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Flux Pavilion revisits ‘Telsa’-era sound with new single, “Technicolour Psychic Vision”

Have you ever spaced out with a song on repeat, potentially for hours, and you look up and realize it’s been the same song? And yet, you’re not tired of it? That is “Technicolour Psychic Vision” from Flux Pavilion in a nutshell.

After transitioning to a bit of a different sound in his 2021 album .wav, “TPV” is a welcome reminder of his Tesla sound from 2015 that had hits like “Vibrate,” “International Anthem,” and “Who Wants to Rock.” The repeated vox, hard guitar riffs, and Flux’s own vocals shining through in the pre-drop, plus the rolling drums, the bass… everything is such a wonderful nostalgia bomb while still feeling incredibly current. It’s a testament to his production style that is truly timeless.

Check out “Technicolour Psychic Vision” from Flux Pavilion below!

 

Photo credit: Fiona Garden

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Flux Pavilion Reveals He’s Just Finished A Track With Comedian Hannibal Buress

Just last week, Flux Pavilion revealed he was working on an ambient album plus two additional albums, months after releasing his newest album, .wav. Now, it seems we know at least one of the songs coming on one of the albums, and it’s with comedian/actor/musician Hannibal Buress.

Probably most well known for his role on The Eric Andre Show, Buress is a wealth of talent and it’s no surprise he’s made his way to Flux Pavilion, who, by all metrics, has always been ahead of the curve when snagging guest artists on his tracks. Hell, he’s still one of only two EDM artists (the other being Rudimental) to get a Childish Gambino feature, and he did it in 2013 before the rapper/actor released his seminal Because the Internet album.

So far, all we know about the new collab is that it “exists in the universe.” As for the release date of this track or anything from the other album, apart from the ambient album Overworlds dropping in 2022/2023, we’ll have to just wait and see.

As of today,

a Flux X @hannibalburess track exists in the universe.

And it's rad. pic.twitter.com/Knwh90REpq

— fluxpavilion.wav (@Fluxpavilion) August 20, 2021

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Flux Pavilion Reveals Title Of New Ambient Album And Two More Albums In The Works

Flux Pavilion dropped his newest album, .wav, earlier this year to high praise — but the road of artistry rarely stops there. We’ve known for a bit that Flux was already working on his next big project, an ambient album different from even his newest material, but there’s more!

Earlier today, he revealed the working title of the album: Overworlds. It’s expected next year or the year after.

But even better, there are another two Flux Pavilion albums in the work on top.

“I’ve mention a new Flux album AND an album release this year,” he tweeted. “Overworlds is neither of those.”

Seems to be a fair lump of interest in the Flux ambient album, here's what we know –

Working title is: Overworlds

Expect it around 2022/23

I've mention a new Flux album AND an album release this year. Overworlds is neither of those.

That's right. 3 albums in the works!

— fluxpavilion.wav (@Fluxpavilion) August 19, 2021

The term ambient is also pretty loose, just because I don’t know how best to describe the work

It’s feeling like a collection of ‘pieces’ with moments of timbral ambience.

So it’s not without form, but if you compare it to my previous work then ambient doesn’t feel wrong.

— fluxpavilion.wav (@Fluxpavilion) August 19, 2021

Check out a preview of the ambient album below!

 

View this post on Instagram

 

A post shared by Flux Pavilion (@fluxpavilion)

 

Photo credit: Fiona Garden

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GRiZ Drops Vibrant 7th Album & Talks All Things ‘Rainbow Brain’ [LISTEN + INTERVIEW]

Today, we take a trip inside the dynamic and brilliant mind of DJ, producer and multi-instrumentalist GRiZ as he presents his seventh studio album Rainbow Brain in its full, illustrious form.

From start to finish, GRiZ’s Rainbow Brain is laced with beautiful intention as a project that feels the most radically authentic to his own path as an artist. More than just songs, or collectively, an album — these are audible experiences that have defined GRiZ as a trailblazer in electronic dance music, as well as a positive force of good.

Recent singles “Astro Funk,” “Vibe Check,” “Tie-Dye Sky” and title track “Rainbow Brain” are joining the party, but there’s so much more to explore. For optimum results, play out the continuous mix and let your imagination run wild. May the album’s fluorescent soundscapes that defy space and time be your only guide.

In the exclusive interview below, Grant Kwiecinski aka GRiZ gets real with us on every level, discussing all things Rainbow Brain, including musical influences, psychedelic experiences, upcoming shows and more. It’s not all butterflies and rainbows, however, as he also touches on the struggles of lockdown, missing human connection, the lesson of letting go and allowing things to be perfectly imperfect.

Listen here and scroll down to read what GRiZ has to say!

GRiZ – Rainbow Brain

Stream/download: https://griz.lnk.to/rainbowbrain

First and foremost… Coming out of over a year in lockdown, how does it feel to be back? 

