An ode to a fallen best friend, the late other half of the once-duo group, SkyDisc channels emotion and pain into a fiery new single, “Coming Down.” Featuring acclaimed Dutch vocalist RIENK, “Coming Down” pays tribute to the late Colby Riggs in true SkyDisc fashion. Set to land on the upcoming RIOT Records Uprising: Vol 10 compilation, this high-energy release fuses emotional vocals with cinematic, bass-driven production.
Opening with a delicate arrangement of piano chords coupled with RIENK’s powerful vocal abilities, SkyDisc’s loss and grief come pouring through the opening section of the track. Embodying the youthful spirit of his late friend, it’s not until the first minute mark or so that his signature DnB roots shine through. The first drop is so sick, delivering a bouncy, groove-filled beat with big, raspy, commanding synths. This portion is sure to send the crowd into a frenzy.
“I Need You When I’m Coming Down“
After a big, reverby, grinding halt, a haunting interlude occurs in the middle of the track. RIENK’s ghostly vocals fade in and out. Back into the second drop, this second half is a bit different than the first. Using that same commanding synth arrangement, it has almost a heart-thumping club beat at first. Diving back into that grove-filled drum and bass back beat, the euphoric synths really help drive this one home.
I also love the textures of the animatronic noises that sound like they’re grinding to a halt, which are peppered in the background. The deliberate texturing always adds just a little bit more grit to the track if you ask me. As the song nears its end, RIENK’s shadowy vocals, coupled with SkyDisc’s celestial piano chords, carefully glide this emotional roller coaster to an elegant stop as the final notes ring out. For more from SkyDisc and RIENK, hit the links below.
Acclaimed Dutch producer SPAG, formerly known as Spag Heddy, returns with a brand-new EP alongside a refreshed moniker. Marking the exciting new chapter and a rebranding to SPAG, his new four-track EP, This Is: SPAG, marks the evolution of the SPAG project. Currently living in Barcolena, Spain, he’s excited to start his next chapter with a project that takes his unique sound to an entirely new level.
“Becoming SPAG marks a new chapter where I can step outside the pasta puns and lean into something more focused and grown, without losing the core of who I’ve always been.”
-SPAG
Opening with the energized “Messiah,” the EP kicks into high gear instantly. Clapping snares and choppy vocals build pressure before the track explodes near the one-minute mark. Delivering that old-school 2010s dubstep feel, the bass bombards from all directions, reminiscent of a classic Skrillex track. Gritty basslines roll onward, creating a dynamic interlude before the snares begin to clap once more. “Hail to the Messiah” screams through the chaos as the second drop grabs hold and doesn’t let go until the final seconds.
Next up is “OLDSKOOL,” an animatronic, glitch-heavy heater that blends modern sound design with nostalgic flair. Built for peak festival moments, its sharp vocal chops and relentless pacing will have you raging at the center of the pit. “Let’s get back to the old school” flickers in and out as cascading, futuristic samples engulf the listener whole. Play this track loud—it will leave your ears ringing in the best way possible.
The next track, “READY,” stands out as a personal favorite. Driven by punchy basslines and vocal chops reminiscent of an ’80s hip-hop MC, the track wastes no time getting to work. A chorus of kids shouting “Are you Ready?” cues the drop, unleashing a bouncy, infectious groove. While still rooted in SPAG’s signature grit, this one offers a slight shift in vibe, adding a layer of versatility to the EP. Maybe that’s why it speaks to me so much. After the second drop, big reverby basslines rattle along until the final echoing seconds fade out, signaling the end of “READY.”
Closing out the EP is “TREP,” a dynamic and layered finale. Its intro leans into a melodic, almost 2010s pop-inspired sound design before pivoting into a fusion of dubstep and trap influences. Just when a massive drop feels imminent, hypnotic, trappy grooves take over, keeping the listener guessing. Smooth and buttery, yet unpredictable, “TREP” serves as a fitting conclusion—winding things down while still embracing the edge that defines SPAG’s new era.
With This Is: SPAG, the Dutch producer reintroduces himself with a project that balances nostalgia and evolution. It’s a bold step forward—one that honors his past while signaling a clear vision for the future. Stay up to date with all things SPAG using the links below!
