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AfroSalto x Mednas – ‘All Good Things (Come To An End)’

As we usher in the first Friday of 2025,dive into the electrifying debut single in the afrohouse genre: ‘All Good Things (Come To An End)’. Introducing AfroSalto, a fresh duo that has teamed up with Miami’s dynamic Mednas to deliver this captivating anthem. Start 2025 on a high note with this uplifting tune. Now available now on Spinnin’ Records—your soundtrack to an amazing year ahead!
‘All Good Things (Come To An End)’
The highly anticipated collaboration between AFROJACK and Dutch producer Gregor Salto has finally arrived. They delivers an unforgettable afrohouse track titled ‘All Good Things (Come To An End)’. Drawing inspiration from Nelly Furtado’s iconic hit, this vibrant track perfectly encapsulates the joy of reconnecting with loved ones and celebrating life’s fleeting moments. This remarkable tune blends deep storytelling with an infectious dance energy, making it a must listen. Its layered melodies evoke a captivating sense of nostalgia while ensuring a contemporary and progressive sound. With crisp percussion, lush pads, and a driving bassline, AfroSalto and Mednas exhibit their remarkable attention to detail, resulting in a polished and impactful song.
‘All Good Things (Come To An End)’ truly embodies this vision. Originates from a warm, irresistible groove where organic percussion mingles seamlessly with sweet rhythmic melodies, the melancholic essence of the track is expertly balanced by its deep club atmosphere. Both artists draw on their underground backgrounds and extensive expertise in classic afro house to elevate the experience. Miami-based producer Mednas infuses undeniable energy into the mix, creating a fresh groove that’s destined to captivate dance floors worldwide.
AfroSalto
Two of Holland’s most iconic DJs, Afrojack and Gregor Salto, embark on an exhilarating new journey, creating a dynamic collaboration AfroSalto. This partnership represents a remarkable fusion of talent, bringing together two artists who have profoundly influenced the electronic music scene. Initially dominating the Dutch music landscape since the early 2000s, they have since winning global audiences with genre-defining festival hits.
Afrojack has been a driving force behind the EDM phenomenon. Well known for his legendary collaborations with stars like Pitbull, Ne-Yo, David Guetta, Eva Simons, and Steve Aoki. In parallel, Gregor Salto has carved out a unique niche with his winning Latin house sound,. He has earned acclaim worldwide through hits like ‘Can’t Stop Playing’with Dr. Kucho! and ‘Magalenha,’ featuring Sergio Mendes.
As we approach 2025, the excitement builds around AfroSalto, where these two icons will revive their shared passion. Their aim is nothing short of revolutionary: to redefine afrohouse by weaving in emotional depth and irresistible grooves that will echo with fans. Enjoy this new track and stay tuned for an exciting new year with EDMTunes.
The post AfroSalto x Mednas – ‘All Good Things (Come To An End)’ appeared first on EDMTunes.
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Late-Night Dancing Falls Into Global Decline

The late-night raver seems to be fading away. Major cities around the world have been reporting a decline in club culture. The closure of clubs has been cited as rising costs, declining tourism, Generation Z’s diminishing enthusiasm for traditional clubbing, and the growing popularity of music festivals as key factors behind its closure.
These challenges reflect a broader trend reshaping nightlife across major cities, including Berlin, Barcelona, Melbourne, and New York. Club-goers are ending their nights earlier despite dance music’s growing global appeal. Between 2014 and 2024, the proportion of events running past 3 a.m. dropped in 12 of 15 international cities, according to a Financial Times analysis of Resident Advisor listings.
More restrictive licensing regulations, particularly after COVID-19, have further strained clubs. While some cities had embraced initiatives like night mayors and “24-hour city” policies, pandemic-era oversight has led to stricter enforcement of late-night operations.
Daytime events and festivals are also gaining popularity. Mike Vosters, founder of Matinee Social Club, noted that his early evening New York parties, initially designed for millennials seeking earlier nights, have seen growing interest from partygoers in their 20s. He attributed this shift to a cultural move away from “bottle service” clubbing and toward healthier, more balanced lifestyles.
In Melbourne, often dubbed the world’s live music capital, the nightclub scene has sharply declined over the past two decades. Rising costs and shifting consumer habits, particularly post-pandemic, have led to over 100 club closures in recent years.
Despite these challenges, electronic music continues to thrive. A report by the International Music Summit revealed the industry grew by 17% in 2023, generating $11.8 billion in annual revenue. Additionally, the number of venues hosting more than five events annually rose by 60% across 15 cities from 2014 to 2024, with artist bookings nearly doubling during that time.
The post Late-Night Dancing Falls Into Global Decline appeared first on EDMTunes.
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Top 10 EDM Artists to Watch in 2025

Forget the resolutions and turn up the volume—2025 is all about discovering the next wave of electronic music stars. Get ready to watch these rising talents take the scene by storm.
1. Disco Lines
This Colorado-native is a force to be reckoned with. From playing Ultra Miami main stage to securing a spot on the 2025 Coachella lineup, Disco Lines has had quite the year. And- he’s only going up. He’s known for his infectious house melodies infused with some future bass and disco-tinged pop. The 25-year old even launched his own independent record label last year- Good Good Records.
2. Jay Eskar
Jay Eskar’s talent doesn’t go unnoticed. I’ve personally had the pleasure of watching him and his sound grow and transform over the years- and I think he’s about to strike gold. His future house music takes his listeners through an emotional journey, where he strives to help them connect with themselves deeper to unleash music’s limitless potential. While no upcoming tour dates have been set for this Mexican-native, we will hopefully be seeing him back in the spotlight real soon.
3. MISS DRE
Sugar, spice, and some naughty and nice- that’s MISS DRE. She is house and techno’s unstoppable triple threat—DJ, producer, and vocalist. Hailing from the Bay Area, her sound is defined by gritty downbeats, hypnotic motifs, and an electrifying stage presence. Over the past several years, she’s been handpicked to support Green Velvet, John Summit, and Mau P– to name a few. MISS DRE’s career is just getting started, with a bright future ahead and a lot to promise as we head into the new year.
4. YDG
In a short time, this South Korean artist has emerged as a standout name in the underground bass scene. His signature style- a combination of dubstep and experimental bass- has received nods from industry icons like Excision, Sullivan King, and DJ Diesel. YDG has even released tracks with Gryffin, Yellow Claw, Riot Ten, ARMNHMR, and more. From humble beginnings to making his mark on the main stage, YDG is a name you’ll want to follow.
5. Bleu Clair
Bleu Clair has a truly unique sound like no other- in my opinion. He’s an Indonesian DJ and producer who debuted on MonsterCat with his song ‘Hit List’ back in 2020. Over the past few years, Bleu Clair has redefined dance floors around the world with his blend of tech and bass house, which radiates a dynamic energy and delivers a future-foward house music sound. He has also collaborated with some of the industry’s leading artists, like his song ‘Make You Mine’ with Martin Garrix‘s tech house alias, Ytram. If you haven’t listened to Bleu Clair yet- 2025 is the time to do it.
6. Jackie Hollander
This young DJ almost gave up her music career entirely a few years ago- San Francisco-based artist Jackie Hollander remarked in a recent interview with DJ Mag. And we’re so glad she didn’t. Since then, Hollander has released melodic house and techno tracks that have landed on labels like Nervous Records, REALM and There Is A Light. She has made waves at nightclubs across southern California- and will soon be making even more around the world. The future is bright for Jackie Hollander and we’re excited to watch her make it happen.
7. Parisi
PARISI is a Grammy Award-winning Italian music duo formed by multi-instrumentalist brothers Marco Parisi & Giampaolo “Jack” Parisi. You may have heard of them from their working relationship with Fred Again that resulted in co-production credits on his album ‘Actual Life 2’, as well as Ed Sheeran’s ‘Afterglow’. They’ve also co-produced and written for artists like Will.i.am and the Black Eyed Peas. Needless to say, PARISI is destined for greatness in 2025 and beyond, so be sure to keep an eye on them.
8. Riordan
Think minimal deep tech house meets garage meets afro-house- that’s Riordan. This UK DJ and producer first burst into the dance music scene with his viral TikTok mixes, and has been on the rise ever since. He’s even become one of my personal favorites, with his tracks ‘Paco’ and ‘La Samba’ with Wax Motif on repeat. Riordan recently finished his North America tour late last year, with more shows on the way. Stay tuned to see what this talented artist is up to next.
9. MARTA
She’s on the rise and she’s moving fast- she is MARTA. The Toronto-native stole the spotlight in 2024 with her unique blend of house music and techno. MARTA opened for EDM all-stars like Dom Dolla, Mau P, and Odd Mob, sold out to headline shows in Canada and the UK, and appeared on four different main stages in just one year. Fasten your seat belts and prepare for a major MARTA breakthrough in 2025.
10. Rivo
We can’t have a Top 10 EDM Artists to Watch in 2025 post without mentioning Rivo. This French DJ and producer blew up on TikTok in 2023 for his unofficial remix of Disclosure‘s ‘You & Me’, which earned him a co-sign from Disclosure himself. Since then, Rivo has been taking the electronic music world by storm. He spent 2024 touring around the world, and is destined to grace some festival main stages heading into 2025.
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Fundraiser Launched for Former Pendulum Vocalist Amid Leukemia Battle

