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Seven Lions reveals latest album cut “Stop Thinking” feat. Lights

Beyond The Veil, the debut studio album from Seven Lions, is due out in exactly three weeks. Today, he unveils the third single from the project, “Stop Thinking” with Lights.
Digging more into his trance side, with opening chords that invoke memories of “Language,” “Stop Thinking” makes use of the tried and true method of hiding melancholy lyrics within a bright and exciting melody. The song opens with someone in a relationship pleading with their partner, thinking about who they were and who they thought the other was, when they first starting pursuing something outside themselves.
At first, the tone is more exasperated and tired. Frustrated, even. As things progress, it turns into becoming comfortable with who you are and knowing that if the other person can’t accept that, it’s just not meant to be. Not in a regretful way, but proud of growth and moving forward.
Beyond The Veil is set for arrival on Seven Lions’ own Ophelia Records imprint on October 21. Pre-save the album here.

 
Photo via Ashley Von Helsing
This article was first published on Your EDM. Source: Seven Lions reveals latest album cut “Stop Thinking” feat. Lights
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Leondis Releases Euphoric Debut Single “Trying Too Hard” with Over Easy ft. Britt Lari [PROXIMITY]

At only 19 years old, breakout DJ/producer Leondis is already making waves, since his remix of The Chainsmokers’ comeback single “High” went viral on TikTok. After exploding on the platform, the Leondis remix went on to officially release through Disruptor Records and garner support from The Chainsmokers live, as the remix of choice in their sets, including the Super Bowl LVI Tailgate Kickoff, EDC Mexico.
Prior to his “High” remix, Leondis also provided remixes of Cheat Codes & AJ Mitchell’s “Hate You + Love You,” and has received additional support from David Guetta, Steve Aoki, ILLENIUM, Loud Luxury, Dzeko, and more. When it comes to DJ sets, Leondis has headlined in Columbus, OH, and served as direct support at Daer Nightclub (with The Chainsmokers), Oasis Wynwood (with Kaskade), The Vanguard Orlando (with Two Friends), WTR Pool Tampa (with Cheat Codes), and Home Bass Festival (with Baauer & Keys N’ Krates). 
Now, he’s making his debut with his first original single “Trying Too Hard” on the prestigious Proximity label, a collaboration with Over Easy and vocalist Britt Lari. It’s a beautiful song from start to finish, packed with euphoric melodies while Britt’s vocals soars overtop. “Trying Too Hard” already feels like an instant hit and has us really excited to see what’s next for Leondis, who undoubtedly has a bright future ahead of him.
Listen below!

 
This article was first published on Your EDM. Source: Leondis Releases Euphoric Debut Single “Trying Too Hard” with Over Easy ft. Britt Lari [PROXIMITY]
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Bleu Clair & OOTORO Strike Again With “Killer Bee” ft. Chyra

Whenever Bleu Clair and OOTORO get in the studio together, magic happens. The two producers’ previous collaboration on “Beat Like This” was released on Martin Garrix’s label STMPD Records and was an instant hit and is still a club and festival favorite for most DJs.
Now, the two have come together once again for a high energy, tech house single “Killer Bee” featuring the sly vocals of Chyra. The groove is insatiable, as each producer offers their own unique sounds and capabilities to ensure this to be yet another heater for the dance floors.
Listen below!

This article was first published on Your EDM. Source: Bleu Clair & OOTORO Strike Again With “Killer Bee” ft. Chyra
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Madeon switches gears for bass-fueled, 57-track set at Lost Lands [FULL SET]

Lost Lands wrapped up this past weekend, capping off the sixth iteration of the festival in Legend Valley. As the festival has expanded, both in the artists it has invited and in physical space, adding a couple new stages since its first few years, variety has become tantamount. Bass heads will undoubtedly travel to Ohio every year for their favorite artists, but given the restricted scope of the festival, recycling acts was always a risk.
This year, plenty of genre-bending artists were booked, including a bit of a curveball with Madeon. The French artist is currently in his Good Faith Forever era, which, while it might have some dark moments, is a far cry from a “bass” artist. Still, his set was packed as he took the stage at Wompy Woods on Saturday night and from the first track, those in attendance must have known that not everything was as they’d anticipated.
Over the course of an hour, Madeon burned through 58 tracks including mashups and live mixes with names like Kayzo, G Jones & Eprom, Eliminate, Champagne Drip, ISOxo, Shadient, Deathpact, Hudson Mohawke (not that song), and more. Of course, he still had to throw in some of his own hits like “Icarus (VIP Mix),” “No Fear No More,” and “Heavy With Hoping.”
Check out the full set below!
This article was first published on Your EDM. Source: Madeon switches gears for bass-fueled, 57-track set at Lost Lands [FULL SET]
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Circus Records releases new Cookie Monsta single two years after his passing, w/ Flux Pavilion & Koven

