Category: electronic dance music

Damocles is a rather mysterious Leicester, UK-based electronic music artist and producer, who according to his Twitter page, “uses technology to create different genres of music but with a coherent running thread.” His latest single “Entertainment Business Control” is a dance floor-friendly, classic house and 80s New Wave-inspired track featuring thumping 808s, cascading synths, and a looped, soulful vocal sample paired with PSA-styled vocals warning people that dancing is now against the law. And while sonically, the Leicester-based electronic music artist and producer’s sound manages to nod at Big Audio Dynamite — in particular think of “C’mon Everybody Beatbox” — but with a dry, winking, British irony.



Last month, you may have come across a post on Rohan Newman,  a Melbourne, Australia-based producer and electronic music artist, best known in electronic music circles as Roland Tings. Back in 2012, while as a virtual unknown, the Australian producer and electronic music artist caught the attention of enowned Los Angeles, CA-based electronic dance music label, 100% Silk Records, who released his debut EP.  And unsurprisingly, thanks to the cosign from the renowned Southern California-based label and the international attention he received, Newman quickly became one of Melbourne’s go-to producers and DJs, performing at some of the city’s most raucous house parties and basement jams. With an even larger profile, Newman quickly signed to renowned Norwegian electronic music label Internasjonal, founded by alt-disco, electronic music star Prins Thomas, and the label released Newman’s 2015 full-length debut, an album that Triple J named their Feature Album of the year.

Each Moment a Diamond, Newman’s soon-to-released sophomore Roland Tings album reveals a change in songwriting approach, with Newman renting a studio located in Melbourne’s industrial backstreets and treating the songwriting and production process as a 9-5 job, in which Newman developed a routine deliberately based around a repetitive and dependable schedule: every morning during the writing and recording of the album, Newman ate the same breakfast, rode his bike along the same route to the studio and hung up with the same friends at familiar places.  Being at the studio all day every day was psychologically demanding. For each good idea I had, there were maybe 30 bad ones, which is hard to face when you look back on months of work and realize the majority of the material will never make the record. Eventually though I was able to see each ‘failure’ as a crucial contribution to overall whole,”Newman reflected in press notes.  “The routine also allowed me to grasp good ideas when they surfaced -– when something was different, when something sounded great, I quickly noticed and was able to follow each thread. Another valuable realization from this process was knowing when to stop, when to let go of an idea, power down the studio, get on my bike and head home.” Certainly, when you deal in a creative world, some of the lessons Newman learned while writing could be useful. . .

Higher Ground” the first single off  Each Moment a Diamond was a collaboration feating the breathy and sultry vocals of Nylo  in a percussive, Zonoscope-era Cut Copy inspired house music track, featuring shimmering arpeggio synths, thumping beats, an rousing and soaring hook, and about 3/4s of the way through some Nile Rodgers-like funk guitar are added in a slickly produced song that focuses on the urgently swooning passion of first love.  The album’s second and latest single “Garden Piano” sonically owes a debt to classic, Larry Levan-era house music and Octo Octa‘s Between Two Selves, as the song is based around a slick production featuring thumping yet highly processed processed beats and shuffling drum and industrial cling and clatter are paired with twinkling, arpeggio synths and warm, funky blasts of Nile Rodgers-like guitar. And much like the preceding single, “Garden Piano” is a certified club-banger of a song that manages to possess a deliberate yet soulful feel.

Newman will be embarking on a extensive North American tour to support his newest album, opening for Warp Records’ stalwart Clark and Ghostly Records’ Com Truise and that tour will include a May 25 stop at Warsaw. Check out the rest of the tour dates below.

