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[EDM.com] Police Investigating Sexual Assault Allegation at Famed Berlin Club Berghain

Berlin police have opened an investigation into an allegation of sexual assault at Berghain, the city's world-renowned nightclub, after an attendee reported being raped during a late-night event earlier this month.
The incident allegedly occurred on Sunday, March 2nd, during one of Berghain’s famed "Klubnacht" parties, according to reporting by Berliner Zeitung. The assault is said to have taken place in the restrooms of Panorama Bar, one of the club's two main dancefloors.
The case came to public attention last week after posts surfaced in an online Reddit forum dedicated to Berghain's tight-knit community of electronic music enthusiasts. In the posts, users circulated details of the alleged incident and reported that police had been contacted.
Berlin police have since confirmed that the matter is under active investigation.
"I can confirm that a specialist department for sexual offenses within the State Criminal Police Office is conducting an investigation into a matter that matches your inquiry," a police spokesperson told Berliner Zeitung. Authorities declined to release further details, citing Germany's strict privacy and data protection laws.
Berghain, housed in a former power plant in Berlin's Friedrichshain district, has long been celebrated for its nonconformist ethos and marathon dance parties. The venue is also known for maintaining a notoriously selective door policy and for fostering a culture where personal freedom is fiercely protected.
In recent years, as Berlin's storied club scene has confronted an uncertain future, the city has faced growing scrutiny over safety in clubs and public spaces. The latest allegation has prompted calls among some nightlife advocates for more robust measures to protect attendees.
The investigation into the incident at Berghain remains ongoing.
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[EDM.com] Watch Martin Garrix Step Up to the Mic, Sing on His Own Track for the First Time

Martin Garrix is breaking new ground with "Angels For Each Other," a collaboration with Indian singer-songwriter Arijit Singh in which he sings on his own track for the first time.
Out now via his own STMPD RCRDS imprint, the track blends English and Hindi, melding diverse musical influences and offering a unique fusion of Garrix's signature sound and Singh's soulful Indian melodies. "Angels For Each Other" is also the first-ever English language showcase for Singh, the world's most followed artist on Spotify.
In a behind-the-scenes TikTok video, the superstar Dutch DJ shared his excitement about lending his vocals to his own music.
"If you had told me a few years ago that I'd be singing on one of my own songs one day, I never would have believed you," Garrix said.
The buzz surrounding "Angels For Each Other" is growing, with many fans speculating it could be a key feature in Garrix's Mainstage set at Miami's Ultra Music Festival later this month. He's also fresh off a major headline show on March 14th, the night after the song's release, at Mumbai's DY Patil Stadium, where Singh joined him onstage.
"Mumbai it will take a lot of time for me to process last night," Garrix wrote on instagram. "Forever in my heart… thank you."
You can watch the official music video of "Angels For Each Other" below and find the new single on streaming platforms here.
Follow Martin Garrix:
X: x.com/martingarrix
Instagram: instagram.com/martingarrix
TikTok: tiktok.com/@martingarrix
Facebook: facebook.com/martin.garrix
Spotify: spoti.fi/2YszVxQ
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[EDM House Network] CollabHouse’s ‘Campaigns’ Promises to Be a Game Changer for Music Promo

Music promotion platform Collabhouse have unveiled their eagerly anticipated new ‘Campaigns’ feature.
The online marketplace tool allows music makers to connect directly with content creators for bespoke music promo campaigns across social media channels including TikTok and Instagram. For their part, content creators stand to reap the benefits of a new stream of revenue and easy access to the pre-cleared international music industry with high quality music in every genre.
The rise of social media content creators – and their increasingly pivotal role in breaking tracks into the wider global consciousness – is something that Collabhouse has placed at the heart of its mission to disrupt and revolutionise the music market, as Chief Marketing Officer Andy Berendsen explains:
“Influencers are shaping the future of music marketing, and with ‘Campaigns’ they have a platform designed specifically for their creativity. The ‘Campaigns’ feature makes it easier than ever to work with top artists, drive engagement, and be part of something bigger in the music industry.”
Content creator Ida Celine (@idacmusic) agreed, adding: “Music and content go hand in hand, and Collabhouse just made it easier for creators like me to work directly with artists. I love the challenge of making something unique, knowing that my creativity can help push a song to a global audience!”
The proof of how successful a Campaigns feature could be is already out there. DJ Mag Top 100 stars BEAUZ beta-tested it last year for their hit single ‘Lick It’ and the results made them completely re-evaluate their relationship with the traditional music release model.
Using targeted creator partnerships to tap into TikTok’s ‘ravetok’ scene, the duo achieved a 300% increase in streaming figures (5.7million), a 650% increasein the amount ofvideo creations using the single (73,000), andanincredible 750% increasein the amount ofengagement with the track across social platforms (53 million interactions).
“Working with Collabhouse has been an absolute game-changer,” admitted one half of the duo, Bernie Yang.
“At first, we turned to Collabhouse to release tracks that didn’t quite fit traditional labels. But to our surprise, those tracks ended up outperforming our previous label releases. Looking back, it’s clear why: what we put out through Collabhouse is our pure, unfiltered sound, the music our fans connect with most because they can’t find it anywhere else.
“On top of that, Collabhouse’s influencer campaigns consistently provide a major boost, perfectly aligning with today’s music landscape – where social media and content drive discovery.
“We’re incredible proud that our top two tracks on Spotify were released through Collabhouse. And shout out to their staff team, Riccardo and Marko for always being there with us.”
To celebrate the launch of Campaigns, Collabhouse are inviting content creators to use three new tracks on the platform: Naak’s ‘Feeling My Way Out’, ‘Neglect’ from Dreamkiller, and ‘Ocho’, a co-production from KEVU and BEAUZ, with a huge €5,000 prize fund at the ready for creators whose content impresses their in-house marketing team.
To enter, visit www.collabhouse.com/promotion/creator-competition. Create a Collabhouse account, pick a track, create a video, then post and tag using #CollabhouseCompetition. Entrants are free to create and upload as many different videos as they like, with each one counted as a separate submission. Entries must be submitted by April 10th, and the judges’ decision is final. For full T&Cs visit the www.collabhouse.com.
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[EDM.com] Peek Into the Listening Habits of Aphex Twin With His New 191-Track Playlist

