Hot damn…! Disclosure‘s new video for their most recent & ridiculously addictive single “Latch” ft. Sam Smith is sparkly and spicy! Straight lust and sharp cinematography, result in another clear win for the UK Garage-obsessed duo.
Can’t get enough? You aren’t alone: Disclosure will be dropping into Southern California and playing LIVE in LA on Halloween night. Buy tickets here
Happy October everyone. Hope y’all are as ready for this buck-wild month as I am. Just off the top of my head Porter Robinson, Zedd, Nick Thayer, Big Gigantic, Griz, Opiuo, HeRobust, VibeSquaD, Major Lazer, Datsik, Terravita, Getter, Bleep Bloop, A$AP Rocky, and all of the Black Hippy crew are ALL COMING TO SD THIS MONTH!!! Pretty unreal right? And on top of that, Bassnectar will be performing with Gramatik and Gladkill at the Hollywood Palladium just 2 hrs north. This list doesn’t even begin to include all the Halloween festivities in LA//SD. If that doesn’t get your blood going, I’m not terribly sure what will.
In order to kick this month off right, I’ve rounded up 3 extremely different tunes for y’all. The 1st two are fresh out the oven—having just come out this last week. The 3rd track was has a year or so on its belt, but was just made a FREE DOWNLOAD.
This first track comes courtesy of Pretty Lights Label mates Michal Menert and Break Science. As usual, the PLM crew comes through in a big way. This track is a single from Michal Menert and Break Science’s upcoming EP—which I’m absolutely stoked to hear. This type of electro-soul-hop that Pretty Lights and his Colorado crew branded is straight up soul-food. Indulge, and digest this 4 min. of sexiness for what it’s worth.
I hereby dub Pimpsoul, THE Funk Phenomenon. Funky breaks, top notch sampling, and groovy bass lines are the only things Pimpsoul’s diet consists of. His latest release, a collab with DJP, is incredibly infectious. This man seems to do no wrong. Sampling classic after classic in his collection of work, he constantly transforms and redefines the meaning of modern funk. His creativity is breaking down genre-defined walls. Don’t sleep on this guy.
This last goodie is a classic dub track, which was just made available for free by Misshin and Majiika. This amazing tune continues to build on itself and morph in amazing ways— all quality characteristics of some good dub. I love mellow dub. It’s a nice change of pace from the constantly roaring dubstep that have a clear drop from the get go. This is one of those songs that you put on repeat, and get shit done to.
By: Saro Chalian
Those who attend any Insomniac event are not fooled by the label ‘music festival’. True devotees of EDC, Audiotistic or this past weekend’s Nocturnal Wonderland know that this moniker merely masks these events’ ‘TRUE RAVE’ status.
Nocturnal Wonderland proved to be a night of pandemonium and these festival go-ers expect no less! With lasers, beads and confetti in equal supply as water every ticket holder was sure to find their party monster thoroughly quenched upon the night’s close. Relief from burnt corneas and face melting bass was hard to come by but for those willing to adventure into the outskirts of the festival’s more eclectic side, there was ample opportunity to discover something slightly less in-your-face, but nonetheless exciting.
Whether you happened there by chance or the Wonderland spirits worked their magic on your wandering soul, chances are you were caught off guard by the odd, slightly out of place sounds, emanating from the Queen’s Ground stage. Instant validation that this stage was looking to separate itself from the Nocturnal-norm was the awkward placement of NEON INDIAN’s live set between traditional DJ sets. I applaud the non-conformist effort that seemed to resonate from this stage’s rebellious line-up and make the bold prediction that this hints at this rave’s shift towards more varied line-ups in the future.
Playing immediately after Neon Indian, after the stage had been comfortably converted back to accommodate strictly machines, were the techno godfathers, ORBITAL. After a retirement fake-out, the duo reformed in 2009 and proved that their skill has not waned. I give them some serious PLUR for their ability to run (perhaps outrun) electronic music’s young guns. They may be considered past their prime to the new age raver but these guys have been making electronic music before computers could essentially do it on their own!
They teased the crowd and challenged common expectations with beats that cut the silence in the most shocking fashion. Their set utilized mind-breaking suspense to teeter the crowd on the edge of release, before reining them in with infectious grooves. Effortlessly transitioning from ambient, electronica to snare heavy drum and bass, they kept the crowd on their feet and guessing, up until the end when it seemed as though the sustained silence would transform into music once more.
