Mark veins and Shöckface link up with Canadian based singer, songwriter and producer Bromar for their new RnB electronic crossover record ‘Shatter.’
The collaborative duo, mark veins and Shöckface have been on a tear as of late with a frenzy of releases over the past couple months. After working on a string of trap heaters like ‘Resurrection’ and ‘Therapy,’ veins and Shöckface have returned accompanied by the help of Candian singer Bromar’s crooning topline. From a melodic and eerie introduction to an emotionally stirring build, veins and Shöckface make you feel as if you were entrapped in a relationship that is only bound to break your heart. As the buildup on ‘Shatter’ fades and the drop commences a touch of hyperwave is added to the mix and all the emotional energy is unleashed.
mark veins and Shöckface continue to bring their ‘hyperwave’ dubbed sound to the forefront of their productions on each release. The sound to which they are leading the way, ‘hyperwave,’ consists of the duos signature abrasive synths, eerie vocal textures, and unorthodox rhythm.
On ‘Shatter,’ the two producers paint soundscapes filled with heartbreak and sorrow as Bromar sings ‘love is like a drug, that sh*t really bad for my health’ speaking on past toxic relationships. Bromar sings about how his previous run in ‘broke his heart into pieces shattered’ and a barrage of sub bass lines, glitchy fills and white noise overtake the record. With the pace at which Shöckface and mark veins are putting out music it does not seem like they have any plans of halting the collaborations as they continue to imprint their hyperwave sound into the minds and souls of listeners all over the world.
Stream ‘Shatter’ below or grab it on all platforms here.
This article was first published on Your EDM. Source: Mark Veins Links Up With Bromar & Shöckface for ‘Shatter’ An Emotional RnB Bass Crossover
It’s International Women’s Day and there’s no better way to celebrate women in music than with a massive playlist dedicated to the queens among us.
With a swarm of “Happy International Women’s Day” posts overwhelming our feeds today (in the best possible way), the goal here was to have something to add to the conversation and bring attention to as many female/femme-identifying artists we could in a single afternoon.
Our playlist represents women in electronic/dance music — DJs, producers, singers and songwriters across various styles and genres. These creatives have pushed boundaries and taken risks, blazing an empowering path for women everywhere to express themselves fearlessly, and we’re forever grateful.
Many of the names on this playlist are instantly recognizable — Alison Wonderland, Nervo, Charlotte de Witte, SOPHIE, Anna Lunoe, REZZ, Mija, Whipped Cream, UNIIQU3, Nora en Pure, TOKiMONSTA, CloZee and the list goes on. And we spent just as much time adding next up artists including JEANIE, Rossy, Nostalgix, Risik, Lizzy Jane, and so many more — as well as those who are just starting to make names for themselves.
To include all the inspirational and influential women in dance music is near impossible, but here’s a start. Let us know who we missed and we’ll be sure to add them, because everyday should be Women’s Day.Your EDM: International Women’s Day Playlist
Artwork by Danny Ashorineko / Nightenjin
This article was first published on Your EDM. Source: Celebrate International Women’s Day by Exploring These Empowering Artists [PLAYLIST]
Spring time is just around the bend and your favorite artists are beginning to prepare for what will be a deluge of new music this spring. This week we saw new releases from the likes of Porter Robinson, Zeds Dead, Major Lazer and many other talented artists and producers. Sit back, relax or continue doing whatever you are doing and stream Your EDM | Week In Music below.
Porter Robinson released the final single from his sophomore album Nurture due out April 23rd. ‘Musican’ is surely bound to foreshadow how his second album will sound. The record is blissful bursting with Porter Robinson’s signature sounding synths and vocal textures.
Duck Sauce the prominent Canadian-American duo consisting of A-Trak and Armand Van Helden, sure are keen to picking the best records to sample for their productions. Their new single ‘Ask Me’ is a funky uptempo house track that will keep listeners grooving on their feet all night long.
Major Lazer is back with a new single titled ‘Diplomático’ featuring Guaynaa. The trio consisting of Diplo, Walshy Fire and Ape Drums deliver an irresistibly catchy single with a simple yet effective hook: “Diplo, Diplo-Diplomático.”
Featured Image Credit: Charles-Edouard Dangelser / CHIVTEAM
This article was first published on Your EDM. Source: NEW: Porter Robinson, mark veins, Major Lazer, Zeds Dead + More – Your EDM | Week In Music
The 2021 GRAMMY Awards are finally happening this weekend and the performers are — Taylor Swift, BTS, Dua Lipa, Billie Eilish, Megan Thee Stallion, Bad Bunny, Harry Styles and more.
This morning’s official announcement from the Recording Academy continues with Black Pumas, Cardi B, Brandi Carlile, DaBaby, Doja Cat, Mickey Guyton, Haim, Brittany Howard, Miranda Lambert, Lil Baby, Chris Martin, John Mayer, Post Malone, Roddy Ricch and Maren Morris.
Considering Disclosure, Flume, Kaytranada, Diplo, Madeon and more are up for Dance/Electronic awards, we were really pulling for a performance from at least one of them — maybe two. Unfortunately, it seems this year’s dance music soundtrack will be fiercely underrepresented.
