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Vintage Culture Announces Collaboration with Von Dutch

Brazilian DJ and producer Vintage Culture is teaming up with Von Dutch Loves, the bold new label from the iconic Von Dutch brand, for their first ever artist collaboration with a limited edition capsule collection. Known for its fearless designs and connection to music, nightlife and rule breaking creativity, Von Dutch Loves finds a perfect partner in Vintage Culture, whose genre defying sound and global influence embody the spirit of nightlife and creative rebellion.
The highly anticipated collaboration between Vintage Culture x Von Dutch Loves will launch globally on Monday, June 16th on the official website, with the collection channeling the energy of the underground through a Y2K lens, reflecting the dynamic energy of the nightlife scene and the spirit of individuality. The limited edition clothing line, designed by Vintage Culture himself, offers stylish and versatile designs for both men and women, featuring oversized silhouettes, distressed finishes and hand-scrawled graphics spanning trucker hats, t-shirts and more. From bold statement pieces to sleek, understated essentials, the collection celebrates self expression and creative freedom. Speaking about the collaboration, Vintage Culture said:
The collection will be available online and at select retail locations worldwide following the launch event. It is the first in a series of influential activations for Von Dutch Loves, with further collections, festival and event partnerships and more to come across the year.
Stay tuned for more news!
The post Vintage Culture Announces Collaboration with Von Dutch appeared first on EDMTunes.
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"This Is What We Always Dreamed of": Eric Prydz Unveils Holosphere 2.0 at Ibiza's [UNVRS] Club

Swedish electronic music icon Eric Prydz premiered his groundbreaking Holosphere 2.0 production at Ibiza's [UNVRS] club on Monday night, a production characterized by the venue's owner, The Night League, as "the most advanced club show on Earth."
The centerpiece of the show is a massive spherical structure that required every component to be custom-engineered from scratch, according to a press release. The installation achieves what the club describes as a "razor-thin balance between engineering-grade strength and near-total transparency," a feat made possible only by its cavernous main room and arena-scale infrastructure.
The visual content represents a collaboration between Prydz and a phalanx of digital artists, including renowned visual effects artist GMUNK. Working from a Los Angeles studio, the team filmed crystal orbs, plasma balls and burning glass in 360 degrees, then laser-mapped and stitched the footage into immersive holographic environments.
Each visual loop functions as what the creators call "a standalone digital sculpture," with dramatically improved resolution, pixel density and color depth compared to the original Holosphere that debuted in 2019.
Rather than a sequel, however, Prydz positions Holosphere 2.0 as a complete reimagining of his iconic show concept, potentially setting a new standard for immersive electronic music experiences.
"We’ve waited six years for this," Prydz said. "Not because we wanted to, but because we had to. The technology needed to catch up with our vision as every single part of Holosphere 2.0 is bespoke and original. This is what we always dreamed of."
[UNVRS], Ibiza's newest superclub, officially launched Friday night with a spectacular opening party. Watch a video of the debut of Holosphere 2.0 below, courtesy of Prydz.
View the original article to see embedded media.
Follow Eric Prydz:
X: x.com/ericprydz
Instagram: instagram.com/ericprydz
Facebook: facebook.com/EricPrydzOfficial
Spotify: spoti.fi/2WNQq7N
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Destination ULTRA 2025 Announces Lineup and New Locations Across Croatia

ULTRA Europe has officially unveiled the 2025 edition of Destination ULTRA, introducing new locations and a refreshed format across Croatia’s coastline and islands. The seven-day event will take place from July 11 to 17. It will blend festival experiences with island travel, scenic venues, and a diverse selection of artists representing the spectrum of electronic music.
The week kicks off in Split, where ULTRA Europe returns to Park Mladeži from July 11–13. The lineup includes some of the scene’s most influential names: Armin van Buuren, Martin Garrix, Tiësto, Alesso, Hardwell, Carl Cox, and Solomun. The weekend also features key performances from Amelie Lens, John Summit, Artbat. Additionally, there is an exclusive B2B set from Adam Beyer and Mau P, expected to be one of the highlights of the summer.
Following the main festival, the Destination ULTRA program moves into its island phase. On July 14, the RESISTANCE brand makes its debut on Brač island at Club 585 in Bol. This premiere marks a new chapter for RESISTANCE, combining its underground sound with the natural beauty of Croatia’s island setting. Mind Against will headline, supported by Jasmin Blust and Joshua Robbie.
Another major shift in 2025 is the relocation of ULTRA Beach. It moves from Hvar to a new venue: Olife Beach in Milna, Brač, on July 15. This natural amphitheater will host Afrojack and R3HAB. Furthermore, there will be a showcase from Afrojack’s Jacked Takeover label featuring Crime Zcene, Gregor Salto, Julian Cross, and Sven Fields.
The week concludes on Vis island on July 16 with the RESISTANCE Closing Party at Fort George, a boutique event limited to 2,000 attendees. Headlining is Cassian, known for his releases on RÜFÜS DU SOL’s Rose Avenue label. He is supported by D3fai and Jesabel.
Alongside the on-land programming, ULTRA continues to offer a luxury Destination ULTRA Yacht Package. This combines music, island hopping, and exclusive access to official events. The package includes private cabins, onboard amenities, and meals. There are only a few cabins remaining.
The Croatian National Tourist Board, a long-standing festival partner, supports Destination ULTRA. The festival is seen as a unique offering that blends tourism, music, and cultural experience along the Adriatic coast.
Destination ULTRA 2025 Schedule:
July 11–13: ULTRA Europe, Park Mladeži, Split July 14: RESISTANCE Brač, 585 Club, Bol July 15: ULTRA Beach, Olife Beach, Milna, Brač July 16: RESISTANCE Vis Closing Party, Fort George, Vis Tickets and more information are available at ultraeurope.com.
The post Destination ULTRA 2025 Announces Lineup and New Locations Across Croatia appeared first on EDMTunes.
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EDMTunes Chats with Space 92

Get ready to dive deep into the cosmos of sound as EDMTunes sits down with one of the most explosive names in today’s techno scene, Space 92! Known for his searing basslines, relentless energy, and chart-topping releases that have dominated dancefloors worldwide, the French producer has carved out a unique and powerful niche. We recently had the incredible opportunity to connect with the maestro himself to discuss his meteoric rise, creative process, and what aural asteroids he has in store for us next. So, buckle up and prepare for a journey into the mind of a modern techno titan – this is one interview you won’t want to miss!
Hi! Thanks so much for speaking with us. How are you and how has your year been so far?
Hi, thanks for having me! I’m good, can’t complain. This year has been my biggest so far so I’m very happy and satisfied, even if this means I’m touring all the time and not getting much sleep – it’s so worth it. I played at Ultra Miami’s 25th anniversary as well as Beyond Wonderland SoCal and EDC Vegas, in addition to other prestigious events and venues. And I’ve recently performed in Hong-Kong for the first time, it was insane!
Tell us about your TAKEOFF label. What is the story behind it and what ethos are you trying to put across with your platform?
I’ve always dreamed of launching my own label so, as soon as I consolidated my own position as an artist and producer, I went for it. Having my own label means I’m completely free and in control. It also means that, today, I can play an active part in giving other talented artists a chance. My label does not care about names or notoriety, it cares about good music being released – period.
Tell us about the Formula 1 influence on your new track “Formula Loca”. What’s the story behind that?
The F1 sounds are just something that I really like, they’re super powerful and project this image of speed, of fast tracks – just like Formula Loca, pun intended!
Also, what made you want to go with the Malena Navay feature? How do you think this carries the release?
I really wanted to use sultry, feminine vocals on this track and I’d actually found some; I had already integrated them into the whole thing. That was until one day, a colleague messaged me out of courtesy saying he’d used those same vocals and was releasing his track before me. Very understandably I panicked and posted a message on my socials, where my Argentinian supporters happen to be the most involved, loyal, feral even haha. In no time, I’d received a million messages telling me to check out a beautiful and talented singer & actress called Malena Narvay, who’d already worked with Boris Brechja. So I messaged her, she replied, and you know the rest!
You’re released on Drumcode, Filth On Acid and Factory 92. How did you form a relationship and come to release on such heavyweight imprints.
I am so honored to have released on these labels. I guess my music spoke for me and matched their vibe & spirit!
What advice would you give to young producers wanting to start a label? What are the benefits and what are the hindrances?
Be organized, have the right people around you, save everything to your Drive and plan waaay ahead! The benefits are complete creative freedom and not getting exploited, which totally happened to me when I was starting out as a producer. As for the hindrances well, you really need to be careful with your deadlines and not get carried away. 
Tell us about the journey to your sound. How did your upbringing shape your sound?
I’ve always been a music fan, I like all genres. But stumbling upon techno music when I was a teen completely changed my perception of music. I’d dream all day every day of producing and buying those damn expensive machines. I guess it was in my DNA.
What have been your main musical influences?
So many but Stephan Bodzin was my slap in the face (in a good way). 
What are your three essential tracks?
‘Formula Loca’ with Argentinian singer Malena Narvay and myself, out now on my very own label TAKEOFF! I’m so proud of this release, Malena is super talented. ‘Jack’, my upcoming collab track with my friends Joyhauser, coming up on TAKEOFF – it’s one of those tracks that essentially tear the dancefloor apart. I really mean it! ‘Rolling’, my upcoming collab with Maddix, probably one of the year’s best tracks for me. Not telling you more! What do you look for in an artist before signing them to your label?
His or her music. I don’t care about the rest. Is the production clean, is the track interesting or original, do I want to dance when I listen to it? They could be a Hong-Kong producer with 180 Instagram fans that it would not matter a bit.
What music do you listen to outside of the electronic spectrum?
Pretty much everything, from French pop music to Rick Astley : )
What shows have you got coming up and which are most looking forward to?
Extrema, Awakenings and Tomorrowland, as well as other huge events I can’t talk about right now. There’s also an all-night-long show in Buenos Aires coming up in August… Argentina has a very special place in my heart. It’s going to be exceptional.
What was the last record that blew you away?
My own!!! I am so serious right now, haha. I was working on a thing and out of nowhere I came up with something so huge it blew me away. I swear it wasn’t just me, my tour manager was sitting there and she jumped up to the ceiling when she heard it. 
Any comment on the current techno scene in France to leave with?
The Techno scene is so dynamic and lively, it’s a blessing. French Hard Techno producers are especially really tearing it up at the moment, from IHM to Nico (Moreno) to Shlomo. 
The post EDMTunes Chats with Space 92 appeared first on EDMTunes.
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Major Labels Shift Gears, Explore Licensing Deals With Controversial AI Platforms Suno and Udio

