Ravebot

Calvin Harris will release his highly anticipated new album Funk Wav Bounces Vol. 2 on August 5 via Columbia Records. The album is now available for pre-order/save here. Along with the album release date, Harris has dropped the second song from the forthcoming album, “New Money” featuring 21 Savage, today. Timed with the five year anniversary of Funk Wav Bounces Vol. 1’ this week, Harris revealed the release date for ‘Vol. 2’ on Wednesday when he posted the album trailer revealing the 23 dynamic collaborators featured on the forthcoming album. Funk Wav Bounces Vol. 2 includes an array some of today’s most exciting artists including: 21 Savage, Dua Lipa, Young Thug, Stefflon Don, Chlöe, Charlie Puth, Pusha T, Shenseea, Tinashe, Normani, Lil Durk, Halsey, Offset, 6lack, Justin Timberlake, Coi Leray, Busta Rhymes, Donae’O, Latto, Pharrell, Swae Lee, Jorja Smith, and Snoop Dogg. Listen to “New Money” with 21 Savage below. This article was first published on Your EDM. Source: Calvin Harris Releases Next ‘Funk Wav Bounces Vol.2’ Single With 21 Savage, “New Money”

Following their last single, “Think Of You,” with Blunts & Blondes, Canadian duo Zeds Dead slow it down considerably with their latest release, “I Took A Ride.” The song is actually a remake/cover of the Caroline Rose original of the same name, released in 2020 on her album Superstar. Zeds Dead add some of their signature house synths and a bouncy rhythm to give the track a more significant house feel, but Rose’s original vocals still carry the track. Listen below. This article was first published on Your EDM. Source: Zeds Dead Slows It Down On Chill New Single, “I Took A Ride” [LISTEN]

Besomorph is hardly an artist in need of an introduction. With over 650 million streams across the platforms, Besomorph has secured slots on Spotify’s largest editorial playlists, such as Hype, Main Stage, Bass Arcade, over 5 NMF playlists and up-and-coming Germany-based playlists. His music has been released on the biggest labels and YouTube music channels in EDM such as NCS, Trap Nation, Trap City, Suicide Sheep, CloudKid and xKito to name a few. In addition to that, he has recently been awarded with the YouTube Silver Button for reaching over 100,000 subscribers on his channel. Additionally he has worked together with Riot Games, producing an exclusive remix for their game “League Of Legends”. Now, he’s back with a captivating new single “So Low” featuring a powerful vocal performance from Ryan Curtis. Showcasing a darker arrangement, Besomorph masterfully induces alluring melodies along with emotionally charged lyrics, courtesy of Curtis, to deliver a mesmerizing two minute experience that can’t help but make you want to play it again. Listen below! This article was first published on Your EDM. Source: Besomorph Teams Up With Vocalist Ryan Curtis For Captivating New Single, “So Low”

San Pacho is having his biggest year yet, with recent releases like “Pride,” (signed to Deadmau5’s Hau5trap) and “Amor,” (signed to Matroda’s Terminal Underground) showcasing the angle he’s decided to approach music and the sonic evolution he’s embarking on at his current state. Now, the young and talented artist is back with an electrifying new single “Trompeta” that weaves the worlds of house music and Mariachi in a seamless fashion. Driven by a punchy tech house bass line and latin-inspired drum grooves, the true stars of “Trompeta” are the beautiful trumpet melodies that ride forefront the whole way through. Here’s what San Pacho had to say about it: “’Trompeta’ is a brand new summer smash from the upcoming house music talent San Pacho. Just fresh off his hit single “Amor” which broke several viral charts, San Pacho is looking to re-enter the charts with this song. Featuring a memorable trumpet chorus, Trompeta jumps right into the signature Pacho basslines and complimenting drum grooves which his fan base have grown to adore.” Listen below! This article was first published on Your EDM. Source: San Pacho Blends Mariachi & House with Electrifying Single, “Trompeta”

GRAMMY® Award-winning, platinum-certified, international icon Tiësto has joined forces with pop superstar Charli XCX on “Hot in It,” a certified anthemic banger that’s radiating confidence around the world with its empowering lyrics. The sound for “Hot in It” was teased early by Charli XCX on TikTok where the hype and anticipation began to grow, garnering 50M views to date, and fans can finally hear the full song today – listen to it here! “I knew from the second I heard Charli’s cut on the song that it was going to be a smash, and it’s been amazing to see how everyone has been reacting to the message of the song.” said Tiësto. “The heat on this one is incredible, so excited it’s finally out in the world!” “I’m very excited to get hot in it this summer” adds Charli XCX. “Hot in It” is the fourth single from Tiësto’s upcoming album including his three previous certified hit singles “The Business”, “Don’t Be Shy” with Karol G, and “The Motto” with Ava Max totaling 2.5 billion global streams. Tiësto is a Grammy® Award-winning, platinum-certified, international icon. The DJ and producer is the only artist to ever hold the titles of “The Greatest DJ of All Time” courtesy of Mixmag, and “#1 DJ” according to Rolling Stone. From his underground dance floor bangers to his high-profile Las Vegas residency and crossover success, Tiësto created the blueprint that defines what it means to be a success in today’s dance music world. In Tiësto‘s true fashion, he continues to expand across genres, always evolving his craft. With over 36 million albums sold, 10 billion cumulative streams, and a social platform with an audience exceeding 30 million fans spanning the globe, he continues to revolutionize the dance music landscape.

