Portland-based producer, Manatee Commune continues to establish his legacy with his forthcoming single, “I Can Dream” featuring female vocalist Effee . A classically trained musician inspired by the likes of Sylvan Esso, Big Wild, Flume, and many more, Manatee Commune is a captivating producer and vibrant performer. Having toured with household names like ODESZA, Emancipator, and Blockhead, while commanding stages at Bonnaroo, What The Festival, Capitol Hill Block Party, and the upcoming 2019 Lighting In A Bottle Festival, Manatee Commune delivers an experience to dance music aficionados worldwide.

“This track came together when the first warmth of spring actually started to reveal itself. I had just moved to Portland and the whole city just exploded with cherry blossoms and daffodils, so grabbed my laptop and an acoustic guitar, laid out in the park and crafted what I thought was just a goofy little beat that I’d never use. But when Effee and I started working together, I immediately thought of that day and how wonderful her voice would sound nestled in the bright, peaceful production of this unfinished song. Just a week or so later she sent me back these lyrics that perfectly captured the carefree, sunny mid-morning essence that had originally inspired me.Manatee Commune

His charming production leans toward the emotive side of electronic music while simultaneously stamping his own signature on all of his feats. His cuts are mastered arrangements of field recordings, textures from nature, lush guitar licks, rolling arpeggiated sine waves, and classically influenced viola melodies. “I Can Dream” is a complete tapestry of romantically-charged resonance, breathing a new life into electronic-pop. Continuously improving on his already impressive discography that boasts over 20 million streams on Spotify, this forthcoming single is inked to be another milestone in his pioneering career.

Danish producer HAZE and German producer eedion have teamed up for their latest single “Waiting For You”, out on Killabite Media. The track has a tropical sound, taking cues from artists like Kygo and Sam Feldt. It has energetic drums and vibrant organic instruments in its chorus, but soft, simple pianos in its verses. This contrast is part of what makes “Waiting For You” a truly unique song; it’s able to stay energetic while still retaining its meaning.

The creators of the song describe “Waiting For You” as “a last-ditch love letter from the perspective of someone who lost it all due to their own insecurities and overthinking.” The song’s lyrics reflect this theme. Vocalist Joey Busse sings “I get scared when the shine wears off”, a line which the songwriters say is a “confession of guilt” on the part of the singer.

Los-Angeles based singer-songwriter Joey Busse’s vocals keep the track feeling fresh. His crisp vocals stand out from the crowd in a way others’ cannot. Busse’s releases have racked up a total of over five million streams and have been released on top-tier labels like Universal and Australia.

HAZE and Eedion’s production skills have made “Waiting For You” a memorable track, worthy of replaying. In their previous releases, both producers have seen success. HAZE, an industry new-comer, has already released on prestigious labels like Strange Fruits and NCU. Likewise, Eedion has released on Armada and Chill Planet, as well as been supported by top DJs like Martin Garrix and Fedde Le Grand. Most recently, the producers have teamed up to create “Waiting For You” with Joey Busse.

Stream “Waiting For You” Here:

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Mokita has returned to the prestigious Armada label with his latest release “Kiss and Tell”.  The track is driven mainly by the delicate pop vocals and stellar guitar performance. The core of the song is enhanced by Mokita’s strong production, utalyzing airy vocal chops, a sound straight out of the play book of other songwriters producer hybrids like Lauv. Two and half minutes in, the song reaches its thrilling peak, opening up into a massive chorus, rich with vocal harmonies, fuzzy guitars, and big drums.

Mokita, who’s real name is John-Luke Carter, started his musical journey at a young age, playing piano and singing starting at just six.  After experimenting with other instruments like guitar, Mokita entered the music production world. Since then, he’s accumulated an astonishing ten-million-plus streams on his songs “Monopoly” and “Love Alone”.  His latest release, “Kiss and Tell”, could easily be his most successful song yet, given it’s radio friendly sound.

Stream “Kiss and Tell” bellow:

Breaking into the music industry is no easy feat because it’s so hard to set yourself apart from the myriad of other producers and songwriters out there. At the core of everything is the music itself, and George Gretton has gone the extra mile with his debut single, “Tread Water.” He’s proclaimed his style of music to be “art-pop” and we would definitely agree that this track would be hard to fit into any other existing genre. With a very loose structure and emphasis on timing and pauses, “Tread Water” excels at, to quote George’s own words, “vocal manipulation and using a contrast between organic and artificial sounds to tell different sides of the same situation.”

To compliment the track is an excellently produced music video that expertly captures some of the more complex lyrical content with its use of timing and visual metaphor. If you have the time to sit down and spend a few minutes, it’s definitely the best way to fully experience this unique piece of music. 

We also got a glimpse into the creative process behind this video from its director, Imogen Harrison, and George Gretton which you can ready below. 

