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Jason Ross Discusses His New Album “Atlas” Ahead of Hollywood Palladium Show [Interview]

Following up his highly successful debut album 1000 Faces, melodic bass heavyweight Jason Ross is back with his second artist album, Atlas. Expanding on his previous achievements as a producer, Atlas is a new chapter that sees Jason Ross showing off his prolific skills as he drops melodic bass, dubstep and trance.
On top of the album, Jason is kicking off a massive North America tour that will feature his biggest show to date at the Hollywood Palladium. We recently had a brief chat with Jason about his growth as an artist, what makes Atlas so special, his connection with his fans and his upcoming tour.
Hey Jason! Thanks for chatting with us. First off, congratulations on “Atlas!” Tell us what this album means to you, what made you decide to record an album, and how you’ve evolved as a producer since “1000 Faces.”
Thanks so much! This felt like the right time to focus on my next album as I felt like I had a lot to say with my music. I spent so much time during the pandemic learning and honing in on my production skills and I just felt like I had a lot to say with my music. This album is dedicated to the Atlas fam (hence the name) and is really to show my gratitude to my fans for being on this journey with me.
You’re also about to play your biggest show yet at the Hollywood Palladium. What goes into planning a larger headlining show like that as opposed to a club show or being a name on a festival lineup? Also, what made the Palladium the perfect place to start the tour?
I’m insanely excited about my upcoming tour, but yes, Palladium is definitely a special one. We are really building the show from the ground up and really want to give fans a unique experience not only through the music but visually. The lights, the visuals, everything is being created for this show and will be an experience that’s true to myself, the brand and my music.
How was the recent show/ meet and greet at Academy? I feel like you’re an artist who makes a concerted effort to interact with the fanbase. What makes your fanbase so unique?
The album release party in LA was such a cool experience! I do try to interact and be there for my fans as much as possible as I wouldn’t be here without them. It’s tough to put my finger on what makes my fanbase unique but I do see this sense of love and respect from them, especially at meetups and during my livestreams; their inclusiveness, excitement and positivity shines through. What I also love is their open-mindedness with the type of music I make and play out live. I have, of course, evolved my sound over the years, but my fans have stuck by my side and I admire and appreciate their trust in me.
The last time I chatted with you was right before the Pandemic started. What did you do differently and what stayed the same for you while the world was shut down and there were no shows?
What I did differently was livestream every single week for a couple of years . What stayed the same was my love and drive to make the best music I can possibly make.
It seems like shows and festivals have come back with a flourish lately. You’ve been on a ton of lineups lately as well. How does it feel for you to ramp back up touring and does it feel like things are back to normal out there to you?
It feels great to ramp back up touring! I would say that things feel normal when I’m actually playing a show and connecting with the crowd. The traveling side can be tricky as there are just a few extra hoops to jump through, but honestly just to get out there and play live shows again makes it all worth it for me.
Now that the album has been released and you’re going to be on tour for the next few months. Have you thought about what comes next for you as an artist?
We have some exciting plans for 2023, but we’re really just focusing on making the Atlas tour the best possible tour it can be. I’ve never done a tour of this size and I’m really excited to showcase what the Atlas brand is all about.
Any messages for the fans or advice for aspiring producers?
Always stay true to yourself and don’t be afraid to take risks!
Get your tickets to Jason Ross’s Atlas Tour and check out his latest album as well.

This article was first published on Your EDM. Source: Jason Ross Discusses His New Album “Atlas” Ahead of Hollywood Palladium Show [Interview]
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Insomniac Drops Massive Lineup for Escape 2022

If you weren’t at HARD Summer last month, you might have missed that Insomniac dropped the lineup for Escape, North America’s largest Halloween festival. Featuring some of the biggest names in dance music, Escape will have multiple stages dedicated to the best in EDM from main stage, bass, techno and house. This year’s lineup features heavy hitters like Alesso, Martin Garrix, Tiësto, Marshmello, Kayzo, Oliver Heldens and a special Deorro b2b Valentino Khan set.
Taking place at San Bernardino’s NOS Events Center, Escape is the perfect place to let out your inner ghoul all while taking in some of the best dance music on the scene. Tickets are available here. Whether you’re soaking in the main stage sounds at the Grimm, enjoying the lasers at the Psycho Circus or grooving away to the house sounds of the Sewer District, Escape is one of the best festivals you’ll attend all year.

 
Photo via Taylor Wallace for Insomniac Events
This article was first published on Your EDM. Source: Insomniac Drops Massive Lineup for Escape 2022
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A Classical Twist on Country Grammar? J’Moris is Back With New Single ‘Being Humble’

