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Tag: dnb

  • Your EDM Q&A: Rohaan, Like His New EP, Is Just a ‘Boy In a Dream’ [VISION] | Your EDM

    Your EDM Q&A: Rohaan, Like His New EP, Is Just a ‘Boy In a Dream’ [VISION] | Your EDM

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    Rohaan’s always had an air of mystique around him. Even back to his early days in the experimental trap and deep bass worlds, releasing on MAD ZOO and Deadbeats. His style has that indistinguishable quality that the likes of IMANU, Current Value and Amon Tobin have which certainly transcends genre, but also seems to transcend space and time. A powerful manifestor as well as a creator of some of the most interesting beats of the last seven years, it seems inevitable that he would eventually release on VISION.

    With his genreless take on deep bass, Rohaan’s first release with the Noisia boys was actually on their erstwhile “miscellaneous bass” label, Division. He made a funky, loud dubstep remix of Tek Genesis’s “Cloud Kingdom Theme” that seemed like a departure even from his own diverse style. But if we’ve come to expect anything from Rohaan, it’s the unexpected. His debut EP, Boy In A Dream, which came out earlier this month on VISION is certainly that. Containing everything from techy, clubby D&B that defies subgenre to ameny almost jungle to video game halftime to techno-infused bass house, fans shouldn’t be surprised if there were samples from an actual kitchen sink thrown in there just to make a point.

    Because of the diversity (even for Rohaan) of this EP, YEDM wanted to catch up with the Manchester-based artist to find out how the hell this extremely interesting piece of work came together. The takeaway? It’s a love letter to the club. Rohaan’s advice for making D&B? Don’t listen to D&B. Read on.

    Let’s start with the tagline VISION used in your promo: “2 years ago I wrote ‘Vision Recordings’ on a note and stuck it to my bedroom wall…and now here we are.” What does reaching this goal mean to you? 

    So, I write four key goals on a note each year. These are usually written at a time where that goal is in my line of sight but very far away. So, to be here, EP made and released, it’s a wonderful career-affirming place to be. I have looked up to VISION since I was at school studying music, my best friends and peers all love the label, so it’s definitely a wonderful place to be knowing my sound fits the bill!  

    Some fans might actually be surprised to learn that Boy In a Dream is your Vision debut EP, as your sound’s always seemed well-suited to the label, especially in recent years. Why do you think now is the right time or what do you think made this EP stand out to them? 

    I’ve had multiple releases with them in the past, doing three remixes for the likes of Noisia, The Upbeats and Icicle, then a collab single with Tom Finster. This is my debut solo release with them. We actually started working on the idea of an EP back in September 2022, so it’s been a long process of many demos and many weeks of refining my sound to get here. Very excited to bring it to life.  
     

    It seems clear on the EP that you didn’t necessarily have a specific label in mind; how did you go about putting it together, especially in terms of all the styles?  

    In terms of this release, we had many conversations with VISION to refine the huge demo list and get them to the final 6 that you hear today. Some of these were just fun things I started, others were specifically made for VISION, so it varies. My style and sound are quite eclectic, so I wanted to showcase that in this EP.  
     
    While a lot of fans think you hit the bigs somewhat suddenly with Shogun, prior to that, you released on some excellent cutting-edge imprints like Deadbeats, Mad Zoo and Unchained. How do you think your experience working with the more twisted beats labels shaped your style when it began to get more popular? 

    With each release, I’m learning and evolving, both through external life experience and seeing the response to my music from fans’ point of view. My style has definitely evolved into two parts. Pop/more stream friendly, and club music. My recent single “Run Away” with Kelbin is a great example of the pop side. My Boy in a Dream EP is a great example of my club influences. It’s been amazing to see my name and my homies names gain so much traction the last few years. That we can actually host headline shows and make music for a living is wonderful thing.  

    In terms of style, from do you feel you take the most influence? Did you really focus on curating your style in the beginning or was it more hit and miss? 

    My influences are from all parts of music except D&B. I don’t really consume the genre anymore, and if i do it’s my close friends’ music, Like IMANU, Buunshin, The Caracal Project ,etc. I mostly listen to the likes of Leon Vynhall, Joy Orbison, ATRIP, Jasper Tygner, O’Fylnn, Frazer Ray and SBTRKT to name a few.

    I have a Patreon page where I posted a video recently about “how to find your sound and create something original.” I talk about the importance of expanding your creative inputs and horizons and the career-shifting results that will have in the long run. I’m passionate about that for sure.  

    All your previous EPs have been, despite the complexity and diversity of the sound, honed around a specific concept. Were you thinking concept EP for Boy In a Dream? If so, what was it? 

