Multi-talented matphilly isn’t one to conform to the clichés of EDM. And you can tell by his eclectic, diversified, and inspired sound. Out on Nightenjin via all platforms on July 28th, 2021, we’re excited to be presenting matphilly’s debut album, i may be through with the past, but the past is not through with me. The 12-track project comes straight from the heart, as he uses his art to process what he’s been through. In juxtaposition to Matt’s long cheeky song titles (an ode to metal, which is the genre in which he started making music), he digs deep to tell his life story.

“This album is a representation of my chaotic life during my struggles with drugs, depression, anxiety, bipolar, suicide, death of my girlfriend and brother, and my process of getting clean.”

-matphilly

With a passion project like this, we felt the only way we could do it justice was by having matphilly himself come and walk us through each track. Keep reading to get insight into the artist’s mind as he poured his soul into hisStream/ album.

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1. “i always thought i would be apart of the 27 club”

This intro is to give you an idea of what chaos I was in. The drug deal dialogue was influenced by Deafheaven’s “Windows,” where the vocalist recorded him picking up drugs on the streets of San Francisco. I wasn’t doing drugs anymore when I made this song, but the sample is pretty spot on with my experience. I was in debt with my dealers and they would get upset with me. Being broke was a constant, but I was so far into my addiction that I couldn’t stop until I had no money left.

2. “Damn That Sucks Alexa Play That’s What You Get By Paramore”

I wanted this song to represent both how I looked on the outside and how I looked on the inside. On the outside, I was happy (the melodic parts), but inside, I felt chaotic (the dubstep drops). This has been who I am forever. Being like “everything is fine” to everyone, but broken and miserable when I’m alone. It’s been the hardest struggle to overcome. The lyrics in the song are supposed to be positive lyrics, but for me I’m using them more ironically. It has the typical “everything is gonna be okay” bullshit line people say to make you feel better, but in reality, it makes you feel even shittier. This is also the first song I wrote since I got clean and shifted my music style.

3. “Dessbo”

“Dessbo” is a fun one for me. I like to have my TV playing in the background whenever I’m working and Calebhart42’s Twitch streams are something I frequent. “Dessbo” became a meme in his chats because whenever Caleb would play Megaman x6, he’d throw a death ball (which he pronounces “dessbo”) and I decided to pay tribute to him, Megaman, and his funny Twitch audience through this song. The sample at the end is actually a clip of Caleb talking about the dessbo meme.

4. “I Am So Sad. I Am So Very Very Sad”

This is a skit, influenced by skits you hear in hip-hop albums. I’ve definitely had conversations like this in green rooms and sadly, I know other artists have too. A green room is pretty depressing at times. There are a lot of people drinking and having fun, but a lot of the time, artists do show a more vulnerable side of themselves before they get on stage. The sad part is, it seems the people who are getting drunk and networking are too busy to care. It’s happened to me before. Electronic music culture always boasts about being “PLUR,” but never acts upon it when it counts.

5. “Just Monika” (feat. Laurentini)

“Just Monika” is a name from Doki Doki Literature Club. Funny story: I was in the studio and Laureniti would always be there, saying hi and hanging. So one day I walked into his room to say what’s up and listen to some music. He showed me an early version of this track, I liked the direction it was going, and asked if I could work on it with him. Laureniti doesn’t really release music much (I wish he did—he’s super talented) but I’m glad I could make something with him. I think it has a really fun trap vibe.

6. “You Only Hit Me Up When You Want Me To Get You Into Space Yacht” (feat. Vadim Taver)

I had made this electronica tune for fun. I really had no direction. I got brave one day and messaged Vadim Taver (who’s played guitar in This Day Forward, Poison The Well, and A Life Once Lost) and asked if he would be into writing something with me. I gave him a vibe of what I wanted and the next thing you know, he writes this weird guitar riff that I thought was perfect. This song represents hitting rock bottom and a time was ready to leave this earth. If you listen towards the end, you can hear me reciting my suicide note from 2019. I thought it articulated everything this song is about.

