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Dre Guazzelli is a DJ and producer based in São Paulo, Brazil, who led quite the career since 2004. He wears a lot of different hats, such as being an entrepreneur and running his own events agency, INNER. Guazzelli has a strong presence in Brazil as well as internationally, garning a global fanbase along with building buzz around his captivating appearances in Ibiza and at the Burning Man festival in the United States. Now, he’s back with a beautiful new single “Rainbow” via David Hohme’s Where The Heart Is imprint. The track features a intriguing spin on the organic house genre, as Dre merges ambiant textures that build seamlessly into a body driving drop. The bass line is sheer perfection as is the percussion, adding an irresistible flair to the track. Check it out for yourself below! This article was first published on Your EDM. Source: Dre Guazzelli Reveals Compelling Single “Rainbow” via Where The Heart Is Records

Edison Cole has been on fire this past year, releasing one of the most viral remixes of Calvin Harris’ “Miracle” landing over 250K streams in 2 months, and garnering support from the worlds largest DJs including Jauz, Svdden Death, Dj Diesel (Shaquille O’Neal) and more, energizing festival stages around the world. With freight train momentum, Edison reminds us just how driven he is with a massive remix of “Self Destruction Mode” via The Chainsmokers premiering it on Tomorrowland’s fantasimal Mainstage. Edison’s Remix opens up into a medley of layers complimenting Bludnymph & Drew’s voices with his effective melodics and songwriting, building up into a thundering drop. It’s impossible not to feel the energy on this one, check it out below! This article was first published on Your EDM. Source: Edison Cole Delivers Electrifying Remix To The Chainsmokers Hit “Self Destruction Mode”

The crafty German artist/producer Maximono earned his tenure in the electronic music scene during the late 90s, meticulously honing his craft in the world of breakbeats, jungle and drum & bass. In 2015, he flipped the script to go on a genre bending crusade with his new interpretation of house music, rapidly catching the attention of tastemaker labels such as Dirtybird, This Ain’t Bristol, Sweat It Out, Confession, Insomniac and CUFF. With a masters degree in low-end theory and a minor in spaced out, wobbly leads, Maximono teamed up with fellow bass graduates and heavy hitters like Malaa, Mat.Joe, Huxley, Kevin Knapp and Marten Hørger to release critically acclaimed songs such as “Arsenic”, “Drummer Loco” and “So High”. Now, he’s back with a simmering album packed full of unreleased tracks via the esteemed imprint This Ain’t Bristol, titled ‘The Outtakes.’ In true Maximono fashion, the album is laced with trippy melodies and hypnotic grooves all across the house spectrum. Creativity is not an issue for him, as he consistently finds ways to expose our ears to new sounds in each track, from distorted bass wubs to breakbeat rhythms. There’s something for everyone on this album, and we are thankful Maximono graced us with getting a listen to some of his vault. Check it out below! This article was first published on Your EDM. Source: Maximono Drops Collection Of Unreleased Tracks ‘The Outtakes’ via This Ain’t Bristol

Mel Monaco may be new to the likes of YEDM readers, but her smooth, effortless form of jazz pop has been lighting up the airwaves and stages in her native Ontario for nearly a decade. With a bell-clear, pitch perfect voice reminiscent of Ella Fitzgerald, a virtuosic knowledge of jazz guitar and piano, and a fun, pop-tinged songwriting style, Monaco is much-loved both for her music and performances in her part of the world, and now with her latest single, the catchy and radio-ready “Love Tides,” it seems she’ll be exploring new waters soon. Monaco’s goal over ten years ago was to release five albums before the age of 30, which she did plus one. Now with six lounge jazz albums, a handful of singles and a number of covers under her belt, it appears that Monaco has switched gears for “Love Tides.” Normally entrenched in jazz and soul with her popular originals like “Witch Sometimes,” “Better Not Bitter” and the commemorative “30 What,” this new song has more pop added to it than previous work. It seems now that Monaco has met her goal, she’s happy to play with other genres and it definitely pays off here. “Love Tides” not only opens with a snappy disco house beat and a funky synth but also with the first vocals rapped by Monaco. It’s likely that her fans were shocked by this change, but the song is just too much of a groove not to be into it immediately. Released as an applause round and love letter to the beautiful summers in the St. Catherines/Niagara area of southern Ontario where Monaco and her band call home, it’s impossible not to call this track a feelgood hit. Not to mention it’s so technically polished that despite the beat and groove of the track, “Love Tides” is almost entirely analog. Monaco works with an amazing band who really stepped up with her vision on this track, making it feel more in the realm of Jamiroquai or P-Funk than the more soulful artists like Bill Withers and Al Green. If fans needed more proof that “Love Tides” was inspired by the Niagara/Muskoka area, Monaco has also released a video for the song which was filmed on the Hamilton, Ontario area waterfront on a yacht with a number of her bandmates. Given that she’s called this song “yacht pop,” it seems quite apropos. It also seems like they had a hell of a lot of fun filming it; if the song itself wasn’t infectious enough, the chill part vibes in the videos will make fans wish for summer to stay just a little longer. Fans of Monaco’s original soul format shouldn’t think of “Love Tides” as a departure from her style but more of a branching out. The already accomplished artist is clearly endlessly creative and diversity comes with that territory. Meanwhile, pop and house fans can now also enjoy this modern funk along with Monaco’s beautiful voice and happy spirit. With a song like this, we don’t have to abandon summer quite yet. “Love Tides” can be streamed on Spotify along with the rest of Mel Monaco’s discography. Check out her YouTube page to see some of her other performances and creative videos. This article was first published on Your EDM. Source: New Artist Spotlight: Mel Monaco and her Band Close out the Summer With ‘Love Tides’

