With their first single of the year, “Cross My Heart,” ONEDUO makes an emotional statement. Immediately, listeners are struck by atmospheric melancholy. The release’s somber tone is further expounded by Ria Lucia’s vocal performance, as the narrative describes the realization that despite wanting someone, the fire of love has burnt out. Fans of EDM –
The post ONEDUO Showcase Uplifting Style With “Cross My Heart” Original appeared first on EDM Sauce.
The 34th yearly Winter Music Conference – set to occur at The Faena in Miami Beach from March 25 through 28 – has reported its first keynote speakers, select programming and extra organizations for its 2019 version. For more than three decades, the electronic music industry was set up and coaxed every year to Miami […]
The post 34th Annual Winter Music Conference Announce First Keynote Speakers, Programming and Additional Partners appeared first on One EDM.
A Malaa mixtape compilation would not officially be complete without adding some remixes to the offering. The dynamic masked-producer has released the deluxe version of Illegal Mixtape Vol. 2, containing three additional remixes from Koos, Lucati, and Keeld. Released back in November, the original compilation contained eleven hand-picked singles, a combination of his own works […]
The post MALAA Releases Illegal Mixtape Vol. 2 (Deluxe) | ONE EDM appeared first on One EDM.
The Hospital Records linchpin remixes John Holts classic 'Police In Helicopter'
Plus Anjunadeep 10, and the Anjunabeats North American Spring Tour
After teasing the release earlier this week, the English trance trio Above & Beyond have officially reunited with Sunderland-born singer and songwriter Marty Longstaff for "Flying By Candlelight." It's the first in a new triptych of future club classics from the prolific trio.
Lifted from the upcoming Common Ground Companion EP (which also includes "There's Only You" featuring Zoë Johnston and "Distorted Truth" - set for release on the trio’s Anjunabeats imprint in March) the track was debuted at Above & Beyond’s Group Therapy 300 celebration in Hong Kong last September. A&B share this ode to the elevating power of love in several flavors: Original and Club, each a beautiful serving of the songwriting chops that recently swept A&B to their second GRAMMY nomination for Common Ground album cut "Northern Soul."
Says Above & Beyond in a joint statement, "Flying By Candlelight is a love song about a saviour who rescues our protagonist from a dark, lonely place, taking him through a spectacular night sky. A bit like The Snowman by Raymond Briggs, but a bit longer lasting!”
"Flying By Candlelight" is the second A&B vocal feature for Longstaff, who contributed the disarming refrain to Common Ground album cut "Tightrope." More commonly found performing under the moniker The Lake Poets, Longstaff has risen to prominence in recent months with the moving single "Shipyards," penned for his hometown of Sunderland, U.K. The song accompanies the opening credits to the sleeper hit Netflix documentary, Sunderland ’Til I Die.
Marking the 500th catalog release on Anjunabeats, those who like their music in a tactile format will be able to get their hands on 1 of 500 limited vinyl pressings of the Common Ground Companion EP, available for preorder on the Anjuna Music Store at 5:00 PM GMT on January 23rd. Above & Beyond’s bruising instrumental "Distorted Truth" will be released on February 8th, with Zoë Johnston’s haunting "There’s Only You" completing the Companion EP release on March 29th.
Pre-order the compilation here.
Along with the release, Anjunadeep, the renowned UK label known for breaking acts like Dusky, Lane 8, Yotto, Cubicolor and Eli & Fur, presents the tenth installment of their chart-topping annual compilation series. The compilation features 37 tracks with a whopping 32 of the tracks being new and unreleased. The series will be mixed by James Grant and Jody Wisternoff.
The Anjunabeats North American Spring Tour is returning to the highways of the United States and Canada following a year of hosting festival stages including Electric Zoo and EDC Las Vegas. The ten-date run showcases the labels eclectic talent pool in some of the continents premier venues, Anjunabeats biggest shows to date. Lovers of proper trance and progressive in California can double down on Anjunabeats. The label hosts two special weekenders at The Hollywood Palladium in L.A. and The Midway in San Fransisco - both nights promising unique, all-star line-ups.FOLLOW ABOVE & BEYOND:
These five stories defined EDM over the past seven days.
