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Sound Waves Complete The Line Up And Announces The Arrival Of A New Stage For The 20th Anniversary In July

Sound Waves Festival is preparing an unforgettable edition to celebrate its 20th anniversary and presented the final phase of its program with great surprises for the Mainstage.
In the first wave of artists we know the names of:  OGUZ, BLK., SNTS, JAZZY and ONLYNUMBERS, then in the second phase FATIMA HAJJI, FANTASM, BASSWELL, REBEKAH, NOVAH, CLOUDY and now to close the main stage LORENZO RAGANZINI, LUCIID, ORNELLA, JOANNA COELHO, MISS SHEILA and AEREA are announced.
In this edition, the festival advances more news: the Vicious Stage, a new stage with the emerging talents in the Portuguese and Spanish scene.
The 18th edition of the Sound Waves Festival in Esmoriz will host 30 performances, divided into 2 stages – Mainstage and Vicious Stage – with the Techno, Hard Techno and Schranz variants
Phase 1: OGUZ, one of the biggest references in hard techno today. Coming from Ireland, a name that is redefining the underground electronic scene, BLK.  SNTS and JAZZY will bring the darker side of industrial techno. To close the first phase, the French ONLYNUMBERS, which needs no introduction
Phase 2: FATIMA HAJJI and REBEKAH the pioneers of hard techno and industrial techno. After a great performance at Sound Waves Winter Edition FANTASM “The Wonder Boy”. BASSWELL, one of the headliners. NOVAH and CLOUDY will make their debut at the festival with fresher sounds.

Phase 3: LORENZO RAGANZINI leads the third phase of the line up. As a big news in the line up and for the first time ever: LUCIID and JOANNA COELHO join nationals ORNELLA and MISS Sheila for 2 exclusive b2b and the duo AEREA performs in a live set.

Sound Waves guarantees a memorable celebration of 20 years of history on July 5th: a line up with 2 stages full of international and national stars, grab your tickets here.

Sound Waves Is More Than Techno:
Website | Instagram | YouTube | beepdMusic
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EDC Thailand Returns in 2026 with a New Venue, Hotel EDC, and Three Full Days of Festival Action

EDC Thailand is officially coming back for round two. After a strong debut in January 2025, Insomniac has confirmed that the festival will return from January 16 to 18, 2026. This time, it will take place at a brand new venue, Rhythm Park in Phuket.
A New Location and Familiar Highlights
The first edition in 2025 was held at Boat Avenue in Laguna. The setup featured the Kinetic Field mainstage along with 4 other stages, carnival rides like a ferris wheel and a merry-go-round, dancers at the entrance, and performers throughout the site. Each day offered a different experience, but what stood out the most was the six-minute fireworks show on the final night. It happened before the last set and felt like a full display on its own, not just an ending.
The lineup included a wide mix of genres and names. From Skrillex and The Chainsmokers to Illenium, R3HAB, Subtronics, and Afrojack, there was something for every part of the crowd. Local vendors and light installations added to the space without feeling overdone. If you were there, you’ll remember how it felt walking from the water zone toward the mainstage once the sun went down. There wasn’t a need to run around. Everything flowed.
Hotel EDC Comes to Asia for the First Time
One of the biggest changes for 2026 is the launch of Hotel EDC in Thailand. It’s the first time Insomniac is bringing this concept outside the United States. Hotel EDC is more than just accommodation. It includes access to pre-parties, curated activities, daily programming, wellness areas, and shuttles directly to and from the venue. Registration is already open on the official website, with more details expected as the date gets closer.
Tickets and Presale Info
Presale opens on May 2 at 9 AM ICT. Limited early bird pricing is available:
3-Day General Admission: ฿6,590 3-Day VIP: ฿10,590 VIP tickets include express entry, elevated viewing platforms, private restrooms, and dedicated lounge zones. Payment plans and Hotel EDC room packages will be shared soon.
Looking Back Before Heading Into 2026
There were a few moments at EDC Thailand 2025 that still stand out. The Chainsmokers closed with “Closer” and the entire crowd sang along without even reaching for their phones. Being in the middle of that felt right. Then there was Illenium’s set when he played “All That Really Matters.” I was with my friends, and everything just hit. It caught me off guard in the best way. The lights, the song, the timing, it felt personal.
EDC Thailand coming back means this is becoming something worth holding onto. If you were there the first time, you already know why it’s worth going again. Check out our full recap of the 2025 edition to see exactly what went down and why this festival matters.

See you under the electric sky in January 2026!
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In the studio with D.Ramirez and the launch of Raze.D

