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    Ravebot
    Some fans who’ve seen him with stand-alone singles on the likes of Delta9, Eatbrain, Blackout and, of course, Hoofbeats, may not know that neurofunk/dancefloor hybrid stan Kutlo has been producting for nearly a decade. Releasing more liquid and deep bass-style tracks beginning in 2013, Kutlo cut his teeth on playing with synths and sound design and was a local Slovak and Czech favorite until Let It Roll featured his deep bass scrambler of a track called “Void” with Italian producer Goh on their first compilation album in 2017. Once he was alongside the likes of Ivy Lab, A.M.C, Current Value and about 20 other huge names, Kutlo’s name grew itself quite rapidly.
    As his last EP, Memento on Kosen Productions out of Toulouse, was over five years ago, it’s safe to say Kutlo was due for another multi-track. He hooked up with Hoofbeats in his neighboring Czechia in 2020 and it’s clear that the Variations EP has been in the works for quite a while, given that the first teaser track, “Porcelain” featuring the unique vocals of Anna Vaverková, came out last September. A brassy, horn-filled dancefloor track, “Porcelain” sounds unlike anything Kutlo’s done before.
    Now with two other teases, the neuro-laced and, well, static-y “Static” and the very deep and melodic “Distance” featuring Timea, which unexpectedly drops into halftime, we know why the EP’s called Variations. It seems Kutlo wanted every “variation” of his style possible here, and he just about pulled it off. Thumbing his nose at subgenres, Kutlo marches through deep bass in opening track “One More Time,” pure synth in the intro “Nocturno,” the afore-mentioned dancefloor, neuro and slightly sped up halftime (2/3 time?), sine wave sound design and finally liquid and jump up in “Closure,” which is the closer and thus another apt title for the highly varied Variations.
    Our YEDM premiere today is “Fragments,” which, in the journey Kutlo wanted to take with Variations, seems to be where everything, all these styles and musical substances, come together before “Distance” and “Closure.” With a modern, minimal beat flawless sound design, amen break prhase transitions and some really wavy vintage synthwave synths full of sine waves and switchbacks, “Fragments” is hardly fragmented. It might be the most compositionally cohesive track on the EP, in fact, and seems to encompass all of what Kutlo loves about D&B in one 3:31 piece.

    Kutlo. · Kutlo – Fragments [YourEDM Premiere] Although there are loads of styles and subgenres in Variations and, in fact, in each of its tracks, through the journey of the EP, what’s most noticeable is Kutlo’s own style and vibe. Whether he means to or not, Kutlo proves a point with Variations: no matter what you want to label their music, we’re all really here for the artist. As varied as Variations is, its core is pure Kutlo.
    Variations drops on Hoofbeats this Friday, August 19. pre-save or pre-order here.
     
    This article was first published on Your EDM. Source: Your EDM Premiere: Hoofbeats to Drop ‘Variations,’ Kutlo’s First EP in Five Years
    Ravebot
    Hudson Mohawke, criminally underrated as he is, just released his third studio album, Cry Sugar, this past Friday. Typically, we do our best to share news of a release of this magnitude day-of, but this album is so dense and unique that we just had to take the weekend (plus another day) to fully digest it.
    The new full length arrives featuring previously released singles “Bicstan,” “Stump,” and “Dance Forever.” Cry Sugar deepens his practice of producing motivational music for club goers — uplifting the debauchery and inspiring many through his own brand of anthemic maximalism. Indeed, party of HudMo’s production charm is the way he puts so much into each and every track, whether it’s the magical notes of “Stump,” the grandiose, M83-esque “Lonely Days,” or the crazy and wild “3 Sheets To The Wind.”
    Amidst the sound of MRI machines and contorted celebratory howls, Mohawke hints at an athletic ability to rage well into the next decade. The result of which has been a production style able to integrate elements of jazz fusion, prog rock, happy hardcore, chiptune, and more with formal educations in rave, hip-hop, soul, IDM, and glitch. The broad and complex nuance of all these genres and more has become the palette of the Hudson Mohawke sound.
    Stated in the release for the album, “Cry Sugar serves as Hudson Mohawke’s first work deeply informed by apocalyptic film scores and soundtracks by everyone from the late Vangelis to the goofy major-chord pomp of 90s John Williams. Especially on tracks like ‘Stump,’ gut-wrenching scenes emerge as party-goers return home post-club amidst rising sea-levels, bomb cyclones, and flickering wildfires. Cry Sugar also serves as Mohawke’s own demented OST to score the twilight of our cultural meltdown. As the album’s artwork (by Wayne horse Willehad Eilers) depicts—we are arm-in-arm with the Ghostbusters marshmallow man, returning home while swinging a bottle of Jack only to gaze out at the gray tempest of a coming catastrophe.”
    Listen to the eclectic 19-track album, Cry Sugar, from Hudson Mohawke, below.