Jersey Club music is on a meteoric rise, and at the forefront of this movement is none other than the genre’s Global Ambassador, DJ Sliink. With his new EP, “Bricks To The 6,” he not only showcases his signature sound but also pushes the boundaries of the genre by blending it with the melodic stylings of Toronto’s SAFE, as well as collaborating with heavy-hitting East Coast talents Bandmanrill and Sha EK. This EP, with its infectious beats and cross-cultural influences, has not only earned critical acclaim but also solidified DJ Sliink’s position as a pioneering figure in the world of electronic music. The EP kicks off with the lead single, “Warrior,” accompanied by an electrifying music video starring DJ Sliink and SAFE. The video adds an extra layer of visual storytelling to the music, enhancing the overall experience for fans. “Warrior” not only captures the essence of the EP but also sets the tone for what’s to come. One of the standout tracks, “Real Hips II,” made an impressive debut by landing at #2 on Billboard’s Dance/Electronic Digital Songs Sales Chart. The song received accolades from respected publications such as XXL, Stereogum, and Brooklyn Vegan. Another track, “In The Night,” earned a coveted spot on The Fader’s “Song You Need In Your Life” playlist, as well as playlist support from Spotify’s “New Music Friday Dance” and “Jersey Club Heat,” along with Apple Music’s “New In Dance.” The EP also features “On Bro” (ft. Bandmanrill) and “Jiggiest In Jersey” (ft. Sha EK & Bandmanrill), further showcasing DJ Sliink’s versatility as a producer and his ability to collaborate seamlessly with a diverse range of artists. Live Performances and Future Plans DJ Sliink’s influence extends far beyond the studio. He recently graced the stage at MoMa PS1’s Warm Up 2023, leaving fans in awe with his electrifying performance. The excitement doesn’t stop there, as he’s set to spin at Coco and Breezy’s NYFW Event on September 9 and take the helm as the music director for Laquan Smith’s NYFW Show on September 11. Fans on the West Coast can also catch DJ Sliink live on September 24 at the Pangea Party in Los Angeles, with more announcements on the horizon. Conclusion: Jersey Club’s Global Ambassador With “Bricks To The 6,” DJ Sliink has cemented his status as a trailblazer in the world of electronic music. This EP not only pushes the boundaries of Jersey Club but also showcases the power of collaboration and cross-cultural influence in the music industry. As DJ Sliink continues to break new ground and captivate audiences worldwide, it’s safe to say that Jersey Club music has never been in better hands. “Bricks To The 6” is a testament to the genre’s evolution and a glimpse into the future of electronic music. This article was first published on Your EDM. Source: A New Chapter: DJ Sliink’s “Bricks To The 6” EP

DROELOE seems to be the king of suprises when it comes to his music, always finding new and creative ways to build anticipation within his community on what he’ll do next. We’ve been gearing up for his album set to drop next week but what we didn’t expect was a suprise 5th single, “Foolish Fish” along with an exclusive chance to listen to the album via Bancamp! ‘Foolish Fish’ is yet another testament to DROELOE’s creative versatility, taking listeners on a unforgettable voyage from start to finish. In a unique twist, DROELOE is granting fans an exclusive opportunity to be among the first to experience ‘The Art of Change’ in its entirety, ahead of its official release. It will be a one-off 1-time listen (in real time) on Monday September 11 at 10am PST (6PM UK Time). This sneak peek is available via Bandcamp, adding an extra layer of excitement for devoted followers eager to dive into DROELOE’s musical evolution. Sign up here. Listen below and pre-order the album here. This article was first published on Your EDM. Source: DROELOE Unveils Surprise Single + Exclusive First Listen To Upcoming Album via Bancamp

New-York based Producer Barkin is aiming to bring the heat back into House. His music is filled with intensity while being beautiful and groovy at the same time. Noticing the genre has lost some edge, his punchy basslines mixed with heavy synths will be setting dance floors ablaze. Vocals used as instruments and deep-moving breakdowns are integral to his tracks. While his drops will get your feet moving, each track has a meaning to be unfolded. Now, he’s back with yet another impressive single, ‘Kitty Club.’ It’s a bass house offering that lights up your speakers from start to finish. On an even more interesting note, Barkin makes reference to each of his cats throughout, (Lulu, Borris, Betty Man, and Bella) – giving them a taste of the spotlight as the bass fuels the dance floor. “‘Kitty Club’ is easily the most fun track I have made. I loved being able to bring my cats into my passion and create something for all cat lovers alike. ‘Kitty Club’ is a special track that people always asked me about during my shows. I welcome everyone to the Kitty Club” – Barkin Listen below! This article was first published on Your EDM. Source: Barkin Brings The Energy On Bass House Single ‘Kitty Club’

Whether it’s edits / remixes of hip hop tracks (both old and new), or sizzling originals, Hood Politics has established itself as a one of the finest labels around, consistently delivering incredible music to fulfill our house appetite. Label A&R Sherm has become a label favorite, and now his recent release sees him pairing up with yet another breakthrough artist Isaac Palmer for their addictive flip of the hit single “P**** & Millions” from Drake and Travis Scott. They set the tone early with a rumbling bass line and punchy drum patterns. Sampling Drake & Scott’s voice with immense creativity, they build the track into one that serves not only as a peak time weapon for the clubs, but for the festival grounds as well. “Cutting my teeth as a Chicago DJ has taught me so much about knowing when to move fast and shift the energy in sets. This edit can take you into the darkness from a light place or vice versa very quickly. Its underground sound and mainstream verses give any DJ the agility and ability to flex the energy while keeping the crowd engaged. Isaac and I had a shared vision to create a track that’s banger and will become a staple in a DJ’s set but also a “must hear” track for every fan.” – Sherm Sherm is fresh off of his biggest performance yet of the year, dominating the Vega Stage at North Coast this past Labor Day Weekend. Check out the single below as well as a some footage from his live set here! https://www.instagram.com/p/CwvE6chAUA7/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA== This article was first published on Your EDM. Source: Sherm & Isaac Palmer Collab Up For Thumping Edit of Drake & Travis Scott’s Hit via Hood Politics Records