From an early age, D. Ramirez displayed an innate passion for music, experimenting with various instruments and genres. His journey into the electronic music realm began in the early 1990s, where he quickly made a name for himself as a trailblazing artist in the burgeoning dance music community.
One of D. Ramirez’s defining characteristics as an artist is his ability to seamlessly blend elements from different genres, creating a distinctive and dynamic sound that defies categorisation. His tracks often incorporate elements of house, techno, electro, and progressive, resulting in a sonic landscape that is both versatile and captivating.
D. Ramirez’s breakthrough came with the release of his now seminal remix of Bodyrox ’Yeah Yeah’, which not only received critical acclaim but also became a dancefloor anthem, a No. 2 chart hit, and received an Ivor Novello Award nomination. This success catapulted him into the international spotlight, and he continued to produce a string of chart-topping hits and underground classics. Throughout his illustrious career, D. Ramirez has graced the stages of some of the world’s most prestigious clubs and festivals, delivering electrifying performances that leave crowds in awe. His ability to connect with his audience and create an unforgettable atmosphere is a testament to his talent and dedication as a DJ.
In addition to his thriving career as a producer and DJ, D. Ramirez has also played a pivotal role in shaping the electronic music landscape through his involvement in various industry endeavors. He has shared his knowledge and passion for music through workshops, collaborations, and mentorship programs, inspiring the next generation of electronic music artists, working alongside The Toolroom Academy amongst others.
We sat down with Dean in his studio in London to talk his new album and alter ego Raze.D
What made you want to launch Raze.D? Was there a specific moment when you thought, “Yeah, I need to do this”
The inspiration for RAZE.D really came during the pandemic when everything slowed down, and the world of dancing and clubbing stopped. With no pressure to create for the dancefloor, I finally had the space to step away from the club scene and dive deeper into my own sound. It felt like the perfect time to work on what I saw as my magnum opus — something that was deeply personal and more introspective, free from the expectations of dance music.
Without the usual context of DJ sets and clubs, I was able to focus on creating something that expressed my emotions and artistic vision in a completely different way. Raze.D became my outlet to explore these new ideas and to create a body of work that felt truly mine, without boundaries. It’s a reflection of where I was mentally and artistically at the time, and it allowed me to fully embrace a sound that was darker, more atmospheric, and personal.
The project has a real 80s indie electronic feel with some clear influences from the era. How important was this music to you growing up in Sheffield in the 80’s, set against the backdrop of a city in industrial decline?
Growing up in Sheffield in the ’80s was a huge influence on the music I make today. The city was going through a tough time, with industries closing down and a sense of uncertainty in the air. It was a time of change, but also of creativity and resilience. The music from that era — from electronic pioneers like Heaven 17, The Human League, and Cabaret Voltaire — was a soundtrack to that moment. It was a mix of melancholy, rebellion, and hope, and it resonated deeply with me.
That sound from the ’80s, especially the indie electronic side of things, has always stayed with me. It felt like a way of expressing the tension and energy of the time, and it really shaped my musical taste. For RAZE.D, I wanted to capture that spirit — that raw, emotional, and atmospheric feel that came out of the industrial decline in Sheffield. It’s not just about the sounds of the ’80s, but about channeling that sense of defiance and introspection into something fresh. The city’s vibe, combined with the music that was coming out at the time, had a lasting impact on me. It’s in my DNA, and it feels natural to draw from that influence when creating music now.
At the same time, the whole Angry Silhouette album manages to feel fresh and modern. How do you keep it sounding authentic while avoiding a complete nostalgia trip?
It was really important to me that Angry Silhouette felt fresh and modern, while still drawing from those ’80s influences. I think the key to keeping it authentic without falling into pure nostalgia was to stay true to the emotion and vibe of that era, but then push it forward with my own personal sound. The synths, the atmospheric textures, and the darker tones all have roots in the ’80s, but I wanted to give them a new context — something that feels relevant to today.
I avoided getting stuck in just recreating the past by blending those sounds with more contemporary production techniques and incorporating elements from modern genres like electronic, indie, and even post-punk. I also kept the songwriting at the forefront, ensuring that the emotion and themes in the music felt timeless, not just retro.
Ultimately, I wanted to create something that felt familiar but still had a unique voice and energy. It’s about taking inspiration from the past but filtering it through the lens of my own experiences and artistic growth.
Are you using any original 80s hardware in the studio, or are you using all modern tools to recreate that classic sound? Is there a specific synth, drum machine, or production trick that defines the Raze.D sound in particular?
I do have some original ’80s gear in the studio, and it definitely plays a role in capturing that classic sound. For example, I use the Roland SH-101 and the ARP Odyssey, which have that unmistakable warmth and character from the era. But I’m also not trying to recreate the ’80s sound exactly — it’s more about using those vintage pieces as a foundation and blending them with modern tools to give it a fresh, current edge.
In terms of production tricks, I love using analog synths with pedals for extra texture, like running a synth through my Meris pedals or the Chase Bliss pedals. That combination of analog warmth with modern effects gives the sound a lot of depth. I also tend to layer sounds in a way that’s quite atmospheric, using reverb and delay to build that cinematic feel, while focusing heavily on creating a strong emotional undercurrent in the music.
What defines the Raze.D sound, I’d say, is a mixture of dark, cinematic synths, with lush, ambient textures and a real emphasis on emotion. It’s not just about the sounds I use, but how they’re put together to evoke a feeling — something that feels introspective, raw, and almost otherworldly.
Has working on Raze.D changed how you approach music in general? 
Absolutely, working on RAZE.D has shifted my approach to music in a big way. For years, I was immersed in dance music, which comes with its own set of expectations — the rhythm, the energy, the focus on the club environment and the genre. But with RAZE.D, I was able to step away from that and really focus on creating something more personal and introspective. I gave myself the freedom to experiment without the pressure of making something for the dancefloor.
The whole process made me realize how much I enjoy exploring different emotions through music, and it encouraged me to take more risks with my songwriting and production. I’ve become more interested in using sound to tell a story or convey a feeling, rather than just creating for a specific environment. Now, I’m more open to pushing boundaries, mixing genres, and following my instincts, even if it takes me in unexpected directions. RAZE.D has definitely redefined what music can mean to me, and it’s something I want to carry forward into everything I create, whether it’s for my own projects or collaborations.
This project has highlighted your skills as a songwriter (and lead singer). Did you find it difficult to write ’songs’ as opposed to the club tracks and remixes you’re known for as D.Ramirez? Did the various melodies and vocal hooks come easily?  
Writing songs for RAZE.D definitely felt like a different challenge compared to the club tracks and remixes I’m known for as D.Ramirez. When you’re creating dance music, it’s often about building energy, keeping things moving, and making sure everything hits at the right moment on the dancefloor. But with Raze.D, I had to think about structure, melody, and lyrics in a way that was more emotionally driven and less focused on the beat.
It wasn’t always easy to switch gears and start writing proper songs with full vocal melodies, hooks, and lyrics. I had to let go of the mindset of simply creating for the club and allow myself to explore different musical ideas. At first, it felt like a bit of a stretch, but as I got into it, I found the melodies and vocal hooks started to come more naturally. I think the key was allowing the process to flow without forcing anything — once I opened myself up to songwriting, it became a creative outlet that felt both freeing and deeply personal. So, while it was a challenge, it also felt incredibly rewarding to tap into a new side of myself musically. It was like discovering a new language I hadn’t spoken in a while.
Angry Silhouette landed in January – what was the overall vision behind it? Is it tied together by an overriding concept or more of a collection of ideas that naturally came together?
Angry Silhouette definitely has a central vision, but it also evolved naturally over time. The album is a reflection of the emotional journey I was on during the pandemic, a period when everything slowed down, and I had the chance to really step back from dance music and explore something more introspective. There’s definitely an overriding concept of personal reflection, societal change, and the emotional weight of those experiences, which is expressed through the lyrics, melodies, and atmosphere of the album.
While there’s a unifying theme of emotional depth and introspection, the album also became a collection of ideas that came together organically. Each track reflects a different mood or feeling, and in a way, they’re like snapshots of my state of mind at the time. I didn’t set out to make a perfect, cohesive album — I just allowed the music to come as it felt right. But when I looked at the finished product, I realized it had a strong narrative running through it, both thematically and sonically. So, in short, Angry Silhouette is both a product of a carefully thought-out vision and a collection of spontaneous ideas that naturally aligned.
It’s clearly a very personal project and you’re baring your soul in different ways. Was that difficult and has it been cathartic? Are some songs an uncomfortable listen for you? 
It was definitely a personal project, and at times, it was a little uncomfortable to dive so deeply into my own emotions and experiences. Writing and recording Angry Silhouette felt like an act of vulnerability, especially with the vocals being front and center. There were moments when I had to confront feelings I hadn’t fully processed before, and it was hard to put that out there for people to hear. But at the same time, it was incredibly cathartic. There’s something healing about expressing what’s inside of you, even if it feels raw or unsettling at first.
Some of the songs, especially the more introspective ones, can be difficult for me to listen to now because they capture such a specific emotional moment. It’s almost like looking back at a period of time that you’ve moved past, and the feelings attached to that can stir up a lot. But overall, I think the vulnerability in the project was necessary. It helped me work through some things, and I think it connects on a deeper level with listeners who might resonate with those same emotions. So, while it was tough at times, the process was definitely worth it. It gave me a new level of honesty in my music, and I hope that comes through for others.
What challenges do you see now compared to pre-pandemic with releasing music, the industry and finding a new audience?
The landscape of releasing music has definitely changed since pre-pandemic times, and there are a few challenges I’m navigating now. For one, the way people consume music has shifted even more towards streaming and social media, and that creates a lot of noise. There’s so much content out there, and getting people’s attention is harder than ever. You have to be active on multiple platforms, and algorithms tend to push certain kinds of content, which can make it harder for more niche or experimental artists to break through. It’s a bit of a double-edged sword — more access to music, but also more competition.
Another challenge is that, with live music and touring being disrupted for so long, there’s been a huge shift in how artists can connect with their audiences. Touring and live performances have always been an essential way to build a fanbase and create deeper connections with listeners. Now, even though things are opening up, there’s still a sense of caution in how people engage with live shows, which makes it harder to build that personal connection in the same way.
And then, of course, there’s the struggle of building a new audience, especially after stepping away from the dance music world. With Angry Silhouette, I’m not just making the same kind of music I was known for as D.Ramirez, so I have to find ways to reach people who are into that kind of introspective, atmospheric sound. It’s been about finding the right audience that resonates with the emotional depth of RAZE.D and introducing them to the new project without losing the people who followed me in the past.
Overall, it’s definitely a different landscape now, but there’s still room for growth. The key is to stay authentic, keep experimenting, and find the right platforms and community where your music truly connects.
How do you want the listener to react to this album? What are the main things you’d love them to take away from it?
With Angry Silhouette, I want the listener to experience something emotional and thought-provoking. The album is deeply personal, and I hope it resonates on an emotional level, whether that’s through the vulnerability of the lyrics or the atmosphere created by the music. I’d love for people to feel like they’re not alone in their struggles or moments of introspection. It’s about connection — if someone hears a song and feels like it speaks to something inside them, that’s a win.
I also hope the album opens up a new way of thinking about the role of electronic music in storytelling. It’s not just about the beat or the groove; it’s about creating a world of sound that makes the listener feel something. I’d love them to take away a sense of discovery, maybe even challenge their expectations of what an album can be. I want them to feel like they’ve been on a journey with me, one that reflects the complexity of being human, the highs and lows, and everything in between. Ultimately, it’s about creating an experience that sticks with them, something that makes them think, feel, and maybe even come back to the album at different points in their lives and find new layers.
What’s next? Are there more releases, live shows, or something bigger? And if someone’s never heard Raze.D before, where should they start?
What’s next? I’m definitely excited for what’s ahead. I’m already planting the seeds for Album No. 2, but considering how long Angry Silhouette took to come together — about four years — don’t expect it to drop too soon! I’m also thinking about live shows, though the way I approach performance with Raze.D will be different. It’s about creating the right environment for the music, and I want to make sure that when the time comes, it’ll be something truly special for the audience.
As for newcomers to Raze.D, I’d suggest starting with Angry Silhouette. It’s the core of what the project is about. But for a more immediate taste, you can check out the playlist on YouTube and the album on Spotify. That should give you a good feel for the sound and vibe of Raze.D.
The post In the studio with D.Ramirez and the launch of Raze.D appeared first on Decoded Magazine.
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Electronic Music Industry Continues Commercial Ascent with $12.9bn Global Valuation

IMS Ibiza, the annual thought-leadership summit at the intersection of electronic music, culture, technology, and business, today unveils the IMS Business Report 2025. Presented live early today at IMS Ibiza, the report returns for its eleventh edition, authored for the third year by MIDiA Research’s Mark Mulligan. 
 
The report offers the definitive snapshot of the global electronic music economy, examining both its cultural resonance and commercial realities.With many key financial, economic and cultural findings in this year’s analysis broken down in detail highlighting major emerging themes which can help to guide and inform the industry.
MIDiA Research is a leading provider of research, analysis and data for the digital entertainment business, with a team of analysts and consultants focused on everything related to where tech and entertainment meet.