In a move that surprises exactly no one familiar with Richard D. James' eclectic universe, the electronic music pioneer better known as Aphex Twin has unleashed a characteristically unconventional offering: a massive selection of 191 tracks for streetwear giant Supreme.
Titled with quintessential Aphex understatement as "Aphex Twin: [mostly mellow]," the collection represents a rare glimpse into the listening habits of electronic music's most enigmatic figure. From Brian Eno's ambient explorations to Kraftwerk's mechanical precision to Run-DMC's revolutionary hip-hop, the playlist mirrors the same boundary-dissolving spirit that marks James' own deeply influential productions.
In a classically self-referential twist, James included one of his own tracks, 2015's "XMAS_EVET1N" among the selections. Other trailblazing artists to appear include Burial, Ragga Twins, Squarepusher and The Beach Boys, among many others.
You can peruse the full playlist below and check out Aphex Twin's new collection with Supreme here.
Follow Aphex Twin:
X: x.com/aphextwin
Facebook: facebook.com/aphextwinafx
Spotify: spoti.fi/34xoFmQ
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[EDMTunes] Berghain Investigation For Sexual Assault Allegation

Berlin’s top club, Berghain, recently encountered a predicament that led to the Berlin police launching an investigation. One of the club’s attendees claimed to have been sexually assaulted in the club earlier this month on March 12th.
The attendee was allegedly raped in the toilets near the Panorama Bar. A Reddit post described the incident and the offender. The user has informed us they have had help to uncover the individual’s Instagram name and phone number, as well as, the police have been involved.
Berlin Police told Berliner Zeitung: “I can confirm that a specialist department for sexual offenses within the State Criminal Police Office is conducting an investigation into a matter that matches your inquiry.”

The post Berghain Investigation For Sexual Assault Allegation appeared first on EDMTunes.
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[EDM.com] Richard Finger: How a Mysterious Dubstep Duo Flipped Off the Formula and Landed a Red Rocks Debut

In a scene obsessed with faceless DJs, Richard Finger has found the ultimate loophole: they're just a finger.
The mystery of Richard Finger is one of the strangest—and most entertaining—storylines to emerge in electronic music so far in 2025. If you spend enough time scrolling through dubstep discourse on X, you've probably stumbled across this quirky saga recently.
If not, all you need to know is that somewhere, somehow, a sentient finger managed to strong-arm its way into a live performance debut at the iconic Red Rocks Amphitheatre. And that's not even the weirdest part of this story.
Who—or what—is Richard Finger? That's been an increasingly urgent guessing game among bass music fans since the enigmatic artist first appeared on SoundCloud in early-2024. What started with a cryptic upload titled "THe BIRTH OF RICHARD FINGER??????" quickly evolved into a full-fledged spectacle built on unhinged song titles, hilarious social media interactions and dubstep productions that are shockingly—almost frustratingly—great.
View the original article to see embedded media.
For months, fans speculated whether the project was one artist, a duo or an anonymous collective à la Deathpact. The truth? Richard Finger is actually the brainchild of two producers with over a decade of experience, they tell EDM.com, determined to challenge today's artist branding standards by doing the exact opposite of what’s expected.
Instead of chasing algorithmic success with vacuous, hyper-optimized promo content, they let chaos do the marketing for them. Using satire, shitposting and outlandish lore, they are giving the middle finger to the moth-eaten music marketing machine.
And it's worked. Last month, EDM.com Class of 2025 star Tape B announced Richard Finger as the first opener of his Red Rocks headline show in October, launching the mystery even further into the public eye. With just seven songs—all of which are SoundCloud exclusives—and less than a year of existence, their playbook has led to plenty of questions.
Are they an industry plant? Did they blackmail their way onto the lineup? Is this all just one elaborate joke? Richard Finger, of course, aren't here to clarify anything.
"We love breaking the law," they told us in their first-ever interview.
We caught up with the anonymous artists behind the most infamous appendage in bass music to discuss their Red Rocks debut, the power of online absurdity and why sometimes, causing commotion is the best marketing plan of all.
View the original article to see embedded media.
EDM.com: Fans love unraveling the mystery of anonymous artists. How do you balance keeping the illusion intact while also making real connections with your audience?
Richard Finger: It’s less about trying to keep the illusion intact and more about engaging with the people who are engaging with our music. Anonymity just keeps the focus on the sound and not "us."

