Many successful artists also have side ventures, with some exploring different alcohol sales, brand partnerships, modeling, etc. For NGHTMRE, he worked with his brother Matthew Marenyi, and Winterhalter from his media team, to craft an idea for a food/travel show that takes advantage of some of the exotic locations he already finds himself in thanks to work.
“After YEARS of development with lots of ups and downs,” he says, their show SAMPLED is officially premiering on Paramount+. Dates of the premiere differ by region:
Tuesday, Dec. 13 in the U.S. & Canada
Wednesday, Dec. 14 in Latin America and the U.K.
Thursday, Dec. 22 in Australia
Italy, Germany, Switzerland, Austria, France and South Korea in 2023.
You can watch the trailer below!
Photo via @pistolpetesphoto
This article was first published on Your EDM. Source: NGHTMRE’s original food/travel show ‘SAMPLED’ premiering Dec 13
Talent always finds its way through the noise of a competitive industry, and for Blake Orris, also known as BLAKELOGANX, cutting through the saturation is exactly what he’s been doing this past year. The 19-year-old is living his dreams and entertaining the world with his multiple endeavours while growing his fanbase on social media. The Florida-born musician has worked hard for years, built connections, and is prepared to make his mark within the music world. It’s evident that the artist’s skills go hand in hand with the tech, social and digital platforms that have also played a vital role in establishing his presence online.
The young multi-talented artist has fortified his presence within the American Music Industry. His day starts and ends with music creation, and he loves to practice for long hours and create memorable music which connects with his followers. The road to success for BLAKELOGANX wasn’t an easy one. He had to hustle hard and go through the grind earlier in his life to break into the music scene. Not being afraid of failure or learning new things, BLAKELOGANX’s positive attitude has taken him on a long journey in the music world in his youth, where his peers didn’t realize his initial talent to pursue a career and establish himself where he is today.
Looking at his discography, BLAKELOGANX’S tracks have been striking the right chord in the hearts of fans worldwide. His latest record like “No Games” has resonated with his audience and is an honest reflection of where he’s headed creatively this past season. His profound knowledge of music, art, and introspection is seen in his performances, and it’s undeniable that he’ll continue to multiply his presence within progressive music culture.
Stream “No Games” here and follow Blake on Spotify below!
This article was first published on Your EDM. Source: BLAKELOGANX Isn’t Afraid of Coloring Out Of The Lines : New Moves and Music
For the EDC Las Vegas devoted, the (relatively) new Camp EDC option will remain your most direct mode of access to the daily festivities of the festival itself as well as the activities offered by the Camp including exclusive DJ sets, unique camping experiences with neighbors, and more. However, if you’ve wanted to be closer to the action but couldn’t stomach the idea of camping, Insomniac is offering a new official partner hotel experience in 2023 that should be right up your alley.
Hotel EDC, at Resorts World’s Las Vegas Hilton, presented by Vibee, prominently features a range of unique fan experiences, entertainment, and epic perks for festival Headliners to enjoy for three nights and four days, May 19-22, 2023.
The sprawling, 88-acre property will become the centralized hub on the Strip for all things EDC Las Vegas, transforming the dazzling Las Vegas Hilton into a rave wonderland. Guests at Hotel EDC will be treated to a variety of unique offerings including exclusive parties at Ayu Dayclub, specialty art installations throughout the property, daily “Headliner Headquarters” at RedTail, EDC-themed cocktails and food offerings, daily wellness sessions, in-room entertainment, exclusive gift bags, and many other surprises.
Additionally, Vibee has procured a limited number of festival passes, giving Hotel EDC purchasers the option to buy a ticket to the sold-out festival, if needed.
Hotel EDC, the exclusive and only official Headliner hotel for EDC on the Las Vegas Strip includes:
3-night stay at Las Vegas Hilton at Resorts World, checking in Friday, May 19 and checking out Monday, May 22, 2023.
Dedicated EDC TV channel to enjoy DJ sets and exclusive content from the comfort of your room.
Exclusive gift bags for each guest.
Hotel soundtrack provided by Insomniac Records.
Official Hotel EDC day parties at Ayu Dayclub, all weekend long.
Free entry late night to Zouk Nightclub Friday and Saturday nights (subject to capacity).
Pop up DJ sets throughout the property.
Morning wellness experiences.
Eye-catching EDC photo ops and performers.
Daytime Headliner Headquarters at RedTail, with games, prizes, karaoke, speed dating and drink specials, plus interviews and DJ sets from Insomniac Radio.
Special EDC pop up store on property.
FOOD & BEVERAGE
Headliner Hall Pass with $30 in daily credits for each guest to use on property.
Recharge after the show with extended hours and special menu items from Suns Out Buns Out and Mulberry Pizza, including custom Pasquale’s Pizza!
Daily Headliner Happy Hours with drink specials on site.
Hotel EDC also offers premium add-on experiences, such as Premier Shuttle service to and from the festival grounds, early check in and late check out, the option to extend your stay by adding on nights before or after the festival, spa packages, and a special Raver Recharge Brunch on Saturday developed in partnership with the culinary team at Fuhu.
