Insomniac is taking gigantic steps to expand its footprint and influence on the east coast. The global events operator has announced the acquisition of dance music promoter Club Glow as well as venues Echostage and Soundcheck, based in Washington, DC.
The acquisition, announced this week, was finalized in February of this year. The deal was reportedly to be announced at this year’s Winter Music Conference, which was ultimately cancelled. The deal will see Club Glow founding partner Pete Kalamoutsos continue to helm the company he helped establish back in 1999.
Club Glow has built a thriving book of business that included 150 shows annually at Echostage alone prior to the pandemic. The massive club was the largest venue in DC when it opened in 2012. The company opened the intimate Soundcheck club in 2015, offering the ideal contrast to the aforementioned 30,000-plus square foot venue. The company additionally produces the beloved Moonrise Festival and Preakness InfieldFest.
“After two decades of producing some of the biggest dance music events on the East Coast, it’s time to write a new chapter. Pasquale and I were cut from the same cloth, and our visions align when it comes to dance music,” Kalamoutsos said in a statement. “I couldn’t imagine a better opportunity to continue to grow Glow, Echostage and Soundcheck than with the team at Insomniac.”
Vin Diesel just hit us with another feel-good dance single, “Days Are Gone” — and suddenly, his music career is one of the best things to happen in 2020!
There’s just something about Diesel’s voice and the nostalgia he brings that keeps us wanting more. When we hear his tracks, it’s like hearing a little glimpse into his soul. His debut surprised us entirely, in the best possible way — and he keeps the momentum going with another smooth heater.
Similarly to his debut single, “Feel Like I Do,” Diesel’s new release finds a home on Kygo’s Palm Tree Records, a joint venture with manager Myles Shear. According to a press release, “Days Are Gone” was co-written by Vin Diesel, Petey Martin, and Noah McBeth (better known as NoMBe) and produced by Palm Tree Records artist Petey Martin.
“Days Are Gone” arrives on the heels of Diesel’s unexpected smash, “Feel Like I Do,” which has racked up over 3.1 million streams worldwide in a rather short time.
While families and kids are busy trick-or-treating, electronic music aficionados everywhere are typically heading to a Halloween rave, letting their freak flags fly a little more freely on All Hallow’s Eve. Naturally, this leads to some unforgettable and unique memories. In lieu of the typical Halloween festivities this year, Dancing Astronaut asked the likes of The Alexsander, Benny Benassi, Deep Fake and more to share their favorite Halloween stories in celebration of the venerated holiday.
The Alexsander
“A few years back, I think it was 2017, I played a private villa party during Halloween in the south of Spain, with a beautiful view over the ocean and Africa just straight over. My outfit for the night was very basic, all black: jeans, a t-shirt, sneakers, and some black paint around my eyes. I looked like a koala.
I was walking towards the entrance of the house, through a small road and some garden elements, with my squad of friends. While we walked, we didn’t notice the decor that much, because we all were excited to see the party. When we were walking through some parts of the garden, a figure suddenly popped up in front of me and started to make a loud noise. Without even thinking, my right arm goes straight towards the figure’s face, giving the poor guy a sucker punch.
Down he goes on the ground looking like a beaten ghost, screaming even more on the ground. My squad of friends started to scream and run back towards the car as I began to realize that there was a person in a ghost costume, on the ground screaming ‘idiota’ aloud in Spanish, among many other things. I helped him up and told him I’m so sorry, then continued walking into the house party after screaming ‘come back’ to my friends. During the night, I think I ended up saying sorry to the guy at least 10 times.”
Glamour Hammer
“I love dressing up, so Halloween is definitely the holiday for me. I’m especially fond of coming up with ingenious and silly costumes that are sure to make other partygoers either laugh or cringe. The dumber the better! Dressing up as the currently out of order coffee machine from work was one of my more elaborate creations—the big cardboard box, however, was not ideal when visiting the gents. I’ll be celebrating the holiday by releasing my new single ‘I’m a Ghost’ and a horror flick-inspired music video. I’ve got no plans for lavish parties this year, but shooting the video gave me enough Halloween spirit; plus I got to scare a few joggers while doing it.”
