Browsing Tag

edm

Viresha Found Rhythm in Transcendence with Her Organic Tech House Debut, Flow of Life

Viresha

Hit play and permit the augmentations of transcendent spirituality to slam and spiral through your speakers as the synthesis of organic house and techno in Viresha’s debut, Flow of Life awakens the senses. Like a tribal calling to the dancefloor, the instrumental radio edit of Flow of Life delivers exactly what it says on the tin—encapsulating what it means to be human in the tension and catharsis of the progressions, which seamlessly shift as a tribute to the trials we face and the sanctuaries we can lead ourselves to if we ebb to the flow of life.

Viresha—the moniker chosen by Swedish producer, DJ, and breast cancer survivor Anna—channelled her invincible strength into every beat of her self-written and self-produced debut. Drawing from years behind the decks and deep immersion in vinyl and radio culture, she’s carved out a sound steeped in tribal, Latino, afro, melodic tech, and downtempo roots. Her style doesn’t borrow; it builds. There’s structure in the sonic chaos, purpose in the propulsion, and emotion that doesn’t just flirt with the surface but cuts clean through it.

From her past to her pulse-raising future—including her forthcoming attendance at Tomorrowland Academy—Viresha is proof that it’s never too late to create something worth dancing to—debuts rarely come as strong as this fierce rhythmic reckoning.

Flow of Life is now available to stream on all major platforms via this link.

Review by Amelia Vandergast.

Whit2Boi’s Progressive House KPop Earworm, ‘Set the Vive’, Pulses Through the Cracks of Reality

Whit2Boi

Whit2Boi threw out the rulebook to make room for an innovative recalibration of electronic music with his KPop-laced house anthem Set the Vive, featuring the exhilarating vocal presence of Estelle. While Western EDM producers cling to worn-out formulas, Whit2Boi architects an entirely different experience—one that abstracts your senses from material reality and relocates you into the textural transcendence of his sound.

Set the Vive is a slamming EDM house release that hypersonically injects euphoria into every drop. The builds, however, are where Whit2Boi’s signature hits hardest. Meditative textures ripple through the structure with spiritual and naturalistic ambience, dialling back the intensity just long enough to let the anticipation simmer into something more divine than mechanical.

Where other artists are happy to build club tracks for disposable escapism, Set the Vive constructs a world beyond imagination and delivers you straight into it. This isn’t an anthem for losing yourself on the dancefloor. It’s full-body escapism from an artist who understands how to make the synthetic feel sentient.

Discover Whit2Boi on SoundCloud. 

Review by Amelia Vandergast

L33A.P Drops a Sugar-Rush of Club Nostalgia with D10R2004

L33A.P knows exactly how to tap into nostalgia without letting it weigh down the present. D10R2004 is a shot of Y2K club euphoria, drenched in bouncy house beats, 80s synth stabs, and 8-bit melodies that feel like a lost ringtone from a Motorola Razr in the best possible way. It’s twee, it’s polyphonic, and it’s a feel-good anthem that refuses to apologise for revelling in the hyper-feminine aesthetics that pop culture loves to dismiss.

The London-based, NY-born producer, DJ, and multi-instrumentalist wears her influences on her sleeve, fusing the pulse of UK dance music with the playfulness of early 00s Eurodance. The autotuned vocals glide through the mix with an artful duress, bending and warping like an overworked CD skipping in a neon-lit club basement. There’s no self-conscious posturing here—just an artist celebrating what she loves with unapologetic confidence.

That refusal to conform isn’t limited to D10R2004. L33A.P has been busy remixing Everything is Romantic by Charli XCX with jungle-fuelled chaos and putting her own stamp on the Twin Peaks theme with a pumpin’ organ house spin. She isn’t chasing trends; she’s building soundscapes where retro-futurism collides with personal expression, and D10R2004 is the perfect entry point. It’s music for the dancefloor, the dressing room, the night bus home—wherever you need a dose of unfiltered fun.

Stream D10R2004 on SoundCloud now.

Review by Amelia Vandergast

Obsidian Cane & Gizella Turn Sonic Synthetics into a Soulful Inferno of Avant-Garde Transcendence in ‘Never Change’

https://open.spotify.com/album/626aFgMbMj8ckTdd6qih7u?si=1E8dNM2zQYKc48x6jWQjBg

Drum & Bass rarely carries this much ethereal weight, but Obsidian Cane and Gizella aren’t in the business of serving up the expected. Their latest single, Never Change, released on Reset Records UK, finds the perfect median between visceral energy and spectral serenity, where the frantic percussion doesn’t just drive the track—it elevates the transcendental vocal harmonies into another stratosphere.

