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Lightning In A Bottle Returns To Buena Vista For 2025

Today, Do LaB have announced the music lineup for North America’s original boutique festival, Lightning in a Bottle, returning to Buena Vista Lake in Southern California during Memorial Day Weekend from May 21-25, 2025. LIB is your gateway to the extraordinary, a technicolor beacon for individuality in a monochrome world. It’s a place where outrageousness is currency and fun triumphs over all – a journey hand curated by the counterculturists and party-people of Do LaB, dotted with surprises that continually reimagine what a festival can mean to its attendees. It’s not just about catching Lightning, this is your chance to be the electricity you wish to see in the world and have the best time of your life in the process – are you ready?
Music curation is an art at LIB. The 2025 lineup is stacked with some of electronic music’s most sought after talent, but this festival isn’t just about names on a poster. The Do LaB crew have dedicated their lives to redefining how music is experienced. They designed stage atmospheres that bring out the absolute best from their artists, inspire joy, and promote connection. One minute you are seeing your favorite artist in a larger than life stage environment, the next you are seeing them go B2B with an under-the-radar DJ on a small community stage late into the night. It’s wild, it’s unpredictable, and it’s all waiting for you.
Lightning in a Bottle Lineup
LIB’s 2025 music programming criss-crosses electronic genres du jour, spanning from indie-electronic, house, and techno, to UKG and dubstep. Highlight acts include crossover super producer Jamie xx, meteoric Chicago tech house sensation John Summit and the inimitable UK selector Four Tet. Joining in, pioneering psychedelic funk trio Khruangbin, and Compton DJ and beatmaker Channel Tres will perform.
Courtesy of Lightning in a Bottle // Credit: Jamal Eid Other top billing highlights include British powerhouse Shygirl presents Club Shy, riddim royalty Subtronics, and breakout star Sammy Virji. In addition, German electro-dance producer Monolink, iconic and unifying dance figure The Blessed Madonna and trap titan TroyBoi will set the lake ablaze. And as a shocking reveal, legendary House producer and Dirtybird founder Claude VonStroke returns to LIB.
Indie music shines through on the 2025 lineup with acts such as Magdalena Bay and Alt R&B goddess Amaarae. Brooklyn brightlights and Book Club Radio founders Tinzo + Jojo, Toro y Moi and Poolside alumn Brijean, hyper pop princess Audrey Nuna, and Tamil-Swiss vocalist Priya Ragu will charm the event.
Additional highlights include euphoric UKG flagbearers salute and Interplanetary Criminal and the recent global underground triumphs of Joy Orbison. Then, fashionable twin sister duo Coco & Breezy join Haitian house star Francis Mercier, newly formed power duo Girl Math (VNSSA & Nala), melodic maestros like Sultan + Shepard (DJ Set) and Tinlicker. Furthermore, bass favorites Hamdi, Tape B, and PEEKABOO will make their appeareance.
Rounding out the lineup, fans will be able to enjoy sets from Sama’ Abdulhadi, Sofia Kourtesis, ChloĂ© Caillet, Flowdan, and KILIMANJARO. The next generation of showstopping talent include SYREETA, BIIANCO, Sicaria, Bianca Oblivion, AHADADREAM, Mary Droppinz, Kito, and more.
Layout and Resources
LIB’s musical journey guides attendees from its wildly immersive core stages Lightning, Woogie, and Thunder, onwards to its community-driven programming at The Stacks, The Junkyard, and The Grand Artique. Each stage features its own unique aesthetic, vision, and sound, balancing fan-favorite bookings with a constant sense of discovery.
The immersive Compass area offers a diverse array of educational opportunities to engage the senses. They can expand the mind, and inspire community action. Topics include indigenous cultures, psychedelic medicine, climate change, love & relationships, healthy eating, and more. Attendees can learn from the past and present in order to better integrate, collaborate, and thrive in our world’s future.
Courtesy of Lightning in a Bottle // Credit: Juliana Bernstein Lightning in a Bottle offers both three day and five day ticket options, as well as hotel packages. The three day pass will be available as part of the general on sale. In effect, they make the LIB experience more accessible.
Other packages available this year include the return of Easy Peasy Pre-Set Camping and Pre-Set RV options. This will take away any of the stress of setting up camp upon arrival. Moreover, VIP options will also be available for guests looking for the joy of an elevated experience. VIP pass holders can find reprieve in backstage lounges at Lightning, Thunder, and Woogie, grab refreshments in these areas at exclusive bars, enjoy special pop-up interactive experiences, and much more.
Book your escapade now!

The post Lightning In A Bottle Returns To Buena Vista For 2025 appeared first on EDMTunes.
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Jawani Nights: The Explosive Rise With DJ Aza