For the first time since quarantine, the GRAMMYs will bring artists together, with health and safety measures still in place. The GRAMMYs will also pay tribute to independent venues as workers from the Troubadour in Los Angeles to the Apollo Theater in Los Angeles present categories throughout the night.
Music’s Biggest Night goes down Sunday, March 14, 2021, at 8:00 PM ET/5:00 PM PT on CBS.
See the list of nominees here.
Source: GRAMMY Awards
This article was first published on Your EDM. Source: 2021 GRAMMY Awards Performers: Taylor Swift, BTS, Dua Lipa, Billie Eilish & More
Insomniac is promoting what appears to be yet another music festival, RAVE.
Live events may be returning sooner than we thought possible, as Insomniac readies dance music fans for this two-day stint over Memorial Day Weekend. Promo for the new concept screams techno RAVE, featuring Maceo Plex‘s Renaissance Remix for “Blade Runner” by Remake.
So far, no specific location has been revealed for RAVE. Following Insomniac’s Abduction announcement and the Insomniac East tag, however — Florida is most likely the move. We expect an official announcement and lineup shortly, being that the festival is already two months out.
Meanwhile, the promoter’s flagship event EDC Las Vegas is currently scheduled for the weekend before and hopeful attendees are eager for updates. Last we heard, the festival was moving forward as planned — but if it gets delayed, Insomniac has other outdoor events on the books.
As we move cautiously into this new era of live events, all eyes and ears are on Insomniac.
Explore Insomniac’s full event’s calendar here.Insomniac Events: RAVE
We heard you missed the rave. pic.twitter.com/HqMketSOZG
— Insomniac Events (@InsomniacEast) March 8, 2021
Photo by Ivan Meneses for Insomniac Events
This article was first published on Your EDM. Source: Insomniac Announces New RAVE Event Over Memorial Day Weekend
Porter Robinson dropped “Musician,” the final single from Nurture, last Wednesday, and within 24 hours, Synthion already had a happy hardcore edit loaded and ready to go. This isn’t unusual for fellow producers who are fans of major artists to create edits in the hours following a new drop, but this one pretty immediately got a response from Porter himself.
WHOAAA THIS GOES https://t.co/rovRnUOdJb
— porter robinson (@porterrobinson) March 4, 2021
Three days later, and the full edit was complete and garnering Porter’s unabashed praise.
I just played this in the car and I actually don’t think it’s possible to feel bad while listening to it https://t.co/bnFZBq10iE
— porter robinson (@porterrobinson) March 7, 2021
Sure enough, “Musician” was already a blissful and happy track, but pumping up the tempo and adding new drums just made it that much more happy… and hardcore. Check it out below and let us know if you feel the same way as Porter! And go listen to more of Synthion’s music here.
This article was first published on Your EDM. Source: This Happy Hardcore Remix Of “Musician” Has Porter Robinson Absolutely Fanboying
According to Beatport, Subtension’s been on a bit of hiatus since his Tom Yum EP on Flexout last April. With his heavy, orchestral backgrounds and tight AF snares, the Slovakia-based producer left a bit of a gap in the heavy bass continuum, but luckily Subtension has returned with a new three-single offering, due out on NËU this Friday, March 12.
For both new NËU D&B tracks (will we ever get tired of that pun?) rolling, sinewave sub bass is the name of the game. It fills the space between the quite minimal kicks and gives the snares something to grab onto. For “Never Alright,” a collab track with fellow Czech/Slovak countryman Thez, said snares are snappy and minimal and actually comprise the jumpy upbeat, while rather than a standard bass kick, there’s a vintage mod pop sound that’s heavy and deadend, but not actually a kick drum. We’ve heard this mod pop in a number of experimental tracks over the years, but to use it as part of the beat is definitely – wait for it – NËU. Misanthrop must have loved that.
“Tween Wave,” our YEDM premiere today, is a little more dense drums-wise, but that same mod pop is used to fill the kick space. It’s doubled, making things feel a little more dense and intense. In the break, this deadened pop goes spiral to match the snares and they both carry the ambient and atmospheric synth sounds. Bold and heavy, these synths are stretched out over the staff and connected by ebbing and flowing musical wind sounds which somehow sound both techy and organic. It’s wind in a man-made vacuum, perhaps. The lonely, lingering aftershock of the hadron collider. It’s a spine-tingling experience only the likes of Subtension can provide.
There’s a bonus track on this release as well, a techno VIP remix aptly named “Tween Wave130 VIP” is the dancier fraternal twin of the original. Denser on the beat and with even more atmospherics, the synths turn into synthwave here and light up the ambient space in the track even more. This techno version could easily be a soundtrack piece for the likes of the next Matrix movie or, more closer to home, the upset track that makes a Darkshire dancefloor go mental.
Subtension’s always had a way with ambient space, but these new experimental yet still danceable tracks show why there will always be a place for him at the heavier end of drum & bass. Here’s hoping he doesn’t stay away so long this time.
“Never Alright,” “Tween Wave” and its VIP stepchild will drop on NËU on Friday, March 12, Click here to pre-order/pre-save.
