The album will feature Skream, MJ Cole, and The Game, among others.
Iconic electronic music group Rudimental have announced a new two-side album called Ground Control, which will span a staggering 16 tracks.
The band also dropped the record's lead single "Straight From The Heart," a sun-kissed dance bop featuring Nørskov that references Doolally’s 1998 classic of the same name. "We grew up raving to this classic garage record by Doolally, who used to mentor Amir," Rudimental explained in a joint press statement, “and inspired by the original release on Locked On Records, we wanted to give it a modern twist."
The use of horns is a cornerstone of Rudimental's music, and brass is—well—at the heart of "Straight From The Heart." The group also employs a foot-tapping bassline and breezy house rhythm for a summertime hit.
You can find "Straight From The Heart" on streaming platforms here and listen to the track below.
Ground Control is Rudimental's fourth studio album and the first since 2019's Toast to Our Differences. The record, which is scheduled to drop on September 3rd Big Beat/Asylum Records, will include collaborative tracks with MJ Cole, Skream, and The Game, among others.
Pre-order Ground Control here and check out the full tracklist below.
Ground Control Side A
Ground Control Side B
An intoxicating banger from Excision and Dion Timmer, who have long been championed for their ability to produce vocal-driven bass music.
Longtime friends and collaborators, the two bass music superstars eschewed their penchant for heavy-hitting dubstep this time around, instead opting for an intoxicating melodic bass arrangement. Pitched vocal chops quiver through the booming saws and powerful chords of the song's drops, which rumble with the same ferocity as a signature Subsidia release.
Donn's vocal performance here is not to be ignored. The Nashville-based singer-songwriter delivers a stentorian topline that ebbs and flows along with the dynamic production of Timmer and Excision, who have long been championed for their ability to produce vocal-driven bangers.
Check out "Salvation" below and stream it on your go-to platform here.
Donn shed some light on the track's origins in a heartfelt Instagram announcement, noting that she wrote and recorded it in January 2000 during a bout with strep throat.
"Little did I know that I’d get to meet Excision at his sold out Thunderdome show in Tacoma, only a few minutes from where we were living - a week after writing 'Salvation,' Donn wrote. "Little did I know he’d be the coolest person ever!! Although I probably should’ve guessed that. And little did I know a pandemic would hit and put the industry on hold for over a year. And little did I know that because of all this time, the song would only grow to mean more and more to me."View the original article to see embedded media.FOLLOW EXCISION:
The proprietors of Sky SLC have issued a statement following an alleged assault that one attendee says sent her to the hospital.
A leading Salt Lake City nightclub is under fire after an alleged assault that one attendee says sent her to the hospital with a "traumatic brain injury."
The incident took place at Sky SLC, which hosted an event on June 6th that was sponsored by the Utah Pride Center. The attendee, Jenny Fu, alleges that a bartender directed homophobic comments toward three of her friends, who are queer. After Fu objected to the language, she claims the bartender proceeded to call the club's security guards in to "intimidate" her before she was forcibly removed.
According to Fu, who believes she was singled out in part for her Asian heritage, four security guards assaulted her near the club's entrance, where they "threw and shoved [her] to the cement." The episode, she says, led to a concussion that left her "cognitively slow" and "struggling to meet basic needs."
Fu, who maintains that she agreed to leave the venue before her removal, says the guards' actions left her with bruises on her legs, pelvis, hips and arms, and "sent her to the ER with a traumatic brain injury."
"I can’t drive. I can barely see a few feet ahead of me," Fu told EDM.com in a statement. "I keep forgetting what I’m doing. I cannot work. I have nightmares. I have an onset of PTSD. I can barely take a walk. I am afraid to leave my home."Salt Lake City nightclub Sky SLC.
One of Fu's accompanying friends, Reuben Lehr, claims he was also assaulted in the quarrel, which he says was precipitated by the bartender's opposition to the fact that they weren't using the club's gender neutral bathroom.
While Fu was being removed, Lehr alleges that one of the club's guards "gripped my wrists, dragged me through the gate and pushed me into Jenny’s body," at which point he "landed hard on my right knee, damaging the sunglasses in hand and leaving my knee bloody."
"We called the police and filed a report for what had happened," Lehr told EDM.com. "We showed the cops our injuries and told them our accounts. When they asked Sky for their security footage the manager told them that the cameras had stopped recording 30 minutes prior to our assault and so we had no video evidence of what had happened to us."
Despite Lehr's assertion that Sky SLC management told police there was no recorded footage of the incident, owner Ken Dinsmore went on to share a post on Facebook containing a video of the purported fracas as well as a statement addressing allegations of homophobia against the venue.