This past weekend, tens of thousands of people frolicked and celebrated at Electric Forest in Rothbury, Michigan. At the same time, the Supreme Court repealed Roe v. Wade. For many, it must have been incredibly difficult to capture the full experience of the festival as their rights were being unceremoniously ripped away. Yet the core of our community has always been to uplift, and so, if you were able to separate yourself from the rest of the world for the weekend, you might have found an escape. Across the world, artists spoke out against the decision, including GRiZ at Electric Forest. At the end of his set, he addressed the crowd about the news: “It’s important that we get together and talk about shit that pisses us off, shit that we want to change together, because this collective of people together has some loud voices. […] I want you to look around and recognize the power that you had together as friends, as family, as brothers and sisters,” said GRiZ. He continued, “You have given me and shown me what it feels like to be a voice of the people, that I don’t really want, but I will stand up and use my voice for all the shit that I believe is right.” Abortion is a human right. We stand with GRiZ and women everywhere. You can listen to his full speech below. Grant we fucking love you so much you are the light that makes this community shine and you deserve all of this. From the amphitheater at Hula 2016 to the Forest main stage 2022 I feel like I’ve watch this journey and I don’t want to stop thank you for everything pic.twitter.com/PiCpS76LxH — Spragueeee ForestSound Haven (@nsprague808) June 29, 2022 This article was first published on Your EDM. Source: Listen To GRiZ’s Inspirational End-Of-Set Speech From Electric Forest [VIDEO]

Following in the footsteps of his series of monthly, club-focused tracks and collaborations, Fred again.. once again releases another landmark single, the thunderous “Jungle.” Having spent the last few weeks teasing the track and road testing it in front of festival audiences, “Jungle” finally sees the light of day. As alluded to through recent posts on social media, “Jungle” was the result of sessions with Kieran Hebden, aka Four Tet – in what feels like two artists exploring musical boundaries with no agendas or deadlines, the result is an unpredictable yet gripping track that sees the pair pushing each other into new musical territory. The track was also co-written with Elley Duhé and co-produced with Alex Gibson. Fred again.. will continue his live ascendency with sold out shows around the world throughout 2022, including three nights at Los Angeles’ Hollywood Forever Cemetery and three nights at New York’s 3000 capacity Terminal 5 in the fall. Full US tour dates below with further information via https://www.fredagain.com/tour/. This article was first published on Your EDM. Source: Fred Again.. Drops New Single “Jungle” Co-Written & Produced With Four Tet

The cool thing about producer, composer and experimental artist Dylan Tauber’s work is that even though it is on the experimental end of EDM, it’s still EDM and it’s universally palettable. Oftentimes experimental music can be sharp or harsh, as the artist gets so caught up in experimenting with sound and the science of it all, it fails to be music in the eyes and ears of some audiences. This is not the case with Tauber, whose pedigree is firmly rooted in complex composition and sonic science, because he’s also always interested in the beauty of the composition. Perhaps its his other disciplines like photography and digital art; Tauber’s always about the overall impact, and his new album He Loves Carmen, released in April on his own Son of Waves Studio imprint, certainly leaves and impact. YEDM started following Tauber in 2017 when he released the first of his Sounds from Space albums, the second volume of which was his most recent album prior to He Loves Carmen. Before that was another notable series called Dolphin Trance, which is where Tauber really started to make his mark on trance and rave music. Prior to that, Tauber was much more on the ambient end of EDM and on the experimental end of ambient, but it seems with He Loves Carmen, he’s committed to being a trancy pants, at least for now. Apparently inspired by his girlfriend, the production on He Loves Carmen is really a new level for Tauber. He’s really got the ambient/experimental and dance world to meld this time. From the vintage rave hints in album opener “Don’t Tell Me” to the 80s synthwave-inspired future bass of pseudo-title track “I Love Carmen” to the rave pop of “Let It Go,” the chill, synthy trance of He Loves Carmen has a solid, consistent feel with an emotive and heart-lifting base. One of the main reasons He Loves Carmen has such a unified feel and emotion to it, as well as the way in which it feels so modern despite all the vintage tones and tack is the vocalist Tauber collaborated with on the whole album. Ukrainian vocalist Anastasia Derkach has lent her unique and pitch-perfect vox to a few tracks prior to connecting with Tauber, but it seems on this release with him giving her carte blanche to really use her voice on several of the tracks like “I Miss You,” “I Love Carmen” and “All I want Is You,” it really galvanized the feeling of this album. Derkach has the sort of voice that’s both childlike and timeless both modern and vintage and ties all the styles and sounds of He Loves Carmen together even more. It feels odd to say that He Loves Carmen might be Dylan Tauber’s best work to-date, mostly because one could say that about each of his 14 albums and it would always be true. Tauber’s a master of sound science and creates a new world of sound for each album he releases. For the EDM, set, however, this one will hit different. Expertly produced and full of beautiful composition to keep the tech nerds happy but effortlessly emotive and covering a wide range of eras at the same time, He Loves Carmen also happens to fit in perfectly with what’s hot right now in electronica. It’s sort of a Hudson Mohawke effect, driven once again by Derkach’s vocals: the emotion, the tech, the skill and the cool all just come together here, and it’s even more poignant that it’s inspired by love. He Loves Carmen is out now and can be streamed on Spotify. To see more of his music videos from this and other albums, visit Dylan Tauber’s YouTube page. This article was first published on Your EDM. Source: YEDM Album Review: Dylan Tauber Has Summer Chill Trance Covered With ‘He Loves Carmen’

