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Hailing from Greece and Italy respectively, house talents ILVS and Feb have received massive acclaim within the industry, yet their latest collaborative release “About You” proves that they’re only getting started. Coming to digital platforms via Sam Feldt’s very own Heartfeldt Records, “About You” brings intoxicating energy to the table, combining emotive vocals with catchy melodies and groovy drums. ILVS, also known as “The Sushi King,“ kickstarted his career back in 2018 and hasn’t looked back ever since. With support from artists such as Kryder, Madison Mars, Borgeous, Jonas Aden, TWOLOUD, Lumberjack and more, he is among the hottest dance producers rising out of Greece at the moment. Feb has seen massive success over the years as well, having amassed over 50 million streams on digital platforms, while releasing with labels such as Strange Fruits and Chill Your Mind.  This article was first published on Your EDM. Source: ILVS And Feb Join Forces On “About You” Alongside Es.Kay

Fresh off his fresh cover of Kesha’s “Tik Tok” alongside Ella Young, Wasback is back with yet another explosive collaboration, teaming up with Italian production duo Stefy De Cicco and Nashville-based alternative star Sam Tinnesz for “Fences.” At just 21 years old, Wasback is one of the most promising new faces within dance music, while Stefy De Cicco is a name that’s been on the scene for over two decades, recently signing an exclusive contract with Universal Music. Pairing infectious slap house rhythms with eclectic instrumentation, “Fences” is without a doubt an instant hit, perfectly suited for both the radio and the dancefloor. Sam Tinnesz delivers infectious vocal lines all throughout, staying true to his original style, while Wasback and Stefy De Cicco truly shine on the production, crafting the perfect instrumental for him to shine on, while also showcasing their unique production skills.  This article was first published on Your EDM. Source: Wasback Teams Up With Stefy De Cicco And Sam Tinnesz For “Fences”

It’s been six years since Zedd’s last album, True Colors. With a release campaign that honestly has yet to be upstaged in EDM, the album was a tour de force of the German/Russian producer’s inclination toward electro and pop music, blending beautiful melodies with his classic synthwork and vocalists like Bahari, Selena Gomez, Jon Bellion, Logic & X Ambassadors, Troy Sivan, and Echosmith. Why am I still talking about a six-year-old album? Well, we’ve been waiting on Z3 for a while now and so far we’ve been getting rote pop singles like “Funny,” “Good Thing,” Inside Out,” and “365.” Who knows right now if they will end up being on the eventual album, but Zedd just teased a new song yesterday that we hope will be. One user on Reddit comments, “It’s like a mix of Hourglass, Spectrum, and Addicted to a Memory,” and we have to agree. That’s also all we need to be excited about this one as it calls back to a classic Zedd sound that he’s hopefully refined and polished. Check it out below — we’ll be sure to keep you updated on when this one is due out! new one pic.twitter.com/YzLgU445a7 — Zedd (@Zedd) November 10, 2021 Photo via Rukes.com This article was first published on Your EDM. Source: Zedd Teases New Song With True Colors-Era Instrumental

