Download and stream Illenium’s brand new pack of previously unreleased edits

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Download and stream Illenium’s brand new pack of previously unreleased editsIllenium Live

Illenium turned in a career year in 2018, landing on Dancing Astronaut’s Top Artists of the Year list. He spent most of the year gifting fans with new music and as 2018 drew to a close, the Awake producer gave fans one last freebie, delivering a brand new pack of previously unreleased Illenium edits. The ten-track collection of edits features Illenium’s VIP edit of Flume‘s “Say It,” a monstrous mashup of “Lost,” “Disarm You,” and “Chosen You.”

The exclusive edit pack additionally encompasses some of the introductions from Illenium’s Awake 1.0 and Awake 2.0 tours. The bundle opens with Illenium’s “2017 Intro,” and transitions into his “2018 Awake 1.0 Finale.” The song kit notably closes with Illenium’s “Awake 2.0 Intro (Gold),” to bring the live experience home to the speakers of Illenials around the world. The edit pack includes productions from the past three years of Illenium’s career, and is now available for download at no cost, here.

H/T: Run The Trap

Mercer inflects house with vintage disco sound in ‘Alright’

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Mercer inflects house with vintage disco sound in ‘Alright’Mercer

Disco never died, and while some naysayers aim to disavow the longevity of four-on-the-floor beat arrangements and the soulful funk of coalescing synthesizers, horns, and syncopated bass lines, MERCER‘s latest single vibrant evidence that disco stylistics are alive and well in 2018. The Parisian producer inflects house aesthetics with a hybrid of vintage jazz and disco sounds in “Alright” — a feel-good dance floor filler with a soulful groove.

“Alright” is an edit of Jamiroquai’s 1996 house heater of the same name. The original sampled Eddie Harris’ “It’s All Right Now,” and Idris Muhammed’s “Could Heaven Ever Be Like This,” but MERCER lends his own distinctive flair to the edit in his implementation of a swifter tempo that renders this new version more danceable by comparison. MERCER cuts straight to the lyrical hook of the original, salvaging only the hook in his edit, which loops in a disco-house inspired fashion.

Good Morning Mix: Benzi comes through with new summer heat on tenth anniversary ‘Get Right Radio’ mix installment

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Good Morning Mix: Benzi comes through with new summer heat on tenth anniversary ‘Get Right Radio’ mix installmentGRR2018

Your favorite DJ’s favorite DJ is back at it again. Summer time inevitably means a new “Get Right Radio” mix installment from LA-based edit dealer Benzi, and for the 10th anniversary edition of his running mix series, the Girl Trapz proponent has definitely pulled out all the stops. Famous for his endless trove of personal edits, mashups, underground exclusive VIP cuts, and unheard gems that might never see the light of day, Benzi has become the plug for the LA dance scene over the years, but he always finds time to share his goodies with the rest of us.

On this year’s edition of “Get Right,” Benzi whips up a mile-long tracklist of trap, hip-hop, bass, and pop, bringing Drake, Jauz, Calvin Harris, Falcons, Childish Gambino, Nitti Gritti, Zeds Dead, Post Malone, and Outkast to the mix, along with so many more. Spanning nearly 50 tracks, Benzi laces dance music’s top power players with mainstream pop and rap’s most in-demand authorities, all glued together by a slew of Benzi’s famous personal edits. Originally premiered on Benzi’s longtime home of BBC Radio 1, the “Get Right Radio” series continues to age like fine wine, and we’ll undoubtedly be reaching for this mix all summer long. To celebrate this year’s session, Benzi and collaborator Blush have also dropped off a new remix of Youngboy NBA’s “No Smoke” via Atlantic Records. Tune in here.

Mr. Carmack releases earth-trembling, instrumental rework of Childish Gambino’s ‘This Is America’

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Mr. Carmack releases earth-trembling, instrumental rework of Childish Gambino’s ‘This Is America’Jacob Avanzato Carmack

Mr. Carmack has released an edit of Childish Gambino‘s “This Is America,” maintaining subtle pieces of the original’s framework, while keeping the new set list weapon a strictly instrumental hay maker. Playing with a minimal bass beat and open sonic space, the original rework was anchored to Gambino’s apathetic tone, though the Hawaii-based producer dropped a completely the instrumental edit as the final product, and the result is a club-rattling heater.

