Music Review: Danny L Harle – 1UL

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Danny L Harle


[PC Music; 2017]

Rating: 3.5/5

What’s the last thing you remember?

It’s late. You have to wake up early tomorrow. We’ll rise again, then, and drag out our morning haze, “Is this some beginning or the beginning of the end?” We’ll beg to make meaning of sleep’s screens in dawn’s dissonance. In the strain of waking, we’ll reverberate back into our selves from out of sleep. The hallway back to consciousness is lined with grey shapes and weird echoes. Only in dreams we see what it means; only awake do we wonder what it is. We are shaped in systems of sleeping, dreaming, and waking. We are destabilized and recovered, rested and deprived rest. In-consciousness: what language will you dream in tonight?

We call the matter we can’t express thoughts, the unwieldy masses weighty enough to warrant expression. So we talk and sing and sow language, the expression of the cranial intangible chemical fluidities. But for all our efforts to communicate the abstracts (love and hate, wonder, terror), stuff gets lost in our languages. And so we close our eyes and head inward. “In a minute I will wake up/ And learn to live with myself.

But right now, it’s late. And soon it’ll be early. Lives are determined in such terms. Moments mean now then, shifts breaking re-ending like Danny’s old “Forever,” like “We are here right now/ I need you to know.” After our dawn alarms, we’ll say to each other, I dreamed what does it mean and we’ll look at each other and pull on our feet stuff, dot brows. Already those dreams slip and wilt like flowers. Colors run. Wilting flowers are not broken things; they still shit oxygen, aggravate lungs into fullness, stand for systems of life. The fading of dreams into mornings and days into sleeps is not a death. That curtained highway separating sleeping and waking is memory imagining remembering projected, resignation (“I guess I’ll see you in my dreams, together”) and sigh (“Some dreams just fade away like yesterdays sunset.”)

There’s always time to remind us what we’ll forget. The forgotten stuff, ignored and relegated behind walls way back of the eyelids, is the dream space. Dreams recall re-imagining, and in their embrace, we twist selves, meet desires, stare at terrors. Too bright too fast too big, the dream space is the root of our most bombastic art, flitting from the fantasy factory of Hollywood’s wild heart spectacles to the rhapsodizing words of free verse and pop music, apocalypse road aqua cola for feeding our streams of (un)consciousness. Art as dreams is flowers breaking and re-mending, investigation and respiration of our histories and memories in a single synthesized space. In art, like Lynch and Woolf, like Mad Max: Fury Road and Broken Flowers, we confront convention to shake selves into the inexpressible space. By entering the cultural artifact into the dream space (close to us and far away; an un-home), we achieve clarity through distance: we see what is distorted by could be and if, maybe and unless.

Dreams fall like mallet on marimba; they ping and snap, “I’m here whenever you want,” the voice urges. In dreams, we remind us what we can’t remember wanting.

What’s the last thing you remember wanting?

I want ears to hear Danny L Harle and limbs to spin 1UL, a perfect document of pop music in the dream space, everything dialed way up past WAY UP, Technicolors and throbbing tempos ameliorating and ignoring all our memories. And I want all our dreams to sound like this. I want to move in a sweat like Euclid at the club, cooing “You’re the only one that I belong to/ Every part of me is a part of you.” The title track cascades lazer synth buzzed up over marimba con mustard and bottoms out in the sharpest neon discotheque in your head. Eyes spin, all parts moving; in Danny’s dreams, all limbs are created equal in motion. If you break the flower, it bleeds dreams, the stuff that stands for all our systems of life. In dreams as in pop music, we celebrate the joys we can’t remember and the melancholy we’re not ready for.

Because all our unresolved sadnesses leak through the sounds, like in dreams, like in life. Its creator called 1UL “an expression of melancholic euphoria.”