     
    Photo by Jonnie Chambers
    This article was first published on Your EDM. Source: Hudson Mohawke Finds Optimism In The Apocalypse On Third Studio Album, “Cry Sugar”
    Ravebot
    Today, Subtronics has announced a special LA headlining show at the Kia Forum on Saturday, January 28th, co-produced by Bassrush and Live Nation, his first ever Los Angeles arena performance will feature hits off his debut album FRACTALS.
    The Forum (17,000 capacity) is an iconic Los Angeles venue staple, hosting performances from pretty much every major artist, but only a select few in the electronic dance music world, such as Odesza, The Chainsmokers, and Armin van Buuren.
    Subtronics will be joined by Virtual Riot, MUST DIE! b2b Leotrix, HOL!, Sweettooth  b2b Artix!, and Austeria.
    Tickets go on sale starting Friday, August 19th at 10am local time on livenation.com.
     
    Photo via Rukes.com
    This article was first published on Your EDM. Source: Subtronics Announces First-Ever Headline Show at the Kia Forum
    Ravebot
    Audio plus energy equals bass music, especially when it comes from Audigy. The South Florida producer and DJ has been on our radar for a hot minute and continues to catch our eyes with his growing repertoire of action-packed tracks. On his latest endeavor, Audigy takes a swing at “Chasing Devils” from Conrank and Buku.
    The original track from Conrank’s 2021 album The Simulation’s Breached features a bouncy beat that turns into drumstep ferocity. Audigy steps in and takes the tempo into a slower and heavier direction. The pulsing alarm and warped vocals set up an incredible build to the mind-melting onslaught of flaring synths and wobbling bass. Even as the drop hits, there’s this whistling sound that takes the beat to a higher sense, like a rocket soaring into the stratosphere. It’s no wonder that Circus Records would enlist Audigy to remix such a great song and give it an incredible main-stage level up.
    On this “Chasing Devils” remix, Audigy offers a calculated and spontaneous take that is sure to be heard at all the bass-head shows for this year and the next. His recent singles like “Energy” and “UFO” showcase the producer’s ability to work in other bass music lanes like future bass and drum n bass. But his remix of “Chasing Devils” displays how much he’s improved on his sound in a genre that he’s easily turned into his playground.
    Make sure to check out the Audigy remix of “Chasing Devils” by Conrank and Buku on Circus Records.

    This article was first published on Your EDM. Source: This Audigy remix of “Chasing Devils” by Conrank and Buku Will Melt Your Brain
    Ravebot
    Following up his highly successful debut album 1000 Faces, melodic bass heavyweight Jason Ross is back with his second artist album, Atlas. Expanding on his previous achievements as a producer, Atlas is a new chapter that sees Jason Ross showing off his prolific skills as he drops melodic bass, dubstep and trance.
    On top of the album, Jason is kicking off a massive North America tour that will feature his biggest show to date at the Hollywood Palladium. We recently had a brief chat with Jason about his growth as an artist, what makes Atlas so special, his connection with his fans and his upcoming tour.
    Hey Jason! Thanks for chatting with us. First off, congratulations on “Atlas!” Tell us what this album means to you, what made you decide to record an album, and how you’ve evolved as a producer since “1000 Faces.”
    Thanks so much! This felt like the right time to focus on my next album as I felt like I had a lot to say with my music. I spent so much time during the pandemic learning and honing in on my production skills and I just felt like I had a lot to say with my music. This album is dedicated to the Atlas fam (hence the name) and is really to show my gratitude to my fans for being on this journey with me.
    You’re also about to play your biggest show yet at the Hollywood Palladium. What goes into planning a larger headlining show like that as opposed to a club show or being a name on a festival lineup? Also, what made the Palladium the perfect place to start the tour?
    I’m insanely excited about my upcoming tour, but yes, Palladium is definitely a special one. We are really building the show from the ground up and really want to give fans a unique experience not only through the music but visually. The lights, the visuals, everything is being created for this show and will be an experience that’s true to myself, the brand and my music.
    How was the recent show/ meet and greet at Academy? I feel like you’re an artist who makes a concerted effort to interact with the fanbase. What makes your fanbase so unique?
    The album release party in LA was such a cool experience! I do try to interact and be there for my fans as much as possible as I wouldn’t be here without them. It’s tough to put my finger on what makes my fanbase unique but I do see this sense of love and respect from them, especially at meetups and during my livestreams; their inclusiveness, excitement and positivity shines through. What I also love is their open-mindedness with the type of music I make and play out live. I have, of course, evolved my sound over the years, but my fans have stuck by my side and I admire and appreciate their trust in me.
    The last time I chatted with you was right before the Pandemic started. What did you do differently and what stayed the same for you while the world was shut down and there were no shows?
    What I did differently was livestream every single week for a couple of years . What stayed the same was my love and drive to make the best music I can possibly make.
    It seems like shows and festivals have come back with a flourish lately. You’ve been on a ton of lineups lately as well. How does it feel for you to ramp back up touring and does it feel like things are back to normal out there to you?
    It feels great to ramp back up touring! I would say that things feel normal when I’m actually playing a show and connecting with the crowd. The traveling side can be tricky as there are just a few extra hoops to jump through, but honestly just to get out there and play live shows again makes it all worth it for me.
    Now that the album has been released and you’re going to be on tour for the next few months. Have you thought about what comes next for you as an artist?
    We have some exciting plans for 2023, but we’re really just focusing on making the Atlas tour the best possible tour it can be. I’ve never done a tour of this size and I’m really excited to showcase what the Atlas brand is all about.
    Any messages for the fans or advice for aspiring producers?
    Always stay true to yourself and don’t be afraid to take risks!
    Get your tickets to Jason Ross’s Atlas Tour and check out his latest album as well.

