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Sherm is on an unstoppable rise, culminating in a standout finish to 2023 with features in Forbes and a prime slot supporting Zedd’s NYE bash at Navy Pier. Far from slowing down, Sherm is thrilled to announce his fifth consecutive appearance at Chicago’s prestigious North Coast Festival. Adding to the excitement, he joins forces with Halil Sensei to drop their pulsating tech house anthem, “Toxic,” available today via Hood Politics Records.

“Toxic” encapsulates the finest elements of the underground, powered by a hypnotic vocal and booming tech house groove. Sherm & Halil prove just how dynamic of a team they are, effortlessly contorlling the energy from start to finish to create an enchanting experience. Whether it’s part of your pre-game, peak time at the club, or on your way to the afters, this is the perfect tune to turn on.

“Halil Sensei and I are from completely different parts of the world but that didn’t stop us from going above and beyond to make something special. Halil has been making big waves since his first single “The Underground” on Hood Poli last year and I knew that a collab would happen one day. We fused my style of Chicago inspired tech house with Sensei’s melodic leads and lyrics and turned out to be the perfect recipe for the sound of Hood Politics Records. I’m truly obsessed with this track and we’re so stoked to finally let the world feel the raw power that it possesses.” – Sherm

“Toxic” is definitely the most important track in my career. When we started working on this track, I truly felt that something amazing would come out of it. Since collaborating with Hood Politics, a lot has changed in my career. This song we did with Sherm will leave a huge impact on the listeners. I really believe in this track. – Halil Sensei

Listen below!

This article was first published on Your EDM. Source: Sherm & Halil Sensei Link Up For Spectacular Underground Single “Toxic”

Continuing their momentum from their Factory 93 single “Instinct,” techno duo Dunes of Dawn ended 2023 on a high note, gracing the stage at Chicago’s esteemed ‘Day One’ event alongside industry heavyweights like Skream and Hot Since 82. These accomplishments caught the attention of influential labels, setting the stage for what promises to be their most impactful year yet.

Comprised of lifelong friends Tanner and Yianni, Dunes of Dawn have dedicated themselves to their craft, with a deep-seated passion for electronic music driving their journey. Navigating the realms of house and techno, their dedication has led to significant milestones, including sharing stages with the likes of Agents of Time, andhim, and Andrew Bayer. Now, their ascent continues with a signing to one of electronic music’s most revered labels: Insomniac Records.

Their latest release, “Dimension,” under the In Rotation/Insomniac Records imprint, marks the beginning of a new chapter for Dunes of Dawn. This track serves as the inaugural step in a series of label partnerships, each representing a milestone in their burgeoning career. From the first pulsating beat, “Dimension” transports listeners to a futuristic dystopia, characterized by its dark melody and powerful percussion. Tanner’s haunting vocal sample seamlessly weaves into the fabric of the track, enveloping the listener and solidifying the thematic architecture.

Check it out below!

This article was first published on Your EDM. Source: Dunes of Dawn Make Debut On Insomniac Label With Thrilling Techno Single ‘Dimension’

Nate Mars recently unveiled his latest project, the In Time (Remixes) collection, featuring reimagined versions of his original In Time EP, released just last November. This eagerly anticipated release showcases remixes by esteemed artists Liondub, Tim Reaper, and Starkey, each injecting their unique flair into Mars’ tracks. Alongside these remixes, Mars introduces “Parallelogram,” a fresh original track that perfectly encapsulates his signature style.

Kicking off the In Time (Remixes) is Liondub’s reinterpretation of the title track, “In Time.” Liondub, a seasoned figure in the global drum and bass scene, delivers a smooth and polished rendition, infusing the track with a seamless drum and bass rhythm that propels the listener forward. With Liondub’s extensive experience and collaborations with reggae and dancehall artists worldwide, his take on “In Time” sets the tone for the remix collection.

