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Nvidia has pulled off a trick unheard of! The computer chip giant has added to their artificial intelligence contributions. It has developed a new generative AI audio model that can “produce sounds never heard before.” Named Fugatto, the model can synthesize “high-quality singing voices” from text inputs. Nvidia quotes its new technology as “a Swiss Army knife for sound”.


Fugatto stands for Foundational Generative Audio Transformer Opus 1. Nvidia claims it is able to generate, transform and manipulate sound using text and audio prompts. This creates sounds like a trumpet barking or a saxophone meowing. The main capabilities of Fugatto is inclusive of creating music snippets from text prompts. It can also modify existing songs by adding or removing instruments, changing voice characteristics like accent and emotion, and generating entirely novel sounds.

Nvidia exhibited the capabilities of Fugatto in a video, highlighting how users can generate sounds through prompts like: “Create a sound where a train passes by and becomes a lush string orchestra.” Fugatto also allows users to isolate voices from songs, among other features, as per the video. Fugatto uses ComposableART, a method that enables users to mix instructions not originally seen together during training. This indiactes users can request complex audio transformations, such as ‘text spoken with a sad feeling in a French accent’, as clarified by Nvidia.

Nvidia also quoted that its research team from India, Brazil, China, Jordan and South Korea spent over a year developing a dataset containing millions of audio samples to develop Fugatto. It can be applied in multiple industries including music production, advertising, language learning and video game development, as per Nvidia.
The post Nvidia Introduces AI Audio Generator ‘Fugatto’ – Can Produce Sounds Never Heard Before appeared first on EDMTunes.
Ravebot
The ultimate festive gift, celebrating five decades of iconic nightlife—now available worldwide on Amazon. The Limited Edition Coffee Table Book Traces the Pacha Ibiza legacy – from its Nascent Stage, to its Present Glory.

Celebrate the magic of the festive season by gifting a piece of Ibiza’s history with Fifty Years of Bliss, the ultimate tribute to Pacha Ibiza’s legendary five-decade journey. Now available on Amazon (Global), this beautifully crafted book is the perfect gift for music lovers, capturing the essence and legacy of an iconic haven for music lovers that has welcomed guests since 1973. Brimming with vibrant memories and the spirit of recent decades, it’s a timeless keepsake that brings the singular vivacity of Pacha Ibiza right into the heart of the Christmas season.

Fifty Years of Bliss celebrates Pacha Ibiza’s legendary journey through a collection of historical photographs and heartfelt tributes. The book explores how Pacha Ibiza and the island have evolved together, shaping each other’s identities over time. Since the very beginning, Pacha Ibiza has become a vibrant part of the island’s history, offering a decadent oasis of celebration. It revolutionised club culture by blending music, production, and live entertainment, creating a unique atmosphere that fosters a deep sense of belonging for ‘Pacha Lovers’ worldwide.
Inside the pages of the book, a definite collector’s item, a vivid and extensive collection of images chronicle the evolution of Pacha Ibiza. From its early days to its present day acclaim – along with sepia-encrusted memories from those who’ve lived the Pacha Ibiza experience first-hand – celebrities, DJs, notable personalities and employees all have nostalgic stories to tell. The book also recalls some of the most remarkable chapters of the Pacha Ibiza history – with headliners that have over the years, included Marco Corolla, Solomun +1, CamelPhat, Bedouin Saga, Robin Schulz, Ministry of Sound, David Guetta, Swedish House Mafia; and a priceless black book of others.

Now available across the globe on Amazon, Fifty Years of Bliss is more than just a collection of memories; it is a celebration of the spirit and soul of Pacha Ibiza, an enduring icon in the world of entertainment and nightlife. Fifty Years of Bliss serves as a reminder of the passion and dedication that has shaped its legacy – one that holds the promise of so much more that’s yet to come.
Fifty Years of Bliss is now available for purchase
on Amazon.
 
The post Fifty Years of Bliss by Pacha Ibiza Now Global via Amazon appeared first on Electric Mode.
Ravebot
Known for her sharp production skills and her ability to craft tracks that balance intensity with deep groove, Kyrist has earned her place as a leading name in the D&B world. However, her latest project ‘Plexus EP’ on Overview, marks a significant moment in her career. A labor of love, it’s not just a collection of tracks but a reflection of her personal journey through self-care, and a redefined relationship with creativity.
After taking a brief hiatus from music to focus on her well-being, Kyrist returns with a fresh perspective, both sonically and personally. The project showcases a more refined and introspective side of her artistry, as she explores the balance between physical health, mental clarity, and the pursuit of musical excellence. As Kyrist looks toward the future, her story serves as a reminder that success in music doesn’t just come from pushing through every obstacle. It’s about taking the time to reconnect with oneself, recalibrate, and embrace the journey.
In this interview, we get a closer look at her approach to music-making, and her vision for the future—both for her label- Kynetic Sound, and for the wider world of bass music.
How are you?
I’m doing okay. I’ve taken a sort of break from writing music just because I’ve been going through some mental health stuff and looking after myself is more important to me than trying to push through and just write music that’s not up to my standards. I don’t want to sit there and write half-arsed tracks, so I thought I’m just gonna take time out and go out into the world. Go on walks, connect with nature and get back into fitness.
That’s really helped me mentally to just figure out life. Obviously, I’m a music producer and a DJ but it’s not all about that. For me, it doesn’t define who I am 100%. I’m trying to balance physical health, and then creativity at the same time. And I’m kind of getting there.
Buy/Stream Plexus EP here.
What have you been up to?
Recently writing the EP for Overview has been quite a labor of love. I started it in April and then took some time out. Lots of the tracks were on the back burner and I just wasn’t feeling them. And then when I got back to it I did too much to one of the tracks. Pete and Ollie were like Pete and Ollie were like, ‘What have you done? We want you to go back to what you’ve done before and just polish it up a little bit.’ So I just got too in the zone which isn’t a bad thing. 
It’s slowly all coming together. Usually, these things would be done months before the release but they’ve made allowances for me which is really nice of them because they know what I’ve been going through. They’re just being really chill about it, which is really kind of them.
Other than that I’ve been spending time with my family and seeing lots of friends again. I’ve been reconnecting with friends in my hometown who I haven’t seen in quite a long time. I’m spending a lot of time with my best friend of 25 years so it’s good.
They’re the kind of friends that, you don’t see for a while but it’s like nothing’s ever changed.
It’s important to keep your non-industry friends close to you as well. They keep you grounded…
They know what I do and they see me online but I’m still Kirsty to them, I’m not anything huge. Some people come up to me and they’re like “Oh my God!” They get so overwhelmed, I’m just a regular human being, I’ll never get used to that. No matter the amount of success I have, I’ll still be the girl from Luton making music because I love it. 
So that’s what I’ve been up to really,  just spending a lot of time balancing everything and not getting too overwhelmed with writing music. Obviously, this has been a big project for me so I’ve been trying to be on it every day, setting myself a few goals, like doing two hours and then moving on to something else and just making sure I’m not getting too overwhelmed with one thing for too long. Otherwise, I just lose interest
When you first interviewed with us, you mentioned you got your first decks at 16 before you started buying D&B. Where did your love for D&B come from?
That came from older friends at school- my best friend was two years older than me. We’d go to her house and she had a computer in a conservatory, she was one of the only ones who had the internet and this was in the days before YouTube. One of our friends would go on this website, called Hard To Find Records and play little 30-second previews of DJ Hazard and TC tracks.  I was like “This is sick! I love this! After that, I think YouTube came around then and then UKF introduced me to a lot of music as well.
When I was 12 I went to this DJ Academy in my hometown with my best friend where they taught us how to mix on vinyl. I then went back there when I was 19 that’s when they taught me how to produce, but it was 140 and dubstep at first. I wanted to make drum and bass because I loved it so much so a guy there just showed me the basics.
I went to college and there was a record shop there, when I was on my break, I’d always go in the record shop and just sift through all their drum and bass vinyl and built up this big collection. I spent all my money every lunchtime on just buying vinyl and then go home and mix. I connected with people all over the place, there were guys that I’d made friends with in London, I went to see them every now and again I’m not connected with them anymore but it was a big, important thing for me to branch out of my hometown 
Let’s talk about your label and why you started off- how it’s going?
During lockdown, there was absolutely nothing to do so I needed to have some sort of income, there were no gigs and I thought what better way than to just make the music and just put it out on Bandcamp and get it on Spotify? It was just a way for me to still be creative and also keep things ticking over, keep my creative mind working. I already had a connection to Triple Vision in The Netherlands from working with Dispatch.
The label was originally called Kyrist Music but I didn’t really like the name so after a couple of releases I changed it to Kynetic Sound. It is linked to the way I think about music because I used to dance when I was younger. When I write a track I ask myself “How are people gonna move to this? It’s a bit of a weird way of thinking about it, but, I just think about movement and shapes and things like that.
