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NGHTMRE Announces First Solo Red Rocks Headline To Debut New Album

Though NGHTMRE has played Red Rocks plenty of times with SLANDER or Big Gigantic, he’s never headlined the famed venue solo. That changes next April with “INTO THE DRMVRSE.”
The show will be the debut performance of his debut album and upcoming tour, both of which we can somewhat safely assume will have “DRMVRSE” in the name. Tickets go on sale today — go to the link in the tweet below to access the pre-sale, password DRMVRSE.


This article was first published on Your EDM. Source: NGHTMRE Announces First Solo Red Rocks Headline To Debut New Album
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Your EDM Guest Mix: Hillsdom Take Fans on an Hour-long Tour of “Fauxtopia” and More

The melodic, diverse and very UK sounds of Hillsdom seemed to come more or less out of nowhere a few years ago with their big label debut on Viper’s Drum & Bass Summer Slammers 2017. That’s certainly an effective way to make an entrance, and they’ve been churning out those slammers ever since. With a mature and well-developed sound pretty much from jump, Hillsdom have released loads of work on Viper, had a single on Simon Bassline’s almost impossibly tough to sign label Technique, UKF’s cheeky underground imprint Pilot. and, most recently on RAM and its sister label Program.
It seems Program has really agreed with Hillsdom, as after their first two sets of singles, “Tell Me Your Lies”/”Stone Soul” and “I Wonder”/”Igloo” released in January and July, respectively, RAM have decided to drop two of the duo’s best-received singles to date, “Fauxtopia” and “Gaslight” featuring Maddy on vocals. Released in early October, these two tracks are quite different, with “Fauxtopia” being a deep, synth-driven and introspective track with lots of dancefloor power and “Gaslight” hitting more melodic, liquid vibes. These two tracks are a testament to why Hillsdom have taken off like they did: diversity and quality.
With even more on the horizon, the Hillsdom boys have decided to commit a mix to memory of all the great stuff they’ve done so far and Your EDM has it. Beginning as it should with “Fauxtopia,” the 57-minute exclusive mix once again proves the Essex duo’s eclectic style and thumbs a nose at the idea that one can’t mix multiple styles in the same set. By the ten minute mark, they burn through deep D&B, dancefloor, melodic and ameny jungle seamlessly.

Hillsdom · HILLSDOM – YOUR EDM Another act who’s clearly thumbing their noses at being pigeonholed by subgenre, Hillsdom make technically super-clean work that is instantly recognizable as Hillsdom but run the gamut style-wise. This mix is all over the board in the best possible way and a great way to celebrate their signing to RAM.
“Fauxtopia” and “Gaslight” are out now and available on Beatport and Spotify.
This article was first published on Your EDM. Source: Your EDM Guest Mix: Hillsdom Take Fans on an Hour-long Tour of “Fauxtopia” and More
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TaylorX Delivers Sensational House Single, “Play” [Storm Records]

Starting his musical journey in the EDM scene at 18 after spending his early teenage years as a guitarist in a Metal band, TaylorX began to influence the UK House scene with his bootlegs of charting hits. After falling in love with Dance production and DJing in clubs across the UK, his love for the music never stopped. So far he’s achieved incredible milestones, earning millions of total streams across streaming platforms and garnering a global fanbase.
Now, he’s back with a sensational single, “Play“, signed to Storm Records. “Play” feels like an instant hit, as TaylorX provides a phenomenal piano house arrangement around a beautiful vocal. Whether you’re in the club or at home, “Play” is a song that is utterly irresistible and another great track from this talented artist.
Listen to “Play” by TaylorX below!

 
This article was first published on Your EDM. Source: TaylorX Delivers Sensational House Single, “Play” [Storm Records]
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Steve Aoki Remixes Iconic Cowboy Bebop Theme “Tank!” [LISTEN]

To celebrate the release of COWBOY BEBOP on November 19, Netflix hosted an exclusive listening party and conversation with Japanese-American DJ/producer Steve Aoki to discuss his exclusive remix of “Tank!,” the renowned theme song by acclaimed Japanese composer Yoko Kanno. Aoki performed this one-time remix at the Los Angeles premiere of COWBOY BEBOP on November 11, which was simultaneously live-streamed on Aoki’s social media platforms.
The virtual conversation focused on Aoki’s process and his inspiration for remixing Kanno’s iconic anime soundtrack as a Japanese American. As an award-winning artist and one of the most in-demand entertainers in the world as well as a longtime fan of COWBOY BEBOP, Aoki’s remix exemplifies that music is universal, timeless, and transcends across countries while paying homage to the Japanese roots of the series.
Check out the remix below!
 