A rising star in the music industry, Andrew Narvaez is inspiring people all over the world by showing them the value in being themselves and accepting their flaws. His alternative pop sound, influenced by melodic rap and post-punk, is resonating with listeners of all backgrounds, from New Jersey to global platforms. Narvaez’s unconventional musical style and outlook on himself as an artist are what set him apart. He began his musical career at the tender age of 13 under the moniker”3G,” which stands for “Give the Glory to God.” As he matured, though, he saw that the name no longer reflected his identity or the truth of his music. Narvaez stated, “I officially switched to using my government name when I was 15 because I didn’t want to try to be someone I wasn’t. Using my given name was a way to show that I am not compartmentalizing my personal and professional lives as an artist. This shift represented his willingness to show his audience the real him despite his imperfections.”At the end of the day, ‘3G’ was a zealous, more naive kid who didn’t fully encapsulate the person of Andrew, an imperfect man living every day to become a better version of himself.” The journey that Narvaez has taken exemplifies the bravery required to present oneself honestly in a field where polished facades are often criticized. His determination to be himself is having an impact on the music industry, inspiring both musicians and listeners to embrace their individuality and find beauty in their flaws. The genre-bending nature of Narvaez’s music is reflective of who he is as a person: uninhibited, forward-thinking, and unafraid to test the status quo. Andrew Narvaez continues to influence the music industry with his infectious sound and genuine demeanor, serving as a role model for both musicians and fans alike. His career exemplifies the significance an artist can have when they have the courage to express themselves honestly. Follow Andrew Narvaez and never miss a beat: 𝐀𝐍𝐃𝐑𝐄𝐖 𝐍𝐀𝐑𝐕𝐀𝐄𝐙 (@andrewjnarvaez) • Instagram photos and videos Andrew Narvaez | Spotify This article was first published on Your EDM. Source: Andrew Narvaez, Prolific Musician: “Imperfect Perfection in Authentic Sound”

Fresh off the heels of their massive VIP remix for “Rock My Body” together, R3HAB and W&W have released their fourth official collaboration, “Million Places.” This one is really unique as it’s a Eurodance inspired track; a genre that W&W is very familiar with, but we haven’t really seen R3HAB dabble in. The result is, as you would expect, an incredibly catchy melodic track that will have the festival stage hopping. The Dutch superstars first premiered the song during their Tomorrowland Winter b2b and it’s pretty clear why this track dominates festival stages. It’s anthemic, it has ethereal vocals, there’s piano breaks, everything about the track is huge. I’ve only caught this track via livestream, but there’s no doubt, “Million Places” is sure to be a mainstay in both W&W and R3HAB’s live sets. “After months of testing and finesse-ing, Willem, Ward, and I are excited to officially release ‘Million Places.’” R3HAB says. “It was inspiring to premiere this record at Tomorrowland Winter during our b2b set, and we agreed the record was ready to release after the great response at Tomorrowland Mainstage last month. It’s our fourth and most anticipated collab, and I think our work keeps getting better.” “Loved working on this one with R3HAB, the vocals instantly hit us,” W&W say, “And it’s goosebumps every time we play it.” Check out the latest from R3HAB and W&W, “Million Places” out now on Rave Culture. Re-live their Tomorrowland Winter set below as well. This article was first published on Your EDM. Source: R3HAB and W&W Team Up for Catchy Eurodance Theme “Million Places”

Two years since AC Slater and Chris Lorenzo first collaborated on a track called “Fly With Us” on Nightbass, the two titans of house music have finally released an official single under their new collaborative project of the same name. Fittingly, Fly With Us’ debut release is “Shrine Banger,” the opener to their first b2b performance at the Shrine Auditorium in Los Angeles a year ago. “Shrine Banger” is an absolute house heater, needless to say it’s the perfect blend of Slater and Lorenzo’s similar, but unique styles. The drop hits hard with some squeaky synths, a nasty low end, and that perfect vocal sample, “And, I’m flying on a jet!” Coming off a hot performance at HARD Summer last month, Slater and Lorenzo have announced their first ever Fly With Us show next month, appropriately at the Shrine. Tickets for the show are available here. Check out the debut single from Fly With Us (AC Slater x Chris Lorenzo), “Shrine Banger” out now on UKF. This article was first published on Your EDM. Source: AC Slater & Chris Lorenzo Release First Offical Fly With Us Track “Shrine Banger”

Nocturnal Wonderland is only two weeks away, so, you know what that means? Insomniac’s Night Owl Radio has dropped the official Nocturnal 2023 Mega-Mix featuring tracks from every artist on the lineup. As per usual, this year’s edition of Nocturnal is absolutely stacked. Night One highlights include Seven Lions, Black Tiger Sex Machine, AC Slater, Jason Ross, NITTI b2b Marten Horger and much more. Night Two might be even more massive than Night One; Alison Wonderland, GHOST RYDR (JOYRYDE b2b GHASTLY), Valentino Khan, Bear Grillz, Dombresky, Dab the Sky (Dabin b2b Said the Sky), and Pendulum (DJ Set) are among some of the can’t miss acts on Sunday. Tickets are still available for Southern California’s longest running dance music festival. Whether you’re new to the rave scene or you’ve been wide awake since 1993, Nocturnal Wonderland is always one of the most welcoming and inclusive festivals on the scene. Check out the Nocturnal 2023 Mega-Mix and the official Nocturnal 2023 trailer below and prepare to celebrate the Cosmic Equinox. This article was first published on Your EDM. Source: Night Owl Radio Drops Nocturnal Wonderland 2023 Mega-Mix

