Less than two weeks after FISHER released his hotly anticipated “Freaks,” the Aussie producer has followed up with a tasty two-track EP, adding “Wanna Go Dancin’,” to the mix.
Released on his own Catch & Release label, the Freaks EP reveals two club-heavy releases, with both “Freaks” and “Wanna Go Dancin’” both equally primed for repeated summer airplay. “Freaks” makes its entrance after the nameless ID was digitally passed around by fans for months, and in final form, wraps up as a reflection of the “Losing It” producer’s cheeky stage presence. “Wanna Go Dancin’” follows suit in its own playful nature, bringing a singular, repetitive vocal line to the table, “Move, get out the way. My feet wanna go dancin’.”
Ready to usher in summer energy, FISHER turns into two anthemic tech-house weapons ready to pack dance floors on Freaks. Listen below.
III Points also announced the formation of III Points Miami Artist Initiative Fund with the Institute of Contemporary Art Miami. The program will offer financial assistance to visual or graphic artist, musicians, filmmakers, DJs, and writers who reside in Miami-Dade County and have worked as an artist for at least one year.
Live events are not the only corner of the music industry that is facing blowback from the recent economic downturns due to the COVID-19 pandemic. Billboard Music analyzed Nielsen Music/MRC Data and found that in the week ending on March 19, overall album sales fell 29 percent to 1.52 million. That number combines sales of all formats of albums: digital albums, CDs, vinyl LPs, and cassettes. 1.52 million is the lowest number of albums sold in a week since the firm began tracking music sales in 1991.
Billboard went on to estimate that 1.52 million is perhaps the smallest sum for total weekly album sales since albums became a popular format in the mid-1960s. Music streaming has also declined, particularly in countries that have been most impacted by the pandemic, including the United States, the United Kingdom, Spain, France, and Italy.
The decline in album sales can almost certainly be partially attributed to the closure of record shops and other retailers across the country. Meanwhile, Amazon has stopped restocking its inventory of music media and merchandise in order to focus on home essentials and medical supplies. These changes in addition to the surprising drop in music streaming continue what will likely be a temporary downward trend.
In the wake of Coachella’s postponement, Choura Events has transitioned to constructing triage tents for coronavirus patients instead of their usual festival facilities, according to August Brown’s feature for The Los Angeles Times.
Choura Events typically builds the tents and staging for Coachella, as well as other events around the country. After witnessing the unfolding crisis around coronavirus and seeing local authorities’ need, founder Ryan Choura directed the company towards constructing temporary treatment facilities to assist healthcare workers’ efforts.
“We pivoted so fast to being a rapid-response disaster relief team. If I didn’t know how to do Coachella, I couldn’t do this hospital,” Choura told The LA Times. “I saw patients coming in here and saw what they looked like. This is real, and we’ve got to move.
The article also mentions other entertainment companies pivoting operations to support coronavirus treatment. Gallagher Staging, who builds Coachella’s main stage, has switched to constructing temporary treatment facilities as well. Upstaging, whose usual operations involve designing and transporting stages for some of music’s biggest stars, now are constructing face shields for medical workers.
In suitable quarantine style, Kevin Parker has delivered a languorous hour-long reimagining of Tame Impala‘s latest album, The Slow Rush. The alternate edition titled “The Slow Rush In An Imaginary Place” features a full-length continuous mix of their Valentine’s Day-released LP. With each track muddled by crowd noises and distant reverb, the new mix transports listeners on an immersive experience tinged with melancholic nostalgia and dreamy escapism—reminiscent of hazy party nights or even a live concert itself.
Tame Impala’s Australian and New Zealand April tour dates have been rescheduled to December due to COVID-19 crisis. The San Francisco and Mexico City shows follow suit in their rescheduling to Fall 2020. In March, the psychedelic project announced their intent to promote eco-friendly initiatives with Maine nonprofit REVERB during the tour.
“I made something for all you isolators out there. I call it The Slow Rush In An Imaginary Place. Headphones required for full immersive effect. See you in there,” wrote Parker in an Instagram post.
It’s hard to get that deep, crowded club feeling right now in isolation. So here from our friend Florian Meindl and Riemann Kollektion is a big boost – and a master class in techno craft.
Honestly, I’ve said this to folks before, but I’ll say it again – it really says something to me about Riemann and Florian that these demo songs bang harder than most released music. It’s almost worth just browsing this 1.4GB collection of 24-bit sounds just to understand a bit about how his heard works. (I’ve been browsing through.)
So, for 48 hours, just for CDM, Florian has swapped over the price of one of his best sound packs – Best of Riemann 2019 Techno (24bit WAV – Loops & Oneshots). (Ah, I remember 2019 … so … fondly now …)
There’s now really no reason not to get started. Ableton has a free 90-day trial of Live Suite, just announced, which even includes Max for Live. (It’s normally 30 days.)
It’s been thirteen years since deadmau5 and Steve Duda have released music under their collaborative banner, BSOD. The two joined forces in April 2005 and took to the electro-house charts with their first release, “This Is The Hook,” which was initially meant to mock mainstream dance music, but ended up charting at the no. 1 spot on the Beatport Top 100 in 2006. After their debut single, the duo continued to work on a trickle of joint releases, which inevitably led to two EPs, Played Out and Last Life.
