Hudson Mohawke officially returns to announce his forthcoming album, Cry Sugar, due August 12. With the announcement arriving alongside a new pair of singles in “Cry Sugar (Megamix)” and “Bicstan” plus an accompanying kingcon2k11-directed Megamix visualizer, in 2022, Hudson Mohawke cries sugar.
On “Cry Sugar (Megamix)” Hudson takes various parts from the full album to offer a window into the project’s full sonic palette ahead of release, while “Bicstan” dabs elements of Roland TB-303 flecked acid and driving gabber alongside floating, effervescent vocals and Kerri Chandler-esque house chords. Cry Sugar serves as HudMo’s first work deeply informed by apocalyptic film scores and soundtracks by everyone from the late Vangelis to the goofy major-chord pomp of 90s John Williams. Cry Sugar also serves as Mohawke’s own demented OST to score the twilight of our cultural meltdown. Watch the megamix below and stream the first single, “Bicstan.”
Photo by Jonnie Chambers This article was first published on Your EDM. Source: Hudson Mohawke Announces New Album, Drops Album Megamix + First Single Via https://www.youredm.com/2022/06/28/hudson-mohawke-announces-new-album-drops-album-megamix-first-single/
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Rezz has released on many labels, including mau5trap, Deadbeats, and Confession, but she’s now announced that she’s starting her own music label. If you look through her releases on Spotify, many releases dating back to 2018 have been released under Rezz Music, such as her Beyond The Senses EP in 2019. It appears that around 2020, Rezz Music was under exclusive license to RCA Records. Though, it’s unclear at this time whether she’s regaining sole ownership of Rezz Music and relaunching it with other artists or if she’s doing something else entirely. As for what music the label will be releasing, she says, “You can already guess.” Label-branded events will also happen down the road as Rezz will also play the label tracks out at her own shows. Stay tuned for more info.
Photo via Maria Jose Govea @thesupermaniak This article was first published on Your EDM. Source: Rezz Announces She Is Starting Her Own Label Via https://www.youredm.com/2022/06/28/rezz-announces-she-is-starting-her-own-label/ SEXPAYS continues to amaze us each time he releases a song. His sounds, his grooves, and his attitude are all unique to his artistry, consistently leaving us on the edge of our seats to hear what he’s up to next. He recently tackled pop queen Charli XCX’s single “Crash“, injecting it with an irresistable 80’s pop and house arrangement that feels just as fresh today or even 40 years ago. He blends the melodic layers of Charli’s voice seamlessly with punchy drums, synth arpeggio’s, and a epic bass line that makes you want to gather under the disco ball and let loose on the dance floor. Listen below! This article was first published on Your EDM. Source: SEXPAYS Flips Charli XCX’s “Crash” Into Epic 80’s House Remix Via https://www.youredm.com/2022/06/28/sexpays-flips-charli-xcxs-crash-into-epic-80s-house-remix/ AJ Salvatore is truly on the path to stardom. The 25-year-old has had releases under Universal, Sony, gone on to chart at #12 on Billboard Dance Club Songs, #19 in the US Viral 50, #21 in the Global Viral 50, and released official remixes for Lil Yachty, Paris & Simo, Bleona, and Shaun Frank on Ultra Records. He’s also performed at EDC Orlando and opened for superstars such as Quix, Borgeous, Carnage, Ghastly, Alvin Risk, Dirty South, Shaun Frank, and SNBRN to name a few. His latest single, “Vitamins” ft. Tokyo’s Revenge has been an undeniable hit, amassing over one millions streams, which has now led to the highly anticipated remix EP, boasting four electrifying remixes from the likes of Dolla Bill, Squalzz, CHENDA, BXT, and KULTIVATE. Straight out of Philly, KULTIVATE infuses the original with high energy drum and bass production that is irresistible. Squalzz delivers a trap infused remix that also showcases an irresistible bassline and mellow reggae beats. Dolla Bill switches things up with a fast paced house remix that blends hip hop and house seamlessly. CHENDA brings his thunderous style to the track offering a remix that’s booming with vigorous and heart thumping sounds. BXT caps the remixes off with a punchy, bass house remix that boasts club and festival appeal.
