Eric Prydz confirms 4-track Pryda EP is incoming

Filed by Malissa FranzMalissa Franz

Eric Prydz has taken to Twitter overnight teasing a forthcoming EP under his monicker Pryda.

It’s been a while between drinks for the Swedish producers side project, who releaed only one single in the past 18-months. Thanlfully, the wait is nearly over.

On top this, Prydz also shared an image Mr. Oizo to Twitter. Is there an Oizo collab in the works for this EP? I like to think so.

Revisit his 2017 cut ‘Stay With Me’ below for now, and keep eyes on his socials for more.

Sydney duo KAYEX drop infectious new cut ‘The Get Up’

Filed by tr21ktr21k

Following their debut single, My Friends’, which is sitting at over a million streams with noted Triple J airplay, as well as landing at #1 on Hype Machine and saw them secure a spot on the Sydney leg Listen Out, Sydney-based duo KAYEX are releasing their second single to much anticipation entitled, The Get Up’. Partnering with Sydney-based management company Audiopaxx for management and with powerhouse booking agents WME who’s repertoire speaks for itself. 

The track itself houses a hell funky baseline that brings back thoughts early Calvin Harris and Miami Vice. Time warp is an understatement, the crispy, succinct nature the track lends itself to even the hardest to please ears. It is easy to hear this tune cranking out a car stereo (perhaps a convertible? too much?) as you would on the d-floor. The synth breakdown at the end the track really highlights where the duo could take their sound.

The single comes along with the announcement that they will be supporting UK Producer, Songwriter, DJ for his Sydney and Brisbane Splendour sideshows. Get down and support if you can:

Tour Dates – Supporting SG LEWIS

Wed 25 Jul – The Zoo, Brisbane

Thur 26 Jul – Oxford Arts Factory, Sydney

ye. and Far & Few’s new tune ‘iwantuu’ is our SoundCloud gem of the week

Filed by Elsa MajewskiElsa Majewski

Any electronic music lover knows that to find the gold on SoundCloud, you’ll have to do some serious digging. This week, we’ve done the hard work falling down the rabbit hole for you. We know you’ll love what we found.

Premiered Run The Trap in the early hours the Australian morning, USA beat maker ye. and Epicure bass duo Far & Few have teamed up on “iwantuu”, a shining star a bass track that’s already driving up into the tens thousands plays. Released on Proximity and AUX London, this tune is filled with twinkling synths, an oriental-style lead, and that classic heavy-hitting horn, and it’s sure to tickle your eardrums in the best way possible.

We highly reccommend you check out this one below.

We Brewed Up The Ultimate Beer Drinking Playlist

Filed by fmdj2u7leqg6cfmdj2u7leqg6c

In collaboration with the cold-one-connoisseurs at Young Henrys

Yes, the title is pure FACT. The yeasty gods have smiled upon us in the way a playlist fit for a beer.

Loaded up with Dirtybird gems from the likes Claude Von Stroke, and Ed BANGERS from SebastiAn, Mr. Oizo among more, this playlist has earned the Stone Cold Steve Austin STUNNER approval.

Without further ado, crack open the proverbial cold one that is this schooner savvy playlist below, and enjoy. The beer puns are over now.

Just A Gent is taking the top hat back on tour this month!

Filed by Jenette DanieleJenette Daniele

Trying to put Just a Gent’s type music in a genre or style music is next to impossible. To compare him in terms other sounds and artists you will be hard fetched to do so as well. Something along the lines a fine mixture Noisia, Quix and Porter Robinson, but then we could still be overlooking his absolutely large repertoire face melting tracks.

The last few years speak for itself in terms Just A Gents success. 3.9 million plays for his ‘You’ll Never Know (feat. MOZA)‘ on Spotify only. Then to say his 2018 track ‘Hold’ isn’t a banger would be underselling him, then making a top spot on triple j’s Like A Version with his cover ‘Day N Night‘ passing 1.2 million plays as today. We are sure your ears will be treated when he comes out on stage in a city near you.

Mingling amongst EDM’s upper echelon this past year with his featuring on the festival Beyond Wonderland with many the biggest names, Just a Gent will be pulling into eight different stops around the country this coming May and June.

Be sure to jump on to his latest tracks and support this mammoth local act when he comes to a venue near you.

