On Thursday, June 20, it was reported that Philippe Zdar of electronic duo Cassius had died. Zdar died one day before the group’s fifth studio album, Dreems, was released. Listening to the release now feels like paying tribute to his memory, but it’s so much more than that as well.
The opening line of Pitchfork’s review of the album (for which it received a 7.8 from the publication) reads, “[…] the duo’s fifth album marks a joyous return to the emotive, immaculately produced house music of their early years.” It’s true — across twelve impossibly good tracks, Cassius manages to recapture the spirit and grace of the early years of the French touch movement and it’s incredibly addictive.
Dreems is not only the duo’s fifth album, but also somewhat falls in line with the 20th anniversary of their first album, 1999, released January 25, 1999. It’s a long time to only release five albums, with the longest drought lasting 10 years between 15 Again and Ibifornia. Dreems was a comparatively quick follow up to 2016’s Ibifornia, and seems to demonstrate how easily the duo had fallen back into the groove of things.
The flow of the album is easily its biggest strength, effortlessly flowing from one track to the next in a way that emulates the iconic disco warehouse raves of the mid to late ’80s. Even though the album on Spotify includes a continuous mix, it’s hardly necessary with how perfectly the tracks fit into each other already.
Cassius also manage to find a brilliant balance between fun and emotional. It’s safe to say that you’ll never feel bored listening to Dreems. Check it out below.
This article was first published on Your EDM. Source: Cassius Release Fifth Album “Dreems,” Days After Member Philippe Zdar’s Death
As Swedish House Mafia geared up for three massive reunion shows at Sweden’s Tele2 Arena in Stockholm, they knew the production — especially the sound — had to be on point. Not only were these highly-anticipated concerts a spectacle for music fans near and far, the sound brought by Britannia Row took Swedish House Mafia’s performances to the next level.
Behind the scenes, the production was managed by Mattie Evans and mixed at FOH by sound engineer Wayne ‘Rabbit’ Sargeant. The primary goal: for the team to “get fully involved in the design of the system” with the very “best people on board.”
Britannia Row’s Josh Lloyd was the production’s sound system designer and Dave Compton managed the account. With 45,000 audience members filling into the massive arena each night, the job was huge — and they knew it.
Lloyd said: “Rabbit wanted to hear a lot of sub everywhere, so I came up with the idea of designing a centre flown sub cluster of KS28s. To do this in a single zone meant it behaved as though it was coming from one source, and it worked really well for these events, ensuring that an even coverage was achieved throughout the venue.”
He continued: “When playing dance music of this style, the system can be put under a lot of stress, yet a recurring comment, especially from the band, is that everyone was really happy with the sound.”
Some of the crew had worked together for over 20 years, while others were working together for the first time ever. The result was unforgettable.
Compton concluded: “If the audience, band and crew are happy, you know it’s a job well done, and I’m glad we achieved that.”
It’s important to remember — behind every outstanding performance, there’s an entire crew of people working to achieve the show’s excellence. If you were able to catch Swedish House Mafia on their three night run in Stockholm, consider yourself one of the lucky ones.
More details on the sound design here.Swedish House Mafia – LIVE 2019 Tele2 Arena
Source: ET Now | Image by Hannes Soderlund
This article was first published on Your EDM. Source: Hear From The Sound Crew Behind Swedish House Mafia’s Epic 3-Night Stockholm Takeover
Since his artist debut in 2015, Marshmello has changed the game. With innovative branding, fan activations, an ever-present character, high-production value in media and shows, the masked saccharine treat has garnered tens of millions of followers around the globe.
Now, he and others are getting ready to tell the story of how it all happened in a new mini-doc via YouTube Music’s Artist Spotlight Series. These videos range from as short as 6m30s (Billie Eilish) to as long as 18m19s (Burna Boy).
“When we came up with the concept of Marshmello,” says manager Moe Shalizi in the clip, “we set out to create a positive figure that anybody could relate to, that everyone could feel they were a part of.”
The clip also includes snippets of interviews with The Chainsmokers, Logic, and Martin Garrix. The full video will be available on YouTube a week from today on July 2.View this post on Instagram
A post shared by marshmello (@marshmellomusic) on Jun 25, 2019 at 10:00am PDT
Kaskade just announced the third annual SunSoaked music festival has been canceled. The beachside event in Southern California, a collaboration between the producer and Live Nation, was “falling short” after two successful installments.
What Kaskade previously described as a “personal love letter” from himself to summer, will sadly not go on as planned for July 13 and 14 this year. It’s obvious the music event was dear to his heart, but he’s been left with no choice.
Kaskade provides an official statement via the SunSoaked website and socials:
SunSoaked is cancelled.