“Happy All the Time” is immaculate percussion, the whistles and basses at work obliviating sadnesses that nibble until that word happy conquers its accompanying feeling. “Happy All the Time” sees dreams, declines and buys concussion. “1UL” makes sure to separate hearts and bodies and heads, smacks of what mocks with “as if I could ever be the one you love.1UL is not a mocking art, but it is a critical one. It strives to separate head from heart from body. (You can’t make this EP if you don’t know how to dance. You can’t make this EP if you haven’t watched the dancefloor from the corner of the room, even a little.) Danny’s art is an exacting knife and anatomizing absorbing, observing the possibilities of dreams/pop music and rendering them in translation, inner-terpretation. (“I’m interested in the idea of like, translation through listening. Like trying to reflect what the listening process feels like.”) It’s there on 2015’s Broken Flowers where “Awake For Hours” is a remixed imagining of “Broken Flowers.” It’s a product of the pop song dreaming, perfect and incisive. Pop songs and dreams patrol crags between desire and humans. Somewhere in the distancing mechanism of pop dreams, we get to stretch from points of familiarity to unaddressed possibilities. We transform and re-find our selves. On 1UL, distance is achieved by separating the dreamer from the dream, making it about the producer. It is mechanism, not matter, and sometimes it chills.

What if you wake up someone else?

These questions that we ask each other (and our artists and their albums) before sleeping and after waking struggle to mine meaning from lives and loves. We want to remember, before waking, what we wanted before sleeping. We document and interpret, talk our dreams out to each other, scratch for meaning in image and in sound, sound alarms over moments. A text like 1UL (and a text like Frank Falisi, a text like you) is the dream and the document, the over-the-top pop of convention that urges to supplant bombast in service of dissembling. 1UL makes meaning of participating. It’s ill-conventional. 1UL sounds good. Remember, “I want our dreams to sound like this.” Remember, in dreams, many things at the same time.

Re-writing the dream is criticizing the inexpressible and manifests as pop music detailing pop music, not people. Dream interpretation is useful and transcendent and cold. The promise of the inexpressible, as dream or as pop, details overleaping history/memory to reflect the world as it is (simultaneously ugly and joyful) and propose a better better one. It’s where we get cheesy untact, ham-fisted earnestness. It’s the heart and furnace that drives the best work of dreamers like Carly and Charli. On 1UL, the (mostly anonymous) female voices don’t grit and grain like E•MO•TION or Number 1 Angel or even Laurel Halo’s Dust. The voice is the expressionless expressing the inexpressible. Pop songs engage engaging; the hook is crush and love and fuck rendered in music, as dream. 1ULrenders dreams in such saturated producted tones and some moments chill where they crave heat. Too much of too much is not enough grain, an unlatching where nightmares convene.

1UL seeks out the conventions, the *NSYNC boppery that haunts Danny L Harle and this review (and this writer). But 1UL also seeks to document the dream, to distance the dreamer from the dream stuff. Pop music as an exercise in perfection (like the producer machines that made the future-90s blurbly tracks for *NSYNC and Backstreet Boys and Britney to hip-pop over) is too sheeny, too compacted and cut off from the anyspace that dreams thrive in. But the blurblies all had Justin Timberlakes, furnaces that keyed into us as we keyed into them. That key is in distances and highways and how they’re collapsed; spaces between realities and dreams, perfections and humanities. There is the sweat and haphazard engagement, and there is the bombast of dismissal; there is the way a body feels waking up from both.

1UL is all we see or seem, and it’s all the better for it. These songs occur before and after the malign world of the Manchester bombing (“It was supposed to be a dream, not a nightmare”) and the London Bridge attack. Dreams will twist us if we let them. An EP review is no place for spinning politic or ceaseless re-characterizing of current events. The world is not a metaphor and it and its art should not be written off as such. And a pop song is no place for a world. “Whether the dreams brought on the fever or the fever brought on the dreams Walter Gilman did not know,” Lovecraft reminds us, “an expression of melancholic euphoria.” Danny and Walter and I walk in the same early mornings, hold heads against similar pillows. The horrors don’t precede hopes. The horrors are the hopes, and the dream splits the difference. 1UL knows how dreams sound. And it hopes for its self and the way it hopes ears will get it. I want every dream to sound like Danny’s. He remembers what he wants. I want every moment of 1UL to be reconciled with hopes for the world we’re in, not the one we can’t get to, the one of apocalypse pop, sheen and not sweat. I want to be the one you love. I know I won’t be, not always. Just like the dreams can’t ever always anything. But to admit in the motion and communing of dreams means that we love the conventions that drive humanity and seek embrace over autopsy. We ground and transcend. We break and flower.

