First Spin
This week in dance music: we were at Madison Square Garden for the much-hyped (and rightly so) show from Skrillex, Four Tet and Fred Again.., we ranked all the songs on Madonna’s clubbiest album Ray Of Light, Daft Punk announced an extended edition of their 2013 classic Random Access Memories, six Rihanna songs entered Hot Dance/Electronic Songs following her Super Bowl halftime show performance and we spoke with Channel Tres about kicking his addictions and entering a new phase of life and artistry.
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The Blessed Madonna feat. The Joy, “Shades of Love”
Following previous singles “Serotonin Moonbeam” and “We Still Believe,” The Blessed Madonna is back with another dopamine delivery in the form of her newest song, “Shades of Love.” Another homage to the roots of club culture, “Shades” is an instant transport to house heaven with its ringing bells, rolling piano-key melodies and synth lines fizzing with zest for life. At its center, South African group The Joy bring gorgeous harmonies and lyrics of encouragement: “Like the sun through the rainbow/ In the light/ You can glow/ Never forget that.”
“‘Shades of Love’ is about the one thing that we all truly share in common as humans. We need to be loved,” writes The Blessed Madonna. “That might be a different kind of love for every person but it’s still love and it’s what ties us together.” — KRYSTAL RODRIGUEZ
Everything But the Girl, “Caution to the Wind”
The much-anticipated comeback from the U.K. duo gets steamier with “Caution to the Wind,” a contemplative slow burn come hither. The track is the second single from the duo’s Fuse, coming April 21. “Lyrically, ‘Caution To The Wind’ is a simple song about arrival and seizing the moment,” says EBTG’s Tracey Thorn, “so with the music we tried to capture the feeling of a perpetual point in time.”
“I let the words quickly collapse and loop inside the production,” continues the group’s Ben Watt. “The drums emerge and repeat, and everything then starts to unfold in cycles of anticipation and release. I guess it’s just classic nightclub tension and euphoria.” — KATIE BAIN
Barry Can’t Swim, “Sunsleeper”
For nearly a year, Barry Can’t Swim has soundtracked some of our tenderest and most introspective moments with his music, a delicate blend of textures and softened rhythms, found in songs such as “Like the Old Days” and “Sonder.” But now it’s time to get back to dancing.
To start his 2023, the London-based producer has released a new single, “Sunsleeper,” which marks his debut on Ninja Tune. (Previously, he appeared on their Technicolour imprint.) Barry channels the power of the titular star to create a song that’s positively beaming in its dazzling percussion, euphoric vocals and gilded piano riffs, while still maintaining his key tenderness and intricacy. “Sunsleeper” is fun, fresh and balmy — festival season will surely come calling its name.
“It’s been a while since I’ve written a tune like this, pure party energy,” says Barry. “Stylistically it’s like the cousin of [my track] ‘Blackpool Boulevard,’ but with a Spanish vocal sample layered over it to bring even more warmth and energy. I wanted this to be the first release of the year — it’s all the core emotions of my sound, but bigger. And that’s what this year is about.”
Indeed, this year is already shaping up quite nicely for Barry. He heads stateside next month for a short tour, with dates in Austin, San Francisco, L.A. and Florida’s Okeechobee festival. — K.R.
Ric Wilson, Chromeo & A-Trak, “Pay It No Mind”
Nothing says “hell yes, it’s Friday” like some feel-good funk, and this new Ric Wilson, Chromeo and A-Trak collaboration “Pay It No Mind” is the feel-goodin’est tune this side of disco paradise.
“Pay It No Mind” sees the Chicago rapper drip carefree honey-dipped bars over a golden-sunset groove by world-renown DJ-producer A-Trak and his brother Dave-1’s band. That super cool robot voice singing on the hook? That’s Dave-1’s partner P-Thugg giving this tune the ultimate Chromeo treatment. What’s even sweeter? It sounds like there’s a whole album coming soon, based on what A-Trak said in this Instagram caption.
“In the summer of 2020 during lockdown, I got connected to @ricwilsonisme (s/o @rrstampede),” A-Trak writes. “Loved his music right away, and loved that he was rapping over funk tracks while also talking about serious subject matters like social justice and activism. Come to find out he’s an actual organizer based in Chicago. I remember thinking about how the architects of funk music (James Brown, P-Funk, Sly etc) were also making political music. This felt super pertinent to what was going on in the world too. I played his music to @dave1 and he said ‘let’s do a project with him!’ So Ric came over to @chromeo’s Private Sector studio (remember doing covid tests before studio sessions?) and we got to work with @peethugg. We continued to link up and eventually we had a full project on our hands. CLUSTERFUNK is really Ric’s vision; @chromeo and I just tried to tailor a soundscape for him to do what he does and show how unique he is.” – KAT BEIN
MK & Dom Dolla, “Rhyme Dust”
After going hella viral on Tiktok, MK and Dom Dolla’s deliciously groovy “Rhyme Dust” is officially out via MK’s own Area10 Records. Based on a steady, heavy beat and a synth wave that sounds a lot like the Twin Peaks theme, the track is a slice of undeniable tech house with a backstory as big as its kick. “We used to post stuff online to see if people liked it, and then if people like it you wrap it up, you finish it and you release it,” Dom Dolla recently told Dancing Astronaut. “We posted [this one] on TikTok to see what the vibe was…the internet ran away with it…but all the sudden the amount of hype and demand for the record to be release immediately was very intense.”
It was, however, Christmas time, so labels were closed and the guys were on tour. After waiting until the biz came back online, the guys each retooled their release schedules, got the sample (from Q-Tip’s 1999 “Breathe & Stop”) cleared, then rush delivered this rightfully very in demand heater. Thank you, internet. — K. Bain
Jayda G, “Circle Back Around”
Mark Twain famously said “write what you know,” and the same artistic approach applies for music. When a producer or musician opens their heart to their audience, deeply-personal stories resonate with the whole world. Jayda G’s “Circle Back Around” from her forthcoming LP, Guy, is a beautiful example of that technique made brilliant. The music video opens with a clip of her father, William Richard Guy, who passed when she was only 10 years old, speaking into a camera about his experience running from the cops as a young man. That story then becomes the foundation for G’s poetic lyrics and the movements of a dancer on screen.
The story continues to evolve, as we see her father return once again, explaining how he was diagnosed with a fatal disease and now films himself speaking to his family in order to cherish and preserve his life for decades to come. Now, that story becomes something we can all learn from, dance to and celebrate.
“I wanted the album to be a blend of storytelling, about the African American experience, death, grief and understanding,” G says. “It’s about my dad and his story, and naturally in part my story, too, but it’s also about so many people who wanted more for themselves and went on a search to find that. This album is just so much for people who have been oppressed and who have not had easy lives.” Guy is due out on Ninja Tune June 9th. We’re hooked already. – K. Bein
This week in dance music: Diplo’s Mad Decent Publishing sold its catalog to Iconoclast, the masters Depeche Mode made an appearance on Hot Trending Songs, Skrillex, Fred again.. and Four Tet announced a set at Madison Square Garden happening tomorrow (Feb. 18) night, we unpacked the story of a Twitch channel recreating the sound of legendary New York club Danceteria each week, Alison Wonderland, Kaskade and GRiZ were announced as part of the lineup for Insomniac’s Moonrise fest this August, DJ Hanzel dropped by the Billboard News studio to talk major s–t about his nemesis Dillon Francis, Beyoncé’s dance output saw chart surges in the wake of her Grammy wins and Skrillex released his sophomore album, Quest For Fire.
