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Canabliss recently debuted her brand new Plasma EP, a four-track collection out now on WAKAAN that drips with creativity and steady, deliberate flow.

Since 2019, the Toronto-based producer has consistently released bass-forward singles, heavy on the low end with emphasis on sound design, originality and flair. More recently, we premiered her 2021 single “Freak It,” which released via SSKWAN and she graced our Top 40 Artists to Watch in 2022 list.

Every production we’ve heard thus far has an unmistakeable, audible watermark — comprised of the kind of sounds you hear and instantly think Canabliss. Staying true to her signature style, the Plasma EP colors outside the lines of the project’s core soundscape, introducing darker undertones as well as softer, reflective moments.

Canabliss shares in her own words:

Electricity is everywhere, even in our own brains. “Currents” is about forming connections spiritually and physically in life. In this EP ‘Plasma’ I explored new sound design with tons of heavy bass and dark atmospheres to help express some of the more difficult times we experienced these past couple years. In Canada we’ve still been pretty much locked down without any live music available, so writing music has been my primary outlet.

Listen to the latest from Canabliss here and link up below!

Canabliss – Plasma [WAKAAN]

Connect with Canabliss

SoundCloud | Spotify | Facebook | Instagram | Twitter

This article was first published on Your EDM. Source: Canabliss Drops Electrifying Debut ‘Plasma’ EP via WAKAAN [LISTEN]

Kill The Noise and Seven Lions have collaborated a number of time, for “The Blood,” “Horizon,” “Cold Hearted,” and “Pantheon.” Now, they’re together again for the 3rd single from KTN’s upcoming sophomore album, “Without You.”

Singer Julia Ross, who’s achieved two Billboard #1 records as a co-writer for BTS, provides the perfect vocal performance over the groovy, driving house beat that switches to a huge melodic festival Ophelia Records 2021 banger in the second act. “Without You” continues the string of high performing collabs between the two producers and blends the best of their sound design, styles and melodic sensibility for another unforgettable, genre-blending track.

As 2022 unfolds, Kill The Noise will be unveiling even more material leading up to the release of the album.

Listen to “Without You” below!

Photo via Rukes.com

This article was first published on Your EDM. Source: Kill The Noise Reunites With Seven Lions For 3rd Album Single & Collab “Without You”

It’s been about four months with the last Swedish House Mafia single, “Moth To A Flame” with The Weeknd. Today, they continue on the path toward their album with a cover of The Police’s “Roxanne,” featuring none other than the lead singer himself, Sting.

The new single, “Redlight,” offers a heavy bassline and dark warehouse vibes that stay true to the Swedish House Mafia sound. It’s only halfway into the song that Sting’s voice makes an appearance, belting out those iconic lyrics from “Roxanne” —

You don’t have to put on the red light

If we get any more songs like this, in addition to the previously released singles, this could be a powerfully anthemic album, one that fans have been hoping for. Listen below.

Photo via Rukes.com

This article was first published on Your EDM. Source: Swedish House Mafia Deliver Next Album Single Covering The Police’s Hit “Roxanne” with Sting

Let’s just get this out of the way now for the old schoolers: if this was the mid-to-late 90s or even earlier, Mint June would not be seen as experimental. With lashings of early industrial, techno and electro house making up the bulk of his work, this project dreamed up by composer Jeremy Jung in 2019 would be easily classed as electro house or breaks, akin to Electroliners or DJ Icey. Apparently that stuff is now old enough to be reborn in new formats and mashups, and honestly we’re here for it.

Philosophically opposed to big business rave and EDM culture, Jung started his Mint June project not just as a throwback to the underground days but as a re-formulation of that sound with cleaner modern techniques. To wit: the first track on his first EP, test 1 EP, is called “Opposite of Coachella.” This guy knows what he’s about.