If the past week reminded us of anything, it's that the EDM doesn't need an IRL setting to flourish. The biggest virtual music festival in history just took place, and another video game facilitated an otherwise unlikely collaboration between two artists.
That's not the only noteworthy thing going on in the world of dance music. New releases and (actual, physical) festival announcements are still ramping up ahead of the warm season. From Minecraft's inaugural Fire Festival to Skrillex and Hikaru Utada's Kingdom Hearts III theme, these are the stories that defined electronic dance music over the past week.5. Minecraft Holds Biggest-Ever Virtual Music Festival
Fire Festival (not to be confused with the disastrous Fyre Festival) was the latest in a long line of increasingly sizeable crossovers between EDM and gaming. The biggest music festival to date, it featured performances from over 50 artists.4. Lightning in a Bottle Relocates... Again
At first glance it may seem as though Lightning in a Bottle's time in Bradley, California is up because of the 2017 and 2018 attendee fatalities. In fact, the annual music festival's relocation is due to the closure of the Monterey County Parks Department. Organizers have yet to announce where the 2019 edition will take place.3. Tomorrowland Announces Hosts for 2019 edition
As with every year, Tomorrowland's organizers have enlisted prominent figures in dance music to curate stages for the Boom, Belgium event. Anjunabeats, Eric Prydz, Adam Beyer and Q-dance are among the hosts for the 2019 edition.2. Flume is Working on Music with Gorillaz Co-Founder Damon Albarn
During a Beats 1 interview, Gorillaz co-founder Damon Albarn let it slip that he and Flume have spent time in the studio together. He did not reveal a title or release date for their collaboration - or whether it would be a release as Gorillaz or one under a side project.1. Skrillex and Utada Hikaru's Kingdom Hearts III Theme Comes Out
At long last, Skrillex and Hikaru Utada released "Face Your Fears." The two artists' collaboration is the official theme for the game Kingdom Hearts III.PREVIOUS WEEKS IN EDM:
One of many highlights from Above & Beyond‘s iconic ABGT300 set, “Flying By Candlelight” ft. Marty Longstaff, just released.
“Flying By Candlelight” is a massive production with rave-worthy synths, lingering vocals, and a progressive soundscape that lead into an entrancing realm only A&B could create. It finishes off with a drop so amazing, it will burn in your mind long after you’ve heard it.
Not only do we get the original version, but Above & Beyond are spoiling us with the official club mix and extended club mix all in one sweep. So, there are three ways to experience the brand new single.
“‘Flying By Candlelight’ is a love song about a saviour who rescues our protagonist from a dark, lonely place, taking him through a spectacular night sky,” A&B share. “A bit like The Snowman by Raymond Briggs, but a bit longer lasting!”
This new single is just the beginning. Above & Beyond just revealed they have, “Plenty of new music incoming over the next few months.” Get ready.Above & Beyond – Flying By Candlelight
Photo via Rukes.com
This article was first published on Your EDM. Source: Above & Beyond Release New Anthem “Flying By Candlelight” Out Now
After canceling the remaining dates on his tour, ZHU is putting his focus on making new music. This new collaboration with Sofi Tukker is the first we’re hearing from him since that announcement.
Grammy-nominated duo Sofi Tukker and ZHU prove to be a perfect match, finding balance with both of their signature styles for “Mi Rumba.” Cool and collected with just the right amount of dance, the single is an easy listen and showcases the talent of both artists in an effortless way.
“I’m sorry to say Dune Tour pt 2 will be canceled,” ZHU previously wrote to fans. “It is time for me to make new music. Music that will inspire me and those around me. Music that I can play come festival season.”
ZHU produced one of our favorite albums of 2018 and his sound becomes more defined with every release. We can’t wait to hear the rest of the new music he’s working on.