Throughout his career, DJ Susan has had his sights set on one label: Dirtybird Records. Today, DJ Susan achieves his dream by releasing a dance floor weapon, “Transformation,” on the esteemed house label. The San Diego native and Hood Politics Records founder is building on what could be a monumental year. It started with releases such as “Down 2 Ride” and the Serve Bass EP, garnering attention across the global circuit.
“Transformation” sits in that late-night pocket, delivering a leaner, darker, and driving sound that DJ Susan is known for producing. Built on a steady, rolling low end and tight, crisp percussion, it keeps a constant forward momentum. The vocals cut through with a playful edge, layered with warped textures that add a touch of grit and a splash of character, before everything opens into a deeper, more immersive tech house groove.
DJ Susan // Photo Courtesy: @pinku_lemonade IG
Joining the Dirtybird family has been a dream for DJ Susan and a badge of honor for those in the house music world. For DJ Susan, this is a nod to his growth from a rising local talent to a global tastemaker. “Transformation” fits seamlessly into the label’s catalog. Offering the loose, off-center energy that feels right at home with Dirtybird, while maintaining the community-focused ethos that has made DJ Susan a fan favorite.
DJ Susan has been working on this goal for years, and his momentum has finally brought him to Dirtybird Records. DJ Susan played Northern Nights back in 2024, and will be making his return to Dirtybird with an appearance at the Dirtybird Campout X Northern Nights event this July.
DJ Susan’s career is expanding rapidly; prepare to be swept away in a world of immaculate vibes and phenomenal music. You can find “Transformation” headlining our New Music Friday playlist this week! Dive deeper into the world of DJ Susan by following his socials and blasting “Transformation” by using the links below.
Teased late last year by Lane 8 in his December mixtape, fans have eagerly awaited this highly anticipated collaboration with Kasbo. Released through Lane 8’s This Never Happened imprint, “World Is Mine” signifies a point where both artists, known for their emotional depth and melodic accuracy, come together creatively. The release comes after a year of intense fan anticipation for his This Never Happened movement.
For Kasbo, “World Is Mine” signifies the continuation of a new creative chapter, characterized by openness and intuition, following a period of absence from the touring circuit to reconnect with music and daily life in Stockholm. This single also follows his song, “All This Time,” which was released earlier this year.
Kasbo shares,“When I first started the idea with BJOERN we both felt we had something special. I sent the idea over to Lane 8 who just made sense of the track, when I heard his version, I felt like I finally understood the song and what it was.”
The World Is Mine.
The wavy synths and delicate piano chords fade into view, signaling the start of this melodic bewonderment. The soft voice coos over the top, unfolding the first verse of the track. Fading into the chorus, the top line for “World Is Mine” is laced over an intricate arrangement. The backbeat shines through brightly as her voice drives the track onward. It’s not until around the halfway mark that a delicate interlude takes place, slowing things down before a gradual build.
The dual vocals interlace, enveloping the listener in their beauty as the top line shines through once more. Groovy, house-laden beats drive the track home with delicate percussion. This new release is ideal for those peak festival moments and/or sunset sets. Its soft, elegant touch carries the listener to a tropical paradise with just one note.
When it comes to building a mythos to bring an album to life, few do it better than Seven Lions. Those skills were on full display this past Saturday, April 11, as he and his team brought his new album on tour at Brooklyn’s newest premier club destination, Brooklyn Storehouse. In addition to his December 2025 album, Asleep in the Garden of Infernal Stars, Seven Lions also featured his two new singles from the follow-up EP, The Dreams Strange and Eternal, which is set to be released on Friday, May 1, 2026.
Joining Seven Lions for the tour stop in Brooklyn was Quackson, who got the party started at 10:20 pm. Nurko played next, featuring his sweeping melodic bass drops and some tasty new IDs. YDG was on duty as direct support, getting the crowd worked up with his take on some classic hip-hop and trap remixes. Then, after Seven Lions, Oliverse closed the night out from 3 to 4 am with some dubstep and DnB.
Seven Lions’ set ran 90 minutes from 1:30 to 3 am, and it was a non-stop trip through the Seven Lions mythos. He came right out of the gates firing with the gorgeous new song and video, “Free,” from his upcoming EP. To add to the ambiance, multicolored light fixtures hung from the ceiling and dropped down close to the dance floor, creating a dramatic effect throughout the cavernous 105,000-square-foot venue. In classic Seven Lions style, he seamlessly transitioned across his multi-genre catalog without ever saying a word. It was truly a work of art to hear him weave together his influences across melodic dubstep, psytrance, and black metal, which are noticeably forward in tracks like “Thrice Woven.”
