Cazzette has been blowing up across the electronic music scene on the heels of “Beam Me Up” which was released last year exclusively on Spotify (and now available on iTunes). The Swedish duo consisting of Sebastian Furrer & Alexander Björklund has performed at several music festivals in the last couple years including Ultra and EDC and will be in Chicago this Saturday at 830pm on the Circuit Grounds stage. We were lucky enough to catch up with Sebastian to discuss his quick rise as part of Cazzette, from a small apartment in Sweden to massive festivals at enormous venues. Also, we get his take on todays music scene and what’s in store for the future.

I Can Give You House: You’ve performed at several festivals including EDC before, and are heading down to EDC Chicago this weekend. How do you think EDC compares to other festivals you’ve either been to or played at?

Sebastian: I would say EDC has a vibe with it, you know the  whole production value, the crowd… If you compared it to Ultra, like Ultra’s really cool too, it’s like EDC’s a different version of [Ultra]. I like that [EDC] is in Chicago and Vegas. I think it’s a really cool concept and production is… yeah it’s insane.

ICGYH: You guys have risen really quickly in the electronic music scene, what’s been the most interesting part about becoming so popular so quickly?

S: Well everything is of course really interesting, you know. I think it’s more, you know, going from normal life in a small town to getting here, you know, in like a whole ‘nother country. You know, it’s a very different life. And I think it’s… I mean both me and Alex are really grateful about just having this opportunity that many people in life never get. We’re really grateful and humble about it. I don’t know, you know then again it’s different for us in the way that… we don’t really see the success like our family and friends for instance, because we just work. We’re not really thinking about how popular we’re getting. Of course the whole Star Trek thing is really cool for us because it’s a huge deal. We can understand that but other than that, you know it’s hard for us to grasp it still.

ICGYH: Being from a small town in Sweden, what did you listen to and how did you get into electronic music?

S: Personally for me, my dad always played music ever since I was a kid. In our apartment he always played Depeche Mode, Michael Jackson, Prince, and stuff like that. There was a lot of funk and a lot of groove in the music, so there was always electronic-ish music in my environment. Then when I became like eight or ten years old my dad always played Tiesto for me in the car on vacations to Italy because my dad was Italian so we’d always have vacations there. So I grew up on trance and funk music so that’s how I got into electronic music.

ICGYH: And how did that translate into producing?

S: Well I always wanted to try out drums, guitar, and stuff like that but I never had the chance to because I lived in a small apartment with my parents and they, you know… you can’t be loud with instruments (laughs). So then I got into making music when my dad got a new Apple computer with FL Studio software. And actually I still use that software today. So my dad introduced me to it like ‘Do you want to play around with it?’ and it sounded fun so I just started working my ass off (laughs)… to just become better and better and now five years later I’m here in the US.

ICGYH: Today there’s been a lot of talk about electronic music being formulaic and redundant. As a whole, how do you view the production value of most electronic music today?

S: I would say where we are right now… people have lost the ability to… you know if you go on Beatport it’s not about… you know the music’s not groovy anymore at all. It’s just about hard-drops into high energy all the time. Me and Alex aren’t really into that kind of music. Of course we like high energy music, but it’s too much like that now. I think if you are in the position that we are right now – playing at EDC, the big festivals – I think you have the responsibility as a producer and a DJ to educate and to get people in other places like the US to understand what this kind of music is all about. Then again it’s a different concept. And of course I’m not saying you should not produce high energy music, but then I think for me as a producer, I think there’s often a lack of quality and mixing in the industry today, and it’s all very quick. It sounds like people are making stuff just to make it, not because they love it, you know what I mean? I think that’s a huge problem but still I’m not worried about us because we’re really diverse in our sound.

ICGYH: Absolutely. So what’s the process behind coming up with your music?

