STUCA releases menacing bass cut, ‘Where We Are’

STUCA releases menacing bass cut, ‘Where We Are’Photo Nov 30 11 10 56 PM @brendanmckmedia

After a year of consistent releases over 2020, Southern California-native Geoff Boss, otherwise known as bass up-and-comer STUCA, has just delivered his first official track of 2021, “Where We Are.” Releasing his latest via Jadu Dala, the young producer is on track to skyrocket through 2021.

Finding the perfect balance between aggressive and melodic sonics, “Where We Are” dives deep into STUCA’s unique sound design. Fusing his own trap persuasion with a rhythmic wind instrumental, the track showcases Boss’ integral understanding of the low end is and a creative vision for where he can take the genre next.

Ringing in laudable success since emerging on the scene, STUCA landed releases on labels including Wakaan, Never Say Die‘s Black Label, Jadu Dala, as well as his first appearance at bass music Mecca, Lost Lands. Stream “Where We Are” below.

Featured image: @brendanmckmedia/Instagram

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Dancing Astronaut is hiring

Dancing Astronaut is hiringDA LOGO HIRING 1

Got what it takes to write for the freshest dance music publication in the galaxy? Well, good news—Dancing Astronaut is hiring. As 2021 ramps up, we’re looking to add new staff writers to our editorial team. Want to become an astronaut? Review our qualifications below to see if you’re a fit for us.

Our ideal candidate

We’re looking for skilled writers with experience, and while it doesn’t necessarily have to be in the dance space, applicants do need to have a fresh, informed voice and references to music-related bylines. Our staff Writers are remotely employed and assist in covering daily news, music, and recurring weekly/monthly features. We’re considering writers from all over the world (US East Coast is a plus), with a wide range of tastemaking and mainstream interests. Ideal applicants:

  • Are college students or graduates with availability during the week and weekends. College credit is provided upon request. Please note that this is an unpaid position with longer-term potential for paid opportunities.
  • Have prior journalism experience at a digital/print music publication (required)
    • Backgrounds in English, Journalism, Public Relations, or Communications are a plus.
  • Are not only well-versed in electronic dance music, but are also passionate about the genre and its vibrant culture
  • Have a desire to write short- and long-form pieces including but not limited to: track posts, news articles, album reviews, features, and artist interviews.

Responsibilities include

  • Meeting weekly and monthly post quotas
  • Pitching original content ideas that would directly appeal to the Dancing Astronaut audience to the executive editor staff
  • This role holds the potential for added responsibility after completion of training period/tenure with company

Got what it takes to join the freshest dance music source in the galaxy? Email your resume, a brief note detailing your dance music background, and three to four writing samples (preferably dance music-related) to

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Opposites attract in CRAY’s ‘Roses R Red’ visual [Watch]

Opposites attract in CRAY’s ‘Roses R Red’ visual [Watch]Cray Rosesrred Ultra Music Video

Perfectly suited for the post-Valentine’s season comes CRAY‘s “Roses R Red” and an ultra eerie music video, in typical CRAY fashion.

Hinging the song on feelings of opposition to being in love, CRAY’s latest pairs an upbeat tone with lyricism that cuts deep. The video similarly pronounces the juxtaposition, showcasing CRAY dressed in all white as an angelic and elfish creature for the first half of the video before adding prosthetic horns, all black clothing, and even a blood-drenched human heart. Taking to Twitter to talk about the track, CRAY stated,

“I wrote this song because I think we are lied to a lot. We are made to feel certain ways that arnt always real. Love can be a fairytale and a nightmare. Don’t let anything or anyone tell you how to feel or that ur love isn’t worthy”

Out via Ultra Music, “Roses R Red” encapsulates CRAY’s opposites attract image, blending beauty and beastly in one harmonious delivery. Watch the music video below.

Featured image: Ultra Music/YouTube

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Andrew Weatherall tribute EP by his brother Ian and Duncan Gray released: Listen

An Andrew Weatherall tribute EP has been released by his brother, Ian Weatherall, and Duncan Gray.

Yesterday (17th), on the first anniversary of Andrew Weatherall’s death, Ian Weatherall and Duncan Gray, AKA IWDG, released an EP titled ‘In A Lonely Place (A Tribute To Andrew Weatherall)’ to honour the late artist.

Released via Rotters Golf Club, the label launched by Weatherall in 2001, the EP remixes New Order’s ‘In A Lonely Place’, and includes remixes from three of his closest friends and collaborators in the form of David Holmes, Keith Tenniswood (AKA Radioactive Man), and Hardway Bros. All proceeds from the EP will be shared between Andrew Weatherall’s wife, Lizzie, and the Thrombosis UK charity. 

You can listen to clips from the EP below, and purchase ‘In A Lonely Place (A Tribute To Andrew Weatherall)’ here.

The story of Andrew Weatherall’s ‘Fail we may, sail we must’ track title, tattoo and beloved fan mantra has become the stuff of legend over the past decade. Yesterday, an Irish radio DJ has uncovered more details of the fabled tale.