It goes without saying the pandemic was hard on everyone. The music industry undoubtedly went through likely the tightest ringer in terms of affecting both the way things are run and the mental and emotional health of its participants. There were a few silver linings, however, as adapting and changing quickly became more important than ever. Online systems got much more sophisticated and efficient and multimedia and creative innovation became key if artists wanted to stay in the game. It was a lot of pressure but it produced some serious gems in terms of high-quality, interesting and passionate work from artists who were not only trying to entertain but to save their own sanity. At the juncture of all this and coming to grips with the real possibility of system collapse on many fronts, artists like Phace took it as an opportunity to not only create new and interesting music but to purge all the stress and emotional chaos of the time and make a statement about all these societal systems whish turned out to be much more fragile than anyone thought. His upcoming mini-album, System Irrelevant, is that statement. Full of apparently complex and chaotic drum structures, eerie sound design and nasty synths that sound more like a warning than a threat, System Irrelevant is a sign of the times but for Phace it’s more expansive and more personal than that. It’s a reflection on things we were all forced to think about, the feelings we didn’t want to have to manage and the way it’s not so easy to pull the wool over the collective eye anymore. Existential and visceral, System Irrelevant challenges all of us to sit with all of this and decide what’s become irrelevant in our own lives and what really matters. We had a chat with Phace about the way in which he got there: creating. *Premiere appears at end of interview* You decided to make System Irrelevant a multimedia project with the crazy UKF video stream and now the mini album. What made you want to incorporate all the different media? I always wanted to create a dedicated audio-visual experience for Phace and it made perfect sense to me to develop a bigger visual dimension for this release. Visuals do help to transfer the message of music and let it shine in its own light so to speak. For this project they also helped to separate it clearly from styles of my past works. I like the streaming, or should I say online video format in general. You can do so many cool and creative things with it. Going with a more standard stream, one or two cams straight into your face while playing music at some special location, just doesn’t really do it for me. I find those streams not really entertaining or catchy, somewhat pointless. You can`t beat the live experience when it comes to such a scenario. Using accompanying visuals in an interesting way, introducing a story or journey with it, that to me does make a stream more worthwhile watching throughout; it becomes more like a movie. Also, all the actual release artworks derived from the stream visuals. I wanted both the stream and the mini album to have a strong visual connection. How was it putting together the video as your first time doing that sort of editing on your own? Getting it all put together did take a few months and was quite a mission. Not because it was super complex but just because it was all a pretty new field for me to work out. I didn’t rush it but wanted it to be as good and creative it could be. I also saw the whole process as a possibility to learn new things from. I now feel more comfortable and confident when it is coming to the visual end of Phace. I want to do such multimedia things more often. I wanted it to look contemporary but not too polished or overly thought-out. With mapping things to the green screen it was quite a performance-consuming task. A close friend helped me with his super pro video system for the post-production of the material. The most intensive part to me was to cut and sync the visuals. When I went to bed after a day of cutting I could still see flashing frames even with my eyes shut. It turned out quite trippy. Video or no, it seems you really wanted fans to have a visceral experience of the music, both in terms of perception and the emotions you were trying to convey. Why was that important to you on this release? Honestly it just felt like the right thing to do. I always use music as an outlet to channel and process my emotions. To pair this with a visual mood makes it even stronger. I always like to progress within what I do. I sort of push myself to it. While working on the mini album and A/V set I personally found myself in quite a challenging and emotionally unstable situation. Things weren’t easy the past 2 years… I wanted the project to somewhat reflect my situation. My music is personal. I wanted it to be as authentic it could be and not just a music business product. It seems in digital music, especially with the pandemic, got a bit more intense that was as well. The music business can be quite cold and unemotional these days. It’s become a very content-driven and calculated market. To me personally working in music never was about anything else then the music itself. Of course I am rational enough to understand I have to be organized and follow parts of the market to be able to live from art. I didn’t get into it to reach defined goals of figures, to become famous, showing around how cool I am, how many plays my music has or how quickly I sold out a venue. Those values don’t really mean a lot to me and come along automatically when your music is appreciated. There is no need to be loud about such things constantly just to have something to say on social media. These values also actually do not tell a lot about sustainability or accomplishment in my opinion. Especially the play count of music is a vicious game. It is aggressively driven by platforms such as Spotify and YouTube, multi-billion companies with shareholders. Play count seen as a proxy for value is toxic when it comes to art. Also, social media became such a tool and mainly feels like it is nothing else than an illusory world or an ad-space these days. I think the real avantgarde in art moved away from those platforms a while ago already. I thus tried to put a lot of effort into the visual “clothing” of the project so its media communication is pretty much solely based around pieces of digital art directly related to the project. Speaking of visceral, let’s talk tech: you’re always very focused on your drums, but it seems this time, especially with tracks like “Altona” and “Useless,” you really wanted to make the drums the star of the show. How did you envision all those layers of drums working and how was it to actually screw them together so that they created the sound and structure you wanted? I do like drums. I do like the technical side of music production in general. Just listening to music in its entirety it is a less important side to me. Or should I better say I practiced technical things so often they became somewhat normal to me. Music production from a technical perspective is solving problems and cleaning up or creating space. This can surely lead to cool creative ideas of course. But one can get lost very easily in that room and forget about the more fun side to get lost in; the emotion, idea and vibe. So how do you balance the tech and the emotion? I don’t want to get lost that much on the technical side to have more creative capacity to focus on the rest, but to me that doesn`t imply neglecting the technical side. I still love cutting edge sound-design and it is a sort of a never ending fascination to me. Balancing is the key here for me. While I was working on the album tracks I actually felt I focused on the drums the least. They are quite basic and functional, nothing to fancy if you ask me. I did focus more on vibes and progressions. There aren’t many layers of the drums involved here either, they all are indeed pretty simple and straightforward but the do the right job to support the musical idea and groove rather than competing with the rest of the track. You’ve said that System Irrelevant is a reflection of your feelings about how things were declining and society was breaking down during the pandemic and, ostensibly, late-stage capitalism and democracy. Your work always takes a bit of a sideways glance at dystopia but do you think the composition here was meant to reflect the fact that we were staring down the barrel of it? The mini album is a reflection of my feelings, that is correct. But to avoid any misunderstanding, I did not aim to make this mini album a pandemic-related concept or a political statement or such. Music is music and foremost this release is about my music. I do believe it is important to stand in for certain values when you think it is the right time and context; to use your voice to maybe even help others and share your beliefs. I am against discrimination of any form. Like one tiny pixel is an essential part of an image; we are all essential parts of the system, so everyone should have the right to be treated equally. It simply felt good to me to connect my music to this point of view without being overly intellectual. The past years have proven we are still living in very challenging and twisted times with so many hurdles for our societies to be equal. Generally I am quite an optimistic and funny character. I always have been. For this release though, it is the first time I actually felt depressed and anxious when writing. So you could say that the music on the release reflects part of my inner chaos, thoughts or conflicts of that time. The mini album seems to have a bit of a progression in terms of that whole decline of civilization vibe. Did you place the tracks in that way to tell that story in your own beats, so to speak? I didn`t aim for a defined progression or let’s say drama in the music per se; it again somewhat just happened. Every track changed into a bit of a journey while working on it, but overall things developed organically. At the end I felt the music sounded coherent and complete. So I decided to release this as a mini album and call it done after 6 tracks. I felt the story was told. I am no friend of overthinking things too much or trying to fill this project with more tracks to make it a long-play. To me at least, in a creative process driven by personal emotions, things will eventually fall into place and will in the end come to a personal conclusion. Some of the tracks were written in order, which might increase the dramatic progression of the album. In the end I had to position two tracks differently though, to make the album flow more optimally to my ears. But all that wasn’t planned or laid out before. What’s one thing you’ve learned and you hope other artists have learned through the experience of the pandemic? What should we be cautious about and what gave you cause for hope? As an artist I think an important lesson could be to become even more independent and also to diversify. Today you do not really need a big label, a big distribution or manager to get your music out. Looking back at the crisis today, my outlook is somewhat more positive, even though in its early stages things felt pretty hard and negative to me. Over time I realized any crisis is a chance for change and for the better, so actually a lot of things gave me cause for hope, especially to see how the younger generations accepted circumstances. It pretty much shaped a new internet-based scene and style of music. The crisis brought out more “real” and authentic music again and less music products, in my opinion at least. I find that exciting and refreshing. I am glad to see artists found new ways to express their creations. I think diversification and change go hand in hand and the past two years speed it up all in all. System Irrelevant is your first solo multi-track effort since you’ve been focusing more on the Linked series. How did you enjoy going back to that format? Do you have any plans to release more multi-tracks? Perhaps a series around the System Irrelevant concept? Writing solo music always is the thing I enjoy most. When I do not have to compromise and can fully sink into a creative process to translate my personal mood or preferences. For System Irrelevant I see this as a closed project with the six tracks on the mini album. I also do not yet have very concrete plans for future releases at the moment. There are a few things in work but it is pretty much all still undefined. Oddly enough this year has been very busy for me in terms of releasing music. I had a lot of time being locked in the studio I guess. Now I need to reflect on all of that and also recover mentally. Of course there will be new solo material in the future, and also more Linked bits. I especially would like to spend more time working on different genres too. I have quite a few layouts and ideas of different vibes laying around but do not yet feel fully comfortable with these. I have always been a fan of electronica, techno and house music, acoustic stuff as well. I am looking forward to spending more time working on slower tempo music as well. System Irrelevant will release in full on December 1 on Phace’s Neosignal imprint. To pre-order or pre-save “Useless,” click here. Check out the stream and video for the first single “Altona” here. Premium Phace space is on Patreon. This article was first published on Your EDM. Source: Your EDM Double Feature: Phace Has a Chat and Drops the Premiere of ‘Useless’