Tour Dates


May 1 – Santa Ana, CA – Constellation Room @ The Observatory

May 2 – Santa Cruz, CA – The Catalyst Atrium
May 4 – Portland, OR – Holocene

May 5 – Vancouver, BC – Imperial

May 6 – Seattle, WA – Neumos

May 7 – Eugene, OR – Wow Hall

May 9 – San Francisco, CA – Mezzanine

May 10 – Santa Barbara, CA – Soho Music Club

May 11 – Los Angeles, CA – The Regent Theater

May 12 – San Diego, CA – The Belly Up

May 13 – Santa Fe, NM – Meow Wolf

May 14 – Denver, CO – Bluebird Theater

May 16 – St. Louis, MO – Firebird

May 17 – Nashville, TN – Exit In

May 19 – Washington, DC – U Street Music Hall

May 20 – Boston, MA – Together Boston Music & Arts Festival

May 21 – Hamden, CT – The Ballroom

May 23 – Baltimore, MD – Ottobar

May 24 – Philadelphia, PA – Coda

May 25 – Brooklyn, NY – Warsaw

May 26 – Montreal, QC – Theatre Fairmount

May 27 – Toronto, ON – Velvet Underground

May 28 – Detroit, MI – Ghostly Intl/Warp Movement Afterparty @ The Shelter

May 30 – Pittsburgh, PA – Rex Theater

June 1 – Indianapolis, IN – The Hi-Fi

June 2 – Cleveland, OH – Grog Shop

June 3 – Chicago, IL – Concord Music Hall

June 4 – Minneapolis, MN – Fine Line Music Café

June 5 – Omaha, NE – Slowdown

June 6 – Kansas City, MO – Record Bar

June 7 – Dallas, TX – Trees

June 8 – Houston, TX – White Oak Music Hall

June 9 – Austin, TX – The Mohawk

June 10 – Mexico City, MX – Sala Corona



If you’ve been frequenting this site over the last few months of 2016 and the beginning of 2017, you’ve most likely come across a couple of posts featuring the , Paris, France-based electronic music producer and electronic music artist Behad Netjabakshe, best known as Uppermost. And as Uppermost, Netjabakshe has received attention internationally for material released through a series of renowned labels including Sony BMGMinistry of SoundBugEyed RecordsStarlight Records and his own Uppwind Records — with singles like “Equivocal”landing at number 3 on Beatport’s electro house charts in 2009, his Biscuit Factory EP ranked first on the JunoDownload electro-house charts.And adding to a rapidly growing international profile, Netjabakshe has had his work playlisted by superstar producers and artists such as TiestoArmin van Buren and Steve Angello. Netjabakshe has also received attention for his remixes of Daft Punkdeadmau5BurialCrystal CastlesJonathan CoultonSyl JohnsonCongorock and others.

Uppermost‘s soon-to-be released full-length effort Origins 2011 – 2016 is a 23 song LP that features some of the French producer and electronic music artist’s most popular songs, including Flashback,” “Beautiful Light,” “Reminder” “Mistakes” as well as a new material including the shimmering and anthemic M83-channeling singles “Thousand Colors,” and “Emotion” and the Pink Floyd-channeling, funky and cinematic “Reminder.”Origins 2011 – 2016‘s latest single “Alive” will further cement Netjabakshe’s reputation for slickly produced synth pop as the Paris-based electronic music artist and producer pairs layers of shimmering, arpeggio synths with a sinuous bass line, Nile Rodgers-like guitar and and a rousingly, anthemic hook; however, where two of the album’s singles were reminiscent of M83, the album’s latest single leans a bit more towards 45:33 and Sound of Silver-era LCD Soundsystem, thanks to a club-friendly and accessible style.




Eric Martin is a renowned programmer and producer, who can trace the beginning of his recording career to when he was a programmer for Zomba/Jive Records — but he first came to fame as a a founding member of 90s house music act Technotronic, with whom he co-wrote their smash hit single “Pump Up The Jam,” a single that sold more than 14 million copies worldwide. Interestingly, Martin has been incredibly busy over the years –as a producer and songwriter, he’s credited with writing and producing with a diverse array of artists including Maxi Priest, Capleton and Jeff Beck, and under his hip-hop recording project Me-One, Martin has collaborated with the likes of GURU and The Roots.


Martin’s latest single “Be” is a slickly producer, club-banger that’s clearly indebted to early 90s house music as Martin’s production pairs stuttering drum programming, undulating synths, an enormous drop, various electronic bleeps and bloops with London-based R&B vocalist Lifford‘s soulful crooning. And much like the period it’s clearly influenced by, the song possesses a simple but powerful message — that throughout your life you’ll have people telling you who you should be and what you should be doing with yourself; but that you have to be you, no mater what the cost.

Sofia Kourtesis is a Berlin, Germany-based DJ, producer and activist, who as a producer and DJ has developed a reputation for a sound that possesses elements of tech house, dream-pop, new wave and others while frequently using anything at her fingertips to create something unique — and interestingly enough has been described by some as falling somewhere between the minimalism of Aphex Twin and the ambiance of Jai Paul.

Over the holidays, Kourtesis released a sensual and atmospheric remix of Me Succeeds‘ “Cool Kids” in which she uses a chopped and reversed sample of her uncle’s voice, skittering drum programming and layers of shimmering and  gently undulating synths which gives the original a mischievous yet hopeful air — and a result, a completely different air from the slow-burning and industrial-leaning original.

As Kourtesis explains of her remix “The Cool Kids remix is really energetic and playful, I thought about our new generation, these people who are young and cool on their own special unique form. Kids wanna change things and maybe save the world someday.”




