Zhu & Tame Impala Collaboration Finally Confirmed

Filed by Ellamae AlewineEllamae Alewine

Zhu & Tame Impala Collaboration Finally Confirmed

The mysterious Zhu has confirmed he will have a big 2018 with a new collaboration with Tame Impala. He has already teased the public with a with the group. He confirmed this at a performance in China recently and also did through a statement from his management team.

That wasn’t the only good news as the recent event in China was part a launch event for a new Chinese EDM label called Liquid State which is backed by Sony and tech powerhouse Tencent Music Entertainment.They will make an effort to combine the companies streaming services with dance music. It will host releases from Zhu, Alan Walker and other Chinese artists in 2018.  The move was finalized with a 10% equity swap between Tencent and Spotify who is Sony’s licensing partner. Tencent has double the users as Spotify on its streaming services.


Dubstep Fans Dubbed 'Wooks' Turn Monopoly Into Wookery

Filed by fmdj2u7leqg6cfmdj2u7leqg6c

Dubstep Fans Dubbed 'Wooks' Turn Monopoly Into Wookery

Dubstep has seen an immense rise in popularity the past 2 years similar to 2010 when Skrillex exploded on to the scene. Over this period time, new fans have entered and old ones have evolved. What was first thought to be a joke to label-grungy bassheads whom predominately listen to Bassnectar has now become a full blown sub culture. We call these folks “Wooks”. They are easily recognizable based on their appearance, obsession with Riddim, and their drug choice- Ketamine.

Dubstep Fans Dubbed 'Wooks' Turn Monopoly Into WookeryDubstep Fans Dubbed 'Wooks' Turn Monopoly Into WookeryDubstep Fans Dubbed 'Wooks' Turn Monopoly Into Wookery


Dirtybird Campout Shuttered On Day 1 Over Noise Complaints

Filed by tr21ktr21k

Dirtybird Campout Shuttered On Day 1 Over Noise Complaints
In a Facebook post and tweet late this afternoon (Feb 2/18), announced they are closing the gates until further notice as a result noise complaints. The announcements claim that local ficials have issued the orders to not let anyone else in, and the organizers say:

Just three hours ago they were posting about the Box Office not holding tickets for event-goers with tips to make sure split parties can gain entry. The enforcement seems to have come as a complete blindside. It is unclear if ticketholders will continue to be refused entry, and if refunds will be available.

Irate attendees are tweeting the organizers:

Some claiming the event has gone “full fyrefest”, many asking for refunds, and plenty distraught people who took planes, trains and automobiles to travel from far and wide to get there

See the announcement below:



Beyond The Booth 010: Wax Motif dishes on Biggie, Kendrick, and hip-hop's impact on his life

Filed by fmdj2u7leqg6cfmdj2u7leqg6c

 is a feature dedicated to the hidden side artists that exists outside electronic music— a side rarely discussed with those outside their immediate circle. We venture “beyond the booth,” so to speak, and dive into their deepest passions that tie into their unique personalities. After some self-introspection, each participant then returns to the booth, providing an exclusive mix for the Dancing Astronaut audience.

We’d be hard pressed to accurately describe LA’s vivacious electronic landscape without including as one the west coast’s scene’s brightest power players. The Aussie export, lesser known as Danny Chien, has become both a festival force and club floor regular since his emergence nearly a decade ago, largely behind his contribution to G-house’s meteoric swell in popularity.

He’s been instrumental in putting house music’s crossover with hip-hop on the map, with releases on ‘s imprint, ‘, , and ‘s label. Though Wax’s hip-hop affections don’t end at the obvious influence they have on his work, in fact, he’s a learned student hip-hop and it’s cultural tropes with a nuanced taste and an appreciation for the vintage rap that has undoubtedly shaped his craft. Ahead Wax Motif’s outing in Los Angeles on February 2nd, he dropped f a tasty new mini mix and then we linked up to wax poetic on a range hip-hop talking points

 


 

Okay, warm up question: Name your top three G.O.A.T. rappers/emcees. Then name three rappers/emcees that are doing it big right now. 

The G.O.A.Ts for me would have to be Biggie, Lil Wayne, and Kendrick Lamar.  Right now my faves are Vince Staples, Travis Scott, Future, and Ty Dolla $ign.

 

Growing up, what initially attracted you to hip-hop culture? Can you pinpoint that moment when you went, “damn, this speaks to me.”

Yeah, moments like hearing Biggie’s lyrics in songs like “Juicy” and “Mo Money, Mo Problems.” Also, seeing shots Dr. Dre behind the desk in music videos like 50 Cent “In Da Club.” And course listening to The Chronic.

 

What are some the main differences between Australian hip-hop culture and American hip-hop culture?

