Jump to content

News

Stay in the loop with the latest updates, event announcements, and everything happening in the world of dance music — brought to you by RaveLink. 🤖💜
Show all categories

KAS:ST Drops ‘Are We Truly Free?’ on Interstellar Recordings

KAS:ST is a DJ from Paris and he just released his latest single, ‘Are We Truly Free?‘, on Insomniac’s Interstellar Recordings. This phenomenal talent also leads his own label, Flyance Records, where he curates excellent melodic techno. His new single continues the trend of producing and dropping innovative music that brings in the best elements from the melodic and driving techno spaces. ‘Are We Truly Free?’ from KAS:ST is a must-hear single that contains a great amount of uplifting synths that elevate cosmic energy.
Its ominous synths and vibrant vocals add depth and tension over a humongous groove. This is another standout sound from the producer, who can also drop amazing melodic house music as well. In fact, it is sure to bring down the house at many events and beyond. Click ‘Play’ on the Spotify link below to stream ‘Are We Truly Free?’ from KAS:ST, an artist who has performed at Afterlife, Cercle, and Upperground, as well as garnering support from stars such as Tale Of Us, Anyma, Mind Against, Chris Avantgarde, and Kevin de Vries.

The post KAS:ST Drops ‘Are We Truly Free?’ on Interstellar Recordings appeared first on EDMTunes.
Ravebot
Ravebot

Merchant Brings Out Groovy Vibes with His Remix of ‘C’est Cuit’

Jamaican Afro House artist Merchant is rising through the ranks of top house DJs/producers to look out for in the near future. Merchant has been making a great reputation for himself by releasing amazing edits such as Badbwoy vs. Damian Marley’s ‘The Light Vs. Welcome to Jamrock‘. These edits later led him to gaining the support of top electronic music stars like Pete Tong, Blond:ISH, and Diplo. as well as spins on shows such as BBC Radio One’s Hot Mix.
Additionally, his edit of John Summit‘s chart-topping hit ‘Where You Are‘ grabbed global attention after John Summit highlighted it in a recent interview with Alix Earle. These accomplishments, which go perfectly alongside Merchant’s ever-growing discography of Afro House originals and remixes, have placed him in a position as an important artist in a genre that is becoming more popular worldwide.
Merchant provides a tantalizing remix of ‘C’est Cuit’
Merchant’s music most definitely vibes well with the natural heart and soul of his Caribbean roots. His latest remix of Major Lazer’s ‘C’est Cuit’—out now on SoundCloud—delivers a bright and upbeat version of the original. Perfect for dance floors from Ibiza to Miami, this remix of ‘C’est Cuit’ showcases Merchant’s ability to craft irresistible beats that will ensure everyone going on their feet instantly to groove away. Click ‘Play’ on the Spotify link below to stream the remix of C’est Cuit from Merchant, a remix that will boost this artist’s name in the music industry, as well as strengthening the growing popularity of the Afro House genre.
The post Merchant Brings Out Groovy Vibes with His Remix of ‘C’est Cuit’ appeared first on EDMTunes.
Ravebot
Ravebot

Lane 8 Blesses Us With A Spectacular Fall 2024 Mixtape

This fall has been an exciting season for Lane 8! At EDMTunes, we eagerly await Daniel’s mixtapes, and although the Fall 2024 edition is a bit delayed, it’s certainly worth the wait. Why is it so exciting? If you’re a fan, you must be thrilled, as we not only received the much-anticipated mixtape but also a fantastic surprise: Daniel’s full album, Childish, which he released just last month! We knew after 10 years of this successful tradition of mixtapes, he would not disappoint.
Fall 2024 Mixtape
Daniel breaks the mold by skipping the usual IDs to kick off his mixtape with ‘Childish’. This mixtape immediately transports me back to those unforgettable summer gatherings in Vancouver, where I first fell in love with this track as he opened both nights. I remember eagerly wishing for a new album, and now, my friends, we’re fortunate to have both an album and this amazing mixtape to enjoy! This exciting mixtape is brimming with breathtaking tracks from Childish, lasting three hours and fourteen minutes and featuring eight intriguing IDs. Take a moment to guess the artists—I can think of a couple, like Rinzen and Otherwish! Listeners are led on an unforgettable journey with stellar contributions from anamē, Bonobo,  Ben Böhmer, deadmau5, Eelke Kleijn, Jeremy Olander, Kasablanca, LUMI, Martin Roth, Robag Wruhme, Sultan + Shepard and many more. You can find the tracklist on Tracklist1001.
Lane 8’s release of his spectacular album comes with the ever exciting news of Tour. This week, Daniel announced his first set of tour dates in North America, and tickets are flying off the shelf. Act fast to secure yours, get yours here! He will be curating his unique This Never Happened show for the Childish Tour. They will collaborate with Yondr to let you lock away your phones and immerse yourself in the experience. Fans everywhere are buzzing with anticipation for additional dates and shows in Canada, Europe, and beyond. Let’s hope for more announcements soon!
Don’t miss out on this mixtape, and have an amazing weekend. This is undoubtedly my most exciting New Music Friday release today. Keep an eye on EDMTunes for all your latest music updates!
The post Lane 8 Blesses Us With A Spectacular Fall 2024 Mixtape appeared first on EDMTunes.
Ravebot
Ravebot

Daijo turns in psychedelic club weapon, ‘Echoes Creep’

Now streaming everywhere, “Echoes Creep” marks melodic techno tastemaker Daijo’s fifth one-off release of 2024. Distinguished by its psychedelic spoken word layered atop a hypnotically haunting synth sequence, the Canadian DJ’s Halloween-primed single has officially landed on Vancouver-based independent dance music imprint, OFF2 MUSIC, which also houses prior Diajo releases “In Control,” “Story Of Abraham,” and “Nomad,” respectively.
Nearing the final months of 2024, Daijo now represents a sizable discography with steepening engagement. Listeners should expect even more impactful strides from the “Freak Of The Night” producer come the new year. For those who aren’t familiar with the burgeoning talent, stream Daijo’s latest psychedelic club weapon, “Echoes Creep,” below.
The post Daijo turns in psychedelic club weapon, ‘Echoes Creep’ appeared first on Dancing Astronaut.
Ravebot
Ravebot