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Icona Pop & Galantis, “I Want You”
Valentine’s Day may have come and gone for 2023, but it’s still not too late to shoot your shot. Don’t know how? Allow Icona Pop and Galantis to assist. The trio have teamed up on a catchy dance tune for Ultra Records: “I Want You,” which basically says for you all the things you wish you had the courage to say to your kinda, maybe, possibly-boo. “We don’t have to play these games,” sing Icona Pop. Their vocals smolder and swell alongside Galantis’ production, a series of windswept breakdowns, euphoric synth stabs and throbbing choruses to turn up the heat. “I Want You” is sweet and definitely not subtle. — KRYSTAL RODRIGUEZ
LP Giobbi feat. Little Jet, “Can’t Let You Go”
“Once in a while, you get shown the lights in the strangest of places if you look at it right.” That’s a lyric from the Grateful Dead’s “Scarlet Begonias,” a song that means an awful lot to LP Giobbi’s dad, and therefore LP herself. She actually just got the line tattooed on her arm, and it also served as the inspiration for the title of her recently announced debut album, Light Places.
“I am grateful and proud to be raised by two magnificent Dead Heads who have danced their way through life seeking joy, sharing love and cherishing moments,” LP says. Today, we can all dance our way toward the album’s full release on May 12 with the help of its fourth single. “Can’t Let You Go,” with Little Jet, is a psychedelic slice of prog-rock cool that melts into a sturdy foundation of bass-walking groove. A vintage veneer shimmers across its disco-tized surface, fitting nicely into the style of preceding singles “All In A Dream,” “Forever And A Day” and “Body Breathe.” The full album is due out on Ninja Tune’s Counter Records. Let the countdown begin. – KAT BEIN
Kx5 & Sofi Tukker, “Sacrifice”
“Will you sacrifice for me if I don’t sacrifice for you?” Kx5 (Kaskade x deadmau5) ask the uncomfortable questions on their latest single “Sacrifice,” a collaboration with Sofi Tukker. Somehow, Sofi Tukker member Sophie Hawley-Weld’s soft vocals come off as vulnerable and uneasy against the brooding production, whose atmospheric melodies erupt into rip-roaring techno. It’s a fraught battle between light and dark, where the darkness ultimately comes out with the edge.
“This song stings with the truth. It’s ultimately about ambition and about choosing yourself and your job over someone you love,” writes Sofi Tukker. “It’s one of our favorite songs we’ve ever written, in part because it comes from such an honest and real place.” — K.R.
Vindata feat. Ozer, “No Service”
You ever hear your phone vibrate and feel like throwing it at the wall? Sounds like you might need to head to a spot with “No Service” and just let the vibe ride. Luckily, Vindata’s first single of the year is here to inspire inner peace via some garage-style synth layers and lightly broken beats. It’s a real “disconnect to connect” moment, and it feels like the absolute right path for a funkdafied future.
“I’m really excited to kick-off 2023 with ‘No Service,’” Vindata’s Branden Ratcliff says. “I think this song sets the tone for much of the direction I’m heading in creatively.” “‘No Service’ is my first track into the EDM/house sound, and what better way than to do a silky and fly track with the one and only Vindata,” vocalist Ozer adds. “Vibe out to the track and put your phone on airplane mode to avoid life’s distractions. Sorry for not replying. All 2023, I don’t have ‘No Service.’” – K. Bein
HUGEL x Ryan Arnold x El Chuape, “Pa Lante”
French producer HUGEL may be an unlikely source of Latin house music, but as the internet makes the world and dance scene ever more connected and compact, today we get the dually steamy/hyphy “Pa Lante.” A collaboration with U.K. producer Ryan Arnold and the Dominican Republic’s El Chuape, the song is a white-hot peaktime anthem for those parties where the dancefloor is just the beach. The collab also marks a big moment for HUGEL, following his recent collaboration with BLOND:ISH, a remix of Madonna’s “Sorry.” — KATIE BAIN
Tiësto & Cristobal Tapia De Veer, “Renaissance” (The White Lotus Theme) [Remix]
The White Lotus‘ season two theme song has already been subject to a series of excellent bootleg remixes, and now Tiësto has gone ahead and made it official with his very own, very HBO-sanctioned edit of the track. A staple of Tiësto sets for the last few months, the edit turns up the BPM and the intensity on the yodel-ey heater, giving it the same ominous-but-sexy vibe as say, a luxury hotel perched on the edge of a cliff in Sicily. “As a huge fan of The White Lotus I couldn’t be more excited to be releasing the official remix” said Tiësto. “I was instantly hooked on the theme song so I had to put my spin on it for my live sets… every time I play it, the crowd goes crazy! I’m thrilled HBO wanted to partner and make it official.” — K. Bain
This week in dance music: Beyoncé made history in more than one way when she won the Grammy for best dance/electronic album, Diplo had some thoughts on the matter, we talked to the fast-rising RAYE, P!nk scored her first top 10 on dance/electronic songs and we got the backstory of a new study exploring the prevalence of neurodiversity in dance music.
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Jessie Ware, “Pearls”
Albums heavily featuring house and disco sounds are winning Grammys? Jessie Ware has logged into the chat. After winning our hearts (and the title of Billboard’s top dance album of 2020) with her most-excellent album What’s Your Pleasure?, the sultry club chanteuse is back again with a new single, “Pearls” — and the announcement of her next album, That! Feels! Good!, due April 28 via PMR / EMI. (Ware previously released another of the album’s tracks, “Free Yourself,” last summer.)
Like its namesake, “Pearls” brings luxury to the disco, with gilded keys and elegant strings that soar with Ware as she belts the euphoric chorus: “Let me go! Let me dance!” Like her iconic inspirations for the song, Donna Summer, Evelyn “Champagne” King, Teena Marie and Chaka Khan, Ware delivers eyes-closed, disco-diva bliss in a song she says “doesn’t take itself too seriously, but demands you to have a dance.” — KRYSTAL RODRIGUEZ
Flume, “Things Don’t Always Go The Way You Plan 1.2 [2020 Export Wav]”
Seeing Flume live on stage is cool and all, but there’s no better Flume-fan feeling than pressing play on a newly released Flume production. His tunes are the type you need to absorb by putting on those headphones, turning off the lights and exploring every nook and cranny of textured sound. In that regard, this week was stellar, because the Australian envelope-pusher dropped a surprise 10-track mixtape of previously unreleased bits and bops. The vibes are varied — from gritty rumblin’-bass rap growlers to tweaked and freaked romantic ballads to side-winding sonic sound tunnels and every shade of strange, surreal and superfly in between. There’s even a song with Panda Bear of Animal Collective! For whatever reason, these tunes never made it onto any other official Flume releases. I guess that’s because they were destined for this. Hey, Things Don’t Always Go The Way You Plan, but they do always go — especially when it comes to Flume. – KAT BEIN
BLOND:ISH, Eran Hersh & Darmon, “Sorry (With Madonna)”
Madonna’s “Sorry” — the second single from her 2005 Confessions On a Dancefloor — gets an official edit today from BLOND:ISH and L.A.-based producer pals Eran Hersh and Darmon. With their rework, Madonna’s vocals get pitched way down “so the vocal was recognizable but not obvious,” says BLOND:ISH. “We really wanted the person listening to this to be like ‘Oh f–k, wait, I totally know this song!’”