    To be honest, this is more of a collection of club leaning-tunes. No deep story with this one. Each track is its own world, its own universe for people to explore. My Bleach EP was a true story-driven EP, but this one felt great to just give it all to the club scene. I have been on tour for the best part of a year and a half now, all over the world, so my input is mostly club music and energy leaning that way, hence the output of this EP. I’m a boy living his dream 

    Each individual track seems to be its own mini theme or concept within the EP. How do you go about putting a vibe together for a track? What was your goal for some of your favorites on the EP? 

    I really try to say one thing through a track and say it the best I can. So each track is a refined version of its demo self. Each track has a clear theme from start to finish and says it the best I could get it to say it with my current creative self. Each track serves a different purpose.  

    Conceptualizing aside, do you think fans will be able to recognize the vein of your style that runs through all the tracks? 

    It’s not something that I think about really. It’s all got the Rohaan name on it, it’s a more refined version of my sound and gives them a taste of it all. If they come to a show of mine they will see the full extent of my style come through  

    What do you want listeners to take away from the EP as a whole? 

    I want them to play it as loud as they possibly can and to as many people as possible. This EP is for the club and the house party, so enjoy! 
     

    Anything else exciting on the horizon? What can fans expect next from you (aside from the unexpected)? 

    Many a thing! I’m just about to finish my 4four-week North American Tour, and I have loads of singles already lined up for this year. I’m playing Tomorrowland, Lightning in a Bottle and some more huge festivals that I can’t say just yet. But what a journey so far! I’m so grateful and full of gratitude for every person that reaches out about my music. I just got gifted a watch in NYC! So I’m just taking it all in, really. 
     
    Thank you for having me and be sure to come to one of my upcoming shows. They are special!  

    Boy In a Dream is out now on VISION and can be streamed on Spotify or purchased on Beatport.

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    Layla Marino

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  • Your EDM Q&A: S.P.Y on His recent XOYO Residency, Two Years of DARKMTTR and His Advice for Producers | Your EDM

    Your EDM Q&A: S.P.Y on His recent XOYO Residency, Two Years of DARKMTTR and His Advice for Producers | Your EDM

    [ad_1]

    It might have come as a surprise when it was announced that S.P.Y, the elusive DJ, producer and now label boss of DARKMTTR Records, would be taking over the legendary XOYO in London for the whole of November. The Brasil-born mega DJ generally only picks the gigs he’s really excited about and, with his release schedule, both label and personal, many fans might wonder how S.P.Y could make time for four Fridays. Turns out it was a simple decision for him.

    With the well-oiled machine that is Weird Science Promotions running most D&B gigs at XOYO (they’ve also got the likes of Grooverider, Andy C and the whole Kool FM lineup slotted for December and early 2024), and a ready-made lineup at his disposal, the first three gigs have gone off without a hitch and the series closer, taking place this Friday, promises to be a great sendoff for S.P.Y and company. The likes of Calyx, MC GQ, Etherwood, Lowqui, IAMDOOMED, Alley Cat, Voltage, Kyrist and Flava D on the roster, every week was as stunning and vibey as the last, with a super blowout for the last date (read on to find how who the special guest will be tonight).

    We don’t want to yammer on too much about the other stuff we chat about, because S.P.Y gave loads of excellent answers, but suffice it to say if you were looking for tips and tricks from a master producer as well as how he does his A&R, this is the article for you. Per his name, S.P.Y usually keeps his secrets close so YEDM feels very lucky he was so open in this article and we appreciate his taking the time. Now read on and enjoy spying on S.P.Y.

    As a producer who seems to live in the lab and who only does the gigs you really enjoy, what made you decide to do a residency at XOYO?

    XOYO is such a legendary club, so I felt quite honored to be asked to host a residency there. It’s an amazing opportunity to curate my own lineup and share with people, the DJs and producers that I really admire and respect. Funnily enough, it’s actually got me spending even more time in the studio as I’ve been busy finalizing new tracks to play at the residency. I know that everyone who’s coming down to XOYO are there because they like my sound, so it’s really rewarding to be able to drop some exclusive new tracks and mixes just for them.

    We’re just about halfway through the November dates (at time of interview); what have been some of your observations about the gigs? What are you looking forward to in the upcoming gigs?

    I can’t believe we’re already halfway through! The crowd at the first two nights has been absolutely incredible. They’ve been so up for anything and have really been vibing to all of the DJs, it’s such a great feeling to get to play to such a responsive crowd. It’s also been great to get to see the other DJs play. Usually I’m so busy touring that I’m in and out and onto the next show. For each night of the residency I’ve been there from start to finish and have got to enjoy everyone’s sets and really make the most of the night. Each night of the residency has a totally different lineup with a different sound, so I’m looking forward to dropping some more dubs at the next two nights. I’m also really looking forward to going back to back with Bladerunner and Flava D, that will be special!

