Zeds Dead and Jauz have teamed up yet again to bring yet another epic collab to our playlists. The pairs last collab was “Lights Go Down“, which came out in 2017. Zeds Dead took to social media today to reveal the news of their upcoming collaboration. It’s an epic Deadbeats x Bite This track named
The artist known as HEYZ has only been releasing music for a little more than two years, but he’s been making early waves with high-profile releases like his Schedule 1 EP on mau5trap. Though still early on in his music career, the producer has transitioned to what he calls the “next chapter” of his sound, which listeners can observe in his new Human 404 EP, out Aug. 16 on Bite This.
Over the course of the three-track EP, fans will still be able to observe the shadowy realm of his techno and heavy bass roots, but tracks like “Castaway King” and “Clear” tap into a more vocal-oriented side of the North Carolina artist’s production.
Read our Q&A with HEYZ, then stream the new EP below.
What can fans expect from the Human 404 EP?
Fans can expect for their lives to completely change once they listen to the EP. All personal issues should be erased, debts cleared… if someone was having an issue getting a girlfriend or boyfriend, the EP will immediately make them a sex magnet with a personality to boot that would stand up to a three-hour one-on-one conversation with Matthew McConaughey at a half-empty bar in the middle of nowhere. Truly transformative shit. On the real, fans can expect to hear three (hopefully great) records that are a mixture of strong melodic and cinematic concepts with heavy-bassy backbones and “get-stuck-in-your-head” type vocals.
What does this EP mean to you?
The EP means a lot to me, honestly, it’s a representation of the “next chapter” of the HEYZ project. I titled it Human 404 because the lyrical themes deal with personal relationships and the emotions that come with them. For example, “Castaway King” is a metaphor for when a beautiful girl lures a guy to his demise using Greek mythology to paint the picture of a siren luring in a ship. MAYLYN and her writers killed it… some Shakespeare-type shit, straight up.
What are some of the key differences between Human 404 and the Schedule 1 EP?
Schedule 1 was me at my adolescence of producing, each record was among the first 10 records or so I ever wrote and finished. I think my actual production/writing skills have improved since then, and that should be reflected in Human 404. I just try to get better with each new record. Human 404 is slower, grittier, heavier and a tighter “song writing” wise. You’ll still hear my love for beautiful melodies in both EPs and a focus on thicc boy basslines, but Human 404 is me being truer to myself as a producer. I hope if you have been a fan of mine, or are just discovering me, you’ll enjoy both.
What prompted this “next chapter” in your sound?
It was actually a really specific instance. I played a headline show in LA last year and played a techno set from start to finish. The room was half-full and I felt like I couldn’t get the crowd as engaged as I wanted to. I compared how I felt during and after that set to how I felt playing very small local sets in North Carolina throwing down nasty bass music and how absolutely raucous it made me and the crowd. I had a realization that the music I was making wasn’t quite what I wanted to play in my sets. I started writing Human 404 on the plane ride back to North Carolina with a focus on creating a vibe that could both light up a venue and be an everyday listening experience. Don’t get me wrong, I’ve had some killer techno sets, but yeah, I really enjoy playing and making bass music.
Why did you choose “Castaway King” as the initial single?
I found it to be always stuck in my head and thought it was a good “single-package” representation of the EP as a whole. People I showed the EP to early also gravitated towards that song in particular… there were also many cases of “Clear” and “In My Arms” coming out as favorites as well.
How did the collaborations with MAYLYN and TIAAN come about?
My good friend Joey, who actually discovered my early music and got it signed to mau5trap, linked me with both of them. Both “Castaway King” with MAYLYN, and “Clear” with TIAAN were pretty effortless endeavors when it came to meshing their respective vocals with the instrumentals I was writing. Kudos to both those amazing artists for killing it!
What’s coming up for the remainder of 2019?
I’m going to keep finishing records. I’m writing some even gnarlier records and actually have another one finished with MAYLYN. I’m going to find a manager and agent and become the world’s most famous and attractive EDM artist on the planet. Once that’s done, we’ll likely be focusing on solidifying my contracts to headline Coachella and Ultra next year if we can get the money right, I’m not stooping below 10 million and an 18-wheeler full of Virginia tobacco Juul pods and Bud Light.
Who are some artists you’re inspired by lately?
I’m really inspired by Porter Robinson‘s all around musical greatness. His melody writing is fantastic and he really has a talent for writing records that will endure the test of time. I also love Peekaboo and his ability to write really stripped down records that smack like a donkey on Adderall (dunno if that metaphor made any sense but it did to me). I also listen to a lot of progressive house like Lane 8 and Anjuna peeps. ALWAYS inspired by The M Machine as well!
What are you most excited about in the electronic music scene right now?
I’m excited about how damn good everyone is. It’s quite frankly annoying but inspiring, because you hear new records every week that make you go “how in the fuckleberry did they do that? How did they think of that?” It seems like electronic music just keeps reaching new heights in terms of quality. I don’t think the bubble has burst, matter of fact I think it’s going to keep getting bigger and bigger… unless country/trap completely takes over and everyone is wearing ass-chaps, boots, and gold chains.
