Radiohead set to release long-awaited unreleased single ‘I Promise’

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Radiohead is gearing up for the 20th Anniversary re-issue of their seminal third studio album OK Computer, and with some tantalizingly enigmatic easter eggs left by the band leading up to the milestone, naturally, the fans are curious as to what Radiohead has in store. After doing some digging, one eagle-eyed reddit user discovered plans for a new single on the already critically acclaimed album. The track, titled “I Promise,” is an unreleased single that Radiohead has been performing live since 1996. Available for streaming on June 2, it will be the only single preceding the release. The deluxe re-issue, OKNOTOK, will be in stores and online June 23.


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LCD Soundsystem announce they have officially finished their new album

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LCD Soundsystem‘s highly-anticipated comeback album is “finally done,” according to frontman James Murphy. The announcement came during the band’s recently headlining set at Sasquatch! Festival in Washington. Following the bands triumphant reunion in 2016, LCD Soundsystem inked a record deal with Columbia Records, and the first products of their impending return came by way of two new singles entitled “Call the Police” and “American Dream” which landed earlier this year. At the time of the releases, Murphy shared his thoughts on writing a follow up to their 2010 LP This is Happening:

“As eager as folks have been for me to get this done, it’s got nothing on how much I want to be finished myself,” he wrote. “It’s been one of the most enjoyable records to make in my life, if not the most fun ever (I think it is, for sure, the happiest I’ve ever been making a record).”

Both new singles gave a tantalizing taste of what to expect from the indie electronic legends’ new album, and now that LCD’s latest is officially ready for wax, expect a release date to follow very soon.


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Ferry Corsten’s ‘Blueprint’ is innovative, gripping and a true game changer [Album Review]

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Ferry Corsten is undoubtedly one of the most prominent, catalyzing forces behind the trance genre. The veteran Dutch producer seems to have been around forever, with an illustrious career spanning almost three decades – a tenure which can feel like three lifetimes in dance music years. Over time, Corsten’s evolution as a producer has been evident and fluid, with each passing album serving as a landmark in his journey. However his latest LP, Blueprint, is perhaps his most ambitious undertaking to date, as it aims to transcend the barriers of traditional trance confines and deliver a more wholesome, well-rounded package to fans.

Beyond the concept and execution, what elevates Blueprint even further is the way in which the record serves as a portal into the seasoned producer’s psyche; a true labor of love that showcases his willingness to constantly innovate despite having no compulsion to consciously push himself to such lengths.

What instantly distinguishes Corsten’s latest LP is the album’s astute usage of voiceover intros/outros for most of the tracks. Not only does this serve as a major differentiating factor with concrete marketability, but also gives the album a definite story line, making the process of listening to Blueprint a significantly more immersive and enjoyable experience.

Another highlight within the album’s complexion is the theme chosen by Corsten. A sci-fi setting for the collection’s narrative allows the author to tether humanity’s collective fascination with the final frontier to get his subliminal message across in a sophisticated, and inventive manner.

In examining the actual music, an intriguing aspect of Blueprint is how each song is anchored to a mood. A feeling is cemented within the listener by use of expertly constructed audio dialogue, courtesy of acclaimed screenwriter David H Miller. The album’s introductory track, “Reception” is the perfect illustration of this. The mysterious cinematic music is capably matched by an equally enigmatic monologue, immediately invoking a motif of suspense.  This concept is a bit of a masterstroke in itself, sparking the listener’s imagination and curiosity and thus ensuring audience engagement as the album progresses.

Corsten has paid evidently close attention to nailing the album’s other-worldly sound design, perhaps best exemplified in the album’s titular track “Blueprint.” The meticulousness weaved into the drums and chord progressions is immediately apparent, making the tun supremely enjoyable and easily one of the record’s strongest offerings. Another high point across the 17-track collection is “Vee’s Theme.” Its uplifting undertones are capable of raising the energy levels of any dance floor; a sonic characteristic mirrored by “Trust” as well.

