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G Jones caps off a stellar year with another new EP, “Illusory Tracks,” with Eprom & ISOxo

G Jones has always been one of the most technically impressive producers out there. Every time he releases a track or project, that notion is more and more heavily reinforced, especially with his most recent album, The Ineffable Truth, as well as his recent mixtape with Eprom, Disk Doctors.

This year, after taking a break during the pandemic with no releases since 2019, he’s put out five singles and two EPs, including today’s release of Illusory Tracks.

Featuring his collaborations with Eprom, “R.A.V.E.,” and ISOxo, “Say What,” the 6-track project breezes through different tempos. Things stay incredibly hype in the first half, then slowing down for “Patterns Emerge” and “Thought Tracing,” and finally bringing the energy back up for “Say What.”

Check out the new EP below!

 

Photo by Lauren Marrone

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ROSSY starts down the road to her debut EP with epic single, “KARMA” with Jazz Cartier

It’s been pretty amazing to see ROSSY’s come up. When we were first clued into her talent in 2020, she earned herself a spot on our Artists To Watch 2021 list, and she hasn’t disappointed. Prime festival slots, support for GRiZ at Another World a couple weeks ago, and some fire releases have proven she’s in it for the win, and with her first headline show in LA next month, it’s the perfect time to drop the first single from her debut EP, Heaven’s Door.

With the recent resurgence in creative trap, there couldn’t be a better time for ROSSY to go absolutely ham on her new single, “KARMA” with Jazz Cartier. The soaring synths and energetic drums are paired with a truly anthemic melody that you definitely need to listen to as loud as possible.

“I got connected with Jazz to work together on the track, which has been such a blessing,” says ROSSY. “I got the vocals back from him, and the phrase ‘come and tell me how you really feel’ really stuck out to me, especially as a woman in the industry who is constantly used to having to prove myself more than my male counterparts and have people doubt me behind my back. You know, ‘come say it to my face.’ From there, the name ‘Karma’ came to me—what goes around will always come back around. Overall, I love this track because it screams Rossy: Equal parts trap banger and melodic with a hint of fearlessness to it.”

Stay tuned for more singles from Heaven’s Door coming soon, but go listen to “KARMA” out now!

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San Pacho Drops Incredible EP, ‘As Long As We Got House’ [Terminal Underground]

San Pacho is becoming a staple name not only in Matroda’s Terminal Underground imprint, but in the tech house scene at large. Since the birth of the project in 2019, San Pacho has released songs on a variety of respected labels, such as Confession, Insomniac Records, Dim Mak, and UKF. His mesmerizing tracks have been supported by the likes of Tiësto, Diplo, David Guetta, Vintage Culture, Chris Lake and hundreds of other DJs.

Building off of this success, he’s now released his debut EP, ‘As Long As We Got House‘. The compilation features the recent house heaters of “Vale”, “Party People”, and global phenom “Amor”. Supplying the goods for his fanbase as usual, San Pacho also includes three brand new tracks on the EP that once again have us mesmerized. 

The title track kicks off the EP in perfect fashion, showcasing a rumbling bass line while a eccentric vocal sample drives over top. “If You Feel” seems to incorporate a disco-era sample meshed with a 2022 sound that yet another heater in the arsenal of San Pacho. “High Town” concludes the EP with uplifting melodies, a piano fueled banger that can’t help but make you want to get up and move.

“‘As Long As We Got House’ is my statement EP before starting my first ever official tour. The track listing includes my finest productions over the past months including new ones that have never been heard before. The title track is the statement for this whole EP that everything will be fine, as long as we got house music playing. I am also very excited to present my first merchandise coming with the EP which will surely get the fans excited. This is a turning point for me, as San Pacho, and for many new fans that will join the movement after the EP and the tour.” – San Pacho

Listen below!

 

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Martron Releases Releases The Serotonin Boosting ‘The Feeling’ & Exclusive Interview

It is always super satisfying when a track can grab you with its clean and impactful melodies and sound design. Such is the case with Martron’s latest smash, ‘The Feeling’. Lose yourself with a super fresh vocal topline, grooving layers of percussion and ear catching melody.

Martron (real name Marlon Nigro) born in New York and has already showed a musical ambition and talent from very young. Growing up a classically trained musician, Martron discovered his fondness for electronic music in his senior year of high school. Martron crafts a unique yet balanced blend in his music that combines his charming classical roots with his energetic electronic sound.

 

We had the chance to interview this promising producer and here is what he had to say.

Was it hard to come up with the premise for ‘The Feeling?’

Absolutely not. Although “The Feeling” has a bunch of layers, I’ve always wanted to write a song about what it felt like to be loved or in love and to share that with the world. The issue was that I was never able to come up with a track that perfectly described what I was trying to say. This track says everything I want to and more, I couldn’t be more proud of how it turned out.     

 Did you make what you thought you would, or did the track take on a life of its own and you ‘followed its lead?’

That’s a great question. Most of the time I never end up making what I thought I would and “The Feeling” is no exception. Once I got the chords down and started putting the vocal chops together, the rest of the writing felt like I was water skiing. I just went with the vibe.

Do you have more releases you plan to drop this year?

Oh yeah, I have a couple more singles planned and a remix that’s part of a massive package dropping soon. There might be some collabs dropping as well, can’t say with who yet but most of them are very close to ready.

Do you have a favorite genre you make?

Right now I have to say no, mainly because I like to stay versatile and write a bit of everything. I never wanna be limited to one genre, especially when so much of my growth has come from writing and listening to different types of music. I’ll have days for example when I hear something Chandler Leighton drops and go “Woah I wanna make something like that!”, only to then hear something Moore Kismet drops and go “Woah I wanna make something like that!”, only to then hear something So Dope drops and go “Woah I wanna make something like that!”, only to sit down and make something completely different from what I’ve heard that day! But as long as my sound is still present throughout the track, I’ll write whatever genre I’m feeling at the moment.    

Can you see yourself releasing an EP or album?

Without a doubt, I’ve always wanted to and intend on doing so. It just depends on the right tracks fitting together and the overall feeling I want the project to have. I’ve also been releasing my tracks independently for the most part and would love to put an EP/Album out on a label. Just the thought of having any of my dream labels’ logos on the artwork alone is so cool to me.  How long have you been making music for?

I’ve been making music my whole life. From obligatory childhood piano lessons to learning flute, then relearning piano, then writing classical music and then producing, it’s been a wild ride. This year marks 10 years of producing, it’s been a long and rewarding journey ever since I opened up Garageband back in 2012.

What are you excited about in regards to the future?

The biggest thing I’m excited for is my growth and where it leads me. Sometimes I look back at where I was a few years ago and go “holy shit!” After finding my sound and starting to take more care of myself physically and mentally, my music has sounded so much better and it gets better everyday. It’s even starting to get noticed by artists I’ve looked up to for years which is bonkers to me. Things just feel like they’re moving in the right direction and it’s only gonna get better from here.

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G Jones releases first single, “Operator,” from forthcoming new EP

‘Tis the season for new G Jones

Even though we just got a new EP from him a couple months ago, the next is already on the way with the official release of the first single, “Operator,” out today. A highlight of his 2022 genre-bending AV set performances, “Operator” is the most highly requested and anticipated single from G Jones since “In Your Head.”

“Operator has been one of my favorite songs to play in my sets over the past few years and I’m so happy it’s finally getting a proper release.” – G Jones

The song has gone by a lot of names since he’s been playing it out live in his sets, as G Jones himself poked a bit of fun at all the creative names it’s been given.

by the way, yes "Operator" is that tune some people have been calling "ray gun ID" or "zappy boi's delight" or "that one ID from remote transmissions"

— G JONES (@gjonesbass) August 24, 2022

Either way, it’s out now. Stay tuned for more singles from ILLUSORY TRACKS on the way.

 

Photo by Lauren Marrone

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Medications for “hearts”. According to the EP project, 10 billion rubles will be allocated from the budget

At the initiative of the “United Russia” the budget will provide additional funding for drugs for patients with cardiovascular diseases. It is planned to allocate 10 billion rubles for these purposes.

