Filed by Antonio AlbertyAntonio Alberty
February 13, 2018
Breathe Carolina & Wasback – Blastf
Since Breathe Carolina‘s transition from an electropop live band, they’ve gone from a group to a duo made up members David Schmitt and Tommy Cooperman. The duo, signed under Spinnin’ Records, has been hard at work producing epic dance tracks like their most recent gem ‘DYSYLM‘ as well as performing at monumental events such as Ultra Music Festival, Miami Music Week, and Dancefestopia.
Their latest track ‘Blastf‘ includes Wasback, an extremely talented up and coming progressive house producer who’s received support from artists like Nicky Romero, Dimitri Vegas & Like Mike, and Martin Garrix.
‘Blastf’, released on their EP Oh So Hard, Part 2, is a captivating progressive melody that also incorporates a hard sound. With its rhapsodic tune, heavy percussion, and devilish vocals, ‘Blastf’ is an easy choice to add to your spring break playlist. Listen to the latest by Breathe Carolina and Wasback below.
Filed by fmdj2u7leqg6cfmdj2u7leqg6c
February 13, 2018
ZEKE BEATS – Devastate
First impressions are important. They really set the tone for a relationship and let people know what to expect from you. And for the relationship between artist and listener this is even more important. That’s why Australian producer ZEKE BEATS decided to put his best foot forward with his first release the year: his four track Devastate EP. Released on Borgore’s Buygore Records this EP was definitely the way to set his year up for success.
The EP opens up strong with ‘Devastate‘ featuring some heavy, experimental bass. From there ‘Static‘ takes a slightly more melodic approach while still bringing the fire with that horn and percussion combo. And like the previous track, ‘Chaos‘, a collab with fellow Aussie Blanke, has a slow, atmospheric intro that belies the true gritty nature the track. The EP closes out strong with ‘Hypnotize‘, a collab with Shaman. All four tracks mesh together to create one hard-hitting EP that demands a listen. Check out the Devastate below and be sure to check Zeke out live as he is currently on his North American tour.
Filed by Jenette DanieleJenette Daniele
February 13, 2018
I know Miami Music Week is just around the corner with it being a little over a month away but lets not forget there’s another major festival just on the horizon. EDC is set to return to it’s home in Las Vegas this year on their brand new dates May 18th – 20th and with the new addition camping, this year’s EDC will definitely be a special one.
As we approach the 3 month countdown to EDC Las Vegas, Pasquale Rotella announced on his instagram that the line up will be announced . This gets even more interesting when you consider the rumors that EDC would drop a phase 1 lineup for Valentine’s Day. Tickets for the festival are already on sale so be sure to purchase your tickets now before they sell out. Check out the festival’s ficial announcement below and stay tuned to our site for when the ficial line up announcement is announced.
Filed by fmdj2u7leqg6cfmdj2u7leqg6c
February 13, 2018
Just yesterday Griz posted a on his Facebook that could only mean one thing: a performance at Red Rocks Amphiteatre. Last fall he played Red Rocks Amphitheatre for the first time for two nights. The first which he played his regular DJ set. And for second he debuted his 14-piece live band to much acclaim.
And today he’s here to ficially release the details that you’ve been waiting for. Everyone’s favorite saxophonist will be making his return to Red Rocks for back-to-back performances on July 12th and 13th. For the first night he will be bringing back his live band. As for the second night he will be playing a fire DJ set along with a few friends. Pre-sale tickets have just gone up so be sure to grab yours before they sell out.
Filed by Rebecca RobertiRebecca Roberti
February 13, 2018
SebastiAn… That’s a name we don’t get to say too ten. Aside from a few ferings here and there including the for 2017; the esteemed, Parisian artist has been laying very low for the better part the last 5-years, but he is back and I can confirm we were NOT ready.