S: We’re really perfectionists when it comes to sound. I would say 90% of all the stuff you hear from Cazzette is sounds we have made ourself. In every track, it’s our own presets that we’ve done ourselves, tweak it for hours, you know to get our own sound. Other than that, I mean, it just comes naturally. We start with a bassline and then we have a sound that we can maybe work with the melody on – there’s different parts to every track though. There’s really no rule (laughs), we just have an idea in our head and put it in the computer.

ICGYH: And of the singles you’ve released, they were initially exclusively available on Spotify which seemed to confuse some people. What was the idea behind this method? 

S: We think streaming is the future. For us it was natural to work with them because we love the service. We think it’s very convenient – you can share the playlist with your friends, you know, get new songs. There’s a radio app in there too so, it’s very convenient software. So for us, it was just a really easy choice to do that. And that’s what we always wanted to do – something new.

ICGYH: What’s next for Cazzette?

S: We have a collaboration with Kryder that we’ve been working on. We’re still working on it but it’s in the final stages of production, but I can’t tell you the release date right now. Then we have some more touring. We’re going to release our album on Isle of Def Jam which is amazing, a really huge honor for us to work with them – it’s a really great label. We don’t have the release date for that yet either but we’ll hopefully have a date set really soon. It’ll be released worldwide so check that out, and yeah, I think that’s it.

ICGYH: Sebastian, it was great talking with you. Thanks a lot. We’ll see you at EDC Chicago tomorrow night.

S: Yep! Thanks so much.

Your favorite “Chinese-American carnivore from Washington D.C.” (his words, not mine) has something new for you to chew on.

Teaming up with “Chicago partymaster” Willy Joy, Jesse Tittsworth sets a quick-footed tempo into a blaze on “BAWSE” with some moombah snare, vocal cuts, and terror bass. This track is huge and should be playing in the sweatiest of grimy warehouse raves.

If you’re headed to EDC this weekend in Chicago, be sure to check out Tittsworth Saturday at 5pm on the Bass Pod stage. I mean, nothing says EDC like this cover art.

Copy Paste Soul is a producer based out of London, and that is pretty much the only detail that can be dug up following an extensive Google search. Though he remains fairly anonymous to the public, he lets his music do the talking, in which he radiates a warm, sensual fusion of deep house and bass that quenches the soul the way sunshine soaks the skin. Aside from releasing EPs on 2 Swords and Exploited, he has been commissioned to remix artists such as deadmau5, Imogen Heap, and Photek.

His latest work is a remix of Alex Barck (member of Jazzanova), whose single “Don’t Hold Back” released earlier this year, and has been re-released as part of the Reunion 1&2 Remix EP on Sonar Kollectiv. Described by the artist himself as “warm squelch soul,” Copy Paste Soul makes beautiful use of piano chords and emotion-filled vocal samples that drip with aching, in addition to a fat bass-line to create a soulful interpretation of Barck’s song. The breakdown adds drama, and the song picks up near the end turning what was initially a smooth jammer into a jacking beat. Copy Paste Soul certainly does not skimp on the soul.

The remix as well as the original are available to stream below. If you fall in love with them, they are available to purchase now on Beatport.

Disclosure’s most recent chart-climbing single “You & Me” featuring Eliza Doolittle gets another rework from Irish duo Bicep. Both outfits have been gaining fast traction in the music world for their captivating, dance-inspiring takes on 90s house and garage, and when one takes on the other’s song, it’s magic. Bicep put a harder edge on the song, balancing with Doolittle’s light vocals, and a brooding, darker groove that takes it from cross-over pop straight to the underground. Coming soon to a warehouse party near you!

You can stream the song below courtesy of Mixmag. The pre-order for Disclosure’s debut album can be purchased here.

With the conclusion of EDC New York, Chicago now marks the last stop of the flamboyant festival before Las Vegas. The first time the festival has hit the midwest, and the first time there will be camping (tickets still available). ICGYH will be on scene.

