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Heckler & Dabow Remix Dirty Audio & Bobby Blakdout’s Hit “Bands ft. Gucci Mane”

Renowned producers Dirty Audio and Bobby Blakdout have joined forces to deliver a powerful Trap/Bass remix of their hit track “Bands,” featuring the Gucci Mane. With the added creativity of Hekler and Dabow, the chart-topping original has been transformed into an electrifying and ground-shaking rendition that is set to take the music world by storm.
Hekler and Dabow, both acclaimed in their own right, have masterfully reimagined “Bands,” infusing it with their signature styles and unique soundscapes. The remix boasts an aggressive blend of trap and bass elements that provide a thrilling listening experience, pushing the boundaries of the genre to new heights. From the moment the beat drops, the track commands attention with its bone-rattling drops and infectious energy.
Check it out below!
This article was first published on Your EDM. Source: Heckler & Dabow Remix Dirty Audio & Bobby Blakdout’s Hit “Bands ft. Gucci Mane”
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Reill Drops Catchy Dance Pop Single “Happy For You”

With over 500 million streams to her credit, RIELL is no stranger to the limelight. Having toured in more than three international circuits spanning continents, and collaborated with industry giants such as Blasterjaxx, Excision, The FatRat, Besomorph, and Neoni, her journey is a testament to her unparalleled talent and drive.
She’s working on a hotly anticipated 18 track album and leading into it, has unveiled a glistening dance pop single “Happy For You”. With its upbeat rhythm, this song finds the perfect balance between a raw edge and a catchy pop vibe. It’s like a cool fusion of pop and rock, designed to get stuck in your head on purpose.
Check it out below!
This article was first published on Your EDM. Source: Reill Drops Catchy Dance Pop Single “Happy For You”
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CHASSI & IMAN Release Thundering Single “Dash”

CHASSI and IMAN have been making waves individually in the electronic music scene, and their collaboration on “DASH” represents a significant milestone in their careers. The track is a testament to their shared passion for pushing boundaries and creating groundbreaking music that transcends genres.
You can expect a sonic rollercoaster ride with “DASH” as it expertly blends hard-hitting dubstep elements with infectious melodies and intricately crafted rhythms. From the atmospheric intro to the adrenaline-fueled drops, the track exudes an irresistible energy.
Listen below!
This article was first published on Your EDM. Source: CHASSI & IMAN Release Thundering Single “Dash”
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DIESEL & Jessica Audiffred Have ‘No Fear’ With Their Latest Single

Cementing the title as the ‘biggest DJ in the world’ and throwing down massive energetic sets during his “SUMMER OF BASS” Tour, DIESEL is in full force as he teams up with the ‘Queen of Bass’ Jessica Audiffred to unleash their latest single, “NO FEAR” via Monstercat. 
With vocals from SHAQ and apparent bass-fluid and shape-shifting sound immediately from the start, listeners are about to be taken on an electrifying dubstep journey inspired by DIESEL and Jessica Audiffred’s ever-evolving sound design. By bringing the two prominent electronic music producers together for this highly-anticipated collaboration, the adrenaline begins to rush through your veins as infectious basslines quickly take over at a rapid pace. Ready or not to enter a night of wrenching bass and menacing synths, DIESEL and Jessica Auddiffred are opening the doors into their world of jaw-dropping madness.
Listen below!
This article was first published on Your EDM. Source: DIESEL & Jessica Audiffred Have ‘No Fear’ With Their Latest Single
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LEFTI & Brandon Markell Holmes Link Up For Insatiable House Single ‘Get What You Want’

The mastermind behind LEFTI, Alex Suarez, walks the world as a touring musician, DJ, and songwriter. Today, he stands in the spotlight as a highly successful and sought after figure in the house scene, creating waves not only in Brooklyn but across the world. His rich discography, spanning releases on iconic labels like Toolroom, Love & Other, and Let There Be House, is a testament to his growth and evolution over time. Major labels including Atlantic, Warner, and Universal having caught wind of his chops over the years, tapping him for a reimagining of songs through various remix projects. He’s a force celebrated and supported by industry giants — gaining support from Calvin Harris, Disclosure, Claptone, and Fatboy Slim.
Now, he’s back with a soulful and insatiable house single ‘Get What You Want’, this time linking up with Brandon Markell Holmes. It’s a club anthem with a perfect blend of the old school with the new, that carries this undeniable energy, our favorite from LEFTI to date.
Listen below!
This article was first published on Your EDM. Source: LEFTI & Brandon Markell Holmes Link Up For Insatiable House Single ‘Get What You Want’
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BIG VENTI Delivers a New Sound to EDM with his SoCal Style on “ByThe Way.”

