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SEXPAYS is coming out of left field with his take on house music. This is their very first release overall, showcasing a sensational house vibe that hits all the right marks. The mystery artist approaches at things from a different view, which can certainly be seen as a feature the electronic world needs more of. From the sound of it, he’s gained experience producing, and most likely DJing, from years of practice and potentially expressing himself under a different alias – the chops going on here are at a caliber that’s too strong to be a first go-around at an artist career. “Love,” is very first song for this project and sets a nice stage for more to come in the near future. There’s plenty to enjoy with what SEXPAYS serves up, keep an eye for this artist who’s got passion and drive for the music he makes. This article was first published on Your EDM. Source: Sexpays Drop Smooth House Anthem, ‘LOVE’

As one might be able to tell by both his project name and the title of his first single, “Fever Dream,” Ono Kimono brings a tremendous amount of cheek to his work. Started in 2021 by multi-instrumentalist Justin Roll, thus far this solo project is just about as vibrant, colorful and retro as the cover art for said first single. With 80s-style synths, a good handle on oscillators and loads of indie pop cachet, Ono Kimono is set to bring the next wave of rock/electro fusion. Roll says Ono Kimono and specifically “Fever Dream” were and answer to what he calls “pandemic burnout.” An apt assessment to what we all felt at the end of 2021 (or 2020, if we’re honest), and especially whatartists dealt with. The singles I’m releasing have been a culmination of what I’ve been feeling since the start of the pandemic. Feelings of heartbreak, addiction, and burnout have weighed heavily on me and it’s been highly therapeutic to put them into music. I’m hoping my message resonates with people and takes them on a journey. But, also like many artists, Roll wanted to lift people out of that burnout. And what better way than with some throwback pop vibes, excellent synths and the suggestion that COVID is just a collective hallucination? My ultimate goal is to provide for my listeners what my favorite music has given me over the years, which is a sense of belonging. If I am able to inspire, to comfort, and to captivate my audience then the journey will be 100% worth it.” While “Fever Dream” is bubble gum fun with a somewhat serious message, Ono Kimono’s follow-up “Malibu.” released just last week, is slightly more indie musically but with a more relaxed lyrical center. Drawing on late 00s/early 10s acts like Chromeo, Cut Copy, Washed Out and even a hint of LCD Soundsystem, this track is where Roll really puts his own spin on indie electro pop and shows his multi-instrumental skill. Vintage funk, dream pop-y tone on the vox and some expertly syncopated live jazz drums make “Malibu” possibly even better than “Fever Dream” from a musical standpoint and will certainly help Ono Kimono stand out from the indie pop pack. Artists being inspired by COVID and healing themselves and the world at large with their work is almost a silver lining in all this mess. It certainly makes it all more bearable. For Roll as Ono Kimono, it’s an interesting way to start a new project but it’s clear he has both the musical chops and the contemplative nature to make us all feel a bit better and even have a bit of fun along the way. Even if this is all just a collective “Fever Dream.” “Fever Dream and “Malibu” are out now and can be streamed on Spotify or purchased on Bandcamp. This article was first published on Your EDM. Source: New Artist Spotlight: Ono Kimono Is Determined to Find Fun, Even if it’s Just a ‘Fever Dream’

Coming to Smash Deep, a division of Smash The House, emerging producers Swatkat and Jason Dewey have collided on “Feel It,” a deep house anthem of massive proportions. Bringing along incredible dance vibes and unmatched dancefloor energy, “Feel It” has everything it needs to become a staple tune in many DJs’ sets. Driven by hard-hitting kicks, playful melodies and groovy basslines, it’s truly an immersive sonic journey from start to finish. With both artists showing immense promise and potential within dance music, there’s no doubt that “Feel It” will be a monumental release for both their careers. While masked talent Swatkat exploded last year with singles such as “Feel So Good” and “Heartbeat,” Jason Dewey brings more than 10 years of experience to the table, as his beginnings in the industry date all the way back to 2009, when he began his journey in the Miami music scene after an unexpected injury ended his promising baseball career.  This article was first published on Your EDM. Source: Swatkat & Jason Dewey Share Anthemic House Gem “Feel It”

Launched by EDM producer Blaqout and and sponsored by Prysm Talent Agency, music industry course Industry Renegade aims to become the one-stop-shop for every producer who wants to turn their passion into a successful career within the industry. When you’re starting out, music industry mentorships are all you need, yet good resources can oftentimes be very pricey, and this is what Blaqout has set out to solve. With a career that spans across the past decade, Blaqout is a self-taught professional who has signed his music to established electronic record labels such as Subsidia Records, Buygore and Uplink Audio, as well as toured across the US multiple times. Thus, Industry Renegade is an EDM producer course at heart, and contains over two hours of lessons on how to get signed to a record label, how to get booked as a DJ/Producer, how to read contracts, and much more. You can check out Industry Renegade in more detail here. This article was first published on Your EDM. Source: Industry Renegade Online Course Is Here To Teach Producers How To Turn Their Passion Into A Career

Based in Belgium, SVDKO has been building an impressive discography over the past years, filled with eclectic, guitar-driven cuts that blend the lines between electronic, indie and pop. Making his first release in 2022, he has just connected with French up-and-comer Adrobski and US-based songwriter Harvey to unveil “Open Waters.” A heavenly and unique piece of electronic music, “Open Waters“ nicely brings together the styles of all three artists into an engaging and cohesive mix. SVDKO’s nostalgic guitar melodies and Adrobski’s snappy production complement Harvey’s ethereal vocal lines in a stunning way, as more and more layers pull listeners into the artists’ exciting auditory world. Eventually, the drop explodes into a bass-heavy and glitchy showcase of production skills, driven by high-pitched vocals, futuristic synth chops and hard-hitting snares. Listen to “Open Waters” below: This article was first published on Your EDM. Source: SVDKO, Adrobski & Harvey Connect On Vibrant Gem “Open Waters”

Artist Collective Ex Medias just launched, embodying a powerful mission: to shine a light on underexposed artists and genres. Since its inception, it has expanded into a nation-wide collective with the mission of nurturing the growth of our artists to their fullest potential. They aim to foster community based on supporting one another, inspiring successful actions, and helping maintain the tried and true path each member is destined to be on with their career path. Founded by electronic music DJ/producer Able Grey, Ex Medias has made an exciting debut, showcasing 13 artists, with their first compilation album, ‘WE ARE EX MEDIAS VOL I’. You may not have heard of any of the artists included, but the talent is unreal. Boasting ten tracks, the compilation album is powerful, emotive and truly sensational. A few stand out tracks include “See The Light” by JWILLI, a euphoric, melodic bass track that strikes perfection, balancing beautiful sounds and melodies with a blissful vocal. “Dream” by Meridian is future bass but with his own twist, entirely captivating with a futuristic vocal sample paired with a thundering drop. Goast adds a break to the tension with a tranquil, acoustic intro for “Hold On“. Juxtaposing the ambient verses with a electrifying future-inspired drop that slides in suddenly, the process repeats again, a testament to the talent of Goast as he shows what is possible and workable in terms of extreme energy levels being a true fit into one song. Overall, ‘WE ARE EX MEDIAS VOL I’ is a fascinating album that is sure to leave you speechless by the end. Listen below! This article was first published on Your EDM. Source: Ex Medias Officially Launches & Drop 1st Compilation, ‘WE ARE EX MEDIAS VOL I ‘

