In 2018, Montréal-based producer Hologramme ventured to Berlin—arguably the electronic music capital of the world—to soak up new inspirations and reinvent himself. After dedicating himself to the studio for his two-month residency, he emerged with his debut studio album Felicity, which released on August 30th, 2019.
Now, Hologramme has recruited a team of French and Canadian producers to put their own spin on the record with Geist Im Glas, the closing chapter to Felicity.
Geist Im Glas, translated to English as “Ghost in a Glass,” spotlights five outstanding remixers who explore four of the ten original tracks. Leading the way is fabled Montréal producer Lunice, who Hologramme connected with last summer when both were performing at MURAL Festival. Notably known for touring with Madonna, his collaborations with Azealia Banks and Diplo, and being one half of TNGHT with Hudson Mohawke, Lunice reimagined the atmospheric “Berlin.”
Lunice merges dynamic beats and scratches with the calming foundation of “Berlin.” While the original dreamlike wonder would likely encourage mindfulness and reflection, Lunice reimagines the song to something more dance floor ready. The other remixers that grace Geist Im Glas are Fakear, Moses Bélange, Robert Robert, and Ouri.
The dance anthology lives on Hologramme’s imprint, Société Holographique de Montréal. You can listen to Geist Im Glas below.
FuntCase embarked on his DPMO (Don’t P*ss Me Off) label journey in 2017, and while under Circus Records, he was able to showcase an onslaught of dubstep’s filthiest tracks through a three-volume compilation series, FuntCase Presents: DPMO. After this strong start, the masked artisan is now overseeing the official launch of his DPMO label with a four-track EP, Corruption.
FuntCase collaborates with some of the finest up-and-coming producers in bass music on the DPMO-installing effort, enlisting Versa, Yakz, Jkyl & Hyde, and Stoned LeveL for a monstrous upheaval. To FuntCase and his collaborators’ credit, all four tracks catapult fans into otherworldly realms of prismatic rhythms and afflicting doom.
In an interview with Dancing Astronaut, FuntCase discussed the label’s journey, sourcing Corruption‘s collaborators, mental health, and what’s ahead. Find both the full interview andEP below.
Can you detail your label’s three-year journey and how your latest EP, Corruption, fits into it?
FuntCase: “I’ve always been a fan of finding new talent and DPMO was really just something that happened [as a result of me] moaning to my manager about all the insane music I’d found, but none of it getting a release) at least not on a decently reputable label). For instance, I could have maybe signed and released ‘Jotaro’ by Phiso, but had no platform and therefore missed out on signing an anthem.
Circus offered [to give me the opportunity to release] all the music [I was championing] on a compilation. After many talks, we decided to release it under my brand, DPMO. After DPMO Volume 3 it really seemed like we had something here, and [we] once again had a talk with Circus about it and emphasized that it was probably the best time to turn it into a proper label, finally.”
Corruption features four different collaborations. Was there anything unique in particular about the creative processes behind these collaborations?
FuntCase: “For me, this EP was a double whammy of showcasing artists who are on DPMO and push[ing] the first release [on] DPMO Records. In that sense, a collaboration EP made the most sense; we could showcase [these artists’] sounds and give them focus [while putting] a FuntCase twist in the mix to make it interesting.
All four of the artists I chose to work with have their own key sounds and I really feel like this EP is a great mix of tracks to listen to one after another. In terms of how these tracks were done, I basically told them to start an idea and then I would jump on it and do my bit, but the way I ended up running these collaborations was that I really wanted their sound to be the prominent factor in the track. So, when I made the tracks, I let their drops be the main sections. I would build around those and created them as they sound now!
All the tracks have their own theme; it’s not an EP [where all the songs] sound the same. In terms of the tracks’ sounds, I just feel like the EP has really got great replay ability.”
Corruption is a newcomer to the dubstep release ring. Thinking about the genre at large, from your perspective, how has it largely changed or even stayed the same?
FuntCase: “I think the flow of dubstep as a sound has remained fairly the same. It’s heavy, stompy, or bouncy, and those really seem to be the dominant factors in the sound right now. This new style of ‘future riddim’ has peeped its beautiful head through and I’m all for it. That really seems like a natural progression from such [the] loud and aggressive year [that] 2019 to 2020 has been, with the sound and style pioneered by MARUADA really setting the stage.”
Let’s switch to mental health: you tweeted that you could write a “40,000 page” paper about mental health in music over the years. What would its title be?