Glamour Hammer Featured image: Sofia Eriksson
Benny Benassi
“I love playing at Halloween parties in New York! Every time I played there, it’s been the craziest experience ever! The whole city has a peculiar atmosphere; it never failed to give me spooky feelings. If you like Halloween, you must try a party in New York this time of the year.”
Deep Fake
Fake 1: “The craziest Halloween party I DJ’d was in 2011. It was a chilly night with some spooky vibes at an abandoned warehouse in Detroit. It was a super minimalistic event; there was a dirt floor, the DJ gear, and two speakers which held up the gear. Everyone dressed up as their favorite superhero that night, so at around 2:00 a.m. when security showed up, all the superheroes dispersed into the night.”
Fake 2: “The craziest Halloween party I ever DJ’d was at a frat house a couple years ago where the pledges had cleared out this massive room and filled it with sand so they could do a beach themed Halloween party. I went up to DJ and turned my subwoofer up a little too high. It blew the power out in the entire building. This left about 500 people standing in the dark with only one exit. Talk about an actual nightmare.”
Deep Fake
Flash 89
“A story that comes to mind is when I’d finished playing a gig Halloween weekend back in Sydney, Australia a few years ago. When the show ended, a group of us wanted to continue the evening so we headed to our hotel. We continued the banter back at our hotel into the early hours, but eventually I couldn’t continue and ventured off to my room while littering a trail of clothes.
In the morning, we all slept in and realized that we were going to miss our flight, so we frantically grabbed our clothes, got sorted, and rushed to the airport. Halfway to the airport, as I checked my phone I realized that my pockets felt somewhat unfamiliar and that I didn’t recognize the fabric. I quickly came to the conclusion that I was in fact wearing someone else’s pants. In the madness to get to the airport I’d grabbed someone else’s pants…What’s worse: I also grabbed my correct pants, which were safely in my luggage. So to the poor bastard who had no pants that morning, sorry mate! This year will be much more lowkey; I’ll catch up with friends and keep my pants on.
Doorly
“My favorite Halloween in recent memory was playing for the Music Is For Lovers Halloween party at a huge mansion in San Diego a few years ago. My costume was a gorilla carrying me in a little cage and I decided to commit to playing my whole set from within the cage which was an absolute nightmare but lots of fun!”
Doorly Featured image: Blake Sesja
Joshwa (UK)
“One Halloween, I played an afterparty for students and a few people were saying the music was hitting too hard, so they decided to put colanders on their heads and pretended they were helmets to protect from the beats!”
Zendlo
“Easily the best Halloween memory I have was in 2017. I got a Facebook message from Londonbridge (Space Yacht) saying that they needed an opener that night for their Halloween party. That was the first party I had played since moving to Los Angeles in 2015, so I was so nervous. I left work early to go download a ton of music and hope for the best. I couldn’t even remember how to beat match so I just used the sync button and it actually turned out pretty good.”
Zendlow
Famba, Jake Tarry and Alex Hosking
Jake Tarry: “Two years ago, I was playing a Halloween gig in Amsterdam in a gremlin mask and suit. After the gig, I went straight to the airport for a show in London. I got stopped at customs because of the strange objects in my luggage, such as the mask and fake blood. After having a really long conversation with the nice but stern customs agent, I was allowed through just in time to make my flight into London.”
Alex Hosking: “My friend invited me to a singles Halloween party. I didn’t know it was a dating event, I just thought it was a party, so I dressed up in a full mermaid costume only to find that I would be stuck in speed dating type games. What made it weirder was that everyone was in costume, so I got stuck with a guy who was dressed as an Avatar and painted blue from head to toe. He was the most boring person I had ever met…but was also the bluest person I had ever met. He just kept talking about TV show reruns and kept leaving blue paint everywhere! He was certainly someone I didn’t want to get to know better.”