Leading technology company Pollen Presents has announced they are teaming up with the legendary dance music producer Tiësto for a unique experience next year. Going by the name Tiësto: The Trip, the destination getaway will take place from March 31-April 3 in beautiful Cancun, Mexico for an unforgettable escape from reality for 4 days and 3 nights. Beyond a lineup curated by Tiësto that will feature friends, collaborators, and some of his favorite artists, the experience will also include sunrise to sunset beach and pool parties, cultural explorations that will help guests better understand the region, and much more. In addition to multiple performances from Tiësto, along with a sunrise set from his VER:WEST alias, the lineup also features KSHMR, SOFI TUKKER, and Loud Luxury. More artists on the lineup will be announced in the near future. For more information about the experience, including payment plans, package upgrades, and FAQs, visit pollen.co to stay up-to-date with the latest in lineup, pricing, and news. Photo via Rukes.com This article was first published on Your EDM. Source: Tiësto reveals new Cancun experience feat. his VER:WEST alias + KSHMR, Loud Luxury, SOFI TUKKER, & More

Skantia seems to be one of those rare acts in D&B who’s calmly and quietly releasing the biggest tracks on earth at every turn. No fuss, no muss, just undeniable bangers. He straddles dancefloor, neuro, minimal and experimental styles like it’s nothing, leaving fans with whiplash from all the head-nodding. With his new Connection EP due out in a few days and containing collabs with AC13, Bladerunner, KY and Annix – all of whom are also banger machines – we’d say just get a neck brace now. With his last few releases being collabs saving his remix of Gydra and IHR’s “Wipe” on Eatbrain, it seems Skantia had even more ready to go and decided to make an EP. Connection, in fact, literally expresses the UK silent killer’s love of a good collab. And how could one not love these collabs? From the techy, snare-heavy title track chugger with Bladerunner to the melodic, experimental and somewhat Curent Value-like “Along the Way” with AC13 to the whip-smart snares of the darkstep-inspired teeth grinder “Programmed to Die” with KY, Connection deslares in on uncertain terms how Skantia gets it done. Another quiet banger-maker, the duo Annix, is the only act on Connection that Skantia has already worked with directly. Their collab track, “Corkscrew” is our premiere today and it’s sort of evident in the ease and flow of the composition that these artists have worked together before. Ultra-cinematic and ultra-obscene with how dirty the bass synth is, the “flow and ease” are more in the composition than in the final product. All rough edges and heavy syncopation, “Corkscrew” shows that neither Annix nor Skantia is going to stop genre-hopping any time soon and we’re all better for it. With sick, jumpy beats, the ability to meld subgenres, jump labels and pretty much rule the dancefloor, it’s no wonder these artists have had no qualms about collaborating with Skantia on Connection. He’s likely got another few gems up his sleeve so we really should all stay tuned to Skantia, but in the meantime we can enjoy this Connection he’s made with the dancefloor and lovers of bass. Connection drops on RAM this Friday, November 12. Pre-save here. This article was first published on Your EDM. Source: Your EDM Premiere: Skantia’s Collab ‘Connection’ EP is Almost Here! [RAM]

When you think of electronic dance music, you mind likely doesn’t sway toward the Middle East or Saudi Arabia, but MDLBEAST in the region is hoping to change that. With a successful 2019 festival under their belt and another on the way next month, plus an international music conference, Saudi Arabia could become a hub of electronic music in the region. MDLBEAST PRESENTS announced today the upcoming unprecedented residency of global DJ sensation David Guetta in Riyadh. The series of exclusive and public events will kick off next week to mark the launch of ‘MDLBEAST PRESENTS’, the company’s arm which aims to amplify the regional music scene through concerts, events and experiences. The international DJ, who retained his #1 ranking by DJ Mag in 2021, will kick off his residency with exclusive events to be held in various locations around Riyadh on the 12th, 19th and 26th of November, with a very limited number of tickets. The French superstar DJ will then conclude his stay in the Kingdom with performances at Formula 1 and SOUNDSTORM in December. “Building the music scene in the Kingdom is central to our plans at MDLBEAST and we aim to bring over the world’s best music icons to deliver genuine world class entertainment. With the launch of MDLBEAST PRESENTS, we are renewing our commitment to produce incredible events and truly memorable experiences for music fans in Saudi Arabia and the region,” said Talal Albahiti, COO and head of talent booking and events at MDLBEAST. “David Guetta is just as popular in Saudi Arabia as he is anywhere else in the world, as he’s such a global sensation! His events in Riyadh will be much anticipated by electronic dance music enthusiasts and all music lovers,” he added. Get your tickets to watch David Guetta perform at the biggest and loudest music festival in the region, SOUNDSTORM December 16-19. Tickets are available at tickets.mdlbeast.com. Photo via MNO Photo for MDL Beast This article was first published on Your EDM. Source: David Guetta announces residency in Riyadh with ‘MDLBEAST PRESENTS’