Friends and family of former Pendulum vocalist and MC, Benjamin "Verse" Mount, have rallied around him through a GoFundMe campaign as he battles leukemia.
The fundraiser has surged beyond its initial £20,000 target, currently surpassing £58,000 at the time of this writing. The campaign, launched last year by Mount’s brother Jeremy, was prompted by a series of daunting health crises that began in August with a severe, unexplained cough and culminated in an acute monoblastic leukemia diagnosis.
Mount, once a staple on Pendulum's live tours, was first hospitalized in Spain for what doctors initially suspected to be tuberculosis. Instead, he was found in September to have a rare infection that led to him being placed in a medically induced coma. According to Jeremy, the infection mutated at a startling rate, prompting an international scramble by medical teams to identify effective treatments.
Mount ultimately overcame this terrifying ordeal, but he soon faced another obstacle: a diagnosis of acute monoblastic leukemia. After more than four months in the hospital, he is continuing to endure chemotherapy treatment.
The family’s GoFundMe campaign aims to address the incessant and extraordinary costs associated with Mount’s rehabilitation, including nursing care, childcare for his two young daughters and mobility solutions until the venerable MC can fully rise to reclaim the mic.
Mount, who parted ways with Pendulum in 2017 to focus on his own production, began work on new music. His first track since the diagnosis, "Recovery" featuring Youngsta and Cimm, was released in late-December, signaling a creative spirit that refuses to be dampened by his present health challenges.
You can find the GoFundMe campaign here.
View the original article to see embedded media.
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Human Remains Found Near Electric Forest Confirmed as Kevin Graves, Missing Since 2018

Michigan State Police confirmed Thursday that human remains discovered on December 30th, 2024 near the grounds of Electric Forest have been positively identified as Kevin Graves, who was last seen at the festival's 2018 edition.
Dental records were used to confirm the identity, according to local reports, with assistance from Western Michigan University’s Homer Stryker M.D. School of Medicine. Investigators collected additional evidence from a "wooded area" near the Double JJ Resort in Rothbury, where the remains were found.
Graves, 28, reportedly disappeared following a verbal altercation with his girlfriend on July 1st, 2018. He had told her that he was going to walk back to their campsite, but was never seen or heard from again.
The discovery ends a nearly seven-year search by Kevin's family, who had tirelessly distributed flyers and even erected a billboard near the festival grounds in 2023, pleading for information.
Search efforts after his disappearance in 2018 included a volunteer team combing the area near the festival grounds. However, dense terrain and challenging conditions made the search difficult.
Kevin Graves.Oakland County Sheriff Department
MSP stated that while the cause of death has yet to be determined, "there are no indications of foul play" at this time. They've also asked the public to keep the Graves family in their thoughts during this difficult time.
"At least now we can have a little peace," Kevin's father, Gary Graves told FOX 17.
"Now that we have positive identification of the remains at least the family has some closure on where he is and now hopefully the next steps can determine what happened," added Sheriff Michael Bouchard of Oakland County.
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In the Depths of ‘War’: Zulhou’s Latest Sonic Journey

Deep in the fields of contemporary electronic music, where melodic techno meets experimental sound design, Zulhou‘s most recent work ‘War‘ stands as a masterclass in emotional storytelling via sound. Beginning with an intimate whisper and then rising into a full-bodied electronic experience, this song shows a nuanced awareness of tension and release.
The trip starts with a deceptively basic rhythm under delicate, ethereal vocals pulsing like a heartbeat beneath. These close vocals drift across the mix with a softness that invites listeners into what seems like a personal confession. The production decision here is also important; the voices are handled not as a dominant instrument in the emotional palette but rather as another one.
A perfect shaker pattern adds a delicate but vital rhythmic structure as the tune develops. Here is where Zulhou’s production skills really shine as mystical arpeggios start to swirl across the aural terrain, producing what seems to be a digital copy of old ceremonial music. Maintaining an organic, almost breathing character, the arpeggios move across octaves with mathematical accuracy.
The first drop is when “War” really exhibits its technical excellence. Employing what many in the scene have come to know as the “Anyma-style” synthesis – defined by its pristine, metallic texture and exact modulation – the tension building is systematic and deliberate. These synth lines sharply contrast with the dreamy atmospheric aspects set in the opening segment by cutting across the mix with surgical accuracy.
‘War’ distinguishes itself in the present melodic techno scene by skillful balancing of technical innovation with emotional depth. Although many producers would mostly rely on the melodic or techno sides of the genre, Zulhou shows a great capacity to serve both masters equally. The song keeps its dreamy, ethereal character even as it provides the kind of forceful, crisp drops that techno aficionados want.
We suggest you to check their previous release such as Anything New and Beat As One.

The post In the Depths of ‘War’: Zulhou’s Latest Sonic Journey appeared first on The Groove Cartel.
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Anyma And Tiësto Start New Year Strong With Surprise B2B

Happy New Year everybody, we’ve missed you. If you haven’t visited the West Coast of the US recently, oh, boy have you missed lots of action. Las Vegas became an EDM hotspot this weekend as Italian Melodic Techno artist Anyma debuted his history-making show End of Genesys at the Las Vegas Sphere, including multiple headliners and special surprise performances. What we did not expect, however, was a surprise b2b with legendary Dutch DJ Tiësto, at the Fountainbleu Hotel inside LIV Nightclub.
Anyma b2b Tiësto
New Year’s Week went full throttle, not only did Anyma complete his first week with the awaited Sphere residency, but he also sneaked into two afterparty sets. The first one was this past Monday At XS Nightclub at the Wynn. The late-night set was a taste of what his surprise set would be. Tiësto was the only DJ announced for LIV Nightclub during NYE. However, the Italian tastemaker joined him to deliver an incredible and iconic back-to-back set. Moreover, singer Delilah Montagu (also known for her track ‘Delilah’ alongside Fred again..) hopped on stage for an impromptu performance of her collaboration with Anyma ‘After Love’. The night would end with a solo set from Anyma, taking us into closing.
The duo took over the Sphere last night, with Afterlife label heavyweight Argy. Tiësto gave us his old signature melodic and progressive sound we all wanted from him for an Afterlife show, and he understood the assignment. Moreover, Anyma brought out Empire of the Sun as the special guest to sing their collaboration ‘Human Now’. Known for his Trance beginnings, we’re hoping that Tiësto and Anyma use this momentum to release a joint track, or perhaps another unique and soulful b2b this year.
What’s Next?
The End of Genesys creator is pausing for the weekend before the last two nights of the show January 10th and 11th. In the meantime, Tiësto will make a glorious return to the Terrace at Club Space on January 24th. Don’t miss your chance to see history in the making!
The post Anyma And Tiësto Start New Year Strong With Surprise B2B appeared first on EDMTunes.
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ALOK & Armin van Buuren Team Up With Norma Jean Martine & LAWRENT On ‘Euphoria’