It would seem J’Moris took a bit of a break after releasing his most recent LP, Moris Better: Loveless Confessions, as he usually releases pretty rapidly. Singles seem to just flow out of this Texas rapper at least once per month, but it’s always good to give the creativity a rest after a big release, and Loveless Confessions was, indeed, big for J’Moris. On Spotify, nine of his ten current most played tracks are from that album. His latest single, “Being Humble,” released late last month, however, is already on their tails.
With a strong, smooth R&B musical theme in Loveless Confessions, it seems J’Moris wanted to break out and do something different with “Being Humble,” though his work is never short on surprises. This time, however, the listener is hit with it right away: a plucky classical arrangement in the intro that matches the beat and runs throughout the track. Produced by European beatmakers Anywaywell, the pizzicato of the unconventional strings also adds a more percussive quality to J’Moris’s verse.
It’s an interesting marriage, as J’Moris’s voice is usually smooth and his flows more round, so the way he’s worked around the beat to fit to it but also keep his style is another surprise in this track. Dirty south and trap-based by word and deed, “Being Humble” shows that J’Moris is far from a mumble rapper and has the styll flexitiliby to try somethng different and even make it pop.
Lyrically, the message of “Being Humble” is yet another surprise, though fans are probably prepared for that. By the title, one might think that the verse would be a cautionary or moral tale about staying humble but J’Moris has almost the complete opposite on his mind. He’s “sick of being humble,” in fact, according to the chorus, and no longer wants to downplay his achievements of try to pull slacker friends along who won’t pull thier own weight. It’s a concept a number of famous artists have talked about and an inconvenient truth for anyone who wants to achieve their goals. Leaving behind your original friends may be sad or difficult sometimes, but it’s also their decision not to keep pace with you. In declaring he no longer wants to be humble, J’Moris is recognizing he can no longer dim his star to make others comfortable.
With a cheeky video directed by Artist Named Chi, who also collaborated with J’Moris on the Friday-themed “Activated” video, the rapper’s new stance is clear: he’s not going to apologize for enjoying the fruits of his labor. He also just happened to make “Being Humble,” a fun, funky banger out of his existential musings. Not bad for his first single since Loveless Confessions. 
“Being Humble” is out now and can be streamed on Spotify. Check out J’Moris’s YouTube channel for more videos.

This article was first published on Your EDM. Source: A Classical Twist on Country Grammar? J’Moris is Back With New Single ‘Being Humble’
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One Dead, 20+ Injured After Main Stage Collapses At Festival Due To High Winds

Early Saturday morning local time, high winds in Spain at Medusa Festival caused part of the main stage to collapse, resulting in one death and more than 20 injured.
After winds exceeding 51 mph were clocked, the main stage was evacuated but many apparently stayed behind against the official orders of staff and organizers.
Pitchfork reported, “Of those injured, three suffered serious trauma injuries and 14 experienced minor injuries, according to regional emergency services. Reuters notes that 32 people were taken to the hospital.”
“We are completely devastated and dismayed at what happened last morning. The management of Medusa Festival would like to express our deep and sincere condolences to the family and friends affected by the fatal consequences that occurred last night,” festival organizers wrote on Facebook. “It is a day of mourning and respect for those affected. And they will have us for everything they need. His unbearable suffering we also make ours.”
Festive Owl on Twitter shared a video of the high winds:

 
via Pitchfork | Photo via Wikimedia Commons 
This article was first published on Your EDM. Source: One Dead, 20+ Injured After Main Stage Collapses At Festival Due To High Winds
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KEETZ Drops Brooding, Electro-Tinged Production, “Blight” [LISTEN]

KEETZ follows up his Terminal EP strong with the project’s grittiest cut to date, “Blight.”
This particular production has remained one of KEETZ’s best kept secrets until now. A hidden gem lurking in the shadows just waiting to be unleashed — and that day has finally come.
“Blight” thrives in a grungy, electro house realm. The first drop is simple yet effective, featuring a clean, pumping kick matched with persistent synth work, a killer bassline, and various intricacies to fill out the mix. Suddenly, a new lead introduces itself and bleeds seamlessly into the production, ultimately arriving full force for a thrilling finish. The contrast from one drop to the next makes for a compelling listen.
KEETZ shares some background on the release:
This song is easily one of my favorite tracks I have finished so far. I’ve always been really proud of it! I wrote this a couple summers ago when I was listening to Porter Robinson’s Ultra set from like 2011. That mainstage electro feel is something I have a lot of nostalgia for and I can vividly remember listening to that mix back in highschool and being so inspired by it. At the time I couldn’t wait until my production was at that level so I could make tracks inspired by those sounds. The track itself actually came together pretty quickly, however I went back and revised the breakdown numerous times to try and really make something memorable and unique. Every producer I know has a couple songs of theirs that once completed made them feel like they hit a ‘production milestone.’ That was ‘Blight’ for me.
Check out the latest from KEETZ right here and link up with the rising producer below!
KEETZ – Blight

Connect with KEETZ
SoundCloud | Spotify | Facebook | Twitter | Instagram
This article was first published on Your EDM. Source: KEETZ Drops Brooding, Electro-Tinged Production, “Blight” [LISTEN]
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Koastle teams with Nashville songwriter Jake Nuemar Lost In Dreams debut, “Literal Goals”

Having started in the EDM blog world back in 2014, I know a thing or two about throwing shade. If you think EDM Twitter is bad now, it was the actual wild wild west with plenty of producers, fans, and even promoters unafraid to throw shade any which way, warranted or not. Now, things have become a bit more tame — but SoCal duo Koastle are bringing shade back with their new song, “Literal Goals.”
Fed up with the mind games and superficial aspects of modern-day dating, Nashville songwriter Jake Neumar calls out the shallowness of the so-called “basic” behaviors defining this generation.
Koastle shares how the song developed: “This song has been three years in the making. We wrote this song with some good friends of ours. It all started out when we were hanging in the room, scrolling through Instagram. We saw a post from a girl that we went to college with, posing with her boyfriend at the pool. As we were going through the comments, there were so many ‘fake’ comments from people that we knew would talk poorly about this girl behind her back. The comments were things like ‘Omg y’all are perfect,’ ‘Can I be you?,’ and lastly, ‘Wow, Literal Goals,’ hence the song title. So, long story short, we wrote a song about basic people who are fake on Instagram.”
Listen below!