[INTERVIEW] ALLKNIGHT Talks Songwriting, Rick Astley, Touring, And More

We sat down with arguably the fastest-rising star of Dance music for a chat.
We’re always looking to learn more about all corners of the Dance world, from Mainstage EDM to Electronica, and from the swiftest engineers to the most majestic vocalists. Today’s interview certainly follows the latter. We’re excited to welcome Jodie Knight, known in the Dance industry as ALLKNIGHT, for a deep conversation into her career, projects, milestones, and how she’s got to soundtrack some of the greatest productions out there.
Although Jodie has been a singer and songwriter since her early teenage years, she was much more of a Pop-leaning artist then. Her big break in the Dance scene came in 2023, when she worked with Anjunadeep star Marsh writing and performing two of the tracks in his Endless album: ‘Fragments‘ and ‘Sleep‘. Prior to that, though, she’d already released on labels such as Rose Avenue, Elliptical Sun, and Mixmash Deep.
Since Endless, she’s featured on a staggering number of productions, including collaborations with Marsh such as the recent ‘Rabbit Hole‘ and ‘Everything‘ — my most played song in 2023 according to Spotify —, and works with artists from the likes of Enamour, Deeparture, Le Youth, and many, many more. In fact, she’s got over 80 tracks on Beatport (!).
So, we figured we’d ring Jodie and have her over, so that we could touch upon her skyrocketing career, and also understand how the mind of a lyricist of her calibre truly sees things. Everything from the early days, to her ongoing Aria tour through the UK and America, to Rick Astley (believe it or not), and everything in between. So, without further to do, lay back and read on, as we have a chat with ALLKNIGHT herself.
The Interview
(Please note, the bolded text represents a question, while the paragraph(s) following it represent ALLKNIGHT’s answers.)
Well, first of all, thank you so much for coming. It is a pleasure and an honour.
Thanks for having me! This is great.
Now, how are you? How’s life treating you lately?
Good. I’m actually really, really good at the moment. I have just come back from the Aria tour feeling very inspired and motivated. 
Actually, a few months ago, I was definitely feeling very lost and didn’t really know what I was doing, because I have two different profiles, and one of them hasn’t really been getting any traction, and it’s very disheartening when you’re putting everything into it. So, yeah, I had a moment where I just felt quite deflated, but since then, I’ve just decided to focus all my efforts on ALLKNIGHT and just really give it my best shot. It started out as a bit of a side project, and now it’s my main project, but I’m learning to simply expect the unexpected, and just go with the flow, go with what’s working, and I’m actually really loving doing the Dance music thing full-time.
Well, let’s go a few steps back and acknowledge, how does your story begin? When, and possibly how, did you get into music?
I’ve always loved music. I mean, I think humans naturally love music. I started playing saxophone when I was eight years old because I saw a man on holiday playing, and I thought he looked really cool, and I wanted to be like him.
Later on, I went to a little group that was singing, dancing, acting as an after-school club, and I was never any good at the acting or the dancing, but I always loved the singing and I just did it in my bedroom. It wasn’t, like, a big thing. I wasn’t one of those kids that was singing around the house all the time.
My parents love music, but they are not musicians, so it wasn’t a very musical household. And one day I decided, when I was 12, I’d enter my school’s talent competition singing, which I have no idea where that thought came from. I think my parents were slightly terrified because they’d never really heard me sing before. And then I did it and loved it and was actually okay, and it just all went on from there, really. Then my brother taught me some guitar, and, yeah, the rest is history.
I can see. Well, that’s funny you mention it. I also took saxophone at seven, but I never continued it for some reason, and it’s kind of a lost project of mine. Do you still play sax?
[Points to the very first saxophone standing behind her] I actually got this one for free because I was renting it from a music shop in Glasgow, where I’m from, and the music shop went bust, and so they just never asked for it back. This was like, 15 years ago, so… Well, they’re certainly not going to get it now. [laughs] We’re aware that you have done quite a few impressive things in your life, including which stands, performing for Rick Astley. Could you give us a bit of an insight into that story? How did it all happen?
Yeah, it was so random. Luckily, I got to go to his soundcheck, because he came to Glasgow, and through a friend of a friend, got a ticket, and then was in touch. We told them we’d love to come to soundcheck and see and meet him and, you know, see how soundchecks work in a large venue like that one, because I’d only seen soundchecks at pubs and stuff.
And then went to the soundcheck and watched him. It was great. Went into his dressing room, was chatting to him. And he had a guitar case in the corner, and I was like, “Oh, I’ve got the same guitar as you”. And his wife came in right at that moment (she was his manager), and said, “Why don’t you get it out and give it a play?”. So of course I had to do it. And I got the guitar, and I’d literally written a song the week before, so no one had heard this. I hadn’t posted it anywhere. And I figured I’d just play the song.
And as I was playing — so his dressing room was opposite to the band’s dressing room, who I’d kind of met very briefly — I was just singing, almost always staring at the floor. I was like, “Don’t mess this up”. I’ve got a picture of it as well. There’s literally a picture of me singing to him in the dressing room. And when I finished, I looked up, and his tour manager had poked his head right in the door, and the whole band had just quietly come to listen. And his tour manager looks at Rick, and they nodded to each other. And Rick goes, “Do you want to open the show with it?”.
Oh my.
And I was like, “What? You mean in like, three hours?”, and he said, “Yeah, do you want to open the show with that?”, so I was like, “Hell yes”. And that’s exactly what I did. I literally didn’t have any makeup or anything. I wasn’t dressed correctly. So I had to message my dad so he could bring me my makeup bag and clothes. And I used Rick’s guitar and opened for him in Glasgow.
This happened twice, by the way. I was going to university in Liverpool. And as a bit of context, Glasgow was the first night of Rick’s tour, and Liverpool was the last. And on the last night, it was literally again the day of, his tour manager called me, and he was like, “Do you want to come and do it again in Liverpool?”. So I did the same thing, went up and sang.
Although I made such a massive mistake that I will never ever make again in my life. I walked on stage, I had my in-ears in, and I strummed the guitar, and I hadn’t had my in-ears turned on. So I literally couldn’t hear anything. And now I just had to play, so I sang the whole thing without hearing myself. And I came off stage and Rick had come to the side of it with a hoodie on to try and hide himself from the crowd to watch. And he asked, “How was it?”, and I was like, “I forgot to turn my in-ears back on!”. Judging by his face, maybe I shouldn’t have told him that. But anyway, it actually went well and it was completely fine. But I learned a very big lesson.
So, this next question, you had always been kind of a non-Dance act up to, say, the Marsh era. But I may be mistaken. So where does your love for Dance music come from, how did you get into this side of music? And did you ever expect to be such a key voice in EDM as you are right now?
So, I did my first Dance music release in about 2018. I was releasing stuff for a while before I worked with Marsh. But it was mostly, you know, small-time producers who’d reached out online. I’ve always loved Dance music. I think, if anything, my siblings got me into it. I’ve got an older brother and sister. And my older brother particularly, I always loved his music taste, and he kind of got me into Dance music. And then when I went to uni in Liverpool, there’s such a big Dance music scene there. I was going to raves all the time. So fun. And I just really, really got into listening to it and loving it. And then when someone reached out and asked, “Do you want to do a Dance song?”, I was like “Yeah, absolutely”. And then it just escalated more: the more I released, the more people reached out and I said yes, although sometimes I go, “Why have I said yes to this?”. I can’t say no.
So it just kind of expanded and expanded. And then I started working with a publisher and then through working with that publisher, they linked me up with Marsh. So, yeah, it all came about as an accident. And as I said, I started ALLKNIGHT last year because the algorithm was just completely messed up with releasing all my music under one profile. And it’s been amazing and it’s totally unexpected because, you know, this was always the side project and now it’s the main project. But now I’m so happy that it’s turning out the way that it is. There’s lots of plans for 2025. You say “A key voice in EDM”, that’s a very, very big compliment. So thank you.
But I’ve got a reason behind that, because I’ve been working in the A&R department of EDMTunes for about a year. And I remember very, very vividly that last year, between October and February, I couldn’t go about a week without a track with your voice coming up. They didn’t credit you, but I recognised you.
That’s so funny! Oh God, it was a bad move for me, but I worked with one of those places where you sell your vocals and then you don’t own the rights. And personally, I would never do that again just because I can’t handle the fact that I don’t own the rights. But yeah, I had a lot of people messaging me being like, “Is this your vocals?” And I was like, “Yeah, it is. Sorry, you can’t escape me”. [laughs]