Bass boss Jauz’s fledgling label Bite This! is coming out swinging with a new 3-track EP courtesy of 20 year old Russian phenom HYPRESSION. The “Cold Blood EP,” isn’t HYPRESSION’s first time in Jauz’s orbit, the pair collaborated in 2018 on “On Fire,” featured on Jauz’s album “The Wise and the Wicked.” This EP, his first original on Bite This!, is testament to the Russian’s production prowess and fearless style that is just as unforgiving as his mentor’s.
The lead off and title track, “Cold Blood” features Networth in the studio. The pair deliver a fast-paced tune that relentless drives forward with bass house beat structures before a barrage of slow-brewed trap sequences. HYPRESSION’s heritage is front and center on “Kitchen House.” The beat twists and tangles around Russian language samples, strange stabs and hollowed kicks. Next up is “I Just Wanna,” a track that stays true to its title and comes out guns blazing to wrap out a 3-track EP of the best and brightest bass house from an imprint that is leading the charge.
JAUZ has released his highly anticipated 23-track project, The Wise and The Wicked just in time for Labor Day Weekend. The conceptually-driven LP sees the bass producer and DJ flex his muscles creatively, envisioning a dystopian world complete with a full storyline narrative to support his music. Delivered in four “chapters,” the story tells of a world where the wealth gap reaches its limit and two castes of the population emerge, pitting the ultra rich against the ultra poor under the guise of anarchy.
While JAUZ’s signature style at times has a darker edge to it, The Wicked sees him push the ominous side of his explorative stylings further. Featuring impressive collaborations from artists like Example, Kiiara, Krewella, DJ Snake and Ducky, the album follows a story arch with a rise and fall, ending in a climactic resolution. The release of The Wise and The Wicked follows the release of previous singles “Super Fly” and “Acid or Techno.”
For months now, fans have been gradually exposed to the depths of JAUZ‘s experimentation with gumptious genre distortions. Just one day ahead of his BITE THIS-housed The Wise and The Wicked album release, JAUZ has shared another striking bout of ingenuity, “Acid Or Techno.”
With acid bass interwoven in the track’s writhing fabric, coupled with unrelenting tech percussion, the song certainly lives up to its twofold title. The echoing, retro vocal cut is also a nod at the acid house, which has been making such a robust resurgence lately—while the carnal energy level is all techno.
JAUZ recently told Magnetic Mag that he was taken aback by the positive reactions the track has been eliciting from the jump: “I happened to open it up to play it for Fred (Snails), almost as a joke, and he was like ‘Wait, this is actually so sick!’ That seems to happen to me a lot, where I’ll think an idea I’ve written is dumb and it actually normally ends up being the songs of mine people like the most.”
He goes on to describe the track as somewhat antithetical to the rest of his forthcoming album, as well as “what I imagine the wicked would be playing in an abandoned warehouse at 5:30 AM as the building is burning down around itself.”
Recently, JAUZ revealed that the concept for the album will take a narrative format. The Wise and The Wicked‘s tracks are to be split under sub-headings, including The Wise, The Wicked, and The United—each carrying an intuitive aesthetic quality. For instance, “Acid Or Techno” unsurprisingly resides with The Wicked, while his laid-back collaboration with Kiiara, “Diamonds,” lies with The Wise.
Photo Credit:Jauz Instagram
Jauz has been killing it of late with his sound experimentation, delving into the uncharted territory of sound in Mainstream EDM. Making hard-hitting tunes is what brought us to love the man, but, his wide range of work is what has kept us remaining hungry for the next bite. It has been known that Jauz
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Calvin Harris took the world by storm with his return to Electronic Music with his single “One Kiss” featuring Dua Lip. After experimenting with more pop and hip-hop over the past year or so, fans across the globe have been yearning for Calvin’s return to his roots. We got the return a few weeks back
The post Jauz Remix to Calvin Harris and Dua Lipa’s “One Kiss” Release Date Announced appeared first on EDM Sauce.
An eponymous sample drops all sense decorum in the first few seconds as the track’s tension builds. Unsurprising, given both producers’ status at the forefront of bass-heavy music, the drop itself manages to surpass its title in terms of grinding power and propulsive energy. It’s a welcome new addition to both’s catalogue, and another win for Jauz’s Bite This label.
A collaboration of the magnitude that DJ Snake and Jauz bring on their new track, “Gassed Up,” are incredibly rare. Similarly, some artists would want to keep things simple and let their respective fame carry the day. In this instance, however, both Snake and Jauz move out of their comfort zones for something that is sure to stand out.
The duo make it immediately apparent that they’re not afraid to push the tempo on “Gassed Up,” with an open intro setting the tone. A chunky bass, clever vocal chops, and bright synth stabs take the energy to another level before an ominous build frenetic, bouncing drop.
“Gassed Up” immediately stands out in both artists’ catalogs, and is set to take festival season by storm — to say nothing of influencing this summer’s tracks.
Not being able to get to Miami this year, my mind, body and soul ached. I even contemplated dropping $800 on a flight on Friday morning with the goal of scalping tickets. Ultimately, I made the business decision to cut my losses and enjoy the live stream. As Friday progressed, the fomo grew but Ultra
The post Jauz Journey to Delivering One of Ultra’s Best Set’s Was Everything but Chill appeared first on EDM Sauce.