Speaking of his new single “Free,” Seven Lions and Ophelia Records teamed up with EDMTrain and FL Studio to announce a remix contest for the track. The stems are available for download, and the contest runs from April 14 through May 8. The contest winner will be announced on May 12 and will receive access to FL Studio software, the remix released through Seven Lions, and a merch box from Ophelia Records. It is great to see artists giving back to their community, especially after Seven Lions famously won a 2011 remix competition for Above & Beyond’s “You Got To Go.”
With so much going on in the mythos of Seven Lions, Moon Lvnding took the occasion to speak with him before he got on the stage in Brooklyn.
Moon Lvnding: What’s it like to get back out on the road?
Seven Lions: It’s cool. Happy to see all the energy!
ML: What was it like to build the dreamstate of the new album Asleep in the Garden of Inferna Stars?
SL: This one has been really cool. We spent a lot of time on the artwork, and really incorporating my roots as a metalhead into it, which has been cool. I’m always pulling from my background, but this album in particular feels very much like a culmination of a lot of things that I love, like horror movies and fantasy.
I did pick and choose the songs. There were a few that ended up getting pushed to the EP, which didn’t feel like they fit the album because they were a little more pop-leaning… [it’s] part of the reason why there was an EP because songs like “Hurricane” and “Free” didn’t quite fit what I wanted on the main part of the album.
Seven Lions at Hijinx // Photo Credit: @pitcrewproduction IG
ML: What was it like building the production for a huge venue like Brooklyn Storehouse?
SL: It sounds like it’s this glorious creative thing, and it is in some sense, but a lot of it is calls and diagrams. The fun part is building the show, though, once you have the stage part dialed in, then you’re gonna figure out what to put on the stage, that’s been really cool!”
ML: I know as a gamer, you’re a big fan of creating easter eggs in your mythos design. Are there any in the album or artwork you’d care to share with us?
SL: Mainly, the metal logos and things like that are really just a callback to growing up in the metal scene and really wanting to capture that aesthetic.
ML: Speaking of metal, you mention in one of your videos that your mom had a strong reaction to your new music. What songs did she really like?
SL: “Cold as Snow” for sure, she hit me up right after she heard that one and was super stoked on it. Anything that has metal-related stuff, I think she knows me well enough.
ML: Finally, here at Moon Lvnding, we have the motto of “uniting the world through music.” What does that mean to you?
SL: It’s just community building… that’s always been the goal with Ophelia [Records], and getting people together in a cool environment and listening to music that’s positive. Even though there’s moments of light and dark in the set, I think generally the crowd and the people that we bring are a really eclectic, interesting, kind crowd of people. I’m really proud of that, I love our community, and I think we’re doing a good job in our little corner of the world of bringing people together… that’s what I’m most grateful for, as far as what I get to do every day.
Likewise, the EDM community is grateful for everything Seven Lions has contributed over the year. There are still five more dates on this first phase of the Asleep in the Garden of Infernal Stars Tour, including stops in Texas, San Francisco, and Red Rocks in Colorado. In addition to his album tour, Seven Lions has a huge run of festivals planned for 2026 with heavyweights like EDC Las Vegas, Rampage, Tomorrowland, and Shambhala, to name a few. For the full list of Seven Lions tour stops and festival appearances, check out his website, and for everything else, use the handy social media links below.
Pretence conjures an ominous, thrilling soundscape on brand new single “Outcast” – streaming now via HypnoVizion. The Australia-born and Canada-based DJ’s new track is full of dark tension with a slow-burning feel.
“Outcast” hones in Pretence’s storytelling skills, creating a chilling ambiance through spoken word and a compelling beat. Opening with an eerie, spacious atmosphere, it transforms into a tight, sharply-conducted track with the first drop.
“Outcast” marks Pretence’s second contribution to the record label HypnoVizion, founded by DJ and producer Rezz. Just last year, Pretence made his label debut with “Dragon.”