Blueprint also features its fair share of powerful, driving, instant-classics inspired by old-school sounds. A quintessential trance cut, “Wherever You Are” falls into this category, featuring a heavy bass line and  quintessentially Trance, high-pitched synths, perfectly suited for large, open venues due to its infectious energy and atmospheric bass. But the most energetic track on the album is “Drum’s A Weapon,” a hard-hitting tech-trance beast with a dark, warbling bass line, vigorous 138 bpm beats and unmistakably evil synths; a throwback to a forgotten time where such music was the norm in Trance festivals worldwide.

While majority of the tracks are Trance, Ferry Corsten has strategically placed a few tasteful future bass tracks in the mix as well namely, “Here We Are,” “Piece Of You,” and “Reanimate.” Intriguingly, Blueprint also features a progressive house single, “World Beyond,” that clearly takes a leaf out of the legendary Deadmau5’s production book in both its configuration and sound design, delivering nine minutes of pure tranquility.

After listening to Blueprint, it’s apparent that the LP has a rather beautiful split personality- on one hand it can be viewed as a perfectly well produced album with serene music and well thought out, interactive dialogue and lyrics. On the other, it is a message that highlights and attempts to solve the glaring problems faced by humanity. Ferry Corsten has managed to communicate ideals of tolerance, love and peace – ergonomically packaged in the form a serene love story between Lucas and Vee.


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The Chainsmokers confirm the release of their debut album and a new tour in 2017

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Pop EDM duo The Chainsmokers have been on quite a roll lately. They have successfully managed to become one of the most dominant and well-liked commercial house duos around, with their last three singles, “All We Know,” “Setting Fires,” and “Paris” racking up more than 100 million hits on YouTube alone. And their impossible to escape hit “Closer” hitting quadruple platinum (with a fifth platinum nod on the way).

With their latest tweet, it seems that Alex and Drew are ready to embark on the next chapter of their rise to EDM superstardom — the full length album, In a recent tweet, they have finally confirmed their debut album as well as a new tour for 2017.

To add to the hype, Coldplay’s Chris Martin publicly praised their unreleased work. As a result of this, the tweet went absolutely nuclear with fans all over the world adding to the hype surrounding their much awaited debut LP.

Screenshot 2017-01-30 11.38.10


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The Chainsmokers Just Announced Their Debut Album

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Some time ago, The Chainsmokers said that their debut album was “up to our fans.” Now, it seems they’ve made true on that promise and have quizzically announced that an LP is on the way.

Both Alex and Drew have said that an album means more to them than just a collection of songs, it has to tell a story. The duo has been unstoppable when it comes to mainstream success, dominating charts and overwhelming the radio with one hit after another; their latest being “Paris.”

At this time there’s no release date, and no real confirmation, but we all know what they’re getting at with these posts…

Chainsmokers Album?

A photo posted by The Chainsmokers (@thechainsmokers) on Jan 29, 2017 at 5:03pm PST

Photo by Christina Kuhlmann Photography

This article was first published on Your EDM.
Source: The Chainsmokers Just Announced Their Debut Album

Watch Another Sneak Peek Of Avicii’s New Album In Progress

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Avicii may have retired from touring, but that doesn’t mean the man is done making music. Far from it, in fact. The Swedish phenomenon has been dropping a steady stream of news surrounding his third studio album, which he’s promised to deliver sometime this year.

We already caught a first glimpse of the upcoming album via Instagram, and now Avicii has uploaded another peek at what’s in store. While the last preview wasn’t much of a stretch from his previous material, these new clips rekindle fond memories of Avicii’s penchant for experimentation, a la “Hey Brother.” If he keeps cruising down this route, we may be in store for some big surprises.

Photo by

This article was first published on Your EDM.
Source: Watch Another Sneak Peek Of Avicii’s New Album In Progress

Calvin Harris Will Release An Album’s Worth Of Music In 2017

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Alright, we all love Calvin Harris but let’s face it, he skimped us in 2016. Sure, he had some big tracks that kept his name in the thought pot, but it was mostly his happenings with Taylor Swift that had most people talking about the Scotsman.