This article was first published on Your EDM. Source: Koastle teams with Nashville songwriter Jake Nuemar Lost In Dreams debut, “Literal Goals”
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David Guetta and Benny Benassi celebrate 20 years of “Satisfaction” with monstrous modern rework

When “Satisfaction” by Benny Benassi came out in 2002, I was 11 years old. I was in 6th grade. Now, 20 years later (yes, I’m aging myself here), the song has left an iconic mark in dance music history along with other singles like “Put Your Hands Up For Detroit” or “Better Off Alone.”
20 years after the release of the genre-defining single, Benny Benassi and David Guetta have joined forces to give the legendary beat a new lease on life. Revitalized for the modern mainstage, the newest rendition of “Satisfaction” celebrates the storied original release with a fresh dose of energy, borrowing influences from the surging sounds of David Guetta’s Future Rave while still paying homage to the instantly recognizable and equally undeniable synth hook of Benassi’s 2002 original
“I actually first remixed the track as a sound design exercise for myself, but I liked the sound of it so much that I started playing it in my sets. The reactions of the crowd were so crazy that I had to release it!” – David Guetta
“I’ve known David for over 20 years. I remember I would get messages from resident DJs in Ibiza who heard David playing Satisfaction at Pacha two decades ago! So he was definitely one of the very first supporters of the original version. And when he played me his initial idea for this new version, I totally loved it. He’s made it current again, it’s very Ibiza with a really great intro and it’s perfect for today’s DJ sets. I played it out for the first time in Mykonos and people went crazy. Everyone was asking me what it was. I am really excited about this collab!” – Benny Benassi
Listen below!

 
Photo via Rukes.com
This article was first published on Your EDM. Source: David Guetta and Benny Benassi celebrate 20 years of “Satisfaction” with monstrous modern rework
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After 5 years, Wuki’s “We Like To Wuki” edit sees official release with Vengaboys & Yo Majesty

I can’t reliably estimate the number of years I’ve heard Wuki’s edit of Vengaboys “We Like To Party” mixed with Yo Majesty’s “Club Action,” but thankfully I don’t have to. (It’s been five.) Turns out, the parties (pun intended) have been working behind the scenes to craft an official release — and it’s out today.
The edit has been a staple in Wuki’s own sets, but it’s also been played out by the likes of Zedd, DJ Snake, Afrojack, Skrillex, The Chainsmokers, Valentino Khan, and pretty much everyone else. Now with the official release on Thrive Music, the track gets an extra hard final drop that’s sure to strike fear in all your parents or siblings who listened to the original “We Like To Party” when it came out in 1999.
To commemorate this long-awaited release, Wuki has also announced his ‘Beats I Can Release’ tour to bring the party to a city near you. Check out dates here.

 
Photo via Alex Varsa
This article was first published on Your EDM. Source: After 5 years, Wuki’s “We Like To Wuki” edit sees official release with Vengaboys & Yo Majesty
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Armin van Buuren & Gareth Emery Team Up With Owl City For Single, “Forever & Always”

Despite working together and around each other in the same world for over two decades, Armin van Buuren and Gareth Emery have never put out a collaboration. That changes today with the release of “Forever & Always,” which also has the added bonus of bringing the authentic Owl City, Adam Young, onto the track. (It also helps to make up for his misguided “All Star” remix.)
“Forever & Always” is peak classic trance with pounding kicks and a beautiful melody with charming, albeit cheesy, lyrics.
Gareth revealed he began the song in 2020, writing something with “Owl City vibes.” Two years later, he’s working with another legend in the scene and the artist who inspired the song in the first place.
Listen below!

 
Photo via Rukes.com
This article was first published on Your EDM. Source: Armin van Buuren & Gareth Emery Team Up With Owl City For Single, “Forever & Always”
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1st Base Runner Is Back With a Stunning New EP and Video