“Global music industry revenue grew again in 2024, though at a slower rate than in 2023 due to maturing streaming revenues and the post-covid live resurgence lessening. Electronic music however, continued to increase its share of both revenues and culture. Driven by the rise of new genres like Afro House, a renaissance for genres like Drum & Bass, and the rise of a new generation of fans, creators and scenes remaking electronic music in their own image, electronic music finds itself at the start of a brave new era of culture resonance.” MIDiA Research’s Mark Mulligan
The global electronic music industry expanded to $12.9 billion in 2024, marking a 6% rise from 2023. While slightly slower than the previous year’s 9% growth, the gains reflect a maturing and resilient sector. Festivals and clubs remain the largest revenue source, but strong growth in publishing and hardware/software underline the industry’s multifaceted strength.

“The IMS Business Report continues to evolve each year, with more robust data and the benefit of over a decade of compilation — allowing us to truly compare and contrast the state of the electronic music industry. Our annual health check this year reflects continued growth and major developments: the Superstruct acquisition reshaping live, rising momentum in key genres like Afro House and Drum & Bass, ongoing catalogue acquisitions, and unprecedented engagement with the genre on cultural platforms such as TikTok.” IMS Co-Founder Ben Turner
For the fifth consecutive year, independent labels increased market share, reaching 30% of global label revenues. While major labels remain dominant, regional and digitally native players in the global south are gaining ground, carving out space with localised scenes and culturally attuned content strategies.
Genres including Drum & Bass, Jungle, and UK Garage are undergoing a creative revival, particularly among younger audiences. Beatport data shows Afro House leapt from 23rd to 4th most searched genre, while SoundCloud saw a 100% increase in UK Garage uploads.
With 566 million new electronic music fans added across Spotify, YouTube, TikTok, Instagram, and Facebook in 2024, the electrotonic music genre continues to outperform rivals like rock and indie. The format of fandom is shifting too — SoundCloud saw a 14% rise in plays across electronic genres, particularly in re-emerging micro-scenes such as UK Garage. .
Mexico, India, and Brazil drove subscriber and listener growth on Spotify, with Mexico’s listener base surging 60% year-on-year. Meanwhile, African genres including Afro House and Amapiano made significant strides, reflecting an electronic culture that is truly global, decentralised, and diverse.
Clearly demonstrating that Ibiza remains a global heartbeat of electronic music and unrivalled cultural touchstone for the global dance music community Ibiza club ticketing revenue reached €150 million. (This figure reflects ticketing only and does not include VIP sales, so the total value created for the local economy was even higher) This represents a 6% increase for the Balearic island despite a dip in event volumes, as ticket prices rose and demand for high-value experiences held strong.
The presence of electronic acts on global festival lineups hit 18%, up from 13% in 2021. Superstruct’s $1.4 billion acquisition highlighted the category’s commercial heat.  Meanwhile, gender representation is shifting slowly but steadily: AlphaTheta’s registered female user base grew again in 2024, now at 16%.
2024 was also a breakout year for music AI, with 60 million users engaging music creation apps and 10% of consumers reporting having used generative AI to create music or lyrics. As a result, the line between fan and creator is becoming ever more fluid as AI, audio tools continue to democratise music creation.
Download the full Business Report HERE
The post Electronic Music Industry Continues Commercial Ascent with $12.9bn Global Valuation appeared first on Electric Mode.
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Germany’s Biggest Bass Festival Blacklist Reveals First Names For 2025

Germany’s leading bass festival Blacklist is back at the mighty Turbinenhalle in Oberhausen on October 11th 2025. An epic line up of more than 50 heavy dubstep, trap and drum & bass stars from across the globe has now been revealed to play 12 hours across four stages for 7000 ravers in an unmissable day of heavy rhythms and earth shattering bass. Tickets range from 45 – 85€ and are available from https://blacklist-festival.com/. 
Oberhausen’s Blacklist Festival is unique in Germany as the only festival that caters to real bass heads. It is a tasteful and in-the-know celebration of sounds across the low end spectrum for fans in Germany but also across Europe.  It has become the biggest brand for bass culture in Germany and hosts scene-leading shows of the highest caliber. It now boasts a community loyal to the core and its own unique take on bass culture that always comes to the fore. 

For one day only, Blacklist transforms the Turbinenhalle into a party paradise. The huge warehouse has four floors and is packed with mind-boggling production, lights, lasers, visuals and of course super seized sound systems that deliver bass with real weight, punch and clarity. 
The first wave of names includes Black Tiger Sex Machine who will be playing their first European date of the year. The Canadian trio are known for their apocalyptic, cinematic live shows and a hard-hitting fusion of electro, bass and sci-fi storytelling. Meanwhile, genre-blending producer and vocalist Sullivan King merges metalcore intensity with dubstep and EDM energy, whilst the legendary DJ Snake presents: The Outlaw – an alias showcasing the darker, heavier sound that he debuted at Lost Lands last year. 

Also playing is dark and aggressive dubstep don Code: Pandorum, French bass house innovator Habstrakt, tearout riddim star Hurtbox, dubstep veteran Modestep who will deliver a DJ set of classics, plus the dark, experimental dubstep and glitchy textures of Nimda and masked drum & bass maestro Reaper, plus many more to come. 
Blacklist Festival marks Germany’s most essential celebration of bass music and 2025 is already shaping up to be an epic edition. 
Date: 11th October, 2025
Location: Turbinenhalle in Oberhausen 
Website | Tickets | Instagram
The post Germany’s Biggest Bass Festival Blacklist Reveals First Names For 2025 appeared first on Electric Mode.
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10 Tracks That Shaped Casey Club 

Having come from the underground UK scene, our sound has always been a bit of a melting pot – full of different genres and sounds that might seem unconnected, but all link together in our music. It’s Rob from Casey Club here and I’m going to take you through 10 tracks that built the Casey Club sound – from genre-defining classics to brand new dubs that always get a wheel at every show!
Flava D – In the Dance
When I was at uni, there was a small house party and someone playing on a tiny set of decks to about 8 people. They were playing a genre I’d never heard before, garage, and the track was In the Dance by Flava D. I remember being so amazed at the track and asked the DJ loads of questions about how DJing works and what buttons did what. That was the start of me getting properly into music. Without that track, there’s no Casey Club. Having had Flava D support us both privately and in public means an immeasurable amount to both of us on a personal level.
My Nu Leng – Senses (ft. Iyamah)
For me, this track defines what a good bass track from the 2016ish is. My Nu Leng were the first ever proper rave I went to at The Hub (RIP!) in Plymouth. I remember being absolutely blown off my feet during their set and instantly knowing this is something I wanted to do forever. I’ve had a signed copy of this record on my wall which I sort of have as a reminder of the experiences and quality of music I set out to make right at the start of my journey.
Simula – Bonesaw
I’ve always loved D&B and anyone who listens to D&B regularly will be able to pick out loads of influences in the music we put out now. Bonesaw for me was particularly special as it was kind of the first time the bridge between jump up and minimal was being crossed where people were properly paying attention. It’s been really cool hearing a lot of the yoi-type sound design get repopularised in the UK over the last few years in D&B. It’s definitely helped me find a sonic middle ground between the UK and North America. (Also shout out to Scruz and Kippo for the crazy remix of this – still gets a spin nearly every set!)
Alix Perez – BXL
This is another seminal record for me. I can still so clearly remember Alix Perez uploading a teaser video filmed on his phone of his compressor VU meters and everyone sharing it on facebook, back when that was the undisputed way of doing promo! It’s definitely the sort of track where you don’t want to be skipping the drop, just soak it all in.
Commodo, Ghantz, Khan – AMK
I think it’s hard to talk about UK dubstep without talking about Deep Medi in some capacity. When dubstep got yoi-ified (technically accurate term), these guys stuck to their guns and went further the other way. This track specifically for me just defines that era of dubstep so well. It just sounds so real and analog, it paints such a specific picture in my head of what dubstep from the UK really sounds like.
Para – UP2SOMMET
The last D&B track I’m going to mention on this list. Para is a producer I’ve been a fan of for a relatively short amount of time but you can really tell he knows his stuff. This track makes such an impact when it drops, it’ll knock your head off if you’re not paying attention. I’m lucky enough to know him now as we both live in the same city. If you can get the chance to see him play I couldn’t recommend it enough!
Cesco – Flump (Pineapple Records – 2025)
Another local to me, Cesco, has been killing it for a long time now. It’s really hard to pick which tracks of Cesco’s are the best, Superstealth, Swing King and Move Too Slow all deserve an honourable mention in my book. He’s another one who, like me, has his roots in DnB but has turned his attention to UKG and 140 with incredible style. I think there’s a good argument that he has the nicest drums in this era of electronic music. I’ve heard lots of people try to copy them but no one has managed (yet).
Hamdi – Counting (Taiki Nulight Remix)
If you’ve been paying close attention to either of our social media you’ll know that me and Taiki work together quite a bit. I was writing another track called ‘Papi Riddim’ which led to us both reminiscing about how much we both love dubstep and so he started writing this at the same time. We’ve both been travelling down the 140bpm rabbit hole together for about a year and a half now and have a few collabs in the tank! 
Phrva – Quintuplet Riddim
Phrva has been killing it over the last year or so, for me he’s been a standout in the new North American wave of dubstep, along with guys like Wink, Borne and Alexis B. Their sound reeks of the UK but you can tell it’s got that North American influence. I’ve been lucky to recently start working with these guys and it’s been really cool hearing their take on the 140 genre. I’m super excited to see what the next 12-24 months have in store for them!
Skrillex, Sleepnet, Joker – Tears
It’s hard to talk about dubstep now and not mention Skrillex, it’s much harder when he teams up with Sleepnet and Joker. I think there’s been a lot of the UK that were sort of angry with skrillex for “ruining” dubstep (I’m looking at you r/realdubstep), but I think it’s fair to say he’s gone full circle and has been instrumental in it’s resurgence. What I love so much about the whole Quest For Fire album, is that you can tell how much Skrillex respects UK electronic music culture.
Grab Casey Club- Grill Here

