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13-Track LP ‘Cold Enough For Snow’: Tinlicker’s diamond-sharp production skills reinforce their signature melodic sound with emotion-invoking indie guitar sounds, soulful vocals, arresting lyrics, and orchestral instruments, so that hearts, minds and feet can only blissfully surrender.
‘Glasshouse’ feat Julia Church showcases Church’s stirring, yearning, yet edgy voice with lyrics affirming faith in love – ‘I know/there is hope, even in the dark, you glow/…/ I was never in doubt’- while fast, breaksy beats and melodic piano arps create an uplifting yet thought-provoking vibe. ‘Glasshouse is written about having a recurring dream about someone you love’ Julia says. ‘How their memory flashes in and out of your world in the same way they did – and no matter where they are, continuing to live in a way that would make them proud. Nathan [Nicholson] and I fell in love with this beautiful instrumental and we loved working together to find the perfect topline.’
Album Tracks/Collabs: South African vocalist/producer Church (60mil+ streams) also sings on ‘Slipstream’, (supported by BBC’s Sian Eleri and Pete Tong), written/produced with major album collab partner, Boxer Rebellion’s Nathan Nicholson whose haunting, soul-tearing voice rides the woodwind melodies of the Metropole Orkest on ‘Strawberry’, the breakbeat, pizzicato ‘Crossroads’, and the disjointed keys and punchy arps of ‘Staring Down Sunset’.
An uplifting indie singing guitar sound duets with Editors’ Tom Smith’s world-weighted, heart-catching voice on ‘This Life’, complements Kieran’s soaring vocal on ‘Nothing To Lose’ feat Circa Waves, and emerges through the breathy voice and harmonium chords of ‘Who I’m Not’ feat Cloves, while Brian Molko’s decadent tones cut through the uncharacteristically trancey setting of ‘Nowhere To Go’, to create a different kind of ‘Placebo’ effect.
‘I love what music can do for people, become the soundtrack to lives we don’t know about, become very special to them.’ Micha/Tinlicker
The 2024 EU and North American tours: Tinlicker return to the UK, to the legendary Troxy London, Marble Factory (Bristol), Mandela Hall (Belfast). EU dates inc. Gashouder (NL), Elysee Montmartre (Paris), Magazzini Generali (Milan), Vicar Street (Dublin), Live Music Hall (Cologne), Fabrik (Hamburg)… breaking new ground in many cities/nations. Their newly announced North American tour inc. New York, LA, Detroit, Nashville, Houston, Toronto, Montreal.
Album Tracklist:
Glasshouse (feat. Julia Church) Staring Down Sunset (feat. Nathan Nicholson) Nothing to Lose (feat. Circa Waves) Blowfish This Life (feat. Tom Smith) Slipstream (feat. Julia Church) Who I’m Not (feat. Cloves) Revolution Crossroads (feat. Nathan Nicholson) In Your Eyes Nowhere To Go (feat. Brian Molko) Strawberry (feat. Nathan Nicholson & Metropole Orkest) Pretender Follow Tinlicker:
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The Belin-based K4LT, whose artist name is a stylized version of the German word “kalt” (trans. “cold” in English), has said his new rash of songs is a reflection of the isolation created by the COVID lockdowns and the struggle of people even now to remember how to socialize. “This Room,” released early this month, with its pseudo-goth synth styling, relentless, quick-paced beat and the ennui and anxiety heavy in the lyrics, gives a disturbingly accurate picture of what many people are experiencing post-pandemic.
“This Room (Reprise)” is also meant to be throwback to a song of the same name by The Notwist, one of K4LT’s biggest influences. This is not a remix or a cover, but a complete re-imagining of the track, as The Notwist’s original is more directly shoegaze and post punk with some interesting vintage and experimental interludes, which might remind some fans of mid-era Radiohead or Death Cab for Cutie merging with Venetian Snares. Refreshingly honest about naming his influences and inspirations, K4LT’s version is both a continuation of the original tone of the track and a reversal. Where The Notwist’s original is soft, vulnerable and largely rock-based, K4LT’s reprise semi-industrial and itchy, pacing, impatient, bordering on frustrated. A contrary statement to the original, but no less impactful.
Perhaps “This Room (Reprise)” meant to show the difference in the way we manage relationships and interact with each other since the lockdown. Rather than focusing on a relationship and where it’s going, we’re constantly looking outward whilst staying inward, not satisfied but not willing to do anything about it. A tech-driven futility and an inability to process emotions through relationships – or even at all – stamps this track. That itch is there though, K4LT warns, and it’s ready to break the surface, the portends of the last line repeated before the song cuts off: “…up to interfere; up to interfere.”