It’s so sweet! It’s a little bit nerve-wracking coming up on playing some of our marquee events and things that we have planned. Like, this is the shit we’re getting back into — these are the GRiZ events we want to tell you about, advertise, and have you come see…

Because, in my head I’m such a perfectionist and one thing I’m going to keep telling myself that is a lesson… Lessons for me, they’re never fully learned. It’s just practice. And the practice for me is: It is going to be what it is and it’s going to be perfectly imperfect. Then my organizational brain is like, “Ok, cool! Let’s make sure that we get everything so good and the music is so perfect and on point.” All that kind of stuff. 

So, it’s actually been an amazing process. Amazing in a sense of not always good, but it has caught me in amazement. Is that a word? Whatever. Let’s go with it! The lesson of letting go has been the deepest and most course setting lesson for the pandemic. 

Then, going back into playing shows, it’s like — let’s keep learning and just let go into the experience of the world. Which is, we’re going to play our music and it’s going to be a lovely affair because it was built from love and wanting to have a lovely evening of music for everybody. The celebration of light, getting back into it. Then, my heart gets in align with the intentionality behind it and then things get really, really sweet. So, that is where I’m at currently. 

How has your creative process shifted over the course of quarantine and has the intention of the GRiZ project changed at all? 

Definitely. I think it keeps swirling and I’m realizing more and more that I’m a chameleon of my own creative ambition, because it’s so dynamic. To put myself inside of these rules that I kind of put myself in over my entire career — and always try to break outside of those rules — but, “What does this thing need to be for myself? For other people?”

The creative process has really taken me on a journey outside of those things. Breaking outside of this terrible box that I energetically and emotionally put myself in when I’m sitting down and creating — like, “What does this need to be?” It doesn’t really need to be anything other than the expression of the journey. 

So, during the time of the pandemic… Wow, it started off feeling like this beautiful, fun sleepover thing. We’re all drinking wine every night and having fun, pillow forts, watching movies and memes and shit. You know? Then, it’s like “Damn, I’m losing the sense of my life’s purpose,” which at the time was to function in the space of live performance and throwing parties basically with people and these celebrations of life. And coursing away from that was so depressing. Losing that essence of being with people. We’re literally being isolated and losing that connection to each other. 

So writing music during that time really came in a beautiful space of — Alright, let me let go, into this feeling with abandon and create music that is giving me the energy that I really need. Which is, I need to throw my own personal dance parties in the studio on the daily to keep my sanity! So, that is the motivation right now for the project, is to utilize this space as a form of spiritual satisfaction. It’s not that it hasn’t always been so in line with that, but it has definitely been a life saver. I’m so excited to be within the condition of wanting to bring people together. That is the big thing — cultivating culture and letting people set up and live their culture through the GRiZ space the way they would like to do that. Giving it 100%. Let’s do this right and set this space up so people can express themselves and create culture together again! 

You’ve obviously stayed busy making tons of new music… Can you describe how Rainbow Brain came together with its title and concept? That moment when you know it’s happening…

I took a pandemic trip to Chicago. Pandemic trip… Shit! And that’s where we wrote the title track with ProbCause and Chrishira [Perrier] and I was like — “Damn, this thing is really about us as friends,” being the creators.

I hold my friends so dearly in my creative space because I just really fuck with creative people. And I can definitely include you on this, Karlie — the writers, the people that are manifesting and making and creating. Creation to me is not so one dimensional, like it’s a musician or whatever. It’s somebody making something. That’s an idea. Those are words. I love the words and spelling — and spelling is like casting spells in the way that you create words and dialogue really is like magic. Manifestors, creators, I gotta include and shouts out to that!

Also, as us as writers within a song and being magicians in that space… The idea of magic and what is magic and that dust of psychedelia intertwined. That was when it really started feeling like things were coming together. I was kind of creating into this void of — “Let’s make some dance music that’s fucking awesome, because I’m feeling like shit and I just want to feel dope about myself! So I’m gonna write a bunch of dance music that feels really good to me and is motivating me to fucking not lose my mind!” There was a point where that magic was starting to coalesce into this list of a story, of a book of spells within my computer. Like, “Damn, alright cool! We have a body of work here.” Now, how does this coalesce further, manifest, into a narrative or a story or a collection of sounds, spells, that we want to share with people. That was the epithets of it, going to Chicago and being with ProbCause and Chrishira. Just connecting with people again was — “That’s it! That’s the one!”

Since you mentioned psychedelics… Have you had a super prolific trip while on psychedelics that has guided you in your music? 

Yeah, one of the most profound experiences that I’ve had… Now I’m connecting the dots… Was in Chicago on my friend’s rooftop with my other buddy Freddy Todd. We started making music in the exact same time and place — that’s a long story for a different time! He’s one of my closest music friends and also just friends in general… We were in a band together in high school and shit… Middle school even. And he had just finished his album called Neon Spectacle Operator — which, I don’t know how he comes up with these titles but I’m so fucking jazzed and inspired by his creative brain. There are very few on this planet like his! 

