After spending years cutting their teeth in Arizona, BIJOU and Drezo have found their own niches in electronic music. They’ve now finally come together for their first collaboration, “Goons,” out via the former’s Do Not Duplicate Records.
“Goons” is an immaculate fusion of BIJOU’s signature G-house sound and Drezo’s unmistakable, bass-forward production. The pair expertly utilize an intoxicating vocal sample and intricate production to open the track before its blistering drop takes control. Ultimately, the tune is a powerful festival anthem and a phenomenal way for these two to close out the summer.
Both BIJOU and Drezo have built respectable careers on their own terms, carving their own niche paths with the house music scene. The former has been on a tear in 2023, releasing singles like “Daybreak” and “Beyond To Infinity” while maintaining quality releases on DND RECS. Meanwhile, “Goons” is the first original release of 2023 for the inimitable Drezo, who launched is own imprint last year.
Listen to “Goons” below and find the new song on streaming platforms here.
The master of IDs Boris Brejcha is back with an announcement many that have been waiting for. “Vienna” featuring Malena Narvay marks the beginning of Brejcha’s upcoming LP and his first since 2021’s Never Stop Dancing, Level One. Released via his own Fckng Serious record label, “Vienna” comes in the wake of July’s acid heavy single “You Can Forever Be” with Deniz Bul and Moritz Hofbauer and is paired with a forward-thinking music video which plays along to the creativity of Brejcha’s music production.
A crossover track between minimalist techno and pop, “Vienna” is a distinct listening record that goes far beyond a club-designed bassline. While the rest of the album’s direction is currently unknown, it seems that Boris will guide Level One into a project that defies genres and takes risks. Slated for a release in early 2024, the masked icon still has a plethora of time to add to the collection of album singles. Using his colorful, eye-catching visual productions, Brejcha has vaulted himself into one of the leading artists for audio-visual performances. Following a passion for some of the world’s most beautiful destinations, Boris’s upcoming music videos with only further his reach as one of techno’s leading and most innovative producers.
After a well-received 2023 Coachella closing performance at the Sahara tent, it was only a matter of time before Brejcha announced a headline show in Los Angeles. Now playing for more than just an hour, Brejcha will take his ID filled sets and new album singles to Grand Park in downtown. Tickets are still available to purchase here.
The Killers have been named as the bookies’ favourites to headline next year’s Super Bowl LVIII.
The new insight was shared by the oddsmakers at MyBookie, which speculated that the American rock band are now leading the race to be the next performer at the iconic Super Bowl Halftime Show.
The upcoming event – Super Bowl LVIII – will be the first-ever Super Bowl to be hosted in Las Vegas, following the University of Arizona Symphonic Marching Band in 1967.
Now, bookies have confirmed that The Killers are looking like the most likely act to be set to perform at the monumental slot, and stated that they now have -110 odds to hit the stage for the Super Bowl LVIII Halftime show.
The prediction makes sense as the band originated out of Las Vegas back in 2001 – and would fit in with a potential desire for a local artist to play at the first-ever Las Vegas instalment.
Similarly, the band have become household names since their formation 14 years ago and hit songs including ‘Mr. Brightside’ and ‘Somebody Told Me’ would almost guarantee to prove popular with the crowds at the venue.
The Killers. Credit: Rob Loud/Getty
However, it appears that the organisers of the Super Bowl Halftime show have been less inclined to book rock artists in recent years.
Pop-rock band Maroon 5 were lined-up for the 2019 edition, Coldplay were brought in for the performance in 2016, and Red Hot Chili Peppers teamed up with Bruno Mars for the mammoth set back in 2014.
However, the event has instead leaned into more pop acts for the past few years and Rihanna was chosen as the artist for the most recent instalment, which was held at State Farm Stadium in Arizona.
With the reported -110 odds, The Killers have a little over 52 per cent chance of being chosen to play at the Allegiant Stadium.
