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50 Cent Publishes Diddy’s Anti-Trump Interview, Potentially Killing Any Chance of a Pardon

Photo Credit: Revolt Black News
50 Cent makes good on his promise after he vowed to let Trump know what Diddy has said about him, heading off a potential pardon for the mogul.
50 Cent promised to let Trump know what “really bad” things Sean “Diddy” Combs has said about him, after the president stated he would “look at the facts” pertaining to a potential pardon for the disgraced star. Now, the rapper has made good on that promise, posting a pair of clips on Monday featuring Combs condemning the president.
The first video features Combs in conversation with Charlamagne Tha God, discussing a potential race war if Trump were in office. A second clip shows Diddy condemning the president on Revolt, saying, “White men like Trump need to be banished.”
50 Cent commented in the caption of one clip, “Welp can’t ask him for help then, buddy.” In the other clip’s caption, he remarked, “See, Trump don’t like shit like this, buddy; you run your mouth [too] much.”
Meanwhile, Combs remains on trial in New York for federal sex trafficking and racketeering charges. Should he be found guilty on all charges, Combs could spend life in prison. On Tuesday, during the trial’s fourth week and 15th day of testimony, a hotel security officer claimed Diddy paid him $100,000 to make sure the surveillance footage of Combs assaulting Cassie Ventura never got out to the public.
50 Cent’s efforts to curb a potential pardon for Combs comes hot on the heels of Trump’s pardon for YoungBoy Never Broke Again. Last week, Trump was asked about a potential pardon for Combs, and the president said he would consider it, but would need to look at the facts of the case.
“I haven’t spoken to him in years,” said Trump. “He used to really like me a lot. I think when I ran for politics, that relationship busted up. […] I would certainly look at all the facts. If I think somebody was mistreated, whether they like me or don’t like me, it wouldn’t have any impact on me.”
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Primary Wave Acquires Artist Royalties of The Cars, Including Mega-Hits Like ‘Just What I Needed’ and ‘You Might Think’

Photo Credit: The Cars by E.J. Camp
Primary Wave Music announces a royalty deal with The Cars. This deal comes less than a year after partnering with the Estate of Ric Ocasek on his publishing catalog.
Independent publisher Primary Wave Music has announced their partnership with The Cars. Terms of the deal will see the publisher acquire the band’s artist royalties. It comes less than a year after Primary Wave partnered with the Estate of Ric Ocasek on his music publishing catalog—including all songs from his time with The Cars.
Included in the deal are some of The Cars’ biggest hits, such as “Just What I Needed,” “You Might Think,” “My Best Friend’s Girl,” “Drive,” and many more. Released in 1984, “Drive” was the band’s highest charting single, soaring to #3 on the Billboard Hot 100 on release. The song topped the Adult Contemporary chart and went on to be nominated for a Grammy in the category “Best Pop Performance by a Duo or Group with Vocal.”
“Together with last year’s partnership for Ric Ocasek’s publishing, Primary Wave is uniquely positioned to preserve and honor the legacy of The Cars,” says Samantha Rhulen, SVP of Business and Legal Affairs at Primary Wave. “Their music has left a lasting imprint on culture and continues to inspire fans and musicians around the world. It’s a privilege to be entrusted with this partnership.”
The Cars formed in Boston in 1976, fronted by singer, songwriter, and rhythm guitarist Ric Ocasek, bassist and vocalist Benjamin Orr, lead guitarist Elliot Easton, keyboardist Greg Hawkes, and drummer David Robinson. Combining elements of new wave, rock, and pop, The Cars quickly became one of the most influential and successful bands during this time. Their music was characterized by catchy hooks, sleek production, and a blend of synthesizers and guitar-driven rock.
The Cars reached the height of their popularity with Heartbeat City in 1984, an album that produced several major hits, including “Drive,” “You Might Think,” and “Magic.” The album was also recognized for its innovative music videos, particularly for “You Might Think,” which won the first-ever MTV Video Music Award for Video of the Year. During this time, The Cars became one of the biggest bands in the world, selling millions of albums and filling arenas with energetic live performances.
The band’s legacy was officially recognized when they were inducted into the Rock and Roll Hall of Fame. Their music continues to influence new generations of artists, and their blend of rock, new wave, and pop remains a staple of classic rock radio.
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Fever Secures $100 Million to Reinvent Live Music & Experiences

Photo Credit: Fever
Fever secures over $100 million in funding to further its position as a leader in live experiences, namely music and sports.
Fever is on the rise with funding to further its continued growth as a leading platform for live experiences like music and sports. Fever has secured over $100 million in funding from L Catterton and Point72 Private Investors through the completion of an equity funding process, including existing investors.
The technology platform—now operating in over 40 countries—has become a trusted partner for prestigious institutions across all live entertainment verticals, with a strong track record in the past year in both sports and live music. Fever now reaches hundreds of millions of people through its discovery platform and media.
Fever continues to cement its reputation as a disruptor in live entertainment. The company has built a dynamic, multi-category, data-driven ecosystem that connects millions of fans worldwide with the most exciting venues, festivals, and independent promoters.
Some recent marquee partnerships include influential independent promoters like TCE Presents, Cercle Music, and Last Tour; iconic venues like the Clapham Grand and Brooklyn Storehouse; and culture-defining festivals like Rock in Rio Lisboa, Primavera Sound, and Pitchfork Music Festival.
The platform also provides ticketing and demand generation for some of the world’s most renowned sports organizations, including Real Madrid and FC Barcelona, LIV Golf, and the X Games.
This financing highlights a remarkable year prior for the company, during which it achieved over 20x revenue growth from pre-pandemic levels, while maintaining full-year EBITDA profitability.
Point72 Private Investments’ backing of Fever underscores the growing role of technology in shaping the sports industry. Fever is now exploring opportunities to work with the New York Mets, owned by Point72 Chairman and CEO Steve Cohen, to further enhance fan engagement through experiences.
Fever will also leverage L Catterton’s deep consumer insights and look to unlock new opportunities to engage audiences through experiential marketing and branded events, in line with the growing trend of brands leveraging live experiences to strengthen customer connections. The company is redefining the landscape as legacy players struggle to adapt, emerging as an independent, innovation-led alternative in a market long overdue for reinvention.
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The Music Industry Lives Here: Jake Fine on Retaining the Essence of Emotion in His Instrumental Music

