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We believe the dance floor should be a place of connection, joy, and safety. These same pillars guide the mission of End Overdose, a Los Angeles-based nonprofit dedicated to preventing drug-related deaths through education, medical intervention, and public awareness.
During EDC Las Vegas 2025, EDM Maniac connected with Anthony “A.J.” Banuelos, the End Overdose team’s director of community engagement and training, to talk about the work they’re doing to promote harm reduction in the electronic music community. From free naloxone distribution and overdose response training to their partnerships with major festival brands like Insomniac, End Overdose has established itself as a life-saving trailblazer in the scene.
In this interview, we discuss why their presence at festivals is so important, how artists and promoters can help, and the simple steps every raver can take to look out for each other. Plus, Banuelos shares personal stories that underscore why this mission matters more than ever.
EDM Maniac: For those unfamiliar, what is End Overdose, and what is your core mission?
Anthony: End Overdose is a nonprofit organization based in Los Angeles, California, working to fight against drug-related overdose death through education, medical intervention, and public awareness. So on the education aspect, we like to educate individuals on the signs and symptoms, what to look for, and also the steps to take; What to do, medical intervention; we cover the Good Samaritan law that protects you in the state. 
We want you to be comfortable and confident with getting medical assistance on the way, and we also distribute naloxone, aka Narcan, the medication that they use to reverse an opioid overdose, for free. And public awareness. We’re just destigmatizing the conversation.
EDM Maniac: Why is your presence at music festivals like EDC so important? What kind of impact have you seen so far, and what other festivals do you attend to raise awareness and educate?
Anthony: There’s no better place to connect than a music festival, right? Those most affected from drug-related overdose deaths are 18 to 45, so we actually hit our age demographic here at music festivals. Also, it’s a fun, engaging way to incorporate public health. It’s not a boring, lifeless setting. We hope to be at all festivals all across the board.
Special shout out to Insomniac—we partner with Insomniac, we’re at all Insomniac events, raising awareness, and we really focus on the educational aspect. Just educating individuals, so if they ever find themselves in a situation, they’re a little more comfortable and confident that they could do their part to save a life.
EDM Maniac: What’s one story or moment that really affirmed the importance of your work?
Anthony: I talk about this all the time—it’s just the gratitude that headliners or any festivalgoers express when they take this training. We hear it multiple times, “Hey, you’re the first booth that we come and see;” “We actually love what you do.”
When you feel that gratitude, that makes it worth it right there, when they’re just like, “Oh my God, we love you so much, thank you so much.” And it’s just like non-stop online, people going like, “We love End Overdose.” We love you too.
EDM Maniac: What role do you think artists and promoters can play in supporting harm reduction and overdose prevention?
Anthony: They have the platform to raise awareness. They have a big fan base. Whatever they say, individuals or fans will listen. So I think using that platform for the better and just speaking up, raising awareness on certain situations. 
Their reach is far-reaching. Their fan base is all over. Tons of people listen to their music. They tune in, and if they hear a message that their favorite artist has to say, you know that that’s important because people are gonna listen to that message.
EDM Maniac: What are some ways ravers can look out for each other even if they’re not directly involved in an organization like End Overdose?
Anthony: If it’s another individual, another headliner, another raver out there, if you see something, check up on another individual. It’s all about the P.L.U.R. community. That’s what this community revolves around—looking out for one another. 
There are times when I’m walking, somebody might be sleeping on the floor: “Hey, excuse me, are you OK? You alright?” They’re like, “Yeah, I’m good, I’m just taking a nap right now.” And I’m like, “OK, cool, I’m just checking on you.” 
So I think that’s really important. Don’t be afraid to call for help. Don’t be afraid to be like, “Hey, this person needs assistance,” whatever the case may be. I think just checking up on one another, making sure everybody’s okay, and just spreading love and kindness, you know?
EDM Maniac: How do you approach conversations with people who may not see harm reduction as a priority?
Anthony: Yeah, we’ve actually had a couple of those conversations. I’ve been training outside of here, and I just tell them my experience, my story. I’m currently four years clean and sober from any minor mood-altering substance. I’ve overdosed in the past, and the only reason why I’m here today is because somebody did their part to save my life. 
Just having those open conversations with people. It could be a friend; it could be a family member; it could be a complete stranger. You just never know. Anytime we have those conversations, it definitely opens up their minds. It could be anybody, anytime, anywhere, and usually after that, they’re usually like, “You know, we’ll take the training.”
EDM Maniac: Thank you so much for everything that you do and for being so influential in this space. 
Anthony: Thank you. Of course, you’re so welcome. I just want to thank you and everybody for having us here today.
For more information about End Overdose, visit endoverdose.net or reach out via email: [email protected].
 