“This Room (Reprise)” is out now and available to stream along with K4LT’s other works on Spotify. They can also be purchased on Bandcamp.
This article was first published on Your EDM. Source: New K4LT Track ‘This Room (Reprise)’ Pays Homage to Artist’s Muse
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The post Panama Open Air Festival Announces 2024 Lineup appeared first on DJ Life Magazine.
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As he ventures into the new year, Gabriel recently unveiled his latest offering, the tranquil atmospheric piece titled ‘In The Dark.’ Featuring the ethereal vocal talents of Californian artist KORA, the track serves as another testament to ZUSO’s exceptional production prowess and distinctive style, expertly blending downtempo elements with a thumping liquid drum and bass groove.
Listen below!
This article was first published on Your EDM. Source: ZUSO Releases Downtempo, Liquid DNB Single ‘In The Dark’
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‘Hercules’ stands as a testament to Arky Waters’ artistic growth, seamlessly blending powerful beats with intricate production elements. The track represents a significant evolution for the artist, serving as an enticing preview of the EP’s potential. With its captivating soundscapes, ‘Hercules’ further solidifies Arky Waters’ position as a forward-thinking presence within the electronic music landscape.
Listen below!
This article was first published on Your EDM. Source: Aussie Breakthrough Artist Arky Waters Drops Mesmerizing Breakbeat Single ‘Hercules’
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His music promises a feast for ears, blending genres like stutter house, vocal chops, Garage, DnB, and House. His latest release “Hold On To You” pushes the boundaries even further; fusing dance with rap and showcasing Sam’s signature sound that has become synonymous with his name. With a vision to introduce “NY Garage” as a new genre, Sam is not just making music; he’s creating a movement that bridges the sounds of The Big Apple with the iconic vibes of UK garage. In his own words: “With my upcoming releases, my vision is to pave the way for a new genre, “NY Garage,” which is Inspired by the rich musical tapestry of his hometown blended with the iconic UK garage sound,” Silver says.
The song’s seed was planted during a night of exploration in Rome’s pulsating nightlife and absorbing its energy. From there it grew to form a captivating narrative on the complexities of love in a world filled with uncertainty, solidifying Sam Silver as not just a beat maker; but a storyteller.
“Hold On To You” unfolds like a heartfelt novel, capturing the highs and lows of love’s journey. From flirtation to infatuation and ultimately acceptance, the song mirrors the dynamic twists and turns of life, all set to the infectious rhythm of UK garage.
Follow Sam Silver on Instagram, TikTok, and Facebook. This article was first published on Your EDM. Source: NYC’s Prodigy Turns 21 & Hits the Club Scene with New Anthem: ‘Hold On To You’
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As the track progresses, it builds anticipation before reaching its climactic chorus, characterized by a deep house bassline seamlessly fused with crisp percussion, ethereal echoes, and commanding vocals. True to Night Tales’ style, the duo keeps audiences engaged with fresh soundscapes and infectious rhythms throughout the latter half of “Ready.”
Delving into the creative process behind the track, Night Tales reveals that “Ready” was born from a collection of samples sourced from Splice and the Serato sampler. This sonic amalgamation incorporates a variety of elements, including melodies, pitch shifters, autotune, and more. The song’s anthem-like quality is further enhanced by the intensity and diversity of the drums, with the duo experimenting extensively with rhythms and musical beds to evoke the desired emotions in the final product.
Listen below!
This article was first published on Your EDM. Source: Night Tales Release Mesmerizing Deep House Single “Ready”
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The post Desert Hearts Festival Brings Around-the-Clock Music to Arizona in July appeared first on DJ Life Magazine.
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“Toxic” encapsulates the finest elements of the underground, powered by a hypnotic vocal and booming tech house groove. Sherm & Halil prove just how dynamic of a team they are, effortlessly contorlling the energy from start to finish to create an enchanting experience. Whether it’s part of your pre-game, peak time at the club, or on your way to the afters, this is the perfect tune to turn on.
Listen below!
This article was first published on Your EDM. Source: Sherm & Halil Sensei Link Up For Spectacular Underground Single “Toxic”
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Comprised of lifelong friends Tanner and Yianni, Dunes of Dawn have dedicated themselves to their craft, with a deep-seated passion for electronic music driving their journey. Navigating the realms of house and techno, their dedication has led to significant milestones, including sharing stages with the likes of Agents of Time, andhim, and Andrew Bayer. Now, their ascent continues with a signing to one of electronic music’s most revered labels: Insomniac Records.