After having followed him for two years and through a number of permutations of releases, one thing we at YEDM can say about 1st Base Runner (Tim Husmann) is he never ceases to surprise. Never skimping on quality, the Austin songwriter and producer has run through loads of styles and subgenres, not to mention labels, release structures and distro. Now settled on his own Souvenir Sound imprint, His latest EP Light Roars is still filled with loads of surprises, different styles and heavy emotion.
1st Base Runner is one of those artists who can explore and experiment to his heart’s desire but still somehow have a distinct core style, and that’s definitely what we see on Light Roars. Vacillating between a sort of grungy version of The Cure and Tom Waits post punk, with a heavy dose of creepy dream pop (think post-Crystal Castles Alice Glass), this EP contains shock after shock for fans while still being unflinchingly 1st Base Runner.
The aptly named EP opener “In the Beginning” has an eerie and minimal opening before heavy, theatrical drums introduce that Cure nod with Fascination Street-style guitars and sound design. As always, the rough, heady vocals add a bit of grunge or Tom Waits to the mix, and transitioning into the much more open and organic-sounding “Pushing Away,” the Waits comparison holds more weight for this particular EP. The post punk is heavy (triple pun score!) with this track, the sound design open and empty and even a bit deadened in the drums, though they still have that complexity to tie into the first song.
Yet anther surprise comes with “Dead Wood,” as some surf rock/psychobilly peeks through in the guitars and sort of creates a feeling of driftwood, especially when the track transitions from mostly minimal rock to a fuller, more electronic vibe via some well-placed synths and sound design. 1st Base Runner has a unique way of keeping the EDM in his work, even when its at its most acoustic and seemingly sonically sparse, and both “Dead Wood” and its successor, the lightly pop-y “Give Up the End” are great examples of this.
Light Roars closes with the contemplative “Planter,” for which 1st Base Runner once again teamed up with creative director Gilly Dent, who’s famous, of course, for his work with Radiohead on the “King of Limbs” and worked on two other videos with Husmann, the animated masterpiece “Break Even” and the IMDB-worthy “Man Overboard.” Following the acoustic-morphed-electronic timeline of the track, the video for “Planter” starts off hyper-real, with grainy, black and white closeup shots of Husmann. The shorts distort more and more as the track goes on, however, moving with the emotion of the music and lyrics. The message looks to be tied up in self-perception, making choices about who one wants to be both in life and in the music industry, and the emotional weight that carries. The video really drives these points home in stark, almost excruciating realism. A perfect visual representation of the track.
The rawness of 1st Base Runner’s work allways stands out, as does his skill with style and production. Light Roars is both a continuation of that rawness and an expansion of it into different styles and new sound design to connote even deeper and more complex feelings. This is possibly because he feels freer to create what he wants with his own label and distro, or simply the next step in what has already been a fascinating musical journey for this project, but either way Husmann’s emitional honesty and skill are once again the biggest surprises for his growing audience.
Light Roars is out now and can be streamed on Spotify or purchased on Bandcamp or the Souvenir Sound website. For more of 1st Base Runner’s videos, check out his YouTube channel.
This article was first published on Your EDM. Source: 1st Base Runner Is Back With a Stunning New EP and Video
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Robin Schulz Accused Of Stealing Rising Producer’s Cover Of Oliver Tree’s “Miss You”

Robin Schulz has been accused of stealing elements of his new song “Miss You” with Oliver Tree from rising producer southstar, who released a song with the same name, same sample, and seemingly same production (even the same track length) three months prior.
A rework of Oliver Tree’s “Jerk,” “Miss You” initially released by southstar on May 9 has been discovered in playlists and major live sets ever since. Exploding in Germany and rippling globally, southstar’s “Miss You” landed in Spotify’s Viral Charts (no.1 in Germany and no.2 globally) while peaking in the Top 50 Charts in Germany with a no.20 spot and still continuing to ascend.
All that to say that southstar’s song was not some underground hit and it was definitely widely known. It’s also worth mentioning that Robin is German, where the track was no.1 in Spotify’s Viral Charts.

 
Robin Schulz dropped the seemingly identical track last Friday August 5, with the same name, same sample and, by all audible metrics, the same production marking Schulz’ version as an allegedly direct copy of southstar’s breakout record. (Though Schulz’ version is noticeably better mastered.)
 

On Instagram stories, southstar called out the producer: “Robin Schulz stole my song ‘Miss You’, which I dropped over a month ago!”
Robin Schulz’s management have made an official statement: “For over 20 years we have navigated fairly and with great respect for all artists and their creative work. Sometimes I am surprised by the audacity of other artists to deliberately disregard rights and works and capitalize on them.”
To that point, it was unclear from the information provided how southstar acquired and cleared the original “Jerk” sample. Your EDM has asked for clarity on that matter.
 
Photo by Robert Wunsch
This article was first published on Your EDM. Source: Robin Schulz Accused Of Stealing Rising Producer’s Cover Of Oliver Tree’s “Miss You”
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Zeds Dead, Tchami, Dom Dolla, & Wax Motif All Went B2B At Incomparable Festival Afters

Impromptu back-to-backs at festival afterparties aren’t unusual. When you have so many artists all in one city — typically without a flight to the next gig or home until the following morning — they’re left to find something to do after their sets. And a popular choice is often to find another DJ’s show and hop on the decks with them.
Generally, genre lines are adhered to. Dubstep will find dubstep, house will find house, etc. But if you’re multigenre artists like Zeds Dead, who though they reached notoriety through bass music have released some exemplary house tunes themselves, you have a bit more wiggle room. Thus, Zeds Dead b2b Tchami b2b Dom Dolla b2b Wax Motif isn’t necessarily unusual, but it is exceptional.
If you’re lamenting such a combination, don’t fret (unless you were already at Moonrise Festival this past weekend, then I’m sorely sorry for your loss). Officially, the afterparty only listed Tchami as a performer, but, as previously mentioned, these things can happen when festival lineups are in town.
Check out a clip from the show below.

 
h/t TSIS | Photo by Scott Hutchinson for Insomniac Events
This article was first published on Your EDM. Source: Zeds Dead, Tchami, Dom Dolla, & Wax Motif All Went B2B At Incomparable Festival Afters
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Your EDM Premiere: The Unlikely Pairing of AL/SO and Tengu Produces a ‘Thunderbolt’ of a Track