Beginning this Monday, December 5, at 12 p.m. PT at HotelEDC.com, Hotel EDC packages, which include accommodations for groups up to four people, can be locked in with just a $99 deposit.
Photo via AGP for Insomniac Events
This article was first published on Your EDM. Source: Insomniac Announces First-Of-Its-Kind Hotel EDC Experience During EDC Las Vegas 2023
Since the beginning of the Crywolf project, the music has always expressed elements of introspection and self-discovery. Through the artist’s own battles with mental health, the experiences and lessons learned throughout their journey have been exhibited front and center throughout the music. On top of being an extremely talented musician in his own right, the background also gives the music an exceedingly visceral and familiar feeling.
That motif is nowhere more salient than his latest album, exuvium [OBLIVION Pt. II], created following a period of intense turmoil. The pain and grief in the music is nearly tangible, the powerful melodies and lyrics seething through the speakers with intense fury.
When Crywolf released Cataclasm in 2015, we included it in our list of Top Albums of the year and called it an “album for the post-EDM era.” Not counting the 7-track Skeletons project released in 2017, the two-part OBLIVION series has been his first return to the album format in almost half a decade. A lot can change in the world between then and now, most of which we probably don’t need to remind you of.
But that time was also a period of intense personal growth and self-discovery for Crywolf himself.
Following the release of the album, we spoke with him about the album, the influences within, and what the future of the Crywolf project looks like. Listen to the album below and continue scrolling for our interview.So what was the difference in your mentality between Widow, pre-pandemic and Exuvium coming out? You know, after this global trauma had been experienced for a year and a half.
I actually wrote most of Exuvium before the pandemic. I wrote it when I was living in Bali. I moved back from Bali about a month before the pandemic started. So most of these tracks were written there. And so I wouldn’t say that the pandemic played a huge role in the substance of the album or the themes or anything like that. But I do find the juxtaposition of the two albums really interesting. Because basically the whole Oblivion series covers what was essentially my dark night of the soul or my, you know, like quarter life crisis. I think a lot of people go through that near the end of their twenties.Yep–
Where they’re sort of like questioning all the structures that they formed over the course of the early parts of their twenties and everything’s kind of starting to lose its luster, and they have to make a lot of changes in terms of how they planned their life. Career wise, friendship wise, lifestyle wise things like that.This all sounds very familiar.
Yeah, yeah. How old are you now?31.
Okay? Yeah. Yeah. Yeah. When I started going through it, it felt like my life was ending. And then I finally started talking to people in their thirties and everyone was like, “Wait. How old are you?” And I was like, 27. They’re like, “Oh, my god. Of course you are. That’s exactly what you should be doing at this age.” And I’m like, I feel like my life is over! It didn’t make it any better, but I just really started to question a lot of the things that I was doing with Crywolf. My life just got so unsatisfying and that sort of set off this cascade, it really triggered my preexisting bipolar disorder. And like my depressive and anxiety symptoms got so crippling for, like fucking three years. And I wrote Widow sort of right during the beginning of all of that, and then I wrote Exuvium right at the end of it. So Widow is really dark, but it’s dark in sort of this, like helpless, tragic way. Sort of just being thrown around by the void and, you know, swept up in nihilism and the meaninglessness of it all.
And then Exuvium, I think is sort of the perfect counterpart to it and finishing part for that series because it has the same sort of themes, the same sort of imagery, but it has a very different tone by which it approaches it. It’s kind of approaching it all with much more power. It’s like facing that sort of creative destruction that needed to happen. But instead of that creative destruction being a tragedy like it was in Widow, instead, it’s like the ultimate strength, the thing that’s fueling you.One of the things I noticed is there is a much more salient Latin and religious influence in Exuvium. When I was at your early-listening showcase, it was almost like I was listening to a sermon at certain points. Where did where did that come from? Is there Is there any sort of imagery or metaphor to be gleaned from that sort of wild departure in theme.
Yeah, I mean, over the course of this entire process, I really started diving into the works of Carl Jung, the psychologist who coined the whole idea of the collective unconscious, shadow work, archetypes. And specifically with archetypes, essentially the idea that we have these kind of complex energies inside of us, for lack of a better term, not like actual energy, but just sort of these patterns of mental behavior and that it’s easiest for us to understand those things if we externalize them. Because a lot of times they almost feel like something separate from us, like falling in love or getting so angry that you do something. If you really think about it, it feels like something else is controlling you, like you’re not making the decisions that you would normally make, you’re kind of being influenced by something.
As human beings, it’s a lot easier to say, “Oh, I’m under the influence of Cupid or Aphrodite,” and it’s like, “Oh, well, that makes sense. That’s why you’re being that way right now.” Or, you know, channeling Ares the god of war, and then, “Oh, that makes sense. That’s why you’re so violent right now.”
So, you know, to me a lot of these religious figures are sort of these archetypal role. They play these archetypal roles for us. Typically, I would stay away from any sort of like religious or esoteric imagery with my stuff, because I have been scarred by the church and generally stay away from religion. But to me they are sort of these powerful symbols, especially in terms of like the destructive archetypes.