There are a lot. I can’t really comment much] on the current state because] I’ve been spending so much time stateside. But it feels like there’s kind two sides. There’s the more traditional Aussie rap which comes from the more boom bap style hip-hop and there are the younger kids who are growing up more globally and essentially following the current U.S. rap trends.

 

So we have crossover genres like G-house and trap that incorporate a lot obvious hip-hop influence. Do you see a new trend/genre/etc. that blends hip-hop and dance music on the rise? Anyone out there working on something we’ve never heard before?

Yeah, I think the obvious one right now is the Latin trap and Afro trap stuff going on out France.  Kinda more world music influences with trap sounds. I think everything is blending a lot right now, the next EDM star could be some kid from India with a whole new take on it. My favorite song right now is by this kid Octan out the UK called “Party Here.”  Its like an R&B Jamaican-influenced song over a UK grime sort beat, that then drops to this double time kinda chorus section. It’s so sick.

 

Hip-hop is now America’s most widely consumed genre music for the first time ever. How does that reflect the larger cultural zeitgeist to you? How is hip-hop impacting your work right now?

I feel like its creating less segregation through music. In the past it felt like if you listened to just one style music then that determined] the kids you hung around. Like some high school yard sort shit. Kids now though grow up listening to everything and the hip-hop scene has become a lot more open ethnically because generationally, these kids were born into a already thriving hip-hop culture. Like, I’m a Chinese kid who grew up in Australia knowing every Biggie lyric — it seemed normal to me.

 

Tell us about the most memorable rap performance you’ve ever seen live and why it stuck with you.

at . It was like performance art with choreography and movie skits, so sick!

 

Okay, obligatory shout outs: If you could collaborate with any rapper(s) you wanted, who would it be?

I’m pretty much down to work with most people if I think they’re dope. The name doesn’t matter to me because] it would actually be more awesome helping to break someone. I feel like I’ve already had the chance to work with some cool people too like Ty Dolla, Pusha T, Starrah, Blackbear, and Tinashe. I’m] working with some more up-and-coming people too like AD, TeeCee4800, NikeBoi Swoosh, Lil Boi Kantu and Prada Leary. But I’d love to work with Travis Scott, ASAP Rocky, Uzi Vert, Post Malone, Future, Playboi Carti and Smokepurrp.

 


Following a Friday night throw down at AVALON, Wax Motif is gearing up for a characteristically busy festival season, with a highly-anticipated performance at San Diego’s CRSSD Fest quickly approaching in March. Whether you’re looking for hip-hop, house, or something in between, this mix is exactly what you need, and Hollywood is the place to be on February 2nd. .


Dexter's Beat Laboratory Vol. 26 - Dancing Astronaut

Filed by Ryan FerroRyan Ferro

Dexter’s Beat Laboratory is a weekly collection songs from DA music editor and staff writer Robyn Dexter. With a taste that can only be described as eclectic — to say nothing a name that lends itself to punnery — DA is happy to present a selection tracks personally curated by Dexter for your listening pleasure.


Since discovering a few years ago, I’ve been consistently impressed with the Dutch producer’s music. His latest, recently premiered by on , is no exception.  With its hip-hop-influenced beats and signature pounding synths, “I’ll Be Gone (I Miss You)” is another great addition to GANZ’s discography.


It would basically be a crime to not include ‘s latest in this playlist. With the announcement a and , Emoh Instead has been taking the electronic music world by storm this week. “Stuck In Orbit” with vocalist BUOY is one his most compelling pieces work to date. The five-and-a-half-minute single serves as a gorgeously emotive precursor to what we can expect from his stacked debut album, and I can’t wait.


Australians and Folly have crafted an absolutely ruthless g-house house tune with “No Games.” The track packs a heavy punch with rap-fueled verses, a driving bassline, and subtle trap elements. Its catchy beat and hard-hitting builds and drops have been stuck in my head since its release last Friday.


As a longtime fan, I’m always interested in seeing how other producers transform his unique music. has taken his good friend’s iconic “Quantum Immortality” and reworked it into a dark, glitchy remix layered with elements trap, future bass, and just about everything in between. The Los Angeles producer has delicately crafted a complicated soundscape full twists and turns that complements Crywolf’s original vocals beautifully.


Last week, teamed up with Matt Van for an elegant composition called “I Don’t Mind.” The track is vastly different from many ‘s recent releases and is a breathtaking, refreshing addition to the label’s . Van’s moving vocals over piano-centered production from Direct make for a relaxing addition to any chill-type playlist.


