KSHMR Unleashes Debut Album’s Leading Single, “The World We Left Behind” ft. Karra [LISTEN]

With KSHMR‘s highly anticipated debut album on the horizon, the acclaimed DJ/producer presents a brand new single, “The World We Left Behind” featuring Karra.

The song amplifies KSHMR’s vast sonic universe through a culmination of sounds he’s picked up from around the globe. A cinematic, worldly production with immaculate design, “The World We Left Behind” serves as a grand entrance and introduction to Harmonica Andromeda.

KSHMR says the new single is “the best song I’ve ever made. I tear up listening to Karra’s chorus. The song embodies so much of what I love in music, youthful purity instead of adult bravado. It’s a bit Lion King, a bit Porter Robinson. I’m really excited for people to hear this and the rest of the album.”

KSHMR recently brought attention to the album, calling it “one of the most ambitious, maybe even one of the best electronic albums of all time…” More on that here.

Listen below and get a taste for what’s to come on Harmonica Andromeda.

KSHMR – The World We Left Behind (feat. Karra)



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JAXX DA FISHWORKS Drops Impressive ‘100 Percent’ EP via Night Bass [LISTEN]

JAXX DA FISHWORKS is coming into 2021 hot with a new EP release on Night Bass.

The Tokyo-based Japanese producer cuts through with two bold productions, “100 Percent” and “In My House,” which both embrace the current bass house trend and push the genre forward.

“100 Percent” caught our attention from the jump, with its expert flow, commanding vocals, and overall driving production. The track retains high energy throughout with an addictive bassline and underlying sultry appeal. Nobody can stop this. 100 percent.

“In My House” keeps the momentum going with its lively perc, gritty bass and textured vocals, championing a hard-hitting, bouncy sound. As we anxiously await for live shows to return, this wobbly bass house tune caters to our at home turn-ups.

In recent months, JAXX DA FISHWORKS has put out music on Tchami’s esteemed Confession label and the legendary Sydney-based imprint Sweat It Out, in addition to CruCast and Night Bass. We absolutely can’t wait to hear more from this next-up talent.

Listen here and link up with JAXX below!




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Kayzo & Black Tiger Sex Machine Reveal Supercharged Collab, “Lifeline” ft. Point North

Kayzo’s and Black Tiger Sex Machine’s styles both go hand in hand as different as they are. Whether dubstep, hardstyle, or electro house, the ethos behind each of their productions remains “go hard and heavy and never look back.”

Finally, they’re teaming up on January 29 for “Lifeline” featuring Point North, and even from the brief clip they’ve shared, we can’t wait.

Featuring alt-pop trio Point North, the clip doesn’t show off the drop, but we can already tell from the build that it’s going to be massive. What direction it takes, though, genre-wise, we’ll have to wait and see…

Check it out below!


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Big Gigantic Offer Funky New Remix For “Kush” by Moody Good

It’s been two years since Moody Good dropped “Kush,” so seeing a remix now is a bit surprising. Even more surprising is who remixed it…

Big Gigantic have been known to expand their sound every once in a while, and taking on a remix for a veritable dubstep leviathan is definitely new territory. While they’ve had some heavier artists remix their songs, this is the first time (as far as we can tell) that they’ve flipped the script.

That being said, “Kush” in its original form already adopts a rather novel rhythm and structure, and it fortunately made it pretty conducive to Big G’s style. The darker dubstep synths are replaced with a more shimmering, funk-style drop, the drums feel a bit more muted, and the track is completely transformed.

Check it out below!


Portugal. The Man Confirm New Collab With Deadmau5 [VIDEO]

Deadmau5 had a run of drive-in shows over New Year’s Eve in California, but he also followed it up with a show at the Texas Motor Speedway on January 9. At the show, he dropped an unreleased collaboration with none other than Portugal. The Man and, well, just listen…

The ambient tune, at least in the clip below, doesn’t have any sort of traditional drop. (Though, the clip is just 2:20 long, and his songs have been known to go beyond 8 minutes in some cases.) Lead vocalist John Gourley’s voice croons atop the minimalist ambient synths and drums, producing a wonderful auditory dreamscape.

Portugal. The Man themselves have confirmed the collaboration, so this is definitely happening. Deadmau5 hasn’t said anything yet, but he’s busy promoting the acoustic version of “Bridged by a Lightwave” with Kiesza, out today.

Check out the clip of the collaboration below.

There’s no exit. You never get away. Little sneak peek of deadmau5 x Portugal the man

— Portland Trailblazers, Man (@portugaltheman) January 11, 2021


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Flux Pavilion “Says Goodbye To Dubstep,” But His Best Is Still Yet To Come

Over the past few days, dance blogs have been publishing articles with various spins on the title, “Flux Pavilion Says Goodbye To Dubstep.” It’s a good article concept — a catchy title with a genre figure that has been at the top of his game over the past decade, with plenty of hits to his name like “I Can’t Stop”; “Do or Die,” Childish Gambino’s sole foray into EDM; his remix of “Cracks” by Freestlyers; the list goes on.