The second track on the album is called “Abbadon,” who is one of the demons of the Apocalypse. And there are lots of references to, like you observed, there’s a lot of references to that sort of thing on the album. But I think it would be misguided for anyone to interpret that as an actual reference to the religious beliefs of any of those. It’s much more like this is an easy way to refer to a certain type of energy that is so ineffable. It would take so long to describe something fully. But yet you can refer to a character and that character embodies sort of the essence of what all that has to do with everything.Absolutely, and the word Exuvium itself, I just Googled it to be sure, means “something that is cast off, such as the exoskeleton of an animal.” So is the is the album about sort of shedding that past self and coming out something new, something glorious and beautiful?
Yeah, definitely. I mean, I think the whole theme of OBLIVION is sort of confronting the void and the meaninglessness, essentially trying to make sense of it in some sort of way. Everything that I write, it’s always sort of a process of discovery for me. Usually I’m writing and I’m just channeling whatever’s inside and then afterwards I’m looking at it and I’m like, “Oh, my God, this is not only describing exactly what’s going on inside of me,” but a lot of times it’s sort of like predicting the future. I’ll write an album and then I won’t really fully understand that album until six months after I release it, because it’s talking about things that I have yet to go through. When I was writing Exuvium I was still in the middle of this crazy period. I remember when I wrote that song, which ended up being the title for the album, I didn’t actually know what Exuvium meant but I was just going with these lyrics, and I just put that word in there. Then I looked it up later, and I was like, “Oh, sick.”Yeah, it worked out.
Maybe it was just like, you know, buried somewhere deep inside of me, and I didn’t really have conscious knowledge of it. But yeah, it’s definitely like that ending point where you shed that final layer and sort of emerge from the from the like, dark, spasmodic, painful womb of that particular type of change.A wordsmith indeed. [laughs] So you mentioned you know that this album was finished before the pandemic. Was the pandemic part of the reason why it wasn’t released until now? Or like you said, did it take more time for you to fully understand what the album meant to you, and you needed to sit with it for a little bit until you released it out into the world?
I would love to blame it on the pandemic. That would definitely be definitely be a much easier excuse, but in reality, honestly, I was just fucking having a mental breakdown for like two years. I had this period in Bali where I was feeling better, and I wrote a bunch of this stuff and then, a couple months later, just was going through it again. So there was like a whole year there where I just could not bring myself to work at all. And I was in despair all the time. And then and then I actually ended up taking a year long sabbatical after that. So, the album was written in Bali, and then this year I’ve finally really felt like reapproaching Crywolf. There is actually a period there where I was considering not doing Crywolf anymore, because it just developed to the point where it was creating so much anguish in my life. But then this year, I like really rediscovered my relationship with music and decided to reapproach this album and knock it out, so most of the actual finishing work has been done this year, whereas all the writing was done in Bali, all the composition and stuff.You mentioned the possibility of the Crywolf project itself not existing after this. You were able to overcome the mental anguish and the issues and you came back, finished this album up, released it. So what’s the plan now that it’s released? Have you reignited your passion enough that you know there’s going to be more music? Are you planning on maybe touring this album and then hanging up the towel? What’s sort of the long term plan now is as far ahead as you can tell.
My relationship with Crywolf was complicated, but also my relationship with just being a musician was complicated because one of the things that I was having a crisis about was the fact that I had, without really realizing it, dedicated like 12 years of my life into this one industry. And you know, I love music. I will always create art. Growing up it was a big part of who I was, but it wasn’t all of who I was. I wasn’t one of those people who grew up being like, “I will be a musician or I’ll die.” You know, like this is the only thing I want to do? There’s lots of stuff that I want to do.
But my relationship with music itself, I feel like was completely rejuvenated. I’m so into making more music, and I’ve already been writing a bunch of new stuff. My relationship with Crywolf is pretty good. I sort of made an agreement with myself that I would finish this album, and then I would do one more tour. And then if I still wanted to quit after that, then I would quit. Whether that looks like starting a new project, whether that looks like taking some time off to pursue other things, and then maybe reapproaching music later, I’m not sure. But I would say with this album’s reception and everything that’s gone into the album release and how much I’ve really enjoyed that again the way that I used to, I think I’m pretty sure that I will continue doing Crywolf. We’re planning this tour for April/May and that’s going to be really fun. Just because this album is so cinematic and so like epic, and, making the whole visual journey for that and building that whole tour out is going to be really fun.
Plus, it’s just fun that like… You know, with Widow? It took it took people like two years to really get Widow. Um and I get–Your music is a little, I would say, intellectual.
Yeah, I mean, especially that one because it was it was so– It just was not something that was made for people to like. I mean, I remember recording Widow and I would like I would do five vocal takes and I would choose the worst one possible. I wanted it to be bad because that was honest at the time, like I was a fucking mess, and I didn’t want to make music that sounded polished. I didn’t want to make music that was catchy or that drew people in. It was supposed to be ugly. And so it took people really long time to understand Widow. Whereas with Exuvium there are already so many people that are like, “This is my favorite album you’ve ever done.” So touring with an album like that is way more fun than touring with an album that people still have yet to really understand.