Anjunadeep warmly welcomes legendary electronic act NERO for their Anjunadeep debut with their remix of Lakou Mizik & Joseph Ray’s ‘No Rival!’. The remix sees the collision of two worlds for Joseph Ray as he partners with fellow NERO founding member Daniel Stephens to reinterpret his single with Lakou Mizik. Building on the fervent, unrestrained energy of the original, the duo harness the passion of its chants, Rara horns, and percussion, to transform it into an electrifying, bass-heavy two-step anthem. The fourth single off the album Leave the Bones, ’No Rival! pays homage to Rara, the music of the Haitian streets. Just like the original, NERO’s remix of ‘No Rival!’ is full of swagger, like the bands that march through the towns of the island nation, toasting and trying to outdo one another. Retaining the spirit of the lyrics, the remix emphatically says “Listen up! There’s no better band than Lakou Mizik!” If this remix isn’t quite what you were imagining the return of NERO to sound like, remember the trio still have an album on the way. Stream Lakou Mizik & Joseph Ray’s debut album HERE This article was first published on Your EDM. Source: Legendary trio NERO release first new track in two years, remix for Lakou Mizik & Joseph Ray’s ‘No Rival!’

Two years ago, Conrank’s album What’s a FKNG Conrank just narrowly missed inclusion in our Top Albums of 2019 list, only due to serious competition that year. Now, he returns with his next evolution, This Simulation’s Breached. More than a collection of songs, this is a manifesto. Two years ago, when the dust had settled on What’s a FKNG Conrank, it was time to tell the world just what that is. The answer: a musician, a performer, a singer, a songwriter and a producer who has delivered a body of work that few would dare to dream of. The time had come for Conrank to grab the microphone and step out from behind the decks, spread his wings and take his music to the stratosphere. Writing and performing his own music and vocals, this is an exposé of Conrank the artist. Like his debut, he has brought in a melting pot of talent. Long-term friend and fellow producer Buku joins in on the forward-thinking “Chasing Devils.” The dubstep doesn’t stop there, the legend that is Figure appearing for the powerful ‘Karma Restored’ and Pendulum affiliate KJ Sawka drumming up a storm on “Sound Burial.” Supplementing Conrank’s own vocal action, Wreckno and Gardella demonstrate why they’re causing so much excitement, “Reddit” is a force of nature. To complete the story with one more contrast, dancehall legends Ward 21 step up to the plate for “21 Madness.” The drumstep-jungle hybrid is the perfect vehicle for one of the most distinctive acts from Kingston. Check out the complete This Simulation’s Breached project below, out now on Circus Records. Photo by Logan The Modifier This article was first published on Your EDM. Source: Conrank Breaches His Own Simulation With New Album Out Now On Circus Records

When Martin Garrix and U2 teamed up for “We Are The People” for the EURO 2020 earlier this year, the experience must have been a good one because the Irish rock band called upon the Dutch producer once again to co-produce, mix, and master their new single “Your Song Saved My Life” from the movie Sing 2. Super stoked to share that I co-produced, mixed and mastered the new @u2 single ‘Your Song Saved My Life’ for the movie Sing 2. enjoy!! @singmovie pic.twitter.com/TCv7XrGxBR — MARTIN GARRIX (@MartinGarrix) November 5, 2021 The song sounds impeccably crisp and clear, owing to Garrix’s near-decade producing his own hit music. Listen below! This article was first published on Your EDM. Source: Martin Garrix Co-Produced, Mixed, & Mastered New U2 Single ‘Your Song Saved My Life’ from Sing 2 Movie

Marc-E’s style has certainly changed since his first drop in 2015, a track he created with hip hop group The X Presidents called “One Soul.” After that largely acoustic track, Marc-E started adding production and sound design into his early work, and six years later he’s released his third full-length and fully psybient album, titled “Catharsis.” From his discography, it seems to have been quite a journey. As soon as his first album Here Again released on Bandcamp, Marc-E started injecting ambient electronic elements into his work. His epic, 17-minute “Freedom Forest,” which is so ambient and natural it could easily have been on a spa or massage playlist. The very next track, “Wo! 6EQUJ5,” however, shows that Marc-E was still experimenting as it’s more techno-forward. Clearly a nod to Kraftwerk and other techno pioneers, by this time it’s also clear from this track that a move to EDM was starting to happen. Marc-E’s second album, Sub Ek, is back to being very ambient and here we also see his spiritual side coming through on tracks like “Totem,” “Rite of Passage”…the whole album really. This is where Marc-E really goes psybient: all the elements of psytrance but instead of trance, there’s lots of ambient sounds and varied beat structures. Lots of organic and acoustic instrumentation is used here as well: Indian tabla drums, echoey, Chant-style vocals, et al. Done as one continuous piece of music that extends through all the tracks, Sub Ek seems to have defined Marc-E’s style, at least for the forseeable future. After releasing a cheeky and more dancey mix of “Nataraja” off of Sub Ek and a tease release of “Brahman” in 2019, Catharsis released last month. It’s a culmination of all Marc-E’s style over the years, blending acoustic instrumentation and drums, ambient production, EDM sensibility and even a little jazz to make a style all his own. Also done as sort of one continuous or contiguous work, Catharsis was just that for Marc-E. A contemplation of the times from the deepest possible perspective, track names like “Acceptance,” “Virtues of Isolation” and “Shadow Work” tap into the reality of what most of humankind was feeling between 2019 and now. Rather than getting angry or political, Catharsis advises that one take a journey behind one’s bellybutton and process those feelings. Whether by listening to trippy, psybient meditative music or by other means, this album reminds us that the inner work is often more important than whatever mess we’ve gotten ourselves into in the physical realm. While it seems Marc-E has found his style with Catharsis, fans would be on warning to expect the unexpected with the Vancouver artist’s future offerings. This album is clearly an experimentation and, as stylized as it is, it’s still lose enough in said style to portend more experimentation and growth for Marc-E, both musically and personally. Here’s hoping all musicians do the same, after the pando and beyond. Catharsis is out now and can be streamed on Spotify or purchased on Bandcamp, along with the rest of his storied discography. Check out some live studio performances on Marc-E’s YouTube channel. This article was first published on Your EDM. Source: New Artist Spotlight: Marc-E Delivers a True Psychedelic ‘Catharsis’ on His Third LP

