The 10 Best Songs of 2017

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As 2017 is officially over and we’re already well into 2018, it’s time to reflect on the songs that gave us hope this past year. Despite all of the political nonsense from the past couple of years, dance music continued to shine bright amongst all of the negativity in the media. From Illenium’s sophomore album

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ODESZA’s ‘Corners Of The Earth’ Featured In Promo For The Winter Olympics

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As the official Winter Olympics are set to kick off on February 8th, NBC has pulled in ODESZA’s “Corners Of The Earth” to help promote the Winter games. “This February, the world unites to feel the warm of the Olympic spirit,” NBC tweeted. After dropping 3 albums in their musical careers, ODESZA has reached a

The post ODESZA’s ‘Corners Of The Earth’ Featured In Promo For The Winter Olympics appeared first on EDM Sauce.

ODESZA’s ‘Corners Of The Earth’ Featured In Promo For The Winter Olympics

This post was originally published on this site

As the official Winter Olympics are set to kick off on February 8th, NBC has pulled in ODESZA’s “Corners Of The Earth” to help promote the Winter games. “This February, the world unites to feel the warm of the Olympic spirit,” NBC tweeted. After dropping 3 albums in their musical careers, ODESZA has reached a

The post ODESZA’s ‘Corners Of The Earth’ Featured In Promo For The Winter Olympics appeared first on EDM Sauce.

Coachella releases 2018 lineup

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Coachella has released their lineup for 2018 featuring The Weeknd, Beyoncé, and Eminem. The lineup is the festival’s 19th edition.

Notable undercard acts on the bill include ODESZA, Kygo, Soulwax, Illenium, Jamie Jones, Motor City Drum Ensemble, The Black Madonna, and Maceo Plex, among a plethora of other diverse artists. Beyoncé was scheduled to headline the festival in 2017, but chose to forsake her performance due to an impending pregnancy.

Coachella’s headliners were recently leaked by Consequence of Sound.

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The Coachella 2018 Lineup Has Finally Been Revealed

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Just minutes ago, Goldenvoice revealed the official 2018 Coachella lineup. Coachella is making history this year by leaving off a rock band in a headlining spot. Living up to its rumors comes the announcement of both Beyonce, The Weeknd, and Eminem set to perform at this year’s Coachella lineup. This year’s official lineup will feature

The post The Coachella 2018 Lineup Has Finally Been Revealed appeared first on EDM Sauce.

Roseville drops nostalgic rework of Paramore’s ‘Misery Business’

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Hailing from Chi-town, DJ/producer Roseville has provided listeners with a rework of the major throwback that is Paramore’s “Misery Business.”  The rework maintains the feels of the original, yet adds a contemporary/2018 sound to it. Roseville revives the verses as well as the nostalgic chorus over a steady drum beat that is accompanied by a strong bass-line and bubbling lead. It’s no surprise the producer has gained support from dance music power players and fellow Chicagoians Louis The Child and Whethan.

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Did your favorite make the cut? Spotify releases its ‘Best of 2017’ Dance/Electronic playlist [Stream]

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As Spotify shares its end of year charts, underscoring 2017’s dominant artists, albums, songs, and more, the streaming giant has likewise highlighted the year’s prominent productions in the dance electronic sphere via its Best of 2017 playlist. The 100-track compilation acknowledges many of the high powered anthems that proved to be prevalent over the course of the year, including Axwell ^ Ingrosso’s “More Than You Know,” Skrillex and Poo Bear’s “Would You Ever,” San Holo’s “Light,” and Illenium’s graceful rework of Flume’s “Say It.”

“The Best of 2017” playlist is a diverse sampling of the year’s electronic staples, and of releases put forth by more esoteric artists like Kasbo, Lucas & Steve, and DROELOE. Spanning multiple genres ranging from future to electro house, the Best of 2017 lineup denotes a predilection for ODESZA, with five of the duo’s tracks earning superlative status through their appearance on the playlist. Martin Garrix, Illenium, and Kaskade are the three producers that follow with the most songs on Best of 2017, with each artist seeing three of his 2017 releases comprise the grouping. In the context of Spotify’s Best of 2017, ODESZA, Martin Garrix, Illenium, and Kaskade arise as the year’s dominant electronic entities.




