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Updated: 5 hours 29 min ago

Death Toll Rises to 22, 59 Injured as Ariana Grande Attack Remains Under Investigation

Tue, 05/23/2017 - 12:49pm

Heartbreaking news keeps rolling in as the death toll rises to 22 people killed and 59 injured in the suicide attack following an Ariana Grande concert at Manchester Arena last night.

Three vitims have been officially identified so far as 18-year-old Georgina Callander, 8-year-old Saffie Rose Roussos, and 26-year-old John Atkinson.

ISIS has claimed responsibility for the attack, but produced no evidence. One arrest has been made in connection to this senseless act of violence, but the investigation is still underway. Police have released the identity of the apparent suicide bomber as Salman Abedi, 22, who is believed to be from Manchester.

A statement from Islamic State claiming responsibility for last night's attack has been released in English as well now.

— Shiraz Maher (@ShirazMaher) May 23, 2017

President Donald Trump addressed the tragedy:

“We stand in absolute solidarity with the people of the United Kingdom. So many young, beautiful, innocent people living and enjoying their lives, murdered by evil losers in life.”

Ariana Grande is “broken” and has suspended her world tour in wake of the attack.

from the bottom of my heart, i am so so sorry. i don't have words.

— Ariana Grande (@ArianaGrande) May 23, 2017

3 out of the 22 victims are identified

Georgina Callander, 18
Saffie Rose Roussos, 8
John Atkinson, 26

May they all rip#manchester

— yara (@grandedick) May 23, 2017


Source: NBC News | Daily Mail

This article was first published on Your EDM.
Source: Death Toll Rises to 22, 59 Injured as Ariana Grande Attack Remains Under Investigation

Your EDM Interview: Billon On His Brand Of Grooving House

Tue, 05/23/2017 - 12:47pm

With his dynamic ‘Snake Song’ now up for grabs through Ultra, we grabbed a few words with its creator, UK producer and DJ Billon – an artist who always steps up with an assured, rhythmically crisp brand of bassy house.

First things first… your new tune ‘Snake Song’ has all the making of a house classic. What do you feel you learned making this one? Did you have fun with it?

Thanks! I took a different approach making this track than I’ve done in the past. I was in the studio with Takura, a regular writing partner of mine and he already had the idea for the vocal. We recorded to a kick drum and then I made everything else around it.

What has it been like working with Ultra?

It has been great, also excited to be working with TMTR Records who picked the track up in the first place.

When you started to make music, did you know straight away the sound you wanted to capture? Where did you find influences? 

I started making music with no knowledge of music theory, I started DJing at 14 and progressed from there. I started sampling records that I liked, making mash ups of tracks and flipping them. I I found inspiration in the records I was DJing which at the time was drum & bass, jungle, hip hop, house and garage. Also the music I grew up on has always stayed with me: MJ, Fleetwood Mac, Tom Petty, lots of reggae, Horace Andy, Massive Attack, Portishead, the list goes on…

How have your fans reacted to ‘Snake Song’ so far? We can imagine it goes off in clubs!

People seem to be really liking it even though it’s pretty different to my last release, it’s had great crowd reaction – which is one of the things that convinced me it was a good track to release.

What is your studio set up like right now? Do you ever write music on the road?

My studio is pretty well equipped, I share it with a couple of other songwriters and producers, and between us we’ve got a load of instruments, synths, keyboards, vocal mics etc… I don’t usually write music on the road although I produced the demo version of ‘Special’ feat. Maxine Ashley on a laptop.

Say you could pass on a couple of tips to your younger self just starting out as an artist… what would they be?

Don’t worry about technical stuff, just do what sounds good. Get your ideas down quickly. You don’t have to question something that feels/sounds good.

If you could name three artists who have influenced you the most throughout your career so far, who would they be?

Michael Jackson, Cerrone, Massive Attack.

What could we expect from a Billon DJ set?

A mix of house, garage-y stuff, disco, a bit of techno along with plenty of my own stuff – new tracks and remixes I’m testing out.

Lastly, what are your plans for the rest of 2017?

I’ve got a few other tracks ready to come out that I’m really excited about…I have a track called ‘One That I Want’ coming on BMKLTSCH Records… Also a new collaboration I’ve done with Todd Edwards should be dropping really soon that I’m very excited about.


Get ‘Snake Song’ here

This article was first published on Your EDM.
Source: Your EDM Interview: Billon On His Brand Of Grooving House

REVIEW: Cymatics Titan Samplepack

Tue, 05/23/2017 - 12:43pm

Time and time again, Cymatics proves that they are the quintessential sample and sound company in dance music right now. In 2017 alone, they have put out two of my favorite Serum packs; Nuclear and Helix. Their most recent pack, Titan, not only complements each preset pack, but stands alone as one of the best sample packs I’ve ever come across.

Titan is advertised as a Future Bass and Trap sample pack with over 2000 samples. Despite it being intended for Future Bass/Trap, I’ve found use for Titan in everything from Pop, to Dubstep, and even House. This pack is diverse, extensive, and quite honestly; amazing. Overwhelmed with the amount of samples I had to go through, here is my take on each section of the pack:

Check out Titan Here



Quite possibly my favorite part of the pack, the drums in Titan are phenomenal; and there are a lot to choose from. There are two main drum “sections” of the pack: Drum Loops, and Drum One-Shots. Included in each are the following:

Drum Loops:

Buildup Drums, Fills, Hihat Loop, Perc Loops

Drum One-Shots:

808s*, Claps (Big, Small, Flams, and Other), Hihats and Cymbals (Crashes, Open, Closed, Rides), Kicks*, Percussion, Snaps, and Snares*

Every single sample and loop are phenomenal. Snares and Kicks are tight and punchy, the Buildup Loops are a very quick way to build inspiration and a foundation for your buildups, and the Fills make workflow 10x faster. With hundreds of samples to use just from the drums, you’ll find yourself finding something new every time you reach for Titan.


In my recent productions, I’ve found myself reaching only for the Titan FX. Filled with colorful ambiances*, impacts, up and down sweeps, and risers*, and downlifters*, the pack is filled to the brim with usable FX.

My favorite part of the FX are the ambiances. The sound beds they provide can bring any section of your track from empty to full, and are integrated seamlessly. I’ve often found myself even taking several, lowpassing them, and having them follow my chord progressions for a unique effect.

Each and every effect is genuinely interesting, and can completely flip the mood of each section of your arrangement.


The instruments and synths section are incredibly extensive, and have proved to be a great source of inspiration whenever I’m stuck. With hundreds of samples to work with, the instruments and synths include:


Brass Loops, Guitar Loops, String Loops, and Piano Loops


Arp Loops, Chord Loops, Drop Loops for Future Bass and Trap, and One Shots

Each section is phenomenal. Clearly crafted with meticulous care, each loop sounds full and melodically interesting. If you are ever stuck working on one of your own songs, look to these as a source of inspiration and never look back!


One of my biggest struggles is finding good vocals to use as a drop impact, to create energy in a build, or even to have layered as a part of my breaks. With the amount of vocal Cymatics has included in this pack, I don’t ever see this being an issue anymore.

Included are Vocal Chants, Vocal Loops*, Vocal Phrases, and Vocoder Loops*. Only done by Cymatics, the Vocoder loops are unique and extremely well done. With such a unique take on the ever-so-typical vocal chop style we hear today, these will definitely make your productions more unique.

* Samples are labelled by pitch

Titan is a phenomenal pack, and one you should definitely not miss out on. Included in the pack as bonuses are:

  • Titan Samplepack
  • Phoenix Live Percussion & Foley
  • Athena MIDI Chord Progressions & Arps
  • Titan Project File Expansion (6 Project files)
  • Titan Start To Finish 17 Part Production Course
  • Beginner Sample Walkthrough Course
  • Raw Production Sessions w/ Tascione (Five 2 hour livestreams)
  • Song contest
  • $100 Cymatics Giftcard
  • First 150 purchasers get a free Cymatics USB filled with exclusive content

Titan is definitely a pack you do NOT want to miss out on. Check it out here and listen to the demo below!

This article was first published on Your EDM.
Source: REVIEW: Cymatics Titan Samplepack

Ariana Grande Speaks Out Following Manchester Attack, US Gov’t Issues Statement

Mon, 05/22/2017 - 10:39pm

The attack at Manchester Arena tonight during an Ariana Grande concert has shaken the world, with hundreds of thousands of people weighing in and commenting on the devastating attack. The US Department of Homeland Security issued a statement on the incident, saying it is “closely monitoring the situation at Manchester Arena” and that there could be “increased security” in public places and music events in the US.

Greater Manchester chief constable Ian Hopkins issued a statement as well, reiterating known facts and trying to reestablish a sense of security, as much as is possible at a time like this.

Read both statements in full below.

Greater Manchester chief constable Ian Hopkins:

I can confirm the details of events tonight that we currently know. At around 10.33pm last night we received reports of an explosion at the Manchester Arena in the city centre. It was at the conclusion of an Ariana Grande concert.

Currently we have 19 people confirmed to have died and around 50 people injured.

The injured are being treated at six hospitals across Greater Manchester. My thoughts are with all those who have been affected and we are doing all we can to support them.

Officers from GMP and emergency services are working at the scene and are supporting those affected. We are coordinating the response from GMP headquarters.

An emergency number is available for those who are concerned about loved ones or anyone who may have been in the area. It is 0161 856 9400.

We are currently treating this as a terrorist incident until we know otherwise. We are working closely with the national counter-terrorism policing network and UK intelligence partners.

This is clearly a concerning time for people but we are doing all we can, working with local and national agencies to support those affected and gather information about what has happened tonight. As you will understand, we are still receiving information and updates, so will provide more details when we have a clearer picture.

I want to thank people for their support and would ask them to remain vigilant and if they have any concerns report them in confidence to us on the anti-terrorist hotline: 0800 789321.

It is important people avoid the area so that we can effectively deal with the incident.

US Dept Of Homeland Security:

We are working with our foreign counterparts to obtain additional information about the cause of the reported explosion as well as the extent of injuries and fatalities.

US citizens in the area should heed direction from local authorities and maintain security awareness. We encourage any affected US citizens who need assistance to contact the US embassy in London and follow department of state guidance.

At this time, we have no information to indicate a specific credible threat involving music venues in the United States. However, the public may experience increased security in and around public places and events as officials take additional precautions.

We stand ready to assist our friends and allies in the UK in all ways necessary as they investigate and recover from this incident.

Our thoughts and prayers are with those affected by this incident.

Ariana Grande has also spoken out for the first time since the incident.

from the bottom of my heart, i am so so sorry. i don't have words.

— Ariana Grande (@ArianaGrande) May 23, 2017

That’s pretty much how we’re all feeling right now, I think.

via The Guardian

This article was first published on Your EDM.
Source: Ariana Grande Speaks Out Following Manchester Attack, US Gov’t Issues Statement

yugi boi & ||DILIP|| – mochi

Mon, 05/22/2017 - 10:35pm

Up and coming production all-stars yugi boi and DILP have teamed up for a whirlwind collaboration through record collective Lucid Monday, featuring a deadly, jazz-centered combination of the two’s distinct and soulful styles. “Mochi” expertly weaves diverse percussion samples, warm bass tones and soaring instrumentation, resulting in a swaying and ever-evolving concoction worthy of the duo’s steadily growing following in the Soundcloud circuit.

It begins with a series of smooth hip hop vocals above shakers and rumbling bass tones, until gentle guitar strums and resounding horns join the arrangement. Dancing saxophones carry the track until the main elements are stripped away, leaving the percussion room to attract the spotlight before the energy returns in full force above wide kick drums and rattling sub bass.

Both yugi boi and DILIP will be performing alongside fellow labelmates Otxhello, Sui.luj, Inimicvs, Blake Skowron and Callahan at The Catalyst in Santa Cruz, California on Monday, July 10 as part of Lucid Monday’s specially curated takeover of the acclaimed Norcal venue. Tickets to the one of a kind show are now available for purchase here.

Listen to “Mochi” below.

This article was first published on Your EDM.
Source: yugi boi & ||DILIP|| – mochi

Odesza Drops Another New ID Just Before Red Rocks Show This Weekend [LISTEN]

Mon, 05/22/2017 - 7:13pm

After what felt like forever (but was only about 3 years), Odesza finally released new music — recently dropping two singles just hours apart — and promising more on the way soon!

Line of Sight” and “Late Night” were both released as singles from the electronic duo’s forthcoming album, giving us just enough, but still desiring more of their signature, dreamy Odesza sound. Now, we have the first listen at a new ID thanks to footage captured during their show in Boise, ID over the weekend.

If the crowd’s energy is any indication, the third single from Odesza’s expected 2017 album will prove to wow their fanbase during shows and festivals this summer. We can only hope the electronic band premieres even more unreleased music during their 2-night stand at Colorado’s famed Red Rocks this weekend.

Watch as Odesza rocks out to the brand new, beautifully produced track!

H/T: Dancing Astronaut | Photo: Julian Bajsel

This article was first published on Your EDM.
Source: Odesza Drops Another New ID Just Before Red Rocks Show This Weekend [LISTEN]

Robin Schulz Teams Up With Singer-Songwriter James Blunt for Unique House Track [LISTEN]

Mon, 05/22/2017 - 7:13pm

Robin Schulz has enlisted in the vocal stylings of James Blunt to accompany his latest production, “OK.”

While the tropical house producer and “You’re Beautiful” singer-songwriter aren’t the most obvious collaborative pairing, that’s exactly what makes “OK” better than OK. Schulz offers up an optimistic dance track lingering somewhere in a sweet spot on the piano-meets-synth spectrum, as bluntly (pun intended) delivered lyrics suggest a more doubtful, skeptic view on whether things will actually be ok.

Blunt sings:

So tell me now
When every star falls from the sky
And every last heart in the world breaks
Oh hold me now
When every ship is going down
I don’t feel nothing when I hear you say
It’s gonna be OK

“OK” marks the second single off Schulz’s forthcoming third studio LP, Uncovered, due out September 8. His recent collaboration with David Guetta and Cheat Codes, “Shed A Light” will also be featured on the new album, and at this rate, we can’t wait to hear the rest.

This article was first published on Your EDM.
Source: Robin Schulz Teams Up With Singer-Songwriter James Blunt for Unique House Track [LISTEN]

Matoma Drops “Party On The West Coast” Tribute Track for Biggie’s Birthday [LISTEN]

Mon, 05/22/2017 - 7:13pm

Matoma dropped a tropical house West Coast anthem to celebrate the birthday of one of his idols, none other than The Notorious B.I.G.!

To commemorate what would have been Biggie’s 45th birthday, Matoma shared this “Party On The West Coast” tribute release, and shared his inspiration behind the mix:

“It’s funny how big a difference one person can have on your life. I’ll never forget the first time I heard Biggie, my big brother Dan played me ‘Ready To Die’ and I never heard anything like it. I couldn’t understand the words or the stories but I could feel them, his flow, the vibe, it changed me.”

“A few years ago, with nothing but this same respect and love for such a legend, I took a Biggie acapella from YouTube and made ‘Old Thing Back‘ with my own inspirations, in my bedroom in Trondheim, mixed with just one speaker! Yesterday I just found out it achieved GOLD sales in America. The impact that this great man has had on me not only with the music that fueled me as a teenager but to this insane achievement in the beginning of my career, words can’t describe.”

His version serves as a “When We Party” (Remix) featuring vocals from Faith Evans and Snoop Dogg, which is arguably just as smooth as the original! Happy birthday, Biggie!

This article was first published on Your EDM.
Source: Matoma Drops “Party On The West Coast” Tribute Track for Biggie’s Birthday [LISTEN]

Legendary Detroit Techno Collective Accuses Armin van Buuren of Plagiarism, but He’s Standing his Ground

Mon, 05/22/2017 - 6:13pm

A Detroit-based techno collective is calling out Armin van Buuren for allegedly stealing its name for his 13-show summer stint in Ibiza under the same name. Not only that, the house producer’s Hï Ibiza “UR” logo looks strikingly similar to that of the well known Detroit organization, which could be grounds for plagiarism.

Underground Resistance took to Facebook to express their concerns:

“Is there no shame? What happened to electronic creativity? What the fuck is it all about the money?? To “those who know” MOVE TO CONDITION RED!! To those who steal culture, you have been warned.”

Armin van Buuren has worked closely with the verbiage “Resistance” for some time. However, throwing “underground” in front of it turned out to be an unfortunately negligent move.

The renowned DJ/producer answered back in an official statement that more thoroughly explains the idea behind his Underground Resistance, and he’s standing his ground:

“I would like to start off by saying how unfortunate and unpleasant this situation is for everyone involved. My team, the team of Hï/Ushuaïa and myself were not aware of the similarities between our logo and the logo of Underground Resistance. Originally, UR – the name of the new event through which I’ll perform in Ibiza every week – is derived from Universal Religion, an older but nonetheless known Armin van Buuren concept. The logo, which consists of a custom-made font and frame, was designed to conform with the Armin van Buuren brand. After careful deliberation, my team, the team of Hï/Ushuaïa and myself have decided to keep the name UR as it is and to adjust the symbol. I trust that media, fans and Underground Resistance will be able to understand this decision.”

We hope the equally legendary DJ and dance music collective can sort things out.

(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); = id; js.src = "//"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));

Is there no shame? What happened to electronic creativity? What the fuck is it all about the money?? To "those who know"…

Posted by UNDERGROUND RESISTANCE on Saturday, May 20, 2017

(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); = id; js.src = "//"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));

Posted by UNDERGROUND RESISTANCE on Tuesday, June 14, 2011


Source: MixMag

This article was first published on Your EDM.
Source: Legendary Detroit Techno Collective Accuses Armin van Buuren of Plagiarism, but He’s Standing his Ground

Trivecta – Feel My Love [Thrive]

Mon, 05/22/2017 - 4:40pm

Brand new from Trivecta is “Feel My Love,” a sultry house tune which will have you dancing and swaying in no time.

Combining talents once again with cherished vocalist Charlotte Haining, the song begins with an ethereal chord progression paired with lofty vocals which quickly cascade into an upbeat progressive summer anthem. ‘Feel My Love’ takes listeners on a feel good journey of effervescent synthscapes and progressive melodies. This track will leave you feeling loved and wanting more to come from Trivecta.

Listen to the new single below via Thrive.

This article was first published on Your EDM.
Source: Trivecta – Feel My Love [Thrive]

JBL’s E25BT Headphones Offer Convenience & Quality [Review]

Mon, 05/22/2017 - 3:50pm

JBL is quickly raising its stake in the headphone marketplace, putting out quality products such as the JBL Everest Elite 700 series among others. While their over-ear headphones offer immersive listening experiences, they do carry high price tags, but JBL offers multiple pairs of in-ear headphones, notably including the E25BT series.

The JBL E25BTs are wireless, in-ear headphones designed for convenience, portability and accessibility. While the offering of those features often compromises overall quality, we are happy to report that this line of headphones excels in delivering great sound, features and design for a very competitive price point.


The E25BTs offer great sound despite the $60 tag, a rare feat among headphones in that price range. Highs, mids and lows, notably a subtle yet rhythmic bass, come in crystal clear through the speakers. The bass falls short a bit from the standard set by the Apple in-ear headphones, but while those headphones prioritize bass over every other element, the E25BTs equalize all of the sound layers for a more complete listening experience. The noise-cancelling feature works splendidly as well, taking the listener deep into the sounds of their choice. While the sound of in-ear headphones will never quite match over-ear headphones, the E25BTs come very close to maximizing the potential of the current in-ear headphone technology.


The E25BTs come packed with numerous features, chiefly their wireless playback. The Bluetooth connectivity works very well, with the headphones quickly pairing with devices and holding connections with minimal interruptions. The headphones carry an eight-hour battery life, perfect for extended listening sessions, and the “warning” sound indicating a low battery plays thirty minutes to an hour before the battery actually dies, a welcome feature for those away from their charger and looking to squeeze a few more songs in.

The headphones are included with a small but handy carrying case, three differently sized pairs of earbuds, a clip to keep the wire in place and a three-button universal remote for easy device pairing, volume adjustment, turning the headphones on and off and more. The functionality of the headphones is very accessible, a key feature for the still relatively young market of completely wireless headphones.


The design of the E25BTs emphasizes portability. Their wireless component frees up wire tangle from wired headphones, as these only come with a central wire that connects to the remote in the middle of the set. This design creates a loop of sorts, freeing any wires away from the more active parts of your body. They can be worn with either the wire and remote in front or behind one’s neck, a very adaptive feature depending upon your use at any given time.

The one drawback to their design stems from a structural noise that occurs when one of the headphones twists the wire too much, which can be easily fixed with a quick adjustment but does result in a rumbling sound. This problem occurs in other headphone pairs we’ve tried, but thankfully its easy fix does not weigh down the overall design of the E25BTs too much.

Final Verdict

If you’re looking for a set of relatively inexpensive, wireless headphones, the JBL E25BTs should be right up your alley. These headphones walk a fine line of offering accessibility and delivering quality sound, rarely missing a step.

This article was first published on Your EDM.
Source: JBL’s E25BT Headphones Offer Convenience & Quality [Review]

Your EDM Premiere: Huko – Blind ft. Cozy {official video}

Mon, 05/22/2017 - 3:23pm

By all accounts, Huko has seemingly come out of nowhere with their debut single “Blind” last year that’s right around the 2 million stream mark on Spotify. If you listen to the single too you can definitely hear why. “Blind” was tailor-made for European radio with the charming male vocals of Cozy along the warm tropical house production.

Now, the official music video is out and conceptually director Greg Kozo and his team have done an immense job creating a witty music video to pair with the record. The video features a man with an egg-head entering an opulent private house party – and all of the absurdities that follow.

This article was first published on Your EDM.
Source: Your EDM Premiere: Huko – Blind ft. Cozy {official video}

Your EDM Interview: JOYRYDE

Mon, 05/22/2017 - 3:19pm

Jonney Ford AKA JOYRYDE is one of those rare artists that goes against the grain but keeps it cool, strives to be different but stays true to his artistry, sounds old school and new school at the same time — and he’s made a goddamn name for himself in doing so.

JOYRYDE has crafted an entire RYDER cult, surrounded by a unique musical attitude, re-imagined car imagery and a-list support. Hailing from the UK, JOYRYDE rose from completely unknown to one of the most buzzing electronic acts on the planet in 2016 and it’s clear that the highway to success is paved with bass.

Moments after JOYRYDE’s high-octane set at Shaky Beats 2017, he sat down with Your EDM to talk music and inspiration, working with OWSLA, his ruthless single “New Breed,” and of course — muscle cars!

Your show was f*cking crazy! Tell me about your set at Shaky Beats…

This set today has been built as I’ve been playing JOYRYDE, from when I first started it. On the first step, you only have the music that you made, and that’s your connection with people. Then you think, “Well, how do I build on this in a way that compliments the rest of my records, but also shows people what I was listening to that inspired those records?” You don’t know how to say everything about yourself in one sentence. It takes time to tell your story. So, since I started until now, I’ve been moving music in and out of my show. And, I think it’s just getting to that point where it really explains me. Every element of me, from the hardcore style to the hip hop side, to the dance music side and the culture of electronic music.

A lot of people build different sets for different places. For me, I kinda want to give everyone my personality. I’m not trying to win them over, I’m trying to win them over on my terms. This is now the most progressed version of my show that I have. It’s the furthest I’ve lived, so this set is the most up-to-date version I’ve ever played. I’m sure a year from now it will be even more perfected.

I’m taking this from your bio: “JOYRYDE rose from completely unknown to one of the most buzzing electronic acts on the planet in 2016.” What was that like?

It was great. First off, it starts simple. It starts with a few people listening to you, and when they appreciate what you appreciate about yourself, that’s a nice feeling. It’s not like, “How do I need to change myself to get popular?” F*ck that. It’s like, “Wow, they like this, too?” That’s sick! Then there’s 100 people, then it’s 10,000 people, then it’s 100,000 people following you. Then it’s like — this is a responsibility.

Watching this project flourish last year was amazing. First the artists played it. Then, realizing I shared the same opinion with so many people about music style and the look — it’s great reminder. I encourage anyone who has a passion to find out if everyone else has the same opinion. It’s a great feeling — just that alone!

How did the idea for JOYRYDE first start?

I loved the words. I’ve always associated music —  bass music specifically — with cars. It’s just something you grow up with. Your friends — you’re in the car, you listen to records. You park the car, you open the back with the speakers and you listen to records there, in the parking lot or at the festival. I’ve always seen that correlation between cars and music. I don’t need to try to see it. When I started JOYRYDE, I just liked it for the name.

I took this footage of a Ferrari driving around, drifting, doing donuts, racing down tunnels and stuff, and I put it over this record. Before that, I saw it as something more street, something more urban. And, when I saw this Ferrari with the music I was like, “F*cking hell, that’s something really nice!” That’s beautiful. That’s really fragile. It’s fragile and violent at the same time. And, there’s something very attractive about that and it just clicked.

Which artists specifically helped shape your sound?

A lot of the original UK garage records — that scene is never really any one artist. UK garage as a scene changed me a lot. Just that simple fundamental rhythm and bass and pitched up vocals. We’re talking like a 20-year gap between the old school music that I found and got into and then artists like Jauz came along and he wrote “Feel the Volume.” It didn’t sound just like the old stuff, but it felt like the old stuff.

That’s when I realized I wanted to go into that area of music, because I’m well versed in those lines. I went to school listening to that music. I went to parties playing that music. I’m not going to struggle to be honest in that domain. As people, we all want to do a good job. And, I’m designated to be a producer, that’s it. The ship has sailed. I’m not going to do anything else. I might be a director or do videos and stuff, but it’s pretty much always going to be about music. When I saw that whole thing developing, I was like — that’s me. That’s got my childhood all over it. Like, “Hold my beer, I got this.”

Artists like Skrillex have always shaped me… Pendulum, Prodigy, Justice. Much of the new artists like Jauz and Ghastly. Everything shapes you. I think these days, we’re shaped by culture not just artists. An artist is one thing, but a culture is something really special because you have dance moves, clothing, words. The way you hang — your gang, clique, squad — whatever the f*ck you call it. And, that’s something I sample from. I like to touch cultures. I think that’s more attractive than being inspired by an artist. If you’re inspired by an artist you can sometimes start to sound too much like them. When you’re inspired by a culture it’s more about how people interpret the creativity, it’s much more dynamic.

How is it working with OWSLA?

They’re great! They’re really chill. Very professional. Very driven. Very connected. Good taste. Most importantly, they listen to me. They allow me to be myself. Artists — we’re weird — sometimes we need things this way. They’re sympathetic to that. I like the music they release. They’re a tasteful brand. They inspire. It’s very hard to display your achievements and not look like a show off, and OWSLA does that in a very special way. They’re able to portray their talents without it looking too pretentious or too snobby.

I never really saw myself working with any record label. I always thought a person should just make something and give it to people. But, when you’re an artist, there are ways to grow as a person. There is something special to doing something that you’re not used to. So, working with a bunch of people as opposed to working by myself is a new experience. I thought only good could come from this — and I was right.

Let’s talk cars! I noticed a theme there… Do you know how many times cars were mentioned in your set today?

There is a theme… Most of those tracks I like anyway! I put records in, and then I notice in the tracks — I hear a skrrt skrrt. Well, f*cking sh*t! It works! [Laughs] It’s more than half. So, it’s gotta be somewhere around 50?! It’s gotta be up there! Even little references. Someone even tweeted to me once, “It’s amazing how you played so many car reference tracks and it wasn’t corny at all.”

I have a show, “Calling All Ryders (C.A.R.)” and it’s an actual Dodge Charger on stage. In that show and I play a lot more [car tracks] because it’s a f*cking car on stage, and you can get funny with it. It’s awesome. When you get to that point where it doesn’t have to be so serious, you can go to many more areas. Lots of car stuff in that show! It’s terrifying when that thing roars!

If JOYRYDE was to be objectified into a make and model, what would it be?

Maybe a ’72 Pontiac Firebird. It’s small, it’s fast, and it looks super menacing. I’ve always thought JOYRYDE, more than anything, it was a menace. That car has got it for me! It’s got the right look, and it’s also a bit mean. I know exactly what color — there’s a very amazing one — black and gold.

“New Breed” goes the hardest on the HOWSLA compilation album… It’s savage! What was it like making that track?

I made this idea and I put it in this mix. But, I really didn’t know what to do with it. It’s just so bizarre. Then Sonny [Moore] hit me up — he was like, “We’re doing this HOWSLA thing, it’s all house. Maybe you should be on it?” I was like, “I don’t know. I just did, ‘I Ware House’ and ‘What’s in the Box’ house, it’s going to be house heavy.” I like it, but I don’t like it when you label it. He was like, “I don’t know, dude. We’re really getting behind it, it’s going to be really weird shit.” I’m like, “Well, if it’s really weird — I got something that’s really f*cking weird,” and I sent it to him. He was like, “It’s great! Just develop it…”

Then, [OWSLA] helped me put Darnell Williams’ vocal on it, and yeah that worked. I didn’t want to make something that was fixated on the vocal. I wanted the vocal to be a mood. Some of the words are a bit unclear. Everything is a little turned down and deep inside the record. As opposed to, this is the vocal part that you all sing. It’s something that gives you an impression. I just wanted the track to shatter any expectations of what it was going to be like. Because, that’s the worst — when people know what it’s going to sound like. I’m really excited about this record because it’s different. Taking risks is always great. Whether or not they work, it doesn’t matter.

I shot a music video for it. I wrote the treatment, and I directed it, and I’m editing it. Now, I’m not doing all of this because I want to show off. Literally, there was no time to brief an editor how I wanted it. HOWSLA got pushed back like a week and a half — so I was like, “Sh*t! We have time to do a music video!” We put together a team, but couldn’t find a director that got what I was trying to achieve. Because, it’s crazy. I’m telling you now.

I’ve never done anything like that. All the other videos for JOYRYDE, I’ve edited. But, this is the first one that was a lot. I walked into a room, we had a whole set in this crazy basement f*cking place, and there were 25 people looking at me like, “OK, so what’s the first step?” Like, “Wow!” I just went into efficient mode. Within two hours it felt like we were a family. Every single person was exactly where they needed to be. Everything was going exactly to plan.

It’s great to cross new frontiers like that and I have tracks like this to thank for it. I know it sounds weird saying that, because it’s my track but I don’t see it like that. I see this track as itself, and it affords me the ability — because it’s different — to do something different. If it sounds like everything else, we have a parameter of what we want to see with it. With a track like, “New Breed,” there’s no preset. You’re allowed to go crazy. I’m glad we didn’t get afraid, and just put it out. We really went behind it. That’s my whole thing now — I want to get behind every release I do full-heartedly. I want to care for them. That means I only want to release tracks I really love, and “New Breed” is one of them.

It’s crazy. It’s nuts. It’s out there. It’s the trippiest f*cking crazy thing. [Watch it here!]

You’re more about developing ideas, and don’t “force” putting out tracks… But, with that being said, do you have a JOYRYDE EP in the works?

I’m writing this EP… I have an idea. I write very current ideas. I don’t like to write something and have it sitting for 6 months. I finish it and put it out. With an EP, you can’t do it like that. My thing is once I have it finished — I update and I update and I update — endless updated versions. So, I’ve got tracks for an EP and I think I’ve worked out how I’m going to finish it.

I just want to combine everything I’ve learned. All this video stuff, all these shows, all these songs, all this sh*t, and combine it into one unified effort. And, that’s what’s hard. I want my EP to be enjoyed like my other records in a longer playing release. I think I got it! I think I’m onto something now! The “New Breed” experience opened my eyes to what I’m capable of.

Do you want to collaborate with any other producers?

Loads. Pretty much everyone. Seriously — a lot of people hit me up to work together and I never get back to them. And, it’s mostly because I don’t like to feel the need to perform. Being an artist is hard, unless you want to copy yourself. That’s f*cking easy. What’s really good about artistry is what you don’t know, it’s what you find. The greatest art in the world should be stumbled upon, not marched towards. You should walk freely into blank space and see what you find. When you work with people, sometimes that innocence is brushed away. There’s only a few people you can work with, and I think they’re the people you feel most calm with. The most honest you are to fail in front of. Those are the people you’ll find the most treasured ideas with.

I’d like to work with most people I meet, but I don’t. Because, I don’t feel that what we would write would come out exactly how we think. And, we have a responsibility to inspire others. I started a couple tracks with people — they’re nice ideas — but they’re missing that risk.

You’re making connections. All these artists we’re working with, you don’t get to see them too much. But, the closer and closer you get, the vulnerability goes higher. And, that’s good — you can be more open with them. The more I can connect with people like that, the more collaborative works you’ll see from me.

JOYRYDE has been a real solo mission. It’s me, and everyone else.

This article was first published on Your EDM.
Source: Your EDM Interview: JOYRYDE

Mayor Again Declares Days Leading Up to Movement as “Detroit Techno Week”

Mon, 05/22/2017 - 3:17pm

Thanks to the city of Detroit and Mayor Mike Duggan, it’s officially Detroit Techno Week!

Leading up to Movement Music Festival 2017, May 22nd – 29th marks the legendary week of music in the city that made it. This weekend, Hart Plaza will become home to one of the most recognized music festivals in the world as headliners Richie Hawtin, deadmau5 as Testpilot, and Carl Cox take the stage.

Since 2000, Detroit has been home to the beloved techno festival, and is truly a staple event for the genre and artists that helped build it.

In the official certificate of recognition, the mayor added in that he encourages all to “come out and celebrate the festivities, as it creates local and international awareness of Detroit’s rising creative culture.”

In other words, it’s time to party Detroit style!

Thanks to the @cityofdetroit & @MayorMikeDuggan for officially proclaiming this week as #DetroitTechnoWeek! #MovementDetroit

— Movement Detroit (@MovementDetroit) May 22, 2017


Photo: Mark Hick

This article was first published on Your EDM.
Source: Mayor Again Declares Days Leading Up to Movement as “Detroit Techno Week”

DJ Snake Shared One Last Snap Before Going Dark

Mon, 05/22/2017 - 3:12pm

Yesterday, Hangout Music Festival shared the disappointing news with attendees that DJ Snake had cancelled his headlining performance nearly last minute, leaving Lil Yachty to take his place and update the set times.

Set Time Update: @djsnake has unfortunately cancelled. @lilyachty will take the stage at 4:45pm at Surf Stage.

— Hangout Music Fest (@Hangoutfest) May 21, 2017

We discovered shortly thereafter that DJ Snake had also deleted or suspended his Instagram and Twitter accounts. And though we can’t actually see if his Snapchat is deleted, he hasn’t posted anything in the last 24 hours except for one final snap. In English, it reads, “You’ve disappointed me.”

Some believe this is in reference to how the public and his fans have received the news about the lawsuit involving him and his song “Turn Down For What,” but we can’t really know for sure.

It might seem like all of this is coming out of left field, but that couldn’t be further from the truth. Days ago, Snake addressed the crowd at Mawazine Festival stating, “When you are on top, people are trying to bring you down. So you do have to prepare for this and be ready. All I will be doing is keep bringing those positive vibes. I do this for the fans because they show me so much love every day.”

Other DJs have begun voicing their concerns either about Snake directly, or about the internet’s apparent obsession with social media and Snake’s place in it.

Does anyone know what happened to DJ Snake?

— Laidback Luke (@LaidbackLuke) May 22, 2017

Everybody chill about DJ Snake, you gotta remember it's just social media, there's a big difference between real life and cyber bullshit !

— Florian Ruiz-Picasso (@florianpicasso) May 22, 2017

Don't trust the internet

— MΞRCΞR (@Mercer_Music) May 22, 2017

Mercer’s tweet specifically could be referring to the rumors that Snake was arrested or received a DUI as a reason for his cancellation at Hangout. So far, no evidence has surfaced to support either of these rumors. The tweet could also refer to the lawsuit and the media’s coverage of it, or any number of other things.

As for where this story ends, we’re not really sure. Should we be like Laidback Luke and express concern for Snake and his well being? Or more like Florian, and realize that social media isn’t real life and he’s probably just fine? I guess that’s for each of us to decide on our own.

But as soon as we hear anything about Snake, we’ll be sure to let you know.


Photo by Tim Mosenfelder/Getty Images

This article was first published on Your EDM.
Source: DJ Snake Shared One Last Snap Before Going Dark

Middlelands Was A Magical Fantasy In Disguise As A Music Festival

Mon, 05/22/2017 - 3:07pm

When I first heard about the concept for Middlelands, I thought it was a bit of a silly premise. I assumed many others felt the same way. For years, music festivals were in and out procedures, towers of metal and wires constructed for a weekend and torn down just as quickly. For Middlelands, however, things were different.

The Texas festival was built on the existing site of the Texas Renaissance Fair, an establishment which has been in operation since 1974. Insomniac and C3 Presents, promoters for Middlelands, used the already-existing structures of the fair to do more than accentuate their event. All of the stages were built into and around the area which made the setting infinitely more magical and enchanting than any attendee could have imagined.

Walking into the festival for the first time on Friday, you might have been greeted by the King of Middlelands, surrounded by jesters, his servants, and perhaps his queen.

At the fork in the road, turning left would have led you to Trinity Vale and the Middlelands Arena, one of the most breathtaking stages I’ve seen in my tenure going to festivals. And it wasn’t like Alfa Future or Dreamstate with ornate designs and lots of flashy elements, no… if you had told me Middlelands was going to design a stage that spelled out the name of the festival in large, bold letters, emblazoned with LEDs and spotlights, and that’s it, I would have called you crazy. And yet, it might have been my favorite stage of the festival, even more than the actual “main stage.”

Turning right, you would start to head out of the Vendor Village, the area build around the Ren Fair structures, toward the Stronghold and Castle Northwoods, the official main stage of the festival. The Stronghold, despite having a great lineup each day of the festival, probably ended up being the least appreciated stage of the event. Due to sound bleed from the main stage, heavy dust during dance parties, and no shade until night time (except for one lone tree off to the right side), it often wasn’t very full.

Castle Northwoods, on the other hand, was just as magical as Middlelands Arena. The large stage structure was nestled in the back of a glen of trees, all situated to make the most grand spectacle when the lasers finally started firing at the end of the night. The stage itself was in the shape of a knight’s helmet, which sounds a little fishy, but looks fucking incredible.

And all of that is just the interior of the festival… we haven’t even touched on the camping yet. For a festival in its first year, the camping could not have gone any more smoothly.

From entrance on Thursday afternoon to exit early Monday morning, the camp grounds were buzzing with revelers of all types. My first experience with the festival camping area was walking over to the sound camps where I discovered the Call of Booty, a sound camp full of pirates. Already, I was having a great night. Next up, I was greeted by a man with an archetypal mustache and goatee wearing a green wizard robe in the beer garden at the Insomniac sound camp who proceeded to give me a tarot card reading; upon telling him my sign, he gave me a specific time and place to meet wherein I would have the chance to be chosen as a king of my sign. At this point, I’m fucking giddy. Walking back to our tent at the end of the night, we happened upon a Marshmello who was wearing armor and a shield. By the end of the night, I was having a sugar rush from too many vodka red bulls and running around grinning ear to ear.

All of this, and you notice I haven’t mentioned any of the acts even once. I’m not even sure I will in this review, except to shout out a few of my favorite acts… Middlelands was far more than just your typical music festival, and anyone who says differently probably wasn’t in the right head space to experience it. Middlelands was a pure and eccentric escape into a world that many people have never and will never visit again. It had all of the innocence of a first-time festival with everyone exploring, and knowing just as little about the grounds as the person next to them.

“How do I get to the main stage?”
“I don’t know, I’m trying to get there too.”
“Wanna find it together?”

Middlelands brought more people of all types together than any festival I’d ever seen before, and I was insanely upset to be leaving Monday morning. I felt that with another week or so, we could have solved a lot of the world’s problems. I understand that’s a bit of a stretch now that I’m home two weeks later, but it felt right at the time.

With the news that Middlelands won’t be returning to the site of the Texas RenFair in 2018, this year becomes even more of a fleeting miracle. Literally no one else will ever again experience what it was like to go to the first Middlelands at this venue. That honor is reserved for the over 60,000 people that made the weekend such a staggering success, including the staff at Insomniac, C3 Presents and Texas Renaissance Festival.

All of the vendors who stayed behind to give us henna tattoos, who sold steak on a stick, who performed puppet shows when we just needed a place to sit and rest our feet… thank you so much. It really wouldn’t have been the same without you.

All of the performers who walked on stilts, who dressed up in incredibly lavish costumes, who fainted from exhaustion and went back out and did it again… thank you so much. The walk from stage to stage wouldn’t have been filled with as much wonder and amazement if it weren’t for you.

I hope that Middlelands, wherever it ends up in 2018, will retain the same sort of magic that it had in its first year.

Until then… fare thee well, and thanks for the memories.

I do want to shout out my favorite acts of the weekend, though: Lido, Big Gigantic, Gramatik, Joyryde, Friction, Snails, Crywolf, Jurassic 5, Metrik, and Phantogram.


Photos via Kuhl Photo

This article was first published on Your EDM.
Source: Middlelands Was A Magical Fantasy In Disguise As A Music Festival

NGHTMRE, R3HAB, and DVBBS Take Over Create Nightclub For Memorial Day Weekend

Mon, 05/22/2017 - 2:53pm

While many people might be hitting up Vegas for Memorial Day Weekend, there’s still plenty to do if you’re stuck in Los Angeles. With world-class clubs like Create leading the charge, you’ll still see some A-List artists without having to leave the county!

This weekend, NGHTMRE, R3HAB, and DVBBS will take over Create for a weekend of pure energy. Each artist has the ability to sell out a night, so you’re going to want to get tickets sooner than later or else you might really find yourself at home this weekend with nothing to do!

Tickets for each night are available here.

In addition to MDW, Create will soon host their 4-year anniversary party which was headlined last year by Ruby Rose, and Cosmic Gate before that! With the way things are headed, we wouldn’t be surprised to see a major festival headliner carrying duties this year.

More details on that later!

This article was first published on Your EDM.
Source: NGHTMRE, R3HAB, and DVBBS Take Over Create Nightclub For Memorial Day Weekend

Martin Garrix Shares Cover Art For “There For You” with Troye Sivan

Mon, 05/22/2017 - 2:43pm

As we approach the release date for Martin Garrix’s next single, “There For You” with Troye Sivan, the young producer has just shared with fans the cover art for the single. Look familiar?

FRIDAY @troyesivan

— MARTIN GARRIX (@MartinGarrix) May 22, 2017

We’re definitely starting to see a trend with Martin’s single art, especially with “In The Name Of Love” and “Scared To Be Lonely,” featuring Martin standing beside his featured vocalist in some random setting.

This time, however, Martin is featured on the left side of the image, rather than the right, as was the case in the aforementioned singles. That probably means absolutely nothing, but it’s just interesting to point out.

Whatever the case, fans can hear “There For You” this Friday, May 26! Listen early below.

This article was first published on Your EDM.
Source: Martin Garrix Shares Cover Art For “There For You” with Troye Sivan

Aphex Twin Shares Mysterious Website With Countdown Timer & Passcode Required

Mon, 05/22/2017 - 2:01pm

Aphex Twin is never one to do things in a simple way.

Early this morning, he posted a video on his Facebook and launched a website with NTS, the online radio station based in London. The website contains heavily distorted audio from “Can You Feel It” by Mr. Fingers, as well as a countdown timer that seems to end on June 3. On that day, Aphex Twin will play at Field Day Festival – many people believe that NTS will either stream his set live, or Aphex will make some grand announcement.

Whatever the case… it’s sure to be significant.

(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); = id; js.src = "//"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));

Posted by Aphex Twin on Monday, May 22, 2017

This article was first published on Your EDM.
Source: Aphex Twin Shares Mysterious Website With Countdown Timer & Passcode Required

The Chainsmokers Win Four Out Of Their 22 Nominations At BBMAs

Mon, 05/22/2017 - 1:04pm

The Chainsmokers were nominated for a staggering twenty-two categories at this year’s BBMAs, including multiple entries in more than one category. Over the course of the night, many awards were handed out although The Chainsmokers were only given four when all was said and done.

The Chainsmokers won for Top Dance/Electronic Artist, Top Hot 100 Song for “Closer,” Top Collaboration for “Closer,” and Top Dance/Electronic Song for, can you guess… “Closer.”

The Chainsmokers were also up for Top Dance/Electronic Album, even though both of their nominations were for EPs, technically, as were Kygo for Cloud Nine and Flume for Skin. However the winner in that category was none other than Lindsey Stirling, for Brave Enough.

In the Top Dance/Electronic Artist category, they bested other nominees Calvin Harris, Major Lazer, DJ Snake and Lindsey Stirling.

This article was first published on Your EDM.
Source: The Chainsmokers Win Four Out Of Their 22 Nominations At BBMAs


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