Two of Anjunabeats‘ staples Ilan Bluestone and Andrew Bayer have collided once again for their sophomore collaborative effort, “Black & Blue.” Having turned in their second tag-team since the 2017 “Destiny“, the pair reunite for a synergetic display of progressive trance that has continued to capture the hearts of fans worldwide.
Opening with heavy-hitting beats and massive synths, the track builds electrifying intensity before dispersing into a cinematic scape. Juggling club instincts with grandiose festival energy, the duo waste no time in constructing an awe-inspiring melody to take the stage before leaping off into a gritty outro. Characteristically dosed with industrial elements, behemoth “tronce” sounds, and an atmospheric touch, “Black & Blue”—much like its predecessor—finds the two producers’ abilities in innate harmony with one another. Now the question begs, when will the Bayerstone project come to fruition?
“Every time Bayer and I played ‘Destiny’ live during one of our BayerStone B2B sets, we always commented to each other that we absolutely HAD to write a follow-up. Our idea this time was to create something a little less melodic, and a bit more gritty and grimy,” stated Bluestone.
“Bayer is a king for writing a filthy bassline, so I sent him a breakdown melody which I already had written, and he loved it. I sent him the stems and we began working through FaceTime. Initially, we had various ideas for the groove before settling for the one we used in the track. The whole track was quick to create over a couple of days. I tested out the new track at a few shows before unveiling it at ASOT950, and I’m really happy with the end result. Hope you guys like it too!“
The electronic music community can look forward to forthcoming posthumous releases from Andrew Weatherall coming in April. Industry pioneer and icon Weatherall passed in February 2020 due to a pulmonary embolism. The artist was a leader in Britain’s acid-house revolution who found his way to dance music after cutting his teeth as a music journalist in the post-punk world.
The artist had written and produced a four-track 12” alongside his studio partner, Nina Walsh, before he died in February. Weatherall wrote the tracks inside the studio dubbed Woodleigh Research Facility with Walsh, who shared writing credits and contributed samples. The project is called Pamela #1—Weatherall spoke on the compilation before his departure, stating,
“The great thing about not being signed to a major a label is that it’s liberating. No deadlines, no restraints, no pressures. The result—the creative process is completely free. There’s a blank canvas in the studio, you can pretty much go anywhere you want.”
Weatherall’s creative freedom and approach will more than certainly pay off, and Pamela #1 is set to be released via the new Moton Records sub-label Pamela Records by mid-April.
On April 12, 2019, RÜFÜS DU SOL stepped onto the stage of the Coachella Valley Music & Arts festival’s Outdoor Theatre and total desert transfixion ensued. Standing atop three elevated platforms, enshrouded in shadowy hues, the alternative electronic trio that comprises Tyrone Lindqvist, Jon George, and James Hunt sifted through catalog staples such as “Innerbloom,” “Underwater,” and more for one of the most memorable outings of the group’s history to date.
A coming of age performance in the broader context of RÜFÜS DU SOL’s career, the outfit’s Weekend One appearance at Coachella 2019 foregrounded their live artistry on a global scale as viewers around the world tuned in to the festival’s live stream to watch RÜFÜS DU SOL ensnare their crowd. Fortunately for those who it, the cerebral outing is now available to stream in full for the very first time.
With an electronic legacy as storied as BBC Radio 1’s Essential Mix series, Carl Cox has etched his name in the dance music history books, and his 2009 contribution to Pete Tong‘s airwaves is proof that Cox’s status as one of the genre’s most celebrated advancers is well deserved. More than a decade since the Essential Mix debuted, Dancing Astronaut takes listeners back in time to revel in the amalgamation of house and techno that occupies two hours of underground entrancement.
Embodying Cox’s expertise behind the decks at Space Ibiza, the tantalizing Essential Mix imaginatively transports listeners to the underground club. In touting the joie de vivre that dancers clustered on the iconic venue’s floor would have displayed as Cox whipped through his stock of vinyl presses, the showing is spirited, its energy transferrable to all who tune in. Jam packed with reworks from TV Rock, Mark Knight, and more, among originals from artists such as Depeche Mode, the mix possesses a climactic, dance-inducing soul.
Livestreaming has taken on new life during the COVID-19 pandemic, and it reached new heights last week as Proximity and Brownies & Lemonade held their Digital Mirage online music festival.
Digital Mirage hit the ground running with an hour-long set from Kaskade and kept that momentum going as the events reached more than one million viewers on YouTube and Playstation streaming services. The event raised $5,000 in donations during the week leading up to the event, but that amount grew to more than $300,000 as artists such as Louis the Child, Said the Sky, and Dabin urged fans to donate during their sets.
“Digital Mirage was a project where our friends and members of the electronic music community came together for a common purpose: to help people around the world fill the void that was made from live music events being taken away from us,” said Kush Fernando, Brownies & Lemonade Founder. “Never did we expect this festival to be so well received. It was amazing to witness such a global response and an outpouring of donations for the Sweet Relief foundation too. The only thing for us to do now is to continue our efforts in the online music space and make Digital Mirage even bigger next time.”
Proximity has also alluded to the idea of a second installment of the digital festival happening soon, telling Dancing Astronaut, “It was amazing to see all the artists create their own setups of what they wanted their fans to see. From amazing drone shots to cute cozy/intimate settings, each set was as unique as the last. We would not have been able to do this without the artists and fans who made Digital Mirage what it was. Can’t wait for round 2.”
Proximity has begun to upload some of the sets on YouTube,, and has announced plans to upload all the sets in the future.
Fans of DreamWorks’ newest “Trolls”movie, “Trolls World Tour,” are sure to have heard the recent Justin Timberlake and SZA collaboration featured in the film. Titled “The Other Side,” the lighthearted tune taps both artists’ infectious voices to create a smooth and fun sonic experience from start to finish. Now, this piece of the “Trolls”soundtrack has gotten its official club-ready remix courtesy of future house producer Oliver Heldens.
Heldens’ “The Other Side” remix builds on the drums of the original while raising the BPM to a more shuffle-suited pace. The original vocals of Timberlake and SZA blend effortlessly with Heldens’ production, making an appearance in both the drops and the chorus. Filled with summer festival energy, this is a remix sure to boost listeners’ moods during the current uncertain times.
Despite announcing his retirement from touring back in June 2019, Oliver Tree has since altogether called it quits on music. After cancelling the release of his debut album Ugly is Beautiful as a result of the COVID-19 pandemic, the Los Angeles artist made his retirement official—but, not before leaving fans with one last gift.
The indie rapper shared his final track “Let Me Down” and its caricatured music video for one more befitting performance. Clad in his signature outfit and a pair of outrageously large headphones, Tree takes to a minimalist pink set to belt out a punk flavored anthem. Harkening to early 2000s pop-rock with its own Oliver Tree twist, “Let Me Down” is an angsty celebration that summarizes the artist in his profuse charm.
Although Tree’s chapter has supposedly closed, fans speculate that the musician’s retirement may simply signify the abandonment of Tree as a character, with references towards Joji’s “Pink Guy” alter-ego in the “Let Me Down” music video as foreshadowing of Tree taking a similar path in moving on. Now, whether or not an Oliver Tree comeback is in store? Only time will tell.
“I wrote ‘Let Me Down’ the day after I canceled my album “UGLY IS BEAUTIFUL” due to corona virus. Canceling the release was devastating after working on this album for 5 years. Even though it was completely out of my control, I felt like I let a lot of people down so I made them this song as an apology,” stated Tree.
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