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Born-and-raised in Chicago, Gusted is the brainchild of 21-year-old Danny Dickmann. Drawing inspiration from an eclectic mix of artists such as Patrick Topping, Justin Jay, Narciss, Marlon Hoffstadt, and Salvatore Ganacci, Gusted’s sonic identity surpasses his years, as evidenced by his meteoric rise in the industry. His debut chart-topping single, “Jet Plane,” released in late 2022, quickly amassed 25+ Million streams. Recently, Gusted shared the stage with deadmau5’ Testpilot alias for a sold out show at The Brooklyn Mirage. Now he’s back, this time dusting off Dead or Alive’s classic hit “You Spin Me Round (Like a Record)” with a electrifying, upbeat techno/trance infused arrangement. It’s the perfect song to kickstart any morning with it’s pulsating bass line, pumping four on the floor groove, driven by these iconic vocals. “This track was crafted during a period of creative stagnation when it seemed like nothing was clicking,” shares Gusted. “My friend Justin Jay encouraged me to not overthink it, which helped me break through the writer’s block. I ultimately created a track I’d want to perform live.“ The choice of the original Dead or Alive song holds personal significance for Gusted, lending back to his earliest musical influences. “The original Dead or Alive song was on my first little iPod. I remember listening to it countless times, as I had only a few songs downloaded. I made the remix without overthinking it, simply sending it around, and to my surprise, it resonated with people. It reaffirms that my best tracks emerge when I’m in a carefree, exploratory state of mind, not fixated on the final outcome.“ Listen below! This article was first published on Your EDM. Source: Gusted Dusts Off Dead or Alive’s “You Spin Me Round (Like a Record)” With Electrifying Remix

We can always count on DJ Susan’s Hood Politics imprint to showcase the best rising talent around. This week’s spotlight is two immensley talented artists, CRMBS & SCHEINY, teaming up for a whopping one-two punch of releases this week, first providing their flip of Outkast’s “The Way You Moov” and then a sizzling original “Sidechick.” Transforming Outkast’s classic ‘I Like the Way You Move’, CRMBS and SCHEINY bring an infectious groove, foot-shuffling bassline, and breakbeat elements to create a melodic, vocal-driven smash. Similarly, ‘Sidechick’ boldly reimagines the Pointer Sisters’ ‘Betcha Got a Chick on the Side,’ infusing a percussion-forward bass house vibe with a relentless bassline, thumping beats, and modernized vocals, delivering a modern feel on a classic. CRMBS shares that, “Spenser and I met in 2017 in the Bahamas while on “Holy Ship”. Since then, we’ve become the closest of friends, regularly sending music back and forth for input, inspiration, and just a “hey what do you think of this?” As DJ’s, we’ve both started focusing on music production over the past year or two, so the fit was natural for us to collaborate on some music together. Our tastes both lean heavily towards driving club tracks, so when we sat down to make something together the first qualification was that the tracks were “club friendly”, and ready to do some damage on the dance floor. What we ended up with was not one but two tracks, both with their own sense of identity, but both ready to get some bodies moving.” In addition to each of these releases, SCHEINY & CRMBS will deliver a thrilling b2b, offering direct support for tech house queen Wenzday at Sound Bar in Chicago on December 9th. Tickets are available here. Listen below! This article was first published on Your EDM. Source: CRMBS & SCHEINY Remix Outkast & Releasing Sizzling Original Single “Sidechick”

The major update includes next-generation Neural Mix™, Crossfader Fusion™, and Fluid Beatgrid™. Algoriddim has released a major update to its Apple Design Award-winning djay app on iOS, iPadOS, and macOS, featuring the next generation of its groundbreaking Neural Mix™ technology. This major update – free for existing djay users – also features Algoriddim’s new patented Crossfader [...] The post Algoriddim Unveils djay Pro 5.0 appeared first on DJ Life Magazine.

Time is ticking down to the highly anticipated solar eclipse next April, and the Texas Eclipse festival has proven to be the place to be not just to catch this celestial sighting, but also for an incredibly unique 5 day experience where people, music, art, space, and technology will converge. Building onto their already massive phase 1 lineup of artists (Big Gigantic, Tipper, Bob Moses, LP Giobbi, Barclay Crenshaw + more) they’ve just revealed another wave, adding even more depth to the lineup. Joining in on the fun will be funk-tronic duo The Floozies, the hypnotic sounds of Maya Jane Coles, a beautiful sunset set from Seth Troxler, and a rare “mushroom jazz set” from Mark Farina. There’s plenty more A-listers, as Paul Oakenfold, Vintage Culture, Christian Martin, David Starfire, and The String Cheese Incident are slated to perform. Philosophically, the variety of music that will be represented at Texas Eclipse is curated to inspire both curiosity and discovery. It also highlights the common threads that bind us as humans together as a global community. It’s a place where we are invited to connect on a profound level musically, recognizing the shared human experiences that unite us all. Get tickets here. This article was first published on Your EDM. Source: Texas Eclipse Announces Another Wave of Artists Ft. The Floozies, Maya Jane Coles, Seth Troxler, Vintage Culture + more