Guitarist, producer, and songwriter Jake Fine talks about his ‘cohesive vision’ for Lo-fi projects ‘azayaka‘ and ‘Tone Bo,’ retaining the essence of emotion in his music, how ‘the creative process kicks in,’ and using Downtown Music’s bespoke service to tackle unique music challenges.
The following recaps an interview with Jake Fine as part of Downtown Music’s series, The Music Industry Lives Here. Downtown Music is a company DMN is proud to be partnering with.
Jake Fine grew up in a ‘musical family.’ However, when he left his small Jewish school, which had 100 students for a public school in town with a jazz program, the moment marked a crucial step in his identity as a musician.
“I was overwhelmed. I didn’t know how to play Jazz and was yelled at by the instructors, but I had assimilated those steps into my identity. Those were the baby steps. [I questioned,] What does that mean in terms of what I do and how I navigate the world?”
Although Fine never sought a formal music education, he attended Berklee College to gain ‘a path to follow.’
Each step brought Fine an ‘in-over-my-head’ moment within that creative community, but he looked inward for the correct answers. “What’s my role at this music college full of skilled people? How deeply do I want to explore each aspect of the craft?”
That self-reflection followed Fine well through Berklee and beyond. “That existential question of what are the things I want to do to create within this community?”
Fine’s musical identity, he explains, is one that ‘doesn’t overwhelm or feel calculated. “It’s more fulfilling.”
“In my Lo-fi ‘azayaka’ catalog, you find melodies that you can hum to. Some people call it background music, but there’s jam. There’s the musical intention behind it. I try to retain that.”
Fine’s instrumental music catalog now has over 150 songs. “At the top of my mind is being perceived as [someone] retaining a high level of musicality, but also being intentional about giving the song what it needs.”
For Fine, true contentment comes from ‘making songs that last.’ He explains, “There are subtle ranges with jazz hop, chill hop, sad beats, and sleepy beats. Whichever one I’m making retains the essence of that emotional thread.”
Viewing his craft as a ‘sequel,’ Fine is constantly aiming to ‘achieve something just a little bit better, but with similar textures.’
“I like listening to my older songs. I had less skill, but my musical sensibility was still there. I’ll hear the instrumentation and the feel and the tempo and think: what was I doing in a beginner mindset that I can achieve better now?”
“As long as I can draw inspiration, I will be as prolific as I can. And there are plenty of artists out there to draw inspiration from. Hopefully, that keeps it fresh,” he said.
Fine is committed to going wherever inspiration takes him. “Ask me in two years. I’ll be making Lo-fi for 6 or 7 years at that point. Who knows? Maybe I’ll try to integrate more electronic sound design at that point. Maybe I’ll feel like I need something fresh?”
Diving into his collaborative creative process, Fine explains that it involves discussing life, then extracting the emotional context — ‘and trying to understand what they want to create and what they want to say.’
“If you’re doing something with an artist, you’re there to serve the music that they want to create — especially if there’s a writer involved.”
“Often, my job as someone more skilled in that setting with specific instruments is that I grab an instrument and offer up something. Certain chord progressions. Certain moods.”
“If you’re skilled with sound design or drums, you’re probably going to begin with that. So, I start with picking up a guitar. That’s just the way in. Find a chord progression everyone feels passionate about. Move forward.”
Although much of the creative process appears spontaneous, Fine clarifies that he has always made a lot of time investment behind the scenes.
“I’ve done my research. I know what [those] artists created. I’ve listened to their catalog. I’ve even thought of a few chord progressions.”
However, that preparation might fall short. “Sometimes I’m [collaborating with] an R&B artist, but they [say they] love Mitski.”
That’s when spontaneity comes into play. “Now, I’m trying to create a heavier indie world.”
When it comes to creative flow for his projects ‘azayaka’ and ‘Tone Bo,’ surprises and confusion are not part of the process.
“I know that whole ecosystem. I know the genre. I know what I want to create, and I know which drums I want to grab. That’s an easy flow state. I’ve written over 150 songs; I know what I want out of it.”
“I make a chord progression that I love on a felt piano or a guitar. Put the layers in and get the drums going. It doesn’t take too long now, but that’s after 200 reps.”
Fine’s cohesive vision for his Lo-fi tracks is about ‘finding my sound.’ “I want to create music that I genuinely feel proud of.”
As an artist, Fine aims to create music that people enjoy and appreciate. But as a producer, his goal is multilayered — with strategic ambition.
“There’s a certain level of success that I want to achieve. I’ve had to make space for that ambition. When you can circle back to allow yourself to be hungry to achieve something, it feels really good.”
“I want my name to be synonymous with a high level of quality. That journey is multifaceted because it’s such a hard craft to master.”
“After putting in 10,000 hours, it’s not wrong to want to achieve a certain level of quality in your work and a certain level of success to be attached to that. That is a positive thing.”
To fulfill his ambition, Fine requires a publishing process that can keep up. “Having a bespoke service with the Downtown team has made it easy for me. I’ve got my system going, and it works well.”
As most of Fine’s music is released independently, it requires a service that can overcome challenges unique to his genre. “I send in Atmos mixes and have them connected to the correct ISRC. I need all that done correctly because I don’t want to have to do it twice. With songs released every week and every two weeks, I need the Atmos connected.”
“Downtown has provided me with a good platform for consistently releasing songs, and my royalties are collected properly. And when something goes wrong, needs replacement, or that shaker’s too loud, [the team] have the ability to replace the master and update the publishing to different DSPs.”
To artists just beginning their journey as songwriters, producers, etc., Fine says, “Any platform that can help you collect money that is rightfully yours, and to capitalize on the intellectual property that is yours — that’s a good thing. A platform that helps you fairly split money without too much logistic complication. That’s a positive thing.”
“Downtown has checked those boxes for me. It’s part of my system as a producer and creator with multiple artist projects.”
About The Music Industry Lives Here: Downtown Music’s interview series allows powerful conversations with the voices shaping the music industry. To gain weekly access to exclusive interviews with music executives, artists, record label owners, and influential figures who drive the rhythm of the industry, join here.
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Damian Lazarus’ Day Zero To Debut In Brazil In 2026

Damian Lazarus’ famous Day Zero jungle party is heading to Brazil in 2026.
After 11 years of transcendental beats in the jungles of Tulum, the long-running destination event will debut on Brazil’s northern coast in São Miguel dos Milagres on January 3, 2026. 
Lineups and additional details will be unveiled in the coming months, with the trailblazing Crosstown Rebels boss set to curate another sunset-to-sunrise showing from DJ tastemakers and unique live acts on the fringes of modern house and techno.
“After spending the last few years searching for the most perfect locations for a new Day Zero experience, I can finally reveal that BRASIL will become the next chapter in our evolving story,” Lazarus wrote on Instagram today. ”We are not giving away too much right now, just to say that this will be an exceptionally magical experience.”
Day Zero Milagres will be produced in partnership with local promoters Entourage Live, Plus Network, Gaz Events, and BOMA, according to a report from Billboard. The Brazil event will mark the party brand’s second global expansion, after Lazarus brought Day Zero to the Israeli desert, near Masada National Park, in 2019. Several other scheduled editions in Israel were canceled amid the COVID-19 pandemic.
In his social media announcement, the producer and DJ went on to confirm that Day Zero Tulum will remain the brand’s flagship event and will make its scheduled return to the Mexican city’s famous open-air Zamna venue on January 10, 2026. The party has helped kick off the new year in Tulum nearly every year since its founding in 2012, with off-years in 2018 and 2021.
Pre-sale registration for Day Zero Milagres 2026 is now open here. For more information, visit dayzerofestival.com.

Featured image courtesy: Day Zero. Credit: Skyler Greene / Alive Coverage.
The post Damian Lazarus’ Day Zero To Debut In Brazil In 2026 appeared first on EDM Maniac.
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Damian Lazarus’ Day Zero To Debut In Brazil In 2026

Damian Lazarus’ famous Day Zero jungle party is heading to Brazil in 2026.
After 11 years of transcendental beats in the jungles of Tulum, the long-running destination event will debut on Brazil’s northern coast in São Miguel dos Milagres on January 3, 2026. 
Lineups and additional details will be unveiled in the coming months, with the trailblazing Crosstown Rebels boss set to curate another sunset-to-sunrise showing from DJ tastemakers and unique live acts on the fringes of modern house and techno.
“After spending the last few years searching for the most perfect locations for a new Day Zero experience, I can finally reveal that BRASIL will become the next chapter in our evolving story,” Lazarus wrote on Instagram today. ”We are not giving away too much right now, just to say that this will be an exceptionally magical experience.”
Day Zero Milagres will be produced in partnership with local promoters Entourage Live, Plus Network, Gaz Events, and BOMA, according to a report from Billboard. The Brazil event will mark the party brand’s second global expansion, after Lazarus brought Day Zero to the Israeli desert, near Masada National Park, in 2019. Several other scheduled editions in Israel were canceled amid the COVID-19 pandemic.
In his social media announcement, the producer and DJ went on to confirm that Day Zero Tulum will remain the brand’s flagship event and will make its scheduled return to the Mexican city’s famous open-air Zamna venue on January 10, 2026. The party has helped kick off the new year in Tulum nearly every year since its founding in 2012, with off-years in 2018 and 2021.
Pre-sale registration for Day Zero Milagres 2026 is now open here. For more information, visit dayzerofestival.com.

Featured image courtesy: Day Zero. Credit: Skyler Greene / Alive Coverage.
The post Damian Lazarus’ Day Zero To Debut In Brazil In 2026 appeared first on EDM Maniac.
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Tomorrowland Brings Atmosphere Back to Antwerp This Fall

It may be the beginning of Summer but we’re already looking forward to Fall, when music lovers from around the world should mark their calendars for one special date – the return of Atmosphere by Tomorrowland. This year, the anticipation is higher than ever. After a long wait, the event is back on Friday, November 14, at Antwerp Expo, and it promises to be a night of unforgettable music, awe-inspiring performances, and high-energy crowd interactions.
Tomorrowland Atmosphere isn’t just a concert; it’s a music festival that defines the very essence of electronic dance music culture. It’s a platform where the most influential names in the scene come together to share their passion for music and create memories that last a lifetime. The event promises to be a musical extravaganza, with DJ sets that will keep you dancing till the early hours and performances that will leave you wanting more.
If you’re a music follower, a DJ, a festival attendee, a raver, or a technology enthusiast, this is the event you’ve been waiting for. The energy, the music, the atmosphere – it’s an experience you don’t want to miss. So, mark the date on your calendar, gather your friends, and get ready for a night of music and memories at Tomorrowland Atmosphere.
Event Details and Line-Up
What’s happening?
Given the reputation of Tomorrowland Atmosphere, you can expect nothing short of a spectacular night. The event will be held at the Antwerp Expo, a venue that perfectly complements the grandeur of this event. The doors will open to an arena filled with stunning visuals, state-of-the-art sound systems, and an atmosphere that will take your breath away.
But what truly sets Tomorrowland Atmosphere apart is the line-up of artists. The full line-up is set to drop on Thursday, September 4. While the anticipation builds, rest assured knowing that Tomorrowland has a reputation for bringing together the most influential names in the scene. Expect a night of high-energy performances that will have you dancing non-stop to beats from the world’s best DJs.
Ticket Information
When can I get my tickets?
With an event as popular as Tomorrowland Atmosphere, getting your hands on a ticket can be a race against time. But don’t worry, we’ve got you covered. Pre-Sale starts on Tuesday, September 9. This is your chance to secure your spot at the event before the general sale begins.
But that’s not all. For those who miss out on the Pre-Sale, the General Sale starts on Thursday, September 11. This is your final chance to grab a ticket to the musical event of the year. Remember, tickets sell out fast, so make sure you’re ready when the sales go live.
Want to stay ahead of the game? Register now for exclusive access to the Pre-Sale at atmosphere.tomorrowland.com. Not only will you have early access to tickets, but you’ll also stay updated with all the latest news, updates, and line-up announcements. So, don’t wait, register now and get ready for a night of music, energy, and unforgettable moments at Tomorrowland Atmosphere.
The post Tomorrowland Brings Atmosphere Back to Antwerp This Fall appeared first on EDMTunes.
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Why Island Hospitality's Ibiza Venues Are Favorites Among Electronic Music Lovers

