Jump to content

News

Stay in the loop with the latest updates, event announcements, and everything happening in the world of dance music — brought to you by RaveLink. 🤖💜
Show all categories

Dirty Audio Drops Long Awaited EP, ‘Unbreakable’

Dirty Audio is no stranger the trap scene with his iconic signature sound and hard hitting tunes. He is back after a long awaited return to the trap scene with his fresh EP, ‘Unbreakable’. Dirty Audio teamed up with some great collaborators for this EP including $teven Cannon, GAWM, Typhon and Drumma all share creative input and styles to this inspiring and expansive EP.
Returning on the Iconic label BARONG Family for the second time, Dirty Audio flexes hybrid trap elements, while keeping the nostalgic feel of the trap sound we all grew up on. Enjoy this diverse EP and keep your eyes and ears ready for this continuing Dirty Audio momentum.

This article was first published on Your EDM. Source: Dirty Audio Drops Long Awaited EP, ‘Unbreakable’
Ravebot
Ravebot

Rezz releases Nightmare on Rezz Street 2, the first release from her new label HypnoVizion

Rezz recently announced the launch of her own label, HypnoVizion. While we’re still waiting to see what kind of releases she’ll be featuring with her new platform, she’s revealed her own first release, ‘Nightmare on Rezz Street 2.’
Featuring 12 dark instrumentals from her own vault, it’s no doubt representative of not only the sound the label is striving for, but also her next album, whenever it comes.
“This kind of project has been the most fun for me throughout my career. ‘Nightmare on Rezz Street’ is a 30 minute mix of unreleased music that I may not have ever released otherwise. I create the songs with zero expectation, other than to finish each one,” Rezz said about the mix. “This is my second time creating this audio/visual cohesive mix, and it brings me back to when I first started making music & the freedom that comes with just putting music out for fun on the internet without any major concise plans,” she added.
Most recently, Rezz released her third studio album, ‘Spiral’, in 2021, venturing into the realms of indie, pop and rock, featuring collaborations from female vocalists Dove Cameron, Emily Haines of Metric, and more. Now with ‘Nightmare on Rezz Street 2,’ she makes a return to the heavy, hypnotic sound that first established Rezz as a household name in the dance music space.
 
Photo via Rukes.com
This article was first published on Your EDM. Source: Rezz releases Nightmare on Rezz Street 2, the first release from her new label HypnoVizion
Ravebot
Ravebot

Chassi Teams Up With Vocalist Donna Tella For Thrilling Single, “Everything About You”

Los Angeles native and bass music producer, Chassi is on a mission to help people who are struggling overcome the challenges they face. He’s driven to want his listeners to know that everything will work out in a positive way, and he pushes this message through all that creates. Chassi has quickly become one of the most exciting names in bass music through his powerful sound and electrifying live sets. The producer exploded onto the scene in 2020 and hasn’t looked back, with releases on major labels like Subsidia and DPMO, official remixes for ATLiens and Riot Ten, and has collabs released with heavy hitters such as Funtcase and HE$H.
Now, he’s back with the thrilling melodic bass single “Everything About You” featuring vocalist Donna Tella. Bursting with wistful melodies and an emotive vocal performance, the single is driven by euphoric melodies, thunderous bass, and even a surprise as the tempo-begins to rise at the end. 
Listen below!

This article was first published on Your EDM. Source: Chassi Teams Up With Vocalist Donna Tella For Thrilling Single, “Everything About You”
Ravebot
Ravebot

BIJOU Drops Hot New Banger “Gang Gang”

BIJOU makes his highly anticipated return to Night Bass with an absolute banger, “Gang Gang.” Using a sample from Baby Keem’s “Gang Activities”, “Gang Gang” showcases all the best of a BIJOU track. Along with the aforementioned vocal hook, the song combines a filthy tech-house beat with all of the recognizable G-house elements that make BIJOU stand out. There’s even a section of the track perfect for sing-a-longs at the live sets that is sure to go off! The second drop hits especially hard afterward as BIJOU perfectly mixes the house beat with the Dr. Dre inspired g-house synths.
BIJOU will also be hitting the road next month alongside Marten Horger on their “Stay Fly” tour. The first two stops are already sold out, don’t miss out on these two electrifying acts when they come to your town. Listen to “Gang Gang” below, out now on Night Bass. Upcoming tour dates are listed below as well.

11/2 – Boston, MA – The Grand
11/4 – Chicago IL – Prysm
11/11 – Minneapolis, MN – Vanquish
11/12 – Detroit, MI – Elektricity
11/13 – Orlando, FL – Home Bass
11/18 – Atlanta, GA – District
11/19 – San Diego, CA – Nova
12/1 – Salt Lake City, UT – Sky
12/9 – Denver, CO – The Church
12/10 – Washington, DC – Soundcheck
12/16 – San Francisco, CA – Soundcheck
12/17 – Los Angeles, CA – Academy
12/28 – Calgary, AB – Subrosa
12/29 – Phoenix, AZ – Sunbar
This article was first published on Your EDM. Source: BIJOU Drops Hot New Banger “Gang Gang”
Ravebot
Ravebot

Sunnery James & Ryan Marciano Release Their Debut Album “Fundamentals”

As dance music fans know, it’s very common for producers to release singles and tour successfully for years before ever releasing a proper album. Swedish House Mafia are a perfect example of a group that just recently put out their “debut” album, Paradise Again. You can throw Surinamese-Dutch DJ/producer duo Sunnery James & Ryan Marciano into that bunch as well. Earlier this month SJRM released their official debut album, Fundamentals on their own label SONO. Spanning 13 total tracks, Fundamentals showcases the duo’s ever-evolving production style, while maintaining that wild and free spirit that SJRM are known for.
The album opens up with an energetic, club-stomper, “Run” that has some immaculate 80s vibes. The next track “Coffee Shop” features those signature SJRM jungle beats and has an undeniably sexy vibe to it. After that, “You Got Me Calling” shows off SJRM’s ability to produce a tasty, after-hours tech-house jam. The next track “5 Minutes Away” is definitely a standout. Not exactly a club tune, it’s almost kind of like an indie/hip-hop jam, buoyed by Bayku’s melodic vocals. The next track, “Better Things” is a continuation of the vibey hip-hop production they show off on the previous track. It’s also got another standout vocal performance.
The impressive vocal work continues on the next track, “Without Ya.” This time Olivia Sebastianelli gets the nod. “Without Ya” is a sort of combination of progressive house tropes with a funky synth beat. The next track “See” is another vibey affair, perfect for driving around at 4 AM. After that, “Closure” is another standout track. Featuring haunting vocals from Mayra, Closure melds that dark progressive sound with some Afro beats and chants mixed in for good measure. Skipping ahead, “Don’t Stop it Now” is another worthy progressive house song. Finally, “Love, Dance and Feel” is a true old-school rave banger, with a nasty violin hook and vocal refrain that will take you straight to a warehouse.
Check out Sunnery James & Ryan Marciano’s debut album Fundamentals, out now on SONO/Armada. Check out SJRM’s recent live set they played for SLAM! over ADE as well!

