For years, Rocket League has been one of the most EDM-friendly games out there. With the second season of their recently relaunched Rocket Pass program, they went full-throttle and based the four-month event on all things dance music.
The electronic extravaganza comes just days after the release of Kaskade‘s Monstercat debut, “Flip Reset,” which serves as the theme song for the new season of Rocket League. On YouTube, a trailer for the new pass was shared.
For those unfamiliar with the game, Rocket Pass is a program players can sign up for that gives them access to over 70 levels of unlockable content. While none of the content offers a competitive advantage to those who signed up, it provides cosmetic items otherwise unobtainable through regular gameplay.
Some of the cosmetics that can be used to trick out your in-game car include a MIDI controller, turntables, synthesizers, EQ paint jobs, bass wave trails, laser light show goal explosion effects, and much more. In addition to the cosmetic items, there is also a new EDM-inspired field where players can face-off in matches solo or online.
Rocket League is available for free on PlayStation 4 and PlayStation 5, Xbox One and Xbox Series X/S, Nintendo Switch, and PC. While some rewards featured in the EDM-inspired Rocket Pass do not require a membership, full access will cost $9.99 and run from now until March 31st. For more information on the game and to view the complete list of dance music unlockables, check out their website here.
James Blake upholds the gift giving spirit with his new Covers EP, bestowing listeners with six inspired takes on fan-requested tracks from social media.
The release features Blake’s wildly popular cover of Frank Ocean‘s “Godspeed,” but also sees the London-based musician chillingly cover the likes of Beyoncé, Billie Eilish, Stevie Wonder, Joy Division, and Roberta Flack. When describing the release, the singer/songwriter said,
“One of the things keeping me going mentally throughout lockdown has been the requests from fans for different covers and performing them on Instagram. It’s been a joy to discover new music and new ways of playing songs I’ve already heard.”
The new EP follows the October release of James Blake’s Before EP, a satisfying if not brief return to an earlier time in the producer’s career. Listen to Covers in full below.
Featured image: James Kelly
Tags: beyonce, billie eilish, covers, james blake, joy division, roberta flack, Stevie Wonder
Eminem has responded to former US President Barack Obama‘s dramatic reading of the lyrics from his song ‘Lose Yourself’.
Last week, Obama launched a new Instagram series looking back at his presidency to tie in with his recently published memoir A Promised Land.
In a video trailing the project, Obama spoke about how he turned to hip-hop in order to focus during his 2008 campaign for the presidency.
“When I needed some inspiration on the presidential campaign I often turned to music,” Obama says. “It was rap that got my head in the right place. Two songs especially: Jay-Z‘s ‘My 1st Song’ and Eminem’s ‘Lose Yourself’.
“Both were about defying the odds and putting it all on the line,” he continued, before reciting the opening lines of the latter.
Eminem responded to the shout-out late last week, posting the clip of Obama’s reading along with a prayer hands emoji.
In November ‘Lose Yourself’ featured in a Spotify playlist that was shared by the former president to promote his new memoir.
The playlist also included Beyoncé‘s ‘Halo’ and a cover of Etta James‘ ‘At Last’, Bruce Springsteen’s ‘The Rising’ and a tribute to his wife in the form of ‘Michelle’ by The Beatles.
The Obamas inked an exclusive deal with Spotify in June 2019, when it was announced they would produce a series of podcasts under their Higher Ground Productions.
A year later, in July this year, Michelle released the first instalment of her podcast series The Michelle Obama Podcast to the music and streaming platform. She also hopped on the playlist bandwagon, releasing her 2020 workout mix in January plus a selection of tracks that inspired the first season of her podcast in August.
World famous musician Alanis Morissette made headlines back in July with the release of her first album in eight years and her ninth in total, Such Pretty Forks in the Road. She is now once again garnering attention with its follow-up remix EP, Such Pretty Forks in the Mix—releasedDecember 11th—which spotlights a lineup of trans-inclusive female producers. “Celebrating womxn today & every day,” Morissette wrote on Twitter of the project.
Along with EpiphanyMusic, SPFITM was released in conjunction with UK-based HE.SHE.THEY, a creative hub championing inclusivity with their dance music events and releases. Additionally, a portion of the record’s proceeds will be donated to Safe Place International, an organization that provides support to LGBTQ-identifying refugees in Turkey and Greece.
Standout reworks include Eris Drew‘s drum & bass-inspired twist on “Reckoning,” MNDR‘s swirling house styling on “Sandbox Love,” and Lauren Faith‘s lighthearted, folksy adaptation of “Smiling.” Even more, all of the remixes make sure to place Morissette’s haunting, expressive vocals front and center, further amplifying her lilting lyrics about mental health and addiction.
