Wuki celebrates Grammy nomination with new mix of all Grammy-nominated tracks [Stream]

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Wuki celebrates Grammy nomination with new mix of all Grammy-nominated tracks [Stream]Wuki Live Credit BOO AZ

Wuki received a Best Remixed Recording Grammy-nomination for his spin on Miley Cyrus’ “Mother’s Daughter.” The New Jersey-native producer is celebrating his invitation to the 62nd annual Grammy Awards with a specially curated mix of nominated tracks and remixes from this year’s upcoming ceremony.

Starting the mix off right with his own Grammy nod, Wuki then dives into a RÜFÜS DU SOL remix, lacing in the Chemical Brothers, Tommie Sunshine & Bitch Be Cool’s remix of Billie Eilish’s mega hit, “Bad Guy,” and more. The mix also features Skrillex, Boys Noize, and Ty Dolla $ign’s nominated “Midnight Hour” collaboration followed later by CID’s remix of Lizzo’s inescapable “Truth Hurts.” Khalid and Disclosure make the cut, along with songs that fall in the hip-hop category, with additions from J. Cole’s Dreamville crew and finally DaBaby holding down the finale.

Wuki is also about to drop a collaborative EP with Latin Grammy-winner, Nitti Gritti, titled Ro Sham Bo. Together, they will embark on a co-headlining tour. For now, stream Wuki’s “Road To The Grammys” mix below.

Tracklist:

1. Miley Cyrus – Mother’s Daughter (Wuki Remix)
2. Rufus – Underwater (Yotto’s Dusk Remix)
3. The Chemical Brothers – Got To Keep On
4. Bonobo – Linked
5. Meduza – Piece Of Your Heart
6. Billie Eilish – Bad Guy (Tommie Sunshine & Bitch Be Cool Remix)
7. Camila Cabello & Shawn Mendez – Senorita
8. Skrillex ft. Boys Noize, Ty Dolla $ign – Midnight Hour
9. Taylor Swift – Lover (DJ Mike D Edit)
10. Lizzo Truth Hurts (CID Remix)
11. Khalid x Disclosure – Talk (Disclosure VIP)
12. Ariana Grande – 7 Rings (Mike D Remix)
13. 21 Savage & J Cole – A lot
14. Dreamville, J.I.D, Bas, J. Cole, & EARTHGANG – Down Bad
15. DaBaby – SUGE

Via: Billboard

Good Morning Mix: Revisit Ekali’s career galvanizing HARD Summer 2016 set

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Good Morning Mix: Revisit Ekali’s career galvanizing HARD Summer 2016 setEkali Awakening Mi Vol 6

In 2016, Ekali stepped behind the decks of HARD Summer‘s Green Tent to throw down a trap set that would arrest the many ears that collectively make up the electronic music industry. However, for those attuned, HARD Summer 2016 was hardly an introduction to Ekali’s low end acumen.

Commissioned to produce an official remix of Flume‘s “Smoke & Retribution,” Ekali had already begun attracting listeners well before he landed a slot on the festival’s lineup. Ekali’s rework of Flux Pavilion‘s iconic “I Can’t Stop,” picked up by Big Beat, further spotlighted Ekali’s taste making talents.

A lion had entered the release ring and Ekali’s HARD Summer 2016 showing affirmed it. Rife with electronic originals and revamps alike that have aged well since their inclusion in this earlier endeavor, such as Valentino Khan‘s “Deep Down Low,” Ekali’s set is jam-packed with productions that can now be considered genre classics.

Ekali’s current continues to flow through dance circles. As the producer progressively gravitates towards a more melodic style of bass, and as his following awaits the arrival of his debut album, not to mention an LP from his elusive new side project, Ekali’s HARD Summer 2016 set offers streamers a nostalgic glance back at his sonic foundation, and an opportunity to marvel at what he’s built in the time since.

Photo credit: Brandon Artis

Zeds Dead share standout tracks of the decade on second leg of Deadbeats special [Mix]

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Zeds Dead share standout tracks of the decade on second leg of Deadbeats special [Mix]Zedsdead

DC and Hooks are at it again with the second part of Zeds Decade mix from their Deadbeats SoundCloud shop. Zeds Dead formed in 2009, finding flagship touring success in EDM’s bass-burgeoning underbelly throughout the decade. They tout a deliciously strange taste in sounds with hefty sub frequencies, so to hear what these two princes of bass have to say about their favorite music from the decade is certainly an insightful treat.