If you’ve been following where dance music and pop music intersect, you’ve probably heard of the production duo Grey. Composed of brothers Kyle and Michael Trewartha, this stealthy duo is behind the production on two songs that have more than a billion streams on Spotify (“The Middle” and “Starving”) and they’re also three-time Grammy nominees. That’s an impressive resume regardless of genre, and now Grey are ready to step into the limelight themselves with their upcoming CONTRA EP. Featuring the already released singles, “7-DS” with AWAY, “RAVEN” with Virtual Riot and the just released title track. CONTRA is shaping up to be a tremendous showcase for the brotherly duo’s production talents. “CONTRA” in particular really highlights how great these guys are at sound design. We got the chance to sit down and chat with the guys about we’re they come from musically, how they’ve grown after almost a decade of making music, advice for those coming up in the industry and more. Check out our exclusive interview below. Hey guys, thanks for chatting with us. First off, tell us a little bit about yourselves and how you got into making music. Kyle: “So, we’re brothers, and we’ve been obsessed with music since we were kids. We used to just ride around our town on bikes and skateboards listening to dream theater, like prog-metal, we used to listen to very complicated music when we were growing up. And as we got older, I started making music first, Michael would help me out with it and then we got into EDM in 2010. And we just decided to start a project together in 2015.” Michael: “So, we kind of started thinking of music in more of an analytical way.” K: “Drumline, especially in the school we went to, was very serious and regimented. They wanted us to be the best that we could be and we were just putting everything into that. So, it really shapes the way you view music when you approach it that way. Some people just come into producing like I just want to create cool vibes or something. But, we’ve always had a very intense approach to perfection.” Most people know you guys for your collabs with Zedd, how did that partnership first come about? Anything in the future with him? M: “Yeah, I was working at an Olive Garden in Laguna Niguel and Kyle was out in Santa Monica doing his project called Singularity or Kyle Trees? So, we decided to start a new project together called Grey, and then we were just like let’s try to make some remixes. At the time, True Colours had just come out, Zedd’s album. And we just got the vocal for “Beautiful Now” and remixed it.” K: “And then we did a remix for Jack U, “Where Are U Now” with Justin Bieber. We just had these two bootleg remixes, neither of them official. And my friend said that he had Skrillex’s email, and I didn’t believe him, but we just sent it anyway, and it was Sonny. He listened and was super impressed with the music and sent it to Zedd. And Zedd told me later, that was the first time Sonny had ever sent him anything. So, he was stoked to listen to that and then he hit us up and we had a meeting with his manager the next day.“ M: “Yeah, I was on my lunch break at Olive Garden when he told me, and I was like okay shit, and I just quit that day. But, we found out later on, we had a session with Skrillex and he told us that he never checks that email, it’s like a spam email, and he said he checks it like once a month and just clicks the top one, and that’s just what he did.” Tell us about the upcoming CONTRA EP? Tell us about the process behind the music and how you guys have come up with a signature sound for Grey? M: “Well, we were making a lot of pop-centric stuff for a pretty long time, there. And, the last like real, electronic thing, if you want to call it that, that we did was called Chameleon, an EP we did. And we just kind of missed just going crazy and just making some banging electronic music. So, we decided to go back and make an EP like that again, which is super fun. But, now, after doing a whole lot of pop for a while, we’ve kind of gotten a lot better, especially in terms of songwriting. And just doing a cool blend of having real good songwriting and mixing it with the crazy electronic stuff. And now we can also sing on our stuff too, which is really fun.” K: “Working on electronic music makes you good at sound design and drops and all that kind of stuff. Working in pop music makes you a better songwriter, lyrically and melodically. So, it’s definitely a combo of the two areas that we’ve spent the most time working in.” M: “And there’s definitely a lot of worldly samples in there, as well.” When you’re working on a song and collaborating with other people, people probably have in their mind a certain picture, like that Beatles’ documentary of artists just jamming out in the studio. When you’re doing more electronic and pop based stuff, what’s that process like? Is there any jamming out on instruments or is it just sending files back and forth. M: “I feel like it depends, definitely in the song writing process there’s a lot of jamming acoustically like you’re saying. But, I can remember just being in the studio with Val and we were just nerding out on weird sounds to add. And certain things would spark other ideas from other people, and maybe you add a little bit of guitar or something to certain parts.” K: “The way it usually goes is like he said, when you’re writing the topline and the most basic part of the song it’s good to be in the room and collaborating. For the whole middle section, all the producing, the main part of it, most producers like to do that alone. Because, it’s so much like an exploration process and trial and error. And it takes so long, it’s #1-boring, and #2 a little bit, it’s a lot of pressure to have someone over your shoulder in those type of moments. So usually we’ll do that on our own and the come back for the final piece, for touch-ups. Touch-ups are really fun to do together.” You guys recently went on the road. How was your trip to Japan? What’s it been like touring internationally and where can fans expect to see you perform in 2024? M: “It was super fun, it was our first time going for Halloween and I’m a big anime fan and everyone was dressing up as anime characters. One of the shows we played was a Halloween show and everyone was dressed up, it was really crazy. We added a bunch of crazy anime mashups into our set, and, yeah, it went off.” K: “We did this remake of Bohemian Rhapsody a long time ago to make it sound modern and really full and we play it in all of our sets. But we thought it would be really funny to change the acapella into a Japanese guy singing Bohemian Rhapsody, so we played that and it’s just hilarious, it’s really hype.” Is that anywhere for fans to see on YouTube? K: “No, I don’t think anyone can hear it right now. That would be cool though.” Do you have a wish list for anyone you’d like to work with? M: “I really like Imanu, he’s been crushing it recently. We always gotta shout out our friends, Winston, they’re insane.” K: “We’ve been listening too, on the EDM side, Seth Hills. And Mesto, both of those guys make really cool stuff.” What advice do you have for producers and musicians trying to break into the industry? M: “I feel like you need to always know there’s a huge portion of it that’s luck. And you just have to prepare yourself for when you do get lucky, and just try yourself to be as ready as you can be for when that random moment happens that you happen to be seen by some important people that your stuff is good enough to make a difference.” K: “Another thing I would say is it’s a balance between marketing and skills. I know a lot of our friends are just the most talented producers I know, but they, like us, struggle at marketing. They spend all their time producing and getting really good at songs, but no one hears them. And I’ve met people on the other side of the spectrum, all they do is make Tik Tok videos and they have no idea what they’re doing, music wise. The best thing you can do is have balance between those two things.” M: “I think being able to show yourself as much as possible, instead of just listening to your music, they get to know you. That’s also part of it, having a personal relationship with people. And then also, you can use music to show people that you’re a type of writer.” Thanks guys, any words for the fans or anything else you’d like to add? M: “I mean, ‘Starving’ and ‘The Middle’ is something to be proud of. It’s pretty crazy.” K: “Even now, when you look at the billion club, there’s not that many songs. So, that’s awesome. One tour that really stands out to me was our tour with Zedd in the US and Japan, it was so fun.” M: “I think just being able to have this be a career still, for so long, that we haven’t had to go back to working.” K: “Thanks for sticking with us all this time.” M: “Look forward to the last two songs of the EP, they’re really cool.” Check out the latest from Grey, “CONTRA” out now on Lowly. The full CONTRA EP is slated for release in early 2024. This article was first published on Your EDM. Source: Grey Talk Their Musical Origins, Upcoming EP, Evolving as Songwriters and More [Interview]

Bruno Furlan is one of the most prolific tech house artists in the game right now, consistently slinging out groovy, sometimes peak time tracks, that altogether has built an incredible following to his illustrious career. Now, he’s back, this time teaming up with Deeft for their single “Space Bump” via Matroda’s Terminal Underground imprint. It’s a pulsating underground track that boasts an intoxicating groove impossible to resist. It’s a forward thinking track that sonically lives up to its outer space brand, as deep bass warbles reminsicent of never ending black holes weave in and out throughout the song. “Excited to share my next single, a tech universe track called ‘Space Bump’ with my good friend Deeft. This track has been a big part of my sets and now it finally has home on Matroda’s imprint Terminal Underground, which will be out on December 1st. Mark your calendars for the last single coming out in 2023.” – Bruno Furlan Listen below! This article was first published on Your EDM. Source: Bruno Furlan & Deeft Drop Sizzling Underground Signle, “Space Bump”