There are places you go to see in Ibiza, and there are places you go to feel it.
Island Hospitality's portfolio of destinations belongs firmly to the latter. With venues spanning from barefoot beachfront bliss to velvet-lined intimacy and slow-food sanctuaries, this network of scene-stealing spots has grown into a favorite among electronic music enthusiasts visiting the legendary party island.
Here's why the renowned hospitality firm's venues are essential stops on any musically minded Ibiza itinerary.
c/o Island Hospitality
Chinois
If Ibiza's nightlife scene is a Marvel multiverse of superclubs, Chinois is the independent Academy Award dark horse. Tucked inside the Ibiza Gran Hotel, the club is among the most intimate venues on the White Isle, and this summer will feature one of the island's best rosters of DJ residencies.
Chinois trades the cattle-herd chaos of larger clubs for something more luxurious but no less unrelenting, an intoxicating room built from the dancefloor up and soundtracked by deeply influential electronic artists. The 2025 season will feature performances from Claptone, Honey Dijon, Âme, Bedouin, The Blessed Madonna, Kerri Chandler, Francis Mercier, Shimza, Mahmut Orhan and many others.
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Beachouse
The sun-drenched Beachouse is what what shows up in your Balearic daydreams when the minutes on the clock aren't ticking fast enough at work. Perched on Playa d'en Bossa's gilded edge, it's the rare venue where "wellness" and "DJ set" aren’t mutually exclusive.
By day, think sunrise yoga, barefoot brunch, sea-to-table cuisine and friends gathering over grilled octopus and citrus-infused cocktails. But after the sun dips, Beachouse transforms with the signature BOHO Experience on Thursdays and Moonlit Dinners every Friday to Sunday, with time-stretching live music to capture the sublime soul of Ibiza's culture.
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Finca La Plaza
Nestled like a well-kept secret in Santa Gertrudis, Finca La Plaza is housed in a rustic finca that feels equal parts The White Lotus and a Pedro Almodóvar film. While there’s no dancefloor here, make no mistake: this masterclass in Mediterranean dining grooves in its own way, especially on summer nights, when live music fills the open-air courtyard restaurant every Tuesday, Wednesday and Thursday. You may also see your favorite DJs dining.
The weekly musical lineup offers the perfect backdrop to Finca La Plaza's sustainably crafted Mediterranean menu, which reflects the venue's commitment to farm-to-table cuisine, celebrating local flavors. Finca La Plaza also features one of the most extensive wine cellars in Ibiza, with over 500 labels from leading European vineyards, including rare vintages from Spain, France and Italy.
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Mikasa Ibiza
With panoramic views of Ibiza's UNESCO-listed Old Town, Mikasa Ibiza is a boutique hotel in a league of its own. Every room's design is inspired by the island's lunar cycles, which is perfect, since your sleep schedule will likely be ruled by them.
There’s morning yoga. There’s a lush café. The shores of Talamanca Bay and a bevy of renowned restaurants are just a few steps away. And from June to September, the rooftop transforms into a sunset gathering where cocktails flow and DJ sets elevate the golden hour into something magical.
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Massa Coffee
Massa Coffee is where your days turn into actual parties of one: your brain, a cold brew and a laptop if you want to produce music with breezy marina views.
Tucked into Marina Botafoch, Massa is a go-to spot for DJs pre-gig, travelers pre-beach and everyone in between. Its menu is all clean fuel: refreshing smoothies, fresh juices, energy-packed breakfasts, nourishing bowls and craft coffee.
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Karaoke Service Singa Adds ‘Vast Collection’ of Warner Music Masters Under New Licensing Deal

Warner Music Group has brought its catalog to karaoke platform Singa. Photo Credit: WMG
Warner Music Group (WMG) is getting in on the karaoke action under a new deal with Singa, which has already added “a vast collection of original master recordings” from the major label.
WMG and the self-described “first truly digital streaming service for karaoke” unveiled their pact today. Extending to Warner Music proper as well as Warner Chappell, the agreement is Helsinki-headquartered Singa’s first with a major, the parties emphasized.
Now, the nine-year-old karaoke service, which offers a paid tier for $9.99 per month, is bolstering its existing library of 120,000 “soundalike” renditions with WMG’s “extensive catalog.” Besides the latter detail and the initially mentioned “vast collection” particular, the companies didn’t elaborate on the tie-up’s precise scope.
However, a cursory glance at the karaoke platform points to an all-encompassing WMG-catalog integration; the “Originals” section currently features releases from Cardi B, Linkin Park, Dua Lipa, and a variety of others.
And the ADA parent Warner Music further relayed that Singa has separate contracts in place “with publishers and indie labels.”
Shifting to compensation, WMG rather unsurprisingly opted against diving into hard terms. But the major went ahead and applauded “Singa’s investment in rights management technology,” which purportedly “ensures that all music use is transparent to rights holders.”
“The company has partnered with leading back-office service providers to develop usage tracking and revenue reporting tools, setting a new standard for industry accountability,” WMG indicated here.
In any event, a new revenue stream is (at least in theory) a new revenue stream, and WMG SVP of strategy and business development John Rees in a statement touted the resulting “opportunities for our artists and songwriters.”
“With this partnership, we’re ushering in a new era of karaoke where music becomes a more dynamic experience for fans,” weighed in Rees.
“This collaboration not only enhances the way people engage with music, but also creates valuable opportunities for our artists and songwriters, enabling them to reach more fans and unlock new revenue streams. Together, we’re paving the way for continuous innovation in music,” the 15-year Warner Music vet concluded.
Time will tell whether Singa can parlay the deal into separate unions with Sony Music and Universal Music. Bigger picture, Robert Kyncl’s comparatively tech-friendly Warner Music – which didn’t consider joining Universal Music’s since-resolved TikTok standoff – is apparently pulling out the monetization stops against the backdrop of slowing revenue growth.
All that’s certainly worth keeping in mind amid rumored settlement discussions between the majors and Suno as well as Udio. If the AI platforms and the individual labels are actually racing to hammer out licensing terms as reported – and that isn’t necessarily the case, we previously noted – WMG might be the first to seize an agreement.
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Brazil is Cracking Down on YouTuber Ripper Yout.com

Photo Credit: Yout.com
Yout is a stream ripping website at the center of a high-profile criminal prosecution in Brazil—marking a significant escalation in the fight against online copyright infringement.
This prosecution comes in the wake of the Recording Industry Association of America’s (RIAA) legal campaign against all stream-ripping services. Yout is operated by American Johnathan Nader and allows users to download audio and video from streaming platforms like YouTube.
The services bypass YouTube’s built-in protections against downloading its streams. The RIAA has previously targeted Yout in the United States, resulting in a lengthy legal battle over whether stream-ripping violates the Digital Millennium Copyright Act (DMCA). That case remains unresolved, but in Brazil authorities are taking action.
Prosecutors in Brazil have filed a criminal complaint against Nader, accusing him of facilitating unauthorized downloads of copyrighted content for profit. The São Paulo court recently rejected Nader’s motion to dismiss the charges, stating that prosecutors presented sufficient preliminary evidence to proceed with the case. If convicted, Nader could face up to four years in prison.
Brazil’s case against Yout is a direct response to the music industry’s global push against the practice of stream-ripping. Industry groups like the RIAA argue that the practice is a major threat that deprives artists and rights holders of legitimate income. In 2022, the prosecution offered Yout a way out in the form of a deal. In exchange for several predetermined terms, the public prosecutor was willing to suspend criminal prosecution.
Those terms include Yout’s operator paying 1.9 Brazilian real ($400K) to be allocated to a special fund earmarked for social programs in Brazil. The deal also required Yout to block all Brazilian traffic and local payments. Nader has declined this settlement deal and decided to take the case to court. Yout instead argues in court that it is ‘internet DVR’ and does not store any copyright infringing material.
Now the case will proceed in Brazilian court with a hearing date set for August 9, 2025. The hearing will be held virtually since Nader lives in the United States—he is not expected to appear. Prosecution will present several witnesses, with at least one music industry representative speaking to the court.
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Set your own price for a Teenage Engineering OP-1 Field. Why? “Why not?”