This article was first published on Your EDM. Source: Your EDM Premiere: The Full-Bodied D&B Minimalism We All Crave Is Back Thanks to Subtension [NËU]
Think back to 2018 — it’s April and someone tells Rezz she should collaborate with deadmau5. A month passes and deadmau5 shares a clip of what could be the collaboration. Another four months pass and Rezz shares a clip of what could be the collaboration… and then nothing for over two years.
It’s now 2021 but the idea of a collaboration between the two is still alive and well, according to some late night tweets from Rezz yesterday. It seems, though, that that first idea never really went anywhere because Rezz mentions that she’s going to “start something.”
Thankfully, through the power of creative vibes sent from fans, whatever Rezz has in mind, deadmau5 likes, and she’s going over to his studio this week to finish it.
To say this is a long time coming feels like an obvious cliché, but it really has been. Stay tuned to hear more about this collaboration as we receive eventual teasers, clips, and more info!
Started an idea I like and he said he’s down so I will be going there this week to finish it. Thanks for the creative vibes sent _ https://t.co/imFWqPNtrl
— RΞZZ (@OfficialRezz) March 8, 2021
This article was first published on Your EDM. Source: Rezz & Deadmau5 Are Finally Finishing A Collaboration This Week
Beatport, the leading online music store for DJs and producers, is cutting down on the time and financial barriers to DJing.
The recent launch of Beatport DJ aims to integrate music discovery, playlist curation and mixing. The web app gives users access to mixing tools from their computer, positioning the application as “the world’s first web-based DJ application built for music discovery and playlist management.”
The application offers everything you’d find on a starter controller— two channels, waveform views, pitch slides, loop controls, EQ controls, hot cues, cross-fade, sync controls and 10 sound effects. Beatport DJ even improves upon the functions of starter controllers, allowing users to skip through a currently-playing track without disrupting the song coming through the speakers.
But where users can really get their money’s worth is through the easily-accessible Beatport catalog. Beatport-curated playlists, giving users access to the hottest tracks. Beatport DJ can be used with the Pioneer DDJ-200 controller and MIDI controllers. LINK information can be synced from Beatport to controllers that feature the LINK feature, like select Denon controllers.
Jonas Tempel, founder and chief revenue officer of Beatport says of the application:
We designed the software to solve the cumbersome workflow challenges of music discovery and building LINK playlists. On top of that, we know our customers need to audition the tracks to make sure the song fits in their sets. Our solution combines a host of advanced web-based technologies to give users a truly effortless experience that you would expect from dedicated desktop software.
All of these tools can be yours with a subscription to Beatport LINK, which starts at $14.99/month after a free 30-day trial. Try out Beatport DJ here.
Source: DJ Mag | Photo via Beatport
This article was first published on Your EDM. Source: Beatport Offers World’s First Web-Based DJ Mixing Application
It’s not uncommon for children of famous parents to ride on coat tails, but Tyler Young is doing anything but. The son of Andre Romelle Young, aka Dr. Dre, his given name doesn’t give itself to any familial notoriety, not to mention veering into house music as opposed to the hip hop world.
Young released a remix for Suniel Fox & Henry Strange “Revolution” back in 2020, but “My Time” marks his solo original debut. It’s a groovy, infectious house number that is sure to pique listeners’ interest and come back for more as his skills and tastes mature.
Check it out below, out now via Thrive Music.
This article was first published on Your EDM. Source: Tyler Young, Son of Dr. Dre, Debuts With Solo Original, “My Time”
Artists and fans may have to take the coronavirus vaccine — and show proof — before attending UK music festivals this summer.
Festival organizers are considering this approach following Prime Minister Boris Johnson’s roadmap announcement for exiting lockdown. With live music set to return on June 21, festivals are selling out in record time and demand is high.
To make festival season happen, organizers are weighing out the options for on-site COVID-19 testing, vaccine passports, and plenty of other health and safety protocols.
Representatives from 70 independent music festivals met on Friday, in an emergency meeting to discuss the return of events. Britain’s festival directors spoke about vaccine passports and why they think the government should make them a requirement for festival attendees, via The Guardian.
“A lot of us want to urge government to follow the example set up already in other areas, like travel, where people will have to show vaccination passports,” said Josh Robinson, events director of drum n bass festival Hospitality Weekend in the Woods.
“What we really need is for government to say everybody needs a vaccination to get in. We need that clarity, rather than each having to go to people and explain,” said Gareth Williams, director of folk festival Cropredy.
There are many factors to consider as music festivals return and we move into a new normal. Stay tuned for more details the topic of vaccine passports evolves.
This article was first published on Your EDM. Source: REPORT: UK Festival Organizers Push for Vaccine Passports at Events
Following three dynamically diverse singles, Kaskade finally completed his debut EP on Monstercat, Reset, featuring the final track, “Miles To Go” in collaboration with Ella Vos. Since December, Kaskade has launched a series of high-octane songs on the label, including “Flip Reset” with WILL K, “Solid Ground,” and “Closer,” all in partnership with the video game Rocket League. Accumulating over 15 million streams to date, each track has been a reflection of Kaskade’s poignant style, from anthemic, uplifting vocal tunes, to deep and hypnotic house records.
The Reset EP is both forward-thinking and nostalgic-feeling, with “Miles To Go” bringing a deeply personal and signature touch to the project. The single arrives on Monstercat Silk, the label’s third brand formed upon the recent acquisition of leading progressive/deep house label, Silk Music.