Friday 18 May / Brisbane, TBC Club
Friday 25 May / Erina, Proud Mary’s
Saturday 26 May / Adelaide, Fat Controller
Saturday 2 Jun / Hobart, The Tah
Friday 15 Jun / Sydney, Chinese Laundry
Friday 22 Jun / Canberra, Mr Wolf
Friday 29 Jun / Melbourne, Night Cat
Saturday 30 Jun / Newcastle, King Street Hotel

Local doofer reconnects with nature after indulging in a synthetic buffet

Filed by Malissa FranzMalissa Franz

B-Side is our latest news section breaking the stories you won’t read about anywhere else. Hard hitting news f the back a truck that we published without fact checking.

Sydney University biochemistry student Travis Dean has expressed his reconnection with nature following a recent bush do that B-Side Media was lucky enough to attend.

Travis – who grew up in the seaside suburb Manly – spoke with B-Side Editor Micky ‘Muscles’ McClure at the fourth annual Rainbow Dreadlock festival today, taking place in the dusty terrain bum-fuck Idaho in western Shitsville. He said that he “discovers a new love and respect for the world around me every time I venture into a do”.

“Honestly, nothing makes you feel closer to nature than a satty full tabs and maybe a few nangs in the morning. It’s no intercontinental breakfast, but why are you talking to me, frog?”. From here, Travis scuffled f into the crowd in a panic, to the tune a pulsing, psy-trance heater.

We were then swiftly shuffled f the grounds by an older, more experienced doer – who we presume was far more in-tune with nature due to the dirtiness his feet, length his dreads and the bagginess his pants – who went by the name Ocean Soul.

Manu Crook$ serves up some heat on new track ‘Fuego’

Filed by Bunny RobertiBunny Roberti

Being the feature artist on triple j’s unearthed in 2016, Manu Crook$ has had a string successes. Pulling in a cool 7.4 million plays on his Youtube channel, the Sydney based artist has to only ask WHEN instead IF he will make record breaking numbers. He has been going from strength to strength and this new track ‘Fuego‘ is his latest to put him in line with some hip hops hall fame globally, let alone Sydney.

Coming f a tour around Canada, the Ghanian raised rapper is about to get on a heavy rotation cities across Europe for the continuation the ‘Mood Forever Tour‘ EP which was out late 2017. This new track has already been played on BBC radio one and featured on radios around the world.

Anfa and Manu Crook$ have that singer-rapper partnership made in rap heaven. The minimalist trap flow type beat, from his producer at hand Dopamine, makes this track really pop. The song features a flamenco guitar strumming away and what is assumed a South American sample accompanied with well timed chops and changes in the starting and stopping  their bars that only few pull f so smoothly. All together has this song destined for head bopping commutes to work all around the world.

Be sure to catch him at Splendour in the Grass or otherwise overseas at many European venues!   Give the track a heavy Spotify rotation or just let him spin his magic and pull you in anyways.

Instagram comedian Urmumsyadad announces new Bali festival

Filed by Ryan FerroRyan Ferro

Attention Bali hangers: There is a new festival landing this year that has definitely captured our attention, dubbed  – the brainchild Instagram hooligan, Urmumsyadad.

Promising to bring “kombucha and techno together at last”, Gypsy Lands will cater to an array electronic tastes, from minimal to driving techno, psy-trance to tech house and everything in between. Plus you can align your chakra at the event, which is crucial. Check out the teaser vid:

This genre-bending festival will see the likes Andy Garvey, Robbie Lowe, Rebel Yell and other renowned Aussie selectors on show, along with Russia’s Rozen, Amsterdam’s Marsellus and Indonesia’s own Wisdy among others.

Gypsy Lands takes place on July 21st in Seminyak, and first release are only $30. For more info, head to the Facebook and check the lineup below.

Instagram comedian Urmumsyadad announces new Bali festival

6 tracks that prove Jon Hopkins is a genius

Filed by Jenette DanieleJenette Daniele

: Steve Gullick

Jon Hopkins’ new record, ‘Singularity’, is finally out. Through a fusion energetic and assertive percussion with breathtaking harmony, the album carries the listener through various states mind, within complex musical landscapes. These tracks are multi-faceted, and, like his past music will definitely reveal new elements and techniques even after multiple years worth listenings.