7. “the year summer ended in july”

This is an interlude, but it’s a really important part of the album to me. The voice samples you hear are from a time I was playing a card game with my brother and our friends before he passed. I went through my phone one day and heard them and we were all so happy and life was good. Even though we were in a pandemic, it was moments like that that were special to me. I lost him in July of 2020 and I’m still dealing with his death mentally. I miss him every day. But it feels awesome to put him into my album as a good memory. He was a raver before I was and he was the reason why I stopped playing in hardcore bands and started DJing and producing. I remember when I won the EDC Discovery Project in 2020m he was so happy for me, He went to a bunch of the early EDC LAs and when I won, he was in the YouTube chat roasting me the whole time, haha. It was a great moment for me and I dedicate this to his memory.

8. “This Song Is Thiccer Than Pokimane Dawg”

I sat on this for a while because it wasn’t in my wheelhouse at the time. It wasn’t like the music I normally made. Then, I decided to just stop giving a fuck and make whatever I want. In 2018, I saw GOMMI play a set and I’ve been in love with hard psy ever since. Remembering that set inspired me to make this track. I wouldn’t even have finished this track if it weren’t for Risk-E, who really made me shape the song to what it is. The song title is from TSM Daequan saying subway sandwiches were thiccer than Pokimane, which I would reference when someone would ask me if a bassline was thick. Pokimane is alsos another streamer I watched as background noise and this was made watching her stream, so I wanted to tie her name into it as a thank you.

9. “Dan Marino Should Die Of Gonorrhea And Rot In Hell”

This has to be the oldest song in the album. I wrote it originally as a remix for a friend, but it never released. I dug it up a few years ago, took out the stems, and made it my own. It definitely has my older sound, so it’s my “ode” to the dubstep that shaped who I am as a producer today.

10. “If It Is To Be, It Is Up To Me”

Another skit. This one was based on a conversation I had with my friends Teddy and Erivera when I was clean and trying to figure life out. It’s definitely a different from the last skit, but also the change in my life at the time. I’m feeling better but know that it’s not sunshine and rainbows and probably never will be. But I’ll at least try to stay on the better path I’ve made for myself.

11. “When The Going Gets Tough Ted Cruz Goes To Cancun” (feat. Fedbanger)

This was my ode to complextro. I love older Porter Robinson, Zedd, Lazy Rich, and Mord Fustang; so one random day, I just decided to make myself a song in that style. At the time I had “baked the cake” for the track and showed Fedbanger. He decided to “add the icing” to it and we made a song that gives a modern twist to 2010-2012 complextro. I hope the genre makes a comeback because I wanna make more of it.

12. “Sorry, I Can’t Get You Into Academy LA” (feat. Aaron Marsh)

This is a reprise of track 6, “You Only Hit Me Up When You Want Me To Get You Into Space Yacht” minus the chaos. It’s the sun trying to come up on a gloomy day. A “things are better but things will still be hard sometimes.” Everyone presses us to just be happy, but that’s not real. Lyrically, it’s about all the hardships and problems I’ve faced in my life. And although life really sucks, I’m still here and should make the best of it.

I had emailed Aaron Marsh of my favorite band Copeland (because he praised me for a Copeland remix I made years ago) and asked if he would contribute vocals. I sent him the song and he agreed to perform on it, which made me delighted. Aaron really knocked it out asking me what the song meant and writing something I would hear on a Copeland album. I basically got a Copeland collab and I’ve never been so happy.

This song was also largely by my girlfriend who was murdered back in 2007. We were big Copeland fans and all these years later, I’m still dealing with that terrible day. I thought having Aaron on the song would be something she would be so happy to hear me do. She’s a huge reason why I make music.

Needless to say, this is my favorite track of the album. It’s a great way to end the album, topped off with a sample of film rolling to represent that my story has finally been told.

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Arielle Lana LeJarde

Arielle Lana is on the PR + Marketing team at Nightenjin. Heavily involved in the music industry, she is also an editorial writer at This Song Is Sick and FUXWITHIT as well as the Head of PR at Bonsai Collective and Denali Records.