I am no longer a dubstep person

— fluxpavilion.wav (@Fluxpavilion) January 11, 2021

But the reality of this tweet is a bit more nuanced. While the above tweet has 390 RTs and nearly 4k likes (at time of publishing), the preceding tweets which undoubtedly give it context are far less engaged with. In referring to himself as a “dubstep person,” Flux Pavilion referencing the sort of person who’s always “trying to persuade everyone that dubstep is still good […] just because someone said it was bad in 2013.”

Just because someone said it was bad in 2013

— fluxpavilion.wav (@Fluxpavilion) January 11, 2021

Flux isn’t saying that dubstep is bad, either. He’s just saying that he’s no longer the kind of person who’s wasting energy on trying to convince anyone that it’s “still good,” even though it’s been good this whole time.

As we approach the release of his new album, .wav, a week from today, I wanted to offer a perspective that other authors of the aforementioned articles might not have — and that’s that I’ve had .wav for the better part of three months, and have been listening to it, and I can tell you his best is yet to come.

While .wav is not objectively a “dubstep album,” elements of Flux’s core sound are still pervasive within the project, including familiar bass patches, synths, melodic arrangements, and keys. Not to mention one of the tracks on the album, an orchestral production fused with dubstep that is one of the finest bass tracks I’ve heard in a long time.

So for anyone who’s been reading the recent articles and has been worried that Flux Pavilion is leaving the scene behind, hopefully this helps to assuage your worries a bit. He certainly won’t be the same Flux that we’ve known for the past decade, but we can’t expect someone to do the same thing for over 10 years and not get a little bored of it.

.wav, the new album from Flux Pavilion, is out January 21. Pre-save it here.


1001tracklists Releases Comprehensive “State Of Dance Music 2020” Report

The “2020 was a hard year” is shared pretty much universally, and echoed by 1001tracklists in the opening sentence of their State Of Dance Music 2020 report. As one of the best sites for aggregating data on sets by any and all artists, 1001 has a unique perspective and insight into trends and popularity of songs in terms other than just pure streaming numbers.

One of the big effects of 2020 was more sets than ever — even with the absence of traditional festivals, live streams thrived and artists who typically wouldn’t or couldn’t get a slot at an in-person show were given a platform by various entities to showcase their talents. According to 1001, sets and mixes added to their platform this year were up 30% from last year. (Of course, this could also result from the ease of recording and analyzing live streamed sets versus traditional in-person sets.)

Overall, over 53,000 individual tracklists were added in 2020.

House dominated, with bass house commanding 14.4% of lists, traditional house coming next at 13.2%, and future house just below at 13%. Curiously, bass music didn’t even really make a dent, with dubstep, hardstyle, drum & bass, and other bass heavy styles seemingly grouped together in the “Other” category with 4.4%. Again, this could be due to the sheer amount of streams that artists like David Guetta, Diplo, and others put on that were pure house showcases.

You can view full breakdowns of top labels, radio shows, and even songs by genre here.


Marshmello Announces His Next Album Is Complete

August last year, Marshmello said he had an album coming in 2020. Clearly, that didn’t happen.

But in good news, the album is now done and, like so many others whose albums didn’t quite make it out on schedule last year, we should expect it in 2021.

Marshmello has released three Joytime albums in the past five years, each growing in style and substance with a broader array of collaborators, his last featuring Slushii, YULTRON, Flux Pavilion & Elohim, TYNAN, Crankdat, Wiwek, and even A Day To Remember.

Stay tuned for more info on (what is probably) Joytime IV coming out later this year!

hey my album is done

— marshmello (@marshmellomusic) January 7, 2021


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Diplo Teases Return Of Silk City, His Collab With Mark Ronson, After 3 Years

Diplo has been incredibly busy over the past couple years, putting out albums with Major Lazer, LSD, and a solo country album on top of his new house label Higher Ground as well as managing his original label Mad Decent. It’s not like he doesn’t have help, but man the guy is busy.

Still, somehow, he’s also found time to revive his collaborative project with Mark Ronson, Silk City, for 2021 and we couldn’t be more hyped. It seems like any time Diplo gets in the studio with a fellow visionary the results are off the charts, and Silk City has been one of our favorite projects of his — and for good reason.

The duo’s last solo original came in 2018 with “Electricity” featuring Dua Lipa, though they did remix “Missing U” by Robyn in 2019. Their effortless house/disco vibes are immaculate and we can’t wait to hear what they have in store this year.

Check out the teaser below and stay tuned for more information on releases!


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Music Festivals Continue to Get Pushed Back As COVID Spikes

Despite our high hopes, major music festivals continue to get postponed and canceled in 2021 — with two new announcements just this week.

First up, BPM Festival in Costa Rica has canceled its 2021 dates, following its other canceled event in Malta. New dates have been rescheduled to January 12-18, 2022 as coronavirus rages on.

The festival was set to headline Nicole Moudaber, Paco Osuna, Dubfire, Loco Dice, Luciano, and more. At this rate, the lineup may likely change by the time the festival happens.

Per the statement below, ticket holders will be contacted with options soon. Read the full statement below for more info.

An important announcement on The BPM Festival: Costa Rica.

Ticket buyers will be contacted about their options via email by Xtixs within the next 24 hours.

— The BPM Festival (@TheBPMFestival) January 12, 2021

In addition, The Governors Ball in New York City has been pushed back to September 24 – 26, 2021. Organizers say they are working closely with city and state authorities to ensure a safe experience for attendees.