"I wanted to address the public myself about the events that transpired last weekend at my establishment Sky SLC," Dinsmore's statement reads." First and foremost, I have always been a major supporter of the LGBTQ+ Community. I have hosted events for the community on countless occasions with no conflict. My doors have always been open for anyone & everyone to come escape the everyday stresses of life without discrimination, and be able to feel comfortable & free to be whoever they want to be."
"With that being said, I am quite disappointed at the entirety of the situation, however, I do need to say my club being called 'homophobic' is the furthest from the truth," he continues. "We have always shown respect and support to the entire community, and appreciate the support the community has given back to us. Unfortunately, sometimes we are forced to remove unruly guests from our venue for the safety of them, our other guests, and our staff."View the original article to see embedded media.
In the June 6th event's aftermath, a Facebook page belonging to Sky SLC also shared a statement wherein they apologize for the incident.
"First and foremost - we would like to sincerely apologize to anyone who was physically or emotionally harmed from the events that transpired on Sunday," the statement reads. "We have always supported and welcomed the LGBTQIA+ community into our venue and strive to make Sky a safe space for the community. Our efforts and the actions of some of our team members fell short of this commitment this weekend, and for that we apologize."
"While we support the decisions of our security team to keep the venue safe and secure, we absolutely do not condone overly aggressive or insulting behavior towards attendees being removed from the venue," continues the statement, which notes that the club is working to "make amends with the LGBTQIA+ community."View the original article to see embedded media.
Noelle Faen, a host of the popular Salt Lake City-based podcast Go To Hell, denounced Sky SLC's apology as "half hearted" in a Twitter thread. She also urged members of the local LGBTQ+ community "to stay away from Sky."
Sky SLC did not respond to EDM.com's request for further comment.
Garrix reworked his official UEFA EURO 2020 song—a collab with U2's Bono and The Edge—into a festival anthem.
Most artists would agree that it's difficult to remix their own music into something better—but Martin Garrix isn't most artists.
After releasing "We Are The People" alongside legendary U2 members Bono and The Edge one month ago, Garrix has now breathed new life into his official UEFA EURO 2020 song with a soaring rework. The Dutch EDM superstar tapped into his progressive house arsenal for a festival-ready anthem, à la 2018's global dance hit "High On Life."
A press release issued to announce the remix's release notes that Garrix "can’t wait to start playing festivals again," so fans are safe to expect to hear it in his DJ sets moving forward.
The trio also released an accompanying music video, which features fan-submitted footage of "special moments, adventures they will never forget, family moments they will cherish forever, or the smile of their loved one." Check it out below.
Garrix and his U2 collaborators performed "We Are The People" to kick off the tournament's opening ceremonies, rocking out on the ground level of Rome's cavernous Olimpico Stadium. Check out the full performance here.
You can find Garrix's new remix on streaming platforms here.FOLLOW MARTIN GARRIX:
A new study found that electronic music remains a top genre for coders.
Ever wondered what kind of music produces the most productivity?
In search of the most popular music to code to, recruiting company KO2 conducted a study by analyzing various Spotify playlists curated specifically for coding before determining the most popular songs and artists amongst coders.
Their study analyzed over 58,000 songs, with The Weeknd's "Blinding Lights" coming out on top. Second place was a tie between Hans Zimmer's "Day One" and [bds.u]'s "French Inhale, followed by Idealism's "Both of Us," Daft Punk's "Solar Sailer," and two additional tracks by Zimmer: "Cornfield Chase" and "Time."
Other artists from the dance music scene include Jon Hopkins, Bonobo, Tycho, and deadmau5. KO2 suggests that electronic music remains a favorite amongst coders due to the consistent beat that helps them develop a rhythm and get into the zone.
You can read more about KO2's study here.
The lineup features a handful of EDM heavyweights including Boombox Cartel, Aluna, and more.
In January, Crown Channel and Riot Games hosted their first digital festival, wwFest: VALORANT, tapping Madeon for a headlining performance and additional sets from WHIPPED CREAM, Moore Kismet, and more. Today they've announced their second festival with even more talent slated to perform.
Their latest virtual festival installment is titled wwFest: Unlocked YR1 and is in celebration of the one-year anniversary of Riot Games' wildly popular 5-on-5 tactical shooter game VALORANT. This time around, Gryffin is set to headline with Boombox Cartel, Aluna, Justin Oh, and Unknown Brain performing as well.
Each set will be performed in five different locations: Los Angeles, South Korea, Dubai, Mexico, and Germany, which were picked to reflect the world of VALORANT. Festivities begin on June 25th at 9AM.