Rather than telling you about the top three most popular performers you know you want to see, we’re bringing you the top three performers you don’t know you want to see. We’re also helping you find the places you want to be, the times you want to be there, and where to get free water.

If you’re headed to Chicago this weekend, or are just curious about some lesser-known artists, here’s our preview for EDC Chicago 2013.

Travel

The festival is located at 500 Speedway Blvd., Joliet, IL 60433.

View Larger Map

Parking is free on site (but not allowed overnight). Shuttle buses are available from Depaul, Harold Washington, and Loyola. They depart at 4pm and 6pm and will bring you back home as well (but they aren’t free so make sure to get your tickets).

Where to Go

There are five stages: Kinetic Fields, Circuit Grounds, Bass Pod, Neon Garden, and Wide Awake Art Car. Water is free at the designated areas.

Who to See

Beyond the obvious. Check out these three playing at slightly more innocuous times of the day, and/or check out the full schedule.

Friday, 730pm: Rebecca & Fiona @ Kinetic Field

Rebecca & Fiona are a female duo from Sweden comprised of Rebecca Scheja and Fiona Fitzpatrick. They collaborated on Kaskade’s 2011 single “Turn It Down”. They have played alongside Tiësto, Kaskade, Axwell, Steve Angello, and more.

Saturday, 5pm: Tittsworth @ Bass Pod

The self-proclaimed “Chinese-American carnivore from Washington, D.C.” has crafted official remixes and EPs with Pitbull, Nina Sky, Kid Sister, Pase Rock, and more. He is currently touring and in the studio working on new material featuring Q‐Tip, Laidback Luke, and Theophilus London.

Sunday, 11pm: High Contras w/ Dynamite MC @ Bass Pod

Classy DnB producer High Contrast, aka Lincoln Barrett, has been putting down euphoric rhythms since 2000. He has worked with and remixed artists such as Eric Prydz, Tiësto, and Underworld. In 2012 he was asked to write the music for the Opening Ceremony of the Olympics with Underworld.

EDC Chicago should be insane: onsite camping available, a massive venue at the Chicagoland Speedway, and an exciting lineup. Keep your eyes on ICGYH for any updates and, of course, a full recap of the experience. I hope to see you there!

For more detailed information, feel free to visit the official EDC Chicago website.

Whether you’re in the midst of finals or finally kicking back for the summer, here’s a little slice of liquid drum n bass to tide you over for the latter half of the week (because Wednesday and Thursday are really just Almost-Friday, anyway).  Spectrasoul are one of my all-time favorite duos in the drum n bass arena for their ability to transform what I initially perceived as a savagely noisy style of electronic music into individual melodic, soulful, silky masterpieces without sacrificing the defining qualities of D&B. Their membership on the roster of one of the genre’s most respected labels, Shogun Audio, solidifies their status as top-notch, while their music can almost certainly captivate, if not convince, non-believers of drum n bass.

After staying relatively quiet following the release of their most recent LP, Delay No More, the UK duo appear on Pedestrian’s Hoyle Road remix EP, released on James Zabiela’s Born Electric imprint label. Spectrasoul converted “Hoyle Road,” originally a deep house track, into their signature style, with a forceful bass-line and chords that ascend into the high heavens. The subtlest sounds turn the song into a gritty atmosphere of its own, while the smoothness makes it easy on the ears.

The Hoyle Road EP can be purchased on Beatport, but you can stream the Spectrasoul remix below.

Everybody was having such a nice time… And then Laidback Luke dropped the Armageddon bass.

The remix of Martin Solveig & Cataracs’ “Hey Now” feat. Kyle is completely day to night. Doves to blood-sucking vampire bats. Green pastures to raging fires.  To say the drop doesn’t fit the rest of the song would be an epic understatement. Laidback Luke has obliterated everything about the original and he lets you hear the destruction, taking a modestly retouched build and smashing it with an earth-fracturing whomp.