Their latest release, “Dimension,” under the In Rotation/Insomniac Records imprint, marks the beginning of a new chapter for Dunes of Dawn. This track serves as the inaugural step in a series of label partnerships, each representing a milestone in their burgeoning career. From the first pulsating beat, “Dimension” transports listeners to a futuristic dystopia, characterized by its dark melody and powerful percussion. Tanner’s haunting vocal sample seamlessly weaves into the fabric of the track, enveloping the listener and solidifying the thematic architecture.
Check it out below!
This article was first published on Your EDM. Source: Dunes of Dawn Make Debut On Insomniac Label With Thrilling Techno Single ‘Dimension’
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Kicking off the In Time (Remixes) is Liondub’s reinterpretation of the title track, “In Time.” Liondub, a seasoned figure in the global drum and bass scene, delivers a smooth and polished rendition, infusing the track with a seamless drum and bass rhythm that propels the listener forward. With Liondub’s extensive experience and collaborations with reggae and dancehall artists worldwide, his take on “In Time” sets the tone for the remix collection.
Meanwhile, Tim Reaper, founder of the esteemed Future Retro London record label, offers a sophisticated remix of “Starting Over.” Known for his mastery of jungle and breakbeat hardcore, Reaper showcases his technical prowess with clever breaks and minimalistic vocal elements that highlight the essence of quality dance music. His remix exemplifies the spirit of original jungle music, staying true to the genre’s roots while adding a contemporary touch.
Philadelphia-based producer Starkey rounds out the remix collection with his unique take on “To Kill A DJ,” infusing the track with dub/reggae influences and hard-hitting UK garage elements. Starkey’s dystopian soundscape captivates listeners, seamlessly blending Mars’ original with his distinct style, demonstrating his versatility and boundary-pushing approach to music production.
Finally, Nate Mars introduces “Parallelogram,” a brand-new original track that showcases his expertise in drum and bass and UK garage. With its metallic percussion, fast-paced breaks, and thick basslines, “Parallelogram” exemplifies Mars’ ability to surprise and delight listeners with his innovative soundscapes.
Check it out below!
This article was first published on Your EDM. Source: Nate Mars Unveils Official Remixes From Liondub, Tim Reaper, Starkey & His Own New Original ‘Parallelogram’
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His latest single is “Body Work,” a track born from a stroke of inspiration while Kid Caird was at his keyboard, diving into the digital crates of samples. As he sifted through the sounds, creative sparks flew, culminating in the realization of his vision. With each tinkering session, the pieces fell into place until the song burst to life.
“Body Work” wastes no time in captivating listeners with its crisp tech house percussion, robust basslines, and a synth with brass-inspired tones that serve as the song’s anchor. Combined with chopped vocal samples, it’s the recipe for a night filled with unforgettable moments on the dancefloor.
Listen below!
This article was first published on Your EDM. Source: Aussie artist Kid Caird Drops Simmering Tech-House Banger ‘Body Work’
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Their latest release, “Shake,” delivers a club-friendly, classic house vibe punctuated by well-placed vocal samples. The track effortlessly infuses a hypnotic groove, driven by a pulsating bassline, raw synths, and high energy arrangement. Signed to the rapidly expanding label Pharaoh Phonix, “Shake” proves to be another heater ready for dance floors around the world.
We had the opportunity to speak with them about the single and their work together. Check out the interview below!
For both artists: How has the Chicago-Milwaukee corridor influenced Blaze Orange and Kwal’s music and career trajectory?
K: The two cities are so close in proximity that it’s almost impossible for spillover to not occur. Chicago has strong roots as the birthplace of house music.. Milwaukee shares that same passion for house music so finding artists with similar tastes is not a complicated task. There is so much talent between these two cities.
B: Milwaukee has always seemed to look up to Chicago for being both the home of House Music and quality of events and artists. I have a great respect and admiration for those early artists that carved the way of House Music. I think you will hear that more and more out of my recent work some of the Chicago flavor I put into my songs.
For both artists: Can you describe the process behind creating “Shake” and how you achieved its distinct sound without resorting to overcomplicated sound design?
K: Blaze Orange had a fantastic groove laid down when he reached out about collaborating. Once I heard his original idea, I knew I would be able to add my own flavor to it without needing to recreate the wheel. It was one of the less stressful collaborations I’ve done in recent memory and I think that’s what made it so special.
B: Late one night, I had an idea laid out, the SHAKE vocal response was something I tried in a previous song that didn’t get far. This time the track was done within a day and I was really digging it. After I sent it to Kwal for his thoughts, he opted to jump on and it was very easy for the collaboration. We both were able to add complimenting drums and synths to the sound to keep the energy and make it memorable.