Featured image courtesy: End Overdose. Credit: Canvas Rebel Magazine.
The post Interview: End Overdose Talks Harm Reduction EDC Las Vegas 2025 appeared first on EDM Maniac.
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Photo Credit: Reservoir President & COO Rell Lafargue, Fool’s Gold Co-Founder A-Trak
Reservoir Media announces a new deal with independent label Fool’s Gold Records, seeing the former acquire the catalog master rights of the latter.
Reservoir Media has announced a multifaceted deal with independent record label Fool’s Gold Records. The deal sees Reservoir acquire the catalog master rights of the label’s artists, A-Trak, Danny Brown, Grande Marshall, The Brothers Macklovitch, and Low Pros. Reservoir will also exclusively market and distribute all other recordings on Fool’s Gold, including future releases, via the Reservoir label platform.
Founded in 2007 by DJs A-Trak (Alain Macklovitch), Nick Catchdubs (Nick Barat), Dave 1 (David Macklovitch), and the late Dust La Rock (Joshua Prince), the Brooklyn-based Fool’s Gold has earned its reputation as an innovative label created by artists for artists.
The label’s early success came from releases by Kid Cudi, Kid Sister, Flosstradamus, and Danny Brown, as well as A-Trak’s own music. In 2010, his duo Duck Sauce released viral hit single “Barbra Streisand, which reached No. 3 in the UK and No. 1 on Billboard’s Dance Club Songs chart, and earning a Grammy nomination for Best Dance Recording.
A-Trak also earned success as a solo artist with his remix of the Yeah Yeah Yeahs’ “Heads Will Roll,” and singles including “Ray Ban Vision,” “Believe,” “DJ’s Gotta Dance More,” and “My Own Way.” The Fool’s Gold catalog also includes releases by Treasure Fingers, Hoodboi, Tommy Trash, Falcons, G-Worthy, Malaa, and Michael Christmas.
The deal, facilitated by Fool’s Gold Chief Financial Officer Jorge Mejias, label manager Nathaniel Heller, and A-Trak’s management team at TMWRK, sees Fool’s Gold join Reservoir’s recorded music division alongside cornerstone independent labels Chrysalis Records, Tommy Boy Music, and the newly acquired New State. Fool’s Gold will be marketed and distributed through Reservoir’s label platform.
As part of the deal, Reservoir will also now distribute A-Trak & Friends, a new sub-label of Fool’s Gold featuring music by A-Trak and several other artists. The first release was “Reaching” by James Juke featuring LION BABE, which was released last month.
“I’ve been thoroughly impressed by Reservoir ever since the first time we all spoke,” said A-Trak. “Everyone at the company has a deep passion for quality music. A big part of what’s helped Fool’s Gold navigate 18 years in the music biz is staying very nimble and malleable. Reservoir was able to craft a creative deal with us that showed real agility—that’s exactly what we were looking for in a new partner.”
“As both founder and artist, A-Trak has built Fool’s Gold into a genre-blurring label that has been at the forefront of hip-hop, house, and everything in between for nearly two decades. We’re proud to welcome A-Trak, Fool’s Gold, and its artists into the Reservoir family as we continue to champion culturally significant independent music,” Reservoir President and Chief Operating Officer Rell Lafargue added. “This multifaceted deal also highlights Reservoir’s ongoing expansion in recorded music and our team’s ability to deliver across the full spectrum of the music business.”
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Photo Credit: Concord Originals + RKO Pictures
Concord Originals acquires RKO, the film studio behind such classic films as ‘King Kong,’ ‘Citizen Kane,’ ‘It’s a Wonderful Life,’ and more.
Concord Originals, the film and TV division of Concord, has announced the acquisition of  RKO Pictures, the film studio behind classics such as King Kong, Citizen Kane, The Best Years of Our Lives, It’s a Wonderful Life, Suspicion, and The Woman in the Window. RKO was acquired from Ted Hartley, who served as Chairman and CEO of RKO for 35 years.
The deal also sees Concord Originals securing the derivative rights to over 5,000 titles, which include the remake, sequel, story, stage, and copyrights (including unproduced screenplays) of the company’s storied film library.
RKO will continue to operate as an imprint under Concord Originals. Sophia Dilley and current RKO President Mary Beth O’Connor have been named Co-Presidents of RKO and will jointly run the company with the support of the Concord Originals team. Dilley will also maintain her current role as head of Concord Originals, and will continue to oversee its current mandate: to develop and produce projects drawing from Concord’s vast library.
“Concord’s commitment to championing legacy is unmatched,” said Ted Hartley. “We are confident that RKO has found its next big step into its future at Concord. They have committed to continuing and enhancing the rich history of the iconic studio. I am proud to build this with them and look forward to what this power team will bring to our industry.”
Hartley will remain as lead producer and Chief Storyteller on a slate of active RKO projects and will function as Chairman Emeritus at RKO. Alongside partners, Hartley is concurrently launching Roseblood Pictures, which focuses on book pick-ups, original programming, and becoming a home for selected writers, storytellers, and independent producers.
“RKO is a treasure trove of filmed storytelling that has had a permanent and profound impact on global popular culture,” said Concord CEO Bob Valentine. “We are honored that Ted Hartley has entrusted us as the next stewards to shepherd the studio and its storied catalog alongside our constantly growing roster of important IP.”
He adds: “As we continue to expand our catalog and content capabilities, RKO makes sense as a strategic step in widening Concord’s foothold in film, television, and theatrical rights, providing our Originals and Theatricals divisions with an extraordinarily deep collection of titles to develop and reimagine.”
Known as one of the last privately held of the original eight big studios, RKO’s iconic tower and globe logo has lit movie and television screens for over 90 years. The studio was owned at various times by Joseph P. Kennedy and billionaire Howard Hughes.
“Concord has embraced RKO and its proud legacy as a symbol of bold, imaginative storytelling,” said RKO Co-President Mary Beth O’Connor. “We are thrilled to be launching anew with Concord’s powerful platform and deep creative vision, anchored by the heart and spirit of our shared goals for RKO’s next chapter. Working alongside Sophia and the extensive Concord teams across divisions, I’m filled with gratitude and excitement to help carry RKO’s singular identity into a vibrant future.”
“Concord Originals takes pride in being a trusted partner for reinventing IP,” said Dilley. “This acquisition marks a thrilling new chapter for both companies. I am looking forward to working with Mary Beth and our teams to unite a prestigious history of storytelling with bold, forward-looking creative ambition. The combined catalogs offer an extraordinary foundation for reimagining beloved classics and launching entirely new franchises across film, TV, and theater. It’s a rare opportunity to honor the past while shaping the future.”
The RKO deal was negotiated by DLA Piper: David Markman, Tom Ara, and Alex Meiseles, for Concord Originals. RKO was represented by Chris O’Brien at Venable.
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Photo Credit: Gary Musick Productions
AEG Presents has acquired Nashville-based special events production company Gary Musick Productions and affiliated entity Destination Musick City.
The partnership will bring together decades of expertise in corporate event production, scenic fabrication, and destination management. Under the new structure, Gary Musick Productions will retain its name and continue to provide its corporate and social event services, including audio-visual production, scenic fabrication, custom set design, live streaming, and branding integration.
Destination Musick City will remain a specialized destination management company focused on providing immersive experiences and full meeting execution services for inbound groups visiting Nashville, and part of a network of destination management companies in major destinations worldwide.
“For 45 years, Gary Musick Productions has built a legacy of excellence, producing more than 10,000 events, concerts, and corporate meetings,” says Gary Musick, Founder & President. “Our commitment to crafting unforgettable productions remains unchanged, and as part of AEG Presents, we now have access to even greater resources, venues, and creative opportunities for our clients.”
The acquisition marks a significant milestone for both companies, allowing Gary Musick Productions to expand its design and fabrication services in music festivals and concert touring while introducing clients to AEG Presents’ extensive network of event venues and entertainment offerings.
“I couldn’t be more thrilled to welcome Gary Musick Productions to the family,” adds Shawn Trell, Executive Vice President and Chief Operating Officer for AEG Presents. “Gary and his team have built an exceptional business in event production and destination management, and their expertise is an ideal complement to our commitment to delivering outstanding live experience worldwide.”
The partnership ensures continued excellence for Gary Musick Productions’ extensive client base, which includes Fortune 500 companies, nationally recognized associations, professional sports teams, cruise lines, and charitable organizations. The team will remain based in Nashville, with Gary Musick continuing to lead the company during its next phase of growth.
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Spotify has once again raised its prices in France and appears to be taking other monetization-minded steps amid slowing subscriber growth in established markets. Photo Credit: Henrique Ferreira
Spotify has once again upped its prices in France, where subscribers are now paying €12.14 (currently $13.88) per month for Individual.
The streaming platform just recently made the increases official, one year and change following a prior price-bump round in the European nation. The May 2024 raises, Spotify spelled out at the time, marked a response to France’s much-debated “streaming tax.”
Higher-ups at Spotify (and different DSPs, a few operating well outside the music world) had been criticizing said tax for some time beforehand. In one conspicuous retaliatory measure, the service closed out 2023 by cutting sponsorship ties with multiple French music festivals.
In other words, especially against the backdrop of slowing subscriber growth in Europe, today’s price adjustments don’t exactly come as a surprise. Besides Individual’s aforementioned cost, Duo now carries a $19.67/€17.20 monthly charge in France, compared to $24.29/€21.24 monthly for Family.
For reference, Paris-headquartered Deezer, the subscriber base of which is heavily concentrated in France, charges $13.71/€11.99 per month in the country for its own solo tier. Deezer Duo has a $18.28/€15.99 monthly price tag, with Family clocking in at $22.86/€19.99 per month.
Spotify isn’t solely turning to price increases to boost revenue and maintain profitability – incidentally, though, pricing changes are reportedly forthcoming for a variety of non-U.S. markets in 2025.
Rumblings have pointed to the possibility of charging for ad-supported listening or integrating ads into Premium, for instance. As things stand, however, the controversial steps haven’t materialized.
Meanwhile, a so-called “outage” earlier in 2025 ultimately proved to be one component of an effort to decommission “cracked” versions of Spotify Premium. And if more recent Reddit posts are any indication, the broader initiative is still ramping up.
As a simple Google search demonstrates, some have worked their way through an elaborate Spotify Premium sign-up process to pay less per month. This refers to utilizing a combination of VPNs and carefully selected payment methods to create paid accounts in emerging markets – before accessing from different countries once subbed, of course.
Per the mentioned posts, the cost-effective loophole could be closing. According to several Spotify users professing to have non-modded accounts, the service is informing them via email that they “can only use Spotify abroad for 14 days.”
The same individuals are also being compelled to update their locations to continue accessing the platform, the posts show.
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It’s been a month since RÜFÜS DU SOL released the first volume of Inhale/Exhale Remixed. Now, the Australian trio is back with Volume 2. This is a sprawling 22-track collection that deepens the project’s emotional and rhythmic reach. The latest volume showcases a renewed focus on rhythm and texture.
Out now via Rose Avenue / Reprise Records, this second volume is both more expansive and more adventurous. It brings together established names like Vintage Culture, Jimi Jules, Adam Ten & Mita Gami, and Mind Against. Alongside some of the most promising talents from across continents. This new volume delivers a remix experience that travels far from the original album’s central blueprint. Yet, it doesn’t lose its soul.
What Inhale/Exhale Remixed Vol. 2 Sounds Like
This second volume pulls the original album into more experimental corners. Inhale/Exhale Remixed Vol. 2 deepens the club connection of the original album, expanding into a spectrum of melodic techno and house-driven reinterpretations. The tone is consistently uplifting, warm, and emotionally resonant, never drifts into pop or commercial territory. This is music designed for sunset stages, beach sets, and late-night dance floors, all grounded in a strong underground identity.
Vintage Culture‘s remix of “Lately” that’s punchy and precise—tailor-made for festival crowds but polished with a tasteful melodic edge. Deer Jade’s “Breathe” channels soft percussive movement and airy synths, giving the original a more expansive, open-air feel. On “Edge of the Earth,” LP Giobbi brings a steady, rolling groove with a touch of deep house sophistication. Her remix fits naturally into sunrise sessions or breezy afternoon sets.
Jimi Jules strips down “Music is Better” to a rhythm-forward framework, layering subtle textures with club-conscious pacing. Tracks like Maga’s “The Life” and Chambord’s “Levitating” keep things fluid—each remix rooted in groove, accented by bright leads and warm builds.
Mind Against & Tharat’s remix of “Pressure” is one of the most expansive tracks on the album—pulling from cinematic techno influences, it delivers hypnotic progression and melodic clarity, perfect for open-air dancefloors. Eagles & Butterflies stretches “New York” into a sweeping, synth-laced journey, while WEVAL’s rework of “Standing at the Gates” leans into hazy atmospherics with a steady rhythmic core.
Even RÜFÜS DU SOL’s own edit of “Music is Better” feels like a distillation for Inhale/Exhale of their current live energy—tight, rhythmic, and emotionally clean. It’s a reminder that the band remains as connected to the dance floor as to songwriting.
Rose Avenue and the Label’s Artist-Driven Curation
Founded by the trio in 2018, Rose Avenue Records was born from a desire to spotlight music that felt emotionally rich, thoughtful, and club-ready. Those sounds that echoed the band’s own ethos. Named after the Venice Beach street where the group once shared a home, the label has grown into a platform that supports both emerging artists and established producers.
Over the years, Rose Avenue has become an imprint for music that values emotive textures, rhythmic subtlety, and deep connection with dance floors. The label’s catalog includes releases from artists like, Colyn, Like Mike, Anyma, Cassian, Kimonos, and Dorian Craft. Some of whom contribute standout remixes on Volume 2.
With each release, Rose Avenue reinforces the idea that music can be both immersive and intentional. It’s not about having drops after drops in any given track —it’s about the journey through which listeners feel more connected. Whether it’s via warm-up set soundscapes, late-night closers, or tightly wound festival weapons, the label’s output reflects a commitment to atmosphere, groove, and storytelling through sound.
With RÜFÜS DU SOL’s Inhale/Exhale Remixed Vol. 2 releasing across all platforms, the trio has truly have crafted a remix album that’s both a celebration of their original work and a step forward.