Like most HypnoVizion releases, “Outcast” draws listeners in with sinister sound, heavy synths, and gripping basslines. However, its upbeat, clubby nature brings a whole new tech house vibe to the label’s catalog.
The new single’s sound perfectly complements Pretence’s previous release – proving him to be an up-and-coming force within HypnoVizion.
Photo Courtesy of Pretence // @pretencedj
Pretence’s sound is gloomy, sleek, cinematic, and sadistic. It screams “blood rave” and brings listeners into a hypnotic, euphoric headspace. Characterized by long, intense build-ups and rhythmic, textured drops, Pretence possesses a well-defined vibe across his discography.
Beginning his producing career in 2015, Pretence found much of his sound at after-dark shows in the Sydney area. His style is unique, personal, and clearly based on his experience as a music consumer. Since his humble, underground beginnings in Australia, he’s relocated to Canada, where he currently creates and shares his sound.
Releasing with dark EDM labels like Moretin and Omen Records, collaborations include rising tech house hitters like CABLE and FETISH. Recently, he confirmed his return to the Shambhala music festival in British Columbia, Canada, this coming June.
Commanding attention effortlessly, Pretence is a brooding dark house force to consider. He’s innovative, passionate, and dedicated to his craft, with a consistent catalog of tracks that speaks for itself.
Keep up with the latest going on in Pretence’s world through his Instagram, and stream his newest track, “Outcast.“
Melodic bass producer MitiS returns with a deeply personal statement on his new EP Through The Dark, released March 13, 2026. The six-track project arrives during an emotional chapter for the artist, written in the aftermath of losing his father last year. Known for cinematic piano arrangements and soaring melodic bass soundscapes, MitiS leans fully into vulnerability throughout this deeply reflective body of work.
Across the EP, shimmering synths, emotional vocals, and sweeping production guide listeners through the complicated terrain of grief and remembrance. Each composition unfolds like a diary entry, balancing heavy emotional weight with uplifting melodies that gently push toward healing and hope. For longtime listeners, the project also marks a renewed focus on the piano, the instrument that first shaped MitiS’ artistic identity. He shares,
“‘Through The Dark’ is the most personal body of work I’ve made in a long time. Losing my dad last year completely changed me — not just as a person, but as an artist. I found myself back at the piano processing everything in real time, and some of the most honest music I’ve ever written came out of that space. This EP is about grief, healing, and finding light in moments you never think you’ll survive. It’s painful, but it’s also hopeful.“
The producer spent much of the writing process returning to those keys, translating grief into melodies that feel intimate, raw, and unmistakably human. That emotional honesty flows throughout the project, turning each track into a moment of reflection wrapped in melodic bass catharsis. Dedicated to his late father, Through The Dark stands as both a tribute and a creative turning point in MitiS’ evolving career. The EP expands his signature sound while leaning further into storytelling and emotional depth than many of his previous releases.
This project feels more intimate, allowing quiet piano passages and reflective moments to carry just as much weight as explosive climaxes. At its core, Through The Dark reminds listeners why MitiS’ music resonates so strongly across the melodic bass community. Rather than simply soundtracking life’s most difficult moments, his music offers a space where those emotions can be processed and transformed. Through heartbreak, reflection, and ultimately hope, the EP stands as a reminder that even the darkest chapters can lead toward healing.
Subtronics continues to build his legacy as one of dubstep’s most influential producers with his first North American tour in over two years. The Fibonacci Tour spans three months with 16 dates in 12 major cities across the USA and Canada, bringing the heat during the cold winter months. It is the first time Subtronics has toured after the completion of his Fibonacci double EP arc, including Fibonacci Pt 1: Oblivion and Fibonacci Pt 2: Infinity.
He started the tour on January 23 in Toronto, and Moon Lvnding’s New York crew was on hand in Brooklyn to check out his shows on February 27 + 28, marking the beginning of the second half of the tour. As a Philly native, Subtronics is no stranger to New York City, having sold out numerous venues over the 10+ years he’s been touring. However, these two sell-out shows at the cavernous Brooklyn Storehouse might have been his most ambitious yet.