When you think about it, it’s not such a wild idea that there would be a collab track from Korsakov Music label manager AL/SO and the notorious imprint wanderer Tengu. It’s not just because Tengu’s Virtual Reality EP, one of his first drops after he switched from bass house to D&B, was released on Korsakov Music, either. Both producers love their bold, brash synths, both play fast and loose with their sound design and, above all elese, they both know how to make a track that kicks the dancefloor into high gear. Such is the case with their upcoming track, “Thunderbolt,” dropping tomorrow, in another unlikely pairing, on High Tea Music.
WIth a rapid-fire set of teaser singles releasing last week from Seventhrum, Falcon and Nelver, High Tea’s Jasmine comp album actually releases in full tomorrow, August 12. Known themselves for melodic, almost liquidy dancefloor as well as featuring newer artists, it seems the Dutch label is branching out this time with some more down-and-dirty tracks like “Take Me Down” by Cursed Sun and “LOCKOFF” by Drum Dad & Bass Boy. It’s also uncharateristic for High Tea to expand to more established names like Tengu and AL/SO, but “Thunderbolt” will likely give the series a nice boost, and in the scope of Jasmine and its more diverse vibe, the track just works.
If you felt the D&B genre’s dedication to synths might have dipped a bit in the past few months, “Thunderbolt” more than makes up for it. If this track were made in the 80s, one could picture AL/SO and Tengu surrounded by a massive rig of synths and mods like an old Howard Jones video. The layering here is compositionally classical, which is how they manage to fit so much melody and harmony in without drowning out the beat structure.

High Tea Music · AL/SO & Tengu – Thunderbolt With the staff flooded as it is by sound, “Thunderbolt” also somehow has space for some really beautiful ambient and cinematic sound design, some actual Beethoven-inspired key work at the end and even a tempo change at the break. This is not your standard dancefloor power-synth though it will certainly be one of those tracks where people will be singing and stepping at the same time. That’s what happens when two good things get together: the result is greater than the sum of its parts and, in the case of “Thnderbolt,” a new level of dancefloor banger is achieved.
Jasmine drops Friday, August 12 on High Tea Music. Stream the teasers here and pre-order on Beatport.
 
This article was first published on Your EDM. Source: Your EDM Premiere: The Unlikely Pairing of AL/SO and Tengu Produces a ‘Thunderbolt’ of a Track
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Insomniac Delivers Yet Again with HARD Summer 2022

HARD Summer returned to the NOS Events Center in San Bernardino this past weekend for its 14th(!) edition and its first ever foray as a 3-day festival. Boasting a stacked lineup featuring some of the biggest names in dance music and hip-hop, this year’s HARD was one for the ages. The stages were epic, the layout was friendly and convenient, the vibes and energy of the crowd were off the charts. Despite the sweltering heat and humidity over the weekend, Insomniac made sure that all it’s headliners were hydrated and shaded as they partied into the night.
First off, let’s talk about some of the logistical changes that Insomniac made to the layout of the festival. The first thing I noticed from an aesthetic standpoint was the remodeled stages. Obviously, NOS hosts several Insomniac festivals over the course of the year, and most of the time, the stages are enclosed in a mega-structure. For last year’s HARD, the team made the interesting choice of removing almost all of the roofs of the mega-structures, but otherwise leaving the stages intact.
This year, the mega-structure roofs were completely done away with, allowing the HARD and HARDer stages to illuminate the night sky. The HARD stage featured the familiar trapezoid design that has featured on previous HARD stages and also evokes the Mayan temple from HARD Day of the Dead. The HARDer stage underwent and even more drastic evolution. Converted into something of a smaller Coachella stage, the HARDer stage featured massive video panels adorning the entire stage. The crowds there were treated to insane colors and visuals as well as up close looks of their favorite performers on stage.
Another big change that alleviated traffic was the tunnel that went from the HARD to the HARDer stage. Last year, there was a massive wall between the two stages and one had to walk all the way around and back to travel between the two places. This year, the tunnel offered a quicker alternative, as well as a detour to the Pink Tent, and allowed for more breathability going between stages. In fact, if you went into the tunnel, you were treated to shade and misters that were way more prevalent this year. The weather may have sucked, but Insomniac did their part to help alleviate the heat.
Juliana Bernstein for Insomniac Events HARD has always featured an eclectic lineup that’s slightly left of center. While of course there were artists on the lineup who fit that description and are HARD mainstays like Porter Robinson, Madeon, Alison Wonderland and Jai Wolf; House music was large and in charge this year with artists ranging from Chris Lake, Vintage Culture, Wax Motif, James Hype, Anabel Englund and Matroda all gracing the HARD stage. This year’s hip-hop lineup also offered up something for everyone. Zoomers got Lil Uzi Vert and Denzel Curry. Millennials got Three 6 Mafia (Juicy J and Project Pat are still going hard!). Everyone in between got Megan Thee Stallion and 21 Savage. Whether you wanted to get hype or get in your feels, this year’s HARD Summer got you.
It was a late arriving crowd on Friday’ it’s always brutal driving into San Bernardino from Los Angeles at that time of day. I enjoyed the shade and mist of the VIP area as Anabel Englund had whatever small amount of headliners were there vibing out to her set. James Hype was a definite highlight with his insane mixing skills and wonderful mashups of g-house and 2000s rap and hip-hop classics. Griz was another huge highlight as he has not performed at HARD Summer since 2015 back when the event was at the Pomona Fairplex. He had his full live band, psychedelic visuals, and of course, that sexy sax. I left it all out on the dancefloor for Griz’s performance. Here’s hoping we don’t have to wait another seven years to see him back at HARD.
www.OHDAGYOPHOTO.com Saturday definitely saw more headliners descend upon the NOS Events Center. I started the day off at the HARD stage where Matroda was throwing down the house vibes. I eventually made my way over to HARDer stage for some of LP Giobbi’s set and she continues to impress with her unique brand of groovy house as well as exceptional visuals. Once the sun went down, Three 6 Mafia took the stage, and the crowd started getting hype as the legendary Memphis duo threw down hit after hit from “Bin Laden,” “Side 2 Side” and “Poppin My Collar.” 2000’s Mark was very happy during this set as were a lot of millennials to be sure.
After brief stops at Dimension and Alison Wonderland, I made it back over to HARDer for the highlight of the night. Madeon performing Good Faith Forever live. Aside from a couple of DJ sets, I had not seen Madeon perform solo live since Coachella in 2015. He did perform with Porter Robinson at Coachella 2017, but again, it’d been awhile since I’d seen Madeon solo, and it was well worth the wait. Unleashing some of the most mind-blowing visuals I’ve ever seen, the French singer/songwriter/producer wowed the crowd with live renditions of his Good Faith tracks as well as updated versions of his old progressive classics like “Imperium” and “You’re On.”
Demian Becerra for Insomniac Events It was another full day on Sunday, as I got in early to check out a little bit of Space Wizard at the Green Stage before heading over to the HARDer stage for Rossy. The up and coming producer and DJ threw down an appropriately HARD set of old skool trap that certainly got your blood flowing if the heat was getting you down.
Highlights of the day had to be Sidepiece and Tchami. With the sun down and the final night afoot, the duo of Nitti Gritti and Party Favor did not disappoint as they expertly blended house grooves with 90s and 2000s classics that had the dance floor vibing. Side note, if you found that open area to the right of the HARDer stage you lucked out, you had space to dance all night long. And, so we did as Tchami took the stage. The renowned French producer/DJ dropped a banger of a set featuring all types of house genres.
Porter Robinson closed out the night at the HARD stage, and fans had to be delighted by his blend of new tracks like “Look at the Sky” and “Something Comforting” as well as new re-imaginings of his classic Worlds tracks like “Easy” and “Sad Machine.” HARD maybe an electronic music fest, but the musicality of EDM itself is always on display at HARD Summer.
Keiki-Lani Knudsen for Insomniac Events While there was no doubt that HARD Summer was an absolute vibe, and there are definitely performances that will stay with me for a long time. The only question I have for HARD going forward is, is three days really necessary? This time of the year is brutal, and it certainly felt like the crowd was pretty light at certain times. Insomniac also usually announces next year’s edition of the festival right away. We did not get that announcement for HARD Summer 2023. One would have to assume it will return to NOS, however, maybe it will be scaled back a day. Either way, this year’s HARD Summer was an absolute blast, and I hope that it can return in such an epic form next year.
This article was first published on Your EDM. Source: Insomniac Delivers Yet Again with HARD Summer 2022
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Ophelia Records Takeover North Coast Festival’s Spotify for Special Melodic Playlist

