Gramatik announces highly anticipated return to Red Rocks with Gryffin, Haywyre, and Ramzoid

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Gramatik has been situating himself as a cutting-edge headlining act over the past few years. When the former Pretty Lights Music signee isn’t busy pioneering the way in crypto-currency culture, Denis Jašarević has been hard at work with his new Re:Coil Part 1 EP project in addition to some monstrous collaborations with GRiZ on “As We Proceed” and Ramzoid on a remix of Flume’s track “Wall Fuck.”

Having just embarked on his album-supporting Re:Coil tour this past December, Gramatik has just announced he will be capping the year’s festival season with his annual return to the legendary Colorado venue Red Rocks Amphitheater. The Lowtemp Records boss will be joined by fellow NYC producer and multi-instrumentalist Gryffin, Monstercat favorite Haywyre, Canadian future bass beat- maker Ramzoid, and recent Lowtemp-signee Balkan Bump, who has just released his debut EP and will be joining Gramatik on stage during the main act. The live event is set to take place Sept. 1, 2018.

General on-sale begins Friday, March 16. More information can be found here.

Eko Zu Releases ‘Get Em’

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With already over 100K streams on Soundcloud, Electronic trio, Eko Zu’s new single ‘Get Em’, has become their most popular single yet. Best known for their official remix of ‘Fly By Night Only’, by The Glitch Mob, Eko Zu has been spreading their analog noise throughout electronic scene. Their organic instruments create their signature funky

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Exclusive Q&A: Break Science on how Brooklyn influenced their sound, working with Pretty Lights, and their newest LP, ‘Grid of Souls’

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grid of souls-break science

Raised in the cultural hotbed of New York City, Break Science‘s Adam Deitch and Borahm Lee have long brought their city’s rich musical history in jazz, funk, and soul directly into their catalog. As two essential members of Pretty Lights Live, Deitch (also of Lettuce) comes armed with his thunderous breakbeat style on the drums, while Lee brings a seasoned trip-hop/dub aesthetic on keyboards and laptop. As Break Science, the Denver-based electronic duo combine their respective styles into a perfectly interwoven sonic treatise of thought-provoking, highly-textured, bass-pumping songs.

The C3-represented artists do not release new projects often, given their busy schedules with touring and their other acts. So when they do, it’s an easy bet that the project is fresh and soulful, expertly polished, and, above all else, extremely danceable. Break Science’s debut EP, Further Than Our Eyes Can See, for instance, included verses from some of today’s most conscious vocalists — including Brooklyn’s Talib Kweli and Jahdan Blakkamoore, Sierra Leone’s Bajah, and India’s Falu. Now in the midst of their 5-date US tour, the electro-soul duo is releasing their first LP in almost five years, Grid of Souls. The eclectic 10-track album showcases their diverse sonic range and deeply rooted beliefs in interconnectedness and consciousness in such a way that is bound to make a mark on the modern musical landscape.

Kicking off the album with powerful vocals of Raquel Rodriguez on the synth-driven “Cruise Control,” Break Science fuse generations of New York’s rich musical legacy with their own deep-rooted connection to hip-hop heritage. Other highlights include “Guiding Light,” where the duo puts their heavier bass and trap vibes on full display, along with a more rhythmic offering on “Light Shine Down,” a track tinged by influences from 80s electronica and synthwave sounds.

Deitch and Lee took time out of their busy touring schedule to answer a few questions with Dancing Astronaut on Grid of Souls, speaking to the album’s underlying messages and driving stylistic components, along with their time in Pretty Lights, how working with Derek Vincent Smith has influenced their own individual sounds, and their US tour with the groundbreaking lighting talents of Lazer Shark.


It’s been five years since your last LP release. Why have you waited so long?

B: Shit it’s been 5 years? I thought it was only 4.. I guess we were waiting till we we had something good to say. Well we got a few things we wanna talk about now and we plan on releasing more music this year.

A: To get it right! To get all the fine tuning, mixing, mastering takes time, especially with our touring schedules. Glad we waited until it was right!

What do you feel the album is attempting to say?

A: The album is a musically psychedelic trip into interconnectivity that is undeniably danceable and also can make one think.

B: Understanding the beauty in the diversity of life and seeing the unbreakable wires which bond us all together.

