Saturday Night Session 008: Vicetone talks about their custom built studio home and how their love for technology has impacted their creative output

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Saturday Night Session 008: Vicetone talks about their custom built studio home and how their love for technology has impacted their creative outputRutger Prins Vicetone

Few moments are more sacred than the reprieve Saturday night provides from the daily grind of school and work. Its importance is meant to be emphasized, and thus, a feature dedicated to “doing the night right” was born. Saturday Night Sessions are set around energizing mixes meant to get the party started. New or old, each episode has one cornerstone thing in similarity: they serve as the perfect backdrop for the weekend pregame.

Dutch duo Vicetone is known for their quintessential feel good sound that has been inducing nothing short of euphoria over the past seven years. Friends turned music producers Ruben den Boer and Victor Pool quickly started gaining momentum in 2012 after signing to Monstercat, and later joining as support for Nicky Romero‘s Nothing Toulouse: North American Tour. Their career ascension fortuitously coincided with the peak of the progressive house era, and from there, Vicetone has become a poster-child for the genre.

Despite their lengthy career, Den Boer and Pool have mainly stuck to releasing singles and remixes as opposed to full length albums. They are set to release their second EP this spring, titled Elements, and it is the follow up from their previous EP release in 2016, Aurora. Elements will be the first creation to come out of their brand new studio compound in Nashville that is described as, ‘a home custom-built to maximize their creative output with a state-of-the-art space housing two separate studios.”

The duo spoke about their creative process, and how having two separate studio spaces has greatly heightened their efficiency and output, saying, “we have two studios on separate floors that are connected with a very fast server. We can sync up all our projects, samples, and presets. The great thing is that we’re a short walk from each other, so we work together in the same studio a lot, but still have the opportunity to work on different tracks at the same time.” They continue, “When a track has been completely arranged, and we have all the sounds picked out as well, we usually start the mixdown process, which is often easier done solo as it’s more technical than creative. The fact that we can work together in a studio and 10 seconds later work in two studios separately speeds up our workflow a lot.” Their state of the art studio spaces have also been able to fulfill another hobby of the friends, which is translating their love of technology into custom built PCs created specifically to maximize their production abilities with Ableton.

Vicetone explains, “We love all things technology. We love video games as well – we have all modern consoles and a sweet gaming rig as well. Fun fact: we hand-build all our computers, including our studio computers, which are completely overkill, but it allows us to run the biggest projects in Ableton without lag.” Fans will now get to hear the creative output of their brand new studio set up with Elements. The first release from the EP was “Something Strange” featuring Haley Reinhart, and Vicetone’s Saturday Night Session includes brand new release, “Fences.” The track is a subtle melody that features guitar as the leading instrumental element that provides the perfect sonic juxtaposition with the bouncy drop.

 

 

When speaking to what their Saturday Night Session mix will get listeners’ ready for, the duo exclaims, “If you want to go out, our mix will get you energized. If you want to stay in and watch Netflix documentaries about the cosmos, this mix will get you in the right mood.” The versatile mix is certainly fitting for any night the listener wishes to have, and it’s the perfect sneak peak into what is to come from EP, Elements.

 

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To each of you- what is the favorite song you have ever released of all time?
Ruben: It’s really hard to say. It’s almost like picking your favorite kid as a parent. If I had to choose, I’d say “Nevada.” It was a complicated track for us to mix right, but a very rewarding and fun experience. I still love playing it out to this day and get a fuzzy feeling.
Victor: Our “Sparks” remix was the first song of ours to ever be played on the radio. That was a huge moment for us in our career, and I still remember it very fondly – it’s a special track for us for that reason.

I read that you have a state of the art space in Nashville that you produced your new EP
Elements in, and within this space, you each have your own studio. Can you tell us a little more about your creative process- and how you work together?
We have two studios on separate floors that are connected with a very fast server. We can sync up all our projects, samples, and presets. The great thing is that we’re a short walk from each other, so we work together in the same studio a lot, but still have the opportunity to work on different tracks at the same time. When a track has been completely arranged, and we have all the sounds picked out as well, we usually start the mixdown process, which is often easier done solo as it’s more technical than creative. The fact that we can work together in a studio and 10 seconds later work in two studios separately speeds up our workflow a lot.

