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

Vancouver-based producer The GOAT has been tirelessly releasing increasingly heavier and weirder industrial techno since he began making EDM in 2016. One would have to if one wanted to be seen as the greatest of all time, wouldn’t one? Well, just like anything in the music world, Chris Marcinikiewicz’s chosen moniker isn’t exactly as it seems. With all his work, including The Details Are Vague, his debut album on Groundwerk Recordings, released earlier this month, The GOAT just wants to make us dance. Coming from a thrash and punk drumming background, Marcinikiewicz’s earlier musical years were spent touring Europe, especially Germany, and influenced by the techno sounds there but also experimental punk bands like Fugazi, Bad Brains and Minor Threat. This explains the heavy and often analog drum treatments The GOAT’s electronic productions get, and likely why his techno comes off sounding more industrial than big room, a rarity nowadays in North America. The GOAT has nonetheless managed to garner a lot of support both locally and abroad, hitting the top 100 on Beatport’s techno charts with his first EP, Flout, and the top ten on the ambient chart as well. After this early success, he hooked up with Groundwerk Recordings and its founder Joel West to produce even more groundbreaking work and put out a record number of tracks and EPs since then and now. With a style so unique and niche, it’s a good thing The GOAT has this sort of work ethic, because he’s pretty much created this ambient/industrial/techno sound/genre on his own. With the details of how he came to find this sound, the tech of this sort of techno and what kind of cocky motherfucker actually names himself The GOAT being vague, we went to Marcinikiewicz in search of the answers and found more than the details. We discovered an artist who works from his heart and whose dedication can be felt in every track (and the reasons behind the name), so read on and listen as all is clarified and revealed. You seem to have picked one hell of a specialty in terms of a niche style, especially in the North American scene. How did you get started making beats and when/why did you decide to go industrial techno? I was very fortunate as a young kid to have the opportunity to see electronics and sequencers and things at an early age. I can credit that to two older family friends, one of which had a 90s midi home studio and was so patient in showing me how to get started on making loops and ultimately tracks. The other family friend showed me and his younger brother industrial music in the early and mid 90s. It was all that Wax Trax stuff. It instantly sounded like something I wanted to learn how to do. I kinda came full circle to it because I played in punk bands and experimented with synthesizers for many years. I just found the place where it can all meld together. To that end, how do you feel your work has been received in North America? Obviously you’re charted on Beatport, but do you find it’s tougher to break the scene here versus Europe where Rammstein and other heavy techno acts are so popular? The reception of the album has been good. I’m happy that The Details Are Vague is being supported and received as well as it is. To answer your second question, it’s a bit of a double edged sword. I feel like in North America, or maybe where I play, techno is a misused term. It’s a bit of a catch-all at the moment, and kind of the “cool word,” but most people are playing deep house or whatever. Things are marketed as “techno” but it’s not that. So yeah, I don’t know, I’m maybe considered niche here, but in Europe, there are so many people doing it that it may be more difficult to stand out. Ultimately, I’m just writing music I want to hear. And if it moves you, if it resonates, lets dance together. Aside from the above-mentioned obvious, what acts were your main influences to create this kind of techno? What do you love about the sound that keeps you going? For me, Its in the approach. Going back to punk, a band like Fugazi or At The Drive In, their fearlessness is what inspires me. Obviously industrial acts, and goth acts support the sonics and the imagery, but those two I mentioned actually stick out because I feel like they have a signature sound, but they always challenged it in their approach. There was always a “what’s next?” aspect when word got out that new music was coming from Fugazi. I like a lot of different styles of music so I’m leaving a lot out; that’s just one example of a good approach. Time to get techy: there are a lot of experimental and dissonant elements built into the sound design on The Details are Vague, like the ambient pipe sounds under the main music on “Removed from Service” or the ambient, beatless structure on “You Missed the Forest for the Trees.” How much of this album was pure experimentation for you and what draws you to the science of sound? I had goals with what I wanted to accomplish with the sound. I wanted it to feel human, but techno is inherently mechanical. This being my debut LP, I wanted to tip my hat to the sounds that inspired me when I first started with electronics in the mid-90s, so experimentation with a purpose was key. I had many sound designing sessions, some more guided than others, but I wanted to let the machines speak. I wanted to be a conduit for them. I feel like when hardware is involved, there’s a relationship and a conversation that happens. Especially with modular synthesis. You put information in, It speaks, you interpret and make changes. All of that was captured. The final synth in “Reduced” was just that: a live take that was un-edited, and I like that there’s some drift there, and mistakes. It feels alive to me. With an album, I’ve learned, there’s a time to leave all your tendencies behind. It’s not written the same way an EP is. I felt like I could do anything. Building on that, what sort of programming or mods did you use to get these more experimental elements? How did they fit with the main compositions, or did you come up with the singular sounds first and then build the tracks? Every track is built different. One thing for sure, and