At least eight people are dead, including, reportedly, a 10 year old boy, 23 hospitalized, and hundreds more treated for injuries after Travis Scott’s Astroworld festival in Houston last night at NRG Park. According to photo and video accounts on social media, the festival had been experiencing lapses in security and safety throughout the day, beginning with a stampede through entrance security less than an hour after the festival began. XXL shared a video from the entrance where a massive bottleneck caused people to be trampled upon entry, while Mycah Hatfield from local ABC 13 shared a video from the following security checkpoint where there were only three staff present to, presumably, check credentials from incoming attendees. Fans just broke through the fence to get into #AstroWorldpic.twitter.com/mpi70ZzTOs — XXL Magazine (@XXL) November 5, 2021 As we were arriving to the Astroworld Festival at NRG Park right at 2:00, a stampede burst through the gates. Hundreds of people destroyed the VIP security entrance, bypassing the checkpoint. People were trampled. Some were detained. (Excuse any language you may hear) pic.twitter.com/d0m2rjqAAk — Mycah Hatfield (@MycahABC13) November 5, 2021 According to KHOU 11 news, during Scott’s set, which began at 8:45, “the crowd began to compress toward the front of the stage and that caused panic and people were getting injured. HFD transported 17 people to hospitals. 11 of those transported were in cardiac arrest.” HFD Chief Sam Pena: At around 9 or 9:15, the crowd began to compress toward the front of the stage and that caused panic and people were getting injured. HFD transported 17 people to hospitals. 11 of those transported were in cardiac arrest. — KHOU 11 News Houston (@KHOU) November 6, 2021 One account from an ICU nurse who was in attendance describes the pandemonium as she fell unconscious during the concert due to all the people pushing forward. She was crowdsurfed toward the front where she was taken “to a little section behind GA” where others were being treated for injuries. According to her account, multiple people were unconscious and receiving CPR, some who didn’t require it as she describes no one was checking pulses. Medical equipment was also allegedly sparse and those who were put in charge were un- or under-trained to handle the situation. After all of this, Astroworld released a statement at around 6am local time offering the equivalent of thoughts and prayers, and announced that the second day of the festival would be cancelled. Replies were turned off. pic.twitter.com/ucljeOiMRn — ASTROWORLD FEST (@astroworldfest) November 6, 2021 Scott shared his own statement this morning, literally offering his prayers. “Houston PD has my total support as they continue to look into the tragic loss of life.” pic.twitter.com/ijXKslw7E2 — TRAVIS SCOTT (@trvisXX) November 6, 2021 Photo via Rukes.com This article was first published on Your EDM. Source: Astroworld Offers “Thoughts & Prayers” Then Turns Off Replies Following At Least 8 Deaths

Oliver Heldens is back with another heavy tune from his Hi-Lo alias, “Hypnos.” While Oliver may be known for his infectious house-driven sounds, he’s been repping the underground for a while now with his Hi-Lo alias. “Hypnos” is just the latest addition to his catalog featuring that trademark heavy bass, massive kick drum, and rumbling melody. Marking his debut on Adam Beyer’s Drumcode label, “Hypnos” is an enthralling song, that will have you grooving to the beat, while also yearning for a dark warehouse at the same time. The track opens with the trademark Hi-Lo kick drum. After that some synth notes echo in the distance, however, the groovy bassline starts to take the forefront. The bassline continues to build over the beat, before the bass becomes synths. The drop features the same melodic bassline accompanied by the massive Hi-Lo kick drum. It continues to build from there as the synths become more frenetic, before finally tapering off to allow the kick drum and bass to come to the forefront again. Check out the latest from Hi-Lo, “Hypnos.” Out now on Drumcode. Check out this video of Oliver playing the Circuit Grounds at EDC Las Vegas last month too!  This article was first published on Your EDM. Source: Oliver Heldens Makes His Debut on Drumcode as Hi-Lo with dual release Hypnos/Hera