Indeed we do, with the sleek as chrome original here taking on a tougher edge that pays homage to the dancefloor-centric ethos of the original and has the nod of approval from Madonna herself. “We soon started playing ‘Sorry’ at our shows, and the response was overwhelming,” BLOND:ISH continues. “So much so that I said, ‘You know, we must be only one degree of separation, let me try and get a hold of Madonna.’ As they say, ‘You’ll never know if you don’t ask’, so I knew I had to at least reach out to see if she would be interested in formally collaborating on this with us. A good friend of mine sent her a message directly and we made it happen just like that.” This fresh version for “Sorry” is out via Insomniac Records. — KATIE BAIN
Floorplan, “We Give Thee Honor”
Worship is back in session. Floorplan, the father-daughter duo of Robert and Lyric Hood, have returned to Luke Solomon’s Classic Music Company with their latest EP, We Give Thee Honor / Makes Me Wanna. It’s a high-energy showcase of their gospel roots with two tracks that summon a higher power to the dancefloor. A-side “We Give Thee Honor” is a stomper right out the gate, with driving percussion, organ stabs and piercing synth strings seemingly designed to bring you to the edge of sensory overload. Powerful yet soothing gospel-choir vocals and a looming, earth-swallowing wail—be it human or machine—takes listeners over the edge in the best way. Even when the club hits peaktime, “We Give Thee Honor” leads the way to a new level of house heaven. — K.R.
Chloé Caillet Feat. Poté, “Know Now”
If you’re looking to slink into the weekend with a vibe that’s equal parts runway model and shadowy figure in the back of the club, French DJ and producer Chloé Caillet’s “Know Now” is the dark and mysterious groove that can get you there. From her upcoming EP on CircoLoco Records, this absolute mood is hitting parts of our brain that haven’t been stimulated since The Knife dropped Silent Shout. It’s a little bit haunting, a little bit sexy, and definitely all the way stuck in our heads for the next few months. The song features a delicately cool vocal from her friend Poté. Look out for the rest of this EP coming in the spring. – K. Bein
Francis Mercier, “Kamili”
New York-based producer Francis Mercier is poised for his biggest year to date, with the Deep Root Records founder making his Coachella debut in April in the midst of a world tour powered by a string of excellent releases. That streak continues with today’s dreamy “Kamili.” Out via Diplo’s Higher Ground, the house track is a collaboration with Zimbabwean producer Nitefreak and Kenyan singer Idd Aziz, who delivers soulful lyrics in Swahili about his brother, who’s been missing for more than two decades.
“Kamili is undoubtedly my most exciting release to date. It is such an honor to be collaborating with the talented Nitefreak, Idd Aziz, and Higher Ground on this very emotional and powerful record,” says Mercier. “Bringing African musical excellence to the United States’ dance music community is truly exciting.” — K. Bain
This week in dance music: Tomorrowland dropped the lineup for its 2023 festival this summer, Beatport announced that it’s acquired a majority stake in the International Music Summit, HARD Summer announced a return to downtown Los Angeles after a 10 year absence, Moody Jones was named the GM of Dance at EMPIRE (a newly created role that follows EMPIRE’s acquisition of Dirtybird last fall,), Skream, Tiga and DJ Minx lead the lineup for Desert Hearts’ 2023 event, Tiësto, Tate McRae and Joel Corry experienced a come-up on Hot Dance/Electronic Songs via the trio’s new “10:35” remix, and we analyzed the dance/electronic Grammy nominees ahead of the awards this weekend.
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Amtrac, “Nobody Else”
Some robots will Say Anything to get the girl of their dreams, and if you can’t tell someone how you feel in words, say it with a song! “Nobody Else” is the perfect serenade to dedicate to your special someone. Amtrac’s latest single takes its vocal from a sample of the Four Tops’ 1965 R&B classic “I Can’t Help Myself (Sugar Pie Honey Bunch),” as a nod to the producer’s love of Motown. In true Amtrac fashion, though, there’s an odd hint of unhinged darkness lurking just below the synth-laden surface — and the adorable music video serves a fresh side of sinister ‘70s horror flick, too.
“Nobody Else” is the fifth single from Amtrac’s third studio album Extra Time, which was released in full today (Feb. 3) on his Openers label. The album is a cinematic showcase of vintage synth sounds, created during his time in lockdown. It’s something beautiful that came from a dark period, and we’re happy for the chance to dance to these tunes together with friends under the sun. – KAT BEIN
Schak feat. Kim English, “Moving All Around (Jumpin’) [John Summit Remix]”
After finding crossover success with Ewan McVicar’s 2021 single “Tell Me Something Good,” Patrick Topping’s Trick label unleashed yet another big hit this past October with “Moving All Around (Jumpin’),” the debut single from English producer Schak. The song, which samples late house singer Kim English’s “Bumpin’ & Jumpin’,” bursts at its seams with an infectious energy powered by a pounding bassline and vocals inspiring dancers to shake, shimmy and get silly.
John Summit has been a fan of “Moving All Around” since even before day one, rinsing it at Manchester’s Warehouse Project days before its official release. Perhaps in his biggest show of support, he has remixed the track himself. Summit nudges down the BPM a smidge, modding the original’s frenetic rave energy into something more tech-house-friendly with cryo-cannon builds and a sleek, grinding groove. “The UK hit by [Schak] has been stuck in my head for months and when [Topping] asked me to remix it i knew i had to give it my own spin,” he wrote on Instagram. Given Summit’s rapid rise in the past few years, it’s the kind of co-sign and audience expansion that can take Schak and “Moving” to the next level. — KRYSTAL RODRIGUEZ
Matt Guy, “The Devil”
Sometimes possession is fun! Let U.K. producer Matt Guy bring out your wildest urges via his latest, “The Devil,” an homage to the late ’90s/early 2000s rave hedonism that in fact samples the 2000 track “D.E.V.I.L.” by 666. (The sample isn’t just Guy being trendy either, as his The 90s Made Me Do It Radio 1 Mini Mix from last November demonstrated his true love for the ’90s rave sound.) Out via Armada, “The Devil” is pure peaktime fare as hot as the flames of hell itself. In this case that’s a very good thing. — KATIE BAIN
Habstrak, “Vision”
It’s been five years since Habstrakt left his native France to chase his dreams in sunny Los Angeles, and it’s taken about that many years to get his “Vision” clear.
“I wrote the first idea of this record when I first moved to Los Angeles in 2017, and it’s been haunting me since,” Habstrakt says. “I had a vision for it but could never get it right, until I recently decided to fully rework it after being inspired in Amsterdam for ADE and developing the album. This song is sort of a time capsule to me, with so many versions of it tied to memories of the life I started after moving from France to LA.”
The bass-driven house single was worth the wait. Out on Insomniac Records, its funked-up rhythm is sure to bring bodies to the dancefloor — and it’s only the first taste of things to come, as “Vision” is the second single from Habstrakt’s forthcoming debut LP. – K. Bein
Softest Hard feat. Blush, “My Boo”
Softest Hard is back with her first release of the year, “My Boo,” a pastel-coated remake of Ghost Town DJ’s’ 1996 hit of the same name. The L.A.-based producer seems to be on something of a nostalgia kick: last summer, she linked up with T-Pain on the Eiffel-65-referencing “I’m Blue.” Here, she collaborates with vocalist Blush on a “My Boo” cover that’s updated for today’s bedroom ravers. Whereas the original is sultry and laidback, made for a casual block party, Softest Hard cranks up the speed with a hardcore rendition whose beaming synths, pitched-up vocals and fast-paced drums fly by like a movie watched in forward motion. It’s fast, it’s sweaty, it’s cute and it’s out now on HARD Recs. — K.R.