I wanted to get some more artists on there. So far we’ve had Revaux, Bidl, Infrah, Clearance, Ed.it & Creatures and Minor Forms. So it’s still in its infancy, I’d say, this year, we’ve only had one release which was back in January but that’s because I didn’t really want to rush things. I don’t want to release music that’s not up to my standards. I’m just going to wait until the time is right. I’m not under any pressure from anyone apart from myself.
With Kynetic Sound I just want to release music I love. My favourite era of D&B is 2010 to 14 that period, when Critical Music, Shogun Audio and all those labels were at the pinnacle. That’s the  kind of sound, I wanted to push out again. I don’t give a s*** if it’s not trendy or, it’s not Current. 
I’m not really in any rush to be competing with anyone, I don’t want to be the next 1985 or Critical, I’m just happy having an output on my own imprint. If I’ve got a track that I think is really good but no other labels want it enough, I’ve created the space for that sound on my label. I don’t have to answer to anyone, I’m not on anyone else’s schedule. 
it can happen quickly as well, I can write a track and then get the artwork done, get the master done, and then a month and a half later, it could be out. Rather than waiting for a label and then that could be six months because you’re in a queue of other artists.  
Sounds good, releases come when tracks are ready. I think it means that there’s more quality control because nothing’s been rushed for the sake of a schedule…
I’ve been guilty of that in the past, to be honest. There are so many tracks of mine that I listen back to, and I wish I’d taken more time to refine that one sound or just learn a little bit more about this one thing. But it’s a learning curve, isn’t it? 
I wanted to talk about women in D&B… When I first was introduced to you, I was working at DJ Mag and there were, hardly any female producers being pushed out there, I got an email making a big fuss about how you were a woman, I reviewed your track but refused to mention you were a woman, I felt like the amazing music should speak for itself. Knowing the importance of pushing females I may have done it differently these days.
I’ve always thought of you as one of the people who changed the curve for Women in D&B. Do you think times have changed since your first release? 
Yeah, I’d say so.  I released on Dispatch in 2017, things are definitely coming  along. I don’t ever feel like I had any sort of resistance from anyone in being let into the scene. People were just coo face to face, real human interaction, but online it’s different. People are more surprised then rude, or they were back then at least. They’d write on YouTube comments “Oh my God, this is a girl. Wow!”. We can also make music, haha. Those kinds of comments always made me just think that the poster must be very narrow-minded to just think only men can succeed at this.  
In terms of how far things have come, I think the biggest shift was definitely during Covid, and lockdown. All these women DJs sort of came out of the woodwork and I thought that was amazing. What better time to, just get yourself out there and just be like, “Hey, I’m a DJ as well. I want to do this and I’m serious about it.”  
‘There are so many amazing women and non-binary producers in the scene and I’m more than happy to big them up and let them know I rate their music. We need to be building each other up and supporting our peers!’
Do you think there’s more acceptance? 
It’s more commonplace now to see women online ups now. There’s still the odd promoter. That just doesn’t bother. I think it’s really s***  of them to not even branch out and look for new talent or think “What woman or non-binary person would fit on this line up?” It just requires a little bit of homework on the promoters part to find someone that will slot in. .
I guess that leads me on to Dynamics. I don’t really have a big part to play in Dynamics. It’s more Enada’s brainchild.  I used to live with her and we went on holiday to Croatia, and we were sat on the beach and she was just talking about women in 140. And we didn’t really get very far. She was like “Something needs to be done about this, I’m gonna start a database.” She found out there was already something like that somewhere else in the world. 
So she decided to build on the idea, create a website and then build artist profiles and have a bio and their soundcloud links on there and how to contact them. Then there could be no excuse for promoters- there’s this is a tool that you can use, so do with it what you will? You’ve got all these people, you can narrow it down, you can search by location, genre of music, you can really refine it to what you’re actually looking for.  
People have had great bookings come off the back of it. 
Respect for Enada’s and everyone’s work… 
I wanted to talk about your production style- dark and techy and I always find crazy how it’s the kindest, smiliest, happiest artists who make the darkest music. How do you get into that mindset? Are you just sitting smiling away in the studio making these dirty beats?
I honestly don’t know where it comes from.I have no idea. This is going to be really hard to describe but, the way I think about music is I try to transport myself back to when I used to go out when I was younger to Cable. I think about the music that I was listening to, and how it made me feel, the vibe of the crow. And I try to recreate that- give my music that atmosphere and vibe. So people can really get in the zone and get in their heads when they listen to it.
 I try to imagine it as a big sonic palette, all of these different textures. I describe music like art . When someone is creating a painting, they’ve got all the layers. They’ve got the stuff in the background, then they build up all the layers of the picture. The thing that they want you to take the most notice of will be at the front. That’s how I imagine putting music together.The drums will be at the front because they’re the driving force of the music but then you’ve got all these different other things that carry it through, all the atmospherics like the pads, they could be at the back because they’re quiet and then they’re really spacious. That’s the way I visualize it- to think about it like that more of a bigger picture rather than just focusing on one sound.
It also comes from just hearing cool sounds as well. Then an idea just snowballs. I’m mostly sample-based, I do spend time actually making basses as well, but I get more enjoyment out of recreating, something new out of something someone else has created before. So some people have a real issue about using samples, but drum and bass is sample-based. Same as hip-hop, it all comes from samples, being chopped up and rearranged.
That’s he way I like to do things and also it saves loads of time. If some people sit there and they have fun making kicks, and snares, and all that it’s great for them, but it’s not for me. I like to use other people’s sounds and build on them. I’ll often sit there and say “How can I make this or top this one bit of a bassline out?” Then I’ll twist it and put loads of effects and loads of weird stuff until it comes out as something completely new. 
That’s a big part of my production, but that’s what makes every producer unique, because we’re not one person, even if we’re given all of the same samples the finished track is going to sound completely different.
What is your production process? Do you find the samples first and then kind of build on them or do your ideas come when you’re out walking or taking a shower? 
Sometimes I have an idea. And sometimes, I haven’t done it in a while, but I used to get out the recorder app on my phone and sing a baseline into my phone. I thought it would sound cool but then when I listen to it back, it doesn’t make any sense.
So I have done that but generally it starts from hearing a pad or an effect or something, and then I’ll put some drums behind it. Just placeholder drums to get a feel of how it is with the beat. And then I’ll find a bassline that I’ve made before and try that in there. It’s just a case of trial and error, really. Trying lots of different sounds in the project and seeing which one sticks and which ones are good and which ones aren’t. 
Sometimes they come together really quickly. Sometimes it can take a few days or a few weeks, but I do try and persevere with stuff. I’ll never abandon a project completely, I’ll come back to it because there’s potential there. If something doesn’t work I can take those sounds out  and try them in a different project. 
There’s never really any set formula for how I write music. It just depends on how I feel on the day, or what I’ve been up to or what I’ve heard. I don’t really listen to a lot of drum and bass in my spare time. I listen to 140, UKG, house, disco, soul and funk, loads of different stuff. And there could be a sound in a track which I think is really cool.I’ll try and find something like it or try and recreate it in my own way.
The only thing that I’m very nit-picky about is colours in the project. I have to colour code stuff, all the drums will be red, the kicks and snares will be red and then it’d be like hi-hats will be yellow and then the basses are always pink or purple. That is always the same and that’s never changed since I started making music. I’ve worked with people before and their project is all the same colour. How do they find anything? It just hurts my head looking at their projects. 
Let’s talk about your Overview release…
I’ve been in talks with Pete and Oli for ages about doing a full release with them. The link up with Inside Info happened because I’ve known Paul for years, I went todo a studio day with him and we came up with some really cool ideas. That’s how the track ‘Trivium’ came about, I sent it to Pete and Ollie and they loved it, and there’s an Inside Info remix on there too, which I like a lot.
Then there’s the solo tracks. The first one I sent them was ‘Plexus’, I wrote that about two or three years ago, but they liked the vibe of it. I did too much work on and I just went too far. All I needed to do was just get rid of some s***.
But it ended up being the first one that they actually signed and we built the release around it. And then the other one ‘Mutation’, I wrote that really quickly. The other tracks were ready, and Peter asked  “What else have you gone?” I’m like “S***. I don’t have anything really substantial to show you guys!” So I had this idea on my laptop which had potential so I just kind of built on it a little bit. I sent them out a two minute demo and Pete was like “Yes I love that!”. So I carried on with it. 
That’s how it’s come about but I love working with the overview guys, they’re so lovely. And they’re really supportive as well. They do events all over the shop, so it’s awesome to be involved, and become a core artist, further down 
the line because I do intend to do more releases with them.
What should we be talking about more in bass music? 
