Electronic music sensation Bisonn is back with another explosive track, “Burn,” released under South American record label G-Mafia Records. This marks Bisonn’s fifth release since May 2023, and it’s sure to captivate global audiences with its progressive, electrifying sound.
Bisonn’s rise in the music industry is no coincidence. His talents have secured performances in Mexico, San Diego, El Paso, Las Cruces, Breckenridge, and recently at the Goldrush Music Festival in Phoenix, AZ. He is becoming a household name for electronic music enthusiasts in North America. Each performance showcases his exceptional talent and ability to connect with audiences, solidifying his position as a rising star in the electronic music scene.
“Burn” represents the vibrant evolution in Bisonn’s sonic journey. The track embodies future house elements with a bouncy, high-energy feel that draws inspiration from iconic artists like Tchami, Don Diablo, and Oliver Heldens. With the unforgettable vocal sample, “I’mma Burn This Sucka Down,” Bisonn’s new track ignites the listener’s anticipation, leading them into a whimsical drop that promises to set the dance floor on fire.
His innovative use of syncopated drums sets “Burn” apart, working in perfect harmony with the synth lead. The track’s subtle “dubstep wub” on the first beat of the drop’s measure adds a touch of excitement to an already exhilarating segment. The lyrics in the top line, “We do it big,” perfectly encapsulate the enormity of this record, making it a must-listen for those seeking a euphoric dance music experience.
Bisonn’s music journey has been nothing short of awe-inspiring. With “Burn,” he demonstrates his ability to push the boundaries of electronic music. With a growing fan base and a dedicated following, Bisonn’s music continues to reach new heights, leaving a lasting impression on house heads worldwide. “Burn” is an innovative, energetic, and euphoric track and hints at the big things to come for this talented artist. To keep up with all the latest from Bisonn, connect with him using the links below.
2023 has been a monster year for the Denver-based bass artist Mersiv, who released his latest masterpiece, Out of Bounds, a 14-track album via MorFlo Records on October 20. Back in April, Mersiv sold out his headlining debut at Red Rocks and he has played at numerous summer festivals including Elements and Imagine to name a few. Now he is in the midst of an extensive fall tour that began September 1 and runs through the end of the year including nearly 50 stops along the way.
Out of Bounds is a testament to Mersiv’s growth as an artist and his ambition to break out of genre conventions. Three tracks immediately stood out for their hip-hop influences and stellar vocal collaborations: “Bounce” with Wreckno, “Coast to Coast” with ProbCause, and “Top Floor” with The Ninetys. My favorite track on the album is “Troubles” with Heyz which centers on the vocal sample by Vera Hall from her 1937 hit “Trouble So Hard” popularized by Moby’s “Natural Blues.” The final highlight of the album for me is the ethereal INZO collab “Metagalactic” which was featured on our Moon Lvnding New Music Friday Heat playlist last week.
Photo Credit: @mersivsoundproject
They say a picture is worth a thousand words. I was moved by the gratitude and thoughtfulness that Mersiv showed toward everyone who has helped him create this work of art — from his management team to the numerous artists who contributed to the production of the album. We are encouraged by Mersiv’s growth from the first time Moon Lvnding covered his work with a feature of his track “Get Crazy” with Jantsen.
With over two months remaining on his fall tour which culminates with an appearance at his hometown New Year’s Eve celebration, Decadence Colorado, there is still ample opportunity to see him touring this album live. If his tour set is anything like the fantastic sets I got to see at Elements and Imagine, attendees are in for a treat. To keep up with all the latest from the Mersiv Sound Project, connect with him using the links below.
Spracto unleashed another tech house tune, “Bass Turnt,” marking his sophomore single release with Wirlix Records. Residing in San Francisco, a city he recognized as a hotspot where “tech house is definitely having a moment,” Spracto has been steadily refining his production skills. Fresh from the success of his premiere single, “Main Bitch,” he set his sights on broadening his repertoire by adding “Bass Turnt” to his discography.