BIG VENTI’s electrifying masterpiece “BY THE WAY” shoots straight to the top of the iTunes Dance Charts, claiming the coveted No. 1 spot.
Hit the road with the smooth beats, irresistible synth melodies, and the unforgettable vocal style of LA’s BIG VENTI. This rising star brings a fresh
and daring fusion of EDM and Hip Hop that will have you hooked from the first listen. What sets him apart is his ability to infuse his own unique style and sound into each genre he explores.
With his infectious melodies and warm vocal tone, BIG VENTI delivers a captivating and passionate sound. Drawing inspiration from multiple
genres, he has forged his path as a versatile music artist.
Step into the world of BIG VENTI, and you’ll find a true fashion icon rocking fresh shades, and custom Party Hills Apparel fits that elevate his
recognizable image. But it’s not just about looks. His persona is magnetic and endearing; whenever he enters a room, good vibes accompany him. BIG VENTI’s presence is larger than life; his music reflects that -it speaks volumes.
His latest project, “BY THE WAY,” is an EDM album infused with the sounds of Calvin Harris, David Guetta, and Avicii. It brings a refreshing dance vibe with a modern twist that elevates the genre.
The way Big Venti mixes EDM and rap suggests an evident influence from DJ Khaled, as the album has that same party-starting energy. With many
different approaches, from piano-led-house to the driving pulse of Detroit techno, he does it all and well. The kaleidoscopic array of colors draws from the nightlife, as each track is colored with a distinctive neon hue. Production embraces the immaculate as the album is mastered to perfection, allowing every note to be fully felt.
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An escapist attitude reigns supreme on the title track and opener, “By The Way.” The vocals present many approaches – from the classic dance duet
to the staccato flow that punctuates the rest of the song. The lead melody is a driving force in the track, with the chords possessing an undeniable richness. Adding another dimension to the recording, the breakdown feels seductive, with the allure of both vocalists surrendering to the beat.​
“Sunset Strip (EDM Remix)” goes right for Los Angeles glamour. BIG VENTI’s double-time flow in his rap verses perfectly complements the instrumental’s upbeat energy. His clever word choice throughout the song radiates a sense of freedom and liberation.
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The ambiance of “They Don’t Know” offers a respite from the heavier tracks. While there is an infectious bassline that rolls through, it has a
lighter, mystical philosophy. Deep in the tropical flavor of the sound, elements of chillout room legends like the KLF and the Future Sound of London rise out of the atmosphere. As the style continues to evolve, we can expect to hear even more innovative and exciting music from this artist.
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Catchy melodies get infused into the rhythm of the dub-influenced “Coachella.” A panoply of different layers gives the track a psychedelic swirl. Deep in the sound, he lets the view of the temporary autonomous zone, or “TAZ,” take over. BIG VENTI wants to live in a dance environment which adds to the communal quality. Vocals cascade downwards, washing over the listener, giving the song a peaceful, meditative aspect behind the addictive groove.
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Deep house elements go for a heartfelt, gospel-like aspect on “Stitches (EDM Remix).” The amount of name-dropping and outright displays of
luxury gives this track a profound swagger. A nuanced intersection of contemporary hip-hop meets pop meets EDM is fully displayed. With this hybrid approach, the piece contains a wide swath of emotional states, never content to settle into one. This combination results in a sound that is both current and timeless.
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Idealism reigns supreme in the yearning for “Utopia.” Taking the essence of the utopian dream of a better life, happiness runs through it. BIG VENTI’s
passionate vocal delivery especially stands out on this track.
Ending things with a sheer blast is the sweat dripping off the walls’ bliss of “By The Way (Club Mix),” which ties together all that came before in a final
rush of electronica. The club mixes lives true to its title.
With “BY THE WAY,” BIG VENTI demonstrates his prowess in combining EDM and rap influences, resulting in an album filled with timeless beats and unforgettable flow. The electronic beats of EDM and the punchy production provide the perfect foundation for the rhythmic flow of Hip-Hop
attitude. With its daring fusion of EDM and Hip Hop, the song reflects the city’s diverse and eclectic music scene, making it a perfect anthem for the
SoCal party-goers. “BY THE WAY” is a thrilling ride that ignites the senses and leaves you feeling as vibrant and alive as The City of Angels. “By The
Way” presents the undaunted dance floor power of Big Venti in delivering banger after banger with gleeful abandon. With so much talent on tap, it’s no wonder that BIG VENTI is quickly becoming
This article was first published on Your EDM. Source: BIG VENTI Delivers a New Sound to EDM with his SoCal Style on “ByThe Way.”
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Kēvens’ Empowering Anthem, “Sweet LadyLiberty”, Inspires Unity and Change

In an age of division, international recording artist Kēvens has crafted a resonant anthem of unity: “Sweet Lady Liberty”. Released in 2018, this stirring composition paints a compelling picture of a country built on the principles of liberty and equality.
However, Kēvens’ message dives deeper. It reminds us of our collective responsibility to cherish these ideals and the power each of us holds to drive societal change.
As a former DJ from Miami, Kēven’s journey led him to the groundbreaking, progressive reggae group, Le Coup. Yet, his evolution as an artist truly took flight when he embraced his calling as an actor/singer/songwriter. Inspired by diverse influences and a commitment to personal growth, he emerged as an artist committed to promoting themes of multiculturalism, spiritual enlightenment, artistic expression, and unyielding positivity with his songs.
More than just a musician, Kēven is an ambassador of change. “Every song I sing speaks to each person individually and differently, depending on what they’re going through in life,” he says. “My music helps people connect with themselves on an elevated level.” The profundity of his songs echoes the depth of his vision.
“Sweet Lady Liberty” is a song with the purpose of touching hearts, inspiring minds, and contributing to a discourse of progressive positivity. This electronic reggae masterpiece invokes listeners to broaden their perspectives, celebrate unity, and embark on a journey of transformation and self-discovery. It’s a powerful call to action to break free from the chains of old habits and make transformative self-discoveries.
Kēven music rings out in a world that grows more divided daily. Today, where age, nationality, race, and religion seem to widen the chasm between us, Kēvens voice offers an antidote. His music is not just a composition of notes and words; it’s a key to the unity dance, inviting people worldwide to celebrate shared humanity.
Venture into Kevens’ soul-stirring world with “Sweet Lady Liberty”. Available for streaming on Spotify and YouTube, this anthem is not just a song but a heartfelt declaration of freedom and unity. Kēvens invite us all to experience the joy of embracing the grandeur of liberty. His artistry extends beyond simple entertainment. It’s a transformative journey toward higher consciousness and personal growth.
In a world desperately yearning for change and unity, Kēvens voice resonates with hope and inspires action. He is not just singing about liberty and equality; he encourages all to be custodians of these precious ideals. He sees the universal hunger for something greater and offers his music as sustenance, nurturing souls with his empowering anthem of independence, “Sweet Lady Liberty”. The song is a clarion call to reclaim the ideals upon which we’ve built our society, a powerful anthem for positive change.
Embark on a journey of self-discovery and spiritual growth with Kēvens’ music. With his beats as your guide and his lyrics as your mantra, you might find that this song is more than a celebration of liberty; it’s a call to become the change you wish to see in the world.
This article was first published on Your EDM. Source: Kēvens’ Empowering Anthem, “Sweet LadyLiberty”, Inspires Unity and Change
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FISHER & Kita Alexander Join Forces on ‘Atmosphere’

GRAMMY and ARIA-nominated DJ and producer FISHER, and fellow Australian singer-songwriter Kita Alexander, unite in their latest single, ‘Atmosphere‘. The second FISHER ID previewed during his 2023 Coachella set with Chris Lake, ‘Atmosphere’ has already amassed over 2000 creations and millions of views on TikTok, fervently urging for its official release. Seamlessly fusing FISHER’s signature beats with Kita’s otherworldly vocals, ‘Atmosphere’ guides listeners on a euphoric journey through space before descending into a deep and dark dance drop.
‘Atmosphere’ follows an impressive list of releases from FISHER over the last 12 months including the huge tech-house hit ‘Take It Off’ with Aatig which reached #1 on Beatport in just the first few days from release. The track also follows FISHER’s rework of Bob Sinclar’s legendary ‘World, Hold On’ which immediately hit the Spotify Viral charts in the US, UK, Australia and New Zealand. The rework has today reach gold ARIA-accreditation in Australia. This came alongside his record-breaking Australian tour in November 2022. The sold out four-date tour setting a record for the most tickets sold for an Australian DJ and 75,000 tickets sold across the country in November 2022. Across the equator, FISHER launched his own festival in Malta called, TRIIP. The three-day festival had a DJ line-up curated by FISHER and took place across historic castles, pools and boats on the Mediterranean for the first weekend of summer. After which is an all-new busy time of year for FISHER, including his all-new weekly residency at Hï Ibiza that kicked off in June this year.
Known for his wild sense of humour and energetic DJing style, FISHER first burst onto the electronic scene with tracks ‘Stop It’ and ‘Ya Kidding’ and has since become one of the scene’s most in-demand talents. He then dropped ‘Losing It’, his breakout track that earned him his first GRAMMY nomination. Fast-forward to 2023 and the track has now amassed well over half a billion streams – cementing its status as one of the biggest dance records of the decade in the process.