Meanwhile, Tim Reaper, founder of the esteemed Future Retro London record label, offers a sophisticated remix of “Starting Over.” Known for his mastery of jungle and breakbeat hardcore, Reaper showcases his technical prowess with clever breaks and minimalistic vocal elements that highlight the essence of quality dance music. His remix exemplifies the spirit of original jungle music, staying true to the genre’s roots while adding a contemporary touch.

Philadelphia-based producer Starkey rounds out the remix collection with his unique take on “To Kill A DJ,” infusing the track with dub/reggae influences and hard-hitting UK garage elements. Starkey’s dystopian soundscape captivates listeners, seamlessly blending Mars’ original with his distinct style, demonstrating his versatility and boundary-pushing approach to music production.

Finally, Nate Mars introduces “Parallelogram,” a brand-new original track that showcases his expertise in drum and bass and UK garage. With its metallic percussion, fast-paced breaks, and thick basslines, “Parallelogram” exemplifies Mars’ ability to surprise and delight listeners with his innovative soundscapes.

We had the opportunity to speak with Nate about the remixes and what’s ahead for this year. Check it out below!

It looks like ‘Out Of The City’ and ‘In Time’ projects were major recent highlights. What do you hope people will take away from both of these works?

I’m very proud of those two releases and they are both deeply personal to me. I have always been into the sound of the TB-303. It is a magical instrument that can sound hypnotic at times or produce a driving, aggressive bassline but it is so rarely used beyond Acid House. For the “Out Of The City” record I really wanted to push 303 norms and I think ultimately DIA LUNA and I made songs where it serves as the glue but overall, we took things in a more dark pop direction. That record came about through longtime collaboration and a series of live shows together, experimenting with looped vocals, drum machines and other hardware. While I do DJ a bit these days, I still really love playing live sets with the TB-303 and other gear.

For the “In Time” release, I went back to my roots in drum and bass/jungle a bit. I have always been inspired by that sound along with 90s rave music, breakcore and early dubstep. My very first release was actually a drum and bass release on a compilation called “Liberation Systems” which also featured artists like DJ Spooky, DJ Wally and others from the Liquid Sky era. That release came out several years ago and I hadn’t released any new drum and bass since this most recent “In Time” EP which features 4 new songs. I have been making a lot of drum and bass though and am currently sitting on a lot of unreleased songs. I may release more this year. In the meantime, there is also a remix EP that was recently released which features remixes from Liondub, Tim Reaper and Starkey; all artists whom I deeply respect. Huge thanks to everyone who is listening and supporting as well.

How did you and Tim Reaper, Starkey and the other artists for the remix EP meet? It’s awesome that they have become part of the ‘In Time (Remixes)’ release.

I have not actually met Tim Reaper before. I had reached out to him about a remix for this project because I love his production style. He is a very prolific producer, DJ and founder of the label FutureRetro London which has some amazing releases. I am honored that he was up for a remix. Liondub and I have known each other for many years now through the small New York scene. I remixed a track for his label a while back and immediately thought of him for this remix EP. Starkey and I have also known each other for a while now and have played a few shows together before. His remix of “To Kill A DJ” took that song to a whole other level! The drums on that one sound bonkers.

Your work and passion extend beyond the studio. What upcoming visual project are you working on, and what inspired you to focus on it?

In addition to releasing songs, I love working on projects where I can bring music or sound design to immersive experiences like visual installations and games. I recently started collaborating with a longtime friend and visual artist Far Eye under the name Pressure + Time, the outlet for our audio/visual work together. We just had a show on view at a gallery in upstate NY for a month utilizing old school tube TVs with looped videos that would generate different visual and sonic combinations as they play. I also just finished working on sound design for a very cool independent game called ‘Sound Gardner’ created by James Capuder. In the game, you create a sonic garden by planting various plants that also generate sounds. Over time, certain plants will pass away (each species having a different lifespan) and this generates new and interesting sonic combinations while also making room in the garden to grow new trees, mushrooms and flowers. Both of these projects were a lot of fun to work on.

There’s an atmosphere of independence and confidence in your own artistic direction evident through the branding and sound of the Nate Mars concept. Where does this sensibility come from?

