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GRiZ Drops Vibrant 7th Album & Talks All Things ‘Rainbow Brain’ [LISTEN + INTERVIEW]

Today, we take a trip inside the dynamic and brilliant mind of DJ, producer and multi-instrumentalist GRiZ as he presents his seventh studio album Rainbow Brain in its full, illustrious form.

From start to finish, GRiZ’s Rainbow Brain is laced with beautiful intention as a project that feels the most radically authentic to his own path as an artist. More than just songs, or collectively, an album — these are audible experiences that have defined GRiZ as a trailblazer in electronic dance music, as well as a positive force of good.

Recent singles “Astro Funk,” “Vibe Check,” “Tie-Dye Sky” and title track “Rainbow Brain” are joining the party, but there’s so much more to explore. For optimum results, play out the continuous mix and let your imagination run wild. May the album’s fluorescent soundscapes that defy space and time be your only guide.

In the exclusive interview below, Grant Kwiecinski aka GRiZ gets real with us on every level, discussing all things Rainbow Brain, including musical influences, psychedelic experiences, upcoming shows and more. It’s not all butterflies and rainbows, however, as he also touches on the struggles of lockdown, missing human connection, the lesson of letting go and allowing things to be perfectly imperfect.

Listen here and scroll down to read what GRiZ has to say!

GRiZ – Rainbow Brain

Stream/download: https://griz.lnk.to/rainbowbrain

First and foremost… Coming out of over a year in lockdown, how does it feel to be back? 

It’s so sweet! It’s a little bit nerve-wracking coming up on playing some of our marquee events and things that we have planned. Like, this is the shit we’re getting back into — these are the GRiZ events we want to tell you about, advertise, and have you come see…

Because, in my head I’m such a perfectionist and one thing I’m going to keep telling myself that is a lesson… Lessons for me, they’re never fully learned. It’s just practice. And the practice for me is: It is going to be what it is and it’s going to be perfectly imperfect. Then my organizational brain is like, “Ok, cool! Let’s make sure that we get everything so good and the music is so perfect and on point.” All that kind of stuff. 

So, it’s actually been an amazing process. Amazing in a sense of not always good, but it has caught me in amazement. Is that a word? Whatever. Let’s go with it! The lesson of letting go has been the deepest and most course setting lesson for the pandemic. 

Then, going back into playing shows, it’s like — let’s keep learning and just let go into the experience of the world. Which is, we’re going to play our music and it’s going to be a lovely affair because it was built from love and wanting to have a lovely evening of music for everybody. The celebration of light, getting back into it. Then, my heart gets in align with the intentionality behind it and then things get really, really sweet. So, that is where I’m at currently. 

How has your creative process shifted over the course of quarantine and has the intention of the GRiZ project changed at all? 

Definitely. I think it keeps swirling and I’m realizing more and more that I’m a chameleon of my own creative ambition, because it’s so dynamic. To put myself inside of these rules that I kind of put myself in over my entire career — and always try to break outside of those rules — but, “What does this thing need to be for myself? For other people?”

The creative process has really taken me on a journey outside of those things. Breaking outside of this terrible box that I energetically and emotionally put myself in when I’m sitting down and creating — like, “What does this need to be?” It doesn’t really need to be anything other than the expression of the journey. 

So, during the time of the pandemic… Wow, it started off feeling like this beautiful, fun sleepover thing. We’re all drinking wine every night and having fun, pillow forts, watching movies and memes and shit. You know? Then, it’s like “Damn, I’m losing the sense of my life’s purpose,” which at the time was to function in the space of live performance and throwing parties basically with people and these celebrations of life. And coursing away from that was so depressing. Losing that essence of being with people. We’re literally being isolated and losing that connection to each other. 

So writing music during that time really came in a beautiful space of — Alright, let me let go, into this feeling with abandon and create music that is giving me the energy that I really need. Which is, I need to throw my own personal dance parties in the studio on the daily to keep my sanity! So, that is the motivation right now for the project, is to utilize this space as a form of spiritual satisfaction. It’s not that it hasn’t always been so in line with that, but it has definitely been a life saver. I’m so excited to be within the condition of wanting to bring people together. That is the big thing — cultivating culture and letting people set up and live their culture through the GRiZ space the way they would like to do that. Giving it 100%. Let’s do this right and set this space up so people can express themselves and create culture together again! 

You’ve obviously stayed busy making tons of new music… Can you describe how Rainbow Brain came together with its title and concept? That moment when you know it’s happening…

I took a pandemic trip to Chicago. Pandemic trip… Shit! And that’s where we wrote the title track with ProbCause and Chrishira [Perrier] and I was like — “Damn, this thing is really about us as friends,” being the creators.

I hold my friends so dearly in my creative space because I just really fuck with creative people. And I can definitely include you on this, Karlie — the writers, the people that are manifesting and making and creating. Creation to me is not so one dimensional, like it’s a musician or whatever. It’s somebody making something. That’s an idea. Those are words. I love the words and spelling — and spelling is like casting spells in the way that you create words and dialogue really is like magic. Manifestors, creators, I gotta include and shouts out to that!

Also, as us as writers within a song and being magicians in that space… The idea of magic and what is magic and that dust of psychedelia intertwined. That was when it really started feeling like things were coming together. I was kind of creating into this void of — “Let’s make some dance music that’s fucking awesome, because I’m feeling like shit and I just want to feel dope about myself! So I’m gonna write a bunch of dance music that feels really good to me and is motivating me to fucking not lose my mind!” There was a point where that magic was starting to coalesce into this list of a story, of a book of spells within my computer. Like, “Damn, alright cool! We have a body of work here.” Now, how does this coalesce further, manifest, into a narrative or a story or a collection of sounds, spells, that we want to share with people. That was the epithets of it, going to Chicago and being with ProbCause and Chrishira. Just connecting with people again was — “That’s it! That’s the one!”

Since you mentioned psychedelics… Have you had a super prolific trip while on psychedelics that has guided you in your music? 

Yeah, one of the most profound experiences that I’ve had… Now I’m connecting the dots… Was in Chicago on my friend’s rooftop with my other buddy Freddy Todd. We started making music in the exact same time and place — that’s a long story for a different time! He’s one of my closest music friends and also just friends in general… We were in a band together in high school and shit… Middle school even. And he had just finished his album called Neon Spectacle Operator — which, I don’t know how he comes up with these titles but I’m so fucking jazzed and inspired by his creative brain. There are very few on this planet like his! 

And there was an experience where I really felt super at peace with the concept of separating my energetic soul from my physical body and astral projected out of my body, watched myself leave, and was projected into some sort of extraplanar space plane where I was standing at the edge of this grid into a sunset of infinity watching the cosmos drift by. And this green alien wrapped me up — I would say alien, but not in the traditional sense of it was like Alien vs. Predator alien — but a non-human form, swaddled me essentially and let me know that everything was ok. I had never felt more in tune with my spiritual energetic self. Understanding that this separation between spirit and human body — the inevitable separation which I think manifests itself in the form of what we call death, or the way that I personally understand it, a passage beyond human physical form… I’ve never felt more ok with that. 