With trembling low-end appeal and metallic synth stacks, Mr. Carmack’s rendition of the dominating Billboard chart topper will certainly begin to creep into heavy festival play this season. Mr. Carmack is known for his versatility in combining hip-hop beats with electronic elements, and Childish Gambino’s incredibly successful commercial outing has proven to be a perfect canvas for Carmack’s underground touch.


Don Diablo stirs summery sentiments in new edit

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Don Diablo stirs summery sentiments in new editBig Pineapple Another Chance Don Diablo Edit

The past few months on Don Diablo‘s end have been fairly silent in regards to new music works. He’s been amidst an expansive, marathon tour, so it makes sense. However, he recently found time to hash out a fresh edit of Big Pineapple’s “Another Chance,” and has since bestowed it upon his patient fans.

Not much is known about Big Pineapple, nor the original “Another Chance,” for that matter. A search for the tune on various platforms yielded zero result. That said, Diablo’s edit is certainly a pleasurable one. He douses the ears with his signature future house methodology — though more toned down in this piece — and pumps emotion into the finished product with soothing piano riffs and warm vocals. It listens like a drive down the highway, or a days spent outdoors in the summer with friends.

The Glitch Mob exude respect for the process in their third studio album, ‘See Without Eyes’ [Interview + Album Review]

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When The Glitch Mob take a break from the visible public eye, longtime fans of Boreta, edIT, and Ooah know something masterful is in the works. After all, if there’s anything this LA-based powerhouse trio is known for, it’s a penchant for profundity and a fondness for not rushing the artistic process.

“For us, music is more about the process than the final piece of work,” they told us in a conversation leading up to the release of their third full-length studio album. 

At the same time, almost four years has passed since the release of their sophomore LP, Love Death Immortality, which debuted at #13 on the Billboard 200 album chart and No. 1 on the iTunes electronic chart. As opposed to the highly experimental nature of their debut Drink the Sea LP, LDI exuded a newfound sense of direction with the introduction of storylines and a complex array of heavily layered tracks. Fans are, needless to say, squeamish to hear how those sonic storylines have evolved.

Rest easy, young apostles, for today, May 4, marks the official release of The Glitch Mob’s third album in eight years, titled See Without Eyes, via their independent imprint, Glass Air Records. 

“See Without Eyes has elements of our first two albums, but explores new territory,” says Boreta. “We aimed to have it be a full body listening [experience] as well as have impact live. The album is a piece of us combined with all of the lives of the people who have brought it to life. We hope people connect with the music and feel something their own way, like the comfort looking at the stars.”

It is this sense of profound connection to the supernatural process of creation that The Glitch Mob has been infusing into their musical stamp for over a decade — since their early days of experimenting with sounds at Burning Man. Certainly, as die hard burners, and artists who owe their career start to life on the playa, the three have encoded the spiritual and communal energy of Black Rock City into the very fibers of their being.

“Playing some of our first shows at Burning Man definitely honed our creative DNA. It’s all about taking people on a journey and that has stuck with us. We didn’t know anything about the music industry at the time; we were experimenting with sound. We’ve kept the sense of experimentation.”

A love for experimentation, of pure joy and playfulness, and a simultaneous appreciation for evolution, to an almost philosophical degree, continue to be important themes for the guys in their musical output. Perhaps that is why their music is so hard to pin down stylistically; for it is anything but generic. Their portfolio is mystical, perplexing, and always deeply satisfying. Listeners often walk away with as many questions about their lives, the lives of others, and the universal force fueling it all, as they do filled with immense gratitude for the experience.

“This album is about the mystery of being human. Music can express truths far above above and beyond where words falter and cease.”

This is the kind of raw, undefined energy The Glitch Mob strives to reignite in their music and live shows, one that is elusive beyond of the timelessness of sound — and it’s safe to say, they want it that way.

With inspirations ranging from Aphex Twin to Jay-Z to British Eastern philosopher Alan Watts, and spiritual teacher Ram Dass in between, it’s no wonder the style and attitude of a Glitch Mob track is so elusory and mysteriously divine.

See Without Eyes is an album that’s rather difficult to critique, perhaps because it is such a layered, fully-embodied listening experience. There are, however, two thematic qualities as to why the LP works as seamlessly as it does. Almost like a light and dark energy fueling the other, experimentation and evolution are two prominent forces driving See Without Eyes.