“No Diggity” is one of those tracks that is timeless through and through, the product of the iconic collaboration between Blackstreet, Dr. Dre, and Queen Pen. It’s received remix treatment through the years from all sorts of genres, and now, kicking off 2022, we have a fresh tropical house remix from Las Vegas duo Course Control, featuring the smooth vocals of Kevon Tyrre. Imagine… what if Blackstreet’s 1990s hit went to Ibiza, dug it’s feet in the sand, ordered a round of pina coladas, and kicked back on the beach? The result is this infectious remix, the debut release from Course Control. Course Control provide a blissful arrangement, paired perfectly with Tyrre’s vocals as trumpets and other tropical melodies glide throughout. The anthemically catchy lyrics along with the lush tropical R&B paradise vibes will make you forget it’s the dead of winter and have you pressing play over and over again. Check out “No Diggity” by Course Control & Kevon Tyrre below! This article was first published on Your EDM. Source: Course Control & Kevon Tyrre Infuse “No Diggity” With Tropical House Vibes

Her at Your EDM, we’ve long carried the belief that EDM and other forms of electronic music wouldn’t be where they are with experimental artists. Mechanizing audio was originally the discipline of scientists, after all, and experimental musicians always seem to have that mad scientist arc. Whether we’re talking Philip Glass, Brian Eno, Musique Concrète or more contemporary curious artists like Hans Zimmer, Venetian Snares, Aphex Twin and even Noisia, tinkering with sounds, mods and recording techniques factors in just as much as composition, emotion and vibes. It’s just the way these artists’ brains work, and thank goodness they do. Who else is going to push the boundaries of EDM and continue to move it forward? You don’t progress genres by throwing cake and humping the decks, that’s for sure. Because there are so many famous-cake throwers and deck-humpers around and also because of the slightly elusive and complex nature of the experimental electronic artist, there’s a bit of a dearth of interviews with these beautiful minds on Your EDM. Luckily, we’ve finally reeled one in. YEDM has been following Chris Ianuzzi for some time now, since his days in the equally experimental but more rock-oriented band Sluka to his ultra-experimental solo project I, Synthesist to his recent releases under his given name, the Olga In a Black Hole EP and Planeteria LP. With those symbiotic releases somewhat categorizable as IDM, Ianuzzi has pulled out all the stops with his upcoming LP, Maze. Released slowly as singles over the past six months, the full and fully tweaked Maze will be out in March. Maze Ianuzzi both returning to form and going fully formless, with some of the tracks almost having a full-on rock or pop structure and others being borderline chaotic. With an almost joyful shirking of genre and style, Maze does more than just push the limits of music and sound; it laughs in the face of those limits. With Maze set to be one of those albums that pushes the electronic music universe to expand just a bit more, it seemed a prudent time to see if we could sit down and pick one of these magnificent experimental minds, and luckily Ianuzzi agreed to a Q&A. What follows is one of the most descriptive and entertaining descriptions of an artist’s process we’ve heretofore seen on YEDM. If you’ve ever wondered how these guys think, Chris Ianuzzi has provided an excellent window. Hold on tight, embrace the chaos and read on. Why did you want to release Maze in a series of singles rather than all at once? Have you found it easier or more difficult to do it this way? How many tracks are left to go? All the tracks have essentially been released in one way or another. I always think creating music is part of a period in time. Music can be presented like a book with chapters. When someone suggested that I try releasing singles before the full album, I thought it was a great idea. Albums require a lot of time and getting singles out does a couple of good things. First, it’s harder for people to forget about you in this low attention span world. It also gives time to allow the bigger work to develop. Lastly, releasing in singles gives the composer/producer a chance to make different versions after getting audience reactions. It creates a lot of pressure getting the stuff in the system on time and I think that’s good for me. I liked getting audience reactions from live shows, but we have a pandemic and things are different with no shows, so this creates a similar effect. What sort of modifications have you made based on the feedback and your own observations? December was the last month and the Piece called Maze was released. Now before the album is released I am making some developmental changes. In some cases its like “the Demos are done, lets see what I have to do.” “Live in Today” gave way to a newer version called “Sweet Over Time.” “Fantastic Hellos” is a remix of some elements from “Hello” on the Planeteria album. Then I made a different version for the album called “Cosmic Hellos” which is a combination of the two. (Laughs) I have to stop with that piece now! I’m becoming a “Hello” psycho. I am also making a slightly different version of “March of Madness” for the album. It will be processed using the (Dolby) Atmos system, which is a form of 360 spatial audio. I’m working with some great people in Turkey making an AI video for the song too. Its going to be fantastic. Let’s talk style a bit: a lot of these tracks on Maze seem, to the casual listener, almost to be the antithesis to your previous ventures Olga In a Black Hole and Planeteria. You’ve said, however, around the time that Olga…was released, it was meant to be a prequel to Planeteria in terms of both style and substance. Now that it’s mostly done and out, how do you think Maze relates to these other works? I set up a challenge for myself with Planeteria. I felt that I wanted to move beyond song structure and repetitive grooves. I have been working with songs for many years with my I, Synthesist project. so, I was like a teacher not allowing old habits to be there. I think I went too far. I didn’t feel comfortable being myself sometimes. I think it was a good work-though and I went through the process and learned. I also wanted to get better with my modular synth. By contrast the original “Hello” for example, was created in a day, it was during album mastering time. I really was like a rebel using a drum & bass groove with that. I just let loose at the end. On closer listen, there are a lot of elements that are similar between Olga…/Planeteria and Maze, but they almost seem reversed. The ambient sound design and general woo feel are still there, for example, but they take a backseat to more organized noise elements and post punk-style vocals. Was that a conscious decision or sort of just how it flowed as you were working? What do you think it means for your overall sound and style? I definitely had a flow (this time around). I have always worked with sound design as the core and inspiration of work. I started making music and wasn’t thinking about songs. “Infinite Prize” was definitely a song stuck in my head as I got going and then the vision of what a video could be (came to me). As I continued making more music, song (structures) were definitely present. I then went to “Saturday Night Confession.” That was originally made for the I, Synthesist project but it was left hanging and I decided to finish it. “So Far, So Near” was originally meant to be instrumental. This new stuff was started before the release of Planeteria. Tech talk time! The other thing that’s quite noticeable on the new tracks is the experimental side of things has been ramped up and thus the composition must have been a different process. Did you still work scoring-style due to wanting to cram all those different elements in or was it more mad scientist in the studio this time? Or both? Both. The Mad Scientist is always there. I mean, take a look at the I, Synthesist pictures. Maze could be looked at as the fourth I, Synthesist album but I really felt the need to continue using my name and being comfortable with that. You’ve got a healthy dose of drone going in these tracks, but it sounds quite different than in previous work. Did you do anything differently or come up with new techniques? How big was the Moog element this time around? I am really into my modular synthesizers and always exploring. I don’t think of trying to make drone or anything. I find things that are telling me something. Funny, I didn’t have a Moog on Planeteria. I had a modular Moog a long time ago. I did recently get a Moog Subharmonicon and I used it for some elements in “So Far So Near.” The big use of it is in the end of “Infinite Prize.” The patterns developing and changing are all done with the Sub Harmonicon’s sequencer. I hope to add a Moog with the original Moog oscillators and filters later this year. Even with the rock-style vocals and what pop fans might call more structured track formats, the Maze tracks seem to still be pushing the boundaries of experimental electronica. What new methods or arrangements did you use to get your results? How much was programmed with modern/digital methods and how much was analog/modulators? I spent a lot of time in my life working in rock-oriented bands, using that song structure, so some elements are part of my vocabulary. I spent a lot of time doing scoring and working with classical as well as experimental. I have a (diverse) vocabulary. I’ve also always been known for pushing envelopes. I am not consciously here trying to be a conquistador, it just happens. I have always loved analog synthesizers as well as some digital synths, et cetera. Combining these elements can be beautiful. I think certain elements have their place the way an orchestra has instruments. How does the experimental/sound design end of things figure in? The Maze track “Setagaya” is a good thing to talk about (to explain how I work). It’s not a song; it is more sound design-oriented but it does have melodic and rhythmic elements that a person can latch onto. I was in a band called Sluka that was signed with a Japanese label. After the second album was finished, I was making comments about how the sounds of Tokyo were inspiring to me. I started a project that was recording sounds of Tokyo on DAT and then sampling them and making the music that it inspired with the samples. Nobody knew what in the world I was talking about then. The project was televised in Japan showing how I made the recordings and worked through it. Still no one really got it. (laughs) This was 1990, the world has changed a lot since then. OK, (maybe I am a) conquistador. Or at least an envelope pusher. (Flash forward to “Setagaya”) and I still had some of the sounds that I recorded and decided to make something current that used them. The sounds that I recorded were from an area of Tokyo called Setagaya. The train and any things about Setagaya are a great thing (to sample even now). What, if any, are the more philosophical or story-telling themes of Olga…/Planeteria and Maze? What do you want listeners to take away from the overall experience of these three releases? I would like people to go on a journey within themselves to find what the pieces and songs inspire. Olga In a Black Hole began by me using a Russian soft synth called Olga. I had a reverb plugin called the Black Hole made by Eventide. So, my Olga was being played through The Black Hole. This created a vision for me to latch onto for my own creative story. Which track or tracks on the album do you think would be best for audiences to listen to in order to get a snapshot of what the album’s about? Best track for EDM crossover fans? Experimental fans? I think that “Hunger” is definitely an EDM crossover thing, Some even find industrial elements in it. It is very danceable an I want to hear it loud in a club. Any of the “Hellos” could fit into an EDM/drum & bass type as well. “March of Madness” also has points that could fit into the EDM crossover. I am putting that song through developments right now. As I mentioned, song inspired a fantastic computer artist and sculptor in Istanbul, Turkey. He is making an AI video for it. It’s amazing to see this develop. It is very similar in approach to what Duran Duran did with “Invisible.” Last week we entered my lyrics into his computer and we watched paintings develop from the computer’s dream state. This is going to be a very special work. We are working over Zoom. The video for “Infinite Prize” also was created through Zoom work as everyone was in a different location. Pandemic production, (On the experimental/post rock end of things), I think “So Far So Near” is a great example of using song structure in development but it really expanded with the three minutes of modular world at the end as well as internal stuff. The intro has some good analog stuff. The whole song is a little over ten minutes and I will keep it like that for the album. The single was split into Side 1 and Side 2. Of course this project is still going and not totally finished yet, but what else is on the horizon for you? Do you plan to continue this series or go in a totally different direction? I am very interested in performing. I want to dive deeper into the analog modular synth and digital modular synths. I want to make video and music. I make video backdrops for performances. I don’t see (Maze or anything I do) as a series but just what I do, I want to make an invitation to go on a journey. No restrictions. Aside from that, my daughter Nina started making the Maze track “Shuttles” and I helped her finish it. She is 13 now and a fantastic pianist so I hope to work with her more in the future. Maze will release in full in March. The singles released thus far can be steamed on Spotify and Apple Music or purchased on Bandcamp. Stay tuned to Ianuzzi’s YouTube channel for the upcoming videos mentioned in the interview. This article was first published on Your EDM. Source: Your EDM Q&A: Chris Ianuzzi Talks Envelope Pushing and the Endless ‘Maze’ that Is Experimental Music [Video]