As for “Mi Rumba,” expect to hear this soon on a festival stage near you!Sofi Tukker x ZHU – Mi Rumba
Photo via Joe Vitalari @vtlmedia
This article was first published on Your EDM. Source: Sofi Tukker & ZHU Drop Smooth New Collaboration “Mi Rumba” [LISTEN]
Last year I went to Red Rocks for the first time to see Zeds Dead at Deadrocks V — two nights of Zeds Dead had my heart full of bass and happiness, including hearing two massive IDs that I needed in my life. The first of those was the collaboration with Snails and Akylla, “Magnets.” The second was this Delta Heavy collaboration, “Lift You Up,” out today.
It’s not unheard of, but it is rare, to hear Zeds Dead do drum & bass. But honestly, after hearing them team up with Delta Heavy, it’s hard to imagine a more perfect marriage of sounds.
Normally, we’d expect a dubstep drop first, followed by an uptempo drum & bass bridge or something to that effect. NOPE. This one starts out full tilt and hits you with that 174 right from the very beginning, and I’m all about it. Of course, there is a dubstep bridge, but it’s still fantastic.
“We’ve been big fans of ZD for a number of years,” said Delta Heavy, “so when the guys hit us up about working on some music together we jumped at the opportunity. The record came together pretty quickly, the essence of it being this catchy little vocal sample and the uplifting synth riff. We’re really pleased with how it’s turned out and the reaction to it when we all play it live has been incredible, there’s a real buzz around it online. To us it really sums up where we are at musically right now. ‘Lift You Up’ is a real melting pot of styles that – like us – straddles the Atlantic, fusing the traditionally energetic UK DnB sound with a bit of the more dubsteppy halftime stuff that’s big in the US right now.”
Zeds Dead continued, “This is one of our favorite songs that we’ve put out in the last couple years. It’s been really fun to play it in our sets and sort of have it as a cool unreleased track but now it’s time to let the people have it. In electronic music we always would like when an artist would have some unreleased music that you had to go to their shows to hear but you wanted it. Even though it’s only got a few lyrics to us this is a song about the human spirit and it’s amazing ability to triumph over adversity.”
This one is already on repeat for us today! Check out “Lift You Up” from Zeds Dead and Delta Heavy below, out now on Deadbeats and RAM Records.
Photo via Rukes.com
This article was first published on Your EDM. Source: Delta Heavy & Zeds Dead Drop Heavy New Banger, “Lift You Up”
It always feels like a holiday when Sullivan King drops new music, let alone a full EP. “Close the schools! Pack up for the day, we’re going home!” Except, I work from home and my job is literally to review music, so I can’t really complain when I get something like this in my inbox for the day.
Sullivan King is out today with his new EP The Demented on Kannibalen Records, and let’s just say I love it. There are some new styles in this, an acoustic of an old fan favorite, a fresh collaboration with Grabbitz — what more can you ask for??
The EP starts out with the title track, “The Demented,” which sees Sully trying his hand at midtempo for the first time. It’s definitely a bit jarring to hear midtempo in a Sullivan King style, but it’s better than him just hopping on a bandwagon. He definitely takes the genre into his own hands and molds it with guitar riffs and his own vocals; plus, there’s still plenty of rock to go around.
The Demented moves on with “Lie,” which retains some of the deep sound from the previous track, but ups the tempo a bit into a more electro house than midtempo rhythm. The structure of the song is also more indicative of traditional verse-chorus-verse than the build-drop-bridge of your normal EDM track.
Grabbitz and Sullivan King finally collaborate after years of friendship on “Show Stopper.” There are probably countless demos on their respective hard drives, but this is something truly worth putting out. Grabbitz bears his rapping chops on this one, which you might have seen live if you caught Sully’s set at HARD Summer. The track also has a showtunes style bridge that makes this one of Sullivan King’s most diverse and musically ambitious tunes yet. And last but not least, it ends with a phenomenal breakdown that really showcases Sully’s love of Avenged Sevenfold.
Finally, the EP ends on an acoustic rendition of his song “Don’t Care” from his House of Wolves EP in 2017. Nothing much to say about this one except that we love it.
Listen to the full EP below.
Photo via Rukes.com
Mystery artist KLOUD does it again. Amongst a series of remixes, covers, and originals, KLOUD has bent expectations and defied the odds, putting new spins on the likes of Nero, La Roux, and more. Now he sets his sights on bigger fare — Swedish House Mafia.