Reflecting on the creative process, Spracto shared, “I wanted to make a dancefloor banger. I thought a lot about how it would sound in a club and sound systems that are bass-heavy. ‘One of a kind’ by Tita Lau was my reference track. It has such a great, driving low end. I took this idea of having a heavy-hitting low end with a simple lead and ran with it.” This track is a testament to Spracto’s evolving sound, infusing an element of joy and lightheartedness into a powerhouse track fit for any club environment.
Spracto fans will have two chances to catch him in action in San Francisco this month. Today, October 20, he will be part of Wax Motif’s stacked lineup at 1015 Folsom, and next Friday, October 27, he will be performing at Bergerac with RSVP available through his Linktree. Spracto also hinted, “October 27th, I’ve got my next bootleg coming out, and it’s a fun one.” To keep up with all the latest news from Spracto, connect through his social links below.
These last few weeks have been a bittersweet celebration for the GRiZ family. Ever since the dreaded announcement that he would be stepping back from live performances, the community surrounding GRiZ’s project has been buzzing to see him perform just one more time. Ursa Major, the 3-day festival GRiZ curated up in Flagstaff, AZ in September 2023 was one of his final performances, and tickets to this intimate event sold out in minutes! Then yesterday, on October 5, GRiZ played his final sets of the year in his hometown of Denver, Colorado. However, before we all said goodbye, GRiZ had one more surprise in store.
GRiZ marked the start of his hiatus with a surprise album release, Ouroboros! This album is a mix of old-school GRiZ funk and happy soothing tunes. Each of the eight tracks brings out varying emotions and leaves feelings of gratitude for GRiZ’s contributions to the music community. As he rides off into the sunset of his well-earned time away from public performances, it is comforting to have this gift as we look forward eagerly to his return.
GRiZ has reassured his community on social media that this is not a formal retirement, just simply a break for him to be able to step back, appreciate where he is in life, and take time to be there for his family, friends, and himself. The EDM community will be patiently waiting for his return but until then, always remember…
The pioneering producer and retro-electro-loving songwriter Yung Bae is back on the scene with his long-awaited follow-up album Groove Continental: Side B. He’s collaborated with another impressive list of musicians on this album from Nile Rodgers and Mayer Hawthorne to COIN, Barney Bones, and more! Side B is stacked with nine unique songs that defy any single genre’s definition while still feeling soulful and nostalgic with Yung Bae’s signature stylings.
“Control” featuring John The Blind is one song that immediately stood out on a first listen through the album with those spiffy horns and catchy vocals. The horns make a return on the yearning album finale that asks the eternal question, “Does Anybody Love Me?” Then there’s the visual side of the album, with four of the tracks having videos on Yung Bae’s YouTube, including “Fight My Demons” with Barney Bones and Leven Kali which accompanied the album’s release at midnight on October 6.
Another exciting part of Yung Bae’s release weekend is his day/night, full-venue takeover at Brooklyn’s lauded club, Elsewhere. This Saturday, October 7, he’ll play a pair of 2-hour sets — one an evening affair to close out the afternoon rooftop party and then a club set into the morning in the main hall.
He finishes the month with shows out in California next week before appearances at Live Out Festival in Monterrey, Mexico and Suwannee Hulaween in Florida. To keep up with the rest of his 2023 tour dates and new video releases, connect with his social links below.
Last week on September 29, Florida native PLS&TY self-released “Listen to My Heart,” another tasty tech house single. 2023 has been full of new music from PLS&TY, starting the year with an 8-track EP 3 Days, 2 Nights, and following that up with three more singles.His newest tune, “Listen to My Heart,” is his third release over the last two months joining “Your Love” and “One More Song.”
In his own words, “‘Listen to My Heart’ is a tech-house-focused single, fusing hard-hitting basslines and piano melodies with soulful vocals,” PLS&TY shared. “It’s a song straight for club play, and a highlight within my live shows.” This track feels right at home among PLS&TY’s discography, showcasing his style with piano instrumentals, funky melodies, and an uplifting progressive feel.