The last EP you released was Aurora in 2016. What can fans expect from the new EP Elements? How has your music evolved?
We still love how the Aurora EP turned out, but we both feel that this EP is stronger and catchier compared to Aurora. It’s hard to put into words how we have evolved – this is something our listeners should comment on – but we feel our sound is improving every year. The goal of Elements was to showcase multiple facets of the Vicetone sound, while still keeping the melodic and energetic core the same. There should be a track for just about every type of Vicetone fan out there on this project. We’re really excited to hear the feedback on the different songs on there.

When you both started producing together, did you ever imagine you would have ended up here?
We always dreamt of this lifestyle and dreamt of doing music full-time, but it always felt like a pipe dream. Slowly realizing that this was actually happening for us was extremely exciting. We really feel this is what we’re meant to be doing, so we’re lucky to have this job.

What is your favorite club and favorite festival respectively to play at?
Very hard to choose. We’d say New City Gas is our favorite music venue as far as indoors goes. It is an amazing venue, and it has even more amazing crowds. Montreal is really special for us! As for festivals, it’s hard to pick a favorite. They’re all great and unique in their different
ways. We loved playing Ultra, Tomorrowland, Escapade, Electric Love, Amsterdam Music Festival, the list goes on!

Given you have made a career out of creating music for raves… do you ever actually go to clubs/raves yourselves anymore? When is the last time you went to enjoy the music as a spectator and not a performer?
We got to experience going out to raves during our early years. We used to stay at raves until the early hours of the morning, till 6am, and take a train ride back home for 2 hours. These days we get a lot more enjoyment out of playing our own livesets. Nothing really beats that feeling for us. So we don’t go to raves in the same way as we used to, but we were very big on raves before we started creating our own music.

What are your hobbies outside of music?
We love all things technology. We love video games as well – we have all modern consoles and a sweet gaming rig as well. Fun fact: we hand-build all our computers, including our studio computers, which are completely overkill, but it allows us to run the biggest projects in Ableton without lag. And recently we’ve brushed up our cooking skills as well – it’s a nice break from being in the studio all day.

Worst thing about this career? Best thing?
Best thing is doing what you love the most and getting paid for it. Our work is our hobby – it doesn’t get any better than that. Our least favorite thing is probably not seeing our family and friends as often as we’d like.

What kind of a Saturday night is this mix getting our listeners’ ready for?

Whatever they want. If you want to go out, our mix will get you energized. If you want to stay in and watch Netflix documentaries about the cosmos, this mix will get you in the right mood.

Monstercat Gets Sirius in 2019: Joins Forces With Diplo’s Revolution

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Monstercat: Call of the Wild radio show gets a warm welcome today to the Diplo’s Revolution channel on SiriusXM. Those tuning into channel 52 on SXM every Friday at 9pm PST/ 12AM EST will enjoy what has been an essential piece in bringing the Monstercat community together for more than 4 years; fostering a tight-knit

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Dexter’s Beat Laboratory Vol. 72

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Dexter’s Beat Laboratory Vol. 72Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


The pure, vibrant energy of this Oliver Heldens remix from Tom Staar is what initially drew me to it. The original is also full of life, but Staar’s take gives it an extra kick in the chorus, priming it for festival stages around the world. I’m hooked on the anthemic kick of the bass and the added percussion elements that make it completely irresistible. Songstress Shungudzo’s vocals work impeccably with the groovy beat, too.

nanobii is a master at flipping iconic childhood songs into modernized EDM masterpieces. He’s done takes on “Part of Your World” from The Little Mermaid and “Go The Distance” from Hercules. His infectious happy hardcore elements somehow meld perfectly with these nostalgic tracks, and his latest is no different. He’s taken “I2I” from 1995 Disney classic A Goofy Movie and flipped into a powerful live edit. In its brief 1-minute-and-36-second length, nanobii weaves in elements of hardstyle and thumping bass… and it works. Don’t ask me how — it just does.

I’ve said it before and I’ll say it again: any day with Feint in it is a good day. But any day with brand new Feint in it is an even better day. The Manchester artist has revealed his first release of 2019: “Drifters,” out now on Monstercat. In true Feint fashion, “Drifters” is comprised of lush melodies, emotive vocals, and pristine production. This one also contains a gorgeous guitar theme in the background that complements the drum & bass rhythm beautifully.