After capping an exciting year with “Shady Intentions,” NGHTMRE continues the momentum and kicks off 2022 with his first EP release since 2017. Four tracks deep and chock-full of features, UNSOUND travels NGHTMRE’s evolution of sound since his inception. Including genre-bending collaborations with rising producers RNSOM, RAY VOLPE, and Deadlyft, UNSOUND is the third installment to NGHTMRE’s long line of triumphant EPs. “The UNSOUND EP is a bit of a preface for my upcoming album. I have been working on lots of new music throughout the year and these are some of my favorite collaborations I’ve done! I think the EP has a perfect balance of heavy, festival-ready tunes, as well as some more easy listening melodic. Everyone who worked on this EP is incredibly talented and I think deserves more recognition for their work. I hope this EP brings to light some of the amazing under-appreciated artists who helped write this music.” – NGHTMRE Listen below!  This article was first published on Your EDM. Source: NGHTMRE Releases ‘UNSOUND’ EP, A Prelude To His Upcoming Album

We are always massive fans of diverse sound design and super innovative production. Today, we have the privilege to share with you guys the latest album from Urbanstep, ‘STAGES’. This multi genre album takes the listener on an mind-bending and genre redefining experience from rock, to hiphop to trap production. Urban step comments on the album’s creation:  ‘This album is a massive concept that was systematically created, polished and released throughout a year as singles & EPs that formed main thought and the idea of the overall message of the album. I wanted to tell a story of both myself & the state of this day and age society. Some thoughts are depicted in vocal format, some are only instrumental.’ Recently nominated for Latvian Grammy, Urbanstep is making moves and definitely a name people should keep an eye on. Enjoy this profound body of sound design and mould breaking production. This article was first published on Your EDM. Source: Urbanstep Drops 17 Track Groundbreaking Album, ‘Stages’