This article was first published on Your EDM. Source: Sunnery James & Ryan Marciano Release Their Debut Album “Fundamentals”
Ravebot
Ravebot

FuntCase Discusses New Music, DPMO and Streaming [Interview]

If you’re of a certain age, you can probably remember the origins of dubstep, this super wonky genre with a slower tempo and pitched and distorted synths coming out of the UK. Almost two decades later dubstep has evolved into one of the most popular genres in dance music on both sides of the pond (more on that later.) We got the chance to chat with UK dubstep veteran FuntCase. Hailing from Bournemouth, the DJ/producer James Hazell, better known as FuntCase, has been a mainstay on Flux Pavilion’s Circus Records, perhaps the UK’s premiere bass music label.
Earlier this year, FuntCase released his first ever music video for his song “Flames.” This was something of a surprise for his fans, as it strayed from his usually filthy dubstep sound. But, as we discussed, James is not a man to be tethered to one genre. James and I chatted about longevity as an artist, his DPMO brand, new music, and his newly discovered skill as a gamer.
Hey James! Thanks for chatting with us. You’ve been on the UK bass scene for over a decade. Tell us how you first got into making music, how the scene’s changed over the years, and how you’ve changed with it?
“Yeah, 14th year as FuntCase now which is honestly pretty insane. Not a lot of artists make it beyond a certain shelf life or even manage to stay consistent so I’m eternally grateful. So, ever since I can remember, my mum had been DJing and I was always around listening to the stuff she played, which was pretty much mostly drum n bass. Until I was 18, I didn’t even like the genre, let alone try my hand at DJing. But before I got into it, I was always messing with this music making program on the playstation called ‘music’. I would emulate tracks I liked, like ‘song 13’ by Blur and other tracks. I made my own tracks here and there but I preferred copying tracks. One day, my mum had met this new guy who was also a DJ and we went round his house one day and he introduced me to reason. This was pretty mind blowing at the time because the playstation games were extremely restricted and reason was huge in comparison and free to make anything I wanted…and from there the rest is history.”
DPMO has always been your brand, but you properly launched a label back in the heart of the pandemic. Tell us what made it the right time to launch a label and what’s it like running a label?
“It was always a dream of mine to own a clothing label and my own record label, so it’s always been a goal but it properly started forming in 2017 when we released not only the first clothing label season but the first DPMO compilation, which was born out of the idea that there was so much good music from new artists that it needed a home. After talking to my management and Circus, we felt like a compilation was a great idea for this, much like the compilation Andy C had in drum n bass called ‘Nightlife’. We really felt like there wasn’t a dubstep version of this and we decided to kick start it off, as I had so much ridiculously good music from artists that just weren’t finding homes. The label itself was fully launched at the end of 2020 with a collaboration EP with a bunch of artists I really liked the style of. The timing was great as we felt like there was enough talent out there that we could contribute properly, without being a direct competition to other labels in our category.”
What kind of new music are you working on right now? I know you branched out into more melodic territory with “Flames.” What are you drawing inspiration from now?
“‘Flames’ for me was really a COVID times inspired track. I was writing a lot of musical stuff during those times as we DJ’s had no shows to play, therefore any of the angrier energetic stuff we weren’t able to test out in the clubs and gauge if they worked. Was an amazing track to work on, something different for me and something I really enjoyed having Dia Frampton on as she’s such an amazing singer and person. Right now I’m working on a bunch of new stuff of all different types of styles. I am working to finish two EPs, one will be a solo EP and one collaboration EP for DPMO. My solo EP will actually have three dubstep, one bass house and one drum n bass track on, so I’ve been really enjoying working with all different types of styles.”
I know you just played Lost Lands, which is of course the mecca for bass music here in the States. What makes that event so special and what differentiates the US crowd from the UK crowd?
“It’s kind of known as the ‘Dubstep Superbowl’ and that’s honestly so true. The crowd there, are there for pretty much the whole line up, so everything tends to be perfect musically. Also artists like myself went there, even when we weren’t playing, just so we could hang out and network and watch some amazing new talents. In terms of US to UK crowds I’ve said this a lot and it rings fairly true these days, but the USA crowds are a lot more about the image of things so they dress up and almost have headbanging competitions on rails, which is awesome. The UK is a bit more stripped back and the crowds dance to themselves, but when a track goes off it REALLY goes off and they demand rewinds and go mad, which is some of my favourite memories in the scene as a whole.”
Speaking of European festivals, I know you’ll be playing Rampage in Amsterdam (November 4-5). Tell us what fans can expect and explain to an American like me what makes that gig so special?
“Rampage as a brand is just perfect and we should all be grateful for its existence quite honestly. I’ll be playing a Drum n Bass set there as something different but also it’s in a new city for the brand. Rampage as a whole is just a European mecca for dubstep and drum n bass and everyone should dream to go there at least once if they haven’t already.”
I heard you’re a big gamer too! What do you play and tell us about the online gaming community that you’ve become a part of?
“So, over COVID I basically became a full-time twitch streamer and it was awesome. I’ve been a gamer since I can remember but my recent go to games are Rocket League and League of Legends…I play a whole heap of games but those are my main go to. I also backed a game on kickstarter years back called ‘Prodeus’ which is basically a modernised run and gun style game like the classic ‘Doom’. The game has a level designer in it too and over COVID i decided to try to learn it and make levels and now i design levels properly on it! The first map I made on there was actually ‘Peach’s Castle’ from Mario64 and it’s now the highest downloaded community-made map on the game!”
Thanks James! Any words or advice for the fans?
“Thank you from the bottom of my heart for supporting me all this time and keeping me around for this long. I hope in time I can grow to a level where I can bring you some super amazing unique shows and beyond!”
Get your tickets for Rampage here and stay tuned for updates on FuntCase’s upcoming EP. Check out this video of his performance at Rampage Open Air to get a taste of what’s to come!
 