The enormous warehouse space in the Brooklyn Navy Yard boasts over 100K square feet, 42-foot ceilings, and capacity for 5,000 guests. Subtronics’ team spared no expense on production at the event and went all out with a laser setup I have never seen before. Not only did Subtronics have lasers flanking both sides of his stage, shooting towards the back of the warehouse, but there was also a full set of lasers rigged to the back of the warehouse, aimed at the front of the dancefloor. Impressively, the sold-out crowds were completely blanketed by lasers in both directions, with additional pyrotechnics punctuating Subtronics’ biggest bassdrops.
To Subtronics’ immense credit, he made both nights feel distinctly unique by curating diverse lineups and tweaking his two headline sets to match the vibes of his talented support. Over the years, my respect for Subtronics’ ability to incorporate a wide range of bass acts has grown tremendously, and the lineups for his two shows in Brooklyn demonstrated it perfectly.
Photo Credit: Shae McCormack // @shaelien111
On Friday night, his two big support acts were Avello, a burgeoning dubstep producer known for modern-day remixes that feel like a step back into the 2010s, and Juelz, a West Coast artist known for his energetic trap beats. Then on Saturday, he brought out pink-haired Brooklyn local Blossom for a playful DnB set, followed by the international icon TroyBoi, who incorporates sounds from his Indian background into a booty-shaking bass-forward set.
My favorite moment from the weekend shows was on Saturday when Subtronics made the time to play out O.P.U.S. in its entirety, including the meaningful spoken-word intro. It’s the opening track to his debut album Fractals, and it means a lot to someone very close to me. It is not such a popular track that it makes it into every set, so when he does play it at a show, I feel a special sense of satisfaction.
Another highlight of the weekend was Subtronics’ debut of his new ID “Eyes Cut Deeper,” which captivated the crowd, especially during his encore on Night 2. Lasers flying all around, lyrics shining on the gargantuan LED board, and 5000 fans living their best life dancing to a song we got to hear first is a memory I will not soon forget.
There’s still plenty of time to create new memories of your own as Subtronics winds down his Fibonacci Tour. If you’re lucky, there still might be limited tickets available for the last few stops, including two shows in Philadelphia for the first weekend of March, and then single nights in St. Louis, Kansas City, Austin, and Boston to close out this phase of the tour.
Fear not, if you can’t make it out to one of his tour stops, because Subtronics will feature in a handful of festivals this year, including Coachella in April and Moon Lvnding favorite Elements Music & Arts Festival in his home state of Pennsylvania in August. Subtronics also has seven shows scheduled for his Las Vegas residency at Encore Beach Club, and the debut of a two-day Griztronics event at The Gorge in Washington for Memorial Day Weekend. Finally, there are a few Cyclops-branded events: two days of Cyclops Rocks VI in Colorado, Cyclops Island in Hawaii, and the three-day dubstep extravaganza Cyclops Cove in Florida over the first weekend of December.
2026 is shaping up to be another huge year for Subtronics, so if you want to get in on the action, check out the ticketing section on his website for all the latest info. Of course, you can keep up with everything Subtronics related using the handy social media links below.
Go Beyond The Booth with French-Electro genre-fusing DJ BRVMES!
What inspired you to become a DJ/ how did you come up with your stage name, BRVMES?
BRVMES: I don’t think I set out to be a DJ necessarily, but more so a producer. The desire to play live definitely came later. I came up with the name BRVMES because it’s derived from the French word “brumes,” meaning “misty” or “foggy,” and it immediately sets the vibe for what the project is all about. Fun fact: I only chose it if and only if Petit Biscuit gave his blessing, which he did personally, so I proceeded with the name.
For someone just discovering you, how would you describe the sound of your music to them?
B: I would definitely say dark and visceral, but also a bit groovy at the same time.
What ongoing influences or experiences continue to shape your sound as you grow within the music industry?
B: Vintage cinema continues to shape a lot of what draws me in creatively. Films from the ’60s and ’70s have a unique atmosphere that feels largely lost today, and they always push me toward making something darker and moodier. Lately, Jean-Pierre Melville’s Le Samouraï (1967) has been stuck in my head. I also pull heavily from early-2000s runway shows, and in a way, every track I make still has to feel ‘runway-ready.’
Photo Credit: Infamous PR
How does French Electro compare to the US style of music?