While drum & bass, jungle, UK garage, and dubstep were experiencing their own explosive trajectory in the late 1990s and early 2000s, there was another vibrant subculture taking inspiration from these genres that was brewing in parallel. 
Drawing inspiration from the sounds and rhythms of their heritage and traditional South Asian elements- such as classical ragas, tabla beats, and Bhangra rhythms- with contemporary genres like drum & bass, garage, dubstep, and hip-hop, the Asian Underground movement stood as a corresponding revolution, deeply intertwined with the evolution of bass-heavy genres of the time. 
Led by influential figures such as Talvin Singh, Nitin Sawhney, Asian Dub Foundation, State of Bengal, Panjabi MC, and Apache Indian, this vibrant scene introduced a rich tapestry of South Asian styles to the mainstream. Each artist added their distinct flavour to this sonic revolution, paving the way for renowned acts like Björk and The Banshees to weave South Asian instrumentation into their music, highlighting the profound impact of this cultural movement. 
The Asian Underground didn’t consistently dominate mainstream charts, but it did influence some global music trends with tracks like Panjabi MC’s ‘Mundian To Bach Ke’, Apache Indian’s ‘Boom Shack-A-Lak’, Cornershop’s ‘Brimful of Asha’ taking the UK Music charts by storm. The scene then entered a prolonged period of obscurity, operating quietly in the shadows for over a decade before staging a triumphant resurgence in 2021. 
The comeback has been so immense that it has transcended its UK origins, evolving into a truly global phenomenon. The movement has found a dedicated fanbase, with packed venues celebrating the fusion of South Asian and electronic sounds across India, USA, Australia and South Africa as well; and this is precisely the wave that caught Birmingham-based DJ Aza off guard—though in the best possible way.
“It was when Boiler Room hosted a Punjabi edition in Southall. I think it was last year or the year before, and it sold out in just five minutes—it was insane. They had artists like Raf Sapera, Punjabi Hit Squad, and a lineup of other DJs performing. At first, I thought, “What is this? There’s no way this is going to work.” But then, when the tickets sold out so quickly, I started thinking, “Maybe they’re onto something.”
I didn’t attend the event, but I watched all the DJ sets on YouTube, and it completely blew me away. I realized the potential of bass music with Punjabi elements, “This is it—this is the direction I want to head into.”
Creating something similar had always been on DJ Aza’s mind, but it came with reasonable doubts about whether a fusion like this would resonate with audiences in the UK. Would the energy of Punjabi rhythms align seamlessly with the fast-paced beats of drum and bass? Would UK audiences, known for their discerning tastes, embrace this cultural hybrid? But that little YouTube binge changed it all. 
“Before this, I had been asking friends for advice because some of my nights weren’t working. I needed a fresh concept. Almost everyone told me, “Do an Asian or Punjabi drum and bass night.” I just couldn’t see it working—I mean, who listens to Punjabi drum and bass? It didn’t feel like a thing.
But after seeing how successful that Boiler Room night was, I had to change my perspective. It became clear that there’s a real market for this, so I knew we had to take the plunge and make it happen.”
This led to the birth of Jawani Nights, a full-throttle underground experience with a Punjabi twist which has now become a staple of Birmingham’s clubbing culture. Launched in March ‘24 by DJ Aza, Jawani Nights has already become one of the most talked about events in Panjabi youth culture. That first night was a turning point, showing Aza that Jawani Nights was more than just a concept; it was the beginning of something far bigger than he had ever anticipated.
“It was around this time last year, after Halloween had passed, that I started to feel like I had hit a wall. I had worked with all the artists I could think of, and I didn’t want to keep repeating the same concepts. I found myself asking, “What’s next? What do we do now?” So, I decided to test the waters, put out some feelers on Instagram, and ask people how they’d feel about a new vibe. We launched a presale, and the response was insane—tickets sold out fast.
For the first event, I didn’t even announce the venue right away because I wasn’t sure how big it would get. I thought, “If we only get 100 people, we’ll just find a small venue.” But the tickets flew off the shelf, and the reaction was wild. From that point, we just ran with it.
One thing I really wanted was to create an environment where people could genuinely enjoy the music. I didn’t want anyone to feel like they had to dress up in fancy clothes or wear high heels. I wanted the vibe to be authentic, so the dress code became simple: come to rave. Wear your trainers, throw on whatever feels comfortable, but leave the heels at home. You can’t dance in heels, and you certainly can’t rave in them.”
More than anything, DJ Aza wants Jawani Nights to be a space where people can truly escape the stresses of daily life and find a sense of solace. He envisions Jawani Nights as a sanctuary, a place where the dance floor becomes a release, where people can let go of their troubles and simply enjoy the pure joy of being in the present.
“We want to create a space where people can truly let loose, have fun, and forget about everything for a few hours. Whether it’s for three or four hours, we just want them to enjoy the music, unwind, and lose themselves in the moment. From traditional Punjabi beats to bass-driven tracks, with some hip-hop legends and bootleg remixes thrown in, we aim to offer a variety of sounds that everyone can vibe to. At the core of it all, it’s about providing a space where people can just relax.
Sometimes, all we need are those few hours to just chill, to take a break from the grind and recharge. That’s exactly what we want Jawani Nights to offer—a chance to step away from the pressures of everyday life and simply enjoy the music and the company of like-minded people.”
All of these epic nights are happening at XOYO Birmingham, a venue that has become the pulse of Jawani Nights. Thanks to the incredible support from the venue, Jawani Nights have achieved the incredible feat of selling over 1000 tickets per event, a testament to the immense demand and success of the concept. 
Credits: Monica Martin
DJ Aza has found the backing from XOYO to be incredibly significant. This partnership has played a pivotal role in establishing Jawani Nights as one of Birmingham’s most talked-about and eagerly awaited events, and Aza is thankful for the opportunity.
“I can’t speak highly enough about them—they’ve been one of the key reasons Jawani Nights has reached the level it’s at today. I’ve been working with XOYO for years now, running numerous events there. The main manager, Curtis, and I go way back. We’ve been friends long before he joined XOYO, and when I found out he was moving there, we immediately started talking about collaborating. That’s when I began running a few nights at the venue.
I’ve hosted underground events with a variety of artists at XOYO, and when I saw the layout of the room, I immediately knew it was the perfect space for Jawani Nights. It had that dark, underground vibe—an empty shell where you could really make it your own. I spoke to Curtis and shared my vision for the night. I said, “This is the idea I have—what can we do with it? I’ll follow your lead.
They’ve done an amazing job, from deciding where to place the DJ booth to creating spaces for people to dance behind the scenes. They’ve made sure the venue is safe and enjoyable for everyone. We’ve got a balcony area, an outdoor space, and even a big screen. The support they’ve given has been crucial in helping us expand and elevate the entire experience.”
When DJ Aza first launched Jawani Nights at XOYO Birmingham, he approached the events with a healthy dose of caution, unsure of how the audience would react to the daring blend of Punjabi elements and bass music. To his surprise, the initial reactions to the first few events were remarkably favourable. The audience engaged with the music in ways Aza had not anticipated. What began as a tentative trial quickly evolved into an essential gathering, with the demand skyrocketing after each show.
“So, consistently, we’ve been selling over a thousand tickets for every event, to the point where we’ve had to open up a second room to meet the demand. When we first launched, we started with 800 tickets, and while we could’ve sold more, I didn’t take the risk because I wasn’t sure how it would all work. It was a new experience for me, especially with a DJ booth placed in the middle of the dance floor—I wasn’t sure how much space we would actually need. I preferred to start small and build from there, so we stuck to 800 tickets. In the end, we probably had around 750 people.
From there, we really got a sense of how things logistically worked. It was a learning experience in every way. What kind of music should we play? At what point do we need to mix it up with a different DJ to keep the energy flowing? All these questions came up as we went along. The first event was good, but it wasn’t perfect. However, we learned a lot from the mistakes we made, and that’s what helped us refine the experience and make each event better than the last.”
Exploring various styles of bass music is one aspect, yet incorporating Punjabi elements seamlessly while preserving the overall flow and energy of the set presents a unique challenge. It’s a nuanced endeavour that demands distinctive expertise—one that merges a profound comprehension of both genres with the capability to intertwine them effortlessly, all while preserving the core of each.
Credits: Monica Martini
What makes DJ Aza so effective in this role is his exceptional ability to scout and select artists who not only fit the Jawani Nights ethos but also bring their own unique flair to the event. He has an instinct for picking up-and-coming talent who understands the cultural nuances of Punjabi music and can mix it effortlessly with modern bass sounds.
“I have a friend named Ajay, who’s a super talented DJ. He’s part of another DJ collective, and they recently did a private party where he posted a video of a live mix. He played Chase &  Status’ ‘Badadan’ and mixed it with a track by Deep Manuk called ‘GT Road’- and that 30-second clip went viral. People were using the sound everywhere, and it quickly gained traction.
At the time, I was struggling to figure out who to book for an upcoming event, and when I saw that video, I knew right away that AJay had to be on the lineup. I thought, if he can create that kind of vibe in just 30 seconds, he can easily kill it with an hour-long set. He absolutely had the energy and style I wanted to bring to Jawani Nights.
Alongside AJay, I had a couple of other DJs in mind. Mixing – a DJ who posts his music on SoundCloud—was another one I’d been following. And then there’s Kizzy, who works for the BBC Asia Network and travels the world curating Boiler Room-style events. She’s got an incredible ear for the kind of vibe we were going for.
Luckily, I’m good friends with all three of them, so I decided to bring them together for the first show. I didn’t even put myself on the lineup initially—I just played a couple of songs, but I took a step back and let them do their thing. I realized that this wasn’t the kind of music I usually play, so I let the specialists handle it. I’m more about R&B and hip hop, but they were the experts in this genre, and it felt right to let them shine.
For the next event though, I’ve put myself back on the lineup. I’ve been working on a few different remixes, bootlegs, and bass mixes—taking a lot of inspiration from a lot of DJs in India who are blending music in unique ways. When it comes to R&B and hip hop, the vibe is completely different from the kind of energy we’re bringing with Jawani Nights, so I’ve been learning how to fuse these influences and put my own spin on it. I’m excited to be back on the lineup and to bring something new to the table for the crowd.”
Speaking with DJ Aza provided a deeper insight into the fascinating journey he’s had leading up to Jawani Nights. The journey from a mere concept to the establishment of a distinctive realm where Punjabi sounds intertwine with bass music has been remarkably unconventional. As our conversation came to an end, we found ourselves intrigued by the evolution of his journey throughout the years. 
We were keen to dive deeper into the experiences, challenges, and milestones that have influenced DJ Aza’s development as a DJ and event curator. What strategies did he employ to manoeuvre through the industry, and how has it felt for him to witness Jawani Nights evolve from a mere concept into one of the most discussed events in the scene?
It’s definitely been a rollercoaster ride. We’ve had our highs and lows, and there have been stressful moments along the way. One instance that stands out was when we had to pull a night last minute due to unforeseen licensing issues. It wasn’t anyone’s fault, just one of those things that happens, and it’s part of the journey. But despite the setbacks, the positives have far outweighed the challenges.
“Looking back, I can confidently say that right now, Jawani Nights is probably the biggest Punjabi night in the UK. It’s grown beyond what I could’ve imagined, and I’m incredibly proud of what we’ve built. The success we’ve had is a direct result of the foundation I laid with my previous events, the relationships I’ve built, and the support from my DJing community. Using that same fanbase and introducing them to this new fusion of Punjabi music and bass has been like a breath of fresh air. The response has been incredible—people messaging me saying things like, “This is the best night I’ve ever had!” or, “Who knew drum & bass and Punjabi music would sound so good together?”
It’s been so refreshing to witness. Honestly, it feels like the early days when I first started throwing nights—there was this excitement and buzz, and now, after a dip due to COVID, we’re slowly but surely making our way back up in a whole new scene. The growth has been organic, and I can feel that same energy coming back, but in a fresh, reinvigorated way.”
Credits: Monica Martini
As 2024 draws to a close, Jawani Nights is gearing up for its final session of the year, at the mighty XOYO Birmingham. With a stacked lineup featuring some of the most exciting names in the scene and the ones who have made Jawani Nights the juggernaut it is, the night will be the perfect way to wrap up what has already been an incredible year for DJ Aza and the Jawani Nights initiative. And while 2024 has been a landmark year, DJ Aza and his team are already looking ahead to 2025, with even bigger plans and more unforgettable nights in the works. The momentum that Jawani Nights has built throughout the year shows no signs of slowing down and 2025 promises to be another wicked year, filled with new faces, fresh sounds, and even more exciting opportunities for growth.
Ravebot
Ravebot

Do LaB Announces Lineup for Lightning in a Bottle 2025

Returning to Buena Vista Lake in Southern California Memorial Day Weekend from May 21–25, 2025, Do LaB has revealed the musical lineup for North America’s original boutique festival, Lightning in a Bottle 2025.
LIB is your portal to the extraordinary, a technicolor lighthouse for uniqueness in a monochromatic universe. This is a journey personally chosen by the counterculturists and party people of Do LaB, peppered with surprises that constantly redefine what a festival may mean to its guests. Here outrageousness is currency and fun prevails over all. Are you ready to be the electricity you want to see in the world and have the best time of your life in the process? It’s not only about catching Lightning.
At LIB, music curating is an art form. Though this event is more than simply names on a poster, the 2025 program features some of the most sought-after electronic music artists. The Do LaB crew has devoted their lives to revolutionizing how music is perceived, creating stage environments that accentuate the absolute best from their artists, inspire happiness and foster connection. One minute you are witnessing your favorite musician in a bigger-than-life stage scenario; the next you are seeing them go B2B with an under-the-radar DJ on a small town stage late into the night. Wild, erratic, and all just waiting for you.
The Do Lab’s festival Lightning in a Bottle announces 2025 lineup including: AHADADREAM, Amaarae, AndreasOne & FMLY BZNS, Audrey Nuna, Azzecca, Bianca Oblivion, BIIANCO, Black House Radio, Bou, Brijean, Brownies & Lemonade All Stars, Cesco, Channel Tres, ChloĂ© Caillet, Claude VonStroke, Coco & Breezy, Dimond Saints, DJ Karaba, Dust and Beau, Eli & Fur, EPISCOOL, Flowdan, Four Tet, Francis Mercier, Girl Math (VNSSA & NALA), Gru.di, Hamdi, Hybrid Minds, Interplanetary Criminal, Jade Cicada, Jaguar, Jamie xx, John Summit, Jo Jones, Joy Orbison, Just Her, Khruangbin, Kiasmos, KILIMANJARO, KNGSPRNGS, Kito, LEISAN, Magdalena Bay, Mary Droppinz, Mira, MNTRA, Monolink, O’Snap, PEEKABOO, Priya Ragu, Rafael, Reyna Tropical, salute, Sama’ Abdulhadi, Sammy Virji, Shygirl presents Club Shy, Sicaria, Sofia Kourtesis, Subtronics, Sultan + Shepard (DJ Set), SYREETA, Taiki Nulight, TAPE B, The Blessed Madonna, The Librarian, Tinlicker, Tinzo + Jojo, TroyBoi, Underworld, Yaw Appiah.
Do LaB Lineup Lightning in a Bottle 2025 A deep dive look into Do LaB’s Lineup for Lightning in a Bottle 2025
From indie-electronic, house, and techno, to UKG and dubstep, LIB’s 2025 music programming crisscrosses electronic genres du jour. Highlight acts include the in-imitable UK selector Four Tet, visionary psychedelic funk combo Khruangbin, crossover super producer Jamie xx, Compton DJ and beatmaker Channel Tres, and soaring Chicago tech house phenomenon John Summit.
Other top billing includes British powerhouse Shygirl presents Club Shy, riddim royalty Subtronics, breakout star Sammy Virji, German electro-dance producer Monolink, iconic and uniting dance figure The Blessed Madonna, trap titan TroyBoi, and the return of legendary house producer and Dirtybird founder Claude VonStroke.
From synth-pop duo Magdalena Bay, one of the most important voices in Alt R&B Amaarae, Brooklyn brightlights and Book Club Radio founders Tinzo + Jojo, Toro y Moi and Poolside alumn Brijean, hyper pop princess Audrey Nuna, and Tamil-Swiss vocalist Priya Ragu, indie music shines on the 2025 lineup.
Euphoric UKG flagbearers salute Interplanetary Criminal, the recent global underground triumphs of Joy Orbison, fashionable twin sister duo Coco & Breezy, Haitian house star Francis Mercier, newly formed power duo Girl Math (VNSSA & Nala), melodic maestros like Sultan + Shepard (DJ Set), and bass favorites Hamdi, Tape B, and PEEKABOO.
Fans will be able to experience sets by Sama’ Abdulhadi, Sofia Kourtesis, ChloĂ© Caillet, Flowdan, and KILIMANJARO alongside the next generation of showstopping talent represented by SYREETA, BiiANco, Sicaria, Bianca Oblivion, AHADADream, Mary Droppinz, Kito, and more as rounding out the program.
More than music at LIB 2025
From its immensely immersive core stages Lightning, Woogie, and Thunder, forward to its community-driven programming at The Stacks, The Junkyard, and The Grand Article, LIB’s musical journey guides attendees. Every stage has a different look, design, and sound to balance fan-favorite bookings with a continual sense of discovery.
Topics including indigenous cultures, psychedelic medicine, climate change, love & relationships, healthy food, and more provide the immersive Compass area with a varied range of educational possibilities to engage the senses, broaden the intellect, and motivate community action. By means of the past and present, attendees can develop to better integrate, cooperate, and flourish in the future of our planet.
Along with accommodation packages, Lightning in a Bottle presents three-day and five-day ticket options. The three-day pass will be accessible as part of the general sale, thereby enabling people who would want to create their own adventure at their own speed to have access to the LIB experience.
Other packages this year include the reintroduction of Easy Peasy Pre-Set Camping and Pre-Set RV choices, therefore removing any of the stress of setting up camp upon arrival and instead being met with the ease of having lodging taken care of from the start. For visitors seeking the delight of a camping event with an enhanced experience, VIP alternatives will also be offered. Backstage lounges at Lightning, Thunder, and Woogie provide relief for VIP pass holders; grab drinks in these spaces at private bars; enjoy unique pop-up interactive activities; and much more.
The post Do LaB Announces Lineup for Lightning in a Bottle 2025 appeared first on The Groove Cartel.
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How electronic music has shaped the Games industry over the last 40 years

