You can’t help but enjoy the slick and slinky overall sound of Chad Atkins dance music. EDM seems to follow some pretty well defined lines, for the most part, but Lightning offers something much more interesting. Because it slices pop grooves in with EDM beats and calls back to a 90’s golden age as much as it looks to a club dance floor future there is an originality mixed with a familiarity, a progressive edge laced with a taste of past glories.
And that is the art of such things I guess. Push too far into the unknown and the punters might be reluctant to come with you, stay too much in the comfort zone and the punters write it off as being too out of fashion. Lightning is clever enough to be all things to all people and a hot grooving future classic at the same time.
With a name like Chelsea Uniqorn you’re going to need some pretty magical music to back up the boldly eclectic title. After checking out the EDM artists latest single Moon Girl I can definitely testify that her soundscapes more than surpass her persona.
It is with Moon Girl that the Portland, USA based artist stamps down her prodigal style whilst flirting with a faint reminiscence to artists such as Peaches & Chelsea Wolfe. The beats aren’t overly abrasive, instead Chelsea lay down an intricate weave of mid-tempo lucid beats which don’t act in accordance to the rulebooks of any of the genres under the EDM umbrella. Alongside her masterful command of electronic sound, her playful yet empowering approach to lyricism rounds off the track perfectly. Even though the lyrics to Moon Girl are fairly minimal, those small & sporadic vocal offerings of her domineering prowess is all that it takes for you to appreciate how much brighter she shines than most EDM artists on the scene to date.
As a multi-instrumentalist, producer and performer it’s hard to imagine that there isn’t much that Chelsea Uniqorn isn’t capable of.
You can check out Chelsea Uniqorn’s latest single Moon Girl on Spotify now.
I will always stand firm in my belief that there aren’t enough EDM artists that incorporate classical strings into their mix.
Mathetis’ experimental use of classical also mixes in with his heavily dubbed basslines & catchy hooks which he riddled into his euphoric hard-yet-happy Trance mix. With absolutely no use for vocals the track progresses through a momentous labyrinth of snares and hooks that bleed pure transcendental euphoria which the violin pierces through. There aren’t many artists that would be brave enough to attempt such a crossover, if you could imagine what 2Cello’s would sound like if they found an affinity for EDM you’d get pretty close to Mathetis’ prodigal mark which he has stamped down through the soundwaves.
You can check out Mathetis’ second single Telos which dropped May 29th, 2018 on YouTube now along with his first single Argos. Make sure to subscribe to his channel, I have the feeling we will be hearing a lot more orchestrations of noisy dubbed classical chaos from the up & coming artist.
With such an ominous track name, L. Ariel x SoundControl’s latest drop is almost deceiving as the dreamy electric beats unfold. LA based Synth Pop artist L. Ariel teamed up with producer & fellow songwriter to create the collaboration album Diatribe. Their ingenuity combined created a dirty yet contrastingly dreamy mix which L. Ariel’s vocals could sit succinctly above and draw you further into the track. The amount of texture coiled within the multi-layered beats made it appear as though the bassline had a heartbeat of its own as it pulsed and thrashed under the controlled fluidity of track. How SoundControl poured so much progression into a Indie Electro Dance Pop mix that wasn’t even 4 minutes long is almost beyond me.
You can check out L. Ariel x SoundControl’s album Diatribe & their standout single Dead to You from June 8th on SoundCloud.
In the mean time stay up to date with L. Ariel as the hype over her latest collaboration with SoundControl gains an ever-increasing amount of momentum by giving her a follow on Facebook
Sure there’s plenty of Dance & EDM artists out there today creating euphoric beats. But what Trackalyst (AKA Adam Carlsson) created with his latest track Voices is something else entirely. In fact, I don’t think I’ve ever heard a happier melody. The instrumental beat has been polished to absolute perfection to sit at a pitch that will help you feel the momentum behind every kick, build up and flair contained within the track. Vocals would have been an entirely unnecessary addition to the track as each progression packs in enough instrumental emotion to enable you to fully immerse yourself in the soundscape. I’m a little bowled over that at the age of only 18 Adam Carlsson has created some of the biggest, happiest, melodic House beats my eardrums have been treated to this year. Whilst by the time the track was concluding I couldn’t help but find the beat slightly repetitive, yet I have no doubt that with a command over pure aural happiness Trackalyst’s tracks will be a staple spin for EDM DJ’s everywhere.
You can check out Trackalyst’s infectiously happy latest track Voices which was dropped in May 2018 on SoundCloud now.
