Enter to win a season pass to Arizona’s Release After Dark pool party series [Contest]

Enter to win a season pass to Arizona’s Release After Dark pool party series [Contest]Cheat Codes

Kicking off on May 7, Arizona’s premier pool party series, Relentless Beats’ Release After Dark, will return to Scottsdale’s Talking Stick Resort to resume programming for the spring and summer season. Relentless Beats has become one of the most formidable promoters in the country, consistently producing highly in-demand events polished by stacked lineup offerings. Release After Dark won’t be any different, promising a grip of choice electronic acts throughout the warmer months to come, including Showtek and Gattuso on May 7, followed by Boombox Cartel a week later on May 14, then Oliver Heldens on May 21.

June programming includes a set by Morgan Page on June 4, a highly anticipated June 18 performance by Disclosure, and Cheat Codes on June 25. Moreover, additional Release After Dark show dates for the latter half of the summer will soon be announced.

Dancing Astronaut has partnered with Relentless Beats to give away two (2) season passes to a pair of lucky winners, good for entry to 14 different pool parties this season. As the pool party circuit continues to permeate outside of the Las Vegas Strip, Phoenix continues to emerge as the Southwest’s next dance music hotspot behind Relentless Beats’ stellar programming. Enter below for a chance to win.

Enter to win a season pass to Arizona’s Release After Dark pool party series [Contest]3q6hed

Featured image: Rukes

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New Step Sequencer For iOS & Mac, OODA, Features Generative ‘Wormholes’

OODA is a MIDI step sequencer, available for iOS & Mac, that features interactive and semi-generative controls.

What makes OODA unique is that you can connect arbitrary steps together using conditional “wormholes” to add structured (or random) variation to your sequences.

Another unique feature is that OODA’s underlying model is decoupled from its voices. This allows you to interact with your sequences and create melodic variations in real time, without affecting your groove.


  • Record sequences up to 64 steps with the in-app keyboard or an external MIDI device
  • Interact with your sequence on the fly using four “action” buttons
  • Link together steps using conditional wormholes to create structure and variation
  • Create complex patterns of melody and rhythm using four independent voices
  • Change voice speed independent of sequencer speed
  • Comes with ten factory presets to give you an idea of what OODA is capable of
  • Explore a deep, yet focused set of parameters
  • Sequencer Settings
  • Grid size (4×4 or 8×8)
  • Sync voices to sequencer rate
  • Sequencer rate
  • Sequencer direction
  • Shift amount (semitones)
  • Live toggle rests and skips
  • Wormhole Patcher
  • Conditionally “reroute” your sequence by connecting arbitrary steps
  • Per-step wormholes
  • Destination and normal steps per wormhole
  • Trig conditions and probability for moving through each wormhole (see below for list)
  • Voice Settings
  • Four voices with independent settings
  • Enable/disable
  • Rate of play (in beat time from 16 bars to 32nd T)
  • Includes unique note values based on the Golden Ratio for maximum generative fun!
  • Length of note (10% to 100%)
  • Variety of rules for selecting notes from active step (see below for list)
  • Pitch offset
  • Unique pattern control for creating rhythms and polymeters, now with step options
  • Easily add holds, ties, accents (positive and negative), ratchets, and trig conditions
  • MIDI velocity and channel
  • Flexible Connectivity
  • Use in a compatible audio unit host like AUM, or in standalone mode
  • Control multiple instruments at once with five MIDI outputs
  • One for all voices together, and one for each voice by itself
  • Sync to the tempo of other devices using Ableton Link or MIDI clock (standalone)
  • Send MIDI clock to external synths (standalone, experimental feature)
  • Connect to Bluetooth MIDI devices
  • Modulate OODA’s parameters in a compatible AUv3 host (audio unit)
  • Eight unique MIDI CC outputs derived from OODA’s sequencer model
  • Sequencer X, Sequencer Y, Sequence Phase, Action OR, and per-voice random
  • Includes macOS app

Ooda Video Tutorials:

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Pricing and Availability

OODA is available now for $7.99.

New Music For Modular – Hélène Vogelsinger’s ‘Patch Notes’

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The Vinyl Factory has announced a new release from French composer and sound designer Hélène Vogelsinger, recorded as part of FACT’s Patch Notes series.

Hélène Vogelsinger’s Patch Notes features two modular synth tracks, recorded live inside an abandoned castle in France.