Alley Cat is a London-based expat of over two decades and a drum & bass veteran for at least that long, as well as co-head of ESP Agency and Kokeshi Records and a major voice in the EQ50 womxn’s music collective. She also just started her own radio show with KoolFM on RinseFM. If anyone knows how big and backand dark London can be, it’s Alley Cat. With all her industry credits and connections, Alley Cat’s music has always been decidedly personal to her own taste and she’s known for not following trends. In a world where pop D&B and dancefloor are bringing in the crowds, Alley Cat is happy to play her own way, and she still has plenty of takers: this summer alone she’s played Let It Roll, Locus, Outlook UK and Boomtown, just to name the big ones, and will be playing next weekend at Sun and Bass. D&B veteran is a bit of an understatement. Alley Cat’s last chronological release was the 2015 digital re-release on Offshore Recordings of a 2009 two-sided vinyl single called “Sweet Spot”/”Radiate” with her good friend, the sadly recently passed dubstep and breakbeat producer, Vaccine. 2012 was her actual most recently produced release on the Kokeshi Kompilation album with the snappy halftime/hop hop hybrid track, “Don’t Edit Me.” Since then, she’s been focused on all the stuff listed above, but it seems she’s also been working away at her own stuff lo these eleven years, through all the changes to the industry, the pandemic and all the other big, bad, dark stuff in recent history. To say this EP title is apt would be an understatement. All that political author posturing aside, it’s likely Alley Cat named her EP Big Bad Dark City as more of an homage, or at least as a nod to the vibes on said EP. Big, bad, deep and dark also seems to perfectly describe the sound she’s created here, with a heavy focus on deep bass sounds and deeper sound design. This is not the deep drum & bass that is prevalent nowadays, but something more intelligent and tribal, as the opening title track makes immediately clear. With what sounds like steel drum samples and an analog tom and snare creating the main drums, the beat comes in at intervals during the intro before filling in the main track with more snappy snare ornamentations and a deep, dark, primal bass note to ground each phrase. Emotive and rolling, there’s the slightest throwback to early breakbeat but there’s so much innovation here in terms of composition audiences might miss it if they blink. Luckily, the next track, “Construction Tune” sets the record straight on where Alley’s favors lie in terms of sound combos. A straight up and down, amen-filled breakbeat track of the highest order, here the artist merges old school sounds, samples and vibes with modern techniques and sound design (and possibly a little construction noise from her own house) to bring this oft-forgotten-nowadays style forward to 2023. Still trippy, tribal and totally her own, “Construction Tune” would be cool to hear mixed with other genres, and given that Alley self-describes her sound as “drum, bass, dubstep, whatever,” it likely will be in the future. Our premiere for today is the last track on Big Bad Dark City, called “May Day.” The amen, Venetian Snares-style snare fun is even more front and center on this track; in fact it’s the main feature. Alley’s gone full ambient on this tune when it comes to the higher registers, with sine wave synths swelling in and out of the track as the structure is once again a backwards jungle/breakbeat combo that hearkens back to the inception of D&B. The warmth of all these sounds put together is truly like nothing else being released right now, and it’s clear that’s what this artist wants. The OG heads will recognize all the samples of D&B and electronic yore, but younger audiences will see this track for its innovation and clean production style. It’s really all in the eye – or ear, in this case – of the beholder, and “May Day” has something for every ear. It seems an 11-year hiatus from production hasn’t dulled Alley Cat’s compositional senses, nor her sense of what she wants her sound to be. This artist knows what she’s about, both in the industry and in her artistic expression. The Big Bad Dark City tends to demand that of its artists, and in Alley Cat’s case, it’s a result that’s definitely worth the time it took to create. Big Bad Dark City releases tomorrow, September 1 on Armory, a new label out of Sacramento. Click here to purchase or stream starting tomorrow and here for links to Alley Cat’s other projects. This article was first published on Your EDM. Source: Your EDM Premiere: Enter Alley ‘Cat’s Big Bad Dark City’ With Some Big, Bad, Dark Amens [Armory]

Teenage prodigy Orlando Kallen stands out from the crowd with his ground-breaking debut single “Lone Wolf” in a world where musical genres are constantly being blurred and reinvented. Australian-born musician Orlando, who has Greek, Egyptian, and Croatian ancestry, has finally released his long-awaited track today, ushering in a new era of musical experimentation. “Lone Wolf” is a rich tapestry of diverse influences, reflecting Orlando’s dynamic musical background, and is a far cry from the monotony of mass-produced pop. “Lone Wolf” channels the spirit of its many influences, from the edgy rock of Lenny Kravitz to the emotionally charged pop of Billie Eilish to the timeless allure of Elvis Presley, while forging its own path. Orlando said, “Everything about ‘Lone Wolf’ is reflective of my life, its highs and lows. I hope this song encourages anyone who has ever felt different to follow their own path. This song represents my personal journey of self-discovery and the unifying power of music. Those who have followed Orlando’s rapid rise will not be surprised by the strength of his first work. From his early training at Australia’s NIDA and David Jaanz International Singing Academy to his recent award as “Best Leading Actor” from the Music Theatre Guild of Victoria, Orlando has never failed to impress with his natural musical talent and captivating stage presence. The release of “Lone Wolf” is the first step in Orlando’s grand plan to bring people together and inspire them with his music. As this powerful track reverberates around the world, it gives listeners a taste of the life-altering experience that awaits them in his upcoming debut album. About Orlando Kallen Australian-born 18-year-old musical prodigy Orlando Kallen. Orlando’s debut single “Lone Wolf” heralds the beginning of a promising career in the international music industry thanks to his multifaceted talent in musical theater, vocals, piano, guitar, gospel, R&B, and rock. Orlando Kallen is a promising new talent on the international music scene, drawing attention thanks to his captivating live shows and distinctive sound. This article was first published on Your EDM. Source: Teenage Prodigy Orlando Kallen Makes Explosive Debut with “Lone Wolf”

Your EDM featured Jenn Vix last year in our New Artist Spotlight series, as the synthwave and rock veteran had begun to dabble in electro with her single “Mr. Strange.” Now with a budding solo career after working with so many big names of the 80s and 90s like The Cure and The Psychedelic Furs, it was only a matter of time before she’d thumb through her rock legend Rolodex and coming out with a killer collab. Such is the case with her cover of Phil Collins’s legendary anthem to anger, “In the Air Tonight.” When listening to the original Collins track, it’s clear to see that the drummer/songwriter/producer was light years ahead of his time, so much so that the production values of the 1981 instant classic hold up against anything producers are doing in modern labs. There’s a heavy element of synthwave in the original, thought it’s generally regarded as rock, which makes it seem polished and also more than a little ominous. With Vix being well-known in synth and rock circles of the 80s and 90s, it’s not surprising that she might try a cover of “In the Air Tonight,” but it is a fun surprise to learn who she chose to work with on this stripped-down, pseudo-darkwave version. It’s none other than Vernon Reid, the Grammy-winning guitarist from the wildly successful 90s band Living Colour. Reid lends his amazing guitar skills to this cover as Vix shows her chops on the drums, and the track thus takes on quite a different style from the original. With a darkwave beat played by Vix on v-drums, her version of “In the Air Tonight” opens with Reid’s intense ornamentation on the original guitar work, adding a surprising dose of blues to the mix and a pitched-up key to match Vix’s vocals. Said vocals have VIx’s telltale deep and maudlin tones which somehow transform the track, along with the bluesy guitar, into something more sad and desolate than eerie and angry. It’s an interesting choice but makes sense in the context of both musicians’ work. In some ways it almost seems as if it’s a response track to Collins’s original, with Vix playing the defensive object of Collins’s anger rather than the vengeful protagonist. This new narrative is reflected in the video Vix and her JFIVENINE Media production company released at the same time as the track. In it, among the shots of her on drums and of Redi’s virtuosic guitar playing, There’s a stark black background always surrounding Vix, sometimes over the water with the moon in the backgrounds and sometimes looking like she’s on the run in an LA neighborhood. She appears sad and worried as she sings, again as if she is responding in defense to some unseen person beyond the fourth wall. Collins’s video had a similar black-and-dark setting, mostly with closeup shots of his angry face or wide shots in a small room taking aggressive postures or striking the walls. Vix hasn’t confirmed this call-and-response vibe was her intention in the song or video, it’s just a theory. Watch and decide for yourselves. No matter what the vibe was supposed to be Jenn Vix’s cover of “In the Air Tonight” is a fun re-work of a classic that still gets lauded today as one of the all-time greatest tracks of the 80s and 90s. With Vix herself and 90s legend Reid on this track, one can’t help but be nostalgic for those early synth rock and post punk days, and the magic talents like Collins, Vix and Reid created then. The “In the Air Tonight” cover is currently only available on Vix’s YouTube page but it will likely migrate to Spotify soon. In the meantime, check out some of her other work here. This article was first published on Your EDM. Source: Phil Collins as Electro? One for the GenXers with Jenn Vix’s Cover of ‘In the Air Tonight’ [Video]