you can talk to Joel West about this because we’ve worked on many tracks together, is I feel like the enjoyment is in finding a different way to make the music. So for example, maybe this certain track can only be done using one synthesizer for every aspect. Or maybe some sort of self-imposed limitation will be put into the session in order to steer you a certain way and push you out of the norm. It keeps things fresh for me. I combined that with telling the sonic story I wanted to tell in order to program these parts. Some tracks were started very simply with a groove, others were definitely with an experimental aspect first, and then forged into what I wanted it to live as. Your time as a drummer touring in Germany and Eastern Europe has clearly influenced how you put your drum lines together. How important are those drums for you? Did you really want to make them shine on this album? Because I played drums growing up and I enjoy a lot of different types of music, I wanted to explore that (different types of drum lines). I wanted to see if I could find a place for them on the album. Now, they’re mangled to shit, but that’s where they fit in the record. I also had some actual song ideas that I wanted to pursue on this too. Because of the pandemic, I felt like I had the time to go down that road with Nathan and Amanda (Melohalo, on “Alone”). They’re a great fucking band first and foremost, so it was cool to see how we could reach that feeling. You know, all of us reaching toward a common goal. I can’t wait to hear what they do next. On “Reduced,” it was like second nature, and it really was cool to work with Jamison (Prystay) again. We’d played together in bands growing up, so going full circle there felt very natural. Who wouldn’t want to play drums on Rhett’s (Williams) guitar playing? He plays with a ton of attitude. I wanted analog drums to have their spot on the album that would create the more obvious human aspect. In what other ways do you think your thrash background influenced the album? I think the main way thrash and punk have influenced this album Is my tolerance for noise. I’ve left headroom for future exploration of noisier and heavier aspects, but I’m also not gonna shy away from points on the album like “The Mud Of Humanity” or “Vulcanize.” Without my background, I wouldn’t have been able to allow the music to go to those places. You’ve had a number of releases with the famous Vancouver imprint Groundwerk Recordings so obviously there’s a good relationship there, but why did you decide to release the album with them? Groundwerk is home. It’s so important to me as a label, but to those that don’t know, Groundwerk is even more than that. It started out as a listening party where bedroom producers (and producers of all levels) could submit music, hear it on a club system, and talk shop with other likeminded individuals. It was amazing for learning from other people and networking. It’s just a great and inclusive place to be. The reason I say this is because when I was at my most disillusioned about music is when Groundwerk started. I went to their first event years back by myself, not knowing anyone, and it changed everything. Like, there are scenes, but rarely does a label build community. From Groundwerk’s community, so many people have flourished in their respective disciplines. For them to pick me up with I was artistically most vulnerable, It meant a lot to me. Groundwerk the label, Groundwerk the event promoter, Groundwerk the (public & Twitch-during-pandemic) listening party, make up the roots of a lot of what is happening, and has happened in the Vancouver scene in the last, I’d say, five years. People have learned, grown, and even moved on, but it’s an institution. Okay we gotta ask about the name: is it a bit of cheeky irony, making fun of pop culture, or did you choose it because you want to be the Yeezy of techno? It’s 100% tongue-in-cheek. I loved the idea of The Prodigy’s name being a throw back to the DJ’s and MC’s in early hip-hop; these larger than life names. I also am a huge fan of combat sports, so there’s that. Anyone that knows me knows it’s a caricature and a joke. But also, growing up, my mom used to call me “Kozuka” (Koza) in Polish, which means goat. I was always active and always finding ways to stumble into things and hurt myself as a toddler (laughs) so honestly, its a nod to that as well. There ya go, the cat is officially out of the bag! We’re sure at the moment you’re happy celebrating the album finally being out, but do have any insight on what’s coming up next for you? Shows/tours/releases? I’m currently working with promoters lining things up. So if you want me in your city, head over to thegoatmusicofficial.com and find my socials there. Reach out and lets dance. The Details Are Vague is out now on Groundwerk Recordings and can be purchased on Beatport or streamed on Spotify. This article was first published on Your EDM. Source: Your EDM Q&A: Does Canadian Techno Artist The GOAT Live Up to His Name With His New Album? 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Porter Robinson closed out the Ranch Arena stage at Electric Forest this past Saturday, which was undoubtedly a fantastic set. But the highlight for many fans was seeing him in a more intimate setting at the Ocular Organ in the festival grounds the next afternoon, playing a full acoustic set. The featured photo for this article, captured by @MarioH92, sums up the experience pretty perfectly. But if you want to see some of the actual set, @reporterrobnson has you covered with some unreleased music and a clip of “Look At The Sky” below. i don't want to ruin the entire surprise but here's a clip of that porter robinson new new (unnamed) from the forest piano @porterrobinson pic.twitter.com/mUWki4MmiN — dj not reporter robinson (@reporterrobnson) June 27, 2022 look at the sky (@Electric_Forest piano version) featuring porterfam on vocals @porterrobinson pic.twitter.com/olY6FNaACA — dj not reporter robinson (@reporterrobnson) June 27, 2022 Photo via @MarioH92 This article was first published on Your EDM. Source: Porter Robinson Surprise Set At Ocular Organ Among Highlights From Electric Forest