Tweaking Charlotte Gainsbourg’s‘A-Ring O’Roses’ into an 80s influenced, brooding cut that is dripping with nostalgic synth-pop touches, SebastiAn proves he is not only back but has been working away in the shadows, up-keeping his sheer talent in crafting an honest, unadulterated dance track.
Interestingly enough, the track in question was originally produced by SebastiAn last year, the opening song on Gainsbourg’s 2017 album ‘Rest’.
Listen to SebastiAn’s ‘On The Beat’ remix ‘A-Ring O’Roses’ below.
MGMT may have just spilled the beans on their incoming arrival Down Under for Splendour In The Grass (SITG) 2018.
The American electro-pop duo have confirmed plans for a 2018 Australian tour on the back their recently released 4th studio album, .
Lead vocalist Andrew VanWyngarden, suggested that something was definitely “in the pipeline”. “I’m not sure when thing are announced. But, yeah, we’ll be setting foot on Australian soil this year for sure.” He said.
As vague as this may be, you’d bet your bottom dollar that an appearance at Japan’s Fuji Rock Festival, on the last weekend in July, would also mean gallivanting to the Land Oz around the same time.
Traditionally, Splendour and Fuji Rock share a number acts. Last year, LCD Soundsystem,The xx, Asgeir and Father John Misty were among the acts who appeared at both festivals. The old adage about loose lips – sinking ships, typically means very little to artists pre-empting their Splendour In The Grass appearances.
Last week, The Wombats became the first act to confirm their spot on the 2018 bill, stating that they are ‘definitely’ playing Splendour. Furthermore, there is increasing speculation that the Arctic Monkeys could return for the multi-day festival after serving out a hiatus which last saw them in the country in 2014.
Either way, get ready for MGMT to ‘turn’ you on with their ‘electric feel’ at some point this year!
Splendour In The Grass will take place at North Byron Parklands between the 20th and 22nd July.
Filed by Bunny RobertiBunny Roberti
February 13, 2018
BICEP have been a big name in the club world since stepping into it nearly a decade ago, however it was only last year that the UK duo shared their debut, self-titled album. Was it worth the wait? You better believe it.
The album, home to stand out tracks such as ‘GLUE’, ‘AURA’ and ‘VALE’, launched the pair beyond their already cemented legacy as selectors and tastemakers, into the world large-scale production, joining the esteemed Ninja Tune alumni that includes Bonobo, Young Fathers and more.
With a return to Australia lined up for March, seeing anticipated sets at Days Like This and Pitch Music & Arts Festival, we caught up with Bicep for our latest instalment in our Curated By series.
Their 26-song playlist boasts tracks from Nils Frahm,DJ Koze, Deux Files, Four Tet, Lindstrøm and more. Listen below:
You can catch Bicep in Australia at either the aforementioned festivals. Find tickets below.
Friday 2nd March. Sydney. Oxford Art Factory (SOLD OUT)
Saturday 3rd March. Melbourne. Max Watt’s Melbourne (SOLD OUT)
Friday 9th March. Brisbane. TBC Club –
Saturday 10th March. Sydney. Days Like This Festival –
Sunday 11th March. Victoria. Pitch Music & Arts. –
Valentines Day has crept up for another year, so if you happen to have a significant other in your world with a taste for electronica, be sure to treat them with one our personalised Valentines cards, because nothing says love like Kaytranada, Flume,UV Boi and M.I.A, right?
Go ahead and grab one below, send it to your ~lover~ and let us know how they take it. Any classic puns we missed?
Filed by Malissa FranzMalissa Franz
February 13, 2018
Tundran – Every Wave (Flapo Remix)
In the long list producers that you should definitely be following, Colombian producer Flapo should rank highly. And for a good reason. He consistently puts out high quality work to critical acclaim. Just last month he released a killer remix rapper Thutmose’s track, ‘‘. And now he’s back to add one more track to his remix collection. This time he’s lending his talents to Tundran’s track ‘Every Wave‘.