This article was first published on Your EDM. Source: FuntCase Discusses New Music, DPMO and Streaming [Interview]
Ravebot
Ravebot

Legendary Congo Natty drops biggest album yet and possibly his last, 32-track ‘Ancestorz (Rootz of Jungle)’

When you talk about classic drum & bass, there are few as legendary or enduring as Congo Natty. With a five decade deep discography spanning seminal and timeless releases like Junglist, Under Mi Sensei, Get Wild, Kunta Kinte, Jah Sunshin’, Original Ses and more, Congo Natty has played a founding and hugely influential role in one of the most phenomenal, boundary breaking music movements the UK has ever known.
Now, following the announcement of his biggest body of work yet which teased jungle anthems throughout the summer, jungle pioneer Congo Natty finally drops highly anticipated album Ancestorz (Rootz Of Jungle), a gargantuan 32-track exploring jungle, D&B, reggae, jazz, hip-hop and beyond.
Already backed by 6Music, BBC Radio 1, Rinse FM, NTS and more, Congo Natty unleashes Ancestorz (Rootz Of Jungle) for the world to cherish and a reminder of the genre’s ongoing, influential and versatile legacy. Staying true to its name, the album is an ode to the origins of the genre Congo Natty has revolutionized in the U.K. and beyond, dedicating each song to ruminations on jungle’s intersection with identity and nationality. Reflecting on the genealogy of the genre, track “Exodus 1: 7” (feat. Fallie Nioke, Kaya Fyah, Marque Gilmore, Reggie Stepper, Orphy Robinson) opens with the declaration “This is England style Reggae – jungle music” before hypnotizing with masterful layers of overlapping vocals, percussion, and spoken reflections. The listener is effortlessly led on a journey to the stripped-down poetic woodwind musings of flute solo “Navaho Flute” (feat. Biscuit), an elegant preliminary initiation into a richly diverse tour de force.
Despite its 32-track length, Congo Natty’s most in depth project to date refuses waste time or cut corners, clocking in at just over 2 hours of music (plus a 2-hour continuous mix), carefully retaining beloved elements of reggae and crisp wind instruments present on tracks such as “Zanziba,” an artistic soother that glows with the warmth of funk temptations and warbling dub riffage. Meanwhile, “Jungle Starliner” takes it up a notch with thunderous bass lines starving for a massive sound system. At its core, the entire album is hungry for expression, begging you to move your body with its formidable jungle callings.
Representing the global diaspora and giving a voice to the people on the new album, Congo Natty tells the most important story jungle music can tell whilst documenting the uprising and reflecting on where mankind, culture and the journey is at in 2022. He now looks to pass the torch to the producers he’s championing in the recent resurgence of jungle music.
Listen below.

This article was first published on Your EDM. Source: Legendary Congo Natty drops biggest album yet and possibly his last, 32-track ‘Ancestorz (Rootz of Jungle)’
Ravebot
Ravebot

ZHU’s Live-Band, Hello Yes, Return with ‘Lost Signal’ EP [Interview]

Hello Yes was born on the road while guitarist Mitch Bell and saxophonist Aaron Leibowitz were touring with electronic artist ZHU, with whom they are currently packing stadiums with in support of Swedish House Mafia. The sound is novel, conjuring Mitch’s smokey, yet sophisticated guitar and Aaron’s gut-jerking saxophone into compositions that could be described as indie groove meets electro club.
Now, they’re out with their newest EP on Gravitas, Lost Signal.
This new EP brings in groovy house vibes blended with their signature guitar/sax elements for a perfect combination. After their debut live show at Lightning in a Bottle, fans have been eager to get their hands on these unreleased dancefloor anthems, and Hello Yes is ready to share these with the world.
Listen below and keep scrolling for our interview with the duo.

As far as I can remember, it’s not that common for the band of an artist to later on form their own group. How and when did the idea for Hello Yes first take shape?
Ya, I think you’re right. Bands like The Wailers or The Heartbreakers formed as a result of Bob Marley and Tom Petty starting and being a part of their respective bands. However, the Eagles were born from being the backing band for Linda Ronstadt. So, ya… Hello Yes formed in the downtime between festivals and tours with Zhu around January 2018. We were already collaborating on music with Zhu, so the creative energy naturally flowed into some of our own ideas.
Your sound is clearly influenced by ZHU, but never sounds like it’s imitating him. How did you navigate that line between inspiration and imitation?
We’ve learned a lot about electronic music and the scene by simply being around Z. He’s a true master at what he is doing. His style is unique, and it would be pretty obvious if we tried to copy his sound. Our experiences with him have helped shape what Hello Yes currently is, but we also have years of experience and influences outside of electronic music. We love connecting all of these pieces of information and inspiration that resonate into a sound that is “Hello Yes.”
With so much of your music using live instruments, did you find it hard to record/write/produce on the road or was most of that saved for when you had downtime?
Songs like “Out Of My Mind” and “Never Trusted Me” started as ideas while on the road. One was in Tennessee, and the other was in Montana. We recorded a bunch of voice memos melody ideas and then finished them back home later. We started “The Lesson” from scratch and pretty much finished in Ronny’s LA garage studio. “Peace Of Mind” started as a laptop beat on a flight to Denver, then we worked out the sax and vocal ideas at my house in Oklahoma. Other times, I’ll send Ronny a guitar loop to mess with, or Ronny will send me a demo to arrange and add sounds to. Ultimately, the best ideas rise to the top, and we mess around with them until we feel like they are complete.
How did you end up going with Gravitas for the release of your Lost Signal EP?
Lost Signal will be our 2nd EP release with Gravitas. Grav has been in the bass space for a minute now with artists like Clozee and Beats Antique. They really get the culture behind the sound more than most and have been a great first partner. It’s so important, especially early on, to have a partner that believes in what you are doing and sees the bigger vision for it so they are able to help nudge it the right direction, which they have been able to do.
Do you foresee a time when Hello Yes opens for ZHU on tour, or you guys tour on your own apart from ZHU? You’ve already collaborated with artists like THEY, Tame Impala, and Jason Mraz.
We love touring with everyone on the Zhu team and are excited for future tours. Everyone on his team is a class act. As Hello Yes, we’d love to play shows in any capacity and are working to build that part of our world. So keep an eye out for us in 2023! And yeah, if Kevin Parker ever wants us to jump on tour with Tame Impala…we are ready to go
This article was first published on Your EDM. Source: ZHU’s Live-Band, Hello Yes, Return with ‘Lost Signal’ EP [Interview]
Ravebot
Ravebot