    This article was first published on Your EDM. Source: Jason Ross Discusses His New Album “Atlas” Ahead of Hollywood Palladium Show [Interview]
    Ravebot
    If you weren’t at HARD Summer last month, you might have missed that Insomniac dropped the lineup for Escape, North America’s largest Halloween festival. Featuring some of the biggest names in dance music, Escape will have multiple stages dedicated to the best in EDM from main stage, bass, techno and house. This year’s lineup features heavy hitters like Alesso, Martin Garrix, Tiësto, Marshmello, Kayzo, Oliver Heldens and a special Deorro b2b Valentino Khan set.
    Taking place at San Bernardino’s NOS Events Center, Escape is the perfect place to let out your inner ghoul all while taking in some of the best dance music on the scene. Tickets are available here. Whether you’re soaking in the main stage sounds at the Grimm, enjoying the lasers at the Psycho Circus or grooving away to the house sounds of the Sewer District, Escape is one of the best festivals you’ll attend all year.

     
    Photo via Taylor Wallace for Insomniac Events
    This article was first published on Your EDM. Source: Insomniac Drops Massive Lineup for Escape 2022
    Ravebot
    It would seem J’Moris took a bit of a break after releasing his most recent LP, Moris Better: Loveless Confessions, as he usually releases pretty rapidly. Singles seem to just flow out of this Texas rapper at least once per month, but it’s always good to give the creativity a rest after a big release, and Loveless Confessions was, indeed, big for J’Moris. On Spotify, nine of his ten current most played tracks are from that album. His latest single, “Being Humble,” released late last month, however, is already on their tails.
    With a strong, smooth R&B musical theme in Loveless Confessions, it seems J’Moris wanted to break out and do something different with “Being Humble,” though his work is never short on surprises. This time, however, the listener is hit with it right away: a plucky classical arrangement in the intro that matches the beat and runs throughout the track. Produced by European beatmakers Anywaywell, the pizzicato of the unconventional strings also adds a more percussive quality to J’Moris’s verse.
    It’s an interesting marriage, as J’Moris’s voice is usually smooth and his flows more round, so the way he’s worked around the beat to fit to it but also keep his style is another surprise in this track. Dirty south and trap-based by word and deed, “Being Humble” shows that J’Moris is far from a mumble rapper and has the styll flexitiliby to try somethng different and even make it pop.
    Lyrically, the message of “Being Humble” is yet another surprise, though fans are probably prepared for that. By the title, one might think that the verse would be a cautionary or moral tale about staying humble but J’Moris has almost the complete opposite on his mind. He’s “sick of being humble,” in fact, according to the chorus, and no longer wants to downplay his achievements of try to pull slacker friends along who won’t pull thier own weight. It’s a concept a number of famous artists have talked about and an inconvenient truth for anyone who wants to achieve their goals. Leaving behind your original friends may be sad or difficult sometimes, but it’s also their decision not to keep pace with you. In declaring he no longer wants to be humble, J’Moris is recognizing he can no longer dim his star to make others comfortable.
    With a cheeky video directed by Artist Named Chi, who also collaborated with J’Moris on the Friday-themed “Activated” video, the rapper’s new stance is clear: he’s not going to apologize for enjoying the fruits of his labor. He also just happened to make “Being Humble,” a fun, funky banger out of his existential musings. Not bad for his first single since Loveless Confessions. 
    “Being Humble” is out now and can be streamed on Spotify. Check out J’Moris’s YouTube channel for more videos.

