Ravebot

Following a two-year break from touring and releasing music, The Chainsmokers have returned to unveil their new single “High” today. The song, which was co-written and co-produced with Whethan, launches a new musical era for the band and kicks off the journey towards their upcoming fourth full-length album. The song’s official music video has also premiered today and follows the guys to death-defying heights as Drew chases his unattainable significant other through several surreal scenarios, and showcases navigating through a world where love is always fleeting. The band has also said of the single, “The song perfectly captures the spirit of today’s relationships, the lengths we will go for someone we love, and the lies we tell ourselves to continue on unhappily. However, underlying these dark and often contentious lyrics is a production that feels celebratory because we all know at the end of the day, we never listen to advice, we do what feels best for ourselves and keep telling ourselves it will be different this time.” The Chainsmokers will perform “High” live for the first time ever during the Los Angeles Rams vs. San Francisco 49ers NFC Championship Game Halftime Show Presented by Audi this Sunday at SoFi Stadium in Inglewood, CA. The game kicks off at 3:30pm PT / 6:30pm ET, will be broadcast on FOX. Speaking to Zane Lowe on New Music Daily on Apple Music 1, Drew said, “I think we were happy with our last couple albums, but we just didn’t feel that those songs were really like living up to what we really thought we were capable of. That wasn’t honoring of where we thought Chainsmokers could go. And we needed some time to just stop and chill. “And we went away to Hawaii in the beginning of 2020. We just went and surfed and drank and laughed and took mushrooms and listened to tons of music that we loved. And we just got refocused. Then we had Emily Warren with us and Whethan and Ian Kirkpatrick and we just all got on a vibe together and made what’s now the backbone of our fourth album and it feels genreless. It’s fun. It incorporates all these sounds that we’ve loved from our entire lives of listening to music. And it’s exciting to press play… cultivating your creativity is one of the hardest things to do. And we landed back in that little wave and ever since then, I think we’ve been more inspired now than we have in the past four years. And so we’re excited to show everybody all the stuff we’re making,” Check out “High” below. This article was first published on Your EDM. Source: The Chainsmokers Return With First New Music Since 2019, “High”

Since launching his music career in May 2021, Thomas Xavier has only seen well-rounded growth and success come his way. The solo DJ/producer worked tirelessly, releasing a whopping 9 tracks across 2 EPs, 3 singles, and 4 labels, all in 7 months to close out the year. He’s also performed a plethora of shows which have had him traveling cross-country, opening for names like Claude Von Stroke, Boys Noize, and Dom Dolla, to name a few. Now, he’s launching his very own label, Pharaoh Phonix, with an electrifying G-house single “Funky Skunk“. True to the name, it blends both funky elements with a hard hitting beat that features a thunderous bass groove. It’s impossible not to react to the energy Thomas Xavier packs in this track as he’s yet again created a club gem. Listen to “Funky Skunk” below! This article was first published on Your EDM. Source: Thomas Xavier Launches New Label Pharaoh Phonix With G-House Single, “Funky Skunk”

Fish Scale is one of the most exciting artists in bass house, who has an innate ability at finding the perfect groove and creating a sound entirely unique to himself. His music has been signed to top labels such as Confession, Do Not Duplicate Recordings, and Circus Records, to name a few. He’s also played numerous cities across the US as well as prestigious festivals like EDC Orlando and HARD Summer. Now, the talented LA producer is back with a thundering single titled “Got That“, signed to Bass House Music, and packed to the brim with energy. He blends a hip-hop vocal and bass house elements seamlessly, featuring captivating synth elements during the verse that build into a massive drop you can expect to start hearing at clubs and festivals this year. “I wanted to create something that was made for both that late night drive or that late night at the club and I couldn’t be happier with the result!” – Fish Scale This article was first published on Your EDM. Source: Fish Scale Drops Electrifying Bass House Single, “Got That” [Bass House Music]