And there was an experience where I really felt super at peace with the concept of separating my energetic soul from my physical body and astral projected out of my body, watched myself leave, and was projected into some sort of extraplanar space plane where I was standing at the edge of this grid into a sunset of infinity watching the cosmos drift by. And this green alien wrapped me up — I would say alien, but not in the traditional sense of it was like Alien vs. Predator alien — but a non-human form, swaddled me essentially and let me know that everything was ok. I had never felt more in tune with my spiritual energetic self. Understanding that this separation between spirit and human body — the inevitable separation which I think manifests itself in the form of what we call death, or the way that I personally understand it, a passage beyond human physical form… I’ve never felt more ok with that. 

My psychedelic journey has continued to blossom since then. A lot of this record was created throughout the pandemic while enjoying and going on journeys with psychedelics and experiencing. Also, times of deep sobriety, because I needed a break from all the drinking that I wrecked my brain with at the start of the pandemic, which definitely led to a deep depression. Spending time also being sober and continuing my meditation practices and getting really deep into that connection. 

A lot of this music was inspired and continues to be inspired by those spaces. The way that the album art was created was a direction of some of the imagery that came to me from that experience in Chicago. So, Chicago seems to be a little bit of an energy vortex for this album and for me in general.  

That’s awesome! Shifting into musical influences for the album… It sounds like a lot of old school dubstep… 

One of the tracks on the album is called “548 Mac Ave,” and I didn’t really know how I wanted to tell this part of the story. It seemed like a kind of tongue in cheek way to do it, but that’s the address of this place called the Monty House. That’s a co-op at Michigan State University where I went to college for three years. Then, eventually, I graduated in the very Kanye way… Uhhh… I decided I was finished. [laughs] And I went out to Boulder, Colorado to exclusively pursue my dream and do music. But that place holds a lot of the inception of the narrative of me falling in love with DJism and live music performance. At that time, all the music I was playing was Flux Pavilion, Doctor P, Rusko — and Skream, Benga, Coki. 

That early dubstep sound — it did this magical thing for me, where in high school I was listening to Crime Mob, Lil Jon & the Eastside Boyz, Paul Wall, and then the West Coast hip hop, so a bunch of Jurassic 5 and A Tribe Called Quest. But there was this really deep connection to Dirty South bass, sub music. I was really connected to that because we would rock around in our friends’ cars and they would have subwoofers that would bump and blast in 808s. I’d be able to hear in first period when my friend were late to class because I could hear them roll up with the subs in their cars just shaking the fucking — Ya know? My first hour was right next to the parking lot so you could hear it. I’d be like, “Oh, that’s my buddy Trent or my buddy Bo pulling up to school — Hey!” [laughs] It was such a visceral, I don’t know… It fucked me up!

The cool connection here was that I finally, at that time of hearing this dubstep sound, this bass music sound — I was like, “Damn, this sound is a trippy version maybe, or a dance version rooted within reggae dub roots,” and I felt so connected to that! Like, this really feels like it’s for me! This feels so new and undiscovered. I remember showing some of my friends what dubstep was at the start, and they were like, “Damn, this is awful.” I was like, “I love it!” And there was this connection of spirituality between the beats and the bass and the rhythms of the synth tones in the bass and the way the sub would interact that felt a lot like rapping, instrumentally over this beat. I was like, “Damn! That is so fucking sick!” And I’m absolutely just dissolving into this sound. There are slight homages to that within the creation of this record. This sound is so fucking badass to me and that was giving me a good vibe! 

Can you share some of the differences, creatively, between Rainbow Brain and your other albums? For instance, you have the continuous mix… I’m a sucker for those! It’s the little details that make it really special! 

Yeah, there are some really cool details. There is this interlude called the “R O Y G B i V interlude” and the bells in it, there’s this arp — and that’s a sample of Reading Rainbow. 

Stop! 

Yeahhhhh! And then, within that, all the vocals are also sampled from an episode of Bill Nye the Science Guy. Also, in my song “Tie-Dye Sky” is Bill Nye being like, “Alright, give me all you got!” There are these small little fun things… There’s also a recall of a melody from “R O Y G B i V interlude” into the last song which is called the “The Echo Tree.” And “The Echo Tree” is something that we’re going to see in the movie that is created for Rainbow Brain. (Watch here!)

There are all these tie-ins and creating from that sense that the entire body of music was all speaking and compounding upon itself was so fucking fun to do! I love creating stuff that has such a deeper context. I think in the past I’ve kind of soiled it by speaking too much on what it’s supposed to mean, instead of letting people feel their own interpretation from the thing. I’m gonna kinda just let this one happen a little bit more. 