The beginning of the mix is introduced as an ode to deadmau5 and Noisia, both huge influences for the Deadbeats label bosses in this decade, with the drum ‘n’ bass trendsetters’ heavy-hitting remix of the mau5trap label bosses’ “Raise Your Weapon.” Then the mix courses through an eclectic array of styles from Jamie XX to Tyler The Creator and Emalkay into Santigold into Taska Black into Branchez into NERO into “Griztronics” into Skrillex. This wide variety of decade favorites showcases the hip-hop crossed into melodic bass era from one of dubstep’s most prized possessions.

Below is part one for posterity sake.

Listen to Adam Beyer’s favorite Drumcode tracks from 2019 [Mix]

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Listen to Adam Beyer’s favorite Drumcode tracks from 2019 [Mix]Image From IOS 89

As younger dance music fans move from the main stage to the underground, one of the first names they hear is the ever-present techno trove Drumcode.

Not only did Adam Beyer knock it out of the park with the imprint’s namesake (equal parts informative and enigmatic), over the last two decades his style of throbbing, eerie techno has become a worldwide staple. And with this unmistakable notoriety, Beyer has expanded the sound even further, driving new trends and simultaneously giving a platform to new generations of trendsetters.

If there’s a dedicated techno stage at an electronic music festival, chances are Drumcode will have it’s own night as it has at EDC Vegas, Tomorrowland, Ultra and the list goes on.

2019 was yet another excellent year for the label. Rebūke and Will Clarke made their debuts on the label, and Julian Jeweil released his first full-length LP, Transmission.

With so much great music coming from Drumcode it was difficult for Beyer to choose an hour’s worth of music for his year-end mix (his words), but he was able to do so with the precision that only a revered industry authority like him could manage.

Photo Credit: Jamie Rosenberg

Diplo digs deep for Best of the Decade mix with BBC

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Diplo digs deep for Best of the Decade mix with BBCDiplo

Diplo resurfaced on BBC with a two-hour mix in hand, meditating on his favorite selections of the last decade.

If anyone is lined-up to slather their taste across the masses, it’s the eclectic, multi-genre, multi-project, label boss, A&R by association, tastemaker: Diplo. With a wildly successful and watershed decade himself from his reign as Major Lazer’s frontman, to his Grammy Award winning collaborative venture with Skrillex and beyond, crossing the one-billion stream mark on Spotify is becoming more and more habitual for the cross-generational tastemaker.

Not only does Diplo ever have his finger on the electronic music pulse, he’s also been part of developing pop super groups such as LSD with Sia and Labrinth, and Silk City with Mark Ronson which helped the two influential artists secure a Best Dance Recording Grammy for “Electricity” with Dua Lipa.

His Best of the Decade mix should arrive for many as cherished as gold, with enduring power tracks like David Guetta’s “Titanium,” Swedish House Mafia’s “One,” Avicii’s “Levels,” Rihanna and Calvin Harris’ “We Found Love,” Skrillex’s “Scary Monsters & Nice Sprites,” Flume’s remix of Disclosure’s “You and Me,” The Weeknd’s collaboration with Daft Punk, “I Feel It Coming,” his own work on behalf of his Major Lazer project alongside DJ Snake “Lean On,” and many more certified relics revered throughout the industry’s global soundscape.

Photo Credit: Willy Sanjuan

House meets trap in new Night Owl Radio episode featuring Dr. Fresch and ATLiens

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House meets trap in new Night Owl Radio episode featuring Dr. Fresch and ATLiensAtliens Live In Honolulu

Insomniac CEO Pasquale Rotella has proven yet again that his ability to curate diverse top-notch electronic music acts is unmatched. Insomniac’s Night Owl Radio is back and better than ever with a brand new episode featuring The Prescription Records labelhead Dr. Fresch and masked extraterrestrials ATLiens.

First up is the man with a PhD in house music: Dr. Fresch. Dr. Fresch gets in the groove and selects this episode’s Up All Night tracks for the first hour and 15 minutes followed by an exclusive guest mix from trap and bass duo ATLiens. Hot off the success off their recent hit “Shelter” and massive remix album, Ghost Planet Remixes, these two hold nothing back in 40 minutes of head-banging bass.