Just a year after suggesting Suno and Udio are direct threats to human artistry, the world’s biggest music companies appear to be changing their tune.
Universal Music Group, Warner Music Group and Sony Music Entertainment are now in advanced talks to license their catalogs to generative AI music startups Suno and Udio, Bloomberg reports. If finalized, the deals would not only bring long-standing legal battles to a close, but also mark a dramatic strategic pivot in how the music industry chooses to engage with AI.
The companies behind Suno and Udio have been central players in a heated copyright debate since last summer, when the Recording Industry Association of America (RIAA) sued both startups on behalf of the major labels. At the heart of those lawsuits was a charge of mass infringement alleging that the services copied "decades worth of the world’s most popular sound recordings" to train their text-to-music models. The potential damages, by some estimates, soared into the billions.
Yet in a striking departure from their prior hardline stance, the same music corporations are now reportedly weighing licensing agreements that would not only grant Udio and Suno access to copyrighted works, but also potentially include equity stakes in the platforms themselves.
Sources familiar with the talks indicate that while the labels are pressing for stronger oversight and safeguards, Suno and Udio are seeking flexible arrangements at prices that won’t stifle innovation—especially critical for startups still in their growth phase. Suno recently raised $125 million while Udio secured $10 million in early-stage funding from investors.
Both startups maintain they do not store or replicate copyrighted material, emphasizing that their models are designed to generate original works. Still, in their own public statements, Udio previously acknowledged that their systems “learn from examples" and Suno defended its mission as empowering musicians with “transformative” technology.
Should the talks reach an agreement, the resulting licensing frameworks could set a precedent for how recorded music is integrated into machine learning ecosystems, potentially influencing how artists and rightsholders are compensated across the AI sector.
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LUNAX delivers the ultimate soundtrack for summer 2025 with “Summer Nights”

After making a powerful statement with her first single “When She Was Your Soldier” from the upcoming debut album “Forever Fighting” (out August 8), 23-year-old dance artist LUNAX now showcases a lighter, more carefree side with her new single “Summer Nights” (feat. myne) – just in time for summer and ready to take over playlists and dance floors.
“Summer Nights” is an infectious dance-pop anthem that combines LUNAX’s driving festival beats with catchy pop melodies. The song captures the essence of everything we associate with an unforgettable summer: freedom, friendship, and living in the moment.
The accompanying music video, released simultaneously with the track, brings that exact energy to life. It features friends fully embracing summer – partying, goofing around, hanging at the beach, and cruising in a convertible. Scenes that make you want to dance your way into the next summer night.
With her fourth single release, “Summer Nights,” LUNAX opens a new chapter – the track is danceable, uplifting, and still deeply personal. For LUNAX, the song also symbolizes the freedom and lightness she has fought for over the past few years as an artist. “It’s about THAT summer – the one where you forget everything around you, spend time with friends, and just feel life. That’s exactly the feeling I wanted to put into this song,” she explains.
Her debut album “Forever Fighting” – out August 8, 2025 – celebrates not only five years of LUNAX on the big stages, but also showcases the full range of her sound: from empowering messages to anthems for endless nights on the dance floor and high-energy festival vibes.
Download and Stream: https://save-it.cc/bdr/summer-nights
The post LUNAX delivers the ultimate soundtrack for summer 2025 with “Summer Nights” appeared first on EDMNOMAD.
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Watch Tchami and Malaa Deliver Final "No Redemption" Set at EDC Las Vegas

EDC Las Vegas has never been short on spectacle, but what unfolded in 2025 with Tchami and Malaa was a farewell sermon for the ages delivered by two of dance music's most enigmatic figures.
For the better part of a decade, the duo's "No Redemption" series stood as one of the scene's most compelling live collaborations with equal parts panache and pummel. And on a spring night in Las Vegas, Tchami and Malaa brought that saga to a close with a DJ set that embraced the very duality that's always defined their creative partnership.
Set against the monumental LED walls and eruptive pyrotechnics of EDC's circuitGROUNDS stage, Tchami and Malaa's final "No Redemption" performance took place Saturday, May 17th.
"Almost 8 years of No Redemption ended last night at EDC Las Vegas," Tchami wrote at the time. "Glad we could take it this far with my brother."
The duo leaned into their shared catalog, revisiting the tracks that shaped their distinct alliance. Those include “When The Beat Bang,” “Underground," “N9” and the four-pronged collaboration “Made In France” alongside DJ Snake and Mercer.
One of the night’s most emotionally charged moments came with Malaa’s remix of Linkin Park’s “In The End,” a track that, in the context of this farewell, carried an added layer of poignancy as it echoed across the desert air. And in true Tchami fashion, the set concluded on a note of cinematic clarity with a layered mashup of “Adieu.” 
You can watch the full "No Redemption" finale live from EDC Las Vegas below.
Follow Tchami:
X: x.com/iamtchami
Instagram: instagram.com/tchami
TikTok: tiktok.com/@tchami
Facebook: facebook.com/iamtchami
Spotify: spoti.fi/30ORbPE
Follow Malaa:
X: x.com/Malaamusic
Instagram: instagram.com/malaamusic
TikTok: tiktok.com/@malaamusic
Facebook: facebook.com/malaamusic
Spotify: spoti.fi/2X7DZnt
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TikTok for Artists Analytics Platform Officially Sets Sail As ‘Pre-Release’ Also Receives Global Launch

TikTok for Artists has officially launched in more than 25 countries. Photo Credit: Kelly Sikkema
TikTok for Artists, the video-sharing app’s “all-in-one music insights platform,” has officially set sail in the U.S., Brazil, Japan, and more than 20 other countries.
ByteDance-owned TikTok announced the formal rollout of Artists today, weeks after scoring a SoundCloud “Add to Music App” partnership. Available via certified Artist accounts, the newer offering is said to compile data (views, posts, engagements, etc.) down to the song level.
Additionally, one can tap Artists to monitor the performance of individual posts (including everything from likes and shares to completion rates and comments), with a collection of “daily-updated analytics dashboards” part of Artists to boot.
Perhaps most importantly, Artists further charts audience demographics, among them age, gender, and language, TikTok relayed.
In theory, the details could enable TikTok-focused acts to better tailor on-platform strategies and possibly off-platform efforts.
Running with those points, TikTok today also confirmed the worldwide launch of Pre-Release. As its name suggests, Pre-Release (which first hit TikTok’s distribution service three years ago) allows acts to promote new projects on TikTok before they officially release elsewhere; TikTokers can save previewed works directly to Apple Music or Spotify.
Still facing an uncertain stateside future, TikTok has brought the overarching Artists to 26 nations: the U.S., Canada, Mexico, Colombia, Brazil, Argentina, the U.K., Ireland, France, Germany, Spain, Italy, the Netherlands, Sweden, Norway, Denmark, Indonesia, South Korea, Japan, Australia, New Zealand, Egypt, Morocco, Lebanon, Saudi Arabia, and the United Arab Emirates.
But according to the app, TikTok for Artists will begin “rolling out in other countries soon.” In a statement, global head of music business development Tracy Gardner touted Artists’ perceived value and usefulness for talent.
“We built the platform to give artists transparent access to useful, actionable data about their music and their fans, to help them better engage with the TikTok community and supercharge their careers both on and off the platform,” the former Warner Music higher-up said in part.
In the bigger picture, despite the mentioned uncertainty surrounding TikTok’s U.S. future, the app isn’t hesitating to lean into music-world initiatives. Besides TikTok for Artists’ launch, of course, that includes pulling out the promotional stops for Miley Cyrus’ new album and moving forward with another “Global Live Fest” installment.
Nevertheless, it wasn’t too long ago that TikTok found itself embroiled in an ugly licensing showdown with today’s largest label. For this and adjacent reasons, many in the industry aren’t particularly concerned about the app’s stateside fate – especially with Reels and Shorts continuing to expand aggressively.
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These Tiny Game-Changing Ear Gadgets Promise to Make Your Cheap Headphones Sound Expensive

