Are you a producer who has made an original track? Chances are that after countless hours spent compressing snares and automating filters, you finally finished your latest masterpiece only to find that your viral visions of an open-armed audience eluded you.
It’s a matter of exposure; the nature of the industry leaves relatively few spots for under-the-radar artists to snatch a share of the spotlight. Too often we see artists slapping acapellas onto their finished originals in an attempt to garner some blog recognition as a remix. Don’t feel bad, the strategy makes sense, as readers are generally more likely to press play on a remix of a song they know than an original by an artist they don’t. But just because it may occasionally work, does that mean we should settle for an unsatisfactory status quo that diverts creative energy away from its actual aims? When it comes to a music scene we are passionate about, our goal is to encourage creativity, not reward stagnancy.
That’s where Auditions comes in. Every two weeks the feature will serve as a way of providing an outlet for fresh and original material to earn the audience it deserves. Each edition of Auditions will showcase a handful of standout submitted original mixes from a diversity of genres.
If you would like to submit a track to Auditions, please send an email to firstname.lastname@example.org with your artist name and track name in the title. Only unsigned original productions will be considered. No remixes, bootlegs, edits or mash-ups allowed. One submission per artist per month. We’ll be also be accepting private Soundcloud links only, any emails containing attached files or links to other sites will be deleted. If your track is accepted for the showcase, we will contact you about verifying its authenticity and making it public.
We’re looking forward to hearing your music and giving it the recognition it deserves!
“You ever heard this song?” Gary Richards asks as I arrive, reaching across his desk to crank the volume.
An ululating instrument ascends from the bowels of Live Nation’s Beverly Hills office building, phased and twisted into an acid-like lead above pounding drums. I haven’t, but I immediately wish I had.
The track is an early Aphex Twin cut called “Didgeridoo,” courtesy of Richards’s – aka Destructo’s – 1992 mixtape. The HARD boss spins his sticker-plastered laptop around to show me the cover art, a mock-up of a cassette tape with the A-Side marked “Hard” and the B-Side labeled “Medium.”
“Why did you call it Hard?” I ask.
“Because this side was more banging,” he replies without pause.
Sometimes in times of change, we look for signals from higher powers that the path we tread is the correct one. Barely one week into a major cross-country move to Los Angeles, it hadn’t taken too long for my omens to arrive, be it in the form of eye-opening festivals on the shores of Lake Skinner or Animal Style fries at In-N-Out. But it was the discovery that Dixon would be gracing my first Friday night in the city that told me I had arrived where I belonged.
To call John Dahlbäck prolific is an understatement. The long-locked Swedish scene stalwart has amassed an eye-popping discography that runs the gamut from subterranean tech cuts to big-room ready progressive house floor pounders. On his new 18-track mix album Mutant Presents, released on Dahlbäck’s Mutants Records imprint, the versatile producer showcases a cohesive array of electro-infused progressive house tracks by himself and other Mutants artists that well embody the artist’s own stylistic approach, evolving to embrace new musical trends without compromising production finesse and attention to detail.
The hour-long album kicks off with a contemplative introduction courtesy of the label boss himself that settles quickly into the progressive electro stylings of Faustix‘s “Inner Freak.” Lucky Date‘s chugging electro bass drives a muscular remix of John Dahlbäck & Greg Cerrone’s “Every Breath,” an early standout track that serves to set the tone for the electro-infused fare to follow. Further notable tracks include the soaring synth driven Feenix Pawl remix of Dahlbäck’s ”Diamonds” and Astro’s “Bomba,” which sports crushing electro elements in a progressive-minded arrangement.
As I wrote in last month’s editorial, music production is an ocean whose depths can be simultaneously exciting and overwhelming to explore. As with any adventure, certain destinations are best reached with the aid of a seasoned guide.
I’m excited to introduce Dancing Astronaut Studios with Dubspot, a new weekend feature for Dancing Astronaut. I will be partnering with Dubspot, a premier school for music production, DJing and performance, to showcase my continuing journey through dance music production. Set against the backdrop of Dubspot’s Online School, DA Studios will spotlight production concepts and narrate lessons learned, as well as provide a forum through which Dubspot’s acclaimed faculty can impart some of their knowledge and expertise.
Dutch progressive duo Vicetone has been making some serious waves as of late, culminating in a high profile Protocol Recordings debut that is poised to elevate their forward thinking sound to the next level. Containing simply elegant orchestrals that meld seamlessly into a multifaceted build, the track really takes off upon its complex lead synth-driven drop that pairs a powerful melody with a mature arrangement approach. In a sea of similar big-room ready tracks angling for festival play, “Tremble” truly stands out as a unique production upon which its creators’ painstaking care and attention to production detail have been rendered starkly evident. With an August 5th release fast approaching, expect “Tremble” to be one of the most memorable releases of the summer.
Destructo and the fine folks at HARD have finally released the schedule of set times for this year’s HARD Summer, unveiling an eye-popping array of talent on the Hard, Harder, Summer and Underground Stages. As with any event of this magnitude, plenty of difficult decisions await the festival-goers at Los Angeles State Historic Park next weekend. Luckily, it appears the organizers have done an admirable job separating the sets of artists who draw similar fan-bases. Check out the full Saturday and Sunday schedules after the jump.
Carnage continues to provide plenty of festival music fodder for the summer season, this time teaming up with Dutch producer Tony Junior on a main stage offering out this week on Dim Mak. “Michael Jordan” is every bit as overblown as the stages it was intended for, featuring a carnivalesque lead melody, a chopped vocal sample and a straightforward drop intended to induce crowd bouncing in the aggregate. Amid a wacky rollout campaign that included Carnage’s head photoshopped on His Airness’s shoulders and no shortage of #chipotlegang refrains, the track should be a hit with his fan-base and turn up in more than a few festival sets over the second half of the summer. Check past the break to hear the first episode in Carnage’s newly launched Sirius XM radio show.
Given his prolific past, it has been a bit since we’ve heard from Aylen. Now we know why. The New Jersey electro producer just unveiled his latest EP, giving away two stomping electro house originals that he had been hard at work on in the wake of his previous remix releases.
Title track “Rapid Fire” is the standout single on the release, sporting a simple yet effective syncopated electro lead that sandwiches warm pads and bright plucks before returning in the form of a smooth drop following a snappy snare-driven build. Meanwhile, “Damage Control” is defined by a growling electro bass which guides the listener through a funky maze of complextro stabs into its own menacing build. Together, the tracks represent a more consistent electro-driven sound for a multifaceted producer who has struck varied tones in his prior output.
Free Download: Soundcloud
After its tantalizing edit was previewed on Hardwell’s acclaimed Revealed compilation, Malaysian duo Goldfish & Blink have at last released the full version of “Here We Go Again.” The young Kuala Lumpur natives have made their Revealed debut in high flying fashion, layering trance-inspired filtered synthesizers over a plodding kick and thumping toms. Its multifaceted build features the namesake vocal sample stuttered above foreboding bass-work that characterizes the drop as well. Southeast Asia has yet to really make a major EDM impact to date, but its combination of youth and tech-savvy should make the region a player in the future. As far as Goldfish & Blink are concerned, however, that future is now.