Stylistically, the LP is a beautiful blend of melodic and glitchy synth-laden funk, soul, and jazz. How do you feel your musical styles have evolved since your Seven Bridges LP in 2013 and what does Grid of Souls bring to the table that’s fresh and new?

B: We like bringing different styles together to create something new, but also like to stay anchored in the music that we came from. We continue to push this concept on this record.

A: The technology has evolved, our musical minds have evolved, our lives and musical styles/tastes as well. Borahm and I have met in the middle with our musical influences and styles to create a unique piece of art that will hopefully stand the test of time.

Tell us about working with Lazer Shark on the new music video. Will he be joining you guys on tour?

B: Its always incredible to work with our friend Lazer Shark. He has already joined us for some dates this year with more on the horizon. He never ceases to inspire us and furthers his extension of expression with his video for our single.

A: As one of the most profound, creative and risk taking lighting and content designers in the modern era, Lazer Shark has taken our visual game to the next level with his video for “Cruise Control” and our live show.

Both of you are essential members of Pretty Lights, and it seems the album’s major theme embodies some of the beliefs that run deep in the PLF: interconnectedness, consciousness raising, new age spiritualism. How has that influenced the new LP? In subtle or overt ways?

B: D is a long time friend and collaborator and we all work together because there’s a likemindedness there, which shows in many ways.

A: As we move closer to a collective consciousness as a species, every piece of art that directs people’s energies in that direction is extremely needed and necessary. We are inspired by artists of all genres and mediums from Alex Grey to Kamasi Washington that have deeply spiritual vibes embedded in their art.

Describe the album in just a few words.

B: An extrasensory musical excursion thru emotionally charged atmospheres

A: A journey into the future of electronic/analog music that can lift the spirit, move your body and spark one’s mind. 


Exclusive: SoDown unleashes aggressive new anthem, ‘Kill Em’ ft Kyral x Banko

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So Down - Kill Em Album Art for Web High Size

The saxophone playing, bass music producing, adventure fiend from Colorado, SoDown, is stirring up a frenzy in the dance music world for his wickedly unique productions that effortlessly blend a range of genres. The man behind the sax, Ehren Wright, returns to DA for an exclusive debut of his brand new single, “Kill Em,” on which he’s enlisted the help of Denver-based producer duo, Kyral x Banko.
SoDown’s newest single puts Wright’s immense versatility and range on full display. Whereas most of Wright’s past discography begins light-hearted and funky, slowly building to a cleverly deployed — and fearsome — bass drop, “Kill Em” begins with the full force of that same ferocity. Wright utilizes the ominous intros of early US dubstep, complete with dark synths and grimey bass lines, offering a glimpse into the more sinister side of SoDown’s musical package. When Wright introduces deep horns to the mix, the result is a riveting track that sits between heavy head banging music and funky groove appeal.

“Kill em started in a green room at an after party in Denver. Before long it had taken on a life of its own, morphing into an epic full on banger sent from the depths of the earth. We hope you enjoy listening to it as much as we enjoyed making it,” Wright tells DA of the track.

One thing that is the result of SoDown’s uniquely style of bass music and his keen ear for sound design: this is one producer to watch out for over the coming years. With sold out shows in Denver’s most popular venues, to opening at Red Rocks, Wright may be the next big thing to come out of Colorado. SoDown brings his live show back on March 3, 2018 to headline The Ogden Theatre (Denver, CO) with support from Buku, ProbCause and Homemade Spaceship.

The Funk Hunters Release Electro Boogie Anthem ‘Party Rockin”

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It’s impossible to predict what the dynamic duo The Funk Hunters will create next, and this time they’re throwing it back with a fresh take on a familiar anthem with their new track “Party Rockin’.” The second release from their upcoming album draws some inspiration from the Bboyism break-dancing trend and infuses it with jazzy

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Chromeo Teams With R&B Superstar The Dream For Funkalicous New Track “Bedroom Calling”, As Well As Announce Album Tour

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Legendary funk duo Chromeo haved dropped their 1st track of 2018, “Bedroom Calling” featuring The-Dream, the second track from their forthcoming album Head Over Heels. The band also announced it is set to tour the world this spring and summer. With dates kicking off April 3 in Vancouver, the tour will continue with stops in Paris,

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Notaker Too Smooth feat. Grey MTTR

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Notaker has dropped Too Smooth featuring Grey MTTR on Monstercat today. This song is not your average Notaker track, and that excites me. As much as I love an artist’s signature sound, what I love to see more is for them to go out of their comfort zone and try something new. That being said

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Parliament returns with first single in 38 years

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The P-Funk pioneers Parliament have released their first single in 38 years.