Somewhere in the UK, a group of audio engineers spent nearly two decades figuring out how to fix a problem most people didn't know they had: their ears are lying to them.
Not in a philosophical sense, but in a very literal, measurable way that makes every song sound slightly wrong. That's the promise of Definition, a new passive in-ear device from Flare Audio that works like acoustic contact lenses for your ears.
The recent recipient of a King's Award for Innovation, Flare says these tiny, non-electric inserts reduce distortion in head-related transfer function (HRTF), which basically refers to the natural ways your ear canals process incoming sound waves. After 18 years of research and development, the company has mastered its patented technology, which somehow does not use electronics to amplify sound.
"I realized that there was a significant problem inside our ears that was not being addressed," says Davies Roberts, Flare's co-founder and co-CEO, who runs the company alongside his wife Naomi.
Instead, Defintion reshapes how music travels through your ear canal, drastically enhancing sound clarity without turning up the volume. Flare's pitch is audacious: slip these discreet devices into your ears, and your bargain-bin headphones will suddenly sound like they cost 10 times more.
However, the real test isn't in pristine listening environments like your quiet bedroom. Flare Audio says Definition excels in the sonic hellscapes where most of us regularly consume music, like noisy coffee shops, crowded streets, janky subway cars and clubs with sound systems that saw their prime when CDs were still cool.
The proof is in the pudding. EDM.com's staff tested out Definition at a recent Tiësto rave in Austin and the enhanced audio clarity was striking, even through The Concourse Project's state-of-the-art d&b Audiotechnik sound system.
Whether Definition can deliver on its promise to let you "hear music as the artist intended" remains to be seen. But in an era when tinnitus and other chronic ear conditions are becoming more pervasive, using good old physics to fight the noise war seems like a solid value proposition.
We caught up with Roberts to discuss the innovative Definition and his lofty goal to "improve everyone's relationship with sound."
Davies Roberts, Kenny McCracken
EDM.com: Most audio enhancement technologies focus on active noise cancellation or digital signal processing. Definition takes a passive, non-electric approach, which is a bold departure. What inspired this counterintuitive choice?
Roberts: We think of our ears as things that just receive sound so to say that they are distorting it can be a difficult concept. During the R&D for Calmer (our non-electrical alternative to earplugs that leaves you able to hear, but reduces stressful, annoying noise) as well as for our earphones, we learned that our ear canals act like a little echo chamber. When sound enters, certain frequencies bounce around and get amplified, especially the harsher high-end tones. This resonance can muddy details and add unwanted sharpness.
Our mission is to fix that. By designing products that reduce this internal distortion we are stripping away the noise your own ears are adding. The result is clearer, more accurate sound. Not boosted. Not colored. Just honest. A bit like the difference between talking in a cave or talking in a studio.
It’s audio design flipped inside out—treating your ear not just as a listener, but as part of the problem. And maybe, finally, part of the solution.
The technology was so popular with our customers that it was a natural progression to adapt it into a passive (non-electrical) product that can improve all sound.
EDM.com: Definition’s patented technology is a key differentiator. Can you talk about some of the specific advantages the product offers in real-world scenarios that active technologies cannot replicate?
Roberts: Much like shells, the shape of our ears resonates sound (particularly in the 2-8khz area). This creates unwanted distortions when listening to music. All loudspeakers and headphones tune this distortion out, either by design (adding bracing or wadding) or using electronics to apply an EQ to pull out the frequencies that sound unpleasant (that we now know is ear distortion).
The issue with this damage control approach is that by retrospectively correcting sound, it also reduces detail in sound, limiting the advancement in sound quality and making sound more subjective (everyone’s ears resonate sound at a slightly different frequency based on their different individual shape).
Definition’s technology removes ear resonance at source, enabling the wearer to experience greater levels of definition, especially when using headphones that have not had HRTF frequencies removed (these tend to sound overly smooth and less dynamic, with less detail in mid and high frequencies) or in loud sound environments like bars, cafés, restaurants and at gigs, concerts and festivals.
Flare Audio
Flare Audio
EDM.com: The in-ear device market is as crowded as ever. How do you convince both non-technical consumers and skeptics that a passive device can deliver superior results in noisy environments?
Roberts: It’s exceptionally hard to do! And it’s something we’re incredibly aware of. Everyone needs to experience it for themselves in order to believe its effects. We do have a 100 day return policy so people can try out the tech risk-free. We expect the technology to be a slow grower due to this but as more reviews come in we expect awareness and interest to grow.
A couple of weeks ago we found out that we’d won a King's Award for Innovation—that meant an awful lot to us because I felt that it gave our technologies credence and I hope will ease the skeptics minds that our techs work in the way that we say they do!
EDM.com: Flare Audio’s 18 years of acoustic research is a significant foundation for Definition. Can you share a specific breakthrough moment or unexpected discovery from this journey that fundamentally shaped the development of Definition?
Roberts: We’d been designing loudspeakers that produced sound with as little distortion as possible. They’d been used on some brilliant gigs: Skrillex, Mark Ronson, Chase & Status, Pendulum, etc. We often had producers and engineers visit us at Flare HQ and we’d demo them our very fancy and expensive speakers: Flare Zero. Zero produces very little resonance and is made from aluminum plates clamping vortices that surround the loudspeaker driver (you can still hear them at Selfridges Cinema in London). We had a great response to these speakers but people were still asking us to “tweak the 4kHz” and “can you give me a bit more 2kHz?"
It was at this point that I became aware that there was subjectivity—and where there was subjectivity there must be distortion. I discovered that there was much more distortion going on inside our ears compared to that produced by headphones and speakers.
So, over the last 18 years, I’ve developed a unique particle approach to invent our sound technologies as it allows me to visualize distortion issues that have been missed using the traditional acoustic approach. This work led me to explore the human ear in detail and it was during this work that I realized that there was a significant problem inside our ears that was not being addressed.
EDM.com: By minimizing distortion and enhancing clarity, Definition alters the listener’s psychoacoustic experience. Have you conducted studies on how this affects emotional engagement with music or cognitive processing of sound? For instance, does the increased detail lead to measurable differences in enjoyment or even memory retention of musical content?
Roberts: That’s such an interesting question! I’m so glad you asked.
We’re currently working very closely with the brilliant producer Flood and we firmly believe that by reducing resonance in sound we’re giving the listener a much cleaner pathway and connection to the music, in turn increasing enjoyment and immersion in sound.
It’s a similar concept to looking at your favorite piece of art or watching your favorite film through blurred glasses—would you be able to enjoy it as much, would you be able to fully immerse yourself?
The difference to listening to music with and without Definition is night and day. Your favorite tracks reveal even more detail and subtle nuances that you’ve not previously heard are suddenly very present. There is a much deeper connection to your favorite music—goosebumps with every track.
Flare Audio
When we delved deeper into sound we read that noise is the second biggest killer after air pollution. This is because our body is put under stress and releases things like cortisol, which then leads to an increase in heart attack and obesity—conditions linked to stress.
Our theory is that it’s not noise that’s the issue—it’s that our ears are not compatible with our noisy world. This is because of HRTF (head-related transfer function) which distorts and boosts sound between 2kHz-8kHz. This distortion triggers the release of cortisol, which in turn puts our entire body under stress. HRTF is there to stress-respond and alert us to threats. It’s the ear's way of saying "alarm" or "danger." Sounds in the 2-8khz range resonate like a bell inside our ears to make them more prominent. Useful when we lived in nature—not so useful when you fast-forward to present day and our busy towns and cities.
Anyone who has experienced a loud, distorted loudspeaker knows how that feels and it’s even been used in the past to torture people. By removing HRTF inside the ears, even the most distorted sound environments become more bearable and often even enjoyable. (Maybe not the London underground!)
Because everyone’s ears are a unique shape, quantifying the advance is tricky. The easiest way to demonstrate it is to use the product in a loud environment and then remove it. Every user then experiences a significant increase of distortion and becomes aware of exactly what Definition is doing.
It's important to note that Definition is not an ear protector—in simple terms they’re a resonance reducer, and by reducing resonance we’re revealing previously lost detail in sound.
EDM.com: Given that Definition alters how the brain processes sound by reducing distortion, have you explored collaborations with neuroscientists or audiologists to study its impact on auditory processing disorders or hearing health? In other words, could Definition have therapeutic applications, such as aiding individuals with hyperacusis or tinnitus?
Roberts: We’ve sold over 2 million pairs of our product Calmer (which again is a passive, non-electrical device that reduces our stress response to sound) and this has given us incredibly useful insight into who is buying Calmer and for what purpose. We know from the feedback we’ve had from thousands of customers that this technology is particularly helpful for people with sound sensitivities and neurodivergent people. We don’t claim it will help everyone but we’ve been blown away by how many people with these issues have told us it works for them.
We are at an earlier stage with Definition, but we believe that the technology could help people who struggle to hear in noisy situations and those who have sensitive hearing. Traditional hearing aids fail in noisy situations as they amplify sound, which in a noisy space can be detrimental. With Definition being passive we believe that it could be a vital tool for people to use when their hearing aids fail them.
This is an area that Flood is very interested in exploring. It’s well-known that when people lose their hearing and don’t get hearing aids, they’re much more likely to develop conditions like Alzheimer’s due to their isolation from conversations and from integration in society. We believe that by reducing resonance and distortion, we can improve everyone’s relationship with sound.
EDM.com: With the rise of spatial audio and immersive formats like Dolby Atmos, how does Definition fit into the future of music consumption? Does its passive nature limit its adaptability to these technologies, or do you see opportunities to integrate your tech with next-gen audio experiences?
Roberts: We firmly believe that in the future, Definition could be used in harmony with other technologies and that it will become the best way to experience higher-definition music.
Using Definition in a Dolby Atmos room is impressive as sound placement becomes a lot more precise, creating an improved experience both in the studio and in a venue. The patented technology also allows for electronics to be added, enabling the potential for a range of earphones, hearing aids and a range of other devices to improve our relationship with sound.
Flare Audio
EDM.com: Definition claims to let users hear music "as the artist intended." However, artists often create music with specific environments in mind. How do you reconcile this claim with the reality that Definition fundamentally alters the listening experience?
Roberts: For decades, serious compromises have been made to music in the studio so that tracks sound averagely good on average devices. We want to change that so that music production can evolve into greater levels of detail and that compromises don’t have to be made.
A good example of this is a smartphone loudspeaker. Listen to a track on a smartphone played loud wearing Definition, then as the track is played, remove Definition. You will hear that it is not the smartphone that is distorting—it’s your ears. It’s a mad concept to get your head around at first but it’s completely addictive and hypnotizing once you’ve heard it.
EDM.com: Definition seems to be a stepping stone in Flare Audio's broader mission to redefine how we experience sound. What's the next frontier for your team?
Roberts: I love that terminology! It definitely feels like we’re on a mission. Flare was founded back in 2007 to solve the fundamental issues in sound quality. It took just over a decade (and a whole lot of loudspeaker designs) to discover that the fundamental issue was inside of us! Now our focus is to develop a range of products that advance sound quality for everyone.
It’s mad to me that we used to listen to The Prodigy on our speakers as a test track and that now Liam Howlett uses our Flare Studio Master earphones in the studio to produce tracks and scores! I have to pinch myself.
Keep an eye out for our new earphones (currently the Flare Studio range). They feature our unique technology that enables wearers to experience significantly more detail and realism in music.
But aside from that, we’re incredibly excited as to what we’ve got coming. We’re currently working with the Alpine Formula 1 motor racing team to help improve its performance and we’ve got an exciting range of products scheduled for launch in upcoming months. 
Follow Flare Audio:
Facebook: facebook.com/flareaudio
Instagram: instagram.com/flareaudio
TikTok: tiktok.com/@flareaudio
X: x.com/flareaudio
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Turn It Up: MITCH DB Curates a High-Powered Guest Mix