FuntCase: “I would 100 percent call my book ‘It’s not what you think.’ I base that off of what people assume touring is like and how it’s portrayed by people. Maybe one day, I’ll write a book about my own experiences within the DJ life. I’ve kind of toyed with the idea anyway, but I really think it would be a great insight into the deep world of world touring, DJing, music production as a full-time job, and everything in between.”
What with quarantine and the recent loss of your long-time friend and creative partner, Cookie Monsta[Tony], it seems fair to assume that the topic of mental health has been on your mind. Are there any memories with Cookie Monsta that you’d like to share?
FuntCase: “It was a shock, I can’t lie. Tony had always been a bright, energetic crazy spark in my life, and someone [with whom] I shared most of my best and biggest touring memories. The first few days [after finding out that Tony passed] hit me pretty hard, but I really want to strive to keep up what I’m doing and do well for him; he for sure would have wanted that. I have way too many memories to share, but I hope his legacy lives on in music and in the genre and that he’s never forgotten.”
Do you have any advice for artists who may struggling with mental health or with pressures to create amid COVID-19?
FuntCase: “If you’re struggling with creating music, for instance, [when] having a mental block, just step away from your space and do other things. Let it all happen naturally; you write your best music when your head is clear and ready. If you, however, feel like you have a mental block but feel like you’re a bit useless or unproductive and want to keep up working on something, maybe make yourself some sample packs for when you feel creative again. Make kicks, snares, bass samples, FX noises, really anything! Future you will appreciate that.”
As 2020 winds down, what are you looking forward to in 2021?
FuntCase: “I think really it’s to get back on the road and tour again. Staying at home has been great, as I’m a bit of a hermit anyway, but I have a lot of pent up energy now that I need to expel on stage! Also, I have so much new music that I haven’t managed to test out live to gage reaction, so I’m really looking forward to that.
I want to feel like [2021 is] a new year and new beginning almost. 2020 has been such a year I really wish to forget for so many reasons, and I can’t wait to see where myself and DPMO are heading. We have great plans.”
Elton John has hailed Damon Albarn a “British jewel” due to the Blur frontman’s diverse catalogue of music.
The ‘Rocketman’ singer recently collaborated with Albarn on ‘The Pink Phantom’ for Gorillaz’ latest project ‘Song Machine, Season One: Strange Timez’.
Speaking in a new interview, John praised Albarn for throwing himself into projects that interest him, rather than focusing on what might be deemed more commercially successful.
“Damon really is special,” John told Record Collector magazine. “He’s someone who I really, really admire.
“When you see what he’s done, when you compare him and Blur with Oasis – including the last Blur album [2015’s ‘Magic Whip’], which is a masterpiece – and then you look at what he’s done outside of Blur, he’s just done so many different things.”
He continued: “And he’s just finished an opera that just opened in Paris.
“I think he’s a British jewel because he just does what he wants and, for him, success is just working with great musicians like Tony Allen, just doing things that interest him.
Damon Albarn has been praised by Elton John. CREDIT: Getty Images
“I mean, for fuck’s sake, he did an album with Bobby Womack! So this is a mind I admire because he’s always looking forward.”
Earlier this week, Albarn said the UK government’s response to the ongoing coronavirus pandemic shows they have “no empathy with the arts.”
Speaking to PA News ahead of a series of virtual Gorillaz gigs next week, Blur and Gorillaz frontman Albarn said: “This present government has no empathy with the arts whatsoever and sadly that is a really important part of British culture. It is an essential part of British culture.
“We live in a pretty fucking miserable country at times and we need our arts to uplift us. It should be part of the prescription for our national health.”
Meanwhile, Elton John has claimed that he owns more than 120,000 CDs and 15,000 vinyl records.
The 73-year-old singer explained that the entirety of his vast collection of music remains in his house, rather than in storage, so that he can maintain regular access to it at all times.
Cyberpunk 2077 is officially out now and it’s all the gaming community has been talking about. Whether it’s the stunning graphics, or the NSFW bugs that the game hasn’t yet worked out, there’s plenty of commentary about the game. One important aspect of immersing gamers in the world of Night City is the soundtrack for the game, and you can now listen to it on your own time with Cyberpunk 2077: Radio, Vol. 1 out now.
CD PROJEKT RED in partnership with LAKESHORE RECORDS have released the first volume of Cyberpunk 2077’s soundtrack, Radio, Vol. 1, featuring music heard on the in-game radio stations in the world of Cyberpunk. The soundtrack sees artists taking on fictional personas of themselves as if they’re making music in the year 2077.