For those who want to catch PLS&TY in action, he has a pair of shows lined up for the first weekend of November. On Friday, November 3 he will play at the Flash rooftop in Washington D.C., and on Saturday, November 4 in New York City at Elsewhere (my personal favorite venue in Brooklyn) with Ekonovah and Niko The Kid in support for both shows. Make sure to get all the latest from PLS&TY by connecting through his social media links below.
Where were you when GRiZ announced his impending hiatus? I remember reading his heartfelt post on Instagram, knowing that I would not miss the last curated event to be announced later that week. Fully prepared to buy a plane ticket or make a cross-country road trip, I was SHOCKED when he announced Ursa Major, a three-day festival that would be held in beautiful Flagstaff, Arizona. As a long-time GRiZ fan and a former Flagstaffian, I was ecstatic that he chose this intimate send-off event.
Despite my excitement, I was cautiously optimistic. In my years of festival experience, I have come to understand the challenges that first-year festivals can encounter. It delights me to report that my three days at Ursa Major were everything I hoped for and more! Let’s explore five ways in which GRiZ successfully cultivated one of the most magical festivals in electronic music to date.
The Perfect Setting
Nestled away in the Coconino County Forest, Fort Tuthill Recreation Area is a property that serves year-round entertainment for locals and tourists alike. The space is home to zip-line and adventure courses, an equestrian arena, and hills for tubing in the winter. Pulling into the Fort Tuthill campgrounds early on Friday, the process to enter the grounds was streamlined and straightforward. Within thirty minutes, we had driven through the sprawling area and gone through the vehicle security checkpoint. Ursa Major festival-goers had two camping options to choose from within Fort Tuthill, car camping or walk-in camping. I opted for walk-in camping and the trek from car to campsite was extremely easy. As we walked up, our camp hosts invited us in to orient us and point out where bathrooms, medical, and venue would be. The free-range feel of the camp was amazing and many took the opportunity to hang their hammocks up between the pines for a place to lounge or sleep.
The Pepsi Amphitheater itself is an intimate venue that holds a maximum of 3,000 people. The grass lawn was a perfect place to groove and the pit was only a short walk down the stairs. The mountain air, trees, and cool weather made the entire experience feel incredibly refreshing and authentic.
Photo from Pepsi Amphitheater
Unforgettable Performances
With a stellar mix of electro-funk, bass, and jam bands, the lineup offered something for everyone. GRiZ also provided a set forecast for the weekend so fans could prepare.
Day 1 was a thrilling kick-off, sporting talented artists including Of The Trees, Justin Jay, and Black Carl. GRiZ didn’t disappoint, playing old and new bass bangers that had the crowd bouncing. Day 2 was super groovy, with vibes facilitated by Sunsquabi, Freddy Todd, and GRiZ’s infamous Chasing the Golden Hour set. The night closed with powerhouses Daily Bread and Opiou, which were some of my favorite sets of the weekend. Day 3 offered brilliant performances from the likes of Motifv, Maddy O’Neal, Inzo, and Flamingosis. The journey between jazzy sets and funky bass was a great preamble for GRiZ’s final set of the weekend. Beginning with an open-ended love letter to his supporters, the set was beautifully crafted with old soulful favorites and new unreleased music alike.
The Crowd
While the electronic music community is often filled with kindred spirits, we can all think of a time when the crowd at an event failed to meet expectations. Whether it is a negative experience with a specific person or simply that the event is severely overcrowded, this situation can be disheartening when you have looked forward to seeing a favorite artist. However, the atmosphere at Ursa Major felt like being surrounded by 3,000 of your good friends. Walking through the crowd, you were met with smiles and great conversation. The event was also supported by the Harmony Project, which can be found at all GRiZ-headlined shows. Partnered with Good Night Out Vancouver, the project is aimed at promoting safety at events and offers assistance to those who are made feel uncomfortable or who have had boundaries violated. It was wonderful to see and feel the love and compassion within the community, a sentiment that was consistently shared by many throughout the weekend.