“A couple of months ago, George sent me “Tread Water” and I immediately felt a pull to visually represent the anxiety and state of flux that you can hear in the track. George and I spoke a lot about those sleepless nights, where you’re left alone to contemplate your own thoughts. The video visualises the dark and intense mental state that comes with change and self-acceptance.” – Imogen Harrison

“There’s this nervous, insecure energy to the song that’s been captured really well. It’s sonically and lyrically frantic but Imogen’s recreated the emotion behind it in a pretty powerful way. We also got to shoot in some beautiful, atmospheric locations – a couple of which we were lucky enough to stumble across en route.” – George Gretton

Seeing the quality and level of dedication and effort put into his debut single, we’ll be waiting with bated breath to see where George’s creativity takes us next. 

Finnish electronic artist Axel Thesleff has released the remix EP of his “Two Worlds” EP, released earlier this year. Featuring a remix of each of the original songs, each remixer brings something different to the table. Starting off strong, the EP opens with SickFlip’s remix of “Akasha”. The remix starts with a danceable tribal drum groove, but later transitions into a section with soothing chords and bells.

In contrast to SickFlip’s remix is Take Five’s heavy trap remix of “Salomon”, featuring heavy 808’s and tight drums. CloZee’s “Eco” remix comes next, utilizing organic elements like mallets and flutes to create a soothing vibe. Preceding CloZee’s remix is Alex Banks’. A remix of “Cascade”, Banks masterfully creates a fast baced, dark, cinematic mood. Wrapping up the EP is Tekvision glitchy trap remix of Dunya. It has a clear trap influence, with hip-hop drums and deep 808 bass-lines, however Tekvision retains the melodic nature of the original song.

The original creator of “Two Worlds”, Axel Thesleff, started his musical career in 2010 with the release of his concept album “Waste Land”, which later earned him the coveted “Soundclouder of The Day” award. He continued to release music regularly, dropping hits like “Bad Karma” and “Need You”. Over the years he’s gained an impressive following of over forty-thousand followers on Soundcloud. Most recently, he’s released the remix EP for “Two Worlds”. Each remix on the EP has something unique to offer.

Check Out the “Two Worlds” Remixes Here:

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British producer Narscus Prye has put out“Stop This Now”, the first of many single releases from his upcoming album “To An Unknown Place”. The song features a bubbly, arcade like instrumental, supported by strong pop vocals by Yvette Riby-Williams. Utilizing a unique chord progression and non-traditional rhythms, Prye is strikes a satisfying balance between a conventional pop sound and an unconventional indie sound. According to Prye, “Stop This Now” was born after he discovered Yvette Riby-Williams:

“Stop This Now came together after I heard Yvette sing on another project of hers. I checked out some of her videos of when she was in The Boxettes and loved her voice and her vibe. I got in touch, we met up and after I sent her through the track she did her thing on it.” – Narcsus Prye

Narcsus Prye’s musical journey began at a very young age when he played and trombone while growing up in Hong Kong. After moving to London as an adult, he worked as a producer and songwriter for notable acts like Alex Clare, Jodie Abacus, and Bonzai. Recently, he signed with The State51 Conspiracy label, where he will be releasing his debut album “To An Unknown Place” later this year.

Stream “Stop This Now” Here:

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Straight from the vibrant town of New Orleans, Luxley’s latest EP, ‘Chromatics’, showcases a rather rare experience that is certain to intrigue and delight.

Most people write by sound. Luxley, however, writes by colour. This is because he has Chromasthesia, a condition that causes him to unconsciously associate sounds with colours.

Attiki – The opening track sets the mood with lush sounds that invoke the feeling of a dreamy soundscape with modern electronic production. The track showcases rich and interesting textures, building to a trance inducing vibe. The listener is immersed into a colourful world from the first few notes!

Dreamcatcher – Luxley creates a driving force with a gorgeous blend of synth-pop and layers upon layers of sounds. Production quality is high and compliments the opening track with a driving rhythm section and some classic sampled vocal chops.

Near Me – A melancholy marimba with a haunting vocal sample layers into a funky house style bass. ‘Near Me’ continues to impress with a nice build and highlights the nature of a fluid, yet consistent dubstep throwback in the main section.

No. 4 – Certainly a standout track on the EP. Capturing a low-key, yet anthemic number with Luxley’s addition of some gorgeous vocal processing reveals a powerful main section to the song that is sure to turn heads and move a crowd. 

Shine – Mid tempo dance number. Luxley finds an interesting balance between 8-bit sounds and a Flume-esque lead and bass. This track will certainly be on high repeat.

Take A Chance – A synth odyssey and a chunky mix of layers. ‘Take A Chance’ is driving and sprinkled with upbeat soul vocals. A touch of 2000’s Deadmau5 is certainly apparent in areas, and amounts to an eclectic mix of sounds before fading a minimal house beat. The closing track delivers the EP well with a solid resolve.

Overall, ’Chromatics’ offers a window into Luxley’s unique view on the world of sound, and captures a pure rainbow of soul-touching, sonic richness. With his self-described, “Chromasthetic” style and blend of electronic genres to create a tasty experiential music journey, Luxley will no doubt be an artist to watch.

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