With test EP 1 Containing loads of different beat styles and some genuine experimental elements, it’s also clear Jung isn’t merely here to thumb his nose as festival culture and remind us of our roots. There’s a joy in playing with synth manipulation, mods and even those classic straight beats he’s so fond of. Jung’s love is for the science of sound as much as it is for early rave culture, so in this way he’s also quite experimental. Enter, Surrendering Nina.

Concept albums are not exactly huge in EDM culture at the moment, since the pop machine is definitely driving a large part of that train. They’ve definitely been relegated to the more fringe elements of electronic music: IDM, electro, industrial and, here comes that word again, experimental. The Surrendering Nina EP is, in Jung’s eyes more than anything else, a concept piece that tells a story. And what is the story it tells? Underground rave, of course.

Each track has its own vibe that I think is tailored to the overall ethos of the project, portraying the beauty and disorder of modern underground rave culture through the tale of Nina, a part-time bartender who finds herself overindulging in drug use when she meets a new friend named Paige.

“Paige” is actually where the story starts with Surrendering Nina, and it seems Jung would like us to draw our conclusions from there. Anyone who’s been to an underground rave knows this story, and as the largely electro house vibes take us through Nina and Paige’s night via “You’ll Like It,” “Those Guys,” Montage” and “Nina,” the nostalgia for many fans will be so strong that we can actually smell what’s happening. From “Paige” convincing to try an underground party (and its drugs via “Those Guys”), the blissful dancing “Montage” as all these new feelings are discovered to the transcendental finding of a new self in the morning after leaving the warehouse with “Nina”…all these events are familiar and definitely have a soundtrack. For those of us who started raving in the 80s and 90s, Surrendering Nina is that soundtrack. Jung’s even made a film to go with the EP, and it’s all too familiar (film embedded bellow).

Surrendering Nina as an EP is every rave movie you’ve ever seen and every true raver’s origin story. It’s what separates pop EDM from rave and it’s clearly something Jung as Mint June is passionate about and knows well from experience. It may seem experimental now but it was all experimental at one point. In the age of EDC and pop artists merging with EDM, festivals costing more than a Rolling Stones concert and no guarantee that the person next to you on the dancefloor feels that same home in their heart, Mint June is here as a reminder that there are still plenty of us out there, and we will always know how to surrender to the beat.

Surrendering Nina is out now and can be streamed on Spotify or purchased (with a cool vinyl option) on Bandcamp. Click here for all platform options.

This article was first published on Your EDM. Source: New Artist Spotlight; Mint June’s Electro House Has Major Throwback Vibes [Video/Short Film]

Few artists are bringing the heat like the dynamic duo that is Asher Shashaty and WhosKevin? are. Their track “The Void,” stitches a hefty bunch of vibes under one roof to cultivate a sound that’s long-lasting. Sharing drops that are doused with synths reminiscent of future bass plus an all around aura of rocky moods and resilience, “The Void,” will fill you up with it’s good graces.

Asher Shashaty prides himself on the ability to articulate a sound that’s original. Although avoiding the act of selling out based on his own standards has potentially slowed his growth, he’s at the place he wants to be in his career. Every song is built with a personal touch often consisting of spiritual elements and life experiences. The man knows what he’s doing and is set on keeping things going.

whoskevin? specializes in alt-rock with an electronic tinge, the balance is needed more in the greater popular music sphere – few doing it right in the way that whoskevin? is. The solo vocalist has spent his career focusing more on non-electronic areas, but is now making his debut in dance with “The Void.”

This article was first published on Your EDM. Source: Asher Shashaty & WhosKevin? Team Up on Mysterious and Dark Smash, ‘The Void’

Already receiving props from the likes of: Kayzo, Lil Texas, and Gravedgr, LINK is a man on a mission.
We are present to present the premiere of his POWER EP. What can you expect? Pulsating climatic builds, rhythmic crunchy and impacting sound design, completed with a bassline rocking drop. This guy has been turning heads with his enegertic hardcore style. This track is destined for playlists, festivals and car bass speakers across the globe, enjoy!

