Rising star Petit Biscuit has proven his talents for music production are developed well beyond his years. Classically trained in the cello since the age of five, Mehdi Benjelloun burst onto the dance music scene with his monumental remix of ODESZA‘s “Memories That You Call,” drawing comparisons of his cinematic sound design with that of the Seattle-based duo. The promising young producer, hailing from France, would soon catapult himself to notoriety at the mere age of 15 with his 5-track self-titled EP, wherein the project’s leading single, “Sunset Lover,” reached an unprecedented 400 million streams worldwide.
The multi-talented musician now celebrates his 18th birthday with the release of a genre-blending debut album that is every bit as warm and inviting as it is vulnerable and exposed. Presence offers sunny, progressive chord structures and colorful, polished mixing flanked by electronic touches and a furtive vocality that both chills and arouses. From the LP’s first track, “Creation Comes Alive,” featuring SONIA, to its instrumental closing title, “The End,” which utilizes the same shimmering synth pattern, the entire work becomes an evocative story book of pain and resilience for which one can use a lens into — quite literally — viewing an emotion.
Arguably the stand out track of the LP is the cinematic production “Forever Being,” which calls upon ODESZA’s sonic landscape with it’s chiming key chords, soaring vocal chops, complex half-/double-time drum work, and nostalgic phonographic movie quotes on the front and tail ends. The LP’s most astounding fact: Petit Biscuit wrote, produced, and mixed Presence over the course of the last year, finding time between high school exams and sold-out tours across the US, Europe, and beyond.
Not much is known about Exmag and their personnel’s musical history, nonetheless, their proclivity for funky, soulful, and meticulously-crafted electronic compositions is unmistakable. Formed by Brooklynites Eric Mendelson, Mike Iannatto, and Tyler Dondero, the group’s funk-infused melodies are rampant and irresistibly-danceable.
Indeed, Exmag’s return after two years exhibits their love of radiating funk and soul tenfold. For on their latest nine-track Part I EP, Exmag oozes their established groovy ethos, while upping their archetypal, genre-spanning sonic approach more than ever.
“A new season is upon us,” the group says of the new album. “The time has come to finally turn the page. After being displaced for years in the ancient mountains of Appalachia Exmag returns with reinforcements sharpened skills and lessons learned bringing songs of victory and mourning. Storms rage through the lands as tyrants cheat and destroy. Will a once great planet find peace in this time Will a new youth break their chains and rise as a cool breeze crests the mountain tops This is Part I. A new beginning. A fertile valley to defend and grow old in. As the world sifts out that which does not belong a placid force of extraordinary magnitude will build and evolve.”
Between the sultry rock guitar solos, soul-infused melodies, and downtempo electronic drops of Part I, Emxag enthralls its listeners. The records moves from slight hip sways to full-on body wavering all without compromising Exmag’s exuberant ethos. Not to mention, the newfound sonic spectrum is rather extensive. From tracks like “Not the Last Time” and “Going Down Slow,” it’s clear Part I encapsulates Exmag’s feel-good sound, all while building on the group’s expansive catalog, sure to be expanded on in the near future.
Coming off his Moving Castle release, “Honey,” featuring Sophie Meiers, Madnap has swiftly served “Disappear,” featuring Bien. Duumu collaborates on this one and includes the slow tempos and seducing atmosphere showcased in his 2017 singles. “Disappear” ties the chill trap side of Madnap together with Duumu’s cloudy and comfortable keys. Bien’s quick entrance and gentle voice make lyrical moments like “mistakes we make / is all those risks we take / but keep your place, no need for vows / and find a little purpose for now” strike with vengeance.
The Lane 8 camp is full of exciting announcements right now. The Denver-based artist, real name Daniel Goldstein, has announced his second album, Little By Little, out Jan. 19, 2018 on his own imprint, This Never Happened. The album comes with an extensive 35-date global headlining tour, with stop in North America, Australia, and Europe.
To celebrate, Goldstein has released the first single off his forthcoming LP, titled “No Captain feat. POLIÇA.” The track distills Lane 8’s unique flair for melodic and eloquently-textured productions that are both classy and quirky, traversing reflective electronica, instrumental club epics and left field pop moments alike.
Lane 8 addressed fans over Twitter to announce the project,
Over the past two years I’ve waited for a certain feeling to return – the feeling that I was ready and excited to write an album again. As it happened, at the end of 2016, we finished an incredible first This Never Happened tour shortly before welcoming our daughter into the world. As 2017 began, I found myself really driven to create album #2. Throughout this year, I found a lot of joy in focusing on each little task achieved, each small accomplishment that pushed me one step closer to the goal of making another album – another experience – that I was really proud of. In a way I think that’s what this album is all about – taking the time to appreciate each small step in a larger journey.