EDM.com: Anonymity in electronic music has historically been used to shift focus toward the art itself. Do you see Richard Finger as a character-driven project, or is the music ultimately what you want people to focus on?
Richard Finger: At the end of the day, we want people to focus more on the music than anything else.
EDM.com: Your branding is so over-the-top that it almost mocks traditional artist promotion. What do you think Richard Finger says about the current state of artist branding in electronic music?
Richard Finger: These days, artist branding feels like everyone’s just copying what already works, and people take it way too seriously. We wanted to break that mold and have fun with it, be ridiculous and do something that actually makes us laugh. Music should be about expression, not just playing by the same old rulebook.
EDM.com: The Richard Finger persona is intentionally ridiculous. But satire has a way of revealing deeper truths. What is Richard Finger actually satirizing?
Richard Finger: Richard Finger satirizes the over-the-top, serious nature of artist branding. It’s a way to highlight how ridiculous and fake the mainstream culture can be, while pushing for authenticity and humor instead. We love breaking the law.
EDM.com: Comical façade and social media presence aside, your music is full of creative sound design that has captivated dubstep fans. How would you describe Richard Finger as a producer?
Richard Finger: We've both been making music for over a decade, so we do have experience under our belts. But this time around, we’re not taking it as seriously—while still putting 100% effort into the music we create.
EDM.com: Your first-ever live show is at Red Rocks. Not exactly a low-key debut. How do you even begin to conceptualize a performance for such an iconic venue when your entire brand is based on absurdity?
Richard Finger: We’re just going to do what we normally do: write music and play it. Our "brand" may be absurdity. But the music will speak for itself.
EDM.com: Much speculation has been made online about your identities. Do you have a plan for how to present Richard Finger to the world at your debut show?
Richard Finger: No.
View the original article to see embedded media.
EDM.com: Given your first release was less than a year ago, some controversy has been made about such a new artist being given the opportunity to play at Red Rocks. What is your message to those who are skeptical of the booking?
Richard Finger: People like to speak on what they don’t understand. When we were booked for this show, Tape B and his team had no idea who we were. Once again, we think the music speaks for itself.
If you cause enough commotion, the opportunities are endless.
EDM.com: Red Rocks is a venue known for hosting legendary performances. What does playing this stage mean to you personally, and how do you plan to make the most of this opportunity?
Richard Finger: All jokes aside, it truly is an honor and unexpected to be able to share our music on such a legendary stage. This set will be the most effort we’ve ever put into a performance. Tons of new music, remixes and edits.
EDM.com: Do you see Richard Finger as a short-term experiment or a long-term artistic vision?
Richard Finger: We’re just writing music, sharing it with the world and having fun. We have no expectations of how far this will go.
EDM.com: Is there anything else you'd like to tell the world about Richard Finger?
Richard Finger: We are not an industry plant. If anything, we're a middle finger to the industry and the way it operates. No corporate bullshit. Just two friends making music and having fun.
Follow Richard Finger:
X: x.com/richardfingerr
Instagram: instagram.com/richardfingerr
SoundCloud: soundcloud.com/richardfinger
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[EDMTunes] Adriatique & Samm Unveil Highly Anticipated Collaboration ‘Back To Life’

Swiss melodic techno pioneers Adriatique and Belgian rising star Samm have joined forces for their long-awaited collaboration. ‘Back To Life’ is out now on X Recordings. melodic techno pioneers Adriatique and Belgian rising star Samm have joined forces for their long-awaited collaboration. ‘Back To Life’ is out now on X Recordings.
The track features deep, sultry production with evocative synth lines, intricate percussion, and a commanding vocal. ‘Back To Life’ effortlessly merges Adriatique’s signature melodic sound with Samm’s warm, feel-good fusion of melodic house, Afro house, and soul. The track features captivating vocals from Dutch vocalist Jaimes.
Both artists road-tested the record during their major shows worldwide. Adriatique put ‘Back To Life’ on the map during his groundbreaking set at The Sphere in Las Vegas at the start of 2025. It is poised to be played globally for all to dance to.
With Samm currently one of the most sought-after DJ/producers in the electronic music scene, this release further solidifies his reputation as a boundary-pushing artist. The Magnifik label boss has been making waves with his signature blend of Afro and deep house.
The post Adriatique & Samm Unveil Highly Anticipated Collaboration ‘Back To Life’ appeared first on EDMTunes.
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[EDMTunes] ACRAZE: ‘Rock My World’

ACRAZE drops his new single ‘Rock My World,‘ a tech house hit infused with the rich, R&B-inflected vocals of Miami artist Puku. The highly anticipated track arrives the same day as ACRAZE’s hometown headliner at The Vanguard in Orlando, FL, and ahead of a series of club dates and festival appearances.
After an ethereal intro, ‘Rock My World’ instantly transcends listeners onto a turbo-charged dancefloor with dominating basslines and laser-like tones that drive the track forward. Showcasing his ability to shatter genre boundaries, ACRAZE seamlessly blends in Puku’s soulful R&B inspired vocals to add a viscerally addictive layer to the high-powered hit. Listen here.
A disruptive innovator on the scene, ACRAZE has cemented himself as one of the most in-demand names in music. Known for his magnetic stage presence and genre-defying sound that seamlessly blends hip-hop, pop and electronic music, the serial-chart-topper’s meteoric rise has been defined by his penchant for the bold and ardent refusal to follow the status quo. ACRAZE is looking forward to an EPIC 2025, with a massive PARADOX takeover of Mana 320 during Miami Music Week and another Wynn Residency in Las Vegas on the horizon, as well as appearances at Beyond Wonderland and the Breakaway Music Festival’s Dallas, TX, and Saint Paul, MN, iterations, and more.
The post ACRAZE: ‘Rock My World’ appeared first on EDMTunes.
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[EDMTunes] Eric Prydz Drops ‘Call on Me’ After 21 Years at Austin Show