Dance music icon Armin van Buuren, popularly known for songs like ‘This Is What It Feels Like‘ and ‘Blah Blah Blah‘, and two-time Latin GRAMMY-nominated Brazilian music superstar and philanthropist ALOK, popularly known for chart-topping collaborations with John Legend, Ellie Goulding, Ava Max, and Bebe Rexha, have released their collaborative single, ‘Euphoria‘, with American singer-songwriter Norma Jean Martine and London-based DJ/producer LAWRENT. ‘Euphoria’ is a high-energy club anthem blending van Buuren, ALOK, and LAWRENT’s production with Martine’s soulful vocals and is available now via Armada Music on all streaming platforms HERE.
The single marks the first time ALOK and Armin van Buuren have joined forces since they partnered with Vini Vici in 2018 for the single ‘United‘ on Armada Music. ‘Euphoria’ utilizes one of the most iconic classical compositions in Beethoven’s ‘Für Elise’ and Norma Jean Martine’s exquisite vocals, which are best recognized from top French duo Ofenbach’s hit songs, ‘Overdrive‘ and ‘Head Shoulder Knees & Toes‘. The single follows ALOK’s hit collaboration with fellow top Brazilian musician Anitta, ‘Looking For Love‘, and Armin van Buuren’s joint release with German singer-songwriter Natalie Gioia, ‘Viva l’Opera‘.
The post ALOK & Armin van Buuren Team Up With Norma Jean Martine & LAWRENT On ‘Euphoria’ appeared first on EDMTunes.
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Integral Records: Seventeen LP

