Claude VonStroke announces new Birdhouse Festival in Chicago this fall

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Claude VonStroke announces new Birdhouse Festival in Chicago this fallClaude Vonstroke Djing Dirtybird Campout

While Claude VonStroke‘s skill for DJing and producing is a given, the Dirtybird boss has also become known for his knack for throwing some truly unique parties and festival experiences. With Dirtybird Campouts now on both coasts and Detroit’s Dirtybird BBQ still running strong, VonStroke and the label have now announced their newest event, the inaugural Birdhouse Festival.

Taking place on September 8 in Chicago, the show is headlined by VonStroke himself, who will be bringing along a legion of Dirtybird’s top talent. Will Clarke, Christian Martin b2b Ardalan, and J. Phlip b2b Gene Farris are just a few of the hotly anticipated sets to come at this event. In addition to the music, the event will be hosting a street fair, with carnival games, prizes, and food. Lineup support comes from London’s Zombie Disco Squad, Fancy Fux, and new Dirtybird artist and Chicago native Teknicoz, bringing music, food, and fun together for a comprehensive festival experience.

Claude VonStroke announces new Birdhouse Festival in Chicago this fallBirdhouse Festival

Claude VonStroke releases surreal ‘Maharaja’ video

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Claude VonStroke releases surreal ‘Maharaja’ videoClaude Vonstroke Maharaja 1

Claude VonStroke has just unveiled the official video to accompany his new release, “Mahraja,” a track equally unorthodox as its visual counterpart.

Initially debuted on his live album, recorded at VonStroke’s headlining set at Movement festival in May, the intergalactic-styled track draws from Detroit’s own classic electro breakbeat fervor, with VonStroke’s offbeat jive rippling throughout.

The hypnagogic video is equal parts inspired by the surreal absurdism of Salvador Dali, the New York B-boy dance stylings and fashion of the ’80s film Beat Street, and the quixotic luminescence of Tron. Set, of course, in a desolate warehouse, a group of hip-hop dancers’ limbs melt and contort as they move about the space. Futuristic, Tron-like beams of light swirl and form grids along the dilapidated walls, while a series of outlandish objects, including giant golden eggs (a Dirtybird nod) and elephant statues allow the video the oddity and nonsensicalness of a bizarre dream.

Good Morning Mix: KLL SMTH shares wobbly mix from Dirtybird Campout West

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Good Morning Mix: KLL SMTH shares wobbly mix from Dirtybird Campout WestEvent 8844667

KLL SMTH has released his live set from his appearance at the Dirtybird Campout West back in 2017.

Like many artists out of the electronic music community in Denver, Colorado, KLL SMTH has a close relationship with fans and values live performance, sharing his own live sets with fans whenever possible. This outing is no different, offering a multitude of tracks from his own library of releases as well as music from close friends Noisia, Doctor Jeep, and new personal edits of his own. After performing during Dirtybird Campout in October 2017, KLL SMTH has gone on to release more wobbly electronic pieces like his hit “NICE ONE.” While KLL SMTH hasn’t been confirmed for this year’s Dirtybird Campout West, artists like EPROM, Mark Ronson and Madam X will succeed him at the Bass Lodge stage this October.

DirtyBird Campout West Coast Lineup Is Here!

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Claude vonStroke and the rest of his DirtyBird crew have announced the full lineup for the west coast edition of DirtyBird Campout and it does not disappoint! The reveal includes the return of its two signature stages— The Birdhouse and The Bass Lodge— which will be jampacked with the biggest names in techno, house and

The post DirtyBird Campout West Coast Lineup Is Here! appeared first on EDM Sauce.