You know, there’s five months in between releasing it and playing it out, and with an album like this, as soon as I’m on tour, there’s gonna be tons of people like screaming the lyrics to every song. Whereas Widow I was not quite as excited to tour with a bunch.But now I’m just imagining the crowd like yelling out in Latin, just like–
I hope so. If they know all the Latin that would be so sick.I don’t know whether I would like feel like intense like community and, like togetherness, or just straight up fear at that moment,
I hope sort of both. That would be a great combination of feelings.Absolutely, I’m looking forward to that, especially since you know you said it was April/May, right around my birthday. So hopefully I get to have some spiritual awakening when I turn 32, because god knows that age really isn’t good for much else. But yeah, I really appreciate you speaking with me. I’m gonna take a listen to the album a few more times because it is quite a dense but I’ll definitely catch you on tour next year.
This article was first published on Your EDM. Source: Crywolf sheds his skin and becomes something beautiful in the closing chapter of oblivion, ‘Exuvium’ [Interview]
Primavera Sound continues its reign as one of the most impeccably booked festivals in the world each year with their announcement of the 2023 lineups for Barcelona and Madrid. Depeche Mode, Kendrick Lamar, Blur, Rosalía, Halsey, FKA twigs, Skrillex, Måneskin, St. Vincent, The Moldy Peaches, Calvin Harris and Le Tigre will headline the Barcelona and Madrid dates next year.
In total there will be over 200 performances in each city, including both welcome and closing days and of course the program of Primavera a la Ciutat.
This plurality, this diversity that is so Primavera Sound, also extends to the strictly musical side and offers impossible combinations wherever you look. Punk and k-pop, reggaeton and metal, techno and salsa will coexist in an event to celebrate music in all its forms in the hands of big names, long-awaited comebacks, brand new revelations and living legends.
Barcelona and Madrid will experience two almost identical Primavera Sounds on their three main days. Almost. A minimal difference that is limited to a small group of artists who will only perform on one of the two sites aspart of the main program of each festival. The Parc del Fòrum will be the place to enjoy the grand guignol metal of Ghost, the simmering quejío of Israel Fernández and Diego del Morao, the refined saudade of Arthur Verocai and the rock in scope of The War On Drugs (who in Madrid will headline the Primavera a la Ciutat program with a concert at La Riviera) and the gen-z confessions of Holly Humberstone, while the Ciudad del Rock will feature The Mars Volta in another of their volcanic appearances, Bad Gyal, and the British artist Georgia with her emotional dance and the post-punk commune formed by Crack Cloud.
Full festival tickets and day tickets will go on sale on Thursday 1st December at 12 noon CET on DICE.
Photo via Christian Bertrand for Primavera Sound
This article was first published on Your EDM. Source: Primavera Sound announces Skrillex, Halsey, Kendrick Lamar, Calvin Harris, Fred again.. and more for 2023 festivals
Who remembers the beacon of hope and shining artistry that was VISION’s Mission 01 compilation mega album in 2020 at the darkest point of the pandemic? Though theter were likely planning it before the lockdowns even started, with 23 of the most creative bass tracks at the time, the first installment of the Mission series lifted more than a few spirits and played in more than a few live sets (online though they may have been). Two years later, however, many may have been wondering if the Mission series would actually continue. Good news, Mission 02 is almost here and it’s even more innovative and unhinged than its predecessor.
This time featuring a whopping 28 tracks, Mission 02 picks up and expands where Mission 01 left off. Where the first installment had an experimental bent with an expeanded reportoire of genres like dubstep tracks by Posij and Former’s “Ultra,” halftime in Euph’s track “Stolen” and even some hard industrial techno from Icicle and IMANU’s “Preamble,” Mission 02 is even less D&B-forward. It also presents many more up-and-comers amongst the big names like The Outsiders, Forbidden Society, Jam Thieves and of course Current Value. The mission of Mission is experimental, so let’s get experimenting.
The album opens with a full 29-second version of the classic Noisia Radio tag, “hello, person,” modified at the end with “you are not tuned into Mission” which, to most fans, signifies things are about to get very VISION-y. That’s followed up with the first surprise of many on this album, a mix-in garage track by Holly called “Darkness Edge” which goes with the spacey theme of the intro. From there, the variation in style and genre is all over the place: snare-forward outer edge D&B by Maysev, fast techno by newcomer Handi, hip hopped halftime by Mono/Poly, barely recognizable experimental dubstep by Monuman and I/O U…we’re not even halfway through the tracklist yet. It’s a genre free-for-all, and the artists must have had a field day creating these super-out there tracks.
There’s still plenty of D&B on Mission 02, so D&B adherents need not fear: tracks from Rohan and Tom Finster, Dez, the afore-mentioned Jam Thieves and The Outsiders et al. push the limits of the 174 breakbeat but are still very much D&B. Our YEDM premiere today, Current Value’s “Life of Its Own,” however, is a standout among standouts.