The major differences… The continuous mix was inspired by a mix series called Late Night Tales. There’s a bunch of different DJs who’ve done their guest mixes on it. And also from BBC Radio 1 essential mixes that I fuuucking love. So, that comes inspired by those spaces and specifically the Bonobo Late Night Tales continuous mix. You just press play on this shit and gotta vibe throughout it! 

And storytelling moments as well… There is also included within the Late Night Tales this bit of narrative. So there’s this spoken word piece at the end of it that I find really endearing and special. Intertwining spoken word into it and these audio journeys…

I also wanted to make sure each track, you could play it out or hit play on Spotify and it would feel like a complete song. Also, it was a new challenge to have every single — the album is 23 songs long, but almost half of those are ‘tweener tracks. So the album was built in a way where you can listen to all your favorite songs, but also you could press play at the start of it and there’s all these transition moments that get you from song to song. It has these kinds of — my friend Lane would call it a “butterfly checkpoint.” 

Yeah, his story is going on a psychedelic trip through the jungle in Thailand. This was a year before I went with him there, but we did the same journey on the same head full of doses… But every single time they would get to these clusters of butterflies they’d be like — “We’ve reached the butterfly checkpoint!” So there’s all these little checkpoints throughout the album that are getting you to the next destination. 

I love that! You mentioned this album is the most authentically true to yourself — What does that feel like, putting something so personal out there for the world to hear?  

It sucks, but it’s liberating. The tricky part about sharing stuff is that it becomes not yours anymore. Like if you introduce an object into a space where there’s only one viewer, the entire perception of what that thing is is only from that viewer’s perspective, and therefore is only defined by that one person and therefore the reality of that thing is that one person’s description of it. It’s only in our reality through that one person’s perception of it, and so therefore it’s that one person’s thing. 

As the creator, now it’s currently only mine. As soon as you give that to people, the catch 22 of it is there there’s so much beauty… I find so much beauty in the way that people see a body of work — whether that’s a piece of writing, a painting, a piece of architecture, a dope gardening job — the way different people create these different perceptions about it and write these different stories about it in their minds and share that narrative… I find it so beautiful that that opinion can be different, because being able to have these different variations of storytelling is really such a spice of life. 

You could bring two different people into a situation of “it rained at the water park.” One person is like, “That was so cool because this,” and one person is like, “That ruined my day because of this.” Neither person is right or wrong, it’s just two different things. The negative part of it for me is that this thing that was personal then becomes defined by other people and that’s not something I can control. 

So, going back to that narrative of letting go. Literally, if you love something, let it go. I’m letting go of all this shit that I love so much, and have birthed and conceptualized and created — and now I’m entrusting it to other people to share in that narrative and to tell the story of what this thing is. As a creator, for me the best way to always go about it is just letting it go. Letting those stories be told by everybody. Then that becomes what that thing is — it’s no longer what you just made it. It’s what everybody thinks it is. It is as beautiful as it is difficult to let go. Herein lies the practice. We keep doing it. 

Generic, but important question — What does the album mean to you?

Shit… What does it mean? It means we’re continuing to tell the story. It means there was never a period on what happened in the past — it was just another space, it was another comma, it was not an ellipsis, not a punctuation mark that there is a dot-dot-dot. I am continuing to find myself in the space that I’m creating and we have more pages in the book to write. 

Having just celebrated Pride Month, I want to talk about its importance and the safe space your project has created for the LGBTIQA+ community… Can you share what you’ve experienced from coming out until now? 

I think from then to now I’ve found how important it is to have queer friends. That’s something that was so missing in my life. To bolster myself by sharing in that community instead of just being a part of the community but having zero relationship to it, besides maybe having a boyfriend or something… Ah, shit! It’s so important to feel supported and to feel like I’m not such an outcast. Because I’m not — and neither is anybody in the alphabet mafia. Y’all got people out there!

For me, the way I see it today and especially through the genesis of the more socially conscious side of TikTok… There’s amazing people on there talking about it and all these perspectives. From the subservience of Gen Z culture feeling very abandoned in how genuine Pride Month feels due the commercialization of the capitalistic machine putting rainbows on everything and disseminating that out into the world in such mass that it loses its inclusivity. To seeing people in the older gay culture — crying on a TikTok — talking about, “If I saw that as a 7-year-old queer person walking into a WalMart and seeing Pride shit in a rural town, that might have just saved my life.” To get that kind of at least offering of normalcy and exposure in the world is really important.