This article was first published on Your EDM. Source: Your EDM Premiere: LINK Flexes Hardcore Production Class on, ‘POWER EP’

Charlie Dee Diaz has been in the rave scene since before it was even called rave. With a love for house music spanning nearly 50 years, Diaz has released a number of recognizable tracks under several different monikers and ranging in style from tech house to pop house to disco house and everything in between. The common thread that binds them all, however, is drums.

As all good EDM should, Diaz’s music has a foundation in drumlines, whether they be heavily syncopated, flourishes at the end of a phrase or the steady, heavy 130 beat of house and techno. Having learned that, it’s no wonder Diaz, of Afro-Cuban descent himself, recently started a new project rooted in Afro house. It is, after all, one of the drummiest of drum-based electronic disciplines, and Diaz aims to make it even more so.

Diaz sees Tribal House Crew, the project he began with his wife, vocalist Maria (Mariella) Giambanco Diaz, as a collective into which he plans to bring more and more artists who fit his style, flavor and love of drums. As is he’s already conscripted a number of his favorite jazz, house and Afro-Cuban artists to contribute to his releases thus far, and he’s released most of them, up to his upcoming single “Afro-Acid” on Miami house Legend Oscar G’s Made in Miami label.

But there’s even more in store for Carlie Dee Diaz, as he gears up to launch his new label and release even more under both Tribal House Crew and his solo label. With Afro house, Diaz may truly have found his niche after all these years. But we’ll stop prattling on, because he tells his own story best, and what a story. Let the drum worship commence.

First things first, how did you get into Afro house?

I was always into Afro rhythms since I was young. My father was a musician and he had a pair of LP bongos that I used to play when I was really young. Some of my first memories are of me banging on the bongos. There’s a video somewhere of me on my first birthday playing drums so I guess from birth!

Going back, all my drum programming in the 80s was percussion based in Afro Cuban rhythms and when house music became the music playing in the clubs, I adapted and made house music with more percussion. At that time there was no genre of Afro house and labels that I sent my music to, rejected it. Some said it was too Latin not house enough etc. So I kept making my tracks and enjoying them myself.

Then I saw a video of Oscar G on Instagram and I liked the music he was playing. So I said, finally, someone that plays music that I like! So I went down to Miami to Coyo Taco, a spot in Wynwood where he DJs with live percussion by Oba Frank Lords and his son Ngo Lords. I introduced myself, and that’s how I got into knowing Afro as a genre. Since then, Oscar’s released 4 of our tracks on his label, Made in Miami. I’ve been in love with the genre since, because it allows me to express myself in beats.

What do you think makes the new Tribal House Crew project different from your other solo work?

With my solo work, I felt like I had to show excellent production. Everything has to sound sonically good and have a kind of pop appeal, like my stuff in the 80s. My album, Liquid, had really good tracks but by trying to perfect it and listening to it over and over, I lost what I was going for. It had no direction. It was a whole bunch of genres mixed together, trying to please everyone.

The Tribal House Crew project is being made with the mindset of “just do what you like and people who like it will find it.” I got tired of trying to make music everyone would like. It’s much easier to do what comes naturally.

At this point in my career, I’m pretty confident in my abilities to make fire beats.

Also, the Tribal House Crew allows me to bring in outside musicians to participate in the project and be part of the tribe/crew.

You’ve said you want the THC work to have a heavier world music vibe to it versus the syncopation and rhythms of more standard Afro house, and that really seems present with “Afro-Acid.” How do you think you achieved that?

Well, Maria is Italian and writes and sings in Italian, and I bring the Afro Cuban elements from all over the world. All the different tracks that we have coming out in the next year have world instruments like flutes, strings, and percussion, with lyrics in Italian, English and Spanish. We’ve traveled all over the world and I realize that people everywhere love percussion. Many of the Afro house tracks out now use a formula but like I said before, I don’t like to use formulas.