Self describes as a “sonic journey through time and space“, 44 Ardent truly has a gift at creating cinematic soundscapes with intriguing arrangements that make for songs that will truly stand the test of time. We are so excited to premiere his latest single, “intothedeep,” the title track off the forthcoming EP slated to release in August, signed to Mammal Sounds Records. “intothedeep is probably my favourite song on the whole record. I was a bit self-indulgent with the synths and the sound design on this one and didn’t hold back! – 44 Ardent Yet again, 44 Ardent delivers a mesmerizing single, glistening with bright melodies and a mesmerizing groove that can’t help but leave you hooked the whole way through. 44 Ardent adds: The song sort of sucks you right in with a wall of sound as soon as the drum fill hits and then it spits you back out for a little bit before a totally different wall of sound at the one-minute mark. I’ve mentioned previously that the EP is loosely themed around climate change. I suppose this is the “ocean” song. I can imagine it being played with a powerful stormy ocean in the background.” Listen below! 44 Ardent · intothedeep This article was first published on Your EDM. Source: PREMIERE: 44 Ardent Drops Mesmerizing Single “intothedeep” via Mammal Sounds Records

It’s been two years since the last NO.SLEEP mix from ODESZA, and two years before that previously, as well. Now, the duo return for an hour of vibes on Mix 13. The full tracklist is available in the description on YouTube and contains songs from Jamie xx, Caribou, Sam Gellaitry, Fred Again.., and more. Listen below. ODESZA’s album The Last Goodbye is out July 22 via Foreign Family Collective/Ninja Tune. Photo via Alexander Babarikin This article was first published on Your EDM. Source: ODESZA Drop Newest NO.SLEEP Mix After Another Two Years

Marshmello has achieved a lot of “firsts” in his career and just announced his newest milestone. The masked artist has just become the first-ever to co-create a beverage with Coca-Cola, Marshmello’s Limited Edition Coca-Cola. “It was great to collaborate with Coca-Cola on this limited-edition drop,” said Marshmello. “We created a vibey blend of my favorite flavors in this all-new mix. I think it tastes amazing and I hope fans love it too.” One might think Marshmello’s collaboration would be marshmallow-flavored, but you’d be mistaken. It’s actually strawberry and watermelon, apparently two of mello’s favorite flavors, with a bit of a Coke edge. Marshmello’s Coca-Cola Creations flavor will debut in an immersive takeover on the artist’s Twitch channel on July 9, ahead of the flavor’s IRL drop, where fans can participate in a “unique adventure” and gain exclusive access to metamerch designed by Zepeto. Then, beginning July 25, fans can scan the QR code on the can to be transported to the Coca-Cola Creations online hub via www.coca-cola.com/creations, where AI technology will transform their emotions while listening to Marshmello’s latest track into a personalized piece of digital art. The experience was designed and produced by GUT. The flavor drops in the U.S. on July 11, followed by select countries globally. The secret is out #CocaColaCreations hit featuring @Marshmello will be electrifying your tastebuds soon. #CocaColaXMarshmello pic.twitter.com/jTauMvRoy5 — Coca-Cola (@CocaCola) June 29, 2022 This article was first published on Your EDM. Source: Marshmello Releases New Collab… with Coca-Cola

Now that he’s done a few releases on his flagship imprint, DARKMTTR Records and they’ve all been such institutions (six of his top ten tracks on Beatport are now DARKMATTR tunes), it’s weird to think S.P.Y started the label just a year ago. Similarly, it’s a bit of a trip that the subgenre-straddling D&B legend’s upcoming EP With You, due out this Friday, July 1, is only the second EP since the label’s inception. This phenomenon is partially because there have been so many releases, almost exclusively by S.P.Y, in the last 14 months, but sort of like S.P.Y himself when he burst onto the scene in 2009, DARKMTTR feels like it’s always been there because we probably needed it all along. Thus is also the case on With You, where each track fills a hole drum & bass didn’t know it had. It’s sort of the modus operandi for S.P.Y’s writing style, really; those beats just scratch an itch, and the beats on With You are no exception. The minimal, chill, yet perfectly executed snap of each snare on the EP hits home in a way only S.P.Y can. But don’t think there are no surprises on this EP; as fans will soon see, we should expect the unexpected with this one. With You‘s title track released as a teaser last week and is already a surprise in itself with its vocal melody and ravey, almost liquid synth patterns. It’s still got that heavy underwater vibe to its sub synths, however, so fans shouldn’t think they won’t be getting any sine wave bass on this EP. In fact it only gets heavier and deeper with “Event Horizon,” whose sub synths sound like a whole-ass submarine was shot into a black hole. Closing track “Wheels of Steel” is another unexpected twist, a near-neuro glitch blaster that flirts with experimentalism but is grounded in old school samples. It puts a heavy, jaw clenching period on the end of the With You sentence. We’ve got one more track on With You to talk about, and that’s our YEDM premiere today, “Life Is Just a Game.” A crucial tie-in piece which makes all the surprises and genre-swapping of this EP come together, listeners might wonder if S.P.Y’s decided to bring back foghorn with this track. While if anyone could do that it would be S.P.Y, upon listening a bit closer, the sine waves of this particular synth are actually miles away from foghorn. Sharp, metallic and more of a slash than a sweep of sine, these mid-to-sub synths sound more like someone running a machete along the rusty walls of the afore-mentioned spaghettified submarine. Talk about sonic imagery: “Life Is Just a Game” lives up to its name by bringing dystopia to an EP that started off so hopeful, “With You.” All the tracks on With You stand out as original S.P.Y pieces, which means they’re instant classics, but it seems he also really wanted an emotional journey to take place in the audience for this EP. Grounded in the warmth of those perfectly placed beats, the EP goes from the reassurance of a loved one to chaotic events to an observation of futility and back home to the reassurance only music can bring. And if you don’t want to contemplate all that, you can simply get lost in the feeling of the dance. S.P.Y always gives us a choice, and that’s another reason why his work, even the new stuff, is always so timeless. With You drops Friday, July 1st on DARKMTTR Records. Click here to pre-order or pre-save on multiple platforms. This article was first published on Your EDM. Source: Your EDM Premiere: S.P.Y’s DARKMTTR Journey Continues With Upcoming ‘With You’ EP