According to the head of the commission of “United Russia” in charge of health care, chief physician of the hospital in Kommunarka Denis Protsenko, this proposal of the party has already been supported by the Ministry of Health. “Our difficult meeting with cardiologists on the issues of preferential provision of drugs for patients suffering from cardiovascular diseases ended with more than just conversations. Thanks to the Ministry of Health, which supported the initiative of our commission and decided to include a line in the budget for additional funding for these patients in the amount of 10 billion rubles, — he said.

The doctor also recalled that one of the meetings concerned the execution of the President's instructions on the organization, issuance, home delivery of prescription drugs.

“The Commission prepared a letter and signed Andrey Turchaksent to the government. As a result, the issue of the delivery of prescription drugs was resolved, submitted to the State Duma, supported by the Health Committee, — added the head of the party health commission.

Selling prescription drugs online

Also in Moscow, Moscow and Belgorod regions in March 2023, it is planned to start remote sales of prescription drugs. The experiment will take place within the framework of the draft law on the online sale of prescription drugs, which was developed at the initiative of United Russia. Earlier, the commission of the Cabinet of Ministers supported the draft law on the online sale of prescription drugs developed at the initiative of the party. When they are delivered, the patient's identity will be checked against the data specified in the prescription. As Deputy Minister of Health Viktor Fisenko noted earlier, if the experiment yields positive results within a year, then the United Russia initiative will be abandoned. will be introduced on a permanent basis throughout Russia.

The sale of prescription drugs via the Internet was allowed during the pandemic until the end of 2020. “United Russia” repeatedly stated the need to make this opportunity indefinite. In particular, Secretary of the General Council of the party Andrei Turchak, during a discussion of the problem with relevant departments and experts, noted that restrictions can be lifted if there are no obvious obstacles. The proposal was supported by Roszdravnadzor. At the forum “Business Russia” On February 3, the party's initiative was supported by the President.

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Chris Costello Brings Back The Golden Era of EDM w/ Debut EP ‘We Could Be Together’

The rise of EDM in America, specifically the stadium sized progressive house sounds of Swedish House Mafia, Avicii, and Tiesto had an enormous impact on artists all over the world, one of them being LA -based artist, Chris Costello. Today, he makes his debut with an electrifying EP, ‘We Could Be Together‘.

Touching on these earlier influences, Costello beautifully blends pop vocals with euphoric arrangements. Each song feels like an anthem on its own. You can’t go wrong with any song on this EP, but our favorite has to be the opening track, “Out Of Time,” a song truly feels like it belongs on Ultra’s main stage.

Here’s what Chris had to say about it:

“I wanted to create an EP inspired by the ‘Golden Era of EDM.’”

Listen below!

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PREMIERE: 44 Ardent Drops Mesmerizing Single “intothedeep” via Mammal Sounds Records

Self describes as a “sonic journey through time and space“, 44 Ardent truly has a gift at creating cinematic soundscapes with intriguing arrangements that make for songs that will truly stand the test of time. We are so excited to premiere his latest single, “intothedeep,” the title track off the forthcoming EP slated to release in August, signed to Mammal Sounds Records.

“intothedeep is probably my favourite song on the whole record. I was a bit self-indulgent with the synths and the sound design on this one and didn’t hold back! – 44 Ardent

Yet again, 44 Ardent delivers a mesmerizing single, glistening with bright melodies and a mesmerizing groove that can’t help but leave you hooked the whole way through. 44 Ardent adds:

The song sort of sucks you right in with a wall of sound as soon as the drum fill hits and then it spits you back out for a little bit before a totally different wall of sound at the one-minute mark. I’ve mentioned previously that the EP is loosely themed around climate change. I suppose this is the “ocean” song. I can imagine it being played with a powerful stormy ocean in the background.” 

Listen below!

44 Ardent · intothedeep

 

 

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For mothers at work. EP proposes to increase benefits for female soldiers

“United Russia” proposes increased childcare allowances for female military personnel. This year alone, it will affect 32,000 women. The party submitted the appropriate amendments to the State Duma. 

The President of Russia instructed to regulate this issue by law. 

“Now female military personnel are not included in the system of compulsory social insurance, so the payment for care for a child under one and a half years old for them is 40% of the salary, but not more than 15 thousand rubles. At the same time, for women who are included in the insurance system, the upper limit of benefits is almost twice as high and amounts to just over 30 thousand. Our amendments will correct this injustice,” — said Secretary of the Party General Council Andrei Turchak. 

as members of the rank and file and commanding staff of the internal affairs bodies, the National Guard troops, the State Fire Service, employees of institutions and bodies of the penitentiary system, compulsory enforcement bodies of the Russian Federation, customs authorities and those on parental leave.

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Trucks from all over the country. EP opened a logistics center in the Belgorod region

Plot RF special operation in Donbass and Ukraine

June 14 United Russia opened a logistics center in the Belgorod region for the distribution of humanitarian cargo in the Kharkiv direction. Here, goods will be redistributed from the regional branches of the party.

Food, water, building materials, and basic necessities will be delivered to United Russia mobile aid centers, which will be opened in the liberated territories, said head of the Central Executive Committee of the party Alexander Sidyakin

“The first cargo will be sent today. Trucks come from all over the country. Today two trains arrived from the Lipetsk and Moscow regions, on the way — from Bryansk. Further, assistance will be distributed according to need among the residents of the liberated areas. After the start of the NWO, we organized this work through Rostov-on-Don, but since the geography of the liberated territories is expanding, United Russia opens two more logistics centers — in the Belgorod region and in the Crimea, in Armyansk», — he explained. 

As noted by the secretary of the Belgorod branch of “United Russia”, Governor Vyacheslav Gladkov, the opening of the — continuation of the party's systemic assistance to the people's republics. 

“This will allow us to more quickly respond to the problems raised by the leaders of the liberated territories. They ask for help. And from today it will be faster and better”, — he said. 

Comprehensive assistance for residents

«United Russia» from the first day of the special operation, it has been providing comprehensive assistance to the evacuated residents of Donbass, as well as to those who remained in the LDNR and in the liberated territories. Regional branches of the party have already delivered more than 9 thousand tons of humanitarian cargo to the people's republics, of which more than 300 tons of medicines. 

There are 17 United Russia humanitarian centers on the territory of the LDNR and the liberated territories, 9 of them — in Mariupol. The first and largest help center was opened on March 24 in the former Metro supermarket. in Mariupol. The work of the field kitchen, the distribution of SIM cards and the provision of medical assistance, as well as assistance in finding missing relatives, are organized here. Doctors, psychologists, social service specialists and employment services are working so that people can get a job, a children's room and a pharmacy. The same party center for humanitarian aid began to work in Popasna. 

The United Russia Humanitarian Center, opened in Kherson, has been operating since the beginning of June. During this time, more than 90 tons of food packages, hygiene products, baby food, diapers, medicines and much more have already been distributed. More than 8,000 people have already turned to the center in Kherson for help. Volunteers of the center deliver food packages to the settlements of the Kherson region with the assistance of the Russian military and the National Guard.

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Dream Tonic Drops Ethereal Downtempo / Electronic Inspired ‘Essence’ EP

Dream Tonic (Kristin Allen-Farmer) is a San Diego based singer, songwriter, multi-instrumentalist and music producer. In addition to performing and recording, she writes music for film and TV, with her latest tracks being featured in the new Star Wars Galactic Starcruiser Adventure hotel at Disney World! She pairs a lifetime of being a classically trained pianist with her love of electronic dance music and the result is incredible.

Kristin is also a member of the Class of 808, an elite squad of EDM producers who release music under the Producer Dojo label, founded by prestigious bass music pioneer, ill.Gates. Out today is Dream Tonic’s brand new EP, ‘Essence‘, signed to Producer Dojo. It’s a downtempo masterpiece, delivering a sensational ride you don’t want to get off of.

“Spark” kicks off the EP in cinematic fashion as sustained piano chords help set the mood and platform the vocal work from Kristin. “Loving’s Coming Down On Me” follows, with blissful melodies and a driving back beat co-produced by Ill Gates. “Step Inside My Mind” is sheer beauty, perfectly balancing breathy vocals with a downtempo beat that feels reminiscent of Beach House.