The masked boys of Electric Polar Bears are continuing to make waves in the dance scene following their massive release of over 10 original tracks and remix packs over the course of 2021. They have an impressive list of collaborators, from working with superstar Paris Hilton to massive Australian artist, tyDi. Now, they’re back, this time teaming up with immensely talented vocalist Katie Sky (credits include: Ultra, Circus, OWSLA), for the melodically driven pop-dance song, “Could Shoulder“. It’s a sizzling track sure to warm you up in the dead of winter. Katie provides a captivating vocal that pairs perfectly with the upbeat, emotionally charged arrangement provided by EPB. The drop is big and can’t help but send thoughts of main stage festival vibes through your head. “I loved writing this one – I knew the boys [EBP] always like getting something about Ice or Snow in their songs because they are the polar bears, of course haha! So when I came up with the ‘Cold Shoulder’ song title, I knew that was what I wanted to create the song around. It’s about one of those love/hate relationships where both people have strong personalities & clash continually. Sometimes we can chase the drama and arguments and mistake it for passion, maybe just to make life more interesting.” – Katie Sky Listen to “Cold Shoulder” by Electric Polar Bears ft. Katie Sky below! This article was first published on Your EDM. Source: Electric Polar Bears Team Up With Vocalist Katie Sky For Invigorating Single, “Cold Shoulder”

Apparently at one time, Chicago-based group The Color of Cyan were a more vox-forward outfit, but the seem to have deigned to wipe past work from memory. Now the focus is on two things: pitch-perfect guitars and beautiful ambient production work. The result is their, for all intents and purposes, debut album, Agape, and with the level of mastery displayed on this LP, it’s hard to imagine they were doing anything else. Since the Google slate has been wiped of any previous work, it’s hard to speculate what The Color of Cyan sounded like prior to 2020 with with Agape absolutely bursting with emotive and masterful guitar work, soaring atmospherics and analog drums, there’s plenty to look at and appreciate in this one album. The band say that the switch to voxless work was inspired by COVID, both from a practical and philosophical standpoint. The album was recorded by the various quarantining band members in Chicago, Mexico City and Puerto Rico, the band had much the same plight of working remotely as other musical artists. They of course could have recorded remote vocals as well, but it seems the music spoke for itself in this case, and so they just went with it. Drawing on shoegaze, post rock and cinematic ambient electronica, The Color of Cyan focused on the atmospherics with Agape and seemed, even while physically separated, to find an emotional path to connect them to each other and the world at large. This is not a cheeky, hipstery Ratatat-style guitar/electro album. The guitars are largely metal based, especially in terms of the skill level of Eduardo Cintron, who also did most of the production. The composition, however, is much more wall of sound-inspired, so the overall effect of the analog work sounds more shoegazey, especially when the ambient electronic work is applied. Think a hearty balance between early and late era Brian Futter from Catherine Wheel when it comes to guitars. With those heavy guitars filling up the staff almost completely, the composition of most tracks on Agape was also clearly plotted in a similar way to a classical score. It was a smart move, as this opens up space for the equally masterful and surprisingly jazzy drum work of Henry Cole, the heavy-handed bass of Jorge Santana and the goosebump-inducing strings of Rene Torres. Those Torres strings add to the classical/post rock feel of tracks like “Summer Days,” lead single “The Day We Met” and the epic, eight-minute title track, as does all the electronic sound design. This is one of the main ways The Color of Cyan will appeal to EDM fans, as they’re clearly all about creating a vibe. Guitar music can often be only about the guitars, but here in Agape, they’re just as much about creating the emotionally charged atmosphere as the beats, the lush strings and the actual electronic atmospherics. The result is a grand, theatrical experience that’s the sonic equivalent to the northern lights: breathtaking, evocative, constant and ever-changing. That constant yet ever-changing feeling of Agape seems to be both what inspired the members of The Color of Cyan and what they want audiences to take away from it. The guitars, atmospherics, grounding beats and soaring melodies are all just to connote what many of us realized during these last two years, summed up best by the band themselves: Agape is our journey through this world. Even though the moments are unique for each one of us, we are all connected by those feelings Agape is out now and can be steamed on Spotify or purchased on Bandcamp. Check out more videos, including the recently released “Inception” music video and a recording session with Cintron on The Color of Cyan’s YouTube Channel. This article was first published on Your EDM. Source: New Artist Spotlight: Fans Will Be ‘Agape’ at The Color of Cyan’s Rock/Ambient Fusion [Video]

NYC’s very own Sam Allan is kicking off 2022 with a bang with a massive release. He’s teamed up with vocalist team Daudia for their intoxicating single, “Why Don’t You Love Me“, signed to Thomas Gold’s prestigious Fanfare Records. It’s a huge signing and rightfully deserved, encompassing every facet of becoming an anthem both in the clubs and at festivals. Melodic, uplifting, and contagiously addicting, “Why Don’t You Love Me” is a song that you will probably find yourself listening to on repeat. Here’s what Sam Allan had to say about it: “It was great having the opportunity to work with Daudia on my newest original ‘Why Don’t You Love Me.’ We’re really excited to finally be able to share it with everybody, especially on a label as notable as Thomas Gold’s Fanfare Records.” Listen to “Why Don’t You Love Me” by Sam Allan ft. Daudia below! This article was first published on Your EDM. Source: Sam Allan Drops House Anthem With “Why Don’t You Love Me” ft. DAUDIA [Fanfare Records]

XIE and dance music heavyweight JSTJR join forces for ‘$AVAGE’ a sonically pleasing glitchy videogame-esque banger with jungle and electro influences. The track immediately kicks off with glitchy, entrancing synths complimented by XIE’s hypnotic vocals. Serenading synths quickly lull the listeners into a trance only to be followed by a jolting groove as heavy sub basses enter the sonic space. Electro and jungle influences are fused together throughout the entirety of the record creating a lively combination of anthemic energy. ‘$AVAGE’ is as groovy as it is emotionally and melodically enthralling. XIE has received cosigns from Illenium, RL Grime and is quickly paving her own sound into electronic music. Check out what XIE had to say about making ‘$AVAGE’ – “$AVAGE is a self empowering high octane ride about unleashing your inner power through all of life’s madness.” Stream or download ‘$AVAGE (feat. JSTJR)’  This article was first published on Your EDM. Source: XIE Blissfuly Intertwines The Best Of Electro and Jungle On ‘$AVAGE’ With JSTJR

San Diego has become a mecca for house and techno in the USA over the past several years. Quickly rising in the scene is SD-native Burko who dropped a monster-of-a-track “Infrared” ahead of his debut EP. On the track, Burko tells us: “The very first single, “Infrared,” off my upcoming EP, is out today featuring the lovely Mary Helen laying down some hypnotic vocals. This song has been one of the staples in my sets the past year and I’m excited to be able to finally share it. This release marks the first of four tracks on the Infrared EP.” Falling in love with the electronic music scene in Amsterdam, Burko got his start DJ’ing abroad in Amsterdam where he thrived in the Dutch underground circuit. He returned stateside with a fresh admiration for the scene, bringing with him a uniquely dark-yet-melodic sound that launched him to the forefront of the California ware-house scene in a very short order. In 2021 Burko released a string of remixes on SoundCloud, giving popular tracks by ACRAZE, Billie Eilish, Flume, Muse, Hans Zimmer and The Temper Trap his signature Medieval House spin. Listen to “Infrared” at the links below and be sure to stay on the lookout for more! This article was first published on Your EDM. Source: Burko Drops “Infrared” + Debut EP Announce