Opportunities to Feed the Soul
Ursa Major offered a variety of workshops and activities, with events like morning yoga, nature walks, meditation, and art-making. I thoroughly enjoyed the Altered States: Gong Journey, a meditation experience that emulated a sound bath. The sound of the wind in the trees and the low humming of the gong was cathartic. Something unique to Ursa was a workshop titled Bystander Intervention Made Easy, which helped equip attendees with intervention techniques to be used when witnessing harassment. There were also daily workout sessions led by GRiZ’s friend and personal trainer Oli Beardshall, to which GRiZ even made an appearance. The workshops were held in different areas around Fort Tuthill, and each offered participants a time and space to connect with one another and with nature.
GRiZ Culture
What made Ursa Major so special boils down to the culture GRiZ has built over the years using his music and platform. Regardless of race, age, or sexual orientation, all are welcome within the GRiZ community. His long-standing motto “Show Love Spread Love” was the theme of the weekend and set a precedent for the way music events should be. On the last evening, there wasn’t a dry eye in sight. Hugs were shared and tears were shed as GRiZ gave his final thoughts. I found it admirable that he took a moment during this last set to have all attendees swear to leave no trace in the campgrounds and to ensure that we left the space as pristine as we found it. As we packed up camp Monday morning, it was clear that everyone took his words seriously and worked together to preserve the campgrounds.
After this weekend, I can confidently say that we should not feel sadness toward GRiZ’s hiatus. Instead, it should inspire a sense of hope. Hope for a future that is bright, for friends that love you, for music that always makes you feel good, and lastly, hope to eventually cross paths with GRiZ once again.
American hard dance producer Death Code, formerly known as Skellism, is ready to show everyone what this project is about with his latest release. Death Code has been busy over the last year since announcing his shift to the hard dance genre. He’s released four other tracks, opened for hardstyle legend The Prophet, did a B2B with Dead X, and performed at Basscon’s Wasteland. He also signed with Theracords Labs, a Dutch hard dance label founded by DJ Thera.
Death Code’s debut EP, Beyond Cipher, spans four tracks with a run time of around 15 minutes, but in that time, he showcases a range of hard dance styles. According to Death Code, “Beyond Cipher is a high-octane experience that pushes boundaries, ignites emotions, and defies genres, leaving you exhilarated and craving for the adrenaline-infused journey once more.”
“Love Stolen,” the opening track of the EP, is a collaboration with Mexican hard dance producer Equalizer and it sets the tone for the EP. The emo-style vocals over shimmering synths quickly give way to a booming kick drum and higher-pitched glitching synths. The kick is definitely the star of this track, changing in intensity and style a few times throughout. The last drop is a more traditional hardstyle drop complete with screaming synths and a more bouncy kick drum and bass combination.
The second track of the EP, “Runaway,” was released as a single back in August. It is a journey through multiple styles of hard dance. The beginning of the track has more of a Happy Hardcore feel to it until the rawstyle kicks come in about halfway through the first drop. There is even a trap-style hi-hat breakdown before the second drop. The second drop kicks things up a notch with zaag kicks and other hardcore elements. The final drop brings everything full circle with traditional hardstyle kicks, bassline, and synths.
“Echoes,” the third track on the EP, starts out with an ominous melody over a simple kick drum before Devin Barrus’ vocals steal your attention. The synths build in the background before coming in full force with what seems will be a classic hardstyle track. Death Code quickly changes direction with distorted kicks and reverse bass. The middle part of the track really highlights Devin’s vocals, removing everything except the guitar riff and piano. The last drop goes back to the traditional hardstyle drop Death Code teased earlier to close out the song.
The last track, “Fading,” was also released as a single earlier this year. It is more upbeat than the other three tracks, opening with a guitar riff and featuring screamo vocals from G The Shep. Death Code has combined hard dance with rock elements on previous songs and “Fading” takes this to the next level with zaag kicks throughout the drops.
Beyond Cipher is just the beginning for Death Code, and we’re excited to watch him progress as he continues to master all areas of hard dance and beyond. Follow Moon Lnvding’s New Music Heat Friday playlist on Spotify to listen to the other hard dance tracks that dropped this week, and to stream Beyond Cipher or check out everything else Death Code has going on, just use the links below.