“Stranded” is sonic ear candy, as various effects play on Kristin’s vocals and the synths that pulse in and out. Hello Ego’s remix to “Promise Of A Day” caps off the EP wonderfully, injecting a smooth experimental bass groove that exudes a trippy nature, giving the feeling of something that could really go off at a festival.

“Story around the song: Although this entire EP has songs of darkness intermingled with hope, there is one particular song – “Spark” – that stands out to me. When I wrote Spark, I was in the middle of going through a very dark time. I had recently lost a person that I loved very much in a sudden and unexpected way. I felt like I was living in a black hole with no way out. Then I remembered that there are people around me who love me, who are still living, and that they need me to emerge, to come out and be my fullest, truest self. This song is a testament to anyone who loves someone and serves as their mirror, reminding them of the fullness of their beauty and potential when they can’t remember it themselves. “ – Dream Tonic

Listen below!

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EP has prepared a draft on the protection of military payments from write-offs for debts

“United Russia” plans to introduce a new amendment to the State Duma, which provides for the protection of combat payments to military personnel from write-offs for debts, Secretary of the Party General Council Andrey Turchak said in an interview with RIA Novosti.

According to him, United Russia intends to amend this week. The party also analyzes the support measures taken by the regions at the level of subject laws.

Earlier it was reported that the deputies of the United Russia faction introduced amendments to the State Duma, according to which the children of war veterans can apply for preferential places in universities. We are talking about military children who died while performing combat missions outside of Russia or became disabled.

The party proposed to allocate a special 10% quota, within which there will be a separate competition. These children will be able to enter many universities without entrance examinations.

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EP proposed to introduce a quota in universities for children of fallen veterans

EP proposed to give every tenth budget place in universities to the children of fallen veterans. This is a special quota for the children of veterans who died while performing combat missions outside the country, who received a disability or were awarded the title of Hero of Russia

“United Russia” proposed to expand the quota of budget places in universities for preferential admission of children of war veterans. This was announced by the Secretary of the General Council of the party Andrei Turchak.

“We propose to allocate a special ten percent quota in universities. Within the framework of such a quota, there will be a separate competition, and children will be able to enter most universities without entrance examinations, — he said.

The special quota will include the children of veterans who died while performing combat missions outside of Russia, who received disabilities or were awarded the title of Hero of Russia.

At the same time, the current admission quota (10%) provided for privileged categories of citizens will include the children of all veterans who took part in hostilities in other countries.

To those children who want to “follow in the footsteps of military parents”, it is proposed to give the right to enter military universities based only on the results of the exam.

Turchak asked the faction of “United Russia” in the State Duma to ensure the speedy adoption of the amendments so that they come into force as early as 2022.

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At the end of March, Russian President Vladimir Putin signed a law on assignment to participants in a special operation in Ukraine combat veteran status. Amendments are made to the law “On Veterans”, it was supplemented with the provision: “Performance of tasks during a special military operation in the territories of Ukraine, the Donetsk People's Republic and the Lugansk People's Republic: from February 24, 2022.”

According to the speaker of the State Duma Vyacheslav Volodin, the new status will give the participants of the special operation the right to receive tax, transport and housing and land benefits, as well as pay utility bills on special terms. Privileges will also be given to citizens who became disabled in the course of participating in hostilities.

Previously, participants in military operations in Afghanistan, Chechnya and Syria were considered veterans of hostilities in Russia.

Putin also promised to transfer insurance coverage and one-time benefits in the amount of 7.4 million rubles, as well as a lump-sum payment— 5 million rubles

The wounded participants of the special operation were promised a one-time payment of 3 million rubles, and if they were found unfit for military service, they would add another 2.9 million rubles to the amount. Anyone who has been diagnosed with a disability is entitled to monthly compensation.

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Klasey Jones & The Wildcatz Collab On Electrifying 5-Track EP ‘Operation Midnight (Part 2)’ EP

A producer, DJ and sound designer based in Essex, Klasey Jones has always been inspired by his love of video games and soundtrack music – everything from Sony’s The Last Of Us series to GTA Vice City. Meticulous in learning the ropes of sound design, developing a rich, deeply idiosyncratic sound palette all of his own in the process, his hours behind the boards have – up to this point – often done much of his talking for him. Ethereal by design but also intensely visual, his music rapidly won fans from across the wave, trap and instrumental grime communities, spawning a series of further projects, including a raft of singles and two full-length, self-released albums; 2017’s ‘Eleven’ and 2019’s ‘Voodoo Estate’. The response to both was fevered. 

The Wildcatz are two of the four former members of the group True Tiger. Just a few of their accomplishments include world premieres on some of the biggest electronic radio shows at the time, BBC Radio 1 and 1 Xtra. They’ve worked with the likes of P Money, Big Narstie, Riz MC and have even done an official dubstep remix of Snoop Dogg.

Now, these two talented artists have come together for what is an electrifying, cinematic 5-track EP titled ‘Operation Midnight (Part 2)’. Their chemistry together is undeniable, seamlessly capturing this movie/video-game-esque vibe while also infusing enormous creativity at every turn to keep you glued to the speakers, enticed as to what will come next. “Trojan Horse” is a great example of this, shaking up expectations with a cinematically-infused drum and bass tune, as Sooski’s vocals glide overtop wonderfully.

“Diego’s Theme” really highlights the talent of both Jones and The Wildcatz. It’s another impressively innovative song that somehow goes from trap to house and you barely have time to think about it because it’s done so well.

You cannot go wrong with any song on this EP, as Klasey Jones & The Wildcatz truly struck gold on this. Check it out below!

 

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Swerve Collective Creations Reveal New ‘Swerve Miami Sampler ’22’ EP

Whether showcasing music from founder Sean Danielczyk (Seanyy), or other talented artists, Swerve Collective Creations is a collective of labels, and a recently-launched Swerve Radio station. Giving up-and-coming artists the chance to shine, Swerve Collective Creations has already been receiving buzz from the electronic dance music (EDM) community.

Dropping just in time for Miami Music Week 2022 and the start of festival season comes the release of a highly-anticipated new EP, the ‘Swerve Miami Sampler ‘22’. Aitor Hertz kicks things off with a thundering dance track title “Come With Me” boasting hypnotic vocal samples and an infectious groove. “Let Me Be” follows as Bonkr takes things a little deeper, with a blissful tune that seems like the perfect pair to a Miami pool party.

Djobo and Hedclem come together for their euphoric single “Thinking About You“, so reminiscent of the glory prog house days and still sounds fresh to the ears. It feels like an anthem through and through. Jake & Alvar wrap up the EP with “Don’t Tell Me – That You’re Leaving“, a progressive track that will elevate listeners from the start with its stunning melodies, propelling vocals, and goosebumps-inducing drops.

All in all, the ‘Swerve Miami Sampler ‘22’ EP is a fantastic collage of 4 songs from a slew of incredibly talented artists. Listen for yourself below!

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Your EDM Q&A and Premiere: 1st Base Runner’s New EP ‘Ellis’ Is Upon Us [Video]

The love of modulators (of which all EDM fans should possess a bit), can take one down some interesting, not necessarily conventional musical rabbit holes. As the first purveyors of electronic sound as early as the 1920s, mods have been instrumental (pardon the pun) in creating all forms of electronic music, including EDM, right the way through to present time. That said, it’s not just EDM producers who are mod heads, and in fact, as EDM gets bigger, artists from all other genres, including indie rock are turning to mods to created unique yet recognizable electronic sounds for their own work. 1st Base Runner is one such indie artist.

The difference between how mods and electronica are used in the indie world now versus in previously (see: new wave, krautrock, et al.), is the electronic production is being integrated into the relative analog rock sounds more than ever before. Rather than being a side dish or an accompaniment, the mods and softwares that create the electronic indie rock are not only integrated but integral to the sound.

