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Today, triple-platinum Sydney-born, now LA-based producer Hayden James shares his newest single, “Good Life” featuring Emie out via Future Classic. A piano house record purpose-built to elevate, “Good Life” is a prescription for chasing away bad moods. Written alongside Nathan Nicholson (Kygo, Gryffin, Calum Scott, Claptone), the track also features a standout vocal performance from London-based single Emie. Soft claps dab between synth jabs and a driving kick in pure harmony. A heightened pre-chorus starring Emie’s ethereal vocals builds to a euphoric breakdown of irresistible house, ready to melt down your worries. Hayden says of the release: “It’s all about being present in the moment and allowing that positive force in your life to lift you up when you’re feeling down. Nathan, Emie and I wrote this record in the summer this year over a couple of zoom sessions from Nashville to London then finished the track off in Ibiza for the summer vibes. I hope you love it. This one feels special.” “Good Life” lands in the wake of Hayden James’ Australian tour, a six-date run celebrating the arrival of his applauded sophomore album LIFTED earlier this year. Supported by Boo Seeka and Memphis LK, Hayden performed to illustrious arena and auditorium-sized venues across the country throughout August and September, delivering his high energy, high emotion live show. After delivering on some of his largest performances to dates, including a packed-out bucket list Coachella set, Hayden James now continues his career legacy by relocating to the US. He spends the next few months meeting his new neighbours at packed shows across America throughout October and November, before a brief return to Australia for a tour with Spilt Milk festival. Hayden’s sophomore album, LIFTED infused the same emotion of his applauded live shows into every moment, fueled by a desire to create an energetic and uplifting collection that could help bring people together, and deliver a slice of joy to his fans after much time spent apart over the past few years. The record enlisted a slew of special guests including Elderbrook, Boo Seeka, Jem Cooke, SIDEPIECE, YAEGER and Cassian, as Hayden expended rippling energy via lush production, vocal textures and consistently addictive dance cuts. Representing hours of collaboration, emotion, and an expansion of his enduring legacy in dance music, LIFTED received national praise from tastemakers and community radio, alongside being awarded triple j’s Feature Album on release, with tracks from the album accumulating over 36 million streams since release. Since breaking out in 2013 with “Permission to Love” and going on to release revered platinum certified hits “Numb” feat. GRAACE, and “Just Friends”, the producer has continued to be at the forefront of the Australian house music scene, carrying on his run of hits with his ARIA-nominated debut album Between Us in 2019 which sits at over half a billion collective streams. His production mastery on tracks like “Waves of Gold” feat. Azteck as well as “Right Time” with Icona Pop has also landed in the international spotlight, receiving love from Zane Lowe on Beats 1, triple j, as well as Rolling Stone, Pitchfork, NME and many more. In the live arena, Hayden has enjoyed success touring across the globe, hitting major venues including NY’s Webster Hall, LA’s Fonda Theatre, Amsterdam’s Paradiso, as well as lighting up national tours and festivals, including Melbourne’s Beyond The City and Sydney’s 2022 Field Day. From one of Australia’s dance heavyweights, sink into the soul warming groove of “Good Life” from Hayden James today, as he continues to lift us all with his unique brand of emotion-fuelled house.