You can tune in via Crown Channel's Twitch account, which you can find here. Check out the trailer for wwFest: Unlocked YR1 below.
"Mona Lisa" is the third single from AREA21’s forthcoming debut album.
In April, Martin Garrix and Maejor announced that they would be dropping a full album under their collaborative AREA21 alias. Since announcing the LP, we've received a taste of what's to come with "La La La" and "POGO." Today they've dropped the latest single from their forthcoming project, "Mona Lisa."
In a similar fashion to their previous two singles, "Mona Lisa" embraces a pop-leaning sound while incorporating various electronic elements. It's reminiscent of a feel-good summer night, as a plucky electric bass is accompanied by upbeat percussion and Maejor's signature vocals.
"Mona Lisa" is the third single from AREA21’s forthcoming album, which currently has no title or release date. However, fans should expect it to arrive this fall.
Listen to "Mona Lisa" on all streaming platforms here and watch the music video below.FOLLOW AREA21:
Both nights will see the likes of Jai Wolf, Toro y Moi, Sam Gellaitry, and more as support.
Following the release of his critically acclaimed sophomore album Nurture, Porter Robinson announced the return of his Second Sky festival as well as a nationwide tour. The electronic music trailblazer has now added another date in Los Angeles after the first sold out in rapid fashion.
The first show in Los Angeles will take place on Friday, October 1st while the newly added show has been scheduled for the day after on the 2nd. Both performances will take place at Los Angeles State Historic Park with support from Jai Wolf, Toro y Moi, Sam Gellaitry, Wavedash, and James Ivy.
Robinson’s sheer brilliance on Nurture was mirrored in his remarkable live set at the second annual Secret Sky, his curated virtual music festival. It served as a mouthwatering glimpse into the stage production for the live tour, which should be nothing short of breathtaking considering Robinson’s renown.
Tickets go on sale on June 25th at 12PM PT. Navigate here to set a reminder and learn more about the show.FOLLOW PORTER ROBINSON:
The esteemed video game company has issued a warning against co-streaming due to music copyright concerns.
E3's 2021 showcase took place mostly online, in light of concerns surrounding the COVID-19 pandemic. Nintendo opted out of co-streaming the event from the official Twitch platform, and warned that co-streamers may receive DMCA copyright strikes for streaming E3 due to licensing issues with the music that was used in this year's festivities.
Microsoft actually obtained retransmission rights for all of the music that was used in this year's streamed event, though those rights will expire after one year. Should co-streamers not delete their VOD (video on demand) before that year-long period is up, they may receive DMCA copyright strikes.A set piece from 2021's E3 expo.
Gaming giant Nintendo opted to avoid the issue entirely by not obtaining those rights, and instead issuing a staunch statement in Japanese, which was later translated via the official Twitch Twitter account:
“Nintendo tweeted from their official account that co-streaming today’s event is not allowed, differing from years past. While /twitchgaming has permission to air the show, we won’t be airing the event because all creators can’t co-stream.”
Nintendo's intention was to keep the focus on its Nintendo Direct stream, but that could prove to be a challenge for the company's forthcoming games and their developers, as massive streamers like Valkyrae sharing gaming news is a lucrative path for game studios looking to breach into mainstream popularity.
Music streaming rights have remained a plague to the Twitch platform, which is still locked in an intense battle with the DMCA over music streaming rights.
"Healing With Nature" is a follow up to the legendary trio's debut ambient project, "Flow State."
Titled Flow State, the ambient album stripped the U.K. trio from their usual trance leads and soaring progressive beats, opting instead to submerge their audience into a state of reflection and zen with a song-cycle of ambient and piano-based arrangements.
As the world continues to endure the consequences of a global pandemic, Above & Beyond's Jono Grant, Tony McGuinness, and Paavo Siljamäki aim to bring a sense of peace and serenity after months of lockdowns and isolation with their follow-up, Flow State: Healing With Nature.Flyer for Above & Beyond's "Flow State: Healing With Nature" album.
The five-track collection offers two hours of curated ambient field recordings for meditation use, allowing for a deep state of relaxation and calm. Surrounded in nature, the cuts offer meditation among the environments of rain, wind, night, and winter.
The soundscapes, which were recorded in the forests of Finland, are accompanied by a half-hour piano piece narrated by Elena Brower. The improvised piece, which was recorded in a single take, finds Brower examining the process of meditation.
"After months of lockdowns and isolation, many of us have felt overwhelmed as we begin to return to social life," Siljamäki said in a statement. "Meditation practice can offer a great opportunity to center ourselves."
You can listen to Flow State: Healing With Nature below and find the album on streaming platforms here.FOLLOW ABOVE & BEYOND:
The legendary group have updated the iconic single "Breathe" for 2021.