“This Is What You Came For” was a successful tune, and then there was “My Way,” “Hype,” and John Newman’s “Olé” to satiate fans, but nothing really blew us away like in years past. That’s all about to change, with the announcement of 10 new tracks releasing in 2017. That’s essentially an album’s worth of music, and undoubtedly the reason last year was relatively tame. (But remember, Calvin also said he’s done with albums.)

It’s only a tweet, but we’re fairly convinced Harris wouldn’t be playing games with something like this.


Source: The Scottish Sun | Photo: Rukes

This article was first published on Your EDM.
Source: Calvin Harris Will Release An Album’s Worth Of Music In 2017

Soma Celebrates 25th Birthday With Compilation Release

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Soma Quality Recordings, also known simply as Soma, is turning 25. To celebrate their quarter of a century existence, the label has decided to put out a compilation album with some exciting releases. In case you were unfamiliar with the Scottish techno and house label, they were the ones who initially released Daft Punk’s “Da Funk.” The label was started back in 1993 by the duo Slam.

The 5-vinyl box set will feature Daft Punk, Adam Beyer, Slam, and countless others. The compilation will be available on March 31st, including a very special unreleased remix of Daft Punk’s “Drive” from SLAM. Take a listen to the teaser and check out the track list below:

A1. Robert Hood – The Bond We Formed
A2. Jeff Mills – A Tale From the Parallel Universe
B1. Daft Punk – Drive (Slam Modular Interpretation)
B2. Adam Beyer – Just Things
C1. Blawan – Clipper
C2. The Woodleigh Research Facility – S.O.M.A 25
D1. Josh Wink – Synodic Period
E1. Slam – Stepback (Jonas Kopp Remix)
E2. Slam – Visions (Kobosil Remix)
F1. Percy X – X Track (Vril Remix 2)
G1. Slam – Tempest
G2. Steve Bicknell – Mind Cycles
H. Funk D’Void – 808 Planet
I1. Joe Stawarz – Cry (Deepchord Remix)
J1. Joe Stawarz – Beebear. (Deepchord Remix)

Source: Mixmag

This article was first published on Your EDM.
Source: Soma Celebrates 25th Birthday With Compilation Release

Yellow Claw Talks Valentine’s Ahead Of Annual Crush Festival [Interview]

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Another year, another Valentine’s Day. One of the most divisive holidays in America is coming up again in less than a month – but even if you don’t have a bae to celebrate with, fret not. Insomniac Events is hosting a bevy of Crush events all over the country to help you forget your woes! (And if you do have a partner, all the better to celebrate with.)

We caught up with Yellow Claw who are slated to play the Crush event in Dallas, Texas on February 11. Check it out below, and be sure to purchase tickets here.

You’ve notably become a duo very recently. How has the loss of MC Bizzy, as a part of the group, affected your sound, if at all?

No not really, behind the scenes he was never that involved in the music part. Our sound is however evolving and growing as it has been doin for the past 4 years now.

You mentioned in an interview with Fuse last August that you were already working on your second album. How has that been coming?

It’s done already. 14 songs.

Also pretty recently, the absolutely massive remix pack for “Ocho Cinco” came out. Were you involved in picking the artists at all? What was your favorite remix of the bunch?

Yeah we were! And we really love the Mike Cervello remix.

When you’re booked for a festival like Crush, that has a pretty clear theme going (Valentine’s, in this case), do you try to incorporate that into your set?

Absolutely. Good thing we have a lot of love songs.

Last week, you guys posted some really dope Dutch hip hop on your Facebook page. What other music are you listening to when you’re not working?

Everything from Miles Davis to Young Thug to be honest.

If you had to curate your own festival, what kind of theme would it have? Who would play it?

The theme should be FAMILY.
And all artist that have released on Barong Family should play.
And people would have to dress up as famous families.
We would prob dress up as the Olsen twins.