Blaze Orange, what inspired the transition to your current persona in late 2021, and how has it impacted your musical direction?
B: I spent 15 years as a mostly open format DJ that quite frankly achieved most anything I ever wanted. I had the pleasure of playing shows with the likes of Green Velvet, Ardalan, Disco Fries, LA Riots, and many others. However I never took production seriously until then. Working hard through the summer, I was close to having tracks that could get signed. I opted to rebrand, stop all open format shows, and go all in on the new persona of Blaze Orange. Only wanting to do shows where I can play some of my own tracks and other house music tastes that I enjoy. It’s been fantastic so far. Lots of hard work in the studio, sending out demos, promoting the tracks and shows. I’ve accomplished a lot lately but always striving for those next goals and to improve my sound and brand.
Kwal, working in artist relations at Spybar, how has interacting with renowned tech house artists influenced your music production and DJing style?
K: Contrary to popular belief my biggest takeaway from working in AR is not what everyone thinks it is.. 99% of these artists are incredibly nice people and are humble. It keeps me in check and reminds me to just be myself. Hearing headliners play so often also reminds me that we producers tend to really over complicate our song creation process. Create a strong groove and keep it simple.
For both artists: How do you balance the demands of label releases, club performances, and afterparties while maintaining your creative output?
K: As I grow as an artist it is slowly becoming a bit hectic to stay on top of everything “required” to be a music producer in 2024. One thing that keeps me grounded is having a schedule. Set aside time to complete tasks and do your best not to get distracted. Lastly, don’t forget to take time to be with your family, significant other, pets, etc.
B: I’ll come straight forward and say, it’s my experience and the fact that I am 8 years sober. I have put great value on weekend studio sessions in the morning being the most productive and creative. I do not drink at all, I go home and to bed after most every show so I can get back in my studio the next day. Striving to get music work done during the work week also can be challenging; however, discipline is everything. I do turn down some shows or just a fun night out so I can get some music work done.
Blaze Orange, how has your musicians’ collective contributed to the growth of the community and supported emerging artists?
B: I have worked with a number of groups over many years. There are always waves of both music sounds, genres and talent. Finding the middle ground to respect those that came before you and also help along the younger new talents. I have taken part in some sober events, fundraising and benefit shows to raise awareness for various causes. Also on the production side, I have started to tutor and help aspiring producers to learn there way around music production and the industry.
Kwal, since starting your journey in the music industry in 2013, what significant changes have you observed in the electronic music scene, particularly in Chicago?
K: Chicago is an extremely busy city when it comes to house music culture. One thing I can say for certain is that being able to make good music has never been enough to get you on stage. This city and its promoters/talent buyers really want your support which makes total sense. I neglected this for such a long time and it impacted my career early on. Get involved and shed love as much as you can. With that said, I’d say the biggest change has been in the amount of promoters in the city.
For both artists: How do you approach the creative process when collaborating on tracks, and what roles do each of you play?
K: For me I tend to only take on collabs from others if I truly feel I can add value to the song. My strong suits are writing basslines and drums. I also tend to find myself being picky and not wanting to rush to finish.
B: For me, working in a compatible DAW like Ableton goes a LONG way. I can be picky about sounds being genuine to what I like. This one with Kwal came very easy and organically that fit both of our styles. I should also mention we met on a Discord server for the producer CASHEW and found out Kwal was pretty local to me. That was pretty cool, so thanks to CASHEW!
For both artists: With a clear vision for the year ahead, what are some specific goals or projects you’re aiming to accomplish?
K: My biggest goals for 2024 are to sign a contract with one of my top 5 labels and to commit to playing a local festival like Arc(even if it’s for 2025).
B: Growing my fanbase, socials, music reach. Main targets for this year are signing a track to a much bigger label than previously. As well as a music festival for this year or next. Continuing to craft my sound, brand and workflow should help those things fall into place.
This article was first published on Your EDM. Source: Blaze Orange & Kwal Collaborate For Electrifying House Single ‘Shake’
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The post Duck Sauce Drops Two New Tracks on D4 Dance appeared first on DJ Life Magazine.
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Hailing from New York City, Smith & Sorren have made significant waves in the music industry as a DJ/Producer duo. Their journey from childhood friends to prominent musical figures is a story of relentless passion and evolving artistry. Known for their fresh sound, they’ve secured positions on prestigious Spotify editorial playlists and have been featured on platforms such as SiriusXM, Insomniac Radio, and Dash Radio. Their remix of “Baddest Of Them All” by Eliza Rose stands out as a particularly notable achievement, further solidifying their status in the music realm. The launch of their own label, S&S Sound House, in the summer of 2023, highlights their dedication to influencing and innovating within the music industry.