“Alanis has soundtracked so much of our lives,” HE.SHE.THEY.’s Sophia Kearney and Steven Braines said in a statement to Rolling Stone. “When we were asked to partner on this remix album we each did an excited scream and leapt at the chance to be involved, especially as the goal was to be a talent-driven, diverse, trans-inclusive female remix album.”
In August, WE ARE FURY unleashed their monstrous debut LP. Featuring 15 stunning tracks, DUALITY highlighted the best of the Canadian duo’s command of both melodic and bass-heavy elements. The two worked with a myriad of talented vocalists, adding a unique personal touch to each number. Now, nearly four months after DUALITY‘s release, WE ARE FURY are back to enlist the help of 11 rising producers on DUALITY (REMIXES), the album experience you need to close out 2020.
Released via YouTube curator MrSuicideSheep’s record label Seeking Blue, DUALITY (REMIXES) features new takes on WE ARE FURY’s originals from DRYVE, N3wport, Slooze, Outwild, Slippy, Luxide, Nikademis, AMIDY, Syence, ARYZE, and Synymata, as well as an exclusive VIP remix of “Eternal” from WE ARE FURY themselves. WE ARE FURY told Dancing Astronaut of the curation of the remix package and their own VIP,
“We hand-picked every single one. These are all artists we are fans of. And Telle (the vocalist on ‘Eternal’) has insane range. That man is a beast and we loved the vocal so much we had to rework it ourselves.”
Though each remix is certainly worth a listen in its own regard, standout performances on the LP come from Slippy and Slooze, two producers whose names have been gaining significant support in the scene of late. While Slippy’s faster-paced melodic rendition will have you feeling emotional, Slooze’s dark, epic style is perfect for live playback. Stream the full 11-track remix LP below.
Featured image: WE ARE FURY/Facebook
Tags: AMIDY, aryze, Bass, dryve, luxide, melodic dubstep, n3wport, Nikademis, outwild, remix album, seeking blue, slippy, slooze, syence, synymata, we are fury
Matty Healy has praised FKA Twigs after she filed a lawsuit last week against Shia LaBeouf alleging sexual battery, assault and infliction of emotional distress.
Twigs, who was in a relationship with LaBeouf between 2018 and 2019, subsequently released a statement addressing the lawsuit. “It may be surprising to you to learn that I was in an emotionally and physically abusive relationship,” she wrote. “It was hard for me to process too, during and after I never thought something like this would happen to me.
“Which is why I have decided it’s important for me to talk about it and try to help people understand that when you are under the coercive control of an abuser or in an intimate partner violent relationship leaving doesn’t feel like a safe or achievable option.”
Healy publicly showed his support for Twigs yesterday (December 13) by posting a picture of her on his personal Instagram page, with The 1975 frontman writing in the caption: “Legend… icon…loml [love of my life].”
In an email to The New York Times, LaBeouf responded to Twigs’ claims – as well of those of another former girlfriend, Karolyn Pho, who has also accused him of abuse – saying: “I have no excuses for my alcoholism or aggression, only rationalisations. I have been abusive to myself and everyone around me for years.
“I have a history of hurting the people closest to me. I’m ashamed of that history and am sorry to those I hurt. There is nothing else I can say.”
LaBeouf also told the New York Times that “many of these allegations are not true”, but said that he owed the women “the opportunity to air their statements publicly and accept accountability for those things I have done”.
Over the weekend, Sia accused LaBeouf of being a “pathological liar” who “conned” her into an adulterous relationship. The actor has not yet responded to Sia’s allegations.
If you or someone you know has experienced domestic violence, call the following for help:
Domestic Violence Assist – 0800 195 8699
National Centre for Domestic Violence – 0800 970 2070
2020 was a year that tested the strength of the dance music industry. Yes—it was downright awful—but the year also reinforced the resilience of the EDM community, forcing its members to unlock upsurges of creativity that would’ve otherwise remained latent.
The unrelenting fury of COVID-19 flung the EDM world—and the live music scene at large—into a free-fall with no parachute. Without the ability to tour, artists, event promoters, venue operators, and practically every music pro found themselves scrambling to acclimate to the new norm. Ultimately, the electronic music space mutated into a socially distanced, Frankenstein-like monstrosity of drive-in shows, quasi-legal raves, and virtual festivals. But even in a year to forget, it remained as captivating as ever.