B: I think the origin story of French Electro has a lot to do with it. The “French touch,” as it is called, has a certain feel to it, to the point that France added it to the national inventory for UNESCO’s World Heritage list last year. It’s really difficult to pinpoint, but in my opinion, France has just been king of the sound from the start, and it’s rich with its own flavor. The US style of music today is just in a different place, but over time, I have seen it becoming more and more mature and Euro-centric, with harder genres and more “French touch” influences. I have always just seen French Electro as the grandfather of electronic music.
For someone trying to make it in the music industry, what advice would you give them?
B: The number one thing is to ensure that you are having fun making music and to make it for yourself. If it turns into a race or a way to please others, then it’s for all the wrong reasons, and the motivation will fizzle out very quickly. I would also caution against chasing genres that are popping or trying to race to remix the latest big house track. These can work, but a lot of it is short-lived.
Ultimately, it depends on the artist’s goal, too. There are some who just want to go viral and others who want to stick around and create all originals, but each path has its own methods that work in today’s social-media-ridden climate. So my advice really will vary depending on what they are after in the music scene.
It can be from any genre, but who would you love to collab with and why?
B: I would say Lorn. He has insane production chops, but also is so unique that I think I would pick up a lot from working in the same studio as him.
What is your process when collaborating with different artists, and how do you approach blending your style with theirs?
B: My process is really centered around talking about what we both like. Eventually, something comes of that, and we both know what gets us hyped and energized, and then taking that momentum right into the studio session really helps something sound nice afterwards.
How will you know that you have “made it in the music industry”?
B: That’s something I think about often to try to keep myself grounded. If I asked my younger self, I’d probably say I’ve already made it, but the goalpost keeps moving. At this point, ‘making it’ looks like touring or playing festivals I once attended as a fan.
Photo Credit: Infamous PR
How has it been releasing music on the Hypnovizion label?
B: It has been really awesome, the Hypnovizion team is amazing and really white-gloves the release experience, and they do an amazing job including me on the label. I have released through a few different labels before, where it’s very transactional, but the Hypnovizion team really folded me into their culture, which has been a great feeling.
What was your inspiration for DOOM?
B: DOOM’s inspiration was a bubbling up of a large production phase for BRVMES while overseas. I was making a ton of music in all genres, and I finally just honed it all back in, leveled out all my experience, and finished DOOM (and many other similar tracks) at once. I then compiled a body of work that I can really say resembled the BRVMES sound by 2026.
What other labels would you want to release music on?
B: I am a big fan of Boyznoise Records and would love to team up with them. Additionally, OWSLA for nostalgic reasons, and lastly, I would say the Parisian label Zone, run by The Hacker.
When you got told you would be opening for REZZ in Houston, how did that experience influence your growth as an artist?
B: I think this cemented my goal to play more shows; it was on my list of to-dos as an artist for this year, and it kicked off my trajectory in this path as a performer rather than being holed up in the studio. I’ve spent the last 10 years really isolated with not much performing, so opening for REZZ was a re-centering of the whole purpose of electronic music, which is really playing out these tunes on the dancefloor – that’s what it’s all about.
Who was the first person you told that you would be opening for REZZ?
B: I told my fiancée! She knew I was coming out of my shell more as an artist and entering that next phase, and it’s only natural to share these things with those closest to you. Also, my cat is the best.
What has been the most memorable thing you have experienced since you have been in the music industry?
B: There are so many, but I really think it’s the first time hearing one of my tracks played out at a festival in person in the crowd. This experience is very wild and silences a lot of the doubts I originally had. Second, when I was starting to work in the sync licensing industry, my track Reve was used in “Billions” on Showtime.
What is your dream venue/ festival that you would love to perform at?
B: Definitely EDC. A cliche answer, but it was the first real festival I went to in 2013 – EDC Chicago, which was the first and only one in that city.
Before performing, what pre-show rituals do you do to get into the right mindset for each performance?
B: An involuntary ritual is my extreme loss of appetite, which I’ve had forever; I can never keep a meal down until after the show is over. Outside of that, quadruple-checking my 4 USBs in my pocket to calm any nerves.
How do you switch up your sets to keep them fresh for different crowds?
B: I am always plugged into my favorite tracks on Bandcamp and other streaming places, so I will always bring in my classic Braves tracks, then I export any new IDs, and last, I hit up some artist friends to see if there’s anything ultra fresh I can include. Ultimately, just having a good pulse on present stuff, but I always try to include some og throwbacks for any new ravers out there who haven’t heard those records live.