Rihanna performs during Apple Music Super Bowl LVII Halftime Show at State Farm Stadium on February 12, 2023 in Glendale, Arizona CREDIT: Kevin Mazur/Getty Images for Roc Nation
The band are closely followed by U2 – who have +150 odds – and both Taylor Swift and Imagine Dragons, who each have +200 odds. Doubt has been shed on the possibility of Swift being chosen for the event, however, as the 2024 Super Bowl is set to take place on February 11, the same time frame that Swift is in Tokyo, Japan, (February 7 – 10) as part of her global tour.
Another huge rock act is also in the Top 5 most likely artists set to perform at the show, as Foo Fighters currently are listed as having +225 odds.
According to an NFL insider, reported by The Sports Geek, pop star Lizzo was also rumoured to be on the shortlist for the huge gig – however has been removed by officials in light of the accusations of sexual harassment raised against her.
Earlier today (August 18), pop giant Ed Sheeran admitted that he has no interest in being chosen for the Halftime show – stating that “it’s an American thing [for which] I don’t have pizazz.”
PEEKABOO, Flowdan and Skrillex have reunited for a follow-up to “Hydrate,” their fan-favorite collaboration from Skrillex’s Quest For Fire album. And this time around, they added some extra firepower with the addition of G-REX.
If you’ve caught a set from any of those artists lately, like Skrillex at Movement or PEEKABOO at Electric Forest, you’ve likely heard a track that hits so hard it looked like everyone in the crowd bit into a lemon. Now, the sinister “Badders” has been unleashed for all to enjoy.
“G-Rex, one of my best friends, was going through some personal hardships, so I invited him to Detroit,” PEEKABOO said of the new track. “I thought we could channel that emotion into our music, and that’s when we created ‘Badders.’ Working with Flowdan was an incredible experience; he’s such a wizard at creating lyrics… The same goes for Skrillex; he genuinely cares about music.”
An ominous bassline lurks in the background as Flowdan’s commanding vocals introduce us to “Badders.” As he continues, the minimal production shines with jagged punches, choppy vocal samples and wobbles that feel like they’re closely following you. The final product is so impressive because it hits harder than most of the in-your-face bass music out there, using a “less is more” philosophy.
“We didn’t overthink it; we focused on creating something that we both enjoyed and connected with,” PEEKABOO added.
“Badders” is out now on OWSLA. Take a listen to the long-awaited collaboration below and find it on streaming platforms here.
Guns N’ Roses have finally released their long-teased and recently delayed single ‘Perhaps’ – check it out below.
READ MORE: Slash talks Glastonbury, Guns N’ Roses and gory new horror movie ‘The Breach’
‘Perhaps’ was reportedly set for release last week (August 11), but was delayed due to reasons unknown at the time of publishing. Prior to its delay, a link briefly appeared on the Universal Music website, allowing eager fans to pre-save the track on Spotify and Apple Music.
However, fans were then able to hear it through an accidental leak at bars in America the following day (August 12). The track was made available on TouchTunes digital jukebox machines across the United States, complete with its potential artwork.
Now, ‘Perhaps’ has finally landed on streaming services for its official release, which you can listen to below.
The upcoming track is taken from the band’s ‘Chinese Democracy’ era and will mark the rock veterans’ first release since the four-song EP ‘Hard Skool’, which arrived back in February of last year. The EP was exclusively available on the band’s official store and contained two new tracks they released the year prior – ‘Absurd’ and ‘Hard Skool’ – as well as live versions of ‘Don’t Cry’ and ‘You’re Crazy’.
Speculation that Axl Rose and co. may be bringing the song back for an official release first arose earlier this year, when fans waiting to see the band in Tel Aviv overheard the members rehearsing ‘Perhaps’ before the show.
Additionally, ahead of their gig in Paris, longtime manager Tom Mayhue also teased that new G’N’R music was on the horizon and set to sound like their iconic ‘Appetite For Destruction’ album.
In a three-star review of Guns N’ Roses’ headline slot at Glastonbury this year, NME described the set as being “one of their strongest sets in recent years”, but receiving an underwhelming response as it was delivered to the “wrong crowd”.
ANATTA’s swift rise through the minimal house ranks is seemingly unstoppable. Today he returns with yet another crowd-pleaser, “Tone Lock Tool,” out via House Hats.