With an extra-long intro and one of the longest runtimes on the album, “Life of Its Own” hearkens back to the heady 1996-7ish days of D&B tracks being ambient, intelligent and more than four minutes long. The intro and breaks are quite ambient and cinematic for Current Value, with blaring horns and loads of meditative background music, but this seems only to be to balance the track and lull the listener into a false sense of security before the madness of the main track starts.
With CV’s characteristic radio pops and minimal drumline driving the tracks, tiny reverse sine splices make up the mid line as more experimental chaos erupts around them. Loads of syncopation with the sub synth, cyclone snare sounds that are not the actual snare and an eerie ambient background make this track sound like a steampunk robot being eaten by interstellar static. All this would be shocking, except that it’s Current Value. In his case, as always, once we’ve picked the remnants of our brains up off the floor, the reaction is always “of course; it’s Current Value.”VISION · Current Value – Life Of Its Own
If VISION’s mission for Mission 02 was to give fans the brain scramblies with not just CV but all the other artists, tracks and styles on this huge album, then mission accomplished. It’s a comprehensive body of work that picks up where Mission 01 and the Outer Edges album and series left off. Here’s hoping that the next installment comes sooner than this one.
Mission 02 drops on VISION this Thursday, December 1. click here to pre-order or pre-save.
This article was first published on Your EDM. Source: Your EDM Premiere: VISION’s ‘Mission’ Series Takes on a ‘Life of Its Own’
Last month, Rezz inaugurated her new label HypnoVizion with the release of Nightmare on Rezz Street 2, her annual Halloween-themed mix. Now, however, comes a different kind of inauguration as they’ve revealed their first artist release with none other than Isqa and a new EP, i 4ove you.
If you’re unfamiliar with Isqa, and asking yourself why Rezz would release this artist, that’s okay. The alias was largely dropped after the artist chose to pursue a new project: No Mana. Isqa is incredibly heavy on sound design and includes some brilliant melodies and production, veering more to the electrohouse, but more IDM, realm.
Isqa, after not releasing anything for quite a while, recently revived the project with a short mixtape titled, “i should’ve been dead.” Listen below for an idea of what to expect from the EP and continue scrolling for the official announcement from HypnoVizion.
— ???????????????????????????????????????????? (@HypnoVizion) November 28, 2022
This article was first published on Your EDM. Source: Rezz’s HypnoVizion label reveals first artist release with new Isqa EP
Flume released his third studio album, Palaces, earlier this year. Following the success of Hi This Is Flume in 2019, it felt like whatever the Australian artist put out next would share equal success. Unfortunately, commercial reception to the album wasn’t exactly what was expected, he revealed in a recent interview.
“I feel like honestly, [Palaces] didn’t do as well as I thought it was gonna do – and I’ve kind of had to just roll with that,” he told The Music. “I mean, it didn’t do bad, but it hasn’t continued this unstoppable rise that I’ve been feeling for many years.
“It doesn’t feel like it’s had as much impact as things in the past. So it took me a second to get my head around [that]. I felt a bit weird about that at first. But I’m really proud of all the songs on there and how it sounds and I love it.”
Palaces, he says, was really a tribute to his good friend SOPHIE, who passed away in 2021. Indeed, many of the instrumental tracks on the album share her affinity for sound design and arrangement, which the two no doubt bonded over during the course of their friendship.
“I don’t think I’ve ever been influenced by someone so much or so inspired by a single person,” he said. “Then, on top of that, to be able to call SOPHIE a friend and work with SOPHIE on so many different projects over the years, a bunch of songs on the mixtape… It’s genuinely devastating, not only on a personal level, but on a creative level and a cultural level for the world.”
You can listen to Palaces now.
This article was first published on Your EDM. Source: Flume laments “Palaces” commercial success in recent interview
This past weekend in Los Angeles, ISOxo performed for a sold-out double header at The Fonda Theatre in Los Angeles, the finale of his Nightrealm era. Whenever an artist announces a finale of a particular era, the question is always, “What’s next?”
For ISOxo, his debut album: KIDSGONEMAD!, out in 2023.
First, a bit of history and context. ISOxo has skyrocketed in popularity over the past year, especially since Brownies & Lemonade hosted his debut headline show in Los Angeles in October 2021. He released his Nightrealm EP on Sable Valley the month before, with hits like “Beam” and “Aarena,” and the hype has only grown since.
With support from RL Grime and all of Sable Valley, a collaboration with G Jones, and a stellar group of artists all supporting each other (RemK, FrostTop, Knock2, etc.), it’s no surprise that they began to take the world by storm.
Now, or next year, rather, feels like the perfect time to hit the gas pedal and drop a debut album. Stay tuned for more info and the first single likely coming sooner than later.
— ISOxo (@ISOxo_) November 27, 2022
Photo via @ericdrew
This article was first published on Your EDM. Source: ISOxo announces debut album ‘KIDSGONEMAD!’ for 2023 after sold-out double header
RXMIRO is regarded as an artist to watch and is known for his electric high-energy club sets and massive performances. He has performed on stage with some of the biggest names in the world, having supported notable acts like David Guetta, Tiesto, Martin Garrix and many more.