Two years ago, the world lost an exceptional talent when it was announced that Cookie Monsta, real name Tony Cook, had passed away. Part of the original guard for Circus Records, along with Flux Pavilion, Doctor P, FuntCase, and Roksonix, Cookie’s impact on the world of music, though most particularly bass music, is indefatigable.
Today, on the two year anniversary of his death, Circus Records has shared a posthumous release from Cookie, with Flux Pavilion and Koven, “I’m Delighted.” The song is almost painfully beautiful, with heart-wrenching guitar riffs and Katie Boyle’s now instantly-recognizable, powerful voice.
“Tony loved cinematic music and always wanted to write it, that was the concept behind this record,” said Flux Pavilion. “He had been struggling with writing, so I was like ‘what do you want to do, let’s just do that.'”
He continued, “The craziest thing for me is the emotion, when Katie [Koven] sent that vocal, both Tony and I were blown away. Then to come back and work on it posthumously, it became an incredibly deep and meaningful process for Katie, Max and myself. Shortly before he passed away, the last text Tony sent me was replying about this track, he said ‘gorgeous, analogue as f*ck.’ When we came back to finishing the song, that was all the guidance we needed to finish it off the way he would have wanted.”
“This project has been very emotional and special to us,” shared Koven. “Since this track was originally started as a collaboration with Flux and Cookie, then Flux came to us with the idea of finishing the track as a tribute to Tony (Cookie) we were very touched. We are honoured to have worked on this track in his memory.”
Circus Records said, “To finally release ‘I’m Delighted’ is a bittersweet moment, it’s tough for all to go back to a piece of music that was born in the final few months of our friend and brother’s journey. But it is a wonderful, emotionally charged song and the world deserves to hear it. Flux Pavilion & Koven were very clear that their royalties for the song should go to Oliver, Cookie’s son, Circus Records will do the same.”
Indeed, profits and all artist shares will be donated to Cookie Monsta’s son, Oliver. Listen below.

 
Photo via ©Merc Photography
This article was first published on Your EDM. Source: Circus Records releases new Cookie Monsta single two years after his passing, w/ Flux Pavilion & Koven
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New Artists Spotlight: Go ‘Swimming at Night’ With the Vintage Poptronica of VIKINGS

While you’d be hardpressed to find anyone who wants to take the plunge into the Red River which runs through Winnipeg, Manitoba, even in the summer. The trio of artists who comprise VIKINGS don’t see their home city’s rather un-balmy climes as a deterrent to writing and releasing three fun, summery synth pop anthems, however. In fact, thumbing a nose at the cold and drawing out the summer may have been exactly the motivation for their dual single, “Talines”/”Swimming at NIght,” which dropped in mid-August and contains two remixes, making it sort of an EP. With mild Hot Chip-meets-Nick De La Hoyde vibes, these tracks are also a bit of a 180 from their last album, and apparently it’s for a reason.
2018’s obviously Tron-and-new wave-inspired album Electric Life could be described more as indie pop, with its darker tones, varied EDM beats (including rave trap and future bass) and dream pop-like hooks. This album saw quite a bit of pop success, especially with the Uber-popular “Run,” which bacame TikTok famous and was featured in rotation at Forever 21 stores. Can’t get more pop than that, can you? As VIKINIGS tell it, however, it wasn’t pop success that caused them to change their sound to the uber-pop of “Tanlines” and “Swimming….” It was a breakup.
There aren’t really any details as to te reason VIKINGS’s hiatus, other than, of course, the pandemic. It doesn’t actually sound like they stopped working on music during that time.
The “forthcoming songs” to which the band refer in this quote are now out in the form of the singles and their remixes, but one gets the imporession that this new sound will continue to develop thus. Whatever the reason for the change, there is still a nice, subtle indie pop core so fans of VIKINGS need not worry about a complete style shift; we’re not looking at 2010s Hanson vs 90s Hanson here. Fans will likely still enjoy the tracks if they liked the band’s first two albums and their 2017 EP, Animal Kingdom.
So what makes “Swimming at Night” and “Tanlines” so different from prevois work by VIKINGS? The style and heavy synth is still there, obviously, as well as clean production. It’s just generally more upbeat, and with these tracks the trio have really embraced that vein or pop that ran through previos iterations. The original mixes of both songs are 100% pop construction, beat and vocals, to the point where it borders on bubble gum. “Tanlines,” specifically, is Harry Styles-level pop. A bit of soul, a bit of funk but really all pop. “Swimming at NIght,” on the other hand, has a more indie pop vibe, a’la Cut Copy or Hot Chip, a’la a deeper key in the verse.
The “Tanlines” remix is by ASH HALO, another project VIKINGS’s synth programmer Dave McNabb has with fellow Winnepegian artist known as Saratonin, of the well-known bass duo Akylla. This version plays around with production more than the original, and the synths are a bit deeper to match the heavier bass, creating a slightly more modern vibe. It’s not EDM, but it’s adjacent and less new wave-influenced. The “Swimming at Night” remix is actually an edit that’s shortened the original track significantly. This highlights the pop value of the track as well.
Since “Tanlines” and “Swimming at Night” are technically teasers for the next album from VIKINGS, it will see if their “new sound” will permeate the whole album and inform all their work going forward, or if they still have some more indie pop tricks up their sleeves. The biggest question there is are they now full poptronica or will they, like thier previous work, do a lttile genre hopping into more solid EDM territory? Guess fans will have to wait for the album to find out.
“Tanlines” and “Swimming at Night” and their remixes are out now and can be streamed on Spotify and Bandcamp.

 
This article was first published on Your EDM. Source: New Artists Spotlight: Go ‘Swimming at Night’ With the Vintage Poptronica of VIKINGS
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75% of Avicii’s catalog goes to Pophouse, per family, securing his “indelible legacy”

Avicii’s genius is in good hands for the foreseeable future, as his family has sold 75% of his master recordings and publishing to Pophouse Entertainment, the same company that helped the Bergling family open the interactive tribute museum in Stockholm, “Avicii Experience,” back in February.
Writes Variety: 
Avicii’s father, Klas Bergling, commented: “Pophouse has presented a concrete concept and proposal for the long-term care and development of Tim’s musical heritage. Through this deal, we are also securing the Tim Bergling Foundation’s long-term finances, creating opportunity to act decisively on the Foundation’s commitments to supporting such important issues as mental health and well-being of young people. Working with the Tim Bergling Foundation is a full-time commitment for us. The foundation has only been running for a few years and much needs to be done for a long time to come.”
According to Pophouse CEO Per Sundin (who first signed Avicii to Universal Sweden in 2010 as CEO of that company), “Tim was not only one of the world’s best DJs, he was an extremely productive genius who always went his own way, mixing genres, challenging conventions and creating music history. I followed his whole journey, and it is with honour and pride that I and the entire Pophouse company, together with the Bergling family, will nurture and introduce his music to new generations of listeners in all parts of the world.”
Pophouse was formed in 2014 by ABBA’s Bjorn Ulvaeus and EQT founder Conni Jonsson as a venture when the company created the ABBA Museum in Stockholm.
 