He takes the super chilled-out, atmospheric original and gives it just the right amount bounce to keep the track moving and interesting. The resulting remix is just as vibey as the original but is so much more enjoyable to listen to. Make sure to grab your copy for free in the link below and be on the lookout for his next remix.
Filed by Kelli MichelsonKelli Michelson
February 13, 2018
Words by Josh Pavlou
Barclay Crenshaw, the hip-hop moniker house maestro Claude VonStroke, returns with the intergalactic sounds ‘The Baddest’ alongside female tag team, Cam & China.
Crenshaw, the Dirtybird Records boss, has carved a name for himself in the house music scene, most notably for tracks such as ‘The Rain Break’ and ‘Mind Yo Bizness’.
When probed about his decision to explore hip-hop, Crenshaw acted surprisingly lax. ‘‘I actually forgot to do the thing I was supposed to do in the beginning. I said I was gonna do hip hop but then I got really good at house’’.
The Los Angeles based artist has returned to his roots under the guise Barclay Crenshaw, allowing him to canvas a variety synthesised, atmospheric sounds.
‘The Baddest’ is undoubtedly the sharpest Crenshaw’s recent releases, leaving a lasting impression even upon the first listen. A pungent bassline introduces the track, groovy and poppy in its own right but certainly not overpowering enough to be considered thuggish.
The real strength ‘The Baddest’ lies with the vocal dominance Californian rap twins, Cam & China. The Missy Elliot-esque verses ooze equal parts sass and potency and breath life to a throbbing beat. The duality successful rap combinations such as Outkast and Run The Jewels have certainly informed these fiery females, as they ‘let em’ know that chu’ the baddest’.
This release acts as a spring-board for a run dates across the North America in April, followed by an appearance at Sasquatch! Festival in May 2018. Listen below.
Filed by Kristina ClearKristina Clear
February 13, 2018
Justice are returning to Australia for Sydney City Limits and an exclusive at Melbourne Hisense Arena this month. .
Xavier de Rosnay, one-half electro legendaries known as Justice, recalls the birth his game-changing musicianship in the most blazé terms.
In Paris, 2002, two graphic designers walked into a party. Xavier De Ronsay and Gaspard Augé had a few mutual friends, who happened to run a record label, seeking tracks for a compilation. With an immediate connection, the pair decided to try their hand at making a song. That’s when they created their breakout single, We Are Your Friends – a feel-good, funk-filled, instant anthem that lost the remix contest, but won the attention Pedro Winter, director the newly founded Ed Banger Records, who boasted Daft Punk as former clients. One week later, they were in his fice, signing a record deal.
Fast forward 14 years and three albums, and Justice have flowed through sounds and styles, from cinematic disco, infused with rock, and futuristic gospel. Whilst having darted between styles, what’s constant is their knack for big melodies and undeniable groove – and it created something instantly legendary, and always unmistakably theirs. In their break out years, they smashed fans expectations to a pulp. 2005’s ‘Waters Nazareth’ was filled with distorted, electro synths, and rose with haunting rock chords. “We knew we wanted to make something that sounded like… Sunday service music, but a bit more dark and aggressive,” says Xavier. However, it’s successor, D.A.N.C.E, employed a children’s choir and an over-joyous disco pop sound. The message was clear – from Justice, all you can expect is anything and everything. Despite their humble demeanour, it was clear that both his and Gaspard’s creative visions are razor sharp.
There lies another constant, in their logo – a beefed up version the holy cross, that evolves in style across the three albums. A simple golden outline in the first, to a medieval stone, to metallic with a multi-coloured, holographic oil splatter on their most recent output, Woman. They are each striking, ominous, and a powerful representation that matches their powerful music. How did this duo manage to project their own meaning and brand onto the world’s most recognisable logo? “When we were making the record sleeve, we noticed that the ‘T’ was the centre letter ‘Justice’, and that it could be replaced by a cross. We really liked heavy-metal and rock style logo design, and we wanted to design the Justice logo in a similar way. We kept using it in all our artworks, and it just never left. It’s incredible when you think about it because it’s obviously not our logo. It’s Jesus Christ’s logo. It’s kind crazy, the way we managed to take this universal sign and own it a certain manner.”