With his extraordinary mix of bass house and modern techno, he’s a surefire act who has continued to garner critical acclaim in 2022. In fact, since his first genre-bending rollout of “Above The Clouds” and “Storm Light,” it’s undeniable that he’s given his audience the ear candy they desire.
There’s no mistaking this up-tempo record. “heart i” is anything but just a vibe. With a solid 4 to the floor and pulsating bassline, its infectious rhythm will keep you entertained throughout. With the uber-high-pitched and ravey intro, “heart i” intentionally doesn’t prepare listeners for what will happen after the drop. Instead, it’s a wild ride from there as the track vacillates between the twinkly happy hardcore techno track and the darker, grimey low end. It must be played as loud and fast as possible on an extensive sound system.
Listen to RXMIRO’s “heart i” below.
triplej’s Like A Version gives artists a space to deliver creative covers of popular songs, often outside their own genre. For Flume’s latest appearance, he and Toro y Moi decided to cover the viral hit “Shooting Stars” by Bag Raiders… and it’s absolutely brilliant.
The performance begins simply enough, Toro with a microphone, Flume with a single CDJ and a CD. Toro handles the vocals like an expert as Flume stares ahead contemplatively before he picks up a saxophone, fed through some kind of distortion. As the song approaches the drop, a couple of body builders enter from the wings and just start doing arm curls.
At the drop, another man enters from behind as lights illuminate a disco ball. He’s dancing the back and doing poses, the body builders are doing lifts and curls, and Toro is just banging his head expressionlessly. At the same time, Flume looks like he’s been thrown into the situation without any prior idea of what was going to happen, but he’s accepting his fate.
The cover itself is brilliant and awesome, but the performance is really what seals the deal. Watch the whole thing below.
This article was first published on Your EDM. Source: Flume & Toro y Moi covering Bag Raiders “Shooting Stars” is beautiful, unbridled chaos
Beats bounce across the landscape on You Are Love with a presence that feels infectious for HAMX taking his background as a musician to a whole other level. Hope typically informs dance music, and here HAMX proves that amply. Lyricism has a soulful presence to it. Everything about it goes for a distinct affectionate stance. The title itself appears to embody the spirit that radiates from every nook and cranny of the sound. With his massive, arena-filling sound, the production has a flawless shine. He tells a whole story here, one of self-discovery and belief in oneself that is doubly refreshing.
A rush of endless possibilities takes hold on “Who Are You,” with the various elements of what will appear later emerging quickly. Like some sonic foreshadowing, it has grandeur despite its short length. The gospel flair of “Remember Who You Are” and sudden bursts of energy give it a spiritual quality. Rhythms become a force of nature on the burning desire of “Tap If You Like It.” “Floating” features an entire ecosystem for the layers to interact lively. Swirling about in a dazzling display, “Restless” has a restless energy. Pure dancefloor fuel “Black Magic” reveals the importance of that long-lost art of the buildup.
HAMX creates a genuinely immersive global experience on the life-affirming You Are Love.
This article was first published on Your EDM. Source: “You Are Love” delivers on the sheer physical rush of dance music, as HAMX holds nothing back
Actually, we’re a little late to the Moment party, as YEDM covered Mike Masch’s recent multi-genre project Back to the Boulevard a couple of weeks ago, when technically In Time, the album he released under Moment, dropped first. That said, it it was good to do a profile on Masch himself and all his different projects first in some ways, because there’s a much longer story there. Now that said, how did we miss this super-cool hip hop album?
The aptly named In Time by moment released in early October and is the first comprehensive hip hop album Masch has done thus far. His work under the Mike Masch name is not quite as structured, combining elements of jazz, classical, pop, trip hop and more under an experimental composition style. His Moment work adheres to a hip hop or trap tempo and a beat structure. Listeners will still find lashings of jazz and chill trip hop vibes, as well as the odd classical flourish, but we are very much in the hip hop and trap wheelhouse with In Time.
The other major difference between Masch ad Masch and Masch as Moment is that for the most part, Masch opts not to have vocals in his more experimental work. In Time, on the other hands, isn’t just a load of hip hop and trap instrumental beats, and if you’re like us here at YEDM and found Masch before Moment, you might have never known he’s also a rapper. With a chill vocal timbre that in some tracks is a whisper, Masch’s lyrical arrangements are as diverse as his compositional style, ranging from basic 80s old school to faster 70s “Rappers Delight“-style faster flows to stuff that’s influenced by more avant-garde rappers like E40.
Dieversity in everything seems to be Masch’s motto, and there’s plenty of it on In Time even with the more structured beat arrangements. The album opens with “Moment In Time,” which has a pretty simle 80s-style beat but the jazzy trumpet musicality and R&B interludes that were favored by hip hop artists in the mid-to-late-90s (think Digable Planets meets En Vogue). Other tracks like “Party on ME” seem like they’ll be equally old school and jazzy, but Masch’s vocals are much more early 2000s. Around the middle of the album, things take a more emotional turn with tracks like “TOUGHer LOVE” and “ReAwakened Invasion.” Masch himself has said the need to create moment was about expressing emotions.
