Crywolf’s latest release, widow [OBLIVIØN Pt. I], marks his most personal work yet.
Not many artists manage to reach their full artistic potential throughout their career, yet for Crywolf this idea is a continuous process that he lives by, as he refines his art more and more.
Crywolf (real name Justin Taylor Phillips), who writes, sings and produces the entirety of his music. He is known for providing emotional, cinematic sonic journeys that can range from cataclysms of synths and instruments to minimal, tender moments that barely fill the frequency spectrum.
His latest album widow [OBLIVIØN Pt. I], which came after an almost two-year long hiatus, encompasses everything the artist represents, yet it elevates the idea of Crywolf and expands on new sonic and conceptual directions.
“widow [OBLIVIØN Pt. I] is my dive into my unconscious self," discloses Crywolf as a message to fans. "A narrow-beamed flashlight illuminating creatures on the sea floor... a strange mixture of dread and familiarity. I sincerely believe it is my most honest work yet. I’m not trying to be pretty anymore."
"I shed my fair share of blood, sweat, and tears over the two years it took to make this album... and I also shed parts of myself. To be honest, I barely recognize the fragmented figure Widow represents. The first half of the OBLIVIØN series is the only relic I have to remember him by. Mangled, but poignant. A sort of exuvium, left behind to remind me where I came from, and provide a blueprint for what lays ahead."
Fans already knew widow [OBLIVIØN Pt. I] was going to be different in comparison to Phillips’ previous works, yet previously released singles like “QUIXOTE” and “FALLOUT [antagonïzer]” are reinforced in the context of the album, as in its entirety it feels like a cohesive, emotional journey.
The minimal “ATHETOSIS [here’s the lullaby you made me promise never to write]” blends into “MEMPHISTOTELES”, a five-minute, post-apocalyptic gem that marks one of Crywolf’s darkest releases yet. “DRIP” cuts the tracklist in two, acting as the brightest track on widow [OBLIVIØN Pt. I], yet thematically it has Phillips feeling uncertain and confused as well. “CEPHALOTUS” and “ULTRAVIOLENT Pt. II” round off the tracklist in a haunting way, ambient and explosive respectively, while “FOREIGN TONGUES” marks one of Phillips’ most progressive and experimental cuts to date.
We caught up with Crywolf to discuss his story behind widow [OBLIVIØN Pt. I], his process when it comes to music creation, and his future plans in terms of new releases.
EDM.com: You describe widow [OBLIVIØN Pt. I] as the result of your quote-on-quote “quarter life crisis.” Tell us more about how the project came to be and your personal story behind it.
Crywolf: Well, actually I never set out to be a musician; I have just struggled a lot with depression, anxiety and just really strong emotions throughout of my life, that have kind of overcome me a lot and prevented me from living more of a normal life. I was always under the control of these massive emotions, so creating music was sort of the first thing that ever gave me any sort of relief from that. I feel like being able to set all these deeper things inside of yourself on paper and create something outside of yourself with them allows you to sort of understand them as something separate from yourself as opposed to identifying with them so intensely and allowing them to control you. So instead of my emotions being this overwhelming thing that I was drowning in, it became this creation, that I can look at and understand.
All that to say that whatever I’m making is a direct reflection of what I’ve been going through. And a lot of times it’s not even necessarily a conscious effort to do so, I just sort of make whatever comes out. Oftentimes it’s just this process of self-discovery, and that’s how this album was essentially made.
Crywolf was sort of a sleeper for a really long time, and then suddenly I was touring and selling out all these big rooms and playing all these huge festivals, and I just had a lot of unresolved things inside of me that I was suppressing and not dealing with. It all suddenly swept up into this huge, fast-paced lifestyle; and all these intense things I was experiencing slowly caused me to start breaking down. I was slowly getting more and more tired until I had this really big tour, This Is Negative Space, where I almost completely fell apart. The stress reached 10 times the levels, and I think this really exposed the weakness of the foundation that I was sitting on emotionally and in my psyche.