After two years of an event that was absolutely epic, I wanted to make it bigger and even more expansive. The first two years had places that needed improving so I brought people in to help me execute those changes.
But at a little less than three weeks out, it’s become obvious to me that we are falling short, and I’ve been left with an impossible choice.
I appreciate your support, I don’t take it for granted. I hope to see you all soon.
Full refunds will be automatically issued within 21 days to all SunSoaked ticket holders. According to the statement, no action is needed on the customer’s behalf.
Kaskade, Logic, Quinn XCII, BROHUG, CID and Aokay were set to play SunSoaked this year. The future of the festival remains unclear.
SunSoaked is cancelled.After two years of an event that was absolutely epic, I wanted to make it bigger and even more…
Photo via Rukes.com
This article was first published on Your EDM. Source: Kaskade Announces SunSoaked Is Canceled, Ticket Holders Will Be Refunded
Somewhere in South Florida, there’s a studio with two young men hashing out ideas that have been catching the attention of the house music scene. Nestled in the Miami suburb, the duo sit in a studio with Ableton open inputting arrangements for a potential upcoming track. It doesn’t have a name, but the project is being scrutinized by the two who have dubbed themselves Black V Neck.
Black V Neck consists of members Ian Beato and Julian Sacheli who specialize in making tech house with a distinct persona. Despite being relatively new to market, the duo have released with respectable labels such as Nurvous Records, Basement Leak, Bunny Tiger, and most recently Dirtybird. Their Mouth Music EP was their debut on the label and signals a new accomplishment for Beato and Sacheli. “I think we’re the new wave of the youth making tech house,” said Sacheli talking about the EP. “We’re coming in with this new sound, which is why it fits so well on Dirtybird. At the same time, you can hear our Latin influences in our tracks with the rhythms we put in.”
They describe their sound as a mix of bass house and tech house which is the result of experimenting and years of producing together. Collaborations like “My Style” with AYAREZ and “Walkin'” with E.R.N.E.S.T.O encapsulate this style along with songs of their own like “Let Me Smash” and “Wanye Kest.”
The noise Black V Neck is making has caught the eyes and ears of house music’s most prominent players. Between bosses in the scene like Chris Lake and Claude VonStroke to support from peers like Tim Baresko and Lucati, house artists and and other EDM stars have included Black V Neck music into their radio shows and live sets. This includes support from CID, Duke Dumont, Jax Jones, Kryder, Malaa, Shiba San, TOKiMONSTA, Wuki, Zeds Dead, and more. But this level of support didn’t arise overnight as the two will tell you.
“Believing in your dreams is certainly part of success,” says Sacheli, “but you have to keep doing it. Him and I have been doing it now for what? Six years together. Separately, we’ve been involved in music a lot longer.”
“And that’s not to say that we both started at the start of our lives,” Beato adds. “For example, I started getting involved with music when I was three.”
Beato and Sacheli were born and raised in Miami, Florida, both have Cuban parents, and both met in college band playing the French horn all while exploring electronic music production on their own. “We both played the same instrument,” said Sacheli, “and we both saw that we shared the same affinity for making electronic music and I think that’s how our friendship started.”
“I started on Cubase, actually,” Beato says. “Julian showed me Ableton and showed me the way of Ableton. Of course I get sucked into it and now I have a tattoo of it on my arm. I got it about two years ago and it makes sense because I live and breathe the program now so… I do everything in there. Him and I both live and breathe this software. It’s so versatile, easy to use, and so clean. It works for us.”
But these differences and similarities are what pushes Black V Neck’s creative process when they sit in the studio together. When I asked them what the starting elements to making a new tune are, Beato put it simply by smiling and saying, “We tend to get really ignorant thoughts and then translate that ignorance onto paper to get what we end up with.”
“I think the first thing that we put down is the groove, which I know sounds broad,” Sacheli adds diving deeper into the subject. “The kick-drum, the hi-hat or clap, or the bassline might be the first thing we make for any given thought. But it doesn’t matter which of the three comes up first because once we have the groove down on an 8-bar or 16-bar loop, then we start to venture off. We can then look for what interesting vocals we can throw on it and decide what direction the track will take. But it all starts with the groove.”
Part of finding the groove comes from learning and playing the drums from an early age, according to Beato. Before electronic music was a thought, Beato explored genres like metal and rock as well as inspirations from reggae and grassroots music. “I really enjoy the instrument,” Beato says. “It helps me in being able to feel the groove, so to speak, that helps in the writing process. Being classically trained is a nice touch because I understand music theory and I’ve applied since childhood to now. Ear training is great for notating. If Julian hums or sings a little line, I can go into Ableton and notate it down.”