What are the larger implications of The Grammys steep ratings drop? [OP-ED]

Filed by Judi PeartJudi Peart

By most accounts, the in 2018 was a big swing, and a big miss. The ceremony’s ratings plummeted by nearly 25% according to Nielsen Media, dropping from last year’s 32.9 million viewers down to 19.8 million for its most recent iteration. While the evening’s results have come under under considerable scrutiny following the event, Bruno Mars’ sweep all the major categories isn’t the sole reason that The Grammys effectively tanked in what should have been a memorable year for the Recording Academy. We can examine the ceremony’s numerous blunders, but it is also worth noting that the ways we consume media, and the ways we relate to and access our artists in 2018 have changed drastically — and The Grammys need to figure out how to keep from regressing.

First, let’s start at the tip the iceberg, examining an advertisement-bloated three and a half hour industry circle-jerk. In an age where on-demand content is at our fingertips 24 hours a day, slimming this thing down is going to be necessary for it’s survival. HQ Tri posted record numbers nearly 1.6 million players 90 minutes into the award ceremony. If that’s not a testament to how our attention spans are directed in 2018, perhaps nothing is.

A noticeable lack the usual headline makers this year — including Taylor Swift, Kanye West, Ed Sheeran and Justin Bieber — also likely contributed to viewers’ even further numbed attention spans. But stuffy award shows across the board are suffering, and The Grammys aren’t immune. The Oscars, Golden Globes, and are all struggling with fluctuating viewership drop fs each year too, but the Recording Academy was uniquely poised this year to give some the most important cultural figureheads the moment the proper platforms and recognition they deserve in the divisive, tumultuous socio-political climate we’re currently a part … and they fell flat on their face. 

Setting  and ‘s snubs aside (we’ll get back to those), how is it conceivably possible that “” did not win one the three major awards it was nominated for? Simply put, the track is, for better or worse, one the most consumed pieces content in human history. Luis Fonsi and Daddy Yankee’s record-shattering collaboration head and shoulders outsold and out-streamed any remote competitors last year in 50 countries, amassing a whopping 4 billion YouTube views, an RIAA diamond certification, and snagged a record 16 weeks atop the Billboard charts. So, beyond the incontrovertible numbers, an objective look at “Despacito” begs the question, why didn’t it win any Grammys? Perhaps the Recording Academy isn’t ready to recognize Latin pop in the ceremony’s top three major award categories like the rest us clearly did?

Carlos Santana’s “Smooth,” released in 1999 followed by Ricky Martin’s “Livin’ La Vida Loca” in 2000 were the last two comparable comparisons, and both are course in English. Nearly two decades later, the average American music and television consumer has switched things up significantly; and while The Grammys is clearly slow to catch up to the times, we’ve long been ready for something different.

Back to Kendrick Lamar and Jay Z. It has been 20 years since there were no white males nominated for Album the Year. In a year when the American people were gifted with two thoughtfully created concepts black excellence and deeply personal storytelling, Bruno Mars’ 24K Magic wins Album the Year, Record the Year, and Song the Year. It’s also worth noting that Mars’ album, for what it was, was terrific. That’s not in dispute. But was 24K Magic‘s quasi-Motown, mass appeal wedding reception fare worthy drowning out two the most impactful hip-hop albums in recent memory? No, definitely not. That simply doesn’t seem like the progress everyone wants to see.

Look at the Best New Artist category. has been signed to since 2014, has been releasing music since 2012. Perhaps a designation like “breakthrough artists” would be more accurate. That fact that both these immensely talented young women are just now being recognized comes f as painfully tone deaf. Is the Recording Academy voting innocuously — most likely. But the 2018 awards ceremony highlighted the fact that the Grammy Awards are unfortunately stuck way behind the times, and the effects undoubtedly showed.

Last year, challenged the status quo earning a grip Gramophones for an album that technically didn’t sell a single unit. Now that’s progress. He changed the game — and viewership reflected it with the ceremony raking in it’s highest numbers in half a decade. We’re going to need more than Hillary Clinton reading a snippet  Fire and Fury next year; the audiences, consumers, and fans deserve it. If The Grammys want to continue to claim to be music’s real cultural barometer, make it for the people, not additional vanity for the music industry. Consider and recognize the music that truly deserves it most, represent social progress where possible, and try stepping out the comfort zone — at the end the day, that’s what really moves people.


Tomorrowland tickets go on sale worldwide tomorrow

Filed by Joe NoletteJoe Nolette

Tomorrowland tickets go on worldwide general sale tomorrow February 3rd from 5pm CET. Registration for these tickets closes tonight at 8pm CET so don’t wait around.

Pre-sale tickets sold out quickly and this second sales moment for tickets and DreamVille packages are likely to do the same. 

The unbeatable Belgian festival has been announcing more and more names onto its incredible line up over the past few weeks with Carl Cox, Alan Fitzpatrick,  Martin Garrix, Mind Against, and Paul van Dyk being added a few weeks ago and Andrew Bayer, Ida Engberg and Anna Lunoe being announced earlier this week. Underworld, Todd Terry, 2manydjs, Armand van Helden, Pan-Pot, Nervo, Steve Aoki, Rodhad b2b Âme and Roger Sanchez join an already stacked bill just yesterday.

