Category: house music

New Video: Tchami Releases a Euphoric Club Banger

Tchami is a Paris-born and-based DJ, electronic music producer and electronic music artist, internationally recognized as a pioneer behind the subgenere of future house, while revealing a versatile and forward-thinking side, playing UK bass, EDM and a number of various styles and subgenres. And as a result, the Parisian DJ, electronic music producer and electronic music artist has toured with the likes of Skrillex, Diplo and DJ Snake, collaborated with Martin Garrix, Jack Ü and  AC Slater, and played at reamfields, Tomorrowland, SW4, Mysteryland and Dreamland.

He’s also a member of the acclaimed DJ quartet Pardon My French — and runs his own electronic music label CONFESSION, which has released work by the likes of Malaa, Mercer, AC Slater, Dustycloud, Loge2 1 and others. 

The French artist’s highly anticipated album Year Zero is slated for release later this year and so far, he’s released two singles “Proud” and “Ghosts” off the album. Building upon  the attention of those singles, Tchami begins 2020 with two more singles off the album — “Born Again,” and the album’s latest single “Buenos Aires.” Centered around stuttering and skittering beats, chopped up and looped vocal samples, arpeggiated synths and an enormous hook, “Buenos Aires” is a euphoric banger that nods at the New Jack Swing-inspired sound of French Horn Rebellion with a bit of early 90s house. The accompanying video features cinematically shot time lapsed video of some of the world’s most beautiful, well-regarded locales, including the aforementioned Buenos Aires. 


New Video: The Badgers and Damolh33 Team Up on a Cinematic and Thumping Club Banger

Currently split between Stuttgart, Germany and Frankfurt-am-Main, Germany, the French-born, German-based electronic music production and artist duo The Badgers — Yannick and Joel — can trace their origins back to when its members met while in high school twenty years ago. Bonding over a deep and abiding love of music, the duo learned how to DJ from six vinyl records they had owned. Building from there, the duo earned a residency at a house music bar in Eastern France, which led to the duo creating and organizing events across their native France. 

Increasingly, the duo had a desire to create their own original music, and although through most of their recent history, they’ve been working in different locations, the duo have been busy: they wrote, recorded and released a batch of material that wound up topping the Beatport Charts including 2012’s Deep Dark Mood EP and Frozen Nipple EP. And while developing a reputation across the European Union for being a must-see live act with an improvisation heavy-based live set, the act has also been wildly prolific — including a successful and ongoing collaboration with Orechová Potôň, Slovakia-based sibling duo Damolh33 — Gabriel Bernáth (a.k.a. Gabbo) and Mikuláš Bernáth (a.k.a Mikkie)  — that has resulted in a handful of EPs including 2013’s Cabin Fever EP and They Live EP, Rebirth of Dark EP, and 2014’s Hospital Massacre EP. Each EP was centered around a specific, horror movie-inspired theme. ” 

“Near Death” finds the French-born, German electronic act re-establishing their collaboration with their Slovakian counterparts on “Near Death.” Centered around a minimalist-leaning production featuring wobbling low end, bubbling synths and skittering beats, “Near Death” may remind some listeners of John Carpenter soundtracks but with a club friendly, muscular thump. 

The recently released video is an incredibly cinematic visual that features our planet’s gorgeous and pristine beauty being destroyed by humanity’s greed, industrial excess — capturing what seems like the end of our species’ 2 million year run on this planet. 

Fonkyson is a rising Montreal-based future house and electro funk DJ and producer, who has released a full-length album — 2016’s #followme— and a handful of singles through Lisbon Lux Records. Earlier this year, the Montreal-based DJ and producer released his latest album Falling, which featured “You Got It.” Centered around Vanes’ sultry, come hither vocals, a sinuous bass line, handclaps and finger snaps, shimmering synth arpeggios, tweeter and woofer rocking 808s and an infectious hook, “You Got It” was a summery, club banger that seamlessly meshed ’80s synth funk and ’90s house.

“Giving U Up,” Falling‘s latest single is a a straightforward ’90s inspired house music collaboration featuring Desiire and Kôsa. Centered around shimmering and arpeggiated synths, tweeter and woofer rocking low-end, stuttering beats, soulful vocal turns from Desiire and Kôsa and an an enormous hook, “Giving U Up” is an earnest and swooning declaration of devotion that simultaneously further establishes Fonkyson’s unerring knack for crafting infectious and summery club bangers.




