The power of techno may have been used for its greatest good yet, as recent rallies in Berlin found far-right protestors thwarted by club beats as they marched through the capital. The self-proclaimed anti-immigrant, anti-Islam political party Alternative for Germany won its first seats in parliament last year, and the recent march marks the first public show of strength by the far-right group since it became the largest opposition to Chancellor Angela Merkel. Luckily AfD was met by the resistance of thousands of counter-protestors including a union of different advocacy groups, civil and student organizations, as well as political parties, lead by an alliance of over 100 clubs from across Berlin.
Packing the River Spree with boats and floats as well as a caravan of DJ-equipped trucks in the streets, Berlin’s legendary club circuit came together to “bass away” the far-right, drowning out “we are the people” calls with proper warehouse fare and “the whole of Berlin is against the AfD” chants. Counter-demonstrators waved rainbow flags, touting signs with messages like, “no to racism” and “No dance floors of Nazis.” A joint statement from the coalition of clubs reads,
“The Berlin club culture is everything that Nazis are not. We are progressive, queer, feminist, anti-racist, inclusive, colorful and we have unicorns.”
Thousands of counter-protestors reportedly joined in the action and police were deployed to keep the demonstrations peaceful. Berlin reportedly deployed 2,000 officers and eventually closed bridges across the city to section off protests throughout the weekend. Don’t make us deploy the unicorns, Nazis. We won’t hesitate to use them.
Imagine a music show in outer space? Yeah, it would be rad. But you and I will most likely never live to see the day of dancing on the moon. That said, another pretty rad concept has been delivered upon and is set to take part in 2018. For the first time in history, a
The world’s first zero gravity club experience is underway, and you could actually be among the first to party in a state of total weightlessness. And who better to score the debut of such a boundary event than the likes of Steve Aoki, W&W, and Armin Van Buuren? That’s exactly what the world’s most cavalier clubgoers are in for with BigCityBeats’ latest event, World Club Dome Zero Gravity. The World Club Dome concept is responsible for some of the most unique party experiences out there, and now they’re putting on the smallest, most exclusive club event of all time in a specially converted A310 aircraft, commissioned by the European Space Agency for astronaut training flights, for a completely gravity-free party experience.
Two winners, one male and one female, from each continent will be chosen for the maiden flight, with an additional two winners from Germany and India each. The flight will be a total of 90 minutes and it will take off from Frankfurt Airport on February 7, 2018. Fans can apply to be selected by submitting a 20-second video testimonial as to why they should win access to World Club Dome Zero Gravity, and the first wave of finalists will be announced on January 12. Apply for consideration here.
Sydney’s notorious lockout laws have had quite a damaging impact on the city’s once flourishing nightlife. Introduced in 2014, the laws force a 1:30 a.m. lockout and 3 a.m. cease-service policy for all nightclubs and bars in central Sydney and the Kings Cross precinct. These laws have been widely criticized by Australians, including esteemed producer Flume, who went on to release a track as a form of protest.
The mayor of Sydney, Clover Moore, has since decided that the controversial laws are in desperate need of reform. “Unfortunately, the lockouts have had a serious impact on Sydney’s cultural life, businesses and our reputation overseas — and while areas like Kings Cross are safer, we know the balance isn’t right yet in terms of Sydney’s nightlife.”
The reforms will aim to adopt the agent of change principle for residential establishments within 100 metres of a music venue. This rule will shift the onus of soundproofing new installations from club owners to residential developers, and aims to protect the interests of the many nightclubs and live music venues in Sydney.
ZoukOut, Asia’s largest beachfront music festival that offers a dusk-to-dawn dance experience, has announced that it will be returning once more to Siloso Beach, Singapore on December 8 & 9. Now in its 17th year, the long-running dance music festival is raved about by top DJs in the global clubbing circuit and is sworn by legions of fans as a must-attend party location.
Their highly-anticipated phase two lineup has now been unveiled, which adds Axwell / Ingrosso, R3HAB, and Yellow Claw to an already stacked lineup that includes artists across a wide variety of electronic influences from all over the world. More info soon on the full lineup for ZoukOut 2017.
