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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’

The heart of New York City is beating with anticipation as Sam Silver, the prodigious 21-year-old artist, steps into the spotlight of the club scene. Fresh off celebrating his 21st birthday, Sam marks this significant milestone with the release of “Hold On To You,” a collaboration with Th3rd Brain that signifies a new era in his musical journey. Currently immersing himself in the creative hub of Los Angeles, Sam keeps the essence of NYC at the core of his brand, infusing his sound with the city’s pulsating energy.

His music promises a feast for ears, blending genres like stutter house, vocal chops, Garage, DnB, and House. His latest release “Hold On To You” pushes the boundaries even further; fusing dance with rap and showcasing Sam’s signature sound that has become synonymous with his name. With a vision to introduce “NY Garage” as a new genre, Sam is not just making music; he’s creating a movement that bridges the sounds of The Big Apple with the iconic vibes of UK garage. In his own words: “With my upcoming releases, my vision is to pave the way for a new genre, “NY Garage,” which is Inspired by the rich musical tapestry of his hometown blended with the iconic UK garage sound,” Silver says.

The song’s seed was planted during a night of exploration in Rome’s pulsating nightlife and absorbing its energy. From there it grew to form a captivating narrative on the complexities of love in a world filled with uncertainty, solidifying Sam Silver as not just a beat maker; but a storyteller. 

“Hold On To You” unfolds like a heartfelt novel, capturing the highs and lows of love’s journey. From flirtation to infatuation and ultimately acceptance, the song mirrors the dynamic twists and turns of life, all set to the infectious rhythm of UK garage.

Follow Sam Silver on Instagram, TikTok, and Facebook.

This article was first published on Your EDM. Source: NYC’s Prodigy Turns 21 & Hits the Club Scene with New Anthem: ‘Hold On To You’

Night Tales has built a name for themselves in the house and deep house scene with a very unique sound that has allowed them to crossover into more commercial markets. Their latest single “Ready” is another great tune, with a captivating blend of drums, synths, and horns, expertly crafted by Night Tales to enthrall listeners. The groove-filled instrumental lays a solid foundation for the mesmerizing lyrics that follow.

As the track progresses, it builds anticipation before reaching its climactic chorus, characterized by a deep house bassline seamlessly fused with crisp percussion, ethereal echoes, and commanding vocals. True to Night Tales’ style, the duo keeps audiences engaged with fresh soundscapes and infectious rhythms throughout the latter half of “Ready.”

Delving into the creative process behind the track, Night Tales reveals that “Ready” was born from a collection of samples sourced from Splice and the Serato sampler. This sonic amalgamation incorporates a variety of elements, including melodies, pitch shifters, autotune, and more. The song’s anthem-like quality is further enhanced by the intensity and diversity of the drums, with the duo experimenting extensively with rhythms and musical beds to evoke the desired emotions in the final product.

“‘Ready’ is about the confidence that comes along with someone that feels right for you. In a way, it communicates a sense of commitment in a relationship. On a personal level, the vibe this track radiates is ‘I feel great about where this is going, let’s take it further.’” – Night Tales

Listen below!

This article was first published on Your EDM. Source: Night Tales Release Mesmerizing Deep House Single “Ready”

Bruno Furlan is one of the most prolific tech house artists in the game right now, consistently slinging out groovy, sometimes peak time tracks, that altogether has built an incredible following to his illustrious career.

Now, he’s back, this time teaming up with Deeft for their single “Space Bump” via Matroda’s Terminal Underground imprint. It’s a pulsating underground track that boasts an intoxicating groove impossible to resist. It’s a forward thinking track that sonically lives up to its outer space brand, as deep bass warbles reminsicent of never ending black holes weave in and out throughout the song.

“Excited to share my next single, a tech universe track called ‘Space Bump’ with my good friend Deeft. This track has been a big part of my sets and now it finally has home on Matroda’s imprint Terminal Underground, which will be out on December 1st. Mark your calendars for the last single coming out in 2023.” – Bruno Furlan

Listen below!