And I just shut off after that and I went into a super deep depression; I had such extreme social anxiety and spent probably like 8 or 9 months just trying to survive, and basically zoning out of the world. It got pretty bad for a while, and when you take a hiatus like that, you watch the momentum that you had slowly start to go down, and that was such a huge pain and anxiety for me too. At some point it was the deepest that I’ve come to any sort of psychosis, the things that I was thinking about, the dark places where I was going with my mind; really just lost touch with reality, I was just inside lost in the depths of my mind, and throughout a lot of that I was making this music.
Thankfully, I guess around August-September 2018 I just decided that I couldn’t live like that anymore, and it led to the extreme opposite, a period of extreme self-discovery. That period was essentially the catalyst for what felt like five years of maturation in the course of four months or so. It was just so quick and I felt like I went from being a 21-year-old to being a 30-year-old in the course of a little tiny quarter of a year.
widow [OBLIVIØN Pt. I] is really reflective and dark, almost post apocalyptic. Where does it stand creatively and conceptually in relation to your other projects like Skeletons or Cataclasm for example?
I would say that conceptually, a lot of my fans connected with the more romantic aspect of my older music, and for these specific fans widow might not scratch that itch. The reality is, though, that what the exploration of darkness that this album really embodies has been a consistent theme throughout my music, especially if you look at the Dysphoria EP; that was an extremely dark release. It was coupled with a lot of the same romanticism, but one of the main themes of it was kind of this lovecrafting dread of the void. In Cataclasm you see that in certain songs as well. That sort of dread is really embodied by the Okami figures; the masked figures I use a lot in my art and my music videos. Those have been a presence in my art for a really long time for a reason, and I feel like they have sort of been the foreshadowing of what this album is. They were in the background a lot, and I feel like this album is a deep dive into the essence of those figures and what they represent for me.
In the past, you’ve oftentimes talked about how the purest pieces of music come from the subconscious; how one has to be really non-judgemental and unbiased towards his creations in order to achieve his full artistic potential. Yet music doesn’t exist in a vacuum, and oftentimes one can’t help but take notice of what’s happening around him and be influenced. How do you perceive this fine line of ultimate authenticity vs. external inspirations, and where does it exist for you?
I think taking inspiration from things around you is a super important part of the creative process. In fact, in my own creative process, there are a number of steps, and one of the first is feeding yourself with art that really inspires you and moves you. You’re basically throwing in these ingredients to the pot, and those are going to influence the result you are going to get. Everybody’s unconscious minds are turning around all this inspiration that they’ve gotten, all these things that they’ve seen that have moved them, and they’re spitting them out in these brand new ways. Part of my creative process is controlling the things that I digest, and in a lot of ways making sure that I’m not digesting things that don’t have very much substance, I’m really intentional about only opening myself up to things that really move me.
So then when it comes to the actual creation it’s truly just a matter of opening yourself up to create, just letting everything out, and making sure that you don’t have any preconceived assumptions about what your creation is going to look like. I fall into that same trap all the time; I’ll sit down to make something and I have this pre-existing idea of sort of what Crywolf is and what Crywolf isn’t, and that affects what comes out. If a particular style of music comes out that I think that in my mental conception doesn’t fit with Crywolf, I’ll end up censoring it or try to change it, and that’s the killer of creativity. You’re essentially inviting this almost separate person to come out and express himself, your unconscious mind, the part that doesn’t perceive things through numbers and letters but instead perceives them in these huge, incomprehensible ways. When you do that but then you also say, “No no no, I want you to express yourself only in ways that I want myself to be expressed,” that’s what makes it go away in my experience.
That’s why a bunch of these exercises that I do for writing are geared towards trying to turn my judgmental left brain off. I’ll do a lot of free writing where literally anything goes, even if I’m just writing gibberish, I have to purposefully sit there and not try to change it, not judge it and allow it to completely flow out.
You always lose your mind on stage and give 100% of your energy. What is it that drives your performances and makes them so energetic and emotional?
Getting to have a full expression of all the things that I’m writing isn’t really common. There’s the experience of writing all this music, which is really intense in its own way, but there’s just something about being in front of a huge crowd of people. I remember one of the first times that I played a sold-out show, it was a little town in South Carolina and I didn’t even realize that I had so many fans. It was just mind blowing to me getting to experience this weird thing where all of this stuff that I’ve written just for myself in the privacy of my own room had gone out into the world, been digested by all these people, and become their own thing for them individually.