Formed in 2017, Black Bouquet aren’t exactly a “new artist,” but neither are their influences. With their first single, “Until You’re Gone” appearing on Spotify in 2020, they already had an extremely well-formed sound, comprised of Joy Division-era post punk synths, goth and art rock drums and arrangements, Cure-inspired guitars and Killers-emo-era everything else, even in the early stages all the members of Black Bouquet were at the top of their game. This “new” sound made up of all the best parts of emo indie has only continue to develop through two more singles and an EP, and now the large six-piece ensemble band are ready to release their debut album, Pray to the Knife, in February. With the first single and video from Pray to the Knife, called “Run and Hide” just released, fans can now hear what’s in store for the rest of the album. “Run and Hide” is probably the most straight up an down emo track on Pray to the Knife, giving My Chemical Romance-meets-The Killers-meets-“Love Will Tear Us Apart” synths. There’s a decent punch of metal to this song as well, with vocalist Violet O adding more goth sensibility with a vibrato to the vox that connotes She Wants Revenge vibes. While the rest of the album is just as well-composed and performed as “Run and Hide,” there is a lot of variance in style, as Black Bouquet prove again that, despite being in black and grey, they’re certainly not monochromatic in sound. The intro track, “My Love” toggles back and forth between minimal acoustic, almost folkish acoustic guitars and raging, theatrical goth metal. “Prom,” on the other hand, is driven by deep, Michael Rumple’s deep, heavy Disintegration-era Cure-style drums whilst the guitars are lighter and funkier. “Serpents” combines 80s new wave synths with guitar rock and the album closer, the title track is more of a theatrical goth lullaby. No matter which of the many styles strikes a fan’s fancy, all of Pray to the Knife is composed, mixed and performed to perfection. If Black Bouquet had come along in 2006, they would have easily ruled the emo world and possibly even united it. Now, however, they stand to resurrect it with modernized techniques, electronic flare, a full orchestral compliment and more drama than their predecessors could have imagined. Here’s hoping they do bring back the Scene scene, because this album and the band that created it deserve to be celebrated. “Run and Hide” is available now on Black Bouquet’s Bandcamp and Spotify along with the rest of their stunning discography. There will be one more teaser track in late December before Pray to the Knife drops in full on February 16. Check out their other videos on YouTube. This article was first published on Your EDM. Source: New Artist Spotlight: How Black Bouquet Updated Emo By Adding Early Goth, Electronica and Post Punk [Video]

If you’re a fan of bass house music, you’re probably familiar with German producer/DJ Marten Hørger and his collabs with the likes of Dr. Fresch and BIJOU. However, he doesn’t just reside in the bass house community. Marten previously collab’d with David Guetta on “The Freaks” earlier this year, and he just released his highly anticipated collab with Dillon Francis “On a Trip” as well. We got the chance to talk with the rising German star about his big year, his recent North America tour and how he stays grounded. Check out our exclusive interview below. Hi Marten, thanks for taking the time to chat with us. Tell us a little bit about yourself, how did you first get into music and what has led you to become the producer that you are today? “Thank you for having me! Dance music has always been something that touched me deeply. After having a few other projects in Music and Music Business I ended up focusing all my love and attention on making House Music in 2018. My first House record ‘You Don’t’ (with Neon Steve) became a bit of an underground hit. And I started building from there.” Tell us what it was like touring North America? You’ve really blown up over the past couple of years, what’s it been like seeing the response to your sets in person? “When I started North America was the continent that supported me first, when no-one car‹ed about my music anywhere else. I still have so much gratitude for that, North America is where my heart is! It’s been great to feel the love for my music and my live shows growing so much since then. But the best thing about it is that I can just be myself, play the music that makes me happy and do only the things that I want to do. I love it!” What’s it been like playing some main stages over the past year or so including Tomorrowland and EDC? Was that something you ever dreamed would happen? “I remember writing these exact words on my ultimate goals list: ‘EDC MAINSTAGE & TOMORROWLAND MAINSTAGE (LOL)’. Note the (lol) behind it. It was a big dream but I never thought I would get there. I think that explains pretty well how it felt when it finally did happen… hahah.” Speaking of great locations, I heard you go to support David Guetta’s Ushuaïa residency. What was that like having a summer home that’s so iconic? “It was another dream coming true. It’s the best party on the island and even in the whole world if you ask me. I love David for everything he has done for me.” I heard you have an internal clock hack and that you always sleep according to your home time zone in Germany. Tell us about that and how you avoid jet lag and other travel related issues like that? “Hahahah, yes! I always stay in the German time zone, no matter where I am. If it’s 22:00 in Germany I go to bed. All schedules, meals, travel, etc. has to be planned & adjusted accordingly. And my team does an incredible job of making it all happen. With the life I get to live now jet lag & lack of sleep is the biggest obstacle. And everything has changed so much since we solved that. Its magic.” What do you have planned for the rest of the year and into 2024? “I’m having a whole month of European shows ahead of me. Followed by my first big Asia Tour in December. Incredibly excited!” When you’re not producing, what do you like to do in your free time? Any shows on streaming or book recommendations? “I looooooooove cooking. It’s a big part of my life. But that also means that there is not much time for watching series or movies. So my recommendation is: Sit down and learn how to make epic food instead of burning time on Netflix! It will make you so much happier <3” Check out the latest from Marten Hørger and Dillon Francis “On a Trip” out now on Universal. Check out Marten’s Parookaville set from earlier this summer as well. This article was first published on Your EDM. Source: Marten Hørger Talks His Big Year, Touring and His Unique Sleep Schedule [Interview]

Imazee, the artist born out of a profound love for music, takes center stage with his latest Deep House EP, ‘Dark Dream.’ Released via Rebel Musique, the independent label that empowers artists to embrace their destinies, this EP is not just a collection of tracks; it’s a rebel anthem that echoes through the realms of electronic music. Imazee’s dedication to Deep House is evident in every beat and melody of ‘Dark Dream.’ The EP is a sonic journey that captures the essence of creativity within the genre and Imazee’s evolution as an artist. As the beats of ‘Dark Dream’ reverberate, listeners are invited to express themselves through rhythm and melody on the dancefloor. Imazee’s self-taught production and mixing skills shine, creating a seamless blend of sounds that create an invigorating and introspective atmosphere, Imazee’s passion for music combined with Rebel Musique’s support creates an unstoppable force. The relaxed expression of creativity is palpable in every beat, making ‘Dark Dream’ a must-listen for anyone seeking a dance worthy experience. Immerse yourself in the musical universe of Imazee on Youtube and discover the Deep House revelation of ‘Dark Dream’ on Spotify and Apple Music. This article was first published on Your EDM. Source: Imazee Releases Global Groove ‘Dark Dream’ EP via Rebel Musique