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Club 77 celebrates 28 years of Independence

This May, Club 77 celebrates 28 years of independence, sound, and late nights in Eora. To mark the milestone, the club is rolling out a month-long program that reflects its essence: a tight-knit mix of legends, longtime locals returning to the booth, boundary-pushers, emerging voices, and the residents who keep the heart beating, all here to celebrate where it’s been, and where it’s headed next. Across lockouts, shifting subcultures, and the city’s changing pace, 77 has evolved without losing what matters: a commitment to sound, community, and holding space for artists and dancers to grow slowly, intentionally, and close to home. 
The May program kicks off with a landmark moment: the long-awaited return of Bang Gang, the iconic six-piece collective who helped shape the sound and spirit of Sydney’s electro era. Known for their fearless selections, chaotic energy, and early-internet-era influence, the crew reunites for a one-night-only takeover, joined by special guests, for the first time in over a decade. 
A collective synonymous with the colour, chaos, and cultural imprint of 2000s clubbing, Bang Gang helped define the sound and spirit of a generation reshaping Sydney’s dance floors and leaving a legacy that still resonates. At the centre of that story is the late Ajax, whose vision and drive were instrumental in shaping both the group’s identity and the era’s sound. His presence will be deeply felt on the night. Reflecting on their formative Friday night slot at Club 77, Dangerous Dan shares: 
“It gives me this kind of excitement that’s hard to explain — not nervous or anxious, just that fuck-me-this-moment-can’t-come-soon-enough kind of excitement. The Club 77 crowd has always been there for one reason — to dance. It’s dark, it’s loud, and you can’t really talk much anyway. But they know what’s up. That’s my favourite kind of crowd. And what I’ve missed most? AJAX.” 
As a founding member of Bang Gang, the Sydney-born and Armenia-based Dreems makes his second appearance later in the month, joining Phil Smart for the next instalment of Tempo Comodo, a slow-tempo, exploratory series built on patience, space, and sonic intent. 
Where Bang Gang brings chaos and colour, Phil Smart brings depth and direction. Returning to close out the month, Club 77’s longest-standing resident and a cornerstone of its sound since 1994 continues to shape the floor with the same curiosity and precision that’s defined his sets for decades. A pioneer of Sydney’s underground scene, he was the driving force behind Tweekin’, one of the club’s most influential late ’90s parties. Earlier that decade, the Jus Right parties laid the foundation for a decades-long relationship with the venue. After Tempo Comodo with Dreems, Phil returns once more to close out the month solo — a final set from one of the DJs who helped shape the club from the ground up. 
Alongside returning names, fresh faces take the reins, playing 77 for the first time. Among them is Mowgli, a member of Kerfew, the Southeast Asian collective known for open-format sets and high-energy floors, whose long-awaited debut is supported by 77 resident and fellow Kerfew member Deepa. Known for his wide-reaching selections and instinct for groove, Mowgli’s set is a standout, a meeting point between his globally informed style and Deepa’s percussive, genre-spanning sound. 
Also debuting is DJ D.Dee, the Vancouver-based DJ and founder of Pacific Rhythm. Built on welcoming energy and a deep attention to flow, the ethos of his hometown parties aligns naturally with 77’s own. He’s joined by Mike Who, a longtime resident and key figure in Sydney’s music community. Together, they bring two scenes into conversation, shaped by curiosity, shared values, and dance floor sensibility. 
Adding to the new wave are artists shaping the future from the ground up. Aquenta and Rydeen go back-to-back, bringing raw groove and percussive energy alongside resident Ciara. A DJ and founder of Crip Rave Theory, a club night centred around
Afro-Caribbean music and accessible dance floors, Aquenta brings a sharp sense of rhythm and intention to every set. Ari Kiko joins forces with Jhassic, while Wavyrager and Yemi Sul bring bass-heavy, genre-blurring momentum. Robbie Lowe returns alongside Arunya, a rising name with a sharp sensibility and sound of her own. Together, these artists round out a lineup that looks forward without losing touch with the room. 
At the core of the program, always, are the 77 residents, the ones who know the room best. Across late nights, first sets, and countless dance floors, they’ve shaped the club’s sound and spirit week in, week out. This month, they carry the birthday celebrations from start to finish. Barney Kato, Mazzacles, Phil Smart, Reenie, Jhassic, Ciara, Mike Who, Deepa, and Wavyrager all feature, holding space, setting tone, and keeping the floor in motion. 
28 years in, Club 77 remains a pillar of underground culture, one of the most enduring, inclusive, and forward-thinking spaces in Australian nightlife. While scenes shift and the city changes around it, 77 has continued to evolve, not by standing still, but by championing new voices, nurturing community, and staying connected to the dance floor. This month’s program is more than a celebration; it’s a living reflection of what makes the club matter: the selectors who shaped its sound, the artists driving it forward, and the people who keep it moving. As always, it’s about community, continuity, and sound, held together by an inclusive spirit and a commitment to shaping what comes next. 
Join Club 77 to celebrate 28 years the only way we know how. All events are free with guest list registration before 12am, or $25 after. To access the full program and register for the guest list, see below or visit the Club 77 website. 
The post Club 77 celebrates 28 years of Independence appeared first on Decoded Magazine.
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Koreatown Senior Citizen Harmonica Players Are Captivating LA Kings Fans With a Stunning National Anthem

Photo Credit: NHL
Harmonica players from the Koreatown Senior and Community Center have captivated LA Kings fans with their rendition of “The Star-Spangled Banner.”
As the LA Kings geared up to face Edmonton over the weekend in Game 2 of their first-round playoff series, players were reminded to “pack your harmonicas” before the show hit the road. But if you think a harmonica sounds like a strange thing to bring to a hockey game, you may not be familiar with the game’s superstitious nature.
While perhaps not as storied in its superstitions as baseball, hockey players aren’t afraid to show their appreciation for what they view as a good luck charm. This year, the harmonica has quickly become an unofficial good luck charm for the LA Kings, thanks to memorable pre-game performances of “The Star-Spangled Banner” played by a group of senior citizens from the Koreatown Senior and Community Center.

Less than three miles away from the Kings’ home arena, the center offers 47 programs attended by around 1,500 people each week, according to Board Chair Yong Sin Shin. Seven years ago, a harmonica class was introduced, and the group started practicing the US national anthem in 2021.
Several class members played the song to start a Los Angeles City Council meeting at City Hall on June 7, 2023. “That day, we received a standing ovation from LA City Council members and over 100 attendees, which gave us great confidence,” said Shin.
This past January, the center was contacted by the Kings, said Shin, who were planning their K-Town Night to be held March 23, when the team hosted the Bruins. The center’s executive director, Kwanil Park, suggested the harmonica group play its well-received rendition of “The Star-Spangled Banner” before the game. The Kings loved the idea.
That led to 13 women and one man from the harmonica class, dressed in traditional Korean hanbok, appearing at the game to play the anthem, “to an overwhelmingly positive response.” They were invited back for Game 1 against the Oilers last week, said Shin, and this time the group consisted entirely of women.
After the Kings’ incredible win that night, the team’s X/Twitter account posted, “The power of the harmonicas,” with photos from the game. That led to another performance of the group at the following game, this time with the harmonica players wearing Kings jerseys. “The HarmoniKings are 2-0,” declared the team’s social accounts after another win.
The team’s last few games have been away, but the Kings will arrive back home this postseason, and local fans are hoping they haven’t seen the last of the Koreatown Senior Center players.
“We are currently discussing it with the LA Kings,” said Shin.
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Suge Knight Agrees to $1.5 Million Settlement in Civil Hit-and-Run Murder Case