The Brooklyn-based artist behind this new and naturalistic approach to electrono-pop called Carry the Branches is Sonar Mallory, and they’ve got an absolutely mental backstory. Born into an obscure cult which believed in, in their own words, “impossible physics and a secret world government,” Mallory luckily found a refuge in music from an early age and even before escaping the cult as a teenager, they became an accomplished multi-instrumentalist with the intention of professionally playing violin in a string quartet. Understandably, it was a long journey for Sonar to assimilate into wider society, and they put music on hold once in New York, focusing on another important career as a psychotherapist. This was likely helpful to them as well in understanding and breaking free of cult mentality and learning their own identity. Music seemed to always be simmering under the surface, however, and when COVID hit, the “obsessive refuge” Mallory once took in it re-surfaced. Working through the pandemic on production, songwriting and creating a sound, Carry the Branches was born. Mallory just recently announced the release of their first EP, Zombie Telegram, which will be out in full by December and features some of the most unique and innovative sounds and emotions music has seen in recent years. Described by the artist as, “if Sparklehorse covered Elliot Smith,” there are loads of elements at play here. Mallory have the ability to bridge electronica, rock and chamber pop in a way that sounds much more naturalistic and even holistic, hearkening back to the golden years of Bjork and In Rainbows-era Radiohead, but even that doesn’t do it justice. With the lead single from Zombie Telegram, a poignant nod to their own story called “We’re Not Coming Back,” Carry the Branches introduces the world to Mallory’s sound via an indie pop structure. Said structure, however, is only meant to carry all the innovation contained therein. It sort of begins and ends with Mallory’s vocals and production, both of which hold a sort of ethereal power that really should be called experimental. With a filigree of high-pitched instruments creating ornamentation over the complex and layered sound design in most of the song, it’s a deep, heart-based musical energy that evolves into a cacophony of all the elements coming together in organized chaos at the end of the track. All the elements of the track that just lined the edges are now all jockeying for center stage, a chaos that certainly represents breaking out of the mind control under which Mallory was raised. It’s chilling stuff, and the lyrics are even more visceral. Our YEDM premiere is the second monthly track from Zombie Telegram, due out on September 4th and called “Green Night.” A little more seated in electronica, this track has a disco house beat which is done on analog drums so it once again nicely straddles the rock and EDM worlds. The track begins as a meditation on self and identity in the lyrics, and the smooth, somehow foresty-feeling music goes along with them to put the listeners into the same contemplative space. This track seems to be about processing trauma while trying to find oneself and also a testament to Mallory’s own trans journey. Their lyrics really show Mallory’s psych chops, speaking many uncomfortable human truths in a way that’s not judgmental and universally relatable while also being highly personal. This is achieved with the extraordinary tone and timbre of their vocals as well; they seem to have at once earthy, celestial and deeply emotional tones, once again breaking into a sort of primal cry of pain and release at the end of the track. Green Night is a very witchy song and it feels both private and archetypal. As usual, I wrote the lyrics without knowing what the song was about and then tried to understand it afterwards. The song peaks late after a slow build and that last high verse is pretty wild to me. I know what its about in my gut but my head is baffled. It really does feel like an enchantment -Sonar Mallory Even if you don’t hear the lyrics or understand Mallory’s intended meaning in these first two tracks, the humanity and relatability in both “We’re Not Coming Back” and “Green Night” is nearly impossible to ignore. Sonar Mallory is a being formed by some of the hardest parts of this world but who seems to have transcended it through that pain and control into a form of music said world desperately needs right now. As more of their work is released, it’s likely Carry the Branches will be on a trajectory similar to that of Arca and other queer artists who have been able to share their experience and show, unequivocally, that the trans experience is a human experience and part of a greater social evolution. Per the opening lyrics of “Green Night,” “don’t be afraid, I’m not a man; I wear this skin because I can.” “Green Night” releases on Spotify on September 4th. Click here to pre-save, and go to Carry the Branches’ main Spotify page or Bandcamp to hear “We’re Not Coming Back” in full and check back for the other tracks to be released each month as well as a collab dance remix of “Green Night.” This article was first published on Your EDM. Source: Your EDM Premiere: Brand New Artist Carry the Branches Poised to Create New Musical Worlds With Their Upcoming EP, ‘Zombie Telegram’

Dea has proved her mettle in the entertainment space in the past few years with her electrifying performances and significant hits. So much has already been spoken about individuals who, at every step of the way, have shown their brilliance in all that they have chosen to lay their hands on. Interestingly, the youngsters who have spellbound people with incredible efforts and a never-say-die attitude have catapulted to massive success and growth in their careers. The entertainment industry, especially the music space, has never seen a dearth of talents; however, there have been a handful of individuals who have shown what it takes to become one’s best version, just like Dea did in her career, especially with her consistent rise in the last few years. Dea is a popular pop singer who confesses how, since childhood, she has loved and felt herself the most inclined towards everything creative and artistic. Music gave her a reason to be; it became an outlet of expression that she feels grateful for. She also says how, surprisingly, the road to a great musical career began with a child’s play. As a young girl, she loved mimicking the voices of the characters in her favorite cartoons, which her parents noticed. They suggested she repeat vocal exercises to help her become a good singer in the future. She later enrolled in a music school, and that’s how she took her first steps towards her dreams and aspirations in music. She is living that future today. Dea is ever grateful to her loving parents for supporting her so much. Born in 1997 in Moscow, Dea today is well on her way to spreading her presence beyond her country with the massive musical talent she has shown in her career. Her musical hits have been songs from her solo album “Parallels.” Also, her first single, “Don’t Fly Away!” received excellent reception from music lovers and listeners. Dea (@dea_singer_official) is confident of her journey ahead in the music scene and is excited about what she will offer her beloved audiences and listeners in the coming times. This article was first published on Your EDM. Source: Rising incredibly in the world of music, meet Dea.