These instruments work with MPE right away, for an expressive Ableton Live 11 launch

What is this MPE “polyphonic expression” about? Well, you can get your hands all over the vintage test tone goodness of Fundamental, and a bunch of synths will be easier to control in Ableton Live 11 out of the box. Let’s explain.

MPE still seems widely misunderstood. It’s not going to instantly unlock some kind of new performance. It’s just about making a connection between your fingers and the sound that makes sense when you’re using more than one finger at a time. That’s it. The clue is even in the name – polyphonic expression.

The conventional scheme by contrast is less intuitive, unless you’re an organist or something. Velocity in MIDI is per-note – otherwise if you hit a chord with your thumb harder, all the other notes would sound louder, for instance. But most aftertouch and other controllers aren’t. That means if you’re playing with more than one finger, you still only have one big expression message for everything. Hence MPE: polyphonic rather than monophonic expression.

MPE isn’t really something you can easily demonstrate, because the advantage is really something you feel when you’re playing.

Ableton Live 11 adds per-note expression, following in the footsteps of tools like Cubase, and it’s a really great, easy implementation. It’ll be something you might use even without a controller, because it also supports per-note editing.

What you play with your fingers is up to you. So here’s Fundamental, the wild test-tone oscillation instrument created by sonicLAB and Hainbach, with its MPE support:

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And note the Sensel controller with Buchla Thunder overlay.

What excites me is how many instruments will just work out of the box, because that means more time to try actually playing without having to stop and configure stuff.

In fact, quietly tucked into a recent beta release, the following instruments will work natively with MPE right out of the box. This means those of you getting Live 11 next week will see that – and if you have a different MPE host of choice, you should also consider checking out these tools:

Pendulate is even free, so go get it!

(There are many other MPE-supporting tools, too – these are just the latest additions with Live 11 support by default.)

MPE me, Pendulate.
Vintage synths can get the treatment, too. Yes, this is a Jupiter-inspired synth with MPE.

But yeah, notice not one but two emulations of classic Roland synths (the JUNO-106 and Jupiter-8). Those are instruments that historically had polyphony, but didn’t have anything like MPE until now. But since they did have multiple voices, there’s no reason that this shouldn’t make sense. It just gives you a finer degree of per-note control – akin roughly to what you’d have if you had a 6- or 8-part ensemble of acoustic instruments playing expression, for example.

Those are all great, great synths by the way, and another sign of the breadth and depth of instruments you can get on a computer.

(Hey, speaking of Roland, uh Roland Cloud – this is MIDI, the format you helped launch originally, so would be great to see MPE support there, too. Someday?)

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You can get those excellent Audio Damage synths bundled with your Sensel Morph. And that deal is a pretty terrific value, not something you would quickly exhaust.

As far as Live 11 goes, you’ll also have internal Device support, plus you can instantiate Instrument Racks with MPE support, and there’s the MPE Control device which lets you assign to other parameters. That last one means you could take something like the Sensel’s Buchla layout, which is ideally suited to control applications, and use it to manipulate effects – even without those effects necessarily being built with MPE support themselves.

If you’re saying “but isn’t that just like having ten fingers on ten faders at once?” – you’re absolutely right. But that’s the point, and why I think some folks may have slightly overthought this whole business from the start.

Also – Live will configure itself for VST2 and AU plug-ins that self-identify with MPE support. That is apparently not so many plug-ins, so if you’re a plug-in developer and you’re reading this, this one’s for you.

Anyway, while we await Live 11 release date, here are some videos on how the whole thing works.

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“But I don’t have an MPE controller!

It’s “Expression,” not technically MPE, but you do benefit from the new edit and control features with Ableton Push, as well:

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Las Vegas pool clubs greenlit to reopen in March

Las Vegas pool clubs greenlit to reopen in MarchZedd

Las Vegas pool parties, the hosts of resident electronic DJs such as Zedd, Calvin Harris, and The Chainsmokers, among others, are primed to return in March, thanks to a Nevada order that will newly permit venues to operate at 35 percent capacity (100 people).

The pool club reopenings are planned as follows:

  • MGM Grand’s Wet Republic: March 5
    • Operating Thursday-Sunday, 11:00 a.m. local time until close
  • Aria’s Liquid Pool Lounge: March 13
    • Operating Friday-Sunday, 11:00 a.m. local time until close
  • Wynn’s Encore Beach Club: March 5
    • Operating Friday-Sunday, operating times have yet to be declared
  • Mandalay Bay’s Daylight Beach Club: March 5
    • Operating Friday-Sunday, 11:00 a.m. local time to 6:00 p.m.
  • The Cosmopolitan’s The Pool Marquee: March 5
    • Operating Friday-Sunday, operating times have yet to be declared

Social distancing and mask mandates, in addition to other state and federally imposed COVID-19 health precautions, will be observed. Though owners of the respective pool clubs have yet to announce information regarding the continuation of previously paused DJ residencies, more details are presumably to come. Other specifics regarding entry and ticketing practices can be found on the clubs’ individual websites.