“I’m Gon Make U Sick O’Me” is a deeply insatiable, off-kilter bass number which follows the George Clinton-fronted Funkadelic Kendrick Lamar-featured remix of“Ain’t That Funkin’ Kinda Hard On You” and the 2014 album First Ya Gotta Shake The Gate. The new track features Scarface and Clinton who plays a doctor named “Dr. Feel Good,” offering the antidote of “more funk for your ass.”

Clinton hinted during an AMA that a new album, Medicaid Fraud Dog, is in the works. The record’s sound is still up in the air, but Clinton noted that lately he’s been digging Cardi B, Flying Lotus, and would love to “record a song with Kraftwerk.”

Photo Credit: Andrew Mugs David Drummond 


You Can’t Funk With This Megan Hamilton “Bodak Yellow” Remix

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Love it or hate it, Cardi B’s “Bodak Yellow” was one of the biggest Hip Hop tracks in 2017. Recently, Megan Hamilton decided she wanted to put her twist on the track and released a remix titled, “Yellow Bodak”. The Minneapolis artist, known for her funky style and outstanding vocals, has changed it up a

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N.E.R.D’s self-titled fifth studio album is a chaotic affair rooted in social commentary

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No_one Ever Really Dies: even the acronym by which American funk rock supergroup N.E.R.D — Pharrell Williams, Chad Hugo, and Shay Haley — were founded upon suggests a non-traditional marriage between chic nonchalance and latent sentimentalism. Consider the collective sense of fervid urgency that is currently igniting the veins of millions of disenfranchised American and global citizens, inject a lethal dose of vogue funk and bottle it up in vivacious, supercool packaging: this more or less captures the sonic universe defined on N.E.R.D’s self titled, fifth studio album.

People began taking note of signs posted around Los Angeles and featured at Tyler the Creator’s Camp Flog Gnaw Carnival that read “No One Ever Really Dies” in late October, 2017. A few days later, the N.E.R.D proceeded to release No_one Ever Really Dies’ lead single “Lemon” before debuting the full LP a few days later at ComplexCon. It marks the first release for the famed group since 2010’s Nothing.

Since their inception, N.E.R.D has been raveled in collective confusion — not undue to their own struggles in defining their own artistic focus. The group’s first album, In Search Of, was originally produced digitally, but was pulled from the shelves of record stores worldwide and re-recorded utilizing live instrumentation from the rock band known as Spymob. Its re-release was met with ubiquitous disapproval from critics, giving way to another two albums plagued by their supposed failure to define a singular style.

Perhaps N.E.R.D’s first three albums were simply misunderstood by the masses, or maybe they served as quasi “trial and error” sessions in which the group refined their own characteristic style. One thing is certain: the outfit’s production M.O has always strayed from the traditional linear structure. Each of N.E.R.D’s five studio albums see them taking increasingly audacious risks, and No_one Ever Really Dies looks to be their most rewarding effort yet.

It kicks off with the exuberant frenzy that is “Lemon,” featuring one of contemporary pop music’s most exalted figures: Rihanna. The 29-year-old global superstar bops from verse to verse with palpable swagger, as if she’s playing pop-scotch on the red carpet.

“Lemon’s” sample of a man yelling “wait a minute” is former United States Senator, Arlen Specter, at a 2009 Pennsylvania town hall meeting while “shout out to them people” and “mad ethnic right now” are both phrases sampled from a viral twitter video originally posted by a rapper by the name of Retch. As the record bounces between verses, it usurps the listener with its dazzling flow. Before long, the project’s focus begins to take root.

Much like adjacent industry colleagues Gorillaz, N.E.R.D’s propensity to showcase a plethora of contemporary styles runs the risk of seeming misconstrued, pulling away from the album’s central focus; some would argue that such overbearing features can make such a project seem disjointed, but it pays off on No_one Ever Really Dies. Rather than cloud the group’s artistic intuition, each embellishment serves an integral purpose in building the stylistic framework by which listeners will contextualize the album.