In the ever-evolving landscape of this crazy music industry, some artists just stand out. One of those artists is Gary Soulz, whose latest release “The Right Way” has the perfect vibe for summer.. With a sound that seamlessly blends elements of Dancehall, R&B, soul, and hip-hop, Gary Soulz has carved a path of his own, drawing comparisons to industry giants like Drake, 6LACK, and Bryson Tiller. As we delve into the essence of “The Right Way,” it becomes evident why Gary Soulz is poised for greatness, and his name is destined to grace marquees alongside those of the biggest artists in the business. Gary Soulz’s ability to tap into raw emotions and translate them into soul-stirring melodies is a testament to his artistry and empathetic approach to songwriting. With “The Right Way,” he weaves a tale of love, heartache, and the pursuit of emotional growth, resonating with listeners on a profoundly personal level. When we asked Gary Soulz about the inspiration behind “The Right Way,” he opened up about a poignant personal experience that fueled the creation of the track. He shared, “I witnessed someone very close in my family going through a heart-wrenching break-up. Drawing from their emotional journey, I found the inspiration to pen down ‘The Right Way’ during a period when my own love life seemed stagnant. Sometimes, you have to extract inspiration from the experiences of those around you when you’re unable to find it within your own life.” Collaborating with Colombian musician and producer Jossman on “The Right Way” only adds to the allure of this exceptional track. Jossman, a top Afrobeat artist hailing from Colombia, brings a unique cultural perspective to the production, infusing the song with a rich and vibrant sonic tapestry. As Gary Soulz continues to build momentum in his career, it is evident that his star is on the rise. Drawing inspiration from real-life experiences and leveraging his impeccable songwriting and production skills, he has created a musical masterpiece that cements his position as a true artist to watch. The comparisons to industry heavyweights like Pocaan are not unfounded; Gary Soulz possesses a rare talent that is primed to leave an indelible mark on the world of music. Beyond his musical prowess, Gary Soulz’s strategic marketing campaigns have also played a significant role in his rising success. By employing smart marketing tactics, including running targeted ads and captivating thousands of listeners on Spotify each month, he has managed to expand his reach and build a devoted fanbase. With “The Right Way” as a shining example of his artistic brilliance, Gary Soulz has set the stage for an extraordinary musical journey. So yourself a favor and check out his new single on Spotify and Apple. This article was first published on Your EDM. Source: Gary Soulz DELIVERS With His First Dance Record “The Right Way”

Kat Nova’s love for music is more than just an appreciation for the art; it’s a commitment to sharing the transformative power of melodies and rhythms with her listeners. With her compelling soundscapes, Kat creates a space for listeners to escape from their daily stresses and immerse themselves in the beauty of music. Her journey into the music industry was fueled by a deep-seated desire to bring happiness to others through her craft. Nova believes that music offers a singular chance for people to create their own realms, assisting them in steering their challenges and discovering comfort within life’s turbulence. This intrinsic love for music and her commitment to her listeners have been pivotal in shaping her career, enabling her to establish a distinctive musical identity and resonate with audiences worldwide. However, forging her path in a primarily male-dominated industry has been far from easy. While she has always been driven by her passion for music, breaking barriers and overcoming gender biases in the industry has been a constant challenge. But Nova, with her unwavering dedication and love for music, has proven time and time again that talent knows no gender. Through perseverance and resilience, she continues to pave the way for other female artists, reinforcing the importance of representation and diversity in the music industry. This article was first published on Your EDM. Source: Driven by Passion: Kat Nova’s Journey Into the Music Industry

Following the release of the much-awaited track “Sexy House Thang,” we had the pleasure of catching up with NexGen Music label boss D.J.C. Our conversation delved into the creative process behind the latest release and explored what’s in store for him and NexGen Music in the coming months. Celebrating “Sexy House Thang” First and foremost, congratulations are in order for D.J.C. and his team on the release of “Sexy House Thang.” This vibrant track has captivated audiences, not only with its sound but also with the animated visuals that accompany it. D.J.C. shared his excitement, saying, “Thank you for the kind comments, and yes, it has definitely been a ride working on the ‘Sexy House Thang‘ release, and it’s a journey that isn’t completely done and dusted yet.” The collaboration with legendary underground music artist Neil Sanford, aka Earth Leakage Trip, brought both fun and challenges. The creative process was intense, with many iterations before landing on a direction that felt right. As D.J.C. aptly put it, “you pretty much never end up 100% happy with your work!” Beyond “Sexy House Thang” When asked about upcoming projects, D.J.C. revealed another high-profile project titled “Crazy Youth,” released just one week after “Sexy House Thang.” Collaborating with UK-based artists Rob Sparx who also runs Migration Recordings and author Upriza (Kelso Simon), this anthem for the UK anti-gun and knife crime movement has already garnered significant attention. The video, shot on location at Leicester Unity Boxing Club (UK), features a special appearance from WBO champion Lyon Woodstock. It’s also supported by Gloves Up Knives Down, a UK-based non-profit enterprise committed to supporting young people affected by knife crime. D.J.C. even played a cameo role in the video, a role that allowed him to make a strong statement on gun and knife crime. A follow-up behind-the-scenes video and further insights into the project are expected in the coming weeks. NexGen’s New Strategy NexGen Music’s approach to music is evolving. They have reduced their release schedule to 4-6 significant projects per year, focusing on high-quality and engaging visual content. The goal is to grow their audience without alienating fans as they explore various genres from deep and dark underground music to cross-mainstream and even pop. D.J.C. summed it up, saying, “So, the short answer to my long-winded response (lol) is that we anticipate dropping a couple more music/video projects this year exploring our ‘NexGen’ take on RnB and UK Garage, with perhaps some more Drum and Bass sprinkled in.” Looking into the Future With over 30 years of musical exploration, D.J.C. has grand plans for 2024, including a release project for “Sexy House Thang” and possibly an LP featuring some of his extensive collection of musical sketches. Beyond his own music, D.J.C. is committed to building and investing in artists through the NexGen Music platform. There’s a particular interest in nurturing US-based talent, a move that aligns with his belief in the importance of good chemistry with artists. Final Thoughts Our conversation with D.J.C. provided a rich insight into the creative dynamism that fuels NexGen Music. With intriguing projects on the horizon, fans have much to look forward to. D.J.C. concluded our conversation by inviting interested artists to review the demo submission page on the NexGen Music website and expressing gratitude for the opportunity to share his thoughts. This article was first published on Your EDM. Source: NexGen Music Label Leader D.J.C. Talks New Releases and Future Projects

