Skrillex details upcoming album with Zane Lowe on Apple’s Beats 1

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Skrillex details upcoming album with Zane Lowe on Apple’s Beats 1Skrille New Press Pic Credit

With a newly announced album on the way, it’s official: Skrillex is back. It’s been 10 years since Sonny Moore introduced himself to the world with “My Name is Skrillex” before carving his face into the Mt. Rushmore of dance music, but it’s safe to say that there’s no need for such pleasantries this time around, as the Grammy-winning producer has grown synonymous with electronic music as well as a formidable force in the pop space.

Recently, Skrillex linked with Apple’s Beats 1 radio factotum Zane Lowe, giving fans a bit of insight into the growth of his process and perspective as an artist as he approached the followup to 2014’s Recess. Read select takeaways from the interview below:

Placing value on his Grammy wins…

“Grammys are such an amazing cherry on top of all of the other great stuff that we get to do. For me, my goal has always been to, y’know, build a real fanbase and give music to people all over the world and travel all over the world and play for people like. Actually see people out there receiving the music and giving it energy, but the Grammys is a whole other thing that I never expected in the first place.”

Inspiration for a new approach…

“What really kind of inspired is like when I heard the new Tame Impala album, it took him a year to get his drum tones. Not that I’m going to take a whole year for drum tones, but I’ve never really sat down and been completely tenacious about one of my releases that I know.”

Putting it into practice…

“Every single piece of music or body of work that I’ve ever put together in my life has always been what I’ve have right then and there and it was just run and gun. This is like the first time that I’ve really just taken my time and been precious with a couple of these releases. I’m making some videos right now and making some content for the next records. (…) some of these records are almost a year old now and they haven’t aged at all in my world.  “

Nurturing the growth…

“It’s crazy how things have changed. You step away from doing the same things over and over again and you get a way new perspective. We’ve grown, that’s 10 years ago. I think it’s important to nurture that, like it was a conscious decision a couple of years ago. I’m going to do a couple of tours here and there but really just focus on taking my damn time; exploring and meeting with new musicians and writings. 10 years ago, it really feels like a whole new chapter (…) and I have so much more to say, y’know?”

Tiësto and 7 Skies unite for playful new single, ‘My Frequency’

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Tiësto and 7 Skies unite for playful new single, ‘My Frequency’My Frequency Artwork

Tiësto has released his first single of 2020 alongside 7 Skies and vocalist RebMoe. The single is titled “My Frequency,” and the catchy single is bound to make its rounds on the festival circuit.

On Tiësto’s CLUBLIFE weekly radio show, the superstar noted he was particularly excited about the release because he had sent it to fellow artists like Skrillex, The Chainsmokers, and Martin Garrix (among others), who gave him incredibly positive feedback about the track. After listening to “My Frequency,” the warm reception becomes understandable because the track will be the perfect fixture for DJ sets going into the 2020 festival season.

The single opens with poppy yet sultry vocals that keep the energy light and the mood playful. Booming bass bursts then cut into the track, yielding an intense house drop that overtakes the listener. Light notes dance in the backdrop, keeping the juxtaposition of the hard-hitting house notes and the light mood alive.

“My Frequency” is out now via Tiësto’s own Musical Freedom.

HiJinx Festival returns to Philadelphia for bass boosted sequel [Review]

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HiJinx Festival returns to Philadelphia for bass boosted sequel [Review]HiJin Skrille 02 8

“Out with the old and in with the new” goes the New Year’s adage, and it’s the latter half of the expression that best applies to newcomer of Philadelphia’s live event circuit, HiJinx Festival. From December 27 – 28, crowds of dance music enthusiasts set out for the Philadelphia Convention Center to witness HiJinx’s second annual iteration. Dancing Astronaut was among them, and after attending the Live Nation-organized event for the first time in HiJinx’s nascent history, can confidently assert the following: it’s no wonder that HiJinx’s sequel was sold-out. 

HiJinx Festival returns to Philadelphia for bass boosted sequel [Review]HiJin Lineup WebsiteHeader Final 1

The festival’s 2019 bass-riddled lineup was proof of Live Nation’s evergreen ability to land top acts, and further solidified HiJinx as one of the premier bass-centric events in the country. Topped by Skrillex, Porter Robinson, Bassnectar, Zeds Dead, GRiZ, and Excision and Slander, who collaboratively closed HiJinx with a back-to-back set, HiJinx’s 2019 lineup was a formidable followup to the festival’s 2018 billing, which packed its own one-two punch.

HiJinx Festival returns to Philadelphia for bass boosted sequel [Review]Hfzstgjb71m11

In 2018, HiJinx laid the foundation for its aesthetic identity with low-end heavyweights such as Bassnectar, RL Grime, and WHIPPED CREAM. As they did with the 2019 lineup, HiJinx organizers issued a nod to hip-hop and integrated the genre in the bass-leaning roster with the inclusion of artists such as Denzel Curry. Between 2018 and 2019, Bassnectar was the sole artist to receive an invitation to return to HiJinx.

For attendees, the festival experience is often not without token set delays and even last minute lineup changes. Not so, however, with the emerging Philly event, which went off without any hitches in a spacious venue that coalesced crowd members with various food and craft vendors.

HiJinx Festival returns to Philadelphia for bass boosted sequel [Review]Bassnectar HiJin 2019 Family Photo
Bassnectar’s family photo from HiJinx 2019

HiJinx, as festival goers based in the Tri-state area can attest, bridges a once existent gap in this area’s live event circuit. Although New York is a Mecca for the stateside dance scene, particularly during the week between Christmas and New Year’s day, the events offered are mostly singular, standalone shows rather than multi-day festivals. Those seeking to attend an electronic festival during this timeframe must consequently look beyond the northeast’s offerings, and might consider mainstays such as Snowglobe Festival in California or Arizona’s fledging Decadence.

HiJinx Festival returns to Philadelphia for bass boosted sequel [Review]HiJin Skrille 02 8
Skrillex performs at HiJinx 2019

Live Nation’s sophomore installation of HiJinx Festival effectively broadens the stock of seasonal electronic music festivals available to dance aficionados, but is of specific benefit to those in the Tri-state area, for whom multi-day options have been traditionally limited. With each year to follow, HiJinx Festival will continue to progressively transcend its current emerging status, adding value to the festival circuit at large, and giving bassheads another extended opportunity to ride the rails.