There’s something special that happens when deep house is paired with a smooth vocal. We can’t help but feel drawn to it. The latest track we’re excited to feature is a new one from HAWD HITTA, who has teamed up with vocalist Rogelio for a sensational deep house original, titled “See Me“, that is hopelessly intoxicating. Rogelio is a triple-threat singer-songwriter, actor, and dancer who had an electric entryway into the EDM world with his single “Better Man” with Klingande. On “See Me“, he provides a beautiful, emotive vocal that pairs perfectly with HAWD HITTA’s insatiable groove. It’s a perfect poolside track, out just in time to escape us from the dead of winter and dreaming about tropical paradise’s like Miami. In 2022, fans can expect nationwide performances, exciting new collaborations and a string of single releases leading into HAWD HITTA’s debut EP. Whether he is creating TikTok content highlighting his exclusive mashups or performing his live set series HAWD HITTA Radio (found on both YouTube + SoundCloud), HAWD HITTA has positioned himself for a big break in 2022, solidifying his place as one of the most exciting EDM acts of 2022. Listen to “See Me” below! This article was first published on Your EDM. Source: HAWD HITTA Releases Intoxicating Vocal House Single “See Me” ft. Rogelio [LISTEN]

Claptone is a man in no need of an introduction. He’s already left a permanent legacy in the dance music world with his unbridled imagination and uncanny ability to push the creative boundaries of both house music and live events. If you’ve ever seen him live or attended one of his Masquerade events, you’ll know what I mean. Claptone is still fresh off of releasing his critically acclaimed album ‘Closer‘, released in November 2021, which featured timeless vocalists like Seal and Barry Manilow along with fresh-faced acts like James Vincent McMorrow and Mansionair. He recently enlisted the Queen of Deep House, Nora En Pure, to remix his single “Queen Of Ice“, featuring the beautiful vocals of Dizzy, that was enthralling through and through. Now, Claptone has tapped legendary UK duo Pet Shop Boys to provide their take on “Queen Of Ice” and the result is nothing short of spectacular. Pet Shop Boys have been going strong since the 1980’s and continue to impress with their amazing ability to blend club and pop music in a way that feels fresh and genuine. Whether it’s through the icy ambiance that greets your ears right at the start, or the hypnotic groove that sets in shortly after, Pet Shop Boys truly created a mesmerizing remix, one that you can’t help but want to keep on repeat. “When my remix for ‘Love Is A Bourgeois Construct’ was released in December of 2013, I felt that it was the peak of Claptone. But three artist albums and countless hit songs later I can proudly say I was wrong. Still, I felt like I was on top of the world back then and I feel the same way today as Pet Shop Boys return the favor and remix ‘Queen of Ice‘ ft. Dizzy. Almost 40 years ago they started creating club-influenced pop, opening up doors for underground club music on the radio and in the charts. Their work in the 80s, 90s and 2000’s is the reason why dance music is in the DNA of every top hit today. They are true pioneers still producing great music and expanding their very own world, what an inspiration.” – Claptone In addition to this remix, Claptone has announced a few upcoming North American tour dates, including Skyline Festival, Ultra Music Festival, and a headlining set at EDC Mexico. This article was first published on Your EDM. Source: Claptone Enlists Pet Shop Boys For Mesmerizing Remix Of “Queen Of Ice” + Announces Spring Tour Dates