    How did you pick the lineups for each week? How did you decide to work with Lowqui as your MC?

    While it seems like it would be really easy to curate a lineup, it was actually really difficult as there were so many people that I wanted to book. I was lucky that the final lineup had everyone that I really wanted and each night has come together nicely. I wanted to make each night unique, so the four lineups reflect that. I listen to a really wide variety of drum and bass so I felt it was important to cover all the different sounds that I enjoy.

    I really like working with Lowqui, he’s got a great vibe as an MC, he’s a mad hype man and he always interacts well with the crowd. It’s also been great to work with some other MCs during the residency too, like Inja, Stamina and SP:MC, they each have such a unique style and add a different flavor to my set.

    Coming off XOYO for a bit, you’re coming up on year three of your DARKMTTR label and it seems curation is very important to you, and that you’re not looking for big names to release but it’s more about the sound. How would you characterise the sound of vibe you generally go for? Is it only you on A&R, or have you brought in some help?

    The sound of DARKMTTR is really varied. The label releases everything from dark and minimal, to moody and musical, although I feel like all of the releases seem to have a deep, heavy undertone to them, even the more atmospheric tracks. I always knew that when I started a label I didn’t want it to be pigeonholed into just one sub-genre so I really wanted it to reflect my taste in music. It is only me doing the A&R for the label and I really enjoy doing it. I use a DJ-based approach to A&R and the first thing I ask myself when selecting a track is, would I play this in my sets? Every track that I’ve signed to the label is one that I would – and do – play myself. I’ve always wanted to do A&R and it’s one of my favorite parts of running a label. It’s really rewarding to discover new music and help producers work up their tracks so they’re ready to release.

    What are some things you’ve learned over the first three years of DARKMTTR about running a label? How has it measured up to your expectations when you started it?

    I’d wanted to start a label for years and I always knew it was going to be a lot of work but nothing really prepares you for the day to day reality of running a label. It’s been a really interesting experience seeing the music industry from a label perspective. I’d only ever seen it from the artist side so it’s been quite a learning curve to see what’s involved in getting a release out there. Scheduling, budgeting and A&R, they’re all things that you aren’t responsible for as an artist and may not fully understand, but they’re vital when running a label. I’m grateful that I have a solid team around me who share the vision of the label. It’s so rewarding seeing the label grow, I can’t believe we’ve had 21 releases already!

    How do you decide which releases of your own will go on DARKMTTR and which you will shop other labels? Is that a difficult decision?

    It is difficult. I release most of my music on DARKMTTR, but sometimes due to scheduling I will look for other labels to release my music. If I released everything I have on DARKMTTR there would be no room in the schedule for the other artists!

    Are there any upcoming releases that tie in with the XOYO residency that you can talk about? Did the release schedule inform your decision to do the residency?

    The second night of the residency was actually the release day for “Take Me Up,” my new collaboration with IAMDOOMED. IAMDOOMED played at XOYO the same night and it was like an unofficial release party. It was amazing to play the track with him there and to see the crowd reaction. The release schedule didn’t inform my decision to do the residency, but it was great that IAMDOOMED could play on the same day.

    Talking a bit about style and sound, in the last few years you’ve been doing a lot of deep and atmospheric stuff but not necessarily melodic. What makes you inspired to change things up and how do you come up with your more unique sounds?

    Producing music is such an organic, creative experience for me. I can’t force a vibe or make myself produce a certain type of sound. My music is an expression of how I’m feeling emotionally at the time, or what’s going on in my life. Depending on what I’m feeling inspired by I can produce something totally different to other things I’ve been producing lately. I spend a lot of time working on sound design which seems to give me some quite unique sounds. I also have a lot of analog and modular equipment in my studio and I try not to be too technical with it. Late nights in the studio, a bit of sleep deprivation and a lot of experimentation seem to combine to produce some really interesting sounds. Basically I just have fun with it and see what I can create!

    Having been in the game for a while, how is it to create tracks with current methods versus 15 years ago? Do you use a combination of techniques? What sort of softwares or programmers do you use?

    To be honest, I haven’t really changed the way I produce. My sound has definitely evolved over the years, and I try to keep my production relevant sonically, but my techniques really haven’t changed that much. One thing that I’ve definitely changed over the past few years is my sampling. I used to sample a lot for all of my tracks, however now I create all of the sounds myself. Learning more about sound design has opened up a whole new realm creatively for me and it’s really satisfying being able to use my own sounds. I’ve been enjoying sound design so much that I’ve even started releasing my own sample packs.