Having just signed to Universal for his distro, 1st Base Runner (1BR) is about to join an elite list of indie EDM and indie rock artists who’ve broken the mold and straddled multiple genres while creating a unique sound that will find fans on both sides of the electronica divide. With a Radiohead sensibility and a Venetian Snares-level mod ability, 1BR is heading into his next EP with collaborator former band mate and namesake of the project, Bryan Ellis focused on that unique sound and what it means both musically and personally.

It was only a matter of time, after following 1st Base Runner, given name Tim Husmann, before we would start scrambling to interview the Austin-based artist here at Your EDM, and it comes none too soon after the success and industry interest of his first album, Seven Years of Silence and before Ellis and his many other upcoming projects hit. Check out these words from the elusive and sometimes cryptic artist about his life, times and mods. Premiere of the single “Flux” off the upcoming EP follows interview.

Boiler plate questions first: why did you decide to quit working on other musicians’ tours and focus on your solo work?

There was a longing sense of self doubt I was unable to reconcile. In some ways it has always been easier to play a part.

What’s the significance of the name of the project, 1st Base Runner?

I think it addresses the elephant in the room: the longing to be made real. It’s also a play on my physical condition.

Your first album, Seven Years of Silence, seemed like there was a lot of emotional openness required and, despite having a lot of styles musically, its songs were unequivocally think/feel pieces. With Ellis, the work still seems emotive but it’s more sort of sweet and reflective, thematically. What kinds of emotions were you trying to connote on this EP versus Seven Years…?

Seven Years… was what I had to explore to become free again; a reclamation of sonic space of sorts. The Ellis EP was a collaborative effort with an old band mate from Austin, Bryan Ellis. It was a return to the origin, but through the lens of being once removed. The hope was to revisit the feeling of teenage longing, perhaps mixed with an adult notion of acceptance.

Speaking of differences between the two releases, while Seven Years… had a lot going on stylistically and each track seemed completely different from the last, Ellis feels more bound to a singular theme. What were the themes you were going for this time?

Yes. Seven Years… was more about standing up in the sunlight after being caked in mud. About owning the fluctuations and still being okay with them in the mirror. Ellis is an attempt at reconciliation and finding meaning in earlier life; while trying to exist in a singular world.

You’ve just released a performance video for a one-off single, a cover of “Rabbit In Your Headlights” by Thom Yorke’s UNKLE project, a version one could actually call a remix since you’ve basically re-written the song with mods. You did a similar format with your cover/remix of “A Hymn” by IDLES. What do you enjoy about remixing indie tracks like this with mods?

Ownership. It’s not a proper cover if it is done through the same lens. It has to be made whole and different in its own right.

What do you enjoy most about the podcast-style performance videos? Is there a specific reason you enjoy them for your cover/remix tracks?

I find them to be quite awkward, but to be real, we all have to exist somewhere. To be made real is to be laid bare. There is a feeling I appreciate in each of them.

You’ve made it pretty clear that you’re a mod guy on your Instagram and elsewhere, and you’ve exhibited a number of your builds. What do you enjoy about them and how do you feel they help you express your style?

They lend a depth and a nod to other artists I truly appreciate. People that have forced me to think and feel.

Did the desire to focus on modulators influence your decision to move away from touring so much?

No, touring is a necessity. I have been in the throes of assembling a live band for a few months. Really hoping the lineup will be completed soon. Music has to be accessible in real life. Although I may naturally prefer to be a hermit.

In terms of style, there’s a lot of artists one could name that appear to have influenced you, but which artists do you think most helped craft your musical consciousness?

I think there are lots of references available here, everything from the Louvin Brothers to Tones On Tail. I am wanting to convey a mood more than a style. Anything that creates a feeling, good or bad, is still relevant in my world. I think my musical consciousness was crafted by life experiences lived. I tend to seek out feelings across all genres. Sometimes those feeling align with where I am at in life.

In terms of the videos released so far that aren’t performance or one-cam studio based, it seems you’ve got a pretty specific aesthetic in mind that seems to blend well with your sound. How did you find these directors and do you plan to have a similar aesthetic in the future?

I had the good fortune of meeting Dilly Gent (former creative director for Radiohead), because my partner Lisa had a dream indicating she should call her. A creative director is a bit like a wizard pulling levers behind the curtain. Dilly has a deep understanding of the 1BR project as a whole and puts a lot of thought into which director would be the best fit for my music videos.

Dilly set me up with Matt Mahurin for “Break Even” and “Only One” and we really clicked. Matt’s a bit of a creative savant and a highly respected photographer, artist, director and teacher. He literally makes all the props (you see in the videos) by hand. He brought in a really talented child actor to play me in “Break Even,” which is about my being in a car wreck on Christmas Eve just shy of my 6th birthday. These are dark topics but life is messy. Overcoming challenges is messy too, but it gives you grit, and Matt did a beautiful job of putting my origin story into artistic visual form. I think the aesthetic is both dark and hopeful, simultaneously.

Speaking of future, aside from the impending release of Ellis, what do you have coming up in terms of releases, videos or general developments?

Professionally, I’ve got two EPs coming up: Night Stalker, which is a four-track electronic recording with a dark stream of consciousness vibe, and Light Roars, a five-track “live” electronic full band project. I’ll be traveling to Montreal in January to have Light Roars mixed at Hotel 2 Tango, the famous analog recording studio. We recently signed to Universal as our distribution arm thanks to the help of Rob Gordon. Live shows will be announced early 2022. Other than that, I recently had the good fortune of acquiring an ondes Martenot, (an early electronic mod/keyboard invented in 1928).

Ellis will release in full on December 9. In the meantime, check out 1st Base Runner’s Seven Years of Silence LP on Bandcamp or Spotify and his other stark and beautiful videos on YouTube.

1ST BASE RUNNER · FLUX 48k – 24bit

Featured photo cred: Dilly Gent

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Bailo Drops Electrifying Single “EAGLE VZN” Off Forthcoming ‘Trapped Out II’ EP

When it comes to trap, BAILO is a household name. He’s paved his own lane in the industry, known for booming 808’s and electrifying arrangements that have earned him a massive global fanbase.

Last year, BAILO spearheaded the movement to bring back the original trap sound with the release of his Trapped Out EP via Slow Roast Records, garnering support from heavy-hitters like Zeds Dead, Alison Wonderland, What So Not, GTA, and Clozee. 

The movement continues with “EAGLE VZN,” where listeners can bask in the nostalgia of BAILO’s tried and true sound, embellished with modern production techniques. You can’t help but be hooked instantly as rhythmic synths loop hypnotically, building into a thunderous drop that hits just as hard in your home speakers as it would live. 

BAILO continues to amaze us with his versatility and talent in the studio and we cannot wait to hear his forthcoming ‘Trapped Out II’ EP! Listen to “EAGLE VZN” below.

 

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Your EDM Interview: Darkwave/IDM Artist She’s Excited! Talks Art, COVID and the ‘Shock Therapy’ that Got Her Through Lockdown

It’s not often that Your EDM highlights a new(er)artist with an interview, but with the level or creativity going on in musician, producer and art collective show runner Anne Wichmann’s world, it seemed warranted. It would seem Wichmann named her new project “She’s Excited!” because, well, she it. Brimming with exclamation points and ideas, Wichmann is deep in the audio/visual, VR and AR and alt electronica music worlds after having moved to Brooklyn.

With her new EP, Shock Therapy, her prominent XRE (Extended Reality Ensemble) collective spearheading VR and AR installations at multiple festivals around New York City this year and her ongoing musical collaborations, Richmann has enough energy and collaborative strength to bring the more indie forms of electronic music into the spotlight. The darkwave and IDM-laced Shock Therapy is heavy, futuristic and full of collaborations including both remixes and a “visual EP” on YouTube which also makes it an art installation. Inspired by the apocalyptic energy of the COVID lockdown in New York City in 2020, the EP is a snapshot of what Richmann can accomplish and, potentially, where IDM and augmented reality art are headed next.

Given the size of the waves Richmann, She’s Excited! and XRE have already been making, it seemed only logical that Your EDM hand over the reins to this one-woman multimedia experience (with some well-placed questions) to find out what inspires her, how she inspires others in the art and music world and what’s next for her, because it could very well also be what’s next in IDM and VR art as a whole. Buckle up and get excited!