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

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

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

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

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

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

You know the words, you know the drop, you know the producer… “Laserbeam” from Ray Volpe is now officially out everywhere, and you’re going to hear it everywhere. The song was the #1 most played record at EDC Las Vegas; when you consider there were 9 stages with dozens of different genres, and one dubstep track was played by everyone, that is definitely significant. “Thunderdome was actually the viral origin of ‘Laserbeam,’” Ray says. “It started with an email to Excision updating him with new unreleased music to play at shows. I mentioned in the email how ‘Laserbeam’ would be cool to play with lasers in his high-production sets with crazy rigs. After my set at Thunderdome where I was support for Excision, I went to the crowd to watch Excision perform & suddenly heard the beginning of ‘Laserbeam.’ The reaction from the fans in the venue as the song dropped was loud & clear. Needless to say, I was also freaking out. I filmed the whole thing & posted it the next day on social media, which went viral, currently tallying over 800,000 views on my own platforms; Excision, Illenium, Black Tiger Sex Machine, & many others have posted as well since then, accumulating a total of over 10,000,000 views today. I thought to myself that this is the craziest thing ever and that it couldn’t possibly get any better.” Since then, the track has been played ad nauseam to the point that its presence is almost ubiquitous in any bass set these days — and that’s not an indication of laziness on the DJs, but a sign of how good this track is that it’s absolutely everywhere. Want to be in on the craze? Listen below and add it to a playlist today. Photo via @snapaholix This article was first published on Your EDM. Source: Ray Volpe unleashes the #1 most played record at EDC Las Vegas, “Laserbeam”

It feels like only yesterday when I interviewed the recent-D1 hockey player Hayden Capuozzo, aka Kayzo, at a small pizza shop in North Hollywood, accompanied by his manager, having just graduated from Icon Collective. In reality, that was back in 2015 and a lot has happened since then — he’s released two albums, launched his own label, headlined festival stages, and created and cultivated a devoted fanbase that lives for his unique and fervent blend of electronic and rock. Today, Kayzo releases his third studio album, NEW BREED. As the name suggests, the goal of the album is to begin a new story. “New Breed is about the next generation. The turning of a page. The continuing journey of KAYZO and the constant progression of evolution of my sound within the many layers of what makes me who I am,“ says KAYZO. “Pushing myself and others to continue blur the lines of what we know as dance music and what we know as rock. Meeting in this grey area of the two worlds and not knowing what side is what. New Breed is the shedding of the old and celebrating what’s to come.” Of the 20 tracks on the album, only four had previously been released as singles, meaning 80% of the album is brand new and never released, though you’re sure to have heard some of them if you’ve seen Kayzo live recently. Listen to the full album below! Kayzo’s New Breed Tour launches July 02 in Portland, making stops in New York, Boston, San Francisco, Denver, and an Imagine Music Festival appearance in Atlanta. More dates to be announced in the coming weeks. This article was first published on Your EDM. Source: Kayzo’s ‘NEW BREED’ album meant to “blur the lines” of what we know as dance music and rock

