Candyland & Ricci – “Touch Me”

Are you ready for some bumpin’ bass and funky-azz House shizz that will serve as the soundtrack at your next party? Then make way for the collaborative track, “Touch Me” by Candyland and Ricci.

Neither one of these names were familiar to me before I heard this track, so a little investigation was in order. I discovered that Candyland is a male/female duo made up of Ethan and Josie, hailing from the sunny, beach town of Santa Barbara.  Although their hometown is known for its luxury, Candyland never got any handouts, often sleeping in their car while making and performing music. But it seems like after over 2 years on the scene, they’re turning heads. Like Ricci.



Born in Brazil, Ricci, has already remixed or collaborated a plethora of  “who’s who” in the EDM world like Vintage Culture and Daft Punk. He’s hitting the Lollapalooza Brasil fest this year, sharing the stage with artists like Metallica, G-Eazy and Borgore.

Released by Canadian EDM label, Monstercat, “Touch Me” combines the fun of House with the drops and power of Bass culture for an ass-shaking good time. The song demands an audience of sweaty bodies writing to the beat under the influence of the party or whatever substance of choice one prefers.



Flume – “Say It” ft. Tove Lo (Illenium Remix)

We should all be familiar with Flume by now. The Australian producer and musician, born Harley Edward Streten, hit the scene in a powerful way with remixes and collaborations with Lorde, Arcade Fire and Sam Smith. His second album, Skin, dropped earlier this year and ignited the critics. His tracks are light but driven, taking the listener through an acid daydream of beauty.

Illenium might not be as known as Flume, but just wait. The Denver based producer has only been on the scene for the last 2 years or so but already has a nice body of work on his turntables. Along with his remixes of artists like the Chainsmokers, Odesza and Dawn Golden, Illenium released his debut album, Ashes, earlier this year and it’s a helluva ride through the sonic mind. He’s currently on tour throughout the U.S. so check his site ( for dates near you.

Here’s Illenium’s remix of this year’s latest Flume single, “Say It.”  It’s a 4.5 minute track that’s guaranteed to put a smile on your face and give  you a moment to yourself. Enjoy euphorically.


SoundSnobz – CTRL

Ok, I’m going to admit it. I’m not really what you would call an EDM fan. Born and raised in Rock ‘N Roll, I graduated to punk, jazz, soul, outlaw country and metal. Basically every damn thing I could get my hands onto besides electronic music.

Then, the gods that be decided to get a good chuckle and I scored a job writing for Now I’m nipple-deep in bass, trap, house, and other electronic music I’m actually starting to ENJOY the damn stuff. Oh irony, you tricky fox.

Recently, I was shown UK producer Troyboi, and discovered just how artistic this genre can be. I jumped on the chance to work the Euphoric Press Tent at Northern Nights this last July curious not only for the adventure, but to check out Troyboi’s set. And he did not disappoint. His electrifying energy and unique style shocked even the most critical parts of my brain into admitting I was witnessing something pure, original and new. But again, I’m late to the party.


“CTRL” the latest release from SoundSnobz–Troyboi’s collaboration project with IceKream–was released yesterday on Elysian Records and fits nicely in the band’s discography. “CTRL” continues the duo’s innovative style while keeping the track firmly anchored with an infectious beat. While they aren’t reinventing the wheel with this one, it still ventures into experimental territory at times, keeping the song fresh and alive.

Is this this sign of more, new SoundSnobz tunes to come? Stay tuned!


For those who have been paying attention in a euphoric manner, Santa Cruz DJ and Producer, LabRat, isn’t a new name. The 25 year old Bass engineer has been rocking the scene since 2010, when he released his remix of the XX’s “Crystalized” to great acclaim. Since then, he has crafted his own unique style of dubstep and EDM, blowing up the Bay Area and festival scene.

Yesterday he dropped his latest track, “California Condor,” a three and a half minute flight through his trippy brain on  MalLabel Music. Unlike the track’s namesake, the Bass scene is in no way close to being labeled “critically endangered,” especially if Labrat has anything to say about it.