If listeners enjoy the juxtaposition of house and trap created in this mix and want to see it again, this mix provides that opportunity. As the end of a decade quickly approaches, Dr. Fresch and ATLiens both have New Year’s Eve festival gigs locked and loaded at Countdown NYE Festival in San Bernardino, California.

Photo Credit: Moses Alexander

Lane 8 wraps 2019 with resplendent Winter Mixtape

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Lane 8 wraps 2019 with resplendent Winter MixtapeLane8 Credit Daniel Zetterstrom

Progressive house mainstay and head of This Never Happened, Lane 8 is back with his last seasonal mixtape of 2019. Since 2017, the Canadian producer has celebrated the beginning of snowfall, sunshine and everything in between with two-hour-long mixtapes comprised of the ethos of each season (in 2019 he even added a bonus Halloween mix).

His latest mixtape features the likes of Anjunadeep devotees like Eli & Fur and Ben Böhmer, plus aural avant-gardes like Made in Paris and Jon Hopkins. And of course, several originals and IDs from the multifarious maestro himself rear their heads. Lane 8’s third album Brightest Lights is due out January 10, 2020, along with his accompanying tour starting in North America through February, ending with a string of European appearances.

Photo Credit: Daniel Zetterstrom

Exclusive: Ivy Lab flaunt carousel of tastes in new Holy Ship! Wrecked mix

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Exclusive: Ivy Lab flaunt carousel of tastes in new Holy Ship! Wrecked mixHoly Ship 2020 Soc Mitape Cover Ivy Lab R01

One of the best things about Holy Ship! is that, since the first departure back in 2012, the event has always catered to an open interpretation of dance music. That’s one of the reasons “Shipfam” has become such an enthusiastic and tight-knit community.

Careful steps are taken to ensure that the all-too-common musical elitism of other boutique events has no place on the ship. The landlocked edition, Holy Ship! Wrecked (HSW), taking place early next year in Punta Cana, promises to mirror its history in that regard. Accordingly, HSW’s lineup includes heavy-hitters and rising stars from all across the electronic spectrum.

That spectrum includes bass, of course. One of the most exciting acts to trickle onto this year’s beached blowout is most definitely Ivy Lab. Since their inception in 2013, this duo (formerly trio) have built their reputation on diversity and aural innovation. They follow the mold laid by dozens of niche-carving UK counterparts, manipulating the low-end to work for their sound as they tackle hip-hop, grime, breakbeat, and trap.

Their recent mix, a Dancing Astronaut exclusive, for Holy Ship! Wrecked not only explores the various nooks and crannies of Ivy Lab’s boundless influences, it features unreleased IDs, as well as every track from their brand new EP entitled Space War out on their own 20/20 LDN Recordings.

Exclusive: R3HAB drops hour-long mix ahead of performance at the Djakarta Warehouse Project

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Exclusive: R3HAB drops hour-long mix ahead of performance at the Djakarta Warehouse ProjectR3hab 4

2019 has been the year of R3HAB. In just this year alone, the artist, born as Fadil El Ghoul, has toured around the world with more than 120 show dates, released more than 30 singles and remixes, and now rounds out his accomplished era with one of his final, show-stopping performances of the year at the Djakarta Warehouse Project.

Ahead of the gargantuan three-day festival, R3HAB has prepared a delectable hour long-mix for Dancing Astronaut in anticipation of his set at the “Garuda Land” stage, aptly named after the country’s enriching coat of arms, the Garuda Pancasila. The mix opens with the thunderous bassline and sultry vocals from ZAYN, the opening notes to their latest jaunt “Flames.” With a quickening change of pace, the mix flips through high-energy hits and remixes from his catalog, including his Latin-inspired single “Fuego.” Throughout the mix, R3HAB shows support for budding artists on his CYB3RPVNK label, mixing in tracks from artists like CItyzen and his collaboration with Skytech.

While he’s currently city-hopping with long-time friends and electro-house trio Cash Cash, next on his global takeover marks a performance at Djakarta Warehouse Project, one of the largest electronic music festivals in Southeast Asia. The festival falls in the heart of Jakarta among his circuit of tour stops.

Tickets and more information about the Djakarta Warehouse Project are available online.