Legendary electronic music group The Prodigy changed the genre forever in 1997 with perhaps their most widely celebrated album, The Fat Of The Land. Now, 24 years later, The Prodigy have updated the the record's leadoff single "Breathe" with a brand new edit.
Enlisting the help of legendary Wu-Tang Clan member RZA—whose track "Da Mystery Of Chessboxin" was already sampled in the original version of "Breathe"—and Canadian drum & bass maestro René LaVice, The Prodigy have unveiled the "Breathe" Re-Amp.
The Prodigy's Liam Howlett took over production duties with the help of LaVice, increasing the tempo and introducing some intensely distorted drums while RZA's verses serve to bump up the energy even higher.
Only the short clip shared in the tweet is available thus far, but The Prodigy's new "Breathe" edit is slated for release tomorrow, June 18th. The "F9" hashtag in the tweet indicates that the Re-Amp will be featured in the forthcoming film Famil—err, F9: The Fast Saga, the latest installment of the Fast & Furious film series.
Keep an eye out for tomorrow's release of The Prodigy's "Breathe" Re-Amp with RZA and René LaVice at The Prodigy's social channels.FOLLOW THE PRODIGY:
The two-weekend festival will feature Gorgon City, Bob Moses, Dom Dolla, TOKiMONSTA, and many more.
Splash House has just announced its momentous 2021 return with a massive lineup that's sure to see the festival return in an emphatic way.
Returning to Palm Springs to celebrate its eighth summer and the joyful reunion of its dance music-obsessed community, Splash House will bring back its beloved poolside parties and resort setting for an unforgettable party with a lineup for the ages.Lineup for Splash House 2021 Weekend 1.
Splash House's first weekend will feature headlining acts Dom Dolla, Get Real, Shiba San, TOKiMONSTA, Tycho, and Whethan. Supporting acts include Mark Knight, Josh Butler, Lady Bee, a back-to-back set from Illyus & Barrientos with Martin Ikin, Hannah Fernando, and many more.
After-hours sets will take place at the Palm Springs Air Museum, as festival-goers dance among various aircraft in a desert setting to the sounds of Lane 8, Green Velvet, and Mason Maynard.Lineup for Splash House 2021 Weekend 2.
The second weekend boasts just as much firepower, with the likes of Bob Moses, Gorgon City, San Holo, Sonny Fodera, CamelPhat, and YOTTO among the headliners. Support from Luttrell, Mercer, Totally Enormous Extinct Dinoraurs, Bontan, Kim Ann Foxman, and many more will keep the dancers moving all weekend long. Special after-hours guests Cloonee and MK will round the fest out at the Air Museum.
Splash House 2021 will take place over two weekends: August 13-15 and August 20-22 in Palm Springs, California. To learn more, see the full lineup, or purchase tickets, visit Splash House's official website.
Organizers called the decision "a sledgehammer blow."
Despite a rosy outlook in recent weeks, it looks like Tomorrowland will abandon its 2021 dates after the Belgian government rejected the festival's permit application.
According to VRT News, the mayors of Boom and Rumst have refused a permit application to host the massive music festival, which is currently planned for August 27-29 and September 3-5. At a press conference, they reportedly cited "risks to public safety and health" as the impetus for the rejection.
Organizers called the decision "a sledgehammer blow" after Tomorrowland—one of the world's most popular electronic dance music festivals—had already been postponed due to the impact of COVID-19.
"We haven't had a festival for two years, which is very hard both financially and emotionally for our entire team," said spokesperson Debby Wilmsen in a statement translated from Dutch. "We were so keen on this, and it all looked positive."
"After 15 years of intensive cooperation with the municipalities of Boom and Rumst, this feels very sour," Wilmsen continued. "We find this very unfortunate after the many constructive preparations and conversations we have had. We do not know for a while what is happening to us."The mainstage at Tomorrowland's 2017 edition.
VRT outlines three reasons behind the permit rejection. "The Ministerial Decree regarding the maximum capacity at events from mid-August (75,000 people) has not yet been published. That is why mayors can legally only allow events up to 400 people for the time being," according to a statement from Tomorrowland.
Another bottleneck is the lack of police. "If the police forces have to carry out additional identity and corona checks at Tomorrowland, then there will be insufficient capacity for their essential tasks," the festival's statement continued. "But we understand that both arguments are resolved very quickly, when the Ministerial Decree is published, and if identity checks are carried out by private security companies may be performed."
Lastly, GEMS, an advisory group handling the country of Belgium's coronavirus response, reportedly had concerns despite Prime Minister Alexander De Croo's promising summer plan for large festivals.