“Tone Lock Tool” is ANATTA at his best, as he’s once again fully embraced his minimal sound. His immaculate production is perfectly complimented by the hypnotic vocal samples scattered throughout the track. The crisp beat leaves plenty of room for small intricacies to shine through as the song chugs along.
The track, ANATTA, says, has roots to another project of his. He decided to give the stems a home of their own.
ANATTA.
c/o House Hats
“This release actually stemmed from another project I had called ‘New Order,’” he explains. “Something about that project was never quite right so I rearranged all my favorite parts and wrote a new bass line, and got a new vocal. This song is quite unique with a very busy and dynamic bassline as well as super quick and stutter vocals. Tons of swing on the whole track.”
After debuting in 2020, ANATTA has quickly become a name to watch in the minimal house scene. In just three short years, he’s secured releases on In / Rotation, Rawsome and Distance Records, among others, accumulating over a million streams and 20,000 monthly listeners.
Listen to “Tone Lock Tool” below and stream the track here.
d4vd has shared a new single, ‘Notes From A Wrist’ – listen to the emotional track below.
‘Notes From A Wrist’ and its accompanying music video were made available today (August 18), and sees the Houston-based singer-songwriter tackle themes of depression, unstable home environments and more.
“I wrote ‘Notes From A Wrist’ about a childhood friend that struggled with depression,” d4vd said of the track via a press statement. “It describes the pain experienced in an unstable home and something a lot of people in my generation experience and can relate to. The sonics are very stripped back, and the vocals almost sound like a looming voice in your head.”
The music video for ‘Notes From A Wrist’ – directed by Erik Rojas – sees d4vd relive the darkest moments of his life as he reminisces about a lost love. Watch the music video below.
The track is the first to be released from the young musician’s newly announced EP, ‘The Lost Petals’. The five-track project is due for release on September 8 via Darkroom/Interscope. You can now pre-save the EP here.
d4vd has also shared the upcoming ‘The Lost Petals’ EP’s artwork and tracklist. See the full details for ‘The Lost Petals’ below.
The tracklisting for d4vd’s ‘The Lost Petals’ EP is:
‘Notes From A Wrist’
‘Hollow Prayers’
‘Rehab’
‘Poetic Vulgarity’
‘Once More’
‘Notes From A Wrist’ is d4vd’s first release since he teamed up with Holly Humberstone last month on a track called ‘Superbloodmon’ from her upcoming debut album.
Earlier this year, d4vd was unveiled as the inaugural cover artist on The Cover, NME‘s newly launched weekly cover story featuring emerging talent from across the globe. Every week, a rising artist will feature on The Cover, and the full interview with d4vd can be read here.
To celebrate The Cover, d4vd also curated an accompanying ‘songs for tour’ playlist, featuring songs from Humberstone, Clairo, Billie Eilish and more. Listen to the full playlist here on Spotify and here on Apple Music.
Following d4vd’s christening of The Cover, NME attended the star’s headlining concert at the Islington Assembly Hall on May 30. NME‘s Liberty Dunworth wrote in a four-star review of the performance: “It comes as no surprise how the genre-bending musician has resonated with listeners worldwide. Confidently striding around the stage as if it were his second home (this is only his second-ever show in the capital), part of d4vd’s charm comes from his ease when it comes to poking fun with his audience.”
Almost three years have passed since the release of Kasbo’s acclaimed sophomore album, The Making of a Paracosm. Now, the Swedish electronic music virtuoso makes his triumphant return with a brand-new single, “The Way You Had Me,” first solo release in three years.
Kasbo has carved a distinct niche within electronic music through his evocative and transformative sound. “The Way You Had Me” reaffirms his songwriting and production mastery, and finds him delving into the emotive power of dancefloor-driven compositions. Driven by a minimalistic yet punchy groove, it allows Kasbo’s signature melodic elements and groovy guitars to shine.
Out now via ODESZA’s Foreign Family Collective, “The Way You Had Me” also ushers in a new chapter for Kasbo.