What is the secret to longevity? Is it the strength of product and brand, the ability to adapt to changing times, having your finger on the pulse, some combination of all of the above? Whatever the secret is, there is no doubt that Pasquale Rotella and his creative team at Insomniac have the formula down pat. Witness another stacked and packed edition of Nocturnal Wonderland, North America’s longest running rave, which went down earlier this month at Glen Helen Regional Park in San Bernardino. There wasn’t really too much difference about this year’s edition to differentiate it from previous editions of the festival. However, in the case of Nocturnal, that doesn’t really matter. When we last attended Nocturnal in 2019, prior to the unforeseen (at the time) global pandemic, it was thought that that would be Nocturnal’s last edition at its long-time home. Fast forward three years, and it’s impossible to imagine Nocturnal taking place anywhere else but Glen Helen. From its pristine outdoor setting, insane hilltop views, soft green grass all around, there really is something magical about Nocturnal Wonderland that Insomniac’s other festivals just can’t capture. Original Photo by Jake West for Insomniac Events Let’s get into what stood out at this year’s edition of Nocturnal. First off, the Wolves’ Den (main stage) was extremely impressive. This year’s stage design was simple but sleek. The Nocturnal Wonderland marquee was gone from the stage this year. Video panels formed a half-circle in the center of the stage where the artists’ main visuals would be displayed. In the outer half-circle, a wheel spun that featured a waning and waxing moon. Three rectangular video panels descended on each side of the stage’s half-circle center. There was also more pyro and lasers than I’ve ever seen at Nocturnal. The main stage truly was a sight to behold and headliners got treated to a nice fireworks display at the end of each night. Visually, the Labyrinth stage was just as impressive. This year’s version featured cube-shaped stage ends bookending three rectangular video panels in the center of the stage. The lasers were absolutely going off at this stage. Despite being the Bassrush stage with its high intensity head-banging, it’s actually a great spot to catch a breather, grab some food and sit on the top of the hill and enjoy the insane view you get. Seeing the sun peak over the mountains as it sets is truly an unforgettable sight. Original Photo by Jake West for Insomniac Events What about the music, you ask? There was never a dull moment, Night 1 featured a lot of bass-house, dubstep and trap. I caught sets from Jack Beats + Taiki Nulight Present: Reel Mood, Moksi, Adventure Club, Yellow Claw and Illenium at the main stage. I also made my way up to the Labyrinth stage for sets from Trivecta, Must Die! b2b Tisoki, Saymyname and Sullivan King. The energy of the crowd was incredible as every imaginable strain of bass music was pumped out through the speakers. The lasers and pyro were on point at the second stage in a way I’ve never seen. Thankfully so, the sound on the first day kind of sucked. It was super bass-boosted and you couldn’t really hear any mids. It appears they got that worked out for Day 2 as the sound was much crisper. Original Photo by Tyler Hill for Insomniac Events The lineup on Day 2 was absolutely stacked and the crowd vibes were far superior to Day 1. While house music was plentiful, so were Moombahton, mid-tempo and big main stage sets. With the exception of going to see Blanke up at Labyrinth and Dillon Francis perform a highly-anticipated DJ Hanzel set at Sunken Garden, I spent the entire day at the Wolves’ Den. And why wouldn’t anybody? I got the day started with a nasty set of bass-house from Disco Lines. By the time I’d returned to the Wolves’ Den after sundown, JSTJR had taken over the mainstage dropping an energetic mix that is nearly impossible to not dance too. My personal favorite set of the weekend had to be R3HAB, who 11 years after he first performed at the festival, took fans on a wild ride of big room hits, old school classics, and future rave remixes. Dillon Francis was up next and he did not disappoint as he also dusted off the moombahton and dropped some new music amongst his many festival classics. REZZ closed out the night and she took the house down with her pummeling brand of mid-tempo, you could truly feel the bass in your chest for her set. There you have it, the 27th edition of Nocturnal Wonderland was a resounding success! Will it be back next year? It hasn’t been announced yet, but I’d be shocked if it weren’t. Since I didn’t camp, we didn’t even explore how fun an aspect that is to this festival. I think it’s a safe bet to say that North America’s longest running rave will continue its reign. So long as Insomniac continues to provide the amazing experience that is Nocturnal (and camping too!) there’s no reason to think the magic won’t continue! Original Photo by Jake West for Insomniac Events This article was first published on Your EDM. Source: Nocturnal Wonderland Proves Why It’s North America’s Longest Running Rave [Event Review]