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LMFAO Member Redfoo Taps Sak Noel For Latin House Remix of Collab with Dainjazone, “Long Live Party Rock”

There’s a certain undeniable effect that LMFAO has had on electronic music in the US that will stand the test of time. Their bright and electrifying tunes helped fuel parties all over the USA. Co-founding member Redfoo hasn’t lost his lively spirit, and after recently returning with a collaboration with Dainjazone titled “Long Live Party Rock”, he’s now tapped Sak Noel for a vibrant latin house remix that is purely irresistable.
Adding a spicy twist to this club anthem is the remix by Sak Noel, the Latin Grammy Nominee and multiple times Gold & Platinum certified DJ. Known for his pioneering fusion of electronic music with Latin vibes, Sak Noel, the first Spanish DJ to hit #1 on the UK Singles Chart, has released this remix to his massive followership, garnering over a million impressions in just a few weeks.
Check it out below!
This article was first published on Your EDM. Source: LMFAO Member Redfoo Taps Sak Noel For Latin House Remix of Collab with Dainjazone, “Long Live Party Rock”
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alice.km Delivers Electrifying Techno EP ‘The Back Beat’

Rising techno artist alice.km has led quite the impressive career thus far. She has amassed over 120k+ Spotify streams in 2022 alone, performed at prominent music festivals such as Arrival Festival, and opened for Drumcode’s Tempe tour. Also, alice.km clinched victory at Circus Recordings’ remix competition and is soon to officially release a remix “Collide” by Maxinne, signed by the label.
Now, she’s back with an electrifying techno EP titled ‘The Back Beat’ thats packed with hypnotic rhythms and true to the name, a irresistible back beat. The title track thrusts the listener into a dystopian experience with pulsing basslines and strategic vocal snippets. The second track, “Talk To Me,” rounds off the EP in perfect fashion, maintaining the techno intensity while sprinkling in raw, seductive melodies.
This is yet another amazing pack of songs from alice.km. Check it out below!
This article was first published on Your EDM. Source: alice.km Delivers Electrifying Techno EP ‘The Back Beat’
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The Epic Return of HARD Summer to Los Angeles [Event Review]

HARD Summer and Insomniac Events made their triumphant return to the city of Los Angeles this past weekend. It was the first full scale electronic music festival to be held in the city in a decade; the first since HARD Summer last took place at LA State Historic Park in 2013.
The city has been warming up for this; Kaskade and deadumau5 played a full show at the Coliseum last December, and Insomniac has been hosting events at “The Torch”, the Coliseum’s northeast entrance. However, this was the first multi-day festival to be held on the Exposition Park grounds since EDC back in 2010. Overall, the weekend was a huge success and is hopefully the runway for more Los Angeles-based events. Since this was a completely new setup, there’s a lot to get into.
The Festival Layout
HARD Summer has been at the familiar NOS Events Center the past two years, and it occupied the Fontana Speedway, three of the four years prior to that. Insomniac went absolutely huge with the festival layout for the return to Los Angeles. The HARD stage occupied the entire area behind both the Coliseum and the BMO Stadium, with MLK Blvd running along the south end of the festival.
Headliners could walk into both of the aforementioned venues and not only easily access the floor, but just chill and sit in the bountiful grandstands that both stadiums provided. The HARD stage was the very first place headliners walked in and gaining access to the Green (Coliseum), Purple (BMO Stadium) and Pink stages was super easy. Getting from HARD to HARDer was a little bit of a walk, however, no one got lost here. VIP headliners also got access to an incredible air-conditioned area inside BMO. No bottlenecks, easy to move around, 9/10.
The Stages
It’s tough to compare the HARD stage to stages at festivals like EDC or Tomorrowland which all have very unique themes. Over the years, what’s made HARD unique is that it really doesn’t have any type of aesthetic, other than backyard summer BBQ, however, that doesn’t mean that HARD doesn’t have impressive production. In fact, the HARDer, Green and Purple stages all had mind-blowing production. The HARDer stage kind of resembled the Ultra Europe stage. The stage was divided into two horizontal rows of video panels extending outwards and curving inwards behind the DJ booth. Rows of lights illuminated the columns in between the LED panels. Getting up close, you got absolutely lost in the stage design.
The Green stage inside the Coliseum had an absolutely massive scope. The stage featured a square video panel border extending out and getting bigger in three different rounds of panels. Lasers and pyro made the stage come alive at night, and being inside the massive Coliseum gave the Green stage a scope that the HARDer stage didn’t have.
Same for the Purple Stage inside the BMO, which is a brand new, world class stadium. The stage featured massive diamond shaped video boards protruding out into the crowd. The main video board behind the stage showcased all the madness that was going on. For Diplo b2b Blond:ish, they even had a basketball hoop set up for each DJ to shoot free throws on whilst the other one spun. Maybe one of the greatest setups I’ve ever seen.
While the HARD stage was massive, it lacked the grandness and creativity of the other stages. It was the same trapezoidal design that’s featured each of the past couple years at NOS. I love the red and the added lasers were much appreciated, but, at a stage where the average headliner was probably really far away from the stage, it felt small. The sound was not impeccable either.
Metro came in clutch
If you’re a veteran SoCal raver like me, you’re probably very familiar with that dreadful drive from LA to San Bernardino. It can approach two hours, if you’re like me, you’re staying at a Motel 6 or Comfort Inn somewhere in the Inland Empire, it’s a lot to get out there for a two or three day festival. This year it appears that local headliners overwhelmingly took advantage of public transportation and took the Metro to Downtown Los Angeles. For $3.50 a day you rode maybe 30-45 minutes worry free to and from the venue. No searching for parking, no expensive rideshares; if you didn’t take the Metro down to the festival…well, kudos to you for spending unnecessary money. And, although it was hot in DTLA, low 90’s, it was nothing like San Bernardino, which experienced triple digit heat both days of the weekend.
The Lineup
There’s never really been a bad HARD lineup, HARD has always been known for having some of the most eclectic and unique lineups across all festivals. There are always HARD stalwarts like Diplo, Skrillex, Dillon Francis, Flosstradamus, however, this year, the festival went in on unique b2bs and appealed to the older millennial in all of us. Kaskade b2b John Summit and Skrillex b2b Four Tet were the headliners this year. One difference between HARD and other Insomniac festivals, best believe there is a designated headliner.
Hip-hop was also well represented with 21 Savage and Kid Cudi each taking over the Purple Stage. Early 2000s favorites Fat Joe and Ludacris also performed. Ludacris’s performance was notable as he absolutely packed out the HARDer stage. Seemingly every millennial in Los Angeles was there. Disco was also strongly represented at the festival with Yung Bae at the HARD stage and Jungle at the Purple stage. You never know who will be headlining HARD, but you know it will always be good.
Areas the Could Use Some Improvement
Alright it’s come to that time where I have to call some things out. In this case, there were only two things that stood out to me, but they stood out big time. Obviously, there’s going to be growing pains with a new festival location, but these need to be addressed.
First, the bottleneck at the entrance. While there was nothing wrong with walking down Bill Robertson Ln from the Metro stop, or wherever you may have parked, there were basically 2 VIP entrances and 8 GA entrances to the entire festival. That’s a fraction of what is usually available at NOS Events Center or previously at the Fontana Speedway were there were multiple entrances. It was completely unorganized getting into the venue and I’m sure plenty of people just walked past the hearty staff who were wristbanding. Maybe open up more entrances on MLK Blvd? But, there needs to be more room for ingress and a more orderly way to get wristbanded.
Second, the VIP section at the HARDer stage. It’s tough to complain about any VIP area, after all, you’re there. But, if you paid for HARD VIP and spent any decent amount of time at the HARDer stage, you were vastly disappointed. The pool was small and crowded, and similarly to the entrances there were basically six bars serving the entire VIP area; needless to say the lines were not exactly moving smoothly. I understand that space was limited at the event, but the HARDer VIP section did not live up to expectations.
That’s pretty much that on HARD Summer Los Angeles 2023. Despite a couple of missteps, the festival was an overwhelming success. Fingers crossed that HARD maintains its home here in Los Angeles for the foreseeable future. Nothing has been announced yet, but stay tuned to Insomniac’s socials for future updates.
This article was first published on Your EDM. Source: The Epic Return of HARD Summer to Los Angeles [Event Review]
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RANKZ Unveils Explosive Hybrid Bass Single “Alien Technology” Via Naeleck’s Dancing Dead 