Hopkins’ music demonstrates the possibilities that arise when opposite elements are placed side-by-side. In most tracks there is a coexistence between synthetic and organic textures, just as on the level each record, there are solo piano works and choral pieces alongside forceful electronic music.

The evolutions specific sounds and musical ideas throughout his tracks feel as organic as the processes nature itself. Stripped-back and simple sounds gradually morph and adapt with the growing textures that build to provide momentum for each piece. Melodies and chord sequences slowly unfold and reveal themselves in no rush at all, creating anticipation and drama that is matched only by exceptional storytelling.

At the release his latest record, I thought it would be interesting to take a look at some Jon Hopkins’ music from a predominantly analytical perspective, to explore how some his techniques have developed throughout his career so far.

Vessel (2009)

Vessel is the second track on his 2009 record, “Insides” (after the beautiful string-laden opening The Wider Sun). It begins in a deep space containing a very distant melody. There are two examples techniques that I believe Hopkins has perfected here and later in his discography. Firstly, the interactions between background and foreground in his music is handled with masterful artistic control. This giant space acts as the background now and again later on in the piece, but is suddenly completely taken away when the glitchy percussion and bass enter.

Also, Hopkins plays with tonal ambiguity here and in much his other music, with the far-away melody restraining from providing a clear key-center. It is not until the piano enters, that the distant melody begins to make more sense. This is not a new technique at all, but techniques like this aren’t fascinating based on how new they are, it is about specifically how they are employed and in what context.

In Vessel, a clear example Hopkin’s composing through an exploration contrasting elements, is the way in which the piano, strings and synthesiser lines work together in the body track. The piano and strings provide the organic side the sound-world, but coexist with raw electronic tones. Bridging these two opposing textures together are the growing clouds electronically-processed recordings organic instruments (which sits in an ambiguous area between the organic and electronic sound-types).

As the piece builds towards the end, the sound is dominated by acoustic instrumentation which feed into another cloudy space floating harmony. Suddenly, with a loud synthetic zip, the texture shifts and is suddenly dominated by glitchy synthetic sounds. This drastic cut to a harsher closing section is a specific technique that is developed and used on a few his future tracks.

Open Eye Signal (2013)

What’s most interesting about this track especially are the separate arcs that each the three main elements follow throughout the track. These elements are: The Voice (which is actually Jon’s own voice), The sound at the beginning the track (which I’ll call The High Calling Sound, or HCS ) and the synth line.  

Harmonically, this track is also interesting because it revolves around both the Major and Minor modes F with HCS containing the Major 3rd, and the synth line containing the Minor 3rd (notice how the voice only contains the notes that are shared by both major and minor scales, which allows it to coexist with HCS and the synth line). Due to the rhythm and six-beat length the synth sequence, the phrasing can be hard to follow, effectively forcing the listener to feel unable to guess when the note will change. “My goal is to try and make it so that the listener can’t really work out what’s going on and therefore just lets go and dives into it.”

In terms background and foreground, Open Eye Signal proves the power again working deeply with both. The track builds tension from around the 2:30 mark to the 5:30 mark mostly by filling up the background with a thick space built from both the Vocal and HCS lines, and opening up the filter on the synth line. Playing with another ‘trick perception,’ this background space ducks more and more under the kick as the song progresses, psychoacoustically giving the impression that the kick is getting much louder.

As well as the space the background, Hopkins also uniquely plays with stereo space, with sounds moving from very wide to narrow, and vice versa (eg. the shaker at 3:16 moving from the centre to the side // voice and atmosphere from 3:40 – 3:46 moving from very wide to squashed into the centre).  At 5:18, we hear HCS ring through the thick, pumping texture the climax the main body section. Similar to Vessel, the track closes with a predominantly electronic instrumentation, focussed strongly on a distorted, evil twin the original synth line.

Collider (2013)

Collider is one the most dramatic electronic tracks I’ve ever heard. At the heart the track is another one Hopkins’ tricks: the third kick each bar ( four) is slightly late, giving the feeling time dragging in between the 2nd and 3rd beats.  When we spoke about this kind technique, that is basically what defines the genre trip-hop, he that “.. it’s those micro-shifts in timing that makes music sound good to me… I’m really interested in the intersection machine-music and human performance.” That’s what I love about this track especially – how Hopkins manages to compose elements with a real human-feel about them alongside harsh electronic sounds (again, organic elements coexisting with synthetic and electronic elements). The tension that is created by this inaccuracy timing, is complimented by another source suspense, namely the harmony, as the piece revolves around a chord sequence that never fully resolves.