Tracing their origins back to 2009, when the project was started as Sister Crayon, the acclaimed Los Angeles, CA-based electro pop duo Rituals of Mine — singer/songwriter Terra Lopez and percussionist Adam Pierce — have received attention for crafting a sound that features elements of 90s trip hop, footwork and downtempo R&B through the release of their critically applauded first two albums, 2011’s Bellow and 2013’s Cynic. Building upon a growing profile, the act had spent several years relentlessly touring up and down the West Coast and elsewhere, playing house shows, DIY venues and basements before, eventually landing tours with The Album Leaf, Built to Spill, Antemasque, Le Butcherettes, Maps & Atlases, Doomtree, and others.

2015 was a harrowing and difficult year for Lopez: her father committed suicide and several months later, her best friend Lucas Johnson tragically died in an accident. Reeling from the grief of such profoundly unexpected and inconsolable loss, Lopez went through a period of deep reflection. During that time, Lopez felt the need to reassess life and her work with Sister Crayon, eventually deciding that she needed to put the name to rest and move forward with a new chapter and new moniker  — Rituals of Mine. ““It was a mantra that I repeated under my breath on a daily basis when the loss I was experiencing felt too heavy at times,” Lopez wrote at the time. “Music, the act of creating, performing, touring, writing, singing, experimenting – all the rituals we have created to get through life.”

Rituals of Mine is a bold and decided step forward for Lopez: after years of obscuring her own story and emotions through metaphorical lyrics, Lopez felt both a sudden confidence and need to write more directly about her experiences and life as a queer woman of color. Lopez with the assistance of her longtime collaborator and producer Wes Jones began to flesh out material centered around heartfelt observations and writing on her traumas by pairing her lyrics with pulsating and forceful electronic tracks. Lopez then recruited Adam Pierce to play drums — with understanding that Pierce’s background in metal would provide an intensity that could match her own and fit the material.

Back in 2018, I wrote about “No Time To Go Numb”  a defiant anti-Trump anthem centered around a tweeter and woofer rocking production of trap-like beats and chopped up and distorted vocal samples paired with Lopez’s impassioned vocal delivery, which sees her sing and spit fiery bars. Thematically, the song reminds the listener that while it may be natural to want to slink back from the horrors of an crooked and dictatorial Trump Administration, that things are too desperate, too urgent; that now is the time to be fueled by anger and fear of what could happen next, and fight like hell for those who are most vulnerable.

Much like countless artists across the globe, Rituals of Mine’s Terra Lopez has turned our period of quarantines and social distancing into an opportunity to reach out to fans while helping give to those in need through a weekly Twitch streamed DJ Series titled LOCKDOWN LOPEZ. Lopez takes over her girlfriend’s bedroom and turns into the club. This past Tuesday’s LOCKDOWN LOPEZ saw the Rituals of Mine frontwoman raise money for 174 meals for Border Kindness — and every week, she’ll be raising money to a new charity. Since we’re on the DJ and club vibe, their longtime producer and collaborator Wes jones recently created a deep house remix of “No Time to Go Numb,” for LOCKDOWN LOPEZ that’s centered around shimmering synth arpeggios, a chopped up and distorted Lopez vocal sample and a dance floor friendly groove, turning the furious anthem into a club banger.


Over the past few months, I’ve written quite a bit about the emerging and mysterious French electronic music artist, producer and latest JOVM mainstay artist
LutchamaK. The French artist and producer grew up as a voracious music fan and listen, who listened to and loved an eclectic array of music including hip-hop. dub, classical, rock, techno and a lengthy list of others. Unsurprisingly,  while his work is deeply influenced by techno, it reflects a devotion to a lifelong eclecticism: his first two EPs, which he managed to create during lunch breaks at his day job featured material that meshed elements of techno, house and EDM among others. 
Now, as you may recall the French JOVM mainstay has been gearing up to release his full-length debut Invisible Realm but in the meantime, he has managed to be incredibly prolific. Before the album’s release, LutchamaK has another EP Joy Inside — and interestingly enough, he has released two singles off the EP: the shimmering and slow-burning dub of “The Dream,” which is full of irie vibes, twinkling keys, tweeter and woofer rocking beats, a sinuous bass line and dreamy vocals coming out of the hazy mix, and the house music banger “I Do,” which features a hypnotic groove centered around wobbling low end, synth arpeggios and a sultry vocal hooks with subtle modulation. Both tracks will remind the listener of a producer, who masters several different styles and sounds — simultaneously.