The news of Tomorrowland's imminent cancellation is at odds with a statement shared by organizers on May 11th in reaction to comments made by De Croo, who asserted in a tweet that large festivals should be possible in the second half of summer 2021.
"We are delighted and grateful to hear that the Belgian Government has given a realistic perspective for large festivals in Belgium towards the end of the summer," Tomorrowland's statement reads. "This perspective is not only hopeful for Tomorrowland as an organization, but also for the more than 1500 suppliers and their staff."
Tomorrowland attracts approximately 400,000 people each year, a vexing figure for local residents fearing a potential spread of COVID-19. VRT reports that the neighborhood council of provincial domain De Schorre had cast doubt on a "corona-safe edition" of Tomorrowland due to its immense international audience.
Rumst Mayor Jurgen Callaerts, who noted that "the epidemiological risk is currently very high," is already looking to 2022. "We especially hope that we can welcome Tomorrowland again in 2022, in the same circumstances as in 2019," Callaerts said. "But this festival comes too early now. It is not wise to let an event of that order take place."
Wilmsen said that Tomorrowland is considering next steps in the wake of the permit application's rejection. "The mayor of Boom and his counsel have indicated to us that we can go to the Council of State against this decision," she said before bemoaning the decision as a "huge disaster."
"A second year in a row without Tomorrowland is a huge disaster for our company, but also for the 1,500 suppliers, freelancers and thousands of employees involved," Wilmsen continued. "Organizing Tomorrowland, hundreds of people work on it day in day out, for a whole year, with a lot of passion. This needs to sink in for a while."
A soft synth, drum machine, and bridge plugin make Splice more functional than ever before.
Esteemed music production utility Splice has just released its latest update, and it's making integration with digital audio workstations (DAWs) easier than ever. Sounds+, Creator, and Creator+ subscribers will gain access to three new plugins after the platform shared the first major update to its playable sample library.
Among the new plugins is Bridge, a tool that deepens Splice integration with DAWs. Bridge is built for streamlining sampling and enabling a new function that allows users to "audition" samples directly from the Splice browser. Samples can be transposed and synced to the user's project before being dragged and dropped into the project, saving time and making it easier than ever to select the perfect sample.
Splice has also introduced a new multifaceted soft synth called Astra. The synth features two oscillators, a sub-oscillator, and noise generator with multiple modes. Many effects and envelopes are also present in Astra, allowing the user to modulate reverb, flanger, chorus, compression, and more. A nifty built-in step sequencer allows for easy programming of notes and modulation.
The final plugin in the new Splice update is Beatmaker, a straightforward, no-nonsense drum machine that boasts a full sequencer and a 4x2 grid for drum programming. Samples can be loaded from built-in presets, Splice's expansive sample library, or the user's own sample library. A "Pads" mode suits those looking to play with a MIDI-enabled controller.
Both Astra and Beatmaker come with thousands of stock presets, so users can work with pre-made sounds and tweak them until they're just right, or create something entirely new.Beatmaker from Splice.
The update coincides with the launch of a new series of video lessons called "Splice Skills," which will feature renowned instructors and offer deep-dive tutorials for music producers of any skill level.
Learn more about the latest update at Splice's official website.
Natalie Horler of Cascada—perhaps best known for the generational dance anthem "Everytime We Touch"—talks about getting started in music, fashion, and more.
Since Cascada’s inception in 2004, they have sold more than 30 million records worldwide. Their iconic track "Everytime We Touch" has garnered over 200 million views on YouTube, where the group has amassed a total of over 1 billion views. They represented Germany in the Eurovision Song Contest in 2013 and are the third most successful act from Germany of the 21st century. The list of accolades goes on.
When Cascada vocalist Natalie Horler first got started in the music industry at the age of 17, she was doing a lot of toplining for producers. She’d get paid in cash and then go on her way to the next gig, until she met her Cascade bandmates, DJ Manian, and Yann Peifer.
Since she was so young, inexperienced, and nervous, Horler was not comfortable singing in front of people—though she sang all of the time and told her teachers that she was going to be famous one day.
“I literally—and this is no joke—made them turn and face the wall,” Horler said with a smile on the When Life Hands You Lennons podcast. "They were not allowed to look at me when I sang. I swear on my life that is the honest truth. I was that nervous and inexperienced.”Cascada vocalist Natalie Horler.
But she didn’t let her nerves get to her and remained persistent. Cascada’s sonic fluidity over the years allowed them to pioneer a genre that is now more prevalent than ever: hard dance.