Photo credit: Tony Cottrell Photography

Beyond The Booth 022: exploring the cosmos with Robert Nickson

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Beyond The Booth 022: exploring the cosmos with Robert NicksonRobert Nickson Press Shot

Beyond the Booth is a feature dedicated to the hidden side of artists that exists outside electronic music— a side rarely discussed with those outside their immediate circle. We venture “beyond the booth,” so to speak, and dive into their deepest passions that tie into their unique personalities. After some self-introspection, each participant then returns to the booth, providing an exclusive mix for the Dancing Astronaut audience.

Robert Nickson and space make a fitting pair; after all, the producer has long proven his expertise in transporting his listeners to different worlds through uplifting trance. This motif carries itself through many of his works, with titles like “Sprial,” “Tachyon,” and “Stars” implying extraterrestrial inspiration. His deepest contemplation of the cosmos, however, has only just come to surface in the form of his first-ever LP, Tellurian. In it, we’re swept into a futuristic voyage across the universe, encountering stars like M.I.K.E. Push, Vintage & Morelli, Re:Locate, and Thea Riley along the way. It’s a brilliant demonstration of his expansive sonic pallette, and the fierce emotions stirring within Nickson’s psyche that grant his music the ability to open up others around him.

For this Beyond The Booth edition, we dive deeper into Nickson’s life outside of music—and find the two worlds are more interconnected than one might think. It just so happens that Robert Nickson’s other profession lies in the sciences, and he recently found himself on contract with the European Space Agency working in the Human & Robotic Space Exploration division. It was in fact his time spent at the Agency that helped spur inspiration for Tellurian. We delve futher into Robert’s expertise in the matter on a professional capacity, chatting over the start of his journey into the subject matter to his present endeavors. Nickson also expands on how the universe allows for a greater connection overall between his right and left-brained pursuits.

What have been some of the breakthroughs or memorable moments that happened during your time at the ESA? (please lightly dumb it down for us non scientifically literate folk)

I have somewhat of a scattered time at ESA. I had a few summer jobs there when I was 16/17, followed by an internship and then a job from late 2016 to late 2018. One of the most memorable times was during my summer job (I was 17 at the time) when there was a full solar eclipse in Europe. It was amazing to see, even if it was only a partial eclipse in The Netherlands. It was one those moments where everybody was standing outside in awe, constantly waiting for a break in the clouds to see it. Perhaps it was just me seeing an eclipse for the first time, but it felt like such an appropriate setting for it.

What did your professional resumé (sans music) look like prior to you accepting the role there? What are some other interesting jobs you’ve worked outside of trance?

Before working at ESA I was at Armada Music for 9 years, which I guess still falls under trance (though not music production). After that I did web development with a friend for a few years. Technically speaking we still do that, though it is somewhat on the back burner these days. I should really stress that I’m not a (rocket) scientist or anything. All my jobs at ESA were IT related. I was just fortunate to work somewhere and be small part of an industry that really interests me.

Tell us about how your love affair with the cosmos began and steps you took to learn more about space as you grew up.

As a kid from the 80s I used to love watching a cartoon on Saturday morning called Starcom. It was about the U.S. Space Force, which had colonies throughout the solar system. I can’t remember if I thought there were actual bases on the moon at the time but I imagined there would be by the the 2000s (the 2000s seemed so futuristic back then). I imagined going to space would be the easiest job in the world by then, no different than getting on a plane except that you’d have to wear a helmet.

These were also exciting times because of the Space Shuttle. It was such a beautiful machine and it made going to space seem so effortless. I had the opportunity to see a shuttle launch in 2009 (Atlantis STS-125). We were up before dawn and waited 6 hours for the possibility of a launch (it was all dependent on weather conditions etc.) and in our case it paid off. Truly an amazing experience that still gives me goosebumps today. I know the shuttle has now been retired, but if you ever get the chance to see a launch of any rocket, do not hesitate!

When I was older I became a fan of stargazing. Looking up at the stars gives me such a profound feeling of scale. It truly shows us how small and insignificant we all are. I’ve sat out in the desert in Arizona taking photos of the Milky Way, attempting to make timelapse videos as it passes overhead. On side note, I should add that I’m really not so much of a fan of science fiction. I think I was maybe 15 before I even watched Star Wars.