This article was first published on Your EDM. Source: Bruno Furlan & Deeft Drop Sizzling Underground Signle, “Space Bump”

Returning with his first release in two years, Martin Vogt, better known in the space as Haywyre, recently delivered his latest Monstercat single “White Lie”. Making a welcome return to the marquee electronic imprint after 7 years, “White Lie” is a buoyant, introspective production that sets the stage for a series of new releases fans can expect from Haywyre in the year ahead.

Building with an expansive, brooding soundscape and striking vocals, the arrangement of “White Lie” leads into a driving, future-funk fueled breakdown. Featuring Haywyre’s diverse production palette, he fuses an unexpected blend of synths, strings, piano, bass and vocal chops with finesse for his return to Monstercat.

On the new release, Haywyre shares, “I’m proud to finally get my first track in two years into the world. Especially one like ‘White Lie’, which I feel really shows a glimpse into where the Haywyre project is going.”

Midwest US based Haywyre fuses his foundation classical and jazz piano training with an affinity for 21st century electronic production. With a history in live music preceding his foray into electronic, he delivers a dynamic, hybrid performance style to the stage.  Haywyre has brought his future funk and melodic glitch-hop inspired sound to the stages alongside top acts of the likes of Griz, Zedd and Gramatik. Having done official remixes for major pop acts like Charlie Puth, in 2021 he received a GRAMMY nomination in the category of Best Remixed Recording for his remix of “Young & Alive” (Bazzi vs. Haywyre Remix).

His songs have a laid-back yet adventurous feel, drawing from dubstep and glitch-hop while we simultaneously hear his background in funk, classical, jazz and house music perpetually shine through. After establishing his sound with early self-released albums such as 2010’s Of Mellows and Revelations, Haywyre produced more intense, complex works like 2016’s ‘Two Fold, Pt. 2’ (Monstercat), with nearly 50 million streams on Spotify alone, later switching to a futuristic disco/funk hybrid with 2018’s Panorama: Discover.

Check it out below!

This article was first published on Your EDM. Source: Haywyre returns to Monstercat for first original single after a two year hiatus – “White Lie”

Christopher Sluka is usually known for his serious, highly technical, expertly composed orchestral work with a hint of synth, but his newest effort is anything but serious. Unless you’re from Mexico or the American Southwest, that is. Those of us living anywhere from Colorado to Baja California know just how important tamales are year-round, not to mention Christmas. Now, “Christmas Tamales” is the anthem to the corn-based parcels we always needed for the season, thanks to Sluka and his band, the aptly named SLUKA.

The lore of the tamale is vast and varied, its origins dating back millennia to Mesoamerican cultures but their current form, which inspired Sluka’s rousing Christmas ode, are still very much a staple wherever one might find a large Hispanic culture. Made of a corn masa base and wrapped usually in corn husks (in Southern Mexican and Central American areas, banana leaves are also a possible choice), they vary in terms of their flavor and filling. Traditional savory choices are usually chicken or pork with some sort of mole (sauce), but there are veggie green chile varieties as well as loads of sweet options with white corn and filled with raisins, pineapples of mangoes.

In Southern California where Sluka likely discovered the traditional pocket food, tamales are available all year long at restaurants, taco trucks and even at many places of business, where industrious home cooks will sell them to hungry workers. These homemade, fresh tamales are considered the best ones among SoCal residents in the know; until Christmas, of course, when loads of abuelas from all different regions and will all different recipes get out their big pots and start to make them for family and friends. The Christmas tamale-giving season usually starts right after Thanksgiving (with delicious turkey tamales making an appearance, of course) and lasts through the New Year. Anyone lucky to be a family member, friend or neighbor to someone who makes tamales knows truly how magical they are, and it’s clear this is the type of tamale about which Sluka and his band are singing their praises.