Since I first saw Moore Kismet perform live back in 2019, I’ve believed the young star was destined for greatness. There was a sense of genuineness in their demeanor and approach to the craft that I felt had been sorely missing at the time; now, three years later, I’m happy to listen to their debut album, UNIVERSE, and reaffirm that initial intuition. Though eleven of the seventeen album tracks were previously released as singles, and three serve as prologue, interlude, and epilogue, it’s still best to hear an album as it was meant to be presented — as a package. You can get the tracklist of an album early and put all the singles in order, but it’s never the same as listening as how the artist intended. With UNIVERSE, you get a complete and bare look into Moore Kismet’s creative mind especially as it has expanded and grown over the past three years. The album has been in some sort of state for at least that long, with the first single, “Rumor,” having been released over a year ago. With the exponential growth of Moore Kismet’s career, fans at almost all levels have been able to grow and see the process unfold with them over time, something that rarely gets to happen so ubiquitously. “’UNIVERSE’ is a musical culmination of my life experiences, growth as a human being, and artist over the past 17 years of my life. For 5 years (2018-2022), I spent countless days and sleepless nights working on what I would consider to be the best Moore Kismet project to date. It’s an album about acceptance, love, chaos, unity, and figuring out your life while trying to live it. If there was any project I’ve ever made for this project that serves as the best retelling of my life, ‘UNIVERSE’ is that album.” – Moore Kismet UNIVERSE, the debut album from Moore Kismet, is out now. Listen below. This article was first published on Your EDM. Source: ‘UNIVERSE,’ the debut album from Moore Kismet, is finally out now [LISTEN]

If Jimmy Pé isn’t on your radar, he needs to be now. His tunes already managed to catch the ear UZ, Lefto, Daedelus and has already released music on prestigious labels such as Slow Roast Records, Quality Goods Records, Saturate Records, and others. Jimmy has toured in the USA, India, and Europe, he’s played Sziget Festival, Outlook Festival, Liverpool Sound City, Ment Ljubljana, Pohoda Festival, Colours of Ostrava, and has shared the stage with names like Hudson Mohawke, Four Tet, Thundercat and Dorian Concept. He’s landed club residencies in Bratislava and has even been a participant in Red Bull Bass Camp. Having won a Radio_Head award for the best Electronic album in Slovakia for Fake Fantasy EP and got to Forbes 30 under 30 of Slovakia, Jimmy Pé has had a well-rounded career which continues to grow and shows no signs of slowing down. Following the success of his 2022 single “Pé Is Not Dead!”, Jimmy Pé is back with a provocative yet hilarious music video to his new single, “Booty PoP“. The song a true tech house twerker, boasting a bouncy groove and vibrant synths that can’t help but make you want to move with it. The single one part of a larger project, the ‘Puzzle’ EP, that is an epic 5 track ride through Jimmy’s wildly creative mind. The music video takes the experience to a whole new level, hooking the viewer in with incredible shots, fluid editing, computer generated effects, and a story that’s not exactly what you’d expect. There’s no doubt to Jimmy Pé’s talent or what he’s capable of, check out the music video below! This article was first published on Your EDM. Source: Jimmy Pé Drops Edgy Music Video To Bouncy Tech House Single, “Booty PoP”

Donatella Petrucci is a 16-year-old singer, songwriter based in London, UK who has been singing and writing her own songs from the tender age of 8, learning piano at grade level and conquering guitar accompanied by a commercially angelic tone and perfect set of vocals. Donatella fell in love with EDM & Dance during the lockdown pandemic of Covid-19, penning her first ever single “What Do I Do Now?” after analyzing the effects of Covid across the world to families and partners. “What Do I Now?” is a mesmerizing single, fluttering with blissful melodies and an irresistible deep house groove. The release is coupled with a visually stunning music video, oozing with vibrant colors and meaningful lyrics that encapsulate an unforgettable experience that was all conceived by this 16 year old prodigy. Alongside the single and video, an NFT collection will be released on Rarible, digitally immortalizing the spirit of “What Do I Do Now?” and the celebration of this debut. There’s no doubt that Donatella has a very bright future ahead of her and we cannot wait to hear more from this talented artist. This article was first published on Your EDM. Source: 16-Year Old Donatella Asks “What Do I Do Now?” In Beautiful Deep House Single

