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.
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.
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.”
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.
T & Sugah and Zazu’s imprint founded in 2016 has become known for its collabs and compilations. Since their Vol 1 multi-artist EP, High Tea have been helping create unusual mashups and melanges in drum & bass and bass music. Their second annual big boy compilation album Caffeine Rush is due out on Monday and features a seriously amped up lineup of artists and tracks.
With remixes by Dossa & Locuzzed and BLVCK CROWZ and lots of original tracks by up-and-comers like Blooom, Quoone and Papercut, this volume of the Caffiene Rush series focuses as, High Tea always does, on featuring next generation of big players in the bass game. One of the afore-mentioned up-and-comers on Caffeine Rush vol. 2 whose work has been attracting lots of attention lately is Psynchro. Having just come off their first big EP with Eatbrain, this trio seems to be catching the eye of a lot of labels, and our Your EDM premiere of their track “Binary” is an excellent example of why.
With their already characteristic snappy and steppy snares and whirlwind toms setting a solid base for the rest of the track, Psynchro play a lot with synth, melody and sound design in “Binary.” The main synth is an analog-inspired track that adds an interesting sort of crunchy, D&B-style timbre to a Moog-style tone that’s sort of in line with what Misanthrop did on his Analog LP last year. It’s unclear whether Psynchro have also used a load of vintage equipment for this track but either way it certainly captures that 80s synth nostalgia that is likely the track’s namesake. “Binary,” indeed.
On top of being a fun dancefloor stepper with lots of synth character, Psynchro have also done quite a lot with the ambient background to “Binary,” adding at least three extra layers of more liquid-style melody that start in the meat of the track and then carry the break into a completely different, sort of ambient zone. When the analog-like bass synth drops again, they incorporate these bits back into the track so that it sounds even more rich and textured than before.
It may sound like so many layers of melody plus a fast, steppy beat would make “Binary” a bit busy and crowded but it really does work as a composition and shows that while Psynchro are still working on their sound, they’re already very diverse and capable of complex composition. It’s a perfect fit for High Tea’s diverse roster and works on the dancefloor, as a chill listening piece or for the tech heads to bite into on the analysis tip.
Caffiene Rush vol. 2 drops on High Tea Music on Monday, June 15. Click here to pre-order or pre-save on multiple platforms.
Melbourne-based trio Stonefox continue to tease their forthcoming EP via Seeking Blue (MrSuicideSheep’s label) on “White Caps“, an uplifting electro-pop outing that’s out now! It comes on the heels of a pair of singles “Lightning” and “Time” which struck the perfect balance between moody and memorable, showcasing the band’s smooth production and emotionally honest lyricism.
Stonefox has created an addicting sound, somewhere between The XX and Daughter, and continue to display evocative style of delivery and production with their music. “White Caps” is no exception to the greatness we’ve heard from them so far and if anything, builds even more anticipation for their forthcoming EP.
Here’s what lead singer Jenna Russo had to say about the song:
“White Caps is about a relationship where you’re so infatuated with someone that no matter how much they could hurt you, you’re always going to be there for them. When we wrote White Caps, I was falling in love with a girl who had a boyfriend.
I did everything I possibly could to show her how I felt, but she had no idea. I was so enthralled, that even though I knew I’d probably get hurt, I wasn’t going to give up. Ironically things ended up great in the end, she’s my girlfriend now.“
The last 10 years have been a transformative time in the history of dance music. The advent of trap, big room house, riddim, future bass, and more, plus a wider selection of festivals presenting a wider range of communities and genres than ever before has launched our culture into the mainstream purview. That alone has brought its own pros and cons, but no one can contest that we’ve had some truly great music come out in the 2010s.
Yesterday, one of the culture’s most important EPs celebrated its 10th birthday. Ten years ago, Skrillex dropped his debut EP, My name Is Skrillex. Later that year he’d go on to release his Grammy-award winning EP Scary Monsters and Nice Sprites, but it was still this first EP that launched everything.