“‘The Way You Had Me’ marked a major turning point for me creatively. I’d been struggling for months, if not years, to rediscover my place in the new and quickly changing electronic music landscape,” he explained. “This song felt like the beginning of me realizing that—covering new ground while still creating something that felt true to myself.”
“The song itself is about a past relationship and coming to terms with a partner moving on,” Kasbo continued. “That period when you’re wondering if they’re just distracting themselves or if they’ve truly moved on, and questioning how what you had could be real if it could be forgotten so quickly… I’m so happy to finally be releasing music again and can’t wait to continue sharing this new era of inspiration with everyone.”
In recent years, Kasbo discovered an unexpected passion for DJing, a fresh avenue that complements his live performances. Embracing the art of mixing records, he made his mark with official “Club Sets” late last year, crafted an exclusive DJ mix for Spotify and joined forces with for his first-ever official B2B at Electric Forest 2023.
While Kasbo’s DJing journey flourishes, his live shows remain a focal point. He’s slated to embark on Jai Wolf’s Blue Babu tour later this summer, enchanting audiences at renowned North American venues like the Brooklyn Mirage, Mission Ballroom, Echostage and The Greek Theatre.
K-pop girl group FIFTY FIFTY have spoken out for the first time since the start of the lawsuit against their label Attrakt.
On August 17, handwritten statements in both English and Korean allegedly from FIFTY FIFTY were posted on a brand-new Instagram account without a profile picture. A representative of the girl group have since confirmed that the letters were indeed written by the members, per Herald Pop.
In their letter, FIFTY FIFTY said they decided to “put our hesitation aside and [step] up to share our position” due to the “[confusing] current media and press coverage”.
“Misunderstandings and accusations have been snowballing. We were deeply shocked by this and have been going through a tough time,” the quartet wrote. “We believe there is a truth that needs to be uncovered despite these difficulties.”
“We first wanted to take this opportunity to right the wrongs that have been forced in our relationship with the agency,” they added, saying that they had “no other choice” in order to “protect our music”.
FIFTY FIFTY. Credit: Attrakt
FIFTY FIFTY then alleged that there have been “many untrue stories being reported in the media”, though they did not touch on which news stories specifically. “We have been careful about commenting… [but] this does not mean we admit or accept what has been reported”.
“We believed that taking this issue to court based on facts was the right way to solve the situation. We had hoped that the truth would be uncovered during the trial process and our right would be guaranteed,” they added.
The girl group say that they have “[continued] to collect and submit materials and evidence based on facts”, and hope that the public “look at the facts [of the situation] objectively”.
FIFTY FIFTY ended their statement by reiterating that “every one of our members is in this together, relying on each other to stand strong”. They added that their intention is to continue as a girl group “in a trustworthy environment”.
FIFTY FIFTY filed to a lawsuit to suspend their exclusive contracts with Attrakt in June 2023, claiming that the label had violated the terms of their contract. The same day, the K-pop agency filed a criminal complaint against its former co-CEO Ahn Sung-Il.
In the days prior to the announcement, Attrakt had released several statements claiming that Warner Music Korea and Ahn Sung-il had been attempting to poach members of the group.
The opportunity to party at an altitude of 6,000 meters doesn’t come every day. Neither does the chance to break two Guinness World Records.
Belgian DJ and producer Mark Ursa is hosting the record-breaking event, “Mark’s Attack: Extreme Edition” in Bolivia. Scheduled for November 11-14, the exclusive “extreme clubbing” experience will begin at Bolivia’s La Paz. From there, attendees will reach the peaks of the Andes Mountains at an altitude of 6,000 meters.
Ursa tells EDM.com that the event aims to break two Guinness World Records: the “highest altitude dance party on land” and the “highest altitude DJ set on land.” Currently, the record stands at 5,909 meters, or 19,386 feet.
During the pandemic, Ursa broke the Guinness World Record for the “longest marathon DJ concert live stream” after playing for a staggering 51 hours.
Extremely limited capacity tickets are available for the record-breaking event. A $1,200 early bird pass includes hotel accommodations, parties, mountain climbing equipment, guides and more. You can find out more about the itinerary here.
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