Covering “Save The World” is no small task. Originally sung by John Martin, just recreated the vocals is difficult enough. But everything in KLOUD’s new song is done from scratch, from the bottom up. The new production is fresh and exciting and definitely puts a different perspective on the classic.
While there’s undoubtedly a contingent of fans that worship the original, there’s bound to be a group of new fans who fall in love with this new take. Check it out for yourself below.
This article was first published on Your EDM. Source: KLOUD Delivers Unexpected Cover Of Swedish House Mafia’s Hit “Save The World”
Dance music has always had a close relationship with video games, after all, electronic music provides the soundtrack, and many games have iconic scores. Few games in history are as iconic as Mortal Kombat. This past Thursday, the first game play trailer was revealed for the highly anticipated Mortal Kombat 11, out on April 23.
Mortal Kombat has been in gamers’ lives for more than 25 years, revolutionizing fighting games forever, and becoming one of the most iconic and venerable franchises in the industry. The 1997 film also has a classic dance music soundtrack — dance music is in Mortal Kombat’s DNA. This time the Mortal Kombat team enlisted the help of Dimitri Vegas & Like Mike and Bassjackers, who lend their 2018 track, “The Jungle,” for an epic preview of the game.
First off, wow, this game looks AMAZING!! Classic characters like Raiden, Scorpion, Sub-Zero and Baraka unleash absolute carnage upon each other. The fatalities look absolutely brutal (Baraka rips Scorpions face off his skull!), all of the iconic moves are there (Scorpion’s “Get Over Here”, Raiden’s flying bullet) and what better way to unleash some vicious combos on fools than to the trapped out tune from DVLM and Bassjackers. The livestream event that unveiled the gameplay featured a bunch of celebrities and youtubers, as well as a highly anticipated matchup between Dimitri Vegas and Don Diablo. Dimitri got the best of Don and made it all the way to the finals.
Check out the insane trailer for Mortal Kombat 11, out on April 23!
And to get you in the mood to save Earthrealm from the Netherrealm and Shao Kahn listen to Dimitri Vegas & Like Mike & Bassjackers “The Jungle” available on Smash the House.
This article was first published on Your EDM. Source: Dimitri Vegas & Like Mike Provide Soundtrack for New Mortal Kombat Trailer
The past few years have not been kind to India’s Sunburn Festival. After 2016, the festival was relocated from Goa to Pune, nearly 300 miles away. And the issues only continued to accumulate in 2017 and 2018. Now, miraculously, the tide could be turning for the legendary festival. In February 2019, the festival returns home to Goa as Sunburn Klassique.
The new festival will be hosted at the old Sunburn venue in Vagator which is now one of the
most popular areas in Goa. The venue was discovered by Sunburn in 2013 after being forced
to move from Candolim.
Karan Singh, CEO, Sunburn states, “Sunburn introduced the concept of dance music to India and has aided in building music tourism across India. Over the last 12 years we’ve evolved from being just a music festival to an aspirational brand with millions of loyalists. We hope our return to Goa is truly memorable and magical and we can once again build Goa into a thriving music destination. As a practice, we will deliver the most intrinsic and enhanced fan experience without compromising on our production and experiential ethics. A massive festival like Sunburn is built on foresight and passion and we’re going in all guns blazing to make an even bigger mark in 2019.”
Photo via Rukes.com
This article was first published on Your EDM. Source: Sunburn Returns To Goa In 2019 As “Sunburn Klassique”
It took Danger 10 years to release his debut album, but it seems now that dam is broken and we’re getting more of him than we’ve ever dreamed. Two years after releasing his album Taiko, Danger is back with Origins, revisiting his roots.
If the album sounds nostalgic, that’s by design. Many of the tracks are unreleased from back in his MySpace-era days — fans will no doubt notice “88:88 Stage 3” in the tracklist, a follow up to the track “88:88” from his 2009 EP 09/16 2007. And even beyond that, separate from Taiko, the new album seems to be less about creating a world within the music and more about evoking memories from the past. One might say, a simpler time…
Longtime fans of Danger are going to love this album, as he brings back so many of the soundscapes, melodies, and structures that made him an underground phenom from 2007 to 2014. New fans are sure to love this album as well, as no one else is really pushing this sound; and in an ecosystem of regurgitated and repeated sounds, any new experience is going to be lauded.