As we count down the days until we’re able to finally tie a bow on the lump of coal that was 2020, here are 20 stories that defined EDM this past year.
The Return of Pendulum After a Decade
Pendulum
When the live music community ate the dust due to the impact of COVID-19, the streaming industry ballooned due to a whirring influx of new music. Producers released new music at a breakneck pace, but it was the momentous September return of Pendulum that went down in EDM lore. The fabled drum & bass group released their first new music in a decade, dropping two new singles—”Driver” and “Nothing for Free”—each of which oozed with the ferocity of Pendulum’s iconic sound.
Coachella Abandons 2020 Event Due to COVID-19 Concerns
How the mighty have fallen. When Coachella‘s organizers finally made the decision to abandon the event’s 2020 edition, they proved that even the most powerful and influential festival brands were at the mercy of the virus’ wrath. The festival’s representatives went on to announce new dates for April 2021, but influencers around the world were forced to hang up their floral head wreaths and write “take me back” Instagram captions.
Lady Gaga Releases Chromatica
Universal Music Group
Enlisting the help of Tchami, Skrillex, Axwell, Madeon, and Boys Noize, among others, Lady Gaga released her scintillating Chromatica LP in what was a harbinger for the intersection of dance and pop music. While the galactic success of Chromatica speaks volumes for Gaga’s own legacy, it is perhaps even more momentous not only for its seminal impact on EDM, but also on women in dance music. “Women will be at the forefront of this culture,” said Daouda Leonard, who manages BloodPop®, the longtime Gaga collaborator and Executive Producer and A&R of Chromatica. “Women are at the forefront of dance music and will usher in a new revolution.”
Before socially distanced drive-in raves became the norm, deadmau5 walked the plank during a very precarious time in terms of the virus’ impact when he announced his Toronto show. At the time, there had only been a few attempts by promoters, but none with an artist of deadmau5’s renown. His “City View Drive-In” concert was under an intense public microscope, but he went on to perform an electrifying set at a safe and highly successful show while flanked by the glittering Toronto skyline.
Tomorrowland Around The World Attracts Over 1,000,000 Viewers
Tomorrowland
Considering the notion that the preeminent Belgian festival is one of the world’s largest and most popular dance music events, expectations were high for Tomorrowland‘s foray into the virtual concert space. An influx of livestreamed concerts at the time underpinned the rapid saturation of digital music festivals, but a brand of Tomorrowland’s size had yet to make an attempt.
Following the Sunday, July 26th conclusion of Tomorrowland Around The World, organizers reported some staggering numbers from Pāpiliōnem, the mystical island they designed for their inaugural digital event. Over 1 million viewers tuned into the stream—an impressive figure considering the fact that the event was not free, like the vast majority of virtual concerts in the COVID-19 epoch.
When a deluge of DMCA takedown requests were filed against a legion of Twitch streamers back in June, the debacle lit a fuse that led to an explosive domino effect for the Amazon-owned platform, which emerged as an invaluable streaming destination for DJs in the COVID-19 age.
Ticketmaster Shares Plans to Require Vaccination Proof for Entry to Concerts—Then Backpedals
In November, a bombshell Billboardreport quoted Ticketmaster‘s CEO as saying the ticketing giant was working on a framework for post-pandemic fan safety that would use smartphones to verify fans’ vaccination status prior to receiving admission to concerts. However, while the original article noted that Ticketmaster’s plan was merely being considered, myriad news outlets went on to report the plan as having been officially established, prompting Ticketmaster to backpedal. “We are not forcing anyone to do anything,” Ticketmaster said in an ensuing statement provided to BBC News.
Protesters Chant to Dirtybird Song in Detroit
Twitter (via Bearemy)
Following a sweeping music industry blackout on Tuesday, June 2nd, a litany of record labels, streaming services, brands, and artists implemented robust programs and donated millions of dollars to organizations fighting for racial equality and justice in the wake of George Floyd‘s death.
As nationwide protests mounted, many in the dance music community—such as venerated house and techno record label Dirtybird—aligned in solidarity with the Black Lives Matter movement. At a protest in Detroit, activists marched through the streets and chanted while using a Dirtybird song as a soundtrack, prompting the label to react on Twitter. “People protesting with our music,” they wrote. “We are proud.”