Photo Credit: Suge Knight by Nick Leisure / CC by 2.0
Suge Knight has agreed to a $1.5 million settlement to the family of Terry Carter, the man he ran over and killed in a 2015 hit-and-run.
On Tuesday, Suge Knight appeared in court via video and agreed to a $1.5 million settlement in his wrongful death suit. The wife and daughters of Terry Carter, the man Knight ran over and killed with his truck in 2015, will each receive $500,000.
The settlement prevents a retrial on claims made by Carter’s family, which would have led to jury selection beginning on April 30 had he not agreed to settle. Knight is currently serving a 28-year-sentence at the Richard Donovan Correctional Facility in San Diego and won’t be eligible for parole until October 2034. But he would have been forced to go on trial anyway—even without his lawyer, David Kenner, who has been trying to exit the case due to a conflict with Suge Knight.
Knight provided a statement to Rolling Stone about the incident, explaining he had gotten into an altercation in a restaurant parking lot that night. The altercation escalated when Knight ran over Carter and another man before fleeing the scene. Carter died within an hour of the incident, while the other man suffered two broken ankles and a head laceration.
“Terry was a friend of mine. It definitely wasn’t done intentionally. It wasn’t done to bring harm to him,” said Knight. “One of the reasons I settled [is] I got respect for Terry, so that means I’ve got respect for his family.” He continued: “I didn’t want to put the family through more pain. It’s not that I did anything wrong. I never would have. But I do owe the family an apology because of this thing they had to go through.”
“It’s hard living without [Terry] when I lived all those many years with him,” said Carter’s widow. “It’s been very, very difficult. I’ve been in pain ever since January 29, 2015; I haven’t had a good day—not one good day.”
She added: “I’m not happy with the outcome of it, at all, but I don’t want to give him another opportunity to put on a clown show and act like a bitch. Maybe somebody will shank him in jail.”
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Big Loud Sells Minority Stake in Morgan Wallen’s Catalog for $200 Million

Photo Credit: Morgan Wallen by Andrew Wendowski / CC by 4.0
Nashville record label Big Loud has sold a minority stake in Morgan Wallen’s catalog to Chord Music Partners for $200 million.
A representative for Big Loud, the Nashville label that’s home to country star Morgan Wallen, confirmed the sale of a minority stake in the singer’s catalog to Chord Music Partners. Chord made the purchase for $200 million, sources close to the matter said.
“Big Loud has sold a minority stake in Morgan Wallen’s master recording catalog to Chord Music Partners, as part of a strategic investment to expand the label’s global footprint and fuel long-term artist development,” the rep told THR. “The deal was executed with the support of the internal Big Loud team, alongside partners at Chord Music, Republic Records & UMG, PLUS Capital, Eisner, Loeb & Loeb, DLA Piper, Dickinson Wright and Armanino.”
Chord Music was founded in 2021, a collaboration between investment companies KKR and Dundee Partners. Its portfolio includes songs from John Legend, Ryan Tedder, and The Weeknd, among others. Universal Music Group bought a 25.8% stake in Chord last year as KKR stepped down.
Big Loud has fast become one of Nashville’s major record labels since its founding in 2013. Its roster boasts Wallen, Hardy, Ernest, and Miranda Lambert, among others. Even Wallen alone offers lucrative multiples that will earn out steadily over the next decade or so, according to sources close to the strategic investment.
Having forged a strong relationship with UMG’s Republic Records, Big Loud signed a multi-year distribution agreement with Republic’s Mercury Records last year. The deal with Chord—in which UMG already holds an equity stake—further strengthens Big Loud’s foothold in the sector and in Universal’s own ecosystem as the world’s largest music company.
Morgan Wallen is gearing up for his I’m The Problem stadium tour, which kicks off in Houston on June 20.
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Are Smaller Vinyl Companies Crashing Amid Sales Slowdown?

Photo Credit: Victrola Record Players
Vinyl sales slowdowns amid broader economic uncertainty spell trouble for several smaller vinyl companies.
Vinyl records surpassed CDs as the most popular physical music format over the past few years; 2024 marked the 18th consecutive year that vinyl record sales grew. But the strain on vinyl production facilities has only been compounded by the increased demand.
That increased demand was made all the more difficult by many manufacturing plants having closed down when vinyl sales first started to slow down back in the 80s. Now, the problem is getting worse again as vinyl sales appear to be cooling off—after a 33% drop in sales between 2023 and 2024.
The birth of new manufacturers, like Jack White’s Third Man Records, helped ramp up capacity over the last decade. But supply shortages during the pandemic contributed significantly to longer lead times.
In 2021, lead times averaged 27 weeks for new vinyl albums, compared to only six weeks of lead time two years prior. Ultimately, only major artists like Taylor Swift have the time and resources to put into a vinyl option with an album release.
Now, in a post-pandemic landscape facing economic headwinds, numerous small vinyl manufacturers are calling it quits. Just last year, Brooklyn-based Leesta Vall bit the dust, while The Vinyl Lab in Nashville announced in January they would be closing their doors.
This week, dozens of subscribers to the Vinyl Me, Please (VMP) record club in Denver have reported unfilled orders, a lack of refunds, and an unresponsive customer support staff. Worse still, some have noted liquidation notices from the company, even while the Denver business insists it will return to normal operations this month.
“It seems VMP has stopped shipping records entirely and they’re still charging for memberships that promise new releases,” said long-time member Stewart Eastham, who says he is still seeking refunds from the company totaling over $1,000 in unfilled pre-orders and annual membership fees. “There has been zero communication and no response from customer support for over a month now.”
Another long-time member, Chris Kaley, said he blames layoffs at the company within the last year for the lack of response. “They fired everyone,” he said. “Who’s left? They’ve never been this late in ten years.”
The company appeared to be doing well in late 2023, but a slew of executive firings and lawsuits in early 2024 led to shipping delays and more job cuts. Between this and the broader economic uncertainty, it’s unknown whether VMP will be able to get back on its feet.
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Copyright Lawsuit Over Sam Smith and Normani’s ‘Dancing With a Stranger’ Revived

Photo Credit: Sam Smith, Normani – Dancing With A Stranger (Official Music Video)
A copyright infringement lawsuit against Sam Smith and Normani over their hit “Dancing With a Stranger” has been revived by a federal appeals court.
A federal appeals court has revived a copyright infringement lawsuit filed against Sam Smith and Normani over their 2019 hit “Dancing With a Stranger,” alleging it copied aspects of a similarly named song from 2015. On Tuesday, a three-judge panel of the 9th US Circuit Court of Appeals reversed a lower court’s decision to dismiss the case.
According to the appeals court, a jury could find the hooks of the two songs to be “substantially similar.” Ultimately, a California federal judge will reconsider the matter.
Sound and Color, copyright holder of “Dancing With Strangers” by Jordan Vincent and music duo SKX, filed the initial lawsuit in 2022. The filing alleged the song’s title, lyrics, melody, and overall production copied elements of the earlier track.
Smith’s song has a noticeably slower tempo, but the lawsuit claimed the similarities are undeniable when the tracks are played at the same speed. Further, it asserted the underlying composition of both songs is “nearly identical,” and their hooks share the same lyrics and arrangement of phrasing.
The case was dismissed by a California federal court in 2023, determining that the two songs were not substantially similar other than the phrasing of the title. But that was determined too general to be protected by copyright law.
Now, the appeals court says the case should have gone before a jury. The court emphasized that there isn’t a well-defined standard for assessing similarities in the arrangement and selection of songs to determine whether infringement has occurred.
“As Sound and Color’s experts opined, the hooks share the same combination of several musical elements, including the same lyrics, the same ‘metric placement’ at the beginning of each syllable, and the same downward ‘melodic contour’ that starts at pitch 7 and ends at pitch 3,” they wrote.
“Defendants’ exhibit containing forty-three audio excerpts of songs with similar lyrics but differences in rhythm, pitch sequence, and melodic contour illustrates the ‘wide range of possible expression and broad creative choices’ involved in crafting a hook and thereby shows that broad copyright protection is appropriate.”
The order arrives at a crossroads for similar cases, which for a while seem to have trended in favor of the artist being sued. Ed Sheeran won in two lawsuits that went before juries over his songs “Shape of You” and “Thinking Out Loud.” But cases of this nature can go either way; more often these days, such cases have been going before a jury due to the nuance involved in determining whether infringement has taken place.
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ManiFest Returns To Brooklyn With Eazybaked, SISTO:DEVOUR, JAESYUN, And More

Summer festivities in New York are right around the corner, and lineups are flowing like a river. The Radiate and Synchro Events production ManiFest returns to Brooklyn for a very special 4th of July. The underground event will host a plethora of special guests across three stages from 2 pm until 5 am at a secret location that will be disclosed the day of the event.
ManiFest Lineup
The ManiFest Phase 1 lineup is up and ready with a mixture of headliners and local acts. Independence day will be filled with a heavy Bass and House lineup that will spark up the dancefloor like fireworks. Headliners include Eazybaked, Chef BOYARBEATZ, and SISTO:DEVOUR.
Local stars such as Akashic Sounds, Bronze Sun, Celestica, DJ Synchro, and Guyguy. Moreover, EDMTunes’ very own JAESYUN will grace the night with his pulsating beats and fun mixes.
Tickets are available here!
More of JAESYUN
JAESYUN is an international DJ and music producer based in New York City. A classically trained musician and a veteran raver, Jaesyun grew up surrounded by music, but was unable to express his own artistic vision until he dove headfirst into the vibrant world that is New York City nightlife. After feeling inspired by the creativity and resilience of those around him, Jaesyun began putting his extensive training to work to produce his sound while also leveraging his impressive network of nightlife titans and dance music industry insiders to appear on stages across the world. His music is often a blend of high-octane house music that effortlessly weaves together a wide gamut of other genres, taking listeners on a sonic journey.
JAESYUN has provided direct support to industry giants such as J. Worra, Kaleena Zanders, OMNOM, BIJOU, and Max Styler. He has also shared the stage with mainstream artists such as Chappel Roan, and Tinashe.
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Billboard Announces First CEO: Mike Van

After a prosperous three years leading Billboard as President, Mike Van has been announced as taking over the new position of CEO. This exciting announcement comes as no surprise. Van’s reign has shown expansive success in revenue and Billboard’s presence worldwide. In the last few years, he has not only cultivated amazing live experiences at THE STAGE in SXSW, Billboard Latin Music Awards, Billboard Music Awards, and Billboard Woman in Music. Moreover, he also led a revolution by modernizing this company by utilizing the power of social media.