Fonkyson is a rising Montreal-based future house and electro funk DJ and producer, who has released a full-length album — 2016’s #followme — and a handful of singles through Lisbon Lux Records. The Montreal-based DJ and producer’s latest single “You Got It” is centered around Vaness’ sultry and soulful, come hither vocals, a sinuous bass line, handclaps and finger snaps, shimmering synth arpeggios and tweeter and woofer rocking 808s and an infectious hook  with the end result being a summery, club friendly  anthem that seamlessly meshes 80s synth funk and 90s house.  

“During the creation process of the album, I had this beat I composed, kind of sunny chill 808 bass-driven track with a relaxed west coast vibe,” the rising Canadian producer and DJ says of the song’s creative process. “I firstly aimed for an instrumental but tried some acapellas quickly on the track to have a hint of where it could go, a pretty nice producer trick I often do. Then I fell in love with that R&B vibe a female voice could bring to it. I began to search for an artist to ask for a feat, and saw Vaness’s profile on Soundcloud. I loved her vibe, her range, the vocal fioritures that reminded me of 90s R&B divas. She loved the instrumental and said yes. She took quite some time to record a demo, but I remember when I finally got it, I opened the file and it was exactly what I hoped for and way beyond. It wasn’t a demo, it was the final song. Touchdown.”







New Video: James Rubiolo Teams up with Rosie Timmon on an Euphoric Club Banger

James Rubiolo is an emerging Sydney, Australia-born and-based producer, who has been honing and perfecting his sound over the past couple of years. His second studio single “How You Make Me Love” is a slickly produced, euphoric house track centered around twinkling and shimmering synth arpeggios, tweeter and woofer rocking beats and an anthemic and sultry hook wrapped around sultry vocals sung by Irish-born, New York-based Rosie Timmon. The song evokes the swooning euphoria of falling madly in love — but with the subtle undertones of uncertainty and anxiousness over what it’ll mean for you if it works — or worse yet, if it fails. 

Interestingly, the track can trace its origins to when the emerging Sydney-born and-based producer, met the Irish-born, New York-based producer on a night out in Bali. After meeting, they duo shortly made the single over a series of Instagram voice messages. “I made the riff while sitting back in a bed in a gross motel room in Bali and worked on a vocal with Timmon the next day over voice messages.” Rubiolo goes on to explain that the track which draws from the likes of MK and Sigala, is an attempt to recall sultry summers at Ibiza-based clubs like Ushuaia and Cafe Mambo. 

The recently released video follows Aussie dance and vibe creatorTommy Franklin, in cut off shorts, brightly colored Hawaiian shirt and chucks dancing and rocking out to the song around Sydney’s world-famous Bondi Beach. And from the video, Franklin’s life is full of explosive, life affirming joy. 

Over the past handful of months, I’ve written a bit about the emerging and mysterious French electronic music artist and producer LutchamaK. The French artist and producer grew up as an voracious music fan and listener, who listened to — and loved — an eclectic array of music, including hip-hop, dub, classical, rock, techno and others. LutchmaK’s work is deeply influenced by techno but with a devotion to lifelong eclecticism: his first two EPs, which he managed to create during lunch breaks at his job, featured material that seamlessly synthesized techno, house and EDM among others.

LutchamaK is gearing up to release his full-length debut Invisible Realm and the album’s first single “Tribute 2 Mad Mike” continues in a similar retro-futuristic vein as “Later On.” Centered around a minimalist-leaning production, the track features shimmering synth arpeggios, tweeter and woofer rocking beats, vocodered vocals and an enormous hook, “Tribute 2 Mad Mike” brings Computer World and Tour de France-era Kraftwerk, JOVM mainstay Boys Noize, ’90s house music and techno to mind. Simply put, it’s a thumping club banger.