Photo via Sean Erikkson
This article was first published on Your EDM. Source: 75% of Avicii’s catalog goes to Pophouse, per family, securing his “indelible legacy”
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Zeds Dead hop in Spotify studio and drop “Fugue in D minor” cover & DNB remix of “Rudeboy”

Zeds Dead already dropped six new singles this year before they recently hopped in the Spotify studio and cooked up a couple new ones, and for that we are eternally grateful.
“Rude Boy” was originally released in 2010, and it was the duo’s “first, official release,” something I didn’t really even realize. All their tracks before then were just exceptional remixes, like their legendary “Eyes on Fire” remix which came out in 2007. “Miraculously,” as DC and Hooks put it, they were able to find the stems and create this updated drum & bass version for 2022.
In addition, they dropped a fresh cover of Bach’s “Fugue in D minor” (originally released in the 1700s, for those curious). Wonderful staccato chords punctuate the classical melody and rhythm with punchy drums and a more atmospheric touch, to boot.
Check out both tracks below!


This article was first published on Your EDM. Source: Zeds Dead hop in Spotify studio and drop “Fugue in D minor” cover & DNB remix of “Rudeboy”
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JD Farell Delivers Intoxicating Remix For Electric Polar Bears, CAZZETTE & The Ready Set’s “Cloudy Heart”

Driven by an immense love for the craft of music and fuiled by incredible dedication, JD Farell is well on his way towards establishing himself as a heavy-hitter within dance music.
As a native Atlantan, JD Farell was consistently involved in music throughout his life, taking lessons in woodwinds and performing in concert bands for years. He started teaching himself drums and guitar, and ultimately fell in love with analog synthesisers, electronic music production, and sound design. Having been interested in house music since his early years, he eventually started working as an artist liaison for Liquified, Atlanta’s leading promotion and booking agency.
After networking with the major players in the scene, JD Farell decided to take on his own productions, which led to numerous Beatport Top 100 hits, as well as allowed him to sign with Purified Records, one of the world’s most renowned house music labels. As a live act, he has opened for the likes of Alan Walker, Gorgon City, Kaskade, Cristoph, i_o, Tinlicker and more, while receiving support from Nora En Pure, Markus Shultz, Tiësto and others. It’s clear that the multi-instrumentalist and producer’s unique house records, that exist somewhere between the genres of techno and tech house, are effortlessly soundtracking the club nights of dance music fans across the globe.
JD Farell’s latest release comes in the form of a massive original remix, seeing him take on Electric Polar Bears, CAZZETTE and The Ready Set’s “Cloudy Heart,” which was released earlier this year via Antarctic Music Group. A captivating and melodic house record, “Cloudy Heart” is filled with anthemic vocals and groovy deep house production – the perfect backbone for JD Farell to infuse with his own sound. Turning the arrangement into a progressive techno gem, JD Farell’s take on “Cloudy Heart” is immersive and impactful, once again proving that JD Farell is an artist to watch.

This article was first published on Your EDM. Source: JD Farell Delivers Intoxicating Remix For Electric Polar Bears, CAZZETTE & The Ready Set’s “Cloudy Heart”
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Despite logistical issues, Portola emerges as phenomenal first year festival [Review]

What can be said about a music festival that books Flume, The Chemical Brothers, Jamie xx, Four Tet + Floating Points, Fred again.., Caribou, Bicep, Fatboy Slim, DJ Shadow, Kaytranada, Charli XCX, James Blake, Peggy Gou, The Blessed Madonna, Yaeji, and more? Legendary accurately describes the inaugural Portola Music Festival held at Pier 80 in San Francisco this past weekend.
Nestled southeast of San Francisco’s Mission District, Portola promised an eclectic lineup featuring mostly headliner-level acts like the aforementioned spread across two days. Beginning around 1pm and going until 11pm on Saturday and Sunday, four stages offered a diverse assortment of acts with live performances and DJ sets.
When we arrived at 5pm on Saturday, the festival was already in full swing, but getting our credentials and tickets at the box office down Cesar Chavez St couldn’t have been easier. Unfortunately, as we walked in, ready to catch the beginning of Fred again.. in the Warehouse stage, we were met with throngs of people waiting to be let in but being kept outside for some seemingly unknown reason. Looking at the mob of people, myself and my friend (a seasoned artist manager and longtime festival attendee) turned to each other and worried for the worst, anticipating some possible altercation occurring within the mass of eager fans. However, around 5-10 minutes before Fred began, the crowd started entering the stage in a (relatively) orderly fashion and we were able to enter with no issues. That being said, we looked back toward the entrance during the set and security was preventing others from entering, despite the stage being maybe only 60% at capacity.
TMZ’s wildly exaggerated coverage initially compared the situation to Astroworld, where 8 people died late last year. In fact, the situation was nothing close to that, and a rep for Portola stated, “There was a minimal, isolated issue with a festival stage entrance yesterday. This occurred within the confines of the grounds and was quickly addressed and corrected. There were no reported injuries and the festival continued for another 6 hours without incident.” Indeed, by the end of the night, the festival had erected switchback-style barriers in front of the stage which greatly reduced congestion and assisted in entry the rest of the weekend.