The world of gaming has exploded since the mid-90’s. While there’s never been a shortage of gamers, it’s only been in the last 10 – 15 years that it’s become such a visible cultural presence. The clichĂ©d image of a gamer as a nerdy boy who can’t talk to girls or that it’s just for kids is most definitely a thing of the past. The ratio of male to female gamers is almost 50/50 with the average male gamer aged around 35 and average female 45. The industry has grown to a gargantuan size with global annual revenues around €60 billion. There are sponsored leagues where gamers make a full time living playing competitively. The most subscribed channel on YouTube is PewDiwPie, the Swedish gamer who plays through games and comments on them in real time.
As of September 2016 he has just over 48 million subscribers and leads the next channel by around 20 million subscribers. Here at home is a thriving game development community and we can now boast a number of award-winning home-grown studios and offices for some of the major players in the industry including Blizzard Entertainment, Riot Games, Activision, and EA. Since the early 2000’s Ireland has been building a name for itself as a leader and innovator in the tech sector. From 2003 onwards a slew of game development studios started to emerge across the country.
2015 saw Irish developers gain international recognition for a fascinating mix of titles. Gambrinus studios raking in praise and an Indie prize for Guild of Dungeoneering, an innovative approach to dungeon crawling adventure games where instead of controlling your hero directly, you build the dungeon around him, populating it with monsters, traps and loads of booty! Your options come from your decks of Guild cards amassed by managing your adventurers Guild, building it up to attract more unwitting adventurers to your lair. The fascinating VR experience DEEP by Owen Harris and Niki Smit made finalist for ‘Most Amazing Game’ at Berlins’ A Maze video games festival.

Deep is an underwater VR experience that introduces yogic breathing techniques as a means to deep relaxation and stress relief. Diaphragm expansion is monitored through a custom controller and visual feedback is sent to the headset to help encourage deep breathing and relaxation. The project got going when Harris began designing a digital Zen space for himself on the newly released Oculus Rift to help him with his own meditation practices. Spurred on by a lot of interest in the concept he started to develop it for a wider audience, eventually teaming up with artist Niki.
The game that took the prize at that same event was also an Irish production, an effective and heart-breaking construction called Curtain by Dreemfeel X. It takes the form of the old text-based narrative games and deals with the emotional turmoil of abusive relationships. At half an hour in length, it is brief by comparison with most of today’s offerings but the experience set out is unique. Buoyed by a graphical style like the old 8 bit systems; pixelated and with washes of colour that shift like moods. The game was also honoured with a Game Script award from the Irish Writers Guild. So with all this activity in Irish gaming, we thought we’d have a look at the kinds of challenges video game composers have dealt with over the decades.
The story of video game sound kicked off back in 1972 with the introduction of Pong by Atari. This simple paddle and ball tennis game contained a series of beeps and blips when sticking the ball or scoring. These sound effects were all the circuits were capable of creating at the time. The limitations of burgeoning computer and electronic technology was to be the greatest shaper and obstacle in the evolution of game music and define the creative challenges for the generations of composers who would try their hands at it, and for many, ultimately forge full-time careers dedicated to it. The huge popularity of Pong caught the interest of other technology companies and spurred the development of new games.
Towards the close of the decade saw the introduction of the now iconic Space Invaders (1978) by the Japanese Taito Corporation. Players controlled the direction of a small ship at the bottom of the screen and had to shoot down the onslaught of descending alien ships before they reached the bottom of the screen. It is often credited as being one of the first shoot-em-up style games and also an early example of that key game music feature: adaptive music. A collection of four quarter-note pitches play at around 60 bpm, as the difficulty and speed of the game increases so does the speed of the music thereby heightening the tension for the player. The music is designed to respond to the player’s situation. This concept would become integral in how composers would think about game music as the technology evolved.
On into the 80’s and the possibility of melodic compositions in games is heralded by the development of the Programmable Sound Generator (PSG). These generators could produce basic waveforms that any modern producer would recognise: Sawtooth, Triangle, Square, Sine, and Noise. It also allowed for ADSR volume envelope controls for each voice. An amusing example from this period is the 1983 commercial flop Journey from games company Bally Midway. The game finds the rock band Journey on an interplanetary quest to reclaim their stolen instruments.
While generally regarded as one of the worst games ever, it featured novel arrangements of the bands music using a three voice PSG as the background for the gameplay and comical renderings of the band with photographed faces and cartoon bodies. Players were even treated to a full rendition of “Don’t Stop Believing” played from inside the arcade machine by audiocassette at the end of the game. As the decade progressed the introduction of Frequency Modulation chips allowed for up to eight simultaneous voices and were adopted by many of the leading arcade manufacturers of the time. They made possible more varied textures and timbres than had previously been possible. While a noticeable jump in sophistication, resources were still very limited. A striking example of some of the challenges of this period comes from an interview with composers Clint Bajakian and Michael Land about their careers with Lucas Arts.
The mid 90’s saw the production of video game incarnations of two of Lucas’ major franchises: Star Wars and Indiana Jones. Bajakian talks about being confronted with adapting themes and atmospheres from John Williams’s scores, performed by the then 105 piece Lucas orchestra, to fit the limitations of a nine voice sound card. In his words, “you would have to distill down an entire orchestra’s worth of content to whatever the most prominent gesture was.” No mean feat. With another colleague, Peter McConnell, they would go on to develop the first adaptive music engine called iMuse. It allowed composers to introduce branch loops and markers into a sequence that would let the music change based on player choices. The technology debuted 1991 with Monkey Island 2: Le Chucks Revenge.
The arcade machine dominated the video games experience of the 70’s and 80’s. The machines had in general, up until that point, and throughout, used superior graphic and audio technologies that put them in a competitive position to the home offerings available to consumers. Home console gaming was first popularised by the Atari 2600 in 1977, the follow-up to the very popular home Pong machine. The 2600’s were severely limited in what composers could do. It allowed for only two simultaneous voices that also had to accommodate SFX and was incapable of producing certain frequencies so that some pitches were impossible to synthesise.
1983 saw the almost complete collapse of the video games industry in North America, the result of a price war in the PC market and a saturation of the games market with rushed, crappy games that turned consumers away. One clear victor emerged from the wreckage in the form of the NES from Japanese game company Nintendo. It was not Nintendo’s first machine, their original Colour TV was only released in Japan and the second, Game and Watch, was a single game handheld precursor to the Gameboy. The NES featured up to five available voices for the composer and gave rise to the first generation of some of the most recognisable franchises in the games world and to some of the great classic video game themes.
Two of the industries most revered composers made their first marks on the platform. Legendary composer Koji Kondo focused his energy on melodic invention to compensate for the lack of voices available. This emphasis on strong melody would become a hallmark of his style, creating classic themes for Super Mario Bros (1985) and The Legend of Zelda (1986). He has continued to work on these staple franchises as they have evolved into Nintendo’s current generation. The Super Mario Bros main theme is an icon of video games and has been referenced countless times in popular culture. Deserving of special mention is the last title he composed all himself, The Legend of Zelda: Ocarina of Time (1998). Generally ranked among the best games of all time, it also contains arguably some of the greatest melodic themes ever composed for game.
The other great thematic composer to emerge from this era is Nobuo Uematsu, made famous for his work on the Final Fantasy series, which made its debut on the NES in 1987. The series was a smash hit and he began to develop a style characterised by defining themes for specific characters and environments, like what might be found in film or opera. He has even been listed in the Classic FM Hall of Fame.
The early 90’s saw console technology start to rival the arcade machines with the next generation Super Nintendo (SNES) 1991 and Sega Genesis 1988. The Genesis used an FM chip with digital audio playback and the SNES could handle up to 8 simultaneous voices of sample playback. Things really started to get interesting with the introduction of CD-ROM technology in the smash hit PlayStation console from tech giant Sony in 1994. This technology allowed for much bigger game sizes than were possible before (600mb) and gave composers ability to stream pre-rendered digital audio files opening the door for titles like The Lost World Jurassic Park 1997 which featured the first fully recorded orchestral soundtrack.
The PlayStation was also home to the revered Final Fantasy VII, lauded not only for it’s immersive story and gameplay but also the sweeping score from Nobuo Uematsu that has become a classic of video game music and developed his thematic approach to characters and storylines (a remake is currently in production). Another standout title for the platform was Castlevania: Symphony of the Night 1997 which featured music from multiple genres including classical, techno, jazz and metal. Nintendo’s rival N64, released in 1996, retained the use of cartridges and relied on the use of synthesis techniques.
It did, however, still produce titles notable for music such as Goldeneye 1997 and the aforementioned The Legend of Zelda: Ocarina of Time 1998. Interestingly Nintendo decided to build the N64 without a dedicated sound chip. They would supply developers with sample sets to be written onto the game ROM and playback duties were added to the CPU and co-processor. This left developers a balancing act whereby maximising music capabilities would affect game performance, especially if the graphics and game mechanics were processor intensive.
Sega introduced the next generation of technology in 1998 with the Dreamcast, the follow-up to the commercially disastrous Sega Saturn. The 128-bit DVD-ROM technology allowed for an increased quantity of voices and real-time DSP effects like reverb and filtering. The platforms life was short, Sega decided to abandon the console business in 2001 in favour of developing cross-platform games. Hot on its heels, Sony released its successor, the PS2 in 2000, which has gone on to become the best-selling console in history. A year later Microsoft made its first entry into the market with the Xbox which also boasted 128-bit DVD-ROM capabilities. DVDs brought the overall game file size to around 7GB, a massive jump from the 600mb of CDs.
This meant composers could fit considerably more music, and at higher quality, into the games. Final Fantasy X (2001) for instance contained around 3 hours of music from a team of composers. The hit Grand Theft Auto III (2001) used a slew of licensed music that players could access by changing radio stations in cars. Another PS2 title, SSX Tricky, had a cool use of real-time DSP. The snowboarding game would apply a low-pass filter to the music in proportion to how high in the air the player was, adding to the sense of being far from the ground. Many Xbox titles contained beautifully executed scores such as the iconic Halo (2001).
Nintendo also joined in with the GameCube (2001). Armed with a dedicated sound chip this time and some exceptional games including the beautifully scored Legend of Zelda: Wind Waker (2002) and a personal favourite, a remake of the original Resident Evil with a sparse and jagged piano accompaniment that was perfect for the unsettling atmosphere of the horror genre. All three consoles came with 5.1 surround capabilities. This brings us to the modern incarnations of consoles. The Xbox 360/PlayStation 3 and their successors the Xbox One/PS4.
What these machines have brought most significantly for composers, are such considerable boosts in processing power and RAM that many of the limitations of old are no longer present. Less so in the case of Nintendo as it decided to focus a less powerful, and so less expensive, machine aimed at families. It will be interesting to see where the innovations will lead. The industry is just starting to test the audio limits of the current generation which will drive the next development in capabilities. Exciting times.
Note: This article originally appeared October 2016
The post How electronic music has shaped the Games industry over the last 40 years appeared first on Decoded Magazine.
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Electric Forest Announces Initial Lineup for 2025 Edition