So the experience of standing up on a stage and not just having my own emotional investment in material, but also experiencing the emotional investment of this huge crowd of people at the same time - it pretty much never fails to just bring up this completely different, elevated state in myself. I don’t think I’ve ever experienced this ultimate euphoria elsewhere besides being on stage; normally I feel that my emotions are so buried beneath this kind of thick exterior, and while performing, the movement from emotion to emotion becomes so heavy and so present for me. All that just brings out this crazy energy and makes me kind of freak out onstage essentially, and after every show, there’s this recovery period that lasts for almost a day.
And how do you manage to cope with that while being on tour and having to travel and perform so often?
The ability to do it regularly and sustainably pretty much exclusively comes from understanding the fans and putting myself in their position. When you’re playing a bunch of shows in new places every night, it’s so easy to minimize the fans’ experience and sort of be like “Well, I don’t really feel like giving it my all this show because I’m exhausted or stressed, I’ll just kind of do it half-heartedly.” Then I think about each individual fan that is coming to see me, and for a lot of them it’s this really rare, beautiful experience that’s so emotional, and I want to give it the gravity that it deserves. I spend a lot of time thinking about that before the show, and really connecting with that fact that everything that I’m doing on stage is of great importance, it’s not just a random show that I’m playing.
From what I understand, visuals play a big role in your art and how it is portrayed, as well as the way fans experience it. Is this a conscious decision? How do you think visuals influence the way a listener experiences a piece of music?
The way I personally see it, with visuals you’re creating a room for your audience to sit in and digest your art. Context and environment are so important when it comes to people being able to understand a piece of music. Crafting this entire experience around the music is essentially me telling people, “Here’s the world this music exists in,” it’s like a way of directing them and creating this environment for them to sit in so that they’re going to be able to really grasp what you want trying to communicate. The visual part is also a really important part of my music creation because I was more of a visual artist first, and a lot of the music that I make comes from certain images or dreams/daydreams that I had.
Do you want people to interpret your art in a specific way or is it something everyone should interpret in their own ways? If listeners were to take one thing from widow [OBLIVIØN Pt. I], what would you want them to take?
I want people to interpret it in the way that they naturally interpret it; I’m a really big fan of the idea of a certain amount of ambiguity being present in art. I never really connected with lyrics that were directly telling you a story, because when you create narrative art, you’re essentially allowing the audience to sit back and experience what you’re offering passively. And it’s a lot easier for people to digest that art, so it’s a lot more palatable and has a bigger fanbase, but leaving certain holes in the narrative forces people to come and sit at the table with you, and really participate in the art. It forces them to project all of these personal experiences into what you’re expressing. The opposite side of narrative art would be art that’s way too ambiguous; then you’re essentially giving them nothing, and I don’t believe in art like that either.
I just love is this fine line in between, where you’re actually giving them so much information, but it’s actually not this direct, narrative information; you’re communicating in feelings basically. A lot of times I feel like the emotions that I’m writing about are things that I don’t have words for, or they’re really specific emotions that are universal and people experience them on a large scale, but they don't necessarily have direct ways to communicate them. I’m leaving room for people to project their own experiences, and I feel that the people that get it all feel the same thing, it just might have a different application in their life.
widow [OBLIVIØN Pt. I] is probably your most introspective and impactful project yet. Where do you think you can go from here? How do you see the Crywolf project evolving from here?
So this is essentially part one of the album, the second part is coming later this year, and that sort of deals with the aftermath of everything that this album talks about. It’s everything that happened after that period of depression, the healing and recovery. widow is essentially all questions; the second half of it more has to do with answers to those questions. I also have a companion album to Cataclasm coming, which is a bunch of the stuff I wrote for Cataclasm that didn’t make it on the actual album.