I’d probably say mental health, and just looking after yourself. I feel like producers and DJs can get so caught up with making music and that being there is their “thing”, they kind of lose the sense that there’s more to life than this as well. And that’s something that I’ve developed over the years of this. Just getting older. I appreciate things that are outside, real world experiences and family and friends and try to not only be so focused on my goal, which is a career. 
You shouldn’t forget where you’ve come from, what you’re actually about. You’ve got to look after your own sanity, and keep people around you that make you grounded- appreciate those people.
Drum and bass is for the clubs, so it’s easy to get caught up in drugs and alcohol, and things like that. So, taking time away from that is really important as well. I know so many people that have got addictions from being a DJ, people that can’t play out without doing drugs. And I just find that really sad.
That there’s more to life than music. Take some time out and have a breather. Don’t forget there’s a world outside. Go and see it.
Ravebot
Are you ready to showcase your DJ prowess and create a mix that stands out from the crowd? Artists & Relations, Rent Sound System, LabelRadar and Lumberjack, the French DJ and producer duo, invite DJs and music enthusiasts to participate in the highly anticipated Lumberjack Mix Challenge, a unique competition where talent and creativity take center stage.
This exciting contest challenges DJs to craft an unforgettable mix featuring Lumberjack’s latest banger “Welcome to the Game”. 
What’s at stake?
The winners will not only receive prestigious recognition from Lumberjack but also awesome prizes from brands like Beyerdynamics, ACE Studio, Steinberg, Pitch Innovations, Bleass, D16Group, Meldaproduction, GForce, DH Plugins, Ujam, IK Multimedia and more!
Who can participate?
Whether you’re a seasoned DJ or just starting your journey, the Lumberjack Mix Challenge is open to all skill levels. If you have the passion and creativity to create a show-stopping mix, this is your chance to shine.
How to Enter:
Visit the official contest portal : https://bit.ly/lumberjackdjmixchallenge Download Lumberjack’s latest banger “Welcome to the Game”.  Upload your mix through the portal by the submission deadline. Deadline for Submissions:
Don’t miss your chance to participate – entries close on December 11, 2024.
Why Enter?
Gain valuable exposure to an international audience. Unlock prizes and opportunities to grow your career. Lumberjack, known for their high-energy performances and top quality productions, are thrilled to give back to the music community with this challenge. “We want to discover fresh talent and celebrate the art of mixing,” they shared. “We’re excited to hear how DJs play our music in their own unique way!”
Ready to rise to the challenge?
Visit the contest portal today to get started: https://bit.ly/lumberjackdjmixchallenge
For more updates, follow Lumberjack and Artists & Relations on social media.
About Artists & Relations: Artists & Relations connects artists with audio brands to unlock exclusive opportunities and collaborations. We also help brands and labels promote their products and releases through creative partnerships and innovative marketing strategies.

About Lumberjack:
Lumberjack is a dynamic DJ and producer duo from France known for their infectious beats and high-energy tracks that captivate audiences worldwide.
Ravebot
In their new single “RAMA,” which is out on Dreamstate Records, Giorgia Angiuli and Shanti People have a profound musical dialogue pushing the boundaries of electronic music’s spiritual potential.
“RAMA” is a spiritual trip imprinted in sound, not only a musical track. Working with Shanti People pushes the work above a standard electronic music release and creates a transcendent experience that links modern electronic production with age-old spiritual practices.
The song moves like a well-crafted ritual. While pulsing psy basslines give a grounding, almost shamanic beat, whispered chants produce an instant sense of closeness and reflection. Volatile lysergic guitar-like riffs dance around ethereal melodies to produce a musical environment that is both incredibly enticing and confusing. Described as “dizzying vox,” the vocal parts give a human touch that keeps the tune from being entirely abstract and preserves an emotional link with the listener.
Artist’s Genesis: Angiuli and Shanti People
Giorgia Angiuli
Originating from Puglia, a southern Italian area renowned for its rich cultural tapestry, Giorgia Angiuli came from a classical musical background that forms the basis of her original artistic style. Her path from classical instruction to electronic music invention is evidence of the transforming ability of musical inquiry. Angiuli contributes a multi-instrumentalist’s sense to her work, therefore transcending conventional genre lines, unlike many electronic artists who approach music from a merely technical perspective.
Drawing on psytrance, techno, house, and pop, her sonic pallet is a vivid mosaic that produces a sound both recognizable and yet fresh. The electronic music scene has not overlooked this mixed attitude. Working with well-known musicians including Rodriguez Jr., Dantiez Saunderson, Teenage Mutants, and CIOZ has confirmed her reputation as a flexible and creative producer.
Shanti People
The Ukrainian group Shanti People offers an original viewpoint on this cooperation. Their strategy of combining modern psytrance and techno with old chants reflects Angiuli’s own genre-defying attitude. Having played legendary events such Ozora, Sunburn, and Ikarus, Shanti People have become known as leaders in producing dance floor-ready, spiritually significant music.
Their remarkable array of partnerships, which includes heavyweights like Vini Vici, Mandragora, and Skazi, reflects their standing among the worldwide electronic music scene. Working on “RAMA” with Giorgia Angiuli marks a meeting of musical brains dedicated to stretching emotional and spiritual limitations.
The larger background of RAMA
At a remarkable junctural point in electronic music, “RAMA” arises when the lines separating spiritual practice, cultural inquiry, and musical invention are blurring. Not only are musicians like Angiuli and Shanti People producing music, but they also help listeners to broaden their knowledge of sound, rhythm, and consciousness by means of experiences challenging their perspective.
This piece is a discussion between civilizations, between traditional and modern musical styles, and between the physical and spiritual spheres of human existence, not only a musical partnership.

The post Giorgia Angiuli and Shanti People ‘RAMA’ appeared first on The Groove Cartel.
Ravebot
East London artist Charlotte Archer is set to present her most ambitious art exhibition yet at Fabric nightclub in London on December 6th. Celebrating its 25th anniversary, the iconic venue will host an art event unlike any it has seen before, spotlighting the vibrant and influential UK underground rave culture through a unique blend of art, sound, and visuals.
Charlotte Archer, a self-taught multidisciplinary artist, began her artistic career in 2015 in Ibiza, creating murals and installations for the island’s largest nightclubs including DC-10. She has since amassed an impressive portfolio of portrait and abstract paintings, showcased both at her solo exhibitions and through collaborations with well-known record labels and DJs. Her innovative fusion of art and music has led to successful exhibitions across Europe including Barcelona and London, garnering attention from prominent figures in the music industry.
The upcoming exhibition at Fabric promises to evoke nostalgia and joy, celebrating the significance of UK-born genres like Jungle and UK Garage, both of which continue to thrive three decades after their inception. Archer’s artwork captures the essence of once-in-a-lifetime connections made on dance floors and the escapism and freedom associated with live music events.
Music legends from UK club culture that Charlotte has painted for the new exhibition include:
Heartless Crew Stevie Hyper D, the legendary MC, following the release of his recent documentary ‘Hyper: The Stevie Hyper D Story at cinemas this month Mike Skinner Kano GQ DJ Randall, British jungle and drum and bass DJ and record producer who sadly passed away in July aged 54 In addition to Archer’s paintings, Fabric will host a collection of works of respected photographers, fashion archivists, and artists who have inspired Archer’s project. Contributors include:
Rhiannon Isabel, a 90s/00s fashion stylist and archivist Tristan O’Neil, a photographer renowned for capturing the 90s rave, D&B, and jungle scenes Junior Tomlin, a famous rave event flyer artist  The evening will be hosted by Mighty Moe from Heartless Crew, with performances by DJ Jamie Rodigan, Mighty Moe (Heartless Crew), and Normski.
This event offers art enthusiasts, music and culture aficionados, and event goers a rare opportunity to experience the intersection of art and music in one of the world’s most celebrated nightclubs.
The exhibition will run from 17:30 to 22:30 in room two at Fabric, ahead of the ‘Return of Playaz’ party with Drum & Bass legends, Hype and Hazard, in the main room.
WHEN: 17:30 to 22:30pm on Friday 6th December 2024. TICKETS: £5.50 per ticket available via Resident Advisor Here
The post Drum & bass and UK garage legends to feature in new ‘UK Underground Rave Culture’ art exhibition at Fabric appeared first on Decoded Magazine.
Ravebot
Friction walks in. He’s finishing something on his iPad before tucking it away with a friendly greeting, a little hoarse after just getting back from a big USA tour. K-Tee appears at the same time from a different entrance, and we get seated around waters and ginger tea. This morning, we’re in business mode. There’s a late-summer sun peaking through the glass panes and reflecting off Regent’s Canal. There’s an ambience of 11am café chatter and clatter. The conditions are ripe for a deep dive on the last 20 years – the different eras, the good times, the challenges, and the community that keeps making it happen. We pull in our seats as I hit record, and I ask them: Let’s start from the top… 
2004 marks the point of origin for Shogun Audio. Founded around a decade after jungle and drum & bass first took root, the label sits among that second generation, reinforcing the bedrock laid out by the likes of Renegade Hardware or Metalheadz. Harking back, it was a bubbling scene of originators and inspired newcomers – and among that rising cohort were a couple of fresh faces in Ed Keeley (Friction) and Keir Tyrer (K-Tee). 
