With their tantamount talent, the debut single, NOTHING TO LOSE, from the emerging vocalist and lyricist JANAYAH and EDM producer Marcus Wiles, who are both enrolled in the prestigious BRIT School in London studying music and production, respectively, is a radio-ready affirmation that whether they’re honing their collaborative chemistry or going solo, they’ll both have an illustrious career ahead of them.
The way the tension and emotion-fraught stabs of piano keys under JANAYAH’s stridently pitch-perfect vocals lead up to a mind-bendingly liberating drum n bass-drenched EDM crescendo signed, sealed, and delivered a promising future for the duo.
Their reverence for EDM and ability to emanate the same meticulous song-crafting flair as the likes of Calvin Harris, 3LAU, ChrisLake, Joel Corry, David Guetta, and Tiesto, will leave you on a knife edge as sharp as the hooks.
Once the monolithic momentum grips you, you’ll be at the mercy of the powerhouse duo. We can’t wait to hear the sophomore release after getting to grips with the transcendent debut, which could easily be considered the strongest EDM debut in 2023.
NOTHING TO LOSE is now available to stream on Spotify.
Some EDM anthems drop, others make a collision that will make an ever-lasting impression; Sub Caesar’s latest orchestration, Into the Oblast (When Will You Be Home) ft Brunetti, is luxe enough in meaningful momentum to scorch the airwaves on its arrival.
The dark and melancholic anthem, which is drenched in enough yearning and desperation for security and sanctity that it spills pensiveness into the cosmos, pulls together with a cohesion that makes it impossible not to surrender to the mellifluous instrumental layering and the searing soul in Brunetti’s glassy vocal lines. If her timbre sounds familiar, you may have heard her in her tracks featured on Netflix shows, including Selling Sunset, Love is Blind, and The Circle.
By exploring the most elemental trappings of melodic house & techno and progressive house, Sub Caesar produced an evocatively energising Tour De Force, which should necessitate the removal of the ‘sub’ affix from his moniker.
The independent Dutch producer, Sub Caesar, said:
“The inspiration for this track came from one of these heart-breaking clips of soldiers returning home, hugging their children. Amongst all the terrible news and images of war and war victims, his clip touched me deeply. A strong emotion is a good basis for music! The word ‘Oblast’ means region or province in Ukraine. In this track, it stands for any harm a loved one could be in while also being far away from home and the anxiety and special kind of longing that this causes. Having said that, yes, you can hear the actual Kiev air siren in there, pitched down a semitone to match the musical scale.”
Into the Oblast will officially be released on November 3rd; hear it on Spotify.
There’s only room for one supreme in London’s EDM scene; Klary dominated that space with the drop of her EDM house anthem, Feel You. Forget making a dancefloor move; Feel You is the kind of track that will inspire dancefloor inhabitants to MAKE the move.
With her siren-timbered vocal lines dripping luxe demure decadence over the ensnaring dark bass-drenched beats in the production, which pulls together meticulously well, knowing just when to intersect the euphoric swells and enticing drops, becoming anything less than infatuated with this track isn’t an option.
Since 2009, The Germany-born, Italy-raised artist has proven her determination to become one of the hottest names in the EDM scene. After a plethora of collaborative projects, she came into her own as a solo artist with the release of her debut single, Love Again, in 2021. For her latest release which lyrically and rhythmically locks into temptation and sin, she collaborated with the East-London producer and DJ Romello, who composed and penned the release, to a Grammy-worthy standard.
Feel You shook up the airwaves on October 20; use it to inject some fire into your Spotify playlists.
For his latest polished to the nth degree progressive Afro-house production, The Way We Used to Be, the Bermuda-born, internationally-raised DJ and producer Korie Minors collaborated with JaySoulO to deliver the ultimate hit of tropic indie pop reminiscence.
There are few things as bitter-sweet as taking a retrospective view of someone you never wanted to leave in the rearview mirror. The smooth crescendos in The Way We Used to Be, which runs with a flood of tenderly hued euphoria in the pulsating basslines and indie guitar hooks, will efficaciously take the edge off as the sun-bleached melodicism proves that even when love is lost, that’s no excuse to let optimism fade into obscurity. If you want to supplement your EDM playlists with sonic serotonin, you know where to turn.
Korie Minors said:
“For The Way We Used to Be, I wanted to create something that exudes cross-over radio-ready appeal while never letting go of what makes my sound unique; the incorporation of my house influences and infusion of guitar melodies and afro percussion into a solid song structure enabled me to fulfil that goal.
The single communicates that sometimes you have to let relationships go for you to grow, regardless of how much it may hurt to make that decision and leave someone behind.”
Korie Minors started his DJ career in the UK while studying architecture, when taking his academic work to Istanbul and Hong Kong, he also shared his gift of making crowds move. In 2015, he became a full-time DJ in Bermuda and was voted Bermuda’s best DJ in 2019. When COVID put the brakes on his DJ career, he started to hone his production skills, which has seen him working with internationally revered artists and filmmakers and affiliated with brands, including Bacardi and Louis Vuitton.
The Way We Used to Be was officially released on September 22; stream it on Spotify.
For his latest single, Reach You, the independent Czech music producer, DJ, and songwriter Goshok teamed up with Otto Palmborg to reach the pinnacle of electronica fervour.