Established in 2007, Integral Records now hit their unique milestone of 17 years. The catalogue is a breadth of work that traces the timeline of proper underground, soulful drum & bass development from early days to now. 
Pouring over the discography, there’s countless, genuinely classic tracks: Zero T and Steo’s ‘Refusal’ at release 002 was crucial for both the label and the genre. Technicolour, Komatic, and LSB’s break-out track ‘Rotary Motion’ was a perfect storm of three young collaborators who would go on to dominate in liquid. Of course label founders Artificial Intelligence (A.I.) peppered the release schedule with their proverbial magic, too. 
That word ‘magic’ gets mentioned early and often in discussions with label co-managers Emma Green (Emma G) and Glenn Herweijer (half of A.I.) – otherwise known as liquid drum & bass’ power couple. They see it as the crux binding the variety of sounds together, as well as the benchmark to filter through what gets signed, versus passed-up. The Integral magic is intangible and not simple to define – but when you listen long enough, you start to pick up on it. 
And it’s taken them a long way so far. Celebrating 17 years of Integral with a VA compilation, the variety of talent and sounds they present is a perfect encapsulation of their time in the scene. From breaking brand new names like AudioDevice, through to keeping roster stalwarts like Phil Tangent and Satl, Emma’s and Glenn’s careful selection has always been about protecting the genre and pushing it forward. 
It was supposed to be a more conventional 15 year celebration, but the magic doesn’t adhere to a regular release schedule either. The North London couple are patient and persistent with their signings, and they’re happy to wait for several revisions of a track before slapping the crescent logo on it. GLXY have four different versions of their ‘Drowning’ remix which all could’ve made the cut. Zero T’s remix of Lenzman & Redeyes’ Integral classic ‘High & Low’ started as an original track sampling De La Soul’s ‘Stakes Is High’, before it made sense to turn it into an official remix for the VA. 
UKF sat down with Emma and Glenn to get an insight on the label’s history, the big new release, and of course, try to further break down the definition of the magic that pricks up their keen ears. 
What was happening when Integral was born?
Glenn: Around the mid-2000s, we [Artificial Intelligence] were recording on a bunch of labels, making our name. We always had lots of people around us, especially in North London – Alix Perez was living here, Zero T was too. Lenzman was sending loads of demos before he’d properly broken through, Steve Survival was a close friend. We all used to meet up a lot, go to the pub or to Swerve nights. 
Around this time, Zula and I were thinking that we should try to get a label off the ground to showcase all of these cool friends, who’s tracks we were playing in our sets. The label wasn’t really built for us, it was built for the talent around us, who’s music we felt needed to be out there. 
Steve Survival’s ‘The Jam’ was the first track we signed. I remember, we were on a tour, I think in Tokyo at the time, when we decided to push the button on it. Which was really exciting. That was 17 years ago now, and it kind of just evolved from there. 
Emma: And Glenn and I met in 2009. A.I. were on tour in New Zealand, and I was supporting their show. The promoters asked if we wanted to hang out and help chaperone the guys. Me and my friend Jess were quite involved in the scene, we used to have a radio show on George FM, and we also ran a night at Fu Bar called Liquid Recreation – I guess we were the duo repping the soulful side of the genre, supporting all the deeper acts that would come through Auckland like Marcus Intalex, Doc Scott, and then of course A.I.
Glenn and Zula were in town for about a week, so we got to know them really well. And we were actually DJing another show earlier in the week that Zula and Glenn came along to…
Glenn: … And I just thought they were way better than us at DJing, and super passionate. At that time we were travelling around a lot, so we got to hear all the different resident DJs in different cities.
Emma: Jess and I then sort of thought, we know a lot of people in the UK, let’s bite the bullet and move to London. I was working in fashion as well, so for me following my path in that industry, plus music, felt like the perfect move. And of course we kept in touch with Glenn and Zula, and started hanging out again as soon as we came over – then Glenn and I got together. 
So how did you get involved with the label, Emma?
At that stage as well, Glenn and Zula were kind of thinking they didn’t have enough time to dedicate to running the label, amongst touring and DJing and producing. They needed someone to drive it forward. So they asked me to get involved and I took over the relationship with SRD who run our distribution, set up our independent webshop, and started getting into the whole visual design and creative direction side of the brand – I built the geometric pattern ident you see running through the artwork and album campaign, which has continued to evolve and features also in the new Seventeen merch we’ve just launched.
Naturally I was also keen to get involved in the A&R side. There’d been a bit of a break on releases, and when I came on board the first release I worked on was number 26 – Phil Tangent’s first Integral EP, ‘Bedouin’. I’d always been a massive fan of Phil’s, as had Glenn and Zula, and he sent me some amazing demos. We thought Bedouin was so strong as an instrumental. But as I adore Steo, I thought I’d hit him up and see if he would be keen to add some extra magic, so that was my first opportunity to A&R. We had such an amazing group of artists around us already, but I was looking for new recruits, and so were Glenn and Zula – who picked up guys like Djah and Edlan.
A real team effort. And the label is going strong… 
Emma: Yeah, and there’s a lot of hype and excitement around the label currently. We’ve got so much incredible music we’re sitting on, loads of nearly-finished EPs. But like us, our producers don’t want to put stuff out that they’re not 100% happy with. That’s partly why the compilation took so long to come out. And over the years, what’s been really cool to watch from my side is Glenn nurturing some of those new guys coming through, taking the time to mentor them – Satl being one of them, as well as many others. 
Our aim is to get the very best out of our producers – tunes to the level that we want to play in our sets, and then release. We want to help artists develop. And that’s just something that’s really nice that Glenn has always given to the label – because I don’t think many people have the time or energy to do that…  
… or the wisdom and experience. Can you walk me through A&R a little more? As in, what sort of sound are you looking for?
Glenn: Well I guess we never want to be pigeon-holed. I know we’re known for the more soulful side, but I don’t think we want to be confined to that bracket. It’s just stuff we’re feeling, and it literally could be anything. That’s why some of the releases sound quite different to others. It’s always stuff that we connected with, and stuff that sounds good when we test it out. A big thing for A.I. sets – what we’re known for – is that there will be loads of new music, and most of that is stuff we’re testing for the label.  
Emma: Yeah I definitely think we’re quite committed to not being pigeon-holed, we don’t want to just be a liquid label because if you listen through, the catalogue has always been diverse. Like the Thread signing for example – I was so excited about that because it was some proper banging hard stuff with serious cutting-edge. We absolutely do love the full spectrum. 
Glenn: Thread is a big talent. We were DJing in Bristol not long ago when we met him, and he just seemed like a really nice guy. Really humble. He wanted to send me some tunes, which I’m always open to. So the next day I put his demo on, and I wasn’t expecting it but when I pressed play it was like “oh that’s pretty decent” and then “oh, jesus!”. 
So I had to hit him up straight away, and asked for all of the tracks. Loved his production, really tight and mature already. I just thought he had it all. So that was a big moment for him breaking through, and now obviously everyone’s playing his tracks. Halogenix has been a supporter, and Workforce signed one of his tracks. That makes me really happy to bring someone up to that level of recognition, because he deserves it. 
That’s what happened with Alix [Perez] and Lenzman back in the day. Alix was passing me CDs when we were out at Movement or Swerve, and Lenzman also when we were over in Holland. And when Lenzman gave us ‘Ever So Slightly’ that became one of the main tracks that broke him, which is also a classic for us in the catalogue. That’s always been something we try to tie into the journey of the label.
Is there any specific things you’re scouting for or adding that aims to make the Integral sound unique? 
Emma: The way that the label has evolved musically has been completely organic. And really it just comes from those very humble beginnings of Glenn and Zula just being around those artists and friends in London who were all on a similar vibe.
Glenn: Yeah it’s never been that we need a certain frequency of releases per month, it’s always just once everyone is happy, and the tracks are ready, lets get them out there. Sometimes there could be huge gaps, sometimes we’d do two or three releases at once. I originally got that whole ethos from Marcus Intalex. These are the sorts of conversations we always had with Soul:r, and that’s what’s always been in my mind, even before starting a label. If I’m not feeling anything, f*ck it, it’s gonna wait. I’m not treating it as a business and forcing releases, it has to feel right. 
We’ve put our foot on the gas a little more in the last year or so. But we’re sitting on a lot of music again, so we can be more proactive now. 
Emma: I think with some of the younger guys, they’re obviously influenced by A.I. And the sound of Dawn Wall and Mohican Sun, I think there definitely is an Integral sound, but it’s hard to describe as it’s diverse. A lot of our producers who are working on EPs for us do write specifically for us. Like HLZ for example – he works for a bunch of different labels, but the tunes we’ve signed of his he made specifically to be housed on Integral. Even though our sound is diverse, there’s definitely a frequency our artists and aspiring artists tap into. 
Yes. There definitely is an Integral sound. Tough to describe really though…
Emma: There is, but of course the artists have their own unique sound too – and the amalgamation of all of the music across our catalogue somehow just works. Going back again to some of the earlier releases, there is so much diversity there. That System release still sounds off the charts, number 16, ‘Sy-Fi / Springy’, I think you had a story about that one Glenn… 
Glenn: Yeah, Mark [System] came around to mine in Archway. At the time he was one of those elusive guys to track down. He was a nightmare, ha! He writes so much music, but he finds it hard to release them. Anyway, he came around with about 80 tracks, plugged-in and played through loads of little clips. I would’ve taken all of them, but I narrowed it down to four, and then I had to get back on his case to finish them all up. 
It was really long, but I ended up getting those two tracks. It was at a time where it was really hard to get anything from anyone, but I liked it. It made it more exciting. It wasn’t just people sending you tracks, it was a lot harder work, and it felt so good when you finally got those tracks. Back then you had to go around to people’s houses or studios, or you wouldn’t get anything. 
Do you have any personal favourites from the Seventeen release?
Emma: They all have a special place for me, but every set I play, ‘Demons In The Dark’ goes off – and that’s by a new artist called AudioDevice. He’s a DJ from Vienna who’s just turned his hand to production. I’m really excited about what’s to come next for him and how he evolves as an artist.
A.I.’s ‘Twisted Love’ is another personal favourite. It’s not that I’m at all biassed! It’s just I’m sure you’ll agree, A.I. music is just so timeless and prolific. I was just listening back to all of ‘The Series’ – such a beautiful body of work. But yeah that Twisted Love track, we’ve been sitting on that for several years now and I’ve played it in so many sets now, so it’s great to finally have it out in the world.
Every track on the album has been selected and tracklisted so carefully. And that’s also why the album kept being delayed. Which was a bit frustrating, but again it’s a case of good things really do take time. We wanted full representation, and everyone to be happy with their contribution – not just a bunch of extra tracks that didn’t make it onto artist EPs. The strategy was really that each track could stand as a single in its own right. 
Yeah it’s loaded top to bottom, with new and veteran names, and a variety of styles.
Glenn: I love what GLXY have done too on their remix of ‘Drowning’. They did about four different versions of that before we landed on that one. 
Emma: That was version 5.9 I think! 
Glenn: Yeah, the one before this I particularly liked. A darker, more rolling style. Sort of in that 1985 style. Unbelievable. But yeah we ended up going with this one, that they loved the most and fit best in the compilation. 
What do you think of drum & bass right now? 
Glenn: I think popularity-wise, I think it’s been bubbling away for a while now. The commercial side is bigger than ever at the moment. But at the same time, it always has brought in new fans, new generations. I think that’s important for all sides. Especially what we do, the more soulful stuff – people start digging a bit deeper, and they tap into where we are. 
There’s a lot of good music out there, a lot of new artists, and a lot of artists from our generation too – they’re still making loads or they’re inspired again, we’re all talking. It’s exciting times. 
And how about club nights and DJing?
Emma: Nights are harder for various reasons. The landscape has obviously changed a lot. The way that nights are put on now, a lot of it is now down to the numbers – likes on social media etc. Promoters do take less risks on line-ups these days and I think as festival culture has really taken over, naturally it’s become a little saturated out there.
But it is nice to see that there is still plenty of love, passion, and dedication to our scene. We go down to Phonox regularly to see Lenzman’s nights. And I’ve just played Fabric, which was amazing to go out and not have to conform to playing harder. People are still making the effort for nights that we feel represent the sound we’re into. I’m definitely feeling the love in the general community – from doing my Kool show and my DMs. No matter what’s playing on commercial radio, there’ll always be a place for our style of music, and there is plenty of fresh talent bubbling as Glenn mentioned, which is great.
We just went to Fabio’s 60th recently, and all the old heads there were still buzzing. Half of the Seventeen album went down at the party which was great to hear, and everyone was still just super passionate about the music as always.
Man, the genre has some years behind it!
Glenn: Yeah you’ve got three generations there – all turning like 50 or 60, then you’ve got us in the middle, and then there’s the younger talent where there are so many names now. So much amazing music. So in that sense, we’re all inspired amongst each other and we’re all supportive of each other. I quite like being placed in the middle. Looking up to the father figures who got us into it originally… 
Emma: … and now you’re a father figure for the new guys coming through. The demos have gone through the roof lately. And the level of production we’re being sent is just getting better and better. 
Glenn: Yeah definitely. But they need to have the magic. It’s one thing having the high end production, but you need to be able to utilise it in the ways to create that magic. And that’s when you get the really special stuff. Which I guess has always been the way, but we recognise it more than ever now with such a high volume of demos. 
Emma: Yeah – if anything our quality control has gotten much higher out of necessity. I’ve heard music from lots of up and comers, who we feel are not quite ready for us as we remain about quality over quantity release wise. But it’s encouraging, and we’re as encouraging to them as we can be.
I’ve always thought that’s what makes our catalogue special, because every release has to reach that level between us all, we all have to really feel it and believe in it, and want to play it in our sets. If we don’t, then there’s no point. No matter how nice the person is, or how great their production is, if that magic isn’t there then it doesn’t make the cut. We’re known to be really picky, but I think that’s a good thing. 
Definitely a good thing. And I agree the scene is in a great place with you guys, TNQ, 1985, Gemini Gemini… 
Emma: We’ve all been devoted to it since we were youngins. And I feel like I’ll be rocking out to drum & bass as a granny, you know? Ha! Did I just say that? 
It’s one of those things where you’re just so connected to the music. Within electronic music, there is just this thing about drum & bass, it’s magnetic and once you get drawn in, you never leave. I actually listen to drum & bass all the time. I never tire of it.
A lot of producers and DJs I speak to say they never listen to it in their free time.  
Glenn: That’s me! There’s lots of other music that I’ve grown up listening to and I’m a big fan of. With my general work, drum & bass is probably the last thing I’d press play on, other than A&Ring and just keeping up with the scene you know. 
Emma: But when Glenn goes out to a drum & bass night, he’ll come home at like 4am and write an amazing tune in a couple of hours, and then crawl back into bed. That’s when the magic happens for him. He hears some new music from our peers, gets really inspired, and then goes “I’m gonna one-up you!”. 
Ok so you’re pretty close to the scene in New Zealand. Are you getting submissions from there? Do you think the scene is healthy? 
Emma: NZ has always had strong foundations in D&B and of course we’d love to release Kiwi music. I’m a big Tokyo Prose fan and have been since the guys started out, before Sam took it solo, and Azifm is one of the latest recruits making some very cool waves we’re into.
Glenn: Yeah he’s wicked. I saw him a couple of years ago, during covid, I bumped into him in Dunedin – he came up to me and gave me a few tracks and I thought “this guy is cool, man. This is experimental stuff”. You can hear how he’s honed into his sound now. He’s done really well. 
I’d love to find some more Kiwis though. I mean the scene over there has gone a little bit commercial too. But we’ve been touring there every single year for the last 20 years or so. And there’s always been an amazing scene. Every night has been brilliant 99% of the time. Tokyo Prose, as Emma says, is obviously sick too. 
Emma: Yeah there are a few people out in NZ doing really cool stuff but the more underground New Zealand scene is a little bit tough right now. After some of the main D&B clubs closed down sadly – Fu Bar in Auckland, Sandwiches in Welly, Bath Street in Dunedin, things started to change. It was probably around the time George FM started playlisting a more commercial sound. But things are always evolving. And Alix Perez is definitely flying the flag for us down there. His nights are amazing and always sell out.
Chicorelli too, he’s definitely championing our kind of music, and he’s doing a great job. His Liquid Lowdown nights that we play at are always a vibe, and he and Tali have a massive entourage down there. 
New Zealand has always mainly liked it hard and heavy, but again there’s always been appreciation for the deeper stuff, too – Doc Scott was out in NZ recently, as was Satl who had a great time. A lot of the bigger radio stations and promoters only seem to be pushing the more commercial, usual suspects – and that filters down to creating what’s popular among the next generation of New Zealand ravers which is why festival line-ups need to truly represent – but the world wide web will always be around and humans will always be curious – and that’s what kept me going back in the day before I came to the UK – always on the hunt for the more obscure listen, regularly tuning into Marcus Intalex’s RBMA radio show and of course Fabio and Grooverider on Radio 1.
Before we finish up, let’s touch on the biggest moments through Integral’s history. 
Glenn: The first big moment was probably our second release – ‘Refusal’ by Zero T & Steo. At the time I think it was just one of those tracks everyone was playing. From Andy C, to Calibre, to Bukem, to Hype. It was then remixed by Calibre for release number 10, and that was even played on Christmas day, right in the middle of the day on Radio 1 by Colin Murray. 
Emma: What about ‘Rotary Motion’?
Glenn: Oh, yeah! Yeah they were both sending me loads of music individually [Technicolour and Komatic] – and then this track came along and I was like…. 
Emma: … SIGNED! 
Glenn: Ha, yes exactly. It was perfect for that moment in a set for that euphoric, big, melodic soulful sound. Just before we released it, LSB came on board and said “let me try and just give this a little bit of magic”. So it ended up being the three of them together, and ended up being the final version. 
But that tune took about two years to come together, from Technicolour and Komatic sitting in the studio to LSB giving it that final club edge. And straight off the back of it they sent in ‘Serenity’. And both of those tracks, to me, are timeless. We’re really proud of that release. We repressed it twice, and then fans kept asking for another repress but we wouldn’t do that now. If you look on discogs it’s probably about £100. 
Stone cold classic.
Emma: One of my favourite big moments was headlining Fabric Room 1 a few years back. That was a really great honour and an absolutely wicked night that sold out. Oh, and being asked to do a series of Integral shows on Radio 1‘s Wind Down series.
And looking forward now – what’s coming in the future? 
Glenn: Without getting too specific – there’s about 7 or 8 EP projects that we need to finalise that are on the way. 
Emma: But before that we’ve got a smaller follow up EP coming out called Seventeen to round off the album project – between the LP being specifically locked to 17 tracks and with multiple artist contributions, remix options and a couple of tunes that didn’t quite make it, there are tracks that just need to come out as part of the chapter, so look out for that shortly.
We’ve also just released some new merch, which is exciting, because the last batch was around the ten year mark! But basically we’re just gonna keep doing what we’re doing. As Glenn said, we’ve been sitting on a lot of music with a few core crew members, and there’s some more new artists too that we’re keeping tabs on. I think that’s what we’ve always just been about, finding new talent and keeping our sound alive, kicking, and out there. 
Get Integral’s Seventeen Here
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New EDM Friday: Armin van Buuren, Afrojack, Tiesto & More