Emerging as one of the most talented DJs in the genre, and with a string of music on labels like Dillinja and Lemon D’s Valve, or Doc Scott’s 31, Friction was quickly becoming sought after from promoters and ravers across the continent.
Amid all the surging talent, labels, and commerce, drum & bass was growing in new directions: More sub-genres establishing, super-clubs emerging off the back of new licensing laws, and DJs gaining celebrity-like fame and fortune – the table was set and those in the industry were filling their plates. While Friction could have continued to dine like the rest, with offers of exclusive deals from top labels, he had a vision that was too strong to ignore. 
“What do you think of ‘Shogun’” Ed posits one night in the pub. “Yeah, that’s pretty cool mate, why not give it a go?” replies his eventual business partner Kier. Then comes the logo: the shape of a human figure in Japanese typography style – designed by Stewart Procter AKA SP:MC, the future voice of some of Shogun’s biggest tracks and most memorable nights.
The origins are a patchwork of connections, favours, and friendships – and the first release continues that thread. Jay Frenzic, the original owner of ATM Magazine, worked with Ed on a music fanzine. The connection led to Shogun’s first release, as Jay was able to get the samples of ‘R-Type’, the classic jungle tune produced by Jo in 1993. The two worked on a remix together, and lo-and-behold, Jo approved it for release 001 on Shogun Audio, along with the original. 
A killer logo, concept, and first release wasn’t where Ed stopped. He found a natural talent in A&R. With the help of employee number two Dave Kennett (one half of SpectraSoul), working from his lounge, and communicating via. AOL instant messenger, Ed struck gold left, right, and centre with early tunes from Break, Noisia, and Commix. However it was sub-label SGN:LTD, a space he started for up-and-coming artists, where the signings of some true label legends would be made. A young Alix Perez & Sabre’s ‘Solitary Native’, SpectraSoul’s ‘Tempest Dub’, and Icicle’s ’Time To Remember’ would all mark the start of something special not only for the label, but for the genre at large. 
With things taking off, the workload began to take it’s toll. Dave lent a hand in those initial years, but the label needed more rigour. At this time, Keir, who’d had some releases with the label already and a strong friendship with Ed, came to him with a proposition to take the label to the next level. Keir would provide a seasoned background in marketing and business, combined with a passion for the musical direction that Ed was taking Shogun. “It got to the point where we were releasing so much, and Kier came in to help that business side of it … I knew he knew the music, he’d been making tunes for years”. The dynamic became an immediate win for the label – evidenced by the releases and events to follow… 
It’s 2008. Subwave’s techy, rolling 12” ‘Think / Indigo’ marks the 21st release for Shogun, and the first release under Keir’s tenure. It sits near the start of a 5-6 year era cherished by many, and truly led by Shogun. With solid foundations across their roster, Ed and Keir began to focus further on artist nurturing, and encouragement of bigger projects – this led to a string of era-defining releases including one of the most memorable drum & bass albums of all time: Alix Perez’s deep, cutting-edge 1984. With tracks like ‘Forsaken’ still getting played regularly in 2024, this album does more than stand the test of time, it continues to set a standard young artists aspire to. It also neatly presents many of the underground styles at the time – the maturation of liquid, the popularity of dark and glitchy drum & bass, and the innovation of the autonomic and halftime sounds. 
Following 1984, came two more crucially impactful releases: starting with Icicle’s Under The Ice in 2011. Shogun became known for this minimal, technical sound, and Icicle is the leading culprit – driving the genre forward and breaking the boundaries of music production in the process. The Icicle brand was cold, calculated, and vast. And much like Perez’s ‘Forsaken’ (but in the complete opposite style), Icicle’s ‘Dreadnaught’ gets the exact same love more than a decade later. 
Then it was SpectraSoul’s aptly titled Delay No More the following year. Which Ed coincidentally had just been re-listening to “It’s crazy how SpectraSoul used to be able to manipulate a sample and create a real emotion from the track”. SpectraSoul were leading the modern liquid drum & bass sound on tracks like ‘Sometimes We Lie…’ and of course getting stuck into more fringe sections of electronic music on ‘Away With Me’ and ‘S.O.U.R.’. “… it’s an unbelievable bit of music. I think it actually doesn’t get the credit it should. 
Beyond the albums, you’ve got countless classics from across the sub-genre spectrum that define this moment in drum & bass: Spor’s ‘Aztec’ (2009), Total Science & S.P.Y.’s ‘Gangsta’ (2010), Rockwell’s ‘Full Circle’ (2010), and the ‘Evolution’ series – which were always a buy-on-sight, loaded with four killer tracks apiece. Around the world, in those late-2000 to mid-2010 years, there’s not a chance you could’ve attended a drum & bass night and not heard dozens of these tracks. It was domination. 
For the lucky ones living in London and the UK at the time, it was the label nights at The End which brought it all together – showcasing the forward-thinking, 360-degree style that Shogun became famous for, and still retains in 2024. Ed recounts “I couldn’t believe it when we got The End … it really kick-started the Shogun brand from an events point of view … and our events really set the bar high.” And once The End was forced to close its doors, the nights moved into Cable. “When I look back on nights there, they were unbelievable. Everywhere I go around the world, so many people still talk about Cable.”
Shogun events had huge power in the way they brought cohesion to all the various branches of sounds that were coming out, providing both familiar and fresh experiences to the crowd. But it was all presented as the sound of the label – amid smoke, red laser lights, and a great-big Japanese-inspired logo that only has one translation: This is Shogun.
Shogun and its roster have always leaned into experimentation: from Rockwell’s IDM-influenced rhythms, to GLXY’s dabbles in UK garage. While it’s not forced, it’s not a coincidence either, it’s a product of Ed and Kier’s management – providing artists with a platform to express their artistic desires on their terms. From the size of the project, to production techniques, to musical style, to artwork and supporting assets – there’s a mutual trust between label and artist. Art comes first, but a gentle guidance of marketing savvy and business backing from the label is always present. This is how the classics are reached: creators create, labels nurture.  
The anchor of such an incredible legacy allows for this artistic flexibility among newer signings. In conversations with Shogun’s current roster, an unprompted red thread of admiration for these classics emerges. Sustance, for example, takes big inspiration from the previous era: “… I grew up listening to Shogun tunes – old Icicle and old Alix Perez. I feel lucky to be part of something like this. For the drum & bass I generally like and produce, it’s more minimal, stripped back, soulful sometimes. When it’s not soulful it’s techy but in a sort of ‘less is more’ way. Definitely inspired by that early Shogun sound.”
Pedigree keeps that standard of excellence high across the modern Shogun catalogue. But it can’t all be the same as before. This is a very different world, where adaptation is a necessity. “Evolve or die” says Kier when discussing some of the challenges the label has faced. He recalls their distributor calling him up about “this new Spotify thing” and whether he wants to get involved. Ed remembers it too: “I was thinking, man, we’re never going to make any money out of that. How are we going to live?”. But the experimentation ethos prevailed. They leant-in early as Kier recounts the story, astutely describing the financial dynamics of traditional vinyl distribution versus streaming. “Today you don’t get the big up-front lump, but you get paid for the rest of your life for the copyrights on those songs”. But the mastering and marketing costs remain up-front, creating a cash-flow and immediate return on investment issue. It was their lean-in approach though, that allowed for these woes to be largely avoided and certainly overcome by now, while labels that hesitated continue to feel the pain in full. 
Keir catches himself and jokes “that’s actually quite a boring financial conversation”. Aware that he could go on for hours, the conversation switches focus. 
The events landscape is another area of substantial change. The End and subsequently Cable fell victim to the classic, capitalist case of more profitable redevelopments. But these were just two of many discarded venues, then Covid eventually joined the (anti) party and added gasoline to the fire. With events providing such a glue to what Shogun was all about, they stood to lose a crucial part of their business and marketing strategy. But again, being entrepreneurial was the modus operandi. A decorated corner of their Brighton office became the genesis of Shogun Sessions during Covid – streamed globally, providing an outlet for the label and a bit of light in the dark for fans. It wasn’t a new idea, but the execution was a cut-above. Views and streams were trending upward, the feedback was good, and it was becoming known as the ‘boiler room of drum & bass’. 