“California Condor” soars through the musical genre, with pockets of  high-pitched electronic glitchiness guiding the track through an open space of heavy bass. There are no low valleys here, just peaks of happiness to gaze down upon while the instrumentals. So get comfy, place your tray tables and seats in the upright position, and brace yourself for a sonic adventure through the mind’s sky.




Originality is essential to any art, but in the EDM world, it’s everything. If you sound like one of the other thousands of artists producing on their laptop, you’re not going to get very far in your career. A DJ and producer has to be confident in their sound and give no fucks about what is currently happening in the music scene. They have to hold onto their ideas, and love themselves first. And that’s exactly what IceKream does on his new track, “Squeeze Me.”


Two days ago,  IceKream, the mysterious half of SoundSnobz (the other half would be the very public Troyboi) dropped his latest track on Soundcloud and it already has over 38.5k  plays and 3,000 likes. Needless to say, this original anthem is picking up steam and it’s easy to see why. His jazzy house beats and chill vibes carry the track to levels of love. Like you’re being bear hugged by some blue jazz. After it’s done you just want to give Icekream a big. . .ol. . .squeeze and that ain’t no euphoric jive.



Tanner Petulla–otherwise known as the artist Getter–has been having a great 2016. The San Jose born, turned Los Angeles, producer has been signed to Skrillex’s OWSLA label for about a year and has released a slew of music. Earlier this year he released the Radical Dude! EP and produced Underground Underdog by Pouya along with $uicideboy$, Radical $uicide, both slamming bodies of work on their own accord. Not to mention the numerous singles, remixes and guest appearances he’s done throughout the year. On top of all that, last month the prolific artist released a high-budget, high-resolution, beautiful and creepy video for “Forget It,” featuring Santa Cruz born artist, TREE.


Never one to wait on the sidelines, Getter recently dropped his latest original track, “Wat the Frick,” a 4.5 minute journey back to his dubstep roots. But this is no ordinary bass fest. Getter combines the wompiness of dubstep with high energy and happy, Tetris-like melodies for a track as bizarre and colorful as the track’s art.


After a few listens, it’s plain to see the song’s title is spot on.
Keep checking back to see the latest happenings with Getter as the year is only half-way over and it’s sure to bring a helluva lot more from this rising producer. 



Fresh off the producer’s board and straight to your earholes we present Labrat’s latest track, “Lemon Tree.” The 29 year old Santa Cruz producer broke into the scene six years ago with his remix of XX’s “Crystalized,” which went viral on YouTube, earning him an international audience. In 2011 he dropped his debut EP, “Test Subject,” and has continued pushing the boundaries of the EDM scene to last year’s three song EP, “Break The Cage.”

“Lemon Tree” is Labrat’s freshest and most organically local material, named after the Santa Cruz medicinal strain turned brand. The track itself is a euphoric high of reggae with dubstep break downs and electronic build-ups. Floating over and throughout are mellow vocals reminding the listener to take a breath and chill in a cloud of the citrus goodness. Trust me, homie. You’re gonna wanna hear this shit.

Hit play on this fire track and prepare for Labrat’s sets at Northern Nights, this weekend on the–you guessed it–Lemon Tree stage,  and Organic Fest (August 12-14) in Wilseyville, California. Don’t be that person who won’t have anything to talk about with your crew because you slipped.




Fans of Drum & Bass, get ready for this one. San Francisco DJ, Snafu, recently remixed Herobust’s “Pipette Up” and it sounds like the most insane night on drugs I’ve had in a while.

While the original is more on the lean side, as in sizzurpy slow, Snafu injects the track with a dose of molly and quicker timing.

The track comes a month before his appearance at the debut, Organic Fest, in Northern California. Click on the link but make sure you get to a safe place with some comfort food before you do.


He might have trap beats, but don’t call Troyboi a “trap producer.” In an interview 2 years ago on, the 28 year old Londoner said:

“I feel I’m still evolving, and I can’t wait to take it a step further. I couldn’t think of anything worse than being labeled as a ‘Trap Producer’ in a non-evolving genre, stuck making the same old beat pattern, same drum kit, same 808, same synths with the same old formula. I don’t believe in being a one-trick-pony; I’d rather be a five-trick-platypus.”

and over the past two years he’s pulled out more than five tricks.