Famba: “A few years back, I played a Halloween show in my hometown. A couple of guys in costumes started fighting in the middle of the dance floor. Meanwhile, I was playing a back-to-back set with my friend, and for whatever reason we had a shake weight on stage. Someone took a video of us shaking the shake weight in the DJ booth while a massive fight ensued. Good times…”
Featured image: Benny Benassi
Tags: Alex Hosking, benny benassi, Christian Nelson, Craig Knight, Deep Fake, Doorly, Famba, Flash 89, Glammour Hammer, Jake Tarry, Joshwa (uk), kideko, The Alexsander, Zendlo
TroyBoi has announced his next move. Britain’s trap don is set to drop a new single, “Mother Africa,” next month.
For the first time in three weeks, TroyBoi took to Twitter, breaking his silence and musing that it may be time for some new music. Luckily, fans did not have to wait long for the “Warlordz” producer to make good on that statement.
“The music that will be coming out of the speakers in my sets when shows start again…I’m shook for you,” TroyBoi said on social media back in August 2020. While we won’t be able to hear the full impact of what he’s been cooking up in a main stage setting, the producer is ready to serve up something hot. His latest announcement arrived without a preview, but the ominous, emerald-tinged cover art he shared has every indication he’ll be bringing the heat of the jungle with his next offering.
“Mother Africa” is TroyBoi’s first single since his collaboration with Louis The Child, “Fresh Juice,” landed on the duo’s beat tape release Candy II.
TroyBoi’s “Mother Africa” is slated for release on November 13th, 2020.
If you haven’t kept up with Justin OH over the past couple years, I think it’s fair to say that you’ve been sorely missing out.
After having already been a well-established house artist for several years (with releases on Spinnin’ Records, Armada, Revealed and Enhanced Music), Justin OH began taking his brand in a totally new direction in 2018. Once known for easygoing beats and euphoric progressive house melodies, OH made a drastic shift into a new style of bass music on the Monstercat-released “She’s a Killer,” which featured brutal basses laced with twinkly arps, along with a healthy dose of unsettling dystopian dialogue.
Since that point, Justin OH has been gradually crafting his own immersive world (i.e., the City of OZ). Each time a song released, listeners would be rewarded with a new piece of the puzzle; a new chapter of the story. The occasional crossover episode would occur throughout the process as well, like when Xilent‘s similarly dark world came into the picture on “Assemble” last year.
Earlier this month, that story –or, at least, this era of it– finally came to a close with the release of OH’s second studio LP Welcome to the City of OZ. We had the pleasure of chatting with the producer about his process behind creating the album, the media that influenced it, the way its collaborations came together, and more. Read the full interview below:
Good afternoon Justin, and congratulations on a successful album release! What kind of emotions are you experiencing as Welcome to the City of OZ is finally hitting stores after over two years of teasers and single releases?
Thanks for having me! It feels great to finally have it out there for people to experience. There was a lot of buildup and work to get to this point and I think the journey was equally rewarding.
As someone who was intrigued with the “City of OZ” concept from the first single, I’m really excited to see all the pieces of the puzzle come together for the first time. I have to ask, how planned out was this album? Was it something that started as a simple idea that grew over time, or was it completely conceptualized before things started rolling out?
A lot of it was pre-conceptualized even before the music was made. I think having as much of it planned out ahead of time helped a lot with the decision making process and sound design choices along the way. You know the rules of the City. You know what it should sound like, the look and the feel. And most importantly, you know the endgame of the story to build towards. There are little easter eggs and clues that were featured in songs years ago that were only recently revealed. Luckily, Monstercat is a label that embraces those types of creative ideas. I remember when I first approached them with “She’s a Killer” at Amsterdam Dance Event back in 2017, Jon Winter (the A&R) really liked the track and my sound as it was a bit different than typical dubstep music at the time. They were also very interested in how I planned to weave the story elements into the music. I brought with me animated visuals, a mood board, screen tests, live show footage, branding ideas, storylines, etc. I must’ve looked like that Charlie meme from It’s Always Sunny In Philadelphia, “Pepe Silvia”.