After taking a break from the indoor humidity of hundreds of dancing bodies to see Pretty Lights’ down-tempo madness, I found myself heading back towards the Queen’s Ground. While crowds siphoned towards what would undoubtedly be an electrified set from Sebastian Ingrosso, I swam up stream to catch the Swedish Mafia’s Norwegian neighbors, Royksopp take the stage.
Sauntering out wearing – what I can only describe as crocheted sweatpants and masks torn straight from Maurice Sendak’s “Where the Wild Things Are” - the two Norwegians went on to play one of the most mind blowing sets I have ever seen.
Their sound is whimsically dark, complementing multiple costume changes and creating a different kind of production value, minus lasers and fog machines. They performed in front of a chilling, distorted screen of Karin Dreijer Andersson, better known as the lead singer of Fever Ray and The Knife.
Not to be confused with DJ’s, these producers are masters of multitasking and create a new standard for any who claim to perform a ‘Live Set.’ Surrounded on all sides by synths, drum machines, mics, and a high hat, it was hard not to feel a little anxious when the two switched from instrument-to-instrument. Fluid layers that overlapped, twisted and phased in-and-out of one another made it impossible to understand how only two people could be creating such a rich soundscape.
Despite albums released as mainly electronica and down-tempo, their set was an energetic force to be reckoned with. A surprising abundance of bass heavy drops made the crowd respond in audible unison which made for some awe-inspiring moments. I do not doubt that those who chose to close their night with Dash Berlin or Ingrosso had the experience of a lifetime, but to have missed the rare Royksopp performance seems nothing short of sin!
Nevertheless, the Insomniac crew outdid themselves again to create not just another music festival but, as they like to describe it, an EXPERIENCE. With so many memorable performances it is one experience that I will not soon forget.
BY: Shea Kopp
Photo via Oliver Scherillo / OC Weekly
It’s been a little while since I posted up any Gladkill. Well his latest track, “Found You,” definitely found me. And it was love at first listen. Gladkill’s take on lush bass has always resonated with me. Every sound seems to have its place. He manages to perfectly blend silky melodic blurps with high-impact shots of bass to create the enchanting style we are used to hearing from this Headtron Disciple.
And while we’re on the subject of disciples, Gladkill will be performing alongside Bass Music Deity Bassnectar at the Hollywood Palladium on October 18th! I was absolutely stoked to see someone whom I respected so much as a producer on this amazing bill (which includes Gramatik as well!!!)
The talent over at The Headtron Agency are doin’ some BIG things. Stephan Jacobs just toured with the Identity Festival crew. Gladkill is on tour with Bassnectar and Gramatik!!! Sugarpill will be performing in Tahoe for the New Year’s festival Snowglobe. And as if this group of producers wasn’t overflowing with talent, the Headtron Agency has given NiT GriT a new home. These are all HUGE steps in the right direction for this family of producers. It’s great seeing their production and sound design getting recognition by the masses.
Looking forward to more big things coming from Gladkill and the rest of the Headtron crew!
P.S. Grab your Tix for Bassnectar w/ Gladkill + Gramatik at the Hollywood Palladium HERE!!!
By: Saro Chalian
Shadow Child, the brilliant wonky tech house alter ego of UK giant Dave Spoon, has once again delivered. This time, he’s reignited the iconic fire of The House Crew‘s classic housey floor filler, ‘Keep The Fire Burning’ searing refixed grill marks for an even reheat and all-over 2012 update, with an added kick of cracked ground pepper and hot sauce to taste. Nothing less than standard Shadow Child bigness, cooked to tender dance floor-ready perfection.
It’s available for free download for a LIMITED TIME via his Soundcloud or just below:
Azari & III have a knack for crafting instant classics. Though far from the category of ‘retro’, these trailblazers make it seem as though they have been producing menacing bass-lines and eerie choruses since the beginning of House music itself. Imagine yourself at an underground rave or a fabulously adorned 5-star hotel: and that’s the spectrum of Azari & III’s music. All at once you can be trapped in their upbeat 80’s reminiscent vocals or their haunting, 4-on-the-floor rhythm and not even question the undeniable fluidity of these seemingly contrasting elements.
Originally signed to Tiga’s House saturated label, Turbo Records, the group has recently (as of Thursday, September 13) joined forces with the infamous Dim Mak Records. With this new marriage of record label power the group will be releasing their self-titled album in North America for the first time! The album will include every ominous favorite from the more recent, “Reckless (With Your Love)” to their darkly glamorous hit, “Manic” Most fittingly the album is set to drop this Halloween Eve, on October 30th.
But if the news of this forthcoming release does not make you manic (pun intended), their impending North American tour should get your blood going!