My psychedelic journey has continued to blossom since then. A lot of this record was created throughout the pandemic while enjoying and going on journeys with psychedelics and experiencing. Also, times of deep sobriety, because I needed a break from all the drinking that I wrecked my brain with at the start of the pandemic, which definitely led to a deep depression. Spending time also being sober and continuing my meditation practices and getting really deep into that connection. 

A lot of this music was inspired and continues to be inspired by those spaces. The way that the album art was created was a direction of some of the imagery that came to me from that experience in Chicago. So, Chicago seems to be a little bit of an energy vortex for this album and for me in general.  

That’s awesome! Shifting into musical influences for the album… It sounds like a lot of old school dubstep… 

One of the tracks on the album is called “548 Mac Ave,” and I didn’t really know how I wanted to tell this part of the story. It seemed like a kind of tongue in cheek way to do it, but that’s the address of this place called the Monty House. That’s a co-op at Michigan State University where I went to college for three years. Then, eventually, I graduated in the very Kanye way… Uhhh… I decided I was finished. [laughs] And I went out to Boulder, Colorado to exclusively pursue my dream and do music. But that place holds a lot of the inception of the narrative of me falling in love with DJism and live music performance. At that time, all the music I was playing was Flux Pavilion, Doctor P, Rusko — and Skream, Benga, Coki. 

That early dubstep sound — it did this magical thing for me, where in high school I was listening to Crime Mob, Lil Jon & the Eastside Boyz, Paul Wall, and then the West Coast hip hop, so a bunch of Jurassic 5 and A Tribe Called Quest. But there was this really deep connection to Dirty South bass, sub music. I was really connected to that because we would rock around in our friends’ cars and they would have subwoofers that would bump and blast in 808s. I’d be able to hear in first period when my friend were late to class because I could hear them roll up with the subs in their cars just shaking the fucking — Ya know? My first hour was right next to the parking lot so you could hear it. I’d be like, “Oh, that’s my buddy Trent or my buddy Bo pulling up to school — Hey!” [laughs] It was such a visceral, I don’t know… It fucked me up!

The cool connection here was that I finally, at that time of hearing this dubstep sound, this bass music sound — I was like, “Damn, this sound is a trippy version maybe, or a dance version rooted within reggae dub roots,” and I felt so connected to that! Like, this really feels like it’s for me! This feels so new and undiscovered. I remember showing some of my friends what dubstep was at the start, and they were like, “Damn, this is awful.” I was like, “I love it!” And there was this connection of spirituality between the beats and the bass and the rhythms of the synth tones in the bass and the way the sub would interact that felt a lot like rapping, instrumentally over this beat. I was like, “Damn! That is so fucking sick!” And I’m absolutely just dissolving into this sound. There are slight homages to that within the creation of this record. This sound is so fucking badass to me and that was giving me a good vibe! 

Can you share some of the differences, creatively, between Rainbow Brain and your other albums? For instance, you have the continuous mix… I’m a sucker for those! It’s the little details that make it really special! 

Yeah, there are some really cool details. There is this interlude called the “R O Y G B i V interlude” and the bells in it, there’s this arp — and that’s a sample of Reading Rainbow. 

Stop! 

Yeahhhhh! And then, within that, all the vocals are also sampled from an episode of Bill Nye the Science Guy. Also, in my song “Tie-Dye Sky” is Bill Nye being like, “Alright, give me all you got!” There are these small little fun things… There’s also a recall of a melody from “R O Y G B i V interlude” into the last song which is called the “The Echo Tree.” And “The Echo Tree” is something that we’re going to see in the movie that is created for Rainbow Brain. (Watch here!)

There are all these tie-ins and creating from that sense that the entire body of music was all speaking and compounding upon itself was so fucking fun to do! I love creating stuff that has such a deeper context. I think in the past I’ve kind of soiled it by speaking too much on what it’s supposed to mean, instead of letting people feel their own interpretation from the thing. I’m gonna kinda just let this one happen a little bit more. 

The major differences… The continuous mix was inspired by a mix series called Late Night Tales. There’s a bunch of different DJs who’ve done their guest mixes on it. And also from BBC Radio 1 essential mixes that I fuuucking love. So, that comes inspired by those spaces and specifically the Bonobo Late Night Tales continuous mix. You just press play on this shit and gotta vibe throughout it! 

And storytelling moments as well… There is also included within the Late Night Tales this bit of narrative. So there’s this spoken word piece at the end of it that I find really endearing and special. Intertwining spoken word into it and these audio journeys…

I also wanted to make sure each track, you could play it out or hit play on Spotify and it would feel like a complete song. Also, it was a new challenge to have every single — the album is 23 songs long, but almost half of those are ‘tweener tracks. So the album was built in a way where you can listen to all your favorite songs, but also you could press play at the start of it and there’s all these transition moments that get you from song to song. It has these kinds of — my friend Lane would call it a “butterfly checkpoint.” 

Yeah, his story is going on a psychedelic trip through the jungle in Thailand. This was a year before I went with him there, but we did the same journey on the same head full of doses… But every single time they would get to these clusters of butterflies they’d be like — “We’ve reached the butterfly checkpoint!” So there’s all these little checkpoints throughout the album that are getting you to the next destination. 

I love that! You mentioned this album is the most authentically true to yourself — What does that feel like, putting something so personal out there for the world to hear?  

It sucks, but it’s liberating. The tricky part about sharing stuff is that it becomes not yours anymore. Like if you introduce an object into a space where there’s only one viewer, the entire perception of what that thing is is only from that viewer’s perspective, and therefore is only defined by that one person and therefore the reality of that thing is that one person’s description of it. It’s only in our reality through that one person’s perception of it, and so therefore it’s that one person’s thing. 

As the creator, now it’s currently only mine. As soon as you give that to people, the catch 22 of it is there there’s so much beauty… I find so much beauty in the way that people see a body of work — whether that’s a piece of writing, a painting, a piece of architecture, a dope gardening job — the way different people create these different perceptions about it and write these different stories about it in their minds and share that narrative… I find it so beautiful that that opinion can be different, because being able to have these different variations of storytelling is really such a spice of life. 

You could bring two different people into a situation of “it rained at the water park.” One person is like, “That was so cool because this,” and one person is like, “That ruined my day because of this.” Neither person is right or wrong, it’s just two different things. The negative part of it for me is that this thing that was personal then becomes defined by other people and that’s not something I can control. 