Austin Millz, “Nobody Khan (Ain’t Nobody)”
Chaka Khan‘s 1983 classic “Ain’t Nobody” has been begging for a modern remix, with Harlem-born, Los Angeles-based producer Austin Millz heeding the call with his steamy, sexy, pure mood house edit of the hit. This one is all sunset vibes, dripping in blissed out sex appeal while maximizing the original’s sentiment that there simply ain’t nobody that can love me better. Out via Ultra, “Nobody Khan (Ain’t Nobody)” is the first of Millz’s many delicious edits to get an official release — a perfect way to celebrate the 40th anniversary of the song (and Chaka Khan’s 70th birthday) next month. — K. Bain
This week in dance music: we dug deep on the new app helping choreographers get paid, Daft Punk’s Thomas Bangalter announced a forthcoming orchestral album, Detroit’s Movement festival announced the phase one lineup for its 2023 show, we spoke with SG Lewis on the occasion of his new album, out today (Jan. 27), and we surveyed a bunch of DJ on how they manage their hard earned cash.
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Gorgon City, “Rumblah”
Are you ready for a b-side rumbler? Gorgon City’s latest release “Rumblah” is exactly that to the U.K. duo’s 2022 vocal-chop head knocker “Sidewindah” — but that doesn’t mean it’s any less strong. Rather, it’s deeper, darker; the kind of thing you’d play to a warehouse of heads in the wee hours of the night when the rave is at its most depraved.
“Like ‘Sidewindah,’ ‘Rumblah’ is an ode to the music that we grew up listening to; d&b, jungle, garage and grime,” Gorgon City tells Billboard. “We’ve really been enjoying going back to our roots with our recent club releases, and it’s been heavily influencing the production of our next album. We hope everyone enjoys the track. We’ve loved rumbling bass-bins with it over the last few months!” – KAT BEIN
Melle Brown feat. Loie, “Night Drift”
Since its launch in 2018, Monki’s &Friends record label has become a solid platform for highlighting emerging dance talent in the U.K. space, counting among its catalog up-and-comers such as Meg Ward, t e s t p r e s s, and Flaurese. Its next release comes from London’s Melle Brown, who debuted on &Friends last spring with “One More Chance” and followed that up with the Annie Mac-featuring “Feel About You,” one of Billboard’s top dance songs of 2022.
Brown’s new single, “Night Drift,” continues her string of warm house gems. Its stomping percussion, buzzing bassline and strobing synths set the nocturnal scene before blooming into swirling, smoky dreaminess filled with Loie’s sensual vocals and twinkling piano riffs. “Night Drift” is both cozy and freeing in its search for bright lights and feeling the wind in your hair, with a vibe shift that feels like finally breaking free of traffic on your own night drive and seeing only open road ahead. As Loie sings, “Keep drivin’.” — KRYSTAL RODRIGUEZ
Bonobo & Jacques Green, “Fold”
The eternally consistent Bonobo returns today with a track that falls neatly into the Bonobo oeuvre. Twinkly, sophisticated and built around a breathy pitched up vocal sample and a heavy kickdrum that land at opposing ends of the soft/hard spectrum, “Fold” is a collaboration from Bonobo (real name: Simon Green) and Canadian producer Jacques Greene, (whose real name, in a shocking twist, is actually Phil.)
“Phil was in L.A. and stopped by for a coffee and studio hang,” Bonobo says. “We made the bulk of the track that day. We each played a few various versions in our DJ sets over the summer (I even dropped it in a live show once) and made some decisions on how to finish it. It’s been going down really well in my DJ sets. Excited to get it out there finally.”
“Fold” drops at an auspicious moment for Bonobo — who next weekend is up for a pair of Grammys, for best dance/electronic recording and best dance album. With seven nominations to his name, but nary a win, we’ve got to say we’re rooting for him. — KATIE BAIN
Junior Sanchez feat. Nez, “Hit It”
House veteran Junior Sanchez returns to Defected Records with a sure dancefloor hit to start the new year, “Hit It” featuring Nez, made to jack up your heart rate and break a sweat. Sanchez builds a tightly knit rhythm teeming with perky synth stabs, fast-shuffling percussion and vocal whoops, which all unravel into a blurry peaktime frenzy. Meanwhile, Nez raps with a fun, dynamic flow that matches the production’s party-starting energy beat for beat. Sanchez says “Hit It” pulls from classic New York and Chicago house as well as Detroit techno— “as if Masters at Work had a jam session with Carl Craig,” he says, “and add Chicago’s young hero Nez’s unique style of rapping … The record is a snapshot of what was, what’s now & what’s tomorrow!”
The music video for “Hit It” was directed by Jamel Rankins (a.k.a. producer Blaqwell), who combined traditional design, illustration and editing techniques with AI systems to create a visual inspired by artist Ernie Barnes’ 1976 painting The Sugar Shack, which appeared in the end credits of American television sitcom Good Times. “This imagery had a big impact on both myself and Junior growing up on the East Coast of the U.S.,” says Rankins. “With this spirit in mind, I aimed to create something visually unique, rooted in the culture, and in line with the vibe of the track — the vibe of house music.” — K.R.
Juuku feat. Gianni Taylor, “Moonlight”
The thought of moonlight streaming through a window or lighting your lovers face can conjure feelings of quiet tenderness, and Juuku’s latest single does start with a bit of sensitivity. In the end, though, it harnesses more of a “the full moon makes people go all out” kind of vibe.
“This song to me represents capturing a beautiful moment of energy at night — one of the very first moments I was introduced to electronic music live,” the mysterious Juuku, who’s shrouded in shadow in most of his PR photos, says. “The energy, the people around me, and the type of world that I was brought into, and how magical it felt during that very first time.”
Its vibrant and colorful synths sing ecstatic over a quicktime beat. “Moonlight” serves as the first single from Juuku’s forthcoming EP Lavender Dreams and Scarlett Nightmares, set to be released on Dim Mak.“This EP … represents the two sides of the spectrum that encompass the universe I’m building,” he says. “I have synesthesia, which in my case [means] I can see colors when I listen to music, especially when I create it. It’s either in the tone of purple (lavender), or in the tone of red (scarlet). These two colors represent the two different colors that my music encompasses, and this EP is the gateway to this universe I call my own.”
What color is “Moonlight?” Listen and decide for yourself. – K. Bein
Mau P, “Gimme That Bounce”
Tech house’s young prince Mau P today drops the followup to his 2022 monster hit “Drugs From Amsterdam.” Such followups are never easy, but with this new one the Dutch producer extends both his sound and credibility, with the production indeed bouncing along at a peaktime clip, until Mau P slows down the entire operations to nearly a full halt before once again pressing go. Out via Insomniac Records and made of the same DNA as “Drugs From Amsterdam” — one of our 50 best dance tracks of 2022 — “Gimme Dat Bounce” is dark but not heavy, tech-house-ey but not paint by numbers, and generally just stylish, solid and a sign of Mau P’s likely staying power.