Songs like “WEEKENDS!!!” with Sirah and “With You Friends,” especially, offer a unique perspective into his first musical inspirations in electronic music. The EP also provides a crazy contrast to see how far he’s come since then.
Unfortunately, the EP still isn’t available on Spotify, but you can listen to it in full via SoundCloud below!
Effin just dropped his new Flashback EP on Never Say Die Records, and I’m unbelievably happy to be premiering “Rewind” from the project.
“Rewind” sets itself apart from the rest of the tracks on the EP with a much more electro-influenced groove and bounce. The first drop in particular is unique from so many dubstep tracks with its staccato, synth-pad build and heavy albeit fantastically bouncy rhythm. It’s made for jumping, headbanging, fist pumping, and whatever other physical manifestation of “FUCK YES!” that you can think of, and when you have something that can support so many different styles of expression, I think that’s pretty damn cool.
The second drop brings it back to a more traditional style of dubstep, but even then, the BPM is pumped up and you get a faster rhythm that’s going to lead to a lot more sore necks because of it — but we’re headbangers and that’s what we live for anyway.
Check out “Rewind” below and go here to listen to the full EP!
PRFCT Mandem are a Manchester UK-based duo who, while well-known in their hometown, hadn’t really broken through to mainstream D&B and bass music until Korsakov Music opened up their inbox to new talent for an upcoming compilation album. PRFCT Mandem stood out so much that they passed the line for the compilation and were signed to the label for several EPs. Per its title, Formation is the first of them.
The six-track mega EP is not only PRFCT Mandem’s first on Korsakov, it appears to be their first on any label (according to Beatport) so it’s doubly shocking that the duo’s sound is already so cohesive and well-designed. Korsakov Music has released a few tracks off the EP on YouTube thus far, including the steppy, dubby, neuro-tinged “Jungle Is Massive” and the even more neuro-heavy and ravey “Oscillation.”
These two tracks would lead the uninitiated to believe the duo are going to be mainly neurofunk with a twist of old school flavor, especially with the percusive, gatling gun-style synths that enhance their beats. Our Your EDM premiere today, however, shows that there’s more to PRFCT Mandem’s style. “Hit” is one of two halftime tracks on Formation and it’s probably the more purely halftime, as the halftimer “Generator” vacillates between halftime and D&B via a funky little snare. “Hit,” however, is all halftime and all heavy bass.
“Hit” is much more grounded in general bass music, though it still has that fun combination of brain-scrambling bass synths, cool, clicky non-snare snares and funky melodies and sound design. We’ll likely see these elements with PRFCT Mandem going forward as the Formation of their style continues. Sounds like it’ll be a fun ride.
Formation drops on Korsakov Music this Friday, June 5. Pre-order and pre-save here.
Croatian techno artist Walter Wayne has just released Twisted, the EP follow-up to his breakout debut album Synchronize. Extraordinarily, the two releases were pretty much back-to-back, with Twisted dropping just a month after its LP forebear. With another single on the way this Friday, it’s fair to say Wayne stands to be one of those prodigal artists who are able to release tracks at a dizzying pace while keeping the quality extremely high. With techno like this, however, no one will be complaining about keeping up.
While his Synchronize LP was concentrated on melody and ambient sound design, almost bordering on progressive house, Wayne has decided to take Twisted, well, twisted. Taking his style in an altogether different, dark techno direction, Wayne uses a number of techniques to get the sound he wants. Taking cues from legends like Kraftwerk, modern deep techno artists like Monq and even artists from other genres like Camo & Krooked and Misanthrop, Twisted uses various synths and programs to create lots of unique sounds.
Case in point: EP opener “Crows” starts out with a classic techno melody before launching into and combining with some of Wayne’s now characteristic progressive sounds found on Synchronize but it also uses some very ravey dark synths layered over top of a rather minimal, snare-heavy beat. The same track also incorporates some subtle vapor wave synths that subtly tie the more techno-style melodies together. “Crows” is a great example of the layering and composition that takes a fun, ravey EDM track to another, more complex level.