Of Origins, Danger says,
“ORIGINS has become a vehicle for me to tackle keeping my past-self from haunting me or let my present-self become tethered down in nostalgia. I’ve struggled lately searching for my inner-child. I thought he had disappeared, then I’d thought I wouldn’t need him anymore, then I came to realize that living without him left me incomplete. When recently visiting my parents home, being in my dusty childhood room, I realized I had been missing that child who still reveled in the retro land of VHS tapes and 8-bit gaming. He needed to have voice in my current art. ORIGINS was born out of this struggle and it was an album that needed to happen. It’s important to never forget that the most fragile part of yourself can also be your biggest strength. In many ways this album represents where I’ve come from, more-importantly it informs where I’m going.”
The album is entirely instrumental and resembles video game background music for the most part, making it the perfect choice to put on when you need to get to work or just zone out. Then again, maybe just turn the lights off and put some headphones on, and get lost in the nostalgia.
Check out the new album Origins from Danger below.
Also be sure to catch Danger on tour starting next week.
This article was first published on Your EDM. Source: Danger Returns With Nostalgic Sophomore Album, “Origins”
There are certain unassailable rules in the service industry. “Don’t mess with the people who make your food” is a prime example. One that doesn’t exist yet in dance music, but should, is: Don’t piss off the people who design your art.
Art in this case can be as broad as track art to live visuals, but the message stays the same. Yesterday, Mr. Carmack violated that rule with the below tweet.
To all you graphic designers charging 50$ every change you make, you need to rethink why you started designing in the first place
— MR. CAR/\ACK (@mrcarmack) January 18, 2019
There are a lot of ways to begin addressing why this tweet is so absurdly wrong, but this response from @sarahxcarr is a good start.
Most designers don’t even make modifications unless they’re asked to by the person who hired them. And most of the time the designer has stated how much they charge for edits or how many edits they will include with their service before even being hired. Soooo…..
— (no subject) (@sarahxcarr) January 18, 2019
A graphic designer generally isn’t some kid in their mom’s basement who does this on the weekends. It’s a real person who’s made this their career, has contracts, and charges fees for their work.
After turning in a project for review, most designers will charge an hourly rate for any revisions that the client wants done. In that sense, $50 for a single revision is actually a steal.
Carmack’s tweet seems to imply that any revisions should be free of charge — does that mean no matter how many revisions it takes? And the implication that they should be designing graphics for, I don’t know, just the pleasure of it, is bordering on asinine.
The tweet was posted yesterday and, despite hundreds of replies, Carmack hasn’t made any effort to clarify or rectify his position. See some of the responses from real graphic designers and creatives below:
The next time you want money for music you wrote you need to rethink why you started making music in the first place.
— Joshua Cole (@joshuawcole) January 18, 2019
you may be a visionary producer but i guess you’re still a dumbass
— umru search party LA (@umru_) January 18, 2019
Would love to hear what you think the correct reason that graphic designers “started designing in the first place” is
— Mikey Joyce (@mikeyjoyce) January 18, 2019
First off, technically you’re making the change, not the designer.
Second, if they’re charging you $50, that’s probably an hour of work and that’s not a simple change.
Third, it sounds like you’re a crap client who either A) gives bad direction or B) can’t make up their mind.
— Erik (@BillsFanAuthor) January 18, 2019
Imagine being able to afford a designer & complaining about having to pay a designer.
— Lameboy Advanced (@AvianPride) January 18, 2019
This might seem kind of funny but I'm actually not lying.
— Lil Boostie (@alexprofera) January 18, 2019
Kind of shocked that you would say this…people don’t work for free. Their art/designs are equivalent to any regular goods or services being sold.
— Magician Holly (@kaydem0n) January 18, 2019
This article was first published on Your EDM. Source: Mr Carmack Just Pissed Off A Lot of People with Harsh Criticism of Graphic Designers
Charlotte de Witte’s approach to music, bare-bones yet tinged with melancholic emotion, is a pure, hard take on techno.
