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Barclay Crenshaw, better known currently as house music powerhouse Claude VonStroke, is flipping the script with his brand new alias. After nearly 20 years of service as one of house music’s most loved DJs and producers, he boxes up his iconic Dirtybird brand and puts it to one side. The Barclay Crenshaw Project is born, and a new chapter in bass music begins.
Barclay’s musical journey is extraordinary. He started off cutting his teeth as a jungle and drum & bass DJ. Claude VonStroke then took house music and made it fun, and wobbly, creating a warm and welcoming community with the Dirtybird family. And now, 2024 sees a whole new side of Barclay as he dips off into the world of bass, flying over to the UK to work with rappers such as Manga, Snowy and recent GRAMMY award winner, Flowdan.
Using his government name, The Barclay Crenshaw Project holds Barclay personally accountable for every move he makes. It also allows for exploration in any way, shape or form that Barclay, himself, wants to dive into: an exciting stance as an artist. This is above all, a totally personal project, one of which Barclay beams about as he Zooms in from sunny LA.
Barclay! Yourself – as Claude VonStroke – and the Dirtybird crew at Creamfields. They were the good old days…
I haven’t played Creamfields for years but I know exactly the time you’re talking about. It was a great time. It’s interesting because when I started, there were only really shows in Europe for me. The scene wasn’t really big yet in America, so I was flying to Europe every other weekend and then flying back again. It was crazy. I went to Europe 35 times a year or something crazy like that. Then, in 2015 I recognised that there were still no house labels that anyone really knew as brands in America, so I said ‘We have an opportunity to be that thing!’. After that realisation, I purposefully started to dig in over here, and then, of course, it kind of fell apart in Europe because of it! That’s what happens! It totally worked though.
Gotcha. Dirtybird is a brand well-known in the UK though, even within the world of D&B.
That’s because we were all jungle DJs beforehand. We snuck all the sounds into the house scene! We had a lot of tracks that the guys picked up on in Europe because they had LTJ Bukem style basslines in them and so people like Roska and T Williams would play them in their sets, but faster. There was a whole thing going on.
Yes! Talk to us about DJ Tree!
DJ Tree was my first DJ name, playing jungle. I started off in Detroit, and at the time, no one listened to jungle in Detroit, so that was a struggle. I was playing in the back room of a bar or a warehouse party to maybe 3-4 people. Eventually, I moved to San Francisco. There was a drum & bass scene in San Fran, it was one of the only places in America that had one. There was a party called Eklektic, they’d bring over everyone! It was cool, but I couldn’t get into that clique. It was super tight. I started getting a few sets here and there but it was all guys in hoodies, in the corner. Then I’d go to a house night and there would be 300 girls, going crazy and I’m like, what if we can just bring this Detroit techno and jungle vibe, into house beats? It didn’t work for 2-3 years but then all of a sudden, it just worked. Saying that, my first record in 2005/2006 worked. It got picked up on by Richie Hawtin and some other people, so it kept being played and heard, then someone would license it in Belgium and do ten thousand vinyls, and then again in Italy. It was a whole different time. It wasn’t until 2015 that I did the America switch. It was then that I thought: I could keep killing myself for a DJ set with Seth Troxler at DC10 for a thousand euros or, I could own America! Which is the better decision?
Probably the second option. What a move to make. Fast forward to now, you’ve made another big move -The Barclay Crenshaw Project! What inspired this alias?
Well, because Dirtybird had worked so well, we’d got to the point where we had two festivals, tons of day parties, stages, a record label releasing a track every two weeks, a full clothing line, and so really, I was just turning into a company manager and as an artist myself, I was down to releasing two tracks a year. So I was looking at everything and thought, I’ve done everything that I wanted to do in this genre. Plus, I’m starting to really veer off in my interests and the direction that tech-house is going, isn’t really the direction that I want to be in. So I was like, let’s sell Dirtybird, let’s start over.
Amazing! How long were you sitting on the idea for?