The wait is over! Acclaimed Australian electronic producer Golden Features today makes his highly anticipated return with his rousing new single “Touch” featuring Rromarin. Golden Features has turned out to be an apt name for the artist born Tom Stell, a nod to the gold mask he wears while performing. “Touch” marks the first taste of new music from Stell’s Golden Features, after a literal golden run since bursting onto the scene in 2014. Since his 2018 debut album SECT and the launch of 2020’s collaborative project BRONSON (with ODESZA), Stell felt creatively spent and needed time to recoup. Instead of opting for the traditional R&R approach, Stell emersed himself deep into clubbing mecca of the world, Berlin. There, he lost himself in the city’s renowned techno bunkers and hedonistic clubs, dancing with strangers, stripped of phones and returning to the apartment in the early hours to hunt for the tracks he’d heard the night before. Four nights a week spent raving only came to an end when COVID closed the clubs down. But Stell returned to Australia revitalised and most importantly, inspired. “Touch” encapsulates everything Stell took away from his invigorating stint in Berlin. A track that’s both moody and light, layered with pulsating rhythm, hypnotic beats and the duelling deep and wispy vocals of Rromarin. “Touch was born from that synth riff. I fought it for so long, feeling it was too happy and upbeat. After giving it some space I reharmonized everything under the riff and it instantly made me feel something. Claire (Rromarin) had actually recorded these vocals for another song on the record, but the lyrics just felt right for Touch” says Stell on the new single. “To me it encapsulates that feeling after the rave… At the kick-on laying with your head in somebody’s lap, smoking a cigarette while they play with your hair.” Now with two platinum and six gold ARIA certifications for his tracks, 275+ million global streams, an acclaimed and beloved debut album in 2018’s SECT (#1 ARIA Dance Albums Chart, #1 iTunes, Triple J’s Feature Album), selling out two shows in 4 hours at the Sydney opera House, headline slots at major festivals both at home and abroad as well as forming the BRONSON project and releasing their self-titled album with stadium-conquering US electronic duo ODESZA under his belt, Golden Features has cemented himself as Australian electronic music royalty, returning now as an artist at the top of their game. Stay tuned for more to come from Golden Features, in the meantime listen to the new single “Touch” below!

Hudson Mohawke officially returns to announce his forthcoming album, Cry Sugar, due August 12. With the announcement arriving alongside a new pair of singles in “Cry Sugar (Megamix)” and “Bicstan” plus an accompanying kingcon2k11-directed Megamix visualizer, in 2022, Hudson Mohawke cries sugar. I have a new album “Cry Sugar” is out 12th August 2022 Teaser below https://t.co/jKdiBJYYRq — Hudson Mohawke (@HudMo) June 28, 2022 On “Cry Sugar (Megamix)” Hudson takes various parts from the full album to offer a window into the project’s full sonic palette ahead of release, while “Bicstan” dabs elements of Roland TB-303 flecked acid and driving gabber alongside floating, effervescent vocals and Kerri Chandler-esque house chords. Cry Sugar serves as HudMo’s first work deeply informed by apocalyptic film scores and soundtracks by everyone from the late Vangelis to the goofy major-chord pomp of 90s John Williams. Cry Sugar also serves as Mohawke’s own demented OST to score the twilight of our cultural meltdown. Watch the megamix below and stream the first single, “Bicstan.” Photo by Jonnie Chambers This article was first published on Your EDM. Source: Hudson Mohawke Announces New Album, Drops Album Megamix + First Single

Rezz has released on many labels, including mau5trap, Deadbeats, and Confession, but she’s now announced that she’s starting her own music label. If you look through her releases on Spotify, many releases dating back to 2018 have been released under Rezz Music, such as her Beyond The Senses EP in 2019. It appears that around 2020, Rezz Music was under exclusive license to RCA Records. Though, it’s unclear at this time whether she’s regaining sole ownership of Rezz Music and relaunching it with other artists or if she’s doing something else entirely. As for what music the label will be releasing, she says, “You can already guess.” Label-branded events will also happen down the road as Rezz will also play the label tracks out at her own shows. Stay tuned for more info. I will be playing all of these tracks, releasing them, THROWING EVENTS BRANDED WITH THE LABEL! — RΞZZ (@OfficialRezz) June 27, 2022 Photo via Maria Jose Govea @thesupermaniak This article was first published on Your EDM. Source: Rezz Announces She Is Starting Her Own Label