Since initiating his project in 2014, Sullivan King has risen to prominence as a prominent figure in heavy metal and bass music. Particularly noteworthy is his album Thrones Of Blood, introduced from this past March, which has garnered an impressive 40 million streams to date. Now, King is further intertwining these realms by unveiling his massive remix album, Overthrown (The Thrones of Blood Remix Album). As expected, it’s loaded with a roster of heavy hitters, including Blanke, Kompany, LAYZ, Jessica Audiffred, and plenty of others. This may be one of the most high energy releases of the year, guaranteed to make head bang the whole way though! A few standouts include Kompany’s flip of King and Kai Wachi’s anthem “Riot.” Using King’s vocal screams to build a wave of energy, that wave comes crashing down when Kompany unleashes an absolutely monstrous drop. Jessica Audiffred’s remix to “The Death March” is of epic proportions – feeling like the perfect main stage track for a festival like Excision’s Paradise Blue. We’re thrilled to provide you with an exclusive Q&A with six of the remixers (Blanke, Kompany, SIPPY, Chime, GHENGAR, and LOUIEJAYXX) about who takes the throne in bass music. Each artist dove into their top festival, artist, and song across bass music, each providing a quote for their remix as well. Check it out below! Sullivan King – “End of Us” (Chime Remix) What festival takes the throne in bass music? Rampage! The variety of genres and cultures that are collected at Rampage and its Open Air events cannot be matched. What artist takes the throne in bass music? Au5. Honestly one of the most under-appreciated artists in our scene with a ridiculous catalog of quality and widely varied music. Also, one of my absolute favorite people I have worked with in the industry. What song takes the throne in bass music? For this, I will have to pick the most quintessential dubstep track – the one that just does everything I want from the genre. For me, it is Skrillex’s “Right In.” QUOTE: “For this remix, I wanted to take Color Bass as far over to the heavy side as possible to prove the range of the sub-genre. A melodic Sullivan King track proved the perfect base to make that happen.” – Chime Sullivan King – “Someone Else” (Blanke Remix) What festival takes the throne in bass music? Lost Lands is the obvious choice here. An absolutely chaotic weekend with all the best artists in bass music getting to play, hang out, and run amok for three days. Because it is so focused on bass music, Lost Lands is awesome to see so many underground artists getting a stage to play on. The guys who usually get the open slots are suddenly playing massive stages at a festival and it is incredible. They have also gotten around to pushing Drum n’ Bass in recent times too, which is huge. What artist takes the throne in bass music? Overall, Skrillex. He has legitimately surpassed any boundary, genre or otherwise, therefore showing that his taste is above all else. He has arguably done more for bass music than anyone else. But as a producer, Space Laces takes the throne as being one of the most influential and inspiring acts solely in bass music. One of the few artists that make other artists want to quit producing out of awe because we do not know how he made this sound or made that groove feel so swaggy, or this mixdown so clean. What song takes the throne in bass music? “Bonfire” by Knife Party. QUOTE “Absolutely loved creating this remix for ‘Someone Else.’ I really enjoyed the song after hearing it on tour with Sullivan King a bunch, and was super excited when Keaton asked me to remix it. Being one of the heaviest remixes, in fact, releases I have ever done altogether, I was able to have so much fun writing it. Each drop is its own thing, truly going on a journey with the production and the song overall.” Sullivan King & Kai Wachi – “Riot” (Kompany Remix) What festival takes the throne in bass music? Lost Lands – they manage to step their game up every year. What artist takes the throne in bass music? Impossible to narrow it down to one person, but my personal favorites have to be Svdden Death and Subtronics. What song takes the throne in bass music? That new SVDDEN Death and Marauda ID. I am so excited for that one to drop! QUOTE: The ‘Riot’ remix was a fun one for me because I got to channel a bunch of aggression into this track to fit the vibe of the original. Also, I had a bunch of fun slowing down the 2nd drop to make something perfect for a circle pit!” Sullivan King – “Watch The Crown Fall” (SIPPY Remix) What festival takes the throne in bass music? For me, when it comes to bass music, nothing quite beats Lost Lands. It is named Dubstep Disneyland for good reason. The sense of community that it brings from both an artist and festival-goers is unlike any other for bass music. What artist takes the throne in bass music? There are so many that I could put as #1! And there are definitely two fighting for the top spot. But I think the ones that I will put as #1 have to be Zeds Dead. They are one of the reasons why I am here in bass music and I think they have managed to encapsulate the essence of “bass music” over a variety of different sub-genres whilst still keeping true to bass music. What song takes the throne in bass music? My #1 for the song that takes the throne comes from a little left field. “Bring It Down” by Emalkay. This song always gets me hyped. It is from 2012 so really takes me back to the period of time when I was really getting into bass music. It feels like the perfect track that reminds me of why I fell in love with bass music. QUOTE: “I loved working on this remix! The guitar solo in particular hits me in my feels every single time. It gets me so hype! Writing it just kind of fell together for me; it happened so naturally. So much so that I considered changing it, but once I played it live and saw everyone’s reaction, I realized that this was meant to be! I love playing it in sets and love where I took the original.” Sullivan King & Excision – “Fall Apart” (GHENGAR Remix) What festival takes the throne in bass music? The festival that takes the throne in bass music has got to be Lost Lands. What artist takes the throne in bass music? The best artists are the DMT elves who grant us access to the Akashic records. What song takes the throne in bass music? The best song in bass music is every GHENGAR song playing at the same time! QUOTE “Sullivan King and I have been friends for nearly 10 years and I have been a fan of Excision since 2011, so to do a remix for them, especially one with such a big and colorful melody, was extremely fun. I feel like I got to experiment a lot with this track, and I am really happy with how it came out!” Sullivan King, Vastive, & Left to Suffer – “Die By My Hand” (LOUIEJAYXX Remix) What festival takes the throne in bass music? It would have to be Lost Lands! The overall experience of the festival alone is what takes the throne! The fact that it is not only limited to bass music but features a variety of other electronic music is what helps make it one of the best out there. What artist takes the throne in bass music? Subtronics. From his unique sound, to his energetic sets, to the movement he’s created is what allows him to take the throne! What song takes the throne in bass music? A song in our opinion that takes the throne in bass music is “Rumble” by Excision and Space Laces! It takes the throne because of the impact it has had on the culture. Everything about this track to us is perfect. It is definitely a reason why they are some big inspirations for people all around. Everyone already expects something big is about to take place when it starts building up. That is how much impact the song has in the scene! Road Dog Anthem (Benda Remix) What festival takes the throne in bass music? Lost Lands holds the throne of the best festival in bass music , there really isn’t anything better than dubstep disneyland with all your favorite homies and artists What artist takes the throne in bass music? For the throne of bass music i have to give it to the big boss Excision. From putting countless of underground artists on absolutely huge lineups to putting on some of the craziest festivals – the guy really helps push dubstep to more and more ears each and every year! What song takes the throne in bass music? Currently I think ityx – goober holds the throne! been one of my favorite tunes to play out in my recent sets !! “Someone Else” (Bossfight Remix) What festival takes the throne in bass music? As a European, I have to go with Rampage. Since Dubstep is so underrepresented here, it’s like magic whenever they host one of their massive events. What artist takes the throne in bass music? Space Laces without a doubt. He’s been, and still is one of the leading innovative forces in almost every aspect for a long time. I’m highly convinced bass music, and especially dubstep, wouldn’t sound the same without him. What song takes the throne in bass music? Rumble by Space Laces and Excision. To me, it’s the perfect track. It’s heavy, incredibly memorable, and perfectly mixed and produced. This article was first published on Your EDM. Source: Sullivan King Drops Massive Remix Album Featuring Blanke, Kompany, Jessica Audiffred, Chime, and more

So, you’re looking to master a song yourself in 2024? Well, you’ve come to the right place. However, this will not be your typical guide on how to master a song. Most guides and YouTube tutorials give you a list of plugins to use. But they don’t give you context. And they don’t tell you […] The post How to Master a Song in 2024 – An Easy Guide to Follow appeared first on EDMProd. View the full article