Lineup has yet to be announced. Ticketing and refund info can be sought out at

New Year, New Dates.
Lineup Coming Soon. #NewYorkTough

— The Governors Ball (@GovBallNYC) January 13, 2021

It seems festival season will be dependent on how we handle the coming weeks and months and when vaccines are issued. We’ll continue to keep you updated as more music festivals continue to make these tough calls throughout the year. Stay tuned.


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Porter Robinson Finally Reveals “Look At The Sky” from Sophomore Album, ‘Nurture’

Eight months ago, Porter Robinson premiered “Look At The Sky” for the first time during his own virtual festival, Secret Sky. Now, two weeks from today, the track will finally see an official release.

Nurture, Porter’s second studio album, was originally due for release in 2020 but, like so many others, was delayed due to COVID-19. Now, we’re full speed ahead into the album’s release and the first step is this new single.

The last Nurture single was “Mirror,” released back in August, around five months ago.

Check out the single from Porter Robinson below and pre-save it to your library now!


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Sub Focus & Wilkinson Recruit High Contrast For High Octane “Freedom” Remix

Sub Focus & Wilkinson teamed up for their massive collaborative album Portals last year, proving to be one of the best pairings in drum & bass in a long time. On the album was the song “Freedom,” which is already one of the highest-streaming songs off the project.

Now in 2021, the two have recruited Hospital Records legend High Contrast to join them in a remix of their own track. Overall, the vibe of the track isn’t all that different — some brighter synths, some chopped vocals, but essentially the same drums & drum pattern. It’s a different flavor for sure, but more akin to the difference between vanilla and French vanilla.

Check out both the remix and original below and listen to find out which one is your favorite!


STUDY: No Infections with COVID-19 Tested Concert Audience

Results of a recent COVID-19 concert study with a tested audience and no social distancing came back with no infections.

The concert took place December 12 at the Sala Apolo in Barcelona featuring four performances by DJs and local bands, with 463 active participants and a control group of 496 who didn’t attend.

Participants, ranging between ages 18 and 59, said they had been living without coronavirus for the last 14 days and were only allowed entry with a same-day negative SARS-CoV-2 antigen test.

While no social distancing was enforced in the concert hall, each participant was given a certified N95 cloth mask. In addition, the venue had a designated bar zone, limited outdoor smoking area, and security ensured restrooms didn’t get too crowded. Ventilation and air flow was monitored as well.

The concert study went on for 5 hours, with a median time spent inside the concert hall of approximately 2 hours and 40 minutes.

After 8 days, participants were given a second SARS-CoV-2 swab — all tests from concert attendees came back negative, while the two in the control group were infected.

Researchers concluded:

Attending a live music concert staged with a series of security measures that included a negative antigen test for SARS-CoV-2 done on the same day, was not associated with an increase in COVID-19 infections.

The study was conducted by the Foundation against AIDS and Infectious Diseases of the University Hospital Germans Trias i Pujol in Badalona (Barcelona), and funded by Primavera Sound.

More on the concert study here.


Source: Pollstar


New Artist Spotlight: David Thompson Takes His Synth Pop Seriously With ‘The Wall’

The resurgence of indie synth pop in the late 00s and early 10s was sort of a breath of fresh air in a musical climate that prior to that had been pretty strictly divided between pop, EDM and Indie. Acts like M83, Cut/Copy, Hot Chip. Phantogram and even the Yeah Yeah Yeahs took the new synths and mods that had been developed for EDM and pop and ran with them. Moog was once again installed to its rightful place at the top of the synth Pantheon and it looked like the fusion of indie rock and EDM was going to blast off through the 2010s.

While the afore-mentioned bands are still around and making great stuff, indie synth pop sort of plateaued around 2010 and the scene split again or rather, a lot of the synth and electronic artists started working with pop music and indie rock, while more accepting of synth intervention, went back to analog somewhat. It seems the precedent was set, however, and it was only a matter of time before indie synth was back up and running. This year seems to be that time, and it makes sense when you think about it; pretty tough to get an entire orchestra into your shelter in place, whereas synths are portable and easily disinfectible.

Philadelphia artist David Thompson’s career has followed the trajectory of indie synth in terms of a timeline, although not necessarily the purpose. An installment on the Philly indie scene between 2012 and 2014 with his band Big Tusk, Thompson put away his synths to take up the human rights causes he’s passionate about in a more meaningful way. He founded the Philly Tenants Union and Philly Workers for Dignity in that time, working to help improve living and working conditions around his home city. He began releasing work again in 2017 with another local band and just recently went solo. His new EP The Wall is his second solo release.

Both Thompson’s human rights work and this EP were started before COVID hit, but now they have even more significance and are downright prophetic. Both tenants and workers need help more than ever with all the shutdown and housing crises, and similarly The Wall strikes a whole new tone with recent events. With its title track presumably about Trump’s failed xenophobic wall project and all the things it represents in the sociopolitical climate of the last four years, Thompson pulls no punches lyrically in this EP. It’s not subtle and it’s not meant to be. “Time” discusses the prison that is work-a-day life for many people while “This Goon Cant” “Clair” and “Obsession” are more personal but still hint at time lost because of the current times.

