Listen to the two-track EP below
After a three year hiatus from the music scene, Popeska is back! His recent release, “I’ll Be Here”, is his first single from his upcoming album “RAMBLINGS”. The new material comes after the Australian native took some time off to focus on personal growth, marriage and bringing a child into the world. Popeska keeps “I’ll
The post Popeska Returns With New Single And Album Annoucement appeared first on EDM Sauce.
In just a handful of years, San Francisco native Gryffin has asserted himself into headliner-status prestige, aside some of dance music’s most critically acclaimed acts. To formally discover himself atop the electronic apex, Gryffin shaped out a formerly untrodden pathway early on in his career by establishing an exhaustive record of hungrily streamed indie SoundCloud-hosted reworks, for Grammy-associated talents such as Ellie Goulding, Tove Lo and the late Whitney Houston. After formally anchoring down with a batch of original productions, including his debut release “Heading Home” in addition to “Whole Heart” featuring Bipolar Sunshine, Gryffin was properly equipped to roll out the first segment of his freshman effort, Gravity beginning in late 2017.
Meticulously stamped with Gryffin’s rhapsodic acoustic arrangements, Gravity, Pt. 1 surfaced nearly one year thereafter, having spawned six imaginative productions including “Nobody Compares to You,” “Remember,” “Just For A Moment,” and perhaps Gryffin’s most famed original thus far, “Tie Me Down.” After a mild interlude following the album series’ first arm of releases, the producer sought to conclude what he started with another scattering of singles during 2019’s first half. Four tracks have been credited to Gryffin’s name since the year commenced, including numerous high-profile collaborations alongside Slander, Aloe Blacc, and most recently, Carly Rae Jepsen. Surprisingly enough, the fourth output from Gryffin in 2019 was something that his core audience had been longing for as he re-entered the aural avenue that helped jump-start his career with an official remix for Shawn Mendes’ hit single, “If I Can’t Have You” this past July.
As Gryffin set his eyes on the premiere of “OMG” just days before he was bound to appear at Chicago’s Lollapalooza, he noted to his fans that the album was still slated for an early fall release, though he was still fine-tuning the project’s final tracklist. During the Saturday afternoon preceding Gryffin’s sensational GRAVITY LIVE spectacle during Lollapalooza Perry’s Stage sunset slot, Dancing Astronaut took the chance to down with him to learn more about his plans for Gravity, Pt. 2, readying its coinciding GRAVITY II LIVE show at The Brooklyn Mirage, honoring Avicii alongside Aloe Blacc at Coachella, and more.
During your Coachella set this past April, you treated fans to not just one, but two unreleased originals, including an early version of your Carly Rae Jepsen collaboration, which is officially out now. How did “OMG” actually come together?
I basically had been working on that one for a while and the end of last year was when I really started finishing it. Ali Tamposi was the vocalist. She’s an incredible writer along with Andrew Wyatt, who are a lethal team that’s made so many smashes together. She was an amazing part of the song and she wrote an amazing record so once I finished the production on it, I was just sitting on it for a while. I was just trying to figure out what was missing in terms of who could cut it and some of the production elements weren’t quite there. I then played it at Coachella and as a Hail Mary. I messaged Carly’s team and said “You know what would be sick for this record is if Carly Rae Jepsen sung it.” Through some channels we got to her management and they were like “Hey so we actually really do like it and we’re going to play it for her. She’s super selective on this stuff.” Within the next day, they said that Carly loved it and wanted to cut it next week in LA. The next week I met her in the studio for the first time and we were cutting it and within the first five minutes of her singing the hook, I just had crazy chills. It felt really strong and I was so excited about it so it took me a couple weeks to finish it all up.
Towards the end of 2018, you released the former half of your debut album, Gravity and now you’re officially three singles deep for the latter portion of it with “All You Need To Know,” “Hurt People,” and now “OMG.” What can we expect from the remainder of the project and can you disclose any other collaborations you have in the works?
I’m basically finishing it up right now but I honestly can’t say anything about who’s on it. There’s some big things coming though and I’m trying to put it out in September because my tour starts in October. It’s just a matter of how fast I can finish up these records in the next few weeks.