Ricky Remedy unleashes long-awaited Skrillex bootleg and festival anthem

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Ricky Remedy unleashes long-awaited Skrillex bootleg and festival anthemP0383wd

Being the icon that Skrillex is, it seems that just about anything he touches becomes a hit. But even among a discography of hits exist songs that stand out above the rest, and Skrillex’s Moody Good and Trollphace collaboration “Burial” that taps Pusha T for vocals has achieved legendary status.

Remaining a festival anthem and DJ set mainstay since its release, fans will still hear some iteration of “Burial” rinsed out almost anywhere they go. Now, after over a full year of teasing in live sets, Ricky Remedy has released his trap-infused take on the original.

Created for a 100 percent Ricky Remedy set at Miami Music Week 2018, Ricky Remedy says he produced the remix in only 15 minutes, never expecting it to snowball into the festival anthem it is now. After passing it along to a few DJs to use as a secret weapon, the remix blew up and generated high-energy crowd responses. It’s no surprise crowds have been eating this edit up, as the fake-out drop creates a perfect tension DJs yearn to have in their sets.

What Kind of Gear Does Skrillex Use?

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Dancing Astronaut’s BIG 100—Top 25 Electronic Albums of the Decade

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Dancing Astronaut’s BIG 100—Top 25 Electronic Albums of the DecadeAlbums Of The Decade

2010 may as well have been a lifetime ago. At the breakneck pace by which dance music throttles through the stratosphere, the decade is ending in an entirely unrecognizable place from where it began. For context—ten years ago, Electric Daisy Carnival was held in Los Angeles, not Las Vegas, where the Los Angeles Rams now play. Only 250,000 people were paying for a Swedish music streaming service called Spotify, and Billie Eilish was finishing up second grade. It’s been a wild ride through the 10’s, largely soundtracked by EDM’s global boom into a multi-billion dollar industry. Ten years ago our culture was creeping out of South London basements and New York warehouses, and now we’re performing at the Olympics.

So now, as the single most important, historic, and certainly memorable decade dance music has ever seen draws to a close, we had to figure out a new way to break down how far the culture has come. One master list couldn’t possibly reflect the decade in review. In effort to properly recognize the remarkable collection of events that has brought us here, we’re tweaking our typical end-of-the-year model. Instead, we’re dividing the decade’s most deserving into a handful of unique categories.

In review of 2010 – 2019, the most important factors that shaped the decade were Artists of the Decade, Labels of the Decade, Albums of the Decade, and Most Impactful Moments of the Decade. Together, they comprise Dancing Astronaut’s decade-end collection. Introducing, The Big 100.

So without further ado, Dancing Astronaut‘s 25 Most Impactful Albums of the Decade—in no particular order.


Justice – Woman (2016)

Matching their sonic savviness to the name printed on the record’s gatefold, leave it to Justice to challenge dance music’s status quo while highlighting the intensely empowering nature of the femme. The pair honed in on one key component throughout the recording process: rather than break character with an attempt to chase mainstream success, Justice, as they always have, opt to open-endedly allow pop culture to decide its own relationship to their work. The intent over the LP’s 10-track span is singularly focused on genuine songwriting, and in turn, procuring timeless dance classics. From its core to its perimeter, that is exactly what Woman is: a collection of instant-classic indie dance gems.

It feels like it has been ages since Audio, Video, Disco — eons since †. Now, grown men whose days of black leather jackets and studs are possibly behind them, Gaspard and Xavier have written a record that is perhaps more in-tune with their emotional capacities, while simultaneously challenging the fleeting nature of pop success. Ultimately, Justice have delivered another ageless dance opus with Woman, which spawned a Grammy-nominated live album, one of the best live shows of the decade that inspired a visual feature to boot, capping off a momentous decade for the paragons of French house. -David Klemow

ODESZA – A Moment Apart (2017)

Commencing the Foreign Family Collective bosses’ official foray into the pop space, A Moment Apart stands as ODESZA‘s most voraciously streamed and referenced LP to date. With their fluttery Summer’s Gone and In Return LPs, the ethereal electronica duo arrested the soul of the electronic zeitgeist’s chill-out craze, cropping up midway through the ’10s, when the confounding side-effects of the dubstep onslaught had subsided some. A Moment Apart did double time at the 2017 Grammy Awards, raking in a pair of nominations for Best Dance Recording (“Line of Sight”) and Best Electronic Album.

ODESZA’s most accessible and multifarious work to date, A Moment Apart, while perhaps less compositionally daring, allowed ODESZA to play with approach, while remaining just near enough to their celestial center. A purposeful album’s album, rather than a mere arbitrary collection of tracks. -Bella Bagshaw

Pretty Lights – A Color Map Of The Sun (2013)

Pretty Lights’ magnum opus by DA standards, A Color Map Of The Sun was, mid-decade (and remains now), an industry-wide point of contention. Critics complained the album was somewhat anemic in its experimentation or delivery of stark “creative growth,” or entirely passed it off as spacey stoner fodder. But why fix what was never broken? What’s clear is that Derek Vincent Smith conceived the LP as a vessel to expound on his inimitable, jazzy jamtronica hybrid with his most incisive execution to date. Even among tracks like “Yellow Bird,” with its almost anesthetizing instrumental loop or the melancholic strut of “Go Down Sunshine,” no corner of the work arrives without gusto.

The vinyl sampling on the LP further solidified him as the master of homage. Funk, soul, hip-hop, electronic listening music, Smith weaves in and out of these worlds without as much as a warning, though none is warranted. The quintessential curator of chromatic live production, whether he meant to or not, wielded the work to push innumerable jam/instrumental purists over the synthesized precipice—past the point of no return—sending them happily dazed and plummeting eternally into the electronic ether. -Bella Bagshaw

SebastiAn – Total (2011)

Unapologetically abrasive in all the right ways, SebastiAn’s debut record, Total was one hell of a coming out party for the French-Serbian musician. But it also served as a much-needed statement its host label, Ed Banger Records. Until then, the iconic French house music collective had strokes of brilliance but was largely defined by its affiliations with the Daft Punk and a handful of genre-defying releases from Justice.