Two artists rising rapidly in the tech house scene are Luxo and Max Low, who together, make an amazing team. Luxo has established himself as a rising star in the tech scene with releases on Desert Hearts, Get Twisted, Hood Politics and now CID’s Night Service Only. As co-owner of one of the hottest LA underground house record labels, Rock Bottom Records, Luxo continues to demonstrate that being at the bottom isn’t always a bad thing. While only just forming in 2022, Max Low has already served as a mainstay in house music in a past life, previously placing successful top tracks on Toolroom, Farris Wheel, Hood Politics, and LOW CEILING. Their debut releases have them going coast to coast within a matter of months, starting with Insomniac’s In/Rotation before a release on CID’s Night Service Only, and have even been supported by renowned tastemakers including Alesso, David Guetta, Lee Foss, and Pasquale Rotella. Now, Luxo and Max Low have joined forces for their brand new single, “Mind Games“, that was so good it earned the stamp of approval from CID and is out now on his Night Service Only imprint. Sizzling synths whizz all around this bouncy tech house wonderland as a trippy vocal drifts in and out of focus in a hypnotic fashion. Driven by an incessant four on the floor groove, “Mind Games” strikes a balance incorporating sounds of the old school with the new, resulting in a track you just can’t listen to once. Listen below! This article was first published on Your EDM. Source: Luxo & Max Low Team Up For High Energy Single, “Mind Games” [Night Service Only]

If there’s one thing I love almost as much as new music from The Chainsmokers, it’s remixes of their music from emerging stars. Isaac Palmer is exactly that. The 21 year old has developed quite an impressive career thus far, already topping the charts on the Spinnin’ Records Talent Pool, earning over 500,000 streams in just two songs across all DSPs, and even delivering remixes for the likes of Ty Dolla $ign that has earned enormous love and support on Soundcloud. Now he’s back with a fresh and invigorating flip of The Chainsmokers hit single, “I Love U“, that is destined for greatness. Palmer speeds up the original, injecting it with an edgier slap house vibe that is simply irresistible. His sounds and melodies are flawless, showcasing just how talented this young artist really is. Here’s what Isaac Palmer had to say about it: “I had so much fun doing this! The remix happened after I listened to the guys’s new album. I sent Alex an email and asked if I could try to remix one of the songs! He’s awesome and gave me an opportunity to give it a shot! I got a hold of the stems and went to work. I made so many different versions and had a lot of fun with it. I loved experimenting with Drew’s vocals and I feel like it turned out pretty sick! Hope you guys enjoy.” Listen below and grab your free download! Isaac Palmer · The Chainsmokers – I Love U (Isaac Palmer Remix) This article was first published on Your EDM. Source: Isaac Palmer Delivers Epic Slap House Remix To The Chainsmokers Single, “I Love U”

It’s been three years since Party Favor’s debut album, Layers, came out. Though, given the events of the past few years, it feels like so much longer. It’s refreshing, then, that Party Favor’s newest album comes out and absolutely redefines the artist’s sound and expression with a brand new intensity and vision. RESET feels very intentionally named, as PF has long been relegated into the trap and party sound that ignited his career. Considering the ubiquity of some of his early songs like “Bap U” or “Wiggle Wop,” not to mention his artist name itself, it’s not entirely surprising that fans have leaned that way. But he’s worked hard through the pandemic, releasing THE ISOLATION ALBUM in 2020, a collection of experimental and more toned-down productions. Now, he’s ready for a full reset and we can’t stop listening. Previously released singles “Save Me,” “Superhuman,” “I See You,” and “Losing My Mind” were able to reveal a significant but limited scope of the full album experience. The full project is beautifully crafted and works as a complete story. Listen to the full album below! Photo via @slvcker This article was first published on Your EDM. Source: Party Favor releases sophomore album ‘RESET’