Volume 1 of the soundtrack features Run The Jewels, SOPHIE, Shygirl, Converge, The Armed, Yugen Blakrok, Konrad OldMoney, Tomb Mold, Le Destroy, Deadly Hunta, Maro Music, Aligns and Deafkids with music made specifically for the game.
Vol. 1 is out today with Vol. 2 available on December 18th.
Fans will receive one instant grat track as, “Hole In The Sun (feat. COS & Conway)” by Raney Shockne (aka Point Break Candy) with pre-orders of Vol. 2 at applicable digital music services.
Radio Vol. 1 Tracklist: 01. “No Save Point” – Run The Jewels (in-game artist – Yankee and the Brave) 02. “BM” – SOPHIE & Shygirl (in-game artist – Clockwork Venus) 03. “Kill Kill” – Le Destroy (in-game artist – The Bait) 04. “Metamorphosis” – Yugen Blakrok (in-game artist – Gorgon Madonna) 05. “Dinero” (feat. Cerbeus) – Konrad OldMoney (in-game artist – 7 Facas) 06. “When It’s War” – Deadly Hunta & Maro Music (in-game artist – Footage Missing) 07. “Night City Aliens” – The Armed (in-game artist – Homeschool Dropouts) 08. “I Won’t Let You Go” – Converge (in-game artist – Shattered Void) 09. “Friday Night Fire Fight” – Aligns (in-game artist – Rubicones) 10. “Adaptive Manipulator” – Tomb Mold (in-game artist – Bacillus) 11. “Selva Pulsátil” – Deafkids (in-game artist – Tainted Overlord)
Radio Vol. 2 Tracklist: 01. “PonPon Shit” – Namakopuri (in-game artist – Us Cracks) 02. “Delicate Weapon” – Grimes (in-game artist – Lizzy Wizzy) 03. “Who's Ready for Tomorrow” – Rat Boy (in-game artist – IBDY) 04. “Major Crimes” – HEALTH (in-game artist – Window Weather) 05. “I Really Want to Stay At Your House” – Rosa Walton (of Let’s Eat Grandma) (in-game artist – Hallie Coggins) 06. “Surprise Me, I’m Surprised Today” – Nina Kraviz (in-game artist – Bara Nova) 07. “Hole In The Sun” (feat. COS & Conway) – Raney Shockne (in-game artist – Point Break Candy) 08. “History” – Gazelle Twin (in-game artist – Trash Generation) 09. “On My Way to Hell” – Połoz (in-game artist – Tinnitus)
For her latest single—and to close out of 2020—CloZee has partnered with fellow French artists Fakear, Pouvoir Magique, and Einki to deliver “Kanzan.” The outcome is truly a magnificent display of craftsmanship in the studio. Prepare to be transported across the globe without ever having to leave your home.
“Kanzan” incorporates elements of downtempo and world bass, melded together to create a mystical sonic landscape. The global inspiration is apparent in the use of string work and vocal chops. They shine alongside the delicate bass and synths that uplift the listener above any chaos and instead to a place of pure serenity. Check out the new collaboration below.
“Kanzan” ties a bow on an impressive year for CloZee. She released her highly-anticipated sophomore album Neon Jungle and its remix album, latter of which hosted incredible reworks from Lane 8, Emancipator, Opiuo, and more.
You can stream “Kanzan” across all platforms here.
Wooli continues his expansion into melodic zones with his latest remix of GASHI‘s track “Roses,” taken from the latter’s self-titled 2019 album, GASHI.
Having built up a brand backed by hard-knocking dubstep tracks, the East Coast-bred producer diverges from his usual, reimagining the original chorus and bass guitar melodies in “Roses” to anthemic evocations. Wooli further adds his signature touch with revamped drums, layered synths, and sweeping rock tones, molding the production into an ensemble of rap, dance, and contemporary rock genres.
The newest cross-over endeavor is no new feat for GASHI, who has previously collaborated with electronic musicians like DJ Snake on tracks such as “Creep On Me,” and “Safety.” The Albanian-born singer-songwriter was also recently featured on Lost King‘s long-awaited collaboration with Ty Dolla $ign, “Oops (I’m Sorry).”
Earlier this week, it was revealed that Megan Thee Stallion has joined forces with Tinder to become a dating coach.
Up to $1 million (£752,000) is being offered as part of a global Put Yourself Out There Challenge on the app, which the rapper is spearheading.
The scheme encourages users to submit new profiles reflecting themselves genuinely and creatively, with 100 contestants getting the chance to win $10,000 (£7,520) each.