Now, let’s pause a bit to ask the important questions. When you sing ‘Happy Birthday’, do you sing it like all of us mere mortals or do you get your professional voice out? [laughs]
Oh my God, that is such a good question! Do you know what? I actually don’t like singing ‘Happy Birthday’ because I’m so in the middle of being like, “How do I sing this?”. Most of the time, I just sing it. I don’t whip out the good voice for it. But yeah, that’s a really funny question. It’s like with karaoke. I don’t enjoy doing it because karaoke is something fun where everyone does it and people are rubbish and it’s fun and it’s great. And then when it’s my turn, if I sing well, people will say I’m trying too hard. If I don’t sing well, people will say, “Well, isn’t this your job?”. It’s a situation you can’t win.
Back to music now. Well, ALLKNIGHT. You kind of introduced us to this a little bit, but we want to know everything about the birth of this alias. Why did you do it? Have you seen different results than when you had just the Jodie Knight alias for everything?
Yeah, I mean, the reason to make ALLKNIGHT was partially an algorithm thing. It was also a release schedule thing. I was trying to cram so much stuff, there weren’t enough days in the month to release the amount of music that I had. I feel like when I separated the two, it made it so much easier for me to be like, “Okay, cool, now I’m working on this, and now I’m going to work on that”. It helped me to compartmentalise. And also, it’s quite important to have a brand nowadays, so that’s another great reason to make the alias.
And about seeing results, for sure. I mean, the climb in the last year has been really positive. And it’s been great not having to box myself in and assume I’m only going to release this one style of music and all my songs are going to sound the same, because I don’t like that. In fact I find it impossible. I don’t understand how people can do that. But I think, unfortunately, because music and, you know, how everything nowadays is so algorithm-based, and AI-based and whatnot… 
It ended up working in my favour, though. It pushed my music to the right people, gave it a lot more space. It was definitely the right move. I still have people nowadays saying it wasn’t right for me, “It’s all still you”. That’s easy for them to say. But when I was releasing a Pop song one week and then I had a heavy Dance track the next week and neither of them were hitting right, that’s why.
Was your first release with ALLKNIGHT ‘Everything’ or was there something before?
It wasn’t ‘Everything’. I think it was a song called ‘Gold Dust’, really random song. But then, when I made ALLKNIGHT, I contacted all the labels I worked with to try and move all of my back catalogue over. So it looks like my earliest release was, you know, 2018 or something, because I wanted it all on one profile. But my first actual release on ALLKNIGHT was last year.
Well, you talked a bit about genres. Is there one in particular in the Dance music spectrum that you feel suits your voice best? Or is it kind of an adventure for you to feature in every single genre of EDM possible?
I think up until now, I’ve very much been quite flexible, if I like the song, then that’s all that matters. But now going forward and going into 2025 — that’s really scary to say —, I’m really trying to have more of a clear sound, because again, it’s still a little bit too varied.
I think it would be the kind of darker Melodic House I love listening to, and I love singing on top of, and I think with it you can have some beautiful melodies, and some interesting lyrics. And yeah, I think that’s my favourite type of music of my own to listen to. So it’s my favourite type to write to.
Well, touching on the topic of writing, how does a vocalist’s mind go about producing music? Because we’ve always talked to a bunch of producers and producers only, and whenever we talk about vocals, it’s just like, “Oh, I had this and that, and the kick was perfect, and then we sent the demo to the vocalist and they crushed it, and that’s the song done!”. There’s never any insight into how lyrics really are written.
Well, the process, right from the start, with every single person I’ve worked with but maybe one or two people — other vocalists —, melody always comes first. So you’ve got to sing gibberish until you find that perfect melody. And once I started working in rooms of other people, it took me a long time to get comfortable to just, you know, sit there and just sing when you’re actually not saying anything. It feels really weird, and it’s very strange.
It took me a long time to get comfortable doing that. But once you’ve got that melody, then it’s like, “Okay, cool, what words fit in?”. And in most cases, because you’re singing that gibberish, it’s really good to try and almost sing words in the gibberish, because then you can start to find what works, and then base it around that. And, you know, sometimes I’ll go into a session thinking, “I want to write about this today”, or “I have this line”. And, yeah, it just kind of builds around a story.
I love having a story to talk about. Even better when it’s happened to me or a friend, you know? A, it’s great because you can really get that detail, and B, it’s therapeutic to write a song about something that’s happened to you. It’s a release. And after that, just remains fitting the pieces together of melody, lyrics, what works, and checking if the melody still works with the lyrics. Sometimes you’ll put them together and then sonically it won’t sound right, or it’ll be really hard to say. It’ll be a bit like a tongue twister. So that’s sometimes annoying, getting around that, because it actually fits perfectly in syllables, but it’s impossible to sing. So, yeah, I’d say that’s generally the way that most vocalists work.
And are the lyrics 100% yours, or do you work partly with the producer you’re in with to kind of create a common story?
Totally depends. I’m definitely a lyricist first. So if it’s me working just with a producer, most of the time I’ll start the session and say, “Do you write lyrics? Do you write melodies? Do you want to?”, and most of the time they go, “I just make the tracks”. Cool, that’s fine. A leave-it-to-me situation. But sometimes they want to write lyrics, or interject, or write together with me. I actually love it when there’s someone else in the room that’s a writer, because when it’s just me, the pressure is completely on me. Whereas when you’ve got a few writers in the room — not too many, I think two or three is great — you just bounce ideas off each other, and then it really pushes you to think somewhere else. Or they’ll say something and you’ll be like, “Oh my God, I would’ve never thought of that”. So it just depends on who’s in the room, I guess.
Now, another important question. Are you a dog person or a cat person?
Dogs, immediately. I’m actually a crazy dog person. Like, my family call me a crazy dog lady. That’s my side hustle. I also walk dogs and look after dogs.
Oh, really? I didn’t know that.
Yeah, I love having a dog in the house. So whenever I can, I’m like, “I’ll look after your dog”.
I saw you posted some in your story a couple of days ago. Are they yours?
So it’s my parents’ new puppy and her sister we were looking after for the weekend. So what happened was, I went home after touring, which was amazing, but I was exhausted. Went back home to Glasgow to my family home and there was a new puppy. I couldn’t have timed it better, because there was two, we were looking her sister. And I literally spent the whole weekend on the floor with the dogs. That was a good time.
That was a good thing to charge up batteries I reckon! Well, since we are on that topic, let’s talk a bit about touring. Was this your first longish tour?
Yeah, this, I mean, this was my first tour, full stop. I’ve done gigs, done a lot of gigs in and around the UK and some abroad. But, you know, an actual tour, this was the first one I’ve done.
And how did that kind of impact you or hit you? Because you said at the beginning of the interview that you were a bit exhausted, kind of a bit lost before the tour. And, well, I guess the whole thing of getting the visas and everything was a bit exhausting too. But then how it kind of changed your mind, the before and after, or preparing for going on tour, or being on tour itself, like sleeping at different times or whatever.
Yeah, it was a proper juggle of beforehand getting the visa. I only got my visa 10 days before we went away. It was so tight. So that was definitely quite a stress because Leo Wood, the other vocalist of the Aria tour, got hers a couple of weeks before mine. And we were all just waiting for mine. That was horrible, but it was fine because I got it. And, yeah, preparing, packing for it was… I’m a very organised person. That doesn’t stress me out. But I am the type of person who gets unwell when they travel. So I spent a good chunk of my time on what I could do and get to make sure I wouldn’t feel bad, so I bought vitamins. I bought a big neck pillow, everything that was going to help me sleep better, and I got all these vitamin C tablets, too.
Travelling across time zones was intense, getting up in the morning, going to soundcheck, doing the show, getting back at 3 am, waking up at 7, boarding a flight, having a show the next night. That was intense. That was nothing like I’d ever done before. I’m also not a morning person at all. Like, I need my sleep. I think the adrenaline and the excitement of it all really pulled me through because, yeah, I’m really normally not a morning person, but I did manage to pull through. But to be honest, it was such an amazing experience. And I feel so thankful to Tom for, you know, facilitating it because at the end of the day, it wouldn’t have happened without him.