This article was first published on Your EDM. Source: Steve Aoki Remixes Iconic Cowboy Bebop Theme “Tank!” [LISTEN]
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PARTY FAVOR Releases New Single & Music Video “Whenever You’re Around”

Party Favor is evolving. With his past few singles, he’s shown a drive and passion for reinvention, most especially with his newest single, “Whenever You’re Around.”
As the follow up to his 2021 singles “Save Me” and “Losing My Mind” featuring Elohim, “Whenever You’re Around” is a low-bass sophisticated rump-shaker.
Says Party Favor, “This song first started life as a session with my friend Drew Love way back before the pandemic. It was super pop-leaning and we both loved it but never really ended up doing anything with the idea, but over the past year as I was working on all this new music, I remembered the vocal and reopened the project. I was able to totally flip and resample Drew’s voice into something completely removed from where it started, and I turned it into what I think of as this crazy hybrid mashup of genres and parts of ‘Party Favor.’ This is one of my favorite records on this new project and I love how it morphed from how it started to where it’s at now. The song has taken on a new life and the meaning of it is darker in tone about how we often times aren’t present in our relationships and focus on people and things only when they benefit us in the moment. And also it bangs. Hope you dig it!”
Watch the music video below.
This article was first published on Your EDM. Source: PARTY FAVOR Releases New Single & Music Video “Whenever You’re Around”
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New Artist Spotlight: Vectralux’s Debut Indie Pop Album Gives Deja Vu a Run for Its Money

You know those memes that have been going around the past coupe of years where it’s a chaotic picture where the objects in it have been blurred or distorted so that your brain thinks it should recognize them but still can’t and you end up squinting at it for far too long? Vectralux is, in concept, a much more pleasant version of those diabolical pictures. With a name that, by their own admission, is “a made-up word that sounds strangely familiar” and title for their debut album that will have writers and linguists snarling into their unsatisfied Broca’s areas, it would seem that’s just what Vectralux want.
Conjuring nostalgic feelings via a boppy, synth-infused electro-rock sound, Vectralux’s debut Each Morning and the Morning Thereafter has the same effect musically as their name and album title have linguistically. With frontman Hannibal Heredia’s vocals that sound like a cross between Elvis Costello and Dave Pirner of Soul Asylum leading the somehow both retro-and-new-style charge,  there are lashings of everything from Duran Duran to Vampire Weekend in this album.
As is their mantra, apparently, all the songs on Each Morning…have a hint of something recognizable paired with something all the band’s own. All designed to be lyrical “parables that explore the question: how does one stay whole and smiling when leaving one life for another…” Heredia’s lyrics were inspired by his own personal journey but, in true Vectralux style, their content is familiar to anyone who’s been a human for a while: relatable and familiar but also personal.
The album opens with “Hey!” a sort of battle call to the strange wild of Vectralux and their indie pop tales whose sounds once again conjures Costello-and-the-Attractions vibes along with, perhaps, Ben Folds Five. Sort of a continuation of the title, “Hey” launches into the music stories and with music that’s both haunting and fun. The same unsettled-yet-can’t-help-but-be-happy vibes permeate through the new wave-inspired (are we getting Duran Duran and The Who mashup vibes here?) “Hidden Days” and “Almost Whatever Now” which somehow melds early The Rentals with Dinosaur Jr and OG pop punk. Things only get weirder with “To Be Untitled,” which opens with a guitar riff just slightly off from “Kiss Me” by Six Pence None the Richer but whose vocals are more The Polyphonic Spree. If your head’s not spinning by now, just listen to the rest.
We could go on naming all the bands each song sounds like, but that’s not the point. So many musical artists borrow and re-work music and claim it as original, but Vectralux not only own but it but proclaim there’s something new to be made and that the nostalgic-but-not-quite and one-key-short-of-recognizable feelings are valid as forms of expression. Do we not all, after all, tend to go with sounds and feeling we already love and recognize?
Vectralux is simply taking that to its logical conclusion and, really, to its most noble format. It can be unsettling, like “Vectralux” feeling real because it’s a combination or two words or Each Morning and the Morning Thereafter feeling like a familiar turn of phrase even though when you frown at it long enough, it’s basic nonsense. The English language owes Shakespeare a debt of gratitude for all the strange words and sayings he came up with, so why can’t acts like Vectralux do the same with music? Clever to devious proportions, any sort of music fan will find something they like on this album because, well, you sort of have to.
Each Morning and the Morning Thereafter is out now in digital and CD formats and can be streamed on Spotify or purchased on Bandcamp. The band will be releasing a vinyl version of the album in early 2022.

This article was first published on Your EDM. Source: New Artist Spotlight: Vectralux’s Debut Indie Pop Album Gives Deja Vu a Run for Its Money
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Zeds Dead Drop New Remix For Nessa Barrett’s “i hope ur miserable until ur dead”

When Zeds Dead first started out, their remixes were untouchable. Whether you’re talking about “Eyes on Fire,” or “Don’t Let Me Be Misunderstood,” or “Volcano,” they were always on point. Over the years, their remixes have taken on a bit of a new identity, but the quality remains.
Out today is their new remix for Nessa Barrett’s hit “i hope ur miserable until ur dead,” transforming the upbeat, angsty pop anthem into a darker, more foreboding experience. Incorporating elements of classic garage in the drums with the sinister bass notes and the honestly unfriendly lyrics, Zeds Dead transform the original into a bit more of an authentic representation of its meaning.
Check it out below.