Beato describes himself as a “110 percent, O.C.D. perfectionist” when it comes to working with the program. If there’s something wrong with the track, he’ll hyper-focus into the problem and will not rest until it’s solved. But even this mentality can’t save all their projects from getting scraped.
“When it comes to our music, there’s a ton of stuff that we love,” Beato says. “but that we’ll never release and we just have to be okay with that. It’s hard to kiss your babies goodbye, but it be that way sometimes.”
It’s from there Beato and Sacheli start to talk about the title track of their EP and how it came about. The vocals that are chopped to create the lively rhythm of “Mouth Music” is from “Brazilian Trap Vocals” pack found in Splice. Sacheli knows like any solid producer does that any sample can be a source of inspiration.
“The point is that we venture off and look at a trap pack set at 140 bpm,” Sacheli says. “Then we find the vocal samples and pitch them and chop them and use them at our own discretion to make them our own tracks. This is something I recommend for people who ask me where we get our sounds from. We get them from anywhere we can and it doesn’t have to be a tech house sample pack. It can be a from something as far from the genre like a Brazilian trap vocal pack. The bassline, the drums, the loops and everything else we made ourselves and then we chopped them up and made it into our own thing. That’s something people need to know. Not everything needs to be done entirely from scratch.”
“What keeps us on our toes is trying to push ourselves,” Beato adds. “In terms of gear and our sample library, the first thing I do in the studio is to look for stuff. I ask myself, ‘What’s the next thing I can get?’ Every single day, I’m on top of looking for the new sample packs to see what I can use or what can inspire me.”
It’s at this moment that Beato pulls out a KordBot midi controller made from Isla Instruments. “I use it as a tool to inspire us,” Beato says. “You can choose what key you want and it has the full assortment of chords you might want to use in a track. From there, you can hop around it and get ideas from that.”
Sparking the discussion of analog vs. digital, Sacheli chimes in by saying, “The greatest question that producers will ask each other is, ‘Do you solely use analog?’ In other words, do you feel that analog equipment is needed for your production. I think the consensus from most producers is no, but it’s a toy that can give you a sound for one song or two or three. But it won’t be your end all be all. It’s also not required. It’s something meant to inspire you to make a song.”
“I did not know the delights of owning outport gear and analog equipment until I could afford it,” Beato adds as he sits by a shelf filled with different ports and converters. “And that’s not to say that we’re rolling in money. We’re struggling to get by just like everybody else. But at some point, you have to invest into your craft. All the stuff we have is used at 110 percent. Over time, you build up your routines of what you want to do and how you want to get into your sounds.”
This advice comes from a duo who advocate that modern advancements in audio tech allows anyone to mix and master a great track with very little equipment necessary. According to Black V Neck, all any producer needs in their studio are good converters and a good sound source. But more often than not, young producer can get side-tracked with additional equipment that may not do much for their final products.
“Start with a good sample,” says Beato. “Start with a good recording. And to do that, you have to have the equipment to do that. This includes your microphones, your preamplifiers, your…whatevers. Having good monitoring equipment is nice and dandy, but if you do not have the basis to build your track on, it’s not going to work. You see these people with massive SSL boards in their studios. It’s not necessary anymore. Maybe if you’re going to record a band or something it might sound nice because you have that nice coloration, but it doesn’t matter when you’re producing alone. Even though I’m going on an engineering rant, I feel that one of the biggest stigmas in the industry is that if you don’t have the latest and greatest synth that is out at the moment, then you’re not getting it done.”
“I don’t see it that recently,” counters Sacheli. “I think that the stigma comes from pictures on Instagram. You see the pictures of Jamie Jones’ studio, you see the picture of Justin Martin’s studio and you drool. You drool! It looks good. It doesn’t mean that you need all this equipment in order to succeed. It’s whatever’s going to get you into the end goal. If it inspires you and it’s in your price range, go for it.”
This is the mindset that Sacheli and Beato had when creating the second song on the EP “Sex, Drugs, Alcohol.” According to Sacheli, the main synth layered through the whole song is what they made off the Behringer Model D Analog Synthesizer. The kick-drum was made on a Master Live plugin. Ian wrote the bassline.
“As we were layering the track down,” Sacheli recalled, “I remember looking at these lyrics on our phone that Ian brought to me. I said that these lyrics would go well with the track we made. We then had our friend Brenda, who has worked with us before, come in and sing the lyrics we had and layer the vocals with the track. And then we mixed and mastered it here.”
Beato says it best when he says, “Everything starts and ends here. I take great pride in the work we do here.”
The differing perspectives from both sides of Black V Neck are part of what make the project stand apart from most acts in the tech house scene. On one hand, their technical prowess and musical ambition are in check. On the other hand, they maintain an insight on the genre’s history and recent changes within the industry that has rewarded them in strides.