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Dancing Astronaut proudly presents the 2017 Label of the Year

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foreign family collective

Foreign Family Collective

by Katie Daubert

There is no doubt that Grammy-nominated duo ODESZA claimed their status as some of the more cutting-edge producers in the dance music realm over the years. Following the release of their sophomore album, In Return, the team launched their own musical outlet, Foreign Family Collectivein 2015 in an effort to showcase a myriad of musicians and visual artists across a variety of genres. By creating the label, the two producers aimed to curate a platform that “doesn’t adhere to any one genre or style but rather focuses on originality and genuine expression.” Most notably, a number of the label’s output stood as the breakout releases for some of today’s top electronic acts such as Big Wild’s “Aftergold,” Jai Wolf’s “Indian Summer,” and RÜFÜS DU SOL’s sophomore album, Bloom.

With a full year of new releases on the books, Foreign Family continues to ascend as one of dance music’s leading innovatory labels in 2017. This year, the label procured a total of six releases ranging from Big Wild’s debut Invincible EP in January to Kasbo’s recent single, “Snow in Gothenburg,” while introducing only one new artist to the label this year with Yahtzel’s “Someone Else.” Foreign Family also landed it’s first-ever curated stage at Electric Forest featuring Tycho, Troyboi, Jai Wolf, Big Wild, Faker, Chet Porter, further reinforcing its tastemaker status within an established, avant-garde musical community.

Quality, not quantity, is Foreign Family’s principle virtue, giving every release the proper platform to resonate with the label’s core audience and grow holistically. And with every sonic output there lies a resonating reminder that the collective is not just curating a label but a community of music lovers and artists alike, all while maintaining a seemingly personal, yet shared compassion for the intuitive and celestial sounds of tomorrow.

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by Robyn Dexter

deadmau5-spearheaded label mau5trap has been a force to be reckoned with in 2017. The Canadian label celebrated its 10th birthday in 2017, highlighting the milestone with a 33-track anniversary compilation in July that featured tracks by ATTLAS, Matt Lange, Monstergetdown, Feed Me and many more. Joel Zimmerman himself hosted a birthday party for the label in Toronto, with a stacked roster of artist performances to commemorate the occasion.

One such artist was REZZ, who had another banner year with mau5trap. Her much-anticipated Mass Manipulation album dropped August and was closely follows by a world tour and even a comic book release. The album’s four singles were released every Friday leading up to the album’s release date, drumming up continued excitement for the unique artist’s debut album, which peaked at number 16 on the US Billboard Dance/Electronic Albums chart on release.

Artists like No Mana, ATTLAS, Rinzen and Feed Me wowed in 2017 with multiple releases, including successful EPs and singles. The label consistently cranked out a top-notch unique music over the course of the year, gathering new fans and exciting old ones along the way.

They pooled many of the year’s best songs into two We Are Friends compilations, which came out in March and early December. Other notable compilations included two more additions to the Foar Moar series and mau5trap X1’17 and X3’17.

With the momentum it’s built over the past 10 years, mau5trap shows no signs of slowing down in the next 10.

deadbeats logo


by Jabari LeGendre

Headed by maverick duo Zeds Dead, Deadbeats has been one of the standout labels of 2017. This past year, the dynamic imprint has cultivated some of the freshest new names in bass music like Shlump, DNMO, Champagne Drip, Chuurch, YOOKiE, and Rickyxsan. With an ever-expanding roster of innovative artists, Deadbeats is making its presence felt.

In the past year, DeadBeats has etched out some serious real estate for themselves in the dance music landscape. With the success of its first massive North American tour, which stretched from Miami to Calgary and featured the triumphant return of DeadRocks in July, the Toronto-based label has greatly expanded its sphere influence. Couple that with the release of the label’s two critically acclaimed compilation EPs and the launch of the new Deadbeats Radio show on Sirius XM’s Electric Area, it’s easy to see why this collective from the Great White North are on an inexorable march forward.

2018 is shaping up to be yet another huge year for this budding brand. DeadRocks, the label’s biggest annual event will return to the Denver hills, expanding to two full nights of madness from July 2-3. Zeds Dead are proven tastemakers in the world of electronic music. Their spine-tingling performances have helped them garner a massive global following. However, creating a palpable culture and style is perhaps the most important aspect of developing a label that can stand the test of time. With the growth this groundbreaking label has seen in the nearly two years since its inception, Zeds Dead are on a continuous march to take their vision and style to the next level.

anjunadeep logo


by Bella Bagshaw

In 2017, London-based label Anjunadeep has continued to produce and expound upon its unparalleled brand of deep and tech-house. Starting off in 2005 as a mere sidecar to Above & Beyond’s trance-leaning parent label and one of electronic music’s paragons of success, Anjunabeats, Anjunadeep has become an international staple in the lush, ethereal realms of house and techno. The label’s ascent coincides with the US’s gradual embrace of electronic music that is crafted for concentrated listening—migrating beyond its affinity for commercialized dance music.