Armin van Buuren ft. Alok, Norma Jean Martine, LAWRENT – Euphoria
Armin van Buuren joins forces with Alok, Norma Jean Martine, and LAWRENT for ‘Euphoria,’ a trance-inspired anthem brimming with emotional depth and electrifying energy. Norma Jean Martine’s powerful vocals pair perfectly with the euphoric melodies and driving beats, creating a track that bridges trance and melodic house. It’s a feel-good anthem perfect for festivals and late-night sets.
Afrojack & Gregor Salto presents: Afrosalto ft. Mednas – All Good Things (Come To An End)
Afrojack and Gregor Salto, under their Afrosalto alias, reimagine Nelly Furtado’s iconic hit with Mednas. ‘All Good Things (Come To An End)’ transforms the nostalgic melody into a groovy house track, featuring tribal-inspired percussion and soulful vibes. The rework blends nostalgic charm with modern house energy, making it a standout for both old-school fans and new listeners.
Tiësto – Lethal Industry (Rose Ringed Remix)
Rose Ringed takes on Tiësto’s legendary ‘Lethal Industry’ with a mesmerizing remix. This version maintains the haunting violin melody of the original while layering in atmospheric synths and pulsating basslines, giving it a fresh yet nostalgic vibe. It’s a reimagining that honors the classic while appealing to today’s house music fans.
Pierro – Heartbeat
Swedish DJ and producer Pierro wraps up 2024 with his captivating new release, Heartbeat. Building on the success of his previous melodic techno single Cubicon, Heartbeat blends melodic techno’s emotional depth, progressive house’s uplifting energy, and trance-inspired nostalgia. Featuring a haunting male vocal layered over warm textures, gritty synths, and trance-like plucks, the track takes listeners on a dynamic and introspective journey. Supported by industry giants like Tiësto and Above & Beyond, Pierro continues to solidify his reputation for delivering exceptional, genre-blurring music.
Malóne – THE B SIDES
Malóne closed 2024 with his debut EP on WHYNOTUS, The B Sides. It kicks off with “Real Love,” which weaves together female Latin vocals and crisp percussion. Up next is “Como España,” a collaboration with Jesse Bravo and Kapoh, powered by infectious Spanish lyrics and blends unique sound effects like alarms. The third track on the EP is “Back 2 Da” with Lucati, a heater that is primed for the dance floor. This is followed by “That’s Perfect,” where Malóne cranks up the energy with a fast-paced bassline and the sampling of a recognizable vocal phrase. Closing out the EP is “The Energy” which pours out a groovy concoction of crisp percussion and tells listeners that “you cannot f*ck with this energy.” 
Stream all these tracks and more in our New EDM Friday playlist – follow here.
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Diplo Admits To Being On LSD Live on New Years