The festival is organized by the popular nightclub Zouk, most known for its Singapore location that was named the the Best Club In Asia and theFourth Best Club in the world by DJ Mag due to consistently bringing top talent to the region. The club is also present in Malaysia and on the luxury cruiseliner Genting Dream.
Sebastian Ingrosso, Salvatore Ganacci and Bunji Garlin’s ‘Ride It’ was originally released May 5th via Sebastian Ingrosso’s ‘Refune Music’ imprint,and since then it’s amassed more than 1.2 million Spotify streams,whilst also peaking at #7 on the Beatport Big Room chart. Additionally, the high-profile collab also gained spins from fellow cohorts including Alesso, Hardwell, David Guetta,
The Finnish neon-haired diva ALMA has returned with a full-blown flaunt of her pop power on her latest with French Montana. After the 21-year-old first generated buzz last year with “Dye My Hair,” blowing up on Spotify and across Europe, she followed up with “Chasing Highs” this year. Now, with more than 55 million streams under her belt, ALMA is ready to establish herself as one to watch and has shared her first US hit, “Phases.”
The track’s made for stardom as it’s co-written by Charli XCX and produced by Charlie Handsome. It maintains ALMA’s synth-drenched, club-primed sound, but at the same time introduces a new approach for the artist in the vivacious verses of French Montana. The same can also be said for ALMA’s deliverance. She remains blunt, “We got too drunk, we got too high, fell in love when we were faded,” then comes around on the chorus. “Don’t make this complicated, you were just one of my phases.” Nailing the point in the final bar. “I’m sorry if I hurt you, I just don’t like you like that.”
Beyond the Booth is a feature dedicated to the hidden side of artists that exists outside electronic music— a side rarely discussed with those outside their immediate circle. We venture “beyond the booth,” so to speak, and dive into their deepest passions that tie into their unique personalities. After some self-introspection, each participant then returns to the booth, providing an exclusive mix for the Dancing Astronaut audience.
Somewhere between West London and West Hollywood, Chris Lake stands as a sort of a dance music renaissance man, so to speak. He’s a veritable UK house legend who’s hunker-down-low club cuts have unequivocally shaped the genre’s popular trends for over a decade, both at home and on American dance floors alike. Establishing a track record that includes a Grammy nomination for contributions to deadmau5‘s 4×4=12, founding and managing three independent labels, and most recently, curation duties on OWSLA‘s debut house compilation, Chris Lake has been a respected, albeit undersung, fixture in his industry since his debut.
Now, aligned with some of today’s top tastemakers, from Anna Lunoe to Skrillex, Lake has staked his claim in Los Angeles’ west coast house emergence, culminating in a coveted sundown set at HARD Summer‘s 10 year anniversary this past weekend. Hosting a raucous affair at Anna Lunoe and AC Slater‘s Hyperhouse x Night Bass stage, Chris Lake brought the house down with a flawless setlist of dance floor jump starters that humbly showcased his two decades of chart-topping charm.
Though nearly twenty years, Chris Lake has seen dance music evolve from the inside out in harmony with the world’s most major technological advancements. Gripping his interest outside of the studio and the club, technology plays an important role in Lake’s sparse free time. On the heels of his set at HARD Summer, Chris Lake sat down with us to discuss his world outside of music, though the conversation didn’t quite seem complete without the exclusive mix he dropped off as the cherry on top.
Venture beyond the booth with Chris Lake below.
As someone whose career keeps them on the go, what’s your favorite piece of “luxury technology?” Conversely, is there one piece of technology you just can’t live without?
My luxury piece of technology would definitely be my Tesla Model S. It’s definitely my favorite car I’ve ever had and it’s amazing that it’s a whisper quiet electric car that I can do so many cool things with, like turn on the a/c before I get into the car so I don’t burn my ass on the seats in the middle of the Californian summer! Technology I couldn’t live without? Well I’ve been all about that Ring doorbell lately. I have one installed at my house and it’s great for tracking packages, telling people to go away or telling my Wife she looks beautiful when she walks through the front door (brownie points scored every time).