DJ and Producer MITCH DB steps in for an exclusive guest mix, offering his signature blend of Hypertechno, sharp edits, and club-focused energy through his selections. Known for his consistent release schedule and growing list of collaborations, including tracks with Wrex, Felixx, and Minerro, MITCH DB has been making steady waves across the Electronic Music scene with his high-impact sound and boundary-pushing approach.  
Through his mix, he offers a snapshot of his current sound: fast-paced, melodic, and built for the dancefloor; featuring originals and reworks, MITCH DB brings a diverse selection of music to highlight his evolving style and share his distinct tastes with listeners. 
Tracklist:  
MITCH DB, Gulmee – Follow Me  MITCH DB, Minerro – Taking Drugs   MITCH DB, Wrex, Koen Fagen – We Found Love   Meet Her At The Love Parade  Riton, Kah-Lo – Fake ID (Studio Acapella)  lOOFY – Last Night (Remix) X If I told you ones, I told you twice (Studio Acapella)   Guru Josh, Klaas – Infinity  Katy Perry – Firework (Studio Acapella)  Safari Duo – Played A Live VS Armin van Buren, Vini Vici, Highlight Tribe – Great Spirit   I like the way you kiss me (Studio Accapella Great Spirit x Techno Vikin)  MITCH DB, Gulmee, Felixx – Disturbia  Anyma & Argy & Son Of Son – Voices In My Head (MerkMine & Dantronix Remix)   MITCH DB, Felixx, Ziggy – Summer  PAWSA, The Adventures Of Stevie V – Dirty Cash (Money Talks)   Lance Savili – Devotion (Studio Acapella)  Bingo Players – Devotion  Mau P – The Less I Know The Better 45:54 Anxiety – Douchii (Studio Acapella)  Gotye, FISHER, Chris Lake, Sante Sansone, Kimbra – Somebody   Fedde Le Grand – Rude Boy  Supermode, Meduza – Tell Me Why (Meduza Remix)  HUGEL, Topic, Arash ft. Daecolm – I Adore You (Studio Acapella)   Avicii – Levels  FAULHABER – Run it  Set Fire To The Rain (Studio Acapella)  BL3SS, CamrinWatsin, bbyclose – Craving 4 U (Studio Acapella)   Michael Schulte, R3HAB – Waterfall  David Guetta, Alesso, Madison Love – Never Going Home (HEADER Remix)   Dimitri Vegas & Like Mike x W&W x MARNIK, Demitri Vegas – Yeah  MITCH DB, ZAP, Lefwee – Fortia  Timmy Trumpet, POLTERGST, Naeleck – Like A G6   MITCH DB, Reprobeater, Swae Boy – Désenchantée   MITCH DB, Wrex, Gulmee – Hot N Cold  MITCH DB – ID (Unreleased)  MITCH DB Online     
Spotify | Instagram | Website   

  
The post Turn It Up: MITCH DB Curates a High-Powered Guest Mix appeared first on EDMTunes.
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Signature Sounds Only – Terry Golden Crafts a Powerful Guest Mix for EDMTunes

Terry Golden steps behind the decks to offer a guest mix built entirely from his own productions: a personal showcase of the music that continues to shape his identity as a Producer and DJ. With a catalogue that spans Progressive House and Melodic Techno, the mix highlights Terry Golden’s forward-thinking approach – offering a distinct glimpse into the sounds that define his signature style while placing his unique energy front and centre. Whether through original solo material or collaborations, his growing body of work reflects a balance of diversity and cohesion, as he remains focused on building his reputation within the Electronic Music scene and sharing his sound with the global community.  
So, whether you’re familiar with his work or tuning in for the first time, this mix delivers a clear sense of Terry Golden’s musical direction, featuring carefully selected tracks that reflect his ongoing commitment towards originality and innovation.  
Tracklist:  
Terry Golden – Rave The Universe (Extended Mix) [Exx Underground]   ARTBAT & Vintage Culture – ARTBAT & Vintage Culture – She The Last One (CASTRO & ITALOWSKI Remix) [unreleased]   Terry Golden – Talk is Cheap (Extended Mix) [unreleased]   Terry Golden – Obsession (Club edit) [unreleased]   Terry Golden, Anyma – Space and Time vs Pictures of Me (Mash-Up Club Edit) [unreleased]   Terry Golden, Max & Dana – Take My Hand (Extended Mix) [unreleased]   Stylo, Space Motion, Amethy – I Walk Alone (Original Mix) (Terry Golden Edit) [Space Motion Records]   Terry Golden – Bring Me To Life feat Patricia Vivanco (Terry Golden Rework – Clubmix) [Brain Pain Records]   Terry Golden – Space (Club Mix) [Interplay Records]   RoelBeat & Terry Golden – Dance all Night [Exx Underground]   Terry Golden – Walk Like An Egyptian (Extended Mix) [Exx Underground]   Terry Golden, Darude – Sandstorm (Terry Golden Remix – Club Edit) [unreleased]   Airsand & TuraniQa  – The Power Of Underground (Extended Mix) [unreleased]   Terry Golden, Emre – Jungle (Extended Mix)  [Exx Underground]   CamelPhat – COLA (Melodic Techno viral Rework by Rock Da Cat) [unreleased]   Terry Golden – Shine (Extended Mix) [Exx Underground]   Terry Golden – Hold Me Now(Original Mix) [unreleased]   CAMELPHAT x ARTBAT ft. RHODES  – For A Feeling (ADAM SELLOUK & Y DO I Remix) [unreleased]   Terry Golden Online      
Website | Instagram | Spotify    
The post Signature Sounds Only – Terry Golden Crafts a Powerful Guest Mix for EDMTunes appeared first on EDMTunes.
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Record labels reportedly in licensing talks with AI music firms Suno and Udio