This article was first published on Your EDM. Source: Zeds Dead Drop New Remix For Nessa Barrett’s “i hope ur miserable until ur dead”
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Chris Lake & Grimes Drop Hotly Anticipated Collab, “A Drug From God” [LISTEN]

The brand new collaboration from Chris Lake and Grimes aka NPC — “A Drug From God” — has arrived and it’s the life of the party!
Dangerously hypnotic and devastatingly catchy, the track progresses steadily with danceable intentions as the sounds of Chris Lake and Grimes’ new AI girl group collide. NPC intends to “hone the concepts of Art Angels and Miss Anthropocene, finally manifesting the endless characters in Grimes’ head.” Members are infinite in number and can be voted in or out, except for core members such as the baby Warnymph.
Needless to say, “A Drug From God” is as captivating as intended. The intensity of the track’s persistent risers and various reiterated elements heighten our senses as a thick bassline powers forward, seemingly unfazed by the organized chaos that surrounds it. Ultimately, Grimes’ eerily processed vocals elevate the production to earworm status.
The lyrics declare:
Money, Power, Beauty, Fame
Choose your weapon to beat the game
Money is power and art is fraud
And love is just a drug from God
“A Drug From God” is out now on Astralwerks & Black Book Records.
Listen here!
Chris Lake & NPC – A Drug From God 
Stream/download: chrislake.lnk.to/ADrugFromGod

This article was first published on Your EDM. Source: Chris Lake & Grimes Drop Hotly Anticipated Collab, “A Drug From God” [LISTEN]
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AREA21 release debut album ‘Greatest Hits Vol. 1’ [LISTEN]

AREA21 have released their long-awaited debut album Greatest Hits Vol. 1. The album is a culmination of not only the 12 songs written, produced and performed by Martin Garrix and Maejor, who between them have worked with some of music’s biggest artists including Bono, G-Eazy, Justin Bieber, Dua Lipa and Khalid, but also a global visual project in the form of a series of videos by award-winning animation studio Titmouse, Inc. (Dua Lipa, Run the Jewels) which took 9 months to complete, with work by 60 artists from 10 countries. This album also marks the first album release by AREA21 co-creator Garrix.
Maejor: “It was really important for us to have a full body of work because there’s so much stylistic range on the album. I feel like if we had the pressure to compress it into something smaller, it wouldn’t have worked.”
Martin Garrix: “I’ve never released this many songs before at the same time, so I’m nervous about it. But that nervousness gets overshadowed by excitement, adrenaline and passion. This project means so much to us both musically and conceptually. I’ve had some of the best moments of my life working on these songs and we can’t wait to finally share them with the world.”
Over the past 9 months, AREA21 have released a series of songs and videos detailing the interstellar adventures of Garrix and Maejor’s alien alter egos, M & M, with a narrative that tackled some of life’s biggest questions and transformed them into music that’s thought-provoking and relatable.
In fact, it was M & M who inspired the previously odd album title. Notes Maejor, “When the aliens first came to Earth, all of their favorite albums had the title ‘Greatest Hits.’ They didn’t know you were supposed to have many albums out before you made a greatest hits album.”
Greatest Hits Vol. 1 includes previous releases such as “La La La,” “Lovin’ Every Minute,” “Own The Night” and “Followers,” but also sends 6 brand new tracks into the stratosphere including the lead single and latest in the series of animated videos ‘Time Machine.’
Listen below!

This article was first published on Your EDM. Source: AREA21 release debut album ‘Greatest Hits Vol. 1’ [LISTEN]
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Avril Lavigne’s Comeback Single “Bite Me” Rocks Credits from Marshmello, Travis Barker & More [LISTEN]

Avril Lavigne is back with a new single “Bite Me,” which rocks her signature pop/punk edge and then some.
Fully loaded with Avril’s iconic-as-ever vocal prowess, a rather on-brand “Bite Me” attitude, and a heavy dose of nostalgia — it’s no wonder the song is a bop. If we didn’t know any better, the production could even pass an early Avril Lavigne cut straight from the 2000s.
Marshmello, Travis Barker, Goldfinger frontman John Feldmann, Omer Fedi and MOD SUN are all in the mix with writing and production credits. Clearly, they knew the assignment.
“I’m so fucking excited to be releasing new music,” Avril shares of the track. “I had so much fun making this record. This is just a taste of what’s to come.”
“Bite Me” marks the lead single off Avril’s highly anticipated seventh studio album, due out in 2022.
Listen here and get excited for more coming soon!
Avril Lavigne – Bite Me
Stream/download: avrillavigne.lnk.to/biteme!tw

This article was first published on Your EDM. Source: Avril Lavigne’s Comeback Single “Bite Me” Rocks Credits from Marshmello, Travis Barker & More [LISTEN]
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ILVS And Feb Join Forces On “About You” Alongside Es.Kay

Hailing from Greece and Italy respectively, house talents ILVS and Feb have received massive acclaim within the industry, yet their latest collaborative release “About You” proves that they’re only getting started. Coming to digital platforms via Sam Feldt’s very own Heartfeldt Records, “About You” brings intoxicating energy to the table, combining emotive vocals with catchy melodies and groovy drums.
ILVS, also known as “The Sushi King,“ kickstarted his career back in 2018 and hasn’t looked back ever since. With support from artists such as Kryder, Madison Mars, Borgeous, Jonas Aden, TWOLOUD, Lumberjack and more, he is among the hottest dance producers rising out of Greece at the moment. Feb has seen massive success over the years as well, having amassed over 50 million streams on digital platforms, while releasing with labels such as Strange Fruits and Chill Your Mind.