Second Sky, the festival curated and thrown by Porter Robinson, is only just a little over three weeks away and there’s still work being done. Fred again.. sadly had to drop off the lineup, in an announcement he made last week, and a special guest has no yet been revealed. But as for Porter himself, he shared some news about his own set. “I’ve been working hard and I have a crazy ass update about what my set will be at second sky HAHAH more soon,” he tweeted this morning. Just as Madeon upgraded his Good Faith set to Good Faith Forever, perhaps a new Nurture live set era is upon us, as well. As he said, there will be “more soon” — but if you’ve already got your ticket, transportation, and lodging all set for October 29, you’re going to want to hold onto that ticket tightly to see what’s in store. everything’s changing i’ve been working hard and i have a crazy ass update about what my set will be at second sky HAHAH more soon pic.twitter.com/B6mLxnIy6I — porter robinson (@porterrobinson) October 6, 2022 This article was first published on Your EDM. Source: Porter Robinson teases “crazy ass update” about his set at Second Sky

Subtronics and Galantis… two very, very different artists, yet the wonky dubstep producer has just put out a remix of the Swedish duo’s original smash hit “Runaway (U & I)” eight years after it first released online. Though, calling it a remix isn’t exactly accurate. In reality, the remix takes the intro melody and lyrics and then goes off into Narnia while the original is back in the UK. To the untrained ear, it doesn’t sound like any element whatsoever of the original made it into the drop, so the “remix” title is perhaps a bit misleading. A live edit would be more factual. That being said, the drop is proper filthy and a wonderful Subtronics solo track, so it’s curious why it was paired, officially, with such a bubbly, hit original from 8 years ago unless it was made purely for live shows. In which case, why not label it a Live Edit or Re-fix or something less rigid than a “remix”? Regardless, Subtronics’ fanbase is already going nuts over it but the Reddit brigade is tearing it to shreds. Then again, it is Reddit. Check it out below and see for yourself! Photo via Rukes.com This article was first published on Your EDM. Source: Subtronics remixes Galantis hit “Runaway (U & I)” eight years later

Is it possible for Oliverse to release a bad song? We don’t think so. His latest double side “Skin/Emotion” is a brilliant play on the same musical motif with two very different interpretations and we literally can’t pull it off repeat. Blending house and bass isn’t a new feat by any means, but Oliverse’s ability to fuse them in his own way makes it addicting at the least, obsessive at worse. The first of the two singles, “Skin” is a divine combination of musicality; a hybrid bass production paired with catchy lead melodies, and gorgeous vocals from MØØNE. The second track “Emotion” is a top notch melodic dubstep tune featuring vocals from Aleya Mae. Listen below, both songs are out now on Disciple!  This article was first published on Your EDM. Source: Oliverse drops double side “Skin / Emotion” with Disciple

GRiZ announces today the return of his celebrated hometown ‘GRiZMAS’ live show, a two-day event at The Masonic Temple in Detroit, Michigan on December 9th and 10th. The eighth annual ‘GRiZMAS’ is set to host two nights of performances at The Masonic Temple in Detroit. The double header kicks off Friday, December 9th withDirtysnatcha B2B Carbin and Canabliss, continuing into Saturday, December 10th with Wreckno and Khiva, along with headline performances by GRiZ both nights. Each night, GRiZ and company will perform for over 4,500 attendees. In typical GRiZMAS fashion, fans can expect GRiZ to perform a unique set each night filled with unreleased material, standout classics, and unique live takes. GRiZMAS has become a holiday staple for fans all over the US who travel to Detroit for back-to-back shows as well as the ‘12 Days of GRiZMAS’ charitable events with GRiZ himself. Since 2014, GRiZ’s ‘12 Days of GRiZMAS’ series has made an impactful difference across Detroit communities, raising over $100,000 alone last year for Seven Mile, a local charity organization dedicated to funding music education, art programs and coding lessons across Detroit’s public schools. This year’s ‘GRiZMAS’ will offer two unique VIP programs. Starting at $119, the ‘Vibe Check’ package will include a limited edition event poster, commemorative merch gift, along with two-night admission. Starting at $219, the ‘Another World’ package will feature additional VIP perks like an intimate Q&A with GRiZ, a group photo opportunity and guided pre-show tour of the historic Masonic Temple venue. Pre-sale tickets for GRiZ’s upcoming ‘GRiZMAS’ shows at The Masonic Temple are available this Wednesday, October 5th at 1pm ET. This article was first published on Your EDM. Source: GRiZ Announces Eighth Annual ‘GRiZMAS’ Shows in December