Here’s what Vogelsinger has to say about the recordings:

“The installation and the recording session are always a process within the process, which takes a few hours. Technically it requires a good organisation: three modular cases and hundred of cables, a generator, a camera, lights and again so many cables,” she says.

“It is something really intense, especially in those types of abandoned places, where you have to avoid a lot of obstacles. I love the fact that they have layers of stories and histories, with different occupants, often crossing times, and always full of beautiful and melancholic poetry.”

Hélène Vogelsinger’s Patch Notes is available to pre-order in an edition of 1000, with an expected release date of 5/20/22.

Quick tips: changing oscillators while live jamming with Arturia MicroFreak

Arturia’s pint-sized weirdo is full of tricks. One of the best ways to get maximum freak-age is to make use of its multiple oscillator types, which is why this tip comes in especially handy.

YouTuber VolcaNiced, a name that suggests a fan of other little gadgets we love, comes in with this quick-and-dirty tip, live jam, and accompanying download.

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More details:

It’s about changing the oscillator type during the jam. Yes you say now, it’s clear that it works. But have you used it actively? Or did you automate it or what’s even better: Did you set it with the Cycling Envelope or the LFO via the matrix? The good thing about this method is that you can fine-tune which oscillators you want to switch back and forth between. Use the Square Wave LFO for this. Set it to 1/2 or 1/1 so that the switch doesn’t happen too often. Of course you can also set it higher with rhythmic jams to create a kind of flow.

Free Download of my MicroFreak Patch Pack “From the Heart” at Gumroad: https://gum.co/KqyQnr

So yeah, the Cycling Envelope and LFO both allow you to modulate oscillator type – just set that in the matrix as a modulation target. There are a lot of other tricks involving modulation targets, too – reason to read the manual, even – like assigning Press as source for the envelope sustain, or pressure to glide, or unison spread as modulation target.

Also in that video, the Teenage Engineering Pocket Operator PO-33 (the micro sampler) plus a GFI System Specular Reverb v3. (I think that last one is now replaced by the Specular Tempus?)

It’s good fun. I love that little thing; it’s really like having a tiny modular rig squashed into a keyboard, with a matrix instead of cables. And even in a modular or semi-modular rig (or anything with some CV), you get a useful bundle of oscillators and modulation to route into other stuff. I just would do as this person does and add some outboard effects so it isn’t too dry, but at this price, that’s an easy investment to add on.


Louis The Child talk ‘To Believe’ EP, 2022 tour run [Q&A]

Louis The Child talk ‘To Believe’ EP, 2022 tour run [Q&A]Louis

It’s been a momentous past few months for Robby Hauldren and Freddy Kennett of Louis The Child. In 2022 alone, the internationally acclaimed dance-pop duo achieved RIAA Gold certification on both 2015’s “It’s Strange” and 2016’s “The Weekend,” earned a coveted Platinum plaque for their WAFIA-assisted hit, “Better Not,” and performed for a jam-packed Outdoor Theater at both weekends of Coachella. And on April 22, Louis The Child officially dispatched their highly anticipated Euphoria follow-up, To Believe, via Interscope Records.

After debuting their never-before-seen live show at Coachella, Hauldren and Kennett sat down with Dancing Astronaut for an interview before they embark on their 2022 tour run, to commence at AYU Dayclub in Las Vegas on April 30. Browse Louis The Child’s forthcoming tour dates here, and read the exclusive Q&A below.

You guys threw up a billboard on the road to Coachella clarifying that you are, in fact, two individuals. Do you find that people still assume Louis The Child is a solo act?

Robby: “Sometimes, yeah.”

Freddy: “Yeah, from people who haven’t really dug in yet. If it’s their first time finding us through friends, they’ll still not know if it’s ‘Louie’ or ‘Lou-is.’ We still hear those things being talked about all the time. They’ll be like, ‘yo, is it Louie or Louis?’”

Robby: “And we’ll be like, ‘it’s neither.’ Just kidding, but yeah some people still don’t know.”

You’ve just released your latest EP, To Believe. Which are your personal favorite tracks on the project and why?

Freddy: “I think ‘To Believe’ is one of my favorites because it’s got this crazy second drop that everyone at Coachella reacted really well to. But I also love ‘Cry’ because of its message; ‘you don’t need to make me cry so you’re the here at the end of the night’ kind of vibe. It’s a well-said, beautiful song and we love working with Aluna. So, I think either ‘To Believe’ or ‘Cry’ for me.”

Robby: “I think ‘Blow The Roof’ might be my favorite. It’s got such fun, explosive energy during the drop. Of the new songs, it’s the one I felt best performing on-stage at Coachella.”