“Working with Rocket League as the first artist to conceptualize and create music for an entire season of their game was such an honor, and I also knew I couldn’t mess it up…gamers take their music and sonic landscapes very seriously. So while I felt a little pressure, it was mostly just an amazing time to pull together songs that could really go along with the various moods that we go through while immersed in a game like Rocket League. They’re finally all getting a release together on the Reset EP which will include my final song, ‘Miles to Go’ with Ella Vos, so the entire experience can be found in one place.”
Check out the full EP below!
Photo via Rukes.com
New York is preparing to reopen arts and entertainment venues beginning April 2.
Next month, venues will be able to welcome back attendees at 33% capacity, up to 100 people indoors and up to 200 people outdoors. With testing, up to 150 people indoors and up to 500 people outdoors. Social distancing and face masks will still be required at all events.
Governor Andrew Cuomo made the announcement earlier this week, also stating residential outdoor gatherings of up to 25 people can take place beginning March 22. Indoor gatherings must stay restricted to 10 people max.
Governor Cuomo proudly stated:
New Yorkers have done a tremendous job working to defeat COVID, and we’re gradually loosening restrictions as the numbers reduce and the public health improves. It’s clear that if we remain vigilant, we will reach the light at the end of the tunnel.
He asked New Yorkers to “double down” on behaviors that fight the coronavirus — washing hands, wearing masks, and social distancing.
Watch the official announcement below.Governor Cuomo On Reopening of Arts & Entertainment Venues
This article was first published on Your EDM. Source: New York to Reopen Arts & Entertainment Venues at 33% Capacity Next Month
After three years since his last full-length album, CharlestheFirst returns with his third album, SOLUS. The body of work is a release through Label w/ No Name, which also hosts CharlestheFirst’s 2018 album, Ascent.
Across 13 tracks the album manages to remain cohesive while maintaining diversity in sounds and emotion. SOLUS features deep dub, psychedelic, glitchy, atmospheric and sometimes eerie bass, while expanding on the hip-hop influence found in previous CharlestheFirst works.
The low frequencies of deep dub are most prominent in “Foreboding Feeling,” featuring California-based producer Potions, who was also featured on the Ascent album. “Fleeting Memories” features dreamy and glitchy bass with subtle breakbeats and a healthy dose of bass in the latter half of the song.
But the true standouts from SOLUS are its R&B vocal-driven tracks like “Figured U Out” and “For Now.” This seems to be a natural progression for CharlestheFirst, whose music has long been influenced by hip-hop. While some previous CTF songs featured limited vocals, this album makes space for lyrics in a way that we haven’t yet seen from CharlestheFirst.
Alongside the bass-heavy moments like those in “Prophecy,” and “Undoing,” featuring kLL sMTH, SOLUS offers intimate moments in “For Now” and (a personal favorite) “Figured U Out.”
CharlestheFirst takes to Instagram to share a message about the vulnerability behind the work, saying:
so·lus / ˈsōləs /
Alone or unaccompanied (used especially as a stage direction)
This is a story of the lone journey, a pilgrimage to places previously unknown. A time of challenges that represent growth, and finally looking ones true self in the mirror. A story of solitude. A story of sunrises seen and felt. A story of holding onto love and letting love go. This is Solus, a gift from me to you. I am ecstatic to finally release this body of work, I hope you enjoy
Listen to the CharlestheFirst’s journey in sound here.CharlestheFirst – SOLUS
Photo credit: Maya Tihtiyas
This article was first published on Your EDM. Source: CharlestheFirst Delivers Complex, Experimental Bass with “SOLUS” LP via Label w/ No Name [LISTEN]
Those holding their breath for the next solo Skrillex release are surely almost out of air, but some good news for those who want even a sip of fresh oxygen as Starrah has announced her debut album, The Longest Interlude, is due out March 17.
In sharing news of the album, Starrah tagged a number of artists who will be featured or have produced something on the album, including Skrillex, James Blake, Nile Rodgers, Boi 1DA, and more. This will be Starrah’s first album, so it’s impressive the amount of huge names that she’s amassed for her first outing.
According to EDM.com, Starrah and Skrillex have at least a couple of unreleased IDs tucked away that could be on the album, including a pop track called “Twenty4,” as well as “El Dorado,” one that fans have been clamoring for since the producer shared a clip of him playing it out in his studio.
Keep an eye out for this to drop in just under 2 weeks!
View this post on Instagram
Photo via Marilyn Hue
This article was first published on Your EDM. Source: Skrillex, James Blake, Nile Rodgers, & More To Feature On Starrah’s Debut Album
Major Lazer have been amping up their new single all week — and “Diplomatico” featuring Guaynaa is finally here in full, infectious form.
The trio consisting of Diplo, Walshy Fire and Ape Drums consistently deliver the flavor and this highly-anticipated collab is no exception. Despite years of rumors of a final album and the project’s supposed end, they continue to make new music and we have absolutely no complaints.
Following up Major Lazer’s 2021 release “Pra te Machucar” featuring ÀTTØØXXÁ and Suku Ward, the group delivers a playful single with a simple yet effective hook: “Diplo, Diplo-Diplomático.” A missing poster for none other than Diplo serves as promo for the song and official music video coming soon, amongst other quirky posts like this.