Nocturnal Wonderland returned to Glen Helen Amphitheater in 2023 for its 28th anniversary, making it the longest-running festival in North America and a staple for the California scene. This year had a stacked lineup featuring names like Seven Lions, Subtronics, Claude Vonstroke, Ghostryder (Ghastly b2b Joyryde), and Dombresky — there was truly something for everyone’s music taste. With two days of music, three days of camping with pre and afterparties, three main stages, and two hidden stages with amazing vibes, it was another wildly successful festival. Based on my personal experience, I scored the production, music, and venue, plus I gave an overall grade with a brief reasoning for the scores.
The Production: 8.5 out of 10
With every Insomniac event, the production level is going to be next level. The staple stages — Wolves’ Den, Labyrinth, and Sunken Garden — all had great visuals, fireworks, lasers and pyrotechnics. Cave of Rave was moved to a new bigger space and a new 5th stage, Camp OG Stage was added next to Labyrinth this year.
The biggest issue last year was the sound bleed between stages, which was much improved this year, even with the addition of the 5th stage. Insomniac did not sacrifice sound quality, as you were able to hear the music from all angles of the stage. The only true sound bleeding issue was between Wolves’ Den and Sunken Garden, which seemed almost inevitable with them being right next to each other. However, it was not nearly as bad as last year, so kudos to Insomniac for remedying that.
The main stage, Wolves’ Den, was closed out by Seven Lions and Gryffin on Day 1, and Alison Wonderland and Subtronics, on Day 2. The production at this stage was next level. The visuals were crisp and spectacular, the lasers were beaming, and pyrotechnics and fireworks lit up the stage. Despite hosting some of the biggest names of the weekend and having no VIP area, the stage did not feel too crowded. There was space throughout the crowd to dance, sing, and headbang. With the moving of the Cave of Rave to the opposite corner of the venue, there was minimal sound bleeding, and the sound bleed from Sunken Garden was down as well. The main stage Wolves’ Den did not disappoint!
Labyrinth was home to the bassheads for the festival once again with acts like Black Tiger Sex Machine, Wooli, Phaseone, and Eptic. This stage sat on top of a hill and had a plethora of lasers, fireworks, and pyrotechnics to keep people headbanging from 3 pm to midnight. Insomniac also amped up the bass and the lasers this year, giving festivalgoers maximum hype to keep moshing and headbanging throughout every set.
The Sunken Garden was where attendees went to get groovy and catch a house vibe. Featuring most of the house sets for the weekend from Claude Vonstroke and Biscits to Dombresky and Black V Neck, the crowd there was dancing and shuffling like crazy. The design of this stage, like last year, was probably my favorite setup and the most unique. Last year there was the issue of sound bleeding, especially on the left side near Wolves’ Den, but this year, however, the sound bleeding was minimal in the stage area. Kudos again to the Insomniac team for fixing the issue from last year.
Tucked away in the back of the venue was the Cave of Rave. This awesome hidden gem of the festival was bumping music all day long for those lucky enough to find it. This year it was moved to the back left of the festival instead of directly next to Wolves’ Den. This helped not only the sound quality at both stages but it allowed the Cave of Rave to have a bigger space. It gave European vibes with hanging greenery everywhere and music to keep people dancing and vibing.
The 5th and newest stage was the Camp OG Stage. This stage was up the hill next to food vendors in the back of the festival near Labyrinth. This newest stage was surrounded by awesome sculptures and was perfect for those wanting to grab a bite to eat while listening to music. It was a throwback to the rave culture of the 90s and featured an underground lineup.
Credit: Insomniac Events // Ivan Meneses
Music: 8.5 out of 10
This year’s Nocturnal Wonderland, like every year, was stacked with talent. There was something for the bass heads like myself, house heads, and everyone in between. Both days had a slew of must-see acts, and from 3 pm to midnight it was hard to find time to sit down and eat without missing a set. It is hard for me to give a perfect score, but Nocturnal earns an 8.5 for being loaded with talent from multiple genres.
