A-Trak‘s lauded remix of “Heads Will Roll” by the Yeah Yeah Yeahs is celebrating is 10th anniversary, and as such, the producer took the time to make a video for fans outlining the creative process behind it.
In a short YouTube clip, the Canadian producer talks over a screen recording of his beat lab while showing the progression the song took to its final form.
In addition to explaining how the song was made, A-Trak also gave an anecdote as to why the project was so special for the artist. In a tweet, he remembers seeing the Yeah Yeah Yeahs and immediately wanting to get his hands on their version of “Heads Will Roll.” He reached out to band asking to remix it—a process that typically happens the other way around.
After a few long months of working on the track while touring, the label Interscope rejected the release. It wasn’t until the remix circulated and gained popularity that the label eventually asked to release it. A year later, A-Trak’s version of “Heads Will Roll” ended up in the climax scene of the comedic film, “Project X.” From then on, the song was cemented in greatness.
Grimes, Canada’s queen of elaborate concept projects and sonic thought experiments, has materialized for another unearthly release, the two-sided “So Heavy I Fell Through the Earth.” The multi-talented icon of all things eternally odd has delivered two renditions of the song, a radio-intended cut, or Algorithm Mix, as well as an extended Art Mix. She’s also set a date, February 21, 2020, for her forthcoming LP, Miss_Anthropocene, which she’s said will lean heavily on climate change-adjacent themes, from the perspective of… wait for it, a misanthropic demon. The 10-track album is expected to be a stark departure from its 2015 predecessor, Art Angels, which was riddled with frothy, often disjointed pop singles and to which Grimes now refers as “a piece of crap,” and a “stain” on her life.
The song’s cosmically odd appeal harkens back to her Visions era. The ethereal downtempo production wistfully jaunts beneath Grimes’ signature moody, high-pitched croons. It’s the second single from the impending album, preceded by the equally astral and thematically weighty “Violence,” produced by smoldering mau5trap talent, i_o.
“So Heavy” arrives alongside an environmentally despondent visualizer: a foreboding portrait of Earth some years from now, scorching and uninhabitable, from the vantage point of outer space, where Grimes is engaged in a sword fight with a dragon. Armored literally and aurally, Grimes is a valiant envoy to usher us all towards our fiery ends.
Just as this past September was winding down, Flume dropped a surprise single, arguably his biggest in years, “Rushing Back,” featuring vocalist Vera Blue. Alongside the release came news of Flume’s plans for a full-scale fall tour. Now, Flume’s returned to keep listeners satiated well into the new year; the Australian producer has released the music video for the single, which features himself seated alongside Blue.
The video serves as a visual appendage to the relationship reflection inherent in the lyrics. The camera traces circles around the two, each vantage point offering viewers insight into different times in the depicted relationship, which seems to lure and overwhelm each member into something of a revolving staircase of emotions—hence the title.
Incisive viewers will recognize the Nissan in the video as the same one featured in Flume’s visualizer for his explosive mixtape of this year, Hi This Is Flume.
The video is directed by longtime Flume collaborator, Jonathan Zawada. It’s available to stream now on Flume’s YouTube Channel.
In 2017, FKJ burst into the public eye with the Masego-assisted “Tadow,” a jazzy neo-soul track that showcased both artists’ diverse skill sets. French Kiwi Juice, FKJ’s studio album released the same year, proved for many fans that he was more than a flash in the pan. Now, he’s back with his first extended release in two years.
“Ylang Ylang EP” is full of the lush, tranquil production we’ve come to expect from FKJ. The lone credited feature is given to rising Dreamville star Bas, who features on the EP’s lead single “Risk.” The title track arrives alongside an official video, which features FKJ amidst the jungle he recorded in and named the EP after.
“Last year I spent about six months in a very remote tropical place where I setup a studio,” FKJ writes in a recent press release. “There is almost no one there. No electricity. I was making music out of a generator that was running only by night. The most beautiful landscapes, mountains, beaches. It’s one of my favourite places in the world. When I made music there it felt kind of like a dream state.”
In the episode, Garrix receives the bad news that he has two torn ligaments in his ankle after an MRI scan. The doctor then tells him that he not only needs to get surgery immediately, but that he must cancel all shows for the next month after his surgery, scheduled the following week. Garrix considers going against the doctor’s wishes and doing the upcoming shows anyways; but, after audibly grappling with longterm potential damage, Garrix finally acquiesces and decides to accept the well-warranted time off.
Post-operation, Garrix’s friend and co-producer, Albin Nedler, comes to the hospital to finish writing “Used To Love” with Dean Lewis.
Blond:ish‘s Bye Bye Plastic campaign is the subject of a new mini documentary directed by Jonathan Hyde and formally presented by Mutt Film. The short, seven-minute production chronicles the artist’s early introduction to music through the instruments in her childhood home—an old school cockpit, an amplifier, and a turntable—before delving into Bye Bye Plastic.
Blond:ish’s initiative was conceived during a stint in Brazil that situated her behind the decks of Brazil’s Warung Beach Club. Set against a backdrop of a Brazilian sunrise, the “mountain of water bottles” that would go on to inspire Bye Bye Plastic caught the producer’s eye. For Blond:ish, the juxtaposition was glaringly apparent.