For example, Julian’s background in music starts with his father who came to America to DJ in South Beach during the early 90s. According to Sacheli, his father was apart of shaping Miami’s early house scene and even founded his own record label called Sounds for People. DJs including Robbie Rivera and Cedric Gervais signed with the label providing an access into south Florida’s fusion of Caribbean and electronic genres.
“But then Beatport came and changed the whole landscape again,” says Sacheli. “But I grew up listening to house music. It was part of my everyday life. But as I got older I realized that nobody else was listening to house music. House music isn’t something most people listen to as a kid because it’s mature club music. But to me it was normal to listen to Crystal Waters and Danny Tenaglia as well as the great classics from Louie Vega and David Morales. So as I got older and listening to house music was so normal for me, I thought that if this is something my father can do then this is something I can do. When the EDM boom came around the same time, the whole field changed again and things were a little bit more difficult. But it’s something that I grew up with and that I feel is achievable.”
As tumultuous as the the music industry can be, the future is bright in the eyes of Black V Neck as tech house reaches mainstream audiences. “Today, starting to get into EDM could mean that someone’s first exposure to tech house will be through Fisher,” says Sacheli. “Some people can say that’s a bad thing, but I look at as a win if someone who started with Fisher finds their way to Black V Neck. Whether it’s through Spotify, Pandora, or radio, we benefit if they find us in any manner.”
He relates the tech house boom thanks to Fisher’s track “Losing It” in 2018 to how Avicii found commercial success with “Levels” in 2011. “I think we all listened to Avicii seven or eight years ago,” Sacheli says. “We were all inspired by him in some way, shape, or form. You didn’t have to like all his music, but everyone looked up to him. We all come from different backgrounds, but for a lot of people they found him and were pulled into EDM.”
Black V Neck is leading the way in what Miami’s sound is going to be. Across the globe, the duo are in a dynamic spot where their unique sound can sling shot them into the upper echelon of success within house music. Like with many young artists making a name for themselves, only time will tell if their creativity and discipline will take them there. But listening to Beato and Sacheli talk about their craft and their flow with confidence and adoration can give anyone who meets them or hears their music a sense that they will conquer in the upcoming years.
You can catch Black V Neck playing at Dirtybird Campout West in Modesto, California, October 4th to the 6th. Follow the boys at @blackvneckmusic across all social media platforms to keep up with their upcoming releases and future tour dates.
This article was first published on Your EDM. Source: Black V Neck: An In Depth Look at the New Tech House Sound from Miami [Interview]
UZ needs no introduction as one of the trap scene’s pioneers, whilst the prodigy Hucci kickstarted his career at just 16 years old. ‘Awakening’ brings out the very best from both producers – working a fine line between melodic counterpoints, stripped back beats and weighty sub bass.
Get to grips with ‘Awakening’ here.
Timmy Trumpet just dropped a tasty remix pack for his epic track “World At Our Feet.” Enlisting RetroVision and Danny Avila, we get two top notch tracks that take the original’s stellar vocals and wonderful melody, and re-imagine them in incredible new ways. The RetroVision remix is particularly strong; if you’re a fan of any of Martin Garrix’s collaborations with Brooks or Justin Mylo, this song is right up your alley.
The song opens with the kick drum beat and a brief synth note before the vocal hook gets mixed in, “With our minds wide open, we can see.” The first verse starts over a rising note, until some friendly snaps get thrown into set the vibe, whereas the original is layered over a psy-trance beat. As the chorus comes in so do some pianos, the buildup is perfect for a festival set with handclaps that are sure to get everyone’s hands in the air. The drop is superb, taking the melody of the original but giving it a future bounce flair, that just makes it that much more energetic. You truly want to jump as high as you can in the air.
The Danny Avila remix is a very club friendly track, as Danny turned it into more of a piano house tune. This remix also slaps as the Spanish DJ/Producer takes a psy-trance tune and turns it on its head, all while still retaining the character of the original. There’s also an extended version of the original song included in the remix pack as well.
Make sure to check out the RetroVision and Danny Avila remixes of Timmy Trumpet’s “World at Our Feet.”
Photo via Rukes.com
This article was first published on Your EDM. Source: [PREMIERE] RetroVision Delivers a Stellar Remix of Timmy Trumpet’s “World At Our Feet”
Normally with this many single teasers leading up to an EP drop would commence fans and critics alike to toe-tapping and whinging about “when” but when it comes to Erich Mrak and his beautiful and heartfelt creations, we at Your EDM have determined he can do whatever he wants. There’s so much to unpack in each single that honestly audiences need time to digest them, and with each track being just as god as or better than the last, there’s really no hurry.