Receiving props from renowned DJ such as Perel, Tjade, Konstantin Sibold, Doctr, SYN has been a name circulating and gathering momentum. Already picking up key editorial playlists such as Hot New Dance and Deephouse Delight and huge radios in Holland such as Slam FM (NL) and Artifaktor Radio (MX) her signature radio friendly and melodic sound continues to grow in listenership. Today, we have the privilege to share with you the latest smash single to her portfolio, ‘Desire’. With super catchy chorus melodies, bouncing plucks and a clever summer inspire groove we are huge fans of this release! This article was first published on Your EDM. Source: SYN Drops Super Catchy Synth Pop Anthem, ‘Desire’

The success story of manager Alex Akleh is like that of a fairytale. When artists like ACRAZE blast off to the top of every chart overnight, people love to boast how they were “there before he blew up”, but no one has the right to this claim like Alex does. Not only has he been managing him from the very start, but it’s largely due to his unwavering hustle and tenacity that ACRAZE’s instant stardom was made possible. What began as a switch-up of styles eventually became the notorious “Do It To It”, which now has billions of plays and seems to be superglued to the top of dance charts. ACRAZE has since gone from Orlando crowds in the double digits to jam-packed mainstage performances at some of the world’s biggest festivals, all with Alex Akleh dealing the cards right behind the scenes. Most recently, he’s secured ACRAZE a remunerative signing deal on Capitol Records. Despite the extent of Alex’s success, business was not always easy for the 27 year old entrepreneur. His work ethic and determination carried him out of a tough childhood and into an impressive self-taught skill set which earned him a solid footing in the industry. With a passion for not only music and business, but also a genuine will to help others reach their full potential, Alex has achieved a definitive reputation as a master of the craft and a game-changer for aspiring artists and businesses. This article was first published on Your EDM. Source: Industry Spotlight on Acraze Manager, ‘Alex Akleh’

In 2022, the ladies are bringing back classic Dance music. Eli Barillas is no exception to creating heartfelt music. The singer/songwriter has been building her career since 2010. She began to create Youtube videos showcasing her authentic persona and raw singing talent. Barillas also taught herself how to play the piano throughout this process. After her move to L.A. in 2020, Eli released her most notable project thus far, “ELI” It’s worth pointing out that Keyyz executively produced and wrote this entire project. Catchy melodies and unwavering groove find symbiotic harmony on a track whose wisdom is just as palpable as it is understated. Though “Liquid Tears” is one of the most energetic tracks from Barillas to date, her near-universal affinity for admired songwriting isn’t lost as she widens her scope and hones her sound. With more music slated for the near future as spring turns to summer, Eli Barillas is an artist that needs to stay on your radar. This article was first published on Your EDM. Source: Eli Barillas Proves Her Prowess In Anticipated Single “Liquid Tears”

Once again, all of bass music will descend upon Legend Valley this September as Lost Lands returns. At first glance, this year’s lineup looks much the same as years past, with familiar names like Black Tiger Sex Machine, Dirt Monkey, Herobust, Illenium, Kai Wachi, Riot Ten, Rusko, Space Laces, Subtronics, and more taking up generous portions of the larger-font top half. If you look more closely, however, some interesting curveballs start to pop out … KOAN Sound, Madeon, G Jones, Dr. Fresch, and Eptic are all among the top-billed artists. That’s not even mentioning the lower half which features tons of artists from Subsidia Records compilations over the past year and a half, like Ghost In Real Life, Drinkurwater, Jiqui, Mylky, Bernzikial, and more. Plus, there seems to be a consistent upward tick in the amount of drum & bass on the lineup, with Pendulum and Dieselboy both getting top-half billing this year, plus Justin Hawks, MUZZ, KJ Sawka, Bensley, and others on the lower half. If you were on the fence about grabbing a ticket, act fast. VIP is about to sell out, and GA is on the final tier. Lost Lands fam, the 2022 lineup is here! pic.twitter.com/3Qyjw4rEm0 — Lost Lands Festival (@lost_lands) June 22, 2022 Photo via Jake West Photo for Lost Lands This article was first published on Your EDM. Source: Lost Lands Returns In 2022 With An Even More Diverse Lineup