Featured image: Rukes

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MK stars in extended Jaguar F-PACE ad

MK stars in extended Jaguar F-PACE adUnnamed

In January, MK launched his partnership with Jaguar with his new single “Lies” featuring Raphaella. Jaguar began its global campaign with a 30-second TV ad, and now they’ve doubled down with an extended “F-PACE Film.” The new ad gives MK space to briefly speak on his relationship with tech, cars, and music.

According to Jaguar, the F-PACE campaign “features a series of artists from music and entertainment to photography and fashion showcasing the Jaguar brand commitment to supporting the creative industries,” but Jaguar hasn’t named any other future partners yet. To complement the ad campaign, MK curated a playlist full of new house singles and old classics, of course including his newest single. “Lies” is MK’s second track with Raphaella following their 2019 hit “One Night” with Sonny Fodera.

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Ibiza bars and restaurants to reopen outdoor areas from March

Ibiza bars and restaurants will be able to open outdoor areas from March.

In a report published today (18th) by Spanish news oulet The Olive Press, it has been announced that the Balearic government will begin their de-escalation plan on the 2nd March 2021, after coronavirus forced clubs, restaurants, bars and other businesses to close their doors.

From the beginning of March, bars and restaurants in Ibiza, Formentera, Menorca and Mallorca will be able to open terraces and outdoor spaces to the public. Providing the islands do not experience another surge in coronavirus cases, indoor spaces will be able to open from the 16th March – providing CO2 meters are installed inside the venues.

Although the news has been welcomed by many business owners, the Confederation of Business Associations in the Balearics have said that the news is “unsatisfactory” due to the fact that 80% of bars and restaurants in Mallorca do not have outdoor terraces.

According to the Majorca Daily Bulletin, the 14-day cumulative incidence of coronavirus cases in the Balearics is now down to 157.38. In Mallorca it is 112.38, which classifies the island as being at medium risk. The Balearics as a whole are still high risk (150-249), with Ibiza in the extreme category for 14 days.

Tourism is one of the most crucial industries in Spain, especially in nightclub hotspot Ibiza. Spain welcomes approximately 80 millions tourists a year, with the industry providing over 12% of the country’s GDP. 

You can read more about the announcement via The Olive Press.

In October last year, it was announced that the Ibiza government has plans for rapid COVID-19 testing systems to open a tourist corridor in 2021. As reported by Nou Diari, the agreed protocol with the relative governing bodies, announced by Moroto, explains that every tourist arriving in the Balaeric or Canary Islands from another country, with an AI (infection rate) of 50 or less per 100,000 inhabitants in the last 14 days, will not undergo testing on arrival. Tourists who come from countries with an AI greater than 50 will have to present a negative test carried out less than 48 hours before the flight.

The world’s best-known party island, Ibiza has been heavily impacted by the coronavirus pandemic. Frequent restriction changes, extortionate fines and bans on dancing, parties and smoking have affected the music and hospitality industries hugely. But while it’s hit locals hard, the pause in summer season has also given time for a reset and for the White Isle to regenerate. In a recent feature for DJ Mag, Anu Shukla travelled to Ibiza to investigate.

Sinevibes Droplet Delay & Reverb Effect For Korg Multi-Engine Synthesizers

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Sinevibes has introduced Droplet, a new delay and reverb effect for Korg Multi-Engine synthesizers, including the Korg NTS-1, Minologue XD and Prologue.

Droplet is a ‘raindrop delay’ effect that features up to 10 delay lines. The delay lines are connected in series, via a proportional feedback system, with each delay’s time randomized, in order to recreate a naturally chaotic sound that Sinevibes describes as being similar to water drops falling onto a surface.

Droplet can not only produce the “raindrop delay” effect, but can also go from early reflections to dense reverbs with long tail duration. The algorithm’s built-in modulation oscillator also adds dimension and unison detune to the sound, thanks to its unique routing with alternating polarity.

Pricing and Availability

Droplet is available now for $19 USD.

Premiere: Moullinex shoots for the stars with melodic new single, ‘Minina di Céu’

Premiere: Moullinex shoots for the stars with melodic new single, ‘Minina di Céu’Moulline Dancing Astronaut

Moullinex links up with fellow Portuguese talent Sara Tavares for “Minina di Céu,” together delivering a stirringly soothing package of uplifting house with a driving vocal narrative.

Sang in Tavares’ native language of Cape-verdian Creole, “Minina di Céu” tells the tale of a young girl destined for cosmic adventure. This theme is also evoked in Moullinex’s expansive and free-flowing instrumentals, which simultaneously paint a picture of a sonic galaxy ripe for exploration while keeping the production grounded on earth with crisp west African percussion and a warm, melodic embrace.

“Minina di Céu,” which translates to “Girl from Heaven,” is the fourth single from Moullinex’s upcoming Requiem For Empathy LP, and exemplifies the Lisbon producer’s shift from disco releases to a more introspective and emotionally lucid sound. The full album is scheduled to hit airwaves in early spring, with pre-saves and pre-orders available here.

“Minina di Céu” will formally release on February 19, but listeners can stream it one day early, only on Dancing Astronaut.

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