Premiere: Sirus Hood – Warning

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Premiere: Sirus Hood – WarningSirusHood ThirdEye

A mysterious artist by the name of Sirus Hood stole the attention of the dance world around a half decade ago, perking ears with an array of wild house productions and sets. It didn’t take long for th French native’s heady beats to make their way to Claude VonStroke and Justin Martin, who promptly brought him into the Dirtybird fold. The rest is history,

After spending some time flying free from the nest, he now returns to Dirtybird with a stripped-down, grooving tech house two-piece titled Third Eye. Its opener, “Warning,” is minimal, yet chunky at the same time, pairing raunchy basslines and crisp percussion together into a satisfying backdrop for hits of laser and vocal edits. The result? A deep, grooving club cut that works as a good warm-up for peaktime hours.


Pre-order a copy of ‘Third Eye’ here

Listen to Will Clarke’s entrancing Dirtybird Campout East set [Stream]

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Listen to Will Clarke’s entrancing Dirtybird Campout East set [Stream]Screen Shot 2018 07 07 At 10.35.45 AM

A live set sure to inspire fervent ID searches, Will Clarke’s performance from Dirtybird Campout East has arrived, just ahead of the Dirtybird collective’s 2018 edition of its flagship Dirtybird Campout West.

Rife with gritty bass, entrancing loops, and penetrating transitions that take listeners from one Will Clarke catalogue staple to another house heater, to yet another unidentified dance floor filler, the unpredictable set is a masterful exposition of both Dirtybird and Clarke’s sonic personalities.

NMF Roundup: Keys N Krates remix Diplo, Zedd releases ‘The Middle’ remix package, and many more

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NMF Roundup: Keys N Krates remix Diplo, Zedd releases ‘The Middle’ remix package, and many moreOasis17 9 16 17 AJRphotos DA 103

The most important day of every week: New Music Friday. 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.

Kyle Watson adds a low-toned, mystery-filled house beat to ZHU and Tame Impala‘s seminal “My Life.”

Swedish producers Dimitri Vangelis & Wyman know festival season is in full force as they deliver anthemic-feeling “Phantom.”

The Aston Shuffle give ‘everything they’ve got’ on piano driven house heater, “Everything I Got.”

Inverted alien embellishments make for an eerie take on house, as Malaa returns with new single, “Bling Bling.”

Airy synth work leads to a saxophone climax on Spencer Brown‘s “waves.wav,” taken from Brown’s Illusion of Perfection EP pt. III.

Mandy Jiroux effects rhythmic bliss on vocal-centric new single, “Running Out Of You.”

Autograf add an electronic vibe to Family of the Year’s “Hold Me Down” with their laidback rendition of the original.

Bondax tap vocalist Andreya Triana for this soulful, groove-filled original.

Fabian Mazur leans into future bass-style production in this smooth offering, featuring Nevve on the vocals.

The remixers got the message, and now, on this New Music Friday, they’ve met Zedd, Grey, and Maren Morris in “The Middle.” The remix pack for “The Middle” sees revamps from Maliboux, Curbi, and more.

Spinnin’ Records heavyweights Merk & Kremont add a layer of infectious funk and a heightened bpm count to Addal’s original, “Lies,” making for a spirited rework.

Pucker up, Benny Benassi and Sofi Tukker fans: the two dance music dynamos link up on new single “Everybody Needs A Kiss.”

This Birdfeed Exclusive will have all streamers wondering “Who’s That?” The same-titled EP arrives courtesy of Floridian producer and long time Dirtybird fan, C.H.A.Y.

It’s a good week to be a progressive house fan as Grum and Fehrplay co-release “Spirit” on Anjunabeats, an atmospheric tune that melts from one second into the next.

Diplo, Lil Yachty, and Santigold‘s viscous collaboration “Worry No More” gets the Keys N Krates treatment as the Canadian electronic trio release a chilled-out take on Diplo’s original. Keys N Krates hit sonic sweet spots with a beat swap and the occasional yet effective percussive addition.

Stripped down sonic seduction materializes in mellifluous form on smle‘s debut EP, Love Notes, released on Lowly Palace.

House music fans will find J. Worra‘s Mark The Beast collaboration, “Hourglass” to be a tasty, groovy treat.