So with all those stark lyrics and messages, where’s the synth pop? Why, it’s right along with said lyrics. Channeling his inner Duran Duran, Kraftwerk and Cut/Copy, Thompson mushes the lyrics together with upbeat, complex and sometimes slightly eerie synth work. “Time” has a nostalgic “Girls on Film”-style beat but also channels Thompson’s other major musical influence, classical hymns. In fact, Thompson says most of the tracks on The Wall have classical influence to them but in “Time” it’s definitely front and center. As an avid choir participant, the church organ-like keys are a fun secondary melody in “Time” and they add a sort of goth Joy Division-like undertone.

Next up on the EP is the title track which arguably has the biggest contrast between lyrics and music. Almost unbearably cheerful the synths in “The Wall” screech away as the chorus literally talks about the “dirty work” of the wall. It’s likely meant to seem fake, strained and a bit fearful, just like the climate in the US ever since that wall was threatened. “The Goon Cant” was co-written by Michael Muller and has probably the most pensive musical work on The Wall. It’s lyrically the most introspective as well so it makes sense. Presumably about his own personal failings, there seems to also be a ting of politics there as well, as the lyrics conjure up thoughts about the dangers of demagoguery and the confusing legacy the Baby Boomers left for the younger generations.

Bringing up the rear on The Wall are two more personal tracks. “Clair” is a surprising 70s rock-style bop that conjures up Elvis Costello in general tone or even The Mamas and The Papas when it comes to synths. This track shows even more of Thompson’s compositional range, as he had TV Pole Shine‘s Howe Pearson on guitar and clearly designed the track around said extraordinary guitar work. Finally “Obsession” bounces right back to ultra-synth as it bops around some pretty dark lyrics about internet “stalking” and living in the past. The contrast is back and the music is meant to be futuristic as a commentary on the current state of human connection.

One almost feels guilty for dancing along to the infectiously poppy tracks on The Wall, but it’s quite clearly meant to be a danceable guilt trip. Or, if you’re a more glass half full type, perhaps it’s meant to remind us to dance and enjoy music, art and love even with everything that’s going on in the world and in our own hearts. We can still connect to ourselves, after all, and synth pop is a great way to get there. In the meantime, acts like David Thompson are contributing to indie synth pop 3.0 with clean, technically sound work and no matter what the point, we’re definitely here for it.

The Wall is out now and can be purchased on Bandcamp or streamed on Spotify.


GRiZ & Friends Announce Virtual Camp Kulabunga Retreat Coming Next Month

GRiZ presents his second virtual Camp Kulabunga, an online retreat set to take place next month over February 20-21.

The DJ/producer goes beyond the music, offering fans and friends a much needed “spiritual cleanse.” Camp Kulabunga provides a chance to connect and find a sense of community, self-empowerment, radical inclusion, and wellness. The immersive live stream will include workshops in creative writing, mindful movement, holistic fitness, guided meditation and more.

Attendees can expect appearances from spiritual mindset coach Tori Washington, radical spiritual guide and dance expression specialist Sah D’Simone, spiritual mentor and yoga/mediation expert Samantha Mee, motivational keynote speaker and certified Alo Moves, fitness instructor Jacy Cunningham, and Wim Hof Method trainer Jesse Coomer.

The first IRL installment of Camp Kulabunga took place in 2018, cultivating a tight-knit community of 100 individuals through an intimate, sober and technology-free experience in Ortonville, Michigan. With the 2021 version taking place via Zoom, this opens new doors to accommodate all applicants coming in from around the world.

The two-day at-home retreat includes an air-mailed care package with exclusive weekend supplies to accompany you on your journey. Learn more and register here.


Photo: Carson Becker


3LAU Helps Battle Student Debt with $10,000 Scholarship via

3LAU is giving back along with‘s Year of Giving Campaign for 2021.

The organization dedicated to fighting student debt is honoring students with a $10,000 scholarship each month in collaboration with a public figure or brand. January marks 3LAU’s “Everything” scholarship, available for current and upcoming college students to apply before June 20, 2021.

As an entrepreneur and philanthropist, the DJ/producer finds it his overarching mission to positively impact others, as with his nonprofit Blume Records and other charitable initiatives. With this scholarship he’s encouraging creativity and making a real difference, while also promoting his upcoming single “Everything,” due out January 22nd.

3LAU shares via press release:

I’m thrilled to be the first partner for’s Year of Giving Campaign. The 3LAU ‘Everything’ Scholarship celebrates my upcoming new single, and it also marks a milestone on my 30th Birthday. Since entering the music industry, I have been committed to focusing my passion and success toward good causes — many times within education. This year, I’m asking that my fans come together; I want them to join me in contributing to the scholarship so we can award this incredible opportunity to someone who really needs it.

To be considered for The 3LAU “Everything” Scholarship, eligible applicants must create a profile and submit a short written answer along with a link to an original song, dance, or art piece that represents their everything. View scholarships here.


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Zedd Teases Virtual Riot Collab As VR Drops Throwback “True Color” Remix Demo

Virtual Riot has been going down memory lane on Twitter for at least the past few days, dropping demos as old as 10 years. (We really recommend digging into these). One of the demos he shared was remix test of “True Colors” by Zedd, delving into the glitchy side of bass music blending the German/Russian producer’s wonderful pop melodies with some more artificial sounds.