It’s late now. Tomorrow is early. Remember how we sound; remember wanting to dream.

Danny Sunshine – “Never Thought”

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Today’s the last day of PC Music’s Month Of Mayhem, and the (seemingly) final entry in the series is “Never Thought,” a sweet, shuffling, and buoyant pop song attributed to one Danny Sunshine, aka Danny L Harle. It’s a track that’s popped up in a few mixes and has been passed around in bootleg … More »

Danny L Harle – “Happy All The Time”

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Danny L Harle’s new 1UL EP is out today as part of PC Music’s Month Of Mayhem, and we’ve heard the title track and “Me4U” in advance. It features two other tracks: “Heavy Eyelids” and “Happy All The Time.” The latter was co-written by Carly Rae Jepsen, and we heard a previewMore »

♫ Listen: Danny L Harle feat. Carly Rae Jepsen – “Super Natural (felicita remix)”

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As we reported   15   day(s) ago, PC Music will be releasing something new every day for the month of May. Today, for “Month of Mayhem” release #  17  , we get a new [song/video/album/EP/mix/other] from   felicita   titled   “Super Natural (felicita remix),” a track originally by Danny L Harle feat. Carly Rae Jepsen  . It’s a really   I HATE MAD LIBS KILL ME   and   DO IT NOW   [song/video/album/EP/mix/other]. A person on social media said   “This is where I decided to mute this and put on some N SYNC”  !

  “Super Natural (felicita remix),” a track originally by Danny L Harle feat. Carly Rae Jepsen   follows   felicita  ’s last release, which was   “ecce homo”  . That one was very   I HATE MAD LIBS KILL ME   too, but also   FIND ME AND PLEASE MURDER ME. I AM READY TO DIE  .

Experience   “Super Natural (felicita remix),” a track originally by Danny L Harle feat. Carly Rae Jepsen   by   felicita   [above/below], check out the previous Month of Mayhem release right here, and don’t forget to   KILL ME!! (and also read a “conversation” between felicita and Danny L Harle below)  .

See you tomorrow!

OK so this remix is complete nonsense, what are you even trying to do?

To quote something you said in a recent interview, which I liked and agree with: ‘the way in which music is performed is largely uninteresting, just as long as it SOUNDS amazing…’

I decided at the outset of felicita that I would only do remixes if they were very occasional, for ‘big’ or ‘mainstream’ artists, and then only if I could take them wherever I feel like.

Why does your music never settle into a regular rhythm or anything? I can’t follow it.

I’m gonna answer this question with a series of questions:

Why is your music so painfully generic?

Is it born of a blinkered and pre-failed attempt at a kind of ‘cultural universalism’, which you pursue through your patrician notion of ‘Pop’ music?

Do you regard difference and formal invention as anathema to ‘the mainstream’, which you pledge allegiance to, albeit to an outdated version, which you are desperately trying to force back to life, like trying to administer CPR to a 3310, in the hope that your music actually becomes ‘Pop’ music, though you know it never will, cannot be, because no-one listens to or cares about N Sync anymore?

My five year old niece could your make music tbh?

I’d like to see him try.

Do you feel guilty about anything and do you ever harbour secrets?

Both, all the time. Secrets are Sexy.

Why are you signed to PC Music ?

Good question. Because I believe in Pop music..

Do you like stand-up comedy? Because your music is a joke.

I don’t need stand-up comedy…..people are funny enough already.

Do you like Miley Cyrus single ‘Malibu’? What would you say to her about it?

Three thousand ninety Li farther southeast, then northeast, stands Departing Doves Mountain.

On its heights are many mulberry trees.

There is a bird dwelling here whose form resembles a crow, with a patterned head, white beak, and red feet.

It is called Jingwei and makes a sound like its name.

Jingwei was once a human named Nüwa.