As Covid restrictions were lifted, what was a closed door affair suddenly became open to the unshackled public, and the Shogun Sessions concept was taken to a new height. Still bringing the best DJs and MCs in the genre, still live-streamed and recorded, but now with the energy of 300-plus ravers in the room. Shogun were not only back hosting events, they were giving artists an elevated platform to showcase themselves locally and globally – with one of the major success stories being Lens’ November 2023 set with Tempza. Kier recalls it as a special moment for the series: “She went viral off the back of it. Suddenly there were clips everywhere raking up tens of millions of views. And we were like ‘oh shit ok, when this goes, that’s what it could be’. Yeah, her set was a really cool moment”. 
It goes back to what Shogun are always trying to achieve – setting their artists up to maximise their abilities, be themselves, and get in front of an audience that loves what they do. “… whether it’s a viral YouTube video, or releasing an album like 1984, that’s the way the business has grown. Whatever is right for the moment in time.” Kier and Ed welcome the new technology, the new conventions and norms, and they use it to their advantage. 
As streaming eventually became the dominant mode of consumption, Shogun adapted to the new way of releasing music. Music discovery now comes from playlists and algorithms, so releasing a few singles followed by a 12-15 track album often means so much gets lost in the machine or skipped amid dwindling attention spans. Drip-feeding more singles and growing their roster, Shogun’s release rate has skyrocketed as a result “It took 4-5 years to get from first release to number 21, to now when we’re doing almost a release every week”. 
Combined with more opportunities to release, comes more tracks being sent to the Shogun inbox – further enabled by the lowered barriers of entry to music production. With Pete (Deadline) now on board as Head Of Music, he, Ed, and the rest of the A&R team tackle the job – finding and nurturing new talent and maximising the output of the roster. As quantity goes up, quality remains uncompromised, and their ability to reach multiple ends of the sub-genre landscape is only enhanced. The past decade has seen the label hit the target on a range of new names and sounds. From Emily’s Makis’ instantly recognisable vocals, to Javeon’s soulful R&B-inspired lyrics, to Duskee’s steezy-smooth bars – the modern voice of Shogun is in outstanding shape. Each of these talents, alongside IYAMAH, Zara Kershaw, Catching Cairo, and too many more to name, hop on tracks across the release schedule to provide more of that Shogun glue. 
While singles are the new normal, there is room for tradition if that’s the vision. The beloved, full-length albums did not stop in the Perez-Icicle-SpectraSoul era, they inspired others to follow. “Part of what we can do with our artist-centric approach, is give artists the freedom and the structure to write albums like Delay No More, or the Technimatic albums, or GLXY’s Research & Development. We’re here to support their vision and make those things happen for them”. 
That support couldn’t be more evident than with Pola & Bryson’s 2021 album Beneath The Surface – 15 tracks including 6 singles of their patented ‘liquid sculptures and big boy rollers’, woven together by a detailed concept, and finally packaged up in a beautiful box-set. The album is a journey through styles and feelings, and marks a crucial release among this iteration of the Shogun roster. It’s got the characteristics of a classic, with tracks like ‘Friend’ and ‘Under’ keeping a long shelf life. 
Even though the marketing and distribution are beefed up for the modern era, the inspiration from the classics is evident as Jack (Pola) muses on the responsibility they have after eight years with the label: “To suddenly find ourselves in that position, where it’s now our job to take the reigns, was a bit daunting. But it’s been exciting. And a very proud experience”. 
Presently, the label is firing. A dynamic roster of highly talented and adored artists, one of the best event series in the world, and an approach that’s risk-taking but backed by an incredible legacy. 20 years in, Ed and Kier are just as passionate about presenting listeners and ravers with their ever-evolving brand of drum & bass. They have a deep understanding of what this music means to people – how casual listeners can be transformed into D&B heads. They’re constantly making tweaks and decisions to strike the balance between continuous improvement and respect for the heritage. 
As we discuss the commercialisation of the genre – and how that’s accelerated in recent years – there’s acknowledgement that Shogun does contribute. But that’s not a negative thing as they see it, it’s part of that journey so many listeners will take to eventually dig deeper. That’s why there’s such emphasis on a range of sound. “If you listen to ‘Phoneline’… brilliantly produced liquid drum & bass with a vocal and topline and catchy melody. That’s one end. And then on the other end, we can release a naughty little underground Sustance tune. And people don’t think that’s weird … those are the boundaries for us…” . As purists themselves who love all sides of the genre, Ed and Kier are hyper-aware of the dangers of selling out. But once again, commercialisation is a macro-environmental factor that’s going to occur whether you embrace it or not. “Yes there will be some absolutely horrific drum & bass that comes out of it [commercialisation], but you’ll also get people to come into it, and then find people like Sustance or GLXY”. They don’t moan about change, they embrace it and find a route to make it work for them. 
Tied to the commercialisation conversation is the globalisation of drum & bass, another area Ed and Kier are optimistic about. There’s a confidence from the two, that the label and wider genre are too established, the roots are too deep to lose that underground pulse. “I think we are all ready for it, we’ve been talking our whole lives about ‘wouldn’t it be amazing if this thing went global’. Well, every time we’ve got there it’s like ‘ooh, it’s a bit scary’. But now, 30 years in, it feels like ‘yeah, we’re ready’”. 
The future of music is hazy at best – changing exponentially from the culture, to the technology, to the way it’s experienced. No label or artist is immune to the uncertainties. But with what Ed and Keir have built, coupled with their relentlessly positive approach, they remain in position to keep adding moments of lore to drum & bass for another 20 years and beyond.
We depart the café and make a short walk over to meet the rest of the Shogun roster. On the agenda is a photoshoot. As each artist rolls in, the theme of community (touched on throughout the interview) emerges  – it’s hugs, hearty handshakes, and lots of laughter. They eagerly discuss each other’s next projects, tours, and reminisce on some of the summer’s festival moments. Ed and Kier’s life’s work is all here personified. Jon (GLXY) reinforces the notion: “We’ve kind of all grown up together. We joined about a year after Jack [Pola] & Harry [Bryson], and have been friends with them for ten years. It’s just like, everyones just come together. It’s beautiful man.” 
The lunch spread has been mostly devoured, and as the shoot wraps up, the vibes are too good to end it there. A rooftop in Hackney, on potentially the last truly hot summer’s day of the year kept the discussions rolling. “They’ve always just held me like family. Shogun, to me, is community and family” says Emily Makis after grabbing content for an upcoming song. 
Fresh off her single ‘Be There’, intended for the 20 Years of Shogun compilation, IYAMAH reflects “What does Shogun mean to me? It’s definitely community. It’s like-minded, genuine people … It’s really nice to be part of this thing. Shogun are just like the kings of cool. It’s weird because there’s so many artists, but they have such a universal similarity when it comes to sound. A super well-produced fusion between clean and dirty”. From old signings to new, from the founders to the newest members of staff – the Shogun ethos permeates. 
Calling it a day, the 20 Years of Shogun celebrations certainly don’t stop there. The 20 track compilation has just been released in full, including a limited-edition box set, vinyl, and coffee table book – shaping up to be another classic VA output. And events are scheduled throughout the final weeks of 2024 – where Ed promises something particularly special for his set with SP:MC + guests at Troxy, London. One last look back at the Shogun team leaves me thinking; there’s way more to come.
Ravebot
With fast-growing British-Gambian rapper Pa Salieu, multi-platinum duo Disclosure shares their new single “King Steps,” an incredibly exciting partnership. Released today on Disorder/Capitol Records, the larger-than-life track is Disclosure’s first fresh music since receiving a GRAMMY® nomination for their chart-climbing summer blockbuster “She’s Gone, Dance On.“
Built on their fiercely creative sound design, “King Steps” enhances Disclosure’s long-standing reputation of boundary-pushing collaborations with such diverse acts as The Weeknd, Lorde, Aluna George, Aminé, slowthai, and Sam Smith (who featured on their platinum-certified breakthrough single “Latch, a No. 7 hit on the Billboard Hot 100). This time around, brothers Guy and Howard Lawrence present a very contagious anthem driven by the supremely commanding vocal work of Pa Salieu — one of the most dynamic new voices in Britain’s developing hip-hop scene, whose widely praised new project Afrikan Alien offers “a new blueprint for pan-African pop,” according to Pitchfork.
How the track was born
Pa Salieu joined Disclosure onstage to premiere a live version of “King Steps,” immediately generating great excitement for the music, during their concert last month at The Warehouse Project in Manchester, UK. Disclosure’s production provides a strong background for Pa Salieu’s head-turning lyrical ability with its explosive collision of aural elements — fast-bouncing beats, frenzied textures, dizzying synth that feels beamed in from another dimension. Rooted in a bass-heavy, profoundly hypnotic groove and core elements of UK Garage, the outcome is an immediate hit of pure energy and maximum pleasure.