Mrak’s newest single “Riptide” is yet another highly personal, exquisitely crafted track in the long line of singles he’s put out this year ahead of the EP. Probably the shortest track he’s released in this series so far, “Riptide” packs a lyrical and melodic punch that only Mrak can deliver.
“Riptide” describes a failed or, as many listeners will come to see it, doomed relationship where Mrak describes trying to make a relationship work against all the emotional and even possible mental illness issues of the other person was like “trying to swim against your riptide” and the relationship was “sinking from the inside” and he finally concludes he has to “learn to live and let die.” If you’re not already crying from that description you might not be human.
Once again, Mrak uses his words to make his tracks almost devastatingly relatable in “Riptide” and the music is there to drive the point home. With flowing, organ-inspired ambient melodies, the beat for this track is slow and subtle but it still has a trap-tinged snare and beat structure which goes well with Mrak’s vocals. Another song that pulls at the heart strings while being technically on point.
While it seems there will be one more single release before Erich Mrak is finished teasing us, he’s more than proven it will be worth the wait. His ability to connect in his music and turn pain and human turmoil into something almost more real than the reality of said turmoil cannot be understated. Mrak’s music has the ability to help those who feel alone or hopeless in this struggle we call life, not by trying to fix it or even move on from but but by sitting next to it and waiting for it to reveal its purpose. Sometimes that’s the best therapy for anyone; that and music, of course.
“Riptide” is out now and can be streamed on Erich Mrak’s Spotify. Be sure to check out all the other tracks there as well. Together they make a great playlist, even before the release of the EP.
This article was first published on Your EDM. Source: Erich Mrak’s New Single ‘Riptide’ Teasing His Upcoming EP Yet Again but We Don’t Mind
Apple‘s forthcoming iOS 13 software update isn’t available just yet — but you can download the public beta now!
iOS 13 provides performance updates across the board, especially for older iPhones that were slowed down by previous software updates. Apple’s iOS 13 boasts a 30% speed increase for Face ID and other fast launching apps, updates to Maps and Reminders apps, new volume indicator, extensive photo editing, and much more. Oh yeah, and dark mode.
The Verge breaks down the advantages of iOS 13, and some disadvantages that may come with installing the software’s beta version. There will inevitably be some bugs, including app crashes and worse than usual battery life. Also, mobile payments and barcode scanning can prove to be problematic. Plus, dark mode hasn’t even made its way onto all of Apple’s core apps yet.
However, if none of this scares you off, it’s quick and easy to get hooked up.
How to download iOS 13 beta:
So, is iOS 13 worth getting before the official launch? Learn more below.The Verge Breaks Down iOS 13
Source: The Verge
It’s been a while since the world has heard from Wave Racer. His last tweet and Instagram post were February 2017, promoting his last track, a remix of Tkay Maidza’s “Carry On” with Killer Mike. Now, Wave Racer is teasing his imminent return.
A new post instructs followers to “give me a call?” with the number 1-415-510-2415. We’ve saved you the trouble and done it ourselves — see below. It’s a teaser of a track, and it’s coming very soon.
All we can do now is wait, but one of the most preeminent producers of the future bass era is making his return and we can’t wait to hear what he comes back with.
— Your EDM (@YourEDM) June 24, 2019
Spotify says the platform “overpaid” royalties in 2018 — and wants the money back.
According to reports, Spotify along with Amazon, Google, and Pandora, are appealing the recent Copyright Royalty Board decision, which increased songwriter payouts by approximately 44%. Spotify was among the platforms that opposed the new rules, but wants to work those same rules to its advantage in terms of songwriter/publisher payouts.
The current rules state that the annual streaming royalty rate in the US between 2018 and 2022 should be determined at the highest outcome over three different models. One of which is based on flat rates per subscribers and is where Spotify finds these apparent “overpayments.”
(i) a percentage of a streaming company’s total revenue;
(ii) a percentage of what that streaming service pays to record labels each year;
and (iii) a flat fee per subscriber in the US.
Simply put, Spotify wants to get back millions of dollars in payouts from publishers, sourcing miscalculated subscription numbers. According to the official CRB rules, “a Family Plan shall be treated as 1.5 subscribers per month… A Student Plan shall be treated as 0.50 subscribers per month.”
The music service said in a statement: “Rather than collect the 2018 overpayment immediately, we have offered to extend the recoupment period through the end of 2019 in order to minimize the impact of the adjustment on publishing companies.”
David Israelite, the CEO of the National Music Publishers Association expressed to Music Business Worldwide: “I find it so hypocritical for a digital service that is appealing the CRB decision to then take advantage of the parts of that decision that benefit it. I guess we shouldn’t be surprised.”