Jay Roman adds a unique flair to the mix, drawing from his diverse musical upbringing and early immersion in New York’s vibrant club scene. His signature deep tech house sound, enriched with elements of hip-hop, sets his work apart, making him a standout figure for his innovative productions and memorable live performances.
“In The Middle” is a testament to the seamless integration of Smith & Sorren’s dynamic energy and Jay Roman’s unique sound. This collaboration not only showcases the individual talents of each artist but also raises the bar for what can be achieved through musical partnerships. Available on all major streaming platforms, the track invites audiences to dive into the distinctive soundscapes crafted by Smith & Sorren and Jay Roman, offering a fresh and exciting listening experience.
This article was first published on Your EDM. Source: Smith & Sorren Team Up with Jay Roman for a Captivating Tech-House Anthem ‘In The Middle’
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The post LELO’s SIRI 3: Where Music & Pleasure Meet appeared first on DJ Life Magazine.
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The post The Wonderful Karl The Voice Has Passed Away appeared first on 5 Magazine.
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The post Steve Ostrow, founder of NYC’s Continental Baths, dies at 91 appeared first on 5 Magazine.
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2023 was a busy year for the Dutch producer/musician. He started the year off with a hit single “Don’t Look Down” and capped it off with the release of his second studio album Existential Dance Music. He also performed at Electric Forest, Lollapalooza Paris, EDC Orlando and headlined two of his own North American tours.
“I’m extremely excited about my b2b with Madeon at Ultra 2024!” San Holo says. “It’ll be a great opportunity to explore new exciting sounds and expose people to music they might have never heard before!” Check out San Holo’s exclusive new playlist the Cosmos featuring music from San Holo and friends, Duskus, Pauline Herr, Throttle, DROELOE and many more. 3-Day GA tickets are still available for Ultra Miami 2024. See you at Bayfront next month!
This article was first published on Your EDM. Source: San Holo Shares Exclusive Playlist Ahead of b2b Performance with Madeon at Ultra Miami 2024
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The post John Summit & Hayla Reunite to Make Us “Shiver” appeared first on DJ Life Magazine.
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After two unprecedented sell-out performances at Melbourne’s Sidney Myer Music Bowl and a memorable co-headlining slot with Post Malone at Spilt Milk, Dom Dolla’s ascent to stardom continues to soar in 2024. With sold-out headline gigs across North America and the United Kingdom and appearances at prestigious festivals like Coachella (USA), Lollapalooza (South America), Park Life (UK), Reading & Leeds (UK), and Tomorrowland (EU), Dom Dolla’s global presence is undeniable.
Adding to his accolades, Dom Dolla earned a Grammy nomination in 2024 for his remix of Gorillaz’ track ‘New Gold’ featuring Tame Impala & Bootie Brown. He also dominated the airwaves with back-to-back hits, including ‘Saving Up’ at #3, ‘Rhyme Dust’ with MK at #4, and ‘Eat Your Man’ featuring Nelly Furtado at #18 on triple j’s hottest 100.
Continuing his winning streak, Dom Dolla clinched the 2023 ARIA award for Best Dance Electronic Release with ‘Rhyme Dust’ featuring MK. With a rapidly growing catalogue approaching 1 billion streams, and numerous Platinum and Gold certifications, Dom Dolla‘s influence on the electronic music landscape is undeniable.
His latest chart-topper, “Saving Up,” has stormed into the ARIA Singles Chart Top 10, making Dom Dolla the first Australian artist to achieve such a feat in the past three months and the sole Australian artist in the ARIA Chart Top 25.
Get ready for an electrifying start to summer 2024 as Dom Dolla takes center stage across Australia, promising unforgettable performances and unparalleled energy.
Pre-sale Registrations Close – Monday February 19th 10am AEDT, 9am AEST, 7am AWST – register for pre-sale here.
Pre-sale On Sale – Monday February 19th 12pm LOCAL TIME – register for pre-sale here.
Australian Tour Dates
Saturday 30th November 2024 – The Domain, Sydney
Saturday 7th December 2024 – Wellington Square, Perth
Saturday 14th December 2024 – Flemington, Melbourne
Saturday 21st December 2024 – Riverstage, Brisbane.
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The post Smart Money: Personal-Finance Tips for Mobile DJs appeared first on DJ Life Magazine.
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