If the world were ending, it would probably go something like this…

Two talented duos—Robosonic, made up of Sascha Robotti and Cord Henning Labuhn, and the Adana Twins—have teamed up to produce a two track EP called La Fique, which hosts two fantastically orgasmic slices of deep, groovy disco that are sure to keep everyone in a summer state of mind.

The title song is a sunshine-filled throwback to the days of disco balls and nights spent dancing up a sweat in Studio 54, with an infectious, melodic groove and a mixture of sweet and sexy vocals that sound like they came straight from the seventies. This song fits everywhere from the club to the pool. Don’t be ashamed to bust out the hustle or the Saturday Night Fever hand-pointing, but if you find yourself in a polyester suit you may have gone too far…

The B-side, “Barracuda,” delves a little deeper into the bass while still maintaining major disco vibes through vocals that Donna Summer herself (RIP) would approve. This is the kind of disco that you can really get down to, with a bass-line so down and dirty it’s hard not to feel a little frisky. The La Fique EP is an aural portal to the funky, retro seventies that makes it incredibly difficult to return to 2013.

The EP doesn’t drop until June 3rd on 2DIY4, but you can pre-order the vinyl here, and stream the songs below while you wait.

After painstaking anticipation for the imminent release of Daft Punk’s latest masterpiece, ‘Random Access Memories’ was leaked to the public 8 days prior to its official due date. Throughout the course of its debut, we were continuously taunted and teased with snippets of sounds whether it was on Daft Punk’s official website, at Coachella, or on TV. Our intrigue was piqued even further when the duo released a Vine solely displaying the titles of the tracks. Our hunger was entertained with the release of the album’s single, ‘Get Lucky’, but we were still left in a starry-eyed gaze wanting more. Countless remixes of the single were released, but nothing could possibly fill the void left by the other 12 tracks which had still remained a well-kept secret. And then finally, after our anticipation reached an all-time high and we couldn’t wait any longer, the full length album leaked and we got our fix.

1. Give Life Back to Music – The album starts off with a grand entrance of power chords that tell you Daft Punk is back on the scene, as if you had ever thought they made an exit. You immediately notice the utilization of live instruments with the track’s distinguishable studio-produced sound, alluding to the funky disco feel the remaining 12 tracks so uniquely utilize. And then the signature robotic voice comes in with a harmonious combination of old-school styles and futuristic sounds to produce something magical, unparalleled by any previous work.

2. The Game of Love – With hints of ‘Something About Us’, The Game of Love is a soft and melancholy tale of heartbreak and rejection. The downtempo robotic voice narrates the pitfalls of love, and is eventually utilized to transition between vocalized singing to what seems to be a vocorder-humming solo.

3. Giorgio by Moroder – Undoubtedly the most interesting track on the album, Daft Punk does what I have never seen done in music before. Combining Giorgio Moroder’s monologue on his rise to stardom and funky background riffs, the song evolves into a parallel between what Moroder discusses and what Daft Punk is presently doing. Moroder narrates how he wanted to create an album with the sounds of the 50s, the 60s, the 70s, and a sound of the future–a desire clearly held by Daft Punk with the distinctive sounds on Random Access Memories and this track in particular. As soon as Moroder begins discussing his ‘sound of the future’, the track erupts with Daft Punk’s tribute to Moroder’s signature sound. After paying their homage, the duo spin the track in their own direction: a 9-minute creative whirlwind that synthesizes an orchestra of sounds into a timeless work of art.

4. Within – Beginning with a beautiful piano intro, ‘Within’ is a downtempo track about a robot facing an inner conflict of identity and emotion. Reflecting upon the album’s title, the singing robot faces the difficulty of understanding which memories to hold on to, and which to let go. Consistent with the theme of Daft Punk’s work, the song embodies and harmonizes the struggle of a robot living in a world full of humans.