“I want everyone to be comfortable sharing their authentic self online. That’s why I’m partnering with Tinder to give away $1 million to celebrate the people who are putting themselves out there in a real way,” Megan said in a video you can view below.
“By celebrating those who are already doing the hard work, we want to encourage more people to feel confident in who they are.”
Last month, Megan Thee Stallion released her debut album ‘Good News’. It followed her smash hit collaboration ‘WAP’ with Cardi B.
NME has named ‘WAP’ the number one song of 2020, writing: “Dangerously horny in a way that speaks directly to the casual sex bans of the lockdown age, ‘WAP’ was the titan track that drenched the entire year. Bring a bucket and a mop.”
Dillon Francis and TV Noise join forces on their brand new, 2-track EP, Festival Bangers for When Festivals Start Again Because There Are No Festivals — and it’s a damn party!
The dual release includes “Booty Bust” and “3 Drops Who Cares,” as well as extended versions of each to immerse us in an imaginary crowd. First up, we have a powerful trap-laced moombahton weapon — followed by the mecca of all bangers, a high-octane production with three distinct drops.
The chemistry heard here is automatic, as the go-to collaborators previously came together on “EDM O’CLOCK” and “Bawdy.” They have their craft down to a science.
Dillon shares playfully, “We called the EP ‘festival bangers for when festivals start again because there are no festivals’ and I think that’s all the explaining I really need to do about the EP.” In regards to “3 Drops” he adds, “You can guarantee when shows are back I’m gonna rinse this record front to back.”
Although this year has been plagued by cancellations, lockdowns, and self-quarantines — the music, and right now, these festival bangers, are getting us through. Listen here!
Dillon Francis x TV Noise: Festival Bangers for When Festivals Start Again Because There Are No Festivals
Sensorium Galaxy, a virtual platform built for concert experiences, has teamed up with tech company Mubert in order to manufacture an algorithmically-driven AI performing DJ named JAI:N. If it sounds far-fetched, make no mistake—we’re likely to see just what JAI:Ncan do in the coming months, and she is likely the first in a new line of virtual artists.
As a company, Mubert’s focus is on the real-time generation of music. Their technology will allow the virtual artist to craft a well-diversified set of music that has the ability to span over 100 unique genres. The artist will even be able to tailor the music on the fly to the appropriate tone and mood based on the reaction from the crowd.
JAI:N was created alongside Sensorium Galaxy, a pioneering organization in the virtual reality concert space. The company, backed by TIDAL, is set to launch with sets from major dance music performers already on the schedule. David Guetta, Armin van Buuren, Carl Cox, and more have already singed on to deliver exclusive VR performances, and JAI:N will also be performing as the official resident of Sensorium Galaxy.
Sensorium’s Head of Product Ivan Nikitin is heralding the development as the next creative frontier in entertainment. “AI combined with VR can push the boundaries of what modern computing can offer us when it comes to entertainment,” he said. “We are witnessing the dawn of AI creativity, and we are proud to be the first platform to give virtual bodies to artificial musicians and provide them with the stage in Sensorium Galaxy.”
Sensorium Galaxy’s public release date has not yet been confirmed, but is estimated to be in the first half of 2021.
‘That’s Life’ is set to come out on February 26, 2021 via Legacy Recordings, following Nelson’s first Sinatra’s covers album, 2018’s ‘My Way’.
Ahead of the release of the album, Nelson has shared a cover of ‘A Cottage For Sale’. Speaking to Sirius XM recently about the track, Nelson said: “I thought it was such a great song, and I found out a lot of other people did it too. I’m just glad to be able to do another tribute to him. I’m anxious to get it out there.”
Listen to Willie Nelson’s version of ‘A Cottage For Sale’ below.
Willie Nelson released his 70th studio album, ‘First Rose Of Spring’, earlier this summer. A four-star NME review said the album “doesn’t sound like a man coming to the end of his prime, but one slap-bang in the middle of it”.
The review added: “Whereas Leonard Cohen and Johnny Cash’s later albums – neither of whom reached the grand old age Nelson has – saw their voices dig ever deeper in the soil of life, Nelson’s still boasts a lightness of touch.”
Willie Nelson and sons Lukas and Micah recently paid tribute to John Lennon on his birthday with a cover of ‘Watching The Wheels’.
Nelson and his sister, Bobbie, also released a co-written memoir, entitled Me and Sister Bobbie: True Tales of the Family Band, in September. The book details the siblings’ relationship and musical collaborations.
We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking “Accept”, you consent to the use of ALL the cookies.
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