I think because everything I make is coming from the same person and the same set of experiences, it naturally has a progression to it that you can follow; it’s not like from the beginning I had planned on making widow and then decided to put those masked figures in as a foreshadowing for that album, they naturally were incorporated as forershadowing, as they represent my development as a person both consciously and unconsciously.
Crywolf will be touring with a new live show for widow [OBLIVIØN Pt. I]. Fans can get their tickets here.Follow Crywolf
Get ready to patrol with TWO FRIENDS.
TWO FRIENDS (real names Matt Halper and Eli Sones) have released a music video for their song "Take It Off."
The music video for "Take It Off" kicks off with Halper and Sones patrolling a city as a pair of cops. Their journey has them breaking up a couple in the heat of the moment, taking care of a streaker, and crashing a bachelorette party. Undoubtedly, the duo have really captured the essence of a summertime anthem. Check it out and watch the pair go crazy:
Halper and Sones have been on the rise since they began releasing massive remixes on Soundcloud, such as their reworks of MGMT's "Kids" and Kanye West's "Touch The Sky." Since then, the Los Angeles-based duo has released a number of originals fans haven't been able to get enough of. This includes their tunes "Emily," "While We're Dreaming," "Just A Kid," and "Out Of Love." Their pop-centric sound will continue to build a loyal fanbase.Follow TWO FRIENDS:
When Seven Lions and Kill The Noise team up, they always impress.
Seven Lions (real name Jeff Montalvo) and Kill The Noise (real name Jacob Stanczak) have joined forces for another collaborative effort, "The Blood."
"The Blood" is a genre-defying, bass-centric tune that fans of both artists will surely appreciate. Montalvo and Stanczak are unrelenting with this tune, as they kick things off with a menacing vocal and psytrance drop. The track quickly flips to dubstep, something most listeners certainly won't be prepared for. With a handful of works together under their belt already, these two have proven once again that their joint tunes deserve the hype.View the original article to see embedded media.
Montalvo has been on a roll lately, bolstering his ever-expanding discography by adding massive collaborations with Dabin and SLANDER as well as Wooli and Trivecta. In 2017, Montalvo released his well-received album Where I Won't Be Found. The veteran producer has also managed to curate his own event series, Chronicles.
Stanczak is seasoned when it comes to collaborations, including works with some of the most notable names in bass music such as Snails, 12th Planet, Feed Me, and Skrillex. In 2015, Stanczak released his debut album Occult Classic. He's also managed to throw together huge remixes, including reworks for Zomboy's hit "Like A Bitch," Getter's "Rip N Dip," and AWOLNATION's "Run."Follow Seven Lions:
Out now via Indie Select
Italian producer INAUDI is here to brighten up our days with a beautiful new track, "Save Me" featuring the vocals of Ali Star. The melodic emotions flow out from the get-go with this one and make it an overall impressive debut for the freshman artist. It is out now on EDM.com's partner label, Indie Select.
The track opens with a nice acoustic guitar riff as Star's soothing vocals enter in. As the song develops, we get into a smooth, chill tempo future bass drop. It's a great display of instrumental synergy with the mix of acoustic and muted synth chords.
"Save Me" by INAUDI featuring Ali Star is out now via Indie Select. Stream or download it across platforms here.FOLLOW INAUDI:
Above & Beyond have expanded upon their album, Common Ground.
The next chapter of Above & Beyond's discography is here, a part two of sorts to their 2018 album Common Ground. The trio's new Common Ground Companion EP features three original songs, along with extended mixes that did not make the cut for the original album.
Since the announcement of Above & Beyond's new EP, they've been teasing these originals and delivered two of them in the form of single releases over the last couple months. The group's ABGT 300 performance in Hong Kong last year saw the live premiere of all three tracks, "Flying by Candlelight," "Distorted Truth," and "There's Only You" respectively.
Since the announcement, Above & Beyond has delivered their Marty Longstaff collaboration "Flying by Candlelight" and dark instrumental "Distorted Truth" in the form of singles. Longtime collaborator Zoe Johnston joins the trio on the third original, "There's Only You."
Above & Beyond's Common Ground album marked the group's most successful studio effort to date. The album reached #3 on the US Billboard charts, and their single "Northern Soul" from the album yielded them a Grammy nomination for Best Dance Recording.