It took a year to sell it because you need to find the right person to take it on, so that was a long process. After we found someone It took another 6 months to come to terms with the selling of it because it was my identity for 20 years. Then, after we’d sold it, I had to work there for a year as part of the deal. At the end of that year, I was like, the moment this is over, I’m out of here. I’m going to start over. So I started making an album. I’ve played enough house music to last 10 lifetimes, I’ve done every festival, I’ve talked to everyone, I know everything there is to know, I’m ready to do another project. I wanted to be a music producer this time and not be put in a box. That’s why the album is so varied.
This move is not just for you as a creative, but for you as a human being. Apart from obvious excitement, what other feelings come with this change of identity?
It’s funny because even on the financial end, it’s going from someone paying you a very large amount of money for an easy club night where you just take a USB stick and wear a branded t-shirt, to building a tour with lasers and dancers and going into big, hard ticket rooms. Basically, this year I’m not going to make any money. I’m reinvesting everything into this project. I’ve seen how everything works, building a career slowly over so many years. I know all the steps, so now, I know I want to put on a big show and blow people away with it. That’s my plan anyway. We’ll see if it works!
You’ve already got such a strong and devoted fanbase in house – is this project aimed at existing fans, or new fans?
I’m aiming it at both, I’m putting it out there to everyone. I’ve announced on my Claude socials, ‘Hey, this is over here’ and if they’re not into it, that’s fine. Because I know everybody is not going to be into it, and that’s ok. I’m building a new crowd, I’m doing things I haven’t been doing before. I’m writing a weekly newsletter to people, telling people what’s going on. I’m filming every day of the album process. I’m much more excited about it because I’m doing exactly what I want. With Dirtybird, somehow, along the way, I got into this tunnel vision. It was amazing, I wouldn’t change it for the world but I needed a change. I always said to my wife if I get to a point where I’m playing in a club that I don’t want to be playing in, I need to get out!
How excited you are about this will translate into the music and what you’re putting out there too.
It’s already happening, people will come up to me and be like ‘I heard what you’re doing and I’m with you man!’ and I’m like, wow! This is so cool. I think people can see it’s not a willy-nilly decision. People are telling me that they’ll miss the other stuff, but they wish me well. I really appreciate comments like that.
We read that you’re taking a hiatus, so do you plan to go back to Claude at some point? Or do both?
I learnt that I can’t do them together. I did that in 2017 with a side project, I ran two tours alongside each other and it was brutal. Also, unless you have 20 employees, it’s pretty impossible to manage. You can’t tell people what you’re doing because everything is confusing. So, I say I’m going on a hiatus, but I actually have no idea.
What’s the vibe of the album? Talk to us about some of these amazing features!
It’s a real mix. Some tracks sound very Fela Kuti, some other tracks sound like old school jungle with vocals. There is a lot of different stuff on it. I came to England on purpose to record. One of the things I wanted to do with this project was to push myself into uncomfortable situations. On my first album I went to Strongroom in Shoreditch for a day and did a track with Lady Chann so this time I was like, I’m going to book 10 days at Strongroom, fly over there and contact as many people as I can and figure it out. I made 150 loops so that I could get out of any situation. Then, I had a hard time setting up sessions. Once I’d realised that everyone in grime operates on DMs, everything was so much easier! Flowdan came by, he hooked me up with Manga, I’d already been talking to Snowy. We shot the music video with Flowdan and Stush for ‘Do My Ting’. I even got Skepta in the studio but he only wanted to make house music! So I made these house tracks with Skepta and went to play Jammer and Skepta’s Drumsheds show too, I used that as an opportunity to shoot a music video with Snowy and Manga in the same neighbourhood. It was amazing.
Open Channel tour – what can people expect?