Also from 1995 is this original piece of music from Japanese film Ghost in the Shell. American drum & bass producer Flite has put his own spin on “Making of Cyborg” from the movie, calling the tune “truly exceptional and timeless” in his description. This five-minute remix is a true journey, as Flite meticulously works to preserve the cinematic atmosphere of the song while adding his own intense stamp on the number. It’s thrilling.

With the release of mau5trap‘s We Are Friends, Vol. 8 compilation on January 4 comes the arrival of two new i_o songs: a remix of deadmau5‘s “Imaginary Friends” and an original called “404 Anonymous.” The shadowy producer welcomes his listeners to hell in these two authoritative pieces that cement his standing in the music world after a strong 2018. “404 Anonymous,” in particular, shows off his dark and eerie style perfectly, dragging fans into the deepest depths of techno with sinister synths and pounding bass.

Deck the halls with Monstercat’s new holiday compilation

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Deck the halls with Monstercat’s new holiday compilationMonstercat Holiday Hits

As the countdown to December 25 dwindles down, Christmas music can be heard seeping from speakers all around the world. Putting a dance music spin on some holiday classics, Monstercat has unleashed a collection of songs of the season from some of the Canadian label’s up-and-coming talents.

The five-track compilation kicks off with Tokyo Machine‘s playful take on “Jingle Bells,” ringing in the recognizable melody with a significant amount of bass and setting the scene for the rest of the tracks. “Arctica” is a lighthearted original from Pixel Terror, and things take a turn for the stranger in FWLR‘s take on “Deck The Halls,” which features a theme of computer’s becoming self-aware and taking over. Skyelle‘s gorgeous vocals take center stage on “Christmas Ain’t The Same,” and Bossfight‘s formidable dubstep returns on a powerful version of “Carol of the Bells” called “Carol of the Cartels.”

Lunar Lunes: Golf Clap remix BROODS, Chime takes on Super Smash Bros, Volac return to Night Bass + more

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Lunar Lunes: Golf Clap remix BROODS, Chime takes on Super Smash Bros, Volac return to Night Bass + moreGolf Clap Press Photo

Each week, New Music Friday sweeps through with torrential force, showering streaming platforms with immeasurable amounts of new tunes. Just like Dancing Astronaut rounds up 25 of the biggest songs of the week for the Hot 25 Spotify playlist each New Music Friday, Lunar Lunes serves as a landing pad for SoundCloud users who want a whole new dose of tunes to kick off the work week.

In this week’s installment, Golf Clap put a groovy spin on BROODS‘ “Peach.” Nicky Romero re-imagines Martin Garrix‘s “Dreamer” with Mike Yung as a melody-centric big room track, and Moscow duo Volac return to AC Slater‘s Night Bass with their Funky EP. Chime holds nothing back on an creative dubstep remake of the Super Smash Bros Ultimate “Main Theme / Lifelight.” Prince Fox continues his string of remixes with a take on Travis Scott‘s chart-topping “Sicko Mode,” and QUIX puts his own spin on GASHI‘s “Creep On Me.” KUURO deliver a formidable Monstercat release, “What U Wanna Do” with Spencer Ludwig, and Alvin Risk reveals his latest as HA with Hodgy, “O.P.E.N.” Culture Code and Rabinik tug at the heartstrings with “Love Somebody,” and Trivecta pounds out a powerful trance beat on his remix of Myon and Late Night Alumni‘s “Hearts & Silence.”

The selection is updated every Lunes (Monday).

Dexter’s Beat Laboratory Vol. 68

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Dexter’s Beat Laboratory Vol. 68Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


It’s been more than two years since StayLoose released his twinkling original, “Let Go,” with Andrew Paley. Today, he blesses fans with an extended vocal cut of the original track, noting that Paley “added some additional vocals to this one to make it extra special.” The inclusion of addition vocals makes this new version particularly dynamic, as Paley’s emotive voice bounces off StayLoose’s timeless future bass stylings.