Another week, another One Mix. This time around, Beats 1’s weekly radio show hosts Belgian no-nonsense techno enthusiast Charlotte de Witte. Stripped-down, dark techno held by long eerie loops and hellish, unrelenting kicks marks her style. Her less-is-more approach favors a few strong elements - a kick drum, some percussion, and maybe a vocal - over bombardments of boisterous sound.
Expect plenty of simple, emphatic techno, with tunes from artists like Caesium, Jan Fleck, Alex Randal, and Moddullar, on her debut One Mix.
Air Date: Friday 18th January, 2019 - 21:00 LA / 00:00 NY / 05:00 UK
Tune in here, exclusively on Apple Music.
Growing up in electronic music-savvy Belgium, de Witte dove into club culture early on in life. Her first taste of electronic music was at the age of 16, going out to underground clubs in her hometown Ghet, listening to electro by artists like The Bloody Beetroots, Crookers and MSTRKRFT.
Immediately hooked onto the vibrancy of the music, de Witte explored the nuances of electronic music ever more until she heard Len Faki and fell deep into the dark embrace of techno. Faki’s remix of Dustin Zahn’s “Stranger Stability” in particular drew her to the hypnotic spell of the genre's functional, bared sounds.
Mixtapes on Ableton kickstarted her affinity for DJing before she eventually bought decks, though she didn’t have much practice before her first-ever show. In fact, she had never touched CDJs before she played on them at Jeugdhuis Tentakel, a youth center in a village called Wippelgem near her home. She recounts:
“I got the opportunity to play my first DJ set there right before opening hours. Only the bar staff and some friends were there. Needless to say, it was a total disaster. I didn’t know how to mix at all but I had a good, although embarrassing, time.”
A year later in 2011, de Witte won a Tomorrowland DJ contest, earning a Studio Brussel residency, a crucial role in shaping her taste-making and mixing abilities. However, up until 2015, the world didn’t know her as Charlotte de Witte. Instead, she went by the alias Raving George to mask her gender from the aggressive, judgmental boys club of electronic music she feared a young female producer like herself would be exposed to.
Her instincts were fueled by sexist rhetoric; in an interview with Mixmag she shared that, “there were people who couldn’t stand seeing a 17-year-old playing events like Tomorrowland and I Love Techno. There were hate groups against me on Facebook! People would say things like ‘Oh, she must be sleeping with the manager’ or ‘they’ve only booked her because she has tits.’”
Furthermore, de Witte went on to explain, “I was so young, and still very insecure. I didn’t want to shout about the fact I was a female producer until people had booked me. Eventually I just thought ‘Fuck it! I’ve been DJing for six years. Everyone knows I’m a woman – why do I need a male name?’ It was a stupid idea anyway.”
The transition was strong, powered by a great debut EP on Tiga’s Turbo Recordings titled Weltschmerz. She has since released eight other well-received EPs on labels like Sleaze Records, OFF Recordings, and MARY GO WILD BLACK.
de Witte’s approach to music - a bare-bones sound tinged with melancholic emotion through heartbeat drums and simple, focused elements - is a pure, hard take on techno that has earned the attention of fans and critics alike. Though in her downtime, she often listens to more soothing, subtler shades of electronic music by artists like Howling, James Blake and Bob Moses.
On the live side, de Witte has performed at renowned festivals such as Movement, Pukkelpop, I Love Techno, and Dour. In addition, she has hosted her own stage at Tomorrowland. Her KNTXT brand, a party concept that emerged in Brussel’s famous Fuse nightclub in 2015, has been steadily growing as well.
Before her upcoming One Mix, we got to catch up with de Witte, exploring her background in music and the drivers of her musical tastes. Read on for her guilty pleasure record, favorite throwback track, dream collaborator, and more.
EDM.com: Your first show experience?
Charlotte de Witte: There was this place called Jeugdhuis Tentakel, a youth center in a village called Wippelgem close to where I lived. I had never played a DJ set before, but because some of my friends knew the owners, I got the opportunity to play my first DJ set there right before opening hours. Only the bar staff and some friends were there. Needless to say, it was a total disaster. I didn’t know how to mix at all but I had a good, albeit embarrassing, time.