Right now, the way that I feel about the LGBTIQA+ space is wanting to continue to keep my mind open and just listening. I don’t think I’m going to be the person that has answers for anybody — other than it’s important to listen and to talk and share even if it’s a “stupid idea,” there’s no bad ideas here. We need to be able to share the way we’re feeling and hopefully those spaces we’re sharing in can be safe spaces. And hopefully those are conversations with people that are willing to listen to what you have to say, not admonish you for having a different idea. I think the most beautiful conversations will always happen between people who are genuinely interested in, “Why would somebody feel something that’s different than myself? And let me get into that!” That’s a relationship, that’s being relational! That shit is hella beautiful!

And, no, it’s not easy, because I think I was always conditioned in my life to have an opinion and be right about it. I’m debating and also needing to constantly validate my existence. I have become a very defensive person. I need to be self-assured. People are challenging me all the time. Every single time I get challenged, the perception that I’ve made about myself — my life’s truth is being shook! And every single time that happens I feel vulnerable. If I’m not having a conversation into a space where my vulnerability can be respected and taken care of, then I feel threatened — and that’s scary.

I’m hoping Pride Month can continue to be a place of differing dialogues between people where we’re being relational instead of confrontational and hopefully that will create growth instead of stagnation.

Thank you for that answer… I feel like you’ve cultivated that kind of community with your fanbase…

Trying. Really doing what we can with it. These people are so dope, and sometimes we just don’t realize how dope we are because people are trying to fuck with us. And that sucks! That’s hard to deal with. Not everybody has safe spaces where they can exist, share ideas and express themselves. I hope that the GRiZ community is always a place where people can feel safe with each other, to be able to grow together. It doesn’t always have to be about the music — and it sure as shit does not always need to be about me. Hopefully it can be about each other first. 

Exactly! So, shifting into some safe spaces and celebrations… You have so many shows coming up including three sets in one night at Red Rocks! What’s it been like pouring your heart into all these different performances? 

I feel like I told a bunch of people what kind of mountains we’re gonna climb — and we haven’t done it yet. So, I gotta get to training. I gotta get some new fucking hiking boots and break that shit in! We’re like, “Ok cool, now we’re gonna do fucking Everest!” And everyone’s like, “Yeahhh!” And it’s like, “Alright, are we really ready to take on this challenge?” We’ll get there! Warming back up to it. Getting my mind and my spirit right into those spaces…

Just been doing a bunch of free shows. I just want to be in front of people playing music and bringing people together. What is that fucking like anymore?! And it’s great! I’ve been doing it with abandon and that’s been a lot of fun. I’m here for it. 

It’s a shame that any of this stuff costs money in the first place, so just be able to offset the weight of it all — and be like, “Yo, we’re gonna do this! Have fun! Show up! Bring the crew! Don’t bring the crew! Meet the Crew! Cool!” Meet some new people. That shit is so fun. We’re warming up to it. I’m feeling ready!

Which date will be the first time you’re throwing down the new album?

We will hear it live for the first time together… [pauses] 

I’ve low key played it already at a free show for the people. Because I’m fucking… I don’t know. [laughs] I think patience is something in my life that I’m not the best at practicing. But, in its true form — in its most thoughtful form — will be the first night of GRiZmas in July in Wilmington, North Carolina at the end of this month.

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Flux Pavilion becomes a dad!

Flux Pavilion welcomed a child into the world this past weekend, as he shared the news on social media.

The named they gave is Boudicea, which, based on a quick Google search, probably comes from the British folk hero who led an uprising against the conquering forces of the Roman Empire in AD 60 or 61. A very strong name indeed!

Typically, Flux has kept his personal life rather private. But on such a special occasion, a post is more than warranted.

Congratulations to the couple!

Little Boudicea was born on Saturday at 8:57am

Expect an album of ambient baby music coming soon. pic.twitter.com/Q57gjEpOfI

— fluxpavilion.wav (@Fluxpavilion) May 24, 2021

 

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Does Skrillex, Or Any Artist, Owe It To Fans To Let Them Know They’ve Changed? [Opinion]

Imagine you’ve been a fan of an artist for 10+ years. Their breakout songs were all new waves of electro house, dubstep, brostep, and catapulted the genre into mainstream limelight, and hell, they even got a Grammy nomination out of it. This artist was the pinnacle of their genre for years and years and years, and then their newest song is something completely different. The artist didn’t share any heads up or mention that their style was changing, but do they even have to?

This week, Skrillex released two new songs — “Butterflies” with Four Tet and Starrah, and “Too Bizarre” with Swae Lee and Siiickbrain. Vastly different from his original works over a decade ago, “Butterflies” went a more house/pop route while “Too Bizarre” was more along the lines of modern pop punk from Machine Gun Kelly, blackbear, Modsun, and others. Responses to the songs have been divided; while most have appreciated how well they’re produced at the most technical levels, a lot of people have expressed sadness or frustration that they’re unfamiliar styles and don’t “sound like Skrillex.”

But what does Skrillex sound like? If we’re only relating his “sound” to his past works, then yeah, these songs do not sound like him. But wouldn’t anything that he makes technically sound like him?