Nüwa was swimming in the Eastern Sea when she was unable to return to shore and drowned.

She transformed into the Spirit-Guardian Jingwei.

All day she collects twigs and stones from the Western Mountains, and carries them in her beak, to fill up the Eastern Sea.

The Zhang River emanates from here and flows eastward into the Yellow River.

Tinashe – “Superlove (Danny L Harle Remix)”

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artworks-000199375391-31y6ix-t500x500In addition to his sparkling solo material, PC Music’s Danny L Harle has become a reliably great remix producer, most recently evidenced by his take on Charli XCX’s “After The Afterparty.” Today, he’s shared a frenetic and bouncy remix of Tinashe’s “Superlove,” a single from earlier this year that didn’t show up on her … More »

Chastity Belt, Ovlov, Molly Nilsson Explain How Their Music Ended Up In White Supremacist’s Adult Swim Show

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Chastity Belt, Ovlov, Molly Nilsson Explain How Their Music Ended Up In Adult Swim Show Associated With White NationalismAdult Swim’s Million Dollar Extreme Presents: World Peace was recently cancelled after one season following vocal criticism that its creator, Sam Hyde, was espousing ideals of racism, sexism, and bigotry through the show due to his identification as a member of the “alt-right,” an extremist movement predicated on white nationalism. More »

Feature: 2016: Favorite 50 Songs

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AAAAAAAAAAAAAND WE’RE BACK. Another 12 months slipped away, and what a 12 months they were. Did you guys catch that election? What about that Dr. Phil interview with Shelley Duvall? Boy, we are truly in it now aren’t we!? Well, whatever your stance is on the happenings of 2016, surely we can all agree that it’s been SOME kind of year, not just another snoozer like 2015 or 2014. Nope, we got shook this year, for better or for worse (IMHO: worse), and like every other internet blogazine purging up content, it’s time to make sense of what the shit just happened. So buckle up, apply some listening powder to your ears, and get ready for TMT’s 2016 Year-End Listicle Bonanza.

Of course, if you’ve spent any amount of time reading this site (and if you haven’t, I promise we usually sound smarter than this), you know that eclecticism is the soul of what we do. Meaning, we can’t agree on ANYTHING. So, instead of foisting you with some faux-consensus-bastard-child numbered list of songs, we’ve whipped up five themed mixes collecting some of our favorite head spaces of the year: We’ve got fist-bumpers for your next rally at the GYM. We procured keys to help you unlock the VOID. We caught bruises walking through the ALLEY. We took snapshots from our family vacation to the CLIFF. And we found the real moments shredding our vocal cords out the COUPE. Just like that — no false hierarchies, just good clean fun.

If it’s a bit much to take in, don’t worry: we’ve got a very numbered list of albums coming just around the corner, several essays here and there, our favorite labels, cool music videos, and MORE. 2016 is over, baby. It’s all downhill from here!

NOTE: Each day this week, we will be publishing a new 10-track mix, which will together combine to represent 50 of our favorite songs from 2016. We start today with the “GYM” mix by C Monster.

PART 1: “GYM” mixed by C Monster

Jessy Lanza

“VV Violence”


“VV Violence” is an angry song. But like anger, it can’t help but fall to idle bemusement. It cuts and cuts until it’s numb from cutting. It gestures away from the meeting of faces, where meaning hovers in the periphery escaping apprehension, toward a dancefloor (maybe somewhere in Detroit) where bodies can mix without error in interpretation. Its motor might be violence, but it moves along with an attitude approaching indifference, with flashes even of ecstasy. My favorite pop song of a year marked by its very own serendipity and fury, it reminds us that dancing in a loud room and fighting to be heard don’t have to be divided labors.

Sicko Mobb

“Expensive Taste (feat. Jeremih)”


Entering the Hyperbolic Time Chamber like the Super Saiyans before them, what can we predict about Lil Trav and Lil Ceno’s theoretical training methods given a potential world-threatening scenario? An inability to fly apparently gives way to rampant thot avoidance, and if the songs on their previous mixtapes didn’t make things clear enough, “Expensive Taste” confirmed that the duo’s Chicago-based lavish lifestyle is about as strenuous as approved exercise. Dumbbells get supplemented with constant status maintenance, and lord knows the layers of high-class brands can lead to perspiration. They aren’t just preparing for winter, you know.

