We’re currently living through a very good time for DIY hardcore — partly because there are a lot of great bands out there and partly because resources like Bandcamp make it a whole lot easier for the uninitiated to find those bands. Since 2010, the Boston label Triple B has been collecting music … More »
GTA have always kept to a strict “death to genres” code, and generally, they’ve been able to disguise their production style around a wide variety of different sonics. There’s no doubt however that the Miami exports have a strong penchant for trap music, and when they deliver, it tends to go hard –– case and point, their newest piece alongside Falcons and Stush, “Buyaka.” LA’s Falcons, UK-based rapper Stush, and GTA all found their first pairing on a remix of 2015’s “What We Tell Dem,” and now the group has rejoined on a brand new original product that weaves Stush’s dubby spits through a turbulent trap beat that impressively complements the three producers’ bombastic styles.
The new track, which found its debut earlier this year in Falcons’ Diplo & Friends mix, stacks up multi-layered percussion behind patois-laced versework before dropping into a knocking break with a punchy hook. Stush’s heavy rhyme format grinds over Falcons’ and GTA’s stomping beat, blurring the gaps between trap, dancehall and hip-hop. “Buyaka” comes with a fitting A-Trak cosign, landing by way of Falcons’ longtime home imprint, Fool’s Gold Records.
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
A very talented trio made up of Xenia Rubinos, Sammus, and Olga Bell have teamed up together for a new track called “Levitating.” The collaboration came about at the behest of Tune-Yards’ Merrill Garbus, who had the three of them on her Red Bull Radio show last month to walk through the creation … More »
Moonlight from the ceiling cracks of the factory shines into the hopeless room where our heroine stands, waiting to wake her sweet prince, and savior. She’s surrounded by friends and enemies alike, all bonded by vapor and love. At the chime of midnight, she leans in and kisses the prince. Finally, after all this time, they are reunited.
Dr. Eggman sniffles in the background.
After years of slumber, only be awoken by true love’s kiss, Sonic opened his eyes, ready to run and ready to love.
Gotta go fast.
To get the rest of the story, check out ESPRIT 空想’s video for the single, “You’re in love,” off of the record, 200% Electronica, which can be streamed and purchased on vinyl and cassette here.
Swedish progressive house duo Axwell Λ Ingrosso have released their long awaited single “Dreamer” after more than a year of anticipation. Following the release, fan reactions were a mixed bag of emotions ranging from purist contempt to wholehearted appreciation to downright confusion.
The basis of such stark difference in opinion stems from the decision to alter the track’s structural elements or, in layman’s terms, change its drop. Is Axwell Λ Ingrosso’s fanbase truly this vexed over the group’s decision to flip the script on the track?
The collective frustration and confusion was exacerbated by the sheer amount of time that fans spent anxiously awaiting the track’s release, during which fans obsessed over live rips or “ID’s” of the “original” track—which first debuted at Amsterdam Dance Event in 2016.
Progressive house purists claim that the Swedish producers completely stripped “Dreamer” of its identity, and that the group is making an overt attempt to latch onto electronic music’s flavor of the week.
To rebut, others claim that by altering their production M.O., the group is exhibis a healthy artistic progression marked by a willingness to produce a more forward thinking sound.
Since the disbandment of Swedish House Mafia following their final performance at Ultra in 2013, Axwell has been outward about his desire to shift away from the musical styles that characterized the progressive house zeitgeist in the early aughts of the 2010s. Axwell took to social media following the backlash to give his side of the story, noting that fans can listen to the multitude of progressive house tracks in the duo’s catalogue if they desire a more purist approach.
Recent complaints regarding Axwell Λ Ingrosso’s structural subversion of the track’s fundamental elements comes as no surprise, especially considering the group’s emotional impact on progressive house fans throughout the years. Still, the complaints beg further questions regarding how genre categorization and cultural context affects the way music is produced and, more importantly, consumed on a grand scale. Not only do artists create music with its structural and stylistic elements in mind, but many pay close attention to how said music will be perceived in a larger cultural context or within the dance music scene.
Axwell Λ Ingrosso’s newest track “Dreamer” could be characterized as an active attempt to voyage into new sonic territory, a chintzy attempt to piggy back off of the success of EDM’s hottest buzz names in an effort to remain relevant, or something entirely different. Although it isn’t fair to deem the track obsolete or jump to conclusions about the duo’s artistic intentions, fan concerns about “Dreamer” bring forth relevant questions about how context shapes a songs construction and, ultimately, its reception on a larger scale.
Maceo Plex protégé Shall Ocin entered the last half of 2017 swinging, with the foundation of his very own Clash Lion imprint whose first release was none other than Maceo himself under his long-lost Maetrik alias. Now, Ocin debuts his own work on his home label in an enticing fashion.
Bounty Hunter offers three mighty tracks that heavily embrace the dark qualities that can emanate from analog sounds. Its opener “Cicada,” which Dancing Astronaut has the pleasure of premiering, is a sinister embodiment of the EP’s aura. Creepy, twinkling samples set at a high octave create a sense of unease, as shaking kicks and deep, humming basslines continue to build this feeling into an explosion of grueling techno that wreaks havoc to all in its path.
“Cicada,” along with the rest of Bounty Hunter, is due for a December 15 release. Pre-order it here.
Those questioning whether electronic music producers are “real musicians” say no more, because Daktyl is here to silence naysayers. The UK-born, LA-based artist performed his track “Unseen,” a selection from his The Act of Hesitation EP, live with instrumentals while JJ Draper performed vocals. The producer plays the guitar, the keyboard, the xylophone, a MIDI controller, and pad among other instruments during the performance — in addition, he also provides some vocal contributions of his own.
To say the performance is a spectacle would be an understatement, as Daktyl displays mastery of more than six instruments throughout the course of the video. Daktyl will be on the road with Big Wild this winter where fans will be able to see him perform live.
A few months back, MGMT officially announced that they would be releasing a new album called Little Dark Age early next year — it’s the follow-up to their 2013 self-titled — and shared its title track. Today, the psychedelic pop band is back with another song from their upcoming LP called “When You … More »
Band To Watch alumni Cross Record dwell on a Texas ranch making eerie, tumbleweed-strewn post-rock epics. So it only makes sense that band braintrust Emily Cross and Dan Duszynski formed a trio with Shearwater mastermind Jonathan Meiburg, their fellow Texan and a musical kindred spirit known for his own darkly grandiose compositions. Their new … More »