Returning to Rothbury, Michigan from June 19–22, 2025, Electric Forest reveals today the first lineup for its 2025 edition. Celebrated worldwide, Electric Forest is an all-encompassing experience defined by absolute immersion through its pillars of music, art, community, and adventure. Continually a lighthouse for what’s next across these scene-defining genres, Electric Forest’s 2025 program reflects its dedication to highlighting the finest and brightest of electronic, jam, and world music.
The initial lineup for Electric Forest 2025 has been announced and includes: 1tbsp, 33 Below, Ahmed Spins, Arc De Soleil, BALTHVS, BAMBII, Barry Can’t Swim, bbno$, Beltran, BIIANCO, Blond:ish, BUNT., Caribou, Cloonee, Confidence Man, Crankdat, CVBZ, Disclosure (DJ Set), Dixon’s Violin, Evening Elephants, Fcukers, FISHER, GASHI, Gordo, Hamdi, Interplanetary Criminal, Jade Cicada, Joey Valence & Brae, Justice, Khruangbin, Lilly Palmer, Liquid Stranger, Loco Dice, Loods, Loofy, Louis the Child, LowDown Brass Band, Maz, Mersiv, Mindchatter, Mochakk, Moody Good, Nia Archives, Of The Trees, ØTTA, Pocket, Pretty Pink, Riordan, Roi Turbo, Sara Landry, Say She She, TAAHLIAH, The Free Label, The Philharmonik, The String Cheese Incident, TiĂ«sto, Villager, WAKYIN, Will Clarke, WonkyWilla, WORSHIP (Sub Focus, Dimension, Culture Shock, 1991), YDG, Zingara.
An in-depth look at the Electric Forest 2025 lineup
Among headliners are French electro pioneers Justice, fan-favorite Aussie party starter FISHER, GRAMMY-nominated Disclosure (DJ Set), the dreamy grooves of prolific Houston three-piece Khruangbin, and Forest Family faves Louis The Child. Additional highlights include the mind-melting sonics of Liquid Stranger and Of The Trees, the high priestess of hard techno Sara Landry, meteoric Scottish multi-instrumentalist Barry Can’t Swim, the venerable TiĂ«sto, jam band visionaries The String Cheese Incident performing two events, superstar Brazilian globetrotcher Mochakk, and Sub Focus, Dimension, Culture Shock, and 1991’s drum & bass behemothWOREST.
Programming the finest of worldwide talent, Electric Forest’s 2025 lineup also includes Swedish composer and multi-instrumentalist Arc De Soleil, Brazilian flag bearer Maz, Toronto clubland pioneer BAMBII, UK’s next-gen jungle sensation Nia Archives, and Colombian psychedelic funk band BalthVS. Along with diverse favorites like Caribou, Confidence Man, The Free Label, Mindchatter, and Forest veteran Dixon’s Violin, the always varied program includes genre-crossing groups bbno$, Joey Valence & Brae, and GASHI.
While trap, bass, and low-end frequencies arrive courtesy of Mersiv, Crankdat, Hamdi, YDG, Zingara, and Jade Cicada; flavors of house and techno are reflected by the likes of Gordo, Cloonee, Blond:ish, Lilly Palmer, Loco Dice, Will Clarke, ØTTA, and Pretty Pink. Under acts like BIIANCO, Ahmed Spins, Interplanetary Criminal, Fcukers, and TAAHLIAH, Electric Forest will also keep a place for underground talent gracing its venues. The next months will bring announcements of many more lineup names.
Electric Forest generated community buzz and lineup speculation following the custom of including the Forest Family in artistic endeavors. First publishing subdued hints on official social media sites, then delivering poetry, limericks, and coded messages to various Loyalty Tiers via SMS, smart fans figured out which of their favorite musicians will show on the 2025 roster. Ultimately, EF Radio, a community-driven radio station dedicated to airing frequencies from The Forest, spun a carefully selected playlist of bands on the roster combined with comments from people who called in and appropriately identified 2025 artists, therefore revealing the official lineup.
Electric Forest 2025 lineup Beyond the music
Electric Forest offers an active haven for unlimited connection and creative expression. By means of the renowned fan-participation Plug In Programs, Forest Family has the special chance to mold their festival experience in line with Forest Headquarters. Applications for a few chosen programs are open now; discover more about The Wish Machine, Art Installation Sponsorship, Art Spark!, and The Digital Brainery here; keep tuned for more information on other Plug In Programs to open shortly.
Designed to honor returning Forest Family, Electric Forest’s Loyalty Program starts its On Sale Tuesday, December 3 at Noon ET with all subsequent Loyalty Tiers following until Thursday, December 5.
The general public on sale for Electric Forest 2025 will start at noon ET on Friday, December 6. Visit the Festival’s official website to register for access and further information on the EF Loyalty Program, available Passes and Packages—including the new Good Life Meadow, Hotel Packages, and more.
The post Electric Forest Announces Initial Lineup for 2025 Edition appeared first on The Groove Cartel.
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Announcing The Afterlife Tulum Lineup 2025

Mark your calendars, secure your tickets, and prepare for two nights of pure transcendence. The Afterlife Tulum 2025 lineup is here, and it feels like Christmas has come early!
Afterlife continues to deliver unparalleled experiences, and the 2025 roster is no exception. Headliners include the dynamic Tale Of Us, whose visionary approach to melodic techno is at the heart of Afterlife. Joining them are heavyweights like Argy, Anyma, Kevin de Vries, Omnya, Mind Against, Chris Avantgarde, Massano, Mrak, Fideles, 8Kays, Armonica, Cassian, and more.
Zamna Tulum offers the perfect setting for Afterlife’s ethereal vibe. Surrounded by the lush jungle of Tulum and centered around a breathtaking cenote, this venue merges natural beauty with state-of-the-art production. Its unparalleled acoustics and visual installations have made it a favorite for festival-goers from across the globe.
Tulum itself is a gem on Mexico’s Caribbean coast, renowned for its pristine beaches, ancient Mayan ruins, and vibrant local culture. Attending Afterlife provides not just a musical feast but also an opportunity to explore Tulum’s rich heritage and beautiful nature.
For the 2025 edition, scheduled for January 4th and 6th, several ticket options are available that consist of General Admission, VIP. In addition to the standard ticket options, they also offer the Zamna Full Pass which is ideal for those looking to attend multiple events, this pass includes access to 12 parties at Zamna Tulum, all Zamna On the Beach events, an official Zamna t-shirt, and preferred access. For those seeking the ultimate packages, you can get the Zamna Experience Packages which combines festival tickets with accommodation and additional amenities. For additional information head on over to the Official Ticketing Page
As we close out 2024 with the ending of Genesys, Anyma’s project, fans wonder if they will get a sneak peek of something new during Afterlife 2025. What are your thoughts?


The post Announcing The Afterlife Tulum Lineup 2025 appeared first on EDMTunes.
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Wilkinson Spins John Summit’s ‘Shiver’ into DnB Magic

It’s the song that keeps on giving. John Summit’s ‘Shiver’ featuring HAYLA continues to dominate playlists and dance floors since its Valentine’s Day release in 2024. The track, known for its infectious chorus and emotional undertones, has become a remix favorite. Earlier this year, Cassian added a euphoric twist, giving the song a dreamy, melodic edge, and now Wilkinson takes it into drum and bass territory. His remix fuses HAYLA’s emotive vocals with energetic beats, breathing new life into a track already loved by fans.
Wilkinson has been a force in the drum and bass scene throughout 2024. Most recently, he collaborated with Kaskade on ‘Shine On’ featuring Paige Cavell. His previous single, ‘This Moment,’ featuring Kelli Leigh, exemplifies his ability to blend vocal-driven melodies with powerful production. As one of the genre’s most in-demand artists, Wilkinson keeps fans eager for more, teasing additional releases planned for the year. On the live front, he’s booked for major shows, including Radius in Chicago, Depot Mayfield in Manchester, and Sydney’s Field Day Festival. His versatility shines in his ability to balance emotional depth with darker, bass-heavy instrumentals.
On the other hand, John Summit has had a monumental year, proving why he’s a leader in electronic music. His Comfort in Chaos tour has been a standout, electrifying venues like Cow Palace in San Francisco and Huntington Bank Pavilion. Summit has also graced festival stages at Dreamfields Mexico and EDC Orlando, not to mention selling out multiple nights at Los Angeles’ iconic Kia Forum. Whether it’s massive festivals or intimate nightclub sets, like at LIV Nightclub in Las Vegas, Summit continues to connect with fans on every level.
Summit’s impact extends beyond the stage. His Experts Only Radio show has hit new milestones, with episodes 017, 018, and 019 dropping this year. Each episode showcases Summit’s knack for curating tracks that push the boundaries of house music. While details on new releases remain scarce, his momentum, combined with remixes like Wilkinson’s, ensures ‘Shiver’ and his broader discography stay relevant.
Listen to John Summit – Shiver (Wilkinson Remix) below!
The post Wilkinson Spins John Summit’s ‘Shiver’ into DnB Magic appeared first on EDMTunes.
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Inaugural "Destination Unknown" Festival to Bring Chicago's Timeless House Music to Tulum