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The post NERS034: matphilly – i may be through with the past, but the past is not through with me (Track Breakdown) appeared first on Nightenjin.

There’s no question that the discussion about diversity in dance music has been a repeated one. I touched on it back on this site in October and I even shared my experience about being an Asian woman in dance music on Mind The Cult in March for Women’s History Month. It’s a topic widely discussed in our community and it’s a topic that we should keep talking about until we see some change.

Kaytranada being the first Black artist to win a GRAMMY in dance music was a big step (and a huge win) for diversity in dance music. But it’s something that should’ve been achieved a long time ago. After all, dance music was created by Black people.

So when I see folks in the community saying that “we just need to focus on the music,” I both agree and disagree. I disagree because EDM is so much more than headbanging to heaters and slappers — it’s a whole culture. And I agree because even if we do “just focus on the music,” then we have to focus on the fact that dance music is rooted in the Black community and came out of a need to create a space where they finally belonged. So…. why is EDM white as fuck now?

Even as a person of color, I’m a guest of the culture as much as the next person. So I decided to talk to other influential people of color in the music industry (who I think do a great job in creating a more inclusive space) to ask them:

What does diversity in dance music mean to you? And what can other people in your role do to champion diversity in dance music?

Adrian Reed (capshun)

CEO, Founder, and Label Manager of Bonsai Collective & Denali Records

Really, diversity to me can be applied to all things. From literally a person’s cultural or racial background, music taste, location, and upbringing. I think what’s most important about diversity is to be open to all possibilities. You never truly know what a person can bring to the table until you learn about them as people. I have met so many great artists as a label curator and I have gotten to share my light in the industry — even if just in small ways, at the moment. The biggest thing I get from music is being open to everything: Music, race, religion, sexuality, gender. And being at peace that those differences in us create the melting pot that makes the culture. Not just what we see in the forefront a lot of the time.

Other label owners just need to be open and stop being afraid of actually supporting people because of their differences. It’s also about actively being open to working with different types of people and artists. Black, white, big, or small — We have to break down the not-so-diverse glass ceiling and lack of representation starting at our levels and build up this culture of diversity. I think it’s becoming better in some ways. I still unfortunately see a lot of… not so diverse platforms and communities. But people are opening their eyes up to culture more. We just have to keep up being active about our participation in creating a more diverse culture and community.

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GlitchxCity

Music Producer & Streamer

To me diversity in music can mean a bunch of things, but what I would like to think is that you add both your creativity on top of, let’s say your heritage in that general genre. Adding in some instruments from your culture or that tune your grandma used to sing for you when you were a kid, just that experience from your roots can go a long way in dance music, and because everyone has different experiences, put that into music and you end up with a slightly different sound from what you’re used to.

Other artists can start talking about it and sharing. Sparking up a conversation about the matter is what moves it forward. When more people listen to those conversations, the more they go back and listen to different takes on dance music, and the more experience everyone gains from it. My motto is “also support the homies” and I feel that other artists can adopt that idea too.

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Tate Johnson

Artist Manager

Diversity in dance music for me means opening the door for Black artists and creatives to get their tracks signed by major labels in the space, get booked for major fests and shows, and get paid equal rates to their counterparts. I pinpoint Black artists because although POC are widely underrepresented, Black artists also have little visibility in the scene, and being a Black woman who manages two artists, that is a goal of mine. In addition, I would love to see more support and opportunities being afforded to Black creators and managers/industry people in the space.

Other artist managers can look out for upcoming POC and Black talent, plug Black artist managers and their artists for opportunities, show them the way a bit. Above all, try to create more spaces and getting more Black and POC managers in the room where important conversations are being made is really key. And above all, listening and learning. Hearing people’s experiences in this industry being POC or Black, and really learning from those experiences, validating those people and honoring their truths. I think that will make a huge difference.