So, going back to that narrative of letting go. Literally, if you love something, let it go. I’m letting go of all this shit that I love so much, and have birthed and conceptualized and created — and now I’m entrusting it to other people to share in that narrative and to tell the story of what this thing is. As a creator, for me the best way to always go about it is just letting it go. Letting those stories be told by everybody. Then that becomes what that thing is — it’s no longer what you just made it. It’s what everybody thinks it is. It is as beautiful as it is difficult to let go. Herein lies the practice. We keep doing it. 

Generic, but important question — What does the album mean to you?

Shit… What does it mean? It means we’re continuing to tell the story. It means there was never a period on what happened in the past — it was just another space, it was another comma, it was not an ellipsis, not a punctuation mark that there is a dot-dot-dot. I am continuing to find myself in the space that I’m creating and we have more pages in the book to write. 

Having just celebrated Pride Month, I want to talk about its importance and the safe space your project has created for the LGBTIQA+ community… Can you share what you’ve experienced from coming out until now? 

I think from then to now I’ve found how important it is to have queer friends. That’s something that was so missing in my life. To bolster myself by sharing in that community instead of just being a part of the community but having zero relationship to it, besides maybe having a boyfriend or something… Ah, shit! It’s so important to feel supported and to feel like I’m not such an outcast. Because I’m not — and neither is anybody in the alphabet mafia. Y’all got people out there!

For me, the way I see it today and especially through the genesis of the more socially conscious side of TikTok… There’s amazing people on there talking about it and all these perspectives. From the subservience of Gen Z culture feeling very abandoned in how genuine Pride Month feels due the commercialization of the capitalistic machine putting rainbows on everything and disseminating that out into the world in such mass that it loses its inclusivity. To seeing people in the older gay culture — crying on a TikTok — talking about, “If I saw that as a 7-year-old queer person walking into a WalMart and seeing Pride shit in a rural town, that might have just saved my life.” To get that kind of at least offering of normalcy and exposure in the world is really important.

Right now, the way that I feel about the LGBTIQA+ space is wanting to continue to keep my mind open and just listening. I don’t think I’m going to be the person that has answers for anybody — other than it’s important to listen and to talk and share even if it’s a “stupid idea,” there’s no bad ideas here. We need to be able to share the way we’re feeling and hopefully those spaces we’re sharing in can be safe spaces. And hopefully those are conversations with people that are willing to listen to what you have to say, not admonish you for having a different idea. I think the most beautiful conversations will always happen between people who are genuinely interested in, “Why would somebody feel something that’s different than myself? And let me get into that!” That’s a relationship, that’s being relational! That shit is hella beautiful!

And, no, it’s not easy, because I think I was always conditioned in my life to have an opinion and be right about it. I’m debating and also needing to constantly validate my existence. I have become a very defensive person. I need to be self-assured. People are challenging me all the time. Every single time I get challenged, the perception that I’ve made about myself — my life’s truth is being shook! And every single time that happens I feel vulnerable. If I’m not having a conversation into a space where my vulnerability can be respected and taken care of, then I feel threatened — and that’s scary.

I’m hoping Pride Month can continue to be a place of differing dialogues between people where we’re being relational instead of confrontational and hopefully that will create growth instead of stagnation.

Thank you for that answer… I feel like you’ve cultivated that kind of community with your fanbase…

Trying. Really doing what we can with it. These people are so dope, and sometimes we just don’t realize how dope we are because people are trying to fuck with us. And that sucks! That’s hard to deal with. Not everybody has safe spaces where they can exist, share ideas and express themselves. I hope that the GRiZ community is always a place where people can feel safe with each other, to be able to grow together. It doesn’t always have to be about the music — and it sure as shit does not always need to be about me. Hopefully it can be about each other first. 

Exactly! So, shifting into some safe spaces and celebrations… You have so many shows coming up including three sets in one night at Red Rocks! What’s it been like pouring your heart into all these different performances? 

I feel like I told a bunch of people what kind of mountains we’re gonna climb — and we haven’t done it yet. So, I gotta get to training. I gotta get some new fucking hiking boots and break that shit in! We’re like, “Ok cool, now we’re gonna do fucking Everest!” And everyone’s like, “Yeahhh!” And it’s like, “Alright, are we really ready to take on this challenge?” We’ll get there! Warming back up to it. Getting my mind and my spirit right into those spaces…

Just been doing a bunch of free shows. I just want to be in front of people playing music and bringing people together. What is that fucking like anymore?! And it’s great! I’ve been doing it with abandon and that’s been a lot of fun. I’m here for it. 

It’s a shame that any of this stuff costs money in the first place, so just be able to offset the weight of it all — and be like, “Yo, we’re gonna do this! Have fun! Show up! Bring the crew! Don’t bring the crew! Meet the Crew! Cool!” Meet some new people. That shit is so fun. We’re warming up to it. I’m feeling ready!

Which date will be the first time you’re throwing down the new album?

We will hear it live for the first time together… [pauses] 

I’ve low key played it already at a free show for the people. Because I’m fucking… I don’t know. [laughs] I think patience is something in my life that I’m not the best at practicing. But, in its true form — in its most thoughtful form — will be the first night of GRiZmas in July in Wilmington, North Carolina at the end of this month.

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DJ Snake & Malaa Bring the Energy with New Collab Anthem “Ring the Alarm” [LISTEN]

DJ Snake and Malaa’s brand new collaborative single, “Ring The Alarm,” is out now — sparking much excitement for their upcoming b2b tour. The track was previously teased on social media and arrives today already well-received by house fans everywhere.

“Ring The Alarm” goes off, disrupting the speakers with hyped up vocals, alarms and energetic rave synths. The result is a genre-breaking, unruly anthem, which stays consistent with DJ Snake and Malaa’s underground meets main stage style. Perfect for playing out in clubs, festivals and warehouses alike all Summer long.

Later this month, DJ Snake and Malaa are heading out on tour together, hitting up Chicago, Denver, Washington D.C. and Oakland, as well as the legendary, sold out Hard Summer music festival in San Bernardino.

Listen here as DJ Snake and Malaa bring the energy once again!

DJ Snake & Malaa – Ring The Alarm

Stream/download: https://djsnake.lnk.to/RingTheAlarm

 

Photo via Jonathan April for Insomniac Events

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deadmau5 Drops Alternative Mix for New Smash “When the Summer Dies” with Lights [LISTEN]

deadmau5 and Lights have absolutely dazzled us with their recent release “When the Summer Dies” — and today, they unleash a funky alternative mix to keep the hype alive. It’s a new way to listen, and a new way to enjoy this hot Summer anthem.

“When The Summer Dies” highlights Lights’ pop sensibility, set against a fun and playful production from deadmau5. By subtracting elements and adding in new flair, deadmau5 lands on an entirely new vibe with the alternative mix, still perfectly complimenting standout vocals courtesy of Lights.