Hard dance has expanded vastly over the years. Gammer, Darren Styles, Da Tweekaz, and Hardwell have all released tracks that fall into this category. These artists’ sounds and styles evolve over the years, and Cascada’s is no different. They have to give the fans what they want, but pleasing everyone doesn’t work.
This persistence and genre pioneering is turning out to be a positive endeavor for Cascada. Old fans are being re-engaged, and new fans are discovering the original music that laid the groundwork for the group.
“We do try to go back and forth a little bit because you want to give the fans what they like,” Horler said. “It is a very difficult line to find that balance. You want to go with the times as well. I’m still very, very lucky to work as much as I do and it’s obviously because of the old music I’ve released in the past, of course. We’re still current to a certain extent, even though we’re not current, current, like in the charts everywhere. But we are still releasing music."
Their newest track, “One Last Dance” with Trans-X on Zooland Records, is a hybrid of their older sound and new styles. It’s snappy with its percussion and simplistic in production, spotlighting Horler’s vocals to flood energy onto the dancefloor.
“I’m always astounded as to who [still] listens to our music—even the real old stuff,” Horler continued. “At the moment, I would never think of retiring. I’m really in it and can’t wait for the future, touring, and making new music. Hopefully there will be exciting collaborations on the rise with current artists. I don’t know where it’s going to go, but the fact that it’s moving into our modern time again I find that extremely exciting. I’m all for it! I will definitely want to be along for the ride even though I’m from the old times.”
This musical diversity has played a key part in Horler’s joy in performing live because it’s a big mixture of all of the Cascada styles over the years. And as states and countries around the globe ease restrictions in the aftermath of the pandemic, tour and festival announcements are barreling out.
Horler and her team are getting excited about the world opening back up and live events coming back, and she said that she wants to get back to the US “hopefully next year.”
“We actually want to start touring the States again, and we’re looking into hopefully being able to do that and make it happen, say, next year,” Horler says while crossing her fingers. “I would be really psyched.”
Once Horler gets back on the stage and is fueled by fans’ energy, she’s ready to fully embrace Cascada's fabled 15-year catalog.. She’s especially ready to perform one of her favorite Cascada tracks, “I’m Feeling It (In the Air),” which according to Spotify’s credits, was written by Morgan Page, Sultan + Shepard, and a few others.
“I just love the melody. I love it," Horler gushed. "My problem in general is I would never be able to take a full written album and choose the one that’s going to make it to number one. I would not. I would probably choose the wrong one. That’s always been my trouble. I don’t know if that’s an artist's disadvantage or what."
Horler did, however, pick “Evacuate The Dancefloor” to be a hit. She recalls a moment where she played the track for her friends in her car before it was released anywhere and said that it had to be a success.
Cascada got together with their team and label for an album listening party for the Evacuate The Dancefloor album in Cologne, Germany prior to its release. Its titular track opens with resounding synth chords that blast in your face. Horler and the team knew right away it was going to be a smashing success.
“Evacuate The Dancefloor” was released ahead of the eponymous album in June of 2009. It peaked at #5 on the German Singles Chart and also became Cascada’s third #1 single on the US Billboard Hot Dance Airplay chart and second Top 40 hit in the US Billboard Hot 100.
“We’re so proud of this,” Horler answers with a smile. “What are they going to think? They loved ‘San Francisco’ as well. ‘Evacuate The Dancefloor’ was definitely the one that stood out. I remember, before it was released anywhere, putting it on in my car and playing it for my mates. I remember thinking I’m loving this song. I love this so much. This has to be successful. Thankfully everyone felt the same, so it was picked as the first release of that album and it was quite the success.”
Except for performing live and being the face of Cascada, Horler is much more removed from the songwriting and production processes. She says that their records are mostly written by Yann and his “songwriting buddies.” When she heads into the studio, she interprets the Cascada tracks in her stentorian vocal style.
“I’ve always said [Cascada] was a band,” says Horler. “That’s because us three are the main people who are involved in making our music, but when it comes to live music and being on tour that literally is just me on stage with my crew which is Frank my manager and dancers who support me enormously in our performances.”
That doesn’t mean she doesn’t do any songwriting. She does write for herself and mentioned she is in talks with other producers for projects that are in the realm of R&B and jazz since that’s what she grew up in. Her father is a professional jazz musician who has worked with Quincy Jones, Stan Getz, and Tony Bennett. Her uncle is a jazz pianist.Cascada at the Eurovision Song Contest in 2013.
Music runs fluidly in Horler’s family, but fashion has also been a big part of her life. Music doesn’t satiate her creativity enough. While she has no intention of designing for other people, she does her own styling for her clothes, looks, and props for music videos, photo shoots, and merchandise. She helped design her dress for the Eurovision Song Contest in 2013 and made the shoes herself.