Bassnectar Retires from Music Following Allegations of Sexual Misconduct
In summer 2020, an Instagram account called @evidenceagainstbassnectar exploded after publishing graphic accounts of sexual misconduct against Bassnectar, prompting him to issue a statement refuting the allegations. “The rumors of sexual misconduct that are circulating about me are completely untrue. I want to leave it at that, because it truly is that simple,” Bassnectar wrote at the time. In the wake of perhaps the year’s most nuclear #MeToo moment in EDM, the dust never settled, and the dubstep superstar hastily announced an indefinite hiatus from the music industry.
Death of i_o
i_o
In late November, tragedy struck the EDM community when renowned producer i_o passed away at the age of 30. The gifted artist was coming into his own, in every sense of the term. Having recently celebrated his momentous signing to Armada Music as well as the launch of his own Label 444 banner, perhaps the most devastating aspect of i_o’s sudden death wasn’t what he had done so far, but rather how much more he had to accomplish.
The EDM family banded together in mourning following the deflating news of his passing, taking to social media to share their memories of the late music producer, who Insomniac founder Pasquale Rotella called a “beautiful soul.”
The Mythical Upcoming Album from Skrillex
Marilyn Hue
Back in March, Skrillex sent his fanbase into a fever pitch when he announced that the first of multiple albums was in its final stages. What followed was a revolving door of Skrillex news that only served to fan the flames of the feverish anticipation surrounding the album, which, at this point, is verging on mythical.
This year, he was spotted in the studio with a bevy of jaw-dropping collaborators, including Justin Bieber, Bruce Johnston of The Beach Boys, Top Dawg Entertainment artist Zacari, and Mike D of legendary hip-hop trio The Beastie Boys, among others. Skrillex also wiped his Instagram back in June, only reinforcing the notion that something massive is on the horizon. He did drop a brand new track, however, offering fans a taste of honey before the hive.
The Release of Underplayed
Featuring interviews with women and several male allies working in all aspects of the industry, the feature-length documentary Underplayed offered crucial insights into just how much work is left to be done for gender equality in the dance music scene. Over the course of the film’s 85 minutes, its fundamental message is clear: In EDM, gender bias does more than just pervade all aspects of life for a woman—it has become inescapable. The release of Underplayed, which included discussions with REZZ, Alison Wonderland, and NERVO, among others, was a timely reminder that the future is female.
To say Excision launched his new record label in an unorthodox way would be a gross understatement. The Subsidia Records boss debuted the imprint by releasing 118 brand new songs spanning across four different chapters, each of which had their own unique narrative and theme. In doing so, he introduced a bass music utopia that is primed to push the envelope of the genre for years to come.
Back in May, Porter Robinson broke the Internet when he announced Secret Sky Music Festival, his official foray into the virtual music fest scene. The EDM community lost its collective mind when the festival aired, and the event went down as one of the most memorable streams to emerge from the COVID-19 epoch. Robinson debuted new music, Madeon threw down an astonishing performance, and the broadcast raised money for the MusiCares COVID-19 Relief Fund.
Burning Man Cancelled for First Time in History
Watchara Phomicinda, The Press-Enterprise/SCNG
Festivals across the globe dropped like flies in the wake of the onset of COVID-19, but this one stung. Despite optimism from organizers, Burning Man could not salvage its 2020 edition and ultimately made the difficult decision to cancel for the first time in the event’s history. Burning Man Project, a nonprofit that supports the global Burning Man community and produces the beloved annual event in Black Rock City, went on to announce the launch of a virtual shared live experience platform called Kindling.
Death of Cookie Monsta
In early October, the EDM family lost a true electronic music icon and innovator. When Cookie Monsta tragically passed away at the age of 31, he left behind a storied legacy as a pioneer of the dubstep genre, an innovator of music production, and most importantly, an exemplary character and friend to all.
Redpill VR and Ushuaïa Ibiza Develop Groundbreaking Virtual Club Experience
Developing mind-bending, immersive experiences that blend music with virtual reality, leading VR company Redpill is using EDM to shape the future of virtual reality and music. After disrupting the music festival industry by offering a one-of-a-kind VR dance music experience for ravers, the company announced a landmark partnership with Ushuaïa, an illustrious Ibiza venue that is ubiquitously regarded as one of the globe’s best clubbing destinations.
David Guetta’s “United At Home” Stream Raises Over $700,000 for COVID-19 Relief
Although the COVID-19 pandemic effectively put the live music industry on hold, David Guetta took the streaming game to the next level with his April United at Home live stream. Flanked by two gleaming highrise apartments in the heart of Miami, Guetta performed with festival-grade production and, through his efforts, was able to garner over 12 million viewers online and raise over $700,000 for a number of COVID-19 relief foundations.