If you’re looking for electric new EDM Dance beats to liven up your summer playlists; look no further than The Crank’s latest track Don’t Let Me Alone. I’ll forgive the glaring grammatical error within the track title, but seriously, someone should have checked that pre the release of the momentously hyped track. The Spanish based beat machine behind the Electronica project The Crank teamed up with vocalist Cristina Simbad to create a track that will almost certainly allow you to share their vibrant passion for summer soundscapes. With a mix of Dance, Electro House & Progressive house mixed into the artists style you’re in for an absolute treat if you find yourself with a penchant for dirty drops and intense build ups of sound.
You can check out the official video to Don’t Let Me Alone by The Crank Featuring Cristina Simbad on YouTube now.
Follow The Crank on Facebook & stay up to date with all of his future releases.
With his second single Join Me in Hell the emerging Hollywood artist MADHAUS has created a sound which I can say with absolute certainty that I’ve never heard before. He poured so much pensive passion into the Urban EDM mix he created an entirely new genre. The Indie scene has the Smiths, and now the EDM scene has MADHAUS to help you cathartically resonate with some earth shatteringly grounding lyrics. Usually when you get an Urban Dance mix that talks about getting wasted it’s normally pretty hyped up, MADHAUS went in completely the different direction and tapped into the darker hazes of getting high. Sobering indeed. Beat wise you can expect a hauntingly heavy Trap beat packed full of snares, kicks, rattles and drops to help you sink a little bit further into the already bewitchingly resounding beat.
You can check out MADHAUS’ insane new drop Join Me in Hell which was released late 2017 on SoundCloud, thankfully since then MADHAUS has bounced back with an astoundingly fierce Alt Rock track Chokers & Chains which can also be found on Soundcloud.
As Trance mixes go, Dan Gold knocked it out of the park with his latest snaringly fabulous, deep rhythmic single Technique. The instrumental track may be under 4 minutes long, yet the thrashing groove which is contained within the track will stay with you for a hell of a lot longer. The old school keys weaved into the mix took me back to the old school House root, whilst the snaring overlays of sound kept his debut single as fresh at comes. Considering Techniques was Dan Gold’s first ever single I’d like to know what rock he’s been hiding his compellingly classic sound under. Whilst it may take a fair amount of time for the momentum to build within the track once you’re riddled amongst the kicks and drops of the beat it’s safe to say it was worth the wait.
You can check out Dan Gold’s latest Dance hit Technique on Spotify for yourselves now, why not add it to a playlist? With a track like that in your musical arsenal I’d say it would be pretty hard to ever be miserable.
I don’t know what I was expecting from a track called It’s Time to get Funky, but it certainly wasn’t the storm that Rival.Music cooked up with their latest root-deep rhythmically popping mix. Wherever you have the pleasure of ingesting the track, on the dancefloor or on your commute home it will hit you with the perfect hype which may not be overly veracious but instead of gratuitous snares and overly harsh beats every note sits within the mix perfectly. The instrumental beats cooked up by the London, UK based artists took EDM back to the old school whilst at the same time keeping it as fresh as it comes with the riddle of complexity weaved into their wavy acid beats.
You can check out Rival.Music’s latest track It’s Time to get Funky out for yourselves by heading over to Spotify and drinking in the bouncing beats which won’t fail to leave you hyped. I’d keep my eye on Rival.Music if I were you, if It’s Time to get Funky is anything to go by they’ll be dominating the London Grime & EDM scene in no time.
When the opening first ten seconds of a track pull at your heart strings, you know you’ve just stumbled upon absolute aural gold. SAMMAY’s latest single Full Moon has pretty much the same draw on your emotions that the moon has on the tide. When music is almost too compelling to dissect it can make it impossible to encapsulate such an ethereal, soulful sound in any way in which would do it justice; but I’ll give it a go. Right the way through SAMMAY’s latest track, you’re drawn further into the track with each pensively exuberant word which is soulfully projected into the mic. The lyrics contain that beautiful sense of female empowerment that is always quenching to drink in and then there’s the beat. The Jazz soaked, eclectic, vibrant, resounding beat which quite literally sends icy spears through your stomach. Even the production of Full Moon is resoundingly flawless, every level sits at the perfect pitch to allow you to soak up every pop and thrash of the melody.
You can check out SAMMAY’s first ever single Full Moon on Spotify; if you don’t feel anything after listening to that, I can only assume that you’re dead inside.