The track on the album that really made me want to ask you that question is “She’s a Killer, Pt. 2” with Feint & Mazare. The song seems to show up as a moment of triumph and redemption, feeling like the emotional climax of the entire LP. I know that Mazare didn’t start working with Monstercat until several months after the original “She’s a Killer” came out, so how did this track come together?
Yes, story wise it is exactly a moment of both triumph and redemption. I always knew I wanted to bring it back full circle with the song that started it all. Back in 2018, I made an early drum and bass VIP version of “She’s a Killer” that I started to test out in my live shows as an encore track to close out my DJ performances during my Thailand and India tours. It worked really well and the vibe was right. Hit all the feels. But Drum and Bass was a new genre to me and Mazare at the time had a string of incredible releases that were very much on the same wavelength as me. I reached out to him and it was an obvious decision. One of the nicest guys out there, super glad to have him jump on this project and take this song to the next level! Feint as well, I met him last year in China at a festival. We connected right away and I was super hyped when he wanted to jump on the track. His expertise really raised the energy of the track and brought it all together. Behind the scenes, the Monstercat team were also very much involved in the A&R process, especially with Jon Winter being such a big dnb guy. Huge team effort!
What specific media (films, television shows, books, video games, etc.) can you cite as influences to the LP’s story?
Probably too many to list. The stuff I end up enjoying plays a big part in what goes on inside my head. Aside from the obvious, examples like Blade Runner, The Matrix, Tron, Watchmen, Robocop, Akira, Ghost in the Shell, Paprika, Arrival, Children of Men, Sin City, Ex Machina, Equilibrium, Snowpiercer, Afro Samurai, Metropolis, Planet of the Apes, Astroboy, The Twilight Zone, Isaac Asimov, Westworld, Brave New World, Ozymandias, Neuromancer, Wolfenstein, Deus Ex Machina, Portal, and more.
You released another album back in 2013 called The Time Traveller. It’s clear that the album’s title took some inspiration from science fiction as well; is it connected to the City of OZ storyline at all?
Unfortunately, they’re not connected. I wish I could say it was all part of a master plan but they are separate concepts. The Time Traveller was my first artist album and it was where I originally toyed with the idea of having the songs interconnect and tell a (loose) story through progression and different genres. Some of the stuff I learnt from making that album helped me in City Of OZ.
Regardless, I think it is fair to say that the Justin OH who made The Time Traveller is a very different Justin OH than the one who made Welcome to the City of OZ, at least in the way you approached your concept and musical style this time around. What inspired this change for you?
I really wanted to see how far I could push the story idea for Welcome to the City of OZ. Having an entire city gave us a lot of possibilities. An entire city of characters, perspectives, and events. Each song played out like chapters which helped connect the different songs together even though they are many different genres. Unfortunately this year we couldn’t do an album tour but it would’ve been really cool to see the vision complete with a live audiovisual performance.
This album is significantly more collaborative than your last as well. Was this done intentionally to push across the message of joining together with others to reach a common goal, or was it just something that happened as you were experimenting with new styles?
For sure. It is one of the main underlying themes in Welcome to the City of OZ. We were selective with the artist collaborations, I wanted to make sure that the artists are able to fit into the story somehow and add to the narrative. I think fans and listeners feel rewarded when things are connected in such a way. There are also things we planned to bring the fans together and be a part of the story. For example, for the song “Killswitch” with Nitro Fun, the artwork had some computer code on it with no directions or instructions. People came together from all over and figured out that it converted into a scrambled message that they had to crack, which tied into the music video. Sounds nerdy but I love that shit! Gotta pay homage to the godfather of computing and artificial intelligence, Alan Turing.
I would be one to say that Welcome to the City of OZ is greater than the sum of its parts, with each track building off of the others and being elevated to greater heights than it would achieve by itself. Do you agree?
100%.