Investment Firm Acquires Calvin Harris’ Publishing Catalog for $90 Million
In a move that has the looks of a watershed moment for electronic music producers, Calvin Harris sold his entire publishing catalog for a staggering $90 million back in October. Vine Alternative Investments, a New York-based entertainment industry investment firm, forked up a cool $90 million for Harris’ vast catalog of dance music hits.
With a career than spans nearly half a decade, ATTLAS exploded into 2020 with mood-boosting music and three projects under his belt, ready to give longtime fans a year to remember. In February, he released his debut album Lavender God on mau5trap, which is notably home to a vast majority of his catalog.
To follow, it seemed the Canadian producer forgot to pump the breaks, giving the world official remixes for ARTY and Hotel Garuda, on top of releasing Faya / The Crack in October, another career-first project on Lane 8‘s This Never Happened imprint. One month later, his sophomore LP Out Here With You was added to his discography.
ATTLAS describes the second full-length project as “calming, hopeful, and about the small good things we can control and take pride in,” a notion that is evident on his exclusive AXIS mix for Dancing Astronaut. As he mentions in the mix’s intro, the new album is a “melodic, and introspective work,” as tracks such as “Polar Concept” make clear. In the AXIS mix, ATTLAS engages his newer outputs while delving deeper into his repertoire with fan favorites like “The Machinery Chewed” and “Carmen.” These time-honored staples are juxtaposed against some of the songs he’s been digging of late, including “Star Shpongled Banner” by Shpongle and “Scalar” by Max Cooper. Fans will be even more pleased to hear a few IDs and unreleased edits in there, as well.
This mix is available on Audius, an up-and-coming, decentralized digital streaming platform that offers free music and exclusive releases from some of the biggest names in electronic music (with deadmau5 on the advisory board). Sign up for Audius and follow Dancing Astronaut on the platform for exclusives, bootlegs, and mixes you won’t find anywhere else.
Featured image: @alexvarsa/Instagram
Tags: arty, attlas, deadmau5, hotel garuda, Lane 8, mau5trap, Max Cooper, this never happened
Tom Morello has recalled in a new interview Rage Against The Machine‘s infamous naked protest during one of their sets at Lollapalooza in 1993.
Morello and his bandmates walked out on stage naked in Philadelphia in July 1993 (back when Lollapalooza was a touring festival) in a protest against censorship, with each member of the band wearing black electrical tape over their mouths. They stood in protest for their full 15 allocated minutes of stage time.
Recalling the protest in a new interview with Uncut (print only), Morello remembered how there “was an outpouring of excitement among the crowd for the first five minutes” of RATM coming out on stage in Philadelphia.
“Then there was an interesting stand-off as it was clear this was not just some sort of quick stunt,” he continued. “Then for the last five minutes there was outright hostility – booing and giving us the finger and quarter coins being thrown at our dicks.”
Morello added: “The time I wish I had my pants on was when the police arrived.”
The band were not charged by police for their method of protesting, although they were escorted off stage by members of law enforcement. Rage returned to Philadelphia later in 1993 to play a free show for fans who had come to see them at Lollapalooza.
“Hopefully in some way we made the point that controversial music is not something you can take for granted, you have to fight for it,” Morello added to Uncut. “Although people just remember us standing there naked.”
Earlier this month, Morello linked up with System Of A Down’s Serj Tankian to cover Gang Of Four‘s ‘Natural’s Not In It’ for a new Andy Gill tribute album.
After more than a year of anticipation, this week’s release of Cyberpunk 2077from video game developer CD Projekt has been one of the hottest topics in the dance music world. Grimes has been at the center of the hype since leaking information back in February about the player experience and her role as the voice actor for character Lizzy Wizzy.
To celebrate the game’s long-awaited launch on December 9th, Grimes released a 17-track companion mixtape exclusively through Apple Music under the guise of her in-game character. Featuring several remixes of tracks off her February album Miss Anthropocene, selects from i_o‘s celebrated discography, and reworks of classic Rihanna and Ariana Grande anthems, the mix’s 63 minutes traverses the darkest corners of techno, bass house, dubstep and, of course, cyberpunk. Listen here.
Along with this new mixtape, the first installment of Cyberpunk 2077‘s original soundtrack was released December 11th via Lakeshore Records. It features tracks by Run The Jewels and SOPHIE, among many others. Additionally, each artist has been given in-game alter egos.
The soundtrack’s second volume is set for release December 18th and will include music from Nina Kraviz and Grimes herself, along with seven other artists. You can pre-save it here.
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