One of the immediate things I noticed about the crowd was how diverse it was. Of course, this isn’t a huge surprise in San Francisco, where various cultures are frequently celebrated. It’s not like Los Angeles is much different, but compared to the festivals I’ve been to in my hometown, Portola immediately felt more inclusive, safe, and welcoming than any other I’ve been to previously.
As mentioned, we started the first day with Fred again.., after which we strolled past Slowthai as he was playing his Gorillaz collab, “Momentary Bliss,” out in the Ship Stage as we made our way to the food vendors. Lines were exceptionally long on the first day, taking about 30-45 minutes to get to the front where some items were already running out as early as 7pm. The portapotties experienced similar delays, with lines up to 15 minutes to find an open stall. (Bathrooms on the other side of the Ship stage, on the middle to Warehouse, were far more available.)
We made our way past Caribou who was playing a stellar live set as we once again braved the Warehouse stage to catch Jamie xx. He easily played one of the best sets of the festival, doing away with any visuals entirely, as a solitary, large disco ball hung behind him on stage as he mixed house, techno, and drum & bass. From there, we made our way toward the far rear of the festival at the Crane Stage to catch the legend Fatboy Slim. He was keeping the crowd on the edge of their seats as he teased vocal samples from hits like “Right Here, Right Now” and “The Rockafeller Skank” in between raucous, acid-filled synths and old school rave beats.
We stopped by Flume on the mainstage for about 20 minutes before we ended our night at Bicep, back in the Warehouse once again, and then left at around 10:30pm to beat the rush of people leaving. Rideshare and Muni were available, and we chose to hop on the Muni for a couple stops and then Uber once we were out of the mass of people. However, we were only able to make it one stop on the Muni as it was so excruciatingly packed we had to get off.

It took us quite a bit to recover from the first day as we woke up on Sunday and relaxed in our hotel in Union Square before heading back once again at about 5pm. Immediately, the vibe felt more peaceful than the first day. The box office had been moved closer to the entrance, additional barriers had been placed to more effectively control the flow of people, and it seemed overall that there were less people on Sunday — one-day tickets were available, many of which were likely purchased to catch Fred on the first night.
Quinn Tucker With a bit more freedom to move around, I stopped by DJ Shadow for my first set of the day who was playing tons of classics as well as new material, all the while scratching up a storm on the decks. I also decided to stop by the merch booth as day 2 was forecasted to be much colder and I only had a light jacket with me. Hoping to pick up one of the cream Portola-branded hoodies, they were unfortunately sold out but the festival offered shipping in 4-6 weeks for any out-of-stock items. Knowing I’d be cold, but happier in a few weeks for getting my desired item, I decided to brave the elements in lieu of an in-stock hoodie and await my prize in the mail.
I opted to get to James Blake early to secure a spot at the main stage, where Toro Y Moi was finishing up with a live rendition of “The Difference” with Flume, which was interesting to see from their perspective as it was filled with far more energy as Chaz Bear bounced around stage.
A lot of the crowd left after they were done, presumably to catch the end of The Blessed Madonna or go catch Duke Dumont. They ended up missing a stellar performance from James Blake who played hits like “Limit to your Love” as well as bringing SwaVay out for “Frozen.” At one point, someone at the very front of the crowd shouted out happy birthday to James, who sheepishly admitted it was his birthday on Monday. After teasing “Happy Birthday” on his keys the crowd responded by spontaneously singing happy birthday, an incredibly sweet moment that felt truly special to be a part of.
From there, it was only a matter of time before the “main” event of the festival… The Chemical Brothers. Having only seen them once before in my 12 years of going to EDM events, at HARD Summer 2015, I knew this was something that we couldn’t miss. As they opened with “Block Rockin’ Beats” and swiftly moved into “Go,” all my suspicions were rapidly confirmed. Over the course of the next hour, the English duo awed the crowd with intensely creative mixing and visuals keeping the crowd moving and jumping even in the cold weather. By the end, and in the days after, I’d see plenty of friends who were also in attendance sharing their thoughts and the overwhelming agreement that it was an all-time set, one that we’d remember for years.
Overall, Portola started off a bit rocky but finished with a flourish. Despite long lines and some logistical snafus, with a lineup like that, you can’t really go wrong. The Ship and Crane stages were horribly inclined to overcrowding, with people spilling out of the back and sides especially for acts like Fatboy Slim or Caribou, but the sound was still pretty crisp. The biggest issue with the stages, apart from the Warehouse stage on the first day, was the sound bleed between Ship and Pier, whose crowds were almost intermingling at peak hours. During Flume’s set at Pier when Arca was at Ship, the dissonance was so intense we had to leave.
It’s hard to imagine how this lineup could be topped if it was to have a second year (which has not yet been announced or teased), but there are plenty of acts that could step up and fill in or rise to headliner status by next year. We could have imagined seeing The Crystal Method, Hot Chip, Digitalism, or Bloc Party at the festival this year, so maybe next? Either way, we’ll definitely be there.