5. Instant Crush – The album picks up the pace again with this track featuring Julian Casablancas of The Strokes. Just as you could have guessed by the aptly named title, this one is extremely catchy and likely to be stuck in your head for the remainder of the day. It has smooth lyrics with an even smoother delivery, and every little transition hooks you further into this instant hit.

6. Lose Yourself to Dance – Easily an instant classic–this song makes you want to do exactly what the title says. Pharrell William’s presence on this track is more than fitting as his voice in combination with Daft Punk’s beckoning robotic “Come ons” form an agglomeration of sounds that fit perfectly together like the pieces of a complex jigsaw puzzle. To me, this song embodies exactly what Daft Punk wanted to do with the album: adding their own twist on a blend of decades of sounds to create a work of art that would melt the boundaries of time and space. Through this track, they disintegrate the line between robot and human to form sounds you could have never before imagined.

7. Touch – With the darkest intro on the album, ‘Touch’ begins with an outer-space vibe that floats you away to the stratosphere of far-away planets. It isn’t until the intro segues into an evil sounding voice that the track quickly cuts to the voice of Paul Williams, which begins the start of a victorious sounding melody. The track builds up to Daft Punk softly cooing “If love is the answer you’ll hold on”, and then you’re blasted off to outer space again, finally coming back to Earth with the distinct feeling of ‘having found the answer’.

8. Get Lucky – Just as the single of any album should do, ‘Get Lucky’ reflects upon the vibes of the rest of the tracks–it is a truly feel-good song that leaves you wanting to stay up and dance the night away. Pharrell Williams smooth voice and catchy guitar riffs carry the majority of the track, with Daft Punk making their entrance a little past halfway.

9. Beyond – An extensively theatrical beginning picks up here and leads into an 80s style quick-strum guitar riff that makes you feel like you’re walking towards a sunset after a long and victorious day. Although this track is more simple than the rest, it still reminds you how even the smallest changes can make a big difference.

10. Motherboard – Aptly placed after ‘Beyond’, ‘Motherboard’ takes theatrics to the next level with a rollercoaster of sounds that carry you from a blissful calm to a raging storm. Quick beating drums allude to an inexorable climax that capitalizes on energy and anticipation built in the first half of the track, eventually leading you down through a panoramic view of outer-space galaxies and quasars.

11. Fragments of Time – Featuring Todd Edwards, this track draws some similarities to ‘Instant Crush’ with smoother-than-ever vocals and breaks. Turning days into melodies, the beautifully paired harmonies eventually lead up to a signature synthesizer solo not unlike the duo’s classic ‘Digital Love’.

12. Doin’ it Right – Daft Punk could not have picked a better artist to do this track with than Panda Bear of Animal Collective. Taking the two very different sounds of the robots’ repetitive “Doin’ it right” hook and Panda Bear’s mellifluous cries, it’s as if two songs have been mashed together into one. The repetition and quick breaks on Daft Punk’s part seems like a throwback to Homework, but the addition of Panda Bear’s vocals transform this into an entirely new animal all on its own. Congruent with ‘Get Lucky’ and the rest of the album, ‘Doin’ it Right’ is all about letting go, being in the moment, and having a good time.

13. Contact – The album comes to a close with the voice of an astronaut documenting his voyage in space, looking back at the Earth, and then leads into a tornado of a close. To say this album ends with a bang would be an understatement. Quick hitting drums are paired with an evolving synthesizer that segues into a culmination of electric guitar and a spaceship taking off. The track builds an intense amount of anticipation for what should be the most ridiculous drop on the album, but unexpectedly closes with a simple end of transmission. I like to think that means they’ll be back again.

Daft Punk has undoubtedly changed the game yet again with their work on ‘Random Access Memories’. Although they currently have no set plans to tour, they have stated that their next tour will be a culmination of all of their work thus far. Judging by what I’ve heard on this album and on their Alive 2007 album, their next tour will likely mark history one more time.