Damon Sharpe, a true industry titan, continues to prove his mastery across various facets of the music world. With a successful artist career boasting support from the likes of Armin van Buuren, David Guetta, and Martin Garrix, along with releases on Armada, Insomniac, Hood Politics, Hysteria and dance radio chart success, Sharpe has firmly established himself as a force to be reckoned with. Not content with just his own success, Damon Sharpe took on the role of a tastemaker by founding Brainjack Music. This label is synonymous with his radio show on Insomniac Radio and has played a pivotal role in catapulting artists to stardom and delivering hit songs to the masses. Sharpe’s talents extend beyond the electronic dance music realm, as evidenced by his work producing for heavyweights like Jennifer Lopez, Kylie Minogue, Pitbull, Ariana Grande and more. His diverse skill set positions him as a jack of all trades in the music industry. That’s why we’re absolutely thrilled to cover Damon Sharpe’s latest release, “Wherever You Go.” This track is a perfect blend of nostalgia and freshness. Viiq’s ethereal vocals add a magical touch, making it a must-listen for fans of innovative and captivating electronic music. Do yourself a favor and dive into the sonic world of Damon Sharpe’s “Wherever You Go” – , available on Apple Music and Spotify on Brainjack Music and Liftoff Recordings. Catch Damon Sharpe live at Slate NY on Saturday November 18th 2023 for his very first east coast headline show with support by Alo Wiza and Torie. This article was first published on Your EDM. Source: Brainjack Music Founder Damon Sharpe Drops EDM Perfection With ”Wherever You Go”

In the dynamic landscape of contemporary music, a new star is rising, captivating audiences with her unique blend of rhythms and melodies. Meet NIVANA, the pop sensation who is redefining the music scene with her electrifying fusion of funk, disco, and pop. NIVANA isn’t just a musician; she’s a movement, bringing retro charm into the modern era with a style that’s as refreshing as it is nostalgic. From a young age, NIVANA was enchanted by the world of music. Raised in a quaint town, she found her escape in the timeless tunes of disco legends. The pulsating beats and catchy melodies of icons like Donna Summer, Michael Jackson, and Earth, Wind & Fire didn’t just fill her ears; they fueled her dreams. These influences are evident in her music, which sparkles with the same shimmering energy that once lit up dance floors around the world. NIVANA’s songs are more than just a collection of notes and lyrics; they’re a vibrant tapestry of emotions and experiences. Her music resonates with those yearning for freedom, self-expression, and unadulterated joy. Her voice, unique and unmistakable, weaves through her tracks, creating an immersive experience that transports listeners straight to a neon-lit dance floor where the energy is infectious, and the night never seems to end. But NIVANA’s impact extends beyond her music. She stands as a beacon of inclusivity and empowerment, using her platform to foster a sense of community and celebration among people from all walks of life. Her message is clear: everyone is welcome in the world she’s creating, a world where individuality is not just accepted but celebrated. As NIVANA continues her meteoric rise in the music industry, she invites us all to join her on this exhilarating journey. With each song, she redefines what disco means for a new generation, proving that this beloved genre can evolve while staying true to its roots. So, get ready to dance, to feel, and to be part of a musical revolution with NIVANA, the artist who’s not just making music but making history. This article was first published on Your EDM. Source: NIVANA: Reviving Disco with a Modern Twist on ‘Merry Me Santa’

On November 24th, ‘European hip-hop’ rogue agent Papa Aashi broke tradition and boundaries with his fresh new song, ‘boyz II men’. Blending jazz, blues, indie rock, and trip-hop into a unique brand of hip-hop stylings, the Amsterdam-based artist’s music is informed by a wide array of cultural influences. Born in Brussels, and living between the cultural crossroads of both Kazakhstan and Ireland before landing in Amsterdam, Papa Aashi offers a fresh perspective on cross-cultural storytelling through his music. Over the past year, Aashi has stormed the stages of prominent clubs in both Amsterdam and London following the success of his debut 2021 album, ARIA. Stream the new single ‘boys II men’ right now: The direct reference to Motown legends notwithstanding, ‘boyz II men’ highlights the rapper and producer’s captivatingly mature flow and varied approach to compositional influences. Down-tempo but in no way dull, the new track offers an experimental approach to structure. Discontent with following the norm, Papa Aashi delivery is a distinct brand of bars. As the vocals smoothly steer the track’s momentum, Aashi traverses his genre-bending production style with panache. With a bright funk-dance flair, the production work showcases Aashi‘s signature groovy timbre and melodic magic. Subtly sucking listeners in with new sounds whilst offering familiar hooky progressions. From his early days as an EDM DJ to immersing himself in the underground world of trap, Papa Aashi has metamorphosed into a new-age European rapper and producer; laser-focused on honing his sonic identity and carving out his own unique lane within the electronic music scene. Follow Papa Aashi: Facebook – Instagram – Spotify

Since their creation, the Danish trio WhoMadeWho has been a driving force in pushing the boundaries of music, seamlessly blending Indie, Disco, and Techno into an electrifying fusion that continually leaves audiences in awe. Comprising Tomas Høffding, Tomas Barfod, and Jeppe Kjellberg, the band has built a discography that spans over a decade. With a legacy that stretches from Circoloco to Coachella, their live performances have garnered a reputation for being nothing short of legendary. Memorable performances, such as the legendary Cercle appearance at Abu Simbel temple in Egypt, and their widespread collaborations with electronic music elites, have solidified their reputation as trailblazers in the industry. Their musical evolution is evident in their seven studio albums, with the 2022 release UUUU receiving widespread acclaim for its fresh and innovative sound. Now, they’ve announced their forthcoming and highly anticipated new live tour, promising to be a groundbreaking and unforgettable experience and will feature a brand-new mesmerizing stage design crafted in collaboration with the worldwide renowned architecture group BIG (Bjarke Ingels Group), cutting-edge visuals brought to life by flora&faunavisions, EyeMix Studio, and Christopher Mulligan, and, of course, all of the signature sounds that have defined WhoMadeWho as a globally renowned electronic live-act. “We cannot wait to present this new project, which is by far the most ambitious and elaborate we have ever worked on. With the help of several astonishing artists of different fields, we will this year, be able to connect with our fans in a new progressive and immersive way.” – WhoMadeWho This tour is expected to showcase the band’s creativity, energy, and commitment to providing an unforgettable live experience. The future of live performance and electronic music is unfolding, and WhoMadeWho stands at its forefront. Check out the full list of dates below. This article was first published on Your EDM. Source: WhoMadeWho Shares Dates For Forthcoming Live World Tour

Multi-disciplinary musician and producer Lauren Mia recently released her highly anticipated debut album RE:BIRTH – an impressive 13 track composition is a vulnerable and symbolic tale of growth, self-reflection and actualization that drives through the tracks and into the spirit of her audience. Boasting expertly produced analog soundscapes and ferocious melodic chord progressions, the album expands upon the composer’s roots in Melodic Techno and Progressive House. Starting off with “Initium”, the Latin word for beginning, the album’s triad of singles leading up to its ultimate release follow, which put just a sample of Lauren’s musical range in the spotlight. Listeners saw the shadow-work inspired “Shadow”, plant medicine influenced “Ceremony”, and flow-state fueled “Ashes In Paradise” showcase the diversity to be expected from her first full body of work. With her first hard techno deliveries like “444”, expansive melodic spectacles like “OliM”, brooding progressive productions like “Fidelity”, and energetic, percussively eclectic installments like “Lakshmi” – RE:BIRTH is a full-bodied delivery of expansive electronic music that while varied, unequivocally boasts Lauren Mia’s impactful, dynamic signature sound throughout each of its measures. Listen below! This article was first published on Your EDM. Source: Lauren Mia releases impressive debut album – RE:BIRTH