Xavier ties this to the way that good music can unwillingly create a religion its own, in the way it brings creeds together – and how theirs intended to do just that. “We’re definitely not attached to religion in that we’re trying to be a Christian band or whatever. Everyone is welcome to our shows, course! But personally, I don’t think the symbol can be separated from religion, and that’s okay. The way we make our tracks is to have this kind religious feeling happening – in the way that we gather people. Music is one those things – especially when you play big venues – that can gather a lot people and make them all do the same thing, look in the same direction. That’s also a big point any religion.”
It’s most prominent in their 2016 fering, Woman, which fuses their hard electro debut, ‘†’ and the prog-rock follow up, ‘Audio, Video, Disco’ into one. With just a touch gospel. “Woman came from the idea choir music, but we wanted to create a futuristic gospel record, building on the base that we created with the two previous albums, we wanted to turn gospel sideways and do a lot new, interesting things. We like the power that’s created when you have 20 people singing the same line, as well as the sense anonymity. And we have nothing against solo singers, we’ve worked with plenty! But as a whole, we thought the choir brought a very powerful vibration to the music. You just don’t write the same top lines for one person as you do for 20. The top lines are more serious when you write for solo artists. Choirs make the music more sing-along, because the lyrics have to be simpler than when you write for a solo singer. ” It’s clear then, why they might choose not to credit their solo features within the names their songs, and mostly keep their lives – on and fline – to themselves. By maintaining ambiguity collaborators and some reservation in their existence outside music, they can present Justice as a single entity represented by their music alone, and as a culmination the voices many, rather than two.
Woman, like each the albums before it, was crafted with intention and precision to message. “We started making this record by writing a couple tunes and after we had some tracks written, we thought, “What do we need to make it exciting when you listen to it from the beginning to the end?” We generally start by deciding, “Okay now we’re gonna make the opening tracks,” so that’s when we made Safe and Sound. Every track has a double or an opposite on the record, so then we made the final track, Close Call. And then we start filling in the gaps.”
“We think that in an album you sometimes have to make songs that will have no public interest as singles, but they help move the narration the album onwards. Once we have 5 or 6 tracks, and we’ve begun to shape what the album looks like, that’s when we really start piecing it all together, making every song work together. We designed the album to have two halves, with Chorus as the peak in the middle, and then naturally the two sides the record appear.”
What results is an album many feel represents Justice at their ever-rising peak. The fusion disco and rock, electro and gospel, the organic and electronic instruments – it’s not exactly background music. It commands every bit your attention, to create a listen that can only be described as glorious. When I asked what artists and songs influenced their style, Xavier named “Video Killed The Radio Star” by The Boggles. “At the time they were very big in Paris – a duet, they were great musicians, but we loved that their music was more a statement what you could do when you use the studio as an instrument, and not just record what you have in mind at that moment. We use the studio as a third member the band. Our studio has a bit everything inside it. It’s a mix very old machines, very new things, cheap synthesisers, and very high-end equipment as well. If it’s good, we don’t care if it’s synthetic or analogue, old or cheap. We also use a lot traditional instruments, and then we use a lot digital processing.”
Later in the month, the pair will head down under for the first time in many, many years to perform at Sydney City Limits, a sister festival to SXSW. Their highly renowned live show is nothing less than what you’d expect from them. And they’re working on making it even better. “Right now we’re really working on the live shows, because we think there’s a lot things to do, that we produce when we play live! We still love albums and we still love making them, but that’s our focus for now.”
Justice will be performing at Sydney City Limits on the 24th February, and you can find more information. Their only sideshow is set for Melbourne Hisense Arena, and you can find information .