Orbital have dropped a reworked version of their classic 1991 track, 'Satan', marking three decades since the original landed.
Dubbed the '30-Something' version, the new interpretation is a four-to-the-floor, angst-y response to the breakbeat-driven rave anthem, which first appeared on the duo's lauded 'III' EP — a bold, dark outing that cemented their reputation at the forefront of a then-nascent UK rave scene.
Taking classics from trance’s golden age and recontextualising them for the modern dancefloor? In the wrong hands, this concept could spell danger: crass, overly nostalgic and about as necessary or appropriate as an EDM reboot of Human Traffic. In the right hands, though, there’s a whole new lifecycle and exciting set of dots to join. Less of a recontextualisation, more an entirely new context; it’s a story that now goes two generations deep, it maps the changes in dancefloor culture and it marks a much broader musical shift in electronic music in general.
“I find the breakbeat brings things down a level, it’s easier to slow things down that way,” says McCartney, who tends to describe Trance Wax as a breakbeat act rather than a trance act. It makes sense; the whole reason for this project is versatility. Trance Wax isn’t about nostalgia, or trance for trance’s sake. It’s about bringing certain aspects of it back into the mix because they work, they’re relevant and worth revisiting.
Breakdancing could be an Olympic sport at the Paris games in 2024, if proposals by the organisers are accepted.
The art of b-boy and b-girling is among four disciplines that have been put to the International Olympic Committee (IOC) for consideration to be included when the French capital plays host to one of the world's foremost athletic competitions.
Ilana Bryne will release her debut EP, ‘Low Earth Orbit’, via Violet’s Naive label on 22nd February.
The Madison, Wisconsin-based producer showcases an array of choice influences on the four-track release, with a typically lush remix from Ciel closing proceedings off with a flourish. From sharp garage beats, sprawling breaks and fast-paced house, the EP is an atmospheric selection that loses none of its exuberance and heft to its depth.
Few artists submerge you in darkness in quite the same way as Christoph De Babalon. With engulfing ambience, depth-charge bass drones and hyperventilating breakcore and jungle beats, the Hamburg-raised, Berlin-based producer has, for over two decades now, etched an unmistakable sonic persona onto an increasingly greyscale planet.
Christoph de Babalon isn’t interested in being a spokesman for doom. He apologises more than once when conversation steers toward his dour mythology. He laughs off the idea that his music is anything more than a necessary personal pursuit, and he certainly doesn’t think the world had to hit this particularly low tide to properly appreciate the 15-minute drone dirge of ‘Opium’ or the convulsive percussion of ‘My Confession’.
Skrillex and Hikaru Utada have shared their 'Kingdom Hearts III' theme song, 'Face My Fears', an emotionally-charged piano number that eventually gives way to a choppy, broken track.
DJ Mag first learnt of the work back in September, when the dubstep aficionado and noted fan of the Disney video game— AKA Sonny Moore— confirmed a collaboration with J-pop vocalist Utada and producer Poo Bear was in the pipeline.
Desert Sound Colonyn delivers quirky broken beats, garage and more on the latest edition of our Fresh Kicks mix series.
Liam Wachs’ psychedelic take on club music has caused a stir under the acronym DSC, while as Desert Sound Colony he’s combined heady guitars with electronic beats. Now he’s opted to unite the whole under the latter name.
Ténèbre dropped his 'Territory III' EP via WNCL Recordings this month, so to celebrate he's cooked up an hour of rugged techno and breaks for our Fresh Kicks mix series.
About as underground as they come, and a favourite in the DJ Mag office, the Frenchman has been turning our fractured, industrial beats on his self-titled label for several years now.