The Sonar Tour, which begins its North American circuit this Fall, will feature Azari & III as well as other producers of sinister sounds: Tiga, Die Antwoord, Gesaffelstien and Seth Troxler. This will surely be an event to summon out the night dwellers and House fanatics.
SONAR TOUR DATES
10/31/2012 Chicago @ Congress Theater
11/02/2012 New York @ Roseland Ballroom
11/01/2012 Toronto @ Sound Academy
11/03/2012 Montreal @ Metropolis
11/04/2012 Boston @ House of Blues
11/07/2012 Denver @ Sonar Music Festival – Fillmore Auditorium
11/09/2012 Oakland @ Fox Theater*
11/10/2012 Los Angeles @ Shrine Expo Hall*
** Gesaffelstein will play Denver, Toronto and Chicago dates only
* Tiga will not play these dates
via Dim Mak Records
More information on the ‘Sonar North American Tour’ is available at www.sonarontour.com , on Twitter @sonarfestival and the official Sonar page on Facebook.
By: Shea Kopp
If you’ve followed my posts, you’ve probably noticed I listen to all sorts music. Chill music. Trill music. Make-you-wanna-get-up-and-twerk-it music. Well for this week’s round-up, I’m putting you on a strictly chill musical regiment. This week’s goodie bag has all different flavors of chill…Songs I think anyone could vibe to, and should.
First up is Ambassadeurs latest track “My World.” Obviously heavily hip-hop influenced (well what isn’t now a days), this track hits home for me. I’m a sucker for transposed, chopped-up vocals. They give the track the touch of sexiness it needs to boost from chill to flat out ‘ugggh.’ Everything this British badman releases is on-point. Be sure to dig into the rest of his production.
I just recently became familiar with NY producer Sweater Beats, but I can already say I’m a fan of his style. He just released “The Limit,” a brilliant, funk/disco-influenced beat-sampling of Chaka Khan’s “Through the Fire”—a sample many of us recognize from Kanye West’s “Through the Wire.” This Sweater Beats release is perfect to bump while lounging. So take it for what it is, and enjoy the hell out of this silky smooth production.
Talented producer Moon Boots must know nothing about gravity because this guy’s production and name is on the quick-come-up. Those boots definitely weren’t made for walking. Seriously. He’s found his niche and is further honing in on his sound with each and every song he puts out. His remix of Alison Valentine’s tune, “Peanut Butter,” is arguably one of the grooviest tunes I’ve heard. It’s actually impossible for me not have a solo dance party when I listen to this. I think you’ll find yourself having a similar experience…
By: Saro Chalian
If you slept on Groove Armada‘s absolutely dark & luscious “No Knock” EP release earlier this summer, please take your pesky finger off that snooze button – it is obviously getting in the way of you having nice things.
Upon disembarking from the sleep state, as you wrap your eager hands around a warm cup of freshly brewed goodness, please indulge me, and take a moment to push play on the Soundcloud player below. It contains your key back into the rewards of aural consciousness, one that bares gifts of the sonic sort. Catch a fresh breath and immerse yourself into Groove Armada’s stunning array of new offerings, collectively referred to as the “No Ejector Seat” EP, off house & techno indie imprint Hypercolour.
As made clear with their “No Knocks” release, Groove Armada are no longer striving to play the big stages they’ve long held down. Having conquered and reigned supreme on the A-list touring circuit, they are fully committed to returning back to the roots of the underground. With this release, they’ve once again taken far strides away from the big stage festival appeal, and have taken a decisively-inclined lean toward a more fulfilling storyline – chapter after chapter of lustful builds, unpredictable twists, and progressive intrigue through and through.
With “No Ejector Seat,” they’ve focused their revered production talent into masterminding a thoughtful collection, with an underlying shadowy factor; that resonates with the dark insides of the after-hours club and those equally perverse characters that long for deep percussive elements, relentless layers of devouring bass, and anything that rings a far cry away from illustrious festival bangers.
Obvious notes of Chi-town influence are apparent in the clear homage piece “Chicago Chicago” while less foreseeable acid house influence in “Always Take Me Higher” provides a challenged yet insightful glance into Groove Armada’s foresight; a clearly inspired & perceptive disposition, that politely demands more mindful track selections, and positively reinforces the importance of freedom for creative faculty – an encouraging, mutual respect both among artists, and anyone occupying the dancefloor. “The Vicksburg Cut” in particular presents a bold yet fluid arrangement of colorful fills and capricious percussion lines, its only restraint maintaining that universally approachable dancey sensibility, without fail.
