SoCal electronic dance producer @JayB1rdmusic creates euphoric anthem with “Gone Tomorrow” with singer Clay Agnew

JAY BIRD and CLAY AGNEW, “Gone Tomorrow”

The path for Jay Bird continues upward with his latest release “Gone Tomorrow”.  With this track, Jay creates a second collaboration with singer/songwriter Clay Agnew (the first being 2019’s “Hold On”) that mixes nicely with other anthemic songs from the styles of Arty through to Seven Lions. Still maintaining a progressive direction, the production is richly layered and creates an inspiring and euphoric setting for a theme that we all need to keep in mind as we live our lives.  Continuing to stay one step ahead of the game, including his frequent outreach with his audience as well as fellow producers, will help Jay Bird latch on to new fans as his talents grow and evolve.

Published in: on June 5, 2021 at 8:14 pm  Leave a Comment  
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Listen to reflective and reassuring “We Know Who We Are” by @SaidTheSky and @OlivverTheKid

SAID THE SKY and OLIVVER THE KID, “We Know Who We Are”

“We Know Who We Are” is a brand new anthem for the sad boi/progressive electronica crowd courtesy of Said The Sky and Olivver The Kid.  Said The Sky (aka Denver-born Trevor Christensen) of course is part of the House of Illenium and played as part of Illenium’s band when I saw his show in September 2019, and “We Know Who We Are” is released on Illenium’s 12Tone label.  It’s got a friendly vocal by Olivver, and it’s a well-written and well-rounded song that takes the listeners through many reflective, happy, emotional times of the past, and then brings them back grounded and full of confidence with a huge singalong chorus.  With festivals and shows resuming, expect to be hearing “We Know Who We Are” regularly for the rest of the year.

Electronic dance producer @BobbyNourmand continues to challenge listeners with “FADE” from new EP “Life On Mars”

BOBBY NOURMAND, “FADE”

Ever the experimentalist, progressive L.A.-based electronic dance producer maintains his groove but with a different vision now with the songs in his new EP Life On Mars, including “SANTO”, which I previously wrote about, and “FADE”. Bobby’s new music is heavily instrumental and big on atmosphere, and would be a video artist’s field day.  “FADE” is a song that would be a segue into the wee hours at a club, in preparation of what might come during a night out.  I can picture DJ’s playing it to reach just past the two minute mark, when the only words are uttered, in a whisper – just to get that moment of awestruck silence from the audience which would then be followed by cheers.  “FADE” is an enjoyable and very creative release with an undeniably hypnotic rhythm.

Published in: on May 25, 2021 at 10:26 pm  Leave a Comment  
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Chicago’s @AashMehtamusic taps into his Indian influences for deeply personal “Ma” featuring @iamSonez

AASH MEHTA and SONEZ, “Ma”

It’s a bit off the beaten path even for the producer himself, but Chicago’s Aash Mehta is back with a personal but progressive ode with “Ma”.  The song incorporates musical elements from his Indian heritage, as well as being bilingual with both English and Hindi verses.  Most of the song is recorded at a deliberate pace with focus on a vocal by Sonez that’s subtle and strong in all the right places.  At 4:45 it is a little long but is punctuated by two solid buildups, one which really serves as the climactic moment in the song in its last 1:30 or so.  It may take a few listens but you can appreciate the unique touches by Aash and the multi-cultural moments all the more.  “Ma” is a beautiful, relatable love-letter and reinforces the need for artists to take time to make their songs personal when they can.

Published in: on May 9, 2021 at 2:48 pm  Leave a Comment  
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Toronto’s @iamDabinLee and Nashville’s @thisisMokita team up for lovely sweeping anthem “Drown”

DABIN & MOKITA, “Drown”

Even on paper, pop and electronic music fans seeing the names Dabin and Mokita in the same song know that something good has been in the works.  “Drown” is a definite winner, and happily, not a cover of the recent Martin Garrix song of the same name.  This one is an original sweeping electronic anthem about being there for your significant other no matter what.  Dabin’s ongoing association with Illenium and his core team has undoubtedly helped give him much deeper roots as a producer. He knows how to bring the mood down to touch those raw emotional nerves, and then before it gets too deep, he brings you out of it with a magnificent build up.  “Drown” also contains one of Mokita’s best vocals to date, with his voice soaring like on no other song that I’ve heard by him.  “Drown” should become a staple at EDM festivals once they are back in swing.

Published in: on May 6, 2021 at 9:22 pm  Leave a Comment  
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L.A.-based electronic dance producer @BobbyNourmand is back with the highly atmospheric “SANTO” featuring vocalist/co-writer Jessica Zese

BOBBY NOURMAND and JESSICA ZESE, “SANTO”

Aside from one single release last year, it’s been a while since the infectious grooves of Bobby Nourmand have graced our ears.  After a series of highly infectious singles in 2017-18, he’s back with a change of pace on the more progressive “SANTO”, which features new Canadian vocalist/songwriter Jessica Zese.  I’m not quite sure what it’s all about, but “SANTO” is one of those slices of atmospheric electronica that takes you by the ear and leads you deep into the night.  Jessica’s lovely voice is interwoven with the music and ambiance, and becomes the song’s siren of sorts.  “SANTO” is out of the ordinary and designed to make you ask about it, and I’ll look forward to more of Bobby’s latest artistry as it evolves.  The above version is the radio edit; “SANTO” is a 2-song single that also includes an even longer “edit” – perhaps we’ll hear the full version at some point!