Our favorite DJ Superstar showed off dance music at its finest on New Year’s Eve. While on Anderson Cooper and Andy Cohen’s CNN’s New Year’s Eve special, Diplo was asked “I’m so curious, what’s the most conventional place that you’ve done LSD?” Diplo took no time to hesitate and stated “Right now...I did some on the helicopter, on the way here…I’m not even lying.”
It is very Diplo-like to be tripping on live TV and have no one be able to notice. The co-hosts burst out laughing as Diplo clarified that he was showing some restraint. “It’s like a light trip,” he noted. It must have been a microdose, because Diplo was able to perform at three shows in Los Angeles on New Year’s Eve.
Anderson Cooper sounded impressed with Diplo’s approach to work and play. “I wish I was Diplo,” the CNN anchor admitted. “I got to say. I just think he has a fun, cool lifestyle. Can you imagine his lifestyle?” I think we all wish a little we were Diplo.
This is not the first LSD Diplo encounter as last year he ran a marathon while tripping. We truly hope Diplo can continue to give us incredible moments like these in 2025.
The post Diplo Admits To Being On LSD Live on New Years appeared first on EDMTunes.
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Spotify Kicks Off Partner Program For Podcasts And Content Creators

Spotify has officially launched its anticipated Partner Program, a comprehensive initiative designed to assist creators in expanding their audience reach and monetizing their content effectively within the platform’s ecosystem. The program, initially unveiled on November 13th during Spotify’s Now Playing event alongside a suite of creator-focused features (namely video clips, enhanced analytics, and improved video discovery), aims to position Spotify as the leading platform for podcasts on the Internet.
Since the program’s announcement, Spotify has reported a 60% enrollment rate among eligible shows and networks, signifying a strong early adoption by the creator community. The Partner Program unlocks multiple revenue streams for participating creators, including audience-driven payouts from paid subscriptions, advertising revenue from free accounts, and cross-platform monetization.
Eligibility for the Partner Program requires creators to host and upload their podcasts through Spotify for Creators while meeting the following criteria:
Achieve 10,000 streamed hours within the past 30 days on the Spotify platform. Garner streams from at least 2,000 unique Spotify users within the past 30 days. Maintain a published catalog of at least 12 episodes. The Spotify Partner Program is currently accessible to creators residing in the United States, United Kingdom, Canada, and Australia. Spotify has yet to announce plans for expanding the program’s availability to other regions. Consequently, the anticipated timeline for a potential global rollout remains undetermined.
[H/T] Neowin
The post Spotify Kicks Off Partner Program For Podcasts And Content Creators appeared first on EDMTunes.
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Fatboy Slim Reflects on Losing Passion for Music Creation

Iconic DJ and producer Fatboy Slim, known for timeless hits like Praise You and Right Here, Right Now, has opened up about his evolving relationship with music production. In a candid interview with The Sun, the legendary artist revealed that he no longer feels the same drive to create new music.
“I’ve sort of lost my passion for making music,” Fatboy Slim admitted. While he expressed no bitterness, he acknowledged that the era when he felt compelled to make records has passed. For now, his focus is firmly on DJing and delivering electrifying live sets, a passion that remains undiminished.
Shifting Priorities in a Storied Career
Fatboy Slim, born Norman Cook, has left an indelible mark on electronic music and the Big Beat genre, which he helped popularize in the late 1990s and early 2000s. His Grammy-winning albums and genre-defying tracks made him a household name, but the artist now prefers curating and performing music over producing it.
Reflecting on this shift, Cook remarked: “I think there’s a time in every artist’s life when they have to realize they’ve said what they wanted to say through their music.” Rather than forcing creativity in the studio, he channels his energy into delivering unforgettable DJ performances—a space where he continues to innovate and inspire.
Still Thriving on Stage
Despite stepping back from production, Fatboy Slim remains a revered figure in the global electronic music scene. His dynamic live shows, often described as euphoric and unifying, draw crowds worldwide. Cook’s ability to connect with audiences through his DJ sets proves his enduring relevance, even in a rapidly evolving industry.
In the interview, Cook noted that while he no longer feels compelled to produce new music, he still thrives on the thrill of performing. He also spoke about how the DJ experience allows him to interact directly with his audience in a way that studio work never could.
Legacy Beyond the Studio
Fatboy Slim’s honesty about his changing relationship with music production offers a refreshing perspective on the career arcs of creative professionals. By focusing on what brings him joy, he continues to build on his legacy, proving that evolution is key to longevity in the music industry.
For fans, his decision to step away from creating new tracks does not signal an end but rather a new chapter. As he reinvents himself through live performances, Fatboy Slim remains a testament to the power of adaptability and passion in an ever-changing world of music.
The post Fatboy Slim Reflects on Losing Passion for Music Creation appeared first on EDMTunes.
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Skellytn and Boogie T Throw Down the Bass on ‘Choppa’

L.A.-based DJ/producer Skellytn teamed up with bass veteran artist Boogie T for their highly-anticipated collaborative track, ‘Choppa’ featuring Gravity. Recently released on December 18th via Boogie T’s Drama Club Recordings record label, the track strongly emphasized the duo’s innovative music styles as it perfectly combines the auditory production talents of Skellytn, with Boogie T’s bass-heavy vibe. That combination then results in a bass anthem that has plenty of vibrant artistic layers and awesome energetic sounds that are vividly present starting from the first second to the last.
‘Choppa’ has the groovy and at the same time, gnarly musical style of Boogie T with the rhythmic deep basslines of Skellytn. ‘Choppa’ also allows the producers to showcase their innovative sounds and will providing them to the opportunity enhance their colorful musical repertoires. This dynamic fusion brings together the best of both artists in a brand-new way, especially as the producers are about to enter 2025 with a huge bang. Click ‘Play’ on the Spotify link below to stream ‘Choppa’, a track that is a definite fire-sure top banger to open up the New Year.
Skellytn expresses joy at the collaboration on ‘Choppa’
Boogie T describes excitement about the track’s release
The post Skellytn and Boogie T Throw Down the Bass on ‘Choppa’ appeared first on EDMTunes.
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2025: Ones To Watch