Thomas Xavier’s Pharaoh Phonix imprint is pushing the boundaries of house music, shining a light on some of the best up and coming acts in the scene. After the success of the debut compilation Pharaoh’s Gold Vol.1, the family is at it again with another volume unleashed upon the world less than a month after the first. As with the previous, this compilation brings together new-comers and returning members of the label family under one roof, all of whom are sharing a visionary version of house music, the genre in which the label is built upon. Thomas Xavier leads the way with “Get On My,” a sizzling G-house tracks that will probably melt your mind along with your speakers. St.Sinny follows with a high energy tech house track “LeftRight” that is weapon ready to light up the dance floors. Making his Pharoah Phonix debut is Heily Beatz in “Big Moves,” unleashing explosive energy in this compilation, that equally makes you want to shuffle and head bang at the same time. Closing out Pharaoh’s Gold Vol. 2 is a tag-team featuring Jet Blvck and Thomas Xavier. “Gangsta Level,” is packed with filthy bassline wubs, cutting edge drum work, and aspects like lasers and sirens all decorate this single. Check out ‘Pharaoh’s Gold Vol. 2’ EP below! This article was first published on Your EDM. Source: Pharaoh Phonix Unleashes Rumbling House Compilation, ‘Pharaoh’s Gold Vol. 2’

Shows are constantly being announced and sometimes it’s hard to know what you can or can’t make it to at the time. The secondary ticket market has exploded, though it’s often a challenge finding tickets that aren’t draining your whole wallet. To discover the best time to buy concert tickets, FinanceBuzz analyzed data on the resale market for recent concerts of some of the top acts currently touring. Here’s what they found: It pays to wait to purchase concert tickets. Concert-goers spent 33% less than average on tickets when purchasing them on the day of a concert, and 27% less than average the day before. Just under two weeks before a festival was the best time to buy passes — Prices were 30% below average 13 days before the festival start and 24% below average 12 days out. 24% of concert tickets and 25% of festival tickets bought on the resale market are purchased in the week leading up to the event. You can read the full report here. Photo via Kursza for ARC Music Festival This article was first published on Your EDM. Source: Data Reveals When to Buy Concert Tickets for the Best Prices

This guy is just really good at naming things. Starting with his artist moniker, if apt titling was the only thing needed to get people to listen to one’s music, Restless Mosaic wouldn’t even need press. It’s difficult to ignore, to the point where one has to wonder if this is actually all concept work. Like an actual visual mosaic, this artist’s work is intricate, beautiful and its full effect is really only appreciated when one steps back to see the sum of its parts. The “restless” part, however, makes that sum just a little off; the experimental side of the work makes the emotive and emotional whole feel a little, well, restless. Similarly when YEDM discovered Restless Mosaic with his first album There’s Much Left to Explore released in February 2021, the name was so apt it was almost too apt: the unfinished nature of this multi-genre soundclash of an album was purposeful and, again, quite concept-driven. In the Windows 95 pinball game ‘Loony Labyrinth’ – in which you travel back to ancient Greece to rescue something or other from a minotaur chamber while the moon phases are right (maybe? I never beat it) – when you lose a ball, a digitized voice says, “There’s much left to explore.” And I’ve come back to music full-bore because that’s what motivates me to create anything – knowing how many awesome things are out there, waiting to be discovered and explored. If that’s not a good reason for a game and an excellent approach to songwriting and production, we don’t know what is. There’s Much Left to Explore indeed covered a lot of uncharted musical territory, especially in the way it mashed different genres and styles together. Dubstep, krautrock, vaporwave, muzak? Nothing was off limits to explore but the album also came off so cohesively that its reach went wider than anyone expected for an experimental album. Restless Mosaic truly has that x-factor like an Underworld or an Aphex Twin where he’s able to make high-concept, technically really difficult and, again, “restless” music also remarkably listenable. It’s no easy skill. That first album title also carried with it the portends of more to come from Restless Mosaic, and that’s where we meet him with his new album, Made by Thawing Ice, released in March of this year. Again with the excellent titling, one has to wonder if the album title is so good it’s informing how we listen to the music. With said title obviously alluding to water, there is a flow and a sort of underwater quality to this whole album that seems to run as a common current in the sound design…we think. If the album wasn’t titled thus, would we still hear it thus? Mr. Restless is making us all restless with this sonic mindjob, and let’s not even get into that jab at perception and perspective contained in the title: it’s common to think of ice as being made by freezing water, but who ever thinks of water as being made by melting ice, aside from perhaps glaciologists. With this album, we’re launched into the Restless Mosaic before we even hit play. As previously overstated, Made by Thawing Ice has much more flow and musical progression than its predecessor, mainly accomplished via the liberal application of vaporwave synths, drone and staticy Moog-style synth work. Starting with the wavy foghorns of “A La Cara Amarilla” featuring vocalist Lili Aqvq and running through “Sandbags on the Flood of My Insecurities,” which sounds a bit like being trapped in a flooding submarine in the loveliest possible way, to the nature drone-fueled industrial mix of “Polliwog 1 & 6 7 8,” the water vibes are definitely there and that synth work ties it all together. Less of a clash of genres and more of an IDM redux, Made by Thawing Ice nonetheless contains a lot of surprises that operate outside of said redux. “Multicam Behavioral Health” featuring Dear Kristin, for example, takes a sharp left from the first few songs on the album back into dadaist experimentalism. Mostly jazz fusion-inspired with sort of camp funk synths driving the Broadway-style lyrics, this track is almost a palette cleanser or an intermission from the rest of the album. Just like everything else, however, it’s deliberately placed. Its closing lyric “please, let me be alone for ten minutes” leads into the exactly ten minutes long “Alone for Ten Minutes” moves from dadaist to surrealist and is an answer to the question of what happens to this and many other artists’ minds when they are, in fact, left alone for ten minutes. From there, the album takes a decidedly jazzy bent but it’s still got that underwater feel and flow within the sound design which allows for those most experimental breaks in “Multicam Behavioral Health” and “Alone for Ten Minutes.” Made by Thawing Ice also seems to be a story told in sound about perspective, the giant satire that is the human mind and how to keep that overthinking, glitched out supercomputer inside our cranial wall online and functioning. One way, according to Restless Mosaic, it so pour all that mess out on a staff and see if we can make some sense of it. It’s still unclear if he can or not, but the result is a killer LP with more perfectly apt titles than you can shake a stick at, and, potentially, a world of organized chaos behind the bits of glass that does help heal some f the emotions around being human, even when they don’t make sense. That’s really all anyone can ask of a piece of art, and Restless Mosaic has accomplished it in his second album. Pretty decent progress in a year. Made by Thawing Ice is out now and can be streamed on Spotify and purchased on Bandcamp along with Restless Mosaic’s first album, the indomitable There’s Much Left to Explore. This article was first published on Your EDM. Source: Album Review: Restless Mosaic’s Sophomore LP Another ‘Restless Mosaic’ of Sonic Experimentation