Groove Armada’s “No Ejector Seat” EP drops today on vinyl. While we wait for the digital release, due out in the next coming weeks on September 24th, stream the full digitally-forthcoming collection below.
via FACT Magazine
It’s been a little while since NastyNasty released something I was suuuper stoked on. His latest release, “Enemy Dub,” is exactly what I’ve been waiting for from him. It’s got a jungle feel to NastyNasty’s twist on some sexy dub. Quintessential NastyNast(y). Something about this tune is extremely infectious. Maybe it’s that vocal sample poking its head through his amazing production. Or maybe it’s his insanely massive bass sounds splattered over a jungle inspired groove. One way or another, it’s gotten itself stuck on repeat. I rarely come across a tune that sounds spectacular over computer speakers. This is one of them. Throw on a pair of quality headphones and guaranteed the sub bass will knock you off your feet. Enjoy this beautiful summer day basking in NastyNasty’s incredible production. As always, I’ll be looking forward to his next release.
By: Saro Chalian
This Labor Day weekend a plethora of music events between San Diego and Los Angeles made the musically-obsessed hard pressed to choose how to celebrate their three day weekend accordingly. Whether you chose the indie vibes of FYF, the rave-tastic Tramps Like Us or the tropical bliss of Pacific Fest it was definitely a good weekend to be a Southern Californian! But for those of us who wish we could be in three places at once, this SoCal ‘blessing’ seemed more like a curse.
After countless hours of enumerating the pros and cons of each event, the disco maven in me chose Pacific Festival as my final Labor Day weekend destination. What’s not to love about a severely biased nu-disco line-up, taking place in the sunshiny heart of Newport Beach?
This year’s Pacific Fest took drastic strides to separate itself from the festival norm. Originating in Costa Mesa, it has since moved to Oak Canyon Ranch (iconic for such events as TAO and Monster Massive) and this year, the festival chose to settle in on the shores of the Newport Dunes Resort & Marina. Hopefully the brain children behind Pacific Fest find satisfaction with this year’s location, because it was the perfect setting to complement thousands of Hawaiian shirt wearing, huarache-sandaled fans.
No ‘Levels’ dropped at Pacific Fest, nor was there an occasion to ‘Kick Up the Epic Motherf***er’. Rather, it was a mix of talents of some of the best names in nu-disco, a splash of sun and sand, and a decidedly “not epic” track selection. The result: was the perfect summer send-off party, where the only anthems heard were those with a disco reminiscent bass-line or a deep house groove.
Though the festival had three separate stages, the pulse of the event seemed to best resonate from the Identity Village stage. A pink, evening sunset against wispy, pastel clouds created a sultry backdrop for some memorable performances. Highlights of the evening included performances by: Moon Boots, Perseus, Miami Horror, Cosmic Kids and, of course, Bag Raiders and Poolside.
Whether it is the Paris Hilton-turned-DJ fiasco or a rising trend toward acoustic sets, DJs seem to be reconsidering the laptop as an instrument and Poolside have definitely hopped on the band wagon. Steering towards LIVE sets, Poolside have expanded their repertoire to five band members in which Filip Nikolic has taken the rock star role of lead vocalist. Their Sunday sundown set showcased the group’s multifaceted talent in a shift from – computer beat matching to bass guitar strumming – that could convert even the most steadfast acoustic advocate. Their sound should be the official soundtrack of this festival as there is no shortage of that beach vibe within in their groove soaked chorus lines. Here’s hoping that their brave foray into the world of live performance will be the much needed push for this underrepresented and under-appreciated disco/nu-disco genre.
It is a testament to all of these DJ/ producers’ skill for making crowds of people dance, and do so without having to play the ‘it’ bangers/hits. It is the true mark of a talented DJ to make people dance to songs they have never heard before. But even so, many in the crowd knew their stuff and it was not uncommon to see a bikini-clad vixen mouthing the words to Bag Raiders’ “Shooting Star” or even the lesser known, “Seychelles” by Perseus. Together the Pacific Fest performers and their avid fans preached the nu-disco gospel; effectively becoming frontiers for a EDM future not tainted by monotony.
All in all, Pacific Fest is a music festival that unabashedly challenges those who, whether new to the EDM world or those who actively identify themselves with the contemporary, indie-electronic music hybrid, to seek exciting, unheard sounds that often get lost in the commercial current of most things mainstream. It will be exciting to see how this festival (and EDM in general) evolves in the years to come!
By: Shea Kopp