And I definitely was trying the whole time to just be so present and be like, “Oh my God, I can’t really believe this is happening, it doesn’t feel real”. And it was so nice because I’ve always been a solo artist, you know, whether that’s been with Jodie Knight doing the guitar stuff or now doing this as ALLKNIGHT. It was so fun being on stage and turning around and just seeing Tom, and we’d both have massive smiles on our faces, sharing that moment. And then when Leo and I came on for the encore all together, I can’t even describe the feeling. It was, it’s just an absolute dream come true. And I want more. I want a lot more.
Well, there’s one more. So, yeah, that’s good news for you.
Yeah, there’s one more. It’s Red Rocks in a few weeks, which again, what?
It’s not a small venue.
Oh my God, I know! And, yeah, it’s going to be amazing. And the final show of the tour so far, which was Montreal, I think really made me a little bit more aware of what’s going to go on. Because most of the shows along the tour were in clubs, or in old theatres. But the Montreal one was a festival, and it was the biggest crowd. And I did have a bit of a moment before I went on thinking, “This is next level”. Had to take a step back and take myself off to the side and just, breathe. That was big. And then I also was thinking, Red Rocks is going to be four times the size of that. So, I can’t even describe the feeling. Leo would go on stage first. Obviously, Tom and Leo were on stage doing their thing, and I was back there, no one else back here knows what this feeling is that the three of us have got. Excitement, you know, terror, adrenaline, anticipation.
So, I’m super excited for Red Rocks. I’m definitely a little bit apprehensive of just, when you get there and you see that amount of people and be like, “I’ve got to walk out there and perform”.
And the good thing — or bad thing, however you want to see it —, is that the people are sitting, like, upwards. It’s not a line. It’s not like the rest of the stages.
Yeah, so you can see everyone! But, no, it’s going to be amazing. It’s just one of those crazy, crazy venues. I’ll be able to say I performed at Red Rocks. So, yeah, it’ll be good fun. I’m very excited.
Moving on, would you say you have found your “signature sound” yet?
Oh, that’s a good question. I think I’m starting to find it now. This is probably a good time to talk about this: I am actually doing an EP next year, totally myself. It’s going to be just me. I’m producing it, I’m writing it, I’m writing the tracks, doing the vocals and everything. And this is what I’m really, really excited for, because up until now, I’ve always been a featured vocalist on someone else’s track, which I love doing, and I love being part of. But it does… You know, every vocalist feels like this. You never quite feel like it’s yours. It’s always, “The producers did such a great job on this track!”, when it is very much 50-50, but it’s unfortunately never seen like that. And I also love producing music. I love writing the tracks. I studied music production at uni, so I’m very interested in actually making the songs.
And so, yeah, these last few months, which is another reason why I’m feeling so motivated, is that I’ve been writing a lot of songs to hopefully release next year. And the sound of those is definitely genre-wise, I hate saying genre, because I’m just like, “What does that mean?”. But probably a mix between Melodic House and Electronica, I’d say. It’s kind of Melodic House with a bit more vocals on it and a little bit more commercial, maybe. Who I do like to compare it to, who I’d say is a very big influence, is CRi. So love, love, love his music.
And I think I definitely find myself being influenced a lot by CRi and that sound. And everyone I work with, you know, all the songs with Marsh… I was very lucky. He has been helping me with learning, I’m trying to learn how to DJ so that I can do this myself, do the vocals and DJing myself. That’s also part of the plan. So, yeah, I think I take influence from lots of people that I’ve worked with.
That sounds amazing! Now, I can definitely see a bit of a CRi influence, more so in the older songs you did with Marsh, you know, kind of the Endless album, as opposed to the newer stuff that’s a bit more banging.
Yeah, the newer ones are a bit darker and bigger. But yeah, the stuff I’ve got coming next year is, I’d say more so like CRi than ‘Fragments’ or ‘Sleep’. It’s just bouncy and, you know, melodically satisfying. To my ears, the chords are, satisfying. When you hear chords, you go, “Oh, that’s moody”. So, yeah, all to come.
Well, now you’ve sparked the interest in me. So let us know just when you have tracks out! Now, where do you see yourself in five years’ time? Any dreams that you have for that?
I really struggle to see a future me because of this career being so uncertain. And I think saying where you want to be in five years is much easier in a different field, in a different job. For example, if you’d have asked me two years ago what I’d be doing now, I would have said something entirely wrong, I’d be, Jodie Knight performing on stages as a Pop artist. I wouldn’t have even known about this Dance alias. So I think I more of have personal goals of, say, in the next six months I want to like really master DJing and have gotten down a set that I can do and perform live. And then in a year I want to be, hopefully I want to get a festival slot somewhere. I guess building on that, two, three years, be doing some bigger festival slots, be working with some bigger people. There’s definitely a lot of producers who I really admire and really want to work with. For example, Ben Böhmer. He’s definitely one of them. And yeah, I don’t know. I think just be better, be better at production, be better at writing.
I think you told us this a few minutes ago, but have you ever had a moment in which you sort of, abstracted yourself from whatever you were doing, for example, touring, and realised you were living a lifelong dream of yours?
Yeah, absolutely. The other day, to be honest, in Montreal! I mean, the whole time I was aware that it was crazy what was happening. But that was more a moment of feeling emotional, because the tour was coming to an end. So that was amazing.
On another note, although different because it wasn’t in Dance music, when I played at Murrayfield Stadium before the rugby, which was, you know, 65,000 people. That was a crazy experience to just be able to do that and be able to sing in that place, and say I’ve done that. I think for me, it’s always the opportunities that come last minute or come randomly that are the ones where I’m like, “Oh my God, this is actually happening to me”.
It seems to be kind of your repeating pattern in life.
Yeah! Hopefully it’ll just keep repeating and I’ll be doing bigger and better things.
If you could go back in time, say 10 years or any amount of years you’d find interesting, and meet your past self, what would you tell that younger Jodie? Were you worrying about something that wasn’t really necessary?
Was I worried? Interesting question. 10 years ago, I’d been 15. So, yeah, teenage years were a tricky time for me. I was very insecure. I mean, all teenagers are struggling, I think. So if I was to go back in time, I would say, “Don’t worry. We end up being someone we love and doing something we love”, which I think is really important. And, yeah, being happy, I think that’s the biggest thing.
When I had that time a few months ago when I was feeling a bit lost, I think I really scared myself because I was waking up in the morning, not enjoying this. And that was the scary part because I’ve always loved it. So loving what you’re doing is the most important thing.
So, yeah, I would say that to 15-year-old me, “Don’t worry. We’re happy”.
And now, final question. If you could give our audience one piece of advice, what would it be?
Oh I have a piece of advice for people who are musicians that I was given. It’s very simple. It’s not some crazy lifehack. I spoke to a girl, a vocalist called Hannah Boleyn. I went for coffee with her when I first moved out to London. She’s amazing. She’s doing great things. And she’d worked with some really cool people, and I asked her, “How do you work with them? I want to”. She was just like, “Message them. Just Instagram message them, you know?”. And it was such a simple piece of advice. And I went home after our coffee, and I messaged ten people I wanted to work with. And eight of them came back and accepted. Obviously be realistic. If you message, you know, Calvin Harris or Fred again.., obviously their DMs are full.
Yeah, of course.
I just reached out to a lot of people that I really admired who were definitely bigger and had pretty big audiences. But, don’t be afraid to just reach out to someone and ask them to work together. Literally the worst thing you can get is being ignored or a no, which most people won’t do because most people are nice.
And then, advice to non-music people is, keep listening to music and supporting artists because it’s so important. Keep showing up to live shows and actually show your support because, as musicians, our whole career is based on what people think of us and what people do for us. So if you like an artist, show up for them.
I understand, you know, when it’s winter and you don’t want to go out. I get it. But, whenever I have a show and my friends turn up, I’m like, “You have no idea how much this means and how great the support is”.
That’s a really good piece of advice, appreciate that. Well, that’s a wrap for the interview. Thank you so much!
Final Words
Thank you so much Jodie for this piece! It’s always amazing to be able to sit down and dive into another artist’s mindset and point of view. It’s also super inspiring to understand how people like her have dreamt big, dared to risk, beat the fears, leapt across the canyon, and eventually made it. We can’t wait for the next milestones of her career! We’re counting down the days for the release of that solo EP. I have a feeling that, after diving into production and DJing, she’ll be frankly unstoppable.
The post [INTERVIEW] ALLKNIGHT Talks Songwriting, Rick Astley, Touring, And More appeared first on EDMTunes.
Ravebot
Ravebot