With a three-octave range that has been flexed across genres from UK Garage to Dubstep, Gizella pours a lifetime of versatility into this track, mirroring the sonic unpredictability of Obsidian Cane’s production. As harp-esque motifs shimmer through the mix, the composition pivots between the frenetic and the meditative, creating a push-pull dynamic that never loses momentum. The pairing may seem unlikely on paper—Gizella’s vocals carry the grace of classical technique with a touch of Bjork, while Obsidian Cane’s foundations lie in electronic intensity—but together, they craft a sound that is electrifyingly human.

Their creative chemistry is no fluke. After years of producing music for major labels and television, Obsidian Cane was ready to walk away from the industry, only to be drawn back in by the digital age’s independent revolution. A chance connection led him to Gizella, who unknowingly auditioned while cycling through London, singing as she rode. That serendipitous meeting now fuels a collaboration that doesn’t adhere to trend cycles or genre limitations. Never Change is proof that electronic music doesn’t have to be detached—it can pulse with soul, speak to the subconscious, and command movement all at once.

The Club and Radio mixes of Never Change are out now on all major streaming platforms, including Spotify. Find other ways to listen and connect with Obsidian Cane via this link.

Review by Amelia Vandergast

A Liminal Light: Laurent Iacomucci’s Entrancing EDM score, ‘Monsters’, Defies the Darkness

Laurent Iacomucci

From the first tentatively diaphanous chords in Laurent Iacomucci’s entrancing EDM score, Monsters, you’re submerged into reflective submission. When the ethereal vocals enter and bleed even more emotion into the evocatively structured arrangement, your soul would have to be defunct not to feel the weight of the release, which lightens with the first iridescent build in the EDM pop production.

By choosing nuance over extremes, Laurent Iacomucci visualises the concept that we’re all trailed by shadows which haunt us, but what truly matters is whether we accept them and confront them instead of living a life of introspective persecution.

As the first single from the Luxembourg-based artist and producer’s debut LP, Chasing Monsters, ‘Monsters’ sets the tone for a collection of tracks that explores the universality of the struggles we face, the shadows we chase, and the hope that keeps us moving forward.

The emotional potency in ‘Monsters’ resonates through the subtle ebb and flow of the melodic transitions, making it impossible to ignore the confessional quality that underpins each verse and build.

Monsters will be available to stream on all major platforms from January 31st. Find your preferred way to listen via this link.

Follow Laurent Iacomucci on Instagram to stay up to date with all their latest releases.

Review by Amelia Vandergast

Dizzy Panda blasted into space with their bass house hit, Astronaut ft Major Orbit

In an industry-quaking collaboration, Dizzy Panda teamed up with Major Orbit to drop an interstellar track that allows the bass to hit hard enough to knock the bass house scene off its axis. The juggernautical dub-heavy drops match the intensity of the ensnaring vocals as they run through reprises until the track reaches a frenetically broadsiding middle eight that allows chaos to reign.

The beauty in Astronaut lies within how Dizzy Panda use their grit and high-octane ferocity with their devil-may-care charisma, giving the track a tongue-in-cheek feel which is matched by the official music video that proves there are few better purveyors of vibe-driven, bass-drenched euphoria.

Dizzy Panda, an unsigned DJ and producer duo from Haarlem, The Netherlands, refuse to stick to one genre by synthesising Old-School House, Tech House, Techno, and Bass House influences. Like all pandas, they have a dark side too. Astronaut, their first single from the new album, dives back onto the dancefloor with an interstellar groove that was, by their own admission, a surprise discovery while they were working on something else. Bassheads will naturally treat this track as a product of divine intervention.

The official music video for Astronaut will premiere on January 31st; catch it on YouTube.

Review by Amelia Vandergast

Preaching to the Converted: Nicco Lupen’s ‘Sunday at Church’ Reimagines Worship on the Dancefloor

Nicco Lupen’s latest single, ‘Sunday at Church’, doesn’t just bring beats to the congregation—it delivers the gospel of tech house with an intricately cultivated sense of purpose.

Hailing from Italy and now based in Prague, Lupen has carved his reputation on grooved-out rhythms, deep basslines, and euphoric melodies, earning recognition on platforms such as Spotify, SoundCloud, and Beatport. But with this release, he transcends the archetypes of house music by imbuing his production with a soul-affirming euphoria that hits deeper than the average dancefloor anthem.

By swathing his pulsating rhythms in sermonic samples, Lupen invites listeners to experience the transcendence of music as energy. It’s a far cry from the hand claps and foot stomps referenced in the samples, which bring the rhythm to church, but the mix is sanctifying sonic scripture all the same. Lupen wrote a New Testament by blurring the lines between sacred spaces and late-night clubs. The vocal outpours contextualise the track beyond its beats, urging reflections on how rhythm and ritual connect people across all walks of life.