One of my favorite moments on the album is the interlude “Remember This,” which pushes a powerful message of hope –especially needed in 2020– and features dialogue from yourself and many others. What was your process for creating this track?
Thank you. Yeah, that song was made last minute and barely made the deadline! I’m super glad it did though. I think this year was a rough year for a lot of people. Everyone locked down and isolated. I think even though everyone might feel hope, to say it out loud and hear it together hits differently. This was also a way to make City of OZ “real” for the fans. These are all their real voices and real recordings. The fact that they all came together to help make this possible really speaks the message.
Lastly, are there any up-and-coming artists you’d like to shout out here?
Shoutout to all the homies on the album; Rogue, Xilent, Mazare, Feint, Jamie, Delaney Kai, Nitro Fun. Super shoutout to the Monstercat team and community!
Welcome to the City of OZ is available on all streaming platforms now (linked below for your listening pleasure). Be sure to also catch Justin OH at his virtual concert on MCTV this November 26th!
Kid Cudi has teamed up with Hollywood producer, writer, director, Ian Edelman, along with start-up pundit and software engineer, Jonathan Gray, to produce Encore—a new app designed to bring together artists and fans alike for an innovative live experience available on any mobile device.
A product of the pandemic, the app will provide an interactive space for artists to host live music experiences, as well as new releases and a place to connect with and grow their ever-hungry fanbases. The Cleveland-native emcee plugged the goal of the new tech project, explaining,
“The energy from a concert is undeniable, both for the fans and artists. I am excited to launch Encore to help bring the live music experience back to our fans. Encore is committed to empowering both established and new artists and delivering the best mobile music experience out there.“
Aiming to revitalize the live music industry in a tech-froward way, Encore hopes to simplify the process for artists of all magnitudes to hone a more intimate connection with their fans while directly monetizing their work. Currently in private beta, artists and fans can sign-up for an invite here.
In an interview with MusicRadar, dance music’s favorite green monster Feed Me shared insight on his early career-defining moments, including the story of how he was first discovered.
Jon Gooch, the multi-alias producer behind Feed Me, Spor, and Seventh Stitch,started as a graphic designer. In his teens, he started generating income doing design-related commission work, a step that allowed him to fund his musical endeavors.
He downloaded FL Studio and rapidly began making headway under his drum & bass-focused alias, Spor. The Spor project showed promise, as Gooch was signed to a label and played shows around the UK. Ultimately, however, he wasn’t attached to the drum ‘n’ bass genre as a whole, thus Feed Me was born out of a need for change.
Change came quicker than expected. Feed Me’s earliest music found the attention of the right stakeholder in record time. “I put some stuff online,” FeedMe told MusicRadar. “The next morning on MySpace, I had a message from deadmau5! I went to London to meet him, and he signed me to his management company on the spot.”
Despite the quick turnaround, Feed Me didn’t rush into releases immediately. Once the time was right, his initial release on mau5trap—an EP titled To The Stars—changed his life drastically.
Like many discovery stories, Feed Me’s success came when persistence met opportunity. Feed Me’s discography now includes a deep catalog of dubstep and electro classics, and it’s hard to conceive what would have been lost if it weren’t for his impeccable timing.
Mystery producer KLOUD presents AUTONOMY, his debut album that spans a staggering variety of genres, from electro to techno and breakbeat to downtempo. Led by the anthemic single “VIRUS,” every style he touches inevitably sounds like KLOUD as he uses raw synths with a “less is more” approach. In a world of over-produced sounds, he tends to stay close to the core of sound design, leaving a vulnerable feeling in the listener’s psyche after listening.
Spanning 10 tracks, in spite of the variety of genres KLOUD manages to squeeze into the 30-minute experience, AUTONOMY always carries a darker, seedy tone. It’s easy to say that KLOUD derives influence from the likes of Gesaffelstein, Mord Fustang, or Kavinsky, but this album is truly a sound unto himself with a lot of unique character.