Even with a quick Google Translate effort, we’re not entirely sure what the lyrics are alluding to. Regardless, “Diplomatico” is catchy as can be.
You can find “Diplomatico” on the new Que Calor EP, which brings back a few already-released singles, in addition to a few remixes.Major Lazer – Diplomatico ft. Guaynaa
Photo via Rukes.com
This article was first published on Your EDM. Source: Major Lazer Tap Puerto Rican Rapper Guaynaa for New Single “Diplomatico” [LISTEN]
Chris Lake and Chris Lorenzo are back at it with their first Anti Up single since 2019.
From the dynamic superduo that brought us “Pizza,” “Hey Pablo,” “Concentrate” and “Right Now” comes an eclectic hybrid of disco and breakbeat presented as “Sensational.” The production fulfills the release of a highly-anticipated ID and signals a forthcoming Anti Up LP.
Getting into the production, “Sensational” champions the sounds of early dance music with a groove so real you almost reach out and touch it. Lake and Lorenzo achieve an analog feel, quenching our dance thirsty souls with the kind of raw, throwback energy heard in the 80s/90s. The track drives home its title with full-bodied vocal chants that spell it out by name — and “Sensational” is here to stay.
With this release, Anti Up regenerate their movement and we’re beyond excited to hear where the project takes us next.
Listen to “Sensational” and let us know what you think!Anti Up – Sensational
This article was first published on Your EDM. Source: Chris Lake & Chris Lorenzo Return as Anti Up with “Sensational” Track [LISTEN]
NGHTMRE makes an epic return to his own label for his first release of 2021, “Falling” with KLAXX.
Caught somewhere between melodic bass anthem and full-on dubstep banger, these producers find their stride. The expert production opens with light, emotional piano, picking up lush pads, gritty synths and processed vocals on its way to the drop, which is truly unlike anything we’ve heard.
Together, NGHTMRE and KLAXX manage to find a middle ground of creative madness in this fusion of sounds and styles. The feeling of “Falling” is accentuated by a swarm of arps and innovative sound design, giving us an immediate need to play the track back and absorb all of its intricacies.
Fun fact: KLAXX’s first-ever release was a remix for NGHTMRE’s “Holdin’ On To Me” in 2016. Flash forward to now and the two have collided on on an official collab.
“Falling” is out now via NGHTMRE & Slander‘s label, Gud Vibrations. Listen here!NGHTMRE & KLAXX – Falling
This article was first published on Your EDM. Source: NGHTMRE & KLAXX Team Up for Melodic Banger “Falling” [LISTEN]
Dimension has had one of the biggest blow ups of any drum & bass artist in recent years, especially thanks to the massive, unexpected success of “Desire” with Sub Focus, released back in 2018. Since then, he’s released other chart toppers like “Devotion” feat. Cameron Hayes and the huge club stomper, “If You Want To.”
Now, three years after that first breakout release, Organ, the debut album from Dimension, is here.
Ahead of the release, we got in touch with Dimension’s team and asked if he could do a track-by-track review of the project — what we weren’t expecting was over 3300 words of insight, background, and analysis. But, all the same, we were overjoyed to have it and see the passion that Dimension holds for his own work.
Without further ado… OrganSaviour
The birth of this record bizarrely came from a writing session that was initially intended for track 17, ’Sensory Division’. I had the fantastically talented Jem Cooke in the studio and together, we wrote what is now the vocal for ‘Saviour’. The vocal Jem and I wrote was great, however, it felt as though it was taking away from the minimalist vision I had for Sensory Division, so I pitched down Jem’s takes and reverse engineered a new song, writing all the new musical elements around the vocal. Due to the derogatory effect pitching vocals can have on the quality of audio, I wanted to re-record the vocal with a singer who’s vocal register sat perfectly in the key of the new track. I did some research and came across Sharlene Hector – she came into the studio and gave me goosebumps for two hours straight.
The vocal felt so powerful that I wanted to keep the intro as subtle and complimentary as possible, so the listener would be completely dialed in with minimal distractions. When the main hook, ‘As I move’ first comes in, the music almost completely disappears to further enhance this. As the musical elements build in crescendo to the drop the intention was to create an enormous release of tension and emotion. From a mix point of view, I pushed the drop further than I usually would because I wanted the listener experience an enormous wall of energy.Alive
‘Alive’ comes from particularly unusual origins. It is a combination of two ideas; a voice memo I recorded on a ski lift in Jasna, Slovakia and a sketch I drafted on a flight to Denver during the Worship North America tour. The basic influence of the record comes from listening to Chemical Brothers ‘No Geography’, where the main musical motif is a hook based around a chord sequence as apposed to a more traditional monophonic sequence. By pure coincidence, I realised these two ideas fused perfectly with one another, so I created a new project and merged both songs into one.