In Total, SebastiAn captured the raw power and undeniable strands of funk roadmapped by the genre’s forefathers, all the while insisting on finding his brilliance through innovation rather than emulation. With the record’s needle lifting after over 20 tracks, Total interludes between mind-rattling electro and silky-smooth pop-disco for the rare electronic LP that isn’t defined by its singles, but the spirited collage built around them. –Josh Stewart

Madeon – Adventure (2015)

A Frenchman making feel-good electro—wild, right? Well, wait just a minute. Madeon certainly did his homework for his long play debut (see: “Pop Culture (mashup)”). That’s the genius of Adventure. He borrows what’s useful in the moment, often going back to go forward. Songs like the effervescent, Passion Pit-assisted “Pay No Mind,” fit for Androids frolicking under a disco ball, fall effortlessly into place while the then-20-year-old producer cut his teeth on earnest, almost smoldering compositions like “Imperium.” Adventure was just that: a journey worth the jaunt, filled with as much complexity as color. -Bella Bagshaw

Avicii – True (2013)

Few records have been able to illustrate the symbiotic potential of traditional instrumentation and electronic production more cogently than Avicii‘s True. Keeping perfect time with EDM’s propulsion into the musical vernacular, True emitted the raw, evocative power and deadly danceability of progressive house. But make no mistake: we were always dealing with a pop record, here.

By then already a global sensation, the Swedish wunderkind sent tremors through the industry at large when he brought up an incisive assortment of soul and bluegrass musicians at the 2013 edition of Ultra. That day, Avicii’s hallowed act of synergy set fire to the torch that still burns with his legacy. Whether we were ready or not, True sent the very foundations of the electronic infrastructure shifting underfoot. -Bella Bagshaw

Disclosure – Settle (2014)

When Disclosure’s debut album Settle landed in 2013, everyone—from music fanatics to industry figures and critics—wanted a proper taste. Peaking at No. 1 across multiple charts including Billboard’s Dance/Electronic Albums and receiving widespread acclaim, Settle struck the scene as both an instant refresher and derivative of dance music’s past. The magic of the record lies within its stylistic journey through a multitude of dance sub genres including bass music, house, garage, ultimately, pulled together by a synergetic pop intention composed not of mass appeal, but of motivation to magnetize all niches of dance listeners. -Jessica Mao

deadmau5 – while(1<2) (2014)

Perhaps the hallmark of electronic albums of the decade, deadmau5’s 25-track dance epic holds the LP format near and dear, leaving little room for skim listening. The record’s progressive composition of rich melodies, moody, cinematic aesthetics, and throbbing electro still stands as one of deadmau5’s most versatile works to date.

Arriving at a frankly lackluster time for electronic albums, while(1<2)’s challenged the status quo of the moment, while also providing a wider scope with which to view the full breadth of deadmau5’s talent. The double-sided endeavor offers a suspenseful sonic journey through stripped back ambient and downtempo plays, uplifting electro, chugging progressive breaks, and more. No stranger to the full-length format, deadmau5 takes on his seventh LP with a brazen discontent for the lack of originality dance music purists bemoaned about at the time, offering an unforgettable double dose of creativity on while(1<2), which itself may have served to re-galvanize the album format in electronic music. -David Klemow

Daft Punk – Random Access Memories (2013)

Looking back on the most important decade in dance music, the defining highlight had to have been the release of Daft Punk’s Random Access Memories. Daft Punk’s return in 2013 was special, not only because the legendary French Androids had delivered their first LP in eight years, but because the album was legitimizing for electronic dance music in many ways. It came at the front half of EDM’s global boom, proving to the world that electronic dance music wasn’t just millennial festival fodder with Nile Rodgers, Pharrell Williams, and Giorgio Morodor in tow. The record masterfully presented intelligent, disco-inspired sounds in with an incredibly fresh, modern perspective to audiences who were still trying to figure out if mainstream electronic music was… well, legit.

Random Access Memories would remind everyone who the genre’s omniscient godfathers were, net the duo four Grammy Awards along the way, help guide vinyl’s resurgence selling the most units of the decade, and cement Daft Punk’s legacy all over again. -David Klemow

Skrillex – Recess (2014)

From the moment we first heard, “to get a thousand miles from the Earth, a rocket would need this much power,” Recess would change the electronic landscape and set Skrillex on a crash course for pop superstardom. Sonny Moore’s 2014 debut LP under the Skrillex moniker came well after he had already established his Grammy Award-winning sound, though the album is really what planted Moore’s flag as an electronic trailblazer that was here to stay. The record was a carefree intergalactic thrill ride that featured a budding Chance The Rapper, a preview taste of the oncoming K-pop tidal wave with G-Dragon, CL, and Diplo, and a healthy dose of heavy dub appeal from the Ragga Twins. Infectiously aggressive yet in touch with its dance-friendly roots, Recess culminated into one of the best electronic albums of the decade.

In the years since Skrillex’s debut studio LP, his list of credentials have outgrown the confines of electronic dance music in remarkable ways. He’s gone on to produce for the world’s greatest pop stars, from Justin Bieber to Mariah Carey. He’s tackled movie soundtracks, linked with rappers, produced an entire joint album with Diplo, and grown OWSLA into one of the country’s premier electronic imprints. With an impending sophomore follow up slated for 2020, we’re already at the edge of our seats for the next chapter in Skrillex’s momentous career. -David Klemow

Jamie xx – In Colour (2015)

The production backbone of The xx, Jamie xx’s In Colour is as much an album of yesteryear as it is an album of tomorrow. On one hand, the sample-driven concepts over Jamie Smith’s often breakbeat-influenced beats harken back to a time when electronic music simply felt more soulful. On the other, the album doesn’t only disregard the distinction between electronic genres, but goes to great lengths to blur the line between what’s full-blown “electronic” and what’s a bit more nebulous; a direction that dance music continues to embrace even heading into 2020.

What makes In Colour such a pinnacle of artistic success however, isn’t the album’s memorable singles or gold-lined production, but its ability to make its listener feel a technicolor assortment of nostalgia, happiness, pain, and sorrow, often simultaneously. -Josh Stewart

TNGHT – TNGHT (2012)

The 2010s can’t be accurately recapped without talking about trap music’s viral takeover, and electronic music’s obsession with trap can’t be adequately described without paying due respect to TNGHT. While the duo’s 2012 self-titled TNGHT project isn’t a full-length LP, the release served to propel the two producers’ bombastic, aggressively experimental sound to massive mainstream acclaim, making for one of the most impactful releases of the decade. The pair went radio silent as quickly as they had dominated the scene, though by 2019, TNGHT had reconvened once again, picking up exactly where they left off. -David Klemow

ZEDD – Clarity (2012)

Once ZEDD delivered his debut studio album, Clarity, in 2012, it was clear the division between pop and electronic music was going to be permanently blurred going forward. The Interscope Records project effectively defined EDM’s global takeoff with singles “Shave It Up,” “Spectrum,” and “Clarity,” all charting in the top 10 that year and into 2013. The record’s inescapable popularity was contingent on how it would define dance-pop, and would not only go on to earn a Grammy for Best Dance Recording at the 56th Grammy Awards, but also cement ZEDD’s position as one of the most in-demand producers of the decade. -David Klemow

