Getting a release tomorrow and landing a couple of weeks ahead of the album dropping is ‘West Girl,’ a super cool indie/electronic cut from Voyce Memos. Headed up by Richard Borger (brother of dance titan Borgeous), the Houston based trio have been busy pouring a plethora of influences into the forthcoming Chronology (out February 19th).
This second single from the LP is captured perfectly by an animation film created by Dedisuseno, and it’s the kind of sound you want pouring out of your sunroof as you take an early springtime drive. Voyce Memos dart effortlessly between shoegaze, subtle electronica and indie rock – and ‘West Girl’ is a thrilling example of this. Expect roving guitar riffs, meandering bass and shuffling drum work throughout.
Over the past few years, the Dutch producer SWACQ has been on a roll. After spending years in his studio perfecting his sound, he dove headfirst into the scene. He collaborated with Tiësto for multiple tracks on Clublife Vol. 5 and their song “Party Time” amassed 27 million streams on Spotify alone. Not limiting himself to any one sound, he’s also teamed up with a wide variety of other talented artists including Willy William, Mike Williams, Enzo Ingrosso, and has even released an official remix for Steve Aoki and Felix Jaehn‘s “Inside Out.” Now, he’s making his debut on Tchami‘s illustrious Confession label with his newest single “Mindf*ck.”
“Mindf*ck” is groovy, dark, and experimental all at the same time, living up to its name. The hypnotic melody combines with a solid house beat and sinister vocals creating a bass house vibe while distorted synths, plucks, and stabs give the song a wild twist. With a surprise second drop, the boisterous tune can serve as an ideal addition to any rowdy club or festival mix.
Look at the past half-decade and beyond, and there’s a decisive argument to be made that whenever Martin Garrix has tried his hand at an unheard-of direction in the context of his own release history, whether it be his then-newfound house route on “Forbidden Voices,” future bass on “In The Name Of Love” with Bebe Rexha, or even his club-leaning Ytram persona, he’s repeatedly managed to maintain his preeminence. That trend now continues with a grand slam first at-bat of 2021. For his first true appearance under his sovereign banner since “Higher Ground” in May of 2020, Martin Garrix is making an opportune return with what is potentially his most unprecedented liaison to date, “Pressure” with Tove Lo.
Considering the recent package of AREA21 album teasers, the collaboration’s arrival seems all but expected, yet back in December of 2020, Tinie Tempah first previewed an early reading of “Pressure” that used different vocals. The single unchallengeably ventures to the deepest and darkest depths of the Garrix lineage, sitting far beyond the scope of anything he’s ever done as either Ytram or GRX, making it clear that the STMPD RCRDS don wasn’t capping his nearly nine-month release intermission without something worthwhile.
“Pressure” is cleverly pieced together from top to bottom, with Tove Lo steadily guiding its way on top of an after-hours bassline that certifiably explores past Garrix time-tested production extremities. Whether or not you were anticipating this Garrix direction, you have to—at the bare minimum—admire his willingness to continually mature his sound and keep everyone on their toes.
Sharon Osbourne has opened up on her “working relationship” with Marilyn Manson after several women came forward to accuse the singer of sexual abuse and assault.
Manson previously enjoyed a close friendship with the Osbournes and was originally set to join him as part of the latter’s 2020 North American tour.
Speaking on The Talk days after Manson faced accusations from actor Evan Rachel Wood and four other women, Osbourne opened up on knowing the singer for 25 years.
“[I’ve] worked with him for many, many years, and, obviously, I would not know what goes on in his bedroom; neither do I want to,” she said.
“But as far as people who’ve been going on all my socials, calling me names and things and putting up pictures of Marilyn and I, you know, there’s something called a working relationship, and that’s what I’ve had with Marilyn for many years.
“I know nothing about his sexual preferences or the way he treats women. I know how he treats an older woman, which is me, and he’s always been respectful.”
Marilyn Manson (Picture: Leon Bennett/Getty Images)
Wood’s initial allegations were made after she previously gave testimony about an abusive relationship she was in during her late teens, during which she did not name her alleged abuser.
Accusing Manson by name in an Instagram post, Wood said she was “here to expose this dangerous man and call out the many industries that have enabled him, before he ruins any more lives”.
Manson has denied the claims in his own Instagram post, saying his relationships “have always been entirely consensual”.
“Regardless of how – and why – others are now choosing to misrepresent the past, that is the truth,” he wrote.
After the allegations were made, the musician was dropped from his record label Loma Vista and removed from the TV projects he was working on, including American Gods and the Creepshow anthology.
Limp Bizkit guitarist branded Manson a “bad guy” this week, having performed in his live band for less than a year in 2008.