Teenage Engineering is setting its sights on making “[the] year 2025 even more flipped out”, starting with a ‘Set your own price’ for its coveted OP-1 Field synth, sampler and drum machine. Why? “Why not?”, says the brand — or, more specifically, because it’s running “a delicate experiment.”
As of today, the homepage of Teenage Engineering’s website is dedicated to this wacky OP-1 Field experiment. An interactive slider lets you set a price between  $1,399 and $9,999. Sadly for some, this slider doesn’t reach down to $99.
READ MORE: All the music gear to buy instead of Teenage Engineering’s $2,300 OP-XY
Once you set your price (presumably $1,399), you can check out on the TE store. Except, you can’t right now — unfortunately, it looks like the Swedish brand is fresh out of stock of its sought-after synth. You can, at least, sign up for an alert for when it’s back in stock, and it appears TE will be running this experiment for the rest of June.
Judging by the new webpage, the brand will be running similar ‘experiments’ throughout the rest of 2025. “new flipped out ’25 offers will be presented during the rest of the year…(or until the world is a little bit more stable),” adds some copy by TE.
Why is the beloved company doing all of this, anyway?
“This is a delicate experiment,” says Teenage Engineering, “and a question. It’s about why, how, and why not? It’s for us to understand the market, for us to figure out how you think, how you act. And if it’s possible to really please you 100%. This is also a reflection of the world and the time we live in. Let’s try new things! Good things. Try crazy ideas – like what would happen if people voted with their wallets? What if it was up to you? Well now it is.”
OK — so, let’s get one thing straight. This is a sale, right? But Teenage Engineering is disguising it as a “delicate experiment”? Well, hey, we’ll take it — at least you can save $600 off the original price. The real question we have is, ‘Which cashed-up thrill-seeker will crank this slider up to 11 and drop $9,999 for some clout?’ We’d like a word, if that’s you.
If the price is still a little steep for you, we’ll gladly recommend any of TE’s Pocket Operators, which come in at under $100. You might also be the right market for the retro-future EP-133 K.O.II, which you can pick up for a cool £269.
Pick your own price at teenage.engineering
The post Set your own price for a Teenage Engineering OP-1 Field. Why? “Why not?” appeared first on MusicTech.
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Le Bon Jams Release Their Highly-Anticipated Debut EP ‘109%’

London-based four-piece Le Bon Jams return with their highly anticipated debut EP, ‘109%’, due for release on Friday 20th June via [PIAS] Électronique.
 
Following a breakout year that saw praise from tastemakers like Arielle Free, Jess Iszatt (BBC Radio 1), Mark Knight, TSHA, and Don Diablo, Le Bon Jams turn up the heat with their debut EP ‘109%’. Bursting with disco-tinged house, uplifting pop hooks and an electric French-touch vibe, the four-track release blends nostalgic warmth with a modern edge and is a feel-good ride through the band’s most infectious work yet. 

Opening with lead single Hear My Love, the EP wastes no time setting the tone – a radiant, popleaning anthem with shimmering synths, punchy pianos and crisp grooves topped with irresistible vocal hooks. 
 
Speaking about the track, the band have shared: “It was the first track we collaborated on for Le Bon Jams, and in many ways, it still captures the heart of our vision as a band. We’re really proud of this one and hope listeners connect with it as much as we did while making it!”
 
Next up is What U Need, which solidifies the EP’s tone with Le Bon Jams’ signature uplifting energy and crisp, funk-flecked grooves. It’s a confident continuation that keeps the pulse high and the mood buoyant. Spotlight follows, injecting a bit more attitude into the mix. Gritty basslines and dynamic production showcase the band’s versatility, adding a punchier, club-ready edge to the EP without losing its feel-good foundation. 
 
Closing out the project is Can’t Stop – a euphoric, rhythm-led track that encapsulates the warm, retro-inspired aesthetic that defines Le Bon Jams’ sound. 
 
‘109%’ will be released Friday, 20th June via [PIAS] Électronique.
 
ABOUT LE BON JAMS 
 
Emerging from the heart of London, Le Bon Jams is a powerhouse collective formed by Laura Welsh, Joe Brown, Frank Colucci, and James New, each boasting impressive careers as artists, producers, and songwriters. Together, they fuse analogue synths with live instrumentation, crafting a unique blend of dance energy and indie soul. From underground clubs to mainstream radio, Le Bon Jams are shaping the sound of 2025. Their music is a soundtrack to life’s most unforgettable moments—highs, lows, and everything in between. 
 
THE MEMBERS
 
James New – Former frontman of Mumm-ra, hit songwriter for Dua Lipa, RAYE, Sugababes (130M+ streams). • Joe Brown – Grammy-nominated producer, worked with Lapsley, Tkay Maidza, Gabriels, CASISDEAD.   
Laura Welsh – Former Polydor artist, co-writer on Gorgon City’s ‘Here For You’, collaborations with John Legend, Greg Kurstin, Armin van Buuren.   
Frank Colucci – Multi-instrumentalist & producer, worked with Tom Grennan, Ashnikko, Ethel Cain, Oh Wonder Le Bon Jams – ‘109%’
 
Released 20/06/25
Pre Save – https://lebonjams.ffm.to/109-per-cent
 
Find Out More & Follow 
Le Bon Jams Instagram | Spotify
[PIAS] Électronique Instagram

The post Le Bon Jams Release Their Highly-Anticipated Debut EP ‘109%’ appeared first on Electric Mode.
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Get To Know STIRLING: Tech House DJ, Producer & Motivational Powerhouse

Fresh off a run of gigs in Brighton and Ibiza, Stirling returns to Canada feeling more inspired than ever. With a powerful story of persistence, passion, and purpose, he sat down with us to talk about his journey from discovering vinyl in a friend’s living room to playing internationally and building serious momentum with his productions.
Let’s get into it…

Hey DJ Stirling, thanks for taking the time to chat with us today! To kick things off, where in the world are you right now?
“Yes, certainly, thank you!  I’m just getting back from Ibiza.
I literally just landed back in Canada late last night, and I must say, I’m actually feeling quite refreshed and motivated after going to Brighton to attend the BMC conference and play a couple of gigs, and then from there going down to Ibiza to meet up with the crew and play at Pikes.
Always good to be home, though of course.” 
How did you first get into DJing? 
“Yeah, it’s interesting when I think back to how I started. You see, for me, music has always been something that I enjoyed so much, and dance/electronic music in particular, when I was younger, was something that always moved me. I can remember when I was fresh out of college, I got a factory job to just quickly start making some money to pay down College as I planned out my career, and one of the guys that worked on my shift was a DJ.
And so one day we were literally just chatting back and fort,h and he asked me what I like outside of working out and other hobbies that I was into, and I said, “I really love music.”
He simply asked me, “What kind of music do you like?” and so I wanted to tell him, and then he then proceeded to tell me how he’s a DJ at some nightclubs in Windsor, Ontario – We became instant friends
Straight away, I remember it sparked my interest because the idea of being a controller of music to me and putting various sounds and rhythms together for some reason excited me. 
So, anyways, he ended up inviting me to his place, and that’s where I got introduced to vinyl records. 
And BAM, the next day I started purchasing records straight away from the UK and would spend a couple of hours almost daily just trying to find new music that I could play for my friends when we had house parties and so on. 
From there, it was game on! I now had records, a mixer, turntables, and headphones haha
I was instantly hooked… 
After making several train wrecks with a few records in my own bedroom, I finally figured out how to beatmatch. 
I still remember the goosebumps I got from mixing my first two records together, not just in time, but that actually sounded in key and good together… 
It’s funny because even today, I’ll still get goosebumps and watch the hair stand up on my forearms behind the decks when I’ve got two or three records plus maybe some sound effects or loops going on all at the same time to make something more out of a song. 
That’s what I’ve always loved about DJ’ing… 
Is the emotion, the connection with music and others, and creating moments that feel exciting”   
 
Is there a story behind your artist name?
“I wouldn’t say there’s anything fancy behind the story of my artist name, I mean it’s really just my last name, and that’s what people have always called me by – STIRLING 
Whether it was my teachers in school or coaches and friends in various sports,  it just stuck with me. 
STIRLING!
I can remember about a year ago getting challenged with the idea of like “hey, what do you want your artist name to b?e”
And for m,e it was quite simple – STIRLING 
Personally, I didn’t really like the idea of naming myself something else to try and be different or for some marketing play, Stirling is who I am and what feels naturally fitting.  
How would you encourage emerging artists wanting to break through? 