Following up their massive 2018 release, “drama free,” the bar was set high for their second collab and they’ve exceeded expectations once again. Thankfully, the original song and alternative mix have unleashed well before the Summer has died. Which means, plenty of opportunity to play it out all Summer long!

Listen here!

deadmau5 & Lights – “When the Summer Dies” (Alternative Mix)

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Boys Noize Announces New Album ‘Polarity’ & Unleashes Dual Singles [WATCH]

Boys Noize has officially unveiled his hotly-anticipated fifth studio album — +/- (pronounced Polarity) — along with two brand new singles to go with it.

Boys Noize needs no introduction, but we do love the one provided for us via press release, dubbing the producer as “an underground hero with mainstream appeal and acid-dripped, techno-punk sensibilities.”

Such qualities are on full display here, as Boys Noize delivers a peak time (+)side “Nude” with Estonian avant-gardist Tommy Cash and an edgy, techno-forward (-)side “Xpress Yourself.” The visual representations of each single are provided below — with the “Nude” music video, directed by SUS BOY, welcoming ravers to shed some clothes and express themselves freely.

These powerhouse tracks join (+) “Girl Crush” featuring Rico Nasty / (-) “Buchla 100” as well as (+) “Ride Or Die” with Kelsey Lu featuring Chilly Gonzales / (-) “IU” featuring Corbin, and (+) “All I Want” featuring Jake Shears as +/- continues to take shape.

Boys Noize, real name Alex Ridha, shares of the upcoming release:

The album dives into the polar tension between the musical styles and worlds I find myself in. When you combine opposites, something transcendent can take place, something greater than the two parts. And with music, it becomes a magic that can create new worlds.

He continues:

I’ve always been inspired by trying to integrate opposing, polar forces. There’s something really thrilling in it, and it’s always a secret motivation for me; building and exploring the combination of contrasts. Techno’s earliest inspiration was the idea of combining man and machine. And you can continue from there — aggression and beauty, past and future…

Listen here and get ready for the +/- album release on September 24 via Boys Noize’s own BNR label.

Boys Noize – Nude ft. Tommy Cash

Stream/download: https://ffm.to/bnnude

Nude is an expression of revealing one’s self. For this project we invited people to illustrate through performance what nudity means to them while also challenging the association of nakedness with shame — through these performances we sought to remove these ideas in exchange for beliefs that empower and liberate us. – SUS BOY 

Boys Noize – Xpress Yourself

Stream/download: https://ffm.to/bnxpress

 

Boys Noize Press Photo via Shane McCauley

 

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Jinx Snaps on Bass-Heavy New Release, “Lunatic” via 40oz Cult [LISTEN]

Jinx has snapped on her latest production, “Lunatic,” serving up heavy bass and insane switch ups in this concise, 2-minute banger.

The Orlando native is on an impressive hot streak of bass-forward designs and “Lunatic” certainly packs the punch. Surprisingly enough, this dubstep banger doubles as a love song — more on that from Jinx herself.

In the producer’s own words:

Lunatic is a track about being so crazy in love with someone, that the compassion is super strong you’ll do anything looney for them. This song has been one of my favorites that I have made up to date, and I’m stoked to share it with the 40oz Cult.

With this release, she joins the 40oz Cult family, following up a strong wave of recent releases on Deadbeats, Subsidia Records, and Bassrush Records.

Listen here and link up with Jinx below!

Jinx – Lunatic

Stream/download: http://fanlink.to/jinx-lunatic

40oz Cult · Jinx – Lunatic

Connect with Jinx

SoundCloud | Spotify | Facebook | Twitter | Instagram

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Farrah Flips RL Grime & ISOxo’s Collab “Stinger” Into Her Own [LISTEN]

Farrah rises to the occasion with a fresh new take on RL Grime and ISOxo’s monstrous collaboration, “Stinger” — a self-released treat out now!

The Hong Kong-based talent makes a statement with not just one, but two totally unexpected drops laced with eager synths and aggressive undertones. Calling this a flip is really putting it lightly, as Farrah takes the production to new places with her own artistic vision and creative edge.

“This is hands down my fav flip I’ve ever made,” Farrah shares via SoundCloud — and “S/O @rlgrime & @isoxo for this insane tune.” There’s no fear heard here, even taking on one of the biggest releases of the year.

Listen, be sure to grab the free download, and link up with Farrah below!

RL Grime x ISOxo – Stinger (Farrah Flip)

Farrah · RL GRIME X ISOxo – Stinger (Farrah Flip)

Connect with Farrah

SoundCloud | Spotify | Facebook | Twitter | Instagram

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Dr. Fresch & Glass Petals Revive Electro Blog House Era with New Banger “The Answer” [LISTEN]

Dr. Fresch and Glass Petals serve up an electro blog house revival tune with their new collaborative release, “The Answer” — out now on House Call Records.

Harnessing electro energy from the early 2000s, Dr. Fresch joins with the powerhouse duo of Felix Cartal and Johnny Jover to deliver this massive, rave-worthy soundscape. They pay homage to this “golden era” of dance, whilst also providing an updated feel for the 2021 dance floor.

As “The Answer” tastefully progresses, it gets meaner and meaner, as a mob of classic rave synths join the party. We love the way all the elements play off each other and communicate to tell a deeper story.

Dr. Fresch shares:

The Answer is about the revival of what Glass Petals and I view as the golden era of Electro – Blog house. Felix Cartal (Glass Petals) was making the music I was playing out at House parties in high school, so this record comes full circle. When Taelor and Johnny started the Glass Petals project, I knew there a clear intersection between our sounds again, and we decided to sit down and write the blog house revival for the roaring 20’s!

Glass Petals also weigh in:

We wanted to capture the chaos of the early electro blog house era that hit the scene by storm back in the mid 2000s. We did our best to recreate those nostalgic feelings in this track. It was madness during that time; everyone was having fun creating without overthinking and that’s what we did with this record. It only felt right that we called it “THE ANSWER,” as this was our way of sharing that energy to a new generation who’ve questioned what came before them.

In addition, House Call Records’ upcoming Shot Callers Vol. 1 compilation drops Friday, August 13th. The collection offers the kind of hard-hitting club tracks that we have been waiting to experience live for over a year, featuring Marten Hørger & Phace, Wa-Fu, Fetish, and Fox’d.

Listen here and link up below!

Dr. Fresch & Glass Petals – The Answer

Stream/download: housecallrecs.ffm.to/theanswer

House Call Records · Dr. Fresch & Glass Petals – The Answer

Connect with Dr. Fresch

SoundCloud | Spotify |  |  | 

Connect with Glass Petals

SoundCloud | Spotify | Facebook | Twitter | Instagram

Connect with House Call Records

SoundCloud | Facebook | Twitter | Instagram

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capshun Stuns with Emotive Drum & Bass Production “Push Me Away” [LISTEN]

capshun astounds with his recent release, “Push Me Away,” out now on Slow Roast Records.