One thing I noticed from being on tour for 20 years is that nobody does the analogue stuff anymore, so I’m bringing dancers! Since doing festivals, I became friends with all of these amazing performers. I had my own stage called Claude’s Cabin. We had lots of skits and comedy and performers. I know comedians and clowns, I have a network of very interesting people! So I thought, no kid dubstep DJ will ever think of bringing a dancer on tour, it’s just not going to happen. We did it one time and people were like ‘Woah’. It brings another dimension to it. I’m talking like street dancers, people that can kill it in a dance cypher. I also have my VJ and I’m incorporating lasers too. We’re doing all the stuff! That’s why everytime I see the bill I’m like, yeah we’re not making money, but we’re putting on a show and we’ll make a room go crazy. I can’t wait.
The post The Barclay Crenshaw Project appeared first on UKF.
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Enter Brad Collyer, a TikTok creator well-attuned to the pulse of rave culture. However, his passion for electronic music extends well beyond the confines of the dancefloor, apparently dictating his love life as well.
Brad has received some online pushback in the past for his seemingly high standards when it comes to matters of the heart, but his new list of rave-centered "relationship standards" has now gone viral.
Among his eight commandments of love, Brad insists that his future flame must agree to choose a tech house track as a wedding song, honeymoon with him in Ibiza and partake in rave dates for every occasion, from anniversaries to arguments. And let's not forget his aspirations for family planning—the kids must rave too.
TikTok has had a field day with Brad's unapologetic dedication to the raving lifestyle and quest for love on the dancefloor. At the time of this article's publication, his post is just shy of a million views in only three days.
Brad Collyer/TikTok
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The influential melodic techno producer, who was recently named one of EDM.com's best artists of 2023, will release the new album on March 29th, he revealed today. The record follows last year's fan-favorite Afterlife debut, Genesys.
Genesys Part II, a two-pronged album, comprises 21 total tracks. Its first component will feature original music, including recent singles "Pictures of You" and "Higher Power" as well as collaborations with Chris Avantgarde, PARISI, Rebūke and more.
The ensuing chapter consists of reworks of the music from both Genesys albums, including Eric Prydz's remix of "Consciousness," Adriatique's remix of "Welcome to the Opera" and Cassian's remix of "Pictures of You."
Genesys Part II will drop in the wake of Afterlife's momentous Miami Music Week 2024 doubleheader. Anyma will then head to Indio in April for a pair of landmark Coachella sets, which carry the potential to catapult the album's streaming numbers far past its predecessor.
Check out the full tracklist of Genesys Part II below.
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Anyma - Genesys Part II Tracklist:
Disc 1
Sacrifice with PARISI
Now Or Never
The Light
Simulation with Chris Avantgarde
Pictures Of You
Higher Power with Argy, MAGNUS
F.T.L.
Hear Me Now with Rebūke, Karin Park
Exodus with Adam Sellouk
After Love feat. Delilah Montagu
Disc 2
Eternity (Massano Remix)
Pictures Of You (Cassian Remix)
The Sign (Kevin de Vries Remix)
Welcome To The Opera (Adriatique Remix)
Syren (Adam Sellouk Remix)
Save Me (Goom Gum & Stylo Remix)
Consciousness (Eric Prydz Remix)
Save Me (Kölsch Remix)
Syren (Amelie Lens Remix)
Welcome To The Opera (Kobosil 44 Symbiont Mix)
Explore Your Future (Daniel Avery Remix)
Follow Anyma:
Instagram: instagram.com/anyma_ofc
X: x.com/anyma_eva
Spotify: tinyurl.com/2p976k79
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The trio, hailing from Italy, has always been driven by a shared vision to redefine the contours of electronic and more specifically, its method of consumption.
Since bursting onto the scene in 2020 with hits such as "Piece of Your Heart" and "Lose Control," MEDUZA have made their mark on the club circuit, including becoming staples in Ibiza with their curated party offering, "Our House." Now, the trio is turning their attention to Las Vegas, where they're slated to join the rotation at the illustrious Zouk Nightclub and Ayu Dayclub at Resorts World Las Vegas.