The post RÜFÜS DU SOL Drops New Album: Inhale/Exhale Remixed Vol. 2 appeared first on EDMNOMAD.
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From humble beginnings as a university project to becoming one of the most respected names in electronic music, Anjunabeats marks its 25th anniversary with its most ambitious physical release to date: the Anjuna25 Anniversary Vinyl Box Set.
Curated by label founders Above & Beyond and James Grant, this meticulously designed collection spans 25 years of cutting-edge electronic music from the Anjuna family of labels—Anjunabeats, Anjunadeep, and Anjunachill.
The box set includes 10 heavyweight vinyl records featuring 84 tracks selected from across the three labels’ extensive catalogues, which have defined the Anjuna sound. From timeless Above & Beyond anthems to breakout releases from the likes of Lane 8, Ben Böhmer, ilan Bluestone, Mat Zo, Yotto, Eli & Fur and more, this collection is a landmark retrospective of Anjuna’s journey, and has been curated with particular attention to tracks rarely pressed on vinyl – all re-mastered for this product.
Each record is housed in its own color-coded, textured sleeve, numbered 01 to 10, with minimalist design and subtle debossing. A custom outer slipcase with a foiled and debossed Anjuna25 logo encases the set.
Also included is a 48-page, perfect-bound booklet, printed on art paper with textured cover stock. The booklet features track notes from artists and the Anjuna HQ team, sharing untold stories, creative inspirations, and memories that shaped the past two and a half decades of Anjuna.
The Anjuna25 Anniversary Vinyl Box Set is a one-time, limited-edition collector’s item. Shipping early November.
Pre-Order here.
Product Highlights
– 10×12″ vinyl records featuring 84 iconic Anjuna tracks
– Tracks span Anjunabeats, Anjunadeep, and Anjunachill catalogues
– One vinyl dedicated to Above & Beyond
– Deluxe custom slipcase box with debossed foil Anjuna25 logo
– 48-page booklet with exclusive track stories and quotes from artists & Anjuna HQ
– Limited edition – available while supplies last
The post Anjunabeats Celebrates 25 Years with Limited Edition 10-Vinyl Box Set appeared first on EDMTunes.
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TikTok changed how people discover music. The app that took short videos and turned unknown tracks into viral hits overnight is taking this further now. This June 3, 2025, they launched a new platform called TikTok for Artists. The new platform is designed for musicians looking to grow their audience and manage their music journey. With powerful tools and insights, TikTok for Artists helps creators turn buzz into long-term success and level up their music careers.
Level Up Music Tools
The TikTok for Artists platform provides powerful insights. A dashboard reveals song performance and how often fans engage. Data includes views, shares, and post reactions. Follower breakdowns show age, gender, and language. Artists and teams now use these tools to refine strategy. Features like Behind the Song and Pinned Videos offer even more creative control.
A Pre-Release tool comes with TikTok for Artists. This lets artists tease songs before they are released. Fans can pre-save songs to Spotify and Apple Music. This will allow excitement to build and boost their streaming numbers. The new tool connects TikTok hype to real-world numbers. The idea is to help artists level up in both reach and professionalism.
However, the move isn’t new for TikTok. Previous features like Sound Pages and trending sound insights gave creators valuable exposure. But this platform takes those ideas and makes them smarter. It’s similar to tools seen in Spotify for Artists or Apple Music for Artists. But here, everything happens in the app where the music often goes viral first.
Grow With TikTok for Artists
TikTok for Artists will allow for artists to boost their visibility. Certified artists get an Artist Tag on their name. Their profile features a Music Tab that organizes all tracks. It will make fan discovery easier and faster. New songs land there automatically, keeping everything current.
The platform also allows pinned videos. These show up at the top of the music pages. Fans see the content artists want to highlight most. Personal storytelling is supported too with the Behind the Song feature, giving artists space to share inspiration. TikTok for Artists provides guides and educational resources that explain how to grow audiences and effectively use the platform’s features. Artists can invite team members to collaborate, ensuring that labels, managers, and marketers all have access to the same tools.
With TikTok for Artists, artists are no longer guessing. They have better data and more control. The platform takes music discovery further. It turns short-term buzz into lasting careers. Whether new or established, artists benefit from these updates.
TikTok for Artists is more than a feature drop. It reflects TikTok’s role in music today. Artists now use the platform as a career tool. From analytics to promotion, everything connects. TikTok for Artists makes that process smoother, smarter, and stronger.