The song itself is much more lighthearted and fun than SLUKA’s usual work, which tends to be dense, emotive and complex. Clearly intended at least partially for kids, “Christmas Tamales” is joyful song, easy to sing along to with pretty simple lyrics, almost like a Christmas Carol. It’s still got that SLUKA flare, however, with loads of warm, ambient sound design and synth supporting the well-composed and produced music. Sluka’s vocals themselves are booming and jovial with just a touch of cheek, sort of like Jack Black’s in Tenacious D songs. A perfect carol to everyone’s favorite Christmas food in Mexico and the American Southwest.

Sluka and his team also created an equally fun and family-forward animated video for “Christmas Tamales” using AI made by SLUKA bass player, Anna Eppink. The video is a wild ride through a Christmas wonderland where yetis shop for and prepare the Christmas tamales. Tamales also dance in the sky as the band play the song. Whimsical, festive and kind of trippy, it’s what one would expect if SLUKA did a Christmas video.

While there are likely other songs about the Christmas tamale tradition, this one done with such gusto and fun means “Christmas Tamales” could be an instant classic. With nearly 200k views on the YouTube video already and 30k streams on Spotify, it’s well on its way to becoming a household holiday song and it’s a great way to tease SLUKA’s upcoming album.

This article was first published on Your EDM. Source: Thank You SLUKA! There’s Finally a Song About ‘Christmas Tamales!’ [Video]

It might have come as a surprise when it was announced that S.P.Y, the elusive DJ, producer and now label boss of DARKMTTR Records, would be taking over the legendary XOYO in London for the whole of November. The Brasil-born mega DJ generally only picks the gigs he’s really excited about and, with his release schedule, both label and personal, many fans might wonder how S.P.Y could make time for four Fridays. Turns out it was a simple decision for him.

With the well-oiled machine that is Weird Science Promotions running most D&B gigs at XOYO (they’ve also got the likes of Grooverider, Andy C and the whole Kool FM lineup slotted for December and early 2024), and a ready-made lineup at his disposal, the first three gigs have gone off without a hitch and the series closer, taking place this Friday, promises to be a great sendoff for S.P.Y and company. The likes of Calyx, MC GQ, Etherwood, Lowqui, IAMDOOMED, Alley Cat, Voltage, Kyrist and Flava D on the roster, every week was as stunning and vibey as the last, with a super blowout for the last date (read on to find how who the special guest will be tonight).

We don’t want to yammer on too much about the other stuff we chat about, because S.P.Y gave loads of excellent answers, but suffice it to say if you were looking for tips and tricks from a master producer as well as how he does his A&R, this is the article for you. Per his name, S.P.Y usually keeps his secrets close so YEDM feels very lucky he was so open in this article and we appreciate his taking the time. Now read on and enjoy spying on S.P.Y.

As a producer who seems to live in the lab and who only does the gigs you really enjoy, what made you decide to do a residency at XOYO?

XOYO is such a legendary club, so I felt quite honored to be asked to host a residency there. It’s an amazing opportunity to curate my own lineup and share with people, the DJs and producers that I really admire and respect. Funnily enough, it’s actually got me spending even more time in the studio as I’ve been busy finalizing new tracks to play at the residency. I know that everyone who’s coming down to XOYO are there because they like my sound, so it’s really rewarding to be able to drop some exclusive new tracks and mixes just for them.

We’re just about halfway through the November dates (at time of interview); what have been some of your observations about the gigs? What are you looking forward to in the upcoming gigs?

I can’t believe we’re already halfway through! The crowd at the first two nights has been absolutely incredible. They’ve been so up for anything and have really been vibing to all of the DJs, it’s such a great feeling to get to play to such a responsive crowd. It’s also been great to get to see the other DJs play. Usually I’m so busy touring that I’m in and out and onto the next show. For each night of the residency I’ve been there from start to finish and have got to enjoy everyone’s sets and really make the most of the night. Each night of the residency has a totally different lineup with a different sound, so I’m looking forward to dropping some more dubs at the next two nights. I’m also really looking forward to going back to back with Bladerunner and Flava D, that will be special!