Laszlo‘s time on Monstercat dates back more than four years, and in that time, he’s delivered a multitude of innovative originals, many playing off an outer space theme. He’s now revealed a full LP on the Canadian label: Liftoff. Laszlo has been building to this 10-track collection for years, with songs like “Airglow” and “Sphere” dating back to 2016. The versatile album sees Laszlo flex a full range of production talents, from drum & bass to trap and everything in between. I instantly gravitated toward “Rendezvous,” a gorgeous piece of work that takes off quietly and builds into a feel-good drum & bass track with a beautiful melody.

SevenDoors makes a bold reappearance on the mau5trap roster with his latest offering, Rising Sun. The EP’s latter half, “Spirit,” is an intricate, seven-minute piece of work that showcases the minimalist techno style he’s been debuting on the label in past releases. “Spirit” is a pensive piece, highlighted by the haunting chants of solemn choirs woven in between its dark, pulsating beat. A variety of airy synth melodies float in and out as well, setting a tranquil tone for the song surrounding them.

Following a mellow remix of TS Graye‘s “Take Notes” in September, Philly’s Instupendo is back with a new rework. This time, he’s taken on sakehands’ “GOODBYE FOREVER.” This rendition is more subdued than the original’s pop-leaning elements, as Instupendo walks the remix along with elements of percussion sakehands’ version lacked. Subtle bass and an easygoing beat make this take on “GOODBYE FOREVER” a fresh listening experience and open it up to the world of dance music a bit more.

“Darkness comes before the dawn,” red. teases to introduce his new original, “Dispatch.” While the minute-long introduction appears to lead into a bright, sunny soundscape, the artist proves to have deceived his listeners by quickly dipping into a deep, resounding bass pattern. While red. appears to have delved into a dark soundscape, he continuously leads listeners back up into the light by introducing glowing melodies. “Dispatch” is a true journey of a song and exudes a vibrantly colored aura from start to finish.

China’s Electric Jungle festival co-founder, Boyi Zhou, talks dance music culture, obstacles, and the wild time yet to come [Q&A]

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China’s Electric Jungle festival co-founder, Boyi Zhou, talks dance music culture, obstacles, and the wild time yet to come [Q&A]9 1 1

For the past few years, Boyi Zhou and his Jungle Events team have been toiling away, trying to carve out a vivacious, unfettered space in the Chinese event circuit for electronic dance music. While Zhou, the event brand’s marketing manager, and his team have tried to emulate a lot of the underground dance music culture they were indoctrinated into while studying abroad in LA, there is much about their nook of the EDM continuum that is inherently Chinese.

This month (Dec 8-9), Zhou and the Jungle Events team will return with another installment of what is now the largest dance music festival in all of China, Electric Jungle, projected to attract over 60,000 attendees. The team is combining its Goliath headliners, Skrillex and Martin Garrix, with a sundry of international, nuanced talent, like REZZ, Drezo, TroyBoi, and Illenium–just to name a few.

Like many electronic fests in the US, the Foshan Chuanlord Tourism & Leisure EXPO resort-residing Electric Jungle will be broken off into meticulously curated stages, including a Berlin-nightclub-themed techno stage, a bass stage, which will receive a one-day Monstercat makeover, and of course, a main stage. Zhou says, that while the nature of the festival may be unorthodox, especially within its respective culture, organizers want to preserve authentic Chinese tradition while on their home turf, wielding ancient Chinese monsters as a motif throughout festival grounds.

Also quite like in the US, festival organizers must fiercely delegate with local authorities to gain the privileges necessary for throwing an event of this scale–though, for Zhou and co., this is a much weightier burden. Standing on the precipice of, what is for the Chinese, still such an underground culture, the local government still doesn’t fully fathom Jungle Events and their counterparts’ intentions; though, Zhou says, that’s beginning to change. Zhou sat down with Dancing Astronaut to talk about not only how he’s mediating these profound obstacles, but also his initial infatuation with the LA “rave” scene, launching one of the first Chinese-language dance music blogs, and his observations of the Chinese electronic festival circuit at large.

Tickets to Electric Jungle as well as additional festival info can be found here.

How did the idea for the festival come about?

