Tag: electronic dance music

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.

 

 

 

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New Video: Watch Detroit’s ADULT. Smash a Room in Frustration in New Visual for Tense and Claustrophobic “Total Total Damage”

Detroit-based multimedia and electronic music production and artist duo ADULT. — the husband and wife team of Adam Lee Miller and Nicola Kuperus — have developed a sprawling catalog of material that obscures and blurs defined genres and styles, while drawing from industrial electronic, house music, punk rock and visual art with releases through Mute Records, Ghostly International, Thrill Jockey, Third Man Records and a list of other labels throughout their two plus decades together. 

Slated for an April 10, 2020 release through Dais Records, the acclaimed Detroit-based electronic duo’s forthcoming album Perception is/as/of Deception was conceived, written and recorded in a temporary black hole they created: the duo painted their windowless basement entirely black, with the sole intention of sensory deprivation so that they could question their perceptions and witness the resulting ramifications. And as result, the album’s material may be the most introspective and punk-leaning they’ve written to date: the frustration and apprehension that has long been at the center of their work are heightened — but interestingly enough, the material was written with a much more head-on approach, making it forceful and strident.

Last month, I wrote about Perception is/as/of Deception‘s second single, the club banging “Have I Stated at the End.” Centered around a classic electronic body music production featuring industrial clang and clatter, tweeter and woofer rocking beats, shimmering synth arpeggios, an enormous hook and a repetitive mantra that questions the fragility and temporality of life “Total Total Damage,” the album’s third and latest single is a tense and claustrophobia-inducing track centered around industrial clang and clatter, layers of synth arpeggios and Kuperus’ howled vocals. Thematically, the song is a dystopian anthem that focuses on the slow and painful collapse of our society and systems and the growing uncertainty and uneasiness we all feel but while expressing the desperate cabin fever. 

While in social isolation, the members of ADULT. decided to build a room-like set indie their house for the Miller and Kuperus-filmed and edited visual for “Total Total Damage,” which features the duo losing their minds and destroying their room with a sledgehammer.  “We’re hoping that the video speaks to a lot of people, because everyone’s feeling cabin fever and wanting to get out, get back to ‘normal’ life,” the Detroit-based duo say in press notes. 

New Audio: Acclaimed Detroit Duo Adult. Releases an Anxious and Uneasy Club Banger

Over the course of their 23 year history together, Detroit-based multimedia and electronic music production and artist duo ADULT. — the husband and wife team of Adam Lee Miller and Nicola Kuperus — have developed a sprawling catalog of material that obscures and blurs defined genres and styles, while drawing from industrial electronic, house music, punk rock and visual art with releases through Mute Records, Ghostly International, Thrill Jockey, Third Man Records and a list of other labels. 

Slated for an April 10, 2020 release through Dais Records, the acclaimed Detroit-based electronic duo’s forthcoming album Perception is/as/of Deception was conceived, written and recorded in a temporary black hole they created: the duo painted their windowless basement entirely black, with the sole intention of sensory deprivation so that they could question their perceptions and witness the resulting ramifications. And as result, the album’s material may be the most introspective and punk-leaning they’ve written to date: the frustration and apprehension that has long been at the center of their work are heightened — but interestingly enough, the material was written with a much more head-on approach, making it forceful and strident. 

“Have I Started at the End,” Perception is/as/of Deception’s second and latest single is a club banger, centered around a classic electronic body music production featuring industrial clang and clatter, tweeter and woofer rocking beats, layers of shimmering synth arpeggios, an enormous hook and a repetitive mantra that questions the fragility and temporality  of life while expressing frustration and unease. Unsurprisingly, the song evokes the unease and uncertainty of our time. 

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.”

 

 

Teknoclash is a rapidly rising Dutch DJ and producer, who has released material through a handful of acclaimed electronic labels. And with each release, the Dutch DJ and producer has firmly established a swaggering, high energy sound meant to inspire listeners and live audiences to have fun.

2019 has been a huge year for Teknoclash: he’s toured with the likes of Steve Aoki, Carnage and Virtual Riot — and adding to a growing profile, the Dutch DJ and producer has played at Electric Love, Parookaville and Mysteyrland. Teknoclash closes out a big year for him professionally with the release of “Riot of the Bass,” a collaboration with Dutch hard dance artist GLDY LX  — and much like his previously released material, the song is a swaggering, club banger centered around tweeter and woofer destroying bass, thumping beats, an infectious hook and GLDY LX’s self-assured delivery. And while nodding a bit at hip-hop the song reminds me of acclaimed German, JOVM mainstay Boys Noize. 