 
Photo via Scott Hutchinson
This article was first published on Your EDM. Source: Despite logistical issues, Portola emerges as phenomenal first year festival [Review]
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Ultra announces Phase 1 for 2023 with Swedish House Mafia, Hardwell, Martin Garrix, & more

It’s that time of year again when Ultra Music Festival begins the agonizing full reveal of their festival lineup for the following year, but there’s plenty already to whet your appetite looking ahead to 2023. Phase 1 was just dropped yesterday along with tickets for the event, and you will have a great variety of acts to choose from.
Headliners already seem pretty locked in as Martin Garrix, Hardwell, and Swedish House Mafia are all going to be playing next year. Hardwell was the surprise headliner on Sunday 2022 though Martin Garrix played second to Kygo on the opening night, who himself threw down quite an out-of-character and admittedly astonishing set. And, of course, Swedish House Mafia was the surprise headliner in 2018 as they began their comeback (was that seriously four years ago already…).
Additionally, CloZee, Gigantic NGHTMRE, Ganja White Night, Rezz, Subtronics, and Kayzo (Live) represent the bass side, while mainstays Armin van Buuren and Carl Cox once again grace Phase 1.
Oliver Heldens will be playing double duty at the festival, playing b2b with Tchami for one set and donning his HI-LO alias for a rare b2b with deadmau5’s side project testpilot for another.
Lastly, Phase 1 is rounded out by Claude VonStroke, Grimes, Gryffin, Eric Prydz presents HOLO, Tale of Us, Timmy Trumpet, Vintage Culture, and Zedd.
Check out the full Phase 1 lineup below, and you can purchase your tickets now or test your luck once more of the lineup has been revealed.

 
Photo via Rukes.com
This article was first published on Your EDM. Source: Ultra announces Phase 1 for 2023 with Swedish House Mafia, Hardwell, Martin Garrix, & more
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Slushii returns with his second album of the year, “A Slushii Summer” [Interview]

It’s been six years since the first Slushii album, and after a tumultuous past couple of years, Slushii returns with his second album of the year, A Slushii Summer.
He already released E.L.E (Extinction Level Event) with Monstercat earlier this year, and now he heads to Dim Mak for his newest project which leans more pop than heavy. Collaborations with Aviella, Mackenzie Sol, Pauline Herr, and Love Jesse definitely give off that bubbly pop vibe. On the other hand, the final three tracks on the album definitely go harder, bringing on Dr. Ozi, Teddy Killerz, Bok Nero & Softest Hard, and others.
“I had never released this many songs at once ever,” Slushii says. “It was an experiment. It was nice being untethered by traditional album rules and being able to put something out for every single week of summer!”
As summer technically ended yesterday, September 22, this album marks the end of a season, an era? But every song has those summer vibes somewhere.
Listen below and keep scrolling for an interview with Slushii about the album and the process.

A lot of artists have done this sort of thing, releasing one track a month, a week, a day, for however long. Do you feel like you’re learning a lot with this experiment?
Yeah, I definitely think it’s been a learning experience for sure. Usually projects like this have a really overblown marketing plan and take forever to get off the ground, hence the minimalistic approach and the weekly direct to streaming methods of release.
Since you’ve switched it up for this album, have you seen any difference in fan engagement with each new release?
I feel like the coolest part is that each fan has gravitated towards a different song. The engagement across all of them has been pretty similar and there’s no consensus on which one is the ‘best song’, which I think is really cool!
Can you elaborate about the Slushii Summer concept as a whole?
Basically it’s a collection of songs I’ve written over the pandemic that didn’t really have a home, and rather than slowly trickle these records out I wanted to release them rapid fire to give the fans a steady flow of music for the entire summer!
Since signing with Dim Mak, how do you feel about the support you’ve gotten from the label especially with this unique project?
It’s been great, I think that they’ve been able to really encapsulate the vision I had for this project to the fullest for sure.
You’ve managed to release an album nearly every year since 2016, not to mention other albums from sapientdream. How do you keep up with and manage that level of intense productivity?
Honestly it’s something that I just ‘do’. My mind is an ever flowing waterfall of music and to not write means existentialism and boredom for me. So I basically write to keep myself busy.
Once the album is out, and the current tour dates are done, you think you’ll just head back in the studio and pump out another album for next year?
Honestly I have no idea what’s in store for the future of Slushii. The story I’ve told with all of you over the past 7 years has been amazing and is something I will be forever grateful for. Even if I put down the pen after this, it was amazing to collaborate and meet my heroes, as well as work with some of the best and brightest minds in the industry.
 
Photo via @druenotdrew
This article was first published on Your EDM. Source: Slushii returns with his second album of the year, “A Slushii Summer” [Interview]
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Gareth Emery Shares Exclusive Playlist Ahead of Groove Cruise The Ascension 2022

We’re less than a month away from Groove Cruise’s West Coast edition setting sail from Long Beach to Cabo. It’s been three years since Groove Cruise’s last appearance on the West Coast and four years since there has been a proper cruise. Featuring a wide array of headliners from radio-friendly house from Joel Corry and Acraze to minimal house and techno from the likes of Claude Von Stroke and Green Velvet; Groove Cruise always caters to a wide variety of genres.
We’re lucky enough to share an exclusive playlist from Groove Cruise headliner Gareth Emery. The trance legend just launched his LSR/CITY 2.0 tour, further enhancing his position as one of the best live sets in the dance music space. Here’s what Gaz had to say about his upcoming Groove Cruise set.
“I’m stoked to be back on the Groove Cruise! I’ve got a special set planned with tons of music from my upcoming album ANALOG and loads of IDs to debut. It’s going to be an epic party, game on Groove Cruise!”
Tickets for Groove Cruise are still available here, get ready to set sail with Gareth Emery’s exclusive Groove Cruise 2022 playlist.