Pa Salieu has returned following a difficult stint of incarceration with a fresh sense of direction and channeling of his thoughts into his music as he challenges limits in both sound and narrative, his latest songs, “Belly,” “Allergy,” and “Round & Round,” as well as freestyles “Epiphany/Crash,” point to a brave new phase. Pa Salieu keeps using his voice as an instrument of expression since new projects are in development, trying to inspire and uplift while providing an honest view of his path. Declaring his genre as freedom of expression, he captures his revolutionary attitude and dedication to honesty.
About Disclosure
Earlier this month, Disclosure celebrated their most recent milestone in a historic year when “She’s Gone, Dance On” received a nomination for Best Dance/Electronic Recording at the 67th Annual GRAMMY® Awards — a sequence of events that makes the pair 9-time GRAMMY®-nominated artists. Disclosure went on to earn nominations for Record Of The Year (for production on Khalid’s “Talk”), Best Dance Recording (for “My High,” ft. Aminé and slowthai), and Best Dance/Electronic Recording (for “Higher Than Ever Before.” After earning their first career GRAMMY® nomination for their 2013 full-length debut Settle (in the category of Best Dance/Electronic Album, a triumph later repeated with 2015’s Caracal and 2020’s ENERGY). Originally released in May, “She’s Gone, Dance On” debuted at #16 on Billboard’s Hot Dance/Electronic Songs chart and garnered raves from tastemakers including The FADER, NYLON, Consequence, Stereogum, and V Magazine. Vincent Catel (Hermès, Dior) directed a brilliant video for the song.

The post Disclosure Share New Single “King Steps” With Pa Salieu appeared first on The Groove Cartel.
Ravebot
Pretty Lights and his band have an uncanny ability to leave a cosmic footprint in any city they perform in, leaning in and listening closely to the distinct heartbeat of each city on their tour.
This was certainly the case when the Soundship Spacesystem landed in the nation's oldest city, St. Augustine, Florida. The three-night run transformed the city's timeless charm into kaleidoscopic ecstacy.
In a twist of fate, the Pretty Lights show coincided with St. Augustine's iconic Night of Lights festival, which illuminates the city with over three million twinkling Christmas lights.
Some of the many highlights from the highly anticipated weekender included Pretty Lights' electric rendition of Chappel Roan's hit "Pink Pony Club" as well as Lynyrd Skynyrd's ageless "Freebird," the latter of which featured a gripping live guitar performance by Pretty Lights' Production Manager and Audio Engineer, Phil Salvaggio.
While the band's live covers, samples and flips enthralled us, Pretty Lights' original music lit the fuse of the night's explosive energy. "Rainbows and Waterfalls," "New Heights," "Only Yesterday" and "Color of My Soul" were a few of the many highlights throughout the weekend.
The St. Augustine Amphitheater served as the ideal backdrop for the magical weekend, with perfect stage views around the entire venue. The Amp, which was built to memorialize the 400th anniversary of St. Augustine's founding, rooted the performances in the city's history while allowing for futuristic, jaw-dropping visuals and top-tier sound.
Watch all three nights of Pretty Lights' St. Augustine run on YouTube below.
Follow Pretty Lights:
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Facebook: facebook.com/prettylights
Spotify: spoti.fi/2GkoC5A
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Subtronics cast his watchful eye over the Tacoma Dome as his Cyclops Army assembled. I want to think he’s what Sauron would have been like if he had been shown more affection.
The dubstep superstar and an all-star lineup planted the one-eyed flag of victory at the second annual Cyclops Dome November 15-17.
“Please drink some water, eat some food, and tell your friends and family how much they mean to you,” Subtronics said after each night in Tacoma. “Please be f—ing nice to each other. Lastly and most importantly, if you are driving and are remotely f—ed up, don’t drive. Get a sober friend or an Uber to take you home safely. And once you get home, smoke as much weed as humanly possible!”
Fans of Subtronics are familiar with his regular closing remarks, but hearing it three consecutive nights emphasized why people rally to him. Compassion, collaboration and humility are integral to the Subtronics experience. That sentiment touched everything in sight.
Cyclops Dome 2024 featured an impressive supporting lineup with Alison Wonderland, Dimension, NGHTMRE and RL Grime among the most popular names on the billing. You don’t always see supporting acts with popularity on par with the headliner, but Subtronics has the gift of bringing people together.
Alison Wonderland and Subtronics on Night 2 of Cyclops Dome 2024.Jason Fenmore/Oh Dag Yo
Subtronics anchored the show with three terrific headlining performances over the weekend. He welcomed Wonderland on Saturday to debut their since-released collaboration "No One Does It Like" and his wife LEVEL UP on Sunday. It wasn’t unusual for Subtronics to take small breaks to express gratitude for the audience, who he thanked for allowing him to play personal or unreleased tracks without judgment. The occasion wasn’t lost on him.
Headlining three consecutive days is a complex task. Subtronics was refreshingly mindful that he was performing for distinct audiences: three-day ticket-holders, two-day guests and single-day visitors. In a clever effort to provide something for everyone, he would play different versions of popular songs like “Griztronics” and “Into Pieces” on separate nights. This ensured most fans would hear their favorite songs while rewarding repeat customers.
The Tacoma Dome is a well-established and competitive Pacific Northwest venue. Subtronics came equipped with the appropriate lasers and lights for the occasion but incorporated a new production element that sets Cyclops Dome apart.
Nearly a dozen specially designed panels hung from the venue’s rafters. Each rectangular panel was fitted with LED screens, light strips and lights. The panels—programmed along with the show’s other production elements—were versatile tools adding incredible depth to the show. They sometimes replicated the screen visuals or functioned as synchronized lights.
A personal favorite was when the rigs rappelled down nearly within reach, and those dancing directly underneath bathed in the lights. The panels provided an immersive experience up close and added theatrical elements further back, providing unique vantages depending on where you stood.
Cyclops Dome’s impressive lineup lived up to the hype, satisfiying dubstep enthusiasts while providing more variety than comparable shows in its genre. Wonderland threw down so ridiculously hard, you'd think she had a point to prove. Her thrashing set was accompanied by a cinematic intro and eerie visuals evoking the work of her husband, horror film director Ti West.
Dimension and NGHTMRE were a match made in heaven. B2Bs can struggle with sounding disjointed or so similar you can’t tell the artists apart, but that wasn’t the case here. Apologies to the bathroom patron who boastfully—and disappointingly—claimed the duo would perform a "bass house" set. Dimension B2B NGHTMRE was a perfect marriage of the former's drum & bass and the latter's trap and dubstep leanings. NGHTMRE took the lead in the first half, easing fans into Dimension’s breakneck pace down the stretch.
The "Angel" collaborators were very effective at blending their styles, taking a beloved NGHTMRE track like “Alive” or “FEELING GUD” and touching it up with frenetic drum & bass rhythms. The stage screens were turned off for large portions of the set, allowing lights and lasers to shine while giving the 21,000-capacity venue an underground atmosphere. It was a marked contrast from the set that came before.
INZO deserves special acknowledgment for putting together a touching set. The Visionquest producer penned a beautiful script that was at times invigorating or wondrous. Cyclops Dome's scale implored INZO’s set to be everything one would imagine. The visuals were warm, the vibes were immaculate and at least one patron in my party visibly sobbed. The togetherness experienced during his finale was a poignant reminder of what brought everyone together.
To that end, Subtronics genuinely seems to care. It’s evident by the warm environment fostered by his fans and his actions that weekend. The wait to get into the venue on Friday was admittedly painful—the line wrapped around multiple times and caused long delays getting in, seemingly due to limited entry points. Subtronics apologized on social media in real-time, assured he was addressing it and that it wouldn’t be a problem the following days. Not long after, the entry process picked up and stayed smooth for the rest of the weekend.
Subtronics is on the cusp of something special. He’s building an empire not with an iron fist, but with a loving hand. His music is the foundation of his success, certainly, but the camaraderie with his audience and peers are the cornerstones reinforcing his growing domain. If the original Cyclops Dome was a test pilot, this sequel strongly affirms a bold future.
Follow Subtronics:
X: x.com/subtronics
Instagram: instagram.com/subtronics
TikTok: tiktok.com/@subtronics
Facebook: facebook.com/subtronicsofficial
Spotify: tinyurl.com/yupr7jmk
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Black Coffee, South Africa's most illustrious DJ, used his international platform to give back to the youth of his country.
Earlier in the month of November, the house music superstar brought together DJs and other local celebrities to St David's Marist Inanda, a school in Johannesburg, for a charity outing. Benefitting the school, the fundraising event featured performances by South Africa's DJ Fresh, Que DJ and pioneering Amapiano producers Major League DJz, among others.
The brotherly duo of Major League DJz even brought their mother onstage during the wholesome show.