North Coast Festival is returning to the greater Chicagoland area this Labor Day weekend for what is sure to be a massive weekend of dance music. Featuring artists like Armin van Buuren, Illenium, Porter Robinson, Seven Lions, Diplo, Fisher, and many more; there’s truly something for everyone on this lineup.
To commemorate the festival, Seven Lions and his Ophelia Records label have created a specially-curated North Coast Playlist on Spotify. Ophelia fans will no doubt be familiar with the label’s many artists featured on the lineup. Jason Ross, Wooli, Mitis and Trivecta are just a handful of the fan favorites on the North Coast lineup this year.
Get your tickets to North Coast Festival here and get ready for North Coast with the official Ophelia Melodic Takeover playlist!

This article was first published on Your EDM. Source: Ophelia Records Takeover North Coast Festival’s Spotify for Special Melodic Playlist
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Avicii’s “Waiting For Love” Finally Crosses 1 Billion Streams On Spotify

Joining “Wake Me Up” and “The Nights,” “Waiting For Love” becomes the third track by Avicii to cross the 1 billion stream threshold on Spotify.
“Waiting For Love” was was released on May 22 2015 as the lead single from Avicii’s second studio album, Stories (October 2015).
“Wake Me Up” became the first song for Avicii to cross one billion streams back in February 2020, followed by “The Nights” in March 2022. This would make “Waiting For Love” his second song this year to achieve the billion milestone.
Listen again below.

 
Photo via Rukes.com
This article was first published on Your EDM. Source: Avicii’s “Waiting For Love” Finally Crosses 1 Billion Streams On Spotify
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TVBOO & GRiZ Team Up For Squelchy New Collab & Album Single, “Bass Music”

Arguably his biggest single to date, TVBOO proudly presents ‘Bass Music,’ the lead track from his forthcoming debut LP, Blue Collar Bass: By the People, For the People. A high energy, danceable collaboration with funk headliner GRiZ, the two find common ground within their distinctive sounds, creating a one-of-a-kind hybrid of catchy, upbeat freeform bass. With a memorable sample leading into the climax of the single, ‘Bass Music’ has already proved to be a highly requested fan favorite.
“GRiZ has literally been my favorite artist since I got into dance music. I asked him to come on my podcast and he said he’d do it only if we made a track together. Of course I played it cool and said “I guess we can do that,” but on the inside I was screaming like a convict who just got out of prison in time to see the new Elvis Presley movie after NFL sunday football. This is one of the coolest things to happen to me and the song came out incredible. Praise Dale.” – TVBOO
“Bass Music” is a no-nonsense track that delivers exactly what it promises. Squelchy bass and funky rhythms bring forth key notes of both producers’ repertoire and the result is nothing short of weird and wild.
Check it out below and stay tuned for more on TVBOO’s debut album coming soon!