“When working on “Gimme That Bounce” my goal was to catch people off guard and get them locked into an instant groove,” the producer says. “With it being the follow-up to ‘Drugs From Amsterdam,’ I wanted to dive deeper into that big sound but still bring something new to the table. When I stumbled upon an old recording of myself, where I was talking about ‘that bounce,’ every piece of the puzzle fell into place.” — K. Bain
This week in dance music: Leading New York dance promoter Teksupport partnered with ArtsDistrict Brooklyn for a 20-show series launching this weekend with sets from Nina Kraviz and Magdalena, Lightning In a Bottle dropped the lineup for its 20th anniversary festival this May in SoCal, Skrillex shared a message on his 35th birthday reflecting on the “toughest year of his life,” movement in the Bassnectar camp seemed to suggest an impending direct-to-fans comeback, Skrillex, Flowdan and Fred again.. unleashed the “Rumble” in the top 10 of Billboard‘s Dance/Electronic Songs chart (the chart on which Elvis and Britney Spears’ “Toxic Las Vegas” also debuted this week), and we got the inside scoop oh how ODESZA scored two of the summer’s biggest headlining slots.
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And guess what. We’ve got more. Let’s dig in.
Yaeji, “For Granted”
To overthink is to get on a mental hamster wheel, simultaneously sprinting and stuck in place. Yaeji shares such a state of mind on her new single, “For Granted.” On the track, she seems to ruminate on her success: “I don’t even know/ Am I saying thank you?/ Am I enjoying it too?/ Am I taking it for granted?” she asks. Her coo-like vocals are hushed and strangely comforting, while the production, initially sparse, slowly builds into an elastic (yet still mellow) beat. After looping the same verse and chorus a few times, she finally reaches a breakthrough — “I stopped the thinking/ Let it rest and I’ll flow” — unleashing a furious wave of drum & bass in a moment of ultimate catharsis. “For Granted” is the lead single from Yaeji’s upcoming album With A Hammer, out April 7 via XL Recordings. — KRYSTAL RODRIGUEZ
Illenium feat. Nina Nesbitt “Luv Me a Little”
Perpetual favorite Illenium continues his reign over the biggest, most epic (and most epically emotional) realm of the dance kingdom, elevating that status today (Jan. 20) with a new power anthem, “Love Me a Little.” Featuring the rich, exquisitely pretty voice of Scottish singer Nina Nesbitt, the song takes it time warming up, starting with a music box feel and then launching off for the heavens with a big drop more than a minute in and lyrics to belt along with throughout. The track is the latest from Illenium’s self-titled album, coming in April, and comes with the announcement of a 33-date North American and European tour — which will see Illenium on the road from late May through the end of the year. — KATIE BAIN
Kaleena Zanders feat. Shift K3y, “Vibration”
Lots of folks have sought inspiration from the buzzsaw synth sound of ‘90s Euro-House anthems, but where so many sound like copies, Kaleena Zanders’ latest single with production from Shift K3y feels like the honest continuation of that powerful vibe. “Vibration” is electrifying and uplifting, the kind of jam you can ugly dance to while cleansing your soul.
“This might be one of my favorite songs that I’ve ever put out,” Zanders says. “The message of the song is exactly the kind of music I want to put out into the world. I always write from a space of healing. This is love and vibration, but soul and rave AF!”
It’s a big moment for Zanders, whose booming vocals fit perfectly over Shift K3y’s pumping beat. His songs were some of the singer-songwriter’s favorites when she first got into the electronic scene.
“Through the years by way of my good friend AC Slater, I got to know Shift K3y, and he’s one of the most smoothest, tender and talented dudes in the game,” Zanders says. “Making this track in London came effortlessly and natural. The energy in the room was super high with the help of, my now friend, writer/singer/DJ Alex Mills. We had loads of laughs and fun little kid-like moments that made everyone comfortable to create. I’m so freaking happy this song is out! I hope the world loves it too!” – KAT BEIN
Walker & Royce, Just What the World Needs EP
Brooklyn-L.A. duo Walker & Royce are back on their Rules Don’t Apply label with a new EP, and they didn’t come alone. The EP, a two-tracker called Just What the World Needs, features collaborations with Mindchatter and VNSSA (with whom they previously teamed on “Rave Grave” and “Word”). Mindchatter collab “Same Way Down” goes introspective, with Mindchatter’s airy vocals rising from an abyss of swelling, trance-y synths and a rumbling bassline, while the VNSSA-featuring “Outer Space” aims for 3:00 a.m. afters delirium with driving percussion, trippy lazer-like synths dipped in acid and altered, otherworldly vocals. Just What the World Needs arrives a week before Walker & Royce head out on their U.S. tour, hitting Detroit, Queens, San Francisco and more. — K.R.
Jerry Garcia, “The Wheel” (LP Giobbi Remix)
They say that success is a function of opportunity meeting preparation, and we can’t think of a more apt descriptor for Garcia (Remixed), an official edit of Jerry Garcia‘s 1972 debut solo album from lifelong Deadhead LP Giobbi. Taking on classics like “Deal” and “The Wheel,” the producer — along with fellow psychedelic enthusiasts including DJ Tennis and Le Chev — bring Garcia’s already sublime work to a place of true sunshine daydreams, translating Garcia and The Gratefel Dead for house heads and surely bringing some new fans to the family in the process.
“Getting to remix Jerry Garcia’s entire first album is one of the coolest things I will ever be a part of,” LP says. “Being raised by Deadheads, Jerry felt like a part of my family growing up. I’ve known his voice intimately since the womb and to this day his voice is synonymous with home. Getting to sit in the studio and listen to his creations and pull them apart and appreciate every part of them in a new way was beyond a dream come true. I felt so connected to my family, where I came from and where I’m going through this process.” – K. Bain
Sohmi, “Only One”
Close your eyes, take a deep breath, and let the absolutely perfect groove of Sohmi’s “Only One” wash over you like a melodic baptism. The L.A.-based producer/DJ had a massive 2022, and this silky-smooth single released on the artist’s own label, Permission (via Thrive), is a flag in the sand that says Sohmi shall conquer 2023 as well. She also started the year by playing six shows in four cities in one 72-hour period, so perhaps she too needs to sit back, listen to “Only One” and catch some relaxation. This absolutely delicious tune is the second single from Sohmi’s forthcoming EP Recital. Let it soothe your soul with every listen. – K. Bein
Skrillex feat. Bobby Raps, “Leave Me Like This”
Fred again.. may not have a credit on the new Skrillex track, but the fact that he and Skrillex have been spending loads of time together is easily apparent on this one, via the incorporation of Fred’s style of melodic earworm vocals and a general atmosphere of emotional house frenzy. That vibe shifts into full Skrillex gear around the one-minute mark, with a buzzy bass layered over vocals from Minnesota singer Bobby Raps. In a moment of delicious homage, Skrill even samples his own all-time classic “Scary Monsters and Nice Sprites,” with its iconic “OH MY GOD” drop placed into the new song as it moves into its third and most overtly D&B-oriented movement. “Leave Me Like This” is of course the latest in January’s blitz of new Skrillex material, all of which is leading to his first new album in nine years, the release date for which has not yet been announced. — K. Bain
This week in dance music: Everything But the Girl announced their first album in 24 years is coming this April; Calvin Harris, The Chemical Brothers, Eric Prydz’s renowned HOLO show and a strong crew of other dance acts were included on the 2023 Coachella lineup, Marco Carola, Camelphat, Gordo and more were announced for March’s SXM Festival in Saint Martin/Sint Maarten, The Chainsmokers shared some personal news, Iranian producers Dubfire, Lady Faith and Starfari reflected on the ongoing protests in Iran, the aforementioned Harris shared a selfie of he and longtime collaborator Ellie Goulding in the studio together, Richie Hawtin announced an education-focused techno tour happening this March, Skrillex, Fred again.. and Flowdan’s “Rumble” debuted on Hot Dance/Electronic Songs and Insomniac Events announced a rave cruise called, naturally, EDSea.
