The carefree spirit of summer proves evergreen in BRKLYN‘s visual for “Can’t Take My Money.” The duo’s first single of 2019, “Can’t Take My Money” flaunted the bold alternative-electronic flair of BRKLYN’s sound, showing BRKLYN’s approach to dance music to be that of a fresh, imaginative caliber distinct from the mainstream. A fun diversion from the familiar. “Can’t Take My Money” underscored BRKLYN’s trailblazing potential.
Now, with the official music video for “Can’t Take My Money,” the Armada Music label mates translate the vivid, feel-good energy of the cut into a visual that extends the animated personality of the tune.
We try not to take ourselves too seriously, and ‘Can’t Take My Money’ is a record that presents us with the perfect opportunity to convey our easygoing vibe on video
The video follows BRKLYN’s own Cory Nadeau and Cameron Alexander as they romp on the boardwalk, skateboard through streets, and take the wheel of a golf cart. Listeners can get a look at the visual before its September 21 debut exclusively on Dancing Astronaut.
Read Dancing Astronaut’s interview with BRKLYN on the making of “Can’t Take My Money,” here.
Eccentric action is the name of Apashe‘s visual game. The producer creatively doubles down on “Good News” to craft an off-kilter accompaniment to the bass laden tune, which hails from Apashe’s concept EP, The Good,The Bad, & The Fake, released in February. Potent percussion wallops streamers as the official music video for the EP inclusion kicks off, ushering viewers into the climactic, idiosyncratic world of “Good News.”
Rife with religious imagery, allusions to social media, erratic choreography, and shots of palatial landscapes, “Good News” arrives as a gripping complement to the song, one from which viewers will not be able to look away. Its cultural suggestiveness coupled with its sheer unpredictability, the visual for “Good News” is an attention grabbing, conceptual expansion of the track, and more broadly, of the themes that Apashe first introduced on The Good, The Bad, & The Fake. In the context of Apashe’s “Good News” music video, to watch is to adventure.
London’s decade-long Aphex Twin drought finally subsided with the producer’s September 14 performance at Printworks. Aphex Twin’s first club show in London in ten years’ time, and unsurprisingly, a sold out endeavor, the momentous live effort won’t be just a shadowy memory for attendees who pervaded the famed UK venue, thanks to the ten-piece camera crew who brought a 360°, full-length video of the two-hour set to fruition.
The visual eccentricity classic of an Aphex Twin appearance is on full display in the video. Bright flashes of white light accent the amorphous visuals that crawl across the screen in unpredictable fashion. Aphex Twin sourced this component of the live package from familiar collaborator, Weirdcore.
Staticky and climactic, the set develops at a languid pace. Aphex Twin originals such as “Stone in Focus” and “Umil 25-01” surface among unreleased new Aphex material, as do productions from a sampling of fellow artists, including HVL, Quartz, and Ye Gods, among others.
Aphex Twin will next set his sights on Manchester’s The Depot on September 20.
After the success of Digital Shades Vol 1., released in 2007, M83 looks to deliver a sequel installment over a decade later, gearing up for the release of the Digital Shades Vol 2. LP. The second single from the album, “Lune de Fiel,” lands hot off the heels of the project’s first preview, “Temple of Sorrow.” The album’s second offering is a continued ode to the cinematic sonic tropes of 80s sci-fi films, doused in analogue synth appeal, as the cornerstone of the record’s composition begins to take shape.
“Lune de Fiel” comes with a more robust synth arrangement than its predecessor, relying on arpeggiated melodies, complex percussion, and a walking bass line. The final leg of the track teases a glimpse of an operatic concerto arrangement making for a fully-fledged narrative form.
The track looks to accompany M83’s upcoming Extrazus film, helmed by French director Bertrand Mandico. “Lune de Fiel” represents one part of Extrazus‘ narrative with a jarring black-and-white visual. Digital Shades Vol 2. LP is out in full on September 20.
In early September Post Malone dropped his third studio LP, Hollywood’s Bleeding, a 17-track compilation that finds the crooner hitting his stride for more of his finest work to date. Among the record’s booming tracklist is “Saint-Tropez,” which now has an opulent visual feature to boot. Saint Tropez is known to be one of the most luxurious destinations along the French Riviera, and the music video fittingly showcases Post Malone enjoying the finer things in life throughout his French escapades.