Taking inspiration from the entertainment media–along with his India, Nigerian, Chinese and Portuguese heritage, the platypus of EDM creates intricate and strange beats that flow with Middle Eastern influence for a modern world.

His latest track, “Sensei,” is three and a half minutes of uncommon sounds stirred to electronic perfection. True, the foundation lies on a trap beat, yet Troyboi builds the structure out of flutes, violins and rhythmic chanting culminating in a track that shows he still has a lot to teach the rest of the music world. Smoke some sensimilla, and listen to “Sensei” in that euphoric state of mind.


It’s Saturday, the weekend is here and we have an EUPHORIC EXCLUSIVE for you!

This week, San Jose native now Los Angelino, Getter, released a video phis tune “Forget It,” on Skrillex’s OWSLA label. The song is heavy-hitting and beat-filled, but also has an eerie thread of melancholy sewn throughout which becomes not-so-subtle in the video. With a budget for production and a song that combines such contradictory elements in a genre that praises optimism to the point of ignorance, it’s easy to see why the video has 152,000 views in under a week.

One of the elements that gives the song such a dark twist, comes from another Bay Area artist and one of our favorite local producers, Tree. While the 22 year old is currently a Los Angelino himself, finishing his Bachelor of Fine Arts degree at the infamous California Institute of the Arts (pretty much every one of your favorite Disney movies in the past 30 years were created by CalArts grads),  Tree hasn’t forgotten his Cruzan roots.

We met up with Tree on a hot, L.A. day for some cold coffee and deep thoughts on the “Forget It” video, his current projects and embracing pop music as a whole and not  just a genre.

Euphoric: So your Tree concept came about when you were a teenager on acid at Burning Man, right?

Tree: That’s when I had an outlet to pour all that energy into, instead of being reckless and doing/selling drugs. It gave me an opportunity to see that I have a chance to showcase what I do, to a large amount of people. I’m lucky to have found an outlet to do that.

E: And you did it well, too. You were signed right away.

T: For the first year, yeah, but that’s brought about a whole headache of issues, now. Whatever. I’m grateful to still be making art and nothing’s stopping me. I did take a break from music for a while, but I never stopped making art.

E: Let’s talk about the music video with Getter.

T: It should be out on tv–MTV–in America and the UK. I actually got this bowl cut because of the video and wanted to talk about that. It’s a statement for me. Everyone on the mainstream platform really take themselves seriously. They want to be sexy and pretty and all that. I got the bowl cut to make a statement that we should be able to laugh at ourselves. So I wanted to do something that would separate myself from everyone else. I thought, “How can I make myself look as ridiculous as possible?” and I think I accomplished that. We got some good shots of the haircut, too, even though it’s not about me at all. I play a cash register clerk. It’s a story about this guy who gets in a car crash with his wife and she dies. However, he’s a scientist so he tries to recreate her through cloning but he never gets the formula right. So the clones are bleeding and deformed. In the end, he realizes he won’t get her.


E: You can’t go back

T: Exactly. And it ties in with the theme of the song which is called, “Forget It.” It’s about moving forward and letting go and the guy has that realization over the process. It was awesome to be part of a big production like that. I’ve never had the opportunity to be a part of something where they could flip cars or rent out stores to film. It’s on Skrillex’s label, OWSLA, which Getter is signed too. He recently moved to L.A. because it really is the Mecca of electronic and pop music. If you want to be in the recording industry, you need to be here. When I lived in San Francisco there was no scene anywhere close to this.

E: Will you be collaborating more with Getter?

T: Yeah, we have some work in the process now. I’m not sure if it will be an EP or album. He’s also helping me some new music I’ve been doing. We push each other into genres neither has really done before. Which is what happened with Forget It. If you listen, it’s all heavy-hitting EDM music with my light break in the center to cleanse your pallet. Actually I have a bunch of albums I’m trying to finish and some will be coming out this summer. At least one, called Squirt. It’s all old-school hip hop. It’s a tribute to J-Dilla so everything on it is inspired by him and that era of hip hop: old school and soulful. I’m excited about it. It’s in the middle of being mastered right now, so it’s almost finished.