Teeming with experimental sensibilities and a heavy dose of bass, RANKZ’s latest single “Alien Technology” is a true stunner. The rising talent, who kickstarted his career back in 2021, is still buzzing off his recent BURN EP with “Alien Technology” serving as the perfect followup. Out via renowned artist Naeleck’s Dancing Dead imprint, the single 3-minute single is a stunning combination of mind-bending sound design and heavy drums, making for a stunning showcase of RANKZ’s multi-faceted bass music style. 
RANKZ’s rise since his debut has been beyond explosive. Pushing what he refers to as palatable experimental bass music, RANKZ has managed to sign his tunes to acclaimed labels such as Bassrush Records and Jauz’s Bite This, while securing live performance slots alongside pioneering bass music artists such as Ghastly, Subtronics, PhaseOne, Feed Me, Level Up, Tvboo and more. Stay tuned with RANKZ, as he certainly has a lot more exciting singles dropping throughout the rest of 2023. 
This article was first published on Your EDM. Source: RANKZ Unveils Explosive Hybrid Bass Single “Alien Technology” Via Naeleck’s Dancing Dead 
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 Automate Proves He Is A Dominant Force In The Dubstep Scene With ‘Robotico’ EP

Automhate, the prodigious dubstep producer known for his unrelenting intensity, bone-rattling basslines, and audacious sound design, has dropped his highly anticipated release on Funtcase’s label, DPMO. With five tracks that push the boundaries of the genre, Automhate once again proves his prowess as a dominant force in the dubstep scene.
Each track on this release is a testament to Automhate’s signature style, characterised by thunderous basslines, intricate synth work, and an unwavering intensity that takes listeners on an exhilarating sonic journey. Collaborations with Mad Dubz and Hukae bring an added dimension to the release, showcasing Automhate’s ability to seamlessly merge his unique sound with the artistic visions of their peers.
This article was first published on Your EDM. Source:  Automate Proves He Is A Dominant Force In The Dubstep Scene With ‘Robotico’ EP
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RN ISMO Returns To His Roots Via ‘Growing Up,’ Released On Label: Issues

When the worlds of fate, talent, and determination collide, they often create a melody that lingers. For RN ISMO, this collision has been nothing short of harmonic brilliance. The minimal house scene has witnessed an unparalleled confluence of sound and storytelling with his entrancing journey.
Imagine a young, eager talent submitting a seemingly simple remix for a contest hosted by Woodlands Studios. This task, made available by the renowned Detlef, was a call to remix Detlef’s piece, “Dub Clap,” for the renowned label, Issues. RN ISMO’s rendition stood out, not for its complexity, but its arresting simplicity. This winning moment was more than just a victory; it was RN ISMO’s gateway into the intricate universe of minimal house.
Fast forward a bit, and the world is now graced with “Growing Up”. This masterpiece intricately weaves RN ISMO’s seasoned sound with Cami Jones’s moving vocals. While their earlier work, “Melting Head”, gave listeners a taste, “Growing Up” serves as a rich, musical memoir, detailing the metamorphosis of an artist.
Life’s symphony often feels like a repetitive tune, but RN ISMO’s journey resonates differently. It’s a melodic manifestation of aspirations from the past marrying present-day triumphs, rising like a phoenix and rhythmically dancing to its beats.
Detroit’s vibrant underground scene was the crucible where RN ISMO’s unique sound was molded. His singular blend of minimal grooves and eye for technicality soon turned heads regionally and online. His debut stunner “Elevate” made waves on the Tech House Hype chart on Beatport. But it wasn’t just his original creations that earned him applause. His refreshing take on Detlef’s “Dub Clap,”  mentioned above, placed him on the global music map.
By 2022, RN ISMO joined forces with Repopulate Mars, further anchoring his reputation with tracks like “Melting Head”, in tandem with Andre Salmon and Cami Jones. His Beatport chart successes, including the “Underground” EP on ARRITMIA and the “All I Can Be” EP, continued to accentuate his musical growth. Sharing stages with luminaries such as John Summit and Westend, and absorbing wisdom from mentor Ramin Rezaie, RN ISMO’s ascent is a sign to his value of taking advantage of the opportunities life presents each and every day.
This article was first published on Your EDM. Source: RN ISMO Returns To His Roots Via ‘Growing Up,’ Released On Label: Issues
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Matroda Releases Another Sizzling Tech House Single, “In The Air”