Skrillex is not alone in this phenomenon of changing sounds and bringing new influences to a project. We saw just this past month Porter Robinson drop his sophomore album, Nurture, a much more personal and less heavily electronic album compared to his 2014 opus, Worlds. Calvin Harris went from Motion to Funk Wav Bounces; Zedd went from Clarity to True Colors; Flux Pavilion on his most recent album, .wav; and let’s not forget the very visceral reaction to Getter’s last album released in 2018.

These are all merely a small subset of artists who have evolved from the sound they began with. Not all of them were even met with harsh criticism, but at the same time, none of them either went, “Hey, by the way, I’m doing something new.” They just did it.

We’ve seen this happen outside of EDM, as well, if we look at artists like Paramore or Bring Me The Horizon who have evolved over the years. And Poppy, especially, has created a whole brand out of being unpredictable.

At the end of the day, while an artist has some degree of debt to their fans for getting them to where they are, that debt does not extend to creative endeavors or decisions about what an artist can or cannot make.

Over the past year, a lot of things have changed and people have had a lot more time to sit back and take account of who they are, what they want to do, and where they want to be in the future. If we didn’t see a lot of things change moving into 2021, that would have likely been the more strange phenomenon.

Stream both of Skrillex’s new songs below, and don’t worry about the old, celebrate the new and exciting.

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Whethan Drops Dynamic ‘Fantasy: Remixed’ with NGHTMRE, Flux Pavilion, Tchami & More [LISTEN]

The world of Whethan comes to life in new ways with Fantasy: Remixed, out now.

The project features a standout remix from NGHTMRE, previously released remixes from Flux Pavilion, Tchami and more, as well as brand new additions. Listen as Hekler, Saint Punk, Midnight Kids, Biicla, Delto, MEMBA, JINXSPR0, and kimj completely reimagine Whethan’s genre-bending debut album Fantasy.

From the newfound sound of Flux Pavilion heard on his “Upside Down” remix featuring Grouplove, to the whirling, bass-ridden soundscape of NGHTMRE’s take on “So Good” featuring bülow, to the deep groove of Tchami’s remix for “Freefall” featuring Oliver Tree, to the bold, synth-laced Hekler twist on “Drumdown Mambo” featuring Jasiah — the remix album is oozing with creativity and engaging sound design.

There’s no need to pick favorites, play them all out here for optimum results!

Whethan – Fantasy: Remixed

Stream/download: https://whethan.lnk.to/FantasyRemixed

 

Photo via Whethan / Ultra Music Festival

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NEW: Porter Robinson, Dabow, MSFT, Yellow Claw + More – Your EDM | Week In Music

The first month of the new year has just wrapped up and February commences. The cold season pierces through America and our favorite artists continue to release new projects. This week we saw new releases from the likes of Porter Robinson, Yellow Claw, Don Diablo and many other talented artists and producers. Sit back, relax or continue doing whatever you are doing and stream Your EDM | Week In Music below.

Release Spotlight

Porter Robinson releases a new single ‘Look at the Sky’ an uplifting and inspiring new release during which he says he wrote during his lowest point. ‘Look at the Sky’ will be on Porter Robinson’s sophomore album Nurture due out April 23rd.

Flux Pavilion releases his much awaited 16-track sophomore album with features from Chime, What So Not, and Feed Me.

Steve Aoki released a 6-track EP including collaborations with some of the most abrasive and hard hitting producers in dance music. Everyone from Brennan Heart to k?d and Timmy Trumpet to Hasse de Moor are all featured on this jammed packed EP.

Troyboi dropped his long awaited ‘V!bes, Vol. 4’ project which includes 7 brand new productions including tracks with Nina Sky, Tropkillaz and Nefera.

 

Featured Image Credit: Charles-Edouard Dangelser / CHIVTEAM

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Flux Pavilion Releases Long-Awaited Sophomore Album, ‘.wav’

I first started listening to Flux Pavilion over 10 years ago, when he released his Lines In Wax EP. Songs like “I Can’t Stop,” “Haunt You,” and the titular “Lines In Wax” with Foreign Beggars effortlessly made their way into my regular listening rotation. From there, I went back and discovered “Got 2 Know,” “Superbad” with Doctor P, his “Cracks” remix, and more. It wasn’t long before I saw him in person for the first time in 2011, going back-to-back with Doctor P at the original Audiotistic in Southern California.

All of this to say that I’ve been a fan of Flux Pavilion for a terribly long time, and the release of his new album .wav represents a stark shift in sound as he departs his dubstep sound. Or, is it really that stark?

Over the years, Flux has released songs like “Haunt You,” “Daydreamer” (a personal favorite), “Starlight,” even his debut album Tesla had many tracks that didn’t fit the usual dubstep archetype. With .wav, Flux Pavilion has leaned the hardest into getting away from being called a “dubstep producer,” but it’s done in such a magnificent way.