Paul Oakenfold is bringing his legendary performance into the metaverse with “Perfectoverse”

Paul Oakenfold has a legendary history of performing at some of the most incredible venues in the world, including Stonehenge (the first ever to perform there), the base camp at Mount Everest, and the Great Wall of China. Now, he’s primed to move into the digital space as he takes hold in the metaverse for a career-first project, Perfectoverse.
The 72-minute set will feature an immersive and grand audio/visual experience in Paul’s own corner of the metaverse, with creative visuals and an all-new set from the dance music trailblazer.
Tickets are on sale now for the performance on December 22. Get your tickets here and check out the clip below for an idea of what to expect. We’ll have plenty more from Paul and Perfectoverse as we get closer to the main event in a couple of months.
https://www.youredm.com/wp-content/uploads/2022/10/perfectoverse-teaser.mp4 This article was first published on Your EDM. Source: Paul Oakenfold is bringing his legendary performance into the metaverse with “Perfectoverse”
Ravebot
Ravebot

NEW: Fred again.., ILLENIUM, Seven Lions, RYL0 + More – Your EDM | Week In Music

As we near closer to the winter in the US many artists have begun to hibernate and hold off on releasing new music until the new year starts. As we near closer to months of November and December many artists have stopped releasing in anticipation of having an explosive beginning of 2023.  Other have not curbed there heavy output of releasing incredibly good new music. From Fred again.. to ILLENIUM and Sickick all have been releasing some of there best music now!

Release Spotlight
Fred again.. does it again.. with the release of “Delilah (pull me out of this).” Fred has us all on the edge of our seats waiting for his new album Actual Life 3 out October 28th.
hyperpop producer and vocalist RYL0 released a new pop-punk record “Leave Me Alone” which features crunchy guitar riffs and a bass boosted beats.
The Chainsmokers released a full lofi version of their album So Far So Good.
After over 10 years Santa Barbara-born melodic dubstep producer Seven Lions released his debut album Beyond The Veil.
This article was first published on Your EDM. Source: NEW: Fred again.., ILLENIUM, Seven Lions, RYL0 + More – Your EDM | Week In Music
Ravebot
Ravebot

ILLENIUM continues to build his next body of work with “Worst Day” feat MAX

We’re getting a new ILLENIUM album. As today’s new song, “Worst Day” with MAX appeared on Spotify, it was bundled with a few of his previous recent singles, “From The Ashes,” “All That Really Matters,” and “Shivering.” The same thing happened as Fallen Embers was nearing release.
Nothing has been officially announced yet, to our knowledge, but the signs are there.
As for “Worst Day,” vibe wise, it shares a lot of similarities with “Good Things Fall Apart” with Jon Bellion. The pop influence on this single, though, feels like it comes from OneRepublic — very significant Waking Up vibes.
Listen below.

This article was first published on Your EDM. Source: ILLENIUM continues to build his next body of work with “Worst Day” feat MAX
Ravebot
Ravebot

After a decade, Seven Lions at last releases his debut album, ‘Beyond The Veil’ [Interview]

Since Seven Lions first released his Polarize EP on Viper Recordings in 2012, fans knew there was something special about the Santa Barbara-born melodic dubstep producer. Of course, at the time, melodic dubstep wasn’t even a thing, coming to light during the heyday of brostep and the murmurings of trap in the US.
By the time he released Worlds Apart in 2014, however, Seven Lions had amassed a devoted following and ‘melodic dubstep’ was up and running, thanks to others like Illenium, MitiS, Skrux, Rameses B, Dabin, and others.
Now, a decade after his first major EP, melodic dubstep has nearly run its course, and Seven Lions is in some agreement, but more on that later. After 8-9 strong years, it wouldn’t be surprising for a genre as thematically limiting as melodic dubstep to reach some level of saturation, the same as brostep or future bass. Though trap, spawned around the same time, seems to be having a resurgence this year.
Still, Beyond The Veil, the debut album from Seven Lions, out today, doesn’t play on old tropes, nor does it try to reinvent the wheel. It’s just Seven Lions, as he’s always been. Only three out of the twelve songs on the album were released as singles, leaving much for fans and listeners to discover. And with collaborations featuring Vancouver Sleep Clinic, So Below, Eli Teplin, GG Magree, JT Roach, Dia Frampton, Mija, and Lights, there’s so much to enjoy.