Croatia’s maestro of music, Matroda, has long commanded reverence in the house music realm. He’s consitently releases hit after hit, that’s dominated clubs and festivals all over the world.
His latest creation, “In The Air,” released on his label Terminal Underground, is a testament to his incredible artistry. This house anthem takes us on a captivating journey, blending Matroda’s signature keyboard-driven progressions with a pulsating bassline, crafting a rich tapestry of rhythm and melody. The addition of an uplifting vocal layer adds a touch of emotional complexity, creating an enchanting musical chiaroscuro. “In The Air” is more than a song; it’s an invitation to elevate our senses and immerse ourselves in Matroda’s vibrant sonic universe.
Listen below!
This article was first published on Your EDM. Source: Matroda Releases Another Sizzling Tech House Single, “In The Air”
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New Artist Spotlight: Boston Artist ADVIKA Adds a Shot of EDM to Her Impressive Jazzy Pop/Jazz Fusion Style [Lyric Video]

At only 20 years of age, the singer, songwriter and award-winning jazz musician known as ADVIKA has already made a significant name for herself with an impressive body of work that belies her age. She began releasing jazz-infused pop folk songs in 2020 as she entered the prestigious Berklee College of Music’s Electronic Production and Design program, but her accolades as a vocalist, multi-instrumentalist and Carnatic singer began well before her college-level studies. She won the the YoungArts award in jazz vocals and songwriting and performed at the Newport Jazz Festival in 2018, where she won the Berklee Newport Jazz Festival Scholarship. She’s also a merit scholar at Berklee. Imagine not only being recruited but paid to go to one of the best music schools in the world.
One listen to ADVIKA’s work and it becomes abundantly clear that there were no mistakes at Berklee admissions. The thing that stands out the most has to be her pitch perfect voice, even in her earlier work. Pitch perfect doesn’t even really describe ADVIKA’s vocals: describe there’s pitch perfect, and then there’s absolutely flawless. Not a waver or a waffle in tone, yet full of emotion and poignancy, ADVIKA was destined to go far no matter what level he schooling reached.
It’s possible that ADVIKA is so effortlessly able to reach these tones with such clarity due to her Carnatic training: a form of Southern Indian classical music which is distinct from more northern/Islamic fused music, Carnatic vocals focus on a complex tonal system that must be clear and pitch-focused due to how many distinct notes there are in the scale. As a lover of jazz and its own complex vocal and tonal standards, this may be how ADVIKA chose to pay homage to both east an west as she began to carve out her style. It certainly means she doesn’t sound like anyone else in the pop world.
In terms of her songwriting and composition, ADVIKA’s first releases are jazz and pop folk-based with just a hint of ambient electronic structure and her also nearly perfect viola work, her most recent singles, “Come Back to Earth” and “Put Your Heart Away,” see the gifted artist really flexing her electronic production muscles. With what sounds like a tabla drum loop backing the track in a nod to her South Indian heritage, ADVIKA pulls various instrumentals in with more and more electronic programming as the track goes on, writing the track like a classical composition as is comes together. This whole song is meant to support her goosebump-inducing vocals, which are also multi-layered to create a complex harmony. The effect is chilling and emotive before you even begin to recognize the depth of the lyrics.
Just released a couple of weeks ago, ADVIKA’s “Put Your Heart Away” also shows her promise as an EDM/pop fusion artist. Setting her jazzy vocals to a disco house tune she also created herself, it seems even with all the praise she’s gained in jazz and classical disciplines thus far doesn’t mean she plans to stay there. With so much raw talent and an already impressive discography, the sky is truly the limit for ADVIKA, and it will be up to her whether she wants to “Come Back to Earth” for us mere mortals.
“Come Back to Earth” and ADVIKA’s other stunning works can be streamed on her Spotify page. It’s a good one to bookmark for future as well, as this is clearly just the beginning for this multi-talented artist.
This article was first published on Your EDM. Source: New Artist Spotlight: Boston Artist ADVIKA Adds a Shot of EDM to Her Impressive Jazzy Pop/Jazz Fusion Style [Lyric Video]
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PREMIERE: Damo Cox Delivers Infectious ‘Wub Me’ EP + Interview

Australian DJ, Producer, Audio Engineer, and founder of record label Sorta Kinda Music Damo Cox is a true sonic maven with an unapologetic captivation for all genres of music. Currently residing on the sunny shores of the Gold Coast in Queensland, Damo delivers his tunes straight from the studio to festivals including Splendour in the Grass as well as clubs & bars from Cairns to Sydney.
His music speaks for itself and his latest EP ‘Wub Me’ is yet another gem to add to his toolbelt. It’s a fantastic musical rollercoaster that takes you on a wild journey through the world of house music.
The first track, “Get With Me,” is pure dancefloor magic that offers rumbling bass grooves and seamless sampling that makes this one irresisable. “Deep Wubs,” follows and pans out to be the chill counterpart. It slows things down, giving you a chance to catch your breath and get lost in its mesmerizing melodies. One thing that Damo Cox yet again proves is his ability to create such different yet cohesive tracks.
We had the chance to speak with him about his music and this EP. Enjoy!
Can you share some insights into the inspiration behind the Wub Me EP?

I wrote both at a point when I was going through a tough time with my mental health. It was a bit of a roller coaster! There would be some dark days, and there would be some really good days. I wanted the EP to showcase the light and dark, so ‘Deep Wubs’ has those darker undertones and a deeper vibe, whereas ‘Get With Me’ is on the lighter side, especially with the bouncy bass line.
Around the time I was working on “Get With Me” I came across a video breaking down all the different samples Liam Howlett used in The Prodigy’s album “Jilted Generation” which gave me some ideas to experiment with when I was working on the vocals for the track. I was listening to a fair bit of Paul Karkbrenner which I feel was a bit of an inspiration behind the deeper vibes that came out in “Deep Wubs” and the The XX’s track “The Intro” was what I used to model the sound design for the synth plucks I used in the track.
How would you describe the overall vibe and sound of the tracks on the “Wub Me” EP?

I think the vibe of the EP reflects what I was going through at the time, with the light and dark, I guess you could say. “Get With Me” being the more club focused track, has a fun, bouncy vibe to it. Whereas “Deep Wubs” has that darker, deeper vibe to it.
Were there any specific goals or intentions you had in mind with this release?

I’ve been challenging myself to push my sound into different genres and really let the ideas and creativity flow when I’m producing. So this EP was really about showcasing some of the different sounds I have been creating.
How do you know when a release is ‘done’ and ready for exporting, are there signs you look for or certain feelings you get?

Whenever I talk to other producers, we all say the same thing, that it never really feels “done”! You can drive yourself mad by continually making tweaks and changing different elements in a track. Being an audio engineer as well, I think that makes it even worse at times because the standard has to be very high for me to be happy with it. Giving a track the dancefloor test is usually the best way to know if it is done or not, I think. ‘Get With Me’, for example, I actually hadn’t intended to ever release that track. But every time I drop it in a set, the people on the dance floor love it! So I guess that’s the ultimate way of knowing a track is ready.
What was your creative process like for this release? Was it smooth and quick or perhaps more challenging than expected?