Why Be, Elysia Crampton, Chino Amobi

“Dummy Track”

[Break World]

Okayyyyy, I admit it. But so what if I’m a sucker for pulsating beat-synced samples of gnarly demon chuckles? Kids like me barely get a track like this every once in a millennium. Plus, it only sweetens the deal when said track emulates masculine performance in such a way as to linger on the question of its participation, leaving any present party to consider: Who’s laughing at whom? As our own Chris Kissel writes, Crampton’s work is “a private apocalypse, a world collapsing,” simultaneously drafting utopias “transnationally, across gender, ethnicity, and even species, in the aftermath of violence.” Nice!

Danny L Harle feat. Carly Rae Jepsen

“Super Natural”


The early stages of attraction can be hard to explain: the emotions are formless, the behaviors messy and undefined, nobody’s quite sure what “this” even is. “Super Natural” understands this precisely, the confusion as well as the joy of realizing that, against the odds, somebody else might feel the same way you do. It is the musical equivalent of posting a link you know your crush has an interest in and staring at your phone until their comment arrives — and the small rush of connection when it finally does. No, you hang up!

DJ Diamond

“Lab 2 This”

[Duck N’ Cover]

I was in Chicago when DJ Rashad died, about 12 blocks away from his apartment, relieving an independent used record store of all of its Jim O’Rourke CDs. I didn’t hear about his death until I arrived back in Madison that night and didn’t really process it until weeks later. But looking back, I remember that entire day now with a certain somberness. I never knew him personally, and I grew into his music gradually, but he and others in Chicago reshaped my ears in such a way that everything since has sounded shallow. “Lab 2 This,” though, by some sort of magic, sounds FULL of that energy. It’s been a hard period of recovery for Chicago (and dance music in general), but DJ Diamond has chosen footwork over death as a way through, and this track, coming at such an incredible record’s close, is both a well-needed celebration of craft as well as a treatise for furthering a legacy that ended far too early. Long live footwork! Viva la ghost!




Despite its sexist reputation, the current reguetón boom was kick-started by a woman ordering you to eat her up. LSDXOXO brings that full-circle with a track taking La Materialista’s ode to cunnilingus “Chuleame” (“I am already wet, milk-me out,” “Like a leech, suck me dry,” “Take it all out and drink it with some cocoa” are choice snippets) to reinvent it in the spirit of GHE20G0TH1K’s fascinating queer punkness. In the underground-collective-cum-label’s first release, LSDXOXO hijacks Ex Machina’s idea of building a smart robot that, in case you were wondering, can have intercourse, and designs a vengeful droid starving both sex and retaliation, a semi-organic entity part T-800 and part Sil, a fucking machine with a BDSM A.I. and no safewords. Fuck with that at your own risk.

Call Super

“Nervous Sex Traffic”


Dissipate, dissipate, dissipate. JR Seaton did bits in 2016, a year in which all and any solidity was bypassed, and no track stuck quite as much as the quivering, cavernous “Nervous Sex Traffic.” Above the surface, the live-jam vibe gave it a loose and playful veneer, all clip’d waveforms and passive drift, but as the passing months renewed metropolitan tensions and normalized racism in Europe and beyond, it seemed more and more like a premonition. Call Super was right to be nervous, and while “Traffic” didn’t offset the unease, it nonetheless captured the essence of the continuing threat against the very existence of certain people and spaces — a barely-there apparition, straight-up ghosting in the club.

Hannah Diamond

“Fade Away”

[PC Music]

Hannah Diamond released “Fade Away” the same day that my girlfriend’s pet ferret Hamtaro died. So this song, which uses a euphemism for a slow death as a metaphor for the gradual unraveling of a relationship, was for me inextricably linked to an actual death. While my own connection to the song didn’t align perfectly with Diamond’s lyrical intent, that didn’t invalidate it. “Fade Away” worked best to me not as a plea to a bored lover, but as a supplication to the void against the inevitability of the passing of time and the slow churn of our mortality. Rest in peace, Hammy.