“That’s the powerful thing about music: it’s different for everyone and doesn’t mean one thing in particular. You might hear dark and someone else hears light.”

The album’s leading track, “Enter Formless,” offers the first gateway into The Glitch Mob’s world of amorphous, experimental sounds. Complete with vocals from Sacramento-based female electronic duo Rituals of Mine, the lyrics —”Tell me how you feel it” — quite literally instruct the listener to forget about form, genre, and the like, and simply open their bodies and minds to the sonic experience. Yet, at the same time, the song is anything but formless — boasting rich melodies, a dedication to structure, and clear direction guided by classical horns and their signature electro-stabbing synths.

From this starting point, the album gradually progresses to tell a larger story, with each track building on the last so as to ease listeners deeper into their world. It is a world where light and dark energies are constantly competing with each other and, at the same time, complementary to one another. “Disintegrate Slowly” is one piece that exemplifies this notion, taking listeners on jolting ride into experimental tones and broken beats. Cinematic horns and percussive elements set a foreboding mood as the trio takes unpredictable twists and turns before dropping abruptly into the more melodic track, “Keep On Breathing.”

One thing is certain at the album’s midpoint: See Without Eyes is not just a collection of individual tracks, but a comprehensive masterpiece that demands to be experienced as a greater whole. Bouncing back and forth between experimental, non-lyrical tracks like “Come Closer,” “Interbeing,” and “The Way Is Out” and more melodic, gut-wrenching collaborative ballads — such as in the previously released “How Could This Be Wrong (ft. Tula), “Take Me With You (ft. Arama),” and “I Could Be Anything” (ft. Elohim).

“This album is a result of a deep dive. It’s a love note to the art form of music and the way it connects us. It’s a result of us experimenting, having fun, and collaborating with some incredible artists.”

See Without Eyes is brimming with unique collaborations, which speaks to The Glitch Mob’s yearning to work with artists who organically fuel their sound. Not only does the album enlist some of the music industry’s most exceptional underground artists — from rising electronic talent Elohim, Arama, Ambre, and two tracks with Isreali singer/songwriter Tula — but the group has sought out a few meteoric young bass talents in REZZ and Illenium as well.

“These connections all happened organically,” says The Glitch Mob. “We’re all mutual fans of each other’  music, which is how our best collaborations happen. Mindshare.”

As the album begins to descend, after cascading between the eery and yet hopeful tones of “Go Light,” The Glitch Mob harken back to the emotional with a harmonic and hypnotizing ballad in the Ambre-assisted track, “How Do I Get To Invisible.” After entrancing hums on the lead in, Ambre’s vocals take center stage on the track with stand out lyrics —”All of my flaws make me out to perfection” — overlaid by an experimental landscape choked full of arpeggiated chords and beguiling instrumentation.

The album also boasts an innovative, avante-garde visual component created by the trio’s visual arts designer, David Wexler, also known as Strangeloop, who has also worked on visuals for Pharrell, Flying Lotus, Kendrick Lamar, The Weeknd, and more. The group says they gave Strangeloop See Without Eyes to build his reactions in visual form whilst listening to the album. His visuals will be featured as music videos for all 11 tracks, which link together to paint a larger picture for the album, as well as a unique VR machine for people to experience during The Glitch Mob’s tour through setups in the lobbies at their shows.

As three friends who got their start in the burgeoning Los Angeles bass-driven beat scene, The Glitch Mob has gone from young starry-eyed neophytes, who were just learning their way around the decks at Burning Man, to international rockstars equipped with a DIY sensibility and a deep respect for artistic process.

“The process between us is quite fluid at this point as its been so long. It’s a musical conversation that’s based on trust, surrender, and discipline. In fact, it’s more about the process than the final result. We challenge ourselves, dive deep, and express.”

Still heavily steeped in their signature synthesizers and saturated bass lines, See Without Eyes represents an appreciation for where the three musicians have been and where they are going. Where that is, even Boreta, eDIT, and Oaah may not be able to say. But with landmark festivals like Lightning In A Bottle, Governors Ball, Bonnaroo, Electric Forest, and Shambhala on their list of headlining summer appearances, not to mention a massive global tour where they will unveil The Blade 2.0, The Glitch Mob is certainly going places.

The Glitch Mob perform on their Blade set-up at Austin City Limits, 2014. Photo courtesy of Ralph Arvesen.