Charlotte De Witte will be curating her own KNTXT stage while Eric Prydz will be bringing back his Pryda Arena for its second installment at the festival. 

For more info on ticket registration go to Tomorrowland’s website. 


Kendrick Lamar - 'DNA.' (Yung Bae Remix)

Filed by Ryan FerroRyan Ferro

In the midst all the 2018 blowback, mainly pertaining to failing to win Album the Year, LA-based producer  puts an old-school funk spin on the beloved rapper’s track “DNA.” Along with edits and , this continues the producer’s trend remixing hip-hop tracks.

Hailing from Portland, Yung Bae’s diverse sound ranges from future funk to Japanese-inspired pop, adding a groovier beat-style to the original, including vintage horn samples, a toned-down drum beat and subtle bass.


Darude has released a new song, 'Surrender'

Filed by Rene MayfieldRene Mayfield

Darude, yes that Darude, has shared a new track called ‘Surrender’.

The ‘Sandstorm’ hitmaker has returned with a typically maximal cut that features input from fellow producers Ashley Wallbridge and FOUX. 

With a classic eurodance synth riff and vocal on top of plenty of rolling snare builds and drops, ‘Surrender’ is pretty much the sort of trance epic you’d expect from the Finnish man behind the meme.

Darude, real name Toni-Ville Henrik Virtanen, will be embarking on a ‘Surrender’ tour across the US in the next few months too with more details to come soon. 

Meanwhile, have a listen to ‘Surrender’ below and see if it lives up to the iconic banger that made his name.

In December 2017, Darude gave an in-depth interview about the the story of ‘Sandstorm’ which you can watch here. 


Bassheads will rejoice at SLANDER and SAYMYNAME'S newest release 'I Can't Escape' - Dancing Astronaut

Filed by Judi PeartJudi Peart

 teamed up with and Feli Ferraro on the intense new track “I Can’t Escape,” out now on . The track tells the tale a tortured mind through the juxtaposition soothing, emotive piano melodies paired with stabbing basslines and serrated synths.

SLANDER spoke with Dancing Astronaut about “I Can’t Escape,” which they have been teasing for months leading up to the full release.

The drop is, for all intents and purposes, manufactured for heavy-hitting festival sets with its commanding dubstep chords. SLANDER is known to produce both emotive commercial house and bass-heavy releases, and “I Can’t Escape” is a great example their ability to merge these two seemingly different genres into a dynamic track.

The duo just wrapped up their Superhuman tour, and fans can expect more releases now that they are back in the studio creating new releases for 2018.


Endor - Gunna Be Mine

Filed by Kelli MichelsonKelli Michelson

London producer is making waves in the global house sphere. Releases such as “Fever” and remixes ‘s “In for the Kill” and S-Man’s “Intimidating Love” have bolstered the 23 year old producer’s recognition, and he’s on pace to make waves in 2018 through an entirely distinct sonic landscape.

With support from the likes   and , the young producer heads into the year blazing with “Gunna Be Mine,” a disco influenced tech house ballad that moves and grooves in mercurial fashion. It’s a departure from his previous body work, but an inviting one at that. The track encapsulates the modern tech house sound with its own vigor and stylistic touch, and raises expectations for Endor in 2018.


Sunny Lax- So Long/Obsydian

Filed by Bunny RobertiBunny Roberti

Sunny Lax- So Long/Obsydian

Sunny Lax- So Long/Obsydian

Anjunabeats fans, you’re going to love these. Sunny Lax, fresh f this week’s Anjunabeats Worldwide session, sees the release two signature progressive tracks called ‘So Long’ and ‘Obsydian’. Sunny Lax shows no signs slowing down in 2018.

At Insomniac’s Dreamstate SoCal, you’ll remember the insane amount uplifting euphoria at Sunny Lax’s set. The ‘‘ maestro follows up his masterpiece with two incredible tracks. The first, ‘So Long’, starts f with an aggressive bass line that you won’t help but nod your head to. At a minute and a half, the chills run up your neck spurred by the melodic energy his synthesizers. This is truly one Sunny Lax’s best tracks.

Flowing into ‘Obsydian’, the Hungarian producer presents this banging track gushing with emotion. With the continued aggressive bassline and melody, Sunny Lax evokes emotion and energy in each song. His “power trance”, tracks that’re slower at 128bpm, allows him more room to play with his rolling basslines and lower frequencies in the melody. This is what makes him and the whole Anjunabeats family stand out. With their vastly diverse and engaging fan base, music like this can be appreciated from all over the world. You can listen to ‘So Long’ and ‘Obsydian’ below.