Eric Prydz fans, pinch yourselves to believe, or slap yourselves if you still don’t! The unthinkable has happened! Eric Prydz’ has finally dropped ‘Call on Me’ after 21 years! The 2004 international hit catapulted Eric to the path of initial global superstardom. It has been completely abandoned by the Swedish dance music titan for more than two decades, till 03/15/2025 at The Concourse Project.
Eric Prydz dropping ‘Call on Me’ at The Concourse Project, Austin, Texas

The ’20 Years of Pryda‘ show in Austin, Texas has witnessed a history of sorts. Ibiza 2004 was the last time it graced the tracklist of the progressive house legend. There have been instances post-2004 admitted by Eric himself where the audience came to his shows just for the song. The restlessness and anticipation of those still didn’t convince him to drop ‘Call on Me’ at those shows. It was dead and buried and no one ever presumed in their wildest dreams he would play it again.
Another footage of Prydz dropping ‘Call on Me’ at Austin, Texas

‘Call on Me’ is Eric’s own 2004 take sampling Steve Winwood’s 1982 classic ‘Valerie’. The music video for the classic was the one that made more waves, to the point it caught the attention of then British Prime Minister, Tony Blair. The signs given by Prydz of keeping himself away from the iconic track was to avoid the tag of a ‘one hit wonder’. The progressive house legend obviously went to attain much bigger accolades in career. Celebrating 20 years of his label Pryda at The Concourse Project show was deemed apt by Prydz to resurrect the classic. And we are definitely not complaining!
The post Eric Prydz Drops ‘Call on Me’ After 21 Years at Austin Show appeared first on EDMTunes.
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[GrooveCartel] Netsky and Andromedik team up for ‘Out of Body’

Netsky and Andromedik, two of the best Drum & Bass DJs and producers in the world, work together for the first time on their exciting new song “Out of Body,” which is out now on Helix Records.
Together, they’ve made a high-energy, melodic gem that will be played on dance floors all over the world. “Out of Body” is an addicting, high-octane track with emotional vocals, strong peaks, and a huge drop that strikes the perfect balance between melody and energy. The catchy beat and intense feel-good vibes of the track make it sure to become a quick favorite among Drum & Bass fans.
Netsky and Andromedik‘s work together is a big deal for Belgian Drum & Bass because it brings together two generations of artists to make a track that will light up clubs and events all over the world. “Out of Body” will make them even more well-known as leaders in the genre.
With his unmatched list of hits, Netsky has continued to push the limits of electronic music. He has worked with famous artists like Rudimental, Becky Hill, Emilie Sande, Swedish House Mafia, Lil Wayne, and Aloe Blacc. Ed Sheeran, Dua Lipa, and Jack Ü have also asked him to do remixes, which has earned him millions of streams and made him a sought-after producer and collaborator. He has sold out arenas and been the headlining act at some of the biggest festivals in the world, like Coachella, Glastonbury, Printworks, Pukkelpop, and Lotto Arena. He has also left an indelible mark on the “Netsky & Friends” brand, putting together and hosting stages at high-profile events like Tomorrowland and spreading the show to many clubs and events across Europe.

The post Netsky and Andromedik team up for ‘Out of Body’ appeared first on The Groove Cartel.
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[UKF] Who the Hell is Mono Black