Thank you. I try not to think about my “brand” too much and just let things flow naturally. Especially when I’m working on music which I do daily, I make a point not to think about anything related to biz and really focus on getting the songs to a place where I feel good about them. When I have music that feels finished, then I’ll dedicate some time to think about where the songs might live out in the world and maybe resonate with people. Musically, I do spend time thinking about pushing certain sounds I’m inspired by in new directions though. That is what led me to write “songs” with the TB-303 instead of “tracks” where there are lyrics and more of a structure. I think the 303 has so much room to inspire and reach new ears outside of Acid House. This thinking is also what led me to sing and write lyrics for the “In Time” EP. There are some other innovators who are bringing Dnb into more of a song structure but I think there is still so much more room for exploration.

I noticed you have releases dating back nearly 15 years on Spotify. What got you started, and what keeps you going in music?

I have been a musician for a long time, growing up playing bass since I was around 12 years old. Eventually that led to producing music because I would hear or imagine other instruments playing melodic parts while I was practicing bass or imagine what the drummer was playing. I have pretty much always known that music is something I would stick with. Now, I sort of can’t not keep going. If time passes and I don’t work on music for a bit due to various things that inevitably come up in life, I’ll start feeling depressed or guilty. Music is deeply important to me and it has always served as an outlet of emotional expression to celebrate the joys in life or cope with its challenges.

Are there any moments or activities that place you in a more inspired or creative headspace?

I think it is very important to make time to “take in” other art forms. I am kind of an extroverted introvert. While I can be social, I also like to spend a lot of time alone reading, listening to music, walking in nature or playing video games. I currently blaze through a good book every two weeks or so and get out in nature to hike pretty regularly. Some amazing books I have read lately are “The Coming Wave” by Mustafa Suleyeman which talks about the trajectory of AI and the intersection with biotechnology. I also found Rick Rubin’s “The Creative Act” to be tremendously inspiring and applicable to any creative endeavor. Currently, I’m reading “Crime and Punishment” by Fyodor Dostoevsky after just finishing Cormack McCarthy’s latest novels, “The Passenger” and “Stella Maris”. Highly recommend all of these. Also recommend Elden Ring and Call Of Duty for PS5. Haha.

Looking back, were there any key mentors or figures during your upbringing who helped put you on the path to music?

There are several people who have greatly impacted my journey in music over the years. My good friend and incredible music producer Eric Maltz who now lives in Berlin started a record label with me called AlienUpRock in the early 2000s. We pressed a record, took it to stores like Breakbeat Science, Satellite and Eightball in NY when those stores were open and worked on a bunch of music together. We have learned a lot from each other over the years. On the film/TV music side of things, my good friend Greg Tobler is an amazing mix engineer who has worked on some great shows for HBO, Netflix and others. He has given me many opportunities over the years to hone my skills and I’m very grateful. On the business side of things, my good friend Justin Klienfeld who owns rephlektor, a music PR and marketing agency has given me so much incredible advice over the years, helping me navigate the ever-changing landscape of the industry. There are so many other people I want to shout out here but these 3 people come to mind in terms of the direct impact they have had on my music. I also greatly trust their ears and sometimes share projects ahead of release for a vibe check. I don’t like to share music with too many people before I release something but this crew is in my inner circle.

And while not necessarily mentors because I don’t know them personally, musical artists like Massive Attack, The Prodigy, Bjork, Apex Twin, Jamie xx, The Knife, Susumu Yakota, Philip Glass, Goldie and Moby immediately come to mind as having made a huge impact on my work. I’m also deeply inspired by artists who work in other mediums like Agnes Danes, Yayoi Kusama and Tomás Saraceno.

How is 2024 looking for you? Are there upcoming releases you have slated, and what are your goals?

I am currently sitting on a lot of unreleased music. Most of it is acid leaning, drum and bass or jungle inspired and there is also some really weird experimental stuff thrown in. I plan to release more records this coming year starting in Spring of 2024. I am also working on a pretty big audio/visual project that incorporates some old films that are now in the public domain. I’m excited about that project and will have more to share soon!