In honor of the spookiest day of the year, Dancing Astronaut raises a toast to the combination of two of our favorite things: Halloween and dance music. Despite a scary season unlike any other, electronic artists have lacked no exhilaration about the staple holiday, which has annually served as a delightfully wicked congregation of event-goers and DJs alike. And although the festivities will remain mostly virtual, both musical and fashion inspiration is still to be found in the dusty crevices of archival gems.
Halloween spirit comes in a variety of forms, as does the artists that embody them. Join Dancing Astronaut as we journey through never-before-seen Halloween costumes from Bob Moses, DESTRUCTO, John Roberts, Niiko x Swae, CRaymak, and more, who divulge their favorite spooky memories and go-to tunes. From the monstrous to the wacky and the sleek, this has it all.
Bob Moses
The ever-eclectic Bob Moses have long cemented themselves as master crafters of indie electronic productions, carrying a coveted introspection to their songwriting. Hailing from a diverse background of pop-punk, techno, and pop, the Vancouver-based duo dropped off their fourth studio album and simultaneous concept record at the end of August. Despite their ruminative artistic presentation, the act decided to take the goofier road with their costume choice:
“This was the first Halloween party we played as ‘Bob Moses,’ so we decided to go as Bob the Builder [Tom] and Moses [Jimmy]. A whacky idea, but it made sense to us at the time. We played an after-hours for Resolute in New York and it was an amazing show, probably the best show we had played up to that point in our career. A lot of parties that night got shut down and ours was one of the only ones left. That was also the day Hurricane Sandy wreaked havoc on NYC…it was a crazy time.”
Speaking on their spooky selection, Moses reveal, “This is probably one of the creepiest hit songs of all time. It still sounds so awesome and really hits in the all the right spots. We recently saw someone drop it in the middle of a DJ set and the place went off. It’s perfect for getting in the mood for Halloween.”
DESTRUCTO
In an ode to DJ AM, DESTRUCTO has chosen a Halloween memory with the late, great selector. The electronic stalwart and music executive has offloaded a formidable output in the past year, raking in collaborative projects with Misingo, Bruno Furlan, Denzel Curry, and more. Despite his venture into divergent styles of the hip-hop leaning, acid-inspired, and other, DESTRUCTO is no stranger to the dark and heavy club cuts that he has left his imprint on. Says DESTRUCTO,
“This was the first Haunted Mansion in 2008. I was a race car driver and Adam, DJ AM, was 1/2 of Daft Punk. He really fooled the crowd as they thought Daft Punk was playing because he mixed all of their songs for the first 30 minutes of his set until he took the helmet off and trolled the entire event. RIP Adam Goldstein we miss you.”
John Roberts
In a tongue-in-cheek nod to, well… himself, deep house producer John Roberts has selected his own choice cut, “Freaks,” as his haunting Halloween hit. While his chops are most familiar playing Linda in the cartoon television series Bob’s Burgers, his most latest release was produced with the assistance of dance veteran Junior Sanchez, and embraces words that ring true to him—encouraging others to let their freak flag fly. Recalling his favorite Halloween memory, Roberts explains,
“This is the Halloween I stayed in character all day as Cyrus. A creature from another planet that lives off of bark and vegetation. He wanted to join the fight against terrorism.”
Niiko x SWAE
Surfacing in 2017, LA-based act Niiko x SWAE have been pulling their weight in streaming achievements and on touring circuits alike. The future-house duo have quickly amassed support from scene heavyweights including Alison Wonderland and Cheat Codes while planting releases on Hardwell’s Gemstone, Armada, and Musical Freedom. Even with their burgeoning success, Niiko x SWAE inevitably stay true to their youthful energy:
“We wanted to be whacky inflatable arm flailing tube men for halloween cuz those guys just like to let loose and have a good time, and we have both secretly always wanted to be one.”