Alongside the artists lending their talents for a good cause, corporate sponsors also donated to the Black Coffee Foundation during the event. That includes Sompire Kids, who donated over $16,000 of children's clothing to the organization's cause.
"The Black Coffee Charity Concert was a night to remember," the foundation wrote in a celebratory Instagram post. "A phenomenal lineup of performers, a passionate audience and a shared commitment to giving back made this event a resounding success."
You can learn more about the Black Coffee Foundation here.
View the original article to see embedded media.
Black Coffee:
X: x.com/realblackcoffee
Instagram: instagram.com/realblackcoffee
TikTok: tiktok.com/@realblackcoffee
Facebook: facebook.com/realblackcoffee
Spotify: spoti.fi/35OeOeg
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Spotify executives have reportedly cashed out over $1.1 billion in company stock in 2024, a figure that would take artists an astronomical 314 billion streams to match through royalties.
That's according to Music Business Worldwide founder Tim Ingham, who today bemoaned the disparity in a LinkedIn post.
A report published by the outlet on Wednesday says Spotify CEO Daniel Ek has sold 875,000 shares of Spotify for a total of $283 million this year. That figure pales in comparison to the cash amassed by Ek's co-founder, Spotify ex-Chairman Martin Lorentzon, who has sold 1,488,364 shares for a staggering $556.77 million.
Spotify CEO Daniel Ek.Stuart Isett/Fortune Brainstorm TECH
This eye-popping disparity underscores the ongoing tension between streaming platforms and musicians, who have long argued that the today's compensation structure is fundamentally broken. Streaming has transformed music consumption, but most artists—particularly independent musicians—struggle to earn a living wage from the royalties their songs generate.
A recent study suggested that independent artists currently need to accrue five million streams to earn the equivalent of the U.S. minimum wage. That was before Spotify's controversial announcement that musicians and songwriters would need to meet a minimum streaming threshold before they're eligible to accrue royalties.
The backlash recently came to a head after Ek myopically claimed that the cost of creating content is "close to zero" before attempting to walk back his comments, which he characterized as "clumsy." Electronic music icon deadmau5 lambasted him at the time and threatened to remove his music catalog from Spotify.
Spotify stock has surged by 141% since the beginning of 2024, more than doubling in value, per Barron's.
Ravebot
Danish-Egyptian artist Ashibah returns with ‘Autumn’, a captivating melodic house track released on Lane 8’s label This Never Happened. Known for her heartfelt vocals and lush production, Ashibah once again proves her ability to create music that resonates deeply with fans.
An Emotional Journey Through Sound
‘Autumn’ captures the beauty and melancholy of its namesake season. Ashibah’s soulful vocals pair perfectly with pulsating basslines and crisp beats, creating a track that feels both intimate and energizing. Its organic melodies and warm tones make it a standout, reflecting the signature style that has earned her comparisons to artists like Lane 8.
A Natural Fit for This Never Happened
This Never Happened is known for its introspective yet dancefloor-friendly tracks, and ‘Autumn’ fits right in. The song combines emotional depth with rhythmic energy, aligning with the label’s vision of heartfelt, vocal-led house music. By joining this roster, Ashibah solidifies her place as a rising talent in melodic house.
A Glimpse of What’s Ahead
‘Autumn’ offers a taste of Ashibah’s artistry as she prepares for her debut album and the launch of her own label, Fatima In Trouble. For now, this track is the perfect addition to any playlist, blending warmth, soul, and energy. It’s the ideal soundtrack for autumn evenings and beyond.
The post Ashibah Unveils ‘Autumn’: A Melodic House Journey on This Never Happened appeared first on EDMTunes.
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We are back from the Queen Mary and resting from an entire weekend of dancing and dreaming. This year’s edition of Dreamstate Southern California was nothing short of amazing and impactful. To a top notch production, to a crowd flow that alleviated most of our concerns that were raised last year. This Insomniac production has quickly become one of our favorites, so let us tell you why.
Jamal Eid for Insomniac The Production At Dreamstate
This year’s Dreamstate Music Festival in South California saw its return to the Queen Mary Waterfront. This is just the second edition that took place in the venue, and the production took a huge step up from last year. First, the shuttles that took you from Long Beach to the festival grounds and back were not on the main street that crossed the city, but rather near the marina. This helped with the main traffic within the city and it was safer for ravers to commute through the more calmer streets.
Jake West for Insomniac Then, each stage had a big improvement with visuals that gave us bigger immersive experience. Each set was a wonderful audiovisual journey. Each stage had its own package of pyros, smoke machines, lasers, and great vibes that carried on through the night. Furthermore, let’s not forget about the raging afterparties on the Queen Mary. Two nights of insane and special sets that lasted til sunrise, within three separate ballrooms on the ship. It was heavenly to have shuttles that lasted through the afters as well.
The Music
The festival crafted a magical selection of tastemakers this year, including legendary sets that people have waited for years. Sets we must mention include the Judge Jules (classics set), Darude, and Ferry Corsten presents Gouryella, which is the first time Corsten does a set under thos alias in the US in many years. The set was special cuz he only has a handful of tracks under the alias, which represent the meaning of heaven in different languages. Even though the Gouryella project began with Tiesto, Corsten took over the project and now brings it back from time to time, and we were the lucky ones to experience such a special set this weekend.
All media is ritefully owned and created by Keiki-Lani Knudsen. Other sets we loved included psytrance specialists Out of Orbit, Giorgia Angiuli, and Captain Hook. On the Techno side, we danced our booties off to Funk Tribu and day 1 closer of the Void stage Clara Cuve. Then, we heard the violent yet fun basslines of Hard Trance, which included David Rust, and David Forbes & Matthew Sherry present Thick as Thieves.
The Main Stage (The Dream) gave us all we needed. Trance pioneers such as Armin van Buuren, Markus Schulz, and Giusseppe Ottaviani pres Ottagon controlled the crowd with their melodies. Moreover, day two saw even bigger diversity with an Anjunabeats takeover lead by Above and Beyond. Other progressive artists we enjoyed were Grigore, Amy Wiles & Leena Punks, and Andrew Bayer, who closed the weekend with a Trance remix of ‘Eusexua’ by FKA Twigs and made our entire night.
Favorite Set of the Weekend
Our top set of Dreamstate SoCal 2024 goes to Giorgia Angiuli. Her frequencies are extremely seasoned and dark. Her audio-engineering skills that allow her to perform with her own made up instruments that resemble child toys while still touching on adult emotions is sublime. In addition, the mantras she displays on her visuals are extremely positive and uplifting, which leads into some hardcore dancing with her insane kicks and rumbles. This is one extremely talended artist and we hope she returns to Dreamstate SoCal consistently.
The Vibes
We will never quiet down about how amazing the Trance crowd is. Dreamstate is a sea full of respectful individuals. They continuously set the bar extremely high with the marvelous behavior and public etiquette. With their permanent smiles, and respectful behavior, Dreamstate’s audience is the PLUR personified. Since last year, others are wary of the Techno crowd. As the festival includes Hard Techno artists since last year, attendees remain calm and collected as we cherish each beautiful interaction we had with them.

The post [Event Review] Soaring Through the Stars at Dreamstate SoCal 2024 appeared first on EDMTunes.
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FL Studio 2024.2 has officially landed just in time for the holiday season, offering music producers more flexibility and precision—and relief on their wallets thanks to a solid Black Friday deal.
FL Studio, the storied digital audio workstation (DAW) from Image-Line, has raised the bar with the release of FL Studio 2024.2. Packed with a treasure trove of user-requested workflow tweaks, the update offers a more intuitive production arsenal and—true to Image-Line’s ethos—it's completely free for existing users thanks to their Lifetime Free Updates policy.
"At Image-Line, we’re all about helping music makers—whether they’re just starting out or seasoned pros," Image-Line CEO Constantin Koehncke said in a press release. "With AI shaking up the music world, we see both exciting possibilities and new challenges but it doesn't change our goal: making music production easier and more fun for everyone."
A standout addition to the DAW is Transporter, a real-time looping FX plugin that empowers producers to create on-the-fly effects and dynamic loops.
The Transporter plugin in FL Studio 2024.2.FL Studio/Image-Line
Elsewhere, hot-swappable loops from the FL Cloud service make real-time sound experimentation a breeze, while scalable plugins—now supporting 8K resolution—ensure a more modern interface for plugins like DrumPad and Effector.
Also on the list are features like Ghost Notes in the Piano roll, which make melody-crafting more intuitive; and a low-latency monitoring mode for real-time recording accuracy.
Meanwhile, FL Cloud Pro subscribers gain access to over 4,000 presets, with new FLEX packs rolling out regularly.
The Ghost Notes feature in FL Studio 2024.2.FL Studio/Image-Line
For new users, FL Studio's Black Friday sale offers significant discounts and its best pricing yet, catering to global markets.