I think the most basic question I can ask is why now, after pretty much a full decade since the inception of your project. What about this year or this period in your life made you go, “Okay. It’s time for an album.”
I think the pandemic kind of allowed it just because that was the first time I had almost two years off from touring, So it just kind of made sense to, um, I don’t know. I mean, I just had a lot of music at the time, but then I kind of realized just what the state of melodic music and a lot of dubstep that I felt like I needed to put out a statement. Kind of in a way that was, you know, no collaborations with other producers and artists. I was lucky to have the time and it also just really felt like the right time.
Okay, so even when you have you know, for instance, GG Magree or Mija. They’re just doing vocals for the tracks and not doing any production?
Yeah, they’re just locals.
Interesting. Okay, That’s really that’s really interesting.
One of the tracks on the album is “Beyond The Veil,” which shares the title of the album. What exactly is the veil to you? What is beyond it?
I mean, that’s a big question. I feel like that’s kind of the core mystery of the whole thing, right? I mean, beyond the veil is something unknowable and uncrossable. And I think that’s some of the romantic ideals behind the message. Those are like beyond the veil and when the veil can be crossed, and loving somebody that you can’t be with and that it’s a whole – I mean the concept is actually, it was made to be a mystery, a bit ambiguous.
It would mean different things to different people. But within the context of the Seven Lions mythos, it does kind of have a more meaningful, specific context. It’s like, really pick up on that and decide what it means to them, I’d say.
Did you make some of these tracks with a vocalist in mind, or were any of them vocalist demos that were brought to you first? When did you begin to think of maybe which vocalist would go with which song?
There’s some that went both ways. The majority of them were demos that I started and then went for specific vocalists. But there were a few that came in that were like this vocal is amazing. And it fits with the album and this is like something that I’m gonna take and build the song around, but most of them started from just instrumentals. Sometimes I would just be listening to a lot of different artists on Spotify and be like, “Oh, wow, this person is amazing.”
With So Below, I just kind of randomly ran into her on Spotify and was like, “Wow, She’s got an amazing voice, and this would be perfect for her. Some of them went like that. Some of them that were already up and coming I knew, like Vancouver Sleep Clinic I was already familiar with for a while. So when I started the song, I wasn’t immediately like, “Oh, this is perfect for Vancouver Sleep Clinic.” But then after I got decently far in I realized that would be a good one to send over and we did, and he was into it. With JT Roach, I sent him a demo, and he wrote to it, and his voice was fantastic. He’s a great writer and has a great voice. But it just wasn’t right for that song in the key that it was in, so you know, we went and actually try to find a lot of different singers to sing that particular song. It was actually the last one that got finished on the album because we had such a hard time finding someone.
Were there any songs in particular that were created out of any specific event or feeling where you thought, you know, “I need to make this song for this reason”?
The whole album really [laughs]. You kind of feel like that in a way as I was saying, just as far as an artist. Making music right now and the current state of things I’ve felt like I really wanted to show who I am. And what I sound like, you know, like what my music means to me. I’d say the inspiration for some of the songs came by me just walking around. During the pandemic I was spending a lot of time alone, like a ton of time alone.
Yeah, I will say the album, there’s a lot less of the bombastic elements that you might have had in the past, and a lot of the tracks are more somber and almost melancholic.
Yeah, I’d say so for sure. It definitely comes from a place of solitude.
Was there any part of the album process in particular that you really enjoyed? Maybe it was you know where you where you recorded it or who with or maybe it was something that just happened during the process, like just a fun studio session or something.
I’ve always been more interested in being in the studio and anywhere else. As an electronic music producer in 2022, there’s like so much touring, and there’s so much being away from home and, like, just the ability to stay at home and roll out of bed every day and work on the same project was amazing. I feel like I really got to explore different sounds and different things that I’ve been interested in.
Doing a lot of vinyl re-sampling was really fun. I would go to the record store and flip through records and try and find cool indie stuff, older stuff that I’d pull little samples out of, and I went to the thrift store and bought some old shitty speakers and cut them up and get a lot of revamping stuff just to get a cool organic texture out of some of the things that I don’t really feel like I would have been able to do.
That approach is more like working on an EP because I’m making songs that people want to hear. Like I’m gonna make a banger, and I do enjoy doing that as well. But this is a much more personal and experimental kind of vibe I’d say.
Are there any examples of the vinyl thrifting that we could hear and recognize in the album, or is it so chopped up and sort of melded into like the core of the piece that we wouldn’t really be able to pick it out?
I know it’s all over. “Call On Me,” for sure. I’d say that one has it everywhere. “Between” has it a lot. Then also “Never Learn” there’s a ton of it. The revamping you definitely hear in “Beyond The Veil.” In the very beginning, it gives it this weird distortion that you just couldn’t get from a plug in where you hear the buzz and it’s an interesting kind of sound for sure.
So as I mentioned, it’s been pretty much a full decade since the inception of your Seven Lions project. What are some of the lessons you’ve learned along the way and anything you might want to mention to new producers, new recording artists who are either just starting out or want to advance their ability as producers?
There’s so many things to say. I would say, obviously, the first thing is do it because you love it. You know, it’s a long road and I feel like the reward at the end of the day is actually making the music. If you take your time in how much you enjoy the process as opposed to what you’re looking for the outcome to be, then I think you’re in a good spot. I’d also say being very aware of what you let into your mind when it comes to social media and what you’re looking at because it’s really easy to get lost, comparing yourself to other people and get down and get knocked off your path. How you compare yourself to other people is very important.
 
Photo via Dawndra Budd
This article was first published on Your EDM. Source: After a decade, Seven Lions at last releases his debut album, ‘Beyond The Veil’ [Interview]
Ravebot
Ravebot

Porter Robinson taps Skrillex to replace Fred Again at Second Sky

With only eight days to go until Second Sky, Porter Robinson has finally revealed the special guest replacing Fred again.., and it’s none other than Skrillex himself.
When the festival first debuted with two days in 2019, G Jones ended up unable to make it either day and it seemed like DJ Potaro was filling in on Sunday until the costume came off and revealed Skrillex underneath.
It’s ironic that he is, once again, filling in for an artist who became unable to play the festival. Although, this time, there’s no special reveal to be made at the festival, fans can seethe with anticipation for the next full week.

Porter has yet to make any statement regarding Keudae, his live pianist, or Kyary Pamyu Pamyu, one of the artists playing the festival, after fans made their concerns known on Twitter almost two weeks ago.
Jenny Hughes, who goes by Keudae on YouTube and aihaeyo on Instagram, made her own statement on October 12. Nothing yet from KPP.
This article was first published on Your EDM. Source: Porter Robinson taps Skrillex to replace Fred Again at Second Sky
Ravebot
Ravebot

Orbital Drop New Collaboration with Sleaford Mods, Announce New Album Coming Next Year

What is there to say about British electronic duo Orbital that hasn’t already been said? The two are easily one of the most influential acts in the electronic music space. Captivating tracks like “Impact (The Earth is Burning)” and “Chime” still transport listeners back to the 90’s rave era. Meanwhile, their mostly improvised sets still strike their audience with awe and energy. Even with 30 years later, the brothers continue to create new music and ad-lib their live performances in stunning fashion.
Today, Orbital did two things. First, they shared a new collaboration with post-punk outfit Sleaford Mods called “Dirty Rat”. Second, they announced that they will have a new album out next year and that “Dirty Rat” is its lead single.
The new single “Dirty Rat” is a gritty, four-to-the-floor rush of an old-school punk-techno with a vicious reality check on the current state of affairs over in the UK. As rapper Jason Williamson says:
“People talk about the right way to live / Shut up you don’t know what ya on about / You voted for em, look at ya! You dirty rat.”
The new album Optical Delusion will be out on February 17th, 2023 and will include features from Anna B Savage, the Little Pest, Coppe, the Medieval Baebes, and more.
There’s also a new music video for the single you can check out below.
This article was first published on Your EDM. Source: Orbital Drop New Collaboration with Sleaford Mods, Announce New Album Coming Next Year
Ravebot
Ravebot

