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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

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Your EDM Premiere: High Tea Music Gives Us All a Double Shot ‘Caffiene Rush’

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.

High Tea Music · Psynchro – Binary

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.

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Stonefox Release Captivating Single “White Caps” Via MrSuicideSheep’s Seeking Blue Imprint

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.“

Hear “White Caps” for yourself below!

Stonefox · Stonefox – White Caps

 

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Skrillex Dropped His Debut EP ‘My Name Is Skrillex’ 10 Years Ago

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!

Skrillex · My Name Is Skrillex EP

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Your EDM Premiere: Effin – Rewind [Never Say Die]

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!

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Your EDM Premiere: Meet PRFCT Mandem and Witness Their ‘Formation’ [Korsakov Music]

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.

Korsakov Music · PRFCT Mandem – Hit

“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.

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New Artist Profile: Discover the Surprising Techno Style of Walter Wayne

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.

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[PREMIERE] Moore Kismet Releases New Single “Flair,” Dedicated To & Featuring Their Mother

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.

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Black Tiger Sex Machine Drop New ‘Futuristic Thriller’ EP

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.

Check out the full Futuristic Thriller EP below!

 

Photo via Rukes.com

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Chromeo Announce Official Release of “QUARANTINE CASANOVA” EP

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.

Check out all their previews below.

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Hope this cheers you up a bit. Our first quaran-jam…we call this one Clorox Wipe. 🎶 let me wipe you down 🎶 You guys want more of these? Hit us in the comments.

A post shared by CHROMEO (@chromeo) on Apr 3, 2020 at 11:30am PDT

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Alright quaran-tune #2 we call this one 6 Feet Away. Shout out to all the lovers that go the distance…hope this brings a smile. Should we do one of these a week?

A post shared by CHROMEO (@chromeo) on Apr 11, 2020 at 11:30am PDT

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As promised! Quaran-tune number 3, this is for all the ppl who feel pressured to be productive during this time…remember there’s nothing wrong with putzing in bed all day! Hope this makes you dance and smile. Sidebar, more than 1000 comments and we’re releasing all these as an EP, let’s hear it 👇🏼 EDIT: we need 1500 comments now, let’s do it! 🤘🏼

A post shared by CHROMEO (@chromeo) on Apr 18, 2020 at 11:37am PDT

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This one’s for everybody who’s been feeling extra loopy this week 🌀Hope this cheers you up! Remember…go easy on yourself & take care of your mental health. ❤️ This is Quaran-tune number 4, how many you want on this EP, 5? 6? Let us know in the comments! 👇🏼

A post shared by CHROMEO (@chromeo) on Apr 25, 2020 at 11:36am PDT

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Quaran-tune numero cinco! We had to throw a little smooth jam in there. If you’ve been stuck in a room going stir crazy this one’s for you. Anybody else been rearranging furniture?

A post shared by CHROMEO (@chromeo) on May 2, 2020 at 12:15pm PDT

 

Photo via Rukes.com

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Rich Delinquent Strips Down ‘DM If You Need To’ EP With ‘Alt Sessions’ [Third Time Lucky]

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!

 

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Your EDM Premiere: Juelz Makes Spectacular Debut On RL Grime’s Imprint With ‘High Octane’ EP [Sable Valley]

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!

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GRiZ Drops ‘Bangers[5].Zip’ EP with 3 Certified Bass Anthems [LISTEN]

GRiZ is back with another hard-hitting, genre-bending installment of Bangers!

Bangers[5].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 Chrishira Perrier.

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[5].Zip here and get ready for more! We don’t expect GRiZ is letting up anytime soon.

GRiZ – Bangers[5].Zip

 

Photo via Jason Siegel

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Hex Cougar Expands His World With ‘Under The Light Of A Dying Moon’ EP Full-Length Short Film

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).

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KLOUD Drops Massive 2nd EP, ‘Synthesize’ [Lowly]

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!

 

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Your EDM Premiere: ALSO and High Maintenance Send Neurofunk into the ‘Hypersonic’ [Korsakov Music]

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.

Korsakov Music · High Maintenance & ALSO – Here We Go Again

“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.

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Nitti Gritti Goes “All In” on New Single on Spinnin’ Records [LISTEN]

It takes a special kind of talent and determination to excel producing in different sub-genres of electronic music. Then you have someone like Nitti Gritti who makes it look easy.

Since he hopped in the game, the Miami DJ and producer has taken EDM by the reigns and is still riding hard. From forming half of a house focused side project with Party Favor to releasing an insane EP with the likes of Shaquille O’Neal, Ookay, and Funtcase, Nitti Gritti can’t be caught making the same thing as he constantly flexes versatility across his music. His latest track, a release with top EDM label Spinnin’ Records, is no exception.

“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.