The track felt in a good place and the basic arrangement and melody felt solid. One day, Matt Wilson was in the studio and he suggested working with a new talent called ‘Poppy’. I remember he sent me an audio file on WhatsApp and I was blown away, so I immediately got in touch to book in a session. A couple of weeks later, Poppy Baskcomb was in the studio. I played her a rough instrumental of what at the time was called ‘Jasna + Chems Tune’, she liked it, so we sat down and wrote the full vocal of ‘Alive’ in a couple of hours. Poppy always used to make me laugh because her sense of humour is ‘The Office’ but her voice is that of an angel.Danger
After I released ‘UK’, I really wanted to get GQ in the studio. Not only is his voice synonymous with UK rave culture, but it’s great fun creating ‘samples’ as it gives you the flexibility of controlling what the samples say as well as their tone and timbre. I remember telling Gary just to forget you’re in the studio and imagine you’re on stage at 3am on a Saturday night he was just unstoppable. Line after line of gold, I remember having this realisation as to how much of a privilege it was to have MCGQ in the studio. I sat on his vocal probably 3-4 years – I didn’t want to force it.
Eventually I created a skippy, 808 beat that felt right for the samples we created, but after playing out the record a couple of times, I wasn’t happy with how it was making me feel; I wanted to do the vocal justice. I ended up reworking the tune and the difference was huge – suddenly, I was really enjoying playing it in my sets and was getting a reaction. I really wanted something super club focused on the album and ‘Danger’ certainly ticked the box.Devotion
The track was written in various parts across the world; LA, London, Bermuda and Miami and was the follow up to ‘Desire’. It was a crazy time in my life, Desire was exploding but personally, I’d just gone through a really bad break up, so this track gave real focus and positive energy. ‘Desire’ completely exceeded mine and Sub Focus’ expectations so I wanted this track to be a message to my fans; ‘regardless of commercial success, my music won’t change’.
This track really sums up the Dimension ‘sound’ for me, addictive melody, power, darkness and energy. I wrote the vocal with the outrageously talented Cameron Hayes, we referenced ‘Rui Da Silva – Touch Me In The Morning’ to achieve that classic dance floor authenticity. I co-wrote the vocal on Culture Shock’s ‘Renaissance’ using a similar technique.Psycho
The track started life on a train in France travelling from Paris, heading West, four or five years ago. The original influence from the track comes from listening to ‘Ohio Players – Funky Worm’. I love the style and attitude of that Westcoast style lead. I’m a huge lover of hard, industrial soundscapes and combining those tones with classic 808 and 909 hits was a lot of fun. At 25 seconds in, when the track breaks down, I used the Juno 108 for the pulsing bass and the Arturia Minibrute for the pitch modulated arp & Westcoast lead, so at that precise moment the signal chain is 100% analogue. It gives this super warm, slightly out-of-tune mystique.
I knew the track needed more, a hook of some form. The tune was already pretty abrasive and I wanted a vocal to further push the agenda. I got in touch with Knytro who, in my opinion, is one of the most slept on rappers in the world. An outrageous talent, unbelievable attitude and delivery.Remedy
‘Remedy’ was my personal challenge to try and create a real earworm. I’d been reading about the structure and cadence of vocals and what makes them addictive. Seb, my manager, enlightened me on something called the ‘rollercoaster’ technique which is a technique a lot of the most addictive hooks melodically imitate; start, incline, hit their peak and then slowly step down.
The initial vocal idea came from a session I had with RAYE a couple of years ago – she’s now one of the biggest song writers in the UK. I have to say, she is still is one the most impressive artists I’ve ever worked with. I played her an instrumental once, she stood up and immediately wrote three wildly different – equally as good – songs to the same backing track. It felt like I was watching the film ‘Amadeus’. Fast forward a couple of years and I’d written the rough instrumental to ‘Remedy’ and was looking for some vocal spark.
I dragged in some ad libs from the old RAYE session and – bang – it worked perfectly with the melody. I remember being so excited that I was sending videos to Seb at one in the morning. I knew the vocal was the one but the lyrical content was just gibberish, plus, I needed a verse, so I phoned Sam Harper – a singer/songwriter who I love working with – and we wrote the track together.
I’d always wanted to work the TS Graye, she is an undeniable talent who, I’m certain, will be a future star. Since 2012, I’d recorded all of my vocals through a Rode K2 microphone through various pre’s but in this instant, it was not the best match for TS Graye’s nuanced voice. I needed something warming so I borrowed a vintage Neumann U67 (with an eye watering price tag of about £12,000) and the difference was night and day. It transformed the track and made the vocal sit beautifully, giving it the warm, youthful attitude it needed. It was a real lesson to me that occasionally, the right microphone really makes a huge difference.UK Border Patrol
I started working on ‘UK Border Patrol’ on Christmas Day a couple of years back – cheery – I know. Most of the musical elements including the Eastern string sounds, particularly in the first two minutes or so are all recorded directly from the M1 Korg. I’m big a DJ Shadow fan and his records definitely inspired this track, particularly the drums, plus, I wanted to have something that showed a different, more refined side to my production.
I decided early on never to involve ‘Dimension’ in current affairs or politics, my job as an artist is simply to create an escapist dream, to tell a story. With that said, however, I wanted to contextualise the famous ‘Your names not down, you’re not coming in’ sample in a new light that reflects the ideology of modern day Britain. I just want people to think, that’s all.Organ
I wanted to create a track for DJs – a tune that mixed really well with other records but held up musically on its own right. I kept trying to write a vocal for this tune, but really struggled to come up with anything that I liked. In the end, Seb convinced me to put in the album as an instrumental.