It wasn’t too long before someone asked, “Why haven’t Zedd and Virtual Riot worked together?” To which Zedd coyly replied, “Oh but we have” with a smirking face emoji.

If that isn’t clear enough confirmation for you, I’m not sure what could be.

The collaboration could end up on Zedd’s forthcoming third album, which he says was delayed due to the pandemic in a recent Reddit AMA. Other collaborations he’s teased include Curbi (confirmed), Martin Garrix, Charlie Puth, and maybe Illenium (though he wasn’t a fan of it at the time, it could be reworked).

Stay tuned for more info and maybe a preview of the collab this year!

Oh but we have 😏

— Zedd (@Zedd) January 11, 2021


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Sullivan King Reveals New Collaboration With Excision

Back in 2018, Excision released his fourth studio album, Apex. On it were two collaborations with Sullivan King, to date the only collaborations the producers have put out together.

That changes this year, as Sullivan King has just teased their third collaboration, tweeting out, “The vocals on this new song with @Excision are just” with three emotional emojis. (Is that redundant?) Their two previous works, “Wake Up” and “Fight Through The Pain,” painted two very different pictures of the artists with the former being a very melodic bass number and the latter coming through as an absolute banger.

We’re excited to hear what direction the two go in on this collaboration, so stay tuned for more info and possible teasers!

The vocals on this new song with @Excision are just 🥺🥺🥺

— Sully – DARK LOVE OUT NOW🖤 (@SullivanKing) January 12, 2021


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Your EDM Premiere: Shurland Ayers – Stuck In Ya Wayz

With the turn of the new year, thus brings a welcomed wave of fresh new talent. Through a barrage of political developments, economical fluctuations, and a general social volatility, the world’s balance seems to fall largely onto the shoulders of those we look to in times of real trouble; musicians. Tokyo-based Shurland Ayers touches down with everything we could’ve wanted in trying times like these.

With an eery inception, Shurland lifts off with a foundational cohesion of his experimental signature characteristics. Through a collectively-unique blend of his unapologetic vocals laced tightly with a fresh beat, this young maverick of a producer is absolutely on our list to pay close attention to this year. Absolute bliss.

Keep up to date and purchase this massive release here:


New Artist Spotlight: Lost American Is No Longer Lost With a Tongue-In-Cheek ‘Thank You Miss America”

Nashville musician Chris E. Kelly called his electro project Lost American because at the time, he was an expat in Spain, having wandered Europe and Asia for years. Now that he’s retuned to his hometown, it seems he may keep the moniker; it’s certainly a “lost” sort of time for America, after all.

Potential sociopolitical statement names aside, Kelly has fashioned Lost American to be a modern take on electro house with lots of synth, deadpan vocals and ravey collabs. Think Nashville’s answer to Roxy Music, The Pet Shop Boys and The Human League with a bit of German techno and Kaskade-style pop EDM thrown in, or maybe just a “Sirius” version of early 00s synth pop upstarts, Gil Mantera’s Party Dream. It’s international nostalgic, punchy and fun all at the same time.

Lost American’s most recent few tracks, despite all being unapologetically synth-heavy, vary quite a bit in both style and substance, especially when the remixes get involved. “Let’s Stay Outside” is a slow, thoughtful and ambient heart-clincher of a track whose original mix uses deep, industrial-style bass and future bass backing to lift the pensive vocals out of monotone and into the sublime. This track has two remixes and Kelly has certainly been smart to employ this tactic of remixing his work. The wide open composition and synthy nature of the original tracks really lend themselves to remixing, forcing the listener to hear the vocals differently and, not for nothing, expose it to a wider audience.

The first remix was done by Stash Konig, a breakout EDM artist who put a definite dancefloor spin on “Let’s Stay Outside” that certainly will catch the ear of the festival audience but at the same time really preserves the feeling of the original. The “tetraphobic” mix by Lee Groves follows the lines of the original but adds even more punchy deep bass and distortion to really squeeze down on the emotional feel of the track. All three mixes are technically masterful and perfectly evocative.

“Robot Spark” also has two mixes, with the remix being done by a Rauch von König, seemingly another name for Stash Konig (if the promo is anything to go by). This track is where the Roxy Music rubber really meets the vintage synth road, as with both mixes that sort of ennui-filled ambient work is paired with new wave-style keyboard melody. Von König stuck to the lines here this time, punching the track up with the 80s synths that match the fun, atomic age lyrics. Kelly made what he calls a mini documentary video for this track but it’s more like a cheeky director’s cut of the actual video, where Kelly explains everything that’s going on as images of his band flash in the background, he apparently gets sick at one point and he dances around like a GenX dad visiting the disco set of Trainspotting. Both versions are a lot of fun.

Bringing Lost American’s releases current to the day, he just released “Thank You Miss America” today and if you were wondering if we pulled that “America is lost” theory out of our altogether, wonder no more. Both video and song are heavily charged with political commentary and really can you blame Kelly? Imagine playing music abroad for almost 20 years and then coming back to this. Talk about culture shock.