So far, no word from Amazon, Google, or Pandora about any potential overpayments.
Apple Music, on the other hand, stands by the CRB decision.
This article was first published on Your EDM. Source: REPORT: Spotify “Overpaid” Royalties in 2018 & Wants The Money Back
Skrillex has some great news — he has new music coming and he’s about to “pump em out quick!”
Some of the IDs we’ve heard play out in sets, which he refers to as DJ tools here, are getting primed for release. According to the producer, he’s taking at least a “couple” of these tools and finishing/mixing them into “real songs.” Fuck yes.
Skrillex has been sitting on tons of material for quite a while now, and diehard fans have become antsy to hear what he has on store. Finally, it sounds like he’s ready to pull the trigger on new releases.
Just last week, he and TroyBoi unleashed their massive collaborative track “Warlordz.” That should tide everyone over until these are ready. And, let’s not forget the Dog Blood EP he and Boys Noize recently blessed us with.
Check back to hear when Skrillex drops his new music!
this week I’m taking a couple of my new DJ tools and finishing / mixing them into real songs .. gunna pump em out quick !
— Skrillex (@Skrillex) June 24, 2019
Photo via Rukes.com
This article was first published on Your EDM. Source: Skrillex Says He’s Finishing Up New Music & Plans To “Pump ‘Em Out Quick”
Fresh off his fifth studio album Ride Waves, GRiZ has unleashed his Bangers.zip to keep the good vibes going. The three-song EP highlights the producer’s heavy electronic side, with each track drawing on classic dubstep influence whilst maintaining that signature GRiZ charm.
Fans who have seen GRiZ on his most recent Ride Waves tour will instantly recognize these three productions. “Voodoo,” “No Bad Trips” and “Ice Cream” are known to cause crowds to erupt during live shows, as GRiZ proves he hasn’t been neglecting the bangers.
First up, “Voodoo” featuring SUPERLOVE rocks a smooth magic energy. The track opens with samples from late 90s TV psychic/personality Miss Cleo and proceeds into a reggae-infused rhythm, as SUPERLOVE lays down the vocals. Teased earlier this year, “Voodoo” has seamlessly entered the Ride Waves tour sets as one of the latest entries to GRiZ’s diverse repertoire.
Next, an eagerly awaited release, “No Bad Trips,” makes its way onto the EP. A distinct horn leads the build, but is quickly met with one of the hardest GRiZ drops we’ve ever heard. “No Bad Trips” highlights how effortlessly the producer can mix heavy electronic and instrumental elements together, creating a unique hybrid of his own. During live performances, he’s been known to drop this one as a mashup or flip (i.e. “I Ain’t Never Had A Bad Flip“), so it’s especially awesome to hear the final.
Last and certainly not least, it’s time for “Ice Cream.” By far the biggest throwback to old school dubstep, “Ice Cream” is like stepping into a bass bumping time machine. Before each drop, GRiZ samples snippets of a classic interview from “Da Ali G Show,” during which Ali G pitched an ice cream glove to Donald Trump. Emerging earlier this year, we’ve heard “Ice Cream” surprise crowds throughout the Ride Waves tour.
Needless to say, Bangers.Zip comes as a pleasant surprise and an excellent follow up to Ride Waves. In our GRiZmas recap, we mentioned the plethora of unreleased music that GRiZ plays during his live performances and it’s great to see some of our favorites finally come to light.