Above & Beyond – Group Therapy (2011)

How many artists can say their record bears the name of a coinciding global event phenomenon and hallowed weekly radio show? Group Therapy does. The quintessential progressive/trance trio’s 2011 album is dripping with utterly epic euphoria from start to finish. “Cheesy” was never something Above & Beyond were afraid of, nor should they be. The album sees them move dexterously through dreamy, twinkling offerings like “Alchemy,” vocalized by serial A&B collaborator, Zoë Johnston, to full-on club demolitions like “Sun & Moon.” Instrumental in acquiring the trio, and the trance genre at large, worldwide fandom, Group Therapy also garnered the group exponential label traction, to their now-revered Anjunabeats imprint. -Bella Bagshaw

Jack Ü – Skrillex and Diplo Present Jack Ü (2015)

The Jack Ü project was equal parts irreverent DIY fun, hard-knocking dance-pop fusions, and spastic genre hopscotch all wrapped into one. Skrillex and Diplo Present Jack Ü includes contributions from NOLA bounce star Fly Boi Keno, hip-hop heroine Missy Elliot, Keisza, 2 Chainz, Snails. And what’s more, undoubtedly resurrecting Justin Bieber’s career and ultimately positioning Diplo and Skrillex as the top pop producers of the decade. Once the divisions between pop and electronic music broke down, Jack Ü jumped in to bridge the gap with their hypnotic brand of fizzy, aggressively danceable electronic music. Behind the success of one joint record together, the two dance titans won a pair of Grammy Awards for Best Dance/Electronic Album and Best Dance Recording respectively at the 58th Annual Grammy Awards. -David Klemow

Aphex Twin – Syro (2014)

It had been 13 years since Aphex Twin’s previous release when he delivered his cerebral Syro LP in 2014. At the time, to have a full fledged comeback from Richard James was quite the occasion. The album presented a different side of Aphex Twin, though after more than a decade since his last full body of work, it’s no riddle why. Syro landed as a more accessible listen than previous works thanks to a more melodic approach in production.

However, the album was still unmistakably Aphex Twin from start to closing interlude. It was still the kind of twisted, frenetic work that could only permeate from the mind of James. Five years after Syro’s release and Aphex Twin’s return to live performance, and the album’s painstaking attention to detail is still commendably obvious, its off-kilter, hair-raising sonic complexion as bold as ever. -David Klemow

Prydz – Opus (2016)

There’s a fine line between listening music and club music when it comes to EDM and nobody seems to find the sweet spot between the two quite like Eric Prydz. Two parts progressive, one part electro, and just a dash of synth-wave, Prydz’ debut album Opus traces the storied Swedish producer’s exuberant catalogue over two meaty discs with little to no filler. With singles like “Generate” that don’t just define an album or a trending style, but a whole era of mainstage house music, Opus is rare dance album that’s worth revisiting time and time again. -Josh Stewart

Baauer – Aa (2016)

Aa is a rambunctious collection that paints a candid picture of Baauer’s beginnings as an artist. As a young man, Baauer had already called everywhere home from Philly, to London, Brooklyn, to Germany. It was traveling–not touring–that ultimately provided the inspirational bedrock beneath Aa. Baauer’s introductory offering is a mixed bag of worldly inspiration, tied together by an evident allegiance to his roots and his uncompromised desire to experiment. This desire spills from every corner of the project. From its masterful sound design to the eccentrically abstract artwork of the record, Aa is a flowing portrait of Baauer’s mind pressed onto wax.

Cumulatively, Aa is the perfect split between the hard-hitting fusion of dance, trap, and hip-hop and a handful of fearlessly strange, gripping instrumentals. Baauer meanders between inspirations, places, faces, sounds, and styles, agglomerating a bright, chaotic collection of work that is deeply authentic to his roots. Aa runs the gamut of Baauer’s full range of inspirations, ranging from the menacing grime styling of “Day Ones” to the calmative ease of “Body.” The record presents Baauer’s ascension to a creative level that exceeds the listening value of “Harlem Shake’s” viral ubiquity. -David Klemow

Duck Sauce – Quack (2014)

Duck Sauce’s beloved Quack LP gave us a 12-track fun-or-bust stroll down disco lane, broken up by skits to make for a nostalgic flow inspired by the classic hip-hop albums of the ’90s and the funk of the ’80s. Quack, the full-length debut from a spirited and sporadically active collaborative venture between A-Trak and Armand Van Helden, which enjoyed a prolific singles run between 2009 and 2013 with “aNYway,” “Barbara Streisand,” “Big Bad Wolf,” and “Radio Stereo,” proved that dance music doesn’t need to take itself too seriously; and, in fact, it shouldn’t.

The album was a masterclass in sample pulling. Standouts include The Time Bandits’ “Live It Up,” and The Members’ “Radio” impresses for what would be the best use of sampling if not for “Ring Me,” A La Carte’s “Ring Me Honey,” Melissa Manchester’s 1985 hit “Energy” and more. It’s the sort of approach to an album where A-Trak and Armand stick to their extra casual, comedy-leaning ethos. Six years after the epically quirky LP’s release, it proved that electronic music could sustain the album format, it didn’t have to be a grab for mainstream marketability, and it can still make people dance. The record stands as if to say that “Quack” doesn’t mean anything, and that’s what makes it meaningful. -David Klemow

Flume – Skin (2016)

At the apex of the futuristic bass movement’s upward crawl stands one of Australia’s token music-makers, Flume and his second solo album, Skin. Following the hungrily lauded record’s release, contrived imitations pervaded the SoundCloud sonic-scape soon after. But none could achieve quite the same warped, melodic maximalism, while still remaining accessible to the average listener; not like Flume. With a technicolor assortment of guest features, ranging from the then-up-and-coming Tove Lo to Chicago rapper Vic Mensa to British singer/producer duo, AlunaGeorge, Skin arrived in amorphous fashion. The former What So Not affiliate seemed to be asking, “What can’t I lend my beats to?” Rhetorically, of course. -Bella Bagshaw

Kaytranada – 99.9% (2016)

Kaytranada really planted his flag in 2016 with his debut full-length studio project 99.9%, establishing himself as one of the keenest electronic minds in the game. The 15-track album, released via XL Recordings and Ultra, enjoyed overwhelmingly positive critical reception right from the outset. The LP included highlight contributions from Anderson .Paak, Craig David, Little Dragon, AlunaGeorge, and BadBadNotGood. Kaytranada’s 99.9% rolled and wrapped hazy neo-soul, uplifting hip-hop inspirations, elements of knocking trap percussion, and crisp, shimmering jazz into an enjoyable late night smoke sesh with friends that simply wouldn’t grow old, no matter how many repeated spins you gave it.