American Anjunadeepian Lane 8 seems to continuously elaborate on his indelible variety of emotive, melodic deep-house, intermittently releasing tracks from his highly anticipated Little By Little album set to be released in January, accompanied by a world tour.

The label also capitalized on an opportunity to showcase some of its freshest faces, like UK duo Fluida, “The Light In You” artist, Fairchild, and Mat Zo-discovered, Luttrell, in the ninth installment of its veteran-crafted annual compilation series. Fluida made their Anjunadeep debut this year with their blissfully ambient Branches EP, which enigmatically floats between electronica and deep-house elements. Additionally, rapidly emerging artist, Luttrell, who also graced the compilation with dream-state-inducing “Wake Me Up Tomorrow,” has scaffolded off his 2016 breakthrough on the label, pushing the envelope with his otherworldly techno tracks.

Moving forward, the label recently announced it will be hosting its own debut festival, Anjunadeep Open Air: London in August of 2018, as well as hosting its own sea-faring, Anjunadeep Takeover during Holy Ship! 10.0 featuring sets from Lane 8, Yotto, and more.

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Winner – Monstercat

by Robyn Dexter

Breaking barriers and pushing the dance music envelope since its inception in 2011, Canadian independent label Monstercat is Dancing Astronaut’s Label of the Year. For the past six years, Monstercat has paved the way for listeners to discover dozens of new artists, garnering a massive following along the way. Led by a boundary-pushing team, 2017 proved to be the label’s best year yet. They brought on more than a dozen new artists, including Modestep, Kill The Noise, Bassnectar, Ragga Twins, Dirtyphonics, Gammer, Kayzo, Lookas, Ookay, Fox Stevenson, Slander, Sullivan King, and Gareth Emery.

Monstercat started 2017 strong with the launch of a massive anti-bullying campaign in accordance with the release of Gareth Emery and Standerwick’s “Saving Light,” raising thousands of dollars for an anti-bullying foundation called Ditch The Label.

February brought the label’s first-ever platinum record recognition for marshmello’s 2016 release, “Alone,” which has garnered millions of streams across platforms to date.

As festival season approached, the Monstercat team ramped up their efforts for shows at Amsterdam Music Event, EDC Las Vegas, Tomorrowland, E3, PAX East and Miami Music Week.

In the midst of festival season, Monstercat announced a partnership with Rocket League that resulted in the label releasing an album for the video game. The 18-song compilation featured songs from Slushii, Notaker, Tristam, WRLD, and more, and was released in accordance with the game’s two-year anniversary.

They capped off a successful summer by opening their headquarter doors in Vancouver for a Monstercat Compound event. The street party served as an opportunity for the label to recognize the community that has supported them over the years with free performances by Robotaki, Conro, Going Quantum and Grant.

In November, the team continued their worldwide reach with multiple shows in China, including a residency at Asgard Nightclub in Beijing that featured performances by JOYRYDE, Delta Heavy, Pegboard Nerds and Lookas.

As 2017 draws to a close, recognition for the label is coming in from all sides of the music industry. SoundCloud recognized Unlike Pluto‘s “Everything Black” as their Top Electronic Track of 2017, and the track was also Monstercat’s most-streamed on Spotify, amassing more than 10 million streams on the platform. Two weeks ago, the label turned the power over to the fans and asked them to vote on their top Monstercat tracks of the year. After a short voting period, listeners selected label OGs Pegboard Nerds’ track “Heaven Let Us Down” as their favorite release of 2017.

As years go by and music trends shift faster than most can keep up with, the Canadian label proves time and time again that they have finger on the pulse of the next best thing in electronic and dance music. By exposing their listeners to an unimaginable range of music from some of the industry’s most talented innovators, the Monstercat team has established themselves as fearless trailblazers in an unpredictable industry.

To celebrate their incredible year, Monstercat called on Dan Scarcelli, Head of Programming for the label’s weekly Call of The Wild show, to whip up this vicious mix packed with some of their hottest releases to date. Appropriately, the mix serves as the 200th edition of our long-standing AXIS mix series.

WARNING: Dancing Astronaut is not responsible for damage caused by spontaneous speaker combustion or reckless headbanging. Listen at your own risk.

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What does Rolling Stone’s top 20 EDM album list say about the genre?

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Is Rolling Stone’s 20 Best EDM and Electronic albums of 2017 an ill considered attempt to showcase obscurity for obscurity’s sake or an apt proclamation concerning the current status of electronic music?

The list at hand has sparked collective controversy among the EDM community due to its off-kilter inclusion of some of electronic music’s most remote auteurs — and an apparent exclusion of some of the mainstream’s most prominent producers.