Let us introduce you to Mono Black. He grew up listening to Flux Pavilion, Modestep, and Skrillex, before changing lanes to hip-hop for a while. This scene is where he really learned the ropes and got into producing, sampling from random €1 vinyls and picking out tunes in his favourite record shops. And when you discover he’s from Antwerp, a city with a vibrant underground scene full of undiscovered gems, things will start to click. 
Mono Black makes music for the underground, for the people with a passion. When you listen to his tracks, you’ll notice that it’s different from the typical Belgian sound the country got famous for in the bass scene. And that’s because Mono Black doesn’t necessarily want to conform to the mainstream. He makes the music he wants. And if people like it, then that’s a plus. Spoiler alert: people do like it, because he’s only released three tracks ever, and one of those just got a premiere on our YouTube channel. Time for a chat. 
You just released your first ever EP, and it’s already getting supported by UKF. Congratulations!
Yeah, it’s absolutely amazing! If you had told my younger self, I wouldn’t have believed you. It’s a massive sign that my music is being appreciated, both by listeners and by bigger people in the music industry. I still see myself as the average bedroom producer, so it’s nice to get that validation. 
Can you tell me more about the process behind the EP?
Funnily enough, ‘Thoughtseize’ was a track that I never intended to release, and I was literally about to delete it when Blanko (Abyssal’s label manager) heard it and told me he wanted to sign it. I made it out of a Shades sample pack, where I took some samples, threw them in my DAW, mangled them around, and thought, this is so unhinged, I’m just going to leave it like that. And then who knows, later I can use it. It has been collecting dust on my hard drive for three years, but here we are. For the ‘Duress’, the other track, I experimented with sounds on my physical synths, and I had a lot of fun with it. I had to give myself a deadline for that one, because I have a hard time finishing my tracks. I think that’s the biggest problem for most producers. Everyone has a thousand projects, but only ten finished ones.  I think that’s a mix of imposter syndrome and just listening to it over and over again.
What’s the story behind this EP?
This was a bit of a challenge for myself, I went out of my comfort zone. Blanko challenged me a lot with this.  I have a lot of projects that sound very epic and big and very offbeat. It’s not something you can play during a set, it’s made for people listening to weird electronic music for the journey. With this EP I couldn’t tap into that sound, but I didn’t mind. It was a nice challenge to see how far I could push myself while working within the constraints of a limited time frame.
Where did it all start for you, production-wise? 
Way back, I started making hip-hop and trap music when I was 16. I slowly transitioned to using more electronic and leftfield sounds which ultimately led me to dubstep, more specifically 140. It’s just fun, I like it. It’s a bit nerdy, to put it that way. You can just geek out on samples. You can stare at your synths for an hour, change sounds around, and be like, oh, I like this, what’s this? I think the geeky aspect of electronic music is that it’s so fun that you keep doing it. I’m a person who, if I find something interesting, I can really lose myself in it for months, 24/7.  When I started producing, I was looking at tutorials non-stop, and was watching interviews with artists that I liked. And then I just practiced all of that new knowledge over and over. It’s such a good feeling to be able to control all of that now. Now I can say, I want to make this type of tune, and just go on and do it. 
I remember getting into dubstep when I was 14 or 15. I was really into the brostep movement of Flux Pavilion, Skrillex, Modestep, all those artists. Then, when I started producing a few years later, I dabbled a lot between hip-hop and dubstep, and then I got to know Ivy Lab. I thought they were sick, they had everything. A bit of hip-hop, half-time… And then I started watching videos like Against the Clock by Fact magazine, where the artists have fifteen minutes to make a whole beat. That’s actually how I ended up discovering Alix Perez. I also remember watching Rhythm Roulette, where hip-hop producers would go and pick up some records from a store and make a beat out of it. I thought that was insane. 
Watching these videos forced me to think about making my own sounds, my own beats, my own snares. Before this, I just sampled everything, because I was into hip-hop. So I started making my own stuff. It was very difficult, and at first I was really bad at it, but now that I’m completely sober, I feel like I got a better ear for it. 
How did going completely sober change you as a producer? 
I can separate the good from the bad way better now. Back in the day I thought everything I made was decent… Now that I’ve listened to a lot of genres, done a deep dive into them, I can tell that there are artists who really care about their album, their EP’s. Shades, EPROM and Alix Perez, worked on their album for a long time. It’s a solid piece of work that is very much in harmony. They have varied a lot, experimented a lot. The sound selection is top notch. Everything is coherent. If you look at another EP, another up-and-coming drum & bass producer or dubstep producer… A lot of these sounds, I feel like I’ve heard a hundred thousand times. The sound might fit in DJ-sets, but it doesn’t get to me like Shades does for example. I don’t know, it’s not that the more mainstream stuff is bad, because music is subjective anyway, but you can sometimes feel that an artist has worked hard on it for themselves, and not just to make a song that does well on dancefloors or radios, and that’s what I like. 
When I go to events or sets of artists that I really want to see, I really pay attention to the details and how the artist reacts and interacts with the audience. Some artists are very introverted and are very busy with what they do. They’re in the zone. Some are very good with the crowd, which is also nice. But I think the best in electronic music, and you see it far too little, is the visual aspect. It gets forgotten a lot, I think. Don’t get me wrong, you can’t always do a sick visual show, but that’s something that I would love to get into. Create a visual show, so you can see what’s going on in the artist’s head.
You said that you look at what the DJs do behind the decks when you’re out at an event. What are the things that you noticed and how has that influenced you?
When the artist enjoys playing their set, then that always translates to the audience. I’ve already noticed that when I play, I prepare only half my set so that I can improvise the other half, and I usually have the most fun in that second half. Every time I play, people say, “You played really well, you were really enjoying it,” and that’s proof to me that if you enjoy what you’re doing, other people will automatically join in. 
To give you another example, I remember being at Rampage in 2024, and Automhate & Dr. Ushūu were playing. I didn’t know anything about them, but I decided to give it a go. Those guys were literally jumping from joy behind the decks, so the whole crowd was hyped. I thought it was the best set of the whole evening, just because of how enthusiastic they were. It makes such a big difference. Some artists have been in it for a long time, and it’s really just business for them, so they’re less in it with the crowd. But that enthusiasm behind the decks is unbeatable in my eyes. I also notice that when I do it myself, I have a lot of fun. Interaction and enthusiasm is everything, and obviously knowing what you’re doing. 
Another example is Machinedrum, he’s the reason I do electronic music. His albums Vapor City and Vapor City Archives have shaped my entire musical identity. I saw a live set of his new album, 3FOR82 in Ghent last year, where he added all the effects while the song was playing. The guy had a lot of fun, he had good visuals behind him, it was amazing. At the end of the set, he said, “I’m going to play unreleased stuff for half an hour.” Everyone was dancing. Everyone was so excited. There were around 80 people, but it didn’t matter. If the artist is having fun, then the whole crowd has fun. 
That’s a good thing to take away from your experiences at gigs! Do you have any final thoughts? 
The UKF premiere gives me a lot of confidence in what I do. I feel like I want to do more now, and I want to finish the stuff that’s in progress, I want to make a body of work out of it. I’m thinking of releasing a few EPs before I make an album, because an album takes a lot of work. I’m also looking forward to working with a few other Belgian artists, like KRANKk and DMTR. FFaux as well, that guy is insane. I just want to collaborate with them and see how we can create something cool together. They’re not that well known, so that makes it so much more fun for me. Because it’s not with the goal of building a career. It’s purely for having fun, creating unique things. I’m also working on a track with Lavance. He sent me an insane Ivy Lab-type beat, and I can’t wait to work on it more. It’s the kind of track that’s never going to be released, but that doesn’t matter – I like it. For now, I’m all for creating stuff together, and I’m looking forward to more of that in the near future.
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[GrooveCartel] Adriatique & Samm long-awaited song ‘Back To Life’ is here