As part of Afterlife Recordings’ latest vinyl and digital offering, Italian trio Agents Of Time have crafted “Paradigm,” an ethereal techno original.

Re-envisioning a Markus Schulz production is a formidable feat, but Giuseppe Ottaviani rises to the challenge in his “Safe from Harm” remix, a take that plays the original’s soaring vocal off of the track’s quintessential trance beat.

Vulpey gets electronically experimental on “Recovery Quest,” a track defined by its disjointed construction and resulting edge.

Funky Craig puts forth a trippy take on psytrance in aptly titled new release, “WestPSYde.”


Ramon Tapia puts a dark, driving spin on Midmood’s “Sely Ho,” transforming the original into a certified techno thumper with rumbling percussive accents.

Featured photo by Andrew J Rauner Photography

Billy Kenny makes a storied return to Canada’s annual “Electric Island” series

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Billy Kenny makes a storied return to Canada’s annual “Electric Island” seriesUnnamed 4

It’s undoubtedly hard enough for producers and DJs to achieve a balance between performing and producing music, let alone take on the daunting task of co-owning their own label. Though it may be a seemingly rare occurrence in this day, Billy Kenny has shown admirable skill and talent in conquering this triad of musical prestige.

UK-born and raised, Billy Kenny has hurtled his way into recent headlines with his triple-threat status. With recent events leaving him unable to enter the USA, Kenny has taken this turn of events with an air of optimism and spent the last few months focusing on his European and Asian fans.

Kenny has been invited amongst other class-acts like The Martinez Brothers, Jackmaster, and ANNA to ring in Canada’s 151st birthday and celebrate the proceeding three-day weekend at Toronto’s Electric Island. Taking a twist on the typical commute to an event, attendees will embark on a quaint ferry ride over to their destination on the Toronto Island.

As his first show in the country since his abrupt deportation from the USA, we chatted with Billy to learn more about what he’s been doing to keep himself busy, his definition of weird, and his take on imprint Mija‘s “fk a genre” routine.

Billy Kenny makes a storied return to Canada’s annual “Electric Island” series11.13.17 BillyKenny 060 Edit 2

With your recently released Billy Kenny & Friends 2 EP, you’ve gifted us with a few new tracks to look forward to this summer. Tell us about the influence(s) behind this release, and what has pushed you to produce a handful of collaborations.

There wasn’t any set goal with any of the individual tracks as I already knew each one would sound different with having a second artist involved. All of the artists are actually friends of mine and I wanted to work with them for some time and the sequel to Billy Kenny & Friends EP was born.

It’s said that when one door closes, another one opens. Since your (hopefully) temporary departure from the United States, what have you been keeping yourself busy with?

Naturally, when things started to blow up in North America, I turned down, or had to turn down a lot of European shows because they wouldn’t work logistically. I went from living in Europe and playing shows there whenever, to living in the States and having to pick and choose when to be in Europe and not being there as much as I could. Now that I’m based here, I’m playing in Europe way more than I ever have and it’s forced me to focus on other territories too. I played my debut shows in Asia a few weeks ago for example, the Resistance Stage at Ultra Korea was a career highlight for me; I’m still buzzing from it!

Give us a rundown on how the #FreeBilly shirts came to be.

After I made the public statement about the deportation, people started commenting with the hashtag and uploading pictures or videos of me at shows with it in the caption. Shortly after, we were seeing people with shirts they’d made themselves baring the hashtag and decided to stick it on a proper tee for everyone, big ups Mija, Fresch, LO’99 and all the other legends wearing them at festivals around the world too haha <3

We have an admirable appreciation for how deep and downwardly weird yours and Mija’s sets can get. What makes you decide to take the “fk a genre” route, and mix-up the style of songs you play?