It’s only been a little more than a week since the last Fred again.. single came out, and he’s already back with one of the most anticipated singles from Actual Life 3, “Kammy (like i do).” This song has been a staple in his sets for most of the year and never fails to excite the crowd with its oscillating synths and entrancing vocals. The vocals, on that note, come from Fred’s friend Kamille, who he describes as “one of the greatest singers/writers/people on the planet.” AL3 comes out October 28! Listen to “Kammy (like i do)” below. This article was first published on Your EDM. Source: Fred again.. finally releases one of his most anticipated singles ahead of AL3

After three albums, countless singles, and years of devoting herself to a specific vibe, Rezz has announced the launch of her own label: HypnoVizion. The producer/DJ to label-owner pipeline is pretty well documented, with plenty of artists running their own labels like Subtronics, Tiesto, Armin van Buuren, Kayzo, and more, including Skrillex’s OWSLA where Rezz had her debut in 2015. The move for Rezz is pretty right on schedule and one of the clear next moves in her career. “After years of consideration, finally I’m launching my own label called HypnoVizion,” says Rezz. “As my touring schedule has become more specific, I have more time to focus on other projects I am passionate about. A music label being one of them! I can’t wait to hear all the cool new songs by artists & play them in my sets & even collaborate with them,” she added. As the owner of her own label, she gets to control the split on her own music, giving herself more power and autonomy as an artist, which we will always support. On the other hand, she gets the opportunity to highlight artists under her own auspices who are deserving of more attention. (HypnoVizion will still be distributed by Universal Music Canada/Virgin Music Label and Artist Services.) No first official release has been announced yet, but we’re sure to hear something soon. Photo via Rukes.com This article was first published on Your EDM. Source: Rezz Announces Launch of New Label: HypnoVizion

ILLUSORY TRACKS, the next EP from G Jones, was promised before the end of the year, but no official release date has yet been announced. So, with less than 2 months to go, we only have the single “Operator” out so far. Luckily, G Jones is nothing if not generous to his fans, and along with Eprom has released the Disk Doctors mixtape with edits, IDs, and mashups galore. The first track is more than likely the next single on the EP, “R.A.V.E.” with Eprom, a phenomenal way to kick things off. That’s followed by an ID from Eprom and then another unreleased tune from G Jones, his collaboration with ISOxo, “Say What.” The full tracklist additionally includes another ID from G, as well as two unreleased tracks, “On The Platform” and “One Foot in the Rave” with Eprom again. All in all, most fans probably wouldn’t complain if this was the duo’s only release this year with all the fire inside. Fortunate for us, there’s still more coming. Check out the full 41-minute mixtape below! 1) G Jones & Eprom – R.A.V.E. 2) Eprom – ID 3) G Jones & ISOxo – Say What 4) Eprom – Dark Souls (edit) 5) Nevermind – Arrow Loop 6) Outlander- Vamp (Eprom Edit) x 4Hero – Cooking Up Yah Brain 7) G Jones & Eprom – On My Mind 8) G Jones – A2C2I2D 9) MPIA3 – Acid Badger (Eprom Edit) 10) Squarepusher – Venus No. 17 Acid Mix 11) Eprom – Untitled Emotional Acid 12) G Jones – On The Platform 13) G Jones – ID 14) Eprom – 666-ACID 15) Eprom – Flex Acid 16) Koreless – Shellshock (G Jones & Eprom Edit) 17) Squarepusher – Theme From Ernest Borgnine x Amen Andrews – Automatic Truth x Paul Lansky – Mild Und Leise (G Jones Mashup) 18) G Jones & Eprom – One Foot In The Rave This article was first published on Your EDM. Source: G Jones & Eprom team up for “Disk Doctors” mixtape with unreleased music & IDs galore