    I listen to a really wide range of electronic music and recreate some of the techniques from other genres with my own twist. I’ve been using Abelton Live since version five and I’m really loyal to it, it’s a brilliant production tool. I also use a Solid State Logic (SSL) desk for summing my tracks in analog, which creates a really nice warm texture for my tracks and of course I listen to everything through my PMC speakers.

    Is there anything else you have coming up in releases or gigs that we didn’t mention?

    We have a release coming up on DARKMTTR in December; it’s a double release: a collaboration I’ve done with DJ Limited and another of his tracks which has an amazing vocal. I’m going to be dropping the track at XOYO so I’m really looking forward to seeing what the crowd think! Rolling into 2024 we have a bunch of new releases and collaborations lined up for DARKMTTR, but I have to keep everything under wraps for now. Keep your eyes on S.P.Y and DARKMTTR socials to see what we’ve got going on.

    Any advice for new producers out there?

    I think the main piece of advice I could give is to never stop learning. Keep improving your sound and your production, keep learning new techniques and watch as many tutorials as you can. Also, I think it’s quite easy to give up if you’ve submitted a few tracks to labels and haven’t had anything picked up. Most of the time, it’s just that those particular tracks aren’t right for that particular label, or maybe you just need a bit more experience, or you need to refine your sound. Don’t give up, keep producing and keep sending in those demos! One trick I can share is to A and B the track you’re working on with a similar track that has been released to see if you’re on the right track sonically.

    S.P.Y’s last XOYO set will be tonight, November 24 at XOYO. For clips and info, check S.P.Y’s socials or Weird Science Promotions’ Instagram. For upcoming DARKMTTR releases and to hear S.P.Y’s latest track with IAMDOOMED mentioned in this article, click here.

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    Layla Marino

    Source link

  • Your EDM Q&A: S.P.Y on His recent XOYO Residency, Three Years of DRKMTTR and His Advice for Producers | Your EDM

    Your EDM Q&A: S.P.Y on His recent XOYO Residency, Three Years of DRKMTTR and His Advice for Producers | Your EDM

    [ad_1]

    It might have come as a surprise when it was announced that S.P.Y, the elusive DJ, producer and now label boss of DARKMTTR Records, would be taking over the legendary XOYO in London for the whole of November. The Brasil-born mega DJ generally only picks the gigs he’s really excited about and, with his release schedule, both label and personal, many fans might wonder how S.P.Y could make time for four Fridays. Turns out it was a simple decision for him.

    With the well-oiled machine that is Weird Science Promotions running most D&B gigs at XOYO (they’ve also got the likes of Grooverider, Andy C and the whole Kool FM lineup slotted for December and early 2024), and a ready-made lineup at his disposal, the first three gigs have gone off without a hitch and the series closer, taking place this Friday, promises to be a great sendoff for S.P.Y and company. The likes of Calyx, MC GQ, Etherwood, Lowqui, IAMDOOMED, Alley Cat, Voltage, Kyrist and Flava D on the roster, every week was as stunning and vibey as the last, with a super blowout for the last date (read on to find how who the special guest will be tonight).

    We don’t want to yammer on too much about the other stuff we chat about, because S.P.Y gave loads of excellent answers, but suffice it to say if you were looking for tips and tricks from a master producer as well as how he does his A&R, this is the article for you. Per his name, S.P.Y usually keeps his secrets close so YEDM feels very lucky he was so open in this article and we appreciate his taking the time. Now read on and enjoy spying on S.P.Y.

    As a producer who seems to live in the lab and who only does the gigs you really enjoy, what made you decide to do a residency at XOYO?

    XOYO is such a legendary club, so I felt quite honored to be asked to host a residency there. It’s an amazing opportunity to curate my own lineup and share with people, the DJs and producers that I really admire and respect. Funnily enough, it’s actually got me spending even more time in the studio as I’ve been busy finalizing new tracks to play at the residency. I know that everyone who’s coming down to XOYO are there because they like my sound, so it’s really rewarding to be able to drop some exclusive new tracks and mixes just for them.

    We’re just about halfway through the November dates (at time of interview); what have been some of your observations about the gigs? What are you looking forward to in the upcoming gigs?

    I can’t believe we’re already halfway through! The crowd at the first two nights has been absolutely incredible. They’ve been so up for anything and have really been vibing to all of the DJs, it’s such a great feeling to get to play to such a responsive crowd. It’s also been great to get to see the other DJs play. Usually I’m so busy touring that I’m in and out and onto the next show. For each night of the residency I’ve been there from start to finish and have got to enjoy everyone’s sets and really make the most of the night. Each night of the residency has a totally different lineup with a different sound, so I’m looking forward to dropping some more dubs at the next two nights. I’m also really looking forward to going back to back with Bladerunner and Flava D, that will be special!