“Afro Acid” is definitely different. One of the elements that I used that makes it very different from standard Afro house is the Acid feel of a Roland 303-type plugin throughout the song. I’ve been told by a dj that the original mix is Raw! Plus, my percussion playing and programming, brings a different feel than a standard Afro track. I don’t play standard rhythms.

Do you see “AfroAcid” as more than just a single? Like perhaps a new genre?

As Afro house develops, I think it will have many different styles. We don’t need more genres. My style in particular leans towards something I call Afro-tech, which, to me is a combination of Afro house and tech house. Not a genre. Just my style. I see Afro heading into organic sounds combined with techno rhythms and patterns.

Your wife, vocalist Maria (Mariella) Giambanco Diaz is working with you on this project as well, and she’s listed as an artist on “Afro -Acid.” What was her contribution to this track? Do you see Tribal House Crew as a duo or collective?

I definitely see the Tribal House Crew as a collective with me at the head. Kind of like the Salsoul Orchestra, different artists contribute different parts. For example, I used sax player Ronald Rodriguez on “Make Me Feel Good,” out on Made in Miami, and vocalist/percussionist Oba Frank Lords on a new track coming out soon. I consider them friends and part of the crew. There will be others.

Maria’s contribution usually consists of lyric writing, and melody making during the process of making a track. When we play live she occasionally will dj as I play percussion live. On this track is she assisted in recording percussion and part of the Acid house melody.

Back to the single: the vocals on this track seem to be what really give it that recognizable world music feel how did you create those vocals? Did Maria contribute her vocals on the track?

Originally Maria had laid down vocals very similar to what we ended up using. That was the vibe I had in my mind. But I felt the vocals she did went better with another track I was working on. I ended up going through my vocal sample collection and found the samples, strung them together to make a cool rhythm that sounded legit like a phrase. I think it worked!

You’ve got a few ancillary projects going around Tribal House Crew and your other music. Can you talk bit about Breakout Beats and Underground Rhythm? How do you see all of these projects growing together?

Breakout Beats is a collection of tracks more on the percussive/breakbeat side of club music that I plan to release on my label Underground Rhythm Records. I plan to use the label to showcase and grow my style of house music, which uses a lot of percussion and less instruments. My favorite things are bongos, beats and bass. I want the label to be known for bangers.

What’s next for Tribal House Crew? Are you planning to release under Charlie Dee Diaz in the future as well?

What’s next for Tribal House Crew? Well right now, we’ve taken advantage of the pandemic and we have close to ten songs done and waiting for a final mix. I also have the Liquid remix project that I’m going to release on Underground Rhythm as Charlie D Diaz plus some songs by another alias of mine, Digital Meltdown. We might even release a follow up track to “Throw em the Chicken” by Crowd Control, an alias I used back in 1989 for the Black Havana album on Capitol Records.

What’s one thing you really want listeners to know or feel when listening to your music?

The one thing I want is for people to feel like dancing. That’s it.

“Afro-Acid” will drop on Diaz’s new Underground Rhythm label on February 25. He’s debuted the track early with its three mixes exclusively on Traxsource, where fans can also pre-order. Check out the other tracks released by the project on Spotify.

This article was first published on Your EDM. Source: Your EDM Interview: Charlie Dee Diaz Talks House History, Afro House and His New Tribal House Crew Project

Polar Youth , otherwise called Elisabeth Verstraete, is a self-trained multi-instrumentalist from Ghent, Belgium. Receiving a guitar at the tender age of 9 years old, she began creating and developing her sound. During that time she began to foster her own melodic style, presently referred to by a lot of people as ‘Electronica meets Hip Hop”. In 2014, when she begun delivering music under her artistic name, Polar Youth she promptly stood out and was deemed the ”most promising artist” at the Red Bull Elektropedia Awards in Belgium.