They say that the eyes are the window to the soul; that appears to be the premise behind ARTY’s latest single “Those Eyes” featuring Griff Clawson. “Those Eyes” is yet another song that sees ARTY experimenting with acoustic instrumentation, while at the same time, pushing sonic boundaries, all while in a radio-friendly format. “Those Eyes” is, at the same time, a forlorn love song, but, also an uplifting anthem with some strong indie vibes to boot. The track opens up with some vibey acoustic guitar chords. Griff Clawson’s perfect vocals come in as he wonders “Where have you been? Why did you go back so soon? You said we had more time, when I look in those eyes.” The verse and buildup are super vibey and emotional, however, the drop offers the perfect contrast to that. The drop pitches up the vocals, introduces some handclaps and sounds much more electronic than the verse, even though it still features acoustic guitar. It kind of reminds me of a chorus to a Walk the Moon song, it’s perfect for handclaps and singalongs. It also sounds great on top of that. “Those Eyes” marks the third time that ARTY and Griff Clawson have collaborated. Even so, as ARTY explains, this was a very exciting song to make. “‘Those Eyes’ was so much fun to produce. The entire time I spent working on it was nothing but natural fun and pure joy. Everything started with me listening to the demo for the first time and I couldn’t even recognize Griff’s voice even though we did so many tracks together in the past. And I think that’s what makes this song so unique and catchy. The blend of acoustic instruments and heavily processed vocals creates this strange, almost alienated vibe that immediately catches your ear because of its nature. But it’s not just a fun track to listen to; there is deeper meaning to it if you listen to the lyrics very closely. All in all, I’m very excited about this record to finally come out and I hope people will enjoy it the same way as I do!” Check out the latest from ARTY, “Those Eyes” featuring Griff Clawson. Out now on Armada. This article was first published on Your EDM. Source: ARTY Drops Another Impressive Crossover Single, “Those Eyes”

The one and only Afrojack is back with his latest club banger. This time, he teams up with Miami-based duo Black V Neck for “To The Floor,” a re-imagined tech house update of Waka Flocka Flame’s 2010 smash, “No Hands.” Outside of the vocal refrain “Drop it to the floor, I love the way your booty go…” there aren’t any similarities to the original track. This is a modern tech-house update that is sure to light up dance floors and festivals alike. The track is pretty minimally produced. It opens with four-four drums and the vocal refrain. There’s that kind-of looping sound that builds up, but the beat doesn’t change much after the intro. There’s some cool echo-y synth work in the background, but, otherwise, the beat kind of speaks for itself. There’s an even heavier buildup after the second verse section, which results in an absolutely cathartic drop with some more echo-y synth work. If you’re the tech and house that’s out now, “To the Floor” is the track for you! Check out the latest from Afrojack and Black V Neck, “To the Floor.” Out now on MDLBEAST Records. This article was first published on Your EDM. Source: Afrojack and Black V Neck Team Up for House Banger “To the Floor”

Nicky Romero is back with another new single, and this one is sure to light up the dancefloor and scintillate fans at the same time. “Acid Is My DNA” is Nicky’s latest track, and as you can imagine from the title, it’s an homage to early 2010s acid house. While maintaining it’s old school sensibility, it’s still got a modern production flair, and it absolutely goes off for after-hours! The track wastes no time as it opens up with the vocal sample repeating the word acid over a four-four beat and the traditional acid synth-notes in the background. As the track builds up, we get the full vocal refrain, “Acid is my DNA.” From there the drop is pure house bliss, with lasers and the kind-of deflating horn synth firing off in the background. Nothing too complex, just some sick bass, a good beat, and, of course, a little bit of acid. Check out the latest from Nicky Romero, “Acid Is My DNA.” Out now on Protocol. Check out this video of Nick crushing the main stage at last month’s EDC Las Vegas as well. This article was first published on Your EDM. Source: Nicky Romero Drops New Throwback Single “Acid Is My DNA”

It’s been five years since Armin van Buuren and Vini Vici teamed up for their first massive hit single, “Great Spirit.” However, the chemistry is as strong as ever and it’s on clear display on their latest single, “Yama.” Whereas “Great Spirit” channeled a Native American chant as its basis, “Yama” sees the two artists draw their inspiration from African chants and melodies. Featuring Tribal Dance and Natalie Wamba, “Yama” is an uplifting tune, as well as a psy-trance banger. The track opens with the aforementioned, uplifting vocal chants. There’s also some nice African percussion to set the mood in the background. After that, the track builds to the massive psy-trance drop that’s interspersed with some sick tribal drums. The drop is definitely Vini Vici’s signature sound. After the first drop, the chants come back amidst some drums and synths that have Armin’s fingerprints all over it. Here’s what Armin and Vini Vici each had to say about making “Yama.” “I had a blast working with Vini Vici on ‘Great Spirit’ and ‘United’ back in 2016 and 2018, and although a few years had passed since, I always felt that it’d be great to do a third collab. So we all jumped at the opportunity when it finally arose and ‘Yama’ is the outcome. Our trademark sounds are especially compatible and I’m positive ‘Yama’ will be ruling dance floors for a long time to come.” – Armin van Buuren “Dropping this tune b2b with Armin van Buuren during last week’s ASOT event was an amazing experience, and we’re super excited about our third collaboration! It took us a while to produce this song and we did it during the crux of the pandemic. Needless to say, it took a lot of hard work to get this final result.” – Vini Vici Check out the accompanying music video for Armin van Buuren & Vini Vici’s latest, “Yama.” Out now on Armada. This article was first published on Your EDM. Source: Armin van Buuren and Vini Vici Team Up for Uplifting New Collab “Yama”

When it comes to trap, BAILO is a household name. He’s paved his own lane in the industry, known for booming 808’s and electrifying arrangements that have earned him a massive global fanbase. Last year, BAILO spearheaded the movement to bring back the original trap sound with the release of his Trapped Out EP via Slow Roast Records, garnering support from heavy-hitters like Zeds Dead, Alison Wonderland, What So Not, GTA, and Clozee. The movement continues with “EAGLE VZN,” where listeners can bask in the nostalgia of BAILO’s tried and true sound, embellished with modern production techniques. You can’t help but be hooked instantly as rhythmic synths loop hypnotically, building into a thunderous drop that hits just as hard in your home speakers as it would live. BAILO continues to amaze us with his versatility and talent in the studio and we cannot wait to hear his forthcoming ‘Trapped Out II’ EP! Listen to “EAGLE VZN” below. This article was first published on Your EDM. Source: Bailo Drops Electrifying Single “EAGLE VZN” Off Forthcoming ‘Trapped Out II’ EP