We couldn’t start off the New Year without the releasing our annual Ones To Watch list.
The up and comers our editorial team think you need to know about in 2025. Enjoy!
ONHELL
Logan Sasser
ONHELL is a rare breed. He’s a creative whose musical output also coincides with several other endeavours, including his wacky, off-the-wall “ONHELLParties” which often include all-gender strippers, nail techs, and… homemade salsa? That’s right, ONHELL has his own salsa brand. And it’s just as spicy as his late night/early morning warehouse parties.
Of course, his music is great too. His most recent EP, juntos, which was released with Deadbeats in September, captures a perfect synchronicity of hard-hitting, bass-forward bangers (“Grime On Steroids” with Chef Boyarbeatz), and goofy, lighthearted party tracks (“Dubstep For Kids”). Because the cow does indeed go moo, and the bass does indeed go WOMP.
Considering ONHELL has supported several legendary dubstep icons like Eprom, and sold out shows at iconic venues like New York’s House of Yes, the momentum ONHELL has going into 2025 is undeniable. Whatever insane, over-the-top antics he has planned for next year, we’re here for it.
Just Jane
Ant Mullholland
The multi-genre selector Just Jane has been making waves in the electronic dance scene, parading an abundance of dubstep, grime, bass, uk garage, and electro sounds that have allured a plethora of new fans with her slick mixing and heavy chopping – becoming one of the most accomplished technicians behind the decks. In 2024, the London-based artist has performed at iconic venues such as Village Underground, Phonox, Outernet, supporting the likes of Oblig, Conducta, Tim Reaper, and Interplanetary Criminal. Making a Boomtown debut, as well as playing sets on Rinse FM (with the eclectic Riz La Teef and G33), Balamii, and BBC Radio 1, it’s safe to say that Just Jane is only just getting started. With her own productions being teased in some of these radio sets we can be sure to expect even more from the skillful DJ in 2025. 
Salo
Lurie Charlesworth
Salo is an artist everyone should be keeping an eye on at the minute! This Manchester based Georgian singer, pianist, producer and DJ is making her mark on the scene with her gorgeous and distinctively raspy voice. We’ve seen her collaborate many times with Manchester’s finest Chimpo, along with artists like Sustance, L-Side and Sully, but it’s her pending solo projects that excite me the most. A queen on the mic and a versatile artist that I have no doubt has an incredible career on the horizon. Watch this space.
Nikita The Wicked
Logan Sasser
Nikita The Wicked busted into the spotlight in 2024 thanks to a fun, dance-oriented approach to bass music that serves a simple purpose: to light up the dancefloor with easily digestible song structures and fantastic sound design. The narrative that ties it all together, led by the statement “Dance music has many heroes. Now it needs a villain,” adds a certain cinematic flair to his brand that earned him a remix for NGHTMRE’s “In Your Eyes”, several viral tracks (“YA BODY” and “Like Me”), and even a spot on the acclaimed UTA artist roster.
This represents the new generation of rising dance music stars with authenticity, passion, and a forward-thinking approach to dancefloor bangers, which is what makes Nikita The Wicked such a fun project to root for. He can easily be classified in bass music’s new generation next to Levity and Tape B, and there’s endless potential to build out his villain persona as the project continues to expand. Next year, Nikita The Wicked will complete his world domination. No dancefloor is safe.
Origin8a & Propa
Ant Mullholland
The jungle and hardcore duo Origin8a & Propa have individually been in the scene for a long time. Eventually coming together five years ago for their first ever release on their label Hardcore Energy. However, their standing as a pairing has been on the rise for the last few years involving standout tracks like ‘Shine On’ and ‘Harmony’. This year has been monumental, with an iconic stack of  releases in 2024, including the ‘90’s Baby’ EP & ‘For The Sake Of E’s’ EP which have both been standout projects within the underground community, we can assume that 2025 will be a year where we are treated to even more hardcore anthems from the pair. Throughout the scene, they are considered as one of the most authentic artists to grace the dance – consistently capturing the epitome of British rave culture during their wide range of sets. The Hardcore Energy label they run alongside Hypershe has been a shining light for the jungle and hardcore community and have had arguably their most influential impact yet this year. 
Xeonz
Sam Yates
With his first drum & bass releases dating back to 2020, Xeonz has slowly but surely found his form within the scene. With releases across Blackout, Overview, Pilot, MODUS, and now The North Quarter, he’s certainly shown a range of production ability. But whether it’s a big, dramatic neurofunk banger like he’s done with ‘Apollo’ on Blackout’s Evolutions 10 V/A, or a something much more mellow and musical like his ‘Echo’ single on Pilot – there’s a consistent quality and style emerging. He uses big synths and atmospheres to get this dreamy effect throughout his productions; case and point being his brand new North Quarter Single ‘Without You’ that’s getting plenty of play among the liquid crowd as we close out 2024. Expect more variety from Xeonz next year, early and often. 
Lokal
Sagar Deshmukh
The way this Manchester-based trio has been steadily making waves over the past couple of years, it feels like 2025 will be the year they do the inevitable and explode on to the bass music fraternity as one of their favourites. 
It’s crucial to emphasise the phrase ‘bass music fraternity’s favourite trio’ because Lokal’s versatility truly sets them apart in the scene. Over the years, they’ve managed to carve out a sound that resonates across a broad spectrum of bass music, producing tracks that span some of the most prominent genres of the spectrum. Lokal’s style of production is a dynamic blend of fun, intensity, and rowdiness, with moments of introspection thrown in. No matter the mood they choose to explore, they deliver with full force and authenticity, capturing every vibe with precision.
It all started with the ‘Open 4 Business’ EP in 2023, which showcased the trio’s ability to traverse genres like drum & bass, jungle, UK Garage, and dubstep, offering fans a peek into their unique creative vision. Fast forward to this year, and they’ve taken it up a notch, seamlessly blending these styles and more. Some of their standout releases include the raucous remix of DJ Gaw’s ‘Scatter,’ the high-energy collaboration with Freddy B on ‘Nah Man’ for Delta9 Recordings, and their latest ‘Illicit Trade’ EP on Incurzion Audio. They wrapped up the year with a grimey remix of Qwirk’s ‘K.O.,’ further cementing their ability to effortlessly hop between genres and deliver fresh, dynamic sounds.
The prospect of more Lokal music is definitely an exciting one, and 2025 feels like the year they’ll fully bring it to life. But for now, it’s well-earned break time. Once they return, expect them to unleash everything they’ve been working on and make 2025 arguably their biggest year yet. 
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2024: The Artists