This article was first published on Your EDM. Source: [INTERVIEW] Nate Mars Unveils Official Remixes From Liondub, Tim Reaper, Starkey & His Own New Original ‘Parallelogram’

Following the success of his December 2023 release, ‘You Ready To Work?’ and January 2024’s ‘Everyday,’ Kid Caird is hitting the ground running as he gears up for the year ahead. With over 100K streams on Spotify alone, a busy touring schedule, and countless hours spent in the studio last year, he’s eager to make the most of every opportunity in 2024.

His latest single is “Body Work,” a track born from a stroke of inspiration while Kid Caird was at his keyboard, diving into the digital crates of samples. As he sifted through the sounds, creative sparks flew, culminating in the realization of his vision. With each tinkering session, the pieces fell into place until the song burst to life.

“Body Work” wastes no time in captivating listeners with its crisp tech house percussion, robust basslines, and a synth with brass-inspired tones that serve as the song’s anchor. Combined with chopped vocal samples, it’s the recipe for a night filled with unforgettable moments on the dancefloor.

Listen below!

This article was first published on Your EDM. Source: Aussie artist Kid Caird Drops Simmering Tech-House Banger ‘Body Work’

Blaze Orange and Kwal, driven by a string of label releases, club gigs, and late-night afterparties, are seizing every opportunity to ride the wave of momentum cultivated in 2023. Hailing from the vibrant Chicago-Milwaukee corridor, an area rich in artistic opportunities and home to a diverse array of talent and venues showcasing electronic music, the duo is thriving. With their trajectory on the upswing across various fronts, they’ve dedicated themselves wholeheartedly to their latest project.

Their latest release, “Shake,” delivers a club-friendly, classic house vibe punctuated by well-placed vocal samples. The track effortlessly infuses a hypnotic groove, driven by a pulsating bassline, raw synths, and high energy arrangement. Signed to the rapidly expanding label Pharaoh Phonix, “Shake” proves to be another heater ready for dance floors around the world.

We had the opportunity to speak with them about the single and their work together. Check out the interview below!

For both artists: How has the Chicago-Milwaukee corridor influenced Blaze Orange and Kwal’s music and career trajectory?

K: The two cities are so close in proximity that it’s almost impossible for spillover to not occur. Chicago has strong roots as the birthplace of house music.. Milwaukee shares that same passion for house music so finding artists with similar tastes is not a complicated task. There is so much talent between these two cities.

B:  Milwaukee has always seemed to look up to Chicago for being both the home of House Music and quality of events and artists.  I have a great respect and admiration for those early artists that carved the way of House Music.  I think you will hear that more and more out of my recent work some of the Chicago flavor I put into my songs.

For both artists: Can you describe the process behind creating “Shake” and how you achieved its distinct sound without resorting to overcomplicated sound design?

K: Blaze Orange had a fantastic groove laid down when he reached out about collaborating. Once I heard his original idea, I knew I would be able to add my own flavor to it without needing to recreate the wheel. It was one of the less stressful collaborations I’ve done in recent memory and I think that’s what made it so special.

B:  Late one night, I had an idea laid out, the SHAKE vocal response was something I tried in a previous song that didn’t get far.  This time the track was done within a day and I was really digging it.  After I sent it to Kwal for his thoughts, he opted to jump on and it was very easy for the collaboration.  We both were able to add complimenting drums and synths to the sound to keep the energy and make it memorable. 

Blaze Orange, what inspired the transition to your current persona in late 2021, and how has it impacted your musical direction?  

B: I spent 15 years as a mostly open format DJ that quite frankly achieved most anything I ever wanted.  I had the pleasure of playing shows with the likes of Green Velvet, Ardalan, Disco Fries, LA Riots, and many others. However I never took production seriously until then.  Working hard through the summer, I was close to having tracks that could get signed.  I opted to rebrand, stop all open format shows, and go all in on the new persona of Blaze Orange.  Only wanting to do shows where I can play some of my own tracks and other house music tastes that I enjoy.  It’s been fantastic so far.  Lots of hard work in the studio, sending out demos, promoting the tracks and shows.  I’ve accomplished a lot lately but always striving for those next goals and to improve my sound and brand.