The 16-track album, apart from Feed Me, Chime, and What So Not, doesn’t feature any artists we’d typically classify as bass artists. In fact, calling this a “bass album” and being done with it is a wild disservice to the creativity and composition of the work as a whole. Over the course of listening to this album the past couple months, it’s been a learning experience in untying my own connections with Flux Pavilion and the word dubstep.

But, I’m all the better for it. Songs like “Lion’s Cage,” “Sink Your Teeth In,” “You & I,” and “LOVE” truly show the new direction that Flux is taking. And then there’s “Partial Fugue In B Minor,” by all consideration one of the most incredible songs on the album featuring a completely originally composed partial fugue meshed with bass music.

.wav might not be everyone’s favorite version of Flux Pavilion, but it is without a doubt the best thing he’s ever created, both on a personal level unto himself and in an objective listener sense. Listen below.

Also, stay tuned as he brings his album live performance show to the world for the very first time, with guitar, synth and singing, fans can enjoy the Flux Pavilion .wav album launch livestream on February 5th and 6th (depending on location) in partnership with Moment House. The livestream will be broadcast to North and South America, Asia Pacific, and the UK & Europe, and include a full visual show, as well as the fan submitted audio clips from the “Flux Needs Your Wav” website. Tickets & full stream information can be found here.

 

Photo credit: Fiona Garden

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Flux Pavilion “Says Goodbye To Dubstep,” But His Best Is Still Yet To Come

Over the past few days, dance blogs have been publishing articles with various spins on the title, “Flux Pavilion Says Goodbye To Dubstep.” It’s a good article concept — a catchy title with a genre figure that has been at the top of his game over the past decade, with plenty of hits to his name like “I Can’t Stop”; “Do or Die,” Childish Gambino’s sole foray into EDM; his remix of “Cracks” by Freestlyers; the list goes on.

I am no longer a dubstep person

— fluxpavilion.wav (@Fluxpavilion) January 11, 2021

But the reality of this tweet is a bit more nuanced. While the above tweet has 390 RTs and nearly 4k likes (at time of publishing), the preceding tweets which undoubtedly give it context are far less engaged with. In referring to himself as a “dubstep person,” Flux Pavilion referencing the sort of person who’s always “trying to persuade everyone that dubstep is still good […] just because someone said it was bad in 2013.”

Just because someone said it was bad in 2013

— fluxpavilion.wav (@Fluxpavilion) January 11, 2021

Flux isn’t saying that dubstep is bad, either. He’s just saying that he’s no longer the kind of person who’s wasting energy on trying to convince anyone that it’s “still good,” even though it’s been good this whole time.

As we approach the release of his new album, .wav, a week from today, I wanted to offer a perspective that other authors of the aforementioned articles might not have — and that’s that I’ve had .wav for the better part of three months, and have been listening to it, and I can tell you his best is yet to come.

While .wav is not objectively a “dubstep album,” elements of Flux’s core sound are still pervasive within the project, including familiar bass patches, synths, melodic arrangements, and keys. Not to mention one of the tracks on the album, an orchestral production fused with dubstep that is one of the finest bass tracks I’ve heard in a long time.

So for anyone who’s been reading the recent articles and has been worried that Flux Pavilion is leaving the scene behind, hopefully this helps to assuage your worries a bit. He certainly won’t be the same Flux that we’ve known for the past decade, but we can’t expect someone to do the same thing for over 10 years and not get a little bored of it.

.wav, the new album from Flux Pavilion, is out January 21. Pre-save it here.

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What So Not Breathes New Life Into Run The Jewels’ “JU$T” [REMIX]

What So Not puts his spin on Run The Jewels‘ “JU$T” featuring Pharrell Williams and Zack de la Rocha, marking the producer’s first new material in 2021.

The song off RTJ4 is poetic and relevant, delivering raw, unfiltered lyrics on the structure of society and the struggles minorities face. For this new remix, the original heavy beat carried by Killer Mike and El-P is traded for a softer, melodic yet gritty production signature of What So Not. Same message, new energy.

What So Not shares of the release — “Starting as a bootleg, I was honoured to get the nod to put this record out, not only with RTJ, but also my childhood heroes Zack and Pharrell.”

The last we heard from the producer was “20:25” with Flux Pavilion featuring The Chain Gang of 1974. Perhaps this remix signals a big release year for What So Not — at least we hope.

Listen here to WSN x RTJ!

Run The Jewels – JU$T (What So Not Remix)

Stream/DL: https://lnk.to/WSN-RTJ-JUSTREMIX

 

Photo via Rukes.com

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What So Not Releasing First Track In 15 Months, Remix Of “Ju$t” by Run The Jewels

Back in October, What So Not emerged from an 8-month hiatus to tease new material, his remix of “Ju$t” by Run The Jewels.