Ironically, we couldn’t get his last single, On My Mind, off ours; if Reach You is anything to go by, his talents in infusing his momentous Kygo-inspired tracks with visceral emotions have become superlatively honed. Once you hit play, you’ll be immersed in a bitter-sweet hit that errs on the side of affectionate rapture. If you know how it feels to be caught in the middle of a relationship that forces you to explore the pleasure-pain parallel, the resonance in Reach You will be phenomenal.
By pulling in elements from across the EDM spectrum to enliven his tropical house edge and augment his pop hooks until they’re ensnaringly sharp, Goshok created a hit that could facilitate his dream to become the first producer from Czechia to feature on the line-ups at Tomorrowland, Coachella, and Balaton Sound.
Reach You hit the airwaves on August 25; stream it on Spotify.
The pan-African singer-songwriter Gee Beanie sent the sensuality in the EDM genre through the roof with his cultural tapestry of a Reggaetronic debut single, Body Language, which dropped on August 25.
With his soulfully smooth vocal lines adding a sultry veneer over kicking and vibrant house-meets-afro-pop beats that bolster the intricate indie staccato melodies, Body Language is intoxicating and arrests the rhythmic pulses as well as a track with such a title should.
His ability to infuse his laid-back attitude into an exhilarating yet intimately enticing production that could enliven any dancefloor is sure to seal his successful fate in the industry.
It isn’t every day that an artist who can revolutionise a genre comes around. Save a spot on your radar for the pioneering song crafter; we have no doubts that even bigger beats are in the pipeline, especially with the promise of his debut LP, Be My Alibi?, which will be released in Spring 2024.
Pump it up to the tune of the latest slamming hit from the euphoria emissary, Belle. Her reworking of Dub Be Good to Mefrom the iconic act Beats International augments the earwormy grooves and feeds the mix all the staples of a seminal future house anthem.
Dancefloors won’t know what has hit them when the sonic session in bass-driven hedonist transcendence is underway; with the way that the original has been polished and anthemised to the nth degree, the Grammy-nominated Cali native ensured that the track has a place in the future of EDM. It is enough to make the original sound positively lo-fi; that will only sound like blasphemy before you’ve realised how much the Future Rave remix of Just Be Good to Me will push your speakers to the limit.
The Future Rave Version of Just Be Good to Me dropped on August 18th; stream it on Spotify.
While some artists and producers need an entire discography to demonstrate their versatility, the Chichester, UK-based electronica chameleon James Urquhart only needed one blazingly high-octane dance hit, Fire on the Track.
With grime and pop vocals adrenalizing the mix and enhancing the eclecticism of the EDM earworm that defies the laws of gravity with the transcendence it provides, you only need one hit of Fire on the Track before you’re obsessed with the progressively exhilarating groove-oriented mix that would make even the most rational crowd lose their mind on the dance floor.
Even though it has been a while since James Urquhart delivered his latest mix, as he has focused on honing his talents, he’s released on labels including Duffnote, Let There Be House, INK, and Soulful Evolution. He has also worked with everyone from Amanda Wilson to Amy Pearson to Everette Peters to Meshach Broderik. If Fire on the Track is anything to go by, his hard-hitting house production skills have been well and truly honed.
Fire on the Track hasn’t hit the airwaves yet; follow James Urquhart on SoundCloud and Instagram to be the first to know when it drops.
With textures and melodic progressions that go beyond immersive to offer aural escapism, when you’re enmeshed with the pulsating rhythms in the latest instrumental mix, Just Let Go, from the Manchester-based producer Tao Mitsu, space and time may as well cease to exist.
By starting with emotional impulses and constructing musical landscapes around them, each creation of Tao Mitsu is an evocative trip tinged with the full spectrum of human emotion rather than just riding euphoric waves. The fragments of melancholy within the groove and bass-driven ambient techno beats in Just Let Go capture the bittersweetness of loneliness, encompassing the primal pain of heartbreak and the first teasings of hope that appear on the periphery.
Just Let Go may not carry the definitive Manchester sound, but with the cover art depicting one of the cosy corners of the iconic Night & Day Café, Tao Mitsu succeeded in paying homage to the vibrant and eclectic music scene via his nostalgia-driven, transcendently liberating leftfield electronica anthem.
Just Let Go reached the airwaves on August 13th; stream it on SoundCloud.
The Indonesian-Irish DJ and producer Izzy Trixx made no bones about shaking the EDM scene to its core by unleashing the vibrantly electrifying house mix, Our Friend Manuela.
With one of the most transcendent drops you will ever follow the descent of while the euphoria floods through your synapses and rhythmic pulses, Trixx lets it be known that there are few better producers equipped to lead you to a euphonic utopia. With over 7k monthly listeners after releasing her debut single, success isn’t just on the cards for Trixx, it is a given.
After spending ten years behind the decks, Trixx learned what it takes to make a crowd move; all her experience DJing everywhere from Singapore to New York, Jakarta to Germany was infused into her debut single that teased even greater things to come in her upcoming 5-track EP, But What If It All Goes Right. It is safe to say that there’s never been a better time to deliver hypnotically high-vibe sonic sanctity. For your own sake, get her on your radar.
Our Friend Manuela was officially released on July 21st; hear it on Spotify.