This is set to be your first Lollapalooza appearance since 2017 and it wasn’t explicitly labeled on the lineup poster, so are we experiencing a ‘GRAVITY LIVE’ show or a Gryffin DJ set? Either way, what do you have in store for it? Any surprises we can prepare for?
So it’s going to be the live Gravity show. I’m going to have Quinn XCII for an edit of “Winnebago” and Elley Duhé is coming out for “Tie Me Down” so I’m really excited for that. For these multi-genre festivals, I try to always do it live and even though I’m on the Perry’s Stage, I felt it’s a better representation of my music.
Earlier this summer, you re-entered the remix game with your very first since 2017 with a spin of Shawn Mendes’ “If I Can’t Have You.” What was the driving force behind the decision to release another remix and do you have a particular preference between doing those versus creating original music?
Nowadays I’m definitely a lot more focused on my originals with the album. I always like to do a remix because it’s fun and that’s how everything got started for me anyway… but I just haven’t prioritized it for a while. Shawn hit me up, asked me to remix it and we were communicating back and forth on feedback. It was a cool process working with him that closely and I just felt like it was a cool opportunity because I really liked the original. I immediately had an idea of what I wanted to do with it so it just worked out that way and I’m going to do remixes again for sure but right now it’s just total album mode.
Throughout the length of your career, you’ve obviously worked alongside a list of some impressive names. If you could narrow it down to just one, who was your favorite artist you’ve worked with?
That’s so tough because they’re all so different and awesome in their own ways. For a producer collab, working with Illenium was really cool because we just vibe on a personal level really well. We’re both from the Bay Area and we’re both chill people so it was a really fun process working on that record. On the vocal side, probably one of my best friends out of all them was Bipolar Sunshine. He’s one of my favorite human beings and he’s one of the coolest dudes ever. The Carly track was honestly really cool too because I had never really worked with an artist that was that big in the pop level so that was a cool experience. Even working with Aloe Blacc too.
That Avicii tribute at Coachella on the first anniversary of his passing was seriously nothing short of unbelievable...
Thanks man and it was Aloe’s idea too. I didn’t even put that on him at all. We were just planning to do “Hurt People” and he said to me “Hey, what do you think about this tribute?” So he was the one who pitched the idea and I had thought of it but I definitely wasn’t going to make Aloe do that. If he wanted to do it, I was down.
If you could pick just one release that you’re most proud of between all of your remixes, originals and collaborations, which would it be?
My personal favorite is “Nobody Compares To You.” That’s one of my favorite tracks that I’ve ever done because that was just a really meaningful record to me personally and I was really proud of that production. On the songwriter side, “Feel Good” and “Whole Heart” were both really fun to do. Honestly some of these upcoming ones too are big ones for me so I just really feel fortunate because lately I’ve been able to work with a lot of really cool artists on both the production side and singer/songwriter side so it’s been a good ride and I’m excited for the new music.
You’re set to premiere the official first performance of your GRAVITY II LIVE show at The Brooklyn Mirage just a couple of weeks following Lollapalooza. What do you have in store that we may not be able to experience here in Chicago?
It’s basically going to be the most Gravity II show of the tour. I’m not going to play the full album because it won’t be out by then but I am going to sneak in three or four new records that people haven’t heard yet so I’m really hyped about that. I haven’t even been able to go there yet but my team wanted me to play there so I’m really looking forward to it. I’ve got a lot a prep to do before then but everyone tells me that it’s the spot to watch music in the summer.
Featured image: Lollapalooza
In three separate instances since July of last year, Martin Garrix and Bonn have come together for a pairing that is not-so-subtly imbuing as one of the most authentic producer/vocalist combinations in modern dance music.
After crowd-testing the production during his lone Tomorrowland appearance of 2019 at his STMPD Records stage, Garrix has expediently readied his fifth original of the year, as he relinquishes “Home.” The release arrives under a month prior to “These Are the Times,” which the young gun curated as part of his AXE partnership, and serves as Garrix and Bonn’s third official union.
