Latest news with #ClaytonKnight
Time Out
05-08-2025
- Entertainment
- Time Out
Music headliner Odesza will pump up the post-tennis party at this year's US Open
The U.S. Open already delivers plenty of drama on the court, but this year's Finals weekend is getting a whole new level of after-dark energy. On Saturday, September 6, Grammy-nominated electronic duo Odesza will take over Louis Armstrong Stadium for a DJ set at the tournament's second annual U.S. Open Finals Afterparty, a high-octane cap to the Women's Singles Final earlier that evening. If you've ever wanted to swap polite applause for bass drops at the USTA Billie Jean King National Tennis Center, here's your shot. Odesza—a.k.a. Harrison Mills and Clayton Knight—are fresh off a record-breaking run that's seen them headline Lollapalooza, Bonnaroo and Outside Lands; sell out three nights at Madison Square Garden; and pack 44,000 fans into Colorado's Folsom Field in just 24 hours. For the Afterparty, they'll be joined by fellow Grammy nominee TOKiMONSTA, whose genre-bending sets and fearless experimentation have made her one of electronic music's most boundary-pushing artists. The show kicks off at 9pm inside Armstrong and requires a separate ticket from the day's tennis. Presales for U.S. Open and artist fans drop Thursday, August 7, at 10am EST, with public sales following on Friday, August 8, at 10am EST via Ticketmaster. The Finals Afterparty is part of U.S. Open Finals Fan Fest (Sept. 6–7), a free-with-grounds-pass celebration that turns the entire tennis center into a social club. Expect elevated watch parties, DJs, special guests and live feeds of celebrity arrivals—both in Armstrong and on the Fountain Plaza. The whole weekend is designed to make the championship rounds feel less like a polite wrap-up and more like a citywide event. The 2025 U.S. Open itself kicks off August 18 with Fan Week, offering six days of free grounds admission, practice sessions, player meet-and-greets and the newly reimagined Mixed Doubles Championship. Main draw play begins August 24, leading into two weeks of tennis that build toward Finals weekend's electric blend of sport and spectacle. With Swedish House Mafia selling out nearby Arthur Ashe Stadium in minutes for a separate September 23 show, Odesza's Afterparty could prove just as hot a ticket. In other words, if you plan to swap your visor for a glow stick, you might want to set a ticket alarm now.
Yahoo
08-04-2025
- Entertainment
- Yahoo
ODESZA Duo Detail Their Viral ‘Severance' Score Remix, Complete with Goat Sounds and Elevator Easter Eggs
Grammy-nominated EDM artists ODESZA may have seemed like a surprise choice for the now-viral 'Severance' score remix, released earlier this year. And yet, as 'Severance' executive producer and director Ben Stiller tweeted, the pairing almost seems like an Innie fever dream of sonic bliss. Harrison Mills and Clayton Knight, who comprise ODESZA, shockingly had only three weeks to remix Theodore Shapiro's original 'Severance' score for a 23-minute track that was been looped to form an eight-hour piece of music to mirror the standard 9 to 5 workday. The playlist was billed by Apple as being 'designed for eight hours of focus — perfect for your Innie's workday.' The remix was released across all streaming platforms April 4 after first premiering on YouTube. More from IndieWire 'Black Mirror' Creator Charlie Brooker Doesn't Want to Hear Your 'Severance' Comparisons 'The White Lotus' Season 3 Finale: What Worked, What Didn't, and What's Next In a joint interview, Mills and Knight tell IndieWire how the 'Severance' remix was an expansion on their partnerships with Apple, detail incorporating 'corporate' sounds, and why a project like 'Dune' or 'The White Lotus' is their next goal ('The White Lotus' composer did just recently exit after Season 3, so call HBO ASAP). The following interview has been edited and condensed for length and clarity. IndieWire: How did you both first get approached to collaborate with 'Severance'? Harrison Mills and Clayton Knight: We've had a long-standing relationship with Apple. They've supported us over the years by featuring songs like 'Loyal' and 'The Last Goodbye' in their campaigns, so we've stayed in touch. We were just getting back from a long break and were starting to dive into writing new music when Apple reached out with the idea of doing something for 'Severance.' We're huge fans of the show, so we immediately said yes. It ended up being a great way to shake off the dust and get the creative gears turning again. Working within the framework of the show gave us a kind of sandbox to play in. It was a super fast turnaround, like three weeks, but that tight timeline forced us to trust our initial gut reactions to what we were making and not overthink things. We also had the opportunity to collaborate closely with Theodore Shapiro, who really championed us throughout the process. What was the inspiration for the eight hour, work-themed remix? That was actually the original objective from Apple. They approached us with the idea of creating an extended remix of the 'Severance' score that could loop for eight hours. It was originally designed specifically for a YouTube experience, functioning as a soundtrack for your Innie at work. So we approached it with that in mind, but the project ended up morphing into something else very naturally. The remixes are designed to ebb and flow, like a journey through 'Severance.' The YouTube version is a 23-minute loop that plays out over the eight hours, paired with footage from the show and some interludes that really pull you into that world. It wasn't originally intended to listen to on other streaming platforms, but once the YouTube video was released we received a lot of demand for the music, and we knew we had to release it officially on DSPs and on vinyl. As iconic EDM artists, how did you merge your sound with the haunting 'Severance' score? It was definitely a delicate balance, wanting to respect the original while also bringing in our own perspective. We spent a lot of time re-contextualizing certain melodies and motifs, taking elements that felt familiar and giving them a new emotional weight through different chords and textures in the spirit of our music. In some ways, the process reminded us of our early days, where we were sampling a lot and building something new from existing pieces. It felt like a return to that kind of creative exploration, taking parts that would be recognizable, a sound or a melody, and building on top of it, giving it a new life through an alternate lens. Our goal was to bring the warmth and heart that we try to put into all our music, and give the score a more euphoric, rhythm-focused lift while still staying true to the atmosphere of the show. We also found fun ways to incorporate some 'Severance' Easter eggs into the remixes, like goat sounds in the background, elevator dings, typing sound effects…It was really fun and playful overall. How well-versed were you both prior to this? Are you fans of the series? We were already fans before this came up, but once we got involved, we were truly living and breathing 'Severance.' We received the second season before it was live and watched it all in one sitting. It's such a unique, layered show. Getting to contribute to that world was surreal. Will you have any live shows for the 'Severance' remix? It would definitely be fun to find a way to bring parts of the remix into our shows. We're always experimenting with new ways to reinterpret music for the stage, so it's not off the table! What other collabs with film or TV do you want to do next? We'd love to do something in the sci-fi space; something big and synth-driven. Projects like 'Interstellar,' 'Scavengers Reign,' or 'Common Side Effects' really inspire us. The idea of working on something like 'Dune' or 'White Lotus' is also really exhilarating. Best of IndieWire The 17 Best Thrillers Streaming on Netflix in April, from 'Fair Play' to 'Emily the Criminal' Nightmare Film Shoots: The Most Grueling Films Ever Made, from 'Deliverance' to 'Mad Max' to 'Avatar 2' The 47 Best Romance Movies of the 21st Century, from 'High Fidelity' to 'Carol'