Ridley Bronson, a native of Milwaukee, WI, began his musical adventures at the age of thirteen, while the rest of us were worrying about boring adult stuff. Ridley, inspired by the Golden Age of Hip Hop, devoted himself to sampling at a time when experimentation was at its height. This young producer’s success was no accident; he was soon offered gigs all throughout the county and the love of the stage sprouted ahead of his skills even taking off. From dance floors to disco’s, Ridley’s was swept away by the sounds of electronica and eventually gave in to the allure of House music. Making a dramatic shift in his style as a result of the club scene, festival circuit, and heady fusion of Tech House and Deep House, the young DJ started his path towards the strobe light royalty and never looked back. With a dash of mentorship from Toolroom Records and a sprinkle of audacity, Ridley evolved into a dance floor maestro. He then headed west to Denver, CO, where he not only embraced the mountains but embarked on an even greater adventure. His own record label, Focus Four, was born, promising fans dirty beats and jolly good fun. In 2019, Ridley commenced his work on “Remedy.” Two years and countless creative sparks later, the track hit the airwaves via Focus Four. It didn’t just play; it resonated, creating a symphony of emotions and racking up streams by the hundreds of thousands. This article was first published on Your EDM. Source: The Funk Sensation Odyssey Ridley Bronson’s new Release; “Flex My Drip”

It’s been just a few months shy of four years since Machinedrum and Holly released Berry Patch, their breakthrough collab EP on Vision, and punters and DJs alike have been wistfully wondering if the duo would release another such crossover epic. Both artists have released loads of killer tracks on their own since January of 2020, as they’re each so talented in their own right, but there’s no denying these are two great tastes that taste great together. Now, finally, this peanut butter cup of a new collab EP is almost upon us. Get ready for River of Heaven. What’s really cool about the long-awaited River of Heaven from the Portugese-American duo isn’t just that it picks up where Berry Patch left off. This is truly a coming together of the evolution of two artists over the last three years. Fans shouldn’t go in expecting similarities; this EP is really only a follow-up in terms of chronology. It’s made clear from the opening title track, written in Japanese script as 天の川. With this track, the duo announce they’re firmly in crossover territory and they will be thus for most of the EP, with only two tracks at or around 174. That’s not too surprising, as much of Berry Patch had loads of tempo changes and other crossover elements, but genre aside, there’s also a lot of difference stylistically. With three of the tracks, “Novaform,” “Blueshift” and “Hide Sun” already out, fans will likely already see a lot of differences in style, especially in “Blueshift.” While the experimental dubstep-tempoed “Novaform” has a lot of the heavy, grimy bass of Berry Patch, it’s also much more polished with loads of atmospheric work. “Blueshift” and “Hide Sun” are stronger indicators of what’s to come on River of Heaven: funky, liquid in nature and full of clean, crisp sounds. Machinedrum and Holly also experiment quite a lot in this EP with both tempo and general sound. Where Berry Patch was somewhat easily classed as neuro-leaning, it appears as if the guys have made it a point to challenge anyone to classify River of Heaven. The mashup vibes never end here, and it’s clearly deliberate. The main example of this purposeful fusion of styles, sounds and genres is also our YEDM premiere, the illustrious “Luminae.” Slotted as the penultimate track on the EP, it’s also an apotheosis of the sound Machinedrum and Holly set out to create this time around. Starting off as a bit of a trickster track, listeners will likely think the intro is a slow yet complex build into a D&B drop. Instead, the audience is met with a slower (160?), unclassifiable beat that’s so broken, one could call it fractured. This gives loads of space for the artists to build up a huge track around the beat, but they keep it minimal, drawing a surprisingly funky structure with impeccably clean snares by the time the track gets to the break. Ambient sine wave synths swirl in and out of that open space before said break, which is another trick as a lone amen pulls the pitch up before dropping into the mindfuck that is that broken beat once again. There’s so much going on with the beat and sound design in “Luminae” that fans may not even notice that there is a substantial crunchy bass drone a’la Berry Patch underlining most of the track and giving it depth. Even among all this experimentation and new, mind-boggling sounds, the boys still like their bass. Updated as it may be after nearly four years, there’s no mistaking this classic combo the collab between Machinedrum and Holly creates. River of Heaven, in that sense, is less of a follow-up and more of an evolution; another stamp in time for these two innovative artists. River of Heaven drops on Vision Recordings this Thursday, August 31. Pre-save or pre-order here. This article was first published on Your EDM. Source: Your EDM Premiere: The Wait Is Almost Over! Machinedrum & Holly’s Sophomore Collab EP ‘River of Heaven’ Drops this Thursday [Vision Recordings]

