turn their central transport hub into an all-night rave?
Each week, New Music Friday sweeps through with torrential force, showering streaming platforms with immeasurable amounts of new tunes. Just like Dancing Astronaut rounds up 25 of the biggest songs of the week for the Hot 25 Spotify playlist each New Music Friday, Lunar Lunes serves as a landing pad for SoundCloud users who want a whole new dose of tunes to kick off the work week.
Seven is widely heralded to be among the luckiest of numbers, but luck really has nothing to do with the release of Armin van Buuren‘s seventh studio album, Balance.
Rather, Balance emblematizes the artistic diligence that has ceaselessly driven the van Buuren project forward since the producer made his debut, 76, in 2003. A producer does not put forth seven incisive studio albums by resting on his laurels, after all, and van Buuren has never been known to do so. The trail of Balance predecessors, Shivers (2005), Imagine (2008), Mirage (2010), Intense (2013), and Embrace (2015) are ample proof of van Buuren’s exhaustive commitment to the electronic craft. Moons Of Jupiter (2019), his longtime collaborative effort, GAIA’s inaugural longform outing, adds good measure.
Balance is four months Moons Of Jupiter’s junior, and, sitting at 28 total tracks, the compilation album is a formidable followup to van Buuren’s June effort alongside GAIA partner, Benno de Goeij. Moons Of Jupiter‘s track list comprises 42 cuts. The sheer expanse of the album would typically warrant a sizable break for van Buuren longer than four months well-deserved, and perhaps even expected. Not so, he says, with the debut of Balance, and to that we say to trance’s tried-and-true trance champion, welcome back.
The dexterity of van Buuren’s production, paired with his acute ear for the radio-driven commercial dance sound that befits the airwaves and the Main Stage alike have never been more apparent before Balance. Neatly packaged along other subgenre canvassing, the Ne-Yo-assisted “Unlove You” and the David Hodges feature, “Waking Up With You” exude van Buuren’s affinity for the larger-than-life dance-pop dominion.
And with the same stroke of his pen, van Buuren effortlessly turns the musical tables with inclusions that scale trance’s stylistic continuum, such as “Don’t Let Me Go,” which situates van Buuren in his beloved progressive trance wheelhouse. He’s comfortable there—of course. But our faithful maestro recognizes the reward in stretching towards the unknown. The delight of Balance is the question that it begs: does van Buuren even have a sonic comfort zone anymore? If he does, it’s nearly impossible to discern along the chromatic length of the LP’s nuanced numbers. From the funky plucks and whistling vocoder of “Sex, Love & Water” to the porcelain piano melodies and synth-line ferocity of “Show Me Love,” van Buuren is proving he trembles at the foot of no aural opportunity.
Creating ‘Balance’ was a great journey for me to be able to reflect the new chapters in my life, have a really good time working with legendary artists, and making new sounds while still giving fans my signature trance sound.
Balance, as just one singular stream of the album in its entirety will illuminate the veracity of its title—not just in name, but in its design. With its broad assembly of dance styles, anthemic chord progressions, vocal-centric constructions, and ear-catching lyrical concepts and hooks, that, across the studio showing, resonate poignantly or spike listeners’ adrenaline (often both successively), depending on the tune, among other trappings. Balance is proof not only of van Buuren’s creativity, but also of his experimental ardor.
Listeners can catch van Buuren on the North American Balance Tour beginning January 22.
Read Dancing Astronaut’s interview with Armin van Buuren on the release of GAIA’s Moons Of Jupiter album, here.
Today, less than a week after scoring his eighteenth consecutive Top 5 spot in this year’s DJ Mag Top 100 DJs poll (now #4), Armin van Buuren finally unleashed his new artist album, ‘Balance’. To celebrate the release of his seventh artist album, the DJ and producer teamed up with three well-known street artists and
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.
Valentino Khan tackles Tchami’s “Rainforest” in his latest remix, and Gryffin teams up with Maia Wright for “Body Back.” Lost Kings tap Marc E. Bassy for “Somebody Out There,” and Adventure Club unveil their Death or Glory Sessions. David Guetta remixes Idris Elba’s “On Life” as Jack Back, and Sullivan King reveals his debut album, including tracks like “If My Eyes Are Vampires (Your Body Is My Sunlight)” with TYNAN. Fox Stevenson, too, has a debut album out on Oct. 18, featuring songs like “All Night,” and Hardwell teams up with Deorro, MAKJ, and Fatman Scoop for “Left Right.” Henry Fong encourages listeners to “Jump Up” with his new single, and Flosstradamus and Megatone deliver “Bounce Back” after premiering the track with DA. Faux Tales has released his ethereal Hiraeth LP, and Madnap and Luma have collaborated on “Faces.” YehMe2 and Wuki “Throw It” on their new collaboration, and vowl. and Brock Wilson jointly release “recluse.” Justin Jay puts his own spin on NGHTMRE and A$AP Ferg’s “REDLIGHT,” and Boombox Cartel and Griff Clawson reveal “All I Want.”
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.