Dezko adds to unique Afro-house approach with fifth single of 2024, ‘Kiss U’

Dezko’s musical journey only has just over a full calendar year of releasing music under his belt, having first arrived in the release ring back in July 2023 with his debut original. And at 20 years old, the self-taught, Colombian native has already emphatically carved out a seat for himself amongst an overcrowded field of electronic talent. Having already built up a 2024 calendar that’s included four original cuts, Dezko is back again to convert an ID that he had the pleasure of rinsing at Tomorrowland Brasil into his fifth release this year, “Kiss U.”
With the exponential explosion of Afro-house over the past year, Dezko had continually managed to put his own individualized flair on one of dance music’s most in-demand genres. And “Kiss U” does just that, with Dezko delicately placing a sultry vocal over a melodically-tinged, five-minute ballad, proving once more why he’s caught the eye of Tomorrowland, CamelPhat, Claptone, Gryffin, and many more.
Stream “Kiss U” below.

Featured image: Victor Bese
The post Dezko adds to unique Afro-house approach with fifth single of 2024, ‘Kiss U’ appeared first on Dancing Astronaut.
Ravebot
Ravebot

Listen to Steve Angello's Retrofuturistic Rave Anthem, "Hooligans"

Steve Angello is back with "Hooligans," a ferocious festival track with a retrofuturistic edge.
Out now via his own label, SIZE Records, the new single is a brass-knuckled love letter to techno's industrial roots. Producing acid-fueled sawtooth synths, he channels Human Resource's early '90s techno classic "Dominator," a touchstone of the early rave scene.
The influential Swedish House Mafia artist's uncompromising production permeates through a minimalist arrangement with maximalist energy. From the track's chugging bassline to its punishing 4/4 kicks that cut through with surgical precision, each element serves a purpose.
"Hooligans" is built around a raw, hip-hop-inspired vocal sample, which contorts and mutates into a claustrophobic build. But just when the tension reaches a fever pitch, Angello uncorks a cathartic drop that anchors the arrangement in his distinctive, timeless brand of electro.
Listen to "Hooligans" below and find the new single on streaming platforms here.
Follow Steve Angello:
X: x.com/steveangello
Instagram: instagram.com/steveangello
TikTok: tiktok.com/@steveangello
Facebook: facebook.com/steveangello
Spotify: tinyurl.com/4nfc2ucf
Ravebot
Ravebot

Party Favor's "Ur Love" Is a Celebration of Friends Who Feel Like Family

Bursting with elation, Party Favor's latest dance anthem channels the genuine, untethered joy that only close friends and good times bring.
In "Ur Love," he channels the breezy four-on-the-floor beats of his SIDEPIECE alias, but at a breakneck 140 BPM he's clearly not content with the sensual slink of that project's tech house music. Instead, he launches us into a heady, blissed-out chase through a rapturous rhythm that doesn't let you come up for air.
Party Favor's production sparkles and surges in all the right places, creating something that feels both massive and deeply personal. Through euphoric dance production, he manages to bottle the feeling of your best friend grabbing your hand and pulling you into an impromptu dance party, or running red lights with a new flame.
Every swelling synth and brass stab captures these moments of joy, like those perfect, too-rare seconds when you feel invincible and entirely surrounded by love. To that end, "Ur Love" is a reminder that whatever you do in life, it's not legendary unless your friends are there to see it.
Listen to the new single below and find it on streaming platforms here.
Follow Party Favor:
Instagram: instagram.com/partyfavor
X: x.com/partyfavor
TikTok: tiktok.com/@partyfavor
Facebook: facebook.com/partyfavormusic
Spotify: spoti.fi/2BdxhVc
Ravebot
Ravebot

Patricia Zavala Unveils Her New Single ‘Thunder’ With Gianni Romano, Aüra, And Emanuel Esposito

After gaining significant attention with her debut single ‘Pop the Low’, which reached the Top 3 in the UK Club Chart, Patricia Zavala unveils the official follow up titled ‘Thunder’. This single sees Patricia link up once again with Gianni Romano, Aüra, and Emanuel Esposito as they prove that the first hit was no mistake.
‘Thunder’ explores intense emotions of love and longing, with vivid imagery and powerful lyrics written by Patricia Zavala herself. Notable lines include “Now I crave you like the desert craves the rain” and “I need you cause you feel like thunder,” capturing that deep emotional resonance. As a production, the track perfectly combines deep and afro house vibes with those vocals from Patricia. With these elements, the rhythm and tone of the single is a catchy one, hypnotizing listeners right from the start.
“I’m thrilled with the love that ‘Pop the Low’ received,” says Patricia Zavala, adding, “Working with Gianni has been a great experience, and ‘Thunder’ is a continuation of that energy.”
Accompanying the release is an official music video directed by Marcel Rasquin and filmed in Los Angeles which takes inspiration from Exploitation genre movies and features surreal, abstract scenes. It culminates in a high-energy dance sequence and includes strange characters like a contortionist and a mysterious butcher.
Ravebot
Ravebot

Joris Voorn x Pig&Dan Feat. LIVI Release Brand New Single ‘Been There Before’

It’s New Music Friday, and there’s another great tune out today: ‘Been There Before’. A collaboration between Joris Voorn and techno legends Pig&Dan along with the vocals of Livi. This track is the beginning of a new era. A first release from the newly formed label between Armada Music and Spectrum Records. Give it a listen today on your favourite platform and let us know what you think.
‘Been There Before’
Joris Voorn and Pig&Dan unite their distinctive techno styles in ‘Been There Before,’ creating an exhilarating sound that feels both innovative and deeply rooted in their artistry. Voorn’s signature is prominent through the lush, layered soundscape, enhanced by delicate melodic elements that elegantly weave through the track. His talent for crafting depth is showcased here, using warm synth pads and subtle harmonics to deliver a rich, immersive experience. Conversely, Pig&Dan inject a powerful, percussive edge into the collaboration. Their influence is evident in the solid, punchy basslines and deep grooves that generate an intense, driving rhythm. This darker, more aggressive approach perfectly complements Voorn’s melodic nuances, resulting in a captivating balance of tension.
LIVI’s vocal performance brings everything together, adding an emotive layer that amplifies the track’s atmosphere. Her haunting voice elevates the narrative, providing a soulful depth that harmonizes beautifully with Voorn’s atmospheric sound and Pig&Dan’s dynamic production. Overall ‘Been There Before’ intricately weaves a captivating sonic tapestry, blending poignant moments of melancholy with uplifting emotional melodies. This track has emerged as a defining anthem throughout the 2024 festival season, consistently thrilling audiences and becoming a key highlight of the Joris’ shows.
Hope you enjoy New Music Friday as much as we do here at EDMTunes. Stay tuned as always for all your latest updates in the dance music world!