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That’s a lot! But is there more? You know there’s more. Let’s dig in.
M83, “Oceans Niagara”
Prepare thyself. M83 is back, and we’re going “beyond adventure” into epic territories where synths shine like neon diamonds and the horizon glows in massive walls of sound. “Oceans Niagara” is a cinematic overture of a lead single, the first taste of things to come from the project’s forthcoming album Fantasy, due out March 17. The album is the first from M83 since 2019’s DSVII.
“I wanted this record to be very impactful live,” says M83’s Anthony Gonzalez, the man behind the music. “The idea was to come back with something closer to the energy of Before the Dawn Heals Us. The combination of guitars and synths is always in my music, but it’s maybe more present on this new record than on the previous ones.”
“Oceans Niagara” is bold, explosive and mostly instrumental. It’s got a cool, colorful music video that feels warm and fuzzy with ‘80s nostalgia. It’s definitely got us hyped for this new era.
“It’s the very first collaboration between my brother Yann Gonzalez and myself on a music video,” Gonzalez continues. “I wanted to create this sense of friendship. Listening to that song, I imagine people running, driving fast or riding spaceships together. It’s this sense of going forward, like a magic potion that you take to discover new worlds. Beyond Adventure!” – KAT BEIN
SG Lewis feat. Charlotte Day Wilson & Channel Tres, “Fever Dreamer”
With two weeks to go until SG Lewis releases his latest album, AudioLust & HigherLove, the U.K. producer has shared another preview in the form of new single “Fever Dreamer.” The song features friends old and new: Canadian singer-songwriter Charlotte Day Wilson and Compton’s Channel Tres, who previously guested on Lewis’ “Impact” in 2020. Together, they turn “Fever Dreamer” into a sultry disco daydream, a romantic fantasy which Lewis says is about “all-consuming admiration for someone.” Wilson’s smoky, rich vocals melt into the flirty bassline and swirling synths, while Channel lets flow his lyrics with his signature suave nonchalance. With a chorus that approaches transcendence, “Fever Dreamer” is near-delirious delight. — KRYSTAL RODRIGUEZ
Whyte Fang, “Transport God”
Alison Wonderland isn’t messing around with her Whyte Fang project, which showcases the Australian producer’s harder, indeed sharper-toothed side. The latest is “Transport God,” a hard, doomy, heady head-banger that delivers the first drop within its first five seconds. And we like that.
The track, like all forthcoming Whyte Fang material, is out via FMU Records, launched by Wonderland last month to service her Whyte Fang releases and music by other rising producers. Whyte Fang will also make its Coachella debut, with the project included on the lineup that dropped earlier this week. — KATIE BAIN
Amtrac, “Heard Me Right”
Time is money, especially when paying for parking in the big city. Thank goodness Amtrac is here to be the change.
The Kentucky-bred, Los Angeles-based artist is gearing up for the release of his forthcoming third album Extra Time, and to celebrate the release of his fourth LP single “Heard Me Right,” he danced through the streets of L.A., walkman and change purse in hand, doling out quarters to unsuspecting parkers throughout the urban sprawl. “It was a fun passion project between me and (director) Greg Sheppard,” he says. “A man takes it upon himself to provide the people of greater Los Angeles with little ‘Extra Time.’ He can dance, he is strong and he has plenty of coins.”
“Heard Me Right” was actually the first song Amtrac finished for the album. It came together during the peak of COVID-19 lockdown in mid 2020, and he says it stood as a “sort of light at the end of the tunnel.” The hazy synth hook does sound hopeful, if a bit trepidatious in its optimism, as Amtrac sings of pieces falling into place and something to hold on to. Let this moving mix of rhythmic bass lines and atmospheric melodies help you to lose yourself in a better tomorrow, and pay it forward if you can! – K. Bein
Ruth Royall, “Walk Through Fire”
Ruth Royall throws her sorrows to the flames on her new single, “Walk Through Fire.” The Bristol-hailing artist, a longtime vocalist for drum & bass producers like Makoto, Pola & Bryson and Mollie Collins, last year stepped into her own solo career. On “Walk Through Fire,” her soulful singing of lost love smolders and swells alongside the raging production, whose increasing percussive energy erupts with the force of a gas explosion — grief and fury, each fueled by the other. “When did we get so lost?” she cries. “I always had my heart on my sleeve / I loved you carelessly.”
“The song is about loving someone so much that you would literally walk through fire for them, but realizing that they don’t love you in the same way,” Royall says. “Feeling like you wasted your youth loving someone who doesn’t feel the same. Giving your whole self to someone and even when you are completely honest they give you nothing back.” — K.R.
The Chainsmokers feat. Cheyenne Giles, “Make Me Feel”
Okay yes, The Chainsmokers made headlines earlier this week by disclosing some of the extracurricular activities of their early tour days. (And really, no one deserves to be shamed for sexual choices made among consenting adults!) The pair also dropped a new track, and, much like the news that preceded it, it’s something of a surprise, with the pair — who as of late have been found in a more pop-forward/experimental mode — going full dancefloor, synthesizing ’90s house, tech-house, a lift of the immortal sax hook to The Lafayette Afro Rock Band’s “Darkest Light” (previously borrowed by everyone from Wreckx-n-Effect to Jay-Z) and a funky, big-ass drop. Made in collaboration with San Diego producer and friend of Les ‘Smokers Cheyenne Giles, and — surprise again! — out now via Tiësto’s Musical Freedom label. — K. Bain
And we’re back, baby. As we ease into the new year, the dance world is coming hot out the gates with a week of action dominated by the Return of Skrillex via a pair of new tracks (more on that below) and the announcement of his first solo album in nine (NINE!) years. The one and only Sonny Moore also played a very hot, extremely sold out b2b2b last night in London with fellow greats Fred again.. and Four Tet.
Beyond that — there is, of course, always new music. Ready for 2023? Let’s dig in.
Tiësto, “Lay Low”
While most tech house producers mine ‘90s and 2000s R&B hits to craft killer club hooks, Dutch hero Tiêsto digs into the amber-hued harmonies of the ‘60s to bring a haunting bit of bass-driven atmosphere. “Lay Low” is both fiercely modern and nostalgic, pitting a deep vocoder against an angelic chorus that feels reminiscent of The Mamas & The Papas. It’s a song about having “a real good time” set in a minor key, pulling at your heartstrings while encouraging you to close your eyes and get lost on the dancefloor. It’s a real winter mood to kick off Tiësto’s 2023. Let it warm you to the bone. – KAT BEIN
Skrillex, “Way Back”
We’ve gotten more solo Skrillex action in the past seven days than the past few years combined, with the producer announcing his forthcoming album project on New Year’s Day, then stoking the fires of internet hype by following that news with the new Fred again.. and Flowdan collab “Rumble,” then a b2b2b set in London with Fred and former collaborator Four Tet. And now, we have another new single: “Way Back.” Clearly extremely comfortable working with collaborators, the track unites Skrill with viral electro-pop phenomenon PinkPantheress and star rapper Trippie Redd. But whereas “Rumble” explored the murkiest realms of the low end, this one is nearly effervescent, with a bouncy production evoking D&B and finishing with a warm sax solo that once again demonstrates there’s little Skrillex can’t do. — KATIE BAIN
Alex Lustig feat. Sølv, “Fade”
Alex Lustig had a pretty eventful 2022: Beyond releasing his debut album Fate, he co-produced tracks for Lil Wayne (“Anti-Hero” feat. Lil Tecca) and Gunna (“idk that b*tch” feat. G Herbo). He also helped guide Drake through his full-length dance-floor detour, Honestly, Nevermind, by co-producing five of the LP’s tracks, such as the Ibiza-transporting “Falling Back” and “Overdrive.”
