Straight out of Black Rock Desert and to streamers’ speakers, Gorgon City‘s set from Burning Man‘s 2019 installment bestows an hour and a half of sauntering sound upon listeners, sans the playa dust. Akin to the slow burn of the Nevada sun at the height of day, the opening minutes of Gorgon City’s set simmer. They arch with a dark ambiance as the steady beat with which the full-length showing opens plods forth.
In contrast to the more animated, upbeat technics that have colored Gorgon City productions in the past, such as the Kaskade co-effort, “Go Slow,” the pair’s Burning Man set is more muted and minimalistic. It’s replete with dusky sonic drama and shadowy, synth-assisted climaxes; a musical match to the mood of the desert.
Carl Cox‘s torrential techno reign has foraged Black Rock City for over a decade, and this year was no disruption from tradition. The global DJ veteran recently released his hour-and-a-half set at the Opulent Temple stage at Burning Man. Cox brought his unequivocal energy to the majestic desert playground with a set strewn with melodies riding percussion.
With various IDs and tracks from Audiojack, Kenny Dope, wAFF and more, the set is best-spent reminiscing the fleeting nature of time or simply lavishing in the array of long-form buildups and celestial hooks.
Burning Man may only last for a week, fragments of the elusive weekend continue to surface—reminding the rest of the music community of the desert-dwelling spectacle’s all-embracing artistic artillery. Below is another unearthed memory from the depths of debauchery entertainment, delivered by Playground BRC.
MK transferred his cerebral house sensibilities to the speakers of Creamfields UK‘s Area10 stage in an interplay that’s yielded a sleek two hours of underground sound. The extended mix, heralded by many as one of the highlights of Creamfields 2019, commences with MK’s own work, “Back And Forth,” produced alongside Jonas Blue. The inimitable vocals of the track’s featured artist, Becky Hill, provide an edgy verbal texture to the set, which shuffles through a series of cuts within the 120 to 130 bpm range.
Upbeat in body, the set showcases the discerning yet danceable character of MK’s style. The record that put MK on the map, “17,” naturally serves as a high point, surfacing right around the halfway point to add an extra kick through the rest of the set. MK’s twist on Kanye West and Lil Pump‘s pervasive “I Love It” is another.
For years, Tycho has treated Burning Man attendees to blissful sunrise sets and has also delivered his sets to those who couldn’t attend the festivities. This year, again, the producer has uploaded his 2019 sunrise set to SoundCloud, allowing all fans to experience two hours of dreamy beats even if they’re not in Black Rock City.
The new set takes listeners on an introspective journey, kicking off with Van Halen’s “1984” and setting the tone for the out-of-this-world collection of music that follows. From his own songs to selections from Bonobo, Chrome Sparks, Four Tet, and more, the celebrated artist thrills from start to finish.
“Happy to present this year’s sunrise set, live from the Dusty Rhino in Black Rock City on Thursday, August 29th, 2019,” Tycho notes in the mix’s description. “Thank you all for taking the time to share in this moment, it’s truly a highlight for me to spend this morning with you each year.”
The Desert Hearts dance floor is the stuff of legends among the West Coast house and techno community. A festival with less than 3,000 attendees that draws some of the most impressive four-on-the-floor masters is the scene. There may not be another event like it left in the world.
To perform at Desert Hearts is to know a specific kind of harmonic experience. The DJ does not play for the crowd. The DJ plays with the crowd, and Will Clarke had his chance to play with the crowd at his first Desert Hearts back in April.
This particular eve of the event was prime for Clarke’s heady-beats. Toni Varga and De La Swing did the warming up and a surprise set from Clarke’s Dirtybird cohort, Justin Martin, came right after. Expect some serious, raw tech house.
With the opening chords of deadmau5‘s 2019 single, “nosedive,” the producer’s catalog-canvassing set from Creamfields 2019 commences. Patrons of the globally attended UK event and those not present for deadmau5’s striking showing alike can now experience the Friday, August 23 performance in its full-length glory, as the set has become available in its entirety. The effort foregrounds deadmau5’s electronic marvel, the cube v3, from atop which he delivers his set.
deadmau5 shuffles through cornerstone productions from his earlier days in the industry such as 2016’s “Imaginary Friends” and 2009’s “Ghosts ‘N’ Stuff,” before inviting Lights onstage for a live rendition of “Raise Your Weapon.” Lights and deadmau5 then jointly transition into their lengthily anticipated collaborative effort of 2018, “Drama Free.” An incontrovertible classic, deadmau5’s “Strobe” provides a formidable finale to the stunning sonic affair.
This 60-minute mix is filled to the brim with some of today’s hottest music, including selections from Anti Up, FISHER, Walker & Royce, and AC Slater, along with several selections from the Los Angeles producer himself. Fans will also find tunes like Dillon Francis‘ “Go Off (Nuthin’ 2 It),” Noizu‘s “Dance,” an ID from Wax Motif, and more.
The producer is currently in the midst of a tour supporting his new music and can be found in California, Mexico, South Korea, Indonesia, and more in the coming weeks. See the full list of shows here.
Unflinchingly danceable Frenchman, Dombresky recently shared his hour-and-a-half house set from HARD Summer, gracious grooves abound. Needless to say, it’s the ideal vessel to rock listeners into a carefree weekend. The Parisian producer has racked an impressive set of releases this year along with major festival play. His standout singles from recent memory include “Meli-Melo,” the free-flowing, four-on-the-floor wave with a thumping bassline and filtered melodies, as well as an official remix for Diplo‘s LSD supergroup, by way of their single “No New Friends.”
Within the recent HARD Summer sonic affront, the DJ crafts an infectious and well-timed web of house music, to no longtime listener’s surprise. Fans have been expressing their desire for a more permanent slice of their memory from LA’s premier electronic music festival; and Dombresky delivered.
Dombresky is currently on tour finishing up shows at France’s Amnesia Cap d’Agde and Ushuaïa in Ibiza. Soon, he’ll bring down the house at New York’s Electric Zoo on Aug. 31. Catch an extended glimpse below of what to expect from a four-on-the-floor maven.
Earlier this summer on July 1, Mat Zo debuted his imprint’s inaugural compilation album, This is Mad Zoo. Geared with 12-tracks ranging from drum ‘n’ bass to dubstep, breakbeats, and more, This is Mad Zoo is as proper of a showcase of Mad Zoo‘s roster as it is fittingly in tune with Zo’s visionary roots in pushing the boundaries of the scene.
Now, the Mad Zoo boss once again proves to be one of the most eclectic forces in dance music, re-channeling his attention to This is Mad Zoo in a 37-minute mix. Redefining tracks from the compilation with masterful transitions and fortifying the experimental extremities championed by This is Mad Zoo‘s spectrum of genres, the UK producer takes listeners through a genre-blurring journey that exudes energy, beauty, and darkness all at once.
Immerse yourself in the madness of Mat Zo’s This is Mad Zoo mix below.
The opening seconds of Amelie Lens‘ set from Awakenings Festival are eerily climactic: muffled voices comprise an inconclusive dialogic exchange that slowly fades out as a pulsating beat hammers forth. As Lens’ showing unfolds, atmospheric tones filter in to augment the affective power of the set’s steady, underground derived-beat arrangements.
However, Lens steps back from this pounding, palpitating construction at several junctures, to offer listeners brief reprieves. Such a moment occurs around the 11 minute mark, at which point Lens gently grounds the effort via the introduction of an undulating collection of chords. Looping voiceovers prove a crucial component of Lens’ sonic toolkit at multiple points in the probing electronic endeavor, which potently evinces Lens’ techno expertise.