    This article was first published on Your EDM. Source: A Classical Twist on Country Grammar? J’Moris is Back With New Single ‘Being Humble’
    Ravebot
    Early Saturday morning local time, high winds in Spain at Medusa Festival caused part of the main stage to collapse, resulting in one death and more than 20 injured.
    After winds exceeding 51 mph were clocked, the main stage was evacuated but many apparently stayed behind against the official orders of staff and organizers.
    Pitchfork reported, “Of those injured, three suffered serious trauma injuries and 14 experienced minor injuries, according to regional emergency services. Reuters notes that 32 people were taken to the hospital.”
    “We are completely devastated and dismayed at what happened last morning. The management of Medusa Festival would like to express our deep and sincere condolences to the family and friends affected by the fatal consequences that occurred last night,” festival organizers wrote on Facebook. “It is a day of mourning and respect for those affected. And they will have us for everything they need. His unbearable suffering we also make ours.”
    Festive Owl on Twitter shared a video of the high winds:

     
    via Pitchfork | Photo via Wikimedia Commons 
    This article was first published on Your EDM. Source: One Dead, 20+ Injured After Main Stage Collapses At Festival Due To High Winds
    Ravebot
    KEETZ follows up his Terminal EP strong with the project’s grittiest cut to date, “Blight.”
    This particular production has remained one of KEETZ’s best kept secrets until now. A hidden gem lurking in the shadows just waiting to be unleashed — and that day has finally come.
    “Blight” thrives in a grungy, electro house realm. The first drop is simple yet effective, featuring a clean, pumping kick matched with persistent synth work, a killer bassline, and various intricacies to fill out the mix. Suddenly, a new lead introduces itself and bleeds seamlessly into the production, ultimately arriving full force for a thrilling finish. The contrast from one drop to the next makes for a compelling listen.
    KEETZ shares some background on the release:
    This song is easily one of my favorite tracks I have finished so far. I’ve always been really proud of it! I wrote this a couple summers ago when I was listening to Porter Robinson’s Ultra set from like 2011. That mainstage electro feel is something I have a lot of nostalgia for and I can vividly remember listening to that mix back in highschool and being so inspired by it. At the time I couldn’t wait until my production was at that level so I could make tracks inspired by those sounds. The track itself actually came together pretty quickly, however I went back and revised the breakdown numerous times to try and really make something memorable and unique. Every producer I know has a couple songs of theirs that once completed made them feel like they hit a ‘production milestone.’ That was ‘Blight’ for me.
    Check out the latest from KEETZ right here and link up with the rising producer below!
    KEETZ – Blight

    Connect with KEETZ
    SoundCloud | Spotify | Facebook | Twitter | Instagram
    This article was first published on Your EDM. Source: KEETZ Drops Brooding, Electro-Tinged Production, “Blight” [LISTEN]
    Ravebot
    Having started in the EDM blog world back in 2014, I know a thing or two about throwing shade. If you think EDM Twitter is bad now, it was the actual wild wild west with plenty of producers, fans, and even promoters unafraid to throw shade any which way, warranted or not. Now, things have become a bit more tame — but SoCal duo Koastle are bringing shade back with their new song, “Literal Goals.”
    Fed up with the mind games and superficial aspects of modern-day dating, Nashville songwriter Jake Neumar calls out the shallowness of the so-called “basic” behaviors defining this generation.
    Koastle shares how the song developed: “This song has been three years in the making. We wrote this song with some good friends of ours. It all started out when we were hanging in the room, scrolling through Instagram. We saw a post from a girl that we went to college with, posing with her boyfriend at the pool. As we were going through the comments, there were so many ‘fake’ comments from people that we knew would talk poorly about this girl behind her back. The comments were things like ‘Omg y’all are perfect,’ ‘Can I be you?,’ and lastly, ‘Wow, Literal Goals,’ hence the song title. So, long story short, we wrote a song about basic people who are fake on Instagram.”
    Listen below!

    This article was first published on Your EDM. Source: Koastle teams with Nashville songwriter Jake Nuemar Lost In Dreams debut, “Literal Goals”

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