The record is a bold amalgam of sounds that comes together under a sharply conceptual electronic theme, and catapulted Kaytranada atop his rightful throne as one of the most esteemed crossover producers of the decade. -David Klemow

Gesaffelstein – Aleph (2013)

Released on Bromance Records, Gesaffelstein’s 2013 debut album Aleph officially introduces the dark techno backbone that Michael Levy has made a Hall-of-Fame career from. Masterfully crafted, the album pops and hisses throughout a variety of mechanical soundscapes, each track donning its own distinct attitude. At the end of the decade it stands as a techno masterpiece, spiraling through industrial synths and pulsing builds.

Aleph encapsulates a sinister techno spin on classic ’90s West Coast rap, overcast electronic ballads, and tinges of acid house and orthodox French techno. Gesaffelstein has always been a commanding presence since his emergence, with impressive production credits on albums like Yeezus, remixing the likes of Justice, Lana Del Rey and Depeche Mode, but with the release of his first full-length studio album, Levy gave French techno a jolt of energy, taking the listener on a dark, convoluted, and as the decade has proven, timeless ride. -David Klemow

Porter Robinson – Worlds (2014)

Gone is the full-throttle euphoria of “Language.” Gone is the dancefloor weaponry of Spitfire, which arrived just two years prior. The bashful anime auteur is vulnerable, seemingly for the first time, inside Worlds. He even lends his pitched-up vocals to a handful of the tracks, a welcomed contrast to the brash, bro-ey male bravado permeating the dance music scene at the time. The sonic world building erected within the LP has been paralleled by none since Worlds‘ debut. Porter Robinson comprised the record as a master storyteller would, cognizant of narrative, of pace, of tone, as the ship beats on towards its tenacious crescendo, “Goodbye To A World.” Bursting with shimmery electro-pop, Worlds stands as a happy harbinger into EDM’s post-“Where’s the drop?” ethos. -Bella Bagshaw

David Guetta – Nothing But The Beat (2011)

Though Guetta had already been chopping heads in the dance game for decades by this point, Nothing But The Beat was a breakthrough for dance music’s open-arms US adoption. That no-introduction-needed pop icons like Sia, Justin Timberlake, and Lil Wayne wanted to lend their voices to the dance music revolution was nothing short of watershed for our purposes. It was hard to turn on a radio without “Titanium”‘s prophetic ring in tandem, or step onto a club floor without Nicki Minaj electing to “Turn Me On.” Was the record overtly gimmicky at times? See: “I Just Wanna Fuck.” Of course, but nonetheless, the Frenchman had successfully spoonfed four-on-the-floor to the masses, whether they knew it or not. -Bella Bagshaw

Nero – Welcome Reality + (2011)

Fueling some of the most high-profile soon-to-be remix material, Welcome Reality + melded the ferocity of the dub and drum ‘n’ bass netherworlds to rock/dance pop sensibilities. Americans were as confounded as they were enamored by the larger-than-life onslaught of bass alongside the NERO vocalist Alana Watson’s rapturous yearning. The apocalyptic landscape of the LP bred hellfire and supreme sweetness hand-in-hand. Only NERO could imbue the starlit synth-pop of “Crush On You” against the futuristic bass fury of tracks like “Doomsday” inside a single record. It incited wall-to-wall remix treatments from the likes of Skrillex, Flux Pavilion, Calvin Harris, and many more worthy admirers. -Bella Bagshaw

HiJinx Festival Selects: Bump cuts from artists slated to play the event’s second edition [Playlist]

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With its inaugural year in the rearview, HiJinx Festival will return once more to the Pennsylvania Convention Center for a second year of unmediated momentum. From December 27-28, HiJinx’s bass itinerary will position headliners Bassnectar, Excision, Slander, Skrillex, Zeds Dead, Porter Robinson, and GRiZ before the crowd assembled in Philadelphia.

A wonderland of low end artistry, HiJinx’s 2019 lineup additionally includes DROELOE, who recently wrapped their past, present, future EP series with the release of A Promise Is Made, CloZee, Big Wild, and dual riddim and dubstep experimenter, Subtronics, who partnered with GRiZ on the floor shaking “Griztronics.” Zion I, Kittens, SoDown, and The Underachievers will also cater to bass enthusiasts with resounding sets over the course of HiJinx’s two-day 2019 run.

HiJinx Festival Selects: Bump cuts from artists slated to play the event’s second edition [Playlist]HiJin Lineup WebsiteHeader Final 1

To ready attendees for what will be, for some, the final festival of the decade, Dancing Astronaut has coalesced original productions from all of the artists slated to play HiJinx in one sprawling pre-event playlist. More information on the sold out event can be found, here.

Featured photo: HiJinx Festival

Dancing Astronaut’s BIG 100—Top 25 EDM Moments of the Decade

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Dancing Astronaut’s BIG 100—Top 25 EDM Moments of the DecadeUntitled Design 1

2010 may as well have been a lifetime ago. At the breakneck pace by which dance music throttles through the stratosphere, the decade is ending in an entirely unrecognizable place from where it began. For context—ten years ago, Electric Daisy Carnival was held in Los Angeles, not Las Vegas, where the Los Angeles Rams now play. Only 250,000 people were paying for a Swedish music streaming service called Spotify, and Billie Eilish was finishing up second grade. It’s been a wild ride through the 10’s, largely soundtracked by EDM’s global boom into a multi-billion dollar industry. Ten years ago our culture was creeping out of South London basements and New York warehouses, and now we’re performing at the Olympics.

So now, as the single most important, historic, and certainly memorable decade dance music has ever seen draws to a close, we had to figure out a new way to break down how far the culture has come. One master list couldn’t possibly reflect the decade in review. In effort to properly recognize the remarkable collection of events that has brought us here, we’re tweaking our typical end-of-the-year model. Instead, we’re dividing the decade’s most deserving into a handful of unique categories.

In review of 2010 – 2019, the most important factors that shaped the decade were Artists of the Decade, Labels of the Decade, Albums of the Decade, and Most Impactful Moments of the Decade. Together, they comprise Dancing Astronaut’s decade-end collection. Introducing, The Big 100.