 

 

 

 

 

 

 

New Audio: Internationally Acclaimed Omar Souleyman Returns with a Swooning, Club Banger

Omar Souleyman is a Tell Tamer, Syria-born, Istanbul, Turkey-based Sunni Arab vocalist, whose music career started in earnest back in 1994 when he was a part-time wedding singer. His overall sound has largely been influenced by  the incredibly diverse milieu of Northeastern Syria — and as a result, Souleyman and a rotating cast of musicians and producers he has worked with since his early days have found a way to draw from and mesh the sounds and themes of the Kurdish, the Ashuris, the Turks, the Iraqis and the larger Arabic world in a way that’s familiar and novel. In fact, Souleyman is considered the region’s pioneer of dance music/wedding music. 

Amazingly Souleyman has managed to be wildly prolific, releasing well over 500 stdio and live albums with about 80% of those releases made at weddings. Those recordings are first presented to the newlywed couple and then copied and sold at local kiosks. Over the better part of the last decade, Souleyman has released four compilations 2006’s Highway to Hassake, 2009’s Dabke 2020, 2010’s Jazeera Nights, 2011’s Haflat Gharbia: The Western Concerts and 2011’s Leh Jani and three full-length albums to the West, 2013’s incredible Wenu Wenu, 2015’s Bahdeni Nami and 2017’s To Syria, with Love –and all of those efforts have brought the sounds and grooves of the Middle East to the West, while expanding the Tell Tamer-born, Istanbul-based vocalist’s profile internationally. Adding to a rapidly rising international profile, Souleyman has played sets at some of the world’s biggest festivals, including Paredes de Coura, a Caribou co-curated ATP Festival, ATP Nightmare Before Christmas, Bonnaroo, Roskilde Festival, Mostly Jazz, Funk and Soul Festival, Pukkelpop Festival, Electric Picnic,  Treefort Music Festival — and oddly enough, one of the strangest House of Vans bills I’ve ever seen, in which he opened for Future Islands. And before I forget, he’s also collaborated with Bjork, contributing vocals for three remixes, which appear on an Biophilia.

Dericing its title for the Arabic word “how” or more literally “which color,” Shlon, which is slated for a November 22, 2019 release through Mad Decent/Because Music is the first batch of new material from Souleyman in a couple of years. The forthcoming album features double keyboard work from Hasan Alo, a fellow native of the Hasaka region of Northeastern Syria, who has recently been active in Dubai’s vibrant nightlife scene, a well as saz work from Azad Salih, a fellow Syrian, who currently resides in Mardin, Turkey. The album also finds the Tell Tamer-born, Istanbul-based vocalist continuing his longtime collaboration with Syrian-born, Turkish-based lyricst Moussa Al Mardood, who the wrote most of the album’s lyrics spontaneously during the recording sessions. 

Unsurprisingly, his fourth album is vintage Omar Souleyman — 6 songs which mesh the dabke and baladi music of music beloved by the Lebanese, Jordanians, Syrians, the Kurdish and Iraqis with thumping, synth-led techno — but at its core, the material is comprised of swooning tales of devotion, adoration and love. “Layle,” Shlon’s propulsive, club banging first single is centered around Alo’s dexterous and arpeggiated synth work, layers of tweeter and woofer rocking polyrhythmic percussion and Souleyman’s imitable vocals. And while the track instantly reminds me of the sounds of my home borough — particularly Astoria and Jackson Heights — the song is centered around some gorgeous poetry,. describing a woman’s lips as sweet as the dates of Hillah, making the song a slick synthesis of the classic and the modern. 

New Video: Introducing the Genre Defying Globalist Sounds of Ekiti Sound

Leke a.k.a CHif is a Lagos -born, London-based multi-instrumentalist, producer and singer/songwriter, who has carefully honed his skills with a variety of artists and producers both in Europe and Africa, and briefly as a sound designer in Nollywood — and unsurprisingly, all of Leke’s experiences have influenced his solo recording project Ekiti Sound, a project that finds him adding his name to a growing list of genre-blurring artists that draw from an eclectic array of sources — while being undeniably Nigerian; in fact,  the slickly produced “Ife,” Leke’s latest single off his forthcoming Ekiti Sound debut Abe No Vex pairs thumping tweeter and woofer rocking Chicago house music, African polyrhythm, arpeggiated synths and an anthemic, club rocking hook with shouted traditional lyrics by frequent collaborator Prince G, creating a seamless (but incredibly subtle) synthesis across the African Diaspora. As Leke explains “Ife” in Yoruba means “the greatest love,” and the swaggering club banger manages to gently swoon a bit at its core, as it promotes the sort of love that should unify all creatures on this planet.