Kwal, working in artist relations at Spybar, how has interacting with renowned tech house artists influenced your music production and DJing style?

K: Contrary to popular belief my biggest takeaway from working in AR is not what everyone thinks it is.. 99% of these artists are incredibly nice people and are humble. It keeps me in check and reminds me to just be myself. Hearing headliners play so often also reminds me that we producers tend to really over complicate our song creation process. Create a strong groove and keep it simple.

For both artists: How do you balance the demands of label releases, club performances, and afterparties while maintaining your creative output?

K: As I grow as an artist it is slowly becoming a bit hectic to stay on top of everything “required” to be a music producer in 2024. One thing that keeps me grounded is having a schedule. Set aside time to complete tasks and do your best not to get distracted. Lastly, don’t forget to take time to be with your family, significant other, pets, etc.

B:  I’ll come straight forward and say, it’s my experience and the fact that I am 8 years sober.  I have put great value on weekend studio sessions in the morning being the most productive and creative.  I do not drink at all,  I go home and to bed after most every show so I can get back in my studio the next day.  Striving to get music work done during the work week also can be challenging; however, discipline is everything.  I do turn down some shows or just a fun night out so I can get some music work done.  

Blaze Orange, how has your musicians’ collective contributed to the growth of the community and supported emerging artists?

B:  I have worked with a number of groups over many years.  There are always waves of both music sounds, genres and talent.  Finding the middle ground to respect those that came before you and also help along the younger new talents.  I have taken part in some sober events, fundraising and benefit shows to raise awareness for various causes.  Also on the production side, I have started to tutor and help aspiring producers to learn there way around music production and the industry. 

Kwal, since starting your journey in the music industry in 2013, what significant changes have you observed in the electronic music scene, particularly in Chicago?

K: Chicago is an extremely busy city when it comes to house music culture. One thing I can say for certain is that being able to make good music has never been enough to get you on stage. This city and its promoters/talent buyers really want your support which makes total sense. I neglected this for such a long time and it impacted my career early on. Get involved and shed love as much as you can. With that said, I’d say the biggest change has been in the amount of promoters in the city.

For both artists: How do you approach the creative process when collaborating on tracks, and what roles do each of you play?

K: For me I tend to only take on collabs from others if I truly feel I can add value to the song. My strong suits are writing basslines and drums. I also tend to find myself being picky and not wanting to rush to finish.

B:  For me, working in a compatible DAW like Ableton goes a LONG way.  I can be picky about sounds being genuine to what I like.  This one with Kwal came very easy and organically that fit both of our styles.     I should also mention we met on a Discord server for the producer CASHEW and found out Kwal was pretty local to me.  That was pretty cool, so thanks to CASHEW!

For both artists:  With a clear vision for the year ahead, what are some specific goals or projects you’re aiming to accomplish?
K: My biggest goals for 2024 are to sign a contract with one of my top 5 labels and to commit to playing a local festival like Arc(even if it’s for 2025).

B: Growing my fanbase, socials, music reach. Main targets for this year are signing a track to a much bigger label than previously.  As well as a music festival for this year or next.  Continuing to craft my sound, brand and workflow should help those things fall into place.

This article was first published on Your EDM. Source: Blaze Orange & Kwal Collaborate For Electrifying House Single ‘Shake’

The music scene is abuzz with the release of “In The Middle,” a groundbreaking single that represents a powerful collaboration between the dynamic duo Smith & Sorren and the innovative Jay Roman. Garnering widespread praise, this track is a masterclass in musical fusion, blending sultry vocal samples, a driving bassline, and intricate percussion to craft an immersive listening experience. The single’s instant appeal is a clear reflection of the artists’ collective prowess and creativity.