Speaking on the Twitch channel Space Zebra, Borland said: “He’s not a great guy and every single thing that people have said about him is fucking true… They are speaking the truth.”
He added that Manson is “amazingly talented’ but stressed he was “fucked up and he needs to be put in check and he needs to get sober and he needs to come to terms with his demons.”
“He is a bad fucking guy.”
Manson has also been condemned by Nine Inch Nails’ Trent Reznor after a controversial excerpt from Manson’s 1998 autobiography The Long Hard Road Out of Hell began circulating online.
The long wait is nearly over… Moore Kismet’s debut album is on its way.
Originally supposed to come out last year, the album was pushed back and Revenge of the Unicorns released in the meantime. But the first single, “Rumor” featuring WYN is officially coming out next Friday, February 12.
Moore Kismet says of the single, “‘Rumor’ is a song that I started when I was 14, around the first time I publicly came out as an LGBTQ+ individual. I was receiving a lot of hatred and unkindness from people who I didn’t even know saying that I shouldn’t exist, that I should repent, that I was using my sexuality and gender identity for clout, and other horrible things. To make matters worse, when I tried coming out to my dad, he decided to give me a near 2 hour-long lecture about the “perks” of being straight and why being gay and trans is wrong. It ruptured our relationship in an irreparable way, but that feeling I had after that call and the feeling that I had from the comments I’d received is what inspired the song. When I hit up Madeleine (WYN), the lyrics and melodies that we wrote together brought a whole new meaning to the song. I’m so proud of what we’ve written together and the story that this song tells. I hope that anyone who listens to “Rumor” can find the strength within them to push past the hatred, the struggles, and the hardships. It gets better. It always will.”
Having already listened to the full album, not to mention this single, I can confidently say it’s going to be something you will listen to throughout this year and beyond. The teaser below explains Moore Kismet’s creative process behind composing the album, as well as gives a clear sonic indication for what you’ll be hearing. Though, as far as the song goes, a “teaser” is putting it generously.
You’ll just have to wait until next week to hear the full thing. Pre-save here.
This past year has been a time of introspectiveness for many, including the Australian songwriter and producer Seekay. He’s channeled this inner exploration into his work, unveiling the beautiful six-track EP, Reflections. This offering sees him reach his highest creative form with the help of Chloe, the featured vocalist across the entire album.
Through Reflections, fans are treated to an intimate look inside the mind of a true lyricist and storyteller. The previously released singles “Hold,” “Fall,” and “Wiser” kick-started the journey, and “Reach,” “Hurts,” and “Rose” seal the deal, encapsulating his raw honesty into a stunning piece of electronica. Chloe’s earnest and ethereal vocals beautifully complement Seekay’s productions which will sweep the listener up in an intricately-designed soundscape.
Seekay is a rising star that needs to be on your radar. You can hear his inspirations find a unique home in his productions, drawing from the likes of Billie Eilish, Lorde, Tash Sultana, Galimatias, Alina Baraz, The Weeknd, Imogen Heap, and Tame Impala. He’s an artist that champions authenticity in everything he does, including his work as an author, multi-published poet, award-winning screenwriter, and painter. We can’t wait to hear what Seekay has in store for us next.
You can stream Reflections across all platforms here.
The collaboration between the two Texans was written for the soundtrack of the forthcoming Amazon film Coming 2 America, the sequel to 1988’s Coming to America.
Listen to ‘I’m A King’ below:
Coming 2 America is set for release on Amazon Prime on Friday, March 5. It was originally set for a theatrical release by Paramount Pictures, but due to the coronavirus pandemic, distribution rights were sold to Amazon Studios.
A trailer for the Craig Brewer-directed sequel was released earlier this week. Eddie Murphy, Arsenio Hall and James Earl Jones have all reprised their roles from the original series, which has seen additions from Jermaine Fowler, Tracy Morgan, Teyana Taylor and more.
“What I hope people will like when they see Coming 2 America is that it’s 30 years after that fairytale ended,” Brewer told Collider in a recent interview.
“Not ended, but the fairytale of Coming To America we saw. That we saw a young couple come together in a fairytale. Well, now they’re parents. Now they’re dealing with what happens when you’re 30 years later.”
‘I’m A King’ follows Megan’s appearance on a remix of Ariana Grande‘s ’34+35’, also featuring Doja Cat, that dropped last month. Earlier this week, Megan unveiled the video for ‘Crybaby’, featuring DaBaby, which appeared on her 2020 debut album ‘Good News’.
With titles like “Nostalgia for the Present,” “Why Do I Keep Ending Up Here” and “Decay of the False Vacuum,” the fourth album by Toronto-based duo Oneo Fakind is trippy before you even hit play. A study in synth modulations and spacey sound design, The Start of Something manages to raise deep and powerful questions about existence and the universe without any real lyrics involved.