The turn of a year —a time to reflect, celebrate, and look back on an explosive year for bass music. 2024 has been nothing short of monumental, with our favourite genres breaking new ground, dominating festival stages, and even cracking mainstream charts. From mind-blowing sets at global events to underground anthems redefining the sound, bass music has proven once again why it’s a powerhouse in electronic music.
As we step into 2025, the UKF editorial team has compiled a list of the artists who truly owned 2024. These are the innovators, hitmakers, and scene-shapers who kept us moving and inspired all year long. So, whether you’re reminiscing or gearing up for one last dance, here are the artists who made 2024 unforgettable.
Hamdi
Ant Mullholland
Hailing from Oxford, Hamdi has had a 2024 that has catapulted him to the very top of the electronic dance music world.The eclectic producer has successfully executed a range of bass-heavy projects including groundbreaking ‘Push’ in collaboration with Skrillex, TAICHU, and OFFAIAH, becoming the sound of the world renowned Apple for their iPhone 16 advert. Furthermore, the likes of Sammy Virji, Simula, and Taiki Nulight put their spin on one of Hamdi’s biggest tracks to date in ‘Counting’, showcasing the strong influence he possesses across the board in the underground community. Playing an array of sets around the world, it’s been a real joy watching his bass and dubstep fused sound reach a multitude of fans from different scenes, bringing a refreshing flavour of electronic prowess to a more global audience. The winding synths and heavy drops synonymous with his profiling has helped evolve the sound design behind many new artists, paving the way for an exciting future in bass-influenced dance music. It’s important to mention that with a new craze around dubstep reigniting, Hamdi has been a key component in reintroducing this sound to a new audience. Other accolades this year have included iconic sets with Boiler Room and many headline shows around the globe, whilst also being nominated for DJ Mag producer of the year. It’s safe to say 2024 has been a standout period for this truly multi-talented artist. 
Freddy B
Sagar Deshmukh
Bursting onto the scene in 2022, finding his groove in 2023, and absolutely smashing it in 2024, Freddy B has been quietly setting the drum and bass world alight. He’s been working under the radar, yet his impact has been undeniable, positioning him as the voice to watch out for in 2025. Taking his recipe of profound and razor-sharp lyricism, the Manchester-based MC and producer has weaved his way through some of the most respected labels in the game—Overview Music, Sofa Sound Bristol, Critical Music, Yamatai Records, and Love For Low Frequencies, just to name a few. 
Freddy B kicked off the year teaming up with Tweakz for a rumbling dose of low-end madness on Love For Low Frequencies. From that moment on, it was clear that those deep, resonant basslines were the perfect playground for his commanding, electrifying voice. But what really sets Freddy B apart is the sheer variety in his bars—switching effortlessly between intense, hard-hitting flows and more atmospheric, nuanced deliveries.
This versatility shone through in standout collaborations with Thread and Emperor, leading up to a powerful finale with QZB on Critical Music, delivering yet another razor-sharp minimal banger. It’s tempting to call this just the beginning, but at the pace Freddy B is setting, it won’t be long before he cements himself as one of the most distinctive and respected voices in drum and bass.
Tape B
Logan Sasser
In 2023, the Tape B domination had already begun. But 2024 proved that his momentum is continuing to materialize into what can only be categorised as dubstep superstardom. This year, Tape B embarked on a headline tour with over 30 consecutive sold-out shows across North America, including a 2-night run at Denver’s acclaimed Mission Ballroom. He also released the highly-celebrated “Trippy Land” with Mersiv and Juicy J, and “Gas Pedal” remix with Subtronics and John Summit. 
The secret to his success? A light-hearted, slightly nostalgic take on the classic dubstep genre, combined with hard-hitting flips from hip-hop’s “mixtape era.” Considering Tape B’s recent Brooklyn Mirage headline announcement, it’s safe to say next year is shaping up to be even bigger for the young producer.
Tim Reaper
Ant Mullholland
Jungle legend Tim Reaper has consistently been spoken about as one of the leading pioneers of this new jungle sound. This one-of-a-kind producer, amongst a select few, has led the way in pushing the boundaries sonically within the scene as a whole. With another relentless year of releases, working with a wide range of labels and producers, as well as a monumental year of releases with his own renowned label Future Retro London, it’s safe to say that Tim Reaper has had a year that has once again put him in the conversation as one of the UKs leading underground artist – not only within jungle music but also in the wider electronic sphere. His year has included standout collaborations with the likes of Dwarde, DJ Sofa, and Coco Bryce on exciting projects releasing projects with Hardcore Energy and Globex Corp. His slick mixing ability on the decks, as well as a killer break infused production has created an artist that very few can compete with on the circuit. Underground music fans everywhere know they’re in for a colossal show when Tim Reaper steps up to play a set, illustrated through his nomination for DJ Mag’s best DJ of the year. With a stellar album out this year to show for, in collaboration with Australian-born Kloke, ‘In Full Effect’ was released on the notorious Hyperdub – of which was their first ever jungle project. We were treated to a hardcore breakbeat flavour that is consistent throughout the album, paying homage to a 90’s sound that he himself has been key in reintroducing to the modern day rave scene. More recently, he’s linked up with Critical’s Kasra to form experimental music label ‘Best Intentions’ showcasing how much respect he’s gained from the likes of Kasra who’s head of established powerhouses Critical Music. In what is undoubtedly Tim Reaper’s most prolific year to date, what will 2025 hold in store for the jungle king from London?  
[IVY]
Whisky Kicks
A princes of positivity and good intention [IVY] has firmly established herself as a standout artist in 2024. She doesn’t care where the box is and she definitely doesn’t care to squeeze herself inside it, seamlessly blending 4×4 rhythms with drum and bass to create a distinctive and electrifying sound. Her performances at this years biggest shows, have captivated audiences and showcased her innovative approach to the genre.
It’s not only UKF who’ve had our eyes on her, this year, [IVY] received a nomination for ‘Best Breakthrough DJ’ DJ Mag’s Best of British Awards, reflecting her significant impact on the UK’s electronic music scene. Beyond her musical endeavours, she is also the owner of the fashion brand Jazzy Garms (iridescent mushroom dress anyone?), demonstrating her multifaceted creativity and entrepreneurial spirit.
Levity
Logan Sasser
Levity is an act that’s impossible not to route for. In addition to their come-up being one of the most heartwarming stories of the year (they quickly skyrocketed to stardom after filling in for an artist who canceled last minute at Electric Forest in 2023), they also routinely host free community events and pop-ups, as well as charity shows and merchandise drops.
Oh ya, and they’re making some of the catchiest dubstep around. Their fun, sparkling take on radio classics like Britney Spears’ “Toxic” and Tame Impala’s “The Less I Know The Better” scratches that nostalgic itch perfectly while providing some classic high-energy dubstep sounds that get the crowd amped up every time they step on stage. If nothing else, their come-up will go down in dubstep history and be studied by aspiring artists for years to come.



Ravebot
Ravebot

Avicii ‘I’m Tim’ Documentary Releases On Netflix

Today marks the release of the highly anticipated ‘I’m Tim’ documentary which follows the life of Avicii and provides an in depth look behind the scenes with lots of private footage from his early years to his final days.
The documentary provides a very personal look into Avicii’s career and upbringing showing both the highest of highs and the lowest of lows told through the words of those closest to him including friends, family and collaborators. It’s an emotional rollercoaster that makes you smile while bringing a tear to your eye with stories of how the timid kid from Stockholm Sweden who would skip school to work on music in his room, became a music sensation revered by everyone in the music industry.
Along with the release of this documentary, Netflix have released Avicii’s final live performance from Ushuaia in 2016. This also includes clips from the studio and some wonderful words from Coldplay’s Chris Martin that tell of the incredible talent Avicii had, and the wonderful spirit he was.
‘I’m Tim’ is a must watch for any Avicii fan and is a great celebration of his life that serves as another reminder of how unbelievably gifted he was and how much of a loss he is to the world. A forever humble legend of music who even at his peak, when asked who he was simply answered ‘I’m Tim.’
Ravebot
Ravebot

Two New Unreleased Avicii Songs Have Been Leaked Online

The year 2025 is approaching and many Dance/Electronic fans worldwide are eager to see what tracks will come out in this coming year, especially tracks that are from rising artists in the industry. Of course, at the same time, looking forward to 2025 allows one to reminisce about how far EDM has come and think about the legends that had left their mark in past years. One cherished name that always appears in music history books and records is Avicii, whose music continues to resonate worldwide even after his passing in 2017. In fact, recent online leaks just showed that Avicii had two long-lost tracks that had not come to light until now. The long-lost tracks of Avicii are titled ‘Black And Blue’ with ‘Wake Me Up’ singer Aloe Blacc and Mac Davis, and ‘Let Me Show You Love’, which features vocal and music production support from Nervo.
The first track would’ve followed up shortly after the now-unforgettable smash hit, ‘Wake Me Up’, and this track has an amazing acoustic guitar riff that perfectly complements Blacc’s memorable vocals. The second track incorporates more synth and leads, especially with the added firepower coming from Nervo, and this track feels like an early 2010s house banger that many fans have come to love and appreciate. These two tracks have shown that even though the iconic Swedish producer is no longer here physically in this world, his music will always stay strong and beloved for many generations to come. Both long-lost tracks are available for all to download on the ‘Avicii Unreleased Library’ YouTube channel.
The post Two New Unreleased Avicii Songs Have Been Leaked Online appeared first on EDMTunes.
Ravebot
Ravebot

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