This article was first published on Your EDM. Source: ILVS And Feb Join Forces On “About You” Alongside Es.Kay
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Up-And-Coming Duo Boomian Unveil Debut Single “Revolution Populi” 

Made up of experienced DJs and producers YAMAN and iLtik, Boomian have just launched their music career with their debut single “Revolution Populi”, and are looking to take over the dancefloor in no time. Both names are known for the residency at nightclub Boomerang in Hong Kong, which made headlines earlier this year after landing on DJ Mag’s Top 100 Cubs list while being open for less than a year. “Revolution Populi” is signed to Boomerang’s rising record label, and definitely marks an exciting addition to their catalog. YAMAN and iLtik blend their respective styles perfectly throughout the tune, crafting a tech house gem filled with groovy basslines, uplifting drums and minimal vocal samples. It’s an impressive debut release which is bound to 
This article was first published on Your EDM. Source: Up-And-Coming Duo Boomian Unveil Debut Single “Revolution Populi” 
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Wasback Unveils Infections Tech House Anthem “Virus” Featuring Babz Wayne

Wasback Unveils Infections Tech House Anthem “Virus” Featuring Babz Wayne
Coming to our speakers with one of his hottest releases to date, Wasback has done it again with “Virus.” Bringing along the vocal talents of Babz Wayne, the 23-year-old Italian producer is able to curate an inescapable dancefloor vibe with this latest release, just as we’re used to him at this point. Fueled with great character by Babz Wayne vocals, “Virus” effortlessly takes listeners on a ride into Wasback’s world, which is one made of intoxicating basslines and immaculate house production.
Throughout the last years, Wasback has cemented himself as one of the most promising young talents within the dance music scene. He kickstarted his career when he signed “Magic” to Hardwell’s Revealed Recordings, a tune that landed on the 11th place on the Big Room Beatport chart. Since then, he has received support from the likes of Tiësto, Nicky Romero, Dimitri Vegas & Like Mike and many more, while amassing millions of streams in the process.

This article was first published on Your EDM. Source: Wasback Unveils Infections Tech House Anthem “Virus” Featuring Babz Wayne
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Your EDM Premiere: LA Legend Mr. Deeds Is Back on the D&B with “Read Your Mind”

Mr. Deeds (fka SDF-1) can literally trace his rave roots back to the beginning in LA, appearing on flyers as early as 1995. With that sort of history, it’s no wonder that his sets and production have changed over the years. From some of the darkest darkstep in the 90s to fun and funky dub-laced dubstep to his latest rash of melodic dancefloor jams, Deeds has been an installment on the LA scene for literal decades.
Now also installed as an instructor at the prestigious Icon Collective music production school a regular on the SoCal party circuit and creator of a series of outdoor parties called Dad & Bass (DAB), Deeds has just released some new heaters to warm up the winter. The first, released just a couple of weeks ago, is a remix as part of Sour Diesel’s “Wrap this Chain” EP on Mechanical Advantage Records. He took the original high-pitched, nails-on-a-chalkboard synths and exploded them out rave-style whilst starbusting the snares in the face of the old school, “Scorpion” by 26 Red-style drums. The breaks in the track are a descent into 140 dubstep style, a nod to Deeds’s dubstep Dirty Deeds moniker and to what dubstep was originally made for: break music.
The second track, due out this Friday, November 12, and our exclusive premiere, “Read Your Mind” A surprisingly melodic tune, it features a boot of the TikTok famous song “Telepatia” by Kali Uchis but, of course, pitched up for D&B. Guaranteed to be an instant dancefloor hit, “Read Your Mind” has a classic flow and a rolling bassline that moves the track forward. The sine wave bass synth rolls around the vox in a way that compliments but doesn’t overpower it. “Read Your Mind” give off sweet summer vibes that will keep the dance warm throughout the cold winter.

MR DEEDS · Read Your Mind Artists like Deeds making tracks like these ensure that the D&B world is reminded that the US scene is here to stay. All LA vibes and gnarly grinds, “Wrap this Chain” remix and “Read Your Mind” will help keep fans’ minds on stateside D&B.
“Read Your Mind” drops tomorrow, November 12. Check out other Deeds tunes on his Soundcloud.
This article was first published on Your EDM. Source: Your EDM Premiere: LA Legend Mr. Deeds Is Back on the D&B with “Read Your Mind”
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Insomniac Imprint Lost In Dreams Launches ‘Gateway’ Compilation Series

This past February, Insomniac launched Lost In Dreams as a vessel for showcasing the next generation of producers who are shaping the sounds of future bass and melodic bass music. It’s an amazing mission statement and a great way for new talent to have representation by one of the most powerful and innovative companies in the music industry.
The imprint hosted its first Lost In Dreams festival in Downtown Las Vegas in September, boasting a massive lineup including Seven Lions and Gryffin. Along with the festival, they celebrated with the release of the inaugural Lost In Dreams festival compilation that was a huge success.
Now, Lost In Dreams has launched its ‘Gateway’ compilation series to further spotlight fresh, up-and-coming artists. The first 10-track package is fantastic, featuring stand out tracks like “Against Time” by if found & Nytrix, “Lighthouse” by Taylor Kade & GLNNA, and the euphoric “Night Sky” by STAR SEED.
You don’t just have to be a future bass fan to enjoy this album. The array of sounds and styles is remarkable, and definitely has us excited to hear more from this next generation of producers!
Listen to the Lost In Dreams ‘Gateway‘ Compilation below!

This article was first published on Your EDM. Source: Insomniac Imprint Lost In Dreams Launches ‘Gateway’ Compilation Series
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ATB Kicks Off USA Tour, Launches New EP Series, ‘The DJ EP Vol 1.’