While some feel the list misses out on some of 2017’s key artists, the analysis begs relevant questions regarding the dissemination of electronic music over the past few years, as well as the increasingly ambiguous boundaries between genres.  After all, what exactly defines “EDM” in the first place?

Rolling Stone’s exclusion of any major EDM pop stars — read: The Chainsmokers, Odesza, Galantis — marks a prodigious shift from their inclusion of electronic pop music in years past via Flume & Kygo in 2016 and Disclosure & Jack Ü in 2015. In fact, the closest 2017’s list came to showcasing pop music was through UK grime superstar Stormzy and Long Beach’s own Vince Staples on their respective albums Gang Signs & Prayer and Big Fish Theory, neither of which can accurately be described as pop.

Furthermore, while both Stormzy and Vince Staples utilize electronic elements in their tracks, is it accurate to classify these albums as EDM or even “electronic?”

Have the constructs of electronic music completely collapsed, or has the umbrella-esque genre simply become defined by the technicalities of digital production? The inclusion of “niche” artists could be a way of acknowledging EDM’s infiltration into contemporary pop and the jarring effects that move has had on the way that listeners contextualize electronic music as a whole.

One could go so far as to gesture that EDM and electronic music are entirely distinct entities. While everyone knows EDM is technically defined as “Electronic Dance Music” the genre is applied liberally and without any real distinction.

Though it would be easy to get upset at perceived “snubs” for the mainstream or even mid-range artists operating in the EDM-relative space, Rolling Stone’s decision to include albums within any and every degree of electronic music’s diverse range of styles is a testament to the genre’s versatility, and, perhaps its saving grace: its ambiguity.

EDM is more fluid than most would care to believe, and for many, contextualization of the genre depends entirely on their own experience with it.

The exclusion of such massive albums as Chainsmoker’s Memories…Do Not Open and Galantis’ The Aviary can’t be an accident. While it throws the article’s titling into question, the logic is solid.  For starters, the former failed to garner support from even the most devout EDM enthusiasts. Barring the exception of an outstanding album in Calvin Harris’ Funk Wav Bounces Vol. 1, Rolling Stone’s decision to prohibit EDM pop stars from its list seems entirely justified considering the apparent lack of authenticity among EDM pop in 2017.

Though Harris’ record is an obvious standout, it seems that the efforts of most major artists in this space are becomingly increasingly uninspired. Once a genre that challenged notions of what electronic music can be, popular EDM now seems devoid of any risk takers among its mainstream sect. So goes for any of its notable sub-genres that have been beaten beyond death—future house, we’re looking at you.

While Rolling Stone may have benefited from including the more innovative album releases this year from artists like Emancipator, Floating Points, Barclay Crenshaw, Amelie LensJamie Jones, Kelela, Perc, or Yaeji to name a few, the coveted spots are not infinite, and their current standings do help shed a stark light on EDM’s lack of audacity over the last year.

As the genre bubbles into mainstream consciousness, it has yet to exit its immature, money-grabbing mindset, rewarding chintzy efforts to gain streams while forsaking the same genre-bending behavior that has consistently defined electronic music. After all, if it’s not easy to define, it can’t easily fit on Billboard charts.

EDM, as a genre, is nearly impossible to characterize formally and the music that comprises any of electronic music’s myriad sub-genres can reflect a multitude of various styles and sects in just one track: after all, the inherent genius in electronic music lies both in its malleability and its unique ability to evade easy definition.

Some may deem such rankings as unnecessarily obscure but, despite missing out on a few key albums, Rolling Stone’s Top 20 EDM List stands as a relevant statement about the genres current state.


Kasbo – Snow In Gothenburg

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Since his breakout with “World Away“—released in 2015 on ODESZA’s Foreign Family Collective—Swedish producer Kasbo has made quick work of developing a distinct sound. He’s since remixed artists from Big Gigantic to Vance Joy and spent time touring with the likes ofOdesza, San Holo, and Slow Magic. The producer’s spring touring schedule is still being fleshed out, but he has already been announced to play Hangout Festival and two weekends at Electric Forest.

On his newest single, “Snow In Gothenburg,” Kasbo showcases his artistically sensitive shadow, one that has lurked in the melodies of his tracks for years now. Drawing on influences in melancholic house, the song is an interpersonal journey full of atmospheric synths and waning vocals.

“The song itself is about loneliness and isolation, and the freedom of coming to terms with those feelings” says Kasbo of the track.  “Seeing the beauty of realizing that everyone has their own ways to go in life and that not everyone is supposed to have someone.”

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