Directed by Sam Campbell, the recently released video for “Ife,” was shot on location in Ikeja, the capital of Lagos State and features three beautiful. traditional Nigerian dancers, who do some of the traditional dances of the Yoruba, Ibo and Hausa tribes with an infectious and life affirming energy.

 

New Video: Introducing the Sensual and Club-Banging House of Up-and-Coming Italian Producer Matthew S.

Matthew S is an up-and-coming Vicenza, Italy-based electronic music producer, sound designer, and electronic music artist, who emerged in the European electronic music scene with his 2006 debut EP with helped him establish a reputation for a genre-defying sound and an wildly experimental approach that includes samples and other manipulated samples, as well as the use of Ableton Push and Livid DS1. As a sound designer, he has collaborated with web magazine like Espresso and thIS, which resulted in the release of an experimental album with fashion designer Von Felthen, Call Me By Your Name an effort that was centered by a mix of downtempo electronic music and ambient music and featured a series of manipulated and sampled sounds; in fact, the effort was so forward-thinking, that in 2016 it caught the attention of MTV Italy’s New Generation, which he won that year. 

Since then, the Vicenza-based producer, sound engineer and electronic music artist has been very busy: he’s currently, a Production Professor of Ableton Live at the Instituto Musicale Veneto of Thiene — and he’s been building up a fanbase, while further developing and refining his sound. “Touch” the sinuous and sensual first single off his much-anticipated full-length debut is the result of several years working on his sound and its centered around pulsating and arpeggiated synths, tweeter and woofer rocking beats and Leiner Riflessi’s sultry vocals. It’s big, club-rocking house with a sensual thump reminiscent of Giorgio Moroder and Octo Octa’s Between Two Selves. 

Edited by Daniele Sciolla, the recently released video features alternating light colors, dark colors and shadows with each person taking a variety of colored pills, and the result is a video that emphasizes the song’s sensual and undulating textures. 

Rachel K. Collier is a Swansea, Wales, UK-born, London-based singer/songwriter, producer and electronic music artist, who achieved both commercial and critical success across the UK relatively early in her career; in fact, Collier is credited as a co-writer or producer or several chart-topping, smash hits including Ray Foxx‘s “Boom Boom (Heartbeat),” which peaked at number 12 on the UK Singles chart back in 2013; Mat Zo‘s Grammy-nominated album Damage Control, which peaked at number 1 on the iTunes Dance Album charts; and on pioneering garage producer Wookie‘s comeback single “2 Us.” As a solo artist, she recorded a cover of Jimmy Cliff’s Hard Road to Travel,” which landed at number 79 on the UK Singles chart, and her debut original single “Predictions” was named Sarah Jane Crawford’s “Smash of the Week” on the radio personality’s BBC Radio 1Xtra show. Collier has also received airplay and praise from the likes of Annie NightingaleCapitol XtraTiësto and Oliver Heldens, which has added to the growing buzz surrounding her in electronic music circles.

Building upon a growing national profile, Collier released her self-produced, debut EP Words You Never Heard through Love and Other Records in late 2015 and followed that up with “Ships,” a single she released during the last few months of 2016. Now, as you may recall, last year I wrote about Collier’s “Paper Tiger,” a slick yet un-fussy club banger, which she followed up with extensive touring playing sets at clubs and festivals across the European Union and unsurprisingly, with the release of her latest single “Darkshade,” her experiences touring throughout 2017 have influenced her creative process and her sound, as the new single finds Collier pairing what arguably may be the most emotionally direct lyrics she’s written with a sound that manages to be simultaneously radio and club friendly — all while further cementing her reputation for crafting rousingly anthemic hook.

“I’ve been heavily inspired from playing live at clubs and festivals throughout 2017 -playing my synths on stage at full volume is so satisfying and fulfilling that I’ve been incorporating synth solos and counter melodies way more into my actual production rather than just doing it on stage for fun!” Collier explains in press notes. “Darkshade feels like a song I needed to get off my chest — many of us will go through life hiding, disguising or playing down a physical/emotional element that we have but we don’t like. This song is about that and how I deal with it.”

This year may be a breakthrough year for the Swansea-born, London-based singer/songwriter, producer and electronic music artist as her full-length debut is slated for a September release.