Today we have privilege to share her latest remix of Selah Sue’s, ‘Pills’. Polar Youth decided to wrap these deep and serious lyrics in a summery UK garage track. Commenting on the production Polar Youth said:

“People shouldn’t be afraid to talk about anti-depressants, despite them being labelled a
‘taboo’. I wanted to put this serious subject out in a light and danceable matter. So it can
get played on the dance floor and get more attention in a fun way. I’m a very positive
minded person and really think that we can dance off the problems we face in life.”

Expect smooth transitions, euphoric melodies and a clean catchy garage remix for any chill playlist

This article was first published on Your EDM. Source: Polar Youth Drops Super Smooth Garage Remix of Selah Sue’s, ‘Pills’

With a number of albums already under his belt, Brooklyn-based DJ and producer PRØVOST is taking over the world of techno with his immersive music, all while pushing the boundaries of what’s possible. The co-founder of Techno Brooklyn and Techno Brooklyn Records, PRØVOST is one of the most active figures within his community, and his latest EP ‘Dream Interpretation’ marks yet another fine addition to his catalog.

This article was first published on Your EDM. Source: PRØVOST Unveils Immersive Techno EP ‘Dream Interpretation’ 

For those very few D&B heads not aware, Beats In Mind is a label out of the UK with a unique model: to release music with the aim of raising awareness and funds for mental health charities that support the arts. With their eighth Headsbass album dropping this Friday, February 25, it’s safe to say they’re more than achieving that aim and Your EDM is happy to premiere a track off this installment.

Headsbass founder London-based DJ and producer Pyxis (Goldfat, Liquid Drops, Eloisa) had the idea to put together a compilation album with the purpose of artist mental health awareness in October 2019, just before COVID hit. Of course with the pandemic, the need for awareness at the very least was more important than ever. Pyxis now works with a talented team of producers, promoters and engineers spanning the UK, Europe, the US and Australia and New Zealand to produce what has now become the Headsbass series, which has now raised over $4000 for various mental health charities.

With each compilation album punched up by at least a couple of big names, Headsbass also focuses on releasing work from artists who might otherwise not get as much exposure due to cultural blocks or simply the way music trends happen to be breaking. Volume 8, put together especially to highlight Children’s Mental Health Week, however, sees Pyxis and the A&R team taking even more risks than usual with the lineup. It seems Pyxis believes these artists are more than enough to hold up an album on their own, and based on the work coming off this volume, fans will likely agree. From the atmospheric and liquidy “Space Between Us” by Luciano to the deep, dark and ameny vibes of IV’s “Kerry’s Tune,” the Beats In Mind team have curated yet another interesting and diverse installment in the series.

Remixes are quite rare in the Headsbass world, so this one by Baltimore-based newcomer Kenneth A of Higher (Than)’s “Won’t Stop Chasing” original from her mini-EP of the same name on Erculean Recordings last year. While the original from the classically trained Hungarian artist is jazzy and melodic, Kenneth A inserts some eerie atmospherics, some neuro-style sound design and sting synths and a vintage-style slap of a beat that changes the whole vibe of the track while pulling in those characteristic Higher (Than) jazz vox and horns. It’s a great homage to the original and a bit of a wild card on a Headsbass release.

Aside from being for a very worthy cause, the Headbass releases have also now provided hours of different, interesting and viable music from artists who may not have otherwise got this sort of exposure. Artists are some of the most giving people on the planet and continue to step up in order to entertain society in any kind of climate. Beats In Mind and Headsbass are working to make sure someone steps up for them.

Headsbass Volume 8 will be out in full on Friday, February 28. Click here to pre-order or pre-save. To donate directly to Beats in Mind, click here.

This article was first published on Your EDM. Source: Your EDM Premiere: Beats In Mind’s Eighth Installment Proves Musicians ‘Won’t Stop Chasing’ Support for Mental Health In the Arts