SoundCloud is stepping up their mobile app.
The world's largest open audio platform, SoundCloud, is revamping their mobile app. In a blog post today, SoundCloud commented on the new features which see the app moving in a much more creator-friendly direction.
SoundCloud's new profile layout will allow artists to better present their brand. A profile photo, header image, biography and ability to "pin to spotlight" are the highlights of the new configuration.
New insights including a "top tracks" feature will show creators which of their tracks have been played the most over a 90 day period. A new share button allowing users to share both artist profiles as well as tracks will also be available.
Though SoundCloud users have been skittish over the financial future of the platform, the Berlin-based company recently hit a milestone of 200 million tracks uploaded to its site. It has also added distribution services for artists and other features to its platform in order to compete with streaming giants Spotify and Apple Music.
Ultra is hopeful to return to Virginia Key in 2020.
The dust has barely settled on Ultra Music Festival's 2019 event, but the flagship festival already has dates on the books for 2020. March 27th, 28th, and 29th will be the dates for Ultra's 22nd edition in 2020.
While organizers do not have confirmation on their 2020 venue, they are hopeful to return to Virginia Key. Despite logistical issues on the festival's first day of action this year management acted swiftly, hoping to earn back the trust of festival attendees.
Transportation was much smoother for fans on Ultra's second and third days. Ultra's Marketing and New Media Manager Albert Berdallans took to Twitter stating that with a full year to plan for 2020, next year's Ultra will be "life changing" on Virginia Key.
Despite the initial kinks, this year's Ultra went on to host 170,000 attendees over three days, an increase from 165,000 reported for last year's festival.
H/T: Your EDMFOLLOW ULTRA MUSIC FESTIVAL:
Straight from the man himself.
If you enjoyed what Marshmello delivered with last year's Roddy Ricch collab, you may want to keep your sights on him over the next couple weeks. The anonymous DJ/producer has announced that during that span of time he will release more hip-hop.
That being said, the masked artist did not mention how many singles, or which emcees would be featured. In his tweet, he only teased the release of "more hip-hop stuff in the next two weeks."
Owing to Marshmello's recent social media activity, however, one distinct possibility stands out. Last October he revealed that he had spent time in the studio with Tyga and Chris Brown. He has yet to disclose whether the next two weeks' collab(s) include what they worked on together, but he hasn't teased any other hip-hop collaborations in recent memory.
Meanwhile, Marshmello will resume touring with a performance at KAOS in Las Vegas, Nevada on April 4th, 2019.FOLLOW MARSHMELLO:
Flume & Friends will be the artist's only U.S. headline show date in 2019.
Shortly after Flume opened the music floodgates following an extended hiatus, he's made an announcement that ought to pique the interest of U.S. fans. Flume & Friends will see him headline Red Rocks Amphitheatre in Morrison, Colorado, and he's joined by openers Jpegmafia and slowthai with all-new production.
At that, Flume & Friends will be the Australian DJ/producer's only headline show in the U.S. this year. Flume (real name Harley Edward Streten) has announced non-headline 2019 shows in Chicago and San Francisco, however.View the original article to see embedded media.
Streten debuted with his self-titled 2012, album only to follow it up with a 2016 LP titled Skin. Given his undeniable role in shaping what would become the future bass genre, fans were ecstatic to discover that after a year and a half he would finally release new music.
Flume & Friends will take place at Red Rocks Amphitheatre on August 6th, 2019. Register for pre-sale access here.FOLLOW FLUME:
Scratch and Go: What’s the best compact Serato controller for traveling DJs?
Whether you want to maximize your travel time or prep for a gig, the Hercules DJControl Starlight is an essential companion.
“Being able to work on-the-fly, on the plane, while waiting for our flight, is a big must for me," said S.P. Entertainment's Rob Awtkazt, who DJs events nationwide and runs a popular product review YouTube channel. "It kills time, keeps me busy, it keeps me creative, and allows me to focus on some work during my downtime.”
The Starlight is great for working on a set wherever you are, but it’s also a good backup controller to have on hand - and it’s small enough that it's never a pain to pack.