ATB continues to have a remarkable career and shows no signs of slowing down. A total of 10 studio albums and over 55 gold and platinum awards in numerous countries underline the German’s status. On top, ATB has been non-stop in the renowned DJ Mag Top 100 ranking for almost two decades now
After a successful 2021, German dance music legend ATB has returned to the USA for his first stateside shows in quite a while. Fans in Seattle, California, Texas, and Chicago will experience a set that encompasses music from ATB’s 25 years on top of the game.
Coinciding with the USA tour, the ATB has also launched “The DJ EP Vol. 01” – the beginning of an EP series to introduce all of the beautiful music ATB has been creating and that is now ready for the world to hear. He’s a master at melodies and the arrangements he creates are nothing short of brilliant.
The EP features emotional and modern dance vibes, where ATB combines his signature melodies with pushing basslines. You feel this sensational, euphoric emotion the minute you press play and “Your The Last Thing I Need” warms your speakers. “Starfire” follows beautifully, showcasing hypnotic synth plucks and an ambiance that instantly lifts your spirit into a state of bliss.
“Forward Ever” is an extended live version and utterly mesmerizing with the ebbs and flows of the track, building and crashing in harmonious perfection. He concludes the EP with Sequential One’s remix to his massive collaboration with Topic, “Your Love (9PM)“. It’s a fascinating take on the original, providing a classic trance style to back the powerful vocal.
With the EP series, ATB wants to show his love for electronic club music to his fans and to give back what everyone was longing for during the pandemic:
Listen to'”The DJ EP Vol. 1′ & grab tickets to his tour below!
ATB USA Tour Dates 
11/12   Los Angeles, CA – Exchange
11/13   Chicago, IL – Sound-Bar
12/03   San Francisco, CA – Yolo
12/04   Sunnyvale, CA – Pure Nightclub
Buy Tickets Here

 
This article was first published on Your EDM. Source: ATB Kicks Off USA Tour, Launches New EP Series, ‘The DJ EP Vol 1.’
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Ubbi Dubbi Reveals 2022 Lineup With Alison Wonderland, Excision, Zeds Dead, & More

Ubbi Dubbi in Texas was the first major electronic festival to return in 2021, after a year of lockdowns due to COVID-19 since March 2020. There were many concerns levied from the fan community, but after all was said and done, no evidence could be found linking Ubbi Dubbi to any significant spread of the virus. The success of the festival in effect gave the green light to many other events to move forward, and here we are at the end of the year with dozens of events under our belt.
Things still aren’t back to “normal” — what is “normal” anymore — but Ubbi Dubbi will be coming back in 2022 as usual and just revealed their lineup with Alison Wonderland, Black Tiger Sex Machine, Blanke, Excision, Jantsen, Minnesota b2b Buku, Rome in Silver, Tiësto, Trivecta, Zeds Dead, and more. There are still more artists to be announced, too, as we approach the final dates.
Tickets go on sale Monday, November 15 for the April 23-24 festival next year. Check out the tweet below for all details.

 
Photo via Rukes.com
This article was first published on Your EDM. Source: Ubbi Dubbi Reveals 2022 Lineup With Alison Wonderland, Excision, Zeds Dead, & More
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Deadmau5: “I’m going to […] soon hang up the mau5head”

It used to be that to hear from your favorite artist, you had to be listening to the radio at the right exact moment to hear a rare interview when they were in town for a gig, or maybe wait by your local magazine stand to purchase that magazine about their new album with some quotes. With the advent of social media, we’ve become used to artists popping in to random fan communities, not to mention their own Twitter, to speak on various topics.
On Reddit, deadmau5 has been known to often pop in to /r/deadmau5, and he did so yesterday in a thread titled, “Hot take: No Mana has become a better deadmau5 than deadmau5.”
One might expect deadmau5 to come barreling in with ferocity and justifications as to why the original poster was wrong. Instead, we got a very level-headed and truly honest response from the legendary artist.
“Well I’ve obviously taken a more backseat on music production…. I’ve been doing it for 20+ years…. which is no small feat for anyone,” he begins. “I’m just following my own path. Music technology.”
Years ago, we were already reporting on deadmau5’s love for music technology, highlighting a video from Linus Tech Tips showing off his studio, LAN center, and even his own server room. But music technology has grown by leaps and bounds in the last four years.
He continues, “Which isn’t limited to ‘the creation of music’. I’m getting older, the demographic is ever changing. These are just my musical sunset years, and I’m going to respectfully hand down the reigns and soon hang up the mau5head. [ita. by editor] I don’t think there needs to be a negative connotation tied to the idea of me starting to slow things down and head into different ventures that fill the void that music no longer does for me.
So don’t expect deadmau5 to “hang up the mau5head” imminently. That being said, if you have the opportunity to see him soon, we’d take it.
 