This article was first published on Your EDM.
Source: Yellow Claw Talks Valentine’s Ahead Of Annual Crush Festival [Interview]

Bonobo shows growth and skill and on the promising ‘Migration’ [Album Review]

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There’s a common series of complaints leveled against electronic music- that it all sounds the same, and that it takes little skill to create. While these types of comments are enough to make those of us invested in the scene see red, one has to acknowledge that these complaints do have a undercurrent of truth to them. The possibilities and ease of use of modern DAWs have opened up the process of electronic music making to the masses; one need no longer spend years training and honing their craft to get a record contract when they can turn out radio-ready tunes with a free Soundcloud profile and a 15 minute Ableton tutorial video.

Largely, this democratization is a good thing; more opportunity means more diversity and creativity in the scene, allowing more voices to be heard. But, all too often, the same tools that are used by one producer to break barriers are used by others as a crutch, a way to fill the space where talent and vision should reside. Thankfully, if there’s one thing that Bonobo has demonstrated over the course of his nearly 20-year career, it’s that he is, without a doubt, in the former category. The electronica producer, real name Simon Green, is one of the brilliant minority of producers that is always moving forward, and always pushing his sound in new and interesting ways. Green’s latest album, Migration, show no signs of slowing down.

Migration is Bonobo’s sixth LP, and with that kind of career, most artists would be content to rest on their laurels, to settle on the sound that made them popular and resist change. But Bonobo has steadfastly refused to be complacent, and on his newest album, his style has evolved to its most tightly-coiled and intelligent form yet. A truly innovative producer, Green treats all of sound as his instrument, and he plays it with a confident, refreshing virtuosity.

The title track opens the album with gentle piano notes the rise out from a bed of colorful evolving textures, filling out with layers of vocals chops and gleaming cymbal hits and eventually growing into a radiant, ambient beat that wouldn’t be out of place on Tycho’s Epoch. “Kerala” takes simple harp and vocal samples and plays them backwards and forewords on top of each other to otherworldly effect. Even when the album overplays its hand, like on the overstuffed 8-minute odyssey “Outlier,” the result is never boring. A bit distracting and noisy, perhaps, but always changing, always moving.

The guest vocalists on the album manage to be effective and impactful without drawing attention from the main attraction. Rhye’s Milosh is airy and serene on “Break Apart,” while Hundred Waters’ Nicole Miglis is the perfect addition to the dreamy, echoing “Surface.” Even the newly christened Nick Murphy (formerly known as Chet Faker) brings a delicacy and affect to “No Reason” that he often reaches for on his own songs, without giving in to the melodrama that occasionally plagues his solo work.

As consistently interesting and technically compelling as Migration is, it isn’t perfect, at times seemingly afraid to be as adventurous as it would like. The best parts of the album are those when it embraces its weirdness, and branches out eagerly into peculiarity. The delightfully off-kilter “Grains” comes to mind, which opens with a stuttering chorus of modulated vocal cuts, and builds tension with distorted strings and halting, irregular percussion. It’s a strange song, engrossing and exciting precisely because it’s so different.

“Bambo Koyo Ganda,” likewise makes the unusual marriage of Moroccan gnawa music and a funky house beat an infectious success, and the album’s highpoint, “Ontario,” manages to bring together a lush chords, skittering drum rolls, buzzing sound effects, and a sitar melody into one congruent, delirious soundscape. But even at its most nonsensical, Migration feels slightly tempered, a bit restrained. Its sonic experiments, its departures from convention, are what make this album interesting, and one is left wishing that it had embraced this more, that it had taken more risks, and jumped head first into the bizarre, kaleidoscopic vision it hints at in its best moments.

But these complaints are relatively minor, and perhaps particular to the listener. There are no real weak spots on the album, just places for improvement, and the sheer technical scope of it is admirable in and of itself. Migration is Bonobo at the height of his powers, the culmination of a long careers worth of progress, success, and evolution. It’s a vivd and complete album, well thought out and executed with style. Not even the harshest of critics could say that it is unoriginal or unimpressive, and we cannot wait to see what Bonobo does next.

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