    How did you pick the lineups for each week? How did you decide to work with Lowqui as your MC?

    While it seems like it would be really easy to curate a lineup, it was actually really difficult as there were so many people that I wanted to book. I was lucky that the final lineup had everyone that I really wanted and each night has come together nicely. I wanted to make each night unique, so the four lineups reflect that. I listen to a really wide variety of drum and bass so I felt it was important to cover all the different sounds that I enjoy.

    I really like working with Lowqui, he’s got a great vibe as an MC, he’s a mad hype man and he always interacts well with the crowd. It’s also been great to work with some other MCs during the residency too, like Inja, Stamina and SP:MC, they each have such a unique style and add a different flavor to my set.

    Coming off XOYO for a bit, you’re on year three of your DARKMTTR label and it seems curation is very important to you, and that you’re not looking for big names to release but it’s more about the sound. How would you characterise the sound of vibe you generally go for? Is it only you on A&R, or have you brought in some help?

    The sound of DARKMTTR is really varied. The label releases everything from dark and minimal, to moody and musical, although I feel like all of the releases seem to have a deep, heavy undertone to them, even the more atmospheric tracks. I always knew that when I started a label I didn’t want it to be pigeonholed into just one sub-genre so I really wanted it to reflect my taste in music. It is only me doing the A&R for the label and I really enjoy doing it. I use a DJ-based approach to A&R and the first thing I ask myself when selecting a track is, would I play this in my sets? Every track that I’ve signed to the label is one that I would – and do – play myself. I’ve always wanted to do A&R and it’s one of my favorite parts of running a label. It’s really rewarding to discover new music and help producers work up their tracks so they’re ready to release.

    What are some things you’ve learned over the first three years of DARKMTTR about running a label? How has it measured up to your expectations when you started it?

    I’d wanted to start a label for years and I always knew it was going to be a lot of work but nothing really prepares you for the day to day reality of running a label. It’s been a really interesting experience seeing the music industry from a label perspective. I’d only ever seen it from the artist side so it’s been quite a learning curve to see what’s involved in getting a release out there. Scheduling, budgeting and A&R, they’re all things that you aren’t responsible for as an artist and may not fully understand, but they’re vital when running a label. I’m grateful that I have a solid team around me who share the vision of the label. It’s so rewarding seeing the label grow, I can’t believe we’ve had 21 releases already!

    How do you decide which releases of your own will go on DARKMTTR and which you will shop other labels? Is that a difficult decision?

    It is difficult. I release most of my music on DARKMTTR, but sometimes due to scheduling I will look for other labels to release my music. If I released everything I have on DARKMTTR there would be no room in the schedule for the other artists!

    Are there any upcoming releases that tie in with the XOYO residency that you can talk about? Did the release schedule inform your decision to do the residency?

    The second night of the residency was actually the release day for “Take Me Up,” my new collaboration with IAMDOOMED. IAMDOOMED played at XOYO the same night and it was like an unofficial release party. It was amazing to play the track with him there and to see the crowd reaction. The release schedule didn’t inform my decision to do the residency, but it was great that IAMDOOMED could play on the same day.

    Talking a bit about style and sound, in the last few years you’ve been doing a lot of deep and atmospheric stuff but not necessarily melodic. What makes you inspired to change things up and how do you come up with your more unique sounds?

    Producing music is such an organic, creative experience for me. I can’t force a vibe or make myself produce a certain type of sound. My music is an expression of how I’m feeling emotionally at the time, or what’s going on in my life. Depending on what I’m feeling inspired by I can produce something totally different to other things I’ve been producing lately. I spend a lot of time working on sound design which seems to give me some quite unique sounds. I also have a lot of analog and modular equipment in my studio and I try not to be too technical with it. Late nights in the studio, a bit of sleep deprivation and a lot of experimentation seem to combine to produce some really interesting sounds. Basically I just have fun with it and see what I can create!

    Having been in the game for a while, how is it to create tracks with current methods versus 15 years ago? Do you use a combination of techniques? What sort of softwares or programmers do you use?

    To be honest, I haven’t really changed the way I produce. My sound has definitely evolved over the years, and I try to keep my production relevant sonically, but my techniques really haven’t changed that much. One thing that I’ve definitely changed over the past few years is my sampling. I used to sample a lot for all of my tracks, however now I create all of the sounds myself. Learning more about sound design has opened up a whole new realm creatively for me and it’s really satisfying being able to use my own sounds. I’ve been enjoying sound design so much that I’ve even started releasing my own sample packs.