Pre-order Lane 8’s Little By Little LP here. See the full list of tour dates here.
A considerable amount of time has passed since the Oregon Eclipse Gathering, but exclusive sets continue to appear online as artists upload their live acts or, in some cases, even go as far as to re-record their sets.
Now former attendees and eclipse chasers from around the globe can now enjoy sets from the likes of Bassnectar, Minnesota, CloZee, and many more, organized into stage-by-stage playlists thanks to one SoundCloud user. From the deep, dark tech house of the Sky Stage, to the psytrance of the Earth Stage, to the festival’s bass head haven at The Moon Stage, over 50 live and re-recorded sets are available for stream from Oregon’s Global Eclipse Gathering, held Aug. 17-23, 2017.
Though international eclipse festivals are often based around trance and downtempo, make no mistake that the bass, jam, and house acts are actually considered guests in this awe-inspiring, transformative festival experience. Relive sets from the Global Eclipse Gathering’s Earth, Moon, Sun, and Sky stages below.
Currently on his massive 26-date European “Re:Coil” tour, electro-funk pioneer Gramatik has returned with his highly-anticipated Re:Coil Part I EP. While on tour, Gramatik will also be launching his very own cryptocurrency coin — what he’s dubbing GRMTK — giving him complete control over the distribution of his media via a decentralized entertainment channel called Singular DTV. The GRMTK token will also make him the first “tokenized” artist in history, with token holders receiving a portion of his rights and royalties.
Gramatik has previously teased three tracks off the album as far back as June, including the groovy poolside jam “Recovery” featuring Eric Krasno, “Voyager Twins” with Galactic Marvl, and, most recently, “Aymo” with Balkan Bump and Talib Kweli.
Centered around themes of science and technology, the 6-track EP also features collaborations with Branx and Anomalie, broadcasting Gramatik’s momentous artistic versatility and range, while demonstrating his ability to take music into the future of global digitization. The EP is out now on Gramatik’s own imprint, Lowtemp Music.
It’s incredibly exciting, and yet, surprising almost that UK house maestro Nic Fanciulli is just now releasing his debut record — especially after playing such a pivotal role in the UK underground scene over the years. Fans of the virtuoso are ensured that it is with his prolific touring life and keen propensity for considerate curation that the phrase, “ Good things come to those who wait,” is quite applicable.
Surely, in an increasingly instantly-gratified, widespread age of musical connection that is oftentimes driven by the release of EPs and singles, a full-length album is hardly ever expected from those who frequent the circuits.
Fanciulli is one such act. After all, the artist has been busy cutting his teeth into the underground circuit for some time now. One may expect that the artist would not have the time to write and record an extended, cohesive body of work.
However, it is with his undeviating modus operandi and a refusal to remain sonically stagnant that allotted the creation of his first-ever LP, My Heart. It is also with his personal experiences in contextualization and a cultivated understanding of the impacts of dance music — both inwardly and outwardly — that Fanciulli shines on such an undertaking.
“This project actually started around ten years ago in 2007, right after I was nominated for a Grammy. I was surrounded by so many talented artists that I felt I really wanted to push myself and produce an album.” – Nic Fanciulli
On My Heart, Fanciulli delves into new experimental waters. The house don succeeds in an exploratory venture by way of a pleasantly employed variety of sonic landscapes, explored moods, and equivocal emotions over the course of 16 tracks. Through this, he presents an amalgamation of club-ready tracks and more downtempo numbers for the at-home listener.
My Heart, if the name hadn’t already served as a prior indication for its respective listener, comes from a considerably personal place.
“The music and touring aspect of my life was amazing but I didn’t feel I could channel the positivity I felt there into anything substantial at the time. The idea behind making an album was always to create something strong and meaningful, I wanted to make something that sounded as good at the afterparty as it does in the car, something that becomes relevant to every situation you listened in.”
Several thought-provoking numbers particularly stand out among an album filled with a blend of influences. One such tune, “Little L,” featuring Eagles & Butterflies, is a sound employment of all that Fanciulli set out to explore in his record.
Released prior to the full album, “Little L” offers a glimpse into the deeply emotive psyche of Fanciulli.
“The project name, MY HEART, came about when I realized I couldn’t switch off, or do this project part time – I had to totally immerse myself in it, and give my heart to it in order to finish it in a way I was proud of…”
Collaborations have certainly been a recurrent theme throughout Fanciulli’s career. He also teams up with the esteemed Guy Gerber on “The Perfect Crime.” The number, in turn, exudes immense melancholy and euphoria.