Friz of Soul is an artist who has been gaining attention in the music and NFT crossover space. He is one of thirty-three featured artists on the blockchain streaming platform Audius alongside notable names such as Skrillex, Rezz, Kayzo, Zeds Dead, RAC, Mr. Carmack and Zedd to name a few. He has grown his following on the Audius platform to over 13k making him one of the most followed artists on any blockchain streaming platform currently. Friz of Soul’s journey didn’t start in the NFT space. For the past several years this LA-based artist has been gaining traction through playing at notable clubs in Southern California such as Avalon, The Globe Theatre, and Exchange LA. Friz of Soul recently released his debut album, ‘Wide Awake’ coining house and techno-focused productions with dreamy layered vocals as his signature sound. What is next for this artist on the rise? After selling his first NFT for $10,000 Friz of Soul is launching the Wide Awake project which will be the first NFT project to ever fully fund a music tour. The sale will be a collection of 777 NFTs centered around the art and music from his album Wide Awake. Through a self-funded tour, Friz of Soul promises consistent tour video content giving supporters an inside look at what their funding is creating. “I want to show how supportive the NFT community is and show upcoming artists that there is this new technology emerging allowing independent artists to become self-sustainable and fund ambitious projects,” says Friz of Soul. Holders of the Wide Awake NFT will also gain access to an exclusive community, airdrops, early access to his future projects, and have their names displayed on his tour visuals. Be on the lookout for the Wide Awake public sale coming January 22nd. To gain early access and insight into the project you can join Friz of Soul’s Discord. I JUST SOLD MY FIRST NFT OF MY MUSIC AND IT WENT FOR 2.3 ETH!!! Thank you so much @shitfumi for buying the NFT and @crypto_raiders for hosting the sale. This is life changing and I’m so energized to have this fuel my next wave of creation! #WAGMI pic.twitter.com/UFC7tWlh8G — 𝓕𝓻𝓲𝔃 𝓸𝓯 𝓢𝓸𝓾𝓵 (@frizofsoul) November 17, 2021 This article was first published on Your EDM. Source: Friz of Soul Launches the First NFT Project to Fund A Music Tour

BADVOID’s talent is remarkable. His sounds are always fascinating and his ear for utilizing specific sounds to bring out certain emotions is impeccable. He’s constantly pushing his sound, keeping us on our toes, excited to hear what’s next. He’s back with a booming single titled “Poison“, featuring vocalist OLSO, signed to none other than KAYZO’s Welcome Records. It’s a big signing and rightfully deserved. The track packs a lot of punch with thundering bass wubs and a tight beat. He pairs this perfectly with OLSO’s enticing vocal along with a distorted guitar that really drives each verse and buildup. Whether you’re on drop 1 or 2, it’s impossible not to feel energy coursing through your veins as BADVOID delivers electrifying arrangements on both. Listen to “Poison” below! This article was first published on Your EDM. Source: BADVOID Drops Booming Single, “Poison”, Signed To KAYZO’s Welcome Records

Festival season is right around the corner (finally!) and today Disco Donnie Presents announced the full lineup for Ubbi Dubbi 2022 along with some exciting new additions that is sure to have attendees buzzing with excitement. Ubbi Dubbi was the first festival back in 2021. Through a lot of hard work and innovation (like being the first to source COVID-sniffing dogs at a large-scale event) from DDP, their partners, and local healthcare officials, Ubbi Dubbi was a beaming success. This year, Ubbi Dubbi is returning to the Texas Motorplex in Ennis, Texas on April 23 & 24 for their biggest year yet. The lineup is already stacked, featuring the some of the biggest artists around like Alison Wonderland, Tiësto, Excision, Regard, and Diplo, who will be performing a special sunset set. Joining them now are tech house titans Dom Dolla and John Summit, along with bass music powerhouse, PEEKABOO. This year, DDP is aiming to highlight some of the best up and coming artists at their festivals through collaborations with independent record labels and the launch of their very own talent search program, Disco Spotlight. Cue Ubbi Dubbi’s exclusive Camping Area Stage, hosted by Gravitas Recordings. As Disco Donnie put it, “the Gravitas Stage was initially on our 2020 lineup, but we unfortunately had to cancel the event. I’ve been really excited about this stage concept and couldn’t wait to bring it back for this year!” The Gravitas Stage will be making its Ubbi Dubbi debut, featuring what is sure to be an electrifying pre-party hosted by Blunts & Blondes. A few standout up and coming acts also featured on this stage are Black Carl!, who creates some of the most forward thinking bass music around, and Megan Hamilton, whose music blends hip-hop influences with gritty funk and house elements. Along with the Gravitas Stage, Ubbi Dubbi will offer its first ever glamping option, sure to have even the boujeest festival-goers considering camping. It includes luxury bathrooms, complimentary daily continental breakfast, a free massage, and plenty more. Grab your ticket to Ubbi Dubbi 2022 below! Ubbi Dubbi 2022 Tickets This article was first published on Your EDM. Source: Ubbi Dubbi 2022 Drops Full Lineup + Exclusive Camping Stage Hosted By Gravitas Recordings

After over one year of production, the biggest Subtronics project to date has finally arrived on his own Cyclops Recordings: the debut full-length Subtronics album FRACTALS spans 16 one-of-a-kind tracks ranging from face-melting bass anthems to electro pop-adjacent cuts to leftfield experiments in sound. “I’ve wanted to talk about this album for so long,” Subtronics said. “I’m overly transparent about my creative process, so not being able to share it with everyone has been an adjustment. I will say, I have poured so much emotional, mental, and sentimental weight into it. Putting such a huge project out there, something that I’ve been working on for well over a year, is kind of terrifying. I’ve reworked every detail of every track, made improvements, and built a universe around all of it. I have definitely evolved and grown with my sound design and I am beyond excited to share FRACTALS with everyone.” FRACTALS opens with the epic “O.P.U.S.” to set the stage, a track that Subtronics said quite literally exploded out of him while he made it in one sitting. “I have no idea what happened,” he said. “I was at my desk, hitting keys aimlessly, while exploring Kontakt libraries and it brought me so much joy. Very meditative. I hope it feels as powerful emotionally for everyone else as it does for me when I hear it. Closing my eyes and turning the intro up full volume always teleports me back to where I was when I started to aimlessly play with chords during the lockdown in 2020.” The album brings back singles “Spacetime” with NEVVE, “Gassed Up” with Zeds Dead and Flowdan, as well as fan-favorite “Griztronics II” with Griz. Other standouts on the album include “Take Flight VIP” with Sullivan King and “Into Pieces” with Grabbitz, whose vocals and contributions never seem to miss the mark. There’s also “FUNcKED” which lets Subtronics explore a bouncier side of bass music. Check out the full album below. In addition to the release of FRACTALS, Subtronics embarks on his massive 53-date tour across North America beginning January 14 in Seattle — full dates and tickets here. Photo via Rukes.com This article was first published on Your EDM. Source: Subtronics Unleashes Massive Debut Album ‘FRACTALS’