“I mean, to be fair, I still have quite a ways to go.  But that being said, I do feel like with any endeavor that you’re trying to be successful in, there are always formulas and clues left behind from those who have been successful before you. Success always leaves clues and insights. 
Further to that, for those who do get discouraged, I say look at other things that you’ve been successful at in life and transcend that same attitude, energy, and effort into your music. 
Make a plan, set your goals, connect with industry leaders, meet up with other DJs and Producers, spend time in the clubs getting to know management and promoters, travel to conferences, carve out studio time, and adhere to your schedule. 
It’s like operating a business really. It takes a tremendous amount of effort, planning, and consistent execution, like anything does.” 
 
Share your favourite clubbing memory. 
“Carl Cox – At ‘The Guvernment’ in Toronto! It was my first time seeing him…
That man moved the crowd, myself included, with every damn record he threw down. And yes, he was spinning vinyl. I can remember he had at least 5 record bags, 4 turntables, no CDJs, and he created so many moments that night for the crowd. It was wild. 
I can remember waking up the next day, wondering, “what happened to my calves and my right elbow haha!!!
I must have been dancing and fist-pumping so damn hard! Haha…
But yes, by far, that was my most favorite club memory that really set the standard for me.”
Provide an outlandish rider (be creative). 
“Oh nice haha. I’m a pretty simple guy. Just feed me and I’m good. But since you asked, specifically, I’d like to have:
1 chicken shawarma platter (I eat shawarma all the time haha) – One time during a B2B set, I ran across the street to get a Chicken Schawarma wrap haha – true story  A Big Ass fan  2 face towels  2 Litres of filtered water  That’s it haha I get hungry when I play ;-)”
Describe yourself using a famous quote..
“The best way to predict the future is to create it” – Abraham Lincoln.
I’ve always believed in showing up with intent with whatever it is that I do. Whether it’s behind the decks, in the studio, with my family, in the gym, and so on. 

Which song do you wish you’d written? 
“I don’t think I’ve ever told myself, “wow I wish I had written that song”, I’ve just simply always had appreciation for what an artist has done and how it’s made me feel
For instance, I can remember competing at an international level on a world championship stage, and in preparation for the competition, I must have listened to Eminem’s “ Lose Yourself” track 1000’s leading up to the day.

The phrase “You only get one shot, do not miss your chance to blow. This opportunity comes once in a lifetime.” Is something that would give me that same feeling I mentioned earlier with the goosebumps and hair raising on my forearms, every day!
It brought out such intense emotions for me that made me push myself, over and over and over… It literally fueled my training sessions.” 
Was there a moment you knew this was going to be more than just a hobby? 
[A sigh and pause from Stirling…. (got a little emotional)…]
“It was a moment I had with my wife about 1 year ago. I could see that she truly believed in me after seeing the energy I was pouring into music. She must have noticed the happiness it gave me over anything else I had done, once I started producing my own tunes. 
And the momentum kind of just started building from there.”
Tell us about your plans for 2025. 

Well, on the production side of things I’ve got my release coming out on Ferris wheel recordings this Friday, June 6th, which I’m really excited about – It’s called ‘Testify’ feat. David LeSal. 
I’ve also got several other tracks lined up for labels that are going to be going out over the next couple of weeks that I think should be able to get some good traction. So, feeling good on that side of things and hopeful that I’ll have several more releases throughout 2025!  I’ve got a few well-known vocalists on some of these tracks as well that I’m really excited to share more on soon! 
From a DJ/Gig standpoint, I have Toronto, Germany, and Ibiza on the schedule right now and looking to nail down several more venues/locations in the coming weeks. So,  stay tuned for some updates there as well. 
Find Out More & Follow Stirling
Stirling Instagram | TikTok | Official Website
The post Get To Know STIRLING: Tech House DJ, Producer & Motivational Powerhouse appeared first on Electric Mode.
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A Pokémon-Themed Rave Is Going Down in Southern California

Calling all Pokémon masters: your weekend plans have arrived.
A Poké-rave is taking over Orange County this Saturday June 7th, transforming Bleu Nightclub into a nostalgia-packed combo of electronic dance music and all things Pokémon. Dubbed the "Pocket Monster Rave," the party invites fans of the iconic franchise to throw on their best Pokémon outfits (optional but highly encouraged) and dance the night away to a soundtrack fit for a late-night Poké Battle. 
Organized by Mayhem Events, the night promises Pokémon-themed visuals, lasers and surprise elements still under wraps. The "Pocket Monster Rave" follows in the footsteps of other pop-culture party spin-offs like Shrek and It's Always Sunny raves, carving out a growing lane within nightlife culture where nostalgic fandom is the driving force. 
Whether you're a diehard gamer fan or just love a good themed party, "Pocket Monster Rave" promises an unforgettable late-night adventure into the world of Pokémon. Entry is free before 10pm with RSVP.
You can RSVP and find tickets via Eventbrite. 
 
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“Nothing changes. I’m still writing new music and doing everything I do”: deadmau5 speaks on selling his catalogue

Three months after selling the rights to his entire catalog to Create Music Group, deadmau5 has spoken on the sale.
In a new interview with Billboard Canada, the DJ and producer – real name Joel Zimmerman – shares his reasoning behind the monumental sale, which reportedly netted him a cool $55 million.
READ MORE: Get Massive for £24.50 in Native Instruments’ Summer of Sound sale – yes, we’re serious
“It was time to just let it go,” deadmau5 says. “I’m not so attached to [my catalogue] that I think it would’ve been some huge asset 20 or 30 years down the line.” The sale included all of Zimmerman’s biggest hits, including Strobe and Ghosts ‘n’ Stuff.

 
The sale also included the entire catalogue of Zimmerman’s record label, mau5trap. Since its founding in 2007, a huge number of prominent dance music artists have contributed to its catalogue, including ATTLAS, Matt Lange, Rezz and Excision.
The label remains a space for exciting newcomers, too, including Skellytn, EMSKI and Lamorn.
“I mean, I’m sure they’ll make all their money back and more,” deadmau5 tells Billboard. “But for me, it was just time to reel everything back in, throw some money back into production for the next couple of years, and then start over. So, nothing changes. I’m still writing new music and doing everything I do.”
Zimmerman made the sale to Create Music Group, which reportedly agreed to a joint venture between Zimmerman and the mau5trap artists should they engage in any future plans for previous releases. Under this venture, Create Music Group has also opted to remaster certain staple tracks in addition to building on the brand with new content and partnerships.
Upon the sale in March, Create Music Group CEO Jonathan Strauss said: “Now, as the stewards of deadmau5 and mau5trap’s legendary catalogue, we inherit a legacy that changed music forever. Joel’s influence reaches far beyond sound – his mastery bridges music, gaming, and technology, inspiring a new generation to think bigger. This is more than an acquisition; it’s a responsibility.”
The post “Nothing changes. I’m still writing new music and doing everything I do”: deadmau5 speaks on selling his catalogue appeared first on MusicTech.
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Arturia’s V Collection 11 Intro review: A shocking price tag on a fantastic bundle