Venue: 7 out of 10
I personally love Glen Helen Regional Park, it is one of my favorites in Southern California. It has beautiful scenery, the venue itself is easy to navigate, not too large, and it’s comfy to sit when needed. From what I saw and heard, the camping also looked lit and there wasn’t much negativity coming from the campers. Parking, however, was an ordeal just like last year. One has to walk about a mile to the venue which is something Insomniac cannot do anything about due to the setup of the venue.
Walking into the venue was easy, but walking out of the venue was difficult since it was congested due to everyone leaving at the same time. From the exit all the way to the parking lot, the crowds made the walk seem like an eternity. The worst part, however, was trying to leave — Day 1 it took me two hours to leave the parking lot. I even saw people napping in their cars waiting for the traffic to die down before trying to leave. This was the same issue as last year, which needs to be fixed. I’m not sure if Insomniac needs to add parking attendants to direct traffic, but something needs to change.
Due to the parking situation and the sound bleeding, the venue only gets a 7 rating.
Overall Grade: 8 out of 10
Vibes, music, and production were at an all-time high this year at Nocturnal Wonderland. As a raver’s favorite, and the longest-running festival in North America, it rarely disappoints, and this year was no different. With top talent at every stage, top-of-the-line stage design, and one of the best venues in SoCal, it is hard to go wrong. Nocturnal is an event that my fellow ravers and I look forward to every year. I am already looking forward to the 29th anniversary next year to see what Insomniac has in store for what is sure to be another epic weekend. See you there!
To celebrate the fifth anniversary of his chart-topping debut album The Wise & The Wicked, Jauz prepared a dual album project for 2023. The project’s first album, Rise of the Wise, dropped Friday, July 13, and the second album, Wrath of the Wicked, dropped Friday, September 22 on Jauz’s label, Bite This!.
The duality of the dual album concept highlights the evolution of Jauz as a producer. It is a testament to his ability to create successful tunes across a spectrum of EDM genres. While his July album focused more on house music, September’s album features seven heavier bass tracks characterized by dubstep and drum and bass.
“If my last album (Rise of the Wise) was the Yin, this one (Wrath of the Wicked) is the Yang,” Jauz shared. “The whole goal behind both of these albums was to dive into the polar extremes of the sounds I’ve always made and push each direction to the limit. With this album, it was all about creating the most ‘heavy’ version of Jauz I possibly could, which is perfectly represented by The Wicked.”
Two of the seven tracks have already been released over the past few weeks: “Mind Control” and “Dreaming.” The album opens with “Chaos,” a song that is true to its name and brings high-energy dubstep. Moon Lvnding’s pick for our weekly New Music Friday playlist was the drum and bass banger “Bad Boi Sound.” The album concludes with “Save U Now,” featuring emotional vocals and heartfelt basslines, putting a touching conclusion to the second part of the dual album project.
Accompanying the full release of Wrath of the Wicked, Jauz will begin his Wise/Wicked Tour in selected cities in Fall 2023. Notably, Jauz will be playing two different shows in most of the cities, featuring various venues for his separate Wise and Wicked shows. Discussing the upcoming tour, Jauz said, “I’m really excited for everyone to finally get to hear all these tracks I’ve been working on for so long and also finally get to play them out live, because a lot of them I’ve been keeping a secret for a while.”
The tour got started this past Saturday, September 23 in Boston with an early Wise boat party before playing Big Night Live for a late Wicked show. Other cities scheduled to get a double dip of Jauz playing Wise and Wicked shows this fall include New York City, San Francisco, Los Angeles, and Nashville. The dual album and dual tour concept is an exciting proposition, and we at Moon Lvnding are excited to see Jauz’s ongoing success as he embraces the duality of his music production. We plan on providing coverage of Jauz’s tour stop here in Brooklyn, so check back in a few weeks to learn more about the Wise Vs. Wicked 2023 Tour and use the handy links below to keep up with all the latest news from Jauz.