We thought it was coming out last week, we thought it was coming Monday, then Tuesday… the Coachella 2022 lineup is finally here. Harry Styles, Billie Eilish, and Ye (fka Kanye West) are set to headline, with Swedish House Mafia getting their own line at the bottom of the lineup, touted as “returning to the desert.” Representing dance music will be the likes of Louis The Child, Flume, Disclosure, Madeon, Jamie xx, Slander, Fred again.., Tchami, Duck Sauce, and more. See the whole lineup below and sign up for weekend 2 pre-sale here. This article was first published on Your EDM. Source: Coachella Releases 2022 Lineup: Harry Styles, Billie Eilish, Ye To Headline; SHM Return To The Desert

Aura Blaze is a dream pop/shoegaze/psych pop project started by producer and instrumentalist Rhode Rachel with his Zappa-esque 2015 debut self-titled album. Clearly influenced by early psy-and-surf-rock like the Beach Boys, King Crimson and The Doors with a tinge of psychobilly a’la The Cramps, Aura Blaze’s style back then was big and bold and, energetically was sort of a retro-styled match to The Polyphonic Spree. This huge, orchestral sound only comes out of one person, however, so it’s not surprising that Rachel has made a name for himself in more than one indie genre. While the debut album was almost all analog rock, it’s also not surprising with his cinematic, larger-than-life, Spector-esque wall of sound style that with subsequent releases, Aura Blaze would go on to incorporate electronic methods. 2019’s The Sparkling Black showed more obvious electronic play both in sound design in synths, as well as a healthy lashing of Jethro Tull-style prog rock. 2020 saw his next single “The Plight of the Soul Ablaze in the Face of Mortal Drudgery” – try to say that five times fast – continue this trajectory both with prog-style storytelling and psychedelic wisps of sound but adding even more synths and sound design. A focus on esoteric and spiritual throwback vibes with psychedelic music seemed to be galvanizing as Aura Blaze’s style by the afore-mentioned super-long title, but it took a hard turn, or rather, an evolutionary step, with Rachel’s next track, “Trans-Dimensional Palm Tree.” Switching to a more 90s The Cure-style guitar, maudlin tones and loads more ambient sound design, Rachel’s vocals became softer and more drone-like to match, conjuring Ian-Curtis-on-his-meds (or just a baritone Ian Brown, maybe?) vibes. The music was much more shoegaze and dream pop than psych rock. Modernized but still getting his astral point across, “Trans-Dimensional Palm Tree” made an impact and is still among the most streamed tracks on Aura Blaze’s Spotify page. Flash forward to Open-Mindedness, Aura Blaze’s latest EP offering which dropped last month on Christmas Eve, Rachel has kept that shoegaze vein but re-incorporated the psych rock and even more styles into the two original tracks. The title track is just as operatic and grand as Rachel’s earlier work but the cool post punk vocal tenor and chord progressions are still there in spades. There’s also progressive bass work, 80s style synths and even a bit of late-era disco tying the bigger, theatrical sounds to the soft vox. “The Summer Solstice,” meanwhile, pays homage to Aural Blaze’s 60s-psych roots with Doors-style organ synths and surf rock melodies, all while Rachel lyrically pays homage to the sun as a literal “Aura Blaze.” The last track on Open-Mindedness, if any readers doubted this long-suffering shoegaze nerd author’s ability to pick out such influence from a modern artist’s work, is a cover of “The Only One I Know” by The Charlatans UK. Arguably an icon of 90s Brit Rock and shoegaze, The Charlatans were also heavily influenced by 60s mod-and-psych rock, so there. Rachel’s version of The Charlatans’ biggest hit could properly be called a remix, as he adds loads of even more spacey-sounding ambient sound design to the track’s original structure (possibly even the original stems) and more ornamentation around the synths, making it even more theatrical and wall-of-soundey than the original. It’s a grandiose update of the classic and he more than does it justice. With all the styles and sounds Rachel as Aura Blaze incorporates into his work and all the different directions he’s already taken said work, one thing that hasn’t change and likely won’t is his message. While psych rock, shoegaze, dream pop et al. all have a sort of woo quality and are quite esoteric, Aura Blaze goes beyond just trippy musings. His lyrics and philosophy are entrenched in spirituality and high vibration expression, and he sees his music as simply a delivery system. A highly complex, varied and expertly- produced delivery system, but a delivery system nonetheless. With almost infinite avenues to create said system, there are also infinite possibilities on where he will go next with his sound, but it will be guaranteed to be lush, potent and heavy on the contextual Astral Blaze. Open-Mindedness is out not on the famous psych pop label Cleopatra Records. Stream it and Astral Blaze’s full discography on Spotify or click here to stream or purchase on other platforms. This article was first published on Your EDM. Source: New Artist Spotlight: Aura Blaze Calls for ‘Open-Mindedness’ in the Rock/EDM Crossover World