Major music labels are reportedly in talks with generative AI music platforms Suno and Udio — the very companies they sued last year for alleged copyright infringement.
According to Bloomberg, Universal Music Group, Warner Music Group, and Sony Music Entertainment are discussing potential licensing deals that would not only bring in fees but also include a small equity stake in the companies.
READ MORE: “It’s a weird kind of wanky, tech-bro nightmare future”: Radiohead’s Thom Yorke says AI does nothing more than “steal” from human artists Sources (which Bloomberg says “declined to be identified because the talks could fall apart”) told the news outlet that if successful, the agreements could help resolve ongoing legal disputes while laying the groundwork for how AI companies compensate recording artists and rights holders in the future.
Suno and Udio have been at the forefront of the new wave of generative AI platforms. These tools allow users to type in simple prompts like “a modern rock ballad about a bad break up” and receive a full-length audio recording in return. Behind the scenes, the platforms rely on massive training datasets – likely made up of existing copyrighted material – which has drawn legal scrutiny from the industry.
Last June, the Recording Industry Association of America (RIAA), on behalf of the major labels, filed blockbuster lawsuits against Suno and Udio, alleging copyright infringement on an “unimaginable scale.” The suits accused the startups of using copyrighted recordings without permission to train their models, and sought damages of up to $150,000 per infringed work, potentially amounting to billions of dollars.
For their part, Suno and Udio have countered that the labels are wielding their intellectual property as a cudgel to stifle competition and innovation. They also argued that their use of copyrighted material falls under the “fair use” exemption to US copyright law.
The current negotiations are seen as a way to settle these cases out of court. Talks are reportedly happening in parallel with both companies, creating a bit of a race to see who might land a deal first.
Still, discussions are complex, says Bloomberg, as labels want greater control over how their music is used, while the AI startups are pushing for enough “flexibility” to continue experimenting as well as “deals at a price reasonable for startup companies”.
Stay up to date with how AI is reshaping music creation, rights, and industry standards at MusicTech.
The post Record labels reportedly in licensing talks with AI music firms Suno and Udio appeared first on MusicTech.
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Barry Can’t Swim Announces Stacked Warehouse Project Takeover for November 2025

Barry Can’t Swim, one of electronic music’s most dynamic and in-demand talents, will headline The Warehouse Project on Friday 21st November with an unmissable three-room takeover hosted by his label imprint Earth’s Only Paradise. The Edinburgh-born artist will present two sets on the night – a full live show and a DJ set – as he takes centre stage at one of the UK’s most iconic venues.
The Warehouse Project show follows a monumental year for Barry, with the announcement of his highly anticipated second album ‘Loner’, due for release on 11th July via Ninja Tune. The record includes the recent double single ‘About To Begin’ and ‘Cars Pass By Like Childhood Sweethearts’, a showcase of his genre-blending range – from euphoric club-ready energy to dreamy downtempo textures.

Fresh from a sold-out North American tour and a string of major festival announcements for the summer, this Warehouse Project date stands as a rare chance to catch Barry Can’t Swim at his own headline show alongside a fully curated line-up.
Taking over the three stages at Depot Mayfield including Depot, Concourse, and Archive, Barry Can’t Swim will be joined by the likes of Chloé Caillet, DJ Seinfeld, Prospa, Jayda G, Ross From Friends presents Bubble Love, and a special b3b between Étienne de Crécy, Cassius and DJ Falcon. The full line-up is announced below.
 
Pre-sale ticket sales go live on Thursday 5th June from 10am.
General ticket sales go live on Friday 6th June from 10am.
Sign up at https://thewarehouseproject.com/calendar/ for pre-sale access.
 
///
Barry Can’t Swim
Friday 21st November
Times: 20:00 – 04:00
 
DEPOT
BARRY CAN’T SWIM (DJ SET)
CHLOÉ CAILLET B2B DJ SEINFELD
PROSPA
BARRY CAN’T SWIM (LIVE)
ROSS FROM FRIENDS PRESENTS BUBBLE LOVE
ELADO
 
CONCOURSE
AVALON EMERSON 
BEN UFO
JAYDA G
LEON VYNEHALL 
ATRIP
BOLLIBUBBLES
 
ARCHIVE
ÉTIENNE DE CRÉCY B2B CASSIUS B2B DJ FALCON
KELLY LEE OWENS (DJ SET)
BULLET TOOTH
MARIE DAVIDSON (LIVE)
MOUNT KIMBIE (DJ SET)
NORA
The post Barry Can’t Swim Announces Stacked Warehouse Project Takeover for November 2025 appeared first on Electric Mode.
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Kilder shares new single ‘Dusk Till Dawn’ via Infinite Rhythms

Amsterdam-based electronic DJ-producer Kilder is set to release his highly anticipated new single and accompanying music video ‘Dusk Till Dawn’ arriving May 30 across all streaming platforms.
 
Following the success of his standout track ‘Smile On My Face’ earlier this year and 2024’s club favourite ‘Next To U’, ‘Dusk Till Dawn’ marks a striking evolution in Kilder’s genre-fluid sound. Drawing from the raw intensity of rave and techno while weaving in house and UKG rhythms, the single merges club energy with melodic depth, a hallmark of Kilder’s unique production style.

 
The video for ‘Dusk Till Dawn’ offers a cinematic portrayal of the transformative journey from the monotony of daily life to the exhilaration of the night. It follows a man entrenched in the routine of a 9-to-5 job, depicting his day filled with repetitive tasks and a palpable sense of despair. As the clock strikes the end of the workday, a subtle shift occurs, his demeanor changes, and anticipation builds.
 
The narrative captures his metamorphosis as he sheds the layers of his work persona, symbolizing a release from the confines of his daytime identity. The visuals transition seamlessly from the sterile environment of the office to the vibrant, pulsating energy of the night. He embarks on a journey through the city, the atmosphere charged with the promise of the night ahead.
 
With over 12 million streams across just two EPs, Kilder continues to bridge the underground and the mainstream. Inspired by the likes of Jamie XX, KETTAMA, and Disclosure, he has already caught the attention of major tastemakers and DJs including DJ Heartstring, Ki/Ki, and Benwal. Elsewhere, he has earned coveted placements on editorial Spotify playlists like New Music Friday, Planet Rave, and Altar as well as three major sync with Apple already under his belt.
 
‘Dusk Till Dawn’ also teases the upcoming EP of the same title, set for July 2025 and becoming a breakout year for Kilder, who’s been quietly crafting an arsenal of club anthems behind the scenes. With a reputation for spotlighting emerging talent, his past collaborators include Issey Cross, Alice Longyu Gao, Friday Night Plans, LYAM, and more.
 
Kilder’s genre-defying sound and polished unpredictability has landed wide acclaim from BBC Radio 1, Triple J, 3FM, Dasding, 3voor12 and more alongside press nods from Notion, The Line Of Best Fit, Dummy and Wonderland.
 
With tours in the EU, UK, and AUS/NZ on the horizon, Kilder is poised for global breakout.
 
‘Dusk Till Dawn’ is out 30th May on all major platforms.
 
Follow Kilder:
Instagram / TikTok / Twitter / Spotify  / YouTube / Soundcloud
WATCH VIDEO
BUY / STREAM: ‘DUSK TILL DAWN’ HERE
The post Kilder shares new single ‘Dusk Till Dawn’ via Infinite Rhythms appeared first on Electric Mode.
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Brazilian DJ and Producer Vintage Culture announces his collaboration with Von Dutch Loves

Brazilian DJ and producer Vintage Culture is teaming up with Von Dutch Loves, the bold new label from the iconic Von Dutch brand, for their first ever artist collaboration with a limited edition capsule collection. Known for its fearless designs and connection to music, nightlife and rule breaking creativity, Von Dutch Loves finds a perfect partner in Vintage Culture, whose genre defying sound and global influence embody the spirit of nightlife and creative rebellion.
 
The highly anticipated collaboration between Vintage Culture x Von Dutch Loves will launch globally on Monday, June 16th on VonDutchLoves.com, with the collection channeling the energy of the underground through a Y2K lens, reflecting the dynamic energy of the nightlife scene and the spirit of individuality. The limited edition clothing line, designed by Vintage Culture himself, offers stylish and versatile designs for both men and women, featuring oversized silhouettes, distressed finishes and hand-scrawled graphics spanning trucker hats, t-shirts and more. From bold statement pieces to sleek, understated essentials, the collection celebrates self expression and creative freedom. 

Speaking about the collaboration, Vintage Culture said:
“Von Dutch Loves and I share the same passion for pushing boundaries and celebrating individuality. It’s the perfect match and something I am immensely proud to finally be able to release into the world. The collection draws on a sense of nostalgic energy, reimagined through an edgier  lens to create something truly unique. This has been a long time in the making and to finally see it come to fruition is incredibly exciting” The collection will be available online and at select Von Dutch retail locations worldwide following the launch event.
 