Be sure to catch Season 2 of the Ride Waves tour coming to a city near you. More info and dates here.GRiZ – Bangers.Zip
GRiZ 2019 Live Dates
June 23 – Dover, DE – Firefly Music Festival
June 30 – Rotterdam, NL – Metropolis Music Festival
July 5 – Liempde, NL – We Are Electric
July 7 – Petrovaradin, Serbia – Exit Festival
July 13 – Dour, BE – Dour Festival
July 10 – Madrid, ES – Mad Cool Festival
July 12 – Bristol, UK – Nass Festival
July 26 – Wilmington, NC – GRiZMAS In July – Greenfield Lake Amphitheater+
July 27 – Wilmington, NC – GRiZMAS In July – Greenfield Lake Amphitheater^
August 3 – Montreal, QC – Osheaga Festival
August 9-11 – Salmo, BC – Shambhala Music Festival
August 16-17 – Des Moines, IA – 515 Alive Music Festival
August 30 – Morrison, CO – Red Rocks Amphitheatre^
August 31 – Morrison, CO – Red Rocks Amphitheatre#
September 26 – Boston, MA – Rockland Trust Bank Pavilion*
September 27 – Washington, D.C. – The Anthem*
September 28 – Charlotte, NC – Charlotte Metro Credit Union Amphitheatre*
September 29 – Charlottesville, VA – Sprint Pavilion*
October 2 – Birmingham, AL – Avondale Brewery Amphitheatre*
October 3 – Nashville, TN – War Memorial Auditorium*
October 4 – Indianapolis, IN – The Pavilion at Pan Am*
October 5 – Chicago, IL – Navy Pier at Festival Hall*
October 6 – Austin, TX – Austin City Limits Music Festival
October 9 – Cincinnati, OH – PNC Pavilion*
October 10 – Atlanta, GA – Tabernacle*^
October 11 – Atlanta, GA – Coca-Cola Roxy*#
October 12 – New Orleans, LA – The Fillmore*
October 13 – Austin, TX – Austin City Limits
October 15 – Salt Lake City, UT – The Complex*
October 17 – Seattle, WA – The Paramount Theatre*
October 18 – Vancouver, BC – The Commodore Ballroom*
October 19 – Eugene, OR – The Cuthbert Amphitheater*
October 24 – Los Angeles, CA – Hollywood Palladium*
October 26 – Berkeley, CA – The Greek Theatre w/ CloZee*
Photo: Jason Siegel
This article was first published on Your EDM. Source: GRiZ Gives Us The 3-Track Dubstep EP We’ve All Been Waiting For, ‘Bangers.zip’ [MUST LISTEN]
This past weekend, EDM Twitter has lobbied accusations against producer/DJ Moonboy, beginning with user @stephhcastro_, who tweeted on Saturday, “MOONBOY is the fakest person ive ever met in my life and knowingly fucks underage girls.”
The screenshots and videos Steph used to support her initial claim did not do so, and only generally showed Moonboy to have allegedly deceived her into buying a plane ticket to a festival in Canada. However, Steph’s tweet opened the door for other women to tell their stories, and others had much more significant accusations.
Most notable was @tostadabrooklyn, who told of a situation in which she went back to Moonboy’s hotel room to engage in consensual sex with him. Brooklyn (as we’ll call her, for ease) says she was 100% sober while Moonboy was drunk during the encounter.
“When we were having sex though, he kept asking me to record it and I kept saying no and that was that,” Brooklyn wrote. “The last position I remember was laying on my right side facing the wall.
“The next morning, I woke up completely on the other side of the bed. I fell asleep while he continued to have sex with me. While I was asleep, I had a CLEAR memory of rolling over and pushing a flash away from me.”
My experience with Moonboy. FUCK HIM AND FUCK ANYONE WHO SUPPORTS HIM. pic.twitter.com/eHeQrJdU4K
— Brooklyn Tostada (@tostadabrooklyn) June 23, 2019
I’m done tweeting – I’m deleting the app y’all are TOO fucked up for me and I’m about to snap. I will be coming out to my parents about the situation & i will be taking legal action! Like i said this wasn’t made up attention wanting shit – this HAPPENED and i am living with it.
— Brooklyn Tostada (@tostadabrooklyn) June 23, 2019
Another accusation came from @laynebrank.
Basically similar situation as everyone else. Shawn told me originally his name was Jaime. I didn’t find out otherwise until ghastly referred to him by his real name. He kept making advances while I was trying to sleep. I ended up leaving his house at 3am v scared.
— ???????????????????? ???????????????????? (@laynebrank) June 23, 2019
Your EDM reached out to the management email listed on Moonboy’s social media pages this afternoon, and received this response, “Loko Entertainment has parted ways with Moonboy. We have no further comment at this time.”
At time of publishing, Moonboy has still made no public acknowledgement of the accusations nor any statement in response to them. However, he has deleted thousands of tweets since the accusations first surfaced this weekend — it’s unknown if these tweets could have been potentially damaging. Your EDM has reached out to Moonboy for comment, as well, though he’s not responded at time of publishing. We will update if and when he chooses to respond to these accusations.
We’ve been unable to find any legal charges against Moonboy, and it’s important to remember these accusations are just that – accusations. However, sometimes silence speaks louder than words and Moonboy’s lack of comment is certainly disconcerting.
This article was first published on Your EDM. Source: EXCLUSIVE: Moonboy Dropped By Management In Wake of Sexual Abuse Allegation
About a month ago, Martin Garrix injured his ankle after jumping off the DJ booth at OMNIA in Las Vegas. He continued his set for as long as he could, but eventually cut it short and was driven away in an ambulance. A little over a week later, he announced he was cancelling all upcoming shows as the injury required surgery.
Today, Martin announced, after a check up with his specialist, he was ready to start playing shows again! His first show back will be the beginning of his residency at Ushuaïa in Ibiza on July 4th.
“It will obviously take quite some time before everything will be back to normal and I will be able to jump around on stage like I usually do,” he writes, “but for now I’m just super happy that I can start playing shows again. Thank you so much for all your support and understanding and I hope to see you at one of the shows soon!”