“Home,” while distinctly inspiriting in its own manner, mildly deviates from the lighthearted resolve that “High On Life” and “No Sleep” exude. Garrix promptly advertises his acoustic versatility as Bonn demonstrates for a third consecutive mark that his vocals could not be more suitable atop Garrix’s globally recognizable production. As directly embodied within the lyrics “Back to my roots / Yeah, it’s been so long,” the 23 year old evokes mementos of his masterful electro-house blend from releases such as “Oops” and “Forbidden Voices.”
Featured image: Louis van Baar
The artist known as HEYZ has only been releasing music for a little more than two years, but he’s been making early waves with high-profile releases like his Schedule 1 EP on mau5trap. Though still early on in his music career, the producer has transitioned to what he calls the “next chapter” of his sound, which listeners can observe in his new Human 404 EP, out Aug. 16 on Bite This.
Over the course of the three-track EP, fans will still be able to observe the shadowy realm of his techno and heavy bass roots, but tracks like “Castaway King” and “Clear” tap into a more vocal-oriented side of the North Carolina artist’s production.
Read our Q&A with HEYZ, then stream the new EP below.
What can fans expect from the Human 404 EP?
Fans can expect for their lives to completely change once they listen to the EP. All personal issues should be erased, debts cleared… if someone was having an issue getting a girlfriend or boyfriend, the EP will immediately make them a sex magnet with a personality to boot that would stand up to a three-hour one-on-one conversation with Matthew McConaughey at a half-empty bar in the middle of nowhere. Truly transformative shit. On the real, fans can expect to hear three (hopefully great) records that are a mixture of strong melodic and cinematic concepts with heavy-bassy backbones and “get-stuck-in-your-head” type vocals.
What does this EP mean to you?
The EP means a lot to me, honestly, it’s a representation of the “next chapter” of the HEYZ project. I titled it Human 404 because the lyrical themes deal with personal relationships and the emotions that come with them. For example, “Castaway King” is a metaphor for when a beautiful girl lures a guy to his demise using Greek mythology to paint the picture of a siren luring in a ship. MAYLYN and her writers killed it… some Shakespeare-type shit, straight up.
What are some of the key differences between Human 404 and the Schedule 1 EP?
Schedule 1 was me at my adolescence of producing, each record was among the first 10 records or so I ever wrote and finished. I think my actual production/writing skills have improved since then, and that should be reflected in Human 404. I just try to get better with each new record. Human 404 is slower, grittier, heavier and a tighter “song writing” wise. You’ll still hear my love for beautiful melodies in both EPs and a focus on thicc boy basslines, but Human 404 is me being truer to myself as a producer. I hope if you have been a fan of mine, or are just discovering me, you’ll enjoy both.
What prompted this “next chapter” in your sound?
It was actually a really specific instance. I played a headline show in LA last year and played a techno set from start to finish. The room was half-full and I felt like I couldn’t get the crowd as engaged as I wanted to. I compared how I felt during and after that set to how I felt playing very small local sets in North Carolina throwing down nasty bass music and how absolutely raucous it made me and the crowd. I had a realization that the music I was making wasn’t quite what I wanted to play in my sets. I started writing Human 404 on the plane ride back to North Carolina with a focus on creating a vibe that could both light up a venue and be an everyday listening experience. Don’t get me wrong, I’ve had some killer techno sets, but yeah, I really enjoy playing and making bass music.
Why did you choose “Castaway King” as the initial single?
I found it to be always stuck in my head and thought it was a good “single-package” representation of the EP as a whole. People I showed the EP to early also gravitated towards that song in particular… there were also many cases of “Clear” and “In My Arms” coming out as favorites as well.
How did the collaborations with MAYLYN and TIAAN come about?
My good friend Joey, who actually discovered my early music and got it signed to mau5trap, linked me with both of them. Both “Castaway King” with MAYLYN, and “Clear” with TIAAN were pretty effortless endeavors when it came to meshing their respective vocals with the instrumentals I was writing. Kudos to both those amazing artists for killing it!
What’s coming up for the remainder of 2019?
