Shawn Mendes sings of a lover who he just “can’t get off his mind” in “Lost in Japan,” the second single released off of Mendes’ same-titled third studio album. Zedd‘s newly minted remix of the song induces an irresistibility akin to that of the track’s love interest in that much like Mendes, listeners simply won’t be able to get this rework off their minds. Chances are they wouldn’t want to, anyway.
Zedd dresses up Mendes’ guitar-grounded original with electronic accessories that lend a bubbly animation to the production. A tasteful piano melody provides an introduction, setting a smooth sonic stage for the refined re-envisioning that remains delightfully yet to come in those initial few seconds of the song. Peppy, spirited synth work ebbs and flows at mid tempo, fluidly but unhurriedly leading listeners from verse to vocal hook.
“Lost In Japan” represents Zedd’s formal return to the remix ring, a space from which Zedd has remained noticeably absent in recent years. The last remix to bear the Zedd stamp was the producer’s 2016 take on DJ Snake‘s “Let Me Love You.” A feel-good and expertly harmonized follow-up to the melancholic “Happy Now,” Zedd’s “Lost In Japan” remix effortlessly evidences the producer’s knack for the pop/electronic hybrid, a fusion that is by no means new, but one that Zedd uncannily reinvents with each successive crossover that he releases.
Zedd has had no shortage of success in 2018. While over the past few years the world-renowned producer has been working more in the realm of pop than pure EDM, Zedd has time, and time again proven he can craft an infectious melody arguably better than anyone else. While Zedd has made accumulating thousands of
This month, Skrillex‘s LA-based artist collective, OWSLA, celebrates seven years in business. In those seven years, Skrillex went from promising mau5trap recruit, to burgeoning label head, to one of the most ubiquitous talents in electronic music history — and in turn, one of the most renown A&Rs in the game. Skrillex has achieved icon status as one of the most popular producers on the planet. His catalog speaks for itself. But perhaps more a testament to Sonny Moore’s abilities, and possibly what could wind up making a larger impact on his legacy than his own music, is the body of work he’s curated since OWSLA opened its doors seven years ago.
As the story goes, the label, named for the rabbit army in Richard Adams’ Watership Down, came into existence in 2011, shortly after Skrillex connected online with an emerging Porter Robinson. The young wunderkind instantly gripped Skrillex’s attention, and it wasn’t long before he was making plans to launch his own publishing imprint in order to host some of Robinson’s earliest, and most prolific works. Seven years later and here we are. Dancing Astronaut rounded up some of our favorite highlights from OWSLA’s first seven years, including work from Zedd, Anna Lunoe, Kill The Noise, Louis The Child, and many many more. Good people, good times.
Zedd and Elley Duhé follow the release of “Happy Now” with a barebones acoustic version of the original that strips the song of its electronic trappings to opt only for the minimalistic guitar melody that underlaid the original, and a comparatively more rugged version of Duhé’s vocal.
The acoustic version of “Happy Now” replaces Zedd’s whimsical synth work of the original–arguably “Happy Now’s” particularly sweet sonic spot–to create an atmosphere that is more mellow, and less obvious in its euphoria induction. The simply-styled acoustic rendition of the re-work still taps into the sanguine sentiment of the original, but does so while offering a softer, singer-songwriter take.
Labor Day has come and gone, unofficially wrapping up summer, and now people have their eyes on Halloween. Jawbreaker Festival, a brand-new Midwest Halloween event series, hopes to be the part of that focus. The festival recently made their debut announcement along with the two-day lineup. Zedd, ODESZA, Louis The Child and RL Grime are
Milwaukee’s The Wisconsin Center is housing the Midwest’s quintessential Halloween festival this year: the very first double-headed JAWBREAKER, specifically tailored for electronic lovers, October 27-28. With a fully-loaded lineup featuring the likes of ODESZA, Louis The Child, RL Grime, ZEDD, SLUMBERJACK, and more, the festival is sure to spawn a fierce following.
The event will also house some haunting new local talent, including trap guru, Crystal Knives, and bone-chilling bass duo, RCKT PWR. Easily accessible to Chicagoans, the other electronic mecca of the Midwest, the venue is located just a few blocks from the Milwaukee Amtrak station. Tickets are on sale now here.
Releases like “Clarity,” “Stay The Night,” and comparatively more recent singles like “Stay” and “The Middle” represent a consistent stylistic trend among Zedd releases: the centrality of a powerhouse female vocal.
Match Zedd’s penchant for a strong female lyricists that acts as the songs’ centerpiece with Katy Perry’s prowess in the pop sphere, and a collaboration appears not to be a question of “if,” but rather one of “when.”
Zedd’s increased movement into pop territory over the years and his provision of direct support for Perry’s WITNESS World Tour seem only to further ensure that both artists will spend some time together in the studio, if they haven’t already. As Zedd’s recent recap video from the Australian leg of the tour suggests, the duo might have more than just a few performances together up their sleeves.
Can’t find an appropriate caption to sum up all the amazing things I’ve experienced in 2 weeks in AU / NZ!
Thanks for all the love and thanks to @katyperry. pic.twitter.com/B1fGMgw9pr
Zedd previously told Australian radio host Smallzy that he was “always relatively open about the fact that [he] make[s] a lot of music with people.” “It doesn’t always come out, but we’ve been working,” Zedd said when asked if there was “any song happening” with Perry. “I always wanted to release a song with her, so if we all get lucky, then maybe we’ll finish the song and it will come out, and if not, then maybe another time.”
Zedd is known for his ability to work alongside mainstream pop stars to create massive radio anthems. His accessible sound mixed with star power from key vocalists has helped said achieve radio hit after radio hit in recent years. In a recap video for his most recent tour, Zedd has set the world ablaze with
Zedd‘s latest single “Happy Now” with Elley Duhé has new music video feature to accompany the collaboration, however, it’s not what most viewers would expect. The track is a soothing summer jam, containing uplifting acoustics accompanied by euphoric synths and smooth bass. The track creates a paradoxical reality wherein on the surface the tune’s sound might suggest one thing, but may actually be masking the collaboration’s dark emotional atmosphere.
Directed by Dori Oskowitz alongside co-writers Sarah Aarons (“The Middle”) and Noonie Bao (Camila Cabello’s “Never Be The Same”), the video depicts a couples getaway somewhere in the deserted mountains, where the sun is shining and drinks are flowing. However, things are not as happy as they seem, as the story takes a thrilling turn. While dark at its core, there’s some smiles at the end when payback is achieved. See the full video here and catch Zedd headlining the first ever blockchain-powered music festival this October.
On The Run II is bracketed by a pair of slow dances. OK, technically it’s bracketed by Jay-Z’s “Holy Grail” — with Beyoncé taking over Justin Timberlake’s hook duties and thrashing her hair in circles during the Nirvana interpolation — and “APESHIT,” the rousing Migos-powered lead single from the Carters’ new collaborative album Everything Is … More »