"It was a pretty easy decision," MEDUZA said of the opportunity in an interview with EDM.com. "They believed in the project and they believed in the fact that we can bring house music to Vegas."
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As a trio, MEDUZA describe their dynamic in synergistic terms. "We're lucky to be three and not one, because we can work on different aspects of the music, the DJ sets—100% of the project," they said, elaborating that their dynamic eases the dual stresses of touring and creative output among all members.
MEDUZA's sound is characterized by its depth and complexity, weaving together soul-stirring layers of melody and rhythm to create tracks that are as introspective as they are invigorating. This signature style is a product of their diverse influences, from the classic house grooves of the 90s to the cutting-edge sounds of contemporary dance music.
It's an experience worth putting the phone down for, which audiences have continued to do with the popularity of MEDUZA's "Our House" performances. A recent run of limited dates saw the implementation of a unique no phone policy was implemented in an effort to bring back the spirit of dancing and losing track of time under neon lights.
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The idea was born last summer, MEDUZA tell us. "Especially in Ibiza during the summer we go to other DJs' shows and see the vibe of the room, what kind of music they play. We noticed that during some shows with visuals, there were people in the crowd filming for the entire show," they said.
"After the drop they were just turning off the phone and not vibing, not feeling anything. There was no connection between the crowd and the DJ and that was really sad because it's not clubbing," they continue. "We can understand that when you go to a concert or a big festival, but when you go to a club, the first rule—and I will say rule—is to vibe and be connected with the music. That's the power of the DJ."
Following the initial trials of the group's no-phone policy, the public reception was especially well-received, they said. While their Las Vegas residency won't be embracing a no-phone policy, MEDUZA are feeling excited to bring the same high energy live experience to crowds this March.
The group is eager to embrace the opportunity to bring traditional house music to Las Vegas but in a way that also acknowledges their increasingly large-scale commercial appeal. A crucial element to their expanding global presence is their forthcoming collaboration with UEFA for the 2024 European Championship, a project that will see a collaboration between MEDUZA, OneRepublic and Kim Petras come to form.
As MEDUZA continue to navigate the next chapter in their artistic journey, they are entering it seemingly more informed about their craft and direction than ever.
"If they know the songs in Vegas that's a good starting point," MEDUZA said. "Thank God we have songs people can sing in this show, but at the same time in-between we can play powerful tracks coming from the club side of MEDUZA and I think it's going to be a great experience."
MEDUZA's Resorts World Las Vegas residency starts with an appearance at Ayu Dayclub on March 16th.
Follow MEDUZA:
Instagram: instagram.com/meduzamusic
X: x.com/meduzamusic
Facebook: facebook.com/meduzamusic
Spotify: spoti.fi/3jElbuA
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Tickets go on general sale at 9AM on Friday 15 March 2024 from this page on Ticketmaster.
Speaking about the show, Brian Warfield of The Wolfe Tones says: “The Irish diaspora across the world have always been massive supporters of The Wolfe Tones, and no greater support was had than from the Irish in Britain! I wrote ‘My Heart Is In Ireland’ as a tribute to the Irish in England, Scotland and Wales. The London Irish hold a very special place in our hearts, there are too many shows to mention but the great nights in The National in Kilburn will never be forgotten. It is most fitting that The Wolfe Tones 60th Anniversary Concert will be our final London performance. It will also be our largest ever in the UK, with a headline set in Finsbury Park! We promise to make it a very special experience for what we hope will be a massive attendance as we say farewell to London – Let The People Sing!”
Starting from their modest origins in Dublin, The Wolfe Tones have captivated Irish music enthusiasts worldwide for six decades—from enchanting audiences at Carnegie Hall in New York to the revered Paris Olympia. Spanning from 1964 to 2024, their illustrious career cements their status as iconic pioneers of traditional Irish music.
After a historic performance at Ireland’s Electric Picnic in 2023, where the beloved band attracted one of the largest crowds in the festival’s history, The Wolfe Tones are now gearing up to say goodbye to London with their ultimate show in the capital — their most significant UK performance yet.