The post Level Up Your Music With TikTok for Artists appeared first on EDMTunes.
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A call has echoed across oceans, traveling through tide and jungle, rhythm and silence, until it reached a stretch of sacred coastline in northeastern Brasil—where ritual drifts on the current and time melts into the sea. It is here, on the enchanted shores of São Miguel dos Milagres, Brasil, that Damian Lazarus will bring Day Zero to inscribe its next chapter on January 3rd. Infused with the brand’s storied blend of immersive experience and spiritual energy, Day Zero Milagres will honor the profound connection between ancient ritual, natural beauty, and local culture—set against one of the planet’s most vibrant landscapes. 
Every edition of Day Zero is crafted as a living homage to the region’s heritage: whether through the sacred Mayan symbolism of Tulum or the desert mysticism of Masada. For its Brasilian chapter, São Miguel dos Milagres emerges as a synergetic vessel. Nestled along Alagoas’ picturesque coastline, where crystalline tidal pools meet lush jungle, the region pulses with Indigenous heritage and hypnotic rhythm. Here, emerald canopies part to reveal turquoise waters, and every grain of sand feels steeped in ancestral memory. In this sacred setting, Day Zero will weave together the natural majesty of Brasil’s northeast with its own signature ceremony—creating a communal rite that honors the land, its people, and the enduring spirit that binds them.
In Damian Lazarus’ own words on Day Zero’s expansion to Brasil :
Day Zero has long maintained a commitment to showcasing local talent, first started with its El Teatro stage in Tulum, an all Mexican artist stage. Day Zero Brasil will be no exception, becoming a crossroads between global underground currents and the raw, rhythmic heartbeat of Brasil. 
Register for Day Zero Brasil here. 
Stay tuned for more news!
The post Day Zero Announces Brasil Expansion : The Coast of Miracles appeared first on EDMTunes.
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Red Bull is linking up with HiTech for a high-flying B2B showcase in Detroit.
Red Bull B2B, a unique one-night-only event that brings together four DJs for four consecutive relay-style back-to-backs, will make its U.S. debut in the Motor City on July 11, taking over Detroit’s historic Majestic Theater for a booty-shaking blowout curated by the celebrated Detroit Ghettotech crew.
Known for an invigorating blend of Ghettotech, house, hip-hop, and Miami Bass that has been hailed as “the new sound of Detroit,” the hometown trio will be joined on the decks by three influential underground DJs: legendary Atlanta hip-hop spinner DJ Swamp Izzo, Parisian rave style-weaver CRYSTALLMESS, and Motown-born multi-hyphenate Sheefy McFly.
HiTech will open the night playing with Swamp Izzo before the lineup snakes through further B2B pairings, including Swamp Izzo B2B CRYSTALLMESS, CRYSTALLMESS B2B Sheefy McFly, and a closing set from Sheefy McFly B2B HiTech.
In the days before the main event kicks off, Red Bull will also be hosting a series of B2B nights at Paramita Sound, a panel with OGs of the Detroit underground music scene, and a workshop with the city’s Underground Music Academy, all of which aim to “celebrate the birthplace of techno and its founders,” according to a press release.
For more information or to purchase tickets, visit redbull.com/b2b.

Featured image courtesy: Red Bull.
The post Ghettotech Icons HiTech Curate Red Bull B2B Showcase In Detroit appeared first on EDM Maniac.
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Travis Kelce is setting his sights on the DJ booth — and he’s already dreaming about who he’d open for.
On the June 4 episode of New Heights, the Kansas City Chiefs star chatted with this week’s guest, Shaquille O’Neal, about his interest in DJing. The conversation kicked off after Travis and his brother/cohost, retired NFL center Jason Kelce, welcomed the basketball legend and praised Shaq’s skills behind the decks. He of course, is known in our world as DJ DIESEL.
“Teach me your ways,” Travis told the NBA Hall of Famer, referring to Shaq’s DJ alter ego, DJ Diesel. Shaq replied:
Travis lit up at the idea. “Come on, you know I’m a hype man,” he said, laughing. “Get it rocking in there. Have the Swifties bouncing off the walls before T gets out there.”
While Taylor Swift’s Eras Tour wrapped in December, Travis has already gotten a taste of life on stage. He made a surprise appearance during one of Swift’s sold-out Wembley Stadium shows last year — and he’s long been her No. 1 cheerleader offstage, too. From hyping her chart-topping Tortured Poets Department to applauding her stamina on tour, he’s fully embraced the role of Swift’s ultimate hype man.
Later in the episode, the couple’s synergy came up again when Shaq played Swift’s “I Knew You Were Trouble” from his phone, prompting Travis to shout, “Shout-out to Tay Tay!”
He then grinned and added, “Just got that song back, too. Just bought all her music back. So it’s finally hers.”
Watch the full episode of New Heights below to see Travis and Shaq’s full conversation.
The post Travis Kelce wants to open for Taylor Swift as a DJ appeared first on EDMTunes.
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GRiZ returns with his highly anticipated new single ‘Chaos Theory‘, a first-ever collaboration with bass music powerhouse Wooli. The track arrives as GRiZ continues building momentum after the release of March’s Gemini EP and two major upcoming live plays: his sold-out Seven Stars Festival this October in Virginia, and his just-announced “Re:Connect” arena shows in Chicago, IL and Daly City, CA.
Originally teased in Wooli’s live sets, ‘Chaos Theory’ features a custom vocal from acclaimed voice actor Boris Hiestand, known for his roles in Overwatch, Assassin’s Creed, and more. Rather than sample, GRiZ and Wooli commissioned Hiestand to record an original vocal specifically for this release—a move that reflects their shared vision for immersive, cinematic storytelling through sound.
Blending GRiZ’s signature melodic funk and Wooli’s seismic bass sound design, ‘Chaos Theory’ is a high-impact, emotionally charged single that bridges fanbases and pushes boundaries. GRiZ of course, features his signature saxophone throughout. This track is truly a dream for bass heads.
WOOLI TOUR DATES:
July 27th – Shambhala Music Festival August 9th – Elements Music Festival August 16th – Headlining Bass Canyon Aug 28th – Mammoth Mirage @ The Brooklyn Mirage (Curated Headline) Aug 30th – Chandler, AZ @ Rawhide Event Center (Curated Headline) October 10th – Seven Stars Festival The post GRiZ Continues Return With Cinematic Collab With Wooli ‘Chaos Theory’ appeared first on EDMTunes.
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Ableton Live 12.2 now has an official launch date following its public beta testing phase, which began back in March this year.
Now, with a confirmed release date set for this June, Ableton Live 12.2 is due to bring increased creative capabilities and introduce new devices and workflows, completely free for all Live 12 users.
READ MORE: Best MIDI controllers to buy in 2025: 12 best Ableton Live controllers to buy What are the new features of Ableton Live 12.2?
Ableton Live 12.2 brings new key features like the introduction of Bounce to New Track, plus improvements to the search and browsing experience. It also brings the launch of Expressive Chords and the new Auto Filter. There are also major new features for Push.
Expressive Chords is a new MPE-enabled Max for Live device, for all editions of Live and Push. It lets you play interesting progressions intuitively, one key or pad at a time.
With the update you’ll also be able to bounce clips or time selections on any MIDI or audio track, including all processing, to a new audio track with a few clicks. Similarly, you can also use Bounce Track in Place to convert the whole track to audio.
Auto Filter – which now comes to Move for the first time – has also been redesigned with new filter types, real-time visualisation, and a revamped modulation section.
To view the full list of new changes, you can view the beta release notes. Check out the videos below for more:



When will Ableton Live 12.2 be released?
Ableton Live 12.2 will officially launch on 11 June. This update is free and automatic if you own a Live 12 licence, but if you have Automatic Updates turned off, you’ll need to download 12.2 in your user account on release day.
Am I eligible for the Ableton Live 12.2 update?
If you own a Live 12 licence you are automatically eligible to receive the Ableton Live 12.2 update for free. Ableton Live licences can be purchased online directly from Ableton Live Shop, with three tiers available – you can pay in full or in three instalments for these. System requirements are also listed on the shop website.
For more information, you can head over to the Ableton website to read its new blog post on the update.
The post Ableton Live 12.2 is coming out of beta – Here’s all you need to know, from launch date to new features appeared first on MusicTech.
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Arizona’s Relentless Beats has rolled out the lineup for this year’s edition of Goldrush.
The leading Southwest promoter’s long-running old-west-meets-EDM festival will make an anticipated return to its original home at Rawhide Western Town in Chandler, Arizona, on September 12-13.
Back at the western town attraction, replete with old-timey infrastructure like a saloon and general store, for the first time since 2021, Goldrush’s “Return to the West” will feature a headline B2B from ILLENIUM & Zeds Dead, alongside solo performances from fellow bass heavyweights Excision and Crankdat, dancehall beats by Major Lazor, and genre-melding producer Disco Lines.
Further down the lineup, booming bass will come from INFEKT, Space Laces, Eliminate, Kompany, and Getter—back on the road playing “Resurrection” sets after a two-year performance hiatus—while elusive sets from underground selectors like Kyle Watson, ChaseWest, Roddy Lima, and Slamm B2B Dan Molinari, and staples like Wax Motif, LF SYSTEM, Destructo, and HI-LO are sure to be a house head’s delight.
Other highlights include experimental bass favorites like Drinkurwater and Steller, new-school trap standout Nikita, the Wicked, drum & bass legend Wilkinson, and hard dance frontrunners Showtek and Sub Zero Project. Fans can also catch a performance from viral laser-bender ARIUS. Check out the full lineup below.
New for this year, Relentless Beats will host a pre-show pool party at Gila River Resorts & Casinos, located just a few minutes’ drive from Rawhide. Pool party lineups will be announced at a later date. They’ll also keep the party going into the early morning with nightly afterparties on site at Rawhide, running from 1:30AM to 5AM.
Tickets for Goldrush 2025 go on sale tomorrow, Friday, June 6, at 10AM PT. For more information or to purchase tickets, visit goldrushfestaz.com.

Featured image courtesy: Relentless Beats.
The post Relentless Beats Drops 2025 Lineup For Goldrush: Return To The West appeared first on EDM Maniac.
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Ravebot
Arizona’s Relentless Beats has rolled out the lineup for this year’s edition of Goldrush.
The leading Southwest promoter’s long-running old-west-meets-EDM festival will make an anticipated return to its original home at Rawhide Western Town in Chandler, Arizona, on September 12-13.
Back at the western town attraction, replete with old-timey infrastructure like a saloon and general store, for the first time since 2021, Goldrush’s “Return to the West” will feature a headline B2B from ILLENIUM & Zeds Dead, alongside solo performances from fellow bass heavyweights Excision and Crankdat, dancehall beats by Major Lazor, and genre-melding producer Disco Lines.
Further down the lineup, booming bass will come from INFEKT, Space Laces, Eliminate, Kompany, and Getter—back on the road playing “Resurrection” sets after a two-year performance hiatus—while elusive sets from underground selectors like Kyle Watson, ChaseWest, Roddy Lima, and Slamm B2B Dan Molinari, and staples like Wax Motif, LF SYSTEM, Destructo, and HI-LO are sure to be a house head’s delight.
Other highlights include experimental bass favorites like Drinkurwater and Steller, new-school trap standout Nikita, the Wicked, drum & bass legend Wilkinson, and hard dance frontrunners Showtek and Sub Zero Project. Fans can also catch a performance from viral laser-bender ARIUS. Check out the full lineup below.
New for this year, Relentless Beats will host a pre-show pool party at Gila River Resorts & Casinos, located just a few minutes’ drive from Rawhide. Pool party lineups will be announced at a later date. They’ll also keep the party going into the early morning with nightly afterparties on site at Rawhide, running from 1:30AM to 5AM.
Tickets for Goldrush 2025 go on sale tomorrow, Friday, June 6, at 10AM PT. For more information or to purchase tickets, visit goldrushfestaz.com.