Mixing emotive vocals with an icy, textured opening, the production instantly pulls on our heart strings before dropping into a savage drum and bass progression. The balance between elegant, haunting moments and a fierce, gritty beat make “Push Me Away” an exceptional, refreshing listen all the way through.

The Dallas-based producer has consistently turned heads with a number of standout collaborations including “I Need” with Sasha Rome, “Fever Dream” with Jon Casey, “Revival” with chromonicci, “Acai Tower” with Quiet Bison and “Vibe” with Avae. This one, however, is all him.

With a steady mob of releases over the past few years, the capshun project is about to explode, even more so than it already has. Listening through, we get an exciting rush hearing the producer’s innovative and compelling approach to music.

Listen here and link up with capshun below!

capshun – Push Me Away

Slow Roast Records · Capshun – Push Me Away

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SoundCloud | Spotify | Facebook | Twitter | Instagram

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7 Things We Learned From Illenium’s Ask Me Anything on Reddit

Illenium recently released his fourth album, Fallen Embers, and said farewell to his first three albums in a special, once-in-a-lifetime Trilogy set at Allegiant Stadium in Las Vegas. Now, as he moves into tour mode for the album for the remainder of this year and next, he went on Reddit for an Ask Me Anything, allowing fans to ask him… just about anything.

Over the course of four hours, he answered a variety of questions regarding the album, the tour, his general sound, and even mental health.

Read a couple of the highlights below and see the full thing here.

On making “harder” songs again

On taking a step back and internalizing his accomplishments

On doing more remixes

On the “most challenging” song to write for Fallen Embers

On finding the right vocalist

On how “Brave Soul” was written

On dealing with mental health

Photo via Rukes.com

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Bassnectar Requests Trial By Jury Following Lawsuit From Multiple Women

In April this year, two women filed a joint lawsuit against Bassnectar, real name Lorin Ashton, who assert they were sexually abused as minors by the DJ. A month later, the suit named two additional accusers.

Now, Ashton has responded to the suit, calling it “opportunistic.”

“This case is nothing more than an attempt by opportunistic women who have chosen to sue Ashton, his record label, managers, and even one of the charities he has contributed to, all in an attempt to frame years of friendship as trafficking so that they can exploit a statute for monetary gain,” the response reads.

Ashton was accused of abuse, human trafficking, and child pornography in July last year.

“This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed,” said attorney Brian Kent, of Laffey, Bucci & Kent, LLP in Philadelphia at the time.

Additionally, Ashton has requested a trial by jury, which will begin a process known as discovery to start collecting evidence from each other.

“Our clients want to see justice done in whatever form this takes,” said Stewart Ryan, one of the lawyers representing the women. “A jury trial is not anything that our clients shy away from.”

 

via VICE | Photo via Rukes.com

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Canabliss Makes Graceful & Gritty Debut on SSKWAN with New Cut, “Freak It” [PREMIERE]

Canabliss debuts on Liquid Stranger’s forward-thinking downtempo label SSKWAN with her latest creation, “Freak It.”

This fast-rising, Toronto-based experimental bass talent has captivated a niche audience through her signature sound and distinctive design, having already blown us away with previously released productions “Dealer,” “Crique,” and “Wired.”

Today, “Freak It” cuts softly through the fierceness that is Canabliss, unleashing an entrancing, synth-forward melody and echoing chants into an overall dream-like atmosphere. The track floats with graceful and gritty tendencies, as that Canabliss signature emerges from an ethereal soundscape.

As she continues to carve out her own space in electronic music, Canabliss’ growing discography will pave the way for her to share her creative vision with a growing audience. “Freak It” solidifies the producer as an artist to watch as she continues to work her way up — and we’re beyond excited to premiere this downtempo delicacy.

Listen here via SSKWAN and link up with Canabliss below!

Canabliss – Freak It [Your EDM Premiere]

Stream/download: https://ingrooves.ffm.to/freakit

SSKWAN · Canabliss – Freak It [YourEDM Premiere]

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Ellie Goulding Calls New Album “A Dance Thing From Outer Space,” Revealing Return To Roots

Ellie Goulding only released her latest album, Brightest Blue, last year, but for reasons we can all sympathize with, that already seems like a lifetime ago. Perhaps it was the seven year gap between Halcyon Days and Blue. Regardless, she’s already working on her next album and calls it a “a dance thing from outer space,” suggesting she could be returning to her sound from her debut album, Lights.

She recently did an interview on BBC’s The Joe Wicks Podcast, in which she described her time writing the new album, the experiences she drew from, and the inspirations she sought.

“I spent a lot of time by myself, quite introspective. I had a backlog of things I wanted to write about,” Goulding explained. “It was quite deep and emotional. And this album is the opposite of that. I found this dream team of writers, who just for some reason, without even having to talk about it, were all on the same page. Together we’re on this mission just to have fun. We just want to make music for people to dance to and forget about everything in the past year.”

So far, there’s no release date or title for her new album. However, considering her long history of EDM collaborators, including Seven Lions, Kygo, Zedd, Skrillex, Clean Bandit & Tiesto, Major Lazer, and more, we have no doubt that whatever comes of it is sure to be a new classic in her discography.

 

via EDM.com | Photo courtesy of Coachella

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New ‘DONDA’ Track by Kanye West Produced by Gesaffelstein, “No Child Left Behind” [PREVIEW]

In an unexpected DONDA plot twist, Kanye West and Gesaffelstein have teamed up on a production called “No Child Left Behind,” available to preview ahead of tonight’s full album premiere.

The video below features track star Sha’Carri Richardson in a Beats ad, edited and scored by Kanye. The promo also announces the DONDA listening event to take place on Apple Music at 8 PM EST, which has been confirmed by Def Jam Recordings.

Gesaffelstein has also weighed in on social media, revealing he produced it. The track opens with a gorgeous gospel melody as Kanye sings out: He’s done miracles on me. In one minute, this preview sets an impeccable tone for the highly-anticipated tenth studio album from Kanye West.

DONDA is set to premiere tonight at a sold out listening event and live stream at Mercedes-Benz Stadium in Atlanta. The album officially drops tomorrow, July 23.

Hear a preview of “No Child Left Behind” below!

Kanye West – No Child Left Behind (prod. Gesaffelstein) [PREVIEW]

 

Photo courtesy of Coachella

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Rising bass producer Rausch makes his mark on new single ‘Cherry Blossom’

Quickly rising bass producer Rausch based out of Worcester, Massachusetts just released a brand new single on the Arcadium Project titled ‘Cherry Blossom.’ The record is as tantalizing as it sounds.