I was attending college in the US living in LA for six years and I went to a lot of raves. So I started a blog, Jungle EDM, one of the first all-Chinese electronic music blogs. Soon I had over 10,000 followers. Back then there were no blogs about electronic dance music in China. And there were no Chinese materials for translation. So I was the first one to translate all of the English dance music materials to Chinese. When I graduated, I came back to China and started my own festivals.

Can you compare the underground dance music scene you were indoctrinated into in LA to that of China?

I wouldn’t say it’s the same at all, but it’s growing really fast. In America basically, dance culture is the pop culture. But in China it’s a sub-genre or subculture of all other music genres.

Who are some of the biggest influencers in growing China’s dance music scene?

I would say the newer festivals, and the nightclubs. The nightclubs are doing really well. They’re hosting a lot of foreign artists bringing the culture to China.

Tell me about your Jungle team?

So the original founders are all from California. We all went to the same school. We met there. We all went to the community college first in Santa Monica and we transferred to different schools, but when we all came back to China, we decided to make the festival.

What do you predict your greatest challenge to be in executing a successful Electric Jungle this year?

Probably getting certain permits. It’s really strict in China. You can not go ’til after 10 pm, the curfew time. And the production is limited. You can not use certain effects like fireworks, or any variation of fire. Also, the audience capacity limits are very strict.

How are you guys working to mediate those issues?

Well, when we first came here to do this in China, the government didn’t really understand us. It’s getting better now. We are taking special precautions and working with the government to try to clear up the discord. They are trying to work with us and are working on giving us a little more room, so that we can ensure the production and safety are up to our standards.

Can you tell me about what your intentions were with lineup curation?

A lot of them fit the marketing needs. We selected a lot of the artists from the data analysis, from the stream players. In addition to them and the artists the founders selected for personal preference, there is also a lot of local talent. We are trying very hard to promote them. Those artists have a great advantage with the local demographic because of the language. A lot of the local artists are using Chinese language to make their songs, and they have their own fans.

Can you tell me about the theme and location of the festival?

It’s right next to Guangzhou. It’s the center of the Guangdong area: just one province in China. The benefits would be that it’s not the biggest city, so the restrictions are less. It’s close to the two biggest cities in China. Transportation and hospitality are a disadvantage, less hotels and trains, etc. It’s a small city to us, but would be relatively big in the US. I would say it’s something like Seattle. The festival will be held at a resort, complete with a theme park, mini zoo, and a hotel with a restaurant. We’re doing the festival in the parking, given its considerable size.

*This interview has been edited for clarity and readability.

Sunday Morning Medicine Vol 155 with Sylvan Esso, Chet Faker, Liquid Stranger, + more

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Sunday Morning Medicine Vol 155 with Sylvan Esso, Chet Faker, Liquid Stranger, + moreSMM 2400

Even NPR was able to “get up / get down” with Sylvan Esso‘s 2014 indie sensation, “Coffee,” featuring the track on their Songs We Love list that June; now, four years later, it’s topping DA’s Sunday Morning Medicine chart. The mellifluous melding of Amelia Meath’s Norah Jones-esque, light Soprano intonations with Nick Sanborn’s twinkling xylophone and bell chimes is the ideal backdrop for a comfy-cozy Sunday spent reading or wiggling one’s toes under the covers.

While Nick Murphy may have laid his Chet Faker alias to rest a few years back, his lengthy catalog of soulful downtempo and trip-hop remains. Let the long-winded, jazzy saxophone and languid vocal harmonies executed by Murphy himself on “Talk Is Cheap,” carry you to distant domains, away from workday woes.

Longtime Monstercat maven, Mr FijiWiji has since toned down his formerly fervent style, a departure exemplified on his most recent album, Lost Lost Lost, from which “Reality Is More Beautiful” arrives. While the song may tout arrestingly plaintive piano chords and somber strings, likely mirroring your end-of-weekend sentiments, the lyrics, embodied in the track’s title, introduce the promise of a halcyon love capable of brightening the dreariest quotidian weekdays.

It’s no difficult feat to fall sweet victim the ambient allure of a Liquid Stranger production. Pour a cup of cocoa in your favorite cat-themed mug and just “Dissolve.”