Musically, “Thank You Miss America” is as close stylistically to Kelly’s own description of his recent work: “I”m calling it Southern Gothic electronic: a modern take on what triggers passions in the deep South.” Well said, as this track has that great call-and response vocal quality with drawn out vowels and high notes that are on the verge of a yodel. Despite there being lots of fancy instrumental work and electronic production in the background, one can feel the swamp of the deep South here.

There’s not much to say for the video other than “watch it,” but presumably Kelly made it before the events of January 6 so it’s eerily prophetic. Or some might hope it’s prophetic, that is, as at the end (spoiler), an animated Trump is jettisoned from the planet. Here’s hoping Kelly and his animator are psychic.

With an intensely diverse and open-minded style, an obvious mastery of production and songwriting and the wherewithal to work with some great remixers, it’s likely this won’t be the last the EDM world has seen of Lost American. In fact, the remix of “Thank You Miss America” isn’t out yet so suffice it to say we’ll have at least more thought-provoking banger on our hands shortly. Bridging genres, eras and literal oceans with his work, Lost American is far from lost, even in the current times.

All the tracks reviewed above are out now and can be streamed with lots of other Lost American tracks on Spotify. Check out Kelly’s YouTube channel as well, as there are interesting videos for almost every track he’s put out in the last year.


Oliver Heldens Delivers Outstanding Remix of Above & Beyond’s “Thing Called Love” [LISTEN]

Oliver Heldens transforms an Above & Beyond classic, “Thing Called Love,” into a dance floor burner that celebrates 20 years of Group Therapy.

The 2011 production featuring Richard Bedford became an instant fan favorite with its grand trance magnificence, and Heldens preserves that same momentous sound with his own interpretation. The result is a driving remix that boasts theatrical builds, ethereal synth work, and a pounding beat that hits you right in the chest. Matched with a familiar vocal performance, the Heldens remix comes across thoroughly complimentary and meant-to-be.

2021 marks the anniversary of Group Therapy, Above & Beyond’s iconic album that also delivered us with “Sun & Moon,” “Alchemy,” and “You Got To Go.” This is just one of several new remixes of classic Above & Beyond tracks to emerge as part of the 20 Years of Anjunabeats celebrations.

Heldens’ remix of “Thing Called Love” was debuted by the band during their Group Therapy 400 livestream last September — and it’s out now on their own label, Anjunabeats.

Listen here and feel the energy!

Above & Beyond – Thing Called Love (Oliver Heldens Remix)


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UPDATE: Joseph Capriati’s Injuries Are “Not Life-Threatening”

Joseph Capriati‘s management team has given a reassuring update following his recent hospitalization — he’s going to be ok.

The DJ was staying with his family in Caserta, Italy on Friday night when he got into a heated fight with his father, who reportedly grabbed a kitchen knife and stabbed Capriati in the chest. The wound affected his lungs, which could have been fatal, but his management followed up with good news.

The statement below via Parallel’s Facebook page reads:

Thank you all for the love you are showing to Joseph. Fans, colleagues, DJs and friends. We want to reassure you that Joseph’s injuries are not life-threatening and he sends you all a big and warm hug.

Capriati’s father, a 61-year-old with a clean record, was taken into custody for attempted murder of his 33-year-old son.

Vi ringraziamo di cuore per l’affetto che ci state dimostrando. Fan, colleghi e amici.

Ci teniamo a rassicurarvi che…

Posted by parallel on Saturday, January 9, 2021


Source: DJ Mag


Armin van Buuren reveals all-time A State Of Trance Top 1000 list

Today, less than two weeks before the broadcast of the hotly anticipated 1000th episode of A State Of Trance on January 21, Armin van Buuren has unveiled an incredible 950 tracks of the all-time A State Of Trance Top 1000. The Top 1000 list will also take center stage during a seven-day-long A State Of Trance Top 1000 stream that will start counting down to the milestone episode of Armin van Buuren’s weekly radio show when the broadcast of episode 999 ends on January 14 at 10 p.m. (CET).

Presented by Armin van Buuren, co-host Ruben de Ronde and monthly show resident Ferry Corsten, the A State of Trance Top 1000 stream will feature everything from ASOT year mixes, exclusive interviews and fan videos to the official countdown of the A State Of Trance Top 1000. This is a list of the most popular ASOT-played records of all time, based on the votes of the show’s fan base.

And then, when the countdown stream ends on Thursday, January 21, the time will have come to dive head first into the 1000th episode of A State Of Trance, live from the ASOT radio studio in Amsterdam. The broadcast will start three hours earlier than normal – at 5 p.m. instead of 8 p.m. (CET) – and will run through the final top 50 tracks of the A State Of Trance Top 1000. There will also be news concerning the upcoming ASOT 1000 celebrations.

Fans can follow the A State Of Trance Top 1000 stream and the 1000th episode live on A State Of Trance’s Twitch and YouTube channels. The first 950 records of the list (tracks 1000 to 51) can already be viewed and listened to below — over 24 hours of all-time trance classics.


Madeon To Headline Riot Games’ Digital Music Festival, wwFEST: VALORANT

Madeon will headline wwFest: VALORANT, Crown Channel and Riot Games’ experimental music and art festival. Set to air live Friday, January 15, 2021 on Crown Channel, YouTube, and Amazon Live, the first-of-its-kind festival will also include musical performances from ARMNHMR, Moore Kismet, Ookay (Live Set), and Whipped Cream, plus dance performances, contemporary street artists, and stunning lighting designs inspired by VALORANT, Riot’s competitive tactical shooter video game.