Give us three random facts about the universe that are cool to know/bust out at a party

I find these facts interesting but let me be clear, they are definitely not cool at parties [laughs]!

  1. We are made of star stuff. Stars convert hydrogen into helium and other matter such as carbon, oxygen, etc. Once a star dies it can explode in a supernova, scattering this matter throughout the universe. This matter then lumps together to form new planets. Everything we see around us now, trees cars, buildings etc. and ourselves have come from a star that exploded. And according to Lawrence Krauss the atoms in your left hand likely come from a different star than the atoms in your right hand. Mind blown! I used a sample of Neil deGrasse Tyson explaining some of this in my track ‘RNX – Atoms.’
  2. The Voyager program. This was a program to send probes to the outer planets Jupiter and Saturn. Someone at NASA calculated that there was a window to launch a probe in the 1970s that could pass by Jupiter, Saturn, Uranus and Neptune. This alignment only happens once every couple of hundred years so the timing was perfect. After passing these planets the probes would head into outer space. They included a golden record with images and sounds from earth in case an advanced alien civilisation would one day find it. As it will take thousands and thousands of years to leave our solar system, let alone reach another star, you’ve gotta love the optimism they had with the golden record. It’s absolutely pointless but really speaks to the imagination.
  3. The physics of Star Trek, a book by Lawrence Krauss. This book contains so many cool facts it’s easier to read instead of me picking one or two of them. This book goes into the physics of all the technologies used in Star Trek (such as warp speed and ‘beam me up’) and what it would take to achieve or what the consequences would be. You don’t need to be a fan of the show to read this (I’m definitely not a fan).

Cliché question, but curiosity for your POV has killed the cat. Are you in the camp of Elon Musk and other eccentric figures that believe the best way to ensure human survival is through space colonization? Why or why not?

I love the enthusiasm Elon Musk has to colonize space. He’s made space sexy and seeing those two SpaceX rockets land side by side is goosebump-worthy. Having said that, I think he’s a little too eccentric perhaps in thinking we’ll be living on Mars anytime soon. I think it was Neil DeGrasse Tyson who said that as Mars basically has no magnetic field there’s nothing to protect us from solar radiation, and therefore if humans were to live on Mars, they’d have to spend 99% of their time underground to not get cancer. I’ve never seen Elon address this issue other than saying they are basically the transport company and are relying on others to come up with a solution to this. But like I said, his enthusiasm and can-do-attitude is inspiring and I truly hope he succeeds. How amazing would it be to see a human on Mars in our lifetime?

The “Space Race” has played an understated, yet sizeable role in intergovernmental relations and defense strategy since it began. What are some of the ways you’ve seen modern space research affect diplomacy over the past, say, decade or so? What arenas of research have you seen certain countries, including the European Union, focus on?

I don’t really follow the politics too much to be honest. It is quite amazing to see though how the US/Europe and Russia can still work together on the ISS for example, particularly these days with so much tension. Good on those who manage to find a way to keep the project going under such pressures. When Europe was developing Galileo (Europe’s version of GPS) they wanted to use the same frequencies as the American GPS. The U.S. complained about this as they were afraid an enemy could use Galileo against them for example in guided missiles. They could not jam the signal without jamming their own GPS signals. Apparently there were even talks of the U.S. shooting down Galileo satellites in times of conflicts. In the end Europe agreed to use a different frequency. Perhaps the most bizarre occurrence I read about was when the U.S. and Russians were planning to dock in space for the first time. While I’m sure it’s just a myth as I can’t find any info in it anymore, apparently neither side wanted to develop the female part of the docking port. Neither side wanted to have the spacecraft that would be f#$%ed by the other spacecraft so they had to develop some expensive non male/female docking system. I think most space agencies focus on science projects (or at least claim to). Earth observation, planetary exploration, understanding of astrophysics, etc. Human exploration seems to becoming popular again, in particular landing on Mars. Military satellites are usually developed by other contractors outside of the space agencies, though often still launched by them.

Tell us about a project you’ve been keeping tabs on (ESA or outside) that you think will have a monumental effect on human life if there’s a breakthrough?

