Get to Know Fast-Rising Bass Artist Edison Cole

7 hours ago 6

Edison Cole swung by to chat about his roots in the scene, moving to Los Angeles to pursue his dreams, his recent release on Bite This!, and more.

Edison Cole has been on quite a ride in the scene. Originally from Boston, he began his journey as a DJ and producer in Philadelphia after finding a love for electronic music. After years spent honing his skills in the studio and behind the decks, he took a leap of faith and landed in Los Angeles. Since then, he’s fallen deeper in love with bass music and kept climbing the scene ranks.

The past few years have seen Edison Cole make some waves in the realms of dubstep and trap, with releases on Thrive Music and Ultra helping push his name out into the forefront. More recently, he’s found a home on Jauz’s imprint Bite This!, dropping the FLAMES EP this past summer to help heat things up and delivering his latest single, “BACK AGAIN,” earlier this month.

Edison Cole swung by after the release of the brostep-fueled “BACK AGAIN” to sit down with us for a chat. He dived into everything from where he got his start and his early influences to his recent releases and where he plans to take the project next. Read on for the full conversation and listen to his exclusive guest mix for a taste of his style.

Stream EDMID Guest Mix 446 || Edison Cole on SoundCloud:

Hey Edison, thanks so much for sitting down with us today for a chat. Before we dive into your recent work, let’s turn back the clock. Tell us about your journey to finding a love for electronic music!

I grew up listening to electronic music before I even knew what it was. As a kid, I’d have Alice Deejay, Cascada, DJ Splash, and Basshunter on repeat. When I turned 15, I discovered artists like deadmau5, Avicii, and Tiësto, and my whole world shifted. The melodies and chords captivated me in a way I can’t even describe. That inspiration is deeply embedded in the music I create today.

The past decade has seen you enhance your production skills, find a new home in Los Angeles, and more. How do you feel your experiences have influenced the music that you’re making today?

Moving from Philadelphia, where I spent my entire adolescence and early twenties, to Los Angeles was an experience I’ve probably underappreciated. Honestly, I’m still not fully warmed up to LA, even after six-plus years—I can’t believe it’s been that long. Philly was my playground, where I learned about music, DJing, and playing shows. It’s where I discovered so much about myself as a person and as an artist.

When I moved to LA, I was falling in love with the bass scene—trap, dubstep, and everything in between. The 2017–2019 era of music especially solidified my obsession with the 150 BPM genres. LA became the foundation for my future. It’s where I’m building my vision and where I’ll execute it to its fullest extent.

Your latest single, “BACK AGAIN,” packs quite a punch with plenty of “brostep” energy, and you said on Instagram that the revival of the genre is here. Can you share what’s drawn you to lean back into this style that dominated the scene a decade ago?

Brostep is special to me, just like all that earlier dance music. Once you’ve experienced the life-changing energy that this music can bring, you almost feel obligated to share it with today’s scene. I want people to feel what I felt back then. Honestly, as we’re talking, I’m realizing how much of my work is about tapping into that energy that shaped my journey.

“Back Again” was the first track where I went all-in on reviving that narrative for my fans, and it definitely won’t be the last.

Remixes and edits are huge in the bass scene. What’s your approach to touching up tracks like Calvin Harris and Ellie Goulding’s “MIRACLE” “FREE” and John Summit and Sub Focus’ “GO BACK”?

My approach to remixing is simple. A remix is my take on someone else’s work. It’s what I would have done if that vocal was given to me to use. I apply my vision and my style and interpret the vocal through writing chords and melodies over them, either on keys or in piano roll.

It’s really hard to explain, but just giving your personal take on the remix is what makes it special. Don’t overthink it. I just want to put my spin on an already amazing track or vocal. My favorite remix, I have to say, is my Swedish House Mafia “RAY OF SOLAR” remix. But I love all of the songs I’ve remixed in their own way.

You’ve become a frequent face on Jauz’s Bite This! imprint. Can you share what it’s felt like to have support from him and his label on these releases?

Jauz has been instrumental to me, both personally and professionally. It feels like a full-circle moment because he was the first DJ to publicly support my “Miracle” remix at Ultra Music Festival during his back-to-back set with SVDDEN DEATH. That moment introduced the remix to the world.

Soon after, so many DJs started supporting it, but it was Jauz who gave it that first chance. Being part of his label and imprint is such an honor, and I don’t take it lightly. I’m excited to keep releasing music with Bite This! as I continue to build myself into the household name I know I can become.

Do you prefer the energy of festival crowds or club audiences? Have you found yourself modifying your sets to fit these spaces?

To be honest, I don’t care where I play. Some of the best parties I’ve ever played were at frat houses in Philly—like at Drexel’s Pi Kapp—where I remember DJing alongside Chris Comstock, who later became Marshmello.

That said, I’ve also played iconic venues like Pacha NYC’s main room on the Blau “How You Love Me” tour, and those were unforgettable, too. At the end of the day, the crowd is all that matters. We could be in a basement, and if they’re hyped, it’s a sick show. A recent standout was the crowd at Time Nightclub during a show with Jauz—amazing vibes all around.

What’s the biggest struggle you’ve faced so far in your career? Have you been able to overcome it yet?

The two biggest struggles I’ve faced are the fear of failure and financial troubles. There were times when I didn’t even have enough money for groceries, and I got by through ghost-producing and co-producing tracks. Moving out at 18 to pursue music in Philly was tough—it’s not easy to start from scratch. What kept me going was my love for music and my skills, which have kept me afloat all these years. I’m also incredibly lucky to have the most supportive family and friends.

My advice to up-and-coming producers would be to surround yourself with people who genuinely care about you and your success. That’s the most important thing.

Since much of 2024 is in the rearview mirror, can you share some of the goals that you hope to achieve in 2025?

Looking back, 2024 was all about preparation—laying the groundwork for what’s to come. I have so much music that I absolutely love and haven’t released yet. This music is honestly the best I’ve ever made, and I’ve been strategic about the timing and order of my releases leading up to this point.

2025 is going to be massive, and I couldn’t be more hyped for what’s ahead.