This article was first published on Your EDM. Source: AJ Salvatore Drops Sizzling Remix EP To “Vitamins” ft. Tokyo’s Revenge Via https://www.youredm.com/2022/06/28/aj-salvatore-drops-sizzling-remix-ep-to-vitamins-ft-tokyos-revenge/ Your EDM Q&A: Does Canadian Techno Artist The GOAT Live Up to His Name With His New Album? [Video]6/27/2022 Vancouver-based producer The GOAT has been tirelessly releasing increasingly heavier and weirder industrial techno since he began making EDM in 2016. One would have to if one wanted to be seen as the greatest of all time, wouldn’t one? Well, just like anything in the music world, Chris Marcinikiewicz’s chosen moniker isn’t exactly as it seems. With all his work, including The Details Are Vague, his debut album on Groundwerk Recordings, released earlier this month, The GOAT just wants to make us dance. Coming from a thrash and punk drumming background, Marcinikiewicz’s earlier musical years were spent touring Europe, especially Germany, and influenced by the techno sounds there but also experimental punk bands like Fugazi, Bad Brains and Minor Threat. This explains the heavy and often analog drum treatments The GOAT’s electronic productions get, and likely why his techno comes off sounding more industrial than big room, a rarity nowadays in North America. The GOAT has nonetheless managed to garner a lot of support both locally and abroad, hitting the top 100 on Beatport’s techno charts with his first EP, Flout, and the top ten on the ambient chart as well. After this early success, he hooked up with Groundwerk Recordings and its founder Joel West to produce even more groundbreaking work and put out a record number of tracks and EPs since then and now. With a style so unique and niche, it’s a good thing The GOAT has this sort of work ethic, because he’s pretty much created this ambient/industrial/techno sound/genre on his own. With the details of how he came to find this sound, the tech of this sort of techno and what kind of cocky motherfucker actually names himself The GOAT being vague, we went to Marcinikiewicz in search of the answers and found more than the details. We discovered an artist who works from his heart and whose dedication can be felt in every track (and the reasons behind the name), so read on and listen as all is clarified and revealed. You seem to have picked one hell of a specialty in terms of a niche style, especially in the North American scene. How did you get started making beats and when/why did you decide to go industrial techno? I was very fortunate as a young kid to have the opportunity to see electronics and sequencers and things at an early age. I can credit that to two older family friends, one of which had a 90s midi home studio and was so patient in showing me how to get started on making loops and ultimately tracks. The other family friend showed me and his younger brother industrial music in the early and mid 90s. It was all that Wax Trax stuff. It instantly sounded like something I wanted to learn how to do. I kinda came full circle to it because I played in punk bands and experimented with synthesizers for many years. I just found the place where it can all meld together. To that end, how do you feel your work has been received in North America? Obviously you’re charted on Beatport, but do you find it’s tougher to break the scene here versus Europe where Rammstein and other heavy techno acts are so popular? The reception of the album has been good. I’m happy that The Details Are Vague is being supported and received as well as it is. To answer your second question, it’s a bit of a double edged sword. I feel like in North America, or maybe where I play, techno is a misused term. It’s a bit of a catch-all at the moment, and kind of the “cool word,” but most people are playing deep house or whatever. Things are marketed as “techno” but it’s not that. So yeah, I don’t know, I’m maybe considered niche here, but in Europe, there are so many people doing it that it may be more difficult to stand out. Ultimately, I’m just writing music I want to hear. And if it moves you, if it resonates, lets dance together. Aside from the above-mentioned obvious, what acts were your main influences to create this kind of techno? What do you love about the sound that keeps you going? For me, Its in the approach. Going back to punk, a band like Fugazi or At The Drive In, their fearlessness is what inspires me. Obviously industrial acts, and goth acts support the sonics and the imagery, but those two I mentioned actually stick out because I feel like they have a signature sound, but they always challenged it in their approach. There was always a “what’s next?” aspect when word got out that new music was coming from Fugazi. I like a lot of different styles of music so I’m leaving a lot out; that’s just one example of a good approach. Time to get techy: there are a lot of experimental and dissonant elements built into the sound design on The Details are Vague, like the ambient pipe sounds under the main music on “Removed from Service” or the ambient, beatless structure on “You Missed the Forest for the Trees.” How much of this album was pure experimentation for you and what draws you to the science of sound? I had goals with what I wanted to accomplish with the sound. I wanted it to feel human, but techno is inherently mechanical. This being my debut LP, I wanted to tip my hat to the sounds that inspired me when I first started with electronics in the mid-90s, so experimentation with a purpose was key. I had many sound designing sessions, some more guided than others, but I wanted to let the machines speak. I wanted to be a conduit for them.