“This is something I really enjoy doing, so I try to incorporate that into my job as well,” Horler says.
Horler keeps the doors open for fashion and notes that she may start a clothing line in the future. At the moment, however, she’s going to remain focused on music and getting more involved in Cascada's merchandise.
“I would like to have a [clothing] line one day or something like that,” she adds. “That’s all for the future. We’ll have to see. I certainly want to get more involved in our merchandise because that’s a good way to get some input into that.”
Horler's passion for fashion has turned her onto RuPaul’s Drag Race. She is so inspired and awed by the queens’ talent and zest for love, acceptance, and inclusivity.
“That is why I love the queens,” Horler exults. “Not only for their fabulous personalities and being so extroverted--I love that so much--but I’m very, very open to everything in life. I don’t have any judgement or qualms, and I'm tolerant towards everyone. That’s why I love [RuPaul’s Drag Race] so much.”
Horler has been in contact via Instagram with a number of the queens, including Season 10 winner Aquaria, Morgan McMichaels, and Ivy Winters. She loves Season nine winner Sasha Velour, too.
Horler is interested in upping her involvement with the show, she says, by being a guest on the panel and having the queens do a lip sync battle to one of Cascada’s songs. "I personally think that would be fabulous,” she says with a big smile. “I’d be there in an instant. I would love that!”
Eager to get back on tour, continue releasing new music, and hopefully appearing on the RuPaul’s Drag Race panel, it’s clear that Horler and Cascada have no intention of evacuating the dancefloor anytime soon.
Check out Horler's full interview on When Life Hands You Lennons below.FOLLOW CASCADA:
A debut fit for someone ready to dominate the space.
In 2016, Kah-Lo released her debut single “Rinse & Repeat” in collaboration with British dance music producer Riton. The global anthem opened doors—in the form of millions of streams and a Grammy nomination—for the New York-based singer-songwriter, who at the time was just getting started in the music industry.
Since then, she has made the world dance many more times through singles like “Ginger,” “Fake I.D.,” “Exit Sign,” and “Fasta.” Primarily, Kah-Lo’s music is characterized by Nigerian themes, monotone rap sounds, and simple yet absorbing lyricism. These elements—in combination with dance beats—form what she calls “fun time music.”
After five year Kah-Lo has finally released her long-anticipated solo project, The Arrival, a short yet energetic record featuring five kinetic EDM records.
On the opening track “Ouch,” she sets the tone with her familiar rhythm before a house beat switch-up invites listeners to party. On “Spaceship” (with The Knocks), she experiments with more musical components as she flaunts her lyrical skills and vocal swag. The fiery club anthem “Commandments” follows before Kah-Lo goes full dance-pop on the final track “Candy” which features a thick bassline.
On the surface, The Arrival is an entertaining project with dance tracks that are bound to bring life to clubs around the world. However, the undertone of the EP is Kah-Lo’s tremendous growth as an artist. She has come a long way, from trying to define her sound as an alternative R&B singer to finding her feet within the electronic dance music scene.
With her new EP, she takes her seat at the table of artists making serious waves in the EDM scene. Although many of her songs are house-influenced, one can’t really put her in that box, especially after listening to this project. The Arrival is aptly-titled, and a debut fit for someone ready to dominate the space.FOLLOW KAH-LO:
The pact sees Warner acquiring Guetta's worldwide catalog from the last two decades and inking a new deal for future recordings.
Warner Music has has acquired the rights to the dance music luminary's recorded music catalog, which contains global hits "Hey Mama," "Titanium," and "Turn Me On," among many others. The pact sees the music giant acquiring Guetta's worldwide catalog from the last two decades and inking a new deal for future recordings.
While the exact sum of the pact has not been publicly confirmed, the Financial Times reports that Warner spent over $100 million. Variety, on the other hand, spoke to two industry sources who asserted that the figure is in the "dozens of millions." However, considering the fact that Guetta's future music recordings are baked into the partnership, the nine-figure value seems a foregone conclusion.
Guetta has dropped eight new tracks in 2021, and a press release issued to announce the Warner deal notes "there is much more new music to come."Warner Music acquired the rights to David Guetta's recorded music catalog for over $100 million.
"I’m super excited about the new music I’m working on. And even more excited that I have started to play all this new music live to my fans again and they are loving it," Guetta said in a statement. "This is the right time to renew my creative partnership with my trusted team at Warner Music. This deal is about having the best people around me to ensure I can keep innovating with exciting new projects, while also working my extensive catalogue and continuing to build my career."