Speaking about the partnership, Jack Cheika, CEO of WSG Brands, the owners of Von Dutch, shared:
“This collaboration with Vintage Culture captures exactly what Von Dutch Loves was created for, fusing fashion with cultural innovation. Vintage Culture is a global icon whose vision and authenticity align perfectly with our mission to celebrate creativity, individuality, and the energy of nightlife. Together, we’re not just launching a collection, we’re shaping a movement that bridges music and style in a powerful new way. Von Dutch Loves is the perfect blend of honoring our legacy and riding the next wave, expanding beyond fashion to amplify artistic voices and foster creative collaboration for today’s artists, creators, and tastemakers.” 
The collaboration is the first in a series of influential activations for Von Dutch Loves, with further collections, festival and event partnerships and more to come across the year. The first limited edition range from Von Dutch Loves is now available at www.vondutchloves.com featuring brand new representations of the brand’s iconic trucker hat.
 
Follow @vondutchloves and sign up on the website now to keep up to date with all announcements, as well as exclusive early access to merch drops, event and festival tickets, and more.
The post Brazilian DJ and Producer Vintage Culture announces his collaboration with Von Dutch Loves appeared first on Electric Mode.
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IK Multimedia Total Studio 5 review: Almost a must-have — with a few must-fix

Total Studio 5 Standard – $/€299.99
Total Studio 5 Pro – $/€399.99
Total Studio 5 MAX – $/€599.99
Introduction and upgrade pricing available
IK Multimedia is on a roll. Over the past few years, the company’s product lineup has gone from strength to strength, with venerable classics such as its standalone Mastering Console getting significant improvements. Meanwhile, new standout plugins have arrived, including the multi-band Quad Saturator, alongside some impressive hardware, like the Uno Synth Pro X.
Total Studio 5 crowds many of these software achievements under one roof to offer an ‘everything you need’ production suite. The price is good, the plugins are generally excellent, but in a marketplace suffering from ‘bundle fatigue’, can this mega-collection hold your interest?
READ MORE: Native Instruments Kontakt 8: A leap forward or a stumble sideways? Total Studio 5 promises to power your creativity at every stage of production, but, for my money, it’s the audio processing plugins that steal the show.
First out of the gate is AmpliTube 5 — a comprehensive package of guitar amp and pedal emulations. The quality and versatility here is phenomenal. On the surface level, you get easy access to authentic emulations of rare and expensive amps and a dizzying array of quality presets perfect for busy music-makers. Dive deeper, however, and there is an ocean of sounds for serious guitarists to explore — with full control over microphone type and placement, the ability to swap out cabs independently of amp heads, and a powerful routing system for building up effects chains.
Staying in guitar territory, there’s also the groundbreaking TONEX software for at-home AI modelling of stompboxes and amps. Even if you have no need to clone your own amp, the ToneNET ecosystem is a massive sonic resource; it’s packed with a seemingly endless supply of community-contributed presets and DIY amp models that can be used solo or combined with AmpliTude.
New with Total Studio 5 is TONEX’s Signature Collection of amp and pedal combos from musicians like Joe Satriani and Rush’s Alex Lifeson. Riffing through the guitar tones of the rich and famous is fun and fruitful — but you’d probably have to be a pro player to truly hear the difference between some of these sounds and the ones you can get from AmpliTube.

Next up is T-RackS 6. This suite of mixing and mastering tools earned a 10/10 review from me upon its release late last year, and, rather than revisit its many virtues here, I’ll simply point you to my glowing review.
While audio processing plugins take centre stage, there is a raft of solid software instruments to keep composers and songwriters engaged – the most significant of which is Pianoverse. Ranging from soaring nine-foot grands fit for concertos, to dark and brooding seven-footers, and even including punchy and bright uprights, these are among the most sublime piano samples I’ve demoed.
Interestingly, Pianoverse pairs these exactly-recorded samples with a set of otherworldly reverbs and a limited yet powerful selection of insert effects. This hybrid approach works surprisingly well, and while it would be nice to have some more miking options—users can use either a coincident pair or a close pair, with no ability to blend between them—Pianoverse’s rich tones, controllable pedal and hammer noise, and its capacity to go from realism to surrealism in an instant makes this a must-have sample piano.
From here, the bundle gets less exciting. We have established mainstays like the sprawling SampleTank 4, which came out in 2019, the film-focused Cinekinetik libraries, released in 2021, and MODO Bass 2 and MODO Drum 1.5, both of which debuted in 2022. Notice a trend? In truth, it doesn’t hugely matter that these instruments are getting long in the tooth; SampleTank is still a decent library filled with some fantastic rare synth sounds, MODO Bass in particular stands out amongst other bass guitar sample instruments, and most of the instruments have received at least some quality-of-life updates or sound expansions over the years.
However, if you want to see a truly past-its-sell-by-date sample instrument, look no further than Miroslav Philharmonik 2, which hit the market back in 2016. To be clear, the original samples still hold up in terms of detail and tone, and it’s perfectly possible to get expressive passages out of the different instrumental sections, but the cramped, low-res interface feels emblematic of a sample instrument lineup that, overall, hasn’t seen major innovations in years. Composers looking for big-screen scoring solutions can find far more streamlined workflows in EastWest’s OPUS player, while producers who like having idea-starters on hand should look to the new MIDI Tools introduced in Native Instrument’s Kontakt 8.
Those shortcomings don’t feel like such a big deal once you consider Total Studio 5’s highly competitive pricing. Ranging from €299 for the standard edition up to €599 at the Max edition, the collection has received a price reduction of around €200 from the previous version across the board. At the Max level, you’ll get the Signature Collection Vol. 1 for TONEX, all nine keyboards in Pianoverse, and additional tools like ARC 4, a high-powered room calibration software suitable for professional studios or creators looking to get serious about their home setup. For most users, the middle ‘Pro’ tier, with its 95 included products and €399 asking price, will likely be the sweet spot.
Pitted against its peers, Total Studio stands up pretty well. Regarding quality, the T-RackS suit goes toe-to-toe with Universal Audio’s hardware emulations. AmpliTube 5 might actually beat Native Instruments’ Guitar Rig Pro 7 in my estimation, and while Komplete 15 clearly wins on its sample instruments, it’s decidedly lacking on the mixing and mastering side of things.
Waves Audio’s bundles are perhaps the closest direct comparison – but only if you’re looking at subscription options. If you want a single purchase, you’d need to buy the Horizon bundle and the Inspire Virtual Instruments Collection to achieve the same level of versatility. Total Studio 5 is also significantly cheaper than all the aforementioned competitors at full price.
Overall, Total Studio 5 feels a bit uneven. The older sample libraries contain quality content but are held back by ageing user interfaces and workflows. Moreover, the majority of them were available in the previous edition of Total Studio and so provide little incentive for existing users to upgrade. On the other hand, AmpliTube 5 and TONEX are awesome, T-RackS 6 is formidable, and Pianoverse feels inspiring — these are industry-leading applications. In fact, if they were the only products included in Total Studio 5, I’d still say it’s worth buying.
If Total Studio could boost the level of its sample instruments, it might just become the true all-rounder that music makers need. As it stands, you get high-powered audio plugins and with a mixed bag of sample instruments thrown in as a sweetener. If that’s a dynamic that works for you, then we’d say fill your boots.
Key features
500GB of content Up to 2000 audio plugins Up to 16,000 samples Three pricing tiers offering 49, 98, or 162 products ARC 4 room calibration software included in the MAX edition The post IK Multimedia Total Studio 5 review: Almost a must-have — with a few must-fix appeared first on MusicTech.
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Adriatique & Bipolar Sunshine Unite for New Track – Love’s A Game

Still buzzing on their early 2025 club hit ‘Back To Life,’ Swiss duo Adriatique returns with an anthem for this summer’s club and festival crowds. ‘Love’s A Game‘ features vocals from Grammy award winning singer-songwriter Bipolar Sunshine, delicate piano chords, subtle sound effects and warm melodic hooks, adding sweet hints of afro-house, wrapped into Adriatique’s signature deep and momentous production. An instant 2025 classic in the making, ‘Love’s A Game’ is the most melancholic afro-house tune you’ll hear this season, out now on X Recordings.
‘Love’s A Game’ shows a wonderful collision of these creative minds, as Adriatique and Bipolar Sunshine seamlessly complement each other in this heart warming, R&B tinged dance ballad. Setting the mood with a deep, luscious groove, the song immediately takes you closer with Bipolar Sunshine’s soulful vocals, matching the instrumental in perfect balance as he’s countered by the Swiss duo’s subtle yet inventive use of samples, percussion and sound effects. Meanwhile, tension builds with warm piano chords and inspired backing vocals, taking the vibe to breathtaking melancholic heights.
The result is an illuminating piece of dance music; delivering the energy on waves of deep and afro house, while taking the mind to an almost spiritual place on the wings of those uplifting vocals and mesmerizing melodics. Eventually, ‘Love’s A Game’ has got you covered either way: body, mind and soul, sure to create a moment of impact when played at any given beach or pool party this summer.
You can listen to ‘Love’s A Game’ below and on all available streaming platforms.
Stay tuned for more news!
The post Adriatique & Bipolar Sunshine Unite for New Track – Love’s A Game appeared first on EDMTunes.
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2025 Festival Cancellations: A Crisis for Live Music?

