It’s been more than a year since Bassnectar revealed that he and longtime friend and collaborator Sayr would be joining forces for the first time since the early 2000s.
Ripe for a Valentine’s Day release, Naux Faux has officially unleashed their warm, dreamy, and otherworldly downtempo project on the masses. It’s an appropriately timed release, too, because it resonates on the vibratory frequencies of love, nostalgia, connection, and longing. Best put into words, Naux Faux’s Enchanted album sounds akin to two entities who’ve conjoined their separate physical parts into one whole cosmic being.
The Bay area producer pals have taken their time finishing Enchanted because that’s what art is: precious. While they began five of the album’s seven tracks back in 2014, the project has taken a while because they “wanted to be hyper detail-oriented” and make the process “extremely fun,” Bassnectar reveals. He also notes that it’s impossible for him to produce this kind of music when he’s knee-deep in the wild style energy of summer festival touring.
“[T]his winter has been an awesome chance to unplug — I’ve ‘hung up the Bassnectar suit’ and been enjoying a ton of time outdoors (enjoying the heck out of California) and…when I’m all cozy in winter mode its the perfect scenario to make downtempo music.”
The album’s meticulous execution shines in its innate ability to transform listeners to a desert scenery, with the morning sun peeking over the mountains after a long night of uninhibited shenanigans. From start to finish, the album conveys a sense of wonder, bewilderment, and delirious bliss in its sheer capacity to deliver the listener onto various planes of consciousness. What is so apparent with Enchanted is how it was designed precisely for the coveted sunrise sermon slot. The album reveals just how influential Bassnectar and Sayr’s styles are upon one another.
The name is basically a play on ’NOthing PHOny” and was gonna be NOFO or NOPHO but then i liked how the word ‘faux’ means fake…so its like a very special nod to an era of electronic music which is extremely authentic, and which both Craig and I have a lifelong love for… if you like ‘Mesmerizing The Ultra’ i suspect you may quite possibly like naux faux 🙂
Discovering Soul Catalyst is like discovering a hidden snack at your marketplace and it becoming one of your favorite treats of all time. In the last couple years, Soul Catalyst has consistently been awarding fans with one great tune after another, continuously finding ways to present his layback, worldly sound. “Escape” winds it down compared
Launchpad is a playlist series showcasing music we love, hand selected by our staff. The tracks come from both emerging and mainstream artists; it’s all about the quality and the unexpected. If you’d like your music featured in Launchpad, submit it for consideration here.
With the New Year’s festivities behind us, now’s the perfect time to reflect on the opportunities and possibilities we can pursue in the new year. Accordingly, Dancing Astronaut hascurated a playlist brimming with introspective, late-night vibes to wind down, decompress, and reflect with.
DA Playlist Selects:
PaulWetz- “Third Eye”
At just 20-years-old the German-hailing PaulWetz is already satiating dancefloors around the world. Returning with “Third Eye” – a collaboration with UK singer Christen Kwame — PaulWetz delivers a provoking late-night production hinting that listeners will need to keep all eyes and ears alert to see just what the new year holds.
Deisen- “Zentrifugal” Born and raised amidst the same very streets that shaped Kraftwerk, in Düsseldorf, Germany, Deisen lives up to his regional heritage. Having spent time in Germany, Vermont, and Brooklyn, Deisen’s music is a visceral reaction, which he claims on his SoundCloud page pulls him “into a life void of creativity and motion.” Presently, Deisen has released his dazzling Zentrifugal Ep, which he’s described as “a portal to daydreams of naivety, farewells, overcoming, dancing.”
Yöurr – “Fall Apart.” PaulWetz- “Third Eye” APIS – “Proof” London Grammar – “Oh Woman Oh Man (Gus Miller Remix)” Deisen – “Zentrifugal”
Bassnectar surely had a productive 2017. With the release of a two-part EP and numerous unique curated events – the Bassnectar fandom was blessed with lots of Lorin Ashton. Well Bassheads, continue to celebrate because the man himself just announced that new EP is on the way via his side project NAUX FAUX. oh yes: the
Despite incessant rants from a few vocal minorities across his cult following, Lorin Ashton continues to shower his spoiled fanbase with new gifts — in the form of a throwback Naux Faux side project. Bassnectar has officially revealed by way of Twitter that his psychedelic downtempo EP under the shared moniker with Sayr is in the works for as early as Valentine’s Day. Naux Faux harpoons back to Ashton’s early 2000s sound aesthetic circa his Mesmorizing The Ultra LP, which is characterized by ambient, pulsating melodies, break beats, and lo-fi synth work. No word on whether the EP is self-titled, although one remixed track, “Psyopia,” has already been released as apart of Bassnectar’s Reflective Part 2 EP.