PRBLM CHILD Drop Thrilling Bass House Single, “Cheeky 1”

With a forward thinking approach in sound design and production, PRBLM CHILD is an up-and-coming duo who has been making big waves throughout the house music community. Via groundbreaking percussion sounds and groovy basslines, the pair has released their work on prime bass house labels, such as Bite This!, Gold Digger, and Uprise. Additionally, their uplifting on-stage energy has landed them appearances on R3HAB, Freejak, and Dr. Fresch’s radio shows.
In 2022, PRBLM CHILD continues to build their momentum. Over the summer they had an extremely memorable set at the renowned Das Energi festival in Salt Lake City. Following up their summer achievements, PRBLM CHILD returns to deliver their new single “Cheeky 1”.
The mission behind this track was to dive deeper beyond hard hitting bass house by combining multiple genres. “Cheeky 1” is the perfect example of PRBLM CHILD’s unique ‘hybrid house’ style and nothing short of the greatness we’ve come to expect from them. Blending minimal and bass house elements together, PRBLM CHILD flexes their talent in the studio with intoxicating grooves that simply make you want to get up and move. 
Listen below!

This article was first published on Your EDM. Source: PRBLM CHILD Drop Thrilling Bass House Single, “Cheeky 1”
Ravebot
Ravebot

ANATTA & Fred Paci & HONÜ Release Groovy Tech House Single, “Steam Rollin'”

Based in the United States, ANATTA has taken the minimal house scene by storm. Premiering his project in June of 2020, ANATTA has already released over 50 songs on premiere minimal labels such as Whoyostro, Unnamed and Unknown, Music is 4 Lovers and many more. After amassing more than 500k collective streams and fostering three #1 Minimal/Deep-Tech EPs; ANATTA has established himself as a hot rising talent. 
No stranger to the stage, ANATTA has also supported acts such as MK, Michael Bibi, and Chris Stussy and played many festivals and clubs across the United States including EDC Las Vegas 2022. There’s no doubt that ANATTA is destined for greatness, which brings us to his latest release, “Steam Rollin'”, a collaboration with Fred Paci & HONÜ.
The groove catches you immediately, captivating you into a seductive trance while Fred provides mesmerizing melodies on the trumpet. It’s a beautiful blend of live instruments with electronic music, overall a insatiable groovy masterpiece.
Listen below!

This article was first published on Your EDM. Source: ANATTA & Fred Paci & HONÜ Release Groovy Tech House Single, “Steam Rollin'”
Ravebot
Ravebot

Night Tales Drop Impressive Debut LP ‘Proof’ [Ultra Records]

The Night Tales project has been nearly a decade in the making. One half of the duo, Aaron Bannie was born in the U.K. before moving to Ibiza, where he learned how to mix and play on vinyl. He would later relocate to Australia in hopes to elevate his own electronic project, Third Floor. Kamaliza Salamba is an Aussie native, and also had his own career in music prior to Night Tales. He played in various bands, in addition to his own R&B electronic project, Kamaliza.
The two connected via a booking agent, and immediately began collaborating on a house-infused, singer-songwriter project. Influenced by acts like the Talking Heads, the two dove into more thematic compositions that cover a wide range of music. Salamba writes the vocals and melodies, while Bannie provides his own vocals in addition to running drum and trigger pads. While Night Tales offer the storytelling and lyrics for widespread accessibility, their roots in electronica provide credence to their ability to connect with both mainstream and festival audiences.
They’ve inked deals with prestigious labels such as Majestic Casual, racking up millions of streams globally across their catalogue. They’ve just recently released their debut album, ‘Proof‘, via Ultra Records. Spanning 10-tracks, the album offers high paced production, heavy synth play, and intrapersonal lyricism to present a soundscape that is both emotional and energetic. With their largest release to date, Night Tales hopes to capitalize on being one of the fastest growing artists in North America.
‘Proof’ is an impressive LP from this talented duo and deserves your attention this weekend! Stream below.

This article was first published on Your EDM. Source: Night Tales Drop Impressive Debut LP ‘Proof’ [Ultra Records]
Ravebot
Ravebot

Noisia share full set from their official, final show ever at Lowlands

Without exaggeration, Noisia are one of the best to ever do it. With two decades of experience performing and producing around the world, and providing inspiration to innumerable other producers, their absence will be painfully felt.
After announcing their imminent dissolution in 2019, plans for a farewell tour were delayed by the pandemic. However, they’ve finally come to the end of the road, playing an epic 2-hour set at Lowlands in their home country of the Netherlands this past August.
Footage of the full set was just uploaded this week. Watch below.
 
Photo by Rutger Prins
This article was first published on Your EDM. Source: Noisia share full set from their official, final show ever at Lowlands
Ravebot
Ravebot

Mize issues statement following SA accusations, more artists accused

Much like during the pandemic when many artists were being outed for sexual assault, this week has seen many more come to light following the accusation of Mize.
Yesterday, the Atlanta-based producer released a lengthy statement addressing not only the initial accusation that began this reckoning, but also responding to an old Reddit post accusing him of giving another woman a black eye. He also provided “evidence” supporting his side.


In the hours since, more stories of sexual assault from various DJs have come to light, including Blunts & Blondes, Vibe Emissions, and Dalek One.