    I listen to a really wide range of electronic music and recreate some of the techniques from other genres with my own twist. I’ve been using Abelton Live since version five and I’m really loyal to it, it’s a brilliant production tool. I also use a Solid State Logic (SSL) desk for summing my tracks in analog, which creates a really nice warm texture for my tracks and of course I listen to everything through my PMC speakers.

    Is there anything else you have coming up in releases or gigs that we didn’t mention?

    We have a release coming up on DARKMTTR in December; it’s a double release: a collaboration I’ve done with DJ Limited and another of his tracks which has an amazing vocal. I’m going to be dropping the track at XOYO so I’m really looking forward to seeing what the crowd think! Rolling into 2024 we have a bunch of new releases and collaborations lined up for DARKMTTR, but I have to keep everything under wraps for now. Keep your eyes on S.P.Y and DARKMTTR socials to see what we’ve got going on.

    Any advice for new producers out there?

    I think the main piece of advice I could give is to never stop learning. Keep improving your sound and your production, keep learning new techniques and watch as many tutorials as you can. Also, I think it’s quite easy to give up if you’ve submitted a few tracks to labels and haven’t had anything picked up. Most of the time, it’s just that those particular tracks aren’t right for that particular label, or maybe you just need a bit more experience, or you need to refine your sound. Don’t give up, keep producing and keep sending in those demos! One trick I can share is to A and B the track you’re working on with a similar track that has been released to see if you’re on the right track sonically.

    S.P.Y’s last XOYO set will be tonight, November 24 at XOYO. For clips and info, check S.P.Y’s socials or Weird Science Promotions’ Instagram. For upcoming DARKMTTR releases and to hear S.P.Y’s latest track with IAMDOOMED mentioned in this article, click here.

    [ad_2]

    Layla Marino

    Source link

  • Your EDM Premiere: Billain Offers a Different Perspective With ‘Different Eyes’ [Vision] | Your EDM

    Your EDM Premiere: Billain Offers a Different Perspective With ‘Different Eyes’ [Vision] | Your EDM

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    By now, everyone in both the D&B and bass worlds knows that when Billain is about to drop a new release, it’s going to be a game-changer. Now with his last releases being in February, the scene is more than ready for a new joint from the Bosnia-based mega-producer. Or so they think. Different Eyes, the upcoming EP due out this Friday, November 17 on Vision, is once again going to lock Billain into the pinnacle of creativity in bass music.

    Having already teased the title track two weeks ago, fans might assume Different Eyes will be another atmospheric concept EP, similar to 2022’s Lands Unbreached or 2019’s Nomad’s Revenge. Being that Billain has been so focused on film production with his multi-award winning short Fugitive and scoring said film as well as new A/V projects, it wouldn’t be too farfetched of an assumption. It would, however, be wrong. The fast, aggressive, yet painfully emotive D&B styles that caused both industry and fans to become infatuated with the dizzying levels of production this artist can attain is on Different Eyes in full force.

    While almost every track on this EP can easily unalive any dancefloor, it’s important to note that Different Eyes is still a concept album and a journey, and it should be listened to as such at least once. It starts with the atmospheric, largely beatless wonder of an intro track, “It’s First Dream.” This lullaby brings the listener back into a world that only Billain fully knows: one of heavy atmos, cyberpunk dreamscapes and endless lands made of sound and code. It’s actually kind of him to lull the listener into this state, because the next tracks hit so damned hard, we nee a buffer.

    What follows in the next five tracks is a sequence of ever faster and crunchier bass hurricanes, reflecting chaos and anger and tightly-reigned skill all at once. Our YEDM premiere is the second track, “Baka,” which presumably taken from the anime slang for “crazy” or “foolish,” and it certainly has the wild chaos of an anime fight scene. Easily the heaviest and most chaotic track on the EP, “Baka” drops the listener into the narrative of Different Eyes like a 3-meter vert ramp and doesn’t let go until it’s damn well ready. As intense and chaotic as it sounds, “Baka” was likely the most tightly produced track on the album, simply by virtue of how chaotic it is. It’s always the maddest syncopation that takes the most programming, and it might also be a little nod to jazz fusion. Only the best DJs will be able to mix this track, and it’s likely that’s the way Billain wanted it.