Hailing from New York City, Smith & Sorren have made significant waves in the music industry as a DJ/Producer duo. Their journey from childhood friends to prominent musical figures is a story of relentless passion and evolving artistry. Known for their fresh sound, they’ve secured positions on prestigious Spotify editorial playlists and have been featured on platforms such as SiriusXM, Insomniac Radio, and Dash Radio. Their remix of “Baddest Of Them All” by Eliza Rose stands out as a particularly notable achievement, further solidifying their status in the music realm. The launch of their own label, S&S Sound House, in the summer of 2023, highlights their dedication to influencing and innovating within the music industry.

Jay Roman adds a unique flair to the mix, drawing from his diverse musical upbringing and early immersion in New York’s vibrant club scene. His signature deep tech house sound, enriched with elements of hip-hop, sets his work apart, making him a standout figure for his innovative productions and memorable live performances.

“In The Middle” is a testament to the seamless integration of Smith & Sorren’s dynamic energy and Jay Roman’s unique sound. This collaboration not only showcases the individual talents of each artist but also raises the bar for what can be achieved through musical partnerships. Available on all major streaming platforms, the track invites audiences to dive into the distinctive soundscapes crafted by Smith & Sorren and Jay Roman, offering a fresh and exciting listening experience.

This article was first published on Your EDM. Source: Smith & Sorren Team Up with Jay Roman for a Captivating Tech-House Anthem ‘In The Middle’

We’re just over a month away from the 2024 edition of Ultra Music Festival at beautiful Bayfront Park in Miami. To help get you in the mood we teamed with San Holo for an exclusive playlist out now Ultra’s official Spotify account. San Holo will be going b2b with Madeon for an exclusive set this year and this playlist is an uplifting and vibey journey that is sure to match what these two masterful performers are sure to bring to the Ultra stage.

2023 was a busy year for the Dutch producer/musician. He started the year off with a hit single “Don’t Look Down” and capped it off with the release of his second studio album Existential Dance Music. He also performed at Electric Forest, Lollapalooza Paris, EDC Orlando and headlined two of his own North American tours. San Holo also just released his first single of 2024, “GLOW” featuring Au/Ra (the first track on this playlist), a catchy and uplifting track that sees San Holo unleash some catchy and melodic piano notes alongide Au/Ra’s ethereal vocals.

“I’m extremely excited about my b2b with Madeon at Ultra 2024!” San Holo says. “It’ll be a great opportunity to explore new exciting sounds and expose people to music they might have never heard before!” Check out San Holo’s exclusive new playlist the Cosmos featuring music from San Holo and friends, Duskus, Pauline Herr, Throttle, DROELOE and many more. 3-Day GA tickets are still available for Ultra Miami 2024. Check out the official music video for San Holo’s latest “GLOW” featuring Au/Ra as well.

This article was first published on Your EDM. Source: San Holo Shares Exclusive Playlist Ahead of b2b Performance with Madeon at Ultra Miami 2024

YEDM introduced K4LT as a new artist in July 2023, with his pensive, ambient track called “LCPD”. It was a follow-up to his first EP, Endgame, and was two years in the making as well as a departure from his original style. Now focused more on electronic production, “LCPD” has seen an intriguing amount of buzz, both from the industry and fans. Audiences are put on notice, however, not to settle into the dreamy, celestial vibe of “LCPD”. A very different mood is incoming with K4lT’s latest track, “This Room (Reprise)”.

The Belin-based K4LT, whose artist name is a stylized version of the German word “kalt” (trans. “cold” in English), has said his new rash of songs is a reflection of the isolation created by the COVID lockdowns and the struggle of people even now to remember how to socialize. “This Room,” released early this month, with its pseudo-goth synth styling, relentless, quick-paced beat and the ennui and anxiety heavy in the lyrics, gives a disturbingly accurate picture of what many people are experiencing post-pandemic.

…the experience of more and more of your friends (and probably yourself too a bit) turn into modern day hermits, giving up on parts of life like relationships or having fun in life at all. Just trying to make it without giving any efforts into what would make them truly happy. And the songwriter being afraid how that ends (reading the “list of deaths per year”). In the end the song is about not accepting this defeats and fighting to get up, be motivated (“up to interfere”).