A new melody subtly emerges out nowhere, floating around atmospherically, melodically complimenting the synth plucks, but contrasting the percussive shapes most the material up until this point (3:37). The track’s ideas all unfold gradually, as opposed to everything being given away too quickly – this sense anticipation is what drives the track forward.

The human voice is utilised in Collider not primarily for melody but for a direct expression agitation, with moans and gasps heard throughout the track. Collider closes with a gradual release tension, which doubles as a conclusion to the intense first half the record.

Neon Pattern Drum (2018)

Now we come to some Hopkins’ newest work. Just like ideas develop over the course tracks, they also develop over the course artists’ careers. For instance, in Vessel the relationship between foreground and background material is evidently explored deeply, but while they work in a complementary relationship, they are mostly spatially separated. 9 years later, Hopkins’ approach to foreground and background has evolved, with the background material becoming the foreground in the opening sequence.

Where Open Eye Signal used a 6-beat sequence, Neon Pattern Drum uses 5, creating a rhythmic sequence that is more interesting and far less predictable than a standard 4-beat loop. The instrumentation here is truly interesting, with the main harmonic sound being some sort composite washed out synths, with rhythm provided by some sort gating process, as opposed to a clear synth stab playing a chord. This type sound is also heard in Emerald Rush.

With a similar style harmony to Collider, the track seems to constantly be building in suspense. Chiming sounds (that could perhaps be singing bowls) enter, providing a resonant backdrop to the driving gated sequence and shuffling percussion. Unconventionally, the bass drum gets taken through as many transformations as the main synth sequence, which is surprisingly rare even in modern electronic music. As he mentioned: “I like the idea trying to create this musical world where everything is fluid and any sound can at any point just change”.

Everything Connected (2018)

Everything Connected is the climax ‘Singularity’, playing a similar role as Collider on Immunity. With nice snappy synth plucks that neatly match the closing  Neon Pattern Drum and tight percussion, the track moves forward with a growing piano-based atmosphere that gives slight and subtle harmonic hints the approaching section. This section surprises the listener, focussing on a huge wall harmony that, to me, evokes mental imagery  the shimmer in the 2018 movie, ‘Annihilation’. In another stunning moment, the MS-20 synth returns, reminiscent the synth sounds at the heart the Immunity record, and accompanies the somewhat distant  piano line carrying the melody.

Space is again used expertly in Everything Connected, with the majority the stereo space filled up until around the 7-minute mark, where suddenly the focus is purely on the dry percussion and synth plucks, drastically narrowing the stereo image.

After this section however, the space does open up slightly on the horizontal plane, but more so in terms spatial depth with the majority sounds being pushed back in the room, sounding like they are gradually moving behind the speakersnot dissimilar to the introduction  We Disappear, where a similar process occurs but in the reverse, with sounds gradually moving from behind the speakers to up close to the listener. Hopkins has mentioned that he approaches the mixing process by seeing the sounds as objects that he uses to “fill a room”. I can only assume that this modern approach to musical variation is Hopkins exploiting his visual experience listening to music. “I see things that way particularly in terms the mix but also in terms sound placement, then it kind makes sense that I’m going to want to really play with that.”

New harmony is introduced in the later sections the piece, and a somewhat dystopian setting closes the track that is extremely different to the opening it, acting as a Coda for the first half the record.

Luminous Beings (2018)

Luminous Beings begins in a chaotic place, and from here takes the listener  through spinning synths and a building percussion, to a complete liberation  by suddenly stripping back most elements to reveal a breathtakingly deep sonic expanse. Indeed, this opening section is all about building tension through changes sonic space.

Subtle melodic blips enter, first as a single voice, but gradually expand in polyphony as more voices enter in canon, creating a full   musical round. Beneath this is a warm bass sequence that he mentioned is the Moog Sub Phatty. In the middle the track, there is a shift in metric focus creating the illusion the tempo slowing down into a  blissful section atmospheric suspension.