Grey Code has always been known for his diversity in sound, pretty much as soon as he hit the scene. With clean synths, cleaner breaks and overall work that reads more like high concept art than dancefloor D&B. It’s no wonder he’s released on so many premier labels since his first releases in 2017. Now with almost everything he does being scoffed up by Metalheadz, the continuation of the sonic journey that started with his Reprieve and Heilos EPs is almost here in the massive Renewal album, due out this Friday, January 28, could really only be on the mega-imprint. A sonic journey in itself, Renewal is both a departure for Grey Code and right down the line of what fans love about him. Somehow celestial, cinematic and heavy all at once, the new album is as emotionally complicated as it is musically. Inspired, as most musicians have been these last two years, by COVID and its effects on history, Renewal tells a contemplative story so engaging that listeners may forget they’re listening to drum & bass. It’s an experience, not just a beat. Don’t get us wrong; the drum & bass beats feature heavily in Renewal and will play well on big rigs because of course they will, but there’s an air of difference and expansion into other territory here that will make almost every track stand out. Think Misanthrop’s Blurred EP or Noisia’s more high concept stuff, a’la “The Nomad” with Mono/Poly: it’s instantly recognizable not because it’s popular but because it’s different, both musically and emotionally. Tracks like “Prima,” “Primrose” and “Iliad” on this album will, when dropped, instantly take the audience to a different space. They just happen to be danceable as well. There are also tracks on the album that are so different that they’re properly in different genres (not that GC has ever cared about genre). “Quantified” sounds more like an industrial producer fell in love with a digital pixie than anything in the bass music category, for example, and “Birth (Interlude)” is truly beatless, sounding a bit like what would happen if someone threw the self-playing mods from Switched on Bach into a black hole. Spaghetti wiring being spaghettified. Trippy. Somewhere between the heavy beats and beatless mod play on Renewal lies our premiere for today, “Miserere” featuring a new artist, Fixed Point. Following directly after “Birth,” Miserere kicks off a beautifully, synthy and heavily vapor wave-inspired synth with cinematic and celestial sound design. Then, rather than dropping directly into the heavy mess of sub synth and snare-driven dark beat, those elements sort of wash over the intro and draw it into said sub synth and snares. From there it’s almost a battle between the earth and the skies, or heaven and hell, depending on your philosophy, and they two parts come to a synergistic cacophony at the classically-composed crescendo, winding around each other rather than battling in the end. A single, vintage synth chord marks the end of the track, but not the recession of goosebumps. That won’t happen for a while. It’s hard to claim a best track on this album, but “Miserere” is close. Metalheadz · Grey Code – Miserere (ft. Fixed Point) There are a lot of levels to listen to Renewal on; you can contemplate the futility of existence while listening to the full album if you like or just skank away to each track on the dancefloor. You can appreciate the sound design and craftsmanship (like your humble theory nerd author) or blast the bass in the car and piss off your whole town. Grey Code’s such a good artist because he gives the audience a choice. No matter how you want to experience it, Renewal captures a musical and cultural snapshot in time and is an epic drum & bass album for the ages; that’s universal. Renewal drops this Friday, January 28 on Metalheadz. Click here to pre-order or pre-save. This article was first published on Your EDM. Source: Your EDM Premiere: Grey Code’s Epic New Album Warrants a ‘Renewal’ for the Artist and the Music World at Large [Metalheadz]

HARD Events has announced the initial details for the highly-anticipated return of HARD Summer Music Festival, which will take place at NOS Event Center in San Bernardino from July 29-31. The 2022 edition of HARD Summer will expand to three days for the first time, giving attendees an extra day to take in the multi-genre curation the festival has become known for. HARD Summer 2022 will see the festival push deeper and further into its brand of forward-thinking electronic music and hip-hop, as well as devoting more programming to “rising artists of diverse backgrounds and spotlighting new subgenres and sounds gaining traction across the Internet and beyond.” HARD Summer’s presale will take place from January 28th – January 31st, giving fans a limited chance to purchase 3-day passes starting at $199 for the entire festival with just $9.95 down. Presale passes can be purchased during these dates on the official HARD Summer website. Even with the extra day added this year, HARD Summer is focused on providing an affordable experience while still delivering the next-level festival lineup that it’s known for. After its successful debut at their new and expanded home NOS Event Center in 2021, HARD Summer will return again this year to transform the venue’s fairgrounds and racetrack into its own personal playground. This includes five outdoor stages, free water stations, shade structures, a one-acre lagoon, cooling mist systems throughout the venue and more, ​​with a focus on the comfort of attendees in mind. More information will be announced regarding the lineup for the 2022 edition of HARD Summer along with additional festival details in the forthcoming months. Photo via Julian Bajsel for Insomniac Events This article was first published on Your EDM. Source: HARD Summer announces expansion to three days