This article was first published on Your EDM. Source: Gareth Emery Shares Exclusive Playlist Ahead of Groove Cruise The Ascension 2022
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Will Laroca Drops Addictive, Pop Oriented House Track, “Holy Ones”

Will Laroca aka William Fredriksson is a Swedish artist, songwriter and producer. Even though Will Laroca is a new project, William is no newcomer. In Sweden he is already a multi-platinum producer in the production team TMA, together with his childhood friend Tiam Faorkhy Nia, as well as a gold certified solo artist (under the artist name WILLOW). From 2012 until today, William has helped shape Sweden’s modern hip-hop sound in collaboration with some of the most influential Nordic hip-hop artists.
His music fluidly moves through electronic music and acoustic instruments as well as different genres and styles to create his own personal and exciting sound. The music is easy to access for everyone without losing a deeper meaning, both lyrics and melodies are important for him. Laroca’s influences come from all kinds of genres besides EDM, anything from rap, disco, rock and funk to Swedish/Middle Eastern/South American/African folk music and ethnic beats, as well as pop and country.
Now, this talented artist is back with his new single “Holy Ones” signed to Virgin Music Sweeden. It’s a smooth, pop oriented house track with nuances of Meduza and even Bastille, but all together, unique to Will Laroca. Will explains, “Everyone has darkness and light, we all struggle with those sides and the song is about overpowering your darkness, standing firm and believing in your purpose. If you have purpose, you are a holy one. Have some faith and know your worth!”
With plenty of musical influences present on “Holy Ones,” the most impactful inspirations around the track comes from his faith and God.
This article was first published on Your EDM. Source: Will Laroca Drops Addictive, Pop Oriented House Track, “Holy Ones”
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Chemikkal Makes His Major Label Debut With New Single, “Mine” [BLANCO Y NEGRO MUSIC]

Based in Tampa, FL Chemikkal continues to impress us with all that he does. He has developed a tenacious work ethic over the years, allowing him to progress to become the DJ/Producer he is today. Whilst many DJs and Producers are one trick ponies, Chemikkal has a unique innate competency to ingeniously present music in multiple forms while maintaining a consistent brand. Apart from being fluid, the artist’s ability to appeal to a plethora of different audiences from all walks of life in the very same room, is one of the primary factors that make Chemikkal so extraordinary. 
Now, he’s back, this time making his major label debut on Warner Bros. Records/Atlantic Records UK/Warner Music Group sub label Blanco Y Negro Music with his incredible new single, “Mine“. It’s future rave, it’s trance, and all in all its hands down another solid successful release for this young up and coming producer.
Listen below!

 
This article was first published on Your EDM. Source: Chemikkal Makes His Major Label Debut With New Single, “Mine” [BLANCO Y NEGRO MUSIC]
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Motez teams up with Scrufizzer For Blistering House track, “Get It Done”

Adelaide based, Baghdad born producer Motez has been a staple in the Australian electronic scene and beyond, renowned for his dance-floor hit singles “Down Like This feat. Tkay Maidza” and the ARIA platinum accredited record “The Future feat. Antony & Cleopatra”.  Beyond his own body of work he has fashioned official remixes for the likes of RÜFÜS DU SOL, Goldlink, Flume, Disclosure, and Ellie Goulding. As one of the most sought-after electronic acts in Australia, the energy in his live sets have earned him countless slots at major festivals including Splendour In The Grass, Beyond The Valley, and Lost Paradise. This year has seen Motez take the stage at WOMADelaide where he debuted his live set with string quartet, brass sections, and children choir, giving eager crowds a masterclass in the darker side of dance. That very set was broadcasted on Triple J as part of their Live at the Wireless series.
Now, he’s back with a sizzling new single titled “Get It Done” ft. Scrufizzer that is Motez perhaps at his best yet, combining darker synth melodies with an unrelenting four on the floor groove that is utterly irresistible. Scrufizzer’s vocals pulse through the track, solidifying it as yet another dance floor heater.
Listen below!

This article was first published on Your EDM. Source: Motez teams up with Scrufizzer For Blistering House track, “Get It Done”
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Worlds Apart Returns With Melodic Bass Single, “Take Me Away” ft. Scarlett

Worlds Apart is an artist trio that combines the collective minds of three individuals into a single creative vision. Through the fusion of electronic music production, lyric writing, videography, vocal performance, and visual arts, Worlds Apart is on a mission to spread a message of love, hope, and excitement to as many people as they can, and it’s safe to say they accomplish this mission in all they do. 
Lorenzo and Jason are the group’s producers and composers. Lorenzo is the primary DJ, and Jason focuses more on the production, mixing, and mastering side of the house. Ashley’s passion is with the visual arts, where she brings her visions to life through the creation of electronic, video, and photographic art.
Together, the three make an impeccable team, and are back with a new single rife with passion, nostalgia, and lots of “feels” titled “Take Me Away” ft. Scarlett. The moment the arrangement kicks in, it’s impossible not to be enraptured by the feeling it evokes as Scarlett’s pristine vocal sits forefront, helping lift this song into a whole new dimension.
Listen below!

This article was first published on Your EDM. Source: Worlds Apart Returns With Melodic Bass Single, “Take Me Away” ft. Scarlett
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Edison Cole Unveils Electrifying Single, “Breathe”

Edison Cole is an emerging artist who has recently been making waves, and gaining attention from fans and DJs alike for his high energy Mainstage appeal that is infectious with every release. Edison’s first release “Need You Now,” came out in September of 2018 and charted number 20 in SoundCloud’s “New & Hot” category. In preparation for 2019’s festival season, Edison released “Rebel” in January which was featured in The Chainsmokers radio show, followed by his bass smash Voodoo with LOOKAS, which The Chainsmokers opened ULTRA MUSIC FESTIVAL 2019 with.
Now, Edison continues to raise the bar with his new single, “Breathe”, which brings an unparalleled level of energy and emotion with its unique storytelling. Edison Cole truly shows his capability as he brings a range of styles and sounds while showcasing his versatility none the less managing to maintain the “punch” that has become expected from him.
There’s no doubt the future only continues to look brighter for this talented up and coming artist. Check it out below!