As the summer of 2025 kicks off, one thing is becoming painfully clear: music festivals are in trouble. What used to be a season of nonstop lineups, weekend wristbands, and euphoric crowds has shifted into a wave of cancellations, slow ticket sales, and fan frustration. This year alone, more than 40 festivals have already been canceled, according to a CNN report that’s turning heads across the industry.
Among the most notable exits is Pitchfork Music Festival, a Chicago staple for nearly two decades. Known for its eclectic lineups and indie ethos, Pitchfork quietly pulled the plug after its 2024 edition, joining the ranks of other festivals that have recently folded including Atlanta’s Music Midtown, Florida’s Kickoff Jam, and legacy names like Made in America and Firefly, both of which haven’t returned since 2022.
What’s Causing the Collapse?
The problems run deep and wide. Start with shifting tastes. In an era where TikTok and Spotify algorithms serve up hyper-personalized music experiences, the idea of paying hundreds to see a mixed bag of artists you might not know feels less appealing especially for younger fans. Why risk it when you can watch your favorite artist’s arena tour instead?
That’s exactly what’s happening, according to Will Page, former chief economist at Spotify. “Roll forward to 2024, you go all in to see Taylor Swift, and you don’t bother with the festival,” Page told CNN. Stadium acts are cannibalizing festivals, pulling away not just fans but also artists who are opting for solo tours where they earn more and control the experience.
Then there’s inflation. With the cost of living spiking, music fans are prioritizing where their money goes. A weekend pass, camping gear, overpriced drinks, food, and travel? That can easily run north of $600. Many are deciding it’s just not worth it. And that’s if the festival even happens.
Uncertainty, Delays, and Refund Drama
Cancellations aren’t the only issue. Some festivals have pulled last minute schedule changes or offered limited refunds, frustrating fans even further. Midwest Dreams, a new EDM festival slated for launch in St. Louis this May, postponed just a week before its debut officially citing tornado damage. But skepticism brewed online, especially as other events at the venue were still scheduled to go on. Attendees were initially given only 24 hours to request refunds before tickets were automatically rolled over. (Organizers later clarified that refunds would be honored, blaming the vendor for the initial policy.)
Even long-established festivals are struggling with logistics. Last year, Electric Forest had to shut down early due to thunderstorms, canceling headline performances and leaving many fans without refunds or make-goods. That incident is still casting a shadow over the 2025 edition, where single-day passes are now priced at $175 a steep ask after 2024’s fiasco.
The Magic Is Fading
Part of what made festivals special was the sense of discovery. As Blake Atchison, co-founder of Nashville’s Deep Tropics festival, told CNN: “You could stumble upon an amazing band or DJ that you end up loving… there’s just nothing like it.” But that magic is harder to find these days.
Some long-time fans point to over-commercialization as the root cause. Events like Bonnaroo and Lollapalooza have increasingly leaned into corporate sponsorships and recycled lineups. Once a haven for underground scenes, these festivals now often feature the same headliners across multiple cities. (This year, artists like Tyler, the Creator, Luke Combs, and Olivia Rodrigo are headlining both Bonnaroo and Lollapalooza.)
Even the founders are noticing the shift. Perry Farrell, creator of Lollapalooza, told the Chicago Tribune back in 2016: “I sometimes cringe at my own festival,” bemoaning the flood of mainstream EDM acts after Live Nation took control.
What Comes Next?
Despite the chaos, people still crave live music. Concert attendance is booming even as prices soar. So what gives? It may come down to experience. Large festivals are plateauing because they’ve stopped innovating. They’ve lost the grit, the edge, the grassroots vibe that made them iconic. The question now isn’t just how to save them it’s whether they’re worth saving in their current form.
Some artists are sidestepping the whole festival model. Bands like The All-American Rejects are booking house party tours and performing in backyards, college campuses, even bowling alleys. The intimacy, authenticity, and social media buzz around these shows are breathing new life into live music and making traditional festivals look outdated by comparison.
Meanwhile, industry giants like Live Nation and AEG continue to dominate the major festival landscape, favoring big-name acts and cookie cutter formats. That leaves little room for experimentation, and even less for the underground scenes that once fueled the festival explosion of the early 2000s.
Final Word
The festival industry is in a reckoning. Rising costs, changing fan behavior, and a saturation of sameness are pushing even the most iconic events to the brink. As fans, we’re watching in real time as a cultural institution evolves or collapses.

The post 2025 Festival Cancellations: A Crisis for Live Music? appeared first on EDMTunes.
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Producer-Focused IP Investor Rezonate Music Formally Launches, Reveals $150 Million Bridgepoint Tie-Up

Rezonate Music Rights co-founders Tom Tyler (left) and Cam Blackwood. Photo Credit: Rezonate
Does the music IP arena have room for another investor? Rezonate Music Rights believes so, and it’s set sail with a $150 million war chest as well as a focus on producer catalogs.
Rezonate announced its official launch – and several already-wrapped plays – today. Founded by producer Cam Blackwood and former London Stock Exchange Group higher-up Tom Tyler, the self-described “leading solution for music producers rights acquisition” secured the $150 million tranche from Europe’s Bridgepoint Credit.
Under that investment, Bridgepoint took “a minority stake in Rezonate’s management company,” per the catalog buyer, which has offices in London and Los Angeles.
Meanwhile, having evidently started pursuing deals ahead of its formal launch, Rezonate pointed to signed-and-sealed catalog agreements with producers Lorna Blackwood, Mark Crew, James Earp, and Jussi Karvinen (aka Jussifer).
Those professionals have credits on tracks released by Lewis Capaldi, Bebe Rexha, Kelly Clarkson, The Wombats, Dua Lipa, Katy Perry, and Demi Lovato, to name just some. And as Rezonate describes things, a number of additional catalog agreements are forthcoming.
“This partnership with Bridgepoint is a strong endorsement of Rezonate’s vision and the value we bring to music producers,” Blackwood and Tyler added in a joint statement. “With such substantial firepower we can significantly accelerate our growth plans and continue to set new standards in the industry, ensuring producers are at the heart of every decision we make.
“We are excited to bring a fresh and artist-aligned approach to the royalties space, starting with an incredible day-one catalogue that includes some of the most iconic tracks of the last four decades,” concluded Tyler and Blackwood.
Beyond straight IP purchases, Rezonate also offers “funding and mentorship to emerging talent,” producer-geared networking opportunities, and “accurate and transparent music catalogue valuations,” its website shows.
(On the valuation side, worth reiterating is that HarbourView last week tapped Sweden’s Chapter Two to “facilitate” a Rodney Jerkins IP buyout. Formerly Anotherblock, Chapter Two is now touting a collection of catalog-tech solutions.)
In the bigger picture, it’s safe to say that the catalog space remains flush with capital – even if the rights-acquisition game is more specialized than ever.
On the funding front, 2025’s first five months delivered blockbuster investments in the work of Notorious B.I.G. and others – not to mention sizable capital disclosures from Intercept Music, Pophouse Entertainment, GoldState Music, Raven Music, and more.
Regarding specialization, Duetti is zeroing in on indie rights, to name one example, while a film and TV joint venture is a seemingly significant component of DJ Khaled’s Influence Media catalog sale. Different players yet are opting to spearhead multifaceted deals at the intersection of emerging markets and regionally prominent IP.
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NewJeans Slapped with Serious Injunction by Seoul Judge—Fines Starting at $730,000

Photo Credit: OLENS Global / CC by 3.0
A Seoul court has hit K-Pop group NewJeans with an injunction, with fines for independent activity starting at $730,000 per infraction.
The Seoul Central District Court ruled on Friday that K-pop girl group NewJeans must refrain from performing without Ador’s consent or approval until a decision is made in a lawsuit over the validity of its members’ exclusive contracts.
Should the group violate the court’s order, each member will be required to pay 1 billion won ($730,000) per infraction to Ador. The court also ordered NewJeans to pay the legal costs of the filing.
NewJeans notified Ador of their request for contract termination last November after internal conflicts at the company quickly went public. Since then, the group has attempted to pursue independent activity under the name NJZ, but is now barred from doing so without repercussion.
In March, the court accepted Ador’s initial injunction request, against which NewJeans’ members quickly filed an appeal. They voiced their intent to continue promotional events and performed as NJZ at the ComplexCon event in Hong Kong.
On Friday, NewJeans responded to the court order by clarifying that the decision was related to the previous injunction issued in March. That order prohibited the members from conducting independent activities. The new ruling, they emphasized, was not part of the ongoing appeal they filed against the initial injunction.
The group’s attorneys noted that the court’s latest decision is “temporary until the appeal is resolved.” They add: “If the NewJeans members win the injunction appeal, both the original and the related indirect enforcement rulings will lose their legal effect. In practice, indirect enforcement is typically issued in conjunction with an injunction ruling.”
During the first hearing over the dispute between NewJeans and Ador last month, the group’s legal team expressed no intention of settling. Ador’s representatives, meanwhile, indicated they were open to a settlement. The next hearing is scheduled for June 5.
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Eminem Publisher Sues Meta Over Widespread Copyright Infringement Across Facebook and Instagram