"It’s rare for an artist to not only define a genre, but transform it. David has been doing that for over two decades – igniting worldwide audiences and influencing whole generations of talent," added Max Lousada, CEO of Warner Recorded Music. "He continues to have an extraordinary impact on the evolution of dance music, while innovating and collaborating with new voices in dynamic ways. For all he’s achieved so far, there’s so much great music, creativity, and originality still to come. All of us at Warner are very happy to expand our partnership with this global icon."
Kleak & Veebu, Capozzi, MICA and more are featured in this week's installment of "Underground Vibes."“Come & Go“ Ft. Noa Angell - Kleak & Veebu
Italian production duo Kleak & Veebu are well on their way towards establishing themselves in the scene, and their latest collaboration with Noa Angell, titled “Come & Go” might be one of their best singles to date with its bright melodies and stunning vocals.“Phases” - Redrum
Redrum has arrived on SSKWAN and previews her upcoming EP Pisces Moon with “Phases,” an experimental bass gem filled with wonky percussion, impressive arpeggios and hard-hitting drums.“Glacier” - Floret Loret & Silva
Boundary pushing producer Floret Loret debut’s on Quality Goods Records’ Quality Vibes series with “Glacier” alongside Silva, a truly mind-bending production.“Dont Look Down” Ft. Vana - MICA
Coming to rising record label Suit Of Bullets with his fourth release this year, producer MICA manages to craft a truly explosive future bass vibe with “Dont Look Down,” that moves from anthemic drops to atmospheric vocal sections with the help of Vana.“I’m Searching“ - ALIGN
Up-and-coming talent ALIGN has finally unveiled his brand new EP VISTA via Lowly, and “I’m Searching“ is undoubtedly a standout single with its ethereal melodies and driving drum patterns.“Hold On” - Duke & Jones & Sam Day
Out independently, Duke & Jones’ collaboration with Sam Day, “Hold On,” is a quirky journey through uplifting verses and wonky future bass drops.“Hole In The Speaker” - Capozzi
Rising house sensation Capozzi makes her return to Confession with dark vibe “Hole In The Speaker,” arguably one o her strongest singles to date.“Collapse” - REMNANT.exe
Taken off his recent EP Psychokinesis, “Collapse” showcases REMNANT.exe’s production skills masterfully, seeing him combine heavenly melodies, deep basslines and exciting drums to craft his unique form of wave music.“What You Wanted” - Djedi & Mannequin
Out via vibe.digital, Djedi and Mannequin’s brand new collaboration “What You Wanted” is filled with trap percussion and atmospheric vocals, packing enough energy to light up any underground party.“imperfect” - Shameless.
Coming to KUMO Collective, Shameless combines ambient pads and guitars with heavenly melodies and distorted kicks on atmospheric gem “imperfect.”
The dubstep virtuoso is set to throw down at one of LA's most famed concert venues.
LA is about to get a serious dose of Virtual Riot.
The dubstep virtuoso has announced a major headlining gig at the famed Hollywood Palladium, where he will throw down on September 10th. Fans will be thrilled to hear that the performance—promoted by Bassrush and Insomniac—will feature Virtual Riot's own curated live production, which should be nothing short of breathtaking considering his renown in the electronic music space.
Virtual Riot's last show at the Palladium took place in December 2019, when he headlined a sold-out takeover by his longtime label, Disciple Recordings. A number of his bass music contemporaries also performed, including Barely Alive, PhaseOne, and Modestep, among others.
He shared the news in a triumphant Instagram post, writing, "I couldn’t be more excited to get back on stage and bring my own show with my own production ideas to Los Angeles after all this time."
You can grab tickets here starting tomorrow, June 17th at 1PM PT.View the original article to see embedded media.FOLLOW VIRTUAL RIOT:
The playlist features cuts from Jayda G, Justin Martin, Tensnake, and many more.
The festival or club night is over, but no one wants to go to bed quite yet.
That moment can thwart any night, but fear not: Dom Dolla has created the ultimate after-hours playlist exclusively for EDM.com.
The exclusive playlist arrives not long after he unveiled his hotly anticipated single "Pump The Breaks," which is primed to be the next major house anthem now that festivals are returning. The famed "Take It" producer has been pumping out some of the most popular house music tracks in the scene as of late and his DJ sets are also must-watch performances, such as his riveting performance from an undisclosed warehouse location in his home of Melbourne.
Ergo, he's a go-to guy for curating the perfect selections to keep the party going into the AM. "Dom Dolla's Late Night Date" playlist comes equipped with music from Jayda G, Justin Martin, Tensnake, Walker & Royce, Boys Noize, Carl Craig, and more. You can dive in below.FOLLOW DOM DOLLA: