With Armin van Buuren’s latest single, the superstar producer is harkening back to a formative memory in his early adult life: the first time he set foot in a club.
The memory of losing yourself on the dancefloor for the first time is likely a near and dear one to many of the dance music faithful, and it’s an emotional journey van Buuren is aiming to recreate with “Lose This Feeling.” The euphoric trance anthem encapsulates that phantasmic feeling of being captivated in a state of wonderment.
The track incorporates pitched vocals, bouncy rhythms and pillowy melodies inducing the feelings of warmth and belonging many have found under neon lights. Its spirited pace is stylistically in-line with the ascendant popularity hard dance in recent times, but van Buuren notes that its brisk pace also harkens back to what was stylistically in vogue during his own come-up in the club scene.
“I love the current hype surrounding faster dance tracks,” van Buuren said in a press release shared with EDM.com. “The sound takes me right back to the days when I started going to clubs myself, and I wanted my fans to be able to relive that experience as well. I also noticed that they’re going crazy to these high-BPM trance tracks at the moment, so I hope ‘Lose This Feeling’ is just what they need to recollect the feeling they had when they visited a club, festival or show for the first time.”
You can listen to “Lose This Feeling” below and stream the new track here.
Kid Kapichi have shared a new single entitled ‘Let’s Get To Work’, as well as an accompanying music video.
The video, directed by Nick Suchak, was filmed on location at Hastings United Football Club’ home, the Pilot Field. The band don their own custom Hastings United jerseys in the video, and perform the song around various spots on the grounds.
In a press statement, lead vocalist Jack Wilson said that the video’s combination of music and football was of the “two biggest loves – and often biggest sources of stress – in [his] life”.
“To be able to combine them in this latest shoot was a lot of fun,” he said. “That was reinforced by the fact we were able to work so closely with Hastings United to make it a reality. We absolutely love the club and they hold many of the same values we think are important surrounding the community, which we cherish so much.”
Watch the video below:
Speaking on the song itself, Wilson described ‘Let’s Get To Work’ as “a motivational song about getting a job done yourself”.
“That’s really important, especially at a time like this when you can’t rely on the government,” he said. “You’re more reliant on your friends, family and loved ones to come together, because no-one else is going to help us.”
‘Let’s Get To Work’ is the band’s first new music since the release of their second studio album, 2022’s ‘Here’s What You Could Have Won’. In a four-star review of their 2021 debut ‘This Time Next Year’, NME described the album as “full of grit, determination and blood-curdling fury”.
“A record written in the trenches of class warfare and defiantly recorded during a devastating pandemic, it’s smart, emotional and fearless,” it read.
The electronic music community is constantly evolving with new sounds every week as artists become more innovative with their compositions. EDM.com’s weekly Fresh Picks series is helping uncover the latest and greatest tracks from the undergrounddance scene.
EDM.com Fresh Picks
Picard Brothers – Best Of Me
orbit – Firday Night
sastruga – Alright
Photay – Bombogenesis
Nitepunk, Yianna – Feel This Way
acloudyskye – Overthrower
Paark – Modern Euphoric
Charlie – wanna spend another night
The Outsiders – Prism
Eluvium – The Violet Light
You can find these tracks on EDM.com’s Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here.
We Came As Romans guitarist Joshua Moore has had a close encounter with a would-be thief while the band were on tour in Australia this week.
As reported by Australia’s 7 News, the band had performed in the South Australian city of Adelaide on Tuesday night (August 29), beginning their first Australian tour in eight years with a show at the city’s Lion Arts Factory.
On Wednesday morning, however, a 37-year-old man followed Moore to his hotel room at the Oaks Embassy and locked him out of it. Barricading the room, the man attempted to steal several of Moore’s possessions – including his passport.
By the time the hotel manager had opened the door using bolt-cutters, the thief had leapt from the room’s window and fallen five stories below. The man not only survived the fall, but was conscious and on the phone to emergency services when he was encountered by local tradesmen.
The man was then taken away in an ambulance and treated for his injuries, which were believed to be severe given the nature of the fall. View the full news report via Facebook below:
EXCLUSIVE: A hardcore thief has plunged five storeys from a CBD balcony and survived after breaking into the hotel room of touring metal band We Came As Romans.The American musos have told 7NEWS they feared the worst when the suspect made his daring getaway.7NEWS Adelaide at 6pm | www.7NEWS.com.au #7NEWS
The band shared the report on their social media accounts. “We unfortunately had an odd run in Adelaide this morning,” they wrote. “Thankfully, we are all OK.”
Despite the nature of the situation, the band members wished no ill will towards the man. “I just hope he’s alright,” said bassist Andy Glass when interviewed by 7 News. “No judgement on that guy,” added Moore. “I don’t know his life and what’s going on, but I hope it gets better.”
The band’s Australian tour – their first since clean vocalist Kyle Pavone passed away in 2018 – continued with a show in Sydney last night. It will conclude with shows in Melbourne tonight and Brisbane tomorrow.
Amsterdam Dance Event, the world’s leading electronic music summit, has announced their latest addition to their prestigious ADE Pro conference, “Essential Insider Knowledge.”
The informative series will host panels and conversations featuring execs from music business and technology leaders such as TikTok, Spotify, YouTube, Beatport and TuneCore, among others.
One of the series’ keynote speakers is Ole Obermann, TikTok’s Global Head of Music, who will share his insights on how to find success on the platform. Another is YouTube’s Head of Music Business Development, Mathieu Rousselot, who will discuss how to grow communities on the world’s largest video-sharing platform.
Professionals who are looking to learn more about electronic music distribution can attend a panel featuring TuneCore’s CEO, Andreea Gleeson, who will discuss the intermingling of music creation and artificial intelligence as well as the roles it plays in the company’s future.
Kapa Photography
ADE’s organizers also announced their “Strategies, Opportunities and Responsibilities” framework earlier this year. The new “Essential Insider Knowledge” portion will be a part of the event’s strategies sector.
ADE Pro is an annual conference for the global electronic music industry. From Wednesday to Saturday, artists and professionals are able to soak up firsthand knowledge from movers and shakers in the business, who will discuss topics like music publishing, bookings, sustainability and career advancement.
The 2023 Amsterdam Dance Event will take place from October 18-22. To learn more and purchase tickets, visit ADE’s website.
CHVRCHES frontwoman Lauren Mayberry has officially released her debut single as a solo artist: a stark, intimate piano-driven ballad entitled ‘Are You Awake?’
Mayberry wrote the song in collaboration with Canadian singer-songwriter Tobias Jesso Jr, as well as Zedd collaborator Matthew Koma – who also served as the song’s producer. Prior to its release, Mayberry announced her first-ever solo tour and teased the single with a 30-second preview. At the time, she shared on social media that she was “flip-flopping between excitement and abject terror” when it came to her impending solo debut.
Per a press statement from Mayberry, ‘Are You Awake?’ came together over a writing session between herself and Jesso that saw her initially preoccupied by “thinking a lot about loneliness and homesickness”.
“As soon as Tobias started playing the chords, the lyrics and melody came to me really quickly,” she said. “I finished the song with Matthew, who really understood what I was trying to say.”
Listen to ‘Are You Awake?’ below:
Mayberry goes on to note that a solo career, let alone making any music outside of the immediate framework provided by CHVRCHES, was originally something she “couldn’t imagine doing”. This ultimately changed, however, when she came to the realisation that “some things that [she] needed to write had to be done from purely [her] own point of view.”
“I never really thought I’d write a piano ballad, or a solo album full stop, so life really is full of surprises,” she said. “I am really looking forward to this chapter, and can’t wait for people to hear more of the music.”
Prior to the release of ‘Are You Awake?’ Mayberry’s solo credits were minimal. She contributed guest vocals to the Death Cab for Cutie song ‘Northern Lights’, which featured on their 2018 album ‘Thank You For Today’.
She also collaborated with The National‘s Aaron Dessner on a cover of Frightened Rabbit‘s ‘Who’d Kill You Now?’ for ‘Tiny Changes’, a commemorative tribute album for the band’s late frontman Scott Hutchinson.
CHVRCHES’ most recent studio album was 2021’s ‘Screen Violence’. The Scottish synth-pop trio are currently gearing up to release a 10th anniversary reissue of their debut studio album, 2013’s ‘The Bones Of What You Believe’. The new edition, which includes four previously-unheard songs and five live recordings from 2013, is set for release on October 13.
Chart-topping DJ and producer Jax Jones is planning a royal collaboration for the visuals of his live shows, featuring none other than Kate Middleton herself.
The rare collab, which is currently in progress at the time of writing, will see the Princess of Wales dancing to Jones’ music for integration into the visual aesthetic of his live performances. She is reportedly onboard, and Jones now has hopes to involve Price William in the visual collaboration too.
“I want ideally both Kate and Will, but if it’s just Kate then that is also more than cool,” Jones told The Sun. “Just them dancing in time.”
Catherine, Princess of Wales and William, Prince of Wales.
The royals were first introduced to Jones after he played the late Queen Elizabeth II’s Platinum Jubilee in 2022. After the performance, they hung out around Buckingham Palace together, according to Jones.
“We all got talking—they are super nice and super welcoming. To be asked to get involved and be an ambassador is a real honor,” he said at the time. “They are really down-to-earth and they just want to do positive things.”
In December, Jones and Middleton are due to film video content for the visual concept. Middleton’s team will be heavily involved in the production since the management of her reputation and online presence is paramount.
“You can’t just bring out your camera phone and shoot Kate,” Jones added. “She has a big team so you have to do it properly.”
Garbage‘s frontwoman Shirley Manson has explained why bands shouldn’t worry about placing on festival line-ups over time.
Manson recently shared a photo on social media of 1998’s Reading Festival lineup, in which Garbage were headlining on the same day that New Order were performing. She explained how daunting it was to see that her band was playing above some of their idols.
The singer reflected on the events of the day 25 years ago in the photo’s caption, which read: “25 years ago. I spent the entire day feeling mortified that we were headlining above New Order. It was the same summer that we landed higher on bills above Bob Dylan, Nick Cave and Patti Smith. Every time we wanted to grovel with embarrassment at the feet of our heroes.”
She continued: “But we were young and inexperienced. We had not yet learned that the music business does not treat its veterans with gentle hands. In due time, enjoying the great privilege of getting to stick around, we found ourselves in similar positions on festival bills as weathered by our heroes before us. We came to learn it is the natural order of things.”
“Bill positions have little bearing on anything other than the simple continuum of life,” she explained. “We are grateful to still be here. Playing and surfing and soaring through time whilst being healed by the people. You the people – we thank you for allowing us a seat at the table for over 25 years. We are forever in your debt.”
Bikini Kill‘s Kathleen Hannah took to the comments to agree with Manson sharing: “Could not have said it better! Thank you for this!” American music Producer Money Mark – known for his collaborations with the Beastie Boys – added: “I see our names on these posters. So thankful for the chance to give what we made to the fans. That feeling——there is nothing like it. And music?—— it is everything.”
In other news, Garbage and Wet Leg will serve as opening support for the Foo Fighters’ live show in Brazil. The show will take place at the Estádio Couto Pereira stadium in Curitiba, Paraná on September 7, two days before their previously confirmed gig in São Paulo (September 9). Visit here for any last minute tickets.
Alley Cat is a London-based expat of over two decades and a drum & bass veteran for at least that long, as well as co-head of ESP Agency and Kokeshi Records and a major voice in the EQ50 womxn’s music collective. She also just started her own radio show with KoolFM on RinseFM. If anyone knows how big and backand dark London can be, it’s Alley Cat. With all her industry credits and connections, Alley Cat’s music has always been decidedly personal to her own taste and she’s known for not following trends. In a world where pop D&B and dancefloor are bringing in the crowds, Alley Cat is happy to play her own way, and she still has plenty of takers: this summer alone she’s played Let It Roll, Locus, Outlook UK and Boomtown, just to name the big ones, and will be playing next weekend at Sun and Bass. D&B veteran is a bit of an understatement.
Alley Cat’s last chronological release was the 2015 digital re-release on Offshore Recordings of a 2009 two-sided vinyl single called “Sweet Spot”/”Radiate” with her good friend, the sadly recently passed dubstep and breakbeat producer, Vaccine. 2012 was her actual most recently produced release on the Kokeshi Kompilation album with the snappy halftime/hop hop hybrid track, “Don’t Edit Me.” Since then, she’s been focused on all the stuff listed above, but it seems she’s also been working away at her own stuff lo these eleven years, through all the changes to the industry, the pandemic and all the other big, bad, dark stuff in recent history. To say this EP title is apt would be an understatement.
All that political author posturing aside, it’s likely Alley Cat named her EP Big Bad Dark City as more of an homage, or at least as a nod to the vibes on said EP. Big, bad, deep and dark also seems to perfectly describe the sound she’s created here, with a heavy focus on deep bass sounds and deeper sound design. This is not the deep drum & bass that is prevalent nowadays, but something more intelligent and tribal, as the opening title track makes immediately clear. With what sounds like steel drum samples and an analog tom and snare creating the main drums, the beat comes in at intervals during the intro before filling in the main track with more snappy snare ornamentations and a deep, dark, primal bass note to ground each phrase. Emotive and rolling, there’s the slightest throwback to early breakbeat but there’s so much innovation here in terms of composition audiences might miss it if they blink.
Luckily, the next track, “Construction Tune” sets the record straight on where Alley’s favors lie in terms of sound combos. A straight up and down, amen-filled breakbeat track of the highest order, here the artist merges old school sounds, samples and vibes with modern techniques and sound design (and possibly a little construction noise from her own house) to bring this oft-forgotten-nowadays style forward to 2023. Still trippy, tribal and totally her own, “Construction Tune” would be cool to hear mixed with other genres, and given that Alley self-describes her sound as “drum, bass, dubstep, whatever,” it likely will be in the future.
Our premiere for today is the last track on Big Bad Dark City, called “May Day.” The amen, Venetian Snares-style snare fun is even more front and center on this track; in fact it’s the main feature. Alley’s gone full ambient on this tune when it comes to the higher registers, with sine wave synths swelling in and out of the track as the structure is once again a backwards jungle/breakbeat combo that hearkens back to the inception of D&B. The warmth of all these sounds put together is truly like nothing else being released right now, and it’s clear that’s what this artist wants. The OG heads will recognize all the samples of D&B and electronic yore, but younger audiences will see this track for its innovation and clean production style. It’s really all in the eye – or ear, in this case – of the beholder, and “May Day” has something for every ear.
It seems an 11-year hiatus from production hasn’t dulled Alley Cat’s compositional senses, nor her sense of what she wants her sound to be. This artist knows what she’s about, both in the industry and in her artistic expression. The Big Bad Dark City tends to demand that of its artists, and in Alley Cat’s case, it’s a result that’s definitely worth the time it took to create.
Big Bad Dark City releases tomorrow, September 1 on Armory, a new label out of Sacramento. Click here to purchase or stream starting tomorrow and here for links to Alley Cat’s other projects.
Tale of Us, the superstar production duo behind the globally renowned Afterlife brand, have announced their debut performance at Colorado’s iconic Red Rocks Amphitheatre.
Having played stellar performances so far this year at Coachella, Lightning in a Bottle, Tomorrowland and many more, Tale of Us have made a name for themselves by virtue of a striking combination of emotive melodic techno and jaw-dropping visuals that bridge the gap between music and technology. Their stunning performances have showcased top-tier mixing and stage production while tapping into the power of visual arts to deliver immersive experiences.
Tale of Us comprises Italian electronic music virtuosos Carmine Conte (MRAK) and Matteo Milleri (Anyma). Their music explores the themes of interconnectedness between humankind and machines and the relationship between technology, consciousness and nature.
Tale of Us recently announced two Los Angeles dates as well as shows in New York, Tulum and Santiago. They are also continuing their Hï Ibiza residency every Thursday through September 28th.
Tickets for the duo’s Red Rocks debut, which is scheduled for Saturday, October 28th, are available here.
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