Listening to such complicated composition, one might think Wayne has classical training but in fact his background is in engineering. Just as good for techno, really, and it also explains the layering and sound design that went into Twisted. Another highlight where we can see this sound engineering is in the EP’s penultimate track, “Line 172.” Here, the synths border on experimental as Wayne plays with sinewaves in almost every bit of the track.
He also does this soundwave play in “Through the Night,” which, on the high registers, seems like a literal experiment where Wayne tried to see how high he could pitch the oscillator before it became intolerable. It seems he his just the right level, as the track is still highly danceable, deep and fun all at the same time.
With his upcoming single “Robot Dreams” due out this Friday, Wayne seems to be going even deeper and darker, with heavy bass throughout the track and a sick and “twisted” break that should make most heavy D&B and bass music producers shake in their collective boots. If Walter Wayne has anything to say about it, deep and dark techno will be making a comeback shortly if not now, bringing both a depth and skill level that rivals some of the best sound designers in the game.
The Synchronize LP and Twisted EP are available to stream of purchase on Beatport, Spotify, Apple Music and GooglePlay. “Robot Dreams” drops Friday, June 5 on Wayne’s SuperPosition label and can be pre-ordered on Beatport.
Moore Kismet is one of the most promising young artists putting music out right now. At just 15 years old, they’ve already begun to leave their mark on the electronic music community, and with every release, we see more and more what they are capable of.
Ahead of their newest EP coming out on Never Say Die, today they’re out with his new song “Flair,” dedicated to and featuring their mother. As a writer, I’m often afforded unique perspectives on the artists I write about, and I’m honored to say that I’ve spent time with both Moore Kismet and their mother. The love they share for each other is entirely undeniable, and a song dedicated to her was really only a matter of time.
Different than many of Moore’s past, harder singles, “Flair” is beautifully restrained and more melody-focused. Momma Kismet, who now has her own Spotify artist page, provides the vocal chops that Moore utilizes in the track. It’s dreamy and subtle, while still being powerful and meaningful.
Check out “Flair” below, out now on Never Say Die.
Black Tiger Sex Machine have been steady releasing singles since the end of 2019, beginning with “Let’s Get It,” all leading up to today, the release of their Futuristic Thriller EP. The EP was created in conjunction with their tour of the same name which began earlier this year and was unfortunately cut short due to COVID-19.
Six of the singles on the eight-track EP were previously released, with “Resistance” dropped as the final single along with the EP today, as well as the new track, “Nobody Wants You.”
The latter is a pounding electro track, reminiscent of names like Wolfgang Gartner, Mord Fustang, or even early Feed Me. The “futuristic thriller” ethos is present throughout, though, as BTSM put their own spin on the sound and bring it to the future while looking back toward the past for inspiration. The funky bassline paired with the Daft Punk-esque vocals and crunchy synths makes for an epic and fun tune.
But it’s really “Resistance,” the lead single on the project, that you should pay attention to. With Hairitage in the mix, it’s both the most on-brand lyrically and most boundary-pushing song for BTSM on the EP. In it, we hear the return of the epic modern talking synth with the emphatic YUH YUH YUH and we love to hear it! The first drop is straight up 2010-2012 dubstep vibes, minus the vocals, though they help to ground the trio’s ethos brilliantly. The second drop adds some more ethereal harmonies to the mix and elongated yuhs that do well to provide depth to the mix. It’s for sure one of my favorite releases of the year so far.
Not long after quarantine began, Chromeo started putting up funk-themed quarantine anthems on their Instagram. The infectious groove and obviously relevant content of the songs garnered the clips intense interest among existing fans and new ones alike.
Now, the duo is officially releasing all the songs made for fun as a full EP, plus instrumentals.
Song titles include such bops as “Clorox Wipe,” “Stay In Bed (And Do Nothing), and “‘Roni Got Me Stressed Out.” The full EP is out June 5.