The call to communion challenges the predictable structures of tech house and carves a cerebral edge into its hypnotic progressions. Nicco Lupen’s ability to bridge soulful introspection with dancefloor ecstasy solidifies his position as a standout in the electronic scene.

Sunday at Church is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

‘sssnake’: r/ginola’s Venomous Dive into the Electronic Spectrum

With sssnake, the up-and-coming artist and producer, r/ginola, strikes again, delivering a sonic venom that bites hard and fast. Forgoing the usual slow-burn build-ups, the track hooks instantly, plunging listeners into a speaker-slamming anthem that meshes bass-heavy EDM with hyper-pop chaos. The glitchy techno interjections and euphoric house swells create a kaleidoscope of sound that refuses to play by the rules, colouring far beyond the conventional lines of electronica.

Building on the foundation of his first official release, Edgar Allen Poe, a genre-defying electrotrap banger, r/ginola continues to scribe his unique sonic signature across uncharted auditory territory. While his chaotic approach to production lands firmly in the remit of modern trends, his distinctive style carves out a space that’s entirely his own.

sssnake not only showcases r/ginola’s adventurous approach to sound design but also hints at his potential to become a trailblazer in the EDM scene. With a tighter structure and a little more polish to his sound, he could be poised to dominate the electronic frontier.

sssnake was officially released on January 17th; stream the single on SoundCloud and Spotify now.

Review by Amelia Vandergast

NI-RAVE earned a PhD in rhythmic anatomy with his techno anthem ‘Play Right’

With ‘Play Right’, NI-RAVE proves himself as a sonic architect capable of building euphoric tension and releasing it in ways that defy expectation. Hailing from Mumbai, NI-RAVE (Nirav Advani) has crafted a reputation for his versatility and profound understanding of techno’s rhythmic anatomy, synthesising electronic textures with an innate sense of pacing.

After cutting his teeth as an electronica artist at just 14, NI-RAVE has evolved from small, intimate events to prestigious international stages, with global releases on labels like YHV Records and Trippy Code Records.

‘Play Right’, a standout from his 3-track EP, Karma, featuring collaborations with techno heavyweight Datlow, pulses with kinetic energy. NI-RAVE’s meticulous progressions lead the listener into a sense-seducing frenzy of anticipation for the drops which he teases with tantalising precision, ensuring the build is just as exhilarating. His ability to subvert rhythmic expectations pushes the boundaries of the genre without losing its intrinsic dancefloor appeal.

The track’s hypnotic and subtly transformative textures echo NI-RAVE’s philosophy that techno offers a healing escape.  Having shared stages with artists like Stereo Express and Almost Human, NI-RAVE is shaping the rave scene’s future with his innovative touch.

Play Right was officially released on January 3rd and is now available to stream on all major platforms, including Spotify, as part of NI-RAVE’s 3-track EP, Karma.

Review by Amelia Vandergast

LA’s GiNN 諸葛靖 dropped a darkly debauched dancefloor-scorching electrohop anthem with his mindfully mantric hit, //MHM//

LA’s GiNN 諸葛靖 is back with a swagger-soaked, unapologetically bold new single, //MHM//, dropping on 10th January. It’s a jet-black, body-moving juggernaut that hammers home his mission to bridge cultures and tear through genre boundaries in one fell swoop. The track bristles with a sense of unrestrained hedonism, but there’s an empowering undercurrent too, as GiNN commands us to trust our instincts and slam the door on timid self-doubt.

Charged with grit and fuelled by a pulsing bassline, //MHM// is precisely the kind of track that carves its own niche in Electrohop. As soon as the thundering beat kicks in, it’s clear GiNN has taken care to ensure every element lands like a knockout punch.

Recorded in Chengdu, Sichuan, and spearheaded by GiNN as Executive Producer, Composer, and Lyricist, the single joins a litany of cross-continental influences that shape his bilingual style. He’s deftly woven Mandarin and English hooks into a propulsive arrangement that feels underground-ready and crafted for the main stage.

With creative support from Otomic on arrangement and audio engineering, //MHM// simmers with dark tension before bursting into a thunderous assault of bass. GiNN’s low-slung vocals add an air of edgy mystique; there’s no mistaking his raw self-assurance as he urges listeners to own their choices. Lyrically, it holds true to the mantric backbone, turning a simple “mhm” into a resolute statement of intent.

GiNN’s commitment to celebrating his Han-American roots remains a vital part of his artistic identity. He’s proven he can hold sway both online—racking up more than 50K followers on 抖音—and on monumental stages like 88rising’s Head in the Clouds festival in Guangzhou.

//MHM// will be available to stream on all major platforms, including Spotify, from January 10th.

Review by Amelia Vandergast