How did you pick the lineups for each week? How did you decide to work with Lowqui as your MC?

While it seems like it would be really easy to curate a lineup, it was actually really difficult as there were so many people that I wanted to book. I was lucky that the final lineup had everyone that I really wanted and each night has come together nicely. I wanted to make each night unique, so the four lineups reflect that. I listen to a really wide variety of drum and bass so I felt it was important to cover all the different sounds that I enjoy.

I really like working with Lowqui, he’s got a great vibe as an MC, he’s a mad hype man and he always interacts well with the crowd. It’s also been great to work with some other MCs during the residency too, like Inja, Stamina and SP:MC, they each have such a unique style and add a different flavor to my set.

Coming off XOYO for a bit, you’re coming up on year three of your DARKMTTR label and it seems curation is very important to you, and that you’re not looking for big names to release but it’s more about the sound. How would you characterise the sound of vibe you generally go for? Is it only you on A&R, or have you brought in some help?

The sound of DARKMTTR is really varied. The label releases everything from dark and minimal, to moody and musical, although I feel like all of the releases seem to have a deep, heavy undertone to them, even the more atmospheric tracks. I always knew that when I started a label I didn’t want it to be pigeonholed into just one sub-genre so I really wanted it to reflect my taste in music. It is only me doing the A&R for the label and I really enjoy doing it. I use a DJ-based approach to A&R and the first thing I ask myself when selecting a track is, would I play this in my sets? Every track that I’ve signed to the label is one that I would – and do – play myself. I’ve always wanted to do A&R and it’s one of my favorite parts of running a label. It’s really rewarding to discover new music and help producers work up their tracks so they’re ready to release.

What are some things you’ve learned over the first three years of DARKMTTR about running a label? How has it measured up to your expectations when you started it?

I’d wanted to start a label for years and I always knew it was going to be a lot of work but nothing really prepares you for the day to day reality of running a label. It’s been a really interesting experience seeing the music industry from a label perspective. I’d only ever seen it from the artist side so it’s been quite a learning curve to see what’s involved in getting a release out there. Scheduling, budgeting and A&R, they’re all things that you aren’t responsible for as an artist and may not fully understand, but they’re vital when running a label. I’m grateful that I have a solid team around me who share the vision of the label. It’s so rewarding seeing the label grow, I can’t believe we’ve had 21 releases already!

How do you decide which releases of your own will go on DARKMTTR and which you will shop other labels? Is that a difficult decision?

It is difficult. I release most of my music on DARKMTTR, but sometimes due to scheduling I will look for other labels to release my music. If I released everything I have on DARKMTTR there would be no room in the schedule for the other artists!

Are there any upcoming releases that tie in with the XOYO residency that you can talk about? Did the release schedule inform your decision to do the residency?

The second night of the residency was actually the release day for “Take Me Up,” my new collaboration with IAMDOOMED. IAMDOOMED played at XOYO the same night and it was like an unofficial release party. It was amazing to play the track with him there and to see the crowd reaction. The release schedule didn’t inform my decision to do the residency, but it was great that IAMDOOMED could play on the same day.

Talking a bit about style and sound, in the last few years you’ve been doing a lot of deep and atmospheric stuff but not necessarily melodic. What makes you inspired to change things up and how do you come up with your more unique sounds?

Producing music is such an organic, creative experience for me. I can’t force a vibe or make myself produce a certain type of sound. My music is an expression of how I’m feeling emotionally at the time, or what’s going on in my life. Depending on what I’m feeling inspired by I can produce something totally different to other things I’ve been producing lately. I spend a lot of time working on sound design which seems to give me some quite unique sounds. I also have a lot of analog and modular equipment in my studio and I try not to be too technical with it. Late nights in the studio, a bit of sleep deprivation and a lot of experimentation seem to combine to produce some really interesting sounds. Basically I just have fun with it and see what I can create!

Having been in the game for a while, how is it to create tracks with current methods versus 15 years ago? Do you use a combination of techniques? What sort of softwares or programmers do you use?