Halifax’s @DJDezza releases ambitious new album “44° North, 63° West” featuring lush ‘n lovely “Settle” with vocal by @LaurenLaimant

DEZZA and LAUREN L’AIMANT, “Settle”

Although he has been releasing music for most of the last decade, latterly through Enhanced Music (co-owned by Tritonal), Halifax electronic dance producer Dezza came to my attention last year with the infectious single “Carry Me” (featuring Mike Schmid), which got to #6 on my personal chart.  His new album has arrived, titled 44° North, 63° West, and its an ambitious 19-song effort that showcases both his work with vocalists as well as with progressive electronic instrumentals.  His synth work and production are compelling and definitely gave me the same feels as with much older releases by the likes of Above & Beyond and Zedd.  I missed it when it was released as a single late last year, but I’m focusing on the vocal track “Settle”, which is lush and lovely and given some grand lustre by vocalist Lauren L’Aimant, who sometimes recalls Justine Suissa from some of the huge A&B songs.  The synth work is fluid, creating a dreamy soundscape that intends to take you away from whatever you’re usually doing for a while.  Lauren also lends vocals to the new track “Ghost”, while the album also includes “Carry Me” as well as previous single “Getaway” (featuring EMME).  44° North, 63° West is an album that’s meant to be heard from start to finish.  It’s an audio crackerjack box where electronic dance music fans will find something to enjoy inside.

 

Check out the new electronic alt.rock single from Spokane’s @__BLAZAR__ with “Enough” with @DJChophead

BLAZAR and CHOPHEAD, “Enough”

“When is enough?” From its first thirty seconds, you’ll be pondering what is coming up next in the latest single by Spokane, Washington native BLAZAR along with co-producer DJ Chophead called “Enough”, for Anti-Fragile Music through Universal.  Its immediate, brusque start may seem polarizing, but “Enough” is anything but that.  There’s a lot of creativity in this production, which BLAZAR can describe himself for you quite aptly: 

“The song is really about the zeitgeist of the world, we’ve all had enough, 2020 was hard, it felt like collective anxiety on a global level as we all sit in isolation.”

The music is a blend of rock with progressive electronica and effects, but strip away the latter and there’s a sincere melodic style that reflects on BLAZAR’s songwriting skills. Otherwise known as pop singer/songwriter Jerad Finck, BLAZAR previously won the grand prize in the USA Songwriting Championship, also won by the likes of Meghan Trainor and American Authors.  Vocally, his now-edgy alt.rock style could blend in easily sandwiched between Green Day or grandson, and wins you over after the first minute thanks to some very touching, raw qualities. Overall “Enough” is intentionally quite a grab bag, but its ability to reach out to your senses and draw you in makes it a unique and promising listen.

Published in: on March 14, 2021 at 10:03 pm  Leave a Comment  
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L.A.’s @Shuhandz releases classical-tinged electronic dance instrumental “Deliverance” as remixed by @sirJosephThrash

SHUHANDZ, “Deliverance” (Joseph Thrash remix)

Although he’s been making music for the better part of the last decade, you may have only encountered the music of Shuhandz recently, as it was for me with last year’s “Sweet Spot” with Mahalo.  The L.A. producer definitely has a flair for the chill side of electronic dance music as would be evidenced by the original version of “Deliverance”. The recent remix by Joseph Thrash is less deliberately paced and much more fluid, kind of like a rhythmic and cinematic travelogue, which you can hear in music of similar producers like Tez Cadey and Cloudchord.  I really appreciate the classical-oriented piano in “Deliverance” which really stands out and brightens the mix. This is hardly background music – there’s lots here to tweak your ears.

Published in: on March 14, 2021 at 10:03 pm  Leave a Comment  
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American electronic producer @ZAXXofficial returns with techno-infused “CHAOS”

ZAXX, “CHAOS”

While American electronic producer ZAXX has been known in the past for his dynamic big room sets, as well as potent remixes for the likes of The Chainsmokers, Elephante, and 3LAU, his new song “CHAOS” is on a bit of a different bent. With some instrumentation that could be a sample from Martin Garrix’s “Animals” setting the stage, “CHAOS” is a throwback to the 2013-14 years after big room and high arpeggios made their mark, and producers were searching for more innovative, often techno-inspired rhythms. And when you have a song called “CHAOS”, expect some well-placed big drops. A huge future bass mid-section becomes the song’s main hook, around an affecting uncredited female vocal.  No question, this song is supposed to be played very loud at clubs and festivals, and I hope DJ’s will remember to include “CHAOS” for maximum effect.  

Published in: on March 11, 2021 at 10:23 pm  Leave a Comment  
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