Adriatique and Samm (our interview), two rising stars from Belgium and Switzerland who are known for their lyrical techno, have finally worked together on a song called “Back To Life,” which is now available on X Recordings.
“Back To Life” is a deep, sultry production with evocative synth lines, complex percussion, and a commanding voice. It combines Adriatique‘s signature melodic sound with Samm’s warm, feel-good mix of melodic house, Afro house, and soul. The track features captivating singing from the Dutch singer Jaimes, who has worked with Martin Garrix, Armin van Buuren, Benjamin Ingrosso, and MONSTA X, among others.
Both artists have played “Back To Life” at major shows around the world, including Adriatique’s groundbreaking set at The Sphere in Las Vegas at the beginning of 2025. In the coming months, artists from all over the world will play it, solidifying its status as a future dancefloor anthem with its catchy energy and timeless appeal.
Samm is now one of the most sought-after DJs and producers in the electronic music scene, and this release adds to his status as an artist who pushes the limits. Magnifik label boss has been making waves with his unique mix of Afro and deep house. Top acts like Black Coffee, BLOND:ISH, CamelPhat, Keinemusik, Solomun, and WhoMadeWho have praised his work. After the huge success of his hit song “Does It Matter,” Samm is getting ready for a year full of high-profile releases and shows.

The post Adriatique & Samm long-awaited song ‘Back To Life’ is here appeared first on The Groove Cartel.
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[EDMTunes] NOTD Releases New EP Called ‘Digital Notes’ Ahead of their Webster Hall Show in NYC This Week

The duo of Tobias and Samuel otherwise known as NOTD started off the year with a big track named ‘Another Life‘. Now they are back with a brand new EP called ‘Digital Notes‘ featuring 5 completely new tracks on top of their earlier release of ‘Another Life’. The EP features a handful of collaborations from talented artists such as Mercer Henderson, INJI and Maia Wright and more. The EP features songs with uplifting melodies that almost provides an immersive video game-like experience. Take a listen to the full EP below now.
To accompany the release of the EP, NOTD is also heading on a North American tour spanning 9 stops across the continent. This Friday, NOTD will be making their way to New York City with they will perform at the iconic Webster Hall. They will joined by the the three membered girl group called blusher as their direct support. You can expect the songs from their ‘Digital Notes’ EP on full display at the show as well as some of their classic biggest hits such as ‘So Close’ and ‘I Wanna Know’ with Bea Miller. Take a look at the full tour announcement below and make sure to secure your tickets HERE now to their return to New York City this Friday, March 21st.
The post NOTD Releases New EP Called ‘Digital Notes’ Ahead of their Webster Hall Show in NYC This Week appeared first on EDMTunes.
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[EDM House Network] Martin Garrix’s ‘Don’t Look Down’ Hits 10th Anniversary

In the early days of Martin Garrix’s music he stuck to making Big Room House where he produced some huge tracks like ‘Tremor’ and ‘Animals.’ When 2015 came around he started to really diversify his sound entering into the realms of progressive house and pop which is a journey that began with his fantastic collaboration with Usher, ‘Don’t Look Down.’
This collaboration wasn’t planned and came around purely by chance when Garrix sent a demo of the track to his manager who happened to have the king of RnB Usher visiting. When Usher heard the track, he quickly showed interest in providing vocals for it and shortly after was on facetime with Garrix to talk through working with him.
Despite ‘Don’t Look Down’ being a song that was stylistically out of both artists comfort zones, they managed to create exactly what they aimed for, a song that would make people smile. Usher’s rich vocals combined with Garrix’s unparalleled melody writing made for a chart hit as it went to number 3 on the Billboard US Dance Club Songs and reached the top 10 in the UK and the Netherlands.
At Ultra Music Festival 2015 the crowd was treated to hearing the song live with Usher joining Garrix on stage to sing in a simply historic moment. 10 years and 287 million streams later, ‘Don’t Look Down’ remains one of Garrix’s greatest collaborations that helped make him a household name.
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[EDM.com] Cassian, SCRIPT and Belladona Drop Commanding Melodic Techno Track, "Where I'm From"

A great dance track owns the space around it, and with their new collaboration "Where I’m From," Cassian, SCRIPT and Belladonna do exactly that. 
Even before its official release, "Where I’m From" was already leaving a mark. Cassian has certainly championed the track in his own DJ sets, sending it surging through some of the biggest dancefloors in the world, but its most recent lift came when Anyma and John Summit dropped the incendiary track in a surprise b2b set at LIV Las Vegas.
Cassian has been in peak creative form, recently stepping into the role of Music Director for Anyma's "End of Genesys" show at Sphere, an ambitious and groundbreaking residency that's already shaping the next generation of live electronic music experiences.
"Cassian has been an inspiration and mentor of mine for so long it’s really exciting to finally get a track out with him," SCRIPT said in a press release. "He’s the first person to spin 'On The Low' last year which was my biggest track to date so it’s very full circle to come back a year later and put out one of our most requested and supported IDs."
Listen to "Where I'm From" below and find the new single on streaming platforms here.
Follow Cassian:
X: x.com/_cassian
Instagram: instagram.com/cassian
TikTok: tiktok.com/@cassian
Facebook: facebook.com/cassian88
Spotify: bit.ly/3yJJ5c1
Follow SCRIPT:
X: x.com/script_av
Instagram: instagram.com/script_av
TikTok: tiktok.com/@script_av
Facebook: facebook.com/script.av
Spotify: tinyurl.com/2s3pbtma
Follow Belladonna:
Instagram: instagram.com/belladonna
Spotify: tinyurl.com/m8nf8nur
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[EDM.com] Calvin Harris Is Back Behind the Mic in Folksy Electronic Track, "SMOKE THE PAIN AWAY"