“This Room (Reprise)” is also meant to be throwback to a song of the same name by The Notwist, one of K4LT’s biggest influences. This is not a remix or a cover, but a complete re-imagining of the track, as The Notwist’s original is more directly shoegaze and post punk with some interesting vintage and experimental interludes, which might remind some fans of mid-era Radiohead or Death Cab for Cutie merging with Venetian Snares. Refreshingly honest about naming his influences and inspirations, K4LT’s version is both a continuation of the original tone of the track and a reversal. Where The Notwist’s original is soft, vulnerable and largely rock-based, K4LT’s reprise semi-industrial and itchy, pacing, impatient, bordering on frustrated. A contrary statement to the original, but no less impactful.

Perhaps “This Room (Reprise)” meant to show the difference in the way we manage relationships and interact with each other since the lockdown. Rather than focusing on a relationship and where it’s going, we’re constantly looking outward whilst staying inward, not satisfied but not willing to do anything about it. A tech-driven futility and an inability to process emotions through relationships – or even at all – stamps this track. That itch is there though, K4LT warns, and it’s ready to break the surface, the portends of the last line repeated before the song cuts off: “…up to interfere; up to interfere.”

“This Room (Reprise)” is out now and available to stream along with K4LT’s other works on Spotify. They can also be purchased on Bandcamp.

This article was first published on Your EDM. Source: New K4LT Track ‘This Room (Reprise)’ Pays Homage to Artist’s Muse

ZUSO, spearheaded by Australian producer Gabriel Cuenca, is carving out an exciting niche in atmospheric house music that has begun to garner him a global fanbase. In October 2023, Gabriel teamed up with the Sydney-based collective LOVE CLVB for the release of his single ‘Hold Me.’ The track quickly garnered widespread acclaim, capturing the ears of music enthusiasts and tastemakers globally.

As he ventures into the new year, Gabriel recently unveiled his latest offering, the tranquil atmospheric piece titled ‘In The Dark.’ Featuring the ethereal vocal talents of Californian artist KORA, the track serves as another testament to ZUSO’s exceptional production prowess and distinctive style, expertly blending downtempo elements with a thumping liquid drum and bass groove.

“I wanted to give this song a bit of a dark tone whilst also making it still fun and hooky. It’s written from the perspective of being left in the unknown, whether that’s in a relationship or with someone that’s special to you. It draws upon those emotions with a somewhat gloomy but optimistic feel. I wanted to make it fun whilst also painting that picture and feel, the fast tempo drums and breakbeats make it more uplifting and contrasts quite nicely with that theme. Overall, it was a fun song to write, big ups to Kora as well who sings the lead vocal, her voice really bought the song to life and adds such a hooky layer to the song. Hope you all enjoy it.” ~ ZUSO

Listen below!

This article was first published on Your EDM. Source: ZUSO Releases Downtempo, Liquid DNB Single ‘In The Dark’

Aussie emerging artist Arky Waters continues to make a splash with his distinctive fusion of breakbeat and tech-house electronica. Following the acclaim garnered by tracks like ‘Take My Time’ and ‘Gum,’ Arky Waters has now offered fans another glimpse into his forthcoming four-track EP with the release of his latest single, ‘Hercules.’

‘Hercules’ stands as a testament to Arky Waters’ artistic growth, seamlessly blending powerful beats with intricate production elements. The track represents a significant evolution for the artist, serving as an enticing preview of the EP’s potential. With its captivating soundscapes, ‘Hercules’ further solidifies Arky Waters’ position as a forward-thinking presence within the electronic music landscape.

“I was running through some samples and came across this huge vocal, I slapped it on a breakbeat and it sounded massive. It carried so much spirit and energy. The track came together pretty quickly after that. It just screamed massive desert vibes so I just went with it – I’ve been trying to let go a bit more and allow the songs to form themselves. I reckon it’s the perfect dune-core song.” ~ Arky Waters

Listen below!

This article was first published on Your EDM. Source: Aussie Breakthrough Artist Arky Waters Drops Mesmerizing Breakbeat Single ‘Hercules’