Project Pablo



Over the last few years, we’ve watched the Vancouver scene explode in global recognition, with labels like Mood Hut, Pacific Rhythm, and 1080p making waves across vinyl bins and Boiler Rooms around the world. Crystalizing a certain blend of woozy ambient new age with the rolling flutter of classic Roland drum machines, Project Pablo’s I Want to Believe laid some probably important groundwork for all this. But increasingly, the producer’s been looking outward. With the launch of his ASL Singles Club and his latest SOBO imprint, Holland’s brought a tighter resolution to his slow-moving, broken-beat sound. On “Closer,” the producer layers breezy, almost-Balearic flutes and cowbells to create what feels like the most danceable moment from the nebulous “scene” yet — the crossover radio single the crew maybe never even needed as they increasingly affirm their place across the global landscape of dance.

Black Dice

“Big Deal”


The RISD-grad brutalist humorist collagists, known for their bludgeoning avant scrapes and boinks, spilled beer all over their homemade PC and came up with a freaking artbro anthem. A sexy revving-your-motorcycle intro with space alien sound effects; an electronic Lego-block rock groove, a layer of twang and yogurty Pere Ubu/Louie Louie vocals, followed by a proper ass-kicking guitar riff — the hell? A detuned victory lap fanfare glazed with weirdo counterpoint saw them off into a green and magenta sunset.

Come back tomorrow to hear the “VOID” mix by Alex Brown.

SHAPE platform announces 2017 roster ft. Amnesia Scanner, Toxe, Danny L Harle; shares exclusive guest mix ahead of Novas Frequências festival

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Not that Rio de Janeiro necessarily needs your attention as a culturally rich city that’s home to more than six million people, but after this year’s summer Olympics, it’s assumed that most non-Brazilians turned their head away from the birthplace of bossa nova after their respective country’s athletes ceased swimming ferociously with the goal of winning a glaring medal. Any true fan of music isn’t limited by national borders, though, and with the upcoming Novas Frequências festival in Rio, set to take place this weekend, December 3-8, there’s genuine reason to revert your eyes toward the meaty part of the South American chicken leg.

Novas Frequências 2016 is the festival’s sixth edition and first time presenting a showcase from the relatively new SHAPE platform of artists (with whom TMT is partnering). The showcase includes Black Zone Myth Chant, J.G. Biberkopf, Mr. Mitch, Céh, Toxe, Andreas Trobollowitsch, Új Bála, Julien Desprez, Mike Rijnierse, Sis Mic, Stephen Grew, Gil Delindro, and Stine Janvin Motland.

According to SHAPE, 11 of the 13 acts listed above are on next year’s SHAPE roster (excluding 2016 SHAPE alumni Gil Delindro and Stine Janvin Motland), and how congruent that the second of the platform’s two annual meetings will take place in conjunction with Novas Frequências. The rest of the 48 artists on the 2017 lineup includes Amnesia Scanner, Danny L Harle (PC Music), Ron Morelli (L.I.E.S.), and many, many more. Find the full list below.

To celebrate the new roster and the upcoming live showcase, SHAPE and Novas Frequências have graciously shared an exclusive mix with us ahead of the festival. It was compiled by Új Bála, one of next year’s SHAPE acts.

Listen to the mix below, and then explore the full 48-strong list of 2017 SHAPE artists.