    Going through the journey of the rest of the EP with “Kinetic,” “Uncanny Valley,” “FUCK Y00” and “Void Me,” the intensity and speed of the work only increases, but unlike “Baka,” they all have a trackable drum & bass beat. The EP ends up feeling like exploring a wild new planet in some futuristic inner space hellscape, from the prep of “Different Eyes” to the bumpy, aggressive culture shock of “Baka” to finding one’s stride in the “Uncanny Valley” to being over it already with “FUCK Y00” to the last ride of the ego-destroying ride of “Void Me.” “Different Eyes” is the victory lap, a reward for beating the game and making it through this fever dream of an EP.

    As a psycho-thriller in sonic form, Different Eyes is a reflection of doing hard inner work. It’s chaos and anger and confusion and a hurricane of emotions, but the title track is the goal: meant to be the new perspective once one has let all that beautiful pain go. Whether you are working on something personally or just unthinkingly follow the arc of this EP, you will come to the end of this masterpiece seeing the world with “Different Eyes.”

    Different Eyes drops tomorrow, November 17 on Vision. Click here to pre-order or pre-save.

    –

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    Layla Marino

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  • Beaty and Beats for Love: Meet the DJ Who’s All Things Rave in Czechia and Slovakia | Your EDM

    Beaty and Beats for Love: Meet the DJ Who’s All Things Rave in Czechia and Slovakia | Your EDM

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    Most American ravers know very little about the scene in the former Eastern Bloc, aside perhaps from Berghain and the festivals in Croatia. Drum & bass denizens would likely know about Let It Roll out of Prague and maybe that Czechia is a hub of modern neurofunk, but may not know how big the scene actually is in Czechia and Slovakia. In fact, it’s quite widespread, with the popular imagination festival, loads of clubs and some of the most popular producers coming out of everywhere from Dresden to Russia. Beats for Love, a festival based in Ostrava, Czechia on the Polish border, seems to have been one of the most overlooked by North American punters while simultaneously becoming one of the biggest festivals on the planet. It’s time said punters take notice.

    With festival fans beginning work on planning their summers around now, it’s a good time to look up Beats for Love. Conceived in 2014 by festival director Kamil Rudolf as a way to bring big rave names to Central Europe for reasonable prices, B4L’s tenth anniversary is set for early July, 2024. It’s a full week-long festival set in an old ironworks with cool, dystopian vibes, in an urban and easily accessible area and features huge lineups, with 2023’s festival hosting nearly 500 artists. B4L makes sure they cover all genres as well, featuring everyone from Deadmau5 and Tiësto to A.M.C and the Eatbrain League. There are also conference-style forums during the week, daytime carnival activities and a fireworks display at the end that rivals EDC. It’s no wonder it’s now the biggest festival in Central Europe, with nearly a quarter of a million visitors at the 2023 fest.

    With her career born out of the burgeoning Czech and Slovak rave scenes of the late 90s and early 00s, DJ Beaty has become a fan favorite both in her hometown of Ostrava and throughout Europe. Her high-energy house, techno and drum & bass sets are usually a mustn’t miss for those in the know, and she dances just as hard as anyone on the floor. Now working on her all-female event series Proppa Rave with childhood bestie and Dnbwear bosslady Mila207, Beaty’s also the boots-on-the-ground coordinator and marketing manager for Beats for Love. Getting to know her and her positive vibes is also getting to know B4L, so with the 2024 season approaching, YEDM decided to chat with beaty and get to know them both.

    How did you get involved with music?

    I have loved music since my childhood. I remember watching Michael Jackson, Queen, Madonna, etc. from the videotapes my father brought home from Germany in the 90’s. I was into music from the first heartbeat, I believe,  but with electronic music I got into it for the first time because of my friend Mila207. Her father introduced her to the first techno party at Fabric – Ostrava. After this experience. We went to this club all the time for years, and since then we never visit (more pop-oriented) disco clubs anymore. Literally after the first party I knew I wanted to be a DJ. I love the connection between crowd and DJ. I started going to DJ school and practicing (on vinyl at the time) and the rest is history!

    For the Americans who are just now hearing about it, can you give us a little history on Beats for Love?

    Beats for Love is an electronic dance music festival held at the heart of the Industrial National Monument in Ostrava (an actual UNESCO World Heritage Site). It’s surrounded by the ironworks scenery of the Lower Vítkovice area, so it’s got a very different vibe. This year we will celebrate the tenth anniversary of the festival and because we’re so well-established now, we’ve been able to fill it with plenty of outstanding music on 15+ stages headlining by the biggest names all over the world, not to mention a rich accompanying program and loads of other activities (including fun for kids during the day) for four days. This creates a really unique atmosphere full of fun and enjoyment!

    What was the idea behind the festival and how have you seen it grow or change over the years?