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Victoria Garces

Owner, TRILLVO

Diversity means accepting EVERYONE. No matter their sex, race, skin color, size, weight, body shape, genre, sexual orientation, etc. Accept everyone for what they are. It also means inclusion… include everyone in your projects, you never what a different perspective will lead you to. 

Other publications can highlight different groups in the community and not just based on their outer appearance. Looking deeper and find out their story and share it, along with their music. 

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Rahel Faruque

Writer, Deep State Audio

Diversity in dance music means to realize and work against the many systems in place that actively put marginalized artists and industry professionals at a disadvantage. While many dance music publications and media outlets work to amplify marginalized voices in the industry, real change comes from giving BIPOC opportunities to lead from positions of power.

Writers in the dance music space can help champion diversity by highlighting real issues that effect BIPOC in the industry. This includes lack of opportunity and inclusion, and the lack of infrastructure that lets people from marginalized groups into the dance music scene in the first place. While I believe BIPOC artists should be highlighted more, many publications only do this in observance for a specific month. BIPOC artists deserve to be championed year round like their counterparts.

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Mango Lewis

Artist Manager & Publicist

Diversity to me in dance music is making everyone feel included, having a space for everyone at the table. The dance music world can so easily get drowned out with what’s “poppin” and “trending” and that’s so often the white man, even though my inbox is full of talented BIPOC whose music won’t ever get picked up. We can hire and diversify our teams all we want but if everyone, artists included aren’t given the same opportunities then something still isn’t right.

Other publicists can start paying better attention. Do your job wholeheartedly. Dig deeper. The diversity in music is right in front of our faces, we are at the forefront of the problem. Let’s fix it.

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As I worked through this article and interviewed the amazing people above, I had an epiphany that led me to question… Why are people of color generally the only people who talk about diversity? In a subculture as “accepting,” “loving,” and “PLUR” as EDM, why weren’t the people at the top (read: white people) contributing to finding a solution to this glaring issue in the scene?

I took to Twitter to ask more white folks if they’d like to speak up, but didn’t get much bite. So until everyone can join the conversation and work together into creating a more diverse and inclusive space, we still have a long way to go.

If you’re interested in getting involved, sharing your thoughts, or ideas, don’t hesitate to reach out to me directly at arielle@nightenjin.com, use Nightenjin’s general contact form, or tag us on Twitter.

Arielle Lana LeJarde

Arielle Lana is on the PR + Marketing team at Nightenjin. Heavily involved in the music industry, she is also an editorial writer at This Song Is Sick and FUXWITHIT as well as the Head of PR at Bonsai Collective and Denali Records.

ariellenyc.com

The post Let’s Talk Diversity In Dance Music… Again. appeared first on Nightenjin.

Alex Amaro is back on Nightenjin with a treat! Last June, we worked with the Oakland producer to release the original “Rise” mix to benefit the NAACP. We’re happy to be working with him again for this two-track remix EP featuring a bass house VIP from the legend himself as well as a Drum n Bass flip from Eric Mark. The EP is set to release on Nightenjin, April 14.

“Rise” is still one of my favorite tracks to date. It was my real entrance after rebranding. After playing the original for over a year in every set, I thought that a fresh take was needed. The bass line sound is base on Chris Lorenzo’s remix of “Word.” The “Word” remix EP was actually the source of inspiration for this entire project. After hearing the Eric Mark remix [of “Word”], so I reached out to him on Twitter. I could hear his style playing well for a “Rise” remix so I sent him the original and he agreed to remix it.

Alex Amaro

Alex Amaro’s “Rise” VIP is the quintessential bass house tune. An intense, bellowing build-up leads to a piercing drop that’ll have you grooving all night long. Eric Mark takes a different approach on the track. His remix features blasting breakbeats and hypnotic synths that spotlight the raggae vocals perfectly. Whatever vibe you’re going for, you’ll definitely find it in this remix EP.

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Arielle Lana LeJarde

Arielle Lana is on the PR + Marketing team at Nightenjin. Heavily involved in the music industry, she is also an editorial writer at This Song Is Sick and FUXWITHIT as well as the Head of PR at Bonsai Collective and Denali Records.