How did you come up with the idea for this new EP, Shock Therapy?

She’s Excited! is a one-woman-show, and it is really nice to work alone, but I also truly love collaborating with other artists. I am so lucky to already have worked with amazing remixers for my past releases. On top of that, I have a passion for visual arts. In November 2020, I was so lucky that the artist collective that I co-founded called XRE (Extended Reality Ensemble) could co-curate the Creative Code Festival in New York. The main curators were Never Knows Better and Creative Code Art. They brought amazing visual pieces into Lightbox NYC, and that gave me the idea to extend my next EP from being an audio album to becoming an audio visual EP. I thought: Why not team up each music track – originals and remixes – with one visual artist and create a unique piece of art that way? This is how I got inspired to realize the concept of “Shock Therapy”.

In terms of influences, you’ve named David Bowie and Bjork but also Billie Eilish. There also seems to be a pretty strong Nina Hagen current running through your work. How do you think all these influences culminate in your own musical style?

Ooh, Nina Hagen! Nobody ever mentioned her when it comes to my music yet, I am honored! My biggest take-away from Björk is something she said in an interview once that for every new project, she goes deep inside and explores where she is at right now as a way to not simply repeat what she always did.

I think David Bowie did that, too but what mostly influences me when it comes to his music is his vocal styles and the songwriting. Bowie showed me as a kid that singing can be so many things. And it rocked my world to hear him express his emotions in his vocals so intensely. It did not even matter if I understood the lyrics or not.

And then of course I get inspired by sounds and breaks and builds of amazing musicians, songwriters, producers and singers. When writing and producing myself, I never intellectually think about those things, but of course they shine through.

Speaking to your own varied tastes, what sort of vibes are you trying to put out with this diverse palette of sounds in Shock Therapy?

I want to put out the positive energy that I am lucky to have, vibes that encourage growth and courage and strength. My psyche is not an easy one. Already as I child I suffered from depression which turned into huge anxiety attacks after my mother suddenly died. Music always helped me to handle that. Fear never limited me. I was never ready to settle for the darkness. Throughout the years with a lot of work and practice, I was able to get rid of these fears and panic attacks. The good news is If I can do this, everybody can! Fear and depression cannot be overcome by ignoring them.

My music is dark because darkness is a part of everyone’s life. Anxiety itself is not the problem. To be afraid of the fear and the darkness is the problem. In my music, I want to embrace the dark side, open up a portal to the bright side and through this process make space for the two opposites. They belong together. With my music I want to make space for healing and start a dialogue about difficult topics. Genre is not important when it comes to art. The intention is.

Speaking of feelings and mental health, you’ve said that Shock Therapy is an expression of emotions you felt during the 2020 lockdown in New York City. Do you think some of them were universal to what everyone was experiencing during lockdown or were there experiences specific to New York that may have been unique?

I think during that time – and still now – the whole world collective was confused and anxious. To a certain extent, the confusion is still going on. So yes, some of the emotions I felt during the NYC lockdown were and are pretty universal, but the situation here in New York was really extreme. The city was on the news not only in the US but in so many other countries, because it got hit so hard. So many people died, that they had to be buried temporarily in mass graves. We heard sirens passing by for 24/7, but all the other city noises were missing. New York, this absolutely crazy and buzzing city that never sleeps was silent. It was just the birds singing and the sirens howling. This felt like the apocalypse. It was really intense.

You’ve built a really strong visual component into this EP and you’ve tagged the YouTube videos as the “visual EP.” What did you want to convey with these visuals and how do you feel they reflect your style?

The only thing I did was to have a vision and follow it through. I teamed up the songs and remixes with visual artists. These decisions steered the work in a certain direction. When it comes to collaborating with other artists that I adore, I try to stay out of their process as much as I can. I usually have a lot of ideas, but in my experience you will get the best results if you give artists creative freedom.

Erin Wajufos decided to go for a “real music video” for “Add Clarity”. I totally love it. It reflects the vibe and the energy of the song in a very deep way and champions NYC as a protagonist. The other artists created mind blowing visuals. Intuitively they grasped the core of the music and visualized it in beautiful ways. You can hear and see the artists’ uniqueness in every  video. Despite the styles being different, we were able to create a beautiful concept album that really gels.

A unique feature of this EP is that you’ve featured the remixes along with the originals. How did that choice happen? How did you decide who to work with on each remix? Did you give them all carte blanche or was it more collaborative?

I love remixing myself, and I love hearing my songs remixed. It is such an exciting process! Very often remixes are not really recognized. To share the spotlight, I wanted them to be a part of the main release. I am a huge fan of all three remixers. Cameron Gary is a friend of mine, we have already worked together in the past, and I was really happy when he agreed to do a remix. I came across Trovarsi and Primitive Heart through the female:pressure network and had followed their work for a while. Last fall I summoned my courage and asked them if they would like to remix my tune and hey said yes! Since I was familiar with the work of all three artists, I gave them carte blanche. I love their skills and I wanted them to be able to use them in a free, playful and creative way.

Now the lockdown’s largely over, do you see Shock Therapy as more of a catharsis, or do you think it’s not over and it will continue to fuel your work?

Shock Therapy needed to happen. Music helps me to cope with things that I experience. It is not over in the sense that the pandemic is not over yet. And in the sense that I still enjoy playing the tracks live and I can share this music and these emotions with different people, they are still pretty real and valid. Additionally, I think the audio visual release is a beauty. It is timeless.

My next release will be quite different because I am different! The songs are lighter, a bit more colorful, and I am already in touch with some of the artists that I want to work with, which is a beautiful part of the creative process. All I can say at the moment is avatars will be in the mix!

Speak a little more about XRE collective, if you will. Can you elaborate on what you hope to achieve with it? Who’s involved and what types or projects are you all working on now? 

I co-founded XRE with my dear friend and colleague Clara Francesca, who is an amazing actress and poet. Right now we are spearheading the curation of the Ars Electronica Festival Garden NYC which will take place from September 8-12 in Culture Lab LIC in Queens. Ars Electronica is a very prestigious institution and we are stoked to work with them.

XRE has a bold vision of how to bring communities together in our new reality. Audiences became more separated by and during the pandemic. We want to bring these bubbles back together so we are working with artists with different cultural and social backgrounds. Audience accessibility is also very important to us. It is a big component of dismantling white supremacy in the age of COVID and racial injustice. To solve this problem, we’re bringing the audience as close as possible to our work, which, in turn, brings them closer to each other and themselves. If we, the creators, can be changed by our work, our audience can too. Together we can acknowledge the realities of life and the joy of diversity within it, rather than to ostracize one another for different perspectives. Thus, to really make the festival accessible, the entrance is free and people can donate if they can or want to.

Speaking of future work, is there anything you can talk about in terms of upcoming releases from She’s Excited!? Any more collabs with your remixers or artists in XRE?

With XRE we have a lot going on, as curators as well as artists. We just started to develop a new really big performance piece that will happen in both VR in live performance. We want to bring it to the Prague Quadrennial and to Japan.

For the Ars Electronica Festival Garden I teamed up with the amazing visual artist Ulisespal for our project “The Cube.” You will be able to see it online via streaming as well as in-person in NYC. It’s an audio reactive visual installation featuring two 15 minute music pieces that I created: soothing binaural beats layered with electronic music. The audience will be invited for 30 minutes every day to participate and send messages to the future audiences: I will record their voices, loop them, mix them and thus create a sound sculpture that will organically grow throughout the five days of the festival. The final version will then be featured on the XRE website.

And some wonderful gigs are coming up: I will perform as She’s Excited! online at the MONDO NYC Festival in October, and I will play in-person at the DIGITALANALOG Festival in my hometown Munich in the same month I have not been in Germany for more than two years, and I am really excited to go back, see friends and family and play such an amazing festival.

My next EP has the working title “Year Of Sonder” and will hopefully be released in March 2022. For the visuals I will team up with artists that are friends and/or members of XRE, one of them in Japan, so that’s really exciting! If everything goes according to my vision, I will also work with some amazing poets for this release.

