Last year, electronic veteran Moby surprised us with an album with his new band the Void Pacific Choir called More Fast Songs About The Apocalypse. From that we heard tracks like “In This Cold Place” which, contrary to the upbeat tempo and colorful animation, posed existential questions like, “Who will take the place … More »
Recent converts to electronic music in the last few years may not realize exactly what has transpired in the last half decade or so. The short of it is essentially a massive worldwide overhaul in dance music’s popularity — one that happened seemingly overnight. Dance music completely transformed from a historically underground network to a colossal entertainment subset that’s raking in nearly $10 billion globally every year, and growing. On a cosmic scale, it all happened in a snap, but a new documentary, What We Started, aims to dive deep into dance music history over the last 30 years and examine exactly how we got to where we are today.
What We Started is set to bow in Miami on March 22, followed by a New York premiere the next day, and finally show on March 29 in Los Angeles. The new feature, co-directed by Bert Marcus and Cyrus Saidi, offers in-depth interviews with industry pioneers including Carl Cox, Tiësto, Moby, and Pete Tong, juxtaposed by the trajectory of bright new torch-carriers like Martin Garrix and discussions with frequent dance music contributors like Ed Sheeran and Usher.
Stitched together by archived footage from the rave scenes of the 1980’s and 90’s, What We Started may provide an important history lesson with informed look back at where this all came from, and perhaps a hopeful look at where we might be going from here.
Earlier in the year, after Donald Trump’s presidential inauguration, Moby claimed to know insider information regarding Trump’s ties to Russia during the 2016 presidential election.
“After spending the weekend talking to friends who work in dc i can safely(well, ‘accurately’…) post the following things” posted Moby to Instagram back in February, “1-the russian dossier on trump is real. 100% real. he’s being blackmailed by the russian government, not just for being peed on by russian hookers, but for much more nefarious things. 2-the trump administration is in collusion with the russian government, and has been since day one.”
Moby’s diatribe continued for two more points, concluding by saying “these are truly baffling and horrifying times, as we have an incompetent president who is essentially owned by a foreign power.”
“Yeah, so years of touring and spending time in DC and New York, I’ve managed to make a few friends in the intelligence community. And I guess this is about a year ago, we were having dinner and they were really concerned — partially based,” says the electronic pioneer in the interview, “not to go too much into the weeds — this Fusion GPS report on Trump essentially being run as a Russian agent. And these are some active and former CIA agents who… they’re truly concerned”.
“Just imagine how much more dangerous he would be if he was intelligent and had emotional impulse control,” concludes Moby. “I’m really grateful that, if we’re going to have a tyrant, at least let him be stupid and incompetent.”
Photo Credit: NPR
After a rather tepid 2017, Dutch electro house group Showtek have seemingly hit the ground running in 2018, reinventing celebrated veteran musician Moby for what essentially seems like a rework of “Natural Blues.”
The synths and mellowed house-inspired style seem to be majorly Showtek’s handiwork, as the duo seem to be moving onto yet another new sound over the past couple of years. Moby’s influence over the track is a lot more subtle, as the seasoned artist’s work can be majorly heard in the background, especially with the soft, string-plucked chord progressions. In fact, their style plays such an instrumental role in defining the identity of this ‘new’ track, that it could almost be labelled as a Showtek remix.
This revamped, modern style has given “Natural Blues” a ton of character and makes it a track with certain danceability.
It’s Friday, January 5th and that means that we have new music to get your weekend poppin’. As we make our first playlist of 2018, you better believe that it’s filled with some incredible new dance music songs for this week’s New EDM This Week official playlist. This past week, we discovered 58 new songs
The post New Music Friday: Kayzo, Showtek, Tritonal, Breathe Carolina, Lane 8 appeared first on EDM Sauce.
While it’s been almost two decades since Moby’s ‘Natural Blues’ conquered the world of dance music, it’s safe to say the record hasn’t lost any of its allure. And now, for everyone who might have accidentally forgotten just how brilliant the Grammy-nominated song is, none other than Dutch duo Showtek teamed up with Moby for
The post Showtek & Moby Join Forces For New Twist On The Classic “Natural Blues” appeared first on EDM Sauce.
Why so serious, Moby?
After years of major adrenaline-soaked rave tunes, Moby’s Blue Period is entrenched in the End Times (see his last two albums collaborating with The Void Pacific Choir, or really, or any track from his forthcoming release). With preoccupations of global chaos and/or failing systems, gloom and/or doom, the DAT-playing vegan is officially insisting that the party’s over.
But then again, complacency and ignorance are death. And even if the famed American DJ/producer/photographer/animal rights activist’s subject matter has taken a bit of a Vonnegut-esque turn for the morose, Moby’s passion remains infectious, as he knows that acknowledgement and outrage are the first steps to changing anything.