As the record commences, listeners are met with glistening synths as if you had just embarked upon a journey through some sort of crystal lair in which turning back is not an option. As the record begins to pickup soft hymns of ear candy, swirling risers, and hefty kicks and percussion make they’re way into the mix. As the record builds up towards its climax a burst of finely modulated synths unload upon the listener for a bass driven exploration into sound.

Rausch truly nails ‘Cherry Blossom’ to a tee from beginning to end. From a mesmerizing intro that swiftly brings listeners into the fold while keeping them entranceed and hitting them with a profusion of bass, Rausch clearly distinguishes his sound from all of those around him.

Listen to ‘Cherry Blossom’ below.

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NEW: Swedish House Mafia, Rausch, Illenium, Rome In Silver – Your EDM | Week In Music

July is almost over and some of our favorite acts like Swedish House Mafia, Illenium, Benny Benassi and many other incredible artists have blessed us with new music. Electronic music icons like Swedish House Mafia, Benny Benassi, and deadmau5 all released new singles this week. Meanwhile new comers Rausch released a new single and Rome In Silver a new EP! Sit back, relax or continue doing whatever you are doing and stream Your EDM | Week In Music below.

Release Spotlight

Illenium the king of melodic dubstep just released a brand new album Fallen Embers. The new LP is a 14-track album filled with features from Tori Kelly, Iann Dior, Sasha Sloan, Slander and many others.

RÜFÜS DU SOL released a new single titled ‘Alive’ a 6 minute progressive electronic masterpiece overflowing with feel good synths and percussion.

deadmau5 teamed back up with familiar collaborator Lights for ‘When The Summer Dies’ a 5 and a half minute house driven ballad with signature deadmau5 synth inspired melodies and driving baselines.

 

Image via: Rukes.com

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RL Grime Announces 12-Stop Community Outreach Tour

It’s been a long time since we’ve seen a tour from RL Grime — that much should be obvious, it’s been a long time since we’ve seen a tour from most artists as we all battled our way through the global pandemic. But the trap king himself is getting back on the road this fall with 12 stops from September through November.

The Community Outreach Tour from RL Grime and Sable Valley is sure to have some SV artists playing support, but so far none have been announced. Tickets go on sale July 23 at sablevalley.com so head there now to sign up for pre-sale.

Check out the full run below.

WE BACK
COMMUNITY OUTREACH TOUR
BRINGING FRIENDS OFC
SEE YOU SOON TEAM pic.twitter.com/6DT2I3hf9D

— RL GRIME (@RLGRIME) July 21, 2021

 

Photo via www.OHDAGYO.com

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Glastonbury Cancels September Event ‘Equinox’ for “A Number of Reasons”

Glastonbury, one of the world’s most prominent music festivals, has reportedly canceled its mini-event called Equinox. The single-day celebration originally set for mid-September has been called off due to “a number of reasons.”

Emily Eavis, co-organizer of the music festival, remains optimistic in sharing: “We’ve decided not to go ahead with the September gig idea for a number of reasons, so we’re putting all of our energy into the campsite for now!”

A report from Variety weighs in with reasonable specualtion — “It’s unclear why the September concert has been called off, but it could be due to growing fears about COVID restrictions in the fall,” as the UK is “facing another sharp rise in cases.”

Glastonbury’s flagship festival was canceled for the second year in 2021 due to the coronavirus pandemic. At the time, organizers stated, “In spite of our efforts to move Heaven & Earth, it has become clear that we simply will not be able to make the Festival happen this year.”

Needless to say, the music community looks forward to Glastonbury’s return.

 

Source: Variety | Photo via Paul Holloway/Wikimedia Commons

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Voting Now Open for DJ Mag Top 100 DJs 2021 Poll

The DJ Mag Top 100 DJs 2021 poll is now open for voting!

In addition, DJ Mag announces the return of the Top 100 DJs Virtual Festival, a ten-week online showcase of some of the world’s best DJ talent. The series launched in 2020 in response to the pandemic and will continue to reach millions of viewers around the globe this year.

Every Saturday and Sunday starting July 24th through September 19th, the virtual festival will be simultaneously broadcast across DJ Mag’s YouTube, Facebook and Twitch channels. Top 100 DJs will be celebrated on Saturday, and Alternative Top 100 DJs on Sunday.

This year, DJ Mag is partnering once again with Unicef, this time with emphasis on the organization’s Vaccinaid program. DJ Mag asks, “DJs, artists and fans to play their part in supporting Unicef’s mission to deliver two billion vaccines, as well as millions of treatments around the world this year.”

Last year, David Guetta reclaimed his #1 spot for the first time since 2011. There was significant movement in the top 10 and more women were represented on this list than ever before — with 12 total entries including the highest climbing DJ, Charlotte de Witte. Plus, tons of new entires and more.

If you need a refresher, read our Top 100 DJs 2020 breakdown here and our coverage on Alternative Top 100 DJs 2020 here.

Cast your vote at vote.djmag.com.

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Skrillex Back In The Studio With Noisia’s Thys Following Massive “Supersonic” Collab

So Skrillex has been putting out a ton of music, right? At least, it feels that way, more than he has in any same period of time in the last few years. His second to last release was a massive collaboration between himself, Noisia, josh pan and Dylan Brady, “Supersonic.” After that, he put out a viral hit with J Balvin, “In Da Getto.”

Now, it appears he’s back in the studio with Noisia’s Thys, and they’re hopefully cooking up something fantastic.

For those who don’t know, Noisia have been a major inspiration for Skrillex, even before the release of his 2009 My Name Is Skrillex EP. He actually stayed at the house of the Dutch trio’s manager when he visited them in Holland in 2009, when they “wrote a bunch of songs together at the time that never came out,” he told UKF in an interview in 2016.

“Supersonic” was Skrillex and Noisia’s first collaboration, apart from the remix of “Scary Monsters and Nice Sprites” from Noisia in 2010.

Hopefully, we get to hear some more from them soon!

 

H/T EDM.com

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Kaskade Makes History as First Artist to Play SoFi Stadium, Alongside deadmau5 & Dombresky

Kaskade: Los Angeles went off over the weekend, as the superstar DJ/producer made history by playing the first concert at LA’s newly opened SoFi Stadium. Joining the party were Dombresky and deadmau5, who threw down a surprise set as Testpilot.

Tens of thousands of people were reportedly in attendance, although exact numbers are not currently available. The venue holds a capacity of 70,000, intended to host major events such as this one from Insomniac, as well as football games for the Chargers and Rams.

Kaskade previously shared his excitement for the event:

Every time I play in Los Angeles, it evokes this feeling that is unmatched anywhere else in the world. It’s that sensation of getting into your own bed after being away for too long, it’s heat in the cold and it’s comfort when anxiety has been playing its game. Any show I play in LA is something I keep protected. I make sure that when I do it, I come correct because it’s that meaningful to me. LA is home.