Bye Bye Plastic’s aim is simple: eradication of single-use plastics, such as straws, cups, and bottles, from the electronic music industry by 2025. The documentary highlights the ways that Blond:ish is not only working towards this long term goal herself, but also how she encourages others, DJ’s and attendees alike, to do the same.
Between his producing hits with international acts and touring as one of EDM’s pioneering superstars, Steve Aoki has made it a continued point to prioritize charitable activities into his schedule. The Neon Future producer hosted the first ever Aoki Games in September and raised more than $250,000 for brain research. His latest endeavor saw him partnering with nonprofit Kids Wish Network to make a young fan’s dream come true.
With the foundation’s help, 6-year-old fan Jamar Woods a.k.a. DJ Masterpiece and his family received the chance to travel to Las Vegas and spend the day with Aoki at his “playhouse.” Jamar has aspired to be a DJ since he was two, but faced challenges upon being diagnosed with a life-threatening illness. Kids Wish Network helps grant wishes to children between the ages of three and 18 who battle life-threatening medical conditions.
During the ultimate playdate, Aoki and Jamar played piano together, signed each other’s custom shirts, and hung out in the ball pit—collectively sharing both a heartwarming and inspirational day that touched everyone.
“A very special thank you to Steve Aoki for graciously inviting us into your home, for your hospitality, and kindness in taking time out of your day to inspire Jamar,” said Kids Wish Network Executive Director, Tam Lai.
Mura Masa and slowthai have proven again their formidable appeal as a producer-vocalist ensemble, linking up for the second time to say “Deal Wiv It,” another cheeky nuanced number, following last year’s “Doorman,” which appeared on slowthai’s Nothing Great About Britain LP.
“Deal Wiv It” packs melodic jaunts and bass struts, equal parts Talking Heads and The Clash, alongside slowthai’s painstakingly British, punky irreverence: “They say, ‘You’ve changed,’ / Fucking deal wiv it.”
Mura Masa’s next album, R.Y.C., is expected at the turn of 2020. The Grammy-winning “Walking Away” remixer recently collaborated with Clairo on “I Don’t Think I Can Do This Again,” expected to appear on the official tracklist for the forthcoming LP. The new single arrives alongside a coinciding visual, starring both “Deal Wiv It” creators.
The producer starts the episode by returning to EDC for his sixth year, and REZZ makes a cameo when she asks Garrix if he still gets nervous before big performances like EDC (he does). Garrix proceeds to perform at Wet Republic and Omnia until he takes the fateful fall that resulted in the producer canceling his upcoming shows. Viewers can see behind-the-scenes footage from the hospital and watch the producer recuperate wheelchair-bound in his home in Amsterdam while he waits to get his MRI.
In his home, Garrix tells the full story of the fall. It occurred when he was performing at Omnia during his 10th day in Las Vegas, and because he is smaller, he always utilizes a riser so that he looks taller for the crowd. When landing after a jump off of the DJ booth, his foot landed on the edge of the riser, causing his ankle to snap as he fell into a glass wall behind the booth. After taking a break in the green room immediately after the fall, Garrix returned to the booth to finish out his set against his team’s will before heading to the hospital.
FIGHT CLVB pay homage to the metropolitan personality of downtown Philadelphia in the accompanying visual for RVMBLE IN THE JVNGLE inclusion, “Booty Funk.” Stylistically, “Booty Funk” extends the audiovisual aesthetic that FIGHT CLVB instituted on “Booty Funk’s” predecessor, “Big Mood.”
Whereas “Big Mood” organically foregrounded—and celebrated—the cultural diversity of its New York setting through the multitude of different faces shown therein, “Booty Funk” does so largely within the City of Brotherly Love. Spatially roving, the production transitions between the Philadelphia landscape that is home to “Booty Funk’s” featured vocalist, Bok Nero, to FIGHT CLVB’s own “stomping grounds” in Brooklyn, New York.
We felt it was appropriate to continue the approach of the first video for the second single…this time, we switched up [the setting]. We showcase the gritty yet beautifully vibrant aesthetic of downtown Philly.
[The video] builds on the concept of a 16mm home movie that switches back and forth from his hometown to our stomping grounds in Brooklyn, New York.
Bok Nero charismatically delivers his galvanizing verses as the camera pans from one high spirited scene to the next. The sultry pulse of the bass line beats away, sound tracking these focal fluxes as those who appear alongside Nero and FIGHT CLVB enthusiastically dance, showing off their own idiosyncratic definitions of ‘booty funk.’
FIGHT CLVB appropriately call the “Booty Funk” music video the “direct sequel” to its sister production, “Big Mood.” Both environmentally exploratory efforts lucidly embrace the heart and humanity of concrete jungles across state lines with authenticity and imagination.
Although FIGHT CLVB will not formally release the music video until November 7, fans can watch the visual ahead of debut, exclusively on Dancing Astronaut. Streamers can also listen to FIGHT CLVB’s LP, RVMBLE IN THE JVNGLE, here.