Calvin Harris is back behind the mic for the first time in seven years in his new single, "SMOKE THE PAIN AWAY."
Known for lending his own vocals to generational dance hits like "Feel So Close" (2011), "Summer" (2014), "My Way" (2016) and "I Found You" (2018), the chart-topping producer took a step back from singing in recent years. His comeback, however, is nothing short of captivating.
Harris this week surprised fans with the release of "SMOKE THE PAIN AWAY,"  a unique blend of country and house music with a folksy twang. Layered with acoustic guitar riffs, harmonica patterns and his signature raspy vocals, the track builds into a euphoric chorus driven by a pulsing bassline.
Harris also recently debuted a rugged mountain-man aesthetic, fully embracing this new sonic direction and its folk-inspired style. And while it's certainly a departure, it still has tinctures of that nostalgic, unmistakable, dopamine-fueled Harris sound.
Listen to "SMOKE THE PAIN AWAY" below and find the new single on streaming platforms here.
Follow Calvin Harris:
X: x.com/calvinharris
Instagram: instagram.com/calvinharris
TikTok: tiktok.com/@calvinharris
Facebook: facebook.com/calvinharris
Spotify: spoti.fi/3mmhsk7
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[EDM.com] Listen to Max Styler's Irresistible Tech House Track, "I Know You Want To"

In the hands of an expert, simplicity becomes a weapon, and Max Styler wields it masterfully in his new single, "I Know You Want To."
As a newly minted member of the EDM.com Class of 2025, Styler is solidifying his place among house music's most influential rising forces. The producer has already cemented himself as a mastermind behind some of the world’s most popular tech house records, and this latest offering only reinforces his grip.
First teased in Styler's sets to close out the 2024 festival season, "I Know You Want To" has since found its official home on Insomniac Records and it's fully primed to dominate stages worldwide. He said the track aptly captures the feeling of being left with no choice but to lock in and push forward. But beyond the intent, "I Know You Want To" is a surefire dancefloor catalyst, custom-built for sweaty, late-night club sets and peak-hour festival action.
If tension fuels desire, then "I Know You Want To" is the musical equivalent of a slow-burning stare across the dancefloor. A looping, taunting vocal threads through the track, teasing as the beat tightens like a coiled spring.
Listen to the new single below and find it on streaming platforms here.
Follow Max Styler:
X: x.com/maxstylermusic
Instagram: instagram.com/maxstyler
TikTok: tiktok.com/@maxstylermusic
Facebook: facebook.com/maxstylerofficial
Spotify: tinyurl.com/5n7exwyp
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[EDM House Network] Club Space Celebrates 25th Anniversary With ‘Miami Music Week’

Club Space has stood as one of the pillars of Miami night life for 25 years which is a milestone they’re celebrating in style with ‘Miami Music Week’ where a few of the worlds best DJ’s will be taking to the stage. There has already been a 25th anniversary weekend celebration, but that alone wouldn’t be enough to honour this monumental achievement. In true Club Space fashion, the party will go on.
From March 25th to March 30th there will be a series of crazy events playing host to some huge names including Fisher, HUGEL, Camelphat, The Martinez Brothers, Peggy Gou, and many more. Every day will bring hours and hours of the best electronic music with the week being capped off with a 24+ hour closing party so you can dance all day and all night. The week is already looking like the party of the century and there are still more special guests to be unveiled.
There is a whole lot of history within Club Space and ‘Miami Music Week’ looks to be an event that will make some history of its own in celebration of an amazing 25 years. If you want to be able to watch the sunrise and set through glass roof of the iconic terrace while you dance till you drop, then get your tickets now.
Tickets for all Club Space events are available below:
https://www.clubspace.com/events: Club Space Celebrates 25th Anniversary With ‘Miami Music Week’
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[GrooveCartel] Your Ultimate Guide for Ultra Music Festival: My Experience