See video footage below, including that moment when Kaskade & deadmau5 dropped their iconic song together, “I Remember.”

🔥@kaskade made history last night as the first artist to perform at @SoFiStadium pic.twitter.com/l4sGCdHAWX

— Festival Season (@Festseasonmedia) July 18, 2021

When @kaskade and @deadmau5 drop the track that made me forever love EDM. Tonight felt like a dream. 🙏🏾 pic.twitter.com/GzNbudsjFN

— matmatjo (@matmatjo) July 18, 2021

 

H/T: Billboard | Photo via Rukes.com

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Diplo Lawsuit Dropped In Less Than 10 Days In Face Of “Irrefutable” Evidence

Less than 10 days after plaintiff, who filed under the initials E.K., sued Diplo alleging, among other things, assault, battery, false imprisonment and intentional infliction of emotional distress, the case has been dropped.

“In light of the evidence and after consultation with my attorneys, I have decided to withdraw my lawsuit,” the plaintiff said in a statement provided to Billboard on Thursday night (July 15). “No payment was offered or requested. I regret filing the lawsuit.”

“As we said when we first learned of this lawsuit, there was absolutely irrefutable evidence that proved that the allegations it contained were false,” Diplo’s attorney Bryan Freedman said in a statement Thursday. “As soon as we shared that plethora of evidence with the plaintiff’s lawyers, they recognized that they needed to withdraw their suit immediately.”

The lawsuit directly led to a dropped booking for Diplo from the Baltimore Orioles canceling a July 24 postgame concert.

“Diplo’s team says they hope the concert can now go forward since the suit has been dropped,” writes Billboard.

 

via Billboard

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REPORT: Price Per Stream, YouTube Is Still The Biggest Problem For Artists

A new report from The Trichordist, a group that promotes itself as “Artists For An Ethical and Sustainable Internet,” released in March this year, examines the updates to the streaming royalties that all major and minor platforms afford to artists. It’s no secret that musicians receive less than one cent per stream and it often takes upwards of millions of streams to begin to see a return on streaming, but it still accounts for 64% of all recorded music revenues by sheer volume alone.

Trichordist breaks down how they calculated the streams per song/album rate they report (these might vary slightly from the actual numbers), but one of the main focuses of the report is market share by streams (MSS) and market share by revenue (MSR).

Again, based on sheer volume, it’s no surprise that Spotify commands an epic MSR of 44% while only accounting for 22% MSS. On the other hand, Apple Music continues to be the best bang for an artist’s buck, with just a mere 6.36% MSS and a 24.79% MSR.

Still, Trichordist maintains that the biggest streaming service hampering musicians today is the YouTube Content ID service, which has a massive 51% MSS, over half of all streams, yet a meager 6.42% MSR.

“The biggest takeaway by far is that YouTube’s Content ID, shows a whopping 51% of all streams generate only 6.4% of revenue,” reports Trichordist. “Read that again. This is your value gap. Over 50% of all music streams generate less than 7% of revenue.”

Over 86% of total streams are accounted for in just the top 10 services, including Spotify, Apple Music, YouTube, Facebook, Amazon, and Pandora. YouTube Red, which the Google-owned company has tried to push on users for years, accounts for just 0.23% MSS, while TIDAL is just 0.11%; despite boasting higher-than-normal streaming quality, their library and UI, not to mention late-to-the-party launch and subsequent market share, just don’t match up.

You can see the full breakdown below and read the full report via Trichordist here.

 

H/T EDM.com | Photo Credit: ISTOCKPHOTO

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Swedish House Mafia Perform “Lifetime” & “It Gets Better” Medley on The Tonight Show [WATCH]

Swedish House Mafia took the stage on The Tonight Show Starring Jimmy Fallon to throw down a medley of their recent releases, “Lifetime” and “It Gets Better,” featuring special guests Ty Dolla $ign and 070 Shake.

Last week, the group consisting of Axwell, Steve Angello and Sebastian Ingrosso dropped two brand new productions after a 9-year gap in music. Their 2012 album Until Now smashed expectations, unleashing massive hits including “Don’t You Worry Child,” “Save The World” and more.

The 4-minute performance, which features each artist mixing in within one of three iconic dots, leaves us wanting more. With Swedish House Mafia back in full force, we’re hoping for a full album and tour to follow up this striking TV debut.

Watch below and keep updated with Swedish House Mafia here.

Swedish House Mafia – Lifetime / It Gets Better Medley

 

Photo via Rukes.com

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Naeleck And Hige Driver Share Fresh Remix Album For “Virtual Gaming” 

After joining forces with Native Instruments and their music platform Metapop to host a remix competition for his track “Virtual Gaming” alongside Hige Driver, Naeleck was overwhelmed with more than 300 remix submissions that they received. Now, he has finally picked out his favourite 10 ones, dropping them all together on a massive, genre-bending remix EP, that includes all types of dance styles, from dubstep and electro house to complextro.

Naeleck has been consistently rising through the dance music ranks over the past years, with a brand that blends music, fiction and gaming in newfound ways. His music has amassed tens of millions of collective streams on digital platforms, been remixed by the likes of Gammer, Tokyo Machine, Bombs Away, Dodge & Fuski and many more, and resonated with thousands of fans on live shows around the world.

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Ben Ambergen And KENNY MUSIK Drop Dance Floor Smash “Screwface” On Generation HEX

Coming to house legend Don Diablo’s Generation HEX label, rising talents Ben Ambergen and KENNY MUSIK have done it again with “Screwface.” Ben Ambergen is without a doubt an EDM veteran, with countless shows under his belt and releases dating all the way back to 2014. KENNY MUSIK on the other hand is a Taiwan-based Brazilian DJ and producer, who has performed at the likes of A.I Club (#57 on DJ Mag), WAVE Club, Ultra Music Festival and S20 Festival, as well as released music on labels such as Intensity Recordings and Sony Music.

Ben Ambergen and KENNY MUSIK “Screwface” marks their first collaboration, and is arguably one of their strongest releases to date. A true club anthem, “Screwface” effortlessly transitions from immersive, vocal-driven sections filled with atmospheric effects, to ruthless drops driven by hard-hitting drums and impressive sound design, once again proving why Ben Ambergen and KENNY MUSIK are two of the most exciting names to watch within the dance music realm.

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EXIT Festival Results in No Mass Spread of COVID-19, Dutch Festival Linked To 1,000 New Cases

EXIT Festival, which took place over July 8 – 11 in Serbia and welcomed between 42,000 and 48,000 people per day, has reportedly resulted in no mass spread of COVID-19.

The scientific study conducted by the Health Centre Novi Sad and the association Project Lab tested 345 attendees, some of which were vaccinated and others who showed a negative test upon entry. According to Pollstar, testing was repeated after seven days, July 15-17, and the results showed no positive coronavirus infections in either group.