With releases on iconic labels such as HEXAGON, One Seven, Zero Cool and many more, as well as a number of streaming hits, BCMP is one of the most exciting talents currently rising within dance music. Having gotten into music production at the age of 12, the prodigious artist has received support from A-listers such as Martin Garrix, Don Diablo, Timmy Trumpet, Nicky Romero and Dimitri Vegas & Like Mike, while boasting a multi-faceted and unique style. Marking his latest single “Asteroid,” which is out now via Don Diablo’s FUTURE imprint, BCMP is delving into the exciting world of drum & bass by bringing together anthemic melodies and unmatched energy. An explosive dance tune, “Asteroid” is filled with playful 8-bit synth work, hard-hitting drums, and immersive atmospheres, a combination that nicely puts BCMP’s vibrant and lively production style on display. “While producing this song, I was chasing the sound of my childhood drum-‘n-bass idols by delivering an energetic dance floor record for my first release with Don Diablo’s FUTURE imprint. Taking inspiration from all-time legends such as Fox Stevenson and Stonebank, ‘Asteroid’ is a fast-paced bass production with upbeat melodics and an overall euphoric vibe to it! It’s aimed to work at festivals, as well as gaming sessions or just chilling out,” says BCMP. Social Links Instagram Facebook Youtube This article was first published on Your EDM. Source: French Talent BCMP Unveils Explosive Drum & Bass Single “Asteroid”

Wobblebug is the first decentralized musician in the industry which allows fans to participate and be rewarded off the success of a musician’s career. Alongside Wuki, Wobblebug was created by a team of music industry veterans and NFT/blockchain professionals. As a cross chain NFT project with NFT holders on both the Ethereum and Solana blockchains, holders will be rewarded based on the success of Wobblebug’s career. What makes Wobblebug so special, is that he is the first WEB3 native project that is now an actual musical artist in the real world. And now he’s releasing his debut single “WOBBLEDRUG.” The track busts the doors wide open with an irresistible house groove, layered with signature futuristic synth wobbles and hypnotic extraterrestrial vocals. “What’s up meatbags! When I came to earth the first thing I wanted to do was create a banger we can all get down to. Hope you guys dig this wonky wobbly house track I whipped up.” – Wobblebug Alongside the release, the WEB3 side of the project will be rolling out a creative upgrade to existing NFT art, which will also be the basis for the accompanying “WOBBLEDRUG” animated music video showing Wobblebug and his friends making their way to a music festival. These new Wobblebugs will be brought to life through the music and videos and will be very young, mischievous, fun, relatable and packed with personality. Currently community members are already able to stake their NFTs to earn Wob utility tokens that they can use to buy real-world merch and experiences in the Wobmart, which is only the tip of the iceberg for the utility Wobblebug plans to offer its disciples. Listen below. This article was first published on Your EDM. Source: WEB3 Native DJ/Producer/Alien Wobblebug, from Wuki, shares debut release “WOBBLEDRUG”