Shock Therapy is out now and can be streamed on Spotify along with the rest of the She’s Excited! catalog, but do take 20 minutes and watch the visual EP on the project’s YouTube channel as well; it’s worth it.

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Kaskade Finishes ‘Redux 005’ Strong with Brand New Single “Disco” [LISTEN]

Kaskade rounds out his stellar Redux 005 EP with its final production, “Disco.”

The five-track EP hosts a collection of smooth singles, each with a distinct, low key vibe to match Kaskade’s signature Redux vibrations. Previously released songs, “Where Did You Go,” “New James Dean” with Tishmal, “Hot Wheels” and “Hypnotized” are all in the mix.

“Disco” celebrates the classic era of dance with feel-good instrumental elements and a steady groove. Understated melodies are filtered and slowly brought in, adding movement throughout the production.

Kaskade shares a cheeky description of the release: “This EP will do your taxes, get you pregnant, make your bed and leave a green juice in the fridge for the morning.”

Listen here!

Kaskade – REDUX 005 EP

 

Photo via Rukes.com

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euphorian makes their Never Say Die debut with incredible “youth” EP

At the end of every year, Your EDM releases a list of 40 artists we believe will do great things in the following year. In 2020, we put euphorian on that list, and their debut EP on Never Say Die only serves to reinforce that our decision was 100% accurate.

Where to even begin with youth, the 6-track EP that dropped today on NSD. It’s bombastic, diverse, powerful, and perpetually interesting. It’s also a sound that we haven’t really heard on NSD apart from Moore Kismet, which is no coincidence as the two are friends and Moore actually designed euphorian’s new cover art and logo.

But that is not to say that euphorian was given special treatment — one listen to the EP will throw away all misconceptions of such as you intently listen to the bubbling synths, deep bass, and beautiful melodies on each of the tracks. Beginning with the dazzling chaos of “mentality” and ending with the opulent, refined songwriting and composition of “magic,” the entire EP is a polished and pure listening experience from start to finish.

Listen to youth below and don’t forget to follow euphorian!

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SNAILS Drops “Slime Zone,” The First Single From Upcoming ‘Slime Time 2’ EP

Having just released the inaugural Slime Time EP this past March, vomitstep producer SNAILS is already coming back with the sequel, dropping the first single, “Slime Zone,” yesterday.

It feels like all of SNAILS’ unique production methods are on display at once in this indomitable single, full of squelching bass and synths and with the producer’s intensely energetic rhythms.

The vocal introduction to the track describes “a new world, a new mind, a new show“… the last massive SNAILS tour saw an insane double-paned LED screen production, which mimicked a 3D effect in real life, so we can’t wait to see what he brings next.

Check out “Slime Zone” below!

 

Photo via Rukes.com

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Your EDM Q&A: ‘System Failure’ – Caspa Talks His New EP, Ghost Town and the Madness That Was 2020

With System Failure his first EP of 2021, dubstep Caspa seems to all about capturing the craziness that was 2020 while also looking to the future. The second offering on his new Ghost Town imprint, System Failure follows up the heady, surreal vibes of December’s Let’s Get Weird EP with minimal, no-nonsense beats and crashing bass drops.

Released just over a month ago, System Failure is already making waves, with EP tracks “Buffalo Bill” and “Cut That” among his top 10 most popular ever on Beatport. Now still tinkering with his new Ghost Town label and several other potential projects, Caspa’s just as focused as ever on the music and as excited as the rest of us to get back to the dance. Check out what he had to say about System Failure, Ghost Town and 2021 while listening to the exclusive full stream stream of “Cut That” below.

How did you come to the decision to strike out on your own with a new label and start Ghost Town?

I’ve been wanting to start a new label for a few years now and after doing an EP with Bassrush and successful branded nights in LA and Chicago,. It felt right to use the name to launch a new label. I wanted to build a new home and brand for my music and eventually all my back catalogue; I want to leave a legacy and this will be part of it.

What do you feel you’ll be looking for in terms of A&R with the new label?

As for now it’s just to release solely Caspa tracks, as I want that to be the foundation. However, I will be starting another side label later this year as there’s an abundance of talent and music around me. I’m good at picking out big tracks and identifying bangers and it’s time to use that knowledge for the next next!

You say your Let’s Get Weird EP was a response to the surreal quality of 2020 and System Error is about fighting back in 2021. How do you think that’s reflected in the music of the two EPs?

If you hear a track like “Sedated” from the ‘Let’s Get Weird’ EP or “Broken System” from ‘System Failure,’ I believe you can hear what I’m trying to say. I/ We are influenced by the environment we live in and this is just my self expression of that, if you look at my 2019 EP, ‘Psychotechnics,’ it carries a similar vibe.

“Babylon Bill” has a sort of wild-west-meets-digital-dystopia vibe. Did you want to lead with that track as a sort of nod to the times we’re living in and the idea that things are getting pretty wild out there?

It’s interesting that you say that, I feel many people might share the same view as you. I chose Babylon Bill as it’s an absolute stinking banger! And it says everything I need to say I feel. Definitely my favorite track on the EP. Think I’m going to write a VIP for it!

“Broken System” seems to be about exactly what the title is: the plodding along of a broken system that serves no one anymore but stays in place nonetheless. How did you get the sound to match that oppressive, ominous feeling?

I don’t know what you’re listening to, but I thought it was quite an uplifting EP! All jokes aside, it’s meant to be empowering. Progression not oppression! Yes, they all carry a theme and sometimes that can be interpreted as negative when it actually isn’t, maybe it’s just honest. It’s a heavy industrial style track but manages to keep that dubstep griminess. I’m all about that vibe!

There’s a sort of unhinged, experimental and minimal quality to a lot of these tracks. What was the thought process in having such a dichotomy of sound here?

I wanted to write something that just sounded huge on a massive sound system, as well as a phone speaker or in headphones. I wanted it to convey a real cinematic experience with that stripped back, early Dubstep sound.

Following the journey of the EP, it seems that “Cut That” is not so much an end but rather a beginning. Rallying against this System Failure to build a stronger vibe via a breach and reboot. What were you wanting to “cut out” from the system?

First off, all the tracks were written to mash up a dance floor and give people ‘Bass Face’ second there’s a lot of people out there talking rubbish and as my 2009 album title said – ‘Everybody’s talking, nobody’s listening.’ Fear can be a powerful tool. Anyone ever tried talking to you in the club while your trying to listen and enjoy the music; it’s for them ones too.

Despite being quite heavy and having doomsday vibes, the message with System Failure seems to be one of hope through music and creativity. Why do you think that’s such an important message right now?

I wouldn’t agree with the term ‘doomsday’ vibes, they’re just an expression of the energy that’s out there. Without the freedom of creativity we can’t be who we are. We’re here because we create. It would be like caging a bird or clipping its wings, it’s important that we all have this right because without it are we even human?

As things start to open up again in the UK, US and Europe, what are your thoughts about playing out again in terms of safety versus keeping the music alive? Is there a way to strike a balance?

If you put too much salt in the food, you ruin the meal, everything is balance – but let’s turn them bloody speakers on!

Any upcoming stuff you can talk about for yourself and the label in 2021?

Look out for new music material, live shows and a cheeky stream in the summer.

CASPAofficial · CASPA – CUT THAT

System Failure is out now on Caspa’s Ghost Town label and is available for purchase on Beatport or to Stream on Spotify and Soundcloud.

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HNTR Evokes Cyberspace with ‘Mind Games’ EP on His Label No Neon [LISTEN]

HNTR, the Toronto-based techno force previously known as Hunter Seigel, takes his technology-driven moniker to new heights with his latest EP. Mind Games and its accompanying crpytoart collection, the HNTR x No Neon Genesis Collection, marks the producer’s second major release following his 2020 endeavor, I Might Forgive, I Don’t Forget.

The release of the EP is prefaced by the debut of its leading singles, “Mind Games” and “The Odyssey.” “Inception” and “Infinity” round out the four-track album which features a variety of sounds, including swirling snyth lines and dark, industrial warehouse beats.