Forget about frostbitten nights and layered looks—a new electronic music festival, Destination Unknown: Chicago to Tulum, is flipping the script on January blues.
From January 9-11, this boundary-blurring festival will teleport Chicago's legendary house music scene to Tulum's sun-drenched beaches. Windy City legends Green Velvet, Felix da Housecat, Gene Farris and DJ Heather will headline the fest and keep its dancefloors alive under the kind of star-studded sky only a tropical escape can offer.
23 other Chicago-rooted artists have also been confirmed for Destination Unknown, which will take place across a handful of venues in Tulum. According to its organizers, the flagship outing will be hosted by Green Velvet at IT Tulum, an opulent, brand-new beach club located in the heart of the city's gleaming hotel zone.
Ticket packages promise premium stays, transit to and from the airport and concert venues, and an open invitation to lose yourself in music that's both homegrown and globally magnetic. Each includes four nights of lodging at a variety of Tulum properties: Motto, Wyndham, Viva, Bakal, Amour, Amira, Eve and Moonlight.
You can check out the full lineup for Destination Unknown: Chicago to Tulum below and find out more about travel packages here.
c/o Destination Unknown
Follow Destination Unknown:
Instagram: instagram.com/destmusicfest
Facebook: facebook.com/profile.php?id=61567518703154
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Electric Forest Reveals 2025 Lineup With Justice, Tiësto, Sara Landry and More

There's still a month to go until we can officially put 2024 in the rearview, but we can already dart our calendars for one of next year's biggest festival lineups: Electric Forest.
It'll be tough to beat the organizers of the beloved Rothbury festival, who have revealed an epic lineup coming in 2025. The mystical Sherwood Forest will play home to a slew of electronic music superstars next year, including Justice, Disclosure, Tiësto, Liquid Stranger, Louis The Child, WORSHIP, Khruangbin, FISHER, Barry Can't Swim and Mochakk. A pair of EDM.com Class of 2024 inductees, Sara Landry and Of The Trees, will also headline.
The festival's diverse undercard is also impressive, featuring Crankdat, Moody Good, Mersiv, Zingara, 33 Below, Mindchatter, Beltran, Hamdi, Lilly Palmer and Jade Cicada, among others. More artists will be announced in 2025.
The 2025 lineup for Electric Forest features Justice, Disclosure, Tiësto, Sara Landry and many more.Electric Forest
Electronic enthusiasts have descended on West Michigan's Double JJ Resort since 2008 for Electric Forest, which remains one of the nation's most popular music, art and camping events. The experience, however, extends far beyond the confines of its lineup, as its organizers annually develop stunning audiovisual production and subversive art installations deep in the forest grounds.
Electric Forest is scheduled to return June 19-22, 2025. The festival's general ticket on-sale begins Friday, December 6th at 12pm ET.
You can register for access to Electric Forest 2025 passes here.
Follow Electric Forest:
X: x.com/electric_forest
TikTok: tiktok.com/@electricforest
Instagram: instagram.com/electric_forest
Facebook: facebook.com/electricforest
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Dom Dolla Is Performing at Madison Square Garden In 2025

From sweaty underground clubs to one of the most iconic concert venues in the world, Dom Dolla is set to make his debut at Madison Square Garden.
Dolla is set to grace the Garden's illustrious stage on March 7th, 2025, he announced today. It's a big moment for the Australian DJ, effectively crystallizing one of the electronic music scene's most explosive breakouts in recent memory.
The announcement marks a major milestone, not just for Dolla, but for the house music community that helped propel him. For a genre often sidelined in favor of arena-friendly pop, his MSG debut upholds an ongoing cultural shift: house is here to stay.
Dolla's Everything Always bandmate, house music superstar John Summit, nabbed a momentous headline at the venue back in June. Prior to that show, South African house luminary Black Coffee etched his name in its walls with a stunning performance. And who could forget when Skrillex, Fred again.. and Four Tet transformed the Garden into a once-in-a-lifetime rave?
A pre-sale for Dolla's show will begin Tuesday, December 10th at 10am ET. Fans can register for access here.
View the original article to see embedded media.
Follow Dom Dolla:
X: x.com/domdolla
Instagram: Instagram.com/domdolla
TikTok: tiktok.com/@domdolla
Facebook: facebook.com/domdollamusic
Spotify: spoti.fi/3g2cuTm
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Meet FestPro, the Brand Solving Music Festival Camping's Biggest Pain Points

The days of restless naps and sweltering tents are over, thanks to FestPro's groundbreaking gear designed with your all-night music festival adventures in mind.
FestPro, the brainchild of festival veterans Tucker Gumber and Gareth Price, is setting a new standard with tents tailored specifically for the unique needs of festivalgoers. Unlike traditional camping brands, FestPro designs products that prioritize comfort, ease of setup and resilience against the unique challenges of festival environments.
Their flagship product, the Siesta4 tent, is a game-changer. Originally developed under their Outback Logic brand, it's equipped with heat-blocking fabric, ventilation systems and light-blocking features to tackle one of the biggest festival pain points: daytime sleep.
Despite the pandemic shuttering Outback Logic, Gumber and Price saw an opportunity to refine and expand their ideas, ultimately launching FestPro.
"Festivals are evolving, and increasingly experiential. The gear we use should evolve too," says Price. "We’re looking ahead at new ways to enhance comfort, ease, and enjoyment for Festivalgoers and other fun loving outdoor enthusiasts. Whether it’s faster setups, better protection from the sun, or improved durability, we’re designing products that will make festivals better for everyone."
FestPro co-founders Gareth Price and Tucker Gumber.c/o FestPro
The duo's partnership is a perfect blend of expertise. Gumber's 180+ festival experiences over 13 years have given him a deep understanding of what festivalgoers need, while Price's background in product design and manufacturing ensures those needs are met with innovation.
Now, the duo is doubling down on innovation, working on larger tents with added headroom, improved shade tarps and other camping essentials designed to enhance the festival experience. With these products under development, FestPro is committed to being a driving force in the festival world, delivering solutions that will make camping at festivals more accessible and enjoyable.
"By improving camping gear, we can not only offer seasoned festivalgoers a better experience, but also open up the market to newcomers, for whom the lack of comfort has historically been too off-putting and RVs too expensive," Gumber explains. "Festivals are about community, joy and culture, and we’re here to support that by making sure people can enjoy them comfortably."
FestPro will be giving away one tent per week through the end of the year. You can join their email list to be entered and learn more about the brand's products here.
Follow FestPro:
Instagram: instagram.com/festprogear
Facebook: facebook.com/festprogear
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Moore Kismet Reimagines Tsubi Club’s ‘laced up’ with a Magical Twist

19-year-old non-binary musical prodigy Moore Kismet is back with a transformative take on Tsubi Club’s hit track ‘laced up.’ Out now via Thrive Music, ‘the laced up theory‘ offers a dazzling reinterpretation infused with Moore Kismet’s signature sound – a blend of emotional resonance and genre-defying creativity.
Kismet’s signature sound shines through in this remix, blending elements of future bass, melodic dubstep, and progressive house. The track opens with a haunting, atmospheric soundscape, gradually building into a euphoric drop that is both powerful and delicate. The intricate production and lush synths create a very unique and dreamy listening experience for listeners. Additionally, the track’s high energy vocals and soaring melodies evoke a sense of wonder and excitement.
“The minute I watched the original music video for ‘laced up,’ I lost my mind,” says Moore Kismet. “My jaw hit the floor as I wondered how any human could create something so magical. I immediately wanted to give it my own spin, adding a bit of unicorn magic to the mix. This remix became one of my favorite things I’ve made in so long, and I hope I did it justice.”

The post Moore Kismet Reimagines Tsubi Club’s ‘laced up’ with a Magical Twist appeared first on EDMTunes.
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Naizon Ends 2024 With Epic Single ‘Bad Vibes’

After delivering earlier this year with the awesome release ‘Something In The Water’, Amsterdam-based artist Naizon closes the year on a high note with his latest single, ‘Bad Vibes’. Staying true to his “quality over quantity” mindset, Naizon once again delivers a track that stands out as a high-caliber addition to his growing catalog.
‘Bad Vibes’ also marks a significant milestone for Naizon, as it’s his debut release on the highly regarded Municipal Recordings. A label founded in 2022 by Hatim El Khatib and with releases by the likes of Gian Varela, Nicky Romero, Melissa Pools, MANIBA, and many more, this is the perfect home for Naizon. The synergy between Naizon’s signature sound and the label’s reputation for excellence has already made waves, with prominent DJs incorporating the track into their sets. This collaboration highlights Naizon’s rising influence in the electronic music scene.
True to its name, ‘Bad Vibes’ is an anthem that flips negativity on its head, radiating nothing but energy and positivity. Anchored by a bouncy, irresistible bassline, the track combines infectious vocals with subtle melodic elements that enhance its replay value. Naizon’s expert use of breakdowns, layered synths, and dynamic samples elevates the production, making it both memorable and dancefloor-ready.
With ‘Bad Vibes’, Naizon not only wraps up 2024 with a bang but also cements his status as an artist to watch in the coming year. If this track is any indication, Naizon’s upward trajectory shows no signs of slowing down.
Stream this single below or on all other platforms here.
Naizon, an Amsterdam-based artist, has made a global impact with over 300 live performances, blending technical mastery with crowd-pleasing energy to create unforgettable dancefloor experiences. His impressive studio work, boasting over 2 million streams, includes notable tracks like ‘What The Funk’ with Gustavo Mota. In 2020, he launched “Naiz:On Air”, a weekly radio show broadcast on 20+ stations, showcasing both classic and emerging house music. With releases on respected labels and support from industry heavyweights, Naizon‘s rise in the dance music scene continues into 2024 with new music and growing influence.