This article was first published on Your EDM. Source: Edison Cole Unveils Electrifying Single, “Breathe”
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KARTYPARTYY Delivers Massive Single ft. Micah Martin, “Everything”

KARTYPARTYY (Kart) is a Bass DJ & Producer based in Bangkok, Thailand who continues to deliver incredible, forward thinking music. Whether it’s BASS, Dubstep, Melodic Dubstep, or anything that hits hard; everything revolves around his love and passion for Rock. It was his passion and hunger for more that led to Kart being at the forefront of this genre in Thailand. Since 2017 Kart has stayed humble, playing small gigs at any club in Asia that would be brave enough to play some new sound. Today Kart is a regular at all the local Music Festivals in Thailand and is also becoming a household name around Asia for bringing that harder, louder, Bass bumping music to the masses. Kart’s passion does not end with him, he founded and created a platform called Bass Head Temple for all those who share the same excitement and affection for Bass Music.  Now, he’s back with a thundering single titled “Everything” featuring Micah Martin that blends a sense of nostalgia with hard hitting, head banging sounds that take you to a bass music paradise. Listen below!
This article was first published on Your EDM. Source: KARTYPARTYY Delivers Massive Single ft. Micah Martin, “Everything”
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New Artist Spotlight: The Interesting Mélange of Styles and Philosophies that is jRadx [Video]

We talk a lot in the electronic music sect about style-hopping and the artists who do it; it’s a common occurrence for, say, a D&B producer to try their hand at techno or a dubstep artist to dip a toe into bass house. It’s all just different tempos and levels of syncopation at the end of the day, isn’t it? Music culture is also no stranger to the odd EDM/pop or EDM/hip hop crossover. Experimental electronic artists reach a little farther into jazz, classical and other fringe genres, but they’re alway still identifyably experimental. British Columbia-based artists jRadx isn’t even that, really.
With hip hop beats leading to vapor wave synths, breaks that hang in air, robot sounds making up song structures and industrial loops paired rap (and that’s just two tracks), jRadx’s latest album Desert Power is a tough one to unpack, but in the best possible way. Like one of those creepy photos where your mind turns over and over trying to make sense of the random parts and it never quite fits, there’s a twisted beauty to jRadx’s work. Because it’s such a patchwork, he may be the first artis to truly pull off being completely devoid of genre by way of using all the genres.
Don’t get us wrong: jRadx’s work, despite being musically dadaist, is very listenable. Even danceable. He began learning about music and production while studying communications at Simon Fraser University in BC. Media and its current place in society (or the fact that is almost is society nowadays) is one of the things that inspires jRadx both philosophically and musically. His earliest, pre-self-produced works, dubbed on his SoundCloud as the “Early Tapes” are spoken word-style social commentary raps over existing beats.
While in Desert Power it’s difficult to discern jRadx’s core influence, these early raps and his subsequent productions are obviously inspired by hip hop. His first three albums, released all within a four-month period last year, have a slightly stronger core in hip hop that most listeners will be able to track. Final Boss has a load of Wu Tang-like beats and kung fu sampling while Bedlam in the Basement sees a stretch into more EDM territory with industrial beats, fewer vocals and lots of experimental sound design. Phongcore starts to show jRadx’s need to play with different sounds and genres but by doing so it lands squarely in the experimental electronica category and is not quite the genreless, glorious mess that is Desert Power.
We’ve been dancing around it for 400 words, but it’s time now to get into said glorious mess. Desert Power is seminal for jRadx for a number of reasons, the most of which is that it’s the first cohesive discovery of what his style is and can be all in one place. The previos three albums were written over a long period of time while jRadx found that style, and now it’s on display for people to listen to, feel and scratch their heads over. And, of course, for critics to try (and fail) to pick apart and categorize.
From the peaceful “Intro” to the mock-industrial “Maybe” to the Hudson Mohawke/Daft Punk hybrid that is “AAAAAAA” to the tribal/folk-inspired “Digital Music Therapy” to the most structured dance track on the album ironically called “Freeform,” Desert Power is every style and no style all at once, making it simply jRadx’s style, tied together only with the passion and emotion of his creative play. There’s a track on this album that fans of every genre will love, and also one that will make thos same fans very nervous. That’s what makes it good art, and that’s what makes it truly genreless.
Since Desert Power, jRadx has already released a track called “Megatron” which is loosely Goa-inspired, an experimental/industrial hybrid track called “Optimus Prime,” a sort of lazy-beated (not trap) hip hop track that hearkens back to his old spoken word work and a drum & bass track titled (for now) “Unknown” whose beat is made up entirely of beatboxing. How can we track that style-wise? We can’t, and that’s the point.

jRadx · Unknown jRadx is a study in, and possibly the answer to what happens when an artist is completely self-and-internnet-taught, does exactly what they want and is both not influenced by any trend and influenced by everything. There’s no way to predict where he’ll go next, and honeslty no one can really hold him to a genre. In that way he’s truly a free artist. You can’t hold an artist to a genre is there is no genre, and with Desert Power and all his past and future works, jRadx is a good reminder that we shouldn’t have done that in the first place.
Desert Power and jRadx’s other albums can be streamed on Bandcamp and Spotify but it seems the most up-to-date source of his mad scientist vibes is still SoundCloud. Check out his YouTube channel for more chaotic neutral vibes in A/V form.