“Deep Wubs” creatively came together pretty smoothly, and I actually held on to the track for a while thinking it wasn’t finished because I felt it needed a vocal to bring it all together, but in the end I ended up bringing the synth forward in the mix and making it the feature of the track.

“Get With Me” was definitely a long process that never seemed to end. I tried and tested it out so many times, and dancefloors love it, but for me, there was always something that felt off. Just before I played at the Initiation NYE 2022/23 Festival, I ended up reworking some of the percussive elements in the track and testing them out in my set at the festival, and when it dropped, the vibe from the crowd was off the chain! So it only took two years, but I was finally happy with the track haha.
Do you prefer being in the studio versus on stage, or you don’t have a preference?

These are two completely different modes for me. I can disappear into the studio for days, totally immersed in a creative headspace, barely making contact with humanity, but in a totally happy place. Being on stage is almost the polar opposite; it’s a shift in gears where it’s all about connection with people through music.
The energies are totally different, but you need that in life, right? Plus, being on stage gives you the opportunity to actually witness how those introverted hours in the studio affect people. It’s hands down the best way to know whether you’ve hit the mark with what you’ve created. Charting and stuff is nice, of course, but the ultimate kick is seeing people vibing with and responding positively to something you’ve created. That’s happiness right there!
What are some industry or cultural changes that stand out from when you started the Damo Cox project until now?

Since I started out, there have been so many changes in the industry. COVID was obviously something that flipped the industry completely on its head, which put a strain on festivals, clubs, and venues in the last few years, especially here in Australia. Despite the downsides, there’s been plenty of positives though. I think it has forced a lot of people to think differently about the way they put on their events and the different spaces in which they are held. Which is cool because I think there is an awesome underground scene building here in Australia that could put us on the map and make Australia a top-notch music destination over the next few years if it continues to grow at the rate that it is.
Another thing that has changed over the years I’ve been in the industry is the rate at which music is consumed and how quickly styles, sounds, and genres become the “current sound” one week and within a few weeks it’s moved on to something else. The industry has always cycled through different genres and sounds, but in the digital age of music and with how closely everyone is connected, it’s crazy how fast it moves now. In a way, it is sad because there is some really amazing music that is getting lost in the noise because of how fast paced it is, on the other hand it is introducing more and more people to different sounds in the electronic music realm.
This article was first published on Your EDM. Source: PREMIERE: Damo Cox Delivers Infectious ‘Wub Me’ EP + Interview
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Zedd Drops Incredible Remix of John Summit’s “Where You Are”

The wait is finally over, Zedd’s coveted remix of John Summit’s now iconic track “Where You Are” is available now on all platforms. Zedd has used his euphoric remix of John Summit’s iconic track as his intro for all of his new sets, including massive appearances at Ultra Miami and EDC Las Vegas. Utilizing some of Zedd’s tried and true tactics, including the ticking clock, this is a remix that is sure to excite fans of all genres.
Combining Hayla’s timeless vocals with Zedd’s impeccable progressive house melodies, “Where You Are” is sure to dominate any set, whether it’s a Zedd main stage set, or a John Summit after hours. The chord progression along with the dancefloor-ready beat is impeccable. This is a song that has been on repeat, play it at max volume.
Check out Zedd’s official remix of John Summit & Hayla’s “Where You Are” out now on Off the Grid.
This article was first published on Your EDM. Source: Zedd Drops Incredible Remix of John Summit’s “Where You Are”
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Holy Ship! Wrecked Announces Lineup for 2023 Edition

You might be feeling the FOMO watching all of your friends on vacation in Europe this summer on their IG feeds. But, fear not; you can get your revenge by going on a winter vacation on the pristine beaches of the Mexican Riviera and partying to the sounds of world class DJs at Holy Ship! Wrecked this December.
Taking place at the Hard Rock Riviera Maya on the shores of the Yucatan Peninsula, Holy Ship! Wrecked is the premiere destination festival; featuring a world class lineup and a bevy of luxury resort amenities. Holy Ship! Wrecked is a HARD event, so the lineup reflects the diversity and eclecticness of HARD. House music is heavily featured this year as names like Chris Lake, Chris Lorenzo, Dombresky, Mau P and Wax Motif grace the lineup poster. D&B is also well represented on the Holy Ship! Wrecked lineup as artists like Sub Focus, Culture Shock and 1991. Other highlights include renowned HARD artists like 4B, Valentino Khan, Troyboi and Boys Noize.
On top of the stacked lineup, you can expect party takeovers from ArdyPardy, Black Book, Desert Hearts, and more. The musical journey of Holy Ship! Wrecked will transport fans from sunset to sunrise, flowing between six uniquely intimate stage environments, pool and beachside pop ups, plus late night sets and surprise sets to keep the party going. The dedicated Shipfam community can also expect all of the extracurricular activities the event is known for – theme nights, old school field day games, fashion shows, the OG Party, and many more surprises captained by fan-favorite artists.
Holy Ship! Wrecked will take place December 12-16 at the Hard Rock Riviera Maya. Click here for ticket & room options.
This article was first published on Your EDM. Source: Holy Ship! Wrecked Announces Lineup for 2023 Edition
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New Artist Spotlight: Antman Ant’s New Album Will ‘Resonate’ With EDM and Ambient Fans Alike