Now, the track is complete and it’s coming out this Friday! Obviously this will be What So Not’s first material of 2021, but it’s also his first release since 2019’s “20:25” with Flux Pavilion. Best of all, the remix sounds absolutely fantastic, meshing Run The Jewels’ uncompromising intensity and WSN’s penchant for beautiful melodies and builds.

Check back Friday to hear the full thing!

friday @runjewels pic.twitter.com/w0NTTP9nJB

— WHAT SO NOT (@WhatSoNot) January 4, 2021

 

Photo via Adam Kargenian for Insomniac Events

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Flux Pavilion & Feed Me Finally Release Their Collab, “Survive” feat. meesh

The difference between 2010 Flux Pavilion and 2020 Flux Pavilion is like the difference between 2010 Porter Robinson and 2020 Porter Robinson. A co-founder of Circus Records, one of the most successful dubstep labels of the past decade, has taken a turn toward pop and more blissful soundscapes than the “Bass Cannon”s of the past.

This is particularly noticeable in his track art and past few singles like “Endless Fantasy,” “I Will Stay,” and “Surrender.” The same motif continues with his new, and hotly anticipated collaboration with Feed Me, “Survive” featuring meesh.

No one can say that they didn’t see this coming, because Flux has been pushing this style of music since early 2019. In contrast, Feed Me has actually taken a turn back toward his Feed Me’s Big Adventure days with his last few releases, “Coffee Black,” “New Shoes,” and “Money, Destiny.”

So, “Survive” is a bit of an enigma. There are nostalgic sounds and synths, like the bass stab at 54 seconds, which is peak Flux. And then there are entirely new elements like the whole time signature, as well as the weeb-ish vocals from meesh, whose only original music has been two singles in 2014 and 2018. She’s also appeared on tracks from Anamanaguchi and Chordslayer, making her presence on a Flux Pavilion and Feed Me track that much more of a head scratcher.

Without a doubt, “Survive” will have both Feed Me and Flux Pavilion fans debating internally whether they actually like it or not. It’s definitely not a song that most fans of either artist will appreciate on first listen, and it’s hard to even conceive of how it would be received in a live setting.

All that being said… it’s a pretty song. The production is immaculate, no surprise there considering who made it. And it’s certain to spark some lively discussion. Listen to “Survive” featuring meesh from Flux Pavilion and Feed Me below.

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Feed Me Teases New Collaboration With Flux Pavilion

Over a year ago, Feed Me was teasing a collaboration with Kill The Noise & Flux Pavilion that sadly still hasn’t seen the light of day. However, he’s just teased a fresh collaboration with Flux that is absolutely coming out, and we couldn’t be more excited.

Feed Me shared a clip of the collab on social media, featuring a dainty female vocal and playful instrumentation, with an iconic Flux bass stab coming in at the drop. The short clip isn’t much to go on, but it feels more similar to Flux Pavilion’s newer material, and still unlike anything either of them have made before.

We’ll have to wait and see exactly when this one drops. But you know if they’re already dropping clips, it has to be coming soon. Check out the preview of new Feed Me and Flux Pavilion below!

View this post on Instagram

@fluxpavilion

A post shared by Feed Me (@feedme) on Jun 12, 2020 at 12:31pm PDT

 

Photos via Rukes.com

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Cut me out – Flux Pavilion lyrics

Lyrics Flux Pavilion – Cut me out

Just Like An Animal
Picking up The Pieces And You Drop’em All
Keeping it visible
A Living Liberty Need To Hold It All
I’ve been reflecting on the modern life
Hold up
Hold up
My own reflection With A Pocket Knife.(cut me out)

Hold up
Hold up
Hold up
Rockets and hurricanes
Coffee and overcaine
Anything That Gets you high
Or Get you down
Pictures of acid rain
Never the same again
You gotta learn you’ll never win it all oooooooh, my.

There Is Nothing Left.
You Gave it all
Ooooooh, my
And nothing is unrepairable
Ooooooooh, my
You Got to fill Before You Fall

You cut Me up
You cut me of
You cut me out. (x3)

What if you lost yourself
Would you try find your way through someone else?
I know you feel alone
Reflecting on your falses
Like a mirror ball
I’ve been reflecting on the modern life
Hold up
Hold up
I’ve been away for such a long time
Hold up
Hold up
Hold up.

Oooooooh, my
Theres nothing left
You gave it all
Oooooooh, my
And nothing is unrepairable
Ooooooh, my
You Got to
Fill Before You fall.

You cut me of
You cut me up
You cut me out. (x2)

Ooooooooh, my
Theres nothing left you gave it all
Oooooooh, my versuri-lyrics.info
And nothing is unrepairable
Oooooooh, my You got to fill before you fall
You cut me of You cut me up You cut me outtt.
Flux Pavilion lyrics
Video out