To be honest, I haven’t really changed the way I produce. My sound has definitely evolved over the years, and I try to keep my production relevant sonically, but my techniques really haven’t changed that much. One thing that I’ve definitely changed over the past few years is my sampling. I used to sample a lot for all of my tracks, however now I create all of the sounds myself. Learning more about sound design has opened up a whole new realm creatively for me and it’s really satisfying being able to use my own sounds. I’ve been enjoying sound design so much that I’ve even started releasing my own sample packs.

I listen to a really wide range of electronic music and recreate some of the techniques from other genres with my own twist. I’ve been using Abelton Live since version five and I’m really loyal to it, it’s a brilliant production tool. I also use a Solid State Logic (SSL) desk for summing my tracks in analog, which creates a really nice warm texture for my tracks and of course I listen to everything through my PMC speakers.

Is there anything else you have coming up in releases or gigs that we didn’t mention?

We have a release coming up on DARKMTTR in December; it’s a double release: a collaboration I’ve done with DJ Limited and another of his tracks which has an amazing vocal. I’m going to be dropping the track at XOYO so I’m really looking forward to seeing what the crowd think! Rolling into 2024 we have a bunch of new releases and collaborations lined up for DARKMTTR, but I have to keep everything under wraps for now. Keep your eyes on S.P.Y and DARKMTTR socials to see what we’ve got going on.

Any advice for new producers out there?

I think the main piece of advice I could give is to never stop learning. Keep improving your sound and your production, keep learning new techniques and watch as many tutorials as you can. Also, I think it’s quite easy to give up if you’ve submitted a few tracks to labels and haven’t had anything picked up. Most of the time, it’s just that those particular tracks aren’t right for that particular label, or maybe you just need a bit more experience, or you need to refine your sound. Don’t give up, keep producing and keep sending in those demos! One trick I can share is to A and B the track you’re working on with a similar track that has been released to see if you’re on the right track sonically.

S.P.Y’s last XOYO set will be tonight, November 24 at XOYO. For clips and info, check S.P.Y’s socials or Weird Science Promotions’ Instagram. For upcoming DARKMTTR releases and to hear S.P.Y’s latest track with IAMDOOMED mentioned in this article, click here.

This article was first published on Your EDM. Source: Your EDM Q&A: S.P.Y on His recent XOYO Residency, Two Years of DARKMTTR and His Advice for Producers

Jimmy Pé has led quite the impressive career thus far, with his music tunes already managed to catch the ear UZ, Lefto, Daedelus and has already released music on prestigious labels such as Quality Goods Records, Saturate Records, and others. Jimmy has toured in the USA, India, and Europe, he’s played Sziget Festival, Outlook Festival, Liverpool Sound City, Ment Ljubljana, Pohoda Festival, Colours of Ostrava, and has shared the stage with names like Hudson Mohawke, Four Tet, Thundercat and Dorian Concept. He’s landed club residencies in Bratislava and has even been a participant in Red Bull Bass Camp.

Now, he’s back with a booming bass house EP titled ‘Blip Blop’ via Slow Roast Records along with a music video to the title track. This EP is loaded with massive energy from start to finish, as Jimmy injects each song with a dose of his signature bass house characteristics. Whether it’s the floor shaking bass from “Big PaPa”, glitchy video game-esque feel of “Electric” or the never ending drive of “Hot For You”, this EP showcases just how talented Jimmy is.

The music video of the title track, “Blip Blop,” stands out as one of Pé’s most visually stunning creations to date. Exceptional cinematography, fast-paced editing, dynamic camera angles, well-suited costumes, and seamlessly integrated CGI all come together to create a visually striking adventure that effortlessly complements the adrenaline-charged bass-house soundtrack.

Listen to the EP below!