Finding/building a new type of propulsion for faster travel will change everything. To reach the closest star with current technology will take tens of thousands of years. If there’s a big breakthrough it may take decades instead, which makes a huge difference. I don’t know of any ESA projects working on this though. There’s a project called Breakthrough Starshot founded by people like Stephen Hawking and Mark Zuckerberg are working a proof of concept to achieve something like this. Travelling this fast will bring all kind of other interesting problems (which the Lawrence Kraus book I mentioned earlier discusses).

As someone with a [presumably] deep knowledge of the physics behind soundwaves, frequencies, and how they might affect the mind or the molecules surrounding them, do you feel you can elicit certain effects or reactions to your music as a result (if that makes sense)? Compare this to knowing music theory; does it better your songwriting as a whole, coming into the studio with a more studied/traditional knowledge of the subject beforehand?

No I don’t really think that way. I use the entire space theme more as a way to set a mood. It’s more of a “close your eyes and imagine you’re somewhere else” feeling, and space just seems to be a good setting for that. More of an effect than a cause, if that makes sense. I know there are people who prefer music at 432hz instead of the standard 440hz (short explanation: an A4 note on a piano is normally tuned to 440hz, A5 would be double that at 880hz. etc.). Some people say 432hz is more natural as they claim it’s the resonance frequency of the human body. To me it’s just an arbitrary default tuning and it honestly makes no difference one way or the other. This is the closest example I can think of to such an effect, but like I said, it doesn’t work for me. As for music theory, it does help if you can play an instrument (particularly keyboard or piano) and understand chords. I do sometimes wonder if true music theory geniuses are somewhat trapped in the terminology and stick to rules they’ve been taught that may not necessarily apply when producing dance/trance.

In general, how do you translate your ongoing explorations of space (pun intended) into your music? How have you done so in Tellurian?

I don’t really see it that way. I really just use it as a way to set an atmosphere. It really speaks to the imagination (or to mine at least). The first track from the album (Arecibo) is dark and includes samples from the golden record (as mentioned earlier). That combined sets a real mood. But it’s usually something that comes as I’m making a track though. I don’t usually set out to make a ‘space track’ from the start—it’s just how it goes. The tracks “Iridium Flare” and “Oort Cloud” I named such in part because I’m hoping people will think, “what the hell is an Oort Cloud??” Maybe they’ll Google it and find out. Let’s see if anyone does…

Dive more into the process of Tellurian; what inspired you to craft the album around the cosmos, and what makes trance a good fit to explore these themes?

Of all [electronic] music, trance and space themes seem like such a natural combination. It’s so melodic and emotional (though I dislike using that word), and you can really set the mood almost anyway you like. Add a good sample from someone like Carl Sagan talking about the Pale Blue Dot and it just instantly clicks. This just doesn’t work with house or EDM, as it sounds out of place.

Why was now the right time to create an album? What were the ‘signs’ that told you it was time to embark on a longform voyage?

Albums are great because they provide an opportunity to release different music. It’s “easy” to release another trance record, it’s not as easy to release something “album-y.” It’s just harder to market. Within an album those rules are somewhat gone. Of course you need the tracks, which everyone knows you for but it’s a great way to show another side of yourself. So why now? I’ve been working on a lot of those different tracks for some years and this year I felt it was ready. You put the tracks in a certain order and it just feels right—like a journey. I don’t know how to define when it’s right, it just kind of does, if that makes sense.

Describe a day in the studio—how does songwriting usually look for Robert Nickson? Do you like to start in a specific place? Are you more of an improviser who creates songs on the fly, or do you always start off with some sort of a base idea?

It’s different every time to be honest, though usually I start with either some chords or a melody as that’s what’s really at the heart of trance. On occasion I do start with the bassline/beats, but then I find I often get stuck on the melody. If I really like them I often keep them for when I have a melody and combine the two.

Finally, what’s next in the Robert Nickson pipeline?

At the moment we’re planning more singles to release from the album. We might do some remixes later on too. I’m working on a club of one of the more downtempo tracks at the moment, which I hope to finish soon. I also have loads of music left which didn’t make the album, so I’m looking into what to do with some of those tracks. I might do another album next year or just release them as singles, it all depends on how it comes together if that makes sense. I’ve also been playing around with synthwave music over the past few months so I might try to do something with that first. I really love making this style of music. It’s kind of my version of what I’d call a more trance take on synthwave. The styles are very similar in many ways though. And of course more T-shirts [editorial note: check out his cheeky collection here].