PDot, the man behind the popular DJ gear vlog, notes:
“This is going to stay in my bag from now on, because if I ever run into any issues, I can just pull it out of my bag with my aux cable and get to work without having to miss a beat. Being able to just plug it into one channel in the mixer and getting two-deck control is a huge is plus.”
Along with its size and portability, the DJControl Starlight addresses a major pain point in compact controllers: scratchability. “In the terms of old school DJs: I should be able to just scratch and let go and it’ll continue playing," Awtkazt explains. "That’s my definition of being able to scratch.” Rather than needing to pause and hit play again, the DJControl Starlight mimics the responsiveness of vinyl, allowing proficient DJs to scratch more naturally.
Scratchability is great, but controllers also need to work with the software suites where most of your sets live. Many DJs have been using Serato for years and need their controller to play well with it. “Serato has been my go-to software since the early 2000s," Rob Awtkazt agrees. "I have all the plug-ins, I’m so efficient and effective with the workflow, I’m not comfortable with using anything else.” With the DJControl Starlight, experienced DJs don’t have to learn the ins and outs of a new interface. They can just grab their controller and go.
Rob Awtkazt concludes: “This is the game-changer that I’ve been looking for. It’s compact, it’s Serato-compatible, and it’s scratchable.”FOLLOW HERCULES:
Don't Miss CID at Avant Gardner with Niko The Kid, Chris Kalaylee, Jay Roman, Kitty Pack and RS|AM.
On Saturday, April 13th, TTYL Presents is bringing New York’s very own Grammy Award-Winning producer CID (real name Carlos Cid) to perform live at Kings Hall - Avant Gardner.TTYL Presents: CID - Live at Kings Hall - Avant Gardner (EDM.com Feature) (; 0:48)
Born of Spanish descent in Ourense, New York, CID started DJing at the ripe young age of 12. He quickly realized that the DJs he idolized were known primarily for their music production rather than their performances as DJs. CID was consequently inspired to produce his own music, and it soon became evident that he was not only a talented DJ but also a highly skilled engineer and producer.
Fast forward to 2013 and CID won a Grammy for his production with Cedric Gervais' remix of "Summertime Sadness” by Lana Del Rey. He then continued on to release "Sweet Memories” with Kaskade in 2016 and premiered his very own dance track titled "Together" that same year. From collaborating with Galantis on the duo’s original song “Pillow Fight” to working alongside Conrad Sewell on a major track titled “Secrets” with Atlantic's Big Beat Records, CID is a major player in the world of dance music - and an undeniable pleasure to witness live.
If you’re a diehard house music fan in the New York area, we highly encourage you to check out CID @ Kings Hall - Avant Gardner. With direct support from Niko The Kid, as well as up-and-coming locals Chris Kalaylee, Jay Roman, Kitty Pack and RS|AM, this is a show you won’t want to miss!
For those who love CID, don't miss out on his new radio show on Sirius XM, Tuesdays at 5:00 PM PST/8:00 PM EST on Diplo's Revolution Ch. 52, as well as his forthcoming collaboration with Don Diablo, "Fever."FOLLOW CID:
MOONBOY's Alien Invazion Remix EP is out now with official remixes from Wheeto, Four Score, noxah, Whales, K-Nine, TenGraphs, PIERCE, and Junki.
Moonboy (real name Jaime Madsen) is an up-and-coming dubstep producer who has caught the attention of Borgore's iconic bass music label, Buygore. His music is an undeniable ode to authentic riddim sound, and yet masterfully maintains the quick switch-ups and intense energy of contemporary dubstep.
His biggest release to date, a single titled "Alien Invazion," was released on Buygore in November of 2018. The release was met with a massive influx of remix requests, which invariably led to the label holding an official MOONBOY "Alien Invazion" Remix Competition.MOONBOY Live Performance (; 1:00)
Several hundred remixes were submitted as part of the competition, and of all the excellent versions of "Alien Invazion," the top eight were chosen for an official release through Buygore Records.