This article was first published on Your EDM. Source: Jimmy Pé Drops Thunderous Bass House ‘Blip Blop’ EP on Slow Roast Records

Since initiating his project in 2014, Sullivan King has risen to prominence as a prominent figure in heavy metal and bass music. Particularly noteworthy is his album Thrones Of Blood, introduced from this past March, which has garnered an impressive 40 million streams to date. Now, King is further intertwining these realms by unveiling his massive remix album, Overthrown (The Thrones of Blood Remix Album).

As expected, it’s loaded with a roster of heavy hitters, including Blanke, Kompany, LAYZ, Jessica Audiffred, and plenty of others. This may be one of the most high energy releases of the year, guaranteed to make head bang the whole way though!

A few standouts include Kompany’s flip of King and Kai Wachi’s anthem “Riot.” Using King’s vocal screams to build a wave of energy, that wave comes crashing down when Kompany unleashes an absolutely monstrous drop. Jessica Audiffred’s remix to “The Death March” is of epic proportions – feeling like the perfect main stage track for a festival like Excision’s Paradise Blue.

We’re thrilled to provide you with an exclusive Q&A with six of the remixers (Blanke, Kompany, SIPPY, Chime, GHENGAR, and LOUIEJAYXX) about who takes the throne in bass music. Each artist dove into their top festival, artist, and song across bass music, each providing a quote for their remix as well. Check it out below!

Sullivan King – “End of Us” (Chime Remix)

What festival takes the throne in bass music?

Rampage! The variety of genres and cultures that are collected at Rampage and its Open Air events cannot be matched.

What artist takes the throne in bass music?

Au5. Honestly one of the most under-appreciated artists in our scene with a ridiculous catalog of quality and widely varied music. Also, one of my absolute favorite people I have worked with in the industry.

What song takes the throne in bass music?

For this, I will have to pick the most quintessential dubstep track – the one that just does everything I want from the genre. For me, it is Skrillex’s “Right In.”

QUOTE: “For this remix, I wanted to take Color Bass as far over to the heavy side as possible to prove the range of the sub-genre. A melodic Sullivan King track proved the perfect base to make that happen.”

Sullivan King – “Someone Else” (Blanke Remix)

What festival takes the throne in bass music?

Lost Lands is the obvious choice here. An absolutely chaotic weekend with all the best artists in bass music getting to play, hang out, and run amok for three days. Because it is so focused on bass music, Lost Lands is awesome to see so many underground artists getting a stage to play on. The guys who usually get the open slots are suddenly playing massive stages at a festival and it is incredible. They have also gotten around to pushing Drum n’ Bass in recent times too, which is huge. 

What artist takes the throne in bass music?

Overall, Skrillex. He has legitimately surpassed any boundary, genre or otherwise, therefore showing that his taste is above all else. He has arguably done more for bass music than anyone else. But as a producer, Space Laces takes the throne as being one of the most influential and inspiring acts solely in bass music. One of the few artists that make other artists want to quit producing out of awe because we do not know how he made this sound or made that groove feel so swaggy, or this mixdown so clean. 

What song takes the throne in bass music?

“Bonfire” by Knife Party. 

QUOTE “Absolutely loved creating this remix for ‘Someone Else.’ I really enjoyed the song after hearing it on tour with Sullivan King a bunch, and was super excited when Keaton asked me to remix it. Being one of the heaviest remixes, in fact, releases I have ever done altogether, I was able to have so much fun writing it. Each drop is its own thing, truly going on a journey with the production and the song overall.”

Sullivan King & Kai Wachi – “Riot” (Kompany Remix)

What festival takes the throne in bass music?

Lost Lands – they manage to step their game up every year.

What artist takes the throne in bass music?

Impossible to narrow it down to one person, but my personal favorites have to be Svdden Death and Subtronics.

What song takes the throne in bass music?

That new SVDDEN Death and Marauda ID. I am so excited for that one to drop!

QUOTE: The ‘Riot’ remix was a fun one for me because I got to channel a bunch of aggression into this track to fit the vibe of the original. Also, I had a bunch of fun slowing down the 2nd drop to make something perfect for a circle pit!”