Whether or not fans can expect another Burning Man set in the near future, the guys leave that question playfully open-ended. They merely extend gratitude for the people who created a pop-up community which gave them the space to hone their experimental sound: “Thank you, Larry, for making the world a weirder place.”

The Glitch Mob are set to embark on a pretty insane world tour with The Blade 2.0

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Following a prolonged hiatus, The Glitch Mob, LA-based trio Boreta (Justin Boreta), edIT (Edward Ma), and Ooah (Joshua Mayer), have returned refreshed and ready to take on a monumental 36-date world tour in 2018, including a slew of festival stops in North America.

Coming off the success of their 2014-2015 tour, featuring the distinctive custom stage creation dubbed The Blade, The Glitch Mob now announce The Blade 2.0, a meticulously designed offspring setup powered by Dell and suited to the sonic needs of the three members. Acting as an instrument in itself, with every part custom-made, The Blade 2.0 aims to break the disconnect between performer and the crowd to create a truly immersive experience. Everything has been flipped around so the crowd can see what the group are playing in real time. The custom stage is the work of pioneering set designer Martin Phillips — the man behind Daft Punk’s legendary Pyramid on their iconic Alive tour, who has also worked with Kanye West, Nine Inch Nails, and more.

If there’s anything The Glitch Mob is known for, it’s a fondness for not rushing great art. Still, fans are patiently awaiting the trio’s next album in the four years since their last LP, Love Death Immortality.

Los Angeles-based synth-pop artist Elohim and Montreal’s Anomalie will accompany the trio on tour for several dates. Tickets can be found on The Glitch Mob’s official website. Pre-sale tickets are available now using the code TGM2018. Public on-sale begins Friday, February 23, 2018.

Maceo Plex has released his elusive edit of The Smiths’ classic ‘How Soon Is Now’

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In June, Maceo Plex veered away from the progressive and techno style which has defined his career with the release of Solar. Favoring narrative-driven, rock-inspired electronica to pounding club kicks, Erik Estornel’s sophomore album marked a significant artistic evolution and acted as the launchpad for his new Lone Romantic imprint.

For his first release since the LP, the artist has gifted his following with a beloved cut that celebrates both his left-field and club-leaning inspirations. Maceo Plex’s revision of The Smiths’ iconic “How Soon is Now” has long been a favorite in his DJ sets ― one which most fans had accepted would never see the light of day with an actual release.

Now, Estornel’s hectically soothing take on the ’80s hit is not only available, but has been published for free download. Featuring a stunning modulation of Morissey’s vocals alongside an energetic rhythmic reformatting of the original guitar riff, it’s scintillating to think that this already legendary edit has reset the clock on its extensive club half-life.

Read More:

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whereisalex Flips Flume To The Next Level

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In the words of whereisalex, “here is my highly unofficial remix of ‘Say It’ by Flume“. The only aspect of this remix that is official is that it bumps. whereisalex goes in for 4 minutes and completely flips the tune to his own flavor. Grab a pair of headphones and jump in because this one is

The post whereisalex Flips Flume To The Next Level appeared first on EDM Sauce.

Drezo and Benzi split the difference on stellar ‘Diplo and Friends’ episode

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Diplo recently lined up a special episode of his famed BBC Radio slot, Diplo & Friends, delivered by Drezo and one of show’s resident selectors, Benzi. Los Angeles-based producer Drezo, coming up as one of the brightest talents in the tech house scene, drops off an hour-long bout of his infectious club-primed sonics, while Benzi, widely known among DJ circles as the scene’s leading remixers and edit producers, brings it home in the second hour with his booming list of exclusive edits and bootlegs.

Drezo opens up the two-hour show lacing together tunes from Valentino Khan, Chris Lake, and The M Machine, glued together with his growing catalog of warehouse-primed wobbles, packing in everything from his DJ Hanzel-assisted “Anxiety” to his most recent original, “Dead” from his forthcoming Jaded EP due July 14. Stepping away from the tech house motif for the tail end of the show, Benzi comes through with an hour of top-notch remixes and edits. The Girl Trapz producer showcases crate gems from Dillon Francis, Flosstradamus, Mercer, Kaytranada, fellow TWRK component eSenTRIK, and more.

Drezo satisfies the underground sensibilities, tempered by Benzi’s endless collection of edits, making this latest mix a highlight episode of Diplo & Friends this year.

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