The first time you brought your mom to your show?
I think that was Pukkelpop 2012. It was my first big outdoor festival and I remember being dead nervous. I brought both my parents with me and I still have a picture of my mom, standing in the crowd, with her hands shaped in a heart. It’s absolutely adorable! Since then, they have joined many times. Last time was when I hosted my own KNTXT stage at Tomorrowland 2018. They’re my biggest fans.
The artist who inspired you to become a musician?
Len Faki is the one that got me into techno. When I started as a DJ, I was playing electro. But, after listening to Len’s set at a festival, I fell in love with this specific kind of darker, more stripped-down music. I told him this story last summer and we all laughed about it.
Go-to places for new music?
My options to go digging for physical records are quite limited since I’m constantly on the road. I’m more of a Beatport, YouTube, BandCamp person.
Guilty pleasure record?
Probably something from Sylver. Belgian dance music from the noughties. Proper party tunes.
Desert-island dance record?
"Dunne" by Espiral.
Dream B2B partner?
Vocal wise I would like to do something with Bob Moses or Lera Lynn. Techno wise Chris Liebing was high on the list and I’m very proud and excited to say that there’s a collab EP coming up soon. Life goals.
Piece of gear you always need on the road?
Besides my headphones and SD cards for obvious reasons, I’d say the Pioneer RMX 1000. It’s an effects unit that I couldn’t miss anymore during my set. It adds so much to my sets and I get quite nervous if I don’t have it with me on stage.
All-time favorite festival?
Hmm. Difficult one. Maybe Awakenings? It’s always extremely cool to play there and be a part of the story they’re creating and telling. It’s always so fun to see many friends backstage as well so the vibe there is always amazing.
How often do you get out and have fun, and where do you go?
I’m never really available on the weekends to go out with friends so I often meet them during the week. We usually go to a restaurant and a bar or a house party. We don’t go out together that much because obviously there’s not so much clubbing to do during the week and I’m always in a club, so I prefer to chat with them and have some quality time.
City with the most underrated dance scene?
I’ll give you a continent. South America. By far my favorite continent to travel to. The vibe there is absolutely mind-blowing. They truly go for it and have an endless supply of energy.
Industry prediction for the next year?
I’d say techno is on a roll. I see an ongoing evolution already in many cities all around the world. Techno is getting accepted on a large scale which is very fascinating to see. It’s a beautiful genre of music, after all.
Best piece of advice for new producers?
Cheesy but true: don’t give up. The first couple of months will be extremely rough and frustrating. Even after all these years, I’m not even close to knowing everything possible with Logic. It’s not about what you know but what you can do with the kind of stuff you do with your limited knowledge. Look for the thing that works for you, even if that’s something unconventional.
Dead or alive, who would be your dream collaborator?
A unique experience you’ve had backstage?
Awakenings Eindhoven 2018: It was Rocco’s [the owner of Awakenings] birthday and he had organized an entire artist dinner and private backstage dance floor for the occasion. The entire night was so much fun. Everyone was beautifully drunk and even though I played at a techno festival, it was hard for me to stay away from the backstage dance floor where they played disco. That was such a cool night.
A unique travel experience you’ve had?
Too many to name! I’ve been traveling the world for two years and every new location still touches my soul. I always wanted to travel. Now that I’m able to combine this with music, it’s a dream come true. I guess the ideal situation is when not only a country blows you away but also the people living in it. And I experienced that in Sydney. I made friends for life when I went there for the first time in 2017. We kept in touch and met again of course in 2018. They’re wonderful people with beautiful souls.
What's your favorite throwback track?
"Arnold Classics" by Brodinski. A track I’ll always remember from back in the days when I used to play electro.
What's one track that fans always lose their mind to?
An old '90s tune from Kai Tracid called "Voyager."
What was the first single you ever bought?
"Blue" by Eiffel 65. Haha.
Name one remix that you think is better than the original.
Watch Out For Stella's remix of "Jam & Spoon" by The Age Of Love.