I used a lot of theologically inspired sound palettes in this track; choirs, organs, harps – I wanted to try and create a sense of grandeur, something beyond the realm of man. I felt these aesthetics would be an ecclesiastical backdrop for what is a very direct, driving melodic rhythm. It’s always fun playing with hooks or melodies that register in more mid-range frequencies, it adds a certain girth or thickness to the mix. A lot of the pads and FX in this track are recorded on my modular set up.Altar
I love use of language as medium for emotional perception. Isn’t it funny how when we hear French we conjure up feelings of, ‘sex or romance’, yet when we hear German we think, ‘utilitarian, efficiency’. It can be such a powerful tool in music and wanted to further investigate the power of linguistics.
I have somewhat of an interest with Soviet Russia – it’s unexpectedly shaped my life in a couple of ways. I wanted the musical backdrop of hard, techno, soviet soundscapes combined with the vocal frustrations of darkness and the renegade attitude of modern Russian sonic youth.
The song was to be unforgiving, unrelenting and evoke feelings of submissiveness to power. One of my favourite bits on the album is how ‘Altar’ is super brutal, combined with the unexpected very major, happy chords in the second breakdown. It felt, to me, that it created a twisted, unsettling notion, an audio aesthetic of treachery, an iron first, a smile before an act of violence.Love To Give
This track started in 2018. I had just purchased my Juno 108 the day before on eBay and was in such a rush to get home that I managed to pick up a speeding ticket on the way home. This horribly offset the money I was hoping to save on postage. James Culture Shock and I recorded a series of chords through it and it sounded so good – so good, in fact, that in its inception, the track had an indulgent two minute intro.
As often can be the case, the project lied dormant for over two years. We decided to get into the studio again and whilst working on ‘Don’t Sleep’, hit a dead end. Suddenly we remembered our old project and opened it up, bounced out some stems and drew in the main synth lead – the rest followed.
Working with James is always an eye opener. He is a master of his craft and achieves amazing results through some pretty unusual methods. It was a pleasure writing this track with him and I’m really proud of the songwriting. It’s worth mentioning that I was already a big Billy Lockett fan, so it was a real honour to be able to get him into the studio. He writes and sings with so much positivity and is ridiculously talented.Domino
I wrote this song with Matt Wilson, who quite literally would not stop laying down takes until it was perfect. I think he had to stop as he was singing himself hoarse. Personally, I love to write vocals that have hidden meanings or are open to interpretation, but on this occasion I wanted to write a song that carried a very clear personal message. I’d like to think it translates to the listener – it really came from the heart. I think Matt’s boyish vocals and powerful delivery really does it justice. The other unusual thing about this track is that it’s a 4×4 beat but at a very slow tempo of 92 bpm which creates this really driving, pounding beat. The bass in the intro is all Moog Model D, probably my favourite synth.Offender
‘Offender’ started off as a remix for The Prodigy’s ‘Light Up The Sky’ but was actually rejected. I was playing it as a dub in my sets for a while but after the tragic passing of Keith Flint it didn’t feel appropriate anymore. I ended up reworking the track completely – I love music that evokes very clear emotions or paints a very clear pictures in ones head. I’ve always wanted to create a proper acid trance inspired D&B track – that genre has so many great industrial sonic references. ‘Offender’ is of course a homage to ‘Public Domain – Operation Blade’ and the famous opening scene of the first Blade film – I thought, ‘How fun would it be if I could try and recreate that crazy, dark, chaotic rave feel in 2021?’.
Originally I was struggling to get the drop right, it just wasn’t sitting happily on a breakbeat. It was only until I put the 4×4 kick underneath the acid line did things really come together. I remember thinking, ‘What on earth have I made?!’. I was unsure of how the track would go down because it was so outside of the box, but it’s been one of the biggest tunes in my set. I purchased a 303 specifically for this track and used it extensively.Lord’s Prayer
I can confidently say this was the hardest song to finish on the album. I went through so many different iterations of this song, heard it so many times that I began to lose all forms of subjectivity. I recorded Liam Bailey 3-4 years ago and was just blown away by his level of talent. Having toured with him before, I knew Liam is such an amazing force of energy. Also, sessions with him are fast because he’s so good. I think Liam did an amazing job of delivering and writing the vocal, I love the message – the tainted optimism of man – and you can really hear he means what he’s singing.
I needed a second ear so my good friend Jono from Ekko & Sidetrack came to the studio in the final few weeks before the album deadline and gave me some really good advice. He touched on the fact that the drums were too ‘up-front’ and he correctly suggested that it would benefit the album to have something more rolling and lead by breaks. The strings underneath Liam’s vocal in the breakdowns (0:22) is Massive VST run through a guitar amp and rerecorded with a mic, that’s why it’s hard to decipher exactly what instrument it is. There are also no vocal samples in this song, everything was recorded in my studio. Gina Kushka sang the vocal hook on the drop, not only does she have an incredible voice, but she’s a really talented painter.Plus Minus
I wrote ‘Plus Minus’ three days before delivery day and I have to say it’s probably one of my favourites. I really wanted an exercise in simplicity. I love experimenting with the minimal/maximal approach to dance music – trying to get the most groove and energy out of the most few elements. The drop is a kick, snare, a hat, one pulsing held bassline and a two note square wave melody.