$199 / €199, arturia.com
Arturia’s virtual instrument offerings don’t just go wide, they go deep. Next to the enormity of Arturia’s V Collection 11 Pro, it would be easy to attach epithets like ‘modest’ or ‘diminutive’ to V Collection 11 Intro. But, in reality, the plugin bundle is still a highly substantial offering that more than doubles the number of instruments in the original V Collection– and packs all the power we could want from a suite of its considerable size.
After all, at this point, if V Collection 11 Pro’s suite of 45 instruments carries one primary danger, it’s of overwhelming producers with choice. If that’s you, V Collection 11 Intro might be just what your DAW needs to keep the music flowing.
READ MORE: Arturia’s V Collection 11 Pro almost made me forget I had other plugins It’s worth mentioning that the Mini V is the only instrument in 11 Intro that was also in that very first V Collection. But that by no means renders Intro inferior, which presents a similarly lauded set of iconic instruments. A skilfully curated selection from across the world of V, Intro presents a mixture of familiar favourites and newer additions.
Mini V
Arturia’s Mini V, the original classic, emulates the Minimoog Model D. The MusicTech review of 2024’s V Collection X notes that, in many ways, a software instrument developer is only as skilled as its emulation of the Model D. For that edition of the Collection, Arturia gave its Mini V design a complete overhaul to improve sound and accuracy.
Now, the Mini V boasts Arturia’s proprietary True Analog Emulation technology, which means that certain behaviours are far better expressed in the software environment. Take its digital oscillators, for example: instead of being samples, wavetables or generated from a zero-point, the Mini V’s oscillators are free-running with notes generated dynamically, more like they would be on the hardware. There are also a few extras on offer, such as additional modulation sources and effects, but also carefully worked-in functions such as Filter Bass Compensation to maintain low-end even at high resonances.
Keys dreams
The Mini V can, of course, be played polyphonically, but that’s not stopped Arturia from including faithful emulations of three classic polysynths in V Collection 11 Intro, between them presenting a vast sonic range.
Arturia’s emulation of the Sequential Prophet-5 was also recently upgraded as part of V Collection 9. Boasting the same True Analog Emulation as the Mini V at the core of its engine and a comparable slew of extra features, the classic polysynth has multitudes beneath its panel, covering smooth baritone chords to soaring leads and brassy pads. Arturia has done an excellent job of making this emulation deep but still abundantly accessible, with a spacious panel that’s easy to navigate for synthesists and keyboardists of all experience levels.
The Jun-6 V, of course, channels the Roland Juno-6, which debuted in 1982 and has become famous for contributing its mammoth, chorus-infused polyphony to music by artists from Eurythmics to The Weeknd. This is a wide and lush synth that comes to life in glorious stereo. As with the Prophet-5 V, its well-laid-out panel combined with Arturia’s TAE-driven digital engine delivers both power and immediacy in equal measure.
The DX7 V, meanwhile, emulates one of the most celebrated digital polysynths of the 20th Century — the Yamaha DX7. I’d say Arturia has been successful with the DX7 V in translating what is commonly considered an unwieldy interface into a faster-moving, digital environment. FM synthesis is at the fore here, handling sounds from growling to glassy, from plucked to bowed with its six operators.
Arturia claims the Stage-73 V to be ‘the most authentic, versatile, and accessible electric piano plugin ever made’, and I’m inclined to agree. Replicating the soulful sonic signature of the venerated Rhodes electric piano, it’s driven by an advanced physical modelling engine and also throws a virtual amp and pedal setup into the mix to deliver a sound that far outdoes a majority of the virtual electric pianos available, of which there are multitudes.
Modern machines
As for digital versions of more modern instruments, the MiniFreak V represents Arturia’s unapologetic and much-welcomed venture into emulating its own hardware. Making its debut in V Collection X, this characterful synth is touted as an ‘experimental virtual instrument’ that combines digital voicing with analogue-style filters. Warmly received by MusicTech upon its release, the MiniFreak V more or less directly ports the original’s formidable digital engine into your DAW, with the exception of its analogue filters, which nonetheless receive lovingly accurate emulation here.
The V Collection 11 Intro is topped off with four of Arturia’s original software instruments. This includes two instruments from the Augmented range in the form of Augmented Grand Piano and Augmented Strings, both of which make tremendous use of the range’s innovative workflow to combine deep-diving synthesis with expertly captured sample-based acoustic instruments. Bringing out characteristics of both that you might never have known were there, I’m mightily impressed with the Augmented range.
Pure LoFi comes fresh from V Collection 11 Intro, an intriguing ‘low-fidelity synthesiser’ steeped in nostalgia for all things grainy, distorted and degraded. As noted in the MusicTech review of the full V Collection 11 Pro, I’m particularly impressed by the three lo-fi engines, each of which offer nine hardware modes emulating samplers of yore, from the E-Mu SP1200 to the Akai MPC.
Neat package
Tying things together is Analog Lab Intro, a more-than-the-sum-of-its-parts library of 500 presets from across 28 V Collection instruments. Analog Lab’s grouped controls can stray perilously close to over-simplification, but it’s excellent for quick referencing and on-the-fly sound sculpting. Arturia has worked hard to make Analog Lab’s presets as navigable as possible, and it shows.
Yes, for those in need of a vast instrument library ready for all manner of composition, sound design and production applications, V Collection 11 Pro is a formidable tool that covers most conceivable bases. But for the rest of us, there’s V Collection 11 Intro. Large enough to accommodate far-reaching exploration but selective enough so as not to overwhelm with options, the suite may even end up guiding you toward getting more out of its instruments, which all bring something unique to the table.
V Collection 11 Intro is excellently-priced, amply-stocked and bursting with potential.

Key features
Standalone and AU/VST/AAX plugins 10 celebrated Arturia software instruments blending emulations, modern hybrid synth engines, modelled keyboards, and augmented acoustic sounds 2500 presets Included instruments: Prophet-5 V, Jun-6 V, Analog Lab Intro, Augmented Grand Piano, Mini V, DX7 V, Stage-73 V, Augmented Strings, Minifreak V, Pure LoFi The post Arturia’s V Collection 11 Intro review: A shocking price tag on a fantastic bundle appeared first on MusicTech.
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Check Out Eric Prydz’ HOLOSPHERE 2.0

Audiovisual Artist and EDM magnate Eric Prydz began his Summer residency at the new hyperclub UNVRS in sunny Ibiza. The ‘Opus’ author brought out the big guns to debut his reimagining and revamping of his 2019 Holosphere show. “Holosphere 2.0” will blow your mind every Monday this summer, featuring cutting-edge technology and incredible visuals. Lucky for you, we got a couple of videos to share the level of entertainment Prydz’ production has to offer.
UNVRS
Brought to Ibiza by Yann Pissenem, who also brought Hï Ibiza and Ushuaïa, the new venue debuted this summer, including some of the best artists of this generation. From Carl Cox to Fisher, Prydz to Guetta, Elrow to Jamie Jones, UNVRS has 7 days a week of pure masterful shows. Moreover, it will also bring out special performances including ANOTR and Sara Landry. The megaclub also offers insane amenities, including outdoor terraces, different rooms, and a dj booth in the bathrooms.
“Holosphere 2.0”
Prydz new residency marks a new chapter for the artist. Each summer he arrives, it seems like he can transform and revolutionize his masterpieces. From HOLO to [CELL], and now “Holosphere 2.0”, the DJ continues to set the bar extremely high across artists that produce their own audiovisual experience.
The new production offers a sphere on top of the holographic screens he has showcased in the past, adding even more dimension and mesmerizing effects.
If you want to experience this relevant moment in history we recommend checking here for tickets
The post Check Out Eric Prydz’ HOLOSPHERE 2.0 appeared first on EDMTunes.
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Get Massive for £24.50 in Native Instruments’ Summer of Sound sale – yes, we’re serious

Native Instruments has launched its Summer of Sound sale, and over at Plugin Boutique until 30 June, you can get up to 74 percent off a huge range of NI products. Most notable, perhaps, is Massive, which you can get for just £24.50…
For those new to the music production game or simply needing a refresher, Massive is widely regarded as one of the go-to soft synths on the market, alongside the likes of Serum 2, which was launched earlier this year.
READ MORE: IK Multimedia Total Studio 5 review: Almost a must-have — with a few must-fix
Normally priced at £89, Massive comes loaded with over 1300 sounds crafted by leading artists and sound designers, including the full libraries from former products Massive Expansion 1 and 2, Urban Arsenal 1 and 2, and Massive Threat. Add this to a host of wavetable oscillators, filters and effects, and the options for sonic exploration are truly endless.
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Other products included in the Summer of Sound sale include Session Strings 2, a collection of string samples – four violins, three violas, two cellos and two double basses – all recorded by professional session musicians before being packaged for digital use. Get it now at 50% off for just £45.
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For the producers out there who want the full package, KOMPLETE 15 Collector’s Edition is part of the sale as well for £1,079.40. Given the original price of £1,619.00, that’s almost $600 off. It is certainly a big purchase, but it includes 165 instruments and effects, over 125 sound packs, and more than 150,000 sounds. This includes everything from classical instruments to revered soft synths like Reaktor 6 and Kontour to drums and percussion.
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For those who would prefer not to dive that deep just yet, there are more scaled-back versions of KOMPLETE 15 at a more affordable price.
Head to Plugin Boutique to see the full range of products and deals in the Summer of Sound Sale.
The post Get Massive for £24.50 in Native Instruments’ Summer of Sound sale – yes, we’re serious appeared first on MusicTech.
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Café del Mar Launches First Artist Album With Legendary Electronic Duo Pig&Dan

Marking a bold new chapter in their enduring legacy, Café del Mar sets to release its first-ever artist-led album ‘Journey Within’ crafted by electronic heavyweights Pig&Dan. Released on June 13th, 2025, the album represents an exciting genre shift for both artist and label, fusing Pig&Dan’s signature techno-edged soundtrack with the icon, laid-back, immersive ethos of Café del Mar’s chillout heritage.
 