How would you distinguish the new EP from Euphoria?

Robby: “If you listen to the two [EPs], they’re not sonically the same, but [To Believe] still gives off the same type of energy, the same type of feeling. Something like ‘Blow The Roof’ probably wouldn’t have fit on Euphoria, but ‘Cry,’ ‘Talk,’ or ‘Gone’ might have…We’ve kept the same energy on a lot of the songs while pushing [our sound] to cover some new spots.”

You’re no strangers to performing at Coachella. What most excited you about playing the Outdoor Theater this year?

Robby: “I liked moving to a new stage where we weren’t given the same bells and whistles as everyone else playing there. For an electronic show with such a heavy emphasis on big production and lighting, it was a step up for us…Moving to a new stage that’s a lot bigger. Attracting people all the way from the electronic corner[s] of the festival all the way to the Outdoor Theater shows that they really want to be there for you. It’s a stage I’ve always wanted to play, ever since [my first] Coachella.”

Freddy: [Our Coachella set] was an updated version of the Euphoria show; we changed and moved around a bunch of things. We haven’t played this version of the set anywhere else; it was kind of like a new iteration for Coachella.”

What shows are you most looking forward to as part of your 2022 tour run?

Robby: “I’m very excited for Red Rocks.”

Freddy: “Gov Ball.”

Robby: “Yeah, Gov Ball, Electric Forest… Very, very excited for Forest; it’s going to be magical. I’m also excited for a couple new shows that we’re going to announce in the next couple months. We have a couple really big ones…And one interesting type of event that’s going to be different. I can’t say too much about it.”

How would you say Louis The Child’s sound has developed since your debut in 2015?

Freddy: “The sound we broke out with is different from the Euphoria era, but the Euphoria era pulls from what we’d been doing before we broke out. After learning all these new skills and applying them to the future bass sound, we were like, ‘what can we do now?’ We could go back to ‘complextro’ and all those big electro sounds, the old wave that we were on…I feel like To Believe is still in the Euphoria world, but the songs are a little prettier, a little less heavy, [while still maintaining] the classic Louis-style trap drops. [The new EP] is an evolved version of Euphoria, just not so strictly inspired by ‘complextro.’”

Robby: “The tempos we work in have changed a lot. There’s nothing on Euphoria or To Believe lower than like 104 BPM. The majority of the last two EPs [sit in the] 120s, whereas a lot of our early stuff’s in the 90s or late 80s BPM [ranges]…It’s gotten a lot more four-on-the-floor, ‘dancey.’”

What are your thoughts on the current electronic music scene?

Freddy: “I like a lot of the stuff that everyone’s doing. Years ago, we had a crazy bubble that popped, and it feel like it’s fizzled. But at the same time, electronic music has been able to stem out into different areas of alternative and pop music. Songs are super important these days, [more so than] the big euphoric synth drops from back in the day. If you’ve got lyrics that everyone wants to sing, electronic music still has legs to do anything.”

Robby: “I feel the same. I can’t remember the last big anthemic, [authentic] song that’s happened in electronic music. It’s dope where we’re at and I’m looking forward to it all getting shaken up again.”

Who would you love to collaborate with at this point in your careers?

Robby: “Man, I would love to do some shit with Baby Keem. He’s definitely up there on the list.”

Freddy: “Frank Ocean.”

Robby: “Yeah, Frank. Kendrick would be nuts…”

Freddy: “PinkPantheress.”

Robby: “Oh yeah, PinkPantheress; I would love to do some stuff with her.”

Featured image: Greg Noire

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Totally Enormous Extinct Dinosaurs dispenses second single from forthcoming LP

Totally Enormous Extinct Dinosaurs dispenses second single from forthcoming LPTEED 2022 By Dan Wilton

Orlando Higginbottom aka Totally Enormous Extinct Dinosaurs (TEED) is roaring back onto radars with another engaging single from his forthcoming album, When the Lights Go. In an Instagram post, TEED shared details about the LP’s lead single, “Trouble,” and why releasing his second full-length project has been a decade in the making:

“After a long time of trying to find a way to put music out where I could be fairly paid for my work, own my work, and generally not be scammed, I’m pleased to say I am releasing this record on my own label Nice Age. I will never own my first record ‘Trouble,’ it’s signed to Universal forever. Aside from how that feels personally, I am committed to creating a better situation for all artists in this music business—nobody should be signing a bad record deal, and perhaps nobody should be signing record deals at all.”