Featured image courtesy: Relentless Beats.
The post Relentless Beats Drops 2025 Lineup For Goldrush: Return To The West appeared first on EDM Maniac.
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Armada Music’s brand-new documentary The Comeback of Hard House premieres today, offering a kinetic, beat-driven look at the genre’s unlikely and triumphant return. Once a fixture of 90s European raves, hard house is back—with more swagger, higher BPMs, and a fresh generation of ravers making it their own.
Today’s release isn’t a retrospective—it’s a pulse-check. The genre’s heart is beating louder than ever, and this film captures its return in full strobe-lit detail.
A Sound Born From Movement, Not Intention
Through Armada Music’s new film, Hard house was never designed with longevity in mind. As the documentary makes clear, the producers behind its defining records didn’t set out to create a genre. They were just making tracks that felt good, sounded huge, and hit hard. With tools like the Akai MPC3000 and messy samplers, they crafted a style that fused organ stabs, sirens, rapid snare rolls, and what became known as the “donk” or bamboo bass—never polished, but always physical.
At the time, the Dutch club scene was already experimenting with jackin’ rhythms and Chicago influences. But hard house brought something else to the table—something faster, cheekier, and more aggressive. That raw, punchy energy became the calling card of labels like Midtown Records, and the productions of artists like Club Caviar and Klubbheads quickly evolved from niche party weapons to full-blown dance anthems.
Years later, the old records are finding new homes in DJ sets around the world. And the most surprising part? They still work. Sometimes it’s even the original versions—not remixes or re-edits—being played in front of tens of thousands.
From Post-COVID Pressure to High-BPM Release
What makes this comeback feel so timely is its emotional root. After the pandemic, people didn’t want to sink back into subtlety. They wanted to dance, to let loose, to move without thinking. The Comeback of Hard House highlights this as a turning point: the moment when crowds began gravitating back to fast, loud, ecstatic sounds.
The rise in tempo after 2020 was no coincidence. DJs noticed the shift. Tracks that would’ve felt over-the-top in 2018 suddenly made perfect sense. As underground raves turned into legal blowouts, the need for something fun and functional created the perfect climate for a hard house revival. And it wasn’t just about tempo—it was about spirit. These were tunes made for grinning, sweating, throwing your hands up. The kind of music that doesn’t take itself seriously, but still lands with impact. Tracks that say: we’ve been through enough. Let’s rave properly.
The New Generation Doesn’t Care About Labels
A major strength of the documentary is how it balances history with future-facing energy. Maruwa and Benwal aren’t trying to resurrect a museum piece. Their productions are wild, acidic, and alive. They understand the hard house blueprint but twist it into something fresh—without losing the cheeky soul that made it special.
The film emphasizes that many of today’s producers didn’t grow up with these tracks. For some, it’s a discovery through sampling, old YouTube rips, or digging through record stores. For others, it’s secondhand nostalgia—memories of music played by older siblings, parents, or long-forgotten radio shows. But what unites the movement now is intent. No one’s trying to be ironic. This isn’t a tongue-in-cheek revival. These artists are playing hard house because it makes people move. Because it brings joy. Because it works. And that’s what makes it feel real again.
Global Dancefloors Are Reacting Loudly—and Visibly
The comeback isn’t subtle. It’s massive. It’s visible on global stages. Clips of Peggy Gou at Lowlands, KI/KI at Awakenings, and Kettama at Boiler Room Festival drive this point home. These aren’t late-night side rooms or genre-specific stages. These are peak-time, full-crowd reactions—20,000 people losing it to sounds once written off as “too much.”
In that way, The Comeback of Hard House is as much about rave culture as it is about genre. Hard house always belonged to the dancefloor. Now, with social media showing these moments in real-time, the music’s emotional effect is magnified. The goosebumps. The hands-in-the-air reactions. The full-volume screams when the donk drops.
Armada’s documentary doesn’t try to make hard house sound more refined. It doesn’t rewrite the past. It just lets the artists—old and new—tell the story as it happened: a style made by instinct, forgotten by the mainstream, and now back by pure popular demand.
Stream The Comeback of Hard House now on Armada Music TV via YouTube.
The post Hard House Is Back—And Armada’s New Documentary Will Make You Dance Again appeared first on EDMNOMAD.
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Chicago Music Nexus is returning this fall with an expanded vision for empowering electronic music professionals in the Midwest.
The second edition of the summit will take place November 22nd, 2025 at The Joinery in the Windy City Bucktown neighborhood, once again uniting industry leaders, artists, creators and entrepreneurs for a full day of thoughtfully curated programming.
Co-founded by Sherm and Olivia Mancuso, last year's sold out-out inaugural Chicago Music Nexus proved there’s demand for a space dedicated to networking and education in the birthplace of house music.
c/o Press
This year's programming raises the bar with panels such as "Going Global: Your DJ Career Blueprint," offering insights for aspiring touring DJs; "Social Media Secrets for Creators," focused on actionable strategies for creators to grow meaningful fanbases; and "Adapt or Die: The New Economics of Dance Music," a candid discussion of today’s financial realities in the music industry.
The lineup of speakers features Daisy Santow of Wasserman, house music producer and record label founder Ky William, and John Curley, co-founder of ARC Music Festival, among others. New additions to the conference's programming include a 60-second PR pitch makeover led by PGM PR founder Petey Mac and a professional headshot station courtesy of Crystal Lotus Studios.
You can find out more about Chicago Music Nexus here. 
c/o PGM PR
Ravebot
DJ Snake has unveiled his most personal work to date—a music video for “Patience,” a tribute to migration, legacy, and cultural memory. Reimagining Amadou & Mariam’s 2008 classic “Sabali,” the video is a cinematic exploration of displacement and perseverance, brought to life with help from actor Omar Sy and the original Malian duo themselves.
Released June 5, 2025, “Patience” is more than a remix—it’s a cultural homage and emotional portrait grounded in West African storytelling and rooted in DJ Snake’s own Algerian-French identity.
Sabali, Patience, and the Power of Storytelling
Filmed in Dakar, Senegal, the video delivers more than just compelling visuals. Directed by Valentin Guiod, it follows the inner and outer journey of a young migrant, revealing the deeply human side of departure and displacement. DJ Snake says the project took over a year to realize, noting: “It took us almost a year and a half to get here today, in the suburbs of Dakar. What’s funny is that ‘Sabali’ means patience.”
The word “Sabali” in Bambara (a language spoken in Mali) translates not only to “patience” but also “immortality”—an echo that now resonates louder following the recent passing of Amadou. Their involvement in the project feels like a final gift, as both Amadou and Mariam appear onscreen in a moment that bridges generations and continents.
Omar Sy, Tirailleurs, and the West African Thread
When DJ Snake approached Omar Sy, known for his roles in Lupin and The Intouchables, the connection was immediate. “He told me about the theme… and that he wanted to do it in Africa, in Senegal. Obviously, that resonated with me,” Sy said.
The actor, whose own parents are of West African descent, not only joined the project but also helped shape its creative direction. His cameo was inspired by his performance in Tirailleurs, a historical film about Senegalese soldiers. The visual narrative of “Patience” nods to that same history—bringing cinematic weight to contemporary issues of migration.
The cast includes standout performances by Massane Diong, Anna Thiandaoum, Amadou Mbow, and Ibrahima Mbaye, adding depth and authenticity to the story. Their portrayals are as raw as they are restrained—matching the melancholic but hopeful tone of DJ Snake’s production.
A Global Triumph on the Film Festival Circuit
The “Patience” music video has already earned critical acclaim across major international festivals. It was awarded Best Music Video and Best Cinematography at the Aesthetica Short Film Festival, qualified for BAFTA consideration, and was officially selected at the Bogoshorts, Indy Shorts, and Festival Côté Court—making it a contender for Oscars, Césars, and Goya awards.
It also swept the Berlin Music Video Awards, the 1.4 One Point Four Awards, and the Kinsale Shark Awards, taking home multiple Grand Prix titles for direction, cinematography, and best electronic music video. These accolades signal that “Patience” isn’t just artistically rich—it’s historically important in the current era of cross-genre, cross-border creativity.
From Sound to Solidarity: The Partnership with SOS MEDITERRANEE
What makes “Patience” even more profound is its partnership with SOS MEDITERRANEE, an NGO dedicated to saving lives in the Central Mediterranean. Founded in 2015, the organization responds to the humanitarian crisis facing migrants and refugees making perilous sea journeys in search of safety.
This alignment underscores DJ Snake’s intent to turn art into advocacy. By pairing the release with real-world action, “Patience” becomes more than an audiovisual experience—it’s a call for empathy and awareness.
As DJ Snake steps into this next phase of his artistry, “Patience” offers a glimpse of a more introspective, globally conscious path forward. It’s a reminder that even in an industry obsessed with tempo, rhythm, and virality, some of the loudest messages come from moments of stillness. Stream it here.
The post DJ Snake: New Music Video “Patience” Honors Migration, West Africa, and the Late Amadou appeared first on EDMNOMAD.
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Hey MARQUS! Glad to have you here to talk with you about your latest release ‘SOUND OF THE BASS’. Thank you for having me, it’s always a pleasure to share a bit more about the music and the process behind it! Can you tell us the idea behind it and how the song brought life? The idea behind SOUND OF THE BASS was to create a powerful underground track that could hit hard in both clubs and on festival stages, something raw, energetic, and built around a strong bassline. The track first came to life when NOTID sent me an initial idea. I loved the vibe right away and took it further, building on the foundation he created. From there, I shaped the arrangement, added new elements, and finalized the mix and mastering to give it the punch we were aiming for. It was a really organic and exciting process. What is different to ‘SOUND OF THE BASS’ apart from your previous work, and why should listeners tune in? Compared to my earlier releases, SOUND OF THE BASS leans even more into the midtone-driven bass and has a darker, more underground feel. It’s high-energy but still very clean and dynamic. I think listeners will enjoy how it balances raw power with a polished sound, it’s made to move both festival stages and intimate club floors. Can you tell us a funny story that happened when you worked on the song with NOTID? During the process, we had a moment where the project crashed and we lost a few hours of work. Instead of stressing about it, we just laughed and took it as a lesson in non-attachment. It reminded us that sometimes letting go leads to even better results, and after restarting, the new version of the track actually turned out stronger. Do you have a favourite sport or hobby to practice while you’re not producing music? When I’m not producing music, I enjoy spending time with my girlfriend and also practicing Shaolin relaxation and breathing techniques. It helps me stay focused, balanced, and clear-minded, which is really important when working creatively for long hours. What’s your favourite song of 2025 so far till now? One track that really stuck with me this year is “CULTURE” by MORTEN and ARTBAT. It has that powerful, driving sound but still feels emotional and immersive, a great balance that I really respect. What’s your piece of advice you can give to other music producers who are at the beginning of the road in music production? One technical tip I always share is to mix the mono and stereo signals separately. It really helps to create a cohesive sound that translates well across different speaker systems. Getting the mono foundation right ensures that the track still hits even on smaller setups, while the stereo image can then add width and depth without getting messy. What’s your next collaboration, if you can tell us more about it. My next release is a collaboration with SNAJDER, and it’s a true progressive house track, very melodic and powerful. If you’re into the classic sounds of Martin Garrix and DubVision, you’re definitely going to feel this one. We really focused on big emotions and high-energy drops. This is all for now. Thank you for your time answering our questions. Where can our community find out more about your music and your future releases? You can find all my music and updates on Spotify and Instagram. Also, my mix series ”THE VAULT” is available on 1001Tracklists and SoundCloud if you want to hear more of the sound I’m building. Thanks again for having me! Stream Link  – https://open.spotify.com/track/2AnEYHGbSmSlawzgRqtV9b?si=jR3S6VFBS4i0e0ZdTe3AZA
Spotify: https://open.spotify.com/artist/28gYOX8tw3wSJB4WYjnxmv?si=IceMgxMuTqC6bEzvEMktjA
Instagram: https://www.instagram.com/marqusofficial?igsh=cjgxNGJtYTd3aG1j&utm_source=qr
SoundCloud: https://on.soundcloud.com/H2b1NkUBdNxvOmxHDl
1001Ttracklists: https://www.1001tracklists.com/dj/marqus-dk/index.html
The post MARQUS Talks More About ‘SOUND OF THE BASS’ Collaboration with NOTID appeared first on EDMNOMAD.
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The beats that once filled the corridors of ICON Collective may have fallen silent, but they will pulse anew for one night after alums of the shuttered electronic music production school organized a tribute event in downtown Los Angeles.
Scheduled for June 5th at 1720 Warehouse, "ICON Forever" will transform grief into groove as the community gathers to pay homage to two decades of ICON. The beloved school, which counts NGHTMRE, SLANDER and many more EDM superstars as alumni, permanently closed in late-May after filing for Chapter 11 bankruptcy protection.
"RIP Icon Collective," dubstep star Kompany said at the time. "That school changed the course of my life and career. Forever grateful."