It’s no secret that DJ Susan’s Hood Politics imprint is responsible for slinging some of the most electrifying tunes from today’s brightest up and coming acts. Today, Hood Politics released a red hot 5 track EP titled ‘Dubstep Forever’ that yet again showcases a variety of talent from all over the house spectrum to provide thundering remixes to classic dance tracks from Skrillex, NGHTMRE, Zomboy, and more. Kicking off the EP is a booming remix courtesy of DJ Susan and Canadian duo, Broken Future, taking on Zomboy’s seminal hit, “Like A Bitch”. Driven by a rumbling bass line and intoxicating groove, Broken Future & DJ Susan deliver a momentous remix sure to win the hearts of bass and house heads alike. Next up is an insatiably groovy flip of NGHTMRE & Flux Pavilion’s “Feel Your Love” from Sherm & FLYNNINHO. Sherm is a key player on the Hood Politics team, running A&R duties while also maintaining one of the top EDM podcasts, ‘Sherm In The Booth’. FLYNNINHO is no stranger to the label either as booming wubs of the Chicago native has found its home there with tracks like “Still Mine”. Galo hails from Florida and his talent in the studio is undeniable with signings to Night Service Only, Space Yacht, and multiple releases on Hood Politics. This time around, he’s remixed Adventure Club’s hit “Rise & Fall” and flipped it into an emotive, disco house track that is sure to heat up clubs in any set. Rich Dietz is a duo widely known for being the “kings of remixing”, as their remixes have earned hundreds of thousands of spins alongside support from the biggest names in the industry, like Diplo. Taking on Keys N Krates “Dum Dee Dum”, they infuse it with unbridled tech house energy and an infectious groove that is irresistible. Hood Politics co-founder Nutty caps off the EP in perfect fashion, remixing Skrillex’s iconic hit, “Scary Monster & Nice Sprites”. It’s a smooth house tune, flexing tech and deep house elements while staying true to some of the original melodies, equaling a result that feels timeless. Listen below! Hood Politics Records · Hood Politics Presents: Dubstep Forever This article was first published on Your EDM. Source: Hood Politics Release Massive ‘Dubstep Forever’ EP ft. Remixes From DJ Susan & Broken Future, Sherm & Flynninho, & More

With the imminent release of her highly anticipated forthcoming album MATA, M.I.A. has shared ‘Beep,’ co-produced with Skrillex and Rick Rubin. Her ethnic Sri Lankan influence comes through clear as day with punchy drums and those instantly recognizable synths and strings. It’s a little disappointing the song is only two minutes, but as streaming is becoming more constrained by social media platforms like TikTok (though this doesn’t sound much like a TikTok song), we’re not particularly surprised. As far as Skrillex is concerned, it’s clear he’s still working on music (that Fred again.. collab is still coming), just not really his own. Or, at least, not that expeditiously. It’s been just about three years since he first said he was working on multiple albums, and he said it again just this past May — though, that post has now been deleted. It’s almost an inside joke at this point that we’re not going to get another album from him. But the general consensus is that, even if we do, it won’t be like the Skrillex we once knew. ‘Beep’ is out everywhere now. This article was first published on Your EDM. Source: M.I.A. releases ‘BEEP’ from new album co-produced with Skrillex & Rick Rubin

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

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. “It feels so good to get this song out into the world. It’s been 2 years of working on official remixes and crafting my sound to where it is now, and I am so proud of this song and the music I have on the way. Being able to work on it with Over Easy was amazing, as they were some of the first artists to give me the opportunity to do an official remix. – Leondis 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]

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. “Ken (OOTORO) and I (Bleu Clair) go back a few years. I remember when I discovered his music just when I started releasing out my work. “Killer Bee” shows the perfect blend of our visions on creating house music and Chyra’s vocals are perfect to fill in the track and give it wide perspective. I played this a couple times of on my summer tour and there were some people asking when will we drop this one. So I am excited to finally release this tune.” – Bleu Clair Listen below! This article was first published on Your EDM. Source: Bleu Clair & OOTORO Strike Again With “Killer Bee” ft. Chyra

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]

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

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. After a 3 year hiatus, VIKINGS spent the majority of 2020 in a lockdown studio session where we truly found our new sound….inspired by adventure and love the track was created in a maze of experimentation…The forthcoming songs embody two very different vibes while still maintaining the sound that is VIKINGS. 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

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”

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!  We went to the @Spotify studio in New York a couple months ago and made 2 new songs! A cover of Fugue in D minor by Bach as well as a dnb remix of our song Rude Boy. Hope you enjoy these! pic.twitter.com/EkuCNFU5lP — Zeds Dead (@zedsdead) September 28, 2022 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”

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”

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]

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. Phase 1 Just wake me up in March. Tickets are on sale now! #ULTRA2023https://t.co/GJh13KNDpB pic.twitter.com/RHadt5VnxQ — Ultra Music Festival (@ultra) September 27, 2022 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

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]