I’m going to keep finishing records. I’m writing some even gnarlier records and actually have another one finished with MAYLYN. I’m going to find a manager and agent and become the world’s most famous and attractive EDM artist on the planet. Once that’s done, we’ll likely be focusing on solidifying my contracts to headline Coachella and Ultra next year if we can get the money right, I’m not stooping below 10 million and an 18-wheeler full of Virginia tobacco Juul pods and Bud Light.
Who are some artists you’re inspired by lately?
I’m really inspired by Porter Robinson‘s all around musical greatness. His melody writing is fantastic and he really has a talent for writing records that will endure the test of time. I also love Peekaboo and his ability to write really stripped down records that smack like a donkey on Adderall (dunno if that metaphor made any sense but it did to me). I also listen to a lot of progressive house like Lane 8 and Anjuna peeps. ALWAYS inspired by The M Machine as well!
What are you most excited about in the electronic music scene right now?
I’m excited about how damn good everyone is. It’s quite frankly annoying but inspiring, because you hear new records every week that make you go “how in the fuckleberry did they do that? How did they think of that?” It seems like electronic music just keeps reaching new heights in terms of quality. I don’t think the bubble has burst, matter of fact I think it’s going to keep getting bigger and bigger… unless country/trap completely takes over and everyone is wearing ass-chaps, boots, and gold chains.
His name may not be immediately recognizable to the latest batch of house music fans, but Kenny Summit’s presence and impact on the early house scene is undeniable. One of the scene’s greatest unsung heroes, Kenny was the resident DJ at New York’s most legendary clubs; Limelight, Tunnel and Palladium. It was during this time that he rubbed elbows with legends you might recognize, including the godfather of house music Frankie Knuckles.
The 15-track compilation is a funky overview of Summit’s 16 year career filling New York clubs with raw and righteous house music. Not only is this a nostalgic trip to the dancefloors of yore, “The Best of Kenny Summit” includes a never-before-heard edit of his legendary collaboration with Knuckles. A club-ready re-imagining of Lou Rawls’ 70s disco hit ‘You’ll Never Find A Love Like Mine’, the remix was Frankie’s last ever production. He even played it as the closing track at his last ever gig at Ministry Of Sound in London on March 29, 2014 before his untimely passing.
A crash course in classic cuts from the 90s scene, “The Best of Kenny Summit” is packed with absolute jams you’re bound to add to your crate… or in 2019… a USB.
Flume has unveiled a new sample pack project, entitled Flume Sounds, giving music producers access to an array of and loops from his personal archive for free. The Australian producer is expected to continue unveiling new sample packs over the coming months via his YouTube channel for free download. The first edition is available for download here. Each sample pack will be accompanied by a visualizer, compliments of varying visual artists, with the first commission spearheaded by longtime Flume collaborator Jonathan Zawada.
A more open source culture of creativity…wanted to put these out in the world and see what comes back – download a sound, create something, upload it with the hashtag #flumesounds: https://t.co/OxiZHwM4fy pic.twitter.com/RGwtSCcyQW— Flume (@flumemusic) August 14, 2019
Flume has had a busy 2019, and embarking upon this new project proves that the producer shows no signs of stopping his sonic onrush. He recently teamed up with Reo Cragun for the three-track EP, Quits in addition to releasing his second mixtape, Hi, This Is Flume in the summer months alone.
Photo Credit: Pat Stevenson
Another attention attracting addition to Hidden Face‘s growing catalog, “Perspectives” begins with a suave tonal subtly that extends from the song’s opening second to its very last. A pulsating beat that goes on to steady the single filters in with such seamlessness that its integration is almost imperceptible. The downtempo dreamscape proceeds at a viscous pace as the ebbs and flows of the melody arch in balmy ascents.
“Perspectives” smoothly collapses in breakdowns that dissolve into clean percussive play. Airy, fluttering synths float atop the sustaining beat, adding tonal glitter to the grounded number. The progressive production is a tightly woven, meticulously constructed collection of electronic elements that strikes a certain sleekness, one characteristic of Hidden Face’s activity to date.
An extension of the Hidden Face project, originally debuted in 2017, “Perspectives” illustrates that Hidden Face remains a nimble force to be reckoned with in the electronic setting. “Perspectives” follows Hidden Face’s celebrated 2018 single, “Heartbreak.”