Billboard’s Visionary CEO

In his new role as CEO, he will dive into the task of driving both the editorial and business side of this company with Hannah Karp as his editor-in-chief. Directing Billboard, a company that blankets over 15 countries, will be no easy task. However, Mike Van is no stranger to filling big shoes. He has previously held leadership positions for companies like Pandora, MRC Entertainment, and Complex, amongst others. With over 25 years of experience in marketing and monetization, Mike Van will surely continue to lead Billboard to be a profitable and highly recognized brand.
Mike Vance will report to the chairman and CEO of Penske Media Corporation, Jay Penske. Penske applauds Mike Van’s leadership so far, highlighting his abilities to create a collaborative and visionary environment. He is cultivating Billboard into a formidable force. Despite the demanding change within the music industry, Mike Van has continuously been able to supply outstanding results for the brand.
After the news broke, he stated that Billboard will “shape the next 125 years by continuing to celebrate artist and executive achievements through our charts, content, global IP expansion and evolving our signature live experiences, cementing our position as the definitive voice of music business and culture.” With his words, he leaves everyone watching this brand develop on a hopeful note. They hope he will keep the ball rolling and continue to lead Billboard through the ever-changing industry of media and music.
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Tomorrowland One World Radio Launches the 2025 Top 1000

It’s that time of year again. One World Radio has officially kicked off the 7th edition of the Tomorrowland Top 1000, a celebration of the most iconic tracks in the history of one of the world’s most beloved music festivals. Starting today, electronic music fans around the globe can tune in for eight hours of daily programming that dives deep into dance music’s most unforgettable anthems.
The countdown, featuring 125 tracks each day from Monday to Friday between 09:00 and 17:00 CEST, leads up to a grand finale on Friday, May 9, when the ultimate Number 1 track of 2025 will be revealed.
The Power of the People: Fans Shape the Top 10
In a brand-new twist this year, the final order of the Top 10 is still up for grabs. Fans — the People of Tomorrow — can vote to determine the final ranking of the Top 10 via the Tomorrowland App or at tomorrowland.com until May 8.
As an added incentive, participants will automatically be entered into a giveaway for two Full Madness Passes for Weekend 2 of Tomorrowland Belgium 2025. The winner, along with the most iconic anthem of the year, will be revealed during the final broadcast.
A Top 10 Worthy of Dance Music Royalty
While the ultimate #1 remains a mystery, One World Radio has revealed the 2025 Top 10 contenders in random order, and it’s a stacked lineup of timeless classics and modern anthems:
Sebastian Ingrosso & Alesso feat. Ryan Tedder – Calling (Lose My Mind) Martin Garrix feat. Bonn – High On Life Hardwell – Spaceman Swedish House Mafia feat. John Martin – Don’t You Worry Child Alesso vs OneRepublic – If I Lose Myself Avicii – Wake Me Up Age Of Love – The Age Of Love (Charlotte de Witte & Enrico Sangiuliano Remix) Armin van Buuren – Blah Blah Blah Avicii – Levels Dimitri Vegas, MOGUAI & Like Mike – Mammoth These tracks have defined dance floors and festival moments for years, and with three new entries shaking up the Top 10, 2025 is shaping up to be one of the most exciting editions yet.
What to Expect: Classics, Hits, and Fresh Energy
Whether you’re in the mood for hands-in-the-air festival bangers or deep, emotional progressive house, the Tomorrowland Top 1000 delivers it all. Expect a curated selection of all-time radio hits, genre-defining records, and last year’s standout releases — all handpicked by Tomorrowland fans across the globe.
As always, the countdown is more than a playlist — it’s a sonic journey through the culture and evolution of electronic music, with One World Radio as your guide.
Where and How to Listen
Tune in every weekday through May 9 via:
The Tomorrowland App Tomorrowland.com One World Radio’s digital stream Don’t miss this annual tradition — a celebration of the music that shaped Tomorrowland and inspired generations of dance music lovers.
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Riot Ten and Versa Drop ‘Threats’ – A New Riddim Banger

Riot Ten, a recognized force in bass music, has teamed up with Versa for their latest collaboration, ‘Threats‘. This powerful track marks the fourth single from Riot Ten’s upcoming album. It blends sharp synths, intense basslines, and high energy to create a dynamic riddim experience.
‘Threats’
‘Threats’ opens with a heavy bass drone that quickly evolves into an anticipating bass, setting the tone for a high-energy track. A fakeout and vocal sample drops listeners into the first massive drop. The thunderous drop delivers mosh-pit energy, carrying you into a second build-up, leading to another explosive riddim drop. The combination of electronic mayhem and a heavy drum pattern makes this track a must-have in Riot Ten’s live sets. After the break, the track builds up again, creating an ultimate transition spot for DJs to incorporate the final drop into any classic riddim set.
Riot Ten and Versa
Born in El Paso, Texas, Riot Ten made his mark with hits like ‘Rail Breaker’. His music has been supported by industry heavyweights like Excision and Zeds Dead. Riot Ten has performed at top festivals like EDC Las Vegas, Coachella, and Lost Lands. His debut albums, “Hype Or Die: The Dead” and “Nightmares”, both saw chart-topping success.

Versa, known for his bold sound design, has rapidly gained recognition in the bass scene. He’s been featured at festivals like Forbidden Kingdom and Delirium Festival. Versa’s ability to create crowd-opening tracks has made him a standout in the underground bass community.
Riot Ten Tour Dates:
05.30.2025 – The Orlando Amphitheater at Central Florida Fairgrounds, Orlando, FL 
06.07.2025 – HYPE OR DIE – El Paso, TX
06.13.2025 – ARORA NOLA, New Orleans, LA 
07.31.2025 – Ember Music Hall, Richmond, VA 
08.01.2025 – Dancefestopia 2025, Lacygne, KS


Versa Tour Dates:
05.16.2025 — The Stache — Grand Rapids, MI
05.17.2025 — Red Rocks Amphitheatre (w/ ATLiens) — Denver, CO
05.31.2025 — Forbidden Kingdom Festival — Orlando, CO
06.13.2025 — Delirium Festival — Quebec, CA
06.21.2025 — Hostile Presents Construction Warehouse Rave — Los Angeles, CA

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Porter Robinson Announces Rare Sunrise DJ Set at Miami’s Club Space

Porter Robinson is set to return to Miami’s legendary Club Space for a rare sunrise DJ set on June 20th. This marks his first performance at the iconic venue since 2023, where he performed as his progressive house alter ego, Air2Earth. The highly anticipated set promises an unforgettable experience of Porter vibes and a lovely South Beach sunrise.
Porter at Club Space: Set Details
Robinson has hinted that the performance will showcase a mix of genres, featuring his favorite club music. Fans can expect a blend of house music, disco, and progressive house sounds, combined with the signature Air2Earth vibes. Along with his usual setlist, Robinson promises a taste of his classic tracks.
About Club Space and Upcoming Shows
For more than 25 years, Miami’s Club Space has been a cornerstone for electronic music enthusiasts seeking unforgettable raves. Popular for its extended after-hours parties, the club attracts top DJs and selectors from around the world. Space’s legendary Terrace, with its clear ceiling, offers a unique experience where revelers can watch the starlit sky transform into sunrise, creating a magical atmosphere for fans to immerse themselves in the music. The club has earned a reputation as one of Miami’s premier destinations for electronic music, constantly pushing the boundaries of nightlife. Overall, Club Space will provide the perfect backdrop for Porter Robinson’s sunrise set.
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Deezer Reports Modest Q1 2025 Revenue Growth, Still Plans on ‘Reaching Profitability This Year’