[00:00] Stine Janvin Motland – “Herz”
[02:50] Andreas Trobollowitsch – “1’11”
[05:10] Sister/Body – “Moon Is Gay”
[08:55] Gil Delindro – “Floating Summit Audio Sample”
[11:55] Berosszulás – “Rohadásország II.”
[12:50] Céh – “Off(demo)”
[15:35] Mike Rijnierse – “Spuiplein”
[17:55] Earthly Bird (incl.Julien Desprez) – “Dodo”
[21:40] Mr Mitch – “Bullion”
[24:10] Toxe – “Determina”
[27:25] J.G. Biberkopf – “Waters”
[30:30] Equiknoxx – “Lizard Of Oz”
[32:38] 12z – “Katajjaq”
[35:08] Stephen Grew – “track 2”
[39:20] Black Zone Myth Chant – “Belshazzar”
[43:40] Demdike Stare – “Overstaying”
[47:45] ‘A bunch of hookers and cocaine’
[48:30] Új Bála – “Idared”
[52:48] S Olbricht – “Unsafe Sex With Well Known Djs”

2017 SHAPE lineup:

Alex Augier (FR)
Amnesia Scanner (FI/DE)
Andreas Trobollowitsch (AT)
Anna Zaradny (PL)
Anna Meredith (UK)
Apeiron Crew (DK)
Battle-Ax (AUS, AT)
Black Zone Myth Chant (FR)
Boska (NO)
Céh/Új Bála (HU)

Chlorys (RO)
Christian Kroupa (SI)
Danny L Harle (UK)
Elektrovolt (NL)
Entrópia Architektúra (HU)
Fraction (FR)
Franck Vigroux (FR)
Gabey Tjon a Tham (NL)
Hiele (BE)

Ilias Pitsios aka Dynamons (GR)
Inga Mauer (RUS/NL)
Jacques (FR)
J.G. Biberkopf (LT)
Julien Desprez (FR)
Lišaj (CZ)
Machine Woman (RU/DE)
Maoupa Mazzochetti (BE)
Mari Kvien Brunvoll (NO)
Matthias Härtig ( (DE)

Mike Rijnierse (NL)
Mr. Mitch (UK)
Ninja Sword (FR)
Olivia (PL)
Oriole &Linda Konone (LV)
Robertina Šebjanic & Slavko Glamocanin: Aurelia 1+Hz (SI)
Ron Morelli (US/FR)
Sis_Mic (FR)

Stefan Fraunberger (AT)
Stephen Grew (UK)
Thomas Ankersmit (NL/DE)
Toxe (SE)
Unknown Child (HU)
v4w.enko (UA)
Varg (SE)
Waclaw Zimpel (PL)

Charli XCX – “After The Afterparty (Danny L Harle Remix)”

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Charli XCX - "After The Afterparty (Danny L Harle Remix)"PC Music’s Danny L Harle has remixed Charli XCX’s new single “After The Afterparty.” Charli, as y’all probably already know, has become heavily embedded in the PC Music scene as of late — her recent Vroom Vroom EP features a Hannah Diamond guest spot and was executive produced by SOPHIE, who also … More »

Carly Rae Jepsen Enters Dance Music With PC Music’s Newest Compilation

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Back in August, PC Music‘s Danny L Harle teamed up with vocalist Carly Rae Jepsen to release one of the most mainstream pieces of the record label’s work. Despite the label’s notorious tendency for creating extreme and highly stylized pop songs that cross into strange and hypnotic realms, the partnering with Jepsen proved to be a truly fluid and worthwhile endeavor. The track, “Super Natural,” even received an official music video to go along with it, adding an extra layer of meaning and aesthetic to the already drenched song.

This week, however, the song was re-released on Spotify as part of PC Music’s second official compilation. Iconic underground acts like A.G. Cook, Hannah Diamond, Life Sim and easyFun each contributed to the 10-track collection, culminating in a truly diverse and exciting listening experience. Powerful and mysterious ballads, fast-paced dance heaters and everything in between can be found in droves, all while maintaining the unique PC Music vibe that hooked its audience in the first place.

As the electronic dance music and pop spheres entwine even further, it’s collectives like PC Music that are taking the most substantial steps toward the future of the hybrid genre. With big names like Jepsen and Charlie XCX now involving themselves in the label’s releases, it appears more and more likely that they’ll have a significant hand in shaping the direction of the movement as it progresses.

Check out Danny L Harle and Carly Rae Jepsen’s collaboration below, and look further down for the complete compilation.

This article was first published on Your EDM.
Source: Carly Rae Jepsen Enters Dance Music With PC Music’s Newest Compilation