The inspiration behind this album was to show a much broader range of not just musical production & ability but myself as a person in this world. So many different emotions, feelings & experiences mixed together to tell many handfuls of stories…It’s real, it’s authentic, it releases and frees. I know when others listen to it that they will understand this as I do.
While Masch and many other instrumental artists have been able to connote an amazing amount of emotion with no words (EDM is pretty much built on that premise, after all), sometimes we need words to express things even more clearly. Masch clearly felt this need and just happened to create a pretty epic hip hop album out of it. With the tmiless quality to his work, it really doesn’t matter when we discovered each project, because with good music it’s always the right Moment In Time.
This article was first published on Your EDM. Source: New Artist Spotlight? Time to Do a Double-Take on This Hip Hop ‘Moment’
The blurring of lines between the worlds of rap and dance music is nothing new. Many of hip-hop’s first songs drew their inspiration from the rhythmic thump of dance music, flipping samples from songs that had the specific goal of getting a crowd moving. So it’s no surprise that the latest modern mutation of dance music—often umbrellaed under the ambiguous and argument-starting term “EDM”—has crossed over and even been absorbed into hip-hop. This type of cross-genre pollination is essential to hip-hop.
With EDM hybrids continuing to rise, it’s undeniable that we’ve witnessed the creation of outstanding records highlighting some of the best collaborations between rap and EDM, with songs featuring powerhouse names like Skrillex, A$AP Rocky, Carnage, Diplo, and others.
Filipino-American Rapper Yung Rizzo has made it his new year ambition to colour out of the lines of his traditional discography and collaborate with new talent, namely producers and DJs within the electronic dance music scene. After charting viral on Spotify’s Viral 50, Yung Rizzo has witnessed the value of intentional collaboration between multiple artists and diverse genres.
The multi-faceted artist hopes to create more music that reaches a broader audience. He’s made a remarkable impact within the Filipino Music Industry, where notable acts like Far East Movement, DJ Laidback Luke, and DJ Riddler, only to name a few, have cemented their stance.
Stay up to date with everything Yung Rizzo continues to drop this year, and follow him on all socials below:
This article was first published on Your EDM. Source: Filipino-American Artist Yung Rizzo Seeks To Collaborate With More EDM-Based Talent
Have you ever spaced out with a song on repeat, potentially for hours, and you look up and realize it’s been the same song? And yet, you’re not tired of it? That is “Technicolour Psychic Vision” from Flux Pavilion in a nutshell.
After transitioning to a bit of a different sound in his 2021 album .wav, “TPV” is a welcome reminder of his Tesla sound from 2015 that had hits like “Vibrate,” “International Anthem,” and “Who Wants to Rock.” The repeated vox, hard guitar riffs, and Flux’s own vocals shining through in the pre-drop, plus the rolling drums, the bass… everything is such a wonderful nostalgia bomb while still feeling incredibly current. It’s a testament to his production style that is truly timeless.
Check out “Technicolour Psychic Vision” from Flux Pavilion below!
Photo credit: Fiona Garden
This article was first published on Your EDM. Source: Flux Pavilion revisits ‘Telsa’-era sound with new single, “Technicolour Psychic Vision”
Two years ago today, Garrett Lockhart, better known as i_o, passed away. Only 30 years old, his career was really just beginning, having graduated from Icon Collective under the name Fawks and transitioning to more techno-leaning productions under his new persona.
Today, in remembrance, in honor, in memory of i_o and his legacy and work, comes an album of work from before his death with Lights. Warehouse Summer, what would technically be considered his debut album, spans 14 tracks, with many of the track titles, taking 20/20 hindsight into account, conveying particular emotions: “Don’t Let Me Go To Sleep,” “Prayers,” “Better Days,” etc.
“We loved hearing from so many, as each of us remember Garrett in different ways,” the Lockhart family wrote in a statement. “Some of your stories made us laugh or smile, others made us cry, for it is in those stories we relived much of what Garrett was about as a person and in the many ways his life impacted each of us.”
From the Lockhart Family
On November 23, 2022 "Warehouse Summer", a legacy album, will be released.
Tomorrow, we celebrate you. pic.twitter.com/bctmhGZm4I
— i_o (@i_oofficial) November 22, 2022
Warehouse Summer, as the name implies, blends two ideas: dancing in a dark warehouse late at night, but also the bright sunlight and hope of the summer months. Though i_o was known for his techno, his history as a drum & bass artist also shines through on the album, as in “Leave It” and “Prayers.” Elements of progressive house also permeate the album, demonstrating i_o’s strength as not just a techno producer, but a music producer.
Reactions to the album on social media have already been overwhelmingly positive, and this will likely be an album we revisit for years to come. Listen below.
Photo via Alexandria Alvarez
This article was first published on Your EDM. Source: Posthumous debut album from i_o with Lights comes two years after his untimely passing
As a musician, producer, and entrepreneur, Aric Christopher, aka MIRAMAR, has accomplished many feats in his life. The multifaceted DJ and producer is a self-professed “modern-day Renaissance man” who is adding more fuel to his fire by honing his musical skills and setting a new standard of perfection.