It’s clear from the deliverance that the collaborations were all really organic. However, perhaps, the best testament to organic collaborations on the piece is Fanciulli’s piece with Gorillaz‘ Damon Albarn.
He humbly describes the experience: “The craziest collab was having Damon Albarn on the vocals for ‘Saying.’ I had just finished a remix for the Gorillaz, and they really liked it; the next day I went into the studio and thought ‘I’m going to make a record for him and see if he likes it’. Luckily his management called, said he loved it, and within a week it was finished! It’s surreal for me; this is a guy who I used to listen to when I was doing my exams at school, I must have been a fan for 20+ years.”
Indeed, My Heart is an illustrious presentation of guest collaborators, delving into the waters of Fanciulli’s highly polished production skills and opening up fans to the newfound lush sonic beaconing of his soul.
“The album is called My Heart because I put my heart into it, Fanciulli asserts. “It’s a reflection of everyone I’ve ever met, everywhere I’ve ever been, and I hope everyone that listens can find something that resonates with their heart in the music. ”
Back after his near four-year hiatus and fresh off the release of his new record, The New Monday, Detroit-hailing Shigeto stopped by BBC to deliver an especially chill mix. Jumping on the guest mix for Benji B’s BBC Radio 1Xtra, the Ghostly International artist has put together a lustrous, spellbinding live vinyl mix.
Shigeto kicks things off with three new tracks from Archy Marshall, otherwise known as the UK indie rocker King Krule. He then sets the stage for an absorbing array of tunes to follow by delving into the mix with three tracks off Marshall’s latest record TheOOZ. From there, the artist continues to hold the attention of his listeners in a masterfully balanced assemblage of tunes.
He smoothly pulls off a transition from the heavy grime rapper Giggs to American solace songstress Kelela — and interestingly enough, it works. It echoes a sentiment of keen auditory balance, but such is engrained in the M.O. of an artist the caliber of Shigeto. Take his new album, for example, The New Monday: the record is a culmination of all that he loves about Detroit, namely rap,techno, jazz, and smooth house. It’s for that reason that The New Monday shines, and why the BBC mix does, too.
Each and every artistic endeavor from Scott Hansen, known musically as the Ghostly International artist Tycho, solidifies his status as an artistic mastermind of this generation. Following this notion are the designer’s cinematically-aligned live visuals for his tune “Glider,” off 2016’s Epoch.
Created as an homage to the visionary Russian filmmaker Andrei Tarkovsky — the creative force behind films such as Ivan’s Childhood, Andrei Rublev, Mirror, Stalker, and more — Hansen incorporated elements of Tarkovsky’s 1972 film Solaris into these visuals for the tune.
Tycho is now set to take these visuals on autumn tour of Europe.
Tycho Autumn Tour Dates:
19 OCT – Dublin, IE – District 8 – SOLD OUT 22 OCT – London, UK – The Roundhouse 24 OCT – Barcelona, ES – Razzmatazz 2 25 OCT – Toulouse, FR – Bikini 27 OCT – Bologna, IT – Estragon 28 OCT – Turin, IT – Movement Festival 30 OCT – Basel, CH – Kaserne 31 OCT – Zurich, CH – Plaza 01 NOV – Antwerp, BE – Trix 02 NOV – Utrecht, NL – Tivoli 04 NOV – Copenhagen, DK – DR Koncerthuset 05 NOV – Stockholm, SE – Nobelberget 09 NOV – Moscow, RU – Izvestia Hall
UK producer Dave Tipper has been relatively quiet since his solar eclipse special event, 4321, held last month in central Missouri. Now, the “godfather of glitch” has climbed out of the woodworks to release his 4-track EP, Lattice.
Chock full of material that the producer has been playing at his themed gatherings over the past year, Lattice does a tremendous job cataloguing the full spectrum of Tipper’s psychedelic bass-driven directionality as of late. The project is Tipper‘s third EP in two years, following the release of Flunked back in January, and 2015’s It’s Like.
From the EP’s leading track, “Lattice,” with it’s unpredictable half-time tempo, all the way to the closing track, “Dreamsters VIP,” which gives the original ambient track a bass-boosted hip-hop treatment, Lattice takes listeners on a wild sonic journey through time and space. The EP is both tribal and primitive, futuristic, and multi-dimensional, with frequencies that both confuse as much as they ignite curiosity into music production outside of the given norm.