Marc-E is a bit of an anomaly in the EDM/electronica world, as the only thing he really adheres to is not adhering to genre or beat structure. Over the course of his discography, Marc-E has covered pretty much every type of beat structure one can imagine, in fact, from house to psytrance to drone to halftime. Much more concerned with vibes, Marc-E is more interested in channeling the more spiritual aspects of music through what appears to be an experimental format. His work isn’t all woo-woo panflute either; he prefers to work with deeper, more earthy tones. Following the earthy rabbit hole as he has since YEDM first featured his 2021 album, Catharsis, seems to have led Marc-E to an interesting new place in his style journey. With his latest track, “Before the Thought,” he’s well and truly into bass music. “Before the Thought” opens with a single, deep, dropping sine note which is slowly filled in by other eerie and unconventional sounds (is that a glockenspiel?). This opening and its slow addition of parts may lead listeners to believe the track will beatless or have an unconventional beat structure but at the track unravels, it’s actually quite clear. It’s a halftime tempo with a straight beat, tantamount to slowed-down riddim. As odd as that classification may sound to riddim or even halftime/trap adherents, the type of work in “Before the Thought” has been simmering below the surface of EDM for a long time. Deep bass soundsystem-style trap and halftime are quite regularly released by the likes of 1985 or Deadbeats. In fact, a little more edge to this track and it could slide right in among Alix Perez and Headland’s recent releases on 1985. Not that Marc-E is concerned with that; he seems much more of an independent player. “Before the Thought” does have those great, soundsystemy brain massage deep bass drones, however, that any raver would relish after a long festival of banging bass. Playing as much with energy as he experiments with sound, “Before the Thought” is only surprising in terms of how deep Marc-E gets with the bass here. Fans of this ambient and tribal tinkerer should not be surprised that he’s added yet another beat structure to his style, and it’s clear he’s nowhere near finished. It will be interesting to see where he goes from here. “Before the Thought” is available to stream on Spotify or to purchase on Bandcamp, along with the rest of Marc-E’s work. This article was first published on Your EDM. Source: New Psychedelia: Marc-E Takes a Different Approach to Ambient Electronica With New Track ‘Before the Thought’

Image Credits: via publicist After establishing himself at the forefront of the Brazilian electronic music scene with viral hits such as ‘Da Fonk’ or his excellent remix of Diplo’s ‘Express Yourself’, Mochakk is back with the classic house track ‘Jealous’. Stream / Download: Mochakk – ‘Jealous’ With ‘Jealous’, Mochakk turned Lolleatta Holloway’s ’77 classic, ‘Dreamin’ into an upfront classic house track featuring pumping kick drums, an infectious vocal and groovy high-energy basslines perfect for the club. When asked about his highly anticipated release, Mochakk explained, “I’ve been waiting for Jealous to be released for so long, it’s probably the track I got asked about most this year. It’s definitely the biggest track in the set almost every time I play it.” At only 23 years old, he’s already been named one of BBC Radio 1’s Future New Stars of 2023, and Mochakk intends to maintain his reputation as Brazil’s biggest underground dance music star. The release of ‘Jealous’, which will soon be followed by a full EP, constitutes an exciting new step in his young career as his first collaboration with CircoLoco Records.

With post modern music as it is, it can sometimes feel like the more experimental artists among us are driven simply by the need to make their next work weirder than the last one. That certainly seems to be one of the drivers for the infamous New York composer/producer, Chris Ianuzzi, who’s got the “weird for the sake of weird” market cornered. With his latest experiental/ambient/techno/noisecore/post punk/IDM/whatever-other-genre-he-could-jam-in-there track and video, “Edge of the Earth,” that driver is certainly out in full force. Ianuzzi, like many experimental producers, first and foremost loves his science. Listening to almost any of his work, it’s obvious he likes to tinker and has played with so many production methods over the course of his discography, it almost beggars belief. In his most recent piecemeal released album, Maze, he worked heavily within Dolby Atmos production, creating spine-tingling results with the tracks like “Sweet Over Time,” “Hunger” and the multiple award-winning “Lonesome Highway Superstar.” After an interstitial foray into a sort of post punk/industrial/trap territory with the relatively chilled out “Silent Sea,” “Edge of the Earth” sees Ianuzzi back on his po-mo shit with an almost untrackable non-format to his composition. With an intro that sounds like the sonic equivalent of a lava lamp and serves only to lull the listener into a false sense of security, Ianuzzi unleashes experimental hell from a seemingly arbitrary point as the first segment of the track rolls out, sounding like a nightmare version of Ross’s “sound” from Friends, before a ghost of a beat is established to sort of reign in the eerie, howled lyrics and runaway synths. Even the beat structure doesn’t linger anywhere for too long, however, so don’t get used to the offset breakbeat or dead techno drums as they start and stop just as randomly as anything else in this track. The effect is, indeed, as if a mad scientist on acid invaded and took out the DJ at a cybergoth rave. Difficult to make sense of whilst not on acid? Yes. Easy to appreciate the genius of the composition? Also yes. In case the audio for “Edge of the Earth” wasn’t trippy enough, Chris Ianuzzi continued his experimentation with AI animation for the video. Using Stable Diffusion and Deforum AI 3D Animation Pipeline, Ianuzzi collaborated with film artists Ethem Serkan Sökmen and illke to create this stop motion-effect video that bends reality even further and is a perfect compliment to the track. It takes the audience on a journey through a multitude of worlds and sort of creates a story out of the madness of the track. Don’t read too much into the possible symbolism, however; it’s likely more often Dadaist in nature than viewers may realize, according to Ianuzzi. The Lemons in the Edge of The Earth cover were made because I was playing with ideas with the the program Dall-e. Someone walked by and said, “you should try adding Lemmings.” I thought she said “Lemons.” Whoops. I really liked the result. We had to put lemons in the video too. Humor aside, the song and video are not without their meanings, as Ianuzzi almost always puts some form of political or social statement into his work. The song and video are inspired by the state of our planet with regards to the political as well as the natural atmospheric conditions that we are living in. It all looks like the apocalypse, almost biblical at times. It’s difficult not to feel this when watching the news. Structure masked as chaos, social consciousness out of Dadaist and Surrealist art, it’s all business as usual in the visionary mind of Chris Ianuzzi. It’s important to stop and appreciate work like his, especially in the pop-soaked EDM world, as this is this kind of stuff that pushes music forward. To that end, if nothing else, “Edge of the Earth” is a look into and a commentary on where artists can now go with AI and other advancing tools. The “Edge of the Earth” might not be a literal edge, but a perception boundary that we are now pushing through with these expanded capabilities. Only time – and artists like Ianuzzi – will tell. “Edge of the Earth” is out now can can be streamed with the rest of his discography on Chris Ianuzzi’s Spotify page. Check out his YouTube as well for more trippy and poignant videos. This article was first published on Your EDM. Source: Warning: Chris Ianuzzi’s Latest Track ‘Edge of the Earth’ Could Take You to the Edge of Sanity [Video]