Sullivan King – “Watch The Crown Fall” (SIPPY Remix)

What festival takes the throne in bass music?

For me, when it comes to bass music, nothing quite beats Lost Lands. It is named Dubstep Disneyland for good reason. The sense of community that it brings from both an artist and festival-goers is unlike any other for bass music.

What artist takes the throne in bass music?

There are so many that I could put as #1! And there are definitely two fighting for the top spot. But I think the ones that I will put as #1 have to be Zeds Dead. They are one of the reasons why I am here in bass music and I think they have managed to encapsulate the essence of “bass music” over a variety of different sub-genres whilst still keeping true to bass music.  

What song takes the throne in bass music?

My #1 for the song that takes the throne comes from a little left field. “Bring It Down” by Emalkay. This song always gets me hyped. It is from 2012 so really takes me back to the period of time when I was really getting into bass music. It feels like the perfect track that reminds me of why I fell in love with bass music.

QUOTE: “I loved working on this remix! The guitar solo in particular hits me in my feels every single time. It gets me so hype! Writing it just kind of fell together for me; it happened so naturally. So much so that I considered changing it, but once I played it live and saw everyone’s reaction, I realized that this was meant to be! I love playing it in sets and love where I took the original.”

Sullivan King & Excision – “Fall Apart” (GHENGAR Remix)

What festival takes the throne in bass music?

The festival that takes the throne in bass music has got to be Lost Lands.

What artist takes the throne in bass music?

The best artists are the DMT elves who grant us access to the Akashic records.

What song takes the throne in bass music?

The best song in bass music is every GHENGAR song playing at the same time! 

QUOTE

“Sullivan King and I have been friends for nearly 10 years and I have been a fan of Excision since 2011, so to do a remix for them, especially one with such a big and colorful melody, was extremely fun. I feel like I got to experiment a lot with this track, and I am really happy with how it came out!”

Sullivan King, Vastive, & Left to Suffer – “Die By My Hand” (LOUIEJAYXX Remix)

What festival takes the throne in bass music?

It would have to be Lost Lands! The overall experience of the festival alone is what takes the throne! The fact that it is not only limited to bass music but features a variety of other electronic music is what helps make it one of the best out there.

What artist takes the throne in bass music?

Subtronics. From his unique sound, to his energetic sets, to the movement he’s created is what allows him to take the throne! 

What song takes the throne in bass music?

A song in our opinion that takes the throne in bass music is “Rumble” by Excision and Space Laces! It takes the throne because of the impact it has had on the culture. Everything about this track to us is perfect. It is definitely a reason why they are some big inspirations for people all around. Everyone already expects something big is about to take place when it starts building up. That is how much impact the song has in the scene!

Road Dog Anthem (Benda Remix)

What festival takes the throne in bass music?

Lost Lands holds the throne of the best festival in bass music , there really isn’t anything better than dubstep disneyland with all your favorite homies and artists 

What artist takes the throne in bass music?

For the throne of bass music i have to give it to the big boss Excision. From putting countless of underground artists on absolutely huge lineups to putting on some of the craziest festivals – the guy really helps push dubstep to more and more ears each and every year!   

What song takes the throne in bass music?

Currently I think ityx – goober holds the throne! been one of my favorite tunes to play out in my recent sets !! 

“Someone Else” (Bossfight Remix)

What festival takes the throne in bass music?

As a European, I have to go with Rampage. Since Dubstep is so underrepresented here, it’s like magic whenever they host one of their massive events.  

What artist takes the throne in bass music?

Space Laces without a doubt. He’s been, and still is one of the leading innovative forces in almost every aspect for a long time. I’m highly convinced bass music, and especially dubstep, wouldn’t sound the same without him.

What song takes the throne in bass music?

Rumble by Space Laces and Excision. To me, it’s the perfect track. It’s heavy, incredibly memorable, and perfectly mixed and produced.

This article was first published on Your EDM. Source: Sullivan King Drops Massive Remix Album Featuring Blanke, Kompany & more + Exclusive Q&A With Remixers