SEXPAYS continues to amaze us each time he releases a song. His sounds, his grooves, and his attitude are all unique to his artistry, consistently leaving us on the edge of our seats to hear what he’s up to next. He recently tackled pop queen Charli XCX’s single “Crash“, injecting it with an irresistable 80’s pop and house arrangement that feels just as fresh today or even 40 years ago. He blends the melodic layers of Charli’s voice seamlessly with punchy drums, synth arpeggio’s, and a epic bass line that makes you want to gather under the disco ball and let loose on the dance floor. Listen below! SEXPAYS · CHARLIXCX – CRASH(SEXPAYSBASEMENTATWEBSTERHALLMIX) This article was first published on Your EDM. Source: SEXPAYS Flips Charli XCX’s “Crash” Into Epic 80’s House Remix

AJ Salvatore is truly on the path to stardom. The 25-year-old has had releases under Universal, Sony, gone on to chart at #12 on Billboard Dance Club Songs, #19 in the US Viral 50, #21 in the Global Viral 50, and released official remixes for Lil Yachty, Paris & Simo, Bleona, and Shaun Frank on Ultra Records. He’s also performed at EDC Orlando and opened for superstars such as Quix, Borgeous, Carnage, Ghastly, Alvin Risk, Dirty South, Shaun Frank, and SNBRN to name a few. His latest single, “Vitamins” ft. Tokyo’s Revenge has been an undeniable hit, amassing over one millions streams, which has now led to the highly anticipated remix EP, boasting four electrifying remixes from the likes of Dolla Bill, Squalzz, CHENDA, BXT, and KULTIVATE. Straight out of Philly, KULTIVATE infuses the original with high energy drum and bass production that is irresistible. Squalzz delivers a trap infused remix that also showcases an irresistible bassline and mellow reggae beats. Dolla Bill switches things up with a fast paced house remix that blends hip hop and house seamlessly. CHENDA brings his thunderous style to the track offering a remix that’s booming with vigorous and heart thumping sounds. BXT caps the remixes off with a punchy, bass house remix that boasts club and festival appeal. This article was first published on Your EDM. Source: AJ Salvatore Drops Sizzling Remix EP To “Vitamins” ft. Tokyo’s Revenge