Antman Ant is, by his own admission, nothing if not an OG raver so it’s not really fair to call him a “new artist.” He has, however, been sort of hiding his huge talent from the wider EDM world, so he’s new to us. Producing since well before the current generation of EDM fans were even born, his work is less about any sort of throwback style than a consistent evolution that’s moved in time with that of dance music at large. This means he can, and often does, draw on nearly 30 years of dance, sound design and groove to make his music. His latest releases, April’s heady, ambient-laced deep house album Resonate and the just-released singles, the ethereal and ambient “Weightless” and the deep disco bop called “Breathe It In” certainly prove that point.
Happy to be in the underground for many years, splicing together vintage electro and modern bass house for the fun of it seemed to be Antman Ant’s bag until the pandemic hit. As with many creatives, the Sussex, UK native found himself with more time he ever dared dream and the need to create both for himself and for the entertainment-starved public. He got to work releasing and has amassed a huge discography since 2020: seven full albums and a string of interstitial and teaser tracks in between. It appears Antman had been sitting on a veritable treasure trove of tunes the like of which the house and ambient worlds have never seen in such a short period. He quickly became a deep house playlist favorite on Spotify and is gaining traction on Beatport, with some of his singles being picked up by Dark City Music.
The scale of music Ant’s been able to release in just under three years is impressive, sure, but it’s the quality of the work that pushes him into gobstopping territory. Each track is a rich, complete composition drawing from every style and genre imaginable and harnessing to the artist’s own unique and emotive style, each album takes the listener on a journey through emotion more than music. This isn’t your usual club house, though it’s often fresh and very danceable.
It’s impossible to go through Ant’s massive catalog in the space of a short article so we’ll be focusing on the most recent releases, but suffice it to say if you want beautiful beach music that incorporates all the best parts of house, ambient, progressive and trance, look no further than his Spotify page. Now, to highlight a few key points from Resonate: this album opens with a beatless intro track that really sets the tone for the rest of the album. Ant’s not one to rest on his laurels with any particular genre, and “100 Years Asleep” is certainly a nod to that. With a haunting piano melody grounding this track rather than a discernable drum or bassline, Ant also showcases his experimental side in the ambient sound design. What a side it is, as well, as a perfectly pitched sine wave synth is pushed through the beginning of the track, along with other sound samples that sort of make the track feel like we’re listening to the soundtrack of the world turning. It’s both relaxing and a promise of the work to come.
From beatless to “Progressive Beats,” Resonate proceeds to take listeners on a temporal journey through ambient rave with everything from the afore-mentioned progressive beats to deep bass rumbles to celestial, Goa-style melodies. There’s always a mix of old school and modern, and Ant employs the vintage elements in a number of different ways: sometimes it’s a sample, others it’s the equipment he uses. It’s so varied yet well-constructed, “Resonate” it’s almost like a perfectly constructed DJ set paying homage to all the eras of rave, but it’s all written and produced by one artist.
While they’re certainly as good as the album, upon listening to Ant’s recent tracks post-Resonate, “Weightless” and “Breathe It In,” it’s instantly clear why he didn’t include them. They both have a totally different vibe to the album. With a definite celestial and 90s Enya-inspired instrumental track, there’s a levity to “Weightless” (hence the name) that is removed from the deep vibes of the Resonate tracks. “Breathe It In,” just released in late July, however, is full of electro and big room sounds while also being rooted in Ant’s signature vintage synth style. “Breathe It In” is easily the most ravey, dancefloor track of the 2023 releases, and it will likely play well at festivals as the summer season draws to a close.
That’s likely Antman Ant’s ultimate goal: reviving the dancefloor in his own unique way, bringing the history of rave to this point in its near 40-year history in a way that modern crowds can not only appreciate it but love where we’ve come from and where we’re going. Now with real momentum and an unmistakable talent, here’s hoping Antman Ant’s work continues to Resonate with ravers for another 40 years and beyond.
Check out “Breathe It In,” “Weightless” and the rest of Antman Ant’s mindblowing discography on Spotify and rave on.
This article was first published on Your EDM. Source: New Artist Spotlight: Antman Ant’s New Album Will ‘Resonate’ With EDM and Ambient Fans Alike
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Is Disco Face The Next Marshmello? TikTok Seems To Think So…

Over the last few decades, the EDM scene has witnessed the rise of enigmatic artists like Marshmello, Zhu, and Daft Punk, who captivate audiences while shrouding their identities. Now, the mysterious figure known as Disco Face is stepping into the spotlight, and the buzz surrounding this anonymous producer and singer-songwriter is hard to ignore.
Debuting on TikTok in mid-2022, Disco Face quickly caught the attention of music lovers with his viral mashups, amassing over 500k followers in just four months. Known for his bright electronic dance music infused with dark, alternative influences, he stands out by using unique samples, often sourced from viral TikTokers who enthusiastically reshare his creations.
The intrigue doesn’t stop there—artists like David Kushner, CeeLo Green, and Angus & Julia Stone have taken notice of Disco Face through his captivating covers of their hit songs, each earning over 10 million views. To add to the mystique, he made a discreet appearance on Comedy Central’s TV show, “Tales From the Trip.”
Disco Face recently released “Daylight,” a stunning cover of David Kushner’s song, marking his first official label release under TH3RD BRAIN records—the team behind artists like Zhu and Emmit Fenn. In this track, he brilliantly intertwines a unique sample from Chrish, whose video garnered nearly 200 million views on TikTok.
As “Daylight” captivates listeners with its dance-worthy spin on David Kushner’s original, Disco Face leaves fans eager for more. The anticipation grows as they wonder about the person beneath the mask. Speculations abound, with some believing this could be a secret project by Bo Burnham, a testament to the enigmatic aura that Disco Face exudes.
With original works on the horizon, Disco Face’s journey is just beginning. As his musical narrative unfolds, we can’t help but wonder—what’s next for this mysterious sensation, and what other surprises will he unveil? One thing is for sure: Disco Face is an artist whose identity may remain in the shadows, but his music shines brightly for the world to embrace.
This article was first published on Your EDM. Source: Is Disco Face The Next Marshmello? TikTok Seems To Think So…
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SadBois Comes Full-Circle With Release Of  ‘Lonely Together’ EP On Circus Electric

The highly anticipated release of the collaborative EP “Lonely Together” by the rocktronic/melodic bass trio, SadBois, is just around the corner on July 26th, 2023. The EP, distributed through Flux Pavilion’s Circus Electric, a sub-division of Circus Records, boasts an exceptional lineup of talented artists, each contributing their unique sound to create a captivating exploration of the complex and universal emotion of loneliness.
With “Lonely Together,” SadBois endeavors to delve deep into the intricacies of the human experience, offering an ironic perspective on the isolating feeling of loneliness. By collaborating with various artists, the EP sends a powerful message about the shared aspect of this profound emotion while simultaneously showcasing its diverse manifestations. SadBois seeks to encapsulate the multifaceted nature of loneliness and its transformative influence on personal growth and self-discovery.
The EP opens with the emotionally charged track “Lonely Nights,” a haunting collaboration between SadBois and MashBit, featuring the ethereal vocals of UNDY. This mesmerizing composition sets the tone for the rest of the EP.
Continuing the journey is “Worst Day Ever,” a poignant collaboration between SadBois and PatFromLastYear, seamlessly blending their artistic visions and showcasing the soulful voice of Micah Martin. The emotional depth of this track resonates strongly with listeners, providing a profound exploration of despair and solitude.
Next in line is “What It Feels Like,” a powerful and introspective collaboration between SadBois and TENZO. This track masterfully combines SadBois’ signature electronic elements with TENZO’s mesmerizing melodies, resulting in a sonic tapestry that beautifully captures the essence of loneliness. The hauntingly enchanting vocals of LÚTHIEN further elevate the emotional intensity of the piece, immersing listeners in its ethereal ambiance.
Bringing the EP to a close is “Bringing Me Back,” a collaboration between SadBois and ARNHEMIA, featuring the heartfelt vocals of Rickie Lane. This final track serves as a poignant reflection on the journey of overcoming loneliness and finding solace within oneself. The combination of heartfelt lyrics and dynamic production by SadBois and ARNHEMIA results in a cathartic and uplifting conclusion to the EP.
Mark your calendars for the release of this soul-stirring EP on Circus Electric, as SadBois concludes an epic chapter in their musical journey.
In their own words, SadBois stated, “We wanted to create a body of work that looks to take the complex emotion of loneliness and describe the human experience almost ironically by making a collaborative body of work regarding an emotion that can make one feel isolated. Instead of explaining the internalization of loneliness, we wanted to capture how this emotion can be a shared experience but still show the vast range of how the emotion can present itself, there are times where loneliness can be empowering and there are times where it can be saddening but these times help shape who we are and who we can become.”
This article was first published on Your EDM. Source: SadBois Comes Full-Circle With Release Of  ‘Lonely Together’ EP On Circus Electric
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Gender fluid artist Marcilli breaks barriers with their new single ‘Done’ to celebrate Jamaican Independence Day