It’s kind of ironic to describe Rossy’s Deadbeats debut, “Octavia,” as shimmering given she already has a track called “Shimmer” with Cozway on Sable Valley, but it’s hard to argue that the former is more glittering than the latter. That being said, “Octavia” is a blissful bass track that presents plenty of beautiful synths and melodies packaged in a dreamy 210 seconds. With echoing vocals and an easy-to-fall-into rhythm, Rossy ensures that when this drops live, she’s going to have everyone feeling something. Listen below! This article was first published on Your EDM. Source: Rossy Makes Deadbeats Debut With Shimmering Single, “Octavia”

Wobbleland in Northern California has been the reigning king of bass festivals on the west coast for nearly a decade, and it seems like they’ve taken their break in 2021 in stride with a stellar return for next January. The official lineup just dropped and it’s a who’s who of everyone you could possibly want. From JOYRYDE b2b Ghastly as GHOST RYDR, Kayzo, NGHTMRE, and Slushii on the headline row to 12th Planet, Gammer, Wavedash, Riot Ten b2b Spag Heddy on the main stage, then Champage Drip, Lil Texas, Kumarion, Tsuruda, Volt, and more on the Toxic Stage, you get a little bit of everything. Then, the cherry on top of it all, the first-ever Getter b2b Eptic set which is sure to be absolutely unforgettable. Check out the full lineup below and head to the link in the tweet for tickets! WOBBLELAND 2022 LINEUP 30+ artists, 3 full days, 2 stages, 1 ticket waiting for you! who are you most excited for?! TIX https://t.co/bjKrTyNl7j pic.twitter.com/jZF384163h — Vital Events (@VitalEvents) November 3, 2021 This article was first published on Your EDM. Source: Wobbleland Stays On Top With GHOST RYDR, Getter b2b Eptic, & More For 2022 Lineup

Timmy Trumpet loves his collaborations, working with everyone from Armin van Buuren to Flo Rida to Vengaboys to Vitas, but his release today is sure to entice veteran ravers as he teams up with Cascada and Harris & Ford for “Never Let Me Go.” Hitting notes that would make Idina Menzel proud, Cascada absolutely carries this classic rave tune with fast-paced beats and a lively melody. “Never Let Me Go” is pure, ecstatic rave pop and it’s exactly what we wanted from this match up. Check it out below. This article was first published on Your EDM. Source: Timmy Trumpet, Harris & Ford Team Up With Legendary Cascada For “Never Let Me Go”

Tiësto and Ava Max have a party starting pop hit on their hands with “The Motto.” The single releases alongside a music video directed by Christian Breslauer, which features both Tiësto and Ava Max traveling back in time and partying it up. “The Motto” is clubby and catchy, which is to be expected, but it’s the carefree style of the track that makes it the perfect weekend anthem. Tiësto shares of the release: Ava is such an exciting young talent and her beautiful voice adds such depth to the song — I cannot wait for the world to hear our collaboration. “The Motto” is the party anthem keeping us dancing into 2022 as we close out a crazy year! Ava Max adds: When Tiesto shared this record with me, I fell in love and couldn’t stop playing it. “The Motto” is empowering — it’s about not caring, doing you, having a good time, and letting the world know! This high profile collaboration marks the third single off Tiësto’s upcoming album on Atlantic Records. “The Motto” follows up “Don’t Be Shy” with Karol G and the producer’s massive hit “The Business.” Listen here! Tiësto & Ava Max – The Motto (Official Music Video) Stream/download: https://tiesto.lnk.to/themottoID Photo via Rukes.com This article was first published on Your EDM. Source: Tiësto & Ava Max Drop Pop-Infused Party Starter “The Motto” [WATCH]

From busking in the streets of NY in the late ‘90s to building a massive career for himself over the span of more than two decades, Coke Beats is widely considered one of the legends in the scene. Having toured all around the world, on top of collaborating with everyone from Cash Money Records, Famous Dex and Sean Kingston to LL Cool J, Lil Tjay and many more, Coke Beats has an impressive list of achievements under his belt, and is showing no signs of stopping anytime soon.  Coke Beats has now just shared his brand new EP ‘Techno Is A State of Mind,’ which comes alongside a 15-minute documentary premiering on VEVO, Apple TV and Tidal. Spanning over four tracks, as well as 3 more live mashups and a bootleg that act as bonus material, ‘Techno Is A State of Mind,’ perfectly sums up everything Coke Beats is about while acting as a monologue about the struggle and challenges of being a music producer. This article was first published on Your EDM. Source: Industry Veteran Coke Beats Unveils New EP ‘Techno Is A State of Mind’

Sam Allan has been mastering his craft for nearly a decade, having performed alongside some of the biggest names in music, including Zedd, Kaskade, Eric Prydz, Robin Schulz, W&W, MK, and Laidback Luke. He’s incredible behind the decks and rightfully has played some of the finest clubs on the east coast like Marquee, Lavo, and The Brooklyn Mirage/Avant Gardner. Now, he’s making his debut on Gameroom Records, a sub label of the iconic Black Hole Recordings, with “Regressive“. It’s progressive trance at its finest, featuring a hypnotic melody and ethereal instruments to accompany. “Regressive” is artistically suspenseful, encompassing mesmerizing guitar riffs and intensifying crescendos. It’s so clever at every turn, making this song to be a sure hit in it’s field. Here’s what Sam Allan had to say about it: “‘Regressive’ is a track that really hits deep into the passions of the sets I’ve been playing over the course of the pandemic. All of those sets are what inspired me to make ‘Regressive.’ I wanted to portray a deeper, emotional vibe with high energy!” Listen to “Regressive” by Sam Allan below! This article was first published on Your EDM. Source: Sam Allan Releases Hypnotic Single “Regressive” Via Gameroom Records