The Undertones, Northern Irish icons hailing from Derry since 1974, will be joining them at Finsbury Park. These revered punk legends perfected their art through bedroom rehearsals and tuning in to John Peel’s BBC Radio 1 show, a key influence who later championed their work. Coming off the success of their 45th-anniversary tour for ‘Teenage Kicks’, their performance this summer with The Wolfe Tones promises to be a historic event at Finsbury Park.
Michael Bradley from The Undertones expressed his excitement about sharing a stage, as well as half a name, with The Wolfe Tones on a momentous day for the latter.
The lineup at Finsbury Park will feature The Sharon Shannon Big Band, a multi-platinum selling artist known for pushing the boundaries of Irish traditional music; the genre-blending group The Scratch; and Brògeal, a rising Celtic folk-punk band from Falkirk.
Tickets go on general sale at 9AM on Friday 15 March 2024 from this page on Ticketmaster.
Tickets go on general sale at 9AM on Friday 15 March 2024 from this page on Ticketmaster.
The post The Wolfe Tones to play huge Finsbury Park gig in July first appeared on UK Festival Feed.
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I’ve been making music for a long time now and in that time I’ve had a few different studio setups.
One was almost completely analogue and others have been either hybrid or totally in the box. My preferred setup for speed and ease of use is in the box but they all had their merits.
That said, one of my favourite pieces of studio gear is the Roland VP-03. Currently I own the Behringer VC340 which is an analogue re-creation of this classic string ensemble and vocoder from the late 70’s. I discovered it while studying Vangelis, something I’ve done multiple times at different points in time.
The CS80 gets most of the credit for the Blade Runner score, but there’s just as much of the VP-03 in the score too, providing choir type pads and emotive string swells.
I’ve used this in so many tracks that I’ve lost count to be honest. I’ve owned every version of its software emulation and hardware,but not the original Roland unit sadly.
Because the VC 340 is an ‘ensemble string machine‘ with a vocoder and human choir sounds, it lacks most of the parameters that a synth would have, old or new.
For the strings you can adjust the attack, the tone (brightness) and the volume and the same for the human choir. You can also add the built in ensemble effect to either the choir or the strings. These limitations force me to use it in creative ways.
Its most recent use was on a collab track ‘Deeper‘. I used the Behringer VC 340 to create some vibes in the intro with some moody string / pad swells which I then added vibrato to with the chopper plugin in cubase.
My latest release 100k w/ Shakes (out now on Souped Up) was actually the first track I haven’t used it on in any way. I predominantly used serum for all sounds on that track except the drums. But that would have been less interesting as an article, I think, because we’ve all used serum I’m sure!
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The post Warner mounts bid for Believe & TuneCore distribution appeared first on 5 Magazine.
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From the iconic vocals of "Harder, Better, Faster, Stronger" to the ageless melodies of "One More Time," Daft Punk have finally sliced their way into the beloved VR rhythm game. The legendary robots were "hands-down one of the most requested artists from fans to add to the Beat Saber lineup," per Meta.
The ambitious effort to activate Daft Punk in Beat Saber took over two years, according to Vickie Nauman, founder of the Los Angeles-based consultancy and advisory firm CrossBorderWorks.
"The collaborative effort was between Beat Saber core team, Warner Music in London and Daft Punk crew," Nauman tells EDM.com. "This probably involved 10 main people across the three parties over more than two years and it included a lot of back-and-forth about which songs Beat Saber wanted in the game, the music rights involved, and what songs the artists wanted."
Nauman has worked with the title's developer, Beat Games, to execute the company's licensing deals since its early days as an independent gaming studio in Prague, a role in which she remained after Facebook (now Meta) acquired the studio in 2019.
"As a rhythm game, Beat Saber has specific requirements for what will work in the game and our beatmapping process led to some last-minute changes, but everyone was very accommodating as we all wanted it to happen," she continued. "We've wanted Daft Punk in the game since the game started in 2018! Then the band broke up and we thought there was no hope until the Warner UK team rekindled the idea. A real multi-team effort."