The kick and bass sequence re-enter, and the piece then glides through its final section with pianos taking the role the synth blips in the previous section, playing a new melody, but same style layered voicing. Tracks like Luminous Beings that create a warm feeling contentment within the context groove-driven music, balance out the darker moments on Hopkins’ records. A parallel can be drawn between this track and Sun Harmonics on Immunity.

Listen to Jon Hopkins’ ‘Singularity’ in full or below. What is your favourite song from him over the years?

Willaris. K shares heaving new single ‘Risen’ from forthcoming EP

Filed by Alvera CastaldoAlvera Castaldo

Rolling into 2018 with plenty momentum, rural-NSW producer Jack McCallister a.k.a Willaris. K has been the electronic artist on everyones lips. Slotting himself onto a spread festival lineups across Australia and making his maiden journey to Coachella last month, Willaris. K has commanded our attention with every move, and we’ve all been hungry for new music for a hot minute now.

With his sold out Aus tour kicking f this weekend, we are delighted to be the first to reveal the next steps for Willaris. K’s journey, in the form his new single ‘Risen’ taken from his forthcoming ‘Alchemy’ EP.

The latest fering from McCallister sees him delving deeper into harder-hitting instrumentation; showcasing a sound he has touched on in previous releases such as ‘Alchemy’ and ‘Dour Nights’. This 7-minute journey a track weaves through a cacophony industrial, techno-driven soundscapes and haunting vocal samples that stab throughout the 7-minute duration.

Speaking on the release, McCallister says “Risen was a bit a breakthrough where I blocked out everything that was happening around me and just wrote something that was a reflection how I was feeling at the time. I was taking my laptop everywhere, recording random sounds through my laptop mic, going into old ideas and being overly ruthless on them by deleting everything but a few elements that I thought had potential to become something new.”

‘Risen’ is an exciting look at what to expect on his debut EP, which drops next month Soothsayer. Warm yourself up for the EP with his latest track and get keen!

Tour Dates
Supported by AAISTE*, The Nights^ & Luboku#

May 3 – Melbourne – Northcote Social Club (SOLD OUT)*
May 4 – Sydney – Oxford Art Factory*^ ()
May 5 – Sydney – Oxford Art Factory (SOLD OUT)*^
May 11 – Brisbane – The TBC Club (SOLD OUT)*
May 12 – Melbourne – Hugs & Kisses (SOLD OUT)#
May 13 – Melbourne – Northcote Social Club* ()


Unknown Records to celebrate 5-years with huge birthday shin-dig

Filed by Rene MayfieldRene Mayfield

After roughly 1825 days pumping out absolute bangers and setting the bar,  have come together to throw a cracker a party to celebrate their 5th birthday.

Rightfully being held over at Institute Of Dance, the party that will see the culmination 5 years raving isn’t strictly about that. It will also serve as the platform to launch their 60th release since conception, in the way   from Unknown Associates. Listen below:

The event takes place on May 11th (next weekend) and will see the likes Unknown Associates, Horowitz and Baytek among others on the bill. Check the full lineup below and keep an eye on Unknown Records’ for more.

Unknown Records to celebrate 5-years with huge birthday shin-dig

Secret Rave in proper Victorian style house axed by Police

Filed by Judi PeartJudi Peart

If you haven’t heard the words rave, anti social behaviour and Victorian tea room all in one article, let alone one sentence, well let us be the first to give it to you.

In an unusual request for a waltz and polka dance over a pounding bass heavy grand piano, a group individuals are looking to get a license for a venue to do maybe more than just that.

Tredegar, Wales was the place that partygoers chose to request an evening amongst a ‘historically listed’ house to local councils. Deemed to be ridden with anti-social behaviour because the time the event was requested, and what could be ingested at these types parties, councillor Derrick Bevan had this to say, “This Bedwellty House] is the jewel in our crown. I just think it’s the wrong place to have an event like this.” PC Simon Austin had this to add, “the event will take place on the bank holiday weekend where antisocial behaviour generally increases.”

Secret Rave in proper Victorian style house axed by Police
The house in question

In an opposing point by the event organiser Dan Newman, “I feel this is maybe why a lot events end up going down the illegal route.” after the proposal was rejected by the council.

Local police have been said to be all over the party like a tipped hat and extended hand at a Waltz. Reports local police being vigilant over the the coming bank holiday and taking “extra measures” have been expressed.

Have you heard it all yet?