After attending Miami’s Ultra Music Festival for quite some time now, I’ve got this three-day endurance test down to a science. Whether you’re a fresh-faced raver or a veteran of the circuit, Ultra can push your mind and body to the limits. But make no mistake – with the right preparation and mindset, surviving and thriving at this beloved festival is very doable. Just follow my hard-earned tips.
As with every multi-day festival, Ultra Music Festival is a marathon, not a sprint
First and foremost, approach Ultra Music Festival like it’s a marathon, not a sprint. This is a mistake I made my first few years – going too hard too fast and burning out before the weekend was over. Pace yourself, take breaks to rest and rehydrate, and resist the urge to overindulge, whether it’s with substances, endless moshing, or trying to see every single set. Ultra is a marathon dance party – you need to conserve your energy to go the distance.
To that point, get to the festival grounds as early as doors open each day – 4 pm Friday and 1 pm Saturday/Sunday. Being one of the first inside pays major dividends beyond just beating the entry lines. You can grab a prime spot at whichever stage you want, refill your hydration pack at the water stations, and maybe even squeeze in a power nap on the lawn before the music kicks off. Wander the grounds to scope out the various stage layouts and start mapping out your schedule. Utilize those first few hours to get the lay of the land.
Stay hydrated! Water pack and Camelbak
Speaking of hydration, this cannot be stressed enough: bring a refillable water pack or Camelbak. They’re permitted inside, and hitting up the free water stations to refill beats getting gouged for overpriced bottles all weekend. Trust me, the first year I went without one, I must have dropped over $100 just on water alone. Not a mistake I’ll make again. Staying properly hydrated is crucial for your health and stamina across these three sweltering March days.
Comfy over stylish
Comfortable shoes are another essential – leave those fashionable boots or sandals at home. You’ll be doing intense amounts of walking and dancing, so find some quality sneakers with good tread and ankle support. These days, I go with lightweight running shoes and pack an extra pair of cushioned insoles to swap in. Your feet will thank you later. At my last Ultra, my step count was showing more than 20 km walked a day.
Suncream, sunglasses, earplugs: get them!
Portable phone chargers and sunscreen are two other must-have items that can make or break your Ultra experience. With your phone being your camera, portable stage guide, and a way to meet up with friends, having a way to keep it juiced is key. As for sunscreen, you’ll be out in the open for hours on end – slather up regularly or you’ll be cripplingly sunburnt before the weekend is over. The same goes for sunglasses and earplugs to protect your eyes and eardrums respectively.
Don’t drive!
Getting to and from the festival grounds can be a nightmare if you try driving yourself. The area around Bayfront Park has extremely limited parking, so do yourself a favor and take public transit or ride shares instead. Especially if your hotel or stay is in Miami Beach. I always take the Metrorail and swap on the Metromover at Bayfront Park Station. It’s quick and cheap, and no parking fees or sitting in post-show traffic for hours. Just be sure to load up your transit app or have a ride service pulled up as soon as you exit the festival at night.
Go and discover the lineup
Most importantly, keep an open mind to discovering new artists and sounds you may have overlooked. In my first Ultra, I made the rookie mistake of camping out at the main stage all weekend. While admittedly stacked with the biggest draws, some of my most euphoric festival moments have come from wandering into the RESISTANCE, Arcadia Spider, or other “undercard” stages and being blown away. The beauty of Ultra is that there’s so much talent to experience across every genre imaginable. So scout the lineup, and plan out a schedule, but also leave room to get blissfully lost along the way.
Respect the locals. You’re the guest!
Finally, while Ultra is an all-out rager, remember to be respectful of the downtown Miami residents once you stumble out at night. Keep your voices down, clean up after yourselves, and avoid anything that could get you in trouble or ruin the vibe for future editions. We’re all here to escape reality and celebrate life through music and dance – but we’re also guests in this community. Extend that PLUR ethos beyond the festival grounds.
With some preparation and self-discipline, the Ultra Marathon can be conquered and savored rather than indulged to the point of burnout. Hydrate, wear good shoes, try new sounds, and soak in every glorious, sweat-drenched moment with your tribe. I’ll be there dancing right alongside you all weekend long as always. Keep the energy flowing and the vibes soaring. This is what we live for!
Ultra Music Festival will return at Bayfront Park, Miami, from March 28 to 30, 2025. Tickets are sold out.
The post Your Ultimate Guide for Ultra Music Festival: My Experience appeared first on The Groove Cartel.
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[EDM House Network] Tiësto & KSHMR’s Secrets Turns 10

On March 16, 2015, Secrets was released. Tiësto was already one of the biggest names in dance music, constantly adapting his style. KSHMR was stepping into the spotlight as a solo producer after years of working behind the scenes, with his start being with The Cataracs. This song changed how people saw him. VASSY’s vocals made it instantly recognizable, and the sound had something that kept listeners coming back.
Big room house was everywhere at the time, but Secrets stood out. It wasn’t just another festival hit. It was playing in clubs, on radio stations, and in DJ sets across different genres. People knew it whether they followed dance music or not.
How Secrets Took Over
The first time most people heard Secrets was at Ultra Music Festival 2015 when Tiësto dropped it during his set. The reaction was instant. The song quickly spread beyond festivals and became one of the most played dance tracks that year.
It hit No. 1 in Poland and landed on Billboard’s Dance/Electronic Songs chart in the US. It was on rotation across Europe and Australia, getting heavy airplay on both dance and mainstream radio.
It didn’t stop there. Secrets was one of the most remixed tracks of its time. There were house edits, future bass versions, and even a hardstyle flip. DJs like Don Diablo, R3HAB, and DVBBS put their own spin on it. Slumberjack’s trap remix gave it a completely different feel and introduced it to a new audience.
For KSHMR, this was the moment everything changed. Before Secrets, most of his work had been behind the scenes. After this, his name was on festival lineups, and people started recognizing his sound.
Where Secrets Stands 10 Years Later
A decade later, Secrets still holds up. Tiësto has moved through different styles, and KSHMR has built his own sound, but this song is still part of their legacy.
Big room house isn’t in the spotlight the way it was in 2015, but some tracks don’t fade. When Secrets plays, people still react. It brings back a time when festival stages were packed with this kind of music, and for many, it’s tied to some of their best memories from that era.
Some songs are big in the moment. Others last. Secrets did both. Even after ten years, it still feels just as strong as the day it came out.
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