Building on that, what sort of programming or mods did you use to get these more experimental elements? How did they fit with the main compositions, or did you come up with the singular sounds first and then build the tracks? Every track is built different. One thing for sure, and you can talk to Joel West about this because we’ve worked on many tracks together, is I feel like the enjoyment is in finding a different way to make the music. So for example, maybe this certain track can only be done using one synthesizer for every aspect. Or maybe some sort of self-imposed limitation will be put into the session in order to steer you a certain way and push you out of the norm. It keeps things fresh for me. I combined that with telling the sonic story I wanted to tell in order to program these parts. Some tracks were started very simply with a groove, others were definitely with an experimental aspect first, and then forged into what I wanted it to live as. Your time as a drummer touring in Germany and Eastern Europe has clearly influenced how you put your drum lines together. How important are those drums for you? Did you really want to make them shine on this album? Because I played drums growing up and I enjoy a lot of different types of music, I wanted to explore that (different types of drum lines). I wanted to see if I could find a place for them on the album. Now, they’re mangled to shit, but that’s where they fit in the record. I also had some actual song ideas that I wanted to pursue on this too. Because of the pandemic, I felt like I had the time to go down that road with Nathan and Amanda (Melohalo, on “Alone”). They’re a great fucking band first and foremost, so it was cool to see how we could reach that feeling. You know, all of us reaching toward a common goal. I can’t wait to hear what they do next. On “Reduced,” it was like second nature, and it really was cool to work with Jamison (Prystay) again. We’d played together in bands growing up, so going full circle there felt very natural. Who wouldn’t want to play drums on Rhett’s (Williams) guitar playing? He plays with a ton of attitude. I wanted analog drums to have their spot on the album that would create the more obvious human aspect. In what other ways do you think your thrash background influenced the album?
You’ve had a number of releases with the famous Vancouver imprint Groundwerk Recordings so obviously there’s a good relationship there, but why did you decide to release the album with them? Groundwerk is home. It’s so important to me as a label, but to those that don’t know, Groundwerk is even more than that. It started out as a listening party where bedroom producers (and producers of all levels) could submit music, hear it on a club system, and talk shop with other likeminded individuals. It was amazing for learning from other people and networking. It’s just a great and inclusive place to be. The reason I say this is because when I was at my most disillusioned about music is when Groundwerk started. I went to their first event years back by myself, not knowing anyone, and it changed everything. Like, there are scenes, but rarely does a label build community. From Groundwerk’s community, so many people have flourished in their respective disciplines. For them to pick me up with I was artistically most vulnerable, It meant a lot to me. Groundwerk the label, Groundwerk the event promoter, Groundwerk the (public & Twitch-during-pandemic) listening party, make up the roots of a lot of what is happening, and has happened in the Vancouver scene in the last, I’d say, five years. People have learned, grown, and even moved on, but it’s an institution. Okay we gotta ask about the name: is it a bit of cheeky irony, making fun of pop culture, or did you choose it because you want to be the Yeezy of techno? It’s 100% tongue-in-cheek. I loved the idea of The Prodigy’s name being a throw back to the DJ’s and MC’s in early hip-hop; these larger than life names. I also am a huge fan of combat sports, so there’s that. Anyone that knows me knows it’s a caricature and a joke. But also, growing up, my mom used to call me “Kozuka” (Koza) in Polish, which means goat. I was always active and always finding ways to stumble into things and hurt myself as a toddler (laughs) so honestly, its a nod to that as well. There ya go, the cat is officially out of the bag! We’re sure at the moment you’re happy celebrating the album finally being out, but do have any insight on what’s coming up next for you? Shows/tours/releases? I’m currently working with promoters lining things up. So if you want me in your city, head over to thegoatmusicofficial.com and find my socials there. Reach out and lets dance. The Details Are Vague is out now on Groundwerk Recordings and can be purchased on Beatport or streamed on Spotify.