"ICON Forever" will feature performances from a slew of instructors and artists who learned their craft at the LA-based school, including Gigantor, Petey Clicks and a b3b set from Warden, Vito and Whyel. Special alumni guests will also take the decks.
You can purchase tickets to "ICON Forever" here.
Ravebot
Michael Smith, the individual accused of masterminding a $10 million+ streaming fraud scheme, has tapped a high-powered Diddy law firm for representation. Photo Credit: Kier in Sight Archives
Still plodding through discovery, the federal fraud case against Michael Smith is now set for an early August status conference. Meanwhile, the alleged royalties scammer has tapped newly minted Diddy law firm Harris Trzaskoma LLP for representation.
Technically, two of that firm’s attorneys, Justine Harris and Anna Estevao, started repping Smith shortly after his indictment last year. But in early May 2025, Harris and Estevao notified the court that they’d officially signed on with Harris Trzaskoma.
About one week later, the self-described “Manhattan-based litigation boutique” put out a press release celebrating its formal launch. Counting as partners Harris, Estevao, Theresa Trzaskoma, and Allegra Noonan, the firm is said to rep “clients in a wide range of high-profile commercial and white collar matters.”
One of those clients happens to be Diddy, Harris Trzaskoma underscored in a May 15th release. “Partner Anna Estevao is among the nationally celebrated criminal defense lawyers Sean Combs tapped to defend him in his high-profile federal criminal case in the Southern District of New York,” the firm emphasized.
Despite this noteworthy link between two of the industry’s biggest criminal cases, the connection has received negligible coverage thus far. Also flying under the music-media radar is the precise status of the fraud claims against Smith.
As initially mentioned, continued discovery delays mean we’ll have to wait a bit longer for the case to kick into high gear.
Previously, a status conference was expected to take place on June 5th. But earlier this week, with the government joining in the request, Smith attorneys sought an adjournment. Judge John G. Koeltl then rescheduled for August 5th.
“As the Court knows, discovery in this matter has been voluminous,” Smith’s counsel wrote when seeking the conference delay. “Over 5.5 million files have been produced to date, and the Government anticipates producing any remaining discovery within the next month. The adjournment is needed because Mr. Smith needs additional time to review this discovery, as well as make decisions about potential motion practice.”
Upon requesting a 60-day adjournment of the same status conference – scheduled at the time for March – Smith’s legal team pointed to 2.84 terabytes’ worth of government productions. In other words, there are quite a few moving parts in play.
That won’t exactly come as a surprise to those who have been following the case and are familiar with the streaming space’s complexities.
Facing possible decades behind bars, Smith is accused of pumping out hundreds of thousands of AI tracks (with the help of co-conspirators – more on this later), creating thousands of streaming accounts, and then directing a multitude of bot plays to the appropriate works.
Pressing questions remain about which platform(s) paid out the over $10 million in allegedly fraudulent royalties – and how the scheme managed to fly under the radar for years. Additionally, who’s to say similar stateside royalty scams aren’t in full swing right now?
As things stand, the music world is heavy on intrigue and light on answers. But stay tuned – DMN has teed up a series of updates exploring heretofore uncharted angles of the case and streaming fraud itself.
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Ravebot
After years of energizing dancefloors with a steady stream of flips and edits, Tape B is pressing pause on his long-running "Driptapes" mix series to make room for something new: his debut album.
The sixth installment of "Driptapes," released earlier this week, may be the last for a while, according to the EDM.com Class of 2025 artist. Built from recent crowd favorites and a few selections pulled from "CarTunes Vol. 4," the new mix gives fans a final batch of edits before Tape B pivots toward solely original material. But the bigger news lies in what comes next.
In a candid Instagram post, the Turkish DJ and producer revealed he's writing his debut album and shelving his "Driptape" series indefinitely.
"As for now this will probably be my last Driptapes for quite a bit or until I find some new inspiration, I feel like I’ve remixed most of the songs I’ve wanted to and want to take a break from all that so I can focus on writing an album," Tape B wrote. "For the first time I feel like I actually have a very clear vision for my project and I really want to spend my time focusing on creating originals."
Though he mentioned the possibility of a "VIP tape" in the near future, the primary focus now is making something fully his own. Beloved for his balance of old-school dubstep sensibilities and modern bass music, Tape B's move toward an album marks a turning point many fans have long anticipated.
You can listen to "Driptapes Vol: 6" here.
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Follow Tape B:
X: x.com/tapebbeats
Instagram: instagram.com/tapebbeats
TikTok: tiktok.com/@tapebbeats
Facebook: facebook.com/tapebbeats
Spotify: tinyurl.com/mwvmuh8v
Ravebot
OSMIUM stretches the concept of a band to its furthest limits. They fit the traditional description of a small group of artists creating music together under one name — but nothing else about this collaboration is at all conventional.
Three of the four members — the lauded experimental musicians Hildur Guðnadóttir, Sam Slater, and James Ginzburg — built their own instruments for the ambient project. Slater crafted a self-oscillating drum with a feedback system developed with the Berlin-based instrument manufacturer, KOMA Elektronik. Ginzburg designed an apparatus that expands upon an ancient stringed instrument called the monochord. Guðnadóttir uses the Halldorophone, which combines her primary instrument of cello with an attachment that catalyses feedback from the strings and outputs it into a new sound.
READ MORE: Moby at Cercle Odyssey: The closest I ever came to floating through space The band’s vocalist, Rully Shabara, is being studied by an Indonesian university because he can make sounds with his voice that humans aren’t supposed to be able to make.
Last, but not at all least, there is a fifth member of the band: a set of robotic beaters playing the custom instruments through automation.
“You’ve got a mechanically sequenced band. If we step away from our instruments, they’re just going to sit there and play,” Slater says. “A conversation that we’ve kind of jokingly had is that it’s better to be friends with the robots.”
Through their individually impressive careers, the members of OSMIUM have certainly befriended technology. Ginzburg is a member of the multiplatform art project Emptyset and the boss of the electronic label Subtext Recordings. Slater and Guðnadóttir, as husband and wife, have created experimental synthetic music for various projects, including video games such as Battlefield 2042 and television programs such as Chernobyl.
OSMIUM is the next phase of their experimental journey, and the latest instance of being surprised by music.
“You could actually make a project entirely based on a ‘What if’?’” Slater says.
“It’s always really exciting when you stumble upon a new process, or even a new set of sonic relationships that create something unexpected,” Ginzburg adds. “Obviously, as time goes on, it becomes more challenging to be surprised by music and sound. But that doesn’t stop us from having that spirit of exploration. Creating situations where unexpected things can happen is the primary interest in approaching projects like this.”
That situation is built around OSMIUM’s robotic counterpart. Slater and Guðnadóttir had experimented with automated mechanical beaters in previous works. For OSMIUM, they refined the process with the other members, using the patterns to create the traditional idea of a piece of music. The way the beaters engage with the instruments is consistent for every performance because Ginzburg, Slater, and the other members program the sequences in advance.
As this robotic framework performs the pieces, all of the instrumentalists engage with their instruments individually to expand upon the piece. They create a conversation within their own mechanical sequences and with each other, almost like a jam. Then, Shabara contributes his intriguing and almost inhuman vocal tones.
“You can play counter rhythms or you can not play at all. Each one of those ways of agitating the strings creates a different outcome as it interacts,” Ginzburg says. His reimagined monochord is a stringed instrument, and so he has the option to play with bows or his beaters. “I can bow while it hammers. If I hit something, and then the hammer hits it, that mutes what I just hit. So you get very, very strange interactions happening.”
“Honestly, there are points where I can’t really add anything,” Slater continues. “As musicians, we come along and join in. We try and affect what’s going on. We alter the dialogue, we add counter rhythms. We might play along the same rhythm as the machine and enjoy the fact that humans are just shitter than the mechanized thing.”
The result of this amalgamation of musical conversations is a mass of clanging, scratching, rhythmic noises and enduring ominous tones. When listening to a recording, it’s unclear at any point which member is making any particular sound. Each instrument is generating its own sonics while also creating feedback at various frequencies. According to Slater, audience members have come close to vomiting during OSMIUM performances because of resonant feedback at low frequencies around 30 Hz.
“In this whole project, there are two quite strong variables. One is the ability to deal with chaos. We have live feedback from instrument to instrument going on, and the only thing that is guaranteed is the hammers are going to come down at the same time,” Slater says. “You have a really rigid structure on one side, and you have chaos on the other side. You have to be quite a specific kind of musician to enjoy that process.”
When it was time to record their debut, self-titled album, they used the same specific process. Slater, Ginzburg, and Guðnadóttir visited a studio called Bunello in Berlin and set up their instruments to track live, capturing the musical conversations in the moment. Each instrument has its own direct input, and they also populated the space with room mics to balance the individual sounds with the combined sounds.
They set aside three days for recording, but, unfortunately, Guðnadóttir’s Haldorophone “blew up” on the first day. With the time it took to get hold of a new one, they ended up only having one full day for instrumental tracking.
Shabara was in Indonesia during this session, so Ginzburg recorded him at a later date in his home studio. Ginzburg used multiple mics, distortion chains, and “exotic” compression in processing. To maintain the conversational dynamic of the group, Ginzburg set up multiple reverb returns that he would adjust while Shabara was vocalising. Essentially, he was performing the mix in response to Shabara’s foreboding noises.
“It was very intense because when he gets into it, he goes somewhere else,” Ginzburg says of Shabara. “I followed him, and then you sort of snap out of it and you’re like, ‘Oh, I guess we should go eat some noodles or something.’”
To finish off the recordings, they edited down the raw takes into listenable sections and implemented automation to let different sounds move through the background and foreground. For the final, granular mixing process, they approached it similarly to how Ginzburg recorded Shabara: adjusting parallel processing in the moment to perform the mix.
“Everything can have some kind of organic interactions imprinted on them ex post facto,” Ginzburg says.
“Organic” is an interesting word given the highly mechanical nature of OSMIUM. But these four experimentalists prove that no matter how advanced or idiosyncratic technology becomes, humans can harness it into something new and exciting.
The post “It’s better to be friends with the robots,” OSMIUM on jamming with robots for their debut album appeared first on MusicTech.
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Melodic Techno fans are screaming internally worldwide as the major label Afterlife whispers at the reappearance of the immaculate “Falling Man”. After an incredible residency at the Sphere in Vegas, Co-founder Anyma, may be returning to the decks alongside counterpart MRAK. Together as Tale of Us, they broke boundaries within the EDM scene in terms of audio-visual showcases, setting the bar sky-high for other artists and collaborators. Thus, the “Falling Man” has become a beacon of transcendence and a leading symbol of a generation of artists and musicians. While we don’t expect a reunion of the duo at this point, it’s encouraging to see that there is a nostalgic look back at the golden age of melodic techno.
Afterlife Festival
With an outstanding lineup split between two stages from June 13th to June 14th, Afterlife is taking over the Circuit de Barcelona in Catalunya. Although Anyma and MRAK will not be playing as Tale of Us, each one of them have curated their own selection of tastemakers and hard-hitters.
Anyma’s lineup on friday include Mind Against, Kevin de Vries, Recondite (Live), Kasia, Pacs, Rebuke, Woo York (Live), Baset, Stylo, and Laherte. On the other hand, MRAK selected Camelphat, Gordo, Layla Benitez, 19:26, Omnya, 8Kays, Alfa Romero, Asal, Oostil, and Earthlife.
The “Falling Man”
More than just a logo, the “Falling Man” became the face of the brand on the early stages of Afterlife. The symbol represents transcendence and the connection between the physical and spiritual world. Surrendering your physical self into the infinite is a recurring topic in the Afterlife catalog, with tracks that provide an elevated experience. Together with its visuals, the brand has evolved into a superpower within the Melodic House and Techno scene, opening the door for future generations of artists within the realm.
This time around, it seems like the “Falling Man” will take up his physical form this time, and add a 3D element to the already spectacular audiovisual experience.
The post Afterlife Teases Nostalgic Return of an Icon at Barcelona Festival appeared first on EDMTunes.
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Timescape is a bold new UK woodland weekender that will run from July 18th to 20th at Abbots Ripton Estate, Cambridgeshire. Centered around Trance, House, and affordability, this new addition to the UK’s summer festival circuit takes over the former Secret Garden Party site. It offers a diverse electronic lineup that blends iconic names with rising talent, creating a fresh, accessible experience for clubbers.