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Canguru Talks New Single, Blending Genres, Emotions, and Inspirations

Canguru, a Producer working to make waves within the Electronic Music space, recently delivered his album, ‘Pick It Up,’ marking a significant milestone in his creative journey as he brought his signature sound to listeners, blending musical influences with personal reflections. In this interview, Canguru joins us to offer a deeper look into the album’s creation, from the inspirations behind its title to his process of combining genres like Trap, Techno, and Alt-Dance. As an artist known for balancing electronic and live elements, Canguru reflects on his techniques, lyrical process, and the journey that brought his vision for ‘Pick It Up’ to life.
Hi Canguru, how’s it going?
I’m fine thanks.
To begin, what inspired the title of the album, ‘Pick It Up’, and how would you say it reflects the overall themes of the album?
The overall lyrical theme of the album was based on a socio-political commentary of my state of mind during the coronavirus pandemic lockdown period. I thought that it would be appropriate to entitle the album with a positive note and since “Pick it up” is one of the strongest singles of the album, I thought it would be fitting to use this for the album’s name.
How would you say your background in Classical Music influenced the production process for this album?
Indirectly speaking, yes, I guess it did influence my process. Classical Music will always be a big part of my upbringing, and I feel very much attuned to Classical orchestral sounds/timbres. Thinking about it now, one can definitely hear some Classical influences here and there. I would say that it can be heard mainly in my choice of samples and arrangements. A lot of the samples I used were orchestral or piano samples and I also recorded some string parts in places.
The album features a mix of genres, including Trap, Techno, and Alt-Dance. How do you approach blending such varied influences into a cohesive sound?
Well, it was very much a trial-and-error process, constantly trying ideas out. I often get my influences from a lot of different types of music and I’m always keen to experiment on trying new ideas. I wanted this album to sound unique and different. I always strive to find my own signature sound, it’s important for me to find my own identity as an artist. Trap was a genre of music I was listening to a lot while I was writing the album as well as Techno and Dance music.
Can you walk us through the creative process behind the title track, ‘Pick It Up’? Was there a particular moment or experience that sparked the idea for this song?
Well, I remember that before I wrote the track, I got into some Emo Rap tracks from the American artist Lil Peep. I liked the dark alternative vibe of his music and wanted to write a darkish tune with a memorable guitar hook part in a similar style. I had been experimenting with an idea of a song for a while, but I was struggling to get this song finished. At some point, I played the song to my friend Eric, and he came up with the perfect guitar riff almost instantly for the track. That guitar riff was really the missing part that glued the whole track together.
Several tracks on the album, like ‘Awake,’ have a vocal-heavy sound. Can you share how you approach crafting vocal melodies?
I tend to play around a lot with ideas, jamming vocal parts along to the track and recording my ideas on my phone as I go along. Usually, if the idea sounds good enough the next day, it will “make the cut” and I will record it for the song. With “Awake”, I wanted to write a memorable chilled opening vocal chorus part in my baritone lower register.
The album has a blend of electronic and live elements, such as guitar and vocals. How do you find a balance between these in your music? Do have any go-to techniques to ensure a cohesive sound?
It is really most of the time a trial-and-error process by which I jam along to the track and check how it fits in. Sometimes I might start recording an idea with the guitar or keyboards and use that as a grounding to start building on. The whole process is never the same but I would say that most of the time I will first program/ record a structure for a song and then later try ideas to fit in my vocal parts. The structure of the song will often be altered to fit the lyrics. By jamming along to the track, I can test ideas out and record them on my phone to use as a reference. I tend to catalog and log all my rough recordings on my phone so I can easily A/B test the different takes and choose the best one.
Your lyrics often draw from personal experiences. Can you tell us more about your process for composing lyrics?
When I write lyrics, it is always a very free-flowing process by which I just write anything that comes to my mind without overthinking it. I let go of any of my inhibitions and just write anything that comes to my mind. After that initial process, I will then play around with the structure of the lyrics alongside the track and tweak them here and there for it to make more sense. I often work alongside an online dictionary/synonyms app to play around with new words and rhymes. I get really excited about learning new words and using them in my lyrics.
‘West Goes The Sun,’ ‘Nobody,’ and ‘Pick It Up,’ were released as singles ahead of the album. How did you choose those tracks to represent the project before its full release?
I like to get a second opinion usually when it comes to deciding which singles to choose from. In this case, I got some feedback from my daughter, some friends and the PR company I work with.
I also like getting feedback if I can from younger “Gen Z” group of people as they usually know what new sounds are cool out there.
Which track on the album is your favourite and why?
That’s a tough question to answer. I think all the tracks are great on the album, but I guess, depending on my mood, I would say: “Up &Down” for the sexy vibe/ groove, “Elevated” or “Awake” for the more chilled vibe and “Pick it up” for the strong message and its cool dark alternative vibe.
With ‘Pick It Up’ now out in the world, what do you hope the album achieves, and where do you see your music going from here?
Well, I hope that it will attract the attention of new listeners and that it can inspire people for positive change.
I am busy working on a lot of new music at the moment. I’ve got a new Alt-Hip-Hop album and an Electronica album in the pipeline. I am also writing new Electro-Pop music with my friend Eric. Other than that, I am also doing remixes of songs by other artists that I like.
As ‘Pick It Up’ continues to garner attention, Canguru remains focused on pushing his creative boundaries and connecting with listeners on a deeper level. With plans for new music, collaborations, and remixes already underway, his journey as an artist is far from over, so be sure to take note and stay connected with his latest projects and releases by following Canguru via social media. As we conclude our interview, we thank Canguru for his time and look forward to hearing what he brings his listeners next.
Listen and Buy ‘Pick It Up’ Now: 
Canguru Online 
Website | Instagram | Spotify  
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TiĂ«sto Electrifies Sevdaliza’s Hit ‘Alibi’ with a High-Energy Electro Remix

TiĂ«sto, the renowned Dutch DJ and producer, has unveiled a dynamic electro remix of Sevdaliza’s global sensation ‘Alibi.’ This collaboration merges Sevdaliza’s avant-garde artistry with TiĂ«sto’s signature electronic flair, offering a fresh take on the original track.
The original ‘Alibi’ features a multilingual composition, blending English verses by Sevdaliza, a Spanish chorus, and additional vocals in French by Yseult and Portuguese by Pabllo Vittar. This fusion of languages underscores the song’s rich cultural tapestry. TiĂ«sto’s remix amplifies this diversity, infusing high-energy beats that elevate the track’s dance appeal.
The original ‘Alibi’ has achieved remarkable success, garnering over 600 million streams and maintaining a month-long presence on the Billboard Hot 100. It also spent 20 weeks on the Billboard Global 200 and secured the #1 spot on both Shazam and TikTok, solidifying its status as one of the year’s top tracks.
In addition to this release, Tiësto has an array of upcoming performances. Notably, he is scheduled to perform at Echostage in Washington, DC, on December 5 and 6, 2024, followed by a show at Ovation Hall in Atlantic City, NJ, on December 7. He will also grace the stage at Marquee New York on December 12th.
Fans can stream the ‘Alibi (TiĂ«sto Remix)’ on major platforms, including Spotify and Apple Music Here.
The post TiĂ«sto Electrifies Sevdaliza’s Hit ‘Alibi’ with a High-Energy Electro Remix appeared first on EDMTunes.
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Coachella Festival Tickets Still Selling Slower Than Usual

When Coachella Festival 2024 tickets remained available up until the second weekend, Goldenvoice attempted to revitalize sales by booking major headliners. However, the strategy doesn’t seem to be paying off, as general admission tickets for Weekend 2 are still easy to find.
The 2024 lineup boasted big names like Lana Del Rey, Tyler, The Creator, and Doja Cat. This year’s roster includes Lady Gaga, Green Day, and Post Malone, with Travis Scott. As for the electronic music acts, U.K. legends The Prodigy, progressive trance icons Above & Beyond, EDM architect Zedd, German trio Keinemusic, Brazilian star Alok, psych-electronic trio Darkside, hard techno upstart Sara Landry, Dutch wunderkind Mau P will all be part of the festivities. You can check out the full lineup here.
Many think that Coachella has evolved into a cultural phenomenon driven more by celebrities and influencers than dedicated music fans. While Weekend 1 general admission tickets are sold out, VIP packages for both weekends remain available. General admission now costs $549, marking a price hike compared to previous years. Hotel packages start at $3,300 and can exceed $9,000 for the weekend. Coachella added some enhanced VIP area and expanded some camping options to optimize the experience, but it does not seems to have the desired effect on the ticket sales.
Nonetheless, the experience remains unique as many of the biggest artists in the world from a plethora of different genres perform each year at the event. The festival is scheduled for April 11 – 13 and April 18 – 20. For tickets and info, please visit the official website.
Stay tuned for more news!
The post Coachella Festival Tickets Still Selling Slower Than Usual appeared first on EDMTunes.
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Eric Prydz Announces 20 Years of Pryda Tour

Swedish DJ and producer Eric Prydz, celebrated for his progressive house and techno contributions under aliases such as Pryda and Cirez D, has recently unveiled his tour dates for 2024 and 2025. After a drip-drip of leaks online with venues teasing show dates and a Facebook post highlighting the 20 years of Pryda Tour, the full announcement is now live. The tour will be a full retrospective look at the Pryda catalogue, which we all know is miles deep. Tickets go on sale Friday.
Some of these notable venues include The Concourse Project in Austin, Texas, EchoStage Washington, District in Atlanta, and more are expected to be announced!
Eric Prydz’s innovative live shows, including concepts like HOLO and Holosphere, have set new standards in concert technology, featuring groundbreaking holographic visuals and elaborate stage designs.
For fans of progressive house, Eric Prydz’s Pryda project feels like more than just music—it’s a journey into sound, emotion, and imagination. Since its debut in 2004, Pryda has grown into one of the most influential and beloved names in electronic music, shaping how we experience the genre today.
One of the reasons Pryda resonates so deeply is because of the creative freedom behind it. Prydz launched Pryda Recordings to give himself full control over his music, free from the pressures of mainstream expectations. This independence is why every Pryda track feels so genuine—crafted with care and a vision that’s unmistakably Prydz’s own.
Groove Cruise?
One piece of this announcement is sending some worries across the festival-verse. Eric Prydz is current announced as a headliner on Groove Cruise 2025 which takes place from January 23-27. Not only is Groove Cruise absent from his tour dates list, but he has two shows in the Northeast during Groove Cruise. The ship docks in Labadee, Haiti on January 25, when Eric has a show in Philadelphia. At this point, the only way Eric would be able to play on Groove Cruise is while the ship is docked in Miami on January 23 (until about 7-8pm) or if Eric flies in and out of Labadee on January 25 for a daytime beach set.
The list of upcoming shows and details can be found on his official website +More
The post Eric Prydz Announces 20 Years of Pryda Tour appeared first on EDMTunes.
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Juliet Fox's DJ Sets Are More "Powerful" Than Ever—Thanks to Her Pregnancy