Other accusations have also come out surrounding Wa$ted Presents in Southern California, Angelic Roots, SOMA Entertainment, and others.
In the days, weeks, months, or years after experiencing sexual assault, it can be extremely difficult to come to terms with what happened or to even realize what was experienced was sexual assault.
Various reasons can prevent someone from immediately reporting the incident to authorities. According to statistics provided by Rape, Abuse & Incest National Network (RAINN), of the sexual violence crimes not reported to police from 2005-2010, the victim gave the following reasons for not reporting:
20% feared retaliation 13% believed the police would not do anything to help 13% believed it was a personal matter 8% reported to a different official 8% believed it was not important enough to report 7% did not want to get the perpetrator in trouble 2% believed the police could not do anything to help 30% gave another reason, or did not cite one reason Out of every 1,000 sexual assaults, only about 31% are ever reported to police and only about 16% of those ever lead to arrest. When you add a power dynamic to the mix, as in the case of a performing DJ/producer and a fan or staff worker, the number of reported cases appears even lower.
When women are able to stand together regarding their experiences, it empowers others to tell their own stories. But the onus should not be solely on women to hold perpetrators accountable for their actions. Men and those in their friend groups must also make an effort to tell their peers what they’re doing is wrong, and to call out problematic actions if they see them.
This article was first published on Your EDM. Source: Mize issues statement following SA accusations, more artists accused
Ravebot
Ravebot

Brunel Wekho; Making Waves and Heading for Shore

Get ready to drizzle some mad and smooth tunes over your ears with some of Brunel Wekho’s awesome work as he’s gaining more and more followers at lightning speed on many platforms like Spotify. His EDM music offerings are a big hit, with Wekho having a history of working with many top record companies in Europe.
His latest signing was in 2018 with Belgian Record Company CNR Records. This allowed him to write, produce, and work with artists like Cleymans & Van Geel. He’s also worked alongside Kevin Lyttle, Slongs, Zowe, Bobby and MATTN on projects helping him achieve a firm footing in the industry. So, what’s his origin story, and what’s currently coming out of this growing star?
Brunel also known as Wekho is a Congolese-Belgian record producer, songwriter, entrepreneur, and label owner. He excels at being flexible, and while he has EDM offerings, he also has many others, including popand easy listening. This has allowed Brunel to gain attention from all aspects of the music industry increasingly. He has several singles under his brand Wekho with Armada Music, a Dutch dance label, and Blanco Y Negro, a Spanish dance label. This shows Brunel’s ability to delve into a whole variety of music scenes and keep the listener’s ears clear of repetition.
Current albums that are deeply popular with Brunel’s fan club include ‘Deep House Hits Ibiza 2018’, ‘Truth Never Lies (2019)’, and ‘Armada Invites Radio (2018)’. Also, check out ‘Let Us Make A Sign (2019)’ and ‘Lone Wolves (2019)’ for Wekho’s more unique sound.
And that’s not all Wekho has in the tank! Stay tuned for more from this exciting artist

Socials
Instagrgam
This article was first published on Your EDM. Source: Brunel Wekho; Making Waves and Heading for Shore
Ravebot
Ravebot

Will Vance Drops Beautiful, Melodic Single, “At Least We’re Safe” [Where The Heart Is]

Portland based producer Will Vance is no stranger in the Melodic House & Techno genre. He’s a wizard when it comes to this style of music with an uncanny ability to create arrangement that seem to fill your soul with emotion and peace.
He recently released his single “At Least We’re Safe“, signed to David Hohme’s prestigious Where The Heart Is imprint. It’s yet another beautiful track, glistening with bright melodies as a soft piano and thumping beat guides you down the path of this unforgettable experience.
“At Least We’re Safe” was also pressed to vinyl on David Hohme’s yearly mix, which you can buy here.
Listen below!

 
This article was first published on Your EDM. Source: Will Vance Drops Beautiful, Melodic Single, “At Least We’re Safe” [Where The Heart Is]
Ravebot
Ravebot

New Artist Spotlight: Synth Pop Veteran Jenn Vix Adds Trap to Her Repetoire, Making EDMers Take Notice [Video] {NSFW]

Let’s get one thing straight: the indie synth pop mainstay that is Jenn Vix is only new to the moden EDM aesthetic. Nearly virtuosic on the synths and bass and a post punk-style lyricist, Vix has been producing goth-edged music since 1995 and it well-recognized for her work in the larger music scene. Having worked with some of the best-known indie stars and producers of the 80s, including members of The Cure, The Psychedelic Furs and Adam and the Ants, her debut self-titled solo album in 1995 received notice from Rolling Stone and has post rock cachet for miles. Shes been releasing ever since, racking up even more accolades whilst staying true to her synthy style.
The tandem tricks to good post punk, if Joy Division, Nick Cave and Tom Waits are anything to go by, is haunting vocals and stark, striking lyrics. Outside of that, the genre is as diverse as its often partner, synt wave. Jenn Vix has a good hold on both of these post punk necessities, with her early work conjuring Sioxsie Sioux-meets-New Order. Her music has changed with the times and become even more synthy through her three full-lenghth albums, three EPs and coundless singles and collabs, landing somewhere between synthwave, indie pop and EDM.
Vix’s latest single, “Mr. Strange” combines all these styles and adds a trap beat, making it her first obvious bridge between indie pop and EDM, vintage and modern. The stark vocals, however, show she’s still not pulling any lyrical punches. While the hip hop-inspired trap beat flickers around darkwave-style synths, Vix’s vocals are bold as brass : it’s about a relationship with a sex doll. In case anyone was going to misinterpret, the video makes it crystal clear (NSFW).
While the outward point of the song and video are clear, “Mr. Strange” also speaks to some larger issues in society and sexuality that are a bit more open to interpretation. Similar to the flim Lars and the Real Girl, there’s an aura of disconnection and the potential for lonliness to push an innocent interest into something more real. Blowup dolls or not, with so much of our lives being lived online nowadays and the added forced separation of the pandemic, the need for connection can take a turn into the realm of fetish or obsession.
These other, non-human forms of connection can also be tools for those who are working through trauma, and there’s a hint of that in “Mr. Strange,” as well as a feminist vibe, a’la women taking conrtol of their sexuality and the empowerment behind there. For a track that’s so lyrically stark and obvious, there’s still a lot to think about. That may be Vix’s most important gift: there are a lot of talented musicians out there, but a message that gets people thinking, especially in times like these, is what makes artist likes Vix stand out.
It will be interesting to see if Vix continues to push into EDM more with her next releases. Her most recent tracks before have sort of toggled back and forth between synthwave rock and trap/breakbeat. She’s definiely worth a look for the EDM fan who enjoys indie electro and syntwave, and no matter what direction she heads in next, fans can rest assured she’s not stopping any time soon and whatever she comes up with will be interesting, intense and a bit “strange.”
“Mr. Strange” is out now and can be streamed or purchased here.
 