One of the hottest and most unique new talents to emerge out of Jamaica’s fertile music scene, vocalist/songwriter Marcilli (they/them) fuses dance music, R&B and Latin pop into an irresistible brew on their new single, the defiantly incendiary ‘Done (Breakup Anthem)’. Inspired by the edgier bits of Billie Elish, Rihanna, Suga of BTS and R&B icon Daniel Caesar, Marcilli  is one of the first and few openly queer-identified Jamaican artists, coming out of a strict cultural heritage that often remains hostile to members of the LGBTQ community.
Marcilli shared their thoughts on the release: “writing this song was born out of some serious heartbreak and disappointment, but seeing it evolve into the project it is today, gives me such a boost of encouragement. Honestly, it’s one of the things I’m most proud of so far, and I really hope it can inspire others to set their own boundaries and know their damn worth.”
Boldly blazing trails, bucking trends and declaring their independence from heartbreak, Marcilli is pointedly releasing their single right before Jamaican Independence Day, the most important holiday on the island nation, ready to open doors and set an example for future generations of artists who want to freely express themselves. 
Co-written by ace producer Alexx Antaeus, who has previously worked with The Rolling Stones, Earth Wind and Fire and Julian Marley, ‘Done (Breakup Anthem)’ also features a Spanish-language vocal turn from New York-based Puerto Rican act Natalis, who has sung on platinum-selling tracks by J Cole, Kanye West and Popcaan.
Follow Marcilli here
This article was first published on Your EDM. Source: Gender fluid artist Marcilli breaks barriers with their new single ‘Done’ to celebrate Jamaican Independence Day
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New Artist Spotlight: Wes McClintock’s Synthy Update to Indie and Prog Rock [Video]

Okay, so maybe the subtitle is just a very niche fantasy held by only the author of this article and some other vintage tech geeks, but a form of progressive electronica has been making its way through the ranks recently, and even more indie electronica acts like Gorillaz and Bonobo do take a couple of pages here and there from the prog rock book. That said, it’s likely not many EDM fans or even more experimental electro lovers would think to put the likes of Yes, Frank Zappa and King Crimson together with synthy electronica melodies and backing.
Luckily, Canadian singer, multi-instrumentalist and producer Wes McClintock has endeavored to merge these two seemingly opposing worlds, and the result is equal parts soulful and interesting with just a little bit of musical wackiness thrown in. His newest album, Open Dream, layers various types of vintage keys, heavy analog bass and an indie rock core to create this fusion. It incorporates loads of different styles to achieve this, playing on the edge of early 2000s hipster rock while bringing in earlier influences like funk, folk, prog rock and, of course, vintage synths like the legendary Moog to pick up almost everything awesome from he late 60s through to today.
Open Dream opens with an 80s synth-heavy instrumental track called “Sky.” A true intro to the next intro, “Sky” sets the tone of the album, adding a loungey groove from McClintock’s funky bass and at least two more types of vintage synths into the mix. Just as it seems like the tune is about to drop into the rest of the song, it fades out before the next song, “Imaginary Sounds.” Much more in the indie camp than its predecessor, “Imaginary Sounds” has the warmth and depth many indie rock tracks lack nowadays, and that’s supplied by the expertly played bass and backing electronic sound design. This is a theme that repeats throughout the album, no matter what style or genre McClintock decides to stuff into each track, and likely is and will be part of his signature sound.
“Falling,” Open Dream‘s third track, is where listeners will really hear McClintock’s love for prog rock, with a bassline and composition clearly influenced by the legendary Canadian band Yes’s most famous track, “Roundabout.” “Falling” is much spicier, however, as towards the end its impeccable structure purposely devolves into more chaotic synths and a dissonant, almost Zappa-esque guitar solo beings the track to an abrupt stop. What awaits it after that high-energy, beautiful mess? Nothing other than the sweet, soothing tones of a celestial folk song, called “Waiting In Line.” It’s clear by this arrangement that McClintock doesn’t intend for the listener to get used to any one style before he switches it up completely, which is smart. Fans can pick their faves for playlists but it also makes for an exciting journey along the trajectory of this album and possibly introduces people to styles, genres and modes of listening to which they’d never otherwise be exposed.
Open Dream continues to toggle between styles as it continues on, sucking up more and more styles and subgenres in its path. Shrewd listeners will be able to pick up some industrial programming in “Breaking Into Noting,” a faint soupçon of trap in “Last Time” and some Daft Punk-like funky house in “A Different Kind of Sane” but it’s really about the composition that makes the album work on a whole. Then the album closes with another instrumental track called “Sand,” a fitting way to bring the dreamer back to earth.
Picking up on the name, Open Dream is truly an open forum of ideas and styles with an emotive, relatable heart that allows it and McClintock to transcend genre. Tldr: it’s just really good music.
Open Dream is out now and can be streamed on Spotify or purchased on Bandcamp.
This article was first published on Your EDM. Source: New Artist Spotlight: Wes McClintock’s Synthy Update to Indie and Prog Rock [Video]
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Insomniac Drops Full Lineup for Dreamstate SoCal at New Queen Mary Waterfront Location

Insomniac’s premiere trance festival, Dreamstate, is getting even bigger and better this year, relocating to the Queen Mary Waterfront in Long Beach. This will be the second Insomniac festival that takes over the space following two years of Day Trip. While the two different festivals take on a decidedly different vibe, the results should be the same, an immaculate seaside experience in an iconic Southern California landscape all while top tier music soundtracks the experience.
In addition to trance legends such as Armin van Buuren, Cosmic Gate, Ferry Corsten, Gareth Emery, Giuseppe Ottaviani, Paul Oakenfold, Paul van Dyk, Vini Vici and so many more; Techno will also be making appearance at Dreamstate. Maddix is the one name that really stands out, but expect way more artists that are pushing the tempo past 128.
Tickets to Dreamstate are available here. Get ready to experience the West Coast’s premiere trance festival November 17-18 at the Queen Mary Waterfront in Long Beach.
This article was first published on Your EDM. Source: Insomniac Drops Full Lineup for Dreamstate SoCal at New Queen Mary Waterfront Location
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