The duo say the theme of The Start of Something was really set with the opening track, “The Coniologist.” Coniology is the study of atmospheric dust, and Coniologists believe the same techniques can be applied to the dust and debris in space. Many believe information about the origin of life, the psyche, memory and the feeling of “home” can be found in studying this dust. :We are all made of stars,” after all.
The purpose of this album for Oneo Fakind was also to relate their own musical style, the somewhat disjointed yet always vivid symphony of chaos they create in their work, as being similar to these celestial elements, and of coursetapping into that larger, coniological consciousness through music and art. As the pair are playing with wave forms, sound patterns and frequencies, they are creating a universe of their own that, if you listen to it, sounds almost as complex and expansive as the universe itself. Almost.
In terms of nailing down an actual sound, most readers might have deduced by now that we’re the extreme reaches of experimental electronica and sound design. That said, it’s not all really far out there and it seems Oneo Fakind have connected with their inner EDMers as well. Tracks like “You’re Not Choking John, the World Is Just Vast” (deserves an award for best song title ever, by the way), “Wonderful” and “The Coniologist” itself are all at the height of dissonant, Tangerine Dream-meets-Philip Glass-like experimental goop, often beatless and with only a piano to ground them. But given the trippy titles, you knew that going in.
The more EDM-ended tracks like “Why Do I Keep Ending Up Here,” “Well Then” and “Moments that Don’t Deserve It” are still pretty experimental, don’t get us wrong. You’re not going to get away from the random glockenspiel sounds that easily. But they do have trackable beats; trance, psytrance and even a little breakbeat can all be heard herein, though if you play these on a DJ setup at a psytrance gathering, you might want to shift out of “Moments That Don’t Deserve It” before it gets too random with the spacey synths. You wouldn’t want a full-on wook breakdown.
There’s also a pretty significant lofi element to The Start of Something. Right around the middle, tracks like “Lofi Tide” (obviously) and “Decay of the False Vacuum” really edge over that line between dissonant experimental chaos into more soothing, lofi tones. They certainly used some of those technical elements to create more static and lofi tone as well.
Despite being really trippy pretty much from the jump, The Start of Something is also a very balanced album Oneo Fakind are another one of those artists who, despite not actually being out there on the decks and not always making the most danceable stuff, are still imperative to EDM because they come up with the sounds that drive all electronica forward. Coniologists of sound particles, if you will.
The Start of Something is out now and can be streamed on Spotify. To check out more trippy videos from Oneo Fakind, visit their YouTube page.
This past October, The Funk Hunters and Stickybuds teamed up for their first-ever collaboration, “Empire.” The release was a huge success, amassing nearly 260,000 plays on Spotify in just a few months. Out today on Westwood Recordings, the once-grimy bass track has received a special treatment from the doctor.
Widely known for his “House Call” mix series, the Los Angeles-based artist, Dr. Fresch, was called in to give this mid-tempo masterpiece a tune-up. For this flip, Dr. Fresch chose to revisit his signature style from the G-House era — a deviation from his current hard-hitting fusion of house, hip-hop, and mid-tempo electro.
The key elements of a true G-House track include deep bass, percussive beats, and sinister vocals. In this rendition of “Empire,” Dr. Fresch channels his production style from the 2010s while expertly integrating modern bass house sensibilities with finesse. Flowdan‘s vocals were a perfect fit for the G-House approach. This mix seamlessly removed some of the heavy-hitting instrumentals that gave the track its grimy flare, while still maintaining the ominous undertones of the original. Building on the fundamentals of “Empire,” this Fresch take delivers an invigorating new sound with a club-ready feel.
You can watch the official music video for “Empire” below.
In an August 2019 interview, Zedd compared his then-upcoming ORBIT Tour to something near and dear to our hearts here at Dancing Astronaut: space. “We created all new visuals, tons of incredible clips; it’s just like going to space for an hour and a half,” he said of the show, soon-to-be-experienced.
Synonymous with the classically trained talent’s most meticulously crafted and intricate production yet, the ORBIT Tour would take Zedd through major cities in North America and Europe—and he’d electrify them all. After blasting off on September 13, 2019 in Seattle, Washington, the ORBIT Tour directed Zedd to San Francisco’s Bill Graham Civic Auditorium just one week later for a September 19 live stint that now serves as your Good Morning Mix.
For one hour and 36 minutes, everyone can be an astronaut, and blasting off is as simple as pressing “play” below. The full set, shot from various camera angles, captures it all: the jaw dropping visuals, the neon hues, the surging lasers, and Zedd, suspended at the center of a chameleonic orb that not only spins but also changes colors. It’s a marvel of modern production power from a producer who has steadily shaped the sonic landscape—even before the Clarity days.
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