Ronald Kaufman is a Los Angeles, CA-born and based producer and multi-instrumentalist, who began his solo electronic music recording project Kauf after his early experimental rock bands split up and a return back to his hometown. When Cut Copy‘s Dan Whitford released Kaufman’s critically applauded As Much Again through Whitford’s highly-regarded indie dance/indie electronica label Cutters Records, Kaufman quickly received international attention; in fact, Kaufman has toured with the likes of Cut Copy, Maribou State and others — and he’s remixed the work of Poliça, The Big Pink and Public Service Broadcasting and others.

His forthcoming full-length debut Regrowth reportedly will explore the small fractures that come about within one’s closest relationships — the ones that have long been there but have either been willfully ignored or conveniently missed until you recognize that you should try to repair it before it shatters to pieces before your eyes. And as a result much of the material also explores the related themes of denial and doubt but with a sense of hope — that you can actually get things right if you’re truly honest with yourself and about your motivations. The album’s first single “Through the Yard” sonically bears a resemblance to Zonoscope-era Cut Copy as the song possesses an ethereal tropicalia — shimmering synths are paired with sweaty, tropical beats and Kaufman’s plaintive and yearning vocals. In some way the song feels like a sweaty and lingering fever dream; the sort of fever dream that at its core possesses a palpable sense of regret and doubt.









Roland Clark is a renowned Atlanta, GA-based house music producer, songwriter and vocalist who has recorded and released material under several different aliases including Houseboy, Keita, Jesus Jackson, People, Roland Clark Presents: Digital Pimps, Dark Clark and South Street Player, as well as releasing material under his own name. Clark has also been a member of Leviticus and Urban Soul — and has collaborated with Bob Sinclair, Todd Terry, Roger Sanchez and Fatboy Slim; in fact, “Song for Shelter,” borrows a sample from DJ Le Roi’s “I Get Deep” featuring Clark.

However, at their heyday Urban Soul was not just influential, they were commercially successful — the act had hit the US Hot Dance Music/Club Play Charts seven times during the 90s. And if you were in a club in the early 90s, you’d likely know of “Alright” one of Urban Soul’s biggest song. Skittering drum programming, thick, cascading synth chords and soulful yet ethereal vocals bubbling and floating over the mix. Although the song is now 25 years old, it manages to sound as though it could have been released within the few years — as though someone like 100% Silk Records.

Electronic music producer and artist Alexander Technique is best known for his time helping pioneer both the term and idea of the “mash up” with Princess Superstar when they launched DJs Are Not Superstars Records, where they both mixed rock, techno and 90s hip-hop, as well as releasing material under several genres and subgenres of electronic music including the work of Larry Tee, Harvard Bass, Etienne De Crecy, Zoo Brazil, Sia and others. Technique is also the co-founder of Drop Ready Records. The renowned producer, remixer, electronic music artist and label head recently remixed Urban Soul’s classic “Alright.” And as Technique explains in press notes “”The remix was originally about 7 minutes long but after playing it for Todd Terry and my label partner Pedro, they both suggested that I make it longer. Todd even got in and played some keys towards the end…”

Interestingly, the Alexander Technique remix pushes the song towards the 21st century as it pairs Clark’s soulful and sensual crooning with a dense and super slick production that sounds as though it channels both a John Carpenter soundtrack, if filtered through hyper modern European house music as layers of shimmering synth, layers of buzzing synth, are paired with explosive flashes of cymbal and skittering drum programming.



Reuben Keeney is a 22 year old Letterkenny, Ireland-born Donegal, Ireland producer and electronic music artist, who emerged onto the international electronic music scene with the release of  a cover/rework of “Sweet Child Of Mine,” featuring one of London‘s most sought after young vocalists, Jasmine Thompson; in fact, the single landed at number 1 on Hype Machine‘s dance charts.

Building on the buzz of “Sweet Child of Mine,” Keeney’s latest single “Better Run” is an infectiously upbeat, old-school house music single that pairs layers of pitched down soulful vocals and twinkling synths, chugging bass lines and bits of glockenspiel with an anthemic hook in the sort of club-banger that you can picture your cohorts shouting along to in the club.


Up-and-coming Australian producer and electronic music artist Arona Mane has developed a reputation across their homeland for a sound that is heavily indebted to 80s synth pop, funk and sultry, classic house music in a production consisting of finger-snap led percussion, undulating synths, warm blasts of horns, propulsive drumming, sinuous bass and guitar lines paired with distorted yet soulful vocal samples as you’ll hear on “Things You Do,” a single that got recently got its first airplay on Australia’s biggest radio station, Triple J.

And although the single reportedly draws from French house and early German electronic music, sonically the song reminds me quite a bit of Octo Octa‘s Between Two Selves, as Arona Mane specializes in a similar, soulful electronic music.