The release is the second single from her forthcoming album
A change of pace is always welcomed with open arms these days, especially from the otherwise anonymously tear out dance floor drum and bass producer Raiser. As Summer flows closer and closer to its end, just as quick as it came, the mysterious Raiser has set the soundtrack for our seasonal blues, with a brand new feel-good future classic featuring the soulfully wholesome vocals of Spiralus. With a nostalgic introduction aligned with a compellingly emotional(but still bangin’) drop, this tune will land right at home with listeners from all sides of the spectrum. This is special.
Turn this one loud in your car. Turn this one loud in your room, for your family, for yourself.
You can purchase this everywhere here: https://www.ramrecords.com/download/ramm361d
This article was first published on Your EDM. Source: Your EDM Premiere: Raiser Ft. Spiralus – Lonely Day [Ram Records]
JD Twitch of Optimo compiled the tunes for the '90s-set film
Over a year since the first single came out and Ascend, the third studio album from Illenium, is finally here. Spanning 17 tracks, this album is a stunning achievement for the honorary Denver-native, but it also represents a double-edged sword.
There’s no two ways around it — Ascend is a fucking brilliant body of work. This is by far Illenium’s greatest album and his most daring endeavor as an artist. Jumping from 12 tracks on his debut album Ashes to 13 on his second album Awake, and then 17 on Ascend is indicative of just how much of a story Illenium has to tell.
As usual, Illenium teams up with a who’s who cast of amazing vocalists to serve as narrators for his story. Appearing on this album are the likes of Georgia Ku, GOLDN, Oekiin, Bahari, X Ambassadors, Kameron Alexander, Jon Bellion, Bipolar Sunshine, Echos, and more. While not all the names on the album are global superstars, no doubt a feature on an Illenium album will serve as a huge cosign in their careers.
The album theme follows his first two albums. Just as the phoenix has become symbolic of Illenium, his album titles — Ashes, Awake, Ascend — follow the path of reincarnation for the mythical bird. It would stand to reason that the theme of this album would be something uplifting and glorious, beautiful. It comes as a bit of a shock, then, to find that many of the songs deal with loss, grief, overcoming negative emotions.
That being said, not every album has to make sense. Sometimes, it’s good enough for them to sound incredible, and that’s certainly the case here. While a couple song transitions are a bit jarring, and the songs all generally follow the same formula, they’re all REALLY. GOOD. It’s rare to hit such a poignant balance of electronic and pop, let alone do it fifteen times (not counting the Intro and Lonely prelude). Yet, Illenium does it with the natural ability a phoenix would reincarnate. It seems to just come innate in his essence.
I’ll leave you with this… Two of the best tracks on the album come third from the beginning and third from the end, “Good Things Fall Apart” with Jon Bellion and “Gorgeous” with Blanke and Bipolar Sunshine, respectively. These tracks also happen to be polar opposites. “GTFA” is pure pop. It’s beautifully uplifting paired with downright melancholic lyrics. It means that even things that are sad don’t have to make you sad… sometimes they can be good. On the other hand, “Gorgeous” is almost ominous in how it begins. Bipolar Sunshine’s vocals evoke an image of him sitting in the darkness by a campfire, telling those brave enough to listen a story about knowing better. The slowly building synths in the background work wonderfully to enhance this effect, building tension and mystique. The veil is lifted in the bridge as the tempo changes and the guitar comes in, showing something like a light at the end of the tunnel — and then the drop sweeps your legs out from under you and it’s back to a swirling chaos.
It’s little things like this, whether intentional on Illenium’s part or not, that makes Ascend such a fun album to listen to over and over again. As with any body of work, it’s open to interpretation on the listener’s part, and that entire analysis might be mine alone. But with so many tracks, there are bound to be endless theories about it.
Earlier, I called Ascend a double edged sword. On the one hand, as you could surmise from the essay I’ve written so far, the album is an incredible body of work. But it begs the question, “Where does Illenium go from here?” It’s not unreasonable to suggest that this is peak Illenium. Surely this will be his biggest tour ever, as well, playing Red Rocks three nights in a row and even Madison Square Garden, a venue only graced by the biggest of artists, let alone in EDM, like Jack Ü, Swedish House Mafia, and Kygo. Time will tell what comes after ascension…
For now, you can Ascend on your own and listen to Illenium’s new album below.