The post Joris Voorn x Pig&Dan Feat. LIVI Release Brand New Single ‘Been There Before’ appeared first on EDMTunes.
Ravebot
Ravebot

Flashmob Releases Long-Awaited Debut Album, Sundown

Pure party energy for the weekend, coming from quite the act.
Fridays bring the music, we’re aware of that. Fridays also provide good music, and that’s the seam we’re at today. Irish-Italian DJ and producer Flashmob has conquered quite the summit today, as he just released his debut album Sundown, on his very own Flashmob Records imprint.
Flashmob has used the past few years to reinvent his sound, drawing inspiration from the 90s. Rather than resting on his past successes like ‘Need In Me’ and ‘Closer’, he’s embraced the evolving landscape of Electronic music, opening his production to a new range of sounds and styles. This can be seen in today’s product.
Sundown
As a format, albums have always represented a very personal statement of artistic intent — even more so today, in an era of standalone singles and streaming edits. Painstakingly created over the course of four years, Flashmob’s artist album Sundown is the sum of his experiences and influences from over a decade in the industry — a distilled representation of creative vision, seasoned artistry, and an untarnished excitement for what is still to come.
And even though the message imprinted is quite hopeful and positive, the album came from a place of uneasiness. Not a single person was unaffected by the times of Lockdown which struck around 2020 and 2021. People eventually learned their way around solitude and confinement and, perhaps, these trying times brought the most creativity to artists. Flashmob was one of them.
Some looked forward to the future, when things would go back to normal, and wrote about that moment in which we could all gather again. Others, like Sandro, reflected upon the past, and where they were standing in life. He recalls, “Covid had obliged me to reset, stay home and think about who I am, what I do and mainly why I do it. Why did I decide to get into this in the first place? It wasn’t to be famous nor to make money… I was only looking for happiness“.
Writer’s Picks
It’s the first time this has happened to me, I believe, but my favourite two tracks are neighbours. ‘Night Swimming‘ really caught my attention. Sandro’s work with Laila Walker and Maritime Yacht Club feels almost introspective for some reason. It gives me a feeling of a cold-ish summer night, with friends, just having got out of the pool with the moon and the starts reigning above.
The track immediately after that one, ‘Time Chance‘, also has my appreciation. It’s a simple, yet super fun composition, with a ton of groove and focusing a bunch on the middle and low frequencies, somewhat leaving the highs a bit aside. As a producer myself, I know my flaws, and one of them is that I always end up saturating the higher end of the spectrum with stuff. This song, on the contrary, masters the art of utilising just the necessary pieces.
Flashmob — Sundown Tracklist
So Far – Intro with Laila Walker Tonight with Laila Walker Welcome to My World Not Like You Night Swimming with Laila Walker and Maritime Yacht Club Time Chance Sundown Twin Flames with Laila Walker Right Now with Lazarusman Hands All over Me Feel the Night with Laila Walker What’s Next – Outro with Robin De la Rue Final Words
All in all, the album is an amazing compilation of party moments, and it’s even an interesting piece to analyse with change in mind. You can definitely hear the old-school influences (cue Acid notes, machine-programmed percussion, chord stabs), but you can hear them turned into something quite modern and which sees the future as an opportunity, not a worry.
Listen to Flashmob‘s debut LP Sundown by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release over on Beatport. Are you a producer and you’d like to see your tracks on our page? Then head over to this link right here, you champ. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.

The post Flashmob Releases Long-Awaited Debut Album, Sundown appeared first on EDMTunes.
Ravebot
Ravebot

Audien Teams Up with Fred V. on Drum and Bass Track ‘Cold’

Grammy-nominated, gold-certified DJ and producer Audien continues to tease his highly anticipated album with his latest collaboration that promises to be a fan favorite. Teaming up with renowned drum and bass artist Fred V, the duo has created a powerful progressive house DnB hybrid track tilted ‘Cold‘ featuring the haunting vocals of Swedish singer Oaks.
‘Cold’ showcases the unique blend of sounds that Audien has become known for, seamlessly merging the melodic elements of progressive house with drum and bass elements. The track’s driving bassline and infectious rhythm provide a solid foundation for Oaks’ emotive vocals, which convey a deep sense of longing and heartbreak. The song’s lyrics explore the universal theme of wanting to escape from pain and searching for peace. Oaks’ powerful delivery and the track’s anthemic chorus are sure to resonate with listeners who have experienced similar emotions.
The post Audien Teams Up with Fred V. on Drum and Bass Track ‘Cold’ appeared first on EDMTunes.
Ravebot
Ravebot

Charlotte de Witte Delivers Innovative ‘Sanctum’ EP

Belgian Techno goddess returns with a haunting and gorgeous EP. Charlotte de Witte showcases the three-track ‘Sanctum‘ EP on her very own label KnTxT. This release, which features producer and vocalist Marion Napoli, follows an outstanding closing performance from de Witte at the main stage of Tomorrowland Brazil. Moreover, Charlotte had an amazing week at Amsterdam Dance Event. KNTXT Turbo Club returned with a 3-day pop-up club at Theater Amsterdam, hosting 4 different parties, featuring 11 artists, welcoming 12,000 visitors, and serving over 2,000 Charlotada cocktails and 20,000 beers. On Saturday, Charlotte was also voted #1 Techno DJ for the fifth consecutive year by DJ Mag.
‘Sanctum’ EP
The title track ‘Sanctum’ kicks off with hard and heavy drums that will rattle warehouse walls as the searching synths add a futuristic feel next to twisted acid lines and the spell-bound vocals of the angelic Marion. This track fuses elements of psy-trance with Charlotte’s iconic minimal and acidic elements.
The second track ‘Fourth Dimension’ is a moody and driving techno roller with the vocals worked into hypnotic, soulful loops that add human warmth to the hypnotic drums and icy hi-hats. ‘Fourth Dimension’ is a warm and mystical world of sound. Then, ‘Fugato’ is an evocative ambient piece with soothing and exotic vocal coos and great cinematic tension. 
Her new productions continue to stand out with fresh ideas and spectacular sun designs defining each one. She proves that once more with this new EP which features the alluring vocals of French singer, DJ and producer Marion Di Napoli.
Up next, Charlotte returns to Miami for the spooky festival Hocus Pocus, before circling back to LA for an all-day event for KnTxT. Charlotte will bring her signature Techno during NYE Weekend for the historical event at the Sphere in Las Vegas for Anyma and “End of Genesys”. Furthermore, she will join Belgian tastemaker Amelie Lens for a clash of titans for a three-day event in Gent.
Techno will forever be our sacred place, here is ‘Sanctum EP’:
The post Charlotte de Witte Delivers Innovative ‘Sanctum’ EP appeared first on EDMTunes.
Ravebot
Ravebot

Elderbrook's "Another Touch" Album Is a Poetic Reflection on Life's Loves and Losses