25. FYRE Festival Fiasco

We’ll always remember FYRE Festival, though, for more than the debacle it caused for the 1%’ers of festival attendance. The fiasco that left attendees stranded on a concrete beach in the middle of the Bahamas without food or shelter will go down as one of the biggest blunders in festival history—our generation’s Woodstock 99, or microcosmic version of it. But FYRE Festival will be remembered as a turning point for both festival events and influencer culture. The tumultuous last-minute dissolution of the event showed the gaping cracks in influencer marketing and sent a message to global festival organizers that sub-par events wouldn’t be tolerated anymore; nobody wants to be the next FYRE. As a result, the diluted middle of the festival circuit began to fold at the tail end of the decade. FYRE will likely have set the precedent for the next decade of festivals in that most of us are either looking for events with high production value and infrastructural organization, or tightly curated boutique events in aesthetically pleasing locations. But for now, we’re still dining out on the epic failure that was Billy McFarland and Ja Rule’s “greatest party that never was.”

24. Aphex Twin’s Return

Aphex Twin had already claimed his place in the upper echelons of electronic music before the turn of the millennium. Though he largely went radio silent after his 2001 double LP. Fast forward to this decade and it wasn’t necessarily surprising that Richard James, a deity of experimentalism, wasn’t a part of electronic music’s global commercialization. Though, when James did resurface in 2014 with the mind-bending Syro, his influence was immediately evident in the modern electronic landscape. A Grammy, a pair of EPs, a return to visual media, and a return to performing stateside, which culminated in his first Coachella showing in 11 years, made the second half of the decade a fun, twisted spiral down Aphex Twin’s rabbit hole.

Dancing Astronaut’s BIG 100—Top 25 EDM Moments of the DecadeAphe Twin Collapse Ep

23. What So Not break up and Flume launches into the stratosphere

In 2015, What So Not was at the top of their game as Australia’s brightest exports began to leverage swelling popularity with American audiences. The pairing of Flume and Emoh seemed like two buddies carving out their shared creative vision—tracks like “The Quack” and “Jaguar” were breaking ground in new sonic territories and everyone was along for the ride. Though, Flume was already a breakout star in his own right, with a hugely successful debut album already under his belt. When the pair announced their split and Emoh would be taking creative control of the shared project, it allowed Flume the creative space he needed to propel himself into a once-in-a-generational talent with his sophomore follow up, Skin, and later his deeply ambitious mixtape. It was a big moment for dance music as the beloved duo went their separate ways, but ultimately, allowed Flume the creative launchpad he so desperately needed.

22. Madonna and Avicii at Ultra

During Avicii’s unforgettable 2012 Ultra set, he brought out pop’s undisputed queen, Madonna as a surprise guest during the performance. Her words would have been remembered as endearing when she said, “electronic music has been a part of my life since the beginning of my career, and I can honestly say a DJ saved my life,” had she not followed up a moment later asking the swelling crowd of ravers if anyone had “seen Molly?” *record scratch*

It wasn’t the greatest look for Madonna, or electronic culture at large, but in that moment it was remarkable to see our generation’s fastest rising star share the stage with the most dominate pop force of the last 50 years. —Farrell Sweeney

21. Gesaffelstein’s farewell at Coachella 2015

When Gesaffelstein announced his early retirement from live performances in 2015, it shocked the dance music community. It felt like the first time Michael Jordan called it quits. Following the success of his debut studio album from just two years before, Gesaffelstein was at the top of his game. Crowds would come in droves to see the French techno god chain smoke his way through sets, commanding the decks like a pastor at the pulpit. Then, just like that, it was announced that his festival-closing performance at Coachella’s Mohave tent in 2015 would signify the end. The farewell provided the kind of rousing and suspenseful ending that festival-goers yearn for in the final hours of such a momentous event.

The void where Gesaffelstein had stood was felt instantly, and never really subsided until his 2019 re-emergence. The four year hiatus proved to be fruitful as the Dark Prince of Techno returned with a highly conceptual live performance and sophomore album. With a Columbia Records deal now inked, fans can expect Gesaffelstein to remain active in the early part of the coming decade, though they’ll never take his presence for granted again.

Dancing Astronaut’s BIG 100—Top 25 EDM Moments of the DecadeGesaffelstein Jorge Meza Photos

20. “Lean On” makes Spotify history

There was a lot of “fad” talk over the course of the decade, underscored by endless theorizing about the “EDM bubble.” Those conversations halted for a day in November 2015 when Major Lazer, DJ Snake, and MØ’s “Lean On” was named Spotify’s most streamed song of all time. It signaled that EDM was now to be understood as pop music, that there was no longer a line between the genres and that was the new precedent. It topped the charts in more than 20 countries, and spent 10 consecutive weeks in the top 10 on the Billboard Hot 100. “Lean On” is now Spotify’s fourth most-streamed song of all time. Though, it boasts nearly three billion YouTube views and undoubtedly holds a place as one of the songs that defined the decade.

19. Kaskade’s crowd at Coachella

In April of 2015, Kaskade was the only electronic music artist to play on Coachella’s main stage. That year he represented electronic music in grand fashion when he broke festival records for the largest crowd in Coachella history. “This is certainly electronic music’s time,” Kaskade would tell Mashable in 2015, and considering his crowds trumped that of Drake, AC/DC, The Weeknd, and Tame Impala’s, suffice it to say he hit the nail on the head with the bold notion. —Farrell Sweeney

18. Jack Ü debut at Ultra

When Skrillex and Diplo took to the Ultra main stage together in 2014, most of the overarching impact of what was happening was lost on the crowd and global streaming audience as two of the world’s top DJs rained fire down on Miami. What would permeate from that performance was not just a larger-than-life pairing of two dance titans that would yield an album, a sold-out Madison Square Garden NYE run, and a slew of massive festival headlines. The Jack Ü project undoubtedly resurrected Justin Bieber‘s career and ultimately positions Diplo and Skrillex as the top pop producers of the decade with their hypnotic brand of fizzy, aggressively danceable electronic music.