Photo via Rukes.com
This article was first published on Your EDM. Source: Deadmau5: “I’m going to […] soon hang up the mau5head”
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ILVS And Feb Join Forces On “About You” Alongside Es.Kay 

Hailing from Greece and Italy respectively, house talents ILVS and Feb have received massive acclaim within the industry, yet their latest collaborative release “About You” proves that they’re only getting started. Coming to digital platforms via Sam Feldt’s very own Heartfeldt Records, “About You” brings intoxicating energy to the table, combining emotive vocals with catchy melodies and groovy drums. ILVS, also known as “The Sushi King,“ kickstarted his career back in 2018 and hasn’t looked back ever since. With support from artists such as Kryder, Madison Mars, Borgeous, Jonas Aden, TWOLOUD, Lumberjack and more, he is among the hottest dance producers rising out of Greece at the moment. Feb has seen massive success over the years as well, having amassed over 50 million streams on digital platforms, while releasing with labels such as Strange Fruits and Chill Your Mind. 
This article was first published on Your EDM. Source: ILVS And Feb Join Forces On “About You” Alongside Es.Kay 
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Wasback Teams Up With Stefy De Cicco And Sam Tinnesz For “Fences”

Fresh off his fresh cover of Kesha’s “Tik Tok” alongside Ella Young, Wasback is back with yet another explosive collaboration, teaming up with Italian production duo Stefy De Cicco and Nashville-based alternative star Sam Tinnesz for “Fences.” At just 21 years old, Wasback is one of the most promising new faces within dance music, while Stefy De Cicco is a name that’s been on the scene for over two decades, recently signing an exclusive contract with Universal Music.
Pairing infectious slap house rhythms with eclectic instrumentation, “Fences” is without a doubt an instant hit, perfectly suited for both the radio and the dancefloor. Sam Tinnesz delivers infectious vocal lines all throughout, staying true to his original style, while Wasback and Stefy De Cicco truly shine on the production, crafting the perfect instrumental for him to shine on, while also showcasing their unique production skills.

This article was first published on Your EDM. Source: Wasback Teams Up With Stefy De Cicco And Sam Tinnesz For “Fences”
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Zedd Teases New Song With True Colors-Era Instrumental

It’s been six years since Zedd’s last album, True Colors. With a release campaign that honestly has yet to be upstaged in EDM, the album was a tour de force of the German/Russian producer’s inclination toward electro and pop music, blending beautiful melodies with his classic synthwork and vocalists like Bahari, Selena Gomez, Jon Bellion, Logic & X Ambassadors, Troy Sivan, and Echosmith.
Why am I still talking about a six-year-old album? Well, we’ve been waiting on Z3 for a while now and so far we’ve been getting rote pop singles like “Funny,” “Good Thing,” Inside Out,” and “365.” Who knows right now if they will end up being on the eventual album, but Zedd just teased a new song yesterday that we hope will be.
One user on Reddit comments, “It’s like a mix of Hourglass, Spectrum, and Addicted to a Memory,” and we have to agree. That’s also all we need to be excited about this one as it calls back to a classic Zedd sound that he’s hopefully refined and polished.
Check it out below — we’ll be sure to keep you updated on when this one is due out!

 
Photo via Rukes.com
This article was first published on Your EDM. Source: Zedd Teases New Song With True Colors-Era Instrumental
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Your EDM Double Feature: Phace Has a Chat and Drops the Premiere of ‘Useless’

It goes without saying the pandemic was hard on everyone. The music industry undoubtedly went through likely the tightest ringer in terms of affecting both the way things are run and the mental and emotional health of its participants. There were a few silver linings, however, as adapting and changing quickly became more important than ever. Online systems got much more sophisticated and efficient and multimedia and creative innovation became key if artists wanted to stay in the game. It was a lot of pressure but it produced some serious gems in terms of high-quality, interesting and passionate work from artists who were not only trying to entertain but to save their own sanity.
At the juncture of all this and coming to grips with the real possibility of system collapse on many fronts, artists like Phace took it as an opportunity to not only create new and interesting music but to purge all the stress and emotional chaos of the time and make a statement about all these societal systems whish turned out to be much more fragile than anyone thought. His upcoming mini-album, System Irrelevant, is that statement.
Full of apparently complex and chaotic drum structures, eerie sound design and nasty synths that sound more like a warning than a threat, System Irrelevant is a sign of the times but for Phace it’s more expansive and more personal than that. It’s a reflection on things we were all forced to think about, the feelings we didn’t want to have to manage and the way it’s not so easy to pull the wool over the collective eye anymore. Existential and visceral, System Irrelevant challenges all of us to sit with all of this and decide what’s become irrelevant in our own lives and what really matters. We had a chat with Phace about the way in which he got there: creating.
*Premiere appears at end of interview*
You decided to make System Irrelevant a multimedia project with the crazy UKF video stream and now the mini album. What made you want to incorporate all the different media?
I always wanted to create a dedicated audio-visual experience for Phace and it made perfect sense to me to develop a bigger visual dimension for this release. Visuals do help to transfer the message of music and let it shine in its own light so to speak. For this project they also helped to separate it clearly from styles of my past works. I like the streaming, or should I say online video format in general. You can do so many cool and creative things with it.
Going with a more standard stream, one or two cams straight into your face while playing music at some special location, just doesn’t really do it for me. I find those streams not really entertaining or catchy, somewhat pointless. You can`t beat the live experience when it comes to such a scenario. Using accompanying visuals in an interesting way, introducing a story or journey with it, that to me does make a stream more worthwhile watching throughout; it becomes more like a movie. Also, all the actual release artworks derived from the stream visuals. I wanted both the stream and the mini album to have a strong visual connection.
How was it putting together the video as your first time doing that sort of editing on your own?
Getting it all put together did take a few months and was quite a mission. Not because it was super complex but just because it was all a pretty new field for me to work out. I didn’t rush it but wanted it to be as good and creative it could be. I also saw the whole process as a possibility to learn new things from. I now feel more comfortable and confident when it is coming to the visual end of Phace. I want to do such multimedia things more often.
I wanted it to look contemporary but not too polished or overly thought-out. With mapping things to the green screen it was quite a performance-consuming task. A close friend helped me with his super pro video system for the post-production of the material. The most intensive part to me was to cut and sync the visuals. When I went to bed after a day of cutting I could still see flashing frames even with my eyes shut. It turned out quite trippy.