The theme of the album invites listeners to contemplate the digital world we live in. HNTR describes the project’s concept, saying:

In 2021 we live entirely in an alternate cyber reality, connected but disconnected. When making Mind Games, I wanted the EP to take you on a journey through our perception of our place in the universe as it relates to our association with technology. The vocals on each track and the accompanying melody are meant to tell a story of that journey from the beginning of the odyssey to the end of infinity. – HNTR

The NFT collection offers a visual experience to accompany the album’s leading tracks, “Mind Games” and “The Odyssey.” HNTR partnered with creatives at his No Neon label to create the works, which depict a man trapped in cyberspace.

Fall into the cyberspace with HNTR’s latest EP below.

HNTR – Mind Games EP

No Neon · HNTR – Mind Games EP [NNR009]

 Connect with HNTR

SoundCloud | Spotify | Facebook | TwitterInstagram

 

Photo credit: Jessie Walker

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BIJOU Talks Finding His Sound & New Night Bass Release, ‘187 Proof’ EP [INTERVIEW]

BIJOU makes his epic return to Night Bass with an explosive 3-track EP.

As a leader in the G-House movement, BIJOU has truly mastered his art, but he continues to push it forward — exemplified here by the sounds of 187 Proof EP. With every release, the producer consistently fuses his passion and appreciation for house and hip hop, and he expands once again.

Opener “Big Racks” is led by Buffalo rapper Elcamino, who commands the track in seemingly effortless fashion, as BIJOU’s production rides a signature trap melody before dropping into a menacing house groove. The producer’s work has become an outlet for championing underground talent like this, which he expands on in our exclusive interview with him below.

The second offering, “Zodiac” digs even deeper into that brooding energy, tapping vocal stylings of Sacramento rapper J. Sirus. BIJOU accents a gritty production with subtle risers and synth hits that build momentum throughout. The track dips into an atmospheric break before coming back for another round.

Closing out the EP, “Liquid Swords” switches up the disposition with Wu-Tang-inspired theatrics and a killer lead synth. Having kept this secret weapon on the down low for years, the production finally sees the light of day as an instant banger that screams Night Bass supreme.

Listen here, and check out our interview with BIJOU below. He discusses staying busy through quarantine, early inspirations, finding his distinct sound, and all things 187 Proof EP. Plus, what a BIJOU-run fest might sound like and if we’ll hear him spitting verses on future tracks. (Yes, please!)

BIJOU – 187 Proof EP

Stream/download: https://nightbass.ffm.to/187proof

First up, what has quarantine been like for you? What have you been up to?

I’ve actually been busier than I was before quarantine because I started a teaching academy called Homework Academy and we’ve taken on over 120 students at this point. So it’s all teaching production, been busy with that — so that’s a whole thing in itself. Then, I’ve been really dabbing into the workout stuff, because I was already into that before. And then, I’ve just been making a ton of music and really trying to dial in specifically on this, I wouldn’t say different style of g-house, but it’s a little bit different than what I was doing before — just expand on my sound more than I previously was.

Tell me about when you started the EP and how it came to be…

It’s funny, so “Liquid Swords,” the third track on it actually is almost two years old. I’m a HUGE Wu-Tang fan — I love East Coast rap, which also kinda touches on the Elcamino feature we’ll get into. And if you know anything about Wu-Tang, “Liquid Swords” was actually the name of the GZA’s album and they would sample a lot of stuff from old movies. There was a track in there where it had the sample, right — and I was like, well I don’t really want to sample Wu-Tang — so I literally found the actual movie it came from, then got a second sample. So there’s two different samples from Wu-Tang movies that are in that track.

Something I always like to do with EPs is have a diverse range of my sound in the EP itself. I don’t want every track to be the exact same. And I think as a producer overall that’s important. That moves into the Elcamino feature and I was just a fan to begin with. He’s heavy with the Griselda crew out of Buffalo, which to me in a sense — yeah, West Coast is my roots, but my dad is from upstate New York, an hour outside Buffalo. To me, it’s like going back to my roots, where I really came from. Without my dad, I wouldn’t be here. So, that’s been fun for sure.

Can you discuss some of your earliest influences in hip hop, and if you remember some memories around that time?

My earliest influences were definitely West Coast. I can literally remember the first time I was introduced to hip hop — I was in the little town of Globe, Arizona where my mom is from, at my aunt’s house. My cousins are all older than me, it was her side of the family — and my older cousins were like, “Hey check this guy out! This is rap music! This is Tupac! But don’t tell your mom about this.” And they showed me Tupac when I was like 5 years old.

I grew up on reggae and rock n roll because my dad was in the music business. From there, it kind of expanded because I’m the type of person where if I find one thing and I love it, I will dive into that and I’ll research every single little piece of it. Like an obsession. Hip hop, to me is like an obsession and that’s why it’s such a major part of my sound.

Let’s talk about dance music influences in the same way, take it way back…

The first thing I ever discovered was in 2009, it was Tiësto’s Power Mix. From there, it kind of evolved. Legends like Carl Cox, Stacey Pullen — the whole Detroit sound, like Kevin Saunderson — where dance music really came from. The roots of dance music and even before that. Hip hop culture definitely influenced dance music from the beginning as well.

So, when did it start coming together for you, to make hybrid of your own that sounds distinct?

Destructo was a huge influence on that. I heard “Rondo” by him back in the day, and that’s a Torren Foot track, from Australia. He played it at, I think it was HARD Day of the Dead and for so long I was like — Yo, how can I mesh house music and hip hop? Because I love both genres. And then I heard that and was like — Oh, they’re putting rap vocals on a house beat! That was 2012 I think? 2013, around then…

I don’t think it really came to fruition for me on the production side until maybe 2014 or 15 when I was like — ok, this is what I really want to do. Then, over time, I feel as a producer your sound evolves and I think it’s evolved into different parts of me as a person. A lot of what I’ll be listening to currently or what I’ve been listening to the last couple years is what will really influence my sound.

For example, J Sirus, the second track on the EP — I found one of his tracks on my Spotify Discover Weekly. I was like — Yo this dude’s really, really dope! I’m just gonna hit him up and see if he wants to do something. And I hit him up and he was super cool. Now we’re homies and we’re working on stuff.

I’ve been listening to a ton of BSF and Benny The Butcher and the whole Griselda crew — like Westside and Conway the Machine. So BSF is Benny’s label, it’s the Black Soprano Family, right — and Chase Fetti is on there, I have a couple tracks coming out with him. Both are gonna come out later this year, one is with Dr. Fresch. I have a track with Rick Hyde who they’re saying is next up in the BSF crew. For me, the reason that I think that I’m enjoying them so much is because they’re working with people like Jadakiss and Fat Joe and Raekwon and guys from the East Coast — from the East Coast hip hop that I love so much. So, it’s almost a fresh sound in a sense how they’re doing it, but it brings back that nostalgia of what hip hop used to be in the 90s. And that’s been really enjoyable for me as a listener — and the fact they’re from Buffalo is just a plus.

Let’s shift into the “Twitter drama” you got into saying, “EDM needs more hip hop influence and I’m gonna bring that to the table.” Can you expand on that a little bit?

In the tweet I wasn’t saying that I was ever the first one to do this. I respect every single person who has brought hip hop into dance music. I was just stating what I’m doing currently and what’s important to me. I’m trying to push the EDM/hip hop relationship forward and work with different underground rappers who normally wouldn’t be connected to dance music. That’s what really excites me as the producer and helps other artists to break out of their comfort zone. I just want to contribute to the extended history of people meshing the two genres together and presenting the best possible music I can.

Typically I don’t speak on things like this, I’m usually a pretty quiet person. There’s a lot of people who brought hip hop into dance music before me and I know that for sure. I don’t want to say too much on it — It’s just the way I was feeling at the time and it was just the way I expressed how I was feeling about my music.

Moving into the future, if we had a BIJOU festival — what would that be like? Half dance, half hip hop?

I’ll kind of let you in on something, right? So with my last album, in Phoenix we were gonna do Diamond City Fest…

OMG!