See his post below, and get tickets to his Ushuaïa show here.
GREAT NEWS!!! Just came back from a check-up with the specialist and I am super excited to share that my recovery has…
Photo via Rukes.com
This article was first published on Your EDM. Source: Martin Garrix Announces First Show Back After Ankle Injury & Surgery
Music festivals should be a place where you can let go and enjoy yourself among friends and lots of great music. However, some people go to events with the intention of getting too fucked up, whether on alcohol or other substances, and this doesn’t always lead to the best results. One many at Firefly Music Festival this weekend was apprehended after stripped naked, streaked through the venue and knocked over sound gear.
Official reports are that “there were no reported injuries at the Bud Light tent and no reports of assaults connected to the incident.” However, a string of tweets after searching “naked firefly” on Twitter tells a different story…
Just got punched in the face by a naked man at Firefly. What are you doing this weekend nerds?
— Chef BoyLT (@NoShowerTrower) June 22, 2019
Most likely. I didn't see him until it was too late. After I got socked all I saw was dong.
— Chef BoyLT (@NoShowerTrower) June 23, 2019
Within first hour of Firefly fest already seen a full grown man streak naked. Took about 5 cops to tackle him. Live stream tonight gonna be lit
— Blitz (@BlitzTwitchTv) June 22, 2019
I almost had to fight a naked man at Firefly yesterday…
— Cheeseburglar (@_QHefner_) June 23, 2019
I just saw a guy get arrested by the state police because he was running around naked. There’s firefly for you.
— k8 spence (@katespencee) June 22, 2019
Dover police Cpl. Mark Hoffman says the man was arrested on misdemeanor criminal mischief charges and accompanied to a medical tent due to his intoxication levels.
The streaking came the same day as police reported at least two dozen phones had been stolen at the music festival.
Firefly was headlined by Panic! At The Disco, Post Malone, and Travis Scott, with support from Zedd, Kygo, DJ Snake, Passion Pit, Death Cab For Cutie, and more.
Photo via aLIVE Coverage
This article was first published on Your EDM. Source: Naked man goes on rampage at Firefly, knocking over DJ equipment and punching people
Newcomer LICK has been on a warpath this year. He’s released huge remixes of Kiiara, Skrillex and more. Now he’s unveiling his debut album. The second single from the album, “Runaway,” dropped on Friday, and it’s a banger for sure. He teams up with vocalist Tori Letzler for a song you’ll be hearing at Electric Forest, Audiotistic, and others throughout the Summer. It starts out melodically before LICK unleashes a massive drop.
Keep your eye on this rising player in the bass music scene as he’s sure to become a household name.
This article was first published on Your EDM. Source: Spice up your day with LICK’s new single “Runaway” ft. Tori Letzler
Laxcity is known for his chill and down tempo compositions. He’s currently unveiling his new EP and last Friday he dropped a new single “Purity.” Its near-ambient like nature makes it the perfect song to ease you into the work week. Laxcity even sings on the song! If you’re a fan of relaxing music or need something to add to your study playlist, you should definitely consider Laxcity’s latest offering.
This article was first published on Your EDM. Source: Laxcity delivers the chill tune you need this Monday
Just days after Dash Berlin put out an official statement, ending their feud with longtime partner Jeffrey Sutorius and giving him full creative control over the project (our article covering the statement initially erroneously claimed the project was ending as a whole; we regret the error) — he has some words of his own about the return of Dash Berlin.
In the posts below, he shouts out his lawyers for their hard work and his wife for standing by him through “heaven and hell,” as well as all his friends, family and colleagues. Moving forward, Sutorius will carry the torch of Dash Berlin as a solo act.
Previously, he and group members Sebastiaan Molijn and Eelke Kalberg had an unfortunate falling out. Those two describe the events that unfolded as a “pretty challenging time for all of us” in their own statement. They will focus on “exciting new musical projects.”
As for Dash Berlin, this is the start of a new chapter. In his announce, Sutorius says “the epicness continues.”
Get ready.Jeffrey Sutorius Is Dash Berlin
I want to thank my lawyers Mr. Düzgün, Mr. Zee and Mrs. Wisman for their continued support and advice on both personal and professional level. I couldn't have done this without you. I want to thank my wife for staying behind me all the way through heaven and hell .
— Dash Berlin (@DashBerlin) June 24, 2019
All my family, friends and colleagues who reached out and showed support: THANK YOU.
You know who you are…
— Dash Berlin (@DashBerlin) June 24, 2019
This article was first published on Your EDM. Source: Jeffrey Sutorius Makes Statement Heralding His Solo Return As Dash Berlin