Covering the full spectrum of heavy, contemporary bass music, Wheeto, Four Score, noxah, Whales, K-Nine, TenGraphs, PIERCE, and Junki bring a new range of styles to what was already a massive tune.
Check out all of the great remixes and stream or download your copy of the EP today.FOLLOW MOONBOY:
House music just got a new female powerhouse.
We have a new house producer on the scene, and she goes by CHARLIE. The young DJ/producer is here with her debut single "Back Into It." The track is four and a half minutes of dance gold with a pulsing bass line and catchy hook that will get stuck in your head for days to come. It's an impressive debut for this freshman artist.
The pulsing four-on-the-floor kick gets you tapping your foot from the first bar. Typical to the deep house style, the somewhat minimal instrumental rises to drop into a hypnotizing and danceable drop. A repetitive and catchy bass pulses throughout the chorus. The track doesn’t have a full top line but features an affected male vocal sample throughout. Stabbing keys come in the second half to build the track even higher than before so that the last chorus hits even harder.
CHARLIE (real name Amy Horowitz) has been taking on the music scene since early 2018. Since then, she has DJed some of Electronic music’s biggest festivals including EDC Las Vegas, Hard Summer, and Splash House. Her debut single has already garnered support from some of the most popular acts in house music including Hotel Garuda, Vincent and Quix. With the launch of her new single, and her experience playing to crowds both large and intimate, CHARLIE is quickly making a name for herself in the dance music community.FOLLOW CHARLIE:
Finally fans of Tale of Us and Soul Button have their own genre.
Beatport has made an update that ought to win them cred with all the techno purists who visit their site. The online music marketplace has differentiated between actual techno and what is ultimately trance with Moog Mother 32 synths by lumping the latter into a new genre classification, "Soft Dick Techno."
Artists like Tale Of Us, Stephan Bodzin, Soul Button and Cory Goldsmith all make music that fits into the Soft Dick Techno category. Fans who like to say they listen to real techno but can't bring themselves to actually enjoy it will now have a refuge on the site that won't dilute its more legitimate techno offerings.
On the topic of the addition, Beatport CEO Robb McDaniels said:
"There have always been two types of techno fans: Those who actually enjoy it, and those who only like the idea of it as a fashion statement. Finally those black-tee-and-pashmina-wearing basics will have a place where they can find all their sad boy music. I think Beatport is ushering in an age of increased snobbery, and our more discerning fans ought to be happier than ever."
Before deciding on the descriptor Soft Dick Techno, Beatport staff had included terms like "Flaccid House" and "Trance For Italian Dudes" among the possibilities.
Swedish dance music legend Salvatore Ganacci has been chosen to judge the next season of FOX's So You Think You Can Dance.
Swedish dance music legend Salvatore Ganacci has been chosen to judge the next season of FOX's So You Think You Can Dance.
In efforts to appeal to the dance music market, the show's producers picked the best dancer in the genre. Ganacci and his enticing moves have wowed the crowds at some of the biggest festivals in the world, making him an ideal choice.
When asked about their recent judge selection, producers had this to say:
"[Ganacci] just gets it. I've never seen someone gyrate and dry hump a turntable quite like him. From the moment we saw that iconic Tomorrowland video we knew we just had to get him on our staff. Dancers will have to be extra prepared this year as this is by far our most world renown judge to date."
In addition to dancing on stage, Ganacci has also been known to sometimes play and make music.
The next season of So You Think You Can Dance premieres this summer on FOX. Check your local listings for more info.
Country music legend and Stagecoach performer Diplo, has joined forces with Post Malone for an official remix of "Old Town Road."
Country music legend and Stagecoach performer Diplo, has joined forces with Post Malone for an official remix of this year's biggest track, "Old Town Road" by Lil Nas X.
The song that started as a meme has now become a worldwide sensation. Fans all across the world have been strapping on their cowboy boots and hitting the clubs to hear the latest and greatest in country-rap.
This will be the first collaboration between the Grammy-nominated Bud Light drinker and the country music icon. It has been rumored that Diplo originally reached out to Mason Ramsey, but the yodeling prodigy had algebra homework and couldn't collab. We've reached out to fellow country legend Mason Ramsey but he declined to comment.