Creating life while creating music, Juliet Fox is proving that motherhood isn't a limitation for DJs—it's an amplifier.
The Australian techno producer and label boss is dismantling music industry myths about pregnant women, proving that maternal power and musical prowess aren't just compatible, but combustible. From the radiant shores of Ibiza to the towering skylines of New York City to the misty canals of Amsterdam, she's blowing up and DJing all over the world.
And she's coming into her own. Fox's hormonal changes are making her "more driven and determined," she tells EDM.com, and helping her deliver the best DJ sets of her career.
Juliet Fox.c/o Press
Touring while pregnant, however, comes with challenges. The loud acoustics of nightclubs and the circuitous logistics of music festivals can be taxing, so Fox has learned to treat wellness and self-care as integral parts of her routine.
For her, balancing physical demands with the grind of a global touring schedule is a calculated strategy. It's also a clear message to the music industry: motherhood isn't a barrier to success, but an opportunity to grow.
We caught up with Fox to discuss the pressures, changes and triumphs that come with touring as a pregnant DJ.
EDM.com: Many artists feel pressured to keep pregnancy private in the entertainment industry. What influenced your choice to be open about your journey, and how has the electronic music community responded?
Juliet Fox: I've always believed in being authentic and showing the true version of myself, plus this journey is a huge part of who I am right now, something really special in which I want to be able to share with everyone. I wanted to be open, not just for myself but for others, especially women in the industry who might feel the pressure to keep such a personal experience hidden.
The response from the music scene has been great, and its also been so nice to connect with people I hadn’t before to share their own stories—which for me shows others want to be more open to conversations about being a woman in this space, especially during pregnancy.
EDM.com: Many pregnant women in demanding careers struggle with societal pressure to "slow down." How do you balance listening to your body's needs while maintaining your professional momentum?
Juliet Fox: I have always been very in tune with my body, so I use this as my driving force while keeping a strong mind focus. It's all about balancing, and since being pregnant I have not only listened to my body more, but also respected it to another level. In the past I definitely pushed through exhaustion and used to challenge myself to run on hardly any sleep, but now I’m much more aware of what my body is telling me.
I’m not afraid to slow down when I need to, and I’ve surrounded myself with people and a team that understand my needs and respect my boundaries. It’s not about slowing down as such, instead about having a smarter and more strategic approach, which in turn allows me to show up with the energy and focus needed for my performances.
EDM.com: From late nights to loud acoustics, the club environment presents unique challenges for pregnant women, who have to DJ and stand for extended periods. How have you adapted your performances and approach to protect both yourself and your baby? Could you walk us through the physical modifications you've made to your DJing routine?
Juliet Fox: As mentioned before, I had to not only listen to my body but I had to now respect the growing little human inside of me. So even though I had no trouble playing a few extended sets while pregnant, I would ask to limit the time to 2-3 hours as the maternal instinct would set knowing I should rest and not push myself. I took less gigs over the summer especially to make sure I had time to rest between shows, and was very careful to take earlier flights sometimes even coming in the night before so I had time to rest, or stay on the next day.
Then of course most importantly was the booth monitor levels, with frequency and bass, which was adjusted to ensure there was no high vibration. And I had full control of the sound level, which I kept off through most of my sets and mixed as much as I could in my headphones. After the gigs I would make sure I had extra food already in the hotel, or if time was an issue the promoters were always great at organizing healthy options for me.
EDM.com: Tech riders and hospitality requirements are standard in our industry. What specific pregnancy-related requirements have you added to yours?
Juliet Fox: Well this got switched straight to a sober rider, and funny enough no one even questioned this at all, even before I announced I was pregnant. I made sure to include extra hydration options, like coconut water, fruit and healthy snacks. We requested more comfortable seating in the green room or backstage area for when I need a break, and more flexible timeframes for sound checks or rehearsals, as I might need additional rest in between.
It's not just about physical comfort, but mental comfort too and making sure I had a quiet, relaxing space to recharge when I'm not performing.
EDM.com: What infrastructural changes would you like to see venues and festivals implement to better support pregnant artists?
Juliet Fox: Honestly I found all promoters really accommodating, and as soon as everyone knew they made sure I had a place to rest and helped where needed. There were some venues that didn’t have a huge back area or green room, or where people were smoking, but if so they would ask those to stop and give me the space needed to ensure the health and safety of me and my little one.
Pregnant artists aren't something that is happening so often, but I hope that with people like myself and other females that were recently pregnant—and have spoken out about it—will help shape the way for more to come.
EDM.com: Jet lag and irregular sleep patterns are challenging enough for any touring artist. What wellness strategies have you developed to maintain healthy sleep cycles and energy levels while pregnant?
Juliet Fox: I have always been pretty good with random sleep patterns, and rarely got jet lag. I’m great at napping, so this came in very handy over the last six months. I’ve had to become even more disciplined with my sleep, especially during long tours. I prioritize rest as much as possible, making sure to take naps when I can and adjusting my sleep schedule gradually to sync with the timezone I’m in. I also make sure I do some form of exercise between gigs, and would often get to the hotel gym or go for a walk outside—fresh air and nature work wonders.
For flying I use compression socks, and would sit on the aisle to make sure I could get up and move about often, plus making sure I always have a bag of healthy snacks with me at all times—although if anyone knows me I always have snacks on me so nothing new here! I am also very fortunate to have my partner travel with me, as really I think this would be impossible without him to help with lifting bags and making sure no one bumps into me. Not to mention the support he gives just being there and handling any extra requests I need. He's been amazing throughout all of this!
Juliet Fox.c/o Press
EDM.com: Pregnancy comes with hormonal changes and the altering of those energy levels. Has it affected your music selection and the energy you bring to your DJ sets?
Juliet Fox: I think if anything it has made me want to listen to harder, more energetic music. My sets have been even more powerful this year and I feel they have flowed so well being totally present and sober, a new type of connection. The hormone changes have been there, but they make me more driven and determined to do all I can for this life inside of me. It's such an incredible feeling actually, as you are not just doing this for yourself anymore—you have someone else to think of and is my driving force. 
What's really amazing is when I prepare my sets, listen to music or make music at home, I get little kicks from him. I know he loves techno already! While I am playing it puts him to sleep, and it’s only after I stop and sit down he starts to kick and move about again.
EDM.com: What message would you share with other women in electronic music who might be hesitant to pursue pregnancy while maintaining their careers?
Juliet Fox: I want other women out there to know that it's all possible. You don’t have to choose between your career and motherhood. You can do both, but it takes patience, flexibility, a willingness to prioritize your well-being and most importantly someone who can be your rock—your main support in this—and who understands every part of you and the music industry.
The electronic music scene is evolving and more women are speaking out about their experiences, which is creating space for others to follow. You deserve to have both, and by being open about your journey, you might even inspire the next generation of women in music to pursue their dreams without fear of judgment or sacrifice. I know I have been inspired by other women myself, and I am sure this will be a ripple effect to help strengthen that bond of motherhood even more.
Follow Juliet Fox:
X: x.com/djjulietfox
Instagram: instagram.com/djjulietfox
TikTok: tiktok.com/@djjulietfox
Facebook: facebook.com/djjulietfox
Spotify: tinyurl.com/ny8cxbs4
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The Sphere Plans to Increase Profits of Upcoming Events Soon

*Featured Cover Photo Credit: Cristian Lourenco/Getty
The Sphere has hosted countless amounts of entertainment fans in various thrilling events for over the past year since it hosted its grand opening on September 29, 2023. These events included the likes of UFC 306 back on September 14 and U2‘s ‘U2/UV Achtung Baby Live’ 5-show residency when The Sphere first opened its doors to the public (and also earlier this year when the legendary band came back to perform there for three months). In fact, Anyma will headline its highly-anticipated show at The Sphere on New Year’s Eve, which will usher in what will be a very prosperous year for Sphere Entertainment, Co. According to an article from the Las Vegas Review Journal, fans worldwide will get to expect possibly “multiple shows each day”. Additionally, the company also stated that one of its main goals is to have at least a show a day at The Sphere.
Recent Ticket prices at the Sphere emphasized the important goal of enhancing profits
It was just not too long ago that tickets for The Sphere Experience and “Postcard” went for around $119 per person for the least expensive seats through Ticketmaster. Now, tickets go as low as $99 per seat. Additionally, in September, the venue debuted V-U2: An Immersive Concert Film, which is a film version of U2’s residency performances from last year and earlier this year. Right now, Ticketmaster is selling seats that go between $100-200. Earlier last month, Executive Chairman and CEO James Dolan told investors in the company’s first-quarter earnings that the vision for The Sphere has always “included a global network of venues”. That will come into fruition after the recently announced plans for the second Sphere venue in Abu Dhabi. Big and exciting things are coming into shape for the innovative spherical-shaped venue that visitors to Las Vegas, and its local residents, have now gotten to admire.
Photo Credit: Kevin LieblerThe post The Sphere Plans to Increase Profits of Upcoming Events Soon appeared first on EDMTunes.
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Sonus Festival Unveils 2025 Lineup and New Partnerships

The scene-leading Sonus Croatia is to take its 2025 festival experience to all new heights. The first chapter of a new era in partnership with the world’s leading live events experience creator, Insomniac, begins. Sonus’ lineup, revealed today, boasts its signature fusion of new school stars, legends, and tastemakers. Moreover, it’s amplified by the elements of adventure travel that make this one of the world’s most celebrated destination events. Insomniac brings its storied production expertise to the table to continue to elevate Sonus’ offerings, as it returns to the idyllic shores of Pag Island this August 17-21, 2025.
Photo Courtesy of Sonus Festival // Credit: Benny Gasi Sonus Festival 2025 Partnerships
The 12th edition of Sonus will be the most ambitious yet, marking the coming together of heavyweight event producers Time Warp, with its thirty year tenure in genre-defining programming; We Love Sound, with 20 years as foremost electronic music tastemakers in the Balkans; and Insomniac. Best known for its flagship EDC events, and drawing on vast reserves of expertise in producing some of the best festivals on the planet, Insomniac now brings all that know-how to underground institution Sonus.
Sonus Croatia 2025 will also see the return of the eminent Space Miami — a name synonymous with discerning electronic music curation and unrivalled afterhours — and LA’s Factory 93, known for its deferential homage to the spirit of the 90s underground, raw warehouse aesthetic, and the myriad spectrum of Techno at its heart.
Lineup
Stacked with new school stars and returning favourites, the Sonus 2025 lineup features the likes of Drumcode boss Adam Beyer, Berghain paragon Ben Klock, German duo FJAAK, Italian titan Joseph Capriati, the melodic sounds of ARTBAT and Deborah De Luca, and the hard-edged grooves of Spain’s Indira Paganotto. Trance and acid will be on display from DJ Heartstring and KI/KI, alongside off-kilter rave weapons from Filth on Acid label head Reinier Zonneveld live, the deft minimal of Ricardo Villalobos and Seth Troxler, and customary curveballs from Cocoon’s Sven VĂ€th. 
Photo Courtesy of Sonus Festival // Credit: Dino Ninkovic House and melodic sounds are catered for by the likes of Adriatique and Anetha, the organic depths of Saga duo Bedouin, and the new school beats of Ben Hemsley and Ben Sterling. Bass-heavy sounds from Fleur Shore and Gordo are featured alongside the floating melodies of Jan Blomqvist live, weighty cuts from Loco Dice, warehouse sounds from Mau P, progressive lushness from Miss Monique, hypnotic rollers from Vintage Culture, and a hybrid DJ set from WhoMadeWho, with many more to be announced.
Location
“In music and nature we trust” has always been the Sonus mantra. In parallel, putting the music and sound systems first has been vital as well. Those simple values have earned Sonus a global reputation for quality experiences in the glistening Adriatic Sea. It’s a paradisiacal escape, where revellers can soak up the unique views. Furthermore, they can experience breathtaking sunrises and sunsets each day, and plot their own party adventure. Sonus is produced by ravers for ravers, from the curation of the soundtrack to the superior production. Finally, the result is a picturesque blend of music, travel and culture, with a like-minded crowd of warm and welcoming people from the world over.
Photo Courtesy of Sonus Festival // Credit: Benny Gasi The stunning beachside open-air venues at the heart of the festival include Aquarius, Papaya, and Kalypso. Noa Beach Club, previously used as a single sunrise afterparty, will be an integral part of the programme in 2025. Additionally, Sonus will introduce the Noa Beach Stage for this edition. As a consequence, it creates the festival’s first stage environment on the sand in its twelve year history. Ready to swim and dance in the water all week long?
Amenities
The infamous boat parties are back. In previous years, we have seen the likes of Archie Hamilton, Ellen Allien, Enzo Siragusa, Clara CuvĂ©, Paula Temple, and countless more. 2025 will also see pop-up parties return in numbers, after Hector Oaks’ 2024 takeover at Tattva. Afterparties remain at the core of Sonus’ identity, and will return.
Beyond the beats, there is an endless array of fun and adventure at Sonus in and around the local area. Simply, activities include authentic Croatian cuisine, to water sports, kayaking, rock climbing, etc. Happily, all are just 10 minutes from the festival with a wide range of accommodation to suit all budgets.
Accommodation packages are available following festival ticket tier selection, with options including villas, 5* hotels, hostels, glamping, and apartments. Booking deposits start from as little as €19 per person, with monthly payment installments scheduled up to June 2025. Sonus Croatia festival tickets and accommodation packages are on sale.
The post Sonus Festival Unveils 2025 Lineup and New Partnerships appeared first on EDMTunes.
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DJ Aims to End Dolphin Hunting and Captivity With New Charitable Single