Returning with his first release in two years, Martin Vogt, better known in the space as Haywyre, recently delivered his latest Monstercat single “White Lie”. Making a welcome return to the marquee electronic imprint after 7 years, “White Lie” is a buoyant, introspective production that sets the stage for a series of new releases fans can expect from Haywyre in the year ahead. Building with an expansive, brooding soundscape and striking vocals, the arrangement of “White Lie” leads into a driving, future-funk fueled breakdown. Featuring Haywyre’s diverse production palette, he fuses an unexpected blend of synths, strings, piano, bass and vocal chops with finesse for his return to Monstercat. On the new release, Haywyre shares, “I’m proud to finally get my first track in two years into the world. Especially one like ‘White Lie’, which I feel really shows a glimpse into where the Haywyre project is going.” Midwest US based Haywyre fuses his foundation classical and jazz piano training with an affinity for 21st century electronic production. With a history in live music preceding his foray into electronic, he delivers a dynamic, hybrid performance style to the stage. Haywyre has brought his future funk and melodic glitch-hop inspired sound to the stages alongside top acts of the likes of Griz, Zedd and Gramatik. Having done official remixes for major pop acts like Charlie Puth, in 2021 he received a GRAMMY nomination in the category of Best Remixed Recording for his remix of “Young & Alive” (Bazzi vs. Haywyre Remix). His songs have a laid-back yet adventurous feel, drawing from dubstep and glitch-hop while we simultaneously hear his background in funk, classical, jazz and house music perpetually shine through. After establishing his sound with early self-released albums such as 2010’s Of Mellows and Revelations, Haywyre produced more intense, complex works like 2016’s ‘Two Fold, Pt. 2’ (Monstercat), with nearly 50 million streams on Spotify alone, later switching to a futuristic disco/funk hybrid with 2018’s Panorama: Discover. Check it out below! This article was first published on Your EDM. Source: Haywyre returns to Monstercat for first original single after a two year hiatus – “White Lie”

Christopher Sluka is usually known for his serious, highly technical, expertly composed orchestral work with a hint of synth, but his newest effort is anything but serious. Unless you’re from Mexico or the American Southwest, that is. Those of us living anywhere from Colorado to Baja California know just how important tamales are year-round, not to mention Christmas. Now, “Christmas Tamales” is the anthem to the corn-based parcels we always needed for the season, thanks to Sluka and his band, the aptly named SLUKA. The lore of the tamale is vast and varied, its origins dating back millennia to Mesoamerican cultures but their current form, which inspired Sluka’s rousing Christmas ode, are still very much a staple wherever one might find a large Hispanic culture. Made of a corn masa base and wrapped usually in corn husks (in Southern Mexican and Central American areas, banana leaves are also a possible choice), they vary in terms of their flavor and filling. Traditional savory choices are usually chicken or pork with some sort of mole (sauce), but there are veggie green chile varieties as well as loads of sweet options with white corn and filled with raisins, pineapples of mangoes. In Southern California where Sluka likely discovered the traditional pocket food, tamales are available all year long at restaurants, taco trucks and even at many places of business, where industrious home cooks will sell them to hungry workers. These homemade, fresh tamales are considered the best ones among SoCal residents in the know; until Christmas, of course, when loads of abuelas from all different regions and will all different recipes get out their big pots and start to make them for family and friends. The Christmas tamale-giving season usually starts right after Thanksgiving (with delicious turkey tamales making an appearance, of course) and lasts through the New Year. Anyone lucky to be a family member, friend or neighbor to someone who makes tamales knows truly how magical they are, and it’s clear this is the type of tamale about which Sluka and his band are singing their praises. The song itself is much more lighthearted and fun than SLUKA’s usual work, which tends to be dense, emotive and complex. Clearly intended at least partially for kids, “Christmas Tamales” is joyful song, easy to sing along to with pretty simple lyrics, almost like a Christmas Carol. It’s still got that SLUKA flare, however, with loads of warm, ambient sound design and synth supporting the well-composed and produced music. Sluka’s vocals themselves are booming and jovial with just a touch of cheek, sort of like Jack Black’s in Tenacious D songs. A perfect carol to everyone’s favorite Christmas food in Mexico and the American Southwest. Sluka and his team also created an equally fun and family-forward animated video for “Christmas Tamales” using AI made by SLUKA bass player, Anna Eppink. The video is a wild ride through a Christmas wonderland where yetis shop for and prepare the Christmas tamales. Tamales also dance in the sky as the band play the song. Whimsical, festive and kind of trippy, it’s what one would expect if SLUKA did a Christmas video. While there are likely other songs about the Christmas tamale tradition, this one done with such gusto and fun means “Christmas Tamales” could be an instant classic. With nearly 200k views on the YouTube video already and 30k streams on Spotify, it’s well on its way to becoming a household holiday song and it’s a great way to tease SLUKA’s upcoming album. This article was first published on Your EDM. Source: Thank You SLUKA! There’s Finally a Song About ‘Christmas Tamales!’ [Video]

FM synthesis might sound like a scary topic to you. Or you might think that it’s only good for those Brostep bass growls. However, FM synthesis is an essential building block of sound design. And although it might seem overwhelming initially, it doesn’t have to be that way. This is why we’ve made this guide […] The post FM Synthesis: The Beginner’s Guide to Crazy Sounds (2024) appeared first on EDMProd. View the full article