Of course all good things must come to an end and after label red tape, an unsustainable touring itinerary, and perhaps even creative differences, Diplo and Skrillex went their separate ways in 2016. Though, the split doesn’t seem as acrimonious as JAY-Z and Kanye’s public falling out, so something tells us we likely haven’t seen the last of Jack Ü. —Bella Bagshaw

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17. Porter Robinson and Madeon finally join forces for ‘Shelter’

The Shelter tour encapsulated a truly unique live experience that will go down in the history books for electronic music. Madeon and Porter Robinson’s trajectories were so similar from the onset—two internet wunderkinds who each shared an affinity for video game culture and its intersection with music. Both would go on to become stars. So when the two finally joined forces for “Shelter,” we knew we were looking at something special. The collaboration was later accompanied with a short anime feature. The temporary pairing would climax with two scintillating shows at Madison Square Garden and Coachella. —Josh Hymowitz

16. SFX goes belly up

The newly relaunched SFX Entertainment had largely dominated the EDM gold rush by it’s IPO in 2013, swallowing major brand properties left and right behind the leadership of controversial entertainment mogul Robert Sillerman. The entertainment conglomerate would grab up TomorrowlandMysterylandBeatport, and more before tumultuous restructuring efforts would ultimately lead to filing for bankruptcy just two years later. The company would return once again in 2016 thanks to AEG Live CEO Randy Phillips, this time as LiveStyle, the group behind Destructo‘s AMF properties, Electric Zoo, and many more. Earlier this year, Sillerman died of throat cancer.

15. Gary Richards’ final HARD performance

In the ’90s Gary Richards was instrumental in the rise of the rave scene in Los Angeles. While fellow promoter Pasqualle Rotella was also carving out his own lane in LA at the time, the two were largely understood to be competitors rather than collaborators. This decade would bring Richards’ return to the electronic events circuit with the formation of his HARD events brand, which proved to be a monumentally successful alternative to Rotella’s fledging Insomniac branded events. Though, when Live Nation purchased HARD Events in 2012, it brought Rotella and Richards under the same banner, and ultimately, began the process of Richards’ departure from his own events property. After successfully branding summer and Halloween events, a mini-festival touring circuit, and a wildly successful cruise party, Richards would start from the ground up once again with the formation of his AMFAMFAMF events brand and a partnership with LiveStyle, formerly SFX, in 2018. Richards played one final sermon, as fans grew accustomed to calling his sets, at HARD Summer in 2017, marking the end of a momentous chapter for stateside dance events. —Bella Bagshaw

14. OWSLA goes on tour + Mothership Tour

Skrillex founded his OWSLA imprint in 2011, mainly so he could sign and help distribute music from fellow up-and-comers he had connected with online: a teen from North Carolina named Porter Robinson and a young Russian-German musician with an ear for crafting hits named ZEDD. The three would of course go on to define electronic music for the decade individually, but not before sharing a tour bus for a month, setting up a folding table at clubs across the country. Talk about a real “started from the bottom” moment.

This would lead to the unforgettable Mothership Tour of 2014 which saw Skrillex, now an electronic icon, deliver some of his most ambitious performances to date from the cockpit of a hydraulic, graffiti tagged, laser equipped spaceship. The tour was supported by What So Not, DJ Snake, and Milo & Otis, making for one of the most memorable affairs of the decade.

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13. Anna and Alison at EDC main stage

EDC Las Vegas’ 20th anniversary in 2016 was certainly one for the books. The event’s top highlight would go down as a historic showing from two of dance music’s most dominant leading ladies. Amid three days of electrifying sets, and celebrity guest appearances, Anna Lunoe became the first solo female act to ever play the festival’s main stage on Saturday, followed by Alison Wonderland taking the main stage the following day with her own raucous performance. It drew long-overdue attention to the gender gap in dance music and served as both a moment of triumph for the culture as well as a hard look in the mirror.

12. Carl Cox says farewell to Space Ibiza

For the better part of the decade, Space was consistently celebrated as the top club in the world. By all accounts, the storied venue was the crown jewel of Ibiza. All the while, Carl Cox reigned supreme as the club’s esteemed resident, rocking the club’s main room discoteca with fervor and passion for 15 years. The 2016 season marked the end of the club’s storied run and in turn Cox’s legendary stint as its ringleader. The live streamed closing party featured a head-spinning list of performers all stopping in for one final goodbye.

Since then, Cox has been instrumental in the institution’s restoration. Though, that season-ending party in 2016, with Cox spinning vinyl for the first time in more than a decade, reminded us that electronic dance music has its own hallowed grounds, and losing one such site was certainly a moment to remember.

11. Ultra Music Festival voted out of Bayfront Park

This decade was largely defined by Miami Music Week and the culminating Ultra Music Festival that capped the week off. Each year, dance music’s most jaw-dropping moments would take place at Bayfront Park, replete with fireworks and Miami’s skyline in the background. Bayfront became an inextricable component to Ultra’s appeal over the event’s 18-year stint at the venue. So when the commissioners of Miami voted unanimously against allowing the festival to be hosted at Bayfront Park in September of 2018, it felt not only as though the relationship between the festival and its host city had fractured, but it felt again as though dance music was losing another holy site. The 2019 edition of the festival was largely received as a disaster, though, the 2020 iteration will see Ultra’s return to Bayfront Park after some key legal maneuvering. It will set a new chapter in a fresh decade for the crown jewel of dance events. We couldn’t be more excited. —Farrell Sweeney

Dancing Astronaut’s BIG 100—Top 25 EDM Moments of the DecadeUltra 2018 Mainstage ALIVE Coverage
Photo credit: aLIVE Coverage.

10. Major Lazer performs Cuba

When Major Lazer performed a free show in Cuba in March of 2016, we knew we were witnessing history. It was the first time an American group would play for a Cuban audience after more than a 50-year embargo between the two nations. The result was remarkable. Nearly half a million Cubans came to watch Diplo, Walshy Fire, and Jillionaire make it clear that Peace is the Mission. For a group that prides themselves on bringing worldly influences to a global network of fans, Major Lazer certainly drove their point home on the shores of Havana that day.

09. Skrillex brings home the hardware

When Skrillex won three Grammys in 2012, it felt like we had arrived. Our generation’s newly defined rockstar archetype had emerged just two years prior, and when Sonny Moore brought home golden gramophones for best dance recording, best dance/electronic album, and best remixed recording (not to mention a nomination for best new artist), it was a hugely legitimizing moment for the genre. Moore would sweep the same three categories the following year, and grab two more Grammys before the decade’s end, establishing himself as one of the premier producers of our day, and our Artist of the Decade.

08. Resurgence of album format

Recent survey data may reflect otherwise, but from 2010 – 2019, as dance music found its footing in the pop landscape, so too did the album format, giving listeners a wide variety of electronic projects that were defined by a concept. It brought listeners from A to Z with specific chronological intent. Electronic albums weren’t new to the 2010s, though electronic music’s relationship to the album format seemed to strengthen over the decade more than it had before. It also allowed dance producers to wade into pop production with largely successful results. From deadmau5’s While(1<2) to The Chemical BrothersNo Geography, with Recess, Worlds, and so many highlights in between, electronic artists stepped beyond the comforts of lower-risk EPs and dove into album production with spirit during the ’10s.