E: Who’s mastering it?

T: My friend, Clay. Another student at CalArts.

E: Being there, you’re surrounded by so many people doing awesomely creative things. It must be rad being able to help each other out.

T: Totally. I think the biggest thing is knowing what you want to do, when you go to that school. A lot of people know they want to do art, but not in which field, exactly. At least a large percent say, “I know I want to do this, but where do I fit in?” So for me to have an exact idea where I fit in the spectrum and what I need to do, it propels me forward. I only have a very limited time at this school anyways, two years. It’s essential for me. I’m finishing up my BFA because, halfway through, I was offered the job to be a recording artist. I couldn’t skip that opportunity, that’s the dream job.

E: And to do it at such a young age, too.

T: But that allowed me to see where I sat in the spectrum, to find out what I’m good at and what I want to do. Which, in turn, has made my time at CalArts more directed. I’m very grateful for that even if it’s led to some headaches.

E: Well so much of what we do ends up stressing us out, anyway. I think it’s best to be stressed doing something you love than have a job you hate and wonder why you constantly put yourself through shit.

T: You definitely need to set the goals and you’ll reach them when you get there. You know? But you have to set some deadline and who cares if you reach it or not. Be ambitious. Do something that may not be realistic at all.

E: Talk about your last performance in Santa Cruz at the Kuumbwa.

T: I built two trees–one on each side of the stage–and had a 12×8 foot projector in the middle so we could do visuals from behind it. We also had bushes and stuff, it was cool because it was almost like a children’s playset. It was all beautifully painted and put together, but it definitely separates us from other acts. That’s also what I’ll be using with my thesis and touring.

E: What’s your thesis?

T: This latest was a lot more psychedelic/hip hop and dance oriented. The next one will be more pop oriented but it will still be geared towards getting people to dance. This one was more live drumming and beats, but it was really big because I had to overcome the technical stuff.  I have two laptops set up, one with audio and the other with visuals. I run them through one MIDI and then send that into a patch so I can trigger audio and visuals at the same time. So I was really in control. Having the freedom to overcome the technical aspects was really essential, so I can take the show in different directions each night and I don’t have to play the exact same set.

E: So it’s not a pre-recorded video. You’re actually creating the visuals as you go along?

T: The videos were all pre-edited. A lot of the music I was working with had samples from the 1940’s and 50’s but merged with a modern spin. I found old school footage of people dancing and made it–it was almost like an old-school hip hop video, but from the 1950’s. So it had an older feel but still very modern. It wasn’t hip hop at all, but what I’m saying is, when you sync it with modern beats it creates the feel.

E: It shows that if it’s hip hop, big band, jazz or whatever. That’s the music of the time and ultimately it boils down to people enjoying life and having a good time.

T: Exactly. Especially with having samples, from the original source, in the music. It  syncs up and you think, “Oh, this makes sense.” It’s all part of one, consistent thing. It’s everyone contributing to an ongoing conversation.

E: It really is.

T: My goal is to take the mainstream platforms and inject them with art that inspires others. I want to breakthrough the mainstream and still put out work that I think is filled with art, love and passion. No matter what time frame we’re looking at, there’s always 5-10% of that mainstream that is incredible. Amazing things are happening but it’s hard to see that when there’s so much garbage. People always say, “Mainstream music sucks” but there’s always incredible stuff happening. It’s about being open to the idea that pop CAN be great. It’s not a genre, it’s literally just making something for the masses.

The intention behind your work has a really big part of this. Why are you doing this? Are you trying to make a bunch of money or are you trying to inspire people? That’s what makes the difference between the 5% and the other 95% of pop music that’s watered down. But there IS a time and place for all music. You don’t need to work your brain out 24/7 and you can listen to bad, fun music to relax. But you can also tell when the music has passion behind it.

E: Like punk rock. Half of the originators couldn’t play, but they had the passion.

T: People latch onto confidence. Be your biggest fan and your biggest critic. That’s the key.