There’s no question that Dash Berlin has been one of the most recognizable names in dance music over the past decade. However, some complicated and unseemly business deals have obscured who Dash Berlin really is. The touring member and essential front man of Dash Berlin has been Jeffrey Sutorius ever since the group’s inception in 2006. However, following a lengthy legal battle that played out starting in 2018, Sutorius and the other members of the group began their separation. Forging out on his own since then, Jeffrey Sutorius has carried on the Dash Berlin mantle and continued to produce and perform the progressive house and trance that Dash Berlin has been known for. However, personal growth is to be expected as an artist. Unleashed as a true creative force, Jeffrey Sutorious has continued releasing a steady stream of tracks on his own label BODYWRMR. Following the release of his massive festival banger, “Sink or Swim” with Mexican producers ANG, we got the chance to sit down with Jeff and have a lengthy conversation about his musical endeavors, advice for upcoming artists, and his take on the state of the industry. Check out the exclusive interview below. Hey Jeff, thanks for chatting with us. Tell us what you’ve been up to to wrap up the year, and what can fans expect as we head into 2022? “I’ve been hanging out in this vinyl room, no, just kidding. I’ve been hanging out a little bit since I got back. The year started really, really, super great for me personally. Started a very extensive, and intensive, tour in China. So I’d been there for half a year, got back in June. Then did a few small shows in Egypt before going to Mexico and America. Came back after that, I did another tour that went to Canada and America, and I just got back from that two weeks ago. And, yeah, if you consider the time we’re in right now, I’m the last one that can complain about anything, so I’m not going to do that. I’ve been extremely fortunate with the situation that I got in. I still got to meet some of the fans, even with the name change. Obviously that was a little bit of a setback in the beginning of the year. But, that’s already so far behind me. Again, I’m very comfortable in where I am right now, and what’s going to be on the agenda for 2022. And, that’s going to be a new album, in the early stages of 2022. I would say 98% is done, I’m still finishing up the last tracks. I’ve tested out a couple of tracks in China, which did surprisingly well. You have to imagine Chinese, the majority probably don’t speak English that well. The majority of my vocals are all English. When I played a brand new song that nobody heard before, ever. And they closed their eyes and were holding their hands out, then you know that you’re on the right track. Just recently I did a show in LA at Exchange. Jonathan Mendelsohn, he joined me, he’s going to be featured on the album as well, brand new release. So, that’s going to be very, very exciting. We’re going to work on more material than just only that song, so that’s going to be super exciting too. Because I think Jonathan is one of the most talented guys, singer/songwriters, as well as performers out there. That’s been received very well live, I also played some other new songs off the album at Exchange and they did very well. I got a lot of feedback on that on my socials, like, hey what is this, or, can you tell me about this song? And, usually when that kind of stuff happens after a show, especially nowadays where everything happens so quick, when people actually stop and ask what is this? Usually, that’s a really good sign. So, yeah, quite exciting! There’s going to be an extensive album tour in 2022 also. So, yeah, there’s a lot in the works at the moment, I can’t complain.” Tell us about your latest track “Sink or Swim” with ANG? I love the harder edge to the track, how did you all come up with the track? “Actually, I’ve already known ANG for a long time. We met each other a long time ago during Miami Music Week, and they actually just barged into one of the parties during the day, and we got in contact from there on, and funny part is they handed me this USB drive that I still have, that’s still floating around here on one of my old backups. And I see ANG with all the information on it and all the tracks that they released, it’s really funny. So, fast forward, we started working on Firefly, on which they made incredible bass, they’re super talented. We had some contact back and forth, they’ve been working with a lot of people, working on a lot of collaborations. So, they are really into merging ideas to see how you can get the best out of a track without just taking it all to yourself. And to see what kind of extra influences you can have to add to something you may have started with. So that’s how we started, consequently, they made a setup for ‘Sink or Swim’. And that was very, very strong again, and for the collaborations I was interested in, I was very interested in working on that. Sarah De Warren on vocals did really, really well. And, the cool thing with this track is that people see it as a hard clash of future house and future trance. And, also for this track when I started road testing it, people were instantly, almost shouting, like ‘Hey! What is this!?’ and they’ll hold out their mobile phone. It’s a little bit of the same story for the album material, when people do that, it’s just a really good sign. Yeah, it took a couple of months before it was scheduled for release, now it’s out, and it’s doing really, really great. It appeals to people who like EDM, it appeals to people who like big room, it appeals to people who like trance. And, in a way, it’s an anomaly, in a good sense. And since the start of working on my own, I’ve been working on more material that can be interpreted in multiple genres. And I don’t know why that is, it just happens, but I think it’s a very cool consequence of making music that is suitable for multiple artists in multiple types of sets in multiple genres. And I see that as a very big plus, but I have to tip my hats off to ANG because they’re really on a roll. I think they’re one of the biggest Mexican talents out there at the moment and I’m doing a lot of support of Mexican talent on my own label BODYWRMR. So, I have BSNO, who is a big one, big growing guy as well in Mexico. I recently signed Karasso and Lans Palm on BODYWRMR as well. And I have another one Hajj, it doesn’t sound Mexican, but also Mexican, so yeah, it’s nice. It’s been a time, you know, waiting for new talent to emerge from Mexico. And now it’s that moment and I’m very happy that my label BODYWRMR is able to support some of the guys, and maybe even in the future, some of the girls. It’s a great, great privilege to do that. But, anyway, ANG, it’s doing great and maybe something more for 2022.” You mentioned next year is going to be pretty extensive touring. Do you know which big festivals you’re going to be doing? “Of course, Ultra, in March. When I say extensive tour, we have to keep everything in perspective, let’s say the world is turning a little bit normal again, everyone’s vaccinated or boostered or what not. But, in whatever form, we can pick up the pace again. Like normally touring, then yeah, I’d say it’s going to be extensive. And absolutely the big one for me, which I’m super happy about, is Ultra Miami. My head’s been working overtime in thinking about what I would like to do on a stage like Ultra. I’m really thankful for the whole Ultra family in having the belief in Jeffrey Sutorius, and kind of reaffirming that support and reaffirming that faith in what I do on stage, and in the music that I’m making. So, that’s really, really cool, and I’m going to give 110%. Let’s just hope that everything will be more back to normal and that people will have an amazing festival experience, throughout the whole year. I think everybody’s patiently waiting to be out again, safely or with good measurements that people are comfortable with, and yeah, then we can just pick up our lives again.” At the Exchange show, you had the ceiling lighting rig coming down, are you still going to have that setup for the smaller club shows? “It kind of depends, it’s part of a new show that we developed together with Visual Artform. They definitely have a hand in this as well, so they deserve credit for that, absolutely. The initial idea kind of originated in Marquee, where I’ve been a resident for almost 10 years already. And, I wanted to revitalize the show. And Visual Artform wanted to do that as well. So, they started working on the laser cage, and, when everything was confirmed and ready to go for Exchange, I really, really wanted to see if we could get that special feature for the show on the road. Because it’s something that’s never been done before in Exchange, and it kind of freshens up the place in a way, and kind of connects also with other lasers that are going. So, it’s not only about lasers, it’s about giving a new edge to the show and I think it worked really well. It gave it a really cool look, a really cool atmosphere. And obviously working together with Visual Artform, timing is of the essence of how you do that, when and where. And they know perfectly what they’re doing. So, I’ve been working with them for a very long time, and Visual Artform is the perfect partner for me to kind of re-develop the shows in a way. So, if there’s the possibility to bring that to a smaller venue where it’s actually adding something to the show, we have to see if I would play a smaller show with a smaller roof. The last show that I did before coming back to the Netherlands was at Soundcheck in Washington. But, a concept like the laser cage would never work there, so we’ll have to see about it from venue to venue.” As a veteran artist who’s been around a long time, how often do you find that you need to update the visuals and change the set around? “It’s constantly. I’m not a one trick pony and there’s no reason for it. There’s so much good music coming from established artists, emerging artists, new talent, you name it. And, if the setting is right to test out some new stuff where I can in a way also educate people about things that are coming, besides my own material obviously. I think that’s one of the cool things about being a DJ, being in control of that moment, and to keep people in the right atmosphere, the right vibe. And, sometimes, it’s hit or miss, and that’s part of the game. So, sometimes you try something out and it doesn’t lend as well as you’d expect. And, sometimes it double does that, so that’s all in the game. And, I really don’t believe in making one show, the whole show, the whole year around, you know what I mean? Like, you have to come to a Jeffrey Sutorius show, it’s going to be amazing visuals and laser cage and the whole stuff, and what you’ve seen is what I do every week, it becomes a one trick pony. It becomes boring, and it’s unnecessary, it’s unnecessary for the crowd, it’s unnecessary for the fans, so for me, there’s no reason for that.” As someone who’s been in the industry for a long, long time, what advice do you have for young producers trying to get into the industry? And, for you, how have you managed to keep it fresh and relevant for so long? “It’s difficult to answer that question in a really simple manner, so I’ll try and keep it as brief as possible. So, there’s a difference between DJs, artists, producers, and everybody in the whole line of the electronic music industry. When you specifically say producers, the only thing that comes to mind for me is try to be original. Try to do something that people aren’t doing or try to be surprising. But, at the same time, that’s super hard, because that’s what everyone is trying to do. Even for established producers, they’re trying to find a way to…like a DJ, not to become stale. You want to move forward with what you’re doing, and that goes very quickly nowadays. When I started with ‘Bad Days’ and ‘Nothing Hurts Like Love’ with Jonathan Mendelsohn. If I look back at that period, and I look at what I’m doing right now. I can see like two levels in difference of quality, because it goes so quick and there’s so much to learn. So, if you don’t invest time to learn new ways, new methods, new plugins, how to enhance or reshape your sound, it’s going to be hard. At the same time, the problem of nowadays, society, time, who has time? Nobody has time. That’s the whole freakin’ problem, nobody’s going to listen to a whole record anymore. Like from A-Z and hear everything. No, everything has to be short, it has to be clean and simple to follow. And, as a producer, you kind of have to appeal to that as well. With vocalists or singer/songwriters, so it’s kind of a lame answer, but it kind of stays the same, because you have to be original and doing something that other people are not doing. And then over time, if you’re able to do that, and you find the right labels that are supporting that or you’re being with the right family. Then, it comes to the second part. Are you actually happy with what you’re doing? Do you want to be that producer, and are you happy being that producer? Or, do you actually want to be on the stage and have that spotlight, and you want to have the so-called glitter and glamour, and the girls and what-not, which is highly, highly overrated. Because, people underestimate, the artist life is not that easy, it’s not that simple, there’s way more to it. So, what is it? What do you really want? So that is another question that comes to the light when you’re asking what do producers need to do nowadays? You also really need to know for yourself, what do I want? Do I want to be a producer? Do I want to be an artist? Because the answer to that question is already giving kind of two ways where things might head. Because if you really want to be an artist and you want to focus everything on an artists’ career, then it’s going to be harder to be that really hardcore, cool, re-developing, re-shaping, forward-driven, experimenting producer that everyone is talking about. And, the other way around, if you want to be a producer, it’s going to be harder investing all the time and knowledge and effort into those new tracks in becoming that artist in the spotlight that everyone wants to see. And, I always make a lot of comparisons, to make it understandable for people, to soccer. Soccer in Europe is very big, it’s been big for a very long time, it’s a really professionalized industry. Over the years, so let’s say the early 90s is the start for the dance music industry. So, over the years, kind of the industry has evolved and professionalized, and we are well now at that point where somebody wants to kind of step into the industry and be a producer or an artist, you already have to kind of fix the backup questions that you have in order to have the right career path. And, who are really important in shaping that? That’s management or the agencies nowadays because they eventually have to bring that hot producer with a limited amount of shows, or that hot new artist with cool music as well, to the right amount of shows. So, it’s not about only what the person wants, being that producer is also in how you will be…you need to be accompanied by the right people. There’s a lot of people coming to me with questions about that, especially when you look at my recent background in how do you make the right choices? I’ve spent a lot of time explaining what happened to me, but helping to prevent other people from making the same mistake. And that’s difficult, it’s difficult to have the right 100% answer for that because everybody’s will, drive, time, character is different. You have to connect the dots, it’s a lot of dots, and when you get them connected they have to be connected to the right people or person who can help you further in the direction you want to go with your career. There’s also with soccer, there’s people, and I believe this is the same thing in the electronic dance music industry, there’s people who are less talented but are willing to work harder to eventually achieve something. That is absolutely in line with soccer 100%, there’s more people who make it in soccer. You are less talented but are willing to put in the work, going to training, going to practice, and going and going and going and investing the time, eventually being the best that you can. On average, they’re less talented than the fortunate, given ones, and some of them make it and they become huge, but the majority, they have to work for it. And you have to invest time, invest time in yourself, learning, I’m learning every week. It’s one of the reasons why I’m not doing like a production masterclass, because I don’t consider myself a master, the learning never stops.” And, any last words for the fans? “Well, the fans have to wait a little bit longer, and I hope it’s all worth it, I do think so. Now is a really good time where you can really catch up with what they’ve been doing in the studio, or pushing out new music, or developing new talent, or finding new talent and sharing it with everybody, or streaming for that matter. But, I really think that eventually there’s an end to all of this misery we’ve been in the past couple of years. I think the end is in sight, it’s coming soon. That’s what I believe, I don’t know if it’s going to be true. But, I think it’s going to be like a gigantic explosion of euphoria that will have a Woodstock type of epicness to it, when you go to the bigger festivals. Like Ultra, EDC, Mysteryland, or Tomorrowland. So, for the people who like electronic music in whatever shape or form, I think everybody’s going to super enjoy that. And, of course, for my sake, I hope I’ll get to be a part of that, as well.” Check out the latest from Jeffrey Sutorius & ANG, “Sink or Swim” featuring Sarah De Warren, out now on Revealed. Stay tuned for more info on Jeff’s upcoming album and tour dates. This article was first published on Your EDM. Source: Jeffrey Sutorius Discusses His New Chapter [Interview]