This track also highlights my love of house and techno and the unusual arrangement, long breakdown and build-up was inspired by Ludwig Göransson film-scoring work. At track 14 on the album, I found the track palette cleansing as it’s so stripped back. It felt ‘fun’ having the track start simply on an open square wave without any fancy tricks or processing – in that sense – the track is a little bit of a statement.Hatred
I saw Metallica at Reading Festival and James Hetfield, the lead singer, opened up the performance with, ‘Good evening Reading Festival! Are you ready to rock?! Do you feel alive?!’ – I thought, fuck, that is just such a good line.
Although I appreciate drum and bass which is influenced by rock, it’s not particularly an aesthetic I gravitate towards – so I wanted to put a different spin on spoken word. I’m really into Louisahhh (particularly her Shadow Work EP and tunes with Maelstrom). ‘Hatred’ was really inspired by her work.
Working with E11e, the spoken word vocalist, was an interesting journey – she actually used to be the office manager where MTA Records were based – that’s how we were put in touch. She did an amazing job recreating my vision. The intro is all analogue, even most of the drums, which is why it all sounds a bit ‘off’ and whacky. I really enjoy how unapologetic this track is.Desire
Nick Sub Focus and I got into the studio together and just had a lot of fun. We were playing on his modular set up, he was showing me his new Make Noise Morphagene module and we made a pad, put it through Paul Stretch and that was the first element which stuck. We made some rough parts, a vague arrangement and decided to reconvene in a week or so. I was so desperate to work with Nick that I wrote three separate drops and sent them to Nick. One of the three tracks incorporated the bass and lead combination which you hear on the record now, so to my surprise, Nick suggested that’s the one we should work on, so we met up again and worked on it together.
The vocal, again, came from a session I recorded with RAYE – at the start it was just a mishmash of ad libs but we pieced them together and made a coherent melody out of them. We asked Kudu Blue to come in and revocal the track together; Nick, Clementine and myself wrote the vocal. It was extremely organic and an absolute pleasure to be a part of.
This track really exploded well beyond anyone’s expectations. As an artist, when a track finds so much commercial success it’s an amazing yet odd feeling, it’s almost as if you lose control, the record just runs away from you and does its own thing.Sensory Division
I had 26 vocal sessions for ‘Sensory Division’. Men, woman, Grammy winners – the lot. This might sound over the top for how simple vocal ended up on the track, but due to the songs arrangement, the track was incredible hard to crack. I wanted something simple, haunting and addictive but no matter how hard I tried I couldn’t nail it. I wrote and wrote but had no luck, I was getting frustrated and was considering leaving it as an instrumental. Finally, the exceptionally Clementine Douglas came into the studio and we nailed it. She really understood what I was trying to achieve. I just fell in love with the chords and desperately wanted to do them justice.
One of my favourite parts of the track is the operatic vocal I recorded with Katey Brookes at the beginning of the second breakdown, it’s something really unusual which you don’t hear much of in drum & bass and I think it’s a poetic point of difference. I also love how the verse comes in so late into the track, almost as homage to the progressive house tunes it is influenced by. 28 seconds into the track there is an egg shaker which I recorded in a basement studio in Estonia through a Russian microphone made by a company called Soyuz. Their microphones are produced with old automatic Kalashnikov equipment.
This article was first published on Your EDM. Source: Dimension Goes Track-By-Track To Review His Debut Album, “Organ,” Out Today
deadmau5‘s house-driven label hau5trap has officially arrived with its first release — a brand new single from dance music tastemaker Tommy Trash and singer/songwriter Daisy Guttridge.
hau5trap 0001, “Hiiigh,” introduces the label and sets the tone of “textural, groove driven, melodic sounds” listeners can expect. Leading by example, Tommy Trash carves out a gorgeous soundscape as he and Daisy prove once again they have their collaborative craft down to a science. The vocals and production never compete, perfectly existing together in deep, hypnotic space.
Tommy Trash shares of the release:
Two years ago I took some time out to recharge and refocus my life. I had been through some crazy times, and was dealing with some stuff that had really screwed with my mojo. I ended up heading to South America to do some Ayahuasca ceremonies. Life changing would be an understatement, to say the least. Aya really opened up my perception to a wider state of being and helped me refocus my life. ‘Hiiigh’ is a reflection of that moment in time — an ode to the process of rediscovery.
Tommy Trash and deadmau5 go hand in hand: Tommy’s remix of “The Veldt” was nominated for Best Remix at the 55th Grammy Awards (2012), and is still played out in deadmau5 sets. The pair also recently reunited for Tommy’s remix of deadmau5 and Kiesza’s “Bridged By A Lightwave.”
Tommy and Daisy previously teamed up on “Let Me Go” and “Oxygen,” both collaborations with i_o which released in 2019 and 2017, respectively. Also, on Tommy’s solo original “Sinners.”
Listen to the first of many standout releases from hau5trap here!Tommy Trash – Hiiigh ft. Daisy Guttridge
Photo via Rukes.com
This article was first published on Your EDM. Source: Tommy Trash Leads hau5trap Horde with First Release “Hiiigh” ft. Daisy Guttridge [LISTEN]