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Keeping the energy from the massive release of Pit Crew Vol. 2, PVRTY HVRD is back with a banger bass house tune “Plenty Bandz” featuring Deezy. The song will be released March 24 on Nightenjin and we’re hyped to be sharing it with you!

Ryan began producing and DJing under the PVRTY HVRD moniker in 2018 with a goal of bringing high-energy, dirty bass, and house grooves. And we can confidently say he lives up to the name. In “Plenty Bandz”, the Detroit native collaborates with Deezy to combine rap and house seamlessly and creates a crazy club banger as a result. Gritty rap vocals and bouncy basslines make the track down-and-dirty danceable. With the vaccine rollout underway and live events returning shortly, we can’t wait for you to hear it soon, booming on speakers at a club near you.

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Arielle Lana is on the PR + Marketing team at Nightenjin. Heavily involved in the music industry, she is also an editorial writer at This Song Is Sick and FUXWITHIT as well as the Head of PR at Bonsai Collective and Denali Records.

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The post NERS029: PVRTY HVRD – Plenty Bands (ft. Deezy) appeared first on Nightenjin.

Adame is back on Nightenjin this February 24th to bring a new 2-track record, Chain Reaction. The Germany-based beatmaker isn’t a stranger to the label and was even featured on our Pit Crew V2 Compilation back in December, and we’re so glad to have him back for these two new fire tracks.

Chain Reaction is comprised of hard-hitting trap tunes “Catalyst” and “Bonkers.” Each of the songs brings something new to the genre, “Catalyst” starts off the record strong, experimenting with unique sound design and basslines to give new meaning to acid trap. “Bonkers” boasts more of a classic trap feel, filled with grimy 808s and dark drops you can’t help but throw your trap arms to. With all the gas Adame has been putting out, we’re hyped to have him on board at Nightenjin and see what he cooks up next.

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Arielle Lana LeJarde

Arielle Lana is on the PR + Marketing team at Nightenjin. Heavily involved in the music industry, she is also an editorial writer at This Song Is Sick and FUXWITHIT as well as the Head of PR at Bonsai Collective and Denali Records.

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It’s never too early in the year for some bass house and that’s exactly what ZEWMOB and Bad Color are giving us a new track, ‘Widda Best.’ It’ll be both of the artists’ first releases on Nightenjin and you’ll be able to stream it all day starting January 27.

ZEWMØB’s Soundcloud bio reads, “I try to make house music that gives you stank face.” And he wasn’t joking. ‘Widda Best‘ brings you everything that’s hype in Bass House: A thrilling build-up, booming basslines, a catchy hook, and a drop that’ll make you get up and dance all. ‘Man the floors, we gon’ keep on rockin’ to this track for the rest of 2021.

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Arielle Lana LeJarde

Arielle Lana is on the PR + Marketing team at Nightenjin. Heavily involved in the music industry, she is also an editorial writer at This Song Is Sick and FUXWITHIT as well as the Head of PR at Bonsai Collective and Denali Records.

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2020 has been shitty, to say the least, but music always boosts our mood. That’s why we’re back with Pit Crew V2! For the second year in a row, we’re bringing you the best tunes from our favorites artists in every genre.

“We pride on being a no-genre label and like our first compilation, we want to continue that trend. Music has no boundaries to us.”

– Danny Ashorineko, Co-Founder, Nightenjin

Going off of our motto, the compilation kicks things off to a strong start with the genre-defying “Rydrz.” Blending elements of techno, house, and bass, Achilles breaks the norms of an electronic track in the most masterful way.

Adame brings the heat next with “She Started Prayin.” This bass tune is full of hip-hop vocals and dirty drops, only for your booty bouncing to be brought to a halt with a melodic interlude. The switch-ups throughout the track will be sure to keep you on your toes.

You’ll be ready to party hard with our third track: PVRTY HVRD‘s bass house banger “Thang Low.” With bone-breaking four-on-the-floor beats and springy synths, this high-energy track will keep you dancing all night, even if it has to be in the comfort of your living room.