A collaboration between Daft Punk and Beat Saber had been a latent dream, but the pie was never in the sky. Tim Miles, Warner Music Group's Senior Vice President, Sync, tells us his team had an unwavering belief that there was a "genuine and authentic fit" between the two, but the timing needed to be right.
The stars aligned in 2022, when they were brainstorming for the 25th anniversary of Daft Punk's influential Homework and Alive 97 albums. It felt like the perfect time, Miles said, to leverage their relationship with Meta.
"After working on other gaming projects with The Pokemon Company and Ubisoft, we were incredibly sensitive to the vast amount of time and resources it takes to create gameplay—and in the case of Beat Saber, beat-matching the visuals to the music," Miles explains. "With this in mind, we were extremely thoughtful about what the experience would be for fans and this is why it's the first Beat Saber pack to include live versions of songs and the graphics during the game. The pack also showcases Daft Punk's iconic helmet, which isn't a million miles away from what the Meta Oculus VR headset looks like, so clearly it was meant to be!"
Available as of March 7th, the official Daft Punk Music Pack is somewhat of a watershed moment for Beat Saber. The release has led to the game's first-ever live tracks and mashups as well as its longest song, "The Prime Time of Your Life (Live 2007)." That record clocks in at 10 minutes and 23 seconds, dethroning Lynyrd Skynyrd's "Free Bird" and building forearm muscles everywhere.
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The developers at Beat Games didn't stop there. With the pack comes a new in-game environment inspired by Daft Punk's fabled pyramid stage, on which they performed their totemic Coachella set back in 2006.
It all paints a picture of a paradigm shift in the way music is licensed for games. The technological terra firma beneath gaming's feet is growing at a rapid pace, empowering developers to transcend the constraints of music alone and use it to build multi-sensory dreamscapes.
Miles believes we're seeing a broader scope of music's capacity for storytelling to enhance the gaming experience. The upshot, he says, is a "huge opportunity" for artists and writers.
"Traditionally music in games would be used as a part of an in-game radio—look at GTA or Far Cry for example," Miles explains. "We also had great success with karaoke and rhythm games, like Guitar Hero and WeSing, back when they were en vogue. Nowadays though, the space has evolved to include opportunities for artists to score and create songs for triple-AAA games and fit straight into the game's narrative. For example, we worked with Stormzy for Watch Dogs: Legion in the form of bespoke DLC, and Ed Sheeran for Pokemon Scarlet and Violet where Ed's 'Celestial' plays on completion of the game."
"Gaming is definitely an alternative channel for music consumption, and how artists and developers engage with it is still in its infancy," he continues. "The exciting part is the number of opportunities are increasing, developers are becoming braver and more agile and record labels like Warner are leaning into the space with an open mind. The process is also similar to how we place our artist’s music across Film and TV, and how we work with top-tier Hollywood productions."
Beat Saber players can secure the Daft Punk Music Pack for $12.99 or purchase individual tracks for $1.99 each. New Meta Quest owners who want to add the game can bundle it with the pack for $39.99.
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The post New Music Gear Monday: Submission Audio Flatline 2 Mastering Maximizer Plugin appeared first on Bobby Owsinski's Music Production Blog.
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The post Caspark and Vreden’s Hit A Homerun With “Woah” appeared first on EDM Sauce.
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The post Liquidfive Breaks Into Top 10 US Dance Charts Alongside Illenium and Galantis With “Veins” appeared first on EDM Sauce.
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Premiered to a rapturous audience at the prestigious Untold Festival in Dubai last month, “Jiggy Woogie” marks a historic collaboration between Don Diablo and Major Lazer. Showcasing their unparalleled synergy, the performance offered a tantalizing glimpse into the infectious energy of the track and the excitement it has generated among fans.