An interior shot of Deezer’s Paris headquarters. Photo Credit: Deezer
Deezer has reported a modest revenue improvement – and a subscriber dip – for 2025’s opening quarter. Nevertheless, execs are still banking on “reaching profitability this year.”
The publicly traded streaming company (DEEZR on the Euronext Paris) today published its Q1 2025 financials as well as its close to 300-page 2024 annual report. Keeping the focus on the former, Deezer disclosed Q1 2025 revenue of €134 million (currently $151.71 million), up 1.1% YoY.
Behind the sum, the Paris-headquartered business pointed to $90.04 million/€79.5 million (up 4.5% YoY) in first-quarter revenue from France, where “the contribution of a new deal signed at the end of 2024” fueled growth.
The remaining $61.73 million/€54.5 million (down 3.4% YoY), on the other hand, resulted from operations in all nations except France. Unsurprisingly, given those details, Deezer’s France-based direct subscribers increased 6.3% YoY to 3.5 million during Q1, against a 2.1% YoY slip to 1.8 million for Rest of World.
Letting Deezer take the wheel for a moment, the business updated its Q1 2024 figures for the report. “Q1-2024 data has been restated to offset the effect of the 50 thousand inactive Family account removal, on a like for like(LFL) basis,” the Access Industries subsidiary acknowledged in a footnote.
Meanwhile, non-direct “partnership” subscriptions, like with Mercado Libre and more, fell 14.6% YoY to 4.1 million for Deezer in the first quarter, the report shows. Even so, partnerships ARPU grew 2.6% YoY to $3.51/€3.10 as direct subs slipped 1.2% YoY in the same category to $6.23/€5.50.
As initially mentioned, Deezer doubled down on its longstanding objective of achieving profitability.
“As previously announced,” CEO Alexis Lanternier said in part, “we are fully focused on executing our new strategic direction, introducing bold and innovative music experiences designed to create long lasting value for fans, artists and our partners.
“New features are already live, with intuitive personalization and universal sharing, setting the tone for what we continue to build – a next level music experience based on the expectations of music fans of today and tomorrow.
“With confidence, we confirm our 2025 guidance and our objective of reaching profitability this year,” concluded Lanternier, who came aboard in 2024.
Deezer unveiled those new features – bolstered user control over algorithm recommendations, enhanced interface customizability, monthly consumption stats, and “a universal sharing link” that works across all streaming platforms – earlier in April.
During today’s trading, Deezer shares parted with about 1% of their value, finishing at $1.61/€1.42 apiece when the market closed.
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Zedd's New Documentary Goes Behind the Scenes of His Coachella 2025 Performances

While we all see the impressive production and performances from our favorite artists at Coachella each year, Zedd has provided an in-depth look into the immense preparation for that single hour onstage.
When fans secure their tickets to festivals or tune into livestreams, it's easy to assume that the performer simply shows up a few minutes before their set, performs and then goes home. But the job begins way before they even step foot on the festival grounds. 
To share this often-unseen reality with his fans, Zedd developed a behind-the-scenes documentary about his performances in Indio earlier in the month and uploaded it to YouTube.
In the video's 15-minute runtime, fans are given exclusive looks at his rehearsals with collaborators Julia Michaels and Bea Miller as well as his production team. The film also features footage of backstage encounters with fellow artists like Becky G, LL Cool J, Lisa, Jaden Smith and Gryffin before closing out with backstage views of Zedd's Outdoor Theatre stage performance.
You can watch Zedd's full behind-the-scenes documentary from both weekends of Coachella 2025 below.
Follow Zedd:
Instagram: instagram.com/zedd
TikTok: tiktok.com/@zedd
X: x.com/zedd
Facebook: facebook.com/zedd
Spotify: spoti.fi/2CoYpk2
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Fat Joe Slaps Former Employee With Defamation Suit Over ‘A Torrent of Wholly Fabricated, Grotesque, and Scandalous Allegations’

Fat Joe, who’s filed a defamation lawsuit against one of his former employees. Photo Credit: Mika-photography
Drake isn’t the only rapper suing over allegedly false pedophilia claims. Now, Fat Joe says his former hype man defamed him with untrue allegations “of vile sexual misconduct, pedophilia, statutory rape, violence and stealing.”
54-year-old Fat Joe (real name Joseph Cartagena) just recently submitted the complaint to a federal court in his native New York. Aside from the mentioned hype man, Terrance Dixon (known professionally as TA), the complaint names as defendants attorney Tyrone Blackburn and his law firm.
For a bit of background, Fat Joe brought on TA as his hype man in or around 2006, according to the suit. Over the course of the professional relationship, which is said to have “ended amicably in 2019,” Fat Joe purportedly afforded TA “generous compensation.”
Fast forward to 2023, when TA allegedly “initiated a campaign of public harassment against” Fat Joe on social media.
“In an obvious money grab, all these years later, Dixon claims that he should have been paid more. He claims (falsely) that Cartagena recently blocked him from getting outside funding for a record label, which was the ‘last straw,'” the suit reads.
Furthermore, some of those not-so-subtle posts, which were still live on Instagram at the time of writing, accused the five-time Grammy nominee of sexual assault.
The accusations pertain in part to 2010 “inappropriate touching” allegations against Fat Joe, who denied the claims at the time and was cleared “of any involvement shortly” thereafter, per the text.
“Dixon knew that these statements were false: Cartagena never sexually assaulted anyone,” the suit maintains. “Authorities never charged or detained Cartagena…and cleared him of any involvement shortly after speaking with him. Rather, Dixon attempted to resurrect a decade plus-old false accusation and headline to support his campaign of harassment and extortion.”
Unsurprisingly, given the complaint, this alleged campaign was accompanied by demands for Fat Joe to cough up cash, per the suit.
Also unsurprisingly in light of the action, the rapper didn’t cave to the payment demands then or later in 2023, when the remarks “escalated” and “accused him [Fat Joe] of being a pedophile.”
Fast forward once more, past 2024 (when the alleged defamation continued) and into the current year. To this point in 2025, TA has allegedly levied false accusations at Fat Joe for cheating “him out of money and credit” on songs, besides penning “countless other posts attempting to belittle and humiliate” the plaintiff.
“Frustrated by his inability to overcome Cartagena’s resolve,” the complaint continues, “Dixon upped the ante by hiring” the aforementioned “Blackburn to continue his extortionate scheme.”
That attorney’s name will be familiar to some in the industry – though as Fat Joe and his counsel see things, Blackburn is only “an extortionist masquerading as a lawyer in a cynical ruse to use the court system as both a sword and a shield for his unethical conduct.”
Long story short, Fat Joe and his team are accusing Blackburn of engaging in “a pattern of unprofessional and erratic behavior that raises significant concerns.”
Said behavior includes allegedly threatening letters, an alleged threat to report Fat Joe to Homeland Security, and a whole lot else, the suit explains in more words.
And it’s against this backdrop that the defendants allegedly made massive settlement demands – one for a staggering $20 million – to prevent related litigation, according to the action.
All told, Fat Joe is suing TA for defamation and seeking relief from both TA and Blackburn for intentional infliction of emotional distress. DMN reached out to Blackburn for comment but didn’t immediately receive a response.
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New Report Says Extreme Weather Poses “Existential Threat” To Australian Festival Scene

A new report investigating the impacts of climate change on the Australian festival scene finds that increasing extreme weather events in the country are an immediate threat to its live music sector. 
Released today by Green Music Australia, the report, titled “Rain, Heat, Repeat: How Music Fans Are Experiencing Extreme Weather,” compiled survey responses from Australian festivalgoers and analysis from academics at the Royal Melbourne Institute of Technology (RMIT) and La Trobe University.
Researchers have found that more than 50 Australian festivals have been fully or partially canceled due to extreme weather events, including floods, bushfires, heatwaves, and storms, since 2015. Last month, 26 live music events were canceled in just one week due to the impending arrival of Severe Tropical Cyclone Alfred. 
Beyond canceled events, the report found that just over one-third of the 1,155 people surveyed said increased extreme weather events have made them cautious about purchasing tickets, with that total rising to nearly 45 percent among weekly showgoers. One in three surveyed said they would skip a festival entirely if temperatures exceeded 35 degrees Celsius (95°F). When they did attend, 85 percent of respondents reported experiencing what they considered “extreme weather” at a festival in the last 12 months.
The report’s co-author, RMIT sociologist Catherine Strong, contends that these shifting consumer habits as a result of extreme weather pose an additional obstacle for festival promoters facing rising costs and safety challenges due to hot or stormy weather.
“The normal way the festival industry does business relies on a certain number of tickets to be sold early and often,” Strong told The Guardian. “People are now getting cautious enough about the weather that they’re starting to leave their ticket buying to the point where they can meaningfully look at a weather forecast.”
She continued: “This in turn affects how festivals can assess whether or not they are viable, and for a lot of them, that’s just not practical.”
Green Music Australia’s recommendations for addressing the issue include government action on climate science, consumer protection for ticket holders, and climate-resilient festival infrastructure such as shaded areas, heat shelters, water refill stations, and flood-resistant staging, among others.
Read the complete report here.
Featured image courtesy: Pitch Music & Arts.
The post New Report Says Extreme Weather Poses “Existential Threat” To Australian Festival Scene appeared first on EDM Maniac.
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New Report Says Extreme Weather Poses “Existential Threat” To Australian Festival Scene