-Moose

Words from the ICGYH Team:

Krystal: I liked it, but understand the underwhelmed response to this album: it seems like many fans expected Discovery 2.0, where most everything was upbeat and club-worthy. R.A.M. is slower, toned down; it’s more appropriate for the post-party winddown than for the club. It seems like all these collaborators, talented as they are, may have gotten in the way of a “true” DP album/sound, but it doesn’t necessarily delegitimize it. Part of me wonders if there’s going to be some Daft Punk musical happening in the future, for which songs like “Touch” would be entirely appropriate. I think R.A.M. requires multiple listens in order to appreciate what it is, rather than what it is not, or should have been.

Personal Highlights:
2. The Game of Love
5. Instant Crush ft. Julian Casablancas
8. Get Lucky ft. Pharrell

Anders: “‘Random Access Memories’ seems a bit adrift, connecting only superficially with technical brilliance. It meanders from an interview to jam session to 10-minute broadway grandeur as if unsuccessfully seeking an assumed destiny. There’s some occasional genius no doubt, but it’s quickly lost in the hollows of extravagance. For how glamorous it is, “Random Access Memories” is easily forgettable.”

Zach: “The most important thing to remember about Random Access Memories, is that it is not an EDM record. The vast majority of today’s dance music fan-base will be quick to curse the name Daft Punk because they were not given the quintessential dance record to legitimize their generation’s EDM craze. In all likelihood, this is partially what the robots were going for. At its most pretentious, R.A.M. is a commentary on the state of electronic music today. With every D.A.W., plugin, sample pack, and sound available to anyone with a computer, there is quickly becoming nothing new or truly inspiring to come out of it. Daft Punk wanted to use the resources available only to them to make an album that could (re)connect themselves and the rest of the world to the art of music making. Did they succeed completely? No. But they certainly have restarted the conversation in the right direction.”

Last month, we posted a single from Close (aka Will Saul), which quickly shot up the music charts, along with bass-driven, disco-dipped remixes from the likes of Scuba and George FitzGerald. This month brings about another single from Close’s debut album Getting Closer, called “My Way” featuring vocalist Joe Dukie. The single is filled with just the most subtle shades of disco, albeit much slower in tempo and more minimal than its predecessor, which serves to put focus on Dukie’s silky vocals.

BBC Radio 1 personality B. Traits premiered Dusky’s interpretation of the song last Friday on her show, which fashioned what was originally a slow song into a deeper, dancier tune. The duo make the song more fluid with ethereal, airy synths that float so effortlessly while connecting one lyric to the next, and implement their signature bass-line. On his decision to have Dusky remix this single, Saul says it was natural: with the two having also released on Saul’s Aus Music label, he knew that these guys were at the top of their game. I think we can all agree that getting Dusky to rework any song is a no-brainer.

The My Way EP on which this song is featured will also come with remixes from Tanner Ross and fellow Aus Music artist Midland; it is expected to release on June 24th on !K7. Meanwhile, look out for Close’s debut album, out June 11th on the same label.

The original

Dusky remix

As if the grandiose production behind Wallpaper’s “Good 4 It” wasn’t enough, Laidback Luke has stepped in synths-blazing.

The “Ladback Luke goes Melbourne Remix” throws all seriousness out the window, turning the original into a sweaty, summery banger (ironic as it’s fall in Melbourne, Australia of course). The expressiveness of the original pop song is lost, as is often the case with electronic remixes, but who needs all that heavy stuff when all you want to do is party and dance? You can still count on hearing the incredibly catchy hook and melody, and the addition of stuttering synths is a nicely creative play on the source material.

With other remixes coming from Firebeatz and Paolo Ortelli, the biggest distinguisher of this one is the dutch-house drop which actually goes extraordinarily well with the rest of the production, making it the most unique remix of the set.

Laidback Luke has once again created a huge banger that should keep people dancing through the summer. Check out all of the remixes below and pick them up on iTunes or Beatport!