Flamingosis
Over the years, Flamingosis has envisioned his musical journey as one traversing through the variations of electro-funk. In 2020, fans saw his long-awaited return with the release of his seasonal single “Wild Summer,” which brought forth contemporary funk styles in a fresh composition. In recapping his favorite Halloween memory, Flamingosis recalls his choice to dress as his favorite video game character:
“I dressed up as Little Mac, the boxer from the video game ‘Punch Out,’ last halloween. He’s also in ‘Super Smash Bros Ultimate’ and he’s my favorite character to play. Unfortunately, he’s considered one of the worst characters in the game because of how poorly designed he is, but he fights with a lot of heart. I’m always gonna be a big fan of the underdog. I played my set at Voodoo Fest last year while in the Little Mac outfit and it was a lot of fun. It’s impossible to DJ in those boxing gloves though.”
CRaymak
Montréal-based CRaymak developed his production prowess through building out a wide-ranging musical catalogue, though found common ground with Circus Records label mates over an affinity for hard-hitting bass music. Though he may be most familiar concocting spiritual selects within the studio, he shares how a one-off Halloween purchase turned his high school halls into a shark frenzy.
“Pretty sure the year was 2014 and I decided to buy a shark costume to join in a school of matching sharks with nine other friends. I’ll never forget the 10 of us all being dressed up in the same shark costume and everyone who saw this entire group of us would FREAK out. The best memory of the halloween night was going to a show together and just looking around to see SO MANY SHARKS within a sea of people in the crowd. It was hilarious. We ended up wearing these costumes for at least one halloween party every year since. Definitely not my most creative costumes, but some of the best and fun memories with that group of friends.”
Heading back in time for his Halloween select, CRaymak shouts out an enduring classic, that unfortunately lacks the proper amount of cowbell.
“My Halloween get pumped tune has to be ‘Don’t Fear The Reaper’ by Blue Oyster Cult. It never gets old for me and the bridge is FLAMES!”
Francis Derelle
A long-time player on Circus Records roster, Francis Derelle has amassed an active fanbase that crave his frequented use of melodic vocals and instrumental riffs, which complements the label’s well-known dubstep productions. Though he may be a growing figure in the bass community, Derelle takes his costume inspiration from Confession label heads Tchami and Malaa, for his favorite Halloween memory.
“The photo was inspired because my best friend Nate Lowpass looks like Tchami. We decided it would be fun to be Tchami and Malaa since it just seemed very fitting. You cant see him in the photo but I am chilling on the stage while he plays. The whole night people thought he was actually Tchami though.”
Cosmo’s Midnight
Aussie production duo Cosmo’s Midnight are running high from the release of their album Yesteryear, an easy-grooving 12-track collection which highlights their most accomplished work yet. Their sound channels bright and vibrant beats that blurs the lines between indie, pop and electronica, though opted in for a more enigmatic costume choice for his Halloween pick.
“Last Halloween I went outfitted in matrixy/blade blend, very good fit in my opinion. However, it was a super sweaty spring night in Sydney so I really regretted the turtleneck and trench coat combo (pretty sure it enhanced the hangover).” – Cosmo, Cosmo’s Midnight
“New Order“ is a melancholy, sinister and exciting tune that builds to a feverish pitch. So cinematic, perfect for setting the tone as you walk to the party.
Tags: Bob Mose, costumes, destructo, flamingosis, Halloween, John Stewart
With all of the negative things happening on Earth right now, rising house producer CHARLIE is taking the party to the cosmos instead. She has dropped her new groove-inducing single “Space Disco,” which will have you have you feeling like you are on a planet lightyears away.
The intergalactic journey opens with chest-thumping pads as the haunting chorus makes its way to the forefront. The chanting feels as if you are being welcomed to a newly discovered party planet where only good times are had. Just when you thought you knew what to expect from the track, she throws down a fiery second drop that is sure to get you out of your seat. When listening to this single, the below clip from Star Wars comes first to mind.
This year, CHARLIE has found her true footing in the scene. “Space Disco” is her second release of the year following her most recent single, the self-titled “CHARLIE.” Prior to the pandemic, you could find her performing some of the most notable festivals in the US, including EDC Las Vegas, HARD Summer, and Splash House.
You can stream “Space Disco” below and download the single across all platforms here.
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.