07. Avicii’s ‘Levels’ takes over the world

In 2011, Avicii debuted “Levels” at Ultra Music Festival, and this moment would forever change the trajectory of the dance music industry and the career of Avicii himself. “Levels” took over the world. It played on repeat on major radio stations; it rang out at major sporting events and on TV shows; and it ignited an interest in dance music from the masses. The debut of “Levels” is the beginning of the mainstream’s growing interest in dance music, and the song’s unbelievable ubiquity marks one of the most pivotal moments in Avicii’s iconic career. —Farrell Sweeney

06. The loss of Keith Flint

After the loss of Avicii in April of 2018, dance music was forced to examine and console the loss of an icon. It galvanized the mental health conversation in the industry and shed light on the not-so-glamorous side of the globetrotting DJ life. Not a year later, on March 4, 2019 the community that was still processing those feelings took another massive blow when news broke that The Prodigy‘s legendary frontman Keith Flint had died. Both the group and Flint individually garnered so much respect from so many corners of the music world, that coping with Flint’s passing felt like reopening barely closed wounds. Despite being one of the darker moments of the decade, there’s not a shadow of a doubt that The Firestarter’s legacy will live on.

05. Swedish House Mafia breakup… and reunite

It is hard to believe that Swedish House Mafia was broken up for more years than they were together over the past decade when considering the impact they had on progressive house and the massive global following the group amassed during their time together. When the group called it quits in 2013, their farewell tour signaled an unforgettable milestone in dance music’s golden decade. The split had the Mafia divided on a personal level, riffs that took five years to close. It wasn’t exactly a shock when the trio reunited in the same place they said goodbye at Ultra Music Festival in 2018, though the moment was undoubtedly a triumph. It felt as though the entire global dance music community reunited for a singular moment to watch the Axwell, Sebastian Ingrosso, and Steve Angello come back together to close down Ultra Music Festival’s 20th anniversary weekend. —Farrell Sweeney

Dancing Astronaut’s BIG 100—Top 25 EDM Moments of the DecadeSwedish House Mafia Ultra 2018 DA

04. Electronic dance music reaches a billy

The global dance music industry hit an all time high of $7.4 billion in 2016, solidifying that, for better or worse, this decade has been the biggest, most profitable, and commercialized decade dance music has ever seen. The electronic music industry became the fifth highest grossing genre of music, a place the vast majority of us couldn’t say they saw coming at the onset of the decade. —Farrell Sweeney

03. The rise of digital streaming platforms

At the risk of stating an oversimplification, streaming changed the game in so many ways. Naturally it is where creative media was headed this decade, but the wide adoption of Spotify, and Apple’s purchase of Dr. Dre’s Beats empire, sparking the launch of Apple Music thereafter, signaled a major shift for artists, labels, and yes, even little dance blogs. Spotify essentially did what they set out to do during their first decade—effectively end online music piracy by providing a better alternative.

Now, firmly into the streaming era, we see both Apple and Spotify collecting millions of paid users per year, while taking the monopolized distribution power of labels out of their hands. Labels would catch-up to the digital streaming platforms eventually, but not before Spotify and Apple Music developed a new kind of exclusive and started building rosters of endorsed artists. DSPs changed the way awards were given, gave independent artists the ability to market themselves without a label-slanted deal, and gave music to the masses over the last decade.

02. The loss of Avicii

The wind was taken out of everyone’s sails on April 20, 2018 when we lost Avicii at just 28 years old. Receiving the news was a moment most dance music fans can’t forget. Perhaps because before that we didn’t have a Kurt Cobain or an Amy Winehouse. No Jimi Hendrix or Jim Morrison. No Prince. Avicii’s death was about dealing with the loss of an icon whose music is emblematic of dance music’s ascent from the historic underground and to the mainstream. Avicii had been public about the struggles he faced with touring and the lifestyle that came with being a DJ. His documentary exposed many issues that artists face, such as being pushed past mental and physical limits with press, travel, and touring alongside addiction issues. When Avicii died, the industry was forced to prioritize artists’ mental and physical health like it had neglected to do before. We didn’t just lose a superstar DJ that day, we lost an industry trailblazer, and the head of a movement. —Farrell Sweeney

Dancing Astronaut’s BIG 100—Top 25 EDM Moments of the DecadeAvicii
Photo by Sean Eriksson

01. Daft Punk return with Random Access Memories

Daft Punk‘s return in 2013 was special, not only because the legendary French Androids had delivered their first LP in eight years with Random Access Memories, but because the album was legitimizing for electronic dance music in many ways. It came at the front half of EDM’s global boom, proving to the world that electronic dance music wasn’t just millennial festival fodder with Nile Rodgers, Pharrell Williams, and Giorgio Morodor in tow. The record masterfully presented intelligent, disco-inspired sounds in with an incredibly fresh, modern perspective to audiences who were still trying to figure out if mainstream electronic music was…well, legit.

Random Access Memories would remind everyone who the genre’s omniscient godfathers were, net the duo four Grammy Awards along the way, help guide vinyl’s resurgence selling the most units of the decade, and cement Daft Punk’s legacy all over again. Most of us have more than one fond memory with RAM, it largely informed the decade, and even if it proved to be Daft Punk’s last work, it might go down as the duo’s opus.

Dancing Astronaut’s BIG 100—Top 25 EDM Moments of the DecadeDaft Punk Photo Credit Olivier Zahm

Djakarta Warehouse Project celebrates an explosive 11th anniversary — photos by RUKES, Nareend, HIGH ISO, and Vinodii

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Djakarta Warehouse Project celebrates an explosive 11th anniversary — photos by RUKES, Nareend, HIGH ISO, and VinodiiFireworks Finale At Jonas Blues Set By Nareend 3

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Mall Grab, Loco Dice and Four Tet land on ‘Midnight Hour’ remix package

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Mall Grab, Loco Dice and Four Tet land on ‘Midnight Hour’ remix packageMaresdefault

A week after Four Tet‘s contribution, “Midnight Hour” has received an extended remix package. Underground house titan Mall Grab brings a unique flavor to the track, speeding it up to 140 BPM and adding a hefty kick. Tunisian veteran-producer Loco Dice doubles down on the house rhythms and patterns of the original to create a lengthened cut that should easily fit in sets. To round out the project, Skrillex and Boys Noize contribute their dub mix to join Four Tet’s remix.

This release is yet another chapter in the story of the Ty Dolla $ign-assisted track. From Grammy nominations to remix packages, the Dog Blood team’s latest won’t say die.