oh yes: the full @NAUXFAUX EP will be coming this year, hopefully just in time for Valentine’s Day 🙂 for those of you who like your Ultras to be Mesmerizing 🙂 https://t.co/CoVK1E2uuo
In October of 2017, indie rock heroes MGMT finally gave fans the missing piece of the comeback everyone had been anxiously awaiting: confirmation of a new album due in early 2018. Following the release of the album’s titular track, “Little Dark Age,” MGMT’s first single in four years, the band shared a second preview with a melodic, morbid piece called “When You Die” in December. Now, as the group nears the arrival of their fourth studio album, they’ve shared a dreary, psychedelic new cut called “Hand It Over.”
Building off of the second single’s inky appeal, the new tune is an enticingly gloomy, downtempo blend of surf rock and syrupy synth-pop all wrapped up in distant, trailing vocalwork. As MGMT’s new album begins to take shape, Little Dark Agesounds to be a fitting title for the band’s upcoming work.
Australian dream team Jono Ma (of Jagwar Ma) and Angus Gruzman (of Dreems and Die Orangen) present The Dreemas, an EP that will be out mid-January via Kompakt. Jono Ma and Dreems have teamed up to create a minimalist piece full of ambient vibes and glowing melodies. “Can’t Stop My Dreaming” is notable for its downtempo, relaxed sound which showcases rumbling excerpts of bass and intriguing, distorted vocal samples. Starting off the new year right, Jona Ma and Dreems have set the bar high for what’s to come.
Flitz&Suppe and Tusken.’s music is on an entirely different wavelength.
It should come as no surprise then that the latter group is named after the fictional Sand people’s language of the Star Wars universe. The artists internalized that nomadic inspiration into an exploratory downtempo hip-hop work named Nomads Void. The result is a celestial hip-hop collection that is an instrumental amalgamation sure to blast those who listen to a distant interplanetary domain.
Having joined forces on different projects in the past, Flitz&Suppe and tusken.’s Nomads Void is a soothing symbiosis of the two beatmakers’ M.O’s. Similar to the long-employed trip-hop styles of both the venerable Pretty Lights and Emancipator, Nomads Void is an enthralling odyssey, complete with compelling drumline cadence, and raw, vintage cuts that can’t help but imbue a lo-fi-aesthetic that begs to come in peace.
Mija continues to bend the boundaries of a multitude of genres with her new track “Bad For You,” featuring Kelli Schaefer. Fashion designer, musical curator and entrepreneur, Amber Giles continues to be a creative force in the dance music realm (or whatever realm she chooses to participate in).
Connected by a mutual friend via the Internet, Mija produced the song and linked up Portland DIY artist Kelli Schaefer, who wrote the vocals and lyrics. The track is being released in correlation with the announcement of Mija’s upcoming debut EP How To Measure The Distance Between Lovers, set to drop in early 2018.
Schaefer, a frequent member of the indie rock scene, is a perfect fit for Mija’s experimental production elements on the track, which includes a downtempo bassline, subtle pitched vocals, and a variety of electronic samples that words cannot describe.
Since the inception of Louisahhh’s earth-shattering RAAR techno imprint alongside Maelstrom in 2015, the French luminary has risen above her contemporaries as one of the most hauntingly evocative acts in the world.
Unmistakable in her deliverance, Louisa Pillot intertwines punk rock and techno as if the two were a match made in heaven. With each new release, and her own vocals spliced throughout, Pillot doubles down on the cataclysmic world from which she exudes sonic energy.
Presently, she surpasses the aforementioned adverse nature of her previous tunes. Her latest offering exudes her heaviest sonic embracement and introspectiveness to date with both its heavy guitar and eerily packed vocals.
“‘A Trap I’ve Built’ is an intentionally brutal body of work. Wading through murky themes of rape culture, addiction, masochism and deprivation, whatever isn’t explicitly lyricised bleeds through in a sonic ambush. It is my intention that listening to these songs, or DJing them, should be an experience that leaves the audience a little shaken up, something they can feel in their teeth,” she said of the number.
“Trap” is the lead track off her A Trap I’ve Built EP, and if the tumultuous selection serves as any indication, listeners will surely want to be sitting down when they hear the remaining tantalizing tunes for the first time.
A Trap I’ve Built will be released on December 1. Preorder here.