This article was first published on Your EDM. Source: TVBOO & GRiZ Team Up For Squelchy New Collab & Album Single, “Bass Music”
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The Chemical Brothers Play Ibiza Exclusive DJ Set at Amnesia Closing Festival 2022

When you talk about globally legendary music venues, Amnesia has to be part of the conversation. Originally opened in 1976, it’s gone through its fair share of updates over the years and now ranks among the world’s best venues, choosing not to rest on its laurels. This year’s closing party will be hosted by a similarly legendary musical act — The Chemical Brothers.
Amnesia is the perfect setting for a Chemical Brothers’s DJ set thanks to its cutting edge production, world class sound system and cauldron-like dance floor. They are award-winning, chart topping, game-changing pioneers in both the studio and the club and they bring with them the most explosive and electrifying mix of sounds imaginable. On Sat Oct 15, Tom and Ed will be spinning an array of sonic classics – both old and new.
Support will be announced soon and tickets are guaranteed to sell out. They go on sale on Tue Aug 9th at amnesia.es so move fast to secure your place at this historic event.
 
Photo via Alex Caballero
This article was first published on Your EDM. Source: The Chemical Brothers Play Ibiza Exclusive DJ Set at Amnesia Closing Festival 2022
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Tomorrowland & Eric Prydz To Bring HOLO To Ziggo Dome In Amsterdam

Eric Prydz shows have always been more than just about the music, but the whole, encompassing experience. From his EPIC shows to his HOLO shows, he and his team always bring the most innovative and creative technology and advancements in live show programming and set design to the table.
Now, Prydz and Tomorrowland are teaming up to bring HOLO to the Ziggo Dome in Amsterdam, at approximately 17,000 capacity.
The announcement reads: “Prepare for an incredible holographic show with state-of-the-art visuals and light effects, resulting in an immersive experience the world has never seen before.”
Attendees can expect a massively updated visual and lighting experience from this show, especially with Tomorrowland in the mix. Pre-sale begins this Wednesday — find out more here.

 
Photos Credit: Antonio Pagano
This article was first published on Your EDM. Source: Tomorrowland & Eric Prydz To Bring HOLO To Ziggo Dome In Amsterdam
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ero808 Releases BLACKHOLE Remix Pack and Shöckface Inversion

Hot off the massively popular house record ‘HYPNOSIS,’ ero808, the ever eclectic singer-songwriter, producer and performer has released a 3-person remix package and Shöckface Inversion for his single ‘BLACKHOLE.’ The remix pack features the likes of Buzz Junior, smalltalk, and Frost. Alongside the release of the remix pack, frequent collaborator Shöckface has also released an Inversion to BLACKHOLE with an entirely new set of artwork.
Each take on BLACKHOLE showcases each producers unique and exceptional production meshed together with ero808’s sensational vocals. ero808 is definitely an artist you want to keep your eyes on. From ‘METANÖIA’ too ‘HYPNOSIS’ and now the ‘BLACKHOLE’ remixes the genre defying artist continues to impress with an onslaught of new music.
Stream the BLACKHOLE Shöckface Inversion below.

Stream the rest of the BLACKHOLE remixes below featuring Buzz Junior, smalltalk, and Frost.

Connect with ero808
Facebook | Instagram | Twitter | Spotify | SoundCloud
This article was first published on Your EDM. Source: ero808 Releases BLACKHOLE Remix Pack and Shöckface Inversion
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AILOW Releases ‘Noise’ On Austin Kramers Label TBD With NFT Copy

Budding 18 year old producer AILOW is back at it again with his new release ‘Noise’ on Austin Kramer’s new imprint record label TBD. This high energy bass house banger is Out Now on TBD, a subsidiary of Blanco Y Negro. Fresh off a release with Dim Mak’s imprint, New Noise, AILOW is a relatively unknown producer you should be keeping an eye on. You can also snag a limited copy of the release as an NFT through RCRDSHP.
Stream ‘Noise’ below.

This article was first published on Your EDM. Source: AILOW Releases ‘Noise’ On Austin Kramers Label TBD With NFT Copy
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New Artist Spotlight: Blunda’s Sepia-Tinted Electro-Rock World Looking for ‘Brighter Days’