“We are thrilled to bring ‘Jiggy Woogie’ to our fans across the globe,” said Don Diablo. “Working with Major Lazer has been high on my wishlist for a few years now, and this track represents more than just music; it’s a cultural moment, bringing together artists from different backgrounds to create something truly special.”
“We had a blast working with the legend Don Diablo and Baby Lawd on this one,” added Major Lazer. “‘Jiggy Woogie’ embodies the spirit of collaboration and the joy of music, and we can’t wait for everyone to hear it.”
Don Diablo, currently ranked as the world’s #13 DJ by DJ MAG Top 100, continues to push boundaries with his innovative sound. His third studio album “FORΞVΞR,” released in September 2021, showcases his evolution as an artist and his ability to transcend genres with ease. With his HEXAGON radio show reaching millions of listeners across 68 countries and his influential HEXAGON record label, Don Diablo remains a driving force in the electronic music industry.
Major Lazer, the brainchild of Diplo, Walshy Fire, and Ape Drums, has redefined the fusion of dancehall and electronic beats, producing chart-topping hits like “Lean On” and “Cold Water.” Their latest album “Music is the Weapon,” released in October 2020, features collaborations with a diverse array of artists, highlighting their commitment to breaking down musical barriers and creating unforgettable experiences for fans.
Baby Lawd, with his captivating voice and infectious rhythms, has quickly risen to prominence in the international music scene. The success of the original “Jiggy Woogie” track on TikTok catapulted him into the spotlight, setting the stage for this highly anticipated collaboration.
“Jiggy Woogie” is available now on all major streaming platforms. Join Don Diablo, Major Lazer, and Baby Lawd on an unforgettable musical journey that transcends boundaries and celebrates the universal language of music.
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He's further solidified his reputation after releasing his sophomore album, CHALLENGER, on Bassrush, comprising seven masterful tracks. From his signature soaring synths to his frenetic percussion, it's the enigmatic producer's most influential work to date.
The album's intro track "BALANCE" expertly captures REAPER's artistry. Its vocals pair effortlessly with a rumbling beat, adding two distinct hypnotic layers that beautifully break the ice.
Elsewhere, "COLD CASE" sees the producer reuniting with Bella Renee after their breakout hit "IMY" in 2022. Their new collaboration embraces the same uplifting energy as Renee's enchanting vocals once again blend with REAPER's powerful production.
All said and done, CHALLENGER is a defining work for REAPER, who is reinforcing himself as a leader of America's drum & bass renaissance as he continues to tour and write inventive music. You can listen to the new album below and find it on streaming platforms here.
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FOLLOW REAPER:
Facebook: facebook.com/reapernoises
Twitter: twitter.com/reapernoises
Instagram: instagram.com/reapernoises
Spotify: spoti.fi/3b7iZ66
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The esteemed producer is jumping headlong into 2024 by unveiling bits and pieces of OSCILLATE, his hotly anticipated sophomore album. Out May 16th via the renowned record label Seeking Blue, the project is shaping up to be his best piece of work yet.
After making a splash with "Power," a scintillating combination of garage production and aching vocals from Yianna, Covex has now teamed up with Fi Sullivan for "Another Night." Out now, the stunning track combines the whimsy of indie-pop with bubbly sound design with playful production and a powerful topline from Sullivan. Nostalgic and dancefloor-ready, it beautifully sets the stage for his album rollout.
EDM.com caught up with Covex to discuss the creative and collaborative process of “Another Night,” lessons learned from his upcoming project, his plans for 2024, and more.
EDM.com: Your collaboration with Fi Sullivan on "Another Night" seems to have been an incredibly efficient and fruitful process. Can you walk us through how the lyrics and melody came together in just one day, and how Sullivan's vocals added that special touch to the track?
Covex: Fi and I have been friends for around five years and since seeing her live, I knew she had something powerful in her voice and lyrics. We toyed with the idea of making a song together for a long time but it wasn’t until I made the instrumental for “Another Night” I knew she would be a great fit.