We’re thinking big picture now: if you get a documentary made about you/your music career, what are some key things that should be included & why?
B: Hands down, the importance of music education in the school system. It has been the biggest catalyst for me as an artist, and having good access to the arts and exposure to them (across all income levels). Having early access to these things really shaped who I am now and why I do what I do.
If you had an unlimited budget, what effects (visuals, lasers, pyro, etc.) would you want for your performance?
B: I’ve always wanted a very slim, minimalistic live setup for shows, and I’ve always been a big fan of 360 sets/venue set-ups. For lighting and lasers, it must be perpendicular, and, like the lights themselves, it’s vogueing.
At Moon Lvnding, we show gratitude every day. How do you show gratitude in your daily life?
B: For me, gratitude comes from paying attention. As an artist, I try to stay present, notice the work as it’s unfolding, and not rush past moments of progress or inspiration. I also make a point to recognize the people involved and the time and care they put into the process.
How do you stay authentic to yourself while being in the music industry?
B: I try not to really compromise too much and give in to trends as easily now. I am 34 and have been raving for a long time, so I really am over chasing trends, genres, or anything flashy. My only goal is to connect with people on the dance floor while making tracks that I am genuinely proud of. Once I shifted into this mindset, it has not failed me. I find that it’s a little slower as a path, but I would choose it 10/10 times.
Where can fans discover your music?
B: Right now on all standard platforms like Spotify and Soundcloud! Planning to move a lot of my catalogue over to Bandcamp as well.
Is there anything else that you would like to share?
B: Thank you for the interview! I enjoyed the questions and hope they give a glimpse into the BRVMES project. I field a lot of questions from fans on social media, and there is a lot of curiosity, so I hope people enjoy the insights <3.
Kaskade unleashes another installment of his EP undux with a fresh collection of collaborative remixes via Monstercat and his personal label, Arkade.
In undux (remixes), eight-time GRAMMY-nominated producer Kaskade utilizes international electronic talent to inject his album with a brand new soundscape. Transforming introspective, lowkey tracks into club-ready grooves, the latest chapter of Kaskade is enthralling and exciting.
The original undux album shows introspection and emotion, while the remixes rewrite the work’s purpose. Undux (remixes) returns Kaskade’s sound back to the club, bringing listeners together through dance. This project effectively echoes his unwavering duality as a pensive lyricist and master producer.
Image Courtesy: MP3 LABS
The five-track EP kicks off with Disciples’ reimagined rendition of “touch.” Introducing their UK spin to the track, Disciples thickens the originally light, airy acoustics for a bass-heavy house hit.
Initially, the easy-listener “deeper” embodied a Kaskade-meets-Fleetwood Mac sound with Mia Grace’s ethereal vocals. Belgian melodic house artist Jerro flips the song’s narrative by laying a danceable beat, completely altering the perspective of the lyrics.
Dave Summer’s “started over” is a perfect midpoint of the album. One of the strongest tracks on undux (remixes), it features an adrenaline-packed build with a hypnotic halt before the drop. The drop then catapults into an intense driving beat, creating a tech-house banger.
During undux‘s initial release phase, Kaskade stirred excitement among listeners with early drops of some tracks. “Started over” was released on November 13, alongside “I can’t make you love me.”
Among the remixes, Kaskade chose to include arguably the most moving track. Suray Sertin’s remix of “unspoken” takes a tearjerker and transforms it into a textured, atmospheric track. This track reinforces the purpose of undux (remixes), which explores new perspectives of Kaskade’s deep narrative.
Finally, “heart worth breaking” brings the remixes album to an edgy, genre-bending close. This electronic fusion remix by The Halluci Nation is a complete 360 of the original. What was once a fluid, high-energy club groove became a hot pot of sound, jumping from genre to genre. All in all, the “heart worth breaking” remix is an incredible close to the album and the most altered from its original.
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EDM pioneer Kaskade breaks the mold again with a new chapter of epic remixes on his latest release, undux (remixes). Collaborating with like-minded producers across the globe, he once again demonstrates his ingenuity as a creator. Stream Kaskade’s newest album, undux (remixes), wherever you listen.