Vancouver-based producer The GOAT has been tirelessly releasing increasingly heavier and weirder industrial techno since he began making EDM in 2016. One would have to if one wanted to be seen as the greatest of all time, wouldn’t one? Well, just like anything in the music world, Chris Marcinikiewicz’s chosen moniker isn’t exactly as it seems. With all his work, including The Details Are Vague, his debut album on Groundwerk Recordings, released earlier this month, The GOAT just wants to make us dance. Coming from a thrash and punk drumming background, Marcinikiewicz’s earlier musical years were spent touring Europe, especially Germany, and influenced by the techno sounds there but also experimental punk bands like Fugazi, Bad Brains and Minor Threat. This explains the heavy and often analog drum treatments The GOAT’s electronic productions get, and likely why his techno comes off sounding more industrial than big room, a rarity nowadays in North America. The GOAT has nonetheless managed to garner a lot of support both locally and abroad, hitting the top 100 on Beatport’s techno charts with his first EP, Flout, and the top ten on the ambient chart as well. After this early success, he hooked up with Groundwerk Recordings and its founder Joel West to produce even more groundbreaking work and put out a record number of tracks and EPs since then and now. With a style so unique and niche, it’s a good thing The GOAT has this sort of work ethic, because he’s pretty much created this ambient/industrial/techno sound/genre on his own. With the details of how he came to find this sound, the tech of this sort of techno and what kind of cocky motherfucker actually names himself The GOAT being vague, we went to Marcinikiewicz in search of the answers and found more than the details. We discovered an artist who works from his heart and whose dedication can be felt in every track (and the reasons behind the name), so read on and listen as all is clarified and revealed. You seem to have picked one hell of a specialty in terms of a niche style, especially in the North American scene. How did you get started making beats and when/why did you decide to go industrial techno? I was very fortunate as a young kid to have the opportunity to see electronics and sequencers and things at an early age. I can credit that to two older family friends, one of which had a 90s midi home studio and was so patient in showing me how to get started on making loops and ultimately tracks. The other family friend showed me and his younger brother industrial music in the early and mid 90s. It was all that Wax Trax stuff. It instantly sounded like something I wanted to learn how to do. I kinda came full circle to it because I played in punk bands and experimented with synthesizers for many years. I just found the place where it can all meld together. To that end, how do you feel your work has been received in North America? Obviously you’re charted on Beatport, but do you find it’s tougher to break the scene here versus Europe where Rammstein and other heavy techno acts are so popular? The reception of the album has been good. I’m happy that The Details Are Vague is being supported and received as well as it is. To answer your second question, it’s a bit of a double edged sword. I feel like in North America, or maybe where I play, techno is a misused term. It’s a bit of a catch-all at the moment, and kind of the “cool word,” but most people are playing deep house or whatever. Things are marketed as “techno” but it’s not that. So yeah, I don’t know, I’m maybe considered niche here, but in Europe, there are so many people doing it that it may be more difficult to stand out. Ultimately, I’m just writing music I want to hear. And if it moves you, if it resonates, lets dance together. Aside from the above-mentioned obvious, what acts were your main influences to create this kind of techno? What do you love about the sound that keeps you going? For me, Its in the approach. Going back to punk, a band like Fugazi or At The Drive In, their fearlessness is what inspires me. Obviously industrial acts, and goth acts support the sonics and the imagery, but those two I mentioned actually stick out because I feel like they have a signature sound, but they always challenged it in their approach. There was always a “what’s next?” aspect when word got out that new music was coming from Fugazi. I like a lot of different styles of music so I’m leaving a lot out; that’s just one example of a good approach. Time to get techy: there are a lot of experimental and dissonant elements built into the sound design on The Details are Vague, like the ambient pipe sounds under the main music on “Removed from Service” or the ambient, beatless structure on “You Missed the Forest for the Trees.” How much of this album was pure experimentation for you and what draws you to the science of sound? I had goals with what I wanted to accomplish with the sound. I wanted it to feel human, but techno is inherently mechanical. This being my debut LP, I wanted to tip my hat to the sounds that inspired me when I first started with electronics in the mid-90s, so experimentation with a purpose was key. I had many sound designing sessions, some more guided than others, but I wanted to let the machines speak. I wanted to be a conduit for them. I feel like when hardware is involved, there’s a relationship and a conversation that happens. Especially with modular synthesis. You put information in, It speaks, you interpret and make changes. All of that was captured. The final synth in “Reduced” was just that: a live take that was un-edited, and I like that there’s some drift there, and mistakes. It feels alive to me. With an album, I’ve learned, there’s a time to leave all your tendencies behind. It’s not written the same way an EP is. I felt like I could do anything. Building on that, what sort of programming or mods did you use to get these more experimental elements? How did they fit with the main compositions, or did you come up with the singular sounds first and then build the tracks? Every track is built different. One thing for sure, and you can talk to Joel West about this because we’ve worked on many tracks together, is I feel like the enjoyment is in finding a different way to make the music. So for example, maybe this certain track can only be done using one synthesizer for every aspect. Or maybe some sort of self-imposed limitation will be put into the session in order to steer you a certain way and push you out of the norm. It keeps things fresh for me. I combined that with telling the sonic story I wanted to tell in order to program these parts. Some tracks were started very simply with a groove, others were definitely with an experimental aspect first, and then forged into what I wanted it to live as. Your time as a drummer touring in Germany and Eastern Europe has clearly influenced how you put your drum lines together. How important are those drums for you? Did you really want to make them shine on this album? Because I played drums growing up and I enjoy a lot of different types of music, I wanted to explore that (different types of drum lines). I wanted to see if I could find a place for them on the album. Now, they’re mangled to shit, but that’s where they fit in the record. I also had some actual song ideas that I wanted to pursue on this too. Because of the pandemic, I felt like I had the time to go down that road with Nathan and Amanda (Melohalo, on “Alone”). They’re a great fucking band first and foremost, so it was cool to see how we could reach that feeling. You know, all of us reaching toward a common goal. I can’t wait to hear what they do next. On “Reduced,” it was like second nature, and it really was cool to work with Jamison (Prystay) again. We’d played together in bands growing up, so going full circle there felt very natural. Who wouldn’t want to play drums on Rhett’s (Williams) guitar playing? He plays with a ton of attitude. I wanted analog drums to have their spot on the album that would create the more obvious human aspect. In what other ways do you think your thrash background influenced the album? I think the main way thrash and punk have influenced this album Is my tolerance for noise. I’ve left headroom for future exploration of noisier and heavier aspects, but I’m also not gonna shy away from points on the album like “The Mud Of Humanity” or “Vulcanize.” Without my background, I wouldn’t have been able to allow the music to go to those places. You’ve had a number of releases with the famous Vancouver imprint Groundwerk Recordings so obviously there’s a good relationship there, but why did you decide to release the album with them? Groundwerk is home. It’s so important to me as a label, but to those that don’t know, Groundwerk is even more than that. It started out as a listening party where bedroom producers (and producers of all levels) could submit music, hear it on a club system, and talk shop with other likeminded individuals. It was amazing for learning from other people and networking. It’s just a great and inclusive place to be. The reason I say this is because when I was at my most disillusioned about music is when Groundwerk started. I went to their first event years back by myself, not knowing anyone, and it changed everything. Like, there are scenes, but rarely does a label build community. From Groundwerk’s community, so many people have flourished in their respective disciplines. For them to pick me up with I was artistically most vulnerable, It meant a lot to me. Groundwerk the label, Groundwerk the event promoter, Groundwerk the (public & Twitch-during-pandemic) listening party, make up the roots of a lot of what is happening, and has happened in the Vancouver scene in the last, I’d say, five years. People have learned, grown, and even moved on, but it’s an institution. Okay we gotta ask about the name: is it a bit of cheeky irony, making fun of pop culture, or did you choose it because you want to be the Yeezy of techno? It’s 100% tongue-in-cheek. I loved the idea of The Prodigy’s name being a throw back to the DJ’s and MC’s in early hip-hop; these larger than life names. I also am a huge fan of combat sports, so there’s that. Anyone that knows me knows it’s a caricature and a joke. But also, growing up, my mom used to call me “Kozuka” (Koza) in Polish, which means goat. I was always active and always finding ways to stumble into things and hurt myself as a toddler (laughs) so honestly, its a nod to that as well. There ya go, the cat is officially out of the bag! We’re sure at the moment you’re happy celebrating the album finally being out, but do have any insight on what’s coming up next for you? Shows/tours/releases? I’m currently working with promoters lining things up. So if you want me in your city, head over to thegoatmusicofficial.com and find my socials there. Reach out and lets dance. The Details Are Vague is out now on Groundwerk Recordings and can be purchased on Beatport or streamed on Spotify. This article was first published on Your EDM. Source: Your EDM Q&A: Does Canadian Techno Artist The GOAT Live Up to His Name With His New Album? [Video]