His latest single, “Like a Motherless Child,” is a spiritual with roots going allllll the way back to the Civil War. The updated version features L.A. soul singer Raquel Rodriguez singing the recognizable hook. The single comes in advance of Moby’s forthcoming album Everything Was Beautiful, And Nothing Hurt, out March 2 on Mute. Pre-order it here, and check out the new song’s stark, mostly monochrome video clip below:
Everything Was Beautiful, And Nothing Hurt tracklisting:
01. Mere Anarchy
02. The Waste of Suns
03. Like a Motherless Child
04. The Last of Goodbyes
05. The Ceremony of Innocence
06. The Tired and The Hurt
07. Welcome to Hard Times
08. The Sorrow Tree
09. Falling Rain and Light
10. The Middle is Gone
11. This Wild Darkness
12. A Dark Cloud is Coming
Moby released two albums within a year of each other with his Void Pacific Choir — 2016’s These Systems Are Failing and this year’s More Fast Songs About The Apocalypse — and he’s already following those up with another new full-length called Everything Was Beautiful, And Nothing Hurt that’s due out next year. Today, he’s … More »
Before Destructo became the king of west coast dance events and G-house’s popular champion, Gary Richards resumé already boasted the legwork that galvanized the 1990’s rave scene, creating and operating his own label, as well as a co-sign from Rick Rubin to lead Def American’s early electronic A&R channel. Richards is effectively a living time capsule of modern underground music’s most formative moments and at the root of his complexion is techno. He’s seen where it’s been from a firsthand perspective, so those looking for a crash course in underground dance history, tune in. Destrcuto has dropped off a new Spotify playlist curated to be a crate digger’s dream.
Stocked with cuts from OG’s including The Chemical Brothers, Daft Punk, Moby, Kraftwerk and The KLF, Destructo offers up a lesson in techno and house history, showing off 30 of his personal favorites. Lords of Acid, who Richards had even signed in a past life, 808 State, and The Prodigy make appearances all well, giving an inside look at the tracks that shaped the industry leading tastemaker Richards has become today. Tune in and take notes.
During the 1990s, house and techno pioneer Moby inspired dance music’s collective consciousness in part by one of his most seminal releases, “Go.” The track sees Moby – also known as Richard Melville Hall – remix the B-side to his debut single “Mobility” by layering “Laura Palmer’s Theme” from David Lynch’s Twin Peaks over the original tune.
“Go” became one of Moby’s most widely celebrated releases, charting on the British Top Ten and showing Moby’s potential to shape the future of dance music. In his recently released memoir Porcelain, Moby dedicates an entire chapter to “Go,” which played a major role in his ability to popularize the dance music genre from 1989-1999.
Via a new initiative dubbed the Black Lacquer Remix Project, Moby calls on 40 of today’s most sought after producers to reimagine four of his key releases, “Go” “Porcelain,” “Why Does My Heart,” and “Natural Blues.” The project taps artists including Hardwell, Sander van Doorn, HI-LO and now Loco Dice to pay homage to the art of remixing by imparting modern spins on one of four rave classics.
In a collision of two legendary acts, Loco Dice answers Moby’s call with two remixes of “Go,” out on his own label Desolat. The two remixes embody Dice’s minimalistic house tastes cultivated across his decade long residency in his hometown of Düsseldorf, and during his 2002-2006 residency at DC-10 in Ibiza. The Tunisia-born, Germany-raised artist is a tastemaker for the next generation of dance music, imparting his global influences on both Desolat and on his artist agency Artists Alife.
Because Loco Dice began his musical journey in the 90s, the artist imparts a unique perspective on his remix of “Go.” Read about Loco Dice’s creative process below:
Have you read Porcelain?
No, not yet, but it’s on the pile of books that are next to be read.
Are you familiar with the Black Lacquer Remix Project?
Yes, I am familiar with the Black Lacquer Project. It’s about Moby opening his back catalogue to remixes. If I’m not wrong, there are four tracks: ‘Go,’ ‘Porcelain,’ ‘Why Does My Heart’ and ‘Natural Blues.’
What does Moby mean to you?
Moby is an icon. He went a long way from an underground artist to someone who made dance music accessible to the masses, while staying true to himself.
What does this track mean to you? Why did you choose this track?
I picked ‘Go,’ a well known track. Everyone knows it, and it’s actually perfect. But I thought about how ‘Go’ would sound if I combined it with something that I associate with New York: a certain house sound with big rolling drums that appeared a few years after Go. I tried to imagine if the tack would sound different if it was released in 94-95 – but of course, from my perspective today. That was the basic idea of my approach.
Any tips for up and coming producers on the art of remixing?
Try to find the essence of the track, parts and moments that inspire you to experiment and interpret. Be honest, and the your remix will be right. But the bottom line is: there are no tips. The moment when an artist gives their track free for a remix, there are no boundaries for the remixer. You are free to do your thing.
What about “Go” makes it so iconic? Is it attached to any memories for you?
‘Go’ perfectly captures the vibrant vibe of that era – excitement and a fusion of dance music styles. Around that time I was a hip hop kid, and through Massive Attack I discovered the UK sound, like breakbeats. ‘Go’ entered my life a little later and what shocked me were the beats, I could relate to it. When we talked about rave, ‘Go’ was how I imagined it. It was one of the first ‘rave’ tracks that I noticed back then in my hip hop days.
Describe your creative process for this remix. How long did it take to create, and where were you when you made it?
When I received the proposal to pick one of the tracks, it was clear that it was going to be ‘Go.’ The main part of the creative process was that I already had the vision of the early 90s NY idea of how it could have been at that time. The rest went pretty smooth in my studio, because I knew what I wanted to do.
How does it differ from other remixes you’ve done?
Every remix has its own story, its unique mood, and is made in a certain time of my life.
If Moby were to remix one of your songs, which one would you want him to remix?
If Moby were to remix one of my songs, I’d want him to remix ‘Seeing Through Shadows.’