It might have come as a surprise when it was announced that S.P.Y, the elusive DJ, producer and now label boss of DARKMTTR Records, would be taking over the legendary XOYO in London for the whole of November. The Brasil-born mega DJ generally only picks the gigs he’s really excited about and, with his release schedule, both label and personal, many fans might wonder how S.P.Y could make time for four Fridays. Turns out it was a simple decision for him. With the well-oiled machine that is Weird Science Promotions running most D&B gigs at XOYO (they’ve also got the likes of Grooverider, Andy C and the whole Kool FM lineup slotted for December and early 2024), and a ready-made lineup at his disposal, the first three gigs have gone off without a hitch and the series closer, taking place this Friday, promises to be a great sendoff for S.P.Y and company. The likes of Calyx, MC GQ, Etherwood, Lowqui, IAMDOOMED, Alley Cat, Voltage, Kyrist and Flava D on the roster, every week was as stunning and vibey as the last, with a super blowout for the last date (read on to find how who the special guest will be tonight). We don’t want to yammer on too much about the other stuff we chat about, because S.P.Y gave loads of excellent answers, but suffice it to say if you were looking for tips and tricks from a master producer as well as how he does his A&R, this is the article for you. Per his name, S.P.Y usually keeps his secrets close so YEDM feels very lucky he was so open in this article and we appreciate his taking the time. Now read on and enjoy spying on S.P.Y. As a producer who seems to live in the lab and who only does the gigs you really enjoy, what made you decide to do a residency at XOYO? XOYO is such a legendary club, so I felt quite honored to be asked to host a residency there. It’s an amazing opportunity to curate my own lineup and share with people, the DJs and producers that I really admire and respect. Funnily enough, it’s actually got me spending even more time in the studio as I’ve been busy finalizing new tracks to play at the residency. I know that everyone who’s coming down to XOYO are there because they like my sound, so it’s really rewarding to be able to drop some exclusive new tracks and mixes just for them. We’re just about halfway through the November dates (at time of interview); what have been some of your observations about the gigs? What are you looking forward to in the upcoming gigs? I can’t believe we’re already halfway through! The crowd at the first two nights has been absolutely incredible. They’ve been so up for anything and have really been vibing to all of the DJs, it’s such a great feeling to get to play to such a responsive crowd. It’s also been great to get to see the other DJs play. Usually I’m so busy touring that I’m in and out and onto the next show. For each night of the residency I’ve been there from start to finish and have got to enjoy everyone’s sets and really make the most of the night. Each night of the residency has a totally different lineup with a different sound, so I’m looking forward to dropping some more dubs at the next two nights. I’m also really looking forward to going back to back with Bladerunner and Flava D, that will be special! How did you pick the lineups for each week? How did you decide to work with Lowqui as your MC? While it seems like it would be really easy to curate a lineup, it was actually really difficult as there were so many people that I wanted to book. I was lucky that the final lineup had everyone that I really wanted and each night has come together nicely. I wanted to make each night unique, so the four lineups reflect that. I listen to a really wide variety of drum and bass so I felt it was important to cover all the different sounds that I enjoy. I really like working with Lowqui, he’s got a great vibe as an MC, he’s a mad hype man and he always interacts well with the crowd. It’s also been great to work with some other MCs during the residency too, like Inja, Stamina and SP:MC, they each have such a unique style and add a different flavor to my set. Coming off XOYO for a bit, you’re on year three of your DARKMTTR label and it seems curation is very important to you, and that you’re not looking for big names to release but it’s more about the sound. How would you characterise the sound of vibe you generally go for? Is it only you on A&R, or have you brought in some help? The sound of DARKMTTR is really varied. The label releases everything from dark and minimal, to moody and musical, although I feel like all of the releases seem to have a deep, heavy undertone to them, even the more atmospheric tracks. I always knew that when I started a label I didn’t want it to be pigeonholed into just one sub-genre so I really wanted it to reflect my taste in music. It is only me doing the A&R for the label and I really enjoy doing it. I use a DJ-based approach to A&R and the first thing I ask myself when selecting a track is, would I play this in my sets? Every track that I’ve signed to the label is one that I would – and do – play myself. I’ve always wanted to do A&R and it’s one of my favorite parts of running a label. It’s really rewarding to discover new music and help producers work up their tracks so they’re ready to release. What are some things you’ve learned over the first three years of DARKMTTR about running a label? How has it measured up to your expectations when you started it? I’d wanted to start a label for years and I always knew it was going to be a lot of work but nothing really prepares you for the day to day reality of running a label. It’s been a really interesting experience seeing the music industry from a label perspective. I’d only ever seen it from the artist side so it’s been quite a learning curve to see what’s involved in getting a release out there. Scheduling, budgeting and A&R, they’re all things that you aren’t responsible for as an artist and may not fully understand, but they’re vital when running a label. I’m grateful that I have a solid team around me who share the vision of the label. It’s so rewarding seeing the label grow, I can’t believe we’ve had 21 releases already! How do you decide which releases of your own will go on DARKMTTR and which you will shop other labels? Is that a difficult decision? It is difficult. I release most of my music on DARKMTTR, but sometimes due to scheduling I will look for other labels to release my music. If I released everything I have on DARKMTTR there would be no room in the schedule for the other artists! Are there any upcoming releases that tie in with the XOYO residency that you can talk about? Did the release schedule inform your decision to do the residency? The second night of the residency was actually the release day for “Take Me Up,” my new collaboration with IAMDOOMED. IAMDOOMED played at XOYO the same night and it was like an unofficial release party. It was amazing to play the track with him there and to see the crowd reaction. The release schedule didn’t inform my decision to do the residency, but it was great that IAMDOOMED could play on the same day. Talking a bit about style and sound, in the last few years you’ve been doing a lot of deep and atmospheric stuff but not necessarily melodic. What makes you inspired to change things up and how do you come up with your more unique sounds? Producing music is such an organic, creative experience for me. I can’t force a vibe or make myself produce a certain type of sound. My music is an expression of how I’m feeling emotionally at the time, or what’s going on in my life. Depending on what I’m feeling inspired by I can produce something totally different to other things I’ve been producing lately. I spend a lot of time working on sound design which seems to give me some quite unique sounds. I also have a lot of analog and modular equipment in my studio and I try not to be too technical with it. Late nights in the studio, a bit of sleep deprivation and a lot of experimentation seem to combine to produce some really interesting sounds. Basically I just have fun with it and see what I can create! Having been in the game for a while, how is it to create tracks with current methods versus 15 years ago? Do you use a combination of techniques? What sort of softwares or programmers do you use? To be honest, I haven’t really changed the way I produce. My sound has definitely evolved over the years, and I try to keep my production relevant sonically, but my techniques really haven’t changed that much. One thing that I’ve definitely changed over the past few years is my sampling. I used to sample a lot for all of my tracks, however now I create all of the sounds myself. Learning more about sound design has opened up a whole new realm creatively for me and it’s really satisfying being able to use my own sounds. I’ve been enjoying sound design so much that I’ve even started releasing my own sample packs. I listen to a really wide range of electronic music and recreate some of the techniques from other genres with my own twist. I’ve been using Abelton Live since version five and I’m really loyal to it, it’s a brilliant production tool. I also use a Solid State Logic (SSL) desk for summing my tracks in analog, which creates a really nice warm texture for my tracks and of course I listen to everything through my PMC speakers. Is there anything else you have coming up in releases or gigs that we didn’t mention? We have a release coming up on DARKMTTR in December; it’s a double release: a collaboration I’ve done with DJ Limited and another of his tracks which has an amazing vocal. I’m going to be dropping the track at XOYO so I’m really looking forward to seeing what the crowd think! Rolling into 2024 we have a bunch of new releases and collaborations lined up for DARKMTTR, but I have to keep everything under wraps for now. Keep your eyes on S.P.Y and DARKMTTR socials to see what we’ve got going on. Any advice for new producers out there? I think the main piece of advice I could give is to never stop learning. Keep improving your sound and your production, keep learning new techniques and watch as many tutorials as you can. Also, I think it’s quite easy to give up if you’ve submitted a few tracks to labels and haven’t had anything picked up. Most of the time, it’s just that those particular tracks aren’t right for that particular label, or maybe you just need a bit more experience, or you need to refine your sound. Don’t give up, keep producing and keep sending in those demos! One trick I can share is to A and B the track you’re working on with a similar track that has been released to see if you’re on the right track sonically. S.P.Y’s last XOYO set will be tonight, November 24 at XOYO. For clips and info, check S.P.Y’s socials or Weird Science Promotions’ Instagram. For upcoming DARKMTTR releases and to hear S.P.Y’s latest track with IAMDOOMED mentioned in this article, click here. This article was first published on Your EDM. Source: Your EDM Q&A: S.P.Y on His recent XOYO Residency, Three Years of DRKMTTR and His Advice for Producers