Festival founder and CEO Dušan Kovačević said the results prove that the live events sector has been “treated unfairly in the past” and that there are “no longer any arguments and justifications that can allow gatherings at sporting events, in cafes or shopping malls, and not at concerts and festivals.”

Meanwhile, a Dutch music festival in Utrecht has reportedly resulted more than 1,000 positive COVID-19 cases. Verknipt festival brought in 20,000 attendees over the first weekend of July.

Lennart van Trigt, a spokesman for the Utrecht health board stated: “We cannot say that all these people were infected at the festival itself. It could also be possible that they’ve been infected while traveling to the festival or in the evening before going to the festival or having an after-party.”

Festival goers provided tests up to 40 hours before the event, which was “too long” according to van Trigt. Moving forward, the window will be set to 24 hours for major events.

 

Sources: Pollstar, Pitchfork | Photo via EXIT Festival

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Famba, Brando, MKLA Team Up For Deep House Dance Hit “Games We Play” [Sony Canada]

Famba consistently blows us away with his talent and always builds anticipation with who he’s going to work with next. His latest single is a massive collaboration with two of the biggest vocalists in dance music, Brando (Loud Luxury, Matoma, Don Diablo) and MKLA (KSHMR, Vintage Culture, Steve Aoki). They both deliver stunning vocal performances, while Famba’s production takes the song to stratospheric levels.

“I’d never done a duet before, so I knew it had to be with someone with a voice like this angel. Brando has a sultry deep tone that I really believe has influenced a lot of great house music,” says MKLA about her first duet experience.

Featuring seductive deep house melodies as well as lyrics, “Games We Play” is the love song with swagger that does double damage on the dance floor. The track is the second single from Famba’s forthcoming EP, Wishes Vol.2, to be released later this Fall. 

Famba also remembers how the song came about: “The night we wrote ‘Games We Play’ was one of the most fun and most organic writing sessions I’ve ever had. It was just friends having a good time and partying all night. The song just happened; we didn’t even intend to write it. It’s also everything I’ve been building towards; my sound is finally starting to become more defined.”

When he later approached Brando with the unfinished recording, the California-based singer-songwriter fell in love with it immediately, saying: “The minute I cut the vocals I knew it was going to be a great collab. I think it will really resonate with our fans as well.”

Listen to “Games We Play” below!

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Big Gigantic Delivers Epic Performance At Marquee Theatre [Recap]

photo: Big Gigantic

It’s no secret that Big Gigantic is an iconic name not only to dance music and production but to live performance. Composed of Dominic Lalli and Jeremy Salken, these two are some of the most creative guys out there. Meshing live drums, keys, and saxophone into electrifying, bass thumping music, Big Gigantic’s sound truly lives up to their name.

We had the pleasure of getting to see their latest show in Tempe, AZ at The Marquee Theatre. Arizona’s premiere dance music event company, Relentless Beats, put on the show with Lucky Beats for what was an riveting three hour ride.

BARDZ kicked things off, meshing future bass songs with huge guitar solos and amazing live key arrangements that captivated the crowd from front to back. Along with originals, he provided his own renditions of classics like Pink Floyd’s “Another Brick In The Wall“, RHCP’s “Can’t Stop“, and Phil Collins’ “In The Air Tonight“. BARDZ warmed up the crowd in perfect fashion, leaving the place buzzing just in time for Big Gigantic to step on.

Excitement seemed to be coursing through the entire venue. People being back together, dancing, and getting to see none other than Big Gigantic take the stage. As soon as Dominic & Jeremy stepped on, the Marquee erupted. It wasn’t long before massive, dubstep-esque drops had the crowd bouncing up and down and the live saxophone element always led to screams of delight from people all over the room. It’s not easy to do what Big Gigantic does, but they do it seamlessly, all the time with a smile on their face.

From start to finish it was clear to see the connection between Big Gigantic and the crowd. Love and respect radiated in the room as the guys took all of us on an epic hour and a half journey through both their own music and music they love, leaving everyone in a state of bliss and joy by the show’s end.

If Big Gigantic comes to a city near you, we definitely recommend getting tickets!

Catch Big Gigantic on tour!

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Swedish House Mafia Hurry Along With Second New Single, “Lifetime” with Ty Dolla $ign & 070 Shake

Swedish House Mafia ended a nine-year gap in new music releases last Friday with the release of “It Gets Better,” and they’re hurrying along toward the release of their debut album later this year with the release of yet another new single, “Lifetime” with Ty Dolla $ign & 070 Shake.

“It’s 100% feel,” Steve Angello told Zane Lowe on Apple Music 1. “I think this was the time where we sat down and we were just throwing ideas at each other of what kind of music we like, and this is boiling everything down to like, ‘What did we feel?’ We came to a place, especially with this song, you feel great. It’s like, listen to the song, put on headphones, be in the subway, drive a car, go on a fucking walk. Do whatever you want. This is going to make … it’s feels. And that’s what you said. It has substance, it’s depth. It’s like, Swedish House Mafia into a blender. This is what happens with this whole new album, man. It is a lot of things.”

The song has prominent hip hop vibes but it’s also, as Angello said, full of feels harkening back to synthwave artists like M83 or Timecop1983 or Kavinsky. Check it out below, and also tune in to their performance on today’s episode of The Tonight Show Starring Jimmy Fallon with both Ty Dolla $ign and 070 Shake joining in.

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DJ Mag Top 100 Voting Opens This Week, Virtual Festival Series Returns

Ah yes, that time of year again. When debates about the importance of a popularity contest ring without end on social media, and yet, the DJ Mag Top 100 soldiers on year after year, since the poll began in 1993, even in the midst of a global pandemic.

With live shows returning, the annual Top 100 could look a little different this year, but probably not that much. The Top 10 has gone largely unchanged for the past few years, though last year did have a bit of a shake up, while the rest of the list usually undergoes plenty of new entries and some astronomical rises and falls.

Voting for the DJ Mag Top 100 opens this Wednesday, July 21. You can cast your votes once open at vote.djmag.com.

The Top 100 DJs Virtual festival series also returns this year, taking place every Saturday and Sunday from July 24 — September 19. It will be broadcast across DJ Mag’s YouTubeFacebook and Twitch channels. Saturdays will be dedicated to Top 100 DJs, with Sundays celebrating the Alternative Top 100 DJs.

Confirmed Saturday DJs include reigning Top 100 DJs champion David Guetta, Dimitri Vegas & Like Mike, Mariana Bo, Timmy Trumpet, Lokyii, Carta, Casper Yu, Ummet Ozcan, Oliver Heldens, Steve Aoki, Afrojack, Nifra, ATB, Bassjackers, Vini Vici, Vize, Fedde Le Grand, KSHMR, Ayrue, and many more.

For a look back at last year’s Top 100, go here.

Photo via Rukes.com