MIRAMAR is best known for his innovative MIRAMAR sound, a new, refreshing sound that has been long-awaited by fans of disco house and nu-disco. It is an innovative take on disco house and nu-disco that reflects today’s society by combining old-school beats with modern sounds for an infectious groove. MIRAMAR’s sound has gone viral in the disco house and nu-disco space, attracting thousands of listeners on various social media and digital streaming platforms. On Spotify alone, MIRAMAR attracts 10K monthly listeners and has garnered over 570K cumulative streams. The producer is equally popular on social media platforms like Instagram, where he boasts thousands of loyal fans and followers.
Over the past few years, MIRAMAR has made huge strides as a music producer and in his music career. These include playing the MIRAMAR project at Outside Lands Musical Festival, a 3-day festival celebrating music, food, wine, beer, art, cannabis, and everything the Bay Area is renowned for. Miramar has also toured internationally, DJing in France, Spain, Italy, and across most major US cities with artists such as Rufus Du Sol, Thomas Jack, Viceroy, Travis Wild, Poolside, and Burning Man.
As his brand grows, MIRAMAR hopes to further contribute further to the musical revolution in the coming years. As an artist, MIRAMAR hopes his music will be understood, shared, and appreciated internationally, contributing to the new generation of music fans are gravitating toward. MIRAMAR also hopes to carve out a new sub-genre of sound that inspires others to create similar music and benefit each other in growing the house and nu-disco music genres. As he grows, MIRAMAR also wants to uplift other artists and encourage them to follow their passion.
In his time in the industry, MIRAMAR has learned several lessons other artists trying to succeed in this fast-paced space can leverage. The first is that commitment is indispensable in the journey toward success. “Whether it be with work projects, relationships, or personal development, always be sure to commit a little energy to each every day. Always continue to chip away, even in small amounts,” MIRAMAR shares. “Before you know it, your daily progress will, over time, grow into your vision, and you will meet your goals.”
The second lesson is the value of patience. Every artist must cultivate patience and perseverance in an era of instant gratification and overnight success because not everyone will go viral instantly. MIRAMAR has been doing this for a while and says the best is yet to come. In the meantime, he’s honing his skills and working hard to create a unique sound that organically attracts listeners looking for something new. MIRAMAR reiterates the need for uniqueness and originality in the music industry, mainly because fans have more options now than ever before.
Away from music, MIRAMAR hopes to venture into other industries as well and find even more success. The way he sees it, there’s nothing he can’t do if he sets his mind to it.
This article was first published on Your EDM. Source: MIRAMAR: Grabbing the Spotlight in Disco House & Nu-Disco
“Rumble,” the collaboration between Skrillex and Fred again.. with Flowdan and Elley Duhé, has been, for lack of a better word, rumbling around in sets for a while now. The two have become so close of late so as to actually swap homes for some creative inspiration.
We hoped that the collab would see the light of day eventually. But knowing the two main artists involved, who likely have hundreds of IDs and works in progress under their umbrella, we never wanted to count our chickens before they hatched. However, now with the World Cup happening, the official @england TikTok account used an apparent “rumble_final” track on one of their latest videos promoting the national team.
When one user asked, “HOW DO U HAVE THIS ID,” the account responded, “Special powers.” Fred again himself also replied to the video, saying “Ayyyyy” and England responding with heart and fire emojis.
By all appearances, this definitely seems like an official teaser of the track. Whether it’s coming soon-soon or “Skrillex”-soon remains to be seen.@england Ready to Rumble #england #rumble #threelions #fifaworldcup #worldcup #worldcup2022 ♬ rumble_final – Skrillex & Fred again.. & Flowdan & Elley Duhé
Photo via Theo Batterham
This article was first published on Your EDM. Source: Official @england TikTok account teases Skrillex & Fred again’s “Rumble” could be coming soon
G Jones has always been one of the most technically impressive producers out there. Every time he releases a track or project, that notion is more and more heavily reinforced, especially with his most recent album, The Ineffable Truth, as well as his recent mixtape with Eprom, Disk Doctors.
This year, after taking a break during the pandemic with no releases since 2019, he’s put out five singles and two EPs, including today’s release of Illusory Tracks.
Featuring his collaborations with Eprom, “R.A.V.E.,” and ISOxo, “Say What,” the 6-track project breezes through different tempos. Things stay incredibly hype in the first half, then slowing down for “Patterns Emerge” and “Thought Tracing,” and finally bringing the energy back up for “Say What.”
Check out the new EP below!
Photo by Lauren Marrone
This article was first published on Your EDM. Source: G Jones caps off a stellar year with another new EP, “Illusory Tracks,” with Eprom & ISOxo
It’s always a good feeling when three super talents link up on a smashing house tune. Vassy, Disco Fries and Bingo Players have done just that on the latest summer nostalgic track, ‘Pieces’. Linking up on the infamous Spinnin Records these 3 put together a track with crisp vocal production, clean grooving basslines and a massive hook. This track is definitely spinning all day until summer 2023.
This article was first published on Your EDM. Source: Vassy Joins Forces with Super Talented Bingo Players and Disco Fries for the Nostalgic, ‘Pieces’