Maintaining an atmosphere of integrity and progressive workplace practices that apply across an artist management roster and staff alike, Jay Rogovin, Alec Donkin and Jade Gaines, formerly of C3 Management, and Blake Coppelson of Proximity Music have joined forces alongside community service providers from 4 o’clock Consulting (DanceSafe & Good Night Out) to innovate the traditional conception of artist management, coining their new brainchild Kompass Music Group. Spanning a full roster of 23 artists including Vintage Culture (with Entourage and Purple Wall), G Jones, CharlestheFirst, GoldFish, Rousseau and Eprom while supporting the development of the careers of emerging acts such as Of the Trees, Chee, 1788-L, Khiva, Wreckno, Frequent, Chemical Surf, seven managers at Kompass are hoping to re-imagine what it means to provide artist management and participate in the cultivation of a healthier music industry. With core values that address current dialogues surrounding sexual violence, risk reduction, mental health, diversity & inclusion, and environmental impact key goals of the project work towards Establishing healthy boundaries and resources to support the mental health of artists and artist managers, setting new industry norms for health & safety through measures such as safety and inclusion initiatives, provide risk reduction education & training, reduce the environmental impact of touring, and to connect patrons with skill-building opportunities. “We’ve been implementing diversity across the board with our lineups, even in the support acts it’s something that we’re cautious about, that we’re being inclusive,” says Jade Gaines. “It’s reflected in our staff, with David Kissinger who does Supertask, Integrate, and VCTRE. David [Giovanni] who is Wreckno and NotLö’s manager, and Emma [Windsor] who manages Khiva. We’re trying to diversify everything — the smallest step you can take is still a step in the right direction.” Demonstrating the innovation and community support Blake looks to bring with him to KMG, 2020 saw Proximity provide entertainment by creating the first ever 3 day long online music festival called “Digital Mirage” during the peak of the COVID-19 lockdown. During the course of three events the festival raised over 400,000 dollars for people in the music industry affected by COVID-19 as well as supporting the Equal Justice Initiative. Over the course of the livestreams from April 2020 to present – Proximity has helped raise roughly 600,000 dollars for different charities including NIVA, Equal Justice Initiative, Color of Change, Sweet Relief, and Plus1. “Where Proximity and our team come in is the digital side, the YouTube, Twitch, DSP, label side of things,” says Coppelson. “That’s definitely my focus but we’ll still be touching every facet of the management. But let’s say our artist has this 5-track EP, finding out the best way to release independently or sign to a major, or setting up their YouTube channels is something we’ll be working on. I’m incredibly excited to bring my 10+ years of experience to our team / roster the same way we did with our record label.” Additional managers on board with Kompass include David Kissinger, David Giovannini and Emma Windsor, as Jade mentioned earlier, as well as Executive Assistant, Becky Carriel, all of whom also further diversify the company culture by bringing their unique experiences to the table and applying them across their management styles. Also joining in the conception of Kompass Music Group, fellow C3 manager Alec Donkin will add additional value as a graphic designer and branding specialist where he has helped develop, maintain, and grow the brands of 40+ international touring musicians across genres over the past five years. “Kompass Music Group has the opportunity to become a leader in music as a place where artistic integrity and human connection are valued above all else,” Alec Donkin shares. “I am incredibly proud and excited to be a part of this group of passionate individuals and artists and look forward to continuing my work as a manager and a designer, as well as having the opportunity to work towards some bigger goals for a healthier industry overall.” “We are in the process of starting a nonprofit that will be connected to all of this, but it spans everything from working toward carbon neutral touring and being more environmentally conscious, everything from our riders to the way we tour and travel, to providing bystander intervention training that’s free for our roster and staff and anyone else in the music industry,” explains Rogovin. “Taking some of the profits that we are bringing in as a company and putting those toward monthly smaller initiatives and larger long-term initiatives that will continue to be defined as we develop.” Kristin Karas, COO of DanceSafe and Stacey Forrester, Co-Founder of Good Night Out, Vancouver are also providing support in driving the force behind KMG’s organizational innovations. “Working with KMG is a refreshing opportunity to dig deep into the meaning of participation and community within the music industry and grow something new from a place of integrity,” Karas and Forrester share. “Safety is often an after-thought, or add-on to the live music experience, with artists and those behind the scenes typically left out of initiatives until there is a crisis moment. 4 o’clock is thrilled to collaborate with Kompass to build safety, well-being, and community into their culture and operations from the ground up.” With wellness being at the focal point of Kompass Music Group, the same ethos that applies to the company is also dedicated to the style in which the careers of their artists are managed. Working tirelessly towards a brighter future in the music industry, the launch of KMG aims to set the standard for internal practices and nurturing a healthier community. Kompass Music Group Full Artist Roster 1788-L – Carola – CharlestheFirst – Chee – Chemical Surf – EPROM – Esseks – FISE – Frequent G Jones – GoldFish – Integrate – Khiva – Lab Group – NotLö – Of The Trees – Potions Rousseau – Shades – Supertask – VCTRE – Vintage Culture – Wreckno This article was first published on Your EDM. Source: Jay Rogovin (C3), Blake Coppelson (Proximity), Jade Gaines (C3) & More Launch Kompass Music Group