Mija is awesome, she’s really a beautiful person and her ethos is brilliant. I think her “fk a genre” concept is what initially drew me towards her which later turned into me being a fan. With such an extensive genre background myself, under different alias’ and many different early influences, I’ve always played with the crowd and gone in unexpected directions during my sets. Especially towards the end of them. I believe that the beginning/intro and end/outro of any set people watch live are usually the most memorable parts, so I’ve always tried to do something more “out there” with both. It also shows the audience a little bit about my character and gives them a better understanding of the music I like.

Although our neighbour has been shifty, Canada will always welcome you with open arms. You’ve performed at Toronto’s beloved CODA Nightclub and are now back for a day on the Toronto Island for Electric Island – is there anything particular that sticks out to you/that you think of when visiting the country?

Shifty, haha! Hey, by complete mistake or not, I did break the rules! Man, I love Canada, just as much as I love the US. Toronto was actually the first city I played in Canada back in 2015! I’ve since played around five times and made such a great circle of friends there which I can’t wait to see this Sunday. I’m also staying an extra couple of days too! In answer to your question, maple syrup, good vibes, amazing views and incredible manners, ehhh.

Billy Kenny makes a storied return to Canada’s annual “Electric Island” seriesCanadaDay Poster

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Claude VonStroke delivers his Movement set turned album, ‘Live In Detroit’

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Claude VonStroke delivers his Movement set turned album, ‘Live In Detroit’Claude Vonstroke Live From Detroit 1

Dirtybird don and Detroit native Claude VonStroke announced that he would release his headlining set as a live album after playing Movement Music Festival over Memorial Day weekend. Originally released on Apple Music, the set is now active on all streaming services and titled, Live In Detroit.

Jam-packed with VIP edits and deep cuts, VonStroke went all out, bringing the fans in his hometown some of the weekend’s most dynamic house and techno. From originals like “Grenade,” his industrial collaboration with EPROM and his previously unreleased, “Maharaja” to Wyatt Marshall’s techno remix of the classic “Who’s Afraid of Detroit,” Claude VonStroke has put together 85 minutes of the grooviest dance-floor tunes. With the album consisting of the DJs continuous mix along with 13 individual, unmixed tracks, the Dirtybird boss has blessed us all with this massive offering of house and techno bliss.

[Q&A] Meet the artists bringing the house down at Mamby: Walker & Royce

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walker & Royce

Since 2015, Mamby On The Beach has been allowing Chicago’s festival-goers to relish a diverse roster of acts right from the lakefront, the awe-inspiring Chicago skyline as its backdrop. Perched quite literally atop the sands of Oakwood Beach, Mamby is known for its eclectic lineup, which this year features everything from Chicago rapper, Common, to the indie accents of Cold War Kids, along with ample electronic titans like Gorgon City, Duke Dumont, and Jai Wolf. Dancing Astronaut sought to get a closer look at a few of the festival’s cant-miss house acts before Mamby hits the beach June 23-24. 

Sam Walker and Gavin Royce of Walker & Royce know that two house heads are better than one. The pair weaved through several of dance music’s most sought after labels, including Crosstown Rebels and Green Velvet‘s Relief Records, before finding an imprint they felt at-home enough to release Self Help, their first studio album, under: the equally eccentric Dirtybird Records. Even before the album’s release, its zany lead single “Take Me To Your Leader,” featuring Dances With White Girls, swept across festival grounds in 2017 like a quirky, four-on-the-floor Hallelujah chorus.

Walker & Royce put the fun back in dance music, with their animated sampling and groove-heavy club hooks. Though lighthearted, the duo’s music is anything but elementary, propelled by a meticulous, image-oriented sound design. Most recently, the two teamed up with another house habitué and dance music effigy, Chris Lake, for their percolating, two-track EP, Close Your Eyes. 

The guys sat down with DA to speak a bit about working with Lake, their group dynamic, and what they’re looking forward to most about Mamby before they hit the Mixmag Tent Sunday, June 24.

Tickets to Mamby On The Beach, as well as the full lineup, can be found here

How are you guys feeling about coming back to Chicago? You guys played at Spybar last year, right?
Sam: Yeah, literally one of the best gigs we ever had.