The latest preview of When The Lights Go comes in the form of “Crosswalk”; the evocative song is a layered synth-wave stunner primed for the main stage. Featuring restrained vocals from the musician, oscillating keys, and pleasantly repetitive distortions, the dance cut sheds light on this new era of music from the Los Angeles producer. When The Lights Go will chronicle a decade of events in the artist’s life in introspective and eclectic three-to-four-minute nuggets of sound. Pre-order the LP via TEED’s own Nice Age label.

Featured Image: Dan Wilton

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Knock2 is ‘gettin’ hott’—stream his latest via NIGHTMODE

Knock2 is ‘gettin’ hott’—stream his latest via NIGHTMODE278695668 929869367849773 6188671964087627312 N 1

Knock2 returns to NIGHTMODE for his latest single “gettin’ hott.” There’s a reason this track was included on our list of the most-needed IDs of 2022. After it was played out as an ID during Sable Valley‘s takeover of BBC 1‘s“ Annie Nightingale Show,” the high-energy bass house cut’s release seemed imminent. And while it wasn’t his first release of 2022—that honor goes to “PARANOiD,” also backed by NIGHTMODE—it didn’t take long for “gettin’ hott” to hit digital streaming platforms. Sonically, “gettin’ hott” is everything that streamers have come to know and love Knock2 for: club-ready content that seamlessly blends house and bass.

The San Diego-based artist is fresh off of his first performance at the famed Red Rocks Amphitheater, where he played in support of NGHTMRE. He’s just a month removed from his previous release, “JADE,” distributed via RL Grime‘s Sable Valley. This marks his third release with NIGHTMODE following the aforementioned “PARANOiD” and 2021’s “dashstar.*” On top of his Red Rocks debut, he’s made appearances alongside fellow San Diego Waterboy ISOxo during his recent tour and came out during Flosstradamus‘ performance at NOVA SD in his hometown.

Featured image: Riley Kubota

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Brooklyn Mirage to host A-Trak’s star-studded block party with Duck Sauce, Chromeo, and more

Brooklyn Mirage to host A-Trak’s star-studded block party with Duck Sauce, Chromeo, and more243461166 913843792893764 4903436466044514109 N 1

Brooklyn Mirage‘s season-opening date is just a handful of days away but before it embarks on its first complete season since 2019, its piling onto an already loaded schedule. On June 19, A-Trak will be taking over the iconic Brooklyn venue for a day-long block party with a can’t-miss billing.

On top of a bloghaus era set from the Fool’s Gold founder himself, A-Trak & Friends Block Party! will also see appearances from Duck Sauce—marking the duo’s collective New York return after playing Governors Ball in 2021—Yung Bae, Chromeo, Justin Jay, and Coco & Breezy.

Ticket pre-sale registration is available here and will go on sale at 10AM ET on May 3.

Featured image: Duck Sauce/Instagram

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Good Morning Mix: Lane 8 doesn’t let melted CDJs prevent his first Coachella set since 2015

Good Morning Mix: Lane 8 doesn’t let melted CDJs prevent his first Coachella set since 2015278719160 576914050089616 4292137745019119252 N

Lane 8 was supposed to bring Brightest Lights to Indio in 2020 but thanks to the pandemic, everyone had been robbed of what could’ve been. But fast forward two years and Lane 8 was given a second chance to bring a new album with him when he’d play Coachella for the first time since 2015. To Lane 8’s slight misfortune, his Coachella return didn’t begin as he’d ideally hoped, starting 20 minutes behind his set time and explaining that the CDJs he was supposed to use were left in the sun and literally melted. But even with a shortened slot to close out weekend one at the Mojave Tent, Dancing Astronaut‘s 2020 Artist of the Year wasn’t going to let that stop him from putting on a worthy finale.

And while Lane 8 wasn’t part of Coachella’s stream schedule, Victor Visits came through in the clutch as he always does to take the phone-less This Never Happened concept temporarily out of the equation, uploading the 50-minute set in 4K on his YouTube channel. Opening the Channy Leaneagh-assisted opening cut from Reviver, Lane 8’s Coachella set more than made up for the late start, also including a blend of “Brightest Lights” and “Rebel XX,” “Sunday Song,” and even a possible Lane 8 ID at the 40-minute mark, which doubles as ID15 in his “Spring 2022 Mixtape.”

Enjoy a rare recording of a Lane 8 set below, courtesy of Victor Visits.

Featured image: Fixation Photography

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