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GRL GANG has returned with Wreck The Halls, Vol. 2, a compilation made by women in dance music — intended to play out loudly this holiday season and beyond! This year, the compilation series is stacked as ever with emerging talent: Kenzie Black, REMETI, Shmell, Dxstinie, AK Renny, ENTITY, and AIXI featuring STILLONIT. Wreck The Halls, Vol. 2 offers a mix of uplifting, melodic productions, as well as heavier selects and an assortment of house grooves. MORE: GRL GANG Ends Year On High Note with ‘Wreck The Halls, Vol. 1’ [LISTEN] JEANIE, Founder of GRL GANG, shares: I’m so excited to be releasing our newest Wreck The Halls compilation showcasing some incredibly talented women in dance music. The release is so diverse and has something for just about everyone. I hope everyone enjoys these tracks as much as I do and finds a new favorite artist along the way. GRL GANG is a label, collective and organization dedicated to supporting women in dance music. Listen below and explore more artists, mixes, albums and compilations here. GRL GANG – Wreck The Halls, Vol. 2 GRL GANG · GRL GANG – Wreck The Halls, Vol. 2 Connect with GRL GANG SoundCloud | Spotify | Facebook | Twitter | Instagram This article was first published on Your EDM. Source: GRL GANG Drops Second Annual Compilation ‘Wreck The Halls, Vol. 2’ [LISTEN]