Gavin: We always love coming to Chicago to begin with. It’s one of my favorite cities in the world. It’s exciting to come back to Chicago in more of a festival setting, and then we still get to come back to Spybar afterwards.

How does working with the Dirtybird team compare to working at the other big dance music hotbeds you’ve worked with in the past?
G: With Dirtybird, and it’s nothing against the other ones, but I feel like we fit in more. It feels more at home for us, and more like a family. I’m sure other people have the same feeling about other labels. But with us it felt like the right place. They made us feel comfortable and not self conscious about what we wanted to do with the music. Even before we started doing the album, we were feeling that way. And then when that came up, we felt like it was really the right home for us to make the album we wanted to make.

You think your music fits in pretty well there?
G: I don’t think that we were typical Dirtybird. It fits in there, but is also kind of pushing the Dirtybird sound forward maybe, too. We kinda have our own unique sound. We don’t take ourselves insanely seriously with our music. We want it to be fun.

S: Sometimes we’ll start thinking about something when we’re writing music. We’ll think of like animated robots, but quirky, crazy, cartoony. And you almost have that sort of mental picture when you’re putting a track together—sonically fitting that image to couple it with.

What release would you guys say you’re most proud of thus far and why?
G: I can’t not say the full album. It was such an endeavor. We had this vision, and there was a time when we didn’t think it was going to come together the way we wanted it to. But it ended up coming together that way. When we’re doing EPs you definitely have a vision of what you want to be presented, but with this we paid so much attention to every aspect of it.

S: One of the cool things that happens with an album is when you’re not trying to write certain tracks, they happen naturally. I feel like some of our best dance music tracks came out of not trying to write them. The album gave us the ability to do that because we weren’t pressured into writing it.

What was it like working with another legend like Chris Lake on your last EP, and what spawned that idea?
G: Chris reached out to us a while ago and told us he had been a fan for a while. We had been familiar with Chris for many years and he recently kind of switched up his sound a little bit. He’s always made incredible music. I felt like our music started to really align together in the last year. So we got in the studio. The EP is better than I even thought it could be.

S: Also we were both working with Dances With White Girls. That was another connection. Chris’s sound started to move in a direction. Our sound started to move in a direction. It just sorta made sense. I’m really happy with what we came up with. And the weird thing about “Dance With Me” is we thought it was cool, but we didn’t think it would be this popular.

G: Both tracks are doing really well. “Drop Top” was kinda done last, and we didn’t think anything of that one either. But now we’re getting a really huge reaction.

How would you describe the dynamic of your musical partnership? Are there different things each of you brings to the table?
S: If we’re working on something, a lot of times, I’m probably overcomplicating it. I might just have some little sketch that I’m not sure about and Gavin will be like ‘Dude, that’s a track right there. We should finish that.’ Three months later, when it’s done, then I can’t believe I was second guessing it. At this point, we can get away with putting out something that’s a bit weird. And if it doesn’t go over, it’s back to the drawing board. We’ll do something else.

G: Our history is very much that Sam was always a producer and I was always a DJ. I started producing because I DJed so much. Sam and I had been friends for years. We started to help each other out on a few tracks. That’s how it kinda fell into place. Even now Sam is more in the studio kind of guy. And I swoop in and I help simplify things or help arrange things. It’s very yin and yang.

Any new music in the pipeline/will we be hearing any of it at Mamby?
G: We have a few unreleased remixes that we’re going to be playing at Mamby. We’ve been working on a few things. Another track with Sophiegrophy is in the works, who was on our album before.

Who are your three must-see acts this year at Mamby?
G: Richie Hawtin, who is an absolute legend.

S: Gorgon City. They’re playing a live set. I would also like to see Common, who is just something totally different from what we do. This is a cool festival for us to do. A lot of other festivals are electronic only. Mamby is a lot more wide open.