Yeah, so obviously we couldn’t do that because of COVID. We were planning it and it wasn’t going to be a huge thing. I was going to start it somewhat small and build it up. I want to showcase the sound that I’m really believing in and showcase my homies, and the people who I think are upcoming and the hip hop I really care about. So, I think it would be a mesh of the two. What I think would be really cool is find a way to bring that influence of hip hop and dance music into one — where rappers have their own sets and we get to bring out these crews, then the dance music artists who are working with rappers, they get to bring them out for the features and the tracks they’re on. I think that would be dope and fun!

The biggest thing for me has always been trying to expand the sound of music. It’s always been important to me to showcase up and coming artists as well. For example, I have this EP coming out on Night Bass and I’ve always been thankful for AC, because he really believed in me early on when my music wasn’t getting signed and nobody was believing in what I was doing. I was needing some support. Guys like him, Wax Motif and Fresch, I give a lot of credit to. Early on, they were showing me love and supporting — and that’s something I’ve always wanted to do and give back for younger artists as well.

Have you ever rapped on one of your tracks or do you have any desire to?

I haven’t rapped on one. That’s a great question, because I’ve never talked about it before. It’s something some of my peers have told me I should do. I can’t freestyle. I can write a little bit and it’s something I’m passionate about and I’m willing to try it. But, I have to figure out how I would do it.

In “One Life,” the song with Kaleena Zanders she literally forced me to go into the booth and sing on part of it and it’s actually in the song and it’s autotuned, but it’s tucked really, really deep. You can’t really hear it, but it’s there. That’s the only time my voice has been on a song.

I have a song with a friend of mine who goes by KIRA-X23 and she did the vocals on it and then I went in and did a bunch of hip hop ad libs and things of that sort. So, it’s a possibility and something that could happen, who knows?

Bringing it back to the EP, what does this release on Night Bass mean to you?

For me, it’s always special releasing with Night Bass just because they’re a label who believed in me from early on, like I was saying. Being such good friends with Aaron, it’s always fun and always a seamless process. He’s just a good dude — past the artist part, as a person, he’s a great guy so it’s always enjoyable to work with him.

The EP is something that I’m really digging into my sound in regards to G-House and going back to the roots of the sound in a sense with a little bit of new flavor. I think that’s important, because something that I think is so crucial as an artist is sticking to your roots. Evolving and expanding, but still knowing where you came from.

I really like how the EP progresses, opening up with “Big Racks,” into “Zodiac,” and then “Liquid Swords” goes off like crazy!

Yeah, it’s kind of how I build out my sets sometimes. I’ll come in hot, build it up and chill it out for a minute, and then we’ll end strong.

And it’s funny because “Big Racks” was actually the last one that I finished for the EP and it came together so quick. Because I hit up Elcamino — and was like, hey I wanna get some vocals — and they got done the next day, which is unheard of. It was for a different song and I was like — I think I’m gonna write something new around this, I have an idea. Then I wrote “Big Racks” and then sent it to Aaron and he was like — “Yeah, this is hot, I’m super in for this one.” He’s a fan of Elcamino, too. Him and I vibe on hip hop, we really like the same type of hip hop, so it’s cool.

Is there anything else you want to plug?

I just want to shout out to all the guys I’m working with — Rick, Chase, J Sirus, Elcamino, all the guys over there. Hezzy’s another guy who’s part of BSF. My whole team and then Night Bass — and just say thank you — because it’s dope that I can continue to push my sound.

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Marten Hørger Releases Explosive ‘Øut Øf The Wørld / All Aløne’ EP via Confession [LISTEN]

Marten Hørger blasts into the 2021 scene with his Øut Øf The Wørld / All Aløne EP, out now on Confession.

This instant staple showcases the producer’s expertise as he flexes on two distinct tracks. As different as they are, there’s an unspoken cohesion between the synth work and overall feel.

First up, the title track opens with a dark, theatrical mood, a ready synth and heavily reverberated chants. The production speeds up before landing onto its hook — “I’m ready to kick your ass out of the world.” Cue multi-dimensional bass house and go.

Next up, “All Aløne” drops a vibey, nostalgic dance groove which builds into a huge, booming eruption of four-on-the-floor bass. Meanwhile, the lead synth transforms, tightens and raves on. The playfulness with sound design here is a real pleasure as the carefully crafted sounds seem to dance around each other, each finding its own place in the mix.

Experience the latest from Marten Hørger here and link up with this fascinating talent below.

MARTEN HØRGER – ØUT ØF THE WØRLD / ALL ALØNE EP

MARTEN HØRGER · MARTEN HØRGER – ØUT ØF THE WØRLD / ALL ALØNE EP

Connect with Marten Hørger

SoundCloud | Spotify | YouTube
Facebook | Twitter | Instagram

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TroyBoi Reunites with Nina Sky for ‘V!BEZ, Vol. 4’ EP [LISTEN]

TroyBoi just hit us with his latest in his V!BEZ series, which features seven brand new productions including tracks with Nina Sky, Tropkillaz and Nefera.

V!BEZ, Vol. 4 is fueled by TroyBoi’s signature trap flavor fans have grown to love and respect, while mixing in experimental sounds and unexpected elements throughout. TroyBoi pushes his sound forward, maintaining a genuine, nostalgic feel alongside new perspectives.

“Bellz” starts off the EP with much drip, referencing Anita Ward’s 70’s classic “Ring My Bell.” Next up, TroyBoi reunites with Nina Sky for “Eyez On Me,” a strong follow up their 2015 collab with Diplo, “Afterhours.”

From there, a blazing Latin jam with Brazil’s Tropkillaz, “Corneta”; the official release of “On My Own” featuring Nefera; and three instrumentals, “Baby,” “Unstoppable,” and “Clear Waters.”

The V!BEZ, Vol. 4 EP is out now on TroyBoi’s own label, T Dot.

TroyBoi – V!BEZ, Vol. 4 EP

Stream/download: https://fanlink.to/VIBEZ-Vol4

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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!

JAXX DA FISHWORKS – 100 Percent

Stream/download: nightbass.ffm.to/100percent

Connect with JAXX DA FISHWORKS

SoundCloud | Spotify | Facebook | Twitter | Instagram

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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.

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Dillon Francis Teams Up with Drove for Feelsy House Track “Places” [LISTEN]

Dillon Francis has kept the music flowing throughout quarantine — perhaps a time when we need it most — and he’s carrying the trend into 2021 with a brand new collab.

“Places” delivers a production that hits right in the feels, with Francis on the assist for a newly formed project Drove. The house song is light and airy, with a bumping beat and timely lyrics, providing a reflection on where we are, but also an escape.

Dillon shares his candid thoughts on the track: “Since you can’t go places just sit in your room and listen to places and hope that soon we can all go places.” We can all relate.

Teaming up on the release, STMPD RCRDS continues the introduction of Drove. The trio consists of mega-talented Dutch producers and songwriters, Jelmer ten Hoeve, Eli Salomons and Teun Wouters. Their forthcoming EP release is meant to “drive around, to disconnect, feel good and dream away to.”

Listen here and enjoy the ride!

Drove & Dillon Francis – Places

 

Photo via Rukes.com

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Koelle Releases New 3 Track EP

Koelle is a name that is becoming more familiar to many as he continues his slew of releases on labels like Anjunadeep, Colorize, Songspire, Armanda and more. His newest release is a 3 track EP which takes its titles from the songs themselves.

The first song off the EP is “Dark Knight Of The Soul” – an emotional track highlighting Koelle’s ability to blend natural, organic sounds into something truly beautiful. The track is a collab between Koelle and Paul Brenning, the latter is a rising German producer.

Phoenix” is a dark and brooding house tune perfectly suited for deep contemplation or a nice drive.

The final track “Little Dreams” features Elli and focuses on Koelle’s unique attention to instrumentation. Keolle is a classically trained cellist – an instrument you’ll hear prominently featured alongside Elli’s sultry voice in this track.

Check out the full EP below:

KOELLE · Dark Knight Of The Soul / Phoenix / Little Dreams