Globally recognised for defining the chillout and Balearic sound, Café del Mar is renowned for curating captivating sunset experiences and compilations, shaping decades of musical culture far beyond the Balearics where it was born. Now celebrating their 45th anniversary, the revered Ibiza brand embraces a forward-thinking persona, expanding on their formative roots. This new format sets to elevate their legacy through a collaborative vision, starting with Pig&Dan’s‘ Journey Within’. This milestone sets a precedent for artist-led projects under Café del Mar Music, pushing boundaries whilst still honouring its sunset heritage.
 

Café del Mar’s resident DJ & Music Curator, Ken Fan, echoes the release’s sentiment 
“Pig&Dan sent me this unsigned album last year, and after testing the tracks in my daily sets, the crowd’s reaction said it all. Every time I included them in a mix, people were asking what they were, and Shazaming with no results. It’s a brilliant start to our first artist release at Café del Mar, with more to come. Watch this space.”
 
For Pig&Dan, Journey Within marks an artistic evolution. Broadly known for their high-energy Techno sets on worldwide stages that include Tomorrowland and Awakenings, the creative duo pivots into a more reflective side of their identity with this compilation. The album roots itself into earthy dub textures, featuring warm psychedelia and downtempo soundscapes that create an expansive reimagining of chillout music, anchored with raw depth and emotion.

Pig&Dan share their insights and inspiration 
“We wanted to explore the deeper, more emotive side of our musical identity, stepping away from the club energy to create something that reaches a bit deeper. This album is a journey into our minds, reflecting the influences and organic sounds that have always been part of our creative DNA.” 
 
The album is both evolutionary and explorative in equal measure. With a well-curated mix of tracks and emotions, listeners will be drawn into a journey that amplifies the Ibiza vibe. The first track is a prime example, ‘Can’t Do It On My Own’ instantly sets the album’s soul-searching tone. Built upon rich, layered instrumentation, the track weaves emotive strings and atmospheric synths before breaking into an expressive vocal, elevating the track’s introspective feel. It’s a standout production that bridges Pig&Dan’s underground credibility with Café del Mar’s resilient and emotive storytelling.

This milestone release not only honours Café del Mar’s Balearic heritage, synonymous with chillout and Ibiza’s golden-hour spirit, but also signals a visionary future for the label. With stunning cover art by David Robles, Journey Within captures a deeply personal and forward-thinking sound, setting the tone for a new era of artist-led storytelling under Café del Mar Music.
 
Journey Within will be available June 13th, 2025, on all major streaming platforms. 

Presave: https://li.sten.to/journeywithin

Find Out More & Follow 
Café del Mar Instagram | Website | YouTube
Pig & Dan Instagram | Bio | Spotify
The post Café del Mar Launches First Artist Album With Legendary Electronic Duo Pig&Dan appeared first on Electric Mode.
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BIIA’s “Daisy Chain” Is a Raw, Acid-Drenched Journey Through Emotion, Part of Her Upcoming Human Skin EP

BIIA drops her second self-released single of 2025, “Daisy Chain” – a raw, euphoric cut lifted from her upcoming EP Human Skin.
Daisy Chain is a striking evolution of BIIA’s signature sound – an emotionally charged, high-impact track that fuses nostalgia with intensity, and vulnerability with power. Marking her second release of her upcoming EP, the track continues to cement BIIA’s status within the underground electronic scene.

Over the past year, BIIA has carved out her space as one of the most compelling rising artists in the global scene. She’s already completed tours across Australia and the US in 2025, performed a standout Boiler Room set, and turned heads with a bold B2B at Neopop Festival alongside Victoria De Angelis of rock band Måneskin. Her sets and productions are known for blending raw, industrial sonics with hypnotic textures and an emotional undercurrent that connects deeply with audiences.
On Daisy Chain, that vision crystallises: overdriven drums meet acid-tinged synths, euphoric trance stabs, and a punishing low-end, all threaded together by glitchy, futuristic vocals that echo with emotional weight. Beneath the chaos lies something intimate and human – a sense of yearning, memory, and catharsis that makes the track as reflective as it is explosive.
The track offers a glimpse into her forthcoming EP Human Skin and further stakes her claim as one of the most exciting and emotionally resonant producers working in music today.
Daisy Chain is available now on all major platforms.
Spotify I Instagram I Soundcloud
BUY / STREAM: BIIA – ‘DAISY CHAIN’ HERE
 
The post BIIA’s “Daisy Chain” Is a Raw, Acid-Drenched Journey Through Emotion, Part of Her Upcoming Human Skin EP appeared first on Electric Mode.
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Polyend celebrates 10 years in business with sleek limited-edition Tracker Mini – here’s how to get yours

Polish music tech company Polyend has reached 10 years in business, and to honour the occasion, is putting out a 10th anniversary edition of its Tracker Mini handheld groovebox.
While the original Tracker Mini sports a sleek black enclosure, this new limited-edition model features a silver aluminium frame and newly designed buttons, alongside its distinctive high-resolution glass display. It also comes in a newly designed black enclosure, if desired.
READ MORE: Polyend’s Tracker Mini is a portable, standalone audio workstation
Meanwhile, the unit’s celebrated functions for sampling, sequencing and synth replication remain unchanged, and all are delivered in stereo audio via USB.
The 10th Anniversary Tracker Mini is built to order at Polyend’s headquarters in Olsztyn, Poland, and only a limited number will be manufactured.

The unit can be reserved from now until 1 August with a deposit of $199. The remaining $799 will be charged to complete the sale upon shipping, with units expected to be sent out in November 2025. Along with the Tracker Mini, buyers will receive $199 worth of Polyend Palettes, the brand’s in-house sample packs. Those will be delivered upon reservation to get the creativity flowing before the new Tracker Mini arrives.
“We are very happy with where the Tracker Mini is today. We’ve kept improving it with regular updates, adding features our users have asked for, like synth engines and note input mode,” says Piotr Raczyński, founder and CEO of Polyend. “But for our 10th anniversary, we wanted to do something special that reflects our roots.
“We revisited the core of our design philosophy and are creating a small batch of refined, all-aluminium instruments, without the compromises that come with large-scale production. It’s a reflection of what we’ve learned in the past 10 years, made to order for the people who’ve supported us through this journey.”
Earlier this year, Polyend also introduced the Step, the “first fully programmable drum machine in guitar pedal form.”
To learn more about the 10th Anniversary Tracker Mini – and to order yours – head to Polyend.
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“Our own take on the iconic reed-based electric piano”: Rhodes packs the classic Wurlitzer into plugin form

Rhodes has added a new instrument to its virtual arsenal: the Wurli. It’s modelled on the Wurlitzer, a historic electric piano which generates sound from hammers striking metal reeds.
This plugin is specifically based on the 200A, a variation of the Wurlitzer which has been used in classic songs like What’d I Say by Ray Charles, I Heard It Through the Grapevine by Marvin Gaye, and You’re My Best Friend by Queen.
READ MORE: Can Linux really replace Windows and macOS for music production?
“As part of our ever-expanding library of classic instruments, we’re proud to share our own take on the iconic reed-based electric piano,” says Dan Goldman, Chief Product Officer at Rhodes. “Sampled by the same expert team behind the Rhodes V8 and Anthology plugins, the Rhodes Wurli brings the 200A to a whole new level of musicality and playability. Paired with Anthology’s powerful sound-shaping tools, effects, and intuitive interface, the result is something truly special — raw, warm, and beautifully expressive.”

The Rhodes Wurli utilises the same engine that powers Rhodes Anthology, which features virtual editions of four classic instruments:  Rhodes MK1 Stage 73 (1976), Sparkletop 73 (1965), Rhodes MKV 73 (1984), and Rhodes MK7 73 (2010).
With this pre-existing framework, the new addition includes an interface that accurately reflects the original Wurlitzer, complete with rotary dials and retro LEDs. Other than standard effects like delay, chorus, and reverb, the interface also offers unique options for sound manipulation. Apply Timbre Shift to move through different eras of the instrument’s aural quality, and a Vibrato function is designed to capture the same warmth as the classic hardware circuit.
The Rhodes Wurli is available now in VST, AU and AAX formats from the Rhodes Music online store. Additionally, you can pick it up for a short time at a 30 percent discount until 30 June.
Standard Pricing:
GBP: £89.95 EUR: €99.95 USD: $129.95 Introductory Offer – 30 percent off through June 30, 2025:
GBP: £62.97 EUR: €69.97 USD: $90.97 There’s also a 14-day free trial available, too. For more information, head to Rhodes.
The post “Our own take on the iconic reed-based electric piano”: Rhodes packs the classic Wurlitzer into plugin form appeared first on MusicTech.
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Behringer’s parent company Music Tribe accused of “blatant counterfeiting” in lawsuit over Klon Centaur clone