Photo Credit: Eminem by EJ Hersom for DoD News / CC by 2.0
Eminem’s music publisher, Eight Mile Style, is suing Meta with allegations of widespread copyright infringement on Facebook and Instagram.
Eight Mile Style, Eminem’s music publishing company, has filed a lawsuit against Meta, alleging the tech company’s social media platforms allow widespread use of the rapper’s songs without proper licensing.
The complaint, filed Friday in U.S. District Court in Detroit, says Meta has “created and stored” copies of Eminem’s songs on their servers and distributed them to “billions of users” around the world. According to the publisher, the rapper’s songs have been used in millions of videos across Facebook and Instagram that have collectively been viewed “billions of times.”
Further, through Meta’s online tools that encourage creating content based on another user’s content, users can “steal” music from others’ posts for use in their own, “resulting in exponential infringement,” the lawsuit claims.
Eight Mile Style asserts that Meta is “actively encouraging” users to stream the rapper’s music by making his songs available for use on Facebook, Instagram, and the messaging service WhatsApp. These apps’ algorithms also allegedly promote his music directly to users via “For You” pages and “Trending” features.
Eminem’s publisher brought the issue to Meta’s attention previously, the lawsuit claims, which resulted in the tech giant removing several Eminem tracks from its libraries. However, several alternative versions of his song “Lose Yourself,” including a karaoke version, an instrumental piano version, and a cover version, remained available to all users. Other prominent tracks from the artist also remained available—prompting the lawsuit.
“Meta’s years-long and ongoing infringement of the Eight Mile Compositions is another case of a trillion (with a ‘T’) dollar company exploiting the creative efforts of musical artists for the obscene monetary benefit of its executives and shareholders without a license and without regard to the rights of the owners of the intellectual property,” Eight Mile’s lawyers write.
The company is seeking damages, in addition to Meta’s “profits attributable to the infringement,” with maximum statutory damages that Eight Mile claims would exceed $109 million. Further, the company is seeking an injunction to cease further infringement.
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Above & Beyond Lift ‘Start A Fire’ feat. Richard Bedford From Next Studio Album

If much of the mindset and mantra behind Above & Beyond over the last quarter of a century has been born from the idea of connection, then their fifth artist album Bigger Than All Of Us is best summed up in one word: Reconnection. The depth of those intuitive reconnections, both between the three band members and with their inner circle of trusted collaborators, is evidenced in the latest single ‘Start A Fire’.


Originating as a deep instrumental cut from Paavo Siljamäki’s vaults, it’s a demo that he estimates is “Easily seven, eight years old. Tony [McGuinness] had always said: ‘I like this…’ Then, as we were entering this album process, Tony is like: ’Hey, I’ve written something on this! Then everybody’s going: ’Oh my God, this is great!”

In its completed form, the track features Richard Bedford singing Tony McGuinness’s lyrics and melody line. Of course, it’s not the first time Richard Bedford has teamed up with Above & Beyond on a Tony McGuinness-written song — see beloved classics ‘Sun & Moon’, ‘Thing Called Love’, ‘Northern Soul’, and more recently ‘Heart Of Stone‘, to name a few.
Debuted at Coachella Valley Music and Arts Festival this past April, ‘Start A Fire’ kicked off an Above & Beyond set that would become a defining moment in the ‘Bigger Than All Of Us’ campaign.


The post Above & Beyond Lift ‘Start A Fire’ feat. Richard Bedford From Next Studio Album appeared first on EDMTunes.
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Maverick Helicopters Offers Scenic Flights Above Day Trip Festival 2025

Maverick Helicopters is reuniting with Insomniac to offer scenic flights and helicopter transfers at Day Trip Festival.
When the house and techno festival returns to Long Beach this month, thrill-seeking Day Trip attendees can book Maverick’s six-minute “Sky Trip” helicopter flight, soaring above the Queen Mary Waterfront and Long Beach Marina to give ravers a birds-eye view of Day Trip’s High Tide and Deep End stages, and the sunny California Coastline.
These aerial excursions take off from Maverick’s private terminal, located steps from the festival grounds at 1175 Queens Hwy, Queen Mary Terminal, on both days of the festival. Sky Trip flights cost $179 and are only available to Day Trip attendees. Previously purchased festival admission is required and is not included in the price of the flight.
Those looking to skip the traffic and arrive at Day Trip by air can also book Maverick’s Day Trip Festival transfers. These efficient flights offer guests a traffic-jam-free journey from the Long Beach Airport directly to the event, landing at Maverick’s nearby terminal. Individual helicopter transfer bookings cost $299 one-way and $399 for a round-trip flight.
Private group charter bookings are also available out of any Los Angeles or Orange County airport, starting at $2,499.
Additional information and bookings for Maverick Helicopters’ 2025 Day Trip flights are available here.
Insomniac’s Day Trip Festival will return to the Queen Mary Waterfront in Long Beach, California, on June 21-22, featuring performances from Gorgon City, Duke Dumont, Tiësto, Chris Lorenzo, Joseph Capriati, and more. Tickets are still available here.
Featured image courtesy: Maverick Helicopters.
The post Maverick Helicopters Offers Scenic Flights Above Day Trip Festival 2025 appeared first on EDM Maniac.
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Maverick Helicopters Offers Scenic Flights Above Day Trip Festival 2025

Maverick Helicopters is reuniting with Insomniac to offer scenic flights and helicopter transfers at Day Trip Festival.
When the house and techno festival returns to Long Beach this month, thrill-seeking Day Trip attendees can book Maverick’s six-minute “Sky Trip” helicopter flight, soaring above the Queen Mary Waterfront and Long Beach Marina to give ravers a birds-eye view of Day Trip’s High Tide and Deep End stages, and the sunny California Coastline.
These aerial excursions take off from Maverick’s private terminal, located steps from the festival grounds at 1175 Queens Hwy, Queen Mary Terminal, on both days of the festival. Sky Trip flights cost $179 and are only available to Day Trip attendees. Previously purchased festival admission is required and is not included in the price of the flight.
Those looking to skip the traffic and arrive at Day Trip by air can also book Maverick’s Day Trip Festival transfers. These efficient flights offer guests a traffic-jam-free journey from the Long Beach Airport directly to the event, landing at Maverick’s nearby terminal. Individual helicopter transfer bookings cost $299 one-way and $399 for a round-trip flight.
Private group charter bookings are also available out of any Los Angeles or Orange County airport, starting at $2,499.
Additional information and bookings for Maverick Helicopters’ 2025 Day Trip flights are available here.
Insomniac’s Day Trip Festival will return to the Queen Mary Waterfront in Long Beach, California, on June 21-22, featuring performances from Gorgon City, Duke Dumont, Tiësto, Chris Lorenzo, Joseph Capriati, and more. Tickets are still available here.
Featured image courtesy: Maverick Helicopters.
The post Maverick Helicopters Offers Scenic Flights Above Day Trip Festival 2025 appeared first on EDM Maniac.
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ISP Frontier Settles with Major Labels After Multi-Year Copyright Infringement Battle

Photo Credit: Amy Syiek
Several major record labels have settled their copyright infringement lawsuit with internet provider Frontier after a multi-year legal battle.
Major record labels, including UMG, Sony Music, and Warner Music, have settled their piracy liability lawsuit with internet provider Frontier after a lengthy, multi-year legal battle. All parties agreed in a public notice to bear their own costs, while the details of the settlement remain undisclosed. The settlement comes a few weeks after another similar lawsuit, filed by film companies, was settled ahead of trial.
Frontier, which only emerged from bankruptcy three years ago, was fighting a pair of similar piracy liability lawsuits filed by music and film companies. Both were scheduled to go to trial in the spring, but were settled beforehand.
The music companies, spearheaded by UMG, reached a settlement with Frontier this week. In a notice submitted to the New York federal court, all parties agreed that all claims were settled with prejudice—meaning the claims cannot be refiled in the future. Last month, the movie companies’ lawsuit was settled on undisclosed terms.
Several prominent music and movie companies have filed lawsuits against internet providers in recent years for failing to take action against subscribers who commit piracy. Chiefly, the companies assert that ISPs like Frontier have failed to terminate the accounts of subscribers who repeatedly engage in copyright infringement by pirating IP— in violation of DMCA requirements. Lawsuits like this action against Frontier have resulted in millions owed by providers like Cox and Grande.
The settlement arrives just days after the U.S. government recommended the Supreme Court hear Cox’s case seeking to overturn a ruling in favor of the music companies. However, there is nothing to suggest that stance impacted the Frontier lawsuit’s settlement. Should the Supreme Court take action, that outcome would affect similar lawsuits against ISPs.
Meanwhile, several U.S. lawmakers are working on legislation against pirate sites, under which ISPs would be tasked with ensuring access to such sites is blocked. Some ISPs are open to the idea, as long as they’re granted “retrospective immunity” in the process.
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