SAYMYNAME is hosting a massive event in Los Angeles for an incredible cause. The hard trap music producer and DJ is bringing his “One Beat“ virtual concert to Exchange LA for a night to spin filthy bass music in the name of fighting injustice and supporting good causes. On February 4th, ETC!ETC!, Dack Janiels, MADGRRL, Black Jesus, GAWM, IZADI, and JMOSS are joining SAYMYNAME for an evening where community meets charity. With the help of the Local Hearts Foundation (LHF) and Insomniac Events as partners, SAYMYNAME is celebrating Black History Month in an uplifting way. Creating a platform for black creators and fans to be proud of, the goal of the event is to raise money for a local charity and celebrating unity. One Beat will be donating some of the proceeds to the LHF that is centered on creating a culture of love and prosperity by helping those in need through community outreach programs. In doing so, the event will also be celebrating Black History Month by highlighting important social causes fueled by headbanging DJ sets. For the first “SAYMYNAME Presents: One Beat”, the goal was to host a livestream focused around Black Lives Matter among the massive social call for justice reform in the summer of 2020. Also brought together with Insomniac, the event raised money to the Los Angeles Urban League (LAUL) with the intention of having a conversation regarding the lack of minorities in the music industry. In that livestream, SAYMYNAME was joined by YehMe2, the Lit Lords, BLVK JVCK, SweetTooth, and Gladez brought their a game in diverse sets while 12th Planet showed support with empowering words on what we can do to make an impact in the word. Grab tickets below to catch SAYMYNAME Presents: One Beat @Exchange LA on February 4th, 2022. Tickets: https://www.eventbrite.com/e/one-beat-ft-saymyname-friends-tickets-238623468217 Here’s video of SAYMYNAME’s set during the inaugural One Beat event. This article was first published on Your EDM. Source: SAYMYNAME Hosts “One Beat” Concert to Celebrate Black History Month

Sunset Music Festival is the largest festival to hit Tampa Bay and this year, Sunset Events & Disco Donnie Presents are making it the biggest edition yet. Celebrating the festival’s 10 year anniversary, they’re bringing a stacked lineup to Raymond James Stadium over Memorial Day Weekend (May 27-29) featuring some of the scene’s biggest headliners and today’s most exciting new artists including Gryffin, Duke Dumont, LP Giobbi, Dillon Francis, Malaa, Pauline Herr (DJ Set), Chris Lorenzo, Dabin, Bonnie x Clyde, and many more. While Sunset Music Festival always showcases top shelf names in dance music, they’re also eager to find talented up and coming acts to feature at the festival. This year, they are teaming up with ReverbNation to select one (1) ReverbNation artist to perform live at the festival. Contest details will be announced at ReverbNation soon. Since its genesis, Sunset Music Festival has grown from featuring pop up stages for a day long event to now being the largest festival to come to Tampa, armed with full scaled production and delivering unforgettable experiences for both artists and fans. Here’s what founder John Santoro had to say about it: “2022 marks a decade we’ve been at Raymond James and we’re proud of our partnership with TSA and the city of Tampa. Sunset has grown from a small pop up in 2012 fast forward to 2022 we now have our biggest Sunset yet, with 4 stages featuring large scale production and adding an extra day. The growth of Sunset has been mutually beneficial for Tampa Bay. We contributed such a positive impact on our beloved city which is now the #1 growing housing market in the country and is touted as an international destination spot with being praised as the #1 beach of the world.” This year’s edition of Sunset Music Festival represents the culmination of fan feedback from over the years, offering numerous exciting improvements, including adding a 3rd day to the festival. There will also be 4 unique stages: Main (headliners), Eclipse (Bass artists), Horizon (Up and Coming), Cool Down Get Down Tent (Regional favorites). Whether it’s your first time or not, festival attendees can prepare for the biggest Sunset yet this year with redesigned stages, reimagined site grounds, and refreshed festival offerings to provide new ways to experience the festival. “Our fans have loved coming back to this festival and kept asking us when we’ll make it a 3 day event. This is something we’ve been really wanting to do and are so excited we can add an extra day to the festival for the special 10 year anniversary.” – Disco Donnie EARLY BIRD TICKETS ON SALE THURSDAY JANUARY 27 AT 10 AM ET This article was first published on Your EDM. Source: Sunset Music Festival Celebrates 10 Year Anniversary With Massive Lineup, Extends To 3 Days

Tune in to our live stream by using these platforms

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

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

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

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

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

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

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

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

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

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

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

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

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

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