Jimmy Pé has led quite the impressive career thus far, with his music tunes already managed to catch the ear UZ, Lefto, Daedelus and has already released music on prestigious labels such as Quality Goods Records, Saturate Records, and others. Jimmy has toured in the USA, India, and Europe, he’s played Sziget Festival, Outlook Festival, Liverpool Sound City, Ment Ljubljana, Pohoda Festival, Colours of Ostrava, and has shared the stage with names like Hudson Mohawke, Four Tet, Thundercat and Dorian Concept. He’s landed club residencies in Bratislava and has even been a participant in Red Bull Bass Camp. Now, he’s back with a booming bass house EP titled ‘Blip Blop’ via Slow Roast Records along with a music video to the title track. This EP is loaded with massive energy from start to finish, as Jimmy injects each song with a dose of his signature bass house characteristics. Whether it’s the floor shaking bass from “Big PaPa”, glitchy video game-esque feel of “Electric” or the never ending drive of “Hot For You”, this EP showcases just how talented Jimmy is. The music video of the title track, “Blip Blop,” stands out as one of Pé’s most visually stunning creations to date. Exceptional cinematography, fast-paced editing, dynamic camera angles, well-suited costumes, and seamlessly integrated CGI all come together to create a visually striking adventure that effortlessly complements the adrenaline-charged bass-house soundtrack. Listen to the EP below! This article was first published on Your EDM. Source: Jimmy Pé Drops Thunderous Bass House ‘Blip Blop’ EP on Slow Roast Records

44 Ardent continues to impress us with his ability to make tunes that instantly grab our attention and lock us into a groove that orbits his world. His latest single “onlyknow” is a mix between UKG and lo-fi elements that seamlessly come together for a intoxicating experience. Paired with heavily autotuned vocals and a dreamy synth melody, 44 ardent yet again creates another sonic masterpiece. He’s been keeping himself quite busy over the last few months, releasing us a new single every couple of weeks, and lucky for us, he’s shared all of this is building towards a new EP! “When I first started 44 Ardent, this is the sort of song I wanted to make. Lots of melodic elements and layers with a dark driving bassline. The vocal was actually taken from a different demo idea from ages ago, but I sped it up and changed the pitch + it ended up fitting perfectly. I’m working on an album at the moment and I think it will have a few more songs like this. I do try to write without a particular theme or direction as much as possible though, and I tend to change everything at the last minute, so we’ll just have to wait and see what happens.” ~ 44 Ardent Listen below! This article was first published on Your EDM. Source: 44 Ardent Drops Beautiful UKG Single “onlyknow”

Multi-platinum producer, and DJ, R3HAB has just unleashed a new remix of Acid Arab’s infectiously exciting track, ‘Habaytak’. For the last fifteen years, the musician, Fadil El Ghoul, better known by the R3HAB moniker, has remixed the likes of Rihanna, Drake, Taylor Swift, and Calvin Harris, put out original tracks with huge collabs, and has dominated the mainstream whilst staying true to his Dutch-Moroccan heritage. Out now via [PIAS] Électronique, R3HAB gave the Eastern-inspired sound of the original track, featuring Ghizlane Melih’s vocals, a darker, faster-paced twist. Watch the freshly released Jean-Charles Charavin-directed video: Trailblazing through the original with his vision but never forgetting to intensify Acid Arab’s existing builds and breaks, R3HAB heightens the vocal track to spine-tingling levels. Incorporating explicit House elements and throbbing electronic bass, this club banger exaggerates the source material’s production whilst keeping Ghizlane Melih’s gorgeous vocals in the spotlight. In doing so, he not only injects the beats with his unique brand of thumping House, but he also pays homage to the Morrocan diva’s heritage and influences. Listen to both the original and the new remix below: The two producers had this to say about their collab, R3HAB: “I’ve been a fan of Acid Arab’s work for a long time now, so I was excited when they reached out. I had a lot of fun remixing ‘Habaytak’, it’s always a good challenge to infuse my sound into different genres and musical cultures. I loved the experience and we’re excited to finally share it with the world!”. Acid Arab: “This mix of R3HAB’s more mainstream sound with our Arabic-inspired electronic music has spawned a unique and potentially massive track. We’re honoured that R3HAB agreed to add his special touch and individual vibe to our track. We’re proud to see more musical boundaries fall.” Follow R3HAB: Facebook – Instagram – TikTok – X – Youtube Follow Acid Arab: Bandcamp – Facebook – Instagram – Youtube

Hot on the heels of HEART, RAVENSCOON has now revealed the next pivotal chapter of his debut album, PERIPHERY, titled MIND. The 18-track opus, PERIPHERY, uniquely fragments into four thematic EPs: BODY, HEART, MIND, and SOUL, each resonating deeply with RAVENSCOON’s multifaceted musical ethos. MIND EP offers a potent concoction of cerebral soundscapes and impeccable sonic detailing. Included in this release are tracks such as “Soundboy”, “Vantablack” in collaboration with Deadcrow, and the energizing “ACID” produced alongside Emurse and featuring Can’t Stop Won’t Stop. Cinematic visualizers, a result of RAVENSCOON’s collaboration with renowned cinematographer Magela Crosignani, accompanies the tracks in a incredible fashion, adding even more depth to this stunning collection. As the “PERIPHERY” era unravels, RAVENSCOON remains resolute in broadening his musical horizons, captivating the steadfast WAKAAN fan base and making inroads with trap enthusiasts and ambient music connoisseurs. Check it out for yourself below! This article was first published on Your EDM. Source: RAVENSCOON Reveals Third Ep Installment: Mind

PIERCE has unleashed an exhilarating remix of Hucci and Stooki Sound’s iconic track, “Ball So Hard”. This reimagined version delivers an experimental blend of wonky beats and dynamic soundscapes, setting the stage for a new way to listen to the iconic – “Ball So Hard.” Renowned for his visionary production style and seamless fusion of diverse musical influences, PIERCE has once again raised the bar with his take on “Ball So Hard”. Infusing the original track with his signature flair, PIERCE has transformed the well-loved classic into an exhilarating modern replica. “I wanted to create a remix that paid tribute to the essence of ‘Ball So Hard’ while infusing it with my own unique musical vision,” remarked PIERCE. “It’s an absolute honor to remix one of the songs that got me into bass music today. Huge shoutout the Hucci and Stooki Sound for letting me rework this one!” – PIERCE Check it out below! This article was first published on Your EDM. Source: PIERCE Unveils Electrifying Remix of Hucci and Stooki Sound’s “Ball So Hard”