Klon is taking Behringer‘s parent company Music Tribe to court over what it describes as a “blatant counterfeit” of its prized Centaur pedal. The lawsuit accuses Music Tribe of trademark infringement and misleading consumers, claiming the company’s actions go “far beyond the line of permissible inspiration versus unlawful copying”.
Klon founder Bill Finnegan confirmed the suit in a statement posted to the company’s official Instagram, writing: “I have never been consulted in any way about this pedal, it has never been authorised by me, and I have never had any involvement whatsoever in its design, production, or marketing.”
READ MORE: “My goal is to make synthesizers for $9.90 so we can make them accessible to kids in poor countries”: Behringer’s synths are cheap – but it wants to go further At the centre of the dispute is Behringer’s Centaur Overdrive, released in November 2024 and priced at just $69. It’s one of many low-cost options inspired by the Klon Centaur, a legendary overdrive pedal that often commands thousands of dollars on the resale market.
According to the complaint, Behringer’s product mirrors key visual elements of the original: a gold metal casing, a nearly identical centaur logo, and a prominent “CENTAUR” wordmark styled in the same font and colour.
Notably, the pedal also omits the company’s own branding from the faceplate (unlike most of Behringer’s releases) – a move Klon claims was intentional to mislead consumers.
Behringer’s Centaur Overdrive promo video on YouTube has also been accused of using Finnegan’s name and likeness “in a manner to suggest his involvement, endorsement, or approval”.
Per court documents, “consumers expressed extensive actual confusion (that went deliberately unabated by Defendants), with many rushing to purchase Defendants’ counterfeit pedal believing Defendants are delivering on a mass scale a discounted product licensed or endorsed by Plaintiffs.”

The suit also points out that Behringer and Music Tribe “have long had a reputation for creating cheap and inferior copies (often using plastic enclosures) of other manufacturers’ guitar pedals and other musical products, and selling such items under the ‘Behringer’ brand as well as other brands.”
In his statement, Finnegan says that he will not be publicly commenting on the dispute while litigation is pending. Those interested in buying an “authentic Centaur pedal” though, can keep an eye out for eBay auctions by Klon LLC (under the seller ID “klondirectsales”). He also reveals his plans to continue hand-building and selling new Centaur pedals through Klon’s eBay sales channel.

Renowned for creating budget-friendly music products inspired by vintage gear, Behringer has long faced criticism for blurring the line between inspiration and imitation. Many of its past releases have emulated popular designs from competitors – drawing praise for affordability, but often stirring controversy over originality and build quality.
Earlier this year, Musitronics seemingly called out Behringer for “copying” its Mu-Tron products. The firm wrote in a scathing Facebook post: “So a $2 billion German company has decided to copy a 3rd Mu-Tron product. It is being distributed, sight unseen, six month pre-order through a $31 billion investment firm which owns the largest online music store in the world. The pedal is most likely entirely made in China and will sell for less than the cost of what it takes us to produce here in the USA.”
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Stop clicking, start creating: SoundFlow for Ableton Live has landed — here’s what you need to know

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Modern DAWs offer incredible power, but that power often comes at the cost of speed and focus. Setting up sessions, diving through menus, and performing multiple mouse clicks on tiny buttons can pull you out of the creative flow.
SoundFlow, a workflow automation platform, has set out to change how musicians, composers, producers, and audio engineers create with their DAW of choice. With support for Elgato Stream Decks, iOS and Android devices, custom keyboard shortcuts, and a powerful macro automation platform, SoundFlow puts your most-used commands right under your fingertips so that you can stay focused on the creative process.
Already boasting purpose-built integrations for Avid’s Pro Tools, Apple’s Logic Pro, and iZotope’s RX, SoundFlow has just launched a new integration with Ableton Live, now available in public beta.

Like SoundFlow’s other integrations, the SoundFlow Ableton Live integration is feature-packed. The public beta launches with over 850 ready-to-use commands and over 40 decks that can be shown on Stream Decks or mobile devices. Creators across all skill levels can take advantage of this deep integration with Live and unprecedented hands-on control.
Users can map custom keyboard shortcuts to any command in SoundFlow or create custom decks of commands to centralize their most-used actions. Even more powerful, with SoundFlows’ built-in macro editor, users can sequence multiple commands to be run from a single button. Imagine creating a new track, adding your favorite plug-ins, coloring, and routing that track with one click.
While in public beta, SoundFlow hopes Ableton users will make their voices heard on its active and supportive community forum. The forum allows users to share workflow ideas, get help setting up, and learn from other creators. SoundFlow plans to use the forum to gather feedback, fill in gaps in the current featureset, and expand the capabilities of the Ableton Live integration.

While many users control SoundFlow via iOS and Android Devices, MIDI controllers, or simple keyboard shortcuts, the Elgato Stream Deck is a crowd favorite. These compact, affordable control surfaces feature backlit LCD buttons, which can change to reflect your current control set. Connect one or multiple Stream Decks to SoundFlow and put your favorite actions right in front of you.
The Ableton integration includes the “Ableton – Main Deck,” a pre-configured collection of commands that allows users quick access to common actions like loading instruments and audio effects or creating and controlling tracks. These actions greatly reduce the need for manually clicking through menus or relying on the computer keyboard to control Ableton Live.
So, who will get the most out of it? Every Live user can benefit from SoundFlow’s automation capabilities, especially when combined with a Stream Deck, iOS, or Android device, putting enhanced DAW control within reach.
For beginners, SoundFlow provides users instant, visual access to Ableton Live without requiring them to learn keyboard shortcuts or know which menu to click.
Power users can explore extensive options for creating macros and scripts. These custom commands can be built visually with SoundFlow’s easy-to-use macro editor or coded with JavaScript. This offers all users a near-infinite set of possible automation and control. SoundFlow can be as complicated or simple as you need to suit your creative process.
MusicTech readers can join the public beta today with a free 30-day trial of SoundFlow Cloud Pro.
The trial gives you access to all SoundFlow Cloud Pro features, the SoundFlow community forum, plus SoundFlow’s other included integrations to take your workflow to the next level.
Whether you use Ableton Live to make beats, produce music, score movies, or record bands, you’ll love the powerful way that SoundFlow’s Ableton Live integration opens up control of the DAW like never before. Combining Stream Deck, iOS, Android devices, custom keyboard shortcuts, and a powerful macro automation platform puts your most-used commands right where you need them so that you can stay focused on the creative process.
Sign up here today: www.soundflow.org.
System Requirements: SoundFlow 5.10.5+ and an active SoundFlow Cloud Pro trial or subscription, macOS 10.15+, Ableton Live 12.1+
The post Stop clicking, start creating: SoundFlow for Ableton Live has landed — here’s what you need to know appeared first on MusicTech.
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Spotify executive says “there is no dilution of the royalty pool by AI music”

As the music industry wrestles with the impact of generative AI, Spotify appears to be taking a measured – and some might say, permissive – approach.
The streaming giant hosted an ‘Open House’ event for journalists at its Stockholm headquarters last week, where executives fielded questions about the platform’s evolving strategy surrounding artificial intelligence.
While some of its rivals, such as Deezer, have been purging AI-generated songs from their platforms, Spotify’s tone was noticeably less adversarial.
READ MORE: Spotify’s AI DJ now takes requests “This is the early days of creativity [with AI’s help],” says CEO Daniel Ek [via Music Ally]. “We want more humans to make it as artists and creators, but what is creativity in the future with AI? I don’t know. What is music anyway?”
The executive compares the rise of generative audio tools to new developments in AI-generated video, referencing Google’s recently announced Veo model.
“You can now generate full-on videos entirely like that. But can’t you express a vision like that and create a really cool animated series? And does that mean you’re a lesser artist than someone who hand-drew all of these things yourself?” Ek questions, adding that society at large will “have to wrestle with these types of issues”.
On the business side, Spotify’s head of artist and industry partnerships Bryan Johnson suggests that the impact of AI-generated tracks on payouts to human artists is minimal.
“[There is] infinitely small consumption of fully AI-generated tracks on Spotify”, Johnson says, insisting that “there is no dilution of the royalty pool by AI music.”
Speaking instead about the opportunities AI offers, CPO and co-president Gustav Söderström says, “We’re excited about GenAI because it gives us English language input for the first time… It’s now not just clicks on streams.”
He goes on to predict a future where AI-powered prompts and spoken requests will be the primary way users find and consume music.
Last week’s event also sees Spotify addressing questions about a potential subscription price hike. On this, Christian Luiga, Spotify’s Chief Financial Officer says, “The day we start to compromise on the value-to-price ratio… then we are going in a totally different direction. We don’t even want to think about that day, because that’s not part of our DNA.”
“Increasing prices, then losing 10% of subscribers is not worth it for us, because that’s not our strategy. We don’t even discuss those things in our management team.”
The post Spotify executive says “there is no dilution of the royalty pool by AI music” appeared first on MusicTech.
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