“I wanted to make it as danceable as possible,” LutchamaK wrote to me in an email. “It’s a salute to Mad Mike, one of the founders of Detroit’s Underground Resistance. I tried to get a ’90s techno vibe, hoping the result won’t be seen as plagiarism.”



New Audio: Mexico City-based Sibling Duo Sotomayor Returns with a Shimmering House Music-Influenced Bop

Sotomayor, is a rapidly rising Mexico City, Mexico-based sibling electro pop duo featuring arguably two of their hometown’s most accomplished musicians: Paulina Sotomayor (vocals), best known for her work as a drummer in local rock/folk act Jefes del Desierto,  and Raul Sotomayor (production), best known for his work as one-half of award-winning jazz/funk duo Beat Buffet and for creating DayOff, a Sunday afternoon party that presents global bass acts rom around the world. The sibling duo founded the act back in 2015 and although it’s their first collaborative project together, they’ve released two albums — 2015’s Salvaje and 2017’s Conquistador — that have received attention from Vice, MTV and KEXP for a sound that meshes elements of cumbia, Afrobeat, dancehall, Peruvian chicha and merengue with modern electronic production and rock ‘n’ roll-like urgency. Adding to a growing profile, the act has toured across the UK, the States and Colombia.

Recorded in studios in Puerto Rico and Mexico, the duo’s soon-to-be released Eduardo Cabra-produced, third full-lengh album Origenes is slated for a February 14, 2020 release through Wonderwheel Recordings. Reportedly, the act’s third album finds them continuing to draw their sound and aesthetic from the sounds of Latin America’s clubs and streets.  Possessing a strong sense of tradition, the material further cements the sibling duo’s reputation for an unerring knack for melody paired with a rock ‘n’ roll-influenced urgency — but unlike their previously released albums, Origenes finds the Sotomayors exploring and adding Afro Caribbean percussion to the mix.

Now. as you may recall, earlier this month I wrote about Origenes’ second single “Meneate pa’ mi,” a decidedly upbeat track centered around Raul Sotomayor’s thumping, club friendly production featuring a chopped and looped horn sample, tweeter and woofer rocking beats paired with Paulina Sotomayor’s self-assured, half-sung, half-rapped vocal delivery. Interestingly, much like JOVM mainstay El Dusty, the Mexico City-based duo’s newest single envisions a globalized, genre-free world, a world as the great George Clinton once sung that’s “one nation under a groove.” Interestingly, “Sin control” continues a run of club friendly material — but in this case, the track is a decidedly Larry Levan-era house inspired track centered around shimmering synth arpeggios, thumping Latin-influenced percussion and Paulina Sotomayor’s sultry and ethereal vocals. Nodding at the work of artist like Sango and Branko, the track is an infectious and summery bop designed to get asses shaking. 


Late last year, I wrote about the somewhat mysterious yet emerging French electronic music artist and producer LutchamaK. Like countless others, the emerging French artist grew up as an avid and passionate music fan, who listened to — and loved — an eclectic array of music, including hip-hop, dub, classical, rock, techno and others. Interestingly enough, the mysterious French artist’s work is deeply influenced by techno — but while nodding at other styles and genres: his first two EPs featured, which he managed to create during such breaks at his day job, featured material that effortlessly meshed techno, house and EDM.

9th Forest” off the Goth in the Shell EP was a slickly produced, propulsive house-leaning techno track centered around tweeter and woofer rocking beats and arpeggiated synths that recalled JOVM mainstay Boys Noize and Octo Octa, but with a self-assured swagger. LutchamaK begins 2020 continuing a run of slickly produced, swaggering, club friendly house music with his latest single “Later On.” Much like its predecessor, the track is centered around tweeter and woofer rocking beats, shimmering synth arpeggios and a sample of a seductive female vocal — but “Later On” features a decidedly minimalist production reminiscent of Kraftwerk‘s Tour de France.

“I guess the purpose for me is always the same, to make the best song I can,” the emerging French producer and electronic music artist wrote to me in an email. “It  has to move me somehow, to please me so much that I want to share with everybody else. [I’m] hoping this track would get big smiles and make heads and feet move. :)”