Video or no, it seems you really wanted fans to have a visceral experience of the music, both in terms of perception and the emotions you were trying to convey. Why was that important to you on this release?
Honestly it just felt like the right thing to do. I always use music as an outlet to channel and process my emotions. To pair this with a visual mood makes it even stronger. I always like to progress within what I do. I sort of push myself to it. While working on the mini album and A/V set I personally found myself in quite a challenging and emotionally unstable situation. Things weren’t easy the past 2 years… I wanted the project to somewhat reflect my situation. My music is personal. I wanted it to be as authentic it could be and not just a music business product.
It seems in digital music, especially with the pandemic, got a bit more intense that was as well.
The music business can be quite cold and unemotional these days. It’s become a very content-driven and calculated market. To me personally working in music never was about anything else then the music itself. Of course I am rational enough to understand I have to be organized and follow parts of the market to be able to live from art. I didn’t get into it to reach defined goals of figures, to become famous, showing around how cool I am, how many plays my music has or how quickly I sold out a venue. Those values don’t really mean a lot to me and come along automatically when your music is appreciated. There is no need to be loud about such things constantly just to have something to say on social media.
These values also actually do not tell a lot about sustainability or accomplishment in my opinion. Especially the play count of music is a vicious game. It is aggressively driven by platforms such as Spotify and YouTube, multi-billion companies with shareholders. Play count seen as a proxy for value is toxic when it comes to art. Also, social media became such a tool and mainly feels like it is nothing else than an illusory world or an ad-space these days. I think the real avantgarde in art moved away from those platforms a while ago already. I thus tried to put a lot of effort into the visual “clothing” of the project so its media communication is pretty much solely based around pieces of digital art directly related to the project.
Speaking of visceral, let’s talk tech: you’re always very focused on your drums, but it seems this time, especially with tracks like “Altona” and “Useless,” you really wanted to make the drums the star of the show. How did you envision all those layers of drums working and how was it to actually screw them together so that they created the sound and structure you wanted?
I do like drums. I do like the technical side of music production in general. Just listening to music in its entirety it is a less important side to me. Or should I better say I practiced technical things so often they became somewhat normal to me. Music production from a technical perspective is solving problems and cleaning up or creating space. This can surely lead to cool creative ideas of course. But one can get lost very easily in that room and forget about the more fun side to get lost in; the emotion, idea and vibe.
So how do you balance the tech and the emotion?
I don’t want to get lost that much on the technical side to have more creative capacity to focus on the rest, but to me that doesn`t imply neglecting the technical side. I still love cutting edge sound-design and it is a sort of a never ending fascination to me. Balancing is the key here for me. While I was working on the album tracks I actually felt I focused on the drums the least. They are quite basic and functional, nothing to fancy if you ask me. I did focus more on vibes and progressions. There aren’t many layers of the drums involved here either, they all are indeed pretty simple and straightforward but the do the right job to support the musical idea and groove rather than competing with the rest of the track.
You’ve said that System Irrelevant is a reflection of your feelings about how things were declining and society was breaking down during the pandemic and, ostensibly, late-stage capitalism and democracy. Your work always takes a bit of a sideways glance at dystopia but do you think the composition here was meant to reflect the fact that we were staring down the barrel of it?
The mini album is a reflection of my feelings, that is correct. But to avoid any misunderstanding, I did not aim to make this mini album a pandemic-related concept or a political statement or such. Music is music and foremost this release is about my music. I do believe it is important to stand in for certain values when you think it is the right time and context; to use your voice to maybe even help others and share your beliefs.
I am against discrimination of any form. Like one tiny pixel is an essential part of an image; we are all essential parts of the system, so everyone should have the right to be treated equally. It simply felt good to me to connect my music to this point of view without being overly intellectual. The past years have proven we are still living in very challenging and twisted times with so many hurdles for our societies to be equal. Generally I am quite an optimistic and funny character. I always have been. For this release though, it is the first time I actually felt depressed and anxious when writing. So you could say that the music on the release reflects part of my inner chaos, thoughts or conflicts of that time.
The mini album seems to have a bit of a progression in terms of that whole decline of civilization vibe. Did you place the tracks in that way to tell that story in your own beats, so to speak?
I didn`t aim for a defined progression or let’s say drama in the music per se; it again somewhat just happened. Every track changed into a bit of a journey while working on it, but overall things developed organically. At the end I felt the music sounded coherent and complete. So I decided to release this as a mini album and call it done after 6 tracks. I felt the story was told. I am no friend of overthinking things too much or trying to fill this project with more tracks to make it a long-play. To me at least, in a creative process driven by personal emotions, things will eventually fall into place and will in the end come to a personal conclusion.
Some of the tracks were written in order, which might increase the dramatic progression of the album. In the end I had to position two tracks differently though, to make the album flow more optimally to my ears. But all that wasn’t planned or laid out before.
What’s one thing you’ve learned and you hope other artists have learned through the experience of the pandemic? What should we be cautious about and what gave you cause for hope?
As an artist I think an important lesson could be to become even more independent and also to diversify. Today you do not really need a big label, a big distribution or manager to get your music out. Looking back at the crisis today, my outlook is somewhat more positive, even though in its early stages things felt pretty hard and negative to me. Over time I realized any crisis is a chance for change and for the better, so actually a lot of things gave me cause for hope, especially to see how the younger generations accepted circumstances. It pretty much shaped a new internet-based scene and style of music. The crisis brought out more “real” and authentic music again and less music products, in my opinion at least. I find that exciting and refreshing. I am glad to see artists found new ways to express their creations. I think diversification and change go hand in hand and the past two years speed it up all in all.
System Irrelevant is your first solo multi-track effort since you’ve been focusing more on the Linked series. How did you enjoy going back to that format? Do you have any plans to release more multi-tracks? Perhaps a series around the System Irrelevant concept?
Writing solo music always is the thing I enjoy most. When I do not have to compromise and can fully sink into a creative process to translate my personal mood or preferences. For System Irrelevant I see this as a closed project with the six tracks on the mini album. I also do not yet have very concrete plans for future releases at the moment. There are a few things in work but it is pretty much all still undefined. Oddly enough this year has been very busy for me in terms of releasing music. I had a lot of time being locked in the studio I guess. Now I need to reflect on all of that and also recover mentally.
Of course there will be new solo material in the future, and also more Linked bits. I especially would like to spend more time working on different genres too. I have quite a few layouts and ideas of different vibes laying around but do not yet feel fully comfortable with these. I have always been a fan of electronica, techno and house music, acoustic stuff as well. I am looking forward to spending more time working on slower tempo music as well.
System Irrelevant will release in full on December 1 on Phace’s Neosignal imprint. To pre-order or pre-save “Useless,” click here. Check out the stream and video for the first single “Altona” here. Premium Phace space is on Patreon.
This article was first published on Your EDM. Source: Your EDM Double Feature: Phace Has a Chat and Drops the Premiere of ‘Useless’
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Tiësto reveals new Cancun experience feat. his VER:WEST alias + KSHMR, Loud Luxury, SOFI TUKKER, & More