Closing the thirteen-year gap, the mau5trap head-honcho took to Twitter to preview a sample of their upcoming work, “No Way, Get Real” out in full on April 10. The short clip signals to a possibly impending comeback from the two artists, known better as Blue Screen of Death or Better Sounding on Drugs. The two were expected to join forces on the decks at the inaugural mau5trap Miami Music Week party on March 18, under their joint moniker.
If it comes down to “One More Song,” Los Angeles electronic outfit, Classixx, have listeners covered with their most recent retro-flavored release. A candidate for heavy rotation that succeeds the production pair’s 2019 outing, “Love Me No More,” “One More Song” animatedly ushers Classixx into 2020, marking their first original offering of the year.
The warm, old-school authenticity of the single stems from Classixx’s coupling of synths that evoke the sound of the ’70s with vibrant melodies. A twitching bass line certainly doesn’t hurt, and that which Classixx apply in their tune is said to be inspired by Louis Johnson, a bassist noteworthy for lending his talents to Michael Jackson‘s Thriller, Off The Wall, and Dangerous.
During Diplo‘s most recent “Corona Sabbath,” the Major Lazer frontman shared an island remix of The Weeknd’s “Blinding Lights” chart-topper amidst a slew of material from the Peace is the Mission outfit.
The unreleased Major Lazer remix dons the dancehall groove through guttural bass hits alongside the kick. The breakdown gives space for lush pads that fall into distorted melodic horns for a suave, sexy, and slowed-down feel to the faster-paced original.
After traveling the world, Diplo quarantined himself from his children and grandmother. With these new restrictions in place, DJs have been forced to connect and engage with fans solely online, and Diplo is leading the charge with his “Corona Sabbaths,” a back-to-back with Dillon Francis, and he recently announced the final Major Lazer project is completed.
Boasting a funk-exuding track record of disco-house groove, LEFTI has entered the electronic scene with verve. Making a splash with live instrumentation that to date has earned LEFTI nods from underground mavens such as Claptone, CID, Disclosure, and Annie Mac, among others, the producer’s boogie-driven sound captures the old-school soul of disco with a contemporary twist.
The glittering, nu-disco sonic personality that colors LEFTI’s catalog evidences the New York native’s ear for constructions that will infallibly set dancers in motion, and not without notice. After ushering in French Horn Rebellion‘s then newly minted imprint, Toucan Sounds, with an electro-funk candidate for heavy rotation, “Every Time,” in December 2019, LEFTI followed the lead single with the four-track EP from which the cut hailed, Discoteca.
Most recently, LEFTI’s enticing approach to disco-house hybridization secured his collaboration with Hoodboi, “4ever,” a place on Toolroom Records‘ annual Miami Music Week compilation, Toolroom Miami 2020. Of note, “4ever” also graced volume 135 of Dancing Astronaut managing editor Robyn Dexter’s serial, Dexter’s Beat Laboratory.LEFTI delineated the making of the fluid, feel-good contribution to the compilation in an interview with DancingAstronaut, touching also on the sonic goals that define how he shapes his sound and abandoning a blueprint for 2020.
Your record, “4ever” just graced a Toolroom compilation, congratulations! How did you approach the production of this record?
Thank you! Hoodboi had reached out to me to collaborate, and of course I was down. He sent a few short starter ideas, and we went on from there. It started with a sampled instrumental bed that we [collaboratively] expanded. Later, we replaced the instrumental sample with a new original progression/recording that we made. The vocal sample is from a song that I wrote with Australian singer Brendan Maclean. We added that bit last—it just fit perfectly.
You’ve been lauded for your use of live instrumentation in your productions by those who have identified this as a quality of your sound that sets you apart from other producers. Can you say a little bit about what your live instrumentation creative process consists of when you’re making a song?
I always try to incorporate live playing in my music one way or another. I think it can really help develop the groove. If it’s not tracking guitar or live bass, it’s synth pads, leads, or synth bass. Percussion is always good too. At least 1 thing needs to be [live]. Live instrumentation takes the song out of the box and gives it life. I even like to record or “play” live automation (sends and filtering). It makes the whole thing feel less computerized.
What, specifically, do you set out to have your specific sound embody?
For me, it’s all about the groove, and a fairly high energy groove at that! I want my music to make people want to dance and feel the vibration, [to] feel good and not give a sh*t about anything in that moment but having a good time.
What would you like those who are unfamiliar with your sound to know about it/you as a creative force in modern house circles?
I think my production style and sound are a nice balance of old and new, disco and house, and groove and melody. I try to bring authenticity—and a good time—to my production and my DJ sets.
As you continue to develop your sound over the next year, and in the extended future, are there any particular subgenres or artistic approaches with which you hope to experiment?
My approach this year is to not really have an approach and instead just go with what feels right. Usually, I plan a little more. So far, a lot of unexpected things have occurred and I’m riding that wave for now. I do want to experiment with a some classic sounds for some house records.
What’s in the cards for LEFTI in 2020?
2020 is going to be a year loaded with collaborations and some other very exciting [productions] of my own. Collaborations with Mark Lower, Hoodboi, and N2N are on the way, and I am wrapping up something very special that I’m doing with Sleeping Bag Records.
Expect some more music with the amazing team over at Toolroom as well. With my release schedule pretty stacked, I’m really excited to focus on turning up my live touring profile. It’s time to hit the streets and I hope to see everyone’s beautiful faces when this pandemic is over and people are ready to party again.
Strictly Necessary Cookies
Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings.
If you disable this cookie, we will not be able to save your preferences. This means that every time you visit this website you will need to enable or disable cookies again.