High profile vignettes from artists like Future, Wale, Gucci Mane, M.I.A, and Frank Ocean imbue the album with a sense of urgency and are an relevant statement about the current musical zeitgeist heading into 2018.

“Voilà,” featuring Gucci Mane and Wale, carries the momentum onward.  Since being released from prison in 2016, Radric Davis — better known by Gucci Mane — has turned a 180. “They think I’m a magician” sings Davis, alluding to the fact that the general public is undoubtedly shocked at his life changes over the last two years, and that many people doubted him along the way. The Atlanta rapper revealed in an interview with TIME that, during his stint in prison, sobriety and exercise helped him lose 90 pounds and get his life back together.

Gucci Mane’s raspy verses are not typically associated with the sparkling funk-verve that characterizes N.E.R.D, but his lyrics add a serene sense of tranquility to the track: “I might pull up on a skateboard with me and P. Hoes gon’ still pay me attention” he raps. Gucci Mane’s fabled status in trap music history is a welcome blessing on “Voilà.”

Pharell picks up the pace immediately afterward with “1000.” Turning a corner, he chants the intro, “Kinetic energy a thousand times higher!” As the drums halt to half speed, morphing into a tribal rythmn, Future belts his verse, “Rick Owens boots, I’m walkin’ on a few thousand” sings the Atlanta trap superstar. “1000” is an honest, yet ostentatious glimpse into the life of some of hip hop’s wealthiest superstars: complete with designer boots, Ferragamo belts, and models in the bed.

Pivoting from the gaudy introspection on “1000,” N.E.R.D moves into outward social commentary at breakneck speed with “Don’t Don’t Do It!” The track, which features the father of modern hip hop, Kendrick Lamar, is a statement detailing the discriminatory behavior of law enforcement and, on a larger scale, society as a whole.

“Pac-man wanna prosecute you. Raise your hand up, and they’ll shoot ya’. Face off, face off.” spits Kendrick Lamar, the beat carrying his conscious rhymes a mile a minute, “Adolf Hitler. Grandkids slayed off. N****s, same rules, same chalk. Different decade, same law.” Lamar’s verse is more than simply an apt statement confronting the malevolent behavior of systemic racism — it’s a warning call. “Soon or later sides gon’ switch. You know Johnny got that itch,” raps Lamar, “How many more of us gotta see the coroner? Slain by the same badge, stop, wait, brake, fast!”

N.E.R.D’s ability to pivot from effervescent dance jams to socially-conscious funk ballads at headlong speeds — all the while utilizing atmospheric transitions and carbonated beat change ups — is mesmerizing. No_one Ever Really Dies seems to weave into one theme and out of another before the listener can make the conscious realization that the song’s structure had changed. The album’s biggest success is its mellifluous ability to shape shift and keep listeners engaged the whole way through. Listeners find themselves knee deep into a pop tsunami for one moment, and are catapulted into an incendiary diatribe on today’s current political situation the next.

“It’s crazy out here and right now, what we’re discovering is the truth only matters when it sounds cool. And when it doesn’t sound cool, people just choose to not fucking believe it,” explained Pharell during the album’s listening session. “So, that’s how they’re gonna use their minds. We need to use our minds a little bit stronger.”

Nearing the end of the album, N.E.R.D orchestrate a symphonic finish — complete with features from such fabled artists as Andre 3000 and, to a lesser extent, Ed Sheeran. “Rollinem 7’s” lyrics stream from the Outkast co-founder’s mouth in effortless fashion.

The combination of M.I.A and Kendrick Lamar on “Kites” is a further testament to N.E.R.D’s versatility and their ability to mold to fit any of the featuring artists’styles.”I’m letting off kites over barriers” sings M.I.A, the Sri Lankan avant pop legend alludes to the absurdity of nation’s having borders. Her ultimate goal, like other artists’ on the LP, is to make music that transcends the unavailing barriers that serve only to divide us as a human race.

Consistent with M.I.A’s verse, N.E.R.D’s newest album is a virtuosic, funk driven house party rooted in social and political commentary. Rather than serve as purely an escape, No_One Ever Really Dies acts as an atmospheric groove that exists entirely within the gloomy corners of the current political period. N.E.R.D is back to inspire change in provocative fashion, and their fifth project is a chaotic affair deeply rooted in the ongoing narrative of social progress.



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