For now, though, Lustig is ready to reassume his place in the spotlight. The Toronto-based producer has released a new single, “Fade,” as the first taste of his forthcoming album Fate (B-Sides). “Fade,” which features London singer Sølv, is slightly more upbeat than his usual fare, but it’s still the kind of music you want soundtracking a 2:00 a.m. joyride to clear your head: deep and driving, with atmospheric synths and elegantly enveloping bass that flip the haziness of your mind into a vibe.
“’I love warm analog pads,” says Lustig. “My goal is to always add depth to whatever sound I’m trying to create, to get lost in that world. ‘Fade’ is an introspective glimpse into the insecurities of a relationship and the way love makes you vulnerable. It encompasses the duality of fear and faith, two polar opposites which are both experienced simultaneously when you open your heart.” — KRYSTAL RODRIGUEZ
Buy Now x PARISI, “Church”
Last year Steve Angello and Sebastian Ingrosso quietly relaunched their house/techno project Buy Now, which existed as Swedish House Mafia was forming back in 2008. Amidst The Great Swedish House Mafia Comeback of 2022, the duo also delivered some genuine Buy Now heat, most notably with the bright-as-hell, sleek-as-chrome Salvatore Ganacci house collab “Let You Do This.” Angello and Ingrosso this week get much darker with the techno-leaning single “Church,” a hypnotic four minutes of kick drum, looped vocal samples and some laser-like synths that altogether evoke 3:00 a.m. on a pitch dark dancefloor — indeed, a place so many of us go to worship. — K. Bain
RuPaul, “Black Butta”
Racers, start your engines: alongside a new season of RuPaul’s Drag Race, RuPaul is back with a new album, Black Butta. As previous singles “Show Me That You Festive,” “Star Baby” and “A.S.M.R Lover” show, Black Butta is a runway-ready, pop-R&B-dance confection coated in pastels and affirmations. (House fans especially will notice prolific producer Eric Kupper’s feature on closer “Courage to Love.”) Beyond the LP’s catchy lyrics and uplifting piano-house melodies, its title track trades in the runway for more rave-inspired sounds with a dreamy, drummy, bass-heavy ode to a hottie at the club: “gifted, slim, thick, thin waist, still got thickness, so blessed,” Ru sing-speaks. “Oh my gosh,” indeed. — K.R.
Manila Killa Feat. Nevve, “Everyday, Everyday” (Live Edit)
The start of a new year is the perfect time for forging ahead with new plans, but it’s also a great time to reflect on the past. After all, how can you know where you’re going if you don’t take stock of where you’ve been? At the turn of this fresh start, Manila Killa takes a moment to celebrate his own past with the official release of a live edit that’s been central to his career so far.
“Five years ago, I put out a little song called ‘Everyday, Everyday’ featuring Nevve. It changed my life,” Manila Killa says on Twitter. “I decided to make a live [edit] of it that I’ve been playing out over the last year, and it’s finally coming out. So, so excited for you to have this!!”
The original is light and sweet, with hard-hitting synth drums and neon sounds, but the live edit wrings out every last drop of emotional weight from Nevve’s vocals with a slowed-down tempo, half-time beat and acoustic piano intro. It’s still got all the hands-in-the-air grandiosity fans know and love. It’s just even more epic and cinematic. Use it to soundtrack your own fresh start in 2023. – K. Bein
This week in dance music: We talked to nightlife promoters about how they kept crowds on the floor this year, we chatted with Dutch producer Mau P about his hit “Drugs From Amsterdam,” the Rüfüs Du Sol guys dropped the lineup for the festival in Mexico’s Baja Peninsula this May, Kaskade and deadmau5 didn’t let an exploding generator stop them from playing a historic show at the L.A. Coliseum, we said arrivederci to the second season of White Lotus with this house edit of the show’s theme song, we heard an exclusive from Soulwax’s soundtrack for the latest Grand Theft Auto Online update, Diplo teased the return of his country project, Fabric London enacted a lifetime ban on an attendee who shared a video of a fellow clubgoer, Chris Lorenzo was announced as the headliner for Monster Energy’s 2023 Up & Up tour, Sony Music sued Ultra Records Founder Patrick Moxey over his continued use of the Ultra name and Fred again.. made moves on Top Dance/Electronic albums.
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And last but not least, we assembled lists of our 50 favorite dance tracks and 25 favorite dance albums of the year.
Is there more? There’s always more! Here, in the final First Spin of 2022, are the best new dance tracks of the week.
Zeds Dead & GRiZ, “Ecstasy of Souls”
The mere thought of a collaboration between melodic bass masters Zeds Dead and GRiZ elicits cinematic grandeur and an epic mood — but who could have known it would come to life in Ennio Morricone proportions?
“Ecstasy of Souls” is built on the dramatic back of the late Italian composer’s iconic theme for The Good, The Bad, and The Ugly. This track inherits all those traits; building a divine feast of sound and texture over a beat so bad (in the Run D.M.C. sense) it’ll set your dance floor on fire. Once the drop hits, you’ll be making ugly faces in pure astonishment.
“We were doing a big back-to-back set in Arizona and wanted to create something super epic for the intro,” the Zeds Dead guys are quoted. “We tossed around a few ideas and finally decided to try something with a version of The Good, The Bad, and The Ugly theme. Something about the Wild West and the new frontier seemed to be calling our name. GRiZ is the best, and this was a lot of fun to work on. It brought us back to our old remixing days. We’ve been playing it at every show since, and it’s gotten the most insane reactions. Stoked to finally put it out!” – KAT BEIN
DJ_Dave, “Break”
While the rest of us are planning for 2023, DJ_Dave is already raving in 3023. The future-facing algorave producer is back with her latest single “Break,” a wistful track somewhere between pop, electronic and cyberspace. Its drum patterns softly pitter-patter like tears spilling onto concrete, while Dave begins over solemn synths and layers of pitched vocals: “I’m burning out/ Asking too much, losing my touch.”