Los Angeles native and bass music producer, Chassi has one mission: to help people who are struggling overcome the challenges they face. Chassi has quickly become one of the most exciting names in bass music through his powerful sound and electrifying live sets. The producer exploded onto the scene in 2020 and hasn’t looked back, with releases on major labels like Subsidia and DPMO. Chassi’s project combines the ethereal sounds of heavy and melodic bass music to create a sound that is pushing the limits of the genres. He has even released official remixes for ATLiens and Riot Ten, and has collabs released with heavy hitters such as Funtcase and HE$H. Now, he’s back with a booming single titled “The Fight“and it’s one for the books. Fueled by explosive synths, hard hitting vocals, and razor sharp cutting-edge sounds, it’s safe to say Chassi has delivered on creating another perfect peak time track. “The Fight” is an immediate crowd pleasure and definitely a head-banging tune, already earning support of the dubstep king Excision. Here’s what Chassi had to say about it: “The Fight is a new chapter in my life as I am telling my life story through the warrior eyes. Growing up, I was super depressed, always got bullied everyday & at most times was suicidal. When I almost gave up on myself, I had to find the strength to fight for my own life as a warrior would & let everyone know that enough is enough. With the aggressive “I JUST DONT GIVE A” vocal, it shows that I will no longer back down & need to stand up for myself & do what’s right!” “The image that I am always pushing is that no one’s ever alone & when you think everything is going down & life is over, IT’S NOT! We all need to come together & fight for what we love & believe in. We all need to be there for one another & make sure everything is ok. With this generation being super self-centered, My goal here is to change that. I want everyone to be able to love one another, spread good vibes/memories & to let you know that if you fight & stand up for yourself, you will win & you will achieve everything you’ve ever dreamed of! YOU’RE NOT ALONE!” Listen below! This article was first published on Your EDM. Source: Chassi Drops Fiery Head Banging Single, ‘The Fight’