What’s the most significant way technology has evolved DJing or producing for you?
Well for me, I’ve gone through the times DJing on vinyl, CD and now off data sticks. I loved spinning vinyl but it was heavy and restrictive, specially if you produced your own records and wanted to play something you’d just made out in a club. You’d have to cut a dub plate which would cost like £60 and you’d maybe get 10 good plays out of it before it was ruined. Then I moved onto CD’s but hated how my whole collection looked like blank CD’s with my handwriting on it. It was really difficult to find tracks and I always dreamed of being able to load music up on my data stick and browse it on the player. Of course that’s now what you can do and it’s unbelievably liberating for me as a DJ. I can constantly organize my collection and playlists in my computer and transfer it to the data stick with one click. It’s absolutely brilliant.
How do you think creatives could benefit from an open, transparent, and in-real-time creation/sharing platform? Is there a practical application to a blockchain-like system in dance music?
I mean, I think blockchain technology has huge potential to revolutionize many parts of the music industry, but I’ve never fully considered what it could do on the music creation side of things. I’m sure it’s possible, but at the end of the day, whatever gets designed really needs to be practical in a workflow sense. Anything that loses momentum in a studio setting is no use to me. When you have programs like Ableton Live (my DAW of choice) that allow you to create infinite ideas with ease and minimum technological hinderance, future technologies have to make something easier or better to fit into producers lives or it’ll never work.
Outside of musical inspirations, who is your hero? Who is someone who you believe have changed the world for the better? In terms of revolutionizing how people live today, who’s responsible for the most impactful changes to humanity in your opinion?
Right this minute it’s difficult to look past anyone other than Elon Musk. The guy’s ideas and execution of those ideas is stunning. He currently has involvement in electric cars, solar power, grid scale power storage, the hyper loop concept, Space X and his Mars plans, merging computers and the human brain and tunneling underneath major cities. They’re just the projects I can remember off the top of my head. I don’t know how he does it.
How do you believe the incorporation of cryptocurrency could affect the live music industry? Would it bring about positive changes to buying, experiencing, consuming music?
I’m not sure crypto currency would change much for the consumer at all. I do think the blockchain has really interesting potential for things like royalty collections, licensing, copyright protection etc. I know Imogen Heap has been one of the artists working hard to develop this sort of concept. I’m sure blockchain technology will soon be cutting out many of the ‘middle men’ in the industry. The possibilities are endless to be honest.
Are there reasonably viable sources of renewable energy or battery technology that could revolutionize the live music space? How can venues, festivals, etc. make small changes towards more sustainable or more efficient production?
I think there’s much more that could be done on things like the waste management and recycling programs. One of the biggest things that strikes me about these events is the waste that gets created from things like plastic cups etc. It’s crazy and I’m not confident a lot of these festivals have systems in place to properly recycle. If you ever get a chance to attend Burning Man, it’s eye opening because one of the main things you must do when there is to not let anything touch or spoil the ground, so anything you use, you must dispose of properly yourself, or take it away with you. When you can’t just chuck something in the trash or flush it down the loo, it makes you realize how much gets discarded every single day. When you have to be responsible for every item you use it makes you think about things in a very different way.
Riding a high with HARD and OWSLA’s Hollywood summer residency now in the rearview, Chris Lake gave Dancing Astronaut a peek into his current personal rotation with an exclusive mini-mix packed with a trove of club-primed gems.
After much anticipation since it was played at EDC Vegas 2017, it’s finally here! Titled, ‘Flight From The Gold Sky’, this ingenious mashup by Adventure Club combines the unreleased Bonnie X Clyde remix of ‘Gold’, with Johann Johannsson’s emotional piece, ‘Flight From The City’. Bonnie X Clyde’s remix of the nostalgic hit adds vocoder effects to the vocals, and an energizing