“I made this song so long ago when I was messing around with Sonic Pi for the first time and I’m so excited to finally get to share it,” she wrote on Instagram. The single arrives in the form of a video involving both a live code edit and live performance. “my first time singing + coding in a vid alone because I really wanted to showcase everything that goes into the process of performing.” — KRYSTAL RODRIGUEZ
Deorro feat. Lost Boy, “Nobody Like You”
Successfully cycling through genres (including the Latin sounds of his heritage) throughout his career, Deorro has now found a house groove in “Nobody Like You.” Out via Ultra Records, the bouncy track has a melancholic edge, with vocals from L.A. singer Lost Boy proclaiming “I don’t want to be nobody like you,” while illustrating the frayed end of a romance gone wrong. The track got major shine during Deorro’s recently completely 60 (!) date Tour De ORRO, and additional play during his Dec. 8 halftime show during the L.A. Rams game at SoFi stadium, in which he got his hometown crowd on their feet with his signature celebratory and sound-traversing style. — KATIE BAIN
Skepsis & Raphaella, “Know What It Means”
Is there anything better in life than a bangin’ drum and bass beat with a strong female vocal and a kickin’ hook? It’s hard to imagine a more pure alternative when jammin’ to Skepsis’ latest. “Know What It Means” is the U.K. bass producer’s first official taste of d’n’b, and we’re hoping this is the start of a strong trend. Persian-British singer-songwriter Raphaella delivers a top-notch performance over the chune so hyphy that our sneakers might catch blisters. The music video is pretty pro as well: Directed by Ranvia Kaur Johal and Eleanor Grace Hann, its story of a young couple that falls out of love will get ya right in the (very true-to-life) feels. – K. Bein
Jackie Queens, “I’ll Find a Way”
Perseverance is at the heart of Jackie Queens’ new song “I’ll Find A Way.” The South African house heavyweight brings a simultaneous determination and comfort through her rich vocals, which breeze over an Afrohouse rhythm that chugs towards a chest-swelling crescendo. With lyrics about strength and taking pride in warrior roots, the song is described in a press release as a “tribute to Black women’s courage.” “I’ll Find a Way” comes from the soundtrack for YE! A Jagun Story, the first part of a forthcoming film trilogy from Nigerian-American filmmaker John Oluwole Adekoje and Bomb Squad producer/composer Hank Shocklee. — K.R.
Subtronics, ANTIFRACTALS
Philly-based producer Subtronics ends 2022 with a nod to both the year that was and the year ahead with the release of ANTIFRACTALS, a batch of deliciously dirty, rail-riding edits of his already hard-hitting LP FRACTALS, released this past January. The new LP is packed with remixes from what feels like half the bass music community, with contributions from PEEKABOO, Virtual Riot, Jantsen, Wooli and Grabbitz, and edits from Subtronics himself. “I’m honored to have so many top-tier producers put their spin on my vision, it really means the world to me, and I’d like to extend a huge thank you to all of them,” says the producer born Jesse Kardon. “Over the last year, I have continued to evolve as an artist, so ANTIFRACTALS has been an awesome journey for me to refine FRACTALS even further. I think I like these versions better than the originals.” Surely much of both LPs will be heard on the producer 27-date North American tour, which launches on January 13 and takes him to venues including L.A.’s 17,000-person Kia Forum. — K. Bain
This week in dance music: Alison Wonderland announced the launch of her new label FMU Records, Daft Punk’s Homework: Remixes debuted on Top Dance/Electronic Albums and Madonna’s “Gambler” made its streaming and digital sales debut — almost four decades after its release.
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And new music? Of course. Let’s dig in.
Anabel Englund, “Need Me Right”
Picture this: You’re in a dark club. The dance floor fills with smoke, and you’re dancing with your eyes closed to a heavy bass rhythm that feels like the heartbeat of all humanity. You open your eyes, the smoke starts to clear, and your crush comes walking out of the shadows. It’s late enough that you’ve got a pleasant buzz on, but not so late that you’re a total sweaty mess, and this beat has got you feeling like you could take over the world — so you go in for the kill, and by the end of the night, your crush is worshipping the ground you walk on.
That’s the kind of vibe Anabel Englund’s latest single “Need Me Right” is serving. It’s powerful, mysterious, sensual and very addictive. She worked on it with Paul Harris of Dirty Vegas fame, the same group that gave us the classic hit “Days Go By.”
“In a cozy, sky-lit studio in London last August, I worked in a session with one of my favorite co-writers, Paul Harris, and a new producer I had just met, James Hurr,” Englund says. “They had played me a few ideas they started, and one in particular really grabbed me. Within a few hours, we had written and recorded ‘Need Me Right,’ which felt intentional yet effortless. I am especially happy to release it in the later part of the year because the vibe just fits. This song is special and I love the story, and I can’t wait for everyone to hear it!” – KAT BEIN
Kx5 & Elderbook, “When I Talk”
It’s already a rush to be blessed with a full musical project from Kaskade and deadmua5. But now the duo has collaborated with Elderbrook, whose got one of the silky-smoothest, funky-coolest voices in today’s dance music scene. “When I Talk” is beautifully dynamic, starting slow and low with a burning spotlight on Elderbrook’s steamy vocal, only to explode in an energetic rhythm custom built for the club. It’s a real steady grower, raising your body temperature with each new musical chapter, but just when you’ve caught the whole vibe, it disappears back into the mist.
“The song is about barriers; shutting people out and dealing with that,” Elderbrook says. “The song means a lot to me, I’m so happy to have it coming out finally and to be part of the project.” “When I Talk” is the fifth single from the Kx5 project, and it comes just before the duo’s big celebratory showcase at the Los Angeles Memorial Coliseum Saturday, Dec. 10. If you’ve got tickets, study up on this groove, because it’s sure to be a highlight of the night. – K. Bein
HoneyLuv feat. Dope Earth Alien, “Sway”
The Cleveland-born producer puts a cherry on her breakout year with “Sway,” a sleek, sexy house bop featuring rapidfire vocals from Toronto-based singer/songwriter Dope Earth Alien. Out via Insomniac Records, the track, HoneyLuv says, “is about letting the rhythm take control and letting it all out on the dancefloor as you sway with the beat.” It’s a straightforward task the song will surely accomplish during HonelyLuv’s upcoming sets at Holy Ship! Wrecked, Lights All Night, and Countdown NYE. – KATIE BAIN
La Goony Chonga, Danny Daze & Nick León, “Phonkay”
What does Miami sound like? According to the new 44-track compilation from Danny Daze, the 305 reeks of dark analog synths, psychedelic loops, haunting hooks, experimental noise and dirty beats — and that’s not wrong! Homecore! Miami All-Stars gathers fresh sounds from some of the most influential names on the Miami electronic scene over the last three decades. Otto Von Schirach, Craze, Murk and Lazaro Casanova are sandwiched between tunes from INVT, Sister System, Jonny From Space and Troy Kurtz. We’ve also got Sel.6, Jesse Perez, Richie Hell, Shinobi. We would love to list all the names, but you should just give the comp a listen — with the above b3b from La Goony Chonga, Nick León and Daze himself serving as a nice teaser.
“This compilation focuses on the connective tissue that is Miami,” Daze says. “There’s a misconception of what Miami has to offer. It has a rich history of all sorts of music including electronic music. From house music legends to IDM and hip-hop pioneers, this release is intended to show what we’ve been about for the last 30-plus years. We’ve always maintained a love for our city and want to focus on how we’ve all influenced each other. The new generation is pushing things forward while holding the standard prior generations set. There are eyes on Miami at the moment, and this compilation may help paint a better picture as to where we come from and where we’re going.” – K. Bein
Claude VonStroke, “Don’t Make Sense”
VonStroke is a master of productions that bump and groove with just little bit of weirdness, but his latest is just a triumph of full-on house sensuality. “Don’t Make Sense” starts on a low simmer, with CVS progressively turning up the heat over six-plus minutes with layers of scintillating percussion, a hypnotic vocal announcing “don’t make sense” in a way that very much does, and then making a few gear shifts into more ethereal production before embracing shimmery peaktime IDM. Marking CVS’ second non-Dirtybird release of the year, “Don’t Make Sense” is out via Germany’s Moon Harbour, a move of which CVS says, “I don’t usually release music on other labels — but there are a handful of house labels that inspired me and shaped my sound. Moon Harbour is one of those, and I’m so happy to release this record with them.” — K. Bain