Madeaux flexed his profound sonic range and narrative predilection this year with his LIMBO EP, the vessel through which he dropped off “HIGHER.” A blissful exodus from his shadowy subterfuge, the track, with its rectifying progression and lush instrumentals, emulates eclipsing emotional mountain peaks—quite apropos for combatting those nagging Sunday scaries.

Dexter’s Beat Laboratory Vol. 67

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 67Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


Electronic music’s favorite bickering best friends are at it again. After teaming up for a powerful remix of Knife Party‘s “Sleaze” last month, contending colleagues No Mana and i_o have returned for a collaborative original, “Bad Things.” They’ve enlisted vocalist Fay to give their bass-pounding venture an even more sultry vibe and unleashed it to the world via mau5trap. In the track, they’ve managed to blend a variety of genres, making “Bad Things” pleasing to fans of techno, house, trance, and everything in between.

With Skrillex now releasing music on a more regular basis, his latest endeavors are, of course, being remixed into the ground. His mega-collab with JOYRYDE, “AGEN WIDA,” has been flipped, revamped and recycled countless times since its release in late October. One of the latest to take on the fiery track is FREAK ON, a Venice Beach producer whose catalog only contains this track and one other (a remix of Spice Girls). This intense tech house rework of “AGEN WIDA” provides an awesome new perspective on the track, leaning into its house elements for a groovy rendition.

After sitting on the track for a while, Monstercat‘s Grant found that “Castaway” made for a perfect addition to the label’s reoccurring partnership with video game phenomenon Rocket League. “It’s a song about starting over, and the desire to escape from your current life or whatever it is that’s holding you back,” he says of the track. He enlisted vocalist Jessi Mason as a complement to the serene, easygoing soundscape he’d created and built a song that’s simultaneously complex and smooth.

graves can do no wrong. Just weeks after contributing a massive rendition of “If Only You Knew” to What So Not‘s Not All The Beautiful Things Remixes album, he’s back with a new original piece of work. Tapping the talents of singer EZI, graves uses her breezy vocals to set the tone for the meticulously produced pop/trap synthesis he’s created. His versatile ways of production shine no matter what he’s making, and it’s such a refreshing thing to witness and hear.

“i was lost but i was amazed at what i had discovered,” reads dull machine’s description of “the beauty in the hatred.” I, too, am amazed at what I’ve discovered in this track. This carefully designed song ascends with a minute-long introduction, its delicate melody building up to a theme of full-bodied instrumentation and crashing percussion. There’s a unique, endearing quality here — one that’s hard to put a finger on. Fans of Porter Robinson: pay attention.

SLANDER deliver their final track from ‘Headbangers Ball’ EP

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SLANDER deliver their final track from ‘Headbangers Ball’ EPSLANDER C Koury Angelo Min

SLANDER have delivered the final track from their Headbangers Ball EP: “Hate Being Alone,” featuring Dylan Matthew, on Monstercat. This marks the duo’s third collaboration with the R&B vocalist, having previously worked with him on “Without You” with Kayzo and “First Time” with Seven Lions and Dabin. The “heaven trap” maestros up the contrast ante, combining Matthew’s sultry vocals amidst glittering guitar melodies with hard-hitting, headbanging bass.

“This song started as a drop we made last February,” the duo says of the track. “Since then, we shelved the project for a bit to finish a few more urgent works in progress, but finishing the song was always on our mind. Then this fall we finally got the missing piece: Dylan Matthew’s incredible vocal line! This vocal took the track into a completely different place and we were thrilled that it was given this new life. We went in and re-arranged and re-structured the entire song to fit his vocal and we couldn’t be happier with the result. This is our first solo original dubstep song and we are so excited to finally give to you guys! We hope you enjoy this final piece to the Headbangers Ball EP!”

The EP culminates with stark contrasts of light and heavy, hot and cold, life and death, etc. Each track places fluffy vocals and lush melodies at the helm of harder-hitting electronic elements, from dubstep and future bass, with featured artists such as Spag Heddy and Elle Vee on “Running To You” and RIOT on “You Don’t Even Know Me.”

After launching their Gud Vibrations label with frequent collaborator, NGHTMRE, the duo continues to pump out their own projects while supporting up-and-coming artists such as WAVEDASH and QUEST.

Photo credit: Koury Angelo