This article was first published on Your EDM. Source: Your EDM Q&A: Does Canadian Techno Artist The GOAT Live Up to His Name With His New Album? [Video] Via https://www.youredm.com/2022/06/27/your-edm-qa-does-canadian-techno-artist-the-goat-live-up-to-his-name-with-his-new-album-video/ Porter Robinson closed out the Ranch Arena stage at Electric Forest this past Saturday, which was undoubtedly a fantastic set. But the highlight for many fans was seeing him in a more intimate setting at the Ocular Organ in the festival grounds the next afternoon, playing a full acoustic set. The featured photo for this article, captured by @MarioH92, sums up the experience pretty perfectly. But if you want to see some of the actual set, @reporterrobnson has you covered with some unreleased music and a clip of “Look At The Sky” below.
Photo via @MarioH92 This article was first published on Your EDM. Source: Porter Robinson Surprise Set At Ocular Organ Among Highlights From Electric Forest Via https://www.youredm.com/2022/06/27/porter-robinson-surprise-set-at-ocular-organ-among-highlights-from-electric-forest/ Honestly, we all should have known that Wavedash and James Ivy would make a great collaboration if they ever connected. The good news is that day has actually arrived and their collab is incredible. Their latest single “Chicago Loop” is the four artists’ most vulnerable and groovy tracks. From the trio that gave us glitchy/future bass in tracks like “Dummo Loop” to the synth-heavy cascade of “Stallions”, it’s clear that Wavedash are making some of the glitziest bass music in the scene. Their soundscape has the shine to it that very few electronic artists can emulate. Meanwhile, James Ivy has been rising as one of indie music’s most interesting acts. If you followed Porter Robinson‘s Nurture rollout, they may have caught James Ivy’s version of “Something Comforting” with it’s washed-out guitar and excellent 90’s boyband singing. But his output feels like a revival of alternative rock with a new charm, making him one of this year’s most exciting artists to watch. On “Chicago Loop”, they really flexed their creative muscles. Wavedash and James Ivy make a bedroom pop that gets a sadboi house beat. But it’s paired with these very intimate vocals from Ivy that vitalizes the track. The track’s 80’s inspired drums and sensual vocal-manipulation are some of the elements that give this song such masterful songwriting. It’s the kind of song you listen to dancing in your room and it feels so cathartic. Wavedash dropped their debut record World Famous Tour about a year ago. Five months later, the trio start releasing new music again. The new output feels like a new body of work could be on the way. But nothing has been announced officially. And James Ivy’s debut EP Good Grief came out in October last year and was followed by a new song 8 months later. These young artists continue to sharpen their imagination and their songwriting while efficiently releasing quality future bass. Who could want anything more? Make sure to check out “Chicago Loop” by Wavedash and James Ivy! Let’s hope they do it again. This article was first published on Your EDM. Source: Wavedash and James Ivy Drop Phenomenal Dance-Pop/House Track “Chicago Loop” Via https://www.youredm.com/2022/06/24/wavedash-and-james-ivy-drop-phenomenal-dance-pop-house-track-chicago-loop/ D3FAI the budding techno maestro just released an out of this world 5-track EP titled BIO WEAPON on RESTLESS RCRDS meanwhile touring Europe visiting cities like Amsterdamn, Spain, and Paris on Saturday for the FORM Music label party in Paris. The new EP which dropped today includes an introduction record and 4 nearly 8-minute long techno bangers. D3FAI has worked on music