This article was first published on Your EDM. Source: New Artist Spotlight: Synth Pop Veteran Jenn Vix Adds Trap to Her Repetoire, Making EDMers Take Notice [Video] {NSFW]
Ravebot
Ravebot

Zedd’s live Clarity anniversary show felt like a big middle finger to those who deny EDM’s musicality

Two Sundays ago, a little over 3,000 people crowded into the Dolby Theatre in Los Angeles to celebrate the tenth anniversary of one of the most beloved albums in electronic music, Clarity by Zedd. The debut album from the German-Russian/American producer featured some incredible and long-lasting hits including “Shave It Up,” “Spectrum,” and of course the title track, “Clarity.” The deluxe edition also included the hit “Stay The Night.”
When the show was announced, I was immediately skeptical of how a typical EDM crowd would act, or interact, with a live orchestral, sit-down performance of one of their favorite albums, especially without any vocalist appearances. I was even more looking forward to how people would be dressed — considering the typical EDM fashion at shows and festivals, this setting called for a bit more formality. No one arrived in a full suit and tie ensemble or flowing gowns, but there weren’t any pashminas, either.
The performance began without much formal introduction from Zedd or the maestro. A simple walk onto stage as he sat at the large piano at the front of the orchestra signaled the beginning and we were off to the races. Zedd and the orchestra followed the original tracklist of the album, moving from “Hourglass” to “Shave It Up” to “Spectrum” and so on.
Of course, when they reached “Clarity,” everyone who had been told to refrain from recording subtly (or not so subtly) pulled out their phones and grabbed their 15-second story for Instagram as the violins emulated, to the best of their ability, Foxes’ voice.
Even to massive Zedd fans, who by current standards began listening during his True Colors era, the latter half of Clarity wasn’t as well known. You could feel, even as the orchestra and Zedd hit their stride in the performance, that the crowd was marginally less engaged as they’d probably heard their favorite song and were just along for the ride for the remaining five songs.
After approximately 45 minutes, after “Epos” had concluded, Zedd, the maestro, and the orchestra took their bows and Zedd and the maestro walked off stage. Of course, an encore was coming and they played “Stay The Night,” at which point the crowd finally felt bold enough to sing along themselves. Again, the two walked off stage and the deafening roar of the crowd brought them back once again, for which they performed “Alive.”
Again, they walked off stage, and again, the roar of the crowd brought them back one final time as Zedd told the crowd they were out of songs, but since everyone was finally feeling so comfortable, they would play “Clarity” once again, and this time, to sing along.

The energy at this point was electric and all house rules were thrown out the window. Phones shot up to record, the crowd stood and sang, it felt like a more “usual” EDM show, albeit with a 50-piece orchestra rather than a couple CDJs and mixer.
Throughout the performance, one sentence kept echoing in my head: “They are not artists because nobody can play the guitar.”
The iconic line from “Rock n’ Roll (Will Take You to the Mountain)” by Skrillex, originally pulled from this video, makes fun of the fact that producers work primarily on laptops and computers with computer generated sounds. The ignorance comes into play when one doesn’t realize that those sounds are emulated — they have to come from something, somewhere, some reference. With Zedd’s early music especially, and given his pedigree as a talented “real” musician, it’s no surprise that his music could be translated to an orchestral performance.
As the cellos, violins, brass and horns, and everything else came into play throughout the performance, I kept thinking how if that man in the video were to see this, he might change his mind, and others might, too.
The music we hear a DJ play at festivals might have been created on a Windows 95 or a new MacBook Pro, or perhaps sampled from the electrical signals of plants, but it’s still music whether you see a guitar or not.
 
Photo via Julian Bajsel
This article was first published on Your EDM. Source: Zedd’s live Clarity anniversary show felt like a big middle finger to those who deny EDM’s musicality
Ravebot
Ravebot

Swedish House Mafia cancel five more shows due to irreparable damage to production

Swedish House Mafia have not had the greatest track record on their current tour, with plenty of shows being cancelled early on due to rumored low ticket sales, though the group has not admitted as much. Now, five more shows have been cancelled due to irreparable damage to an “integral” part of their production.
“Since the incident,” the trio wrote on an Instagram story, “we have looked at all solution and unfortunately need to cancel all the upcoming shows until the gear can be replaced.”
The shows affected are: Zurich on Oct 19, Krakow on Oct 21, Prague on Oct 22, Cologne on Oct 25, and Munich on Oct 27.
“We have been assured that the tour will continue as planned from Antwerp on Oct 29 and onwards,” they continued.
Those who bought tickets to the shows will be refunded immediately.


 
Photo via Rukes.com
This article was first published on Your EDM. Source: Swedish House Mafia cancel five more shows due to irreparable damage to production
Ravebot
Ravebot

San Holo To Release Generative Digital Vinyl Collection ‘Floating Fragments’ via Soundmint

San Holo never ceases to amaze us with his artistic and creative endeavors. Most recently, he has joined forces with SoundMint, led by Andre Benz (founder of The Nations & Lowly), which is a leading generative platform for digital music collectibles, to create the “Floating Fragments” collection. Consisting of individual, unique music art pieces – “fragments” – produced entirely by San Holo, the project is another innovative leap in SoundMint’s quest to refine music’s future via Web3 technology. “Floating Fragments” is set to release Friday October 21.
Minted on the Ethereum blockchain, the fragments, or stems, can be combined and mixed together algorithmically to create an exponential amount of original music compositions, each one different from the next. Paired with mesmerizing visual elements crafted by San Holo’s creative director Thorwald and the SoundMint team, “Floating Fragments” is a prime example of the power of generative music and its ability to amplify high-level originality.
As you might expect, San Holo shared that this process was something totally new and unfamiliar for him. With traditional song production, the completion of the song is the end goal. But for SoundMint, the end goal is the limitless possibilities.
It’s fascinating to see artists enter the web3 and NFT realm with creative projects like this and we cannot wait to share the final result this Friday!
This article was first published on Your EDM. Source: San Holo To Release Generative Digital Vinyl Collection ‘Floating Fragments’ via Soundmint
Ravebot
Ravebot

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.