Porter Robinson closed out the Ranch Arena stage at Electric Forest this past Saturday, which was undoubtedly a fantastic set. But the highlight for many fans was seeing him in a more intimate setting at the Ocular Organ in the festival grounds the next afternoon, playing a full acoustic set. The featured photo for this article, captured by @MarioH92, sums up the experience pretty perfectly. But if you want to see some of the actual set, @reporterrobnson has you covered with some unreleased music and a clip of “Look At The Sky” below. i don't want to ruin the entire surprise but here's a clip of that porter robinson new new (unnamed) from the forest piano @porterrobinson pic.twitter.com/mUWki4MmiN — dj not reporter robinson (@reporterrobnson) June 27, 2022 look at the sky (@Electric_Forest piano version) featuring porterfam on vocals @porterrobinson pic.twitter.com/olY6FNaACA — dj not reporter robinson (@reporterrobnson) June 27, 2022 Photo via @MarioH92 This article was first published on Your EDM. Source: Porter Robinson Surprise Set At Ocular Organ Among Highlights From Electric Forest

Suwannee Hulaween, North Florida’s premier Halloween and camping festival has just announced the lineup for its 2022 edition, and if you don’t live in the area, you might want to buy a plane ticket. Suwannee Hulaween has always been a cross-genre affair and this year’s edition is no different. Highlighted by jam bands like the String Cheese Incident and the Disco Biscuits, house music acts like Louis the Child, Fisher, Gorgon City, Gigantic NGHTMRE and Jauz’s “Off the Deep End,” Suwannee Hulaween has something for everyone to enjoy. This year marks the festival’s ninth edition returning home to the Spirit of the Suwannee Music Park in Live Oak, Florida from October 27-30. Hulaween’s Spirit Lake is heralded as one of the leading immersive art experiences across American festivals, brimming with talented sculptors, fire/metal workers, painters, thespians, and lighting designers. Attendees can revel in lakefront projection mapping, hypnotizing light shows, interactive installations, and both visual and performance art, catch performances at Spirit Lake’s two stages, and groove into sunrise at the Silent Disco. Check out the website to get your camping passes to this year’s edition of Suwannee Hulaween and check out the accompanying hype video to get a taste of what this unique music & arts festival is all about. This article was first published on Your EDM. Source: Suwannee Hulaween Announces Stacked Lineup for 2022 Edition

Original Photo by Jamie Rosenberg I’ve been to lots of events all over Southern California, but few feel like as much of an LA Party as Jaime Jones’s Paradise in the Park. Taking place earlier this month at Pershing Square in the heart of DTLA, Paradise seeks to bring the feel of an Ibiza day party to urban Los Angeles. An eclectic crowd as varied as the city packed the urban square as house music played all afternoon and night long. Attendees across the age spectrum were present. There was a healthy mix of floral patterns and all-black, but the fun vibes permeated the weekend. LA powerhouse production company Future Primitive partnered with one of the west coast’s most respected underground electronic promoters, Framework, on this year’s edition of Paradise in the Park. The setting was impressive, as attendees were able to bask in a full 360-degree view of DTLA. You could see the One Wilshire Building to the Southwest, the US Bank Tower to the Northwest and the myriad apartments that got treated to a free show. Getting into and out of the venue was a breeze, drink lines were never too long (I waited maybe 10 minutes during peak hours), and the food trucks were exceptional quality (although maybe could have used one or two more). The stage was simple, but still lit up the night sky. A disco ball hung above the Paradise logo as black beams made up the frame of the stage. An LED circle surrounded the logo and disco ball, featuring another LED half-circle directly below. There were also tropical vines and leaves lining the stage to give it that true “Paradise” feel. Original Photo by Jamie Rosenberg I arrived right as Carlita was taking the stage for her hour-and-a-half sunset set. She set the vibe for the night as she played upbeat, disco-house tunes all while she bobbed up and down on stage in her bucket hat. She started going deeper once the sun started to go down, but the mood setting would be left to Dubfire b2b Art Department, who would take the crowd on a two hour journey of deep and progressive house. The two house veterans lived up to the hype, and kudos to Paradise for getting the two together. Jaime Jones closed out the night after that with a two hour set of house bangers that shows why he’s so popular on the festival circuit. Original Photo by Jamie Rosenberg Pershing Square will be closing for major renovations over the next two years, so the future of Paradise in LA is up in the air. However, I have no doubt that the fine people over at Framework and Future Primitive will be able to cook up something that will have Angelenos dancing in Paradise in the future. Original Photo by Jamie Rosenberg This article was first published on Your EDM. Source: Jamie Jones Sends Off Pershing Square with a Fantastic Edition of Paradise in the Park