Photo via Rukes.com
This article was first published on Your EDM. Source: Illenium Breaks Boundaries & Reaches A New Level With Third Album, “Ascend”
CAIN’s sound could be marketed a number of ways: the brand-new solo artist has elements of 21 Pilots and other emo indie pop bands in his vocals and composition while there’s a definite electro-pop element running through the music of his first single, “My Mind,” while the beat structure is straight up EDM. However one chooses to classify CAIN, however, there’s a lot of diversity and potential in this single track.
When “My Mind” opens, many listeners my write the track off as pop punk laced with emo, but a few bars in, it’s easy to see there’s more than meets the ear here. The amen break played by what sounds like an analog snare drum should be an indication, but things really get really interesting at the first drop. The afore-mentioned amen snare, CAIN’s vox and some seriously theatrical synths all combine for an emotive effect that has some serious impact.
The double chorus repeats with even more impact after the break, which contains good music production but some possibly questionable rapped lyrics. Said lyrics go well with the song but it remains to be seen as to whether CAIN will keep this unique brand of rapping as part of his style going forward. The track finishes smoothly, with one more repeat of the chorus and that emotive accompanying music, really driving home the catchiness and diversity of this track.
Being this is the first single for CAIN it’s possible that none of what’s in this track will continue on with him but it’s clear he has a solid base and a lot of diversity. CAIN’s creative “mind” is definitely one to watch.
“My Mind” is out now and available to stream on Spotify.
This article was first published on Your EDM. Source: New Artist Profile: CAIN Explores the Depths of ‘My Mind’
With a name like “The Cool Moonmist Mountain Band,” one could be forgiven for thinking this project, dreamed up by producer Jared Sand, is actually some sort of indie folk on par with Mumford and Sons. The truth is it’s as far from folk or anything of the sort as can be.
While originally a sort of electronic jam project, Moonmist’s new EP Fire Sign was all written and produced by Sand and is more in line with lo-fi electronica bordering on ambient electronica than anything really jam band-esque. With decently strong breakbeats, lots of lo-fi synths and even a pseudo-amen break D&B feel in the EP’s closing track “Let the Dust Settle,” this is definitely one for EDM fans who are getting into the whole lo-fi trend.
A cross between trip hop, jazzy breaks and some seriously hippie-ish grooves, Fire Sign does also allow some of Sand’s jam band past to shine through. The afore-mentioned “Let the Dust Settle” has ambient sound design rooted and synths rooted in eastern music, as does the overbeat, which may even be played on analog tabla drums. “Lofi Spliff,” meanwhile, is clearly all electronic (albeit lo-fi) but it has a lot of jazzy improvisation in the various synths and keys.
On the more EDM scale in Fire Sign, “Dope” has probably the most recognizably lo-fi trip hop vibe and could easily fit into a video game. Finally “Super Automatic” flirts with becoming a jazzy house beat but remains firmly in ambient electronica. There’s some jazz here as well in the keys but this track is like a lava lamp: constantly moving and changing, affecting both its own form and the ambient space around it. Tres trippy.
While The Cool Moonmist Mountain Band is not folk or anything like it, the fist EP put to record by Jared Sand isn’t completely definable as EDM either. While jazzy lo-fi might be a good home category for now, there are many other elements here which show that this dynamic new project could soon grow out of that constraint as well. It will be interesting to see where Sand takes the project from here.
Fire Sign is out now and can be streamed on Spotify or purchased on The Cool Moonmist Mountain Band’s Bandcamp page. Also check out the live video performance of “Super Automatic” below to see exactly how Sand and his friends put all these sounds together in real time.
This article was first published on Your EDM. Source: New Artist Profile: The Cool Moonmist Mountain Band Creates Ambient Moods With ‘Fire Sign’
Last week, Wooli’s “The Voyage Tour officially began. Traveling and performing across many parts of North America, the tour is set to take place until mid September. Joining this talented artist is Trivecta, a name we’re sure that you’ve heard at least once in your life. This rising music maker has released popular tracks such
Need For Speed has always had great taste in electronic music, dating all the way back to Need For Speed Underground in 2003. Throughout the years, the games have highlighted a variety of talented musicians, not just electronic, and now they’re tapping NGHTMRE & A$AP Ferg’s collaboration “Redlight VIP” for their new trailer.