Leading technology company Pollen Presents has announced they are teaming up with the legendary dance music producer Tiësto for a unique experience next year. Going by the name Tiësto: The Trip, the destination getaway will take place from March 31-April 3 in beautiful Cancun, Mexico for an unforgettable escape from reality for 4 days and 3 nights.
Beyond a lineup curated by Tiësto that will feature friends, collaborators, and some of his favorite artists, the experience will also include sunrise to sunset beach and pool parties, cultural explorations that will help guests better understand the region, and much more.
In addition to multiple performances from Tiësto, along with a sunrise set from his VER:WEST alias, the lineup also features KSHMR, SOFI TUKKER, and Loud Luxury. More artists on the lineup will be announced in the near future.
For more information about the experience, including payment plans, package upgrades, and FAQs, visit pollen.co to stay up-to-date with the latest in lineup, pricing, and news.
 
Photo via Rukes.com
This article was first published on Your EDM. Source: Tiësto reveals new Cancun experience feat. his VER:WEST alias + KSHMR, Loud Luxury, SOFI TUKKER, & More
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Your EDM Premiere: Skantia’s Collab ‘Connection’ EP is Almost Here! [RAM]

Skantia seems to be one of those rare acts in D&B who’s calmly and quietly releasing the biggest tracks on earth at every turn. No fuss, no muss, just undeniable bangers. He straddles dancefloor, neuro, minimal and experimental styles like it’s nothing, leaving fans with whiplash from all the head-nodding. With his new Connection EP due out in a  few days and containing collabs with AC13, Bladerunner, KY and Annix – all of whom are also banger machines – we’d say just get a neck brace now.
With his last few releases being collabs saving his remix of Gydra and IHR’s “Wipe” on Eatbrain, it seems Skantia had even more ready to go and decided to make an EP. Connection, in fact, literally expresses the UK silent killer’s love of a good collab. And how could one not love these collabs? From the techy, snare-heavy title track chugger with Bladerunner to the melodic, experimental and somewhat Curent Value-like “Along the Way” with AC13 to the whip-smart snares of the darkstep-inspired teeth grinder “Programmed to Die” with KY, Connection deslares in on uncertain terms how Skantia gets it done.
Another quiet banger-maker, the duo Annix, is the only act on Connection that Skantia has already worked with directly. Their collab track, “Corkscrew” is our premiere today and it’s sort of evident in the ease and flow of the composition that these artists have worked together before. Ultra-cinematic and ultra-obscene with how dirty the bass synth is, the “flow and ease” are more in the composition than in the final product. All rough edges and heavy syncopation, “Corkscrew” shows that neither Annix nor Skantia is going to stop genre-hopping any time soon and we’re all better for it.
With sick, jumpy beats, the ability to meld subgenres, jump labels and pretty much rule the dancefloor, it’s no wonder these artists have had no qualms about collaborating with Skantia on Connection. He’s likely got another few gems up his sleeve so we really should all stay tuned to Skantia, but in the meantime we can enjoy this Connection he’s made with the dancefloor and lovers of bass.
Connection drops on RAM this Friday, November 12. Pre-save here.
This article was first published on Your EDM. Source: Your EDM Premiere: Skantia’s Collab ‘Connection’ EP is Almost Here! [RAM]
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