What song would you want (god forbid) played at your funeral?
"Sirens" by Ben Klock.
What's the perfect sunset track?
"Far From The Tree" by Bob Moses.
What song do you listen to cheer yourself up?
Rex The Dog's remix of "Tony The Beat" by The Sounds.Follow Charlotte de Witte:
Hex Cougar grimes Illenium up.
Rising L.A producer Hex Cougar was passed the musical baton by Illenium for an official remix of "God Damnit" featuring Call Me Karizma. The original track clocked upwards of 12 million total streams, providing the perfect base for Cougar to work with. In an explosive union of styles, "God Damnit" gets a heavy dose of grime from the young artist which is sure to catch the listener's attention.
The dark, raw-sounding vocals by Call Me Karizma come in with easy, conversational melodies. Hex Cougar amps the energy up with that powerhouse of a drop full of dirty, distorted synth stabs and riveting bass growls. The instrumentation is choppy, intense, and addictive. It's great to see he was able to transform the song while staying true to the melodic allure of the source material.
Hex Cougar crafts otherworldly sonic landscapes that straddle the line between menacing and beautiful. His résumé includes remixes for the likes of RL Grime, Alison Wonderland, KRANE, and Sia in addition to numerous originals tallying millions of plays across platforms. He's landed critical acclaim across the board, garnering support from the likes of Diplo, Skrillex, Bassnectar, Porter Robinson, DJ Snake, Baauer, The Chainsmokers, Jauz and Boombox Cartel.
Since the release of his debut EP in 2013, Illenium has seen his career skyrocket with a large number of headlining appearances at major festivals. Alongside the festival billings, his debut studio album Ashes reached #6 on Billboard's Dance/Electronic Albums chart. His next big venture will be a legendary performance at the iconic Madison Square Garden.
Just yesterday, Illenium also announced the forthcoming release of a brand-new song. “Crashing” featuring Bahari will be released next Friday, January 25.FOLLOW ILLENIUM:
Calvin Harris apparently doesn’t appreciate being called by his stage name. Though we all know him by, well, Calvin Harris — his actual name is Adam Wiles and that’s what he prefers. Especially among his close friends and family.
“No one calls me Calvin,” the superstar DJ is quoted in a new report. “It’s horrible and it’s not my name. You might as well be calling me Mr. Blobby.”
We wouldn’t say it’s “horrible,” but alright then…
“At the start of my career people were meeting me for the first time and I let it slide. It was sort of a nickname.”
But, when a girlfriend was calling him by his stage name, he thought it was taken too far…
“I was like, ‘I’m sorry this is ridiculous. You’re speaking to my alter ego.'”
Understandably so. Of course, it’s an easy slip up considering Calvin Harris is a typical sounding name. We know Skrillex isn’t Sonny Moore’s name, just like Marshmello is definitely not the name of the masked sugary treat.
Next time you see Adam, make sure you take it easy on his stage name!
This article was first published on Your EDM. Source: REPORT: Calvin Harris Actually Hates Being Called Calvin Harris
Songwriting apparently runs in the family.
Vicetone have teamed up with the sibling of a massively famous pop star for their latest release. Unless you've been hiding under a rock, chances are you've heard Charlie Puth's crisp vocals on a song like "See You Again" or "We Don't Talk Anymore." As it turns out, his brother shares some of the same flair.
"Fences" by Vicetone showcases the duo's signature fusion of main stage-friendly synth work while also serving as an effective vehicle for vocalist Matt Wertz. Co-written by Stephen Puth, it exhibits plenty of mass appeal - but will not likely alienate fans of the DJ/producer duo.
Vicetone - whose real names are Ruben den Boer and Victor Pool - debuted in 2012 with the release of "Harmony" via Monstercat. In the years since, singles like "Nevada" and "Something Strange" have served as mile markers of the progression of their signature sound.
"Fences" featuring Matt Wertz by Vicetone and Stephen Puth is out now via Monstercat. Stream or download it across platforms here.FOLLOW VICETONE:
Armin van Buuren, Irvine Welsh, Laidback Luke and more will present at WMC this year
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