Keeping the dynamics high with another house track, it’s knives out with Pretence‘s “Blood Bath.” Jam-packed with beastly growls and savage drops, you’ll be ready to throw hands and catch bodies once you press play.

Ending things on a high note, we have arguably the most versatile track of the bunch. Despite its title, “this track is thiccer than pokimane,” it isn’t a parody song about twitch streamers. matphilly mixes jungle beats, wave, and dubstep effortlessly, bringing this compilation to a comprehensive close.

No matter what you enjoy listening to, you’re going to find something in Pit Crew V2 that’s perfect for you. And if you’re curious, you can listen to 2019’s Pit Crew Vol1 here.

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Arielle Lana is on the PR + Marketing team at Nightenjin. Heavily involved in the music industry, she is also an editorial writer at This Song Is Sick and FUXWITHIT as well as the Head of PR at Bonsai Collective and Denali Records.

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Lizzy Jane’s exponential rise in the scene hasn’t gone unnoticed. We’re excited to be re-releasing her hit “My Heart” along with “My Heart VIP” on November 25th at Nightenjin. Needless to say, Black Friday just got better.

About. a year ago, Lizzy Jane dropped “My Heart” in our Pit Crew Vol. 1 Compilation album. Now, she’s back at it again with her reimagination of the track, only going harder than ever. The musician keeps things fresh, upping the beat and creating new filthy drops that’ll make you want to headbang into the new year. The song doesn’t fail to showcase the DJ’s insane vocal chops and impeccable sound design abilities, ultimately securing her as one of the top bass producers to keep your eye on. Regardless of how 2020 went, we can confirm this was Lizzy Jane’s year.

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Arielle Lana is on the PR + Marketing team at Nightenjin. Heavily involved in the music industry, she is also an editorial writer at This Song Is Sick and FUXWITHIT as well as the Head of PR at Bonsai Collective and Denali Records.

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ONE&TWO are back with the Freak EP, out on November 11, via Nightenjin. The Las Vegas and Kansas City pair teamed up to give us a two-track record that spotlights the versatility of house music.

“Freedom” kicks off the track with a tribal beat that builds into a deep tech-house hook with velvety vocals to soothe the soul. “Freak,” on the other hand is appropriately named and party-ready. The epitome of a bass house anthem, “Freak” is full of guttural chanting and modular wobbles that’ll melt your brain. In both tracks, ONE&TWO showcase their mastery level of production, incorporating clean basslines and hypnotizing hooks to construct certified bangers. Freak EP may be short, but checks off all of our boxes.

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Arielle Lana LeJarde

Arielle Lana is on the PR + Marketing team at Nightenjin. Heavily involved in the music industry, she is also an editorial writer at This Song Is Sick and FUXWITHIT as well as the Head of PR at Bonsai Collective and Denali Records.

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KillWill, famously known as Will Champlin, is dropping his longest project to date, the Glowing EP, on October 21st, via Nightenjin. The multi-talented musician shows off all his skills in the 5-track EP by both producing the beats and vocals for the project. The Glowing EP will have you vibing all the way through.

You’ll come to find that KillWill is ultra versatile. The LA producer/vocalist showcases two different genres in Glowing: melodic house and drum & bass, with “Disintegrate” and “MOUNTAIN MAN” serving as the project’s dnb tracks. You’ll be transported to an island paradise with tropical house opener, “Alright.” The tune’s bombastic beats are topped off with the musician’s velvety vocals and elements of nature scattered throughout. “Embers” and the eponymous “Glowing” are two passionate house songs that add dimension to the record. The Glowing EP reaches an uplifting end with “MOUNTAIN MAN.” The fun, high-energy DnB track brings the whole project together, and is the perfect example of Champlin’s matchless musicality.

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Arielle Lana LeJarde

Arielle Lana is on the PR + Marketing team at Nightenjin. Heavily involved in the music industry, she is also an editorial writer at This Song Is Sick and FUXWITHIT as well as the Head of PR at Bonsai Collective and Denali Records.

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