"We’re thrilled to see so many new producers choosing FL Studio, motivating us to keep innovating with updates like FL Studio 2024.2," Koehncke adds. "This holiday season, we’re offering FL Studio at its best price yet, with pricing tailored to different markets to keep it accessible to everyone."
The software's popular Producer Edition is available for $139 (€169) while the Signature Edition has been reduced to $199 (€239). A 30% discounted rate of FL Studio's expansive production toolkit, the All Plugins Edition, is also available for $314 (€379).
The Black Friday promotion also extends to FL Cloud, annual subscriptions of which users can save up to 38%. The service also democratizes the music distribution process for users, who are able to easily release their songs on Spotify and Apple Music, among many other streaming platforms.
The Black Friday sale is available exclusively through the Image-Line website and concludes December 5th, 2024 at 11:59pm PST. You can find more information here.
Follow FL Studio:
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Facebook: facebook.com/flstudio

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Swedish artist and creative director Alexander Wessely has been announced as the Creative Director for DJ and producer Anyma. Wessely is renowned for his revolutionary visual storytelling and groundbreaking music collaborations. The news comes ahead of Anyma’s highly anticipated Anyma: “The End of Genesys” live performance series at the Sphere in Las Vegas. It spans eight sold-out shows between December 27–31, 2024 and January 1, 10 & 11, 2025. The series is set to be a highlight of the music calendar.
Wessely & His Star Studded History
Wessely served as Creative Director for Swedish House Mafia from 2019 to 2023. He was instrumental in shaping their visual and artistic identity. Since his tenure with Swedish House Mafia, Wessely has continued to shape the creative visions of global icons. These include The Weeknd, Grimes and Kanye West. Celebrated for his boundary-pushing approach to live show design, Wessely’s multidisciplinary expertise spans performance, sculpture, film and photography.
A New Chapter with Anyma
His latest collaboration with Anyma marks a significant evolution in his career. It opens a bold new chapter overseeing the creative direction, stage design and co-directing key performance elements. Earlier this year, Wessely joined forces with Anyma as Co-Creative Director for The Weeknd’s concert in São Paulo. It laid the groundwork for their continuing partnership.

Afterlife Presents Anyma: “The End of Genesys” will mark the first electronic music act at the Sphere, led by Matteo Milleri of Tale of Us. Known for seamlessly blending art, technology, and music, Anyma has captivated global audiences with its cutting-edge visuals and techno soundscapes. The residency will feature a carefully curated lineup of guest artists, with each performance delivering a one-of-a-kind experience. It will be combining Anyma’s signature style with the Sphere’s state-of-the-art capabilities.
After years crafting live show designs for some of the world’s most iconic artists, including The Weeknd and Kanye West, Wessely has distilled his diverse background across theater, concert venues, and art institutions into a singular, groundbreaking vision. Anyma: “The End of Genesys” represents the next era of his creative journey. It is bound to be a culmination of collaborations, inspirations, and lessons that redefine the boundaries of creative expression and push the limits of what’s possible.

The post Multidisciplinary Swedish Artist Alexander Wessely Named Creative Director for Anyma appeared first on EDMTunes.
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VLTGE shatters genre boundaries with his new single, "Forever & Always," a space opera-themed banger that pirouettes between tender jazz intimacy and heavy-hitting dubstep.
The unique track appears on the producer's new EP, A Space Love Story, which tells the story of a pair of desperate lovers separated by time and space. "Forever & Always" is the project's undeniable standout, where sultry saxophone whispers are suddenly obliterated by ferocious bass drops that feel like heartbreak made audible.
VLTGE stuns with his production, in which vulnerability and rage coexist in breathtaking tension. Each transition is a calculated emotional assault, punctuated by delicate melodic moments that dissolve into grinding, aggressive soundscapes echoing the turbulent separation of its protagonists.
Capturing the ache of their fragmented connection, the track ultimately becomes a metaphorical battlefield where melancholy and mayhem collide. It's less a song and more a sonic memoir of passion's most violent, vulnerable moments.
Take a listen to "Forever & Always" below.
Follow VLTGE:
Instagram: instagram.com/vltgemusicc
Spotify: tinyurl.com/yppcwxzp
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Pendulum have announced a rare concert they're calling the "biggest ever live show" of their career.
The influential electronic band is set to take the stage of England's massive Milton Keynes Bowl, which has a capacity of 65,000. While it's their first headlining performance at the venue, it's not their first time performing there. Back in 2008, Pendulum supported Linkin Park before sharing the stage with The Prodigy two years later.
The supporting artists for the upcoming show, scheduled for August 9th, has not yet been revealed. Check out the band's announcement below.
A few months ago, Pendulum wrapped up a long-awaited North American tour that saw them perform Los Angeles, Denver and other major cities. Since then, they've been revealed as part of UKF's gigantic takeover of the Drumsheds alongside Rusko, Caspa, Flux Pavilion, Joker and more.
Pendulum frontman Rob Swire also completed a side quest over the summer when he joined Armin van Buuren onstage at Tomorrowland, where they performed their collaborative remix of "Sound of You."
Pre-sale tickets to Pendulum's show at Milton Keynes Bowl go on sale December 5th, 2024 at 10am here.
Follow Pendulum:
X: x.com/pendulum
Instagram: instagram.com/pendulum
TikTok: tiktok.com/@pendulumofficial
Facebook: facebook.com/pendulum
Spotify: spoti.fi/3cxHXAH
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As if 808 Festival’s lineup wasn’t already massive—with Anyma making his first-ever stop in Southeast Asia, a Drumcode takeover led by Adam Beyer, and DJ Snake unveiling his The Outlaw alias in Asia for the first time—808 just turned up the heat. The festival has added even more star power to its 2024 edition, announcing Zedd, Merow, Just Us, and Marie Vaunt as part of its explosive lineup.
Zedd Returns to 808: A Magical Encore
Zedd’s return to the 808 stage is a dream come true for fans who witnessed his unforgettable set in 2022. That performance wasn’t about flashy visuals—it was all about the stage and Zedd’s unmatched energy. His iconic tracks like Clarity and Stay electrified the crowd, creating a connection that only Zedd can deliver. His ability to command the audience with pure artistry left everyone buzzing, and his 2024 appearance is sure to deliver yet another masterclass in live performance.
Fresh Faces to Watch: Merow, Just Us, and Marie Vaunt
Bringing even more depth to the lineup, 808 welcomes first-timers to its festival with Merow, Just Us, and Marie Vaunt. Merow’s innovative approach to electronic music, paired with Just Us’s energy-packed performances, promises moments that festival-goers will be talking about long after the lights fade. And then there’s Marie Vaunt, whose hypnotic techno beats are the perfect addition for those who love to lose themselves on the dancefloor. Together, these rising stars add a layer of freshness and unpredictability to an already iconic festival.
The Perfect Playground for Dance Music Lovers
With a lineup that includes global heavyweights, emerging talent, and unique debuts, 808 Festival continues to cement its place as a must-attend event on the global electronic music calendar. Whether you’re a fan of melodic anthems, dark and driving techno, or genre-defying surprises, this year’s festival promises to be a once-in-a-lifetime experience.
Grab Your Tickets Before They’re Gone
808 Festival Bangkok 2024 is shaping up to be the ultimate year-end celebration, and tickets are flying fast. Don’t miss your chance to be part of this legendary event. Secure your spot now and get ready for a December filled with music, memories, and magic.
Tickets are still available so grab them now!
Act fast, because this lineup is too good to miss!
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Police officers in the southern part of the Netherlands discovered an MDMA-covered garden gnome. The Dongemond Police Force, which covers the municipalities of Oosterhout, Geertruidenberg, Drimmelen and Altena, discovered the MDMA garden gnome earlier this month during a drug bust. According to an article from the BBC, the gnome weighed 2kg (4lb) and the Dongemond police authorities stated, “Drugs appear in many shapes and sizes, but every now and then we come across special things”. Knowing there was suspicion surrounding the odd placement of the garden gnome, the police also added, “”In itself a strange place to keep your garden gnome. That’s why we decided to test [it] for narcotics”.
To make things even funnier, police officers later concluded, “The gnome himself was visibly startled”. This was in reference to the garden gnome covering its mouth. Mixmag reported that the 2kg (4lb) MDMA garden gnome is equivalent to around “8,000 ecstasy pills weighing an average of 250mg each”. Afterwards, the drug bust continued onwards in the southern Netherlands. The drug bust occurred shortly after debate in the Netherlands regarding the potential regulation and legalization of MDMA in the Netherlands. As for the relevancy of MDMA legalization in the United States, this comes after the FDA rejected MDMA therapy for PTSD in Phase 3 clinical trials.
The post Dutch Police Found a Garden Gnome Made Entirely Out of MDMA appeared first on EDMTunes.
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