    The original idea was to organize an event in an industrial space and the original idea was to show electronic music to as many people as possible, which for us meant “a lot of music for little money.” Of course, over time, the festival got bigger, and with that bigger names are added, and with that came an increase in prices, but we are still one of the cheapest festivals year in and year out in terms of the price/performance ratio so we feel our original mission still stands.

    How have you been able to get such huge talent to come to the festival each year?

      We’re a team here at B4L so I think the best person to answer this is George Ramík, our festival booking manager:

      The festival is expanding year by year, not only in terms of production but also the composition of the program. Every year we manage to book a better lineup and this is also connected with the fact that the festival wants to grow.  In order for the festival to be better, we need to put more resources into the line-up and we strive to bring people a better program every year. 

        I think the reason why big headliners like to come back to us and want to play here is the unique environment of the old factory, which is not found anywhere else in the world. The main reason, in my opinion, is because of our artist care. We go above and beyond with high-quality artist care and first-class facilities for the whole week. Agents and managers visit our festival to see what Beats for Love is all about and they received first-class service too, which they greatly appreciate. I also think it’s our curated image. Our festival has a face and we keep our relationships strong. Artists and their agents already know us from the communication before the festival and these are the same people they will meet at the venue. We are not just a company, but a team and a family.  The same people have been working together on this festival for a long time, so the artists know exactly who they are and they know they can always count on us to take care of them and present a great festival.

          Beaty @ B4L 2023, filmed by DnBPortal

          For you personally, how does the festival tie in with your own music career?

          For me this event is always the highlight of the year, not only because I work on it the whole year but it is one of the biggest crowds I get to play to. It also helps that it is in my hood, I get to meet all my DJ, producer and industry friends in one place and I don’t even have to travel! I feel so happy to be involved with one of the most important rave events of the year. 

          Where would you like to see the festival go in the future?*

            *I asked our head of marketing, Mathiass O´Zana, to weigh in on this one:

            Our goal is to be at the level of such giants as Tomorrowland or Glastonbury, which are known all over the world. In the meantime, the most important thing for us is that the festival still has so many great and satisfied fans, because it is not possible without them and mainly we are doing it for them! 

            How has it been trying to manage the festival as well as doing your own gigs?

            I´m working for Beats for Love as a marketing manager so during the week I’m going to work normally and during the weekends I’m doing shows. Sometimes it is challenging to be at “work” all the time, but when it is your passion and you love what you do, it just doesn’t feel like you are at work.

            What is your favorite part of touring and playing so many gigs?

            I love to visit new places and meet new people. I’m doing one or two gigs during the week so it’s quite tiring sometimes with the distances to venues are very long. After a weekend full of gigs I’m really tired but as I said, I love what I do so it also gives me a lot of energy. 

            What’s your goal as a musician?

            At the moment it’s to continue what I’m doing and try to do my best as a DJ. My goal this year is to take my DJ skills to the next level, which will liven up my performance so mainly I’m focusing on DJing right now. Also I would like to start my own production but at the moment I’m fully busy with my family, job and projects so at the moment I’ve got a pretty full plate. 

            Any upcoming projects for you or teasers for next year’s B4L?

            This year Beats for Love will celebrate our tenth anniversary, so the preparations are in full swing. We have so many upgrades to the different areas and visuals to ensure the best possible music experience for our #peopleoflove! Last year at the festival we started with the new project “Talking Beats” which is a conference and a meeting of the organizational team with the people at the festival, which was a great success. This year we would like to increase it, extend it to more days, invite interesting guests again and discuss topics related to electronic music, mental health and other interesting topics that are connected to music and the festival in general.

            There are loads more Beaty sets available on her YouTube channel. Click here to learn more about the 2024 Beats for Love fest, updates on the lineup and tickets, which are already on sale.

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    Layla Marino

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  • What FI execs are saying about ChatGPT| Bank Automation News

    What FI execs are saying about ChatGPT| Bank Automation News

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    Executives at financial institutions are looking into ChatGPT to unleash a new era of innovation, education and customer experience.   While many FIs, like Fifth Third Bank are using ChatGPT to improve the efficiency of their chatbots, others, like DNB, are exploring generative AI to increase operational efficiency. Financial institution executives discussed the potential and […]

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    Vaidik Trivedi

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  • Norway’s DNB tests generative AI | Bank Automation News

    Norway’s DNB tests generative AI | Bank Automation News

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    LONDON — Financial institution DNB is exploring the risks and benefits of generative AI as the bank tests Boost.ai’s tools. “Generative AI is something that the entire organization DNB is looking into with excitement, and there are a lot of benefits with this technology,” Maia Sognefest, project manager at the more than $270 billion, Oslo, […]

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    Vaidik Trivedi

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