The video finds Post in a variety of exotic locations. From shots in the mountains showing off expensive jewelry, to flexing in front of a row of high-end cars with champagne, the video is the perfect dose of beautiful, wandering escapism, giving an apropos visual backdrop to a standout offering from Hollywood’s Bleeding.
For a landmark festival with influence as ubiquitous as Tomorrowland, its 15th anniversary inevitably brought an equally remarkable number of commemorations—from a special 60-piece “Symphony of Unity” opening performance to a revitalized “Book of Wisdom” main stage to Eric Prydz‘s Holosphere debut. With the milestone celebration also came the myriad of diverse talent; whether mainstream or underground, icons or rising acts, artists across all corners of the electronic music world showed their faces at Tomorrowland including Laidback Luke‘s 70-year old alter-ego.
Laidback Luke revealed on social media that he secretly played twice at the Belgium festival—once as himself and once under the guise of an old man. The Dutch producer worked in collaboration with Tomorrowland to undergo a full transformation complete with hair, makeup, and special effects in order to play the part. As the oldie, Laidback Luke proceeded to take over the decks at Tomorrowland’s smallest stage, the legendary Rave Cave. Check out the behind-the-scenes process below.
Major Lazer has teamed up with J Balvin and El Alfa for their newest single, “Que Calor.” Major Lazer has collaborated previously with both featured artists, and the track takes inspiration from each of their home countries. It samples Toto La Momposina’s traditional Colombian-cumbia classic “Curara” and Dominican dembow rhythms. The release is ultimately a feel-good song and the perfect trigger to get the listener dancing. To accompany the single’s release, the artists have also released an energetic music video.
The video starts with J Balvin surrounded by enthusiastic dancers. The setting is muted and dark, but the video then jumps to an ornate and brighter setting. Diplo rises out of fire to join J Balvin and El Alfa on a platform surrounded by flames and dancers, creating a dynamic visual accompaniment to the dance-worthy single.
The Sept. 10 Apple Event brought with it the arrival of a new set of iPhones: the iPhone 11, iPhone 11 Pro, and iPhone Pro Max. The latter two models are the first of their kind, sporting three cameras and improved photography capabilities.
These new models feature a new component that Apple’s cheekily calling “slofies.” These slow-mo selfie videos made their debut to the soundtrack of Madeon’s “Dream Dream Dream,” and the resulting video is a humorous one, showing the use of slow motion via the new phone’s front-facing camera. Though some might find it entertaining, early reactions to the “slowfie” haven’t been overwhelmingly positive. If nothing else, though, dance music fans can appreciate Apple’s good taste in accompanying music.
The new iPhones are available to pre-order on Sept. 13. iOS 13 follows on Sept. 19.
It’s 2019, and Zedd’s ability to crack the charts remains ultimately unquestioned, but how about his ability to crack an egg?
The German-born producer-turned-sous-chef hits the culinary decks alongside cooking royalty Gordon Ramsay to put his surprisingly sophisticated spin on the breakfast sandwich (featuring bacon, goat cheese, shallots, and chives, for clarity’s sake). In addition to a first-hand lesson from Ramsay himself, Zedd offers fans insight into how his creative process has changed over the years and details his upcoming tour.
The Orbit Tour takes off on the west coast as of Sept. 13 and is scheduled to touchdown in Europe in early November.
Ahead of her upcoming LP Magdalene, FKA twigs has dropped off a surprise collaboration with Future titled “Holy Terrain,” with production credits from Skrillex and Bleachers’ Jack Antonoff. The track finds FKA twigs gliding over a minimal, moody hip-hop beat while Future accents twigs’ vocalizing with distant ad libs before delivering his own spacey, auto-tuned bridge verse.
“Holy Terrain” is another portfolio diversifying piece from Skrillex who has spent the summer on a scorching release streak, most recently a floor-primed dance cut with Ty Dolla $ign and Boys Noize. This latest offering is the OWSLA head’s most reserved cut of the summer, effortlessly matching FKA twigs’ chilling vocal performance.
Magdalene is set to be released on October 25. It will be twigs’ first long-player since 2014’s LP1. In addition to Skrillex, Future and Antonoff’s contribution to the record, Nicolas Jaar, Cashmere Cat, and other taste-makers are credited with appearances on the forthcoming album. See the video for “Holy Terrain” below.