Fi came over to my home studio in the summer of 2023, I showed her a few ideas but “Another Night” stuck out the most. We agreed we wanted to make a dance banger but to keep it sweet and light-hearted. It was one of those magical sessions where things flowed very naturally. She would come up with a line, and then I would immediately follow that with another. The process was quick and seamless. Her voice has so much emotion and soul. Without her on this track, it wouldn’t be the same.
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EDM.com: “Another Night" combines indie-pop and dance music elements in a stunning way, something a combination of sounds you’re no stranger to. How do you navigate the creative space between these genres?
Covex: I rarely go into making music with the intention of combining genres. With this song, in particular, I started by sampling my fingers running across my upright piano strings. I created a dense bed of ambiance and natural sound, then started messing around with a lead sound using one of Ableton’s Max For Live devices, and finally filled it all in with a driving bassline. I think what makes it the combination of those genres is the use of natural and synthetic sounds.
EDM.com: "Another Night" sets the stage for what promises to be a standout year for you. Can you give our readers a sneak peek into what they can expect from your forthcoming album?
Covex: My second album OSCILLATE continues the story of my previous EPs, Solis and Luna. The album is a story about the human experience and duality of life.
It’s divided into two discs—the first is a more light-hearted, bright, upbeat side which I’ll continue to call Solis (resembling the sun) and the second is a darker, heavier and more emotional side called Luna (resembling the moon). When creating the EP’s, I knew I wanted them to be part of a larger body of work. It’s a story I’ve wanted to tell for many years and it’s my favorite project I’ve ever made.
EDM.com: Could you share the most pivotal lesson you learned while creating “Another Night,” or the entire album in general?
Covex: It’s impossible to know when a song is done but there’s usually a feeling you have on the first day of creating the idea, a very emotional feeling. It’s important to save that moment in the song and not “edit” it away.
EDM.com: If you had to describe the album in three words, what would those be?
Covex: Duality, Sun and Moon.
EDM.com: Your debut album A Change of Perspective was released back in 2021. How did your approach to producing and conceptualizing this forthcoming album differ from your debut, and what growth do you feel it represents in your musical journey?
Covex: My debut A Change of Perspective and my forthcoming OSCILLATE have many similarities. The music that I’ve made and continue to make, doesn’t necessarily fit into one box. Some days I love to make pretty, ethereal music and others I’m excited to try out a new bass sound design technique.
It’s always been like this. I get easily bored by trying to “fit in” to a certain sound or emotion. In creating OSCILLATE, I wanted to showcase both sides of those sounds and feelings by separating the record into two distinct pieces.
I learned a lot about myself through the three years of creating this, both artistically and personally. I experienced some monstrous highs and the lowest of lows, which all can be felt and heard in this album. This album gave me a new sense of purpose and confidence. I’m insanely proud of this work.
FOLLOW COVEX:
Facebook: facebook.com/covexmusic
Instagram: instagram.com/covexmusic
X: x.com/CovexMusic
Spotify: spoti.fi/3ll8PUr
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The song originally began as an acoustic demo that the pair eventually transformed into a drum & bass arrangement. The song embodies the passion The Two Fake Blondes channel into each of their tunes, kicking things off with enchanting vocals before introducing a drop with an ethereal LFO sequence, ultimately delivering a unique take on the red-hot genre.
Since debuting their project in 2020, The Two Fake Blondes unveiled their debut album, Out Of The Darkness, in 2021 and have received support from a handful of notable artists like Steve Aoki and Don Diablo. While their primary focus has been danceable house tracks, their foray into drum & bass has proven to be a positive one so far.
You can listen to "Holy Spirit Lead" below and on streaming platforms here.
FOLLOW THE TWO FAKE BLONDES:
Facebook: facebook.com/thetwofakeblondes
X: x.com/the2fakeblondes
Instagram: instagram.com/thetwofakeblondes
Spotify: tinyurl.com/2syx794e
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