Dysphemic is taking charitable missions to a new level with "AI Dolphin," a wobbly bass track that doubles as a fundraising opportunity to save the aquatic creatures.
The Australian DJ and electronic music producer imbues a heroic narrative into his new song, blending glitched-out bass and dolphin calls in a futuristic soundscape. And in the world of "AI Dolphin," the animals can save themselves from human harm.
"AI Dolphin" is more than just a tune," Dysphemic tells EDM.com. "It's the theme song for a dolphin superhero fighting corporate tyranny to save the planet."
In the meantime, though, Dysphemic is donating 100% of the track's proceeds to Action for Dolphins (AFD) in the charity's fight to end dolphin hunting and captivity. The Australian nonprofit supports the initiative through public education and advocacy of institutional changes, according to its website.
"Together, with dolphin bass, we can save some dolphins," he said.
Check out Dysphemic's announcement below and find "AI Dolphin" on streaming platforms here.
Follow Dysphemic:
X: x.com/dysphemic
Instagram: instagram.com/dysphemic1
TikTok: tiktok.com/@dysphemic
Facebook: facebook.com/dysphemicmusic
Spotify: tinyurl.com/dzsan8yy
Follow Action for Dolphins:
X: x.com/act_4dolphins
Instagram: instagram.com/actionfordolphins
TikTok: tiktok.com/@actionfordolphins
Facebook: facebook.com/actionfordolphins

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Sonus Croatia Reveals Phase One Line-Up for 2025 Alongside New Insomniac Partnership

Adam Beyer, Adriatique, Anetha, ARTBAT, Bedouin, Ben Hemsley, Ben Klock, Ben Sterling, Deborah De Luca, DJ Heartstring, FJAAK, Fleur Shore, Gordo, Indira Paganotto, Jan Blomqvist live, Joseph Capriati, KI/KI, Loco Dice, Mau P, Miss Monique, Nico Moreno, Partiboi69, Reinier Zonneveld live, Ricardo Villalobos, Seth Troxler, Sven VĂ€th, Vintage Culture, WhoMadeWho (Hybrid DJ Set) and more
August 17-21, 2025 at Zrće Beach, Croatia
Tickets On Sale Wednesday December 4 at 6pm CET
http://www.sonuscroatia.com/

The scene-leading Sonus Croatia is to take its 2025 festival experience to all new heights, as the first chapter of a new era in partnership with the world’s leading live events experience creator, Insomniac. Sonus’ lineup, revealed today, boasts its signature fusion of new school stars, legends, and tastemakers, amplified by the elements of adventure travel that make this one of the world’s most celebrated destination events. Insomniac brings its storied production expertise to the table to continue to elevate Sonus’ offerings, as it returns to the idyllic shores of Pag Island this August 17-21, 2025.
The 12th edition of Sonus will be the most ambitious yet, marking the coming together of heavyweight event producers Time Warp, with its thirty year tenure in genre-defining programming; We Love Sound, with 20 years as foremost electronic music tastemakers in the Balkans; and Insomniac. Best known for its flagship EDC events, and drawing on vast reserves of expertise in producing some of the best festivals on the planet, Insomniac now brings all that know-how to underground institution Sonus.
Stacked with new school stars and returning favourites, the Sonus 2025 lineup features the likes of Drumcode boss Adam Beyer, Berghain paragon Ben Klock, German duo FJAAK, Italian titan Joseph Capriati, the melodic sounds of ARTBAT and Deborah De Luca, and the hard-edged grooves of Spain’s Indira Paganotto. Trance and acid will be on display from DJ Heartstring and KI/KI, alongside off-kilter rave weapons from Filth on Acid label head Reinier Zonneveld live, the deft minimal of Ricardo Villalobos and Seth Troxler, and customary curveballs from Cocoon’s Sven VĂ€th.

House and melodic sounds are catered for by the likes of Adriatique and Anetha, the organic depths of Saga duo Bedouin, and the new school beats of Ben Hemsley and Ben Sterling. Bass-heavy sounds from Fleur Shore and Gordo are featured alongside the floating melodies of Jan Blomqvist live, weighty cuts from Loco Dice, warehouse sounds from Mau P, progressive lushness from Miss Monique, hypnotic rollers from Vintage Culture, and a hybrid DJ set from WhoMadeWho, with many more to be announced.
Sonus Croatia 2025 will also see the return of the eminent Space Miami — a name synonymous with discerning electronic music curation and unrivalled afterhours — and LA’s Factory 93, known for its deferential homage to the spirit of the 90s underground, raw warehouse aesthetic, and the myriad spectrum of techno at its heart.
“In music and nature we trust” has always been the Sonus mantra, but so too has putting the music and sound systems first. Those simple values have earned Sonus a global reputation for quality experiences in the stunning locale of Novajla surrounded by the glistening Adriatic Sea. It’s a paradisiacal escape, where revellers can soak up the unique views, experience breathtaking sunrises and sunsets each day, and plot their own party adventure on the sand, out at sea, or under the stars. Sonus is produced by ravers for ravers, from the curation of the soundtrack to the superior production — the result is a picturesque blend of music, travel and culture, with a like-minded crowd of warm and welcoming people from the world over.
The stunning beachside open-air venues at the heart of the festival include Aquarius, Papaya, and Kalypso. Noa Beach Club, previously used as a sunrise afterparty venue for one night only, will also now be an integral part of the programme in 2025. Additionally, Sonus will introduce the Noa Beach Stage for this edition, creating the festival’s first stage environment on the sand in its twelve year history where attendees can swim and dance in the water all week long.

The infamous boat parties are back and in previous years have seen the likes of Archie Hamilton, Ellen Allien, Enzo Siragusa, Clara CuvĂ©, Paula Temple, and countless more all lay down varied and vital sets. 2025 will also see pop-up parties return in numbers, after Hector Oaks’ 2024 takeover at Tattva. Afterparties remain at the core of Sonus’ identity, and will return following 2024’s momentous Space Miami afters at Noa Beach Club.
Beyond the beats, there is an endless array of fun and adventure to be had at Sonus in and around the local area from authentic Croatian cuisine, to water sports, kayaking, rock climbing, quad bike hire, bungee jumping, wind and kite surfing, all just 10 minutes from the festival with a wide range of accommodation to suit all budgets.
Accommodation packages can be added to bookings following festival ticket tier selection, with options including villas, 5* hotels, hostels, glamping, and apartments. Booking deposits start from as little as €19 per person, with monthly payment installments scheduled up to June 2025. Sonus Croatia festival tickets and accommodation packages are on sale at http://www.sonuscroatia.com/book
Sonus Croatia is a unique coming together of quality music, relaxation and the stunning beauty of the Adriatic Sea, and for the past two years has been a proud partner of HTZ – the Croatian National Tourist Board. #InspiredbyCroatia #CroatiaFullOfLife

Sonus 2025 Line-Up – Phase One (A-Z):
Adam Beyer, Adriatique, Alex Wann, ALISHA, Anetha, ARTBAT, Bedouin, Ben Hemsley, Ben Klock, Ben Sterling, Boris Brejcha, Deborah De Luca, Dennis Cruz, DJ Heartstring, Fatima Hajji, FJAAK, Fleur Shore, Funk Tribu B2B Bad Boombox, Gordo, Indira Paganotto, Jan Blomqvist (Live), Joseph Capriati, KI/KI, Loco Dice, LOVEFOXY, Mau P, Miss Monique, Nico Moreno, Ogazón, ØTTA, Partiboi69, Patrick Mason, Reinier Zonneveld (Live), Ricardo Villalobos, Richie Hawtin, Seth Troxler, Shimza, Sven VÀth, Trym, Vintage Culture, WhoMadeWho (Hybrid DJ Set).
Follow Sonus:
Website / IG / FB / TT / TW
The post Sonus Croatia Reveals Phase One Line-Up for 2025 Alongside New Insomniac Partnership appeared first on Electric Mode.
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Daft Punk’s “One More Time” Turns 23

On November 13, 2001, French electronic music pioneers Daft Punk released the iconic track, ‘One More Time’.
The lead single from their sophomore album, ‘Discovery’. The song became a timeless anthem that still hits over two decades later.
‘One More Time’ marked a turning point for Daft Punk, showcasing their ability to merge electronic music with pop. The track’s heavy use of auto-tune and sampling sparked conversations about the evolving sound of electronic music at the time, but its energy quickly won over fans and critics alike.
The song peaked at No. 1 on the Billboard Dance Club Songs chart and became a Top 10 hit in multiple countries. 
As we celebrate 23 years of ‘One More Time’, it remains a testament to Daft Punk’s innovation and their ability to create music that transcends through time. Though the duo announced their split in 2021, the legacy of tracks like ‘One More Time’ ensures that their music will keep us dancing for years to come. 
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