When asked about the upcoming collaboration Diplo said, "Yee yee, I can't wait for y'all to see where I got these horses."
The official Diplo x Post Malone remix of "Old Town Road" is out now. You can listen to it here.
Fortnite pro player and sometimes electronic music producer Marshmello announced his upcoming MasterClass this morning.
One of the world's best Fortnite Battle Royale players, Marshmello, is gearing up to deliver his very first MasterClass. The 30-hour session will teach viewers how to become a better Fortnite player.
The class will cover a wide variety of Fortnite-specific topics including but not limited to:
We've reached out to Marshmello for a comment but he could not answer as he was too busy racking up some sweet, sweet victory royales.
The class will go on sale this Friday. Users who publicly denounce Apex Legends and subscribe to Marshmello's Twitch channel will receive 10% off their purchase.
Newly appointed Director of Operations Jeffrey Bruce Atkins aka Ja Rule announced the upcoming improvements to the iconic music festival.
After some logistical problems on the first night of Ultra Music Festival, organizers sought help from one of the industry's leading logistical minds. They announced the hiring of Jeffrey Bruce Atkins A.K.A. Ja Rule in efforts to help the festival operate smoother next year.
The man behind one of the nation's most famous music festivals is seeking ways to help attendees leave the venue in a more timely manner. In order to go the extra step in 2020, organizers will be passing out free cheese sandwiches and Evian water. Organizers were inspired by the great lengths some people go to get cool, delicious Evian water and decided to give attendees a treat.
Festival attendees will now be able to rent $3,500 luxury paddleboats in order to get off the island quicker. Each will come equipped with their own high-end sound system, laser lights, and a code for an exclusive Instagram filter which rewards users 69 clout points (redeemable for one Juul).
When asked about the recent logistical changes, festival spokesperson Kylie Jenner said, "The paddleboats will be a fun change for people whose private helicopters are being repaired."
Stay tuned for more updates on Ultra Music Festival 2020.
Now's your chance to see the legend yourself! Coming soon to over 20 cities including three nights at Red Rocks.
After his incredible main stage performance at Ultra Music Festival, the world's hottest DJ, Colonel Sanders, announced his Finger Lickin' Good World Tour.
Dance music fans across the world are ready to help the Colonel continue his inspiring rise to the top. Fueled by nothing but delicious KFC Famous Bowls®, this dance music legend rose from being a simple multi-billion dollar brand icon to a world-renowned electronic music performer.
When asked about the significance of this massive tour, the copycat masked DJ duo, Daft Punk had this to say:
"We think it's amazing that Colonel Sanders is helping dance music reach new heights. We also can't wait to enjoy a hot and tasty crispy chicken $20 Fill Up® after a long day in the studio. Like we always say 'KFC: They do chicken right!'"
The complete list of cities will be released on 4/20. Stay tuned for more updates on this groundbreaking tour. Also, don't forget to try out one of KFC's new Smoky Mountain BBQ Chicken Littles®, on sale now for a limited time.
Skrillex and Boys Noize are back in full force.
The electronic music world has been excited for the return of Skrillex and Boys Noize as Dog Blood for some time now. The producers were scheduled to perform as Dog Blood at Brownies & Lemonade's showcase, alongside names such as What So Not, Anna Lunoe, CRAY and Whethan, y they also released their first original music in six years, a versatile house banger titled "Turn Off The Lights."
With videos of their joint performance circulating over the internet, event organizer Brownies & Lemonade decided to upload a snippet of Skrillex and Boys Noize bringing out rapper/singer Ty Dolla $ign to perform an unreleased Dog Blood collaboration. It was revealed that Skrillex has been in the studio with Ty Dolla $ign, yet no one thought the artists would be working on music that would be released under Dog Blood.
Skrillex and Boys Noize united as Dog Blood in 2012, releasing their debut two-tracker, Next Order / Middle Finger. Middle Finger, Pt. 2 was released in 2013, accompanied by two more original tracks. Since then, the duo has been silent in terms of new music until recently.
No other information regarding a title or release date for Dog Blood's new single has been revealed at the time of writing.