Rich Delinquent is blazing a trail like no one else. We’ve provided extensive coverage of his previous singles, and most recently his incredible debut EP, ‘DM If You Need To‘. He brings immense talent to his productions and can literally do it all, from playing multiple instruments, to singing, songwriting, and doing the entire production. He’s truly a rising star.
His latest release sees him stripping down his ‘DM If You Need To‘ EP into what he’s dubbed the ‘Alt Sessions‘, showcasing beautifully stripped down versions of 3 of his popular songs. Replacing synths with plucked guitars, he transitions “It’s Cold Where I Come From” into an acoustic masterpiece really pulling out the emotion from the track. “Forget About Me” originally has hints of trap and this almost tangible aggression whereas in this alternative session he provides more of a soulful perspective with a sense of yearning in his voice. Lastly for this release Rich Delinquent trades the energetic version of “Death Drive” for more intimate tones, immersing you into emotion of the song.
It’s fascinating to hear these songs reimagined and stripped down, essentially showcasing just how good these songs at the core.
Stream Rich Delinquent’s ‘DM If You Need To (Alt Sessions)‘ EP below!
When it comes to featuring top talent, we can always count on RL Grime’s imprint Sable Valley to deliver. This next release invites Vancouver’s immensely talented DJ/producer Juelz for his label debut EP, ‘High Octane‘, that is true to the name and nothing short of spectacular.
Fusing sounds across the hip-hop and electronic spectrum, Juelz initially found success on his club hit “Cocaine” which led to collaborations with the likes of josh pan, Falcons, and Promnite. In 2018 he teamed up with bbno$ to release a collaborative EP titled ‘moneytalk‘, and in early 2019, he released his sophomore EP ‘Shanghai Nights‘ on Fool’s Gold Records. Needless to say, Juelz has been on an upwards trajectory for quite some time, and rightfully so landed his third EP with none other than Sable Valley.
The ‘High Octane‘ EP is a genre-transcending blend that offers a variety of sounds; the SSOS-assisted “Drive-By City” is a punishing tour-de-force, “Rendering” is a cinematic trap excursion, and closing cut “Ave Maria” offers etheric bliss. That all goes without mentioning standout singles “Defqon Bounce” and the RL Grime-assisted “Formula“.
We’re thrilled to premiere Juelz’s ‘High Octane’ EP for you here first, listen below!
GRiZ is back with another hard-hitting, genre-bending installment of Bangers!
Bangers.Zip is a testament to GRiZ’s distinct sound design and effortless ability to create certified bass anthems. The EP boasts 3 brand new tracks and special appearances from Live Band members ProbCause and ChrishiraPerrier.
Eclectic production shines throughout the EP, building from the jump with heavy dubstep heater “The Baddest” to the feel-good, vocal-driven “My Friends And I Pt. 3” and the wobbly, synth-stabbing “Spaceship Ride,” which fervently asks — “Won’t you take me to space?”
Each of these tracks have become staples in the producer’s high-energy live shows and instant fan favorites — but when it’s GRiZ we’re dealing with, every track feels like a fan favorite. Even with the world on lockdown, GRiZ is making the most of our current situation, bringing live shows to our living rooms at every opportunity.
Get down to Bangers.Zip here and get ready for more! We don’t expect GRiZ is letting up anytime soon.
Hex Cougar’s Under The Light Of A Dying Moon EP, released almost four months ago, now has a full-length short film to tell its story in an enthralling visual tale. While the EP clocks in at 22 minutes, the short-film is a mere 9-and-a-half, taking only the most important storytelling elements of each single and using them in the most effective way.
“With the Under The Light Of A Dying Moon EP, I really wanted to create a unique and in-depth world for my music to live in and for people to join me in,” says Hex Cougar. “This film encapsulating the full EP takes that idea a step further, illustrating a literal world that my characters journey through – in this case, it’s the story of one girl being chased by a mysterious dark force and how she overcomes it. It’s a story that I think most people can relate to: being haunted by your past and struggling to come to terms with it.”
The mysterious dark force appears in ephemeral ways throughout the film before our main character faces her demons directly. There are moments you’ll find yourself asking, “Did I really just see that?” Even in the beginning, little bits of foreshadowing tell of what she’ll be facing later. Shadows ebb and flow from the darkness, and her whole journey always seems like it has no end.
But of course, it finally does — and I almost expected Hex himself to be summoned at the end there. Check out the full video below.
The video arrives with no shortage of heavy-hitting talent. Coming courtesy of production houses FWD Future (Justin Bieber, Rufus Du Sol) and Void Productions (Goldenvoice, Insomniac, Interscope) and starring Sumi Oshima (So You Think You Can Dance, Justin Timberlake, Young Thug, A Tribe Called Quest) and Tim Neff (Westworld, The Irishman, American Horror Story, Post Malone, David Guetta), the project was also shot by three-time Emmy winning cinematographer Matthew Halla (Hasbro, Disney, Star Wars) and additionally produced with the help of Kurk Kasparian (Reese Witherspoon, Jennifer Lopez).
When it comes to KLOUD, he’s truly in a league of his own. If you’re not familiar, KLOUD is known for merging timeless electronic sounds with modern production elements; sonically inspired by darker techno/house, electro & analog synthesizers. His sound seems to blend elements of Justice, Oliver, Daft Punk, and Gesaffelstein into something truly unique and iconic.
Now, he’s back with his highly anticipated EP ‘Synthesize’ that’s nothing short of excellent. It is a smash of an EP, led by a haunting title track featuring vocal collective Nevve. The record is a four-song exhibition of gritty electronic music at its finest as “NUMB” and “INSANE” offer seething club cuts while “METAL LUNG” is a compelling, cinematic closer.
KLOUD is a genre-defying artist and continues to prove so with his music and this spectacular EP. Stream his ‘Synthesize’ EP below!
As he builds his discography, it seems Dutch producer ALSO enjoys bringing a bit of fun to his work, a’la Teddy Killerz or Mob Tactics. This translates to his collabs as well as all the elements of his releases. From hilarious tracks like “Booger Sugar” in the Ancient Radius project to album art to funny samples and excessive cowbell. The latter two elements are part of the new EP ALSO and High Maintenance are releasing this Friday on Korsakov Music. It’s not all fun and games, however, as Hypersonic still grinds and slaps with the best of them.
While ALSO is known for humor and deep bass, High Maintenance is increasingly gaining traction for both his mastery of synths, his clean, fast beats and near perfect snares. It’s thus pretty interesting to witness an EP collab like Hypersonic between the two producers as they appear to be on different sides of the spectrum. When done correctly, however, a collab like this can produce next-level results, which it’s definitely done here.
Hypersonic is a perfect melding of the two producers’ styles, with the heavy bass and neuro vibe coming largely from ALSO’s of the table and High Maintenance’s clean synths, cleaner beats and those beautiful snap snares pulling everything together. The title track adds ravey, cinematic melody to a heavy neuro register while the second track, “Party Every Day” lightens up the serious, Mizo-style neuro with a fun and silly vox sample that is the track’s namesake.
Finally there’s album closer and our Your EDM premiere for today, “Here We Go Again.” This track might be the best example of an ALSO and High Mainenance collab should sound like: neuro-styled synths and starburst snares with fun vocal samples and so much cowbell you’d think Will Ferrell and Chrisopher Walken where in the studio with them. The result is a fun, funky dancefloor blazer of a track whose roots are in good composition and sound design.
“Here We Go Agan” and indeed all of the tracks on Hypersonic are more complex and well-styled than meets the ear. This means the EP will have universal dancefloor appeal as well as getting a technical nod from the head-nodders. While it’s uncertain how many festivals will be open for this EP to be played, it’ll more certainly hit more than a few livestreams so fans can continue to “party every day” at home.
Hypersonic drops on Korsakov Music this Friday, May 1. Click here to pre-order, streaming platforms to be posted shortly.
“All In” enlists the vocal talent of Jimmy Levy who has worked with Nitti Gritti before. Setting the stage for an upcoming EP of the same name, “All In” is a blast of pop-oriented future bass. It kicks off with a two melodies from soft strokes on a xylophone and ephemeral chords of a piano. The piano switches to a muffled bass and Levy gently pierces through the sound with his heartfelt voice. As the instrumental and the Levy’s singing sonically swell together, the drop gently unwinds. There are these squeaky-pitched vocal chops and tranquil drums that capture an ethereal chillness.
With “All In”, Nitti Gritti has the ingredients of a powerful, pop-flavored bop added to his catalogue of mind-boggling, creative tunes. An upcoming, five-track EP will follow later this year and also feature songs that, in Nitti Gritti’s words, are influenced by Odesza, Flume, and Coldplay.
Make sure to check out “All In” by Nitti Gritti and featuring Jimmy Levy out now.
It’s been just a little over 6 years, nearly to the day, since Trivecta made his debut on Monstercat with “One Night Only.” In the time since, he’s shown his consistency in production and style, always pumping out quality music — but only ever singles. Until now.
Today, Trivecta releases his debut EP, Everyday, an ultimate culmination of everything he’s put into his project over the past six years and a tangible evolution in who he is as an artist. The four songs go quickly, but leave remarkable impressions.
First up after the intro is “Leave It All Behind” with Fagin, a folk/EDM crossover pioneered by Ophelia Records founder Seven Lions. Trivecta brings intense life and vivacity to the song, with soaring chords and beautiful melodies.
But it’s “Wasteland” that could be one of my favorite songs of the entire year. Soulful vocals, beautiful writing, and the perfect amount of suspense paired with release and you have the recipe for a god-tier mainstage progressive house anthem. Listening to this the first time, I felt like it was on par with the likes of “Reload” and “Calling,” with its incredibly melody, drums, and catchy vocals. Trivecta takes it a step further by switching up the second drop, proving why this EP belongs on Ophelia. The dubstep drop makes the melody that much more powerful, bringing in so much melody that it’s almost overwhelming, but little additions like the whimsical arpeggio and the well-timed break help to keep the vibes flowing.
This is one of those tracks that I absolutely cannot wait to hear on a mainstage.
The EP ends on a wonderfully upbeat note, with “Everyday” feat. Rico & Miella. It’s not quite house, not quite anything… it’s in its own little realm and beautifully composed at that. It’s almost like a dancier version of Ed Sharpe, and we love it.
Cozway’s first production dates back to 2015, but it wasn’t until he started releasing on Jadu Dala in 2017 that he really came into his own. Then, his release on RL Grime’s Sable Valley last year truly catapulted him into the trap scene for real.
Now, Cozway is preparing to release his debut Deadbeats EP, Expedition, and the first single, “Camouflage” with Laura Hahn, is out today. Ethereal background chants, tension building syncopated drum patterns, a smoky vocal, and cinematic synth swells carry the track from the shadows of the intro and into the wide open groove of the drop.
The whole EP, and this single as well, signals an evolution in his sound design and a forward-thinking trap production that should have everyone excited. Check out “Camouflage” below!
TroyBoi just revealed he’s sitting on tons of new music…
Apparently quarantine is agreeing with TroyBoi, who has been spending time in the studio making music of “many different flavors.” His post below says he’s been “keeping himself busy” with forthcoming releases.
The iconic trap producer promises a new album in the works, as well as an upcoming V!BEZ (Vol. 4) EP.
TroyBoi previously shared of his most eclectic project to date: “V!BEZ has been my way of introducing people to my more unique ideas, feels, vibes.” V!BEZ, Vol. 3 included “WARLORDZ” featuring Skrillex, “PAPI CHULO,” “BAILE,” “HIGH” featuring Yas, and the long-awaited official release of “Do You?”
ATLiens have always done a great job at presenting their brand to the masses. But even for them, this new project is an absolute masterstroke of genius, in both audio and visual design.
The Montauk Project is a conspiracy theory that alleges there were a series of secret United States government projects conducted for the purpose of developing psychological warfare techniques and exotic research including time travel & mind control. ATLiens can confirm from their sources that these projects were completed. Successfully.
Montauk Project is also the name of their newest EP, featuring four out of this world songs. “Brainwashed,” the lead single on the album, presents an accurate depiction of the psychological warfare that might have been used as a part of “Montauk” in the accompanying music video.
The rest of the EP supports the visual theme in the “Brainwashed” video, with eerie minimalism and filthy synth design. You can check it all out below!
It seems like Blackout have been teasing Pythius’ latest EP, Upheaval, for months now. It’s the first solo multi-track release he’s done since 2018’s Descend LP, unless you count the remix EPs he, Blackout and friends pulled off the original EP. Pythius has been doing a lot of collabs and one-off tracks for Blackout, Eatbrain and Bad Taste but Upheaval is his first dedicated solo EP in almost two years. Not surprisingly, it was worth the wait.
If there’s one thing Pythius is known for among producers, it’s how technically clean his sound design is and Upheaval is no exception. Artists should be prepared to be blown away and to spend the remainder of the quarantine studying how he pulled off the balance and precision of each track. Get ready for lots of remixes.
Focusing on the current original EP, Pythius’s characteristic rolling beats move each track along and help to tell the story of the synths, which are lush, heavy and melodic. The opening track is a collab with Black Sun Empire (leading to the April Fool’s joke last week that Pythius had, in fact, joined BSE) called “Kepler” which will remind fans of both mid-00s BSE and Pythius, with those synths driving the track and making it sound quite steppy.
“Auxiliary” is less synth-based, or that is to say the bass synths blend in more with the track as a whole rather than leading it. This, along with lots of amens, gives the track a really rich sound and a base from which Pythius can drop seemingly random higher synth melodies that seem almost ambient, despite being hard and heavy.
The penultimate track, a collab with Redpill called “Watch Me” showcases Pythius’s love of metal as well as Redpill’s guitar prowess in a surprising flex that takes the melody from said guitars and mashes it into a hard drum & bass format. It’s every metal/D&B head’s dream come true and settles the argument once and for all about whether guitar metal and drum & bass can go together. The guitar track doesn’t just cruise on top of the track or add ornamentation, it actually lives in the track and is put together with the synths so it’s truly part of the sound design just as much as any other element.
Blackout quietly released “Dathomir,” the EP’s closing track, on Saturday. It’s sort of a culmination of everything Pythius did on the other three songs, mashed together. There are elements of metal drumming in the intro, crunchy, throwback synths on the main staff and some ravey higher-register melodies that tie the whole thing together. All the tracks on the EP are dancefloor (or should we say livestream) bangers but it’s likely “Dathomir” that will really get huge crowds amped, even if it’s from their living rooms.
In the strange times we live in, it seems every hard D&B track that comes out is an anthem of said times. Perhaps that’s true but the tracks in Upheaval could sincerely lead the charge through and out of the live D&B desert in which we find ourselves currently. The melodies don’t just carry the mark of these dark and odd times, but there’s a sense of hope and strength as well, especially in “Dathomir.” After all, it’s only through Upheaval that real change can come.
Upheaval is out today, April 13 on Blackout Beatport and Spotify exclusive. Check out those two sites respectively to stream or purchase.
Deadmau5 and Steve Duda have unleashed a new mix as their collaborative project BSOD (Blue Screen of Death) in support of their EP, No Way, Get Real.
Naturally so, the mix has been titled — No Way, Not Another Mix, Get Real. It’s an hour of glitchy, electro goodness, featuring music that brings us back to the early beginnings of BSOD. Going back to the basics, BSOD are able to convey their sound as strong as ever.
Other than the occasional b2b DJ set, these guys haven’t collaborated for years. Their last official release together, “Super Breakfast,” dropped in 2013.
JAUZ‘s folder of unreleased music is an endless ocean…
The producer just shared he has tons of new music ready to drop, all in various genres. That includes a “full house/Off The Deep End EP, a full drum n bass EP and a full melodic/future EP.” JAUZ has never played favorites with any one genre, so we’re happy to hear his upcoming projects don’t either.
“Idk what the hell I’m doing right now,” he adds in the tweet below, “but I’m just trying to write as much music as I can.”
JAUZ has also been keeping busy during quarantine with Bite This Radio Live. As we patiently await these music drops, check out the official Bite this channel on Twitch here.
Join the conversation below.
I have a full house/Off The Deep End EP, a full Drum n Bass EP and a full melodic/future EP pretty much done. Not to mention all the other songs I don’t know where to put. Idk what the hell im doing right now but I’m just trying to write as much music as I can 🤷♀️
Prepare to have that face melted off as Subtronics turns in a proper four-tracker for his burgeoning Cyclops Recordings imprint. Cheekily titled Scream Saver, the EP features Subtronics at his absolute finest as he kicks down the doors from the very first beat.
Jesse Kardon has had quite an epic 12 months. With the massive success of ‘Griztronics’ and ‘Wooked On Tronics,’ he has become a household name in the electronic/dubstep music world. His musical ability gives him the ability to work with pretty much everyone including the huge hook up with Kayzo at the end of last year.
‘Scream Saver’ is the first on the EP, fires off with subtle beats and unique harmony movements just as the rhythm raises as the experimental follow up with Virus Syndicate, ‘Lullaby’ presents further intoxicating vocals and reverbing bass pulses. ‘Discotek’ misleads one into a feeling that all is well with the world with a twinkling introduction, laying the right foundation for its faltering drops and the epic closer coming up. Collaborator Akeos teams up with Subtronics for the end of the EP, ‘Blow Stuff Up,’ a dangerous end to the jolting collection of tracks.
Subtronics reflects on the Scream Saver EP, stating: “Out of all of the music I have made in the past 6 to 12 months, I believe these are the four strongest, most powerful hitting songs yet.”
As our Breakout Artist of the Year in 2019, we’ve been anticipating Subtronics‘ next move — and in a matter of days we’ll experience his new Scream Saver EP in full.
To get fans hyped, Subtronics has unleashed a full teaser and tracklist. The video below features some of the most insane sounds and visuals we’ve ever seen — and that’s putting it lightly.
Each track makes its own distinct, bass heavy statement: “You’re Already Dead,” “Lullaby” featuring Virus Syndicate, “Discotek” with Akeos, and “Blow Stuff Up!” One minute (and four songs) laster and Subtronics has us under his spell.
The EP drops this Friday, April 10th, with social distancing in full effect. He recently shared via tweet: “i just keep thinking how absolutely fucking wild the first few shows are gunna be once we are all back from being stuck inside can u imagine how much pent up energy we are all gunna be letting out”
Read about Subtronics and his quick come up here and pre-save the new EP here.
Kaskade has finally dropped his full Redux 004 EP. The latest edition of REDUX is sure to be a hit with Kaskade’s OG fans as the legendary producer/DJ strips back the production and gives us the pure minimal goodness that the series is known for. After first announcing the EP in February and releasing two tracks, “Love Like That” and “Sexy,” fans can now have the full REDUX experience.
The first new track “Find Love” definitely falls more into the lo-fi, ambient territory that “Love Like That” explored. It has a haunting piano melody and droning hi-hats that are perfect for a long walk in isolation. “Feel It” is a super-minimal deep house track that is peak after hours. It’s a track that plays best while just listening to the beat with your eyes closed, preferably at 4 AM.
Each of the four tracks represents the four cities that were supposed to be on the REDUX 004 tour, Miami, Brooklyn, San Diego and Santa Fe. “Sexy” is definitely the Miami track, but outside of that, it’s kind of fun to guess which song goes with which city. Listen to Kaskade’s Redux 004 out now on Arkade and tell us what you think! Check out Kaskade’s REDUX set from CRSSD Fall 2019 and relive those glorious festival days too!