Founded by a collective of seasoned industry professionals and presented in collaboration with leading international brand Unkonscious and Peach Club, Timescape promises a high-quality festival experience rooted in connection, nature, and community. The event highlights that great and impactful production and lineups shouldn’t come at a premium price. The team behind Timescape is primed to deliver a fresh offering to the UK festival landscape. Attendees can expect an intimate and affordable Trance and House gathering that’s dedicated to music lovers and community. Capped at 2,000 people, Timescape will offer a boutique-style alternative to the larger-scale festivals currently dominating the market.

Rick Ford, Festival Organiser comments 
“Timescape is about connection through music, nature, and community. We wanted to bring something truly special to the UK, an intimate, outdoor gathering where everyone feels part of the story. It’s all about the people, the music, and the environment, with affordability at its core.

Set amongst the scenic forests and lakes of Huntingdon, one of the UK’s most idyllic regions, the multi-day experience will be shaped by connection, nature, and a diverse soundtrack spanning the spectrum of dance music. Across three days, over 60 DJs and live acts will perform, navigating across Trance, House, and Techno and set to create a unique and immersive experience.
 
Headliners include iconic Trance names like Lange, Slipmatt, Indecent Noise, Dave Pearce, and Sneijder, alongside UK-exclusive performances from Rinaly Presents Rina Mirai, David Forbes pres, Seebrof, with a back-to-back special featuring Lange & The Space Brothers. Carly Wilford also joins the lineup following from her Tomorrowland debut set. 
 
Weekend camping tickets start at £137.50 including booking fee’s with day tickets from £25 + booking fee, with a limited number of early bird offers available. Timescape is actively aiming to reset the UK festival landscape, becoming one of the most affordable and accessible festivals this summer. 
Options for camping, glamping tents and motorhome/caravan pitches provide a range of accommodation choices for festivalgoers. Whether attendees bring their own tent, campervan or opt for a furnished glamping setup, Timescape provides options to suit all budgets and preferences

Timescape Festival July 18th – 20th 2025


Limited Early Bird Tickets
https://timescapefestival.com/#section-tickets
 

Find Out More & Follow 
Timescape Festival Website | Instagram
The post New UK Festival Debuts with Forest Setting, Electronic DJs & All-Female Stage Spotlight appeared first on Electric Mode.
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