Claude VonStroke is bringing his Dirtybird Campout back to Central California this October and the Phase 1 lineup has just dropped. Featuring some of the hottest names in house music, Dirtybird favorites, and a few for the bassheads, this year’s lineup is stacked. Ardalan, Justin Jay, VNSSA, Walker & Royce, Eprom, Of the Trees, and of course the Dirtybird head honcho, himself, Claude Von Stroke are among this year’s highlights. The half-music festival/half-summer camp will be at the Modesto Reservoir Campgrounds (about 5 hours north of Los Angeles) from October 7-9. The fun begins upon arrival, where attendees are grouped into Orange, Green, Purple and Red teams to compete all weekend in over 45 events for the now famed Ironbird trophy. This year’s edition of the festival will feature all of the fun and kooky activities that make Dirtybird Campout unique (you’re actually compelled to participate in the extra curricular activities), as well as the addition of a new afterhours stage (previously a silent disco). This will allow music to be played on the campgrounds through the morning until sunrise. Check out the Dirtybird website to buy your tickets or enter one of the contests and maybe get lucky enough to win some. The website also features more info on games and activities onsite. Check out the lineup announce video below and stay tuned for more info. This article was first published on Your EDM. Source: Dirtybird Campout Drops Phase 1 Lineup

Honestly, we all should have known that Wavedash and James Ivy would make a great collaboration if they ever connected. The good news is that day has actually arrived and their collab is incredible. Their latest single “Chicago Loop” is the four artists’ most vulnerable and groovy tracks. From the trio that gave us glitchy/future bass in tracks like “Dummo Loop” to the synth-heavy cascade of “Stallions”, it’s clear that Wavedash are making some of the glitziest bass music in the scene. Their soundscape has the shine to it that very few electronic artists can emulate. Meanwhile, James Ivy has been rising as one of indie music’s most interesting acts. If you followed Porter Robinson‘s Nurture rollout, they may have caught James Ivy’s version of “Something Comforting” with it’s washed-out guitar and excellent 90’s boyband singing. But his output feels like a revival of alternative rock with a new charm, making him one of this year’s most exciting artists to watch. On “Chicago Loop”, they really flexed their creative muscles. Wavedash and James Ivy make a bedroom pop that gets a sadboi house beat. But it’s paired with these very intimate vocals from Ivy that vitalizes the track. The track’s 80’s inspired drums and sensual vocal-manipulation are some of the elements that give this song such masterful songwriting. It’s the kind of song you listen to dancing in your room and it feels so cathartic. Wavedash dropped their debut record World Famous Tour about a year ago. Five months later, the trio start releasing new music again. The new output feels like a new body of work could be on the way. But nothing has been announced officially. And James Ivy’s debut EP Good Grief came out in October last year and was followed by a new song 8 months later. These young artists continue to sharpen their imagination and their songwriting while efficiently releasing quality future bass. Who could want anything more? Make sure to check out “Chicago Loop” by Wavedash and James Ivy! Let’s hope they do it again. This article was first published on Your EDM. Source: Wavedash and James Ivy Drop Phenomenal Dance-Pop/House Track “Chicago Loop”

D3FAI the budding techno maestro just released an out of this world 5-track EP titled BIO WEAPON on RESTLESS RCRDS meanwhile touring Europe visiting cities like Amsterdamn, Spain, and Paris on Saturday for the FORM Music label party in Paris. The new EP which dropped today includes an introduction record and 4 nearly 8-minute long techno bangers. D3FAI has worked on music with big name producers in the past like Deorro, yet his latest EP BIO WEAPON really sets himself apart. The techno wunderkind includes his signature spacey and hypnotic relaxing sound production throughout the entire project. The EP blissfully creates space inducing soundscapes filled with vibrant colors and interacting floating entities. The amount of raw of emotion and feeling translated through the size of the EP is enormous creating an absolutely outstanding project in BIO WEAPON. Stream D3FAI’s new EP BIO WEAPON Below.  Follow D3FAI on Instagram to catch him on tour! This article was first published on Your EDM. Source: D3FAI Releases Out Of This World ‘BIO WEAPON’ EP

We’re only in June and Crankdat has pumped out a track a month in 2022 with his latest “Ding Dong” on Monstercat. And wow is it fun. A track can be mechanically and theoretically ‘good’ without being fun, and it can also go the other way. But Crankdat truly turns the enjoyment up on this track. I can only imagine how he was acting, sitting in his studio playing this back after finishing it, but I’m at home absolutely bouncing. Between all of the tempos and rhythms and the instant serotonin from hearing “DING DONG” throughout the track, there’s no doubt that this is going to have crowds losing their minds at shows. Check out “Ding Dong” below! Want to hear it live? Crankdat is playing Avalon in Los Angeles on July 16 – get tickets here. This article was first published on Your EDM. Source: Crankdat turns the fun up to 11 with new single “Ding Dong,” out on Monstercat