Inviting us on an emotional journey through life's loves and losses, Elderbrook has released his third album, Another Touch.
The renowned singer-songwriter, producer and keyboardist is known for his innate ability to lace introspective lyricism through atmospheric dance music. Featuring 12 tracks, Another Touch is a testament to that poetry-in-motion.
The album features collaborations with Carlita, Shimza, nimino and more. Poignant yet dance-forward, it's a shimmering showcase of soul-searching through infectious beats that resonate in true Elderbrook fashion.
Some of the album's highlights include "Sunshine," a collaboration with Snakehips that comes with the promise of brighter days ahead; and "Run," a thumping track produced alongside Brazilian electronic music superstar Vintage Culture.
Elsewhere, emotive tracks like "Shallow Water" tastefully contrast uplifting anthems like "Glad I Found You" (with George FitzGerald). That dichotomy underscores the vast range of emotions we all experience as part of the human condition.
"Another Touch is a journey of self-discovery," Elderbrook explained in a press release. "It begins with someone who has lost themselves so completely they barely recognize the person in the mirror. Everything is shallow and inconsistent in their life so as to protect them from anything which might hold some true meaning. As the album unfolds so too does the story of our 'hero' who finds new ways to think about, and reflect on their life, and the lessons learned along the way."
At its existentialist core, the album also explores "how we think about ourselves and our place within the world," he added. "Who are we when the night ends? When everything goes quiet and it is time for us to speak what do we have to say? [Another Touch is] a beautiful and reflective story of tragedy, loss and of finding yourself despite the dark."
Another Touch is out now via Mine Recordings. You can listen to the new album below and find it on streaming platforms here.
Follow Elderbrook:
X: x.com/_elderbrook
TikTok: tiktok.com/@elderbrook
Instagram: instagram.com/_elderbrook
Facebook: facebook.com/elderbrookmusic
Spotify: spoti.fi/34UfzTd
Ravebot
Ravebot

Alcohol And Substance-Free Parties Are Rising In Popularity

The traditional image of a wild Dance party, fueled by alcohol, drugs and late nights, is starting to see a shift in perspective. A new wave of wellness-focused Dance events has been on the rise lately. The objective? Offering a refreshing alternative for those seeking a sober and fulfilling experience, arguably with a deeper connection to the music and being.
Pioneering collectives like Daybreaker, Superbloom, and The Oracle Project are at the forefront of this movement. These organizations curate alcohol-free events that blend Electronic music with mindfulness practices, fostering a sense of community and well-being. The founders of these collectives often draw from personal experiences to shape their events. Many have overcome challenges related to substance abuse or unhealthy lifestyles and now advocate for a more balanced approach to partying. They believe that it’s possible to have a great time without relying on alcohol or other substances.
These events offer a transformative experience, in which participants can connect with others on a deeper level, engage in mindful practices, and dance freely without the negative consequences of excessive consumption. The focus on wellness and community taints the gatherings with a positive and supportive atmosphere.
As the sober curiosity movement continues to grow, it’s clear that the future of nightlife is evolving. These wellness-focused Dance events are re-redefining what it means to have fun, offering a more authentic and fulfilling experience. By prioritizing mental and physical well-being, these events are creating a new generation of conscious partygoers.
[H/T] EDM.com
The post Alcohol And Substance-Free Parties Are Rising In Popularity appeared first on EDMTunes.
Ravebot
Ravebot

Knock2 Channels Vintage Progressive House In Stunning Single, "hold my hand"

Knock2 is young, hungry and one of today's biggest breakouts in the electronic music scene. At only 24, he's thrown down on the stages of Coachella and Lollapalooza, among many other major festivals
Despite his fresh sound and larger-than-life presence, the EDM.com Class of 2023 star isn't afraid to pull inspiration from classic artists. His new single, "hold my hand," channels classic progressive house to deliver one of his best releases yet.
After first teasing the euphoric track as the closer of his riveting HARD Summer set, Knock2 dedicated "hold my hand" to one of his longtime inspirations, Zedd. The track blends Sophia Gripari's captivating vocals with propulsive drums and a vintage electro melody, delivering a vibrant mix shimmering with both nostalgia and novelty.
"I started this song July 2023 with my friends Nick Smith and Sophia Gripari, we were writing multiple songs this day but this one really resonated with all of us," Knock2 said in a press release. "Felt like it all clicked when we discovered the chord progression, I immediately knew what direction to take the record. Something that felt nostalgic and bittersweet. I love playing this song at the end of my sets, it’s my goodbye to the fans and a sweet way to end the chaos."
It's clear that "hold my hand" isn't just a single—for Knock2, it's a world-building venture. It arrives alongside a compelling music video, which introduces fans to the universe of his long-awaited debut album, nolimit. Directed by 3D animator Alec West, the video brings Dash, the main character, to life as he embarks on adventures across a sprawling metropolis.
"hold my hand" is out now via 88rising. Watch the music video below and find the new single on streaming platforms here.
Follow Knock2:
X: x.com/knock2music
Instagram: instagram.com/knock2music
TikTok: tiktok.com/@knock2music
Spotify: spoti.fi/3OHeylI
Ravebot
Ravebot

Electric Zoo Owner Avant Gardner Hires New CEO

Avant Gardner, the owner of Electric Zoo who hosted the festival's disastrous 2023 edition, has hired a new CEO, Billboard reports.
Josh Wyatt, the former CEO of collaborative workspace giant NeueHouse, has been tapped to lead the company and get back into the good graces of Electric Zoo's fans.
"If I were to make a constructive criticism of the company in the past, it’s that they have not always done a good job of communicating with the various [Electric Zoo] stakeholders," Wyatt said of last year's failed event.
"Over the last eight weeks, I have reached out to every key stakeholder in Electric Zoo and I’ve made them whole," he added with regard to refunding ticket-holders and managing legal issues. 'I'm proud of that."
Avant Gardner, an indoor-outdoor venue that includes the famed Brooklyn Mirage, purchased Electric Zoo just a year before its ill-fated 2023 event on Randall's Island, which led to a number of class action lawsuits.
Now, Wyatt says he's planning an "experiential evolution" of the complex after an unnamed investor "injected the company with growth capital." In partnership with Avant Gardner co-founder Billy Bildstein, he's revealed a new mocktail bar initiative and community spaces, like a hi-fi listening room and visual and art studios.
At the time of this writing, Avant Gardner's proprietors have not yet formally announced when the new experiences will be implemented.
Ravebot
Ravebot

[WATCH] Above & Beyond Played ABGT600’s Deep Set Through Mexican Waters

Watch the trio DJ like never before: jumping from boat to boat.
To Above & Beyond fans and followers, it’s no news that their milestone show celebrating the 600th episode of their Group Therapy radioshow, ABGT600, happened last week. And, as they always do, the first set to be performed is their very own hourlong film of a deep set. That video is out now for the world to see.
This year, ABGT arrived in Mexico City for a two-show weekender which included sets from Kasablanca, Alex Sonata & TheRio, Qrion, DURANTE, and many more. And Above & Beyond’s classic Deep Set took place in one of the most beautiful landscapes the Mexican capital has to offer: Xochimilco.
Xochimilco, the last vestige of an extensive water transport network constructed by the Aztecs, offers a unique experience. Colourful, gondola-like boats ferry visitors through the canals, while food vendors, artisans, and mariachi bands float by, creating a lively atmosphere. This Deep Set had the trio sailing through these canals, accompanied by a number of boats apart from theirs, with many friends and Anjunfamily HQ members. It’s beautiful.
The Set
Their hourlong trip offers an insight into the future of Anjunadeep, and the softest bits of Anjunabeats too. The boys played everything from a new Tim Green respray of their 2019 Flow State record ‘Homecoming’, Marsh and Volen Sentir’s new collaboration ‘Ascension’ — which just came out today —, PROFF’s incredible ‘Love On A Real Train’ retouch, and even a reimagination of the Orbital classic ‘Halcyon On and On’.
Watch the set below, or head over here. Be sure to WATCH it, not only listen to it. Soak in the full experience. Do it for me.
The post [WATCH] Above & Beyond Played ABGT600’s Deep Set Through Mexican Waters appeared first on EDMTunes.
Ravebot
Ravebot