“Alive” is the track that shot Krewella into the limelight, and not just EDM limelight. The dubstep group from Chicago can be heard on mainstream pop radio from coast to coast. Undeniably, “Alive” is a catchy song with catchy lyrics, and it’s been remixed and remixed again (check out some of the “Alive” remixes on the Play Harder Remix EP here). It’s time for the FINAL remix, by none other than Hardwell. The dutch superstar, who debuted his new track at Coachella, put a progressive/electro house spin on the with a drop that shakes floor boards and makes you want to jump. In all honesty, the awesomeness of “Alive” is in the vocals and the piano melody, which are untouched in the remix. The remix differs from the original in the drop, and the drop sounds like any other electro song… However, I’m sure over big speakers, raver people will go berserk for it.

purchase on beatport

dBerrie’s remix of Imagine Dragons’ “Radioactive” is entirely fresh and absolutely scorching.

With the bassline amplified into a wicked buzz over a rapid tempo, the difference between the two tracks is immediately apparent. The slow booming electro-rock original is now a full-fledged progressive-house banger – and Dan Reynolds’ vocals never sounded more at home. Building patiently, the production escalates in concert with Reynolds’ emotional outpour as dBerrie liberates an exorbitant amount of magnificent energy on the drop. No doubt hands will be high in the air at this point.

So often remixes are unable to come into their own. They either drop into some unrelated, indistinct cluster of noise, or stay lifelessly close to the original. dBerrie’s “Radioactive” remix is free from both of these problems. It makes sense with the vocals and takes the song into a completely new universe. This is not only one of the best remixes I’ve heard all year, it’s one of the best tracks I’ve heard all year.

I’d usually say something like “check it out below”, but why bother? Just download it straight away. For free. (Oh, and don’t forget to check out dBerrie’s new upcoming single “Malfunction” which is also spectacular, dropping May 27th.)

While he may be better known for his original electro productions, Alex Ridha is back with a remix that returns to the stripped down techno sound that made us first fall in love with Boys Noize. With original Boys Noize work, BNR Records label management, and Dog Blood collaborations and touring, it’s impressive to see him still churning out remixes on the side. This time it’s a take on UK electronic duo Pet Shop Boys‘ new single “Axis”. While the original is a synthy, robotic, hard-hitting piece of electronica, the remix preserves the most minimal of elements. The staircase riffs of German techno are unmistakably Boys Noize. Check it out on iTunes today.

Dyro’s remix of Benny Benassi’s “Ghost” seems to be asking, why dance when you can rage?

The already wild electro-house collaboration with Pink Is Punk and Bright Lights is stripped of its dance appeal in the remix and intensified as it focuses almost completely on pure energy. You’ll feel the payoff when the synths stab aggressively over the raucous bassline, trust me.

Ironically, the most notable part of the remix is Dyro subtly playing “Hide and Seek” with Bright Lights’ vocals (see Imogen Heap). It’s a nice effect that that should have been there on the original as it does a great job of sonically tying the song together.

While this is certainly a worthy remix, superior in some ways to the original, it could disappoint those who actually want to dance. Then again, if that’s you, you have no reason to stray from the already excellent original in the first place. Check out Dyro’s adrenaline-injected remix below and pick it up on Beatport or iTunes.

The Nervo twins have been running on full tilt for months now. After the massive success of ‘Reason’ and their collaboration with Nicky Romero, ‘Like Home,’ the Aussie duo wasted no time releasing putting together a massive remix package of their newest single ‘Hold On,’ which has been crushing the charts.

The remix EP includes three amazingly varied tracks from Angger Dimas, Fred Falke, and Loudpvck. Angger’s remix is as aggro as you can get, complete with a whipping electrified drop that will peal back the skin on your face. Fred Falke provides a chilled-out house groove perfect for those summer sunset drives down the coast, while Loudpvck puts us straight into the trap with his squeaking 808-pounding rendition of ‘Hold On’.

Purchase Part 1 on Beatport now!