A new report investigating the impacts of climate change on the Australian festival scene finds that increasing extreme weather events in the country are an immediate threat to its live music sector. 
Released today by Green Music Australia, the report, titled “Rain, Heat, Repeat: How Music Fans Are Experiencing Extreme Weather,” compiled survey responses from Australian festivalgoers and analysis from academics at the Royal Melbourne Institute of Technology (RMIT) and La Trobe University.
Researchers have found that more than 50 Australian festivals have been fully or partially canceled due to extreme weather events, including floods, bushfires, heatwaves, and storms, since 2015. Last month, 26 live music events were canceled in just one week due to the impending arrival of Severe Tropical Cyclone Alfred. 
Beyond canceled events, the report found that just over one-third of the 1,155 people surveyed said increased extreme weather events have made them cautious about purchasing tickets, with that total rising to nearly 45 percent among weekly showgoers. One in three surveyed said they would skip a festival entirely if temperatures exceeded 35 degrees Celsius (95°F). When they did attend, 85 percent of respondents reported experiencing what they considered “extreme weather” at a festival in the last 12 months.
The report’s co-author, RMIT sociologist Catherine Strong, contends that these shifting consumer habits as a result of extreme weather pose an additional obstacle for festival promoters facing rising costs and safety challenges due to hot or stormy weather.
“The normal way the festival industry does business relies on a certain number of tickets to be sold early and often,” Strong told The Guardian. “People are now getting cautious enough about the weather that they’re starting to leave their ticket buying to the point where they can meaningfully look at a weather forecast.”
She continued: “This in turn affects how festivals can assess whether or not they are viable, and for a lot of them, that’s just not practical.”
Green Music Australia’s recommendations for addressing the issue include government action on climate science, consumer protection for ticket holders, and climate-resilient festival infrastructure such as shaded areas, heat shelters, water refill stations, and flood-resistant staging, among others.
Read the complete report here.
Featured image courtesy: Pitch Music & Arts.
The post New Report Says Extreme Weather Poses “Existential Threat” To Australian Festival Scene appeared first on EDM Maniac.
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MANLY Summons Pure Bass Carnage With New Single ‘BLOOD BATH’

Last year MANLY dropped the speaker shredding ‘REVENGE’ EP which took the bass scene by storm with it’s insanely powerful and aggressive sound. He’s been quickly making a name for himself with his crazy productions and ‘BLOOD BATH’ further solidifies MANLY’s growing reputation.
Crashing the genres of tearout and riddim together, ‘BLOOD BATH’ is a high intensity, high impact, beast that thrills throughout. The breakdowns carefully build tension for the drop through foreboding atmospherics and restrained synths that are let loose in the chorus’. The Sydney based DJ pulls no punches here with a track that pushes the limits of aggression while remaining controlled when it needs to.
MANLY’s work has gained support and recognition from the scene’s top DJs including MARAUDA, SVDDEN DEATH, and MIDNIGHT T. His music has appeared on renowned labels like MALIGNANT, MENTIS, and SOUNDS OF MAYHEM where he has continued to grab people’s attention with his raw and brutal sound.
‘BLOOD BATH’ is in your face, full throttle, bass music at its finest. MANLY’s talent for creating controlled chaos is unmatched making him a must watch artist who is becoming an unstoppable force.
You can follow MANLY on his socials below:

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EDC Thailand 2026: New Venue, First Hotel EDC, Tickets, and More

EDC Thailand 2026 is leveling up with four major updates after a successful debut this year: a brand-new venue, the first-ever Hotel EDC in Thailand, official confirmed dates, and ticket prices. From January 16–18, 2026, fans will dance across expanded grounds at Rhythm Park, can stay beachfront at the five-star Angsana Laguna Phuket by Accor, and enjoy a fully curated festival-meets-resort experience. Organized by Insomniac and destination partner Vibee, this year’s edition delivers a fully immersive rave journey anchored in luxury, music, and community. Ticket and package sales from $195 for 3 days, begin with Future Owl presales on May 2, so early birds can lock in discounted access. EDC Thailand 2026 isn’t just another festival weekend—it’s a complete destination experience for traveling ravers worldwide.
A New Home at Rhythm Park
EDC Thailand 2026 moves to Rhythm Park, a brand-new venue located in Laguna Phuket, just meters from the former site. The park is close to Boat Avenue, offering easy access for returning fans and international visitors flying into Phuket. This purpose-built space is larger and wider than before, giving fans more room to explore and dance freely. Designed for music festivals and cultural events, Rhythm Park enhances both crowd flow and production capacity across multiple stages. Surrounded by beaches, resorts, and tropical landscapes, the venue introduces a more immersive environment for the EDC experience. Rhythm Park is now positioning itself as Phuket’s new cultural hub, with EDC leading its international rollout.
Hotel EDC Thailand 2026: A Five-Star Festival Retreat
Hotel EDC Thailand will take place from January 15–19, 2026, marking its first international edition and setting a new festival standard. Guests will stay at the five-star Angsana Laguna Phuket by Accor, a beachfront luxury resort just minutes from Rhythm Park. Each Hotel EDC package includes a 4-night stay, 3-Day GA or VIP festival pass, and a Headliner Party Pack. The rooms host up to four people, designed with official EDC-themed gear for added excitement. Guests receive limited-edition merch, along with daily complimentary breakfast and food and beverage credits for select locations. A dedicated Vibee concierge will assist guests throughout the weekend with smooth check-ins and hotel support.
Hotel EDC guests will unlock exclusive access to the EDC Thailand Beach Party and daily hotel pool parties with live DJ sets. The experience includes wellness sessions, like sunrise yoga, meditation, and immersive water activities in the Andaman Sea. Guests can snorkel, relax by the beach, or attend interactive installations with pop-up DJ booths and performers. The resort features fine dining, white sand beaches, and photo-worthy backdrops designed to match EDC’s visual aesthetic. Each moment extends beyond the music, creating a fully programmed rave journey within the property.
Those choosing the VIP Hotel EDC experience receive expedited festival entry, private viewing decks, and premium air-conditioned restroom trailers. A beauty bar on-property allows guests to get rave-ready before heading to the festival each day. All VIP areas are 20+ only, and require valid photo ID for access across all EDC zones. “It’s not just a place to sleep—it’s a fully programmed journey where every moment is connected to the festival energy,” said Vibee and Insomniac. Hotel EDC Thailand presale opens May 1, 2025, with general on-sale May 2, 2025 at HotelEDCThailand.com.
EDC Thailand 2026 Ticket Prices
The Future Owl presale starts May 2 at 09:00 ICT (May 1 at 7PM PT) for fans eager to plan early. A 3-Day GA pass costs $195, giving access to all stages, performances, and EDC art experiences across the weekend. The 3-Day VIP pass starts at $315, and includes exclusive perks like fast-lane entry, VIP restrooms, and private viewing areas. VIP ticket holders must be 20+ with valid photo ID, and must present proof for all restricted areas. Buying early guarantees lower prices, and protects against scammers selling fake or overpriced tickets. Fans should buy only from official ticketing platforms listed on thailand.electricdaisycarnival.com.
Image Credit: Skyler Greene
The post EDC Thailand 2026: New Venue, First Hotel EDC, Tickets, and More appeared first on EDMNOMAD.
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SXSW Ex-President Says Penske Forced Him Out: ‘Leaving SXSW Was Definitely Not My Decision’

Photo Credit: Hugh Forrest for Penske Media
Former South by Southwest President Hugh Forrest says parent company Penske Media forced him out during an executive shakeup.
According to former South by Southwest (SXSW) President Hugh Forrest, leaving his role was not his choice. Instead, it was the decision of parent company, Penske Media, which now owns a 51% stake in SXSW.
“Leaving SXSW was definitely not my decision,” said Forrest in a statement. “I put my heart and soul into this event for more than 35 years—and I was looking forward to leading several more editions. To this end, I will be rooting big time for the Austin team going forward. The city, the country, the world needs the positive energy SXSW has traditionally provided, needs it now more than ever.”
Notably, his statement pushes back against Penske’s own about his exit. According to the publishing and events giant, its board elected Jenny Connelly to lead the Austin festival as its “director in charge.” This decision, they said, upset Forrest enough that he left the company. “When Hugh was told he was not going to get the CEO role at SXSW, and would be reporting to her, Hugh made the decision to leave SXSW,” reads a statement from Penske.
Forrest is one of 11 former employees who either left or have been fired by SXSW recently, including its veteran head of communications and its chief technology officer. Both their exits and the broader changes to SXSW were announced by Connelly on a video call last Friday.
According to The New York Times, SXSW did not meet Penske’s “ambitious” goals for the year—or in 2024. But the company has downplayed that assertion, focusing on this year marking “the highest ever sponsorship revenue in the history of the company.”
Penske Media acquired a 50% stake in SXSW in 2021, and it increased that stake by 1% two years later to take a controlling interest. Penske is the owner of Hollywood trade outlets such as Variety and The Hollywood Reporter.
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