“When I first was told about the festival I was immediately attracted to the incorporation of music and gaming, two themes that have become so intertwined over the past decade,” said Madeon. “I am happy to be part of a festival that fosters the passions of multiple communities and that anyone can enjoy from the comfort and safety of their own home.”

The interactive festival experience inspired by VALORANT will capture the excitement of an in-person event with cutting-edge drone technology that gives viewers an immersive and interactive experience from the comfort of home. Unique drone feeds, each representing a different VALORANT agent, will allow viewers to create their own immersive festival experience. Live musical performances and active art installations will be filmed from the perspective of VALORANT agents Raze, Reyna, Phoenix, Killjoy, and Jett. Viewers will see a variety of expansive, close-up, and alternate angles during the on-stage performances, with each agent’s feed tailored to reflect their individual attitude, culture, and style. Meanwhile, the main feed at will spotlight the most exciting and beautiful moments throughout the festival, providing a comprehensive look at the day’s performances.

Viewers can become part of the show by submitting their VALORANT-inspired art, cosplay or photos using the wwFest Instagram lens with the #wwFestArt hashtag on Twitter or Instagram. These images will form a mosaic revealing the mystery sixth agent host, to be displayed on stage during wwFest. Fans who post their submissions by Jan. 13 will have the chance to win one of 60 posters signed by a wwFest performer. View full contest details here.

Check out the trailer below!


Photo via Jasmine Safaeian


NEW: deadmau5, BILLYTHEKID, TINK, Frozen Alive + More – Your EDM | Week In Music

The year is just beginning and many new artists are releasing their first singles and projects of the new year. deadmau5 is back with Wolfgang Gartner. Dillon Francis, Laxcity, and DNMO all recently released new singles. Meanwhile TINK, BILLYTHEKID, and Frozen Alive all released new EP’s. Sit back, relax or continue doing whatever you are doing and stream Your EDM | Week In Music below.

Release Spotlight

deadmau5 and Wolfgang Gartner join forces on ‘Channel 43’ which serves as the follow up to their 2012 collaboration ‘Channel 42.’ The epic 8-minute collaboration sonically brings you back into the early 2010’s.

Wildwest gunslinging themed DJ and producer BILLYTHEKID released his debut EP ‘Outlaw’ featuring the producer’s unique haunting and western themed take on bass music.

Frozen Alive dropped the ‘Absolute Zero’ EP on Recall Records with features from Zerrari on the lead single. The EP is packed with 5 records or pure alien sounding dubstep for all your head banging pleasures.

TINK releases his debut 3-track EP ‘Express & Destroy’ on Headbang Society. The project has no collaborations and is a grimy bass music fans dream. Bouncy trap rhythms and rolling baselines intertwined with hypnotic melodies and enchanting buildups are littered throughout the project.


Zeds Dead Hosting Deadbeats House Party Livestream Tonight [TUNE IN]

Zeds Dead is hosting a Deadbeats House Party tonight — and you’re invited!

On Friday, the producers teased the possibility of throwing down a house-centric stream on Twitch, and now it’s official. Tonight, we’re expecting the freshest in house music from Deadbeats artists and friends, and hoping for some classic ZD tunes like “Lost You” and “Collapse 2.0” in the mix.

Throughout the pandemic, Zeds Dead’s Deadbeats has been bringing electronic fans of all genres together for quality live streams. Most recently, DC and Hooks have been broadcasting installments of Deadbeats Radio via Twitch.

Tune in to the Deadbeats House Party at 9 PM EST / 6 PM PST, right here.

Deadbeats House Party


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A post shared by Zeds Dead (@zedsdead)


Galantis and JVKE Form Pop Bliss on “Dandelion”

Galantis don’t ever slow down. In the midst of a challenging year, the Swedish duo released their third studio album, shared three remixes, and crafted new non-album singles. From an unconventional collaboration with bass music kingpin NGHTMRE to spinning a DJ set for a virtual-prom livestream in promotion of the Ryan Murphy movie The Prom for Netflix, Galantis continue to find odd, yet engaging ways to push their sound and expand their audience.

Their latest single “Dandelion” follows this trend. Their latest collaborator is nineteen-year-old TikTok star JVKE. Since his track “Upside Down” first appeared on the social media app, JVKE has become the latest Internet sensation. Racking up over 20 million plays with his track “Upside Down” and snagging a Charlie Puth remix, JVKE is evidence of the growing influence TikTok is having over the music industry. This is what makes the new collaboration between the three surprising and logical. What started as a chance meeting on Instagram Live has now become a brand new pop track to kick off 2021.

“Dandelion” is an earworm. It kicks off with feminine vocals and bubbly lyrics. JVKE hops in with his breathy, sweet singing as the drum beat meets the soft, flowery melody. The track, which started as a JVKE demo shared with Galantis, has become a sugar rush of echoing whistles and bouncing timbre. Their chemistry is astounding showcasing the potential for this song to be a major facet in future Galantis sets.