Blunda is one of those artists for whom the “New Artist Spotlight” tag is a misnomer, as he’s been making music longer than most of YEDM’s punters have been alive. Starting young as a classical pianist, Andy Blunda played guitar and keyboard in the high profile indie bands Fastball and Paloalto in the 90s and early 00s. After that, Blunda stayed active in Hollywood, composing soundscapes for movies and television until he got the inspiration to go solo in 2014. With a distinctive style both in his guitar work and terms of production, many listeners may feel like they’ve heard him before his most recent album Brighter Days, even if they know nothing of his solo work; with his extensive rap sheet, they likely have.
Messages was Blunda’s first solo EP and it announced this distinctive sound with vintage synths inspired by late 80s new wave and compositions which hearken indie vibes from the same era. The guitar work is all Blunda, however, and in tracks like the title track and “If You Want Me,” that extraordinary guitar work elevates the sound from sort of throwback indie to really his own ultra-cool ambient indie rock.
On the shoegazey borders of dream pop, both this unique guitar sound and ambient sound design continued to develop for Blunda in his next EP, 2020’s Pulling For You, which had a lot more synth and piano work up front. Blunda also experimented more with vox manipulation here in tracks like “Low.” There’s a strong jazzy component on this EP as well, and Blunda often skirts the edge of adult contempo but lands firmly in the Tom Waits end of post punk due to his tonal structures and compositions being so effortlessly cool.
Brighter Days, which released in late June, seems to be where Blunda has found a balance for all the different elements in his previous releases. Blunda says he went into this project with the intention of capturing the energy of lockdown, both the intensity and the malaise; the sort of muted vibes as well as the hope for, well, “brighter days.”
The importance outdoor space plays in healing is also very much reflected in the way each individual track moves in Brighter Days, as well as how the whole album flows. In the opening tracks “Beginning” and “Lost Without You,” that sort of muted, golden hour sense of peace in nature comes through via the sound design, composition and vocals. These two are done so well in terms of vibe that they could be put together and simply called “Elysium” (not the film) as they match the tones and feeling of the album cover: peaceful, a bit fuzzy and at the same time healing and heart-rending.
From those first two more shoegazey tracks, Brighter Days moves into the more dream pop side of things via  with “Belong to Me,” which is a transition track or sorts, “Tape Pad,” “Ever Since” and “Open,” which are a bit more peak dream pop mixed with post punk, a’la Washed Out. The all-instrumental penultimate song “Bm” is a nod to Blunder’s clear-by-now love of post punk while “Light On” closes the album as it began: peak shoegaze.
The reason all these styles are important is the afore-mentioned journey the album intends to take. It’s also incredibly technically difficult to take said journey with so many styles. Blunda accomplishes this with sound design, soft, grunge-and-shoegaze-tinted vocals and similar, Moogy synths throughout, though the vapor wave at the end in “Light On” is a fun surprise. His technical mastery is on full display with Brighter Days as is his musical EQ, creating strong emotional reactions with each track, whether it has vocals or not. It might be strange to say, after nearly 30 years in the business, that Brighter Days is Blunda’s seminal work, but given how strong a work it is, that might actually be true. Here’s hoping he keeps building even more vivid soundscapes from here.
Brighter Days is out now and can be streamed on Spotify or purchased on Bandcamp.

This article was first published on Your EDM. Source: New Artist Spotlight: Blunda’s Sepia-Tinted Electro-Rock World Looking for ‘Brighter Days’
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BUKU Music + Art Project Announces Indefinite Hiatus & Cancellation Of 2023 Event

BUKU Music + Art Project was originally founded in 2012 in New Orleans and has consistently been one of the premiere festivals in the southeast region in terms of experience and curation. Each year, the festival has brought something new and exciting to the table, whether it was art within the festival grounds or an act or artist or special collaboration that was rare and unique.
Unfortunately, it’s unclear when exactly we might get to experience BUKU again. Yesterday, the festival announced an indefinite hiatus as well as the immediate cancellation of its March 2023 event. To be clear, indefinite could mean it returns in 2024 — it might be longer, too.
“[…] the current model of BUKU needs to take a break,” the announcement reads. “We don’t know exactly what the future will look like — and that’s okay as there is freedom in the unknown — but we know that we will gather again someday, in some form, bursting with creativity and purpose.”
Fans have shown plenty of love for the event on social media in the wake of the announcement. Stay tuned for whenever it returns. We’ll be waiting.

 
Photo courtesy of BUKU 
This article was first published on Your EDM. Source: BUKU Music + Art Project Announces Indefinite Hiatus & Cancellation Of 2023 Event
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Fred again.. & Swedish House Mafia Go B2B with Four Tet At NYC Pop Up [FULL SET]

Last night in New York City, a once-in-a-lifetime party happened. Just a week after Fred again..’s legendary Boiler Room set, the phenom hosted a pop up at H0L0 for a two-hour back-to-back with Swedish House Mafia following the release of their collaboration, “Turn On The Lights again..” (which was played somewhere between 4-5 times throughout the set).
Space was incredibly limited at the small venue, especially with the Boiler Room-esque arrangement and the vibes, from what we’ve seen and heard, were immaculate. Toward the end of the set, even Four Tet showed up for a little time on the decks.
Check out the full set below! There’s no official upload yet so we’ll see how long this remains up on YouTube.
This article was first published on Your EDM. Source: Fred again.. & Swedish House Mafia Go B2B with Four Tet At NYC Pop Up [FULL SET]
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Calvin Harris Finally Releases Sequel To ‘Funk Wav Bounces’ With 13 New Mega-Star Collabs

Following singles with 21 Savage, Dua Lipa & Young Thug, Normani, Tinashe, & Offset, and Justin Timberlake, Halsey, & Pharrell, Calvin Harris has at last dropped the full Funk Wav Bounces Vol. 2, following up the original album which dropped five years ago.
Not including the intro track, the full album includes another nine mega-star collaborations with names like Lil Durk, Busta Rhymes, Charlie Puth, Snoop Dogg, Pusha T, Stefflon Don, and more.
Calvin has been fairly reserved with words of pride or wisdom about the album, with most of his tweets about it limited to a couple words and nary a quote to be found in the press release. Yesterday, a few hours before the album officially dropped, he tweeted, “Enjoy yourself.”
So I’m going to go out on my Hollywood balcony, pour myself a morning margarita, and do just that.
Listen below.

 
Photo Credit: Simon Thirlaway
This article was first published on Your EDM. Source: Calvin Harris Finally Releases Sequel To ‘Funk Wav Bounces’ With 13 New Mega-Star Collabs
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