The trailer using in-game footage hypes up more than the multiplayer races, but what looks like a story mode for the game, as well. Heat is an ode to Miami street racing, down to the setting, font, and style of the cars.
The title comes to PC, PS4 and Xbox One on November 8th. Check out the trailer below.
This article was first published on Your EDM. Source: NGHTMRE & A$AP Ferg Featured In New Need For Speed Trailer
Every year we like to talk about the hundreds of thousands of people that flock to Vegas for EDC or Belgium for Tomorrowland, but one of the biggest festivals in the world — that dwarfs both EDC and Tomorrowland — hardly gets any press on the world stage. I’m talking about Zurich’s Street Parade, held this past Saturday, which regularly draws upwards of a million attendees each year.
Since the end of Love Parade in 2010, Street Parade has become the most attended electronic dance music event in the world. This year, 850,000 people descended upon the streets of Zurich, Switzerland for just a little over 24 hours of pure techno and good vibes.
The event featured 28 love mobiles along the official lakeside route of the Street Parade, on the north end of Lake Zurich. There are also eight stages while over 200 DJs will take part. Headline acts included Amelie Lens, John Digweed, Dubfire and Eric Morillo.
Best of all, the event is entirely free to the public, including the festival’s eight “main” stages, while the artists themselves also forego appearance fees.
Watch the aftermovie from last year’s event below.
This article was first published on Your EDM. Source: This 850,000 Person Techno Festival in Switzerland Makes EDC Look Like Child’s Play
Like me, you might not know the Deftones song “Hole In The Earth” by its title, but you’ll certainly recognize it just as soon as the vocals come in. Released 13 years ago next month, the song has definitely achieved the title of classic. Now, AWAY has reinvented the song for the modern age with help from Midoca.
Whereas Deftones obviously infuse their original with more rock elements, AWAY strips it down to the bare melody and adds a drove of glitchy elements. Midoca absolutely nails the vocals, coming damn near close to Chino Moreno’s original work.
All together, this cover is a brilliant tribute to the Deftones’ work and a phenomenal new track from AWAY to put away in our playlists. Check it out below.
Photo via Christina Boemio
This article was first published on Your EDM. Source: AWAY Drops New Cover Of Deftones’ “Hole In The Earth” with Midoca
As many of you know, Insomniac announced tonight this year's EDC Orlando lineup by music through music. In other words, Insomniac had its founder, Pasquale Rotella play the music of artists that would be performing at this year's music festival on Night Owl Radio. Besides playing the tracks of many beloved artists, Rotella actually announced
The post EDC Orlando 2019 Details and Big Florida News Has Been Revealed appeared first on EDM Sauce.
The Hard Seltzer movement has officially reached a level in which people are actively asking Seven Lions if he drinks White Claw at artist Q&A’s. PBR and Natural Light joined the fray themselves Knowing how popular they could become thanks to this, Four Loko just stepped into the ring with their latest concoction: a 14% ABV seltzer they’ve decided to advertise as “the hardest seltzer in the universe.” Twitter reacted…well, the way twitter does:
Four Loko: Ya'll want to see a dead body?
— Daejuan Jacobs (@fractalcomic) August 14, 2019
the new four loko seeing everyone come back after drinking white claw pic.twitter.com/fPdVO8lYTF
— ???????????????????? ???????????????????????? (@trillmentee) August 14, 2019
— Guevara (@Guevara__dj) August 13, 2019
Hard Seltzer in general is a hit at camping festivals, considering it tastes like almost nothing and gets the job done just a tinge more than some beers do. With Four Loko bringing their beast of a drink into the fray, the rest of the summer is going to be filled with great(or at least interesting) memories.Share0Share0Share0Share0
The post Four Loko Announces 14% ABV Hard Seltzer To Compete with White Claw appeared first on GDE.