John Summit Remixes Green Velvet’s ‘Shake & Pop’

Known under many monikers, house legend Green Velvet’s productions turned heads in the 90s thanks to bold, experimental, and brilliant music decorated by his eccentric, boundary-pushing vocals. His impact on electronic music is still felt today, with prominent figures of the tech house scene often overlaying their productions with his recognizable vocal samples. Enter global chart-topping DJ, producer, and label head John Summit takes on Green Velvet’s ‘Shake & Pop’, adding his signature dark and hard-hitting electronics underneath those unmistakable vocals. Listen here.
The track is a great modern spin on the timeless classic. Summit’s production, which leverages ethereal dark melodic tech house chords, adds a level of mystery allure to the remix. It’s a fantastic reimagining and will be a staple on many festival runs this fall and winter.
The post John Summit Remixes Green Velvet’s ‘Shake & Pop’ appeared first on EDMTunes.
Ravebot
Ravebot

Burning Man CEO Soliciting Donations to "Secure the Long-Term" of Event

Burning Man CEO Marian Goodell is calling on the event's supporters for donations amid a critical "inflection point" for the iconic annual gathering in Black Rock City.
Sharing a candid blog post on the Burning Man Journal this week, Goodell revealed that the 2024 event in the Nevada desert fell millions of dollars short after tickets didn't sell as planned. 
"This $5.7M shortfall, combined with a $3M dip in receipts from main-sale tickets and vehicle passes, means that our year-end charitable donation target has essentially doubled to nearly $20M," wrote Goodell. "This needs to happen before 2025 ticket sales and our annual revenue cycle begins in January."
While she cited donations from "dedicated major donors," Goodell called upon Burning Man's global community to pitch in on fundraising efforts by contributing $20 per month. "Your steadfast generosity and ongoing donations are needed to help secure the long-term of Burning Man," she pleads before acknowledging that an increase in ticket pricing next year is an "untenable option" for prospective attendees.
The nonprofit is reportedly instating reductions in staff and vendors as part of a "restructuring" of its operations to stay afloat during its financial hardship. Goodell shared a financial chart with more data.
You can donate to Burning Man here.
Ravebot
Ravebot

Keurig Dr Pepper Acquires GHOST Energy For $1 Billion

Keurig Dr Pepper (KDP), the giant behind the world-renowned soft drink, has announced a significant acquisition for its portfolio. The company has entered into an agreement to acquire a majority stake in GHOST, a popular energy drink brand, for approximately $990 million.
Founded in 2016 by Dan Lourenco and Ryan Hughes, GHOST has experienced rapid growth in recent years. And far from being just a store product, recently GHOST has also been the energy drink of choice at several Insomniac festivals and events, which farther boosts its popularity among both general public and ravers.
KDP plans to acquire a 60% stake in GHOST initially, with the option to purchase the remaining 40% in 2028. The initial transaction is expected to close later this year or early next year. And to further support the growth of the energy drink, Keurig Dr Pepper intends to invest up to $250 million to transition GHOST Energy’s distribution to its direct store delivery network.
GHOST’s founders, Dan Lourenco and Ryan Hughes, will continue to lead the brand. KDP CEO Tim Cofer expressed enthusiasm about the acquisition, stating that “GHOST is a differentiated brand with significant growth potential, and we are excited to partner with its founders to take the business to the next level“.
The acquisition of GHOST aligns with KDP’s strategy of investing in high-growth beverage brands. By adding GHOST to its portfolio, KDP aims to strengthen its position in the energy drink category and drive future growth.
[H/T] USA TODAY
The post Keurig Dr Pepper Acquires GHOST Energy For $1 Billion appeared first on EDMTunes.
Ravebot
Ravebot

"Absolutely Bonkers:" Crankdat Poised to Debut Ambitious New Stage Production

Crankdat has announced "MFU," a new touring stage production he's calling his "biggest crank shows ever."
With just five words, the dubstep and bass music star encapsulated the production perfectly: "Two big ass middle fingers." And not just any middle fingers: animatronic ones that "shoot various SFX," according to Crankdat, who plans to bring them to four cities next year.
He took to social media to share a teaser offering fans a sneak-peak of what the intricate structures will look like. And of course, in true Crankdat fashion, the announcement includes an edited video of the middle fingers smacking down in celebrated locations like Chicago's Cloud Gate, famously known as the The Bean.
While the "MFU" production is reminiscent of Crankdat's tongue-in-cheek remix of Taylor Swift's "Antihero," titled "STFU," the shows are likely to feature many of his beloved remixes and originals. He recently released an arsenal of reworks in a new mixtape, REMIX MACHINE VOL. 2.
"MFU" will kick off March 28th in Denver before traveling to Dallas, Chicago and Columbus. While Crankdat's list of cities is currently limited to just those four, he promised in his post's fine print that more cities and venues will soon join the tour.
Check out Crankdat's announcement below. You can find dates and presale tickets here.
Follow Crankdat:
Instagram: instagram.com/crankdat
TikTok: tiktok.com/@crankdat
X: x.com/crankdat
Facebook: facebook.com/crankdat
Spotify: spoti.fi/3l8FXz0
Ravebot
Ravebot

SYNCIA’s Highly Anticipated ‘Love Endeavour’ Featuring Kylie Auldist Lands On Vicious Recordings

Syncia‘s long-awaited clubland hit ‘Love Endeavour’ is finally getting its full release on November 1st. After dominating Ibiza, international clubs and festival dance floors for over two years, this high-energy house music single is an anthem in the making. 
Teaming up with Kylie Auldist from the legendary Australian band The Bamboos, this track blends soaring beats with a massive melody and hook that maintains instant crossover appeal. With its highly infectious groove and undeniable presence, this song stands out as a true showstopper. Landing on the legendary Vicious Recordings, Syncia has found a consistent home for his chart focussed releases. The Australian imprint is widely recognised for discovering a stream of dancefloor hits and future talent including Avicii, Madison Avenue, and Dirty South.
With early support from Marco Carolla, Paco Osuna, DJ Harvey, Horse Meat Disco, and Deer Jade, Love Endeavor is poised to make an instant impact, delivering a sound that embodies and amplifies the energy of 2024.
Syncia success has landed tracks released on imprints from Alan Fitzpatick’s ‘We Are The Brave’, Release LDN, CENTRL Music and countless more. He has achieved a sequence of top chart hits including number one positions on Beatport and Traxsource across multiple genres whilst finding favour with major players including Groove Armada, Jamie Jones to Syreeta.  He has also received widespread national radio support from the likes of BBC Radio 1’s Sarah Story and Danny Howard, showing that his unique style is continuing to reverberate across clubland.
As Syncia‘s global footprint continues to expand on social media, and his career elevates with rapid speed, he engages both clubbers and industry figureheads with every single release. ‘Love Endeavour’ will implant him at the forefront of the global dance scene as a definitive name to watch as he ascends straight to the top.
Pre Order/ Pre Save: https://vicious.lnk.to/LoveEndeavour
Ravebot
Ravebot

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.