with big name producers in the past like Deorro, yet his latest EP BIO WEAPON really sets himself apart. The techno wunderkind includes his signature spacey and hypnotic relaxing sound production throughout the entire project. The EP blissfully creates space inducing soundscapes filled with vibrant colors and interacting floating entities. The amount of raw of emotion and feeling translated through the size of the EP is enormous creating an absolutely outstanding project in BIO WEAPON. Stream D3FAI’s new EP BIO WEAPON Below. Follow D3FAI on Instagram to catch him on tour! This article was first published on Your EDM. Source: D3FAI Releases Out Of This World ‘BIO WEAPON’ EP Via https://www.youredm.com/2022/06/24/d3fai-releases-out-of-this-world-bio-weapon-ep/ We’re only in June and Crankdat has pumped out a track a month in 2022 with his latest “Ding Dong” on Monstercat. And wow is it fun. A track can be mechanically and theoretically ‘good’ without being fun, and it can also go the other way. But Crankdat truly turns the enjoyment up on this track. I can only imagine how he was acting, sitting in his studio playing this back after finishing it, but I’m at home absolutely bouncing. Between all of the tempos and rhythms and the instant serotonin from hearing “DING DONG” throughout the track, there’s no doubt that this is going to have crowds losing their minds at shows. Check out “Ding Dong” below! Want to hear it live? Crankdat is playing Avalon in Los Angeles on July 16 – get tickets here. This article was first published on Your EDM. Source: Crankdat turns the fun up to 11 with new single “Ding Dong,” out on Monstercat Via https://www.youredm.com/2022/06/24/crankdat-ding-dong-monstercat/ You know the words, you know the drop, you know the producer… “Laserbeam” from Ray Volpe is now officially out everywhere, and you’re going to hear it everywhere. The song was the #1 most played record at EDC Las Vegas; when you consider there were 9 stages with dozens of different genres, and one dubstep track was played by everyone, that is definitely significant. “Thunderdome was actually the viral origin of ‘Laserbeam,’” Ray says. “It started with an email to Excision updating him with new unreleased music to play at shows. I mentioned in the email how ‘Laserbeam’ would be cool to play with lasers in his high-production sets with crazy rigs. After my set at Thunderdome where I was support for Excision, I went to the crowd to watch Excision perform & suddenly heard the beginning of ‘Laserbeam.’ The reaction from the fans in the venue as the song dropped was loud & clear. Needless to say, I was also freaking out. I filmed the whole thing & posted it the next day on social media, which went viral, currently tallying over 800,000 views on my own platforms; Excision, Illenium, Black Tiger Sex Machine, & many others have posted as well since then, accumulating a total of over 10,000,000 views today. I thought to myself that this is the craziest thing ever and that it couldn’t possibly get any better.” Since then, the track has been played ad nauseam to the point that its presence is almost ubiquitous in any bass set these days — and that’s not an indication of laziness on the DJs, but a sign of how good this track is that it’s absolutely everywhere. Want to be in on the craze? Listen below and add it to a playlist today.
Photo via @snapaholix This article was first published on Your EDM. Source: Ray Volpe unleashes the #1 most played record at EDC Las Vegas, “Laserbeam” Via https://www.youredm.com/2022/06/24/ray-volpe-unleashes-the-1-most-played-record-at-edc-las-vegas-laserbeam/ |
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April 2023
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