This article was first published on Your EDM. Source: New Artist Spotlight: The Interesting Mélange of Styles and Philosophies that is jRadx [Video]
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Fred again.. drops second single from upcoming ‘Actual Life 3’ – “Bleu”

The road to Actual Life 3 from Fred again.. is getting shorter and shorter, and the second single from the project just dropped. “Bleu (better with time)” samples “You’re Mines Still” by Yung Bleu featuring Drake.
So far, the singles from AL3 have been good, but not great. They sound quintessentially like Fred again.. but are missing the verve and vigor of AL2. Regardless, we’re still going to have this on repeat as we see him this weekend at Portola in San Francisco and next week in Los Angeles.
Listen below!

This article was first published on Your EDM. Source: Fred again.. drops second single from upcoming ‘Actual Life 3’ – “Bleu”
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GRiZ enchants with fourth part in “Chasing The Golden Hour” series [Out Now]

Across ten albums in the past decade, GRiZ has remained exceptionally consistent and progressive with his musicality, and it remains true with his latest work, Chasing The Golden Hour Pt. 4. The last installment of the series came out in 2020 and returns now with the same vibrant and melodic style.
Over the course of nine new tracks, and once again inviting ProbCause back, along with Chrishira Perrier, it’s not difficult to imagine taking an evening drive or bike ride toward the setting sun and just letting your worries pass you by.
Regarding the album, GRiZ said, “I wanted to recreate the carefree good vibes you feel when it’s just about sunset on the perfect summer evening and everything is the most beautiful shimmering tint of gold. ‘Chasing The Golden Hour’ is that magical moment, it is the cool breeze against your back, it is sweet summer swagger in music form.”
Listen below!

 
Photo Credit: Jason Siegel
This article was first published on Your EDM. Source: GRiZ enchants with fourth part in “Chasing The Golden Hour” series [Out Now]
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Perfetto Releases Night Calls Me Remix Pack with ALRT, Valy Mo, DotEXE and Going Deeper

Los Angeles based producer and DJ, Patrick Perffeto known as Perfetto orignally from Montgomery, Maryland has assembled a top notch lineup of remixers for his latest single ‘Night Calls Me’ featuring John Twilight. Remixes from the insanely talented list of producers include ALRT, DotEXE, Going Deeper, and Valy Mo all putting their own twist on Perfetto’s uplifting single.
The original release “Night Calls Me” has a progressive house feel, and each remix brings something new to the original record. ALRT’s remix keeps things simple and has a tech house feel with his unique style of bass and speed house that he has rode to prominence with. DoTEXE has a very euphoric future bass groove, along with tasteful vocal chops, and a unique arrangement. Valy Mo brings a classic house remix, perfect for the peak hours at the club or underground events alike. The Going Deeper remix brings their house feel, paired with an electric festival energy.
Listen to the “Night Calls Me” Remix pack below and be sure to check out the original record as well.

Stream the original below with John Twilight.

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This article was first published on Your EDM. Source: Perfetto Releases Night Calls Me Remix Pack with ALRT, Valy Mo, DotEXE and Going Deeper
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EGZOD Makes Spinnin’ Records Debut with Bertie Scott on “The Way Out” [Out Now]

EGZOD has an interesting twist to the way he produces music. From even his earliest projects like “Talisman” to more recent projects like “Royalty”, the Portuguese-French producer and DJ has always had a knack for making his tracks sound bigger than they appear. Through auspicious creativity and dramatic flair, EGZOD’s music has a way to captivate listeners with thunderous drums, supernatural synths, and surprise elements from one track to the next. That work ethic is exemplified on his latest single “The Way Out” featuring Bertie Scott.
The song starts with a distant horn that sounds like the intro to an epic story. Bertie Scott chimes in with this whispery-singing that sets a calm tone to this otherwise anthemically-building song. The synths on this future-bass, melodic dubstep drop are stacked like a thick wall of euphoria while the drums pound like shots in the dark. On the second go around, EGZOD’s drop takes a hyper-house beat and goes in while the synths fortify their captivating soundscape. If any of EGZOD’s song were to make it to the legendary Spinnin’ Records, I’m ecstatic that it’s this one.
Make sure to take a listen to “The Way Out” via Spinnin’ Records.

This article was first published on Your EDM. Source: EGZOD Makes Spinnin’ Records Debut with Bertie Scott on “The Way Out” [Out Now]
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Facading Proves He’s A Mainstay In Powerful Single “Tonight”

Vetted Artist Facading is here with another powerful banger. The DJ and music producer virtuoso is ready to continue his mission of conquering the music world with yet another certified hit “Tonight”
‘Tonight’ starts off with an energetic and almighty vocals, with powerful drums, and a layer of ambience that lets the melody slip in to become the center of attention; soon, a hard-hitting drop comes and releases the party. This track is a perfect mix of EDM and Drum n’ Bass showcasing the artists signature flavour that will surely make everyone who listens to it move. Electrifying pads and synths keep the vibes up, as the catchy one-liner “Feel So Alive” melody repeats throughout the song without being monotonous taking the center stage once more.
The gifted artist has made the release of high-quality music a constant habit; getting him closer to reaching new milestones and accolades with each new track. Recently, he released singles like ‘Crossed The Line’, ‘Walk Away’  and many more.  Facading takes on the EDM world seamlessly garnering over 12 millions streams on Spotify alone.  He is surely not one to miss as his signature sound and sonic explorations take his music to new levels with each release.
Facading is a relentless artist that shows no signs of slowing down as every release under his name has the stamp of an authentic hit.

This article was first published on Your EDM. Source: Facading Proves He’s A Mainstay In Powerful Single “Tonight”
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