Make sure to check out the new Galantis and JVKE song “Dandelion” out now everywhere as well as the new lyric video below.



Carl Cox Dropped A Drum & Bass Mix For NYE & It Actually Slaps

Carl Cox is one of the most preeminent house and techno DJs in the world, so when he dropped a drum & bass mix for New Year’s Eve on Eats Everything’s Edible Beats show, it was a stunning moment. Even more stunning was the fact that the mix was actually a banger.

Dropping everything from Netsky, Break, Friction, Enei, Commix, Shy FX, Breakage, and more, the tracklist showed that Carl definitely has some good taste, even if the pacing didn’t match normal D&B standards with only 17 tracks in the span of an hour. (A typical D&B DJ might go so high as 25-40.)

Still, the vibes are present and worth the listen. Check it out below!


KSHMR on Debut Album: “Maybe One of the Best Electronic Albums of All Time”

KSHMR is gearing up to release his debut album, which he is calling “one of the most ambitious, maybe even one of the best electronic albums of all time…”

KSHMR has undoubtedly pushed electronic music forward in amazing ways, but the statement is already getting the producer mixed reviews on Twitter. Some believe he has every right to be proud of his work, while others find the assertion less than humble.

The other half of the tweet is perhaps more difficult to digest: “I know it sounds crazy but I just can’t imagine anybody else taking you on a journey quite like this, or even trying.” The thought that other producers don’t “try” by his standards is not sitting quite right.

KSHMR eases with a follow-up tweet: “I think it’s best music I’ve made, maybe the best I can make. It took 2 yrs + now I’m that annoying parent who wants to tell everyone how great their kid is, I’ll calm down.”

Regardless on where anyone stands, KSHMR has us all talking about his debut album and now he has set the expectations remarkably high. We look forward to hearing what he has in store.

Read the conversation below.

My debut album is one of the most ambitious, maybe even one of the best electronic albums of all time…

I know it sounds crazy but I just can’t imagine anybody else taking you on a journey quite like this, or even trying

— KSHМR (@KSHMRmusic) January 8, 2021

With music, everyday you sit in a studio and hope it comes… and when everything clicks, you can’t help but marvel at it, not out of arrogance but because half of what you hear is a mystery to you as well

— KSHМR (@KSHMRmusic) January 8, 2021

Guys I’m very excited about this album, the internet hit me w a deserved humble stick so I’ll just say:

I think it’s best music I’ve made, maybe the best I can make. It took 2 yrs + now I’m that annoying parent who wants to tell everyone how great their kid is, I’ll calm down

— KSHМR (@KSHMRmusic) January 8, 2021

The problem is even comparing to Justice / Avicii, music lovers know they carve out a completely unique place in your heart – masters in what they do, not competing w anyone

What I attempted with this album almost drove me to insanity, but I did it. It carves out its own space

— KSHМR (@KSHMRmusic) January 8, 2021

ONE of the most ambitious I said… MAYBE ONE of the best…. honestly I’d never want to compete against Worlds

— KSHМR (@KSHMRmusic) January 8, 2021

Wow you’re so humble 😂 super excited to hear it though! 💪

— JΔY HΔRDWΔY (@jayhardway) January 8, 2021

hell yeah bro! OWN IT! you should absolutely think it’s the best. Anyone who thinks you’re being arrogant is scared to be confident. Can’t wait to hear man!

— Cheat Codes (@CheatCodesMusic) January 9, 2021

My debut album is one of the most ambitious, maybe even one of the best electronic albums of all time…

I know it sounds crazy but I just can’t imagine anybody else taking you on a journey quite like this, or even trying

— Vir✝️ual Rio✝️ (@Virtual_Riot) January 9, 2021

we all word things a little wrong every now and then but come on this kinda selfpraise literally does the opposite of hyping-up to me. happy he took the critique on it well tho lol

— SPAG DADDY (@SPAGHEDDY) January 9, 2021

— Exiled (@AldiMyk) January 9, 2021

id lie if i said i wont listen to the kshmr album once it comes out and perhaps there will be some actual hits on it if not the whole album, but him stating that its the "best electronic album ever" even before its out is wack and pretentious as fuck

— deadcrow (@devdcrow) January 9, 2021


100 gecs Remix “One Step Closer” For Hybrid Theory 20th Anniversary

Linkin Park’s seminal album Hybrid Theory released twenty years ago (technically twenty-one, now) in 2000, and the group put out a 20th Anniversary Edition of the album last year with reanimations from a number of artists. Even in 2021, they’re keeping the celebration going with an additional reanimation of “One Step Closer” from hyperpop experimental gods, 100 gecs.

The results bridge the gap between eras of musical revolution as 100 gecs—Dylan Brady and Laura Les—cook up an otherworldly interpretation of “One Step Closer,” which preserves the signature intensity of the original as it pushes into new territory altogether with gecs adding their own vocals in addition to production. As kindred spirits, Linkin Park set a precedent for genre-bending in 2000, and 100 gecs pick up this mantle and run with it in 2021.

“Part of the spirit of Reanimation was to take the Hybrid Theory songs that people knew so well, and let innovative artists flip them in ways nobody expected,” said Mike Shinoda of Linkin Park. “I think 100 gecs did exactly that.”

Check out the wholly unexpected reanimation below.